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2022 Chinese Zodiac｜Story of the Tiger, Horoscope, and Personalities 虎年生肖故事运势

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Poetry - Ode to the only black kid in the class

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Poetry - Ode to the only black kid in the class

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"Ode to the Only Black Kid in the Class" by Clint Smith

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This animation is part of our series, "There's a Poem for That," which features animated interpretations of poems both old and new that give language to some of life's biggest feelings. Check out the full series here: http://bit.ly/TEDEdTheresAPoemForThat

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Odin, king of the Gods, was having nightmares. Every night, three fearsome figures haunted him. The first was a writhing shadow, while the second seemed to rot and wither. But most terrifying of all was a fearsome beast, who sank his sharp claws and teeth into Odin himself. To Odin, these were new monsters. But as the nights wore on, he saw that they stemmed from the same old problem: Loki.

Loki is one of the most intriguing tricksters in world mythology, whose motivations and character are still debated. See more of Loki's misadventures in the TED-Ed lessons Loki and the deadly mistletoe and Loki and the master builder.

You can read more analysis of Loki here, explore an archive of podcasts related to Loki and Norse mythology here, and listen to a deeper dive on his antics here.
For Odin, the revelation of Loki's offspring implies that the cycle of chaos will continue. But Odin's fear would only cement his doom.
The myth of Loki's children and Odin's attempt to contain them is characteristic of much of Norse mythology, in which characters often over-correct for the actions of others or attempt to prevent bad things from happening. You can read more Norse mythology, including tellings of Loki's children, in Neil Gaiman's collection and Kevin Crossley-Holland's collection.
Each of Loki's children is a distinct and captivating figure. The first is Jörmungandr, a serpent blasting venom. In the Prose Edda, Thor wrestles with Jörmungandr on Odin's orders - only for the snake to sink beneath the waves, waiting for his revenge. You can read an extract from the epic here. Ultimately, Jörmungandr grows to encircle the earth and becomes known as the Midgard serpent. You can learn more about the Midgard serpent here.

The second child, Hel, appears to be a glowing young woman from the right. But the left side of her body is a moldering corpse. Hel is banished underground and comes to rule the dead. As this article argues, she is more of an outcast than a goddess, as she still harbors deep resentment towards the Gods. You can read more about her character and her relation to other deathly figures in world mythology here.

The third is Fenrir, the wolf cub who grows into a threatening hound with superhuman strength. Learn more about him here. Unlike his siblings, Fenrir remains at Asgard where the Gods try to control him.

Only Tyr considers Fenrir in his full complexity, and their friendship shows us that things might have turned out differently if Odin had also treated Fenrir with respect. You can learn more about their tragic friendship and the fate of Fenrir here.

Ultimately, Odin's attempt to quash these strange beings only made them more monstrous. In this way, the myth of Loki's children is also a tragic, self-fulfilling prophecy.

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The myth of Loki's monstrous children - Iseult Gillespie

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Odin, the king of Asgard, was plagued by nightmares. Three fearsome figures haunted his dreams: a massive, writhing shadow; a shambling, rotting corpse; and worst of all, a monstrous beast with a deadly bite. Though their true forms were unknown to him, he could tell they were related to Asgard's most persistent problem: Loki.

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The myth of Hercules: 12 labors in 8-bits - Alex Gendler

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Hercules — son of Zeus and champion of humankind — stricken with a temporary curse of madness, has just committed the most unspeakable crime imaginable. Seeking to atone for the deaths of his family, Hercules must complete twelve impossible tasks that pit him against invincible monsters and unfathom…

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Learn more about Lewis Carroll and read his poems by exploring these resources by the Poetry Foundation. To learn more about the words used in Jabberwocky and how the poem was written, visit this page.

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"Jabberwocky": One of literature's best bits of nonsense

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As Alice wanders through the dreamscape of Looking-Glass Land in Lewis Carroll's "Through the Looking-Glass, and What Alice Found There," she happens across a book written in an unintelligible language. Inside, she discovers an epic poem filled with nonsense, fearsome creatures, and whimsical language.

