Shakespeare Final

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Haply the seas and countries different With variable objects shall expel This something-settled matter in his heart, Whereon his brains still beating puts him thus From fashion of himself. What think you on't?

Play: Hamlet Speaker: Claudius Context: This is when Claudius realizes that it is not Ophelia's love that is making Hamlet mad. He decides that he will send him to England. Significance: It was a well accepted thing in the period that a different climate would change someone's disposition or temperament. Hamlet doesn't seem to be changed by his adventures.

If I drown myself wittingly, it argues an act: and an act hath three branches: it is, to act, to do, to perform: argal, she drowned herself wittingly.

Play: Hamlet Speaker: First Clown Context: The clowns are digging the grave for Ophelia and discussing whether or not she committed suicide and how it would be against the Christian faith. Significance: The clowns question what it is to have intent, play around with the idea of what it is to act, just like Hamlet has the whole play. (We talked about there being a significance to the three branches of an act, but I dont have it in my notes) Was Ophelia an agent with intention or a result of the environment?

Fell in the weeping brook. Her clothes spread wide; And, mermaid-like, awhile they bore her up: Which time she chanted snatches of old tunes; As one incapable of her own distress, Or like a creature native and indued Unto that element: but long it could not be Till that her garments, heavy with their drink, Pull'd the poor wretch from her melodious lay To muddy death.

Play: Hamlet Speaker: Gertrude Context: Gertrude enters and tells Laertes of Ophelia's drowning. Significance: Ophelia becomes like water, she almost melts away. This is one of the passive deaths that Hamlet had originally desired. How intentional is this suicide or did she simply fade into the water without any will to live? Women were associated with water, so her becoming one with it is like her returning to her original element. She is becoming the element that is drowning her. Is she a creature that is somewhat capable of her own distress? The clowns pose this question in the graveyard scene.

I am thy father's spirit, Doom'd for a certain term to walk the night, And for the day confined to fast in fires, Till the foul crimes done in my days of nature Are burnt and purged away.

Play: Hamlet Speaker: Ghost Context: This is the conversation that occurs between Hamlet and the ghost. Soon after this part of the conversation, the ghost will tell Hamlet of the tasks that he (the ghost) wants Hamlet to accomplish. Significance: He was murdered while sleeping and denied of his last rights - symbolic of the concept of no more purgatory as introduced by Protestantism. Not fair, new ideas hard to favor. Furthermore, the section indicates that the ghost is forced to endure suffering until all of his sins are "burnt and purged away." His father was not allowed last rights, which is what will bother Hamlet later.

Speaker 1: ...The serpent that did sting thy father's life Now wears his crown. Speaker 2: O my prophetic soul! Mine uncle? Speaker 1: Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts,-- O wicked wit and gifts, that have the power So to seduce!--won to his shameful lust The will of my most seeming-virtuous queen: O Hamlet, what a 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 link'd, Will sate itself in a celestial bed, And prey on garbage.

Play: Hamlet Speaker: Ghost & Hamlet Context: A part of the conversation between the ghost and Hamlet, during which the Ghost reveals the happenings of its (his?) murder. Significance: Much of the language here is consistent with the soliloquy we heard earlier by Hamlet, which signifies the possibility that this could be part of Hamlet's imagination. The trouble with this is the fact that Horatio and Marcellus also were able to see the ghost when it appeared. Otherwise, this is significant because it confirms the dirtiness of the incest occurring in Denmark, which is what later becomes a part of Hamlet's tasks (to rid the state of Denmark of incest). Implications that the ghost could just be preying on Hamlet's sadness.

"Now I am alone. O, what a rogue and peasant slave am I! Is it not monstrous that the player here, But in a fiction, in a dream of passion, Could force his soul so to his whole conceit That from her working all his visage wanned, Tears in his eyes, distraction in 's 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 Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion That I have?"

Play: Hamlet Speaker: Hamlet Context: Another of Hamlet's soliloquies, Hamlet has just seen the performance of the players and is now reflecting on the performance and how the Player King was able to evoke emotion so easily about something that isn't even related to his life whereas Hamlet cannot evoke emotions and action about something that is so real to his life. Significance: Hamlet is quite upset with himself that this player that he has asked to recite this speech gives the speech and is so emotionally effective. This is really galling to Hamlet. He calls the actor "monstrous" for this. It was thought that it could be quite dangerous at the time for actors to act out quite emotional scenes. He believes that he can actually force his soul to this idea that he has in his mind. Everything is suiting what he produces physically and the idea, the conceit that he has of Hecuba and her suffering. Hamlet is upset by the fact that he is incapable of evoking his own emotion to something that is so relevant to his life after having just seen a performance that was so emotional by an actor

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?

Play: Hamlet Speaker: Hamlet Context: Another soliloquy that Hamlet gives while wandering down the hall of the castle, which takes place right before he meets Ophelia. Claudius and Polonius are hiding out of sight to see if his madness is caused because of love for Ophelia. Significance: The obvious question is to commit suicide or don't, but also means to be = suffering and deal will life, or not to be = take action. If we were to follow the logic of the syntax, then "to be" could be "to suffer the sling and arrows of outrageous fortune" and "not to be" could be "to take arms against a sea of troubles". Do you act or remain passive? Or do you take your own life?

I have heard of your paintings too, well enough; God has given you one face, and you make yourselves another: you jig, you amble, and you lisp, and nick-name God's creatures, and make your wantonness your ignorance. Go to, I'll no more on't; it hath made me mad. I say, we will have no more marriages: those that are married already, all but one, shall live; the rest shall keep as they are. To a nunnery, go.

Play: Hamlet Speaker: Hamlet Context: Continuation of Hamlet's speech to Ophelia, but this is when he begins to attack her more and blame all women. Attacking all of her female traits, paintings (makeup) and associating her to all the negative traits that he associates with women. Denies that he ever loved her and blames her for all vice. Significance: He is blaming her because she is a woman and they are the ones that bring all the negative qualities. Hamlet is associating traits of women with corruption and femininity. He wants to cease all procreation and generation to end corruption. Ophelia could function as a mirror to Hamlet's own tragedy.

Who would fardels bear, To grunt and sweat under a weary life, 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 of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.

Play: Hamlet Speaker: Hamlet Context: Continuation of the soliloquy that Hamlet gives while wandering down the hall of the castle, which takes place right before he meets Ophelia. Claudius and Polonius are hiding out of sight to see if his madness is caused because of love for Ophelia. Significance: Hamlet longs just to be nothing, so the dread of something after death that puzzles the "will" or what was conceived to move us from thought to action. "Conscience does make cowards of us all" suggests that in some ways, when we are aware of our corruption and sinfulness is when we don't act. It's a very negative view of the suffering Christian if we read conscience in that way. He also suggests that resolution and readiness to act is natural to us. Hamlet is dreading the thought of something after death. The will is what was conceived to be what moved a person from thought to action, our will achieves action. He is wondering if it is just better to put up with what we know. Ironic that we just saw the ghost and he is now suggesting that no one comes back. It is when we are aware of our own corruption that we do not act, it is natural to act and it is thought that is making people less ready to act and hindering people from acting in the way that is natural. Becoming sick with thought.

To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—'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.

I'll blessing beg of you. For this same lord, I do repent: but heaven hath pleased it so, To punish me with this and this with me, That I must be their scourge and minister.

Play: Hamlet Speaker: Hamlet Context: Following his murdering of Polonius Significance: He has finally committed murder and he did it without thought. It was a rash and thoughtless action. After the play so far where he has over thought everything, this is the moment that turns the plot of the play. There is no going back now. This has casted Hamlet in the role of being the scourge. How do you accomplish such murderous acts without tainting your mind and soul. Now that murder is done, Hamlet can be God's puppet and carry out his other acts - almost a sacrifice on Hamlet's part.

"O that this too too solid flesh would melt, Thaw, and resolve itself into a dew, Or that the Everlasting had not fixed His canon 'gainst self-slaughter! O God, O God, How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on't, ah fie, fie! 'Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this— 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!

Play: Hamlet Speaker: Hamlet Context: Hamlet is alone and is delivering one of his soliloquies (the first implication of his desired suicide, in this circumstance). Furthermore, Hamlet has just spoken to Gertrude and Claudius, and responded in a way so as to merely please them and make them leave (allowing his to be alone). Hamlet has just gotten back from school and he is cut off from his inheritance, he has no father or throne. Significance: What he wishes is to melt and become part of the environment. We get a sense of a fall. The world is a garden, but this is a rank and unweeded garden full of corruption and sin. Hamlet says that everything in the world is stale and unprofitable, in the way that he feels himself. There is an implicit comparison with Claudius and his father, one is like a god and the other a beast. Much of this passage reveals Hamlet's desire for a passive death (passive because he asks to "melt," "thaw," and "resolve"), for his life has been completely turned upside-down—he didn't inherit the kingship, he has just lost his father, his mother has married his own uncle, his mother and Claudius don't want him to return to Wittenburg, etc. Furthermore, he makes comparison of his father to his uncle, stating his father is great, like Hyperion, whereas his uncle is lowly, like a satyr. Lots of confusion of time and a juxtaposition of Claudius's put together speech that just happened whereas his is less controlled.

Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious, with more offences 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, all. Believe none of us. Go thy ways to a nunnery. Where's your father?

Play: Hamlet Speaker: Hamlet Context: Hamlet is speaking to Ophelia after she has given him his love letters back. Significance: Hamlet is telling Ophelia to remove herself from society and no longer be a marriageable woman and if she is still chaste, go somewhere that will protect her and her virginity. He is saying that she cannot end up with one of them, referring to all men, because they are all corrupt, everything in Denmark is corrupt and she will be corrupted if she stays in this world. After this is starts criticizing her and another take is that nunneries at this time were corrupted by Protestants and could be seen as a brothel. Part of what he is arguing is that they should cease all procreation. Nunnery can be a place to protect what is left of her virtue.

"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 brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours."

Play: Hamlet Speaker: Hamlet Context: Hamlet is speaking to Rosencrantz and Guildenstern, and is the moment when he begins to advertise to people his madness (be it true madness or fake madness). Significance: The mismatch between his disposition and the outside world. This is where he states to Rosencrantz and Guildenstern that he has begun to see the world in a different way from what he saw before (again, starting to tell people of his madness to justify his actions). He is describing the greatest achievements that man can reach, and yet it contrasts his understanding of when man is at his lowest.

