Introduction:
This will be the second unit of the semester in a sophomore international baccalaureate (IB)
literature class. The students in this class are well above average in their analytical skills, reading levels,
and other academic areas. The IB program is a program designed for advanced students seeking to earn
college credits during their high school experience. It can be assumed, then, that the students in this
class have every intention of pursuing a college degree and are serious about their education. The IB
program is still building in this school, and class sizes still remain fairly small, averaging 17-21 students
per class. This program is also set as a block schedule, allowing 90 minutes per class period, but
covering only five class periods over a two week period, and follows the current Colorado Content
Standards. This scheduling allows for more time to build depth to each concept, allows for analytical
close readings, and time for students to absorb the material and develop questions that can be
answered before they have to move on to a new class.
The first unit included readings from three different types of mythology: Greek, Roman, and
Norse. We have explored the following questions: What is mythology? Why is mythology important?
How do we use mythological stories in contemporary times? What is the significance of mythological
literature? Students wrote their own myths after studying the mythological elements contained in these
three cultures, and studied a longer work, Oedipus the King, with these elements and political elements
in mind. The students also conducted a mock trial, coming to find that many of our laws, today, do not
necessarily apply to the actions of centuries ago. The students reflected on the difficulties and
advantages of trying to combine different cultural beliefs in a legal setting, and discussed how our own
mythology, cultural beliefs, and laws determine our own identity.
This unit, then, builds upon the idea of mythology, and its importance within literature and
culture. Since we are aligning out curriculum with the students’ history/social studies curriculum, we
are moving chronologically through literature. We have jumped from ancient mythology to the study of
Shakespeare’s Macbeth. This piece allows for several facets of study: development of theater
(compared to Oedipus the King), use of mythology in popular culture, use of allusions (mythological,
biblical, and political), and how these things combine, making a piece of literature “timeless.” We will
also begin studying literature though different contextual lenses, focusing on viewing Macbeth through
a feminist lens.
While the main focus of this unit is Macbeth, we will also make use of other pieces of literature.
Each piece will help build understanding of more complicated areas of study. For example, we will use
different nursery rhymes to begin our study of literature through a feminist lens. We will also be using
biblical stories and excerpts from the bible to understand the use of biblical allusions within Macbeth.
We will also make use of excerpts from the pieces Shakespeare, himself, read in order to prepare his
writing of Macbeth. Finally, we will be using excerpts from a film version of Macbeth to help our
understanding of the language and visualize select scenes.
Texts:
Plays:
The Tragedy of Macbeth William Shakespeare – New Folger Library. Wahington Square
Press, 1992.
Short Stories/Excerpts (fiction):
Children’s Bible Sandol Stoddard – Doubleday Press, 1983
“In the Beginning” pp 14-17
“Cain and Abel” pp. 18-20
“The Garden of Gethsemane” pp 327-329
“Trial and Agony” pp. 330-334
Nursery Rhymes and Fairy Tales
“Jack and Jill”
“Hansel and Gretel”
“Old Mother Hubbard”
“Little Red Riding Hood”
Mythological background
The story of Hecate –
http://www.goddessgift.com/goddess-myths/greek_goddess_Hecate.htm
Film:
Macbeth- excerpts only Roman Polanski 1971; Jack Gold, 1983
Technology:
WebQuest – Shakespearean history
http://www.newbedford.k12.ma.us/srhigh/borden/macbethquest.htm
Rationale:
Why do we study Shakespeare’s works? Year after year, high school students study Romeo and
Juliet, The Tragedy of Macbeth, A Midsummer Night’s Dream, and The Tragedy of Julius Caesar.
Shakespeare’s vast anthology gives those who study literature a diverse palate from which to sample
different kinds of studies. Shakespeare’s works involve elements of love, politics, morality, mythology,
and human nature. His works can be study for their historic complexities, for their fantastic worlds, for
their focus on audience, and for their use of language and elements of literature.
In a high school setting, it is our job, as English/Language Arts teachers, to expose students not
only to a wide array of authors, but also to those who are canonical – and to help students understand
why canonical works still have relevance in today’s world. Using The Tragedy of Macbeth as the main
piece of a unit study allows for the introduction of many different facets of studying literature. What
other piece of accessible work can be used to study biblical, mythological, and political allusions,
language use, historic fiction, the power of popular culture, and the immortality of canonical literature?
To have one piece of literary work offer such an array on answers to the question “why should we study
literature?” is significant, and should not be ignored in the high school classroom.
According to Deborah Heilmer, some think that Shakespeare is “incomprehensible
and…inaccessible” to high school students (2). She believes, though, that creating innovative lessons
and new approaches to teaching this difficult literature is a better answer than kicking Shakespeare out
of the classroom (2). In the unit I have created, I have taken into account the language barrier by
creating lessons that practice translating Shakespearean language into a more contemporary, accessible
language for 21st century students. I’ve also created lessons in which we look at the relevance The
Tragedy of Macbeth still holds today. There is excitement in exploring and learning about allusions.
Students, who’ve only just learned about the importance of Greek mythology in our culture, see its
importance in Shakespearean culture as well. Students are able to create connections between
historical significance, literary elements, and learn new skills in reading with a critical lens.
These elements and many more provide student-driven learning and excitement. Students who
are given the tools with which to navigate a difficult text are less likely to shut out a text simply because
it is difficult. I have been in direct contact with students who have been exposed to The Tragedy of
Macbeth much in the way I have presented the following unit. They are excited each day, wanting to
learn a new way to read a text. They want to explore the literary elements hidden within the text,
because they have learned how to do so through the scaffolding this unit provides them. By providing a
new and innovative way of looking at a canonical text, we can keep a 21 st century audience entertained
and learning.
Heilmer, Deborah. Teaching Shakespeare in the 21st Century: A guide for Secondary Educators.
Accessed 11/18/10 <http://adr.coalliance.org/codr/fez/eserv/codr:154/DHeilmer2010.pdf>
Week
1
Monday
90 min
Tuesday
Off block
Wednesday
90 min
Thursday
Off Block
Friday
90 min
20 min
Introduction game:
Shakespearean
compliments and
insults.
40 min
Act 1 and 2
30 min
Act 2 and 3
5-10 min
Film clip?
5-10 min
Film clip?
Follow up
questions to
activity: How do
we know how to
speak
Shakespearean?
Why do we have
such a hard time
reading
Shakespeare?
What tools can we
use to help
translate
Shakespearean
lang. into our own?
40 min
Intro to Feminist
and political lens
25 min
Feminist lens – 3
witches, Lady
Macbeth,
Macbeth
30 min
Introduction to
Shakespeare after
Elizabeth
Nursery
Rhyme/Fairy
Tale study
Homework:
Choose 3 – how
can you read
NR/FT with your
chosen lens?
Write three, half
page paragraphs
analyzing a work
through each
lens. You will
need more than
one work to
complete this.
Historic Context of
Macbeth
40 min
Handout books,
begin Act 1 translate
Grammar focus:
Language develops
and changes over
time – translating
Shakespeare into
modern tongue.
Punctuation – how
can punctuation
help use decipher
SS language?
Grammar focus:
Word Choice –
how does it
affect how we
read a piece of
writing?
Introduction to
phrases.
Q: How can we
see these
characters
through a
feminist lens?
Why might this
be important to
look at?
How does this fit
in mind with
historic context?
25 min
Groups: Rewrite
one scene,
changing the
things we looked
at through the
Feminist lens.
How does it
change, and is
the story, as a
whole, affected?
Grammar focus:
Literary
elements/word
choice. How
does changing
one element
change the story
as a whole?
Week
2
Off block
90 Min
Off Block
90 min
40 min
Act 4
45 min
Act 5
5-10 min
Film clip?
Recap of
play
45 min
Political Allusion
15 min
Excerpt
from
Polanski –
final scene
Q: What is the
significance of the
Macduff/ Malcolm
exchange? How do
the politics of
Shakespeare’s time
play a part in this
exchange? What is
the significance of
including this within
the play?
30 min
Q: Is
Macbeth as
homage to
the new
King? How
is it treating
the memory
of Queen
Elizabeth?
