Myths, Legends and Fables

Myths, Legends and Fables

Our learning objectives are: To investigate and classify the key features of myths, legends and fables; To recognise how stories change over time and differences of culture and place that are expressed in stories; To write our own versions of myths, legends and fables, using inspiration from our reading; To review and edit writing to meet the needs of a certain audience; To listen to stories written by other children; To explore and develop ideas through discussion, expressing our own views clearly, and listening to the views of others. To use checklists to support writing; To use a wider range of connectives. Tell/ retell a story using notes designed to cue techniques, such as repetition, recap and humour.

FABLES A story that has a lesson – a meaning that we can learn from
It has a MORAL – the lesson to be learned. Morals can be used to finish the stories. Animals as characters Often set outside E.g, the boy who cried wolf. Often we have a thoughtless character who does not understand the moral. They suffer for this. The other is thoughtful and clever.

Fables: 5CLo's checklist
Fables are short stories that teach a useful moral lesson. Aesop was the most famous writer of fables, but many countries have fables of their own. The key features of fables are: A story that has a lesson – a meaning that we can learn from It has a MORAL – the lesson to be learned. Morals can be used to finish the stories. Animals as characters Often set outside E.g, the boy who cried wolf. Often we have a thoughtless character who does not understand the moral. They suffer for this. The other is thoughtful and clever.

Today our objectives are:
In Reading: To investigate and classify the key features of fables. In Speaking and Listening: To explore and develop ideas through talk, expressing our own views clearly, and listening to the views of others.

Fables: 5CLo1's checklist
Fables are short stories that teach a useful moral lesson. Aesop was the most famous writer of fables, but many countries have fables of their own. The key features of fables are: Fables teach you what to do and what not to do We normally have two types of character: 1 = a good character who does the right thing and follows the lesson, 2 = a character who does the opposite and not what he needs to do. Someone who doesn’t listen. Characters are usually animals or people Usually set outside, in the countryside - and habitats. There should still be a story to them so that they can entertain.

Fables: 5CLo2's checklist
Fables are short stories that teach a useful moral lesson. Aesop was the most famous writer of fables, but many countries have fables of their own. The key features of fables are: Something for you to learn or a warning to remember There is always a wise character who knows what’s coming next. He follows the moral. There is always a thoughtless or lazy character, who does not follow the moral. We learn what not to do from this character. Sometimes exciting Set in a field, in the summer… … Two situations: the second shows us the consequences of not following the moral.

Fables Fables are short stories that teach a useful moral lesson.
Aesop was the most famous writer of fables, but many countries have fables of their own. The key features of fables are: A moral: a good lesson for us to learn from; Benefits of following the moral; Consequences of not following the moral; A good, wise character, who follows the moral; A lazy, or foolish character who does not follow the moral; Animals as main characters; An outdoor, countryside setting;

The Ant and the Grasshopper
In a field one summer's day a Grasshopper was hopping about, chirping and singing to its heart's content. An Ant passed by, bearing along with great toil an ear of corn he was taking to the nest. "Why not come and chat with me," said the Grasshopper, "instead of toiling and moiling in that way?" "I am helping to lay up food for the winter," said the Ant, "and recommend you to do the same." "Why bother about winter?" said the Grasshopper; we have got plenty of food at present." But the Ant went on its way and continued its toil.

When the winter came the Grasshopper had no food and found itself dying of hunger, while every day it saw the ants fetching plenty of corn and grain from the stores they had collected in the summer. Then the Grasshopper knew: It is best to prepare for the days of necessity.

Lesson 2

In Reading: To investigate different versions of the same story in print, in order to recognise how stories change over time and differences of culture and place are expressed in stories; To respond imaginatively, using drawing and jotting to engage with texts and develop our own ideas.

Fables Key features of fables are:
A moral: a good lesson for us to learn from; Benefits of following the moral; Consequences of not following the moral; A good, wise character, who follows the moral; A lazy, or foolish character who does not follow the moral; Animals as main characters; An outdoor, countryside setting;

What do these common phrases mean?
It is best to prepare for the days of necessity. Be prepared / Be prepared for tomorrow Be prepared for today/ it is best to prepare for the future Think before you do Look before you act – but don’t get scared. . Look before you leap. Too many people can spoil things that you are doing on your own/ Too many people can spoil the thing you’re doing Too many cooks spoil the broth. It’s best to have friends than be alone/ work together/ Four eyes are better than two! United we stand, divided we fall.

Proverbs A proverb is a simple saying that is popularly known and repeated. It expresses a truth based on common sense or the practical experience of mankind.

The Two Boastful Boys Two boys were boasting to each other about their family’s possessions. "We’ve got four tellies in our house,” said Harry, the first boy. “Four!” said James, the second boy, “What are they like?” "Well, we’ve got a 24-inch in the lounge with five channels. My sister and I have portables, and my mum has an old one in the kitchen.”

“Quality is better than quantity”.
James scoffed. “We might only have one TV in our house, but it’s a plasma screen with 800 satellite channels and Dolby 5.1 surround sound.” “Quality is better than quantity”.

The Vixen and the Lioness
A Vixen who was taking her babies out for an airing one balmy morning, came across a Lioness, with her cub in arms. "Why such airs, haughty dame, over one solitary cub?" sneered the Vixen. "Look at my healthy and numerous litter here, and imagine, if you are able, how a proud mother should feel."

“Quality is better than quantity”.
The Lioness gave her a squelching look, and lifting up her nose, walked away, saying calmly, "Yes, just look at that beautiful collection. What are they? Foxes! I've only one, but remember, that one is a Lion." “Quality is better than quantity”.

