A History of English Literature

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story (which was known beforehand to most theater-goers) to be omitted. Shakspere suggests as explanations (motivation) for it, first that it serves as a safety-valve for Hamlet's emotions (is this an adequate reason?); and second that he resolves on it in the first heat of his excitement at the Ghost's revelation (I, iv). The student should consider whether this second explanation is sound, whether at that moment Hamlet could weigh the whole situation and the future probabilities, could realize that he would delay in obeying the Ghost and so would need the shield of pretended madness. Whether or not Shakspere's treatment seems rational on analysis the student should consider whether it is satisfactory as the play is presented on the stage, which is what a dramatist primarily aims at. It should be remembered also that Shakspere's personal interest is in the struggle in Hamlet's inner nature. Another interesting question regards Hamlet's love for Ophelia. When did it begin? Is it very deep, so that, as some critics hold, when Ophelia fails him he suffers another incurable wound, or is it a very secondary thing as compared with his other interests? Is the evidence in the play sufficiently clear to decide these questions conclusively? Is it always consistent? _For the second day,_ study to the end of Act II. Suggestions on details (the line numbers are those adopted in the 'Globe' edition and followed in most others): I, ii: Notice particularly the difference in the attitude of Hamlet toward Claudius and Gertrude respectively and the attitude of Claudius toward him. At the end of the scene notice the qualities of Hamlet's temperament and intellect. Scenes iv and v: Again notice Hamlet's temperament, v, 107: The 'tables' are the waxen tablet which Hamlet as a student carries. It is of course absurd for him to write on them now; he merely does instinctively, in his excitement and uncertainty, what he is used to doing. 115-116: The falconer's cry to his bird; here used because of its penetrating quality. 149 ff.: The speaking of the Ghost under the floor is a sensational element which Shakspere keeps for effect from the older play, where it is better motivated--there Hamlet started to tell everything to his companions, and the Ghost's cries are meant to indicate displeasure. II, ii, 342; 'The city' is Wittenberg. What follows is a topical allusion to the rivalry at the time of writing between the regular men's theatrical companies and those of the boys. _Third day,_ Acts III and IV. III, i, 100-101: Professor Lewis points out that these lines, properly placed in the first quarto, are out of order here, since up to this point in the scene Ophelia has reason to tax herself with unkindness, but none to blame Hamlet. This is an oversight of Shakspere in revising. Scene ii, 1 ff.: A famous piece of professional histrionic criticism, springing from Shakspere's irritation at bad acting; of course it is irrelevant to the play. 95: Note 'I must be idle.' Scene iii: Does the device of the play of scene ii prove wise and successful, on the whole? 73 ff.: Is Hamlet sincere with himself here? _Fourth day:_ Finish the play and write your discussion. V, i: Why are the clowns brought into the play? ii, 283: A 'union' was a large pearl, here dissolved in the wine to make it more precious. In the old play instead of the pearl there was a diamond pounded fine, which constituted the poison. Why is Fortinbras included in the play? Your discussion should include a much condensed outline of the play, a statement of its theme and main meanings as you see them, and a careful treatment of whatever question or questions most interest you. In addition to those above suggested, the character of Hamlet is an attractive topic.
17. The Rest of the Dramatists to 1642, and the Study of Jonson's 'Sejanus.' Three days, with written discussion of 'Sejanus.' Above, pp. 141-150. Preliminary information about 'Sejanus:' Of the characters in the play the following are patriots, opposed to Sejanus: Agrippina, Drusus, the three boys, Arruntius, Silius, Sabinus, Lepidus, Cordus, Gallus, Regulus. The rest, except Macro and Laco, are partisans of Sejanus. In his estimate of Tiberius' character Jonson follows the traditional view, which scholars now believe unjust. Sejanus' rule actually lasted from 23-31 A.D.; Jonson largely condenses. Livia Augusta, still alive at the time of the play, and there referred to as 'the great Augusta,' was mother of Tiberius and a Drusus (now dead) by a certain Tiberius Claudius Nero (not the Emperor Nero). After his death she married the Emperor Augustus, who adopted Tiberius and whom Tiberius has succeeded. The Drusus above-mentioned has been murdered by Tiberius and Sejanus. By the Agrippina of the play Drusus was mother of the three boys of the play, Nero (not the Emperor), Drusus Junior, and Caligula (later Emperor). The Drusus Senior of the play is son of Tiberius. In reading the play do not omit the various introductory prose addresses, etc. (The collaborator whose part Jonson has characteristically displaced in the final form of the play may have been Shakspere.) _For the second day,_ read through Act IV. Questions: 1. How far does Jonson follow the classical principles of art and the drama, general and special? 2. Try to formulate definitely the differences between Jonson's and Shakspere's method of presenting Roman life, and their respective power and effects. Does Jonson's knowledge interfere with his dramatic effectiveness? 3. The characters. Why so many? How many are distinctly individualized? Characterize these. What methods of characterization does Jonson use? 4. Compare Jonson's style and verse with Shakspere's. 5. Effectiveness of III, 1? Is Tiberius sincere in saying that he meant to spare Silius? _For the third day_, finish the reading and write your discussion. 6. Excellence in general dramatic qualities, especially Movement, Suspense, Variety. Is the act-division organic? 7. State the theme. 8. Locate the points in the line of action, especially the central climax. 9. Specific points of influence from Greek and Senecan tragedy. Begin your discussion with a summary of the story (but do not merely copy from Jonson's own preliminary 'argument'). 18. Francis Bacon and his Essays. One day. Above, pp. 151-156. Read half a dozen of the Essays, including those on Studies and Friendship. The numerous illustrations from classical history and literature were of course natural to Bacon and his readers. The main matters for consideration are suggested above. It would be interesting to state definitely, with illustrations, those characteristics of Bacon's mind which make it impossible that he should have written Shakspere's plays. Or you might compare and contrast his essays with others that you know, such as those of Emerson, Addison, Macaulay, or Lamb. 19. The King James Bible. If circumstances permit any number of hours may be devoted to the style of the Bible or its contents--literary form, narrative qualities or a hundred other topics. Comparison with the Wiclifite or other earlier versions is interesting. Above, pp. 156-157. 20. The Seventeenth Century Minor Lyric Poets. Two days. Above, pages 157-164. Read as many as possible of the poems of the authors named. Consider the differences in subjects and tone between them and the Elizabethan poets on the one hand and the nineteenth century poets on the other. Form a judgment of their absolute poetic value.
