English 225 Final

"Think'st thou I'd make a life of jealousy, To follow still the changes of the moon With fresh suspicions? No, to be once in doubt Is to be resolved. Exchange me for a goat When I shall turn the business of my soul To such exufflicate and blowed surmises, Matching thy inference. 'Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances: Where virtue is, these are more virtuous. Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt, For she had eyes and chose me. No, Iago, I'll see before I doubt; when I doubt, prove; And, on the proof, there is no more but this: Away at once with love or jealousy."

-Othello -Othello's response to Iago's suggestion of Desdemona's adultery -argues that listing Desdemona's virtues doesn't make him jealous -demonstrates his rationality

"Oh, she that hath a heart of that fine frame To pay this debt of love but to a brother,How will she love, when the rich golden shaftHath killed the flock of all affections elseThat live in her; when liver, brain, and heart,These sovereign thrones, are all supplied, and filledHer sweet perfections with one self king!"

-Twelfth Night -1.1-Duke Orsino responding to Valentine's description of Olivia -Orsino proposes that Olivia's love for her dead brother could transfer to him-through seducing her -Orsino believes he will redirect all of her emotion onto him-self-absorbed -The implications of job: during this time, a woman's job was to love. However, Olivia is using all of her energy to mourn her brother, thus, not fulfilling her job -Orsino says "debt of love" as if her love is "due to him". -The liver and heart were considered the center of bodily passions during the Elizabethan era; the brain was used to control the use of the affections and the passions. -The liver and heart were considered the center of bodily passions during the Elizabethan era; the brain was used to control the use of the affections and the passions. -Orsino is hoping these body parts will push olivia to fall for him

"Have you commission from your lord to negotiate with my face? You are not out of your text. But we will draw the curtain and show you the picture. Look you, sir, such a one I was this present. Is't not well done?" "Excellently done, if God did all." "'Tis in grain, sir, 'twill endure wind and weather." 'Tis beauty truly blent, whose red and whiteNature's own sweet and cunning hand laid on.Lady, you are the cruel'st she aliveIf you will lead these graces to the graveAnd leave the world no copy." "O sir, I will not be so hardhearted. I will give out divers schedules of my beauty. It shall be inventoried and every particle and utensil labeled to my will. As item, two lips, indifferent red; item, two gray eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me?"

-Twelfth Night -Viola/Cesario to Olivia -Olivia succeeds in getting Cesario off -script-Cesario says it's cruel and selfish if Olivia leaves no children -Olivia deconstructs the scripted praise; catalogs herself -also brings in notion of a will, death, and dying -Oliva has just compared herself to a painting -Viola says that Olivia would be the cruellest woman alive if she let her beauty die with her, leaving no children for the future generations to admire

"Why, some are born great, some achieve greatness, and some have greatness thrown upon them. I was one, sir, in this interlude, one Sir Topas, sir. But that's all one. 'By the Lord, fool, I am not mad.' But do you remember, 'Madam, why laugh you at such a barren rascal. An you smile not, he's gagged.' And thus the whirligig of time brings in his revenges." "And I'll be revenged on the whole pack of you."

-Twelfth Night -Clown to Malvolio, as Malvolio is learning he's been tricked -Clown admits his role in the prank -The Clown has gotten back at Malvolio for Malvolio's earlier, nasty remarks about his lack of talent. whirligig: a pinwheel or spinning toy, usually powered by the wind The "wheel of fortune" or cycle of destiny is a recurring image in Shakespeare's plays

"The element itself, till seven years' heat, Shall not behold her face at ample view, But, like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine. All this to season A brother's dead love, which she would keep freshAnd lasting in her sad remembrance."

-Twelfth Night -Valentine, noble, telling Orsino about Olivia -supposed to feel sympathy for Olivia, but also cued to find 7 years of crying a little ridiculous -establishes societal pressure for Olivia to move on, since she's a single woman with property and money -Cloistress = nun -"Brine" also brings to mind the sea where Viola- as we'll see in the next scene- has, so she thinks, lost her brother.

My father had a daughter loved a man As it might be perhaps, were I a woman, I should your lordship." "And what's her history?" A blank, my lord. She never told her love But let concealment, like a worm i'th' bud, Feed on her damask cheek. She pined in thought, And, with a green and yellow melancholy, She sat like Patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more, but indeed Our shows are more than will. For still we prove Much in our vows, but little in our love."

-Twelfth Night -Viola/Cesario's response to Orsino's insistence that women cannot love as much as men -is actually the story of Viola's love for Orsino -Another instance when Viola hides the truth without technically lying. -he truthfully says that "her father had a daughter" who was in love, but doesn't specify that she is that daughter. -Irony: "Cesario" referring to how he might love Orsino "were [he] a woman"

"If music be the food of love, play on. Give me excess of it that, surfeiting, The appetite may sicken and so die. That strain again--it had a dying fall. Oh, it came o'er my ear like the sweet sound That breaths upon a bank of violets, Stealing and giving odor. Enough, no more! 'Tis not so sweet now as it was before. O spirit of love, how quick and fresh art thou That, notwithstanding thy capacity Receiveth as the sea, naught enters there Of what validity and pitch soe'er,But falls into abatement and low price Even in a minute. So full of shapes is fancy That it alone is high fantastical."

-Twelfth Night opening lines -Orsino, Duke of Illyria speaking -establishes his dramatic idea of love -indulges in melancholic music to indulge his emotions -It is suggested that he is saying: Give me more music, and more love, until I gag and get over them. -Apostrophe of "O"- is to the spirit or essence of love, which Orsino speaks to himself as opposed to his attendants -Pentameter of Violets: almost sounds like viola -Critiques describe love here as so hungry that it can devour everything and destroy the value of even the most precious things. -"Receiveth at the sea": leads to the next scene where Viola is shipwrecked and received the sea. Also, this line could also mean that as anything falls into the ocean will eventually be gone, forgotten, and made unimportant.

"I think not so, my lord." "Dear lad, believe it. For they shall yet belie thy happy years That say thou art a man. Diana's lip Is not more smooth and rubious. Thy small pipeIs as the maiden's organ, shrill and sound, And all is semblative a woman's part. I know thy constellation is right apt For this affair."

-Twelfth Night, 1.4 -Duke Orsino to Viola (as Cesario) -Orsino's instructions for Viola to tell Olivia of his love -Believes that because Cesario is young (read: womanly) he will be better equipped to convince Olivia of Orsino's love -theme of gender-bending

'tis a consummation Devoutly to be wished. To die, to sleep; To sleep, perchance to dream—ay, there's the rub: For in that sleep of death what dreams may come When we have shuffled off this mortal coil Must give us pause.

Hamlet -Hamlet Context: In the castle, Polonius and Claudius (the King) hide to observe Hamlet and Ophelia together (Ophelia is aware of this). Claudius is trying to determine whether Hamlet's perceived madness is because he's in love with Ophelia. (We are aware, however, Hamlet "feigns" madness around the King so he won't suspect Hamlet's deeply seeded hatred for him, and subsequent investigations.) Before Hamlet sees Ophelia, he's engaged in a philosophical discussion with himself, and says these lines. Analysis: Gives a sense that he desires a restful pause, and never wants to have to think after death. He seems to suggest that there is no purgatory.

_______ To what base uses we may return, Horatio. Why may not imagination trace the noble dust of Alexander till 'a find it stopping a bunghole? 'Twere to consider too curiously to consider so. No, faith, not a jot. But to follow him thither with modesty enough and likelihood to lead it: Alexander died, Alexander was buried, Alexander returneth to dust, the dust is earth, of earth we make loam, and why of that loam whereto he was converted might they not stop a beer barrel?Imperious Caesar, dead and turned to clay

Hamlet -Hamlet and Horatio Context: Hamlet is in the graveyard with Horatio and the clowns, the gravediggers just discovered Yorrick's skull. Analysis: Hamlet has a sort of weird epiphany that in the end we're all just dirt. Even people like Alexander the Great turn to dirt that could be used to patch a hole. He is saying that in the end no matter how noble you are or not, we all end up in the same place.

What devil was't That thus hath cozened you at hoodman-blind? Eyes without feeling, feeling without sight, Ears without hands or eyes, smelling sans all, Or but a sickly part of one true sense Could not so mope. O shame, where is thy blush? Rebellious hell,If thou canst mutine in a matron's bones, To flaming youth let virtue be as wax And melt in her own fire. Proclaim no shame When the compulsive ardor gives the charge, Since frost itself as actively doth burn, And reason pardons will. Hamlet, speak no more! Thou turn'st my very eyes into my soul, And there I see such black and grievèd spots As will leave there their tinct.

Hamlet -Hamlet and Queen Gertrude Context: Polonius tells Gertrude that she needs to reprimand Hamlet and his actions, so she confronts him about upsetting Claudius with the play. Hamlet gets so upset and scares his mother, and then stabs Polonius hiding behind the curtain thinking it was Claudius. Analysis: Hamlet is attempting to save his mother because she has damned her soul. He suggests that she is too old to feel sexuality, it's unnatural, and that someone with no senses would ever do what she did. If this is unnatural and repulsive, then how uncontrollable is young love? Gertrude seems to be confessing that she is guilty of passion.

Oh, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit That from her working all the visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for nothing! For Hecuba! What's Hecuba to him or he to her That he should weep for her? What would he do Had he the motive and that for passion That I have? He would drown the stage with tears And cleave the general ear with horrid speech, Make mad the guilty and appall the free, Confound the ignorant and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled rascal, peak Like John-a-dreams, unpregnant of my cause, And can say nothing—no, not for a King Upon whose property and most dear life A damned defeat was made. Am I a coward? Who calls me villain, breaks my pate across, Plucks off my beard and blows it in my face, Tweaks me by the nose, gives me the lie i'th' throat As deep as to the lungs? Who does me this? Ha? 'Swounds, I should take it, for it cannot be But I am pigeon-livered and lack gall To make oppression bitter, or ere this I should've fatted all the region kites With this slave's offal. Bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! Oh, vengeance! Why, what an ass am I! This is most brave,That I, the son of a dear murdered, Prompted to my revenge by heaven and hell, Must like a wh*re unpack my heart with words And fall a-cursing like a very drab, A stallion! Fie upon't, foh! Hmm—I have heard That guilty creatures sitting at a play Have by the very cunning of the scene Been struck so to the soul that presently They have proclaimed their malefactions. For murder, though it have no tongue, will speak With most miraculous organ. I'll have these players Play something like the murder of my father Before mine uncle. I'll observe his looks; I'll tent him to the quick. If 'a do blench, I know my course. The spirit that I have seen May be a dev'l, and the dev'l hath power T'assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this. The play's the thing Wherein I'll catch the conscience of the King.

