Exploring Shakespeare’s Midsummer Night’s Dream

-- an Introduction to Classical Literature

By C. Barnes Gallagher
 Table of Contents

Exploring Midsummer Night‟s Dream as an Introduction to Classical Literature ......................... 3

Backward Instructional Design through a 4C/ID Plan ................................................................... 4

STAGE I: DESIRED RESULTS ........................................................................................ 4

1. DETERMINE ENDURING IDEAS ........................................................................................... 4

2. GOALS ....................................................................................................................................... 4

3. DETERMINE ESSENTIAL QUESTIONS ................................................................................ 5

4. DETERMINE INFERENCES TO KEY KNOWLEDGE AND ACTIONS .............................. 6

STAGE II: ASSESSMENT EVIDENCE......................................................................... 6

5. DETERMINE PERFORMANCE TASKS ................................................................................. 6

6. DETERMINE PERFORMANCE TASKS ................................................................................. 7

STAGE THREE: LEARNING PLAN ............................................................................. 7

7. LEARNING ACTIVITIES ......................................................................................................... 7

8. Pre-Assessment Activities .......................................................................................................... 8

9. Formative Evaluation Activities ................................................................................................. 8

10. Summative Evaluation Activities ............................................................................................. 9

Backwards Design through 4C/ID Four Basic Instructional Strategies.......................................... 9

References ..................................................................................................................................... 11
 Exploring Midsummer Night’s Dream

as an Introduction to Classical Literature

The incidental music of Felix Mendelssohn to Midsummer Night’s Dream expresses

contrasting textures of Theseus‟ hunting horns, ceremonial wedding marches, soaring and
throbbing melodies of the enamored, the pianissimo staccato of the fairies, and the jocund
bassoon of tradesmen (Shakespeare, Bevington, Kastan, & Papp, 1988)—burlesque themes
typical also of Ovid‟s Metamorphoses (1 ACE) and John Gay‟s Beggar’s Opera (1728).

• COURSE DESCRIPTION

 As an Introduction to Classical Literature, this is an elective course in language arts, and

it is project-based on Informal and Formal Learning Activities that include the
interpretation, comparison, and analysis of various productions and various affects of
language on the contrasting worlds of social order, self-awareness, and visionary escape
(Shakespeare, Bevington, & Papp, 1988).
 We will explore monumental heroic scenes for their origins and inspirational influence on
the Bard and his universal impressions on his audience
 The culture of the Ancient Greek Amphitheatre, the Roman Coliseum, and of Elizabethan
England are inherent in overlapping qualities, figurative speech and themes, legends, and
dramatic impact through the following with which we will become acquainted:
1. Mythology
2. Greek Drama
3. Roman Drama
4. Burlesque
5. Beowulf Chronicles
6. Morality Plays
7. Interludes and Farces
8. Elizabethan Drama
9. Miracle and Mystery Play
10. Commedie dell „Arte
11. Masques
12. Hubris

Over hill, over dale,

Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire,
I do wander everywhere,
Swifter than the moon’s sphere,
And I serve the Fairy Queen,
To dew her orbs upon the green.
The cowslips tall her pensioners be,
In their gold coats spots you see:
Those be rubies, fairy favors;
 In those freckles live their savors
I must go seek some dewdrops here
And hang a pearl in every cowslip’s ear.
Farewell, thou lob of spirits; I’ll be gone.
Our Queen and all her elves come here anon.
--(Shakespeare, Evans, & Tobin, 1996, Midnight Summer’s Dream 2.1 (2-17)

• How are Elizabethan, Renaissance, healing, and catharsis related?

