Study Guide 2019-2020

Henry IV,
Part 1
by William Shakespeare
Orlando Shakes' production of Macbeth is part of Shakespeare in American Communities, a
program of the National Endowment for the Arts in partnership with Arts Midwest.

Florida Standards

Language Arts Theater

LAFS.910.RL.1: Key Ideas and Details TH.912.F.2: Careers in and related to the arts
LAFS.910.RH.1: Key Ideas and Details TH.68.S.1: The arts are inherently experiential
LAFS.1112.SL.1: Comprehension and Collaboration
LAFS.910.W.1: Text Types and Purposes
LAFS.1112.RL.1: Key Ideas and Details
LAFS.910.RL.3: Integration of Knowledge and Ideas

PG-13 Language, Use of Alcohol, Sexual Themes, Violence

Most appropriate for Grade 8 and up. Children under 5 will not be admitted to the theater.
 Henvy IV, Part 1
Table of Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Enjoying Live Theater

Theater is a Team Sport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The Actor/Audience Relationship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About the Play

Plot Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Meet the Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Meet the Playwright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Historical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Lesson Plan: Page to Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Activities

Shakespeare Taboo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Paraphrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Write a Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Discussion & Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2
 Henvy IV, Part 1
An Introduction

Educators:

Thank you for taking the time out of your very busy schedule to bring the joy of theatre arts to your
classroom. We are well aware of the demands on your time and it is our goal to offer you
supplemental information to compliment your curriculum with ease and expediency.

Please take a moment to explore our website at orlandoshakes.org/education for the following
ways to add to your curriculum.

• “On your feet “ activities to energize students

• Shortened Shakespeare scripts that range from 60 – 120 minutes long
• Study Guide Spotlights for quick reference to the standards addressed in each production

We look forward to hosting you at the Lowndes Shakespeare Theater. Additionally, should you
wish to bring our Actor/Educators into your classroom, we will work around your schedule. Feel
free to contact us at Orlando Shakes should you have any questions or suggestions on how we
can better serve you. We are always learning from you.

Thank you for your tremendous work in nurturing our audiences of tomorrow.

Anne Hering
Director of Education

Brandon Yagel
Education Coordinator

3
 Henry IV, Part 1
Enjoying Live Theater

Theater is a Team Sport

The Playwright writes the script. Sometimes it is from an original idea and
sometimes it is adapted from a book or story. The Playwright decides what the
characters say, and gives the Designers guidelines on how the play should look.

The Director creates the vision for the production and works closely with the
actors, costume, set and lighting designers to make sure everyone tells the same
story. Sound Designer -
Britt Sanducky
Photo: Rob Jones

The Actors use their bodies and voices to bring the author’s
words and the director’s ideas to life on the stage.

The Designers imagine and create the lights, scenery, props,

costumes and sound that will compliment and complete the
director’s vision.

The Stage Manager assists the director during rehearsals by

recording their instructions and making sure the actors and
designers understand these ideas. The Stage Manager then Costume Designer -
Stage Manager -Stacey
Denise Warner
Renee Norwood runs the show during each performance by calling cues for Photo: Rob Jones
Photo: Rob Jones
lights and sound, as well as entrances and exits.

The Shop and Stage Crew build the set, props and costumes according to the designer’s plans.
The Stage Crew sets the stage with props and furniture, assists the actors with costume changes
and operates sound, lighting and stage machinery during each performance.

The Front of House Staff welcomes you to the theater, takes your
tickets, helps you find your seat and answers any question you may
have on the day of performance.

The Theater is where it all takes place. Orlando Shakespeare

Theater In Partnership with UCF is the only professional, classical
theater company in Central Florida, reaching students and
Creative Team of The Merry Wives of audiences in the surrounding eight counties.
Windsor
Photo: Rob Jones

Mission:
To enrich our community with engaging professional theater, inspiring educational experiences,
and thought-provoking new plays.

4 TH.912.F.2: Careers in and related to the arts

 Henry IV, Part 1
Enjoying Live Theater

The Actor/Audience Relationship

The Audience is the reason Live Theater exists.

At Orlando Shakes, we cherish the Actor/
Audience relationship, the unique give and
take that exists during a performance which
makes the audience an ACTIVE participant in
the event. The actors see the audience just as
the audience sees the actors, and every laugh,
sniffle, chuckle and gasp the audience makes
effects the way the actor plays his next
Photo: Rob Jones
moment. We want you to be engaged and to live
the story with us!

