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The Debate y Oration, and Drama 391
2. Determine for each description :
a. The fundamental quality.
/ b. The devices Shakspere uses to make his descriptions
effective.
3. Preserve all the paragraphs you are asked to write
until the study of the play is finished,
4. In writing paragraphs on character consider :
a. What the person does.
b. What he says.
c. What others say about him.
d. How others treat him.
5. When in a paraphrase you are asked to use both
narrative in dialogue and by the author, put* into the
" elaboration of the dialogue,'* and into the portions which
interrupt the dialogue {see §§59 and lyo), your ideas of
the way the play is presented on the stage, as you imagine
it. Tell what tones, gestures, and facial expressions the
actors use as they say their lines; what the scenery is, etc,
6. Analyze the humorous passages.
Determine in each case whether the humor lies in the
use of irony, a pun, repartee, ridicule, stupidity, naivete.
7. In all forward-moving narrative in the theme out-
lines, break the narrative occasionally by dialogue,
, 8. Note the alternation of the scenes in the play —
Belmont, Venice ; Belmont, Venice.
There are in this play two main plots — the Portia story
and the Shylock- Antonio story. The scene of the first is
Belmont; of the second. Venice. The main plots are
woven together by the transference of certain minor char-
acters from Venice to Belmont (Bassanio and his friends),
and the transference from Belmont to Venice of the Portia
circle. At. the close of the play all the characters are at
Belmont except Sliylock. Through Bassanio and Jessica,
Portia is brought into relation with Antonio and Shylock.
The two main plots are brought together in the trial scene
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392 Composition and Rhetoric
292. Study of Act I.
Scene /. The Shylock-Antonio Story
1. See general suggestions, section 291.
2. Find examples of the description of mood,
personal appearance; of general reflection,^ersua-
sion; retrospective narrative, anticipation.
^ ,. 3. Write a paragraph on Antonio*s character,
using as a fundamental quality, prudence blinded by
affection.
4. Write another paragraph on Antonio's char-
acter, using as a fundamental quality, melancholy,
and connect the two by a transitional sentence.
A 5. Find examples of humor.
,^ -" f.
[Note to the Teacher. — It is recommended that the teacher
select a certain number of words and expressions in each scene to
be defined or explained.]
Scene II. The Portia Story
1. See general suggestions, section 291.
2. Find examples of the description of char-
acter; of the general reflection; of retrospective
narrative.
3. What speech connects the plots of Scene I.
and Scene II. ?
. 4. What character connects the Portia story
with the Shylock- Antonio story ?
/ 5. Write a paragraph on the character of Portia,
using as a fundamental quality the ability to read
character.
6. Write another paragraph on the character of
Portia, using as a fundamental quality, satirical.
7. Find examples of humor.
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The Debatey Oration^ and Drama 393
Scene III. The Shylock-Antonio Story
1. See general suggestions, section 291.
2. Find examples of the description of feeling ; ^
of retrospective narrative; of persuasion; of the
general reflection.
3. Write paragraphs on the character of Shy- /
lock, using as a fundamental quality in one, sharpness
in business ; in another, patience under persecution ;
in another, untruthfulness ; in another, faithfulness
to his religion. Connect these paragraphs by transi-
.tional sentences.
4. Find examples of humor.
5. Write a paragraph on the character of An-
tonio, using as a fundamental quality, frankness.
Join this by a transitional sentence to the para-
graphs already written on Antonio's character.
293. Study of Act II.
Scene I. The Portia Story
1. See general suggestions, section 291.
2. Find examples of the description of charac-
ter; of feeling; of retrospective narrative; of for- ^
ward-moving narrative ; of persuasion.
3. How did Scene II., Act L, prepare for this '
scene ?
Scene II.
Scene II. connects the Portia and Shylock-Anto-
nio stories by the transference of Gobbo from Shy-
lock to Bassanio.
1. See general suggestions, section 291.^
2. Find examples of ** audible thoug^ht " ; of per-
suasion ; of the description of character.
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394 Composition and Rhetoric
3. What passage connects this scene with Scene
L, ActH.?
4. Write a paragraph on the character of Laun-
celot Gobbo, using for a fundamental quality his
liking for fine language. Write also a paragraph
on old Gobbo, with senility as a fundamental quality.
5. . Find examples of humor.
Scene III, The Jessica Story — Venice
(Connecting the main plots.)
1. See general suggestions, section 291.
2. Write a paragraph on Jessica as a type of the
undutiful daughter.
