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Helen Archibald Clarke. Shakespeare Study Programs; The Comedies
Shakespeare Study Programs; The Comedies
Table of Contents
THE COMEDIE OF ERRORS
ACT I. THE ARRIVAL OF CERTAIN STRANGERS IN EPHESUS
QUERIES FOR DISCUSSION
ACT II. ANTIPHOLUS THE STRANGER DINES AT HOME
QUERIES FOR DISCUSSION
ACT III. ANTIPHOLUS THE NATIVE INVITES FRIENDS TO DINE WITH HIM
QUERIES FOR DISCUSSION
ACT IV. COMPLICATIONS GROW
QUERIES FOR DISCUSSION
ACT V. SOLUTIONS MAKE ALL THE STRANGERS FEEL AT HOME
QUERIES FOR DISCUSSION
VI. CHARACTER DEVELOPMENT
QUERIES FOR DISCUSSION
VII. SHAKESPEARE'S DEPARTURES FROM PLAUTUS
QUERIES FOR DISCUSSION
THE TWO GENTLEMEN OF VERONA
ACT I. VALENTINE VERSUS PROTHEUS AND JULIA
QUERIES FOR DISCUSSION
ACT II. VALENTINE AND SILVIA
QUERIES FOR DISCUSSION
ACT III. THE FALSE FRIEND
QUERIES FOR DISCUSSION
ACT IV. SILVIA AND JULIA
QUERIES FOR DISCUSSION
ACT V. VALENTINE, SILVIA AND JULIA VERSUS PROTHEUS
QUERIES FOR DISCUSSION
THE TAMING OF THE SHREW
I. THE PLAY OUTSIDE THE PLAY
QUERIES FOR DISCUSSION
II. THE DOUBLE PLOT OF THE MAIN PLAY
QUERIES FOR DISCUSSION
III. BIANCA AND HER SUITORS
QUERIES FOR DISCUSSION
IV. THE SHREW AND HER TAMER
QUERIES FOR DISCUSSION
V. THE TRIPLE MARRIAGE AND THE MORAL
QUERIES FOR DISCUSSION
VI. THE FOLK ORIGIN OF THE TAMING
QUERIES FOR DISCUSSION
LOVE'S LABOUR'S LOST
ACT I. THE VOW AND ITS FIRST ANTAGONISTS
ACT II
QUERIES FOR DISCUSSION
ACT III. THE CLOWN AS A LETTER-CARRIER
QUERIES FOR DISCUSSION
ACT IV. BEROWNE HEARS SOME SONNETS AND THE KING RECEIVES A LETTER
QUERIES FOR DISCUSSION
ACT V. SPORT IS BY SPORT OVERTHROWN
QUERIES FOR DISCUSSION
VI. THE WIT OF THE PLAY
QUERIES FOR DISCUSSION
VII. THE CHARACTERS
QUERIES FOR DISCUSSION
VIII. THE MORAL OF THE PLAY
QUERIES FOR DISCUSSION
IX. SHAKESPEARE'S PLAY AND TENNYSON'S POEM ("THE PRINCESS") UPON EDUCATION OF MEN AND WOMEN
QUERIES FOR DISCUSSION
MUCH ADOE ABOUT NOTHING
ACT I. CLAUDIO NOTES HERO WITH FAVOR AND IS NOTED WITH DISFAVOR
QUERIES FOR DISCUSSION
ACT II. THE PRINCE PLOTS FOR TRUE NOTING AND HIS BROTHER FOR FALSE
QUERIES FOR DISCUSSION
ACT III. THE NOTE-ING IS NOTED
QUERIES FOR DISCUSSION
ACT IV. HERO IS REPUDIATED AND BEFRIENDED
QUERIES FOR DISCUSSION
ACT V. THE DOUBLE WEDDING
QUERIES FOR DISCUSSION
THE CHARACTERS
BENEDICKE AND BEATRICE, CLAUDIO AND HERO
QUERIES FOR DISCUSSION
A MIDSOMMER NIGHTS DREAME
ACT I. THE CROSSED LOVERS
ACT I. QUERIES FOR DISCUSSION
ACT II. THE FAIRIES' QUARREL
QUERIES FOR DISCUSSION
ACT III. CROSS-EFFECTS OF OBERON'S SPELL
QUERIES FOR DISCUSSION
ACT IV. HARMONIZING EFFECTS OF OBERON'S SPELL
QUERIES FOR DISCUSSION
ACT V. THE THREEFOLD MASK
QUERIES FOR DISCUSSION
SOURCES OF THE PLAY. 1. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS MORTALS
2. WHERE SHAKESPEARE FOUND SUGGESTIONS FOR HIS FAIRIES
3. SOLAR ORIGIN OF THE FAIRIES
SYMPOSIUM OF OPINION ON THE CHARACTERS. 1. THE LOVERS. QUERIES FOR DISCUSSION
2. HIPPOLYTA AND THESEUS. QUERIES FOR DISCUSSION
3. THE FAIRIES. QUERIES FOR DISCUSSION
