6. (a) Does the report of Ophelia's death seem more terrible, or less, as heard after the completion of the plot? (b) Do the names of the flowers and the associations they carry seem to deepen or not deepen the tragic effect of what is told? (c) Why should not here be the climax of the tragedy (11. 171– 182) of poor Ophelia? Why is not the recital as a whole more moving? (d) Does the Queen seem to be younger or older, as she speaks in these paragraphs, than in scene iv. of the last act? (e) Do you find your feelings toward Hamlet in any way affected by this situation or this scene? (f) Does Laertes's grief seem or not seem deeper than when, in scene v., we saw it first? (g) Why does the author make this man, by (11. 188190) a somewhat violent exit, stop the whole ?

ACT V. SCENE I

1. (a) What word in the opening paragraph here takes the first stress? (b) What position does the First Clown think he is maintaining? (c) What is evidently the conviction of the second grave-digger upon the same question? (d) What evidently has happened (ll. 4, 5) since the last scene? (e) What point (11. 6, 7) is behind the First Clown's next utterance? (f) Can you account (11. 9-13) for his next paragraph?

2. (a) Are or are not these men clowns in the modern sense? (b) How is it that the Second Clown finds himself (ll. 14, 22) subordinated, beaten? (c) What does the First Clown try (ll. 15-21) next to say? (d) What is his attitude now as related to his position (11. 1, 2, 6, 7) in the beginning? (e) Where does the Second Clown stand (1. 22) now, as regards the First

Clown's present position and (11. 3, 4) his own first insistence ? (f) What can be the author's purpose in giving us this dialogue ?

3. (a) What feeling evidently inspires (11. 24-26) the Second Clown's next venture? (b) Why should the First Clown (11. 27-30) so readily assent and stop arguing? (c) Why does he not allow the Second Clown any chance to work? (d) Can you imagine how the conversation in progress as the scene opened was started? (e) What difference between the First Clown as an arguer and a propounder of riddles ? (ƒ) At whose expense is the liquor (1. 61) to be procured? (g) Should there be naturally a protest from the Second Clown, as he is sent away?

4. (a) Does this seem to be a good place for Hamlet to be again introduced to us? (b) How does it chance that Hamlet is here in the churchyard at this time, and Horatio with him? (c) Why is it that they appear so aimless, coming up and standing silently, as they do, while the Clown sings? (d) How do we know for whom the grave is being prepared? (e) What is the effect of this singing, under all the circumstances, upon us? (f) Why are the interjections (1. 65), or what they stand for in the song, inserted? (g) Can you see any reason why the author makes the grave-digger (1. 76) throw up a skull ?

5. (a) What is the effect of bringing Hamlet and his friend thus to the grave-digger? On which side is the subordination? (b) Do you or do you not find Hamlet as brilliant in his philosophizing as hitherto? (c) Can you see any reason why Horatio contributes so little to the conversation? (d) Does Hamlet seem in any way changed from what he was before his exile?

(e) Is there any apparent purpose in thus prolonging the talk (11. 90–115) about the skulls? (f) Why should Hamlet wish to speak (1. 121) to the Clown? Why do not he and Horatio go away?

6. (a) Is the Clown's wit really superior to Hamlet's? Has the author had Hamlet put down by anybody hitherto ? (b) Does the Clown appear to recognize who it is that has addressed him? (c) Is there any especial point in having Hamlet inquire (1. 146) how long the Clown has been a grave-maker? (d) Does Hamlet seem of the same years, through the play, as are made known here? (e) Does the Clown probably believe what he says to Hamlet (11. 173-177) about tanners? Why is he made to say it to, of all men, the hero of this play?

7. (a) What is the effect or purpose (11. 186-202) of having the skull identified? (b) How are we to explain this preparing of Ophelia's grave on the very spot where Yorick, from the King's household, was buried? (c) What is to be said of the continued conversation and delay? (d) What appears (1. 214) to be Horatio's feeling and meaning? (e) What is to be said of the verses (11. 223–226) with which Hamlet closes the dialogue ? Does he probably think them good poetry?

8. (a) Why does Hamlet say, "Soft! aside!" and propose that they (1. 232) "couch" from sight? (b) Why has not Horatio told Hamlet whose grave they had seen preparing ? (c) How is the subordination of the dead to the preparations for burial now changed? (d) On which side of the subordination do Hamlet and his friend belong? (e) Can you account for the lateness or delay in the preparation of the grave?

(f) What "maimed rites" (1. 229) are Hamlet and his friend observing?

9. (a) In what spirit does Laertes seem (1. 233) to ask his question? Why is there, at first, no answer? (b) Why does the author have Hamlet (1. 234) remark about Laertes? (c) Who (1. 238) has overswayed the order, and for what reason? (d) Why does Laertes, after knowing (ll. 239–244) what has been done for him and his sister, abuse (11. 250-252) the priest? (e) After Hamlet perceives (1. 252) that it is Ophelia that is dead, why is the Queen made next to speak? (ƒ) Does the court in general probably know that Ophelia was in love with Hamlet?

10. (a) What is to be said of the Queen's tribute, supplementing thus (1. 253) with flowers the rites? (b) Why should Laertes utter his imprecations (11. 256-259) so publicly? To what extent does he feel the grief that he gives vent to? (c) How far is Hamlet presumably prepared for the charge (11. 257, 258) of being accountable for this woe? (d) What motives or forces bring Hamlet forward now out of his hiding? (e) What prompts his asking (1. 264), "What is he"? (ƒ) What difference in the natures of the two men do we discern, as (1. 268) Laertes seizes Hamlet by the throat? Does Hamlet respond at once, or at all, in kind?

11. (a) Is there any difference in feeling between what is said (1. 274) by the King and by the Queen? (b) Why does Horatio presume (1. 275) to control Hamlet's action? To what extent has such a thing occurred before? (c) What does Hamlet mean (1. 276) by "fight with him"? Why does he say it? (d) Why does the Queen make the inquiry (1. 278) "What

theme?" Does she ask for information? (e) Why should Hamlet protest (11. 279-281) again? Does he mean to disparage Laertes's fondness for his sister? (f) Why does the King say (1. 282) that Hamlet is mad? (g) What does the Queen (1. 283) wish that all or any one should do?

12. (a) Why does not Laertes speak? (b) Is Hamlet, perhaps, just awaking to a realization of his affection? Why does he hold Laertes's protestations (11. 287, 288) so personal? (c) How do you think Hamlet delivers the sentences (11. 284-294) of this paragraph? (d) Are the matter and manner of Hamlet's utterances like what we, and the court, have heard before? (e) Why does the Queen (11. 294-298) at such length explain Hamlet's outbursts as madness? (f) Now that Hamlet has been pronounced mad by both his mother and the King, why does he not go back to his crazy rôle? When did he use it last?

13. (a) Why does not Laertes answer something (11.298–300) to Hamlet's appeals? (b) How far has he insisted in this interview upon his prerogatives as a prince? Does he seem really to think himself (1. 301) a Hercules? (c) If he came to the churchyard to wait for something, why does he go (1. 302) thus away? (d) Why does he not take Horatio, and why does Horatio stay? (e) Why does the King bid him (1. 303) follow his friend? (ƒ) What change in the King's policy toward Hamlet is now (1. 306) apparent? (g) Is it probable that the Queen understands the meaning (11. 307-309) of the King's last words'?