bald's emendation of Ff., "Talbonites"; Hanmer, "Talbotines"); III. ii. 28. TAWNY COATS, coats of a yellowish dark color, the usual livery of ecclesiastical attendants; I. iii. 47. TEMPER, quality, hardness; II. iv. 13. TENDERING, having care for (Tyrwhitt, "Tending"; Beckett, "Fending"); IV. vii. 10. TIMELESS, untimely; V. iv. 5. To, compared to, to equal; III. ii. 25. TOMYRIS, the Queen of the Massagetoe, by whom Cyrus was slain; II. iii. 6. Toy, trifle; IV. i. 145. TRAFFIC, transaction; V. iii. 164. TRAIN'D, lured; II. iii. 35. TRIUMPH, tournament; V. v. 31. UNABLE, weak, impotent; IV. v. 4. UNACCUSTOM'D, unusual, extraordinary; III. i. 93. UNAVOIDED, inevitable; IV. v. 8. UNAWARES, by surprise; III. ii. 39. UNFALLIBLE, infallible, certain; (Rowe, "infallible”); I. ii. 59. UNKIND, unnatural; IV. i. 193. UNREADY, undressed; II. i. 39. VAIL, lower, let fall (Ff. 1, 2, “vale”); V. iii. 25. VANTAGE, advantage, "for v.," to take your time; IV. v. 28. VAWARD, Vanguard; Ff., "Vauward"; Theobald conj., "rereward" (but probably “vaward” "in the front line of his own troop"); I. i. 132. WALLOON, a native of the bordercountry between the Netherlands and France; (Ff. 1, 2, "Wallon"); I. i. 137. WARRANTIZE, Surety; I. iii. 13. WASHFORD, an old name of Wex ford, in Ireland; IV. vii. €3. WEENING, deeming, thinking; II v. 88. WHERE, whereas; (Pope, "While"); V. v. 47. WILL'D, commanded; I. iii. 10. WINCHESTER GOOSE, a cant term for a swelling in the groin, the result of disease; I. iii. 53. WITTING, knowing; II. v. 16. WONT, are wont, accustomed; (Ff., “Went"; Vaughan, "Won"; Hanmer, "Watch"); I. iv. 10. WOODEN; "a w. thing," "an awkward business, not likely to succeed" (Steevens); V. iii. 89. WORTHLESS, unworthy; IV. iv. 21. WOT, know; IV. vi. 32. WRITHLED, Wrinkled; II. iii. 23. YIELD, admit; II. iv. 42. STUDY QUESTIONS GENERAL 1. Give an outline of the movements of the successive acts, and the relation of their respective scenes to each other, and to the general action of the whole of Part I of the drama. 2. What gives rise to the contention as to Shakespeare's sole authorship of this play? 3. The influence or the joint work of what other writers is apparent in this play particularly? 4. What are some main evidences either of collaboration; of later revisals of an original text (his own or another's); or merely of manifestation of Shakespeare's period of pupilage as compared with his maturer works? 5. What is Shakespeare's attitude towards Henry VI as developed in the portrayal of his character throughout the play? 6. Was the Bishop of Winchester's policy a disinterested or a selfish one? Who was his powerful friend? 7. In what particulars does Shakespeare's conception of Joan of Arc offend most critics? In what respects is it in keeping with the observation of such phenomena of religious enthusiasm as she represents? What are its fine points? 8. How does Shakespeare show the character of Talbot? What passage in Act II somewhat humorously sets forth the wide terror his name provoked? What other passages? 9. Is Sir John Fastolfe accredited in history with being so great a coward as he is accused of being in the play? I 10. Does Talbot seem to carry special force as a type of the honest English feeling? 11. Note in what passages of feeling the flow of verse becomes, as it were, spontaneously rhapsodic. Is this the case in similar passages in all Shakespeare's blank verse? Has it special kinship with any characteristics of Marlowe? ACT I 12. In what way is the colloquy at the funeral of Henry V dramatically significant? 13. To what general presage in the dramatic development does the threat of the Bishop of Winchester appertain? 14. To what old notion does line 27, scene i, refer? By what political situation is it called up? 15. What custom of scene setting probably suggested the figure used by Bedford in the opening line? 16. How was Henry Beaufort related officially and by birth to the political situation? 17. Why did the death of Henry V release Winchester for the pursuit of his personal ambitions? 