English Final review
A. Gentle cousin, Let us go thank him, and encourage him; My father's rough and envious disposition Sticks me at heart. [approaches Orlando.] Sir, you have well deserv'd; If you do keep your promises in love But justly as you have exceeded all promise, Your mistress shall be happy. B. Gentleman, [Giving him a chain from her neck] Wear this for me; one out of suits with fortune, That could give more, but that her hand lacks means. Shall we go, coz? A. Ay. Fare you well, fair gentleman. C. Can I not say 'I thank you'? My better parts Are all thrown down; and that which here stands up Is but a quintain, a mere lifeless block. B. He calls us back. My pride fell with my fortunes; I'll ask him what he would. Did you call, sir? Sir, you have wrestled well, and overthrown More than your enemies. A. Will you go, coz? B. Have with you. Fare you well. (exeunt) C. What passion hangs these weights upon my tongue? I cannot speak to her, yet she urg'd conference. O poor Orlando, thou art overthrown! Or Charles or something weaker masters thee.
A = Celia B = Rosalind C= Orlando AYLI Rosalind gives Orlando a chain from her neck to congratulate his win. Rosalind also falls in love with him. Orlando froze because he was too surprised by Rosalind's beauty.
A. Mercutio, thou consort'st with Romeo,— Mercutio. Consort! what, dost thou make us minstrels? an thou make minstrels of us, look to hear nothing but discords: here's my fiddlestick; here's that shall make you dance. 'Zounds, consort! B. No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough,'twill serve: ask for me to-morrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o' both your houses! 'Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death! a braggart, a rogue, a villain, that fights by the book of arithmetic! Why the devil came you between us? I was hurt under your arm. C. I thought all for the best.
A = Tybalt B = Mercutio C = Romeo RJ This passage is where Romeo was trying to stop the fight between tybalt and mercutio, but the result was that mercutio died. And Romeo faced a tragic dilemma. This reminds us that even tho RJ is a romantic story, it took place in a masculine world where pride and honor is important.
A. If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. B. Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. A. Have not saints lips, and holy palmers too? B. Ay, pilgrim, lips that they must use in prayer. A. O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. B. Saints do not move, though grant for prayers' sake. A. Then move not, while my prayer's effect I take. Thus from my lips, by yours, my sin is purged. B. Then have my lips the sin that they have took. A. Sin from thy lips? O trespass sweetly urged! Give me my sin again. B. You kiss by the book. C. Madam, your mother craves a word with you.
A is Romeo B is Juliet C is Nurse RJ. -This is a sonnet composed by Romeo and Juliet. It important that they compose the sonnet together to symbolize their love story. -Romeo first meets Juliet at the party, and he believes he is unworthy of Juliet's beauty. -He also tried to kiss her but she refuses and held her palm against his palm to symbolize kissing.
A. [alone]Thou hast it now: king, Cawdor, Glamis, all, As the weird women promised, and, I fear, Thou play'dst most foully for't: yet it was said It should not stand in thy posterity, But that myself should be the root and father Of many kings. If there come truth from them— As upon thee, Macbeth, their speeches shine— Why, by the verities on thee made good, May they not be my oracles as well, And set me up in hope? But hush! no more. [Sennet sounded. Enter MACBETH, as king, LADY MACBETH, as queen, LENNOX, ROSS, Lords, Ladies, and Attendants] B. Here's our chief guest. C. If he had been forgotten, It had been as a gap in our great feast, And all-thing unbecoming. Macbeth. To-night we hold a solemn supper sir, And I'll request your presence. A. Let your highness Command upon me; to the which my duties Are with a most indissoluble tie For ever knit. B. Ride you this afternoon? A. Ay, my good lord. B. We should have else desired your good advice. Is't far you ride? A. As far, my lord, as will fill up the time 'Twixt this and supper: go not my horse the better, I must become a borrower of the night For a dark hour or twain. B. Fail not our feast. A. My lord, I will not.
A=Banquo B=Lady macbeth C=macbeth macbeth Banquo suspects that Macbeth did something to make the witches' prophecy come true. After King Duncan was killed, Macbeth wants to make sure the second part of the witches' prophecy doesn't come true so he attempts to murder Banquo and his son. However, Fleance survives the murder attempt and it seems like the witches' prophecy will come true.
A. Sweet youth, I pray you chide a year together; I had rather hear you chide than this man woo. B. [aside] He's fall'n in love with your foulness, and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. Why look you so upon me? A. For no ill will I bear you. B. I pray you do not fall in love with me, For I am falser than vows made in wine; Besides, I like you not. If you will know my house, Tis at the tuft of olives here hard by. Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better, And be not proud; though all the world could see, None could be so abus'd in sight as he. Come, to our flock.
