cess's defence of it and its
correspondence with that of Theseus for the show of the "base
mechanicals" in the "Midsommer Nights Dreame." How does Berowne's
humility in accepting the parallel with their own wit-overthrown mask
agree with his boisterous jeering at the mask of the Nine Worthies
later? How does the attitude of the ladies toward it compare with that
of the men and what comment upon it does it constitute in your
opinion? How does it all prepare the way for the sudden sad message,
and also for the decision of the Ladies to rebuff love that is not
serious? What special point is there in the kind of trial Rosaline and
her mistress each specially propose for Berowne and the King? Has it
any relation to what has just been shown of each of them in their
attitude towards others with respect to the humble performers of the
Mask of the Nine Worthies? What makes wit an unalloyed pleasure?

QUERIES FOR DISCUSSION

Is the serious ending of this Comedy a disappointment? Is seriousness
an ending artistically called for by this plot, or only morally called
for? Compare with the serious strain in the "Comedie of Errors." What
does the contradictory little final dialogue between Winter and Spring
add to the significance of the Play?

VI

THE WIT OF THE PLAY

This has been called by Armitage Brown, "A Comedy of Conversation";
and the quibbles in which the Play abounds have been supposed by Dr.
Johnson to give the Author "such delight, that he was content to
sacrifice reason propriety and truth" for their sake. How far do these
observations justly apply to the Play?

In what degree is the extravagant banter of the Play itself an
imitation of current fashions of speech and itself an object of
ridicule?

Its relations to Lyly and Euphuism. (See Extracts from Ward and from
Landmann in "Selected Criticism," in First Folio Edition of the Play).

Make a study of the lesser and larger wit of the play, showing how the
former is merely incidental to the latter.

In what respects is the whimsical talk of the Play suited to certain
groups and to special characters, so that there is more variety in it
than appears at first.

QUERIES FOR DISCUSSION

Does the master wit of the Play consist in any one class of fun, as
verbal conceits in the punning line; practical jokes; Euphuism,
so-called; banter in speech and retort, versemaking and sonneteering,
learned quips, or in the use of all these combined in a way to bring
out th