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derivation of the names Ariel, Caliban, Setebos and Sycorax. Is Caliban an anagram ?

3. Meaning of “Gaberdine,” “Poor John,” “Scamels.

4. What failing or failings of his countrymen does Shakspere satirize in “ The Tempest ?

5. Quote some puns from the play ?
6. What is meant by “bat fowling ?"

7. What lines of Prospero recall similar lines in “Julius Cesar ?"

8. Is there any allusion to the use of coffee in “The Tempest ?' 9. Interpret: (a) “ If twere a kibe,

"

Twould put me to my slipper ; (6) " To think o' the teen that I have turned you

to;" (©) " This is a devil and no monster; I will leave

: him ; I have no long spoon; (d) " The still vexed Bermoothes." 10. How does the play make use of Ovid ? 11. What is meant by the miraculous harp ?

THE TEMPEST.

Plot. 1. What is the main plot” in “The Tempest ?” 2. What is the “ central idea,” or has it any ? 3. Is “The Tempest” a comedy or a tragedy? Why? 4. What five positions has the ship in the first scene ?

5. Prospero promises to release Ariel in two days; how much better than his word is he?

6. How does Scene I, Act II, advance the action of the plot ?

7. What is the dramatic justification for the alliance between Caliban, Trinculo and Stephano ?

8. Compare “ The Tempest” with “ Midsummer Night's Dream as to style and plot ?

9. Is “ The Tempest ” an allegory ? 10. Is this a strictly classical play ? Reasons.

11. What incidents in it may refer to contemporaneous events ?

12. What features are common to this play, “ Cymbeline” and “ The Winter's Tale ?"

13. What two great movements of the time of Elizabeth are illustrated in “ The Tempest ?”

14. What passages may allude to the author's withdrawal from the stage ?

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THE TEMPEST,

Characterization. 1. How does Caliban compare intellectually with Trinculo ?

2. Characterize Gonzalo from the sayings of others in the play:

3. Why the difference in the shapes in which Ariel ap

pears ?

4. How does Shakspere characterize Ariel by adjectives ? 5. Does Prospero stand for Shakspere himself ? 6. Compare Miranda with other Shaksperian heroines.

7. To what other character in Shakspere does Gonzalo show most likeness?

8. Why does Shakspere represent Ferdinand as a chess player?

9. Compare Ariel “ the upward spirit” with Caliban " the downward.”

10. Why does Caliban use such fine poetry in his speeches ?

11. Is Miranda the most “educared” of Shakspere's women ?

SHAKSPERE BIBLIOGRAPHY.

Nothing is quite so painfully bewildering as to attempt to reconstruct any sort of order out of the frightful chaos of criticism which has enveloped the life and work of Sbakspere. In the library of the British Museum two large folio volumes are devoted to an index of the literature upon the subject, and an examination of the Hamlet criticism alone is almost the labor of a lifetime. For the ordinary student we shall only recommend a few of the works which experience has tested and found valuable.

Editions.

The Temple (for ordinary reading).
Hudson (for Class use).
Furness. Variorum (for reference).

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Criticism and Biography.
Dowden. “Shakspere, His Mind and Art."
Brandes. " William Shakspere.”
Boas. “Shakspere and His Predecessors."
Lee. “ Life of Shakspere.
Moulton. “Shakspere as a Dramatic Artist.”
Ward. “History of Dramatic Literature." Vol. II.
Morley. “English Writers ” (Art. Shakspere).
Turnbull. Othello, A Critical Study.”

(excellent for its careful introductory

analysis of the dramatist's work and art). Bartlett. Shakspere Concordance.”

66

For a Study of Dramatic Form.
Freytag “The Technique of the Drama;"
Woodbridge. “The Drama-Its Law and its Tech-

nique.”

University Extension Lectures

Syllabus

of a

Course of Six Lectures

on

The Lake School and the

Lake Country

by

Albert H. Smyth
Professor of the English Language and Literature, Central High School

Philadelphia

No. 236

Price, 10 cents

Copyright, 1903, by
The American Society for the Extension of University Teaching

u South Fifteenth Street, Philadelphia, Pa.

The Class.-At the close of each lecture a class will be held for questions and further discussion. All are urged to attend it and to take an active part. The subjects discussed will ordinarily be those arising from the lecture of the same evening. In centres in which no Students' Association (see below) has been formed, the class will afford opportunity for the lecturer to comment on the papers submitted to him.

The Weekly Papers.—Every student has the privilege of writing and sending to the lecturer each week, while the course is in progress, a paper treating any theme from the lists given at the end of each part of the syllabus. The paper should have at the head of the first sheet the name of the writer and the name of the centre. Papers may be addressed to the lecturer, University Extension, 111 South Fifteenth street, Philadelphia.

The Students' Association.—Every lecture centre will be greatly helped in its work by the formation of a club or other body of students and readers desirous of getting the stimulus that working in common affords. This Students' Association will have its own organization and arrange its regular programme, if possible, both before and after as well as during the lecture course. The lecturer will always lend his help in drawing up programmes, and, when the meeting falls on the day of the lecture, will endeavor to attend and take part. Much of the best work of Extension is being done through the Students' Associations.

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