Read the extract printed below and answer the questions which follow.
DUKE: Once more, Cesario,
Get thee to yond same sovereign cruelty.
Tell her, my love, more noble than the world,
Prizes not quantity of dirty lands;
The parts that fortune hath bestowed upon her,
Tell her, I hold as giddily as fortune.
But ’tis that miracle and queen of gems
That nature pranks in her attracts my soul.
VIOLA: But if she cannot love you, sir?
DUKE: I cannot be so answered.
VIOLA: Sooth, but you must.
Say that some lady, as perhaps there is,
Hath for your love as great a pang of heart
As you have for Olivia. You cannot love her;
You tell her so. Must she not then be answered?
DUKE: There is no woman’s sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big, to hold so much; they lack retention.
Alas, their love may be called appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment and revolt;
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me
And that I owe Olivia.
VIOLA: Aye, but I know
DUKE: What dost thou know?
VIOLA: Too well what love women to men may owe.
In faith, they are as true of heart as we.
My father had a daughter loved a man,
As it might be perhaps, were I a woman,
I should your lordship.
DUKE: And what’s her history?
VIOLA: A blank, my lord. She never told her love,
But let concealment, like a worm i’ the bud,
Feed on her damask cheek. She pined in thought,
And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was this not love indeed?
We men may say more, swear more, but indeed
Our shows are more than will; for still we prove
Much in our vows, but little in our love.
DUKE: But died thy sister of her love, my boy?
VIOLA: I am all the daughters of my father’s house,
And all the brothers too - and yet I know not.
Sir, shall I to this lady?
DUKE: Ay, that’s the theme.
To her in haste; give her this jewel; say,
My love can give no place, bide no deny.
A. What do you learn about Viola’s character from this extract?
B. Is the Duke always like this in the rest of the play?
C. Describe what has led to the relationship between Viola and the Duke in this extract.
D. How significant is the relationship between Viola and the Duke to the whole play?
1.Although the comedy is good-humoured, there is much mockery throughout the play. Illustrate some of the ways that characters make fun of one Another in As You Like It, and discuss the importance of this element of mockery in the play as a whole.
2.“Rosalind’s role as Ganymede does not disguise her true character, but reveals it.” What do we learn of Rosalind’s character in the play, and to what extent is this revealed by her disguise as Ganymede?
3.“The play blends harsh realism with wish-fulfilling fantasy, melancholy sadness with fun and jollity.” Give examples of these various elements in the play, and say how their blending contributes to the success of the play.
4.“All literature is contrast. “How is this an apt phrase in relation to As You Like It?
5.“As You Like It offers many insights into the nature of love, and into the characters of those in love. Its message might be that love matters for many reasons.”Write an essay on the importance of love in As You Like It in the light of the quoted opinion.
6.“As you Like It is built upon a series of chance encounters and improbable happenings, but this should not detract from our enjoyment. Rather they should lead us to an increased appreciation of Shakespeare’s exuberant fantasy and inventiveness.”Comment on Shakespeare’s “fantasy and inventiveness” as it is exhibited in this play.
7.“To liberty and not to banishment.” Discuss the “liberty” that various characters find in Arden, and the opportunities the Forest offers.
8.“The wise man’s folly is anatomiz’d/E’en by the squandering glances of the fool” (II, vii, 56). How do the fools of this play “anatomize” folly?
9.How, and with what effects, is the forest of Arden presented in As You Like It?
10.‘A precarious balance between delightful make-believe and uncomfortable reality.’ How far does this statement represent your own experience of As You Like It?
11.Compare Jacques and Touchstone, and consider the importance of their respective roles in the play.
12.Turn to Act 2 Scene 3 (Enter Orlando and Adam, meeting). What is the importance of the relationship between Adam and Orlando when seen in the context of the play as a whole, and what does this scene reveal about the characters of both?
Write a detailed critical analysis of Rosalind’ s speech in this extract (Act Ill, Scene 5, lines 35-65), saying how far you find her words and actions here characteristic of her behaviour in the play as a whole.
[Advancing] And why, I pray you?
Who might be your mother,
That you insult, exult, and all at once,
Over the wretched?
What though you have no beauty
As, by my faith, I see no more in you
Than without candle may go dark to bed
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature’s sale-work. ‘Od’s my little life,
I think she means to tangle my eyes too!
No, faith, proud mistress, hope not after it
‘Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south, puffing with wind and rain?
You are a thousand times a properer man
Than she a woman. ‘Tis such fools as you
That makes the world full of ill-favour’d children.
Read the following passage and answer the questions below it:
Ros. No; I will not cast away my physic but on those that are sick. There is a man haunts the forest that abuses our young plants with carving ‘Rosalind’ on their barks; hangs odes upon hawthorns and elegies on brambles; all, forsooth, deifying the name of Rosalind. If I could meet that fancymonger, I would give him some good counsel, for he seems to have the quotidian of love upon him.
