{"1": {"fulltext": "2807\\nQUESTIONS ON SHAKESPEARE\\nHAMLET\\nBY\\nP. H. PEARSON, A.M.\\nPROFESSOR OF ENGLISH LITERATURE IN BETHANY COLLEGE\\nBoston\\nALLYN AND BACON\\n1900", "height": "3392", "width": "2088", "jp2-path": "questionsonshake00pear_0001.jp2"}, "2": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0002.jp2"}, "3": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0003.jp2"}, "4": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0004.jp2"}, "5": {"fulltext": "QUESTIONS ON SHAKESPEARE\\nHAMLET\\nU\\nBY\\nP. H. PEARSON, A.M.\\nPROFESSOR OF ENGLISH LITERATURE IN BETHANY COLLEGE\\nShak\\nBoston\\nALLYN AND BACON\\n1900", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0005.jp2"}, "6": {"fulltext": "38253\\nl_ibr*ry of Concrres*\\n^wo Copies Receiveb\\nAUG 24 1900\\nCopyright *itry\\nSECOND COPY.\\nO^ttvered t\u00c2\u00ab\\n\u00c2\u00a9R0\u00c2\u00a3R DIVISION,\\nAUG 21 1900\\nCOPYEIGHT, 19 00,\\nBY P. H. PEAKSON.\\n68756\\nNortoooti -Press\\nJ. S. Cushing Co. Berwick Smith\\nNorwood Mass. U.S.A.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0006.jp2"}, "7": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0007.jp2"}, "8": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0008.jp2"}, "9": {"fulltext": "HAMLET.\\nTHE ACTION.\\nAct I.\\nScene 1\\n1. What is the state of mind of the soldiers convers-\\ning in the first part of the scene Note the irregular\\nmilitary challenge the statement, I am sick at heart\\nthe attention to minute sounds.\\n2. Was Horatio a scholar Why was it more fitting\\nfor a scholar to speak to the ghost\\n3. How is the scene contrived so that the ghost should\\ncome upon them unawares\\n4. What explanations in this scene regarding the ex-\\nisting state of affairs in Denmark\\n5. What light has been thrown on certain persons of\\nthe drama\\nScene 2.\\n6. Comment on the king s speech. Formal Pedan-\\ntic Majestic Strained\\n1", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0009.jp2"}, "10": {"fulltext": "2 HAMLET. [Act I. 3-5.\\n7. The probable causes of Hamlet s grief, death of\\nhis father premonitions of foul play\\n8. Examples of Hamlet s irony Thrift, thrift,\\nHoratio, etc.\\n9. Why does Horatio start so suddenly when Hamlet\\nsays, I think I see my father\\n10. Note the first of a series of events that tend to\\nconfirm Hamlet s suspicion of foul play.\\nScene 3.\\n11. What opinion does Laertes hold of Hamlet?\\nHow does it differ from the opinion held by Polonius\\n12. In the speeches of Ophelia, point out the utter-\\nices that are creditab\\ncreditable. See III. 1.\\nances that are creditable to her also those that are less\\n13. How are we to understand the character of Polo-\\nnius A personage developed for his own sake A\\nmerely decorative figure His shallowness a foil to\\nHamlet s deep nature\\nScenes 4 and 5.\\n14. What natural touches are to be observed in the\\nopening lines Compare Julius Ccesar, II. 1. 101, Here\\nlies the east doth not the day break here\\n15. Hamlet s cast of mind as portrayed in the scene\\ncriticising the king s revels.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0010.jp2"}, "11": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0011.jp2"}, "12": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0012.jp2"}, "13": {"fulltext": "Act II. 1.] THE ACTION. 3\\n16. Does Hamlet s deportment here indicate irresolu-\\ntion?\\n17. Point out the elements that start the action\\nrevelations made by the ghost.\\n18. Explain Hamlet s position and the tasks imposed\\non him after the interview with the ghost.\\n19. What length of time is covered by the first act\\nAct II.\\nScene 1.\\n20. What facts tend to establish the length of time\\nthat has elapsed between Acts I. and II.\\n21. The twofold purpose of Scene 1. Its mood is dif-\\nferent from that of the preceding act. Indications of\\nthe time that has passed.\\n22. What new phase of Polonius s character is brought\\nout in his instructions to Eeynaldo\\n23. In the line, And then, sir, does he this he\\ndoes what was I about to say has Polonius really\\nlost his cue If not, why does he make pretence\\n24. Comment on the code of honor given by Polonius.\\nIs it true of the time of Elizabeth Does it belong to\\nthe era of the Danish prince\\n25. Is Polonius s explanation of Hamlet s attitude\\ntoward Ophelia the correct one", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0013.jp2"}, "14": {"fulltext": "HAMLET. [Act II. 2.\\nScene 2.