Premier’s Lend Lease English Literature Scholarship
Shakespeare’s warrior kings
Karen Yager
Richmond River High School
Sponsored by
Shakespeare’s birthplace at Stratford-Upon-Avon.
Purpose of the study tour
In the First Folio of Shakespeare’s works Ben Johnson wrote that ‘He was not of an age,
but for all time.’ Despite the 400-year gap between Shakespeare’s world and modern
times, Shakespeare’s plays introduce students to fascinating characters whose traits,
perspectives and actions, and the issues they raise, still resonate in the modern world.
And just as importantly, presents them with language forms and features that are rich
and evocative. John Bell stated that ‘Shakespeare's timeless and universal appeal lies in
the breadth of his creative vision and the depth of his humanity.’ Students of all ages,
contexts and abilities must be given the opportunity to appreciate the depth and breadth
of Shakespeare’s vision.
The new English 7–10 Syllabus, acknowledging the value of teaching Shakespeare’s plays,
has made it mandatory for all students to experience Shakespearian drama. However,
many students, especially students who struggle with aspects of English, find
Shakespeare’s plays daunting and inaccessible. They fail to discover as Gonzalo did in The
Tempest that, ‘Torment, trouble, wonder and amazement inhabits here.’ If Shakespeare’s
plays are inaccessible, students will not encounter characters that mirror their own
qualities, flaws and desires, or enjoy his enduring stories. Thus, the purpose of my
proposed study tour was to gather material for a CD to complement a six-week Stage 5
unit of work focusing on Shakespeare’s representation of the warrior kings—Richard III,
Macbeth and Henry V—that would be meaningful and challenging for all students.
The unit of work and the material on the CD are designed to engage students in higherorder learning tasks by challenging students to consider others’ perspectives and to
interrogate Shakespeare’s representation of the three kings. Students should be intrigued
by the CD’s authentic material, thereby encouraging them to connect with the plays and
to build on their learning by continuing to unravel the mystery surrounding the three
kings through further study. Once the imagination and interest of the students are
captured, they will be conscious of the sheer genius and appeal of Shakespeare’s plays,
and learn to respect the enduring values and traditions of our cultural heritage.
The CD will feature photographs, information, a sound recording and movie clips such
as a filmed interview with actor and historian Michael Bennett at the Richard III
Museum in York. The material was derived from a range of sources, such as the
Birmingham Shakespeare Institute at Stratford-Upon-Avon, the British National Army
Museum, the Bosworth Battlefield Centre and the Musee de l’Armee in Paris, and was
selected for its potential to breathe life into the plays as the students journey through the
plays’ extracts and use the CD to discover relevant and challenging information.
The Stage 5 unit is designed as an introductory unit to Shakespeare, focusing on his
representation of the warrior kings. The students work collaboratively in groups to
closely and critically examine key extracts from the three plays to appreciate the textual
details and features, and Shakespeare’s representation of the three kings. The students
explore others’ perspectives of the kings, and how ideas and information reflect the times
and context of the composer. As a lawyer representing the family of one of the kings, the
students research the historical version of one of the kings and compare their findings
with Shakespeare’s representation or create a visual representation for the Power House
Museum that explores different perspectives. To further engage the students, especially
the boys, they will examine the famous battles referred to in the plays, such as Dunsinane
(Macbeth), Bosworth (Richard III) and Agincourt (Henry V).
Students will improve their learning outcomes when learning is authentic, enjoyable and
challenging, and they are given the opportunity to be involved constructively in the
learning process. By producing a CD to accompany a unit of work that focuses on key
extracts from three plays that are fascinating and thought-provoking, I am attempting to
provide NSW teachers with a learning package that should enhance students’ experiences
with Shakespearean drama.
The English Years 7–10 Syllabus states that quality assessment practices should provide
‘authentic opportunities for students’ (2002, p.65), and encourage students to be
independent, life-long learners. Newmann, Secada and Wehlage’s (1995) extensive
research into how to improve the learning outcomes of students and make learning
meaningful for all students, conclude that when assessment moves towards tasks that
‘demand construction of knowledge through disciplined inquiry and that result in
discourse, products and performances,’ then the assessment tasks and learning that
results will have ‘value and meaning beyond success in schools’ (1995, p. 14).