"Seems, madam? Nay, it is. I know not 'seems'. 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected haviour of the visage, Together with all forms, moods, shows 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 passeth show— These but the trappings and the suits of woe."

Play: Hamlet Speaker: Hamlet Context: Hamlet is speaking to his mother after she has told him that he needs to be happier and that the mourning of his dead father needs to end. Claudius tells Hamlet that it is unmanly to to mourn for this long. Significance: Hamlet speaks about the way in which the world could "play" at being mournful (the way that the rest of the court has been doing, according to Hamlet. He also says that all of the things that his mother referenced can not show grief, as he is too deep to be judged by external judgements. This passage suggests a breakage between the inner and outer correspondence of a person (which is able to be applied in multiple instances throughout the play). For Hamlet, there is no outer appearance that could possibly show his inward depression. His mother tells his to cast off his sadness. She might show actual care over his well-being here. He points out signs that someone would show if mourning, but says that none of those signs could show the sadness that he feels inside. All the signs could be acted out, so how do we know what external show is real? He seems particularly frustrated that he can't demonstrate what he feels is sincere when others are being artificial. This sets up the problem of interpreting Hamlet by the court. We might exaggerate this moment as the epistemological break between outward appearances and inward feelings. It casts interpretation into a crisis.

"Be thou a spirit of health or goblin damned, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, Thou com'st in such a questionable shape That I will speak to thee. I'll call thee Hamlet, King, father, royal Dane. O answer me!"

Play: Hamlet Speaker: Hamlet Context: Hamlet is speaking to the ghost after Horatio and Marcellus have indicated that it appears there while on their watch Significance: Hamlet presents at first that he doesn't know if the ghost is a demon from hell or an angelic spirit, but he decides to call him his father. He wants more than anything to speak or be with his father. It is significant that, though Hamlet is not completely sure that this is the ghost of his father, he still decides to refer to him as such. This is an indication of Hamlet's sadness and desire to have his father back. It also suggests that the ghost may be a devil or a demon that takes a shape that will lure Hamlet in, and Hamlet's desire to change his situation.

"...What a piece of work is a man! How noble in reason, how infinite in faculty, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god—the beauty of the world, the paragon of animals! And yet to me what is this quintessence of dust?"

Play: Hamlet Speaker: Hamlet Context: Hamlet reveals his inner emotions of the way in which he views humanity to Rosencrantz and Guildenstern Significance: There is an articulation of the highest pinnacle of what man can achieve. - The highest of the animals - God like in his thinking - Closest to the angels of any living creature Hamlet then calls man a quintessence of dust. Quintessence means the ultimate, essential nature of dust. He takes that high apprehension of men and says that man is just the best form of dust. Man's materiality and baseness is what is holding him back. There is a way in which we understand through our wit the possibilities of man but we also understand our inability to reach it because we are tainted with corruption. The passage states that we are celebrated as the ultimate of all animals, yet that we are merely the best of the worst. He begins to wonder whether he should admire those who act with passion or if he should follow those who act out of the baseness of emotion. Man is God like in its capacity, but Hamlet calls man the quintessence of dust, the ultimate nature of dust, or the best of the earth made creature and the pinnacle of that history. What holds man back is our materiality. We are tainted and corrupt and admire those who act on passion. He glorifies the earth and human beings, only to say that at the end of their greatness, they just become dust. Focuses on the physicality of death.

Am I then revenged, To take him in the purging of his soul, When he is fit and season'd for his passage? No! Up, sword; and know thou a more horrid hent: When he is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed; At gaming, 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 damn'd and black As hell, whereto it goes.

Play: Hamlet Speaker: Hamlet Context: Hamlet walks in to see Claudius praying and realizes that he has an opportunity to kill him. Significance: Hamlet doesn't want to kill Claudius when he is in the perfect place to be forgiven and have passage to heaven. He wants to make sure that when he kills Claudius he is damned to hell, because in his mind it would not be revenge if Claudius got to repent. While Hamlet thinks that Claudius is praying and asking for forgiveness, Claudius is actually thinking that he cannot repent when his heart wanting to repent or feeling remorse. Claudius thinks that because he is still in love with his sin that his prayer will soften him within and eventually his words will break through to heaven, but he doesn't feel different. He wants to ensure that Claudius is damned to hell. The irony of this is that Claudius can't actually repent and that Claudius in this moment is desperately praying but he understands that his heart does not feel remorse. He thinks that if he goes through the motions of praying, somehow he can be softened from within and his words might reach heaven. We have all these questions of external and internal feelings.

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 th' nose, gives me the lie i'th throat As deep as to the lungs? Who does me this? Ha? 'Swounds, I should ta"...ke it; for it cannot be But I am pigeon-livered and lack gall To make oppression bitter, or ere this I should 'a 'fatted all the region kites With this slave's offal."

Play: Hamlet Speaker: Hamlet Context: Hamlet's continuation of his soliloquy following the performance of the players. Significance: Hamlet is imagining someone calling him a coward and all the things that someone would do to a coward (says he still must be villain) because he lacks gall. He says all the things you might do to a coward. Nobody is acting this way towards him but he feels as though he is one because he is "pidgeon-livered".

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 to-night, 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 [ ] the devil, or throw him out With wondrous potency.

Play: Hamlet Speaker: Hamlet Context: This occurs soon after Hamlet has killed Polonius and just before he asks Gertrude to stop allowing Claudius to treat her like his wife and to stop the incest Significance: Hamlet here asserts that artificial changes to one's behaviour could produce real changes. This is like a reversal of what he said before, saying that the outside can not accurately portray what the inside feels ("I have that within which passeth show"). Furthermore, this leads us to question his sanity again, for if he really was just pretending to be insane before, how do we know it has not changed his true actions as he protests fake actions can do? "Assume a virtue, if you have it not. That monster, custom, who all sense doth eat...." He's saying that even if you are lacking in virtue, assume that you do and put it on. Monster = custom, custom usually produces bad behavior but he says it works in reverse too. Good habits can become a part of you too. This is an interesting reversal of what we saw before where he said what is inside can't be shown on the outside. Here he is saying if you wear something externally long enough, you are able to gain that feeling internally.

"O God, a beast that wants discourse of reason Would have mourned longer!—married with mine 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 of of her gallèd eyes, She married. O 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."

Play: Hamlet Speaker: Hamlet Context: This section occurs at the end of Hamlet's first soliloquy. This occurs just before Horatio, Marcellus, and Barnardo appear (which is why he says the he must "hold [his] tongue"). Significance: He is mourning over the fact that his mother seems to have forgotten his father already and the fact that the family has fallen to a state of incest (indicated by "incestuous sheets") This was very common at the time, but Hamlet feels that it is very unnatural for his mother to have sexual feelings and much more so for his uncle. Even an animal would have mourned longer. Hamlet can't comprehend that his mother did not grieve over his father's death. The fact that she has not mourned his father properly comes up later, and it shows that she has married him out of passion. "Incestuous sheets" refers to his uncle marrying his mother. The word in some ways reminds us of the unnaturalness that Hamlet feels towards the marriage.

"...Bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O, vengeance!— Why, what an ass am I? Ay, sure, this is most brave, That I, the son of the dear murderèd, Prompted to my revenge by heaven and hell, Must, like a *****, unpack my heart with words And fall a-cursing like a very drab, A scullion! Fie upon't, foh!—About, my brain!

Play: Hamlet Speaker: Hamlet Context:Hamlet's continuation of his soliloquy following the performance of the players. Significance: Hamlet is attempting to make himself angry in order to feel the emotion that he couldn't feel before, similar to how you try and force yourself to smile when you are depressed in order to make yourself happier. He feels that he is just going through the motions. Like a ***** that sells fantasies, he unpacks his heart with words. He then is left with a feeling of being completely ineffectual.

"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 but blench, I know my course. The spirit that I have seen May be the devil, and the devil 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.

Play: Hamlet Speaker: Hamlet Context:Hamlet's continuation of his soliloquy following the performance of the players. Significance: Here is another mode of change for Hamlet. He is drawing on this belief in the period that there was a way in which people would find out about murder. It also was circulated in the period that by witnessing the murder, the murder will then speak the truth. Claudius messes up this particular plot during the play by over-articulating what is going on. Claudius also feels threatened that the play within the play shows a nephew murdering the uncle. This distorts the reaction we get from the audience of the play within the play, but Hamlet says he has to do this because he knows the ghost could be the devil. An instance of action (yet passive action). Murder will be confessed, if you see the murder you'll have to confess. In the play nephew kills an uncle. Very threatening. He is drawing on the belief at the time that there is a way that murder will always come out.

"...He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculty 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."

Play: Hamlet Speaker: Hamlet Context:Hamlet's continuation of his soliloquy following the performance of the players. Significance: This is a description of Hamlet's physical incapacity to feel the things and properly move forward. Mettle - to be tough and brave. He is trying to provoke his own anger by reminding himself of all the horrible actions of Claudius. "Mettle" is often used for issues of bravery or being a good soldier; being tough through the inner resources. It is a substance that allows you to achieve action, so calling it muddy-mettled means that his toughness is tainted.

"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, yes, by heaven. O most pernicious woman! O villain, villain, smiling, damnèd villain!

Play: Hamlet Speaker: Hamlet Context:This piece of a soliloquy occurs just after Hamlet has spoken to the ghost. Immediately after, Hamlet confides in his friends Horatio and Marcellus regarding the things that were said in the conversation, but he implores them to swear that they will "never make known what [they] have seen tonight" (that they won't tell anybody), to which the ghost agrees and repeatedly says "swear" from beneath the stage. Significance: The implications of this speech rely heavily on the way in which Hamlet gets caught up in "remembering" the ghost. He immediately decides that he will wipe everything from his brain, treating his brain as though it is a book and deciding he will wipe "all pressure past" (as in the things that have already been pressed into the pages of the book. Furthermore, he continues this brain-to-book metaphor when he says that he will write down the new things ("...meet it is I set it down..."). Lastly, we could view the word "remembering" as possibly being interpreted by Hamlet as "taking revenge." Part of what is interesting about this speech is that it very fascinatingly gives us a clue as to what people thought of memory at the time. People would keep what they thought was important on tablets. The brain was also seen as a tablet. Here he says he is going to wipe away everything he learned in youth and only remember the ghost. How do you interpret the world if you have nothing else left in your memory? He immediately gets distracted after saying this thinking about Claudius as a villain. Shakespeare is producing a symbolic disruption between the past and the present with the ghost, yet there is an impossibility to the task that the ghost gives Hamlet of "Remember me" and not worry about his mother. At the end of this scene he says to his friends that he is going to put an anti-disposition on and tells them to act normal. Can we take him seriously and he is just performing or has he actually gone mad?

