Chapter 38

Do they appear to have anything to do with each other?

QUERIES FOR DISCUSSION

Which of her suitors does Anne prefer? Which is to be preferred?

Is the grievance of Shallow against Falstaffe a necessity of the plot to show the fat knight in love, or an episode introduced out of Shakespeare's grudge towards Sir Thomas Lucy? (See pp. 117-119, 138-141, etc., "First Folio Edition.")

THE STORY OF ACT II

THE MERRY WIVES AND FORD LAY PLOTS

In Act II a third under-intrigue that of Ford with Falstaffe is added to the two before introduced.

Show how the Merry Wives reveal their separate personalities in their reception of the duplicate letters, and their plot to dupe Falstaffe.

Contrast their two husbands as their natures and marital relations are shown by their different manner of taking the information given them by Nym and Pistol. Ford, considered as Shakespeare's first study of jealousy. How does he compare with Leontes?

How does Ford assist in the plot of the Play?

What pertinence to Ford's jealousy is there in the allusion to Queen Elizabeth's Sonnet? (II, ii, 199-200).

The Sources of the Merry Wives' intrigue and what Shakespeare has done with them. (See "Sources," First Folio Edition). How is the Duel scene related to the underplot?

What characters belong in common to plot and counterplot?

QUERIES FOR DISCUSSION

Does Falstaffe show any material differences in character as he appears in this Play, in comparison with the way he appears in "Henry IV?"

THE STORY OF ACT III

THE DOUBLE DUPERY

Contrast the feelings of Falstaffe before and after the Buckbasket episode?

In which scene is Ford the worst duped?

Give an account of Dame Quickly's relations to the intrigues, and show how her multitudinous offices as go-between interfere with each other so that she is "slacke" in one of her errands. What is the effect of her slackness on the contradictions in the time of the action. (See Duration of the Action, in "First Folio Edition"). Are they only seeming contradictions? The Sources of the Ford intrigue and what Shakespeare has done with them.

Anne and her father and mother as characterized in this act, with relation to the suitors.

QUERIES FOR DISCUSSION

Is Anne the only character one can thoroughly sympathize with?

Are the situations such as owe their fun largely to coincidence, like those in the "Comedie of Errors," or to a teeming variousness in the human naturalness of all the characters?

THE STORY OF ACT IV

FORD'S ENLIGHTENMENT

Why is the Old Woman of Brentford trick a climax upon that of the Buckbasket?

Falstaffe's wish that all the world might be cheated is true to the method of the Play. Show in exemplification of this, how a fourth intrigue grows out of the third, and is introduced as late as this fourth Act. How is the joke of the Host against Dr. Caius and Sir Hugh Evans avenged? Is this reference to the "three Cozen Jermans" that are said to run away with the Host's horses, liklier to be an allusion seriously made to a real event or to make use of it as an entirely fictitious intrigue and practical joke in the Play? Is this mock happening such as could be clear by the method of enacting it and one entirely consonant with this Comedy as a farce-mosaic of laughable tricks? (See pp. 120-121, 179-180, also Note on IV. iii. 6). Discuss probabilities. The turn taken in the plot: Show how all combine against Falstaffe; also the place of this intrigue in making material for Act V.

QUERIES FOR DISCUSSION

Has the "Merry Wives" any serious or tragic moments such as belong usually to Shakespeare's Comedies?

Compare the jealousy of Ford with the jealousy of Adriana in the "Comedie of Errors." Which exemplifies the riper treatment and why?

THE STORY OF ACT V

THE DEFEAT OF MERCENARY LOVEMAKING

Make clear the ins and outs of the Fairy trap, first for its actors, then for the dupes? Can the apparent inconsistencies in the wearing of green or white and the mention of "Quickly" for "Queene" be accounted for on the supposition that everybody is deceived except Nan and Fenton? (See Notes on V. v. 421, 205-209).

The compliments to Queen Elizabeth in the Play: What are they and how is their appropriateness to the Plot made good?

Consider the "humors" of the Welsh and French speeches and episodes as exploitations and developments of the similar humors of Fluellen and the Frenchmen of "Henry V."

The fairy scenes and effects of this Play compared with those of the wedding night feast at the end of "A Midsommer Nights Dreame."

What indications are there in the Falstaffe of "Henry IV." that he is superficially affected by the Puritanism about him? Is he any more deeply affected by it in the present Play? What is the difference in his appearance in this Play with respect to Puritanic morals: Is he more affected by them, at the last, when he is so grossly their victim, or have they grown, and put him out of date in England except as an atavism?