Spot the Difference The animals are changed to humans
The boys are young. A young audience can understand their language & identify with them. TVs instead of cubs = modern – new technology Modern language that’s easier to understand

Planning My Modern Fable
The moral of my story is… What behaviour is recommended? The Setting The Characters What behaviour is advised against?

Planning My Modern Fable
The Characters The Setting The Moral _______________________________________________________________________________________________________________________ ____________________________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________ How does your fable teach us the moral?

The Ant and the Dove One good turn deserves another.
An ant went to the bank of a river to quench its thirst, and being carried away by the rush of the stream, was on the point of drowning. A Dove sitting on a tree overhanging the water plucked a leaf and let it fall into the stream close to her. The Ant climbed onto it and floated in safety to the bank. Shortly afterwards a bird catcher came and stood under the tree, and laid his lime-twigs for the Dove, which sat in the branches. The Ant, perceiving his design, stung him in the foot. In pain the bird catcher threw down the twigs, and the noise made the Dove take fly off to safety. One good turn deserves another.

Translating Morals and Proverbs Don’t judge a book by its cover.
Name: …..………………………………. Translating Morals and Proverbs As we have done in class, see if you can translate these 6 sayings by writing them in language that is easier to understand for you and other modern readers. A bird in the hand is worth two in the bush. Don’t judge a book by its cover. ________________________________________________________________ ________________________________________________________________ Birds of a feather flock together. A watched pot never boils. ______________________________________________________________ ________________________________________________________________ Fools rush in where angels fear to tread. Don’t put all your eggs in one basket. ______________________________________________________________ ________________________________________________________________

Lesson 3

In Writing: T2 T11: To write our own versions of modern fables for younger readers. To use a checklist of key features of a fable to support our writing. T2 T13: To review and edit our writing to produce a final fable, matched to the needs of our modern younger audience. In Speaking and Listening: To listen to stories written by other children.

The Ant and the Dove One good turn deserves another.
An ant went to the bank of a river to quench its thirst, and being carried away by the rush of the stream, was on the point of drowning. A Dove sitting on a tree overhanging the water plucked a leaf and let it fall into the stream close to her. The Ant climbed onto it and floated in safety to the bank. Shortly afterwards a bird catcher came and stood under the tree, and laid his lime-twigs for the Dove, which sat in the branches. The Ant, perceiving his design, stung him in the foot. In pain the bird catcher threw down the twigs, and the noise made the Dove fly off to safety. One good turn deserves another.

The Ant and the Dove An ant went to the bank of a river to quench its thirst. The Ant, perceiving his design, stung him in the foot.

Our Young Modern Audience
We can target our modern fables for year 3 pupils by: Making sure that the language is easy enough for them to understand; Including humour to entertain readers; Including action to add excitement (which can be shown with punctuation too, e.g. with exclamation marks); Adding sad and happy bits to attract different interests; Adding gruesome parts because they might like to be scared; Having a happy ending (e.g. with character making friends and helping each other).

Our Young Modern Audience
We can target our modern fables for year 3 pupils by:

Fables Key features of fables are:
A moral: a good lesson for us to learn from; Benefits of following the moral; Consequences of not following the moral; A good, wise character, who follows the moral; A lazy, or foolish character who does not follow the moral; Animals as main characters; An outdoor, countryside setting;

Lesson 5

In Writing: To use a checklist of key features of a fable to support our writing. T2 T13: To review and edit our writing to produce a final fable, matched to the needs of our modern younger audience. In Speaking and Listening: To listen to stories written by other children. In Reading: T2 T2: To appreciate the differences of culture and place that are expressed in stories.

5CLo2: Today our objectives are:
In Speaking and Listening: To understand how to be a constructive listener, by listening to stories written by other children and offer positive ideas and suggestions for improvement. In Writing: To be able to use a checklist of key features of a fable to support our writing.

In Speaking and Listening: To understand how to be a constructive listener, by listening to stories written by other children and offer positive ideas and suggestions for improvement. In Writing: To be able to use a checklist of key features of a fable to support our writing. T2 T13: To understand and be able to review and edit our writing to produce a final fable, matched to the needs of our modern younger audience.

In Reading: To understand and be able to investigate the key features of myths, legends and fables; In Speaking and Listening: To explore and develop ideas through discussion, expressing our own views clearly, and listening to the views of others.

Myths Not a story to read out – not written down;
A tale passed around the country – passed down by generations; An ancient story. We don’t know whether it is true or not; Are religious stories myths? Gods & mythical creatures (unfamiliar, unrealistic characters) 40

Myths Myths tell of beginnings and ends, creation and destruction, life and death. They explain the how and why of life. The word ‘myth’ comes from the Greek muthos, meaning a fable or word. Wherever people have lived together, they have told stories about how the world came to be made, how people and animals came to live in it, and the characters and actions of the god or gods they worshipped. When a myth comes into existence it is believed in a people’s heart and soul. Because of this, myths are more than just stories; every myth has a glimmer or truth.

Creation Myths Our Questions: How were people created, and why?
All mythologies start by telling of the creation of the world and mankind. The Greeks, the Vikings, the Egyptians, the Chinese, the Japanese, all the peoples of Africa, and all the 500 nations of the Native Americans each had their own version or versions of the creation. Our Questions: How did the world begin? How were people created, and why?

