17 Final

die

"cease living," "have an orgasm"

chiasmus

"crossing" in syntax; mirroring of items in reverse order

deictics

"verbal pointers;" building a place through language; words that chart positions and relations within the fiction of the play, in order to locate the characters within an imaginary space, time, and society; ex: "here," "after," "I," "thou"

(1) Still choiring to the young eyed cherubim. Such harmony is in immortal souls, But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. --Come, ho! And wake Diana with a hymn. With sweetest touches pierce your mistress' ear And draw her home with music. (2) I am never merry when I hear sweet music. (1) The reason is, your spirits are attentive; for do but note a wild and wanton herd Or race of youthful and unhandled colts Fetching mad bounds, bellowing, and neighing loud, Which is the hot condition of their blood: If they do but perchance a trumpet sound, Or any air of music touch their ears, You shall perceive them make a mutual stand, Their savage eyes turned to a modest gaze By the sweet power of music. Therefore th poet Did feign that Orpheus drew trees, stones, and floods, Since naught so stockish, hard, and full of rage But music for the time doth change his nature. The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus. Let no such man be trusted! Mark the music. (3) That light we see is burning in my hall; How far that little candle throws his beams! So shines a good deed in a naughty world. (4) When the moon shone we did not see the candle. (3) So doth the greater glory dim the less. A substitute shines brightly as a king Until a king be by, and then his state Empties itself as doth an inland brook Into the main of waters.

MOV (5.1.62-95), Lorenzo (1) Jessica (2) Portia (3) Nerissa (4), this scene illustrates the notion of discordia concors (a harmony built from individual discords drawn into a greater agreement) --> Lorenzo here articulates a theory of universal beauty, the universe as a complex finely tuned musical instrument with human music merely directing us to the music that's constantly all around us (a modulation late in the play shifting from the discord that has characterized the play up to this point into harmony); the comment about Shylock ("the man that hath no music in himself" suggests that Shylock cannot be trusted because he cannot be penetrated by this universal beauty)

(1) When shall we three meet again? In thunder, lightning, or in rain? (2) When the hurly-burly's done, When the battle's lost and won. (3) That will be ere the set of sun. (1) Where the place? (2) Upon the heath. (3) There to meet with Macbeth. (1) I come, Grimalkin! (All) Paddock calls anon! Fair is foul, and foul is fair, Hover through the fog and filthy air

Macbeth (1.1.1-12), First/Second/Third Witch, establishes a connection between the witches and nature --> the atmosphere of the stage is shared with the audience, atmosphere as a connecting device between audience and stage (deictics --> would have been staged during day time but the language of the witches establishes a spooky atmosphere)

But 'tis strange, And oftentimes to win us to our harm, The instruments of darkness tell us truths, Win us honest trifles, to betray's In deepest consequence.

Macbeth (1.3.124-128), Banquo, In these lines Banquo reasserts difference in the witches' indifference and tries to warn Macbeth (Banquo represents a good character)

(1) The instruments of darkness tell us truths, Win us with honest trifles, to betray's In deepest consequence. --Cousins, a word, I pray you. (2) [Aside] Two truths are told, As happy prologues to the swelling act Of th'imperial theme. --I thank you, gentlemen. [Aside] This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs Against the use of nature? ... That function is mothered in surmise

Macbeth (1.3.126-138), Banquo (1) Macbeth (2), this scene illustrates Macbeth's understanding of the corrupting influence of the witches; he is concerned with the relationship between imagination and reason (reason becomes smothered by imagination --> imagination as violent in MB) Nobody tells Macbeth that he has to murder to get the crown, he makes that assumption on his own, this suggests a preposterous cause and effect sequence.

(1) So foul and fair a day I have not seen. (2) How far is't called to Forres? What are these, So withered and so wild in their attire, That look not like th'inhabitants o'th' earth, And yet are on't? -- Live you? Or are you aught That man may question? You seem to understand me By each at once her choppy finger laying Upon he skinny lips. You should be women, And yet your beards forbid me to interpret That you are so. (1) Speak, if you can. What are you? (3) All hail, ______! Hail to thee, Thane of Glamis! (4) All hail, ______! Hail to thee, Thane of Cawdor! (5) All hail, ______, that shall be king hereafter! (2) Good sir, why do you start and seem to fear Things that do sound so far? -- I'th' name of truth, Are ye fantastical or that indeed Which outwardly ye show? My noble partner You greet with present grace and great prediction Of noble having and of royal hope That he seems rapt withal. To me you speak not. If you can look into the seeds of time And say which grain will grow and which will not, Speak then to me, who neither beg nor fear Your favors nor your hate. (3) Hail! (4) Hail! (5) Hail! (3) Lesser than Macbeth, and greater. (4) Not so happy, yet much happier. (5) Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo! (3) Banquo and Macbeth, all hail! (1) Stay, you imperfect speakers, tell me more. By Finel's death I know I am Thane of Glamis, But how of Cawdor? The Thane of Cawdor lives, A prosperous gentleman, and to be king Stands not within the prospect of belief, No more than to be Cawdor. Say from whence You owe this strange intelligence, or why Upon this blasted heath you stop our way With such prophetic greeting. Speak, I charge you! [3/4/5 vanish] (2) The earth hath bubbles as the water has, And these are of them. Whither are they vanished? (1) Into the air. And what seemed corporal Melted as breath into the wind. Would they had stayed.

Macbeth (1.3.38-82), Macbeth (1) Banquo (2) Witches (3/4/5, respectively), not only do the witches have a supernatural mastery over the atmosphere but they are themselves part of it --> choose to appear in relatively solid form and then return to the atmosphere when they choose, the witches act as a contaminant in the air (which spreads to Macbeth, who spreads it to Lady Macbeth)

(1) Oh, wilt thou leave me so unsatisfied? (2) What satisfaction canst thou have tonight? (1) Th'exchange of thy love's faithful vow for mine. (2) I gave thee mine before thou didst request it, And yet I would it were to give again. (1) Wouldst thou withdraw it? For what purpose, love? (2)But to be frank and give it to thee again; And yet I wish but for the thing I have. My bounty is as bloundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite.