A=Phoebe B=Rosalind AYLI This passage expands our views of gender possibilities because Phoebe is in love with a girl named Rosalind. Silvius is in love with Phoebe despite her not loving him back, and Phoebe is in love with Ganymede. Rosalind wants Phoebe to be less cruel and receive Silvius's love. Rosalind cannot help but think romantic love is absurd.
A. I pray thee, Rosalind, sweet my coz, be merry. B. Dear Celia, I show more mirth than I am mistress of; and would you yet I were merrier? Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordinary pleasure. A. Herein I see thou lov'st me not with the full weight that I love thee. If my uncle, thy banished father, had banished thy uncle, the Duke my father, so thou hadst been still with me, I could have taught my love to take thy father for mine; so wouldst thou, if the truth of thy love to me were so righteously temper'd as mine is to thee. B. Well, I will forget the condition of my estate, to rejoice in yours. A. You know my father hath no child but I, nor none is like to have; and, truly, when he dies thou shalt be his heir; for what he hath taken away from thy father perforce, I will render thee again in affection. By mine honour, I will; and when I break that oath, let me turn monster; therefore, my sweet Rose, my dear Rose, be merry. B. From henceforth I will, coz, and devise sports. Let me see; what think you of falling in love? A. Marry, I prithee, do, to make sport withal; but love no man in good earnest, nor no further in sport neither than with safetyof a pure blush thou mayst in honour come off again. B. What shall be our sport, then? A. Let us sit and mock the good housewife Fortune from her wheel, that her gifts may henceforth be bestowed equally.
A=Celia B= Rosalind. AYLI Rosalind oppressed by her uncle, Duke Frederick. Describes Celia and Rosalind's friendship. "Sport" means games and fun for the girls.
A. Not a whit, Touchstone. Those that are good manners at the court are as ridiculous in the country as the behaviour of the country is most mockable at the court. You told me you salute not at the court, but you kiss your hands; that courtesy would be uncleanly if courtiers were shepherds. B. Instance, briefly; come, instance. A. Why, we are still handling our ewes; and their fells, you know, are greasy. B. Why, do not your courtier's hands sweat? And is not the grease of a mutton as wholesome as the sweat of a man? Shallow, shallow. A better instance, I say, come. A. Besides, our hands are hard. B. Your lips will feel them the sooner. Shallow again. A more sounder instance; come. A. And they are often tarr'd over with the surgery of our sheep; and would you have us kiss tar? The courtier's hands are perfum'd with civet. B. Most shallow man! thou worm's meat in respect of a good piece of flesh indeed! Learn of the wise, and perpend: civet is of a baser birth than tar- the very uncleanly flux of a cat. Mend the instance, shepherd. A. You have too courtly a wit for me; I'll rest. B. Wilt thou rest damn'd? God help thee, shallow man! God make incision in thee! thou art raw. A. Sir, I am a true labourer: I earn that I eat, get that I wear; owe no man hate, envy no man's happiness; glad of other men's good, content with my harm; and the greatest of my pride is to see my ewes graze and my lambs suck. B. That is another simple sin in you: to bring the ewes and the rams together, and to offer to get your living by the copulation of cattle; to be bawd to a bell-wether, and to betray a she-lamb of a twelvemonth to crooked-pated, old, cuckoldly ram, out of all reasonable match. If thou beest not damn'd for this, the devil himself will have no shepherds; I cannot see else how thou shouldst scape
A=Corin B=Touchstone AYLI Corin argues that polite manners at court are not needed in the forest. The conversation between Corin and Touchstone provides interesting insight in the differences of city living versus country living. We readers learn that Corin's logic makes more sense than Touchstone.
A. Come, shall we go and kill us venison? And yet it irks me the poor dappled fools, Being native burghers of this desert city, Should, in their own confines, with forked heads Have their round haunches gor'd. B. Indeed, my lord, The melancholy Jaques grieves at that; And, in that kind, swears you do more usurp Than doth your brother that hath banish'd you. To-day my Lord of Amiens and myself Did steal behind him as he lay along Under an oak whose antique root peeps out Upon the brook that brawls along this wood! To the which place a poor sequest'red stag, That from the hunter's aim had ta'en a hurt, Did come to languish; and, indeed, my lord, The wretched animal heav'd forth such groans That their discharge did stretch his leathern coat Almost to bursting; and the big round tears Cours'd one another down his innocent nose In piteous chase; and thus the hairy fool, Much marked of the melancholy Jaques, Stood on th' extremest verge of the swift brook, Augmenting it with tears A. But what said Jaques? Did he not moralize this spectacle? B. O, yes, into a thousand similes. [.......................] Thus most invectively he pierceth through The body of the country, city, court, Yea, and of this our life; swearing that we Are mere usurpers, tyrants, and what's worse, To fright the animals, and to kill them up In their assign'd and native dwelling-place. A. And did you leave him in this contemplation? C. We did, my lord, weeping and commenting Upon the sobbing deer.
