III. Second Reading and Study
Attention should now be given to the explanation of unusual words and constructions, to the interpretation of important pa.s.sages, to the study of plot and character, and to memorizing the best pa.s.sages.
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 pa.s.sages 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 cla.s.s 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 Act III. At this point is our feeling one of sympathy with the conspirators or of opposition to them? Why? Where does the fall begin?
Trace the successive steps of the fall to the end in the last scene of Act V.
Does our feeling toward the conspirators change? Why? Compare the opening scene of this play with the corresponding ones in _The Merchant of Venice_, and _Macbeth_. Which seems to you the most interesting and the best, regarded as an introduction?
What gave rise to the quarrel in Act IV?
What are the steps in the reconciliation?
For what purpose is Caesar"s ghost introduced in Act IV? What other instances of the use of the supernatural are there in this play? What purpose do they serve?
Should this play have been called _Marcus Brutus_? Why?
CHARACTERS.--What gave Brutus the great influence that he enjoyed? Could he think clearly and reason logically? Could he clearly discern facts in the life about him? Was he a man of sympathetic nature, or was he cold and unfeeling? Give proof in detail for each answer. What was his mistake? Is there any evidence that he regretted the part that he took?
Do you think it was possible for him to be thoroughly honorable and yet not regret this part? What is the lesson of his life?
What acts and words of Caesar, with statements made about him, tend to belittle him in our eyes? What do Brutus and Antony say of Caesar when they are alone, speaking freely and without disguise? What words or acts of Caesar mentioned in the play are expressive of true n.o.bility?
Why did Shakespeare present in one play two impressions of Caesar very different from each other? Are both correct, or only one, or neither?
Give evidence.
Was Ca.s.sius a patriot or a self-seeking politician? Give evidence. How could he justify the means that he used to win Brutus? In what respect did he surpa.s.s Brutus? What case did he make against Caesar? How far was he right? What weakness and what strength does he show in Act IV?
How does Antony appear before the death of Caesar? (Note what he does and says and what others say of him.) What change comes over him after Caesar"s death? Is his agreement with Brutus in regard to Caesar"s funeral an honorable one? Give reasons.
How does he dare to speak so frankly and boldly in the presence of the conspirators as he does in III, 1, 184-210? Does he conduct himself throughout the rest of the play as a true patriot? Give evidence. What were his virtues? Wherein was he weak?
What characteristics of Portia do you discover in II, 1, 261-278, 291-302; IV, 3, 152-156? Compare her with Calpurnia as she appears in II, 2.
What are the characteristics of the Commoners? Compare them with a modern crowd such as might gather to see a parade or a celebration.
FORM.--What is the meter of this play? Where do we frequently find an additional syllable? Ill.u.s.trate.
What other variations from the normal line help to keep the verse from becoming monotonous?
Explain the metrical difficulties of the following lines: