Lesson Plan Template Curic 1a Daniel Jordan 18669233

Daniel Jordan 18669233
Lesson Plan
Topic area: English – Stage of Learner: 4 – Year 8 Syllabus Pages:

Allegorical language/ 123, 127, 131, 135
figurative phrases in
Shakespeare’s Merchant of
Venice
Date: X/X/2019 Location Booked: English rooms Lesson Number: 1 /3
Time: 60 minutes Total Number of students: 24 Printing/preparation

Power point, Youtube, (3) copies
Of Act1 Scene3 of The Merchant
Of Venice
Outcomes Assessment Students learn about Students learn to

Syllabus outcomes Students will make Students learn about the Students will learn to situate
written responses to power and meaning of the major allegories studied in
EN4-1A Responds to text the ‘pound of flesh’ significant allegorical textual a contemporary location and
for understanding, interpretation, allegory to language. Students will also across multiple interpretations.
critical analysis, imaginative expression
demonstrate be introduced to Students will also experience a
contemporary context. Shakespearean drama and taste of dramatic performance
and pleasure They will also the play The Merchant of of a Shakespearean play.
EN4-3B uses and describes language participate in group Venice at an entry level to
forms, features and structures of texts discussion to show scaffold later learning.
understanding of the
appropriate to a range of purposes,
second allegory/ idiom
audiences and contexts ‘all that glitters is not
EN4-5C thinks imaginatively, creatively, gold’. Some students
interpretively and critically about will also practice oral
performance of part of
information, ideas and arguments to
the play.
respond to and compose texts
EN4-7D demonstrates understanding
of how texts can express aspects of
their broadening world and their
relationships within it
Cross Curriculum themes & General capabilities Explicit subject specific concepts and skills
Students will engage with critical and creative Practice of oral performance of a written text
thinking around figurative language and meaning. (play)
They will also develop an ethical understanding Oral discussion of themes and topic
derived from the two main phrases discussed, Written responses to thematic questions
and how they relate to lifestyle choices today.
Quality Teaching Elements (lesson focus) Highlight the appropriate areas
Page 1 of 26
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking

This refers to pedagogy focused on producing deep understanding of important, 1.2 Deep understanding 1.5 Metalanguage
substantive concepts, skills and ideas. Such pedagogy treats knowledge as something 1.3 Problematic 1.6 Substantive
that requires active construction and requires students to engage in higher-order knowledge communication
thinking and to communicate substantively about what they are learning.
Quality Learning Environment 2.1 Explicit quality criteria 2.4 Social Support
This refers to pedagogy that creates classrooms where students and teachers work 2.2 Engagement 2.5 Students’ self-regulation
productively in an environment clearly focused on learning. Such pedagogy sets high and 2.3 High Expectations 2.6 Student direction
explicit expectations and develops positive relationships between teacher and students
and among students.
Significance 3.1 Background 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and important to knowledge 3.5 Connectedness
students. Such pedagogy draws clear connections with students’ prior knowledge and 3.2 Cultural knowledge 3.6 Narrative
identities, with contexts outside of the classroom, and with multiple ways of knowing all 3.3 Knowledge
cultural perspective. integration
How the quality teaching elements you have identified are achieved within the lesson.
Teaching Indicators of presence in the lesson

element
1.1 Learning to place expressive, figurative language in its historical and contemporary
contexts.
Students have to translate the two figurative phrases in to contemporary/ alternative
1.4 situations requiring manipulation and synthesis of ideas.
1.5 Students learn to recognise figurative phrases and allegorical language as literary tools/
concepts.
1.6 Each figurative phrase has class discussion and interaction. Students can also come up with
their own phrases to show understanding of the meaning of allegorical language. Finally
they get to discuss themes from the play itself in relation to these phrases.
2.2 Students get to watch Youtube videos, write responses to written tasks and engage in class
discussion.
2.3 Students are introduced to Shakespearean language as well as finding context for it in the
play, and then taking that to a modern context also.
2.4 Students are encouraged to join the discussion where there are no wrong answers due to
the figurative nature of the language being discussed.
2.5 Students will be busy using a mix of oral discussion, oral performance (or spectating
performance) and writing written responses.
3.3 Students get to see how language from 1596 is still relevant and in use today.
3.6 Student get to connect the two figurative phrases with the overall drama of The Merchant
of Venice and here readings of parts of the play that are linked to greater themes that will
become connected to the next two related lessons.
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Time Teaching and learning actions Organisation Centred

T/S
1-5 Roll call Teacher: T
Introduction of lesson plan – looking at Shakespeare’s The
Merchant of Venice for two key allegories that have become Student:
common vernacular – “a pound of flesh” and “all that glitters
is not gold”. Explain to students that as an outcome they will Resources:
be able to learn the meaning of these two allegories/
figurative phrases and place them in a modern context.
5-15 To assist with placing names and events of the text, students Teacher: PowerPoint T
will be shown “Merchant of Venice – Very Short and Quick
Guide” on Youtube (7 minutes). Allow 3 minutes at the end Student:
for questions.
https://www.youtube.com/watch?v=yPbW-Zjg7rM Resources: Youtube
15-20 In power point provide a definition for the “pound of flesh” Teacher: PowerPoint T
allegorical phrase found at Phrases.org:
https://www.phrases.org.uk/meanings/284400.html Student:
Next students will watch the short video discussing “A pound
of flesh – Shakespeare Speaks” (4 mins) to introduce them to Resources: Youtube
the first major allegory being examined in the lesson and to
scaffold their learning for the second allegory.
https://www.youtube.com/watch?v=aDfL9inzd30
Question to class: Have you ever heard anyone use this
expression?
20-30 Oral exercise: Ask for volunteers for Antonio, Bassanio and Teacher: S
Shylock. Read Act 1, Scene 3, 115 to scene end.
Student:
Resources: 3x Copies of The Merchant