There are certain Conventions of the Theatrical Event, like, when the lights go down you
know that the show is about to start, and that the audience isn’t encouraged to come and
go during a performance. Here are some other tips to help you and your classmates be top
notch audience members:

• Please make sure to turn off your cell phones. And NO TEXTING!
• Please stay in your seat. Use the restroom before you take your seat and stay in your
seat unless there is an emergency.
• Please do not eat or drink in the theater.

Talkback
After the performance, the actors will stay on stage for about 10 minutes to hear your comments
and answer any questions you have about the play and the production. We’d love to hear what you
felt about the play, what things were clear or unclear to you, and hear your opinions about what the
play means. This last portion of the Actor/Audience Relationship is so important to help us better
serve you and enrich your artistic experience.

Consider the Themes and Key Questions above and ask yourself:

1. What Key Questions did the play answer?

2. Do you agree with everything the play said about these themes?
3. How did the actors, directors, and designers all address these themes?
4. What opinion did the artists bring to the process, did those opinions change throughout the
process (designing, rehearsing, performing) and how did that impact their work?

5 TH.68.S.1: The arts are inherently experiential.

 Henry IV, Part 1
About the Play
Summary

THE PLOT OVERVIEW

Shakespeare's Henry IV, Part I is the story of power, honor and rebellion.

Richard is dead and Henry Bolingbroke is now King Henry IV. The king is not enjoying his reign. He
feels guilty about the removal of Richard and it troubles his conscience. He'd like to go to the Holy Land
on crusade to pay penance but there are troubles much nearer to home that need his attention.

REBELLION IS BREWING
His reign is threatened by growing opposition from some of the very nobles who helped him to the
throne – especially the Percy Family. Wales and Scotland are threatening rebellion as King Richard's
nominated heir, Edmund Mortimer looms large on the horizon.

King Henry's suspicious, rude and perhaps arrogant treatment of Henry Percy (the Earl of
Northumberland's son who is known as 'Hotspur' because of his courage and impetuous nature) only
makes matters worse.

PRINCE HAL PLAYS THE FOOL

King Henry's own heir – his son, Prince Henry (also known as Harry and Hal) - is living a dissolute life,
frequenting the taverns of Eastcheap in the company of Sir John Falstaff and other disreputable
characters.

Hal likes Falstaff but also enjoys insulting and tricking him. He goes so far as to stage a robbery of
Falstaff and his fellows just for the sport of listening to Falstaff recount the exaggerated story afterwards.
Hal knows he's not being particularly 'princely' but he intends to improve his behaviour when the right
moment comes.

OPEN REBELLION
Opposition to the king becomes open rebellion, led by Hotspur (Henry Percy) who now supports the
claim to the throne of Edmund Mortimer (his brother-in-law).

FATHER AND SON ARE REUNITED

The rebellion brings Hal back to his father's side – the moment for behaving more like a prince has
come. Falstaff musters a ragged troop of soldiers. Will the king's army defeat the rebels at the battle of
Shrewsbury? And will Falstaff live to die another day?

Summary courtesy of www.rsc.org.uk

6
 Henry IV, Part 1
About the Play
Characters

King Henry IV is The ruling king of England and father to Prince Harry, his eldest son.

Prince Harry is King Henry IV’s son, who will eventually become King Henry V. Harry’s title is Prince of Wales,
but all of his friends call him Hal; he is also sometimes called Harry Monmouth.

Hotspur is The son and heir of the Earl of Northumberland and the nephew of the Earl of Worcester. Hotspur’s
real name is Henry Percy, but he has earned his nickname from his fierceness in battle and hastiness of action.

Sir John Falstaff is a fat old man who hangs around in taverns on the wrong side of London and makes his
living as a thief, highwayman, and mooch. Falstaff is Prince Harry’s closest friend and seems to act as a sort of
mentor to him

Lord John Of Lancaster is the younger son of King Henry and the younger brother of Prince Harry. John
proves himself wise and valiant in battle, despite his youth.

Sir Walter Blunt is a loyal and trusted ally of the king and a valuable warrior.

Thomas Percy, Earl Of Worcester is Hotspur’s uncle. He shrewd and manipulative, Worcester is the
mastermind behind the Percy rebellion.

Henry Percy, Earl Of Northumberland is Hotspur’s father. Northumberland conspires and raises troops on the
Percy side, but he claims that he is sick before the Battle of Shrewsbury and does not actually bring his troops
into the fray.

Edmund Mortimer/The Earl Of March is the Welsh rebel Owain Glyndwr’s son-in-law. Mortimer is a conflation
of two separate historical figures: Mortimer and the Earl of March.

Owain Glyndwr is the leader of the Welsh rebels and the father of Lady Mortimer He is mysterious and
superstitious and sometimes acts according to prophecies and omens.

