Chapter 18

SPORT IS BY SPORT OVERTHROWN

What were the main events of the last Act and of this one, and how do they bear upon one another? Why is the revenge planned by the Princess both fair and prudent? Are the men more in earnest than they seem? Do the women seem less in earnest than they are? Which man first draws a lesson from being outwitted, and how is it justified? Show how this lesson suits the trend of the Play, and advances upon the outcome of the preceding Act. To whom is Berowne's line (V, ii, 477)--"Speake for yourselves, my wit is at an end"--addressed? How is the King brought to confusion? Is the Princess too hard upon him? Why does Berowne scoff so fiercely at Boyet?

Is the presentation of the Nine Worthies too absurd in itself to mix well with the courtliness, learning, and elaborate wit of the rest of the Play? Note Berowne's defence of it (V, ii, 569-571) and his rebuke to the King for despising it? The Princess's defence of it and its correspondence with that of Theseus for the show of the "base mechanicals" in the "Midsommer Nights Dreame." How does Berowne's humility in accepting the parallel with their own wit-overthrown mask agree with his boisterous jeering at the mask of the Nine Worthies later? How does the attitude of the ladies toward it compare with that of the men and what comment upon it does it constitute in your opinion? How does it all prepare the way for the sudden sad message, and also for the decision of the Ladies to rebuff love that is not serious? What special point is there in the kind of trial Rosaline and her mistress each specially propose for Berowne and the King? Has it any relation to what has just been shown of each of them in their attitude towards others with respect to the humble performers of the Mask of the Nine Worthies? What makes wit an unalloyed pleasure?

QUERIES FOR DISCUSSION

Is the serious ending of this Comedy a disappointment? Is seriousness an ending artistically called for by this plot, or only morally called for? Compare with the serious strain in the "Comedie of Errors." What does the contradictory little final dialogue between Winter and Spring add to the significance of the Play?

VI

THE WIT OF THE PLAY

This has been called by Armitage Brown, "A Comedy of Conversation"; and the quibbles in which the Play abounds have been supposed by Dr. Johnson to give the Author "such delight, that he was content to sacrifice reason propriety and truth" for their sake. How far do these observations justly apply to the Play?

In what degree is the extravagant banter of the Play itself an imitation of current fashions of speech and itself an object of ridicule?

Its relations to Lyly and Euphuism. (See Extracts from Ward and from Landmann in "Selected Criticism," in First Folio Edition of the Play).

Make a study of the lesser and larger wit of the play, showing how the former is merely incidental to the latter.

In what respects is the whimsical talk of the Play suited to certain groups and to special characters, so that there is more variety in it than appears at first.

QUERIES FOR DISCUSSION

Does the master wit of the Play consist in any one class of fun, as verbal conceits in the punning line; practical jokes; Euphuism, so-called; banter in speech and retort, versemaking and sonneteering, learned quips, or in the use of all these combined in a way to bring out the point of the Play--the clash of natural with artificial methods.

Is wit or purpose dominant in the Play?

Which is the wittiest scene? Is it also the most morally significant?

VII

THE CHARACTERS

Three groups of characters appear in the play--the main group belonging to the Court; the learned group, Armado, the, schoolmaster, and the Curate; and the native group, Costard, Jaquenetta, Dull, and Moth. The two latter subordinate groups add much to the Play. Show in what respects: as to Plot interest what do they add? As to merriment and significance? Is the morality and wit of the Play contributed to by them? Are they of interest in themselves, apart from their relation to the other characters? Are Costard and Jaquenetta the only happy lovers in the Play? Why?

Is the King, kingly? In what respects, do you think, does he evince youth and inexperience? When does he begin seriously to be in love? Is the Princess justified in disciplining him? How much of her discipline is due to the event that cuts short the Play? Judging from his character, do you think he will stand the "twelvemonth" test?

Is Berowne the oldest as well as the deepest and wisest of the men? How does he show all this?

Why does Rosaline discipline him? Is she in insight superior to him as the Princess is to the King? Are the other court ladies equally wise in the probation period they allot?

Are all the men--Costard included--so much a prey to a sort of foppery of expression and love of animal spirits as to be properly subject to the satire the play provides for them? Are the women more sane in this respect, despite their wit, or not?

Is Shakespeare apparently on the women's side?