Off Block
Week
3
90 min
45 min
Biblical allusion
Audience/common
knowledge
45 min
Close reading study
with biblical
excerpts – Jigsaw
with presentations
Q: How do biblical
allusions help the
story? Why are
they being used?
Grammar focus:
Language changes
and varies through
time and genre.
Comparing biblical
language with
Shakespearean
language.
Off Block
90 min
Off Block
90 min
25 min
Biblical
allusion, con’t
50 min
Wrap back to
feminist lens
30 min
Mythological
allusion –
Hecate and
the witches
Q: In what way
do the allusions
Shakespeare
chooses help
support a
feminist reading
of Macbeth?
35 min
Close readings
of Hecate and
witch excerpts
Q: How does
the use of
different
mythologies
(biblical,
mythological,
political) help
to tell
Shakespeare’s
play? How can
we transfer
these
elements into
our own
writing?
40 min
Begin designing
own version of a
Macbeth scene
of choice, using
contemporary
language and
allusions.
Grammar focus:
Using literary
elements with
purpose in
writing. Phrase
use – how are we
making our
writing
interesting?
Punctuation – is
it helping your
reader
understand your
writing, or
hindering?
Week
4
Off Block
90 min
Off Block
90 min
Elements of
literature in action.
Pair and
share
Have working draft
of allusion study
ready for workshop.
Last
workshop
day
Workshop focus:
Do your allusion
help or hinder the
story? Are your
allusions necessary
to the story (i.e. do
they blend and help
the story, or stick
out like a sore
thumb and make
your story lose
flow? Are you using
interesting
language, and
making use of
different types of
phrases?
Workshop
focus:
Sentence
structure
and
punctuation.
Any issues
with allusion
should be
fixed, focus
on final
drafting.
Final draft
due
Monday.
Off Block
Day 1: Objectives
90 min total
20 min
Introduction game: Shakespearean compliments and insults (adapted from Dr. Louann Reid)
Follow up questions to activity: How do we know how to speak Shakespearean? Why do we
have such a hard time reading Shakespeare?
What tools can we use to help translate Shakespearean language into our own?
40 min
WebQuest
Introduction to Shakespeare after Elizabeth
Historic Context of Macbeth http://www.newbedford.k12.ma.us/srhigh/borden/macbethquest.htm
30 min
Handout books, begin Act 1 – translation activity
Grammar focus:
Language develops and changes over time – translating Shakespeare into modern tongue.
Punctuation – how can punctuation be used to help decipher SS language?
Day 1: Lesson Plan
Title: How in the World Can We Understand Shakespeare?
Standards:
2.1a – Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Generalize about universal themes, cultural or historical perspectives
from multiple texts
Addressing standards: We begin this unit by looking at the historical context within which it was
written, which is an important aspect a reader of Shakespeare should understand.
Link: In the previous units, students read a Greek Tragedy in which they struggled a bit with the
language. While students have been exposed to Shakespeare works in previous years, we will begin this
lesson by introducing a new way to understand and read Shakespearean language. Using a fun game
called Shakespearean Insults and Compliments (adapted from Louann Reid 2010), we will explore how
fun using Shakespearean language can be, as well as proving that it can be accessible. This will help
students ease into reading the somewhat difficult piece, The Tragedy of Macbeth. We will also be
practicing translating the opening scene, so students will build the skills necessary to read and
understand the material at home.
Materials: We will need the following for this lesson: Handouts of insults and compliments list, laptops
for Shakespeare historian WebQuest, copies of The Tragedy of Macbeth, whiteboard and markers
Assessment: I will collect the note worksheets for the WebQuest. I will check to see what students
found and see what I need to clarify in the next few class sessions as we move into reading with critical
lenses. This class session also asks students to participate in class discussion, and I will gauge how
students are grasping the information by the level of discussion. By combining the two pieces of
information I will be able to judge whether I need to readdress the information or if I can move forward.
Instructional sequence:
Time The teacher will
7m
Provide Journal prompt: What
tips and tricks have you learned
in order to read and understand
Shakespeare?
Introduce and explain how
Compliments/Insults activity
works
Provide example of each to catch
student’s attention
Remind students to respect
Hand out compliment/insult
copies
8m
Direct student movement
5m
Questions: How can we tell what
is a compliment and what is an
insult, even when we don’t really
know what the word means?
How do we know how to speak in
Shakespearean language? What
tools do we use to help us
understand it?
What difficulties do we have with
reading Shakespearean works?
5m
Introduce importance of historic
background.
Explain how knowing what was
happening in England in 1605 will
help u understand what is
happening in Macbeth as we
read.
Explain how to navigate through
a WebQuest – write url on board
Split students into groups of 3-4,
hand out one laptop to each
group, note taking worksheets to
each student
2m
The students will
Write for three minutes in journal
about prompt
Discuss entries (2 min)
Listen to directions for activity
Line up across from one another
Formulate an insult from list
Practice that insult on a neighbor
Face each other (line pairs)
One pair of students will say their
lines to each other at a time.
Move down the line until everyone
has had a chance to say their insult.
Repeat for compliments.
Discuss questions as a class.
Actively listen, ask questions if
unclear about explanation
Form groups and powerup laptops
Navigate to website url
http://www.newbedford.k12.ma.us/
srhigh/borden/macbethquest.htm
Differentiate by
Provide instructions
on an overhead or
powerpoint for
those who need
something to
visually focus on
For participation,
students can be
note takers on the
front board to
remind us of our
comments.
25m
Move between groups, providing
thought provoking questions and
clarification of information as
needed
Navigate through website, filling out
provided worksheet
8m
Ask students to share their
findings
Note important insights on board
Add clarifying commentary to
discussion
Explain
Handout books
Actively participate in discussion,
using their notes worksheet as a base
for information
3m
5m
15m
7m
Discuss use of punctuation in
Shakespeare as a way to focus
reading – explain reading
through the line breaks, reading
with punctuation, to help keep
meaning intact
Read sample excerpt to clarify
difference and ask which one was
better understood. Discuss why
reading through the line breaks is
helpful.
Assign parts to students to read
aloud
After every part, ask other
students what is being said, in
our language
Recap what we’ve learned
1)History matters
2)Translation helps
Assign hw – students are to read
through the end of 2.2, keep in
reading log translations of what
happens in each scene.
Hand in note worksheets for checks
for understanding and credit for
participation
Students with parts read aloud part,
students without relay in layman’s
terms what’s being said
Take notes about homework on
homework calendar
This activity will
automatically
differentiate
between groups
based on how each
prefers to navigate.
Students could
create their own
format for note
taking, or discuss as
a group the best
way to take notes
with teacher
providing guidelines
Notes and handouts:
Change in leadership
Religious background
Renaissance art
Renaissance people
Day 2: Objectives
90 min total
40 min
Act 1 and 2
5-10 min
Film clip – Gold version, Acts 1.5 – 1.7
40 min
Intro to Feminist and political lens
Nursery Rhyme/Fairy Tale study
Homework:
Choose 3 – how can you read NR/FT with your chosen lens? Write three, half-page length
explanations analyzing a work through each lens. You will need more than one work to
complete this. You must use each lens at least once.
Grammar focus:
Word Choice – how does it affect how we read a piece of writing?
Introduction to phrases
Day 2: Lesson Plan
Title: What really matters when we are reading literature?
Standards:
2.1.d: Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts -analyze how literary components affect meaning
Addressing Standards: Students begin studying literature through close reading, studying elements, and
deciding how those elements affect the meaning of said piece.
Link: On day one we did a research WebQuest about what was happening in 1605, when Shakespeare
wrote Macbeth. Today we will begin to explore reading a piece of literature through different critical
lenses, including political, cultural, and feminist lenses. This lesson will help link day one and its focus on
history with day three and its focus on Macbeth and reading with a feminist lens.
