III, 5, 27.

"That can do hurt. O dear Phebe."

One of the editors prints "deere" instead of "dear," and suggests that the word is pronounced as a dissyllable, and that there should be a derisive laugh at the end of "Phebe."

III, 5, 77.

"Come, sister. Shepherdess, look on him better."

Here is a line where, in reading according to natural. prose emphasis, five accents appear. Can the line be "scanned"?

V, 4, 184.

66

Play, music! And you, brides and bridegrooms all."

Try to read this line with five accents.

By reference to any of the rhetorics which have chapters on versification the student will find no difficulty in working out the scansion of other lines which may seem puzzling at first view. Chapter VI of Hart's Composition and Rhetoric (Revised Edition) will be found particularly good. Chapter IX of Watrous's Composition and Rhetoric and Appendix F of Scott and Denney's Composition-Rhetoric will also be found helpful.

SUBJECTS FOR COMPOSITION

1. Develop the following topic sentences:

a. The words "shrunk shank," in II, 7, 161, are [or are not] a blemish in Jaques's otherwise admirable comparison of the world to a stage.

b. Duke Senior had no truly excellent characteristics; he was, in fact, conceited and pompous.

c. It is hard to see how any one can help admiring the simple, unaffected character of Rosalind's father. d. Shakespeare uses many words in senses peculiar or unknown at the present time.

e. For real helpfulness to me I think it is better that I should look up puzzling words in the dictionaries than that I should merely try to commit to memory the explanations found in some annotated editions.

f. Even if I have to spend as long a time in the work as in mastering difficult problems in mathematics, it is worth while for me to study out by comparison of various dictionaries the exact meaning of hard passages in As You Like It.

g. Study of the structure of As You Like It helps the pupil to appreciate better the qualities, good or bad, of any comedy.

h. Compared with As You Like It, most modern

comedies now being played are decidedly inferior in certain important respects.

2. Formulate into a series of short propositions, modelled somewhat after those of Corin, III, 2, 24-32, the philosophy of Touchstone, of Duke Senior, of Jaques; of Cassius (Julius Caesar), of Shylock (The Merchant of Venice), of Malcolm (Macbeth); of Dolly Winthrop (Silas Marner), of Hawkeye (The Last of the Mohicans), of Colonel Lambert (The Virginians), of the Clerk of Copmanhurst (Ivanhoe), and of the Spectator (Sir Roger de Coverley Papers).

3. Present as fully and clearly as you can an idea of what kind of person Orlando was, by each of the following methods:

a. Imagine a couple of Oliver's servants talking about Orlando and reproduce what you think they might have said.

b. Relate in dialogue form what two court beauties other than Rosalind and Celia might have said to each other concerning the strong young wrestler who overcame and disabled the veteran Charles. Perhaps let these imaginary young women talk over the match just after its occurrence.

c. Reproduce an imaginary conversation in which three of the court gallants comment on Orlando's skill or good luck.

d. Write a monologue in which Orlando shall utter

the thoughts that might have come to him when he was in the forest hunting for food for Adam.

e. Relate briskly and in condensed form what Orlando actually does in the play.

f. Write a longer composition combining the three methods of presenting Orlando's character by what people say about him, by what he says himself, and by what he does.

4. Describe fully the Forest of Arden, bringing in all details that you find in the play.

5. Discuss the use of puns in the play.

6. It is said that running through the whole play there is a vein of sadness. Point out the parts of the play that show this sadness.

7. The romance of Corin and Audrey is thought by some persons to be a parody of that of Rosalind and Orlando. Show how far this is true.

8. Explain to what extent the pastoral life represented in As You Like It is artificial [or natural].

9. Compare the kind of clothes men wore in the early part of the sixteenth century with the kind they wear in the twentieth.

10. Comment on the language and grammar of the play, including discussions of Shakespeare's use of infinitives and words in peculiar senses.

11. Translate II, 1, 5-17 into literal prose, and then compare closely with the original. Try after this to

insert a little figurative language into your paraphrase, and decide whether you can improve your writing in this way.

12. Prove that the Forest of Arden of As You Like It was in England [or was not in England].

13. Show the relation between the development of the action of Act II and the shifting of the scene from the forest to the palace, to the garden, and back to the forest. Ingenuity and skill of a high order are to be discovered here by a careful study of the dramatist's method.

14. Translate II, 3, 38-53 and II, 3, 56-68 into your own words, making it plain by your rewriting that you understand the figures of speech in the two passages.

15. Narrate fully what each character does in the play.

16. Describe the circumstances under which the following was uttered and explain its meaning:

"And this our life, exempt from public haunt,

Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.”

17. Rosalind has been called "one of the most enchanting women in literature." Show by comparison with other women in English literature that this is a true characterization.