Shakespeare & Iambic Pentameter

Master's Seminar in English Education
Professors Myrrh Domingo and Dee Anne Anderson
Research-based Literacy Lesson
Shakespeare and Iambic Pentameter: A Multimodal Lesson Series
By: Atara Bernheim, Chelsea Richardson, and Jasmine Stakley
This lesson series will serve as a prereading sequence for reading Shakespeare’s Romeo and Juliet in a
ninth grade English classroom. Students will first be introduced to poetic form and iambic pentameter
using text from a popular hip hop song before being introduced to their first piece of Shakespearean text
in the following lesson.
● When considering Adger, Wolfram, & Christian, bringing texts into the classroom that utilize the
language of a wider culture (in this case hip-hop), validates yet another dialect represented in the
contemporary classroom. It will also serve to bridge the gap between students’ inherent
understandings of music and pop culture and their readings of classic text. Students will explore
the significance of line breaks and learn to identify iambs using a contemporary medium with
which they are likely much more comfortable.
● The use of YouTube, Wallwisher, and varying multimodal representations of the material
presented (listening to iambic pentameter as it is used in song; accompanying a written scene
with a spoken scene) is in line with Vasudevan’s argument that the digital world needs to be
embraced in the classroom as a means for students to collaborate, learn, and create.
Furthermore, the incorporation of digital technology is used to enhance instruction and increase
motivation. For example, the lesson begins with posting two lines to Wallwisher, “We need to
rethink language arts education by first recognizing technologies as composing spaces”
(Vasudevan 47). Wallwisher, then, allows for students to turn their writing and understanding of
the material into a social activity.
● McTighe and O’Connor address effective assessment. One of their suggestions is to give students
enough room for choice while still carefully reflecting on goals and standards. This is evident in
our lesson series as students are given opportunity to choose songs in Lesson Two and
Shakespearean topics in Lesson Three from which to work. Furthermore, their article suggests
giving feedback and allowing students to self-assess and set individual goals. Throughout our
lessons, as students begin working independently and in small groups, the teacher circulates and
provides direct feedback while scaffolding self-assessment and goal-setting.
● According to Bean, “Students’ reading comprehension increases when they are already engaged
with the problem or issue that a reading addresses or are otherwise interested in the subject
matter” (139). Again, seeing their own work using the same themes that are found throughout
Shakespeare’s texts will not only allow insight into the appeal of its structure, but also will allow
students insight into the draw of Shakespearean themes. Students will feel more ready and
prepared when they begin their unit on Romeo and Juliet and their possibly first time
explorations of the perceived difficult world of Shakespeare.

Shakespeare and Iambic Pentameter: A multimodal lesson series
Day 1 - Chelsea L. Richardson
I. Common Core State Standards
1 CCSS.ELA-Literacy.RL.9-10.10 By the end of grade 9, read and comprehend literature,
including stories, dramas, and poems, in the grades 9–10 text complexity band proficiently, with
scaffolding as needed at the high end of the range.
II. Objectives
1 SWBAT recognize and identify the use of iambic pentameter in contemporary lyrics to prepare
them for the reading and comprehension of the Shakespeare texts to come.
2 SWBAT understand the significance of form, rhythm, and meter in the reading and
comprehension of musical or poetic texts.
3 SWBAT recreate the pattern of iambic pentameter by organizing a combination of stressed and
unstressed syllables.
III. Activities
1. Anticipatory Set: (10 minutes)
a Students will sit with their pre-assigned partners and do a partner-read-aloud protocol of two
typed up versions of the first verse of Eminem’s “Lose Yourself.” The first version will be typed
without any line breaks or punctuation, while the second will include all line breaks and
punctuation included in the official lyrics.
b Students will be asked to take notes on how the first reading went, and what they understood
about the meaning of the song.
c Students will then be asked to take notes on how their reading differed the second time, and also
if/how their understanding changed based on how the text was presented
2. Class Discussion/Minilesson: (20 minutes)
a Teacher will call partner groups back to their desks and lead a short class discussion on what they
discovered in reading the same set of lyrics in two different forms. Teacher will make links
between form, rhythm, and comprehension.
- How was reading the lyrics the second time different from the first?
- What role do you think form plays in our understanding as readers?
- How many students recognized the lyrics or were familiar with the song prior to today?
- What other factors go into our ability to read rap lyrics well?
- Link to beat and rhythm. Introduce meter.
b Teacher will transition into a short minilesson on iambic pentameter (5 iambs, 10 syllables),
which is one of the meters Eminem uses in “Lose Yourself”, and also one of the most common
meters employed by Shakespeare.
c Teacher will play clean clip from Eminem’s “Lose Yourself” music video and ask students to
listen for the rhythm and meter. (Start video at :53, Stop at 1:16)
http://www.youtube.com/watch?v=IYlqUSkBgwQ&feature=youtu.be
- Does hearing the lyrics performed with specific emphasis on rhythm and meter change
anything for us?
d Teacher will show students how to mark the feet and syllables on smartboard: We can mark the
divisions with a | . We can put an 'x' mark underneath the unstressed syllable and a '/' mark
underneath the stressed syllable.

