pronounced if we recognize abroad as standing, much as we now use the word, in a predicate relation to the noun idea.

68 Producing forth. Another of the pleonastic expressions that suggest the hasty construction of these closing scenes.

70 Self and violent hands. Sometimes explained as a case of hendiadys. But there is evidence that self was to Shakespeare's mind an independent adjective, and capable of construction with another adjunct both with and without a conjunction. Cf. "out of a self gracious remembrance" (All's Well, IV. v. 78), ' own, personal, gracious remembrance.'

72 Grace of Grace. Metonymy, resorted to perhaps from a temptation to quibble with the word.

74 One. Pronounced, as shown by its rhyme-word, as the same syllable in only, alone, atone, no. The modern sound of this o, except in the compounds mentioned, dates from the seventeenth century. The w sound, which has prefixed itself to the word, appears, in the spelling won, as early as the fifteenth century.

QUESTIONS ON THE ART

OF SHAKESPEARE'S MACBETH.

ACT I.

SCENE I.

I a. Why is the scene here A Desert Place rather than a pleasant country side? b. What effect upon the audience of Thunder and Lightning, now, at the very opening? c. What impression, further, does the stage setting (cf. 1. 11) make upon you? d. Do we recognize this, or not recognize it, as the appropriate beginning for a comedy? Why? e. What, in general do you feel that this play will show you?

2 a. Should the witches be discovered on the stage as the curtain rises, or should they enter after? b. Would two witches, or four, answer artistically as well as three? Would seven witches, or nine? Why? c. When the time comes for the next meeting what shall be the weather? What impression is given as to the power of these creatures? d. What (11. 3, 4) is

implied as now going on in this land? Do you feel that the witches are connected in any way with this? e. Do they seem to have knowledge of the future, or does any one of them seem to have such knowledge? f. Do they probably know who will win or who will lose?

3 a. Is it really a gray cat that calls the First Witch, and a toad that calls the Second? If not, what in each case calls? b. Which of the three witches seems most potent? c. Why are we not told definitely to what or whom Anon (1. 9.) is said? d. Why do the witches seem to agree so readily-is it from personal fondness for each other? e. How does 1. 10 assist in giving us a definite impression of these creatures? f. What do you imagine prompts them to say it?

4 a. In what or whom, after 1. 7, does our interest center? b. Do you suppose the witches intend to benefit this person or others through him? c. Why, probably, are they so eager to greet" him? d. Would you like to be this Macbeth, whatever he is? e. What is the reason that this meeting of the witches, rather than any earlier one, is enacted to us, or why, principally, is any meeting exhibited at all?

5 a. How far may a person's mood affect his appreciation,-for instance, of a given song or poem? b. Are any two persons in a theater likely, or not likely, to be in precisely the same mood before a play begins? c. What does it seem to you would be well for a dramatist to undertake, in this regard, at the very opening of a play? d. Summarize the work the author has accom

plished in this scene: (1) with reference to our mood; (2) impressions as to character and power of the witches; and (3) the degree and quality of our interest in Macbeth.

SCENE II.

I a. In the age in which this play is laid what was especially expected of a king? b. To what extent does Duncan's first paragraph strike you as the language of a man accustomed to martial work? c. Why is not Duncan posted so as at least to watch the progress of the battle? d. How is Malcolm's superiority to his father in martial spirit shown? e. How is the sergeant's superiority in the same respect to Malcolm shown? f. How is Macbeth's superiority to the sergeant, and all the others, most effectively suggested?

2 a. Is Duncan too old to fight? b. Is Malcolm, is Donalbain, too young? c. Will the winning of this battle ensure Scotland against uprisings like Macdonwald's, and bring lasting security and peace? d. What does Scotland most need?

3 a. How has Shakespeare made known to us who the Macbeth of the witches is? b. Has the revealment been of kind or of degree? c. What would have been the most effective way in which to exhibit Macbeth's valor to the audience? d. Why does not Shakespeare employ it? e. What substitute has he contrived therefor-why a bleeding sergeant introduced? f. How does Shakespeare manage to let us know that Macdonwald is a rebel? g. What are the limitations of the drama as to means of imparting information to an audience?