Discovering the Key Features of Myths
Group: ……………..………..…… ……………… / Date: …..…….……… What we KNOW about myths from Myth (1) What do we WANT TO KNOW about myths? What KEY FEATURES can we recognise in Myth (2)? Magical and unrealistic events – hard to believe Mythical creatures, e.g. Pan –ku One person creating/ building the earth (hammer and chisel) Order of creation There is no moral to teach What have we LEARNED about myths?

Key Features of Myths Myths are…..

Key Features of Myths Starting with chaos (riot/ madness) Myths are…..
Monsters or creatures Earth and sky Powerful creatures The world The first mystical animals (e.g., unicorn, phoenix and dragon) Sometimes have heroes Nature and mountains/ land Have made- up animals! Forces (e.g. Yin and Yang) Myths are….. Magical stories Mystical (weird things happen!) Different stories from a long time ago. Powerful Made up? From different countries Amazing! Unbelievable! Exciting! Ancient

Key Features of Myths Start with CHAOS! Myths are….. Make believe
Mythical creatures Big characters that can hold the earth together We have to have the ground and the sun We have 2 different forces at the start They start with a creation There is some sort of god/ gods Creatures & people Myths are….. Make believe Magical Complicated Adventurous Quite weird! Historical Exciting Plain

Key Features of Myths In the beginning the world is chaos, or covered in ice, or swamped with water. A creator god comes and sets to work, separating the earth from the heavens, the sea from the land, and shaping the landscape. Then the creator peoples the earth, making human beings from drops of sweat, from plants and animals, from mud – or even from his own fleas!

5CLo1: Today our objective is to:
In Reading and Writing: To be able to investigate and compare how the same myth can be presented differently in print.

5CLo1: Today our objective is to:
In Reading and Writing: To be able to investigate and compare how the same myth can be presented differently in print. To be able to present and retell part of a written myth in a new form for others. 49

Gods, Mortals and Monsters
While creator gods may choose to leave the world once their work is done, other gods and goddesses constantly meddled in the lives of men and women. Some gods even fell in love with mortals (humans), and from their relationships came many of the heroes of mythology, who have incredible strength, intelligence or sneakiness!

The 12 Labours of Hercules

The Hydra Story Cartoon

Name: No …: ………………………………….

The Nemean lion This enormous beast was killing people in the area of Nemea. His pelt was proof against iron, bronze and stone. Hercules first tried shooting the lion with arrows, which bounced off harmlessly. Next, he tried his sword, which bent and also had no effect. Hercules attempted hitting the lion over the head with his club, which shattered, and left the lion with ringing in its ears. Finally, he started to wrestle with it, choking it to death but losing a finger in the course of the fight. Hercules flayed the lion using its own razor-sharp claws, and was subsequently able to use the skin as armour, and its head as a helmet.

2. The Hydra The Hydra lived in the swamps of Lerna. Some said it had eight or nine heads, while others claimed as many as ten thousand. As soon as one head was beaten down or chopped off, two more grew in its place. Hercules sought out the monster in its lair and brought it out into the open with flaming arrows. But now the fight went in the Hydra's favor. It twined its many heads around the hero and tried to trip him up. It called on an ally, a huge crab that also lived in the swamp. The crab bit him in the heel and further impeded his attack. Hercules was on the verge of failure when he remembered his nephew, Iolaus. Iolaus looked on in anxiety as his uncle became entangled in the Hydra's snaky heads. Finally he could bear it no longer. In response to his uncle's shouts, he grabbed a burning torch and dashed into the fray. Now, as soon as Hercules cut off one of the Hydra's heads, Iolaus was there to sear the wounded neck with flame and keep further heads from sprouting. Hercules cut off the heads one by one, with Iolaus burned off the wounds. Finally Hercules lopped off the one head that was supposedly immortal and buried it deep beneath a rock.

2. The Hydra The Hydra lived in the swamps of Lerna. Some said it had eight or nine heads, while others argued as many as ten thousand. As soon as one head was beaten down or chopped off, two more grew in its place. Hercules tried to find the monster in its lair and brought it out into the open with flaming arrows. But now the Hydra was winning the fight. It twisted its many heads around the hero and tried to trip him up. It called on a friend, a huge crab that also lived in the swamp. The crab bit him in the heel and held him back further. Hercules was close to losing when he remembered his nephew, Iolaus. Iolaus looked on in anxiety as his uncle became tangled up in the Hydra's snaky heads. Finally he could bear it no longer. In response to his uncle's shouts, he grabbed a burning torch and ran to join the fight. Now, as soon as Hercules cut off one of the Hydra's heads, Iolaus was there to burn the wound and keep further heads from sprouting. Finally Hercules lopped off the one head that was supposedly immortal and buried it deep beneath a rock.

Comparing story and cartoon
Hercules vs. the Hydra Comparing story and cartoon Discuss these questions with a partner and try to write your answers in full sentences in your workbook. 1. Pick out evidence (words and sentences) that describe how the Hydra is presented in: a) The story b) The cartoon 2. COMPARE and CONTRAST: What similarities and differences can you find between the story and the cartoon. You can draw a table to present your ideas. 3. Which version do you prefer, and why? Did you and your partner agree?

What kind of man is Hercules?
1.

Is this the same man? 2.

Is this the same man?

