Study Guide 2021-2022

Henry IV,
Part 2
by William Shakespeare

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, Suggestive Themes, Violence

Most appropriate for Grade 8 and up. Children under 5 will not be admitted to the theater.
 Henry IV, Part 2
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
 Henry IV, Part 2
An Introduction

Educators:

Welcome back to what we hope will be a return to a more normal school year! The past year has
been difficult for all who love arts education, and we are eager to meet your needs for the
2021-2022 school year in whatever format works best for your and your students.

We understand that Field Trips may not be possible this school year, due to social distancing and
bus scheduling; however, for those of you able to come see a show, we intend to continue live
Signature Series performances. We are also looking into streaming or recording options, for those of
you unable to leave the school.

We hope to be able to return to your classrooms this year for live workshops, but we will continue to
offer Virtual versions of our popular workshops, Shakespeare Alive and Books Alive, as well. Also,
we have live, interactive performances of Aesop's Fables which can stream into your classroom
using whatever platform works best for you and your school.

Our hope is that Orlando Shakes will continue to meet your needs and become an essential partner
in bringing theatre arts to your students for years to come.

If you have an idea for a program or delivery system that would make our partnership easier, please
let us know. We now know that anything is possible, and that we as arts educators inherently bring
our talent and creativity to every challenge we face.

We look forward to working with you this year and learning how we can serve you and your
students.

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 2
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
runs the show during each performance by calling cues for Denise Warner
Renee Norwood 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 2
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 2
About the Play
Summary

OVERVIEW FULL PLOT

Shakespeare's Henry IV Part II is about the burden of power, old age and atonement for the past as King
Henry dies and Prince Hal accepts the crown.

The play begins in the aftermath of the battle in Shrewsbury.

THE OLD KING GROWS SICK

In despair at the death of his son Hotspur, the Earl of Northumberland pledges to lend his support to a
second rebellion. This uprising is led by Richard Scroop who is the Archbishop of York.

As the threat of civil war looms over the country King Henry IV becomes increasingly unwell. He also
fears that his son Prince Henry has returned to his old life with Falstaff and the other disreputable
denizens of the Eastcheap tavern.

FALSTAFF AND THE PRINCE ARE SEPARATED

The Chief Justice confronts Falstaff (who is also in bad health) with reports of his criminal behaviour. He
warns him that Hal will be kept separate from him because the king is unhappy with the influence he has
had on the prince.

Falstaff is sent on a recruiting expedition in support of King Henry's army. This force is being led by Prince
John of Lancaster (the king's younger son) this time. But before he can set off he must face a court in the
company of Mistress Quickly for his debts to her and for services rendered at her tavern.

The rebel army is met by the king's forces who are led by Prince John and bolstered by Falstaff's recruits.
A treaty is brokered but is followed by betrayal.

A NEW KING IS CROWNED

King Henry wakes to find his son, Hal, trying on his crown. The dying king is angry at first but is reconciled
with his son before he dies. A new, mature Hal accepts the crown as King Henry V and turns his attention
to a war with France.

His old friend Falstaff finds himself excluded from the new king's court and company.

https://www.rsc.org.uk/henry-iv-part-ii/the-plot

6
 Henry IV, Part 2
About the Play
Characters

King Henry IV, is the same as the Bullingbrook of Richard II and the King of Henry IV, Part One.

Prince Harry, sometimes known as Monmouth, is the same as the Prince of Henry IV, Part One.
Poins is Prince Harry’s companion and accomplice

Prince John of Lancaster is King Henry’s second son, and Prince Harry’s brother – the same as in
Henry IV, Part One. Humphrey, Duke of Gloucester and Thomas, Duke of Clarence are one of King
Henry’s sons, and Prince Harry’s brothers.

Earl of Northumberland is the same as the Northumberland of Richard II and Henry IV, Part One.
Lady Northumberland is his wife. Lady Percy is the widow of Hotspur, their daughter-in-law. Travers
is one of Northumberland’s servants

Scroop, Archbishop of York is the same as the character of the same name in Henry IV, Part One.

Thomas, Lord Mowbray is the Earl Marshal of England, who joins the rebellion against the King.

Lord Hastings, Lord Bardolph, and Sir John Coleville are rebels against King Henry IV.

