Detailed Analysis of Richard’s opening soliloquy: Act 1, scene 1 Considering how character and themes are developed through language. Starter 5–10 mins 1.Introduce the word soliloquy. On mini whiteboards, ask pupils to deduce its possible meaning from their knowledge of other word meanings by mind mapping, grouping or listing words that are similar: sole, solitaire, solitary, solitude, solo, soliloquy. 2.Hear deductions and clarify meaning. Break the word down into its two halves – Latin solus(sole) and loqui(to speak) 3.Briefly discuss: What could a character tell the audience through a soliloquy that they wouldn’t normally be able to when in company? What could we deduce about a character who is alone? Teacher-led 15–20 mins Whole class reading of Richard’s soliloquy (Act 1, scene 1, L1-41). The Stageworksite says that Barrie Rutter, director of Northern Broadside’s production of Richard IIIRutter’s is not concerned with what lies beneaththe language, but instead it is the texture and feel of the words themselves that matter to him: he wants his actors to joy in relishing the beauty of the language itself. Experiment by adopting this approach with your class during their first readings of the soliloquy. Pupils will need to hear or read the soliloquy a number of times to become familiar with the language and meaning. Ideally, enlarge a copy of the soliloquy onto A3 sheets and distribute one to each pupil. Encourage pupils to actively prepare for various readings of the text by colour highlighting, text marking as necessary. During this section of the lesson also begin to draw out with the class their developing understanding of the soliloquy and Richard’s language. Below are various ways that the soliloquy could be read and explored with the class: Read around the room with each pupil reading to the next punctuation mark. Repeat this and introduce various effects such as speeding up or getting louder. Separate the soliloquy into its three main sections (1: L1-13, 2: L14-27, 3: L28-41) and read each one separately, working out with the class what Richard is saying in each section. Read the soliloquy to the class, but ask pupils to join in with words they identify as key words. Develop this by asking half the class to shout out positive words and half negative (from this Shakespeare’s use of antitheses can be illustrated). Compare the effects of whispering, shouting or echoing these key words. Explore reading key lines in various contrasting tones of voice (angry, excited, secretive, boastful, for instance). What are the different effects created? End this section of the lesson by clearly checking that the class understand the key points Richard says by focusing on which words really stand out. Highlight some examples of his clever use of language, including puns, antitheses, imagery, alliteration, assonance. Play Conrad Nelson’s clip from the Stagework site: Conrad puts the opening soliloquy in his own words, to consolidate understanding of the soliloquy’s meaning. Development 20–25 mins NB: The teacher could work with one group as a guided group for this activity – please refer to Guided Plan 1. Focus: What does Richard’s use of language suggest about his character? What themes does Shakespeare introduce? If necessary briefly model how to text mark, including underlining, highlighting, colour connotations, drawing images, adding notes and key words. Pupils need to text mark their copies of the soliloquy to show: 1.Richard’s use of language; 2.What his language suggests about his character; 3.Themes that Shakespeare introduces through the language of the soliloquy. Possible teacher points for feedback: 1.Language-based points could include: • Antitheses: winter/summer, bruised arms/monuments, stern alarums/merry meetings, dreadful marches/delightful measures, smoothed/wrinkled, mounting/capers, true and just/false and treacherous. • Puns: son of York/sun (York family emblem)/weather symbolism for finishing the war • Imagery – weather metaphors: winter of our discontent…glorious summer, personification of grim-visaged war, mewed up (metaphor for imprisonment like a caged bird) • Alliteration: brows bound, merry meetings, dreadful marches to delightful measures, piping time of peace • Assonance: summer/son, brows bound, merry/measures, cheated/feature 2.Richard’s use of language suggests that he is clever and charismatic. Even though he admits he is not physically attractive, he is dramatically attractive for the audience because he uses language interestingly and imaginatively and talks directly to us. Shakespeare presents us with a confident, charming character who is admirable even though he is clearly evil. 3.Themes could include: physical/moral deformity; good versus evil and the attractiveness of evil; peace versus wa;, sin; dreams; deception; the soul etc. Plenary 10 mins Read the diary entries Languageand He's lost without his horse. What are they suggesting about Richard’s language? Use these points to summarise the lesson’s activities. Hot seat a pupil as Shakespeare. The class should volunteer questions to him in role to recap the main teaching points of the lesson: What does Richard’s soliloquy suggest about his character? What themes does Shakespeare introduce in the opening soliloquy of the play? Extension suggestions/activities for most able Read the rest of the text or the summary of the events of the play at About the play. Consider how the soliloquy establishes all the action that will follow. Write a soliloquy for your own imaginary character. Try to use language to reveal their character. Write a paragraph/short essay that answers the question What does Richard’s language in the opening soliloquy suggest about his character? Research the idea of a Machiavellian villain and consider Richard in this light. Resources • Mini whiteboards and pens • A3 photocopies with Richard’s soliloquy, colours and highlighter pens • Guided Plan 1 Stagework links | 
