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Mandy Schuyler
For Drs McGurk/Reed– Senior English Project – 400-01
January 27th 2006
MAKING THE CONNECTION: ENHANCING ENGLISH EDUCATION THROUGH
INTERESTING INQUIRY, REAL WORLD RELEVANCE AND SELF SUFFICIENCY
TABLE OF CONTENTS
1.
Introduction – The Consequences of Connection ..................................................................................... 2
SECTION I – IMPACTFUL INSTRUCTION ................................................................................................. 5
2.
Signs of Success ............................................................................................................................................. 5
3.
Intriguing Inquiry ........................................................................................................................................... 6
4.
Meaningful Material ..................................................................................................................................... 13
SECTION II METACOGNITIVE METHODS .............................................................................................. 17
5.
Learning About Learning ............................................................................................................................. 17
6.
Rich Reflection .............................................................................................................................................. 24
7.
Apprehending Assessment .......................................................................................................................... 25
7.
Critical Cognition and Discerning Discourse ........................................................................................... 30
9.
Decisions, Decisions – Conferring Choice ................................................................................................ 33
SECTION III – CORRESPONDING CURRICULUM ................................................................................... 37
10.
11.
12th Grade – Reading, Writing and Macbeth by William Shakespeare ....................................... 37
11th Grade – Reading, Writing and The Adventures of Huckleberry Finn by Mark Twain –
SECTION IV – LIVELY LESSONS................................................................................................................. 40
12.
12th Grade Lesson Sequence ................................................................................................................. 40
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MAKING THE CONNECTION: ENHANCING ENGLISH EDUCATION THROUGH
INTERESTING INQUIRY, REAL WORLD RELEVANCE AND SELF SUFFICIENCY
"It may be that you are not yourself luminous, but you are
a conductor of light. Some people without possessing
genius have a remarkable power of stimulating it."
1. Introduction – The Consequences of Connection
Sir Arthur Conan Doyle wrote The Hound of the Baskervilles in 1901, before anyone could
have imagined the contemporary brain mapping and psychological discoveries which have revealed so
much of relevance for education and other fields. Yet Sherlock Holmes’ remark to Watson on his
analysis of the walking stick of a country doctor nevertheless captures beautifully the role of a
successful modern teacher: ‘conductor of light’ in the sense both of the medium by which it is
carried and of the person who is orchestrating the process and method by which it is brought to
life. In his remarkable 1998 book Awakening Genius in the Classroom, Tom Arnold tells us:
Every student is a genius. I do not mean this in the psychometric sense of the word.
. . . .For the meaning of genius used here, I have gone back to the origins of the
word itself. . . . the word genius derives from Greek and Latin words meaning “to
beget,” “to be born,” or “to come into being” (it is closely related to the word
genesis). It is also linked to the word genial, which means, among other things,
“festive,” “conducive to growth,” “enlivening,” and “jovial.” . . . . From the standpoint
of education, genius means essentially “giving birth to the joy in learning.” . . . . this
is the central task of all educators. It is the genius of the student that is the
driving force behind all learning (Arnold 4).
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Clearly, successful education is totally dependent on motivation. What the student doesn’t
learn, we haven’t taught; what the student doesn’t want to hear will never be absorbed into his or
her long term memory as skill, knowledge or an enhanced ability to learn. In the spirit of Tom
Arnold, then, this study will examine secondary English education through the lens of student
relevance and interest – what is meaningful in the lives of many high school students - with a
particular focus on 11th and 12th grades. It will explore ways of using this meaning to engage them in
an enthusiastic, curious and committed study of reading, writing and literary texts of all kinds,
which has the potential not only to assist them in passing the requisite testing hurdles, but also to
lay the foundations for a lifetime of articulate inquiry, communication, and artistic appreciation. It
will create a sample curriculum and lesson plans showing the practical application of these premises
in a regular secondary classroom environment to demonstrate their feasibility, using a variety of
methods, texts and materials.
My own observations of a range of high school classrooms around the Erie, PA region, as well
as research by highly qualified English education experts, indicate that most high school students
have no idea why they study English, nor do they see it as useful or relevant to their lives. This
results in a “prisoner” mentality for many teenagers in the English classroom, where they sit and
wait to be taught at, because they have no choice but to be there, and it makes the need to get
them through high school graduation or college entry testing requirements a daunting task for
educators. Recent studies by Jeff Wilhelm, Richard Stiggins and Alan Sitomer have shown that
bridging into the world and personal interests of these young people with inquiry and student
choice, while giving them the tools to understand the process and standards of their own learning
(metacognition and self assessment), can produce startlingly positive results in literacy and the
understanding of texts. This holds true both from a test result and from a student engagement
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perspective. George Hillocks has long held similar views of engagement and gateways into an
emotional connection with the topic in writing assignments.
I passionately believe in the need to reach kids where they live mentally and culturally, and
I want to use this opportunity to parlay my thinking on how to do this effectively into practical
classroom techniques and activities using research and reflection on creative approaches. Such an
undertaking should equip me with the tools to hit the ground running as I seek and hopefully find
employment in the fall of 2007. It will offer a vehicle by which to share my philosophy and
approach with prospective employers in a concrete manner, which has the virtues of eliminating
misunderstandings, helping to ensure compatibility in the intense and challenging sphere of public
secondary education, and comprising a very tangible sampler of my skills and knowledge.
In order to realize these advantages, we will show that the success of high school literacy
and English language arts instruction in terms of student engagement and capability can be greatly
enhanced by lessons containing inquiry and materials/ topics of emotional interest and logical
relevance to students, by teaching them metacognitive skills including process, self-knowledge, selfassessment, critical thinking and study strategies, and by providing opportunities for self-control
and choice.
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SECTION I – IMPACTFUL INSTRUCTION
2. Signs of Success
First of all, how do we define the success of high school literacy and English language arts
instruction in terms of student engagement and capability; how will we know when we see it, and
more importantly how will students who experience it be able to perform and feel? The first
dimension of this, especially in light of its power to control and even close schools, has to be that of
the Pennsylvania State Department of Education (PDE). In the 2006 national Editorial Projects in
Education (EPE) Survey published by Education Week, the State scored its highest marks in the
area of standards setting, for clarity and comprehensiveness. These state standards for literacy
and language arts are attached in full as Appendix A of this paper. In English literacy they can be
summarized as the capability to locate, fluently read, comprehend, analyze, and use the content,
ideas and arguments, structure and vocabulary of a variety of textual materials in understanding,
speaking, listening, writing and thinking. In language arts they can be summarized as the capability
to recognize, understand, and use the style, tone and methods of traditional and contemporary
techniques and technologies for the appreciation, criticism and production of works of language art.
These formal and governmental standards can and will serve as an adequate criterion for the
success of instruction in terms of student capability to use and understand language and literature
including the potential to succeed in mandatory standardized tests, and they will help guide the
creation of curriculum and lesson plans. For the area of engagement, and its connotation of lifelong
learning, curiosity and enjoyment of these skills and this knowledge, however, we might do well to
seek more human and profound objectives. Perhaps as teachers, the best thing we can do for our
students as people is to help them love to learn, operate effectively in today’s world of continual
change and teamwork, and think critically and objectively for themselves. A key goal is to instill in
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our students a healthy curiosity to explore the literary and linguistic landscape, and a confidence
and enjoyment in formulating, exploring and expressing ideas through language with its powerful
tools of rhetoric which can serve them for a lifetime. The evidence for the development of this
curiosity and desire to explore, as well as for affective and persuasive abilities will come through
formative assessments: do these students read (anything) independently and with pleasure? Do
they think about the meaning of current events, movies and other phenomena of the culture, and
bring those thoughts to classroom and social discussions? Can they write a persuasive paper, letter
or article? Can they present well in a way that conveys ideas clearly and compellingly to the
classroom community? In short do they enjoy and willingly practice the skills they have acquired?
Some ideas on self- and formative- assessment will be included in the assessment section of this
paper and in each of the lesson plans in Section II.
3. Intriguing Inquiry
In terms of the process needed to achieve these goals, let us begin logically with the
foundation process for all learning – inquiry. How should we define this? The Exploratorium
Institute for Learning’s website, a spin-off from the eponymous San Francisco science museum,
tells us that “"Inquiry is an approach to learning that involves a process of exploring the . . . . world,
that leads to asking questions and making discoveries in the search for new understandings"
(Cruger). From infancy, we explore the world, at first with our eyes and mouth, then with hands and
feet. Before long we begin consciously to explore it with that greatest instrument of information
acquisition, the human brain. People are naturally curious, and acquiring interesting knowledge is a
source of pleasure for all normal human beings. To be ongoing and pleasurable, however, the
acquisition has to be perceived as useful, relevant, and self-motivated. Albert Einstein, in his
remarkable 1954 essay collection Ideas and Opinions, described his own experience of absorbing
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information about a scientific theory, and explained why the particular method used to present it
via inquiry and then argument was so effective in this way:
I asked myself what it was that had so fascinated me. The answer is simple. The
results were not presented as ready-made, but scientific curiosity was first aroused
by presenting contrasting possibilities . . . . Only then the attempt was made to
clarify the issue by thorough argument. The intellectual honesty of the author makes
us share the inner struggle in his mind. It is this which is the mark of the born
teacher. Knowledge exists in two forms - lifeless, stored in books, and alive, in the
consciousness of men. The second form of existence is after all the essential one;
the first, indispensable as it may be, occupies only an inferior position. (Einstein)
More recently, Jeff Wilhelm, an associate professor of English at Boise State University
specializing in team teaching, co-constructing inquiry-driven curricula with students, and pursuing
teacher research, all at the secondary level, has done research which sheds considerable light on
the nature and impact of inquiry driven learning. In his 2006 book Going with the Flow, coauthored with Michael Smith, he tells us:
Inquiry makes English about something, and in so doing it transforms the skills and
strategies and terms we teach into important tools for understanding a big idea or
expressing new knowledge and personal insights about that important issue. Making
what we teach matter through inquiry addresses the [students’] desire for a focus
on the immediate experience. Making it matter means making what we do compelling
in the here and now instead of casting it merely as preparation for the future.
(Wilhelm 56)
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The three conditions for real interest and ‘flow learning” are described by Wilhelm as
1.
Making your teaching matter through inquiry, problem orientation, and essential
questions. Asking a ‘big’ or guiding question that matters and to which the teacher
doesn’t have a canned and obvious answer. This provides a clear purpose and goals of
learning with immediate feedback.
2.
Giving students a real challenge with implications for the real world, not just school
theory, that requires an appropriate level of skill and assistance to meet it.
3.
Frontloading the material – sequencing into, through and beyond it from topical
research to practical inquiry so you can assist kids through their zone of proximal
development and give them a sense of control and competence
Wilhelm found that framing a course of study around a meaningful question has students
stake their own position, and levels the playing field with a teacher who has been studying their
subject for 20 years. Instead of playing “guess what the teacher already knows” (Wilhelm 59), the
students do honest investigation, with materials, ideas and activities they suggest as well as those
provided by the teacher, to open up a subject to which we don’t necessarily have answers. Wilhelm
uses the anecdote of a prizewinning molecular biologist:
[T]he famed Harvard biologist and Pulitzer Prize winner E. O. Wilson [chided]
teachers for our current practices of delivering information to students: “Most
people teach biology by starting with the molecule!” he exclaimed. “This is exactly
the wrong way to go. No one cares about the molecule. I don’t care about the
molecule. Unless I have a reason to care—that is, a problem that I am working on
that requires understanding molecules to address.”
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Wilson went on to say that biology, like all disciplines, is organized around questions:
Why do organisms die? Is sex necessary (biologically speaking)? How are humans
like bacteria? What are the effects of genetically altering an organism? What are
the effects of changing the environment in some way? Wilson emphasized that
students need to have a sense of these foundational questions that biology (or
literature, or algebra, or any other subject) was designed to address. (Wilhelm 57)
This approach gives students exciting and genuine investigation to do, not to mention the riveting
effect of exploring “Is sex necessary” on a classroom full of 10th or 11th graders! And the best
part is, they can’t understand the question, let alone answer it, scientifically speaking, without a
basic grasp of molecular biology – so now they have a reason to learn. In developing inquiry
questions for approaches and lessons Wilhelm suggests three techniques: reframing a required
text or topic with questions eliciting core human issues, problems and questions, reframing a
standard to make it meaningful to students as a valuable life skill or looking around the community
for environmental concerns in the students’ immediate lives that can be linked to textual inquiry
(Wilhelm 63-64).
In the English classroom envisioned in this study, inquiry will be used to drive both literary
exploration/appreciation, and research. Written projects will showcase student findings on the
road to the development of their own responses to questions like “Why do people turn to the dark
side?” in relation to the study of Macbeth, as one example. Students will make their own
determination of the range of reasons, and find examples of those who have gone wrong in the
interests of such impulses as fear, greed, sensual pleasure, fame and power. Then they will map
the kinds of processes and environments which facilitate yielding to these impulses, and to what
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extent the outcome matches expectations or leads to disaster. And finally they will compare their
own examples with the impulse, process and circumstances surrounding Macbeth’s surrender to the
desire to be king and his subsequent downfall.
Wilhelm’s second tenet – that students need a real life challenge which has the potential for
an impact outside the classroom – in the community or the students’ own lives - is also echoed by
Eric Jensen in his seminal 1998 article Teaching with the Brain in Mind . Jensen’s findings aligned
with those of William Greenough, and showed that challenge and feedback are the two things most
critical to brain enrichment – and hence motivational learning: “The critical ingredients . . . .to
enrich the learner's brain are that first the learning is challenging, with new information or
experiences. . . . Second, there must be some way to learn from the experience through interactive
feedback” (Jensen 5). The way Wilhelm achieved this in his monitored and reflective practice was
by following the students’ inquiry with a real life project of their choice, which would put their
findings to use in a practical way:
Jeff told his students that they would not only be inquiring into “Who will survive?”
through shared readings and activities (what we might call a project of topical
inquiry), but that at the end of the unit small groups would choose a subtopic of
survival they had encountered and research it more thoroughly to create a proposal,
a social action project, or new data for the conversation about survival. In other
words, the students would be asked to do independent critical inquiry, to use the
concepts and procedures they would be learning to do something new. The effect was
absolutely energizing. (Wilhelm 60)
For his experiments with the concept of frontloading and sequencing the materials, Wilhelm
used the work of Grant Wiggins and Jay McTighe from their 1998 book Understanding by Design, a
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text he calls “a classic exploration of how inquiry and design environments can promote deep
understanding” (Wilhelm 67). Creating what he calls “Backwards Planning Questions” from Wiggins
and McTighe’s six “facets of understanding”(Wiggins 44-62), which Wilhelm used as curriculum
standards, he worked backwards from these standards into materials, questions and explorations
which could help students realize the learning processes and information acquisition needed to
address their inquiry. He then sequenced them into the inquiry process in a fashion which allowed
students to gain the needed experiences in a good manner in order to grow in their zone of proximal
development (Wilhelm 66-72).
In this way inquiry-centered learning changed Wilhelm’s teaching and the results of his
students greatly for the better. Before introducing meaningful inquiry, Wilhelm had what he felt
was a mediocre offering:
. . he still felt that something was lacking. He felt like he was just teaching the
text, or the shallow what of the curriculum. After the unit, when he asked
students to write about what they had learned of importance, they summarized the
plot, a few facts about Canada, and at best, an insight or two about relationships. In
short, Jeff wasn’t very pleased. (Wilhelm 58)
But after Wilhelm’s research and the introduction of both meaningful inquiry and student-selected
real life projects, the whole picture changed for the better. As we are told in the book:
The resulting projects were beyond anything Jeff had hoped for. . . . [They]
demonstrated student understanding of conditions and capacities that lead to
survival or threaten it. They also demonstrated that the students could ask
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questions, interpret connections among the things they had learned, and represent
what they had learned to others. (Wilhelm 66)
In the English classroom planned as a result of this study, students will be offered the
opportunity of doing real life projects such as researching local newspaper archives to determine
the impulses behind local crime and its outcome and recommending social or educational changes
which might reduce the likelihood of its recurrence, or work with a school administrator responsible
for discipline to investigate school-based misdeed, their causes and outcomes and making
suggestions for reducing instances of this kind of misdeed in future.
As a final note on inquiry, it is worth mentioning that both Wilhelm and Smith as well as
Wiggins and McTighe are acutely aware of the intense concern of some teachers with ‘coverage.’
As Wilhelm tells us in discussing their findings
Wiggins and McTighe (1998) argue that the “coverer” acts under the illusion
that textbook and test-driven instruction encourages retention and
understanding. This untested belief flies in the face of existing research . .
[which] revealed that . . . . Inquiry leads to more retention, real learning,
application, and higher test scores. . [and] . . even brief inquiry treatments
motivated students, raised achievement, and led to higher test scores. More
important, the “coverage” viewpoint works against what cognitive science tells
us about why and how people learn—to answer questions, solve problems, and do
work by accruing schematic knowledge and procedural skills over time through
performing actual tasks in real situations. (Wilhelm 76)
And so the best way to raise achievement is on the path of true understanding, not coverage.
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4. Meaningful Material
Now that a review of recent research has shown us the value of an inquiry-based approach
to instruction, and given us some methods and approaches to the formation of inquiry questions, how
can we ensure that the topics will seem relevant to 11th and 12th graders? Topics of emotional
interest and logical relevance to teens will come partly from cultural trends – in music, the media,
fashion and so forth – and partly from areas of human interest arising from the concerns of people
in their stage of lifespan development. Cultural trends will most likely need to be researched by the
individual teacher in the individual classroom, as they change fairly quickly, and tend to vary from
region to region in the country. Having a 15 year old daughter of my own and doing volunteer and
substitute work in local secondary classrooms in the general vicinity of Erie PA has allowed me to
identify that some rap, hip-hop and pop songs by artists such as Eminem, Avril Lavigne and others
are currently quite well liked. In addition, Manga and similar anime characters on avatar-based
websites such as Gaia < http://www.gaiaonline.com/>, instant messaging, and writing online fan
fiction are all currently prevalent leisure occupations for this age group, which likes anime TV
shows, science fiction, video games with a fantasy orientation and current movies as well, so these
will appear in the lesson plans and curricula as intertextual ‘bridges’ for this paper, but constant
monitoring of student interests will be needed. Even this transient group of ideas is somewhat more
focused on female than male students; the latter have a higher interest in war style video games
and football/sports stars.
In the classroom which will use these ideas modern popular movies such as Stars Wars and
Gargoyles will be used as intertextual bridges to Shakespearian plays such as Macbeth, to shed
light on the processes of temptation and surrender to the dark side, and the concept of destiny.
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Areas relevant to the lifespan development of 11th and 12th graders will include an idealistic
focus on the world and the future, including their own potential careers and skills, and pursuit of
identity and independence. They care about relationships with parents and family, relationships
with their peers, especially their friends, their ability to get to collage and/or find a job, and
perhaps most of all their seeking and finding of a personal identity (paraphrased from Santrock of
(404-418). A mind map of these interests, which clearly vary by individual, but have major themes
in common, has been reviewed for validity by several current 10th graders, and looks like this:
Including engaging topics of personal interest in instructional materials and projects can
make a substantial difference in the connection students have to lessons and courses. This is
especially true of at risk and disadvantaged students, who tend to have fewer opportunities to make
interesting connections on account of relatively less resources for learning and entertainment at
home, and less contact and communication with parents and caregivers. Recent research has
provided insight on the beneficial effect of including subjects of high interest to teen students as
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a bridge for intertextual comparison with the traditional canon. A recent article in Edutopia
Magazine by Eric Hellweg tells the story of an intertextual breakthrough by Alan Sitomer, an
English teacher at Lynwood High School, in Lynwood, California. Alan was having trouble with a
lesson plan on Dylan Thomas, when he noticed the similarities with Tupac Shakur, a deceased but
very popular rapper who wrote about treating others with respect and standing up to aggression.
He stayed up half the night and built a bridge from those lyrics to the Thomas poem “Do not Go
Gentle into that Good Night.” His class the next day, according to Hellmer, was ‘electric:’
The next day, Sitomer was running a little slow, but his students weren't. The kids
made the connection immediately." My class was electric," he says. "The following
day, the first thing they wanted was more poetry and hip-hop," says Sitomer, who
was recognized with California's State Literacy Teacher of the Year award in 2003
for the remarkable turnaround he stewarded in the inner-city school. (Hellweg)
Hellweg goes on to describe a number of educational endeavors which have been enhanced
with hip hop, including bands writing songs to teach science, and a whole range of intertextual use in
English around the nation. It seems to be working in his view:
The music [is seen] as a way for teachers to infuse their students with a desire to
learn. "Kids don't connect at school, for a number of reasons," says Feinman. "How
can we use culture that speaks to the youth to get them excited to learn? We use
hip-hop. It was the magnet.” (Hellweg)
Other initiatives have used graphic novels, comic books and anime as a lead-in. They often
feature references or episodes with classical references. Penguin books, for example recently
published a futuristic version of Macbeth set on a remote planet, but retaining many plot
characteristics of the Shakespeare drama. This can offer an interesting set of comparisons and
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differences, and the rather beautiful artwork on the alien world will offer eye candy and a familiar
sense of interest to anime and science fiction fans. There is a cartoon series called the Gargoyles
published by Disney and directed by Greg Weisman, which features Macbeth as a character voiced
by John Rhys Davies, who started life as a very successful classic actor with several Shakespearian
roles. It might even be helpful to use the scenario in the latest Star Wars movie “Revenge of the
Sith” where Palatine - who emerges as the evil emperor - uses manhood and emotional ‘blackmail’
somewhat analogous to the arguments of Lady Macbeth to pull Anakin over to the dark side and
persuade him to multiple murders as a foil for certain speeches in the classical play.
The point here is not to provide long lists of examples, but to offer two observations. One:
educators and researchers are increasingly recognizing the value of reaching out to teens ‘where
they live’ by making reference to or using pop culture materials they might seek out for pleasure or
interest on their own. Two: there is an increasingly interesting and available body of such works in
popular music, fiction (on and off line), television and other media that can provide a range of such
intertextual attractions to engage teens and provide fun works for comparison with the canon,
models or ideas for writing practice, essay topics and the like. Given the value of engagement and
flow and the many ‘disconnected’ students in English high school classrooms today, appropriate use
of such materials could help motivate some students who have been hard to reach, and in this area
the educational community can use all the help we can get.
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SECTION II METACOGNITIVE METHODS
5. Learning About Learning
Now that we have explored ways to engage our students with riveting enquiry and
interesting topics, we need to help them become more independent. If we have been successful so
far, they will want to learn, so how can we teach them the techniques which will allow them to
continue that learning long after they have moved on to college or a career and family, or to use the
old well worn Chinese proverb, teach them to fish so that they may eat every day? There are four
core sets of understandings and methods that a superior student and explorer needs, in order to
know their own mental landscape, and the best ways to acquire skills and knowledge, to think
critically, and to act responsibility on their own initiative.
The first of these is a comprehension of the learning process and the student’s own learning
style, to help them both reach true understanding and acquire the facts and techniques needed to
succeed in an academic setting, especially testing environments. In this area we will be examining
some methods to teach and use learning styles laid out by Debbie Silver in her delightful book
Drumming to the Beat of a Different Marcher, Sara Smith of the University of Texas in her
Scriptorum Online Textbook and Susan Santo of the University of South Dakato in her Learning
Styles and Personality. In the area of mnemonics and memory encoding, we will review ideas from a
variety of sources.
The second set of key understandings is an inner grasp of standards of excellence and some
methods of self assessment that can enable them to rate and review their own work, finding flaws
and weaknesses and seeking remedies before they emerge as faulty learning or poor grades; on the
flip side of this, and even more important, is the pride and joy of seeing and acknowledging the
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success of a job well done. In this area we will be using the thinking of Richard Stiggins in his
article Assessment, Student Confidence and School Success as a guideline.
Thirdly, we must help our students acquire the ability to think critically, to evaluate the
arguments of themselves and others and to enter into independent discourse. They need to be able
to read critically, devise their own discussion questions and use them in class discourse in a selfdetermined and evaluative manner. Here we will be reviewing the work, findings and
recommendations of Matt Copeland in his exciting book Socratic Circles: Fostering Critical and
Creative Thinking in Middle and High School.
Finally we will explore the area of the value of empowering students with the experience of
self-control and choice, helping them take the initiative in wanting to learn and practicing the
student’s craft by teaching them to make the decisions on how, what and when to study. In this
area we will be referring to the work of a nationwide collegiate research team whose 2004 findings
were published in Educational Psychologist .
And so let us turn to the process of learning. Brain based and other learning research over
the last few years has shown that we need to take into account individual strengths and weaknesses
in the areas of multiple intelligences, (linguistic, logical-mathematical, spatial, bodily-kinesthetic,
musical, interpersonal, intrapersonal and naturalist), different modes of perception and encoding
(audio, visual, tactile-kinaesthetic) and diverse learning styles (abstract, concrete, sequential,
random). As teachers, we need to incorporate these discoveries into our lesson plans, methods and
materials, but this is not enough. To truly work ourselves out of a job, leaving behind a capable
