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Midsummer Study Guide 2014
Midsummer Study Guide 2014
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A Midsummer Nights Dream: A Guide
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for Teachers
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The Warehouse Theatre
2014-15 Educational Touring Production
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For more information, contact Anne Tromsness, Education Director
anne@warehousetheatre.com
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2
What we hear in many schools is that Shakespeare continues to provide a challenge to students and
teachers. We hear from educators about the struggle they experience helping students connect with
plays that focus on heightened language and a celebration of rhetorical structure and device, when our
culture seems to focus less and less on appreciating both language and reason. We work with wonderful
teachers who work hard to keep the Bard relevant to the upcoming generation, and we love to partner
with as many schools and classrooms as we can. But even if were not in your classroom we want to
serve as a resource for you!
It is in this spirit that we have designed this study guide intended for educators in middle and high
schools, to use as a tool to enhance student comprehension and enjoyment of Shakespeares A
Midsummer Nights Dream. The exercises contained in this guide are designed to meet several
Common Core standards for the middle and high school English Language Arts classroom. This guide
may be used as a supplement to classroom study of this text, and is best used in the context of
attending the Warehouse Theatres student matinee performance of A Midsummer Nights Dream. For
information about booking The Warehouse Theatres touring productions in your community, contact
me at anne@warehousetheatre.com.
Additionally, we hope you will encourage your students to attend live theatre, and if in the Greenville
area, audience enrichment programming at The Warehouse Theatre. For each play, we host a series of
events which bring the plays themes, genre and production process into new focus for the community.
Our forum series takes an issue or theme raised in the play and envisions its current context in our own
community. We assemble a panel of community members with an expertise or investment in that issue,
and hold a facilitated, thoughtful dialogue and discussion. We also host pre-show talks lead by scholars
and theatre practitioners, contextualizing the plays we present by genre, time period or production
history. Talkbacks offer audience members the chance to ask questions of the plays director, actors
and design team. This programming is free and open to the public. For a full schedule of events, contact
me at anne@warehousetheatre.com.
We hope you will find this guide useful, and that you will let us know what information, topics for
discussion, and exercises you integrate into your curriculum. Let us know what you would like for us to
include in future study guides or resources. And thank you for your support of The Warehouse Theatre!
Contents
Theseus is the duke of Athens, the enchanting and enchanted ancient Greek city-state. Hes just defeated the
Amazon queen Hippolyta in war and will now marry her. He orders a festival of reveling to celebrate his
wedding. However, before the festival can get started, Theseus must attend to a serious matter. Egeus, a
wealthy Athenian brings his stubborn daughter, Hermia, before Theseus in order that he might pass
judgment on her for disobedience to her fathers will. Hermia loves Lysander and Lysander loves Hermia but
Egeus, Hermias father, has decided Hermia will marry Demetrius. Hermia dislikes Demetrius and refuses.
Egeus asks Theseus to resolve this situation by invoking an ancient law of Athens that says if a daughter
disobeys her father she faces many penalties. Theseus offers Hermia some options: obey her father and
marry Demetrius or choose to live the rest of her life as a nun, or suffer the penalty of death. He gives her
until the next moon to decide. After Theseus and her father leave, Hermia and Lysander devise a plan to
run away from Athens through the forest to elope. At that moment Helena, Hermias best friend. She loves
Demetrius and is heart-broken at the thought that her best friend, Hermia, might be getting married to him.
Hermia swears she has no intention of marrying Demetrius and shares her plan to marry Lysander. Helena
still suspects her friend of being disloyal and vows to find Demetrius and tell him of Hermia and Lysanders
plan.
Word of the wedding festival spreads and of the dramatic competition that awards money to the best play. A
group of tradesmen and laborers decide to enter the competition. They are carpenters, tailors, tinkers,
mechanics, but not actors. However, because they have in their group the best amateur actor in Athens,
Bottom the weaver. They also have Peter Quince who will write and direct the play and organize all the
rehearsals. They fear that other groups in the competition might spy on their rehearsals so they decide to
rehearse at night in the forest of Athens.
The forest outside the city is especially enchantedby fairies, ruled by the king and queen of fairies, Oberon
and Titania, who are not getting along and are living apart from each other. Their quarreling has put the
natural world into a state of chaos. They meet by chance one night by moonlight in the forest outside Athens.