Materials: Handouts with introduction to critical lenses, pamphlet handouts that include the nursery
stories “Jack and Jill,” “Hansel and Gretel,” “Old Mother Hubbard,” and “Little Red Riding Hood,” BBC
(Gold) film version of Macbeth
Assessment: Again, the assessment of this day’s work will be judged by student discussion and the
perceived understanding through their discussions. The use of critical lenses to analyze stories will be
assessed with the homework, and if any major misunderstandings exist we will revisit the information,
as continuing through this unit we will focus heavily on the use of the feminist lens and political lens, as
well as the historic background influencing Shakespeare’s writing.
Instructional Sequence:
Time
The teacher will
The Students will
7m
Provide journal entry prompt:
Why do we care about the
historical background of a piece
of work?
Write for 3-4 minutes about
journal entry
5m
Direct students to take out
homework and books
Assign students parts to read
aloud from play (different
students than the day before)
Take out homework and books
20m
Direct students’ reading
Ask questions after each scene:
What happened in this scene?
Why does it matter?
How does it connect to the scene
before?
Read parts, actively participate
in discussions of scenes
7m
Play clip from BBC 1.5-1.7
Watch clip
3m
Generate quick discussion
questions:
How does viewing the play help
your understanding of the
action?
Was there a part that changed
your understanding? In what
way?
Participate in discussion,
responding to questions
10m
Introduce reading with a critical
lens. Discuss main points of
political and feminist lenses.
Provide students with handout
that includes the main points of
each, as well as a pamphlet
printout of nursery stories and
their historic background.
Explain how word choice and
phrasing help to define what can
be analyzed through the different
lenses. Use this to lead into
quick analyzing of “Little Miss
Muffet”
Use Cornell note-taking method
to track main concepts of
reading with a critical lens
Differentiate by
Discuss as a group for 2-3 min
Ask for volunteers for
different parts, giving
students and chance to
play the part they feel
strongly about
Providing note taking
guides/worksheets here
may help keep students
thoughts more
organized
5m
Use “Little Miss Muffet” as an
example of using children’s
stories to practice using different
lenses when reading.
Feminist: Little Miss Muffet as a
prim, proper woman, inability to
control her fear of a spider, etc
Why is she called “Little miss”?
Why use a spider? What can it
represent metaphorically?
Who eats curds and whey?
Actively listen and ask questions
about representation of Little
Miss Muffet.
3m
GF: Split students into jigsaw
groups for phrase work – explain
that students will be responsible
for teaching their assigned
phrase to other groups
5 groups: 1 phrase per group;
prepositional, adjective, adverb,
appositive, and participial
Monitor groups, at end of time
split groups into jigsaw groups
Direct movement, monitor
groups
Explain homework:
Student’s will use 2-3 stories
from their pamphlet and write 3
half-page responses/explanations
of how to read their story
through a political or feminist
lens.
Students will also read through
3.2 in Macbeth.
Move into groups
15m
10m
5m
Create note sheet for teaching
jigsaw
Teach other groups about
assigned phrase 2 min per
Actively listen and ask clarifying
questions
Take notes about homework on
homework calendar
Notes and handouts:
Find Nursery Rhyme handouts at: www.rhymes.org.uk/
Feminist literary criticism
Feminist literary criticism helps us look at literature in a different light. It applies the
philosophies and perspectives of feminism to the literature we read. There are many different kinds of
feminist literary theory. Some theorists examine the language and symbols that are used and how that
language and use of symbols is “gendered.” Others remind us that men and women write differently
and analyze at how the gender of the author affects how literature is written. Many feminist critics look
at how the characters, especially the female characters, are portrayed and ask us to consider how the
portrayal of female characters “reinforces or undermines “ sexual stereotypes (Lynn, 1998). Feminist
literary theory also suggests that the gender of the reader often affects our response to a text. For
example, feminist critics may claim that certain male writers address their readers as if they were all
men and exclude the female reader.
Like feminism itself, feminist literary theory asks us to consider the relationships between men
and women and their relative roles in society. Much feminist literary theory reminds us that the
relationship between men and women in society is often unequal and reflects a particular patriarchal
ideology. Those unequal relationships may appear in a variety of ways in the production of literature
and within literary texts. Feminist theorists invites us to pay particular attention to the patterns of
thought, behavior, values, and power in those relationships.
Feminist literary critics remind us that literary values, conventions, and even the production of
literature, have themselves been historically shaped by men. They invite us to consider writings by
women , both new and forgotten, and also ask us to consider viewing familiar literature through a
feminist perspective.
How do we apply the feminist lens?
We apply it by closely examining the portrayal of the characters, both female and male, the
language of the text, the attitude of the author, and the relationship between the characters. We also
consider the comments the author seems to be making about society as a whole.
Historical / Biographical Approach:
Historical / Biographical critics see works as the reflection of an author's life and times (or of the
characters' life and times). They believe it is necessary to know about the author and the political,
economical, and sociological context of his times in order to truly understand his works.
Advantages:
This approach works well for some works--like those of Alexander Pope, John Dryden, and Milton--which
are obviously political in nature. One must know Milton was blind, for instance, for "On His Blindness" to
have any meaning. And one must know something about the Exclusion Bill Crisis to appreciate John
Dryden's "Absalom and Achitophel." It also is necessary to take a historical approach in order to place
allusions in their proper classical, political, or biblical background.
Disadvantages:
New Critics refer to the historical / biographical critic's belief that the meaning or value of a work may
be determined by the author's intention as "the intentional fallacy." They believe that this approach
tends to reduce art to the level of biography and make it relative (to the times) rather than universal.
http://n-foster.tripod.com/index_files/page0021.htm
Day 3: Objectives
90 min total
25 min
Feminist lens – 3 witches, Lady Macbeth, Macbeth
FQ: How can we see these characters through a feminist lens? Why might this be important to
look at?
How does this fit in mind with historic context?
25 min
Groups: Rewrite one scene, changing the things we looked at through the Feminist lens. How
does it change, and is the story, as a whole, affected?
30 min
Act 2 and 3
5-10 min
Film clip – Polanski version Act 2.2
Grammar focus:
Literary elements/word choice. How does changing one element change the story as a whole?
Day 3: Lesson Plan
Title: Who are the witches, and why is Lady Macbeth such a ‘witch’?
Standards:
2.1.d: Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts -analyze how literary components affect meaning
Addressing Standards: Students begin studying literature through close reading, studying elements, and
deciding how those elements affect the meaning of said piece.
Link: Today’s lesson links the previous day’s homework activity with using critical lenses to read
Macbeth. Students will take the skills they practiced with the nursery stories and apply a feminist lens
to study the portrayal of Lady Macbeth, the three Witches, and Macbeth himself, through the first act.
This will also begin to open students mind to the idea that there are many ways to read literature, and
reading for plot construction is not the only reason to read classic literature.
Materials: Polanski film, whiteboard and markers
Assessment: Informal assessment will be based largely on discussion points, as a majority of this lesson
is discussion based. Formal assessment will be made on scene rewrites, focusing on what was changed,
and whether that change affected the feminist reading of Lady Macbeth or Macbeth.
Instructional Sequence:
Time
7m
20m
25m
10m
The teacher will
Provide journal entry prompt:
What is your impression of Lady
Macbeth and Macbeth’s
personalities?
Prompt discussion after writing
time
Lead discussion covering the
following items:
What characteristics do we see in
the three witches?
Are they feminine or masculine?
Do they hold power?
What is their role in the scene? In
the play?
The students will
Write for 4-5 minutes about
prompt, then discuss
impressions
How do we see Lady Macbeth
portrayed so far?
How can we compare this to how
Macbeth is portrayed?
Using the feminist lens you
practiced for homework last time,
what can you ay about these
characterizations? How do you
think they “should” be? What
would be proper, in Shakespeare’s
time?
How would you change the
portrayal of Lady Macbeth to put
her in a better light?
Lady Macbeth: vindictive,
manipulative, in power,
masculine
Record insights on the board
Explain writing activity to
students: Choose one scene in act
one to rewrite, changing how
either Lady Macbeth or Macbeth
are portrayed so as to shift the
feminist reading of the scene.
Split students into groups by
counting off by four
Recap discussion/GF – what
element did we change in each
scene? Does it change the story as
a whole? Why or why not? What
do you think the significance of
SS’s choice is?
