Year 12–13 / Grades 11–12
Henry IV, Part 1 — A Five-Lesson Scheme of Work
This five-lesson sequence guides students from their initial encounter with the text to developing independent critical writing skills. They start by exploring the dual-world structure introduced in Act I's opening and Hal's soliloquy, then dive into the themes of comedy and honour during the Gad's Hill robbery in Act II. In lesson three, they examine the scene where the rebel alliance splits the map (Act III) alongside the Boar's Head role-play to investigate how Shakespeare employs form and structure. Lesson four focuses on the decline of the rebellion throughout Act IV and the speeches made on the eve of battle in Act V. The final lesson synthesizes the material with a timed comparative paragraph on honour, utilizing Falstaff's catechism and Hotspur's death as references. By the end of this sequence, students will be able to craft a fully supported analytical paragraph discussing language, form, and context in the play.
Objectives
- Analyse how Shakespeare uses the structural contrast between the court and the tavern world to present competing models of kingship in Acts I and II.
- Explain how Hal's soliloquy (Act I, Scene 2) constructs his identity as a calculated performer, using specific language choices as evidence.
- Analyse how Shakespeare uses the rebel scenes in Acts III and IV to present the theme of honour as fragile and politically contingent.
- Evaluate how Falstaff's honour catechism (Act V, Scene 1) and Hotspur's dying speech (Act V, Scene 4) offer contrasting philosophies of honour, using close language analysis.
- Write a fully evidenced analytical paragraph that integrates quotation, language analysis, contextual understanding, and structural comment on this play.
- Assess how Shakespeare's Elizabethan context — anxieties about succession, the Oldcastle controversy, and Holinshed's Chronicles — shapes the play's presentation of legitimate rule.
The sequence
Lesson 1: Two Worlds, One Crown: Court and Tavern in Act I
60 min · ch. 1- Do now
King Henry's desire to lead a crusade to 'the Holy Land' reveals his deep sense of guilt for failing to fulfill what he sees as his duty. At the same time, it highlights the limitations of his power, as he is unable to act on this noble wish despite his royal status.
- Teacher input
Model a close reading of Hal's soliloquy in Act I, Scene 2, where he states, "I know you all, and will a while uphold / The unyoked humour of your idleness." Analyze how the word "unyoked" illustrates Hal's separation from Falstaff's world. Discuss how the extended metaphor of the sun and clouds portrays his transformation as a theatrical spectacle. Additionally, examine how the future tense in "I'll so offend" indicates his calculated decision-making. Guide students on embedding a short quotation and commenting on a specific word before expanding to the broader implications.
- Independent task
Students will write one analytical paragraph (using the PEEL structure or a similar method) addressing the question: How does Shakespeare portray Hal as a calculating performer in his soliloquy (Act I, Scene 2)? They are required to include at least two quotations from the soliloquy, analyze at least one specific word or image, and reference the Elizabethan context of succession anxiety. This will be collected at the end of the lesson for assessment.
- Exit ticket
On a sticky note or half-sheet, write the ONE word from Hal's soliloquy that best demonstrates his control over his own reputation, and explain your choice in a single sentence.
Lesson 2: Robbers Robbed: Comedy, Cowardice, and Character in Act II
60 min · ch. 2- Do now
Read Falstaff's account of the Gad's Hill robbery (Act II, Scene 4: 'I am a rogue if I were not at half-sword with a dozen of them'). Without doing any research, list three specific details in his story that are clearly false. Be prepared to explain how you know.
- Teacher input
Model how Shakespeare employs Falstaff's increasing numbers—'two rogues in buckram suits', then four, then seven, then nine, then eleven—as a comic structural device in Act II, Scene 4. Highlight how the repetition of 'buckram' and the audience's earlier knowledge from the robbery itself generates dramatic irony. Illustrate how to discuss both form (the escalating list) and language (the precise use of 'buckram', a cheap stiff cloth, as a humorous detail) within the same sentence.
- Independent task
Students annotate a printed extract from Falstaff's Gad's Hill lie (Act II, Scene 4, from 'I am a rogue' to 'if I fought not with fifty of them I am a bunch of radish'). They need to: (1) circle three instances of comic exaggeration and label the technique; (2) underline one moment of dramatic irony and write two sentences explaining what the audience knows that Henry does not; (3) write a concluding sentence linking Falstaff's dishonesty in this scene to the theme of honour. Annotated extracts are submitted.
