Measure for Measure Education Pack

Teachers’ Resource Pack for

Measure for Measure

By William Shakespeare

Resource produced by Jayne Linda Jones for Sherman Cymru, September 2010

Measure for Measure by William Shakespeare

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Contents About this pack

3

The characters in the original play

4

The characters in the Sherman Cymru production

5

Plot Summary

6

Director’s comments on the Sherman Cymru production

9

The historical, social and religious setting of the play

10

Teaching Tasks

11

Resource Sheets

22

Evaluation

27

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Measure for Measure by William Shakespeare

About this pack The pack is aimed at A Level students studying Shakespeare’s Measure for Measure. Though the Sherman Cymru’s production is the director’s edited interpretation of Shakespeare’s original text, the tasks included in this pack are aimed at exploring the full text. Our hope is that it can be used as a helpful teaching aid rather than a pack of ‘bolt-on’ activities that might be of interest, if only time allowed.

The resource is based on the assessment objectives for English Literature A Level students.

These expect candidates to: • • • •

articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and coherent, accurate written expression (AO1); demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in literary texts (AO2); explore connections and comparisons between different literary texts, informed by interpretations of other readers (AO3); show understanding of the significance and influence of the contexts in which literary texts are written and received (AO4)

Three of the assessment objectives are covered by the pack. The objective as stated in the third bullet point is not covered as this involves wider reading of an additional text.

Although the resource is aimed at A Level students, it is feasible that it could also be used with able GSCE students.

Tasks are provided for each Act of the play. It is envisaged that these would be completed after the students have completed an initial reading of the Act. Though the pack cannot provide an exhaustive list of tasks for study, it does encourage students to explore central ideas, beliefs, characters and themes, as well as the structure of the play. Therefore, it is suggested that the pack would be best used to accompany the students’ first study of the play.

Drama tasks have been built into the study of each Act, to allow for some creative exploration of the play, rather than a purely academic approach. It is hoped that these activities will help motivate the students, as well as provide an opportunity to think more about the play and its characters.

The ultimate aim of A Level study is for the students to be able to produce competent essays in examination conditions. The tasks in this pack give students an opportunity to gradually build their knowledge and skills in preparation for this.

We hope that teachers find this a useful, time-saving resource that enhances the students’ learning experience and examination success.

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Measure for Measure by William Shakespeare

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The characters in the original play

Vincentio Angelo Escalus Claudio Lucio Provost Friar Thomas Friar Peter Elbow Froth Pompey Justice Abhorson Barnadine Varrius Isabella Mariana Juliet Francisca Mistress Overdone

the Duke the deputy an ancient lord a young gentleman Claudio’s friend marshal in charge of the prison

a simple constable a foolish gentleman servant to Mistress Overdone assistant to Escalus an executioner a prisoner a gentleman and friend to the Duke sister to Claudio betrothed to Angelo beloved of Claudio a nun a bawd

Lords, gentlemen, officers, servants, citizens and a boy.

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Measure for Measure by William Shakespeare

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The characters in the Sherman Cymru production Isabella

played by Kezia Burrows

The Duke

played by Robert Bowman

Angelo/ Mistress Overdone

played by Ifan Meredith

Claudio/Elbow

played by Gwynfor Jones

Escalus/Pompey

played by Arwel Gruffydd

Julietta/Lucio

played by Eiry Thomas

Mariana/Street girl

played by Anita Reynolds

Musician/Other Parts

played by Joe Northwood (Saxophone) 5

Measure for Measure by William Shakespeare

Act by Act Plot Summary Please note that these summaries are based on the original script not the Sherman Cymru edited script.

Act 1 At the beginning of the Act, the Duke of Vienna announces that he will be leaving the city for a while. He gives control to Angelo, his deputy, and asks Escalus, a lord, to support Angelo in his decisions about the city and its citizens. Angelo immediately sets about trying to improve the morals and behaviour of the citizens by re-establishing laws and punishments that have been neglected by the Duke. A young gentleman called Claudio is the first person to experience Angelo’s strict approach. Angelo discovers that Claudio’s fiancé, Juliet, is pregnant; he sends him to prison and condemns him to death as punishment. On his way to prison, Claudio asks Lucio, his friend, to visit Isabella, his sister, to ask her to plead with Angelo for a reprieve. Meanwhile, the Duke meets with Friar Thomas and reveals his plan to stay in Vienna but with the disguise of a friar, so that he may observe what Angelo does without being discovered. Lucio visits Isabella at the nunnery, where she is about to take her vows. He explains Claudio’s predicament and she agrees to speak to Angelo.

