KEEP, restrain; IV. iv. 12. KIND, kindred; II. iii. 2. LACED v. "mutton." LEARN, teach; II. vi. 13. LEARN'D, taught; V. iii. 4. LEASE, "out by lease," i. e. “let to others, and not under one's own control"; the point of the line turns on the equivocal interpretation of "possessions" in the sense of "mental endowments"; V. ii. 29. LEAVE, cease; III. i. 182; part with; IV. iv. 84. LETS, hinders; III. i. 113. LIBERAL, Wanton; III. i. 355. LIES, lodges; IV. ii. 137. "LIGHT O' LOVE," a popular old tune, referred to also in Much Ado, III. iv. 44; I. ii. 83. LIKES, pleases; IV. ii. 55. LIME, bird-lime; III. ii. 68. MANAGE, to wield; III. i. 247. MEAN, tenor; I. ii. 95. MEANS, "to make means," i. e. "to contrive measures and opportunities" (to win her); V. iv. 137. MEASURE, "within the measure," i. e. "within reach"; V. iv. 127. MEROPS, Phaethon was reproached, though falsely, with being the son, not of Apollo, but of Merops; III. i. 153. MINION, a spoiled favorite; I. ii. 88, 92. MONTH'S MIND (to be pronounced probably "moneth's mind"), originally meant the monthly anniversary of a person's death; hence "remembrance," and finally "yearning"; I. ii. 137. MOOD, rage; IV. i. 51. MOTION, puppet-show; II. i. 103. MOUTH, "a sweet mouth," i. e. "a sweet tooth"; III. i. 331. MUSE, wonder; I. iii. 64. MUTTON, a sheep; I. i. 101; "laced mutton" seems to have been a cant term for a loose woman, but probably used here in the sense of "a fine piece of woman's flesh," "a finely trimmed woman"; I. i. 102. NICHOLAS (Saint), the patron saint of scholars; III. i. 302. NICK, reckoning (alluding to the "nicks" or "notches", on a wooden tally); IV. ii. 76. NODDY (quibblingly for "noday"), simpleton; I. i. 119. ON (play upon "on" and "one"); II. i. 1. ON, of; IV. ii. 73. ONE, "one knave," i. e. "a single, not a double knave" (referring perhaps to Proteus' falsehood to both friend and mistress; III. i. 263. OMITTING, neglecting; II. iv. 67. ONSET, beginning; III. ii. 94. O'ERLOOK'D, perused; I. ii. 50. OWE, own; V. ii. 28. 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. QUAINTLY, cleverly; II. i. 131; III. i. 117. QUALITY, profession; IV. i. 58. QUIPS, sharp jests; IV. ii. 12. QUOTE (pronounced "cote"; hence the quibble); II. iv. 18. RAVEL, become entangled; III. ii. 52. REASONING, talking; II. i. 150. RECEIVE, acknowledge; V. iv. 78. RECKING, caring for; IV. iii. 40. RECORD, Sing; V. iv. 6. Remorseful, compassionate; IV. iii. 13. REPEAL, recall; V. iv. 143. RESEMBLETH (quadrisyllabic, “resemb (e) leth"); I. iii. 84. RESPECT, regard, care for; III. i. 89; V. iv. 20. RESPECTIVE, worthy of respect; IV. iv. 206. 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. STILL AN END, perpetually; IV. iv. 72. 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" "she pretends to be shocked"; I. ii. 102. SUDDEN, quick, sharp; IV. ii. 12. SUGGESTED, tempted; III. i. 34. SWEET-SUGGESTING, Sweetly tempting; II. vi. 7. SWINGED, Whipped; II. i. 90. TABLE, tablet; II. vii. 3. TENDER, compassionate; IV. iv. 151. TENDER, dear; V. iv. 37. TESTERNED, presented with a tester, or sixpence; I. i. 157. THROUGHLY, thoroughly; I. ii. 115. TIMELESS, untimely; III. i. 21. TIRE, head-dress; IV. iv. 196. To; "to Milan"-"by letters addressed to Milan"; I. i. 57; in comparison with; II. iv. 139, 140. TONGUES, languages; IV. i. 33. TRENCHED, carved; III. ii. 7. TRIUMPHS, festive pageants; V. iv. 161. TURN, prove inconstant; II. ii. 4. UNADVISED, inadvertently; IV. iv. 133. UP AND DOWN, altogether, exactly; II. iii. 35. VERY, true; III. ii. 41. WEEDS, garments; II. vii. 42. WITHOUT (used quibblingly); II. i. 37, 40. WOOD, mad; II. iii. 34. 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? |