- Exit ticket
Shakespeare's use of a repeated and escalating list in Act II, Scene 4 not only generates humor but also reveals the complexity of Falstaff's character.
Lesson 3: Dividing the Map, Playing the King: Power and Performance in Act III
60 min · ch. 3- Do now
Look at the stage direction and opening of Act III, Scene 1 — Hotspur, Worcester, Mortimer, and Glendower are dividing a map of England into three parts. If you could, write two questions you would want to ask Shakespeare about this scene. Then, explain what you believe the act of splitting a map on stage is intended to convey to an Elizabethan audience.
- Teacher input
Model how to read Act III, Scene 1 structurally: Glendower's boast that 'the heavens shook' at his birth contrasts sharply with Hotspur's sharp comeback ('and I say the earth was not of my mind'). Highlight how Shakespeare employs a stichomythic exchange—quick, back-and-forth dialogue—to deflate Glendower's pretentiousness and expose Hotspur's struggles with forming alliances. Illustrate how this structural analysis (the rhythm of their exchange) merges with language analysis ('not of my mind' — straightforward monosyllables juxtaposed with Glendower's elaborate verse).
- Independent task
Students should write a comparative paragraph that addresses the following question: How does Shakespeare use Act III, Scene 1 and Act III, Scene 2 together to showcase two distinct failures of political identity — Hotspur's recklessness and Hal's seeming idleness? They need to quote from both scenes, make one comment on form or structure, and include one contextual point regarding Elizabethan expectations of a prince. Once completed, paragraphs will be collected.
- Exit ticket
The structural technique Shakespeare employs in the Hotspur–Glendower exchange in Act III, Scene 1, is the use of contrasting dialogue. This contrast highlights the underlying tensions and lack of unity within the rebel alliance.
Lesson 4: The Rebellion Unravels: Absence, Delay, and Doom in Acts IV and V
60 min · ch. 4, 5- Do now
Act IV, Scene 1: Hotspur gets hit with three pieces of bad news all at once — his father Northumberland is sick, Glendower's Welsh troops are running late, and Hal's army is more powerful than he anticipated. Rank these three setbacks from most to least damaging to the rebellion and be prepared to explain your ranking with a reason for each.
- Teacher input
Model a close reading of Falstaff's honour catechism in Act V, Scene 1, where he states, "Honour pricks me on. Yea, but how if honour prick me off when I come on?" Notice how the rhetorical question structure—where Falstaff poses and answers his own inquiries—resembles a legal cross-examination, methodically breaking down the notion of honour. Explore how the word 'prick' shifts in meaning (to spur on versus to mark off a death list) and how this wordplay illustrates the argument: honour is merely a construct of language, and language itself is inherently unstable.
- Independent task
Students write a paragraph answering the question: How does Shakespeare use Falstaff's catechism in Act V, Scene 1 to challenge the concept of honour that Hotspur represents throughout the play? They need to include at least two quotes from the catechism, analyze a specific word or rhetorical technique, and conclude with a sentence that links Falstaff's speech to the political context of the play — who really benefits from soldiers dying for honour? The paragraphs will be collected.
- Exit ticket
Hotspur's answer: “Falstaff, your foolish questions mean nothing to a man of honor like me; I thrive on action, not idle chatter.”
Explanation: By denying Hotspur a direct response, Shakespeare emphasizes his character's unwavering commitment to valor and the futility of Falstaff's frivolous banter, highlighting the tension between honor and comedy in the play.
Lesson 5: Honour's Epitaph: Hotspur's Death and Hal's Redemption in Act V
60 min · ch. 5- Do now
Read Hotspur's dying words (Act V, Scene 4: 'O Harry, thou hast robbed me of my youth! / I better brook the loss of brittle life / Than those proud titles thou hast won of me'). Write: what does Hotspur mourn more — his life or his reputation? Find one word that supports your answer.