A=Duke senior B=First Lord C=second lord AYLI Jaques is an environmentalist who respects animal rights and cries over a deer. The Duke supported environmentalist also when he talked about hunting. Shakespeare gives the readers arguments and counter-arguments on whether "as you like it" supports environmentalist or not.
A. When shall we three meet again In thunder, lightning, or in rain? B. When the hurlyburly's done, When the battle's lost and won. C. That will be ere the set of sun. A. Where the place? B Upon the heath. C. There to meet with Macbeth. A. I come, Graymalkin! B. Paddock calls. C. Anon. All. Fair is foul, and foul is fair: Hover through the fog and filthy air.
A=First Witch B=second witch C=third witch Macbeth This passage sets a dark atmosphere for the play. The witches make plans to meet Macbeth. As quickly as they arrive, they disappear.
A. That which hath made them drunk hath made me bold; What hath quench'd them hath given me fire. Hark! Peace! It was the owl that shriek'd, the fatal bellman, Which gives the stern'st good-night. He is about it: The doors are open; and the surfeited grooms Do mock their charge with snores: I have drugg'd their possets, That death and nature do contend about them, Whether they live or die. B. [Within] Who's there? what, ho! A. Alack, I am afraid they have awaked, And 'tis not done. The attempt and not the deed Confounds us. Hark! I laid their daggers ready; He could not miss 'em. Had he not resembled My father as he slept, I had done't. [Enter MACBETH] My husband! B. I have done the deed. Didst thou not hear a noise? A. I heard the owl scream and the crickets cry. Did not you speak? B. When? A. Now. B. As I descended? B. One cried 'God bless us!' and 'Amen' the other; As they had seen me with these hangman's hands. Listening their fear, I could not say 'Amen,' When they did say 'God bless us!' A. Consider it not so deeply. B. But wherefore could not I pronounce 'Amen'? I had most need of blessing, and 'Amen' Stuck in my throat. A. These deeds must not be thought After these ways; so, it will make us mad. B. Methought I heard a voice cry 'Sleep no more! Macbeth does murder sleep', the innocent sleep, Sleep that knits up the ravell'd sleeve of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast,— A. What do you mean? B. Still it cried 'Sleep no more!' to all the house: 'Glamis hath murder'd sleep, and therefore Cawdor Shall sleep no more; Macbeth shall sleep no more.' A. Who was it that thus cried? Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them; and smear The sleepy grooms with blood.
A=Lady Macbeth B=Macbeth Lady Macbeth shows her vulnerability for the first time when she compares sleeping Duncan as like her father. The atmosphere in this scene is dark. It is suggested when lady macbeth hears crickets screaming and owl crying. Macbeth's hallucination of a voice talking "sleep no more" hints that he is guilty of what he has done.
A. He has almost supp'd: why have you left the chamber? B. Hath he ask'd for me? A. Know you not he has? B. We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. A. Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting 'I dare not' wait upon 'I would,' Like the poor cat i' the adage? B. Prithee, peace: I dare do all that may become a man; Who dares do more is none. A. What beast was't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. B. If we should fail? A. We fail! But screw your courage to the sticking-place, And we'll not fail. When Duncan is asleep— Whereto the rather shall his day's hard journey Soundly invite him—his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only: when in swinish sleep Their drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell?
A=Lady Macbeth B=Macbeth macbeth In this passage, Lady Macbeth demonstrates that her strength of will and violence is greater than her husband. Lady Macbeth challenges her husband's manhood when he wants to back down on the murder plan. Macbeth sees her boldness as heroic and follows her plan.
A: Doth not rosemary and Romeo begin both with a letter? B. Ay, nurse; what of that? both with an R. A. Ah. mocker! that's the dog's name; R is for the—No; I know it begins with some other letter:— and she hath the prettiest sententious of it, of you
A=nurse B=romeo names are not important.
A. May't please your highness sit. [The GHOST OF BANQUO enters, and sits in MACBETH's place] B. Here had we now our country's honour roof'd, Were the graced person of our Banquo present; Who may I rather challenge for unkindness Than pity for mischance! C. His absence, sir, Lays blame upon his promise. Please't your highness To grace us with your royal company. B. The table's full. A. Here is a place reserved, sir. B. Where? A. Here, my good lord. What is't that moves your highness? B. Which of you have done this? Lords. What, my good lord? B. Thou canst not say I did it: never shake Thy gory locks at me. C. Gentlemen, rise: his highness is not well. D. Sit, worthy friends: my lord is often thus, And hath been from his youth: pray you, keep seat; The fit is momentary; upon a thought He will again be well: if much you note him, You shall offend him and extend his passion: Feed, and regard him not. He will again be well: if much you note him, You shall offend him and extend his passion: Feed, and regard him not. [To Macbeth] Are you a man? B. Ay, and a bold one, that dare look on that Which might appal the devil. D. O proper stuff! This is the very painting of your fear: This is the air-drawn dagger which, you said, Led you to Duncan. O, these flaws and starts, Impostors to true fear, would well become A woman's story at a winter's fire, Authorized by her grandam. Shame itself! Why do you make such faces? When all's done, You look but on a stool.
