HIST 482/ENGL 382 Murder and Monarchy: Shakespeare's British History
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Tel: (570) 208-5900, ext. 5393
Office: Hafey-Marian 403
Office Hours: MWF 10-10:50 am TTH 9-9:30 am, Th 12:30-2 pm, and by appointment
Exams | Written Assignments | Links | Class Schedule
This course introduces students to the works of Shakespeare through plays he wrote about the history of the British Isles. Team taught from both historical and literary perspectives, students will read plays as both dramatic interpretations of history and enduring works of theatre. They will learn how to understand a play by Shakespeare as well as think like an historian. Beginning with an examination of the age in which Shakespeare lived and his own life, study will then shift to a chronological review of several plays about British monarchs in the context of actual historical events. The success and failures of his characters use of war, murder, and power will illuminate Shakespeare's efforts as a dramatist, polemicist, and interpreter of the human condition. Students will better understand medieval and renaissance British history and discover Shakespeare's significance within and beyond his age. Counts either for a European History or a English Major Literary Figures course.
Be aware of the Academic Standards Policy (sometimes called Academic Honest or Integrity) concerning cheating and plagiarism, and your moral, ethical and legal obligation only to submit work completed by you yourself. For more information see <Help stop Plagiarism!>.
Similar to the college's policy in your Student Handbook, as determined by the professor, instances will be reported to the Academic Integrity Officer, and
Reading is still the best way to learn literature or history. We will read both a broad survey of history and specific sources in order to better understand the past.
You must obtain the required texts in these specific editions:
1. Saccio, Peter. Shakespeare's English Kings: History, Chronicle, and Drama. Oxford University Press, 2000. ISBN 0-19-512319-0 ["Saccio" on the Class Schedule].
2. Shakespeare, William. The Norton Shakespeare based on the Oxford Edition Histories. Edited by Stephen Greenblatt. Second Edition. New York: W W Norton & Company, 2008. ISBN 0-393-931420 ["Norton Histories" on the Class Schedule] . We will be reading closely the following plays:
Other required texts, which you may acquire in any edition available:
3. Shakespeare, William. King Lear.
4. Shakespeare, William. The Tragedy of MacBeth.
5. Tey, Josephine. The Daughter of Time. (Original copyright 1951) ["Tey, Daughter" on the Class Schedule].
Various handouts and readings, to be provided or linked from this page, below.
The required readings are intended both to provide you with important factual and
background information before class and to be used as review and reference works
afterwards. Before class, you will read the pages or plays (including
introductory materials and notes) assigned according to the
class schedule, section VI. Not all topics in the books will be covered in class, but
you are responsible for them.
In this (and all of your) classes, you should prudently mark up, underline, highlight, and otherwise annotate your texts as you study. While you are reading, use might use one or more highlighters or pens to mark up portions of the text. You might consider different colors for (a) historical facts, terms, dates, (b) important points or details, or (c) key explanatory phrases and sentences (d) significant quotes or lines.
The instructors may give quizzes to test your reading and comprehension.
Participation and attendance are necessary because lecture and discussion provide the essentials for achieving class goals and objectives. Thus a portion of your grade (about 15%) will depend on your in-class performance and presence, aside from graded quizzes, exams, and papers. You are required to attend each class, arrive on time, remain attentive, maintain proper classroom decorum, respond to questions, and participate in discussion and in-class projects. You are encouraged to take notes and ask questions. Since mature engagement with our society's past and present and controversies requires knowledge of current events, students are expected to be informed about significant news stories.
Any student who has a learning disability, physical handicap, and/or any other possible impediment to class participation and requirements should meet with the instructor within the first two weeks of classes to establish available accommodations. Only with the instructor's permission may class be recorded, only to be used for your own study, and the recordings must be erased after the final exam.
If at some point during the semester you must discontinue the course, whether due to poor performance, illness, or some other cause, be sure to follow proper procedures for withdrawal.
