Curriculum Planning – Year 13 English Literature: ‘Hamlet’
Challenge
Substantive/Declarative Knowledge
What will pupils know?
Students will have a detailed and
assured knowledge of the text, and
relevant contexts
Students will have an assured
appreciation of literary methods,
such as language, form and
structure, and literary genres and
conventions.
Students will have an assured
appreciation of Shakespearean
theatre and tragedy
Core
Students will have a sound
knowledge and clear understanding
of the text, and relevant contexts
(see above).
Students will have a sound
appreciation of literary methods,
such as language, form and
structure, and literary genres and
conventions.
Students will have an appreciation
of Shakespearean tragedy.
Support
Students will have a basic
knowledge and some understanding
of the text, and relevant contexts
(see above).
Students will have an understanding
of literary methods, such as
language, form and structure, and
literary genres and conventions.
Disciplinary/Procedural Knowledge
What will pupils be able to do?
Be able to construct a well-structured
evaluative essay which shows
individuality and insight, and
expresses complex ideas and
arguments with clarity, fluency, and
perception.
Be able to perceptively analyse
various ways in which writers’
choices shape meaning and create
effects, including a range of
interpretations of the writer’s
choices, which are supported with
relevant knowledge from the text.
.
Be able to construct an essay which
shows their knowledge, and
expresses ideas and arguments with
some clarity, fluency, and
competence.
Be able to competently analyse some
ways in which writers’ choices shape
meaning and create effects, including
a range of interpretations of the
writer’s choices, which are supported
with relevant knowledge from the
text.
Recommend Teaching and Learning
Adaptations
Pupils may be provided with high
quality reading lists or multi-media
links, which are related to the texts
studied.
Pupils may be provided with critical
essays to support the development of
ideas and opinions.
Pupils may be provided with model
paragraphs and essays.
Pupils should be encouraged to apply
literary theories in analysis tasks.
Be able to construct a
straightforward essay which shows
their knowledge and expresses some
ideas and arguments.
Be able to straightforwardly analyse
some ways in which writers’ choices
shape meaning and create effects,
and these ideas are supported with
some relevant details from the text.
Pupils may be provided with short
summaries of each chapter of the novel,
including themes within them.
Pupils should be provided with a simple
introduction/model paragraph to support
their essay writing
Pupil should be provided with a clear
structure strip, sentence stems, and key
vocabulary to use in their essay writing
Pupils should be provided with key tier
two and tier three vocabulary lists which
can be applied to their understanding of
the texts.
From this starting point more detailed planning should be completed on the template below
Year group: Year 12
Topic: Shakespeare’s Hamlet
Assessment: A past paper which offers an extract and open question
Challenge
Deep
Core
Deep
Support
Surface
Substantive/Declarative Knowledge
What will pupils know
See above
Disciplinary/Procedural Knowledge
What will pupils be able to do?
Lesso
n
Objectives (Direction)
Suggested activities
(Engagement and
Challenge)
Key questions for
Learning
Surface &
Deep
(Engagement,
Challenge,
Feedback)
Assessment of
and for
Learning
(Feedback)
Independent
Practice
(Independenc
e)
1
To understand key
cultural, historical and
theatrical contexts and
how these shape the
play.
Starter: ‘Who’s there’
– consideration of
atmosphere –
building on questions
and uncertainty from
intro lessons
Intro to the world of
Hamlet – look at first
lines in detail RSC
activity/ meter etc
DVD version of
Hamlet – to be used
throughout, with
subtitles
(BBC/David Tenant
version in the first
instance). Students
to watch all of Act 1
in one sitting, noting
down first reactions;
points of confusion;
interest; key
moments etc.
Questioning
Small group
discussion and
exploration
Other textual
instances for
plays beginning
in media res Antony and
Cleopatra, King
Lear- a chance to
look at
exposition.
Comparison
task
Initial reading and
exploration of the
Prologue.
2
Act 1, scene 1 – first
appearance of the ghost
to Barnardo, Francisco,
Marcellus and Horatio
Watch Act 1, scene 1
all the way through –
students to note –
Plot
Characters
Quotes
 Any questions/
points of
difficulty
Use of questions;
identity,
uncertainty and
existence
-Setting/ time of
day
-Contrasts and
oppositions;
day/night,
words/actions,
physical/spiritual
,
appearance/realit
y
-Atmosphere of
uncertainty,
darkness,
military tension
AO5
-First
introduction to
Home
Learning
(Indepen
dence,
Engagem
ent and
Challenge
)
Reading
and
research:
Video of
exploratio
n
the
theatrical
Review
1.1 Who’s there
powerpoint
Summary
activities
Key quotes
from the scene?
