ion and its effect. Notice how her call upon
Eglamoure for knightly service brings the action into the province of
Chivalry again.

Julia's office in the schemes of Protheus.

Is this Act dominated in its drift by the two women? How do they put
their impress upon events?

Show how the villain Protheus is instrumental in bringing these two
women together, and how this is equivalent to uniting against his evil
policy, the good forces of the Play. The loyalty of Silvia to Julia
considered as offsetting the falsity of Protheus to Valentine.

QUERIES FOR DISCUSSION

Is the most actively beneficial episode in this Act also the most
charming.

ACT V

VALENTINE, SILVIA AND JULIA VERSUS PROTHEUS

What are the results of Silvia's flight?

Why does outlawry bring out the superiority of Valentine?

Does it serve also to bring out the inferiority of Protheus?

How does outlawry serve to defeat the purposes of the Duke and Thurio
and bring about the conquest over them of Valentine?

How does Thurio's nature inure to the credit of Valentine's with the
Duke?

Does outlawry here represent the injustices of civic life? To what
degree? Or the natural life beneficent and innocent of Arden Forest in
"As You Like It?" To what degree is this true?

QUERIES FOR DISCUSSION

Why did Julia swoon? Was the repentance of Protheus genuine?--and
natural? What does Valentine mean by his forgiveness of Protheus and
his proof of it--"All that was mine, in Silvia, I give thee?" could he
give her, personally, against her will, in Chivalry? Or in true love?
How could he mean anything then, but proving by this entrusting of her
to his friend his belief in his loyalty and purity?

Why is Silvia silent? (See Introduction to the Play in "First Folio
Edition," also Selected Criticism and Notes on V, iv, 91, for hints on
these latter queries).

THE TAMING OF THE SHREW

A Play or mask within the Play is not uncommon in Shakespeare. A Play
outside the Play especially distinguishes the arrangement of this
Comedy.

Perhaps it serves to indicate that the theme of the taming of a wife
is crude and primitive folk-farce, particularly suited to the taste of
the drunken tinker before whom it is played.

Shakespeare's handling of the tinker's subject, however, like other
rude and homely matters taken up by an acute mind is such as to fasten
deeper attention and to overgo a tinker's appreciation.

I

THE PLAY OUTSIDE THE PLAY

The