\\n26. All the personages, with two exceptions, seem to\\nhold that Hamlet s madness is real. The different\\nreasons of the king and Horatio respectively for dis-\\ncrediting this opinion.\\n27. Show the different purposes which the following\\ncharacters propose to themselves in this scene the king\\nand queen, Polonius, Hamlet.\\n28. Comment on the procedure of each to gain his\\nend.\\n29. Why can we consider Hamlet s remarks to Horatio\\nas affording the most reliable testimony regarding the\\nprince s sanity See also I. 5. 171 et seq.\\n30. Does Hamlet understand the character of Polo-\\nnius Quote from their conversation.\\n31. Was the prince entirely discreet in his admission\\nto his friends He says, I cannot reason; and I am\\nbut mad north-north-west, etc.\\n32. In what new light does the vanity of Polonius\\nappear Note his observations about players and the\\ndrama.\\n33. Find the part written by Hamlet for the players,\\nIII. 2.\\n34. How is Hamlet portrayed so far Revengeful\\nSceptical Speculative Irresolute", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0014.jp2"}, "15": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0015.jp2"}, "16": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0016.jp2"}, "17": {"fulltext": "Act III. 1-2.] THE ACTION. 5\\n35. In the final soliloquy, show what part of his self-\\nportrayal is true and what part false.\\nAct III.\\nScene 1\\n36. What does the king think about the nature of\\nHamlet s lunacy?\\n37. Why does Ophelia s reading cause Polonius to\\nspeak about devotion s visage and pious action\\n38. During the interview it will be seen that Hamlet s\\ndemeanor toward Ophelia changes. Discuss the cause\\nof this suspects her of playing the part of a decoy his\\nremarks intended for the eavesdroppers rather than for\\nher his cruel words directed toward her sex rather than\\nany individual.\\n39. In what way have the theories held respectively\\nby the king and Polonius been altered during the conver-\\nsation they have overheard\\nScene 2.\\n40. Discuss Hamlet s directions to the players. The\\npoet has here entrusted part of his professional creed to\\nHamlet. In view of this, what impression did the poet\\nintend to convey as to the prince s sanity\\n41. Does any remark of Hamlet show whether he is\\nnow convinced of the king s guilt", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0017.jp2"}, "18": {"fulltext": "6 HAMLET. [Act III. 3.\\n42. Does the proof here given in any manner alter the\\nprince s conduct\\n43. Has the prince now any good reason for delaying\\nhis plans -of revenge\\n44. Why does Polonius assent to everything in his last\\nconversation with Hamlet\\nScene 3.\\n45. Are the means adopted by the king to get rid of\\nHamlet in keeping with the character of the king as\\nit has been revealed thus far Secret, underhanded\\ntactics of espionage.\\n46. Where and by whom is the first suggestion made\\nthat Polonius should play eavesdropper at the proposed\\ninterview between the prince and his mother\\n47. After having seen the king at prayer, can there be\\nany reasonable doubt in Hamlet s mind about the king s\\nguilt\\n48. Instances of dramatic hedging in the king s\\nmonologue. Though steeped in guilt, his moral nature\\ndoes not succumb without a struggle.\\n49. Discuss Hamlet s alleged reasons for postponing\\nthe act of vengeance.\\n50. Show how this scene serves to reveal the central\\nweakness in the prince s character.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0018.jp2"}, "19": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0019.jp2"}, "20": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0020.jp2"}, "21": {"fulltext": "Act III. 4.] THE ACTION. 7\\n51. Note that the Nemesis action proceeds indepen-\\ndently of Hamlet s strength or weakness. Show how\\nthis is trne in the case of the king.\\nScene 4.\\n52. In what respect would the queen claim that Hamlet\\nhad offended his stepfather\\n53. To what extent does the prince believe the queen\\nguilty\\n54. Can she be considered an accomplice in the slaying\\nof her husband\\n55. Did Hamlet know who was behind the arras\\n56. How can his unusual promptness in this instance\\nbe accounted for\\n57. What keeps the queen from acting in accordance\\nwith her disposition toward repentance as evinced in the\\ninterview\\n58. Instances of Hamlet s filial affection; of his\\ncruelty.\\n59. In what way has the plot now become more\\ncomplicated?\\nAct IV.