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Can you solve the riddle and escape Hades?

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Can you solve the riddle and escape Hades?

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Use the think tab to have a go at the multiple choice questions

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Hermes is willing to give you a chance to escape from Hades, but to have a shot at the opportunity, you'll need to find the best place in line. Where will Cerberus's bite be most likely to free you from Hades?

What if Cerberus had 4 heads instead of 3, but everything else was the same. What place in line would be best in that case? What about 5 heads? 6 heads? Can you generalize the argument to any number of heads?

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Can you solve the riddle and escape Hades? - Dan Finkel

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The underworld is overcrowded, and Zeus has ordered Hades to let some spirits out. Hades arranges all the souls of the dead in a line before Cerberus. When one of his three heads bites down on the soul in front of it, they'll get returned to the land of the living.

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Use the think tab to have a go at the multiple choice questions

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Can you solve the giant spider riddle? - Dan Finkel

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Once every century, the world’s greatest spiders gather to compete in a series of grueling games. The winner will become the next arachnomonarch, able to command all the world’s spiders to their will. That day is today, and for the first time, you’re casting your name into the ring. Can you attain…

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Use the think tab to have a go at the multiple choice questions

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Fun fact: the classic version of this riddle casts you as a train conductor trying to count the number of train cars in a train, where all you can do is walk from one car to the next and turn the light on or off! Here is the puzzle as described by the riddle section of FiveThirtyEight. If you want to dig deeper into the math, Professor Tim Black has a nice blog about this puzzle analyzing the efficiency of different solutions and Ben Tupper has a video walking through several possible approaches.

Puzzles like this one challenge your brain to figure out something new, with no clear ties to problems you already know how to solve! The more of these you tackle, the more equipped you become at adapting to new challenges that come your way. Think back to how impossible this problem seemed at first, and reflect on the "aha" feeling you may have experienced once you realized returning to the starting candle would help. The TED-Ed riddle series is a great place to find more puzzles, each different from the last!

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Can you solve the birthday cake riddle? - Marie Brodsky

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Your friend's birthday is tomorrow, and he's turning... well... you've forgotten. A ginormous cake has been prepared and your job is to sculpt his age as the chocolate centerpiece. The birthday boy is a giant, and you're afraid that if your forgetfulness becomes known, you'll become part of the feast.

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Can you cheat death by solving this riddle?

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Can you cheat death by solving this riddle?

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Use the think tab to have a go at the multiple choice questions

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History and Symbolism
One of the most popular pass time recreational games, Snakes and Ladders, which is played across the world started out centuries ago in the Indian subcontinent. It was known as "Vaikunta Palem", "Moksha Patam", "Paramapada Sopanam" which means "Path/Steps to the Highest" where The Highest is Nirvana or the ultimate dissolution/salvation. Elements of spirituality such as karma and enlightenment were ingrained into the board game in the form of snakes and ladders; karma means action. Snakes represented actions which take you away from reaching Nirvana and ladders denote actions which take you closer.

This particular riddle can be interpreted as the possibility to reach salvation faster even if it means going through snakes!! There are also moral connotations where vices like disobedience, theft, rage are denoted by snakes and virtues like generosity, wisdom, asceticism are shown by ladders. Over time the game underwent several adaptations and modifications based on religious, local and cultural values. The earlier Indian versions had more snakes than ladders but most of the current boards come with an equal number of snakes and ladders. What started out as a game embedded with spiritual, human and moral values is now reduced to a game of only entertainment. The pure role of chance in the game can also be perceived to reflect the uncertain nature of life and destiny. More on the history of the game and how it evolved can be found in this webpage and video.