• What Trojan horse compelled this Renaissance cause? Forward then; all „this kingdom for a
horse; let us move forward with this course!
Backward Instructional Design through a 4C/ID Plan

STAGE I: DESIRED RESULTS

1. DETERMINE ENDURING IDEAS

• The student will understand about the origins of astronomy and the names of astronomic bodies
and configurations;
• The student will understand about the origins of the original schools, etymology, and
humankind‟s struggles and quests;
• The student will understand how Shakespeare addresses themes that transcend time and culture;
• The student will understand burlesque as a comedy that achieves its effects through imitation,
exaggeration, and distortion, and that involves a paradoxical relationship between the subject
matter and the manner of presentation—the ridiculous treatment of a serious subject or vice
versa;
• The student will understand drama through references that precede and succeed it, and as a
monumental enduring impression to culture and language;
• The student will understand drama as the interpretation of directors and performers (Curran,
2009);
• The student will understand how playwrights and writers who use Latin and Greek terms and
expressions refer to concepts that cannot be translated from one generation to another, and that
literature functions as “a vehicle for showing the truth of human experience” (Spencer, 2000, p.
10).
• The student will understand the meaning of hamartia and catharsis, and how these ideas
function with other literary characteristics.

2. GOALS

The student will demonstrate an ability to synthesize “a variety of literary genres,” (ICAS, 2002,
pp. 69-78) in respect to the following through the use of techniques that involve HPT/HPI, both
formal and informal learning, and Knowledge Management to:
1. Recognize aesthetical and cultural qualities;
2. Apply approaches to their reading and critical analyses of rhetorical, literary, aesthetical
issues;
3. Synthesize understanding for progressive education in respect to integrated aesthetical
values within cultural texts;
 4. Demonstrate competency in respect to literary genre, philosophic foundation, and literary
form;
5. Consider and write about analytical characteristics of the psyche in terms of characterization,
plot dynamics, conflict, and aesthetic;
6. Objectively and persuasively “combine the rhetorical strategies of narration, exposition,
persuasion, and description” that demonstrates “a command of standard English and the research,
organizational, and drafting strategies of Writing Standard 1.0” (ICAS, 2002, p. 70);
7. Recognize and validate the language acquisition device associated with linguistic universals
and transformational grammar;
8. Demonstrate understanding of the “innate knowledge of universals,” “linguistic experience,”
and “idiosyncratic, language-particular properties of a target language”—“the language of the
mind”--from a psycholinguistic approach (Radford, 1989, p. 37);
9. Recognize instances of subconscious, conscious, unconscious, subliminal associative
thought;
10. Demonstrate an ability to “critique diction and syntax” to the purpose of oral
communication and the impact of words,” and to analyze the technique used in media passages
and to evaluate their effectiveness” (ICAS, 2002, p. 76).

3. DETERMINE ESSENTIAL QUESTIONS

Through the reading of Shakespeare‟s Midsummer Night’s Dream (c. 1594), students will reflect
on and answer the following:

• Do you notice that many planets and bodies of stars of our solar system are named for Greek
Mythological figures?
• When Oberon and Titania are declared to be in the heavens now, one may consider German-
English astronomer William Hershel who discovered the planet Uranus in 1781, and who
detected its two outermost satellites that he named after Shakespeare‟s characters Titania and
Oberon. Why would Hershel do this?
• Does the naming of bodies of the solar system after Greco-Roman gods and goddesses suggest
that these words have referred to celestial bodies and formations for a long time?
• Is the world of the orthodox Greek myth and history/tale that captured Shakespeare‟s interest
important today?
• Why should we consider behavior that is preventable, such as the thoughts of Pyramus and
Thisbe, a tragic comedy and burlesque tale in Ovid‟s Metamorphosis?
• As the daughters of Jupiter and goddesses of each branch of knowledge, what do references to
the nine muses suggest?
• As a Titaness of Greek Mythology, Hecate was a common goddess of the moon; likewise,
Diana (Artemis) and Phoebe; how do these characters suggest supernaturalism?
• Why did Shakespeare and other authors of Ancient, Medieval, Renaissance, Victorian and
Romantic times refer to Greek history and myths?
• Is the power of Hecate‟s moon chariot as an enchanting and magical symbol evident in other
literary works?
• How do the Amazons compare to Theseus? Why would they be at war?
• What do the Fates (“Sisters Three”) mean as Clotho spins the thread of life?
• Imaginary sylvan landscapes evoke inquiry about humankind‟s origins; why?
• What universal qualities are represented by the forest and midsummer night dream?
• How do the paradoxical actions in the forest and of the three wedding ceremonies evoke the
psyche of sensations and visionary irrationalism?
• What actions suggest the exploration of transcendent primitive faith?
• How and why do the characters explore the quest of humankind to survive and to maintain a
status quo and convention such as a universal love or a unique revolutionary quest?
• What tantalizing vision exists? What is the relationship between artistic symbols such as the
forest and the tangible concreteness of daily existence?
• Is the experience merely imaginative or an exploration into a potential infinite realm?
• Consider and write about the contradictions between the ideal and reality: what evidence
indicates contemplation of the finite and universality in opposition to the farcical droll of Bottom
the Weaver (i.e., a skein of thread)?