Hamlet Context: Inside the castle, Hamlet greets several actors (who will put on a show the following night) and asks one of them to give a speech about the fall of Troy and the death of the Trojan king and queen, Priam and Hecuba. The speech is so moving, that Hamlet becomes frustrated with his inability to summon his own emotions for a more relevant, immediate cause (namely killing his uncle) than the events portrayed by the actor. Hamlet then decides to put on a play closely resembling the plot of Hamlet's father's murder, in order to elicit signs of guilt from his uncle. Analysis: This demonstrates the idea of artifice or theatricality to provoke passion and confession; the idea that if you a play a murder that was committed in front of the guilty that they will confess that they committed the murder. This is suggesting that "murder will out" and theatre will help. Hamlet is blurring the line between feeling and emitting emotion; he is saying this actor has managed to take what is spiritual and make it physical when Hamlet can't do the same in response to these deeply real, emotional and spiritual life events. It's as if Hamlet put himself into the play and is saying that he is not even being challenged and provoked. He's imagining that even if he were provoked he would not be able to be brave because he lacks gall. He attempts to arouse and ignite himself by talking about Claudius and how evil he is. Yet, this does not work, it does not provoke him to take action. He sees that this is effeminate; that he is female because he is so weak.

'Swounds, show me what thou'lt do— Wilt weep, wilt fight, wilt fast, wilt tear thyself, Wilt drink up eisel, eat a crocodile? I'll do't. Dost come here to whine, To outface me with leaping in her grave? Be buried quick with her and so will I. And if thou prate of mountains, let them throw Millions of acres on us till our ground, Singeing his pate against the burning zone, Make Ossa like a wart. Nay, an thou'lt mouth, I'll rant as well as thou.

Hamlet -Hamlet Context: Hamlet and Horatio were just hiding in the churchyard. Gertrude, Claudius, and Laertes enter and Hamlet then realizes it is Ophelia who died.Laertes and Hamlet basically have a pissing contest over who loved Ophelia more and they fight. Analysis: This shows that Hamlet is truly a clown and still does not know how to grieve; he seems to truly be going mad. Everything seems to be a competition to Hamlet; who can grieve the most.

For thou hast beenAs one in suff'ring all that suffers nothing, A man that Fortune's buffets and rewards Hast ta'en with equal thanks; and blest are those Whose blood and judgment are so well co-meddled That they are not a pipe for Fortune's finger To sound what stop she please. Give me that man That is not passion's slave and I will wear himIn my heart's core—ay, in my heart of heart—As I do thee. Something too much of this.

Hamlet -Hamlet Context: Hamlet is directing the play for the people and tells the actors to be natural and explains that he doesn't want to audience missing any of the important parts. Then he pulls Horatio to the side, asking him to watch Claudius's reaction. Analysis: Hamlet is thinking about the theatrical and feeling of emotions; wondering how to process what you feel without being a slave to it. This shows the idea that there could be an admirable mix of blood and judgment; passion versus rationality.

But that the dread of something after death, The undiscovered country from whose bourn No traveler returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards, And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action.

Hamlet -Hamlet Context: In the castle, Polonius and Claudius (the King) hide to observe Hamlet and Ophelia together (Ophelia is aware of this). Claudius is trying to determine whether Hamlet's perceived madness is because he's in love with Ophelia. (We are aware, however, Hamlet "feigns" madness around the King so he won't suspect Hamlet's deeply seeded hatred for him, and subsequent investigations.) Before Hamlet sees Ophelia, he's engaged in a philosophical discussion with himself, and says these lines. Analysis: He's saying we're all cowards because the only reason we fail to choose death over the "ills we have" is because they're familiar to us. Basically he's making a fairly logical case for suicide. I think he's also tracing that same cowardice to our failure to reach resolutions; what we do not know impedes action, blurs resolutions, creates doubt. Hamlet contradicts the presence of the ghost. People's sense of death and long for death to be asleep, but also their hesitation to embrace death is because they're fearful of what death entails. He casts thought a sickness, he is overthinking his life and has not been able to act quickly. His thoughts are holding him back.

To be or not to be: that is the question. Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles And by opposing end them.

Hamlet -Hamlet Context: In the castle, Polonius and Claudius (the King) hide to observe Hamlet and Ophelia together (Ophelia is aware of this). Claudius is trying to determine whether Hamlet's perceived madness is because he's in love with Ophelia. (We are aware, however, Hamlet "feigns" madness around the King so he won't suspect Hamlet's deeply seeded hatred for him, and subsequent investigations.) Before Hamlet sees Ophelia, he's engaged in a philosophical discussion with himself, and says these lines. Analysis: The lines are about suicide; whether it makes more sense to live and die. Among other things, they're noteworthy because of Hamlet's detachment from them. It's simultaneously a deeply personal and a deeply philosophical question. Interesting syntax of: to be = to suffer and live, to not to be = to take arms and no longer suffer.

And so am I revenged—that would be scanned: A villain kills my father, and for that I, his sole son, do this same villain send To heaven. Why, this is base and silly, not revenge. 'A took my father grossly, full of bread, With all his crimes broad blown, as flush as May —And how his audit stands, who knows save heaven? But in our circumstance and course of thought' Tis heavy with him. And am I then revenged To take him in the purging of his soul When he is fit and seasoned for his passage? No.[He sheathes his sword.] Up, sword, and know thou a more horrid hent—When he is drunk asleep, or in his rage, Or in th'incestuous pleasure of his bed, At game, a-swearing, or about some act That has no relish of salvation in't. Then trip him that his heels may kick at heaven And that his soul may be as damned and black As hell whereto it goes.

Hamlet -Hamlet Context: In the castle, the King's fallen to his knees in grief for his sin (prompted by the play). Hamlet stumbles upon him, while Claudius is praying, and decides to wait to kill him until he's sinning again. Otherwise, if Hamlet takes his life while he's repenting, Claudius may go to heaven. Analysis: This passage is significant because Hamlet realizes that he cannot kill Claudius while he is praying because then his sins will be forgiven and he'll go to heaven. Instead, he must kill him while he is sinning. A "catholic" decision in nature since it implies souls can be redeemed.

Assume a virtue if you have it not. That monster custom, who all sense doth eat, Of habits devil, is angel yet in this, That to the use of actions fair and good He likewise gives a frock or livery That aptly is put on. Refrain tonight, And that shall lend a kind of easiness To the next abstinence, the next more easy. For use almost can change the stamp of nature, And either lodge the devil, or throw him out With wondrous potency.

Hamlet -Hamlet Context: Polonius tells Gertrude that she needs to reprimand Hamlet and his actions, so she confronts him about upsetting Claudius with the play. Hamlet gets so upset and scares his mother, and then stabs Polonius hiding behind the curtain thinking it was Claudius. Analysis: Artificial changes to one's behavior or habit to produce natural changes. He is saying that custom and habit creates sin, it devilish, but custom can work both ways. We can flip our bad habits and create good habits. Behavior, custom, habit, and what you do can change who you are; desperate idea that predestination is not true.

Get thee to a nunnery! Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet Icould accuse me of such things that it were better my motherhad not borne me. I am very proud, revengeful, ambitious, with more offenses at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves—believe none of us. Gothy ways to a nunnery. Where's your father?

Hamlet -Hamlet Context: Polonius tries to prove to Claudius and Gertrude that Hamlet is mad with lovesickness for Ophelia, so he has Ophelia talk in "private" with Hamlet. They secretly are observing the conversation between them. Analysis: Abstracts Ophelia of any individuality and instead makes her the example of all women. Hamlet may or may not know that he is being watched so it is unknown if this is a performance or if he sincerly​ means what he says to Opheil​a.

I have heard of your paintings well enough. God hath given you one face and you make yourselves another; you jig and amble and you lisp, you nickname God's crea-tures and make your wantonness ignorance. Go to, I'll no more on't—it hath made me mad. I say we will have no more marriage. Those that are married already—all but one—shall live; the rest shall keep as they are. To a nun-nery, go.

Hamlet -Hamlet Context: Polonius tries to prove to Claudius and Gertrude that Hamlet is mad with lovesickness for Ophelia, so he has Ophelia talk in "private" with Hamlet. They secretly are observing the conversation between them. Analysis: The idea of no longer peopling the world to avoid further creation of sin. The wantonness and dishonesty of women in particular (like putting makeup on).

Give me your pardon, sir. I have done you wrong, But pardon't as you are a gentleman. This presence knows, and you must needs have heard, How I am punished with a sore distraction. What I have done That might your nature, honor, and exception Roughly awake, I here proclaim was madness. Was't Hamlet wronged Laertes? Never Hamlet If Hamlet from himself be ta'en away, And when he's not himself does wrong Laertes, Then Hamlet does it not; Hamlet denies it. Who does it then? His madness. If't be so, Hamlet is of the faction that is wronged— His madness is poor Hamlet's enemy.

Hamlet -Hamlet Context: Prior to their fight, Hamlet apologizes to Laertes for insulting him and for everything he's done. Hamlet is apologizing to Laertes, but he denies that he did anything wrong and says it was all his madness. Analysis: Hamlet blames his outburst on his mental health; " He turns the tables to where Hamlet is the one who is truly being wronged. Hamlet tries to make it seem like he is not the one who's done wrong.

let us know Our indiscretion sometime serves us well When our deep plots do fall, and that should learn us There's a divinity that shapes our ends, Rough-hew them how we will.

Hamlet -Hamlet Context: This line occurs prior to Hamlet telling Horatio of his plan to overcome Claudius's scheme to have him murdered in England. He replaced the sealed letter carried by the unsuspecting Rosencrantz and Guildenstern, which called for Hamlet's execution, with one calling for the execution of the bearers of the letter—Rosencrantz and Guildenstern themselves. Analysis: Here, this is unusual behavior for Hamlet because he is the most indecisive person to ever live but in this scene he acts in a very rash manner

But bear me swiftly up. Remember thee? Ay, thou poor ghost, whiles memory holds a seat In this distracted globe. Remember thee? Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain Unmixed with baser matter. Yes, by heaven! O most pernicious woman! O villain, villain, smiling damnèd villain—My tables! Meet it is I set it down That one may smile and smile and be a villain—At least I am sure it may be so in Denmark.

Hamlet -Hamlet Context: Hamlet and the ghost have just encountered each other, and the Ghost has told Hamlet that he is his father, and explains how Claudius murdered him. The ghost asks Hamlet to avenge his death, and then the ghost leaves and Hamlet says this. Analysis: It used to be that memory was a series of impressions like in a waxed tablet, and he's saying that he is carrying his tablet and his going to wipe it clean. He's suggesting that somehow, he's going to wipe away everything he learned in school, and the only thing that will be present in his mind is his father's request. Break between past and future, he will forget everything and only focus on "thy commandment."

It is but foolery, but it is such a kind of gain giving as would perhaps trouble a woman. If your mind dislike anything, obey it. I will fore- stall their repair hither and say you are not fit. Not a whit. We defy augury. There is special provi-dence in the fall of a sparrow. If it be, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come; the readiness is all. Since no man, of aught he leaves, knows, what is't to leave betimes?

Hamlet -Hamlet and Horatio Hamlet has just agreed to dual, even though Laertes and Horatio were warning him not to. Horatio says that if he doesn't feel fully fit to fight he shouldn't but Hamlet says that everything thats meant to be works out in the end. Significant bc this could suggest that Hamlet's death was in sort a suicide bc he knew he was unfit to fight Laertes

I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises, and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory; this most excellent canopy, the air, look you, this braveo'er hanging firmament, this majestical roof fretted with golden fire—why, it appeareth nothing to me but a foul and pestilent congregation of vapors.

