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+The Project Gutenberg eBook, Shakespeare Study Programs; The Comedies, by
+Charlotte Porter and Helen A. Clarke
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Shakespeare Study Programs; The Comedies
+
+Author: Charlotte Porter and Helen A. Clarke
+
+Release Date: January 15, 2005  [eBook #14699]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE STUDY PROGRAMS; THE
+COMEDIES***
+
+
+E-text prepared bu Ted Garvin, Keith M. Eckrich, and the Project Gutenberg
+Online Distributed Proofreading Team
+
+
+
+SHAKESPEARE STUDY PROGRAMS: THE COMEDIES
+
+by
+
+CHARLOTTE PORTER & HELEN A. CLARKE
+
+Authors of _The Tragedies_
+Editors of the _Pembroke Shakespeare_, the _First Folio Shakespeare_,
+_Poet Lore_, etc.
+
+Boston: Richard G. Badger
+Toronto: The Copp Clark Co., Limited
+The Gorham Press, Boston, U.S.A.
+
+
+
+
+
+
+
+[Illustration: ARTI et VERITATI]
+
+
+
+
+INTRODUCTORY NOTE
+
+
+The Shakespeare Study Programs appeared originally in _Poet Lore_.
+They have met with marked favor, and have been reprinted as the back
+numbers went out of print. The steady demand for these programs
+prompts the present issue in book-form. Several new programs have been
+added, and those reprinted have been revised.
+
+The references in this volume are to the "First Folio Edition" of
+Shakespeare, edited by Charlotte Porter.
+
+
+
+
+"Criticism is the endeavour to find, to know, to love, to recommend
+not only the best, but all the good that has been known and thought
+and written in the world. ... It shows how to grasp and how to
+enjoy;... it helps the ear to listen when the horns of England blow."
+
+--GEORGE SAINTSBURY, "History of Criticism."
+
+
+
+
+CONTENTS
+
+The Comedie of Errors
+
+The Two Gentlemen of Verona
+
+The Taming of the Shrew
+
+Love's Labour's Lost
+
+Much Adoe About Nothing
+
+A Midsommer Nights Dreame
+
+The Merchant of Venice
+
+The Merry Wives of Windsor
+
+As You Like It
+
+Twelfe Night
+
+The Tempest
+
+The Winter's Tale
+
+
+
+
+
+THE COMEDIE OF ERRORS
+
+
+In the Summer of 1594 a translation of a Latin Farce by the Roman
+Dramatist, Plautus, was made ready for publication in London. It may
+even have been published then, for, although the title page date is
+1595, then, as often now, the issue was made in advance of date.
+Circulation in MS., moreover, now unusual, was then common.
+
+This translation was registered, at any rate, for publication, June
+16, 1594, as "A Booke entitled Menęchmi, being a pleasant and fine
+conceited comedy taken out of the most wittie poet Plautus, chosen
+purposely from out the rest as being the least harmful and most
+delightful."
+
+Six months later, Shakespeare had made an English Farce out of this
+Latin one. He invented several new characters, arranged many new
+situations, and put a good deal more life-likeness in the relations of
+the characters, while yet it may be seen that, his new play, "The
+Comedie of Errors," was directly drawn from the old one by Plautus.
+
+The first record we have of Shakespeare as an actor before Queen
+Elizabeth relates to the performance in Christmas week of this same
+year of "twoe severall comedies." This record in the Accounts of the
+Treasurer who paid out the money for the Plays acted before the Queen,
+runs as follows:
+
+"To William Kempe, William Shakespeare, and Richard Burbage, servaunts
+to the Lord Chamberleyn upon the Councelles warrant dated at Whitehall
+xv. die. Marcij 1594 [1595], for twoe severall comedies or enterludes,
+shewed by them before her Majestie in Christmas tyme laste paste,
+viz., upon St. Stephen daye, [Dec. 26,] and Innocente's day, [Dec.
+28,] xiii^{li} vi^{s} viij^{d} and by way of her Majesties rewarde
+vi^{li} xiij^{s} iv^{d} in all xx^{li}."
+
+It is fair to infer that the "Comedie of Errors" was one of these two
+comedies, for on the evening of the 28th of December, 1594, there
+arose a sudden necessity to hire an entertainment to take the place at
+Gray's Inn, one of the great Law Schools of London, of a Play by the
+students which had gone to pieces. In lieu of this amateur play, for
+which a great stage had been built in their Hall, it is recorded that
+the great throng assembled were forced, first, to "content themselves
+with ordinary dancing and revelling, and when that was over, with a
+Comedy of Errors like to Plautus his Menoechmus, which was played by
+the players." That these "players" were public players is shown in the
+Gray's Inn account of these Christmas festivities by another reference
+to this "company of base and common fellows" who were "foisted" in "to
+make up our disorders with a play of Errors and Confusions."
+
+Since this substitution of the "players" Play for the Play by the
+young gentlemen students was unexpected, we can be sure it was not
+made for this occasion. It seems obvious that whatever comedy was
+specially designed by Shakespeare and his fellow actors for their
+Christmas performances before the Queen at Greenwich, would be apt to
+be chosen for a sudden repetition at Gray's Inn the same evening. And
+of course for such an institution of scholarly gentlemen as Gray's
+Inn, a farce based on Plautus would be likely to be thought
+appropriate.
+
+So Mrs. Charlotte Stopes argues, who brought into association these
+facts and dates. She brings out also, another curious incident or two
+concerning what we may take to be the earliest performances of "The
+Comedie of Errors." One is that the mother of the Earl of
+Southampton,--the young nobleman who was Shakespeare's patron and to
+whom the Poet dedicated "Venus and Adonis" and "Lucrece,"--was then
+acting officially for her late husband. Thus it fell to her care to
+make up his accounts as Treasurer of the Chamber, and she it was who
+wrote this particular notice of the acting of Shakespeare before Queen
+Elizabeth. Others acting as Treasurer did not find it worth their
+while to include the Actors' names in their accounts. This notice of
+hers is the first and last to mention names in this way. Her son,
+being a Gray's Inn man, would have been in a position to suggest the
+substitution of Shakespeare's Play and as a friend of Shakespeare's
+would desire to do so.
+
+The other incident of biographical interest is that the Gray's Inn
+students were much mortified by the uproar which caused the failure of
+the program of their chief of Revels called "The Prince of Purpoole,"
+and made it necessary for them to call in common players. The result
+of their desire "to recover their lost honor with some graver
+conceipt" was to give Jan. 3d, a learned Dialogue called "Divers Plots
+and Devices." Bacon aided largely in this stately affair. In its
+course six Councillors one after the other deliver speeches on
+enrollment of Knights and Chivalry, the glory of War, the study of
+Philosophy, etc. The scorn felt for Shakespeare's "Comedie" and the
+contrast with this rival specimen of academic dramatics is
+significant.
+
+Out of the comparatively simple plot of Plautus, Shakespeare developed
+an amusing complexity of situations. These appear upon studying the
+progress of the story, Act by Act, as follows:
+
+
+ACT I
+
+THE ARRIVAL OF CERTAIN STRANGERS IN EPHESUS
+
+What has the arrest of the "Marchant" Egean to do with the rest of the
+Story? How soon does any connection appear?
+
+The reference in scene ii, to the occurrence taking place in scene i,
+suggests a somewhat odd chance coincidence in the arrival from
+Syracuse on the same day of both of these strangers. By this casual
+reference the seemingly unrelated scenes are so innocently linked
+together that it rather blinds than opens the eyes of the audience to
+the deeper links of connection. It also acts at once as a warning to
+Antipholus, and explains why he also is not arrested under the same
+law from which Egean suffered.
+
+The merchant who gives Antipholus this warning does not appear to be
+at all an intimate friend. Yet he seems to have met the stranger upon
+his arrival. Is this accounted for? What office does the scene show
+that he bears toward him? How recent an institution is the Bank and
+Letter of Credit for travellers? Was the lack of such facilities long
+filled in the way here exemplified?
+
+Do these two men keep the appointment they made to meet at five
+o'clock? Why is it made? Does it serve any need of the Play?
+
+The reference to Ephesus as a town given over to sorcery and
+witchcraft assists in giving the impression that the time of the Play
+falls within the Christian era, when the ancient customs of the Pagan
+inhabitants gave the City a bad repute of this particular kind. Was it
+derived from Plautus? Note whether sorcery and witchcraft are included
+in his account of the discreditableness of Ephesus. What conclusions
+may be gathered as to Shakespeare's account of it from a comparison
+with the corresponding passage in Plautus (This extract is given in
+Note on I, ii, 102-107 in the "First Folio" Edition of Shakespeare's
+Play). Show how this statement is useful in throwing light upon the
+character of Antipholus as well as on events.
+
+The first complication in scene ii arises from mistaking Dromio of
+Ephesus for Dromio of Syracuse; but notice that this error is
+accounted for by the second source of the errors of the play--belief
+in witchcraft.
+
+QUERIES FOR DISCUSSION
+
+Is the audience as much in the dark over the first mystification as
+Antipholus is? Should it be? Is the play the better or worse for not
+being clear? If both Dromios are made to look exactly alike how can
+the audience know?
+
+
+ACT II
+
+ANTIPHOLUS THE STRANGER DINES AT HOME
+
+Notice how the last scene of the preceding Act is cleared up by the
+first scene of the present Act.
+
+Are the errors of Act II the results of those of Act I? The errors of
+Act I affect but a very few characters, but in Act II how many? A new
+source of complication is brought forward in this Act, also. Show what
+it is, and how it both adds to the interest of the Play as a story and
+to the confusion begun by the mistaken identity and the witchcraft
+elements of the Plot.
+
+The fooling dialogue of Scene ii gives the action pause. Is it
+therefore useless, or a dramatic mistake? The ease with which the
+right master and man fall into this talk after the earlier
+cross-purposes with the wrong man, seems to betray the fact that they
+do belong together. They are so readily familiar that the
+cross-purposes making up the plot seem to be no longer troublesome
+either to themselves or the audience. The interval of reassurance
+makes the return of strangeness more unaccountable. Antipholus is also
+now reassured about his gold, and the earlier cross-purpose seems only
+a jest.
+
+Why does the mention of Dromio's name (II, ii, 156) cause both master
+and man to exclaim? Why should it not have led them to guess the
+truth?
+
+Would this scene with Adriana and Luciana have been equally mystifying
+and skilful if the right master and man had not been together?
+
+QUERIES FOR DISCUSSION
+
+In the debate between the sisters upon patience in marriage is Adriana
+or Luciana the more justifiable? Has their argument anything to do
+with the plot? Is character interest or plot interest of the first
+importance, and how are they apportioned in this play?
+
+Is Adriana's argument that she is bound to share morally herself in
+the infidelity of her husband sophistical? Or has it a core of sound
+ethical value?
+
+
+ACT III
+
+ANTIPHOLUS THE NATIVE INVITES FRIENDS TO DINE WITH HIM
+
+How far are the errors of Act III new? From which element of the plot,
+mistaken identity, or the domestic difficulties of the native-born
+Antipholus do they arise?
+
+What effects are gained by bringing together in this Act the right
+pairs of master and man?
+
+The closed door between the two groups, one within the house, the
+other without, is the only barrier to such an exhibition of the double
+resemblances as would clear up all difficulties immediately. Is the
+humor of the situation the better for this slightness of the barrier,
+or is it rendered altogether too unlikely by it? Notice also the
+narrow escapes from meeting and being seen together which masters and
+men are constantly making and the skill of the stage movements so
+that, for example, while one pair of twins is in the house, the other
+pair is absolutely unable to come there, and make clear the main cause
+of the errors.
+
+What relation to the subordinate cause of the errors, i.e., the
+domestic difficulties of Antipholus the Native--has the new source of
+difficulty and bepuzzlement--the gold chain? Bring out the relation of
+the dialogue (III, i, 23-35), between Antipholus and the friends he
+invites, to the welcome they find and discuss later. The irony of his
+confidence in welcome, at least, which is precisely what is lacking,
+is peculiarly true to such disappointments in life. For the fun and
+naturalness gained by it, therefore, the carefully planned arrangement
+of the dialogue to lead up to it, does not seem to be artificial. What
+would have happened to the plot if the plan proposed to force the door
+with a crow-bar had been carried out? Since the dramatist was so
+daring as to cause it to be suggested, it was incumbent upon him at
+once to devise something to prevent it from being done. The way in
+which he has accomplished this through Balthazar, puts both Antipholus
+and his guest in an estimable light. Show its effect upon the present
+scene and upon both the character-interest and the scenes to come in
+which the Courtisan figures. What expense does Antipholus refer to
+(III, i, 169)?
+
+Is Luciana's advice so good that it accounts for the attraction she
+has for Antipholus the Stranger? Or do you think she is attractive in
+spite of it?
+
+Is the dialogue in this Act between the right master and man as good
+as that in Act II? Has it other excuse for being besides punning and
+fooling? Examine its value as compared with the other in introducing a
+new and amusing error, and educing puns that are suggested by this,
+and therefore not independent of the plot.
+
+This Act closes with two new incidents of use in the sequel: What are
+they?
+
+QUERIES FOR DISCUSSION
+
+Why has Shakespeare chosen to make Antipholus the Stranger abhor
+Adriana, and be attracted to her sister instead? What is the result
+for the plot? Is it a mistake that the promised match between Luciana
+and the Stranger is not consummated at the close of the play? Is the
+reference then made to it the best imaginable? How, if so, is it
+reconcilable with the more rapid matches at the close of other plays,
+e.g. Oliver and Celia in "As You Like It?"
+
+
+ACT IV
+
+COMPLICATIONS GROW
+
+The errors of the early Acts begin simply and proceed by begetting
+other errors and beginning, also, with but one of the twin masters and
+one of the twin men-servants proceed by involving every one in each of
+the two Antipholus groups. In this Act others outside the main groups
+are continually being interwoven in the net of complications. In which
+Act did these larger social complications arise, and how are they
+carried on in the present Act. Show how by means of these larger
+circles of complication, e.g., the arrests, the visits of the
+Courtisan to Adriana in the attempt to get back her ring, the
+conjurring scenes, etc., the confusion becomes extreme. And then show,
+also, how by the very means of these larger circles of complication
+the clearing up process is brought forward. To whom is the suggestion
+due that Antipholus the Native has gone mad? What fitness is there in
+that, especially in its being broached by a minor character? Trace the
+relation of the Goldsmith, his delays and his debts to the Plot. How
+does it come about effectively that in this Act the wrong master and
+man are together, the opposite of what has prevailed, earlier? Show
+how in the eagerness of Adriana to send the gold and the grief over
+what she jealously suspects to be the cause of it, a tragic situation
+is reached. In which scene is the most complex confusion reached.
+
+QUERIES FOR DISCUSSION
+
+Is the confusion of identity, the domestic discord or the bewitchment
+and supposed lunacy the most powerful factor in the plot of error.
+Which is the most comical and which the most tragic moment in this
+Act?
+
+
+ACT V
+
+SOLUTIONS MAKE ALL THE STRANGERS FEEL AT HOME
+
+The climax of bewilderment being reached in the evidence that the same
+man is both out of the Priory and in it, solutions follow. Trace the
+steps by which this is accomplished.
+
+Why is the attack upon Antipholus the Stranger assigned to the
+Merchant who is the Goldsmith's creditor instead of to the Goldsmith?
+Is it by chance or is there some reason for it? Why did not Antipholus
+explain that he had the chain through no option of his own? By means
+of the Merchant drawing his sword and detaining him, the scene with
+Adriana at the close of the preceding Act when his flight prevented
+her from having him bound as a mad man is carried on again, and refuge
+in the Priory forced upon him.
+
+Why does the Abbess blame Adriana first because she did not find fault
+with her husband and then because she did? Is her sudden harsh turn
+against her explicable not as personal inconsistency or womanly
+prejudice, but as due to a gleam of insight? What clew to the case
+does Adriana's meekness afford? Or else of the relationship of the
+Abbess to the twins? Why does she so peremptorily keep the man from
+his wife? Is not this conduct devised to mystify the audience rather
+than the characters?
+
+Notice that the Abbess is more of a surprise in her relation to the
+plot than the condemned Egean is. The Abbess episode balances at the
+close of the Play the Egean episode at the opening of the story. Trace
+the links of connection with the main action of each and their
+relation to each other, showing how they bind into an absolute unity a
+peculiarly symmetrical plot. Why do the two Dromios end the Play
+instead of the main characters?
+
+QUERIES FOR DISCUSSION
+
+Is this Play the better or worse farce for the serious domestic
+situation and the pathos of the long separation of the shipwrecked
+family?
+
+
+VI
+
+CHARACTER DEVELOPMENT
+
+In what sense can there be said to be a development of character in
+"The Comedie of Errors?" If no progress can be traced in the
+standpoint of any one character of the Play, save possibly in that of
+Adriana, is there yet not to be seen a gradual bringing forward of the
+traits inwardly differentiating the two pairs of twins, and stamping
+the personality of Adriana and Luciana and even in a slighter degree
+of the Goldsmith, the Creditor Merchant, Egean, and the Abbess?
+
+Show what you deem this to be in each character, and by what means the
+result in each is effected.
+
+Is Antipholus the Stranger of a gentler and more pious spirit than
+Antipholus the Native? What signs of this impression can you cite? Was
+Antipholus the Native popular in Ephesus? What calling had he
+followed? Why do we learn more of Antipholus the Stranger at once than
+of his brother? In what respects does this suit the plot and the
+circumstances?
+
+Which Dromio do you think the wittier? Is one more a house servant and
+less of a personal attendant and professional fool than the other?
+Why, do you think, is Antipholus the Stranger made to beat his man so
+often? Is his quick temper, or a sort of horse-play fun at the bottom
+of it? Or is the ancient custom as to body servants exemplified?
+
+Which Antipholus has been the more independently reared and is this
+signified in their characters? It has been supposed that Antipholus
+the Native married at the Duke's bidding for money and not for love.
+What reason does the Play give for this supposition? Is Adriana's
+jealousy a reason, or is he fonder of her than she realizes? Which of
+the Sisters do you like best, and why?
+
+Why would Antipholus the Native be better mated with one than the
+other? In what respects of character would Luciana be apt to attract
+Antipholus the Stranger more than Adriana would? Are there signs to
+show that Adriana and her husband are the more stalwart pair? Show how
+admirably the riper characters of the father and mother set off the
+qualities and relationships of the younger group.
+
+QUERIES FOR DISCUSSION
+
+The resemblances of the twins externally are counter-balanced by
+diversities that are internal, so that the possibilities of confusion
+may be said to be only skin deep. Does this add to the improbableness
+of the plot sufficiently to make it a questionable quality of the plot
+that the characters are so much differentiated, or does it serve
+rather to enrich the Play and make it far more interesting? Are there
+signs of character in Adriana and her husband going to show that they
+are destined to be happier in their relation to each other than ever
+before?
+
+
+VII
+
+SHAKESPEARE'S DEPARTURES FROM PLAUTUS
+
+The omissions and changes Shakespeare made from Plautus's plot are
+almost as important in lending his Play a new effect as the additions
+and entirely original inventions.
+
+Notice the entire omission of the borrowed cloak taken from his wife,
+Mulier, by Menaechmus and given to the Courtisan, Erotium; also, of
+the character of the parasite, Peniculus, by means of whom as a
+spiteful informer the wife is told of her husband's relations with
+Erotium and the dinner he proposes to take with her. Instead of
+Mulier's father, Senex, Shakespeare creates the noble Egean, the
+father of the Twins. Introducing his plot with the incident of his
+arrest, he closes it with the still more notable character of the
+mother whom he gives an important part to play in the happy solution
+of the difficulties and the re-union. The part of the Duke and the
+trade relations of the two cities, the city in Sicily as in Plautus,
+the other Ephesus, instead of Epidamnum, as in Plautus, are ingenious
+changes of an external sort. What is effected by them? The different
+treatment of the dinner incident which causes the husband to mean to
+dine at home, until he finds he cannot, when with others he invites
+the courtisan to dine with them at an Inn, lends a different color to
+the story. What do you think it effects as to character, amusingness,
+and unity with the plot of mistaken identity? The courtisan's open
+visit to the wife and direct effect upon the plot is in strong
+contrast to the intrigue of which the wife is informed by a third
+person. Bring this out, and show what the influence is.
+
+Compare the argument of Plautus (For this see "First Folio Edition" of
+"Comedie of Errors," p. 76) with the opening scene wherein Shakespeare
+causes Egean to tell the story out of which the Play grows. In what
+respects is this an improvement? (See Extract from Ten Brink, p. 183).
+
+What is accomplished by the addition of the twin servants?--the two
+Dromios? (for special assistance in a comparative appreciation of
+Shakespeare's farce and that of Plautus see Introduction also Sources
+in the "First Folio Edition" of this Play).
+
+QUERIES FOR DISCUSSION
+
+Is the complexity of Shakespeare's plot over that of Plautus a
+disadvantage? If not, how does this fact agree with the common saying
+that simplicity in Art is the highest Art?
+
+Are the farcical interest and the character interest carried on too
+far not to be seen to be inconsistent interests? Or is the secret of
+the Art of the Play the reconciliation and harmony of the farcical and
+the serious?
+
+
+
+
+THE TWO GENTLEMEN OF VERONA
+
+
+The unusual in this Comedy is due to its reflection of the ideals and
+manners of Chivalry in Love and Friendship as loyally professed by
+Valentine and Silvia and outraged by Protheus.
+
+The plot is extremely simple and is carried on by means of causing its
+main characters successively to dominate in their influence upon the
+action.
+
+
+ACT I
+
+VALENTINE VERSUS PROTHEUS AND JULIA
+
+Valentine's reasons for travel and those of Protheus for staying at
+home separate the two friends. Compare Valentine's preference of
+Honor, and that of Protheus for Love, with the opening of "Love's
+Labour's Lost" and "Much Adoe."
+
+Show how the rest of the action, after the separation of the friends
+to suit this double thesis of life, depends upon illustrating the
+effect of Protheus's love upon Julia's fortunes, and of Valentine's
+quest of honor upon the fortunes of Protheus. Notice how it happens
+that his own deception has a direct influence upon his father, so that
+his departure to join Valentine is as much due to his own lack of
+firmness in his desire to stay on Julia's account, as to Valentine's
+initiative in going.
+
+QUERIES FOR DISCUSSION
+
+Is Valentine's or Protheus's the more influential character upon the
+course of events thus far?
+
+
+ACT II
+
+VALENTINE AND SILVIA
+
+Tell the story of this Act.
+
+Explain the courtship scene with which this Act opens as illustrating
+the service of love in systems of Chivalry. (For hints on this see
+Introduction to the Play in "First Folio Edition" also Note on II, i,
+97).
+
+Contrast the earnestness of Valentine's nature in this devotion to
+Silvia with the fickleness of Protheus.
+
+The two servants, Speed and Launce, may be compared, their contrasts
+to each other shown, and their general resemblance to a similarly
+contrasted pair--the two Dromios in the "Comedie of Errors."
+
+QUERIES FOR DISCUSSION
+
+Is the love of Protheus for Silvia a reflex influence from Valentine's
+extreme enthusiasm?
+
+Why does Lucetta distrust Protheus?
+
+
+ACT III
+
+THE FALSE FRIEND
+
+What effect has the arrival of Protheus at the Milanese Court? How
+does the new-comer manage to dominate this Act? Point out the skill of
+Protheus in making his disclosure to the Duke seem to be reluctantly
+wrung from him against the friendship he feels for Valentine and only
+because of a sense of duty toward the Duke.
+
+What does this delicacy accomplish toward his own courtship of Silvia?
+If he had seemed eager to tell his friend's secrets would not the Duke
+distrust him and suspect some self-interest on his part? What did his
+mention of Thurio's suit do for himself?
+
+Compare the nature of the two friends' talk; how that of Protheus
+gives a better impression of himself than is true, that of Valentine,
+a worse. Show the consistency in wile of Protheus in his conduct
+toward the Duke, Thurio, Silvia, and Julia. Why does it succeed?
+Wherein is it likely to fail?
+
+QUERIES FOR DISCUSSION
+
+Is Protheus impossibly false as a character? Or is his duplicity an
+exemplification of the facility toward evil of this kind that is
+natural to an extremely impressionable nature which lacks stability?
+
+In what does Valentine's superiority consist? Are the maxims for the
+treatment of women which he gives the Duke due to artificial system
+learned from others or a part of his own experience?
+
+
+ACT IV
+
+SILVIA AND JULIA
+
+Tell the story of the Act. All the main characters and one new one
+have their parts in the next steps in the plot? What are those parts?
+
+Valentine's fate and its result.
+
+Silvia's determination and its effect. Notice how her call upon
+Eglamoure for knightly service brings the action into the province of
+Chivalry again.
+
+Julia's office in the schemes of Protheus.
+
+Is this Act dominated in its drift by the two women? How do they put
+their impress upon events?
+
+Show how the villain Protheus is instrumental in bringing these two
+women together, and how this is equivalent to uniting against his evil
+policy, the good forces of the Play. The loyalty of Silvia to Julia
+considered as offsetting the falsity of Protheus to Valentine.
+
+QUERIES FOR DISCUSSION
+
+Is the most actively beneficial episode in this Act also the most
+charming.
+
+
+ACT V
+
+VALENTINE, SILVIA AND JULIA VERSUS PROTHEUS
+
+What are the results of Silvia's flight?
+
+Why does outlawry bring out the superiority of Valentine?
+
+Does it serve also to bring out the inferiority of Protheus?
+
+How does outlawry serve to defeat the purposes of the Duke and Thurio
+and bring about the conquest over them of Valentine?
+
+How does Thurio's nature inure to the credit of Valentine's with the
+Duke?
+
+Does outlawry here represent the injustices of civic life? To what
+degree? Or the natural life beneficent and innocent of Arden Forest in
+"As You Like It?" To what degree is this true?
+
+QUERIES FOR DISCUSSION
+
+Why did Julia swoon? Was the repentance of Protheus genuine?--and
+natural? What does Valentine mean by his forgiveness of Protheus and
+his proof of it--"All that was mine, in Silvia, I give thee?" could he
+give her, personally, against her will, in Chivalry? Or in true love?
+How could he mean anything then, but proving by this entrusting of her
+to his friend his belief in his loyalty and purity?
+
+Why is Silvia silent? (See Introduction to the Play in "First Folio
+Edition," also Selected Criticism and Notes on V, iv, 91, for hints on
+these latter queries).
+
+
+
+
+THE TAMING OF THE SHREW
+
+
+A Play or mask within the Play is not uncommon in Shakespeare. A Play
+outside the Play especially distinguishes the arrangement of this
+Comedy.
+
+Perhaps it serves to indicate that the theme of the taming of a wife
+is crude and primitive folk-farce, particularly suited to the taste of
+the drunken tinker before whom it is played.
+
+Shakespeare's handling of the tinker's subject, however, like other
+rude and homely matters taken up by an acute mind is such as to fasten
+deeper attention and to overgo a tinker's appreciation.
+
+
+I
+
+THE PLAY OUTSIDE THE PLAY
+
+The effect of the Induction in dramatic presentation is not easy to
+estimate. Since there is no direct connection between it and the Play
+itself what do you see that it could be made to do for the action? Is
+it like a frame for a picture adapted to give the theme remoteness? Is
+this appropriate? Is it otherwise a mere cause for confusion? Or is it
+intended to add one more thread of amusement? Why does Shakespeare in
+"The Shrew" drop the tinker interregnum dialogue recurring regularly
+in "A Shrew?" May Shakespeare, therefore, be cited as finding only a
+limited use for "the Play outside the Play," deeming it in the way
+later? How has he arranged for its gradual disappearance from
+attention? Is there a stage reason alone enough to account for it?
+(See suggestions in Notes on I, i, 266, and IV, iii, i, "First Folio
+Edition"). Compare the Tinker scenes in the version of 1594. (For
+these see Extracts in Sources, pp. 105-110, in "First Folio Edition").
+Do the Slie of "A Shrew" and Christophero Sly of "The Shrew" differ as
+characters? As to their opinion of the Play: Are their between-the-act
+dialogues materially different?
+
+What is the relation to the source and what has been altered from the
+old tale.
+
+The local Warwickshire touches in the Induction and their explanation.
+(For these see "Story of the Induction" in the Play).
+
+QUERIES FOR DISCUSSION
+
+Ought the Induction play to be left out? How might it be made more
+effective by special treatment on the stage? Should the additional
+scenes be interpolated as was the stage custom, or should
+Shakespeare's diminishing notice of them be adopted to produce the
+most artistic effect?
+
+
+II
+
+THE DOUBLE PLOT OF THE MAIN PLAY
+
+In "A Shrew" and "The Shrew": Show how the story, with respect to the
+Taming scenes, is the same substantially, with comparatively minor
+differences, except for the characterization. But with respect to the
+Bianca scenes it has been expanded and altered. This suggests, most
+naturally, that the part Shakespeare did not write or answer for in "A
+Shrew" was merely the Bianca scenes, and that his task in "The Shrew"
+was to cut out and rewrite the scenes that were not his so as to be
+unhampered with the disharmony of the two parts of the plot as it
+appears in the Quarto of 1594.
+
+The story of the Play as it now stands consists of an interweaving of
+the Taming story and the story of Bianca's Courtship in such a way
+that while they keep their separateness of necessity, they balance
+better in interest and are more continually brought to bear upon each
+other from time to time. What are their points of contact in each Act?
+The sisters with relation to their father and their suitors in Act I:
+How does this initiate the action?
+
+With relation to each other and the Music Master in Act II: How does
+this separate the action into two lines of Courtship.
+
+After Katherine's marriage in Act III the interest divides between the
+Taming of Katherine and the Courtship of Bianca.
+
+In Act IV two or three points of contact are arranged by means of the
+journey and what two characters?
+
+In Act V how is contact both objective and moral obtained?
+
+Alternative interest in the Bianca Courtship after Kate's marriage and
+taming is attained by the elaborate scheme to make Lucentio the most
+successful suitor and the droll surprises and difficulties met with in
+the process.
+
+QUERIES FOR DISCUSSION
+
+Is the lack of unity in the Play sufficiently remedied by enriching
+the Bianca counterplot and arranging for alternate interest first in
+the plot and then in the counterplot, or is the original difficulty
+irremediable?
+
+In which story is plot or else character the supreme interest?
+
+Is the Bianca story or the Katherine story the more entertaining? Why?
+
+
+III
+
+BIANCA AND HER SUITORS
+
+Lucentio's errand in Padua, his breeding and relations to his servant
+qualify him as quite the conventional hero of a romantic love-story.
+How does he compare with the young noblemen of "Love's Labour's Lost?"
+What part of the study of Philosophy does he specially desire to take
+up and how does his temper toward learning fall in with theirs?
+
+What light does Bianca on her appearance throw upon herself? Through
+the testimony of her sister and her father and the two suitors what
+else is to be gathered?
+
+Her effect upon Lucentio: The parallelism with "A Midsommer Nights
+Dreame" (I, i, 156, and see p. 134 in the First Folio Edition of "The
+Shrew") not appearing in "A Shrew," considered as indicative of the
+favorite method of Shakespearian lovers in falling in love at first
+sight.
+
+Katherine's effect upon Tranio, lost upon Lucentio, in his daze over
+Bianca, leads to what plan of action? How does the part Hortensio and
+Gremio play in this reinforce the plot, and combine them all to
+instigate Petruchio to woo Katherine? How does the contest for the
+best sale of Bianca when Katherine is out of the way lead to a new
+plot? The money-contest of the suitors, judged by the father is
+supplemented by the mock teaching-contest of the lovers of which
+Bianca herself is the judge. Show how this constitutes the second step
+in the action and what complications and simplifications it prepares.
+Lucentio's studies in the hedonistic Philosophy he professes and its
+victory over Music and Hortensio.
+
+What is Bianca's contribution to the gossip excited by Katherine's
+wedding, and what impression does Act III give you altogether of
+Bianca's character? Is the bad report of it in Act IV, made by
+Hortensio, as the Musician, Lisio, with Tranio, quite fair to her?
+
+The abusive opinion and jealousy of Hortensio assisted by the supposed
+Lucentio narrow down the uncertainties of the courtship so as to
+concentrate interest on the new scheme of the supposed father. How is
+this worked out? Explain the conflict with the arrival of the true
+father, and the amusing counter-play.
+
+QUERIES FOR DISCUSSION
+
+Why does Lucentio's suit excel that of any other in interest?
+
+Is Bianca wrong in acting independently of her father?
+
+
+IV
+
+THE SHREW AND HER TAMER
+
+Does the Shrew justify her reputation on her first appearance? What is
+said of her compared with what she does then and in Act II? Why is
+Petruchio's first approach with a combat of wit and a great bluff of
+compliment effective? Is Kate really impressed by it, or only fearful
+that she is being fooled? How do you account for her denial of him and
+his suit to her father in Act II and her mortification when he does
+not arrive till late in Act III? Does Petruchio's speech to the others
+and before them (II, i, 328-350) account for the change? His arrival
+at the wedding in such shabby attire and with so wretched an
+appearance as to retinue, with his sorry horse and man-servant
+contrasts strongly with the promises held out in this speech. What is
+the effect on Kate and why does it serve his purpose?
+
+Is Kate's entreaty to stay, or her action in showing her bridegroom
+the door the climax of the wedding scene? What is the point in the
+stage business of Petruchio's speech warning others not to touch his
+chattel? Is she really being befriended by the bystanders when she
+declares they must go "forward to the bridall dinner" or is she so
+entirely alone in her opposition to Petruchio's command to go, that
+his speech is the keenest satire upon her defencelessness in every
+direction but through him?
+
+Is Petruchio's conduct at home and the servants' comment upon it such
+as to make Kate's two entreaties explicable?
+
+What light does Petruchio's own account (IV, i, 183-207) of his method
+throw upon it?
+
+In the eating and haberdasher scene (IV, iii) what is it Kate
+learns--merely that she cannot command by force and can have what she
+wants by another method? What is the secret of her tractableness in
+Scene v?
+
+QUERIES FOR DISCUSSION
+
+Are Katherine and Petruchio the most interesting characters in the
+Play? Why?
+
+Is their prominence due to their personal attractiveness or to the
+Dramatist's skill?
+
+
+V
+
+THE TRIPLE MARRIAGE AND THE MORAL
+
+Why should the Play not end with Act IV?
+
+What does Act V add?
+
+Is the quality of the table-talk in keeping with the plot and
+characters?
+
+The husbands' talk and wager turns on what point, obedience to the
+husband, or agreement of husband and wife as mutually to their
+interest?
+
+Show the drift of Kate's expression of the moral of the Play, and
+state your own way of looking at it.
+
+QUERIES FOR DISCUSSION
+
+Did Petruchio and Kate give an impromptu performance of conjugal
+felicity, or one decided upon beforehand?
+
+Was Kate quick-witted enough to guess there was money in it, or was
+she really, once of a different mind and reformed.
+
+
+VI
+
+THE FOLK ORIGIN OF THE TAMING
+
+Trace the antiquity of this schooling of a wife, and the resemblances
+and contrasts in the chief variants of the story (for help in this see
+Sources in "First Folio Edition").
+
+Is there any progress to be discerned in the degree of bodily force
+deemed expedient?
+
+Is any such scheme of the marriage-relation compatible with advanced
+civilization, or is it peculiar to crude notions of life in a taming
+age?
+
+QUERIES FOR DISCUSSION
+
+Is the folk-legend indicative of an inherent relation in marriage of
+the male and female natures, or is it merely an expression of
+established custom and legalized institution upon gaining for each the
+aims and line of conduct desired? If so, is the result of the process
+to gain a ground of mutual compromise and accommodation and a division
+of labor in joint life which will enable the process itself to fall
+into disuse.
+
+Is coercion of others consistent with a high grade of individuality?
+
+Did Petruchio play the Tamer in a "Pickwickian sense" and the whole
+thing being a bit of acting, did Kate see through it, finally, and
+play her part too?
+
+The use of finesse in the Play (see Introduction to the Play "First
+Folio Edition").
+
+Does Shakespeare's way of handling the characters and the process of
+taming materially differ from the way prevailing both in the crude
+folk tales and in "A Shrew?"
+
+Does he suggest that in both Petruchio's and Kate's case they are
+merely bent upon their own individual emotions until closer relation
+makes them join forces?
+
+What is the modern bearing of Shakespeare's way of putting the story?
+
+Partnership and co-operation _versus_ autocratic rule: Are the
+administrative advantages of the latter consonant with the good will
+and continual psychical development furthered by the former?
+
+Does the intellectual advantage rest with the user of force or with
+the mind that accommodates itself to force by gaining its ends by
+stratagem and other indirect policies?
+
+Is coercion as wise as persuasion which has no such penalties to pay?
+
+
+
+
+LOVE'S LABOUR'S LOST
+
+
+Shakespeare makes us laugh in "Love's Labour's Lost" at the futility
+of the attempt of ascetic and academic men to shut out love and women
+from their schemes of life and study.
+
+His early work in putting the past history of England into dramatic
+form may possibly have suggested to him to put more recent history on
+the stage by means of this Comedy. Light as it is, the point of it is
+to satirize the monastic and exclusive element in current educational
+schemes. Fictitious as the story is, it touches upon names and
+incidents belonging to actual history. So familiar were these actual
+happenings of the day to his audience that it could especially enjoy
+these veiled allusions to them.
+
+The main idea of the plot of the Comedy--the "Academe," was one that
+had a bearing upon various similarly named educational projects of
+that time in England.
+
+One such scheme was drawn up about 1570, by Sir Humphrey Gilbert, Sir
+Walter Raleigh's half-brother, for the "education of her Majeste's
+Wardes and others the youths of nobility and gentlemen." This plan
+was, like Shakespeare's arranged for a "three yeeres terme" (I, i, 20)
+and at the end of "every three years" some book was to be published
+which would represent the fruit of the Academy's study during that
+period. Merely the title of this scheme--"Queen Elizabethes Achademy"
+may have suggested Shakespeare's "Achademe" (I, i, 17). Of course,
+however, both Gilbert's and Shakespeare's adoption of the name are
+examples of the appropriation by educational groups of the classic
+academes of the Philosophers of Athens and their student followers.
+Another educational plan "for the bringing up in vertue and learning
+of the Queenes Majestis Wardes," was devised by Sir Nicholas Bacon, in
+1561. Later, in the reign of James I, the establishment of the
+"Academe Royal" by Bolton, is an example of the early vogue of the
+name, which has since become familiar everywhere, for educational and
+learned institutions.
+
+A less important element in the formation of the plot is the allusion
+to current French politics which the situation of the characters of
+the Play suggests.
+
+A King of Navarre and a Princess of France conferring in treaty over a
+disputed province and a claim of allowance for services rendered is an
+incident constituting a reference to a state of things in France then
+closely concerning England. The succession to the throne of France of
+Henry of Navarre, the champion of the Huguenots of France, was long
+contested. England was friendly to Navarre, the object of her foreign
+policy being to counterpoise the power of Spain and the Catholics of
+France, with whom Queen Elizabeth's most formidable rival, Mary
+Stuart, was allied in interest.
+
+No king of Navarre was ever named Ferdinand. Yet by making an entirely
+fictitious hero a king of Navarre and the suitor of a princess of
+France, the relationship of Henry of Navarre to dominance in France
+was suggested in an unobjectionable and amusing way. And the death of
+the King of France introduced at the close of the Play, involving the
+prospect as a probability that the hero might then succeed to the
+throne of France, could scarcely fail to remind Shakespeare's audience
+of the actual struggle of the King of Navarre for the French crown,
+and also of the fact that on the death of the French King in August,
+1589, Navarre then became heir presumptive, and after the battle of
+Ivry in 1590 Spain delayed but could not long obstruct his complete
+success.