Act 2 Escalus attempts to persuade Angelo that he should be more lenient with Claudio, but Angelo is adamant that the laws have to be applied strictly. A constable, Elbow, brings two further wrong-doers before Angelo and Escalus for judgement. Pompey is a bawd who works for Mistress Overdone at her brothels and Froth is a customer.

Elbow is not a competent officer so Angelo instructs Escalus to deal with the situation. The governor of the prison, The Provost, asks Angelo is he is sure about his decision to have Claudio executed; Angelo is again adamant that this is the correct course of action. Isabella, accompanied by Lucio, arrives to try to plead with Angelo to show mercy to her brother. Angelo is impressed by her skilled arguments and tells her to return the next day to hear his judgement. Furthermore, he admits to himself that he desires Isabella and is attracted by her purity. The Duke, disguised as a friar, visits Juliet and counsels her about her relationship with Claudio; she agrees that to have sex with Claudio outside of marriage was sinful, but wishes that Claudio did not have to pay with his life, especially since she is pregnant. Angelo and Isabella meet again. Angelo propositions her, asking for her virginity in exchange for her brother’s life. Isabella is horrified and refuses to agree to such a sinful plan. She resolves to tell her brother of Angelo’s plan but feels sure that he will not allow her to do such a thing.

Act 3 At the prison, the Duke, disguised as a friar, tries to comfort Claudio by claiming that death is preferable to life. When Isabella arrives to speak to Claudio, he listens in to their conversation. Isabella tells Claudio of Angelo’s proposal. At first, Claudio agrees that she should not consider it, but changes his mind as he realises that

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death is imminent for him. Isabella is shocked by her brother’s response and adamant that she will not agree to Angelo’s plan. As she is leaving, the Duke/Friar intervenes and tells her of his plan to save Claudio. He explains that Angelo was once betrothed to a woman called Mariana but reneged on his promise to marry her when he realised that her dowry was lost. Even worse, he humiliated her by claiming that she has been unfaithful to him. The Duke/Friar explains that his plan his for Isabella to tell Angelo that she agrees to the plan, but that Mariana will go in her place. The Duke/Friar says that this will not only save Claudio’s life and Isabella’s virginity, but it will also right the wrong to Mariana, as Angelo would be forced to marry her once they had consummated their relationship. Isabella agrees to the plan.

On his way out of the prison, the Duke meets Elbow with Pompey. He has arrested Pompey for continuing to act as a bawd for Mistress Overdone and says that he has to go before Angelo for judgement. When Pompey sees Lucio, he expects him to pay for his bail, but Lucio refuses. When Pompey is taken to prison, Lucio talks to the Duke/Friar about Angelo and about the Duke himself. He says that he knows the Duke well and claims that he was involved in immoral sexual behaviour. The Duke/Friar tells Lucio that he must say these things to the Duke when he returns. As Lucio leaves, Escalus and the Provost arrive at the prison with Mistress Overdone.

She claims that Lucio is not to be trusted and that he has had a child with one of the women at her brothel. When she is taken to prison, the Duke/Friar questions Escalus about the character of the Duke; Escalus speaks positively of him. At the end of the Act, the Duke is alone and reflects on Angelo’s hypocritical behaviour and how he will expose him through his plan to substitute Mariana for Isabella.

Act 4 The act opens with the Duke/Friar asking Isabella to explain his plan to Mariana.

Mariana agrees to take part and the plan goes ahead.

At the prison, Abhorson, the executioner, reluctantly accepts Pompey as his assistant. The Duke/Friar arrives and soon after a message from Angelo indicates that he has not kept to his side of the bargain, as Claudio is to be executed four hours earlier than planned and wants Claudio’s head delivered to him by 5pm that afternoon. After telling the Provost that the Duke would approve, the Duke/Friar persuades the Provost to execute Barnadine (another prisoner) and send his head to Angelo, so that Claudio may be kept alive. Barnadine objects to being executed and the Duke agrees that it would be wrong to do it when Barnadine is so unprepared.

