cally in the sense of "mental endowments"; V. ii. 25. POST, messenger; I. i. 166. PRACTICING, plotting; IV. i. 48. PRESENTLY, forthwith; II. iv. 87. PRETENSE, design; III. i. 47. PRETENDED, proposed; II. vi. 37. PRINCIPALITY, an angel of the highest rank, next to divinity; II. iv. 153. PRINT, “in print”—“to the letter, accurately"; II. i. 180. PROPER, well-shaped; IV. i. 10. PUBLISHER, one who brings to light; III. i. 47. PULING, "like a beggar at Hallowmas"; it was a custom on All Saints Day for the poor to go from parish to parish a-souling, i. e. "begging and puling for soul-cakes"; II. i. 27. ROAD, port, harbor; I. i. 53; II. iv. 188. Roor (of the heart); V. iv. 103. SAD, serious; I. iii. i. SERVANT, a term of gallantry, from a lady to her admirer; II. i. 109, 117. SET, set to music; interpreted playfully by Julia in the sense of "to estimate"; I. ii. 81. SET, seated (used quibblingly); II. i. 94. SEVERAL, separate; I. ii. 108. SHAPELESS, purposeless; I. i. 8. SHEEP (used quibblingly with "ship," the two words being pronounced nearly the same); I. i. 73. SHOT, a tavern-reckoning (used quibblingly); II. v. 11. SILLY, helpless; IV. i. 72. SLUGGARDIZED, made lazy; I. i. 7. So, so be it, well and good; II. i. 140. SOHO; the cry of hunters on STATURE, image; IV. iv. 212. STOCK (used quibblingly); III. i. 312, 313. STOMACH, used quibblingly in sense of "temper" and of "hunger"; (observe also the play upon "meat" and "maid," pronounced nearly alike); I. ii. 68. STRANGE, "she makes it strange" STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. What are the characteristics of this play? What are its especial beauties? Cite its comedy elements. 2. Comment on the characters of Speed and Launce. What is the dramatic value of their scenes? 3. From what story is the greater part of this play apparently derived? Sketch the story. 4. What elements point to this drama as having been among the earliest written of the poet's plays? 5. What evidence is there as to the presentation of this play upon the stage during the poet's lifetime? 6. What can explain Julia's lenience to Proteus in spite of his vacillations? Does Shakespeare evince a depth of insight into true womanly devotion that forgets a self-conscious pride, in his presentation of Julia, or does it seem that her lenience is fatuous and somewhat weak? Analyze the psychology of such a situation from its several possible points. 7. Comment on the character of Valentine. 8. Outline the general action of the play. Comment on the interplay of scenes. What constitutes the climax of the plot? ACT I 9. What characterizes the wit of Speed at his first appearance? 10. What sidelight on the character of Proteus is afforded by his allowing Speed to employ in his jest a byword that is disrespectful to Julia? 11. In Lucetta's conversation with Julia in scene ii, does she give any evidence of doubting the honor of Proteus? What views do her comments show? 12. Does the Poet show an insight into feminine caprice? Cite instances. 13. Was popular knowledge of music a feature of Shakespeare's time? 14. Does Lucetta evince insight into the real feelings of Julia? How?-in what passages? 15. Of what spirit characteristic of Shakespeare's time, is the passage in scene iii between Panthino and Antonio, expressive? 16. What fact coincides with the poet's placing of the Emperor's court at Milan? 17. Compare Shakespeare's feeling for nature with his sympathy for human nature, as expressed in his earlier plays. 18. Why did Proteus's father wish him to go away? Is his going at this juncture important to the dramatic situation? If so, how? To what situations might it lead with regard to his love affair? ACT II 19. What are the love-signs that Speed applies to Valentine? 20. What old English custom explains the phrase, "to speak puling, like a beggar at Hallowmas," in line 27, scene i? 21. How does Valentine's reticence in accepting Sylvia's tribute as intended for him, express his nature? Why does Speed see through the little ruse so easily? 22. Describe what would seem the acting interpretation of Launce as the Poet probably intended it. 23. How does Thurio display his character in scene iv? 24. How does the friendship of Valentine for Proteus manifest itself? Does Valentine's lack of suspicion of Proteus bespeak his nature? 25. What is the allusion in "like a waxen image 'gainst a fire," line 202, scene iv? 26. How does Dr. Johnson interpret Proteus's remark, ""Tis but her picture I have yet beheld"? What does Proteus really mean? 27. Comment on Proteus's sudden defection from Julia. 28. Contrast Speed and Launce from their dialogue in scene v. 29. To what custom does Launce refer when he uses the expression, "to go to ale with a Christian," line 63, scene v? 30. What is the essential element of Proteus's soliloquy in scene vi? What is its basis in human nature? 31. Why was it perilous for Julia and Lucetta to travel alone in their time? 32. Does Lucetta express any foreboding of the outcome of her mistress's errand? Is she wise? How deep is her wisdom as compared with Julia's? ACT III 33. Is the action of Proteus in making love to Silvia compatible with a character having any underlying nobility? 34. Does it seem that Valentine was rather easily led into the Duke's trap? Considering that he was plotting such an elopement himself and at the time carried the means for it, would he, or would he not have been likely to have avoided advising similar action and means, at such an encounter as this with the Duke whom he wished to elude? 35. Explain Launce's reference to Saint Nicholas in line 302, scene i. 36. Where and how does Speed comment on Launce's trick of quibbling? 37. What is the dramatic effect of the scene between Launce and Speed introduced in this Act? Why are such scenes useful between sentimental or tragic passages? Are they distinctly necessary to the plot, in this play, for in |