+
+In 1593 the most important cities of the Kingdom yielded him
+allegiance and in the Spring of 1594 Paris herself opened her gates to
+him. These dates 1589-1594 indicate the time, also, when "Love's
+Labour's Lost" is likely to have been timely in these references, and
+yield a clew to its date of composition.
+
+The effect of these allusions to French political affairs, made more
+piquant by the downfall of Spain in her political opposition both to
+England and the party of Henry of Navarre, was intensified in
+Shakespeare's Play by the names given to Navarre's lords. _Berowne_,
+as the name appears in the Folio, is an English spelling of the French
+name _Biron_, to which it is changed in modernized editions of
+Shakespeare. _Longavill_ is an English equivalent of _Longueville_,
+and _Dumaine_ or _Dumane_ of De Mayenne, names which also are changed
+in the modernized editions, although not consistently. All these names
+are associated with Navarre's struggles in France. The Maréchal de
+Biron and the Duc de Longueville fought prominently on Navarre's side.
+The Duc de Mayenne, brother of Henry of Guise, fought on the opposite
+side. The Duc d'Alenēon long a suitor for the hand of Queen Elizabeth,
+is mentioned as the father of Rosaline.
+
+Another veiled reference to a Russian suitor of the Queen's seems to
+be made in the incident introduced in the last Act. This scene of the
+wooing of the King and his lords when disguised as Russians makes fun,
+perhaps, of an actual embassy of Russians to the Court of Elizabeth,
+in 1583, when the Queen had arranged to put upon Lady Mary Hastings
+the suit which the Czar Ivan had originally hoped to proffer to the
+Queen herself. (For information upon these and other incidents of the
+period that may be used in the plot see Sources, pp. 106-116 also
+Notes in the "First Folio Edition" of this Play).
+
+
+ACT I
+
+THE VOW AND ITS FIRST ANTAGONISTS
+
+The theme of the Comedy--the exclusion of love for the sake of winning
+fame for learning, is made clear by the first speaker. The opposition
+Love will make to this is next expressed through another speaker, and
+then embodied in a practical example. Bring out the argument, in full,
+on both sides, as expressed by the King and his lords, on the one
+side, and by one lord who is less subservient on the other side. What
+does Berowne object to in the King's idea about study and fame? He
+says, practically, that fame is a mere expression of opinion, and that
+as anybody can give anyone the name of being learned or the name of
+being anything, fame may be given by those who have very little notion
+of any real knowledge. Superficial knowledge is knowledge of names but
+real knowledge is that which names mean. In a word, we but dull our
+minds and blind our eyes in poring over the outsides of things, unless
+we study to understand life and act a beneficent part in it.
+
+As children we are rightly put to task work in order to get the means
+to go on independently using life and all the products of life
+including books, in order to minister toward independent thought and
+life. But to start in with rules and restrictions when we are older
+and life itself is opening before us, is like climbing over a house to
+unlock the gate before it. Their artificial arrangements are not
+fitted to meet actual experience. Actual experience is bound to laugh
+at their exclusion of life. How does the message brought by Costard
+and Clowne bear on the argument? The fooling seems to be the dominant
+interest in Scene ii. Is it, nevertheless, only the vehicle by which
+the theme is developed? Show how also not alone by the confession
+Armado makes but also by the words in which he expressed it, the theme
+of the conflict of Love against the vow foreswearing it is made clear.
+Notice, too, that the symptom, so to speak, of the labour of Love or
+Cupid as opposed to the Herculean labor of "warre against your owne
+affections" is at once made evident in Armando. This symptom is the
+desire to write a Sonnet. In what way, then, does it appear from the
+Story of Act I, that witness will be borne to the success of love's
+labor over the vow of the _Achademe_?
+
+Does the sprightliness of the second scene obscure the scheme of the
+play advantageously or disadvantageously?
+
+
+ACT II
+
+THE EMBASSY _versus_ THE VOW
+
+How is it made apparent that the effect of the Embassy of France to
+Navarre will be on the side of Love against the Vow? The ladies'
+remarks upon the students of the _Achademe_ throw light upon
+themselves and the drift of the story as well as upon their subjects.
+Show what may be gathered from their speeches? What does the Princess
+gather from them?
+
+The King does not invite the Princess to his Court, and declares he
+will not violate his vow. Nevertheless he does do so. In what respect?
+Boyet's observation of him goes still farther. What is this? And how
+does it seem to be justified? Is Boyet's conclusion that "Navar is
+affected," more a means of telling the Audience what is about to
+happen, than comment on what is to be seen? Or is it of use to show
+the Actor of the King's part how he must bear himself? How does it fit
+with the name and scheme of the Play that Boyet who thinks the King
+has already fallen in love should be called Cupid's grandfather?
+
+QUERIES FOR DISCUSSION
+
+Why does the Princess discount Boyet's remarks and accuse him of
+joking? Does she give any clew to her own feelings?
+
+
+ACT III
+
+THE CLOWN AS A LETTER-CARRIER
+
+Why is it in keeping with the Play that Berowne should be the first of
+the Lords to be foresworn?
+
+In making Armado the keeper of Costard, the Clown's breaking of the
+vow has already been satirized by the King's own act. Armado now takes
+his next turn at making Costard's sentence a hollow mockery by sending
+him as a messenger to Jacquenetta. How is this first letter-carrying
+made to lead to a second, doubling the mockery and promising new
+confusions?
+
+Has Moth anything to do with the scheme of the Play?
+
+Who is the "Boy" of whom Berowne speaks repeatedly in his speech
+concluding this Act? What is the bearing of the reference to him upon
+the Play?
+
+How is the joke of the rhyme in which the Boy got the better of his
+Master by selling him the "Goose" to be explained? It is commonly
+supposed that the interpolation from the Quarto, i.e., the lines put
+between brackets in the "First Folio Edition" (p. 31) are necessary.
+It is better however, to leave them out, as they are left out in the
+Folio text, if it is understood that the Boy Moth, repeats ll. 91-92,
+after Armado has said them. Then Armado begins the "lenvoy" with the
+intention that the Boy will also repeat that and that being the end,
+turn the laugh on himself by calling himself the Goose. But the Boy is
+too clever. He says it ends where it should. Costard declares the Boy
+has sold him, and both laugh to the bewilderment of Armado. If the
+Page added the "lenvoy" as the Quarto puts it the joke would already
+have been turned against him. The explanation has to be very elaborate
+and the poor little joke is too thin to stand it, if both texts be
+followed. It is easy to see that the repetition by the Page of ll. 91
+and 92, on the stage, confused the hearer who set it down for the
+publisher of the Quarto, and also that the repetition would be a part
+of the stage business and the lines might not appear twice therefore
+in the MS. of the Play itself. The question growing out of this
+is--Ought not the bracketed part of the text to be left out?
+
+QUERIES FOR DISCUSSION
+
+Why does Berowne say that he loves "the worst of all" (III, i, 193)?
+Is this true? Does he think it true? Does it refer to her looks, or
+her disposition, or her brain? Is it said of her because she is the
+cleverest, and does Berowne really share the common prejudice of the
+male against a superior woman or only pretend to?
+
+
+ACT IV
+
+BEROWNE HEARS SOME SONNETS AND THE KING RECEIVES A LETTER
+
+Does the Princess guess the truth of the matter when Costard delivers
+the wrong letter for Rosaline?
+
+What relation has the second scene of Act IV to the Play? Of what use
+to the preceding action, and to the present? Of what use are all these
+new characters to the Plot? One has been before heard from, but is he
+of the most or least use here? Are they of use to the story in any
+other way, later? In what respects do their tricks of speech and
+affectation of learning suit the aim of the Comedy? Show how the
+Sonnet-writing is made the means of unmasking the lovers to each other
+and all of them to Berowne. Are the sonnets suited to the characters
+of the writers? Contrast the King's and Berowne's in this respect.
+Does the King suspect Berowne before Jaquenetta brings her letter? Why
+does Jaquenetta say it was treason? Would Berowne have confessed if he
+were not forced to? After having so unmercifully followed the example
+of the others in condemning them for doing what each was equally
+involved in, the climax of forced confession from him is more amusing
+than if any one of them had unmasked him, as Longaville did Dumain,
+the King Longaville, and Berowne the King. What special fitness was
+there in making Dumane find out that the torn letter was in Berowne's
+hand and bore his signature?
+
+QUERIES FOR DISCUSSION
+
+Is Berowne's speech to "salve" their "perjury" (IV, iii, 309-383) the
+moral of the piece? If so why should not the Play end here? How does
+Berowne's final speech in this Act foreshadow the conclusion of the
+Play?
+
+
+ACT V
+
+SPORT IS BY SPORT OVERTHROWN
+
+What were the main events of the last Act and of this one, and how do
+they bear upon one another? Why is the revenge planned by the Princess
+both fair and prudent? Are the men more in earnest than they seem? Do
+the women seem less in earnest than they are? Which man first draws a
+lesson from being outwitted, and how is it justified? Show how this
+lesson suits the trend of the Play, and advances upon the outcome of
+the preceding Act. To whom is Berowne's line (V, ii, 477)--"Speake for
+yourselves, my wit is at an end"--addressed? How is the King brought
+to confusion? Is the Princess too hard upon him? Why does Berowne
+scoff so fiercely at Boyet?
+
+Is the presentation of the Nine Worthies too absurd in itself to mix
+well with the courtliness, learning, and elaborate wit of the rest of
+the Play? Note Berowne's defence of it (V, ii, 569-571) and his rebuke
+to the King for despising it? The Princess's defence of it and its
+correspondence with that of Theseus for the show of the "base
+mechanicals" in the "Midsommer Nights Dreame." How does Berowne's
+humility in accepting the parallel with their own wit-overthrown mask
+agree with his boisterous jeering at the mask of the Nine Worthies
+later? How does the attitude of the ladies toward it compare with that
+of the men and what comment upon it does it constitute in your
+opinion? How does it all prepare the way for the sudden sad message,
+and also for the decision of the Ladies to rebuff love that is not
+serious? What special point is there in the kind of trial Rosaline and
+her mistress each specially propose for Berowne and the King? Has it
+any relation to what has just been shown of each of them in their
+attitude towards others with respect to the humble performers of the
+Mask of the Nine Worthies? What makes wit an unalloyed pleasure?
+
+QUERIES FOR DISCUSSION
+
+Is the serious ending of this Comedy a disappointment? Is seriousness
+an ending artistically called for by this plot, or only morally called
+for? Compare with the serious strain in the "Comedie of Errors." What
+does the contradictory little final dialogue between Winter and Spring
+add to the significance of the Play?
+
+
+VI
+
+THE WIT OF THE PLAY
+
+This has been called by Armitage Brown, "A Comedy of Conversation";
+and the quibbles in which the Play abounds have been supposed by Dr.
+Johnson to give the Author "such delight, that he was content to
+sacrifice reason propriety and truth" for their sake. How far do these
+observations justly apply to the Play?
+
+In what degree is the extravagant banter of the Play itself an
+imitation of current fashions of speech and itself an object of
+ridicule?
+
+Its relations to Lyly and Euphuism. (See Extracts from Ward and from
+Landmann in "Selected Criticism," in First Folio Edition of the Play).
+
+Make a study of the lesser and larger wit of the play, showing how the
+former is merely incidental to the latter.
+
+In what respects is the whimsical talk of the Play suited to certain
+groups and to special characters, so that there is more variety in it
+than appears at first.
+
+QUERIES FOR DISCUSSION
+
+Does the master wit of the Play consist in any one class of fun, as
+verbal conceits in the punning line; practical jokes; Euphuism,
+so-called; banter in speech and retort, versemaking and sonneteering,
+learned quips, or in the use of all these combined in a way to bring
+out the point of the Play--the clash of natural with artificial
+methods.
+
+Is wit or purpose dominant in the Play?
+
+Which is the wittiest scene? Is it also the most morally significant?
+
+
+VII
+
+THE CHARACTERS
+
+Three groups of characters appear in the play--the main group
+belonging to the Court; the learned group, Armado, the, schoolmaster,
+and the Curate; and the native group, Costard, Jaquenetta, Dull, and
+Moth. The two latter subordinate groups add much to the Play. Show in
+what respects: as to Plot interest what do they add? As to merriment
+and significance? Is the morality and wit of the Play contributed to
+by them? Are they of interest in themselves, apart from their relation
+to the other characters? Are Costard and Jaquenetta the only happy
+lovers in the Play? Why?
+
+Is the King, kingly? In what respects, do you think, does he evince
+youth and inexperience? When does he begin seriously to be in love? Is
+the Princess justified in disciplining him? How much of her discipline
+is due to the event that cuts short the Play? Judging from his
+character, do you think he will stand the "twelvemonth" test?
+
+Is Berowne the oldest as well as the deepest and wisest of the men?
+How does he show all this?
+
+Why does Rosaline discipline him? Is she in insight superior to him as
+the Princess is to the King? Are the other court ladies equally wise
+in the probation period they allot?
+
+Are all the men--Costard included--so much a prey to a sort of foppery
+of expression and love of animal spirits as to be properly subject to
+the satire the play provides for them? Are the women more sane in this
+respect, despite their wit, or not?
+
+Is Shakespeare apparently on the women's side?
+
+QUERIES FOR DISCUSSION
+
+Is Costard the bumpkin the best actor in the Mask of the Worthies?
+Why? Why is Jaquenetta the least and Moth the most discomfitted of the
+third group of characters?
+
+Dowden says the women of the Play "have not the entire advantage on
+their side." What do they lack? He also says, to bear this out, that
+"Berowne is yet a larger nature than the Princess or Rosaline." What
+has this to do with their relative advantage in the Play itself, as
+Shakespeare shows it?
+
+Who are the critics of the falseness of artifice in the Play? Is
+Berowne on the women's side in the criticism which gives them their
+advantage?
+
+
+VIII
+
+THE MORAL OF THE PLAY
+
+Is there a moral against the current educational methods and the
+affectations social and literary of Shakespeare's time? The monastic
+and aristocratic elements in education considered as opposed to the
+progress of Women and the People. Show the general conditions of
+education prevailing after the Middle Ages, and the new spirit of the
+Renascence making itself felt, also the degree in which this appears
+in this plot. If Shakespeare's spirit, as manifested in this Play, had
+been more influential practically, do you think a different road would
+have been taken? (For hints upon this line of thought see Introduction
+in the "First Folio Edition"). How far is Berowne to be taken as the
+spokesman of Shakespeare? Note what Pater says of him as "a reflex of
+Shakespeare himself," and trace the truth of this as concerns the fact
+that he is never "quite in touch" with the level of the understanding
+shown by others of the Play, and state the bearing this has upon the
+Moral of the Play. (See Pater's "Appreciations" or extract from same
+in "Selected Criticism," pp. 242-248, "First Folio Edition").
+
+Why does so frolicsome a Comedy end so seriously? Does that make it
+funnier?
+
+QUERIES FOR DISCUSSION
+
+Is there really a moral in the Play in favor of nature and sincerity
+or is it merely read into it?
+
+Is Dowden right, who says "there is a serious intention in the play,"
+or Barrett Wendell who says: "like modern comic opera, such
+essentially lyric work as this has no profound meaning; its object is
+just to delight, to amuse; whoever searches for significance in such
+literature misunderstands it."
+
+In comparison with other comedies of Shakespeare, is a serious
+undercurrent discernible in all of them, but none in this?
+
+
+IX
+
+SHAKESPEARE'S PLAY AND TENNYSON'S POEM ("THE PRINCESS") UPON EDUCATION
+OF MEN AND WOMEN
+
+Summarize story and outcome of Play and Poem in comparison and in
+contrast. Does Shakespeare's exposition of the contemporary view of
+education account for the condition Tennyson criticises? If so, are
+women to blame for it? If not, how much does this modify Tennyson's
+criticism of the educational exclusion that is the scheme of the
+College in "The Princess?" Shakespeare seems to point his moral
+against his male characters for their exclusiveness, Tennyson against
+his women characters? Which one goes the deeper? Wherein do they agree
+and disagree? How may they be made to supplement each other? Has
+Tennyson's poem presented any phase of the question touching upon
+popular interest in exclusive educational schemes? Is Shakespeare,
+considering his time, the more democratic in his views of life, as
+shown by this Play, in comparison with those brought out in Tennyson's
+Poem. Why does Shakespeare leave the women in moral and actual command
+of the situation?
+
+QUERIES FOR DISCUSSION
+
+Is co-education the right conclusion to draw from the exposition by
+the Poets of educational restraints and the relation of men and women
+to life?
+
+What ideals of life as to Nature and Education must be included in
+educational schemes? Why does the Play not end with as many marriages
+as there are lovers? Is it possibly because Shakespeare did not mean
+to bring forward love between man and woman as if it were the only
+thing in life but as the typical experience of life that should open
+up the depths of knowledge not of love alone but of death and
+suffering in relation to it.
+
+
+
+
+MUCH ADOE ABOUT NOTHING
+
+
+The title of this Comedy broadly describes its character, and is based
+upon the double meaning of "Nothing." The events that constitute the
+plot are the result of "note-ing" or overhearing and so taking note of
+events which are deceptive in some way. Hence, in all the "note-ing"
+that takes place, there is, after all "nothing," and the whole amusing
+plot constitutes much ado about nothing. The letter "h" in _Nothing_
+was often silent in Elizabethan pronunciation. The "h" in "Moth" in
+"Love's Labour's Lost" is another example.
+
+Noting or overhearing as a factor of the plot is introduced also in
+"Love's Labour's Lost." It is one of several links in workmanship with
+that Play and its use there may have suggested the production of a
+Play almost altogether built, as this is, on overhearing or taking
+critical notice such as Benedicke and Beatrice take of each other.
+
+The part of the plot that is based on an already existent story does
+not develop this noteing element particularly. For that reason it is
+the likelier that it is a device of Shakespeare's to make up his
+Comedy.
+
+
+ACT I
+
+CLAUDIO NOTES HERO WITH FAVOR AND IS NOTED WITH DISFAVOR
+
+The Story of Act I results, on the arrival of the Prince and his
+suite, in making it known that Claudio has noted Hero as "the sweetest
+Ladie" that ever he "lookt on." Show how it also comes out in Scene i
+that a noting of a severer kind has passed between Benedicke and
+Beatrice. The two kinds of special interest--the openly admiring
+noting of Claudio, and the captious notice of each other shown by
+Beatrice and Benedicke, initiate the two channels of action in which
+the plot will run. The normal sex-agreement of the one pair of
+characters is varied by contrast with the more unusual sex-warfare
+that asserts itself humorously both in Beatrice and Benedicke. Bring
+out pertinent examples of their defiance of love and marriage.  What
+is to be gathered of Hero and her point of view from this Act? How
+much from others, from little from herself? And how much from her of
+others? Contrast with hers the witness given of herself by Beatrice.
+Is Claudio taciturn, too, when compared with Benedicke?
+
+What noting goes on in scene ii? Is it in accordance with what has
+already taken place between Claudio and the Prince? What additional
+noting comes out in Sc. iii. Is this in accordance with Scene i or
+Scene ii? Act I closes with a sense of some confusion which Act II is
+required to clear up. In addition to the inconsistency, notice Don
+John's enmity to Claudio, and its menace of disaster.
+
+QUERIES FOR DISCUSSION
+
+Is the inconsistency of the last three scenes misleading and puzzling
+rather than alluring to the curiosity of the reader?
+
+Could it be made more interesting on the stage by the way of enacting
+the part of Brother Anthony?
+
+
+ACT II
+
+THE PRINCE PLOTS FOR TRUE NOTING AND HIS BROTHER FOR FALSE
+
+Tell the story of the masked ball. What new light is thrown, first, on
+the characters and, then, on the plot by means of these fragmentary
+bits of dialogue heard as the revellers pass on and off stage
+together.
+
+Is Don John really misled as to his Brother's intentions toward Hero?
+
+What does Hero herself think?
+
+Does Don Pedro himself show that he is acting for another--that the
+god, Love, dwells beneath his visor? The modernized edition spoils one
+of the references to this office in which the Prince labors for Love
+and does a labor of love in whose disinterestedness some doubt is
+expressed. By changing Love to Jove (in II, i, 92) a literal
+correction is made in accord with the legend referred to, but in
+entire destruction of the point made by the Prince, if Shakespeare
+means to adapt the allusion to his special purpose. Note also
+Benedicke's name for Claudio (II, iii, 34). What is your opinion of
+this? (See Note on II, i, 91, in "First Folio Edition"). Compare
+another instance where the Prince shows that he is acting for Cupid
+(II, i, 358-367). Is Don Pedro the most active spirit in the plot?
+Show how in Acts I and II, it is made clear that the plot will consist
+in the prevalence of either a favorable or unfavorable influence upon
+the happiness of the characters. Who represents each influence?
+
+Notice that the favorable influence in its first action in favor of
+Claudio's happiness is misunderstood, discounted and disbelieved in
+several directions. Is Claudio led to distrust of the Prince by others
+or by his own jealousy?
+
+In the second action of the favorable influence initiated by the
+Prince, which of the characters share? Does the unfavorable influence
+work against Benedicke's happiness?
+
+What is Borachio's place in the action of the unfavorable influence?
+
+QUERIES FOR DISCUSSION
+
+Noteing or overhearing is itself nothing or has a large element of the
+deceptive in it. How is it made to work well in Benedicke's case? Is
+the element of truth the only one that is effective?
+
+
+ACT III
+
+THE NOTE-ING IS NOTED
+
+Show that the action taking the Story on consists in the "note-ing"
+already planned being enacted and being noted as true. How does this
+work with Beatrice in Scene i?
+
+In Scene ii the unfavorable influence makes its preparation to carry
+on the plot disastrously by the same method. How is this made clear?
+
+In Scene iii the "note-ing" is as effective for evil as that in scene
+i, is for good. But a counter influence is brought to bear upon it
+which consists in "noteing" the falsity of the first "noteing." Show
+how this is arranged and promises to solve all difficulty. But the
+marriage is shown next to be in active preparation, and then the
+promise of intervention in time to frustrate Hero's disgrace is in
+scene v itself frustrated by the bestowal of all Dogberry's
+"tediousness" upon Leonato and by his own impatience. Show the place
+in the action of the hurrying on of scene iv, and the tediousness of
+scene v, and of both on the humor of the Play.
+
+QUERIES FOR DISCUSSION
+
+Are the Prince and Claudio justified in the action they propose?
+
+Is the element of chance, which both destroys the falseness of the
+evidence by means of Borachio's talk, and prevents it from being known
+by Dogberry's, especially fitting? Why?
+
+
+ACT IV
+
+HERO IS REPUDIATED AND BEFRIENDED
+
+Does Claudio's demeanor in the repudiation scene betray the violence
+of love?
+
+What is to be inferred from the Prince's words and those of his
+bastard brother Don John?
+
+Is it natural for Leonato to be convinced and to know his daughter no
+better?
+
+Why is the Friar on her side? Notice how the Friar represents the
+Church as Dogberry does the Law. As institutional forces of civic
+life, outside the circle of the central group of characters, they
+intervene in the action of the drama when it is properly amenable to
+outside influences and civic instrumentalities. And both are brought
+into the sphere of the Play by a means in sympathy with the artistic
+method belonging to it. Observe how Dogberry is made humorously to
+desire to have everything noted down, and how the Friar has come to
+the conclusion that Hero is innocent "by noting of the Ladie." With
+the Friar on her side, Hero and her one staunch friend--Beatrice are
+enabled to follow a policy of resistance to her disgrace and of
+re-establishment, first, of her good fame and, then, of her happiness.
+How is this brought about? The share of the Friar in rallying her
+friends to be loyal, and the share of Beatrice in instituting a
+counter-movement to the accusation combine to what effect? How does it
+suit with the scheme of the action that the love of Benedicke and
+Beatrice here attains its climax?
+
+What does scene ii accomplish for the plot?
+
+QUERIES FOR DISCUSSION
+
+Is the injection of tragedy at this Fourth Act into the Comedy
+effective? Does it change the character of the Comedy or merely
+intensify it?
+
+Does Beatrice ask an unreasonable deed of Benedicke when she says
+"Kill Claudio"? Suppose it were to prove true, instead of to be
+prevented as may be already guessed, by the defeat of Don John's false
+witness and evil influence: Is Beatrice justified in refusing
+Benedicke if he will not kill his friend because it shows "there is no
+love" in him?
+
+
+ACT V
+
+THE DOUBLE WEDDING
+
+The valor and humor of the two old men against the two young ones has
+especial value in restoring the comic vein. How does this somewhat
+belated loyalty of Leonato act upon our sympathy with him? Does the
+forbearance of Claudio and the Prince toward the two men raise our
+esteem of them or lead to further dislike?
+
+What effect has the mock heroics of their ineffective challenge on
+Benedicke's earnest championship of Hero? Is the Prince's satiric
+speech (V, i, 208-209) to be interpreted as complimentary to
+Benedicke? Notice Claudio's next speech in comment upon it, and
+explain the implications intended.
+
+What does Leonato mean by blaming Borachio less than the three nobles?
+How far do you think him justified--the relations of master to man at
+the time being considered?
+
+Was Margaret to blame? Why did she not make the cheat known? (Cf. V,
+iv, 5-7 with V, i, 311-314). Is it worth while to spend much time on
+making all minor details clear?
+
+Is Claudio's consent to a second marriage creditable, natural, or a
+clumsy expedient which only the entire hollowness of the whole plot of
+false noting as to Hero renders endurable? Can you imagine any way of
+acting the part of Claudio that would make it seem attractive?
+
+Do you find it in character at the wedding that one couple says so
+little, the other so much?
+
+QUERIES FOR DISCUSSION
+
+Is the ending of the Plot happily contrived in too forced and unreal a
+way?
+
+Which is the most stirring scheme in the Play and why?
+
+Which is the funniest, and is it possible to say why?
+
+THE CHARACTERS
+
+Does this Play succeed in giving so extremely definite and varied an
+impression of the characters that it is chiefly notable for that? To
+bring out this idea of the plot as successful less in itself than
+because it illuminates the quality and humor of the characters,
+compare with the "Comedie of Errors" or any of the Plays where events
+figure more prominently. Show how the events of this Play may be said
+to be created by the Characters. The Prince and his Brother (and their
+tools on each side who lend themselves to their plans with Dogberry,
+the highly unconscious, and the Friar, the highly conscious character)
+by being what they are constitute the diverse means of influencing the
+whole turn of events. These persons may all be considered with
+reference to what they are themselves, in character, and through that,
+in relation to the other characters of the Comedy.
+
+BENEDICKE AND BEATRICE, CLAUDIO AND HERO
+
+These two loving couples reveal their special characters most vividly
+by means of their contrasting and supplementary relations to each
+other. Show how Benedicke and Beatrice do not throw Claudio and Hero
+too much in the shade by their superior brilliancy, because through
+the love of the minor couple their own love is enabled to ripen. Is
+their character heightened or lessened in wit and individual interest
+by love?
+
+The minor characters: Show how the adversity of the family brings out
+the heroic element lying unobserved in Brother Anthony of the "dry
+hand," and kindles his philosophy into something martial.
+
+The merry maids, Ursula and Margaret and their light-hearted parts in
+the plot.
+
+QUERIES FOR DISCUSSION
+
+Beatrice "is a tarter,--and, if a natural woman, is not a pleasing
+representative of her sex." She "will provoke her Benedicke to give
+her much and just conjugal castigation," says Campbell. Is he right,
+and will Benedicke feel so?--or is Swinburne right, who says she is "a
+decidedly more perfect woman than could properly or permissibly have
+trod the stage of Congreve or Moličre" and who speaks of her "light
+true heart"?
+
+Is the superficial Claudio worthy of Hero?
+
+Are the faults in the plot of the Play, such as are necessitated by
+the design of using the characters themselves and their "noting" of
+one another as the source of events, and, therefore, in the last
+analysis not faults, a study of their relation to the design leading
+us, as Hartley Coleridge puts it, never to censure Shakespeare without
+finding reason to eat our words?
+
+
+
+
+A MIDSOMMER NIGHTS DREAME
+
+
+Having read "A Midsommer Nights Dreame" as a whole, if it be not
+already fresh in the mind, or, if possible, having seen it acted, then
+consider more carefully the characteristics of its dramatic structure,
+studying the plot and progress of the story as it is unfolded act by
+act, also the sources, the characters, and so forth, as suggested in
+the following study.
+
+
+ACT I
+
+THE CROSSED LOVERS
+
+Sum up the incidents and characters introduced in the first Act and
+ascertain which are most important in influencing the rest of the
+story.
+
+It may be noticed that Theseus and Hippolyta and their marriage
+festivities are personages and events which make up a decorative
+external sort of frame for the whole play, but that the centre of the
+action takes its start, primarily, from the conflict of Hermia's love
+for Lysander with her father's choice of Demetrius, and, secondarily,
+from the clash of Helena's love for Demetrius with his suit for
+Hermia. Show how the brisk bit of dialogue between Hermia and Lysander
+(I. i. 141-166) implies the forthcoming plot. For example, it may be
+shown that 'to be enthrall'd to love' (the first folio reading is
+_love_ instead of _low_, which was an emendation of Theobald's,)
+[Footnote: See foot note in First Folio edition.] and to have
+'sympathy in choice' made as 'momentary as a sound, swift as a shadow,
+short as any dream,' is to be the fate of all the lovers in the play,
+except Theseus and Hippolyta, and to constitute the substance of the
+action.
+
+Consider what relation the second scene has to the story. Is it more
+extraneous to the movement than the scene presenting the Duke and his
+bride? It is linked to the crossed lovers group, on the one side, by
+the part the chief of the 'rude mechanicals,' Bottom, is to assume
+with Titania, although this does not appear in the first Act, and
+Shakespeare's intention to do something special with this character is
+only shadowed forth here by its prominence. On the other side it is
+linked to the ducal group still more superficially, merely by the
+rehearsal of a piece to be played at the wedding. It may be contrasted
+with the preparation in 'Hamlet' for a piece similarly played before
+the Court, but which had a vital connection with the action and
+characters which is lacking here. Can there be said to be an artistic
+design, however, though of a more external sort, in the contrast
+between the Court scene and the rehearsal scene, and the realistic
+offset the latter scene supplies to the fairy fantasies that are to
+follow in the next acts? For instance, it may be shown that the
+merriment the clownish scene provides balances the dignity of the
+ducal scene. His audience, having put a yoke upon the dramatists by
+requiring a clown, his genius is betokened here by his making it an
+artistic advantage.
+
+POINTS  1. 'The ancient privilege of Athens,' I. i. 49. What was the
+position of the father toward the family in Attica? 2. 'On Dian's
+altar to protest,' i. 98. Did the service of Diana offer women a
+respite from masculine dictation? Compare the myth of Iphigenia's
+salvation by Diana. 3. 'To that place the sharp Athenian law cannot
+pursue,' i. 172. What Grecian states had laws more lenient to women?
+4. What traces can be found in history or legend of the victory of
+Theseus over the Amazons, and the rise of a new civic order on the
+ruins of a matriarchate? 5. The story of Pyramus and Thisbe (see
+Chaucer's 'Legend of Good Women' for an early English use of the
+story). 6. Explanation of allusions to Phoebe, Cupid, Ercles, etc.
+
+
+ACT I
+
+QUERIES FOR DISCUSSION
+
+Upon what does the interest centre in Act I? In the marriage of
+Hippolyta and Theseus, or the love affairs of the four lovers?
+
+Is Hermia, whose determination not to be forced to marry starts the
+plot, the best-drawn character in the first Act?
+
+
+ACT II
+
+THE FAIRIES' QUARREL
+
+Show how in this Act a new agency of a fairies' quarrel is devised and
+set forth.
+
+Point out how this is made to crystallize in Oberon's scheme for
+revenge on Titania, and also how, in the course of disentangling their
+own love-snarl, it is made to develop the conflict between the crossed
+lovers. This, it may be emphasized, is the second step in the
+movement, as Hermia's and Helena's love was the first, and these two
+main factors of the action are taken up together in this act.
+
+Are the other two groups which were introduced in the first act, the
+Duke's party and Bottom's set, interwoven with the new fairy group in
+any way in this Act? See if the new fairy element now shows any
+disposition in the person of Oberon to smooth out the difficulties of
+the mortals.
+
+Oberon's intentions, however, were one thing, and his deeds another.
+Through Puck as his instrument, his jealousy at once begins to make
+matters worse instead of better for the lovers. Notice the delicate
+appropriateness of Oberon's means of influence, namely Puck and the
+two flowers, the first being 'Cupid's flower,'--Love in idleness--the
+second 'Dian's bud,' introduced later to correct the influence of the
+first. The first flower assists in the development of a plot which is
+to enact the 'momentariness' of 'sympathy in choice.' The
+cross-purpose, fostered by Puck's mistake, seems to provide the
+comparatively grosser sort of merriment for this Act which Bottom and
+his friends supplied for the first; and the dainty humor and sprightly
+novelty attending the introduction of the fairies on the scene, the
+description of their quarrel, and the foreshadowing of the influence
+they are to have on the next stages of the story, may be shown to
+occupy the chief place in the plot at this period, the crossed lovers,
+who predominated in the first Act, now falling into a relatively
+subordinate position.
+
+POINTS 1. Robin Goodfellow and the traditions about him. 2. Fairies
+and changelings. 3. The stories of Theseus's loves. 4. Explanation of
+allusions to nine men's morris, old Hiems, etc. 5. Account of theories
+as to meaning of references to _the imperiall votresse, a little
+westerne flower, a mearemaide on a dolphins backe_, etc. Warburton
+says the mermaid was meant for Mary Queen of Scots. N.H. Halpin thinks
+that by Cynthia is meant Queen Elizabeth; by Tellus, Lady Douglas; by
+the little 'western flower,' Lettice, wife of Walter, Earl of Essex,
+while Cupid is Leicester. (See "First Folio Edition" for particulars).
+6. Explain use of 'Lob,' II. i. 15; 'wodde,' 200. 7. 'The starres shot
+madly from their Spheares,' i. 159. Look up Ptolemaic system of
+astronomy for explanation of the idea. Compare "Merchant of Venice,"
+V. i. 71-75, and notes on same in "First Folio Edition" of that play.
+8. What is "Love in idleness"? (See Introduction to "First Folio
+Edition" of "A Midsommer Nights Dreame" for references to this flower
+in Chaucer's poem of "The Flower and the Leaf.") Compare "The Taming
+of the Shrew," I. i. 156. 9. What are "Cankers" in the musk rosebuds?
+II. ii. 4.
+
+QUERIES FOR DISCUSSION
+
+Is it probable that the various passages in this act said to allude to
+current incidents were so intended? In that case what effect do they
+have upon the beauty of a Play set in Athens?
+
+Is the interest of this Act a divided one?
+
+
+ACT III
+
+CROSS-EFFECTS OF OBERON'S SPELL
+
+Analyze the scenes constituting this Act. Observe that scene i. takes
+up Bottom and his fellows, the group not as yet brought into relation
+with the fairy group, and initiates them in the magic of fairy land by
+means of the new but appropriate head Puck bestows upon Bottom. Why is
+Bottom picked out for this favor? The 'ass-head' as a symbolic piece
+of stage furniture. Show how this transformation makes the mismating
+of Titania with Bottom more gross and obvious to the audience; also
+how this is the next direct effect of Oberon's revenge.
+
+Notice that scene ii. takes up the cross-effect already worked upon
+Lysander by Puck's mistake, instead of on Demetrius, as Oberon
+intended, and sets forth its further effects upon Helena and Hermia.
+The dialogues between the two pairs of lovers now overheard by Oberon
+makes the error clear, and so enables him to take the first step in
+clearing up the tangle. Meantime, the poet and his audience agree with
+Puck that they are so far 'glad it so did sort, As this their
+jangling' is esteemed 'a sport.'
+
+POINTS 1. Explain 'It shall be written in eight and sixe,' III. i.
+23-4. 2. The custom in Shakespeare's day as to the women's parts.
+Would it have been as amusing to the audience then as it would be to
+us when Quince says 'Robin Starveling, you play Thisbies mother'? 3.
+Pyramus and Thisbe. This may have been derived from Ovid, or from
+Chaucer's "Legend of Good Women," or C. Robinson's "Handful of
+Pleasant Delights." (1504.) 4. Explain 'Two of the first like coats in
+heraldry,' III. ii. 220. 5. Describe the personal appearance of the
+heroines from the references made.
+
+QUERIES FOR DISCUSSION
+
+Is Puck or Bottom the presiding genius of this act?
+
+Does the jangling between the two women belittle them as heroines, and
+is it, therefore, a blot upon the beauty of the play?
+
+
+ACT IV
+
+HARMONIZING EFFECTS OF OBERON'S SPELL
+
+Trace throughout this act the smoothing-out process.
+
+Why does Oberon himself release Titania while Puck is made to minister
+to the other victims of the charm? Is Oberon's explanation of the
+Fairy Queen's sudden change of heart about the changeling quite
+satisfactory, or does it simply appear so by a sort of artistic
+sleight-of-hand characteristic of Shakespeare in small touches at the
+close of a plot?
+
+Show how poetically suitable as a stage effect the entry of Theseus
+and his huntsmen is,--shedding the first rays of morning on the
+night-enchanted lovers.
+
+Why is Bottom made to waken last? Perhaps because he helps to denote
+the prose of broad daylight. Show what relation scene ii. has to the
+completion of the smoothing-out process.
+
+POINTS. 1. 'I was with Hercules and Cadmus once,' IV. i. 126. What
+relation had Hippolyta to these Greek heroes? 2. Account of May-day
+rites. 3. Traditions of St. Valentine. 4. Rites of Midsummer Eve.
+
+QUERIES FOR DISCUSSION
+
+Why is the choice of Hermia's father for her no longer supported by
+the Duke? Does this imply a criticism on the inconsistency of allowing
+men their choice, and their brides none, with which Shakespeare was in
+sympathy, or is this only apparent to some modern minds?
+
+
+ACT V
+
+THE THREEFOLD MASK
+
+If the central action of the play be considered as virtually concluded
+with the fourth Act, what office is performed by the fifth Act?
+
+Notice that in it the three groups of characters constituting the
+play--the court group with the lovers; the 'rude mechanicals' and
+their 'tedious brief scene,' and the fairy train--are in this Act all
+brought upon the stage, the whole spectacle being set in the palace at
+Athens, in celebration of the wedding festivities of the ducal pair,
+which, as before noticed, is used as a sort of decorative frame for
+the play as a whole.
+
+Examine the working-out of this unified presentation of all the
+personages. How are we to account for the silence of the women who
+were made to do so much towards the institution of the action? Show
+the poetic reasons for the entrance of Puck and the fairies last of
+all, and when the stage is empty.
+
+POINTS. 1. Explanation of all mythical allusions. 2. Account of
+theories as to meaning of 'The thrice three muses,' etc., V. i. 59. 3.
+What is a 'Bergomask dance'? 4. The date and occasion of the play:
+This play appears in Meres's list of 1598 and in the Quartos of 1600.
+Titania's description of the unseasonable weather (II. i. 92, foll.)
+may refer to the year 1594. Note that Chaucer in the 'Knight's Tale'
+speaks of the tempest at Hippolyta's home-coming. Many critics have
+believed that the play was written on the occasion of some marriage in
+high life, but they do not agree as to whose it was.
+
+QUERIES FOR DISCUSSION
+
+Upon what does the interest of the last Act centre? How does the
+ending suit the various threads of the Play?
+
+Is Theseus or Hippolyta the wiser critic of 'the story of the night';
+and which of them is the wiser critic of the play of Pyramus and
+Thisbe?