Luckily, another prisoner, Ragozine, has just died, so it is agreed that his head will replace Claudio’s. When Isabella arrives, the Duke/Friar does not tell her that her brother has been saved; he allows her to think that he is dead and tells her to prepare to put her case, with Mariana, to the Duke on his return to the city.

Meanwhile, Angelo has received a letter telling him of the Duke’s return and is anxious at the prospect. At the end of the Act, the Duke/Friar talks to Friar Peter about the Duke’s return.

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Measure for Measure by William Shakespeare

 Act 5 The Duke returns to Vienna. Isabella tells him her story and appeals to the Duke for justice. While this is being considered, Mariana arrives and refuses to show her face until she is asked by her husband. She tells the Duke that she was with Angelo at the time that Isabella says that she had been wronged by him. Angelo asks her to show her face, which she does. She explains to Angelo that she replaced Isabella.

Angelo admits to having been previously betrothed to Mariana but claims that he did not marry her as he had discovered that her behaviour was immoral. Angelo asks to be allowed to investigate the situation further; the Duke agrees but before leaving he orders that Friar Lodwick should be sent for. When the Duke returns, disguised as the Friar, Escalus becomes involved in a scuffle with him and reveals the Duke behind the disguise.

Angelo now confesses his sinful behaviour and asks to be punished by death, but the Duke orders that he should marry Mariana before this happens. Angelo and Mariana leave to be married and the Duke turns his attention to Isabella. He still does not tell her that her brother is alive but says that he did not have time to save him, as the execution was so quick. When Angelo and Mariana return as a married couple, the Duke says that Angelo must now die. Mariana pleads for his life and then asks Isabella to help her in her appeal for mercy. Isabella tries to persuade the Duke to change his mind about Angelo but he ignores her pleas and turns his attention to the Provost. The Provost claims that he regretted his part in the executions so much that he saved the life of Barnadine. The Duke demands that he bring this prisoner to him. The Provost returns with Barnadine, Juliet and Claudio, with his face covered. When Claudio’s identity is revealed and Isabella realises that her brother is alive, the Duke pardons Barnadine and Claudio and then asks Isabella to marry him. The Duke then orders Lucio to marry the prostitute with whom he shares a child. Finally, tells Angelo that he can live by asking him to love Mariana, thanks Escalus and the Provost and repeats his proposal of marriage to Isabella.

Isabella does not respond.

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Measure for Measure by William Shakespeare

Director’s comments on the Sherman Cymru production The themes in the play that are most striking for us are: the relationship between natural justice versus the law, private morality versus public behaviour and sex as agency to power. The play is rich in ideas, and really shows the breadth of Shakespeare’s craft, with the intense, tragic drama running alongside bawdy comedy. It still feels incredibly relevant on many levels – most notably how people can and do abuse power and behave hypocritically with it.

We have set this production in modern times, in the Old Natwest Bank, at the bottom of Bute Street (the old Red Light District of Cardiff). With jazz/blues music, the street world in our production is one of sex clubs, dancing and promiscuity. It is this world which the Duke has lost control of and which Angelo wants to firmly stop, and so assert the forgotten letter of the law. In our production the presence of this ‘world’ of debauchery will keep cropping up, expressed through movement and song allowing us to richly illustrate what Angelo is trying to prevent. We are also choosing to make a stronger feature of characters such as Marianna, who the Duke knows so much about but who features so little in the written text.

We have edited the script so that the story progresses with pace and zest.

Shakespeare was writing for audiences that popped in and out during the performance so a lot of the plot is repeated - we felt that a modern audience could be trusted more and so the text has been trimmed removing obvious repetitions.

We also had to do this to support our doubling choices. We have chosen to double the characters across gender and class. The play is full of hypocritical attitudes towards personal behaviour versus public demeanour and so we thought in our doubling we could support this theme (Angelo doubling as Mistress Overdone being the most obvious example of this innate hypocrisy within the characters).