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A History of English Literature Rob
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I. PERIOD I. THE BRITONS AND THE AN
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Sympathy of the author for his char
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story; (3) a Rising Action; (4) a M
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is no proper connection either in s
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THE NOVEL. 'Sir Roger de Coverly,'
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CHAPTER I PERIOD I. THE BRITONS AND
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points on the eastern and southern
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may be mostly performed all at once
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Northumbria (Yorkshire and Southern
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CHAPTER II PERIOD II. THE NORMAN-FR
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and Anglo-Saxon were spoken separat
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eality the men of the Middle Ages w
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now. The next is the first stanza o
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northern Scots and Picts, and how t
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artist, who lived a century and mor
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'MANDEVILLE'S VOYAGE.' One of the e
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of prose tales, 'The Decameron' (Te
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sometimes even with the minuteness
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cherished by the Protestants for it
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transmitted, portions, as it were,
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full health in a later book a knigh
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emote spots down almost to the pres
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guild (though sometimes two or thre
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man. It shows how he yields to temp
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applications. Scientific investigat
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Lollardism, which had nearly been c
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Tyndale, a zealous Protestant contr
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5. Still another, minor, innovation
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later Renaissance craze, then rampa
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Ireland, where in satirical poems h
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inharmonious element in the otherwi
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authors so marked; almost every wri
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verse as ruggedly condensed (often
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to be reabsorbed into tragedy, of w
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zest for the beautiful. It is rich
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just to the north of the 'city,' on
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playwright and a good, though not a
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sure, with an unconventionality, ma
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BEN JONSON. The second place among
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3. Jonson's self-satisfaction and h
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alone or to Fletcher and other coll
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his personal ambition was often str
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market-place, due to mistaken relia
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of somewhat artificial courtliness
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The life of Henry Vaughan [Footnote
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the English Church might not have b
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through the medium of the secular e
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higher ... but I dare not. God did
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the demonstrable. Hence the charact
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of the times. Aside from the fact t
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or at least the couplets, generally
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consists throughout partly in the c
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definiteness and significant meanin
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collection of moralizings, is today
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'lived a double life' between the t
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their interests; the superior skill
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The few remaining years of Addison'
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Rosicrucian sylphs. In its adaptati
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than Christian [Footnote: The name
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vain man's boast.' 'Wind the shrill
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in 1762, when the ministers, decidi
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lack of sympathy for the romantic r
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anywhere, before Gibbon, since clas
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which statesmen and orators deal ar
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warmth of sympathetic imagination w
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triumph of Pseudo-classicism, as a
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interpretation which characterizes
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published two years later. Meanwhil
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of Macpherson's native Highlands--v
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his life had combined 'the cheerles
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and some recognition of its educati
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would render impossible at the pres
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Allworthy, intended as an example o
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followed Miss Burney, writing of th
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Charles Lamb, where Coleridge appea
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from eighteenth century tradition b
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Nature, especially inanimate Nature
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and prose who from his friendship w
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and so nearly attained his object t
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and Tennyson were to be among his s
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no comment. Whatever allowances cha
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A History of English Literature

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