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ACT FOURTH.

31. How is the crowning of Henry in Sc. i. shown to be a mere travesty?

32. Show how Sc. i. is managed to secure a cumulative effect. What does the entrance of Gloucester into the dispute (line 123) serve to recall so that all the elements of internal strife confronting Henry are brought to a focus in the Scene?

33. Is youth the only excuse for the King's inadequacy?

34. What resemblance do you note between Talbot's speech before Bordeaux, at the beginning of Sc. ii., and that of Henry V. before Harfeur? What bearing may this have upon the question of the genuineness of the passage?

35. Support by reasons your belief, if so you judge them, that lines 42-56 are Shakespearian. Comment on the elaborate figure here used. Do you find many such in this play?

36. How do Scs. iii. and iv. show that the cause of England is more jeopardized by the strife among her nobles than by the power of France ?

37. Explain the allusion of Sir William Lucy (iii. 47) to the vulture of sedition.

38. Taking Scs. vi. and vii. as examples, may we deduce a possible law of Shakespeare's earlier æsthetic creed concerning the harmony of sentiment and versification? Consider this in connection with the comedies of this approximate date-Love's Labour's Lost, Comedy of Errors, and Two Gentlemen of Verona.

39. What effect has the death of Talbot on the English cause in France ?

40. What temper as conquerors is displayed by the French?

ACT FIFTH.

41. What defect in the King does Sc. i. reveal that may be taken as the reason of his failure in France? What is his reply when marriage is proposed?

42. To what position does Winchester attain? How did he secure his preferment? What does his closing speech foreshadow ?

43. Why is the final triumph of the English depicted from the French point of view? 44. Does Sc. iii. present a new phase of Joan's spiritual develop

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ment? State what it is and what the dramatist intends to convey
thereby.

45. Considering Henry VI. as a unit, does Margaret contribute
anything to the action? How does she serve as a link between
this and the succeeding parts of the trilogy?

46. How does the Shepherd of Sc. iv. differ from the portraits of countrymen that Shakespeare has elsewhere furnished? What trick of speech bears some resemblance to one frequently employed by him?

47. Does Joan in Sc. iv. exhibit any of the traits of those who have accomplished considerable through belief in a supernatural assistance, and who seek to maintain their rank and reputation after they have felt the power withdrawn?

48. In the presentation of this character does the play follow the belief of the English regarding the real character of Joan, as presented by Hall and Holinshed ?

49. State the reason why this character is so repellent to modern readers.

50. Indicate the situation that the final Scene of this play pro poses for the action of Part II. of the trilogy.

For general questions see end of 3 Henry VI.

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