WEEK, an indefinite period of time, perhaps="in the week," cp. the phrase "too late in the day"; II. iii. 74. WHEREIN WENT HE, how was he dressed? III. ii. 241. WHERE YOU ARE what you mean; V. ii. 33. WIT, WHITHER WILT; an exclamation of somewhat obscure meaning, used evidently when anyone was either talking nonsense or usurping a greater share in conversation than justly belonged to him; IV. i. 179; cp. "Wit! whither wander you"; I. ii. 63. WOEFUL, expressive of woe; II. vii. 148. WOMAN OF THE WORLD, i. e. married; V. iii. 5. WORKING, endeavor; I. ii. 225. WRATH, passion, ardor; V. ii. 46. WRESTLER (trisyllabic); II. ii. 13. STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. When was this play probably written? 2. What two sources for this play have been named? Tell the stories of them. 3. Comment on the characteristics and quality of the play. 4. What do the peculiar setting and circumstances reveal of the nature of the persons of the drama? Why? 5. What character, or characters, are most striking? 6. Describe and contrast the characters. 7. Outline the play. What is its general scope and drift? 8. Compare the quality of comedy in this play with other degrees of comedy, and describe the general impression of the play as a whole, distinguishing its peculiar atmosphere. ACT I 9. Does the bearing of Orlando in the first scene distinctively set forth his character? What constitutes its charm and quality? 10. To which Duke does Charles the Wrestler refer in line 118, scene i? 11. In what lines does Oliver describe his brother? What is Coleridge's comment upon this speech? 12. Describe the setting forth of the characters of Rosalind and Celia in scene ii. 13. Where had Touchstone's anecdote in line 70, scene ii, made a previous appearance? XVIII-10 145 14. Why was it not disrespect for a Fool to speak as Touchstone does, in line 88, scene ii? Is there a possibility of Touchstone's referring to Rosalind's father instead of to Celia's? What are the critical suggestions with regard to this point? 15. In Lodge's Rosalynde what is the reception the king gives the young unknown wrestler, Rosader? 16. How does Celia's spirit compare with her father's? 17. What points in Rosalind's character does she show upon the occasion of the Duke's cruelty to her? 18. What is the dramatic quality of the scene when the two cousins decide to seek the Duke in the forest of Arden? ACT II 19. What romantic incident in the history of outlawry helped to give a vogue among poets and writers to such situations as that presented in the Forest of Arden? 20. Who voices an idealization of life near to nature by comparison with formal life? Does this spirit prevail in the play? 21. What is the dramatic significance of Old Adam's role? of what is his character a type? does Orlando characterize him? 22. What spirit characterizes the scene of the three travelers' entry into the Forest of Arden? 23. What is the dramatic purpose in the introduction of the love-sick Sylvius in scene iv? 24. Is it possible, judging from general knowledge of the ancient Court Fool, and peculiarly of Touchstone, in this instance, that he is throughout more "ware" of his wisdom than Rosalind suggests his being in line 59, scene iv? 25. What impression does Jaques make at his first introduction? 26. Is there any inconsistency in the adventures of Rosalind and Celia? If so, specify the incidents. 27. Compare the Duke's comments upon Jaques with the latter's upon him. What inference is to be drawn from such a comparison as to the Duke's appreciation of a character like Jaques? Is the Duke of a type to be in sympathy with a fellow like Jaques? 28. What play of Ben Jonson's has a character somewhat like Jaques? Whom did Jonson personate by it? Are there any evidences that Shakespeare had Jonson himself, or at least passages in his play in mind, in creating Jacques? 29. What striking and much quoted lines are spoken by Jacques in scene vii? 'ACT III 30. Comment on Touchstone's reflections on rural life. 31. Point out what is particularly and amusingly feminine and charming in the talk between Celia and Rosalind in scene ii. 32. In addition to its being a diversion to Orlando in his love-sick state, to fall in with the fanciful suggestion of the supposed shepherd boy, is it likely that the fascination of the real Rosalind through the disguise drew him unconsciously? 33. What mythical allusion explains Jacques'” “aside”. in line 11, scene iii? 34. What genuine qualities in Touchstone are displayed in scene iii? 35. Point out the dainty touches of realism in scene iv between Rosalind and Celia. 36. Why is the introduction of the scene between Sylvius and Phebe a skillful dramatic effect? 37. What are the distinctions between Audrey and Phebe? Characterize the differences between Phebe and the two friends Rosalind and Celia? Analyze the dramatic means by which these differences are made apparent. 38. How does Phebe betray that she has fallen in love with Rosalind as a shepherd boy? 39. Characterize Phebe's request to Sylvius to take the letter she is to write to Rosalind. ACT IV 40. Explain Rosalind's parting shaft at Jacques in 41. Comment on the passage between Orlando and Rosa- 42. What touch does Celia give to the end of scene i? 44. What does Oliver mean with regard to Orlando's 45. Does Oliver penetrate Rosalind's disguise when she ACT V 46. What is the dramatic purpose of William's intro- 47. What principle of Shakespeare's process of romance 48. Comment on the ready expedients of Rosalind for 49. How does line 118, scene ii, express Rosalind's mood 50. In Lodge's novel what happens to the usurper? 52. What very lovable character is entirely omitted from 53. Explain the phrase in the Epilogue, "If I were a |