Oberon orders his most loyal fairy, Puck, to seek out a magical flower in the forest whose nectar, if squeezed
onto a sleepers eyes, has a magical property that makes them fall in love with the first creature they see
upon awaking. Oberon plans to use it on Titania so that she will once again adore him. He has also overheard
poor Helena, now alone in the forest. He takes pity on her and orders Puck to use the flowers magic on
Demetrius so that he will love her. Puck mistakenly uses the flower on Lysander who wakes to see Helena as
she looks for Demetrius. He swears his love for her, pursuing her through the forest, leaving Hermia asleep
and alone. When Oberon sees what Puck has done, he orders him to try again and get Demetrius to fall in
love with Helena. Puck finds Demetrius and does as he is told. Demetrius wakes to see Helena and fall in love
with her. Now both Lysander and Helena are pursuing Helena and Hermia is chasing all of them to find out
what is going on. Puck, then enchants the sleeping Titania. He has discovered Bottom rehearsing in the forest
and turns him into an ass. Bottom is the first creature Titania sees when she wakes, so she falls in love with
him. The result is a night of chaos in the forest that soon gets out of hand. Oberon, seeing that hes gone too
far, undoes the spells and everyone sleeps until morning. The lovers are all discovered the next morning by
Theseus and his hunting party. They tell their tale and Theseus commands they return to Athens to be
married; Hermia to Lysander, and Demetrius to Helena. That night, after the weddings, the rude mechanicals,
led by Bottom, perform their play and win the competition. Oberon wakes Titania and they reconcile. That
night they bless the marriages of the Athenians and all is right again in the world.
5
ONE The world (or worlds) of the play begin in some sort of disorder or chaos as a result of some
inciting incident.
TWO Some figure of authority (a king or queen, prince, duke, parent) makes a decision that will have
a significant impact on the lives of the other characters in the world of the play
THREE- The dramatic or rising action of the play unfolds as the effected characters in the world of the
play take some action in response to the decision made by the authority figure. Often, this will
lead them on a journey to a middle world of the play that is in direct contrast or juxtaposition
to the world of disorder or chaos that starts the play.
FOUR - The actions taken by the effected characters force some sort of climax or resolution based on
the decision made by the figure of authority. In a comedy this resolution comes in the form of
multiple marriages and in a tragedy it comes in the form of multiple deaths. Ultimately, this
resolution restores order to the first world.
TERMS
Plot Inciting incident
Order Dramatic action / Rising action
Disorder Resolution
Chaos
Climax
ACTIVITY
Identify these four structural elements in A Midsummer Nights Dream.
Support your findings with textual evidence and examples.
Create a chart, illustration, or some visual aid to represent your findings.
Apply this test to another of Shakespeares plays to see if it holds up.
ACTIVITY
Choose several of Shakespeares tragedies and several of his comedies or romances and count the
number of weddings or deaths. Which comedy/romance has the most marriages at the end of the play?
Which tragedy or history has the most corpses at the end of the play?
ACTIVITY
Choose what you perceive to be the worst figure of authority and their bad decision from amongst
Shakespeares plays. Defend your choice against someone elses. What rubrics will you need to
establish to determine the worst decision? Will it be how many lives it alters? Will it be how many
disasters occur as a result?
6
TERMS
Imagery
Theme
Motif
Intrinsic
Essential
Literal
Duality
QUESTIONS
Which of the words above, in your opinion, represent themes, which represent motifs, which are
images? How do you decide which are which?
What themes, images or motifs, in your opinion, are missing from the list?
Assume you are asked to select just one from the list to represent the central theme of the play. How
would you go about choosing? Which word would you choose and why?
ACTIVITY
Create a chart with the themes heading individual columns. Assign motifs under their appropriate
thematic heading. Do you encounter any motifs that could go under more than one heading? How does
this help you better understand the play?
7
According to Stanley Wells and Gary Taylor and the Complete Oxford Shakespeare, these plays
were both most likely written within the time period (1594-95). Though the genres are
different, there are many similar devices, themes, and event plot points shared between them.
What can we learn about one play by studying the other? Listed below are parallel devices and
themes in the plays.
