Shakespeare Study Programs; The Comedies by Charlotte Porter and Helen A. Clarke

C >> Charlotte Porter and Helen A. Clarke >> Shakespeare Study Programs; The Comedies

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What pertinence to Ford's jealousy is there in the allusion to Queen
Elizabeth's Sonnet? (II, ii, 199-200).

The Sources of the Merry Wives' intrigue and what Shakespeare has done
with them. (See "Sources," First Folio Edition). How is the Duel scene
related to the underplot?

What characters belong in common to plot and counterplot?

QUERIES FOR DISCUSSION

Does Falstaffe show any material differences in character as he
appears in this Play, in comparison with the way he appears in "Henry
IV?"

THE STORY OF ACT III

THE DOUBLE DUPERY

Contrast the feelings of Falstaffe before and after the Buckbasket
episode?

In which scene is Ford the worst duped?

Give an account of Dame Quickly's relations to the intrigues, and show
how her multitudinous offices as go-between interfere with each other
so that she is "slacke" in one of her errands. What is the effect of
her slackness on the contradictions in the time of the action. (See
Duration of the Action, in "First Folio Edition"). Are they only
seeming contradictions? The Sources of the Ford intrigue and what
Shakespeare has done with them.

Anne and her father and mother as characterized in this act, with
relation to the suitors.

QUERIES FOR DISCUSSION

Is Anne the only character one can thoroughly sympathize with?

Are the situations such as owe their fun largely to coincidence, like
those in the "Comedie of Errors," or to a teeming variousness in the
human naturalness of all the characters?

THE STORY OF ACT IV

FORD'S ENLIGHTENMENT

Why is the Old Woman of Brentford trick a climax upon that of the
Buckbasket?

Falstaffe's wish that all the world might be cheated is true to the
method of the Play. Show in exemplification of this, how a fourth
intrigue grows out of the third, and is introduced as late as this
fourth Act. How is the joke of the Host against Dr. Caius and Sir Hugh
Evans avenged? Is this reference to the "three Cozen Jermans" that are
said to run away with the Host's horses, liklier to be an allusion
seriously made to a real event or to make use of it as an entirely
fictitious intrigue and practical joke in the Play? Is this mock
happening such as could be clear by the method of enacting it and one
entirely consonant with this Comedy as a farce-mosaic of laughable
tricks? (See pp. 120-121, 179-180, also Note on IV. iii. 6). Discuss
probabilities. The turn taken in the plot: Show how all combine
against Falstaffe; also the place of this intrigue in making material
for Act V.

QUERIES FOR DISCUSSION

Has the "Merry Wives" any serious or tragic moments such as belong
usually to Shakespeare's Comedies?

Compare the jealousy of Ford with the jealousy of Adriana in the
"Comedie of Errors." Which exemplifies the riper treatment and why?

THE STORY OF ACT V

THE DEFEAT OF MERCENARY LOVEMAKING

Make clear the ins and outs of the Fairy trap, first for its actors,
then for the dupes? Can the apparent inconsistencies in the wearing of
green or white and the mention of "Quickly" for "Queene" be accounted
for on the supposition that everybody is deceived except Nan and
Fenton? (See Notes on V. v. 421, 205-209).

The compliments to Queen Elizabeth in the Play: What are they and how
is their appropriateness to the Plot made good?

Consider the "humors" of the Welsh and French speeches and episodes as
exploitations and developments of the similar humors of Fluellen and
the Frenchmen of "Henry V."

The fairy scenes and effects of this Play compared with those of the
wedding night feast at the end of "A Midsommer Nights Dreame."

What indications are there in the Falstaffe of "Henry IV." that he is
superficially affected by the Puritanism about him? Is he any more
deeply affected by it in the present Play? What is the difference in
his appearance in this Play with respect to Puritanic morals: Is he
more affected by them, at the last, when he is so grossly their
victim, or have they grown, and put him out of date in England except
as an atavism?

