Making Inferences from the Character Chart

• What can you infer about the characters based on their caricatures and descriptions? Feel free to ask questions, too.

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• What is the central political conflict of the play?

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• What might be some of the play’s social conflicts?

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• What psychological conflicts might the play entail?

With your acting group…

• Read over the entire script together at least once.
• Paraphrase your lines to ensure that every person in your group understands them.
• Decide how you will deliver these lines; consider tone, dramatic pauses, volume, body posture, gestures, etc.
• Select costumes that fit your character group, literally or symbolically.
• Practice a few times.

Drawing it all together…

• In a word, this play seems to be about…

• Day 2 of Henry IV

The Initial Read-Through

Who are these guys? How do you know?

What is going on here?

Do these guys know each other well?

Who is the boss of this group?

Who would like to be the boss? How do you know? Is there more than one boss?

Helpful Footnotes

• whoreson caterpillar = miserable parasite
• gorbellied = great bellied
• colt = trick
• uncolted = unhorsed
• peach = to inform on someone

Between Reads

• Where does this scene take place?
• What time of day is it?
• Who is the most important person in the scene?
• Who thinks he’s the most important?

The Second Reading

Make notes on new information you discover the second time around.

What does the performance emphasize in terms of character interpretation, conflicts, situation, etc?

What new understanding of this scene and the play as a whole does the performance help you achieve?

Agenda 9/26 (2012 lessons)

• Focus: Working on literary essay #1
• Announcements/snack
• Warm-up: A look at thesis statements from students past / Q&A
• Reading and thesis worksheet time
• HW: Independent reading; a TYPED thesis worksheet (and possible outline) due Monday; read Act 1 by tomorrow, focusing on the scene that involves your acting company.

Agenda 9/27 (2012 lesson plans)

• Focus: Learning through performance
• Announcements
• Casting calls for Henry IV, 2.2; practicing a meaningful performance
• Time to meet with performance groups to run through lines, discuss them, and plan your performance (which will happen tomorrow)
• HW: Finish your independent reading book; typed thesis (and outline?) due Monday.

Agenda 9/27

• Focus: Close reading of Act 1
• Announcements
• A little genealogy for my history buffs
• Close reading of Prince Hal’s soliloquy
• Acting company partners: Close reading of pieces from your own scene
• HW: Finish reading all of Act 2 (not just the summaries) for Friday; reading ticket also due Friday.

With your partners…

• Peruse your scene for rich passages.
• Slow down and read these passages closely.
• In your composition notebook, jot down examples of important imagery, motifs, diction, syntax, and figurative language.
• Brainstorm what larger pictures these elements start to unlock for us.
• Be prepared to enlighten the class.

Agenda 9/28

• Focus: Close examinations of Henry IV
• Announcements
• The closest of close readings and a quick overview of your reading ticket
• Discuss important observations from 1.2 and possibly 1.3
• Tuesday writing #4
• HW: Finish reading all of Act 2 (not just the summaries) for Friday’s Socratic seminar; reading ticket also due Friday.

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Agenda 10/1

• Focus: Close reading of Henry IV
• Announcements! Turn in thesis (and outlines, hopefully)
• Return college essays
• Finish Act 1, scene 3 with Q&A to follow
• Indulging in a few close readings
• HW: Read Act 2, scenes 1 & 2 with 5 one-liners in your composition notebook.

Connotations (all the associations we have with certain words)

What’s the difference between these two sentences?

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I returned home.

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I returned to my house.

What’s the difference between these two sentences?

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The past always claws its way out.

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The past always creeps back in.

Syntax (Sentence Structure)

• What’s the difference between these two statements?

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• “Ms. Leclaire, I failed to turn in my project yesterday. I’m really sorry.”

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• “Ms. Leclaire, my essay did not get turned in yesterday. I’m really sorry.”

Conceit

• In literature, a conceit is an extended metaphor with a complex logic that governs a poetic passage or entire poem.
• By juxtaposing, usurping and manipulating images and ideas in surprising ways, a conceit invites the reader into a more sophisticated understanding of an object of comparison.
• From www.wikipedia.org

In response to my husband’s question, “Babe, what happened to all the oreos?”