This class's absence policy requires students who miss a class to fill out an Absentee Assignment (see below).
If you arrive at class late, after attendance is taken, you must personally request that the absence be turned into a tardy mark; otherwise an Absentee Assignment may be required (see below). Students who need to leave a class early, except for an emergency, should notify the instructor before class begins.
Since participation and class attendance are necessary, if you miss a class you must complete an Absentee Assignment
in order for the instructor to know that some learning has taken place.
For an Absentee Assignment, you
are to write a one-to-one-and-a-half page essay (in
proper presentation format) reviewing the topic for the day based on
required readings. These
papers are ungraded, without points, and not returned; yet failure
to complete Absentee Assignments will significantly lower your grade.
Deadlines: The assignment(s) should be turned in to the instructor at the beginning of the next class after you return.
This absence policy requires Absentee Assignments whether absences are
excused or not. Excused absences due to college activities or extended illness must be
authorized in writing by the appropriate
college official. You should consult with the professor about making up/turning
work in advance or as soon as possible after your return.
All other absences are unexcused and do not require any written documentation.
If you miss an exam, contact the instructor as soon as possible. You may take a
missed exam only at the discretion of the instructor.
The make-up exam takes the
place of an Absentee Assignment.
If you miss any quizzes and/or class projects due to an excused absence, you may make them up with the explicit permission of the instructor, who may require any equivalent assignment, due at the beginning of the next class period.
After any absence, you are responsible for requesting from the professor hand-outs and already-returned assignments, or borrowing notes from other students.
More than a few unexcused absences will start to lower the class participation
portions of your
grade, despite turning in the mandatory Absentee Assignments. Whether
absences are excused or not, you may not get a higher grade than the percentage
of classes attended.
Nevertheless, a few absences will not significantly affect your grade. Always, your health is your first priority. If you are sick, stay home and recover.
Regularly through the semester we will have in-class discussions and projects. You are required to have read before class the appropriate material (as listed on the class schedule or otherwise assigned by the instructors) and be prepared to discuss and write about it with the instructors or in small groups.
You will be evaluated by short quizzes or written reports done in-class or after class, worth between 10 and 20 points each.
You will take one mid-term exam on the assigned date in the class schedule, section VI, and a final exam, which is comprehensive, as assigned during finals week.
Both exams will consist of short identifications quizzing knowledge of detail and significance (including quotations from plays), and essays testing your understanding of the course material through logical presentation of facts and explanation of historical trends and literary analysis.
To study for the exams you should regularly, at least once a week, review your class notes. You should also compare and contrast these notes with your textbook and other readings.
Only paper from the professors is to be used. Please write legibly, in dark blue or black ink.
What are the main historical trends and issues in the times Shakespeare covers, as seen by historians? In particular, how did politics and society interact in the Middle Ages? What foreign policy challenges did England and its neighbors face? How do any of these reflect or illuminate the concerns of Shakespeare's time or our own?
Discuss the nature of kingship in history and literature. What are the basic attributes and challenges of kingship? How have specific kings acted in historical instances? How does Shakespeare address problems that kings face? How does one become a king and how precarious is that position?
Discuss how politics and society have interacted in history and literature in Shakespeare's lifetime and the distant past. How did social relationships provide a freamework for political decision making? How did specific monarchs combind family and rule? How do any of these reflect or illuminate the concerns of Shakespeare's time or our own?
What are the main themes of the play MacBeth? How do they reflect the real historical situation? How do they address universal human problems? How do they incorporate the supernatural?
What are the main themes of Richard II? How do they reflect the real historical situation? How do they address universal human problems? How do they incoporate love of country?
How does Shakespeare use historical sources? Where and why does he take liberties? Is it art for art's sake? Does he have a particular intentional theme? What are the weaknesses or strengths in the sources themselves?
Art of the universal in Shakespeare is that his plays are all domestic; take away all the different names and titles, and you have families dealing with problems that people face through the ages. So how does any one play reflect (or not) the story of a family within a larger historical context?