Have Page and his Wife any loftier standpoint as to mercenary love
than Falstaffe himself? Is Fenton's speech (V. v. 225-235) the moral
of the last Act or is Ford's (237-238)?

QUERIES FOR DISCUSSION

Is the main design of the Play to "cure Ford of his unreasonable
jealousy," as Rowe says, or to dupe and reform Falstaffe? Is the total
aim sport to laugh over "by a Countrie fire?" Is it a Comedy of irony
turned against all mercenary motives in love?

AS YOU LIKE IT

I

THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH

How much of the situation existing in the play comes out in Act I. i.?
And what action takes place?

The strained relation existing between the brothers Orlando and Oliver
is revealed through Orlando's conversation with Adam and with his
brother Oliver. The situation at court is also revealed through the
conversation of Oliver with the wrestler Charles, and also the loving
relation existing between Celia and Rosalind; thus we are at once put
into the possession of three emotional or passional causes for
action--Oliver's hatred of his younger brother, the younger Duke's
hatred of his older brother, and the love of Celia for Rosalind. Of
these causes for action only one bears any fruit in this scene,
namely, Oliver arranges with the wrestler to kill Orlando. What are
the connections existing between sc. ii. and sc. i.? First there is a
picture of the loving relationship existing between Rosalind and Celia
(already mentioned by Oliver in sc. i.) which reveals very subtly
differences in their natures. The action set going by Oliver in sc. i.
is consummated in the wrestling match, but with a result different
from that hoped for by Oliver, thus leaving Oliver's hatred still
present as a cause of action. Out of the wrestling match what further
passional and emotional causes of action are set up? Duke Frederick's
hatred for Orlando is aroused because he learns he is the son of a man
he had considered his enemy, and action against him is the immediate
result. Orlando is warned by Le Beau that he is not safe at the court.
The Duke's hatred of his brother bears further fruit in its extension
to Rosalind. The meeting of Rosalind and Orlando brought about by the
wrestling match gives rise to a fresh emotional force in their budding
love for each other. In Sc. iii., the state of Rosalind's heart as to
Orlando, hinted at in sc. ii., is fully revealed; the Duke's hatred
takes shape in his sentence of banishment or death, giving rise to a
new direction for action, and the emotion of Celia's love for Rosalind
bears fruit in her determination to go with Rosalind into banishment.

II

LIFE IN THE FOREST OF ARDEN

In Act II. how are the elements of action, character delineation and
emotion intermingled?

Sc. i. gives us a picture of the banished Duke and his followers in
the Forest of Arden, already prepared for in Act I., introduces us to
the personality of the Duke, and in the conversation with the lords
prepares us for coming delights in the personality of Jaques. It does
not advance the action, at all. In sc. ii., the result of Celia's act
in going with Rosalind is shown in the bad Duke's consternation, who
determines that they shall be found, thus starting another thread of
action to be developed later. Sc. iii. the passional cause of action
in Oliver's hatred of Orlando reaches a crisis; Orlando is obliged to
flee to save himself from death. Sc. iv. shows Celia and Rosalind
arrived at their journey's end in the Forest of Arden, and making
arrangements with a shepherd for a comfortable little house to
rusticate in; thus is closed the thread of action started by the Duke
in banishing Rosalind. In the conversation of their new companions,
Corin and Silvius, we learn of the love of Silvius for the scornful
Phebe, which is another emotional impulse to action, later blending
itself with the plot. In sc. v. we meet Jaques, already mentioned, and
get another glimpse of the pleasant company in the forest, but they
are still quite detached from the active elements of the play. Sc. vi.
shows us how far Orlando and Adam have gone in their flight, and sc.
vii. presents again the good Duke's court, develops further the
personality of Jaques, and prepares us, through his conversation about
the fool whom he had met in the forest, for the contact of one of the
threads of action with the element of inaction represented by this
good Duke's forest court, while in the sudden breaking in upon them of
Orlando it is brought into contact with another of the threads of
action.