Hamlet -Hamlet speaking Context: Claudius and Gertrude invited Hamlet's friends to come visit and get their opinion on Hamlet's crazy behavior. Hamlet is speaking to Guildenstern and Rosencrantz, the friends who came to visit Hamlet by the request of his mother the Queen, who is worried about her depressed, "much changed" son. This is the same scene where Claudius, Gertrude, and Polonius devise a plan to observe Hamlet and Ophelia together. Analysis: Hamlet cannot seem to reconcile the difference between men, are they noble or trash? He is discussing the glorious notion of the renaissance man, and the place that man holds in the world. The nature of Hamlet's grief is that everything sucks now; he sees things from a pessimistic lense now.

"Seems," madam? Nay, it is. I know not "seems." 'Tis not alone my inky cloak, cold mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief That can denote me truly. These indeed seem, For they are actions that a man might play, But I have that within which passes show—These but the trappings and the suits of woe.

Hamlet -Hamlet speaking Context: Claudius has just been speaking to his court as the new king. They having growing concerns for Hamlet's continuous grief over the death of his father and the confront him about it. This is Hamlet's initial response to his mother (the Queen) and uncle's hateful manner towards his grief. Analysis: He's saying that he cannot actually show how much he truly is grieving because of their culture. There is an issue between outward behavior and inward feelings. Also a commentary on the various pageantries of the court.

Oh, that this too, too sallied flesh would melt, Thaw, and resolve itself into a dew, Or that the Everlasting had not fixed His canon 'gainst self-slaughter. O God, God, How weary, stale, flat, and unprofitable Seem to me all the uses of this world. Fie on't, ah, fie, 'tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come thus: But two months dead—nay, not so much, not two—So excellent a king, that was to this Hyperion to a satyr, so loving to my mother That he might not beteem the winds of heaven Visit her face too roughly

Hamlet -Hamlet speaking Context: Claudius has just been speaking to his court as the new king. They having growing concerns for Hamlet's continuous grief over the death of his father and the confront him about it. This is Hamlet's response to his father's death and not knowing of any of the crimes committed towards his father. Analysis: Hamlet uses garden imagery a lot which is ironic because his father was killed in a garden; there is also a connection to the garden of Eden and the fall of Denmark. He also uses very passive language, like wanting melt as his death. This suggests that he is less masculine through his passivity. His depression allows him to see how terrible and rotten the entire world is; the lens is much larger than himself.

Oh, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's eye, tongue, sword, Th'expectation and rose of the fair state, The glass of fashion and the mold of form, Th'observed of all observers, quite, quite down! And I, of ladies most deject and wretched, That sucked the honey of his musicked vows, Now see what noble and most sovereign reason Like sweet bells jangled out of time and harsh—That unmatched form and stature of blown youth, Blasted with ecstasy. Oh, woe is me T'have seen what I have seen, see what I see!

Hamlet -Ophelia Context: Polonius and Claudius are hiding behind the tapestry so they can overhear Ophelia and Hamlet's confrontation. Ophelia says this noble response after Hamlet is claims he never loved her and fussed at her. Analysis: Ophelia describes the downfall of Hamlet's mental state. She says he used to be so witty, so brave, and so smart but now he's insane. Ophelia here is showing much generosity of spirit, to be concerned for Hamlet's well being, after he yelled at her like that.

O God, a beast that wants discourse of reason Would have mourned longer—married with my uncle, My father's brother, but no more like my father Than I to Hercules. Within a month, Ere yet the salt of most unrighteous tears Had left the flushing in her gallèd eyes, She married. Oh, most wicked speed, to post With such dexterity to incestuous sheets—It is not, nor it cannot come to good. But break, my heart, for I must hold my tongue.

Hamlet -The ghost Context: Claudius has just been speaking to his court as the new king. They having growing concerns for Hamlet's continuous grief over the death of his father and the confront him about it. Once all of them are gone, Hamlet begins talking about the situation to himself. Analysis: He mentions incest through her mother marrying her dead husband's brother, and suggests that there was guilt before; there may have been some adultery beforehand. Hamlet is questioning why his mother did not mourn longer. This suggests that Hamlet knows that his father's death was wrongful; that it was more than just a death.

Ay, that incestuous, that adulterate beast, With witchcraft of his wits, with traitorous gifts—Oh, wicked wit and gifts that have the power45 So to seduce!—won to his shameful lustThe will of my most seeming-virtuous queen.O Hamlet, what falling off was there, From me whose love was of that dignity That it went hand in hand even with the vow I made to her in marriage, and to decline Upon a wretch whose natural gifts were poor To those of mine. But virtue, as it never will be moved Though lewdness court it in a shape of heaven, So lust, though to a radiant angel linked, Will sate itself in a celestial bed And prey on garbage.

Hamlet -The ghost Context: The Ghost has just revealed to Hamlet how he was murdered by Claudius (current King of Denmark, Hamlet's uncle, Hamlet's dad's brother). This conversation follows him asking Hamlet to avenge his death. Analysis: The Ghost tells Hamlet that Gertrude (his mother) fell for Claudius' manipulative tactics. He pleas with Hamlet asking him to avenge his death. This is important because this request later drives Hamlet mad; it questions whether this was truly his father's ghost or if it was just the devil telling Hamlet what he wanted to hear, so Hamlet would carry out his deeds.

Her clothes spread wide And mermaid-like awhile they bore her up, Which time she chanted snatches of old lauds As one incapable of her own distress, Or like a creature native and endued Unto that element. But long it could not be Till that her garments, heavy with their drink, Pulled the poor wretch from her melodious lay To muddy death.

Hamlet -The queen Context: Ophelia has gone crazy following her father's death. Later as Claudius and Laertes are talking about Hamlet and Polonius, Gertrude gives her account of Ophelia's suicide to Laertes (her brother, also the son of Polonius), the King, and others in the room. Analysis: This is significant because Laertes has already resolved to seek revenge on Hamlet for his father's (Polonius) death; but now Hamlet is also in some ways responsible for his sister's death, too. Also because of the manner in which Ophelia died, where she neither committed suicide nor tried to save her life, there is a question of how to handle her death.

I'll cross it though it blast me. —Stay, illusion! It spreads his arms. If thou hast any sound or use of voice, Speak to me! If there be any good thing to be done That may to thee do ease and grace to me, Speak to me! If thou art privy to thy country's fate Which happily foreknowing may avoid, Oh, speak! Or if thou hast up hoarded in thy life Extorted treasure in the womb of earth, For which they say your spirits oft walk in death, Speak of it. The cock crows. Stay and speak! Stop it, Marcellus!

Hamlet Horatio Context: The watchmen are all standing outside the castle, just talking and doing their job when a ghost appears. Horatio is speaking to the ghost and tries to get the ghost to speak to it. Analysis: This represents how there is no stable understanding of what the ghost could be; the belief of what the ghost is or needs is constantly being questioned. It questions if the living can help the dead and is the ghost a symbol of Denmark falling.

"The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty! Make thick my blood, Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose nor keep peace between Th'effect and it. Come to my woman's breasts And take my milk for gall, you murd'ring ministers, Wherever in your sightless substances You wait on nature's mischief."

Macbeth -Lady Macbeth, calling evil spirits -'unsex' me; implying no more female characteristics and male strength -prepares herself to make him 'sick', in order to push his ambition further -asks them to take her milk; idea of milk = kindness -Raven: a harbinger of death- foretells Duncan's death -Croak: further emphasizes death -"Spirits"- alludes to the witch spirits, which is a theme of supernatural forces -Use of heart: often connected with emotions, especially love -By blocking the passage, she is ridding of emotions -Makes her capable of killing without feeling guilt -Foreshadowing:important turning point of the story as there is no peace for any characters (except the witches) after Macbeth decides to kill Duncan. -Dark imagery -Important to note: lady Macbeth does not want the gods stopping her from what she is doing but a deeper meaning to this is that she doesn't want her conscience to come to know what she is doing and tell her to stop

"The night has been unruly. Where we lay ,Our chimneys were blown down and, as they say, Lamentings heard i'th' air, strange screams of death, And prophesying with accents terrible Of dire combustion and confused events, New hatched to th' woeful time. The obscure bird Clamored the livelong night. Some say the earth Was feverous and did shake." "Twas a rough night"

Macbeth -Lennox explaining the tumultuous weather to Macbeth -relating weather to killing of the king -the unnatural order of politics has disrupted the entire world -Example of pathetic fallacy: Lennox does not yet know that Duncan is murdered, but he received plenty of eerie premonitions during the evening. Shakespeare is demonstrating the power of evil and promoting one of the key themes of the play: superstition. -Possibly caused by the witches -Bird of darkness: the owl -Metaphor of night: represents that the evil and disruption will never end now that duncan is dead -It is as if Duncan was the good (light) in the world -parallel between Duncan's death and the crucifixion of Jesus in the bible, where the earth shakes at his death

"Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain? I see thee yet in form as palpable As this which now I draw."

Macbeth -Macbeth -sees a dagger floating in front of him -questions if it is really there or in his mind -is it meant to push him forward, or what he wants to see? -He hallucinates the dagger : seen as the work as demons by the audience -Theme of the unnatural -First hallucination of the play: motif that is seen throughout -Double meaning of instrument: 1-Dagger as the instrument 2-Macbeth as the instrument to kill -Personification of his eyes: he is unable to see properly as he is not thinking straight, his view is clouded by his fatal flaw ambition

"The Prince of Cumberland! That is a step On which I must fall down or else o'erleap, For in my way it lies. Stars, hide your fires, Let not light see my black and deep desires; The eye wink at the hand; yet let that be Which the eye fears, when it is done, to see." "True, worthy Banquo, he is full so valiant, And in his commendations I am fed; It is a banquet to me. Let's after him, Whose care is gone before to bid us welcome. It is a peerless kinsman."

Macbeth -Macbeth (in an aside) and the king -idea that a person can ignore their own actions -demonstrates Macbeth's pattern of avoiding acknowledging his own actions

"If it were done when 'tis done, then 'twere well It were done quickly. If th'assassination Could trammel up the consequence and catch With his sucease success-that all this blow Might be the be-all and the end-all!--here, But here, upon this bank and shoal of time, We'd jump the life to come. But in these cases We still have judgment here, that we but teach Bloody instructions which, being taught, return To plague th'inventor. This even-handed justice Commends th'ingredients of our poisoned chalice To our own lips. He's here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And Pity, like a naked newborn babe Striding the blast, or heaven's cherubim horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind."