Differentiate by
Students actively participate in
discussion
Possible responses include:
Witches are portrayed in a
manly way (beards)
Witches are only telling
fate/fortune (this is a concept
from mythology)
Macbeth: Feminine, not in
control, wishy-washy
Women should be “in their
place”; men “in control”
Join in groups, choose scene
for rewrite, discuss what
elements to change, rewrite
scene
Participate in discussion
Students could pick
their own groups, if
done in a respectful and
quick manner
5m
20m
3m
Collect rewrites
Emphasize importance of use of
literary element, and choices in
writing to portray a deeper
meaning
Pick up reading parts at 2.4-3.2,
assign part to students
Assign parts, discuss relevance of
plot and character development
Turn in rewrites
Take notes about importance
of using literary elements to
deepen meaning of literature
Assign homework – read through
the end of act 4, paying close
attention to the Malcolm/Macduff
exchange. Write in reading logs
thoughts and ideas about the
significance of this exchange and
what’s going on in Act 4 as a
whole.
Takes notes about homework
on homework calendar
Read parts, participate in
discussion points
Students volunteer for
parts, or assign male
parts to female readers
and female parts to
male readers to
experiment with the
feminist lens.
Day 4: Objectives
90 Min Total
35 min
Political lens and political allusion
Political background of 1605 – the time The Tragedy of Macbeth was written
Q: What is the significance of the Macduff/ Malcolm exchange? How do the politics of
Shakespeare’s time play a part in this exchange? What is the significance of including
this within the play?
40 min
Close reading of Act 4
10 min
Film clip – Polanski version, Act 4.3
Day 4: Lesson Plan
Title: It all comes down to politics!
Standards:
2.1a – Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Generalize about universal themes, cultural or historical perspectives
from multiple texts
Addressing standards: This lesson emphasizes using the historical and political context to understand
the elements present in Macbeth.
Link: Students will now take the skills they have learned over the past two lessons, reading with critical
lenses, to apply reading with a political lens. Their understanding of the political change in Shakepeare’s
time will help them to understand the political exchange happening within Macbeth. This lesson will
help combine both students’ understanding of historical background and reading with a political lens to
add depth and meaning to Macbeth, and will help propel students forward into the next phase of
lessons which focus on allusions.
Materials: Handout covering basics of Shakespearean politics and the recent changing of royalty,
overhead projector, white board
Assessment: Informal assessment of student understanding comes from class discussion.
Instructional Sequence:
Time
7m
5m
25m
40m
10m
The teacher will
Provide journal entry prompt
What do you think is
happening in the regime
change in Macbeth?
Discuss responses
Handout political background
handouts
Introduce this as an aspect of
historic context
Set up overhead projector
Lecture: Political background –
the changing of the guard.
Queen Elizabeth Dies, King
James (Scottish cousin of E)
comes to throne. We’ve
changed from a woman leader
to a male leader. We’ve
changed from an English
leader to a Scottish leader.
The country was unsettled the
last few years of Elizabeth’s
reign, not knowing who the
heir would be.
Lead students through reading
of Act 4, assign parts and
guide understanding.
Focus, especially, on 4.3 – the
Malcolm/Macduff exchange:
what ideas about loyalty are
being brought up here? Why
is this scene significant?
Include clip of Polanski’s 4.3, o
students can visualize the
scene and dialogue.
Recap understanding of Act 4,
having applied new concepts.
Check for understanding.
Guiding questions: why does it
matter what was happening in
England at the time Macbeth
was written? Can we
understand the story without
this information? Does this
added depth to the story help
or hinder understanding?
The students will
Write on prompt for 4-5 min,
discus response 2-3 min
Differentiate by
Look over handout
Cornell style note-taking, tracking
main ideas and details, main
changes in England as the throne
changed hands.
Provide outline for
notes students can fill in
throughout the lecture
so they know what is
vital information they
need to know
Read parts, actively participate in
guiding discussion questions, apply
new knowledge of what was
happening in England at the time
this play was written to the
understanding of Act 4.
Have students
volunteer for parts; pick
two more aggressive
people for the parts of
Malcolm and Macduff
Actively participate in recap
discussion, providing insight as to
how this new information helps
their understanding.
3m
Assign homework: Finish play;
respond to play, overall, in
reading log – likes, dislikes,
further questions,
understandings, etc.
Take homework notes on
homework calendar
Notes and Handouts:
Charles I was king of England, Scotland and Ireland, whose conflicts with parliament led to civil war and
his eventual execution.
Charles I was born in Fife on 19 November 1600, the second son of James VI of Scotland and Anne of
Denmark. On the death of Elizabeth I in 1603 James became king of England and Ireland. Charles's
popular older brother Henry, whom he adored, died in 1612 leaving Charles as heir, and in 1625 he
became king. Three months after his accession he married Henrietta Maria of France. They had a happy
marriage and left five surviving children.
Charles's reign began with an unpopular friendship with George Villiers, Duke of Buckingham, who used
his influence against the wishes of other nobility. Buckingham was assassinated in 1628. There was
ongoing tension with parliament over money - made worse by the costs of war abroad. In addition,
Charles favoured a High Anglican form of worship, and his wife was Catholic - both made many of his
subjects suspicious, particularly the Puritans. Charles dissolved parliament three times between 1625
and 1629. In 1629, he dismissed parliament and resolved to rule alone. This forced him to raise revenue
by non-parliamentary means which made him increasingly unpopular. At the same time, there was a
crackdown on Puritans and Catholics and many emigrated to the American colonies.
Unrest in Scotland - because Charles attempted to force a new prayer book on the country - put an end
to his personal rule. He was forced to call parliament to obtain funds to fight the Scots. In November
1641, tensions were raised even further with disagreements over who should command an army to
suppress an uprising in Ireland. Charles attempted to have five members of parliament arrested and in
August 1642, raised the royal standard at Nottingham. Civil war began.
The Royalists were defeated in 1645-1646 by a combination of parliament's alliance with the Scots and
the formation of the New Model Army. In 1646, Charles surrendered to the Scots, who handed him over
to parliament. He escaped to the Isle of Wight in 1647 and encouraged discontented Scots to invade.
This 'Second Civil War' was over within a year with another royalist defeat by Parliamentarian general
Oliver Cromwell. Convinced that there would never be peace while the king lived, a rump of radical MPs,
including Cromwell, put him on trial for treason. He was found guilty and executed on 30 January 1649
outside the Banqueting House on Whitehall, London
www.bbc.co.uk/history/.../charles_i_king.shtml
A woman in a man's world, the formidable Elizabeth I (r.1558-1603), daughter of Henry VIII and his
second wife Anne Boleyn, was enormously shrewd and effective in wielding power. Yet the picture we
have of Elizabethan England is one of a flourishing artistry and lots of "ye olde feastes."
"Gloriana", as Edmund Spenser called her in his Faerie Queen (1590), presided over an enormously
successful and prosperous period in English history. Catholic Philip II of Spain (husband of Elizabeth's
half-sister and predecessor "Bloody" Mary I) sent his fleet to unseat his Protestant sister-in-law.
Elizabeth's defeat of the Spanish Armada in 1588 established England as a great naval power, a prowess
that was legendary until after World War I ("Rule Britannia, Britannia Rule the Waves"). Another plot to
place her Catholic cousin, Mary Queen of Scots, on the throne was also firmly ended with the execution
of the Scottish Queen.
Elizabeth I never married but used her eligibility as a powerful diplomatic tool. Apparently she was in
love with Robert Dudley, Earl of Leicester and his stepson Robert Devereux, Earl of Essex (whom she had
beheaded for treason). William Cecil, Lord Burghley (who built the magnificent Burghley House) was her
first minister and an amazingly good administrator.
Sir Francis Drake circumnavigated the globe and claimed the California coast in her name and Sir Walter
Raleigh (of pipe tobacco fame) took possession of lands in America in her name -- "Virginia" is named
after the supposedly virgin Queen. She used charm and flattery to control her "faithful commons" and
won the hearts and affections of her subjects.
