Bibliography

Texts:

1. Bevington, David, ed. Bantam Shakespeare. New York:Bantam, 1988.

2. Kittredge, George Lyman, ed. The Kittredge Shakespeares. Revised by Irving Ribner. Waltham, MA: Ginn-Blaisdell, 1967.

3. Latham, Agnes, ed. Arden Shakespeare. London and New York: Methuen, 1975.

4. Oliver, H.J., ed. New Penguin Shakespeare. New York: Penguin, 1968.

5. Sargent, Ralph M. Pelican Shakespeare. Baltimore: Penguin, 1959.

6. Wright, Louis B. and Virginia A. LaMar, eds. Folger Library General Reader's Shakespeare. New York: Pocket Books, 1960.

Bibliography:

Halio, Jay and Barbara C. Millard, eds. "As You Like It": An Annotated Bibliography, 1940-1980. New York: Garland Shakespeare Bibliographies, 1985.

Criticism and Commentary:

1. Bamber, Linda. Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare. Palo Alto: Stanford University Press, 1982.

2. Barton, Anne. "As You Like It and Twelfth Night: Shakespeare's Sense of an Ending," in Shakespearian Comedy, ed. Malcolm Bradbury and David Palmer. London: Stratford- Upon-Avon Studies, No. 14, 1972.

3. Belsey, Catherine. "Disrupting Sexual Difference: Meaning and Gender in the Comedies," in Alternative Shakespeare, ed. John Drakakis. London: Routledge, 1985, pp. 166-90.

4. Bradbrook, Muriel C. The Growth and Structure of Elizabethan Comedy. London, 1955.

5. Elam, Kevin. Shakespeare's Universe of Discourse: Language Games in the Comedies. London: Routledge, 1984.

6. French, Marilyn. Shakespeare's Division of Experience. London, 1982.

7. Gardner, Helen. "As You Like It," in More Talking of Shakespeare, ed. John Garrett. London, 1959, pp. 17-32.

8. Halio, Jay L. "No Clock in the Forest: Time in As You Like It, in Studies in English Literature, 2 (1962), 197-207.

9. Hawkins, Sherman. "The Two Worlds of Shakespearean Comedy," Shakespeare Studies, 3 (1967), 62-80.

10. Jackson, Russell. "Perfect Types of Womanhood: Rosalind, Beatrice, and Viola in Victorian Criticism and Performance," Shakespeare Survey 32 (1979), 15-26.

11. Jamieson, Michael. Shakespeare: As You Like It. Arnold Studies in English Literature, 25; London, 1965.

12. Jenkins, Harold. "As You Like It," Shakespeare Survey 8 (1955) 40-51.

13. McFarland, Thomas. Shakespeare's Pastoral Comedy. Chapel Hill: University of North Carolina Press, 1972.

14. Nevo, Ruth. Comic Transformations in Shakespeare. London, 1980.

15. Shaw, John. "Fortune and Nature in As You Like It," Shakespeare Quarterly, 6 (1955), 45-50.

16. Taylor, Michael. "As You Like It: The Penalty of Adam," Critical Quarterly 15 (1973), 76-80.

17. White, R.S. "Let Wonder Seem Familiar": Endings in Shakespeare's Romantic Vision. Princeton: Princeton University Press, 1985.

18. Williamson, Marilyn L. The Patriarchy of Shakespeare's Comedies. Detroit: Wayne State University Press, 1986.

19. Wilson, Rawdon. "The Way to Arden: Attitudes Toward Time in As You Like It," Shakespeare Quarterly, 26 (1975), 16-24.

20. Young, David P. The Heart's Forest: A Study of Shakespeare's Pastoral Plays. New Haven: Yale University Press, 1972.

Bibliography:

Texts:

1. Bevington, David, ed. Oxford Shakespeare. London and New York: Oxford University Press, 1987.

2. Davison, P.H., ed. New Penguin Shakespeare. New York: Penguin, 1968.

3. Hemingway, S.B., ed. New Variorum Shakespeare. Philadelphia, 1936.

4. Holland, Norman, ed. Signet Classic Shakespeare. New York: New American Library, 1965. (Revised by Maynard Mack, 1987.)