4. DETERMINE INFERENCES TO KEY KNOWLEDGE AND ACTIONS

• The student will demonstrate skills in reading comprehension and analysis in respect to
Shakespeare‟s Midsummer Night’s Dream and other works with which they may be acquainted;
• The student will demonstrate similarities and relevancies of works upon which Shakespeare
based his work such as Chaucer‟s Knight’s Tale, Plutarch‟s Lives, and the “Tale of Pyramus and
Thisbe” in Ovid‟s Metamorphosis, all which include similar tragic comedy and themes that are
universal; hence, relevant today;
• The student will demonstrate meaning for specific course vocabulary: ambiguity, catharsis,
genre, hamartia, hubris, in media res, tragic hero, parallel plot, play-within-a-play, irony, wit,
tragic hero, Machiavellian, burlesque, plot, climax, denouement/resolution, soliloquy, set piece,
stagecraft terms—aside, set, blocking, cinematography terms (Curran, 2009);
• The student will analyze and compare theories, conflicts, arguments, and history coherently and
persuasively;
• The student will recognize the broad frame of reference that augments the use of dichotomy
(i.e., contrast) as an atmospheric device; how Shakespeare uses contrasting tones and characters
to challenge the existence and responsibilities of humankind;
• The student will discuss, evaluate the motives, and write about Bottom the Weaver and Puck
who offers a magic love potion.
• The student will explain why Puck may be the protagonist, and how his spirit dominates the
tone of the play;
• The student will identify and contrast the roles of Theseus and Hippolyta; Hermia and Helena;
Demetrius and Lysander;
• The student will consider the contradiction of Hermia as she defies her responsibility to her
Father, Athenian Egeus;
• The student will identify and explain other challenges and contradictions in this play.
STAGE II: ASSESSMENT EVIDENCE

5. DETERMINE PERFORMANCE TASKS

1. Students will complete a 12-page project that may be a combination of research, analysis, and
creative writing that support the activities, goals, and questions outlined in Stage 1 and Stage 3;
2. Students will complete a midpoint formative assessment to share their progress, concerns, and
suggestions as they are maintaining their journal and progressing with their project;
3. Students will complete a final summative evaluation to offer suggestions in respect to the
achievement of performance standards, goals, and understanding.

6. DETERMINE PERFORMANCE TASKS

1. Students will draw diagrams to depict the characters and the dynamics of the tragic comedy;
2. Students will read aloud some of the play;
3. Students will keep an active journal where they enter their diagrams, discussion and reading
notes, and expository;
4. Students will discuss and create expository in respect to the provocative questions above;
5. Through the links provided in the Stage 3 Learning Activities, students may plan their
project through self-paced Quizzes and Tasks prepared by the Folger Shakespeare Library, the
Glencoe Literature Library, and major editors/critics of Shakespeare productions;
6. The student will reflect upon and self-assess their learning through charts, diagrams, readings,
research, and expository that they develop in respect to the provocative questions included in
Stage 1;
7. The criteria by which performances of understanding, the project, and discussions will be
judged involve understanding that will be evaluated in respect to the “six facets of
understanding,” abilities that include:
• Facet 1: Explaining, accuracy, coherency, justification, systematical, predictability;
• Facet 2: Interpretation, meaningfulness, insightfulness, significance, illustrative, illuminative;
• Facet 3: Application, effectiveness, efficiency, fluency, adaptability, gracefulness;
• Facet 4: Perspective, credibility, revealingly, insightfulness, plausibility, unusually;
• Facet 5: Empathy, sensitivity, openness, receptivity, perceptiveness, tactfulness;
• Facet 6: Self-knowledge, self-awareness, metacognition, self-adjustability.