A=Lennox B=macbeth C=Ross D=lady macbeth The appearance of Banquo's ghost tells us that Macbeth is guilty of what he has done. Shakespeare uses supernatural elements to suggest to the readers that something bad will happen. The banquet scene is the beginning of Macbeth's downfall as his actions show us that he is mentally troubled. Lady macbeth seems stronger than her husband at this scene.
A. You know your own degrees; sit down: at first And last the hearty welcome. Lords. Thanks to your majesty. A. Ourself will mingle with society, And play the humble host. Our hostess keeps her state, but in best time We will require her welcome. B. Pronounce it for me, sir, to all our friends; For my heart speaks they are welcome. [First Murderer appears at the door] A. See, they encounter thee with their hearts' thanks. Both sides are even: here I'll sit i' the midst: Be large in mirth; anon we'll drink a measure The table round. [Approaching the door] There's blood on thy face.
A=Macbeth B=Lady Macbeth This is where Macbeth holds his banquet and seats his guests. And the murderers come back to visit him.
A. Gracious my lord, I should report that which I say I saw, But know not how to do it. B. Well, say, sir. A. As I did stand my watch upon the hill, I look'd toward Birnam, and anon, methought, The wood began to move. B. Liar and slave! A. Let me endure your wrath, if't be not so: Within this three mile may you see it coming; I say, a moving grove. B. If thou speak'st false, Upon the next tree shalt thou hang alive, Till famine cling thee: if thy speech be sooth, I care not if thou dost for me as much. I pull in resolution, and begin To doubt the equivocation of the fiend That lies like truth: 'Fear not, till Birnam wood Do come to Dunsinane:' and now a wood Comes toward Dunsinane. Arm, arm, and out! If this which he avouches does appear, There is nor flying hence nor tarrying here. I gin to be aweary of the sun, And wish the estate o' the world were now undone. Ring the alarum-bell! Blow, wind! come, wrack! At least we'll die with harness on our back.
A=Messenger B=macbeth macbeth trusts the witches when they told him he will not fall until birnam wood comes to dunsinane The atmosphere is dark because Macbeth shows despair. Macbeth is no longer comfortable because birnam wood seems like it is moving, and the witches' prophecy is always correct.
A. Forbear, and eat no more. B. Art thou thus bolden'd, man, by thy distress? Or else a rude despiser of good manners, That in civility thou seem'st so empty? A. You touch'd my vein at first: the thorny point Of bare distress hath ta'en from me the show Of smooth civility; yet am I inland bred, And know some nurture. But forbear, I say; He dies that touches any of this fruit Till I and my affairs are answered. B. What would you have? Your gentleness shall force More than your force move us to gentleness. A. I almost die for food, and let me have it. B. Sit down and feed, and welcome to our table. A. Speak you so gently? Pardon me, I pray you; I thought that all things had been savage here, And therefore put I on the countenance Of stern commandment. But whate'er you are That in this desert inaccessible, Under the shade of melancholy boughs, Lose and neglect the creeping hours of time; If ever you have look'd on better days, If ever been where bells have knoll'd to church,
A=Orlando B=Duke AYLI -Orlando comes into the scene with aggression and tries to rob Duke for food. However, he was met with Duke's hospitality and offers food to Orlando. -Duke educates Orlando that even the wood is dangerous, there is still hospitality. -Duke was being repetitive because he misses the better days.
A. O, but she is wise. B. Or else she could not have the wit to do this. The wiser, the waywarder. Make the doors upon a woman's wit, and it will out at the casement; shut that, and 'twill out at the key-hole; stop that, 'twill fly with the smoke out at the chimney. A. A man that had a wife with such a wit, he might say 'Wit, whither wilt?' B. Nay, you might keep that check for it, till you met your wife's wit going to your neighbour's bed. A. And what wit could wit have to excuse that? B. Marry, to say she came to seek you there. You shall never take her without her answer, unless you take her without her tongue. O, that woman that cannot make her fault her husband's occasion, let her never nurse her child herself, for she will breed it like a fool!