Like so many of her predecessors, Elizabeth is buried in Westminster Abbey.
http://www.culturalresources.com/Liz.html
Day 5: Objectives
90 min total
45 min
Act 5
Recap of play
15 min
Excerpt from Polanski – final scene
30 min
Class reflection and discussion of the ending
Q: Is Macbeth homage to the new King of England? How is it treating the memory of
Queen Elizabeth?
Day 5: Lesson Plan
Title: What does it all mean?
Standards:
2.1a – Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Generalize about universal themes, cultural or historical perspectives
from multiple texts
Addressing standards: This lesson emphasizes using the historical and political context to understand
the elements present in Macbeth.
Link: As the play ends, students will look at how the play, as a whole, reflects on what was happening
historically at the time it was written. This will encapsulate the concepts we have studied thus far, and
leave us with the question of leaving Queen Elizabeth behind. We will end the day with the question of
the portrayal of women, which will link to Day six and the focus of biblical allusions.
Materials: Polanski film, white board and markers
Assessment: Students are informally assessed on their understanding based on class discussion
participation, and formally assessed on their reflective skills based on the notes taken during viewing of
the film.
Instructional Sequence:
Time
7m
40m
20m
20m
The teacher will
Provide journal entry prompt:
What do you still have questions
about now that you’ve finished
reading the play?
Discuss responses
Assign reading parts, guide
reading with questions:
What do we think about the last
scene with Lady Macbeth and
announcement of her death?
What happens to Macbeth?
Does he deserve it?
Is he merely following his fate, or
has he created his own demise?
What do we take from the rise of
Malcolm, a character we don’t
hear of until nearly the end of the
play, to the throne?
Play final act from Polanski’s film
version of Macbeth
Ask students to pay attention to
the action of the scene, the
similarities and differences of the
written work to the film version,
and to reflect on the story as a
whole
How is the ending of this play
reflecting on the historic
changing of leadership in
England?
Lead discussion on plays ending
and film version based on guiding
questions for viewing
Collect reflection notes from film
viewing
The student will
Write response to journal
prompt for 4-5 min
Discuss response 2-3 min
Students read parts, actively
participate in discussion of
guiding questions
Actively watch movie, taking
notes and reflecting on guiding
questions
Actively participate in
discussion, sharing reflections
of movie and play on the
whole. Ask any lingering
questions about basic plot
structure, etc.
Differentiate by
Day 6: Objectives
90 min total
45 min
Biblical allusion – what is it and how is it being used in The Tragedy of Macbeth?
Shakespearean Audience/common knowledge
45 min
Close reading study with biblical excerpts – Jigsaw with presentations
Q: How do biblical allusions help the story? Why are they being used?
Grammar focus:
Language changes and varies through time and genre. Compare biblical language with
Shakespearean language.
Day 6: Lesson Plan
Title: Mythology and Shakespeare
Standards:
2.1.c Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Relate a literary work to primary source documents of its literary
period or historical setting
Addressing Standards: In this lesson we will begin addressing biblical allusions, linking common
knowledge of Shakespeare’s audience with the elements he chose to use to deepen the meaning of his
play.
Link: This lesson builds on reading literature with a focus on literary elements, as we have addressed in
both our political lens and our historical lens thus far. In the previous unit we also looked at the
meaning behind mythology in human history, and how we use mythology to explain ourselves, our
history, our morality, etc. Moving forward from today we will study both biblical allusions and
mythological allusions and their implications in Macbeth and how these implications affect our
understanding of our reading.
Materials: Bible story handouts, note taking handouts, white board and markers
Assessment: Informal assessment will be taken by monitoring group conversations, in both preliminary
stage and teaching stage. Formal assessment will be taken in grading the worksheets for content and
connections.
Instructional Sequence:
Time
7m
15m
5m
5m
The teacher will
Provide journal writing prompt:
What stories do you think
everyone in the U.S. knows,
today?
Discuss responses
Introduce importance of bible to
Shakespearean audience
Explain that everyone in
Shakespearean times is very
familiar with bible and popular
bible stories.
GF:Post excerpts from actual
biblical excerpts next to
Shakespearean excerpts on
overhead. What similarities and
differences do we see?
Explain Jigsaw activity:
Students will split into four equal
groups, and study their assigned
biblical story excerpt along their
assigned Macbeth excerpts.
Students will fill out their
worksheets: Column one will give
the gist of whats going on in their
Macbeth excerpt, column two will
explain connection between given
bible story and the SS excerpt,
column three will act as the “So
what” column, explaining why the
connection is significant to the
audience
Students will become experts on
their excerpts, and split into a
second round of groups, teaching
that group their findings, and
learning what the other groups
discovered in their study.
Allow students to pick groups
Hand-out packets with bible
stories and note worksheets
Direct student movement into
groups
Assign which stories and excerpts
they will be focusing on
(see notes below for details)
Students will
Write on prompt 4-5 min
Discuss responses 2-3 min
Differentiate by
Actively listen
Provide powerpoint or
overhead for visual
presentation of
information for more
visual learners
Actively listen to directions and
ask clarifying questions.
Provide directions on an
overhead/powerpoint
so as not to have to
repeat information too
many times
Move into groups, begin
reading related story and SS
excerpts
Assign groups
specifically based on
student strengths and
weaknesses
25m
Monitor groups, provide guiding
questions for understanding (see
notes) and provide clarifying
information if needed
5m
Split groups, assigning each
student a number. Have each
new group form, and explain that
each student has 3-5 min to teach
what they learned to their new
group members
20m
Monitor group discussions for
consistency
Recap importance of biblical
stories to Shakespearean audience
What similar themes did we find
in our study? What is the overall
concept portrayed within the
biblical allusions?
Bring back to journal entry – what
kinds of stories do we all know
now, and would recognize?
Ask students to turn in worksheets
Introduce homework:
What other kinds of allusions do
you see in the play? Look through
the play and pick out three more
instances of allusion. What are
the allusions based on? What is
their significance to the story and
the audience?
10m
Work as groups, coming to
consensus on the connections
between the stories. Fill out
worksheets to bring to jigsaw
groups.
Form groups
Share with new group
members their findings
Turn in worksheets
Take homework notes on
homework calendar
For groups that may
have an extra person,
pair the one who gets it
best with the one who
is still struggling, so the
one who is struggling
get a second chance to
understand it, rather
than having to fumble
through teaching the
material.
Notes and handouts:
Why biblical allusions?
Biblical allusions help define the problem of morality within the play
Sin of murder; Kings are appointed by God, so killing a king is likened to killing God’s
son…
Macbeth likened to Judas (if Duncan is seen as a Christ-like figure), like Pilate (trying to wash his
hands of his sin), like Cain (killing his ‘brother’ Banquo)
Lady Macbeth also likened to Cain for being “marked” – though marked by the devil, not God
The audiences of Shakespeare’s works were very familiar with these stories of the bible. They recognize
them easily, and would see the similarities between Macbeth and these stories of the Bible, creating
their own connections about the questioning of morality within this play.
We may not be, of course, as quick to catch these kinds of allusions, because we, as an audience, are not
as exposed to religion as Shakespeare’s audience was. What kinds of things do you think an audience of
2010 would be aware of? Pop-culture, politics, song lyrics?
Relevant bible stories, matching Macbeth excerpts, and notes for discussion or checks for understanding
Group 1
“In the Beginning” – fall from innocence (Eve’s fault (feminist lens))
Shakespeare excerpts:
1.5 61-86
Lady Macbeth tempts Macbeth into murdering Duncan. This leads to
his fall from innocence. Lady Macbeth paired with imagery of serpent,
much as Eve is connected with the serpent before causing Adam’s fall
from innocence.
3.2 10-60
Macbeth realizes the ramifications of his sin, of Duncan’s murder. He
no longer has his innocence, and as with Adam and Eve’s fall from
innocence, will have to deal with the constant fear and guilt.
3.4 10-40
Serpent as sin, Macbeth believes he has finally put the serpent to rest
because Banquo is dead – he has killed enough people that no one
remains that know of his original sin.
Group 2
“The Garden of Gethsemane” - Story of Judas
Shakespeare excerpts:
1.5 39-86
This scene focuses on the “set up” of Duncan’s murder, much like Judas’
set up of Jesus’ murder.
