moral teacher that he altered the fate of Duke Frederick?

QUERY FOR DISCUSSION

Has the play any moral that is not gently satirized in it?

IX

THE SOURCE OF THE PLOT

Shakespeare's Variations from Lodge.

Compare Lodge's 'Rosalind' with 'As You Like It.'

(For this story, see "Shakespeare's Library" or Extracts in Notes and
Comment in Sources in "First Folio Edition").

Is the story better without the parts Shakespeare leaves out (_e. g._,
Adam's proposal to Rosader to cut his veins and suck the blood; his
nose-bleed; the incident of the robbers accounting for Aliena's sudden
love, etc.)? Why is the "Green and gilded snake" added? Isn't the
"lioness" enough? Is Rosader or Orlando the finer character, and why?
The new characters introduced--Audrey and William--considered as
embodying real instead of ideal pastoral life. Do Shakespeare's
changes affect the plot, the characters, or the moral of the story?
(For an examination of the plot of the play, see 'An Inductive Study
of "As You Like It,"' in _Poet-lore_, Vol. III., p. 341.)

A Sketch of Lodge's Life and Work. (See 'An Elizabethan Lyrist: Thomas
Lodge,' in _Poet-lore_, Vol. III., p. 593, Dec, 1891.)

QUERY FOR DISCUSSION

Is Shakespeare's framing of the plot of 'As You Like It' not to be
admired, because it is borrowed?

X

THE MUSIC OF THE PLAY

This may consist of a brief paper on the subject illustrated by a
program of the songs with the old and more modern settings. (See New
Shakespeare Society's Papers, on this subject; 'Shakespeare and
Music,' by E.W. Naylor.)

TWELFE NIGHT

The winsomeness of this poetic comedy rightly makes the reader or the
hearer hesitate to count its petals or scrutinize the stages of its
growth, which are marked by its acts as symmetrically as leaf buds are
ranged about a stalk. And yet, one may find that to take note of such
beautiful orderliness in the delicate structure and sprightly
blossoming of the poet's design enhances the appreciation of its
artistic quality. Regarding it first as a whole, sum up the stages of
the action, first; then the caprices its allusions denote; then the
characters; and finally the poetic fancy and wit exhaled by the whole
play like a fragrance.

I

THE STORY OF THE PLAY

Act I. scene i. puts us in possession of what facts concerning the
Duke and Olivia? What do we learn from the conversation of Viola and
the Captain in scene ii., and what course does Viola decide