+
+SOURCES OF THE PLAY
+
+1. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS MORTALS
+
+In Plutarch's 'Life of Theseus' will be found passages which furnished
+Shakespeare with some points for his drama. Chaucer's 'Knight's Tale'
+is also said to have given him material. The editor of the "First
+Folio Edition" suggests in the introduction that a reading by
+Shakespeare of a poem in his day supposed to be Chaucer's, 'The Flower
+and the Leaf,' gave him an important hint for his plot. Examine for
+yourself, and state what indebtedness you find in any of these
+sources. In I. i. 20, Theseus says to Hippolyta, 'I woo'd thee with my
+sword.' Compare this with the account given in Chaucer. According to
+another version of the story Hercules gave Hippolyta to his kinsman
+Theseus in marriage. Compare 'The Two Noble Kinsmen' and the 'Knight's
+Tale' with Shakespeare's 'Dreame.'
+
+
+2. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS FAIRIES
+
+The models in literature from which Shakespeare drew may have been
+'Huon of Bordeaux,' where he got little, however, but the name Oberon.
+The name Titania may have been derived from Ovid's 'Metamorphoses.'
+The Fairy Queen in Shakespeare's day usually went by the name of Queen
+Mab. Puck's characteristics seem to have been derived from the little
+tract of 'Robin Goodfellow, His Mad Pranks and Merry Jests.' Rolfe, in
+the notes to his edition of the play, says that White argues that this
+was probably written after "A Midsommer Nights Dreame." Ward thinks
+that the entire machinery of Oberon and his court may have been
+derived from Greene's 'Scottish History of James IV,' and that Titania
+may have been suggested by Chaucer's 'Wife of Bath's Tale.' He
+probably owed his fairies in great measure to tradition or folk-lore.
+The folk-lore of England was originally made up of Teutonic elements,
+which have been modified by Danish and Norman invasions, by remnants
+of old Keltic belief, and by the introduction of Christianity, which
+last degraded the good fairies into mischievous elves. (See Hazlitt,
+'Fairy Mythology of Shakespeare,' Halliwell's 'Illustrations of the
+Fairy Mythology of Midsummer Night's Dream,' also _Poet-Lore_, April,
+1891, 'Fairy-lore in Midsummer Night's Dream.')
+
+3. SOLAR ORIGIN OF THE FAIRIES
+
+According to some authorities the Teutonic mythology was of cosmic
+origin. In the fairies may be seen many reflections of cosmic
+characteristics. Oberon and Titania are fairies of the night, and the
+old battle between light and darkness shows itself in the mad pranks
+which they play on unsuspecting mortals. But as the daylight comes
+they are obliged to flee. Puck reflects the characteristics of a wind
+god. (See Cox, 'Myths of the Aryan Nations;' also Korner, 'Solar Myths
+in Midsummer Night's Dream,' _Poet-Lore_, Jan., 1891). Compare his
+character with that of Hermes in the Homeric Hymn to Hermes (Shelley's
+Translation).
+
+SYMPOSIUM OF OPINION ON THE CHARACTERS
+
+1. THE LOVERS
+
+QUERIES FOR DISCUSSION
+
+1. Hermia and Helena are hardly worth considering, but if anything
+Helena is to be preferred to Hermia because she is so humble, and
+shows no sign of jealousy of Hermia. 2. If Hermia had been more
+dignified when she found that both the lovers had turned their
+attention to Helena, she would better have carried out the promise of
+her character in the first Act when she declared she would rather die
+than wed the man chosen by her father.
+
+
+2. HIPPOLYTA AND THESEUS
+
+QUERIES FOR DISCUSSION
+
+1. The only indication we have of the character of Hippolyta is in the
+last act, where she is so bored by the play of 'Pyramus and Thisbe.'
+Does this show stupidity on her part or exceptional development? 2. Do
+you agree with Dowden that there is no figure in the early drama of
+Shakespeare so magnificent as Theseus? His insistence in Act I. that
+Hermia should obey her father against her own inclinations is
+certainly not very praiseworthy, but might be excused on the score of
+the times in which he lived. 3. His complaisance toward Quince and his
+companions has been considered an indication that he was a most
+perfect gentleman; does he not rather conceitedly patronize them?
+
+3. THE FAIRIES
+
+QUERIES FOR DISCUSSION
+
+1. Have the Fairies any idea of morality? 2. Oberon was perfectly
+justified in wishing to get the changeling from his wife, and shows
+himself worthy of becoming a mortal for insisting on his rights as a
+husband. 3. Titania is the most developed woman character in the play,
+because she insists on her individual right to the changeling. 4. Is
+Puck a more developed fairy than Ariel in 'The Tempest'?
+
+4. THE PLAYERS
+
+QUERIES FOR DISCUSSION
+
+1. Is Shakespeare making fun of the stupidity of Quince and his
+companions, or is he gently satirizing the stage and the exaggerated
+style of writing for the stage which prevailed at this time? 2. If the
+last is true, is not Shakespeare in the last act making fun of the
+audience, as well as of the players, who with a superior air pass
+judgment upon the play and indulge in very lame wit, while the real
+meaning of it quite escapes them.
+
+SYMPOSIUM OF OPINION ON FAVORITE PASSAGES
+
+Every member of the class or club should bring in a short paper giving
+his favorite passage in the play and why he likes it, including his
+criticism of the metre, of the metaphors and similes, and the thought
+contained.
+
+QUERIES FOR DISCUSSION
+
+1. Which characters in the play are original with Shakespeare? 2. What
+is to be thought of Shakespeare for bringing together in one play
+Greek mythology, English folk-lore, and English workmen of his own
+age? Does this commixture of elements make the Play seem unnatural or
+incongruous? Has he skilfully harmonised these diverse elements by
+giving the Play its dream-like character? 3. That this play is
+charming cannot be disputed. Is its chief charm its humor, its fancy,
+its dramatic construction, or subtle developments of character?
+
+
+
+
+THE MERCHANT OF VENICE
+
+
+Sufficiently indirect use of contemporary political events in a Play
+was a cause of popularity without seeming dangerous to the State.
+
+As "Love's Labour's Lost" is an early example of a plot woven out of
+masked allusions to current topics, so even as definitely plotted a
+comedy as "The Merchant of Venice" here and there worked in an
+animating shred of contemporary reference.
+
+After Dr. Roderigo Lopez, the Queen's physician, was accused by Don
+Antonio of Portugal, and executed June 7, 1594, on the charge of being
+bribed by the King of Spain to poison Queen Elizabeth, the story of a
+Shylock's defeat and the rescue from his clutches of an Anthonio had
+just enough relevance to be popular without definiteness enough to be
+obtrusive.
+
+
+ACT I
+
+SHYLOCK'S "MERRIE BOND"
+
+Why is Anthonio sad? Is it presentiment? Is it, despite his unselfish
+willingness to furnish forth Bassanio to sue at Belmont for Portia,
+some sense of loss in friendship through this love? Anthonio and
+Bassanio may be considered as examples of that devoted friendship
+illustrated by Valentine's feelings towards Protheus in "The Two
+Gentlemen of Verona."
+
+The group of young and gay courtiers circling about the two friends
+bring them into brighter relief.
+
+Unlike Protheus, though perhaps younger and less wrapped up in the
+sense of friendship than Anthonio is, Bassanio is worthy of such
+regard. Do the "faire speechless messages" he has received from
+Portia's eyes and his praise of her as "nothing undervalued to
+Brutus's Portia" tell the cause of his quest better than what is said
+of her wealth? Notice that even what he says of that is as a mere
+grace of her person: "her sunny locks Hang on her temples," etc. (I.
+i. 177-181).
+
+What reasons had Shylock for hating Anthonio?
+
+Does Anthonio's demand that he lend the money to him as an enemy
+justify the terms of the bond?
+
+Is Bassanio right in distrusting, and wrong in accepting such a bond?
+
+The long pedigree of Jewish and Christian antipathy and its
+illustration in this bond by the characters that are its exemplars.
+
+What is to be gathered of Portia in this Act before she meets again
+with Bassanio?
+
+QUERIES FOR DISCUSSION
+
+Are Anthonio and Shylock more individual than typical?
+
+Does the Act close with assurance of good luck or foreboding of bad?
+
+Is Bassanio a fortune hunter?
+
+Is he to blame for what follows?
+
+
+ACT II
+
+PORTIA'S CASKETS
+
+Why is Jessica's story intertwined with Portia's? What dramatic
+purposes does it serve? Are Jessica and Launce alike justified in
+leaving Shylock? Why? (See Introduction to the Play in First Folio
+Edition for suggestion). Is the Jew's lament for his daughter although
+piteous, inadequate.
+
+Is the choice of the gold and the silver by the Moor and Spaniard
+significant of their natures?
+
+What reason is there to find in the symbolism and the persuasion to
+choice each suitor employs that Portia's father has used the wisdom of
+a seer in prescribing the choice from the three caskets?
+
+QUERIES FOR DISCUSSION
+
+Do you like Jessica? Why? In what ways are Portia and Jessica alike in
+the generousness of love though opposite in circumstances?
+
+Is Jessica's elopement to blame for her father's joy in the wreckage
+of Anthonio's ships and his final exaction of the bond? Was it
+introduced in the Plot for this purpose?
+
+
+ACT III
+
+BASSANIO'S LUCK AND ANTHONIO'S LOSS
+
+Shakespeare's creed of love as engendered in the eyes may be
+illustrated by passages in many other plays as well as this. What is
+meant by it?
+
+Is Bassanio's daring in venturing so much for his chance with Portia
+itself a sign of his fitness, or the reverse? How is his casket
+significant of this test-stone--i.e., adventurousness?
+
+Is the match of Nerissa and Gratiano an irrelevance to Portia's and
+Bassanio's courtship or an enhancement of their happiness? Show how
+the two points of climax in event and feeling balance absolutely but
+do not sacrifice each other? Are Shakespeare's experiments in bold
+juxtaposition of extreme fortune and happiness and utterly
+irretrievable devastation anywhere so poignant as the arrival of
+Anthonio's letter at the betrothal of Bassanio and Portia?
+
+QUERIES FOR DISCUSSION
+
+Is the secret of Bassanio's adventurousness the supreme honor in which
+he holds love? Nothing else being of so much consequence, he yields
+everything to love. Does Jessica, also?
+
+The "manners" of Portia, according to Gildon, "are not always
+agreeable or convenient to her Sex and Quality; particularly where she
+scarce preserves her modesty in the expression." What is to be thought
+of this?
+
+Is Anthonio's letter characteristic of his nobleness as a friend, or
+is it too insistent upon bringing Bassanio to him, since to send such
+a letter was equivalent to fetching him?
+
+Is it Portia's best warrant as a noble bride and wife that she
+appreciates Anthonio's message and friendship?
+
+
+ACT IV
+
+THE LUCK REDEEMS THE LOSS
+
+By means of Bassanio's luck in winning Portia's love and hand Shylock
+is finally defeated of his malicious purpose. Portia considered as the
+embodiment of Bassanio's luck and the instrument bringing Shylock to
+confusion.
+
+Does it matter whether the law-point is disputable or not since the
+traditional stories on which the Play is built up afford the
+opportunity for its use?
+
+Does Shylock get Justice, since he had refused mercy?
+
+Illustrate the legal knowledge and studies of Italian women of the
+Renaissance affording a parallel for Portia's sagacity and leadership.
+(For hints see pp. 256-260 in "First Folio Edition.")
+
+QUERIES FOR DISCUSSION
+
+Do you think Shylock is wronged?
+
+Does Shylock so preponderate the Play as to destroy its balance, and
+outweighing all other characters make them insignificant?
+
+Are Actors justified in acting the Play so as to dwarf the Love plot
+and cut out Act V as needless?
+
+Is Portia the proper counterpart in consummate character creation to
+Shylock? To whom does, if properly played, the ultimate interest of
+the Play belong?
+
+Why does this position belong to no other character's part?
+
+
+ACT V
+
+THE RINGS
+
+What is the business of Act V?
+
+How is it linked to the preceding Act? Since reunion and rejoicing are
+not alone the business of the plot; since recognition and declaration
+to the two husbands, and to Anthonio, especially, are needed, as well
+as to the others, of the part played by the wives in solving the
+difficulties of the plot, the Ring scenes constitute the due dramatic
+conclusion of the Play. Note that the threat of quarrel over the
+reluctant but requisite giving away of the rings in the preceding Act
+makes a deceptively serious difficulty. It is happily to be solved as
+a result of the wives' preceding action. This difficulty and this
+solution at this final stage of the plot constitute a little character
+play that is an epitome of the action. The whole is the more happily
+and amusingly solved that the Audience is wise and the characters
+still in the dark are really perplexed.
+
+Point out the value of the exchange of Rings as made clear in these
+two ways, by bringing out the characters of Gratiano, Bassanio, and
+especially of Anthonio as peace-maker; and by bringing out to them the
+fact that to the wives' love and skill the victory over the
+difficulties they suffered is due.
+
+Are the rings the sole test of this?
+
+What other news adds to the general denouement of all difficulties?
+
+Is the summing up of the Play a victory of love and intelligence over
+hate and narrow-mindedness?
+
+Show how the rings symbolize this, and music and moonlight provide the
+proper atmosphere for its operation. The appropriateness of the
+moonlight for a calm out of strife, brought about by women, is matched
+by the fitness of music and the reference to the harmony of the
+spheres to suggest that earth-harmony to which Portia was presiding
+Angel.
+
+QUERIES FOR DISCUSSION
+
+Is any incident of Act V without relevance to the plot?
+
+Is the Play the nobler or the weaker dramatically for the poetic and
+symbolic influence shed upon it by Act V?
+
+
+
+
+THE MERRY WIVES OF WINDSOR
+
+
+If this Comedy was written, as tradition reports at the bidding of
+Queen Elizabeth in order to show Falstaffe in love, it is interesting
+to see that Shakespeare confines his love-making to mercenary motives,
+and by causing him to make love to two at once renders him as a lover
+merely a cheat.
+
+So keeping the word of promise to the ear, he obeys by breaking it to
+the sense. To show Falstaffe as a lover amounts to showing him as no
+lover at all.
+
+In this sense, the Play might be called a courteous satire upon the
+Queen's request.
+
+
+THE STORY OF ACT I
+
+FALSTAFFE IS FORCED TO "CONICATCH"
+
+How Falstaffe falls into trouble, turns away his followers and begins
+a new enterprise: How do his followers take revenge? What light upon
+this opening of the story do scenes i. and iii. show?
+
+What is the underplot as shown in scenes ii. and iv and a part of
+scene i?
+
+Do they appear to have anything to do with each other?
+
+QUERIES FOR DISCUSSION
+
+Which of her suitors does Anne prefer? Which is to be preferred?
+
+Is the grievance of Shallow against Falstaffe a necessity of the plot
+to show the fat knight in love, or an episode introduced out of
+Shakespeare's grudge towards Sir Thomas Lucy? (See pp. 117-119,
+138-141, etc., "First Folio Edition.")
+
+
+THE STORY OF ACT II
+
+THE MERRY WIVES AND FORD LAY PLOTS
+
+In Act II a third under-intrigue that of Ford with Falstaffe is added
+to the two before introduced.
+
+Show how the Merry Wives reveal their separate personalities in their
+reception of the duplicate letters, and their plot to dupe Falstaffe.
+
+Contrast their two husbands as their natures and marital relations are
+shown by their different manner of taking the information given them
+by Nym and Pistol. Ford, considered as Shakespeare's first study of
+jealousy. How does he compare with Leontes?
+
+How does Ford assist in the plot of the Play?
+
+What pertinence to Ford's jealousy is there in the allusion to Queen
+Elizabeth's Sonnet? (II, ii, 199-200).
+
+The Sources of the Merry Wives' intrigue and what Shakespeare has done
+with them. (See "Sources," First Folio Edition). How is the Duel scene
+related to the underplot?
+
+What characters belong in common to plot and counterplot?
+
+QUERIES FOR DISCUSSION
+
+Does Falstaffe show any material differences in character as he
+appears in this Play, in comparison with the way he appears in "Henry
+IV?"
+
+
+THE STORY OF ACT III
+
+THE DOUBLE DUPERY
+
+Contrast the feelings of Falstaffe before and after the Buckbasket
+episode?
+
+In which scene is Ford the worst duped?
+
+Give an account of Dame Quickly's relations to the intrigues, and show
+how her multitudinous offices as go-between interfere with each other
+so that she is "slacke" in one of her errands. What is the effect of
+her slackness on the contradictions in the time of the action. (See
+Duration of the Action, in "First Folio Edition"). Are they only
+seeming contradictions? The Sources of the Ford intrigue and what
+Shakespeare has done with them.
+
+Anne and her father and mother as characterized in this act, with
+relation to the suitors.
+
+QUERIES FOR DISCUSSION
+
+Is Anne the only character one can thoroughly sympathize with?
+
+Are the situations such as owe their fun largely to coincidence, like
+those in the "Comedie of Errors," or to a teeming variousness in the
+human naturalness of all the characters?
+
+
+THE STORY OF ACT IV
+
+FORD'S ENLIGHTENMENT
+
+Why is the Old Woman of Brentford trick a climax upon that of the
+Buckbasket?
+
+Falstaffe's wish that all the world might be cheated is true to the
+method of the Play. Show in exemplification of this, how a fourth
+intrigue grows out of the third, and is introduced as late as this
+fourth Act. How is the joke of the Host against Dr. Caius and Sir Hugh
+Evans avenged? Is this reference to the "three Cozen Jermans" that are
+said to run away with the Host's horses, liklier to be an allusion
+seriously made to a real event or to make use of it as an entirely
+fictitious intrigue and practical joke in the Play? Is this mock
+happening such as could be clear by the method of enacting it and one
+entirely consonant with this Comedy as a farce-mosaic of laughable
+tricks? (See pp. 120-121, 179-180, also Note on IV. iii. 6). Discuss
+probabilities. The turn taken in the plot: Show how all combine
+against Falstaffe; also the place of this intrigue in making material
+for Act V.
+
+QUERIES FOR DISCUSSION
+
+Has the "Merry Wives" any serious or tragic moments such as belong
+usually to Shakespeare's Comedies?
+
+Compare the jealousy of Ford with the jealousy of Adriana in the
+"Comedie of Errors." Which exemplifies the riper treatment and why?
+
+
+THE STORY OF ACT V
+
+THE DEFEAT OF MERCENARY LOVEMAKING
+
+Make clear the ins and outs of the Fairy trap, first for its actors,
+then for the dupes? Can the apparent inconsistencies in the wearing of
+green or white and the mention of "Quickly" for "Queene" be accounted
+for on the supposition that everybody is deceived except Nan and
+Fenton? (See Notes on V. v. 421, 205-209).
+
+The compliments to Queen Elizabeth in the Play: What are they and how
+is their appropriateness to the Plot made good?
+
+Consider the "humors" of the Welsh and French speeches and episodes as
+exploitations and developments of the similar humors of Fluellen and
+the Frenchmen of "Henry V."
+
+The fairy scenes and effects of this Play compared with those of the
+wedding night feast at the end of "A Midsommer Nights Dreame."
+
+What indications are there in the Falstaffe of "Henry IV." that he is
+superficially affected by the Puritanism about him? Is he any more
+deeply affected by it in the present Play? What is the difference in
+his appearance in this Play with respect to Puritanic morals: Is he
+more affected by them, at the last, when he is so grossly their
+victim, or have they grown, and put him out of date in England except
+as an atavism?
+
+Have Page and his Wife any loftier standpoint as to mercenary love
+than Falstaffe himself? Is Fenton's speech (V. v. 225-235) the moral
+of the last Act or is Ford's (237-238)?
+
+QUERIES FOR DISCUSSION
+
+Is the main design of the Play to "cure Ford of his unreasonable
+jealousy," as Rowe says, or to dupe and reform Falstaffe? Is the total
+aim sport to laugh over "by a Countrie fire?" Is it a Comedy of irony
+turned against all mercenary motives in love?
+
+
+
+
+AS YOU LIKE IT
+
+I
+
+THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH
+
+
+How much of the situation existing in the play comes out in Act I. i.?
+And what action takes place?
+
+The strained relation existing between the brothers Orlando and Oliver
+is revealed through Orlando's conversation with Adam and with his
+brother Oliver. The situation at court is also revealed through the
+conversation of Oliver with the wrestler Charles, and also the loving
+relation existing between Celia and Rosalind; thus we are at once put
+into the possession of three emotional or passional causes for
+action--Oliver's hatred of his younger brother, the younger Duke's
+hatred of his older brother, and the love of Celia for Rosalind. Of
+these causes for action only one bears any fruit in this scene,
+namely, Oliver arranges with the wrestler to kill Orlando. What are
+the connections existing between sc. ii. and sc. i.? First there is a
+picture of the loving relationship existing between Rosalind and Celia
+(already mentioned by Oliver in sc. i.) which reveals very subtly
+differences in their natures. The action set going by Oliver in sc. i.
+is consummated in the wrestling match, but with a result different
+from that hoped for by Oliver, thus leaving Oliver's hatred still
+present as a cause of action. Out of the wrestling match what further
+passional and emotional causes of action are set up? Duke Frederick's
+hatred for Orlando is aroused because he learns he is the son of a man
+he had considered his enemy, and action against him is the immediate
+result. Orlando is warned by Le Beau that he is not safe at the court.
+The Duke's hatred of his brother bears further fruit in its extension
+to Rosalind. The meeting of Rosalind and Orlando brought about by the
+wrestling match gives rise to a fresh emotional force in their budding
+love for each other. In Sc. iii., the state of Rosalind's heart as to
+Orlando, hinted at in sc. ii., is fully revealed; the Duke's hatred
+takes shape in his sentence of banishment or death, giving rise to a
+new direction for action, and the emotion of Celia's love for Rosalind
+bears fruit in her determination to go with Rosalind into banishment.
+
+
+II
+
+LIFE IN THE FOREST OF ARDEN
+
+In Act II. how are the elements of action, character delineation and
+emotion intermingled?
+
+Sc. i. gives us a picture of the banished Duke and his followers in
+the Forest of Arden, already prepared for in Act I., introduces us to
+the personality of the Duke, and in the conversation with the lords
+prepares us for coming delights in the personality of Jaques. It does
+not advance the action, at all. In sc. ii., the result of Celia's act
+in going with Rosalind is shown in the bad Duke's consternation, who
+determines that they shall be found, thus starting another thread of
+action to be developed later. Sc. iii. the passional cause of action
+in Oliver's hatred of Orlando reaches a crisis; Orlando is obliged to
+flee to save himself from death. Sc. iv. shows Celia and Rosalind
+arrived at their journey's end in the Forest of Arden, and making
+arrangements with a shepherd for a comfortable little house to
+rusticate in; thus is closed the thread of action started by the Duke
+in banishing Rosalind. In the conversation of their new companions,
+Corin and Silvius, we learn of the love of Silvius for the scornful
+Phebe, which is another emotional impulse to action, later blending
+itself with the plot. In sc. v. we meet Jaques, already mentioned, and
+get another glimpse of the pleasant company in the forest, but they
+are still quite detached from the active elements of the play. Sc. vi.
+shows us how far Orlando and Adam have gone in their flight, and sc.
+vii. presents again the good Duke's court, develops further the
+personality of Jaques, and prepares us, through his conversation about
+the fool whom he had met in the forest, for the contact of one of the
+threads of action with the element of inaction represented by this
+good Duke's forest court, while in the sudden breaking in upon them of
+Orlando it is brought into contact with another of the threads of
+action.
+
+
+III
+
+LOVE IN THE FOREST OF ARDEN
+
+At the opening of Act III. what results have been brought about by the
+action so far? Everybody in the play except Oliver and the bad Duke
+has arrived in the Forest of Arden. In sc. i. of Act III. the hatred
+of the Duke is still active as a force, and Oliver through this means
+is also sent off to finally bring up in the Forest of Arden. The
+Duke's attitude as a motive force having worked itself out in its
+relation to Orlando and Rosalind, the emotional cause of action in the
+love of Rosalind and Orlando is free to develop, and the remainder of
+Act III. is devoted chiefly to the presentation of the situation
+between the lovers, which, owing to the disguise assumed by Rosalind,
+gives rise to the charming inconsistencies attending the wooing of a
+proxy Rosalind who is in reality Rosalind herself. Around these
+central lovers, whose characters Shakespeare unfolds, revolve other
+interesting personalities. Touchstone meets his fate in Audrey. Phebe
+still scorns Corin and perversely falls in love with Ganymede. The
+action is only advanced to the extent that Rosalind learns the state
+of Orlando's mind while he still remains in ignorance as to hers.
+
+
+IV
+
+HATRED BECOMES LOVE IN ARDEN
+
+Are there any fresh elements or developments in Act IV.?
+
+Sc. i. merely continues the love-making of Act III. Sc. ii. gives
+another glimpse of the good Duke's court; in sc. iii. the love of
+Phebe bears fruit in a letter to Ganymede, and Oliver finds his way to
+the forest. The bad Duke's intentions toward Orlando in sending Oliver
+after him are, however, frustrated by the sudden change of heart
+against a bad Duke is a good Duke. Contrast their actions throughout
+the play. Contrast also the two brothers, Orlando and Oliver. What are
+the resemblances between the characters of Oliver and Duke
+Frederick?--between Orlando and the banished Duke? Is Orlando's
+rebellion against his brother's injustice or the banished Duke's
+acceptance of _his_ brother's injustice the more to be praised?
+Compare his attitude with that of Prospero under similar
+circumstances. Whose repentance is the more sincere, Oliver's or Duke
+Frederick's? Note that Oliver has lost all when he repents, while the
+Duke gives up everything just as he is about to realize his aim. Is
+the repentance of the usurping Duke merely a _ruse_ of Shakespeare's
+to bring the play to a happy ending? In Lodge's story he does not
+repent, but is proceeded against by his brother. Contrast Jaques and
+Touchstone. Is Jaques's melancholy affected? What is the main
+difference between Rosalind and Celia? Which is the more the friend of
+the other? (For valuable suggestions on these points see 'Characters
+in "As You Like It,"' _Poet-lore_, Vol. IV. pp. 31 and 81, Jan. and
+Feb., 1892.)
+
+QUERIES FOR DISCUSSION
+
+Which is the better philosopher, Jaques or Touchstone, and which is
+more closely related to the philosophy of the play?
+
+The characters of the two Dukes are not developed; they are merely
+walking gentlemen, whose office it is to keep the play in motion.
+
+2. The Lovers of the Play.
+
+The Different Kinds of Love in 'As You Like It.' Examples of love at
+first sight in Shakespeare. Note Orlando's surprise at the suddenness
+of Oliver's and Celia's love. Was his own less sudden? Consider
+Hymen's song and Jaques's remarks in the last scene as descriptive of
+the various couples. Does the comic element of the play, as
+represented by Touchstone, discredit sentiment in the play? Notice the
+madrigal in Lodge's novel (given in _Poet-lore_, Vol. III., in the
+article on Lodge, Dec, 1891), and consider whether Shakespeare has
+borrowed anything from it in characterizing Rosalind's wooing?
+Contrast Lodge's Montanus as a lover with Shakespeare's Silvius. Is
+Montanus too much of a "tame snake" to be natural? Or does this
+constancy in love make him a superior figure? Is it a sign of
+Silvius's inferiority that love has its own way with him? Can love be
+true that changes if it is unrequited?
+
+Are those actors right, do you think, who play Oliver as guessing who
+Ganymede is when she swoons? Is Rosalind's conduct unwomanly? Is her
+disguise unlikely?
+
+QUERIES FOR DISCUSSION
+
+It is best for the man to love the most; and therefore has Silvius and
+Phebe's unequal love-match a better chance for happiness than
+Rosalind's and Orlando's?
+
+
+VII
+
+THE PASTORAL ELOPMENT
+
+The Rise of Pastoral Poetry, and Shakespeare's Use of it in 'As You
+Like It.'
+
+Compare Spenser's 'Shepherd's Calendar,' Fletcher's 'Faithful
+Shepherdess,' etc. Point out any differences you find between
+Shakespeare's and Spenser's pastoral poetry. Modern literary use of
+the pastoral element, Wordsworth's 'Michael.' Is the pastoral life of
+literature always artificial? Can a progress toward realism be shown?
+The humor of the play. Discuss in particular the humorous comments on
+contrasts between court and country life. Compare modern instances of
+the refinements and artifices of city life and the crudeness of work
+and pleasure in the country.
+
+_Special Points_.--1. The Forest of Arden: Is it in England, France,
+or Shakespeare's imagination? 2. "Old Robin Hood of England." What are
+the legends concerning him? 3. The archaic words in the play. (See
+Prof. Sinclair Korner's 'Shakespeare's Inheritance from the Fourteenth
+Century,' in _Poet-lore_, Vol. II., p. 410, Aug., 1890.)
+
+QUERY FOR DISCUSSION
+
+Is the opposition shown in the play between life at court and in the
+country truly shown to be to the advantage of the country.
+
+
+VIII
+
+THE MORAL ELEMENT
+
+The moral side of the Play consists, according to the Introduction in
+the First Folio Edition, in its persuasion toward an Arden of the
+disposition, or a spirit of happy good will toward all men. How far
+does this cover the lesson of the Play?
+
+What is to be thought of the idea in the 'Ethics of "As You Like It"'
+(_Poet-lore_, Vol. III., p. 498, Oct., 1891), that Touchstone's
+opinion of a shepherd's life (III. ii.) is the key-note of the play?
+Are the references to fortune in the play significant? Dr. F.J.
+Furnivall says: "What we most prize is misfortune borne with cheery
+mind, the sun of man's spirit shining through and dispersing the
+clouds which try to shade it. This is the spirit of the play." Of this
+Dr. Ingleby says: "The moral of the play is much more concrete than
+this. It is not how to bear misfortune with a cheery mind, but _how to
+read_ the lessons in the vicissitudes of physical nature." C.A.
+Wurtzburg says: "The deep truths that may be gathered from the play
+are the innate dignity of the human spirit, before which every
+conventionality of birth, rank, education, even of natural ties, must
+give way." Give arguments drawn from the play in favor of or against
+all of these suggestions. Is it an evidence of Shakespeare's intention
+to be a moral teacher that he altered the fate of Duke Frederick?
+
+QUERY FOR DISCUSSION
+
+Has the play any moral that is not gently satirized in it?
+
+
+IX
+
+THE SOURCE OF THE PLOT
+
+Shakespeare's Variations from Lodge.
+
+Compare Lodge's 'Rosalind' with 'As You Like It.'
+
+(For this story, see "Shakespeare's Library" or Extracts in Notes and
+Comment in Sources in "First Folio Edition").
+
+Is the story better without the parts Shakespeare leaves out (_e. g._,
+Adam's proposal to Rosader to cut his veins and suck the blood; his
+nose-bleed; the incident of the robbers accounting for Aliena's sudden
+love, etc.)? Why is the "Green and gilded snake" added? Isn't the
+"lioness" enough? Is Rosader or Orlando the finer character, and why?
+The new characters introduced--Audrey and William--considered as
+embodying real instead of ideal pastoral life. Do Shakespeare's
+changes affect the plot, the characters, or the moral of the story?
+(For an examination of the plot of the play, see 'An Inductive Study
+of "As You Like It,"' in _Poet-lore_, Vol. III., p. 341.)
+
+A Sketch of Lodge's Life and Work. (See 'An Elizabethan Lyrist: Thomas
+Lodge,' in _Poet-lore_, Vol. III., p. 593, Dec, 1891.)
+
+QUERY FOR DISCUSSION
+
+Is Shakespeare's framing of the plot of 'As You Like It' not to be
+admired, because it is borrowed?
+
+
+X
+
+THE MUSIC OF THE PLAY
+
+This may consist of a brief paper on the subject illustrated by a
+program of the songs with the old and more modern settings. (See New
+Shakespeare Society's Papers, on this subject; 'Shakespeare and
+Music,' by E.W. Naylor.)
+
+
+
+
+TWELFE NIGHT
+
+
+The winsomeness of this poetic comedy rightly makes the reader or the
+hearer hesitate to count its petals or scrutinize the stages of its
+growth, which are marked by its acts as symmetrically as leaf buds are
+ranged about a stalk. And yet, one may find that to take note of such
+beautiful orderliness in the delicate structure and sprightly
+blossoming of the poet's design enhances the appreciation of its
+artistic quality. Regarding it first as a whole, sum up the stages of
+the action, first; then the caprices its allusions denote; then the
+characters; and finally the poetic fancy and wit exhaled by the whole
+play like a fragrance.
+
+
+I
+
+THE STORY OF THE PLAY
+
+Act I. scene i. puts us in possession of what facts concerning the
+Duke and Olivia? What do we learn from the conversation of Viola and
+the Captain in scene ii., and what course does Viola decide upon? What
+do we discover from scene iii. in regard to the state of things in
+Olivia's household? In scene iv., what relation has been established
+between the Duke and Viola? What three new characters are introduced
+in scene v., and what is the event of the scene? Act II. scene i.:
+What is learned of Sebastian and his intentions? In scene ii., what
+are shown to be the feelings of Olivia? In what previous scene was
+this prepared for? Does scene iii. advance the story at all? What is
+it taken up with? Does scene iv. advance the story? Of what scene is
+it almost a repetition? If it does not advance the action, what does
+it do? Of what previous scene is scene v. the result? What previous
+scene leads up to scene i. of Act III? and of what scene is it in
+purpose a repetition? What new turn is given to affairs in scene ii.,
+and through whom is it brought about? Whose doings do we get a glimpse
+of in scene iii? Of whose plot do we see further developments in scene
+iv? What other issues in the progress of events come to a climax in
+this Act? Act IV. scene i.: Describe the complication of affairs which
+arises in this scene. What previous scenes do we see the result of in
+scene ii? and what happens that will bring about a change in the
+situation? What important event occurs in this scene iii? Act V. scene
+i.: Describe how in this scene all the complications are unravelled,
+and by what means all the characters are brought upon the stage. What
+do you think of the device to call Malvolio upon the stage? Does it
+not seem rather clumsy, or do you think it a further humorous touch
+that Viola should have to depend on Malvolio to find her 'woman's
+weeds again'?
+
+What becomes evident after tracing the events of the play through in
+this way? That the interest of the play does not depend so much upon
+the story itself, as, first, upon the amusing situations resultant
+from the story, and, second, upon the scenes which introduce the
+characters in Olivia's household who are really not at all concerned
+in the development of the plot, but who are the occasion of many added
+amusing situations.
+
+What constitutes the real interest of the two short scenes between
+Sebastian and Antonio? Their bearing, mainly, on scene iv. of Act III.
+By means of them we are shown that Antonio has an enemy in Orsino, and
+thus his arrest is prepared for, also how Antonio gives his purse to
+Sebastian, the real purpose of the arrest being to bring about a
+reason for Antonio's requiring his purse again from Cesario, whom he
+takes for Sebastian, and so to add complication to the situation
+arising from the resemblance between the brother and sister.
+
+What are the situations which the story gives Shakespeare a chance to
+develop? On the one hand, is the Duke pouring out his love for another
+woman to his supposed page, who is in love with him, and thus giving
+rise to the series of scenes between the Duke and Viola. On the other
+hand, is the supposed page pressing his master's suit to a woman who
+loves the supposed page, and thus giving rise to the series of scenes
+between Viola and Olivia. Out of this love of Olivia for Viola grows
+the absurd situation of Viola's being obliged to fight a duel, which
+is made still more ridiculous through the circumstance of her
+challenger being a fool. Out of Viola's resemblance to her brother and
+her disguise grows the absurd situation of Olivia's claiming her as a
+husband, and that of Sir Andrew taking for his unwilling duellist the
+all-too-willing Sebastian.
+
+To these situations which naturally result from the story, Shakespeare
+has added in Olivia's household a set of characters whose personality
+is such that amusing situations are multiplied. Thus we may say that
+the play is one of situation rather than of action, since whatever of
+action there is in it leads to situation, and whatever of character
+there is in it leads also to situation.
+
+QUERIES FOR DISCUSSION
+
+1. If attention is constantly given to creating humorous situations,
+will character-development necessarily suffer? 2. Do you agree with
+the Shakespearian critic Verplanck that this play bears no indication
+either of an original groundwork of incident, afterwards enriched by
+the additions of a fuller mind, or of thoughts, situations, and
+characters accidentally suggested, or growing unexpectedly out of the
+story, as the author proceeded?
+
+
+II
+
+THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY
+
+Pick out and explain the curious allusions in the play, noticing that
+these may be classed as geographical, mythological, astrological, or
+referable to persons or customs of the time, or books of the day. For
+examples of the latter class, note Sir Toby's 'diluculo surgere' (II.
+iii.), for 'Saluberrimum est dilucolu surgere,' an adage from Lilly's
+Grammar, doubtless one of Shakespeare's text-books at the Edward VI.
+School in Stratford; and Viola's 'Some Mollification for your giant
+sweet lady' (I. v.),--an allusion to the innumerable romances whose
+fair ladies are guarded by giants; for Maria, being very small, Viola
+ironically calls her giant, and asks Olivia to pacify her because she
+has opposed her message. (For Shakespeare's education and
+school-books, see Bayne's remarks on this subject in Brit. Encyc. art.
+Shakespeare.) The whole incident of the 'possession' of Malvolio, and
+the visit of Sir Topas, probably alludes to a tract published in 1599
+by Dr. Harsnett,--'A Discovery of the Fraudulent Practices of John
+Darrel,'--in which is narrated how the Starkeys' children were
+possessed by a demon, and how the Puritan minister, Mr. Darrel, was
+concerned in it. For examples of allusions to contemporary customs,
+see Sir Toby's mention of dances no longer known,--'Galliard,'
+'Coranto,' etc. As an example of allusions to persons of that time,
+Sir Toby's reference to 'Mistress Mall's picture,'--Mary Frith, born
+in 1584, died in 1659, a notorious woman who used to go about in man's
+clothing and was the target for much abuse. Astrological allusions:
+'Were we not born under Taurus?' 'That's sides and hearts,' which
+refers to the medical astrology still preserved in patent-medicine
+almanacs, where the figure of a man has his various parts named by the
+signs of the Zodiac. 'Diana's lip' (I. iv.), ('Arion on the Dolphin's
+back' I. ii.), are examples of mythological allusions. Of the
+geographical allusions there are two kinds, the real and the
+sportive,--Illyria, an example of the one, the 'Vapians' and the
+'Equinoctial of Queubus,' of the other. Go on through the play
+classifying and commenting on the allusions. What was a 'catch'? Give
+an example.
+
+QUERIES FOR DISCUSSION
+
+Are the odd allusions in the play a result of the corrupt text,
+ignorance, ridicule of learning? Or are they introduced to give a
+lively and contemporaneous effect?
+
+
+III
+
+THE DUKE AND SEBASTIAN
+
+How does the play set off these two lovers against each other? Which
+has the more constant nature? Note the evidences of the Duke's
+restlessness and changeableness; how soon he tires of the music he
+calls for, of the clown's song (II. iv.). Is his first speech to
+Viola, on woman's constancy before the song, consistent with his
+second, after it? Is his own report of himself true,--'Unstaid and
+skittish in all motions else Save in the constant image of the one
+beloved'? Is Olivia's unattainableness the main source of her
+desirableness for him? How is it with Sebastian? Does his loyalty in
+love seem to be of the sort that suffers impairment when he can win
+love easily? The Duke craves excess in music in order that his
+'appetite may sicken and so die;' Sebastian wishes 'to steep his soul
+in Lethe.' Do you think Sebastian and Viola alike in more than
+appearance? Which is the quicker-witted? Is the Duke's amicable
+acceptance of the inevitable and transference of his love to Viola in
+keeping with his character? Do you think Viola shows promise of
+special facility for preventing the moody Duke from tiring of her?