R&J (2.1.167-177), Romeo (1) Juliet (2), this is an example of how Juliet's love is something new: she found it within herself like a well that only flows more the more she digs. She is not the Petrarchan object of desire unto whom love is being inflicted externally: she's finding it internally making her bigger on the inside than the outside because she has so much to give (she's talking about love in completely new ways than it has been discussed in Petrarch or Romeo's speech)

morality play

16th century allegorical drama in which an "everyman" figure is tempted by a "vice" character and is rebuked by a "virtue" (eg Doctor Faustus)

(1) Now, fair ______, our nuptial hour Draws on apace. Four happy days bring in Another moon; but, oh, methinks, how slow This old moon wanes! She lingers my desires Like to a stepdame or a dowager Long withering out a young man's revenue. (2) Four days will quickly steep themselves in night; Four nights will quickly dream away the time; And then the moon--like to a silver bow Now bent in heaven--shall behold the night Of our solemnities (1) Go, Philostrate, Stir up the Athenian youth to merriments, Awake the pert and nimble spirit of mirth, Turn melancholy forth to funerals; The pale companion is not for our pomp. ____, I wooed thee with my sword And won thy love doing thee injuries; But I will wed thee in another key, With pomp, with triumph, and with reveling. (3) Happy be ______, our renowned duke! (1) Thanks, good ____. What's the news with thee?

A Midsummer Night's Dream (1.1.1-21), Theseus (1) Hippolyta (2) Egeus (3), deictics (Theseus addresses Hippolyta using her proper names, shows a level of formality), then shifts to happiness (mirth and celebration), he also uses a paradox to describe their relationship (won thy love doing thee injuries) but is trying to shift to a purely romantic wedding; *example of connection between modulation and metamorphosis * --> changing something without altering the core (making Hippolyta into a happy wife from a prisoner of war)

(1) Now, what news on the Rialto? (2) Why, yet it lives there unchecked that Antonio hat a ship of rich lading wrecked on the narrow seas--the Goodwins I think they call the place, a very dangerous flat, and fatal, where the carcasses of many a tall ship lie buried, as they say, if my gossip Report be an honest woman of her word. (1) I would she were as lying a gossip in that as ever knapped ginger or amde her neighbors believe she wept for the death of a third husband. But it is true, without any slips of prolixity or crossing the plain highway of talk, that the good Antonio, the honest Antonio--oh, that I had a title good enough to keep his name company-- (2) Come, the full stop. (1) Ha, what sayest thou? Why the end is, he hath lost a ship. (2) I would it might prove the end of his losses (1) Let me say amen betimes lest the devil cross my prayer, for here he comes in the likeness of a Jew. --How now, Shylock, what news among the merchants? (3) You knew, none so well, none so well as you, of my daughter's flight. (2) That's certain. I, for my part, knew the tailor that made the wings she flew withal. (1) And Shylock, for his own part, knew the bird was fledge, and then it is the complexion of them all to leave the dam. (3) She is damned for it. (2) That's certain, if the devil may be her judge. (3) My own flesh and blood to rebel! (1) Out upon it, old carrion! Rebels it at these years? (3) I say my daughter is my flesh and my blood. (2) There is more difference between thy flesh and hers than between jet and ivory; more between your bloods than there is between red whine and Rhenish. But tell us: do you hear whether Antonio have had any loss at sea, or no? (3) There I have another bad match: a bankrupt, a prodigal who dare scarce show his head on the Rialto, a beggar that was used to come so smug upon the mart! Let him look to his bond. He was wont to call me usurer; let him look to his bond. He was wont to lend money for A Christian courtesy; let him look to his bond. (2) Why, I am sure if he forfeit thou wilt not take his flesh. What's that good for? (3) To bait fish withal. If it will feed nothing else, it will feed my revenge. He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, corned my nation, thwarted my bargains, cooled my friends, heated mine enemies, and what's his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions--fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die, and if you wrong us do we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge! If a Christian wrong a Jew, what should his suffrance be by Christian example? Why, revenge! The villany you teach me I will execute, and it shall go hard but I will better the instruction. (Servingman) Gentlemen, my master Antonio is at his house and desires to speak with you both. (2) We have been up and down to seek him. (1) Here comes another of the tribe; a third cannot be matched unless the devil himself turn Jew. (3) How now, _____! What news from Genoa? Hast thou found my daughter? (4) I often came where I did hear of her, but cannot find her. (3) Why, there, there, there, there--a diamond gone cost me two tousand ducats in Frankfurt! The curse never fell upon our nation till now. I never felt it till now: two thousand ducats in that and other precious, precious jewels! I would my daughter were dead at my foot and the jewels in her ear! Would she were hearsed at my foot and the ducats in her coffin! No news of them? WHy so? And I know not what's spent in the search. Why, thou: loss upon loss, the thief gone with so much, and so much to find the thief, and no satisfaction, no revenge, nor no ill luck stirring but what lights o'my shoulders, no sighs but o'my breathing, no tears but o'my shedding. (4) Yes other men have ill luck too too. Antonio, as I heard in Genoa-- (3) What, what, what? Ill luck, ill luck? (4) --hat an argosy cast away coming from Tripoli. (3) I thank God! I thank God! Is it true, is it true? (4) I spoke with some of the sailors that escaped the wreck. (2) I thank thee, good _____. Good news, good news. Ha, ha, heard in Genoa! (4) Your daughter spent in Genoa, as I heard, one night fourscore ducats. (3) Thou stick'st a dagger in me; I shall never see my gold again! Fourscore ducats at a sitting, fourscore ducats! (4) There came divers of Antonio's creditors in my company to Venice that swear he cannot choose but break. (3) I am very glad of it. I'll plague him; I'll torture him. I am glad of it. (4) One of them showed me a ring that he had of your daughter for a monkey. (3) Out upon her; thou torturest me, ___! It was my turquoise; I had it of Leah when I was a bachelor. I would not have given it for a wilderness of monkeys. (4) But Antonio's certainy undone. (3) Nay, that's true, that's veyr true. Go, ___, fee me an officer; bespeak him for a fortnight before. I will have the heart of him if he forfeit, for were he out of Venice I can make what merchandise I will.

MOV (3.1.1-106), Solanio (1) Salerio (2) Shylock (3) Tubal (4), the dynamic between Shylock and Tubal after Solanio and Salerio leave is more intimate, and Tubal unintentionally makes Shylock more vulnerable and allows him to openly grief Jessica. Shylock is torn in Tubal's presence between bad news (Jessica) and good news (Antonio's shipwrecks) --> in his attempt to balance Shylock, Tubal riles him up.

(1) What, is ______ here? (2) Ready, so please your grace. ... (3) He is ready at the door; he comes, my lord. ... (4) I have possess your grace of what I purpose, And by our holy Sabbath have I swordn To have the due and forfeit of my bond. ... (5) This is no answer, thou unfeeling man, To excuse the current of thy cruelty! ... (6) From both, my lord. Bellario greets your grace. ... (7) Not on thy sole, but on thy soul, harsh Jew, Thou mak'st thy knife keen. ... (8) The quality of mercy is not strained; It droppeth as the gentle rain from heaven Upon the place beneath.