e Teacher models with first line of “Lose Yourself”: His PALMS |are SWEATy| KNEES weak |
ARMS are | HEAVy
3. Activity: (15 - 20 minutes)
a. Students will be broken up into groups of four and work collaboratively to mark the rest of the
first verse of “Lose Yourself.”
b. While students are working in groups, Teacher will circulate and provide assistance and
feedback where necessary.
c. One student from each group will be asked to come up to the smart board and mark a line from
“Lose Yourself”.
d. Teacher will address any mistakes or confusion.
4. Closure: (5 minutes)
a. Individual Exit Cards – Students will be asked to come up with a first and last name that reads
in iambic pentameter and mark it.
b. Teacher will assess the exit cards prior to the next day’s lesson. Any issues or
misunderstandings regarding iambic pentameter will be addressed the following day.
IV. Materials
- Two typed up versions of the first verse of Eminem’s “Lose Yourself”
- “Lose Yourself” Music Video. Uploaded by Timbitskater. 2 March 2008.
http://www.youtube.com/watch?v=IYlqUSkBgwQ&feature=youtu.be
- Classroom Smartboard
- Loose leaf paper and writing utensil.
V. Homework Assignment
N/A
VI. Assessment
1. Ability to recognize and identify the use of rhythm and meter in contemporary song lyrics will be
assessed as students present their marked lines from the first verse of Eminem’s “Lose Yourself”.
2. Understanding of the significance of form, rhythm, and meter in the reading and comprehension of
musical or poetic texts will be assessed during class discussion.
3. Ability to begin recreating the pattern of iambic pentameter by organizing a combination of stressed
and unstressed syllables will be assessed via student exit slips requiring them to come up with a first and
last name that reads in iambic pentameter.

Shakespeare and Iambic Pentameter: A multimodal lesson series
Day 2 - Jasmine Stakley
I. Common Core State Standards
1 CCSS.ELA-Literacy.RL.9-10.4 Determine the meaning of words and phrases as they are used in
the text, including figurative and connotative meanings; analyze the cumulative impact of specific
word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how
it sets a formal or informal tone).
2 CCSS.ELA-Literacy.RL.9-10.10 By the end of grade 9, read and comprehend literature,
including stories, dramas, and poems, in the grades 9–10 text complexity band proficiently, with
scaffolding as needed at the high end of the range.
II. Objectives
1 SWBAT identify stressed and unstressed syllable by listening to actors speak in iambic
pentameter .
2 SWBAT read in iambic pentameter while placing appropriate stresses on specific syllables.
III. Activities
1 Anticipatory Set: (10 Minutes)Do Now: Write in your journal a song that comes to mind when
you consider the rhythm we were working with yesterday. Why did you choose this song?
2 Activity/ Class Discussion:
a Mini Lesson: Review from yesterday lesson on stressed syllables. Followed by students
viewing YouTube Clip of Act 3, Scene 3-4 of Romeo Juliet . (10 Minutes)
b After watching the clip the first time teacher will provide text to accompany clip of scene.
Students will mark the stressed and unstressed syllable (15 Minute clip).
www.Youtube.com/watch?v=vtnWnznVkSc
c The Teacher will reread the scene to the class and then lead discussion.(10 Minutes)
■ Teacher will ask the
■ What did you pick up from watching the scene that you and your group missed
during your discussion?
■ Point out the stresses together
3 Closure/ Popcorn activity: ( 5 Minutes)
a Stand in circle and everyone read one line that they feel most comfortable with reading
from the scene.
b While students are reading lines aloud the teacher will listen for stressed syllables and
rhythm.
IV. Materials
- Printed out copies (or books) of ACT 3, Scene 3-4 of Romeo and Juliet.
- Highlighters/Pens/Loose Leaf paper
- “Mercutio/Tybalt's Death, Version 2”. Movie Clip. Uploaded by BradleySMP. April 17, 2012. Clip
taken from Baz Luhrmann (1996). www.Youtube.com/watch?v=vtnWnznVkSc
- Overhead projector or smartboard

V. Homework Assignment
From last class and this class we have discussed language, specifically iambic pentameter. Using the
example of Eminem’s, “Loose Yourself,” and Act 3 Scene 3-4, create two lines of iambic pentameter.
VI. Assessment
-Individual identifying stressed and unstressed syllable by listening to actors speak in iambic
pentameter will be assessed through turning in text with syllable stresses placed on proper
syllables.
-Pronunciation and rhythm of iambic pentameter will be assessed by the teacher listening for
proper use of stressed syllables.