Macbeth -Macbeth discussing murdering the king -wishes he could avoid all consequences; compress them all into one moment -understands that justice always comes for everyone -murdering the king wrong on multiple levels: as king, as guest, as relative -knows that this will disorder the world -Macbeth wishes that political "warfare" was more like military "warfare." -You want someone out of the way, you kill him and that's the end of it -Theme: idea of endings that are not endings -Oxymoron: A chalice is a vessel for drinking wine -renders the audience aghast as they realise the magnitude of desecrating such a sacred object -Macbeth worries that Duncan's attributes are so great that they will plead against his murder and ultimately reveal Macbeth as his murderer -Apocalyptic imagery -Presented as Machiavellin because he admits that the only reason for committing the murder is 'ambition'

"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 feared. '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. He chid the sisters When first they put the name of king upon me, And bade them speak to him; then, prophet-like, They hailed him father to a line of kings. Upon my head they placed a fruitless crown And put a barren scepter in my grip, Thence to be wrenched with an unlineal hand, No son of mine succeeding. If't be so, For Banquo's issue have I filed my mind, For them the gracious Duncan have I murdered, Put rancors in the vessel of my peace Only for them, and mine eternal jewel Given to the common enemy of man To make them kings--the seeds of Banquo kings! Rather than so, come fate into the list, And champion me to th'utterance!"

Macbeth -Macbeth discussing that he must kill Banquo's line of succession -Macbeth is king, but is not satisfied because he knows Banquo's sons will become Kings because Macbeth does not have a son that would become king after him. -Macbeth recognizes and is threatened by Banquo's noble nature -Ironic because he is now in the position Duncan was in -Characterization of Macbeth: ruthlessness: -praises Banquo's qualities but but still wants to murder him. -Possible paranoia -Allusion to Mark Antony: -References dictatorship -"Fruitless crown" also refers to the fact that Macbeth and Lady Macbeth cannot have children

"What man dare, I dare. Approach thou like the rugged Russian bear, The armed rhinoceros, or th' Hyrcan tiger! Take any shape but that, and my firm nerves Shall never tremble. Or be alive again, And dare me to the desert with thy sword. If trembling I inhabit then, protest me The baby of a girl. Hence, horrible shadow, Unreal mock'ry, hence!"

Macbeth -Macbeth speaking to Lady Macbeth about his fear of Banquo's ghost; insists he wouldn't be afraid of anything else -fear makes him a "baby girl" (gender issues again) -Lady Macbeth has had a long-lasting effect on Macbeth's mental state and self-image. He constantly feels the need to assert his dominance and express his masculinity -Him being afraid somewhat represents his regret for his actions

"This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smothered in surmise, And nothing is but what is not."

Macbeth -Macbeth's response to the witches' predictions -they have been right so far; he is now Thane of Cawdor -are they good or evil? -"nothing is but what is not" - Example of Shakespeare's technique of using contradiction and paradox to evoke the unnatural Supernatural soliciting- the sibilance can symbolize that the witches are quite sly creatures that no-one can really trust -can also link to the witches being like the devil because, in Adam and Eve, the snake was the creature to persuade them to eat the apple -Somewhat murderous tone that foreshadows -Macbeth's future actions, even giving the audience a touch of dramatic irony

" A most miraculous work in this good King. Which often since my here-remain in England I have seen him do. How he solicits heaven Himself best knows; but strangely visited people, All swoll'n an ulcerous, pitiful to the eye, The mere despair of surgery, he cures, Hanging a golden stamp about their necks, Put on with holy prayers; and, 'tis spoken, To the succeeding royalty he leaves The healing benediction."

Macbeth -Malcolm explaining the powers of the King of England -implication that a 'rightful' king can heal Scotland This links the Scottish king line to Edward the confessor who was extremely holy makes king James look good King James refused to perform the holy touch of the king witch was supposed to cure TB(tuberculosis)

"I myself have all the other, And the very ports they blow, All the quarters that they knowI'th' shipman's card. I'll drain him dry as hay. Sleep shall neither night nor day Hang upon his penthouse lid;He shall live a man forbid. Weary sennights nine times nine Shall he dwindle, peak, and pine. Though his bark cannot be lost, Yet it shall be tempest-tossed. Look what I have."

Macbeth -Witches cursing the woman's husband -power over weather and sleep -illness as brought on supernaturally -· he witches stories are similar to the type of things Puck did ·-Being annoyed with a sailors wife, so punishing the sailor -"I'll dry him dry as hay" -Sexual connotation Can take away his sleep -Causing him to dwindle - He will be turned into a ghost like frail figure subjected to the weather and deprivation of health giving qualities · This particular witch story in relation to the whole play -This play is obsessed with improver sleep -Lady Macbeth is a sleep walker -Interesting, because the witches are saying they are the ones who make this possible

"I do beseech you, Though I perchance am vicious in my guess --As, I confess, it is my nature's plague To spy into abuses and of my jealousy Shape faults that are not--that your wisdom From one that so imperfectly conceits Would take no notice, nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet, nor your good, Nor for my manhood, honesty, and wisdom To let you know my thoughts."

Othello -Iago to Othello -acknowledges that his fault is to read into situations too much, and see the evil in people -teases Othello by refusing to share his thoughts, thus making Othello more curious

"Virtue? A fig! 'Tis in ourselves that we are thus, or thus. Our bodies are our gardens, to the which our wills are gardeners, so that if we will plant nettles or sow lettuce, set hyssop and weed up thyme, supply it with one gender of herbs or distract it with many, either to have it sterile with idleness or manured with industry, why the power and corrigible authority of this lies in our wills. If the brain of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous conclusions. But we have reason to cool our raging motions, our carnal stings, or unbitted lusts--whereof I take this that you call 'love' to be a sect or scion."

Othello -Iago to Roderigo, explaining his philosophy on virtue -we use our will to control every part of our bodies -using philosophy of complete control to dismiss the honesty of real emotions -suggests all emotions are base -control is an image Iago projects; beneath the surface he is chaotic -"Our bodies are our gardens": Our bodies are an annex to our minds...and our bodies are controlled by our urges: -Shakespeare uses lago to blend genders -Also suggests that men can engage in any type of sexual instances as long as he can control his urges, despite the feminine motifs utilized -Theme of sexism Comparison of stings/unforgivable sins: it means "physical urge"; feeling of lust. It's like a thorn that stings.

"She gave me for my pains a world of kisses. She swore, 'In faith, 'twas strange, 'twas passing strange. 'Twas pitiful, wondrous pitiful. 'She wished she had not heard it, yet she wished That heaven had made her such a man. She thanked me An d bade me, if I had a friend that loved her,I should but teach him how to tell my story, And that would woo her. Upon this hint, I spake. She loved me for the dangers I had passed, And I loved her that she did pity them. This only is the witchcraft I have used. Here comes the lady. Let her witness it." "I think this tale would win my daughter too."

Othello -Othello explaining to the Duke that he did not use witchcraft to seduce Desdemona -Desdemona wishes to be a man (?) to experience the things Othello has experienced -exoticism is part of her attraction to him -reiterates her sympathy for Othello and disbelief that he could have lived through so much danger and chaos -Othello's extended soliloquies: he takes pride in his achievements but even here, he seems overly-proud -BUT it factors into his ambition that he has -Shakespeare demonstrates the mutual love: Desdemona who began loving Othello first, and Othello's love for Desdemona was a product of this -Shakespeare raises the question of witchcraft: after being made jealous, Othello tells Desdemona in Act III Scene 4 that the handkerchief-his first gift to her-was in fact enchanted by an Egyptian who gave it to his mother.

"Let him do his spite: My services which I have done the signory Shall out-tongue his complaints. 'Tis yet to know --Which, when I know that boasting is an honor,I shall promulgate --I fetch my life and being From men of royal siege, and my demerits May speak unbonneted to as proud a fortune As this that I have reached. For know, Iago, But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and confineFor the sea's worth --But look, what lights come yond?" "Those are the raised father and his friends. You were best go in" ""Not I: I must be found.My parts, my title, and my perfect soulShall manifest me rightly. Is it they?"

Othello -Othello to Iago, discussing Desdemona's father -demonstrates Othello's rationality -Dismissal of anything that Brabantio can do as spite, is tacit acknowledgement of his marriage to Desdemona. -Othello feels confident because of his duty to Venice that the leaders will value him -The Signiory was the ruling body of Venice, a council of elders, from the same latin root as "senior" and "senator" -Othello loves Desdemona however he is not willing to "confine" his roaming military life

Do themselves homage. These fellows have some sou lAnd such a one do I profess myself. For, sir,It is as sure as you are Roderigo, Were I the Moor, I would not be Iago:In following him, I follow but myself. Heaven is my judge: not I for love and duty, But seeming so for my peculiar end. For when my outward action doth demonstrate The native act and figure of my heartIn complement extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at. I am not what I am."

Othello -lago to Roderigo -Explains his own personality, and demonstrates awareness of himself -Iago serves only himself; may seem to serve Othello but is deceptive -"I am not what I am" represents demonic version of God's "I am what I am" -discourages wearing your heart on your sleeve -homage: is to have special pride or respect shown in the public -Iago is speaking about the pride that the men have. He bases this off of their coats and how they their hearts on themselves. -Cross reference to Macbeth -Daws: An old name for jackdaws, member of the crow family. A black bird could be a symbol of death

"It is too true an evil: gone she is, And what's to come of my despised timeIs naught but bitterness. Now, Roderigo, Where didst thou see her? --O unhappy girl! --With the Moor, say'st thou? --Who would be a father? --How didst thou know 'twas she? -- Oh she deceives mePast thought! --What said she to you?Raise all my kindred! --Are they married, think you?" "Truly, I think they are."

Othello -Brabantio (father to Desdemona) to Roderigo -suggests that because Desdemona lied to him, she will also lie to Othello -Moor: term used by several characters to refer to Othello. -A more is the name applied to the Arab people in Africa. Thus, Othello may be somehow connected to the Moors who remained in Spain. -Theme of deceit: We later learn of Iago's deceit, but as for Desdemona, she is faithful. -irony

"That I love the Moor to live with him My downright violence and storm of fortunes May trumpet to the world. My heart's subdued Even to the very quality of my lord.I saw Othello's visage in his mind, And to his honors and his valiant parts Did I my soul and fortunes consecrate--So that, dear lords, if I be left behind A moth of peace, and he go to the war,The rites for why I love him are bereft me, And I a heavy interim shall support By his dear absence. Let me go with him."

Othello -Desdemona to the court, explaining her love for Othello -in love with the 'entirety' of him -saw Othello's inner self; is attracted to his perception of himself -boldly asks to go to war with him -Desdemona really emphasizes her complete devotion (characterization) -Characterization of othello: She complements his status and masculinity -These are the traits that Venetian society values Othello for despite his race -Theme of supernatural elements: soul and fortune -Desdemona has no control over them -Possible foreshadowing -Moth: indicating that Desdemona will be blind and discontent should Othello leave, trying desperately to fly towards the light, that light being Othello. -Use of imperatives: show Desdemona as a strong willed character and her love for Othello -Very unusual for a woman to express her desires this way, especially in front of a court

"I hate the Moor, And it is thought abroad that twixt my sheets He's done my office. I know not if't be true,But I, for mere suspicion in that kind, Will do as if for surety. He holds me well; The better shall my purpose work on him. Cassio's a proper man--let me see now: To get his place and to plume up my will In double knavery? How? How? Let's see. After some time, to abuse Othello's ears That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so, And will as tenderly be led by th' nose As asses are. I have't It is engendered. Hell and night Must bring this monstrous birth to the world's light."