3. The Cerynitian Hind The third Labour was the capture of the Cerynitian hind. Though a female deer, this fleet-footed beast had golden horns. It was sacred to Artemis, goddess of the hunt, so Hercules dared not wound it. He hunted it for an entire year before running it down on the banks of the River Ladon in Arcadia. Taking careful aim with his bow, he fired an arrow between the tendons and bones of the two forelegs, pinning it down without drawing blood. All the same, Artemis was displeased, but Hercules dodged her wrath by blaming his taskmaster Eurystheus. 4. The Erymanthian Boar This labour took Hercules in quest of an enormous boar, which he was challenged to bring back alive. While tracking it down he stopped to visit the centaur Pholus. This creature - half-horse, half-man - was examining one of the hero's arrows when he accidentally dropped it on his foot. Because it had been soaked in poisonous Hydra venom, Pholus gave in immediately. Hercules finally located the boar on Mount Erymanthus and managed to drive it into a snowbank. Flinging it up onto his shoulder, he carried it back to Eurystheus.

5. The Augean Stables Eurystheus was very pleased with himself for dreaming up the next Labour, which he was sure would humiliate his heroic cousin. Hercules was to clean out the stables of King Augeas in a single day. Augeas possessed vast herds of cattle which had deposited their manure in such quantity over the years that a thick aroma hung over the entire Peloponnesus. Instead of employing a shovel and a basket as Eurystheus imagined, Hercules diverted two rivers through the stable yard and got the job done without getting dirty. But because he had demanded payment of Augeas, Eurystheus refused to count this labour as one of the original 10. 6. The Stymphalian Birds The birds lived in a marsh near Lake Stymphalus in Arcadia. The sources differ as to whether these birds feasted on human flesh, killed men by shooting them with feathers of brass or were merely a nuisance. Hercules could not approach the birds to fight them - the ground was too swampy to bear his weight and too mucky to wade through. Finally he resorted to some castanets given to him by the goddess Athena. By making a racket with these, he caused the birds to take wing. And once they were in the air, he brought them down by the dozens with his arrows.

7. The Cretan Bull Queen Pasiphae of Crete had been inspired by a vengeful god to fall in love with a bull, with the result that the Minotaur was born, a monster half-man and half-bull that haunted the Labyrinth of King Minos. Pasiphae's husband was understandably eager to be rid of the bull, which was also ravaging the Cretan countryside, so Hercules was assigned the task as his seventh Labour. Although the beast belched flames, the hero overpowered it and shipped it back to the mainland. It ended up near Athens, where it became the duty of another hero, Theseus, to deal with it once more. 8. The Mares of Diomedes These horses dined on the flesh of travelers who made the mistake of accepting Diomedes' hospitality. In one version of the myth, Hercules pacified the beasts by feeding them their own master. In another, they satisfied their appetites on the hero's squire, a young man named Abderus. In any case, Hercules soon rounded them up and herded them down to sea. Once he had shown them to Eurystheus, he released them. They were eventually eaten by wild animals on Mount Olympus.

9. Hippolyte's Belt The ninth Labour took Hercules to the land of the Amazons, to retrieve the belt of their queen for Eurystheus' daughter. The Amazons were a race of warrior women, great archers who had invented the art of fighting from horseback. Hercules recruited a number of heroes to accompany him on this expedition, among them Theseus. As it turned out, the Amazon queen, Hippolyte, willingly gave Hercules her belt, but Hera was not about to let the hero get off so easily. The goddess stirred up the Amazons with a rumor that the Greeks had captured their queen, and a great battle ensued. Hercules made off with the belt, and Theseus kidnapped an Amazon princess. 10. The Cattle of Geryon Geryon, the owner of some famous cattle that Hercules was now instructed to steal, had three heads and/or three separate bodies from the waist down. His watchdog, Orthrus, had only two heads. This Labor took place somewhere in the country we know as Spain. The hound Orthrus rushed at Hercules as he was making off with the cattle, and the hero killed him with a single blow from the wooden club which he customarily carried. Geryon was dispatched as well, and Hercules drove the herd back to Greece, taking a wrong turn along the way and passing through Italy.

11. The the Apples of the Hesperides
The Hesperides were nymphs entrusted by the goddess Hera with certain apples which she had received as a wedding present. These were kept in a grove surrounded by a high wall and guarded by Ladon, a many-headed dragon. The grove was located in the far-western mountains named for Atlas, one of the Titans or first generation of gods. Atlas had sided with one of his brothers in a war against Zeus. In punishment, he was compelled to support the weight of the heavens by means of a pillar on his shoulders. Hercules, in quest of the apples, had been told that he would never get the them without the aid of Atlas. The Titan was only too happy to oblige. He told the hero to hold the pillar while he went to get the fruit. But first Hercules had to kill the dragon by means of an arrow over the garden wall. Atlas soon returned with the apples but now realized how nice it was not to have to strain for eternity keeping heaven and earth apart. Hercules wondered if Atlas would mind taking back the pillar just long enough for him to fetch a cushion for his shoulder. The Titan obliged and Hercules strolled off, neglecting to return.

12. The Capture of Cerberus
As his final Labour, Hercules was instructed to bring the hellhound Cerberus up from Hades, the kingdom of the dead. The first barrier to the soul's journey beyond the grave was the most famous river of the Underworld, the Styx. Here the newly dead gathered as shades of their former selves, awaiting passage in the ferryboat of Charon the Boatman. Charon wouldn't take anyone across unless they met two conditions. Firstly, they had to pay a bribe in the form of a coin under the corpse's tongue. And secondly, they had to be dead. Hercules met neither condition, a circumstance which aggravated Charon's natural grouchiness. v But Hercules simply glowered so fiercely that Charon meekly conveyed him across the Styx. The greater challenge was Cerberus, who had razor teeth, three (or maybe fifty) heads, a venomous snake for a tail and another swarm of snakes growing out of his back. These lashed at Hercules while Cerberus lunged for a purchase on his throat. Fortunately, the hero was wearing his trusty lion's skin, which was impenetrable by anything short of a thunderbolt from Zeus. Hercules eventually choked Cerberus into submission and dragged him to Tiryns, where he received due credit for this final Labour.