of Venice, Act1, Scene 3 115 to End.
30-40 Written exercise: “A pound of flesh allegory”. Following Teacher: PowerPoint S
questions displayed on PowerPoint slide deck:
If someone wants a ‘pound of flesh’ – what does it mean Student: Textbook or device
when it is asked:
• By a business manager to their sales staff? Resources:
• By a first-grade sports coach to their players?
• By a regiment captain to his troops in world war
one?
• By a drama producer to their actors?
• Students can come up with their own Q&A.
Alternative exercise: To help students feel comfortable who

aren’t used to or are struggling with this kind of language,
ask them to come up with some common figurative
expressions (e.g. you can’t judge a book by its cover).
Ask for some volunteers to share their answers with the

class.
40-45 Class discussion: Display on PowerPoint slide deck the Teacher: PowerPoint S
question and then throw open for discussion:
Class Q.: Who has Antonio given (figuratively) his ‘pound of Student:
flesh’ to – Shylock or Bassanio? Does the end of this drama
cost Shylock a ‘pound of flesh’? Resources:
45-48 Now that students have understood the first phrase, Teacher: PowerPoint T
introduce the second famous figurative phrase on
PowerPoint: “The proverbial saying 'All that glitters is not Student:
gold' means that not everything that is shiny and superficially
attractive is valuable”. Resources:
https://www.phrases.org.uk/meanings/all-that-glitters-is-
not-gold.html
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48-56 Class discussion: Using power point show the three items Teacher: PowerPoint S
below. Ask the class how they could relate to the phrase “all
that glitters is not gold”. Student:
• Gaining a senior executive role in business (e.g. but
losing all personal time and time with family) Resources:
• Becoming a famous celebrity (e.g. but pursued by
paparazzi and obsessed fans)
• Marrying someone for their wealth and assets (e.g.
but not for love)
56-60 Conclusion Teacher: T
Speak to the class on the power and meaning of figurative
phrases and how many of Shakespeare’s allegories and Student:
idioms survive in the common lexicon to this day.
Resources:
Reflection
What have I learned about the teaching and learning process when preparing this lesson?
I’ve learned that time is very precious in structuring a lesson, and that trying to cover too
much can dilute the value of stressing key concepts. I did however find a way to cover
several types of experiences in a single hour, from writing, listening, discussing to
performing.
How am I measuring the outcomes of this lesson?
Learning Outcome Method of measurement and recording

EN4-1A Responds to text Written exercises and class discussions, as well as
for understanding, performance or audience to performance from a scene of
interpretation, critical the play.
analysis, imaginative
expression and pleasure
EN4-3B uses and describes Learns to understand and extrapolate meaning of figurative
language forms, features and phrases/ allegorical language as expressed in written
structures of texts exercise and class discussions.
appropriate to a range of
purposes, audiences and
contexts
EN4-5C thinks imaginatively, Written exercise includes translating the original meaning
creatively, interpretively and of the phrases into contemporary contexts.
critically about information,
ideas and arguments to
EN4-7D demonstrates By writing the major phrases in to contemporary contexts,

understanding of how texts students demonstrate how meaningful literature has an
can express aspects of their enduring impact and appeal.
broadening world and their
Other considerations
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Complete the table blow by inserting the AISTL graduate standards that you are
demonstrating and indicates the evidence from this lesson that should comply with the
standard.
Graduate Evidence within this lesson

Standards
1.2 Lesson uses written expression, classroom discussions and dramatic
performance to allow for a variety of methods of learning.
2.5 Students develop their literacy skills through exercises that explore
language and literary technique.
3.1 Within the written exercises there is opportunity for students to work with
phrases they are more comfortable with, or to challenge themselves with
the phrases used in the Shakespearean play.
3.2 This lesson is one of three that will build upon scaffolded exercises to
develop student engagement and learning.
3.3 Includes PowerPoint teaching, play readings, class discussion and writing
tasks.
3.4 Uses the main text The Merchant of Venice plus YouTube.
5.1 Assessment strategies include evaluating written tasks, class participation
and demonstration of understanding, and oral performance of the text.
5.5 Opportunity to provide feedback on written task as well as responses given
in class discussion.
WHS
What are the key risk issues that may appear for and need to be reduced/eliminated in this
lesson? Using your syllabus and support documents as well as other WHS policy- Outline
the key WHS considerations that are to be applied in this lesson?
There are no particular risks involved in conducting this lesson that seek redress.
References (In APA)