1.7
Entire scene focuses on the planning of the murder of King Duncan;
Judas makes plans, as well, to turn Jesus over to his murderers. Who is
more guilty: Macbeth, who kills Duncan with his own hands, or Judas,
who sends Jesus to his death for 30 silver pieces?
4.3 1-86
Malcolm questions Macduff’s loyalties – is he a part of “offering up a
weak, poor, innocent lamb” (Duncan) or does he view Macbeth as the
enemy? The story goes that Jesus told all of his disciples that they
would betray him in one way or another, some claimed no knowledge
of who Jesus was, and others (Judas) actually played a larger part in his
murder… how does Macduff fit into this?
Group 3
“Trial and Agony” – Pilate washes his hands clean and claims he is not guilty of killing
Jesus
Shakespeare excerpts:
2.2 35-80
Can the sin of murder be easily washed away? This is the murder of
Duncan, the man appointed by God to be king…is murdering a king akin
to murdering God’s son, or God’s servant? What do you think
Shakespeare’s audience would believe?
5.1 25-83
Again, we see Lady Macbeth desperately trying to wash the smell of
blood from her hands, imagery of washing the sin of murder from her
hands. She is unsuccessful. Similarly, in Pilate’s story, he tries to place
the blame of Jesus’ murder on the crowd (I wash my hands of his
murder). This connects, as well, to Judas, who realizes he just sent Jesus
to his death and wants to give the 30 pieces of silver back in order to
undo what he’s done. When this doesn’t work, he commits suicide (as
does Lady Macbeth!). (You could add this scene to the Judas team, as well)
Group 4
“Cain and Abel” – thou who sheds blood will pay in blood
Shakespeare excerpts:
3.4 135-175 (killing of Banquo)
Macbeth plots the murder of his ‘brother’ Banquo. His motivation is
based on the idea that Banquo, his closest friend and fellow war
comrade, will tell people that Macbeth is guilty of the murder of
Duncan. Cain murders his brother, Abel, because he fears God actually
prefers Abel over himself. If God allows Banquo to oust Macbeth, then
does that mean he favors Banquo? Or, better - does murder really solve
the problem? What happens to Cain and Macbeth in the end? How are
the two stories similar or different?
5.1 25-83 (Lady Macbeth “marked”) see also 2.3 1-20
Abel is marked by God, proving God’s favor of him. Lady Macbeth,
though, is “marked” and cannot wash her mark away. She is marked
with murder, or maybe marked by the Devil. See the excerpt of the
Porter in 2.3 1-20. On the night of Duncan’s murder, he is pretending to
be the Porter at the Gates of Hell. Little does he know, devilish things
are going on behind the gates, and it is at this time that Lady Macbeth
becomes ‘marked’ with the ‘sin’ of her role in Duncan’s death. What I
this business of marking? How does this connect to the idea of
‘washing’ away ones sins?
Group 1: “In the Beginning”
Macbeth Excerpt
In your own Words
1.5 61-86
3.2 10-60
3.4 10-40
Connection to biblical story
Conclusion
Group 2: “The Garden of Gethsemane”
Macbeth Excerpt
In You Own Words
1.5 39-86
1.7
4.3 1-86
Connection to biblical story
Conclusion
Group 3: “Trail and Agony”
Macbeth Excerpt
In Your Own Words
2.2 35-80
5.1 25-83
Connection to biblical story
Conclusion
Group 4: “Cain and Abel”
Macbeth Excerpt
In Your Own Words
3.4 135-175
5.1 25-83
Connection to biblical story
Conclusion
Day 7: Objectives
90 min total
25 min
Biblical allusion, con’t. Finish group shares, with 5-10 minute Q and A for any necessary
clarifications.
30 min
Mythological allusion – Hecate and the witches
35 min
Close readings of Hecate and witch excerpts
Q: How does the use of different mythologies (biblical, mythological, political) help to
tell Shakespeare’s play? How can we transfer these elements into our own writing?
Day 7: Lesson Plan
Title: Mythology and Macbeth
Standards:
2.1.c Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Relate a literary work to primary source documents of its literary
period or historical setting
Addressing Standards: In this lesson we will begin addressing mythological allusions, linking common
knowledge of Shakespeare’s audience with the elements he chose to use to deepen the meaning of his
play.
Link: This lesson wraps up discussion of biblical allusions, and introduces Greek mythological allusions.
This lesson links, again, to previous unit on mythology, and help prepare students for up coming project,
which will require them to rewrite a scene of Macbeth, using current language and contemporary
allusions. We will also be tying this lesson in with the use of a feminist lens. We will be relying on the
use of feminist lens in our next unit, which focuses largely on a feminist reading of Emma.
Materials: Hecate handout (, Macbeth, whiteboard and markers
Assessment: Informal assessment derived from monitoring of group work and presentations. Formal
assessment derived from reviewing notes students created during group discussions.
Instructional Sequence:
Time
10m
10m
15m
10m
15m
The teacher will
Provide journal entry prompt:
What other allusions are
present in Macbeth? Are they
as significant as the biblical
allusions we studied last class?
Why or why not?
Lead discussion of responses
Direct time for students to
finish biblical allusion group
share, if needed
Introduce story of Hecate
History, mythology, common
associations
Introduce the 4 sections
where Hecate appears within
Macbeth (1.1, 2.1,3.5, 4.1)
Split students into four
groups. They will read their
assigned section and discuss
what the excerpt has to do
with the mythology behind
Hecate. Their main focus will
be whether the portrayal of
Hecate stays true to the myth
or not. If it doesn’t, what has
changed, and why?
Be prepared to present
findings to the class.
Monitor groups, answer
questions
20m
Direct groups to share their
findings, approx. 5 min per
group
10m
Wrap up discussion and
introduce homework:
Reiterate importance of use of
allusions.
HW: In reading logs, respond
to the idea of both biblical
allusions and Hecate allusions
lead to a feminist reading
The student will
Respond to prompt in journal 45m, discuss responses as class 4-5
min
Differentiate by
Finish group share
Take notes
Actively listen, split into groups,
begin reading assigned excerpt
Complete note taking sheet that is
similar in layout to biblical allusion
worksheet
Discuss purpose of using Hecate
allusion in assigned excerpt
Prepare notes to present findings
to class
Share findings; discuss accuracy of
depiction of Hecate, share
reasoning behind adhering to or
changing the myth. What is the
purpose behind it?
Ask clarifying questions
Take homework notes on
homework calendar
Hand in notes from discussions
Provide note taking
worksheets instead of
having students create
their own
Notes and handouts:
Hecate, Greek Goddess
of The Crossroads
Hecate, Greek goddess of the three paths, guardian of the household, protector of everything
newly born, and the goddess of witchcraft -- once a widely revered and influential goddess, the
reputation of Hecate has been tarnished over the centuries. In current times, she is usually
depicted as a "hag" or old witch stirring the cauldron.
But nothing could be further from the image of Hecate's original glory.
A beautiful and powerful goddess in her own right, the Greek goddess Hecate was the only one
of the ancient Titans who Zeus allowed to retain their authority once the Olympians seized
control. Zeus shared with Hecate, and only her, the awesome power of giving humanity anything
she wished (or withholding it if she pleased).
Usually classified as a "moon goddess", her kingdoms were actually three-fold . . . the earth, sea,
and sky. Having the power to create or withhold storms undoubtedly played a role in making her
the goddess who was the protector of shepherds and sailors.
A lover of solitude, the Greek goddess Hecate was, like her cousin Artemis, a "virgin" goddess,
unwilling to sacrifice her independent nature for the sake of marriage. Walking the roads at night
or visiting cemeteries during the dark phase of the moon, the goddess Hecate was described as
shining or luminous.
In other legends she is invisible, perhaps only glimpsed as a light, a "will-o-the-wisp". Perhaps it
was this luminous quality that marked Hecate as a "moon goddess", for she seemed quite at
home on the earth.
Some scholars believe it is also was because her mother was Asteria (the Titan goddess of the
Shining Light or "Star") or perhaps it was because she sensibly always carried a torch on her
journeys.
Like Artemis, Hecate was usually depicted with her sacred dogs, although Hecate and even her
animals, were sometimes said to have three heads and that they could see in all directions.
Although usually depicted as a beautiful woman having three human heads, some images are
fearsome indeed (one with a snake's head, one with a horse's, and the third a boar's head).
This farsightedness, the ability to see in several directions at once (even the past, present, and
future) featured largely in her most famous myth, the abduction of Persephone. For it was the
goddess Hecate who "saw" and told the frantic Demeter what had become of her daughter.
The goddess Hecate continued to play an important role in the life of Persephone, becoming her
confidante when she was in the Underworld. Hades, thankful for their friendship, was more than
hospitable, honoring Hecate as a prominent and permanent guest in the spirit world. Surely this
had the effect of enhancing her reputation as a spirit of black magic with the power to conjure up
dreams, prophecies, and phantoms.
Hecate's ability to see into the Underworld, the "otherworld" of the sleeping and the dead, made
her comfortable and tolerant in the company of those most would shun out of fear or
misunderstanding.
In her role as 'Queen of the Night', sometimes traveling with a following of "ghosts" and other
social outcasts, she was both honored and feared as the protectress of the oppressed and of those
who lived "on the edge". In Rome many of the priests in her sacred groves were former slaves
who had been released to work in her service.
The goddess Hecate was often accompanied on her travels by an owl, a symbol of wisdom. Not
really known as a goddess of wisdom, per se, Hecate is nevertheless recognized for a special
type of knowledge and is considered to be the goddess of trivia.
Hecate's farsightedness and attention to detail, combined with her extraordinary interest in that
which most of us discount as irrelevant or arcane, gave her tremendous powers.
She knew what the rest of us did not.
Not surprisingly, the people thought it best to give the goddess Hecate (and any friends that
might be accompanying her) a lot of honor and a fairly wide berth. When darkness descended
they wisely retired to the fireside for supper, but put the leftovers outside as an offering to Hecate
and her hounds.
That the homeless and destitute were often the actual beneficiaries hardly mattered...after all,
they were under Hecate's protection.
In a similar fashion, food was often left at the crossroads to honor Hecate, especially at junctions
where three roads converged --what we often call a "Y-intersection".
Frequently a pole was erected at the intersection and three masks would be hung from it to pay
homage to Hecate and to request her guidance in helping to choose the right direction.
Three-faced masks also adorned the entrances of many homes, honoring the goddess Hecate who
could, of course, wield her influence over "the spirits that traveled the earth" to keep them from
entering the household.
It is hardly surprising that a woman who needed to make a trip alone at night would say a brief
prayer to Hecate to seek her protection. The goddess Hecate, like her cousin Artemis, was known
as a protector of women, especially during childbirth.
Not only was Hecate called upon to ease the pains and progress of a woman's labor, but
especially to protect and restore the health and growth of a child.
Similarly, Hecate played a role that, in contemporary times, we would describe as "hospice
nurse", helping the elderly make a smooth and painless passage into the next life and staying
with them, if need be, in the otherworld to help prepare them for their eventual return to the earth
in their next life.
Familiar with the process of death and dying as well as that of new birth and new life, the
goddess Hecate was wise in all of earth's mysteries.
The Greek goddess Hecate reminds us of the importance of change, helping us to release the
past, especially those things that are hindering our growth, and to accept change and transitions.
She sometimes asks us to let go of what is familiar, safe, and secure and to travel to the scary
places of the soul.
New beginnings, whether spiritual or mundane, aren't always easy. But Hecate is there to support
and show you the way.
She loans her farsightedness for you to see what lies deeply forgotten or even hidden, and helps
you make a choice and find your path. Oft times she shines her torch to guide you while you are
in dreams or meditation.
Hecate teaches us to be just and to be tolerant of those who are different or less fortunate, yet she
is hardly a "bleeding heart", for Hecate dispenses justice "blindly" and equally.
Whether the Greek goddess Hecate visits us in waking hours or only while we sleep, she can lead
us to see things differently (ourselves included) and help us find greater understanding of our
selves and others.
Although her name may mean "The Distant One", Hecate is always close at hand in times of
need, helping us to release the old, familiar ways and find our way through new beginnings.
http://www.goddessgift.com/goddess-myths/greek_goddess_Hecate.htm
Day 8: Objectives
90 min total
50 min
Wrap back to feminist lens
Q: In what way do the allusions Shakespeare chooses help support a feminist reading of
Macbeth?
40 min
Begin designing own version of a Macbeth scene of choice, using contemporary language and
allusions.
Grammar focus:
Using literary elements with purpose in writing. Phrase use – how are we making our writing
interesting? Punctuation – is it helping your reader understand your writing, or hindering?
Day 8: Lesson Plan
Title: Pulling it all together…
Standards:
2.1a – Reading for all purposes: Literary and historical influences determine the meaning of traditional
and contemporary literary texts - Generalize about universal themes, cultural or historical perspectives
from multiple texts
3.1.b - Writing and Composition: Literary or narrative genres feature a variety of stylistic devices to
engage or entertain an audience - Write literary and narrative texts using a range of stylistic devices
(poetic techniques, figurative language, imagery, graphic elements) to support the presentation of
implicit or explicit theme
Addressing standards: This lesson summarizes all of the concepts we have learned using the historical
context to understand the elements present in Macbeth. We also begin our culminating writing
assignment, practicing use of literary elements and creativity in our own writing.
Link: This lesson pulls all the concepts we have looked at up until this point together. Students will see
that the allusions, combined with the feminist lens, make for a much deeper reading of Macbeth, and
will begin to apply their knowledge of these ideas in their culminating assignment for the unit.
Materials: Culminating assignment writing prompt handout
Instructional Sequence:
Time
8m
20m
15m
The teacher will
Provide journal writing prompt:
What do you think the
overarching meaning and
connections do you see when
reflecting on our study of
Macbeth?
Lead discussion of responses
Lecture/Discussion:
Shakespeare purposely used
knowledge of his audience to
deepen the meaning of the
story with use of allusions.
The allusions he used, paired
with the story of the Witches,
Hecate, and Lady Macbeth
controlling the action of sin and
traitor-hood was done
specifically to enhance what
reading of the story?
How did the change from a
female leader to a male leader
affect the telling and timing of
this play?
In what ways are the allusions
skewed in order to place
women in a bad light?
In what ways do the allusions
help pay homage to the new
king?
Overall, help highlight the
connections from the unit as a
summary before introducing
the culminating assignment
Pass out writing prompt
handout.
Explain in detail expectations:
You will be rewriting a scene of
Macbeth, using contemporary
language. You will be telling
the ‘story’ of the scene
creatively – don’t feel the need
to keep in a play format if you
are not comfortable with that.
You will choose one
The students will
Write on journal prompt for 4-5
min, discuss response 3-4 min
Listen actively, take a part in
discussion when appropriate
Ask clarifying questions, take
notes about expectations
Differentiate by
45m
contemporary allusion that will
help provide deeper meaning
to your chosen scene. For
example if you choose a
political scene, you may want
to choose a political allusion.
Your rewrite will be 4-5 pages
long. You will practice using
the phrases we have studied,
as well as practice working
allusion into your writing.
We will workshop next Tuesday
and Thursday, and your final
draft will be due the following
Monday.
Hand out rubric, inform
students we will begin looking
at the reflection portion the
following week
Students will need to have a
working draft for the following
class period – this is over the
weekend, so a substantial draft
will be expected.
Be available for answering
questions, monitor progress
Work on choosing scene to
rewrite, choosing appropriate
allusion, and begin drafting
Notes and handouts:
Writing prompt:
Rewrite one scene of Macbeth. You must use contemporary language, as well as a contemporary
allusion within your rewrite. You may try your best to keep to the exact story Shakespeare tells, or you
may change it to suit your liking. Your rewrite can change the meaning of Macbeth, as rewriting one
scene will most likely change the story as a whole, in some way. You will practice using the different
types of phrases we have studied in your scene rewrite, as well as make correct use of punctuation.
