Teachit English€¦ · Web viewStudents should recap the opening scene of the play to find evidence for this. ... Thou mayst be damned for that wicked deed! O, he was gentle, mild,

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Richard IIITEACHIT KS3 INTERACTIVE PACKGCSE Updates 2009Lessons 1 – 11Worksheets/OHTs 1 – 20

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LESSON 1: What happens?(This lesson has been adapted from Lessons 40 and 41 of your pack.)

Learning objective To recap and revisit the play as a whole.

Starter Cut out the Reduced Ricky 3 cards on Worksheet 1 and give sets to pairs of students. Ask them

to sort them into the right chronological sequence for the play. Then ask one pair of students to read out their suggested summary of the play, with other groups

interrupting should they disagree with this order (they should explain why).

Introduction Ask students to read the summary again. Point out that it is currently over 1000 words. Ask the

same pairs to work together to condense it to a shorter summary of no more than 500 words. Remind them that they will need to pick out what they think are the most important parts of the play.

Have some pairs read out their 500-word summaries. Which are the most effective? Why? Then repeat the exercise but this time pairs must reduce their summary to 250 words. Again, ask some pairs to read out their work.

Development Move from plot to character. On mini-whiteboards/notepads, ask students to write one phrase

(which could be a quotation) which sums up or describes their favourite character from Richard III. For example: a devious character; ‘a bottled spider’. They should not use their character’s name.

Holding their whiteboards/notepads above their heads, students should then move around the classroom and share their favourite character quotations/summaries, making deductions about who each character is from the information provided.

Divide students into eight groups: Richard, Buckingham, Elizabeth, Anne, Margaret, Richmond, Clarence and Hastings. Give each group a sheet of coloured paper (a different colour for each group) and ask them to choose, write out and cut up key words and quotations for their selected character. They need to ensure that their posters clearly show the connections between their ideas.

Plenary Put the word ‘ambition’ on the board. Ask each group in turn to explain how their character can be

shown to connect to this theme. Repeat with the word ‘honesty’. Students should make and keep brief notes to support their later work.


Worksheet 1: Reduced Ricky 3 cards

Richard, Duke of Gloucester, explains that terrible times have been made good as he and his brothers have been victorious in battle. He is, however, a bitter man and explains that because of his appearance he can not ever be a lover and will therefore instead be a villain.

Clarence is escorted to the Tower of London by guards. He explains to Richard that their brother, King Edward IV, is sending him there because he fears Clarence is disloyal. Richard sympathises with him and promises to do all he can to get Clarence released.

After Clarence is led away Richard confides to himself and the audience that it is him who has persuaded the King to have Clarence imprisoned and he intends to have him murdered shortly.

Richard woos Lady Anne whilst in the presence of her father-in-law’s (King Henry VI) coffin. Shakespeare portrays Richard as being solely responsible for the death of Henry VI and Anne’s husband, Prince Edward, when in fact neither is wholly true. In the play, despite Anne’s apparent initial abhorrence of Richard she is won round by his persuasive speech and agrees to marry him.

Queen Elizabeth’s brother and sons try to reassure her that her husband, King Edward IV, will make a full recovery from his illness. Elizabeth is worried about the future as she thinks Richard dislikes her and her sons and yet he has been appointed as Protector. Richard arrives, loudly accusing everyone of telling the king that he has been stirring up trouble and dislikes everyone. In trying to defend herself, Elizabeth is drawn into a squabble with Richard.

Queen Elizabeth’s brother and sons try to reassure her that her husband, King Edward IV, will make a full recovery from his illness. Elizabeth is worried about the future as she thinks Richard dislikes her and her sons and yet he has been appointed as Protector. Richard arrives, loudly accusing everyone of telling the king that he has been stirring up trouble and dislikes everyone. In trying to defend herself, Elizabeth is drawn into a squabble with Richard.

Clarence tells the prison guard that he has spent a terrible night having nightmares: he dreamed that his brother Richard, Duke of Gloucester, was on a boat with him to Burgundy. In the dream Richard fell and pushed Clarence into the sea in order to save himself.

Two murderers arrive to kill Clarence but one is nearly dissuaded, firstly by his conscience and secondly by Clarence who wakes and tries to talk the two men out of committing the deed.

Clarence is first stabbed and then drowned in a wine barrel by one of the murderers, despite the other one shouting out to warn Clarence just before the attack.


Worksheet 1: Reduced Ricky 3 cards (continued)The King, despite being a sick man, feels pleased with himself as he thinks he has brought some of the court together and stopped the various factions from fighting. He, along with other characters present, is horrified when Richard announces that Clarence is dead. The King had reversed the death warrant but of course Richard pretends it was not received in time to prevent the execution.

Clarence’s children tell the old Duchess of York, their grandmother, that Richard said King Edward IV was responsible for their father’s death. Their grandmother tries not to alarm them but makes clear her suspicions about her son.

Queen Elizabeth is bereft at the death of her husband, Edward IV. Rivers encourages her to send for her young son, Prince Edward, so that he can be crowned king. Richard arrives, offering his condolences and assuring the assembled company that he is friends with them all now, as the late king wished.

Queen Elizabeth awaits the arrival of her son, Prince Edward, on his way to be crowned the new king. In the meantime, she hears from a messenger that her brother and another son have been imprisoned by the Duke of Gloucester and the Duke of Buckingham. Elizabeth decides to seek a safe sanctuary as she fears her life is now in danger.

Richard and Buckingham welcome the young Prince Edward to London and Richard tells them they will stay in the Tower for a few days. Although neither of the Princes like the idea they agree to it.