student who can learn successfully on an independent basis, we need to teach these concepts, as
simply and clearly as possible, for the students’ own use. Debbie Silver is “an award winning
educator with 30 years experience as a classroom teacher and university professor,” as the back
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cover of Drumming to the Beat of a Different Marcher describes her. She focuses on reaching
every kind and class of student in a warm and personal way, and has been featured as a teacher on
PBS. Referring to the work of Howard Gardner on multiple intelligences, Silver tells us: “A
cornerstone . . . . is the idea that students’ intelligences will be identified . . . and used to maximize
their understandings of the world around them. Helping them learn to capitalize on their
competencies is a key way of inspiring them to be lifelong learners” Silver 114). Silver goes on to
provide templates for an icebreaker activity for a whole class to help each other discover how they
are smart, and a personal checklist for each individual student to use to discover their strengths in
the eight intelligence areas more deeply for themselves. (Silver 117-20). These concepts will
reappear in the lesson plans attached as Appendix C of this paper.
With regard to the optimal “input preferences” Sara Smith of the University of Texas
Health Sciences Department, in her Scriptorum Online Textbook tells us that there are three
major input preferences – though many subcategories:
People who have a preference for visual input have a strong aptitude with charts,
graphs, hierarchies, films and demonstrations. They easily remember information
they see. Those who prefer aural input learn best from discussion and lecture.
Having opportunities to talk things through with others is important for their
learning process. . . things that can be mentally "heard" later, enable them to recall
information. Kinesthetic learners relate best to information with which they can
interact. . . .. They will remember things more easily if they can be active while
learning, . . . putting together a model, or moving items into a pattern. (Smith)
There are many products available to assist students in discovering their optimal input mechanism.
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For example there is a quick and immediate inventory available online for free at
www.howtolearn.com, and a very powerful paper and stickers method is offered inexpensively by
Performance Learning Systems. Teachers will need to work with the school recommended provider
or devise their own questionnaire, but helping students understand their preferences for absorbing
information is an important step to their learning proficiency and independence. A very simple,
quick and dirty test is offered by Eric Jensen in Brain Based Learning:
A fire breaks out in your home. Your immediate reaction will be one of the
following: 1) visual – you quickly size up the situation, looking for exits, others in
need etc; 2) auditory – you start yelling “Fire” or giving directions; or 3) kinesthetic
– you start running for the exits or grabbing others who need help. While you may
eventually respond in all these ways, one will tend to be an instinctual first reaction.
This would be your dominant or dependent input preference. (Jensen 145-46)
In addition to self knowledge of their strengths and preferences, for optimal learning
students also need to acquire study skills, including mnemonics and memory strategies, note taking
and review skills, with a particular emphasis on the value of repetition in both understanding and
memory, and a basic understanding of the processes of encoding and flow. In this way, those who
are interested in becoming superior students will have a good toolkit with which they can hone their
capabilities.
Firstly, we must help students understand the processes of memory. Rita Carter in her
fascinating science- journalism overview Mapping the Mind, explains the processes of forming long
term memories, and explains that things destined for long term retention will be replayed by the
hippocampus until they are firmly etched into the cortex (Carter 161-66). A very simplified
overview of the processes of encoding, storage and retrieval will suffice for high school students,
Schuyler 21
together with an explanation of things like primacy and recency, chunking study time and using
breaks every 20-50 minutes and review to enhance retrieval. There is a highly readable one on the
Intelegen website which give a simplified overview of the natural rhythms of memory and explains
the value of review like this:
How do you recall . . . . information after you have learned it? . . .It does
require effort. Imagine that you went to a class, listened to the teacher, took your
notes and at the end of the lesson threw your notebook into your bag. How much
information do you think you would remember about what you had learned by the end
of the following day? Ebbinghaus proved that within 1-2 days, we forget about 80%
of what we have learned. It seems a waste doesn't it? There is a way to overcome
that problem.
At the end of an hour's learning, your mind integrates the information that
you have just studied so that your ability to recall it actually rises, peaks after
about 10 minutes and then falls off dramatically. Now if you review what you have
learnt at that 10 minute point, you will reinforce the information at its strongest in
your mind.
Your ability to recall this information will remain at a high point for about a
day before it begins to drop off rapidly. So it is a good idea to review what you have
learnt again after a day. This second review will mean that your ability to recall what
you have learnt will remain for about a week before it begins to tail off again so
guess what we do after a week? Full marks to those who think we should review
again.
Schuyler 22
If you are worried about all these reviews, don't be, because with the right
note taking technique, each review will only take a couple of minutes. After this third
review your recall will last for about a month at which your fourth review will keep
the information accessible by you for up to 6 months. A fifth review after 6 months
will mean that the information is firmly logged in your long-term memory. So:
1. Study for as long as you like but ensure it is in 20-50 minute chunks with breaks
of 10 minutes where relaxation and/or something physical and fun is mandatory.
2. Review what you have learned: 10 minutes after learning; 1 day after learning;
1 week after learning; 1 month after learning; 6 months after learning. (Intelegen)
The anonymous but fluent Intelegen author mentions two other key areas – mnemonics and
note taking. On the subject of mnemonics, Hwang and Levin ran a series of experiments regarding
mnemonic techniques with college and middle school level students, finding that these techniques
dramatically improved the ease of encoding and recall of factual information. Significantly, this
freed up study and lesson time to focus on the more strategic and relevant information, which has
been the primary focus of this paper. In other words, for some of the fundamental factual data
which is needed for inquiry and literacy skills, it helps to use timesaving memorization tricks and
devices, so that the bulk of study and learning time can be occupied with higher levels of Bloom’s
taxonomy like analysis, application and comprehension. Hwang and Levin tell us:
Elaboration strategies, which include mnemonic techniques, facilitate the acquisition
of factual information because they assist in the encoding process, either by
providing familiar connections or by creating new connections between
the to-be-remembered information and the learner’s prior knowledge. . . .
Mnemonic techniques have proven to be especially effective when the learner has
Schuyler 23
little or no prior knowledge of the to-be-remembered information, because such
techniques systematically create new connections that can be related to the
learner’s prior knowledge. . . .mnemonic techniques are effective with a variety of
curricular content for learners from a wide range of ages and skill levels. (Hwang
and Levin 27)
There is a rich array of these devices, which can be found in virtually any reputable
pedagogical textbook. Lesson plans related to this paper will include one or two of these. A short
list of those which can be considered includes, Levin’s mnemeric method (Hwang and Levin 27),
acronyms, rhymes, the ancient Greek method of loci, pegwords and visualizations. The point here is
once again not to offer exhaustive lists of methods, but that if students do not already have good
memorization techniques, they need to be overtly taught. In this way they gain control of their own
educational approach and teaching can focus on the interesting and relevant rather than rote
memorization materials and testing. In the classroom planned as a result of this paper, learning
style inventories and references to mnemonic techniques will be given to students, and they will be
asked to use their specific learning style strengths and their selected mnemonics for a specific
series of homework assignments until they have become second nature as study tools.
No matter what the process of remembering, however, it will depend on the ability to take
notes well in the first place. The optimal methods of note-taking for any given student will probably
vary by the individual student’s preferred input method: visual students will like diagrams,
patterned notes and mind maps, auditory students notes or recordings that can be read or played
back to them and kinesthetic notes and gestures that can be rewritten and rehearsed for
memorization. A variety of techniques are best to allow students to select the one best suited for
their unique brain, but probably the Cornell two column note taking method (Cornell), Tony Buzan’s
Schuyler 24
“Mind Mapping” techniques (Buzan), and some experience with digital recording devices will be a
sufficient base from which students can create their own approach. There is now a good piece of
university developed mind-mapping software called Freemind that any student can download for
free to make an easy pictorial replica of information, in the increasing number of school and homes
that offer computer access (Freemind). Again, the point here is that independence and excellence
in harmony require processes and techniques that have to be taught, and these will be taught in the
classroom visualized as a result of this research paper.
6. Rich Reflection
A critical dimension of understanding our own learning style preferences and the most
effective study techniques is reflection and monitoring of our own learning. There are several ways
to do this, but one of the most effective is also the simplest – journaling. In “The Effective Use of
Student Journal Writing” from the ERIC Clearinghouse on Reading, English, and Communication
Digest #99, Gary Cobine tells us:
The concept of a "communications triangle" of reading, writing, and discussing
implies the need for a methodology whereby the teacher could stimulate the
natural interaction of language uses in students to further linguistic development.
Specifically, it implies the need for a method with which the teacher could connect
reading and writing assignments to teach the art of communicating. As the
cornerstone of such a communications method, student journals have proven simple,
yet effective. For example, one secondary school teacher . . . . starts with an oral
reading of a passage from literature, follows it up with journal writing about the
passage, and ends with voluntary sharing of journal entries by students. . . . the
teacher, as well as the students, writes about the passage. Then, both to model a
Schuyler 25
critical response and to set the students at ease about sharing their own responses,
the teacher shares his/her journal entry first. (Cobine 1)
Journals clearly offer overall integration of the communication arts, and they also allow
monitoring self correction to occur. As the students read and reflect on their progress in
understanding literature, writing or other language progress, they are able to assess and
troubleshoot specific areas of concern. Cobine goes on to tell us:
[the many forms of such writing include] a dialogue journal for engendering
communicativeness, a literary journal for stimulating thought, and a subject journal
both for augmenting work in a specific subject and for troubleshooting subjectspecific concerns. (Cobine 4)
In the English classroom envisioned in this paper, journals will be used for all the purposes
outlined by Cobine: teacher dialogue, literary appreciation, subject record, forming simultaneous
progress logs for student understanding and review. It is in the latter category that they will
offer their writers benefits of self monitoring and metacognition, and in the classroom planned as a
result of this paper journals will be a regular feature of instruction.
7
Apprehending Assessment
In order for students to fully exploit self monitoring techniques like journals, and get the
most from their learning abilities, we need to equip them to understand assessment, to get a feeling
for how well they are doing and the experience of success. Richard Stiggins, in his striking article
“Assessment, Student Confidence and School Success” in the Kappan Professional Journal believes
that the time has come to look at assessment in a whole new light – as a tool for learning, via
student involvement.
The current cycle of low achievement – poor academic results leading to low expectations,
which results in minimal effort and interest, producing, naturally, further poor achievement, can be
Schuyler 26
broken. We must find ways to help these students achieve well by careful assignment of tasks and
good motivation, then show the students how to self assess this good result so that they build
confidence and interest which can drive greater effort and engagement, producing, naturally,
better achievement and so on. This will replace the vicious circle with a virtuous one.
This is no easy task, since it requires assessment to take place in an atmosphere of strong
trust where the teacher is clearly a powerful advocate of the students, and the students are led to
build trust and confidence in their own abilities, via tangible evidence and eventually hard work.
Still, it is probably the only way to raise the bar for all students. Stiggins tells us: “Students
succeed academically only if they want to succeed and feel capable of doing so. If they lack either
desire or confidence, they will not be successful. Therefore, the essential question is a dual one:
How do we help our students want to learn and feel capable of learning?”(Stiggins 1).
Stiggins believes as most of us do, that only success breeds success, and that those
students who have never or rarely experienced success may no longer believe they are capable of
doing so, and may have begun not to care. In this event, he sees it as crucial to find a way to allow
students to succeed, thereby opening up the mental possibility of future success:
If these students are to come to believe in themselves, then they must first
experience some believable form of academic success as reflected in a real
classroom assessment. Even a small success can rekindle a small spark of confidence
that, in turn, encourages more trying. If that new trying brings more success, then
students' academic self-concept will begin to change. Our goal is to perpetuate this
cycle. . . . The direction of the effect is critical. First comes academic success, then
comes confidence. With increased confidence comes the belief that learning just
might be worth a try. Students must experience success in terms of specifically
Schuyler 27
focused, rigorous academic attainments . . . Focused effort with an expectation of
success is needed. Students must come honestly to believe that what counts -indeed the only thing that counts here -- is the learning that results from the effort
expended. They must perceive effort that does not produce learning as just not good
enough. Further, if our students are sincerely trying to do the things we suggest and
if they are not finding success, then we had better change the things they are doing.
(Stiggins 9)
Probably the best approach to begin this virtuous circle is to use a standard rubric, such as
those developed by the Alaska State Department of Education for general communication, reading
and writing to train the students in assessment (Alaska). Initially teacher and peer assessments
would be used and discussed on basic techniques likely to afford opportunities for success such as
finding, reading and providing the personal meaning for a simple poem. This can be done including a
student’s self assessment which would then be compared to those of the teacher and peers, not
only for performance assessment purposes but also to assist in acquiring competence in the
techniques and judgments required for evaluation. As time goes by, students will more frequently
assess themselves and each other, with the teacher providing only corrective guidance for those
whose judgments needed work, or whose interpersonal skills were less than warm and inclusive. This
kind of exercise will often show that students are harder on themselves than either peers or
teachers, and offer a refreshingly positive view of products that that had regarded as
inconsequential or inadequate. But even if this does not occur, the demonstrated ability to
accomplish a task and to have that accomplishment seen and acknowledged, with any useful
suggestions for improvement made in a positive manner, should begin to work the magic. Repetitions
of this kind of experience, handled in the right way, will strengthen critical and judgmental skills,
Schuyler 28
social skills and classroom community. As an added bonus it will lighten (but not obviate) the
teacher’s burden in review and assessment, and give the students a newfound sense of autonomy
and control in their own learning outcomes.
Given the need to monitor behavioral issues, watch the clock and plan out instruction time,
build relationships and know names and activities as well as delivering excellent variegated
instructional techniques, all of them new requirements in many ways to a new teacher, excellence in
formative assessment is an extremely steep hill to climb. In the classroom that is envisioned as a
result of this paper, we will plan to create a simple clipboard form on computer with the name of
each student and a blank space for both academic and behavior notes and force myself to take
notes whenever a few seconds’ gap in my own presentations occurs, and use it heavily during
individual and group activities. It should offer a good behavior tool, since students should feel
slightly on their toes while they are clearly being observing notes are being written down about
them, but in addition it will force the teacher to notice things and record them for later use, in the
hope of developing a natural habit that can later rely more on instinct and memory.
Secondly, we will use the results of this formative assessment to build a picture of those
who are struggling with achievement or who have essentially given up the struggle. We will try to
segregate the latter set of students into those who don’t care regardless – perhaps they have a
behavior disorder or perhaps their non-school lives are so appalling or demanding that their basic
needs do not allow a focus on academics. For these we will work with professionals and do what we
can to either provide high cost discipline to avoid disruption (behavior disorders) or physical
/emotional support (needs not met).
The remaining group of low achievers after these have been addressed will probably consist
of those whose academic experiences have led them to be pessimists and/or to eventually throw in
Schuyler 29
the towel. We hope and estimate that in a balanced rural geographic area these will number no
more than perhaps 7-10 students in a 30 student classroom. With these we will develop a) a set of
tasks that can interest and engage them, and that can be absolutely within their ability to perform
and b) a special way to motivate them to perform these tasks. This motivation will have to be
student specific, and we will have to figure out how to challenge the higher achievers with a
different yet parallel activity in a fair-minded fashion so that no-one feels singled out or left out in
a negative way. Perhaps we have a group project with two different topic areas, both allowing visual
or written presentations, and we quietly encourage the low achievers to go for the graphics and
ensure they have access to a good artist. Perhaps we do a personal writing project on a topic of
choice and we assign a group of high achievers as coaches to the low achievers, offering them good
grades on the basis of the coaching skills, analysis of what makes a good writer (excellent
metacognition for their own skill building) and whether or not the lower achievers would want to
repeat the experience – an anonymous survey.
At the same time, we will provide assessment tools
to both groups on their own and the other group’s performance – asking them to assess how they
performed and how their peer group performed as well as whether they felt they had helped or
been helped by the peer group.
This will offer huge riches in terms of insight of their abilities
and process as well as giving both groups a decent initiation into assessment techniques – self
assessment and assessment of others. Techniques of constructive criticism will be taught as well as
the instruments themselves and how to score them and very careful monitoring will need to occur to
avoid don’t-care scoring and unpleasant comments. We will then give both groups the same reward
for a successful outcome – perhaps a visit by a local football star, who happens to have good grades
in English and can tell them why these are useful in his chosen avocation.
Schuyler 30
Once we achieve success with and for the low achieving group, we will show them the A or B
plus grades, we will call each parent and tell them their kid is in a small group of the most improved
students, we will display their work all over the walls (with the high achievers, and now they will
know they had the same or equivalent grades – though we probably will not display exact grades)
and we will ask them to write a journal entry on how the success made them feel and in what areas
they feel they can do more work in this way in future. The hope is that this will build great trust in
the teacher’s desire for them to succeed and trust in themselves i.e. in their own abilities. With
fortune smiling and hard work, we might begin a whole new cycle this way! That would be the most
exciting experience for a teacher and the less successful students, well worth the hard work
involved.
7. Critical Cognition and Discerning Discourse
This skill set is not only important in its own right; it is a crucial prerequisite for critical
thinking and discourse, such as those offered through the use of Socratic circles. Matt Copeland’s
informative book Socratic Circles: Fostering Critical and Creative Thinking in Middle and High
School tells the story of his baptism by fire in entering the world of teaching literature – he had a
very hard time in lighting the fire until he realized that students need to talk about literature with
each other and on their own terms. In order to do this, Copeland realized that he would have to
structure their reading of and thinking about the literature to be discussed with critical questions
that are meaningful, and that can lead to inquiry type mental processes analogous to the ones we
covered from Jeff Wilhelm. As Copeland tells us:
Modern education appears obsessed with answers – both correct and incorrect. It is
questions, however, that drive the mind in critical thought. . . . it is the going honest
quest for information and understanding through the act of questioning that
embodies the true idea of democratic education. . . . It is by following every
Schuyler 31
statement with a question to further explore the depth of our thinking that we allow
our ideas to grow and develop more fully. (Copeland 7)
This is the core reasoning behind Socratic circles, with the added dimension that students
question each other, and they do so in their own terms. After a couple of iterations of the circle
concept, Copeland realized that it would be even better if we could teach the students to develop
their own questions. He now has a whole set of materials and techniques to help them prepare. For
the circles themselves, Copeland has students sit in two concentric circles. The inner circle
discusses a pre-assigned, pre-read text on which they have done enough work to have questions,
ideas and viewpoints to bring to the table. Students in the outer circle do not say a word during
this discussion, but make a written critique of the discussion, using a teacher supplied rubric, of the
quality, manner and pervasiveness (what proportion of students are involved and how do they invite
each others’ comments to flow) of this conversation. They are each paired up with an inner circle
student, and if there is a topic on which they have a burning desire to comment, they may pass a
written request to this partner to represent their idea to the group. But the outer circle’s primary
focus is on the effectiveness and value of their colleagues’ discussion, rather than its content.
When the inner circle has completed its discourse or the time has run out, the circles switch and on
the same or on another text, the new inner circle starts a prepared discussion and the new outer
circler will critique them. In this way they not only conduct their own academic debates and
interactions on their own terms: “Doesn’t Lady Macbeth’s taunting of Macbeth to incite him to
murder remind you of Senator Palatine’s taunting of Anakin to persuade him to kill the Jedi in Star
Wars Revenge of the Sith?” “Yes it does, but what areas did you have in mind?” , it also teaches
them to interact courteously, critique each other’s discussion and thought processes with respect,
and learn from each other’s critical analyses as well as debating techniques. Copeland tells us:
Schuyler 32
Socratic circles are an excellent means of developing a wide range of academic
skills. Beyond capturing the imagination and creativity, Socratic circles can build
skills in the areas of reading listening, reflection, critical thinking and participation.
A benefit of Socratic circles is they bring all the areas of the curriculum together
into a cohesive whole. (Copeland 11)
Though they are clearly not the only method of inculcating the by now universal objective of
critical thinking skills (a great deal of Bloom’s 1956 taxonomy is preoccupied with this), Socratic
Circles are an innovative (even if paradoxically also ancient) technique to have students take
responsibility for their own comments, thoughts, questions, and in short their own learning
process, and they will be used regularly in the classroom planned by this research paper. Copeland
again: “Perhaps what Socratic circles offer students and teachers more than anything is the
opportunity to practice and hone their skills in critical thinking . . . . students quickly see critical
thought as an ongoing developing skill rather than some secretive society to which some students
belong and others do not” (Copeland 12).
Schuyler 33
Decisions, Decisions – Conferring Choice
If we have been successful so far, with at least some of our students, they will have
inquiring minds, a connection from literature and language to the needs of real life, an
understanding of their personally optimal learning modes, memory and study skills and the ability
to conduct critical thinking and discourse. The final link in this chain of power is to help them use
all these new found abilities by offering them choice. In their interesting article “Supporting
Autonomy in the Classroom,” Stefanou et al tell us
. . . .for students to be self determined, they must have their needs for autonomy,
competence and relatedness fulfilled in social contexts. Learning itself has an
autonomous nature. Recent advances in cognitive learning theory reveal that learning
is an active, self-constructed and intentional process. . . . autonomy has been found
to promote more persistence on task and increase self-regulation for learning.
Clearly student choice is a desirable thing, from the first selection of an inquiry topic, through the
ability to contribute intertextual ideas, select learning style preferences, study techniques,
assessment evaluations and questions for Socratic discussion. Little additional explication is
required here, but it is a key premise of this approach to English classrooms that independence and
individual thinking are core objectives of a solid language and literature education, and therefore
that enabling students to choose topics which interest and engage them, allow for motivation as well
as a greater sense of self determination and power to manage their own learning. It is clearly
necessary for teachers to devise a broad curriculum including some classic and mandatory texts; as
the PDE standards show, we are responsible for ensuring the acquisition of a rich range of required
skills in such a manner as to enable our students to pass standardized tests, as well as take a
Schuyler 34
command of them forward in life. But within these frameworks and mandates, the more
opportunities we can give students to choose their own destiny, the more invested they will be to
ensure that destiny is a good one, full of valuable learning, interesting questions and useful skills.
For that reason, students will be invited to select their groups, activities, paper topics and project
focus as frequently as possible in the classroom project as a result of this research project.
This paper has attempted to show that the success of high school literacy and English
language arts instruction in terms of student engagement and capability can be greatly enhanced by
lessons containing inquiry and materials/ topics of emotional interest and logical relevance to
students, by teaching them metacognitive skills including process, self-knowledge, self- assessment,
critical thinking and study strategies, and by providing opportunities for self-control and choice.
It is hoped that teachers who take the approach outlined, including the author, will become
– in the words of Conan Doyle – true conductors of light, guiding and coaching their students to
become curious, accomplished and motivated pursuers of the joys of learning in literate studies and
the language arts.
Schuyler 35
Works Cited – Section I
Alaska Department of Education Rubrics and Scoring Guides Website . 20 Jan. 2006 <
http://www.educ.state.ak.us/tls/frameworks/wrldlang/wlinstr3.html#General>
Buzan, Tony. How to Mind Map. New York: Penguin Books, 2002.
Cobine, Gary. “The Effective Use of Student Journal Writing.” ERIC Clearinghouse on Reading,
English, and Communication Digest. 99 2 June 1995. 27 Jan. 2006.
<http://www.indiana.edu/~reading/ieo/digests/d99.html>
Conan Doyle, Arthur. “The Hound of the Baskervilles.” Strand Magazine. 1901-02.
Copeland, Matt. Socratic Circles: Fostering Critical and Creative Thinking in Middle and High
School. Portland: Stenhouse, 2005.
Cornell Center for Teaching and Learning. “The Cornell Note Taking System.” Cornell University
Website. < http://www.clt.cornell.edu/campus/learn/LSC%20Resources/cornellsystem.pdf>
20 Jan. 2006.
Cruger, Liz. “Definition of Enquiry.” Exploratorium Institute for Learning Website. Nov. 1998. 14
Jan. 2006 < http://www.exploratorium.edu/IFI/resources/inquirydesc.html>
Editorial Projects in Education. “Quality Counts at 10.” Education Week Website. 11 Jan. 2006. 14
Jan. 2006 < http://www.edweek.org/ew/collections/state-of-states/index.html>
Einstein, Albert. Ideas and Opinions. New York: Crown Publishers, 1954. 79-80.
Freemind Software. Freemind Website. 20 Jan. 2006.
<http://freemind.sourceforge.net/wiki/index.php/Main_Page>
Hellweg, Eric. “Hip Hop High.” Edutopia Magazine. The DJ Project Website. Sept. 2005. 12 Dec.
2005. <http://www.thedjproject.com/press_090105.htm. />
Schuyler 36
Hwang, Yooyeun and Joel R. Levin “Examination of Middle-School Students' Independent Use of a
Complex Mnemonic System” Journal of Experimental Education. 71.1 (Fall 2002) 25-38
Intelegen. “Your Memory’s Natural Rhythms.” Memory, the Brain and its Natural Learning Rhythms
Intelegen website 20 Jan. 2006 <http://brain.web-us.com/brain/brainmemoryrythms.htm>
Jensen, Eric. Brain Based Learning. San Diego: The Brain Store, 1995.
Jensen, Eric. “Teaching with the Brain in Mind” Association for Curriculum Development Website.
1998. Dec. 5. 2005 http://www.ascd.org/xchange/threads/nodes/brain/extjensen.html/
Santo, Susan. “Learning Styles and Personality.” University of South Dakota website. Dec. 2005. 14
Jan. 2006. <http://www.usd.edu/~ssanto/gregorc.html>
Santrock, John W. Life-Span Development. New York: McGraw-Hill, 2004.
Silver, Debbie. Drumming to the Beat of a Different Marcher. Nashville: Incentive Publications Inc.,
2003
Smith, Sara M. Scriptorum Online Textbook. Houston. Texas UP. 28 July 2004. 14.jan. 2006
<http://www.uth.tmc.edu/scriptorium/textbook/learning.html>
Stefanou, Candace R. et al. “Supporting Autonomy in the Classroom.” Educational Psychologist. 39.2.
2004. 97-110.
Stiggins, Richard J. ” Assessment, Student Confidence and School Success”. Kappan Professional
Journal. 6 August 2001. 5 Dec. 2005. <http://www.pdkintl.org/kappan/k9911sti.htm/>
Strong, Richard, Harvey F. Silver and Amy Robinson. “What do Students Want and What Really
Motivates Them?” Educational Leadership. Sept 1995. 12 Dec. 2005
http://www.middleweb.com/StdntMotv.html/
Wiggins, Grant & Jay McTighe. Understanding by Design. Upper Saddle River, NJ: Prentice Hall, 2001
Wilhelm, Jeff and Michael Smith. Going with the Flow. Portsmouth: Heinemann, 2006
Schuyler 37
SECTION III – CORRESPONDING CURRICULUM
10. 12th Grade – Reading, Writing and Macbeth by William Shakespeare
Week 1
1.
Macbeth Act I

