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VALUATION, value; IV. iv. 49. VANTAGE, opportunity; I. iii. 24.

, advantage; V. v. 198. VANTAGES, favorable opportunity;

II. iii. 51. VENGE, avenge; I. vi. 92. VERBAL, wordy, verbose; II. iii.

110. VERY CLOTEN, Cloten himself;

IV. ii. 107. VIEW; “full of v.”, full of prom

ise; III. iv. 151.

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Wage, wager; I. iv. 155.
WAGGISH, roguish; III. iv. 161.
WAKED, awoke; V. v. 429.
WALK, withdraw, walk aside; I.

i. 176; V. v. 119. WANTON, one brought up in lux

ury; IV. ii. 8. WARRANT, pledge; I. iv. 70. WATCH; "in w.", awake; III. iv.

44. WATCHING, keeping awake for;

II. iv. 68. Way; "this w.”, by acting in

this way; IV. iv. 4. Weeds, garments; V. i. 23. WELL ENCOUNTER'), well met;

III. vi. 66. Wench-like, womanish; IV. ii.

230.

WENT BEFORE, excelled; I. iv. 86. What, what a thing; IV. i. 16. WHEN AS, when; (Dyce, “when

as"); V. iv. 138; V. v. 435. Which, who; II. iii. 111. WHILES, while; I. v. 1. Who, whom; V. v. 27. WHOM, which ; III. i. 54. WINDOWS, eyelids; II. ii. 22. Wink, shut their eyes; V. iv.

195. WINKING, having the eyes shut; II. iii. 27. blind;

II. iv. 89. WINTER-GROUND, protect from the

inclement weather of the winter; (Collier MS., “winterguard”; Bailey conj. "winterfend”; Elze, "wind around");

IV. ii. 229. WITH, by; II. iii. 143; V. iii. 33. WOODMAN, huntsman; III. vi. 38. WORMS, serpents; III. iv. 38. WOULD so, would have done so;

V. v. 189. WRINGS, writhes; III. vi. 79. WRITE AGAINST, denounce; II. v.

32. WRYING, swerving; V. i. 5.

You'RE BEST, you had better; III.

ii. 79.

STUDY QUESTIONS

By Emma D. SANFORD

GENERAL

1. What are some of the reasons for assigning the probable date of composition of this play?

2. Is Cymbeline absolute tragedy? Give a reason.

3. What fairy legend is employed in the composition of this play? What historical element is made use of and what are its sources ?

4. Characterize this play.

ACT I

5. What is the dramatic value of the opening scene?

6. In scene ii, explain the expression, "she's a good sign.”

7. What subtle form of reasoning does Iachimo use to force Posthumus to a wager?

8. In scene v, how is the reader prepared for the ultimate failure of the Queen's poison to effect death?

9. What is the significance of the word "us" as used by Imogen in her repulsion of Iachimo (scene vi)?

10. What is Iachimo's object in rousing Imogen to revenge upon her husband's supposed infidelity?

ACT II

11. In scene ii, wherein is revealed the purpose of the trunk mentioned in a previous scene?

12. Explain the use of Iachimo's word, “windows," in relation to the eyes of Imogen (scene ii).

13. Comment on Iachimo's soliloquy, at Imogen's bedside (scene ii).

14. What was the ancient belief in regard to the lark? (See “Song" in scene iii.)

15. Does Posthumus wait for a conclusive proof of Imogen's infidelity, before admitting her guilt? How does this fact help to complete the plot?

ACT III

16. How does the interview of Cymbeline with Caius Lucius help to portray the characters of the king, the queen, and Cloten?

17. Compare Pisanio's confidence in Imogen's virtue with that of her husband (scene ii). Is this a feature of the plot and why?

18. What new characters are introduced in scene ii? What do Belarius' apprehensions foretell?

19. How do the two lads reveal their royal birth?

20. Comment on Imogen's protestations against her husband's charge of infidelity—was she convincing, provided the reader had had no previous assurance of her innocence?

21. What comparison does Imogen make of herself when she thinks her husband has become tired of her? Explain the comparison, in view of the custom prevailing at that time.

22. Why does Imogen refrain from suicide? 23. What change of mind suddenly comes to Imogen? 24. What does Pisanio persuade her to do?

25. Why is the Queen so desirous for Imogen's downfall?

26. How does Cloten learn of Imogen's whereabouts? What does he plan to do, and how does this serve as a key to his whole character?

27. How does scene vi continue to demonstrate the gentility of Imogen?

ACT IV

28. How does scene i prove that "clothes do not make the man”?

29. How does Shakespeare clear the stage (scene ii) for a duel?

30. What is the attitude of Belarius and of the two brothers at the death of Cloten?

31. What is the poetical significance of the solemn music introduced in this scene?

32. What lines refer to the ancient belief that the robin covered the graves of the dead (scene ii)?

33. What do the commentators have to say about the Song in this scene?

34. What lines, in Imogen's outburst upon the discovery of Cloten's body, justify the latter's boast of physical equality with Prometheus ?

35. What is the condition of affairs at Court in scene iïi? How does it present Cymbeline?

36. In scene iv, what natural instinct has come to the surface in the natures of the two young princes?

ACT V

37. In the opening lines of this Act, what is the attitude of Posthumus towards Imogen?

38. What is the dramatic value of the battle in this Act?

39. What change has come over Iachimo?

40. In scene iii, explain the meaning of “a narrow lane, an old man, and two boys."

41. How is Posthumus "charmed”? Does he seek death?

42. Name some of the plays in which Shakespeare has introduced apparitions, etc.

43. Who is “the poor soldier” to whom Cymbeline and Belarius refer in scene v?

44. How does the description of the Queen's death help to explain many things?

45. How does Lucius' praise of his "page" contribute still further to the many proofs of Imogen's beautiful character?

46. Does Iachimo's confession give the impression that he had undertaken his deception of Posthumus more for material gain or, out of deviltry?

47. How is Imogen's identity revealed?

48. Why does Belarius reveal the identity of Guiderius and Arviragus?

49. What becomes of Iachimo?

50. What is the interpretation of the prediction submitted by Posthumus to the soothsayer?

51. What chastening influence does the return of the young princes have upon Cymbeline?

52. How does the play close, and why is it an appropriate ending?

53. Whom do you regard as the central figure in the play?

54. Compare Posthumus and Othello.

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