QUERIES FOR DISCUSSION
1. If attention is constantly given to creating humorous situations, will character-development necessarily suffer? 2. Do you agree with the Shakespearian critic Verplanck that this play bears no indication either of an original groundwork of incident, afterwards enriched by the additions of a fuller mind, or of thoughts, situations, and characters accidentally suggested, or growing unexpectedly out of the story, as the author proceeded?
II
THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY
Pick out and explain the curious allusions in the play, noticing that these may be classed as geographical, mythological, astrological, or referable to persons or customs of the time, or books of the day. For examples of the latter class, note Sir Toby's 'diluculo surgere' (II. iii.), for 'Saluberrimum est dilucolu surgere,' an adage from Lilly's Grammar, doubtless one of Shakespeare's text-books at the Edward VI. School in Stratford; and Viola's 'Some Mollification for your giant sweet lady' (I. v.),—an allusion to the innumerable romances whose fair ladies are guarded by giants; for Maria, being very small, Viola ironically calls her giant, and asks Olivia to pacify her because she has opposed her message. (For Shakespeare's education and school-books, see Bayne's remarks on this subject in Brit. Encyc. art. Shakespeare.) The whole incident of the 'possession' of Malvolio, and the visit of Sir Topas, probably alludes to a tract published in 1599 by Dr. Harsnett,—'A Discovery of the Fraudulent Practices of John Darrel,'—in which is narrated how the Starkeys' children were possessed by a demon, and how the Puritan minister, Mr. Darrel, was concerned in it. For examples of allusions to contemporary customs, see Sir Toby's mention of dances no longer known,—'Galliard,' 'Coranto,' etc. As an example of allusions to persons of that time, Sir Toby's reference to 'Mistress Mall's picture,'—Mary Frith, born in 1584, died in 1659, a notorious woman who used to go about in man's clothing and was the target for much abuse. Astrological allusions: 'Were we not born under Taurus?' 'That's sides and hearts,' which refers to the medical astrology still preserved in patent-medicine almanacs, where the figure of a man has his various parts named by the signs of the Zodiac. 'Diana's lip' (I. iv.), ('Arion on the Dolphin's back' I. ii.), are examples of mythological allusions. Of the geographical allusions there are two kinds, the real and the sportive,—Illyria, an example of the one, the 'Vapians' and the 'Equinoctial of Queubus,' of the other. Go on through the play classifying and commenting on the allusions. What was a 'catch'? Give an example.
QUERIES FOR DISCUSSION
Are the odd allusions in the play a result of the corrupt text, ignorance, ridicule of learning? Or are they introduced to give a lively and contemporaneous effect?
III
THE DUKE AND SEBASTIAN
How does the play set off these two lovers against each other? Which has the more constant nature? Note the evidences of the Duke's restlessness and changeableness; how soon he tires of the music he calls for, of the clown's song (II. iv.). Is his first speech to Viola, on woman's constancy before the song, consistent with his second, after it? Is his own report of himself true,—'Unstaid and skittish in all motions else Save in the constant image of the one beloved'? Is Olivia's unattainableness the main source of her desirableness for him? How is it with Sebastian? Does his loyalty in love seem to be of the sort that suffers impairment when he can win love easily? The Duke craves excess in music in order that his 'appetite may sicken and so die;' Sebastian wishes 'to steep his soul in Lethe.' Do you think Sebastian and Viola alike in more than appearance? Which is the quicker-witted? Is the Duke's amicable acceptance of the inevitable and transference of his love to Viola in keeping with his character? Do you think Viola shows promise of special facility for preventing the moody Duke from tiring of her? Note that he calls her his 'fancy's queen.'