MSND R and J
bonds and liberty bonds and liberty
Demetrius Paris
Theseus Prince
Activity: track a similarity throughout both plays. How does the genre of the play comedy versus
tragedy, differ in the exploration of these themes or characters? Where are there elements of comedy in
Romeo and Juliet, tragedy in A Midsummer Nights Dream?
Activity: Look for related themes or different explorations of stories in other Shakespeare plays, or in
works by another author. How can presenting similar themes and ideas using a different genre affect the
message? How are antithetical genres effective in different ways?
8
I spent a week in Venice, staggered by the confidence and wealth of its past, drinking in its
painting and architecture. As I looked at the paintings in the Accademia from Byzantine to
Mannerist, I felt I was witnessing the emergence of an ever more complex view of the world,
alongside the means to express that complexity in oil paint, and through the use of angle, colour
and light. I felt a vivid sense of the correspondence between this visual richness and the
developing language of English drama and poetry in the sixteenth and seventeenth centuries.
Making visual connections is very important to many actors as we have become used to
appreciating complexity of meaning expressed as a stream of pictures in filmFor me, standing
in front of a Botticelli or a Veronese was like seeing a Shakespeare speech brought to life, a kind
of visual equivalent which stimulated my feelings for the world of the play.
He goes on to discuss another aspect of an actors process, observation of people and places.
The resultant street life is very rich, even in small towns like Arrezo and Giaole, fertile ground for
the peeping Tom aspect of an actors preparation.
I observed the groups of young people, the lounging grace with which they wore their clothes,
their sense of always being on show. I walked the streets, they paraded them.
I made up stories about them, and took surreptitious photographs.
TERMS
Accademia Byzantine Mannerist Botticelli Veronese
QUESTIONS
The actor, Roger Allam draws a connection between painting, architecture, language, drama and poetry.
How can these things be useful to an actor or other theatre artists in preparing a role or a production?
Mr. Allam points out that he noticed the ability of the artists to use new mediums such as oil paint to
capture the richness of their visual world. What advancements and new mediums or technology could
are used by artists today to express this? How would an actor or theatre artists make use of them?
Mr. Allam makes the observation that actors are influenced by streams visual images in films to grasp
complex meaning. This interview took place in the 1980s. What has changed since then and how would
it alter or enhance this observation today?
What importance do you think is placed on observation and interpretation in an actors preparation and
why?
ACTIVITIES
Using your library and the internet as a resource, create a collage of images drawn from paintings,
photographs, illustrations, video clips, etc. that reflect your interpretation of the world of A Midsummer
Nights Dream. Include passages of poetry or prose, song lyrics, words or symbols. This could be either
a digital project (Powerpoint, etc.) or a three dimensional project (poster board, etc.) Observe the
people and places around you in search of ideas or images for the characters and events in the play.
Write down or record your impressions of subjects that seem to fit into your idea of the play.
9
Rustic/ Rude (Male and Female): country born and bred, simple,
agrarian, earthy. Examples: Jaquenetta in Loves Labours Lost, Audrey
and Phebe in As You Like It, Silvius in As You Like It, Andrew Aguecheek
in Twelfth Night.
Companions
Councilors (Male or Female): faithful, honest, convey messages, have
information, confidantes. Examples: Horatio in Hamlet, Paulina and
Camillo in The Winters Tale, Benvolio in Romeo and Juliet, Banquo in
Macbeth
Mentors (Male): fatherly, give advice, supply the hero with the means to
pursue their desire. Examples: Don Pedro and Antonio in Much Ado
About Nothing, Duncan in Macbeth, The Duke in Measure for Measure
10
Reluctant Heroes
Rakes & Cads (male): Walk the line between good and bad but usually
turn out good,witty, bawdy, seductive, hot-tempered, loyal but
independent. Examples: Petruchio in The Taming of the Shrew, Mercutio
in Romeo and Juliet, Benedick in Much Ado about Nothing, The Bastard
in King John, Kent in King Lear
Comic Characters
The Wit: Language based humor, somewhat noble, melancholy
Examples: Jaques in As You Like It, The Fool in King Lear, Berowne in
Loves Labours Lost, Benedick in Much Ado about Nothing
Oppositional Characters
Villains (Male or Female): Charismatic but ruthless and malicious
characters. They are often murderous characters driven by blood-lust,
revenge, murderous ambition or simply hatred of the protagonist. Their
actions are mostly premeditated. Examples: Iago in Othello, Aaron and
Tamora in Titus Andronicus, Richard in Richard III
11
Parents
Dominant Father or Mother: These characters are often used in the role of
one of the other stock characters but it is important to include them in
their own category as well. These are strong, domineering characters who
are sometimes cruel or in opposition to the desires of their children in
favor of their own ambitions or sense of order and degree. Examples:
Lord and Lady Capulet in Romeo and Juliet, Egeus in A Midsummer
Nights Dream, Polonius in Hamlet.