4 a. Does the sergeant mean to say (1. 7), in answer to Malcolm's inquiry, that the fight with Macdonwaid was "doubtful" when he left? b. Can you think of any reason why he does not salute the royal party as (1. 47) Ross does? c. Does he really mean to imply that Macbeth has done all the fighting? d. What climax, 1. 22, in the kind of blow? e. Why is the sergeant's talk so long drawn and rambling? f. How does it chance that he says "they" (1. 36) only after Duncan mentions Banquo?

5 a. What does Duncan mean (1. 43) by "thy words become thee as thy wounds"? b. Does he intend that surgeons, several of them, shall be brought here to tend this sergeant? c. In what points do you find Ross's report different from the sergeant's? d. Do you imagine that Ross, by saying "confronted" and "curbing," does justice to Macbeth's part in the new encounter? e. Was Macbeth superior in rank or family prestige to Ross? f. How far does the exclamation of Duncan (1. 58) seem the language of a virile and royal mind?

6 a. In what sense does Ross use 66 we " (1. 60") b. Can you see any reason why Duncan seems more aroused over Cawdor's treason, though he was only an abettor, than over Macdonwald's? c. Is it significant that he appears not to heed at all the exactions made? d. Does the sentence ordained for Cawdor seem strengthened by the rhymes? e. Does Duncan apparently intend that Ross should execute the order or commission others to execute it? f. Would it have been more kingly and manly and usual, or less, had Duncan summoned Cawdor to his presence and pronounced sentence otherwise than by proxy?

b. What other purposes

7 a. What is the main purpose of this scene? are served by it? c. The whole scene has been rejected by some critics as interpolated by an inferior hand. Do you find signs of artistic crudeness and inadequacy in support of this view? d. Do you or do you not think that it might be dispensed with?

SCENE III.

I a. Witches are usually old and rheumatic and repulsive; do you imagine these are? Does Dr. Forman (p. xv.) speak of them as bent and lame and withered? b. Do you understand that witches usually call each other "sister," and offer one another favors, and ply their trade co-operatively? c. Do you suppose these witches habitually report their doings, as here, to each other every time they meet? d. Are these "sisters" typic witches, or is Shakespeare making them do untypic things for a purpose? e. If the latter be conceived, what would be the purpose?

2 a. How has the Second Witch been doing what she reports as her work? b. Neither of the witches, though asked specifically, tells where she has been. Is there a reason for that? c. Do you suppose that each item of mischief reported by the witches was ordered by their masters? d. What was the real offence for which the First Witch is planning revenge? e. Is the punishment proportionable to the injury inflicted? f. What degrees hint as to the nature and temper of the witches herein?

3 a. If an audience were inclined to be skeptical as to the First Witch's ability to do what she threatens, alone, what would be likely to convince them? b. Is it necessary that the audience see what the First Witch (1.28) shows? c. What work was necessary to secure the pilot's thumb? d. How long did it take the witch, without help, to do that work? e. Why did the witch select a pilot homeward, instead of outward, bound?

4 a. Why are we not told what the Third Witch has been doing? b. Why are we not told of something the three witches have done together, since they are to work together now? c. When we hear the Third Witch declare to Macbeth that he shall be king, are we likely to believe that the prophecy will be fulfilled? d. Do you find any significance in the order in which the doings of the witches are revealed? e. Why are the witches made to compare notes and tell experiences in a special scene, rather than in scene i.? f. If Shakespeare had made Macbeth and Banquo enter here first before the witches, would the effect have been deepened? g. Is it accidental that it is the Third Witch, and not the First or Second, that knows and announces the coming of Macbeth? h. As the witches make haste to take hands and go about to wind up the charm, in what state of imagination is an audience likely to find itself? . Detail the author's purpose and plan thus far in the arrangement of the scene.

5 a. Assuming that the author intended to make each utterance significant or symptomatic, what do you infer Macbeth's and Banquo's thoughts are occupied with respectively from the first sentence spoken by each? b. Why should Banquo's state of mind, rather than Macbeth's, conduce to the challenge with which the apparitions are greeted? c. Do the witches