Richard III
TEACHIT KS3 INTERACTIVE PACK
GCSE Updates 2009
Lessons 1 – 11
Worksheets/OHTs 1 – 20
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1
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.
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2
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.
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3
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.
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4
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.
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5
LESSON 2: What’s the context?
(This is Lesson 39 in your pack.)
Learning objective
To 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.)
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6
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?
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7
Worksheet 2: The Divine Right of Kings
In 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.
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8
Worksheet 3: The Great Chain of Being
As 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?
Angels
Insects
Birds
Liquids and metals
Man
Plants
Animals
God
Shellfish and parasites
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!
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9
Worksheet 4: The Wheel of Fortune
Another 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.
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10
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.
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11
Worksheet 5: Secret thoughts
Richard 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
2
What Richard is really thinking
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?
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12
OHT 6: Richard the villain
ACT 1
SCENE 1 – A street near the tower of London
Enter RICHARD, Duke of Gloucester
RICHARD
Now is the winter of our discontent
Made glorious summer by this son of York;
And all the clouds that loured upon our house
In 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 steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To 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 majesty
To strut before a wanton ambling nymph;
I, that am curtailed of this fair proportion,
Cheated of by dissembling nature,
Deformed, unfinished, sent before my time
Into this breathing world scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this
Frightening that he
would deliberately
set out to harm his
own family.
Frightening because
peace should not be
seen as ‘weak’. Makes
Richard sound
devilish.
weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And 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 villain
And 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 king
In deadly hate the one against the other.
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13
LESSON 4: Hastings condemned (3.4)
(This is Lesson 1 of the 2007 online updates.)
Learning objective
To 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 selfdeception?)
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.
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14
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.
Hastings:‘….the cause why we are met
Is to determine of the coronation.’
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
Richard exits, leaving only
Hastings reflects about how he
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15
LESSON 5: Round like a record player (3.7)
(This is Lesson 16 in your pack.)
Learning objective
To 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 illegitimate
b) Edward had someone executed because he misunderstood something he heard
c) Edward had too much of a liking for sex
d) 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?
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16
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.)
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17
Worksheet 8: Buckingham the spin doctor
1
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 objective
To 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.
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19
Worksheet 9: Buckingham begs
1 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?
_________________________________________________________________________
3 Find a quotation from the first two lines which prove that Richard is supposedly refusing to
become king.
_________________________________________________________________________
4 Find at least two words in the first six lines which show how important and special it is to
be king.
_________________________________________________________________________
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)?
_________________________________________________________________________
_________________________________________________________________________
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 objective
To 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?
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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.
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Worksheet 11: Iron-witted fools
Quotation
Modern translation
Evidence
(Act 4 Scene 3)
Rumour it abroad
That 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 out
That 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.
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LESSON 8: Sticks and stones
(This lesson has been adapted from Lesson 34 in your pack.)
Learning objective
To 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.
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OHT 12: Denotations and connotations
A Toad, En padda. Photo by Annakika http://www.flickr.com/photos/ullkika/133668645/
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Worksheet 13: Use of imagery reference sheet
Animals
Richard 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).
Birds
Powerful 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.
Plants
The 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.
Money
Richard 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/hell
Richard 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/seasons
Winter 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 images
The play does, of course, include other images, but the above six groups
feature most frequently.
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26
Worksheet/OHT 14: Language in use
Animals
Act 1, Scene 2
Act 1, Scene 3
Act 2, Scene 4
Act 4, Scene 4
Birds
Act 1, Scene 1
Act 1, Scene 3
Act 5, Scene 2
Plants
Act 2, Scene 2
Act 3, Scene 4
Act 3, Scene 7
Act 4, Scene 4
Money
Act 1, Scene 2
Act 1, Scene 3
Act 2, Scene 2
Act 4, Scene 2
Act 4, Scene 4
Heaven and hell
Act 1, Scene 2
Act 1, Scene 3
Act 4, Scene 4
Sun/seasons
Act 1, Scene 1
Act 1, Scene 2
Act 1, Scene 3
Act 2, Scene 3
Act 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.
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27
LESSON 9: Language in use
(This lesson has been adapted from Lessons 35, 36 and 38 in your pack.)
Learning objective
To 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?
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Worksheet 15: Stichomythia
RICHARD
Lady, you know no rules of charity,
Which renders good for bad, blessings for curses.
ANNE
Villain, thou know’st nor law of God nor man.
No beast so fierce but knows some touch of pity.
RICHARD
But I know none, and therefore am no beast.
ANNE
O wonderful, when devils tell the truth!
RICHARD
More 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.
ANNE
Vouchsafe, diffused infection of a man,
Of these known evils but to give me leave,
By circumstance, to curse thy cursed self.
RICHARD
Fairer than tongue can name thee, let me have
Some patient leisure to excuse myself.
ANNE
Fouler than heart can think thee, thou canst make
No excuse current but to hang thyself.
RICHARD
By such despair I should accuse myself.
ANNE
And by despairing shalt thou stand excused
For doing worthy vengeance on thyself,
That didst unworthy slaughter upon others.
RICHARD
Say that I slew them not.
ANNE
Then say they were not slain.
But dead they are, and, devilish slave, by thee.
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Worksheet 15: Stichomythia (continued)
RICHARD
I did not kill your husband.
ANNE
Why, then he is alive.
RICHARD
Nay, he is dead, and slain by Edward's hand.
ANNE
In thy foul throat thou liest. Queen Margaret saw
Thy murd’rous falchion smoking in his blood,
The which thou once didst bend against her breast,
But that thy brothers beat aside the point.
RICHARD
I was provoked by her sland’rous tongue
That laid their guilt upon my guiltless shoulders.
ANNE
Thou wast provoked by thy bloody mind,
That never dreamt on aught but butcheries.
Didst thou not kill this king?
RICHARD
I grant ye.
ANNE
Dost grant me, hedgehog? Then, God grant me too
Thou mayst be damned for that wicked deed!
O, he was gentle, mild, and virtuous.
RICHARD
The better for the king of heaven that hath him.
ANNE
He is in heaven, where thou shalt never come.
RICHARD
Let him thank me that holp to send him thither,
For he was fitter for that place than earth.
ANNE
And thou unfit for any place but hell.
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OHT/Worksheet 16: Oh the irony
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.
Find two examples of each from the play and explain what they tell
you about Richard.
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31
LESSON 10: I think, therefore I am
Learning objective
To understand the importance of personal response.
Starter