3. Paraphrase this scene according to the general
plan, section 291.
Scene IV. The Jessica Story — Venice
(Connecting the main plots.)
1. See general suggestions, section 291.
2. Find examples of anticipation ; of forward-
moving narrative. This whole scene is anticipatory •
of Scene VI. Why?
Scene V,
(Main plot and under plots meet.)
1. See general suggestions, section 291.
2. Find examples of anticipation ; of forward-
moving narrative ; of description of character.
3. Write a paragraph on the character of Shy-
lock, using as a fundamental quality, austerity.
4. Find examples of humor.
5. Show in what way the main and under plots
are brought together in this scene.
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The Debate, Oration, and Drama 395
Scene VL The Jessica Story
I. See general suggestions, section 291.
. 2. Find examples of backward reference ; of the
general reflection ; of forward-moving narrative.
Scene VII, The Portia Story
1. See general suggestions, section 291.
2. Find examples of " audible thought "; of the
general reflection ; of backward reference ; of antici-
pation ; of forward-moving narrative.
3. Reproduce Act I., Scene II.'; Act II., Scene I. ;
and Act II., Scene VII., according to the following
plan :
Theme-Outline for the Portia Story
Chapter I.
Situation — ¥\n& material in Act II., Scene VII.— The opening
of the scene between Portia and Morocco.
Retrospective narrative — Give in an imaginary dialogue between
Portia and Morocco, the identity of Portia ; the story of the
caskets and Portia's experience with them before the opening
of this scene. Find material in Act I., Scene II.; Act II.,
Scene I.
Description of personal appearance — that of Portia. Represent
Morocco as telling in monologue how fair Portia is. Find
material in Act I., Scene I.; Act II., Scene VII.
Description of character — thaX of Portia. Use the paragraphs
already written. (See § 292.)
Description of character — that of Morocco. Use as a transition
the fact that he is not more pleasing to Portia than her other
suitors. Make the fundamental quality of his character Ori-
ental ardor. Find material in Act II., Scene I.
Forward-moving narrative — Find material in Act II.. Scene
VII.
Conclusion — Portia's fate still undecided.
Chapters two to five you will write later. Pre-
serve Chapter I. till the theme is complete.
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396 Composition and Rhetoric
Scene VII L The Jessica Story — Antonio Story
1. See general suggestions, section 291.
2. Find examples of the report of a speect ; of
anticipation ; of retrospective narrative ; of forward-
moving narrative ; of the description of character.
Scene IX. The Portia Story
1. See general suggestions, section 291.
2. Find examples of "audible thought"; of the
general reflection; ,of anticipation; of forward-mov-
ing narrative.
3. Find examples of humor.
4. Add to the first chapter of the Portia story
which you have already written a reproduction of
Act IL, Scene IX., according to the plan which is
given belo^ :
Theme-Out line for the Portia Story, (Continued from p. 395.)
Chapter II.
Situation — Portia and Arragon.
Audible thought — that of Arragon in regard to the casket he
will choose.
Forward-moving narrative — Arragon's failure and departure.
Anticipation — of the coming of Bassanio.
294. Study of Act III.
Scene I The Shylock-Antonio Story
1. See general suggestions, section 291.
2. Find examples of retrospective narrative ; of
the description of mood — the change of mood; of
humor.
, 3. Reproduce this scene according to the follow-
ing plan :
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The Debate^ Oration, and Drama 397
ThemB'Outline for the Jessica Story
Chapter I.
Situation— -^HcLyXoc^ and Tubal discussing Jessica's flight. Find
material in Act III., Scene I,
Mood of Shy lock — his feeling toward Jessica. Find material in
Act III., Scene I.
Retrospective narrative — Tell the story of :
a. The theft.
b. The elopement.
c. Its effect on Shylock.
d. The spending of the money. Find material in Act II. .
Scenes III., IV., VI., and VIII., and Act III., Scene I.
Transition,
Mode of life — of Shylock's household. Find material in Act
II., Scene III., Scene V.
Character of Jessica — Act II., Scene III. and Scene V. Add
a second paragraph to what you already have written on the
character of Jessica. (See § 293.)
Character of Shylock — Show how he was one who would not
attract Jessica. Write two paragraphs, one on his avaricious-
ness ; the other on his austerity. Find material in Act II. ,
Scene II., Scene V.; Act III., Scene I.
Conclusion — return to the situation. Use as a general reflection :
Shylock's indignation as expressed in his words in the situ-
ation, is justifiable.