But pardon't, as you are a gentleman. This presence knows, And you must needs have heard, how I am punish'd With sore distraction. What I have done, That might your nature, honour and exception Roughly awake, I here proclaim was madness. Was't Hamlet wrong'd 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 wrong'd; His madness is poor Hamlet's enemy.

Play: Hamlet Speaker: Hamlet Context: Hamlet is apologizing to Laertes before they duel Significance: Hamlet is claiming that when he was not himself, his wrongs are not his but instead the wrongs of someone else (his madness) - but we still do not know if he was ever really mad or if it was just an act. It is not actually an apology or acceptance of responsibility because Hamlet is saying that Laertes should feel bad for him. In the end it is unknown whether Hamlet just has nothing more to say or he is expressing that both rest and silence await him in the death that he is soon seeking.

Rashly, And praised be rashness for it, let us know, Our indiscretion sometimes serves us well, When our deep plots do pall: and that should teach us There's a divinity that shapes our ends, Rough-hew them how we will,--

Play: Hamlet Speaker: Hamlet Context: Hamlet is telling Horatio of how he returned to Denmark Significance: He explains it as a rash decision, but also that divinity intervened. Implies that sometimes over thinking can get in the way of God's plans. "Rough-hew" of what our ends may be - we can set an outline, but it is divinity that will give our actions final form. We have little say as divinity will ultimately shape what we do and where we end. Also implying that his own rash emotions have larger divine implications.

Not a whit, we defy augury: there's a special providence in the fall of a sparrow. If it be now, '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 has aught of what he leaves, what is't to leave betimes?

Play: Hamlet Speaker: Hamlet Context: Horatio is warning Hamlet that he will lose the duel and Hamlet tells him that he is going to leave it up to fate/he must Significance: Hamlet is nervous before the dual. He admits that he is feeling some anxiety. Horatio tells him to obey his mind. Is this an acceptance of God's will or resignation? The Hamlet of Act V is less alienated or disconnected from the world around him. He has a different view of death. At the beginning, Hamlet had a long, cyclical view of what death was (dust and dirt). Hamlet has a new view of death. God oversees everyone's life and death. Is this willingness to approach death a sign that he has merely been resisting fate the entire time?

'Swounds, show me what thou'lt do: Woo't weep? woo't fight? woo't fast? woo't tear thyself? Woo't drink up eisel? eat a crocodile? I'll do't. Dost thou 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.

Play: Hamlet Speaker: Hamlet Context: When Hamlet is in the grave arguing with Laertes that he was the only one that truly loved Ophelia and therefore can be the only one to truly mourn her death Significance: Hamlet is making a scene because he now has to deal with the fact that he is not the primary mourner anymore. Also shows that he has no understanding that he is somewhat responsible for her death, but he seems to be overcompensating for the guilt that he feels. This is symbolic of the theme that there is disengagement from things once they leave our hands. How much guilt should someone feel for something that happens as a result of something else? It's almost as though Hamlet has to deal with the fact that he is not the primary mourner anymore. He is not recognizing his role in her death.

Speaker 1: Sense, sure, you have, Else could you not have motion; but sure, that sense Is apoplex'd; for madness would not err, Nor sense to ecstasy was ne'er so thrall'd But it reserved some quantity of choice, To serve in such a difference. What devil was't That thus hath cozen'd 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 ardour gives the charge, Since frost itself as actively doth burn And reason panders will. Speaker 2: O Hamlet, speak no more: Thou turn'st mine eyes into my very soul; And there I see such black and grained spots As will not leave their tinct.

Play: Hamlet Speaker: Hamlet & Gertrude Context: Hamlet scolding/confronting his mother for her sins after the play within the play Significance: He gets repeatedly distracted by his mother's sins even though the ghost has told him to leave her to heaven. He is completely disgusted by her because she didn't mourn long enough and then married her husbands brother. Hecuba in mourning for her son is a woman that understands what grief is, this in comparison to his mother causes Hamlet to have a strong reaction. He is concerned about his mother's soul. In part he is characterizing the heat of lust and desire as a rebellious hell, that heat and lust can be so powerful that it can actually take place in a matron's bone, which for her should be cold and dry. If it is will that makes her act it is one thing, but as she could be cold and is no longer young, that means that she is using reason which is wrong - alluding to a physical connection between her and Claudius that is unnatural in many ways. He is characterizing the heat of lust and desire as rebellious hell. There is no shame in what happens among youth, but his mother should be cold and lacking these feelings. This all is unnatural to Hamlet. To say that it is more disgusting because he doesn't believe the heat is even there. He says reason is pandering will. If reason is doing it in this case, then that is gross to Hamlet.

Speaker 1: To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung-hole? Speaker 2: 'Twere to consider too curiously, to consider so. Speaker 1: No, faith, not a jot; but to follow him thither with modesty enough, and likelihood to lead it: as thus: Alexander died, Alexander was buried, Alexander returneth into 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 turn'd to clay, Might stop a hole to keep the wind away: O, that that earth, which kept the world in awe, Should patch a wall to expel the winter flaw! But soft! but soft! aside: here comes the king.

Play: Hamlet Speaker: Hamlet & Horatio Context: Hamlet is in the graveyard; this is right before Ophelia's procession comes in. Significance: The idea that all people are made up of dust and in the end will return to dust. Hamlet's pessimistic view of all mankind, what is the significance of life? A leveling of all people, no matter who you are, we are all just returning to the same place. This seems to liberate him from feeling like he must script or design his own death. This seems to liberate him from a script to design his future. It is in this act that he emerges and states his identity.

"But soft, behold—lo where it comes again! I'll cross it though it blast me.—Stay, illusion. 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, O speak! Or if thou hast uphoarded in thy life Extorted treasure in the womb of earth— For which, they say, you spirits oft walk in death— Speak of it, stay and speak.—Stop it, Marcellus."

Play: Hamlet Speaker: Horatio Context: In the first encounter with the ghost, Horatio is trying to beckon it to speak and say why it has appeared, but it does not give reason as to why it has appeared before them. Significance: During this passage, the cock crows, causing the ghost to retreat. This could be an indication that the ghost is a demon or the devil in disguise rather than the ghost of Hamlet's father. An allusion to the fact that disruptions in Denmark cause unnatural occurrences.

O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! And I, of ladies most deject and wretched, That suck'd the honey of his music vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh; That unmatch'd form and feature of blown youth Blasted with ecstasy: O, woe is me, To have seen what I have seen, see what I see!

Play: Hamlet Speaker: Ophelia Context: Hamlet has just denied that he ever loved her. She responds here with a heroic speech. Significance: If his nerves and minds are actually jangles and out of tune, this is a tragedy to her. This reminds us of a certain noble quality that Hamlet and Ophelia both have. The play implies that not only is Ophelia a mirror of his tragedy, but there is also an issue of how much Hamlet is responsible for her tragedy. This is a moment of true generosity in the play. Also shows that there could be more strength to Ophelia than she is given credit for. This reminds us of the traits that Hamlet and Ophelia once possessed. Sets up Ophelia as a foil and mirror to Hamlet. How much responsibility does Hamlet have for Ophelia's tragedy? Furthermore, the language here makes us rightfully question if Ophelia and Hamlet had sex or not, which is again brought up when Ophelia sings the song of a man promising to marry a woman before sleeping with her, and then leaving her.

That Cassio loves her, I do well believe it; 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 leap'd into my seat; the thought whereof Doth, like a poisonous mineral, gnaw my inwards

Play: Othello Speaker: Context: Iago reveals his thoughts about Cassio, Othello, and Desdemona after they have all made it to Cyprus. Significance: Iago expresses his love for Desdemona which in a way allows him to manipulate her and it makes his revenge more powerful. It shows how the only love Iago can feel is the inverse destruction of love and can produce intimacy in no other way. He also tricks himself into believing that his wife definitely cheated on him so that poison feeds his greater plot. He can believe that Cassio loves her. There is a confirmation here that he admires Othello, but then says that he loves her too. "But partly led to diet my revenge" → His love is parasitic. It does not come from a genuine place of affection, but comes from calculation and its use.

It is too true an evil: gone she is; And what's to come of my despised time Is nought 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? O she deceives me Past thought! What said she to you? Get more tapers: Raise all my kindred. Are they married, think you?

Play: Othello Speaker: Brabanzio Context: The is just after Brabanzio has gone to check to see if Desdemona is still in her room or if she has really left as Roderigo and Iago have said Significance: This is the first moment that Brabanzio references a betrayal by Desdemona, and is therefore the root of all the references that he later makes (including the statement he says to Othello about Desdemona betraying her father, and thus having the ability to betray Othello). Thus, this can be seen as one of the root moments for the growing jealousy and doubt present in the play. Brabantio responds first to the notion that he has been betrayed by Desdemona. Seeds are planted that she is deceptive. He doesn't pay that much attention to the color or animal imagery at first.

That I did 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 honour 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 which I love him are bereft me, And I a heavy interim shall support By his dear absence. Let me go with him.

Play: Othello Speaker: Desdemona Context: Desdemona is revealing her love for Othello and that is is true, not of magic or malicious properties Significance: They are debating what will happen when Othello has to do his work as a soldier and Desdemona says here that she will be with him. "I saw Othello's visage in his mind" → She saw the way he sees himself. It is interesting that she feels compelled to articulate this, but it also underscores how intimate their relationship is. The intimacy and genuity of their love is shown in how Desdemona says she "Saw Othello's visage in his mind". Natural progression of love from a father to a husband.

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 heart In compliment 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.