Archibald, Earl Of Douglas is the leader of the large army of Scottish rebels against King Henry.

Sir Richard Vernon is a relative and ally of the Earl of Worcester.

The Archbishop Of York is the archbishop, whose given name is Richard Scrope, has a grievance against
King Henry and thus conspires on the side of the Percys.

Ned Poins, Bardolph, Gadshill And Peto are criminals and highwaymen. Poins, Bardolph, and Peto are
friends of Falstaff and Prince Harry who drink with them in the Boar’s Head Tavern, accompany them in
highway robbery, and go with them to war.

Mistress Quickly is the hostess of the Boar’s Head Tavern, a seedy dive in Eastcheap, London, where Falstaff
and his friends go to drink.

Courtesy of Sparknotes.com
7 LAFS.910.RL.1: Key Ideas and Details
 Henry IV, Part 1
About the Play
Meet the Playwright
witches, drunks, murderers, a woman stopped going to church meetings and
caressing her lover's body minus its town council meetings, and his
head, a woman caressing her lover's application for a coat-of-arms was
head minus its body, weddings, turned down. A 'coat-of-arms' was an
funerals, death by stabbing, suffocation, important status symbol in Elizabethan
poison, decapitation, spiking, hanging, England. Today it would be like the U.S.
execution, being made into a meat-pie, Government and everybody else in the
and drowning in a vat of wine. The point country recognizing that you and your
is that Shakespeare did it ALL! family were upper class and treating
you like you were somebody important.
Everybody went to see Shakespeare's Basically, you got invited to all the 'A-List'
plays: children, peasants, royalty, parties. Nobody knows why John
merchants, every kind of person from Shakespeare’s mysterious decline
every social group and clique. It was the occurred.
one place where a beggar could rub
William Shakespeare is a mystery. He elbows with the rich and famous. Shakespeare's mother was Mary
never went to college, only the local Remember there were no televisions, Arden, a young lady from a prominent
grammar school, but ended up writing no radios, no magazines, and only the Catholic family. She married John
the most famous plays in the history of beginnings of newspapers. Not that Shakespeare in 1557 and they had
the world. How did it happen? Nobody newspapers mattered much seven children. William's older sisters
really knows. considering most people COULDN'T Joan and Margaret died when they
read or write! Aside from the plays, there were babies. His younger sister Anne
We know very little about were bear-baitings, cockfights, bull- died when he was fifteen. The most of
Shakespeare's personal life, his baitings and if you were lucky, the what we know about his three younger
childhood and his marriage when you occasional execution. That was all. brothers is the youngest was named
think about the impact he's had on our Seeing one of his plays was something Edmund and that he later became an
world. We have none of Shakespeare's like a cross between a Magic basketball actor in London. Edmund died at age
letters, diaries, or original manuscripts.game and a rock concert. It was noisy, twenty-seven and was buried in
All we have is his signature on a couple crazy, usually messy, and a whole lot of London. We don't really know much
of legal documents. In fact, the lack of fun. about Shakespeare's other two
information on him has made a lot of brothers.
people argue that he never really wrote Shakespeare's Early Years
all those plays or even existed at all! William Shakespeare was born on April
23, 1564 in Stratford-upon-Avon,
Never forget, Shakespeare wrote his England. He died on the exact same
plays to be PERFORMED not read. day fifty-two years later, in 1616. He
Never sit down to READ one of his lived during what was called the
plays if you don't know it. Get up and try Elizabethan Era because at that time
ACTING IT OUT. You'll be surprised the queen of England was Queen
how much you'll understand. Reading Elizabeth I.
Shakespeare is ALWAYS hard,
Performing him is EASY. William Shakespeare's father, John
Shakespeare, was a glovemaker by
Will wrote over 40 plays, but only 37 trade and ran a 'general store'. He was
have survived. He wrote every kind of a prominent citizen in the town of
story you can think of- tragedies, Stratford-upon-Avon and even served
comedies, histories. 22 of his plays as mayor for a term. The very first
were about WAR. Guess he had mention of John Shakespeare is in
human nature down… In his plays you 1552. He was fined for keeping a
can find teenagers fighting with their 'dunghill' in front of his house. When
parents, teenagers running away, William was eight years old, his father's
teenagers falling in love, ghosts, gods, fortunes started to decline. His father
8 LAFS.910.RL.1: Key Ideas and Details
 Henry 4 Pt 1
About the Play
Meet the Playwright
As far as Shakespeare's education, even histrionem" or in English instead of Latin The Later Years