Australian Institute for Teaching and School Leadership Limited (AITSL). (2010). Australian
Professional Standards for Teachers. Retrieved from
https://www.aitsl.edu.au/teach/standards
BBC Learning English. (2016, April 29). Shakespeare Speaks: A pound of flesh. Retrieved
form https://www.youtube.com/watch?v=aDfL9inzd30
Martin, G. (2019). The Phrase Finder. A Pound of Flesh. Retrieved from
https://www.phrases.org.uk/meanings/all-that-glitters-is-not-gold.html
Martin, G. (2019). The Phrase Finder. All that glitters is not gold. Retrieved from
https://www.phrases.org.uk/meanings/all-that-glitters-is-not-gold.html
Pound of flesh: Something which is owed that is ruthlessly required to be paid back.
NSW Education Standards Authority (NESA). (2006). A classroom practice guide 2nd ed.
(2006). Retrieved from https://app.education.nsw.gov.au/quality-teaching-
rounds/Assets/Classroom_Practice_Guide_ogogVUqQeB.pdf
NSW Education Standards Authority (NESA). (2016). New NSW Syllabus Learning Across the
Curriculum. Retrieved from
Page 5 of 26
https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-
areas/english-year-10/english-k-10
Shakespeare, W. (2015). The Merchant of Venice. Minneapolis, MN: First Avenue Editions,
a division of Lerner Publishing Group.
St Berns English. (2016, October 25). Merchant of Venice – Very Short and Quick Guide.
Retrieved from https://www.youtube.com/watch?v=yPbW-Zjg7rM
Resources Attached:
You must list all the resources that you have created or found in this space.
Page 6 of 26
Lesson Plan
Topic area: English – Literary Stage of Learner: 4 – Year 8 Syllabus Pages:

techniques and meaning: 123, 127, 131, 135
zoomorphism and inhumanity in
Shakespeare’s Merchant of
Venice
Date: X/X/2019 Location Booked: English Lesson Number: 2 /3
rooms
Power point, Youtube,
The Merchant Of Venice

Syllabus outcomes Lesson Build on their Understand how
EN4-1A Responds to text assessment introduction to Zoomorphism applies
for understanding, Students will Shakespeare and in context of the
interpretation, critical make a list of literary expression. Shakespearean play,
analysis, imaginative zoomorphic Focus on and also in a greater
expression and pleasure terms and how Zoomorphism and the social context of
EN4-3B uses and describes they are used to positioning of the discourses that make
language forms, features and demean or character Shylock as people sub-human.
structures of texts dehumanise. sub-human. They will also build on
appropriate to a range of The second Humanity and their understanding of
purposes, audiences and exercise will ask inhumanity expressed allegoryical language.
contexts them to build on through words and
EN4-5C thinks imaginatively, their knowledge thought forms.
creatively, interpretively and of both
critically about information, dehumanising
ideas and arguments to speech as well as
respond to and compose figurative
texts language to place
EN4-7D demonstrates characters into
understanding of how texts common nursery
can express aspects of their rhymes.
Aboriginal and Torres Strait Islander histories and Writing with figurative terms
cultures Exploring creative interpretations of texts

Intellectual Quality 1.1 Deep 1.4 Higher-order
This refers to pedagogy focused on producing deep knowledge thinking
understanding of important, substantive concepts, 1.2 Deep 1.5 Metalanguage
skills and ideas. Such pedagogy treats knowledge as understanding
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something that requires active construction and 1.3 Problematic 1.6 Substantive
requires students to engage in higher-order thinking knowledge communication
and to communicate substantively about what they
are learning.
Quality Learning Environment 2.1 Explicit quality 2.4 Social Support
This refers to pedagogy that creates classrooms criteria 2.5 Students’ self-
where students and teachers work productively in an 2.2 Engagement regulation
environment clearly focused on learning. Such 2.3 High 2.6 Student direction
pedagogy sets high and explicit expectations and Expectations
develops positive relationships between teacher and
students and among students.
This refers to pedagogy that helps make learning knowledge 3.5 Connectedness
more meaningful and important to students. Such 3.2 Cultural 3.6 Narrative
pedagogy draws clear connections with students’ knowledge
prior knowledge and identities, with contexts outside 3.3 Knowledge
of the classroom, and with multiple ways of knowing integration
all cultural perspective.

element
1.1 Students will build on their previous lesson of figurative language and take it
another step forward into a literary technique that leads to a greater social issue.
By bringing the use of zoomorphism in the text to historical dehumanising language
1.2 used in other contexts they will develop deep understanding.
In the written exercises, students will show higher-order thinking by applying the
1.4 concepts in different ways.
1.5 Learn the terms Zoomorphism and Anthropomorphism.
2.3 Students have to extrapolate devices used in the play to use in alternative contexts.
3.2 An introduction to the treatment of indigenous first Australians as ‘subhuman’ by

colonial Europeans.
3.3 The lesson connects knowledge relating to different historical uses but used to
dehumanise in the same sort of fashion.
3.6 Builds on the figurative language phrases from last lesson as well as Shakespearean
expression.
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T/S
1-5 Roll Call Teacher: T
Introduce lesson that will take a look at another form
or figurative speech: Zoomorphism in Shakespeare’s Student:
The Merchant of Venice. Reminding them briefly what
was covered in the last lesson. Explain how this will be Resources:
a platform for looking at what is human and inhuman
in the context of the play and its positioning of Shylock
the Jew, and how that also relates to the views of Jews
in Nazi Germany in indigenous Australians by the
colonial British.
5-10 In PowerPoint provide a definition for the focus Teacher: T
device: Zoomorphism:
Zoomorphism is the device of giving animal-like Student:
qualities to anything that is not that animal such as
humans, gods, and inanimate objects. Zoomorphism Resources: PowerPoint
can also include giving the features of one animal to
another, such as if a dog were to say “meow” in a
cartoon or work of literature.
http://www.literarydevices.com/zoomorphism/
Compare to Anthropomorphism for comparative
knowledge and purposes.
http://www.literarydevices.com/anthropomorphism/
10- PowerPoint: Show examples from The Merchant of Teacher: T
15 Venice where Shylock is referred to as a dog or wolf.
Student:
Resources:
PowerPoint, The
Merchant of Venice
15- Written exercise: Write down the qualities of a dog or Teacher: S
30 wolf that you believe are being directed at Shylock by
the Venetians (e.g. dirty, mangy, threatening, Student:
predatory etc.). Ask the class for their answers and Resources:
discuss. PowerPoint, textbook
Advanced: Does Shylock ‘own’ any of these attributed or device
from the texts displayed? (e.g. since I am a dog beware
my fangs)
30- YouTube: Show Shylock’s speech from the cinematic Teacher: T
35 production (Al Pacino) “if you prick us do we not
bleed?” (2 minutes): Student:
https://www.youtube.com/watch?v=th7euZ30wDE
Resources: YouTube
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35- Historical & contemporary contrasts – treating Teacher: T

