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5. Explain the following phrases, and comment on the words italicized.
(a) What cares these roarers for the name of king? (i. I. 17.)
A chough of as deep chat (ii. 1. 265).
My foot my tutor ? (i. 2. 469).
But that the sea, mounting to the welkin's cheek,
I'll get thee
MEASURE FOR MEASURE. Discuss the plot of this play, regarded as a work of art. “The foundation of Ísabella's character is religion.” Explain and comment upon this criticism. Contrast her character with that of -Angelo.
"Measure for Measure” has been said to abound with poetical gems. Quote a few of them. Is there a second verse to the song beginning “Take, O take those lips away"?
3. When is this play supposed to have been first written, and why? Whence did Shakespeare derive the plot of it? 4.
Discuss fully the passages:
Spirits are not finely touch'd
(i. 2. 28).
Of outward order (i. 2. 152).
though 'tis my familiar sin
What know the laws
(8) For I am that way going to temptation,
Where prayers cross (ii. 2. 158).
the strong statutes
As much in mock as mark (v. I. 322).
. 1. 94). What word would you substitute for prenzie ? Discuss the term “death's fool”; and the words owe, own, ought. Explain and derive the word mystery as used by Abhorson.
6. Explain and derive the words: foison-boot-feodaryserpigo-lieger-emmew-planched-yare-journal—refell’d.
MUCH ADO ABOUT NOTHING.
What is known arding the sources to which Shakespeare was indebted for the story of Much Ado About Nothing ?
Criticise the plot. 3. Bring out as distinctly as you can the leading points in the character of Beatrice.
4. · The Hundred Merry Tales' (ii. I. 135). Give some account of the book referred to.
5. Discuss the text in these places:
The fairest grant is the necessity (i. 1. 318).
No glory lives behind the back of such (iii. 1. 110). (iv) Out on thee! Seeming! I will write against it (iv. 1). (v)
Grieved I, I had but one? Chid I for that at frugal nature's frame? (iv. I. 129.) 6. Explain :
(i) He set up his bills here in Messina, and challenged Cupid at the flight; and my uncle's fool, reading the challenge, subscribed for Cupid, and challenged him at the birdbolt (i. 1).
(ii) My visor is Philemon's roof: within the house is Jove (ii. 1. 100).
(iii) I will bring you the length of Prester John's foot (ii. I).
(iv) The count is neither sad, nor sick, nor merry, nor well : but civil count, civil as an orange (ii. 1. 303).
(v) We are like to prove a goodly commodity, being taken up of these men's bills (iii. 3. 190).
(vi) B. By my troth, I am exceeding ill: heigh-ho!
M. For a hawk, a horse, or a husband ?
M. Well, an you be not turned Turk, there's no more sailing by the star (iii. 4. 53).
(vii) The watch heard them talk of one Deformed: they say, he wears a key in his ear and a lock hanging by it (v. I. 316).
7. Shew by examples the difference between Elizabethan English and the English of the present day in regard to the use of adjectives in -ful, -less, -ive, -5le.
8. Illustrate from Much Ado About Nothing (or other plays of Shakespeare) any peculiar uses of the prepositions of, to, for, from, with, upon. 9. Comment upon
the grammar of these passages : (a) She would have made Hercules have turned spit
(ii. 1. 260). (6) An he had been a dog that should have howled thus, they would have hanged him (ii. 3. 81).
(c) I would have thought her spirit had been invincible against all assaults of affection (ii. 3: 119).
State and explain the distinctions generally observed in Shakepeare's time between the pronouns thou and you.
MUCH ADO ABOUT NOTHING.
Criticise the plot of“ Much Ado about Nothing,” pointing out any defects you may observe in it.
2. Explain the following passages:
(a) He set up his bills here in Messina, and challenged Cupid at the flight; and my uncle's fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-bolt (A. i. Sc. I).
(6) Good Lord, for alliance! Thus goes every one to the world but I, and I am sun-burned; I may sit in a corner, and cry heigh-ho! for a husband. (A. ii. Sc. 1. 1. 329).
(c) We'll fit the kid-fox with a penny-worth (ii. 3. 45).
(d) Clap us into Light-o'-love, that goes without a burden (iii . 4. 44). (e) D. Pedro. I think he be angry indeed.
Claudio. If he be, he knows how to turn his girdle (V..1. 141).
(a) I pray you, is Signior Mountanto returned from the wars or no?' (i. I. 30.)
(6) Do you play the flouting Jack, to tell us Cupid is a good hare-finder and Vulcan a rare carpenter? (i. 1. 185.)
(c) And he that hits me, let him be clapped on the shoulder, and called Adam (i. 1. 260.)
(d) The body of your discourse is sometime guarded with fragments, and the guards are but slightly basted on neither: ere you flout old ends any further, examine your conscience (i. 1. 287).
(e) --noble, or not I for an angel (ii. 3. 35).
(f) Like the old tale, my lord: “It is not so, nor it was not so; but, indeed, God forbid it should be so.” (i. 1. 218.) (8)
Call me a fool;
The tenour of my book (iv. 1. 166).
MIDSUMMER NIGHT'S DREAM.
1. Hippolyta says (v. i. 23—27),
But all the story of the night told over,
But, howsoever, strange and admirable. Explain this criticism of the plot (paraphrasing it as closely as you can), and then give your own estimate of Shakespeare's use
of the supernatural element in this play, comparing it with any similar one.
Is there any other character in Shakespeare which affords points of comparison (and contrast) with Pucki
3. What do you suppose to have been Shakespeare's purpose in introducing the play in the last act? If you do not believe he had any purpose, can you defend the introduction of it?
4. Quote the lines in which Shakespeare refers to Queen Elizabeth: and mention other allusions to her in other plays.
5. Explain anything peculiar in the following passages:
(i. 1. 145).
. 1. 97). (c) A crew of patches, rude mechanicals (iii. 2. 9). (d) Fair Helena, who more engilds the night
Than all yon fiery oes and eyes of light (iii. 2. 187). (e) Methinks I see these things with parted eye,
When every thing seems double (iv. 1. 186). (f) Lys. This lion is a very fox for his valour.
The True: and a goose for his discretion.
Dem. Not so, my lord; for his valour cannot carry his discretion; and the fox carries the goose (v. i. 234).
(8) To hear a Bergomask dance (v. i. 360). 6. How are the terms, aunt, weeds, brief used in this play?
7. Explain the formation of the words eyne, beteem, aby, vaward.
8. Give instances to shew that Shakespeare was not unappreciated by his immediate contemporaries, although he was afterwards. Milton writes, “Or sweetest Shakespeare, Fancy's child,
Warble his native wood-notes wild”—
MERCHANT OF VENICE. í. In what metre are Shakespeare's plays mostly written? State the rules that govern its construction, with their most important modifications, illustrating your theory by examples when possible.