Zoe Enser, author of the new book Bringing Forth the Bard, shares eight key steps to help your students get to grips with (and enjoy!) the symbolic, allusive, musical, motif-packed language of Shakespeare.

The language of Shakespeare is perhaps one of the greatest barriers to most readers unfamiliar with its style, allusions and patterns. Shakespeare’s language can be something of a leveller as it doesn’t necessarily matter how proficient you are at reading generally; all students (and indeed many adults) will stumble across his words and need to deploy a different approach to reading than they are used to.

With so many finding the language problematic, there is a temptation to strip some of the complexity away; to focus instead on summaries or modern adaptations. There is, though, much to be gained by examining his words as they appear, much as you would when exploring a poem with your class. 

Getting it can be really satisfying, and a key light-bulb moment for me at school was seeing how unpicking meaning could be looked at like a problem to be solved, much like solving equations in maths or finding the intricate pieces of a jigsaw. Most importantly perhaps is that his use of poetry, imagery and musicality frequently stays with us, and lines from Shakespeare that linger in our mind and our everyday language remain due to their crafting. We want to allow students to have that opportunity too.

Here are eight steps to bring Shakespeare’s language to life in your own classroom:

1. Begin by giving students an overview of the plot, characters and themes. Good quality performance, coupled with summary and questioning, will mean students arrive at language analysis ready to see how it relates to these bigger ideas. Audio readings of the plays can also be useful here to allow them to hear the language spoken and to model fluency.

2. Reassure students they won’t get it all immediately. Explain that the joy in studying Shakespeare’s language comes from the gradual understanding we gain and how it enriches our understanding, which is a process: one which even those familiar with his work will continue to go through. It is a process where we layer understanding, deepening each time we revisit it. If students have been used to exploring simpler texts this might be a challenge at first to consider this different approach, but model this for them, demonstrating how you can return to the same quote or extract again and again to delve deeper each time.

3. Look at short extracts and quotes from across a play or a range of texts to examine patterns and connections. Linger on individual words and then trace them as they are used elsewhere so students can notice where these links are and hypothesise as to why.

4. Use freely available searches to explore the frequency and location of key words and phrases. For example, a search on Open-Source Shakespeare reveals there are 41 direct references to ‘blood’ or ‘bloody’ in the play Macbeth, some of which are clustered within a few lines. This provides an opportunity to explore why this is the case and what Shakespeare was doing with these language choices. Equally, looking for references to the sun in Romeo and Juliet reveals 17 instances, and if then cross-referenced with light it brings forth a further 34 references, suggesting that there is a motif running through the text which demands further attention. Allowing students to explore this trail in their discussions and consider the prevalence of some words over others can reveal much about the themes Shakespeare was trying to convey too. For example, simply looking at the light and dark references in Romeo and Juliet enables students to see the binaries he has woven into the play to mirror the idea of conflict.

5. Discuss the imagery Shakespeare is trying to create with his language via pictures, selecting those which are most appropriate to convey his choices at different points. Thinking about how different audiences may respond to these is also a useful way to examine alternative interpretations of a single word, line or idea. This can also support learners with different needs as they have visual images to link to ideas, especially abstract ones, repeated throughout the text. This will provide them with something more concrete to link to the text and, as images are repeated throughout the narrative, can act as support for the working memory and enhance fluency of retrieval as they recognise the recurring images visually. This can be particularly useful for EAL students, supporting them to follow the plot and explore the patterns that emerge.

6. Teach aspects of metre (such as iambic and trochaic pentameter), ensuring students have lots of opportunities to hear the language spoken aloud so they can appreciate the musicality of the language and choice of form. Using methods such as walking the text, whereby students physically walk around the room whilst reading the text and responding to the punctuation, can be a powerful way to convey how a character feels at any given point. Lots of phrases, short clauses, or single syllable words can change the pace of the reading and we should model this and give students the opportunity to examine how this may then impact on performance. Long, languid sentences can create a different performance, and where the punctuation has finally landed in his work can reveal a lot about how a character or scene has been read. Try different ways of reading a single line to illustrate why we place emphasis on certain words and pauses at different points.

7. Read the text aloud together. As well as modelling reading for students, employing practices such as choral reading (where the class all read the text aloud together with you) or echo reading (where they repeat lines back) can be another way in which we remove the barriers the language can create. Students build confidence over time as the language becomes more familiar but also they do not feel so exposed as they are reading with the group, and not alone.

8. Let students play with and manipulate the language so they are familiar with it, and it doesn’t become a block to their interaction with the plays. Pre-teach the vocabulary, letting students consider words in isolation and explore quotes so that they don’t become overwhelmed at trying to interpret them. Even translating short phrases and passages can provide a useful coding activity which can support later analysis.

Zoe Enser was a classroom teacher for 20 years, during which time she was also a head of English and a senior leader with a responsibility for staff development and school improvement. This blog post is an excerpt from her latest book, Bringing Forth the Bard (Crown House Publishing). NACE members can benefit from a 20% discount on this and all purchases from the Crown House Publishing website; for details log in to our member offers page.