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“They are all gone. Sorry!”

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“I ate them. Sorry!”

Agenda 10/2

• Focus: Uncovering Prince Hal and Hotspur through close readings
• Announcements!
• Return and discuss thesis statements
• Return to “A Murder of One” with a focus on conceit
• Apply close readings of diction, syntax, and conceit to the Henry speeches
• HW: By Friday, read Act 2 with 10 one-liners in your composition notebook; complete rough draft of literary essay due Monday.

What’s the difference between these two statements?

B.P. is responsible for the oil spill in the Gulf.

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B.P. has taken responsibility for the oil spill in the Gulf.

Agenda 10/3 (shortened class)

• Focus: Practicing your poetic timed writing
• Announcements!
• Tuesday writing: Poetry
• HW: By Friday, read Act 2 with 10 one-liners in your composition notebook; complete rough draft of literary essay due Monday.

Agenda 10/4

• Focus: Writing workshop
• Warm-up: Yet herein will I imitate the…
• Quick wrap-up of Prince Hal’s speech
• Large group discussion of the tricky parts of yesterday’s timed writing
• Musical chairs: Peer feedback
• HW: Finish reading Act 2 for tomorrow’s Socratic seminar; prepare 10 one-liners in your composition notebook as your reading ticket; rough draft due Monday.

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Agenda 10/5

• Focus: What do we learn about characters and conflicts in Act?
• Announcements!
• Warm-up: A little genealogy
• Socratic seminar: Henry IV, Act 2
• HW: Rough draft of literary essay #1 due Monday (please bring in a typed, double-spaced copy).

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Henry IV’s Syntax in Scene 1

• “The edge of war, like an ill-sheathed knife, / No more shall cut his master.” (1.1.17-18)

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• “It seems then that the tidings of this broil / Brake off our business for the Holy Land.” (1.1.47-48)

Henry IV’s Syntax in Scene 3

• To Hotspur’s uncle: “Worcester, get thee gone, for I do see / Danger and disobedience in thine eye.” (1.3.15-16)

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• To Hotspur: “Art thou not ashamed?...Send me your prisoners with the speediest means…or you will hear of it.” (1.3.120-126)

Agenda 9/29 (Shortened Class)

• Focus: Finish analyzing Act 1
• Announcements / snack
• Impromptu tableaus
• Finish discussing last week’s multiple choice with partners—identifying types of questions
• HW: Finish reading all of Act 2 (not just the summaries) for Friday’s Socratic seminar; reading ticket also due Friday.

Agenda 10/9

• Focus: Examining tension in Henry IV
• Announcements!
• Warm-up: Tension quickwrites
• Finish last Friday’s Socratic seminar on Act 2 (10-15 min)
• Overview of speech explications and time to work
• HW: Final draft due tomorrow; read Act 3 with 10 one-liners by Friday.

Tableau Topics

• Relationship between Falstaff and Prince Hal

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• Relationship between Prince Hal and his father

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• Relationship between Prince Hal and Hotspur

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• Relationship between Hotspur and King Henry

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• Relationship between King Henry and England

Agenda 10/10

• Focus: Explicating the Henriad speeches
• Announcements: Turn in essays!
• Warm-up: A little Harvard help
• Time to work on (and finish) explication of Henriad speeches
• HW: Prepare to present your speech explication tomorrow; read Act 3 with 10 one-liners by Friday (as you read, keep a keen eye open for repeated words/phrases).

Agenda 10/11

• Focus: Synthesizing a deeper understanding of Henry IV by explicating the Henriad speeches
• Announcements! Make sure you can actually hear them, please. ☺
• 20 minutes to pull yourselves together and finish your speech explications
• Start presenting the Henriad speech explications!
• HW: Prepare to present your speech explication tomorrow; read Act 3 with 10 one-liners by Monday (as you read, keep a keen eye open for repeated words/phrases).