Do you notice any differences among the women in Richard III compared to the women in I Henry IV? Comment on the female voices in the history plays you are reading.
Think about the protagonists in I Henry IV, Henry V and Richard III. How do these protagonists differ? What motivates them? How do they interact with other characters? With the audience? How does Shakespeare treat them throughout their plays and at the ends of their plays?
Perhaps by necessity, male voices tend to dominate Shakespeare's history plays, but a female presence in Richard III, I Henry IV, and Henry V exists, and some would say is essential. Discuss the women's voices tht Shakespeare creates. How have they been restrained, marginalized, or empowered in the plays they are in? How do women motivate action in MacBeth? How do women illuminate the problems of politics in Richard II?
Discuss the interaction between history and drama in MacBeth and Richard II. You might want to consider the following questions: How does Shakespeare use source material? What history does he draw from? Does he manipulate, change, alter or enhance historic record? What are his aims as opposed to those of historians? How successful is he?
Discuss the interaction between history and drama I Henry IV, Henry V, Richard III, and King Lear. You might want to consider the following questions: How does Shakespeare use source material? What history does he draw from? Does he manipulate, change, alter or enhance historic record? What are his aims as opposed to those of historians? How successful is he?
Looking at the monarchs we have studied this semester (Lear, Macbeth, Richard II, Henry IV, Henry V, and Richard III), discuss how rulers achieve power, maintain power, and, in some cases, lose power. What motivates individuals to become king? Are the “good” monarchs all that different from the “evil” monarchs in their assent to and maintenance of the throne?
Discuss the themes of identity, retribution or evil in the plays (King Lear, Macbeth, Richard II, I Henry IV, Henry V, and Richard III) and how Shakespeare develops them in plot and character from history.
Discuss Josephine Tey's The Daughter of Time. How does the detective come to question what he knows? How does he find his sources, with what difficulties? How does he evaluate various sources against one another? Do you agree with his conclusions?
The Final Exam will have this question, which every student must answer: Discuss the views of Richard III we have examined this semester using especially Josephine Tey's The Daughter of Time, the King's Theatre production of Richard III, other productions, and class discussion. How do these views compare and contrast with each other in getting to know who Richard is? How do you see Richard? What evidence supports your view?
4. Major Written Assignments:
These exercises will acquaint you with the processes used by historians and literary critics in conducting original research. Thus you will read carefully, manage information, evaluate different historical and literary opinions, compare and contrast arguments, organize your thoughts and present them in a clear, coherent and interesting narrative. You will also gain expertise and knowledge about a portion of the English history and a better sense of the interaction of fact and fiction.
Meeting due dates are an important aspect of written assignments. Papers should be handed in to the instructors, by you yourself, at the beginning of class on the dates assigned (see class schedule). Unless special arrangements have been made, no late papers or assignments will be accepted, which means no credit (zero).
Both for practice in following guidelines and to facilitate consistency in grading,
papers should be uniform in appearance. For more information see
Using the following chart, other students will evaluate and the instructors will grade your written assignment. You should use these criteria yourself as a self-assessment guide as you complete the project.
#1. SHAKESPEARE PAPER: You are to write a four-to-six page paper examining the question of Shakespeare's authorship of his plays, from both literary and historical perspectives.
1. Research both the historical and critical background of the controversy surrounding Shakespeare's authorship of his plays. You must use the Norton critical apparatus and appendixes, several of the websites linked to below, and at least 3 printed books or articles. Please consult the instructors for any advice concerning the paper, well in advance of its due date.
2. Collect, interpret and organize information about the topic. Develop your thesis which takes a side, either validating Shakespeare as author, some other figure, or some point in between. By January 25, you should meet with either instructor, during regular office hours or by appointment, to discuss the adequacy of the thesis and the progress of your research.
3. Write, re-write, polish and proofread your research paper. Then hand it in on the due date.
#2. PLAY PAPER: You are to write an eight-to-ten page research paper analyzing the interaction of historical and literary qualities in a history play by Shakespeare.