Play: Othello Speaker: Iago Context: Iago is explaining to Roderigo why he follows Othello. Significance: Iago is manipulating Roderigo and persuading him that he has a chance of winning Desdemona's hand. Roderigo has no idea that Iago is trying to take more money and isn't actually trying to help him. He's saying that it may look like he follows Othello and serves him but he only does it for her personal gain. He suggests that if he ever feels the same on the inside as he seems on the outside, he will have made himself vulnerable. "I am not what I am" articulates a devilish characteristic.

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 Sulphur. I did say so:

Play: Othello Speaker: Iago Context: Iago is revealing his plot to plant evidence on Cassio. He will use the handkerchief Emilia found as proof of Desdemona's unfaithfulness. Significance: Iago's plan is working; he plans to take it one step further by "losing" Desdemona's handkerchief in Cassio's room. Compares jealousy to a poison that has little to no effect at first, but burns once it reaches the blood

O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly loves!

Play: Othello Speaker: Iago Context: Iago is speaking to Othello and is slowly drawing Othello into his plan of ruining Cassio and eliminating his trust for Desdemona. Significance: Iago warns him of the torture to be jealous and always suspect those you love and to live in a cuckold and never realize. Of course he wants Othello to be jealous but knows Othello is not a naturally jealous person so in a way he is almost introducing the very notion of jealousy to Othello, as though he had never known it before and therefore could not feel it. Iago continues to say how awful it is to always be suspicious and paranoid; to never feel trusting or have faith in anything. This may be the closest time we feel to sympathy for Iago. Iago says to feel love but to doubt the faithfulness is torture.

Speaker 1: 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 oft my jealousy Shapes faults that are not--that your wisdom yet, 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, or wisdom, To let you know my thoughts. Speaker 2: What dost thou mean?

Play: Othello Speaker: Iago Context: Iago is speaking to Othello and is slowly drawing Othello into his plan of ruining Cassio and eliminating trust for Desdemona. He uses reverse psychology in this passage. Significance: Iago says he is a jealous person and that he sees faults where there are none so dont be like him. Of course he is lying and is trying to get Othello to have that very characteristic so tricking him into that disposition by feeding him the very notion. Iago says upfront that he is a jealous person. He says don't start creating things out of unnatural assurances. Of course Othello is going to want to know what these thoughts are.

Receive it from me. I speak not yet of proof. Look to your wife; observe her well with Cassio; Wear your eye 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 well; In Venice they do let heaven see the pranks They dare not show their husbands; their best conscience Is not to leave't undone, but keep't unknown.

Play: Othello Speaker: Iago Context: Iago is speaking to Othello and putting his plan to action. He has planted the seed of distrust in Othello and Othello is starting to worry about his wife's actions. Significance: Here Iago is training Othello to be a jealous person because he has never experienced it before. Transitioning Othello to a state of uncertainty. Iago is reinforcing a stereotype about women and Venetian women in specific that they sleep around and are untrustful. Why would Desdemona love your blackness when there are so many more suitable Venetian men around who suit her better? Iago is training Othello in how to be jealous. Iago says he doesn't want to jump to proof yet, but just look at his wife with Cassio. Iago says to see the world not suspiciously, but not completely certainly.

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 bitter as coloquintida. She must change for youth: when she is sated with his body, she will find the error of her choice: she must have change, she must: 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 a supersubtle Venetian be not too hard for my wits and all the tribe of hell, thou shalt enjoy her; therefore make money.

Play: Othello Speaker: Iago Context: In scene 1, after Roderigo leaves. Iago is fully explaining his plan against Othello, who he hates because he thinks his wife has been sneaking around with him. Significance: Iago urges Roderigo to continue wooing Desdemona so that he (Iago) can continue utilizing Roderigo for his own purposes. Much of the play is structured by Iago's rhetoric. What he emphasizes is what it is people will believe. In this case, it's what people will believe about women. Because Desdemona is a Venetian, she is seen as subtle. Othello is categorized as a barbarian. Furthermore, the repetition of the "make money" phrases shows that Iago can continue to make money off of Roderigo as well, so he repeats this to try and make it a point in Roderigo's mind. Also, the framing of Desdemona as a "supersubtle Venetian" and Othello as an "erring barbarian" shows Iago's contempt for the relationship, placing Desdemona as someone who is super-sensitive and Othello as someone who is barbaric.

Do not rise yet. Witness, you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart, To wrong'd Othello's service! Let him command, And to obey shall be in me remorse, What bloody business ever.

Play: Othello Speaker: Iago Context: Othello is now enraged at the thought of his wife being unfaithful. Othello has just vowed that he will not rest until he gets his revenge. This passage is Iago's response. Significance: Iago swears himself to Othello's service in getting revenge. He is in Othello's service but secretly calling all the shots Iago has in some ways produced his most intimate relationship. Iago is Othello's first and only servant and he has displaced Cassio. Othello has given up all his faith in Desdemona and has placed it all in Iago.

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 district 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 balance 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, our unbitted lusts, whereof I take this that you call love to be a sect or scion.

Play: Othello Speaker: Iago Context: Roderigo has just asked Iago what to do because he loves Desdemona; Roderigo is contemplating drowning himself Significance: Iago is speaking to Roderigo and he is telling Roderigo how ridiculous it is to love. Iago is putting forth a kind of philosophy of how he handles his inner turmoil. He uses an analogy that we are like a garden. What is problematic about this viewpoint is that there is hyper control here. A control that we know (by listening to his soliloquys) he doesn't have. Another dramatic aspect is that he equates love with lust. He doesn't comprehend that love could be a good emotion, but instead sees it simply as something that Roderigo needs to control or give up. Within this passage, Iago tells Rederigo that it is ridiculous to feel any love by putting forth the philosophy of how he manages his own internal emotions and also by equating it with lust (unbitted lust, carnal stings, raging motions, etc.). He uses the metaphor of a garden to create a glossy cover to Iago's control of emotions.

I hate the Moor: And it is thought abroad, that 'twixt my sheets He has 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 ear 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 the nose As asses are. I have't. It is engender'd. Hell and night Must bring this monstrous birth to the world's light.

Play: Othello Speaker: Iago Context: This is a soliloquy of Iago's after he has urged Roderigo to continue wooing Desdemona Significance: Iago expresses the weaknesses he can turn on other people. Bizarre conscious thought. Turns mere suspicion into a surety because the possibility of believing it makes him believe it and believing it is therefore a frame to move forward. Cassio is good attractive and young man so it is believable that he would have a fling with Desdemona. Othello not a suspicious person so can mold that. Conceived a monstrous notion. He is good at identifying what kinds of weaknesses can be found in other people. He sees that Othello and Amelio sleeping together abroad has a possibility of being believable, and he decides that he will believe it. Cassio is a really good-looking man and has good manner; therefore he is the perfect man for the plot. Othello is not a suspicious person.

'Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think we are ruffians, you'll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you; you'll have coursers for cousins and gennets for germans.

Play: Othello Speaker: Iago Context: A continuation of Iago and Roderigo's conversation with Brabanzio Significance: In this section, Iago tries to use his manipulation on Brabanzio, trying to associate the situation with his (Brabanzio's) own life by applying his familial situation (the association with nephews). Furthermore, he continues the association to animals by saying that his nephews will "neigh to [him]." In this section, Iago tries to use his manipulation on Brabanzio, trying to associate the situation with his (Brabanzio's) own life by applying his familial situation (the association with nephews). Furthermore, he continues the association to animals by saying that his nephews will "neigh to [him]."

'Zounds, sir, you're robb'd; for shame, put on your gown; Your heart is burst, you have lost half your soul; Even now, now, very now, an old black ram Is topping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say.

Play: Othello Speaker: Iago Context: Iago and Roderigo are outside of Brabanzio's house trying to tell him of Desdemona's leaving Significance: Within this piece of text, there is a large emphasis on acts of animals ("old black ram," "white ewe," "topping," "snorting"), which thus equates Africans and their acts to the acts of animals. This language also animalizes Desdemona and references her as a possession of Brabanzio ("you're robb'd"). Their animal imagery suggests barbarianism.

Would Desdemona seriously incline: But still the house-affairs would draw her thence: 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 dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd.

Play: Othello Speaker: Othello Context: Othello has been brought to the court and is explaining how he got Desdemona to fall in love with him. Significance: He describes how Desdemona reacts to the stories. We can read her as greedy and it suggests an appetite—which is troubling in a woman. Desdemona was busy with housework so she didn't get to hear all his stories. Rhetoric of a hunger of passion in Desdemona which is a troubling sign in women and although is a beautiful attribute here it later becomes a point of conflict. Desdemona expressed her desire to be a man and live that life.

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

Play: Othello Speaker: Othello Context: Othello has been brought to the court and is explaining how he got Desdemona to fall in love with him. Significance: Othello says he did use a kind of magic—a magic in his words. He proceeds to tell a story of his telling of stories. He will later say that he doesn't have a courtier's soft way with speech, but he clearly is a rhetorician. This is how he woos Desdemona. We get in this passage a trope of traveler's stories. In some ways he is making himself to appear exotic to the Venetians. He becomes a commodity himself in his stories.

By the world, I think my wife be honest and think she is not; I think that thou art just and think thou art not. I'll have some proof. Her name, that was as fresh As Dian's visage, is now begrimed and black As mine own face. If there be cords, or knives, Poison, or fire, or suffocating streams, I'll not endure it. Would I were satisfied!

Play: Othello Speaker: Othello Context: Othello has just asked Iago for proof of Desdemona's unfaithfulness. Significance: Othello is beginning to be consumed by jealousy, but not completely. He still asks for proof of Desdemona's infidelity. What are the thoughts that are really poisoning Othello? He has been told that his wife is unfaithful, yet he believes his wife to be honest. He also believes Iago to be honest too though. This is where the real crisis comes, and he feels that he must distrust someone. He is being poisoned by Iago here.

But there, where I have garner'd up my heart, Where either I must live, or bear no life; The fountain from the which my current runs, Or else dries up; to be discarded thence! Or keep it as a cistern for foul toads To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipp'd cherubin,-- Ay, there, look grim as hell!

Play: Othello Speaker: Othello Context: Othello is confronting Desdemona and accusing her of infidelity in a jealous rage. Significance: Othello says to Desdemona that she is the one that is holding his hard. Now he feels no sense of nurturing, love, or positivity. fountain" meaning Desdemona as the source of Othello's potential children ("my current runs"). Patience would change color and look "grim as hell" at the thought of Desdemona's "fountain" being a "cistern for foul toads"

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 me 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 For she is with me: no, when light-wing'd toys Of feather'd Cupid seal with wanton dullness My speculative and officed instruments, 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.