Theme & motif in literature (review)

Plot summary and journaling – question construction

Inquiry question: – What makes a person turn to the dark side? – Identification of
contemporary examples of all the motives students find
2.

Introduction to the Medieval Great Chain of Being & Divine Right of Kings

Introduction to 2 core thematic clusters in Macbeth

Reading of Act I and mapping the theme clusters into a worksheet
Macbeth Act II

Plot in literature (review)

Reading Quiz on Act I

Class and homework theme mutual assessment and review

Inquiry question: – By what process does a person turn to the dark side? Mapping of this
process into a mini-plot

Reading of Act II and mapping the theme clusters into a worksheet
Schuyler 38
Week 2
3.
Macbeth Act III

Inner conflict in literature (review)

Reading Quiz on Act II

Introduction to Learning Styles and/or Note Taking: Cornell and Mind Mapping methods

Class and homework theme mutual assessment and review

Overview of Socratic Circles method of discussing literature

Intertextual comparison of the temptation scenes in Macbeth and Star Wars 3:
Revenge of the Sith

4.
Reading of Act III and mapping the theme clusters into a worksheet
Macbeth Act IV

Socratic Circles discussion method in literature (review)

Reading Quiz on Act III

Methods and structure of assessment for Socratic circles with Rubric

Class and homework theme abbreviated mutual assessment and review

Recap of Socratic Circles method of discussing literature and clear statement of
benefits and methods

Socratic Circle discussion of Act III

Reading of Act IV and mapping the theme clusters into a worksheet
Schuyler 39
5.
Macbeth Act V

Character development in literature (review) and note taking review.

Reading Quiz on Act IV

Write around group exercise on ““Why do you think that Macbeth keeps doing bad
things, even though he was unhappy with life after the first murder?”

Class and homework theme Act IV mutual assessment and review

Introduction to Macbeth character study essay topics to select from

Macbeth and Lady Macbeth character overviews and note taking practice

Reading of Act V and mapping the theme clusters into a worksheet
Week 3
6.
Macbeth Written Essay

Essay structure and thesis composition (review).

Reading Quiz on Act V

Selection of essay topics

Review of writing planning process and paired construction of essay plan

Assembly of essay materials from prior theme, dark side cause and process worksheets

