UNSTATE, deprive of estate; I. ii. 112. UNTENTED, incurable; I. iv. 325. UNTIMELY, inopportunely; III. vii. 99. UPON, against; III. vi. 97. VALIDITY, value; I. i. 85. VARLET, rascal; II. ii. 30. (Qq. "vaunt-currers"; Ff. "Vaunt-curriors"; Capell, "Vant-couriers"); III. ii. 5. VENGE, avenge; IV. ii. 80. VILLAIN, Serf, servant; III. vii. 78. VIRTUE, valor; V. iii. 103. vi. 218. WAGE, wage war, struggle; II. iv. 213; stake; I. i. 160. WAGTAIL, the name of a bird; II. ii. 75. WAKE, waking; III. ii. 35. WALL-NEWT, lizard; III. iv. 137. WASH'D; "w. eyes," eyes washed with tears; I. i. 273. WASTE, wasting, squandering; II. i. 102. WATER, water-newt; III. iv. 138. WATERISH, abounding with rivers; (used contemptuously); I. i. 263. WAWL, cry, wail; IV. vi. 188. WAYS; "come your w.", come on; II. ii. 43. WEAL; "wholesome w.", healthy commonwealth; I. iv. 234. WEB AND THE PIN, a disease of the eye, cataract; III. iv. 124. WEEDS, garments, dress; IV. vii. 7. WELL-FAVOR'D, handsome, goodlooking; II. iv. 260. WHAT, who; V. iii. 120. WHEEL, the wheel of fortune; V. iii. 176. WHELK'D, Swollen, protruding like whelks; IV. vi. 71. WHERE; (used substantively); I. i. 266. whereas; I. ii. 92. WHICH, Who; IV. vi. 219. WHITE HERRING, fresh herrings; (? pickled herring, as in Northern dialects); III. vi. 34. WHO, which; I. ii. 54. WHOOP, JUG! I LOVE THEE, probably a line from an old song; I. iv. 249. WIELD, manage, express; I. i. 57. WIND; "w. me into him," i. e., worm yourself into his confidence; ("me," used redundantly); I. ii. 110. WINDOW'D, holes forming windows; III. iv. 31. WISDOM OF NATURE, natural philosophy; I. ii. 118. WITH, by; II. iv. 257. WITS; "five w.", the five intellectual powers (common wit, imagination, fantasy, estimation, and memory); III. iv. 58. WONT, accustomed to be; I. iv. 65. WOODEN PRICKS, skewers; II. iii. lower classes and serving-men in distinction to silk ones which were worn by the gentry; II. ii. 17. WORTH; "are w.", deserve; I. i. 284. WORTHIED HIM, won him reputa- WRITE HAPPY, consider yourself fortunate; V. iii. 35. WROTE, written; I. ii. 97. YEOMAN, a freeholder not advanced to the rank of a gentleman; III. vi. 12. YOKE-FELLOW, companion; III. vi. 40. STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. Where are the sources of the story of Lear to be found? 2. What travesty of Shakespeare's play was presented in England for over a hundred years? 3. Why is the character of Lear a difficult problem for an actor? 4. Analyze the effects of the characters in their relations to each other and the development of the theme, as follows: The Fool, his relation to Lear, and to Cordelia; as a sympathetic element, and as a dramatic motive. Goneril and Regan: their common and contrasted qualities; the causes of their influence over those other persons of the drama whom they draw into their groups. Edmund: his relation to the central theme dramatically and ethically; the development of his action as an independent problem. Gloucester: his relation to the ethos of the theme, and by contrast, his personal integrity and goodness of heart with relation to Lear. Edgar: his relation to the ethos of the theme; his personal character, and spring of action by comparison with Kent's. Cordelia: the element introduced by her into the play, and its persistent influence. 5. What are the supremely effective elements in the play;-in the presentation of scenes, their juxtaposition,— and in the development of the action? 6. What characterizes the play as a poetic achievement? as a vehicle for its theme? 7. Trace the demonstration of the philosophy of the theme throughout the play. ACT I 8. What relation has the introductory scene between Gloucester, his son, and Kent, to the main point upon which the theme hinges? What is its value as an introductory scene? 9. What personal condition, state of mind, and elements of character had probably led Lear to his plan of dividing his kingdom? 10. In what ways can his judgment among his daughters be explained? 11. How does their judgment of Cordelia bespeak the characters of France and Kent? 12. Do Kent's words to Goneril and Regan suggest his distrust of them? 13. What would be the natural impression of Goneril's and Regan's protestations to their father, upon a sincere and intelligent hearer? 14. What does the dialogue of Goneril and Regan at the end of the first scene reveal? 15. What perversity of mind is created in Edmund by the combination of conditions in which he is placed? Explain it. 16. How does he first move towards his ends? Why is it easy for him to take advantage of Edgar? Does he show an appreciation of Edgar's qualities? 17. What is the first step of Goneril in her malignity to her father? 18. What does Kent do after his banishment? 19. What does the Fool mean throughout his talk with Kent and Lear upon his first entrance, and after, upon the entrance of Goneril? Explain his several speeches. 20. How does Albany treat the behavior of Goneril at first? 21. How is Lear affected by Goneril's behavior, and what does he do following it? 22. Describe the last passage in the act, between Lear and the Fool. ACT II 23. What is the next development of the action through Regan and Cornwall, and how does their coming serve the purposes of Edmund? 24. What is the extent of Edmund's villainy with regard to Edgar? To what is Edgar driven through it? 25. How does Regan use the color of this episode to throw disrepute upon her father's train? 26. What happens to Kent disguised, upon his first errand for the King? 27. How is Lear affected upon discovering Regan also to be false? 28. What are the final cruel terms Regan and Goneril make for their father? 29. What are his final words before he goes out with Gloucester, Kent, and the Fool? 30. How does the storm at this juncture enhance the effect of the situation? ACT III 31. What commission does Kent entrust to the "Gentleman" he meets on the Heath? 32. Describe the passage between Lear and the Fool in the storm. What is peculiarly touching in the sentiment of this scene? 33. For what treachery is Edmund given further opportunity by his father's confidence, in scene iii? 34. Where does Kent take Lear and the Fool for protection from the storm, and whom do they come upon? Describe this scene. What constitutes its great dramatic effectiveness? 35. Follow and describe the gradual effects of Lear's grief and distress of mind, as expressed through his utterances and behavior during these scenes of the night following the expulsion by Regan and her husband. 36. Describe the scene in Gloucester's farm-house room, |