Agenda 10/12

• Focus: Synthesizing a deeper understanding of Henry IV by explicating the Henriad speeches
• Announcements!
• Remember that it’s poetry…
• Presentations of speech explications
• HW: Prepare to present your speech explication tomorrow; read Act 3 with 10 one-liners by Monday (as you read, keep a keen eye open for repeated words/phrases).

Agenda 10/15

• Focus: Understanding Act 3 through performance
• Announcements!
• Warm-up: A little image mapping with the Lumineers
• Finish speech explications
• Quick overview of Act 3 performances and time to prepare!
• HW: Be prepared to deliver your Act 3 performances tomorrow; consider purchasing Invisible Man.

From “Stubborn Love” – The Lumineers

“It's better to feel pain, than nothing at all.

�The opposite of love's indifference.

�Pay attention now, I'm standing on your porch screaming out,

�And I won’t leave until you come downstairs.”

Agenda 10/16

• Focus: Understanding Act 3 through performance
• Announcements! Explanation of homework.
• Finish presenting explications; map out the larger picture
• Preparing Act 3 abridged performances
• HW: By next Monday, you need to have read Act 4 with a TYPED word trace for your reading ticket (use the Harvard Concordance for help); Act 3 performances tomorrow; consider purchasing Invisible Man.

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Agenda 10/17

• Focus: Understanding (an abridged version of) Act 3 through performance
• Warm-up: A glimpse of Falstaff
• Act 3 performances
• HW: By next Monday, you need to have read Act 4 with a TYPED word trace for your reading ticket (use the Harvard Concordance for help); Act 3 performances tomorrow; consider purchasing Invisible Man.

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Symbols To Work in

The moon

The sun

An uprooted plant

A cross

Agenda 9/30

• Focus: Writing workshop
• Announcements
• Warm-up: The diction experts, the imagery experts, and the syntax experts
• Briefly get to know the rubric
• Workshop circles: Reminders and time to workshop
• HW: Finish reading all of Act 2 (not just the summaries) for tomorrow’s Socratic seminar; reading ticket also due tomorrow.

Agenda 10/1 Happy October!

• Focus: Augmenting your vocabulary; analyzing Act II
• Announcements
• A little vocabulary warm-up, with help from The Office
• Socratic seminar: Henry IV, Act II
• HW: College essay.

Agenda 10/4

• Focus: Close reading
• Announcements
• A little trivia for you…about horses
• Return essays; try out a few close readings together
• Overview of the Henriad excerpts, the Oxford English Dictionary, and time to start your explication
• HW: Work on your explication.

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Essay Reminders

• Use proper MLA format (heading, citations, Works Cited).
• Lead into your quotes smoothly; they should always be woven into your own sentences.
• Read your quotes closely, examining diction, symbols, imagery, syntax, and figurative language; use these close readings to form the basis of your analysis.

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If you choose to revise…

• On your NEW draft, highlight all grammar/format changes in one color.
• Highlight all content and style changes in a different color.
• Type a brief paragraph (5-8 sentences) explaining how your revised essay is more persuasive than your original essay.
• Staple all of this to the original with my comments.
• You can turn this in anytime during this 6 week period.

Agenda 10/5

• Focus: Explicating your Henriad passages
• Announcements
• A few reminders foe your presentations
• Time to explicate!
• HW: Be prepared to present your passage and your explication at the beginning of class tomorrow.

Reminders…

• Rehearse your reading; your delivery needs to help us understand the lines.
• If your passage comes from a play/part of a play you have not read, look it up online.
• Use the OED (the Oxford English Dictionary) to explore 16^th century usages of archaic words. www.oed.com
• Design a logical and engaging plan for teaching us your explication.

1. Out loud, dramatic reading

2. Identify dramatic situation

3. Move through stylistic elements (syntax, imagery, diction, motif, symbol)

4. Connect stylistic elements to meaning

5. Best question yet to be answered, philosophical or otherwise

Agenda 10/6

• Focus: Henriad speech explications
• Announcements
• Thoughts for the audience
• Presentation of the Henriad explications
• HW: College essay.