Othello -Iago convincing himself why he should hate Othello -suggests that Othello has slept with Emilia -even though it's just a rumor he will act as if it's true -lays out plan to get revenge on Othello by framing Cassio and Desdemona as lovers -aware that Othello is too trustworthy -Repetition of hate for the Moore (Aka Othello): represents Iago's racism -"He holds me well"- Othello has got Iago under his control -"Abuse Othello's ear": -Iago's method of taking existing beliefs and ideas and warping them for his own profit, Iago borrows Othello's original imagery of "feeding" Desdemona's ear with his stories. Othello won Desdemona by telling her stories, and Iago will "win" Othello by doing the same. -Animalistic imagery: denote Iago's perception of Othello's place in the hierarchy

"They do suggest at first with heavenly shows, As I do now. For whiles this honest fool Plies Desdemona to repair his fortune, And she for him pleads strongly to the Moor, I'll pour this pestilence into his ear: That she repeals him for her body's lust And, by how much she strives to do him good, She shall undo her credit with the Moor. So will I turn her virtue into pitch And our of her own goodness make the net That shall enmesh them all--"

Othello -Iago discussing how he'll infect Othello's mind -idea of pouring poison into his ear with his words (Theme of infecting one with the ear- the ear plays a prominent roll in this play) -turning Desdemona's 'virtue into pitch' reflects his idea that virtue isn't real -"Pestilence": -Shakespeare's use of the term "pestilence" relates to Iago's pastoral lexis. -the minds of Othello and Desdemona are like fertile soil. Iago's pestilence will cause the growth of the plants of destruction, causing conflict and wrongfulness as the plant grows more and more. -Shakespeare's reference to ears relates to the dichotomy of sight, and hearing, which Othello will condemn Iago for -"virtue into pitch" is metaphorical blindness: because of Desdemona's position as a woman; easily framed, submissive, highly naive, her virtues will be blinded, and unbeknownst to her, she will also be led into a trap full of lies -the net: relates to spider imagery from earlier in the play -the action of enmeshment relates to spiders, and how they enmesh their prey in their nets. -comparing Iago to a spider -the smallest and perhaps, most unassuming creatures can cause the greatest damage there could be to man

"Receive it from me, I speak not yet of proof: Look to your wife; observe her well with Cassio. Wear your eyes thus: not jealous, nor secure. I would not have your free and noble nature Out of self-bounty be abused. Look to't. I know our country disposition went well: In Venice they do let heaven see the pranks They dare not show their husbands; their best conscienceIs not to leave't undone but kept unknown."

Othello -Iago encouraged Othello to watch Desdemona with an open mind -plants the seed of suspicion -'others' Othello by saying he knows Venetian women -use of commands by Iago demonstrating the shift of power between the two - the first signs of Othello's fall from authoritative greatness

"I will in Cassio's lodging lose this napkin, And let him find it. Trifles light as air Are to the jealous confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison: Dangerous conceits are in their natures poisons Which, at the first, are scarce found to distaste But, with a little, act upon the blood, Burn like the mines of sulfur."

Othello -Iago explains his plan to use the handkerchief against Othello -understanding that his subtle suggestions are the most poisonous -Since antiquity, sulphur and its burning has been inextricably linked to hell. -Iago is consistently linked throughout his dialogue to hell or the devil, reflecting his role as chaotic evil-doer.

"That Cassio loves her, I do well believe't; That she loves him, 'tis apt and of great credit. The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature, And I dare think he'll prove to Desdemona A most dear husband. Now I do love her, too, Not out of absolute lust--though, peradventure, I stand accountant for as great a sin-- But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leaped into my seat, the thought whereof Doth like a poisonous mineral gnaw my inwards."

Othello -Iago explains that the idea of Cassio and Desdemona having an affair is reasonable, and thus can be used -he now loves Desdemona (?) for the sake of his revenge -manipulation of himself reflects philosophy of total self-control -He does credit Othello with properties: constant, loving, noble nature -Implies that his enemy would make a good husband -Iago finally reveals why he wants to seek revenge on Othello: -Iago believes that his wife, Emilia has cheated on him with Othello. -At this time a woman cheating on her husband was scandal and he was branded a 'cuckold' (ultimate insult to one's manhood)

"These Moors are changeable in their wills--fill thy purse with money! The food that to him now is as luscious as locusts shall be to him shortly as butter as coloquintida. She must change for youth: when she is sated with his body, she will find the errors of her choice. Therefore put money in thy purse! If thou wilt needs damn thyself, do it a more delicate way than drowning. Make all the money thou canst. If sanctimony and a frail vow betwixt an erring barbarian and super-subtle Venetian be not too hard for my wits and all the tribe of hell, thou shalt enjoy her. Therefore, make money. A pox of drowning thyself! It is clean out of the way! Seek thou rather to be hanged in compassing thy joy than to be drowned and go without her."

Othello -Iago to Roderigo, assuring him that Desdemona will leave Othello -women's moods are changeable -overarching message to make money; Iago plans to make money off of Roderigo -introduces assumption that Venetians are not trustworthy -Iago projects his vision of the world onto others; does not see virtues, love, etc. -good at suggesting what's plausible -Possible foreshadowing: Iago's potential plan as he's referencing that it's very possible to manipulate Othello and Moors -Characterization of lago: pushing his views and ideas that it is okay to go to any means in order to get what you want -illustrates Iago's selfish nature

"And yet, how nature erring from itself--" "Ay, there's the point! As, to be bold with you, Not to affect many proposed matches Of her own clime, complexion, and degree, Whereto we see in all things nature tends. Faugh! One may smell in such a will most rank, Foul disproportions, thoughts unnatural."

Othello -Othello and Iago -Iago continues suggesting that Othello doesn't know Venetian women -Key line in the play: -it represents the moment where Othello has fully internalized the racism society holds against him -Othello's thoughts now align exactly with Brabantio's -he believes the love is unnatural, it must be, due to his race (as Brabantio does) -the change in Iago's speech here compared to the beginning of the scene: -Othello has internalized the social stigma against his and Desdemona's relationship -Iago recognizes his plan is working -Iago's speech becomes dominant -Iago continues to play into Othello's insecurity over his race -Iago says that usually people will choose people with the same rank, social status and race. He questions why Desdemona chose you over anyone else.

"Lie" "With her?" "With her, on her, what you will." "Lie with her? Lie on her? We say 'lie on her' when they belie her. Lie with her? That's fulsome! Handkerchief! Confessions! Handkerchief! To confess and be hanged for his labor. First to be hanged and then to confess. I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shakes me thus--pish! Noses, ears, and lips! Is't possible? Confess? Handkerchief? Oh, devil!

Othello -Othello and Iago -Othello reacting to Iago's 'proof' of Desdemona's adultery -shorter sentences demonstrate increasing panic; loss of control -immediately before his 'trance' -Repetition of lie: shows the audience an imagery of Cassio lying with Desdemona which makes Othello jealous of Cassio -Symbolism of handkerchief: it is a present given to Desdemona from Othello which shows their love for each other but Iago stolen it and plants it in Cassio's room as evidence which is going to make Othello mad and jealous of Cassio -Also: leads to Othello not believing and having faith for Desdemona even though she is the innocent one.

"Let her have your voice. Vouch with me, heaven, I therefore beg it not To please the palate of my appetite, Nor to comply with heat the young affects In my defunct and proper satisfaction, But to be free and bounteous to her mind. And heaven defend your good souls that you think I will your serious and great business scant When she is with me. No, when light-winged toys Of feathered Cupid seal with wanton dullness My speculative and officed instrument That my disports corrupt and taint my business, Let housewives make a skillet of my helm, And all indign and base adversities Make head against my estimation."

Othello -Othello defending why Desdemona should come to war with him -assures the Duke that her presence will not distract him -suggests that because he's older he's not sexually hungry; wants her there for her mind -He wants her there because she wants to be there. He wants to enrich her experience -Characterization of Othello: demonstrates his professionalism and ability to stay in control

"Would Desdemona seriously incline; But still the house affairs would draw her hence, Which ever as she could with haste dispatch, She'd come again, and with a greedy ear Devour up my discourse. Which I, observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilateWhereof by parcels she had something heard But not instinctively. I did consent, And often did beguile her of her tears When I did speak of some distressful stroke That my youth suffered."

Othello -Othello discussing his stories to Desdemona, and how she would listen -sense of spiritual, religious connection through religious rhetoric -she was enthralled by ear; perhaps she too, was entranced under his spell -Underlying sense of innocence: no seduction or witchcraft or sexual passion - the love beginning to blossom is simply a product of Othello's stories, and Desdemona's eagerness to listen to them. -Critics have often remarked how the real tragedy of Othello and Desdemona is the destruction of a relationship in which both partners held mutual respect for one another-a common annotation being how Othello calls Desdemona his "fair warrior -Double meaning of consent: sexual innuendo and his consent to allowing her to know about his past

"No, indeed, my lord." "That's a fault. That handkerchief Did an Egyptian to my mother give: She was a charmer, and could almost read The thoughts of people. She told her, while she kept it, 'Twould make her amiable, and subdue my father Entirely to her love; but if she lost it, Or made a gift of it, my father's eye Should hold her loathed, and his spirits should hunt After new fancies. She, dying, gave it me,And bid me, when my fate would have me wived, To give it her. I did so, and take heed on't; Make it a darling like your precious eye; To lose't or give't away were such perdition As nothing else could match." "Is't possible?" "'Tis true. There's magic in the web of it. A sibyl, that had numbered in the world The sun to course two hundred compasses, In her prophetic fury sewed the work; The worms were hallowed that did breed the silk; And it was dyed in mummy, which the skillful Conserved of maidens' hearts."

Othello -Othello explains the importance of the handkerchief to Desdemona -emphasizes its power; suggests that their love isn't natural, but is caused by the handkerchief -dyed by virgin mummies; emphasizes importance of virginity -"Egyptian to my mother give": -Raises the idea of fate & superstition and some sort of self fulfilling prophecy -During the time, if a woman keeps the handkerchief, she will still be in love with her husband. -Foreshadowing the end of the play -There's magic in the web: -Supernatural forces and again the motif of spiders

"It gives me wonder great as my content To see you here before me. O my soul's joy! If after ever tempest come such calms, May the winds blow till they have wakened death, And let the laboring bark climb hills of seas Olympus-high, and duck again as low As hell's from heaven. If it were now to die, 'Twere now to be most happy--for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate." "The heavens forbid But that our loves and comforts should increase Even as our days do grow."