Most important
techniques used
here?
Themes and
ideas?
As an opening,
what kind of
expectations
does this scene
create?
Critical quotation:
‘In the opening
scene, the soldiers
do something
fundamental to the
Nicholas
Marsh’s chapter
‘Openings’ in
‘Shakespeare:
the tragedies’
(Macmillan:1998
) is useful.
Research task
Planning and
writing
Complete
the task:
How has
Shakespea
re made
the
opening
significant
critical quotation;
point of
reflection
-Political drama?
Interruptions to
the state
Read with
discussion –
modelling
reading process/
making students
comfortable
3
4
Ac t 1, scene 2 –
Introduction to
Claudius, Gertrude and
Hamlet; mood of the
court
Act 1, scene 3 –
Polonious, Laertes and
Ophelia

Presentation of
Claudius,
Gertrude and
Hamlet
- Close analysis
of Claudius’
speech
- Close analysis
of Hamlet’s first
soliloquy
-Tone/registerProf Martin Joos
– frozen, formal,
consultative,
casual
-Use of thou,
thine, thy, thee –
compare Hamlet
and Gertrude’s
use
AO5
-Seeds of a
political drama?
Or merely a
family drama?
Link to all drama
between 15801640; ‘drama of
a changing,
troubled, and
divided society’
(Margot
Heinemann)
AO2
-Subplot; father +
child
relationships
AO5
-Interpretations
play: they ask
questions...Question
s are only asked
when people are
uncertain. This is
the world of
Hamlet.’ (Richard
Gill, Mastering
Shakespeare, p235)
– What uncertainties
and questions are
apparent at the end
of the first scene?
Model approach
to interpretation
using critical
statements
about Claudius
and Hamlet
(AO5)
Close analysis
of Hamlet’s first
soliloquy –
FOCUSING
ON
WRITING/AN
ALYSIS
Methodology for
close reading –
to be supported
with metacognition
annotations/
teacher
modelling as
time goes on
Language
resources to
support new
terminology e.g.
puns, blank
verse, iambic
pentameter,
soliloquy...
Terminology list
Hamlet vs world
powerpoint
students read and
analyze lines 1–55
from Act 1.3
of Hamlet, Laertes’s
farewell monologue
to Ophelia and a
Open questions.
Guided analysis
responses.
Explore/respon
d to two
interpretations:
‘The equivocal
features in
Claudius’
language
suggest inner
anxieties.’
(Stanley
Wells)
‘Hamlet’s
appearance
and behaviour
should
strikingly
contrast the
rest of the
court. His
alienation and
melancholy
should be
emphasised by
the director.
Complete
chart
comparing
Claudius
and
Hamlet
Think-PairShare
discussion.
Written
evaluation
/
consolidat
ion task.
Notes for
responses.
of male/female
 -Introduction to
Ophelia criticism
5
Act 1, scene 4 –
Hamlet, Horatio and
Marcellus looking for
ghost again .
Act 1, scene 5 – Hamlet
and the ghost; promise
of revenge
HAMARTIA –
TRAGIC FLAW
–MENTIONED
BY
HAMLET
23-26 ‘so oft it
chances
in
particular men,/
That for some
vicious vole of
nature in them…’
AO2
-Appearance
illusion
v
A05
-Symbolism of
the
ghost;
purgatory/
Catholicism
6.
Act 2, scene 1– Time
has passed; learn about
Hamlet’s increasingly
unstable behaviour –
Polonious attributes his
love for Ophelia
Different ways of
interpreting the
ghost:
Elizabethan
context
Production
interpretations
Symbolic
interpretation
(e.g. part of his
imagination)
Starting discussion:
Hamlet and Polonius
insult ‘reason in
madness’
How can there be
‘reason in madness’?
What do mad men
not have to consider?
Reading Act 2 to the
end, with questions to
guide.
brief conversation
between Ophelia
and Laertes.
Students engage in a
discussion about the
meaning of these
lines and how
Shakespeare
develops the
characters of Laertes
and Ophelia.