Newmann, Secada and Wehlage’s research into the value of authentic learning and
assessment recommends that students should become ‘active learners, capable of solving
complex problems grounded in real world experience’ (1995, p. 15). According to their
findings the learning outcomes of students improve when they are engaged in work of
high intellectual quality closely linked to prior knowledge, and to the world beyond the
classroom. The assessment tasks included in the unit to assess the skills, knowledge and
understanding of the students replicate authentic learning experiences and encourage
them to be active participants constructing their own responses to Shakespeare’s warrior
kings.
The Quality Teaching in NSW Public Schools: Discussion Paper states that, ‘It is the quality of
pedagogy that most directly and most powerfully affects the quality of learning outcomes
that students demonstrate’ (2003, p. 4). Hopefully, the CD produced with images, clips
and material obtained during the study tour and the accompanying Stage 5 unit
exemplifies quality pedagogical practices.
Focus of the study tour
We are all intrigued by mystery and enjoy being cast in the role of detectives uncovering
the clues and arriving at our own solution. This could be discovering who murdered the
young princes in the Tower of London, or deciding whether Macbeth murdered Duncan
at Glamis Castle or questioning why Henry V ordered the execution of the French
prisoners of war. Inquiry-based education values involving students in research and using
deductive reasoning, as it provides stimulation for intellectual growth and encourages the
development of lasting analytical skills.
The controversy surrounding Macbeth’s, Richard III’s and Henry V’s motives and
actions should not only invoke curiosity, but connect students with Shakespeare’s three
plays and encourage them to be active, engaged learners. Therefore, the focus of the
study tour was to gather information and images that supported an exploration of:
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Shakespeare’s context and times;
Others’ perspectives of the three kings;
Details of the three battles the kings fought;
Shakespeare’s representation of the kings.
Shakespeare’s context and times
The Globe Theatre.
Even though information about Shakespeare is prolific, this enigmatic genius has
remained elusive. The information and images that I gathered during my study tour were
selected for their relevance to the focus on the three warrior kings and their interest value
for students.
Three days in London enabled me to experience Shakespeare’s world, and in particular
the Globe Theatre and the Tower of London. My guide at the Globe provided me with
edifying details about the structure, the people who attended the performances and the
staging of Shakespeare’s plays, while the guide at the Tower transported me to the dark
Elizabethan past with its political unrest and clashing ideologies. It was chillingly easy to
picture the accused nobles being marched from the Tower to the highest ground 500
metres away and being hanged or decapitated in front of a zealous crowd, or when
standing in the room where the young princes were held for their ‘protection’ to imagine
their fears and their eventual death at unknown hands. The past merges with the present
in London, and the ghosts of Shakespeare’s times walk beside you.
No study tour focusing on Shakespeare would be complete without time being spent in
Stratford-Upon-Avon. The rich history of this beautiful place was palpable. I was able to
gather a plethora of fascinating images and interesting information. The Birmingham
Shakespeare Institute provided me with a wealth of resources. Jim Shaw, the librarian,
readily supplied me with information regarding Shakespeare and his representation of the
three kings. I was able to capture images for the CD of Shakespeare’s birthplace, the
room he was born in, and other relevant properties such as his mother’s farm and the
church he was buried in.
An incomplete, nebulous impressionist’s painting of Shakespeare emerged from the
research, but some of the brushstrokes were bold and striking. Being a yeoman whose
father spent most of his life striving to be accepted as a gentleman, even to the extent of
applying for a coat of arms, and a member of the emerging merchant class would
certainly have focused Shakespeare’s attention on ‘vaulting ambition, which o’er leaps
itself’ (Macbeth, Act I, Scene Vii). His family, friends and neighbours in Stratford had
been devoted to Catholicism until Elizabeth’s and James’ persecution of Catholics, and
many of the accused Gunpowder Plot co-conspirators in 1606 were from Stratford.
Macbeth, performed in the summer of 1606, reflected the political turmoil and conflicting
ideologies of Shakespeare’s time.
Others’ perspectives of the three kings
and the battles fought by the kings
One of the key elements of the Quality Teaching in NSW Public Schools: Discussion Paper
(2003) is problematic knowledge that encourages students to ‘to address multiple
perspectives and/or solutions and to recognise that knowledge has been constructed and
therefore is open to question.’ Zyngier and Gale (2002) conclude in their research into
student learning that it is imperative that teachers provide opportunities for students to
express their views, become critical thinkers and learn how to put problem-solving skills
into action in order to challenge the world around them. Research has consistently
demonstrated that when students are encouraged to question and challenge knowledge,
and use what they have learned to inform their own understanding and to construct their
own knowledge, then all students can achieve higher learning outcomes (Newmann,
Marks & Gamoran, 1995; NSW DET, 2003; Gore, 2001; Vinson, 2002; Killen, 2003).