Play: Othello Speaker: Othello Context: Othello is speaking to the Duke after Desdemona has revealed that the love is true Significance: Here, Othello says that he will not allow the love of Desdemona to get in the way of his duty as a soldier. Shows how Othello is too old to be heated by sexual desires but wants a spiritual connection like the one he has with Desdemona. Shows the blaming of females as scapegoats for ruining mens work.

Soft you; a word or two before you go. I have done the state some service, and they know't. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice: then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex'd in the extreme

Play: Othello Speaker: Othello Context: The truth has come out, Othello is going to be taken away but after this speech he kills himself Significance: Othello knows that they will report what has happened, he asks that they not exaggerate or use malice when describing him, but to make sure everyone knows he was driven to extreme jealousy by Iago It is less about the loss of Desdemona and more about the loss of his self. At the very end of his speech, he is divided in his anecdote. He is both the Turk and the Venetian.

Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. Set you down this; And say besides, that in Aleppo once, Where a malignant and a turban'd Turk Beat a Venetian and traduced the state, I took by the throat the circumcised dog, And smote him, thus.

Play: Othello Speaker: Othello Context: The truth has come out, Othello is going to be taken away but after this speech he kills himself. Significance: Othello compares himself to an uncivilized "Indian" throwing away a valuable pearl. As soon as Othello finishes speaking he stabs himself

'Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well; 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!

Play: Othello Speaker: Othello Context: This is Othello's response to Iago's previous speech about Desdemona potentially being unfaithful Significance: Othello says he is not going to get jealous over nothing. Just because Desdemona is warm, loving, and hungry shouldn't spur jealousy. Anticipation to Othello's distaste for uncertainty, won't be in a waking state. How do you prove someone's faithfulness?

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 labour;--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 shake me thus. Pish! Noses, ears, and lips. --Is't possible?--Confess--handkerchief!--O devil!--

Play: Othello Speaker: Othello Context: This is just before Othello's epileptic fit; Iago has just told him that Cassio and Desdemona have been sleeping together. Significance: Othello is degrading further. The thought of Desdemona's infidelity renders him incapable of normal speech and sends him into a fit. He is now less the man he was a the beginning of the play and more the man who murders Desdemona at the end of the play. Iago's poison has produced a divided self in Othello Also, "nature would not...without some instruction" means "It isn't natural that I would feel so strongly unless there were a cause", Othello convinces himself that the accusation is true Once Othello is persuaded that Desdemona is unfaithful, he begins to fall apart and is unable to articulate his position anymore. Iago says that this is part of the medicine that he has instilled in him.

My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And 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 pass'd, 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.

Play: Othello Speaker: Othello Context: Othello has been brought to the court and is explaining how he got Desdemona to fall in love with him. Significance: The implication of this speech contains a section in which the audience has to question whether Desdemona means she wants to be a man or whether she wants a man in her life. It is interesting how she responds. "She wish'd she had not heard it, yet she wish'd that heaven had made her such a man." There is indirect flirtation and reminds us of Beatrice in Much Ado About Nothing.

Speaker 1: It gives me wonder great as my content To see you here before me. O my soul's joy! If after every tempest come such calms, May the winds blow till they have waken'd death! And let the labouring 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. Speaker 2: The heavens forbid But that our loves and comforts should increase, Even as our days do grow! Speaker 1: Amen to that, sweet powers!

Play: Othello Speaker: Othello & Desdemona Context: Othello has just arrived on shore and is greeting Desdemona Significance: Othello expresses how this is the happiest he has ever been and wants stillness but Desdemona expresses an increase in happiness. Othello fears his heart will burst from that excess happiness. The passage shows Othello's attachment to keeping things still and right where they are.

Speaker 1: And yet, how nature erring from itself,-- Speaker 2: 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-- Foh! one may smell in such a will most rank, Foul disproportion thoughts unnatural. But pardon me; I do not in position Distinctly speak of her; though I may fear Her will, recoiling to her better judgment, May fall to match you with her country forms And happily repent.

Play: Othello Speaker: Othello & Iago Context: Iago is trying to convince Othello of Desdemona's unfaithfulness. Significance: Iago is trying to convince Othello that it is unnatural for Venetian women to love his blackness. What is the nature of attraction? Like to like or hidden temperament? Since Desdemona went after something unlike her she must be unnatural and strange. Soul connection between the two forgotten. Soon she will come back to her senses and react against her unnatural decision. Othello starts to think about what is natural for anybody's sense of attraction because Iago is emphasizing this. What is the nature of attraction? Is like drawn to like? Is the basis of attraction hidden? What Iago hits upon is how could she not go for all the Venetian men that are just like her? The fact that she didn't shows that she must be full of something monstrous and unnatural.

Speaker 1: Let him do his spite: My services which I have done the signiory Shall out-tongue his complaints. 'Tis yet to know,-- Which, when I know that boasting is an honour, 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 reach'd: for know, Iago, But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and confine For the sea's worth. But, look! what lights come yond? Speaker 2: Those are the raised father and his friends: You were best go in. Speaker 1: Not I I must be found: My parts, my title and my perfect soul Shall manifest me rightly. Is it they?

Play: Othello Speaker: Othello & Iago Context: Right before Othello's trial where he has been accused of using magic to make Desdemona fall in love with him and then marry him Significance: Shows how Othello is a calm and controlled character. Wholeness of Othello at the moment shows how divided he then becomes by Iago later on. Othello is exceedingly calm after hearing him called to the council. He has great confidence and cites his royal lineage. Later, this calmness and completeness of character will be divided by Iago's planted suspicion.

Whether thou best 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, The 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?

Play: The Tempest Speaker: Alonso Context: Significance:

You cram these words into mine ears against The stomach of my sense. Would I had never Married my daughter there! for, coming thence, My son is lost and, in my rate, she too, Who is so far from Italy removed I ne'er again shall see her. O thou mine heir Of Naples and of Milan, what strange fish Hath made his meal on thee?

Play: The Tempest Speaker: Alonso Context: Gonzalo keeps talking about the marraige of Alonso's daughter, and Alonso can't handle it anymore. He has given up hope on finding his son and is doubly pained by the marriage of his daughter. Significance: This passage reemphasizes the theme of loss that runs throughout the play and ties Alonso and Prospero together. Here, Alonso feels that he has lost both his daughter and his son because his daughter was just married in Italy and his son was lost in the storm.

Speaker 1: You the like loss? Speaker 2: As great to me as late; and, supportable To make the dear loss, have I means much weaker Than you may call to comfort you, for I Have lost my daughter. Speaker 1: A daughter? O heavens, that they were living both in Naples, The king and queen there! that they were, I wish Myself were mudded in that oozy bed Where my son lies. When did you lose your daughter?

Play: The Tempest Speaker: Alonso & Prospero Context: Significance:

Speaker 1: If thou be'st _____________, Give us particulars of thy preservation; How thou hast met us here, who three hours since Were wreck'd upon this shore; where I have lost-- How sharp the point of this remembrance is!-- My dear son Ferdinand. Speaker 2: I am woe for't, sir. Speaker 1: Irreparable is the loss, and patience Says it is past her cure. Speaker 2: I rather think You have not sought her help, of whose soft grace For the like loss I have her sovereign aid And rest myself content.

Play: The Tempest Speaker: Alonso & Prospero Context: Prospero has just revealed himself to the men. Alonso asks for proof that he is indeed Prospero, and begins mourning the loss of his son again. Prospero says he is also mourning the los of his daughter. Significance: Alonso and Prospero exchange that they have both lost children, but Prospero feels comfort. This sets up the resurrection. Prospero, who we've previously seen hint at his discomfort from losing Miranda, is now acknowledging that the loss of his daughter is upsetting him. He is mourning this transition.

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:

Play: The Tempest Speaker: Ariel Context: Ariel is speaking to Alonso, Sebastian, and Anotonio about their unkindliness towards Prospero and Miranda and their hopelessness at this point. Significance: Ariel sets up a great amount of guilt here.

To every article. I boarded the king's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I'ld divide, And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet and join. Jove's lightnings, the precursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake.

Play: The Tempest Speaker: Ariel Context: We see Prospero and Ariel talking about the tempest and the havoc Ariel caused aboard the ship. Significance: Ariel, who is associated with fire and air, is seen here with the ability to create sounds and cause a lot of damage. His character reminds us of Puck from A Midsummer Night's Dream

Speaker 1: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Burthen Ding-dong Hark! now I hear them,--Ding-dong, bell. Speaker 2: The ditty does remember my drown'd father. This is no mortal business, nor no sound That the earth owes. I hear it now above me.

Play: The Tempest Speaker: Ariel & Ferdinand Context: Ferdinand has just heard the music of the island. Significance: This is a different kind of perspective than what Prospero's speech gave. It says that something beautiful came from Alonso's death. This transformation or moving forward produces something beautiful through the song and the art. We really know that Alonso is alive, and Shakespeare might be hinting at the emotional transformation that Alonso is going through.

Speaker 1: When the sea is. Hence! What cares these roarers for the name of king? To cabin! Silence; trouble us not. Speaker 2: Good, yet remmeber whom thous hast aboard. Speaker 1: None that I more love than myself. You are a councillor; if you can command these elements to silence and work peace of the present, we will not hand a rope more. Use your authority.

Play: The Tempest Speaker: Boatswain & Gonzalo Context: The ship is caught in the storm and everyone aboard the ship is fearing for their lives. Significance: We are seeing that the aristocrats are placed below deck becuase they are in danger. What we have here is a contrast between the kind of power on the court where an adviser can advise a king and the boatswain in the storm who has authority over the boat and getting them out of the storm.

Why, as I told thee, 'tis a custom with him, I' th' afternoon to sleep: there thou mayst brain him, Having first seized his books, or with a log Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remember First to possess his books; for without them He's but a sot, as I am, nor hath not One spirit to command: they all do hate him As rootedly as I. Burn but his books. He has brave utensils,--for so he calls them-- Which when he has a house, he'll deck withal

Play: The Tempest Speaker: Caliban Context: Caliban is telling Stefano and Trinculo about Prospero and how they must go about taking him down. Significance: Prospero's library is the end goal of all of this. The books is where Prospero's power comes from, and, without them, he would be a "sot" like Caliban. One question to consider is whether Caliban would even be able to use these books if he obtained them?

