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Winchester and Gloucester in the quarrel between them in scene iii? What is the historical account of the broil? 24. To whose retainers does the expression "tawny coats" refer? Where does it occur and in the course of

what quarrel?

25. What is the prevailing feeling of Talbot's lines throughout scene v? Does it make the scene dramatically striking as setting the key of the English view of Joan la Pucelle?


26. Is the retaking of Orleans after Salisbury's death historically true or an invention for dramatic purposes?

27. Is the scene between the Countess d' Auvergne and Talbot an illuminating one to manifest the force of his personal power and place in the dramatic unfoldment and for its enrichment or is it of merely incidental momenta bit of dramatic color?

28. In what relations, respectively, to the political situation and to each other did the circumstances of birth and successive office place Richard Plantagenet and John Beaufort?

29. How does the noble restraint in Warwick's championship of Plantagenet in scene iv contrast with the manner of speech of Somerset and his sympathizers? Does it seem intended as well to indicate the nature of Warwick's personal assurance of power throughout all the subsequent action?

30. What are striking characteristics of the treatment of scene iv, dramatically and poetically?

31. In what way is the scene of the death of Mortimer historically incorrect? What probably caused the error? 32. In what light does the poet present the personal character of Richard Plantagenet through his speech and action in scenes iv and v?

33. Note the elegiac and gentle flow of the lines of scene v, yet their conveyance of Mortimer's inspiration to Plantagenet. What dramatic value has this as following


the poetic but vigorous manner of scene iv? How do these two manners, as well as the substance of these scenes, indicate the trend of events and the conflicting tides of feeling that are carrying them on?


34. What special element of dramatic force does the opening scene of this act convey?

35. What special speech in scene i is definitely prophetic?

36. What three events actually separated by considerable intervals does the poet combine in scene i?

37. To what previous affair does line 23 in scene i refer? 38. What action taken unforeseeingly by Henry-in this act is pregnant of his own future ill fate?

39. What does Joan mean to imply by her sarcastic figure about darnel in the corn in scene ii?

40. Is it historically true that Bedford died at the scene of the skirmish before Rouen? Is the whole scene a dramatic fiction? Has it some basis in actual incidents in the war in France? What is its value in picturesqueness and action?

41. How has Shakespeare used the true succession of historical events in this act to suit his purposes of dramatic effect?

42. What passage in scene iv carries on and emphasizes the growing feud of York and Lancaster?

43. Does the scene carrying Burgundy's reversion to the French cause seem too abrupt in its important development to give the effect of even ordinary natural deliberation? Does Joan's sarcastic comment (line 85) appear too weak a remedy for this dramatic ineffectiveness?


44. In the English chronicles was more made of the honor accorded in Paris to Henry's coronation there than was actually understood in France?


45. In the king's final recommendation to the Lords of Somerset and York does the poet seem to put a certain sagacity with regard to the political situation and not merely to present an attitude of timidity on the king's part?

46. Of what formal dramatic method of carrying the narrative and its prophecies does Exeter take the place in scene i, as previously?

47. What powerful dramatic effect is carried in scene II?—especially with relation to the new important turn of events? How do the lines of Talbot and the French general contrast?

48. To what historical fact in the jealous policy of Somerset does York allude in scene iii, line 46?

49. What passage in scene iii sets forth with fine indignation the general realization of the cause of delay in succoring Talbot and lays it at Somerset's door?

50. What is the striking element of the scenes between young Talbot and his father? also of the scene of Talbot's death?

51. What is the main object of the poet apparently in referring the loss of the French provinces so pointedly to the rivalries and enmities among the English nobility?


52. Referring to Exeter's exclamation in lines 28 and 29 of scene i, is the disregard of actual intervals of historic time frequently essential to the unity of a dramatic presentation?

53. What historical incidents are connected with the English king's negotiations of marriage with the Earl of Armagnac's daughter?

54. What is the dramatic effect of the silence of the fiends in scene iii?

55. Does the representation of Joan of Arc appear inconsistent as comparing its latter end and its beginning? 56. What is the accepted historical version of the case of Joan of Arc in her final tragedy?


57. How is Suffolk's scene with Margaret (scene iii) significant of the power of the lords over young Henry? What is the characteristic dramatic element of this scene, as compared with the grim tenor of those in the midst of which it is?

58. What quaint passage in Holinshed's Chronicles sets forth the estate of King Reignier at the time of his daughter's betrothal to King Henry?

59. What does the poet make the secret underlying cause of Suffolk's effort to bring about the betrothal of Margaret of Anjou and Henry? What political advantage does Suffolk profess openly that he intends it to compass?




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