A=Orlando B=Rosalind AYLI , women and wit Rosalind says that the wiser a woman, the wilder she is. If a man tries to close her wit, she will do anything to escape it and possibly cheat on him. Never let her educate her child herself, or the child will be a fool because she will not be a good mother.
A. Good shepherd, tell this youth what 'tis to love. B. It is to be all made of sighs and tears; And so am I for Phebe. A. And I for Ganymede. C. And I for Rosalind. D. And I for no woman. B. It is to be all made of faith and service; And so am I for Phebe. A. And I for Ganymede. C. And I for Rosalind. D. And I for no woman.
A=Phoebe B=Silvius C=Orlando D=Rosalind AYLI In this passage, readers see a return to the normal social order as boys end with the girls, and Rosalind is not interested in women. In the forest, people fall into quick and irrational love.
A. No; I will not cast away my physic but on those that are sick. There is a man haunts the forest that abuses our young plants with carving 'Rosalind' on their barks; hangs odes upon hawthorns and elegies on brambles; all, forsooth, deifying the name of Rosalind. If I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him. B. I am he that is so love-shak'd; I pray you tell me your remedy. A. There is none of my uncle's marks upon you; he taught me how to know a man in love; in which cage of rushes I am sure you are not prisoner. B. What were his marks? A. A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not; but I pardon you for that, for simply your having in beard is a younger brother's revenue. Then your hose should be ungarter'd, your bonnet unbanded, your sleeve unbutton'd, your shoe untied, and every thing about you demonstrating a careless desolation. But you are no such man; you are rather point-device in your accoutrements, as loving yourself than seeming the lover of any other.
A=Rosalind B=Orlando AYLI Orlando claims he is deeply in love, but Rosalind does not believe him because he doesn't show the signs of love. The audience watches a girl playing a boy trying to win a man's love, and the borders of gender and sexuality become hopelessly confused.
A: Why, how now, Orlando! where have you been all this while? You a lover! An you serve me such another trick, never come in my sight more. B. My fair Rosalind, I come within an hour of my promise. A. Break an hour's promise in love! He that will divide a minute into a thousand parts, and break but a part of the thousand part of a minute in the affairs of love, it may be said of him that Cupid hath clapp'd him o' th' shoulder, but I'll warrant him heart-whole. B. Pardon me, dear Rosalind. A. Nay, an you be so tardy, come no more in my sight. I had as lief be woo'd of a snail. B. Of a snail! A. Ay, of a snail; for though he comes slowly, he carries his house on his head- a better jointure, I think, than you make a woman; besides, he brings his destiny with him. B. What's that? A. Why, horns; which such as you are fain to be beholding to your wives for; but he comes armed in his fortune, and prevents the slander of his wife. B. Virtue is no horn-maker; and my Rosalind is virtuous. A. And I am your Rosalind. A. Come, woo me, woo me; for now I am in a holiday humour, and like enough to consent. What would you say to me now, an I were your very very Rosalind? B. I would kiss before I spoke. A. Nay, you were better speak first; and when you were gravell'd for lack of matter, you might take occasion to kiss. Very good orators, when they are out, they will spit; and for lovers lacking — God warn us!— matter, the cleanliest shift is to kiss. B. How if the kiss be denied? A. Then she puts you to entreaty, and there begins new matter. Well, in her person, I say I will not have you. B. Then, in mine own person, I die. Rosalind. No, faith, die by attorney. The poor world is almost six thousand years old, and in all this time there was not any man died in his own person, videlicet, in a love-cause. Troilus had his brains dash'd out with a Grecian club; yet he did what he could to die before, and he is one of the patterns of love. Leander, he would have liv'd many a fair year, though Hero had turn'd nun, if it had not been for a hot midsummer night; for, good youth, he went but forth to wash him in the Hellespont, and, being taken with the cramp, was drown'd; and the foolish chroniclers of that age found it was — Hero of Sestos. But these are all lies: men have died from time to time, and worms have eaten them, but not for love.
A=Rosalind B=Orlando AYLI Orlando comes late to his appointment and Rosalind is very mad at him, saying that if he were to be in love, he wouldn't be late and compares his love is worse than a snail. But later, Rosalind invites Orlando to try to win her back. she suggests that he save his kiss for the moment when conversation lags, and Orlando worries he would die if his kiss is rejected.
A. Come, sister, you shall be the priest, and marry us. Give me your hand,Orlando. What do you say, sister? B. Pray thee, marry us. C. I cannot say the words. A. You must begin 'Will you, Orlando'- C. Go to. Will you, Orlando, have to wife this Rosalind? B. I will. A. Ay, but when? B. Why, now; as fast as she can marry us. A. Then you must say 'I take thee, Rosalind, for wife.' B. I take thee, Rosalind, for wife. A. I might ask you for your commission; but- I do take thee, Orlando, for my husband. There's a girl goes before the priest; and, certainly, a woman's thought runs before her actions. B. So do all thoughts; they are wing'd. A. Now tell me how long you would have her, after you have possess'd her. B. For ever and a day. A. Say 'a day' without the 'ever.' No, no, Orlando; men are April when they woo, December when they wed: maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are dispos'd to be merry; I will laugh like a hyen, and that when thou are inclin'd to sleep. B. But will my Rosalind do so? A. By my life, she will do as I do.