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 sometime 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 riches Ready to drop upon me that, when I waked, I cried to dream again.

Play: The Tempest Speaker: Caliban Context: Stefano and Trinculo hear the noises of the isle and seem to become afraid. Here, Caliban tells them not to be afraid of the noises. Significance: Caliban best articulates the ways in which art can have a productive power. He is hearing the island's noises, which produces a dream in Caliban of riches—either material or freedom? When he wakes, what he wants is that dream world.

So they are; 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' the earth Let liberty make use of; space enough Have I in such a prison.

Play: The Tempest Speaker: Ferdinand Context: Ferdinand is reflecting on meeting Miranda and Prospero's threats towards him. Significance: To lose a father is natural, to lose a son is unnatural. Just by knowing that Miranda is there, Ferdinand is able to let go of his grief and forget about his father. Instead, he starts thinking of his future responsibilities.

Where should this music be? i' the air or the earth? It sounds no more: and sure, it waits upon Some god o' the 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 follow'd it, Or it hath drawn me rather. But 'tis gone. No, it begins again.

Play: The Tempest Speaker: Ferdinand Context: Ferdinand is wondering about the origins of the humming here. It could be from the god, earth, or an angelic choir. Significance: ??

Speaker 1: 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. She Is daughter to this famous Duke of Milan, Of whom so often I have heard renown, But never saw before; of whom I have Received a second life; and second father This lady makes him to me. Speaker 2: I am hers: But, O, how oddly will it sound that I Must ask my child forgiveness! Speaker 3: There, sir, stop: Let us not burthen our remembrance with A heaviness that's gone.

Play: The Tempest Speaker: Ferdinand, Alonso, and Prospero Context: Ferdinand tells his father of his love for Miranda. Significance: ???

I' the 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;--

Play: The Tempest Speaker: Gonzalo Context: Gonazlo is talking about what he would do if he were king of the isle. There is irony here because he says that there would be no sovereignty, yet he would be the "king" on it. Significance: It is the civilized Europeans who are in fact the barbaric. We have no touch of civilization at all in this golden utopia of Gonzalo. This is sort of a pristine natural world that is unsullied by all the corrupting influences of civilization.

All things in common nature should produce Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance, To feed my innocent people.

Play: The Tempest Speaker: Gonzalo Context: Gonzalo is talking about the commonwealth he would make of the island were he king of it. Significance: Without the corrupting influences of civilization, people would be innocent and wouldn't need to be evil. What's ironic is that he believes his discourse by saying; "I would execute all things" which makes him a ruler. This may imply a plantation economy where the ruler is elsewhere and still reaps the profit. The scene that follows us is the scene of treason, which shows that political corruption is already present.

Beseech you, sir, be merry; you have cause, So have we all, of joy; for our escape Is much beyond our loss. Our hint of woe Is 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.

Play: The Tempest Speaker: Gonzalo Context: Gonzalo is trying to console Alonso about his loss of Ferdinand. Significance: ???

Speaker 1: I' the name of something holy, sir, why stand you In this strange stare? Speaker 2: O, it is monstrous, monstrous: Methought the billows spoke and told me of it; The winds did sing it to me, and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i' the ooze is bedded, and I'll seek him deeper than e'er plummet sounded And with him there lie mudded.

Play: The Tempest Speaker: Gonzalo & Alonso Context: Ariel has just reminded Alonso, Sebastian, and Antonio of what they did to Prospero and told Alonso that Ferdinand is in "lingering perdition--worse than any death can be at once". Here, Alonso is in awe of what he just saw, calling it "monstrous". Significance: This passage again adds to the theme of loss in the play. Alonso believes Ferdinand is dead. He feels very guilty for this loss and says he will "seek him deeper" and lie with him "mudded".

Speaker 1: Abhorred 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 endow'd 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. Speaker 2: 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!

Play: The Tempest Speaker: Miranda & Caliban Context: As Prospero and Caliban are going back and forth, Miranda chimes in about Caliban's "vile race" and his barbaric attitude. Significance: This passage makes us consider whether Caliban can take learning or is just a stubborn, resistant savage. Caliban was able to learn language from Miranda and yet she insists that he is not able to learn goodness. He has a stubbornly bad nature she says—he is resistant on the moral level. On the other hand, we see that Caliban uses his language to fight against his colonization. It is the only way he has to answer back to them. This particular question of whether Caliban is stubbornly resistant to civilization or capable to learning applies to European colonization. NOTE: Many editors give this speech to Prospero because they can't imagine that Miranda would say such a thing.

Speaker 1: O dear father, Make not too rash a trial of him, for He's gentle and not fearful. Speaker 2: What? I say, My foot my tutor? Put thy sword up, traitor; Who makest a show but darest not strike, thy conscience Is so possess'd with guilt: come from thy ward, For I can here disarm thee with this stick And make thy weapon drop. Speaker 1: Beseech you, father. Speaker 2: Hence! hang not on my garments. Speaker 1: Sir, have pity; I'll be his surety.

Play: The Tempest Speaker: Miranda & Prospero Context: Prospero is questioning Ferdinand intensely, and Miranda feels sorry for Ferdinand and is pleading for her father to stop. Significance: Any kind of rebellion on the part of the daughter has been framed/predetermined by Prospero. He sets up these false obstacles to make their marriage happen.

Speaker 1: Alack, what trouble Was I then to you! Speaker 2: O, a cherubim Thou wast that did preserve me. Thou didst smile. Infused with a fortitude from heaven, When I have deck'd the sea with drops full salt, Under my burthen groan'd; which raised in me An undergoing stomach, to bear up Against what should ensue.

Play: The Tempest Speaker: Miranda & Prospero Context: Prospero is telling the story of how they ended up on the isle. Miranda feels as though she was a burden to Prospero, but Prospero says she is what kept him strong and happy during that trying time. Significance: We see the relationship between Prospero and Miranda here; this sets the scene for Prospero's feeling of loss after Miranda becomes engaged to Ferdinand.

A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost; And as with age his body uglier grows, So his mind cankers. I will plague them all, Even to roaring.

Play: The Tempest Speaker: Prospero Context: Ariel and Prospero are plotting to catch Caliban, Stefano, and Trinculo stealing. Significance: We get a sense that Caliban is beyond the natural course of events. Prospero despairs because he thinks Caliban is someone uneducable.

And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to the quick, Yet with my nobler reason 'gaitist my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel: My charms I'll break, their senses I'll restore, And they shall be themselves.

Play: The Tempest Speaker: Prospero Context: Ariel has just told Prospero about the men on the island who are despairing. Significance: ???

Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescience I 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:

Play: The Tempest Speaker: Prospero Context: Miranda asks why he brought the shipwrecked sailors and royalty to the isle. Prospero says his plan depends on a "most auspicious star" and Miranda should go to sleep. Significance: There is a complex cooperation between the kind of power Prospero has and what cosmic, larger powers that he must work within. This passage shows us that there is an understanding that any figure who has this power within this period must work within this framework of nature.

Our revels now are ended. 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-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye 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. Sir, I am vex'd;

Play: The Tempest Speaker: Prospero Context: Prospero has just interrupted the masque in a fit of passion. In this speech following his interruption, he thinks about the insubstantiality of everything as well as magical art. Significance: The Tempest intimates again and again that art has a great deal of power—is transformational, productive, and inspirational. We can think about the impact of art and theater when Ariel uses music to guide Ferdinand along. "The Great Globe" → The Globe theatre. Is this self-referential? Hinting at Shakespeare's retirement? He says performances have no lasting power, but we can read this as ironic because Shakespeare has a great legacy.

Ye elves of hills, brooks, standing lakes and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid, Weak masters though ye be, I have bedimm'd The noontide sun, call'd forth the mutinous winds, And 'twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire, and rifted Jove's stout oak With his own bolt; the strong-based promontory Have I made shake, and by the spurs plucked up The pine and cedar; graves at my command Have waked their sleepers, oped, and let'em forth By my so potent art. But this rough magic I 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

Play: The Tempest Speaker: Prospero Context: Prospero has just told Ariel to release the men. He said he would release his charms and restore their senses. Significance: We have a parallel here with a father imagining a son very deep, and Prospero imagining his books and staff very deep. Prospero's limitations as a man and father make him sacrifice his magic for Miranda. He must yield what he has been able to do on the island to return to Milan and take back his position for Miranda.

My brother and thy uncle, call'd 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. Thy false uncle-- Dost thou attend me?

Play: The Tempest Speaker: Prospero Context: Prospero is explaining to Miranda that he used to be Duke of Milan and what happened. Significance: Prospero is on the island because of mismanaged government. He was in a position of power and was ousted. He was an excellently well educated governor, was powerful, excelled in the liberal arts, trusted in his brother above all else. He gave his brother the management of estate because he wanted to devote himself completely to study, therefore removing himself from the political world.

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

Play: The Tempest Speaker: Prospero Context: Prospero is explaining to Miranda what happened to him being Duke of Milan...Once his brother gained the government, he changed. Antonio found a way to new-create his own subjects to get them to follow him instead of Prospero. Significance: Prospero translates this usurpation into a parasitic relationship—Antonio has been able to take the power from Prospero but still relies on the true princely trunk of Prospero himself.

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 great As my trust was; which had indeed no limit, A confidence sans bound.

Play: The Tempest Speaker: Prospero Context: Prospero is explaining what happened to him being Duke of Milan. Significance: Prospero recognizes that what he did what neglectful. Prospero trusted him so much that it created distrust within Antonio for him. Are these negative qualifies produced by nurture or there by nature? This question runs throughout the play.

This blue-eyed hag was hither brought with child And here was left by the sailors. Thou, my slave, As thou report'st thyself, wast then her servant; And, for thou wast a spirit too delicate To act her earthy and abhorr'd 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 Imprison'd thou didst painfully remain A dozen years; within which space she died

Play: The Tempest Speaker: Prospero Context: This is a response to Ariel asking Propsero for freedo. Prospero is describing Sycorax, who Ariel used to be under the control of. Significance: Prospero thinks that under his rule, he only gives the actions to Ariel that are generous and more moral. He compares himself to Sycorax to make him the more ethical ruler. We can see Ariel as merely instrumental as an extension of the ruler's power—almost as a spy. Later in the play, we see that he seems to function as Prospero's conscience.