5. Humphreys, A.R., ed. Arden Shakespeare. London and New York: Methuen, 1960.

6. Kittredge, George Lyman, ed. The Kittredge Shakespeares. Revised by Irving Ribner. New York: John Wiley & Sons, 1968.

7. Mowat, Barbara A. and Paul Werstein, eds. New Folger Library Shakespeare. New York: Pocket Books, 1992.

8. Shaaber, M.A. Pelican Shakespeare. New York: Penguin, 1963.

Anthologies of Criticism:

1. Bevington, David, ed. Henry IV, Parts 1 and 2: Critical Essays. 1986.

2. Hunter, G.K., ed. Henry IV, Parts 1 and 2: A Casebook. 1970.

Criticism and Commentary:

1. Barber, C.L., "Rule and Misrule in Henry IV," in his Shakespeare's Festive Comedy (Princeton: Princeton University Press, 1959); reprinted in Bevington anthology, above.

2. Barish, Jonas A., "The Turning Away of Prince Hal," Shakespeare Studies, 1 (1965), 9-17; reprinted in Bevington anthology, above.

3. Battenhouse, Roy, "Falstaff as Parodist and Perhaps Holy Fool," PMLA, 90 (1975), 32-52.

5. Black, James, "Henry IV's Pilgrimage," Shakespeare Quarterly, 24 (1973), 372-82.

6. Bowers, Fredson, "Hal and Francis in King Henry IV, Part 1," Renaissance Papers 1965 ,(1966), 15-20.

7. Clark, Axel B., "The Battle of Shrewsbury," Critical Review, 15 (1972), 29-45.

8. Cox, Gerald H., "'Like a Prince Indeed': Hal's Triumph of Honor in 1 Henry IV," in Pagentry in the Shakespearean Theater, ed. David M. Bergeron (Athens: University of Georgia Press, 1985), 130-149.

9. Dessen, Alan C., "The Intemperate Knight and the Politic Prince: Late Morality Structure in 1 Henry IV," Shakespeare Studies, 7 (1974), 147-171.

10. Dickinson, Hugh, "The Reformation of Prince Hal," Shakespeare Quarterly, 12 (1961), 33-46.

11. Fish, Charles, "Henry IV: Shakespeare and Holinshed," Studies in Philology, 61 (1964), 205-218.

12. Hawkins, Sherman, "Henry IV: The Structural Problem Revisited," Shakespeare Quarterly, 33 (1982), 278-301.

13. Hawkins, Sherman, "Virtue and Kingship in Shakespeare's Henry IV," English Literary Renaissance, 5 (1975), 313-343.

14. Levin, Lawrence L., "Hotspur, Falstaff, and the Emblem of Wrath in 1 Henry IV," Shakespeare Studies, 10 (1977), 42-66.

15. McNeir, Waldo F., "Structure and Theme in the First Tavern Scene (II, iv) of 1 Henry IV," in Pacific Coast Studies in Shakespeare, ed. W. McNeir and T. Greenfield (Eugene: University of Oregon Press, 1966), 89-105.

16. Shaaber, M.A., "The Unity of Henry IV," in Joseph Quincy Adams Memorial Studies, ed. J.G. McManaway, G.E. Dawson, and E.E. Willoughby (Washington, D.C., 1948), 217-27.

17. Shaw, Catherine M., "The Tragic Substructure of the Henry IV Plays," Shakespeare Survey, 38 (1985), 61-68.

18. Thomas, Mary Olive, "The Elevation of Hal in 1 Henry IV," Studies in the Literary Imagination, 5 (1972), 73-89.

19. Wiles, David, "Falstaff," in his Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse (Cambridge: Cambridge University Press, 1987), 116-135.

20. Williams, George Walton, "Some Thoughts on Falstaff's Name," Shakespeare Quarterly, 39 (1979), 82-84.

Bibliography

Texts:

1. Bevington, David, ed. The Bantam Shakespeare. New York: Bantam, 1988.

2. Dorsch, T.S., ed. The Arden Shakespeare. New York and London: Methuen, 1955.

3. Furness, H.H., ed. New Variorum Shakespeare. Philadelphia: Macmillan, 1913.

4. Humphreys, Arthur. Oxford Shakespeare. New York: Oxford University Press, 1984.

5. Johnson, S.F., ed. Pelican Shakespeare. Baltimore: Penguin, 1964.

6. Mowat, Barbara A. and Paul Werstine, eds. New Folger Library Shakespeare. New York: Pocket Books, 1992.

7. Rosen, William and Barbara, eds. The Signet Classic Shakespeare. New York: New American Library, 1963.

8. Sanders, Norman, ed. New Penguin Shakespeare. New York Viking Penguin, 1981.

9. Spevack, Marvin, ed. New Cambridge Shakespeare. Cambridge: Cambridge University Press, 1988.

10. Wilson, J. Dover, ed. Cambridge Shakespeare. Cambridge: Cambridge University Press, 1949.

Anthologies of Criticism:

1. Charney, Maurice, ed. Discussion of Shakespeare's Roman Plays. Boston: D.C. Heath, 1964.

2. Dean, Leonard F., ed. Twentieth-Century Interpretations of "Julius Caesar." Englewood, N.J.: Prentice-Hall, 1968.

3. Ure, Peter, ed. Shakespeare: "Julius Caesar." A Casebook. London, 1969.

Historical Background:

1. Bradford, Ernle. Julius Caesar: The Pursuit of Power. London, 1984.

2. Gundolf, Friedrich. The Mantle of Caesar. London, 1929.

Criticism and Commentary:

1. Barroll, J. Leeds. "Shakespeare and Roman History." Modern Language Review 53 (1958), 327-43.

2. Bonjour, Adrien. The Structure of "Julius Caesar." Liverpool: Liverpool University Press, 1958.

3. Brower, Reuben A. Hero and Saint: Shakespeare and the Graeco- Roman Tradition. New York: Oxford University Press, 1971.

4. Charlton, H.B. Shakespearean Tragedy. Cambridge: Cambridge University Press, 1948.

5. Charney, Maurice. Shakespeare's Roman Plays: The Function of Imagery in the Drama. Cambridge: Harvard University Press, 1961.

6. Daiches, David. "Julius Caesar." London, 1976.

7. Dean, Leonard F. "Julius Caesar and Modern Criticism." The English Journal (1961), 451-56.

8. Foakes, R.A. "An Approach to Julius Caesar." Shakespeare Quarterly 5 (1954), 259-70.

9. Honigmann, E.A. Shakespeare, Seven Tragedies: The Dramatist's Manipulation of Response. London, 1976.

10. Mehl, Dieter. Shakespeare's Tragedies: An Introduction. Cambridge: Cambridge University Press, 1983.

11. Muir, Kenneth. Shakespeare's Tragic Sequence. Liverpool: Liverpool University Press, 1972.

12. Palmer, John. Political Characters of Shakespeare. London, 1945.

13. Proser, Matthew N. The Heroic Image in Five Shakespearean Tragedies. Princeton: Princeton University Press, 1965.

14. Ribner, Irving. Patterns in Shakespearean Tragedy. London, 1960.

15. Smith, Gordon Ross. "Brutus, Virtue, and Will." Shakespeare Quarterly, 10 (1959), 367-79.

16. Smith, Warren D. "The Duplicate Revelation or Portia's Death." Shakespeare Quarterly, 4 (1953), 153-61,

17. Stirling, Brents, "'Or Else This Were a Savage Spectacle.'" PMLA 66 (1951), 765-74.

18. Traversi, D.A. An Approach to Shakespeare. Revised edition in two volumes. New York: Doubleday Anchor Books, 1969. (Essay on Julius Caesar, Volume II, pp. 190-212.)

19. Welsh, Alexander. "Brutus is an Honorable Man." Yale Review 64 (1975), 496-513.

20. Whitaker, Virgil K. Shakespeare's Use of Learning. San Marino, CA: Huntington Library, 1953.

BIBLIOGRAPHY

Texts:

1. Bevington, David, ed. Bantam Classics Shakespeare. New York: Bantam, 1988.

2. Brown, John Russell, ed. Arden Shakespeare. London: Metheun, 1961.

3. Mahood, Molly M., ed. New Cambridge Shakespeare. Cambridge: Cambridge University Press, 1987.

4. Merchant, W.M. New Penguin Shakespeare. New York: Viking Penguin, 1967.

5. Mowat, Barbara A. and Paul Werstine, eds. New Folger Library Shakespeare. New York: Pocket Books, 1992.

6. Myrick, Kenneth, ed. Signet Classic Shakespeare. New York: New American Library, 1965.

7. Stirling, Brents, ed. Pelican Shakespeare. New York: Viking Penguin, 1960.

NOTE: The Oxford edition is forthcoming.