\\nScene 1\\n60. Is the line, There s matter in these sighs, the\\nreal beginning of Act IV.? If not, where does this act\\nproperly begin", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0021.jp2"}, "22": {"fulltext": "8 HAMLET. [Act IV. 2-3.\\n61. Does the queen s report to the king show whether\\nshe wishes to palliate the offence of her son\\n62. In the king s speeches, what evidence is there that\\nhe is chiefly concerned about his own safety\\nScene 2.\\n63. What is implied in the epithet sponge, in the\\nconversation between Hamlet and Rosencrantz\\n64. What evidence is here given that Hamlet acts in\\nan assumed character\\n65. At this stage the rapidity of the action is in-\\ncreased. Show how this part of the play is managed so\\nas to give it a more rapid movement.\\nScene 3.\\n66. According to the king, Hamlet was loved of the\\ndistracted multitude. What traits in him would be apt\\nto make him a favorite with the people\\n67. Show how the king s actions and plans still accord\\nwith his character of cunning and craftiness.\\n68. Does Hamlet divine the king s true purpose in\\nsending him to England\\n69. Does the play appear any nearer to a decisive\\nissue at the end of this scene", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0022.jp2"}, "23": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0023.jp2"}, "24": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0024.jp2"}, "25": {"fulltext": "Act IV. 4-6.] THE ACTION. 9\\nScene 4.\\n70. To what previous scene does the event here re-\\ncounted point back\\n71. Show how the character of Hamlet is here con-\\ntrasted with that of Fortinbras.\\n72. Which of the preceding soliloquies does the one\\nhere given most closely resemble\\nScene 5.\\n73. The cause or causes that had unbalanced the\\nmind of Ophelia.\\n74. The progress of the Nemesis action against\\nClaudius.\\n75. What dramatic purpose is served by the impetuous\\nconduct of Laertes\\n76. Note Hamlet s character as contrasted with that of\\nLaertes\\n77. How is the coming of Laertes made to appear\\nexpected and natural\\nScene 6.\\n78. What caused the king s plans against the life of\\nthe prince to fail\\n79. Does this scene promise to hasten or to retard the\\ncatastrophe\\n80. The real purpose of this scene.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0025.jp2"}, "26": {"fulltext": "10 HAMLET. [Act IV. 7.\\nScene 7.\\n81. Explain the time scheme of Scenes 5, 6, and 7.\\n82. Discuss the means and arguments used by the\\nking to appease Laertes.\\n83. Prior to the arrival of the messenger, what course\\ndoes the king evidently intend to hold against Laertes\\n84. What difference in the effect produced on the\\nking and Laertes by the news of Hamlet s arrival\\n85. Indicate the place in the dialogue where the king\\nfirst conceives a new course of action.\\n86. What act of Laertes tends to change our good\\nopinion of him\\n87. What tragic occurrences have so far taken place\\n88. What fitness is there in presenting the mental\\naberration and the death of Ophelia in a poetic light\\nAct V.\\nScene 1\\n89. What is the purpose of this scene Its effect on\\nthe movement of the story\\n90. Is any new side of Hamlet brought out in his con-\\nversation with Horatio", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0026.jp2"}, "27": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0027.jp2"}, "28": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0028.jp2"}, "29": {"fulltext": "Act V. 2.] THE ACTION. 11\\n91. What facts can be gleaned in this act, as well as\\nin other acts, about Hamlet s age I. 3. 123 III. 2.\\n165 V. 1. 160-170.\\n92. What is the reason for Laertes s impatience in his\\nquestion, What ceremony else\\n93. When did Hamlet first learn of Ophelia s death\\n94. Discuss the meeting of the two young men in the\\ngraveyard. In what light is the prince presented here\\nScene 2.\\n95. In what way does this scene connect with previous\\nevents\\n96. Does the phrase, So much for this, argue indif-\\nference on the part of the speaker\\n97. Is the narrative given here necessary to account\\nfor Hamlet s return, to announce the fate of the courtiers,\\nor to exhibit beyond a shadow of doubt the villainy of\\nthe king\\n98. How does Hamlet justify himself for the taking\\noff of Rosencrantz and Guildenstern\\n99. From the conversation with Osric, show Hamlet s\\nskill in assumed demeanor.\\n100. Are his explanations to Laertes sincere\\n101. In the duel, does he seem to be aware of the plot\\nlaid against his life\\nItfC", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0029.jp2"}, "30": {"fulltext": "12 HAMLET.