1. Papasavitch (our very own made-up language)

2. The RS SMSJ Essay Writing Competition (open to all schools)

3. Collaboration and exploration – across and beyond the school

Ahead of her workshop “Challenging more able learners in English (KS3-4)”, NACE Associate Tracy Goodyear shares three steps to review and improve the quality of challenge provided in your KS3 English lessons…
 
Shortly before the half term break, I asked a number of Year 13 students if they could remember the moment that solidified their decision to study English at A-level. The responses were interesting: some of them said it was a particular teacher whose passion for their subject had inspired a love of literature; some said it was one particular lesson that had given them that all-important lightbulb moment.
 
One student recollected an individual lesson that she recalled quite vividly: “It was Year 9 Shakespeare, Miss – we were debating who decides literary value.”
 
This was the response that interested me most. I asked what she valued about that experience and she said that it felt like she had really been forced to think for herself – that she felt unsure at first, but soon found the confidence and the words to argue her point of view on a topic she hadn’t really given much thought to in the past.
 
This conversation was another reminder for me about the importance of the Key Stage 3 diet. It reminded me that KS3 is indeed what some on EduTwitter are dubbing “The Wonder Years” and that key decisions and attitudes towards subjects are decided during this crucial time. It is, therefore, pivotal that the KS3 curriculum is a balanced one – providing a rich and diverse set of experiences that nurture a love for learning and a love for literature.
 
Here are three strategies to step up the challenge in KS3 English:

1. Start by defining the “end product”  

Anders Ericsson and Robert Pool have both conducted extensive research on what defines success and what makes the world’s most successful people achieve extraordinary things. In their book Peak[1] the authors discuss the “virtuous circle” in which “honing the skill improves mental representation, and mental representation helps hone the skill”.
 
This got me thinking about the mental representations teachers have of learners. Are we always clear about where we want our students to “be” at certain times in their school career, beyond reaching centrally determined target grades? Do we always hold a clear vision of what “success” looks like for an individual learner/group of learners?
 
Over the past year, my department has spent quite a lot of time defining a vision for our KS3 “end product”. We met as a team to list attributes we wanted for our learners by the end of the key stage – an opportunity to vent about things they “couldn’t do” and skills they appeared to lack when it came to the start of GCSE. This discussion was about much more than examination criteria or working towards assessment objectives; our ideas about “progress” needed to delve much deeper. We wanted to be clear on the attributes we wanted learners to craft and hone, and we used this information to identify learning opportunities we would habitually offer to ensure success.
 
After some discussion, we decided that our aim for KS3 is to cultivate students who:

• Have a critical eye, so they do not blindly accept things;
• Openly welcome feedback, criticism and differing views and interpretations and do not feel threatened by these;
• Are skilled in planning, showing evidence of deep thinking;
• Will take risks, knowing that the learning they will experience is more valuable than the fear of failure;
• Actively listen to and reason with the ideas and expertise of others;
• Construct meaningful arguments, supporting their ideas with confidence and conviction.

This activity gave us clarity in terms of what we wanted to achieve at KS3 and we were able to action these recommendations when designing a new programme of study. This was well-spent development time – I thoroughly recommend taking the time to define the characteristics you value in your own department, for both your teachers and your learners.

2. Encourage oracy and debate 

I have always been an advocate for the “if you can say it, you can write it” mantra, but in English this is crucial. It’s important to create an environment where talk is both celebrated and expected – and there are several ways to encourage this in lessons and schemes of learning. Some of the best thinking that happens in English occurs when learners have had the opportunity to work with an idea, noticing its flaws/pitfalls and appreciating its various facets. Only then will they be able to show a profound depth of understanding.
 
Here are some ways in which oracy can be promoted in the KS3 English classroom:

• Make thinking visible in your lessons[2] (in the words of Dylan Wiliam, play “basketball”, not “ping pong”[3]). There’s real power in passing an idea around the room; this avoids learners needing to seek your approval of an answer and models thinking “live” in the lesson.
• Model high-level talk: explicitly teach vocabulary and make its various contexts clear. This can be achieved through “word of the week” displays or simply taking some time to discuss vocabulary choices in certain texts.
• Don’t accept mediocre verbal responses – keep expectations high. Give learners time to formulate a strong verbal response. This may include a “think, pair, share” visible thinking routine, or developing purposeful “think time” after a question has been posed.

3. Engage with academic research

One of the most exciting challenges in teaching more able learners is knowing that you have to be several steps ahead in terms of your own knowledge and understanding – I have always enjoyed the intellectual thrill of this. As well as staying up to speed yourself, engaging with research and academic publications is also a great way to show learners the wider relevance of the programme of study and ensure that it also models high-level thinking and reasoning.