less is known. We assume he went to the "All the world's a stage". Back in Stratford, William Shakespeare
local public grammar/elementary school enjoyed his retirement and his status as
in Stratford, but there are no records to The Globe Theater could accommodate 'Gentleman'. He purchased 'New
prove it. We're also pretty sure he never over 3,000 spectators and admission in House', the second largest home in
went to college or university (pretty the early 1600's was one penny. The Stratford-upon-Avon and often invited
incredible when you consider Globe had twenty sides and was an his friends and fellow artists over to
Shakespeare invented over 2500 words “open-air” theater, meaning there was hang out. One such visit is recorded in
that we still use everyday- including the no roof in the center. What roof there the journal of John Ward, a vicar in
words “puke”, “eyeball”, and was, was thatched (made of hay). The Stratford. He wrote, "Shakespeare,
“vulnerable”). In fact, after his baptism the rest of the building was made of wood. Drayton, and Ben Johnson had a merry
next record we have of William From above it looked like a large donut. meeting, and it seems drank too hard,
Shakespeare is his marriage in 1582 to Performances were given every day for Shakespeare died of a fever there
Anne Hathaway. William was eighteen from 2-5 in the afternoon (so the sunlight contracted". Shakespeare indeed died
years old when he married and Anne wouldn't bother the audience or the thereafter and was buried in his family's
was twenty-six. Anne was also several actors) except Sunday. The beginning of church in Stratford on his birthday in
months pregnant! Susanna, a show was signaled by three blasts 1616.
Shakespeare's first child, was born in from a trumpet and a flag raised at the
1583. Two years later, Shakespeare and same time: black for tragedy, red for In all, Shakespeare had written over 40
Anne had twins, Judith and Hamnet. history, and white for comedy. Why plays in two years. Two members of his
Sadly, Hamnet died only eleven didn't they just pass out leaflets? Going acting company, the Lord Chamberlain's
years later. There is no record of his to plays was considered immoral and Men, published all the plays they could
cause of death. William was deeply advertising for plays was prohibited. Yet, find in 1623. This collection of 37 of
affected by his only son's death and everybody came! Vendors at the shows Shakespeare's plays has come to be
after it spent more time in Stratford, sold beer, water, oranges, gingerbread, known as The First Folio. If it had not
traveling to London only for apples, and nuts. All of these were been for these two men, John
important theater business. THROWN at the actors if the audience Heminges and Henry Condell, we might
didn't like the show! Audience members h a v e n o r e c o r d o f W i l l i a m
The London Years also frequently talked back to the actors. Shakespeare's work and the world as
Nobody knows exactly when William For example, if a murderer was we know it would be a very different
Shakespeare moved to London or sneaking up on somebody, the place. In the preface to the Folio these
how he supported himself once he audience usually screamed out "LOOK men wrote, "We have but collected them
got there. We do know he was an BEHIND YOU!" (the plays) and done an office to the
actor before he was a playwright. dead... without ambition either of self-
Even when he was thriving as a On June 29, 1613, the Globe Theater profit or fame; only to keep the memory
playwright, he still found time to act in his burned to the ground. It was during a of so worthy a friend alive, as was our
own plays. He played roles such as performance of Henry the Eighth. The Shakespeare".
Adam in As You Like It and the ghost of cannon shots that were fired to
Hamlet's father in Hamlet. 'announce the arrival of the king' during Shakespeare's friend and fellow
the first act of the play misfired and playwright Ben Johnson wrote this about
In 1589-92, Shakespeare's first plays engulfed the thatched roof in flames. Shakespeare when William died- "... I
were all HITS in London. By 1594, One man's breeches (pants) caught on loved the man, and do honor his
Shakespeare's own acting troupe, the fire but before he got hurt badly memory as much as any. He was
Lord Chamberlain's Men, became the somebody dumped their beer on him indeed honest, and of an open and free
premier acting company in London. and put it out! While the rest of the nature: had excellent fantasies, brave
audience escaped unharmed, The notions, and gentle expressions..."
In 1598, Shakespeare built his famous Globe Theater was completely
theater- The Globe Theater. It was destroyed. Thirty years later, an
located on the south bank of the ordinance (law) was passed to close all
Thames River in London. The new theatres. Acting and plays were
theater's motto was "Totus mundus agit outlawed because they were considered
immoral.