Westmorland is one of Henry IV’s lords, the same character as in Henry IV, Part One.
Warwick is one of King Henry’s noblemen

Sir John Falstaff is an excessively fat, excessively drunken, excessively cowardly, excessively witty,
and excessively incorrigible rogue. Bardoph, Peto, and his Page are his followers. Doll Tearsheet is
his favorite whore

Lord Chief Justice is the highest judge of the land, equivalent to the Chief Justice of the Supreme
Court.

Shallow and Silence are Justice of the Peace; Davy is Justice Shallow’s servant.

Hostess Quickly (often known as ‘Mistress Quickly’) is the owner of the Boar's Head tavern.
Francis is one of the drawers (barmen) at Hostess Quickly’s tavern; he is the same character as the
Francis in Henry IV, Part One. Accompanied by Second Drawer and Third Drawer

Snare and Fang are two sergeants hired by Hostess Quickly to arrest Falstaff for debt.

Shadow, Wart, Mouldy, Feeble, and Bullcalf are countrymen drafted to the King’s army.

Courtesy of PlayShakespeare.com

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

 Henry IV, Part 2
About the Play
Meet the Playwright
drunks, murderers, a woman caressing of-arms was turned down. A 'coat-of-
her lover's body minus its head, a arms' was an important status symbol in
woman caressing her lover's head Elizabethan England. Today it would be
minus its body, weddings, funerals, like the U.S. Government and everybody
death by stabbing, suffocation, poison, else in the country recognizing that you
decapitation, spiking, hanging, and your family were upper class and
execution, being made into a meat-pie, treating you like you were somebody
and drowning in a vat of wine. The point important. Basically, you got invited to all
is that Shakespeare did it ALL! the 'A-List' parties. Nobody knows why
John Shakespeare’s mysterious decline
Everybody went to see Shakespeare's occurred.
plays: children, peasants, royalty,
merchants, every kind of person from Shakespeare's mother was Mary Arden,
every social group and clique. It was the a young lady from a prominent Catholic
one place where a beggar could rub family. She married John Shakespeare
William Shakespeare is a mystery. He elbows with the rich and famous. in 1557 and they had seven children.
never went to college, only the local Remember there were no televisions, no William's older sisters Joan and
grammar school, but ended up writing radios, no magazines, and only the Margaret died when they were babies.
the most famous plays in the history of beginnings of newspapers. Not that His younger sister Anne died when he
the world. How did it happen? Nobody newspapers mattered much considering was fifteen. The most of what we know
really knows. most people COULDN'T read or write! about his three younger brothers is the
Aside from the plays, there were bear- youngest was named Edmund and that
We know very little about Shakespeare's baitings, cockfights, bull-baitings and if he later became an actor in London.
personal life, his childhood and his you were lucky, the occasional Edmund died at age twenty-seven and
marriage when you think about the execution. That was all. Seeing one of was buried in London. We don't really
impact he's had on our world. We have his plays was something like a cross know much about Shakespeare's other
none of Shakespeare's letters, diaries, or between a Magic basketball game and a two brothers.
original manuscripts. All we have is his rock concert. It was noisy, crazy, usually
signature on a couple of legal messy, and a whole lot of fun.
documents. In fact, the lack of
information on him has made a lot of Shakespeare's Early Years
people argue that he never really wrote William Shakespeare was born on April
all those plays or even existed at all! 23, 1564 in Stratford-upon-Avon,
England. He died on the exact same day
Never forget, Shakespeare wrote his fifty-two years later, in 1616. He lived
plays to be PERFORMED not read. during what was called the Elizabethan
Never sit down to READ one of his plays Era because at that time the queen of
if you don't know it. Get up and try England was Queen Elizabeth I.
ACTING IT OUT. You'll be surprised how
much you'll understand. Reading William Shakespeare's father, John
Shakespeare is ALWAYS hard, Shakespeare, was a glovemaker by
Performing him is EASY. trade and ran a 'general store'. He was a
prominent citizen in the town of Stratford-
Will wrote over 40 plays, but only 37 upon-Avon and even served as mayor
have survived. He wrote every kind of for a term. The very first mention of John
story you can think of- tragedies, Shakespeare is in 1552. He was fined
comedies, histories. 22 of his plays were for keeping a 'dunghill' in front of his
about WAR. Guess he had human house. When William was eight years
nature down… In his plays you can find old, his father's fortunes started to
teenagers fighting with their parents, decline. His father stopped going to
teenagers running away, teenagers church meetings and town council
falling in love, ghosts, gods, witches, meetings, and his application for a coat-
8 LAFS.910.RL.1: Key Ideas and Details
 Henry IV, Part 2
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 2
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 2
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 2
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 2. 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 2 to watching it live on stage, making a claim as to which medium was more impactful. All student handouts are included