MOV (4.1.1-413) Duke (1) Antonio (2) Salerio (3) Shylock (4) Bassanio (5) Nerissa (6) Graziano (7) Portia (8), the Portia plot and the Shylock plot converge in this scene, the trial raises questions of proportionality and balance (Antonio's life is a disproportionate cost for 3,000 ducats; hating Antonio and taking everything he has is disproportionate to his attempt to claim his bond)

(1) I will henceforth rather be myself, Mighty and to be feared, than my condition, Which hath been smooth as oil, soft as young down, And therefore lost that title of respect Which the proud soul ne'er pays but to the proud. (2) Our house, my sovereign liege, little deserves The scourge of greatness to be used on it, And that same greatness too, which our own hands Have holp to make so portly. (3) My lord-- (1) _______, get thee gone, for I do see Danger and disobedience in thine eye. O sir, your presence is too bold and peremptory, And majesty might never yet endure The moody frontier of a servant brow. You have good leave to leave us. When we need Your use and counsel we shall send for you.

Henry (1.3.5-20), King (1) Worcester (2) Northumberland (3), when the king is mad at the Percys he presents a political theory about the *divine right of kings* in which the king has the natural essence of a king, although his natural temperance is kind, he's deep down might and to be feared ("the king's two bodies" theories --> the physical body of the king which eats, sleeps, etc. and the "mysitical body" of the kingdom which is invested in the person of the king but is sacred and not subject to time, change, or death and lives on in each heir)

(1) So shaken as we are, so wan with care, Find we a time for frighted peace to pant, And breathe short-winded accents of new broils To be commenced in strands afar remote. No more the thirsty entrance of this soil Shall daub her lips with her own children's blood; Nor more shall trenching war channel her fields, Nor bruise her flowerets with the armed hoofs Of hostile paces: those opposed eyes, Which, like the meteors of a troubled heaven, All of one nature, of one substance bred, Did lately meet in the intestine shock And furious close of civil butchery Shall now, in mutual well-beseeming ranks, March all one way and be no more opposed Against acquaintance, kindred and allies: The edge of war, like an ill-sheathed knife, No more shall cut his master. Therefore, friends, As far as to the sepulcher of Christ, Whose soldier now, under whose blessed cross We are impressed and engaged to fight-- Forthwith a power of English shall we levy, Whose arms were molded in their mothers' womb To chase these pagans in those holy fields Over whose acres walked those blessed feet Which fourteen hundred years ago were nailed For our advantage on the bitter cross. But this our purpose now is twelve month old, And bootless 'tis to tell you we will go. Therefor we meet not now. Then let me hear Of you, my gentle cousin Westmorland, What yesternight our Council did decree In forwarding this dear expedience. (2) My liege, this haste was hot in question, And many limits the charge set down But yesternight, when all athwart there came A post from Wales, loaden with heavy news...

Henry (1.1.1-37), King (1) *Westmorland* (2), establishes the first venue the play explores (the king's court), the settings are distinguished both by who's there (the king, in this case) as well as how they speak (the speech here is formal because they are in the presence of the king) "obfuscating regal poetry"

(1) Now, ___, what time of day is it, lad? (2) Thou art so fat-witted with drinking of old sack, and unbuttoning thee after supper, and sleeping upon benches after noon, that thou has forgotten to demand that truly which thou wouldst truly know. What a devil hast thou to do with the time of the day? Unless hours were cups of sack and minutes capons, and clocks the tongues of bawds, and dials the signs of leaping houses, and the blessed sun himself a fair hot wench in flame-colored taffeta, I see no reason why thou should'st be so superfluous to demand the time of the day.

Henry (1.2.1-10) Falstaff (1) Prince/Hal (2), establishes the second setting (tavern) which is Falstaff's domain and in which the speech is plan (often prose) and informal (thou) and direct --> works by repetition of parallel forms, such as the repetition of "and" (time is of no import to them, intentionally separated from political urgency that defines the court and the rebellion)

(1) Why we will set forth before or after them and appoint them a place of meeting, wherein it is at our pleasure to fail; and then they will adventure upon the exploit themselves, which they shall have no sooner achieved but we'll set upon them. (2) yea, but 'tis like that they will know us by our horses, by our habits, and by every other appointment to be ourselves. (1) Tut, our horses they shall not see: I'll tie them in the wood; our vizards we will change after we leave them; and, sirrah, I have cases of buckram for the nonce, to immask our noted outward garments. (2)Yea, but I doubt they will be too hard for us. (1) Well, for two of them, I know them to be as true-bred cowards as ever turned back, and for the third, if he fight longer than he sees reason, I'll forswear arms. The virtue this jest will be the incomprehensible lies that this same fat rogue will tell us when we meet at supper: how thirty at least he fought with, what wards, what blows, what extremities he endured; and in the reproof of this lives the jest. (2) Well, I'll go with thee. Provide us all things necessary and meet me tomorrow night in Eastcheap. There I'll sup. Farewell. (1) Farewell, my lord. (2) I know you all, and will awhile uphold The unyoked humor of your idleness.

Henry (1.2.150-172), Poins (1) Prince/Hal (2), Hal is living like the prodigal son parable, wasting his resources and himself through riotous living and degrading company (as evinced by this plan he builds with Poins) --> in planning to commit highway robbery (a capital crime) Hal is setting the bar at the absolute lowest, so when he turns it around, it seems astonishing.

(1) Therefore I say-- (2) Peace, cousin, say no more, And now I will unclasp a secret book, And to your quick-conceiving discontents I'll read you matter deep and dangerous, As full of peril and adventurous spirit As to o'erwalk a current roaring loud On the unsteadfast footing of a spear. (1) If he fall in, good night. Or sink or swim, Send danger from the east unto the west, So honor cross it from the north to south, And let them grapple. Oh, the blood more stirs To rouse a lion than to start a hare! (3) Imagination of some great exploit. Drives him beyond the bounds of patience. (1) By heaven, methinks it were an easy leap To pluck bright honor from the pale-faced moon, Or die into the bottom of the deep, Where-fathom line could never touch the ground, So he that doth redeem her thence might wear Without corrival all her dignities. But out upon this half-faced fellowship! (2) He apprehends a world of figures here, But not the form of what he should attend.