9 LAFS.910.RL.1: Key Ideas and Details

 Henry IV, Part 1
About the Play
Meet the Playwright

Shakespeare’s Plays
1589 Comedy of Errors 1601 Troilus and Cressida

1590 Henry VI, Part II 1602 All's Well That Ends Well
Henry VI, Part III
1604 Othello
1591 Henry VI, Part I Measure for Measure

1592 Richard III 1605 King Lear

Macbeth
1593 Taming of the Shrew
Titus Andronicus 1606 Antony and Cleopatra

1594 Romeo and Juliet 1607 Coriolanus

Two Gentlemen of Verona Timon of Athens
Love's Labour's Lost
1608 Pericles
1595 Richard II
Midsummer Night's Dream 1609 Cymbeline

1596 King John 1610 Winter's Tale

Merchant of Venice
1611 Tempest
1597 Henry IV, Part I
Henry IV, Part II 1612 Henry VIII

1598 Henry V
Much Ado about Nothing

1599 Twelfth Night

As You Like It
Julius Caesar

1600 Hamlet
Merry Wives of Windsor

10 LAFS.910.RL.1: Key Ideas and Details

 Henry IV, Part 1
Historical Context

Elizabethan Theater
Statistics from the late 16th century suggest that more than 10% of the population regularly attended
plays.The first regular London playhouse, The Theatre, had been built by the actor and carpenter, J.
Burbage, in 1576. Actually, it was built just outside the city of London in order to scape the Puritan
civic authorities. Up to this time players had been forced to perform mostly in inn yards. In the typical
Elizabethan playhouse:

• The overall shape was roughly round or octagonal shaped with an open space in the middle,
or an unroofed yard surrounded by one or two galleries.
• The stage was an open platform, jutting out into the center of the yard.
• Under the stage, hidden by drapery, was a cellar with machinery for projecting ghosts and
devils through trapdoors.
• Above the stage the first gallery provided an open balcony which could be used for
appearances of actors.
• Above the balcony was a hut to house machinery to raise or lower actors or property onto the
stage.

The audience could stand around the stage, on three sides, for the payment of a penny. In the
galleries, the best places cost as much as sixpence. Depending on the theatre, there were as many
as 2,000 to 3,000 places for spectators.

Shakespeare’s company, the King’s Men, owned and produced their plays in the Globe Theatre,
which they opened in 1589. Like many others of its time, it was an open-roofed structure with a
jutting stage, surrounded by curving balcony of seats. The stage itself was roofed and had many
levels, so that almost any kind of scene could be represented.

There was little in the way of props and scenery. Shakespeare’s play often contain prologues
apologizing for the poverty of the set and inviting the viewers to use their imaginations. The plays
are full of vivid speeches that use words to create the scene for the audience.

In an open theatre, plays were performed during the day with no lighting available beyond natural
daylight. In an enclosed theatre, such as the Blackfriars which the King’s Men purchased in 1609,
evening performances could be given by torch and candlelight. This type of performance was more
expensive and attracted a higher class audience.

Theatre companies during Shakespeare’s time consisted of male actors only; no women appeared
on the stage. Young men dressed in women’s clothing played these parts. The theatre was
considered too vulgar an environment for women and a temptation to public “immorality.” Needless
to say, the men were presented with the same temptations, but it was considered more socially
acceptable for them Although an actor could make a good living, the profession was not considered
respectable and the association between acting and a “loose” lifestyle is one that lives on today.
11 LAFS.910.RH.1: Key Ideas and Details
 Henry IV, Part 1
Lesson Plan: Page to Stage
In this lesson, students will read an excerpt from Act I, Scene 1 of William Shakespeare's Henry IV, Part 1. Students will also
participate in a Socratic Seminar covering topics such as Shakespeare's use of imagery, comparison/contrast, verbal wordplay and
disguise. Students will complete a handout where they will analyze how Shakespeare creates dramatic tension through the use of
staging, timing, physicality and vocal delivery. Students will also compare/contrast reading and watching a scene from the play. For the
summative assessment, students will write an essay comparing and contrasting reading an excerpt from Henry IV, Part 1 to watching it
live on stage, making a claim as to which medium was more impactful. All student handouts are included below.