Non-human characters
Fantasticals / Sprits (Male, Female, or Neither) Creatures of
imagination, fairies, sprites, goblins, and ghosts and even the occasional
god. Often used to provide insight into future events or to council and
protect mortal characters or to wreak havoc and mischief. Examples:
Titania and Oberon, Puck and the fairies in A Midsummer Nights Dream,
Ariel in The Tempest, Hecate and the weird sisters in Macbeth, The ghost
of Hamlets father in Hamlet, Caesars ghost in Julius Caesar.
12
Everyman characters
Rustics and Mechanicals: Pastoral or country rather than urban or city
based characters. They are often simple, comical, less sophisticated, but
always wise in common matters. Usually honest but highly
gullible. Examples: Bottom, Quince, Snout, Snug, Flute, and
Starveling in A Midsummer Nights Dream, Corin, William,
Audrey, Phebe, and Silvius in As You Like It, The Old Shepherd and his
son and family in The Winters Tale, Verges in Much Ado About Nothing.
Compelling Characters
Shakespeare certainly made use of stock characters but he also invented his fair
share of more complex characters by integrating the types. Because of this, his
characters seem more truthful, more human. These characters, perhaps
because of their humanness and complexity have survived through time,
unequalled in literature, and beloved for their depth and variety. Shakespeares
characters are deeply admired by theatre artists and especially actors who
consider his characters to be some of the most compelling, challenging and
difficult roles to play.
TERMS
Commedia Del-Arte Confidante
Stock Exposition
Canon Malicious
Rhetorical Charismatic
Peripheral
QUESTIONS
To which group do the characters listed below belong?
Titania, Oberon, Bottom, Helena, Egeus, Lysander, Demetrius, Puck, Theseus
How do we recognize them? How does their behavior give them away? How does the language in the
play (prose vs. verse), imagery, punctuation, etc. reveal which classification they belong to? What
themes are each of the characters most tied to?
ACTIVITY
Choose one or more contemporary films or television programs and determine what group each
character belongs to.
13
QUESTIONS
Can you think of any recent films or plays or television programs that have borrowed or adapted existing
stories, plots, or characters?
What might you learn about Shakespeare as a writer by comparing Romeo and Juliet with the original
source material mentioned above?
Activity
Choose two stories, folk tales, or fairy tales from when you were younger. Select one as your primary
story or plot and incorporate characters or moments from the other. Then, add a character or two and
action from your own imagination. Now youre working like Shakespeare!
14
Differences between live entertainment and pre-recorded, electronic, or other media. (Between
theatre and film)
Audience and performer awareness and connection. They are both present. Performers feed off of the
audience. One performance to the next can be very different based on the connection between
performers and audience. Performance develops right here and now and is dependent on audience
attention and focus.
Distractions do not go unnoticed by the performers
Films etc. can be re-viewed if something is missed; they can be interrupted yet still viewed from start to
finish. Live theatre is different. If the viewer misses something, they cant rewind.
From the moment the audience member enters, the performance elements are being presented to her
through various theatrical elements.
Find seat, remove coat or jacket before you sit, sit properly in seat, be aware and courteous of patrons
on either side and in front or behind you. Keep your feet off the seat or seat back in front of you.
Take in the set/scenery, listen to the music, read the prepared material in the program.
Converse with your friends or neighbors but at a level that allows everyone else to do so as well.
Conversation should stop when the lights, sound, curtain or actors change in a way that makes you
aware things are about to start.Intermission is a great time for talking.