Finding the Quickest Path: Graph Theory
The problem of finding the quickest path in any board of Snakes and Ladders may seem tricky as the riddle shows how sometimes even going through snakes could lead to quicker paths than by using only ladders. A simplistic way is to list out all possible paths to reach 100 and look for the quickest; which may be time consuming and impractical. Computers are used to model and solve such problems using Graph Theory. This can be visualised in the form of a directed graph where each room is a node and a possible move from one room to another, with a single die roll, is a directed edge. BFS, a graph traversal algorithm, can be used to traverse this graph by looking at all possible rooms reachable after each die roll. The first time 100 is reached corresponds to a quickest path.

DIY Snakes and Ladders Board
Here is a DIY Snakes and Ladders Board Creator; thanks to Gowri Satya for making this. Play and tinker with this to solve questions like those in the Think section and to some of your own creative riddles based on this game.

For more resources, visit Educator Shravan S K's website Seed2Sapling Education.

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Can you cheat death by solving this riddle? - Shravan S K

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You and your best friend Bill are the greatest bards in the kingdom- but maybe not the brightest. Your hit song has insulted the king and now you're slated for execution. Luckily, Death is a connoisseur of most excellent music and has decided to give you a chance to escape your fate.

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The myth behind the Chinese zodiac - Megan Campisi and Pen-Pen Chen

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History of Auld Lang Syne | National Geographic

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History of Auld Lang Syne | National Geographic

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The Norse inspiration for Lord of the Rings

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The Norse inspiration for Lord of the Rings

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The Norse myth that inspired “The Lord of the Rings” - Iseult Gillespie

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The myth of Loki and the master builder - Alex Gendler

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The Egyptian myth of Isis and the seven scorpions - Alex Gendler

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The epic of Gilgamesh, the king who tried to conquer death - Soraya Field Fiorio

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What do giant cat armies, alien probes and river crossings have in common?

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"All the World's a Stage" by William Shakespeare

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"The Second Coming" by William Butler Yeats

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The psychology of narcissism - W. Keith Campbell

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Father Christmas' Fake Beard: A collection of funny stories

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Father Christmas' Fake Beard: A collection of funny stories

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Have you ever wanted Christmas to be different? Turkey and carols, presents and crackers - they all start to feel a bit . . . samey. How about a huge exploding mince pie, a pet abominable snowman, or a very helpful partridge in a pear tree? What if Father Christmas went to work at a zoo, or caused chaos in a toy store, or was even arrested for burglary!? Dive into the fantastically funny world of Terry Pratchett, for a festive treat like no other. These ten stories will have you laughing,

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Father Christmas's Fake Beard: Terry Pratchett

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Father Christmas's Fake Beard: Terry Pratchett : Pratchett, Terry, Beech, Mark: Amazon.co.uk: Books

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Click the link to go straight to the school library's collection of myths & legends. Some are just beautiful to look at! Borrow them from the library. :)

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This site uses cookies to improve your user experience. By continuing to use this site you agree to our use of cookies. Learn more Ok

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The meaning of life according to Simone de Beauvoir - Iseult Gillespie

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The meaning of life according to Simone de Beauvoir - Iseult Gillespie

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The tale of the boy who tricked the Devil - Iseult Gillespie

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The tale of the boy who tricked the Devil - Iseult Gillespie

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The myth of Pandora’s box - Iseult Gillespie

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The myth of Pandora’s box - Iseult Gillespie

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How Thor got his hammer - Scott A. Mellor

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The myth of Prometheus - Iseult Gillespie

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The Greek myth of Talos, the first robot - Adrienne Mayor

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The myth of Loki and the deadly mistletoe - Iseult Gillespie

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The myth of Icarus and Daedalus - Amy Adkins

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Simon Armitage reads his own poem ‘Out of the Blue’, and talks about why he wrote it. He explains the narrator’s voice, and how it was inspired by a real-life image of the 9/11 attack on the World Trade Center.

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He explains the narrator's voice, and how it was inspired by a real-life image of the 9/11 attack on the World Trade Center.