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Agenda 10/7

• Focus: Henriad speech explications
• Announcements
• Your college essay needs…
• Presentation of the Henriad explications
• Reflections from the audience
• HW: College essay (bring all working drafts to class tomorrow).

Your college needs…

Working within strict word limits

Meeting the demands of detailed prompts

Projecting into the future (how you’re going to enrich their campus, etc.)

Getting feedback from multiple people, especially people who don’t know you

Figuring out the structure of your essay

Avoiding the cliché

Strong opening sentences

Unique voice to describe qualities

Agenda 10/11

• Focus: Underlying conflicts in Henry IV
• Announcements
• Creating a Henry 3 x 3
• Reading and discussing Act 3 together
• Keep track of the insults Hotspur and Glendower hurl at each other. What are we (the Elizabethan audience) supposed to think of Hotspur in this scene?
• HW: College essay; poem explication.

What is the literary 3 x 3?

• Using 3 sentences of 3 words each, capture Prince Hal’s journey to becoming King Henry V.

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• Reach beyond plot summary and grasp instead for the essence of his transformation.

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• Example from The Great Gatsby:
• Past infiltrates present.
• Fantasy misguides reality.
• Truth drowns dreams.

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A Few Thoughts…

• Use…
• Complete sentences
• Effective word order
• Strong words
• Avoid…
• Proper nouns/names
• Repeated words
• “To be” verbs
• Pronouns
• Cliches
• A, an, the

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Agenda 10/12

• Focus: Powering our way through 3.2
• Announcements
• Your group task for today:
• Read 3.2 aloud; paraphrase speech by speech as you read.
• Comment on diction, images, and metaphors/similes that strike you; try to decipher their significance. Do this as you read.
• At the end, identify the motifs and shifts of 3.2.
• Dividing and conquering: Henry IV, 3.2
• HW: College essay due Monday; poem explication due tomorrow.

Agenda 10/13 (Very shortened class)

• Focus: Augmenting your vocabulary
• Quick review: Matchy matchy
• Scattegories
• HW: College essay due Monday; by next Thursday, please read and annotate all of Act 4.

Scattegories: Round 1

• 1. A perspicacious comment someone might make in A.P. Literature.
• 2. An activity that enervates you.
• 3. A mistake that could easily be rectified.
• 4. A factious character from a novel or TV show.
• 5. Something a boor would say.

Scattegories: Round 2

• 1. An ignoble comment you might make to your parents (for which you might later be punished).
• 2. An object you could use as an aegis.
• 3. An activity that you fervently oppose.
• 4. An ephemeral thought that might fleet through your brain during math class.
• 5. An altruistic organization.

Agenda 10/18

• Focus: Connecting characters in Act 3; practice with multiple choice
• Announcements
• Any exciting weekend news?
• Acting out 3.3; discussion in small groups
• Multiple choice practice: “Sestina”
• HW: Read Act 4 by Thursday; your reading ticket needs to be a speech explication.

Deep Thoughts for Small Groups

• Is Falstaff’s treatment of Mistress Quickly reminiscent of Hotspur’s treatment of Kate?

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• In what ways are Falstaff and Hotspur alike? Find a few lines to defend your ideas.

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• Compare Hal’s last lines in the scene with Falstaff’s. How might this juxtaposition affect the audience?

Agenda 10/19

• Focus: Getting cozy with poetry and multiple choice
• Announcements
• Finish discussing your answers for “Sestina”; identifying types of questions
• Involving yourself, body and soul, with an Andrew Marvell poem
• HW: Read Act 4 by Friday; your reading ticket needs to be a speech explication.

Agenda 10/20 (Shortened Class)

• Focus: Thinking about poetry
• Announcements/snacks
• A little time to revisit the metacognitive
• Thinking about thinking about thinking about poetry…in other words, how was the metacognitive writing?
• Overview of the poetry project/paper; field trip to room C-18
• HW: Finish reading Act IV; for your reading ticket, you may either perform a speech explication or a metacognitive writing on a speech.