Richard and Buckingham send Catesby to find out if Hastings will support Richard’s plan to be king. After Catesby has left, Richard announces that he will chop off Hastings’ head if he will not support Richard. Richard promises Buckingham the earldom of Hereford when he is crowned.

A messenger tells Hastings he has been sent by Stanley after a terrible dream in which Richard revealed his true nature. Stanley intends to flee but Hastings laughs at his fears, saying Richard will not harm them.

Catesby probes Hastings’ views on Richard becoming king and Hasting’s arrogant reply – that he’d rather have his own head cut off than see Richard crowned – seals his fate.

The audience sees Rivers, Grey and Vaughan being taken to their execution at Pomfret.

Richard pretends to Hastings that his arm has shrivelled because of Elizabeth and her entourage. Hastings makes the mistake of questioning the theory and Richard immediately condemns him to death for being a traitor.

Richard encourages Buckingham to spread the rumour that the late king’s children are illegitimate. This would mean they had no right to inherit the throne. Buckingham has brought the lord mayor and some citizens to see Richard.


Worksheet 1: Reduced Ricky 3 cards (continued)As Richard has had prior warning of the arrival of the citizens, he ensures he is with two clergymen when they find him, to give the impression of his piety. Only after numerous entreaties by Buckingham, Catesby and the mayor does Richard agree to ascend the throne instead of his brother’s son, because people are convinced by Buckingham’s rumours that the late king’s children are illegitimate.Elizabeth is on her way to visit her sons in the Tower but is prevented from doing so by Brakenbury, who says the king has forbidden her entry. Elizabeth is startled that Richard is being referred to as king and once Stanley arrives to escort Anne to be crowned queen, she realises her children are in grave danger and she is powerless to stop it.

Richard, now crowned king, hopes Buckingham will agree with him that it would be better if the two young princes were dead. However, Buckingham is reluctant to countenance the idea so Richard decides to ostracise him and hires a murderer for the deed instead.

Richard tells Stanley to spread the word that his wife Anne is gravely sick. Richard hopes to marry his niece, called Elizabeth, sister of the Princes in the Tower.

Buckingham reminds Richard that he was promised the earldom of Hereford once Richard was crowned. Richard, however, is dismissive of Buckingham and the promise and says he is not in the ‘giving vein’ today. Buckingham recalls Hastings’ fate, realises his own life is probably in danger and decides to flee.

Tyrrel tells the king that the two young princes were murdered as requested. Richard confirms that he has had his wife, Queen Anne, murdered.

King Richard encourages Elizabeth to wed her daughter to him. She is initially appalled and points out that her daughter is unlikely to want to marry her brothers’ killer. By the end of the scene, however, it is ambiguous whether Elizabeth is prepared to do Richard’s bidding.

Richard hears from various messengers about men bringing armies together to fight him. Catesby brings news that Buckingham is captured..

Stanley explains to Sir Christopher Urswick that if he revolts against Richard his son will be executed

Buckingham is led away to be executed. He remembers that Margaret cursed him and predicted this would happen.

Richard and Richmond prepare to do battle. Richmond comments on the beautiful sunset which is a good omen. That night the ghosts of all the people Richard has murdered wish Richmond victory and torment Richard with bad tidings.

Richard is slain in battle by Richmond. Richmond is crowned king and promises to marry the young Elizabeth, thus uniting the House of Lancaster and the House of York and effectively ending the Wars of the Roses.


LESSON 2: What’s the context?(This is Lesson 39 in your pack.)

Learning objectiveTo understand some of the historical context of the play.

ICT Activity 30

Starter Ask students what they know about the way this country is run (we have a monarch who passes

their reign on to succeeding generations (but who does not make or enforce laws), and an elected government).

Ask students the names of as many people they can think of who are involved in the running of this country. Who do they think is the most important? Why?

Introduction Explain to students that in Shakespeare’s day, the monarchy was of much greater importance and

people had very specific ideas about who could and should be in charge of the country. Organise students into groups of 4 and distribute copies of Worksheet 2, which contains a speech

made by James I in 1609. Each person in the group should take responsibility for a different paragraph of the speech, thinking about what James I is saying about the monarchy.

Groups feed back to the rest of the class; they should have identified the following: Paragraph 1: Kings are very important because they are chosen by God, and even God

recognises their importance. Paragraph 2: Kings have similar powers to Gods in that they can create and destroy. Kings

are accountable only to God. Paragraph 3: the more power that people have, the harder they can fall. It is very important

that kings operate within the laws of their countries. Paragraph 4: ordinary people must abide by what the king says, but the king must honest with

the people in order to avoid incurring God’s anger.

Development Explain that as well as believing that monarchs were chosen by God, people also believed in a

very strict order in society (a hierarchy). Hand out copies of Worksheet 3 and ask students to order the Great Chain of Being. (The correct order is: God, Angels, Man, Animals, Birds, Insects, Shellfish and parasites, Plants, Liquids and metals.) This can also be done using ICT Activity 30 from your pack.

Draw students’ attention to the fact that some of Shakespeare’s worst insults to characters take the form of suggesting that they are low down in this hierarchy. For example, Richard is described as a spider at one point in the play – what does this suggest about his character and status? Invite students to draw and label a spider to identify the sort of characteristics a man who is like a spider might have. What would an audience in Shakespeare’s day have thought of such a man, based on what they have just learned?

Finally, display Worksheet 4, which describes the Wheel of Fortune. Ask students what the quotation means. (Because the wheel is always turning, when you reach the height of your ambition, the only way left is down.

Point out that in King James’s speech, he says exactly this. Ask students to find and highlight or underline the relevant section in James’s speech. (The higher we are placed…upon the highest mountains.)


