| |chooses | | |
| |and fails | | |
sc. 2 | | |Launcelot | |
| | |leaves | |
| | |Shylock | |
| | |for Bassanio| |
| | | | |
sc. 3 | | | |Jessica |
| | | |shows her |
| | | |intention |
| | | |to marry |
| | | |Lorenzo |
---------------+-----------+-----------+------------+----------+-----------
How is the plot introduced? or what is the exposition? (_The Merchant of
Venice_, p. 148.)
As there are two main stories, so there are two climaxes. What are they?
Which of these we regard as the climax of the play will depend on which
story we consider the more important in the development of the plot.
How does the Launcelot-Gobbo episode help to bring out the character of
Bassanio? of Shylock? Do you think it serves any other purpose?
How does the Lorenzo-Jessica story help to weave together the two main
stories? to arouse us against Shylock? to make us sympathize with him?
Does it serve to bring out any other characters?
How does the rings episode aid in interweaving the two main plots? in
developing main characters?
Why did not Shakespeare end the play with Act IV?
What is the purpose of Act V?
CHARACTERS.--In making Shylock the cruel man that the story requires,
Shakespeare was in danger of making him too inhuman to be of interest to
an audience. Show in detail how he avoided this danger.
What kind of master was Shylock? What kind of father? What good traits
had he?
By what traits do you distinguish Salanio, Salarino, and Salerio, or do
you think that they lack individuality? Do Gratiano and Lorenzo have
distinctive traits?
What evidence have we that Jessica was an attractive girl? What were her
surroundings, her companions, her employments, so far as we can judge?
What effect would such conditions naturally have upon a girl?
Compare Shylock with Isaac of York; Jessica with Rebecca.
How was Antonio regarded by Bassanio and his friends? by Shylock? by the
Duke? What traits of character does he show in what he says and does?
What anxiety have we reason to believe Antonio had for Bassanio? What
hints do we get of Bassanio's previous actions and employments? What
idea do we get of Bassanio's ideals from his words and acts? What
impression of his character do we get from the devotion of Portia and
Antonio to him?
What successive impressions do we get of Portia from what Bassanio says
of her in I, 1? from her conversation with Nerissa in I, 2? from her
manner and language toward the unsuccessful suitors? from her bearing
toward Bassanio? from her planning to relieve Antonio and the successful
carrying out of her plans? and lastly from her part in the ring episode?
FORM.--What is the meter of the play? Name several variations from the
normal line, in number of syllables, position of the accented syllables,
and in the position of the pauses.
Find several passages that are worth memorizing because of their thought
(for example, III, 2, 73-107), others like V, 1, 54-65, because of
poetic fancy.
Distinguish between tragedy and comedy and tell how this play should be
classified. How is this play like Shakespeare's latest plays, the
Romances? (See _Merchant of Venice_, p. 14.)
THE LIFE AND CHARACTER OF THE AUTHOR.--What few facts about
Shakespeare's life have been established beyond doubt? What others have
we good reason to infer?
Give a brief account of the theater as Shakespeare knew it.
Into what four periods may we divide Shakespeare's work? (See Dowden's
_A Primer of Shakespeare_, or Stopford Brooke's _Primer of English
Literature_.)
Under which period does _The Merchant of Venice_ fall?
OUTLINE FOR THE STUDY OF AS YOU LIKE IT
I. Preparation
_As You Like It_ differs greatly from _The Merchant of Venice_ and
_Macbeth_ in its appeal to the mind. To the lover of literature it is
one of the most delightful of all Shakespeare's plays; but its interest
is primarily aesthetic, not intellectual. For this reason it is extremely
difficult to devise any satisfactory plan of study. The enthusiastic
teacher will find ways of imparting enthusiasm to his pupils, but he
cannot tell how he does it.
If this is not the first of Shakespeare's plays for the class to study,
a review of what they have previously learned about the author and his
work will make a good beginning; otherwise the best introduction is the
reading of the play.
II. First Reading
_As You Like It_ is one of the plays that best repays oral reading,
therefore the finest passages, at least, should be read aloud. But the
chief purpose of the first reading is to get a clear idea of the
development of the story. To this end the student should understand the
purpose of each act and the relation of the scenes to one another.
III. Second Reading and Study
Attention should now be given to the explanation of unusual words and
constructions, to the interpretation of important passages, to the study
of plot and character, and to memorizing the best passages.
IV. Study of the Play as a Whole
SETTING AND SITUATION.--What sort of place is the Forest of Arden? Does
it seem attractive? Why? Describe the life that the natives lead.
Contrast the life of the Duke, Rosalind, Celia, and their friends in the
forest with the life at court.
What chances had Shakespeare had to observe the different kinds of life
portrayed here?
PLOT.--Show the steps of the plot from its beginning in I, 2 to its
climax in III, 2, and from the climax to the conclusion.
Compare this play with _The Merchant of Venice_ in respect to tragic
features and to simplicity.
Why are the minor love stories introduced?
CHARACTERS.--Contrast Orlando and Oliver as they are first presented.
What is there to give us a good impression of Orlando before he does
anything to earn it? Show how our good opinion of him is strengthened by
his actions in I, 2; II, 6; IV, 3, etc.
What first prejudices us in favor of Rosalind? How does the author use
Celia to make us like Rosalind the more? What characteristics are
brought out to give us further admiration for Rosalind in II, 4; III, 2;
III, 4; IV, 3; V, 2, etc.?
What is the chief characteristic of Jacques that distinguishes him from
his companions? How is his view of life made to add to our appreciation
of the life in the forest? Note how many of the fine passages of the
play Shakespeare has put in the mouth of Jacques. Why do you suppose he
did this?
Contrast the two dukes. Are they conventional characters, or do they
have distinct personalities? Compare Touchstone with Wamba in _Ivanhoe_.
FORM.--What is the normal meter?
Show how Shakespeare varies the normal line by changing the number of
the syllables; the relative position of the accented and the unaccented
syllables; and the position of the pauses.
What characters always speak in prose? There is no accepted theory to
account for Shakespeare's use of prose, but can you see any difference
in the importance of the thought or in the depth of feeling between
scenes altogether in prose and those altogether in verse?
THE LIFE AND CHARACTER OF THE AUTHOR.--See outline for the study of _The
Merchant of Venice_, p. 72.
OUTLINE FOR THE STUDY OF JULIUS CAESAR
I. Preparation
Little is required to arouse the interest of any class in the play of
_Julius Caesar_. A brief account of the salient facts of Roman history
that center about Caesar's life, and an interesting account of the man
himself will help the student to an appreciative study.
II. Reading and Study
The purpose of the first and second readings will be the same as that
stated in the previous two outlines.
III. Study of the Play as a Whole
SETTING.--When does the play open? What two events of history has
Shakespeare combined in Act I? Why?
How many days are required for the action of the play?
Show where the scenes follow one another without loss of time, and where
they do not.
How are the descriptions of nature used to make the action more
effective? Compare Shakespeare's use of storm and prodigy in this play
with that in _Macbeth_.
PLOT.--Where did Shakespeare get his material for this play? How has he
modified it? Select two or three important modifications and show why he
made them. In this story of the rise and fall of the conspiracy show by
what successive steps it reaches the highest point in the first scene of