Reading of Act V and homework theme worksheets

Introduction of final practical life project topics to select from

Beginning to draft the Macbeth essay to be completed for homework
11. 11th Grade – Reading, Writing, and The Adventures of Huckleberry Finn by Mark
Twain – similar series of lessons adapted for American Literature
Schuyler 40
SECTION IV – LIVELY LESSONS
12th Grade Lesson Sequence
Lesson Plan – Macbeth 1
Pre-service Teacher Mandy Schuyler
Cooperating Teacher___________________
School / Grade McDowell Grade 12
Date Written 1/28/06
Date
Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time
90 minutes
Lesson Concept:
Introduction to Macbeth through the inquiry: “What makes a person go over
to the dark side?” through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
Assessments
1. Students will become engaged with the inquiry
question and relate it to prior experience
1. Meaningful bellringer and worksheet responses.
Engaged questions and discussion. Good
examples of figures who yielded to temptation
2. Insightful questions raised for future use.
Good plot synopsis and selection of events
which shed light on the story’s theme
3. Accurate identification of specific instances of
the themes of ‘unnaturalness’ and ‘reality vs
appearance in the first acts of the play
2. Students will acquire a general overview of the
play ‘story’ and be able to compare it to their
own ideas
3. Students will refresh the concept of ‘theme’
and will begin to use it to find the threads of
meaning through Macbeth
Materials:
Macbeth by William Shakespeare
Bellringer poster or blackboard display
Dark Side worksheet
Theme overhead
Theme Act I Worksheet
Handout of play summary
Anticipatory Set: Bellringer: Think of a time when you or someone close to you gave in to an
impulse that you knew to be wrong. Very briefly describe this event and give short answers to the
following questions: A. In retrospect, why did you/they decide to do the wrong thing? B. What
happened as a result? C. How did you feel? D. Did you/they make things right? E. If so how hard
was that? 5 minutes. The class will pair up and share their answers to this question for 3 minutes.
Activating Prior Knowledge:
The teacher will ask the class to share their definition of “theme” and “motif” in a literary work,
referring to their notes or to a textbook definition if needed. The teacher will then display
definitions of theme and motif on an overhead projector or the blackboard (see page 3 attached).
Students will be asked to give examples of themes and motifs from works previously studied. 5
minutes.
Schuyler 41
Procedure:
1. Macbeth story line. Students will be given a handout of the plot summary of Macbeth (see pages
4-5) and will take turns in reading it aloud. At the end of the reading they will be asked to
think of three questions that arose in their mind as a result of the brief synopsis of the play,
and which they hope to answer as we read through the text and write them into their journals
along with their impressions of the play’s story line so far.
15 minutes
2. Students will be given a worksheet entitled “What makes a person turn to the dark side?” (pages
6 & 7). They will assemble into groups which will be asked to brainstorm human impulses such as
greed, fame, power etc which can trigger a decision to do something perceived to be wrong, and
then find examples from life, pop. culture, history and literature of people who have given in to
temptation for the kinds of reasons the group identifies. 15 minutes
3. Students will be introduced to the medieval Great Chain of Being with its theory of
correspondences showing the equivalent imagery for ‘sun’ ‘king’ ‘oak tree’ ‘lion etc. (pages 8 & 9).
and asked to take notes on these, perhaps guess what the highest sea animal might be (dolphin).
10 minutes
4. Students will be introduced to the two thematic clusters in Macbeth – 1. the “unnatural” in the
form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime
against the Great Chain (anointed King) and – 2. “Appearance versus reality” in the form of a)
intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of human
kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth
feels after he gets what he wants. 5 minutes.
5. The first two scenes of Act I of Macbeth will be read aloud in class and the students will use
the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur,
with the teacher modeling the first two entries. They will be asked to read the rest of Act I
as homework (in an annotated edition) and come to class ready to discuss the themes they have
filled into the worksheet and take a reading quiz. This quiet reading will begin in class. 20 mins
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side.”
Additional Concept Related Activity:
If there is extra time (unlikely) students will be asked to begin to map out the process of the
stages of going over to the dark side in their journals – what do they predict might happen in
Macbeth’s mind as he considers the possibility of being king and in what sequence might these
feelings occur.
Schuyler 42
Slide 1
Literary “Theme”
Theme:
(1) A central idea or statement that unifies and controls an
entire literary work. The theme can take the form of a brief
and meaningful insight or a comprehensive vision of life;
(2) Frequently recurring ideas, such as enjoy-life while-youcan;
(3) Repetition of a meaningful element in a work, such as
references to sight, vision, and blindness in Oedipus Rex.
Sometimes the theme is also called the motif. Themes in
Hamlet include the nature of filial duty and the dilemma of
the idealist in a non-ideal situation. A theme in Keats's "Ode
to a Nightingale" is the difficulty of correlating the ideal and
the real.
Source: website of the City University of New York
http://academic.brooklyn.cuny.edu/english/melani/lit_term.html >
MOTIF: A conspicuous recurring element, such as a type of
incident, a device, a reference, or verbal formula, which
appears frequently in works of literature. For instance, the
"loathly lady" who turns out to be a beautiful princess is a
common motif in folklore, and the man fatally bewitched by a
fairy lady is a common folkloric motif appearing in Keat's "La
Belle Dame sans Merci."
Source: Carson Newman College website, TN.
http://web.cn.edu/kwheeler/lit_terms_M.html
Schuyler 43
Summary of Macbeth
Generals Macbeth and Banquo crush a revolt against King Duncan of Scotland in an engagement in
which Macbeth fights with great valour. On their way back to the king's castle, they happen upon
three witches in the blackness of a heath during a thunderstorm. The witches predict Macbeth will
one day become king. They also predict that Banquo will beget a line of kings, although he himself
will not ascend the throne. After Macbeth presents himself before Duncan, the king heaps praises
on the general for his battlefield prowess and announces he will visit Macbeth at his castle.
Later, at home, Macbeth cannot stop thinking about the witches' prediction: ME, KING! Intoxicated
with the thought of wearing the crown, Macbeth decides to hasten history along: He will murder
Duncan. Macbeth's wife, Lady Macbeth, applauds his plan. But she worries that he is ''too full o'
the milk of human kindness'' to carry through with the murder.
After Duncan arrives at Macbeth's castle with his sons and his entourage, Macbeth has second
thoughts about the murder plot during supper and leaves the table to battle his conscience. Lady
Macbeth follows. ''We will proceed no further in this business,'' Macbeth tells his wife. ''He
[Duncan] hath honour'd me of late; and I have bought golden opinions from all sorts of people, which
would be worn now in their newest gloss, not cast aside so soon.'' But Lady Macbeth holds him to his
vow to kill Duncan, saying, ''I have given suck, and know how tender 'tis to love the babe that milks
me: I would, while it was smiling in my face, have pluck'd my nipple from his boneless gums, and
dash'd the brains out, had I so sworn as you have done to this.'' Macbeth, swayed, asks her: ''If we
should fail?'' She answers, ''But screw your courage to the sticking-place, and we'll not fail.''
At midnight, while King Duncan sleeps, Lady Macbeth drugs the king's guards and rings a bell
signalling Macbeth that all is ready. Using a dagger of one of the guards, Macbeth murders Duncan,
and Lady Macbeth smears blood on the sleeping guards.
Early in the morning, a nobleman named Macduff calls at the castle to visit King Duncan. ''O horror,
horror, horror!'' he exclaims upon entering Duncan's room and discovering the body. Before anyone
can investigate, Macbeth kills the guards, claiming their bloodied daggers are proof that they
committed the foul deed.
Duncan's sons, Malcolm and Donalbain, do not for a moment believe Macbeth. However, fearing for
their own lives, they flee Scotland. Their hasty departure makes them appear guilty, so the crown
passes to the nearest eligible kin, Macbeth. But now that he is king, Macbeth cannot rest easy. He
remembers too well the prophecy of the witches that Banquo will father a kingly line. So Macbeth
sends hired assassins to murder Banquo and his son as they travel to Macbeth's castle for a great
feast. Ambushing their prey, the assassins slay Banquo ''with twenty trenched gashes on his head,''
but his son, Fleance, escapes.
Just as the feast begins, one of the assassins gives Macbeth the news. When Macbeth sits down to
eat, the bloodied ghost of Banquo appears to him but to no one else. Macbeth begins to act and
speak strangely, and one guest, Ross, says, ''Gentlemen, rise: his highness is not well.'' But Lady
Macbeth entreats the guests to remain in their seats, for ''my lord is often thus, and hath been
from his youth. . . . The fit is momentary; upon a thought he will be well again.'' After the ghost
Schuyler 44
vanishes, Macbeth regains himself and tells his guests that he has a strange infirmity ''which is
nothing to those that know me.'' The ghost then reappears and Macbeth shouts, ''Avaunt! and quit
my sight! let the earth hide thee! Thy bones are marrowless, thy blood is cold; thou hast no
speculation in those eyes which thou dost glare with!'' When Ross questions Macbeth about what he
has seen, Lady Macbeth says the king's fit has grown worse, and she sends the guests away.
Later, preoccupied with the fear of being discovered, Macbeth begins to suspect that Macduff who refused to attend the feast - is onto him. When Macbeth meets with the witches again, an
apparition tells him he has good reason to fear Macduff. But the witches also ease his fears when
another apparition tells him that no man born of woman can harm him. He is also told that no one can
conquer him until Birnham Wood comes to Dunsinane.
After the meeting, Macbeth learns that Macduff is urging Duncan's son, Malcolm, to reclaim the
throne. In revenge, Macbeth has Macduff's wife and son murdered. When Macduff hears the
terrible news, he organizes an army to bring down Macbeth.
Meanwhile, Lady Macbeth's conscience - long absent earlier - now begins to torture her. She talks
to herself and hallucinates, imagining that her hands are covered with blood.
After Macduff's forces arrive at Birnham Wood and advance on the castle at Dunsinane, Macbeth
prepares for battle just as Lady Macbeth's battle with her conscience ends in suicide. As they
advance, Macduff's invaders cut branches of trees to hold in front of them for disguise. Birnham
Wood is coming to Dunsinane, just as the witches predicted!
Finally, Macbeth meets Macduff in hand-to-hand combat, bragging that he will win the day because
''none born of woman'' can harm him. Macduff then reveals that he was not ''of woman born'' but
was ''untimely ripp'd'' from his mother's womb. Macduff then kills Macbeth, and Malcolm becomes
king.
Source: Gardner, Philip. Principal of East Doncaster Secondary College (High School Equivalent),
Victoria, Australia. < http://www.eastdonsc.vic.edu.au/home/pgardner/vate/Macsummary.html>
Schuyler 45
INQUIRY :
WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE?
Hypotheses:
1.
2.
3.
4.
5.
Notes:
Students should brainstorm these out, rather than being given them and students’ terminology should be used, but if they
have difficulty in finding the categories we can suggest them
Student examples should be used – we can use the table below to give them an idea of what we are trying to do
Fear
Greed/riches
Fame & glory
Pleasure, long life, sensual experience
Power
EXAMPLES OF PEOPLE TEMPTED BY EACH KIND OF IMPULSE
FEAR
GREED
FAME/GLORY
PLEASURE, LIFE
POWER
Literature/Fiction
The Godfather
Lord of the Rings
(Gollum – also greed)
Wall Street (movie)
Dickens (most)
King Midas
Achilles
Ray (the movie)
Faust
The Matrix
Black Widow (movie)
Portrait of Dorian
Gray
Richard II
Disclosure (Crichton
movie or book)
Life/Pop culture
Sergeant English
(Iraq)
Navy women silently
harassed
Enron: Skilling, Lay
Abramoff
Lyle Alzado (NFL
End/Tackle – died of
steroids 1992)
Paris Hilton
Michael Jackson
Rush Limbaugh
President Clinton
Martha Stewart
Saddam Hussein
History
Russian Czar
Nicholas (fear of
Rasputin)
Pres. James Garfield
(bribed by
construction corp.)
Marylin Monroe
Judy Garland
Alexander the Great
Napolean Bonaparte
(set aside queen for
Josephine)
Anthony (Cleopatra)
Nero (caroused
while Rome burned)
Hitler
Ghengis Khan
Muammar Quaddafi
Schuyler 46
INQUIRY :
WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE?
Name_________ Block_____
Take a moment in your groups to think about what might make a previously well behaved person decide to go over to the dark side- i.e. to
do something or -things that they themselves know/consider to be profoundly wrong. Things to evaluate might include fear, greed, desire
for fame & glory, pleasure or extended life and power. What others can you see? Which are most common? Note that they are not
mutually exclusive, for example fame and glory might also bring money and/or power, but you are looking for the primary motivation here.
Hypotheses:
1.
_____________
2.
_____________
3.
_____________
4.
_____________
5.
_____________
Now see how many examples you can think or that fall in each category – they can be from life, from books or movies, from history. Try
to find ones that you are familiar with and interest you, as we’ll be doing more work with these later.
EXAMPLES OF PEOPLE TEMPTED BY EACH KIND OF IMPULSE
1.
Literature/Fiction
Life/Pop culture
History
2.
3.
4.
5.
Schuyler 47
Medieval Great
Chain of Being
Christ as God
Cherubim
Angelic kingdom:
Understanding
Seraphim
Seraphim and Cherubim
Archangels
King (Political)
Angels (9 choirs)
Christ as Man
Pope (Sacred)
Animal (human) kingdom:
Touch Memory Hearing Movement
and understanding = Man
King
Pope
Nobles (Duke) Cardinals
Lesser Nobles Archbishops
Landowners
Bishops
Artisans
Priests & Monks
Peasants
Laymen
Lion
Existence, Life
Feeling and
Understanding
Dolphin
Animal kingdom:
Existence, Life
Touch Memory Hearing Movement
and Feeling
4 Footed Animals & Sea Creatures
Touch Memory Movement
e.g. Ants, Insects, Slugs etc.
Oak
Existence
Vegetable kingdom:
Trees, Grasses
and Life
Plants, Flowers etc.
Inanimate kingdom:
Existence
Water
Rocks etc.
Schuyler 48
Theory of Correspondences
Top
Secular
Human
Top
Sacred
Human
Top
Planet
Top
Sea
Animal
Top
Land
Animal
Top
Vegetation
King
Pope
Sun
Dolphin
Lion
Oak
Elements
Humours
Fire
Yellow Bile
Air
Blood
Water
Phlegm
Earth
Black Bile
Schuyler 49
FINDING THE THEMES AND MOTIFS IN MACBETH – ACT I
Name_________ Block_____
Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find:
1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great
Chain of being (especially the body or office of an anointed King)
2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of
human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets
what he wants.
THEMES THROUGH THE PLAY OF MACBETH
Description of event
Unnatural as
Supernatural
Bestial, AntiNatural
Crime against
Great Chain
Appearance
vs. Reality as
Hiding
intentions
Reluctance to
act on desire
Real values vs
perceived
desires
Quotation
Act – Scene – Line#
Ref.
Schuyler 50
THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT I
Unnatural as
Supernatural
Description of event & why it
represents the theme
Quotation
Act – Scene –
Line# Ref.
1. Witches 1st scene–introduces doers
of unnatural deeds
1. Whole scene as a harbinger of storm,
witches & familiars and their plan to
meet with Macbeth
2. “But in a sieve I’ll thither sail/ And
like a rat without a tail/ I’ll do and
I’ll do and I’ll do.
3. What can the devil speak true?
Act 1 Scene 1
1. Sergeant boasts the super -human
bravery of Macbeth & Banquo – may
foreshadow their ‘unnatural’ fates
2. Banquo thinks the witches beards
belie their womanhood
3. Lady Macbeth begs to be inhuman so
that she can help make Macbeth kill
4. Macbeth thinking it is unnatural to
kill a king as virtuous as Duncan
5. Lady Macbeth furious at Macbeth’s
lack of resolve
1. Yes;/As sparrows eagles, or the hare
the lion.
2. You should be women/ And yet your
beards forbid . . . that you are so
3. Come you spirits that tend on mortal
thoughts unsex me. . . cry ‘hold, hold!’
4. First, as I am his kinsman and his
subject, . . . then, as his host. .
… pity, like a naked new-born babe,
5. I have given suck, . . . babe that milks
me: I would, while it was smiling in my
face. .. And dash'd the brains out
Act 1 Scene 2
Lines 39-40
1. Ref. to the potential demise of a king
2. Sergeant: Macdonwald is unnatural to
fight against his appointed sovereign
3. Note Duncan as rightful king ‘natural’
talks of growing, plants
4. Lady Macbeth says king and sun both
will not see the morrow of his living
1. That will be ere the set of sun
2. The multiplying villanies of nature/Do
swarm upon him
Act 1 Scene 1 Ln 6
Act 1 Scene 2
Lines 14-15
3. I have begun to plant thee and will
labour/to make the full of growing
4. O never/Shall sun that morrow see
Act 1 Scene 4
Lines 33-34
Act 1 Sc.5 69-70
2. Witches next scene – refers to
supernatural deeds – sailing in a
sieve, bewitching a sailor, turning
into a rat
3. Banquo reacts to 1st prophecy real
Bestial, AntiNatural
Crime against
Great Chain
Act I Scene 3
Lines 10-12
Act 1 Sc. 3 L. 113
Act 1 Scene 3
Lines 48-49
Act 1 Scene 5
Lines 45-58
Act 1 Scene 7
Lines 19-22
Act 1 Scene 7
Lines 60-65
Schuyler 51
Appearance
vs. Reality as
Hiding/ all not
what it seems
1. Witches chant
2. Banquo response to coming true of
witches 1st prophecy
3. Macbeth reaction to it
4. Macbeth’s reaction to Malcolm’s
appointment as heir to the throne
(also reluctance to act on/see results
of desires)
5. Lady Macbeth planning the murder
6. Macbeth finally resolved to murder
Reluctance to
act on desire
Against his
‘nature’
1. Macbeth soliloquy on becoming Thane
( also self-perceived ‘unnatural’)
2. Lady Macbeth doubts her man can do
the deed to get the crown he wants
so badly
3. Macbeth changes his mind
Real values vs
perceived
desires
1. Fair is foul and foul is fair
2. Oftentimes, to win us to our harm,
/the instruments of darkness tell us
truths/ win us with honest trifles to
betray’s/in deepest consequence
3. Nothing is, but what is not
4. Stars, hide your fires;/Let not light
see my black and deep desires:/ the
eye wink at the hand; yet let that be,
/ Which the eye fears, when it is
done to see.
5. Look like the innocent flower/But be
the serpent under’t
6. Mock the time with fairest show:
False face must hide what the false
heart doth know.
Act 1 Scene 1 L. 13
Act 1 Scene 3
Lines 132-35
1. Why do I yield to that suggestion
whose horrid image does unfix my
hair and make my seated heart knock
at my ribs against the use of nature?
2. Yet do I fear thy nature;/It is too
full of the milk of human kindness. . .
and yet wouldst wrongly win
3. We will proceed no further in this
business:/He hath honour'd me
Act 1 Scene 3
Lines 142-45
Act 1 Sc. 3 L. 150
Act 1 Scene 4
Lines 57-60
Act 1 Scene 5
Lines 74-75
Act 1 Scene 7
Lines 92-93
Act 1 Scene 5
Lines 17-26
Act 1 Scene 7
Lines 34-35
52
Lesson Plan – Macbeth 2
Pre-service Teacher Mandy Schuyler
Cooperating Teacher___________________
School / Grade McDowell Grade 12
Date Written 1/28/06 Date Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time 90 minutes
Lesson Concept:
Study of Macbeth Acts I and II through the inquiry: “What makes a person
go over to the dark side?” and through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
Assessments
1. Students will become familiar with their own
learning styles or a new note taking method
1. Learning styles inventory or notes in the new
format
2. Students will identify instances of the themes
in Acts I and II of Macbeth
2. Accurate identification of specific instances
of the themes of ‘unnaturalness’ and ‘reality vs
appearance in the first acts of the play
3. A good diagram of the dark side process onto
which Macbeth’s experience can be mapped
3. Students will refresh the concept of ‘plot’ and
will begin to use it to identify the process of
turning to evil in Macbeth
Materials:
Macbeth by William Shakespeare
Bellringer poster or blackboard display
Dark Side process worksheet
Plot overhead
Theme Act II Worksheet
Handout of play summary
Anticipatory Set Bellringer: What do you think are three key ingredients for the process of going
over to the dark side? Why is each one necessary? Use examples from life, your own experience or
the play. 5 minutes. The class will pair up and share their answers to this question for 3 minutes.
Activating Prior Knowledge:
The teacher will ask the class to share their definition of “plot” in a literary work, referring to
their notes or to a textbook definition if needed. The teacher will then display a definition of plot
on an overhead projector or the blackboard (see page 3 attached). Students will be asked to give
examples of plot structures from works previously studied. 5 minutes.
Procedure:
53
1. Reading Quiz on Act I of Macbeth (see page 4).
2. Learning styles or study skills. Teacher will ask the class how many people are clearly aware of
their best method of taking in information through having done a learning styles inventory
before. If most people have already done one, she will give the handout to those who have not
and who are interested, and teach note taking in the Cornell method (for auditory and kinetic
learners and the Buzan mind mapping method (for visual learners)(Pages 7 & 8). If not, the class
will do the learning styles inventory and pair up to share the results (Pages 5 & 6). 15 minutes
2. Students will review their theme worksheets from class and homework, comparing their results
with an elbow partner, and marking each theme area found as accurate or inaccurate for each
other. Teacher will go through examples of all six areas of theme from the answer sheet, and
collect the homework.
4. Students will be given a worksheet entitled “What is the process of turning to the dark side?”
(pages 6 & 7). They will assemble into groups which will be asked to brainstorm the ingredients
of a situation (e.g. dissatisfaction with the status quo, opportunity presenting itself for change,
urging by a powerful other, doing the first wrong action, becoming used to it etc) which can
trigger a decision to do something perceived to be wrong, and then to continue dark deeds, and
map out the process using their own examples.
15 minutes
5. The first two scenes of Act II of Macbeth will be read aloud in class and the students will use
the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur.
They will note the change in theme from hiding intention to hiding action and from
reluctance to act to regret at action as Macbeth progresses in evil deeds. They will be
asked to read the rest of Act II as homework (in an annotated edition) and come to class ready
to discuss the themes. This quiet reading will be begun in class. 20 minutes
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side, and what is the process of doing it.”
Additional Concept Related Activity:
If there is extra time (unlikely) students will be asked to begin to map out the process of the
stages of going over to the dark side in their journals – what do they predict might happen in
Macbeth’s mind as he considers the possibility of being king and in what sequence might these
feelings occur.
54
Slide 1
Literary “Plot”
Plot:
The structure of a story. Or the sequence in which the author
arranges events in a story. The structure of a five-act play
often includes the rising action, the climax, the falling action,
and the resolution. The plot may have a protagonist who is
opposed by antagonist, creating what is called, conflict. A plot
may include flashback or it may include a subplot which is a
mirror image of the main plot. For example, in Shakespeare's,
"King Lear," the relation ship between the Earl of Gloucester
and his sons mirrors the relationship between Lear and his
daughters. Source: Nellen, Ted English Teacher, Information Technology High School; Chair,
NCTE technology chapterhttp://www.tnellen.com/cybereng/lit_terms/terms/2terms.html#Plot
55
READING QUIZ ON ACT I OF MACBETH
Name_______________ Block____ Date_______
1.
Who is Macbeth (his title) at the beginning of the play?
2.
Why does he think he could become King of Scotland?
3.
Which country is Scotland fighting?
4.
Why does the King of Scotland want to bestow land and titles on Macbeth?
5.
What new title does Macbeth receive?
6.
How does Lady Macbeth hear the news of his promotion?
7.
What does Lady Macbeth think Macbeth should do now?
8.
What do the witches prophesy for Banquo?
9.
Why does Macbeth get upset when Duncan makes his son Prince of Cumberland?
10.
What characteristic in Macbeth does his wife think will prevent him taking the
throne?
56
LEARNING MODE PREFERENCES
Name_________________ Block____
Put a check next to the statements you agree with:
1.
I prefer to hear a book on tape rather than reading it.
2.
When I put something together, I always read the directions first.
3.
I prefer reading to hearing a lecture.
4.
When I am alone, I usually have music playing or hum or sing.
5.
I can always tell directions like north and south no matter where I am.
6.
I love to write letters or in a journal.
7.
When I talk, I like to say things like, "I hear ya, that sounds good, that rings a bell."
8.
I love working with my hands and building or making things.
9.
I know most of the words to the songs I listen to.
10.
When others are talking, I am creating images in my mind of what they are saying.
11.
It's easy to talk for long periods of time on the phone with my friends.
12.
Without music, life isn't any fun.
13.
When looking at objects on paper, I can easily tell whether they are the same no
matter which way they are turned.
14.
I usually say things like, "I feel, I need to get a handle on it, or get a grip."
15.
When I recall an experience, I mostly see a picture of it in my mind.
57
16.
When I recall an experience, I mostly hear the sounds and talk to myself about it.
17.
When I recall an experience, I mostly remember how I felt about it.
18.
I like music more than art.
19.
I often doodle when I am on the phone or in a class or meeting.
20.
I prefer to act things out rather than write a report on them.
21.
I like reading stories more than listening to stories.
22.
I like talking better than writing.
23.
I like to write down instructions that people give me.
24.
I can easily remember what people say.
25.
I learn best by doing.
36.
It is hard for me to sit still for very long.
Key:
Auditory:
Visual:
Tactile-Kinesthetic:
1,4,7,9,11,12,16,18,22,24
2,3,6,10,15,19,21,23
5,8,13,14,17,20,25,26
58
The Cornell Note-taking System
Cue Column
Notetaking Column
(about 2 inches)
(about 4-5 inches)
Pull out the key words
and phrases that
summarize the key points
in your notes to the right
to make them easy to
remember ( the headings
on the left of the notetaking column would make
a good example of what
to put in this column when
you actually take notes)
1. Record:
During the class, use the note-taking column to
record the lecture using telegraphic sentences.
2. Questions: As soon after class as possible, make up
questions based on the notes in the right-hand
column. Writing questions helps to clarify
meanings, show relationships, see connection, and
improve memory. Also, the writing of questions
sets up a perfect stage for exam-studying later.
3. Recite:
Cover the note-taking column with a sheet of
paper. Then, look at the questions or cue-words
in the question and cue column only, & say aloud,
in your own words, the answers to the questions,
facts, or ideas indicated by the cue-words.
4. Reflect: Reflect on the material by asking yourself
questions, for example: “What’s the significance
of these facts? What principle are they based
on? How can I apply them? How do they fit in
with what I already know? What’s beyond them?
5. Review:
Spend at least ten minutes every week reviewing
all your previous notes. If you do, you’ll retain a
great deal for current use, as well as, for the
exam.
Summary: (about two inches deep). After class, use this space at the bottom of each
page to summarize the notes on that page.
Adapted from How to Study by Walter Pauk, 2001 Houghton Mifflin Company
59
Mind Maps
A Mind Map® is a powerful graphic technique for note taking because it allows the
use of the natural connectors of the brain. It was developed by Tony Buzan in the
late 1960's
How to Mind Map
1.
Turn a large letter (11" x 8.5") or legal (14" x 8.4"), white sheet of paper on its side
(landscape).
2. Gather a selection of colored pens, ranging from fine nib to medium and highlighters.
3. Select the topic, problem or subject to be Mind Mapped.
4. Gather any materials or research or additional information.
5. Start in the centre with an unframed image – approximately 3 inches wide and an inch high.
6. If you like, use dimension, expression and at least three colors in the central image in order
to attract attention and aid memory.
60
INQUIRY :
WHAT IS THE PROCESS OF HOW A PERSON MAY GO OVER TO THE DARK SIDE?
Hypotheses:
1.
2.
3.
4.
5.
6.
7.
8.
Notes:
Students should brainstorm these out, rather than being given them and students’ terminology should be used, but if they
have difficulty in finding the categories we can suggest them
Student examples will be used – we can use the mini plot structure below to give them an idea of what we are trying to do
Dissatisfaction with the status quo
Opportunity to do something (against one’s principles) about it
Persuasive other – boy/girlfriend, parent, good friend, partner in crime etc
Decision that the desired goal is more important than one’c conscience
First bad act – resulting in success or failure
Becoming inured to acting against one’s conscience
Enjoying the evil
Coming to a sticky end of some sort by loss of friendship, respect, position, freedom or life
Going Over to the Dark Side
Name__________________
Embraces Evil
1st incident/temptation
Sticky end
61
INQUIRY :
WHAT CAUSES A PERSON TO GO OVER TO THE DARK SIDE?
Name_________ Block_____
Take a moment in your groups to think about the process of how a previously well behaved person might decide to go over to the dark side.
Things to consider might be dissatisfaction with their life or situation, an opportunity to do something about it; a persuader; the decision
to act, the first bad action and what happens, getting used to doing bad things, even enjoying it, and possibly coming to a sticky end of
some sort by loss of friendship, respect, position, freedom or life. Think of as many stages as you can and put them in order.
Hypotheses: 1.
_____________________________________
2.
_____________________________________
3.
_____________________________________
4.
_____________________________________
5.
_____________________________________
6.
_____________________________________
7.
_____________________________________
Now see how one of your examples might map onto this “mini plot” of how people turn to evil, when they do:
Going Over to the Dark Side
Name__________________
Embraces Evil
1st incident/temptation
Sticky end
62
FINDING THE THEMES AND MOTIFS IN MACBETH – ACT II
Name_________ Block_____
Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find:
1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great
Chain of being (especially the body or office of an anointed King)
2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of
human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets
what he wants.
THEMES THROUGH THE PLAY OF MACBETH
Description of event
Unnatural as
Supernatural
Bestial, AntiNatural
Crime against
Great Chain
Appearance
vs. Reality as
Hiding intent
or deed
Apparent/real
regret at
actions
Real values vs
perceived
desires
Quotation
Act – Scene –
Line# Ref.
63
THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT II
Unnatural as
Supernatural
Description of event & why it
represents the theme
Quotation
Act – Scene –
Line# Ref.
1. Macbeth ‘dagger’ speech
1. Nature seems dead and wicked dreams
abuse the curtain’d sleep
2. Approach the chamber and destroy your
sight with a new Gorgon. . .Ring the bell
Act 2 Scene 1
Lines 59-67
Act 2 Scene 3
Lines 91-101
1. I heard a voice cry ‘Sleep no more
Macbeth does murder. . at life’s feast.’
2. This my hand will rather the
multitudinous seas incarnadine
3. This night has been unruly . . .did shake
5. Thou seest the heavens as troubled with
man’s act . . .eat each other
Act 2 Scene 2
Lines 46-51
Act 2 Scene 2
Lines 76-77
Act 2 Scene 3
Lines 69-76
Act 2 Scene 3
Lines 123-25
Act 2 Scene 4
Lines 7-22
1. I could not say ‘Amen’ when they did say
‘God bless us’
2. His gash’d stabs look like a breach in
nature for ruin’s wasteful entrance
Act 2 Scene 2
Lines 38-9
Act 2 Scene 3
Lines 141-43
2. Macduff description of seeing
Duncan dead
Bestial, AntiNatural
1. Macbeth has killed sleep
2. Macbeth thinks his guilty hand will
turn all the seas red
3. Lennox tells of the unnatural
events of the night
4. Macbeth tells Donabain the
fountain of his blood’ is dead
5. Ross & old man discussing the night
& king’s death
Crime against
the King &
Great Chain
1. Macbeth unable to pray (killed a
king so he is cursed)
2. Macbeth describing Duncan’s body
with its wounds
4. You are and do not know’t. . . is stopp’d
64
Appearance
vs. Reality as
Hiding intent
or deed
1. Lady Macbeth tells Macbeth to get
on a night gown
1. Get on your nightgown lest occasion
call us and show us to be watchers
Act 2 Scene 2
Lines 88-89
2. Donalbain describes men & relatives
as concealing danger
2. There’s daggers in men’s smiles: the
near in blood, the nearer bloody
Act 2 Scene 3
Lines 76-77
Regret at
what he has
done
(apparent &
real)
1. Macbeth looking at his bloody hands
2. Macbeth can’t look at his victim
3. Macbeth telling Lady M & the nobles
knocking at the door of his regret
4. Macbeth ‘regretting’ the grooms’
death to Macduff & Lennox
1. This is a sorry sight
2. I’ll go no more. . . I dare not
3. To know my deed, ‘twere best not
know myself. . .I would thou couldst!
4. O yet I do repent me of my fury that
I did kill them
Act 2 Sc. 2 L. 28
Act 2 Sc. 2 63-65
Act 2 Scene 2
Lines 90-92
Act 2 Scene 2
Lines 134-35
Real values vs
perceived
desires
1. Speech of regret carries possibly
true feelings that his real life is over
now he has stepped over the line
1. Had I but died an hour before . . . is
left this vault to brag of
Act 2 Scene 2
Lines 116-21
65
Lesson Plan – Macbeth 3
Pre-service Teacher Mandy Schuyler
Cooperating Teacher___________________
School / Grade McDowell Grade 12
Date Written 1/28/06 Date Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time 90 minutes
Lesson Concept:
Study of Macbeth Acts II and III through the inquiry: “What makes a
person go over to the dark side?” and through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
Assessments
1. Students will be introduced to the concept of
Socratic circles and trained on the process
1. The following lesson’s discussion
2. Students will identify instances of the themes
in Acts II and III of Macbeth
4. Accurate identification of specific instances
of the themes of ‘unnaturalness’ and ‘reality vs
appearance in the 2nd & 3rd acts of the play
3. Students will compare the process of being
tempted to go over to the dark side in
Macbeth and in Star Wars 3 Revenge of the
Sith and show similarities and differences
Materials:
5. Group comparison worksheet well created and
mapped
Macbeth by William Shakespeare
Bellringer poster or blackboard display
Socratic Circles overview
Plot overhead
Themes Act III Worksheet
Scripts from Lady Macbeth and
Palpatine temptation scenes
Anticipatory Set Bellringer: What do you think are three most powerful emotions a friend could
play on if they were trying to get you to break school rules or defy your parents? Why would each
affect you? Give one example of a time you felt these emotions. 5 minutes. The class will pair up
and share their answers to this question for 3 minutes.
Activating Prior Knowledge:
The teacher will ask the class to share their definition of “inner conflict” in a literary work,
referring to their notes or to a textbook definition if needed. The teacher will then display a
definition of inner conflict on an overhead projector or the blackboard (see page 3 attached).
Students will be asked to give examples of inner conflicts from works previously studied. 5 minutes.
Procedure:
66
1. Reading Quiz on Act II of Macbeth (see page 4).
2. Teacher will provide an overview of the process of Socratic Circles and tell the class that we will
be conducting one next class. She will ask the class to take notes of the process in either
Cornell or Mind Mapping format. She will then ask one student from each type of note taking to
quickly describe the process on the black board using their notes as a guide, and ask the class
what they think the benefits of such a discussion might be. She will leave them with a handout
of the overview for reference 15 minutes
3. Students will review their theme worksheets from Act II from class and homework, comparing
their results with an elbow partner, and marking each theme area found as accurate or
inaccurate for each other. Teacher will go through examples of all six areas of theme from the
answer sheet, and collect the homework. 15 minutes
4. Students will be given a worksheet entitled “Similarities and Differences between the
Temptation Scenes of Palatine and Lady Macbeth” (pages 6 & 7). They will watch the two brief
scenes on DVD and complete the worksheets. They will then discuss their findings with an elbow
partner and add any thoughts gained from this. Then there will be a class brainstorming of the
top three differences and similarities
30 minutes
6. The first two scenes of Act III of Macbeth will be read aloud in class and the students will use
the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur.
They will be asked to read the rest of Act III as homework (in an annotated edition) and come
to class ready to discuss the themes with three questions of their own for use in the Socratic
Circle on the theme. “Poison in the Mind.” This quiet reading will be begun in class. 20
minutes
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side, and what is the process of doing it.”
Additional Concept Related Activity:
If there is extra time (unlikely) students will be asked to begin to map out questions about the
temptation to go over to the dark side in their journals – what do they predict might happen in to
Macbeth as a result and what are the benefits and downsides in his mind so far.
67
Slide 1
Literary “Inner Conflict”
AKA Man versus Self:
Internal conflict. Not all conflict involves other people.
Sometimes people are their own worst enemies. An internal
conflict is a good test of a character’s values. Does he give in
to temptation or rise above it? Does he demand the most from
himself or settle for something less? Does he even bother to
struggle? The internal conflicts of a character and how they
are resolved are good clues to the character’s inner strength.
Often, more than one kind of conflict is taking place at the
same time. In every case, however, the existence of conflict
enhances the reader’s understanding of a character and
creates the suspense and interest that make you want to
continue reading.. Source: Orange Unified School District
< http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm# CONFLICT>
68
READING QUIZ ON ACT II OF MACBETH
Name_______________ Block____ Date_______
11.
What does Macbeth see hovering before him after he meets with Banquo?
12.
Why does Lady Macbeth not murder Duncan herself as she had said she would?
13.
What prayer word is Macbeth unable to say?
14.
What does the voice in his head say Macbeth has murdered?
15.
What new title does Macbeth receive?
16.
Why is Lady Macbeth ashamed of her husband?
17.
Why does the porter take so long to answer the door?
18.
What are two of the three things that “drink especially provokes”?
19.
Why do Malcolm and Donalbain run away to separate countries?
20.
What is strange about Duncan’s horses?
69
INTRODUCTION TO SOCRATIC CIRCLES
During a Socratic circle seminar, students sit in two concentric circles. The inner circle
discusses a pre-assigned, pre-read text on which they have done enough work to have questions,
ideas and viewpoints to bring to the table.
The outer circle does not say a word during this discussion, but writes a written critique of
the discussion, using a rubric, of the quality, manner and pervasiveness (what proportion of students
are involved and how do they invite each others’ comments to flow) of this conversation.
Each outer circle student is paired up with an inner circle student for observational
purposes, and if there is a topic on which they have a burning desire to comment, they may pass a
written request to that student to represent their idea to the group.
But the outer circle’s primary focus is on the effectiveness and value of their colleagues’
discussion, rather than it’s content.
When the inner circle has completed its discourse or the time has run out, the circles
switch and on the same or on another text, the new inner circle starts a prepared discussion and
the new outer circler will critique them.
You will see from this description that it is extremely important that students in each inner
circle come to the discussions prepared with a good close reading of the text, and with predeveloped questions and comments that can be used to stimulate the rest of your circle to think,
critique and respond to your ideas.
70
Your ideas can come from any field, as long as they are relevant to an illumination of the
text. For example a section of our play may remind you of a popular song, an interpersonal exchange
of ideas or dialogue from your life, or even a TV show. These are valid viewpoints, as long as you
show your colleagues what they mean to the text we are discussing, and constantly refer to it in
support of your arguments.
It is equally important that students in the outer circle are observant, diligent, focused and
courteous in noting a range of aspects of the inner circle discussion. They must notice the flow of
discussion; see who contributes, who does not, who wants to but perhaps is excluded, who is
prepared and who is not. When they make suggestions for improving the quality of discourse they
must focus on the objective aspects of the discussion, and not make discourteous, or discouraging
personal remarks about the people conducting it. Remember, your turn will come to be critiqued and
how effectively and constructively you comment on your peers is likely to determine how kind,
useful and helpful their comments will be on your own contribution.
Example of three good discussion questions from a reading of the first two acts of Macbeth:
1.
Why do we think Macbeth is not satisfied with the honors Duncan heaps upon him and the
promise of more to come? What does the text offer in terms of support for your answer?
2. How much do we think the decision to kill Duncan is actually driven by Lady Macbeth’s
persuasion, and how does the text support your opinion on this?
3. What effect does Shakespeare intend the weird sisters to have on the play? What do you
think they symbolize and in what way does the text support these views?
Rubric for evaluating your colleagues’ contributions when you are in the outer circle:
Student Observational Checklist
Student Name_______________________________
Scale:
Did he/she…
3 - yes
2 - somewhat
1- no
____Come to the seminar prepared?
____Show a willingness to answer the questions?
____Participate in the discussion?
____Respond to other students’ comments in a respectful manner?
____Listen attentively without interruption?
____Use eye contact while addressing the class?
____Give complex answers using a good rationale?
____Show a willingness to ask questions?
____Take a risk while discussing the question(s)?
____Make reference to the text during discussion?
71
Guiding Principles for Socratic Circles
(Will be made into a poster and displayed prominently during discussion)
Be prepared to participate – do the work!
No need to raise hands
Invite others into the discussion
Refer to the text
Comments must be
appropriate/respectful/focused
 Listen to & build on one another’s comments





