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1. 160. Hangers. to the belt.'

'Fasteners,'' straps attaching the sword

11. 169, 170. 'A dozen passes, in which Laertes shall not exceed Hamlet three hits,' involves some close computing. But the arithmetic seems correct. The King first wagers that, when Hamlet shall gain 4 points, Laertes will not have reached 4 +3, or 7, which with Hamlet's 4 equal 12. The proportion of 7 4 is 15: 9. This the King considers, or pretends to consider, too little; and he “lays" finally on 12:9, which is greater.

1. 190. That is, because so eager to be hatched. The lapwing was thus considered the symbol of the brash and forward fellow.

1. 191.. Comply with.' Cf. II., ii., 379.

1. 195. Yesty. Frothy,

'gathered knowledge.'

1. 196. Fond and winnowed.

superficial.'

"Collection" is

'Foolish and subtle.'

1. 216. At the odds. 'On the terms, with the advantage, proposed.'

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1. 268. Better'd. Probably improved,' i.e. beyond any late improvement of yours.'

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1. 294. Carouses. 'Drinks deeply.'

1. 304. Wanton. Fool.'

1. 310. Springe. Cf. I., iii., 115.

1. 332. Temper'd. 'Mixed,' 'proportioned.'

1. 340. Fell. 'Cruel.'

1. 357. O'ercrows. 'Like the cock over his beaten antagonist.'

1. 360. Voice. Suffrage,' 'choice.'

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OUTLINE QUESTIONS ON THE ART OF

HAMLET

Аст І. SCENE I

1. (a) In how much light does the scene open? (b) Who is Bernardo, and why does he "enter to" Francisco? (c) From what direction (see Frontispiece) could an enemy approach ? (d) How far would wariness be the requisite of such a watch? (e) Why should Bernardo seem so much in fear of a man he knows so well? And why should he think of challenging a sentinel ?

2. (a) In "Nay, answer me,' "what word takes principal stress? (b) How does it chance that Francisco is so readily appeased with the answer to this challenge? (c) Does there seem to be any point or feeling in "You come most carefully upon your hour"? Would or would not half a minute more or less of delay ordinarily occasion, in relieving sentinels, a remark like this? (d) Why has the author made Bernardo say (1. 7),"'Tis now struck twelve " ?

3. (a) Why should Bernardo ask whether his friend has had quiet guard? (b) Why should it be natural or worth while for a fighting man to notice or remember that not so much as a mouse had stirred ? Has he been on the outlook for noisy or stealthy intrusion? (c) Why should Bernardo say "Well,"

and be so formal toward the man he has relieved? And why should he send request that the rivals of his watch should come to him quickly? (d) Does the matter or manner of his challenge now to the newcomers seem or not seem different from his first? How, or why? (e) Does the fact that there are now two persons, instead of one, affect the case?

4. (a) Does Horatio's response seem or not seem to have come from like feelings (1. 3) with Bernardo's? Explain. Is it likely that Horatio knows the countersign? Does it seem that he has or has not halted according to the challenge? (b) How great must be the difference in rank between Francisco and Marcellus? (c) Why does Francisco stay to bid the rivals of Bernardo's watch 'good night'? And why (l. 18) does he say these words again?

5. (a) By what warrant did Horatio, not being Marcellus's military superior, presume to answer Francisco's challenge (1. 15) before, or instead of, Marcellus? And why, now (ll. 19, 20), does he seemingly take precedence, with Marcellus, in Bernardo's thought? (b) What can be the reason of Bernardo's formal welcome (1. 20) to Horatio and Marcellus? (c) What seems to prompt (1. 21) Marcellus's question? And what does his first word "What!" betray to us? (d) What is influencing Marcellus in the evasiveness of his phrase "this thing"?

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6. (a) Which is more definite and visual, "this thing," or "this dreaded sight"? Why should Marcellus say "dreaded rather than dreadful'? (b) What does "entreated" (1. 26) imply as to the belief of the speaker in the thing he refers to? (c) Why does he (1. 27) say "minutes" rather than 'hours,' or why is anything more than this night' necessary to his

meaning? (d) How does "this apparition" change the conception that we have been framing hitherto ? (e) Who are referred to (11. 25, 27) by "us"?

7. (a) What is implied (1. 31) in "once again"? And why should Bernardo, who is on guard duty, suggest that they sit down? (b) What mood is apparent in Horatio's "Well, sit we down, and let us hear"? (c) With whose feelings, Horatio's or Bernardo's, do we find ourselves here more in accord? (d) Why should Bernardo say (1. 35) "last night of all" ? How many nights does this "all" include? (e) How do you account for Bernardo's lofty language as he begins? Is he a poet? (f) Why does not the author let him complete his paragraph?

8. (a) After we have seen the Ghost, what is the importance, with reference to the preceding part of the scene, of (1. 40) the word "again"? (b) Of what significance to the scene is also what is told us in the first and in the last half of the next line? (c) Why does the author have Marcellus bring out (1. 42) to us that Horatio is a "scholar"? (d) How is it that both Bernardo and Marcellus, when they speak (11. 42, 43, 45) to Horatio, address him by his name, putting it last of all? If they had made Horatio' the first instead of the last word, would or would not our impressions of their feeling have been different? 9. (a) Why should Horatio hesitate so long, and need so much urging, before he speaks to the Ghost? (b) What do you say of the matter and the manner of his challenge? (c) Why does he (1.49) say "march"? (d) What sort of man is it clear that this King must have been? (e) How must the Ghost have shown (1. 45) that it would be spoken to? (ƒ) What is signi

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