Speaker 1: How now? moody? What is't thou canst demand? Speaker 2: My liberty. Speaker 1: Before the time be out? no more! Speaker 2: I prithee, Remember I have done thee worthy service; Told thee no lies, made thee no mistakings, served Without or grudge or grumblings: thou didst promise To bate me a full year. Speaker 1: Dost thou forget From what a torment I did free thee?

Play: The Tempest Speaker: Prospero & Ariel Context: Ariel has performed the task that Prospero assigned and now wants his freedom. Prospero thinks Ariel is ungrateful. Significance: Ariel appears to be a kind of indentured servant to Prospero, and in their back-and-forths, we can see the frustration that Prospero feels as governor on the island. If we pay attention to Ariel's language, we see that he wants his liberty. Prospero emphasizes that he loyalty and gratitude though. We see a hint of his anger in this passage.

Speaker 1: Now does my project gather to a head. My charms crack not, my spirits obey, and time Goes upright with his carriage. How's the day? Speaker 2: On the sixth hour; at which time, my lord, You said our work should cease. Speaker 1: I did say so When first I raised the tempest. Say my spirit, How fares the King and his followers? Speaker 2: Confined together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, In the lime-grove which weather-fends your cell.

Play: The Tempest Speaker: Prospero & Ariel Context: Prospero has just entered in his magic robes and is speaking to Ariel about his trickery drawing to a head. Significance: Prospero has no charms and no spirits to command. He puts us in the position of having magic. Can we release him so that he can resume his role in Milan? This moment suggests that magic isn't just a symbol, but that it is fluid and individual people can bring about big changes. Is this for the right passage?

Speaker 1: Dull thing, I say so; he, that Caliban Whom now I keep in service. Thou best know'st What torment I did find thee in; thy groans Did make wolves howl and penetrate the breasts Of ever angry bears: it was a torment To lay upon the damn'd, which Sycorax Could not again undo: it was mine art, When I arrived and heard thee, that made gape The pine and let thee out. Speaker 2: I thank thee, master. Speaker 1: If thou more murmur'st, I will rend an oak And peg thee in his knotty entrails till Thou hast howl'd away twelve winters.

Play: The Tempest Speaker: Prospero & Ariel Context: Prospero is scolding Ariel for being "ungrateful" to the one who rescued him from Sycorax. Significance: Even though Prospero is differentiating himself from Sycorax, he actually uses very similar tactics to get Ariel to do what he wants him to do. Prospero uses a threat (approach of fear) here to make Ariel do what he wants.

Speaker 1: Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt best, To answer other business. Shrug'st thou, malice? If thou neglect'st or dost unwillingly What I command, I'll rack thee with old cramps, Fill all thy bones with aches, make thee roar That beasts shall tremble at thy din. Speaker 2: No, pray thee. (Aside) - I must obey: his art is of such power, It would control my dam's god, Setebos, and make a vassal of him.

Play: The Tempest Speaker: Prospero & Caliban Context: Prospero and Caliban are going back and forth fighting with each other. Here, Caliban says he learned language and his gain is that he may now curse Prospero. Significance: Caliban might possess a religion separate from Prospero's that is outside the Christian community. Perhaps there is a repression of Caliban's beliefs. Here, Caliban says that he learned the language of Prospero, but he may not spell with such language. Some critics might think that here, Prospero is setting himself up as a kind of God.

Speaker 1: Thou most lying slave, Whom stripes may move, not kindness! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child. Speaker 2: O ho, O ho! would't had been done! Thou didst prevent me; I had peopled else This isle with Calibans.

Play: The Tempest Speaker: Prospero & Caliban Context: Prospero gives us a different view of his and Caliban's relationship and what caused it to crumble. Caliban says Prospero just turned his back on him for no reason, but this passage makes us question if Caliban actually tried to take advantage of Miranda. Significance: If this passage insists that Caliban tried to rape Miranda, should we view it as a natural instinct of him or a sexual awakening? Do these aspects make him seem more or less human?

Speaker 1: All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em. Speaker 2: I must eat my dinner. This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest 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 show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms 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' the island.

Play: The Tempest Speaker: Prospero & Caliban Context: Prospero has called Caliban from dinner & Caliban is being stubborn and not coming forth. Prospero threatens him with pain, and Caliban replies back that the island is rightfully his own. Significance: We see here both the relationship between Prospero and Caliban, as well as Caliban's relationship with the island. He feels a kinship with other creatures. There is something about the island that fits his disposition.

Speaker 1: Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! Speaker 2: As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both! a south-west blow on ye And blister you all o'er!

Play: The Tempest Speaker: Prospero & Caliban Context: Prospero is calling Caliban forth. Significance: Caliban is cursing them, angry that he's been drawn away from dinner. What we see here is a kind of witches speech. It reminds us of the witches speaking in Macbeth. There are "ingredients" that can be used for a spell and he is knowledgeable of winds.

Speaker 1: 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 the most of men this is a Caliban And they to him are angels. Speaker 2: My affections Are then most humble; I have no ambition To see a goodlier man. Speaker 1: Come on; obey: Thy nerves are in their infancy again And have no vigour in them.

Play: The Tempest Speaker: Prospero & Miranda Context: Miranda was trying to defend Ferdinand, and Prospero is telling her to stop...which makes her want to rebel and help Ferdinand even more. Significance: Prospero is generating a drama here to show that the stakes are high. Prospero is concocting a division between these two lovers because that is the romance plot. He is taking advantage of Miranda's innocence. Many of the hopes, desires, and emotional tensions of The Tempest are the hopes, desires, and emotional tensions of being a father

Speaker 1: Be collected. No more amazement. Tell your piteous heart there's no harm done. Speaker 2: O, woe the day! Speaker 1: No harm. I have done nothing but in care of thee, of thee, my dear one, thee, my daughter, who art ignorant of what thou art, nought knowing of whence I am, nor that I am more better than ???, master of a full poor cell, And thy no greater father.

Play: The Tempest Speaker: Prospero & Miranda Context: This is the first appearance of Prospero and Miranda, and it lets the audience know what their relationship is. Miranda is pleading for Prospero to allay the storm because she saw the ship in the storm. Significance: Prospero is also limited by his own emotions. He is driven by passion, especially his anger and his fondness for his daughter. He had a political position and she isn't aware of the narrative that took place before they arrived on the island. There has been an omission in her education that she has no idea where she came from and why they are there.

Speaker 1: I had forgot that foul conspiracy Of the beast Caliban and his confederates Against my life: the minute of their plot Is almost come. To the Spirits Well done! avoid; no more! Speaker 2: This is strange: your father's in some passion That works him strongly. Speaker 3: Never till this day Saw I him touch'd with anger so distemper'd.

Play: The Tempest Speaker: Prospero, Ferdinand, Miranda Context: Prospero has just interrupted the masque and is visibly angered. Significance: Prospero has a disruption of emotion and passion during this masque. Part of his vexation is that he forgot all about Caliban's plot, and part of the reason that he might be upset in the midst of a marriage masque is that he might be upset about losing his daughter.

What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish- like 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 lazy out ten to see a dead Indian. Legged like a man and his fins like arms!

Play: The Tempest Speaker: Trinculo Context: Trinculo is describing Caliban to the audience. Significance: We get a specific description of Caliban. Caliban is being configured as an amphibian. We might think that he slips down below the category of human. Is he a human? Fish? Tortoise?

Foolery, sir, does walk about the orb like the sun, it shines every where. I would be sorry, sir, but the fool should be as oft with your master as with my mistress: I think I saw your wisdom there.

Play: The Twelfth Night Speaker: Feste Context: Viola is asking Feste about himself and his being a fool for both Olivia and Orsino. Significance: Feste shows that foolery lies in his language.

Speaker 1: Good madonna, why mournest thou? Speaker 2: Good fool, for my brother's death. Speaker 1: I think his soul is in hell, madonna. Speaker 2: I know his soul is in heaven, fool. Speaker 1: The more fool, madonna, to mourn for your brother's soul being in heaven. Take away the fool, gentlemen.

Play: The Twelfth Night Speaker: Feste and Olivia Context: Feste, who is a fool, is making a fool out of Olivia. Significance: Feste says to Olivia that she is the fool to focus on the material instead of the spiritual. He says that her brother is in heaven so there is no need to mourn. We see here that Olivia is too focused on material things instead of emotion.

I marvel your ladyship takes delight in such a barren rascal: I saw him put down the other day with an ordinary fool that has no more brain than a stone. Look you now, he's out of his guard already; unless you laugh and minister occasion to him, he is gagged. I protest, I take these wise men, that crow so at these set kind of fools, no better than the fools' zanies.

Play: The Twelfth Night Speaker: Malvolio Context: Feste has just told Olivia that she is a fool for mourning the loss of her brother, who is now in heaven. Significance: Malvolio criticizes Feste here, calling him a "barren rascal" that is an artificial fool. This passage incites Feste to want to take revenge on Malvolio later in the play. Feste is dependent on an audience. He needs to be taken care of. He cannot be the fool unless he has someone to pay attention to him. He needs the audience

Speaker 1: There is example for't; the lady of the Strachy married the yeoman of the wardrobe. Speaker 2: Fie on him, Jezebel! Speaker 3: O, peace! now he's deeply in: look how imagination blows him. Speaker 1: Having been three months married to her, sitting in my state,-- Speaker 4: O, for a stone-bow, to hit him in the eye! Speaker 1: Calling my officers about me, in my branched velvet gown; having come from a day-bed, where I have left Olivia sleeping,-- Speaker 4: Fire and brimstone! Speaker 3: O, peace, peace! Speaker 1: And then to have the humour of state; and after a demure travel of regard, telling them I know my place as I would they should do theirs, to for my kinsman Toby,-- Speaker 4: Bolts and shackles! Speaker 3: O peace, peace, peace! now, now. Speaker 1: Seven of my people, with an obedient start, make out for him: I frown the while; and perchance wind up watch, or play with my--some rich jewel. Toby approaches; courtesies there to me,--

Play: The Twelfth Night Speaker: Malvolio, Sir Andrew, Fabian, Sir Toby Context: Sir Andrew, Sir Toby, and Fabian are spying on Malvolio in Olivia's garden. Malvolio is dreaming about being married to Olivia and having power over the three of them. Significance: Again, we see Malvolio's class ambitions here. He wants to marry Olivia more because he would have control of Sir Andrew and Sir Toby than because he would be marrying fair Olivia.