Shakespeare and Iambic Pentameter: A multimodal lesson series
Day 3 - Atara Bernheim
I. Common Core State Standards
1 CCSS.ELA-Literacy.RL.9-10.10 By the end of grade 9, read and comprehend literature,
including stories, dramas, and poems, in the grades 9–10 text complexity band proficiently, with
scaffolding as needed at the high end of the range.
II. Objectives
1 SWBAT understand the use of iambic pentameter to enhance the flow of a text, assisting in
comprehension of increasingly difficult Shakespearean texts.
2 SWBAT apply iambic pentameter to their own creation of a text, using common themes found
across Shakespeare’s works.
III. Activities
1 Anticipatory Set (5 minutes):
a Do Now: Students will log in to computers and post a two line compilation in iambic
pentameter on http://wallwisher.com/wall/rd03x4ysic
2 Activity (40 minutes):
a Teacher will introduce assignment for today: Today we will be constructing poems in
iambic pentameter using various Shakespearean themes.
b Watch Steps 1-5 ONLY: http://www.youtube.com/watch?v=I6gxaL5wtLo
c Teacher will hand out common Shakespearean topics/themes for students to choose from
(love, betrayal, social conformity, sexual identity)
d In small groups of three (3), students will choose a theme and will construct a poem,
based on that theme, in iambic pentameter.
e Once finished, students will write their poems on a large sheet to be displayed around the
classroom. Underneath each line, iambic syllables should be noted. The theme should be
labeled.
f As students begin working in groups, Teacher will circulate and provide feedback where
necessary. Teacher will ask probing questions allowing students to evaluate their own
work and set goals for improvement. Questions may include:
■ In what ways does your group feel your poem is strong?
■ How could you make your poem better while still writing in iambs?
g Groups will read different pieces to the class and class will discuss.
■ How does the iambic structure enhance or detract from meaning and
pronunciation?
■ Were there topics where the structure worked better? Worse?
■ What effect/limitations did it have on the writing?
3 Closure (5 minutes):
a Individual Exit Cards to discuss one student-made writing piece, addressing one or all of
the above questions (see Activity e):

■ Find a poem from around the room that moves you. In a couple of sentences,
discuss the role iambic pentameter has on the piece. If you could rewrite this
piece, would you opt to make this structural choice, or would you prefer a
different one? Why?
IV. Materials
● Class set of laptops/computers with Internet access
● Collection of common Shakespearean themes, on strips of paper
“Grade 9 Scribbling Iambic Pentameter”. Page created by Atara Bernheim. 1 December 2012.
http://wallwisher.com/wall/rd03x4ysic
“How to Write a Poem in Iambic Pentameter”. Uploaded by Howcast. 18 August 2008.
Accessed on YouTube database. http://www.youtube.com/watch?v=I6gxaL5wtLo
V. Homework Assignment
N/A
VI. Assessment
1 Individual understanding the use of iambic pentameter to enhance the flow of a text will be
assessed as students discuss final products and then provide exit cards demonstrating their
understood connection between form and product.
2 Application of iambic pentameter will be assessed through feedback at the start of small group
activity, through self-evaluation as students work with the teacher during work process, and upon
completion through discussion and then formal assessment.
Final pieces will be examined for meeting the following criteria:
a Group product is based on a Shakespearean theme as provided (5 points).
b Group product is at least 10 lines long (5 points).
c Group product uses iambic pentameter correctly throughout piece. It is clear by looking at the
product that students grasped an understanding of its application (5 points).
d Group product indicates iambic notes underneath relative syllables (5 points).

Bibliography
Adger, C.T., Wolfram, W., & Christian, D. (2007). Language Variation in America. In
Dialects in Schools and Communities (Chp. 1-29). Mahwah, NJ: Lawrence Erlbaum Associates
Publisher.
Bean, J. C. (2001). Helping students read difficult texts. In Bean, J.S. (Ed) (2001). Engaging
ideas: The professor’s guide to integrating writing, critical thinking, and active learning in the
classroom, (Ch. 8, pp. 133-148). San Francisco: Jossey Bass.
McTighe, J. & O’Connor, K. (2005) Seven Practices for Effective Learning. Educational
Leadership, 63(3), 10-17.
Vasudevan, L. Literacies in a Participatory, Multimodal World: The Arts and Aesthetics of Web
2.0. Language Arts, 88(1), 43-50.