Stephen
Greenblatt’s ideas
on ‘purgatory’ and
the paradox of the
ghost – Catholicism
v Protestant – a
world devoid of
ritual (could also
link to King Lear)
Marx’s reading of
the ghost – basis for
subversive theory of
history
Legend that
Shakespeare played
Hamlet’s ghost!
How far does the
language of Hamlet
explore ‘the notion
that thought is in
opposition to,
irreconcilable with,
action.’?
engage
with
concepts
such as
gender
roles,
family
duty, and
chastity
Open questions.
Discussion and
feedback.
Share
discussion.
Notes for
responses.
Discussion.
Deception –
different types
seen so far –
mind map
The world
of Hamlet is
one which
not only
encourages
deception
but makes it
a necessity
Quotation
collection
ACT 1 –
notes
summary
(revision)
Students
engage in
discussion
s about
the impact
of
Shakespea
re’s word
choices on
the
developm
ent of
central
ideas such
as revenge
and action
versus
inaction..
Watch and
each
student
allocated
focus
point:
Plot,
character,
ideas/conc
erns/them
es,
techniques
7
Act 2, scene 2 –
Investigation of
Hamlet; Rosencrantz
and Guildernstern;
Hamlet’s ‘antic
disposition’ revealed to
audience; ‘what a piece
of work is man’ speech;
Hamlet’s plot to ‘catch
the conscience of a
king’ with the play
Find evidence to
support different
propositions.
Written response,
using essay around
the room:
Is Hamlet full of selfdisgust, hysteria or
fury in this soliloquy?
He accuses himself of
cowardice – consider
his behaviour in the
play so far – to what
extent is this true?
AO2
Rosencrantz and
Guildenstern –
presentation/inter
pretation
Hamlet’s
soliloquy
–
contrast between
Player’s
faked
emotion and his
own inability to
revenge
Meta-theatre
AO5
Surveillance as a
theme; R and G/
Polonius
–
discussion
of
productions
which
use
surveillance
cameras/
totalitarian state
Madness
of
Hamlet
Appearance/
illusion
.
for survival.
To what
extent can is
this true?
Polonius’ plan to
spy on Hamlet –
more
surveillance
Consider
AC
Bradley’s
remark (1904):
‘What a piece of
work is man,’
we cry, ‘so
much
more
beautiful
and
much
more
terrible than we
knew!
Why
should he be so
if this beauty
and
greatness
only
torture
itself and throws
itself away?’ We
seem to have
before us a type
of mystery of
the whole world,
the tragic fact
which extends
far beyond the
limits
of
tragedy.’
Reading for
contexts activity
(EMC) on
Hamlet’s speech
‘what a piece of
work is man’
Archetypes –
world as
‘unweeded
garden’
following the
‘serpent’
Claudius
poisoning his
brother in garden
– link to Cain
and Abel
Discussion.
Quotation
exploration.
Evaluation of
dialogue,
characterisatio
n, stagecraft,
themes and
context.
In this
lesson,
students
continue
their
analysis of
Hamlet’s
third
soliloquy
with a
focus on
how the
introducti
on of a
key plot
point—
that
Hamlet
will stage
a play to
determine
the guilt
of his
uncle—
serves to
move the
play along
as well as
further
develop
Hamlet’s
character.
Students
discuss
how these
elements
—plot,
character,
order of
action—
interact in
8.
Act 3, scene 1 – More
discussion of Hamlet’s
madness; ‘to be or not
to be...’ speech;
Hamlet, observed by
Polonius and Claudius,
attacks Ophelia (‘get
thee to a nunnery..’
Explore images –
what is that
makes her so
attractive? (e..g
purity,
dominance,
passivity?)
Explore Hamlet’s
response to
Ophelia and her
painting of him
as ‘a noble mind
overthrown’ revisit
Renaissance man
Close study of
3.1 for extract
question –
explore
methodology*
AO5:
Interpreting
Ophelia
Essay structure
Introductions –
review two different
types
Line of
argument/thesis –
come up with big
ideas/POINTS that
have emerged
through your
analysis (take
student feedback
first)
Which would make
good topic sentences
and why?
