CHANDLER UNIFIED SCHOOL DISTRICT
SUGGESTED RESOURCE GUIDE FOR REQUIRED TEXTS
EXTENDED TEXT: A Midsummer Night’s Dream
Title
William Shakespeare
Author
0-03-095765-6 or 978-0-329-59879-2
ISBN
GRADE LEVEL: 7th Grade Honors English
SYNOPSIS: Written in the mid-1590s, probably shortly before Shakespeare turned to Romeo and Juliet, A Midsummer Night’s
Dream is one of his strangest and most delightful creations, and it marks a departure from his earlier works and from others of the
English Renaissance. The play demonstrates both the extent of Shakespeare’s learning and the expansiveness of his
imagination. The range of references in the play is among its most extraordinary attributes: Shakespeare draws on sources as
various as Greek mythology (Theseus, for instance, is loosely based on the Greek hero of the same name, and the play is
peppered with references to Greek gods and goddesses); English country fairy lore (the character of Puck, or Robin Goodfellow,
was a popular figure in sixteenth-century stories); and the theatrical practices of Shakespeare’s London (the craftsmen’s play
refers to and parodies many conventions of English Renaissance theater, such as men playing the roles of women). Further,
many of the characters are drawn from diverse texts: Titania comes from Ovid’s Metamorphoses, and Oberon may have been
taken from the medieval romance Huan of Bordeaux, translated by Lord Berners in the mid-1530s. Unlike the plots of many of
Shakespeare’s plays, however, the story in A Midsummer Night’s Dream seems not to have been drawn from any particular
source but rather to be the original product of the playwright’s imagination.
(http://www.sparknotes.com/shakespeare/msnd/context.html)
BACKGROUND: The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful
middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education
proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left
his family behind and traveled to London to work as an actor and playwright. Public and critical success quickly followed, and
Shakespeare eventually became the most popular playwright in England and part-owner of the Globe Theater. His career bridged
the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed,
James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men.
Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s
death, literary luminaries such as Ben Jonson hailed his works as timeless. Shakespeare’s works were collected and printed in
various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to
write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about
Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in
mystery. Some people have concluded from this fact that Shakespeare’s plays were really written by someone else—Francis
Bacon and the Earl of Oxford are the two most popular candidates—but the support for this claim is overwhelmingly
circumstantial, and the theory is not taken seriously by many scholars.
In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154
sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have
transcended even the category of brilliance, becoming so influential as to profoundly affect the course of Western literature and
culture ever after.
Written in the mid-1590s, probably shortly before Shakespeare turned to Romeo and Juliet, A Midsummer Night’s Dream is one of
his strangest and most delightful creations, and it marks a departure from his earlier works and from others of the English
Renaissance. The play demonstrates both the extent of Shakespeare’s learning and the expansiveness of his imagination. The
range of references in the play is among its most extraordinary attributes: Shakespeare draws on sources as various as Greek
mythology (Theseus, for instance, is loosely based on the Greek hero of the same name, and the play is peppered with references
to Greek gods and goddesses); English country fairy lore (the character of Puck, or Robin Goodfellow, was a popular figure in
sixteenth-century stories); and the theatrical practices of Shakespeare’s London (the craftsmen’s play refers to and parodies many
conventions of English Renaissance theater, such as men playing the roles of women). Further, many of the characters are drawn
from diverse texts: Titania comes from Ovid’s Metamorphoses, and Oberon may have been taken from the medieval romance
Huan of Bordeaux, translated by Lord Berners in the mid-1530s. Unlike the plots of many of Shakespeare’s plays, however, the
story in A Midsummer Night’s Dream seems not to have been drawn from any particular source but rather to be the original
product of the playwright’s imagination. (http://www.sparknotes.com/shakespeare/msnd/context.html)
TEXT COMPLEXITY ANALYSIS:
Quantitative: The text listed is placed in the 11-12 grade band with the Lexile level being 1350, however, it is difficult to
place a specific level on the text due to it being a play.
Qualitative: The purpose of this text is to entertain. The meaning itself falls within the middle low range as a simple story
of love and fantasy. The structure of the text is middle high due to occasional shifts in point of view and unconventional
complexities. Based on the language of the time period, it is considered a high level of complexity unfamiliar to21st Century
students. Life experiences in the text clearly fall within the middle low range, due to the fact it involves fantasy. However,
the cultural literary knowledge requires extensive depth and background support.
Reader and Task: Because the text is highly difficult and written in old English, the tasks demanded by lesson and
activities will require in-depth interpretation for all learners. All readers will need a great deal of background and scaffolding
in order to be successful. Consider using No Fear Shakespeare as a support when needed.
MOTIFS AND THEMES:
THEMES: The primary theme is the Difficulty of Love, Magic, Dreams
MOTIFS: Contrast; opposite and doubles
LANGUAGE:
Identify important vocabulary. Provide a focus standard for grammar/mechanics that works nicely with the extended text.
Vocabulary Acquisition and Use
Tier 2 Vocabulary
Tier 3 Vocabulary
(if applicable)

