ACT V V. i. 4. Troilus. In Chaucer's Troilus and Criseyde, Troilus, the son of Priam, is made the lover of Criseyde, the daughter of the Greek soothsayer Calchas. A line in Chaucer's poem gave the suggestion for the passage: "Upon the walles faste eke wolde he walk." Bk. v. 666. V. i. 7. Thisbe. It has been pointed out that Shakspere was probably indebted to Chaucer for this reference and the two following: See Legende of Goode Women, Parts ii. iii. iv. He may have found the story of Pyramus and Thisbe in Ovid, Metamorphoses iv. See any classical dictionary. V. i. 10. Dido. Cf. Vergil, Aeneid. Hunter suggests that "Shakspere has transferred to Dido what he found in Chaucer's 'Legend' concerning Ariadne." Cf. Legende of Goode Women vi. lines 309 et seq. V. i. 11. Waft. Wafted or waved. A case of absorption of the final ed for euphony. Cf. King John, II. i. 73. V. i. 13. Medea. The account of Medea's renewing the youth of Aeson is not given in Chaucer's Legende. Gower (Confessio Amantis Bk. v.) has a description of the sorceress gathering herbs by moonlight. See also Ovid, Meta morphoses vii. V. i. 37. Dr. Furness notes the adverbial hypallage, "Let us prepare a ceremonious welcome," etc. Cf. line 277. V. i. 53. Music. Musical instruments. V. i. 59. Patines. Patines or pattens were plates, often of gold, used in the ceremony of the eucharist. Dr. Furness thinks the reference is not to the stars, but to broken clouds, bright in the moonlight. The first folio reads pattens, following quartos 2 and 3. The first quarto gives pattents, and the second folio, patterns. If the last reading should be adopted the reference would be to the constellations. V. i. 61. Like an angel sings. Cf. Job xxxviii. 7, "The morning stars sang together." For the music of the spheres see also Plato, Republic x. According to Plato the heavenly bodies moved about the earth in eight successive spheres. "Upon each circle stands a siren who travels round with the circle, uttering one note in tone; and from all eight there results a single harmony." See Dr. Furness's note in the Variorum. V. i. 63. Such harmony. Corresponding to the harmony of the spheres is that of the human soul. V. i. 99. Respect. "Regard to circumstances," or, perhaps, "attention." V. i. 103. Attended. The same doubt as above. "When neither is attended by fitting circumstances," or simply, "attended to, listened to." V. i. 109. ii. 91. V. i. 167. V. i. 204. V. i. 208. V. i. 240. V. i. 259. For Endymion, see a classical dictionary. For the meter see p. 35. To urge. "So much as to urge you to give,” etc. See p. 40. Richly. See above on V. i. 37, and cf. I. i. 162. APPENDIX (Adapted largely from the Teacher's Manual for the Study of English Classics, by George L. Marsh) HELPS TO STUDY THE DRAMA In what did the drama originate? Describe briefly the miracle plays, or "mysteries,” telling where they were performed, by whom, and what, in general, was their subject matter (pp. 8, 9). What elements were contained in the miracle plays that had an influence toward the development of comedy? What were moralities? Interludes? What foreign influences contributed to the development of the Elizabethan drama (pp. 10-12)? Name several of Shakspere's predecessors in the drama. Who was the greatest of them? Describe briefly the theater of Shakspere's day (pp. 13, 14). The characteristics of an Elizabethan audience. Did Shakspere write his plays for posterity or to please an audience of his own time? SHAKSPERE'S CAREER When and where was Shakspere born? What can you say as to his education (p. 4)? His occupations before he went to London? What do we know about his early years in London? What were his first dramatic efforts (p. 15)? What other literary work, besides the writing of plays, did he do? Learn the general characteristics of Shakspere's work during each of the four periods into which it is divided, and the names of representative plays of each period (pp. 15-17). Perry Pictures 73-75 have to do with Shakspere and his home. THE MERCHANT OF VENICE-DATE AND SOURCES What is the method employed in determining the date of Shakspere's plays (pp. 18 ff.)? How is it applied to The Merchant of Venice? What is the probable date of composition? Are Shakspere's plots usually original with him? What are the probable sources of the plot of this play? Show how the pound-of-flesh story differs from its Italian form in Il Pecorone (p. 21) and how the casket story is changed from the tale in the Gesta Romanorum (p. 24). How does Shakspere make one plot of the two stories? What is the source of the Launcelot Gobbo and the Lorenzo-Jessica stories (p. 25) ? Determine for yourself the time action of the play. Do you agree with what is said on page 32? DEVELOPMENT OF THE PLOT I. Does the discussion of Antonio's argosies in I, i, foretell his later ruin? What function have Salanio and Salarino? What dramatic purpose does the character of Gratiano serve? How is the purpose brought out in the first act? How are the relations between Antonio and Bassanio brought out in the first scene? What exposition is given in the second scene (pp. 53 ff.) ? What device is used for describing the suitors? How does Bassanio stand? Has there been any mention of the bond previous to the third scene? Does this scene help the plot or is it a scene of character exposition? Explain Shylock's attitude toward Antonio (p. 60). What warning note is struck (p. 65)? Sum up the extent to which the plot is unfolded in Act. I. II. How does Launcelot Gobbo connect the two main stories? What other function has he? Can you justify the length of scene iii? What does it accomplish? Does Shylock have any intimation of the treachery of his daughter (p. 80)? Why has Shylock parted with Launcelot ? Is scene viii a scene of action or of description? How have matters been "complicated" in Act II? How has the plot been advanced? III. Where does Antonio's downfall begin? Who started the rumor that Antonio's ships were wrecked? Note Shylock's warning (p. 98). Notice how he jumps at any word of Antonio's distress (p. 100). Is Tubal sympathetic or is he purposely vexing Shylock? What plot is brought to an end in scene ii' and what two new plots begin (ll. 74, 196) ? When does the news of Antonio's misfortune reach Bassanio? What does scene iii accomplish in the plot? What new incident does scene iv introduce? How does scene v retard the action? IV. Why did not Antonio escape? Why does Gratiano speak (p. 128)? Why do we pay no attention to the improbability of Portia's disguise? Why is the panegyric on mercy introduced (p. 131) ? |