A=Rosalind B=Orlando C=Celia AYLI Orlando urges Celia to marry them. Rosalind is more realistic about love and she believes man are always so hot when they are proposing, but then they turn cold after they're married. Rosalind is very in love with Orlando but she still thinks straight and knows the reality of marriage that it is not perfect.
A. 'From the east to western Inde, No jewel is like Rosalinde. Her worth, being mounted on the wind, Through all the world bears Rosalinde. All the pictures fairest lin'd Are but black to Rosalinde. Let no face be kept in mind But the fair of Rosalinde.' B. I'll rhyme you so eight years together, dinners, and suppers, and sleeping hours, excepted. It is the right butter-women's rank to market. A. Out, fool! B. For a taste: If a hart do lack a hind, Let him seek out Rosalinde. If the cat will after kind, So be sure will Rosalinde. [....] Sweetest nut hath sourest rind, Such a nut is Rosalinde. He that sweetest rose will find Must find love's prick and Rosalinde. This is the very false gallop of verses; why do you infect yourself with them? A. Peace, you dull fool! I found them on a tree. B. Truly, the tree yields bad fruit.
A=Rosalind B=Touchstone AYLI Rosalind enters reading Orlando's poem. Orlando reminds us of Romeo because he is very romantic and emotional also. Touchstone mocks the poem because he believes he can write a better poem and Rosalind defends Orlando.
A. Truly, I would the gods had made thee poetical. B. I do not know what 'poetical' is. Is it honest in deed and word? Is it a true thing? A. No, truly; for the truest poetry is the most feigning, and lovers are given to poetry; and what they swear in poetry may be said as lovers they do feign. B. Do you wish, then, that the gods had made me poetical? A. I do, truly, for thou swear'st to me thou art honest; now, if thou wert a poet, I might have some hope thou didst feign.
A=Touchstone B=Audrey AYLI Touchstone hopes Audrey was born more poetical, meaning smart. Because touchstone wants her to be dishonest, I think Touchstone has a twisted mind, he wants Audrey just for sex. However, touchstone also believes poetry is composed of metaphors, and metaphors are like little lies.
A. Truly, shepherd, in respect of itself, it is a good life; but in respect that it is a shepherd's life, it is nought. In respect that it is solitary, I like it very well; but in respect that it is private, it is a very vile life. ... Hast any philosophy in thee, shepherd? B. No more but that I know the more one sickens the worse at ease he is; and that he that wants money, means, and content, is without three good friends; that the property of rain is to wet, and fire to burn; that good pasture makes fat sheep; and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding, or comes of a very dull kindred. A. Such a one is a natural philosopher
A=Touchstone B=Corin AYLI Corin is a representative of "natural philosophy," of knowledges that are native to the working man's life. Corin talks about his philosophy in life. Touchstone challenges Corin's belief.
A: Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we not the penalty of Adam, The seasons' difference; as the icy fang And churlish chiding of the winter's wind, Which when it bites and blows upon my body, Even till I shrink with cold, I smile and say 'This is no flattery; these are counsellors That feelingly persuade me what I am.' Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life, exempt from public haunt, Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything. I would not change it. B: Happy is your Grace, That can translate the stubbornness of fortune Into so quiet and so sweet a style.
A=duke senior B= Amiens AYLI Duke Senior prefers living in the forest because it is less complicated and have nothing to worry. soft pastoral - the luxury and praise of nature and leisure of shepherds Lord Amiens agrees with him.
A. Peace, I say. Good even to you, friend. B. And to you, gentle sir, and to you all. A. I prithee, shepherd, if that love or gold Can in this desert place buy entertainment, Bring us where we may rest ourselves and feed. Here's a young maid with travel much oppress'd, And faints for succour. B. Fair sir, I pity her, And wish, for her sake more than for mine own, My fortunes were more able to relieve her; But I am shepherd to another man, And do not shear the fleeces that I graze. My master is of churlish disposition, And little recks to find the way to heaven By doing deeds of hospitality. Besides, his cote, his flocks, and bounds of feed, Are now on sale; and at our sheepcote now, By reason of his absence, there is nothing That you will feed on; but what is, come see, And in my voice most welcome shall you be. A. What is he that shall buy his flock and pasture? B. That young swain that you saw here but erewhile, That little cares for buying any thing. A. I pray thee, if it stand with honesty, Buy thou the cottage, pasture, and the flock, And thou shalt have to pay for it of us. C. And we will mend thy wages. I like this place, And willingly could waste my time in it
A=rosalind B=corin C=celia Rosalind and Celia are in the woods and looking for a place to settle down.