Plenary Ask students to answer the following questions:

What qualities would an audience expect from a king, bearing in mind that the king is chosen by God?

What about a king who behaves like a rogue? In a play about ambition, what would an audience expect the outcome to be? Having read the play, what does Shakespeare seem to be suggesting about the inevitable

outcome of Richard’s actions?


Worksheet 2: The Divine Right of KingsIn 1609, King James I gave this speech before Parliament. What are the general points that he is making? (You may need to use a dictionary to help you.)

The state of Monarchy is the supremest thing upon Earth; for kings are not only God’s lieutenants upon Earth and sit upon God’s throne, but even by God himself they are called gods. There be three principal similarities that illustrate the state of Monarchy: one taken out of the word of God and the two other out of the grounds of policy and philosophy. In the Scriptures kings are called gods, and so their power after a certain relation compared to the Divine power. Kings are also compared to the fathers of families, for a king is truly parens patriae, the politic father of his people. And lastly, kings are compared to the head of this microcosm of the body of man.

Kings are justly called gods for that they exercise a manner or resemblance of Divine power upon Earth; for if you will consider the attributes to God you shall see how they agree in the person of a king. God hath power to create or destroy, make or unmake at his pleasure; to give life or send death; to judge all, and to be judged nor accomptable to none; to raise low things and to make high things low at his pleasure; and to God are both soul and body due. And the like power have kings: they make and unmake their subject; they have power of raising and casting down; of life and death; judges over all their subjects and in all causes, and yet accomptable to none but God only.

The higher we are placed, the greater shall our fall be. Ut casus sic dolor: the taller the trees be, the more in danger of the wind; and the tempest beats forest upon the highest mountains. Therefore all kings that are not tyrants, or perjured, will be glad to bound themselves within the limits of their laws; and they that persuade them the contrary, are vipers, and pests, both against them and the commonwealth. For it is a great difference between a king’s government in a settled state, and what kings in their original power might do in Individuo vago. As for my part, I thank God, I have ever given good proof, that I never had intention to the contrary. And I am sure to go to my grave with that reputation and comfort, that never king was in all his time more careful to have his laws duly observed, and himself to govern thereafter, than I.

I conclude then this point touching the power of kings with this axiom of Divinity. That as to dispute what God may do is blasphemy, but quid vult Deus, that divines may lawfully and do ordinarily dispute and discuss, for to dispute a posse ad esse is both against Logic and Divinity, so is it sedition in subjects to dispute what a king may do in the height of his power; but just kings will ever be willing to declare what they will do, if they will not incur the curse of God. I will not be content that my power be disputed upon, but I shall ever be willing to make the reason appear of all my doings, and rule my actions according to my laws.


Worksheet 3: The Great Chain of BeingAs well as believing that kings and queens could only be chosen by God, Elizabethans and Jacobeans had very strict ideas about how things should be organised in their world.

Look at the items below and decide what rank they would fall into under The Great Chain of Being. For example, would birds be more highly-ranked than insects?

Order in the hierarchy (from most to least important)

1 ___________________________________________________________________________

2 ___________________________________________________________________________

3 ___________________________________________________________________________

4 ___________________________________________________________________________

5 ___________________________________________________________________________

6 ___________________________________________________________________________

7 ___________________________________________________________________________

8 ___________________________________________________________________________

9 ___________________________________________________________________________

Note: The category of man was divided even more into (from top to bottom)… the monarch the royal family nobles courtiers citizens yeomen artisans and labourers rogues and the unemployed.

Women are below men in the Great Chain of Being!


Angels Insects Birds

Liquids and metals Man Plants

Animals God Shellfish and parasites

Worksheet 4: The Wheel of FortuneAnother thing in which Elizabethan and Jacobean people believed was The Wheel of Fortune. Everyone was thought to be born onto a fixed point on the wheel, which they could never move from. They were destined to go wherever the wheel took them.

In a play written around the same time as Shakespeare was writing, a character says:

…in thy wheel

There is a point, to which when men aspire

They tumble headlong down…(Mortimer in Edward II by Christopher Marlowe)

This drawing shows Fortune, who is a woman, turning the wheel.


LESSON 3: Villainy (1.1)(This lesson has been adapted from Lesson 6 in your pack.)

Learning objective To develop an understanding of Richard’s character and motivation, focusing specifically on Act 1 Scene 1.

Starter Write ‘I am determined to prove a villain’ on the board. Students should recap the opening scene

of the play to find evidence for this. (He says ‘good day’ to Clarence; leads him to believe that he’s on his side, plans to kill him, plans to marry Anne.)

Introduction Students are to focus on what Richard says as opposed to what he is thinking, using Worksheet

5. Students re-read the text and complete the first part of the worksheet. They should write down on one side what Richard is saying and hearing, and on the other what he is really thinking. Once they have done this, they can read lines 120–165 and answer the final questions on the worksheet.

Development Students look again at Richard’s final soliloquy (lines 148–165) and answer the following:

Why mustn’t Edward die before Clarence does? (Because Clarence has children who would inherit the throne from their father if Edward were to die first.)

What do you think Richard’s ‘secret close intent’ is? What do you think is the worst aspect of the plans that he sets out here? Why?

Thinking about the scene as a whole, ask students to re-read, select and annotate examples of elements that are frightening. They must ensure that their notes explain why (see OHT 6 for examples).

Plenary Richard says ‘I am determined to prove a villain’ which suggests that it is a conscious decision on

his part. Ask pairs of students to discuss whether he:

o was born evil?o has been made evil by circumstances?o has simply chosen to be evil?