Othello -Othello to Desdemona -moment of reunion in Cyprus after Othello returns from war with the Turks -foreshadows death -Othello focused on the current moment; Desdemona focuses on future happiness -"Olympus high": elevates their love to the level of the Gods -naive lovers in the honeymoon phase believe it transcends all other forces and is invincible -ironic given the descent of their relationship as their love is corrupted by Iago -Theme of seas and the correlation it has with love throughout the play -Desdemona: name comes from a Greek word meaning ill-starred -She naively believes that their love will only increase with age -unrealistic expectation contrasts to Emilia's cynical viewpoint later on

"Her father loved me, oft invited me, Still questioned me the story of my life From year to year: the battles, sieges, fortune,That I have passed. I ran it through, even from my boyish days To th' very moment that he bade me tell it, Wherein I spoke of most disastrous chances; Of moving accidents by flood and field; Of hearbreadth scapes i'th' imminent deadly breach; Of being taken by the insolent foe And sold into slavery; of my redemption thence, And portance in my traveler's history; Wherein of antres vast and deserts idle, Rough quarries, rocks, hills whose head touch heaven, It was my hint to speak--such was my process--And of the cannibals that each other eat--The Anthropophagi--and men whose heads Grew beneath their shoulders."

Othello -discussing how Desdemona's father loved him; tells his story -Othello was a prisoner of war; sold into slavery -mentions 'redemption' = religious conversion -exoticizes his own homeland -monsters represented as far away, as opposed to local monsters (Iago) -Highlighting his battle scars and his honourable past. This is done in an attempt to win around his audience. -"boyish days"- sense of nostalgia also creates a sense of sympathy -Anthropophagi: A mythical race of cannibals described first by Herodotus -Incorporation of body parts, as seen in several other Shakespeare plays as a means of hierarchy

I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature; and my trust, Like a good parent, did beget of him A falsehood in its contrary as greatAs my trust was, which had indeed no limit, A confidence sans bound.

Tempest Prospero Context: Miranda sees the shipwreck, and Prospero finally decides to explain to her who those people are, why they're on the island, and how they ended up on the island. Analysis: Prospero suggests that his own inaction awakened Antonio's evil nature, suggesting both internal and environmental elements contribute to a person's character. This quote frames a larger question in terms of the play at large, did Antonio develop his evil ways or were they innate? He does take some responsibility like a good, Christian prince. There is a question of ruling in place.

Silence! One word more Shall make me chide thee, if not hate thee. What, An advocate for an imposter? Hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban. Foolish wench, To th' most of men this is a Caliban, And they to him are angels.

Tempest Prospero Context: Ariel has lead Ferdinand to Miranda, and when their eyes meet it is love at first sight. Miranda declares how handsome Ferdinand is and this is Prospero's response. Analysis: This is an example of reverse psychology because Prospero is telling Miranda can't love Ferdinand, but really them falling in love is all part of his plan. Much of the plot, conflict, and resolution is driven by the desires and hopes of fathers. Prospero has an obsession with Miranda's virginity; recognize the stereotypical response of the father to the daughter's relationship.

Whe'er thou beest he or no, Or some enchanted trifle to abuse me—As late I have been—I not know. Thy pulse Beats as of flesh and blood; and since I saw thee, Th'affliction of my mind amends, with which,I fear, a madness held me. This must crave—An if this be at all—a most strange story. Thy dukedom I resign and do entreat Thou pardon me my wrongs. But how should Prospero Be living, and be here?

Tempest Alonso Context: At the end, Prospero has just revealed himself to the shipwrecked characters, and tells them who he is. When they find out, this is Alonso response. Analysis: This is an awe-struck response and Alonso restores Prospero's power. Alonso seems to be the proper audience for Prospero all along; he is exactly what Prospero's plan needed. Why is Antonio not struck the way Alonso is? This answer could lie in the fact that they are both fathers. They are more sensible and able to connect emotionally. This connects again to the importance of the bonds of fatherhood in this play,

Be not afeard: the isle is full of noises, Sounds and sweet airs that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometimes voices, That, if I then had waked after long sleep, Will make me sleep again; and then, in dreaming, The clouds methought would open and show riched Ready to drop upon me, that when I wakedI cried to dream again.

Tempest Caliban Context: Caliban, Trinculo, and Stefano have plotted to kill Prospero, and as they set off to find/murder him, Ariel begins to sing a song. Trinculo and Stefano are frightened and this is what Caliban says to them. Analysis: He's saying that there is something soothing to him about the music on the island. Suggesting he lives in harmony with these noises. The sleep that is induced produces a desire for more and recognition that he does not have what he wants. These dreams are what gives him the desire to rebel. He understands that there is a way that the power of the island is about both subduing and liberating him; the music produces something more in him.

This island's mine by Sycorax my mother, Which thou tak'st from me. When thou cam'st first Thou strok'st me and made much of me; wouldst give me Water with berries in't, and teach me how To name the bigger light and how the less That burn by day and night. And then I loved thee And showed thee all the qualities o'th' isle: The fresh springs, brine-pits, barren place and fertile. Cursèd be I that did so! All the charm Of Sycorax—toads, beetles, bats—light on you! For I am all the subjects that you have, Which first was mine own king; and here you sty me In this hard rock whiles you do keep from me The rest o'th' island.

Tempest Caliban Context: Miranda and Prospero go to Caliban, and immediately begin to chastise him, Caliban works to defend himself. Analysis: Caliban suggests that there was equal ground between them. Suggests the early relationship between the natives and settlers was good, but the narrative shifts and shows that the settlers became aggressive; much like the English and the Native Americans.

My spirits, as in a dream, are all bound up. My father's loss, the weakness which I feel, The wreck of all my friends, nor this man's threats To whom I am subdued, are but light to me, Might I but through my prison once a day Behold this maid. All corners else o'th' earth Let liberty make use of; space enough Have I in such a prison.

Tempest Ferdinand Context: Ferdinand is grieving the loss of his father, and Ariel leads him to Miranda, and he instantly loves her. Analysis: He's suggesting that a son can more easily move through their grief because it is natural to lose a parent first, but it is harder for a parent to lose a child because it is unnatural; this shows the father-son bond. Interestingly, though he says that if he could just see Miranda, everything would be okay; suggesting a moving forward. This shows the idea of the younger generation needing the older generation to yield to them for them to move on; much like Shakespeare saying goodbye to playwriting.

I'th' commonwealth I would by contraries Execute all things. For no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation, all men idle, all; And women too, but innocent and pure;No sovereignty—

Tempest Gonzalo Context: As the characters have washed up from the Shipwreck, Gonzalo sees the island differently than the others, and Gonzalo begins to tells them what he would do if he were king of this island. Analysis: Gonzalo is imagining a world of equal sharing among all, without sovereignty so no one is in charge. Everybody would have everything in common. He's suggesting that without civilization, cultivation, and property is when people are innocent; he undermines his own plan that he would be sovereign of this place. The perspective that if the English did not settle over the natives, that the natives would stay innocent. Beginning of the colonials perspective of property through the idea of taking over abundant land.

These our actors, As I foretold you, were all spirits and Are melted into air, into thin air; And like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.

Tempest Prospero Context: As Prospero is showing the young couple some of his "art," he quickly changes mindset remembering that Caliban is wanting to kill him. This is Prospero's reply to Ferdinand and Miranda's confusion about his distraction. Analysis: Prospero is a reflection of Shakespeare saying goodbye to the theater, "great globe." There is a recognition that you have to move on with life. Also, there is a melancholy reflection on life; what you achieve in the material world does not last and is insubstantial. Miranda leaving is a reflection of his coming life; he is having to learn to yield to next generation.

Know thus far forth: By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescienceI find my zenith doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will ever after droop. Here cease more questions.

Tempest Prospero Context: Miranda sees the shipwreck, and Prospero finally decides to explain to who those people are, why they're on the island, and how they ended up on the island. Analysis: He's saying that fortune has brought these people here; that it is like a happy accident. He's describing magic as cooperation of time, opportunity, fortune, knowledge; there is an idea presented of natural magic and Prospero's magic, and how they interact.

Here lies your brother, No better than the earth he lies upon If he were that which now he's like—that's dead—Whom I with this obedient steel, three inches of it, Can lay to bed forever; whiles you, doing thus, To the perpetual wink for aye might put This ancient morsel, this Sir Prudence, who Should not upbraid our course.

Tempest Antonio Context: Ariel plays a song and everyone, but Alonso, Antonio, and Sebastian, are lulled to sleep. Antonio and Sebastian tell the King that he can sleep, they'll watch over him; they then discuss how Alonso is the only one standing between them and the throne. Analysis: Here, Antonio is discussing how easy it would be to kill someone while they're sleeping; Prospero somehow created this as an experiment to see if Antonio will be inclined to do this if he's evil enough. Prospero wants Antonio to feel remorse for what he did to his brother, but Antonio does not do this; rather he acts very narcissistically. This shows how Prospero's power is limited because he cannot change people internally. This also shows the lack of loyalty of Antonio, and how he foils Alonso and Prospero by valuing the kingdom over his family.

But remember— For that's my business to you—that you three From Milan did supplant good Prospero; Exposed unto the sea, which hath requit it, Him and his innocent child; for which foul deed The powers, delaying not forgetting, have Incensed the seas and shores—yea, all the creatures—Against your peace. Thee of thy son, Alonso, They have bereft; and do pronounce by me Ling'ring perdition—worse than any death

Tempest Ariel Context: Prospero makes Ariel present a feast to the shipwrecked characters, and they reluctantly decide to eat. Before they eat it, Ariel appears as a scary spirit and takes the food away and reminds them of what they did to Prospero. Analysis: Here, Ariel is responding in an eye for an eye sense that is natural for him because he is nature and is what caused them to wreck for exiling Prospero years ago. He is also telling them that nature is attacking them for what they did. The ending seems particularly merciless because he continues telling Alonso his soo is dead, and it makes Prospero seem as though he wants his enemies to suffer before he forgives them. This is interesting because it suggests that the only reason he changes his mind in the end is because of Ariel's persuasion.

Where should this music be? I'th' air or th'earth? It sounds no more; and sure it waits upon Some god o'th' island. Sitting on a bank, Weeping again the King my father's wreck, This music crept by me upon the waters, Allaying both their fury and my passion With its sweet air. Thence I have followed it, Or it hath drawn me rather; but 'tis gone. No, it begins again.

Tempest Ferdinand Context: Ferdinand enters and Ariel, who is invisible, sings a song so beautiful that he forgets to mourn his father. Analysis: Art, music, and poetry has a transformational power; it provides a means for people to understand grief, ease pain, and move emotionally. The music is alleviating some of the pain of the loss of his father from his body.

Sir, she is mortal; But by immortal Providence she's mine. I chose her when I could not ask my father For his advice, nor thought I had one. SheIs daughter to this famous Duke of Milan Of whom so often I have heard renownBut never saw before—of whom I have Received a second life; and second father This lady makes him to me. I am hers.But oh, how oddly will it sound that I Must ask my child forgiveness! There, sir, stop. Let us not burden our remembrances with A heaviness that's gone.

Tempest Ferdinand, Alonso, and Prospero Context: at the end of the play, Prospero reveals that Ferdinand is alive to Alonso, and they are overjoyed. Ferdinand tells him that he and Miranda are getting married, and this is their conversation. Analysis: Two mourning fathers are transformed into a moment where they feel like they have gained a child. Miraculously transforms Alonso and gives them a future. Alonso is seeking Miranda's forgiveness, for what has occurred and for casting her into the sea with her father. Prospero is staging a loss for Alonso to make him see what he and his daughter had to endure. Prospero giving up his magic is him yielding to the younger generation because the only thing that can generate life is new relationships not his magic. This moment shows how tight the father-child bonds are in this story.