Henry (1.3.186-209) *Hotspur (1) Worcester* (2) Northumberland (3), establishes the rebellion setting (distinct from court because the king cannot be present, but they also can't stoop to the level of the tavern); Worcester speaks in rich, seductive language, trying to draw Hotspur into the plot and conditions of secrecy, to which Hotspur responds loudly (he is completely necessary to the plot but also a huge liability) YET he speaks in beautiful poetry; the tone under which the rebellion is conducted is wavering between hush and irrepressible glorious but also vane tone of Hotspur

(1) Imagination of some great exploit Drives him beyond the bounds of patience. (2) By heaven, me thinks it were an easy leap To pluck bright honor from the pale-faced moon, Or die into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honor by the locks, So he that doth redeem her thence might wear Without corrival all her dignities.

Henry (1.3.199-205), Northumberland (1) Hotspur (2), Hotspur here shows how he maintains idealized notions of honor that are both the ideal and weirdly literal (this will hold him back because Hal has the advantage of showing growth that Hotspur lacks because he values honor above image) --> In the first lines, Northumberland calls Hotspur out on this

(2nd carrier) Peas and beans are as dank here as a dog, and that is the next way to give poor jades the bots. This house is turned upside down since Robin Ostler died. (1st carrier) Poor fellow never joyed since the price of oats rose; it was the death of him. (2nd) I think this be the most villainous house in all London road for fleas. I am stung like a tench. (1st) Like a tench? By the mass, there is ne'er a king christen could be better bit than I have been since the first cock. (2nd) Why, they will allow us ne'er a jordan, and then we leak in your chimney, and your chamber-lye breeds fleas like a loach. (1st) What, ostler! Come away, and be hanged! Come away! (2nd) I have a gammon of bacon and two races of ginger to be delivered as far as Charing Cross. (1st) God's body, the turkeys in my pannier are quite starved. What, ostler! A plague on thee, hast thou never an eye in thy head? Canst not hear? An 'twere not as good deed as drink to break the pate on thee, I am a very villain. Come, and be hanged! Hast not faith in thee? (3) Good morrow, carriers. What's o'clock? (1st) I think it be two o'clock. (3) I prithee, lend me thy lantern to see my gelding in the stable. (1st) Nay, by God, soft. I know a trick worth two of that, i'faith. (3) I pray thee, lend me thine. (2nd) Ay, when, canst tell? "Lend me thy lantern," quoth he. Marry, I'll see thee hanged first.

Henry (2.1.7-38) 1st and 2nd carrier, Gadshill (3), This passage is an example of commoners talking about change --> they talk about how the inn used to be better before the price of oats rose and apparently killed Robin Ostler (price rise is a national phenomenon which resulted from the civil war's calvary needed the oats, which increased the demand while the battles also destroyed the crops growing in the countryside)

(1) Ned, prithee come out of that fat room and lend me thy hand to laugh a little. (2) Where hast been, ____? (1) With three or four loggerheads, amongst three or fourscore hogsheads. I have sounded the very bass string of humility. Sirrah, I am sworn brother to a leash of drawers and can call them all by their Christian names, as Tom, Dick, and Francis. They take it already, upon their salvation, that thou I be but Prince of Wales, yet I am the king of courtesy, and tell me flatly I am no proud jack, like Falstaff, but a Corinthian, a lad of mettle, a "good boy" -- by the Lord, so they call me--and, when I am King of England, I shall command all the good lads in Eastcheap. They call drinking deep "dyeing scarlet," and when you breathe in your watering, they cry "Hem!" and "Play it off!"

Henry (2.4.1-15), Prince/Hal (1) Poins (2), this is where the prince reveals his prodigal plan (currently he is keeping company with ruffians an d can drink like the best of them) and everything he does is an opportunity to craft --> there is no magic in speaking plainly (as Hotspur says) but rather it is an art which can be wielded to yield better connections

(1) Well, thou wilt be horribly chid tomorrow when thou comest to thy father. If thou love me, practice an answer. (2) Do thou stand for my father and examine me upon the particulars of my life. (1) Shall I? Content. This chair shall be my state, this dagger my scepter, and this cushion my crown. (2) Thy state is taken for a joint-stool, thy golden scepter for a leaden dagger, and thy precious rich crown for a pitiful bald crown. (1) Well, an the fire of grace be not quite out of thee, now shalt thou be moved. Give me a cup of sack to make my eyes look red, that it may be thought I have wept, for I must speak in passion, and I will do it in King's Cambyses' vein. (2) Well, here is my leg. (1) And here is my spech. Stand aside, nobility. (3) O Jesu, this is excellent sport, i'faith (1) Weep not, sweet Queen, for trickling tears are vain. (3) O the father, how he holds his countenance! (1) For God's sake, lords, convey my trustful Queen, For tears do stop the floodgates of her eyes. (3) O Jesu, he doth it as like one of these harlotry players as ever I see! (1) Peace, good pint-pot; peace, good tickle-brain. --Harry, I do not only marvel where thou spendest thy time, but also how thou art accompanied. For thou the chamomile, the more it is trodden on, the faster it grows, so youth, the more it is wasted, the sooner it wears. That thou art my son, I have partly thy mother's word, partly my own opinion, but chiefly a villainous trick of thine eye and a foolish hanging of thy nether lip that doth warrant me. If, then, thou be son to me, here lies the point: why, being son to me, art thou so pointed at? Shall the blessed sun of heaven prove a micher and eat blackberries? A question not to be asked. Shall the son of England prove a thief and take purses? A question to be asked. There is a thing, Harry, which thou hast often heard of, and it is known to many in our land by the name of pitch. This pitch, as ancient writers do report, doth defile; so doth the company thou keepest. For, Harry, now I do not speak to thee in drink but in tears; not in pleasure but in passion; not in words only but in woes also. And yet there is a virtuous man whom I have often noted in thy company, but I know not his name. (2) What manner of man, an it like your majesty? (1) A goodly, portly ma, i'fath, and a corpulent; of a cheerful look, a pleasing eye, and a most noble carriage; and, as I think, his age some fifty, or, by'r Lady, inclining to threescore. And now I remember me: his name is Falstaff. If that man should be lewdly given, he deceiveth me; for Harry, I see virtue in his looks. If, then, the tree may be known by the fruit, as the fruit by the tree, then peremptorily I speak it: there is virtue in that Falstaff. Him keep with; the rest banish. And tell me now, thou naughty varlet, tell me, where hast thou been this month? (2) Dost thou speak like a king? Do thou stand for me, and I'll play my father. (1) Depose me? If thou dost it half so gravely, so majestically both in word and matter, hang me up by the heels for a rabbit0sucker or a poulter's hare. (2) Well, here I am set. (1) And here I stand. Judge, my masters. (2) Now, Harry, whence come you? (1) My noble lord, from Eastcheap. (2) The complains I hear of thee are grievous. (1) "Sblood, my lord, they are false!--Nay, I'll tickle ye for a young prince i'fath. (2) Swearest thou, ungracious boy? Henceforth ne'er look on me. Thou art violently carried away from grace. There is a devil haunts thee in the likeness of an old fat man; a tun of man is thy companion. Why dost thou converse with that trunk of humors, that bolting-hutch of beastliness that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend Vice, that grey Iniquity, that father Ruffian, that Vanity in years? Wherein is he good, but to taste sack and drink it? Wherein cunning, but in craft? Wherein crafty, but in villainy? Wherein villainous, but in all things? WHerein worthy, but in nothing? (1) I would your grace would take me with you. Whom means your grace? (2) That villainous abominable misleader of youth, Falstaff, that old white-bearded Satan. (1) My lord, the man I know. (2) I know thou dost. (1) But to say I know more harm in him than in myself were to say more than I know. That he is old, the more the pity; his white hairs do witness it. But that he is, saving your reverence, a whoremaster, that I utterly deny. If sack and sugar be a fault, God help the wicked. If to be old and merry be a sin, then many an old host that I know is damned. If to be fat is to be hated, then Paraoh's lean kine are to be loved. No, my good lord, banish Peto, banish Bardolph, banish Poins, but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and therefore more valiant being, as he is, old Jack Falstaff, banish not him thy Harry's company, banish not him thy Harry's company. Banish plump Jack and banish all the world. (2) I do; I will.