\\n102. Is the final act of vengeance a consummation of\\nplans deliberately laid\\n103. What glimpses of restored order and harmony\\nare given?\\nTHE CHARACTERS.\\nClaudius.\\n104. Similarities and contrasts between Claudius and\\nMacbeth. In contrast with the rude and heedless force\\nof Macbeth, show the many respects in which the nature\\nof the Danish king is entirely different. His true char-\\nacter may, in a measure, be determined by his\\n(a) Choice of instruments in carrying out his designs\\npoison instead of dagger.\\n(b) Overtures of peace reconciliation with the king of\\nNorway.\\n(c) Cautious tactics against the prince.\\n(d) Evident desire of enjoying his ill-gotten possessions\\nin peace.\\n(e) Revels and drunkenness, I. 4. 8-37.\\nCrafty villainy as evidenced by his plot to have\\nHamlet slain in England, V. 2. 24. Further\\ninstances of like designs, V. 7. 128-163.\\n(g) Yielding to the demands of Laertes and employing\\nevery means to pacify his anger.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0030.jp2"}, "31": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0031.jp2"}, "32": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0032.jp2"}, "33": {"fulltext": "THE CHARACTERS. 13\\n105. Character as illustrated by his attempts at pray-\\ning, III. 3. He is tossed between impotent remorse and\\nan uncontrollable desire to retain and enjoy the fruits of\\nhis crime. Note the bit of weak self-deception in his\\nconcluding words, All may be well.\\n106. The king s speeches, particularly the formal man-\\nner of his monologue, I. 2. Hamlet s description of\\nhim. His conduct toward the queen, the prince, Polo-\\nnius, Laertes.\\nThe Queen.\\n107. Refer to the play for illustrations, showing\\nwhether the queen is dominated by ambition, hate, or\\nlove. Is the cause of her fall either of these passions or\\na moral nature made lax by the luxurious and effeminate\\ncustoms at court?\\n108. The queen s complicity in the crimes committed\\nby the king, I. 5 III. 2. 113 III. 4. 30.\\n109. Her maternal love for Hamlet probably not en-\\ntirely extinguished, III. 4; IV. 1. 27; IV. 7. 11 et seq.;\\nV. 1. 267.\\nPolonius.\\n110. In what sense can Polonius be considered a foil\\nto Hamlet The experience of Polonius and his knowl-\\nedge of court craft do not save him from being unmasked\\nby the superior intellect of Hamlet, II. 2; III. 2. His\\ncopy book maxims (I. 3) in contrast with the pro-\\nfound speculations of the prince.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0033.jp2"}, "34": {"fulltext": "14 HAMLET.\\n111. Discussion of how the character of Polonius\\nshould be acted; the manner of his utterances, voice,\\nwalk, bearing, gestures.\\n112. Passages where the sententious utterances of\\nPolonius become irony when applied to the old courtier\\nhimself.\\n113. Can any distinction be drawn between Rosen-\\ncrantz and G-uildenstern as to their moral and intellectual\\nworth These figures are developed only so far as the\\nexigencies of the play require.\\nOphelia.\\n114. Her true character. A deep nature or shallow\\nIs she a silent victim of unostentatious but sincere love\\nfor Hamlet, or were her affections crushed by her father\\nand her brother? these are the questions connected\\nwith Ophelia.\\nHer weakness is apparent in III. 1. She allows her-\\nself to become an instrument, a decoy in a plot against\\nher lover; she acquiesces, plays a part; she reads a\\nprayer-book and is devout as part of her role.\\nFrom another point of view, however, she is regarded\\nas a deep, northern nature, not so impulsive as a Juliet,\\nbut no less affectionate. She was capable of inspiring\\nthe prince with love for her. Her early training had\\ntaught her obedience. With a strong sense of loyalty to\\nher father, she is led to prevaricate when, in answer to\\nHamlet s question, Where is your father? she says,\\nAt home, my lord, III. 1. 131. She pathetically sacri-", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0034.jp2"}, "35": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0035.jp2"}, "36": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0036.jp2"}, "37": {"fulltext": "THE CHARACTERS. 15\\nfices her love to her sense of filial obedience. These\\npassions, moreover, must have been dominant in her,\\nbecause they were strong enough to unhinge her mind.\\nHamlet.