37 people as ‘sub-human’. Show slide with Smith’s (2011)
quotation on how the Nazi’s depicted the Jews as Student:
subhuman “Untermenschen”.
Resources: PowerPoint
37- Historical & contemporary contrasts – treating Teacher: T

40 people as ‘sub-human’. Show slide with Spencer’s
description of aboriginal people from the 1913 printed Student:
report to the government. Also provide the definition
of “Terra Nullius” provided by the Aboriginal Heritage Resources: PowerPoint
website:
https://www.aboriginalheritage.org/history/history/
40- Exercise: To develop and build on figurative language Teacher: S
55 from last lesson, and the literary device of
Zoomorphism, students will use either nursery rhyme Student:
of The Three Little Pigs or Little Red Riding Hood and
place characters from either The Merchant of Venice, Resources:
or the examples of Jews in Nazi Germany or Colonial PowerPoint, textbook
Britain’s reaction to aboriginals in Australia. They are or device
to decide who plays what characters in each nursery
rhyme. E.g. The Big Bad Wolf could be Shylock, Adolf
Hitler, Captain Cook and so on. Students should be
encouraged to be creative, respectful and that there
are no wrong answers, only alternative perspectives.
55- Conclusion: Discuss with the class the power of Teacher: T
60 language and allegorical/ figurative phrasing (as
studied last lesson) to label and dehumanise people, Student:
and how that has a historical context that begins in
Shakespeare’s play but has run throughout both Resources:
literature and history.
For next lesson ask the students to read the
courtroom scene (Act 4 Scene 1) from The Merchant of
Venice. Ask for volunteers to play characters in the
courtroom scene for next lesson and ask students to
prepare questions of the same characters relating to
the themes discussed in this lesson and lesson one.
Reflection
What have I learned about the teaching and learning process when preparing this lesson?
This lesson has outlined how much opportunity there is to meet cross-curriculum goals and
to bring historical textual meanings into the present day for students to unpack and
discover.
Page 10 of 26
EN4-1A Responds to text Through the two written exercises students will
for understanding, demonstrate their understanding of Shylock’s speech
interpretation, critical and his positioning by the Venetians.
analysis, imaginative
EN4-3B uses and describes Students will not only list zoomorphic attributes but go
language forms, features and on to use these in structuring their nursery rhyme
structures of texts responses.
appropriate to a range of
contexts
EN4-5C thinks imaginatively, The nursery rhyme exercise will demonstrate their
creatively, interpretively and imaginative application of humanity/ inhumanity in
critically about information, textual context.
EN4-7D demonstrates Through the nursery rhyme exercise, students can

understanding of how texts demonstrate an understanding of the Nazi’s framing of
can express aspects of their Jewish people and the British colonial framing of
broadening world and their indigenous Australians which will broaden the
historical and contemporary world view for students.
Aboriginal and Torres Strait By listing zoomorphic attributes and integrating into
Islander histories and cultures their nursery rhyme, students can show that they
understood the European mentality of superiority
when encountering indigenous populations.
demonstrating and indicates the evidence from this lesson that should comply with the
standard.

Standards
1.2 Lesson uses written expression, and discussion to allow for a variety of
methods of learning.
2.4 The lesson is used to refute ideas that the first Australians were tribal,
animalistic or inferior by showing that the language is a technique of the
oppressor.
2.5 Students develop their literacy skills through exercises that explore
language and literary technique.
3.1 Within the written exercise’s students can build up their repertoire of
zoomorphic language to apply to its contextual use as a tool of
dehumanisation.
Page 11 of 26
3.2 This lesson is two of three that will build upon scaffolded exercises to
develop student engagement and learning.
3.3 Includes PowerPoint teaching, class discussion and writing tasks.
3.4 Uses the main text The Merchant of Venice plus YouTube as well as two
commonly known nursery rhymes for the exercise.
5.1 Assessment strategies include evaluating written tasks.
WHS
What are the key risk issues that may appear for and need to be reduced/eliminated in this
lesson? Using your syllabus and support documents as well as other WHS policy- Outline
the key WHS considerations that are to be applied in this lesson?
References (In APA)