Beseech you, sir, be merry. You have cause So have we all—of joy; for our escapeIs much beyond our loss. Our hint of woeIs common: every day some sailor's wife, The masters of some merchant, and the merchant Have just our theme of woe. But for the miracle—I mean our preservation—few in millions Can speak like us. Then wisely, good sir, weigh Our sorrow with our comfort.

Tempest Gonzalo Context: Alonso, King of Naples, has washed up on shore with Antonio, Sebastian, Gonzalo, and attendant lords. Gonzalo tries to comfort them by saying this. Analysis: Gonzalo tells everyone that they can balance their sorrow with comfort—at least they've survived the terrible shipwreck. He's saying sure we lost a lot of people, but at least we're alive; this is the risk you take when you go on this type of trip. Alonso, however, is filled with both sorrow and regret. This is one of the many examples of Gonzalo's optimistic personality.

By my so potent art. But this rough magicI here abjure; and when I have required Some heavenly music—which even now I do To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book.

Tempest Prospero Context: Ariel has just gone to fetch the shipwrecked characters and Prospero begins talking to himself about the situation. Analysis: He uses the same language as Alonso, "Bury" and "drown"; idea of wanting to further along the language and echoes Alonso despair. This moment confirms Prospero's limitations because he is old and at the end of his life; it's important because this is the moment he begins to yield to the next generation by giving up his magic.

This blue-eyed hag was hither brought with child And here was left by th' sailors. Thou, my slave, As thou report'st thyself, was then her servant; And for thou wast a spirit too delicate To act her earthy and abhorred commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers, And in her most unmitigable rage, Into a cloven pine; within which rift Imprisoned thou didst painfully remainA dozen years, within which space she died And left thee there, where thou didst vent thy groans As fast as millwheels strike.

Tempest Prospero Context: Even after Ariel has caused the tempest and the shipwreck, Prospero still demands more from him and Ariel pushes back against this; this is what Prospero says back in defense. Analysis: Feels compelled to compare his sovereignty to Sycorax's sovereignty, and suggests that whatever Ariel was asked to do before, is not what he is asking him to do. He's suggesting that things are now much better with him and is commanding an airy spirit through Ariel. Ariel in a cynical way functions as religious belief, through the way he stages spectacles and leaves the audience in awe. He shows that he is worth being believed in. Ariel also functions as a spy, and Prospero's conscious. He keeps Prospero in check on evil.

Being once perfected how to grant suits, How to deny them, who t'advance, and who To trash for overtopping, new created The creatures that were mine, I say, or changed 'em, Or else new formed 'em; having both the key Of officer and office, set all hearts i'th' state To what tune pleased his ear, that now he was The ivy which had hid my princely trunk And sucked my verdure out on't. Thou attend'st not.

Tempest Prospero Context: Miranda sees the shipwreck, and Prospero finally decides to explain to who those people are, why they're on the island, and how they ended up on the island. Analysis: Antonio has newly created his subjects or changed them somehow or altered them. He sees Antonio as a parasite and is not taking responsibility for yielding his government.

My brother and thy uncle, called Antonio I pray thee mark me, that a brother should Be so perfidious!—he whom next thyself Of all the world I loved, and to him put The manage of my state, as at that time Through all the signories it was the first And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel. Those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies.

Tempest Prospero Context: Miranda sees the shipwreck, and Prospero finally decides to explain to who those people are, why they're on the island, and how they ended up on the island. Analysis: Here, Prospero is explaining his bad relationship with his Brother, and that he yielded the government to his brother because he spent so much time in his study learning about magic.

Thou didst prevent me; I had peopled else This isle with Calibans Abhorrèd slave,Which any print of goodness wilt not take, Being capable of all ill. I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other. When thou didst not, savage, Know thine own meaning but wouldst gabble like A thing most brutish, I endowed thy purposes With words that made them known. But thy vile race, Though thou didst learn, had that in't which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who hadst deserved more than a prison. You taught me language, and my profit on't Is I know how to curse. The red plague rid you For learning me your language! Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt best, To answer other business. Shrugg'st thou, malice?

Tempest Speakers: Caliban, Miranda, and Prospero Context: Miranda and Prospero go to Caliban, and immediately begin to chastise him, Caliban works to defend himself. Analysis: Here, we learn how Caliban was the only inhabitant of the island at one time and the relationship between Caliban and Prospero. Miranda is insisting that she gave him meaning through her knowledge of language. Insistence that since he did not abide by their rules, then he does not receive her moral education or knowledge; suggesting that there is something stubbornly evil in him. There is an English idea that if people did not farm and cultivate the land, then the land was not owned by the natives and the English could own it and settle on it. Here, you can see the parent-child relationship between Prospero and Caliban, and how it was severed by the accused rape of Miranda by Caliban.

Yond same cloud cannot choose but fall by pailfuls. What have we here? A man or a fish? Dead or alive? A fish: he smells like a fish; a very ancient and fishlike smell; a kind of not-of-the-newest poor-john. A strange fish. Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver. There would this monster make a man; any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian.

Tempest Trinculo Context: Trinculo wanders alone from the shipwrecked group in hopes of finding shelter in case there is another storm; then he sees Caliban and says this. Analysis: His quote anticipates the power relation between the English and the Native Americans. The reference to the "dead indian," the English brought over diseases and killed Native Americans without care; he's suggesting that's the English people enjoy treating people this way.

"The devil a puritan that he is, or anything constantly bu a time-pleaser, an affectioned ass that cons state without book and utters it by great swaths. The best persuaded of himself--so crammed, as he thinks, with excellencies--that it is his grounds of faith that all that look on him love him. And on that vice in him will my revenge find notable cause to work."

Twelfth Night -Maria, waiting-woman to Olivia -Discussing Malvolio with Sir Toby -establishes household dislike of Malvolio -rebukes of Puritanism

"There is no woman's sides Can bide the beating of so strong a passion As love doth give my heart. No woman's heart So big, to hold so much. They lack retention. Alas, their love may be called appetite, No motion of the liver, but the palate,That suffer surfeit, cloyment, and revolt. But mine is all as hungry as the seaAnd can digest as much. Make no compare Between that love a woman can bear me And that I owe Olivia."

Twelfth Night -Orsino to Viola/Cesario -insists that women cannot love as strongly as men, and certainly not as strongly as he loves Olivia-women love as appetite; easily fed and satisfied, but maybe hungry later-followed by Viola/Cesario's story of his sister

"Make me a willow cabin at your gate And call upon my soul within the house; Write loyal cantons of contemned love And sing them loud even in the dead of night; Halloo your name to the reverberate hills And make the babbling gossip of the air Cry out, "Olivia!" Oh, you should not rest Between the elements of air and earth But you should pity me."

Twelfth Night -Viola/Cesario tells Olivia what she would do if she loved Olivia the way Orsino does -Viola/Cesario suggests making Olivia's name echo through the hills; their names are echoes of each other, so Viola is imagining her name as well, if Orsino loved her -Cesario's expression of genuine emotions of sadness and mourning (mirroring Olivia) causes Olivia to fall in love -A willow is oftentimes a symbol for unhappy love. -Emphasis of pity and the element of pity love in this play

"A virtuous maid, the daughter of a count That died some twelvemonth since, then leaving her In the protection of his son, her brother, Who shortly also died. For whose dear love,They say, she hath abjured the sight And company of men." "Oh, that I served that lady, And might not be delivered to the world Till I had made mine own occasion mellow What my estate is."

Twelfth Night, 1.2 -the Captain telling Viola about Olivia, and Viola's response -theme of 'estate', used ambiguously to mean economic status or to know oneself -Viola expresses desire to be like Olivia and abjure society -highlight the difference between Olivia and Viola regarding their reactions to the loss of their brothers -Olivia is clearly distraught, having sworn off the sight of men, whereas Viola fleetingly mentions her brother's possible death only twice in this scene

"Come on, poor babe: Some powerful spirit instruct the kites and ravens To be thy nurses! Wolves and bears, they say Casting their savageness aside have done Like offices of pity."

Winter's Tale -Antigonus -Bear scene -He invokes the bear -Bear can be interpreted as a maternal force that is there to protect Perdita -Representation of mother -Saying some young girl not impregnated and couldn't tend to her child. So, she just left her there -However, this is not actually the mothers doing, it is the fathers

"Thou metest with things dying, and I with things new born"

Winter's Tale -Shepherd -When the shepherd comes across the two bodies, including Perdida's -Shakespeare lifts this quote of the genre and puts it in the mouth of the shepherd -Indicates that tragedy is about death and comedy is about the rebirth -Interesting to see this because these two are mingled for tragicomedies

"Here's the midwife's name to't, one Mistress Tale-porter, and five or six honest wives that were present."

Winter's Tale -Autolycus -Audience sees how Autolycus is profiting from the stories -Similar to puck because he is a trickster and a fraud -Him taking tales and selling them -Play suggesting that Autolycus would be a character in a romance during this time -Also suggests how the events in this play are not simply just cause and effect

"Pray you, sit by us, And tell's a tale." "Merry or sad sahll't be?" :As merry as you will." "A sad tale's best for winterL I have one of sprites and goblins" "Let's have that, good sir, Come on, sit down: cone on, and do your best To fright me with your sprites, you're powerful at it." "There was a man--" "Nay, come, sit down; then on." "Dwelt by a churchyard: I will tell it softly; Youd crickets shall not hear it." "And give't me in mine ear."

Winter's Tale -Hermione and Mamillius -Hermione asks Mamillius to tell a tale -A moment in which the boy tells his mom a tale that his maid told him -Important in regard to the theme of relationships between women in the play

"By this we gather You have tripp'd since." "O my most sacred lady! Temptations have since then been born to's; for In those unfledged days was my wife a girl; Your precious self had then not cross'd the eyes Of my young play-fellow"

Winter's Tale -Hermione and Polixenes

"Of this make no conclusion, lest you say Your queen and I are devils. Yet go on. Th' offenses we have made you do we'll answer --If you first sinned with us, and that with us You did continue fault, and that you slipped not With any but with us."

Winter's Tale -Hermione teasing Polixenes about his accusation of women corrupting men -Brings about the theme that the world was better before women -Implies that women are what brought about sin to men -Very prominent in this play

"Alack, for lesser knowledge! How accursed In being so blest! There may be in the cup A spider steeped, and one may drink, depart, And yet partake no venom, for his knowledgeIs not infected. But if one present Th'abhorred ingredient to his eye, make known How he hath drunk, he cracks his gorge, his sides With violent hefts. I have drunk and seen the spider."