Chapter II. of the Jessica story you will write
later. (See §296.) Preserve Chapter I. of this story
until you have written the second chapter.
Scene IL The Portia Story
1. See general suggestions, section 291.
2. Find examples of " audible thought "; of retro-
spective narrative ; of forward-moving narrative ; of
description of mood; of character; of personal ap-^
pearance; of humor.
3. Reproduce Act III., Scene IL, according to
the following outline :
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398 Composition and Rhetoric
Theme-Outline for the Portia Story. (Continued from §293.)
Chapter III.
Situation — Portia and Bassanio.
Mood of Portia,
Mood of Bassanio.
Audible thought — that of Bassanio in regard to the different
caskets.
Forward-moving narrative —
a. The choice.
b^ The ring.
c. The betrothal of Nerissa and Gratiano.
d. News from Antonio.
e. Portia's offer.
Scene II L The Shy lock- Antonio Story
1. See general suggestions, section 291.
2. Find examples of forward-moving narrative;
2. rina examples or lorwai
of the description of character.
Scene IV. The Portia Story
1. See general suggestions, section 291.
2. Find examples of forward-moving narrative ;
of the description of character; of personal appear-
ance.
3. Find examples of humor.
Scene V. The Jessica Story
1. See general suggestions, section 291.
2. Find an example of the description of char-
acter.
3. Find examples of humor.
4. Write a paragraph on the character of Laun-
celot, using as a fundamental quality, wit. Find
material in all the scenes in which Launcelot ap-
pears.
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The Debate, Oration, and Drama 399
295. Study of Act IV.
(The Portia story and Shylock story are fused in this act)
Scene I, *
1. See general suggestions, section 291.
2. Find examples of persuasion; of argumenta-
tion; a general truth; of description of character;
of feeling.
3. Find examples of humor.
4: Reproduce the Shylock- Antonio story accord-
ing to the following plan :
Theme-Outline for the Shylock Story
Chapter I.
Situation — the signing of the bond at the notary's. Find ma-
terial in Act I., Scene III.
Retrospective narrative ^i}^^ identity of Shylock and Antonio ;
their relations before this situation. Find material in Act I.,
Scene I., and Scene III.
Mode of life — in Venice. The antipathy between Jews and
Christians. Find material in Act I., Scene III. ; Act II., Scene
II., Scene III., Scene V., Scene VIII.; Act III,. Scene I., Scene
II.
In giving mode of life generalize ; /. e, , do not mention particu-
lar names (Shylock, Antonio), but speak of the Jews as a class and
likewise of the Christians.
Chapter II.
Situation — the trial before the Duke preceding the coming of
Portia. Find material in Act IV. , Scene I.
Mood of Antonio — quiet despair. Find material in Act IV.,
Scene I. Use dialogue.
The character of Antonio - a. good frieild. Find material in Act
I., Scene I., Scene III.; Act II., Scene III., Scene VI., Scene
VIII.; Act III., Scene II., Scene III.; Act IV., Scene I.
The character of Shylock — a good hater. Find material in Act
I., Scene III.; Act II., Scene VIII.; Act III., Scene I., Scene
II., Scene III. ; Act IV., Scene I.
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400 Composition and Rhetoric
Retrospectivk narrative —Mh^ misfortunes of Antonio. Find
material in Act II., Scene VIII.; Act III., Scene I., Scene II..
Scene III., Scene IV.
Conclusion — return to the situation — announcement of the arri-
val of Balthasar.
Chapter III. Find material in Act IV.
5//«<i//i?»— Shylock alone in his house after the trial, after having
signed the deed.
Retrospective narrative — the results of the trial given in mono-
logue by Shylock.
Description of an assembly — the trial scene given in vision by
Shylock.
Description of mood — Shylock's despair.
Description of personal appearance — that of Shylock. Compare
with his appearance in earlier scenes.
General reaction -^Might Shylock have been a hero if, instead
of bowing his head and submitting, he had defied his oppo-
nents ?
Suggestion. — Remember in writing this chapter that Shylock
supposes Portia to be a judge, and knows nothing of the real
Portia.
Theme-Outline for the Portia Story. (Continued from §§ 293
and 294.)
Chapter IV.
Situation — \h& court scene— Shylock prepares to take the pound
of flesh. Find material in Act IV., Scene I., Scene II.
Retrospective narrative -^{1) Portia's disguise. Find material
in Act III. , Scene IV. (2) The progress of the trial to the time
of the situation. Find material in Act IV., Scene I.