Criticism and Commentary:

1. Burckhardt, Sigurd. "The Merchant of Venice: The Gentle Bond," English Literary History 29 (1962), 239-62.

2. Cohen, Walter. "The Merchant of Venice and the Possibilities of Historical Criticism." English Literary History 49 (1982), 765-89.

3. Danson, Lawrence. The Harmonies of "The Merchant of Venice." New Haven: Yale University Press, 1978.

4. Geary, Keith. "The Nature of Portia's Victory: Turning to Men in The Merchant of Venice," Shakespeare Survey 37 (1984), 55- 68.

5. Hapgood, Robert. "Portia and the Merchant of Venice," Modern Language Quarterly, 28 (1967), 19-32.

6. Hill, R.F. "The Merchant of Venice and the Pattern of Romantic Comedy," Shakespeare Survey, 28 (1975), 75-87.

7. Hinely, Jan Lawson. "Bond Priorities in The Merchant of Venice," Studies in English Literature, 20 (1980), 217-39.

8. Lelyveld, Toby. Shylock on the Stage. London, 1961.

9. Lever, J.W. "Shylock, Portia, and the Values of Shakespearean Comedy," Shakespeare Quarterly, 3 (1952), 383-88.

10. Midgely, Graham. "The Merchant of Venice: A Reconsideration," Essays in Criticism, 10 (1960), 119-33.

11. Moody, A.D. Shakespeare: "The Merchant of Venice." Arnold's Studies in English Literature, 21; London, 1964.

12. Overton, Bill. "The Merchant of Venice," Text and Performance Series; London, 1987.

13. Wheeler, Thomas. "The Merchant of Venice": An Annotated Bibliography. Garland Shakespeare Bibliographies. New York: Garland, 1985.

Bibliography

Texts:

1. Bevington, David, ed. Bantam Shakespeare. New York: Bantam, 1988.

2. Brooks, Harold, ed. Arden Shakespeare. London and New York: Methuen, 1979.

3. Clemen, Wolfgang, ed. Signet Shakespeare. New York: New American Library, 1963.

4. Doran, Madeline. Pelican Shakespeare. Baltimore and New York: Penguin, 1959.

5. Mowat, Barbara A. and Paul Werstine, eds. New Folger Library Shakespeare. New York: Pocket Books, 1993.

6. Wells, Stanley, ed. New Penguin Shakespeare. New York: Penguin, 1967.

NOTE: The Oxford Shakespeare edition is forthcoming.

Criticism and Commentary:

1. Barber, C.L. Shakespeare's Festive Comedy. Princeton: Princeton University Press, 1959.

2. Berry, Edward. Shakespeare's Comic Rites. Cambridge: Cambridge University Press, 1984.

3. Berry, Ralph. Shakespeare's Comedies: Explorations in Form. Princeton: Princeton University Press, 1972.

4. Bonazza, Blaze O. Shakespeare's Early Comedies. The Hague: Mouton, 1966.

5. Brown, John Russell. Shakespeare and His Comedies. 2nd ed. London and New York: Methuen, 1962.

6. Calderwood, James L. "A Midsummer Night's Dream: The Illusion of Drama." Modern Language Quarterly, 26 (1965), 506-22.

7. Carroll, William C. The Metamorphoses of Shakespearean Comedy. Princeton: Princeton University Press, 1985.

8. Champion, Larry S. The Evolution of Shakespeare's Comedies: A Study in Dramatic Perspective. Cambridge: Harvard University Press, 1970.

9. Coghill, Nevill. "The Basis of Shakespearian Comedy." Essays and Studies. 1950; reprinted in Shakespeare Criticism 1935-1960, ed. Anne Ridler (London: Oxford University Press, 1963), 201-07.

10. Colie, Rosalie. Shakespeare's Living Art. Princeton: Princeton University Press, 1974.

11. Cox, Roger L. Shakespeare's Comic Changes: The Time-Lapse Metaphor as Plot Device. Athens: University of Georgia Press, 1991.