Have Page and his Wife any loftier standpoint as to mercenary love than Falstaffe himself? Is Fenton's speech (V. v. 225-235) the moral of the last Act or is Ford's (237-238)?

QUERIES FOR DISCUSSION

Is the main design of the Play to "cure Ford of his unreasonable jealousy," as Rowe says, or to dupe and reform Falstaffe? Is the total aim sport to laugh over "by a Countrie fire?" Is it a Comedy of irony turned against all mercenary motives in love?

AS YOU LIKE IT

I

THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH

How much of the situation existing in the play comes out in Act I. i.? And what action takes place?

The strained relation existing between the brothers Orlando and Oliver is revealed through Orlando's conversation with Adam and with his brother Oliver. The situation at court is also revealed through the conversation of Oliver with the wrestler Charles, and also the loving relation existing between Celia and Rosalind; thus we are at once put into the possession of three emotional or passional causes for action--Oliver's hatred of his younger brother, the younger Duke's hatred of his older brother, and the love of Celia for Rosalind. Of these causes for action only one bears any fruit in this scene, namely, Oliver arranges with the wrestler to kill Orlando. What are the connections existing between sc. ii. and sc. i.? First there is a picture of the loving relationship existing between Rosalind and Celia (already mentioned by Oliver in sc. i.) which reveals very subtly differences in their natures. The action set going by Oliver in sc. i. is consummated in the wrestling match, but with a result different from that hoped for by Oliver, thus leaving Oliver's hatred still present as a cause of action. Out of the wrestling match what further passional and emotional causes of action are set up? Duke Frederick's hatred for Orlando is aroused because he learns he is the son of a man he had considered his enemy, and action against him is the immediate result. Orlando is warned by Le Beau that he is not safe at the court. The Duke's hatred of his brother bears further fruit in its extension to Rosalind. The meeting of Rosalind and Orlando brought about by the wrestling match gives rise to a fresh emotional force in their budding love for each other. In Sc. iii., the state of Rosalind's heart as to Orlando, hinted at in sc. ii., is fully revealed; the Duke's hatred takes shape in his sentence of banishment or death, giving rise to a new direction for action, and the emotion of Celia's love for Rosalind bears fruit in her determination to go with Rosalind into banishment.

II

LIFE IN THE FOREST OF ARDEN

In Act II. how are the elements of action, character delineation and emotion intermingled?

Sc. i. gives us a picture of the banished Duke and his followers in the Forest of Arden, already prepared for in Act I., introduces us to the personality of the Duke, and in the conversation with the lords prepares us for coming delights in the personality of Jaques. It does not advance the action, at all. In sc. ii., the result of Celia's act in going with Rosalind is shown in the bad Duke's consternation, who determines that they shall be found, thus starting another thread of action to be developed later. Sc. iii. the passional cause of action in Oliver's hatred of Orlando reaches a crisis; Orlando is obliged to flee to save himself from death. Sc. iv. shows Celia and Rosalind arrived at their journey's end in the Forest of Arden, and making arrangements with a shepherd for a comfortable little house to rusticate in; thus is closed the thread of action started by the Duke in banishing Rosalind. In the conversation of their new companions, Corin and Silvius, we learn of the love of Silvius for the scornful Phebe, which is another emotional impulse to action, later blending itself with the plot. In sc. v. we meet Jaques, already mentioned, and get another glimpse of the pleasant company in the forest, but they are still quite detached from the active elements of the play. Sc. vi. shows us how far Orlando and Adam have gone in their flight, and sc. vii. presents again the good Duke's court, develops further the personality of Jaques, and prepares us, through his conversation about the fool whom he had met in the forest, for the contact of one of the threads of action with the element of inaction represented by this good Duke's forest court, while in the sudden breaking in upon them of Orlando it is brought into contact with another of the threads of action.

III

LOVE IN THE FOREST OF ARDEN

At the opening of Act III. what results have been brought about by the action so far? Everybody in the play except Oliver and the bad Duke has arrived in the Forest of Arden. In sc. i. of Act III. the hatred of the Duke is still active as a force, and Oliver through this means is also sent off to finally bring up in the Forest of Arden. The Duke's attitude as a motive force having worked itself out in its relation to Orlando and Rosalind, the emotional cause of action in the love of Rosalind and Orlando is free to develop, and the remainder of