Amy Hodge, Director

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Measure for Measure by William Shakespeare

Researching the Context of the Play It is important for the students to have an understanding of the context in which the play was written, if they are to fully appreciate it. Assessment Objective 4 for A Level students states that candidates should: ¾ show understanding of the significance and influence of the contexts in which literary texts are written and received (AO4) Rather than producing pages of background information for the students to read, this section aims to encourage the students to research these areas themselves, in hope that the information will be more easily absorbed and remembered.

One of two approaches could be used: • Each pupil researches each of the areas recommended and produces a miniproject to record and present the findings • Students are asked to work in pairs to research a specific area (or areas).

They are asked to produce a presentation of their findings for the class, which should include an information sheet to be given to each pupil.

Suggested Areas of Research Historical Context - The play was written around the time King James VI of Scotland became King James I of England. Students should find out what they can about this King, his personality, his connections to Shakespeare, the power of the monarch at the time and particularly James I beliefs about ‘Divine Right’ and ‘The Chain of Being’.

Religious Context - At the beginning of the century, England was a Catholic country.

However, by the time of James I, it had become Protestant. Students should research the religious beliefs of the time, particularly the influence of the Bible. Ask the students to find out the significance of the title of the play and its links with the bible and the beliefs about sin, judgement, mercy and life after death. They should consider the conflict between the message of the Old Testament that judgement should be based on ‘an eye for an eye, tooth for tooth’ and the New Testament’s belief in forgiveness and mercy.

Social Context - Although Shakespeare sets the play in Vienna, it is clear that the social beliefs influencing the play are those apparent in England of the day, particularly London. Students should research the attitudes towards law and punishment, sex and marriage and the role of women in society at the time.

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Measure for Measure by William Shakespeare

Tasks for each Act Act 1 The following task aims to ensure that the students have closely analysed Act 1 and reflected on their initial impressions of the city and its citizens.

It is suggested that it is attempted after an initial reading of Act 1.

Resources required: 1.

2.

3.

4.

5.

Photocopies of Act 1 for each student A high-lighter pen for each student A pencil for each student OHP or interactive whiteboard Resource Sheet 1

Task 1 - Impressions Following a close reading of Act 1, ask the students to consider the impressions that they have of the following: 1. The city as conveyed through the content and nature of the speech of the characters 2. The Duke (including reasons given for his actions) - Scene 1 and Scene 3 3. Lucio - Scene 2 and Scene 4 4. Isabella – Scene 2 and Scene 4 5. Angelo – Scenes 1-4 Activities Point 1 of the Task 1. Focus on Point 1 – impressions of the city. Using a relevant part of Act 1 displayed on an OHP or whiteboard, demonstrate how the students should high-light relevant parts of the text which help to create impressions of the city. Once one quotation has been high-lighted, show the students how to annotate the selected quotation with notes about what impression/s they feel are created and why.

2. Divide the students into pairs and give them 5 minutes to select the next relevant, high-light it (it would be best if all students used the same colour) and then annotate it (using pencil). Ask each pair to feedback to the class and discuss the selections and notes.

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Measure for Measure by William Shakespeare

3. In pairs, allow the students to continue this process until they feel they have high-lighted and commented on all relevant quotations. Ask each pair to feedback an example of what they have found.

4. Give each pupil a copy of resource sheet 1 (page). This chart is to be used to record their findings, so that they have this for future reference for essay preparation. The grid has three columns – Point, Evidence, and Explanation.

Using the quotation chosen and annotated on the OHP/whiteboard, show the students how to transpose their notes onto the chart.

5. Ask the students to complete the chart for each selected quotation.

Points 2-5 of the Task 1. Divide the students into small groups. Give each group one of the characters in points 2-5 of the task.

2. Ask them to follow same process to complete the chart: 3. High-light (using a different colour) the relevant quotations 4. Annotate (in pencil) 5. Complete the chart – point, evidence, explanation (in pencil) 6. Ask each group to feed back to class. The teacher should intervene, if necessary, to ensure that the final details on the chart are correct.

7. Collect in each group’s chart. Photocopy each chart for all students, so that they all have a copy of the class’ impressions of the selected characters, for use in further work and essays.

Task 2 - Drama Focus Tell the class that they are going to create a ‘Question Time’ Programme, using what they have learned from Act 1. The debate is to focus on the moral state of the city and what should be done about it. The teacher will chair the debate.