Orl. I am he that is so love-shaked. I pray you tell me your remedy.
Ros. There is none of my uncle’s marks upon you. He taught me how to know a man in love; in which cage of rushes I am sure you are not prisoner.
Orl. What were his marks?
Ros. A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not—but I pardon you for that, for simply your having in beard is a younger brother’s revenue. Then your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything about you demonstrating a careless desolation. But you are no such man: you are rather point-device in your accoutrements, as loving yourself than seeming the lover of any other.
Orl. Fair youth, I would I could make thee believe I love.
Ros. Me believe it! You may as soon make her that you love believe it, which I warrant she is apter to do than to confess she does. That is one of the points in the which women still give the lie to their consciences. But in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired?
Orl. I swear to thee youth, by the white hand of Rosalind, I am that he, that unfortunate he.
A.Explain the meaning of the following:
1. The quotidian of love
2. Point-device in your accoutrements, as loving yourself than seeming the lover of any other.
B.What aspects of Rosalind’s character emerge in this exchange with Orlando?
1. Discuss the nature of love as discussed here, and is revealed in at least one other scene in the play.
Read the following passage and answer the questions below it:
SCENE VII [A meal set out.]
[Enter DUKE SENIOR, AMIENS and lords, like outlaws.]
Duke Senior. I think he be transform’d into a beast,
For I can nowhere find him like a man.
First Lord. My lord, he is but even now gone hence.
Here was he merry, hearing of a song.
Duke Senior. If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Go seek him, tell him I would speak with him.
First Lord. He saves my labour by his own approach.
[Enter JAQUES.]
Duke Senior. Why how now monsieur? What a life is this,
That your poor friends must woo your company?
What, you look merrily?
Jacques. A fool, a fool! I met a fool i’ th’ forest,
A motley fool: a miserable world!
As I do live by food, I met a fool,
Who laid him down and bask’d him in the sun,
And rail’d on Lady Fortune in good terms,
In good set terms, and yet a motley fool.
‘Good morrow, fool’, quoth I. ‘No, sir’, quoth he,
‘Call me not fool, till heaven hath sent me fortune’.
And then he drew a dial from his poke,
And looking on it, with lack-lustre eye,
Says, very wisely, ‘It is ten o’clock.
Thus we may see’, quoth he, ‘how the world wags:
‘Tis but an hour ago since it was nine,
And after one hour more ’twill be eleven;
And so from hour to hour, we ripe, and ripe,
And then from hour to hour, we rot, and rot,
And thereby hangs a tale.’ When I did hear
The motley fool thus moral on the time,
My lungs began to crow like chanticleer,
That fools should be so deep-contemplative;
And I did laugh, sans intermission,
An hour by his dial. O noble fool!
A worthy fool! Motley’s the only wear.
A.Explain the meaning of the following:
1. If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
2. Motley’s the only wear.
B.I can nowhere find him like a man”. What does this statement reveal about the characters of Duke Senior and Jaques, and to what extent do you think it is a just comment on Jaques’ character?
C.What does Jaques find so interesting about Touchstone’s folly? Comment on this scene and one other encounter between these two characters in the play.
Read the following passage and answer the questions below it:
[Enter HYMEN, ROSALIND and CELIA. Still music.]
Hymen:
Then is there mirth in heaven,
When earthly things made even
Atone together.
Good Duke receive thy daughter,
Hymen from heaven brought her,
Yea brought her hither,
That thou mightst join her hand with his
Whose heart within his bosom is.
Ros. [To the Duke.] To you I give myself, for I am yours.
[To Orl.] To you I give myself, for I am yours.
Duke Senior. If there be truth in sight, you are my daughter.
Orl. If there be truth in sight, you are my Rosalind.
Phebe. If sight and shape be true,
Why then my love adieu.
Ros. I’ll have no father, if you be not he.
I’ll have no husband, if you be not he.
Nor ne’er wed woman, if you be not she.
Hymen.
Peace ho! I bar confusion.
‘Tis I must make conclusion
Of these most strange events.
Here’s eight that must take hands
To join in Hymen’s bands,
If truth holds true contents.
You and you no cross shall part.
You and you are heart in heart.
You to his love must accord,
Or have a woman to your lord.
You and you are sure together,
As the winter to foul weather.
Whiles a wedlock hymn we sing,
Feed yourselves with questioning,
That reason wonder may diminish
How thus we met, and these things finish.
Song.
Wedding is great Juno’s crown,
O blessed bond of board and bed.
‘Tis Hymen peoples every town;
High wedlock then be honoured.
Honour, high honour and renown
To Hymen, god of every town.