Rumor is a pipe, My office is

Rumor
Blown by surmises, jealousy's To noise abroad that Harry
Open your ears; for which of
conjectures, Monmouth fell
you will stop
And of so easy, and so plain a Under the wrath of noble
The vent of hearing, when
stop, Hotspur's sword,
loud Rumor speaks?
That the blunt monster, with And that the king before the
I from the orient to the
uncounted heads, Douglas' rage
drooping west
The still discordant wav'ring Stooped his annointed head as
(Making the wind my post-
multitude, low as death.
horse) still unfold
Can play upon it. But what This have I rumored through
The acts commencèd on this
need I thus the peasant towns
ball of earth.
My well-known body to Between that royal field of
Upon my tongues continual
anatomize Shrewsbury
slanders ride,
Among my household? Why is And this worm-eaten hold of
The which in every language I
Rumor here? ragged stone,
pronounce,
I run before King Harry's Where Hotspur's father, old
Stuffing the ears of men with
victory, Northumberland,
false reports.
Who in a bloody field by Lies crafty sick, the posts come
I speak of peace while covert
Shrewsbury, tiring on,
enmity
Hath beaten down young And not a man of them brings
Under the smile of safety
Hotspur and his troops, other news
wounds the world;
Quenching the flame of bold Than they have learned of me.
And who but Rumor, who but
rebellion, From Rumor's tongues
only I,
Even with the rebels' blood. They bring smooth comforts
Make fearful musters, and
But what mean I false, worse than true wrongs.
prepared defense,
To speak so true at first?
Whiles the big year, swoll'n
with some other grief,
Is thought with child by the
stern tyrant war,
And no such matter?

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

12
 Henry IV, Part 2
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. How does Rumor convey to the audience all pertinent information of Henry IV, part 1?

How do the actor and director create dramatic tension in the Henry IV, Part 2, Act 1, Prologue?

Staging:

Timing:

Physicality:

Vocal Delivery:

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

 Henry IV, Part 2
Lesson Plan: Page to Stage

Comparing reading a scene from Henry IV, Part 2 to watching a scene from Henry IV, Part 2.

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 2
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 2
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 2
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 2
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 2
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:
When Falstaff says to Shallow,
"We have heard the chimes at midnight."

He figuratively means, “You're right, we partied a lot when we were young."

Exercise:
In Act 2, Scene 1, Sir Falstaff says to his Arrestors ...

__________________________________

__________________________________

___________________________________

“I think I am as like to ride the mare, if I

have any vantage of ground to get up."

Write your own paraphrasing of

Falstaffs words in modern day
speech in the bubble above.

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

 Henry IV, Part 2
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: [email protected]
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 2
Discussion & Themes

1. King Henry IV accuses his son, Prince Hal, of having patricidal fantasies. Is Henry
right to suggest that Hal wants his father dead? Why or why not?
2. How does Shakespeare juxtapose "high" matters of state (the rebellion, the
question of kingly succession, etc.) with "low" comedic matters (Falstaff's antics, the
tavern scenes, and so on)? Can we make any specific parallels? If so, what are they
and what purpose do such parallels serve?
3. Hal's rejection of Falstaff is brutal. Some literary critics say Hal's banishment of his
old friend is necessary and completely justifiable. Others see it as an unforgivable
betrayal. Now it's time for you to weigh in. Why does Hal banish his old friend?
What does Hal's rejection of Falstaff say about Hal, his priorities, and his character?
4. Prince Hal is generally viewed as the play's protagonist. If that's true, then why is it
that we rarely see him (or his father)? Why doesn't Hal make an appearance until
Act 2, Scene 2

image sources: Kwise.com

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