72
Name ___________________ Block_____ Date __________
SIMILARITIES AND DIFFERENCES
PALATINE AND LADY MACBETH
Concepts that are very
similar in the approach
BETWEEN
THE
Concepts that are quite
different
TEMPTATION
SCENES
OF
What does this mean for the
play and the process of going
to the dark side
1.
1.
1.
2.
2.
2.
3.
3.
3.
4.
4.
4.
5.
5.
5.
6.
6.
6.
73
SCRIPT FROM STAR WARS
PALPATINE TEMPTS ANAKIN
ANAKIN brings news to PALPATINE.
ANAKIN: Chancellor, we have just received a report from Master Kenobi. He has engaged General
Grievous.
PALPATINE: We can only hope that Master Kenobi is up to the challenge.
ANAKIN: I should be there with him.
PALPATINE: It is upsetting to me to see that the Council doesn't seem to fully appreciate your
talents. Don't you wonder why they won't make you a Jedi Master?
ANAKIN: I wish I knew. More and more I get the feeling that I am being excluded from the
Council. I know there are things about the Force that they are not telling me.
PALPATINE: They don't trust you, Anakin. They see your future. They know your power will be too
strong to control. Anakin, you must break through the fog of lies the Jedi have created around you.
Let me help you to know the subtleties of the Force.
They walk into the hallway.
ANAKIN: How do you know the ways of the Force?
PALPATINE: My mentor taught me everything about the Force . . . even the nature of the dark side.
They stop.
ANAKIN: You know the dark side?!?
PALPATINE: Anakin, if one is to understand the great mystery, one must study all its aspects, not
just the dogmatic, narrow view of the Jedi. If you wish to become a complete and wise leader, you
must embrace a larger view of the Force. Be careful of the Jedi, Anakin. (pausing) They fear you. In
time they will destroy you. Let me train you.
ANAKIN: I won't be a pawn in your political game. The Jedi are my family.
PALPATINE: Only through me can you achieve a power greater than any Jedi. Learn to know the
dark side of the Force, Anakin, and you will be able to save your wife from certain death.
ANAKIN: What did you say?
74
PALPATINE: Use my knowledge, I beg you . . .
ANAKIN: You're a Sith Lord!
ANAKIN ignites his lightsaber.
PALPATINE: I know what has been troubling you . . . Listen to me. Don't continue to be a pawn of
the Jedi Council! Ever since I've known you, you've been searching for a life greater than that of an
ordinary Jedi . . . a life of significance, of conscience.
ANAKIN: You're wrong!
PALPATINE: Are you going to kill me?
ANAKIN: I would certainly like to.
PALPATINE: I know you would. I can feel your anger. It gives you focus, makes you stronger.
ANAKIN raises his lightsaber to PALPATINE's throat. There is a tense moment, then ANAKIN
relaxes, and then turns off his lightsaber.
ANAKIN: I am going to turn you over to the Jedi Council.
PALPATINE: Of course you should. But you're not sure of their intentions, are you? What if I am
right and they are plotting to take over the Republic?
ANAKIN: I will quickly discover the truth of all this.
PALPATINE: You have great wisdom, Anakin. Know the power of the dark side. The power to save
Padme.
ANAKIN stares at him for a moment.
PALPATINE turns and moves to his office.
PALPATINE: (continuing) I am not going anywhere. You have time to decide my fate. Perhaps you'll
reconsider and help me rule the galaxy for the good of all . . .
PALPATINE sits behind his desk.
75
ANAKIN GOES TO THE DARK SIDE
PALPATINE: Master Windu. I take it General Grievous has been destroyed then. I must say, you're
here sooner than expected.
MACE WINDU: In the name of the Galactic Senate of the Republic, you are under arrest,
Chancellor.
MACE WINDU and the other JEDI ignite their lightsabers.
PALPATINE: Are you threatening me, Master Jedi?
MACE: The Senate will decide your fate.
PALPATINE: (burst of anger) I am the Senate!
MACE: Not yet!
PALPATINE stands, a laser sword appears out of his cloak sleeve, and he spins toward the JEDI.
PALPATINE: It's treason, then.
A close shot of PALPATINE as the fight begins. Close shots of THREE JEDI getting cut down by
PALPATINE. PALPATINE and MACE continue to fight.
Jedi Master MACE WINDU and the Sith Lord fight their way down the hallway and into the main
office area. PALPATINE is able to use the Force to slam MACE against the wall, but he recovers
before the Chancellor can cut him down.
ANAKIN lands his speeder, jumps out, and runs down a long corridor toward the Chancellor's
office.
In the heat of battle, MACE cuts the window behind the Chancellor's desk, and it crashes away.
MACE is forced out onto the ledge, which is twenty stories up. They fight over the precipice.
ANAKIN arrives to see PALPATINE and MACE fighting.
They stop as MACE forces PALPATINE to drop his sword. PALPATINE and MACE start yelling at
each other.
MACE WINDU: You are under arrest, My Lord.
PALPATINE: Anakin! I told you it would come to this. I was right. The Jedi are taking over.
MACE WlNDU: You old fool. The oppression of the Sith will never return. Your plot to regain
control of the Republic is over . . . you have lost . . .
76
PALPATINE: No! No! You will die!
PALPATINE raises his hands, and lightning bolts shoot out. They are blocked by MACE's lightsaber.
PALPATINE is pushed back against the window sill.
PALPATINE: He is a traitor, Anakin.
MACE WlNDU: He's the traitor. Stop him!
PALPATINE: Come to your senses, boy. The Jedi are in revolt. They will betray you, just as they
betrayed me.
MACE WlNDU: Aarrrrggghhhhh . . .
PALPATINE: You are not one of them, Anakin. Don't let him kill me.
MACE WlNDU: Aarrrrggghhhhh . . .
PALPATINE: I am your pathway to power. I have the power to save the one you love. You must
choose. You must stop him.
MACE WlNDU: Don't listen to him, Anakin.
PALPATINE: Help me! Don't let him kill me. I can't hold on any longer. Ahhhhhhh . . . ahhhhhhh . . .
ahhhhhhh . . .
MACE pushes PALPATINE out to the edge of the ledge. As the Jedi moves closer, the bolts from
Palpatine's hands begin to arch back on him. The Chancellor's face begins to twist and distort. His
eyes become yellow as he struggles to intensify his powers.
PALPATINE: I can't ... I give up. Help me. I am weak ... I am too weak. Don't kill me. I give up. I'm
dying. I can't hold on any longer.
MACE WlNDU: You Sith disease. I am going to end this once and for all.
ANAKIN: You can't kill him, Master. He must stand trial.
MACE WlNDU: He has too much control of the Senate and the Courts. He is too dangerous to be
kept alive.
PALPATINE: I'm too weak. Don't kill me. Please.
ANAKIN: It is not the Jedi way . . .
MACE raises his sword to kill the CHANCELLOR.
77
ANAKIN: (continuing) He must live . . .
PALPATINE: Please don't, please don't . . .
ANAKIN: I need him . . .
PALPATINE: Please don't . . .
ANAKIN: NO!!!
Just as MACE is about to slash PALPATINE, ANAKIN steps in and cuts off the Jedi's hand holding
the lightsaber.
As MACE stares at ANAKIN in shock, PALPATINE springs to life.
The full force of Palpatine's powerful Bolts blasts MACE. He attempts to deflect them with his one
good hand, but the force is too great. As blue rays engulf his body, he is flung out the window and
falls twenty stories to his death. No more screams. No more moans. PALPATINE lowers his arm.
PALPATINE: Power! Unlimited power!
His face has changed into a horrible mask of evil. ANAKIN looks on in horror. PALPATINE cackles.
ANAKIN: What have I done?
ANAKIN sits.
PALPATINE: You are fulfilling your destiny, Anakin. Become my apprentice. Learn to use the dark
side of the Force.
ANAKIN: I will do whatever you ask.
PALPATINE: Good.
ANAKIN: Just help me save Padme's life. I can't live without her. I won't let her die. I want the
power to stop death.
PALPATINE: To cheat death is a power only one has achieved, but if we work together, I know we
can discover the secret.
ANAKIN kneels before PALPATINE.
ANAKIN: I pledge myself to your teachings. To the ways of the Sith.
PALPATINE: Good. Good. The Force is strong with you. A powerful Sith you will become.
Henceforth, you shall be known as Darth . . . Vader.
78
ANAKIN: Thank you. my Master.
PALPATINE: Rise, Darth Vader.
Palpatine moves over to his desk.
129 EXT. KASHYYYK-MEETING HALL-DAY
YODA winces, closes his eyes, and holds his head. He feels a disturbance in the Force.
DARTH SIDIOUS (PALPATINE) DEMANDS ANAKIN KILL ALL THE JEDI
130 INT. CORUSCANT-CHANCELLOR'S OFFICE-EVENING
PALPATINE is putting on his dark cloak: he is now fully DARTH SIDIOUS.
PALPATINE: Because the Council did not trust you, my young apprentice, I believe you are the only
Jedi with no knowledge of this plot. When the Jedi learn what has transpired here, they will kill us,
along with all the Senators.
ANAKIN: I agree. The Jedi's next move will be against the Senate.
PALPATINE: Every single Jedi, including your friend Obi-Wan Kenobi, is now an enemy of the
Republic. You understand that, don't you?
ANAKIN: I understand, Master.
PALPATINE: We must move quickly. The Jedi are relentless; if they are not all destroyed, it will be
civil war without end. First, I want you to go to the Jedi Temple. We will catch them off balance. Do
what must be done, Lord Vader. Do not hesitate. Show no mercy. Only then will you be strong
enough with the dark side to save Padme.
ANAKIN: What about the other Jedi spread across the galaxy?
PALPATINE: Their betrayal will be dealt with. After you have killed all the Jedi in the Temple, go
to the Mustafar system. Wipe out Viceroy Gunray and the other Separatist leaders. Once more, the
Sith will rule the galaxy, and we shall have peace.
79
SCRIPT FROM MACBETH
LADY MACBETH
He has almost supp'd: why have you left the chamber?
MACBETH
Hath he ask'd for me?
LADY MACBETH
Know you not he has?
MACBETH
We will proceed no further in this business:
He hath honour'd me of late; and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.
LADY MACBETH
Was the hope drunk
Wherein you dress'd yourself? hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour
As thou art in desire? Wouldst thou have that
Which thou esteem'st the ornament of life,
And live a coward in thine own esteem,
Letting 'I dare not' wait upon 'I would,'
Like the poor cat i' the adage?
MACBETH
Prithee, peace:
I dare do all that may become a man;
Who dares do more is none.
LADY MACBETH
What beast was't, then,
That made you break this enterprise to me?
When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man. Nor time nor place
Did then adhere, and yet you would make both:
They have made themselves, and that their fitness now
Does unmake you. I have given suck, and know
80
How tender 'tis to love the babe that milks me:
I would, while it was smiling in my face,
Have pluck'd my nipple from his boneless gums,
And dash'd the brains out, had I so sworn as you
Have done to this.
MACBETH
If we should fail?
LADY MACBETH
We fail!
But screw your courage to the sticking-place,
And we'll not fail. When Duncan is asleep-Whereto the rather shall his day's hard journey
Soundly invite him--his two chamberlains
Will I with wine and wassail so convince
That memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only: when in swinish sleep
Their drenched natures lie as in a death,
What cannot you and I perform upon
The unguarded Duncan? what not put upon
His spongy officers, who shall bear the guilt
Of our great quell?
MACBETH
Bring forth men-children only;
For thy undaunted mettle should compose
Nothing but males. Will it not be received,
When we have mark'd with blood those sleepy two
Of his own chamber and used their very daggers,
That they have done't?
LADY MACBETH
Who dares receive it other,
As we shall make our griefs and clamour roar
Upon his death?
MACBETH
I am settled, and bend up
Each corporal agent to this terrible feat.
Away, and mock the time with fairest show:
False face must hide what the false heart doth know.
81
FINDING THE THEMES AND MOTIFS IN MACBETH – ACT III
Name_________ Block_____
Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find:
1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great
Chain of being (especially the body or office of an anointed King)
2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of
human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets
what he wants.
THEMES THROUGH THE PLAY OF MACBETH
Description of event
Unnatural as
Supernatural
Bestial, AntiNatural
Crime against
Great Chain
Appearance
vs. Reality as
Hiding intent
or deed
Regret at
deeds (real &
apparent)
Real values vs
perceived
desires
Quotation
Act – Scene –
Line# Ref.
82
THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT III
Unnatural as
Description of event & why it
represents the theme
Quotation
Act – Scene –
Line# Ref.
Supernatural
3. Macbeth on his plan to kill Banquo
4. Macbeth seeing the ghost of
Banquo
5. Expressing his fear of Banquo’s
ghost to Lady Macbeth
6. Hecate on damning Macbeth
through the black arts
7. Lennox praying for release
3. ere to black Hecate’s summons . . . peel
4. Ay and a bold one that dare look on that
which might appal the devil
5. It will have blood . . the secret’st man
of blood
6. such artificial sprites . . . shall draw him
on to his confusion
7. Some holy angel . . .hand accursed
Act 3 Sc 2 46-49
Act 3 Scene 4
Lines 70-71
Act 3 Scene 4
Lines 146-50
Act 3 Scene 5
Lines 28-30
Act 3 Sc 6 51-55
Bestial, AntiNatural
6. To Lady Macbeth on his fear of
Banquo & the prediction
7. Invocation referring to the plan to
kill Banquo
8. To murdered on Fleance’s escape referring to them as snakes
9. As he sees the ghost of Banquo
10. Referring to the ghost’s return to
haunt him at the feast as strange
6. We have scotched the snake not killed
it . . . her former tooth
7. Come seeling night. . . black agents to
their preys do rouse
8. There the grown serpent . . .no teeth
for the present
9. If charnel-houses . . .the maws of kites
10. but now they rise again. . .this is more
strange than such a murder is
Act 3 Scene 2
Lines 17-19
Act 3 Scene 2
Lines 53-60
Act 3 Scene 4
Lines 34-36
Act 3 Sc 4 85-86
Act 3 Scene 4
Lines 95-98
Crime against
the King &
Great Chain
3. Macbeth is afraid of Banquo’s
‘royal’ nature –his claim to the
throne and that of his ‘line.’
4. To Lady Macbeth on the fear his
action & prediction have brought
3. Our fears in Banquo . . . .seed of Banquo
kings!
Act 3 Scene 1
Lines 53-74
4. Let the frame of things disjoint, both
the worlds suffer
Act 3 Scene 2
Lines 19-20
83
Appearance
vs. Reality as
Hiding intent
or deed
3. Macbeth tells the murderers he
cannot openly kill Banquo
4. Lady Macbeth tells Macbeth to put a
‘sleek’ face in things
5. Macbeth hides his plan to murder
Banquo even from lady Macbeth
3. though I could . . .from the common
eye
4. Gentle my lord, sleek o’er your
rugged looks . . . guests tonight
5. Let your remembrance . . . .disguising
what they are
Act 3 Scene 1
Lines 130-37
Act 3 Scene 2
Lines 32-33
Act 3 Scene 2
Lines 35-40
Regret at
what he has
done
(apparent &
real)
5. Envying Duncan the peace of death
6. Macbeth re his intent to murder
Banquo
5. Duncan is . . . . can touch him further
6. O full of scorpions is my mind dear
wife!
Act 3 Sc 2 26-30
Act 3 Scene 2
Lines 43-44
Real values vs
perceived
desires
2. Lady Macbeth speech on the
‘doubtful joy’ of their new reign
3. Macbeth describing their fears
4. To lady Macbeth on his point of no
return and his determination to
continue
2. Nought’s had, all’s spent . . .doubtful
joy
3. Ere we will eat . . .restless ecstasy
4. For mine own good . . . .returning
were as tedious as go o’er. . . we are
but young in deed
Act 3 Scene 2
Lines 7-10
Act 3 Sc 3 21-26
Act 3 Scene 4
Lines 160-63
Lines 167-69
Schuyler 84
Lesson Plan – Macbeth 4
Pre-service Teacher Mandy Schuyler
Cooperating Teacher___________________
School / Grade McDowell Grade 12
Date Written 1/28/06 Date Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time 90 minutes
Lesson Concept:
Study of Macbeth Acts III and IV through the inquiry: “What makes a
person go over to the dark side?” and through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
Assessments
1. Students will be introduced to the concept of
assessment and trained on the process
1. The Socratic circle discussion and assessment
2. Students will understand the role of history in
shaping the plot and themes of a play
6. Same topic jigsaw performance and writeups
2. Students will identify instances of the themes
in Acts III and IV of Macbeth
7. Accurate identification of specific instances
of the themes of ‘unnaturalness’ and ‘reality vs
appearance in the 3rd & 4th acts of the play
3. Students will practice discussing literature
using the Socratic method and assessing the
quality of their own/each other’s comments
Materials:
8. Socratic circle discussion and mutual
assessment worksheets
Macbeth by William Shakespeare
Assessment overhead
Bellringer poster or blackboard display
Themes Act IV Worksheet
Socratic Circles overview (again)
Socratic Circles rubric sheets
Same topic jigsaw articles on the history behind Macbeth
Anticipatory Set
Bellringer: What roles do you think history (current events of the time) might play in shaping the
plot, characters or themes of a dramatic work for performance or a movie. Give two examples 5
minutes. The class will pair and share their answers to this question for 3 minutes.
Activating Prior Knowledge:
The teacher will review the Socratic circles objectives and procedures (see page 3 & 4 attached).
Students will be asked to give examples of the benefits they might gain from these skills in life and
school, (open discussion) and to share their three questions with a partner, making any changes they
now think would work better. 5 minutes.
Schuyler 85
Procedure:
1. Reading Quiz on Act III of Macbeth (see page 4). 5 minutes
2. Teacher will provide an overview of the process of assessment that students will use in the
Socratic Circle and provide a rubric for and demonstration of assessment and constructive
criticism and post the guiding principles in a prominent place. 15 minutes
2. Students will review their theme worksheets from Act III from class and homework, very
quickly comparing their results with an elbow partner, and marking each theme area found as
accurate or inaccurate for each other. 5 minutes
4. Students will be given one of four views of the history which might have influenced Macbeth.
They will go into groups of four, and then move to expert groups to do a summary to the key
items in their view of the history. Then they will return to their original groups and present the
summary to the group each in turn. The groups will each create their own summary of the most
important shaping factors in their view. These will be collected by the teacher and the best
ones will be typed as a handout for everyone in the next class.
20 minutes
5. A Socratic circle will be conducted on the theme of “Poison in the Mind” using student created
questions and comments derived from the earlier homework discussion and their own thinking.
Students in the inner circle will discuss for 3-5 minutes with teacher assistance if things stall,
and the outer circle will use the rubric provided to assess the quality of preparation and
discussion of their partner. The circles will then switch and repeat the process.
1.
Students will be asked to read Act IV (the shortest act) as homework (in an annotated edition)
and come to class ready to discuss the themes. This quiet reading may be begun in class if there
is any time, but since they are now used to the process and aware that their work will be used
next class, and since this is a very full lesson, they may be do this for homework this time.
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side, and what is the process of doing it.” 5 minutes
Additional Concept Related Activity:
See 5 above on homework.
Schuyler 86
Slide 1
Purpose of Socratic Circles
1.
Improved uunnddeerrssttaannddiinngg of literature and human thought
2.
Improved vvooccaabbuullaarryy through looking up words in
independent reading and preparation for the circle
3.
Improved lliisstteenniinngg by focusing on other’s contributions,
in order to assess, understand and be able to respond
4.
Improved ssppeeaakkiinngg by considered contributions to a
dialogue using prepared ideas, comments, questions and
the thoughts heard from others
5.
Improved ccrriittiiccaall tthhiinnkkiinngg through understanding and
analyzing the text and each other’s comments
6.
Improved w
woorrkkiinngg ttooggeetthheerr to construct meaning, solve
problems and explore life connections
Schuyler 87
Slide 2 Operation of Socratic Circles