4. THE PLAYERS. QUERIES FOR DISCUSSION
SYMPOSIUM OF OPINION ON FAVORITE PASSAGES
QUERIES FOR DISCUSSION
THE MERCHANT OF VENICE
ACT I. SHYLOCK'S "MERRIE BOND"
QUERIES FOR DISCUSSION
ACT II. PORTIA'S CASKETS
QUERIES FOR DISCUSSION
ACT III. BASSANIO'S LUCK AND ANTHONIO'S LOSS
QUERIES FOR DISCUSSION
ACT IV. THE LUCK REDEEMS THE LOSS
QUERIES FOR DISCUSSION
ACT V. THE RINGS
QUERIES FOR DISCUSSION
THE MERRY WIVES OF WINDSOR
THE STORY OF ACT I. FALSTAFFE IS FORCED TO "CONICATCH"
QUERIES FOR DISCUSSION
THE STORY OF ACT II. THE MERRY WIVES AND FORD LAY PLOTS
QUERIES FOR DISCUSSION
THE STORY OF ACT III. THE DOUBLE DUPERY
QUERIES FOR DISCUSSION
THE STORY OF ACT IV. FORD'S ENLIGHTENMENT
QUERIES FOR DISCUSSION
THE STORY OF ACT V. THE DEFEAT OF MERCENARY LOVEMAKING
QUERIES FOR DISCUSSION
AS YOU LIKE IT
I. THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH
II. LIFE IN THE FOREST OF ARDEN
III. LOVE IN THE FOREST OF ARDEN
IV. HATRED BECOMES LOVE IN ARDEN
QUERIES FOR DISCUSSION
QUERIES FOR DISCUSSION
VII. THE PASTORAL ELOPMENT
QUERY FOR DISCUSSION
VIII. THE MORAL ELEMENT
QUERY FOR DISCUSSION
IX. THE SOURCE OF THE PLOT
QUERY FOR DISCUSSION
X. THE MUSIC OF THE PLAY
TWELFE NIGHT
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'?
QUERIES FOR DISCUSSION
II. THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY
QUERIES FOR DISCUSSION
III. THE DUKE AND SEBASTIAN
QUERY FOR DISCUSSION
IV. VIOLA AND OLIVIA
QUERY FOR DISCUSSION
V
SIR TOBY AND MARIA, AND THEIR BUTTS OR DUPES
QUERY FOR DISCUSSION
VI. MINOR CHARACTERS
QUERIES FOR DISCUSSION
VII. THE POETIC FIGURES IN THE PLAY
QUERIES FOR DISCUSSION
VIII. THE WIT OF THE PLAY
QUERIES FOR DISCUSSION
THE TEMPEST
ACT I. THE SCHEMES OF PROSPERO
QUERIES FOR DISCUSSION
ACT II. THE COUNTERPLOT
QUERY FOR DISCUSSION
ACT III. NEW PLOTS AGAINST PROSPERO
QUERY FOR DISCUSSION
ACT IV. THE CONFUSION OF THE PLOTTERS
QUERY FOR DISCUSSION
ACT V. PROSPERO'S TRIUMPH
QUERIES FOR DISCUSSION
VI. CHARACTER STUDIES. I. PROSPERO AND HIS SERVANTS
QUERIES FOR DISCUSSION
2. THE LOVERS
QUERIES FOR DISCUSSION
3. THE MINOR CHARACTERS
QUERIES FOR DISCUSSION
VII. A STUDY OF ARTISTIC DESIGN. THE SYMBOLISM OF 'THE TEMPEST'
QUERIES FOR DISCUSSION
THE WINTER'S TALE
CONSIDERED IN CONNECTION WITH GREENE'S 'PANDOSTO' AND THE 'ALKESTIS' OF EURIPIDES. I. SHAKESPEARE'S INDEBTEDNESS TO GREENE
QUERIES FOR DISCUSSION
II. THE RESEMBLANCES TO THE 'ALKESTIS' OF EURIPIDES
QUERIES FOR DISCUSSION
III. SHAKESPEARE'S ORIGINALITY IN WORKING OVER HIS MATERIAL
QUERY FOR DISCUSSION
IV. THE ALKESTIS STORIES IN LITERATURE
QUERIES FOR DISCUSSION
V
THE OUTCAST CHILD IN CULTURE-LORE AND FOLK-LORE
QUERIES FOR DISCUSSION
VI. CHARACTER STUDIES. 1. PAULINA; LEONTES; HERMIONE
2. THE YOUNG LOVERS
3. THE ORIGINALITY OF SHAKESPEARE'S AUTOLYCUS
QUERIES FOR DISCUSSION
VII. A STUDY OF THE CONSTRUCTION OF THE PLOT
QUERY FOR DISCUSSION
VIII. SHAKESPEARE'S WORKMANSHIP IN "THE WINTER'S TALE"
QUERIES FOR DISCUSSION
IX. PERDITA'S GARDEN
QUERIES FOR DISCUSSION
X. THE ETHICS OF "THE WINTER'S TALE"
QUERIES FOR DISCUSSION