Forward-moving narrative — from the time of the situation to
the close of Act IV.
296. Study of Act V.
1. See general suggestions, section 291.
2. Find examples of description of place; of
music ; of mood ; of anticipation ; of persuasion ; of
the general reflection.
3. Find examples of humor.
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The Debate^ Oration^ and Drama 401
Theme-Outline for the Portia Story. (Continued from §295.)
Chapter V. Find material in Act V.
Description of place — Belmont by moonlight, music in the air.
Situation — Portia and Nerissa welcome home Bassanio, Gratiano,
and Antonio.
Forward-moving narrative — the ring episode; the revelation of
Portia's disguise ; the return of the argosy.
Conclusion — a return to the situation.
Theme-Outline for the fessica Story, (Continued from § 294.)
Chapter II.
Situation — LfOrenzo and Jessica sitting in the moonlight at Bel-
mont. Find material in Act V., Scene I.
Description of personal appearance — that of Jessica as you
imagine her in the moonlight.
Retrospective narrative in dialogue —
a. Portia's supposed retirement. Find material in Act III. .
Scene IV.
b. Bassanio's departure. Find material in Act III., Scene
IV.
c. Jessica's view of Shylock's conduct toward Antonio.
Transition — the music and the moonlight (Act V., Scene I.)
brings to Jessica's mind thoughts of the past.
Description of place by vision — Shylock's house.
Retrospective narrative in vision — Jessica's arrival in Belmont
and her subsequent life there. Find material in Act III., Scene
II., Scene IV., Scene V.
Audible thought — Jessica seeks to justify to herself her deser-
tion of her father and his religion, and her lack of sympathy
with his actions. Find material in Act III., Scene II., Scene
IV.. Scene V.
Forward-moving narrative— ¥\nA material in Act V., Scene I.
The arrival of Portia and Bassanio; the explanation of Portia's
absence; the report to Jessica of the proceedings at the trial;
the gift to Jessica. (Give part of this in dialogue.)
Conclusion — return to the situation ~ Jessica enters the house
with the others, apparently with no feeling of pity for her
father, who is left alone in Venice. Find material in Act V. ,
Scene I.
General reflection — the lesson of the play.
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402 Composition and Rhetoric
297. Reproduction of " The Merchant of Ven-
ice " as a Whole.
Chapter I.
Situation — Portia and Nerissa talking about the caskets.
Transition in dialogue.
Forward-moving narrative — the story of the caskets as
far as Portia's resolution to go in disguise to the trial.
Chapter II.
Situation — court scene.
Transition in dialogue — Shylock and Portia.
Forward-moving narratdve — to close of trial.
Chapter III.
Situation — the return to Belmont.
Transition in dialogue — Portia and Jessica.
Forward-moving narrative — the question of the rings.
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THE APPENDIX
The Appendix has two divisions, Part I. dealing
with the rules for punctuation, and Part 11. with
pieces of literature that may be used as alternates
for the selections in the body of the book, which
furnish material for the more important theme-
models.
i.
RULES FOR PUNCTUATION
In connection with the study of the sentence it
will be necessary for us to make use of the chief
rules for English punctuation.
I. The Comma. Its leading uses are :
1. To separate from each other the clauses in a
compound sentence, when the connection is so close
that a semicolon would indicate too great a break.
Example : ** He was known throughout the country as
a charitable man, and we are certain that his reputation was
deserved."
2. To separate words, phrases, and clauses in
parallel construction, unless the connecting coordi-
nate conjunctions are expressed.
Example : " But to those who protected and pitied her,
she afterwards revealed herself, accompanied their steps,
granted all their wishes, filled their houses with wealth,
made them happy in love and victorious in war." (For other
examples of parallel construction, see Chapter X.)
(403)
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404 Composition and Rhetoric
3. To separate the members of a series when
no conjunction is used.
Example: a^b,c^2JcAd.
In the case where the last member of a series is
connected to the others by and, usage differs. Thus :
tf, b, c, and d; or, a, b, c and d. Logically, the first
way is best, as it shows clearly that there are four
members in the series. According to the second
method of punctuation, we cannot be certain
whether there are three or four members.
4. In a complex sentence to set off the depend-
ent clause when it precedes the independent one.
Example : ** If she went into the world, it was under
the guidance of elders."
5. To indicate that a clause is merely modifying, •
not restrictive; that is, that it is not required to
identify the thing spoken of.