Winter's Tale -Leontes -He believes that it would be better to not know of his wife's infidelity -poison is only deadly when it's known -metaphor about marital infidelity: -if someone drinks from a cup that has a spider in the bottom and doesn't know it, they'll be fine, because there's no actual danger there -If they do know it is there: they'll be disgusted, to the point that they may vomit -Leontes says he has drunk and seen the spider, referring to his discovery of his wife's affair -A large part of Leontes wishes he could just go back to blissful ignorance, recalling the idyllic childhood referred to my Polixenes in 1.2.

"Is whispering nothing? Is leaning cheek to cheek? Is meeting noses? Kissing with inside lip? Stopping the career Of laughter with a sigh--a note infallible Of breaking honesty? Horsing foot on foot? Skulking in corners? Wishing clocks more swift? Hours minutes? Noon midnight? And all eyes Blind with the pin and web but theirs, theirs only, That would unseen be wicked? Is this nothing? Why, then, the world and all that's in't is nothing,The covering sky is nothing, Bohemia is nothing, My wife is nothing, nor nothing have these nothings If this be nothing."

Winter's Tale -Leontes -He is listing the suspicious acts he's seen Hermione and Polixenes do -riling himself up -He sees gestures, looks, brief touches -Already seeing the breakdown of his language -Whatever move Hermione makes is evidence she has been unfaithful to him -Visual signs turn into non-visual signs -Shakespeare interested in how the mind can turn something that does not exist into something -Sign of pathology -He has already assumed her betrayal, so what he sees cannot be nothing -Repetition of nothing: should remind us of much ado about nothing -Female genitalia is embedded

"Too hot, too hot. To mingle friendship far is mingling bloods. I have tremor cordis on me; my heart dances, But not for joy, not joy. This entertainment May a free face put on, derive a liberty From heartiness, from bounty, fertile bosom, And well become the agent--'t may, I grant--But to be paddling palms and pinching fingers,As now they are, and making practiced smilesAs in a looking glass; and then to sigh, as 'twereThe mort o'th' deer--oh, that is entertainmentMy bosom likes not, nor my brows. --Mamillius, Art thou my boy?"

Winter's Tale -Leontes speech -suspicious of Hermione and Polixenes -questions if Mamillius is his son -Recognition even he is losing it; that this is because of Hermione's kindness and hospitality -Claims his senses are what assert his feelings -Similar to Macbeth: something is wrong here because my body is acting this way -But differenct because his physical responses are not correct -Highlights his jealousy -The touching of palms -Suggests that Shakespeare puts other clues in the play to point to where Leontes anxiety comes from -Certain kind of stages in human life

"There have been, Or I am much deceived, cuckolds ere now, And many a man there is, even at this present, Now, while I speak this, holds his wife by th'arm, That little thinks she has been sluiced in's absence, And his pond fished by his next neighbor, by Sir Smile, his neighbor. Nay, there's comfort in't Whiles other men have gates and those gates opened, As mine, against their will. Should all despair That have revolted wives, the tenth of mankind Would hang themselves. Physic for't there's none. It is a bawdy planet that will strike Where 'tis predominant; and 'tis powerful, think it, From east, west, north, and south; be it concluded, No barricado for a belly. Know't,It will let in and out the enemy With bag and baggage. Many thousand on's Have the disease and feel't not."

Winter's Tale -Leontes' -His logic that many women are unfaithful -it's better not to know of her unfaithfulness than to know -He longs for a world where there is a world with close connections, however he feels like this has been broken because of his wife -Because they have all shared the same women, making them pond brothers -"It's just a big oh world of people being cheated on, specifically men -Sense of women just as body part -Calling a woman a pond -Open and closing of gates -Extending his paranoia -There's no way to hide the belly or keep those gates closed -Him seeing the world as merely a place where people sleep with his wife -Seeing a critique of prescientific habits of mind -What do we see as evidence and what we don't -Leontes is constantly assuming that his own emotional responses are his evidence

"Thou, traitor, hast set on thy wife to this. My child? Away with't! Even thou that hast A heart so tender o'er it, take it hence And see it instantly consumed with fire. Even thou and none but thou. Take it up straight. Within this hour bring me word 'tis done, And by good testimony, or I'll seize thy life With what thou else call'st thine. If thou refuse, And wilt encounter with my wrath, say so. The bastard brains with these my proper hands Shall I dash out. Go, take it to the fire, For thou sett'st on thy wife."

Winter's Tale -Leontes, ordering the death of Perdita -says he would kill the child himself (mirrors Lady Macbeth) -Leontes jealousy has also led him to the conclusion that his new born daughter is a bastard and not his child -So, he has convinced his servants to take the child and kill her -Leontes does not succeed in his command, but it isn't from his lack of trying -Perdita has been set out to die due to exposure from her father -Even though she doesn't die, the audience is left with the idea that Leontes jealousy and conclusion has left two people dead (making the first half of a tragedy )

"To say this boy were like me. Come, sir page, Look on me with your welkin eye. Sweet villain, Most dear'st, my collop. Can thy dam--? May't be?--Affection, thy intention stabs the center; Thou dost make possible things not so held, Communicat'st with dreams--how can this be?--With what's unreal thou coactive art, And fellow'st nothing. Then 'tis very credent Thou mayst cojoin with something, and thou dost, And that beyond commission, and I find it, And that to the infection of my brains And hard'ning of my brows."

Winter's Tale -Leontes, questioning Mamlillius's parentage -Leontes logic: our affection and emotions are capable of communicating with our dreams and creating something from that -His assertion: if we can generate something out of nothing, the what happens when there is actually something there? -"All the more reason I am responding this way, I am coactive with something."

"Then have you lost a sight, which was to be seen, cannot be spoken of" It "lames report to follow it/ And undoes description to do it" "If all the world, could have seen't" then "the woe had been universal" "Who would be thence that has the benefit of access? Every wink of an eye some new grace will be born. Our absences makes us unthrifty to our knowledge."

Winter's Tale -Messenger talking about a scene that we don't get to see -Endless lamenting of "man you should have seen this" -Doing this because he wants to shift the point of emotional emphasis away from Leontes seeing his daughter to Hermione getting to see her daughter -Shakespeare embracing all the mingling aspects of the genre, while challenging a linear plot

"Yet nature is made better by no mean But nature makes that mean. So over that art Which you say adds to nature is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock And make conceive a bark of baser kind By bud of nobler race. This is an art Which does mend nature--change it, rather--but The art itself is nature."

Winter's Tale -Polixenes to Perdita -Polixenes says marriage between classes can work; Perdita seems to disagree -Metaphor: if gardeners artificially cross-breed plants, their artifice (art) is still part of nature, because nature provides the means of breeding (and humans, too, are part of the natural world) -Irony: Polixenes fails to see how his insight applies to human situations: he vehemently objects to his royal ("nobler") son's marrying a common ("baser") woman, even though by his own logic this marriage would be perfectly natural

"We were as twinned lambs that did frisk i'th' sun And bleat the one at th' other. What we changed Was innocence for innocence. We knew not The doctrine of ill-doing nor dreamed That any did. Had we pursued that life, And our weak spirits ne'er been higher reared With stronger blood, we should have answered heaven Boldly, 'Not guilty,' the imposition cleared Hereditary ours."

Winter's Tale -Polixenes, discussing his relationship with Leontes -reflected later in pastoral theme of second half · Description of pre adult world, world of boyhood · Says they were twinned lambs: suggests they were nursed together, milk twins, way they were brothered · They didn't even speak language, if taken literally o The articulation is important because there is no distinction or difference o There is no need for language because they are already plugged into each other o Thus, when they fall, they fall into language which causes division Have to learn how to overcome the division and differences · The introduction of manhood: world where he will have to form a marriage and family · Hermione is extremely pregnant at this point o Visual of the lambs dependency on the mother o Child-mother relationship

"Fie, daughter! When my old wife lived, upon This day she was both pantler, butler, cook, Both dame and servant, welcomed all, served all; Would sing her song and dance her turn; now here At upper end o'th' table, now i'th' middle; On his shoulder and his, her face afire With labor, and the thing she took to quench it She would to each one sip. You are retired As if you were a feasted one and not The hostess of the meeting."

Winter's Tale -the shepherd to Perdita -encouraging her to be more social -as opposed to Leontes' expectations for his wife

"Sir, the year growing ancient, Not yet on summer's death, nor on the birth Of trembling winter, the fairest flowers o'the season Are our carnations and streak'd gillyvors, Which some call nature's bastards: of that kind Our rustic garden's barren; and I care not To get slips of them" "Wherefore, gentle maiden, Do you neglect them?" "For I have heard it said There is an art which in their piedness shares With great creating nature."

Winter's Tale Perdita and Polixenes -Perdita who doesn't know she is high born and believes she is a daughter of a shepherd -Then we have Polixenes who is not very happy that his son who is a prince is involved with a shepherd's daughter -Proceeds to have a conversation about nature and art, which doesn't align with where their conversation should have been going -Curious that Perdita is such a purist and suggests that what is wrong with the flowers is their mingling -comment on genre and social classes -Irony considering Perdita is actually of a high class -Shakespeare suggestion that art can't be excluded from nature -If you create a certain kind of art, it can even mend nature -How he is taking this mingled drama to challenge the previous genre of tragedy that was an attack on women and motherhood -Aim to understand this play in any logical way, we won't get the full power of what it is trying to do or convey

"To harder bosoms! Looking on the lines Of my boy's face, me thoughts I did recoil Twenty-three years and saw myself unbreeched, In my green velvet coat, my dagger muzzled Lest it should bite its master and so prove, As ornaments oft do, too dangerous. How like, methought, I then was to this kernel, This squash, this gentleman. -- Mine honest friend, Will you take eggs for money?"

Winter's tale -Leontes -recognizes that Mamillius resembles him -At age 7, boys became unbreeched -Cultural process that through dress and treatment that males get treated different than females -Language of Squash and Colonel: Seen in 12th night -Leontes is driven to remember the age before his is breeched -Dependent on mother and not separated from the sameness of children -Leontes impending the sexual world -Dagger: keeping the dagger from biting -He has some anxieties -Mamillius -Name means breast-boy -Shows the relationship of mother and son -Leontes jealous of this relationship -Suggests that his jealousy and anxiety come from missing the relationship with his mother and the transition into this more sexual place in life

"Conceiving the dishonour of his mother, He straight declined, droop'd took it deeply, Fasten'd and fix'd the shame on't in himself, Threw off his spirit, his appetite, his sleep, And downright languish'd" "Of the young prince, whose honourable thoughts, Thoughts high for one so tender, cleft the heart That could conceive a gross and foolish sire Blemish'd his gracious dam"

Winter's tale -The prince's death -Mamillius dies over shame of Hermione's dishonor in Leontes' view -Death from emotional distress -Wreckage in Leontes tyranny because this is the death of his only son

"Hark ye: The queen your mother rounds apace: we shall Present our services to a fine new prince One of these days; and then you'ld wanton with us, If we would have you" "She is spread of late Into a goodly bulk: good time encounter her!"

Winter's tale First and second Lady -Saying to Mamillius he will be displaced because he has a new sibling coming -Seen as an enemy -Mother will isolate herself from her while she has this baby, so you will be separated from her -Leontes jealousy and anxious again -Key that he is attacking motherhood from his anxiety