QUERIES FOR DISCUSSION

Is Costard the bumpkin the best actor in the Mask of the Worthies? Why? Why is Jaquenetta the least and Moth the most discomfitted of the third group of characters?

Dowden says the women of the Play "have not the entire advantage on their side." What do they lack? He also says, to bear this out, that "Berowne is yet a larger nature than the Princess or Rosaline." What has this to do with their relative advantage in the Play itself, as Shakespeare shows it?

Who are the critics of the falseness of artifice in the Play? Is Berowne on the women's side in the criticism which gives them their advantage?

VIII

THE MORAL OF THE PLAY

Is there a moral against the current educational methods and the affectations social and literary of Shakespeare's time? The monastic and aristocratic elements in education considered as opposed to the progress of Women and the People. Show the general conditions of education prevailing after the Middle Ages, and the new spirit of the Renascence making itself felt, also the degree in which this appears in this plot. If Shakespeare's spirit, as manifested in this Play, had been more influential practically, do you think a different road would have been taken? (For hints upon this line of thought see Introduction in the "First Folio Edition"). How far is Berowne to be taken as the spokesman of Shakespeare? Note what Pater says of him as "a reflex of Shakespeare himself," and trace the truth of this as concerns the fact that he is never "quite in touch" with the level of the understanding shown by others of the Play, and state the bearing this has upon the Moral of the Play. (See Pater's "Appreciations" or extract from same in "Selected Criticism," pp. 242-248, "First Folio Edition").

Why does so frolicsome a Comedy end so seriously? Does that make it funnier?

QUERIES FOR DISCUSSION

Is there really a moral in the Play in favor of nature and sincerity or is it merely read into it?

Is Dowden right, who says "there is a serious intention in the play," or Barrett Wendell who says: "like modern comic opera, such essentially lyric work as this has no profound meaning; its object is just to delight, to amuse; whoever searches for significance in such literature misunderstands it."

In comparison with other comedies of Shakespeare, is a serious undercurrent discernible in all of them, but none in this?

IX

SHAKESPEARE'S PLAY AND TENNYSON'S POEM ("THE PRINCESS") UPON EDUCATION OF MEN AND WOMEN

Summarize story and outcome of Play and Poem in comparison and in contrast. Does Shakespeare's exposition of the contemporary view of education account for the condition Tennyson criticises? If so, are women to blame for it? If not, how much does this modify Tennyson's criticism of the educational exclusion that is the scheme of the College in "The Princess?" Shakespeare seems to point his moral against his male characters for their exclusiveness, Tennyson against his women characters? Which one goes the deeper? Wherein do they agree and disagree? How may they be made to supplement each other? Has Tennyson's poem presented any phase of the question touching upon popular interest in exclusive educational schemes? Is Shakespeare, considering his time, the more democratic in his views of life, as shown by this Play, in comparison with those brought out in Tennyson's Poem. Why does Shakespeare leave the women in moral and actual command of the situation?

QUERIES FOR DISCUSSION

Is co-education the right conclusion to draw from the exposition by the Poets of educational restraints and the relation of men and women to life?

What ideals of life as to Nature and Education must be included in educational schemes? Why does the Play not end with as many marriages as there are lovers? Is it possibly because Shakespeare did not mean to bring forward love between man and woman as if it were the only thing in life but as the typical experience of life that should open up the depths of knowledge not of love alone but of death and suffering in relation to it.

MUCH ADOE ABOUT NOTHING

The title of this Comedy broadly describes its character, and is based upon the double meaning of "Nothing." The events that constitute the plot are the result of "note-ing" or overhearing and so taking note of events which are deceptive in some way. Hence, in all the "note-ing" that takes place, there is, after all "nothing," and the whole amusing plot constitutes much ado about nothing. The letter "h" in _Nothing_ was often silent in Elizabethan pronunciation. The "h" in "Moth" in "Love's Labour's Lost" is another example.

Noting or overhearing as a factor of the plot is introduced also in "Love's Labour's Lost." It is one of several links in workmanship with that Play and its use there may have suggested the production of a Play almost altogether built, as this is, on overhearing or taking critical notice such as Benedicke and Beatrice take of each other.

The part of the plot that is based on an already existent story does not develop this noteing element particularly. For that reason it is the likelier that it is a device of Shakespeare's to make up his Comedy.