1. Select and read one of the following plays King John, Edward III, The Second Part of Henry IV, First Part of Henry VI, 2 Henry VI (Henry VI Part II), 3 Henry VI (Henry VI Part III), or All is True (Henry VIII).
2. Research both the historical and critical background. In addition to the relevant class texts, you must cite at least 6 books, 3 journal articles and 2 Internet sites from the links below. Please consult the instructors for any advice concerning the paper, well in advance of its due date.
3. Collect, interpret and organize information about the topic. Develop a thesis which evaluates (a) how Shakespeare used or misused history to serve the purposes of drama or (b) achieved a successful drama by selecting and transforming history. By March 22, you should meet with either instructor, during regular office hours or by appointment, to discuss the adequacy of the thesis and the progress of your research.
4. Write, re-write, polish and proofread your research paper. Then hand it in on the due date.
5. GROUP PRESENTATION:
Those students who wrote on the same play will then get together and form a discussion group to present the play to the class. The group should combine lessons learned from their written work that would help other students who are unfamiliar with the play to understand both its dramatic and historical dimensions. This presentation to the class that lasts 12 minutes. A handout should highlight key elements of the presentation. Each student member must present a roughly equal verbal portion of the presentation.
#3. PERFORMANCE PAPER:
In a four-to-five (4-5) page essay, you will analyze Richard III in performance. For this paper, you are not a reviewer but a Shakespeare in Performance scholar who uses performance to understand the nuances that can emerge from Shakespeare’s text. Thus, a good understanding of the text itself is essential for writing a good paper.
1. Read and then reread the play, marking up the text and/or taking notes.
2. Go see Richard III by the King’s Players at the George P. Maffei II Theater, April 11,12, 13, and 15 at 7:30, or April 14 at 2:00. Be sure to note important issues from the play needed for the paper described below.
3. Watch at least one other version of Richard III. A number of filmed versions of this play are available at our library, on YouTube, or downloading services. Production summaries will not be accepted. To make this paper successful, you need a thesis and supporting material from two productions of Richard III, one of which being the live King’s Players performance. Be sure to note important issues from the play needed for the paper described below.
4. Write your paper focusing on one or more specific themes, scenes, speeches, characters, or dramatic techniques and explain how the performance alters or amplifies Shakespeare’s text. For example, you may read the ending of Richard III, envision how you see this being staged, and then analyze how each production you see stages the ending. In your paper, you would describe these endings and discuss their significance on Shakespeare’s play. If you are having trouble approaching this assignment, talk to either or both of the professors.
5. Rest, review, rewrite and turn in a final draft on the date assinged on the class schedule.
You earn your grade through work done for this course. You are responsible to understand why you have achieved a certain grade and what you can do to maintain or improve your grade. You are encouraged to consult with the professor during office hours or by appointment both before and after exams and written assignments. Click here for a Grading Policy with more information on the parameters of evaluation and grading.
Your final grade will be based on a percentage (above 90%=A, 80-89%=B, etc.) of the sum of the assignments: 10-20 for each quiz or in-class discussion/project and paper evaluation; 50 for the Shakespeare Paper, 100 for the Play Paper, 20 for the Group Presentation,40 for the Performance Paper; 100 for the midterm exam, 150 for the final exam; and 200 for your class performance and attendance.
For your protection, in case of errors of recording, you should keep copies of all exams and assignments until you have received official notice of your final grade. Any and all materials done for this course may become the property of the professors, who may use them for assessment, evaluative, scholarly, or research purposes. Although the syllabus presents the basic content and requirements of the course, the professors reserves the right to change anything (e.g. assignments, point values, topics, due dates, grading policy, etc.), at any time, at their discretion.
Froissart, Chronicles <http://hdl.handle.net/2027/njp.32101013592199>.
Geoffrey of Monmouth, History of the Kings of Britain <http://www.yorku.ca/inpar/geoffrey_thompson.pdf>.