Students need to be able to explain their choices, with reference to the text. They should consider the possibility that there may be more than one explanation.


Worksheet 5: Secret thoughtsRichard does not always say what he’s really thinking.

1 Read Act 1 Scene 1, lines 106–119. As you read: write down in the left hand column what Richard is saying and hearing write down in the right hand column what he is really thinking at the time.

Include links to show how Richard’s inner thoughts are linked to what is said.

What is said and heard What Richard is really thinking

2 Now read from line 120 to the end of the scene.

a) Who does Richard mean when he says ‘they that were your enemies are his’?

b) Hastings says that ‘The King is sickly, weak and melancholy’. Richard’s response is ‘that news is bad indeed’. What is he really thinking?


OHT 6: Richard the villain

ACT 1SCENE 1 – A street near the tower of London

Enter RICHARD, Duke of Gloucester

RICHARDNow is the winter of our discontentMade glorious summer by this son of York;And all the clouds that loured upon our houseIn the deep bosom of the ocean buried.Now are our brows bound with victorious wreaths,Our bruised arms hung up for monuments,Our stern alarums changed to merry meetings,Our dreadful marches to delightful measures.Grim-visaged war hath smoothed his wrinkled front,And now, instead of mounting barbed steedsTo fright the souls of fearful adversaries,He capers nimbly in a lady's chamberTo the lascivious pleasing of a lute.But I, that am not shaped for sportive tricks,Nor made to court an amorous looking-glass;I, that am rudely stamped, and want love's majestyTo strut before a wanton ambling nymph;I, that am curtailed of this fair proportion,Cheated of by dissembling nature,Deformed, unfinished, sent before my timeInto this breathing world scarce half made up,And that so lamely and unfashionableThat dogs bark at me as I halt by them;

Why, I, in this weak piping time of peace,Have no delight to pass away the time,Unless to spy my shadow in the sunAnd descant on mine own deformity.And therefore, since I cannot prove a lover,To entertain these fair well-spoken days,I am determined to prove a villainAnd hate the idle pleasures of these days.Plots have I laid, inductions dangerous,By drunken prophecies, libels, and dreams,To set my brother Clarence and the kingIn deadly hate the one against the other.


Frightening because peace should not be seen as ‘weak’. Makes Richard sound devilish.

Frightening that he would deliberately set out to harm his own family.

LESSON 4: Hastings condemned (3.4)(This is Lesson 1 of the 2007 online updates.)

Learning objectiveTo look at the action of the scene and its significance within the play as a whole.

Starter Ask students to recall briefly what we have found out about Hastings prior to this scene. (Answer:

Hastings has been warned about Richard by another nobleman, Stanley. Hastings has also, rashly, announced that he will support the coronation of Prince Edward, in the belief that he, himself, is safe – and that his fortunes are on the rise.)

Introduction Remind students that the scene takes place in the Tower of London, which would have had

particular significance for Hastings as he had once been imprisoned there. Then distribute Worksheet 7 and ask students to work in pairs to complete the flow diagram. Students can add appropriate quotations to support the various key moments from the scene.

Create a joint summary diagram that effectively sums up the scene. This can be copied and distributed should students need it.

Development In what way is this scene significant as a whole within the play? Ask students to consider how a

number of ideas are developed. They can work in small groups and make brief notes on each of the following:

In what way is Richard’s cunning at work in this scene? In what ways are the themes of dream/prophecy touched on? How is the idea of appearance and reality dealt with? (Or deception and self-

deception?) In what way is this a scene about power and control? In what way have the ‘battle-lines’ been drawn between various factions by the end of

this scene?

Plenary Groups can feed back their answers to these points. It is worth focusing for a moment on who has

now been eliminated by Richard (his two brothers, Elizabeth’s entourage, Hastings – and Anne, as a rival, at least…) It is also worth pointing out that Stanley has already voiced misgivings earlier in this scene (‘Tomorrow, in my judgement, is too sudden…’) about the coronation, but wisely says nothing when Richard re-enters. He has also previously warned Hastings about Richard, proving himself a better judge of character.


Worksheet 7: The structure of the scene

Complete this flow diagram version of Act 3 Scene 4. Add quotations to support the summary.


Noblemen, including Hastings, gather to decide who is to be crowned the new king.

Richard arrives and sends Ely away to fetch some strawberries from his garden. Richard takes Buckingham to one side and says that Hastings will not support him.

Ely returns with the strawberries. Hastings offers his opinion on Richard’s mood which is

Richard asks Hastings to tell him

Richard blames Hastings for

Hastings:‘….the cause why we are metIs to determine of the coronation.’

Richard exits, leaving only

Hastings reflects about how he

LESSON 5: Round like a record player (3.7)(This is Lesson 16 in your pack.)

Learning objectiveTo understand some of the methods used to cause power to shift in Richard III.

ICT Activity 12 and ICT Activity 13

Starter Write on the board the following four rumours about the former king and his children:

a) Edward’s children are illegitimateb) Edward had someone executed because he misunderstood something he heardc) Edward had too much of a liking for sexd) Edward himself was illegitimate and looked nothing like his father.

Ask students to consider which rumour would have had the greatest impact on the citizens and why. Students then sort the rumours into an order of significance in terms of their impact. (ICT Activity 12 from your pack can be used here.)

Introduction Read from the start of Act 3 Scene 7 to line 22; then ask the class to work in pairs to discuss the

following questions: Buckingham tells Richard that when he first speaks to the crowd, ‘The citizens are mum, say

not a word’. Why might the citizens have not responded to what Buckingham was saying? How would they feel to hear those things about their king?