12. Dent, R.W. "Imagination in A Midsummer Night's Dream," Shakespeare Quarterly, 15 (1964), 115-29.

13. Doran, Madeline. Endeavors of Art. Madison: University of Wisconsin Press, 1954.

14. Hamilton, A.C. Shakespeare's Comedy of Love. London: Routledge, 1974.

15. Hassel, R. Chris. Faith and Folly in Shakespeare's Romantic Comedies. Athens: University of Georgia Press, 1980.

16. Huston, J. Dennis. Shakespeare's Comedies of Play. London and New York: Methuen, 1980.

17. Kahn, Coppelia. Man's Estate: Masculine Identity in Shakespeare. Berkeley and Los Angeles: University of California Press, 1981.

18. Latham, M.W. The Elizabethan Fairies. New York, 1930.

19. Leggatt, Alexander. Shakespeare's Comedy of Love. London: Routledge, 1974.

20. McFarland, Thomas. Shakespeare's Pastoral Comedy. Chapel Hill: University of North Carolina Press, 1972.

21. Nevo, Ruth. Comic Transformations in Shakespeare. London and New York: Methuen, 1980.

22. Olson, Paul A. "A Midsummer Night's Dream and the Meaning of Court Marriage." English Literary History, 24 (1957), 95-119.

23. Riemer, A.P. Antic Fables: Patterns of Evasion in Shakespeare's Comedies. New York: St. Martin's Press, 1980.

24. Salingar, Leo. Shakespeare and the Traditions of Comedy. Cambridge: Cambridge University Press, 1976.

25. Young, David P. Something of Great Constancy. New Haven: Yale University Press, 1966.

Bibliography

Texts (each edition includes introductory commentary on the play):

1. Bevington, David, editor. Bantam Shakespeare. New York: Bantam, 1988.
2. Bryant, Joseph, editor. Signet Classic Shakespeare. New York: New American Library, 1964.
3. Evans, G. Blakemore, editor. New Cambridge Shakespeare. Cambridge and New York: Cambridge University Press, 1984.
4. Hankins, John, editor. Pelican Shakespeare. New York: The Penguin Group, 1964, 1979.
5. Kittredge, George Lyman, editor. Revised by Irving Ribner. Kittredge Shakespeares. Waltham, Massachusetts: Xerox College Publishing, 1967.
5. Mowat, Barbara A. And Paul Werstine, editors. New Folger Library Shakespeare. New York: Pocket Books, 1992.
6. Spencer, T.J.B., editor. New Penguin Shakespeare. New York: Penguin, 1972.
NOTE: The Oxford Shakespeare (General Editor: Stanley Wells) is currently publishing individual paperback editions of the plays.

Criticism and Commentary:
1. Brooke, Nicholas. Shakespeare's Early Tragedies. London, 1968.
2. Calderwood, James L. Shakespearean Melodrama: The Argument of the Play in "Titus Andronicus," "Love's Labour's Lost," "Romeo and Juliet," "A Midsummer Night's Dream," and "Richard II." Minneapolis: University of Minnesota Press, 1971.
3. Dash, Irene G. Wooing, Wedding, and Power: Women in Shakespeare's Plays. New York, 1981.
4. Dickey, Franklin M. Not Wisely But Too Well: Shakespeare's Love Tragedies. San Marino, California: Huntington Library, 1957.
5. Dreher, Diane. Domination and Defiance: Fathers and Daughters in Shakespeare. Lexington: University Press of Kentucky, 1986.
6. Dusinberre, Juliet. Shakespeare and the Nature of Women. London, 1975.
7. Garber, Marjorie. Coming of Age in Shakespeare. London, 1981.
8. Kahn, Coppelia. "Coming of Age in Verona," Modern Language Studies, 8 (1977-78), 5-22. Reprinted in The Woman's Part: Feminist Criticism of Shakespeare, ed. C.R.S. Lenz and others. Urbana: University of Illinois Press, 1981.
9. Levenson, L. "Romeo and Juliet": Shakespeare in Performance. Manchester: Manchester University Press, 1987.
10. Marsh, Derek R.C. Passion Lends Them Power: A Study of Shakespeare's Love Tragedies. Sydney, 1976.
11. Snyder, Susan. The Comic Matrix of Shakespeare's Tragedies. Princeton: Princeton University Press, 1979.
12. Van Doren, Mark. Shakespeare. New York: Doubleday, 1939.
13. Vyvyan, John. Shakespeare and the Rose of Love: A Study of the Early Plays in Relation to the Medieval Philosophy of Love. London, 1960.
14. Wells, Stanley. "Juliet's Nurse: The Uses of Inconsequentiality," in Shakespeare's Styles: Essays in Honour of Kenneth Muir, edited by Philip Edwards and others. Cambridge and New York: Cambridge University Press, 1980, pp. 51-66.
15. White, R.S. "Let Wonder Seem Familiar": Endings in Shakespeare's Romance Vision. Princeton: Princeton University Press, 1985.

