Chapter 8

the text for the hour. Questions are asked on the dramatic structure of this scene, on versification, on the meaning of words and expressions now obsolete, on peculiarities of syntax, and finally a question or two on a character portrayal. The bell brings these questions to an abrupt end. Ask teacher and students the aim of all these questions. To the former, they are means of testing the students' knowledge of a variety of facts of language and literature; to the latter they mean little, and serve only to repress a living interest and appreciation of living literary text. How much more effective the hour in English literature would have been if the entire act had been assigned with a view to giving the students an insight into the dramatic structure of each scene in this act and of the act as a whole. All the questions would then bear on dramatic movement, on the dramatist's technique, on his way of arousing interest in his story, on devices for giving the cause and the development of the action. In the opening scene we read:

_Elsinore. A Platform before the Castle._ _Francisco at his post. Enter to him Bernardo._

BER. Who's there?

FRAN. Nay, answer me; stand, and unfold yourself.

BER. Long live the King!

FRAN. Bernardo?

BER. He.

FRAN. You come most carefully upon your hour.

BER. 'Tis now struck twelve; get thee to bed, Francisco.

FRAN. For this relief much thanks: 'tis bitter cold. And I am sick at heart.

BER. Have you had a quiet guard?

Here we see the guard on duty challenged by his relief, a most unusual procedure. Why does this experienced guard so far forget the customary forms as to challenge the guard on duty? What possible reason can there be for this? How would you read the second line? What words must be emphasized to show the surprise of the challenged guard? If the entire hour were given to the whole of Act I and all the questions sought to reveal to the students Shakespeare's power of dramatic structure, a definite and lasting impression would be carried away.