Look at sample
paragraph using
AO1 and AO2 mark
scheme,
highlighting where
it fulfilling each
Conclusion –
zooming out/
evaluating/
importance of the
scene as a whole
, students
continue their
analysis of
Hamlet’s “To be
or not to be”
soliloquy while
shifting focus
from the use of
figurative
language to the
development and
interaction of
central ideas in
the soliloquy.
Students also
consider how the
central ideas in
this passage
relate to others in
the play and how
the interaction
impacts the
overall meaning
of the drama thus
far.
Discussion.
The purpose of
theatre: ‘to hold
as twere the
mirror up to
nature; to show
her nature; to
show virtue her
own feature,
scorn her own
image, and the
very age and
body of the time
his form and
pressure’ – link
to tragedy/
development of
Renaissance
drama
Meta-theatre/
self-conscious
theatricality/
sources of plays
Link to some
interpretations of
Hamlet as
Shakespeare –
brilliant young
man who loved
to stage
revealing plays;
doomed only to
be understood
and admired
after death;
Discussion.
Quotation
exploration.
Evaluation of
dialogue,
characterisatio
n, stagecraft,
themes and
context.
order to
develop
the drama.
Analytical
responses.
Planning
and
writing.
Prereading
and
preparatio
n.
ACTION V
CONTEMPLATI
ON
9
Act 3, scene 2 – The
play is performed;
Horatio to observe
King’s response
AO2
The dumb show
and the formal
performance
AO5
Responses to the
play, especially
Gertrude and
Claudius
Group work on
different aspects
of the scene –
see question
sheet
Quotation
exploration.
Evaluation of
dialogue,
characterisatio
n, stagecraft,
themes and
context.
Question
sheet on
3.2
Video
version of
3.2 –
needs to
be
watched
rather than
read
10
11
12
Act 3, scene 3 –
Claudius increasingly
worried and plans to
send Hamlet to England
with R+G. Insight into
Claudius and guilt over
killing brother; Hamlet
has opportunity to kill
Claudius but doesn’t
because he is praying
AO2
Claudius
soliloquy – close
analysis of word
classes,
tense,
repetitions,
structure
AO5
Exploring
Claudius – does
he
show
‘conscience’
here?
Robert N Watson
‘ a deep thinker,
trapped in a world
of brutal action’ –
Hamlet
How does
Stephenson explore
issues of morality
and ethics in the
play?
Act 3, scene 4 – Hamlet
meets Gertrude in her
‘closet’; appearance of
ghost although
Gertrude cannot see it;
accidental stabbing of
Poloniu
AO2
Ghost – re-visit
initial ideas and
compare heremore symbolic?
Language used
about/to women
– build and link
with that used to
Ophelia
Language of
infection
Excerpt from CUP
Rex Gibson on
psychoanalytic
criticism p103-104
Act 4, scene1 – Threat
of Hamlet realised; plan
to find him and send to
England
AO5
Hamlet as
revenger (link
back to ‘time
being out of
joint’ for him to
set right) – ‘I
must be their
scourge and
minister’ ‘I must
be cruel only to
be kind.’
Psychoanalytic
reading – mother
and son
relationship
Claudius and
Gertrude – first
and only time
they are alone
together – lie to
each other
Feedback and
discussion.
Exploring and
analysing key
quotations.
What is the
difference between
morals and ethics?
Oedipus myth – fill
in blanks worksheet
Feedback and
discussion.
Exploring and
analysing key
quotations.
Excerpts from two
critics – Bradley and
Joos
Act 4, scenes 1-4
Powerpoint
Imagery activity –
for sc 1 and sc2 of
key characters
Feedback and
discussion.
Exploring and
analysing key
quotations
Discussion.
Quotation
exploration.
Evaluation of
dialogue,
characterisatio
n, stagecraft,
themes and
context.
Discussion.
Quotation
exploration.
Evaluation of
dialogue,
characterisatio
n, stagecraft,
themes and
context.
Analytical
responses.
Planning
and
writing.
Prereading
and
preparatio
n.
Mini piece
of writing:
‘Act 3,
scene 4
proves
that
Gertrude
is just an
innocent
victim.’
To what
extent do
you agree
with this
statement?
Students
engage in
a
discussion
about how
Shakespea
re orders
the action
13
14
Act 4, scene1 – Threat
of Hamlet realised; plan
to find him and send to
England 2 and 3 –
More madness of
Hamlet as he is pushed
to reveal whereabouts
of Polonius’ body;
Hamlet questioned; sent
to England with R+G
Act 4, scene 5 – We
learn that Ophelia has
gone mad; Laertes
returns to avenge
father’s death; Hamlet
has returned to
Denmark/ set up R+G
to die
Claudius and
Gertrude – first
and only time
they are alone
together – lie to
each other
AO2
Comedy and
tragedy – dark
humour/
contempt of
Hamlet
AO5
Interpretations of
Hamlet
AO2
Analysing
Ophelia – use of
riddles/ dramatic
performance/
stage directions
Laertes – another
revenger- explore
stereotypical
language
(compared to
Hamlet?)
AO5
Interpreting
Ophelia
Female madness
Feminist readings;
consideration of
female characters in
Hamlet and Hamlet
as a feminine
character
Act 4, scenes 1-4
Powerpoint
Imagery activity –
for sc 1 and sc2 of
key characters
Feedback and
discussion.
Act 4.5_7 Ophelia
and Laertes
Powerpoint
Useful overview:
http://benz.nchu.edu
.tw/~intergrams/inte
rgrams/112/112cyc.pdf
Feedback and
discussion.
Critical
interpretations of
Ophelia: Elaine
Showalter on
Ophelia as a ‘potent
and obsessive figure
in our cultural
mythology’ –
female madness as
associated with
bodies and erotic
desires. The notion
of hysteria as being
biological and
emotional in its
origins
Exploring and
analysing key
quotations
Exploring and
analysing key
quotations
and
further
develops
the
characters
of
Claudius
and
Hamlet
through
these
soliloquie
s.
Examples
of
performan
ce of this
scene e.g.
washing
his bloody
clothes/pr
etending
to be
asleep
Prep –
Elaine
Showalter
article and
questions
http://ww
w.houseof
ideas.com/
mscorneli
us/resourc
es/hamlet/
hamlet_vo
l_59__elai
ne_showal
ter_essay_
date_1985
_276850.pdf
15
16
Act 4, scenes 6 and 7 –
Laertes questions
Claudius; plot to kill
Hamlet established; we
learn Ophelia has
drowned
Act 5, scene 1 –
Gravedigging scene;
Hamlet’s interruption of
funeral procession
AO2
Gertude’s speech
– natural
imagery/
imaginative
qualities –
perhaps suggests
she is more
concerned with
appearance
AO5
Ophelia’s death
– suicide/ water
– cultural
significance
AO2
Shift in mood –
comedy in a
graveyard
Use of alternative
perspectives
(outside of
claustrophobic
world of Danish
court)
Symbolism of the
skull
Images of
drowned
Ophelia; link to
Romantic
consciousness
and Romantic
pre-occupation
with the play
Act 5, scene 2 – Duel
between Laertes and
Hamlet;. Hamlet makes
Horatio promise to stay
alive to tell his story.
Fortinbras the new ruler
and will give Hamlet
the military funeral he
deserves.
AO5
Osric as reflection on
corrupted court
Stoical fatalism or
Christian
providence?: ‘the
readiness is all’
Death as a theme
– explore
significance
analyze
and
discuss
how the
setting
impacts
other
elements
in the
drama.
Exploring and
analysing key
quotations
Gaston Bachelard –
association between
women, water and
death
Images of the skull/
plastic skull
Definition of the
absurd/ link to
annihilation –
tragedy as
meaningless world?
Feedback and
discussion.
Exploring and
analysing key
quotations
Criticism
exploring
gravediggers’
scene –
element of
comedy and
tragedy – link
to meaningless
world and
Nietzsche
5.1 powerpoint
5.1 extract
question
AO5
Suicides/ burial –
gravediggers’
references to
contemporary
events
Death and decay
as theme (link to
Elizabethan
context)
17
Feedback and
discussion.
Theories about
tragedy (already
explored)
Exemplar part B
answer
analyze how
central ideas
that were
introduced and
developed
throughout the
play interact
during the
play’s final
scene.
Timed
writing on
gravedigg
er scene –
extract
and
interpretat
ion of
Hamlet,
focusing
on
change/de
velopment
of
character
draft a
multiparagraph
response
to the
End-ofUnit
Assessme
nt prompt:
Identify
two
central
ideas from
the play.
How do
these
ideas
interact
and build
on one
another
over the
course of
the play?