• Find academic works/essays that provide alternative views of your topic and work with these as extracts. These could then be useful sources for further investigation and debate. Students will go on to approach their set texts through a different lens. (Recently I experimented with an essay on madness and insanity in Victorian England, and we used this to help gather information for a debate on Dickens’ presentation of Miss Havisham.)
• Make time in department meetings to discuss new learning. Could members of the department take the lead on a certain aspect and be tasked to share updates at team meetings? An expert on 19th century literature perhaps? Or Shakespearean tragedies?
• Encourage learners to engage independently with available materials. For example, there are some excellent resources on The British Library website with scans of original sources, which are invaluable. Last year we introduced an extension activity called “Universally Challenged”, where learners were tasked to research a related topic and to produce a small resource/elevator pitch for others in the group. The activity aims to broaden students’ literary understanding and strengthen their ability to make pertinent links between what they are studying and the contexts within which other texts were produced.

Getting to grips with mastery doesn’t have to be hard work – far from it. In this blog post (originally published on schoolsimprovement.net), NACE associate Sarah Carpenter outlines a simple but effective use of mastery to improve primary English provision for all learners, including the more able…

While teachers and schools are at different points in the maths mastery journey, it’s now fairly clear what that looks like and what’s expected. When it comes to English, however, there’s relatively little guidance on how to use mastery effectively.

Inspired by Michael Tidd’s advocacy of longer literacy units, covering fewer texts and focusing on writing for a social purpose, over the past three years I’ve worked with schools to develop a mastery approach for primary English. This is certainly not the only approach to mastery in English, but it is an approach that I and the schools involved have found effective.

The concept is simple: each half term the teacher selects a central “driver text”. This is paired with a range of supplementary texts, including fiction, poetry, non-fiction, multimodal texts, and cross-curricular links. The unit is planned around the driver text, building in curriculum requirements and a broad range of writing opportunities.

This approach gives all learners the opportunity to develop a secure understanding of the driver text, subject matter and key skills – as well as the scope to work in greater depth and to explore and showcase their creativity and writing abilities.

Here are six reasons to try this mastery approach in your primary English provision:

1. It works for learners of all abilities

First and foremost, mastery is about providing support and opportunities for learners of all abilities to develop at their own pace. This approach allows time for all learners to become familiar with the central text and subject matter, and to practise specific skills such as predicting, comparing, making connections and synthesising.

For learners working below age-related expectations, you’re not moving on too quickly, and there are opportunities to consolidate skills through repetition. At the other end of the spectrum, more able learners have opportunities to broaden their knowledge and understanding of the writing purpose, bring together multiple texts, and deepen their subject knowledge.

The inclusion of poetry in each unit helps to expand learners’ vocabulary and get them thinking creatively about the choices they’re making. The use of non-fiction and cross-curricular texts provides opportunities for the more able to make clever use of sources, and to play with their writing styles, taking the audience and purpose into account. They have a bigger toolbox to draw on, allowing them to really show off their finesse as writers.

2. It engages even reluctant writers

When choosing a driver text, I try to choose one that will capture the interest of everyone in the class, particularly keeping boys in mind. Then I plan the unit to incorporate a wide variety of writing opportunities – short, medium and long – so even reluctant writers face something manageable and interesting, that breaks the mould in terms of what they’re usually asked to write.

3. It develops deep subject knowledge

Bringing in supporting texts with a shared theme allows learners to develop a deep sense of subject knowledge, so they can write as experts in the field. Just as a published author wouldn’t start writing without doing their background research first, we’re setting the same expectation for our pupils. This approach resonates very much with highly able learners in English.

4. It makes more effective use of time

This approach takes up no more or less time than would already be used for literacy sessions, but makes more effective use of that time. Covering fewer texts in a more focused way means more time to get deeply into the full range of curriculum requirements – in terms of reading, writing, drama and spoken language. You can even use the driver text or an accompanying text for guided reading sessions, so everything is working together.

In terms of planning, you do need to allocate more time at the beginning, because you’re essentially planning out the full half term in skeletal form. You can adapt as you go along, but you need to plan ahead to ensure you extract everything you can from the driver text and stop at the right points, building up that sense of mystery and anticipation, and allowing for reading and writing opportunities along the way.

Once you’ve chosen the driver text, you’re looking for those opportunities to bring in non-fiction, and searching for appropriate poetry connections. Once you’ve done this groundwork, you should find you spend less time on weekly planning, because you’ve got the framework in place.

5. It works for all types of text…

…even (or especially) picture books! I often choose picture-based story books or graphic novels, such as David Wiesner’s Flotsam or Shaun Tan’s The Arrival – which can be interesting when you tell people the unit is going to improve children’s vocabulary and grammar! Other driver texts I’ve used include Robert Swindells’ The Ice Palace, Rob Biddulph’s Blown Away, Helen Cooper’s Pumpkin Soup and Alexis Deacon’s I am Henry Finch.

Essentially, you’re looking for a text where you see lots of potential to go off at all sorts of different angles, and bring in cross-curricular links. For example, with I am Henry Finch, there are lots of links to be made with PSHE.

6. It’s fun!

Last but certainly not least, this mastery approach is fun. I’ve developed units for KS1, lower KS2 and upper KS2, with positive feedback from all. Not only have schools got some fantastic writing and reading responses from learners, but the children have really enjoyed it. They appreciate the opportunity to get deeply into one particular text – but not to the extent where they get bored, because they’ve got the addition of other texts of different types, and the scope to show off just what they can do.