Henry (2.4.340-438), Falstaff (1) Prince/Hal (2) Hostess (3), Hal playing the king portrays Falstaff as the only factor leading to Hal's fall from grace, whereas Falstaff's king turns the tide of sympathy in favor of Falstaff; the scene turns from comical to serious suddenly at the end, when Falstaff as Hal defends an attack from Hal's King on Falstaff's character and "the fiction" of the king wears thin and it becomes more about the relationship between Hal and Falstaff (both predict their relationship will likely end with Falstaff banished from Hal's life) "I do" (hal as king) "I will" (future hal)

(1) No, nor you shall not. (2) Who shall say me nay? (1) Why, that will I. (2) Let me not understand you, then; speak it in Welsh. (1) I can speak English, lord, as well as you, For I was trained up in the English court, Where, being but young, I framed to the harp Many an English ditty lovely well And gave the tongue a helpful ornament-- A virtue that was never seen in you. (2) Marry, and I am glad of it, with all my heart. I had rather be a kitten and cry mew Than one of these same meter ballad-mongers. I had rather hear a brazen can'stick turned Or a dry wheel grate on the axletree, And that would set my teeth nothing on edge, Nothing so much as mincing poetry. 'Tis like the forced gait of a shuffling nag.

Henry (3.1.114-130), Glyndwr (1) Hotspur (2), Hotspur is dismissing fancy poetics ("meter ballad-mongers") but delivers this criticism in perfect iambic pentameter (again the irony in Hotspur thinking he is in touch with commoners and also serving as a foil for Hal)

(1) I understand thy looks. That pretty Welsh, Which thou pourest down from these swelling heavens, I am too perfect in, and but for shame In such a parley should I answer thee. [The lady speaks again in Welsh] I understand thy kisses and thou mine, And that's a feeling disputation; But I will never be a truant, love, Till I have learned thy language, for thy tongue Makes Welsh as sweet as ditties highly penned, Sung by a fair queen in a summer's bower, With ravishing division to her lute. (2) Nay, if you melt, then she will run made [The lady speaks again in Welsh] (1) Oh, I am ignorance itself in this! (2) She bids you on the wanton rushes lay you down And rest your gentle head upon her lap, And she will sing the song that pleaseth you, And on your eyelids crown the god of sleep, Charming your blood with pleasing heaviness, Making such difference twixt wake and sleep, As is the difference betwixt day and night The hour before the heavenly harnessed team Begins his golden progress in the east. (1) With all my heart, I'll sit and hear her sing. By that time will our book, I think, be drawn. (2) Do so, and those musicians that shall play to you Hang in the air a thousand leagues from hence, And straight they shall be here. Sit and attend. (3) Come, Kate, Thou art perfect in lying down; Come, quick, quick, that I may lay my head in thy lap (4) Go, ye giddy goose! [The music plays] (3) Now I perceive the devil understands Welsh, And 'tis no marvel he is so humorous. By'r Lady, he is a good musician. (4) Then should you be nothing but musical, For you are altogether governed by humors. Lie still, ye thief, and hear the lady sing in Welsh. ( 3) I had rather hear Lady, my brach, howl in Irish. (4) Wouldst thou have thy head broken? (3) No. (4) Then be still. (3) Neither; 'tis a woman's fault. (4) Now God help thee! (3) To the Welsh lady's bed. (4) What's that? (3) Peace, she sings. [Here the Lady sings a Welsh song]

Henry (3.1.195-239), Mortimer (1) Glyndwr (2) Hotspur (3) Lady Percy (4), this scene is important because it's one of the few scenes (all of which are in the rebels' camp) where the women speak for themselves, and this woman speaks in another language (which is unscripted) --> this forces the audience to dwell in a long moment of incomprehension which is also beautiful and intimate --> this is also the only major departure from the homosocial power politics of the play, which makes it a liminal moment in which the play puts itself on the edge of another experience

(1) I think there's no man speaks better Welsh. I'll to dinner. (2) Peace, cousin _______: you will make him mad. (3) I can call spirits from the vasty deep. (1) Why, so can I, or so can any man, But will they come when you call for them? (3) Why, I can teach you, cousin, to command the devil. (1) And I can teach thee, coz, to shame the devil By telling truth. Tell truth and shame the devil. If thou have power to raise him, bring him hither, And I'll be sworn I have power to shame him hence.