What does Buckingham say about Richard that makes him sound like a fabulous potential leader? (He’s definitely royal, he looks just like his father, he’s disciplined, wise, generous, virtuous and humble.) Students should collate this information for later use.

Development Give out copies of Worksheet 8 and ask students to complete the first box only. Then read lines 24-43. Due to the lack of response from the citizens, Buckingham makes the

Mayor repeat the speech. However, the Mayor will not say that he supports Richard. Then ask students to complete the second box on the worksheet. At the end of the speech, ten people shout ‘God Save King Richard’. They are not citizens, they are Buckingham’s men. Ask students to complete the rest of the worksheet.

Give out individual copies of the extract, lines 43–69. Ask students to underline or highlight all of the references to religion (this can be done using ICT Activity 13 from your pack). Why do they think that Buckingham suggests that Richard should get a prayer book in (his) hand?

How does this link with what we know about the context of the play? What might Catesby and the Mayor think of Richard at this point in the play? Finally, read lines 70–93. Ask students to make two lists:

what Buckingham says about Edward what Buckingham says about Richard.On the basis of these lists, who would be the best king? Why?

Plenary Why does Richard send Catesby to say that ‘He fears, my lord, you mean no good to him’? What

does this suggest to Catesby? What does it suggest to the audience?


Focus students’ attention on audience response; both contemporary and modern. They must ensure that they can explain how and why their responses would be different. (Essentially, a contemporary audience would have placed more emphasis on Richard’s misuse of religion than we are likely to today.)


Worksheet 8: Buckingham the spin doctor1 You are a citizen and have just heard Buckingham’s speech. Complete the table to

show how you feel at the different times listed below.

Buckingham gives his speech for the first time.

The mayor repeats the speech.

Some of Buckingham’s men cheer.

2 Do you support Richard? Explain why, giving reasons that you can back up with information from the play.

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LESSON 6: Richard aloft (3.7)(This is Lesson 7 in your pack.)

Learning objectiveTo increase understanding of the methods used to enable Richard to gain control.

ICT Activity 6

Starter Read lines 94–115. In pairs, students should highlight or underline as many references to religion

as they can find. Ask students: why do both Richard and Buckingham continue to make so many references to

religion? Has Richard really been at prayer? Where have the Bishops come from?

Introduction Give pairs copies of Buckingham’s speech from lines 116-139 and ask them to work through the

tasks on Worksheet 9. Buckingham says that it is by the citizens’ vehement instigation that he is begging Richard to become King. Is there any evidence of this?

Development Read through lines 140–152 with the class. What is Richard saying? Ask pairs to highlight or

underline the words and phrases which suggest that Richard thinks he is not good enough to be king and should not be given the role (ICT Activity 6 from the pack can be used here).

Write on the board Richard ‘doth protest too much, methinks’. Explain to students that this is a line from Hamlet and applies to a character who complains of feeling sad so much that it becomes impossible to believe. Why would this be a useful way of describing Richard’s behaviour here? (Richard is untrustworthy; he’s desperate to persuade people that he should be king and that it was actually their idea and not his.)

Read lines 173–199. Buckingham says that Richard’s reasons are trivial – there are far more reasons why he should be king than why he should not. What are they?

Finally, the Mayor joins in asking Richard to take the role. Why does Richard refuse again? Students then read to the end of the scene and answer the following questions:

Why does Buckingham refer to Prince Edward in lines 207–208? (To suggest that family is very important to Richard.)

Why does Buckingham refer to Prince Edward again in lines 214–216? (To give Richard a ‘get out clause’ from what he has previously said.)

Why does Buckingham say ‘we will entreat no more’? (To suggest that he has given up, so that Richard can continue to look reluctant. It also encourages other people to join him in begging Richard to do it.)

Plenary Elicit that by the end of the scene, Richard has finally, apparently with reluctance, agreed to take

the throne. What does Richard mean in lines 229–234? Does anyone in the class think that Richard believes any of the things he says to the citizens and Mayor? They will need to be able to explain why.


Worksheet 9: Buckingham begs1 Complete the table below by finding quotations from Act 3 Scene 7 to match the

descriptions of what Buckingham says to Richard.

What Buckingham says to Richard Quotation from Act 3 Scene 7

The people are unhappy with you.

You’re giving up the throne to people who are not entitled to it

The country is sick, the monarchy is suffering, and if you don’t do something soon, it will be too late.

We, the people, beg you to become King.

The people want this and I am speaking for them.

2 One of the reasons that Buckingham gives for Richard needing to become king is that the monarchy could be ruled by illegitimate heirs (those not truly in line to the throne). Which two words mean illegitimate heirs?

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3 Find a quotation from the first two lines which prove that Richard is supposedly refusing to become king.

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4 Find at least two words in the first six lines which show how important and special it is to be king.

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5 Read lines 124–128 again. Why do you think Buckingham is saying that the country will be deformed and scarred with shame? How is this supposed to make Richard feel (even though it’s all an act)?

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6 Using sets of three is a very common form of rhetoric (persuasive language). How many examples can you find in this speech? List them below.

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LESSON 7: Promises, promises (4.2)(Adapted from Lesson 4 of the 2007online updates and Lesson 18 in your pack.)

Learning objectiveTo explore the scene and its significance to the play as a whole

ICT Activity 14

Starter Do not reveal, for a moment, which scene is to be studied. Firstly, ask students to consider what a

newly-crowned king or queen might want to talk about with their nobles and advisers at his or her first meeting after the coronation? (Possible answers might be – how well (or badly) the coronation went? Their plans for their reign? Possibly thanking supporters and helpers? Perhaps speaking to family?)