You are Hera, Hercules’s stepmother
You are Hera, Hercules’s stepmother. You hate that rotten Hercules because his mother had an affair with your husband, Zeus. You tried to kill him, but the stupid boy keeps on living! At least you were able to stop him becoming king… You are Alcmene, Hercules’s mother. You did not realise you were having an affair: Zeus was disguised as your husband! Your poor boy Hercules has had to suffer the anger of a jealous Hera, but he is not to blame! You tried to protect him by abandoning him outside Thebes, but he was returned by Athena. You are Eurystheus, Hercules’s cousin. You know that really, Hercules should be king, and you were only born early because of Hera’s powerful jealousy. This makes you scared that any moment Hercules could try to kill you! Hopefully one of these 12 tasks will kill him first!

Improving Sentences with Description
Hercules was very strong. 1. Hercules was as strong as God. 2. Hercules was as strong as a polar bear crossed with a lion. He was invincible. 3. Hercules the mighty lion was muscular and powerful. 4. Hercules was as strong as the rays of the sun and stronger. 5. The mighty Hercules was exceedingly strong.

Hera was jealous. She wanted Hercules to be killed. 1. The queen goddess Hera was extremely jealous. In fact, she was green with envy. 2. The wonderous goddess Hera was envious. She prayed more than anything for Hercules to be MURDERED! 3. Hera was extremely envious of Hercules, and she wanted him on the floor dead. 4. Hera was jealous of the huge, mighty Hercules, so she wanted him killed. 5. Hera was jealous of the amazingly mighty Hercules. She wanted him to be killed right away.

The Hydra was dangerous. The beastly Hydra was impossible to kill, but could this brave man Hercules defeat this powerful monstrous monster? The 10- headed Hydra was really dangerous, because of it’s snake-like head. The jade- green Hydra was ferociously dangerous, and every time Hercules chopped of a head it felt like 10, 000 more grew! The mean, dangerous deadly Hydra was evil.

Questions for our panel
Eurystheus Alcmene Hera

In Writing: To be able to present and retell part of a written myth in a new form for others. To use a wider range of connectives;

Connectives Connectives are words that join sentences or parts of sentences together. Examples: and, then, so, meanwhile, also, soon after, even, because, whenever, whether, indeed, once, later, earlier, next, after all, while, for instance, finally, first, suddenly.

Legends

5CLo1: Our objectives today are:
To begin to investigate the key features of legends and fables; To explore and develop ideas through discussion, expressing our own views clearly, and listening to the views of others. Tell/ retell a story using notes designed to cue techniques, such as repetition, recap and humour.

Photos taken from Nottingham castle. © Copyright Nottingham Castle
Photos taken from Nottingham castle. © Copyright Nottingham Castle. Used with kind permission.

Who is Robin Hood?

Who is Robin Hood? He lives Sherwood forest, near Nottingham
He’s cool He’s good at archery – and has a bow & arrow He has a good aim He’s a legend He’s strong He wears green He’s clever He fights He is in love with Maid Marion, the old sheriff’s daughter He’s brave He lives Sherwood forest, near Nottingham His friends are the merry men: together, they fight, and they rob the rich and give to the poor The sheriff of Nottingham is his arch nemesis!

Discovering the Key Features of LEGENDS
Group: ……………..………..…… ……………… / Date: …..…….……… What I KNOW about Robin Hood What I WANT TO KNOW about Legends? What I have LEARNED about Robin Hood What I KNOW about Legends Key Features: What I have LEARNED about Legends

Discovering the Key Features of LEGENDS: Robin Hood (5clO1)
What I KNOW about Robin Hood What I WANT TO KNOW about Legends? What I have LEARNED about Robin Hood He is strong and muscular He is a good marksman (archer) He is heroic and brave He slays bad people He stole from the rich and gave to the poor He had a bow and arrow He looks like a fox He lives in Sherwood forest The Sheriff of Nott is his evil enemy! Has merry men He saves the day! Did Robin Hood have a wife? Was Robin Hood a murderer? He became an outlaw by shooting one of the king’s deer The real Robin hood probably lived in Yorkshire The real RH robbed the rich, and probably the poor too, What I have LEARNED about Legends They keep on getting passed down Characters always get into a mess and they need help/ rescuing!

Discovering the Key Features of LEGENDS: Robin Hood
What I KNOW about Robin Hood What I WANT TO KNOW about Legends? What I have LEARNED about Robin Hood 12 merry men (lots of friends) Stinks and is scruffy Delivers money to the poor Enemy = Sheriff of Nottingham Feather in funny hat? Always has plans Red bow and arrow. Shoots people with bow & arrow Fear He kills people Always wears green He is legendary Loves maid Marion Lives in a forest: Sherwood forest What I have LEARNED about Legends

Two men crept ever closer. Clouds shifted
Two men crept ever closer. Clouds shifted. Moonlight seeped into the dark night. The figures paused. “How on earth…?” Will Scarlett’s whisper was swallowed by the blackness as the battlements of Nottingham Castle were revealed. “We’ll never get in there, Robin.” No reply came so Will turned. He could see Robin’s furrowed brow as his eyes scanned the castle defences. It was six hours since Maid Marian had disappeared. Their clothes still reeked from the smoke of the hamlet the Sheriff’s men had torched and where Marion had been giving food to the poor. Robin’s face, taut with anger and determination, was reply enough. To their right was the drawbridge that led to the gatehouse. The sharpened teeth of the portcullis warned against entering the very mouth of the castle. The outer curtain walls reared above them, arrow slits within the crenulated stone. Chain mail rattled as they walked the battlements, their shadows gliding across the keep behind them.