1. The play often seems to juxtapose or alternate scenes of "normalcy," happiness, or hope with scenes of sadness, gloom, or tragedy.

Example No. 1:

The opening of the play (Act I, scene I) begins with a comic and bawdy scene involving Samson and Gregory, two servants of the Capulet house. It ends in a street brawl, quite serious, in which some people are wounded, possibly killed. Prince Escalus issues his proclamation: the penalty will be death for anyone who engages in such brawls again.

Example No. 2:

At the end of Act II, scene vi, Romeo and Juliet enter Friar Laurence's cell, about to be married. The scene is one of love, hope, and promise for the future. This scene is immediately followed by Act III, scene I. The Montagues, along with their friend Mercutio (a kinsman of the Prince) are restlessly roaming the streets of Verona. Benvolio warns the other members of the group that they should get off the streets because "The day is hot, the Capulets are abroad" (3.1.2). But Mercutio won't get off the streets for any man. The result is the death of Mercutio by Tybalt and the death of Tybalt by Romeo.

Example No. 3:

Just as the beginning of Act III begins on a note of danger, following the last scene of Act II, which ended on a note of marriage and happiness, so too does Act III, scene ii, begin with Juliet's "protholamium" (a speech or poem or festivity celebrating marriage), her highly sensual speech as she anxiously awaits Romeo and the consummation of their marriage. We sense the dramatic irony of this scene, because we in the audience know something that Juliet doesn't know, namely, that Mercutio and Juliet's cousin, Tybalt, are dead Romeo has been banished to Mantua.

Juliet's speech, basically a happy and anticipatory one, is immediately followed (in the same scene) by the Nurse's arrival and her terrible news of Tybalt's death and Romeo's banishment.

Example No. 4:

Juliet's sense of doom at the end of Act III, scene ii, is followed by Romeo's new-found sense of hope (after hearing the very bad news that he has been banished by the Prince) in Act III, scene iii, as the Friar develops his plan that Romeo should wait in Mantua while he attempts to eventually reconcile both families to Romeo and Juliet's marriage. Meanwhile, he tells Romeo to go to Juliet that night to consummate their marr

iage.


Example No. 5:

In Act III, scene v, Romeo and Juliet are at least temporarily happy after spending the night together. Yet the scene ends on a note of sadness because Romeo must leave before dawn for Mantua. Then, to add to her troubles, in Act III, scene vi, Old Capulet threatens to disown and banish Juliet if she does not marry Paris. She first turns to her mother, then to the Nurse, for help, but gets none, and realizes (as she gains a sense of bitter maturity) that she is--except for Friar Laurence--alone. This scene is followed by Act IV, scene I, during which Juliet goes to seek help from Friar Laurence. He gives her hope with his "sleeping potion" plan.

Example No. 6:

In Act IV, scene ii, Juliet, at Friar Laurence's suggestion, pretends to agree to her father's wishes and marry Paris. This makes Old Capulet happy. What we then have is a scene of "seeming" normalcy and happiness in the Capulet household as Capulet, Lady Capulet, and the servants busily prepare for the wedding. But in Act IV, scene v, the Nurse, the next morning, discovers Juliet in her bed seemingly dead and a deep pall of sadness settles over the household. The preparations for marriage turn out to be preparations for Juliet's funeral.

Then, a bizarre scene of "normalcy" (still in Act IV, scene v, as the musicians hired to play at Juliet's wedding, decide to hang around for dinner.