Your rewrite will be 4-5 pages long, as you will be practicing your own language skills. You will have one
day of workshop to discuss the successes and drawbacks of your allusion. You will have one day of
workshop for final drafting purposes, focusing on sentence structure, phrase usage, and punctuation
usage. You final draft will be due Monday, Dec 6.
Rubric:
4
Rewrite includes an
allusion that conveyed
meaning its audience
would easily
understand. The use of
allusion does not
interfere with the flow
of the scene. The use of
allusion conveys
thematic significance for
the chosen scene.
3
Rewrite includes an
allusion that conveyed
meaning its audience
would easily
understand. The use
of allusion may
interfere with the flow
of the scene. The use
of allusion conveys
thematic significance
for the chosen scene
2
Rewrite includes an
allusion that does
not provide meaning
its audience would
easily understand.
The use of allusion
may interfere with
the flow of the
scene. The use of
allusion does not
have thematic
significance for the
chosen scene
Theme
The rewrite reflects that
the author understood
the original intended
story of the scene. The
author purposely
strengthened the scene,
weakened the scene,
changed how we view
the scene, or made the
scene more accessible
to today’s audience.
Reflection
The author is able to
reflect on his/her
intention in the scene
rewrite. The author
understands
weaknesses or strengths
of chosen
scene/allusion/theme
combination. The
author can thoroughly
explain the choices
made in the rewriting
process.
The rewrite reflects
that the author mostly
grasped the original
intended story of the
scene. The author
purposely
strengthened the
scene, weakened the
scene, changed how
we view the scene, or
made the scene more
accessible to today’s
audience.
The author is able to
reflect on his/her
intention in the scene
rewrite. The author
somewhat
understands the
weaknesses or
strengths of chosen
scene/allusion/theme
combination. The
author can thoroughly
explain the choices
made in the rewriting
process.
The rewrite reflects
that the author
misunderstands the
intended story for
the scene. The
author strengthened
the scene,
weakened the
scene, changed how
we view the scene,
or made the scene
more accessible to
today’s audience.
The author is able to
reflect on his/her
intention in the
scene rewrite, but
struggles with
recognizing the
strengths or
weaknesses of their
use of scene/
allusion/theme. The
author may be
unaware of the
choices made in the
rewrite process.
Allusion
1
Rewrite
attempts use
of allusion.
The allusion
does not
provide
extended
meaning to its
audience,
interferes with
flow of scene,
or is missing
thematic
significance to
the scene.
The rewrite
reflects that
the author
misunderstan
d their chosen
scene. The
author was
unable to
adequately
add
significance to
the scene.
The author
reflects on
writing, but
does not take
into account
intention,
strengths, or
weaknesses.
The author is
unable to
explain his/her
choices within
the writing
piece.
Day 9: Objectives
90 min total
Workshop day: Elements of literature in action
Have working draft of allusion study ready for workshop.
Workshop focus: Do your allusions help or hinder the story? Are your allusions necessary to the
story (i.e. do they blend and help the story, or stick out like a sore thumb and make your story
lose flow?) Are you using interesting language, and making use of different types of phrases?
Day 9: Lesson Plan
Title: Workshop day
Standards:
3.1.d Writing and Composition: Literary or narrative genres feature a variety of stylistic devices to
engage or entertain an audience - Use a variety of strategies to evaluate whether the writing is
presented in a creative and reflective manner (e.g., reading the draft aloud, seeking feedback from a
reviewer, scoring guides)
3.1.e Writing and Composition: Literary or narrative genres feature a variety of stylistic devices to
engage or entertain an audience - Revise texts using feedback to enhance the effect on the reader and
clarify the presentation of implicit or explicit theme
Addressing Standards: Using work shopping technique and worksheets, students actively participate in
reflecting upon and editing each other’s works, as well as implementing suggestions in the drafting
process.
Link: Students are applying use of the literary element, allusion, to their writing, as well as using their
translating skills (translating Shakespearean language and story into a contemporary work), and their
new found phrasing skills to create a piece of writing that expresses expertise in each element. Moving
forward, students will be asked to reflect upon the learning that happened during the unit and use a
written piece to show understanding. This activity will help students hone several writing skills in a
creative way.
Materials: Workshop worksheet
Instructional Sequence:
Time
5m
35m
35m
10m
15m
The teacher will
Direct students into groups of
three for work shopping
Hand out work shopping
worksheet
Monitor student progress,
answer questions, remind time
passage and let students know
they should begin discussing
work shop worksheets after
25min has passed
Repeat above steps
Answer any questions that
were raised by workshop time
Monitor student work
The students will
Group up with work shopping
partners
Trade drafts with first partner,
read through the draft once
without marking.
2nd read – underline moments of
allusion
3rd read – circle moments where
flow is interrupted
Fill out worksheet with responses,
take 5-10min to discuss
worksheet
Repeat for second partner
Ask any clarifying questions
Begin making notes for changes
and improvements needed for
second draft
Differentiate by
Notes and Handouts:
Author: ___________________
Editor: ___________________
Date: __________
Strengths of allusion
Weaknesses of allusion
Other comments
Day 10: Objectives
90 min total
Pair and share
Last workshop day
Workshop focus: Sentence structure and punctuation. Any issues with allusion should be fixed, focus on
final drafting.
Final draft due Monday.
Day 10: Lesson Plan
Title: Workshop day
Standards:
3.1.d Writing and Composition: Literary or narrative genres feature a variety of stylistic devices to
engage or entertain an audience - Use a variety of strategies to evaluate whether the writing is
presented in a creative and reflective manner (e.g., reading the draft aloud, seeking feedback from a
reviewer, scoring guides)
3.1.e Writing and Composition: Literary or narrative genres feature a variety of stylistic devices to
engage or entertain an audience - Revise texts using feedback to enhance the effect on the reader and
clarify the presentation of implicit or explicit theme
Addressing Standards: Using work shopping technique and worksheets, students actively participate in
reflecting upon and editing each other’s works, as well as implementing suggestions in the drafting
process.
Link: Students will reflect on their own work, critically thinking about their intention and what their
workshop partners found in their writing. This is a necessary step in finalizing their current writing piece
as well as being an important step to learn for the writing process as a whole.
Materials: Dictionary, thesaurus
Instructional Sequence:
Time
7m
25m
7m
45m
6m
The teacher will
Explain reflection portion of
rubric to students.
Explain that students will
write one page expressing
what they think their
strengths and weaknesses
are for each point in the
reflection portion of the
rubric.
Monitor student progress
Guide students into new
workshop groups – 4 per
group
Explain today’s workshop
will focus on three things:
What stands out as
something great
Mark phrase structures
Proofread for spelling and
punctuation
Monitor student progress
Field any remaining
questions about final draft
The students will
Actively listen
Write reflection based on points
presented in rubric. 1-2 pages
hand written
Break into groups – each group will
be made up of different students
Rotate papers through partners,
focusing on:
What stands out as something
great
Mark phrase structures
Proofread for spelling and
punctuation
Ask any remaining questions about
final draft
Differentiate by
Pairing stronger writers
with weaker writers for
examples of writing well
and proper
proofreading
techniques
Culminating Project:
This unit focuses heavily on use of allusion and historic context within The Tragedy of Macbeth.
We’ve also studied the element of language within the play, practicing translating Shakespearean
language into our own. During our grammar focus, we looked at how language use, especially phrases,
help our own writing, and how punctuation can act as a map for our readers’ understanding. The
culminating project encompasses all of these elements into one writing assessment.
Writing prompt:
Rewrite one scene of Macbeth. You must use contemporary language, as well as a contemporary
allusion within your rewrite. You may try your best to keep to the exact story Shakespeare tells, or you
may change it to suit your liking. Your rewrite can change the meaning of Macbeth, as rewriting one
scene will most likely change the story as a whole, in some way. You will practice using the different
types of phrases we have studied in your scene rewrite, as well as make correct use of punctuation.
Your rewrite will be 4-5 pages long, as you will be practicing your own language skills. You will have one
day of workshop to discuss the successes and drawbacks of your allusion. You will have one day of
workshop for final drafting purposes, focusing on sentence structure, phrase usage, and punctuation
usage. You final draft will be due next Monday.