Scene II. 3. love-springs-Shakespeare uses this term again in Venus and Adonis: This canker that eats up Love's tender spring." And in the Rape of Lucrece: "To dry the old oak's sap and cherish springs." 52. By Love here is meant Venus, Queen of love. In Venus and Adonis she says: "Love is a spirit all compact of fire, Not gross to sink, but light, and will aspire." 110 et seq. Nell, sir; etc. :-Of course there is a quibble between a Nell and an ell; referring to an ell Flemish, which is threequarters of a yard. 166. guilty to self-wrong:-So in The Winter's Tale: "But as the unthought-on accident is guilty to what we wildly do." 184. So fair an offer'd chain:-A chain so fairly offered. ACT FOURTH. Scene I. 95. to hire waftage:-Hire is here a dissyllable, and is spelt hier in the old copy. Scene II. 6. Of his heart's meteors tilting in his face?-The following in Paradise Lost, ii., may be read in connection with the idea underlying these words: "As when, to warn proud cities, war appears, To battle in the clouds, before each van Prick forth the aëry knights, and couch their spears, Till thickest legions close; with feats of arms 7. denied, etc. :-So in Richard III.: "You may deny that you were not the cause 27. Far from her nest the lapwing cries away:-This proverbial expression is again alluded to in Measure for Measure, I. iv. 32. 33. everlasting garment:-This characteristic of the buff jerkin is also noted in 1 Henry IV.: “And is not a buff jerkin a most sweet robe of durance?'" So also in Davies's Epigrams :— "Kate, being pleas'd, wish'd that her pleasure could 38. lands: Shakespeare would have put lanes but for the rhyme. 56. if any hour meet a sergeant:-Hour and whore were pronounced alike, or nearly so. Scene III. 60, 61. or bespeak a long spoon :-This proverb, "He who eats with the devil had need of a long spoon," is alluded to again in The Tempest, II. ii. Scene IV. 30. my long ears:-Hudson makes this a quibble between ears and years. 54. Mark how he trembles in his ecstasy!-This tremor was thought to be a sure indication of being possessed by the devil. Caliban, in The Tempest, II. ii., says: "Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling.” ACT FIFTH. Scene I. 62. Copy:-"Copy," says Hudson, "here seems to mean principal topic or theme; that is, the pattern or form after which the conversation was shaped." Steevens has the like explanation. Schmidt suggests, a law to be followed, a rule to be observed." 81. at her heels:-This her, referring to kinsman, has puzzled the commentators. It was no very unusual thing for such words to be applied to females. Thus in The Merchant of Venice, Por tia says: "But now I was the lord of this fair mansion, master of my servants." 138. important:-Shakespeare uses this word again in King Lear, and in Much Ado About Nothing, in the same sense (importunate). The Poet gives to Ephesus the custom of wardship, so long considered a grievous oppression in England. 192. bestrid:-This act of friendship is mentioned by Shakespeare in 1 Henry IV.: "Hal, if thou see me down in the battle, and bestride me, so; 'tis a point of friendship." Again in 2 Henry VI.: 66 Three times to-day I holp him to his horse, Three times bestrid him; thrice I led him off.” 346 et seq. If I dream not, etc. :-In the old copy this speech of Ægeon, and the subsequent one of the abbess, follow the speech of the Duke. It is evident that they were transposed by mistake. 356. his morning story:—The morning story is what Ægeon tells the Duke in the first Scene of this play. Questions on The Comedy of Errors. I. What is the date of this play? 2. In what contemporary account is it mentioned? 3. Mention some points of internal evidence that help to establish the date. 4. What Latin author has furnished the basis of this play? 5. In what respects does Shakespeare's play differ? 6. Name the canons of the classic drama that Shakespeare has observed in this play. ACT FIRST. 7. State the cause of the existing enmity between Ephesus and Syracuse, and tell what legislation has followed, under which Egeon suffers. 8. How does Ægeon play the part of prologue? 9. Give the parts of his story. 10. Is the first Scene in the key of the rest of the drama? 11. What kind of a play might one reasonably expect from the note here struck? 12. How is the transition made from the sober incidents of the first Scene to the broad comedy of the second? 13. Upon what quest is Antipholus of Syracuse engaged? 14. What is the first misadventure and what misunderstanding does it involve? ACT SECOND. 15. Contrast the characters of the two sisters as exhibited in the first Scene. 16. What expectations are aroused respecting the part Luciana will play in the comedy? 17. What structural oddities of speech does Dromio of Ephesus 18. What relationship evidently existed between Antipholus of 19. If the Syracusian Dromio shows intellectual qualities dif- 20. What theatrical opportunities does Adriana's long speech 21. In the case of Adriana, has Shakespeare gone outside the 22. How does the second Act close? ACT THIRD. 23. Indicate the metrical change in Sc. i. 24. Is its effect humorous? 25. What scene is enacted outside the door of the house of 32. What escape does Antipholus of Syracuse plan? 27. How does Antipholus of Ephesus repay his wife for ex- 28. Comment on the mixture of seriousness and drollery in the 30. Into what comic plight did Dromio of Syracuse fall at the 31. Mention some things in this Scene indicating that this is an 32. What escape does Antipholus of Syracuse plan? 33. What mistake is made with the chain? ACT FOURTH. 34. Indicate the function of the Merchant in accelerating the 35. When does the rope enter as an element of the plot, and |