Now ask students to read the first 30 or so lines down to Buckingham’s exit (‘I will resolve you herein presently...’). What does Richard want to talk about following his coronation? (The murder of the princes!)

Introduction This long scene is absolutely central to both the action of the play, and the development of key

characters, and, it might be argued is the most important scene in the play. Ask students why this assertion (that it is the most important) might be made? Distribute Worksheet 10 and ask students to rank the factors in order of their importance to the plot, themes, dramatic impact or character development. Alternatively, use ICT activity 1.

Development Feed back answers and discuss each of the points. It is especially crucial to be aware just how

much planning and plotting goes on in this scene – if nothing else, it demonstrates how Richard is still able, at this point, to plan to protect himself in terms of his legitimacy as king. Which, of his many plans, doesn’t work out (looking ahead)?(Answer: marrying himself to the younger Elizabeth – she eventually marries Richmond, thus strengthening Richmond’s claim to the throne.)

Ask pairs of students to think about Buckingham’s response to the events of this scene - why doesn’t he agree to help Richard? Think of a range of possible reasons (disgust at his actions; lack of reward for the things he’s already done, what he already knows about Richard....)

Hand out Worksheet 11. Students should write their own translation of the lines into the second column (if students need support here, use the matching activity in ICT Activity 14 from your pack). They should then use what they remember from the play (or a copy of it) to complete the final column.

Plenary Richard says ‘I am so far in blood that sin will pluck on sin’. Does this statement reveal anything

further about his character? Does it make him any more or less villainous? Why?


Worksheet 10: Key factors

How important is Act 4 Scene 2? Rank these features of it in terms of their importance to the play as a whole.

a) Richard plans to marry off Clarence’s daughter to someone with little money or influence.

b) Richard ignores Buckingham as the latter tries to get what is owed to him, before fleeing to his country estate.

c) Richard has reached the position he wanted – as king.

d) Richard plans to marry Elizabeth’s daughter and kill off his wife, Anne.

e) The worst crime of the play – the murder of the princes – is planned.

f) Buckingham makes his fatal mistake, by not immediately supporting Richard’s plans.

g) Stanley reveals that Dorset has joined Richmond as an ally against Richard.

h) Tyrrel, the murderer, is introduced to the play.


Worksheet 11: Iron-witted foolsQuotation Modern translation Evidence

(Act 4 Scene 3)

Rumour it abroadThat Anne, my wife, is very grievous sick.I will take order for her keeping close.

Inquire me out some mean poor gentleman,Whom I will marry straight to Clarence’ daughter…

The boy is foolish, and I fear not him.

Look, how thou dream’st! I say again, give outThat Anne my queen is sick and like to die.About it; for it stands me much upon,To stop all hopes whose growth may damage me.

I must be married to my brother’s daughter,Or else my kingdom stands on brittle glass.

Murder her brothers, and then marry her:Uncertain way of gain.

But I am So far in blood that sin will pluck on sin.Tear-falling pity dwells not in this eye.


LESSON 8: Sticks and stones(This lesson has been adapted from Lesson 34 in your pack.)

Learning objectiveTo understand how the language used to describe Richard affects an audience.

Starter Show students the toad image on OHT 12. Ask them to make note of the denotation (what it is)

and the connotations (words they associate with it). Then write on the board ‘Never hung poison on fouler toad’. Who says it? About whom? (Anne

about Richard.)

Introduction Recap the Great Chain of Being from lesson 2 and remind students that Richard is called, at

various points in the play, a hedgehog (1.2), a toad (1.2), a hog (1,3), a tiger (2.4) and a wolf (4.4). For each animal, students should brainstorm the connotations which link the animal with the view

of Richard held by the person who said it.

Development Divide students into 6 groups and give them copies of Worksheet 13. Each group should be assigned a category to investigate, selecting quotations which fit into their

category, and making sure that they can explain the significance of their choices to the rest of the class. Display Worksheet/OHT 14 for guidance, as required.

Allow time for feedback to ensure that all students have access to the same information.

Plenary Individual students should select their two favourite examples of language and write a short PEE

paragraph for each. Pair and share responses, ensuring that they are kept for future use.


OHT 12: Denotations and connotations

A Toad, En padda. Photo by Annakika http://www.flickr.com/photos/ullkika/133668645/


http://www.flickr.com/photos/ullkika/133668645/

Worksheet 13: Use of imagery reference sheet

AnimalsRichard is compared to less attractive animals (toad, spider) but is also linked to powerful animals (tiger, wolf). His victims are weaker animals (hinds and lambs).

BirdsPowerful characters are linked to birds of prey, which emphasises their instinct to kill. In comparison, more vulnerable characters are likened to small, weak wrens and swift, light swallows.

PlantsThe king should be like a strong and mighty tree, but Richard’s physical deformity is linked to a deformed plant, emphasising his unsuitability for the crown. The young princes are seen as flowers in bud, ‘cut’ too early.

MoneyRichard often thinks in financial terms, emphasising how cold and calculating he is (like a greedy miser who wants more and more). There is also reference to legal financial terms (e.g. sue), to suggest that people owe and are owed by others.

Heaven/hellRichard is often referred to as a devil or minister of hell, indicating he is utterly merciless and without a conscience. In complete contrast, the young princes are angels, to emphasise how wrong Richard was to kill them.

Sun/seasonsWinter is associated with bad times (i.e. dark, cold, damp) while summer is the opposite: Richmond brings the hope of summer back to England. Interestingly, Richard uses summer imagery to woo Anne.

Other imagesThe play does, of course, include other images, but the above six groups feature most frequently.