Each student comes pprreeppaarreedd with reading, thinking &
questions about a text

Students form ttw
woo eeqquuaall ccoonncceennttrriicc cciirrcclleess, one inside
the other, and each student from the inner circle is
partnered with one from the outer

All students obey the rruulleess ooff S
Sooccrraattiicc CCiirrcclleess while
discussing and the rruulleess ooff aasssseessssm
meenntt while assessing
their partner

The students in the inner circle ddiissccuussss
the text, using prepared ideas, comments
and questions, carefully listening to all
comments, responding and building on them

The students in the outer circle ccoonnssttrruuccttiivveellyy aasssseessss
the debate of the students in the inner circle, focusing
on the quality of the discussion, the inclusion of all
students and the nature of the responses and
AVOIDING
PERSONAL
REMARKS

The circles
ssw
wiittcchh:
assessors now
discuss,
discussors now
Schuyler 88
assess.
Schuyler 89
Slide 2 How to Assess

PPaayy A
Atttteennttiioonn to your partner, with the key areas in mind

T
Taakkee ddeettaaiilleedd nnootteess, of everything he/she does well as
well as things that could be done better and HOW

R
Raattee yyoouurr ppaarrttnneerr on each area from 1-5
1. O
Ouuttssttaannddiinngg: there is nothing I can imagine that this
person could do to improve this aspect of discussion
2. V
Veerryy ggoooodd: there may be one or two minor suggestions
but the student really has a good approach to it
3. O
OKK: there are several things we can improve here, but
altogether, this isn’t a bad contribution
4. PPoooorr: this aspect seemed to get little effort or focus,
or to be rather misunderstood
5. A
Aw
wffuull: this aspect got absolutely no effort or
attention, or was completely misunderstood.

T
Teellll your partner what you found, ggoooodd and aarreeaass ffoorr
iim
mpprroovveem
meenntt; focus on the actions & your observations,
aiming to help them do better next time and AVOIDING
PERSONAL REMARKS (it’ll be your turn soon. . .)

H
Haanndd iinn: your assessment to the teacher – she will use it
to help both the discussor and the assessor.
Schuyler 90
ASSESSMENT EXAMPLES
In order to help students be fair to one another and to rate their peers on a fairly equal basis, we
need to agree on what an outstanding, very good, OK, poor and awful contribution looks like. After a
while, you’ll be able to tell pretty much at a glance. For starters, the definitions below should help
you fill in your assessments. Remember, you need detailed notes of reasons why you are rating
your partner this way as well as suggestions on how to do things better!
SOCRATIC CIRCLE ASSESSMENT RUBRIC
1.Outstanding
2. Very Good
3. OK
4. Poor
5. Awful
(There is nothing
I can imagine
that this person
could do to
improve this
aspect of
discussion)
(There may be
one or two minor
suggestions but
the student really
has a good
approach to it)
(There are
several things we
can improve here,
but altogether,
this isn’t a bad
contribution)
(This aspect
seemed to get
little effort or
focus, or to be
rather
misunderstood)
(This aspect got
absolutely no
effort or
attention, or was
completely
misunderstood)
PREPAREDNESS: The extent to which the student has read the text, thought it through as
literature and as a source of ideas for human experience and current living, and brought interesting
questions, comments and ideas to the discussion
Shows detailed
knowledge of the
text, and brings
insightful and
original ideas,
comments and
questions in
comparison to life
and other texts
Shows a fair
knowledge of the
text, and brings a
number of ideas,
comments and
questions in
comparison to life
and other texts
Shows some
knowledge of the
text, and brings a
few ideas,
comments and
questions about it
Has an extremely
sketchy idea of
the text and only
one or two
comments or
questions which
have any
relevance to it
Does not appear
to have read the
text and has no
idea what to ask
or say as a result
PARTICIPATION: The extent to which the student takes part in the discussion as a listener and a
speaker and contributes to the overall experience for everyone
Makes comments,
asks questions
and expresses
ideas regularly;
responds to peers
when appropriate,
completely
focused on the
circle discussion
Makes comments,
asks questions
and expresses
ideas sometimes;
may respond to
peers, mostly
focused on the
circle discussion,
rare distractions
Makes some
comments, and/or
asks questions
and/or expresses
some ideas;
Occasionally
responds to
peers; sometimes
a bit distracted
Rarely makes
comments, asks
questions or
expresses ideas
doesn’t responds
to peers, much
more distracted
than not
Hardly
participates at
all. Seems to be
somewhere else
almost all of the
time
Schuyler 91
RESPECTFULNESS: The extent to which the student honors the presence, thoughts and
contributions of others
Is unfailingly
courteous, clearly
values the
thoughts of
others as well as
his or her own,
quiet when others
speak, polite and
a pleasure to
have in the circle
for everyone
Is usually
courteous, values
the thoughts of
others, mostly
quiet when others
speak, and polite,
a pleasure to
have in the circle
most of the time
Occasionally
seems a little
discourteous, or
dismissive but on
the whole a good
member of the
circle
Sometime rude or
offensive, does
not take turns
well, does not
seem to value
others’
contributions at
all, little interest
or courtesy
Often rude or
offensive, has no
use for others’
ideas, a real
liability to the
success of the
circle often
GOOD LISTENING/NO INTERRUPTIONS The extent to which the student really hears the
contributions of others and makes it clear that they are paying detailed attention
Attention is
visibly riveted on
each speaker, and
contributions
take into account
what was said
before, not just
immediately prior
but throughout
the discussion.
Occasional polite
clarification
question and
agreement noises
or gestures allow
others to see
they are heard
Attention paid to
each speaker, and
contributions
take some
account of what
was said before,
sometimes
earlier in the
discussion. Some
demonstration
that others are
heard. Very rare
interruptions and
always with
relevance
Attention mostly
on the speaker,
usually shows
that the prior
discussion was
heard.
Occasionally
interrupts but
with relevant
utterances
Frequently
ignores the
comments of
others. Often
pays little
attention to the
speaker; hard to
tell if the
comments of
others were
heard or
understood.
Interrupts
sometimes with
no constructive
reason.
Apparently
neither hears nor
cares about
others comments.
Interrupts often
EYE CONTACT AND VISUAL ATTENTIVENESS Extent of eye contact, visible, attentiveness
Looks the person
speaking in the
eyes and makes
eye contact with
others when
speaking
themselves –
clearly in the
moment
Usually makes eye
contact with
speaker and
listeners, gaze
wanders
occasionally, but
seems present
Makes eye
contact
sometimes, has
the odd
appearance of
absent
mindedness, but
fairly connected
to events
Only rare eye
contact; looks as
if their mind is
elsewhere a lot,
stares at the
floor, window,
walls etc quite
regularly
Almost never
connects gaze
with others, does
not seem to be
present
Schuyler 92
COMPLEX ANSWERS AND IDEAS The extent to which the student creates thorough, patterned
contributions which have clearly been given high quality thinking & taken to their logical conclusions
Complete,
rational
arguments
presented in
which many
avenues of
thought have
been explored
Good arguments,
in which a number
of branches of
thinking are
evident
Straightforward
arguments with
some complexity
sometimes, also
some rather
superficial ones
creep in
occasionally
One word
answers on a
frequent basis,
single thread of
thinking, no
anticipation of
objections of
other views
Hardly answers
enough to know if
any thought is
happening, only
one word answers
if any
GOOD REASONING AND SUPPORT The extent to which the student provides logical, coherent
arguments with reasons for why they are tenable and worthwhile
Always uses
sensible
deductive or
inductive
reasoning, fully
supported with
evidence
Normally has
solid reasoning
with at least
some evidence or
logic to reinforce
it
Occasional
unsupported
speculation or
specious
reasoning, but
well argued most
of the time
Mostly irrational
speculation or
emotionally
driven responses
with little solid
evidence or logic
Almost
exclusively
emotional or
speculative lines
of thought,
virtually no
evidence
GOOD QUESTIONS Extent to which student constructs clear, insightful questions which lead the
group to understanding and extended inquiry through new avenues of exploration
Always uses
creative,
discerning lines
of questioning
which open up
new lines of
thinking and
comparison
Mostly
constructs
shrewd questions
which lead to
good
understanding
and new ideas
Some questions
are closed and
superficial, but a
good portion are
interesting and
open new lines of
thinking
Few useful
questions, most
of them are
factual or
emotionally
grounded
Few or no
questions which
generate new
thinking
WILLING TO TAKE RISKS Extend to which student is willing to risk embarrassment or loss of
face in a creative and daring quest for new insights
Open to any & all
ideas; explores
difficult subjects
and controversial
positions readily
Mostly open to
new ideas and
difficult areas,
retreats to some
‘safe’ subjects
Somewhat willing
to risk tough
territory, plays it
safe part of the
time
Rarely moves out
of the comfort
zone. Stays on
safe ground most
of the time
Completely
unwilling to
broach anything
not a safe bet for
a topic
REFERENCE TO THE TEXT Extent to which student refers to the text.
Refers constantly
to the text – all
ideas relate back
Mostly links ideas
back to the text
at some point
Has a connection
to text at least
half the time
Rarely refers
accurately to
text, wanders
No reference to
the text that
makes sense
Schuyler 93
READING QUIZ ON ACT III OF MACBETH Name_______________ Block____ Date______
21.
Are Macbeth and his lady happy now that he is King?
22.
Why or why not?
23.
Who is missing from Macbeth’s feast?
24.
Why is he missing?
25.
What does Lady Macbeth tell her guests about Macbeth’s odd behavior?
26.
What does lady Macbeth tell her husband he needs at the end of the feast?
27.
Why is Hecate angry with the 3 witches?
28.
What does Lennox think of Macbeth
29.
Where is the son of Duncan now (Malcolm)?
30.
What has Macduff gone to ask the King of England to do?
Schuyler 94
INTRODUCTION TO SOCRATIC CIRCLES (HAND OUT FOR ANY WHO HAVE LOST IT)
During a Socratic circle seminar, students sit in two concentric circles. The inner circle
discusses a pre-assigned, pre-read text on which they have done enough work to have questions,
ideas and viewpoints to bring to the table.
The outer circle does not say a word during this discussion, but writes a written critique of
the discussion, using a rubric, of the quality, manner and pervasiveness (what proportion of students
are involved and how do they invite each others’ comments to flow) of this conversation.
Each outer circle student is paired up with an inner circle student for observational
purposes, and if there is a topic on which they have a burning desire to comment, they may pass a
written request to that student to represent their idea to the group.
But the outer circle’s primary focus is on the effectiveness and value of their colleagues’
discussion, rather than it’s content.
When the inner circle has completed its discourse or the time has run out, the circles
switch and on the same or on another text, the new inner circle starts a prepared discussion and
the new outer circler will critique them.
You will see from this description that it is extremely important that students in each inner
circle come to the discussions prepared with a good close reading of the text, and with predeveloped questions and comments that can be used to stimulate the rest of your circle to think,
critique and respond to your ideas.
Schuyler 95
Your ideas can come from any field, as long as they are relevant to an illumination of the
text. For example a section of our play may remind you of a popular song, an interpersonal exchange
of ideas or dialogue from your life, or even a TV show. These are valid viewpoints, as long as you
show your colleagues what they mean to the text we are discussing, and constantly refer to it in
support of your arguments.
It is equally important that students in the outer circle are observant, diligent, focused and
courteous in noting a range of aspects of the inner circle discussion. They must notice the flow of
discussion; see who contributes, who does not, who wants to but perhaps is excluded, who is
prepared and who is not. When they make suggestions for improving the quality of discourse they
must focus on the objective aspects of the discussion, and not make discourteous, or discouraging
personal remarks about the people conducting it. Remember, your turn will come to be critiqued and
how effectively and constructively you comment on your peers is likely to determine how kind,
useful and helpful their comments will be on your own contribution.
Example of three good discussion questions from a reading of the first two acts of Macbeth:
4. Why do we think Macbeth is not satisfied with the honors Duncan heaps upon him and the
promise of more to come? What does the text offer in terms of support for your answer?
5. How much do we think the decision to kill Duncan is actually driven by Lady Macbeth’s
persuasion, and how does the text support your opinion on this?
6. What effect does Shakespeare intend the weird sisters to have on the play? What do you
think they symbolize and in what way does the text support these views?
Rubric for evaluating your colleagues’ contributions when you are in the outer circle:
Student Observational Checklist
Student Name_______________________________
Scale:
Did he/she…
3 - yes
2 - somewhat
1- no
____Come to the seminar prepared?
____Show a willingness to answer the questions?
____Participate in the discussion?
____Respond to other students’ comments in a respectful manner?
____Listen attentively without interruption?
____Use eye contact while addressing the class?
____Give complex answers using a good rationale?
____Show a willingness to ask questions?
____Take a risk while discussing the question(s)?
____Make reference to the text during discussion?
Schuyler 96
Guiding Principles for Socratic Circles
(Will be made into a poster and displayed prominently during discussion)
 Be prepared to participate – do the work!
 No need to raise hands
 Invite others into the discussion
 Refer to the text
 Comments must be
appropriate/respectful/focused
 Listen to & build on one another’s comments
Schuyler 97
Guiding Principles for Assessment
(Will be made into a poster and displayed prominently during discussion)
 Be honest – but kind!
 Critique the action/word, not the person
 Focus 100% on helping people get better
at discussion and understanding
 Key areas of assessment










