T TIS PROBABLY FAIR TO SAY THAT MOST regular readers of Shakespeare Quarterly are unfamiliar with the way Shakespeare is now being taught in the American secondary school. College and university teachers habitually deplore the failure of their high-school counterparts to teach college-bound students how to write, and in general professors tend to lament the death of learning in the public schools. It might also be said that many high-school teachers are ignorant of pedagogical practice in the university. High-school teachers once attended college, and college teachers high school, but neither group seems to remember much about its experience. And times and modes of instruction have changed so much that one's own experience is probably outdated. Regrettably, little commerce occurs between the secondary school and the university, at least as far as English is concerned, and this is so because there are very few thoroughfares to promote communication. I present this piece in the hope that some barriers can be broken down and intellectual traffic encouraged. The four teachers who here describe their pedagogical practices have all participated in the Teaching Shakespeare Institute sponsored by the National Endowment for the Humanities at the Folger Shakespeare Library. Three of the four returned, after their initial term as participants, to serve as master teachers, or coordinators of exercises and discussions about pedagogical and extracurricular means of making Shakespeare accessible to students. As a regular faculty member and, with Peggy O'Brien, a coordinator of that institute over the past decade, I have come to know dozens of talented, curious, industrious, articulate high-school teachers. Attention to the experience and views of four of these teachers can not only enlarge awareness of how students encounter Shakespeare before they get to college but can also improve university instruction by giving entering students a clearer identity. It is clear from our work in the Folger program that energy, imagination, and talent are to be found in abundance in the high-school classroom. With help from the editor of this special teaching issue of SQ, I have devised a series of questions designed to illuminate the assumptions, choices, and practices governing the pedagogy of four superior high-school teachers of Shakespeare. The assemblage that follows is unscientific, impressionistic, tilted, partial, and, by the usual measures of scholarship, probably indefensible. To one who hated As You Like It in the tenth grade and loved Twelfth Night in the twelfth, it is also fascinating. Unscientific or not, this survey of responses opens a window onto the high-school class-
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