\\n115. A comparison between Hamlet and Brutus. The\\nattributes they have in common. Tendency to philoso-\\nphize high moral ideals unfitness for vigorous and\\nsuccessful action.\\n116. Does Hamlet stand entirely alone in the play?\\nDoes Ophelia s attachment sustain or support him in\\nany emergency Is Horatio prominent enough to share\\nthe grievances of the prince Does it seem to be con-\\nsistent with the plot to make the prince a solitary\\nfigure\\n117. How is Hamlet s apparent cruelty toward\\nOphelia to be accounted for What previous causes did\\nhe have for losing faith in womankind Is the invec-\\ntive of III. 1 to be regarded as directed against\\nOphelia personally, or rather as against her sex? Is\\nthis consistent with the previously noticed inclinations\\nof the prince to generalize\\n118. The construction which Ophelia puts on his\\nactions charitable or otherwise How far modified\\nby her personal feelings toward him? How far\\ncorrect\\n119. The various occasions that urged the prince to\\nput into action his plans of vengeance.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0037.jp2"}, "38": {"fulltext": "16 HAMLET.\\n120. How is the sympathy and interest which the\\nwhole world shows in Hamlet to be accounted for? It\\nwill be seen that this interest is maintained in spite of\\nthe fact that his lack of resolution causes victim after\\nvictim to be sacrificed.\\n121. Discuss the following views concerning the char-\\nacter of Hamlet and the problem of the drama\\n(a) According to G-ervinus, Hamlet is a character be-\\nlonging to modern society who tries to rise\\nabove the era of heroic wildness in which he is\\ncast, where all depends on physical force and\\naction, powers which destiny has denied him.\\n(b) The opinion of Werder is that the problem lies in\\nthe outward difficulties surrounding Hamlet.\\nNot only is the murderer and usurper to be\\npunished, but the world is to be given adequate\\nproof of his guilt, tasks which the outward con-\\nditions make impossible of accomplishment.\\n(c) Kreyszig holds that Hamlet is an originally noble\\nand genially endowed spirit, made unfit for\\naction, however, by one-sided culture and over-\\nrefinement. The conditions by which he finds\\nhimself surrounded require him to leave his\\nworld of thought and words and to attempt a\\nparticularly difficult task, a task entirely out of\\nharmony with his own world of ideas.\\n(d) The views of Goethe A lovely, pure, noble, and\\nmost moral nature, without the strength of\\nnerve which forms a hero, sinks beneath a", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0038.jp2"}, "39": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0039.jp2"}, "40": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0040.jp2"}, "41": {"fulltext": "THE STRUCTURE. 17\\nburden which it cannot bear and must not cast\\naway. All duties are holy for him the present\\nis too hard. Impossibilities have been required\\nof him; not in themselves impossibilities, but\\nsuch for him. He winds and turns and tor-\\nments himself; he advances and recoils; is\\never put in mind, ever puts himself in mind at\\nlast does all but lose his purpose from his\\nthoughts, yet still without recovering his peace\\nof mind.\\n(e) From Lectures on Shakespeare by Coleridge\\nHence we see (in him) a great, an almost enor-\\nmous intellectual activity, and a proportionate\\naversion to real action, consequent upon it, with\\nall its symptoms and accompanying qualities.\\nThis character Shakespeare places in circum-\\nstances under which it is obliged to act on the\\nspur of the moment. Hamlet is brave and\\ncareless of death, but he vacillates from sensi-\\nbility and procrastinates from thought, and loses\\nthe power of action in the energy of resolve.\\nTHE STRUCTURE.\\nThe Plot.\\n122. Introduction\\n(a) Its tragic tone indicated by the anxiety of the\\nsoldiers and the appearance of the ghost. Retro-\\nspective narrative (Scene 2), revealing the situa-\\ntion.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0041.jp2"}, "42": {"fulltext": "18 HAMLET.\\nThe motive elements\\n(a) The appearance of the ghost its revelations to\\nHamlet.\\n(b) Hamlet confronted by a task particularly difficult\\nto a nature like his.\\nComplicating actions\\n(a) Polonius presents his theory of Hamlet s madness.\\n(b) The prince conceives the idea of testing the king s\\nguilt by a play.\\n(c) The opposing faction their espionage. The king\\nsceptical regarding the reasons presented for the\\nprince s madness.