I pray thee, good Mercutio, let's retire: The day is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl; For now, these hot days, is the mad blood stirring. Mercutio. Thou art like one of those fellows that when he enters the confines of a tavern claps me his sword upon the table and says 'God send me no need of thee!' and by the operation of the second cup draws it on the drawer, when indeed there is no need.
Benvolio. RJ Mercutio's description of a guy in a bar who throws his weapon on the table, prays he won't need to use it, and then attacks the bartender after his first drink best describes Benvolio.
All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse's arms; Then the whining school-boy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon's mouth. And then the justice, In fair round belly with good capon lin'd, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slipper'd pantaloon, With spectacles on nose and pouch on side, His youthful hose, well sav'd, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion; Sans teeth, sans eyes, sans taste, sans every thing
Jacques AYLI Jacques compares life and theater in his "all the world's a stage" speech. He compares every human as players. He then went on to describe all the stages of life in seven acts, which starts from infancy as first act to death as seventh act
I have a faint cold fear thrills through my veins, That almost freezes up the heat of life: I'll call them back again to comfort me: Nurse! What should she do here? My dismal scene I needs must act alone. Come, vial. What if this mixture do not work at all? Shall I be married then to-morrow morning? No, no: this shall forbid it: lie thou there. [Laying down her dagger] What if it be a poison, which the friar Subtly hath minister'd to have me dead, Lest in this marriage he should be dishonour'd, Because he married me before to Romeo? I fear it is: and yet, methinks, it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, I wake before the time that Romeo Come to redeem me? there's a fearful point! Shall I not, then, be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? Or, if I live, is it not very like, The horrible conceit of death and night, Together with the terror of the place,— As in a vault, an ancient receptacle, Where, for these many hundred years, the bones Of all my buried ancestors are packed: Where bloody Tybalt, yet but green in earth, Lies festering in his shroud; where, as they say, At some hours in the night spirits resort;— Alack, alack, is it not like that I, So early waking, what with loathsome smells, And shrieks like mandrakes' torn out of the earth, That living mortals, hearing them, run mad:— O, if I wake, shall I not be distraught, Environed with all these hideous fears? And madly play with my forefather's joints? And pluck the mangled Tybalt from his shroud? And, in this rage, with some great kinsman's bone, As with a club, dash out my desperate brains? O, look! methinks I see my cousin's ghost Seeking out Romeo, that did spit his body Upon a rapier's point: stay, Tybalt, stay! Romeo, I come! this do I drink to thee.
Juliet RJ This passage is about Juliet's courage. Juliet's exercises her courage here because even though she does not 100 % know what the consequence of drinking the vial will do to her, but she was willing to sacrifice her life just to have a chance to be with Romeo. Also there were many things that could go wrong with her plan, but she was willing to ignore all those thoughts and execute her action.
Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself.
Juliet. RJ -Juliet concludes that names are extrinsic when she first met romeo. -Extrinsic means that names have no real relationship to the things they designate. -She wants Romeo to change his name because his name is the only thing that keep them from being with each other, also she believes names do not mean anything.
Gallop apace, you fiery-footed steeds, Towards Phoebus' lodging: such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway's eyes may wink and Romeo Leap to these arms, untalk'd of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven's back. Come, gentle night, come, loving, black-brow'd night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possess'd it, and, though I am sold, Not yet enjoy'd: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them
Juliet. RJ This passage is Juliet's epithalamium. She is looking forward to her marriage to Romeo.The significance of this scene is how important night is to Romeo and Juliet since it shields them from being seen. They are able to get married secretly.
Give him tending; He brings great news. [Exit Messenger] 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 the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman's breasts, And take my milk for gall, you murdering ministers, Wherever in your sightless substances You wait on nature's mischief! Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark, To cry 'Hold, hold!' [Enter MACBETH ] Great Glamis! worthy Cawdor! Greater than both, by the all-hail hereafter! Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant.
Lady Macbeth macbeth We first get introduced to lady macbeth when she enters and reads a letter from her husband. We see that her strength of will and violence is greater than her husband, and she knows that she has to convince her husband to fulfill the witches' prophecy. We first explore gender roles, and Lady Macbeth wishes she can turn into a man so she can kill duncan by herself.
[Aside] Two truths are told, As happy prologues to the swelling act Of the imperial theme.—I thank you, gentlemen. [Aside] 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 smother'd in surmise, and nothing is But what is not.