- Teacher input
Model how to read Hal's elegy over Hotspur's body (Act V, Scene 4: 'When this body contained a spirit, / A kingdom for it was too small a bound') as a moment of structural resolution. Show how Shakespeare employs the past tense and conditional forms ('contained', 'was too small') to honor Hotspur while also highlighting Hal's inheritance of his qualities. Illustrate how this passage reflects Hal completing the arc suggested in his Act I soliloquy — the 'sun' has finally broken through the clouds.
- Independent task
Timed writing (25 minutes): 'Shakespeare depicts honour in Henry IV, Part 1 as an ideal for which men are willing to die, yet ultimately cannot truly possess.' Drawing from Act V, Scene 1 (Falstaff's catechism) and Act V, Scene 4 (Hotspur's death and Hal's elegy), compose two analytical paragraphs that either support, oppose, or complicate this assertion. Each paragraph should include at least two embedded quotations, a comment on a language technique, and one structural or contextual observation. Submissions will be collected as a draft for summative assessment.
- Exit ticket
Hal's elegy for Hotspur in Act V, Scene 4 deepens the sun/clouds metaphor from his soliloquy in Act I, Scene 2, illustrating the shift from youthful recklessness to the somber realities of leadership and friendship. Throughout the play, Shakespeare crafts a journey of transformation, emphasizing the complexities of honor, loyalty, and the burdens that come with maturity.
Activities
The Honour Spectrum: Ranking Characters' Views 20 min · groups
Groups of three or four get a set of eight quotation cards—one for each principal character—each featuring a line about honour or reputation (e.g., Hotspur: "By heaven, methinks it were an easy leap / To pluck bright honour from the pale-faced moon"; Falstaff: "What is honour? A word"; King Henry: "To be so pestered with a popinjay"). They arrange the cards on a spectrum ranging from "honour is everything" to "honour is worthless," then write a three-sentence group statement explaining their ranking, which they submit afterward.
Falstaff's Lie: Dramatic Irony Hot-Seat 25 min · whole class
One student takes on the role of Falstaff as he tells the story of the Gad's Hill robbery (Act II, Scene 4). The other students, who have already read about the robbery in Act II, Scene 2, will question 'Falstaff' about inconsistencies — such as numbers, weapons, and circumstances — all while remaining within the fictional context. After ten minutes, the class steps out of character. Each student then writes two sentences: one identifying the dramatic irony technique used by Shakespeare, and the other explaining what it reveals about Falstaff's relationship with the truth. These notes are then submitted to the teacher.
Map of England: The Rebels' Division (Act III, Scene 1) 20 min · pairs
Each pair gets a blank outline map of England and Wales along with the excerpt from Act III, Scene 1 where Hotspur, Mortimer, and Glendower split the kingdom. They mark the map with the three sections and then write a sentence for each section that explains what each character's share indicates about their priorities and self-image. Pairs return the annotated map with their three sentences written on the back.
Parallel Fathers: Henry IV and Northumberland 15 min · pairs
Each pair receives two short extracts side by side: Henry IV's rebuke of Hal in Act III, Scene 2 ("I know not whether God will have it so / For some displeasing service I have done") and Northumberland's absence from Shrewsbury in Act IV, Scene 1. Partners create a two-column comparison chart that highlights what each father does or neglects to do for his son. Afterward, they write one synthesis sentence addressing how Shakespeare uses both fathers to explore the theme of political inheritance. Finally, the charts and synthesis sentences are submitted.
Soliloquy Staging: Hal's 'I Know You All' 20 min · groups
Groups of four get a printed sheet containing Hal's soliloquy from Act I, Scene 2. They need to make decisions on: (1) Hal's positioning in relation to the audience—should he step forward, remain in the tavern area, or move to a neutral space? (2) which three words he emphasizes the most and the reasoning behind their choices. Groups will add staging notes to the script along with a brief three-sentence rationale that explains how their staging decisions align with their interpretation of Hal's character. The annotated scripts will then be returned.
Exit Interview: Worcester's Choice (Act V, Scene 2) 15 min · individual
Students read Act V, Scene 2 on their own — the part where Worcester hides the king's offer of pardon from Hotspur. Each student composes a 60-word statement from Worcester's perspective justifying his choice, followed by a 40-word analytical sentence discussing what Shakespeare aims for the audience to feel about Worcester at this moment and how it relates to the theme of betrayal. Both pieces are to be submitted on a single half-sheet.
