is deceived except Nan and
Fenton? (See Notes on V. v. 421, 205-209).

The compliments to Queen Elizabeth in the Play: What are they and how
is their appropriateness to the Plot made good?

Consider the "humors" of the Welsh and French speeches and episodes as
exploitations and developments of the similar humors of Fluellen and
the Frenchmen of "Henry V."

The fairy scenes and effects of this Play compared with those of the
wedding night feast at the end of "A Midsommer Nights Dreame."

What indications are there in the Falstaffe of "Henry IV." that he is
superficially affected by the Puritanism about him? Is he any more
deeply affected by it in the present Play? What is the difference in
his appearance in this Play with respect to Puritanic morals: Is he
more affected by them, at the last, when he is so grossly their
victim, or have they grown, and put him out of date in England except
as an atavism?

Have Page and his Wife any loftier standpoint as to mercenary love
than Falstaffe himself? Is Fenton's speech (V. v. 225-235) the moral
of the last Act or is Ford's (237-238)?

QUERIES FOR DISCUSSION

Is the main design of the Play to "cure Ford of his unreasonable
jealousy," as Rowe says, or to dupe and reform Falstaffe? Is the total
aim sport to laugh over "by a Countrie fire?" Is it a Comedy of irony
turned against all mercenary motives in love?

AS YOU LIKE IT

I

THE DRAMATIC CONDUCT OF THE PLAY: THE WRESTLING MATCH

How much of the situation existing in the play comes out in Act I. i.?
And what action takes place?

The strained relation existing between the brothers Orlando and Oliver
is revealed through Orlando's conversation with Adam and with his
brother Oliver. The situation at court is also revealed through the
conversation of Oliver with the wrestler Charles, and also the loving
relation existing between Celia and Rosalind; thus we are at once put
into the possession of three emotional or passional causes for
action--Oliver's hatred of his younger brother, the younger Duke's
hatred of his older brother, and the love of Celia for Rosalind. Of
these causes for action only one bears any fruit in this scene,
namely, Oliver arranges with the wrestler to kill Orlando. What are
the connections existing between sc. ii. and sc. i.? First there is a
picture of the loving relationship existing between Rosalind and Celia
(already mentioned by Oliver in sc. i.) which reveals very subtly
differences