Raphael Holinshed, Chronicles: The Historie of England <http://www.gutenberg.org/browse/authors/h#a5166> or facsimile of 1587 edition <http://dewey.library.upenn.edu/sceti/printedbooksNew/index.cfm?TextID=holinshed_chronicle&PagePosition=1>.
Elizabethan Sumptuary Statutes <http://elizabethan.org/sumptuary/index.html>.
Shakespeare's Complete Works <http://shakespeare.mit.edu/>.
Virginia Woolf, "A Room of one’s Own" <http://ebooks.adelaide.edu.au/w/woolf/virginia/w91r/index.html>.
"Who's who in Shakespeare's History Plays" Roberts' Page: The coolest place in Cyberspace <http://robertspage.com/shakhist.html>. Geneaology with commentary.
The Official Website of the British Monarchy <http://www.royal.gov.uk/output/Page1.asp>.
Medieval English Towns <http://www.trytel.com/~tristan/towns/towns.html#menu>. Diverse information on some specific towns and urban life in general.
Uniting the Kingdoms <http://www.nationalarchives.gov.uk/utk/>. Detail about various British realms and France from 1066 to 1603.
Frederic Maitland, "The Crown as Corporation," Law Quarterly Review 17 (1901) pp. 131-46; <http://socserv2.socsci.mcmaster.ca/~econ/ugcm/3ll3/maitland/crowncor.mai>. Article on the nature of kingship.
Museum of London <http://www.museumoflondon.org.uk/London-Wall/Whats-on/Galleries/Medieval+London-410-1558.htm>. Exhibit about the city.
Dress, Jewels, Arms and Coat of Arms: Material Culture and Self-Representation in the Late Middle Ages <http://web.ceu.hu/medstud/manual/SRM/>.
Life in Elizabethan England <http://elizabethan.org/compendium/index.html>. With an Elizabethan Armorial <http://elizabethan.org/heraldry/blazons.html> coats of arms of leading figures and families.
Folger Shakespeare Library <http://www.folger.edu/>.
How We Know That Shakespeare Wrote Shakespeare: The Historical Facts by Tom Reedy and David Kathman <http://shakespeareauthorship.com/howdowe.html>.
In Search of Shakespeare: The Evidence <http://www.pbs.org/shakespeare/evidence/>. Primary Sources.
Michael Wood, , the Shakespeare Paper Trail <http://www.bbc.co.uk/history/british/tudors/shakespeare_early_01.shtml> and <hhttp://www.bbc.co.uk/history/british/tudors/shakespeare_later_01.shtml>. Primary Sources.
Mr. William Shakespeare and the Internet <http://shakespeare.palomar.edu/life.htm#Primary>. Primary Sources.
Shakespeare as a Gangster <http://blogs.smithsonianmag.com/history/2011/11/william-shakespeare-gangster/>.
"Shakespeare Authorship Debate," Absolute Shakespeare <http://absoluteshakespeare.com/trivia/authorship/authorship.htm>.
"The Shakespeare Authorship Page: Dedicated to the Proposition that Shakespeare Wrote Shakespeare" <http://shakespeareauthorship.com/>.
Shakspere Documentary Evidence <http://fly.hiwaay.net/~paul/shakspere/evidence1.html>. Primary Sources.
"The Shakespeare Mystery: Who, in fact, was he?" Frontline <http://www.pbs.org/wgbh/pages/frontline/shakespeare/>.
Shakespeare Oxford Society <http://www.shakespeare-oxford.com/>.
"Shakespeare's Histories," Screenonline <http://www.screenonline.org.uk/tv/id/564559/index.html>.
Social and Historical Context of Shakespeare," Royal Shakespeare Company <http://www.rsc.org.uk/education/resources/social-historical-context/>.
"To be or not to be" [Portraits] <http://www.smithsonianmag.com/people-places/shakespeare.html>.