Preparedness
Participation
Respectfulness
Good listening/no interruptions
Eye contact & attentiveness
Complex answers & ideas
Good reasoning & support
Good questions
Willing to take risks
References to the text
Schuyler 98
FIRST VIEW OF THE HISTORY LEADING TO MACBETH: LINE OF SCOTTISH KINGS
Lineage
Macbeth was the king's given name, rather than a 'son of' family name. It derives from the Gaelic
mac beatha meaning 'son of life'. His lineage can be traced back through three and a half centuries
to the Cenel Loairn (clan of Loarn) of Dalraida. Their descendants reappear in the late tenth
century as an hereditary dynasty of mormaers (an equivalent of the English earl or thane) of Moray.
The mormaers had the status of subject kings under the high-kings of the Scots and Picts.
Before his reign
Macbeth was born in 1005, his father was Findlaech mac Ruadri, mormar of Moray. At this time,
Moray was in the grip of a virtual civil war between those loyal to one or other branch of the Cenel
Loairn. Findlaech mac Ruadri was a casualty of this conflict, being killed by his nephews, Malcolm
and Gillacomgain mac Maelbrigte in 1020. These two succeeded to the mormaership in turn.
Macbeth sought refuge at the court of his grandfather, Malcolm II. However, by 1031, Macbeth
was acting in the capacity of mormaer of Moray at the 'conference of kings' between King Malcolm
of Scotland (Macbeth's grandfather) and Cnut, the Danish king of England.
This conference took place a year before the violent death of Gillacomgain, who was still listed as
'mormaer of Moray' in his obituary in the Annals of Ulster. It is known that Malcolm II (who was by
now an ageing king) was keen to eliminate potential rival claimants to the succession, so it may be
that he appointed Macbeth as mormaer of Moray in opposition to Gillacomgain as a political
manoeuvre. In any case, in 1032 Gillacomgain was dead, 'burned, and fifty of his men with him'
(Annals of Ulster). Suspicion therefore falls on both Macbeth and Malcolm as being involved in
Gillacomgain's death. Malcolm died in 1034, and Duncan, his tanaise (another of his grandsons)
succeeded to the throne. He was already King of Strathclyde, so with his succession, this ceased to
be an independent entity (give them back their freedom!).
By the time Shakespeare wrote his play, the institution of monarchy had become endowed with
religious significance, to preserve political stability. Opposition to a monarch was therefore a crime
against God as well as against man. In any case, Duncan was not the wise and gentle old man
depicted by the Bard. He held his throne for only six years, getting involved in the treacherous
Anglo-Norse politics of Northumbria and hence presiding over various unsuccessful campaigns in
England.
Both the Annals of Tigernach and the Annals of Ulster record Duncan's death in
1040 and identify Macbeth as the man who brought him down and succeeded him.
It appears that Duncan was not much older than Macbeth, the Tigernach describes
him as being 'slain by his subjects at an unripe age.' This description does not tally
with Shakespeare's description of knife-wielding assassins stabbing an aged king to
death in his bed. More likely the men of Moray became disillusioned with an
ineffectual king and rallied behind Macbeth, rejecting Duncan's authority. When
Duncan ventured forth to assert his sovereignty, he was killed in battle near Elgin.
Schuyler 99
THE LINEAGE OF MACBETH AND DUNCAN
Malcolm I
King of Scots
(KOS)
Dubh
Kenneth II (KOS)
Kenneth III (KOS)
Malcolm II (KOS)
Gillcomgain
Girig m. Beodhe
Gillacomgain
Gruoch
Dovada
Bethoc
m. Finlaech
M. Grimus
Macbeth
Duncan I KOS)
Wife of Macbeth
GAELIC KING SELECTION BY MEANS OF TANISTRY
Tanistry incorporated some elements of both Irish and Pictish tradition. Originally, a Gaelic king
would be elected from a wide circle of anyone whose great grandfather had been a king. The heir
apparent was called the "tanist". Under Pictish influence, this system resolved into a rotation
between the two main branches of the royal house. This led to a lot of rivalry and violence between
the houses.
As the idea of direct hereditary descent became current, kings would seek to annihilate claimants
of the rival house to ensure succession by their sons and grandsons. Macbeth is the great historical
example. Malcolm II had no sons and wanted to secure the kingdom to his grandson, Duncan. So, he
killed his predecessor's grandson Gillacomgain (of the rival house). However, Macbeth was
stepfather of the murdered man's heir and fought for and gained the throne on that basis.
Schuyler 100
SECOND VIEW OF THE HISTORY: JAMES I & THE DIVINE RIGHT OF KINGS
SHAKESPEARE WANTED TO PLEASE JAMES. Source: Roanake College Website
In the summer of 1606, Shakespeare sat contented as King James I, rapt with awe, watched
Macbeth. Shakespeare had wanted such a reaction from the King who used to fall asleep during
plays. His purpose for writing Macbeth was to honor his new King from Scotland. The legend of
Macbeth and his deeds was told to James constantly during his childhood because he had a direct
claim to the story. He was one of Banquo's foretold descendants to sit on the throne of Scotland.
Many of the events that occur in the play have a direct correlation to James. The fact that this
play deals with treachery and deceit is due to the constant attempts to assassinate James. One
reason Macbeth might start out as the Thane of Glamis is because James was once held hostage by
this very thane. The thane's wife was a reported witch whose meddling caused the delay of James’
marriage. Another conspiracy was by one of his favorites, Lennox. Lennox used and manipulated the
king to fill his own pockets.
WRITINGS OF JAMES I AND IV
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 are called gods. There be three
principal similitudes 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 fathers of families: for a king is truly Parens patriae, the politique 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 destrov make or unmake at his pleasure, to give life or send
death, to judge all and to be judged nor accountable to none; to raise low things and to make high
things low at his pleasure, and to God are both souls and body due. And the like power have kings:
they make and unmake their subjects, thev have power of raising and casting down, of life and of
death, judges over all their subjects and in all causes and yet accountable to none but God only. . . .
From King James I, Works, (1609).
Schuyler 101
THIRD VIEW OF THE HISTORY – THE GUNPOWDER PLOT Sources: Roanake College and PBS
Websites
In 1603, James became the King of England. He had many enemies and there were plots to kill him
at every turn. The most famous of these was the Gunpowder plot which had its roots in the religious
tumults and intolerance of the time. James was a Protestant. When he was first crowned, the
Catholics thought James would be tolerant because his mother, Mary Queen of Scots, was Catholic.
Their expectations were short lived. He once said of the Catholics that he was so far from
favoring their superstitious religion that if he thought his son would tolerate it after his death, he
would have him buried before his eyes. As a result of this speech and others like it, the Catholics
devised the Gunpowder plot.
The plot seems to have formed in the mind of Thomas Percy who in 1603 told his friend Robert
Latesby that he planned to kill the King. This sparked a plan in Latesby's mind. He told four men of
his plan in May of 1604. This small but infamous group that would go down in history was made up of
Latesby’s cousin, Thomas Winter, his friend, John Wright, Percy, and the notorious Guy Fawkes,
who is still burned in effigy in England on November 5th each year. The plan was to put gunpowder
barrels under Parliament House. When the King opened the House on November 5th, the gunpowder
would explode. It would kill not only the King, but the Queen, Prince Henry, bishops, and nobles.
They began to work in May of 1604 by renting a house next to the Parliament building and digging a
tunnel directly under the House of Lords. This proved to be tedious and time consuming. Later they
discovered that the house next to theirs had a cellar that ran directly under the Parliament. They
bought it and tore the wall that adjoined the two foundations down. Fawkes carried 20 barrels of
gun powder into the cellar and was never caught. The amount of people involved tripled.
One conspirator, afraid for his brother-in-law, betrayed the plot. The conspirator wrote a letter
informing his brother-in-law of the explosion. The night before the event was to take place there
was a search of the property. The King's men found the barrels and tortured the conspirators they
caught.
All the Catholic conspirators, Catesby, Tresham and Winter had connections to Warwickshire where
Shakespeare was born and raised his family, and they were rumored to have frequented his local
tavern in Stratford. Catesby died fighting, while the other conspirators were hunted down,
arrested, tried and executed.
Schuyler 102
FOURTH VIEW OF THE HISTORY – WITCHCRAFT AND THE SUPERNATURAL
King James took a special interest in the witchcraft. In 1597 he published a book that he had
written on the subject of witchcraft, his Daemonologie. In this work, James put the traditional
arguments in favor of a belief in witchcraft, and his lifelong interest in the subject is evidenced by
the fact that he himself participated in a number of trials of alleged witches.
The belief in the existence and power of witches was widely believed in Shakespeare's day, as
demonstrated by the European witch craze, during which an estimated nine million women were put
to death for being perceived as witches (The Burning Times). The practice of witchcraft was seen
to subvert the established order of religion and society, and hence was not tolerated. Witch
hunting was a respectable, moral, and highly intellectual pursuit through much of the fifteenth,
sixteenth, and seventeenth centuries (Best ). The belief of the majority during the seventeenth
century suggests that the witches are powerful figures who can exercise great power over
Macbeth; however, strong arguments to the contrary were in existence at the same time. The
intensity of the tragedy is dependent on whether the witches are perceived to be able to control
the otherwise innocent Macbeth's actions, or if he is entirely responsible for his own demise. . .
Firstly, it was widely believed in Europe for centuries that sorcery could cause impotence. In the
preface of Daemonologie, King James I asserts the power of witches to weaken "the nature of some
men, to make them unavailable for women" (qtd. in Best). A major textbook for witch hunters,
Malleus Maleficarum, describes how witches are able to make men impotent, or even make their
penises disappear (qtd. in Best). . . . . The audience's beliefs of whether or not the witches actually
have power over Macbeth influence their interpretation of whether his actions result from personal
choice or from external influence. Macbeth retains a heroic aura as long as he either is able to use
his free will and personal choice to resist the witches' influence, or if he is believed to be
powerless against the external evil influences of his wife and the witches. Thomas Cooper writes in
his 1617 work The Mysterie of Witchcraft, "Satan cannot preuaile effectually vpon any to their
condemnation, vnless with full confent they yeelde themfelues wholy to his fubjection" (Cooper
360). According to this, Macbeth should be able to resist temptation by not giving his consent.
Initially Macbeth listens to the witches, "rapt" (I.3.142), but he is able to retain the ability to act
as a morally responsible person and control his ambition.
After considering that he could commit murder to achieve what the witches propose, he stifles the
idea, saying, "If chance will have me king, why, chance may crown me/ Without my stir" (1.3.143-44).
However, in the second act, he no longer attempts to stifle his conscience, but instead seems to
accept the murder as an inevitable act beyond his control, saying, "I go, and it is done: the bell
invites me" (2.1.70). . .
For most of Shakespeare's contemporary audience, Macbeth would appear to be at the mercy of
the witches and therefore not entirely responsible for his actions. In my opinion, it is easier to
muster sympathy for a person who is not entirely to blame for their actions; in the case of
Macbeth, the tragedy is more successful if the popular seventeenth century mentality is adopted
and thereby the witches and Lady Macbeth are made partly to blame for his downfall. Source:
Jennifer Reidel “The Witches' Influence on Macbeth” University of Victoria
103
FINDING THE THEMES AND MOTIFS IN MACBETH – ACT IV
Name_________ Block_____
Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find:
1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great
Chain of being (especially the body or office of an anointed King)
2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of
human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets
what he wants.
THEMES THROUGH THE PLAY OF MACBETH
Description of event
Unnatural as
Supernatural
Bestial, AntiNatural
Crime against
Great Chain
Appearance
vs. Reality as
Hiding intent
or deed
Regret at
deeds (real &
apparent)
Real values vs
perceived
desires
Quotation
Act – Scene –
Line# Ref.
104
THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT IV
Unnatural as
Description of event & why it
represents the theme
Quotation
Act – Scene –
Line# Ref.
8. Macbeth visits the witches to get
more information on the future
9. Foreshadowing of his own doom for
trusting the witches
8. The whole first act with apparitions,
and predictions
9. Infected be the air on which they ride
and damned all that trust them
Act 4 Scene 1
Bestial, AntiNatural
11. Lady Macduff on her husband’s
running away
11. He wants the natural touch . . .against
the owl
Act 4 Scene 2
Lines 12-14
Crime against
the King &
Great Chain
5. Evidence of the divine appointment
of kings – here the king of England
5. ‘Tis called the evil. . .the healing
benediction
Act 4 Scene 3
Lines 168-177
Supernatural
Act 4 Scene 1
Lines 155-56
105
Appearance
vs. Reality as
Hiding intent
or deed
6. Malcolm on how evil can look like
good, but good still looks the same
6. Though all things foul . . . ., yet grace
must still look so.
Act 4 Scene III
Lines 28-30
Regret at
what he has
done
(apparent &
real)
7. Total lack of regret now – apparent
or real
7. From this moment, the very firstlings
of my heart . . before this purpose
cool
Act 4 Scene 1
Lines 163-72
Real values vs
perceived
desires
5. Determined to kill Macduff even
though he thinks he cannot hurt him
just to get rid of fear (can’t enjoy
the throne for fear)
5. But yet I’ll make assurance double
sure. . . That I may tell pale hearted
fear it lies and sleep in spite of
thunder
Act 4 Scene 1
Lines 91-95
Schuyler 106
Lesson Plan – Macbeth 5
Pre-service Teacher Mandy Schuyler
School / Grade McDowell Grade 12
Cooperating Teacher___________________
Date Written 1/28/06 Date Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time 90 minutes
Lesson Concept:
Study of Macbeth Acts IV and V through the inquiry: “What makes a person
go over to the dark side?” and through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
1. Students will be introduced to the concept of
write-arounds and trained on the process
2. Students will review the role of character
development in a play and note taking skills
3. Students will identify instances of the themes
in Acts IV and V of Macbeth
4. Students will practice note taking on the
characters of Macbeth and Lady Macbeth
Materials:
Assessments
1.
The quality of the write-arounds and
discussion
2. Answers in class and notes taken on the
characters of Macbeth/Lady Macbeth
3. Accurate identification of specific instances
of the themes of ‘unnaturalness’ and ‘reality vs
appearance in the 4th & 5th acts of the play
4. Good notes on the two key characters
Macbeth by William Shakespeare
Bellringer poster or blackboard display
Slides on Character development
Slides on good note taking
Slides on Macbeth/Lady Macbeth
Themes Act V Worksheet
Slide on write arounds
Anticipatory Set Bellringer:
So far, do you think Macbeth is wholly responsible for all the bad things that he has done in the
play, or is blame to be placed on the witches and Lady Macbeth for inciting him. Give the reasons
for your answers very briefly. 5 minutes. The class will pair and share their answers to this
question for 3 minutes.
Activating Prior Knowledge:
The teacher will review the concept of character development in a play (slide 1 & 2 pages 3 & 4) ,
and ask the class questions about the characteristics of good note taking. 5 minutes.
Schuyler 107
Procedure:
1. Reading Quiz on Act IV of Macbeth (see page 4). 5 minutes
2. Teacher will provide an overview of the process of write arounds and have students break into
groups of 4 and do a silent write around on the topic. “Why do you think that Macbeth keeps
doing bad things, even though he was unhappy with life after the first murder?” Then there will
be a group and whole class discussion of the findings. 20 minutes
3. Students will review their theme worksheets from Act IV from class and homework, quickly
comparing their results with an elbow partner, and marking each theme area found as accurate
or inaccurate for each other. 10 minutes
4. Students will be told that there will be a character study essay on Macbeth (the man) for the
next class and homework assignment, and they should begin to think about their choice of topic.
Essays MUST use detailed references to the text to support their assertions, and must have a
clear thesis. Choice of topics will be:
a) How (by what stages and actions) and why (with what motivation, persuasion and
opportunities) did Macbeth go over to the dark side, at what point was he fully committed
and why do you think this?
b) Which three aspects of Macbeth’s journey to the dark side have most relevance to life in
today’s world and why (with examples of current applicability)?
c) If you were Macbeth, and had murdered Duncan, what do you think you would do differently
from then on, and how could that affect the outcome of the play?
5. Teacher will display some character study notes of Macbeth and Lady Macbeth and students will
take notes using the Cornell method, or Mind Mapping, or both.
9. The first two scenes of Act V of Macbeth will be read aloud in class and the students will use
the attached worksheets (pages 11-13) to begin to fill in instances of the themes as they occur.
They will be asked to read the rest of Act V as homework (in an annotated edition) and come to
class ready to discuss the themes and to select their essay topic. This quiet reading will be
begun in class. 20 minutes
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side, and what is the process of doing it.” 5 minutes
Additional Concept Related Activity:
If there is extra time (unlikely) students will be asked to begin to map out questions about the
route Macbeth took to go over to the dark side in their journals – questions which can form useful
pointers as they consider their essay.
Schuyler 108
Slide 1
Character Development in Literature
Author’s Development of Character
When authors create characters, they consider their
• PPhhyyssiiccaall characteristics
• Interaction with ootthheerr cchhaarraacctteerrss
• Interaction with tthhee w
woorrlldd around him/her
•T
Thhoouugghhttss and ffeeeelliinnggss
•B
Beehhaavviioorraall Traits
•S
Sppeeeecchh and speech habits
• Past, present and future
Schuyler 109
Slide 2
and
What is Character Development?
How do we recognize it?
Character development is the collection of pphhyyssiiccaall and m
meennttaall
ffeeaattuurreess that bring people to life – their personalities,
appearance and so on. You can describe character by paying
attention to what they ddoo,, ssaayy,, tthhiinnkk aanndd ffeeeell, and by what
others ssaayy aabboouutt tthheem
m.
The degree to which a character is revealed classifies him as
flat or round. We know most about round characters: they
are well rounded, flat less detailed. Round characters will
usually ggrroow
w,, ddeevveelloopp oorr cchhaannggee, for better or worse in a story
Sometimes characters are very predictable – for example
Class clown
Brain
Bully
Athlete
You can think of specific features these are likely to have.
In a good piece of
writing, the
characters go
beyond the obvious
features, often
having unusual or
surprising ones.
Look for the inner
traits, the conflicts
and so on.
Schuyler 110
The Cornell Note-taking System
Cue Column
Notetaking Column
(about 2 inches)
(about 4-5 inches)
Pull out the key words
and phrases that
summarize the key points
in your notes to the right
to make them easy to
remember ( the headings
on the left of the notetaking column would make
a good example of what
to put in this column when
you actually take notes)
1. Record:
During the class, use the note-taking column to
record the lecture using telegraphic sentences.
2. Questions: As soon after class as possible, make up
questions based on the notes in the right-hand
column. Writing questions helps to clarify
meanings, show relationships, see connection, and
improve memory. Also, the writing of questions
sets up a perfect stage for exam-studying later.
3. Recite:
Cover the note-taking column with a sheet of
paper. Then, look at the questions or cue-words
in the question and cue column only, & say aloud,
in your own words, the answers to the questions,
facts, or ideas indicated by the cue-words.
4. Reflect: Reflect on the material by asking yourself
questions, for example: “What’s the significance
of these facts? What principle are they based
on? How can I apply them? How do they fit in
with what I already know? What’s beyond them?
5. Review:
Spend at least ten minutes every week reviewing
all your previous notes. If you do, you’ll retain a
great deal for current use, as well as, for the
exam.
Summary: (about two inches deep). After class, use this space at the bottom of each
page to summarize the notes on that page.
Adapted from How to Study by Walter Pauk, 2001 Houghton Mifflin Company
Schuyler 111
Mind Maps
A Mind Map® is a powerful graphic technique for note taking because it allows the
use of the natural connectors of the brain. It was developed by Tony Buzan in the
late 1960's
How to Mind Map
7. Turn a large letter (11" x 8.5") or legal (14" x 8.4"), white sheet of paper on its side
(landscape).
8. Gather a selection of colored pens, ranging from fine nib to medium and highlighters.
9. Select the topic, problem or subject to be Mind Mapped.
10. Gather any materials or research or additional information.
11. Start in the centre with an unframed image – approximately 3 inches wide and an inch high.
12. If you like, use dimension, expression and at least three colors in the central image in order
to attract attention and aid memory.
Schuyler 112
Slide 3
Characteristics of Good Note Taking
B
Brreevviittyy
Notes should be brief and to the point. They need not be
taken in full sentences since words, phrases, and topics are
enough. They are, therefore, not always in English that is
grammatically correct.
R
Reelleevvaannccee
Only relevant facts are needed; the determining factor is the
purpose for which the notes are made – in this case usually it
is for review before a test.
Key points must be pulled out, underlined or highlighted to
give a visual and memory peg to make learning the content
much easier
CCllaarriittyy
There should be no ambiguity. Notes should make sense when
viewed after a few weeks, months, or years. Failure to
decipher the notes at a later stage may render the whole
labor useless.
N
NO
OT
TE
ES
SM
MU
US
ST
T::
CCO
OV
VE
ER
RA
ALLLL T
TH
HE
EM
MA
AIIN
N PPO
OIIN
NT
TS
S
B
BE
EE
EA
AS
SY
YT
TO
OR
RE
EA
AD
DA
AN
ND
DU
UN
ND
DE
ER
RS
ST
TA
AN
ND
D
PPU
ULLLL O
OU
UT
T CCR
RIIT
TIICCA
ALL CCO
ON
NCCE
EPPT
TS
SA
AT
TA
AG
GLLA
AN
NCCE
E
Schuyler 113
READING QUIZ ON ACT IV OF MACBETH Name_______________ Block____ Date______
31.
What does Macbeth find out from the witches (key thing number one)?
32.
What else does Macbeth find out from the witches (key thing number two)?
33.
What else does Macbeth find out from the witches (key thing number three)??
34.
What does Macbeth decide to do when he hears Macduff has fled?
35.
Why is Lady Macduff furious with her husband?
36.
What does Ross tell Macduff has happened when he sees him at the English court?
37.
What does the doctor say the King of England can do?
38.
What does Macduff tell Malcolm he wants most?
39.
Why does Malcolm tell Macduff he has a very bad character?
40.
Who has the king of England given Malcolm to help him fight?
Schuyler 114
Write-Arounds
 Groups of four
 Introduce yourselves if necessary
 3 minutes to review notes on Macbeth so far or just
think about this question:
““W
Whhyy ddoo yyoouu tthhiinnkk tthhaatt M
Maaccbbeetthh kkeeeeppss ddooiinngg bbaadd
tthhiinnggss,, eevveenn tthhoouugghh hhee w
waass uunnhhaappppyy w
wiitthh lliiffee aafftteerr
tthhee ffiirrsstt m
muurrddeerr??””
PLEASE MAINTAIN COMPLETE SILENCE






