THRIVING, Successful; II. ii. 45. TINCTURE, color; III. ii. 207. TOAZE (Folio 1, "at toaze"), "probably to touse, i. e. pull, tear"; IV. iv. 771. TOD, twenty-eight pounds of wool; IV. iii. 35. TODS, yields a tod; IV. iii. 34. TRAFFIC, business, trade; IV. iii. 23. TRAITORLY, traitrous; IV. iv. 836. TRANSPORTED, hurried away by violent passion; III. ii. 160; borne away by ecstacy; V. iii. 69, TREMOR CORDIS, trembling of the heart; I. ii. 110. TRICK, toy, plaything; II. i. 51. TROLL-MY-DAMES, the French game of Trou-madame; IV. iii. 98. TRUMPET, trumpeter, herald; II. ii. 35. TRUNK, body; I. ii, 435. TUG, strive, struggle; IV. iv. 513. TURTLES, turtle-doves; IV. iv. 154. UNBRAIDED, (?)="not counterfeit, sterling, but probably the Clown's blunder for embroidered"; IV. iv. 206. UNCLASP'D, revealed; III. ii. 169. UNCURRENT, objectionable, unallowable (like false coin); III. ii. 51. UNDERGO, undertake; IV. iv. 559. UNEASY, difficult; IV. ii. 58. UNFURNISH, deprive; V. i. 123. UNINTELLIGENT, ignorant, unconscious; I. i. 17. UNROLLED, struck off the rolls (of thieves); IV. iii. 137. UNSPHERE, remove from their orbs; I. ii. 48. UNTHRIFTY, not increasing; V. ii. 132. UNVENERABLE, contemptible; II. iii. 77. URGENT, pressing; I. ii. 465. UTTER, "cause to pass from one to another"; IV. iv. 336. VAST (later Folios "a vast sea”), a boundless sea; I. i. 36. VESSEL, creature; III. iii. 21. VICE, screw, force; I. ii. 416. VILLAIN, a term of endearment; I. ii. 136. VIRGINALING, "playing as upon a virginal (a sort of small pianoforte)"; I. ii. 125. VISIBLE, appearing visibly; V. i. 216. VISITATION, Visit; I. i. 7; IV. iv. 571. VULGARS, the common people; II. i. 94. WAFTING, turning quickly; I. ii. 372. WAITS UPON, accompanies; V. i. 142. WANT, be without; IV. ii. 15. WARDEN, a baking pear; IV. iii. 52. WEARING, apparel, dress; IV. iv. 9. WEEDS, garments; IV. iv. 1. WELKIN, heavenly, (?) blue; I. ii. 136. WELL, at rest; V. i. 30. of); perhaps, derived from falconry; "to whistle off" — to send off; IV. iv. 252. WHOO-BUB, Outcry, clamor; IV. iv. 636. "WHOOP, DO ME NO HARM, GOOD MAN," the name of an old song; IV. iv. 201. WILD, rash; II. i. 182. WILFUL-NEGLIGENT, wilfully negligent; I. ii. 255. WINK, the act of closing the eyes; I. ii. 317. WINKED, closed my eyes; III. iii. 109. WINNERS, "precious w." winners of things precious to you; V. iii. 131. WIT, wisdom; II. ii. 52. WITH, by; IV. iii. 27; V. ii. 74. WITHOUT-DOOR, outward, external; II. i. 69. WOMAN-TIRED, hen-pecked; II. iii. 74. WONDER, admiration; V. i. 133. WONDERING, admiration; IV. i. 25. WORN, spent; "w. times," spent youth old age; V. i. 142. WORSHIP, honor, dignity; I. ii. 314. WORTH, Worthiness of all kinds, here especially fortune and rank; V. i. 214. WOTTING, knowing; III. ii. 78. WROUGHT, worked upon, agitated; V. iii. 58. YELLOW, the color of jealousy; YEST, spume or foam of water; STUDY QUESTIONS By JEAN M. VINCENT, B.A. GENERAL 1. What year was The Winter's Tale written? 2. To what order of the poet's works does the play belong? 3. What is the duration of the action? 4. From what popular novel was this play derived? In what period did this novel appear? 5. What Acts of the play cannot be classed as comedy? 6. What geographical inconsistency is mentioned concerning this play? ACT I 7. Upon what character of the play does the Poet place most emphasis? 8. What is the import of scene i? 9. What incident is the basis of the entire action of the play? 10. How does Polixenes portray the childhood of Leontes and himself? 11. How does Leontes refer to his wooing of Hermione? 12. Is the hospitality of Hermione over-zealous, or has jealousy been lurking in the mind of Leontes? 13. What opinion does Camillo express at hearing the suspicions of Leontes? 14. Compare the characters of Othello and Leontes. Also those of Iago and Camillo. 15. How is Florizel first introduced? 16. On what condition does Camillo agree to dispose of Polixenes? 17. How does Polixenes argue the hopelessness of proving his innocence? ACT II 18. How does the innocence of the domestic scene, which opens Act II, accentuate the falsity of Leontes' accusations? 19. What occurrence seems to Leontes the confirmation of his suspicions? 20. How does Hermione defend herself? What evidence of faith in her ultimate exoneration does she give? 21. In what way does Antigonus assert his faith in the innocence of the queen? 22. In dispatching to the oracle of Apollo, does Leontes expect further confirmation of the guilt of Hermione or her exoneration? 23. What is the expressed opinion of all at court concerning the character of Hermione? 24. How does Paulina hope to appease the King? 25. Describe the illness of Mamillius and give its cause. 26. What qualities are brought out in the character of Paulina in her interview with the King? 27. What are the instructions given Antigonus in regard to the child? ACT III 28. Show how the violence of erroneous conclusions in the second Act is softened and quieted by the establishment of truth in Act III. 29. Why does Hermione, although willing to accept death, plead for justice? 30. To what does she look to justify her? 31. How is the innocence of Hermione established? 32. What disaster is threatened Leontes by the oracle? 33. Show how Leontes' cruelty and injustice begin to react upon him? 34. What are the consequences of the death of Mamillius? 35. How does the grief of Paulina at the death of the queen express itself? Is there any doubt that she believes Hermione dead? 36. When does Leontes acknowledge his errors and his repentence? 37. Describe the dream of Antigonus in scene iii. What befell him in the same scene. 38. What is the meaning of the name Perdita? 39. How does the shepherd supply necessary details in the play? ACT IV 40. What is the interval of time which elapses between Act III and Act IV? 41. Under what conditions was Camillo recalled to his native country after fifteen years? What delays his return? 42. How is the character of Autolycus introduced? 43. Who was the father of Autolycus in Grecian mythology? 44. Compare the character of Perdita with that of Miranda in The Tempest. 45. In what manner does Florizel disguise himself in order to become the suitor of Perdita? 46. What are the fears of Perdita concerning her future and that of Florizel? 47. Describe the meeting of Perdita with Polixenes and Camillo. 48. How is the superiority of Perdita to her surroundings made apparent? 49. Who interrupts the betrothal of Perdita and Florizel? How does the life of Perdita become detached from that of the shepherd? 50. How is the constancy of Florizel made positive? |