TALL, sturdy; III. ii. 69. made in Tewksbury; II. iv. 269. THAT THAT, that which; IV. iv. 82. THAT, SO that; I. i. 197. THICK, fast; II. iii. 24. THIN MAN IN A CENSER, evidently meaning that the officer wore some kind of cap which is here likened to a censer; V. iv. 23. THREE-MAN BEETLE, "a heavy rammer with three handles used in driving piles, requiring three men to wield it"; I. ii. 270. TILLY-FALLY, an exclamation of contempt; II. iv. 92. TIRRITS, Mrs. Q.'s blunder for (?) terrors; II. iv. 225. To, compared to; IV. iii. 57. To, for; III. ii. 186. TOLLING, ringing for (Q., "toll ing"; Ff., "knolling"); I. i. 103. TOWARD, in preparation; II. iv. 220. Toys, trifles; II. iv. 189. TRADE, activity, intercourse with; I. i. 174. TRAVERSE, march; III. ii. 301. TRIMM'D, trimmed up, furnished with (Ff. 2, 3, 4, "trimm'd up"; Taughan, "Cramm'd"); I. iii. 94. TRIP, defeat; V. ii. 87. Turk-the Sultan; III. ii. 343. TURNBULL STREET, a corruption of Turnmill Street, near Clerkenwell; the resort of bullies, ro gues, etc. (Ff., "Turnball"); III. ii. 341. TWELVE SCORE, twelve score yards; III. ii. 52. UNEASY, uncomfortable; III. i. 10. UNFIRM, weak; I. iii. 73. UNSEASON'D, unseasonable; III. i. 105. UP-SWARM'D, raised in swarms; IV. ii. 30. Uris; "old utis," great fun (utis, cp. huit; originally applied to the eighth day of a festival); II. iv. 21. VAIL HIS STOMACH, lower his haughty pride; I. i. 129. VALUATION; "our v.," the estimation of us; IV. i. 189 VARLET, knave, rascal; V. iii. 14. VAWARD, Vanguard (Theobald conjectured "rearguard" or "waneward"; I. ii. 209. VENT, Small hole made for passage; Induct. 2. VENTURE, let us venture; I. i. 185. VESSEL; "the united v. of their blood," the vessel of their united blood; IV. iv. 44. VICE, grip, grasp, (Q., "view"); II. i. 24. VICE'S DAGGER, the wooden dagger carried by the Vice of the old Morality plays; III. ii. 357. WANTON, luxurious, effeminate; I. i. 148. WARDER, staff of command; IV. i. 125. WASSAIL CANDLE, a large candle lighted up at a feast; I. ii. 187. WHAT, an exclamation of impa- Wo'r, wouldst; "Thou wo't, wo't tience; V. i. 2. WHAT, Who; I. i. 2. WHAT THE GOOD-YEAR, Supposed to be a corruption from goujère, i. e. the French disease; a mild oath; II. iv. 64. WHEESON, Whitsun; (Ff., "Whitson"); II. i. 100. WHIPPING-CHEER, whipping fare; V. iv. 6. WHO, which; V. ii. 128. WITH, by; I. i. 204. WITHIN A KEN, in sight; IV. i. USURPATION"-"wit nesses, or traces, of its usurpation"; I. i. 63. thou? thou wo't, wo't ta?" (Q., "thou wot, wot thou, thou wot, wot ta"; Ff., "Thou wilt not? thou wilt not?"); II. i. 66, 67. WROUGHT THE MURE, worn away the wall; IV. iv. 119. YEA-FORSOOTH KNAVE; "one saying yea and forsooth; alluding to the mild quality of citizen oaths"; I. ii. 43. YEOMAN, a kind of under-bailiff, sheriff's officer; II. i. 4. YET, still; I. i. 82. ZEAL; "z. of God,” i. e. “devotion to God's cause" (Capell conjectured "seal"); IV. ii. 27. STUDY QUESTIONS II By EMMA D. SANFORD GENERAL 1. When was Part Two first published? Was this first edition a Quarto or a Folio? 2. Does the variety of Part Two make up for the solidity of Part One? Give reasons for opinion. 3. Characterize Part Two in comparison with Part One. Which part is significant of military conflict and which of political warfare? 4. Whom do you consider to be the hero of this playKing Henry or Prince Henry? Why? ACT I 5. What author gave Shakespeare the idea for the personified character of Rumor? What is the dramatic value of such an introduction? 6. How does Northumberland discern, from Morton's behavior, that his son is dead? What effect does the news have upon his illness? 7. By what appeal does the Archbishop of York arouse the rebels to fight? 8. How do Falstaff's words (scene ii), "I am. the cause that wit is in other men," reveal his dramatic value to the play? 9. What is the significance of "Paul's" and "Smithfield" (scene ii)? 10. Is Falstaff's impudence (scene ii) to the Lord Chief Justice merely a cloak to cover up his guilt, or a vehicle for his wit? 11. What metaphor does Bardolph employ to determine whether or not the rebels have sufficient strength to engage in battle? 12. How does the Archbishop convey the fact of the fickleness of the rebels? ACT II 13. Judging from Mrs. Quickly's behavior, was she fond of Falstaff or not? How does he make use of his military office upon her charge against him? 14. Why does Prince Henry refrain from tears and seek gay company during his father's illness? Wherein does Falstaff's levity become of service to the Prince, at this time? 15. What is the gist of Falstaff's letter to the Prince? 16. How does the scene (iii) with his wife and daughter help to reveal Northumberland's sense of honor? 17. Relate an incident to show that Prince Henry insulted Falstaff (scene iv). 18. What is Shakespeare's motive in introducing the characters, Doll and Poins? 19. What influence does the extravagant vulgarity of scene iv have upon Prince Henry and his friendship with Falstaff? 20. What announcement occurs to break up the revel at the tavern? ACT III 21. What is the King's mood at the opening of Act III? Does his soliloquy express regret for his past life? 22. What expedition is the King very desirous of taking and why? 23. Characterize and compare Shallow and Silence. 24. Does Shakespeare invent the selection of soldiers by Falstaff as one more opportunity for the latter to display his entertaining wit? 25. Comment on Falstaff's young life as deduced from his reunion with Shallow. 26. How does Falstaff intend to make use of his meeting with Shallow? ACT IV 27. Where does Act IV open? 28. What words spoken by the Archbishop convey his opinion of Northumberland's inability to lend aid? 29. What news is received immediately after the message from Northumberland? 30. What is Westmoreland's manner when presenting the overture from the King to the rebels? 31. Explain the Archbishop's words, "the summary of all our griefs .Which long ere this we offer'd to the king, And might by no suit gain our audience"? 32. What is the individual reception of Northumberland by Mowbray and the Archbishop? 33. What is the meaning of "his foes are so enrooted with his friends" (scene i)? How do they help to foretell the result of the peace conference? 34. How does Prince John's greeting to the rebels (scene ii) resemble that of Westmoreland in the previous scene? 35. Does Prince John intend to deceive the Archbishop by flattery? 36. What is the result of the peace conference? 37. How does Prince John justify his arrest of the rebels after his friendly overtures? 38. To whom does Falstaff refer when he says "the hook-nosed fellow of Rome" (scene iii)? 39. What is meant (in this scene) by celebrating anything in a "ballad"? 40. What is Falstaff's defence of much wine-drinking? 41. Where does scene iv open? What two sons of the King are here first given prominence? 42. What characteristics of Prince Henry are brought to his brother Thomas's attention by their father? |