Aboriginal Heritage Office. (2019). A Brief Aboriginal History. Retrieved from
https://www.aboriginalheritage.org/history/history/
Australian Institute for Teaching and School Leadership Limited (AITSL). (2010). Australian
Professional Standards for Teachers. Retrieved from
Government of the Commonwealth of Australia. (1913). Northern Territory of Australia
Report of the Administrator for the Year 1912. Government Printer for the State of
Victoria. Retrieved from
https://aiatsis.gov.au/sites/default/files/docs/digitised_collections/remove/58926.pd
f
Literary Devices. (2019). Zoomorphism. Retrieved from
http://www.literarydevices.com/zoomorphism/
NSW Education Standards Authority (NESA). (2006). A classroom practice guide 2nd ed.
(2006). Retrieved from https://app.education.nsw.gov.au/quality-teaching-
NSW Education Standards Authority (NESA). (2016). New NSW Syllabus Learning Across the
Curriculum. Retrieved from
Shakespeare, W. (2015). The Merchant of Venice. Minneapolis, MN: First Avenue Editions,
a division of Lerner Publishing Group.
Smith, David. (29 March, 2011). “Less Than Human”: The Psychology Of Cruelty. Talk of the
Nation. Retrieved from https://www.npr.org/2011/03/29/134956180/criminals-see-
their-victims-as-less-than-human
Resources Attached:
Page 12 of 26
Page 13 of 26
Lesson Plan
Topic area: English – a Stage of Learner: 4 – Year 8 Syllabus Pages:

Shakespearean experience – re- 123, 127, 131, 135
enacting the final scene from The
Merchant of Venice and then
report on it incorporating the
techniques learned in the
previous lessons.
Date: X/X/2019 Location Booked: English Lesson Number: 3/3
rooms
Power point,
Copies for the class of The
Merchant of Venice, ACT 4,
Scene 1 (if whole play not
available)

Syllabus outcomes Students will be Oral debating in a As part of their
EN4-1A Responds to text assessed on their modified Socratic introduction to
for understanding, participation and Seminar format. Shakespeare, students
interpretation, critical originality/ will learn to perform
analysis, imaginative relevance to the drama, as well as to
expression and pleasure previous lessons participate in an ethical
EN4-3B uses and describes of their questions debate surrounding the
language forms, features and and answers. trial task. Student’s will
structures of texts Final written task also learn to use some
appropriate to a range of – a newspaper of the figurative
purposes, audiences and report on the language studied in
contexts trial. their own written
EN4-5C thinks imaginatively, report.
creatively, interpretively and
respond to and compose
texts
EN4-7D demonstrates
understanding of how texts
can express aspects of their
Debating
Page 14 of 26
Oral dramatic performance and criticism

Persuasive writing skills
Representing ethical debate in written and oral
formats.
Intellectual Quality 1.1 Deep 1.4 Higher-order
This refers to pedagogy focused on producing deep knowledge thinking
understanding of important, substantive concepts, 1.2 Deep 1.5 Metalanguage
skills and ideas. Such pedagogy treats knowledge as understanding 1.6 Substantive
something that requires active construction and 1.3 Problematic communication
requires students to engage in higher-order thinking knowledge
and to communicate substantively about what they
are learning.
Quality Learning Environment 2.1 Explicit quality 2.4 Social Support
This refers to pedagogy that creates classrooms criteria 2.5 Students’ self-
where students and teachers work productively in an 2.2 Engagement regulation
environment clearly focused on learning. Such 2.3 High 2.6 Student direction
pedagogy sets high and explicit expectations and Expectations
develops positive relationships between teacher and
students and among students.
This refers to pedagogy that helps make learning knowledge 3.5 Connectedness
more meaningful and important to students. Such 3.2 Cultural 3.6 Narrative
pedagogy draws clear connections with students’ knowledge
prior knowledge and identities, with contexts outside 3.3 Knowledge
of the classroom, and with multiple ways of knowing integration
all cultural perspective.

element
1.1 Students will bring their scaffolded knowledge of language, allegory, phrasing and
meaning to the Socratic Seminar and then incorporate into their final newspaper
report and seminar questions and answers.
1.3 Students will explore a complex debate around ethics, revenge, mercy and their
outcomes as they participate in the debate.
Students will engage with the term and structure of a Socratic Seminar in addition to
1.5 employing the metalanguage from previous lessons.
1.6 Students will engage in a lot of verbal interaction during the lesson feature which is
the Act 4 reading/ performance, followed by the Socratic Seminar.
2.1 Students will know they have to do their best to participate in lively, critical
discussion during the Socratic Seminar as well as write about it afterwards.
2.2 Students will get to be involved in the performance and seminar format before
writing it up in an exciting fashion.
Page 15 of 26
2.5 Students get to run/ regulate the seminar while being respectful of other student’s
input and opinions.
3.3 Students get to incorporate the knowledge of the previous two lessons in their
Socratic debate, as well as discuss social and ethical issues and the themes of
humanity and dehumanisation.
3.6 This lesson completes the narrative of the meaning of language, allegory, literary
devices that construct meaning towards people and the moral, ethical and social
outcomes they entail.
Page 16 of 26