III

LOVE IN THE FOREST OF ARDEN

At the opening of Act III. what results have been brought about by the
action so far? Everybody in the play except Oliver and the bad Duke
has arrived in the Forest of Arden. In sc. i. of Act III. the hatred
of the Duke is still active as a force, and Oliver through this means
is also sent off to finally bring up in the Forest of Arden. The
Duke's attitude as a motive force having worked itself out in its
relation to Orlando and Rosalind, the emotional cause of action in the
love of Rosalind and Orlando is free to develop, and the remainder of
Act III. is devoted chiefly to the presentation of the situation
between the lovers, which, owing to the disguise assumed by Rosalind,
gives rise to the charming inconsistencies attending the wooing of a
proxy Rosalind who is in reality Rosalind herself. Around these
central lovers, whose characters Shakespeare unfolds, revolve other
interesting personalities. Touchstone meets his fate in Audrey. Phebe
still scorns Corin and perversely falls in love with Ganymede. The
action is only advanced to the extent that Rosalind learns the state
of Orlando's mind while he still remains in ignorance as to hers.

IV

HATRED BECOMES LOVE IN ARDEN

Are there any fresh elements or developments in Act IV.?

Sc. i. merely continues the love-making of Act III. Sc. ii. gives
another glimpse of the good Duke's court; in sc. iii. the love of
Phebe bears fruit in a letter to Ganymede, and Oliver finds his way to
the forest. The bad Duke's intentions toward Orlando in sending Oliver
after him are, however, frustrated by the sudden change of heart
against a bad Duke is a good Duke. Contrast their actions throughout
the play. Contrast also the two brothers, Orlando and Oliver. What are
the resemblances between the characters of Oliver and Duke
Frederick?--between Orlando and the banished Duke? Is Orlando's
rebellion against his brother's injustice or the banished Duke's
acceptance of _his_ brother's injustice the more to be praised?
Compare his attitude with that of Prospero under similar
circumstances. Whose repentance is the more sincere, Oliver's or Duke
Frederick's? Note that Oliver has lost all when he repents, while the
Duke gives up everything just as he is about to realize his aim. Is
the repentance of the usurping Duke merely a _ruse_ of Shakespeare's
to bring the play to a happy ending? In Lodge's story he does not
repent, but is proceeded against by his brother. Contrast Jaques and
Touchstone. Is Jaques's melancholy affected? What is the main
difference between Rosalind and Celia? Which is the more the friend of
the other? (For valuable suggestions on these points see 'Characters
in "As You Like It,"' _Poet-lore_, Vol. IV. pp. 31 and 81, Jan. and
Feb., 1892.)

QUERIES FOR DISCUSSION

Which is the better philosopher, Jaques or Touchstone, and which is
more closely related to the philosophy of the play?

The characters of the two Dukes are not developed; they are merely
walking gentlemen, whose office it is to keep the play in motion.

2. The Lovers of the Play.

The Different Kinds of Love in 'As You Like It.' Examples of love at
first sight in Shakespeare. Note Orlando's surprise at the suddenness
of Oliver's and Celia's love. Was his own less sudden? Consider
Hymen's song and Jaques's remarks in the last scene as descriptive of
the various couples. Does the comic element of the play, as
represented by Touchstone, discredit sentiment in the play? Notice the
madrigal in Lodge's novel (given in _Poet-lore_, Vol. III., in the
article on Lodge, Dec, 1891), and consider whether Shakespeare has
borrowed anything from it in characterizing Rosalind's wooing?
Contrast Lodge's Montanus as a lover with Shakespeare's Silvius. Is
Montanus too much of a "tame snake" to be natural? Or does this
constancy in love make him a superior figure? Is it a sign of
Silvius's inferiority that love has its own way with him? Can love be
true that changes if it is unrequited?

Are those actors right, do you think, who play Oliver as guessing who
Ganymede is when she swoons? Is Rosalind's conduct unwomanly? Is her
disguise unlikely?