Example No. 7:

At the opening of Act V, scene I, Romeo, in Mantua, has had a promising dream: "If I may trust the flattering truth of sleep, / My dreams presage some joyful news at hand" (5.1.1-2). This is immediately followed (in the same scene) by the news from his servant Balthasar, that Juliet is dead.

Group 1:

1. When Petruchio and his servant arrive in Padua, they argue furiously in front of Hortensio's house? What is their argument about, and what does it suggest about their relationship? Who settles the argument? (See p. 49, Act I, scene ii, lines 22-50.)

2. When Petruchio explains why he has come to Padua, he says he is thrusting himself "into this maze." (See p. 53, Act I, scene ii, line 56.) What does "maze" refer to? what does it imply or suggest? (Note the editors have provided a picture of a maze on p. 60.)

3. Is Hortensio honest with Petruchio in describing what Kate is like? (See p. 53, Act I, scene ii, lines 60-65.) If he is honest, what does that suggest about him?

4. When Petruchio assures Hortensio that he doesn't care what Kate looks like or how she behaves, what does Gremio say, and what does this reveal about Petruchio? (See p. 53, Act I, scene ii, lines 78-83.)

Group 2:

1. Hortensio tells Petruchio that he is willing to help Petruchio find a wife. But what does Hortensio say about Kate and his own attitude toward her? (See p. 55, Act I, scene ii, lines 85-93.)

2. Petruchio insists on meeting Kate immediately. What does Grumio say to Hortensio at this point? (See p 55, Act I, scene ii, lines 109-117.) Again, what do Grumio's remarks tell us about Petruchio?

3. When Hortensio explains that Kate must marry before Bianca can, he refers to Kate at "Katherine the curst." What does "curst" seem to mean here? What does Grumio say about this "nickname"? (See p. 57, Act I, scene ii, lines 118-31.)

4. Hortensio then wants Petruchio to introduce him to Baptista disguised as "Litio," a music instructor to Bianca, so that he can have "leave and leisure to make love to her." Hortensio was honest in describing Kate's temperament to Petruchio. What is he doing that is different here? (See p. 57, Act I, scene ii, lines 139-40.)

Group 3:

1. When Gremio arrives on the scene (p. 59), he brings Lucentio (in disguise as Cambio) with him. What does he plan to have "Cambio" do? Does his strategy seem sound? What does Cambiopromise to do? (See p. 59, Act I, scene ii, lines 145-160.)

2. Hortensio and Gremio agree to pay all expenses in Petruchio's courtship of Kate, but Gremio can hardly believe that Petruchio will go through with this plan. What is Petruchio's response, and what does his response tell us about him? (See pp. 61-63, Act I, scene ii, lines 180-213.)

3. What is the complication that now arises in Hortensio's and Gremio's courtship of Bianca? What, in fact, do both Hortensio and Gremio claim, as suitors of Bianca? (See pp. 63-65, Act I, scene ii, lines 222-43.)

4. Tranio (disguised as Lucentio) agrees to share in the financing of Petruchio's courtship of Kate. At the end of the scene, what does he invite his rival suitors to do? At this point, how many suitors and "supposed" suitors for Bianca do we have, and what kind of behavior characterizes each of them? (See pp. 65-7, Act I, scene ii, lines 244-288.)

Group 4:

1. In the "auction" for Bianca--involving Tranio and Gremio--does Baptista ever require that the rival who wins her must also win her love? (Recall, on p. 83, lines 135-36, that in negotiating with Petruchio, Baptista insisted that Petruchio must win Kate's love.) What does the "auction" suggest about love and marriage? (See pp. 101-02, Act II, scene i, lines 361-421.)

2. At the end of Act II, scene i (p. 105), now that Tranio has won the auction, what next does he plan to do?

3. Tranio uses the phrases, "supposed Lucentio" and "supposed Vincentio." Can you think of a way these "supposes" are linked to some larger meaning in the play?

4. What "rival" is missing in the auction? What has happened to him? (See p. 81, Act II, scene i, lines 111-17; and p. 85, beginning with the Stage Direction at the top of the page to line 173.) Who hasn't participated in the auction?