STAGE THREE: LEARNING PLAN

7. LEARNING ACTIVITIES

1. Refer to and reflect upon Core Film Materials, Web Sources, Web Sites with Lesson Plans
listed in the Folger Shakespeare link http://www.folger.edu/,
http://www.asdk12.org/depts/language_arts/curriculum/high/Electives/Shakespeare.pdf (Curran,
2009, pp. 2-5), and http://shakespeare.mit.edu/ to develop the dialectic and project journel, and to
participate in daily discussions.
2. Refer to the Shakespeare Editions of Folgers, Signet, or Riverside, and to the introductions
and editorials of David Bevington and Joseph Papp (Shakespeare, Bevington, Kasta, & Papp,
1988) to further analysis, criticism, and considerations in respect to ongoing daily discussions,
developing student journals, and project.
3. The learning and instructional materials, and learning experiences will enable students to
further all discussion and to complete the project in respect to:
• W: What is the Critical Question: What is Shakespeare exploring and challenging? Prepare
diagrams and keep notes to develop an analysis and to substantiate your claims.
 • H: to Hold as by a hook: Consider the universal practice of naming most of the celestial
bodies of the solar system Greco-Roman gods and goddesses, and why William Hershel (1738-
1822), who discovered the planet Uranus in 1781, named the two outermost satellites that he also
detected of Uranus, in respect to Shakespeare‟s Titania and Oberon of Midsummer Night’s
Dream. What profound universal concept does the Bard address?
• E: Equip—Experience key ideas; Continue to Explore issues through the suggested web
links and at:
http://www.glencoe.com/sec/writerschoice/litlibrary/pdf/midsummer_nights_dream.pdf , and
review a copy of the play;
• R: Rethink and revise: Discuss and explain your new thoughts about Shakespeare and the
Greek influences that shape his work;
• E: Evaluate your work: Might the overarching responses to these questions change in
another century? What may these overarching responses be in another generation?
• T: Tailored to different interests and needs: Might a Medieval historian think of
Shakespeare‟s challenges, impressions, and influences differently than (1) you did before you
began this unit; and, (2) as you are completing this unit?
• O: Organization: Refer to your organized journal, diagrams, and notes to explain the
overlying themes that prevail.
8. Pre-Assessment Activities

1. Important Participation in Class Discussions;

2. Contributions to Class Readings of Drama and Poetry aloud;
3. Ongoing journals and reports;
4. In-class and journal references of Learning that must be evidence of Informal Learning,
HPI/HPT, and Knowledge Management;
5. Evidence of independent Informal Learning and integration of HPI/HPT, and Knowledge
Management toward improved understanding of literature.

9. Formative Evaluation Activities

• The student will complete a questionnaire in respect to his/her evaluation of the clarity of the
lesson objectives;
• The student will complete a questionnaire in respect the ease at which directions may be
followed.
• The student will complete a questionnaire in respect any foreseeable problems about his/her
ability to consider new words, expressions, and considerations, and his/her ability to enter them
into a reading log each day.
• The student will complete a questionnaire in respect his/her ability to conduct research and to
develop an essay in respect to that research and discussions.
• The student will complete a questionnaire in respect to the clarity of procedures about the
Dichotomy and Dialectical Journal that he/she should be able to develop throughout instruction,
and to submit in a portfolio at the end of the course.
• The student will complete a questionnaire in respect the clarity of the directions clear about the
Powerpoint Presentation that he may create with two other students about Hermia and Helena or
Demetrius and Lysander to promote understanding toward the Final Project.
• The student will complete a questionnaire in respect his/her ability to understand the texts in
conjunction to the reflective paragraph he/she should be entering into his/her daily journal,
identifying any contradictions that he/she may have discovered about the characters.
• The student will complete a questionnaire in respect any difficulty he/she may experience
regarding his/her Creative Writing Journal and examples of heroic verse based on your
reflections of the assigned course play.
• The student will complete a questionnaire in respect to the clarity of instructions clear about the
exit ticket (Ray, 2006) that includes a dramatic reading and evaluation?