Activities 1. Select students to take the role of the following characters: • • • •

The Duke - appearing on the programme before he leaves to explain his concerns and hopes Angelo - The Duke’s appointed Deputy, appearing to support the Duke, explain his credentials and his intentions for addressing society’s problems Escalus – appearing as a support to Angelo but a character that tries to temper Angelo’s stern views with a call for mercy when applying the laws A Friar – appearing to express his concerns about the moral state of society

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Measure for Measure by William Shakespeare

•

•

Mistress Overdone – appearing to argue her case that banning her institutions will not resolve society’s issues and will only drive such behaviour underground Lucio – a duplicitous character, whose intention is to support for the Duke but inadvertently displays an affinity with Mistress Overdone’s arguments.

2. Ask these students to start preparing for their role. Since they do not know what questions will be asked, they cannot script a response but they should think about what views the assigned character might have about the state of society and what should happen, if anything to address it.

3. Ask the remainder of the students to think of a question that they wish to direct to the panel. The teacher should work with this group to ensure that the questions are varied. The ‘characters’ should not be able to hear what the questions are to be.

4. Once these questions have been decided, the teacher should divide these students between the students playing the characters. These students should then help the ‘characters’ to continue to prepare for their role.

5. Improvise the ‘Question Time’ scenario.

6. As a class review what issues and opinions have been explored through this task.

Act 2 The following tasks aim to encourage the students to explore: 9 the central themes of law, power, justice and mercy 9 characters - Angelo and Isabella Resources required: 1 2 3

Photocopies of Act 2, Scene for each pupil.

High-lighters Pencils

Task 1 – Micro-Essay - Act 2, Scene 2 is a key scene of the play as it explores the central themes of law, power, justice and mercy. Ask the students to produce a detailed analysis of this scene and the themes raised. Discuss how these are influenced by the religious and social beliefs at the time the play was written.

Support each point with textual reference and commentary.

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Measure for Measure by William Shakespeare

Activities 1. Divide the students into pairs. Give them photocopies of Act 2, Scene 2 and ask them to high-light relevant quotations and to annotate their selections with the points they wish to make about the themes to be addressed. They should include any comments on the religious and social beliefs of the time. Having done this, ask them to decide upon the key points and quotations they would use in the essay response.

2. As a class discuss the selected key points and quotations and consider if these could be grouped in a certain way, or presented in a specific order when answering the essay question. As a class decide on a structure for the essay response, including an introduction and conclusion.

3. Ask the students to use this structure and annotated scene to write the essay response. The teacher should decide if this is to be done in a timed session or not.

Task 2 – Drama Focus: Angelo and Isabella are key characters in this act. Divide the class into small groups and give each group either Angelo or Isabella. Ask them to discuss and make notes about what they learn about their character in Act 2. Each group must then use their notes to compose a monologue for this character which should reflect the character’s thoughts and feelings following the events of Act 2.

When completed, one member of the group should read this monologue to the class. Other groups may question the presenting group about their presentation of the character in the monologue.

Act 3 The following tasks aim to encourage the students to explore: 9 Shakespeare’s use of Imagery 9 Beliefs about Life and Death 9 Characters – The Duke and Lucio

Resources required: 1.

2.

3.

4.

5.

The students’ earlier research about religious beliefs of the time.

Resource Sheet 2, Parts 1 and 2.

Chart completed for Lucio for Act 1.

Highlighters and pencils.

Copies of the text.

Task 1 - Research Religious Beliefs

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Students should remind themselves of the religious beliefs of the day by looking at the research carried out at the beginning of the pack.

Task 2 – Images of Life and Death in Scene 1 Use the knowledge gained from the independent research to reflect on the images of life and death expressed in this scene.

Activities 1.

Ask the students to re-read and annotate the speeches from the Duke (disguised as the Friar) and Claudio on Resource Sheet 2, Parts 1 and 2. In both speeches, the characters describe their views of life and death. The students should annotate the speeches with their observations of how the characters describe life and death.

2.

As a class, discuss the following: ¾ Are the Duke’s views consistent with what an audience of the day would have expected from a Friar? ¾ Why do you think the Duke gives this advice to Claudio? What could be his motivation? ¾ How does Claudio’s description of death reflect the beliefs of the time?