Assessment
- Lesson 1 exit ticket — student identifies a single word from Hal's soliloquy and justifies it: looking for precision of word-level analysis rather than paraphrase.
- Lesson 2 annotated extract — looking for accurate identification of dramatic irony (student must show awareness of the gap between audience knowledge and Falstaff's performance) and at least one technique label correctly applied.
- Lesson 3 exit ticket — student names stichomythia or equivalent structural term and links it to the rebels' instability: looking for the connection between form and meaning, not just identification.
- Lesson 4 paragraph — looking for Falstaff's rhetorical question structure being named and analysed, not merely quoted; and for the contextual point to go beyond biography (e.g. connecting honour discourse to Elizabethan military culture or succession anxiety).
- Lesson 5 exit ticket — student connects the sun/clouds metaphor in Act I, Scene 2 to Hal's elegy in Act V, Scene 4: looking for structural awareness across the whole play, not just local reading.
Summative task
Using Act V, Scene 1 (Falstaff's honour catechism) and Act V, Scene 4 (Hotspur's dying words and Hal's elegy over his body), I will explore the idea that Shakespeare portrays honour in Henry IV, Part 1 as an elusive concept for which men sacrifice their lives but ultimately cannot attain. In Falstaff's famous speech, he cynically argues, "Can honor set to a leg? No." This rhetorical question highlights the absurdity of honour when weighed against tangible realities such as physical survival. Falstaff's dismissal of honour as merely a “word” reveals his belief that it lacks any real substance or value. Shakespeare's use of colloquial language here serves to make Falstaff's perspective relatable and emphasizes the notion that honour is a hollow ideal rather than a concrete possession. This perspective resonates with the Elizabethan audience, who were often aware of the chivalric ideals that dictated male behaviour, yet frequently witnessed the stark contrast between these ideals and the brutal realities of war.
In Act V, Scene 4, Hotspur's dying words — "O, I could prophesy, / But that the earthy and cold hand of death / Lies on my tongue" — reflect his deep-seated belief in honour as a noble pursuit that ultimately leads to his demise. The imagery of death silencing him underscores the tragic irony that his dedication to honour results in his early death. Meanwhile, Hal’s elegy, where he laments Hotspur's fate, further complicates the notion of honour: "You were the better man." This statement not only acknowledges Hotspur's martial prowess but also subtly critiques the societal obsession with honour that leads to unnecessary violence. Shakespeare’s choice to include Hal’s admiration for Hotspur, despite their rivalry, emphasizes the tragic consequences of honour in a militaristic society. In the context of the Elizabethan era, where notions of honour were often tied to social status and military achievement, the play critiques the destructive nature of these ideals as men like Hotspur strive for an honour that remains perpetually out of reach.
Marking notes
Top-band responses will fluidly navigate between Falstaff's methodical, legalistic breakdown of honour ('Can honour set to a leg? No') and Hotspur's dying obsession with 'proud titles' over life, interpreting these as Shakespeare's structural counterpoint. They will delve into specific words — 'brittle', 'prick', 'word' — instead of discussing techniques in general terms. Mid-band responses will recognize contrasts and quote accurately but will comment on technique without linking it to meaning or context. Lower-band responses will focus on retelling rather than analyzing, or quote without properly embedding the text.
Standards covered
- Common Core 11 12
- RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
- RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a scene is set, how the action is ordered, how the characters are introduced and developed).
- RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
- RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
- W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
- AP Literature
- Literary Argumentation (LAN-1) — Explain the function of a character, including how characters develop or change over the course of a text.
- Figurative Language (FIG-1) — Explain the function of figurative language in a literary text, including extended metaphor and wordplay.
- Structure (STR-1) — Explain the function of structure in a text, including how contrasting plots or settings contribute to meaning.
- Narration (NAR-1) — Explain the function of point of view and the effect of a character addressing the audience directly (soliloquy).
- Literary Argumentation (LAN-1.C) — Develop a thesis that makes a defensible claim about an interpretation of literature and supports that claim with evidence.
- AQA
- AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
- AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
- AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received.
- AO5 — Explore literary texts informed by different interpretations.
- Edexcel
- AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology and coherent, accurate written expression.
- AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology.
- AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received.
- AO4 — Explore connections across literary texts.
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Henry IV, Part 1
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