He analyses the poem's structure and language, over documentary footage of the attack.

He considers a girder from the towers at the Imperial War Museum North, and how he incorporated these objects into the language of the poem.

He talks about how his use of repetition represents the wobbly camera footage of the event. Contains images of the 9/11 attack that some viewers may find upsetting. Teacher review recommended prior to use in class.

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English Literature KS3 / GCSE: Out of the Blue' by Simon Armitage

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He explains the narrator's voice, and how it was inspired by a real-life image of the 9/11 attack on the World Trade Center. He analyses the poem's structure and language, over documentary footage of the attack. He considers a girder from the towers at the Imperial War Museum North, and how he incorporated these objects into the language of the poem.

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Simon Armitage reads and analyses his poem ‘Give’; images of rough sleepers in Manchester and an interview with a man who has experienced homelessness help give context to the narrative voice of the poem.

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SIMON: I wrote this poem in the early nineties. It's interesting to write about homelessness because it's a real visible manifestation of something that's not working properly in society.

SIMON: These are people who have been left behind, or people who don't fit in.

SIMON: Of all the public places, dear, to make a scene, I've chosen here. Of all the doorways in the world to choose to sleep, I've chosen yours. I'm on the street, under the stars. For coppers, I can dance or sing. For silver, swallow swords, eat fire. For gold, escape from locks and chains. It's not as if I'm holding out for frankincense, or myrrh, just change. You give me tea. That's big of you. I'm on my knees, I beg of you.

SIMON: A poem written in the voice of somebody living on the street requires, I think, a certain amount of empathy. You have to put yourself in that person's position.

SIMON: Graham, do you wanna tell me a bit about what goes on here?

GRAHAM: The Mustard Tree supports a lot of people from a lot of different backgrounds, predominately homeless. We run two soup runs a week.

SIMON: Right.

GRAHAM: Which feeds up to 70 people a night. I, myself, was homeless and living on the streets for a while. It's terrible, because it's almost soul destroying, you know? People just walk past you, and don't even look at you. Sometimes, it's not even about the money. Sometimes it's about someone just saying hello to you. That can make you feel human again.

SIMON: Bit of human contact is worth a lot.

GRAHAM: Yeah. Worth more than money.

SIMON: Of all the public places, dear, to make a scene, I've chosen here.

SIMON: Of all the doorways in the world to choose to sleep, I've chosen yours.

SIMON: I'm a big admirer of that kind of poem which has surface meaning, and then another meaning. And, in the case of this poem, it's love. It's a love poem. I think that's hinted at in the first line with the use of that word 'dear'. It, perhaps, suggests a more personal relationship, and I think as the poem goes on, you get further signals and hints and clues.

SIMON: For coppers, I can dance or sing. For silver, swallow swords, eat fire. For gold, escape from locks or chains. It's not as if I'm holding out for frankincense, or myrrh, just change.

SIMON: There's usually one line in every poem which seems to be flashing on and off. Either because it's outrageous, or it contains the significance of the poem, I refer to it as the Neon Line. In this poem, it's that line about holding out for frankincense and myrrh. The speaker in the poem is saying, "it's not like I'm trying to be the infant Christ here. All I want is something that you can give me. It's not a miracle that I'm asking for."

SIMON: You give me tea, that's big of you. I'm on my knees, I beg of you.

SIMON: This poem doesn't have a rhyme scheme, as such, but there are little rhymes holding it together. Some of them are internal, they don't always happen at the end of the line. And some of them are half rhymes, words like chains and change. It suggests unrequited love, and it reduces the person in the poem to begging. They are begging for love which is an extraordinarily... uncomfortable and insecure place to be. That's the place that the poem is speaking from.

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English Literature KS3 / GCSE: Simon Armitage on his poem 'Give'

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SIMON: I wrote this poem in the early nineties. It's interesting to write about homelessness because it's a real visible manifestation of something that's not working properly in society. SIMON: These are people who have been left behind, or people who don't fit in.