3.

Ask the students to re-write the Duke’s speech to Claudio. The aim is to show what images of life and death might be conveyed by a true Friar of the time based on their research and how his advice might differ to that given by the Duke in his role as the Friar.

Task 3 – Reflect on the character of Lucio Activities 1.

Divide the class into pairs. Ask them to look at the chart they did for Act 1 for Lucio to remind themselves what they noticed about the character at this point.

2.

In Act 2, Lucio only appears in Scene 2. Ask the students to re-read this and to produce a chart (like they have for Act 1) for Lucio.

Task 4 – Close Reading of Act 3, Scene 2 with a focus on Lucio and the Duke Activities 1. What do they learn about Lucio from his interaction with Pompey?

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2. Give the students, Resource Sheet 3. The quotations selected show Lucio’s comments about the Duke. Ask the students to discuss the selected quotations in pairs and consider what they suggest about Lucio and Lucio’s opinion of the Duke.

3. What does Mistress Overdone reveal about Lucio? How does this add to the audience’s impression of this character?

4. How does his behaviour in this scene contrast with his behaviour in Act 2, Scene 2?

5. What does Escalus say about the Duke, and what effect would his comments have on the audience’s opinion of the Duke and Lucio and his comments?

Use quotations to support your response.

Task 5 – More about Lucio Activities 1. Lucio next appears in Act 4, Scene 3 and finally in Act 5, Scene 1. Ask the students to locate his appearances, read them and make notes about what they learn about his character. They should note how his behaviour towards Isabella shows him in a different light and how what he says about the Duke is contradictory at times, as in Act 3, Scene 2.

2. Drama Focus – Hot-seat Lucio. Either the teacher or a competent and confident pupil should take the role of Lucio. The remainder of the class should think of questions to ask the character.

3. For the purpose of future essay work and revision, it is suggested that the students produce charts for Acts 3, 4 and 5 for Lucio as they have for Acts 1 and 2. This could be completed at home, following the above work.

4. Produce a whole-text essay about Lucio. The teacher may select the essay title but one simple suggestion is: ‘Malevolent, benevolent or mere fool?’

Discuss your view of the character of Lucio.

Act 4 The following tasks aim to encourage the students to explore: 9 Problems in the text 9 The structure of the play’s scenes 9 The character of Angelo Resources required: 1. Resource Sheet 3 and 4

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2. Copies of the text 3. Highlighters and pencils.

Task 1 – Revelations In second half of Act 3, Scene 2, the Duke suddenly reveals that he is aware that Angelo had once been betrothed to Mariana but reneged on his promise and treated her badly.

At the beginning of Act 4, Scene 1, Mariana suggests that the Duke (disguised) as the friar has often visited her to offer her advice.

Activities 1. Ask the students to discuss the following: a. Do you feel these are mistakes Shakespeare made when writing the script or deliberate inclusions to raise questions in the mind of the audience? b. What questions do these revelations raise in the mind of the audience?

2. Ask the students to explain, in writing, how they would deal with these ‘problems’ if they were directing the play.

Task 2 – Juxtaposing Scenes Throughout the play, Shakespeare juxtaposes serious and comic scenes. The comic sections do not always last for the entire scene but, nevertheless, provide a contrast and mirror to the serious issues of the play.

Activities 1. Divide the class into small groups and allocate each group one of the comic sections (in some cases the whole scene) of the following scenes: • • • •

Act 1, scene 2 Act 2, scene 1 Act 3, scene 2 Act 4, scene 3

Ask each group to consider and discuss the following: 9 the placement of the scene and what happens immediately before and after it 9 how the scene contrasts and mirrors the serious scenes before and/or after it 9 how the scene alters the mood and pace of the action

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9 the way in which Shakespeare uses the language (the structure, diction, tone and imagery) to reflect the nature of the characters and the content of the scene and how this contrast with the choice of language in the serious scenes 2. Each group should report back to the class.

3. Ask each group to produce revision sheets that can be shared with everyone for future work. The group should discuss and decide on how they think the information would be best presented to make it easily digestible. However, key quotations should certainly be part of this.