+Note that he calls her his 'fancy's queen.'
+
+QUERY FOR DISCUSSION
+
+Is the Duke important chiefly as the inspirer of Viola's devoted love?
+
+
+IV
+
+VIOLA AND OLIVIA
+
+In what respects are the situations of Viola and Olivia alike? When
+the play opens, both are mourning the loss of a brother, and while
+this is made to point out the individuality of Olivia, after the first
+few lines we hear little more of Viola's grief. Can you suggest any
+reason for this? Does Viola's love for the Duke absorb her any more
+than Olivia's love absorbs her when she comes to feel the same? Viola
+and Olivia are also alike in giving their love without solicitation;
+but Olivia woos directly, Viola, in disguise, implies her love, and
+though her innuendoes are all understood by the audience, they are
+unappreciated by the Duke. What justification can be made for the
+unblushing love-making of Olivia? It could be justified by her rank,
+which was so much higher than that of the supposed page that advances
+should come from her. What signs are there that Viola's love was
+superior to Olivia's? Olivia's seems to have been founded on external
+liking, else she would not have been as satisfied with Sebastian as
+with Cesario; while Viola's, though it may have had no deeper
+foundation, was signalized by unselfishness, for she used every
+eloquent art of which she was capable to urge her master's suit.
+Notice in the first scene between Viola and the Duke how she tries to
+get out of going to Olivia, doubting her own ability, etc. Do you
+think she really doubted it, or that it was difficult for her on
+account of her own love for the Duke? Notice in the scene with Olivia
+her woman's anxiety to see her rival's face. What do you think
+instigated her remark, 'Excellently done, if God did all.' Was it a
+sudden touch of jealousy? It was clearly not the proper thing for an
+ambassador pressing his master's suit to say. How is it with the rest
+of the interview? Is her sarcastic tone judicious? Does it pique the
+nonchalant Olivia? Does her eloquence later, when she is assured of
+Olivia's obstinacy, reflect her own feelings for the Duke? What effect
+does it have on Olivia? Is it well-calculated to arouse her interest?
+In Act II. scene iv., which do you think had the right conception of
+woman's love,--the Duke or Cesario? What do you think of Olivia's
+saying that 'Love sought is good, but given unsought is better'? Which
+of the two characters show the more humor? Notice Viola's readiness in
+parrying questions that trench upon her sex. Olivia, on the other
+hand, can hold her own in a bout of wit with the fool, but she is
+perhaps not so quick-witted as Viola. We can imagine Viola at once
+seeing through Malvolio's attempt at pleasing Olivia, instead of
+taking him for mad, as Olivia did.
+
+QUERY FOR DISCUSSION
+
+Which is the best lover, the Duke, Sebastian, Olivia, or Viola?
+
+
+
+V
+
+SIR TOBY AND MARIA, AND THEIR BUTTS OR DUPES
+
+Show how the droll situations of the play are mainly contrived by some
+of the characters in order to make others their laughing-stocks. Who
+are Sir Toby's butts? Is Sir Toby attached to Sir Andrew, or does he
+only make use of him for profit as well as fun? (See Sir Toby's reply
+to Fabian (III. iii.)). Other instances to the same effect? Why does
+Maria join forces with Sir Toby? Is she in fact the leader of the
+scheme, or is Fabian's story of its origin true? What part does the
+fool play in the game, and why? Note his private grudge against
+Malvolio. Is it a dramatic mistake that even the heroine is made the
+butt of these merry-makers? Trace Fabian's part in the duelling plot
+against Sir Andrew and Viola. Do these plots recoil in any way against
+the plotters? Sir Toby and Sir Andrew both get some home-truths from
+Malvolio while they are eavesdropping, while for Fabian and Maria
+these thrusts of Malvolio's are just as good fun as that which the
+knights enjoy better. How does some of the later fun recoil against
+Toby and Sir Andrew? Are the Puritans made fun of in Malvolio's
+person?
+
+QUERY FOR DISCUSSION
+
+Are the characters least scathed by the fun for that reason superior
+to the others?
+
+
+VI
+
+MINOR CHARACTERS
+
+The fun of the play is capped by the presence of a particularly clever
+fool whose function of making every one the butt of his wit makes one
+of the least important of the characters represent the special
+drollery of the whole play. The only grudge he bears is against the
+man who does not appreciate fun--who calls him a 'barren rascal.'
+Describe the passages in which he particularly shines. Of the minor
+characters the fool is minor only through his station and unimportance
+in the plot; he really occupies much space in the play and in fact
+pervades it. How is Antonio connected with the plot? What traits of
+his does the play bring out? Is his fondness for Sebastian unnatural?
+How is he concerned in the foolery of the play? Is he necessary to the
+plot? As the fool represents the merry-making spirit of the play, so
+Malvolio stands for the dupes of it. Does any one sympathize with him?
+Who shows the clearest understanding of his faults? (I. v.). What
+signs are there in the play of Malvolio's being a Puritan? Is there
+any evidence against it? Is Maria right, for example, when she says,
+'The Devil a Puritan he is or anything constantly but a time-server,'
+etc.? That the character of Malvolio was generally taken on the stage
+as a portrait of the Puritan, and that Shakespeare must have known it
+would borrow some of its popularity from being so considered, seems
+not to be denied; on the other hand, it may hardly seem to be proven
+that Shakespeare thought he was drawing a genuine Puritan. Show
+Malvolio's character, his connection with the other characters and
+with the plot and the foolery of the play, and state the argument for
+and against Shakespeare's meaning to make fun of him as a Puritan.
+
+QUERIES FOR DISCUSSION
+
+Is it a defect in the play that the fool, who has less to do with the
+plot, is more important than Antonio, who has somewhat more to do with
+it? Does it show that the main interest of the play is in comic
+situation rather than in character or dramatic motive?
+
+
+VII
+
+THE POETIC FIGURES IN THE PLAY
+
+Observe the various figures used throughout the play, as to whether
+they are drawn from nature or from other sources; for example, the
+first speech of the Duke bristles with metaphor. Note that he speaks
+of music as the _food_ of love, and bids the musicians play on that
+the _appetite_ may have a _surfeit_, images drawn from physical
+nature; then that the music came o'er his ear _like_ the _sweet sound_
+that _breathes_ upon a bank of violets, _stealing_ and _giving_ odor.
+We should expect here some continuation in the language of sound; but
+the Duke continues as if he had said _wind_ instead of sound, and then
+wind is personified, for it _breathes_ instead of _blows_ on the bank
+of violets, and it steals their odor and gives it to him,--the music
+is so sweet that it seems as if its sounds came laden with the scent
+of violets to his ear. Here sound is personified at first as merely
+breathing, then it takes on moral attributes and steals and gives.
+Pick out and explain other figures in the same way. Which of the
+characters use the most beautiful imagery? Are there any who use none
+at all?
+
+QUERIES FOR DISCUSSION
+
+Is there any special fitness in the imagery used to the character
+using it? Does the imagery used help you to form an opinion of the
+characters?
+
+
+VIII
+
+THE WIT OF THE PLAY
+
+What are the main causes of amusement in the play? The audience,
+notice, is not kept in the dark one instant about any of the
+characters. Thus one of the sources of amusement lies in the fact that
+while the audience occupies somewhat the attitude of omnipotence, it
+has the pleasure of observing the characters of the play living their
+lives in the purblind way usual to mortals. Lessing said that a comedy
+should make us laugh at vices, but the vices must be those of
+characters who have good qualities also. Does 'Twelfe Night' answer to
+this description? Analyze the causes why the fun of the play is funny.
+
+QUERIES FOR DISCUSSION
+
+Which of the characters cause amusement as the result of circumstances
+over which they have no control? How do each of these cause amusement
+unconsciously? Which of the characters cause amusement through a
+conscious intention of making fun?
+
+
+
+
+THE TEMPEST
+
+
+Until a few years ago no one had succeeded in finding the Play or
+Novel on which the European part of the plot of "The Tempest" was
+founded.
+
+An early German Play, "The Fair Sidea" had been brought forward on
+account of some resemblances to "The Tempest." Yet it is obviously not
+its source but rather an imitation or variant indirectly drawn from a
+similar foundation story.
+
+Edmund Dorer, a special student of Spanish Literature first called
+attention (Jan. 31, 1885,) to the story more closely resembling "The
+Tempest" than any other, as it occurs in a collection of tales by
+Antonio de Eslava, called _Las Noches de Invierno_, or "Winter
+Nights," published in Madrid in 1609.
+
+Like other such collections of stories, such as the Italian collection
+of Bandello, and the French of Belleforest, used by Shakespeare,
+Eslava's collection was translated, and, in default of the original
+from one of the later editions, as translated into German in 1683
+(_Noches de Invierno Winternachte aus dem Spanischen in die Deutsche
+sprach versetzet_) a summary of this story was given in English for
+the first time as a satisfactory source of "The Tempest" in the "First
+Folio Edition" of the Play (see pp. 85-93 and Introduction; also for
+an extract and summary of "The Fair Sidea," pp. 94-95).
+
+What may be called the American half of the plot evidently owes
+suggestions to pamphlet accounts of the storm and wreck and other
+experiences met with by Sir Thomas Gates, Sir George Sommers and
+others during their voyage of discovery to the Bermudas in 1610 (see
+pp. 92, 99, and Notes pp. 114, 125-127, etc., for extracts.)
+
+Gonzalo's speech, too, follows pretty closely a passage in Florio's
+Montaigue. (For this passage see Note on II. i. 153-160).
+
+
+ACT I
+
+THE SCHEMES OF PROSPERO.
+
+The first scene shows the storm in progress. Is there any clew given
+to the reader that it is a magic tempest? What is Prospero's main
+object in having the ship's crew and passengers cast upon his island?
+Is it to wreak vengeance on his enemies, to work the charm of love
+between Ferdinand and Miranda, or by means of that to reinstate
+himself? In what way would this love work to his advantage? Notice the
+natural way in which the reader is put in possession of the necessary
+information about the past of Prospero and Miranda. Warburton says of
+this that it is the finest example he knows of retrospective narration
+for the sake of informing the audience of the plot. How much of the
+plot is permitted to come out in this act? Why does Prospero so
+repeatedly urge Miranda's attention? Is she abstracted, is he, or is
+she already beginning to be drowsy? Why was Ferdinand the first to
+quit the ship? Since Prospero already knows, why does he ask Ariel
+what time it is?
+
+POINTS. 1. Explain the nautical terms. 'Master's whistle.' In
+Shakespeare's time naval commanders wore great whistles of gold. A
+modern boatswain's badge is a silver whistle suspended to the neck by
+a lanyard. Holt extols the excellence of Shakespeare's sea-terms, but
+makes an exception of Gonzalo's 'cable,' which he says is of no use
+unless the ship is at anchor, and here it is plainly sailing; to which
+Furness replies, Shakespeare anchors Gonzalo's hopes on the
+boatswain's 'gallows complexion,' and the cable of that anchor was the
+hangman's rope. 2. 'Washing of ten tides.' An allusion to the custom
+of hanging pirates at low-water mark. (See Notes I. i. 67 First Folio
+Edition). 3. Compare this storm with that in 'Pericles,'--'Do not
+assist the storm,' etc., with 'Per.' III. i. 51-60. 4. Explain 'To
+trash for over-topping,' I. ii. 98, which is a blending of two
+metaphors. Trash refers to the habit of hanging a weight round the
+neck of the fleetest of a pack of hounds, to keep him from getting
+ahead of the rest; and 'overtopping' to trees shooting up above the
+others in a grove, which have to be lopped to keep them even. 5. What
+does Prospero mean by saying, 'Now I arise'? Simply, now I get up, and
+now my fortunes change? 6. 'Still vex'd Bermoothes.' Bermudas, spelled
+in several ways in Shakespeare's time, and called 'still vex'd,' from
+accounts of tempests prevailing there. 7. 'Argier.' The name of
+Algiers till after the Restoration. 8. 'One thing she did.' What? Are
+we anywhere told what?
+
+QUERIES FOR DISCUSSION
+
+Does the long monologue of Prospero in this act detract from its
+dramatic force? Did the arrangement of Shakespeare's stage make this
+convenient. (See description of the threefold stage of the Globe
+Theatre in "Anthonie and Cleopatra," pp. 172-173). Is the monologue
+rightly disused in modern plays? Why? Compare Ibsen's plays in this
+respect.
+
+
+ACT II
+
+THE COUNTERPLOT
+
+Tell the story of Act II, showing how its main event is the conspiracy
+of Antonio and Sebastian against Alonzo and Gonzalo. Is the issue left
+undecided long, so that it threatens the result? How and why does
+Ariel prevent the success of it? Might it not have been to Prospero's
+advantage to have the King killed, since Ferdinand would then succeed
+to the throne of Naples? Did Ariel's intervention kill the plot? What
+light is thrown on the characters by scene i. of this act? Do you
+think it is intended to be shown that Gonzalo is prosy and tiresome,
+although good, or only that the lower and more frivolous characters
+find him so? Which is the likelier, that Shakespeare intended the
+dialogue about Gonzalo's ideal commonwealth to be a satire upon it, or
+favorable to Utopian schemes? Which comes out the better at last in
+the wit-combat,--the quick Antonio and Sebastian, or the thoughtful
+Gonzalo? Is Sebastian's solicitude about Claribel a sign of a kindlier
+nature than Antonio's? Are there any indications that Antonio's mind
+is more alert than Sebastian's? What purposes of the action or plot
+are served by the introduction of Claribel? Is the King's grief as
+great for the daughter as for the son? How does his paternal affection
+compare with Prospero's? Compare Antonio's speech, suggesting the
+murder to Sebastian, with similar speeches in Shakespeare (Macbeth's,
+King John's, Oliver's in 'As You Like It,' Claudius' in 'Hamlet'). In
+the second scene of this act, how far is a second counter-plot
+foreshadowed?
+
+POINTS. 1. The jokes of Act II: their explanation (_i.e._, 'dollar'
+and 'dolour,' the 'eye of green,' etc.). 2. When were watches first
+used in Europe? 3. Tell the story of Ęneas and Dido. 4. What myth is
+alluded to in 'his word is more than the miraculous harp'? 5.
+Gonzalo's Commonwealth--its origin from Montaigne. It is commonly
+supposed that Shakespeare must have borrowed this reference from the
+translation. He may have taken it directly from the French. 6. Show
+the bearing of Sebastian's phrase, 'I am standing water,' with its
+context. (That is, at the turn of the tide between ebb and full.) 7.
+'The man i' the moon,' and the folk-lore about it. 8. Natural history
+on the island. (_Poet-Lore_, April, 1894. Notes and News).
+
+QUERY FOR DISCUSSION
+
+Is it a defect in the action of the play that the danger arising from
+the most important counter-plot is allayed so soon?
+
+
+ACT III
+
+NEW PLOTS AGAINST PROSPERO
+
+What new turns are given events in Act III? Scene i continues
+Ferdinand's love-making, and shows no hinddrances there to Prospero's
+plans; but scene ii develops Caliban's plot, and scene iii shows
+Sebastian and Antonio making ready to carry out the purpose which had
+at first been defeated. Give an account of the scene in Act II which
+leads up to this plot in connection with its sequel in this act. Ariel
+is baffled in his attempts to breed contention between the
+conspirators by Trinculo's good nature, but finally he leads them off
+with his music. Scene iii represents Alonzo and his courtiers
+bewildered and tired by their fruitless tramps through the island, and
+in just the temper to be confused by the dumb-show and the harpies.
+Note the dependence placed, throughout 'The Tempest,' on the effect of
+'solemn and strange music.' Antonio's plot, being resumed, is blocked
+by Ariel's magic show and his accusation. Note how the supernatural
+quality of the scene makes his speech affect their consciences as if
+they were themselves accusing themselves, and how it drives them into
+mental disorder. Dr. Bucknill, a specialist in brain disease, who has
+commented on Shakespeare's knowledge of such maladies, explains that
+Alonzo's frenzy leads him by an imaginative melancholy to the idea of
+suicide, while the madness of Antonio and Sebastian expresses itself
+in the idea of desperate fight.
+
+POINTS. 1. What is a 'catch,' a 'tabor'? Give an account  of the music
+in the play, and show the fitness of its different effects on the
+different characters. 2. Explain the allusions, 'unicorns,' 'one tree,
+the Phoenix throne,' 'mountaineers,' with 'wallets of flesh,' etc. 3.
+What is a harpy? Give an account of the mention of harpies in Virgil
+(Ęneid, Book III), and 'Paradise Regained' (Book II). What
+appropriateness to the purpose in this 'quaint device'?
+
+QUERY FOR DISCUSSION
+
+Do the counter-plots introduced in this act mainly affect events or
+character?
+
+
+ACT IV
+
+THE CONFUSION OF THE PLOTTERS
+
+Show how the story of Act IV consists in the smoothing down of all
+that disturbs Prospero's designs, and foreshadows the complete
+reconciliation of the last act. The lovers, whose readiness to fall in
+with Prospero's plan has made his task light so far as they are
+concerned, could only imperil his and their future by a premature
+union; and Ferdinand, having stood the test of hard work, is now
+induced, by an awed and holy mood, produced by art, to keep his good
+resolutions. Describe the mask, and show its meaning and fitness for
+Prospero's purposes. Why is Prospero so disturbed at the reminder of
+so paltry a plot as that of Caliban and his associates? Is it likely
+that these drunken fellows could frame any plot that would be but as
+gossamer before his art? Is it natural that so low a creature as
+Caliban should show more intelligence than Stephano and Trinculo in
+disregarding Ariel's 'stale' set to catch them? How do you explain his
+superior caution? Describe the device employed by Prospero and Ariel
+to rout these plotters. Would it be effective on an English stage?
+
+POINTS. 1. Explanation of classical allusions. 'Hymen's lamps,'
+'Phoebus' steeds,' Ceres, Iris, Juno, etc.; 'dusky Dis,' 'Paphos,'
+etc. 2. The botany of Act IV. What is 'stover,' 'furze,' gorse? 3. Was
+Prospero's 'line' a lime-tree or a clothes-line? 4. Explanation of the
+jokes of the act. 5. Natural history on the island again: the 'blind
+mole,' 'barnacles,' 'apes,' 'pard,' etc.
+
+QUERY FOR DISCUSSION
+
+Why is the punishment devised for the lesser plotters corporal and for
+the greater ones psychical?
+
+
+ACT V
+
+PROSPERO'S TRIUMPH
+
+Sum up the results consummated by Prospero's magic. Note Gonzalo's
+account of the play, and show the ethical results, and Ariel's part in
+Prospero's course of reconciliation. Explain how, if Prospero had
+regained his dukedom, and yet, if 'all of us,' as Gonzalo says, had
+not _found ourselves_, the triumph would have been material, not
+ethical. Show how this effect is enhanced by the plan to awaken dismay
+and remorse in the minds of the evil-doers and how the climax in
+Prospero's triumph is reached by the victory wrought in his own mind
+when he determines to take part with his 'nobler reason 'gainst his
+fury' in order to restore his enemies to themselves. What indications
+are there in the play that Prospero was high-strung and spirited,--a
+revenge-loving Italian? Trace the effects of remorse on each of the
+ill-doers. Is there any reason to suppose that Antonio, Stephano, or
+Trinculo are repentant? Is it out of character for Caliban to be?
+
+POINTS. 1. The 'Faerie' of the play. Compare with that of 'Midsummer
+Night's Dream.' (See 'Fairy-lore of Midsummer Night's Dream,' _Poet
+Lore_, Vol. III, p. 177, April, 1891.) Victor Hugo notes the contrast
+as follows: '"Midsummer Night's Dream" depicts the action of the
+invisible world on man; "The Tempest" symbolizes the action of man on
+the invisible world.' (See also the 'Supernatural in Shakespeare's
+"Midsummer Night's Dream."' in _Poet Lore_, Vol. V, p. 490, October,
+1893; in Shakespeare's 'Tempest,' p. 557, November, 1893.)
+
+2. The duration of the play. Explain how it follows the 'unities'; and
+in this connection show the probable equality of 'three glasses' to
+three hours, and Shakespeare's mistake. (Shakespeare's use of nautical
+terms, approved by all seamen, seems to be here at fault in supposing
+a 'glass' equal to one, instead of to a half, hour.)
+
+3. The game of chess and its pertinence here: Because so wise a father
+would have taught his daughter so intellectual a game; because Queen
+Elizabeth was fond of it, and it was _par excellence_ a 'royal game';
+or because Naples was the source and center of the chess _furore_ at
+just this time?
+
+4. Where is the scene of the 'Tempest' laid? Is the island real or
+unreal? (The main conjectures for a known place are Hunter's that it
+was Lampedusa, and Elze's that it was Pantelaria. Both argue that each
+island was so situated in the Mediterranean, between Milan or its port
+and Algiers, whence the sailors landed Sycorax, as to suit the
+requirements. Elze further urges the name of a town on the opposite
+African coast, Calibia, as suggesting Caliban's name. For an argument
+that the island is vaguely placed in the Mediterranean to suit the Old
+World plot and yet by many details made suggestive of the New World,
+see Introduction to 'The Tempest' in First Folio Edition.)
+
+5. The influence of the New World on the writing of 'The Tempest,' and
+all allusions traceable to it. (See Notes of same edition for extracts
+from pamphlets on America, etc.)
+
+QUERIES FOR DISCUSSION
+
+What constitutes the interest in 'The Tempest,'--character, dramatic
+situations, movements, plot, poetry, or moral purpose?
+
+
+VI
+
+CHARACTER STUDIES
+
+I. PROSPERO AND HIS SERVANTS
+
+With the first word Shakespeare introduces Prospero as one who can
+raise and calm such a tempest as scene i describes, and the magician
+admits the power Miranda ascribes to him. Show from the story what his
+plans and motives were likely to prove. Would a sense of his own
+former neglect of duty be likely to embitter him against his brother
+or make him excuse him? Does he show signs of either? Prospero's
+magic, his garment, books, staff. How far is his magic in accord with
+the popular notions of such art? (See 'Prospero and Magic,' _Poet
+Lore_, Vol. III, p. 144, March, 1891.)
+
+Show Ariel's qualities. What caused his first impatience? Is Prospero
+unnecessarily harsh and imperious with him? Aside from the popular
+supposition that spirits or familiars obeying magicians were always
+reluctant to serve longer than one hour (and, therefore, says Scot's
+'Discovery of Witchcraft,' 'the magician must be careful to dismiss
+him'), how can you explain this quarrel,--as a dramatic expedient
+giving occasion for telling Ariel's story, or revealing the characters
+of both Prospero and Ariel? Note, also, its further use in introducing
+Prospero's second servant, Caliban, and his story. How do you explain
+Ariel's irrelevant rejoinder: 'Yes, Caliban, her son'; and Prospero's
+angry, 'Dull thing, I say so,' etc.? Do you think Moulton right in
+supposing that Prospero governs 'this incarnation of caprice by
+outcapricing him'; Rolfe, in supposing that Prospero is irritable
+because under the strain and suspense of conducting affairs within
+three hours perfectly, and upon which accuracy hangs his future and
+the happiness of his daughter? This was also his only chance of
+retrieving his own past error.
+
+Contrast Ariel with Caliban. Show the skill of Caliban's first
+appearance as some slow-moving thing, half of water, half of earth, in
+contrast with Ariel's second appearance as a nymph. What may be
+learned of Caliban's traits from Miranda's speech (as in the Folio,
+but by various editors given to Prospero): 'Abhorred slave,' etc.? Do
+you think this speech should be given to Prospero? What signs are
+there of Caliban's having a good mind? Do you think Prospero's tyranny
+over Caliban altogether justified? Is Caliban's penitence consistent
+with his nature? How far does Ariel proceed independently of Prospero?
+Is he really fond of him?
+
+QUERIES FOR DISCUSSION
+
+Is there any bond of love between Prospero and his servants? Do the
+relations between them illustrate the impossibility of gratitude?
+
+2. THE LOVERS
+
+Is the love of Ferdinand and Miranda an enchantment caused by
+Prospero, or an emotion he can help, but not cause? If not caused by
+him, does Shakespeare depart from magic to the detriment of the play?
+Would it be better, for example, if a love philter was introduced for
+consistency's sake? (For literary use of the love philter, see
+Tennyson's 'Lucretius.') Does it reflect against Ferdinand's courage
+that he was first to quit the ship? Are Miranda's speeches about her
+grandmother (I, ii, 140) and to Caliban inconsistent with the maidenly
+innocence assumed to be characteristic of her? Do you consider her
+talk with Ferdinand (III, i) in character? Is she undutiful to her
+father? Unmaidenly in her speedy declaration of love (III, i, 67, 89,
+94-106, 110)? Should she be represented as ignorant or innocent of the
+world, or as in love? Describe the characters and relations to each
+other of the lovers from all that is given about them. Compare with
+Florizel and Perdita in 'The Winter's Tale.'
+
+QUERIES FOR DISCUSSION
+
+Are Miranda and Ferdinand undeveloped characters whose relation to
+each other is more important to the play than they themselves are?
+
+3. THE MINOR CHARACTERS
+
+Which is the most important of the lesser characters and why? Is
+Gonzalo blamable at all under the circumstances for following the
+command to turn Prospero and Miranda adrift? Why is Gonzalo of better
+cheer than his companions? What do you think of his philosophy in
+itself and as an index to his character? Is his knowledge superior to
+that of his companions? Does he suspect the evil intent of Antonio and
+Sebastian? Show how his frankness and loyalty came out in Act III, and
+how his uprightness is rewarded in Act V. Do you think it significant
+that he closes the play? Francisco considered as the least important
+personage in the play: should his speech describing Ferdinand's
+swimming be given to Gonzalo? The sailors considered as examples of
+Shakespeare's skill in outline portraits. Are Stephano and Trinculo
+more highly developed types than Caliban? Would the play be better if
+they were left out?
+
+QUERIES FOR DISCUSSION
+
+Is Gonzalo more like Polonius in 'Hamlet' or Rent in 'Lear'?
+
+
+VII
+
+A STUDY OF ARTISTIC DESIGN
+
+THE SYMBOLISM OF 'THE TEMPEST'
+
+Did Shakespeare typify himself as Prospero? Prospero (says Montégut)
+alludes to his own age, and intimates that the time has come for
+retirement to private life. What indications can you find that
+Prospero images Shakespeare? If he is so interpreted, what parts may
+Ariel and Caliban be supposed to play? Is the history of the Enchanted
+Island and the transformation wrought a parallel with the history of
+the Stage and the transformation Shakespeare wrought? According to
+Montégut, Caliban stands for Marlowe, Ariel for the English Genius
+which Shakespeare frees from its barbaric prison. Dowden ('Mind and
+Art of Shakespeare') fancies Prospero as the great artist lacking at
+first in practical faculty, cast out therefore from practical worldly
+success; but bearing with him Art in her infancy, the child Miranda,
+finds at last an enchanted country where his arts can work their
+magic, subduing the grosser appetites and passions (Caliban), and
+commanding the offices of the imaginative genius of poetry (Ariel). He
+supposes Ferdinand to be Shakespeare's heir as a playwright
+(Fletcher). Lowell ('Among my Books') considers that the characters do
+not illustrate a class of persons, but belong to universal
+nature,--Imagination embodied in Prospero; Fancy in Ariel; brute
+understanding in Caliban, who, with his wits liquor-warmed, plots
+against his natural lord, the higher reason; Miranda, abstract
+Womanhood; Ferdinand, Youth, compelled to drudge till sacrifice of
+will and self win him the ideal in Miranda. Browning makes an
+incidentally interesting contribution to this subject by symbolizing
+in Caliban rudimentary theologizing man, in his poem 'Caliban.' (See
+_Poet Lore_, Vol. V, p. 562, November, 1893.)
+
+QUERIES FOR DISCUSSION
+
+Is 'The Tempest' an allegory? Is it in any sense an autobiographical
+play? Does its symbolism have much in common with that of modern
+symbolistic plays, such as Maeterlinck's 'Joyzelle,' for example? In
+what respects may it be said, do you think, as Maeterlinck himself has
+informed us, that 'Joyzelle' grew from 'The Tempest?'
+
+
+
+
+THE WINTER'S TALE
+
+CONSIDERED IN CONNECTION WITH GREENE'S 'PANDOSTO' AND THE 'ALKESTIS'
+OF EURIPIDES
+
+
+I
+
+SHAKESPEARE'S INDEBTEDNESS TO GREENE
+
+The story of 'Pandosto' falls into two distinct divisions; first, the
+story of Pandosto and Bellaria; second, the story of Dorastus and
+Fawnia. Compare each of these two stories with the two stories
+interwoven in the play, noting all the analogous passages and the use
+Shakespeare has made of them. (For Greene's 'Pandosto' or 'History of
+Dorastus and Fawnia' see 'Shakespeare's Library,' or pp. 118-125 and
+Notes in First Folio Edition.)
+
+QUERIES FOR DISCUSSION
+
+Do Shakespeare's borrowed and additional archaisms and his confusion
+of names and places show carelessness? Is his continuation of the
+story merely a playwright's device to join the two parts of the plot
+and make a good stage piece end happily? (As to Coast of Bohemia see
+_Poet Lore_, April, 1894), also in "First Folio Edition," pp. 176-177.
+
+
+II
+
+THE RESEMBLANCES TO THE 'ALKESTIS' OF EURIPIDES
+
+In Greene and in Shakespeare the King wishes the Queen's death because
+he is uncomfortable so long as she lives, and he prefers his comfort
+to aught else, taking it as his conjugal right and royal prerogative.
+(See ii. 3, 1 and 204.) The Queen, understanding this, says, "My life
+stands in the level of your dreams, which I'll lay down." To her she
+says, "can life be no commodity" when love, "the crown and comfort of
+her life," is gone. So Alkestis (see any translation of Euripides, in
+Bohn edition, literal prose translation, vol. i. p. 223) says she "was
+not willing to live bereft" of Admetos, therefore she did not spare
+herself to die for him, "though possessing the gifts of bloomy youth
+wherein" she "delighted." This point of correspondence may have
+occurred to Shakespeare and suggested his continuation of Greene's
+novel. Admetos' image of his wife, that he would have made by the
+cunning hands of artists, is possibly a prototype of the statue of the
+Queen in 'The Winter's Tale,' the piece "newly performed by that rare
+Italian master, Julio Romano." Compare also, Herakles' trial of
+Admetos with Paulina's trial of Leontes (v. i); and Herakles'
+restoration of the unknown Alkestis to her husband with Paulina's
+bringing the statue of the Queen to life.
+
+QUERIES FOR DISCUSSION
+
+Is Shakespeare's use of a striking incident from the 'Alkestis' too
+close not to have been suggested by it? Does it show his intention to
+portray in Hermione a new Alkestis?
+
+
+III
+
+SHAKESPEARE'S ORIGINALITY IN WORKING OVER HIS MATERIAL
+
+Note Shakespeare's departures from Greene and their significance. Do
+they serve two ends,--make the play more effective for stage
+representation, make the characters stronger? Does he make Leontes
+more attractive than Greene does in the first part of the play? Does
+he make him worse or better than Pandosto in the second part? What is
+the sole trace left in Shakespeare of the father's guilty passion for
+his daughter? Garinter, in Greene, dies without any cause. See
+Shakespeare's explanation of this, also his use of the news of
+Mamillius' death to strike shame to the king's heart. Greene makes the
+king relent as soon as he hears the oracle. Contrast Shakespeare's
+conduct of the scene at this point.
+
+Notice the difference in his treatment of the character of the
+cup-bearer. Does he make it his chief care to enhance the character of
+the Queen? Note the new characters introduced,--Paulina, Antigonus,
+Autolycus, the clown (in place of the wife in Greene). Conjecture any
+reason for his different names. The introduction of Autolycus makes
+the play more amusing on the stage, but is his part as well planned as
+Capnio's for leading up to the _dénouement_? Greene lets his mariners
+off alive after they set Fawnia afloat. Shakespeare wrecks his, and
+makes a bear eat Antigonus, to what end? What does Shakespeare gain by
+prolonging the life of Hermione?
+
+QUERY FOR DISCUSSION
+
+Does Shakespeare's remodelling of Greene's story show chiefly a higher
+ideal than Greene's of womanhood and of love?
+
+
+IV
+
+THE ALKESTIS STORIES IN LITERATURE
+
+The sacrifice of the Queen to ease her husband, and the final
+restoration, being the two main points of contact with Euripides'
+version of the story, compare with these the stories of Alkestis told
+by William Morris in 'The Earthly Paradise,'--'June'; 'The Love of
+Alcestis,' by Emma Lazarus, in 'Admetos,'--'Poems,' vol. i.; by Robert
+Browning in 'Balustion's Adventure;' by Longfellow in 'The Golden
+Legend.' See also articles in _Poet-lore_,--'The Alkestis of Euripides
+and of Browning,' July, 1890; 'Old and New Ideals of Womanhood'; 'The
+Iphigenia' and 'Alkestis Stories,' May, 1891; 'Longfellow's Golden
+Legend and its Analogues,' February, 1892. In comparing, note first
+general resemblances, then slighter points of resemblance and of
+difference.
+
+QUERIES FOR DISCUSSION
+
+Is development in literature of the ideal of womanhood away from
+self-sacrifice and toward self-development?
+
+Is woman's task for the future a reconciliation of them?
+
+
+
+V
+
+THE OUTCAST CHILD IN CULTURE-LORE AND FOLK-LORE
+
+A few of the outcast children in culture-lore are Krishna, Zeus,
+Paris, Oedipus, King Arthur, Claribel's child in the 'Faerie Queene'
+(canto xii.), etc. For the stories in folk-lore, see the English
+_Folk-lore Journal_. For the solar theory of the origin of this story,
+see Cox, 'Mythology of the Aryan Nations.'
+
+QUERIES FOR DISCUSSION
+
+Collier says that Shakespeare changed Greene's pretty description of
+turning Fawnia adrift in a boat because he had used much the same
+incident in "The Tempest." Does Shakespeare's new treatment of
+Greene's "pretty incident" add dramatic force and moral purpose to the
+play?
+
+
+VI
+
+CHARACTER STUDIES
+
+
+1. PAULINA; LEONTES; HERMIONE
+
+Note Paulina's likeness to Emilia in "Othello." Jealousy in
+Shakespeare: Resemblances in Leontes to Posthumus ("Cymbeline") and to
+Othello. "The jealousy of Leontes," says Dowden, "is not a detailed
+dramatic study like the love and jealousy of Othello. It is a gross
+madness, which mounts to the brain and turns his whole nature into
+unreasoning passion." Is Hermione more highly developed than others of
+Shakespeare's suspected wives,--Desdemona, Imogen? Likeness or
+superiority to Alkestis, Compare with Queen Katharine in 'Henry VIII.'
+Is she hard, having made her husband do penance for sixteen years?
+"Deep and even quick feeling never renders Hermione incapable of an
+admirable justice," writes Dowden, "nor deprives her of a true sense
+of pity for him who so gravely wrongs both her and himself."
+
+2. THE YOUNG LOVERS
+
+Notice the high and pure character of their love as shown in the facts
+that Florizel did not find it fitting to buy pedler's "knacks" for
+Perdita,--a trait not in Greene. Her independent and uncringing nature
+as shown in another little touch of Shakespeare (see IV. iv. 492-497).
+Compare these two lovers with Ferdinand and Miranda in "The Tempest."
+
+3. THE ORIGINALITY OF SHAKESPEARE'S AUTOLYCUS
+
+For suggestions see _Poet-lore_, April, 1891. ('Notes and News.')
+Compare the Hermes of the Homeric Hymn with the Autolycus and Sisyphos
+of mythology, also the folk-lore tales of the master-thief (Cox). To
+discuss the probable originality with Shakespeare of a conception
+which is one of the universal inheritances of the Aryan race is
+futile; the type existed, and Shakespeare's part was to make an
+individual of the type.
+
+QUERIES FOR DISCUSSION
+
+Is Leontes' jealousy too gross and unfounded to be likely?
+
+Is Hermione, not hard, but slow to be satisfied, because her love is
+noble?
+
+Is Mamillus not too precocious to be natural?
+
+
+VII
+
+A STUDY OF THE CONSTRUCTION OF THE PLOT
+
+Has Shakespeare welded the two parts of the story together in such a
+way as to unify the plot? Does Autolycus contribute anything to the
+development of the plot? How does it compare with "Julius Cęsar" or
+"Macbeth," for example, in the construction of the plot? Is the
+movement more rapid in the last half of the play or in the first? Note
+the expedient introduced by Shakespeare to bridge over the lapse of
+time between the first part and the last part; compare with other
+examples of the same sort in Shakespeare.
+
+QUERY FOR DISCUSSION
+
+Does the dramatic interest of 'The Winter's Tale' suffer because the
+plot is of less importance than the incidents and characters.
+
+
+VIII
+
+SHAKESPEARE'S WORKMANSHIP IN "THE WINTER'S TALE"
+
+The versification is that of Shakespeare's latest group of plays.
+Dowden says, "No five-measure lines are rhymed and run on lines, and
+double endings are numerous." Give examples of the construction of the
+lines from "Love's Labour's Lost" as an earlier play, "Merchant of
+Venice" as a riper play. It has been said that the difficulties of
+style in the play are accounted for by the endeavor of the author to
+reflect the changing moods of Leontes. Compare with Prospero's diction
+and construction in "The Tempest." Give examples of these.
+
+QUERIES FOR DISCUSSION
+
+Does the lawlessness of poetic workmanship in "The Winter's Tale,"
+together with the looseness of the dramatic construction, show a
+deterioration from the ripe power of Shakespeare's middle period, or
+that practised artistic mastery which is free from art by means of
+perfect art?
+
+
+IX
+
+PERDITA'S GARDEN
+
+The flower-imagery of "The Winter's Tale" compared with other
+flower-scenes in Shakespeare,--in "A Midsommer Nights Dreame" and
+"Hamlet." The classic and folk-lore allusions. The pastoral element in
+"As you Like It" and "Winter's Tale."
+
+QUERIES FOR DISCUSSION
+
+The rustic scenes have little bearing on the play; are they necessary
+to Shakespeare's art in order to throw a clear light on the character
+of his protagonists?
+
+
+X
+
+THE ETHICS OF "THE WINTER'S TALE"
+
+"The Winter's Tale" gives examples of meritorious actions losing their
+virtue with the progress of ideas; for example, the civic virtue,
+allegiance to the king, is what Leontes depends upon in his talk with
+Camillo, with Antigonus, and the other lords. Note Camillo's reason
+for not poisoning Polixenes to order,--that it is risky to kill a king
+even at command of a king. That such a reason would be considered
+small moral support to-day appears, for example, in the indignation or
+amusement expressed in the newspapers on the German Emperor's address
+to his army on the soldier's duty of obedience. In Shakespeare's day a
+king had taken matters in his own hands in the trial of his wife, much
+as Leontes did (see "Henry VIII".). The moral significance of
+Hermione's patience under accusation appears in the long reparation
+she requires. Paulina is made to speak for her during her seclusion.
+
+What are the "secret purposes" which Shakespeare makes her subserve?
+Observe that, if the fulfilment of the oracle and the restoration of
+the child were all Paulina anticipates, there would be no use in her
+remonstrances against a second marriage and in her goading the king to
+remorse.
+
+QUERIES FOR DISCUSSION
+
+Does Shakespeare's ideal of love and constancy, as revealed in 'The
+Winter's Tale,' imply that second marriages are offences against the
+first. Has the objection Paulina makes to his re-marriage such a cause
+or is it a necessity of the plot?
+
+Does the way of telling "The Winter's Tale" indicate the passing away
+of aristocratic and the formation of democratic ideals, and the
+dawning change in the _status_ both of woman and the commoner?