Darkened murder holes that could spit forth rock, or oil or fire lay beneath the walkways.
“Mortimer,” muttered Robin, “they never found out about Mortimer. Come, Will. These walls are too strong for us but they have a weakness.” With that Robin stepped out onto the highway. He hoisted his heavy sack onto his broad shoulders, nestling next to his bow and quiver. The smell of stale ale spread from Ye Olde Trip to Jerusalem together with the sound of the last singing drunk. Robin ducked swiftly though the inn’s courtyard and to the stables behind. Will strode after him, shaking his head. Wherever he was going, he was sure to be going in to trouble. Will saw Robin flitting to the back of the stables, where an outcrop of rock jutted out below the castle. As he came up closer to him he stepped behind a huge tree trunk and began feeling along the sandstone wall. “Help me, Will.” “What am I looking for?”

“ There should be an outline of a King’s crown chiselled into the rock
“ There should be an outline of a King’s crown chiselled into the rock. King Edward used it to get into the castle to murder Mortimer, long ago. They never knew how he got in.” “So how did you know…?” “My father served King Edward, the hole that is behind here leads right up into the castle, he was with him the night Mortimer was killed.” Will’s fingers slid across the rock, rough to the touch and cold as bone. Indentations caused him to stop and feel closer but then he would move on, exploring, exploring, exploring. He moved Robin’s sack to one side and felt along the ground. “It’s not on the wall at all but here, Robin, on the floor.” He placed Robin’s palm onto a carved crown. As soon as Robin felt it he stood up and kicked hard. Once. Silence. More silence. Will dared not breathe. Glancing down he saw that inside the crown was a heavy, iron ring. They both grasped it and heaved. The earth beneath them moved aside and revealed a gaping hole, Mortimer’s hole.

We’ve no light, thought Will
We’ve no light, thought Will. No shields, no hauberks … no idea where we are going to come out…but then neither have they… The passage led down on sandstone steps but quickly it begin to rise up, winding their path into the castle. Robin and Will slipped stealthily into the heart of danger. At last their way was blocked by an iron gate that rose above them. "See that, Will. The light?” Will nodded. “That shines down onto the dungeon where I reckon they’ll have Marion. Some fool seems to have left the gate ajar. Come on.” Crouching as they eased their way up the steps, they prepared every muscle to spring should there be a trap. Robin glanced through the gaps, his eyes slowly finding the iron grille that covered the dungeon hole.

They slid through the open gate and peered down into the dungeon
They slid through the open gate and peered down into the dungeon. Eyes adjusted to the dark, cavernous pit. “There!” Will could see the cloak of a woman huddled and curled around her knees but with eyes of fire. Clink! Robin reeled around in time to evade a towering blow from a gleaming sword. “Trapped!” roared a voice that Robin knew only too well, “like rats at the cheese…”

What? Where? How? Why? Who?

Two men crept ever closer. Clouds shifted
Two men crept ever closer. Clouds shifted. Moonlight seeped into the dark night. The figures paused. “How on earth…?” Will Scarlett’s whisper was swallowed by the blackness as the battlements of Nottingham Castle were revealed. “We’ll never get in there, Robin.” No reply came so Will turned. He could see Robin’s furrowed brow as his eyes scanned the castle defences. It was six hours since Maid Marian had disappeared. Their clothes still reeked from the smoke of the hamlet the Sheriff’s men had torched and where Marion had been giving food to the poor. Robin’s face, taut with anger and determination, was reply enough. To their right was the drawbridge that led to the gatehouse. The sharpened teeth of the portcullis warned against entering the very mouth of the castle. The outer curtain walls reared above them, arrow slits within the crenulated stone. Chain mail rattled as they walked the battlements, their shadows gliding across the keep behind them.

Darkened murder holes that could spit forth rock, or oil or fire lay beneath the walkways.
“Mortimer,” muttered Robin, “they never found out about Mortimer. Come, Will. These walls are too strong for us but they have a weakness.” With that Robin stepped out onto the highway. He hoisted his heavy sack onto his broad shoulders, nestling next to his bow and quiver. The smell of stale ale spread from Ye Olde Trip to Jerusalem together with the sound of the last singing drunk. Robin ducked swiftly though the inn’s courtyard and to the stables behind. Will strode after him, shaking his head. Wherever he was going, he was sure to be going in to trouble. Will saw Robin flitting to the back of the stables, where an outcrop of rock jutted out below the castle. As he came up closer to him he stepped behind a huge tree trunk and began feeling along the sandstone wall. “Help me, Will.” “What am I looking for?”

