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2. When do you suppose the Merchant of Venice to have been written? What is the date and what the form of the first printed edition? For what purpose do you suppose it was first printed, and how do you account for copies of the first editions of Shakespeare's plays being so scarce? From what original do you imagine the play was first printed? Give reasons for your supposition.

3. From what sources is it probable that the plot of the play was derived? Was there any play previously existing upon the same subject?

4. Write a brief essay upon one of the following subjects: (1) The plot of the play. (2) The character of Shylock.

5. "The Venice of Shakespeare's own time, and the manners of that city, are delineated with matchless accuracy in this drama. **** They (certain passages) go far to prove that Shakespeare had visited Italy. Mr Brown has justly observed, 'The Merchant of Venice is a Merchant of no other place in the world'."

KNIGHT'S Shakspere.

How far do you consider that this criticism is really borne out by the play? Support your opinion by references.

6. Give any instances of words and expressions from which it might be inferred that Shakespeare and the translators of the authorised version of the Bible were contemporaries. Mention also any passages which seem to you to indicate an acquaintance with Scripture or with theological topics.

7. Explain the following words and passages, commenting upon the reading where necessary:

(a) And see my wealthy Andrew docked in sand

(i. 1. 27).

(b) What think you of the Scottish lord, his neighbour?

(i. 2).

What is the difference between the readings of the quartos and folios in this line, and how do you account for it? What has been supposed to be the allusion in the passage to which it belongs?

(c) Upon the Rialto (i. 3. 20).

(d) To eat of the habitation which your prophet the Nazarite conjured the devil into (i. 3. 34).

(e) That slew the Sophy (ii. 1. 25).

(f) Dobbin my fill-horse (ii. 2. 100).

(g)

A livery

More guarded than his fellows' (ii. 2. 163).

(h) If any man in Italy have a fairer table which doth
offer to swear upon a book, I shall have good fortune
(ii. 2. 166).

(i) Black Monday (ii. 5. 25).

(k) Wrynecked fife (ii. 5. 30).

(2)

That 'many' may be meant (ii. 9. 25).
By the fool multitude, that choose by show.
(m) And these assume but valour's excrement

To render them redoubted (iii. 2. 87).
(n) From whom he bringeth sensible regreets (ii. 9. 89).
(0) It was my turquoise; I had it of Leah (iii. 1. 126).
Beshrew your eyes,
They have o'erlooked me (iii. 2. 14).
Signior Antonio

(p)

(2)

1. 56).

Commends him to you (iii. 2. 234).

(3) A woollen bagpipe (iv. 5ot a gaping pig (iv. 1. 47).

8. Paraphrase the following passage, adding a note where a word or a reading seems to require it:-Look on beauty......To entrap the wisest (iii. 2. 88-I01).

I.

MERCHANT OF VENICE.

What two different stories are combined in this play? Trace, as far as you can, the history of both. What artistic motive may have caused Shakespeare to combine them?

2. Are all the characters in this play consistently developed? Mention the English writers of note who lived in the 16th

3.

century.

4. Explain clearly any difficulties, whether of words or ideas, in the following passages:

(a) Is't like that lead contains her?-tried gold?

(b) Thus ornament is but the guiled shore

(ii. 7. 49-53.)

To a most dangerous sea: the beauteous scarf
Veiling an Indian beauty (iii. 2. 97).

(c) Lorenzo. Goodly Lord! what a whit-snapper—I know

my duty (iii. 5. 55-60).

(d) Bassanio. I swear to thee-an oath of credit

(v. I. 242-246). 5. Explain, (a) And see my wealthy Andrew docked in sand (i. 1. 27). (6) Is he yet possessed How much ye would? (i. 3. 65.)

(c) The fearful guard Of an unthrifty knave (i. 3. 176). (d) To peize the time (iii. 2. 22). (e) Bring them with imagined speed Unto the tranect (iii. 4. 52). (f) You stand within his danger, do you not? (iv. 1. 180.)

6. Explain the following terms, and give congeners in other languages-gear, argosy, eanling, gaberdine, doit, sand-blind, cater-cousins, slubber, a patch, posy.

7. Give the etymology of (a) an if, (b) fretten (iv. 1. 77). (c) I-wis. Explain the construction of (a) Is it not hard that I cannot choose one, nor refuse one? (b) Are there balance here?

I.

2.

AS YOU LIKE IT.

Sketch the character of 'Touchstone.'
Comment fully on the following passages:

(a) And they that are most galled-glances of the fool

(b) Or what is he of basest function,

(c)

(ii. 7. 50-57).

