KING: … Hieronimo, it greatly pleaseth us

That in our victory thou have a share

By virtue of thy worthy son’s exploit.

… Bring hither the young prince of Portingale!

The rest march on, but, ere they be dismissed,

We will bestow on every soldier

Two ducats, and on every leader ten,

That they may know our largesse welcomes them.

Exeunt all \[the army\] but BALTHAZAR,

LORENZO, and HORATIO.

What genre of play is this?

KING: … Hieronimo, it greatly pleaseth us

That in our victory thou have a share

By virtue of thy worthy son’s exploit.

… Bring hither the young prince of Portingale!

The rest march on, but, ere they be dismissed,

We will bestow on every soldier

Two ducats, and on every leader ten,

That they may know our largesse welcomes them.

Exeunt all \[the army\] but BALTHAZAR,

LORENZO, and HORATIO.

What genre of play is this?

To be thus is nothing,

But to be safely thus. Our fears in Banquo.

Stick deep, and in his royalty of nature

Reigns that which would be fear’d. ‘Tis much he dares,

And, to that dauntless temper of his mind,

He hath a wisdom that doth guide his valor

To act in safety. There is none but he

Whose being I do fear; and under him

My genius is rebuked, as it is said

Mark Antony’s was by Caesar.

What historical document served as a basis for this play’s storyline?

THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].

THE MOTHER: How do you know that my son's name is Freddy, pray?

THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]

Who is one of the protagonists of this play?

THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].

THE MOTHER: How do you know that my son's name is Freddy, pray?

THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]

Who is one of the protagonists of this play?

To be thus is nothing,

But to be safely thus. Our fears in Banquo.

Stick deep, and in his royalty of nature

Reigns that which would be fear’d. ‘Tis much he dares,

And, to that dauntless temper of his mind,

He hath a wisdom that doth guide his valor

To act in safety. There is none but he

Whose being I do fear; and under him

My genius is rebuked, as it is said

Mark Antony’s was by Caesar.

What historical document served as a basis for this play’s storyline?

Which of the following is not a character in Waiting for Godot?

Which of the following is not a character in Waiting for Godot?

But full of fire and greedy hardiment,

The youthfull knight could not for ought be staide,

But forth unto the darksome hole he went,

And looked in: his glistring armor made

A litle glooming light, much like a shade,

By which he saw the ugly monster plaine,

Halfe like a serpent horribly displaide,

But th'other halfe did womans shape retaine,

Most lothsom, filthie, foule, and full of vile disdaine.

The author of the poem was a contemporary of __________.

But full of fire and greedy hardiment,

The youthfull knight could not for ought be staide,

But forth unto the darksome hole he went,

And looked in: his glistring armor made

A litle glooming light, much like a shade,

By which he saw the ugly monster plaine,

Halfe like a serpent horribly displaide,

But th'other halfe did womans shape retaine,

Most lothsom, filthie, foule, and full of vile disdaine.

The author of the poem was a contemporary of __________.