Ask students to write down their impressions of:
o Richard as a character
o what happens to him
o 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.
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Worksheet 17: Traffic light ranking
Richard is an
attractive
character.
Richard III is an
interesting play.
Richard III is a play
that is still
relevant in 2009.
Richard is an
interesting
character.
Richard III is about
what happens
when people try
to change their
own destiny.
Richard is judged
by other people,
by the audience
and by God.
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Worksheet 18: Think on…
Richard is an interesting character
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)
(Agree/disagree)
Richard III is a play that is still relevant in 2009.

Richard is judged by other people, by the
audience and by God.










(Agree/disagree)
(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.
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LESSON 11: Writing an assignment
Learning objective
To 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.
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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?
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Worksheet 20: AQA A Marking criteria
SHAKESPEARE
EN2 – READING
A*
49 - 54
A
43 - 48
B
37 - 42
C
31 - 36
D
25 – 30
E
19 – 24
F
13 - 18
G
7 - 12
U
1-6
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 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 skill when exploring:
 The play’s implications, contemporary
relevance and historical context
 Characterisation, structure and theatricality
 Shakespeare’s use of linguistic devices
Show insight when discussing:
 The nature of the play, its implications and
relevance
 Characters, structure and stagecraft
 Shakespeare’s use of language
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 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 awareness when describing:
 The play’s explicit meanings and ideas
 The sequence of events and variety of
characters
 Shakespeare’s language
Show response to:
 The play as a whole
 Significant characters and relationships
 The main events
Refer to meaning and some aspects of the text
LITERATURE
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 tradition
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
themes
 The social and historical setting or cultural context
or literary tradition
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
themes
 The social and historical setting or cultural context
or literary tradition
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
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
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
Show awareness when describing:
 Characters and their actions
 Effects of dramatic devices or structures
 Areas of language interest
 The text’s setting or context
Respond to:
 Details of characters and their actions
 Some obvious dramatic devices or structures
 Simple aspects of language
 The text’s setting or context
Refer to character, setting and incidents
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