T/S
1-5 Note: For this lesson, students are best prepared by having Teacher: T
had homework where they need to have read the
courtroom scene of Act 4 (if they have not read the whole Student:
play) and then have some questions prepared for the
Socratic Seminar. Student volunteers will take the central Resources:
roles of characters in the courtroom scene.
Optional – Students who will represent Portia, Shylock,
Bassanio and Antonio can attempt to wear some level of
costume to make the lesson more theatrical.
Roll Call
Introduction of lesson. The lesson will revolve around the
courtroom finale of The Merchant of Venice in the form of a
modified Socratic Seminar. Students should be asked to
prepare their questions and think through some alternatives
if their questions are covered by other students. Give a
short brief of the final written exercise.
5-7 Define the Socratic Seminar according to Israel (2002): “The Teacher: T
Socratic seminar is a formal discussion, based on a text, in
which the leader asks open-ended questions. Within the Student:
context of the discussion, students listen closely to the
comments of others, thinking critically for themselves, and Resources:
articulate their own thoughts and their responses to the PowerPoint
thoughts of others. They learn to work cooperatively and to
question intelligently and civilly”.
7-10 Setting the Scene: Arrange the classroom in a big circle to Teacher: T/S
represent the courtroom. Students performing the scene
can take centre stage, perhaps in some level of costume Student:
(optional but fun!).
Resources:
10- Shakespearean Performance: Student actors now read and Teacher: S

20 act out the courtroom scene from The Merchant of Venice
Act 4, Scene 1, 204 to 309. Other students can also use this Student:
time to write down more questions or refine their notes.
Resources:
Costumes?
The Merchant
of Venice
20- Socratic Seminar: After applauding the actors, the class now Teacher: S
40 becomes a modified Socratic Seminar where the actors do
their best to remain “in character” and answer questions Student:
from the room. Students should be encouraged to consider Prepared
the main themes and given some lead if necessary (e.g. questions.
Antonio, do you feel like you provoked Shylock by Note pad/
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constantly calling him a dog Jew? Shylock, why wouldn’t you paper to write
consider taking the doubled debt offered by Bassanio and ideas and take
wouldn’t that be a win over the Christian Venetians? etc.) notes.
Help steer the dialogue in to interesting moral debate
around humanity and inhumanity, the severity of the pound Resources:
of flesh and the idea that not all that glitters is gold.
Encourage student creativity and critical thinking.
40- Final written exercise: Having absorbed and tried many Teacher: S
55 different ideas from the Socratic Seminar, students now get
to use all of the knowledge from these three lessons to Student:
write a brief front-page newspaper report which they can
add in to Resources:
https://www.fodey.com/generators/newspaper/snippet.asp PowerPoint,
to make a newspaper headline. Device
Students should now write as a reporter breaking the fall out of
Shylock and Antonio’s showdown. Students should choose a
strong bias (through persuasive writing) for either the Jewish
Moneylender or the Venetian merchant.
Advanced Students should try to:
1. Use a allegory or allegoric language if possible (e.g.
Antonio was like the Christian Christ, prepared to die for
the love of his friend).
2. Consider zoomorphic terminology (e.g. that sly fox of a
lawyer cheated Shylock out of all he had).
3. Reference questions brought up during the Socratic
Seminar (e.g. what sort of moneylender refuses double
the debt owed him unless he is purely vindictive in
motive?).
55- Conclusion: Students should feel they have had a brief but Teacher: T/S
60 engaging introduction to Shakespearean drama and some of
the figurative language and debates. Discuss how the two Student:
figurative phrases as well as the zoomorphism lessons show
how language has powerful meaning that can be expressed Resources:
in written word or as oral translation such as in performing
the play or through the Socratic Seminar format. Ask
students for their feedback on what they liked most,
understood best and also struggled to understand or
disliked to further modify the lesson plan for future
programming.
Page 18 of 26
Reflection
What have I learned about the teaching and learning process when preparing this
lesson?
In preparing this lesson I’ve learned that there can be big rewards in letting the
students drive the lesson after the scaffolding provided in the previous two. This
opens up opportunities for creativity and engagement that (hopefully) will surprise
and delight the teacher.

EN4-1A Responds to text Assess student understanding of concepts through
for understanding, participation in the Socratic Seminar and the
interpretation, critical questions and answers they provide and come up
analysis, imaginative with.
EN4-3B uses and describes Assess within their participation in the seminar, and
language forms, features and also in the language forms related to all three lessons
structures of texts that they are able to weave into their final
appropriate to a range of newspaper report.
contexts
EN4-5C thinks imaginatively, Assess how students use the tools from the previous
creatively, interpretively and lessons to apply to the two major tasks in this lesson.
respond to and compose
texts
EN4-7D demonstrates Assess the student’s engagement with themes of

understanding of how texts social justice and ethics in the courtroom drama and
can express aspects of their subsequent seminar experience.
demonstrating and indicates the evidence from this lesson that should comply with
the standard.

Standards
Page 19 of 26
1.2 Lesson uses written expression, classroom discussions and debate and
dramatic performance to allow for a variety of methods of learning.
1.5 Students can participate at various levels in the debate, from simple
interrogation and response right up in to exploring the allegorical
language and ethical contexts in all lessons.
2.6 Students will engage with the Fodey.com newspaper headline creator
online for their final written piece.
3.2 This lesson is three of three that will uses previous scaffolded exercises
so students can engage in and with the final content.
3.3 Includes PowerPoint teaching, play readings and performance, class
discussion in a Socratic Seminar style and writing tasks.
3.4 Uses the main text The Merchant of Venice plus YouTube and the
Fodey.com site.
5.1 Assessment strategies include evaluating written tasks, class
participation and demonstration of understanding, and oral performance
of the text.
5.5 Opportunity to provide feedback on written task as well as responses
given in class discussion.
WHS
What are the key risk issues that may appear for and need to be reduced/eliminated
in this lesson? Using your syllabus and support documents as well as other WHS
policy- Outline the key WHS considerations that are to be applied in this lesson?
References (In APA)