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE STUDY PROGRAMS; THE
+COMEDIES***
+
+
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+The Project Gutenberg eBook, Shakespeare Study Programs; The Comedies, by
+Charlotte Porter and Helen A. Clarke
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Shakespeare Study Programs; The Comedies
+
+Author: Charlotte Porter and Helen A. Clarke
+
+Release Date: January 15, 2005  [eBook #14699]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE STUDY PROGRAMS; THE
+COMEDIES***
+
+
+E-text prepared bu Ted Garvin, Keith M. Eckrich, and the Project Gutenberg
+Online Distributed Proofreading Team
+
+
+
+SHAKESPEARE STUDY PROGRAMS: THE COMEDIES
+
+by
+
+CHARLOTTE PORTER & HELEN A. CLARKE
+
+Authors of _The Tragedies_
+Editors of the _Pembroke Shakespeare_, the _First Folio Shakespeare_,
+_Poet Lore_, etc.
+
+Boston: Richard G. Badger
+Toronto: The Copp Clark Co., Limited
+The Gorham Press, Boston, U.S.A.
+
+
+
+
+
+
+
+[Illustration: ARTI et VERITATI]
+
+
+
+
+INTRODUCTORY NOTE
+
+
+The Shakespeare Study Programs appeared originally in _Poet Lore_.
+They have met with marked favor, and have been reprinted as the back
+numbers went out of print. The steady demand for these programs
+prompts the present issue in book-form. Several new programs have been
+added, and those reprinted have been revised.
+
+The references in this volume are to the "First Folio Edition" of
+Shakespeare, edited by Charlotte Porter.
+
+
+
+
+"Criticism is the endeavour to find, to know, to love, to recommend
+not only the best, but all the good that has been known and thought
+and written in the world. ... It shows how to grasp and how to
+enjoy;... it helps the ear to listen when the horns of England blow."
+
+--GEORGE SAINTSBURY, "History of Criticism."
+
+
+
+
+CONTENTS
+
+The Comedie of Errors
+
+The Two Gentlemen of Verona
+
+The Taming of the Shrew
+
+Love's Labour's Lost
+
+Much Adoe About Nothing
+
+A Midsommer Nights Dreame
+
+The Merchant of Venice
+
+The Merry Wives of Windsor
+
+As You Like It
+
+Twelfe Night
+
+The Tempest
+
+The Winter's Tale
+
+
+
+
+
+THE COMEDIE OF ERRORS
+
+
+In the Summer of 1594 a translation of a Latin Farce by the Roman
+Dramatist, Plautus, was made ready for publication in London. It may
+even have been published then, for, although the title page date is
+1595, then, as often now, the issue was made in advance of date.
+Circulation in MS., moreover, now unusual, was then common.
+
+This translation was registered, at any rate, for publication, June
+16, 1594, as "A Booke entitled Menaechmi, being a pleasant and fine
+conceited comedy taken out of the most wittie poet Plautus, chosen
+purposely from out the rest as being the least harmful and most
+delightful."
+
+Six months later, Shakespeare had made an English Farce out of this
+Latin one. He invented several new characters, arranged many new
+situations, and put a good deal more life-likeness in the relations of
+the characters, while yet it may be seen that, his new play, "The
+Comedie of Errors," was directly drawn from the old one by Plautus.
+
+The first record we have of Shakespeare as an actor before Queen
+Elizabeth relates to the performance in Christmas week of this same
+year of "twoe severall comedies." This record in the Accounts of the
+Treasurer who paid out the money for the Plays acted before the Queen,
+runs as follows:
+
+"To William Kempe, William Shakespeare, and Richard Burbage, servaunts
+to the Lord Chamberleyn upon the Councelles warrant dated at Whitehall
+xv. die. Marcij 1594 [1595], for twoe severall comedies or enterludes,
+shewed by them before her Majestie in Christmas tyme laste paste,
+viz., upon St. Stephen daye, [Dec. 26,] and Innocente's day, [Dec.
+28,] xiii^{li} vi^{s} viij^{d} and by way of her Majesties rewarde
+vi^{li} xiij^{s} iv^{d} in all xx^{li}."
+
+It is fair to infer that the "Comedie of Errors" was one of these two
+comedies, for on the evening of the 28th of December, 1594, there
+arose a sudden necessity to hire an entertainment to take the place at
+Gray's Inn, one of the great Law Schools of London, of a Play by the
+students which had gone to pieces. In lieu of this amateur play, for
+which a great stage had been built in their Hall, it is recorded that
+the great throng assembled were forced, first, to "content themselves
+with ordinary dancing and revelling, and when that was over, with a
+Comedy of Errors like to Plautus his Menoechmus, which was played by
+the players." That these "players" were public players is shown in the
+Gray's Inn account of these Christmas festivities by another reference
+to this "company of base and common fellows" who were "foisted" in "to
+make up our disorders with a play of Errors and Confusions."
+
+Since this substitution of the "players" Play for the Play by the
+young gentlemen students was unexpected, we can be sure it was not
+made for this occasion. It seems obvious that whatever comedy was
+specially designed by Shakespeare and his fellow actors for their
+Christmas performances before the Queen at Greenwich, would be apt to
+be chosen for a sudden repetition at Gray's Inn the same evening. And
+of course for such an institution of scholarly gentlemen as Gray's
+Inn, a farce based on Plautus would be likely to be thought
+appropriate.
+
+So Mrs. Charlotte Stopes argues, who brought into association these
+facts and dates. She brings out also, another curious incident or two
+concerning what we may take to be the earliest performances of "The
+Comedie of Errors." One is that the mother of the Earl of
+Southampton,--the young nobleman who was Shakespeare's patron and to
+whom the Poet dedicated "Venus and Adonis" and "Lucrece,"--was then
+acting officially for her late husband. Thus it fell to her care to
+make up his accounts as Treasurer of the Chamber, and she it was who
+wrote this particular notice of the acting of Shakespeare before Queen
+Elizabeth. Others acting as Treasurer did not find it worth their
+while to include the Actors' names in their accounts. This notice of
+hers is the first and last to mention names in this way. Her son,
+being a Gray's Inn man, would have been in a position to suggest the
+substitution of Shakespeare's Play and as a friend of Shakespeare's
+would desire to do so.
+
+The other incident of biographical interest is that the Gray's Inn
+students were much mortified by the uproar which caused the failure of
+the program of their chief of Revels called "The Prince of Purpoole,"
+and made it necessary for them to call in common players. The result
+of their desire "to recover their lost honor with some graver
+conceipt" was to give Jan. 3d, a learned Dialogue called "Divers Plots
+and Devices." Bacon aided largely in this stately affair. In its
+course six Councillors one after the other deliver speeches on
+enrollment of Knights and Chivalry, the glory of War, the study of
+Philosophy, etc. The scorn felt for Shakespeare's "Comedie" and the
+contrast with this rival specimen of academic dramatics is
+significant.
+
+Out of the comparatively simple plot of Plautus, Shakespeare developed
+an amusing complexity of situations. These appear upon studying the
+progress of the story, Act by Act, as follows:
+
+
+ACT I
+
+THE ARRIVAL OF CERTAIN STRANGERS IN EPHESUS
+
+What has the arrest of the "Marchant" Egean to do with the rest of the
+Story? How soon does any connection appear?
+
+The reference in scene ii, to the occurrence taking place in scene i,
+suggests a somewhat odd chance coincidence in the arrival from
+Syracuse on the same day of both of these strangers. By this casual
+reference the seemingly unrelated scenes are so innocently linked
+together that it rather blinds than opens the eyes of the audience to
+the deeper links of connection. It also acts at once as a warning to
+Antipholus, and explains why he also is not arrested under the same
+law from which Egean suffered.
+
+The merchant who gives Antipholus this warning does not appear to be
+at all an intimate friend. Yet he seems to have met the stranger upon
+his arrival. Is this accounted for? What office does the scene show
+that he bears toward him? How recent an institution is the Bank and
+Letter of Credit for travellers? Was the lack of such facilities long
+filled in the way here exemplified?
+
+Do these two men keep the appointment they made to meet at five
+o'clock? Why is it made? Does it serve any need of the Play?
+
+The reference to Ephesus as a town given over to sorcery and
+witchcraft assists in giving the impression that the time of the Play
+falls within the Christian era, when the ancient customs of the Pagan
+inhabitants gave the City a bad repute of this particular kind. Was it
+derived from Plautus? Note whether sorcery and witchcraft are included
+in his account of the discreditableness of Ephesus. What conclusions
+may be gathered as to Shakespeare's account of it from a comparison
+with the corresponding passage in Plautus (This extract is given in
+Note on I, ii, 102-107 in the "First Folio" Edition of Shakespeare's
+Play). Show how this statement is useful in throwing light upon the
+character of Antipholus as well as on events.
+
+The first complication in scene ii arises from mistaking Dromio of
+Ephesus for Dromio of Syracuse; but notice that this error is
+accounted for by the second source of the errors of the play--belief
+in witchcraft.
+
+QUERIES FOR DISCUSSION
+
+Is the audience as much in the dark over the first mystification as
+Antipholus is? Should it be? Is the play the better or worse for not
+being clear? If both Dromios are made to look exactly alike how can
+the audience know?
+
+
+ACT II
+
+ANTIPHOLUS THE STRANGER DINES AT HOME
+
+Notice how the last scene of the preceding Act is cleared up by the
+first scene of the present Act.
+
+Are the errors of Act II the results of those of Act I? The errors of
+Act I affect but a very few characters, but in Act II how many? A new
+source of complication is brought forward in this Act, also. Show what
+it is, and how it both adds to the interest of the Play as a story and
+to the confusion begun by the mistaken identity and the witchcraft
+elements of the Plot.
+
+The fooling dialogue of Scene ii gives the action pause. Is it
+therefore useless, or a dramatic mistake? The ease with which the
+right master and man fall into this talk after the earlier
+cross-purposes with the wrong man, seems to betray the fact that they
+do belong together. They are so readily familiar that the
+cross-purposes making up the plot seem to be no longer troublesome
+either to themselves or the audience. The interval of reassurance
+makes the return of strangeness more unaccountable. Antipholus is also
+now reassured about his gold, and the earlier cross-purpose seems only
+a jest.
+
+Why does the mention of Dromio's name (II, ii, 156) cause both master
+and man to exclaim? Why should it not have led them to guess the
+truth?
+
+Would this scene with Adriana and Luciana have been equally mystifying
+and skilful if the right master and man had not been together?
+
+QUERIES FOR DISCUSSION
+
+In the debate between the sisters upon patience in marriage is Adriana
+or Luciana the more justifiable? Has their argument anything to do
+with the plot? Is character interest or plot interest of the first
+importance, and how are they apportioned in this play?
+
+Is Adriana's argument that she is bound to share morally herself in
+the infidelity of her husband sophistical? Or has it a core of sound
+ethical value?
+
+
+ACT III
+
+ANTIPHOLUS THE NATIVE INVITES FRIENDS TO DINE WITH HIM
+
+How far are the errors of Act III new? From which element of the plot,
+mistaken identity, or the domestic difficulties of the native-born
+Antipholus do they arise?
+
+What effects are gained by bringing together in this Act the right
+pairs of master and man?
+
+The closed door between the two groups, one within the house, the
+other without, is the only barrier to such an exhibition of the double
+resemblances as would clear up all difficulties immediately. Is the
+humor of the situation the better for this slightness of the barrier,
+or is it rendered altogether too unlikely by it? Notice also the
+narrow escapes from meeting and being seen together which masters and
+men are constantly making and the skill of the stage movements so
+that, for example, while one pair of twins is in the house, the other
+pair is absolutely unable to come there, and make clear the main cause
+of the errors.
+
+What relation to the subordinate cause of the errors, i.e., the
+domestic difficulties of Antipholus the Native--has the new source of
+difficulty and bepuzzlement--the gold chain? Bring out the relation of
+the dialogue (III, i, 23-35), between Antipholus and the friends he
+invites, to the welcome they find and discuss later. The irony of his
+confidence in welcome, at least, which is precisely what is lacking,
+is peculiarly true to such disappointments in life. For the fun and
+naturalness gained by it, therefore, the carefully planned arrangement
+of the dialogue to lead up to it, does not seem to be artificial. What
+would have happened to the plot if the plan proposed to force the door
+with a crow-bar had been carried out? Since the dramatist was so
+daring as to cause it to be suggested, it was incumbent upon him at
+once to devise something to prevent it from being done. The way in
+which he has accomplished this through Balthazar, puts both Antipholus
+and his guest in an estimable light. Show its effect upon the present
+scene and upon both the character-interest and the scenes to come in
+which the Courtisan figures. What expense does Antipholus refer to
+(III, i, 169)?
+
+Is Luciana's advice so good that it accounts for the attraction she
+has for Antipholus the Stranger? Or do you think she is attractive in
+spite of it?
+
+Is the dialogue in this Act between the right master and man as good
+as that in Act II? Has it other excuse for being besides punning and
+fooling? Examine its value as compared with the other in introducing a
+new and amusing error, and educing puns that are suggested by this,
+and therefore not independent of the plot.
+
+This Act closes with two new incidents of use in the sequel: What are
+they?
+
+QUERIES FOR DISCUSSION
+
+Why has Shakespeare chosen to make Antipholus the Stranger abhor
+Adriana, and be attracted to her sister instead? What is the result
+for the plot? Is it a mistake that the promised match between Luciana
+and the Stranger is not consummated at the close of the play? Is the
+reference then made to it the best imaginable? How, if so, is it
+reconcilable with the more rapid matches at the close of other plays,
+e.g. Oliver and Celia in "As You Like It?"
+
+
+ACT IV
+
+COMPLICATIONS GROW
+
+The errors of the early Acts begin simply and proceed by begetting
+other errors and beginning, also, with but one of the twin masters and
+one of the twin men-servants proceed by involving every one in each of
+the two Antipholus groups. In this Act others outside the main groups
+are continually being interwoven in the net of complications. In which
+Act did these larger social complications arise, and how are they
+carried on in the present Act. Show how by means of these larger
+circles of complication, e.g., the arrests, the visits of the
+Courtisan to Adriana in the attempt to get back her ring, the
+conjurring scenes, etc., the confusion becomes extreme. And then show,
+also, how by the very means of these larger circles of complication
+the clearing up process is brought forward. To whom is the suggestion
+due that Antipholus the Native has gone mad? What fitness is there in
+that, especially in its being broached by a minor character? Trace the
+relation of the Goldsmith, his delays and his debts to the Plot. How
+does it come about effectively that in this Act the wrong master and
+man are together, the opposite of what has prevailed, earlier? Show
+how in the eagerness of Adriana to send the gold and the grief over
+what she jealously suspects to be the cause of it, a tragic situation
+is reached. In which scene is the most complex confusion reached.
+
+QUERIES FOR DISCUSSION
+
+Is the confusion of identity, the domestic discord or the bewitchment
+and supposed lunacy the most powerful factor in the plot of error.
+Which is the most comical and which the most tragic moment in this
+Act?
+
+
+ACT V
+
+SOLUTIONS MAKE ALL THE STRANGERS FEEL AT HOME
+
+The climax of bewilderment being reached in the evidence that the same
+man is both out of the Priory and in it, solutions follow. Trace the
+steps by which this is accomplished.
+
+Why is the attack upon Antipholus the Stranger assigned to the
+Merchant who is the Goldsmith's creditor instead of to the Goldsmith?
+Is it by chance or is there some reason for it? Why did not Antipholus
+explain that he had the chain through no option of his own? By means
+of the Merchant drawing his sword and detaining him, the scene with
+Adriana at the close of the preceding Act when his flight prevented
+her from having him bound as a mad man is carried on again, and refuge
+in the Priory forced upon him.
+
+Why does the Abbess blame Adriana first because she did not find fault
+with her husband and then because she did? Is her sudden harsh turn
+against her explicable not as personal inconsistency or womanly
+prejudice, but as due to a gleam of insight? What clew to the case
+does Adriana's meekness afford? Or else of the relationship of the
+Abbess to the twins? Why does she so peremptorily keep the man from
+his wife? Is not this conduct devised to mystify the audience rather
+than the characters?
+
+Notice that the Abbess is more of a surprise in her relation to the
+plot than the condemned Egean is. The Abbess episode balances at the
+close of the Play the Egean episode at the opening of the story. Trace
+the links of connection with the main action of each and their
+relation to each other, showing how they bind into an absolute unity a
+peculiarly symmetrical plot. Why do the two Dromios end the Play
+instead of the main characters?
+
+QUERIES FOR DISCUSSION
+
+Is this Play the better or worse farce for the serious domestic
+situation and the pathos of the long separation of the shipwrecked
+family?
+
+
+VI
+
+CHARACTER DEVELOPMENT
+
+In what sense can there be said to be a development of character in
+"The Comedie of Errors?" If no progress can be traced in the
+standpoint of any one character of the Play, save possibly in that of
+Adriana, is there yet not to be seen a gradual bringing forward of the
+traits inwardly differentiating the two pairs of twins, and stamping
+the personality of Adriana and Luciana and even in a slighter degree
+of the Goldsmith, the Creditor Merchant, Egean, and the Abbess?
+
+Show what you deem this to be in each character, and by what means the
+result in each is effected.
+
+Is Antipholus the Stranger of a gentler and more pious spirit than
+Antipholus the Native? What signs of this impression can you cite? Was
+Antipholus the Native popular in Ephesus? What calling had he
+followed? Why do we learn more of Antipholus the Stranger at once than
+of his brother? In what respects does this suit the plot and the
+circumstances?
+
+Which Dromio do you think the wittier? Is one more a house servant and
+less of a personal attendant and professional fool than the other?
+Why, do you think, is Antipholus the Stranger made to beat his man so
+often? Is his quick temper, or a sort of horse-play fun at the bottom
+of it? Or is the ancient custom as to body servants exemplified?
+
+Which Antipholus has been the more independently reared and is this
+signified in their characters? It has been supposed that Antipholus
+the Native married at the Duke's bidding for money and not for love.
+What reason does the Play give for this supposition? Is Adriana's
+jealousy a reason, or is he fonder of her than she realizes? Which of
+the Sisters do you like best, and why?
+
+Why would Antipholus the Native be better mated with one than the
+other? In what respects of character would Luciana be apt to attract
+Antipholus the Stranger more than Adriana would? Are there signs to
+show that Adriana and her husband are the more stalwart pair? Show how
+admirably the riper characters of the father and mother set off the
+qualities and relationships of the younger group.
+
+QUERIES FOR DISCUSSION
+
+The resemblances of the twins externally are counter-balanced by
+diversities that are internal, so that the possibilities of confusion
+may be said to be only skin deep. Does this add to the improbableness
+of the plot sufficiently to make it a questionable quality of the plot
+that the characters are so much differentiated, or does it serve
+rather to enrich the Play and make it far more interesting? Are there
+signs of character in Adriana and her husband going to show that they
+are destined to be happier in their relation to each other than ever
+before?
+
+
+VII
+
+SHAKESPEARE'S DEPARTURES FROM PLAUTUS
+
+The omissions and changes Shakespeare made from Plautus's plot are
+almost as important in lending his Play a new effect as the additions
+and entirely original inventions.
+
+Notice the entire omission of the borrowed cloak taken from his wife,
+Mulier, by Menaechmus and given to the Courtisan, Erotium; also, of
+the character of the parasite, Peniculus, by means of whom as a
+spiteful informer the wife is told of her husband's relations with
+Erotium and the dinner he proposes to take with her. Instead of
+Mulier's father, Senex, Shakespeare creates the noble Egean, the
+father of the Twins. Introducing his plot with the incident of his
+arrest, he closes it with the still more notable character of the
+mother whom he gives an important part to play in the happy solution
+of the difficulties and the re-union. The part of the Duke and the
+trade relations of the two cities, the city in Sicily as in Plautus,
+the other Ephesus, instead of Epidamnum, as in Plautus, are ingenious
+changes of an external sort. What is effected by them? The different
+treatment of the dinner incident which causes the husband to mean to
+dine at home, until he finds he cannot, when with others he invites
+the courtisan to dine with them at an Inn, lends a different color to
+the story. What do you think it effects as to character, amusingness,
+and unity with the plot of mistaken identity? The courtisan's open
+visit to the wife and direct effect upon the plot is in strong
+contrast to the intrigue of which the wife is informed by a third
+person. Bring this out, and show what the influence is.
+
+Compare the argument of Plautus (For this see "First Folio Edition" of
+"Comedie of Errors," p. 76) with the opening scene wherein Shakespeare
+causes Egean to tell the story out of which the Play grows. In what
+respects is this an improvement? (See Extract from Ten Brink, p. 183).
+
+What is accomplished by the addition of the twin servants?--the two
+Dromios? (for special assistance in a comparative appreciation of
+Shakespeare's farce and that of Plautus see Introduction also Sources
+in the "First Folio Edition" of this Play).
+
+QUERIES FOR DISCUSSION
+
+Is the complexity of Shakespeare's plot over that of Plautus a
+disadvantage? If not, how does this fact agree with the common saying
+that simplicity in Art is the highest Art?
+
+Are the farcical interest and the character interest carried on too
+far not to be seen to be inconsistent interests? Or is the secret of
+the Art of the Play the reconciliation and harmony of the farcical and
+the serious?
+
+
+
+
+THE TWO GENTLEMEN OF VERONA
+
+
+The unusual in this Comedy is due to its reflection of the ideals and
+manners of Chivalry in Love and Friendship as loyally professed by
+Valentine and Silvia and outraged by Protheus.
+
+The plot is extremely simple and is carried on by means of causing its
+main characters successively to dominate in their influence upon the
+action.
+
+
+ACT I
+
+VALENTINE VERSUS PROTHEUS AND JULIA
+
+Valentine's reasons for travel and those of Protheus for staying at
+home separate the two friends. Compare Valentine's preference of
+Honor, and that of Protheus for Love, with the opening of "Love's
+Labour's Lost" and "Much Adoe."
+
+Show how the rest of the action, after the separation of the friends
+to suit this double thesis of life, depends upon illustrating the
+effect of Protheus's love upon Julia's fortunes, and of Valentine's
+quest of honor upon the fortunes of Protheus. Notice how it happens
+that his own deception has a direct influence upon his father, so that
+his departure to join Valentine is as much due to his own lack of
+firmness in his desire to stay on Julia's account, as to Valentine's
+initiative in going.
+
+QUERIES FOR DISCUSSION
+
+Is Valentine's or Protheus's the more influential character upon the
+course of events thus far?
+
+
+ACT II
+
+VALENTINE AND SILVIA
+
+Tell the story of this Act.
+
+Explain the courtship scene with which this Act opens as illustrating
+the service of love in systems of Chivalry. (For hints on this see
+Introduction to the Play in "First Folio Edition" also Note on II, i,
+97).
+
+Contrast the earnestness of Valentine's nature in this devotion to
+Silvia with the fickleness of Protheus.
+
+The two servants, Speed and Launce, may be compared, their contrasts
+to each other shown, and their general resemblance to a similarly
+contrasted pair--the two Dromios in the "Comedie of Errors."
+
+QUERIES FOR DISCUSSION
+
+Is the love of Protheus for Silvia a reflex influence from Valentine's
+extreme enthusiasm?
+
+Why does Lucetta distrust Protheus?
+
+
+ACT III
+
+THE FALSE FRIEND
+
+What effect has the arrival of Protheus at the Milanese Court? How
+does the new-comer manage to dominate this Act? Point out the skill of
+Protheus in making his disclosure to the Duke seem to be reluctantly
+wrung from him against the friendship he feels for Valentine and only
+because of a sense of duty toward the Duke.
+
+What does this delicacy accomplish toward his own courtship of Silvia?
+If he had seemed eager to tell his friend's secrets would not the Duke
+distrust him and suspect some self-interest on his part? What did his
+mention of Thurio's suit do for himself?
+
+Compare the nature of the two friends' talk; how that of Protheus
+gives a better impression of himself than is true, that of Valentine,
+a worse. Show the consistency in wile of Protheus in his conduct
+toward the Duke, Thurio, Silvia, and Julia. Why does it succeed?
+Wherein is it likely to fail?
+
+QUERIES FOR DISCUSSION
+
+Is Protheus impossibly false as a character? Or is his duplicity an
+exemplification of the facility toward evil of this kind that is
+natural to an extremely impressionable nature which lacks stability?
+
+In what does Valentine's superiority consist? Are the maxims for the
+treatment of women which he gives the Duke due to artificial system
+learned from others or a part of his own experience?
+
+
+ACT IV
+
+SILVIA AND JULIA
+
+Tell the story of the Act. All the main characters and one new one
+have their parts in the next steps in the plot? What are those parts?
+
+Valentine's fate and its result.
+
+Silvia's determination and its effect. Notice how her call upon
+Eglamoure for knightly service brings the action into the province of
+Chivalry again.
+
+Julia's office in the schemes of Protheus.
+
+Is this Act dominated in its drift by the two women? How do they put
+their impress upon events?
+
+Show how the villain Protheus is instrumental in bringing these two
+women together, and how this is equivalent to uniting against his evil
+policy, the good forces of the Play. The loyalty of Silvia to Julia
+considered as offsetting the falsity of Protheus to Valentine.
+
+QUERIES FOR DISCUSSION
+
+Is the most actively beneficial episode in this Act also the most
+charming.
+
+
+ACT V
+
+VALENTINE, SILVIA AND JULIA VERSUS PROTHEUS
+
+What are the results of Silvia's flight?
+
+Why does outlawry bring out the superiority of Valentine?
+
+Does it serve also to bring out the inferiority of Protheus?
+
+How does outlawry serve to defeat the purposes of the Duke and Thurio
+and bring about the conquest over them of Valentine?
+
+How does Thurio's nature inure to the credit of Valentine's with the
+Duke?
+
+Does outlawry here represent the injustices of civic life? To what
+degree? Or the natural life beneficent and innocent of Arden Forest in
+"As You Like It?" To what degree is this true?
+
+QUERIES FOR DISCUSSION
+
+Why did Julia swoon? Was the repentance of Protheus genuine?--and
+natural? What does Valentine mean by his forgiveness of Protheus and
+his proof of it--"All that was mine, in Silvia, I give thee?" could he
+give her, personally, against her will, in Chivalry? Or in true love?
+How could he mean anything then, but proving by this entrusting of her
+to his friend his belief in his loyalty and purity?
+
+Why is Silvia silent? (See Introduction to the Play in "First Folio
+Edition," also Selected Criticism and Notes on V, iv, 91, for hints on
+these latter queries).
+
+
+
+
+THE TAMING OF THE SHREW
+
+
+A Play or mask within the Play is not uncommon in Shakespeare. A Play
+outside the Play especially distinguishes the arrangement of this
+Comedy.
+
+Perhaps it serves to indicate that the theme of the taming of a wife
+is crude and primitive folk-farce, particularly suited to the taste of
+the drunken tinker before whom it is played.
+
+Shakespeare's handling of the tinker's subject, however, like other
+rude and homely matters taken up by an acute mind is such as to fasten
+deeper attention and to overgo a tinker's appreciation.
+
+
+I
+
+THE PLAY OUTSIDE THE PLAY
+
+The effect of the Induction in dramatic presentation is not easy to
+estimate. Since there is no direct connection between it and the Play
+itself what do you see that it could be made to do for the action? Is
+it like a frame for a picture adapted to give the theme remoteness? Is
+this appropriate? Is it otherwise a mere cause for confusion? Or is it
+intended to add one more thread of amusement? Why does Shakespeare in
+"The Shrew" drop the tinker interregnum dialogue recurring regularly
+in "A Shrew?" May Shakespeare, therefore, be cited as finding only a
+limited use for "the Play outside the Play," deeming it in the way
+later? How has he arranged for its gradual disappearance from
+attention? Is there a stage reason alone enough to account for it?
+(See suggestions in Notes on I, i, 266, and IV, iii, i, "First Folio
+Edition"). Compare the Tinker scenes in the version of 1594. (For
+these see Extracts in Sources, pp. 105-110, in "First Folio Edition").
+Do the Slie of "A Shrew" and Christophero Sly of "The Shrew" differ as
+characters? As to their opinion of the Play: Are their between-the-act
+dialogues materially different?
+
+What is the relation to the source and what has been altered from the
+old tale.
+
+The local Warwickshire touches in the Induction and their explanation.
+(For these see "Story of the Induction" in the Play).
+
+QUERIES FOR DISCUSSION
+
+Ought the Induction play to be left out? How might it be made more
+effective by special treatment on the stage? Should the additional
+scenes be interpolated as was the stage custom, or should
+Shakespeare's diminishing notice of them be adopted to produce the
+most artistic effect?
+
+
+II
+
+THE DOUBLE PLOT OF THE MAIN PLAY
+
+In "A Shrew" and "The Shrew": Show how the story, with respect to the
+Taming scenes, is the same substantially, with comparatively minor
+differences, except for the characterization. But with respect to the
+Bianca scenes it has been expanded and altered. This suggests, most
+naturally, that the part Shakespeare did not write or answer for in "A
+Shrew" was merely the Bianca scenes, and that his task in "The Shrew"
+was to cut out and rewrite the scenes that were not his so as to be
+unhampered with the disharmony of the two parts of the plot as it
+appears in the Quarto of 1594.
+
+The story of the Play as it now stands consists of an interweaving of
+the Taming story and the story of Bianca's Courtship in such a way
+that while they keep their separateness of necessity, they balance
+better in interest and are more continually brought to bear upon each
+other from time to time. What are their points of contact in each Act?
+The sisters with relation to their father and their suitors in Act I:
+How does this initiate the action?
+
+With relation to each other and the Music Master in Act II: How does
+this separate the action into two lines of Courtship.
+
+After Katherine's marriage in Act III the interest divides between the
+Taming of Katherine and the Courtship of Bianca.
+
+In Act IV two or three points of contact are arranged by means of the
+journey and what two characters?
+
+In Act V how is contact both objective and moral obtained?
+
+Alternative interest in the Bianca Courtship after Kate's marriage and
+taming is attained by the elaborate scheme to make Lucentio the most
+successful suitor and the droll surprises and difficulties met with in
+the process.
+
+QUERIES FOR DISCUSSION
+
+Is the lack of unity in the Play sufficiently remedied by enriching
+the Bianca counterplot and arranging for alternate interest first in
+the plot and then in the counterplot, or is the original difficulty
+irremediable?
+
+In which story is plot or else character the supreme interest?
+
+Is the Bianca story or the Katherine story the more entertaining? Why?
+
+
+III
+
+BIANCA AND HER SUITORS
+
+Lucentio's errand in Padua, his breeding and relations to his servant
+qualify him as quite the conventional hero of a romantic love-story.
+How does he compare with the young noblemen of "Love's Labour's Lost?"
+What part of the study of Philosophy does he specially desire to take
+up and how does his temper toward learning fall in with theirs?
+
+What light does Bianca on her appearance throw upon herself? Through
+the testimony of her sister and her father and the two suitors what
+else is to be gathered?
+
+Her effect upon Lucentio: The parallelism with "A Midsommer Nights
+Dreame" (I, i, 156, and see p. 134 in the First Folio Edition of "The
+Shrew") not appearing in "A Shrew," considered as indicative of the
+favorite method of Shakespearian lovers in falling in love at first
+sight.
+
+Katherine's effect upon Tranio, lost upon Lucentio, in his daze over
+Bianca, leads to what plan of action? How does the part Hortensio and
+Gremio play in this reinforce the plot, and combine them all to
+instigate Petruchio to woo Katherine? How does the contest for the
+best sale of Bianca when Katherine is out of the way lead to a new
+plot? The money-contest of the suitors, judged by the father is
+supplemented by the mock teaching-contest of the lovers of which
+Bianca herself is the judge. Show how this constitutes the second step
+in the action and what complications and simplifications it prepares.
+Lucentio's studies in the hedonistic Philosophy he professes and its
+victory over Music and Hortensio.
+
+What is Bianca's contribution to the gossip excited by Katherine's
+wedding, and what impression does Act III give you altogether of
+Bianca's character? Is the bad report of it in Act IV, made by
+Hortensio, as the Musician, Lisio, with Tranio, quite fair to her?
+
+The abusive opinion and jealousy of Hortensio assisted by the supposed
+Lucentio narrow down the uncertainties of the courtship so as to
+concentrate interest on the new scheme of the supposed father. How is
+this worked out? Explain the conflict with the arrival of the true
+father, and the amusing counter-play.
+
+QUERIES FOR DISCUSSION
+
+Why does Lucentio's suit excel that of any other in interest?
+
+Is Bianca wrong in acting independently of her father?
+
+
+IV
+
+THE SHREW AND HER TAMER
+
+Does the Shrew justify her reputation on her first appearance? What is
+said of her compared with what she does then and in Act II? Why is
+Petruchio's first approach with a combat of wit and a great bluff of
+compliment effective? Is Kate really impressed by it, or only fearful
+that she is being fooled? How do you account for her denial of him and
+his suit to her father in Act II and her mortification when he does
+not arrive till late in Act III? Does Petruchio's speech to the others
+and before them (II, i, 328-350) account for the change? His arrival
+at the wedding in such shabby attire and with so wretched an
+appearance as to retinue, with his sorry horse and man-servant
+contrasts strongly with the promises held out in this speech. What is
+the effect on Kate and why does it serve his purpose?
+
+Is Kate's entreaty to stay, or her action in showing her bridegroom
+the door the climax of the wedding scene? What is the point in the
+stage business of Petruchio's speech warning others not to touch his
+chattel? Is she really being befriended by the bystanders when she
+declares they must go "forward to the bridall dinner" or is she so
+entirely alone in her opposition to Petruchio's command to go, that
+his speech is the keenest satire upon her defencelessness in every
+direction but through him?
+
+Is Petruchio's conduct at home and the servants' comment upon it such
+as to make Kate's two entreaties explicable?
+
+What light does Petruchio's own account (IV, i, 183-207) of his method
+throw upon it?
+
+In the eating and haberdasher scene (IV, iii) what is it Kate
+learns--merely that she cannot command by force and can have what she
+wants by another method? What is the secret of her tractableness in
+Scene v?
+
+QUERIES FOR DISCUSSION
+
+Are Katherine and Petruchio the most interesting characters in the
+Play? Why?
+
+Is their prominence due to their personal attractiveness or to the
+Dramatist's skill?
+
+
+V
+
+THE TRIPLE MARRIAGE AND THE MORAL
+
+Why should the Play not end with Act IV?
+
+What does Act V add?
+
+Is the quality of the table-talk in keeping with the plot and
+characters?
+
+The husbands' talk and wager turns on what point, obedience to the
+husband, or agreement of husband and wife as mutually to their
+interest?
+
+Show the drift of Kate's expression of the moral of the Play, and
+state your own way of looking at it.
+
+QUERIES FOR DISCUSSION
+
+Did Petruchio and Kate give an impromptu performance of conjugal
+felicity, or one decided upon beforehand?
+
+Was Kate quick-witted enough to guess there was money in it, or was
+she really, once of a different mind and reformed.
+
+
+VI
+
+THE FOLK ORIGIN OF THE TAMING
+
+Trace the antiquity of this schooling of a wife, and the resemblances
+and contrasts in the chief variants of the story (for help in this see
+Sources in "First Folio Edition").
+
+Is there any progress to be discerned in the degree of bodily force
+deemed expedient?
+
+Is any such scheme of the marriage-relation compatible with advanced
+civilization, or is it peculiar to crude notions of life in a taming
+age?
+
+QUERIES FOR DISCUSSION
+
+Is the folk-legend indicative of an inherent relation in marriage of
+the male and female natures, or is it merely an expression of
+established custom and legalized institution upon gaining for each the
+aims and line of conduct desired? If so, is the result of the process
+to gain a ground of mutual compromise and accommodation and a division
+of labor in joint life which will enable the process itself to fall
+into disuse.
+
+Is coercion of others consistent with a high grade of individuality?
+
+Did Petruchio play the Tamer in a "Pickwickian sense" and the whole
+thing being a bit of acting, did Kate see through it, finally, and
+play her part too?
+
+The use of finesse in the Play (see Introduction to the Play "First
+Folio Edition").
+
+Does Shakespeare's way of handling the characters and the process of
+taming materially differ from the way prevailing both in the crude
+folk tales and in "A Shrew?"
+
+Does he suggest that in both Petruchio's and Kate's case they are
+merely bent upon their own individual emotions until closer relation
+makes them join forces?
+
+What is the modern bearing of Shakespeare's way of putting the story?
+
+Partnership and co-operation _versus_ autocratic rule: Are the
+administrative advantages of the latter consonant with the good will
+and continual psychical development furthered by the former?
+
+Does the intellectual advantage rest with the user of force or with
+the mind that accommodates itself to force by gaining its ends by
+stratagem and other indirect policies?
+
+Is coercion as wise as persuasion which has no such penalties to pay?
+
+
+
+
+LOVE'S LABOUR'S LOST
+
+
+Shakespeare makes us laugh in "Love's Labour's Lost" at the futility
+of the attempt of ascetic and academic men to shut out love and women
+from their schemes of life and study.
+
+His early work in putting the past history of England into dramatic
+form may possibly have suggested to him to put more recent history on
+the stage by means of this Comedy. Light as it is, the point of it is
+to satirize the monastic and exclusive element in current educational
+schemes. Fictitious as the story is, it touches upon names and
+incidents belonging to actual history. So familiar were these actual
+happenings of the day to his audience that it could especially enjoy
+these veiled allusions to them.
+
+The main idea of the plot of the Comedy--the "Academe," was one that
+had a bearing upon various similarly named educational projects of
+that time in England.
+
+One such scheme was drawn up about 1570, by Sir Humphrey Gilbert, Sir
+Walter Raleigh's half-brother, for the "education of her Majeste's
+Wardes and others the youths of nobility and gentlemen." This plan
+was, like Shakespeare's arranged for a "three yeeres terme" (I, i, 20)
+and at the end of "every three years" some book was to be published
+which would represent the fruit of the Academy's study during that
+period. Merely the title of this scheme--"Queen Elizabethes Achademy"
+may have suggested Shakespeare's "Achademe" (I, i, 17). Of course,
+however, both Gilbert's and Shakespeare's adoption of the name are
+examples of the appropriation by educational groups of the classic
+academes of the Philosophers of Athens and their student followers.
+Another educational plan "for the bringing up in vertue and learning
+of the Queenes Majestis Wardes," was devised by Sir Nicholas Bacon, in
+1561. Later, in the reign of James I, the establishment of the
+"Academe Royal" by Bolton, is an example of the early vogue of the
+name, which has since become familiar everywhere, for educational and
+learned institutions.
+
+A less important element in the formation of the plot is the allusion
+to current French politics which the situation of the characters of
+the Play suggests.
+
+A King of Navarre and a Princess of France conferring in treaty over a
+disputed province and a claim of allowance for services rendered is an
+incident constituting a reference to a state of things in France then
+closely concerning England. The succession to the throne of France of
+Henry of Navarre, the champion of the Huguenots of France, was long
+contested. England was friendly to Navarre, the object of her foreign
+policy being to counterpoise the power of Spain and the Catholics of
+France, with whom Queen Elizabeth's most formidable rival, Mary
+Stuart, was allied in interest.
+
+No king of Navarre was ever named Ferdinand. Yet by making an entirely
+fictitious hero a king of Navarre and the suitor of a princess of
+France, the relationship of Henry of Navarre to dominance in France
+was suggested in an unobjectionable and amusing way. And the death of
+the King of France introduced at the close of the Play, involving the
+prospect as a probability that the hero might then succeed to the
+throne of France, could scarcely fail to remind Shakespeare's audience
+of the actual struggle of the King of Navarre for the French crown,
+and also of the fact that on the death of the French King in August,
+1589, Navarre then became heir presumptive, and after the battle of
+Ivry in 1590 Spain delayed but could not long obstruct his complete
+success.