A. Explain the meaning of the following:
1. Wedding is great Juno’s crown (line 34)
2. ‘Tis Hymen peoples every town (line 36)
B.…”reason wonder may diminish” (line 32). What occasions are there for “wonder” in this passage, and how might “reason” be said to diminish it?
1. The passage quoted above forms the spectacular climax to the play. Assess the contribution made by one or more of the following to the success of the scene: symbolism, ceremonial, pageantry, song, paradox.
Look at the following passage from the play and answer the questions below:
Jaques. Will you sing?
Amiens. More at your request than to please myself.
Jaques. Well then, if ever I thank any man, I’ll thank you.
But that they call compliment is like th’ encounter of two dog-apes, and when a man thanks me heartily, methinks I have given him a penny and he renders me the beggarly thanks. Come, sing; and you that will not, hold your tongues.
Amiens. Well, I’ll end the song. Sirs, cover the while; the Duke will drink under this tree. He hath been all this day to look you.
Jaques. And I have been all this day to avoid him. He is too disputable for my company. I think of as many matters as he, but I give heaven thanks and make no boast of them. Come, warble, come.
Song.
All together here.
Who doth ambition shun
And loves to live i’ th’ sun,
Seeking the food he eats,
And pleased with what he gets,
Come hither, come hither, come hither.
Here shall he see no enemy
But winter and rough weather.
Jaques. I’ll give you a verse to this note that I made yesterday in despite of my invention.
Amiens. And I’ll sing it.
Jaques.
Thus it goes.
If it do come to pass
That any man turn ass,
Leaving his wealth and ease
A stubborn will to please,
Ducdame, ducdame, ducdame.
Here shall he see gross fools as he,
An if he will come to me.
Amiens. What’s that “ducdame”?
Jaques. ‘Tis a Greek invocation to call fools into a circle. I’ll go sleep, if I can; if I cannot, I’ll rail against all the first-born of Egypt.
Amiens. And I’ll go seek the Duke. His banquet is prepared. [Exit]
A.Explain concisely in your own words the meaning in their context of the following:
1. When a man thanks me heartily, methinks I have given him a penny and he renders me beggarly thanks.
B.I’ll give you a verse to this note that I made yesterday in despite of my invention. (line 19)
1. Give a brief account of Jaques’s character to show how typical this scene is of him.
2. Discuss the importance of Amiens’s song and Jaques’s parody of it to the wider themes of the play and compare it to any use of song elsewhere in the play.
1.In what ways is As You Like It enriched by the inclusion of Touchstone?Illustrate your answer by apt quotation from the play.
OR
2.Discuss the contrast between country life and life at court as illustrated in the play. What would you consider to be Shakespeare’s conclusions about the advantages and disadvantages of the two ways of life?
Keep a profile of each character, using the following format:
·Name
·Social Position
·First appearance/gut reaction
·Appearances in the play
·Memorable things he/she says
·What others say about him/her
·Probable costume/appearance
·Role in the plot
·Relationship with others.
ACT 1
1-What is Orsino talking about at the start of the play, and what has prompted his words?
2-How does Viola arrive on the island of Illyria, and who comes with her?
3-How is Sir Andrew Aguecheek described by Toby Belch and Maria before he appears on the stage?
4-What job does Viola have in Orsino’s household? How does she disguise herself?
5-How does Malvolio treat Olivia and Feste when he first appears?
6-How does Olivia behave towards the disguised Viola?
7-What does Olivia say about Viola after she has left?
Activities
1-Note down your impressions of the love felt by Orsino for Olivia, Viola for Sebastian, Viola for Orsino, and Olivia for Cesario/Viola. Who do you feel loves the most sincerely, and why? What do you think would happen if Orsino knew of Viola’s love?
2-What qualities did the Elizabethans look for in perfect love? Are they important to modern lovers?
ACT 2
1-How does Sebastian come onto the island of Illyria, and who comes with him?
2-What does Malvolio give to Viola, and what is her reaction to the gift?
3-What song does Feste sing to Sir Andrew and Sir Toby? How do they respond to his singing?
4-Why does Maria come out of the house to see Andrew and Toby?
5-Why does Malvolio come out of the house to see them?
6-What plot does Maria plan to use against Malvolio?
7-When Orsino asks the disguised Viola if she has ever been in love, how does she reply?
8-What song does Feste sing at Orsino’s request?
9-What differences does Orsino note between the way that men and women behave when they are in love?
10-What does Malvolio find in Olivia’s garden? How does he react to it?
Activities
Malvolio is one of the key characters in this act. We hear his inner thoughts in Act 2, Scene 3, and we see him falling for Maria’s joke upon him. Look at the scenes in which he appears, and answer these questions:
1-What does Malvolio’s conversation with Viola in Act 2, Scene 2 lines 1-15 tell us about his character?