What can we find out about his life? <http://www.nationalarchives.gov.uk/education/lessons/lesson34.htm>.
"Whose Life is it Anyway? The Shakespeare Identity Mystery," SF Live <http://www.metroactive.com/papers/sfmetro/07.96/shakespeare1-96-7.html>.
William Shakespeare info <http://www.william-shakespeare.info/site-map.htm>.
Shakespeare's Globe <http://www.shakespearesglobe.com/>.
Blackfriars theater <http://www.americanshakespearecenter.com/>.
The Rose Theater <http://www.rosetheatre.org.uk/>.
Bronze Age Britain <http://www.bbc.co.uk/history/ancient/british_prehistory/bronzeageman_01.shtml>. Info with pictures.
Anonymous, King Leir <http://pages.unibas.ch/shine/kingleir.html>. Primary Source.
General History of the Highlands <http://www.electricscotland.com/history/genhist/hist23.html>. Brief info.
"To Strut and Fret Upon the Stage: Theatrical Interpretation of Sources for Macbeth" <http://www.prismnet.com/~jlockett/Grist/English/macbethsources.html>. Student interpretation.
Demonologie <http://www.folger.edu/eduPrimSrcDtl.cfm?psid=83 >. Primary Source.
Treatise of Specters <http://www.folger.edu/eduPrimSrcDtl.cfm?psid=149 >. Primary Source.
Holinshed on Macbeth <http://www.folger.edu/eduPrimSrcDtl.cfm?psid=139 >. Primary Source.
Ace G. Pilkington, "Richard II: Essentially Accurate History" <http://www.bard.org/education/studyguides/richardii/richardessential.html>. Liner notes.
Petition to the Chancery <http://vi.uh.edu/pages/bob/elhone/equity.html>. Primary Source.
Derek Cohen, "History and the Nation in Richard II and Henry IV" <http://muse.jhu.edu/journals/studies_in_english_literature/v042/42.2cohen.html>. Secondary Source/Journal Article.
Glyndwr Owain, last King of Wales <http://www.owainglyndwr.info/>. Useful biography.
Alan Klehr and Winsoar Churchill, "Owain Glyndwr's Fight for Wales" <http://www.historynet.com/magazines/british_heritage/3035466.html>. Informative article.
Arnie Sanders, "1HenryIV," English 211 English Literature Beowulf to Dryden <http://faculty.goucher.edu/eng211/shakespeare1henryiv.htm>. Commentary with "Issues and Resources."
The Lollard Society <http://lollardsociety.org/>. Resource site.
"Historical Comments on Shakespeare's Henry V" <http://www.aginc.net/battle/play-comments.htm>. Amateur survey of Battle of Agincourt.
Wars of the Roses <http://www.warsoftheroses.com/index.htm>.
Jack Cade, Proclamation of Grievances <http://www.fordham.edu/halsall/source/1450jackcade.asp>. Primary Source.
Warwick Castle <http://www.warwick-castle.com/explore-castle/map-and-overview.aspx>. Tourist destination.
Richard III Society, American Branch <http://www.r3.org/intro.html>. Several articles on the historiographical controversy and a hypertext annotated version of the play to notes based on Charles Ross's biography.
Richard III Society <http://www.richardiii.net/>. Collection of sources and opinions.
The Richard III Foundation <http://www.richard111.com/>. Collection of sources and opinions.
Sir Thomas More, The History of Richard III. <http://www.thomasmorestudies.org/docs/Richard_large.pdf>. Primary Source.
Polydore Vergil, Anglica Historica, Books 23-25 <http://www.r3.org/bookcase/polydore.html>. Primary Source.
Genealogy of Edward IV <http://libwww.library.phila.gov/medievalman/Detail.cfm?imagetoZoom=mca2010007>. Primary Source.
King Richard III’s Body Found Under Parking Lot? <http://www.history.com/news/king-richard-iiis-body-found-under-parking-lot>. News, 12 September 2012.