Henry (3.1.50-58), Hotspur (1) Mortimer (2) Glyndwr (3), Hotspur in this passage is proposing that there's magic in plain language but he's explaining that in beautiful regal poetry, which suggests that he's out of touch with what "plain" language means and thus serves as a foil to Hal who has spent time with common folk and genuinely understands them

(1) Why, ___, do I tell thee of my foes, Which art my nearest and dearest enemy? Thou that art like enough, through vassal fear, Base inclination, and the start of spleen, To fight against me under Percy's pay, To dog his heels and curtsy at his frowns, To show how much thou art degenerate. (2) Do not think so. You shall not find it so. And God forgive them that so much have swayed Your majesty's good thoughts away from me. I will redeem all this on Percy's head And in the closing of some glorious day Be bold to tell you that I am your son, When I will wear a garment all of blood And stain my favors in a bloody mask, Which, washed away, shall scour my shame with it-- That this same child of honor and renown, This gallant Hotspur, this all-praised knight, And your unthought-of ____ chance to meet. For every honor sitting on his helm, Would they be multitudes, and on my head My shames redoubled, for the first time will come That I shall make this northern youth exchange His glorious deeds on my behalf; And I will call him to strict account that He shall render every glory up, Yeah, even the slightest worship of his time, Or I will tear the reckoning from his heart.

Henry (3.2.122-152), King (1) Prince/Hal (2), Hal explains how he is investing through Hotspur in his absence. Uses mercantile language "engross up," "discount, "every glory," "reckoning." --> the implication is that Hotspur is acting as Hal's agent for some definite period and at the end of that time, Hal (the real owner of the capital) will collect it all --> Hal says the immaterial is more important but also that it can be ruthlessly accounted; Hal also articulates that Falstaff is the foil to the past prince, and then Hal will use his own past as his foil (thus making his present self look good by comparison, a growth that Hotspur cannot hope to achieve because he has been good the whole time and has nobody to compare to) --> theatrics

Had I so lavish of my presence been, So common-hackneyes in the eyes of men, So stale and cheap to vulgar company, Opinion, that did help me to the crown, Had still kept loyal to possession And left me in reputeless banishment, A fellow of no mark nor likelihood . By being seldom seen, I could not sitre But like a comet I was wondered at, That men would tell their children, "This is he!" Other would say, "Where? Which is Bolingbroke?" And then I stole all courtesy from heaven And dressed myself in such humility That I did luck allegiance from men's hearts, Loud shouts and salutations from their muths, Even in the presence of the croned King. Thus did I keep my person fresh and new, My presence, like a robe pontifical, Ne'er seen but wondered at; and so my state, Seldom but sumptuous, showed like a feast And won by rareness such solemnity. The skipping King, he ambled up and down With shallow jesters and rash bavin wits, Soon kindled and soon burnt; carded his state Mingled his royalty with cap'ring fools, Had his great name profaned with their scorns, And gave his countenance, against his name, To laugh at giving boys and stand the push Of every beardless vain comparative; Grew a companion to the common streets, Enfeoffed himself to popularity, That, being daily swallowed by men's eyes, They surfeited with honey and began To loathe the taste of sweetness, whereof a little More than a little is by much too much. So, when he had occasion to be seen, He was but as the cuckoo is in June...

Henry (3.2.39-74), King, Articulates the King's theory that infrequent appearances in the public eye would keep his public favor, and in his speech carefully avoids words like "rightful" and "legitimate" which illustrates his idea that being king is about performance not inherent legitimacy --> also distinguishes Henry IV from Henry V (one believes to be little seen is best, the other is trying to build a relationship with the common folk that he can draw on when he is king)

(1) I would 'twere bedtime, ____, and all well. (2) Why, thou owest God a death. (1) 'Tis not due yet. I would be loath to pay him before his da. What need I be so fowrward with him that calls not on me? Well, 'tis no matter; honor pricks me on. Yea, but how if honor prick me off when I come on? How, then? Can honor set to a leg? o. Or an arm? No. Or take away the grief of a wound? No. Honor hath no skill in surgery, then? No. What is honor? A word. What is in that word "honor"? He that died o'Wednesday. Doth he feel it? NO. Doth he hear it? No. 'Tis insensible, then? Yea, to the dead. But will it not live with the living? No. Why? Detraction will not suffer it. Therefore I'll none of it. Honor is a mere scutcheon. And so ends my catechism.

Henry (5.1.125-137), Falstaff (1) Prince/Hal (2), Falstaff articulates his notion of honor, which contrasts with Hotspur's and is far more materialistic. He says it is literally hot air and is only bestowed unto the dead, so Falstaff is uninterested in honor (he prefers air that he can breathe) --> and this notion holds true because Hotspur reaps no reward for his honor whereas Falstaff and Hal both live, and Hal gets to be king next.

(1) O _____, thou has robbed me of my youth. I better brook the loss of brittle life Than those proud titles thou hast won of me. They wound my thoughts worse than thy sword my flesh. But thoughts, the slaves of life, and life, time's fool, And time, that takes survey of all the world, Must have a stop. Oh, I could prophesy But that earthly and cold hand of death Lies on my tongue. No, [himself], thou art dust And food for-- [He dies] (2) For worms, brave ____. Fare thee well, great heart. Ill-weaved ambition, how much art thou shrunk! When that this body did contain a spirit A kingdom for it was too small a bound, But now, two paces of the vilest earth Is room enough. This earth that bears thee dead Bears not alive so stout a gentleman. If thou wert sensible of courtesy I should not make so dear a show of zeal. But let my favors hide thy mangled face, And even in thy behalf I'll thank myself For doign these fair rites of tenderness. Adieu, and take thy praise with thee to heaven. Thy ignominy sleep with thee in the grave But not remembered in thy epitaph. [He spies _____ on the ground] What, old acquaintance, could not all this flesh Keep in a little life? Poor ____, farewell. I could have better spared a better man. Oh, I should have a heavy miss of thee If I were much in love with vanity. Death hat not struck so fat a deer today, Though many dearer in this bloody fray. Emboweled will I see thee by and by; Till then, in blood by noble _____ lie. [(3) rises up] (3) Emboweled? If thou embowel me today, I'll give you leave to powder me, and eat me too, tomorrow. 'Sblood, 'twas time to counterfeit, or that hot termagant Scot had paid me, scot and lot too. Counterfeit? I lie; I am no counterfeit. To die is to be a counterfeit, for he is but the counterfeit of a man who hath not the life of a man. But to counterfeit dying when a man thereby liveth is to be no counterfeit but the true and perfect image of life indeed. The better part of valor is discretion, in the which better part I have saved my life. Zounds, I am afraid of this gunpowder _____, though he be dead. How if he should counterfeit too and rise? By my faith, I am afraid he would prove the better counterfeit. Therefore I'll make him sure, yea, and I'll swear I killed him. Why not he rise as well as I? Nothing confutes me but eyes, and nobody sees me. Therefore, sirrah, with a new wound in your thigh, come you along with me.