QUERIES FOR DISCUSSION

It is best for the man to love the most; and therefore has Silvius and
Phebe's unequal love-match a better chance for happiness than
Rosalind's and Orlando's?

VII

THE PASTORAL ELOPMENT

The Rise of Pastoral Poetry, and Shakespeare's Use of it in 'As You
Like It.'

Compare Spenser's 'Shepherd's Calendar,' Fletcher's 'Faithful
Shepherdess,' etc. Point out any differences you find between
Shakespeare's and Spenser's pastoral poetry. Modern literary use of
the pastoral element, Wordsworth's 'Michael.' Is the pastoral life of
literature always artificial? Can a progress toward realism be shown?
The humor of the play. Discuss in particular the humorous comments on
contrasts between court and country life. Compare modern instances of
the refinements and artifices of city life and the crudeness of work
and pleasure in the country.

_Special Points_.--1. The Forest of Arden: Is it in England, France,
or Shakespeare's imagination? 2. "Old Robin Hood of England." What are
the legends concerning him? 3. The archaic words in the play. (See
Prof. Sinclair Korner's 'Shakespeare's Inheritance from the Fourteenth
Century,' in _Poet-lore_, Vol. II., p. 410, Aug., 1890.)

QUERY FOR DISCUSSION

Is the opposition shown in the play between life at court and in the
country truly shown to be to the advantage of the country.

VIII

THE MORAL ELEMENT

The moral side of the Play consists, according to the Introduction in
the First Folio Edition, in its persuasion toward an Arden of the
disposition, or a spirit of happy good will toward all men. How far
does this cover the lesson of the Play?

What is to be thought of the idea in the 'Ethics of "As You Like It"'
(_Poet-lore_, Vol. III., p. 498, Oct., 1891), that Touchstone's
opinion of a shepherd's life (III. ii.) is the key-note of the play?
Are the references to fortune in the play significant? Dr. F.J.
Furnivall says: "What we most prize is misfortune borne with cheery
mind, the sun of man's spirit shining through and dispersing the
clouds which try to shade it. This is the spirit of the play." Of this
Dr. Ingleby says: "The moral of the play is much more concrete than
this. It is not how to bear misfortune with a cheery mind, but _how to
read_ the lessons in the vicissitudes of physical nature." C.A.
Wurtzburg says: "The deep truths that may be gathered from the play
are the innate dignity of the human spirit, before which every
conventionality of birth, rank, education, even of natural ties, must
give way." Give arguments drawn from the play in favor of or against
all of these suggestions. Is it an evidence of Shakespeare's intention
to be a moral teacher that he altered the fate of Duke Frederick?

QUERY FOR DISCUSSION

Has the play any moral that is not gently satirized in it?

IX

THE SOURCE OF THE PLOT

Shakespeare's Variations from Lodge.

Compare Lodge's 'Rosalind' with 'As You Like It.'

(For this story, see "Shakespeare's Library" or Extracts in Notes and
Comment in Sources in "First Folio Edition").

Is the story better without the parts Shakespeare leaves out (_e. g._,
Adam's proposal to Rosader to cut his veins and suck the blood; his
nose-bleed; the incident of the robbers accounting for Aliena's sudden
love, etc.)? Why is the "Green and gilded snake" added? Isn't the
"lioness" enough? Is Rosader or Orlando the finer character, and why?
The new characters introduced--Audrey and William--considered as
embodying real instead of ideal pastoral life. Do Shakespeare's
changes affect the plot, the characters, or the moral of the story?
(For an examination of the plot of the play, see 'An Inductive Study
of "As You Like It,"' in _Poet-lore_, Vol. III., p. 341.)

A Sketch of Lodge's Life and Work. (See 'An Elizabethan Lyrist: Thomas
Lodge,' in _Poet-lore_, Vol. III., p. 593, Dec, 1891.)

QUERY FOR DISCUSSION

Is Shakespeare's framing of the plot of 'As You Like It' not to be
admired, because it is borrowed?