With this educationally sound basis, a major focus of my study tour was gathering rich
information and material that presented alternative perspectives of the three warrior
kings.
When Elizabeth Tudor became queen in 1558 she realised that the theatre could be used
as a powerful political force; thus, she issued a decree controlling the performance of all
plays. All scripts were subject to censorship. In 1583, Elizabeth’s spymaster, Sir Francis
Walsingham, formed the Queen’s Men, whose role was to spread Protestantism and
royalist propaganda through a divided realm. It is significant that Shakespeare was a
young actor in the company, and when he formed his own company, The King’s Men,
James I was its patron. The political role of theatre and the influence of royalty must
have had a significant impact on Shakespeare’s representation of the three kings. The
villainous Richard III was a Plantagenet, the Thane of Cawdor had once held James
captive in Scotland, and the heroic Henry V was a Tudor.
Richard III
Shakespeare’s Richard III is a fascinating, evil character who is willing to murder his king,
his wife, his kinsmen and the two young princes to become King of England. After all, a
villain who incites hatred is far more riveting and entertaining on the stage than a wise
and benevolent king. Richard III is a work of theatre rather than a piece of history;
however, Shakespeare did base his representation of Richard on Sir Thomas Moore’s
historical accounts of his reign. Describing Richard Moore stated that ‘He was malicious,
wrathful, envious … he spared no man’s death whose life stood in his purpose …’
(Dockray, 2002, p. 200). It is interesting to note that Moore was five years old when
Richard ruled England, and he grew up in the household of Cardinal John Morton, who
was an enemy of Richard and who became Archbishop of Canterbury under Henry
Tudor.
Historical accounts reveal a king who is very different to Shakespeare’s ‘bottled spider,
that foul bunch-back'd toad’ (Richard III, Act IV, Scene iv). Richard III was a deeply
religious man who created the first legal system, reformed the oppressive land tenure
laws and provided bail for offenders. Francis Bacon described him as ‘a good lawmaker
who legislated for the ease and solace of the common people’ (Weir, 1992, p. 192). The
problem is that he championed the cause of the common people, much to the ire of the
nobility. The other action that united many against Richard was the commonly held
belief that he ordered the death of the young princes, ‘The tyrannous and bloody act is
done.’ (Act IV, Scene iii). It was recorded in The Great Chronicle:
The more in number grudged so sore against the King for the death of the
innocents that as gladly they have been French as to be under his subjection. (Weir,
1992, p. 199)
Even those who had loved him turned towards Henry Tudor in Normandy. Richard’s
supposed role in the murder of the young princes was of paramount importance to
Shakespeare’s portrayal of him as a cold, deformed, calculating monster.
One of the most rewarding aspects of the study tour was researching Richard III. I
encountered passionate and informed people and travelled to extraordinary places that
will always remain with me. Middleham Castle, Richard III’s home in York, was an eerie
location that enabled me to take some alluring photographs for the CD. Warwick Castle
where Richard spent some time was a fully restored working castle, so I was able to
create a short, atmospheric film clip that depicted what it was like to live in a castle and
be vilified by society. I was able to acquire authentic images of the battle and of the
armour worn by Richard and the soldiers, and significant information, when I visited the
Bosworth Battlefield Centre where Richard fought his last battle, and I interviewed
Senior Ranger David Hardwick, whose detailed knowledge of Richard and the Bosworth
Battle was impressive.
Then there was York and the actor, historian and Richard III Museum curator, Michael
Bennett. The museum was located in the Monk’s Gate, a major gateway in the wall that
guards the ancient city of York, and was added to by Richard III. When I climbed the
narrow staircase to the top of the tower I was confronted by Michael dressed as Richard
III bearing an uncanny resemblance to the much maligned king. His performance as
Richard challenged Shakespeare’s villainous representation and provided stimulating
footage for a film clip that takes pride of place on the CD.