Write one thoughtful comment or question about this
subject at the top of a piece of paper – two minutes
Put your initials beside your contribution
Pass your paper to the left
Read your classmate’s comment and think about it – one
minute
Respond thoughtfully to it with your own comment or
question - two minutes
Repeat three times until the originator has that particular
sheet back
 NOW WE CAN TALK!
Schuyler 115
Write Around Discussion:
Now as a team, please discuss
the following questions in five
minutes:
 First honor the strand – discuss the quality and
insights your team created –
 What did you think?
 What did you learn?
 Did you agree or agree to disagree?
 Now list three things your group said or did which
helped it have a successful written conversation
and discussion
 What is one thing your group would do differently
the next time?
Schuyler 116
THOUGHTS ON THE CHARACTER OF MACBETH
Macbeth is an interesting character. Some say that Macbeth
represents humankind. Do we consider Macbeth a hero or a villain?
There has been much disagreement over this. Here is a run through of
his key actions to help you make your decision.
We first meet Macbeth as a brave, loyal general who is given the high
title of Thane of Cawdor by King Duncan. He seems like a noble, good
person. Macbeth becomes ambitious to be king. Though he has
misgivings about killing King Duncan, his wife tells him to and plans the
killing. Macbeth’s conscience tells him not to kill Duncan but he goes
through with it, feeling guilty after the crime. It may be considered
partly his wife’s fault. He still has a conscience but he did a bad thing.
Next, Macbeth kills two guards so that they won’t speak about the
murder, needing to cover it up. But then, he sends men to kill Banquo
and his son because they may be threats to his throne. Banquo is his
close friend. It seems that Macbeth’s conscience has disappeared, as
he gets men to kill his friend and he is happy when the job is done. One
can argue, though, that he had to do this in order to keep his throne.
You can also say that Macbeth was shaken by the ghost of Banquo
(conscience still there).
Next, Macbeth kills the family of Macduff. He does this because
Macduff has gone to England. The family is warned by a messenger, but
is unable to escape in time. Macduff’s wife and son are killed. Why did
Macbeth do this? These innocent people were not a threat to him.
Macbeth was so overconfident from the witches’ prophesies that he
thought himself invincible. Macbeth seems to have lost his conscience
completely; nothing can harm him. He has no reason to worry. Macbeth
kills Young Siward and gets killed by Macduff in the end.
Source Thinkquest website < http://library.thinkquest.org/19539/macbeth.htm>
Schuyler 117
THOUGHTS ON THE CHARACTER OF LADY MACBETH
Lady Macbeth’s strength of will and masculine firmness gave her the
advantage over her husband's faltering virtue. She at once seizes on
the opportunity for their wished-for greatness, and never flinches
until it is all over. The magnitude of her resolution almost covers the
magnitude of her guilt. She is a great bad woman, whom we hate, but
whom we fear more than we hate. She is only wicked to gain a great
end; and is perhaps more distinguished by her commanding presence of
mind and inexorable self-will, which do not suffer her to be diverted
from a bad purpose by weak and womanly regrets, than by the hardness
of her heart or want of natural affections.
The reproach to Macbeth, the assurance that "a little water clears
them of this deed," shows nothing but her greater consistency in evil.
Her strong-nerved ambition puts steel in "the sides of his intent"; and
she is wound up to the execution of her murderous project with the
unshrinking determination in crime. She makes deliberate sacrifice of
all other considerations to the gaining "for their future days and nights
sole sovereign sway and masterdom.”
This uncontrollable eagerness of anticipating royalty, which seems to
take possession of all her faculties, makes her give a substantial flesh
and blood display of passion. Her fault seems to have been an excess of
self-interest and family ambition, not amenable to decent feelings of
compassion and justice, which is so common in barbarous nations and
times. A passing reflection of this kind, on the resemblance of the
sleeping king to her father, alone prevents her from slaying Duncan
with her own hand.
Source: William Hazlitt on the Absolute Shakespeare website
http://absoluteshakespeare.com/guides/macbeth/characters/macbeth_characters_essay.htm
118
FINDING THE THEMES AND MOTIFS IN MACBETH – ACT V
Name_________ Block_____
Key thematic clusters in Macbeth – please go through the play and identify as many references to the following themes as you can find:
1. the “unnatural” in the form of a) the supernatural, b) the bestial/anti-natural and c) a reversal of nature or crime against the Great
Chain of being (especially the body or office of an anointed King)
2. “Appearance versus reality” in the form of a) intention versus appearance (“look clear”), b) Desire versus willingness to act (the milk of
human kindness) and c) Real values/satisfaction versus perceived desires – as shown in how Macbeth feels after he gets
what he wants.
THEMES THROUGH THE PLAY OF MACBETH
Description of event
Unnatural as
Supernatural
Bestial, AntiNatural
Crime against
Great Chain
Appearance
vs. Reality as
Hiding intent
or deed
Regret at
deeds (real &
apparent)
Real values vs
perceived
desires &
change in
them
Quotation
Act – Scene –
Line# Ref.
119
THEMES THROUGH THE PLAY OF MACBETH – ANSWER KEY FOR ACT V
Unnatural as
Description of event & why it
represents the theme
Quotation
Act – Scene –
Line# Ref.
Supernatural
10. Macbeth announces his invincibility
as foretold by the witches
11. Ibid
12. Macbeth boasting Macduff can’t
kill him
10. Till Birnam wood remove . . . I cannot
taint with fear
11. Fear not Macbeth, no man . . born of
woman shall e’er have power upon thee
12. I bear a charmed life . . of woman born
Act 5 Scene 3
Lines 2-3
Act 5 Scene 3
Lines 6-7
Act 5 Sc 5 16-17
Bestial, AntiNatural
12. Doctor discussing Lady Macbeth’s
sleepwalking
13. Ibid
14. Ibid
15. Mentieth describing Macbeth’s
own body rebelling
16. Macbeth chafing at being penned
in his castle
12. A great perturbation in nature . . and do
the effects of watching!
13. This disease is beyond my practice
14. Foul whisperings . . than the physician
15. Who then shall blame . . . condemn itself
for being there?
16. They have tied me . . bear-like I must
fight the course
Act 5 Scene 1
Lines 9-11
Act 5 Sc 1 54-55
Act 5 Sc 1 66-69
Act 5 Scene 1
Lines 27-30
Act 5 Scene 7
Lines 3-4
Crime against
the King &
Great Chain
6. Angus describes how Macbeth’s
sacrilege in killing the king loosen
his ability to rule
7. Lennox describing Macbeth’s
replacement with son of Duncan
6. now does he feel his title hang loose
about him . . . .thief
Act 5 Scene 2
Lines 24-25
7. To dew the sovereign flower and drown
the weeds
Act 5 Scene 2
Line 37
120
Appearance
vs. Reality as
Hiding intent
or deed
7. Malcolm tells the soldiers to cut
trees to hide themselves
7. thereby shall we shadow the numbers
. . .make discovery err in us
Act 5 Scene IV
Lines 7-10
Regret at
what he has
done
(apparent &
real)
8. Macbeth regretting the loss of joy
to himself
9. Macbeth sad at the death of Lady
Macbeth & his own misery
10. Macbeth tired of his own life
11. Macbeth hesitating to fight Macduff
8. I am sick at heart . . .would fain deny
and dare not
9. All our yesterdays have lighted fools
the way . . . signifying nothing
10. I gin to be aweary. . now undone
11. Get thee back .blood of thine already
Act 5 Scene 3
Lines 24-33
Act 5 Scene 5
Lines 25-31
Act 5 Sc 5 55-56
Act 5 Sc 5 7-8
Real values vs
perceived
desires &
change in
them
6. Macbeth marveling at his lack of
fear – he has seen so much horror
6. I have almost forgot the taste of
fears; . . .cannot once start me
Act 5 Scene 5
Lines 11-17
Schuyler 121
Lesson Plan – Macbeth 6
Pre-service Teacher Mandy Schuyler
School / Grade McDowell Grade 12
Cooperating Teacher___________________
Date Written 1/28/06 Date Reviewed_______
Lesson Subject Macbeth by William Shakespeare
Teaching Time 90 minutes
Lesson Concept:
Study of Macbeth overall through the inquiry: “What makes a person go over
to the dark side?” and through the play’s story line with its key themes.
Standards: (For sequence of lessons) 9.2.12 A,C,D,I,K,L 9.3.12 A,B,C,D 9.4.12. A,B,C,D 1.1.11.
A,B,C,D,E,G,H 1.2.11 A,B
1.3.11. A,B,C,D,E,F
1.4.11. C,D
1.6.11. A,B.
Objectives
Assessments
1. Students will review the structure of an essay
and its thesis
1. The quality of the final essays
2. Students will select their topic and assemble
data from all their recent exercises
10. Evidence package
3. Students will create outlines of their essays in
class, with a partner to review/comment
11. Solid outline structures
12. Good first draft
3. Students will begin to draft their essays
Materials:
Macbeth by William Shakespeare
Bellringer poster or blackboard display
Essay, Thesis & Plan overheads
Essay planning & Thesis Worksheet
Act V Reading Quiz sheets
Anticipatory Set Bellringer: Remember a time when you really enjoyed writing something – a letter
to a friend, song lyrics, fan fiction, email describing a football game or a day at the beach. With
that in mind, try to think of three things that can make writing fun for you and why you think they
work well for you. Maybe it’s a fun topic; maybe it’s an audience you like; maybe it’s music in the
background. 5 minutes. The class will pair and share their answers to this question for 3 minutes.
Activating Prior Knowledge:
The teacher will review the concept of essay structure and thesis makeup (slides pages 4-6) and ask
the class questions about the best approach to writing for them. 10 minutes.
Schuyler 122
Procedure:
1. Reading Quiz on Act V of Macbeth (see page 19). 5 minutes
2. Students will be asked to select their topic for the character study essay on Macbeth (the man)
May handing in a slip of paper with their name and topic on it. Students are reminded that
essays MUST use detailed references to the text to support their assertions, and must have a
clear thesis. Choice of topics will be:
a) How (by what stages and actions) and why (with what motivation, persuasion and
opportunities) did Macbeth go over to the dark side, at what point was he fully committed
and why do you think this?
b) Which three aspects of Macbeth’s journey to the dark side have most relevance to life in
today’s world and why (with examples of current applicability)?
c) If you were Macbeth, and had murdered Duncan, what do you think you would do differently
from then on, and how could that affect the outcome of the play?
3. Teacher will provide an overview of the process of essay planning and a handout on thesis
construction (Pages 7-18). (10 minutes) and then have students break into groups of 2 and do an
overview plan for their essays, with buddies helping each other draft a good plan. (20 minutes)
- Total 30 minutes
4. Students will review their theme worksheets from Act V from class and homework, quickly
comparing their results with an elbow partner, and marking each theme area found as accurate
or inaccurate for each other. 10 minutes
13. Students will be asked to assemble information for their selected essay topic from:
a. character study notes of Macbeth and Lady Macbeth taken last class
b. All their themes worksheets from the last five classes, especially those on hiding,
regret and values
c. Their worksheets on why a person goes over to the dark side
d. Their process worksheets on the stages of doing it.
(5 minutes)
14. Teacher will introduce the final project for Macbeth, which will begun next class. Students will
do a real life project in one of two settings. Either they will go on a sponsored visit to the local
police station to look at criminal or court records and pick one frequently committed type of
crime (e.g. theft) or they will go to a prearranged meeting with the school administration to see
types of misbehavior which have recently been most prevalent in the schools. (This will have
been worked out to remove any names for privacy, and leave the circumstances).
Students will study their selected misdeed, and apply the learning regarding what makes a
person turn to the dark side to write a proposal for how to make changes in the school or in
society that will make it less likely for people to turn bad – this can be training, working with
those who suffered to understand the effects of the dead ahead of time, writing a story about
what such a deed would do to their own life if someone had perpetrated it on them, or any other
practically feasible action which the student’s learning makes them believe it could be
effective.
Schuyler 123
Students will be asked to select their project option by next class and think about the kinds of
deed they might wish to study. The research work will be done in groups of four, with individual
proposals (10 minutes with questions)
7. Student will then begin to write their essays with the review and suggestion help of their buddy
from the planning exercise above. It will be continued and completed for homework. (20
minutes)
Closure:
A student led brainstorming will lay out on the blackboard the main things we learned in class today,
and prioritize them as likely to be helpful in answering the question “What makes a person go over
to the dark side, and what is the process of doing it.” 5 minutes
Additional Concept Related Activity:
If there is extra time (unlikely) students will be asked to review and flesh out questions about the
route Macbeth took to go over to the dark side in their journals – questions which can form useful
pointers as they consider their essay.
Schuyler 124
Slide 1
The Structure of an Essay
An essay should have at least 5 paragraphs including an
introduction and conclusion, structured a bit like a hamburger.
Bun top
Introduction
Toasted face
Condiments
Thesis
Support 1
Cheese
Support 2
Beef patty
Support 3
Toasted face
Restate Thesis
Bun bottom
Conclusion
1. Start with a ““hhooookk”” – an interesting idea, fact or quotation
relevant to your topic. This could be from a song lyric like
Spitalfield’s Doing Bad Things album, or the fact that
violent crime rates have been reducing for ten years.
2. State your tthheessiiss – the core idea of your essay
3. Make 33 ddiiffffeerreenntt aarrgguum
meennttss to support your main idea,
using quotes from the text and other sources (cited)
4. Restate your tthheessiiss, which has now been supported – in a
slightly different way, telling us why it is now proved
5. Make an interesting ccoonncclluussiioonn tying back to your ““hhooookk””
Schuyler 125
The Thesis
The most important single sentence in the essay: core idea
11 sseenntteennccee w
wiitthh 3
3 ppaarrttss 
E
Exxaam
mppllee::
B
Bllaacckk E
Ellkk S
Sppeeaakkss aaccccuurraatteellyy rreepprreesseennttss IInnddiiaann lliiffeessttyyllee
tthhrroouugghh iittss aatttteennttiioonn ttoo ccuullttuurraall ddeettaaiill,, iittss uussee ooff IInnddiiaann
w
woorrddss,, aanndd iittss ddiirreecctt qquuootteess ffrroom
mB
Bllaacckk E
Ellkk..
3 main parts: lliim
miitteedd ssuubbjjeecctt,, pprreecciissee ooppiinniioonn, and bblluueepprriinntt.
11.. LLiim
miitteedd S
Suubbjjeecctt
States exactly oonn w
whhaatt,, oorr w
whhoom
m tthhee eessssaayy ffooccuusseess.
The book title (Black Elk Speaks), from the example, is the
limited subject of the thesis statement:
Black Elk Speaks accurately represents Indian lifestyle
through its attention to cultural detail, its use of Indian
words, and its direct quotes from Black Elk.
22.. PPrreecciissee O
Oppiinniioonn
Your aannssw
weerr ttoo aa qquueessttiioonn about the subject. (What does
Black Elk Speaks accomplish?)
Black Elk Speaks accurately represents Indian lifestyle by its
attention to cultural detail, its use of Indian words, and its
direct quotes from Black Elk.
Schuyler 126
Below is an example of a different precise opinion. This also
tells how the author feels, yet is completely opposite. Either
works, as long as the rest of the essay supports the opinion:
Black Elk Speaks fails to represent Indian lifestyle by its
lack of attention to cultural detail, its misunderstanding of
Indian words, and its lack of quotes from Black Elk himself.
3. Blueprint - A plan for the essay.
Just like the blueprint of a building tells you what the
finished product is supposed to look like, the blueprint of an
essay shows the whole shape of your ideas before you start
churning out whole paragraphs.
Black Elk Speaks accurately represents Indian lifestyle by its
attention to cultural detail, its use of Indian words, and
its direct quotes from Black Elk.
In the blueprint, the author signals an intention to support
the precise opinion. The author of the example above
introduces three different kinds of evidence: cultural detail,
Indian words, and quotes from Black Elk. So the reader
expects to find one section devoted to each subtopic.
Note: A thesis statement won’t work if the paper is not
completely focused on that main point. Blueprinting helps
keep the focus of the thesis throughout the entire essay,
which makes it a necessary part of the thesis statement
Schuyler 127
Name_____________ Block _______
Date_________
GENERATIVE PLANNING FOR ESSAYS
THIS IS FIRST
Answer each prompt thoughtfully and mindfully before you start
composing. This is to help you get started “with the end in mind.”
Don’t skip anything.
1.
What do you think your teacher is asking you to do in this essay?
2. What kind of information (data) are you working with for this essay? In what forms will you
find the data you’ll be needing? From what sources will you find the data?
Macbeth theme worksheets
Macbeth Dark Side worksheets (causes and process)
Source for your hook:
Other things you might want to include:
3. What steps are you going to have to take to get all the data you need for this essay?
4. When will you be able to get all the data you need?
5. Who is your audience for this essay? (Real and/or imagined) What do they already know
about the data? What new information can they learn about the data? What do they want
Schuyler 128
to be able to do with the information about the data that you’ll provide them? What do you
want them to do, think, or feel about your essay after they’ve read it?
6. What do you want to accomplish by sharing your arguments in this essay?
7. What main message do you want to get across to your audience in this Argument? What
would that look like written as a Thesis Statement?
Limited Subject:
Precise Opinion:
Blueprint:
All in one sentence:
8. What do you already know and believe about your data and topic?
Schuyler 129
9. Laid out on this page is each of the required pages for this Argument. On each one, jot
down key phrases or sentences that reveal what you plan to write about – the essay can be
limited to five pages if you wish in double spaced 12 point font:
PAGE 1
PAGE 2
Hook
Introduction
Thesis
PAGE 3
PAGE 4
PAGE 5
Restated thesis
Conclusion tying back to hook
(PAGE 6 & 7)
Schuyler 130
COMPOSING A DRAFT
THIS IS SECOND
Answer each prompt thoughtfully and mindfully before you start
writing a draft. This is to help you get started “with the end in mind.”
Don’t skip anything.
1.
What main message are you going to try to get across to your audience in this essay?
2. Write that message in the form of a Thesis Statement. (Think it through carefully again
and see if it works per the attached paper on thesis statements).
Limited Subject:
Precise Opinion:
Blueprint:
All in one sentence:
3. If this is your Thesis Statement, what bits of data have to come first? (Go back to the order of
your blueprint) List them here.
4. If this is your Thesis Statement, what bits of data have to come after the first ones? (Go
back to the order of your blueprint) List them here.
5. If this is your Thesis Statement, what bits of data have to come next? List them here.
Schuyler 131
6. List any additional data you’ll need in the order in which you’ll need them.
7. Go back to the first section of bits of data. What do you need to explain about the data
bits so that your audience understands the point you’re making in your Thesis? Write out
your explanation for the first section here.
8. Do the same thing with the second section of data bits.
9. Do the same thing with the remaining sections of data.
Congratulations! You have a draft of the Body of the Argument!
Schuyler 132
10. Now that you have a rough sketch of the Body sections, read them over and think about how
each one is relating to your Thesis. Would you say you needed to add, delete, or change
information in each of the sections
11. Now that you have a rough sketch of the Body sections, what are the best things to say in
an Introduction to this Argument? Make a list of those things here. Think especially about
the Hook. What will your Hook be?
12. Now that you have a rough sketch of the Body sections, what are the best things to say in a
Conclusion to this Argument? Make a list of those things here. Think especially about a
Cool Idea or Deep Thought about life to end with. What will your Cool Idea or Deep
Thought be? Remember it must tie back to the introduction and be relevant to the thesis.
Schuyler 133
REVIEWING THE DRAFT
THIS IS THIRD
Answer each prompt thoughtfully and mindfully after you’ve started
writing a draft. This is to help you achieve the end you had in mind.
Don’t skip anything. Feel free to use your partner for help – it’s easier
to see improvements in others’ writing!
1.
Read over your draft as if you were a member of the audience you’ve targeted for the
essay. As that audience member, write out a reaction to the essay you’ve just read. What
do you like about it? What are you unhappy with? Do this not as yourself but as one of the
readers you’re trying to reach.
2. Go back to the Planning sheets. You wrote there what you wanted your audience to know,
think, or feel after they read your essay. What of that can you find in the above reaction
to the essay that you just wrote?
3. Based on the above two pieces of information, make a list of the things you need to address
in your draft.
4. For each item on the list, write down a strategy for how you’ll address it.
5. Carry out each strategy from your list.
Congratulations! You have just revised your Argument!
Schuyler 134
PREPARING THE MANUSCRIPT
THIS IS LAST
Leave yourself enough time to follow this checklist correctly. This
tells you the mechanical aspects of what I’m looking for when I read
your work. Put a check next to each item as you complete it.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
Make sure the subject matter is clearly stated in the Introduction.
Make sure the Introduction has a Hook.
Make sure the Thesis Statement is obviously stated and placed.
Make sure each term of the Thesis Statement gets its own section in the Body.
Make sure you have sufficient examples from your data for each term.
Make sure your reasoning is evident within each section and from section to section.
Make sure the Conclusion has a Deep Thought or Cool Idea tying back to the hook.
Make sure you proofread for typos that your computer cannot detect, for example: “and” for “an,”
“on” for no,” “if” for “of,” “there” for “their,” “it’s” for “its,” and “were” for “where.”
Make sure you’ve eliminated and replaced all “you” and “your.”

Make sure you proofread for typical misspellings, for example: “then” when you want “than,” “’s”
(possession or contraction) when you want “s” (plural), “posses” (incorrect) when you want “possess.”
Make sure you proofread for extra or incorrect commas.
Make sure you eliminate and correct all fragments (sentence with no subject-verb clause.
Make sure your Argument has a cover page stating your name, the block, the Title of Your
Argument, and the date.
Make sure the final draft is stapled or folded together
Make sure each page after the title page is numbered and has your name on if not stapled.
Make sure the margins of each page are one-inch all around. These are not default margins, so
you will have to change them. Use 12-cpi in some standard font. This is Comic Sans in 10-cpi.
Double space the entire essay and never change the spacing. Indent 5 spaces or 1 inch for a
paragraph.
Make sure you turn in your planning sheets with the essay.
Schuyler 135
17 Oct 2000; by Nicci Jordan, UWEC Junior
Updated and maintained by Dennis G. Jerz
The Thesis Statement
(Handout to go with planning sheets)
A thesis statement is the main idea that your essay supports. It is similar to a
topic sentence for a paragraph, only it speaks for the entire essay. A very complex
thesis statement may take up a whole paragraph, but the standard freshman
composition essay does the job in one concise sentence.
Black Elk Speaks accurately represents Indian lifestyle through its attention to cultural detail, its
use of Indian words, and its direct quotes from Black Elk.
The thesis statement has 3 main parts: the limited subject, the precise opinion,
and the blueprint.
1. Limited Subject
The limited subject tells the reader exactly on what, or whom the article
focuses. The book title (Black Elk Speaks), from the example, is the limited
subject of the thesis statement:
Black Elk Speaks accurately represents Indian lifestyle through its attention to cultural detail, its
use of Indian words, and its direct quotes from Black Elk.
2. Precise Opinion
The precise opinion gives your answer to a question about the subject.
Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use
of Indian words, and its direct quotes from Black Elk.
Note: a question without an answer is not an opinion: "Does Black Elk Speaks
accurately represent Indian lifestyle?" You may, of course, wish to argue that a
particular question is unanswerable -- but that would still be an opinion that you
would have to back up just like any other answer. --DGJ
Below is an example of a different precise opinion. This precise opinion also tells
how the author feels, yet it is completely opposite from the original example.
Either is acceptable, as long as the rest of the essay supports the opinion:
Schuyler 136
Black Elk Speaks fails to represent Indian lifestyle by its lack of attention to cultural detail, its
misunderstanding of Indian words, and its lack of quotes from Black Elk himself.
A good precise opinion is vital to the reader's comprehension of the goal of the
essay.
3. Blueprint
A blueprint is a plan for the essay. Just like the blueprint of a building tells you
what the finished product is supposed to look like, the blueprint of an essay
permits you to see the whole shape of your ideas before you start churning out
whole paragraphs. (See: Blueprinting.)
Black Elk Speaks accurately represents Indian lifestyle by its attention to cultural detail, its use
of Indian words, and its direct quotes from Black Elk.
In the blueprint, the author signals an intention to support the precise opinion.
The author of the example above introduces three different kinds of evidence:
cultural detail, Indian words, and quotes from Black Elk. Informed by this
blueprint, the reader expects to encounter one section (a paragraph or more)
devoted to each subtopic
To emphasize the structure of your essay, repeat each phrase of the blueprint
as you introduce the paragraph(s) in which you expand and support each point that
you want to make. The way you introduce the supporting evidence is through topic
sentences -- miniature thesis statements that echo the paper's main idea.
Note: A thesis statement amounts to nothing if the paper is not completely
focused on that main point. Blueprinting helps create the coherency of the thesis
throughout the entire essay, which makes it a necessary part of the thesis
statement
A thesis reminder is a direct echo of the thesis statement. In a short paper, the
topic sentence of each paragraph should repeat words or phrases from the thesis
statement.
No matter how good your thesis, your writing is worth little if it does not cohere
(hold together) and demonstrate to the reader how each new point advances the
Schuyler 137
main idea. You can accomplish both goals by providing your reader with thesis
reminders.
A good thesis sentence has three main parts: the limited subject (what your paper
is about), the precise opinion (what you're trying to say about that subject), and
the blueprint (a brief outline of how you're going to support your claim). (See:
"Thesis Statements") Here are two examples of using the thesis and the blueprint
to maintain coherence.
Schuyler 138
Example 1
Thesis Statement:
Restoring old houses is rewarding because it is exciting, relaxing, and satisfying.
Topic Sentence #1 with reminder
Part of the reward in restoring old houses lies in the excitement of discovering the original
interior.
Topic Sentence #2 with reminder:
Not only is there excitement in restoring old houses, but working with one's hands is relaxing.
Topic Sentence #3 with reminder:
However excited and relaxed you may be when you have finished restoring your house, nothing
beats the satisfaction found in viewing the completed project.
Example 2:
Thesis Statement:
Becoming a ski patroller turned out to be harder than I thought because of the studying, the
skiing, and the time demands.
Topic Sentence #1 with reminder:
The first hurdle to becoming a ski patroller was the amount of studying required to learn the
medical terms, symptoms and signs, and treatments.
Topic Sentence #2 with reminder:
It isn't enough to pass the first aid and CPR exams; a ski patroller also must train
for/demonstrate skiing proficiency and toboggan handling on the slope.
Topic Sentence #3 with reminder:
Studying and ski training are both very time consuming, yet, even after ski patrollers pass all the
exams, they still must commit themselves to skiing many hours regardless of the weather or snow
conditions.
Source: University of Wisconsin Eau Claire Website
http://jerz.setonhill.edu/writing/academic/thesis.htm
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Limited
Subject
a)
c)
Precise
Opinion
b)
Blueprint
Examples
1.
Doing What We Need To
a) I wonder why capable people find it so hard to do what they should, when they should.
(Limited subject)
b) The most likely reason is that life in America is rich, various and enjoyable, (precise opinion)
c) so that young people are always drawn to leisure activities (blueprint) such as sports, (first
body paragraph) games (2nd body paragraph) and communicating with friends (3rd body
paragraph).
2. Different tastes in music
a) I wonder why people from the same region and of the same generation and grade year have
tastes in music that differ so drastically from each other.
b) I think it is because they are very different as people (precise opinion)
c) in that they have different personalities (blueprint) including their intelligences and talents
(first body paragraph), their family and ethnic cultural background (2nd body paragraph)
and their life experiences and discoveries (3rd body paragraph).
Schuyler 140
READING QUIZ ON ACT V OF MACBETH Name_______________ Block____ Date______
41.
What has Lady Macbeth started to do that resulted in her needing a doctor?
42.
Why does the doctor say she needs divine help rather than a physician?
43.
How does “Birnham Wood move to Dunsinane”?
44.
Why does Angus believe Macbeth is feeling his murders “sticking on his hands”?
45.
Why does Macbeth say he doesn’t want any more military reports?
46.
How does Macbeth expect to defeat the army of Malcolm?
47.
Why does Macbeth say he is no longer afraid of anything?
48.
Who does Macbeth kill first in the battle?
49.
Why can Macduff kill Macbeth in spite of the prophecy?
50.
Where is Malcolm headed at the end of the play?