Australian Institute for Teaching and School Leadership Limited (AITSL). (2010).
Australian Professional Standards for Teachers. Retrieved from
Fodey. (2019). The Newspaper Clipping Generator. Retrieved from
https://www.fodey.com/generators/newspaper/snippet.asp
Israel, Elfie. (2002). “Examining Multiple Perspectives in Literature.” In Inquiry and
the Literary Text: Constructing Discussions in the English Classroom. James
Holden and John S. Schmit, eds. Urbana, IL: NCTE, 2002.
NSW Education Standards Authority (NESA). (2006). A classroom practice guide 2 nd
ed. (2006). Retrieved from https://app.education.nsw.gov.au/quality-teaching-
NSW Education Standards Authority (NESA). (2016). New NSW Syllabus Learning
Across the Curriculum. Retrieved from
Resources Attached:
Page 20 of 26
Page 21 of 26
Academic Justification
These three lesson plans provided use Shakespeare’s play The Merchant of Venice as a
centre point to explore key learning out comes relating to engaging with the meaning
of language in a variety of forms, including allegorical, figurative phrases, new literary
devices and the introduction for students to the language of Shakespearean drama.
Students get to engage with these lessons is a variety of assessable and non-assessable
forms, such as play readings, written exercises, a Socratic Seminar debate and
classroom discussions. As Stefanakis (2010) states, students learn best from a multi-
faceted approach of oral, visual and written modes that lets students also engage at
various stages of ability which is the purpose of the connected structures of these
lessons.
The aim of these three lessons is to use a scaffolded approach (Stefanakis, 2010) that
builds every new lesson upon the last to meet key learning outcomes as stated in the
Stage 4 Syllabus (NESA, 2016) while making students feel “in control and confident”
of their learning (Lewis, 2006). While The Merchant of Venice is a relatively advanced
text for this stage, these lessons are not designed to be an in-depth study of
Shakespeare’s drama as such, but rather use the text to demonstrate thought-provoking
and thematic learning with the play as a platform. This satisfies the stage four
requirements of studying a drama (requiring at least two prescribed texts) as well as
providing texts “widely regarded as quality literature” (NESA, 2016). Furthermore, the
Syllabus requirements note that texts become “increasingly sophisticated” as students
move between stages three, four and five respectively (NESA, 2016).
While Shakespeare is not required until Stage 5 (NESA, 2016), the use of The Merchant
of Venice is designed to provide students with an introduction to Shakespeare’s work
while serving as a platform for studying allegorical phrases (the “pound of flesh” and
Page 22 of 26
“all the glitters is not gold”, Shakespeare, 2015). Furthermore, the play allows for
students expand upon the allegorical phrases and look at a particular couplet of literary
devices (zoomorphism and anthropomorphism) and how they function. This serves to
engage students with deep knowledge, deep understanding and higher-order thinking
as a key elements around these interconnected literary devices as outlined in the NSW
model of pedagogy (NESA, 2006). The play allows for some dynamic student
interactions throughout the lessons where they either get to be audience to or participate
in some drama readings, engage in a “courtroom” debate and experience relevant video
presentations via YouTube which addresses the outcome of providing students with
digital texts and multimedia (Stage 4 outcomes, NESA, 2016).
A key aspect of delivering a rich learning experience for all students is to provide for a
wide range of learning abilities (Stefanakis, 2010). Students come with varying degrees
of background knowledge (Stefanakis, 2010) so it is important to allow for different
levels of student engagement within each lesson. With the first lesson discussion on the
figurative phrase “a pound of flesh”, students are scaffolded through an introductory
video and then engage with contemporaneous examples to flesh out the allegory in more
familiar terms that relates to their level of language skill (Street, 2009). Students can
also engage at their level by introducing their own phrases to contribute to the
discussion (such as “you can’t judge a book by its cover”) which the teacher can then
relate to the narrative of the play (for example, the same students could be asked to talk
about their phrase in relation to Portia dressing as a male lawyer and winning the day).
Scaling the exercise continues into the next lesson where students can explore
zoomorphism in the main text through simple adjectives such as dirty or scary right
through to a more sophisticated analysis of zoomorphic language such as attributing the
meaning of a term like “predatory” to a moneylender. For an even more advanced
critical analysis, students can consider how Shylock appropriates some of the terms
Page 23 of 26
used to denigrate him which can provoke deep thinking and discussion around
language, labelling and marginalisation. This dovetails nicely with the allegorical
phrases in lesson one to scaffold students for the final lesson’s Socratic Seminar. In this
exercise students can show layered levels of understanding of the themes, literary
techniques and devices explored in the lesson through their tailored questions and
responses, demonstrating that the lesson outcomes have been achieved and that learning
is “deep and meaningful” (Gore, 2007). The final written task allows them to translate
their knowledge in to a textual format which can scale from a simple article
demonstrating a knowledge of the events (and therefore paraphrasing the
Shakespearean drama), up to a written piece that identifies the social, moral and ethical
debate. At the highest level of understanding, students can integrates their own use of
allegorical language to creative deeper meaning (Lewis, 2006).
The last major theme that is drawn together in these three lessons from Shakespeare’s
play is the social and ethical theme of dehumanisation. Just as it is important to develop
knowledge of literature and language meaning, these lessons seek to challenge student
growth and understanding by introducing them to a greater theme of human meaning
(Ferfolja, Jones-Diaz & Ullman, 2018). Likewise, this affirms Street’s (2009) assertion
that increasing literacy skills can broaden a student’s worldview. The lessons provide
an important segway into the cross-curriculum outcome of exploring Aboriginal and
Torres Strait Islander histories and cultures (NESA, 2016) and compare them to the
harrowing treatment of Jews both in The Merchant of Venice and also during World
War Two.
To conclude, the three lessons will challenge students to explore literary and language
techniques in allegorical phrasing and zoomorphic devices, while also encapsulating
themes of social and ethical complexity around humanisation and dehumanisation,
vengeance and mercy. These lessons also scaffold students for their upcoming stage 5
Page 24 of 26
and stage 6 work while giving them a taste for Shakespearean drama that will give them
the tools to do more thorough critical analysis on his other works.
Page 25 of 26
References
Ferfolja, T., Jones-Diaz, C., & Ullman, J. (2018). Understanding Sociological Theory
for Educational Practices. Second ed. 2018. Port Melbourne, VIC, Australia:
Cambridge University Press.
Gore, J. (2007). Improving pedagogy: The challenges of moving teachers toward
higher levels of quality teaching. In J. Butcher & L. McDonald (Ed.), Making a
difference: Challenges for teachers, teaching, and teacher education (pp.15-
33). Rotterdam, Netherlands: Sense Publishers.
Lewis, A. (2006). Redefining What High School Students Learn. Phi Delta Kappan
Magazine, 87(8), 564-565.
NSW Education Standards Authority (NESA). (2006). A classroom practice guide 2nd
ed. (2006). Retrieved from https://app.education.nsw.gov.au/quality-teaching-
NSW Education Standards Authority (NESA). (2016). New NSW Syllabus Learning
Across the Curriculum. Retrieved from
Shakespeare, W. (2015). The Merchant of Venice. Minneapolis, MN: First Avenue
Editions, a division of Lerner Publishing Group.
Stefanakis, E. (2010). Differentiated assessment: how to assess the learning potential
of every student. San Francisco, US: Jossey-Bass.
Street, B. (2009). Multiple literacies and multi-literacies. In R. BeardD. Myhill & M.
Nystrand The SAGE handbook of writing development (pp. 137-150). London:
SAGE Publications.
Page 26 of 26