Task 3 – Drama Focus Activities 1. Divide the class into pairs. Ask them to select one of the themes of the play as a focus for writing their own mini play set in modern society. Ask them to produce an outline of the plot and a list of characters, in order to establish the context for the next activity.

2. Each pair should then write an excerpt from this play that includes two juxtaposing but related scenes – one serious, one comic.

3. If practicalities allow, these or a selection of them, could be performed by the class and discussed.

Task 4 – Character log - Angelo Angelo appears on stage again in Scene 4 of this Act. The audience has not seen him since Act 2, Scene 4 and yet his desires have been driving the action of the play.

Angelo either appears (A), or is referred to (R) in the following scenes: Act 1 – 1 (A), 2(R), 3(R), 4(R) Act 2 – 1 (A), 2(A), 4(A) Act 3 - 1 (R), 2(R) Act 4 – 1(R), 2(R), 4 (A) Act 5 – 1(A) Divide the class into small groups. Ask each group to locate the appearance and references above and remind themselves of the content and context by skim reading. As they re-read the scenes, ask them to select key quotations from each Act that they feel illustrate something important about Angelo’s character and role,

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but also show the development of his character. As when assessing and tracking any character, the students should look for evidence in: • • • •

what he says what he does what others say about him how others behave toward him

Resource Sheet 4 may be used to record the reference, quotation and an explanation of what they feel each quotation illustrates.

Act 5, Scene 1 – The Ending The following tasks aim to encourage the students to explore: 9 9 9 9

the ending of the play Isabella’s response to the Duke’s proposal the theme of reality and appearances or ‘seeming’ The character of the Duke

Task 1 – Comparing Endings Activities 1. Before the lesson, ask the students find out about the endings of other Shakespeare plays – at least one tragedy and one comedy. What do they notice about how Shakespeare concludes these plays? The teacher could stipulate which plays each pupil researches, so that there are no repeats.

2. During the lesson, ask the students to report on their findings.

3. As a class, re-read Act 5, Scene 1 and discuss the following: • • • •

How does it reach its conclusion?

What happens to each of the characters?

How does it compare with the endings of the other plays discussed?

Is it a successful denouement?

Task 2 – Isabella’s Response – Drama Focus Divide the class into small groups and ask them to discuss how they would interpret Isabella’s reaction at the very end of the play. Would she agree to marry the Duke or indicate her refusal?

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Activities: 1. Ask the students to agree on their interpretation 2. Tell them to find Isabella’s main appearances and references in the play and to select evidence to use to justify the decision 3. Ask them to decide how they would convey their decision through the direction of the actress playing Isabella. Two members of the group should act out this scenario to the class and the other member should share in explaining their decision, with reference to their selected evidence.

Task 3 – Reality and Appearances In this final scene, many truths which have been hidden by false appearances are addressed.

1. In groups, ask the students to consider: • • • •

what truths are addressed how these have been concealed up to this point any references to false appearances or ‘seeming’ in this scene how the Duke’s behaviour and decisions in this scene are significant to this theme

2. In pairs, ask the students to track the theme of reality and appearances throughout the play. The students should use a chart to make notes and record key.

3. As individuals, write an essay addressing the theme of reality and appearances or ‘seeming’. The teacher may select the title, but one suggestion is: ‘Discuss how Shakespeare explores the idea that appearances can often be deceptive.’

Task 4 – The Duke ‘The Duke is a devious manipulator.’ Discuss with close reference to the text.

In preparation for this essay, it would be useful if the students completed a character log, as they did for Angelo in the tasks for Act 4. The following should be useful.

The Duke either appears (A), or is referred to (R) in the following scenes: • • •

Act 1 – 1 (A), 3 (A), 4 (R – briefly by Lucio) Act 2 – 3 (A) Act 3 - 1 (A ), 2(A)

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• •

Act 4 – 1 (A), 2 (A), 3 (A ), 4(R), 5 (A), 6(R) Act 5 – 1 (A)

N.B. In some of the scenes in which the Duke appears as the Friar, he is also referred to as the Duke – both need to be identified and considered.