HENRY IV. So shaken as we are, so wan with care,

Find we a time for frighted peace to pant,
And breathe short-winded accents of new broils
To be commenced in strands afar remote. 5
No more the thirsty entrance of this soil
Shall daub her lips with her own children's blood;
Nor more shall trenching war channel her fields,
Nor bruise her flowerets with the armed hoofs
Of hostile paces: those opposed eyes, 10
Which, like the meteors of a troubled heaven,
All of one nature, of one substance bred,
Did lately meet in the intestine shock
And furious close of civil butchery
Shall now, in mutual well-beseeming ranks, 15
March all one way and be no more opposed
Against acquaintance, kindred and allies:
The edge of war, like an ill-sheathed knife,
No more shall cut his master. Therefore, friends,
As far as to the sepulchre of Christ, 20
Whose soldier now, under whose blessed cross
We are impressed and engaged to fight,
Forthwith a power of English shall we levy;
Whose arms were moulded in their mothers' womb
To chase these pagans in those holy fields 25
Over whose acres walk'd those blessed feet
Which fourteen hundred years ago were nail'd
For our advantage on the bitter cross.
But this our purpose now is twelve month old,
And bootless 'tis to tell you we will go: 30
Therefore we meet not now. Then let me hear
Of you, my gentle cousin Westmoreland,
What yesternight our council did decree
In forwarding this dear expedience.

LAFS.910.RL.3: Integration of Knowledge and Ideas

12
 Henry IV, Part 1
Lesson Plan: Page to Stage

Prior to the watching the performance, respond in writing to the following socratic seminar questions. All
responses should be supported using detailed textual evidence from the scene. You should have a solid,
well-supported paragraph for each question.
1. How does Shakespeare use imagery to escalate the accusations and add to the tension of the scene?
2. In what ways does Shakespeare utilize rhyme to highlight the competition between the characters?
3. Why does Henry want to lead military expedition to Jerusalem?

How do the actors and director create dramatic tension in Henry IV, Part 1, Act I, Scene 1?

Staging:

Timing:

Physicality:

Vocal Delivery:

13 LAFS.910.RL.3: Integration of Knowledge and Ideas

 Henry IV, Part 1
Lesson Plan: Page to Stage

Comparing reading a scene from Henry IV, Part 1 to watching a scene from Henry IV, Part 1.

Similarities Differences

Impact on the audience due to the difference between reading and watching:

14 LAFS.910.RL.3: Integration of Knowledge and Ideas

 Henry IV, Part 1
Activities: Shakespeare Taboo

From “assassination” to “zany,” Shakespeare has given us words that we encounter every day. It is almost
impossible to discuss such diverse subjects as advertising, business, law, medicine, or even dinner
engagements and romance without using a word first penned by the Bard.
In this activity, students will be introduced to some of these terms and gain a new appreciation for
Shakespeare. Each card contains a word first penned by Shakespeare, its definition, derivation, and the
play(s) in which it first appeared.

You will need:

Shakespeare Taboo cards, a one minute timer

Instructions:
1. Print the next three pages of this Study Guide and cut them into cards, each with one word that
Shakespeare coined.
2. Divide class into two teams, sitting on opposite sides of the room.
3. Decide which team will go first. Each team has one minute.
4. One person from that team is the "giver," who takes the top card and attempts to prompt his or her
teammates to guess the word at the top.
5. While the giver is prompting the teammates they may make as many guesses as they want with no
penalties for wrong guesses.
6. Once the team correctly guesses the word exactly as written on the card, the giver sits down and the
next person from his/her team moves on to the next word on the next card, trying to get as many words
as possible in the allotted time.
7. A player may choose to “pass,” and give the next player from their team their card. When time runs out,
play passes to the other team.
8. The playing team receives one point for correct guesses.
9. When you’ve gone through all of the cards, the team with the best score wins.

Rules:
Unlike traditional Taboo, the "giver" may use any information on the
card as well as break the word down into syllables or get his
teammates to say words that rhyme with the word or a syllable in the
word. For instance, if the word is “dwindle”, the student may say,
“This word means to decrease or shrink. It has two syllables. The first
syllable rhymes with thin. The second syllable sounds like a word for
not sharp (dull).” The giver may only use speech to prompt his or her
teammates; gestures, sounds (e.g. barking), or drawings are not
allowed.

15 LAFS.1112.SL.1: Comprehension and Collaboration

 Henry IV, Part 1
Activities: Shakespeare Taboo

AROUSE (v) SWAGGER (v) CRITIC (n)

To stir or waken; to excite To bluster or walk arrogantly; to act One who passes judgement or
Shakespeare added the prefix a-. superior; to bully expresses a reasoned opinion;
arouse is formed from the verb rouse Perhaps from the Norwegian word reviewer
which in Middle English had as its svagga (“to sway in walking”) From the Greek verb krinein, “to judge
original sense “to shake the feathers” or decide.”
describing the behavior of hawks A Midsummer Night’s Dream, Troilus
trained for hunting. and Cressida, 2 Henry IV Love’s Labors Lost

2 Henry VI, The Two Noble Kinsmen

ASSASSINATION (n) MOONBEAM (n) EMPLOYER (n)