Time and Talk <http://muse.jhu.edu/journals/studies_in_english_literature/v045/45.2lopez.html
Propaganda Imperative <http://muse.jhu.edu/journals/college_literature/v031/31.4johnson.html
|date||TOPIC||-||STUDENT READINGS and ASSIGNMENTS DUE|
|M, Jan 14||Orientation||-||-|
|W, Jan 16||The Study of History vs. The Study of Literature||-||Saccio, pp. vi-15, 229-273|
|F, Jan 18||Elizabethan and Jacobean England||-||Norton Histories, pp. 1-42|
|M, Jan 21||William Shakespeare, Actor and Playwright||-||Norton Histories, pp. ix-xii, 42-78; Maps, Documents and Timeline, pp. 933-970|
|W, Jan 23||Theater||-||Norton Histories, pp. 79-99|
|F, Jan 25||Acting||-||-|
|M, Jan 28||History as Drama||-||Norton Histories, pp. 103-115|
|W, Jan 30||The Middle Ages||-||-|
|F, Feb 1||Anglo-Scottish Relations through MacBeth||-||MacBeth|
|M, Feb 4||Anglo-Scottish Relations through MacBeth||-||MacBeth|
|W, Feb 6||Anglo-Scottish Relations through MacBeth||-||MacBeth|
|F, Feb 8||Witchcraft||-||
SHAKESPEARE PAPER DUE
|M, Feb 11||The Middle Ages||-||-|
|W, Feb 13||The Plantangenets||-||Scaccio, pp. 187-207|
|F, Feb 15||The Begin of the 100 Years War||-||-|
|M, Feb 18||Crises of the Late Middle Ages in Richard II||-||Richard II ; Saccio, pp. 16-35|
|W, Feb 20||Crises of the Late Middle Ages in Richard II||-||Richard II|
|F, Feb 22||Crises of the Late Middle Ages in Richard II||-||Richard II|
|M, Feb 25||Review||-||Review|
|W, Feb 27||MIDTERM EXAM||-||-|
|F, Mar 1||tba||-||-|
|M, Mar 11||Crises of the Late Middle Ages through Henry IV, Part I||-||Henry IV, Part I; Saccio, pp. 36-63|
|W, Mar 13||Crises of the Late Middle Ages through Henry IV, Part I||-||Henry IV, Part I|
|F, Mar 15||Crises of the Late Middle Ages through Henry IV, Part I||-||Henry IV, Part I|
|M, Mar 18||Hundred Years War through Henry V||-||
Saccio, pp. 64-89
|W, Mar 20||Hundred Years War through Henry V||-||Henry V; Saccio, pp. 64-89|
|F, Mar 22||Hundred Years War through Henry V||-||PLAY PAPER DUE
|M, Mar 25||Joan of Arc||-||Handout|
|W, Mar 27||The Challenge of Henry VI||-||Saccio, pp. 90-155|
|W, Apr 3||Detecting Richard III, part 1||-||Tey, Daughter|
|F, Apr 5||Detecting Richard III, part 2||-|
|M, Apr 8||The Wars of the Roses through Richard III||-||Richard III ; Saccio, pp. 156-186|
|W, Apr 10||The Wars of the Roses through Richard III||-||Richard III|
|F, Apr 12||The Wars of the Roses through Richard III||-|| Richard III
|M, Apr 15||tba||-||-|
|W, Apr17||The Tudors||-|| Saccio, pp. 208-228; Tey, Daughter
RIII PERFORMANCE PAPER DUE
|F, Apr 19||Group Presentations||-||Group Presentations|
|M, Apr 22||Group Presentations||-||Group Presentations|
|W, Apr 24||Myth and Royal Power in King Lear||-||King Lear|
|F, Apr 26||Myth and Royal Power in King Lear||-||King Lear|
|M, Apr 29||Myth and Royal Power in King Lear||-||King Lear|
|W, May 1||Review||-||Review|
|May 4-11||FINAL EXAM||-||-|
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