18. To what attitude of Winchester in the relation to the two successive kings does Gloucester refer in scene i, lines 33-36? 19. What is the significant dramatic force of Bedford's utterances in scene i, lines 48-51, and his following invocation to Henry V, lines 52-56? 20. What condition is set forth as the root of England's dangerous weakness in the political situation between herself and France in scene i, lines 69-81, and also in Reignier's comments, scene ii, line 17? 21. What is the first impression of La Pucelle from a point of dramatic characterization? 22. Is it evident that Shakespeare intends the Dauphin to seem personally enamored of Joan in addition to admiring her valorous intent? 23. What is shown of the ambitions and characters of Winchester and Gloucester in the quarrel between them in scene iii? What is the historical account of the broil? 24. To whose retainers does the expression "tawny coats" refer? Where does it occur and in the course of what quarrel? 25. What is the prevailing feeling of Talbot's lines throughout scene v? Does it make the scene dramatically striking as setting the key of the English view of Joan la Pucelle? ACT II 26. Is the retaking of Orleans after Salisbury's death historically true or an invention for dramatic purposes? 27. Is the scene between the Countess d'Auvergne and Talbot an illuminating one to manifest the force of his personal power and place in the dramatic unfoldment and for its enrichment or is it of merely incidental momenta bit of dramatic color? 28. In what relations, respectively, to the political situation and to each other did the circumstances of birth and successive office place Richard Plantagenet and John Beaufort? 29. How does the noble restraint in Warwick's championship of Plantagenet in scene iv contrast with the manner of speech of Somerset and his sympathizers? Does it seem intended as well to indicate the nature of Warwick's personal assurance of power throughout all the subsequent action? 30. What are striking characteristics of the treatment of scene iv, dramatically and poetically? 31. In what way is the scene of the death of Mortimer historically incorrect? What probably caused the error? 32. In what light does the poet present the personal character of Richard Plantagenet through his speech and action in scenes iv and v? 33. Note the elegiac and gentle flow of the lines of scene v, yet their conveyance of Mortimer's inspiration to Plantagenet. What dramatic value has this as following I the poetic but vigorous manner of scene iv? How do these two manners, as well as the substance of these scenes, indicate the trend of events and the conflicting tides of feeling that are carrying them on? ACT III 34. What special element of dramatic force does the opening scene of this act convey? 35. What special speech in scene i is definitely prophetic? 36. What three events actually separated by considerable intervals does the poet combine in scene i? 37. To what previous affair does line 23 in scene i refer? 38. What action taken unforeseeingly by Henry-in this act is pregnant of his own future ill fate? 39. What does Joan mean to imply by her sarcastic figure about darnel in the corn in scene ii? 40. Is it historically true that Bedford died at the scene of the skirmish before Rouen? Is the whole scene a dramatic fiction? Has it some basis in actual incidents in the What is its value in picturesqueness and war in France? action? 41. How has Shakespeare used the true succession of historical events in this act to suit his purposes of dramatic effect? 42. What passage in scene iv carries on and emphasizes the growing feud of York and Lancaster? 43. Does the scene carrying Burgundy's reversion to the French cause seem too abrupt in its important development to give the effect of even ordinary natural deliberation? Does Joan's sarcastic comment (line 85) appear too weak a remedy for this dramatic ineffectiveness? ACT IV 44. In the English chronicles was more made of the honor accorded in Paris to Henry's coronation there than was actually understood in France? |