Ray of reflected light from the moon One who makes use of or hires.
Murder of a prominent person Shakespeare added the suffix er-
The noun assassin appeared in English
Shakespeare was the first to coin the From the Latin implicare (“to enfold or
in the 13th c deriving from an Arabic
compound word involve”). In some Shakespeare texts,
word denoting a sectarian group whose the noun is spelled imploier.
members took hashish or marijuana
A Midsummer Night’s Dream
before killing a king or public figure. Much Ado About Nothing
From the Arabic root of assassin,
meaning “eater of hashish.”
Macbeth

PUKE (v) BUMP (n) FARMHOUSE (n)

To vomit Swelling or raised spot on a surface Farmer’s home; rural dwelling

Possibly from the Old English spiwan Both noun and verb are probably Farm is from the fourteenth century from
(“to spew or spit”) and the modern onomatopoeic, reflecting the sound of a the Old French term meaning “lease,”
German verb with the same meaning, blow. Shakespeare’s bump is a swelling based on the Latin verb firmare, “to
spucken. that might be caused by a blow. make firm.” Shakespeare coined the
compound word, hyphenating it as farm-
As You Like It Romeo and Juliet house.

The Merry Wives of Windsor

BEDROOM (n) CIRCUMSTANTIAL (adj) FLAWED (adj)

Space for sleeping; area in or for a Indirect; dependent upon Imperfect; showing a weakness or
bed circumstances or situation imperfection
Shakespeare uses bed-room to mean Shakespeare added the suffix ial- to the Shakespeare coined the adjective,
“room or space within a bed,” not the noun circumstance, which refers to the based on the Middle English flaw,
modern “room with a bed.” incidental or "surrounding" details (such meaning “flake or chip.”
as time, place, manner or occasion) or
A Midsummer Night’s Dream an action King Lear, Henry VIII

As You Like It
 Henry IV, Part 1
Activities: Shakespeare Taboo

FORTUNE-TELLER (n) MIMIC (n) DWINDLE (v)

Seer or prophet; one who professes Performer skilled at imitating or To decrease or shrink; to become
to see the future aping less

Shakespeare was the first to coin the From the Greek mimos for “mime or Probably based on Middle English
compound word. actor.” dwine, meaning “to waste away”.

The Comedy of Errors, The Merry A Midsummer Night’s Dreamof Errors, 1 Henry IV, Macbeth
Wives of Windsor The Merry Wives of Windsor

FRUGAL (adj) ADDICTION (n) MANAGER (n)

Sparing; thrifty or economical Leaning or inclination; devotion to a One who controls or directs; person
Based on the Latin frugalis, derived habit in charge
from frux for “fruit” or “value.” From the Latin addicere, meaning “to
favor.” From the Latin manus, “hand.”
The Merry Wives of Windsor, Much Ado
About Nothing Henry V, Othello Love’s Labor’s Lost, A Midsummer
Night’s Dream

GENEROUS (adj) LUGGAGE (n) PREMEDITATED (adj)

Of noble birth; kind; freely giving or Something lugged; baggage Contemplated or thought about
liberal belonging to a traveler beforehand; planned
From the Latin genus (“birth” or From the verb lug, from Middle English
“decent”). luggen, “to pull or drag by the hair or From the Latin prefix prae-, “before,”
ear.” and the verb meditari
Love’s Labors Lost
1 Henry IV, The Tempest 1 Henry VI, A Midsummer Night’s Dream

LONELY (adj) EYEBALL (n) UNAWARE (adv)

Having no companionship; feeling Rounded capsule that forms the eye; Unknowingly; suddenly; without
cut off or desolate organ for vision warning
Coined from alone, from the Old English Eye may be traced back to Old English From the Old English waer, “careful or
combination of al (“all”) and an (“one”). and Germanic toots. Shakespeare was wary.”
the first to use the compound word.
Coriolanus, The Winter’s Tale Venus and Adonis, 3 Henry VI
A Midsummer Night’s Dream, The
Tempest
 Henry IV, Part 1
Activities: Shakespeare Taboo

GLOOMY (adj) WORTHLESS (adj) SHOOTING-STAR (n)

Dark and dismal; depressing Having no value or merit; Meteor appearing like a streak of
contemptible light
Shakespeare coined the adjective from Shakespeare added he suffix to the Old
the earlier verb gloom, meaning “to English root weorth (“worthy”) Shakespeare coined this compound
look, feel or act sullen or despondent.” word
3 Henry VI, The Two Gentlemen of
1 Henry V Verona, Titus Andronicus, 1 Henry VI, 2 Richard II
Henry VI