+
+In 1593 the most important cities of the Kingdom yielded him
+allegiance and in the Spring of 1594 Paris herself opened her gates to
+him. These dates 1589-1594 indicate the time, also, when "Love's
+Labour's Lost" is likely to have been timely in these references, and
+yield a clew to its date of composition.
+
+The effect of these allusions to French political affairs, made more
+piquant by the downfall of Spain in her political opposition both to
+England and the party of Henry of Navarre, was intensified in
+Shakespeare's Play by the names given to Navarre's lords. _Berowne_,
+as the name appears in the Folio, is an English spelling of the French
+name _Biron_, to which it is changed in modernized editions of
+Shakespeare. _Longavill_ is an English equivalent of _Longueville_,
+and _Dumaine_ or _Dumane_ of De Mayenne, names which also are changed
+in the modernized editions, although not consistently. All these names
+are associated with Navarre's struggles in France. The Marechal de
+Biron and the Duc de Longueville fought prominently on Navarre's side.
+The Duc de Mayenne, brother of Henry of Guise, fought on the opposite
+side. The Duc d'Alencon long a suitor for the hand of Queen Elizabeth,
+is mentioned as the father of Rosaline.
+
+Another veiled reference to a Russian suitor of the Queen's seems to
+be made in the incident introduced in the last Act. This scene of the
+wooing of the King and his lords when disguised as Russians makes fun,
+perhaps, of an actual embassy of Russians to the Court of Elizabeth,
+in 1583, when the Queen had arranged to put upon Lady Mary Hastings
+the suit which the Czar Ivan had originally hoped to proffer to the
+Queen herself. (For information upon these and other incidents of the
+period that may be used in the plot see Sources, pp. 106-116 also
+Notes in the "First Folio Edition" of this Play).
+
+
+ACT I
+
+THE VOW AND ITS FIRST ANTAGONISTS
+
+The theme of the Comedy--the exclusion of love for the sake of winning
+fame for learning, is made clear by the first speaker. The opposition
+Love will make to this is next expressed through another speaker, and
+then embodied in a practical example. Bring out the argument, in full,
+on both sides, as expressed by the King and his lords, on the one
+side, and by one lord who is less subservient on the other side. What
+does Berowne object to in the King's idea about study and fame? He
+says, practically, that fame is a mere expression of opinion, and that
+as anybody can give anyone the name of being learned or the name of
+being anything, fame may be given by those who have very little notion
+of any real knowledge. Superficial knowledge is knowledge of names but
+real knowledge is that which names mean. In a word, we but dull our
+minds and blind our eyes in poring over the outsides of things, unless
+we study to understand life and act a beneficent part in it.
+
+As children we are rightly put to task work in order to get the means
+to go on independently using life and all the products of life
+including books, in order to minister toward independent thought and
+life. But to start in with rules and restrictions when we are older
+and life itself is opening before us, is like climbing over a house to
+unlock the gate before it. Their artificial arrangements are not
+fitted to meet actual experience. Actual experience is bound to laugh
+at their exclusion of life. How does the message brought by Costard
+and Clowne bear on the argument? The fooling seems to be the dominant
+interest in Scene ii. Is it, nevertheless, only the vehicle by which
+the theme is developed? Show how also not alone by the confession
+Armado makes but also by the words in which he expressed it, the theme
+of the conflict of Love against the vow foreswearing it is made clear.
+Notice, too, that the symptom, so to speak, of the labour of Love or
+Cupid as opposed to the Herculean labor of "warre against your owne
+affections" is at once made evident in Armando. This symptom is the
+desire to write a Sonnet. In what way, then, does it appear from the
+Story of Act I, that witness will be borne to the success of love's
+labor over the vow of the _Achademe_?
+
+Does the sprightliness of the second scene obscure the scheme of the
+play advantageously or disadvantageously?
+
+
+ACT II
+
+THE EMBASSY _versus_ THE VOW
+
+How is it made apparent that the effect of the Embassy of France to
+Navarre will be on the side of Love against the Vow? The ladies'
+remarks upon the students of the _Achademe_ throw light upon
+themselves and the drift of the story as well as upon their subjects.
+Show what may be gathered from their speeches? What does the Princess
+gather from them?
+
+The King does not invite the Princess to his Court, and declares he
+will not violate his vow. Nevertheless he does do so. In what respect?
+Boyet's observation of him goes still farther. What is this? And how
+does it seem to be justified? Is Boyet's conclusion that "Navar is
+affected," more a means of telling the Audience what is about to
+happen, than comment on what is to be seen? Or is it of use to show
+the Actor of the King's part how he must bear himself? How does it fit
+with the name and scheme of the Play that Boyet who thinks the King
+has already fallen in love should be called Cupid's grandfather?
+
+QUERIES FOR DISCUSSION
+
+Why does the Princess discount Boyet's remarks and accuse him of
+joking? Does she give any clew to her own feelings?
+
+
+ACT III
+
+THE CLOWN AS A LETTER-CARRIER
+
+Why is it in keeping with the Play that Berowne should be the first of
+the Lords to be foresworn?
+
+In making Armado the keeper of Costard, the Clown's breaking of the
+vow has already been satirized by the King's own act. Armado now takes
+his next turn at making Costard's sentence a hollow mockery by sending
+him as a messenger to Jacquenetta. How is this first letter-carrying
+made to lead to a second, doubling the mockery and promising new
+confusions?
+
+Has Moth anything to do with the scheme of the Play?
+
+Who is the "Boy" of whom Berowne speaks repeatedly in his speech
+concluding this Act? What is the bearing of the reference to him upon
+the Play?
+
+How is the joke of the rhyme in which the Boy got the better of his
+Master by selling him the "Goose" to be explained? It is commonly
+supposed that the interpolation from the Quarto, i.e., the lines put
+between brackets in the "First Folio Edition" (p. 31) are necessary.
+It is better however, to leave them out, as they are left out in the
+Folio text, if it is understood that the Boy Moth, repeats ll. 91-92,
+after Armado has said them. Then Armado begins the "lenvoy" with the
+intention that the Boy will also repeat that and that being the end,
+turn the laugh on himself by calling himself the Goose. But the Boy is
+too clever. He says it ends where it should. Costard declares the Boy
+has sold him, and both laugh to the bewilderment of Armado. If the
+Page added the "lenvoy" as the Quarto puts it the joke would already
+have been turned against him. The explanation has to be very elaborate
+and the poor little joke is too thin to stand it, if both texts be
+followed. It is easy to see that the repetition by the Page of ll. 91
+and 92, on the stage, confused the hearer who set it down for the
+publisher of the Quarto, and also that the repetition would be a part
+of the stage business and the lines might not appear twice therefore
+in the MS. of the Play itself. The question growing out of this
+is--Ought not the bracketed part of the text to be left out?
+
+QUERIES FOR DISCUSSION
+
+Why does Berowne say that he loves "the worst of all" (III, i, 193)?
+Is this true? Does he think it true? Does it refer to her looks, or
+her disposition, or her brain? Is it said of her because she is the
+cleverest, and does Berowne really share the common prejudice of the
+male against a superior woman or only pretend to?
+
+
+ACT IV
+
+BEROWNE HEARS SOME SONNETS AND THE KING RECEIVES A LETTER
+
+Does the Princess guess the truth of the matter when Costard delivers
+the wrong letter for Rosaline?
+
+What relation has the second scene of Act IV to the Play? Of what use
+to the preceding action, and to the present? Of what use are all these
+new characters to the Plot? One has been before heard from, but is he
+of the most or least use here? Are they of use to the story in any
+other way, later? In what respects do their tricks of speech and
+affectation of learning suit the aim of the Comedy? Show how the
+Sonnet-writing is made the means of unmasking the lovers to each other
+and all of them to Berowne. Are the sonnets suited to the characters
+of the writers? Contrast the King's and Berowne's in this respect.
+Does the King suspect Berowne before Jaquenetta brings her letter? Why
+does Jaquenetta say it was treason? Would Berowne have confessed if he
+were not forced to? After having so unmercifully followed the example
+of the others in condemning them for doing what each was equally
+involved in, the climax of forced confession from him is more amusing
+than if any one of them had unmasked him, as Longaville did Dumain,
+the King Longaville, and Berowne the King. What special fitness was
+there in making Dumane find out that the torn letter was in Berowne's
+hand and bore his signature?
+
+QUERIES FOR DISCUSSION
+
+Is Berowne's speech to "salve" their "perjury" (IV, iii, 309-383) the
+moral of the piece? If so why should not the Play end here? How does
+Berowne's final speech in this Act foreshadow the conclusion of the
+Play?
+
+
+ACT V
+
+SPORT IS BY SPORT OVERTHROWN
+
+What were the main events of the last Act and of this one, and how do
+they bear upon one another? Why is the revenge planned by the Princess
+both fair and prudent? Are the men more in earnest than they seem? Do
+the women seem less in earnest than they are? Which man first draws a
+lesson from being outwitted, and how is it justified? Show how this
+lesson suits the trend of the Play, and advances upon the outcome of
+the preceding Act. To whom is Berowne's line (V, ii, 477)--"Speake for
+yourselves, my wit is at an end"--addressed? How is the King brought
+to confusion? Is the Princess too hard upon him? Why does Berowne
+scoff so fiercely at Boyet?
+
+Is the presentation of the Nine Worthies too absurd in itself to mix
+well with the courtliness, learning, and elaborate wit of the rest of
+the Play? Note Berowne's defence of it (V, ii, 569-571) and his rebuke
+to the King for despising it? The Princess's defence of it and its
+correspondence with that of Theseus for the show of the "base
+mechanicals" in the "Midsommer Nights Dreame." How does Berowne's
+humility in accepting the parallel with their own wit-overthrown mask
+agree with his boisterous jeering at the mask of the Nine Worthies
+later? How does the attitude of the ladies toward it compare with that
+of the men and what comment upon it does it constitute in your
+opinion? How does it all prepare the way for the sudden sad message,
+and also for the decision of the Ladies to rebuff love that is not
+serious? What special point is there in the kind of trial Rosaline and
+her mistress each specially propose for Berowne and the King? Has it
+any relation to what has just been shown of each of them in their
+attitude towards others with respect to the humble performers of the
+Mask of the Nine Worthies? What makes wit an unalloyed pleasure?
+
+QUERIES FOR DISCUSSION
+
+Is the serious ending of this Comedy a disappointment? Is seriousness
+an ending artistically called for by this plot, or only morally called
+for? Compare with the serious strain in the "Comedie of Errors." What
+does the contradictory little final dialogue between Winter and Spring
+add to the significance of the Play?
+
+
+VI
+
+THE WIT OF THE PLAY
+
+This has been called by Armitage Brown, "A Comedy of Conversation";
+and the quibbles in which the Play abounds have been supposed by Dr.
+Johnson to give the Author "such delight, that he was content to
+sacrifice reason propriety and truth" for their sake. How far do these
+observations justly apply to the Play?
+
+In what degree is the extravagant banter of the Play itself an
+imitation of current fashions of speech and itself an object of
+ridicule?
+
+Its relations to Lyly and Euphuism. (See Extracts from Ward and from
+Landmann in "Selected Criticism," in First Folio Edition of the Play).
+
+Make a study of the lesser and larger wit of the play, showing how the
+former is merely incidental to the latter.
+
+In what respects is the whimsical talk of the Play suited to certain
+groups and to special characters, so that there is more variety in it
+than appears at first.
+
+QUERIES FOR DISCUSSION
+
+Does the master wit of the Play consist in any one class of fun, as
+verbal conceits in the punning line; practical jokes; Euphuism,
+so-called; banter in speech and retort, versemaking and sonneteering,
+learned quips, or in the use of all these combined in a way to bring
+out the point of the Play--the clash of natural with artificial
+methods.
+
+Is wit or purpose dominant in the Play?
+
+Which is the wittiest scene? Is it also the most morally significant?
+
+
+VII
+
+THE CHARACTERS
+
+Three groups of characters appear in the play--the main group
+belonging to the Court; the learned group, Armado, the, schoolmaster,
+and the Curate; and the native group, Costard, Jaquenetta, Dull, and
+Moth. The two latter subordinate groups add much to the Play. Show in
+what respects: as to Plot interest what do they add? As to merriment
+and significance? Is the morality and wit of the Play contributed to
+by them? Are they of interest in themselves, apart from their relation
+to the other characters? Are Costard and Jaquenetta the only happy
+lovers in the Play? Why?
+
+Is the King, kingly? In what respects, do you think, does he evince
+youth and inexperience? When does he begin seriously to be in love? Is
+the Princess justified in disciplining him? How much of her discipline
+is due to the event that cuts short the Play? Judging from his
+character, do you think he will stand the "twelvemonth" test?
+
+Is Berowne the oldest as well as the deepest and wisest of the men?
+How does he show all this?
+
+Why does Rosaline discipline him? Is she in insight superior to him as
+the Princess is to the King? Are the other court ladies equally wise
+in the probation period they allot?
+
+Are all the men--Costard included--so much a prey to a sort of foppery
+of expression and love of animal spirits as to be properly subject to
+the satire the play provides for them? Are the women more sane in this
+respect, despite their wit, or not?
+
+Is Shakespeare apparently on the women's side?
+
+QUERIES FOR DISCUSSION
+
+Is Costard the bumpkin the best actor in the Mask of the Worthies?
+Why? Why is Jaquenetta the least and Moth the most discomfitted of the
+third group of characters?
+
+Dowden says the women of the Play "have not the entire advantage on
+their side." What do they lack? He also says, to bear this out, that
+"Berowne is yet a larger nature than the Princess or Rosaline." What
+has this to do with their relative advantage in the Play itself, as
+Shakespeare shows it?
+
+Who are the critics of the falseness of artifice in the Play? Is
+Berowne on the women's side in the criticism which gives them their
+advantage?
+
+
+VIII
+
+THE MORAL OF THE PLAY
+
+Is there a moral against the current educational methods and the
+affectations social and literary of Shakespeare's time? The monastic
+and aristocratic elements in education considered as opposed to the
+progress of Women and the People. Show the general conditions of
+education prevailing after the Middle Ages, and the new spirit of the
+Renascence making itself felt, also the degree in which this appears
+in this plot. If Shakespeare's spirit, as manifested in this Play, had
+been more influential practically, do you think a different road would
+have been taken? (For hints upon this line of thought see Introduction
+in the "First Folio Edition"). How far is Berowne to be taken as the
+spokesman of Shakespeare? Note what Pater says of him as "a reflex of
+Shakespeare himself," and trace the truth of this as concerns the fact
+that he is never "quite in touch" with the level of the understanding
+shown by others of the Play, and state the bearing this has upon the
+Moral of the Play. (See Pater's "Appreciations" or extract from same
+in "Selected Criticism," pp. 242-248, "First Folio Edition").
+
+Why does so frolicsome a Comedy end so seriously? Does that make it
+funnier?
+
+QUERIES FOR DISCUSSION
+
+Is there really a moral in the Play in favor of nature and sincerity
+or is it merely read into it?
+
+Is Dowden right, who says "there is a serious intention in the play,"
+or Barrett Wendell who says: "like modern comic opera, such
+essentially lyric work as this has no profound meaning; its object is
+just to delight, to amuse; whoever searches for significance in such
+literature misunderstands it."
+
+In comparison with other comedies of Shakespeare, is a serious
+undercurrent discernible in all of them, but none in this?
+
+
+IX
+
+SHAKESPEARE'S PLAY AND TENNYSON'S POEM ("THE PRINCESS") UPON EDUCATION
+OF MEN AND WOMEN
+
+Summarize story and outcome of Play and Poem in comparison and in
+contrast. Does Shakespeare's exposition of the contemporary view of
+education account for the condition Tennyson criticises? If so, are
+women to blame for it? If not, how much does this modify Tennyson's
+criticism of the educational exclusion that is the scheme of the
+College in "The Princess?" Shakespeare seems to point his moral
+against his male characters for their exclusiveness, Tennyson against
+his women characters? Which one goes the deeper? Wherein do they agree
+and disagree? How may they be made to supplement each other? Has
+Tennyson's poem presented any phase of the question touching upon
+popular interest in exclusive educational schemes? Is Shakespeare,
+considering his time, the more democratic in his views of life, as
+shown by this Play, in comparison with those brought out in Tennyson's
+Poem. Why does Shakespeare leave the women in moral and actual command
+of the situation?
+
+QUERIES FOR DISCUSSION
+
+Is co-education the right conclusion to draw from the exposition by
+the Poets of educational restraints and the relation of men and women
+to life?
+
+What ideals of life as to Nature and Education must be included in
+educational schemes? Why does the Play not end with as many marriages
+as there are lovers? Is it possibly because Shakespeare did not mean
+to bring forward love between man and woman as if it were the only
+thing in life but as the typical experience of life that should open
+up the depths of knowledge not of love alone but of death and
+suffering in relation to it.
+
+
+
+
+MUCH ADOE ABOUT NOTHING
+
+
+The title of this Comedy broadly describes its character, and is based
+upon the double meaning of "Nothing." The events that constitute the
+plot are the result of "note-ing" or overhearing and so taking note of
+events which are deceptive in some way. Hence, in all the "note-ing"
+that takes place, there is, after all "nothing," and the whole amusing
+plot constitutes much ado about nothing. The letter "h" in _Nothing_
+was often silent in Elizabethan pronunciation. The "h" in "Moth" in
+"Love's Labour's Lost" is another example.
+
+Noting or overhearing as a factor of the plot is introduced also in
+"Love's Labour's Lost." It is one of several links in workmanship with
+that Play and its use there may have suggested the production of a
+Play almost altogether built, as this is, on overhearing or taking
+critical notice such as Benedicke and Beatrice take of each other.
+
+The part of the plot that is based on an already existent story does
+not develop this noteing element particularly. For that reason it is
+the likelier that it is a device of Shakespeare's to make up his
+Comedy.
+
+
+ACT I
+
+CLAUDIO NOTES HERO WITH FAVOR AND IS NOTED WITH DISFAVOR
+
+The Story of Act I results, on the arrival of the Prince and his
+suite, in making it known that Claudio has noted Hero as "the sweetest
+Ladie" that ever he "lookt on." Show how it also comes out in Scene i
+that a noting of a severer kind has passed between Benedicke and
+Beatrice. The two kinds of special interest--the openly admiring
+noting of Claudio, and the captious notice of each other shown by
+Beatrice and Benedicke, initiate the two channels of action in which
+the plot will run. The normal sex-agreement of the one pair of
+characters is varied by contrast with the more unusual sex-warfare
+that asserts itself humorously both in Beatrice and Benedicke. Bring
+out pertinent examples of their defiance of love and marriage.  What
+is to be gathered of Hero and her point of view from this Act? How
+much from others, from little from herself? And how much from her of
+others? Contrast with hers the witness given of herself by Beatrice.
+Is Claudio taciturn, too, when compared with Benedicke?
+
+What noting goes on in scene ii? Is it in accordance with what has
+already taken place between Claudio and the Prince? What additional
+noting comes out in Sc. iii. Is this in accordance with Scene i or
+Scene ii? Act I closes with a sense of some confusion which Act II is
+required to clear up. In addition to the inconsistency, notice Don
+John's enmity to Claudio, and its menace of disaster.
+
+QUERIES FOR DISCUSSION
+
+Is the inconsistency of the last three scenes misleading and puzzling
+rather than alluring to the curiosity of the reader?
+
+Could it be made more interesting on the stage by the way of enacting
+the part of Brother Anthony?
+
+
+ACT II
+
+THE PRINCE PLOTS FOR TRUE NOTING AND HIS BROTHER FOR FALSE
+
+Tell the story of the masked ball. What new light is thrown, first, on
+the characters and, then, on the plot by means of these fragmentary
+bits of dialogue heard as the revellers pass on and off stage
+together.
+
+Is Don John really misled as to his Brother's intentions toward Hero?
+
+What does Hero herself think?
+
+Does Don Pedro himself show that he is acting for another--that the
+god, Love, dwells beneath his visor? The modernized edition spoils one
+of the references to this office in which the Prince labors for Love
+and does a labor of love in whose disinterestedness some doubt is
+expressed. By changing Love to Jove (in II, i, 92) a literal
+correction is made in accord with the legend referred to, but in
+entire destruction of the point made by the Prince, if Shakespeare
+means to adapt the allusion to his special purpose. Note also
+Benedicke's name for Claudio (II, iii, 34). What is your opinion of
+this? (See Note on II, i, 91, in "First Folio Edition"). Compare
+another instance where the Prince shows that he is acting for Cupid
+(II, i, 358-367). Is Don Pedro the most active spirit in the plot?
+Show how in Acts I and II, it is made clear that the plot will consist
+in the prevalence of either a favorable or unfavorable influence upon
+the happiness of the characters. Who represents each influence?
+
+Notice that the favorable influence in its first action in favor of
+Claudio's happiness is misunderstood, discounted and disbelieved in
+several directions. Is Claudio led to distrust of the Prince by others
+or by his own jealousy?
+
+In the second action of the favorable influence initiated by the
+Prince, which of the characters share? Does the unfavorable influence
+work against Benedicke's happiness?
+
+What is Borachio's place in the action of the unfavorable influence?
+
+QUERIES FOR DISCUSSION
+
+Noteing or overhearing is itself nothing or has a large element of the
+deceptive in it. How is it made to work well in Benedicke's case? Is
+the element of truth the only one that is effective?
+
+
+ACT III
+
+THE NOTE-ING IS NOTED
+
+Show that the action taking the Story on consists in the "note-ing"
+already planned being enacted and being noted as true. How does this
+work with Beatrice in Scene i?
+
+In Scene ii the unfavorable influence makes its preparation to carry
+on the plot disastrously by the same method. How is this made clear?
+
+In Scene iii the "note-ing" is as effective for evil as that in scene
+i, is for good. But a counter influence is brought to bear upon it
+which consists in "noteing" the falsity of the first "noteing." Show
+how this is arranged and promises to solve all difficulty. But the
+marriage is shown next to be in active preparation, and then the
+promise of intervention in time to frustrate Hero's disgrace is in
+scene v itself frustrated by the bestowal of all Dogberry's
+"tediousness" upon Leonato and by his own impatience. Show the place
+in the action of the hurrying on of scene iv, and the tediousness of
+scene v, and of both on the humor of the Play.
+
+QUERIES FOR DISCUSSION
+
+Are the Prince and Claudio justified in the action they propose?
+
+Is the element of chance, which both destroys the falseness of the
+evidence by means of Borachio's talk, and prevents it from being known
+by Dogberry's, especially fitting? Why?
+
+
+ACT IV
+
+HERO IS REPUDIATED AND BEFRIENDED
+
+Does Claudio's demeanor in the repudiation scene betray the violence
+of love?
+
+What is to be inferred from the Prince's words and those of his
+bastard brother Don John?
+
+Is it natural for Leonato to be convinced and to know his daughter no
+better?
+
+Why is the Friar on her side? Notice how the Friar represents the
+Church as Dogberry does the Law. As institutional forces of civic
+life, outside the circle of the central group of characters, they
+intervene in the action of the drama when it is properly amenable to
+outside influences and civic instrumentalities. And both are brought
+into the sphere of the Play by a means in sympathy with the artistic
+method belonging to it. Observe how Dogberry is made humorously to
+desire to have everything noted down, and how the Friar has come to
+the conclusion that Hero is innocent "by noting of the Ladie." With
+the Friar on her side, Hero and her one staunch friend--Beatrice are
+enabled to follow a policy of resistance to her disgrace and of
+re-establishment, first, of her good fame and, then, of her happiness.
+How is this brought about? The share of the Friar in rallying her
+friends to be loyal, and the share of Beatrice in instituting a
+counter-movement to the accusation combine to what effect? How does it
+suit with the scheme of the action that the love of Benedicke and
+Beatrice here attains its climax?
+
+What does scene ii accomplish for the plot?
+
+QUERIES FOR DISCUSSION
+
+Is the injection of tragedy at this Fourth Act into the Comedy
+effective? Does it change the character of the Comedy or merely
+intensify it?
+
+Does Beatrice ask an unreasonable deed of Benedicke when she says
+"Kill Claudio"? Suppose it were to prove true, instead of to be
+prevented as may be already guessed, by the defeat of Don John's false
+witness and evil influence: Is Beatrice justified in refusing
+Benedicke if he will not kill his friend because it shows "there is no
+love" in him?
+
+
+ACT V
+
+THE DOUBLE WEDDING
+
+The valor and humor of the two old men against the two young ones has
+especial value in restoring the comic vein. How does this somewhat
+belated loyalty of Leonato act upon our sympathy with him? Does the
+forbearance of Claudio and the Prince toward the two men raise our
+esteem of them or lead to further dislike?
+
+What effect has the mock heroics of their ineffective challenge on
+Benedicke's earnest championship of Hero? Is the Prince's satiric
+speech (V, i, 208-209) to be interpreted as complimentary to
+Benedicke? Notice Claudio's next speech in comment upon it, and
+explain the implications intended.
+
+What does Leonato mean by blaming Borachio less than the three nobles?
+How far do you think him justified--the relations of master to man at
+the time being considered?
+
+Was Margaret to blame? Why did she not make the cheat known? (Cf. V,
+iv, 5-7 with V, i, 311-314). Is it worth while to spend much time on
+making all minor details clear?
+
+Is Claudio's consent to a second marriage creditable, natural, or a
+clumsy expedient which only the entire hollowness of the whole plot of
+false noting as to Hero renders endurable? Can you imagine any way of
+acting the part of Claudio that would make it seem attractive?
+
+Do you find it in character at the wedding that one couple says so
+little, the other so much?
+
+QUERIES FOR DISCUSSION
+
+Is the ending of the Plot happily contrived in too forced and unreal a
+way?
+
+Which is the most stirring scheme in the Play and why?
+
+Which is the funniest, and is it possible to say why?
+
+THE CHARACTERS
+
+Does this Play succeed in giving so extremely definite and varied an
+impression of the characters that it is chiefly notable for that? To
+bring out this idea of the plot as successful less in itself than
+because it illuminates the quality and humor of the characters,
+compare with the "Comedie of Errors" or any of the Plays where events
+figure more prominently. Show how the events of this Play may be said
+to be created by the Characters. The Prince and his Brother (and their
+tools on each side who lend themselves to their plans with Dogberry,
+the highly unconscious, and the Friar, the highly conscious character)
+by being what they are constitute the diverse means of influencing the
+whole turn of events. These persons may all be considered with
+reference to what they are themselves, in character, and through that,
+in relation to the other characters of the Comedy.
+
+BENEDICKE AND BEATRICE, CLAUDIO AND HERO
+
+These two loving couples reveal their special characters most vividly
+by means of their contrasting and supplementary relations to each
+other. Show how Benedicke and Beatrice do not throw Claudio and Hero
+too much in the shade by their superior brilliancy, because through
+the love of the minor couple their own love is enabled to ripen. Is
+their character heightened or lessened in wit and individual interest
+by love?
+
+The minor characters: Show how the adversity of the family brings out
+the heroic element lying unobserved in Brother Anthony of the "dry
+hand," and kindles his philosophy into something martial.
+
+The merry maids, Ursula and Margaret and their light-hearted parts in
+the plot.
+
+QUERIES FOR DISCUSSION
+
+Beatrice "is a tarter,--and, if a natural woman, is not a pleasing
+representative of her sex." She "will provoke her Benedicke to give
+her much and just conjugal castigation," says Campbell. Is he right,
+and will Benedicke feel so?--or is Swinburne right, who says she is "a
+decidedly more perfect woman than could properly or permissibly have
+trod the stage of Congreve or Moliere" and who speaks of her "light
+true heart"?
+
+Is the superficial Claudio worthy of Hero?
+
+Are the faults in the plot of the Play, such as are necessitated by
+the design of using the characters themselves and their "noting" of
+one another as the source of events, and, therefore, in the last
+analysis not faults, a study of their relation to the design leading
+us, as Hartley Coleridge puts it, never to censure Shakespeare without
+finding reason to eat our words?
+
+
+
+
+A MIDSOMMER NIGHTS DREAME
+
+
+Having read "A Midsommer Nights Dreame" as a whole, if it be not
+already fresh in the mind, or, if possible, having seen it acted, then
+consider more carefully the characteristics of its dramatic structure,
+studying the plot and progress of the story as it is unfolded act by
+act, also the sources, the characters, and so forth, as suggested in
+the following study.
+
+
+ACT I
+
+THE CROSSED LOVERS
+
+Sum up the incidents and characters introduced in the first Act and
+ascertain which are most important in influencing the rest of the
+story.
+
+It may be noticed that Theseus and Hippolyta and their marriage
+festivities are personages and events which make up a decorative
+external sort of frame for the whole play, but that the centre of the
+action takes its start, primarily, from the conflict of Hermia's love
+for Lysander with her father's choice of Demetrius, and, secondarily,
+from the clash of Helena's love for Demetrius with his suit for
+Hermia. Show how the brisk bit of dialogue between Hermia and Lysander
+(I. i. 141-166) implies the forthcoming plot. For example, it may be
+shown that 'to be enthrall'd to love' (the first folio reading is
+_love_ instead of _low_, which was an emendation of Theobald's,)
+[Footnote: See foot note in First Folio edition.] and to have
+'sympathy in choice' made as 'momentary as a sound, swift as a shadow,
+short as any dream,' is to be the fate of all the lovers in the play,
+except Theseus and Hippolyta, and to constitute the substance of the
+action.
+
+Consider what relation the second scene has to the story. Is it more
+extraneous to the movement than the scene presenting the Duke and his
+bride? It is linked to the crossed lovers group, on the one side, by
+the part the chief of the 'rude mechanicals,' Bottom, is to assume
+with Titania, although this does not appear in the first Act, and
+Shakespeare's intention to do something special with this character is
+only shadowed forth here by its prominence. On the other side it is
+linked to the ducal group still more superficially, merely by the
+rehearsal of a piece to be played at the wedding. It may be contrasted
+with the preparation in 'Hamlet' for a piece similarly played before
+the Court, but which had a vital connection with the action and
+characters which is lacking here. Can there be said to be an artistic
+design, however, though of a more external sort, in the contrast
+between the Court scene and the rehearsal scene, and the realistic
+offset the latter scene supplies to the fairy fantasies that are to
+follow in the next acts? For instance, it may be shown that the
+merriment the clownish scene provides balances the dignity of the
+ducal scene. His audience, having put a yoke upon the dramatists by
+requiring a clown, his genius is betokened here by his making it an
+artistic advantage.
+
+POINTS  1. 'The ancient privilege of Athens,' I. i. 49. What was the
+position of the father toward the family in Attica? 2. 'On Dian's
+altar to protest,' i. 98. Did the service of Diana offer women a
+respite from masculine dictation? Compare the myth of Iphigenia's
+salvation by Diana. 3. 'To that place the sharp Athenian law cannot
+pursue,' i. 172. What Grecian states had laws more lenient to women?
+4. What traces can be found in history or legend of the victory of
+Theseus over the Amazons, and the rise of a new civic order on the
+ruins of a matriarchate? 5. The story of Pyramus and Thisbe (see
+Chaucer's 'Legend of Good Women' for an early English use of the
+story). 6. Explanation of allusions to Phoebe, Cupid, Ercles, etc.
+
+
+ACT I
+
+QUERIES FOR DISCUSSION
+
+Upon what does the interest centre in Act I? In the marriage of
+Hippolyta and Theseus, or the love affairs of the four lovers?
+
+Is Hermia, whose determination not to be forced to marry starts the
+plot, the best-drawn character in the first Act?
+
+
+ACT II
+
+THE FAIRIES' QUARREL
+
+Show how in this Act a new agency of a fairies' quarrel is devised and
+set forth.
+
+Point out how this is made to crystallize in Oberon's scheme for
+revenge on Titania, and also how, in the course of disentangling their
+own love-snarl, it is made to develop the conflict between the crossed
+lovers. This, it may be emphasized, is the second step in the
+movement, as Hermia's and Helena's love was the first, and these two
+main factors of the action are taken up together in this act.
+
+Are the other two groups which were introduced in the first act, the
+Duke's party and Bottom's set, interwoven with the new fairy group in
+any way in this Act? See if the new fairy element now shows any
+disposition in the person of Oberon to smooth out the difficulties of
+the mortals.
+
+Oberon's intentions, however, were one thing, and his deeds another.
+Through Puck as his instrument, his jealousy at once begins to make
+matters worse instead of better for the lovers. Notice the delicate
+appropriateness of Oberon's means of influence, namely Puck and the
+two flowers, the first being 'Cupid's flower,'--Love in idleness--the
+second 'Dian's bud,' introduced later to correct the influence of the
+first. The first flower assists in the development of a plot which is
+to enact the 'momentariness' of 'sympathy in choice.' The
+cross-purpose, fostered by Puck's mistake, seems to provide the
+comparatively grosser sort of merriment for this Act which Bottom and
+his friends supplied for the first; and the dainty humor and sprightly
+novelty attending the introduction of the fairies on the scene, the
+description of their quarrel, and the foreshadowing of the influence
+they are to have on the next stages of the story, may be shown to
+occupy the chief place in the plot at this period, the crossed lovers,
+who predominated in the first Act, now falling into a relatively
+subordinate position.
+
+POINTS 1. Robin Goodfellow and the traditions about him. 2. Fairies
+and changelings. 3. The stories of Theseus's loves. 4. Explanation of
+allusions to nine men's morris, old Hiems, etc. 5. Account of theories
+as to meaning of references to _the imperiall votresse, a little
+westerne flower, a mearemaide on a dolphins backe_, etc. Warburton
+says the mermaid was meant for Mary Queen of Scots. N.H. Halpin thinks
+that by Cynthia is meant Queen Elizabeth; by Tellus, Lady Douglas; by
+the little 'western flower,' Lettice, wife of Walter, Earl of Essex,
+while Cupid is Leicester. (See "First Folio Edition" for particulars).
+6. Explain use of 'Lob,' II. i. 15; 'wodde,' 200. 7. 'The starres shot
+madly from their Spheares,' i. 159. Look up Ptolemaic system of
+astronomy for explanation of the idea. Compare "Merchant of Venice,"
+V. i. 71-75, and notes on same in "First Folio Edition" of that play.
+8. What is "Love in idleness"? (See Introduction to "First Folio
+Edition" of "A Midsommer Nights Dreame" for references to this flower
+in Chaucer's poem of "The Flower and the Leaf.") Compare "The Taming
+of the Shrew," I. i. 156. 9. What are "Cankers" in the musk rosebuds?
+II. ii. 4.
+
+QUERIES FOR DISCUSSION
+
+Is it probable that the various passages in this act said to allude to
+current incidents were so intended? In that case what effect do they
+have upon the beauty of a Play set in Athens?
+
+Is the interest of this Act a divided one?
+
+
+ACT III
+
+CROSS-EFFECTS OF OBERON'S SPELL
+
+Analyze the scenes constituting this Act. Observe that scene i. takes
+up Bottom and his fellows, the group not as yet brought into relation
+with the fairy group, and initiates them in the magic of fairy land by
+means of the new but appropriate head Puck bestows upon Bottom. Why is
+Bottom picked out for this favor? The 'ass-head' as a symbolic piece
+of stage furniture. Show how this transformation makes the mismating
+of Titania with Bottom more gross and obvious to the audience; also
+how this is the next direct effect of Oberon's revenge.
+
+Notice that scene ii. takes up the cross-effect already worked upon
+Lysander by Puck's mistake, instead of on Demetrius, as Oberon
+intended, and sets forth its further effects upon Helena and Hermia.
+The dialogues between the two pairs of lovers now overheard by Oberon
+makes the error clear, and so enables him to take the first step in
+clearing up the tangle. Meantime, the poet and his audience agree with
+Puck that they are so far 'glad it so did sort, As this their
+jangling' is esteemed 'a sport.'
+
+POINTS 1. Explain 'It shall be written in eight and sixe,' III. i.
+23-4. 2. The custom in Shakespeare's day as to the women's parts.
+Would it have been as amusing to the audience then as it would be to
+us when Quince says 'Robin Starveling, you play Thisbies mother'? 3.
+Pyramus and Thisbe. This may have been derived from Ovid, or from
+Chaucer's "Legend of Good Women," or C. Robinson's "Handful of
+Pleasant Delights." (1504.) 4. Explain 'Two of the first like coats in
+heraldry,' III. ii. 220. 5. Describe the personal appearance of the
+heroines from the references made.
+
+QUERIES FOR DISCUSSION
+
+Is Puck or Bottom the presiding genius of this act?
+
+Does the jangling between the two women belittle them as heroines, and
+is it, therefore, a blot upon the beauty of the play?
+
+
+ACT IV
+
+HARMONIZING EFFECTS OF OBERON'S SPELL
+
+Trace throughout this act the smoothing-out process.
+
+Why does Oberon himself release Titania while Puck is made to minister
+to the other victims of the charm? Is Oberon's explanation of the
+Fairy Queen's sudden change of heart about the changeling quite
+satisfactory, or does it simply appear so by a sort of artistic
+sleight-of-hand characteristic of Shakespeare in small touches at the
+close of a plot?
+
+Show how poetically suitable as a stage effect the entry of Theseus
+and his huntsmen is,--shedding the first rays of morning on the
+night-enchanted lovers.
+
+Why is Bottom made to waken last? Perhaps because he helps to denote
+the prose of broad daylight. Show what relation scene ii. has to the
+completion of the smoothing-out process.
+
+POINTS. 1. 'I was with Hercules and Cadmus once,' IV. i. 126. What
+relation had Hippolyta to these Greek heroes? 2. Account of May-day
+rites. 3. Traditions of St. Valentine. 4. Rites of Midsummer Eve.
+
+QUERIES FOR DISCUSSION
+
+Why is the choice of Hermia's father for her no longer supported by
+the Duke? Does this imply a criticism on the inconsistency of allowing
+men their choice, and their brides none, with which Shakespeare was in
+sympathy, or is this only apparent to some modern minds?
+
+
+ACT V
+
+THE THREEFOLD MASK
+
+If the central action of the play be considered as virtually concluded
+with the fourth Act, what office is performed by the fifth Act?
+
+Notice that in it the three groups of characters constituting the
+play--the court group with the lovers; the 'rude mechanicals' and
+their 'tedious brief scene,' and the fairy train--are in this Act all
+brought upon the stage, the whole spectacle being set in the palace at
+Athens, in celebration of the wedding festivities of the ducal pair,
+which, as before noticed, is used as a sort of decorative frame for
+the play as a whole.
+
+Examine the working-out of this unified presentation of all the
+personages. How are we to account for the silence of the women who
+were made to do so much towards the institution of the action? Show
+the poetic reasons for the entrance of Puck and the fairies last of
+all, and when the stage is empty.
+
+POINTS. 1. Explanation of all mythical allusions. 2. Account of
+theories as to meaning of 'The thrice three muses,' etc., V. i. 59. 3.
+What is a 'Bergomask dance'? 4. The date and occasion of the play:
+This play appears in Meres's list of 1598 and in the Quartos of 1600.
+Titania's description of the unseasonable weather (II. i. 92, foll.)
+may refer to the year 1594. Note that Chaucer in the 'Knight's Tale'
+speaks of the tempest at Hippolyta's home-coming. Many critics have
+believed that the play was written on the occasion of some marriage in
+high life, but they do not agree as to whose it was.
+
+QUERIES FOR DISCUSSION
+
+Upon what does the interest of the last Act centre? How does the
+ending suit the various threads of the Play?
+
+Is Theseus or Hippolyta the wiser critic of 'the story of the night';
+and which of them is the wiser critic of the play of Pyramus and
+Thisbe?