Worksheet/OHT 14: Language in use

Animals Act 1, Scene 2Act 1, Scene 3Act 2, Scene 4Act 4, Scene 4

Birds Act 1, Scene 1Act 1, Scene 3Act 5, Scene 2

Plants Act 2, Scene 2Act 3, Scene 4Act 3, Scene 7Act 4, Scene 4

Money Act 1, Scene 2Act 1, Scene 3Act 2, Scene 2Act 4, Scene 2Act 4, Scene 4

Heaven and hell Act 1, Scene 2Act 1, Scene 3Act 4, Scene 4

Sun/seasons Act 1, Scene 1Act 1, Scene 2Act 1, Scene 3Act 2, Scene 3Act 3, Scene 1


Look carefully – there may be more than one relevant quotation in each section.

You might also be able to find other examples.

LESSON 9: Language in use(This lesson has been adapted from Lessons 35, 36 and 38 in your pack.)

Learning objectiveTo gain an understanding of how Shakespeare uses language to develop character.

ICT Activity 28

Starter Pairs of students need to be A and B. A should give B a compliment (e.g. “Your hair looks nice today.”) B should then respond by batting the compliment back (e.g. “So you’re saying it usually looks a

mess?”) Explain that Shakespeare uses this technique (called Stichomythia) to great effect, and ask them

where in the play we see this. (1.2 between Richard and Anne)

Introduction Give students copies of Worksheet 15. They will also need coloured pens or pencils. Ask them to work through this extract from Act 1, Scene 2 identifying the language pairs.

Development Ask for feedback from the introductory activity – what is happening? (Anne is using the language

of hell and revenge, whereas Richard is using the language of heaven and forgiveness.) What is the effect of this on:

o Anne?o the audience?

Why? Now show students OHT/Worksheet 16 and ask them to find 2 examples for each from the play.

What does each of them reveal about Richard? (ICT activity 28 from your pack could also be used here.) Students will need to keep good notes for later use.

Plenary Ask students to think about how Shakespeare has used language in the play – which examples

have the greatest effect on the audience? Why?


Worksheet 15: Stichomythia RICHARDLady, you know no rules of charity,Which renders good for bad, blessings for curses.ANNEVillain, thou know’st nor law of God nor man.No beast so fierce but knows some touch of pity.RICHARDBut I know none, and therefore am no beast.ANNEO wonderful, when devils tell the truth!RICHARDMore wonderful when angels are so angry.Vouchsafe, divine perfection of a woman,Of these supposed crimes to give me leave,By circumstance, but to acquit myself.ANNEVouchsafe, diffused infection of a man,Of these known evils but to give me leave,By circumstance, to curse thy cursed self.RICHARDFairer than tongue can name thee, let me haveSome patient leisure to excuse myself.ANNEFouler than heart can think thee, thou canst makeNo excuse current but to hang thyself.RICHARDBy such despair I should accuse myself.ANNEAnd by despairing shalt thou stand excusedFor doing worthy vengeance on thyself,That didst unworthy slaughter upon others.RICHARDSay that I slew them not. ANNEThen say they were not slain.But dead they are, and, devilish slave, by thee.


Worksheet 15: Stichomythia (continued)RICHARDI did not kill your husband.

ANNEWhy, then he is alive.

RICHARDNay, he is dead, and slain by Edward's hand.

ANNEIn thy foul throat thou liest. Queen Margaret sawThy murd’rous falchion smoking in his blood,The which thou once didst bend against her breast,But that thy brothers beat aside the point.

RICHARDI was provoked by her sland’rous tongueThat laid their guilt upon my guiltless shoulders.

ANNEThou wast provoked by thy bloody mind,That never dreamt on aught but butcheries.Didst thou not kill this king?

RICHARDI grant ye.

ANNEDost grant me, hedgehog? Then, God grant me tooThou mayst be damned for that wicked deed!O, he was gentle, mild, and virtuous.

RICHARDThe better for the king of heaven that hath him.

ANNEHe is in heaven, where thou shalt never come.

RICHARDLet him thank me that holp to send him thither,For he was fitter for that place than earth.

ANNEAnd thou unfit for any place but hell.


OHT/Worksheet 16: Oh the irony

Find two examples of each from the play and explain what they tell you about Richard.


Irony – a phrase whose literal meaning is the opposite of the perceived meaning.

Dramatic irony – when the audience knows more about what is happening than the characters.

LESSON 10: I think, therefore I am

Learning objectiveTo understand the importance of personal response.

Starter Ask students to write down their impressions of:

o Richard as a charactero what happens to himo the play as a whole.

Why?

Introduction Explain that personal response is vital in getting a good coursework grade, but that it has to be

backed up by evidence from the play. Give students copies of Worksheet 17 and ask them to complete the traffic light ranking activity.

They should colour the centre circle red if they disagree with the statement, yellow if they’re undecided, and green if they agree. They should leave the outer circle blank for the time being.

They should share their initial impressions with their partner. Alternatively, use ICT activity 2.

Development Individuals should choose one example that they coloured green and explain their choice to their

partner who will record the key points on Worksheet 18. They should then repeat the activity for a red example. Students then need to give feedback on how to improve this response using two kisses and a

wish (two positive points and one improvement). Individuals should then develop their own work more fully, making sure that it is clear about why

they think the way they do.

Plenary Share responses as a class. Has anyone changed their opinion based on the input of others? If so, the outer circle should be

coloured to reflect this.


Worksheet 17: Traffic light ranking


Richard is an attractive character.

Richard is an interesting character.

Richard III is an interesting play.

Richard III is about what

happens when people try to

change their own destiny.

Richard III is a play that is still

relevant in 2009.

Richard is judged by other people, by the audience

and by God.