“ There should be an outline of a King’s crown chiselled into the rock
“ There should be an outline of a King’s crown chiselled into the rock. King Edward used it to get into the castle to murder Mortimer, long ago. They never knew how he got in.” “So how did you know…?” “My father served King Edward, the hole that is behind here leads right up into the castle, he was with him the night Mortimer was killed.” Will’s fingers slid across the rock, rough to the touch and cold as bone. Indentations caused him to stop and feel closer but then his would move on, exploring, exploring, exploring. He moved Robin’s sack to one side and felt along the ground. “It’s not on the wall at all but here, Robin, on the floor.” He placed Robin’s palm onto a carved crown. As soon as Robin felt it he stood up and kicked hard. Once. Silence. More silence. Will dared not breathe. Glancing down he saw that inside the crown was a heavy, iron ring. They both grasped it and heaved. The earth beneath them moved aside and revealed a gaping hole, Mortimer’s hole.

We’ve no light, thought Will
We’ve no light, thought Will. No shields, no hauberks … no idea where we are going to come out…but then neither have they… The passage led down on sandstone steps but quickly it begin to rise up, winding their path into the castle. Robin and Will slipped stealthily into the heart of danger. At last their way was blocked by an iron gate that rose above them. "See that, Will. The light?” Will nodded. “That shines down onto the dungeon where I reckon they’ll have Marion. Some fool seems to have left the gate ajar. Come on.” Crouching as they eased their way up the steps, they prepared every muscle to spring should there be a trap. Robin glanced through the gaps, his eyes slowly finding the iron grille that covered the dungeon hole.

They slid through the open gate and peered down into the dungeon
They slid through the open gate and peered down into the dungeon. Eyes adjusted to the dark, cavernous pit. “There!” Will could see the cloak of a woman huddled and curled around her knees but with eyes of fire. Clink! Robin reeled around in time to evade a towering blow from a gleaming sword. “Trapped!” roared a voice that Robin knew only too well, “like rats at the cheese…”

The Sheriff of Nottingham
Maid Marian Robin Hood Will Scarlett The Sheriff of Nottingham

The Legend of Robin Hood
Main sections: Robin and Will: Climbing up the castle walls to try and get in. Dark. Trying to find stones to climb on. Worried and anxious They hear ‘the last singing drunk’. In the stables to find the crown. Apprehensive Finding King Edward’s hidden passageway. Robin relieved. Will excited. Marion – does she hear? Finding the steps leading to the dungeons and MARION! Worried, relieved they are in. Pleased, but scared. Seeing Maid Marion, then suddenly CLINK! Trapped in the castle ‘like rats to the cheese’. Absolutely beaten. Scared – don’t want to die! 94

The Legend of Robin Hood
Main sections: Two men creeping to the castle: Will and Robin Hood (RH) The men talk of Mortimer. Robin steps onto the highway and into the courtyard. Reaching the stable walls. Robin says there should be a crown on the wall. Will finds the crown on the floor and RH kicks it hard. When the men pull on the ring they find a hole. No light or protection in the dungeons. Passage leads down sandstone steps. They find a metal gate ajar. They slide through the open gate and peer down into the dungeons. Cloaked woman? The men are TRAPPED by the Sheriff.

Robin Hood TRAPPED: Visualising the Story with The Heart Rate Graph
Name: Robin Hood TRAPPED: Visualising the Story with The Heart Rate Graph y Expected heart rate of reader (beats per minute) x Main sections of the story Now that we have decided on the main sections of our story, think about how dramatic they are and plot an X on your graph ( = a high, dramatic point, with lots of action, and = a low, calm point in the story. This might be when there is lots of description, instead of action.) Then join up your points so that we see how the story develops for readers.

Can you find these suspense techniques?
Questions of the reader Character reaction Varying sentence length for effect Flashback or detail to make reader wait Repetition for impact Similes for added weight to description Hiding Ellipsis (...)

Storytelling Techniques
AUDIO: Pitch varies, showing emotions/ allowing the storyteller to sound like characters Metaphors Similes Alliteration Making it sound exciting Expression Giving description Builds tempo when it gets exciting ‘That’s for another feast’: making the reader want to come back for more. Sound effects

AUDIO: Sound effects and pauses Changes the tempo & pitch according to what’s happening Exciting connectives Gets slower when the sheriff is approaching: a moment of suspense Creates pressure to match the character’s pressure Explains well Metaphors (e.g. heart of stone) Alliteration Similes Onomatopoeia, e.g. ‘clink’

AUDIO (sound): Sound effects (incl. music) Speaking clearly Changing your voice (TONE, PITCH, VOLUME) to make it appropriate for characters pitch is lower for the sheriff, and softer for Marion. Reading with expression to make the action exciting Strong vocabulary: metaphors, alliteration, similes, onomatopoeia Explanation & description during the story Pulling in the audience by talking to them: incl. rhetorical questions 100

AUDIO (sound): Dramatic pauses Volume, pitch, speed Expression Sound effects (birds; ) Imagining what’s happening Changing the tone of your voice for different character and feelings/ mood Clear voice Describing the action/ scene Talking to audience – asking rhetorical Qs Similes, metaphors, alliteration, onomatopoeia 101

VISUAL: Squinting when something strange was happening Looking angry when talking about the sheriff: showing the sheriff’s emotions, Robin’s emotions and the storyteller’s emotions Expressions and body language explained words.

VISUAL: Action/ events (e.g. a fight) Facial expression to show how characters are feeling Background effects to show WHERE the people are and the mood of the story (e.g. wind/ weather) Animations Camera shots: close ups; far away shots; different angles) Body language (e.g. hand movements) 103

VISUAL (what you can see): Actions/ movements: body language PowerPoint/ movies – technology People acting as the characters Looking up from the script and at the audience (or just above) Facial expressions – they can encourage the audience by showing your emotions Background 104

Robin Hood TRAPPED! AUDIO VISUAL

VISUAL: Facial expressions Body movements Hand movements Moving cameras? More than one camera? Storyteller’s actions match character’s actions Cameras move faster for more exciting/ dramatic moments Holding breath because he really wanted to tell us information. Holding his breath like characters would if they are scared? Eye movements – all the time!