+
+SOURCES OF THE PLAY
+
+1. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS MORTALS
+
+In Plutarch's 'Life of Theseus' will be found passages which furnished
+Shakespeare with some points for his drama. Chaucer's 'Knight's Tale'
+is also said to have given him material. The editor of the "First
+Folio Edition" suggests in the introduction that a reading by
+Shakespeare of a poem in his day supposed to be Chaucer's, 'The Flower
+and the Leaf,' gave him an important hint for his plot. Examine for
+yourself, and state what indebtedness you find in any of these
+sources. In I. i. 20, Theseus says to Hippolyta, 'I woo'd thee with my
+sword.' Compare this with the account given in Chaucer. According to
+another version of the story Hercules gave Hippolyta to his kinsman
+Theseus in marriage. Compare 'The Two Noble Kinsmen' and the 'Knight's
+Tale' with Shakespeare's 'Dreame.'
+
+
+2. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS FAIRIES
+
+The models in literature from which Shakespeare drew may have been
+'Huon of Bordeaux,' where he got little, however, but the name Oberon.
+The name Titania may have been derived from Ovid's 'Metamorphoses.'
+The Fairy Queen in Shakespeare's day usually went by the name of Queen
+Mab. Puck's characteristics seem to have been derived from the little
+tract of 'Robin Goodfellow, His Mad Pranks and Merry Jests.' Rolfe, in
+the notes to his edition of the play, says that White argues that this
+was probably written after "A Midsommer Nights Dreame." Ward thinks
+that the entire machinery of Oberon and his court may have been
+derived from Greene's 'Scottish History of James IV,' and that Titania
+may have been suggested by Chaucer's 'Wife of Bath's Tale.' He
+probably owed his fairies in great measure to tradition or folk-lore.
+The folk-lore of England was originally made up of Teutonic elements,
+which have been modified by Danish and Norman invasions, by remnants
+of old Keltic belief, and by the introduction of Christianity, which
+last degraded the good fairies into mischievous elves. (See Hazlitt,
+'Fairy Mythology of Shakespeare,' Halliwell's 'Illustrations of the
+Fairy Mythology of Midsummer Night's Dream,' also _Poet-Lore_, April,
+1891, 'Fairy-lore in Midsummer Night's Dream.')
+
+3. SOLAR ORIGIN OF THE FAIRIES
+
+According to some authorities the Teutonic mythology was of cosmic
+origin. In the fairies may be seen many reflections of cosmic
+characteristics. Oberon and Titania are fairies of the night, and the
+old battle between light and darkness shows itself in the mad pranks
+which they play on unsuspecting mortals. But as the daylight comes
+they are obliged to flee. Puck reflects the characteristics of a wind
+god. (See Cox, 'Myths of the Aryan Nations;' also Korner, 'Solar Myths
+in Midsummer Night's Dream,' _Poet-Lore_, Jan., 1891). Compare his
+character with that of Hermes in the Homeric Hymn to Hermes (Shelley's
+Translation).
+
+SYMPOSIUM OF OPINION ON THE CHARACTERS
+
+1. THE LOVERS
+
+QUERIES FOR DISCUSSION
+
+1. Hermia and Helena are hardly worth considering, but if anything
+Helena is to be preferred to Hermia because she is so humble, and
+shows no sign of jealousy of Hermia. 2. If Hermia had been more
+dignified when she found that both the lovers had turned their
+attention to Helena, she would better have carried out the promise of
+her character in the first Act when she declared she would rather die
+than wed the man chosen by her father.
+
+
+2. HIPPOLYTA AND THESEUS
+
+QUERIES FOR DISCUSSION
+
+1. The only indication we have of the character of Hippolyta is in the
+last act, where she is so bored by the play of 'Pyramus and Thisbe.'
+Does this show stupidity on her part or exceptional development? 2. Do
+you agree with Dowden that there is no figure in the early drama of
+Shakespeare so magnificent as Theseus? His insistence in Act I. that
+Hermia should obey her father against her own inclinations is
+certainly not very praiseworthy, but might be excused on the score of
+the times in which he lived. 3. His complaisance toward Quince and his
+companions has been considered an indication that he was a most
+perfect gentleman; does he not rather conceitedly patronize them?
+
+3. THE FAIRIES
+
+QUERIES FOR DISCUSSION
+
+1. Have the Fairies any idea of morality? 2. Oberon was perfectly
+justified in wishing to get the changeling from his wife, and shows
+himself worthy of becoming a mortal for insisting on his rights as a
+husband. 3. Titania is the most developed woman character in the play,
+because she insists on her individual right to the changeling. 4. Is
+Puck a more developed fairy than Ariel in 'The Tempest'?
+
+4. THE PLAYERS
+
+QUERIES FOR DISCUSSION
+
+1. Is Shakespeare making fun of the stupidity of Quince and his
+companions, or is he gently satirizing the stage and the exaggerated
+style of writing for the stage which prevailed at this time? 2. If the
+last is true, is not Shakespeare in the last act making fun of the
+audience, as well as of the players, who with a superior air pass
+judgment upon the play and indulge in very lame wit, while the real
+meaning of it quite escapes them.
+
+SYMPOSIUM OF OPINION ON FAVORITE PASSAGES
+
+Every member of the class or club should bring in a short paper giving
+his favorite passage in the play and why he likes it, including his
+criticism of the metre, of the metaphors and similes, and the thought
+contained.
+
+QUERIES FOR DISCUSSION
+
+1. Which characters in the play are original with Shakespeare? 2. What
+is to be thought of Shakespeare for bringing together in one play
+Greek mythology, English folk-lore, and English workmen of his own
+age? Does this commixture of elements make the Play seem unnatural or
+incongruous? Has he skilfully harmonised these diverse elements by
+giving the Play its dream-like character? 3. That this play is
+charming cannot be disputed. Is its chief charm its humor, its fancy,
+its dramatic construction, or subtle developments of character?
+
+
+
+
+THE MERCHANT OF VENICE
+
+
+Sufficiently indirect use of contemporary political events in a Play
+was a cause of popularity without seeming dangerous to the State.
+
+As "Love's Labour's Lost" is an early example of a plot woven out of
+masked allusions to current topics, so even as definitely plotted a
+comedy as "The Merchant of Venice" here and there worked in an
+animating shred of contemporary reference.
+
+After Dr. Roderigo Lopez, the Queen's physician, was accused by Don
+Antonio of Portugal, and executed June 7, 1594, on the charge of being
+bribed by the King of Spain to poison Queen Elizabeth, the story of a
+Shylock's defeat and the rescue from his clutches of an Anthonio had
+just enough relevance to be popular without definiteness enough to be
+obtrusive.
+
+
+ACT I
+
+SHYLOCK'S "MERRIE BOND"
+
+Why is Anthonio sad? Is it presentiment? Is it, despite his unselfish
+willingness to furnish forth Bassanio to sue at Belmont for Portia,
+some sense of loss in friendship through this love? Anthonio and
+Bassanio may be considered as examples of that devoted friendship
+illustrated by Valentine's feelings towards Protheus in "The Two
+Gentlemen of Verona."
+
+The group of young and gay courtiers circling about the two friends
+bring them into brighter relief.
+
+Unlike Protheus, though perhaps younger and less wrapped up in the
+sense of friendship than Anthonio is, Bassanio is worthy of such
+regard. Do the "faire speechless messages" he has received from
+Portia's eyes and his praise of her as "nothing undervalued to
+Brutus's Portia" tell the cause of his quest better than what is said
+of her wealth? Notice that even what he says of that is as a mere
+grace of her person: "her sunny locks Hang on her temples," etc. (I.
+i. 177-181).
+
+What reasons had Shylock for hating Anthonio?
+
+Does Anthonio's demand that he lend the money to him as an enemy
+justify the terms of the bond?
+
+Is Bassanio right in distrusting, and wrong in accepting such a bond?
+
+The long pedigree of Jewish and Christian antipathy and its
+illustration in this bond by the characters that are its exemplars.
+
+What is to be gathered of Portia in this Act before she meets again
+with Bassanio?
+
+QUERIES FOR DISCUSSION
+
+Are Anthonio and Shylock more individual than typical?
+
+Does the Act close with assurance of good luck or foreboding of bad?
+
+Is Bassanio a fortune hunter?
+
+Is he to blame for what follows?
+
+
+ACT II
+
+PORTIA'S CASKETS
+
+Why is Jessica's story intertwined with Portia's? What dramatic
+purposes does it serve? Are Jessica and Launce alike justified in
+leaving Shylock? Why? (See Introduction to the Play in First Folio
+Edition for suggestion). Is the Jew's lament for his daughter although
+piteous, inadequate.
+
+Is the choice of the gold and the silver by the Moor and Spaniard
+significant of their natures?
+
+What reason is there to find in the symbolism and the persuasion to
+choice each suitor employs that Portia's father has used the wisdom of
+a seer in prescribing the choice from the three caskets?
+
+QUERIES FOR DISCUSSION
+
+Do you like Jessica? Why? In what ways are Portia and Jessica alike in
+the generousness of love though opposite in circumstances?
+
+Is Jessica's elopement to blame for her father's joy in the wreckage
+of Anthonio's ships and his final exaction of the bond? Was it
+introduced in the Plot for this purpose?
+
+
+ACT III
+
+BASSANIO'S LUCK AND ANTHONIO'S LOSS
+
+Shakespeare's creed of love as engendered in the eyes may be
+illustrated by passages in many other plays as well as this. What is
+meant by it?
+
+Is Bassanio's daring in venturing so much for his chance with Portia
+itself a sign of his fitness, or the reverse? How is his casket
+significant of this test-stone--i.e., adventurousness?
+
+Is the match of Nerissa and Gratiano an irrelevance to Portia's and
+Bassanio's courtship or an enhancement of their happiness? Show how
+the two points of climax in event and feeling balance absolutely but
+do not sacrifice each other? Are Shakespeare's experiments in bold
+juxtaposition of extreme fortune and happiness and utterly
+irretrievable devastation anywhere so poignant as the arrival of
+Anthonio's letter at the betrothal of Bassanio and Portia?
+
+QUERIES FOR DISCUSSION
+
+Is the secret of Bassanio's adventurousness the supreme honor in which
+he holds love? Nothing else being of so much consequence, he yields
+everything to love. Does Jessica, also?
+
+The "manners" of Portia, according to Gildon, "are not always
+agreeable or convenient to her Sex and Quality; particularly where she
+scarce preserves her modesty in the expression." What is to be thought
+of this?
+
+Is Anthonio's letter characteristic of his nobleness as a friend, or
+is it too insistent upon bringing Bassanio to him, since to send such
+a letter was equivalent to fetching him?
+
+Is it Portia's best warrant as a noble bride and wife that she
+appreciates Anthonio's message and friendship?
+
+
+ACT IV
+
+THE LUCK REDEEMS THE LOSS
+
+By means of Bassanio's luck in winning Portia's love and hand Shylock
+is finally defeated of his malicious purpose. Portia considered as the
+embodiment of Bassanio's luck and the instrument bringing Shylock to
+confusion.
+
+Does it matter whether the law-point is disputable or not since the
+traditional stories on which the Play is built up afford the
+opportunity for its use?
+
+Does Shylock get Justice, since he had refused mercy?
+
+Illustrate the legal knowledge and studies of Italian women of the
+Renaissance affording a parallel for Portia's sagacity and leadership.
+(For hints see pp. 256-260 in "First Folio Edition.")
+
+QUERIES FOR DISCUSSION
+
+Do you think Shylock is wronged?
+
+Does Shylock so preponderate the Play as to destroy its balance, and
+outweighing all other characters make them insignificant?
+
+Are Actors justified in acting the Play so as to dwarf the Love plot
+and cut out Act V as needless?
+
+Is Portia the proper counterpart in consummate character creation to
+Shylock? To whom does, if properly played, the ultimate interest of
+the Play belong?
+
+Why does this position belong to no other character's part?
+
+
+ACT V
+
+THE RINGS
+
+What is the business of Act V?
+
+How is it linked to the preceding Act? Since reunion and rejoicing are
+not alone the business of the plot; since recognition and declaration
+to the two husbands, and to Anthonio, especially, are needed, as well
+as to the others, of the part played by the wives in solving the
+difficulties of the plot, the Ring scenes constitute the due dramatic
+conclusion of the Play. Note that the threat of quarrel over the
+reluctant but requisite giving away of the rings in the preceding Act
+makes a deceptively serious difficulty. It is happily to be solved as
+a result of the wives' preceding action. This difficulty and this
+solution at this final stage of the plot constitute a little character
+play that is an epitome of the action. The whole is the more happily
+and amusingly solved that the Audience is wise and the characters
+still in the dark are really perplexed.
+
+Point out the value of the exchange of Rings as made clear in these
+two ways, by bringing out the characters of Gratiano, Bassanio, and
+especially of Anthonio as peace-maker; and by bringing out to them the
+fact that to the wives' love and skill the victory over the
+difficulties they suffered is due.
+
+Are the rings the sole test of this?
+
+What other news adds to the general denouement of all difficulties?
+
+Is the summing up of the Play a victory of love and intelligence over
+hate and narrow-mindedness?
+
+Show how the rings symbolize this, and music and moonlight provide the
+proper atmosphere for its operation. The appropriateness of the
+moonlight for a calm out of strife, brought about by women, is matched
+by the fitness of music and the reference to the harmony of the
+spheres to suggest that earth-harmony to which Portia was presiding
+Angel.
+
+QUERIES FOR DISCUSSION
+
+Is any incident of Act V without relevance to the plot?
+
+Is the Play the nobler or the weaker dramatically for the poetic and
+symbolic influence shed upon it by Act V?
+
+
+
+
+THE MERRY WIVES OF WINDSOR
+
+
+If this Comedy was written, as tradition reports at the bidding of
+Queen Elizabeth in order to show Falstaffe in love, it is interesting
+to see that Shakespeare confines his love-making to mercenary motives,
+and by causing him to make love to two at once renders him as a lover
+merely a cheat.
+
+So keeping the word of promise to the ear, he obeys by breaking it to
+the sense. To show Falstaffe as a lover amounts to showing him as no
+lover at all.
+
+In this sense, the Play might be called a courteous satire upon the
+Queen's request.
+
+
+THE STORY OF ACT I
+
+FALSTAFFE IS FORCED TO "CONICATCH"
+
+How Falstaffe falls into trouble, turns away his followers and begins
+a new enterprise: How do his followers take revenge? What light upon
+this opening of the story do scenes i. and iii. show?
+
+What is the underplot as shown in scenes ii. and iv and a part of
+scene i?
+
+Do they appear to have anything to do with each other?
+
+QUERIES FOR DISCUSSION
+
+Which of her suitors does Anne prefer? Which is to be preferred?
+
+Is the grievance of Shallow against Falstaffe a necessity of the plot
+to show the fat knight in love, or an episode introduced out of
+Shakespeare's grudge towards Sir Thomas Lucy? (See pp. 117-119,
+138-141, etc., "First Folio Edition.")
+
+
+THE STORY OF ACT II
+
+THE MERRY WIVES AND FORD LAY PLOTS
+
+In Act II a third under-intrigue that of Ford with Falstaffe is added
+to the two before introduced.
+
+Show how the Merry Wives reveal their separate personalities in their
+reception of the duplicate letters, and their plot to dupe Falstaffe.
+
+Contrast their two husbands as their natures and marital relations are
+shown by their different manner of taking the information given them
+by Nym and Pistol. Ford, considered as Shakespeare's first study of
+jealousy. How does he compare with Leontes?
+
+How does Ford assist in the plot of the Play?
+
+What pertinence to Ford's jealousy is there in the allusion to Queen
+Elizabeth's Sonnet? (II, ii, 199-200).
+
+The Sources of the Merry Wives' intrigue and what Shakespeare has done
+with them. (See "Sources," First Folio Edition). How is the Duel scene
+related to the underplot?
+
+What characters belong in common to plot and counterplot?
+
+QUERIES FOR DISCUSSION
+
+Does Falstaffe show any material differences in character as he
+appears in this Play, in comparison with the way he appears in "Henry
+IV?"
+
+
+THE STORY OF ACT III
+
+THE DOUBLE DUPERY
+
+Contrast the feelings of Falstaffe before and after the Buckbasket
+episode?
+
+In which scene is Ford the worst duped?
+
+Give an account of Dame Quickly's relations to the intrigues, and show
+how her multitudinous offices as go-between interfere with each other
+so that she is "slacke" in one of her errands. What is the effect of
+her slackness on the contradictions in the time of the action. (See
+Duration of the Action, in "First Folio Edition"). Are they only
+seeming contradictions? The Sources of the Ford intrigue and what
+Shakespeare has done with them.
+
+Anne and her father and mother as characterized in this act, with
+relation to the suitors.
+
+QUERIES FOR DISCUSSION
+
+Is Anne the only character one can thoroughly sympathize with?
+
+Are the situations such as owe their fun largely to coincidence, like
+those in the "Comedie of Errors," or to a teeming variousness in the
+human naturalness of all the characters?
+
+
+THE STORY OF ACT IV
+
+FORD'S ENLIGHTENMENT
+
+Why is the Old Woman of Brentford trick a climax upon that of the
+Buckbasket?
+
+Falstaffe's wish that all the world might be cheated is true to the
+method of the Play. Show in exemplification of this, how a fourth
+intrigue grows out of the third, and is introduced as late as this
+fourth Act. How is the joke of the Host against Dr. Caius and Sir Hugh
+Evans avenged? Is this reference to the "three Cozen Jermans" that are
+said to run away with the Host's horses, liklier to be an allusion
+seriously made to a real event or to make use of it as an entirely
+fictitious intrigue and practical joke in the Play? Is this mock
+happening such as could be clear by the method of enacting it and one
+entirely consonant with this Comedy as a farce-mosaic of laughable
+tricks? (See pp. 120-121, 179-180, also Note on IV. iii. 6). Discuss
+probabilities. The turn taken in the plot: Show how all combine
+against Falstaffe; also the place of this intrigue in making material
+for Act V.
+
+QUERIES FOR DISCUSSION
+
+Has the "Merry Wives" any serious or tragic moments such as belong
+usually to Shakespeare's Comedies?
+
+Compare the jealousy of Ford with the jealousy of Adriana in the
+"Comedie of Errors." Which exemplifies the riper treatment and why?
+
+
+THE STORY OF ACT V
+
+THE DEFEAT OF MERCENARY LOVEMAKING
+
+Make clear the ins and outs of the Fairy trap, first for its actors,
+then for the dupes? Can the apparent inconsistencies in the wearing of
+green or white and the mention of "Quickly" for "Queene" be accounted
+for on the supposition that everybody is deceived except Nan and
+Fenton? (See Notes on V. v. 421, 205-209).
+
+The compliments to Queen Elizabeth in the Play: What are they and how
+is their appropriateness to the Plot made good?
+
+Consider the "humors" of the Welsh and French speeches and episodes as
+exploitations and developments of the similar humors of Fluellen and
+the Frenchmen of "Henry V."
+
+The fairy scenes and effects of this Play compared with those of the
+wedding night feast at the end of "A Midsommer Nights Dreame."
+
+What indications are there in the Falstaffe of "Henry IV." that he is
+superficially affected by the Puritanism about him? Is he any more
+deeply affected by it in the present Play? What is the difference in
+his appearance in this Play with respect to Puritanic morals: Is he
+more affected by them, at the last, when he is so grossly their
+victim, or have they grown, and put him out of date in England except
+as an atavism?
+
+Have Page and his Wife any loftier standpoint as to mercenary love
+than Falstaffe himself? Is Fenton's speech (V. v. 225-235) the moral
+of the last Act or is Ford's (237-238)?
+
+QUERIES FOR DISCUSSION
+
+Is the main design of the Play to "cure Ford of his unreasonable
+jealousy," as Rowe says, or to dupe and reform Falstaffe? Is the total
+aim sport to laugh over "by a Countrie fire?" Is it a Comedy of irony
+turned against all mercenary motives in love?
+
+
+
+
+AS YOU LIKE IT
+
+I
+
+THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH
+
+
+How much of the situation existing in the play comes out in Act I. i.?
+And what action takes place?
+
+The strained relation existing between the brothers Orlando and Oliver
+is revealed through Orlando's conversation with Adam and with his
+brother Oliver. The situation at court is also revealed through the
+conversation of Oliver with the wrestler Charles, and also the loving
+relation existing between Celia and Rosalind; thus we are at once put
+into the possession of three emotional or passional causes for
+action--Oliver's hatred of his younger brother, the younger Duke's
+hatred of his older brother, and the love of Celia for Rosalind. Of
+these causes for action only one bears any fruit in this scene,
+namely, Oliver arranges with the wrestler to kill Orlando. What are
+the connections existing between sc. ii. and sc. i.? First there is a
+picture of the loving relationship existing between Rosalind and Celia
+(already mentioned by Oliver in sc. i.) which reveals very subtly
+differences in their natures. The action set going by Oliver in sc. i.
+is consummated in the wrestling match, but with a result different
+from that hoped for by Oliver, thus leaving Oliver's hatred still
+present as a cause of action. Out of the wrestling match what further
+passional and emotional causes of action are set up? Duke Frederick's
+hatred for Orlando is aroused because he learns he is the son of a man
+he had considered his enemy, and action against him is the immediate
+result. Orlando is warned by Le Beau that he is not safe at the court.
+The Duke's hatred of his brother bears further fruit in its extension
+to Rosalind. The meeting of Rosalind and Orlando brought about by the
+wrestling match gives rise to a fresh emotional force in their budding
+love for each other. In Sc. iii., the state of Rosalind's heart as to
+Orlando, hinted at in sc. ii., is fully revealed; the Duke's hatred
+takes shape in his sentence of banishment or death, giving rise to a
+new direction for action, and the emotion of Celia's love for Rosalind
+bears fruit in her determination to go with Rosalind into banishment.
+
+
+II
+
+LIFE IN THE FOREST OF ARDEN
+
+In Act II. how are the elements of action, character delineation and
+emotion intermingled?
+
+Sc. i. gives us a picture of the banished Duke and his followers in
+the Forest of Arden, already prepared for in Act I., introduces us to
+the personality of the Duke, and in the conversation with the lords
+prepares us for coming delights in the personality of Jaques. It does
+not advance the action, at all. In sc. ii., the result of Celia's act
+in going with Rosalind is shown in the bad Duke's consternation, who
+determines that they shall be found, thus starting another thread of
+action to be developed later. Sc. iii. the passional cause of action
+in Oliver's hatred of Orlando reaches a crisis; Orlando is obliged to
+flee to save himself from death. Sc. iv. shows Celia and Rosalind
+arrived at their journey's end in the Forest of Arden, and making
+arrangements with a shepherd for a comfortable little house to
+rusticate in; thus is closed the thread of action started by the Duke
+in banishing Rosalind. In the conversation of their new companions,
+Corin and Silvius, we learn of the love of Silvius for the scornful
+Phebe, which is another emotional impulse to action, later blending
+itself with the plot. In sc. v. we meet Jaques, already mentioned, and
+get another glimpse of the pleasant company in the forest, but they
+are still quite detached from the active elements of the play. Sc. vi.
+shows us how far Orlando and Adam have gone in their flight, and sc.
+vii. presents again the good Duke's court, develops further the
+personality of Jaques, and prepares us, through his conversation about
+the fool whom he had met in the forest, for the contact of one of the
+threads of action with the element of inaction represented by this
+good Duke's forest court, while in the sudden breaking in upon them of
+Orlando it is brought into contact with another of the threads of
+action.
+
+
+III
+
+LOVE IN THE FOREST OF ARDEN
+
+At the opening of Act III. what results have been brought about by the
+action so far? Everybody in the play except Oliver and the bad Duke
+has arrived in the Forest of Arden. In sc. i. of Act III. the hatred
+of the Duke is still active as a force, and Oliver through this means
+is also sent off to finally bring up in the Forest of Arden. The
+Duke's attitude as a motive force having worked itself out in its
+relation to Orlando and Rosalind, the emotional cause of action in the
+love of Rosalind and Orlando is free to develop, and the remainder of
+Act III. is devoted chiefly to the presentation of the situation
+between the lovers, which, owing to the disguise assumed by Rosalind,
+gives rise to the charming inconsistencies attending the wooing of a
+proxy Rosalind who is in reality Rosalind herself. Around these
+central lovers, whose characters Shakespeare unfolds, revolve other
+interesting personalities. Touchstone meets his fate in Audrey. Phebe
+still scorns Corin and perversely falls in love with Ganymede. The
+action is only advanced to the extent that Rosalind learns the state
+of Orlando's mind while he still remains in ignorance as to hers.
+
+
+IV
+
+HATRED BECOMES LOVE IN ARDEN
+
+Are there any fresh elements or developments in Act IV.?
+
+Sc. i. merely continues the love-making of Act III. Sc. ii. gives
+another glimpse of the good Duke's court; in sc. iii. the love of
+Phebe bears fruit in a letter to Ganymede, and Oliver finds his way to
+the forest. The bad Duke's intentions toward Orlando in sending Oliver
+after him are, however, frustrated by the sudden change of heart
+against a bad Duke is a good Duke. Contrast their actions throughout
+the play. Contrast also the two brothers, Orlando and Oliver. What are
+the resemblances between the characters of Oliver and Duke
+Frederick?--between Orlando and the banished Duke? Is Orlando's
+rebellion against his brother's injustice or the banished Duke's
+acceptance of _his_ brother's injustice the more to be praised?
+Compare his attitude with that of Prospero under similar
+circumstances. Whose repentance is the more sincere, Oliver's or Duke
+Frederick's? Note that Oliver has lost all when he repents, while the
+Duke gives up everything just as he is about to realize his aim. Is
+the repentance of the usurping Duke merely a _ruse_ of Shakespeare's
+to bring the play to a happy ending? In Lodge's story he does not
+repent, but is proceeded against by his brother. Contrast Jaques and
+Touchstone. Is Jaques's melancholy affected? What is the main
+difference between Rosalind and Celia? Which is the more the friend of
+the other? (For valuable suggestions on these points see 'Characters
+in "As You Like It,"' _Poet-lore_, Vol. IV. pp. 31 and 81, Jan. and
+Feb., 1892.)
+
+QUERIES FOR DISCUSSION
+
+Which is the better philosopher, Jaques or Touchstone, and which is
+more closely related to the philosophy of the play?
+
+The characters of the two Dukes are not developed; they are merely
+walking gentlemen, whose office it is to keep the play in motion.
+
+2. The Lovers of the Play.
+
+The Different Kinds of Love in 'As You Like It.' Examples of love at
+first sight in Shakespeare. Note Orlando's surprise at the suddenness
+of Oliver's and Celia's love. Was his own less sudden? Consider
+Hymen's song and Jaques's remarks in the last scene as descriptive of
+the various couples. Does the comic element of the play, as
+represented by Touchstone, discredit sentiment in the play? Notice the
+madrigal in Lodge's novel (given in _Poet-lore_, Vol. III., in the
+article on Lodge, Dec, 1891), and consider whether Shakespeare has
+borrowed anything from it in characterizing Rosalind's wooing?
+Contrast Lodge's Montanus as a lover with Shakespeare's Silvius. Is
+Montanus too much of a "tame snake" to be natural? Or does this
+constancy in love make him a superior figure? Is it a sign of
+Silvius's inferiority that love has its own way with him? Can love be
+true that changes if it is unrequited?
+
+Are those actors right, do you think, who play Oliver as guessing who
+Ganymede is when she swoons? Is Rosalind's conduct unwomanly? Is her
+disguise unlikely?
+
+QUERIES FOR DISCUSSION
+
+It is best for the man to love the most; and therefore has Silvius and
+Phebe's unequal love-match a better chance for happiness than
+Rosalind's and Orlando's?
+
+
+VII
+
+THE PASTORAL ELOPMENT
+
+The Rise of Pastoral Poetry, and Shakespeare's Use of it in 'As You
+Like It.'
+
+Compare Spenser's 'Shepherd's Calendar,' Fletcher's 'Faithful
+Shepherdess,' etc. Point out any differences you find between
+Shakespeare's and Spenser's pastoral poetry. Modern literary use of
+the pastoral element, Wordsworth's 'Michael.' Is the pastoral life of
+literature always artificial? Can a progress toward realism be shown?
+The humor of the play. Discuss in particular the humorous comments on
+contrasts between court and country life. Compare modern instances of
+the refinements and artifices of city life and the crudeness of work
+and pleasure in the country.
+
+_Special Points_.--1. The Forest of Arden: Is it in England, France,
+or Shakespeare's imagination? 2. "Old Robin Hood of England." What are
+the legends concerning him? 3. The archaic words in the play. (See
+Prof. Sinclair Korner's 'Shakespeare's Inheritance from the Fourteenth
+Century,' in _Poet-lore_, Vol. II., p. 410, Aug., 1890.)
+
+QUERY FOR DISCUSSION
+
+Is the opposition shown in the play between life at court and in the
+country truly shown to be to the advantage of the country.
+
+
+VIII
+
+THE MORAL ELEMENT
+
+The moral side of the Play consists, according to the Introduction in
+the First Folio Edition, in its persuasion toward an Arden of the
+disposition, or a spirit of happy good will toward all men. How far
+does this cover the lesson of the Play?
+
+What is to be thought of the idea in the 'Ethics of "As You Like It"'
+(_Poet-lore_, Vol. III., p. 498, Oct., 1891), that Touchstone's
+opinion of a shepherd's life (III. ii.) is the key-note of the play?
+Are the references to fortune in the play significant? Dr. F.J.
+Furnivall says: "What we most prize is misfortune borne with cheery
+mind, the sun of man's spirit shining through and dispersing the
+clouds which try to shade it. This is the spirit of the play." Of this
+Dr. Ingleby says: "The moral of the play is much more concrete than
+this. It is not how to bear misfortune with a cheery mind, but _how to
+read_ the lessons in the vicissitudes of physical nature." C.A.
+Wurtzburg says: "The deep truths that may be gathered from the play
+are the innate dignity of the human spirit, before which every
+conventionality of birth, rank, education, even of natural ties, must
+give way." Give arguments drawn from the play in favor of or against
+all of these suggestions. Is it an evidence of Shakespeare's intention
+to be a moral teacher that he altered the fate of Duke Frederick?
+
+QUERY FOR DISCUSSION
+
+Has the play any moral that is not gently satirized in it?
+
+
+IX
+
+THE SOURCE OF THE PLOT
+
+Shakespeare's Variations from Lodge.
+
+Compare Lodge's 'Rosalind' with 'As You Like It.'
+
+(For this story, see "Shakespeare's Library" or Extracts in Notes and
+Comment in Sources in "First Folio Edition").
+
+Is the story better without the parts Shakespeare leaves out (_e. g._,
+Adam's proposal to Rosader to cut his veins and suck the blood; his
+nose-bleed; the incident of the robbers accounting for Aliena's sudden
+love, etc.)? Why is the "Green and gilded snake" added? Isn't the
+"lioness" enough? Is Rosader or Orlando the finer character, and why?
+The new characters introduced--Audrey and William--considered as
+embodying real instead of ideal pastoral life. Do Shakespeare's
+changes affect the plot, the characters, or the moral of the story?
+(For an examination of the plot of the play, see 'An Inductive Study
+of "As You Like It,"' in _Poet-lore_, Vol. III., p. 341.)
+
+A Sketch of Lodge's Life and Work. (See 'An Elizabethan Lyrist: Thomas
+Lodge,' in _Poet-lore_, Vol. III., p. 593, Dec, 1891.)
+
+QUERY FOR DISCUSSION
+
+Is Shakespeare's framing of the plot of 'As You Like It' not to be
+admired, because it is borrowed?
+
+
+X
+
+THE MUSIC OF THE PLAY
+
+This may consist of a brief paper on the subject illustrated by a
+program of the songs with the old and more modern settings. (See New
+Shakespeare Society's Papers, on this subject; 'Shakespeare and
+Music,' by E.W. Naylor.)
+
+
+
+
+TWELFE NIGHT
+
+
+The winsomeness of this poetic comedy rightly makes the reader or the
+hearer hesitate to count its petals or scrutinize the stages of its
+growth, which are marked by its acts as symmetrically as leaf buds are
+ranged about a stalk. And yet, one may find that to take note of such
+beautiful orderliness in the delicate structure and sprightly
+blossoming of the poet's design enhances the appreciation of its
+artistic quality. Regarding it first as a whole, sum up the stages of
+the action, first; then the caprices its allusions denote; then the
+characters; and finally the poetic fancy and wit exhaled by the whole
+play like a fragrance.
+
+
+I
+
+THE STORY OF THE PLAY
+
+Act I. scene i. puts us in possession of what facts concerning the
+Duke and Olivia? What do we learn from the conversation of Viola and
+the Captain in scene ii., and what course does Viola decide upon? What
+do we discover from scene iii. in regard to the state of things in
+Olivia's household? In scene iv., what relation has been established
+between the Duke and Viola? What three new characters are introduced
+in scene v., and what is the event of the scene? Act II. scene i.:
+What is learned of Sebastian and his intentions? In scene ii., what
+are shown to be the feelings of Olivia? In what previous scene was
+this prepared for? Does scene iii. advance the story at all? What is
+it taken up with? Does scene iv. advance the story? Of what scene is
+it almost a repetition? If it does not advance the action, what does
+it do? Of what previous scene is scene v. the result? What previous
+scene leads up to scene i. of Act III? and of what scene is it in
+purpose a repetition? What new turn is given to affairs in scene ii.,
+and through whom is it brought about? Whose doings do we get a glimpse
+of in scene iii? Of whose plot do we see further developments in scene
+iv? What other issues in the progress of events come to a climax in
+this Act? Act IV. scene i.: Describe the complication of affairs which
+arises in this scene. What previous scenes do we see the result of in
+scene ii? and what happens that will bring about a change in the
+situation? What important event occurs in this scene iii? Act V. scene
+i.: Describe how in this scene all the complications are unravelled,
+and by what means all the characters are brought upon the stage. What
+do you think of the device to call Malvolio upon the stage? Does it
+not seem rather clumsy, or do you think it a further humorous touch
+that Viola should have to depend on Malvolio to find her 'woman's
+weeds again'?
+
+What becomes evident after tracing the events of the play through in
+this way? That the interest of the play does not depend so much upon
+the story itself, as, first, upon the amusing situations resultant
+from the story, and, second, upon the scenes which introduce the
+characters in Olivia's household who are really not at all concerned
+in the development of the plot, but who are the occasion of many added
+amusing situations.
+
+What constitutes the real interest of the two short scenes between
+Sebastian and Antonio? Their bearing, mainly, on scene iv. of Act III.
+By means of them we are shown that Antonio has an enemy in Orsino, and
+thus his arrest is prepared for, also how Antonio gives his purse to
+Sebastian, the real purpose of the arrest being to bring about a
+reason for Antonio's requiring his purse again from Cesario, whom he
+takes for Sebastian, and so to add complication to the situation
+arising from the resemblance between the brother and sister.
+
+What are the situations which the story gives Shakespeare a chance to
+develop? On the one hand, is the Duke pouring out his love for another
+woman to his supposed page, who is in love with him, and thus giving
+rise to the series of scenes between the Duke and Viola. On the other
+hand, is the supposed page pressing his master's suit to a woman who
+loves the supposed page, and thus giving rise to the series of scenes
+between Viola and Olivia. Out of this love of Olivia for Viola grows
+the absurd situation of Viola's being obliged to fight a duel, which
+is made still more ridiculous through the circumstance of her
+challenger being a fool. Out of Viola's resemblance to her brother and
+her disguise grows the absurd situation of Olivia's claiming her as a
+husband, and that of Sir Andrew taking for his unwilling duellist the
+all-too-willing Sebastian.
+
+To these situations which naturally result from the story, Shakespeare
+has added in Olivia's household a set of characters whose personality
+is such that amusing situations are multiplied. Thus we may say that
+the play is one of situation rather than of action, since whatever of
+action there is in it leads to situation, and whatever of character
+there is in it leads also to situation.
+
+QUERIES FOR DISCUSSION
+
+1. If attention is constantly given to creating humorous situations,
+will character-development necessarily suffer? 2. Do you agree with
+the Shakespearian critic Verplanck that this play bears no indication
+either of an original groundwork of incident, afterwards enriched by
+the additions of a fuller mind, or of thoughts, situations, and
+characters accidentally suggested, or growing unexpectedly out of the
+story, as the author proceeded?
+
+
+II
+
+THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY
+
+Pick out and explain the curious allusions in the play, noticing that
+these may be classed as geographical, mythological, astrological, or
+referable to persons or customs of the time, or books of the day. For
+examples of the latter class, note Sir Toby's 'diluculo surgere' (II.
+iii.), for 'Saluberrimum est dilucolu surgere,' an adage from Lilly's
+Grammar, doubtless one of Shakespeare's text-books at the Edward VI.
+School in Stratford; and Viola's 'Some Mollification for your giant
+sweet lady' (I. v.),--an allusion to the innumerable romances whose
+fair ladies are guarded by giants; for Maria, being very small, Viola
+ironically calls her giant, and asks Olivia to pacify her because she
+has opposed her message. (For Shakespeare's education and
+school-books, see Bayne's remarks on this subject in Brit. Encyc. art.
+Shakespeare.) The whole incident of the 'possession' of Malvolio, and
+the visit of Sir Topas, probably alludes to a tract published in 1599
+by Dr. Harsnett,--'A Discovery of the Fraudulent Practices of John
+Darrel,'--in which is narrated how the Starkeys' children were
+possessed by a demon, and how the Puritan minister, Mr. Darrel, was
+concerned in it. For examples of allusions to contemporary customs,
+see Sir Toby's mention of dances no longer known,--'Galliard,'
+'Coranto,' etc. As an example of allusions to persons of that time,
+Sir Toby's reference to 'Mistress Mall's picture,'--Mary Frith, born
+in 1584, died in 1659, a notorious woman who used to go about in man's
+clothing and was the target for much abuse. Astrological allusions:
+'Were we not born under Taurus?' 'That's sides and hearts,' which
+refers to the medical astrology still preserved in patent-medicine
+almanacs, where the figure of a man has his various parts named by the
+signs of the Zodiac. 'Diana's lip' (I. iv.), ('Arion on the Dolphin's
+back' I. ii.), are examples of mythological allusions. Of the
+geographical allusions there are two kinds, the real and the
+sportive,--Illyria, an example of the one, the 'Vapians' and the
+'Equinoctial of Queubus,' of the other. Go on through the play
+classifying and commenting on the allusions. What was a 'catch'? Give
+an example.
+
+QUERIES FOR DISCUSSION
+
+Are the odd allusions in the play a result of the corrupt text,
+ignorance, ridicule of learning? Or are they introduced to give a
+lively and contemporaneous effect?
+
+
+III
+
+THE DUKE AND SEBASTIAN
+
+How does the play set off these two lovers against each other? Which
+has the more constant nature? Note the evidences of the Duke's
+restlessness and changeableness; how soon he tires of the music he
+calls for, of the clown's song (II. iv.). Is his first speech to
+Viola, on woman's constancy before the song, consistent with his
+second, after it? Is his own report of himself true,--'Unstaid and
+skittish in all motions else Save in the constant image of the one
+beloved'? Is Olivia's unattainableness the main source of her
+desirableness for him? How is it with Sebastian? Does his loyalty in
+love seem to be of the sort that suffers impairment when he can win
+love easily? The Duke craves excess in music in order that his
+'appetite may sicken and so die;' Sebastian wishes 'to steep his soul
+in Lethe.' Do you think Sebastian and Viola alike in more than
+appearance? Which is the quicker-witted? Is the Duke's amicable
+acceptance of the inevitable and transference of his love to Viola in
+keeping with his character? Do you think Viola shows promise of
+special facility for preventing the moody Duke from tiring of her?