X

THE MUSIC OF THE PLAY

This may consist of a brief paper on the subject illustrated by a
program of the songs with the old and more modern settings. (See New
Shakespeare Society's Papers, on this subject; 'Shakespeare and
Music,' by E.W. Naylor.)

TWELFE NIGHT

The winsomeness of this poetic comedy rightly makes the reader or the
hearer hesitate to count its petals or scrutinize the stages of its
growth, which are marked by its acts as symmetrically as leaf buds are
ranged about a stalk. And yet, one may find that to take note of such
beautiful orderliness in the delicate structure and sprightly
blossoming of the poet's design enhances the appreciation of its
artistic quality. Regarding it first as a whole, sum up the stages of
the action, first; then the caprices its allusions denote; then the
characters; and finally the poetic fancy and wit exhaled by the whole
play like a fragrance.

I

THE STORY OF THE PLAY

Act I. scene i. puts us in possession of what facts concerning the
Duke and Olivia? What do we learn from the conversation of Viola and
the Captain in scene ii., and what course does Viola decide upon? What
do we discover from scene iii. in regard to the state of things in
Olivia's household? In scene iv., what relation has been established
between the Duke and Viola? What three new characters are introduced
in scene v., and what is the event of the scene? Act II. scene i.:
What is learned of Sebastian and his intentions? In scene ii., what
are shown to be the feelings of Olivia? In what previous scene was
this prepared for? Does scene iii. advance the story at all? What is
it taken up with? Does scene iv. advance the story? Of what scene is
it almost a repetition? If it does not advance the action, what does
it do? Of what previous scene is scene v. the result? What previous
scene leads up to scene i. of Act III? and of what scene is it in
purpose a repetition? What new turn is given to affairs in scene ii.,
and through whom is it brought about? Whose doings do we get a glimpse
of in scene iii? Of whose plot do we see further developments in scene
iv? What other issues in the progress of events come to a climax in
this Act? Act IV. scene i.: Describe the complication of affairs which
arises in this scene. What previous scenes do we see the result of in
scene ii? and what happens that will bring about a change in the
situation? What important event occurs in this scene iii? Act V. scene
i.: Describe how in this scene all the complications are unravelled,
and by what means all the characters are brought upon the stage. What
do you think of the device to call Malvolio upon the stage? Does it
not seem rather clumsy, or do you think it a further humorous touch
that Viola should have to depend on Malvolio to find her 'woman's
weeds again'?

What becomes evident after tracing the events of the play through in
this way? That the interest of the play does not depend so much upon
the story itself, as, first, upon the amusing situations resultant
from the story, and, second, upon the scenes which introduce the
characters in Olivia's household who are really not at all concerned
in the development of the plot, but who are the occasion of many added
amusing situations.

What constitutes the real interest of the two short scenes between
Sebastian and Antonio? Their bearing, mainly, on scene iv. of Act III.
By means of them we are shown that Antonio has an enemy in Orsino, and
thus his arrest is prepared for, also how Antonio gives his purse to
Sebastian, the real purpose of the arrest being to bring about a
reason for Antonio's requiring his purse again from Cesario, whom he
takes for Sebastian, and so to add complication to the situation
arising from the resemblance between the brother and sister.

What are the situations which the story gives Shakespeare a chance to
develop? On the one hand, is the Duke pouring out his love for another
woman to his supposed page, who is in love with him, and thus giving
rise to the series of scenes between the Duke and Viola. On the other
hand, is the supposed page pressing his master's suit to a woman who
loves the supposed page, and thus giving rise to the series of scenes
between Viola and Olivia. Out of this love of Olivia for Viola grows
the absurd situation of Viola's being obliged to fight a duel, which
is made still more ridiculous through the circumstance of her
challenger being a fool. Out of Viola's resemblance to her brother and
her disguise grows the absurd situation of Olivia's claiming her as a
husband, and that of Sir Andrew taking for his unwilling duellist the
all-too-willing Sebastian.