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Following brief visual images of Guyana, Nichols explores how the poem reflects her family life, cultural background and approach to writing poetry.

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In pairs students could choose one metaphor from the poem and write it in the middle of a plain piece of paper. Give your students ten minutes to analyse and explore the metaphor in note form, in as much detail as possible; listing as many different interpretations of the words and image as they can. This is an exercise called 'saying a lot, about a little'.

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English Literature KS3 / GCSE: 'Praise Song for My Mother' by Grace Nichols (analysis)

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In pairs students could choose one metaphor from the poem and write it in the middle of a plain piece of paper. Give your students ten minutes to analyse and explore the metaphor in note form, in as much detail as possible; listing as many different interpretations of the words and image as they can.

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The Arabian Nights : BBC : Free Download, Borrow, and Streaming : Internet Archive

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An inventive two-part adaptation by Glen Neath of wondrously entertaining and earthly tales from the Arabian Nights, reviving old favorites as well as...

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Khalvati explores how the poem reflects her interest in poetry from her cultural background and her approach to writing poetry.

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English Literature KS3 / GCSE: ‘Ghazal’ by Mimi Khalvati (analysis)

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Mimi Khalvati, filmed in a park and cafe setting, talks about her poem ‘Ghazal’. Suitable for Key Stage 3 and GCSE

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Hip-hop star Akala meets the poet Imtiaz Dharker to discuss how her poem 'The Right Word' explores the power of language amidst the backdrop of the War on Terror.

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AKALA: We all know thousands and thousands of words. We hear them, we read them, we speak them, every single day. But are we careful enough in the way that we use language? Because, do you know what it takes to change everything we think about a person? Just one word.

IMTIAZ DHARKER: Outside the door, lurking in the shadows, 'is a terrorist. Is that the wrong description?' Outside that door, taking shelter in the shadows, 'is a freedom fighter. Although this poem has words like terrorist in it it's not really a poem about terrorism. It's more to do with how you can take one single imageand interpret it in different ways.'

IMTIAZ DHARKER: 'I call myself a Scottish, Pakistani, Calvinist Muslim adopted by India and married to Wales.' What I'm trying to do there is to say, "Don't put one word on me,"

IMTIAZ DHARKER: "don't put me in one label or one box."

AKALA: So, is there a right word?

IMTIAZ DHARKER: The right word really is a word that's used with care and thought - with knowledge that the word is precious. Words can be used and are being used every day around us and in our media, to create suspicion. Even of innocent people. 'So it's not that we shouldn't be afraid of, say, of a terrorist'

IMTIAZ DHARKER: 'but who is the terrorist, what is the terrorist, how do we know?' How do we know that we're not throwing suspicion on an absolutely innocent person? I haven't got this right.

IMTIAZ DHARKER: Outside, waiting in the shadows is a hostile militant.

IMTIAZ DHARKER: Are words no more than waving, wavering flags?

IMTIAZ DHARKER: Outside your door, watchful in the shadows,

IMTIAZ DHARKER: 'is a guerrilla warrior.'

AKALA: 'That's a very interesting line,' "Are words no more than waving, wavering flags?" The alliteration there gives us a certain rhythm you know, but it also gives us a sense that, words are kinda transitory in a way, they're not permanent.

IMTIAZ DHARKER: There's a certain point where words lose their weight. They lose their actual meaning. It's like empty air coming out of your mouth an empty space in a newspaper. And I'd like to bring back the subtlety of words.

ANTHONY ANAXAGOROU: Those are the only words she can use to describe what's happening but...

ANTHONY ANAXAGOROU: there's a dissatisfaction with--

LIONHEART: She's aware of how dehumanising it is. She's aware of the impact of the words.

ANTHONY ANAXAGOROU: That's why there's a constant search to find the right word. Though it's a political piece and it kind of has a journalistic element, it's incredibly sublime.