+Note that he calls her his 'fancy's queen.'
+
+QUERY FOR DISCUSSION
+
+Is the Duke important chiefly as the inspirer of Viola's devoted love?
+
+
+IV
+
+VIOLA AND OLIVIA
+
+In what respects are the situations of Viola and Olivia alike? When
+the play opens, both are mourning the loss of a brother, and while
+this is made to point out the individuality of Olivia, after the first
+few lines we hear little more of Viola's grief. Can you suggest any
+reason for this? Does Viola's love for the Duke absorb her any more
+than Olivia's love absorbs her when she comes to feel the same? Viola
+and Olivia are also alike in giving their love without solicitation;
+but Olivia woos directly, Viola, in disguise, implies her love, and
+though her innuendoes are all understood by the audience, they are
+unappreciated by the Duke. What justification can be made for the
+unblushing love-making of Olivia? It could be justified by her rank,
+which was so much higher than that of the supposed page that advances
+should come from her. What signs are there that Viola's love was
+superior to Olivia's? Olivia's seems to have been founded on external
+liking, else she would not have been as satisfied with Sebastian as
+with Cesario; while Viola's, though it may have had no deeper
+foundation, was signalized by unselfishness, for she used every
+eloquent art of which she was capable to urge her master's suit.
+Notice in the first scene between Viola and the Duke how she tries to
+get out of going to Olivia, doubting her own ability, etc. Do you
+think she really doubted it, or that it was difficult for her on
+account of her own love for the Duke? Notice in the scene with Olivia
+her woman's anxiety to see her rival's face. What do you think
+instigated her remark, 'Excellently done, if God did all.' Was it a
+sudden touch of jealousy? It was clearly not the proper thing for an
+ambassador pressing his master's suit to say. How is it with the rest
+of the interview? Is her sarcastic tone judicious? Does it pique the
+nonchalant Olivia? Does her eloquence later, when she is assured of
+Olivia's obstinacy, reflect her own feelings for the Duke? What effect
+does it have on Olivia? Is it well-calculated to arouse her interest?
+In Act II. scene iv., which do you think had the right conception of
+woman's love,--the Duke or Cesario? What do you think of Olivia's
+saying that 'Love sought is good, but given unsought is better'? Which
+of the two characters show the more humor? Notice Viola's readiness in
+parrying questions that trench upon her sex. Olivia, on the other
+hand, can hold her own in a bout of wit with the fool, but she is
+perhaps not so quick-witted as Viola. We can imagine Viola at once
+seeing through Malvolio's attempt at pleasing Olivia, instead of
+taking him for mad, as Olivia did.
+
+QUERY FOR DISCUSSION
+
+Which is the best lover, the Duke, Sebastian, Olivia, or Viola?
+
+
+
+V
+
+SIR TOBY AND MARIA, AND THEIR BUTTS OR DUPES
+
+Show how the droll situations of the play are mainly contrived by some
+of the characters in order to make others their laughing-stocks. Who
+are Sir Toby's butts? Is Sir Toby attached to Sir Andrew, or does he
+only make use of him for profit as well as fun? (See Sir Toby's reply
+to Fabian (III. iii.)). Other instances to the same effect? Why does
+Maria join forces with Sir Toby? Is she in fact the leader of the
+scheme, or is Fabian's story of its origin true? What part does the
+fool play in the game, and why? Note his private grudge against
+Malvolio. Is it a dramatic mistake that even the heroine is made the
+butt of these merry-makers? Trace Fabian's part in the duelling plot
+against Sir Andrew and Viola. Do these plots recoil in any way against
+the plotters? Sir Toby and Sir Andrew both get some home-truths from
+Malvolio while they are eavesdropping, while for Fabian and Maria
+these thrusts of Malvolio's are just as good fun as that which the
+knights enjoy better. How does some of the later fun recoil against
+Toby and Sir Andrew? Are the Puritans made fun of in Malvolio's
+person?
+
+QUERY FOR DISCUSSION
+
+Are the characters least scathed by the fun for that reason superior
+to the others?
+
+
+VI
+
+MINOR CHARACTERS
+
+The fun of the play is capped by the presence of a particularly clever
+fool whose function of making every one the butt of his wit makes one
+of the least important of the characters represent the special
+drollery of the whole play. The only grudge he bears is against the
+man who does not appreciate fun--who calls him a 'barren rascal.'
+Describe the passages in which he particularly shines. Of the minor
+characters the fool is minor only through his station and unimportance
+in the plot; he really occupies much space in the play and in fact
+pervades it. How is Antonio connected with the plot? What traits of
+his does the play bring out? Is his fondness for Sebastian unnatural?
+How is he concerned in the foolery of the play? Is he necessary to the
+plot? As the fool represents the merry-making spirit of the play, so
+Malvolio stands for the dupes of it. Does any one sympathize with him?
+Who shows the clearest understanding of his faults? (I. v.). What
+signs are there in the play of Malvolio's being a Puritan? Is there
+any evidence against it? Is Maria right, for example, when she says,
+'The Devil a Puritan he is or anything constantly but a time-server,'
+etc.? That the character of Malvolio was generally taken on the stage
+as a portrait of the Puritan, and that Shakespeare must have known it
+would borrow some of its popularity from being so considered, seems
+not to be denied; on the other hand, it may hardly seem to be proven
+that Shakespeare thought he was drawing a genuine Puritan. Show
+Malvolio's character, his connection with the other characters and
+with the plot and the foolery of the play, and state the argument for
+and against Shakespeare's meaning to make fun of him as a Puritan.
+
+QUERIES FOR DISCUSSION
+
+Is it a defect in the play that the fool, who has less to do with the
+plot, is more important than Antonio, who has somewhat more to do with
+it? Does it show that the main interest of the play is in comic
+situation rather than in character or dramatic motive?
+
+
+VII
+
+THE POETIC FIGURES IN THE PLAY
+
+Observe the various figures used throughout the play, as to whether
+they are drawn from nature or from other sources; for example, the
+first speech of the Duke bristles with metaphor. Note that he speaks
+of music as the _food_ of love, and bids the musicians play on that
+the _appetite_ may have a _surfeit_, images drawn from physical
+nature; then that the music came o'er his ear _like_ the _sweet sound_
+that _breathes_ upon a bank of violets, _stealing_ and _giving_ odor.
+We should expect here some continuation in the language of sound; but
+the Duke continues as if he had said _wind_ instead of sound, and then
+wind is personified, for it _breathes_ instead of _blows_ on the bank
+of violets, and it steals their odor and gives it to him,--the music
+is so sweet that it seems as if its sounds came laden with the scent
+of violets to his ear. Here sound is personified at first as merely
+breathing, then it takes on moral attributes and steals and gives.
+Pick out and explain other figures in the same way. Which of the
+characters use the most beautiful imagery? Are there any who use none
+at all?
+
+QUERIES FOR DISCUSSION
+
+Is there any special fitness in the imagery used to the character
+using it? Does the imagery used help you to form an opinion of the
+characters?
+
+
+VIII
+
+THE WIT OF THE PLAY
+
+What are the main causes of amusement in the play? The audience,
+notice, is not kept in the dark one instant about any of the
+characters. Thus one of the sources of amusement lies in the fact that
+while the audience occupies somewhat the attitude of omnipotence, it
+has the pleasure of observing the characters of the play living their
+lives in the purblind way usual to mortals. Lessing said that a comedy
+should make us laugh at vices, but the vices must be those of
+characters who have good qualities also. Does 'Twelfe Night' answer to
+this description? Analyze the causes why the fun of the play is funny.
+
+QUERIES FOR DISCUSSION
+
+Which of the characters cause amusement as the result of circumstances
+over which they have no control? How do each of these cause amusement
+unconsciously? Which of the characters cause amusement through a
+conscious intention of making fun?
+
+
+
+
+THE TEMPEST
+
+
+Until a few years ago no one had succeeded in finding the Play or
+Novel on which the European part of the plot of "The Tempest" was
+founded.
+
+An early German Play, "The Fair Sidea" had been brought forward on
+account of some resemblances to "The Tempest." Yet it is obviously not
+its source but rather an imitation or variant indirectly drawn from a
+similar foundation story.
+
+Edmund Dorer, a special student of Spanish Literature first called
+attention (Jan. 31, 1885,) to the story more closely resembling "The
+Tempest" than any other, as it occurs in a collection of tales by
+Antonio de Eslava, called _Las Noches de Invierno_, or "Winter
+Nights," published in Madrid in 1609.
+
+Like other such collections of stories, such as the Italian collection
+of Bandello, and the French of Belleforest, used by Shakespeare,
+Eslava's collection was translated, and, in default of the original
+from one of the later editions, as translated into German in 1683
+(_Noches de Invierno Winternachte aus dem Spanischen in die Deutsche
+sprach versetzet_) a summary of this story was given in English for
+the first time as a satisfactory source of "The Tempest" in the "First
+Folio Edition" of the Play (see pp. 85-93 and Introduction; also for
+an extract and summary of "The Fair Sidea," pp. 94-95).
+
+What may be called the American half of the plot evidently owes
+suggestions to pamphlet accounts of the storm and wreck and other
+experiences met with by Sir Thomas Gates, Sir George Sommers and
+others during their voyage of discovery to the Bermudas in 1610 (see
+pp. 92, 99, and Notes pp. 114, 125-127, etc., for extracts.)
+
+Gonzalo's speech, too, follows pretty closely a passage in Florio's
+Montaigue. (For this passage see Note on II. i. 153-160).
+
+
+ACT I
+
+THE SCHEMES OF PROSPERO.
+
+The first scene shows the storm in progress. Is there any clew given
+to the reader that it is a magic tempest? What is Prospero's main
+object in having the ship's crew and passengers cast upon his island?
+Is it to wreak vengeance on his enemies, to work the charm of love
+between Ferdinand and Miranda, or by means of that to reinstate
+himself? In what way would this love work to his advantage? Notice the
+natural way in which the reader is put in possession of the necessary
+information about the past of Prospero and Miranda. Warburton says of
+this that it is the finest example he knows of retrospective narration
+for the sake of informing the audience of the plot. How much of the
+plot is permitted to come out in this act? Why does Prospero so
+repeatedly urge Miranda's attention? Is she abstracted, is he, or is
+she already beginning to be drowsy? Why was Ferdinand the first to
+quit the ship? Since Prospero already knows, why does he ask Ariel
+what time it is?
+
+POINTS. 1. Explain the nautical terms. 'Master's whistle.' In
+Shakespeare's time naval commanders wore great whistles of gold. A
+modern boatswain's badge is a silver whistle suspended to the neck by
+a lanyard. Holt extols the excellence of Shakespeare's sea-terms, but
+makes an exception of Gonzalo's 'cable,' which he says is of no use
+unless the ship is at anchor, and here it is plainly sailing; to which
+Furness replies, Shakespeare anchors Gonzalo's hopes on the
+boatswain's 'gallows complexion,' and the cable of that anchor was the
+hangman's rope. 2. 'Washing of ten tides.' An allusion to the custom
+of hanging pirates at low-water mark. (See Notes I. i. 67 First Folio
+Edition). 3. Compare this storm with that in 'Pericles,'--'Do not
+assist the storm,' etc., with 'Per.' III. i. 51-60. 4. Explain 'To
+trash for over-topping,' I. ii. 98, which is a blending of two
+metaphors. Trash refers to the habit of hanging a weight round the
+neck of the fleetest of a pack of hounds, to keep him from getting
+ahead of the rest; and 'overtopping' to trees shooting up above the
+others in a grove, which have to be lopped to keep them even. 5. What
+does Prospero mean by saying, 'Now I arise'? Simply, now I get up, and
+now my fortunes change? 6. 'Still vex'd Bermoothes.' Bermudas, spelled
+in several ways in Shakespeare's time, and called 'still vex'd,' from
+accounts of tempests prevailing there. 7. 'Argier.' The name of
+Algiers till after the Restoration. 8. 'One thing she did.' What? Are
+we anywhere told what?
+
+QUERIES FOR DISCUSSION
+
+Does the long monologue of Prospero in this act detract from its
+dramatic force? Did the arrangement of Shakespeare's stage make this
+convenient. (See description of the threefold stage of the Globe
+Theatre in "Anthonie and Cleopatra," pp. 172-173). Is the monologue
+rightly disused in modern plays? Why? Compare Ibsen's plays in this
+respect.
+
+
+ACT II
+
+THE COUNTERPLOT
+
+Tell the story of Act II, showing how its main event is the conspiracy
+of Antonio and Sebastian against Alonzo and Gonzalo. Is the issue left
+undecided long, so that it threatens the result? How and why does
+Ariel prevent the success of it? Might it not have been to Prospero's
+advantage to have the King killed, since Ferdinand would then succeed
+to the throne of Naples? Did Ariel's intervention kill the plot? What
+light is thrown on the characters by scene i. of this act? Do you
+think it is intended to be shown that Gonzalo is prosy and tiresome,
+although good, or only that the lower and more frivolous characters
+find him so? Which is the likelier, that Shakespeare intended the
+dialogue about Gonzalo's ideal commonwealth to be a satire upon it, or
+favorable to Utopian schemes? Which comes out the better at last in
+the wit-combat,--the quick Antonio and Sebastian, or the thoughtful
+Gonzalo? Is Sebastian's solicitude about Claribel a sign of a kindlier
+nature than Antonio's? Are there any indications that Antonio's mind
+is more alert than Sebastian's? What purposes of the action or plot
+are served by the introduction of Claribel? Is the King's grief as
+great for the daughter as for the son? How does his paternal affection
+compare with Prospero's? Compare Antonio's speech, suggesting the
+murder to Sebastian, with similar speeches in Shakespeare (Macbeth's,
+King John's, Oliver's in 'As You Like It,' Claudius' in 'Hamlet'). In
+the second scene of this act, how far is a second counter-plot
+foreshadowed?
+
+POINTS. 1. The jokes of Act II: their explanation (_i.e._, 'dollar'
+and 'dolour,' the 'eye of green,' etc.). 2. When were watches first
+used in Europe? 3. Tell the story of AEneas and Dido. 4. What myth is
+alluded to in 'his word is more than the miraculous harp'? 5.
+Gonzalo's Commonwealth--its origin from Montaigne. It is commonly
+supposed that Shakespeare must have borrowed this reference from the
+translation. He may have taken it directly from the French. 6. Show
+the bearing of Sebastian's phrase, 'I am standing water,' with its
+context. (That is, at the turn of the tide between ebb and full.) 7.
+'The man i' the moon,' and the folk-lore about it. 8. Natural history
+on the island. (_Poet-Lore_, April, 1894. Notes and News).
+
+QUERY FOR DISCUSSION
+
+Is it a defect in the action of the play that the danger arising from
+the most important counter-plot is allayed so soon?
+
+
+ACT III
+
+NEW PLOTS AGAINST PROSPERO
+
+What new turns are given events in Act III? Scene i continues
+Ferdinand's love-making, and shows no hinddrances there to Prospero's
+plans; but scene ii develops Caliban's plot, and scene iii shows
+Sebastian and Antonio making ready to carry out the purpose which had
+at first been defeated. Give an account of the scene in Act II which
+leads up to this plot in connection with its sequel in this act. Ariel
+is baffled in his attempts to breed contention between the
+conspirators by Trinculo's good nature, but finally he leads them off
+with his music. Scene iii represents Alonzo and his courtiers
+bewildered and tired by their fruitless tramps through the island, and
+in just the temper to be confused by the dumb-show and the harpies.
+Note the dependence placed, throughout 'The Tempest,' on the effect of
+'solemn and strange music.' Antonio's plot, being resumed, is blocked
+by Ariel's magic show and his accusation. Note how the supernatural
+quality of the scene makes his speech affect their consciences as if
+they were themselves accusing themselves, and how it drives them into
+mental disorder. Dr. Bucknill, a specialist in brain disease, who has
+commented on Shakespeare's knowledge of such maladies, explains that
+Alonzo's frenzy leads him by an imaginative melancholy to the idea of
+suicide, while the madness of Antonio and Sebastian expresses itself
+in the idea of desperate fight.
+
+POINTS. 1. What is a 'catch,' a 'tabor'? Give an account  of the music
+in the play, and show the fitness of its different effects on the
+different characters. 2. Explain the allusions, 'unicorns,' 'one tree,
+the Phoenix throne,' 'mountaineers,' with 'wallets of flesh,' etc. 3.
+What is a harpy? Give an account of the mention of harpies in Virgil
+(AEneid, Book III), and 'Paradise Regained' (Book II). What
+appropriateness to the purpose in this 'quaint device'?
+
+QUERY FOR DISCUSSION
+
+Do the counter-plots introduced in this act mainly affect events or
+character?
+
+
+ACT IV
+
+THE CONFUSION OF THE PLOTTERS
+
+Show how the story of Act IV consists in the smoothing down of all
+that disturbs Prospero's designs, and foreshadows the complete
+reconciliation of the last act. The lovers, whose readiness to fall in
+with Prospero's plan has made his task light so far as they are
+concerned, could only imperil his and their future by a premature
+union; and Ferdinand, having stood the test of hard work, is now
+induced, by an awed and holy mood, produced by art, to keep his good
+resolutions. Describe the mask, and show its meaning and fitness for
+Prospero's purposes. Why is Prospero so disturbed at the reminder of
+so paltry a plot as that of Caliban and his associates? Is it likely
+that these drunken fellows could frame any plot that would be but as
+gossamer before his art? Is it natural that so low a creature as
+Caliban should show more intelligence than Stephano and Trinculo in
+disregarding Ariel's 'stale' set to catch them? How do you explain his
+superior caution? Describe the device employed by Prospero and Ariel
+to rout these plotters. Would it be effective on an English stage?
+
+POINTS. 1. Explanation of classical allusions. 'Hymen's lamps,'
+'Phoebus' steeds,' Ceres, Iris, Juno, etc.; 'dusky Dis,' 'Paphos,'
+etc. 2. The botany of Act IV. What is 'stover,' 'furze,' gorse? 3. Was
+Prospero's 'line' a lime-tree or a clothes-line? 4. Explanation of the
+jokes of the act. 5. Natural history on the island again: the 'blind
+mole,' 'barnacles,' 'apes,' 'pard,' etc.
+
+QUERY FOR DISCUSSION
+
+Why is the punishment devised for the lesser plotters corporal and for
+the greater ones psychical?
+
+
+ACT V
+
+PROSPERO'S TRIUMPH
+
+Sum up the results consummated by Prospero's magic. Note Gonzalo's
+account of the play, and show the ethical results, and Ariel's part in
+Prospero's course of reconciliation. Explain how, if Prospero had
+regained his dukedom, and yet, if 'all of us,' as Gonzalo says, had
+not _found ourselves_, the triumph would have been material, not
+ethical. Show how this effect is enhanced by the plan to awaken dismay
+and remorse in the minds of the evil-doers and how the climax in
+Prospero's triumph is reached by the victory wrought in his own mind
+when he determines to take part with his 'nobler reason 'gainst his
+fury' in order to restore his enemies to themselves. What indications
+are there in the play that Prospero was high-strung and spirited,--a
+revenge-loving Italian? Trace the effects of remorse on each of the
+ill-doers. Is there any reason to suppose that Antonio, Stephano, or
+Trinculo are repentant? Is it out of character for Caliban to be?
+
+POINTS. 1. The 'Faerie' of the play. Compare with that of 'Midsummer
+Night's Dream.' (See 'Fairy-lore of Midsummer Night's Dream,' _Poet
+Lore_, Vol. III, p. 177, April, 1891.) Victor Hugo notes the contrast
+as follows: '"Midsummer Night's Dream" depicts the action of the
+invisible world on man; "The Tempest" symbolizes the action of man on
+the invisible world.' (See also the 'Supernatural in Shakespeare's
+"Midsummer Night's Dream."' in _Poet Lore_, Vol. V, p. 490, October,
+1893; in Shakespeare's 'Tempest,' p. 557, November, 1893.)
+
+2. The duration of the play. Explain how it follows the 'unities'; and
+in this connection show the probable equality of 'three glasses' to
+three hours, and Shakespeare's mistake. (Shakespeare's use of nautical
+terms, approved by all seamen, seems to be here at fault in supposing
+a 'glass' equal to one, instead of to a half, hour.)
+
+3. The game of chess and its pertinence here: Because so wise a father
+would have taught his daughter so intellectual a game; because Queen
+Elizabeth was fond of it, and it was _par excellence_ a 'royal game';
+or because Naples was the source and center of the chess _furore_ at
+just this time?
+
+4. Where is the scene of the 'Tempest' laid? Is the island real or
+unreal? (The main conjectures for a known place are Hunter's that it
+was Lampedusa, and Elze's that it was Pantelaria. Both argue that each
+island was so situated in the Mediterranean, between Milan or its port
+and Algiers, whence the sailors landed Sycorax, as to suit the
+requirements. Elze further urges the name of a town on the opposite
+African coast, Calibia, as suggesting Caliban's name. For an argument
+that the island is vaguely placed in the Mediterranean to suit the Old
+World plot and yet by many details made suggestive of the New World,
+see Introduction to 'The Tempest' in First Folio Edition.)
+
+5. The influence of the New World on the writing of 'The Tempest,' and
+all allusions traceable to it. (See Notes of same edition for extracts
+from pamphlets on America, etc.)
+
+QUERIES FOR DISCUSSION
+
+What constitutes the interest in 'The Tempest,'--character, dramatic
+situations, movements, plot, poetry, or moral purpose?
+
+
+VI
+
+CHARACTER STUDIES
+
+I. PROSPERO AND HIS SERVANTS
+
+With the first word Shakespeare introduces Prospero as one who can
+raise and calm such a tempest as scene i describes, and the magician
+admits the power Miranda ascribes to him. Show from the story what his
+plans and motives were likely to prove. Would a sense of his own
+former neglect of duty be likely to embitter him against his brother
+or make him excuse him? Does he show signs of either? Prospero's
+magic, his garment, books, staff. How far is his magic in accord with
+the popular notions of such art? (See 'Prospero and Magic,' _Poet
+Lore_, Vol. III, p. 144, March, 1891.)
+
+Show Ariel's qualities. What caused his first impatience? Is Prospero
+unnecessarily harsh and imperious with him? Aside from the popular
+supposition that spirits or familiars obeying magicians were always
+reluctant to serve longer than one hour (and, therefore, says Scot's
+'Discovery of Witchcraft,' 'the magician must be careful to dismiss
+him'), how can you explain this quarrel,--as a dramatic expedient
+giving occasion for telling Ariel's story, or revealing the characters
+of both Prospero and Ariel? Note, also, its further use in introducing
+Prospero's second servant, Caliban, and his story. How do you explain
+Ariel's irrelevant rejoinder: 'Yes, Caliban, her son'; and Prospero's
+angry, 'Dull thing, I say so,' etc.? Do you think Moulton right in
+supposing that Prospero governs 'this incarnation of caprice by
+outcapricing him'; Rolfe, in supposing that Prospero is irritable
+because under the strain and suspense of conducting affairs within
+three hours perfectly, and upon which accuracy hangs his future and
+the happiness of his daughter? This was also his only chance of
+retrieving his own past error.
+
+Contrast Ariel with Caliban. Show the skill of Caliban's first
+appearance as some slow-moving thing, half of water, half of earth, in
+contrast with Ariel's second appearance as a nymph. What may be
+learned of Caliban's traits from Miranda's speech (as in the Folio,
+but by various editors given to Prospero): 'Abhorred slave,' etc.? Do
+you think this speech should be given to Prospero? What signs are
+there of Caliban's having a good mind? Do you think Prospero's tyranny
+over Caliban altogether justified? Is Caliban's penitence consistent
+with his nature? How far does Ariel proceed independently of Prospero?
+Is he really fond of him?
+
+QUERIES FOR DISCUSSION
+
+Is there any bond of love between Prospero and his servants? Do the
+relations between them illustrate the impossibility of gratitude?
+
+2. THE LOVERS
+
+Is the love of Ferdinand and Miranda an enchantment caused by
+Prospero, or an emotion he can help, but not cause? If not caused by
+him, does Shakespeare depart from magic to the detriment of the play?
+Would it be better, for example, if a love philter was introduced for
+consistency's sake? (For literary use of the love philter, see
+Tennyson's 'Lucretius.') Does it reflect against Ferdinand's courage
+that he was first to quit the ship? Are Miranda's speeches about her
+grandmother (I, ii, 140) and to Caliban inconsistent with the maidenly
+innocence assumed to be characteristic of her? Do you consider her
+talk with Ferdinand (III, i) in character? Is she undutiful to her
+father? Unmaidenly in her speedy declaration of love (III, i, 67, 89,
+94-106, 110)? Should she be represented as ignorant or innocent of the
+world, or as in love? Describe the characters and relations to each
+other of the lovers from all that is given about them. Compare with
+Florizel and Perdita in 'The Winter's Tale.'
+
+QUERIES FOR DISCUSSION
+
+Are Miranda and Ferdinand undeveloped characters whose relation to
+each other is more important to the play than they themselves are?
+
+3. THE MINOR CHARACTERS
+
+Which is the most important of the lesser characters and why? Is
+Gonzalo blamable at all under the circumstances for following the
+command to turn Prospero and Miranda adrift? Why is Gonzalo of better
+cheer than his companions? What do you think of his philosophy in
+itself and as an index to his character? Is his knowledge superior to
+that of his companions? Does he suspect the evil intent of Antonio and
+Sebastian? Show how his frankness and loyalty came out in Act III, and
+how his uprightness is rewarded in Act V. Do you think it significant
+that he closes the play? Francisco considered as the least important
+personage in the play: should his speech describing Ferdinand's
+swimming be given to Gonzalo? The sailors considered as examples of
+Shakespeare's skill in outline portraits. Are Stephano and Trinculo
+more highly developed types than Caliban? Would the play be better if
+they were left out?
+
+QUERIES FOR DISCUSSION
+
+Is Gonzalo more like Polonius in 'Hamlet' or Rent in 'Lear'?
+
+
+VII
+
+A STUDY OF ARTISTIC DESIGN
+
+THE SYMBOLISM OF 'THE TEMPEST'
+
+Did Shakespeare typify himself as Prospero? Prospero (says Montegut)
+alludes to his own age, and intimates that the time has come for
+retirement to private life. What indications can you find that
+Prospero images Shakespeare? If he is so interpreted, what parts may
+Ariel and Caliban be supposed to play? Is the history of the Enchanted
+Island and the transformation wrought a parallel with the history of
+the Stage and the transformation Shakespeare wrought? According to
+Montegut, Caliban stands for Marlowe, Ariel for the English Genius
+which Shakespeare frees from its barbaric prison. Dowden ('Mind and
+Art of Shakespeare') fancies Prospero as the great artist lacking at
+first in practical faculty, cast out therefore from practical worldly
+success; but bearing with him Art in her infancy, the child Miranda,
+finds at last an enchanted country where his arts can work their
+magic, subduing the grosser appetites and passions (Caliban), and
+commanding the offices of the imaginative genius of poetry (Ariel). He
+supposes Ferdinand to be Shakespeare's heir as a playwright
+(Fletcher). Lowell ('Among my Books') considers that the characters do
+not illustrate a class of persons, but belong to universal
+nature,--Imagination embodied in Prospero; Fancy in Ariel; brute
+understanding in Caliban, who, with his wits liquor-warmed, plots
+against his natural lord, the higher reason; Miranda, abstract
+Womanhood; Ferdinand, Youth, compelled to drudge till sacrifice of
+will and self win him the ideal in Miranda. Browning makes an
+incidentally interesting contribution to this subject by symbolizing
+in Caliban rudimentary theologizing man, in his poem 'Caliban.' (See
+_Poet Lore_, Vol. V, p. 562, November, 1893.)
+
+QUERIES FOR DISCUSSION
+
+Is 'The Tempest' an allegory? Is it in any sense an autobiographical
+play? Does its symbolism have much in common with that of modern
+symbolistic plays, such as Maeterlinck's 'Joyzelle,' for example? In
+what respects may it be said, do you think, as Maeterlinck himself has
+informed us, that 'Joyzelle' grew from 'The Tempest?'
+
+
+
+
+THE WINTER'S TALE
+
+CONSIDERED IN CONNECTION WITH GREENE'S 'PANDOSTO' AND THE 'ALKESTIS'
+OF EURIPIDES
+
+
+I
+
+SHAKESPEARE'S INDEBTEDNESS TO GREENE
+
+The story of 'Pandosto' falls into two distinct divisions; first, the
+story of Pandosto and Bellaria; second, the story of Dorastus and
+Fawnia. Compare each of these two stories with the two stories
+interwoven in the play, noting all the analogous passages and the use
+Shakespeare has made of them. (For Greene's 'Pandosto' or 'History of
+Dorastus and Fawnia' see 'Shakespeare's Library,' or pp. 118-125 and
+Notes in First Folio Edition.)
+
+QUERIES FOR DISCUSSION
+
+Do Shakespeare's borrowed and additional archaisms and his confusion
+of names and places show carelessness? Is his continuation of the
+story merely a playwright's device to join the two parts of the plot
+and make a good stage piece end happily? (As to Coast of Bohemia see
+_Poet Lore_, April, 1894), also in "First Folio Edition," pp. 176-177.
+
+
+II
+
+THE RESEMBLANCES TO THE 'ALKESTIS' OF EURIPIDES
+
+In Greene and in Shakespeare the King wishes the Queen's death because
+he is uncomfortable so long as she lives, and he prefers his comfort
+to aught else, taking it as his conjugal right and royal prerogative.
+(See ii. 3, 1 and 204.) The Queen, understanding this, says, "My life
+stands in the level of your dreams, which I'll lay down." To her she
+says, "can life be no commodity" when love, "the crown and comfort of
+her life," is gone. So Alkestis (see any translation of Euripides, in
+Bohn edition, literal prose translation, vol. i. p. 223) says she "was
+not willing to live bereft" of Admetos, therefore she did not spare
+herself to die for him, "though possessing the gifts of bloomy youth
+wherein" she "delighted." This point of correspondence may have
+occurred to Shakespeare and suggested his continuation of Greene's
+novel. Admetos' image of his wife, that he would have made by the
+cunning hands of artists, is possibly a prototype of the statue of the
+Queen in 'The Winter's Tale,' the piece "newly performed by that rare
+Italian master, Julio Romano." Compare also, Herakles' trial of
+Admetos with Paulina's trial of Leontes (v. i); and Herakles'
+restoration of the unknown Alkestis to her husband with Paulina's
+bringing the statue of the Queen to life.
+
+QUERIES FOR DISCUSSION
+
+Is Shakespeare's use of a striking incident from the 'Alkestis' too
+close not to have been suggested by it? Does it show his intention to
+portray in Hermione a new Alkestis?
+
+
+III
+
+SHAKESPEARE'S ORIGINALITY IN WORKING OVER HIS MATERIAL
+
+Note Shakespeare's departures from Greene and their significance. Do
+they serve two ends,--make the play more effective for stage
+representation, make the characters stronger? Does he make Leontes
+more attractive than Greene does in the first part of the play? Does
+he make him worse or better than Pandosto in the second part? What is
+the sole trace left in Shakespeare of the father's guilty passion for
+his daughter? Garinter, in Greene, dies without any cause. See
+Shakespeare's explanation of this, also his use of the news of
+Mamillius' death to strike shame to the king's heart. Greene makes the
+king relent as soon as he hears the oracle. Contrast Shakespeare's
+conduct of the scene at this point.
+
+Notice the difference in his treatment of the character of the
+cup-bearer. Does he make it his chief care to enhance the character of
+the Queen? Note the new characters introduced,--Paulina, Antigonus,
+Autolycus, the clown (in place of the wife in Greene). Conjecture any
+reason for his different names. The introduction of Autolycus makes
+the play more amusing on the stage, but is his part as well planned as
+Capnio's for leading up to the _denouement_? Greene lets his mariners
+off alive after they set Fawnia afloat. Shakespeare wrecks his, and
+makes a bear eat Antigonus, to what end? What does Shakespeare gain by
+prolonging the life of Hermione?
+
+QUERY FOR DISCUSSION
+
+Does Shakespeare's remodelling of Greene's story show chiefly a higher
+ideal than Greene's of womanhood and of love?
+
+
+IV
+
+THE ALKESTIS STORIES IN LITERATURE
+
+The sacrifice of the Queen to ease her husband, and the final
+restoration, being the two main points of contact with Euripides'
+version of the story, compare with these the stories of Alkestis told
+by William Morris in 'The Earthly Paradise,'--'June'; 'The Love of
+Alcestis,' by Emma Lazarus, in 'Admetos,'--'Poems,' vol. i.; by Robert
+Browning in 'Balustion's Adventure;' by Longfellow in 'The Golden
+Legend.' See also articles in _Poet-lore_,--'The Alkestis of Euripides
+and of Browning,' July, 1890; 'Old and New Ideals of Womanhood'; 'The
+Iphigenia' and 'Alkestis Stories,' May, 1891; 'Longfellow's Golden
+Legend and its Analogues,' February, 1892. In comparing, note first
+general resemblances, then slighter points of resemblance and of
+difference.
+
+QUERIES FOR DISCUSSION
+
+Is development in literature of the ideal of womanhood away from
+self-sacrifice and toward self-development?
+
+Is woman's task for the future a reconciliation of them?
+
+
+
+V
+
+THE OUTCAST CHILD IN CULTURE-LORE AND FOLK-LORE
+
+A few of the outcast children in culture-lore are Krishna, Zeus,
+Paris, Oedipus, King Arthur, Claribel's child in the 'Faerie Queene'
+(canto xii.), etc. For the stories in folk-lore, see the English
+_Folk-lore Journal_. For the solar theory of the origin of this story,
+see Cox, 'Mythology of the Aryan Nations.'
+
+QUERIES FOR DISCUSSION
+
+Collier says that Shakespeare changed Greene's pretty description of
+turning Fawnia adrift in a boat because he had used much the same
+incident in "The Tempest." Does Shakespeare's new treatment of
+Greene's "pretty incident" add dramatic force and moral purpose to the
+play?
+
+
+VI
+
+CHARACTER STUDIES
+
+
+1. PAULINA; LEONTES; HERMIONE
+
+Note Paulina's likeness to Emilia in "Othello." Jealousy in
+Shakespeare: Resemblances in Leontes to Posthumus ("Cymbeline") and to
+Othello. "The jealousy of Leontes," says Dowden, "is not a detailed
+dramatic study like the love and jealousy of Othello. It is a gross
+madness, which mounts to the brain and turns his whole nature into
+unreasoning passion." Is Hermione more highly developed than others of
+Shakespeare's suspected wives,--Desdemona, Imogen? Likeness or
+superiority to Alkestis, Compare with Queen Katharine in 'Henry VIII.'
+Is she hard, having made her husband do penance for sixteen years?
+"Deep and even quick feeling never renders Hermione incapable of an
+admirable justice," writes Dowden, "nor deprives her of a true sense
+of pity for him who so gravely wrongs both her and himself."
+
+2. THE YOUNG LOVERS
+
+Notice the high and pure character of their love as shown in the facts
+that Florizel did not find it fitting to buy pedler's "knacks" for
+Perdita,--a trait not in Greene. Her independent and uncringing nature
+as shown in another little touch of Shakespeare (see IV. iv. 492-497).
+Compare these two lovers with Ferdinand and Miranda in "The Tempest."
+
+3. THE ORIGINALITY OF SHAKESPEARE'S AUTOLYCUS
+
+For suggestions see _Poet-lore_, April, 1891. ('Notes and News.')
+Compare the Hermes of the Homeric Hymn with the Autolycus and Sisyphos
+of mythology, also the folk-lore tales of the master-thief (Cox). To
+discuss the probable originality with Shakespeare of a conception
+which is one of the universal inheritances of the Aryan race is
+futile; the type existed, and Shakespeare's part was to make an
+individual of the type.
+
+QUERIES FOR DISCUSSION
+
+Is Leontes' jealousy too gross and unfounded to be likely?
+
+Is Hermione, not hard, but slow to be satisfied, because her love is
+noble?
+
+Is Mamillus not too precocious to be natural?
+
+
+VII
+
+A STUDY OF THE CONSTRUCTION OF THE PLOT
+
+Has Shakespeare welded the two parts of the story together in such a
+way as to unify the plot? Does Autolycus contribute anything to the
+development of the plot? How does it compare with "Julius Caesar" or
+"Macbeth," for example, in the construction of the plot? Is the
+movement more rapid in the last half of the play or in the first? Note
+the expedient introduced by Shakespeare to bridge over the lapse of
+time between the first part and the last part; compare with other
+examples of the same sort in Shakespeare.
+
+QUERY FOR DISCUSSION
+
+Does the dramatic interest of 'The Winter's Tale' suffer because the
+plot is of less importance than the incidents and characters.
+
+
+VIII
+
+SHAKESPEARE'S WORKMANSHIP IN "THE WINTER'S TALE"
+
+The versification is that of Shakespeare's latest group of plays.
+Dowden says, "No five-measure lines are rhymed and run on lines, and
+double endings are numerous." Give examples of the construction of the
+lines from "Love's Labour's Lost" as an earlier play, "Merchant of
+Venice" as a riper play. It has been said that the difficulties of
+style in the play are accounted for by the endeavor of the author to
+reflect the changing moods of Leontes. Compare with Prospero's diction
+and construction in "The Tempest." Give examples of these.
+
+QUERIES FOR DISCUSSION
+
+Does the lawlessness of poetic workmanship in "The Winter's Tale,"
+together with the looseness of the dramatic construction, show a
+deterioration from the ripe power of Shakespeare's middle period, or
+that practised artistic mastery which is free from art by means of
+perfect art?
+
+
+IX
+
+PERDITA'S GARDEN
+
+The flower-imagery of "The Winter's Tale" compared with other
+flower-scenes in Shakespeare,--in "A Midsommer Nights Dreame" and
+"Hamlet." The classic and folk-lore allusions. The pastoral element in
+"As you Like It" and "Winter's Tale."
+
+QUERIES FOR DISCUSSION
+
+The rustic scenes have little bearing on the play; are they necessary
+to Shakespeare's art in order to throw a clear light on the character
+of his protagonists?
+
+
+X
+
+THE ETHICS OF "THE WINTER'S TALE"
+
+"The Winter's Tale" gives examples of meritorious actions losing their
+virtue with the progress of ideas; for example, the civic virtue,
+allegiance to the king, is what Leontes depends upon in his talk with
+Camillo, with Antigonus, and the other lords. Note Camillo's reason
+for not poisoning Polixenes to order,--that it is risky to kill a king
+even at command of a king. That such a reason would be considered
+small moral support to-day appears, for example, in the indignation or
+amusement expressed in the newspapers on the German Emperor's address
+to his army on the soldier's duty of obedience. In Shakespeare's day a
+king had taken matters in his own hands in the trial of his wife, much
+as Leontes did (see "Henry VIII".). The moral significance of
+Hermione's patience under accusation appears in the long reparation
+she requires. Paulina is made to speak for her during her seclusion.
+
+What are the "secret purposes" which Shakespeare makes her subserve?
+Observe that, if the fulfilment of the oracle and the restoration of
+the child were all Paulina anticipates, there would be no use in her
+remonstrances against a second marriage and in her goading the king to
+remorse.
+
+QUERIES FOR DISCUSSION
+
+Does Shakespeare's ideal of love and constancy, as revealed in 'The
+Winter's Tale,' imply that second marriages are offences against the
+first. Has the objection Paulina makes to his re-marriage such a cause
+or is it a necessity of the plot?
+
+Does the way of telling "The Winter's Tale" indicate the passing away
+of aristocratic and the formation of democratic ideals, and the
+dawning change in the _status_ both of woman and the commoner?
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE STUDY PROGRAMS; THE
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