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Agenda 10/21

• Focus: Discussing Act IV
• Announcements
• The reading ticket square dance!
• Socratic seminar: Henry IV, Act IV
• HW: Bring your metacognitive “Soul and Body” writing to class tomorrow; by next Friday (Oct 29), make your final decision on which poem you’d like to use for your poetry project or essay; bring the poem to class.

Agenda 10/22

• Focus: Thinking about how we think when we read poetry
• Announcements
• Metacognitive board brainstorming
• Exploring types of questions and creating a few of your own
• Trying out the accompanying multiple choice questions with a partner showdown
• HW: Remember to bring your essay/project poem to class next Friday, Oct. 29.

Whiteboard Thoughts

• Round 1: Early questions
• Round 2: Personal reactions
• Round 3: Late questions
• Round 4: Epiphanies
• Round 5: Final thoughts

Types of Poetry Questions

• 1. Situation
• 2. Structure
• 3. Theme
• 4. Grammar / Syntax / Word Meaning
• 5. Diction
• 6. Images/ Figurative Language/ Literary Technique
• 7. Tone

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Collaborative SOAPStone

First, take out your poetry terms packet; using as many approaches/terms as you find useful, explicate the poem. Try out some of the UNFAMILIAR ones.

S = Speaker

• Who is the speaker in this poem?

• Whose voice is it you hear when you read this poem?

O = Occasion

• What is the "speaker" trying to tell you?

• What event(s) are taking place that the speaker is relating to you in the poem?

A = Audience

• For whom is this poem intended?  

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• Is there a "special" audience that should be reading this?

P = Purpose

• Why do you think the author wrote this?

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• For what reason(s) might the author want to write about this way?

S = Subject

• What is the poem about?

• Sometimes the title of the poem can be useful - other times there is a much deeper meaning and subject matter concerning the poem.

Tone = Tone

• How does the poem make you feel?

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• What words and/or literary devices are being used by the author to make you feel this way?  

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• What is your first reaction to the poem and why do you think you reacted this way?

Questioning the Poem

• With a partner, create FIVE multiple choice questions for this poem.

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• Try out five different categories.

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• You do NOT need to create an answer bank for your questions; just the questions alone will suffice.

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• Trade with another group and try to answer their questions.

Agenda 10/26

• Focus: Rethinking Falstaff; preparing for your Act V performance
• Announcements
• Two enlightening Henry IV clips
• Dean Martin Show
• Interview
• Acting companies: Time to prepare
• HW: Prepare for Act V performance tomorrow and Thursday; bring your poem to class on Friday.

Act V Performances

• Courtiers: 5.1
• Rebels: 5.2 and 5.3
• Pub Crawlers: 5.4 and 5.5
• Your big challenge: Design your stage directions so that they SYMBOLIZE relationships, motivations, larger situations, etc.

Agenda 10/27

• Focus: Understanding Henry IV through performance
• Announcements/snack
• A little mental jousting to warm us up
• Performances: Act V, scenes i-iii
• As you watch, identify what you see as the most significant passage in each scene
• HW: Remember to correct your multiple choice questions for “Body and Soul”; bring your chosen poem to class on Friday for a metacognitive writing.

Mental Jousting

• Henry IV is a respectable king.

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• Falstaff is this play’s only innocent character.

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• Henry IV is essentially an anti-war play.

Agenda 10/28

• Focus: Synthesizing larger themes in Henry IV
• Announcements
• A little pre-reading / preparation
• Finish performing Act V
• Impromptu Socratic seminar on Act V
• HW: Remember to correct your multiple choice questions for “Body and Soul”; bring your chosen poem to class tomorrow for a metacognitive writing.

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A little pre-reading…

• For the linguists: “Language in Henry IV” (xvi-xxix)

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• Who was the real Falstaff? “Historical Background” (235-241)

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• I need the big picture: “A Modern Perspective” (243-257)

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