ACT 1
Abjure
Estate
Extenuate
Nuptial
Revenue
Transpose

ACT 1
Dowager
Lodestars

ACT 2
Impeach
Languish
Pensioners

ACT 2
Changeling
Roundel

ACT 3
Auditor
Chronicled
Confounding
Disparage
Enamored

ACT 3

ACT 4
Amiable
Coy
Dote
Loathe
Paragon
Vexation

ACT 4
upbraid

ACT 5
Audacious
Discretion
Eloquence
Throttle
Tedious
Valor

ACT 5
Satire
Conventions of Standard English or Knowledge of Language focus standard:
Standard Code
L.7.6
Standard Text
Acquire and use accurately grade-appropriate general
academic and domain-specific words and phrases; gather
vocabulary knowledge when considering a word or phrase
important to comprehension or expression.
Description of where and how
it fits with the extended text
ACT 1
Either to die the death, or to
abjure
Forever the society of men.
COMPANION TEXTS:
Provide a series of short companion texts that will supplement the extended text and provide students with a deeper
understanding of the themes, motifs, or context of the extended text.
1-3 Short Informational Texts
Text Title and Author
1. Author Biography-William Shakespeare
A short description of the text
and how it relates to the extended text
Label Difficulty:
 Advanced
 Grade Level
 Meant for Scaffolding
1. Provides background information on the life and times of
Shakespeare
1. Grade level
2. Provides historical information on Shakespearean Theatre
2. Grade level
http://www.biography.com/people/williamshakespeare-9480323
2. Shakespeare’s Globe Theatre
Mabillard, Amanda. The Globe.
Shakespeare Online. 20 Aug. 2000. <
http://www.shakespeareonline.com/theatre/globe.html
1-3 Short Literary Texts
Text Title and Author
A short description of the text
and how it relates to the extended text
1.
Orpheus and Eurydice
Retold by Olivia Coolodge
McDougal Littell-7th grade literature book
1.
Greek myth that focuses on the love and the struggles it
entails
2.
60 Second Shakespeare-Romeo and
Juliet
http://www.bbc.co.uk/drama/shakespeare
/60secondshakespeare/themes_romeojul
iet.shtml
2. Modern day news article depicting the tragedy of Romeo
and Juliet.
Label Difficulty:
 Advanced
 Grade Level
 Meant for Scaffolding
1. Advanced-lexile 1060
2. Grade levelmay need scaffolding of
terms
STANDARDS-BASED ACTIVITIES:
Offer three activities that will assist in the instruction of the extended text (consider: comprehension, vocabulary, grammar, close
reading, etc.). At least one activity must utilize Speaking and Listening standards. All materials (rubrics, graphic organizers,
printables, handouts, student directions, etc.) will be added to the end of this document.
Description
ACTIVITY #1
Focused Reading/Viewing:
This activity can be completed either during the
reading of a classroom text, or after it is finished. Students will critically view
a filmic adaptation of a classroom text, either independently or in groups, and
note what the filmic adaptation has added, changed, or left out of the story.
Students can create a graphic organizer, or complete one that is created by
the instructor prior to viewing. If necessary, the teacher may take some
instruction time to provide some basic film terminology for the students.
http://www.readwritethink.org/files/resources/lesson_images/lesson46/FocusedReadingViewingGuide.
pdf
http://www.springhurst.org/cinemagic/glossary_terms.htm
Description
ACTIVITY #2
Compare/Contrast Guide for Film and Text:
Students will use a graphic organizer while focusing specifically on the
differences between the text in both media. This can be used to help
students formulate analyses of filmic narrative and directorial choice.
Students should begin asking questions regarding the motivation for why a
director might change specific elements of a story, and then evaluate whether
these changes added to or detracted from the effectiveness of the text.
http://www.readwritethink.org/files/resources/lesson_images/lesson1098/BookMovieComp.pdf
Resources:
 A Midsummer Night’s
Dream
 Graphic organizer
 Basic film terminology
link
Standards Addressed:
 RL 7.7
Resources:
 A Midsummer Night’s
Dream
 Graphic organizer
Standards Addressed:
 RL 7.7
ACTIVITY #3
Description
Applying Filmic Narrative: In small groups, students will create their own
filmic adaptations of key scenes from the text, choosing a key scene, or
defining moment from the text itself. This project can be assigned either
before or after the students view a filmic adaptation of a text.
http://www.readwritethink.org/files/resources/lesson_images/lesson1098/BookMovieComp.pdf
Resources:
 A Midsummer Night’s
Dream
 Multimedia
equipment: flip
cameras or other
digital cameras, USB
cables, computers
with film editing
software
Standards Addressed:
 RL 7.7
WRITING PROMPTS:
Argument/Opinion Prompts:
o From your understanding of the text, does the Old English enhance or detract from the meaning of the play? Use
references from the text to support your position. Cite all sources.
Informational/Explanatory Prompts:
o Explain how the play meets the criteria of a comedy. Use textual evidence to support your thesis.
o Choose two love relationships in the play A Midsummer Night’s Dream to compare and contrast. How do these relationships
change throughout the play? What is Shakespeare trying to communicate through these characters? Why do you think he
included them in his play? Use text from the play to support your argument.
Narrative Prompts:
o Choose a character from the play and rewrite their story or write the next scene. Include dialogue.
o A Midsummer Night’s Dream is all about mistaken identity and people turning out to be different than we expect. Write about