Lesson Plan Template Curic 1a Daniel Jordan 18669233

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Topic area: English – Stage of Learner: 4 – Year 8 Syllabus Pages:

Time: 60 minutes Total Number of students: 24 Printing/preparation

Outcomes Assessment Students learn about Students learn to

Quality Teaching Elements (lesson focus) Highlight the appropriate areas

Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order thinking

Teaching Indicators of presence in the lesson

Time Teaching and learning actions Organisation Centred

Resources: 3x Copies of The Merchant

Alternative exercise: To help students feel comfortable who

Ask for some volunteers to share their answers with the

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

EN4-7D demonstrates By writing the major phrases in to contemporary contexts,

Graduate Evidence within this lesson

References (In APA)

Topic area: English – Literary Stage of Learner: 4 – Year 8 Syllabus Pages:

Outcomes Assessment Students learn about Students learn to

Quality Teaching Elements (lesson focus) Highlight the appropriate areas

Teaching Indicators of presence in the lesson

3.2 An introduction to the treatment of indigenous first Australians as ‘subhuman’ by

Time Teaching and learning actions Organisation Centred

35- Historical & contemporary contrasts – treating Teacher: T

37- Historical & contemporary contrasts – treating Teacher: T

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

EN4-7D demonstrates Through the nursery rhyme exercise, students can

Graduate Evidence within this lesson

References (In APA)

Topic area: English – a Stage of Learner: 4 – Year 8 Syllabus Pages:

Outcomes Assessment Students learn about Students learn to

Oral dramatic performance and criticism

Teaching Indicators of presence in the lesson

Time Teaching and learning actions Organisation Centred

10- Shakespearean Performance: Student actors now read and Teacher: S

How am I measuring the outcomes of this lesson?

Learning Outcome Method of measurement and recording

EN4-7D demonstrates Assess the student’s engagement with themes of

Graduate Evidence within this lesson

References (In APA)

of language in a variety of forms, including allegorical, figurative phrases, new literary

requirements of studying a drama (requiring at least two prescribed texts) as well as

Syllabus requirements note that texts become “increasingly sophisticated” as students

of Venice is designed to provide students with an introduction to Shakespeare’s work

digital texts and multimedia (Stage 4 outcomes, NESA, 2016).

of background knowledge (Stefanakis, 2010) so it is important to allow for different

figurative phrase “a pound of flesh”, students are scaffolded through an introductory

through to a more sophisticated analysis of zoomorphic language such as attributing the

meaning of a term like “predatory” to a moneylender. For an even more advanced

demonstrating a knowledge of the events (and therefore paraphrasing the

allegorical language to creative deeper meaning (Lewis, 2006).

growth and understanding by introducing them to a greater theme of human meaning

an important segway into the cross-curriculum outcome of exploring Aboriginal and

techniques in allegorical phrasing and zoomorphic devices, while also encapsulating

themes of social and ethical complexity around humanisation and dehumanisation,

the tools to do more thorough critical analysis on his other works.

Cambridge University Press.

Gore, J. (2007). Improving pedagogy: The challenges of moving teachers toward

higher levels of quality teaching. In J. Butcher & L. McDonald (Ed.), Making a

difference: Challenges for teachers, teaching, and teacher education (pp.15-

33). Rotterdam, Netherlands: Sense Publishers.

Magazine, 87(8), 564-565.