In what degree is the extravagant banter of the Play itself an
imitation of current fashions of speech and itself an object of
ridicule?

Its relations to Lyly and Euphuism. (See Extracts from Ward and from
Landmann in "Selected Criticism," in First Folio Edition of the Play).

Make a study of the lesser and larger wit of the play, showing how the
former is merely incidental to the latter.

In what respects is the whimsical talk of the Play suited to certain
groups and to special characters, so that there is more variety in it
than appears at first.

QUERIES FOR DISCUSSION

Does the master wit of the Play consist in any one class of fun, as
verbal conceits in the punning line; practical jokes; Euphuism,
so-called; banter in speech and retort, versemaking and sonneteering,
learned quips, or in the use of all these combined in a way to bring
out the point of the Play--the clash of natural with artificial
methods.

Is wit or purpose dominant in the Play?

Which is the wittiest scene? Is it also the most morally significant?


VII