Key Features of Legends

Marian’s thoughts… I am Marian. I’m alone, in the dungeon. Alone.
I’m frightened. Where’s Robin? I hope he hasn’t hurt himself, or worse, been captured. Where’s everyone else? I thought I heard a sound…but maybe it was just the rats… It’s dark, and cold. Robin…? Is that you? I DON’T deserve to be here. Locked up. Imprisoned. What if I die here? It’s pitch black down here. I’m really scared. I’m lonely. Will? Robin? HELP!

Marian’s Thoughts I’m in the dark. Alone. I’m not … quite sure where, but I’m worried. I wonder, if I’m going to die tonight. What am I going to do? Is there any way out? Whatever happens, in my heart I’m happy, because I just know Robin will come. I love him with all my heart. BUT… What if Robin doesn’t come?

Sentence Structure Simple Sentences have one main clause of meaning that makes sense on its own. E.g. The television was broken. Compound Sentences They are made up of 2 simple sentences, joined by ‘and’ or ‘but’. E.g. The television was broken and smoke came out of the back. Complex Sentences They are made up of 2 or more clauses. One = the MAIN CLAUSE (makes sense on its own) Two = the SUBORDINATE CLAUSE (Does not make sense without the main clause) E.g. The television, which was broken, was thrown out.

How many different ways could we combine these sentences?
Robin's hands trembled as he picked up the arrow. Robin was scared of the sheriff. Reorder the words? Use a comma? Use a connective?

List the new sentences Which do you prefer and why? Make up two sentences for a partner to combine in different ways.

Discuss : what would make these sentences clearer?
The dungeon dark as pitch spat fear into the bones of any man woman or beast that entered it some of whom of course would never leave. Trembling with cold and the terror of pain Marian crouched gasping with the grave-still air determined to kill the guard about to enter her cell. Why would we want such long sentences? Make up some more with a partner!

Thoughts, Feelings, and Dialogue of Robin Hood
The TFD Map: Thoughts, Feelings, and Dialogue of Robin Hood As a group of Robins, discuss and decide on what you think this hero might think, feel and say during the story of Robin Hood.

Thoughts, Feelings, and Dialogue of Maid Marian
The TFD Map: Thoughts, Feelings, and Dialogue of Maid Marian As a group of Marians, discuss and decide on what you think this maiden might think, feel and say during the story of Robin Hood.

Thoughts, Feelings, and Dialogue of the Sheriff of Nottingham
The TFD Map: Thoughts, Feelings, and Dialogue of the Sheriff of Nottingham As a group of Sheriffs, discuss and decide on what you think this villain might think, feel and say during the story of Robin Hood.

Thoughts, Feelings, and Dialogue of Will Scarlett
The TFD Map: Thoughts, Feelings, and Dialogue of Will Scarlett As a group of Wills, discuss and decide on what you think this man might think, feel and say during the story of Robin Hood.

Nouns ending in a vowel and a y add s in the plural. (E.g. monkeys)
Nouns ending in hissing, buzzing and shushing sounds (s/ x/ ch/sh) add es in the plural. (E.g. buses) Nouns ending in a vowel and a y add s in the plural. (E.g. monkeys) Nouns ending in a consonant and a y change the y to an i and add es in the plural. (E.g. babies) Several older nouns ending in an o add es in the plural. (E.g. potatoes)

witch cry fish box tomato party domino city hiss puppy lunch lolly potato

Nouns ending in a vowel and a y add s in the plural. (E.g. monkeys)
Nouns ending in hissing, buzzing and shushing sounds (s/ x/ ch/sh) add es in the plural. (E.g. buses) Nouns ending in a vowel and a y add s in the plural. (E.g. monkeys) Nouns ending in a consonant and a y change the y to an i and add es in the plural. (E.g. babies) Several older nouns ending in an o add es in the plural. (E.g. potatoes)

Top Tips for Storytelling!
Monday 25th February Top Tips for Storytelling! VISUAL: Facial expressions; Movements; Eye movements Body language (hands) Moving cameras Signs AUDIO: Changing voice: tempo; pitch; volume Expression Pauses for suspense & dramatic effect Sound effects, e.g. gasping

Top Tips for Storytelling!
Friday 22nd February Top Tips for Storytelling! VISUAL: Use objects around you – such as a chair. Body language Act like a character Smile Eyebrows & facial expression (pulling faces) Movement/ acting out words AUDIO: Make it clear Alliteration Change your voice: change tempo; change pitch; change volume Sound effects & onomatopoeia Pausing for suspense Make it exciting

Reading imagination

Robin Hood Storytelling Challenge Robin Hood Storytelling Challenge
Peer Assessment Card Peer Assessment Card Name: ……………..…… ……….…………./ Date: ……….… Name: ……………..…… ……….…………./ Date: ………. Pair/ Group Audio techniques Visual Techniques ?/ Pair/ Group Audio techniques Visual Techniques ?/

Robin Hood Storytelling Challenge
Peer Assessment Card Peer Assessment Card Pair/ Group Audio techniques Visual Techniques Pair/ Group Audio techniques Visual Techniques ?/ ?/ 126

Myths, Legends and Fables

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Myths, Legends and Fables

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