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that Hamlet tries to make significant? Is it Hamlet's matter or manner that prompts (11. 298, 299) the protest following? (d) In what sense does Hamlet insist upon taking (1. 302) the word "sent"? (e) What gives Guildenstern (ll. 304–308) his boldness? (ƒ) What prompts Hamlet's flanking (11. 309, 311) from the attack?

9. (a) Does there seem to be reason why Guildenstern gives way now (11. 316, 317) to Rosencrantz? (b) How can Rosencrantz expect to elicit anything (11. 325, 327-329) from Hamlet under present circumstances? (c) How is Hamlet's answer (1. 330) to be explained ? (d) What do you say of Hamlet's rather deliberate management (11. 340-362) of his friends? (e) Does it seem that the Queen (11. 364, 365) has sent also by Polonius for Hamlet? (ƒ) What is probably her motive in sending for him? (g) How is it that Hamlet seems to control and compel Polonius, differently from his two friends who are by, even more than ever?

10. (a) What seems to inspire the thoughts that now (11. 379381) first come to Hamlet's mind? (b) Why does no prompting to proceed at once against the King seem to be felt? (c) How far evidently does Hamlet think his mother in league with the King? (d) Why should he need to voice such feelings (11. 384, 385) as we now hear? (e) Does he seem to remember the mandates of the Ghost as to his treatment of his mother?

SCENE III

1. (a) How long is it since Rosencrantz and Guildenstern withdrew from Hamlet, at his order (1. 378), in the last scene?

(b) Why is the King in such haste (11. 3, 4) to send Hamlet away? (c) Why does he put Rosencrantz and Guildenstern in commission for this purpose? (d) What hazard (1. 6) can the King pretend he is enduring from Hamlet's presence at the court? (e) How, in Guildenstern's idea, are there (1.9) "many many bodies" unsafe as well as the King? (ƒ) What must be Rosencrantz's and Guildenstern's notion about the play, as causing the King's anxiety? (g) What do you say of Rosencrantz's deliverance (ll. 11–23) to the King? (h) Does it seem or not seem that the King may wish to be rid of these witnesses of his disgrace?

2. (a) Why is Polonius so willing (1. 28) to play the spy upon the Queen and Hamlet ? (b) What makes the King (1. 30) apparently desirous that "more audience than a mother" should overhear? (c) Why should the experiences of the evening have such an effect (1. 36 ff.) upon the mind of the King? (d) Why should the author wish us to know that the King's conscience has been so touched? What is the effect on us of seeing him attempt to pray? (e) Does Hamlet seem to be ready (11. 73, 74) to strike the blow of vengeance? (ƒ) Do we wish him to take the King's life now? (g) What do we say of Hamlet's reasons about the matter? How far are they the final, veritable reasons? (h) What evidence here concerning Hamlet's hope of punishing the King by other means than assassination? (i) Why should the author have wished to give us inner proof again (cf. III., i., 49–54) of the King's guilt?

SCENE IV

1. (a) Why does Polonius seem so aroused and hurried? Has there been earlier conversation, or are these the first words said since his entry here? (b) What does Polonius wish or expect from the advice (ll. 1-4) he is urging upon the Queen? (c) How far probably is there truth in (11. 3, 4) his statement that Hamlet has been "screened"? (d) What does the Queen propose to say or do in the coming interview? (e) What does Hamlet intend for his part to do or say? (ƒ) With which motive and purpose are you in sympathy?

2. (a) Does Polonius seem to be present at the Queen's request? Did she apparently send him, as well as Rosencrantz and Guildenstern (ii., 364), to summon Hamlet or not? (b) Why does he speak of his spying behind the arras as 'silencing himself even here'? (c) Does it signify anything that Hamlet calls "Mother" (1. 6) three times? Is there pause between ? (d) Is it or is it not well that Hamlet does not seek this interview, but is summoned? (e) What do you say (1.8) of his salutation? (f) Why does not the mother, who has sent for him, speak first? (g) Does it seem that Hamlet has been often summoned, of late, to his mother's closet?

3. (a) What do you say of the reserve (1.9) of the Queen's answer? (b) What word in Hamlet's rejoinder (1. 10) has stress? (c) What does the Queen think that her next utterance (1. 11) will do? (d) And what does Hamlet intend (1. 12) by his retort? (e) Why does the Queen say (1. 14) "forgot"? (ƒ) What words in Hamlet's answer (ll. 14-16) have stress?

(g) How far do you approve, in manner and matter, what Hamlet has just said?

4. (a) What does the Queen now assay (1. 17) to do? (b) What, to forestall this, is done by Hamlet? (c) Do you think that the Queen (11. 21, 22) is really afraid, or not? (d) What should Polonius (1. 22) have done? (e) Why does Hamlet, upon the instant, make the pass through the arras? (f) What stress (1. 25) in "Nay, I know not"? (g) What makes Hamlet ask "Is it the King"? (h) How far does Hamlet's action here argue indecision and weakness of character ?

5. (a) How far, apparently, has Hamlet suspected his mother aware of his uncle's crimes? (b) What does her echoing (1. 30) of his words make clear? (c) Why does Hamlet call Polonius (1. 31) "rash"? (d) Why is Hamlet so little moved? (e) What is the effect, on us, of the spectacle of Polonius slain? Does or does not our charity reach farther than to the man whose weaknesses have been punished? (f) Does the Queen wring her hands (1. 34) because only of grief for Polonius's death?

6. (a) Why should the Queen, no longer recalcitrant, pretend (11. 39, 40) that she does not understand? (b) What do you say of Hamlet's answer? How far does he try to make her understand? (c) When she still asks "What act," what, instead of the precise indictment, does she bring down upon herself? (d) What are your feelings towards Hamlet because of his proceeding, and to such limits, against his mother? (e) What effect is produced by the consciousness of wrong (11. 88-91), thus voiced now by the Queen? (ƒ) Do you wish Hamlet (11. 91-94) to continue ?

7. (a) Why does the author make Hamlet go on, scurrilously even, in abuse of his uncle? Is it to make us dislike Hamlet? (b) Does it or does it not alter our feelings toward the Queen? (c) What, by the bidding (I., v., 84-88) of the Ghost was to be Hamlet's treatment of his mother? How far did that command argue a desire to see her suffer, bring her to punishment? (d) What must be the present feeling of the Ghost toward Hamlet's mother? (e) How does this feeling, and the present visitation that shows it, affect our sense of the wrong done by the Queen to her dead husband? (f) Why does not the Ghost make Hamlet know more unequivocally the motive that has made it put a stop to the sufferings of the Queen ?

8. (a) A moment ago, the Queen was painfully subordinated to Hamlet; which is subordinated to the other now? (b) What, in this, is plainly the author's purpose? (c) Do you think or not think that this is a subjective ghost? (d) Why should not the Queen be made to know of his presence, as Marcellus and Horatio were, by seeing? (e) Why is the Ghost now (1. 135) in his usual palace dress? (ƒ) Can you explain Hamlet's greater fear, at this visitation, of the Ghost? (g) Can you explain the lingering, and the slow withdrawal (1. 134) of the Ghost?

9. (a) How is it that Hamlet cannot (11. 139–152) recover, or is not permitted by the author to recover, his moral, inquisitional authority over his mother? (b) What must be the Queen's future? Will it do to have her propose, or to have Hamlet consent, that she continue to live, as she has lived, with Hamlet's uncle? Why? (c) How does it help to have Hamlet give (11. 159–167) such advice as we now hear? (d) Does

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