Worksheet 18: Think on…Richard is an interesting character

(Agree/disagree)

Richard is an attractive character

(Agree/disagree)Richard III is a play about what happens why people try to change their own destiny

(Agree/disagree)

Richard III is an interesting play

(Agree/disagree)

Richard III is a play that is still relevant in 2009.

(Agree/disagree)

Richard is judged by other people, by the audience and by God.

(Agree/disagree)

Your partner will explain to you first why they agree with, and then why they disagree with, one of the statements above. Make a note of their key points. You will need to give them feedback about how to improve their response.


LESSON 11: Writing an assignment

Learning objectiveTo choose, plan and (ultimately) write a Shakespeare assignment.

Starter Ask students to brainstorm, individually or in pairs, the essential features of a good Shakespeare

assignment. The aim is to come up with as many of the following as possible: reference to character, reference to events (action), reference to language, reference to contemporary audience, reference to modern audience, quotation, analysis.

Introduction Explain to students that they will have a choice of assignments to complete, and that they should

choose the one that they feel most confident about – not the one that their friends are doing! Give students copies of Worksheet 19 and allow them some time to read through the titles. Take general questions to ensure that students are clear about what each question is asking them

to do.

N.B. Students that need additional support might find it helpful to choose the villain question. They can refer back to their notes from lesson 3 in order to help structure their thinking and planning.

Development Give students copies of Worksheet 20 (or equivalent for your board) and talk them through the

criteria that they will need to meet. Highlight the fact that comment on context is vital, and remind them of the work done in lesson 2 of this sequence to help them with this.

Ask students for a show of hands to determine which title they intend to choose. Move students into groups so that they can discuss their chosen title. Those students who are

struggling to choose will need additional teacher support. Allow time for students to discuss their chosen title and share ideas with one another. Those who

choose either of the first two questions will need to discuss which scenes they might write about. Collaboration will help to ensure that students are able to develop their ideas more fully – however, it must be made clear that their work will be assessed individually, and that they must be able to work independently.

Remind them that they must tackle all of the bullet points that appear in the mark scheme to secure their grades. Encourage students to keep these bullet points in mind whilst planning their essays.

Plenary Ask students to write the opening paragraph of their assignment, reminding them that they do not

need to say ‘In this essay I am going to...’ Swap openings. Partners should give (brief) written feedback on strengths and weaknesses of the

opening, to help students to improve their own work.


Worksheet 19: Choose your title…

For your Shakespeare assignment, you will have to write an essay (of no more than four A4 sides) on one of the topics below. Read each in turn, and jot down some ideas that you might include. This will help you to choose the one that you’re best able to do.


‘I am determined to prove a villain’. Consider Shakespeare’s presentation of Richard in the play. How evil should he appear to the audience?

How does Shakespeare show that appearances can be deceptive? Focus on two scenes from the play.

How does Shakespeare show that Richard is ‘subtle, false and treacherous’ in Act 1, Scene 1, Act 3, Scene 4 and Act 4, Scene 2?

Worksheet 20: AQA A Marking criteriaSHAKESPEARE

EN2 – READING LITERATUREA*

49 - 54

Show originality of analysis and interpretation when evaluating: The play’s moral, philosophical or social

significance Shakespeare’s stagecraft and/or appeal to

the audience Patterns and details of words and images

Show originality of analysis and interpretation when evaluating: The effects of character and action The effects of dramatic devices or structures The layers of meaning in language, ideas and

themes The social and historical setting or cultural context

or literary traditionA

43 - 48

Show analytical and interpretative skills when evaluating: The play’s moral and philosophical context Significant achievements within the dramatic

genre Shakespeare’s exploitation of language for

dramatic, poetic and figurative effect

Show analytical and interpretative skills when evaluating: The effects of character and action The effects of dramatic devices or structures The layers of meaning in language, ideas and


or literary traditionB

37 - 42

Show analytical skill when exploring: The play’s implications, contemporary

relevance and historical context Characterisation, structure and theatricality Shakespeare’s use of linguistic devices

Show analytical skill when exploring: The effects of character and action The effects of dramatic devices or structures The layers of meaning in language, ideas and


or literary traditionC

31 - 36

Show insight when discussing: The nature of the play, its implications and

relevance Characters, structure and stagecraft Shakespeare’s use of language

Show insight when discussing: Character and action The effects of dramatic devices or structures Language, ideas and themes The text’s setting or cultural context or tradition

D

25 – 30

Show understanding when discussing: The nature of the play, its implications and

relevance The appeal of the play to an audience Shakespeare’s use of language

Show understanding when discussing: The dramatic effects of character and action The effects of dramatic devices or structures Language, ideas and themes The text’s setting or cultural context or tradition

E

19 – 24

Show familiarity when describing: The nature of the play, its meaning and ideas The sequence of events and variety of

characters The impact on an audience

Show familiarity when describing: How character is revealed in dialogue Effects of dramatic devices or structures Areas of language interest The text’s setting or context or tradition

F

13 - 18

Show awareness when describing: The play’s explicit meanings and ideas The sequence of events and variety of

characters Shakespeare’s language

Show awareness when describing: Characters and their actions Effects of dramatic devices or structures Areas of language interest The text’s setting or context

G

7 - 12

Show response to: The play as a whole Significant characters and relationships The main events

Respond to: Details of characters and their actions Some obvious dramatic devices or structures Simple aspects of language The text’s setting or context

U1 - 6

Refer to meaning and some aspects of the text Refer to character, setting and incidents


Documents

Teachit English€¦ · Web viewStudents should recap the opening scene of the play to find evidence for this. ... Thou mayst be damned for that wicked deed! O, he was gentle, mild,