That says, his bravery is not of my cost,
(Thinking that I mean him) but therein suits

His folly to the mettle of my speech? (ii. 7. 79-82.)
The thorny point

Of base distress hath ta'en from me the show

Of smooth civility: yet am I inland bred
And know some nurture (ii. 7. 94—97).

(d) 'Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper

Than any of her lineaments can show her (iii. 5. 54). 3. Explain the following lines, discussing the words in italics:

[blocks in formation]

Are all thrown down; and that which here stands up
Is but a quintain, a mere lifeless block (i. 2. 261).

(b) Here feel we not the penalty of Adam,

The season's difference (ii. 1. 5).

Discuss the reading 'not'.

(c)

Motley's the only wear (ii. 7. 34). (d) Foul is most foul, being foul to be a scoffer (iii. 5. 62). (e) 'Good wine needs no bush' (Epilogue).

4. Explain and derive (where you can) the following words: misprised, taxation, humorous, swashing, roynish, God 'ild you.

THE TAMING OF THE SHREW.

I. From what original source is this play derived? Give some account of the old play called Taming a Shrew.

2.

The Prelude is left unfinished; can you account for this? Were any further insertions ever made from the old play, and by whom? Name some instances where the device of introducing spectators on the stage has been successfully used by later dramatists.

3. Name the Italian cities mentioned in this play, giving some account of them and of their relative positions.

4. Compare the characters of Sly and Bottom, noting points of resemblance or difference.

5. Explain the passages :

(a) I must dance bare-foot on her wedding day,

And for your love to her lead apes in hell (ii. 1. 33). (b) That art to me as secret and as dear

As Anna to the queen of Carthage was (i. 1. 158).

(c) —my super-dainty Kate,

For dainties are all Kates (ii. 1. 189).

(d) And bring you from a wild Kate to a Kate

Conformable as other household Kates (ii. 1. 279). (e) Yet I have faced it with a card of ten (ii. 1. 407). (f) Come, you are so full of cony-catching (iv. 1. 45). (g) 'Twas I won the wager, though you hit the white (v. 2. 186).

(h) Persuade him, that he hath been lunatic;

And when he says he is, say that he dreams, For he is nothing but a mighty lord (Induct. 63). 6. Paraphrase:

Have I not heard-fear boys with bugs (i. 2. 202-211). 7. Explain and (where possible) derive:—pheeze; thirdborough; comonty; aglet-baby; go by, Jeronimy.

RICHARD II.

I. Mention some of the chief authorities for the history of this reign. Whence did Shakespeare derive the materials for this play? Why did queen Elizabeth object to plays upon the subject of this reign?

2. Contrast the characters of Richard and Bolingbroke, and compare those of Richard and Henry VI., as exhibited to us by

Shakespeare. Describe the entry of Richard and Bolingbroke into London. Mention any additional facts from history that illustrate their characters.

3. Give a brief historical sketch of the circumstances of the deposition of Richard II. What accounts are there of the manner of his death?

4.

Assign, where you can, to the speakers, and clearly explain the allusions in, the following passages:

(a) That he did plot the duke of Gloucester's death

(i. I. 100).

(b) Since last I went to France to fetch his queen

(i. I. 131).

(c) Edward's seven sons, whereof thyself art one (i. 2. 11). (d) We are inforced to farm our royal realm...

Our substitutes at home shall have blank charters

(e) Call in the letters patent that he hath
By his attorneys-general to sue

His livery, &c.

(i. 4. 45).

(ii. 1. 202).

(ƒ) My Lord, my answer is-to Lancaster (ii. 3. 70).
(g) By Bushy, Bagot, and their complices (ii. 3. 165).
(h) What seal is that, that hangs without thy bosom?

(v. 2. 56.). 5. Explain also the lines(a) Down, down I come; like glistening Phaethon, Wanting the manage of unruly jades (iii. 3. 178). (b) Ah, thou, the model where old Troy did stand (v. i. 11). And explain the words (giving, where you can, their derivations), baffled, fantastic summer, beadsmen, pelting farm, pilled, convey, perspectives, sheer.

RICHARD II.

I. At what period of Shakespeare's life was Richard II. written? Was it published in its complete state in the first instance? If not, what reasons may be assigned for the suppression of certain passages?

2.

Over what period do the historical events on which this play is based extend? What authority did Shakespeare chiefly follow? Is he always strictly accurate? Give the dates of Richard's birth and death, and state his parentage and relationship to the chief personages mentioned in the drama.

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