50. In Coriolanus's account of himself to Aufidius what injustice does he do the nobles of Rome? How does this show his egotism and the narrowness of his vision?

51. In the reply of Aufidius how much is due to poetic passion and how much to manners now made obsolete?

52. What future action do they determine upon?

53. Point out the humour of the servants' talk following. 54. What truth and irony are expressed in Sicinius's speech opening Sc. vi.? How is the speech translated into action?

55. Compare the manner in which the news of the Volscian prisoner is received by Menenius and by Sicinius and Brutus. What traits of class are illustrated thereby?

56. How does Menenius misunderstand Coriolanus?

57. What effect is made upon nobles and upon commons by the news that the Volscians approach, led by Coriolanus? How is the general drift of the play as a comment on democracy subserved?

58. What is the nature of the complaint of Aufidius against Coriolanus? Does he point the defect in the latter?

59. Show the underlying irony of this Act as exhibiting the falling action.

ACT FIFTH.

60. How in the report of Cominius is Coriolanus shown to feel towards Rome? What has he done with friendship; with filial and family affections?

61. How does Menenius plan to prepare him for his own requests? How is he received in the Volscian camp?

62. Where is Sc. iii. prepared for? What yielding was there towards Menenius? What does Coriolanus say at the entrance of his mother and his wife?

63. How is he finally affected by their appearance?

64. Trace the stages of emotion in Volumnia's plea. What passion is supreme in her? What is the effect of the two lines spoken by young Marcius?

65. In yielding to his mother what does Coriolanus surrender? 66. What is the effect of the comments of Menenius in Sc. iv.? 67. What cover has Aufidius for his jealous perfidy?

68. What report dces Coriolanus make to the lords of the Volscians? What trait is exhibited in his taking up Aufidius's insult, Boy?

69. Does the play close with the note of optimism observable in some of Shakespeare's tragedies?

70. What is the underlying philosophy of this play?

71. Comment on the perfection as well as simplicity of its construction.

72. Hazlitt has called Coriolanus “a perfect character." Other critics have spoken of him as the personification of a mood. Is there disagreement between the two; and which, in your opinion, is right?

73. Does this play suggest the methods in which Marlowe usually worked?

74. Does this play more than some others suggest a set purpose on the part of the dramatist to inculcate something of his own political philosophy? What constructive peculiarities seem to bear out the view?

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