Group 5:

1. What does Petruchio tell Kate at the conclusion of their "wit battle"? (See p. 95, Act II, scene i, lines 291-95.)

2. Petruchio tells Baptista that all their talk about Kate is wrong; he says that he and Kate have agreed to marry on Sunday. Kate replies, "I'll see thee hanged on Sunday first." Petruchio then tells Baptista and the others that he and Kate have agreed that Kate will be "curst in company" but loving when they are alone. Does Kate ever deny this? (See p. 97, Act II, scene i, lines 307-337.)

3. When Petruchio concludes by saying, "And kiss me Kate. We will be married o' Sunday," what does she say? (See p. 99, Act II, scene i, line 343.)

4. What do you think are Kate's feelings here?

Group 6:

1. In what manner does Petruchio arrive on his and Kate's wedding day? (See p. 119, Act III, scene ii, lines 42-62.) Why?

2. When the others criticize him for his manner of dress, what is his response? (See p. 123-24, Act III, scene ii, lines 119- 25.) Is his response just a joke or is he serious?

3. What happens during the wedding ceremony? (Gremio describes the ceremony in a shocked tone of voice.) Who is the shrew or the devil now? Specifically, what does Petruchio do to the priest? To the sexton? (See pp. 127-29, Act III, scene ii, lines 151-85.)

4. Petruchio shocks them again when he tells them that he and Kate will not be staying for the wedding dinner. Tranio and Gremio "entreat" him to stay. Who else "entreats" them? When Kate refuses to go with him, what is his response? What do we learn here about one more feature of Petruchio's strategy? In this same scene, does Kate resist any further? (See pp. 129- 133, Act III, scene ii, lines 186-235.)

Group 7:

1. On their way to Petruchio's country estate, what happens to Kate and Grumio? What does Kate do that tells us that she is continuing to change? (See p. 143, Act IV, scene i, lines 67- 78.)

2. How would you describe Petruchio's behavior when they arrive at his estate? What does Kate say when Petruchio hits one of his servants? (See pp. 145-7, Act IV, scene i, lines 112-53.)

3. When Petruchio claims the meat is burnt and throws it at his servants, what does Kate tell him? What does he say is his reason for rejecting the meat? (See p. 149, Act IV, scene i, lines 161-75.)

4. The next day, Petruchio dresses the meat himself and brings it to Kate. What does she finally say in response? How does her manner of speaking here contrast with her manner of speaking in the early part of the play? Does she finally get to eat? (See p. 167, Act IV, scene iii, lines 39-54.)

Group 8:

1. In the "haberdashery scene," what is Petruchio's opinion of the cap and gown that the tailor has made for Kate? What is Kate's opinion? What does Kate's response to the clothes tell us about her? (See pp. 169-75, Act IV, scene iii, lines 66- 174.)

2. After the tailor leaves, Petruchio makes a comment about the unimportance of clothes. What, specifically, does he say? Is this another of his jokes, or is he serious? (See pp. 175-76, Act IV, scene iii, lines 175-189.)

3. In the "sun is the moon" scene (before the arrival of the "real Vincentio"), what specifically happens? Why does Kate finally agree with Petruchio? Does her agreement indicate, finally, that he has "tamed" her? (Hortensio seems to think that this is the case.) Or is something else going on? (See pp. 185-86, Act IV, scene v, lines 1-29.)

4. In the "gentle mistress" and "withered" old man scene, what, specifically happens? Does Kate seem to be "catching on" to what Petruchio is doing? Are they being playful here? (Note Vincentio refers to Kate as a "merry mistress.") (See pp. 189- 91, Act IV, scene v, lines 30-61.)

Group 1: Group 5:

Allen Maxwell Thomas Wyant
Amanda Hill Lori Carlson
Jamie Contreras Christy Stewart
Joyce Cruz Dee Brennan
Mandy Real, notetaker Stephanie Reed, notetaker

Group 2: Group 6:

Kristina Schultz Shawna Saari
Ryan Gordon Aaron Wurtzer
Michelle Leach Jim Nore
Danielle Hubbard Kristina Lopez
Moneen Leash, notetaker Roseanne Etcheber, notetaker

Group 3: Group 7:

Chris Alcala David Boyer
Francine Edralin Jeff Carlisle
Laurie Fox Kjirsten Brock
Steve Coppedge Jocelyn Thornberry, notetaker
Jaime Pimental, notetaker

Group 4:

James McAdams
Rob Whitlock
Grant Benton
Ginger Geyer
Scott Sipes, notetaker