Henry (5.4.76-123), Hotspur (1) Prince/Hal (2) Falstaff (3), before Hal exits the stage, he stands between his two foils (both he thinks are dead) and he's gotten what he needs out of them so for his purposes they're dead indeed, BUT Falstaff gets up (which is theatrical) --> 2 actors are playing dead, one stops and gets up, it cannot be Hotspur because he's not aware of himself as an actor whereas Falstaff is (he entered the battle with the intention of surviving at all costs, whereas Hotspur was interested in the honor of death) --> this demonstrates how the Prince underestimated Falstaff, he didn't anticipate his wit or ingenuity and the consequences are that Falstaff steals the show (although Hal cast him as minor character) --> History doesn't often yield the clean ending that Hal had in mind, and Hal was a fool if he thought he could be rid of Falstaff so easily.

(1) I think there's no man speaks better Welsh. I'll to dinner. (2) Peace, cousin Percy; you will make him mad. (3) I can call spirits from the vasty deep. (1) Why, so can I, or so can any man, But will they come when you do call for them? (3) Why, I can teach you, cousin, to command the devil. (1) And I can teach thee, coz, to shame the devil By telling truth. Tell truth and shame the devil. If thou have power to raise him, bring him hither, And I'll be sworn I have power to shame him hence.

I Henry IV (3.1.50-58), 1 Hotspur 2 Mortimer 3 Glyndwr; Hotspur mocks Glyndwr's language and claims that the only truth is in plain speaking, but is himself speaking in eloquent poetry (irony), which is an illustration of the court v. tavern worlds (Hal actually speaks in prose, and understands the common people while Hotspur thinks he does and in reality does not); this also illustrates his Hotspur's trigger happy nature (would rather be straight forward and speak with battle rather than with his words)

(1) How now, spirit, wither wander you? (2) Over hill, over dale, Thorough bush, thorough briar, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere Swifter than the moon's sphere; And I serve the Fairy Queen To dew her orbs upon the green. The cowslips tall her pensioners be; in their gold coats spots you see. Those be rubies, fairy favors, In those freckles live their savors. I must go seek some dewdrops here And hang a pearl in every cowslip's ear. Farewell, thou lob of spirits, I'll be gone. Our queen and all her elves come here anon. (1) The King doth keep his revels here tonight. Take heed the Queen come not within his sight, For Oberon is passing fell and wrath Because that she as her attendant hath A lovely boy stolen from an Indian king-- She never had so sweet a changeling-- And jealous Oberon would have the child Knight of his train, to trace the forests wild. But she perforce witholds the loved boy, Crowns him with flowers, and makes him all her joy. And now they never meet in grove or green, By fountain clear or spangled starlight sheen, But they do square, that all their elves for fear Creep into acorn cups and hide them there. (2) Either I mistake your shake and making quite, Or else you are that shrewd and knavish sprite Called _____ ______. Are you not he That frights the maidens of the villagery, Skim milk, and sometimes labor in the quern, And bootless make the breathless housewife churn, And sometime make the drink to bear no barm, Mislead night-wanderers, laughing at their harm? Those that "hobgoblin" call you, and "sweet puck," You do their work, and they shall have good luck. Are not you he? (1) Thou speakest aright

MND (2.1.1-42), Robin/Puck (1) Fairy (2), another example of the importance of deictics (in this case social), Robin asks the spirit using "you," and the Fairy thinking they're more important calls Robin "thou lob," and returns to you when Robin reveals himself as the king's right hand man and now it's Robin who calls the spirit "thou" (you is respectful, thou is informal)

Apollo flies, and Daphne holds the chase

MND (2.1.231), Helena, example of reversal in plot (the hunter being hunted)

What angel wakes me from my flower bed?

MND (3.1.113), Titania; Like Acteon, Bottom here is intruding on a goddess's space (Titania's) and too is turned into a beast (donkey) but it plays out much differently than the myth of Acteon; Bottom also transcends from being an actor in the play to becoming the myth (translation from text to reality, also from Latin to English)

(1) Nay, you must name his name, and half his face must be seen through the lion's neck: and he himself must speak through, saying thus, or to the same defect,--'Ladies,'--or 'Fair-ladies--I would wish You,'--or 'I would request you,'--or 'I would entreat you,--not to fear, not to tremble: my life for yours. If you think I come hither as a lion, it were pity of my life: no I am no such thing; I am a man as other men are;' and there indeed let him name his name, and tell them plainly he is Snug the joiner. (2) Well, it shall be so. But there is two hard things: that is, to bring the moonlight into a chamber--for you know Pyramus and Thisbe meet by moonlight.

MND (3.1.33-42), *Bottom (1) Quince* (2), Snug (discussed by these two other characters) sees himself as Acteon (truly a human, mistaken for a beast: a liminal state) but in this context it's comical because his costume is not nearly lifelike enough to warrant the concern (but it establishes irony for when Bottom does become an animal and is not recognizable as himself later in the play)

And those things do best please me That befall preposterously.

MND (3.3.120-121), Robin/Puck, MND is a preposterous telling of Ovid's Metamorphoses --> the stories share the same core but are flipped in many ways

(1) 'Tis strange, my ____, that these lovers speak of. (2) More strange than true. I never may believe These antique fables, nor these fairy toys. Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend more Than cool reason ever comprehends. The lunatic, the lover, and the poet Are of imagination all compact. One sees more devils than vast hell can hold; That is the madman. The lover, all as frantic, Sees Helen's beauty in a brow of Egypt. The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven. And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hat strong imagination That if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear! (1) But all the story of the night told ove,r And all their minds transfigured so together, More witnesseth than fancy's images And grows to something of great constancy, But, howsoever, strange and admirable.

MND (5.1.1-27), Hippolyta (1) Theseus (2), Theseus argues that the poet only fools himself (groups poet with lunatics and lovers) and that imagination is preposterous (transposes cause and effect, in order to achieve a desired effect, fakes a kind of cause) --> so lover can delude himself to be happy, and poet and delude himself that the ficitious is real and present it to an audience BUT Hippolyta disagrees because all four lovers shared the same dream (the constance convinces her that the events are more than fantasy); this disrupts Theseus's idea that he is the rantional one seeing through the cheap trick--> Hippolyta doesn't understand what's happening, but she believes something changed as a result (transformation); connects to theater (Hippolyta sees suspension of disbelief as a group activity, like the lovers, the audience has all dreamed the same dream) This passage presents MND as a vehicle for understanding how Sx wants his plays to work

In sooth, I know not why I am so sad.