2-Malvolio is awakened by Sir Toby’s loud singing in II.iii.85-124. What does this scene tell us about Malvolio’s behavior and Toby’s opinion of him?
3-What adjectives would you use to describe his character in reference to his speculations about becoming Olivia’s husband in II.iii.?
4-Looking at the act as a whole, what do you think of his character? What is his opinion of himself?
5-What do you think will happen when Malvolio goes to Olivia?
6-What do you think will happen when Malvolio discovers the letter was only a joke?
7-Toby calls Maria “thou most excellent devil of wit” (II.v.204-5) for designing the joke which they play on Malvolio. Do you think it is a good joke? What do you think the audience would find funny about the joke? About the act as a whole?
ACT 3
1-Who does Viola meet in Olivia’s garden on the way to see Olivia?
2-How does Olivia behave towards Viola when Viola goes to see her?
3-What do Fabian and Toby persuade Andrew to do?
4-Why is it dangerous for Antonio to be seen walking in the streets of Illyria?
5-What does Antonio give to Sebastian before he leaves him, and where do they plan to meet?
6-What is Malvolio wearing when he comes to see Olivia in her garden? How does he behave to Toby and Olivia?
7-What does Olivia think is wrong with Malvolio, and what does she suggest should be done about this?
8-What does Olivia give Viola?
9-Who does Viola meet on leaving Olivia’s garden, and how does this person behave towards her?
10-What happens to Antonio at the end of the act? Why does he blame Viola for what happens?
Activities
1-Toby sets up a fight between Cesario/Viola and Andrew in which he profits (by getting Andrew’s horse and enjoying the joke), and which provides comic action for the audience. In what ways is this trick similar to the joke played on Malvolio in Act II? How do you think the audience would respond to this scene? Do you think this is a good joke?
2-In III.iv.337-390, Viola thinks she hears news of her twin brother Sebastian. How does she react, and what does this scene as a whole tell us about Viola’s character, her feelings for Sebastian, and her position as Cesario?
ACT 4
1-Who does Feste think Sebastian is at the beginning of the act? Why has he made this mistake?
2-Why does Olivia defend Sebastian when he is about to fight with Toby?
3-Who does Feste disguise himself as, and why?
4-What does Malvolio ask Feste for?
5-What precious gift does Olivia give to Sebastian?
6-What request does Olivia make of Sebastian?
7-What does Sebastian think is wrong with Olivia or himself?
Activities
1-Make a note of all the characters who have hidden their true selves from one another, either through a direct disguise or pretending that they are something that they are not. Make a diagram about the different kinds of deceit in the play. What are the good and bad motives of those who deceive? What would the audience’s reaction be to each of the different deceptions?
2-One of the unusual things about Twelfth Night, as compared to other Shakespearean plays, is the lack of family relationships, particularly between parents and children. In Twelfth Night, we see the relationships between uncle and niece, and between twins. What do you learn of Shakespeare’s view of family from these two relationships?
3-There are several friendships in this play, some of which are happy and healthy, and others which are not. Note down the positive and negative aspects of the friendships of Toby and Andrew; Antonio and Sebastian; Maria and Toby; Maria and Andrew; Fabian and Toby; Maria and Feste.
ACT 5
1-What doe Fabian want Feste to give him?
2-When did Orsino last see Antonio, and what was his impression of him then?
3-Viola and Orsino are about to leave Olivia when Olivia calls Viola something. What does she call her, and what effect does the word have on Orsino?
4-What does the priest reveal, on Olivia’s instructions?
5-What has happened to Andrew and Toby just before they come onto the stage?
6-When Sebastian enters, what does he say to Olivia and then to Antonio?
7-What is the reaction of the other characters when Sebastian comes on stage?
8-What is the general gist of the letter which Fabian reads to Olivia? Who is it from?
9-What does Mavolio give to Olivia when he comes on stage? How does she react to this?
10-What does Feste sing at the end of the play?
Activity
By the end of the play, three couples have ended up married. What does the play and, in particular, this act teach us about the following aspects of love:
·Unrequited love
·Love in marriage
·Bother and sister love
·Love of servant and master
·Self-love
·The difference in how and man and a woman love
·The way in which people m idolize their loved ones.
TEXT EXAMINATION:
Stylistic features:
I.v.274-282
I.i.1-15
II.ii.24-31
II.iv.15-22,29-34
Style and imagery: II.iv.73-9; III.i.34-45; III.i.129-40; V.i.114-125.
Compare these passages to the following sonnets:
I.v.244-8,256-9,270-4 to 139
I.v.236-55 to sonnet 2
II.iv.14-41, 94-119 to 116.
Essay: Discuss the various types of love found in Twelfth Night.