Macbeth
The ambitious, ruthless warrior who is supported by his evil wife to kill his king and
kinsman Duncan so that he can rule Scotland is well known by those who are familiar
with Shakespeare’s play—‘this dead butcher and his fiend-like queen’ (Macbeth, Act V,
Scene iii). However, records reveal a very different king. Macbeth, King of Moray, was
elected King of Scotland in place of Duncan's son Malcolm, who was only a child; and
for 17 years—1040 to 1057—Macbeth is believed to have ruled equably, imposing law
and order, uniting North and South, and encouraging devout Christianity. He was
respected as a great warrior and a patron of the arts. The founding abbot of the
monastery of Clonsast in the late 7th century praised Macbeth as ‘The red, tall, goldenhaired one, he will be pleasant to me among them; Scotland will be brimful west and east
during the reign of the furious red one’ (Aitchison, 1999, p. 102). When Macbeth
murdered King Duncan I in Elgin, near the present day Glamis Castle, in 1040, it was
widely accepted that Duncan had not been a good leader as Scotland had not prospered,
and political unrest was rife. Macbeth’s wife was not in any way linked with the killing of
Duncan. Lady Macbeth was a loyal and composed individual who was known as ‘Lady
Gruoch’.
Researching Macbeth proved to be challenging as he lived over 1000 years ago and
information about Scotland’s past was scant. The decision to stay in Birnam, a small
village on the edge of the Highlands and connected to Shakespeare’s Macbeth, was
worthwhile. When I took photographs of the last remaining tree of Birnam Woods for
the CD, I was poignantly reminded of how important it is to preserve the past. Its
massive trunk was alarmingly hollowed out and its ancient branches were supported by
wooden props.
As I ventured to the places referred to in the play, I realised how difficult it would be to
uncover information about Macbeth. Shakespeare had used locations such as Glamis
Castle and Cawdor Castle that were built well after Macbeth’s time. Despite this anomaly,
the photographs and information that I obtained were interesting. Lorna Watson, the
marketing executive at Glamis Castle, opened up the castle and took me to the room
where Shakespeare had Macbeth slay Duncan. Dunsinane in the Sidlaw Hills, where
Macbeth’s fortress once stood, was an isolated, imposing place that dominated the
surrounding plains. I finally found valuable information at Perth’s library with the
assistance of the head librarian who had to venture down to the archives to retrieve the
texts that he had on Macbeth.
Henry V
Shakespeare represented Henry Tudor as a brave and noble king who fearlessly
conquered the French with a smaller army. As Cambridge said in the play:
‘Never was monarch better fear'd and loved
Than is your majesty: there's not, I think, a subject
That sits in heart-grief and uneasiness
Under the sweet shade of your government.’ (Henry V, Act II, Scene ii)
Yet even Shakespeare cannot ignore Henry’s order for all of the French prisoners to be
executed: ‘Then every soldier kill his prisoners/Give the word through’ (Henry V, Act
IV, Scene vi). Henry had to threaten to hang any man who refused to kill the prisoners as
they usually collected handsome ransoms from the prisoners’ families. When he had
besieged the city of Rouen he refused to allow 12,000 old men, women and children to
pass through his lines during the cruelest of winters, so most of them died.
Information on attitudes towards Henry’s massacre of the French prisoners was sparse;
even at the Azincourt Battlefield Centre. What I did discover was that writers at the time
of the battle, both English and French, did not condemn Henry’s actions; however, the
19th century French writers were highly critical. Rene de Belleval referred to their
slaughter as une boucherie and barbare (Hibbert, 1995, p. 116). The bulk of the information
and material on Henry V focused on the Agincourt Battle, such as the British National
Army War Museum with its startlingly realistic model of the weary Welsh archer, and the
Musee de l’Armee in Paris, which featured models of the French soldiers and men-atarms who fought at Agincourt. The Agincourt Battlefield Centre proved to be very
disappointing as it contained virtually the same images and information as the museum in
Paris.
Conclusion
Without the generous support of the Premier’s Department, Lend Lease and the
Department of Education and Training, this amazing study tour would not have been
possible. I thank them for their commitment to improving the education of students,
their support for the professional development of teachers, and for their vision. The
opportunity to travel to the UK and Paris has meant that I have created a unit of work
and CD that can be used by NSW students. The unit of work has already been trialled in
my own school with year 9 classes and in other schools across NSW. The Professional
Curriculum Support Directorate has published the unit on their website and the TALES
website. Teachers have reported that students found the unit of work and the CD
stimulating and challenging. I am only too willing to share the unit and the CD with
other teachers. Please contact me by email at: karenyagerrrhs@yahoo.com.au.
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