IMTIAZ DHARKER: God help me, Outside, defying every shadow,

IMTIAZ DHARKER: stands a martyr. I saw his face. No words can help me now. Just outside the door, lost in shadows, is a child who looks like mine.

LIONHEART: 'So I think like, when the labels change, her characterisation' of the person behind the door changes as well. So, each label, you think something different.

ANTHONY ANAXAGOROU: Oh your image of the person.

LIONHEART: An image of the person yeah, you don't know what that person is until you hear a different word. You start to associate or disassociate the previous word with the new one.

YOUNG DEACON: Terrorist or freedom fighter. So it's like, the juxtaposition of the two

YOUNG DEACON: it just completely changes the image, completely.

LIONHEART: When I think of terrorists I think, OK, bombs, explosions. I don't think of anything that's safe but, freedom fighter, if my friend was a freedom fighter, I wouldn't mind walking the street with you.

SOPHIA THAKUR: It goes from, like what, terrorist to freedom fighter to hostile militant

SOPHIA THAKUR: to--

YOUNG DEACON: Guerilla warrior.

SOPHIA THAKUR: Guerilla warrior.

YOUNG DEACON: Martyr.

SOPHIA THAKUR: Martyr. And you just end with like a child.

LIONHEART: Innocent.

SOPHIA THAKUR: Innocence, yeah.

IMTIAZ DHARKER: -One word for you. Outside my door,

IMTIAZ DHARKER: his hand too steady, his eyes too hard, is a boy who looks like your son, too.

IMTIAZ DHARKER: I open the door. Come in, I say.

IMTIAZ DHARKER: Come in and eat with us. The child steps in and carefully, at my door, takes off his shoes.

AKALA: 'This kind of serious tone looking at the brutality of words but then you have this almost realisation when their young face becomes familiar and for me' that was a bit of a revelation, a really, kind of clever twist.

IMTIAZ DHARKER: Yes some people misunderstand this poem and think that I'm saying "Be kind to terrorists" but it's not really that. Who is this person who's walking down the street. Is it someone to be suspicious of? Is it someone who's actually like you? Like anyone else like your child.

AKALA: And even then the idea of being outside the door, which seems to represent more than just a door in some way.

IMTIAZ DHARKER: Well the closed door is a moment of shutting out. 'Blocking out the thing that is fearful. Blocking the outside world, blocking the stranger. Because this idea of the stranger, the outsider, is an idea that brings in so many moments of suspicion and fear. So the moment when the door is opened is a moment which'

IMTIAZ DHARKER: 'takes away-- a movement away from the fear' away from ignorance, away from the exclusion of other people.

AKALA: Imtiaz Dharker's poem exposes the power of words. They can act as barriers, changing or distorting our view of people 'but they're also our greatest chance for understanding each other better. And any one of us could be standing in that shadow, which is why finding the right word, is so important.'

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English Literature GCSE: Imtiaz Dharker on her poem 'The Right Word'

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AKALA: We all know thousands and thousands of words. We hear them, we read them, we speak them, every single day. But are we careful enough in the way that we use language? Because, do you know what it takes to change everything we think about a person? Just one word.

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Fernhill School eLibrary system to browse, borrow and reserve eBook / Audiobook titles from the digital collection.

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16 minutes

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is one of the most important texts in Old English and is believed to date from somewhere between 975 and 1025 - around the time of Alfred the Great. The author is unknown.

The poem consists of 3,182 lines and exists in a single copy, housed in the British Museum . This is an external link. The BBC is not responsible for the content.

The events of the poem are set in Scandanavia. Hrothgar - King of the Danes - builds a mead hall called but comes under attack from a monster called Grendel. Gredel terrorises the Danes for twelve long years.

Beowulf, a prince of Geatland, hears of the Danes' suffering and gains permission from his king to sail to their assistance.

Beowulf and his men spend the night in Heorot waiting for the inevitable attack. When Grendel breaks in Beowulf seizes the monster by the arm and will not let it go. Eventually Grendel's arm is severed and the monster limps away to die.