From entering the theatre to the final curtain, clues and elements relating to the performance, the
story, the themes etc. are being presented and should not be missed due to distraction or
inattentiveness.
Plays tend to accelerate as the story unfolds. Your attention needs to stay with them and increase as
the story unfolds in order to really get the most out of the experience.
Avoid outside distractions by turning off cell phones, not conversing with friends or neighbors during the
performance, not texting during the performance and not getting up to use the restrooms or wander
15
the lobby repeatedly. This may cause you to miss key elements of the story and inhibit your enjoyment
of the play and it will be distracting to other audience members and the performers as well.
Start to finish
Plays may begin with a recorded or live speech before the show. This is the formal beginning of the
performance and is often indicated by a lowering in level of the house lights (the lights over the
audience) and a change in lights on the show curtain or set. At this point you should be quiet and
attentive.
The play/story will usually begin when the house lights dim completely and lights come up full on the set
or the curtain rises to reveal the set and/or characters.
Plays are traditionally divided into acts which are in turn separated by scenes. There may or may not be
intermissions (breaks in the story for you to visit the lobby and/or restrooms) between acts. These may
last ten to fifteen minutes. The number of intermissions will be indicated in your program and/or during
the pre-show speech. It is acceptable and encouraged to applaud at the end of an act. Normally
applause between scenes is discouraged. You should always applaud at the end of the play and while
the performers take their bows (curtain call)
While talking during a performance is discouraged, it is acceptable to laugh or react to moments that are
funny or engaging. This also depends on the type of show (for example in a childrens show, the
performers may want the audience to interact and converse with them more than in a play for older
children and adults.)
The live theatre asks more of an audience in terms of attention, focus, and thought. This is a good thing.
It makes you work a little harder and asks more questions than you may be used to but thats because
the theatres origins and traditions are rooted in societal rituals that brought communities together in
order to discuss important social issues. Plays were not intended to be purely entertaining though
many are in the modern theatre. A performance doesnt end with the curtain coming down or the lights
fading to black; discussions and reflection after the performance are part of the live theatre experience.
More succinctly put dont you love it when someone tells you a story? And dont you want to make
sure you catch it all?
Shakespeare, and other live theatre is well, is not performed and produced to make the audience feel
alienated. Its about connection; its about humanity, and about what we recognize in our own lives
as well. You may find yourself laughing, crying, nodding your head in agreement, or turning away in
disgust. All those on stage and those who have contributed to the play are seeking connection with you.
They love the story they are telling, find it compelling and useful in some way, and hope to relay that to
you. All work aside let yourself experience it!
16
In 1623 two of his theatrical partners, John Hemminges and Henry Condell organized and had
printed the First Folio edition of the collected plays of their friend William Shakespeare. Half of
this collection included plays that had previously been unpublished. To these two gentlemen
we owe a great debt.
William Shakespeare is arguably the greatest playwright of the English language. His body of
work has stood the test of time and distance with his plays still being produced all over the
world on a regular basis. He is one of the most produced playwrights in history.
18
Shakespeares language
- Shakespeares most striking feature is his use of and command of language.
- Shakespeare had only a sparse formal education. There were no dictionaries and organized
grammar texts would not appear until the 1700s.
- As a student, Shakespeare would have studied the English language no more than other men of
average education.
- His education consisted primarily of translating, copying and reciting Classical Texts, such as the
Bible, Holinsheds Chronicles, The Iliad, the works of Dante and Herodotus and Ovids
Metamorphoses. Many of his plotlines and references come from these works.
- Shakespeare was also very familiar with dramatic and poetic texts both of his day and before. For
example, many of his characters and structure of his stories come from Commedia Del Arte, and
from the Senecan tenets of plot. He also referenced Thomas Kyds The Spanish Tragedy, and
Christopher Marlowes plays such The Jew of Malta (in the case of The Merchant of Venice). He
borrowed heavily from poet Edmund Spenser, most notably The Faerie Queene.
- The Oxford English Dictionary credits Shakespeare with introducing nearly 3,000 words into the
English language. (these include eyeball, assassination, bedroom, and other commonly used
words.)
- He is estimated to have had a vocabulary ranging in numbers upward of 17,000 words (four times
the average educated man).