The devil a puritan that he is, or any thing constantly, but a time-pleaser; an affectioned ass, that cons state without book and utters it by great swarths: 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.

Play: The Twelfth Night Speaker: Maria Context: Her reaction to Malvolio trying to break up the party. Significance: Malvolio is just doing his job, but as a result he is spoiling the fun of Maria, Sir Andrew and Sir Toby. In essence he is being a spoilsport. Maria makes a reference to Malvolio being a puritan because he is so against the festivities they are having, similar to the clash between puritan culture and the more festive catholic culture They recognize that Malvolio's class aspirations are so strong that he is imagining the possibility that he could marry Olivia

O, sir, I will not be so hard-hearted; I will give out divers schedules of my beauty: it shall be inventoried, and every particle and utensil labelled to my will: as, item, two lips, indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me?

Play: The Twelfth Night Speaker: Olivia Context: Olivia is resisting Orsino's praise. Significance: Olivia is clever in her response to Cesario and is playing with the Petrarchan language. She shows some obsessiveness of death. It reminds us of an inventory you would see in a will. We are reminded again that she is mourning her brother. She is insistent that Cesario get off script. She doesn't want to hear what Orsino has to say, she wants to hear what Cesario would say to woo her.

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 pipe Is 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.

Play: The Twelfth Night Speaker: Orsino Context: Orsino is sending Viola (Cesario) to Olivia to woo for him. Significance: Orsino is pointing out the womanly qualities of Cesario and claiming that they will help with the delivery of Orsino's message. Making connections to the same sex bonding throughout the play. Also the cliche body language that Shakespeare mocks throughout the play. Does melancholy make people in the play seem more attractive?

O, 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 shaft Hath killed the flock of all affections else That live in her—when liver, brain, and heart, These sovereign thrones, are all supplied, and filled Her sweet perfections with one self king!

Play: The Twelfth Night Speaker: Orsino Context: Valentine has just told him about Olivia's grief for her brother. Significance: Those who are mourning in this play seem more attractive. Orsino's logic in this scene is strange and creepy. He is saying that if she can love a brother like this, how is she going to love when he fills her up with his "rich golden shaft". This kind of complete consummation of love for her, when she accepts it, will transform her entirely. He thinks that he will attain this intense love when she transfers his love to her. Again, we see a good example of displacement/replacement within the play.

Cesario, come; For so you shall be, while you are a man; But when in other habits you are seen, Orsino's mistress and his fancy's queen

Play: The Twelfth Night Speaker: Orsino Context: Viola has revealed herself to be a girl and everyone is starting to pair off. Significance: Orsino insists that until he actually sees Viola dressed in her womanly clothes, he will call her Cesario. Here, we see the pairing of Orsino and Cesario (two men).

So comes it, lady, you have been mistook: But nature to her bias drew in that. You would have been contracted to a maid; Nor are you therein, by my life, deceived, You are betroth'd both to a maid and man.

Play: The Twelfth Night Speaker: Sebastian Context: Viola has revealed her disguise as Cesario. Significance: "But nature to her bias drew in that." → A reference to a game of bowls where the balls curve. So he is saying that nature corrected the problem of Olivia liking a girl (Cesario). Other critics say that the sameness that Olivia saw in Cesario of her being an actual women is what she was actually been attracted to.

Out o' tune, sir: ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale?

Play: The Twelfth Night Speaker: Sir Toby Context: Malvolio is trying to break up the little party Sir Toby is having in Olivia's house. Significance: Malvolia has blatant class ambitions, wants to rise in status from that of a steward. He dreams of exercising power over those presently higher in status than him. Sir Toby Belch does not like this at all. This also represents a clash of Puritans vs. Catholics. Puritans were against festivities (Malvolio) and the Catholics likes their parties (Sir Toby Belch). This is a historical representation of what was going on at the time in England.

To him in thine own voice, and bring me word how thou findest him: I would we were well rid of this knavery. If he may be conveniently delivered, I would he were, for I am now so far in offence with my niece that I cannot pursue with any safety this sport to the upshot.

Play: The Twelfth Night Speaker: Sir Toby Context: Maria, Feste, and Sir Toby continue to mess with Malvolio, who is in a dark room and bound. Significance: The tone of this comedy becomes very dark in this scene--almost turning it into a tragedy. This complicates the satiric plot. Sir Toby realizes that the plot is starting to get dark and ugly.

Speaker 1: O, ay, make up that: he is now at a cold scent. Speaker 2: Sowter will cry upon't for all this, though it be as rank as a fox. Speaker 3: M,--Malvolio; M,--why, that begins my name. Speaker 2: Did not I say he would work it out? the cur is excellent at faults. Speaker 3: M,--but then there is no consonancy in the sequel; that suffers under probation A should follow but O does. Speaker 2: And O shall end, I hope. Speaker 1: Ay, or I'll cudgel him, and make him cry O! Speaker 3: And then I comes behind. Speaker 2: Ay, an you had any eye behind you, you might see more detraction at your heels than fortunes before you. Speaker 3: M, O, A, I; this simulation is not as the former: and yet, to crush this a little, it would bow to me, for every one of these letters are in my name. Soft! here follows prose.

Play: The Twelfth Night Speaker: Sir Toby, Fabian, Malvolio Context: They are in Olivia's garden spying on Malvolio who has just found the letter they planted there. Significance: Malvolio gets punished because he is inflexible. He sees himself in the letter because he adheres strictly to what the letter says. It is important to think about what the trick actually does—it turns him into a fool.

"The element itself till seven years' heat Shall not behold her face at ample view, But like a cloistress she will veilèd 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 fresh And lasting in her sad remembrance."

Play: The Twelfth Night Speaker: Valentine Context: Valentine has just entered and is commenting on the emotional state of Olivia to Orsino. Significance: We are supposed to see Olivia's grief is excessive. She keeps fresh her mourning and her love for her brother. The play makes it clear that there is a lot of societal pressure for Olivia to return to society (aka get married) because it is seen as unnatural for her to be away for so long.

This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, cheque at every feather That comes before his eye. This is a practise

Play: The Twelfth Night Speaker: Viola Context: Viola and Feste are talking about foolery. Here, Viola says being a fool takes flexibility of wit and the ability to read people. Significance: Feste pays attention to the decorum and responds to it, whereas Malvolio is more rigid and doesn't understand this flexibility of wit. Feste also suggests that the festivity in this play perhaps comes from language and wit. One of the things that he does quite well is to use language and wit to mock others and find ways to transgress in the moment.

If nothing lets to make us happy both But this my masculine usurp'd attire, Do not embrace me till each circumstance Of place, time, fortune, do cohere and jump That I am Viola: which to confirm, I'll bring you to a captain in this town, Where lie my maiden weeds;

Play: The Twelfth Night Speaker: Viola Context: Viola has revealed her disguise as Cesario. Significance: Viola says she will not hug Sebastian until she looks like a girl again. Why would Shakespeare want to keep them at a distance? There is also a ridiculous complication that she can't get her women's clothes. What does this assert about gender within the play?

O that I served that lady, And might not be delivered to the world Till I had made mine own occasion mello, What my estate is.

Play: The Twelfth Night Speaker: Viola Context: Viola is talking about how Olivia has been cloistered and seems to wish that she were in Olivia's position. Significance: The play is asking us to question what would it mean for her to know what her estate is? To her, it means a combination of things. She is distanced from her societal hierarchy and must figure out where she is socially and emotionally. She goes to Orsino's house as a man, to serve as a messenger and protect herself sexually. She desires to be around another woman that is mourning What does "estate" mean here? -> social standing, property, state of existence?

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!' O, You should not rest Between the elements of air and earth, But you should pity me!

Play: The Twelfth Night Speaker: Viola (Cesario) Context: Viola has come to woo Olivia, but Olivia is only becoming more interested in Viola rather than Orsino. Here, Viola (as Cesario) performs a romantic speech to Olivia. Significance: What was the inspiration for Cesario's speech? Is she imagining Orsino wooing her? Again, there is displaced desire here. It is also an expression of grief. There is a lack that Viola is missing that produces this desire on the part of both Orsino and Viola of fulfilling something. There's something quite sad about this speech. Willows were seen as a sense of mourning. Relates to the myth of Narcissus. Echo fell in love with Narcissus. Cesario is seen as both of them. It symbolizes grieving and mourning for the other half.

Most radiant, exquisite and unmatchable beauty,--I pray you, tell me if this be the lady of the house, for I never saw her: I would be loath to cast away my speech, for besides that it is excellently well penned, I have taken great pains to con it.

Play: The Twelfth Night Speaker: Viola (Cesario) Context: Viola is wooing Olivia for the first time (for Orsino). Significance: He has come in with a script and is ready to deliver the script. We find that Olivia has heard this script time and time again and is bored by it. Cesario then accuses her of being a cruel mistress.

Speaker 1: My father had a daughter loved a man, As it might be, perhaps, were I a woman, I should your lordship. Speaker 2: And what's her history? Speaker 1: A blank, my lord. She never told her love, But let concealment, like a worm i' the 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.

Play: The Twelfth Night Speaker: Viola and Orsino Context: Orsino has just declared how a woman's love could never match the same intensity of a man's love. Cesario objects and tells this story. Part of what is being articulated is her own position as a woman who is capable of great love. Significance: This is both her being in love with Orsino but it is also wanting to keep fresh the memory of her brother. There is imbedded grief in this play. - Green and yellow melancholy - She sat like patience on a monument. - A monument would be a kind of statue memorializing the dead. - Patience was told to people who were grieving. Viola argues that men's love is in their words but does not compare to the real love of women. Viola is in a trap because she is caught in her disguise. Is she more emotionally trapped than anything? Arguably, she has an attachment to Cesario, because it reminds her of Sebastian.

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