Examples : (a) The Americans, who are very progress-
ive, succeed in foreign markets ; and,
(Jb) The Americans who are very progpressive succeed in
foreign markets.
Note that in the first form all Americans are
spoken of. The clause only adds a fact. In the
second, only the prog^ressive Americans are spoken
of. The clause tells us what Americans succeed in
foreign markets. ^
6. To set off adverb phrases when they open a
sentence or are not closely connected with the con-
text. When the phrases are short the comma is
frequently omitted.
Example: Upon his coming of age, he was given full
freedom of action.
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The Appendix 405
7. To set off adverbs and adverb phrases which
have a connective force.
Examples : This, then, is why I have come.
In the first place, Shakspere is the greatest of our poets.
8. To indicate that certain words form a dis-
tinct group in the sentence and are to be regarded
as one member.
Example : ** I took down this dwelling the same morn-
ing, drawing the nails, and removed it to the pond-side by
small cartloads, spreading the boards on the grass there to
bleach and warp back again in the sun.**
This rule is similar to Rule 3, section 2, page 406.
9. To introduce a direct quotation.
Example : He said, •* Give me the book, John."
A long formal quotation is generally introduced
by a colon.
10. To separate the parts of dates and addresses.
Example : October 1 8 , 1901 . Mr. James Jones, Chicago .
Illinois.
When the address is written on an envelope the
punctuation is frequently omitted.
Caution. — Do not use too many commas. Always
omit the comma when it is not necessary to make your
meaning clear,
2. The Semicolon. The chief uses of the semi-
colon are :
I. To separate the principal clauses in a com-
pound sentence, when no conjunction is used.
Example : " We beggars are the very fondling^ of Na-
ture; the rich she treats like an arrant stepmother ; they are
pleased with nothing.**
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406 Composition and Rhetoric
2. The semicolon is used with the conjunction
when commas occur in either or both of the clauses,
and when the break is too great to be indicated by
a comma.
Example: ' 'It was a contest, not between engineers, but
between nations ; and the victory remained with the nation
which, though inferior in number, was superior in civiliza-
tion, in capacity for self-government, and in stubbornness of
resolution."
3. To separate a series of similar phrases or sub-
ordinate clauses, when commas would not sujSice to
set off the members of the series from one another.
Example : • ' We hold these truths to be self-evident -.—That
all men are created equal; that they are endowed by their
Creator with inherent and inalienable rights; that among
these are life, liberty, and the pursuit of happiness. That, to
secure these rights, governments are instituted among men,
deriving their just powers from the consent of the governed;
that, whenever any form of government becomes destructive
of these ends, it is the right of the people to alter or to abol-
ish it, and to institute a new government, laying its founda-
tions on such principles, and organizing its powers in such
form, as to them shall seem most likely to effect their safety
and happiness."
3. The Colon. Its chief uses are :
1. To separate the clauses of a compound sen-
tence when they are not strictly co5rdinate, but are
not wholly independent.
Example : The banker would not consent to lend him
the money: the nature of the speculation made the risk too
great
2. To introduce a long quotation or series. This
is more formal than the comma. (See Rule 9 for the
Comma, and Rule 3 for the Semicolon.)
3. In letters, after Dear Sir, Dear Mr. Jones, etc.
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The Appendix 407
It is more formal than the comma, or the comma
aifd dash. Sometimes the colon is followed by a
dash.
Examples : My dear Sir, — ; My dear Sir : — ; or. My dear
Sir:
4. The Period. Its chief uses are :
1. To mark the end of a sentence.
2. To indicate that the form of a word or expres-
sion is abbreviated. (See section 16 of this Appen-
dix for a list of the most common abbreviations.)
5. The Interrogation Point. The interrogation
point stands at the end of every question. For this
reason it is often called the question mark.
6. The Exclamation Point. The exclamation
point stands at the end of exclamatory words,
phrases, and sentences.
Examples: ** To arms ! To arms ! "
♦• Behold the man !'•
7. Parentheses. Marks of parenthesis enclose
that which is of an explanatory nature, and which
is put in, as it were, by the way.
Example : "I assume (and all my hearers will also take
it for granted) that the law of gravitation holds."
8. Brackets. Brackets enclose matter which is
introduced into the narrative by a second person,
as by an editor.
Example : "It was now the 22d [of August]. He [Mr.
McKay] came to me early in the morning [4 a. m.] and
addressed me in the following words [here the account breaks
oflF]."
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408 Composition and Rhetoric
9. The Dash. The dash indicates a sudden