Macbeth macbeth After the witch's first prophecy came true, Macbeth finds himself imaging he might be king himself one day. However, he quickly realizes that in order for the second prophecy to come true, he may have to murder Duncan. Macbeth would have to choose whether to follow his ambition or his loyalty, and he talks himself into his ambition.
As an unperfect actor on the stage Who with his fear is put besides his part, Or some fierce thing replete with too much rage, Whose strength's abundance weakens his own heart. So I, for fear of trust, forget to say The perfect ceremony of love's rite, And in mine own love's strength seem to decay, O'ercharged with burden of mine own love's might. O, let my books be then the eloquence And dumb presagers of my speaking breast, Who plead for love and look for recompense More than that tongue that more hath more express'd. O, learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.
Narrator. RJ. There are 3 quatrains and a couplet. It is a sonnet which is a 14 line poem. Sonnet plays a major role in RJ, for example at the party Romeo talks in sonnet.
I remember it well. 'Tis since the earthquake now eleven years; And she was wean'd,—I never shall forget it,— Of all the days of the year, upon that day: For I had then laid wormwood to my dug, Sitting in the sun under the dove-house wall; My lord and you were then at Mantua:— Nay, I do bear a brain:—but, as I said, When it did taste the wormwood on the nipple Of my dug and felt it bitter, pretty fool, To see it tetchy and fall out with the dug! Shake quoth the dove-house: 'twas no need, I trow, To bid me trudge: And since that time it is eleven years; For then she could stand alone; nay, by the rood, She could have run and waddled all about; For even the day before, she broke her brow: And then my husband—God be with his soul! A' was a merry man—took up the child: 'Yea,' quoth he, 'dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit; Wilt thou not, Jule?' ......
Nurse. RJ. The nurse first introduces Juliet through this passage to show us that she has a deep relationship with Juliet. We meet Juliet through the nurse because Juliet lives in a sheltered life. It also introduces Lady Capulet and shows that she doesn't have a deep connection with Juliet as much as the nurse.
As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns, and, as thou say'st, charged my brother, on his blessing, to breed me well; and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit. For my part, he keeps me rustically at home, or, to speak more properly, stays me here at home unkept; for call you that keeping for a gentleman of my birth that differs not from the stalling of an ox? His horses are bred better; for, besides that they are fair with their feeding, they are taught their manage, and to that end riders dearly hir'd; but I, his brother, gain nothing under him but growth; for the which his animals on his dunghills are as much bound to him as I. Besides this nothing that he so plentifully gives me, the something that nature gave me his countenance seems to take from me. He lets me feed with his hinds, bars me the place of a brother, and as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude. I will no longer endure it, though yet I know no wise remedy how to avoid it.
Orlando. AYLI. In this passage, we are meeting Orlando and learning about his situation and personality. We learn that Orlando is a smart person but he couldn't receive education because his older brother,Oliver, does not let him. He is bitter because he is supposed to be treated better. "Bad pastoral" Orlando is kept like an animal.
Prologue, Romeo and Juliet Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life; Whole misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.
Prologue , RJ . Introducing the background of the story. Shows that there are two households, and they are enemies of each other.
Why, then, O brawling love! O loving hate! O any thing, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health!
Romeo , RJ . This shows us that Romeo is in love with Rosalind. By introducing us with Romeo in love already, it tells the readers that he is very emotional. This gives him room to grow emotionally and poetically.
But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. [....] It is my lady, O, it is my love! O, that she knew she were! She speaks yet she says nothing: what of that? Her eye discourses; I will answer it. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek!
Romeo. RJ -Even though it is late at night, Romeo is comparing Juliet to the sun. -Romeo is too in love and fascinated by Juliet's beauty. --This is an important scene because it symbolizes Romeo's devotion and craziness for Juliet, and many scenes in RJ are set late at night or early morning.
This gentleman, the prince's near ally, My very friend, hath got his mortal hurt In my behalf; my reputation stain'd With Tybalt's slander,—Tybalt, that an hour Hath been my kinsman! O sweet Juliet, Thy beauty hath made me effeminate And in my temper soften'd valour's steel!
Romeo. RJ -This passage presents a tragic dilemma. Romeo had to choose between revenging for his friend or his life with Juliet. -I believe Romeo does the right thing in pursuing Tybalt and killing him. -Romeo had to revenge for his friend's death. However, his action made him not able to spend his life with Juliet.
Thou detestable maw, thou womb of death, Gorged with the dearest morsel of the earth, Thus I enforce thy rotten jaws to open, And, in despite, I'll cram thee with more food! I'll bury thee [Paris] in a triumphant grave; A grave? O no! a lantern, slaughter'd youth, For here lies Juliet, and her beauty makes This vault a feasting presence full of light.
Romeo. RJ.