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Resource Sheet 1 Impressions of _________________ in Act 1 Page and Line Reference

Point

Evidence

Explanation

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Measure for Measure by William Shakespeare

Resource Sheet 2 Images of Life and Death Part 1 Duke

Be absolute for death; either death or life Shall thereby be the sweeter. Reason thus with life: If I do lose thee, I do lose a thing That none but fools would keep: a breath thou art, Servile to all the heavenly influences.

That dost this habitation, where thou keep’st, Hourly afflict: merely, thou art death’s fool; For him thou labour’st by thy flight to shun, And yet runn’st toward him still. Thou art not noble; For all the accommodations that thou bear’st Are nursed by baseness. Thou’rt by no means valiant; For thou dost fear the soft and tender fork Of a poor worm. Thy best of rest is sleep, And that thou oft provokest; yet grossly fear’st Thy death, which is no more. Thou art not thyself; For thou exist’st on many a thousand grains That issue out of dust. Happy thou art not; For what thou hast not, still thou strivest to get.

And what thou hast, forget’st. Thou art not certain; For thy complexion shifts to strange effects, After the moon. If thou art rich, thou’rt poor; For, like an ass whose back with ingots bows, Thou bear’st thy heavy riches but a journey, And death unloads thee. Friend hast thou none; For thine own bowels, which do call thee sire, The mere effusion of thy proper loins, Do curse the gout, rheumatism and ringworm For ending thee no sooner. Thou hast nor youth nor age.

But, as it were, an after-dinner’s sleep, Dreaming on both; for all thy blessed youth Becomes as aged, and doth beg the alms Of palsied eld; and when thou art old and rich, Thou hast neither heat, affection, limb, nor beauty, To make thy riches pleasant. What’s yet in this That bears the name of life? Yet in this life Lie hid more thousand deaths: yet death we fear, That makes these odds all even.

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Measure for Measure by William Shakespeare

Images of Life and Death Part 2

Claudio

Ay, but to die, and go we know not where; To lie in cold obstruction and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice; To be imprison’d in the viewless winds, And blown with restless violence round about The pendent world; or to be worse than worst Of those that lawless and incertain thought Imagine howling:—’tis too horrible!

The weariest and most loathed worldly life That age, ache, penury, and imprisonment Can lay on nature is a paradise To what we fear of death.

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Measure for Measure by William Shakespeare

Resource Sheet 3 - Key Quotations Part 1 - Lucio speaking of the Duke in Act 3, Scene 2 1. Lucio of the Duke: ‘...Ere he would have hanged the man for the getting a hundred bastards, he would have paid for the nursing thousand. He had some feeling if the sport; he knew the service; and that instructed him to mercy.’

2. Lucio of the Duke: ‘...A shy fellow was the Duke; and I believe I know the cause of his Withdrawing.’

3. Lucio of the Duke: ‘...A very superficial, ignorant and weighing fellow-’

4. Lucio of the Duke: ‘...Sir, I know him and I love him.’

5. Lucio of the Duke: ‘...The Duke, I say to thee again, would eat mutton on Fridays. He is not past it; yet, and I sat to thee, he would mouth with a beggar though she smelt brown bread and garlic, say that I said ’

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Measure for Measure by William Shakespeare

Resource Sheet 4 _________________’s Character and Role Page, Act, Sc, Line

Quotation

Explanation

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Measure for Measure by William Shakespeare

Evaluation of Pack It would really help us to continually improve the resource packs we create for future productions if you would take the time to complete the short questionnaire below and give us feedback on how you have used the activities included.

Name (optional)……………………………………………………………………....

School……………………………………………………………………………………….

How well does the pack reach its objective of targeting A Level English students?

…………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………….

Do you feel the pack is a useful teaching aid rather than a series of ‘bolt on’ activities? ……………………………………………………………………………………….…………………………………………………… ………………………………….………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………….

Have you tried any of the activities yet? If so, how successful were they? …………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………

What do you consider to be the pack’s strengths?

…………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………

What do you consider to be the pack’s weaknesses, if any? …………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………

Thank you for taking the time to complete these questions Once you have completed the questions please could you either post it back to: Marketing Team, Sherman Cymru, Senghennydd Rd, Cathays, Cardiff CF24 4YE, email it to bethan.way@shermancymru.co.uk or return it when you come to see the performance.

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