- There are 7000 words in his works that are used only once and never again. This is more than the
number of words than occur in the entire King James Bible.
- Shakespeare's English is not Old English, but rather a raw and young form of the Modern English
spoken today.
- Word order, as the language shifted from Middle to Early Modern English, was still a bit more
flexible, and Shakespeare wrote dramatic poetry, not standard prose, which gave some greater
license in expression.
- This facility with language, and the art with which he employed its usage, is why Shakespeare is as
relevant today as he was in his own time.
19
Shakespeares World
Most of Shakespeares plays were written during what is referred to as the Late or High Renaissance
period. In England, this era is also referred to as the Elizabethan Period after Queen Elizabeth I. It is
important to note that Shakespeares world, while dominated by Elizabeth, was shaped by other
monarchs before and after her reign. Starting with her father, Henry VIII, and concluding with her
nephew, James I we see that Shakespeare was the subject of a turbulent and volatile royal family.
The Theatre: 1576-1598. The first public theatre in London. When it was torn down its timbers were
used in constructing the first Globe Theatre. It was owned by James Burbage and his son Richard who
would originate many of Shakespeares leading characters including Hamlet.
The Blackfriars: Eventually owned by Richard Burbage in 1597 and intended to operate as a second
space for the Kings Men.
The Curtain: One of the longest standing theatres, it lasted from about 1577 until the 1660s. The Rose:
Probably the first London theatre in which Shakespeares plays were seen. Opened by Phillip Henslowe
who would go on to work frequently with Shakespeare. Ned Allyn, a popular actor took over in later
years but the theatre fell into ruins and could not compete with the newly built Globe Theatre. The
Rose was torn down in 1605.
The Swan: Little is known of this theatre which operated between 1595-1632. It is important to history
because of a famous sketch of it made by Johannes de Witt and later copied by Aernoudt. This sketch
provides us with the most detailed picture of an Elizabethan theatre.
The Globe: Home to the Lord Chamberlains Men (Later the Kings Men) the first version of this theatre
opened in 1599. Both Shakespeare and Burbage were part owners. It burnt down in 1613 and a new
Globe was built in 1614 and lasted until 1644.
Fortune Theatre: Built by Phillip Henslowe in 1600 to compete with the Globe Theatre. The contract for
the construction provides detailed information about the characteristics and operation of an Elizabethan
theatre.
Some thoughts about William Shakespeare and some fun facts about the
play
He who desires to understand Shakespeare truly must understand the relations in which
Shakespeare stood to the Renaissance and the Reformation, to the age of Elizabeth and the age of
James; he must be familiar with the history of the struggle for supremacy between the old classical
forms and the new spirit of romance.
Oscar Wilde
Shakespeare said everything. Brain to belly; every mood and minute of a mans
season. His language is starlight and fireflies and the sun and the moon. He
wrote it with tears and blood and beer, and his words march like heartbeats. He
speaks to everyone and we all claim him, but its wise to remember, if we would
really appreciate him, that he doesnt properly belong to us but another world
that smelled assertively of columbine and gun powder and printers ink and was
vigorously dominated by Elizabeth.
A Midsummer Nights Dream is one of 10 Shakespeare plays to include an epilogue. Romeo and Juliet
is another. These two plays, other than their genres (comedy vs. tragedy) have much in common in
terms of theme, imagery, and plot.
Blank verse was first used by the Earl of Surrey in the early 1500s. He was
translating Virgils Aeneid and looking for a corresponding Latin meter, and
found it in the Italian iambic pentameter model. Blank to the Elizabethan
meant simple, or unadorned. Within 50 years it was the preferred form used by
English dramatists.
22
Text editions:
The Riverside Shakespeare 2nd ed. The Complete Works. 1997, - Houghton Mifflin Company, Boston
and New York
The Complete Works of William Shakespeare, The Cambridge Text Established by John Dover Wilson.
1921, Cambridge University Press Octopus Books Ltd. 1980
Source/reference texts:
Websites:
Shakespeares Words, www.shakespeareswords.com this is the official David and Ben Crystal website,
with the complete works with glossary, themes and motifs, allusions, and much, much more.
Folger Shakespeare Library, www.folger.edu Replete with lesson plans, a teachers blog, and
information about Folger programming and collections.