were possessed by a demon, and how the Puritan minister, Mr. Darrel, was concerned in it.  For examples of allusions to contemporary customs, see Sir Toby’s mention of dances no longer known,—­’Galliard,’ ‘Coranto,’ etc.  As an example of allusions to persons of that time, Sir Toby’s reference to ’Mistress Mall’s picture,’—­Mary Frith, born in 1584, died in 1659, a notorious woman who used to go about in man’s clothing and was the target for much abuse.  Astrological allusions:  ‘Were we not born under Taurus?’ ‘That’s sides and hearts,’ which refers to the medical astrology still preserved in patent-medicine almanacs, where the figure of a man has his various parts named by the signs of the Zodiac.  ‘Diana’s lip’ (I. iv.), (’Arion on the Dolphin’s back’ I. ii.), are examples of mythological allusions.  Of the geographical allusions there are two kinds, the real and the sportive,—­Illyria, an example of the one, the ‘Vapians’ and the ‘Equinoctial of Queubus,’ of the other.  Go on through the play classifying and commenting on the allusions.  What was a ‘catch’?  Give an example.

QUERIES FOR DISCUSSION

Are the odd allusions in the play a result of the corrupt text, ignorance, ridicule of learning?  Or are they introduced to give a lively and contemporaneous effect?

III

THE DUKE AND SEBASTIAN

How does the play set off these two lovers against each other?  Which has the more constant nature?  Note the evidences of the Duke’s restlessness and changeableness; how soon he tires of the music he calls for, of the clown’s song (II. iv.).  Is his first speech to Viola, on woman’s constancy before the song, consistent with his second, after it?  Is his own report of himself true,—­’Unstaid and skittish in all motions else Save in the constant image of the one beloved’?  Is Olivia’s unattainableness the main source of her desirableness for him?  How is it with Sebastian?  Does his loyalty in love seem to be of the sort that suffers impairment when he can win love easily?  The Duke craves excess in music in order that his ‘appetite may sicken and so die;’ Sebastian wishes ’to steep his soul in Lethe.’  Do you think Sebastian and Viola alike in more than appearance?  Which is the quicker-witted?  Is the Duke’s amicable acceptance of the inevitable and transference of his love to Viola in keeping with his character?  Do you think Viola shows promise of special facility for preventing the moody Duke from tiring of her?  Note that he calls her his ‘fancy’s queen.’

QUERY FOR DISCUSSION

Is the Duke important chiefly as the inspirer of Viola’s devoted love?

IV

VIOLA AND OLIVIA