10. Summative Evaluation Activities

Questions and considerations may be conveyed through end-of-course survey, through the Final
Project, and through discussions in class that will focus on the final issues:
• Have you achieved the learning objectives?
• Did you achieve the learning objectives to a significant level?
• Will you be able to complete a comprehensive review at the end of the course that will include
evidence of the following in a portfolio?
• Explanations of quotations (Curran, 2009)? Given specific quotes from the play, an analysis
and explanation of their relationship to Shakespeare‟s overall meaning in this particular work;
contrasted meanings in respect to any other plays that your recall (you may use your journals)?
• References in your dichotomy and dialectic journal that explain and substantiate the dynamics
of the characters and plot, and the denouement, and explain why this is an example of drama?
• Your ability to recognize evidence and to discern the meaning of dichotomy (the usage of
contrasting atmospheric devices, characters, values, and dynamics) in respect to conflicts,
philosophies, origins, theories, history, values?
• Do you need to improve and modify some of your work?
• Should you continue or repeat these learning activities?
• Are you able to assist the learners and assistants to further their competency in these areas?
How?
Backwards Design through 4C/ID Four Basic Instructional Strategies

Instruction is offered as noted, such that learning shall be achieved:

Backwards Design 4C/ID Four Basic Instructional Strategies

Deductive-Inquisitory: The instructor/mentor presents
Stage 1—Identifying Desired Results information, and the learner discovers or produces
examples.
Deductive-Expository: The instructor/mentor presents
Stage 2—Assessment Evidence information, then examples to the learner.
Inductive-Expository: The instructor/mentor provides
examples and subsequent information to the learner.
Stage 3—Learning Plan Evidence Inductive-Inquisitory: The instructor/mentor provides
examples; then, the learner discovers, synthesizes,
and/or produces information.
Four Components of Instructional Design (4C/ID)
1. Learning Tasks 2. Supportive Information 3. Learning 4. Part-Task Practice
Instructional Tasks
(LIT)
(Van Merriënboer, Clark, & de Croock, 1997)
 References

Curran, J. (Ed.) (2009) Folger Shakespeare Library NEH Shakespeare Seminar: Shakespeare

(language arts elective). Retrieved from

http://www.asdk12.org/depts/language_arts/curriculum/high/Electives/Shakespeare.pdf

Intersegmental Committee of the Academic Senates (ICAS) (2002, Spring). Academic literacy:

A statement of competencies expected of students entering California public colleges and

universities. Sacramento, CA: ICAS. Retrieved from http://icas-

ca.org/Websites/icasca/Images/Competency/AcademicLiteracy2002.pdf

Radford, A. (1989). Transformational grammar. Cambridge, UK: Cambridge University Press.

Ray, K. (2006, March). Teacher resources for meet Mr. Shakespeare, a BCPS research model.

Retrieved from http://www.bcps.org/offices/lis/models/meetmrs/teacherresources.html

Shakespeare, W., Bevington, D. (Ed.), Kastan, D. (Ed.), & Papp, J. (Foreword). (1988, January

1). The complete works of William Shakespeare, vols. I-IV. New York: Bantam Classics,

Pearson Education.

Shakespeare, W., Evans, G. (Ed.), & Tobin, J. (Ed.). (1996, December 31). The Riverside

Shakespeare, 2nd Edition. New York: Houghton Mifflin.

Spencer, K. (2000, January 6). Study guide for a midsummer night’s dream by William

Shakespeare. Retrieved from

http://www.glencoe.com/sec/writerschoice/litlibrary/pdf/midsummer_nights_dream.pdf

Van Merriënboer, J. J. G., Clark, R. E., & de Croock, M. B. M. (1997). Ueprints for complex

learning: The 4C/ID-model. Educational Technology, Research & Development, 50(2),

39-64.