an experience from your life where someone behaved differently than you had expected, either for better or worse. How did
you respond? What did you learn?
Research Prompts:
o Write a research paper based on the material used for understanding comedy and humor.
o Write a research paragraph about one of the ALLUSIONS Shakespeare makes in A Midsummer Night’s Dream.
Include an explanation of the history and context behind the allusion, and mention at least one other work of
literature that uses the same allusion, explaining how that author uses it as opposed to Shakespeare.
Other essay topics for “A Midsummer Night’s Dream”
o Choose ONE of the topics below to write a 5-paragraph, formal, argumentative essay. This essay will include the
following format: introduction, 3 body paragraphs, conclusion. It will have the following elements: thesis statement,
topic sentences, concluding sentences/transitions, title, proof from the text (direct quotations).
1. LOVE is…
(narrow down to a specific idea, such as unfair, Love is True, Love is Blind, everyone needs love)
2. Love is portrayed in many different ways in the play. (List 3 ways)
3. There are many different TYPES of love in the play. (List 3)…forced love, romantic love, parental love, friendship love…
4. The characters in the play will do anything for love. (List 3)
5. The characters are VICTIMS to love. (love is identified as a concrete object here, who bullies) Give 3 examples.
6. Argue FOR or AGAINST Lysander’s quotation, “The course of true love never did run smooth”. (Give 3 arguments to support your
statement)
7. The love portrayed among the four lovers is similar to love among teens today (the times have remained unchanged). ex: same problems
(give 3 examples)
8. Hermia was treated unfairly by her father and the “Athenian Law”. (explain the unfairness of each of the 3 choices)
9. Oberon is the root behind all of the problems in the play. (give 3 reasons why)
10. Puck is the root behind all of the problems in the play. (give 3 reasons why)
11. __________(character) is… (give 3 characteristics of a character and explain how/why they are true).
ex: Helena puts all women to shame … she is desperate, insecure, and a liar.
ex: Theseus is a great ruler.
12. Hermia and Lysander will have a prosperous marriage. (give 3 reasons why)
13. Comment on the use of the word “ass” in the play (give 3 uses and describe their significance)
14. Comment on the use of the word “dream” in the play (give 3 uses and describe their significance)
15. Comment on Shakespeare’s use of magic in the play (give 3 uses and describe their significance)
ex: Shakespeare uses magic to create conflict, establish an atmosphere, etc.
16. Egeus needs to “get with the times”…he needs to set his old-fashioned ways behind him
OR Egeus is a horrible father. (give 3 reasons why)
17. Comment on Hippolyta’s love for Theseus… is it true or is she faking it?? (give 3 reasons why)
18. Comment on the love between any two of the couples.
19. Oberon and Titania are not suited for marriage.
20. There is confusion of the difference between what’s a dream and what’s reality in the play. (think of the character’s perspective)
21. The significance of the Indian boy in the play.
22. The foolishness of the characters in the play. Puck states, "What fools these mortals be" (3.2.115). The lovers and fairies are foolish.
Explain.
23. Discuss the change in Theseus. How he evolved from stern to understanding (consider how he dealt with Hermia and her desire to be
with Lysander, in the beginning and the end of the play).
24. Compare the movie version to the play (the 1999 movie version directed by Michael Hoffman). State the changes/differences and
determine which was better.
25. Discuss the relation of the quotation “love is blind” to this play.
26. Discuss Shakespeare’s use of comedy in the play.
27. Discuss the similarities/differences Lysander and Demetrius…and determine which is the better of the two.
28. Discuss the similarities/differences Hermia and Lysander…and determine which is the better of the two.
29. Discuss the similarities/differences Theseus and Oberon (as rulers)…and determine which is the better ruler of the two.
30. Love conquers all.
31. The power of the potions (flower and/or herb).
32. Outline the passion of characters…. for love, for revenge, etc. (either choose 3 characters, or identify 3 passionate things about 1
character)
As outlined by PARCC, the prompts above may occur in a variety of writing environments. Teachers should consider:
 Incorporating a mix of on-demand and review-and-revision writing assignments
 Including routine writing, such as short constructed-responses to text-dependent questions, to build content knowledge and provide opportunities for
reflection on a specific aspect of a text or texts
 Integrating of a number of analytic writings that places a premium on using evidence, as well as on crafting works that display some logical
integration and coherence. These responses can vary in length based on the questions asked and task performed, from answering brief questions
to crafting longer responses, allowing teachers to assess students’ ability to paraphrase, infer, and ultimately integrate the ideas they have gleaned
from what they have read. Over the course of the year, analytic writing should include comparative analysis and compositions that share findings
from the research project
 Include narrative writing to offer students opportunities to express personal ideas and experiences; craft their own stories and descriptions; and
deepen their understandings of literary concepts, structures, and genres (e.g., short stories, anecdotes, poetry, drama) through purposeful imitation.