HURRY (v) SKIM-MILK (n) VULNERABLE (adj)

To rush or move quickly Milk with its cream removed Immune to harm or injury, having no
Of unknown origin. weakness
Shakespeare coined this compound
The Comedy of Errors, Venus and word From the Latin, vulnerare, “to wound or
Adonis injure.”
I Henry IV, A Midsummer Night’s Dream
Invulnerable: King John, Hamlet, The
Tempest
Vulnerable: Macbeth

18 LAFS.1112.SL.1: Comprehension and Collaboration

 Henry IV, Part 1
Activities: Paraphrasing

Paraphrasing is Orlando Shakespeare Theater’s primary tool for unlocking Shakespeare’s text,
both in the classroom and for our professional company. What is the definition of paraphrasing?
Paraphrase: n. a rewording of the meaning of something spoken or written.

Example:
In Act 1 Scene 3, King Henry orders Thomas Percy, Earl Of Worcester to leave the room for his
rudeness, saying
"Worcester, get thee gone; for I do see
Danger and disobedience in thine eye."

He figuratively means, “Worcester, get out. I don't trust you."

Exercise:
In Act 3, Scene 2, the King says to his son, the Prince ...

__________________________________

__________________________________

___________________________________

“He was but as the cuckoo is in June,

Heard, not regarded"

Write your own paraphrasing of

Henry's words in modern day
speech in the bubble above.

19 LAFS.910.RH.1: Key Ideas and Details

 Henry IV, Part 1
Activities: Write a Review

Write a Review

Explain to students that the director’s job is to take the words on the script from the
printed page to the stage and bring them to life. Explain that theater critics review shows
and publish their opinions. For AmericanTheatreCritics.org, critic Sherry Eaker wrote,
“My point of view was that it wasn’t the theatre critic’s place to tell the playwright what he
or she should be doing; instead, the critic should focus on what is already there and
explain either why it works or why is doesn’t work.”
After seeing the production, have each student write a review of Orlando Shakes’
production. The review should include one paragraph each for:
• Introduction – What did you watch, where and when, and maybe, why?
• The script – Did you like the writing, the story, the characters? Why or why not?
• The acting – Did you believe and care about the characters as portrayed? Why or
why not?
• The design – Did you like the set, costume and light designs? Why or why not?
• The staging – How did the director stage the violence? Was it effective?
• The audience – What ways did the audience respond to particular moments?
• Conclusion – What will you remember about this performance?
If you wish, send your reviews to us at: anneh@orlandoshakes.org
We’d love to hear your opinions of our show!

Read more: How to Become a Theater Critic | eHow.com

20 LAFS.910.W.1: Text Types and Purposes

 Henry IV, Part 1
Discussion & Themes

1. Which character do you think Shakespeare admires more, quick-tempered Hotspur or the selfish
and dishonest John Falstaff? Which do you admire more? Why?
2. King Henry rules at a time when it was believed a king had a God given right to rule which could
not be denied. What are the dangers of such a political system? What might be the advantages/
disadvantages?
3. What causes the rebellion against Henry? Is it his own fault, the fault of others or just chance?
Explain your answer.

Honor
Can Honour Set To A Leg? No. Or An
Arm? No. Or Take Away The Grief Of
A Wound? No. Honour Hath No Skill
In Surgery Then? No. What Is
Honour? A Word. What Is That Word
‘Honour’? Air. (5.1). Deception
So, When This Loose Behaviour I Throw Off
And Pay The Debt I Never Promisèd,
By How Much Better Than My Word I Am,
By So Much Shall I Falsify Men’s Hopes;
And Like Bright Metal On A Sullen Ground,
My Reformation, Glitt’ring O’er My Fault,
Shall Show More Goodly And Attract More Eyes
Action And Impatience Than That Which Hath No Foil To Set It Off.
I Then, All Smarting With My Wounds Being Cold, (1.2)
To Be So Pester'd With A Popinjay,
Out Of My Grief And My Impatience,
Answer'd Neglectingly I Know Not What,
He Should Or He Should Not; For He Made Me Mad
To See Him Shine So Brisk And Smell So Sweet
And Talk So Like A Waiting-Gentlewoman
Of Guns And Drums And Wounds,—God Save The
Mark!
(1.3)

Information courtesy of folger.edu, www.william-shakespeare.info, online-literature.com, playshakespeare.com, bard.org,

enotes.com, famousshakespearequotes.net, osfashland.org, shmoop.com, Coined by Shakespeare by Stanley Malles, Jeffrey
McQuain, R. O. Blechman

21 LAFS.1112.RL.1: Key Ideas and Details