To these situations which naturally result from the story, Shakespeare
has added in Olivia's household a set of characters whose personality
is such that amusing situations are multiplied. Thus we may say that
the play is one of situation rather than of action, since whatever of
action there is in it leads to situation, and whatever of character
there is in it leads also to situation.

QUERIES FOR DISCUSSION

1. If attention is constantly given to creating humorous situations,
will character-development necessarily suffer? 2. Do you agree with
the Shakespearian critic Verplanck that this play bears no indication
either of an original groundwork of incident, afterwards enriched by
the additions of a fuller mind, or of thoughts, situations, and
characters accidentally suggested, or growing unexpectedly out of the
story, as the author proceeded?

II

THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY

Pick out and explain the curious allusions in the play, noticing that
these may be classed as geographical, mythological, astrological, or
referable to persons or customs of the time, or books of the day. For
examples of the latter class, note Sir Toby's 'diluculo surgere' (II.
iii.), for 'Saluberrimum est dilucolu surgere,' an adage from Lilly's
Grammar, doubtless one of Shakespeare's text-books at the Edward VI.
School in Stratford; and Viola's 'Some Mollification for your giant
sweet lady' (I. v.),--an allusion to the innumerable romances whose
fair ladies are guarded by giants; for Maria, being very small, Viola
ironically calls her giant, and asks Olivia to pacify her because she
has opposed her message. (For Shakespeare's education and
school-books, see Bayne's remarks on this subject in Brit. Encyc. art.
Shakespeare.) The whole incident of the 'possession' of Malvolio, and
the visit of Sir Topas, probably alludes to a tract published in 1599
by Dr. Harsnett,--'A Discovery of the Fraudulent Practices of John
Darrel,'--in which is narrated how the Starkeys' children were
possessed by a demon, and how the Puritan minister, Mr. Darrel, was
concerned in it. For examples of allusions to contemporary customs,
see Sir Toby's mention of dances no longer known,--'Galliard,'
'Coranto,' etc. As an example of allusions to persons of that time,
Sir Toby's reference to 'Mistress Mall's picture,'--Mary Frith, born
in 1584, died in 1659, a notorious woman who used to go about in man's
clothing and was the target for much abuse. Astrological allusions:
'Were we not born under Taurus?' 'That's sides and hearts,' which
refers to the medical astrology still preserved in patent-medicine
almanacs, where the figure of a man has his various parts named by the
signs of the Zodiac. 'Diana's lip' (I. iv.), ('Arion on the Dolphin's
back' I. ii.), are examples of mythological allusions. Of the
geographical allusions there are two kinds, the real and the
sportive,--Illyria, an example of the one, the 'Vapians' and the
'Equinoctial of Queubus,' of the other. Go on through the play
classifying and commenting on the allusions. What was a 'catch'? Give
an example.

QUERIES FOR DISCUSSION

Are the odd allusions in the play a result of the corrupt text,
ignorance, ridicule of learning? Or are they introduced to give a
lively and contemporaneous effect?

III

THE DUKE AND SEBASTIAN

How does the play set off these two lovers against each other? Which
has the more constant nature? Note the evidences of the Duke's
restlessness and changeableness; how soon he tires of the music he
calls for, of the clown's song (II. iv.). Is his first speech to
Viola, on woman's constancy before the song, consistent with his
second, after it? Is his own report of himself true,--'Unstaid and
skittish in all motions else Save in the constant image of the one
beloved'? Is Olivia's unattainableness the main source of her
desirableness for him? How is it with Sebastian? Does his loyalty in
love seem to be of the sort that suffers impairment when he can win
love easily? The Duke craves excess in music in order that his
'appetite may sicken and so die;' Sebastian wishes 'to steep his soul
in Lethe.' Do you think Sebastian and Viola alike in more than
appearance? Which is the quicker-witted? Is the Duke's amicable
acceptance of the inevitable and transference of his love to Viola in
keeping with his character? Do you think Viola shows promise of
special facility for preventing the moody Duke from tiring of her?
Note that he calls her his 'fancy's queen.'

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