\\n(d) The play of Act III. a preparation for the climax.\\nThe climax\\n(a) The king at prayer Hamlet s hesitation.\\n(b) The first victim of the tragic conflict.\\nResolving actions\\n(a) Fortinbras and Hamlet on the way.\\n(5) Laertes appears and demands revenge.\\n(c) Laertes and the king plot against the life of Hamlet.\\n(cl) Relief action the grave-diggers.\\nCatastrophe\\n(a) Hamlet s premonitions of a fatal issue.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0042.jp2"}, "43": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0043.jp2"}, "44": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0044.jp2"}, "45": {"fulltext": "THE STRUCTURE. 19\\n(6) The duel the entanglement completely resolved\\nin a brief Nemesis action.\\n(c) Glimpses of restored harmony.\\nThe Treatment.\\n123. There are two forces in every drama arrayed in\\nopposition, resulting eventually in a collision and leading\\nup to a catastrophe. Point out the two forces here also\\nwhat constitutes the collision and the catastrophe.\\n124. What means serve the purpose of starting the\\naction\\n125. What length of time is covered by the first act\\nWhat time elapses between the first and second acts\\n126. Point out the relief scenes of Acts I., II., III.,\\nand V.\\n127. Comment on artistically conducted dialogues;\\nfor instance, I. 2.\\n128. Can any scene or event be regarded as an episode,\\ni.e., as a part which does not enter into the integral\\nstructure of the piece\\n129. Shakespeare s use of prose in this play. Exam-\\nine the prose scenes, and note (a) that the subject-matter\\npresents a marked contrast to that of the adjoining\\nscenes (b) that the tone from a poetical point of view\\nis lowered.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0045.jp2"}, "46": {"fulltext": "20 HAMLET.\\nTHE HISTORY.\\n130. What is known regarding the source of the play\\n131. In what way had the same subject been used\\nbefore the time of Shakespeare\\n132. The Quarto of 1603; its probable origin. The\\nconversation between Hamlet and Horatio (III. 2) is\\nlacking; so is also the brief monologue concluding the\\nscene, and finally, the meeting of Hamlet and Fortinbras,\\nin IV. 4.\\n133. Classification on the basis of the subject-matter.\\n134. The society portrayed. Does it represent an age\\nof rude and untamed energies like that of Macbeth An\\nage of sickly affectation and corrupt manners\\n135. The story discussed with reference to its depar-\\nture from the original narrative of Saxo Grammaticus.\\nIn the original story as given by Saxo, Hamlet is by no\\nmeans the irresolute visionary of the play. He proceeds\\nin a direct and resolute manner. In England he wins\\nthe hand of the king s daughter. On returning to Den-\\nmark he finds that he is thought to be dead, and that the\\nking is busy with his funeral whereupon he immediately\\nexacts a bloody revenge on the king and his retainers.\\nHe justifies his act to the people, and is proclaimed\\nking. Then he heads an expedition against England,\\nslays the English king, and finally returns to Denmark\\nwith two wives, one of whom at last becomes the cause\\nof his death.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0046.jp2"}, "47": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0047.jp2"}, "48": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0048.jp2"}, "49": {"fulltext": "BOOKS OF BEFEBENCE. 21\\nBOOKS OF REFERENCE.\\nShakespearian Grammar Dr. E. A. Abbott.\\nShakspere Primer Edward Dowden.\\nShakespeare his Life, Art, and Characters H. N. Hudson.\\nOutlines of the Life of Shakespeare Halliwell-Phillipps.\\nHistory of the Life and Work of Shakespeare G. E. Fleay.\\nShakespeare, the Man Walter Bagehot (Vol. I.)\\nA Life of William Shakespeare Sidney Lee.\\nIntroduction to the Study of Shakespeare Hiram Corson.\\nLectures on Shakespeare Bernhard ten Brink.\\nCharacteristics of English Poets William Minto.\\nLectures on Shakespeare S. T. Coleridge.\\nNew Variorum Edition H. H. Eurness.\\nThe Cambridge Shakespeare W. A. Wright.\\nShakespeare Lexicon A. Schmidt.\\nShakespeare Concordance J. Bartlett.", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0049.jp2"}, "50": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0050.jp2"}, "51": {"fulltext": "", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0051.jp2"}, "52": {"fulltext": "LIBRARY OF CONGRESS", "height": "3336", "width": "2166", "jp2-path": "questionsonshake00pear_0052.jp2"}}