The Danes and Geats celebrate their victory not knowing that Grendel's mother is also about to terrorise Heorot, seeking vengeance for the death of her son. She enters Heorot, seizes Hrothgar's oldest friend and makes away with the severed arm of Grendel.

Beowulf tracks Grendel's mother to her underwater cave and fights her. Beowulf's sword has no power against the monster but then he spots an enormous sword in a corner of the cave. No ordinary mortal could lift the sword...but Beowulf can and he strikes at Grendel's mother.

In the original poem Beowulf returns to Geatland and, fifty years later as king, must fight a dragon. The dragon is killed but Beowulf has received a mortal wound. He dies and is ritually burned on a great funeral pyre.

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KS2 English. Beowulf - Part 2. The Anglo-Saxon story of Beowulf told in 3 short animated episodes for KS2 pupils. Beowulf sails to Denmark to help Hrothgar and his people in their battle with the monster Grendel. BBC School Radio. BBC Teach.

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There is a new Resource Pack available which is full of activity suggestions that can be applied to any of the myths. The text of each myth is also available to download from the relevant page.

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Key Stage 2 History teaching resources with Ancient Greek myths and legends. Myths include King Midas, Perseus, Medusa, Persephone, the Minotaur, Theseus, Odysseus, Ariadne, with Ancient Greek gods and goddesses.

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Watch stories from Norse mythology told in a fun but faithful style for 7-9 year olds. Featuring Odin, Loki, Freya, Thor and many other gods, goddesses, giants and an array of unusual creatures!

There is a comprehensive Resource Pack to go with the sagas, offering lesson plans and a variety of follow-up activities and opportunities.

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Watch stories from Norse mythology told in a fun but faithful style for 7-9 year olds. The stories feature famous characters such as Loki, Odin and Thor. Suitable for Key Stage 2 English.

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15 mins

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English KS2: Shakespeare Retold - All for a pound of flesh

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Shakespeare Retold is a series of ten stories written by well-known children’s authors. This episode is ‘All for a pound of flesh’ - a short story by Jamila Gavin, inspired by The Merchant of Venice. Read by Jez Edwards. Each story is inspired by or based on a play by William Shakespeare. These are…

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15 minutes

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English KS2: Shakespeare Retold - Hamlet Lives Forever

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Shakespeare Retold is a series of ten stories written by well-known children's authors. This episode is 'Hamlet Lives Forever' - a story inspired by Hamlet, written by Horatio Clare and read by Julian Rhind-Tutt. Each story is inspired by or based on a play by William Shakespeare.

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15 mins

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English KS2: Shakespeare Retold - All for a pound of flesh

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Shakespeare Retold is a series of ten stories written by well-known children’s authors. This episode is ‘All for a pound of flesh’ - a short story by Jamila Gavin, inspired by The Merchant of Venice. Read by Jez Edwards. Each story is inspired by or based on a play by William Shakespeare. These are…

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15 minutes

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English KS2: Shakespeare Retold - Hamlet Lives Forever

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Shakespeare Retold is a series of ten stories written by well-known children's authors. This episode is 'Hamlet Lives Forever' - a story inspired by Hamlet, written by Horatio Clare and read by Julian Rhind-Tutt. Each story is inspired by or based on a play by William Shakespeare.

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Series of short clips

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KS2 English: Treasure Island by Robert Louis Stevenson

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KS2 English. Treasure Island. Robert Louis Stevenson’s famous tale of pirates and treasure is told in 10 video clips for English at KS2, children aged 7-11. Jim Hawkins is bored with his life and dreams of adventure... BBC School Radio. BBC Teach.

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Tales from the Norse Legends. Listen to the stories that have informed the films you love.

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Tales from the Norse Legends - Fernhill School

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Fernhill School eLibrary system to browse, borrow and reserve eBook / Audiobook titles from the digital collection.