MOV (1.1.1), Antonio, we don't know why Antonio is sad --> suggests he's worried about his fortunes and he says no, asks if he's in love and he says "fie" (which rejects the question), the assumption is he's in love with Bassanio which gives context to all the sacrifices he makes for Bassanio in the play

(1) Than my faint means would grant continuance. Nor do I now make moan to be abridged From such a noble rate; but my chief care Is to come fairly off from the great debts Wherein my time, something too prodigal, Hath left me gaged. To you, ______, I owe the most in money and in love, And from your love I have a warranty To unburden all my plots and purposes How to get clear of all the debts I owe. (2) I pray you, good ____, let me know it, And if it stand, as you yourself still do, Within the eye of honor, be assured My purse, my person, my extremest means Lie all unlocked to your occasions. (1) In my school days, when I had lost one haft, I shot his fellow of the selfsame flight The self-same way, with more advised watch, To find the other forth; and by adventuring both, I oft found both. I urge this childhood proof Because what follows is pure innocence. I owe you much, and like a willful youth That which I owe is lost; but if you please To shoot another arrow that self way Which you did shoot the first, I do not doubt, As I will watch the aim, or to find both, Or bring your latter hazard back again And thankfully rest debtor for the first. (2) You know me well, and herein spend but time To wind about my love with circumstance; And out of doubt you do me now more wrong In making question of my uttermost Than if you had made waste of all I have. Then do but say to me what I should do That, in your knowledge, may by me be done, And I am pressed unto it--therefore speak. (1) In Belmont is a lady richly left, And she is fair, and fairer than that word, Of wondrous virtues. Sometimes from her eyes I did receive fair speechless messages. Her name is Portia, nothing undervalued To Cato's daughter, Brutus' Portia. Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors; and her sunny locks Hang on her temples like a golden fleece, And many Jasons come in quest of her. O my Antonio, had I but the means To hold a rival place with one of them I have a mind presages me such thrift That I should questionless be fortunate. (2) Thou know'st that all my fortunes are at sea: Neither have I money nor commodity To raise a present sum. Therefore go forth-- Try what my credit can in Venice do; That shall be racked even to the uttermost To furnish thee to Belmont to fair Portia. Go presently inquire, and so will I, Where money is; and I no question make To have it of my trust or for my sake.

MOV (1.1.125-185), Bassanio (1) Antonio (2), Bassanio merely tells Antonio what he needs and Antonio fills in both the question and the answer, Antonio takes Bassanio's proposal for a business transaction as an opportunity to pour himself out (which is made complicated by the fact that Bassanio is asking for money for a chance to marry Portia), Antonio's love for Bassanio is obvious to us but beyond him because he's actively trying to hide it (difference between normalized homosocial behavior and taboo homoerotic behavior) --> Bassanio flirts with Antonio's passion to get what he needs in money and love but Antonio lacks the vocabulary to articulate what he wants from a relationship with Bassanio

"For suff'rance is the badge of all our tribe" And spit upon my Jewish gabardine, And all for use of that which is mine own. Well, then, it now appears you need my help. Go to, then: you come to me and you say, "_____, we would have moneys": you say so-- You did void your rheum upon my beard And foot me as you spurn a stranger cur Over your threshold. Moneys is your suit. What should I say to you? Should I not say, "Hath a dog money? Is it possible A cur can lend three thousand ducats?" Or Shall I bend low and in a bondman's key, With bated breath and whispering humbleness

MOV (1.3.104-118), Shylock, Shylock also feels he's being asked an impossible question (as Antonio did at the opening of the play); Shylock and Antonio are sworn enemies (and Antonio is the enemy more generally of the concept of borrowing at interest), Shylock's reiteration of "kindness" speaks as well to Antonio's friendships (because he only asks this favor on behalf of Bassanio)

(1) Quick, quick, I pray thee, draw the curtains straight; The Prince of Aragon hath ta'en his oath And comes to his election presently. (2) Behold, there stand the caskets, noble Prince. If you choose that wherein I am contained Straight shall our nuptial rites be solemnized; But if you fail, without more speech, my lord, You must be gone from hence immediately. (3) I am enjoined by oath to observe three things: First, never to unfold to anyone Which casket 'twas I chose; next, if I fail Of the right casket, never in my life To woo a maid in way of marriage; lastly, If I do fail in fortune of my choice, Immediately to leave you and be gone. (2) To these injunctions everyone doth swear That comes to hazard for my worthless self. (3) And so have I addressed me. Fortune now To my heart's hope! Gold, silver, and base lead. "Who chooseth me must give and hazard all he has." You shall look fairer ere I give or hazard. What says the golden chest? Ha, let me see: "Who chooseth me shall gain what many men desire." What many men desire--that "many" may be meant By the fool multitude that choose by show, Not learning more than the fond eye doth teach, Which preis not to th'interior but like the martlet Builds in weather on the outward wall, Even in the force and road of casualty. I will not choose what many men desire, Because I will not jump with common spirits And rank me with the barbarous multitudes. Why, then, to thee, thou silver treasure-house. Tell me once more what title thou dost bear: "Who chooseth me shall get as much as he deserves." And well said, too, for who shall go about To cozen fortune and be honorable Without the stamp of merit? Let none presume To wear an undeserved dignity. Oh that estates, degrees, and offices Were not derived corruptly, and that clear honor Were purchased by the merit of the wearer! How many then should cover that stand bare; How many be commanded that command; How much low peasantry would then be gleaned From the true seed of honor; and how much honor Picked from the chaff and ruin of the times To be new varnished? Well--but to my choice: "Who chooseth me shall get as much as he deserves." I will assume desert: give me a key for this, And instantly unlock my fortunes here. (2) Too long a pause for that which you find there. (3) What's here--the portrait of a blinking idiot Presenting me a schedule? I will read it. How much unlike art thou to ____! How much unlike my hopes and my deservings! "Who chooseth shall have as much as he deserves"? Did I deserve mno more than a fool's head? Is that my prize? Are my deserts no better? (2) To offend and judge are distinct offices, And of opposed natures. (3) What is here? "The fire seven times tried this; Seven times tried that judgement is That did never choose amiss. Some there be that shadows kiss, Such have but a shadow's bliss. There be fools alive, iwis, Silvered o'er, and so was this. Take what wife you will to bed. I will ever be your head. So be gone; you are sped." Still more fool I shall appear By the time I linger here. With one fool's head I came to woo, But I go away with two. Sweet, adieu; I'll keep my oath Patiently to bear my wroth. (2) Thou hath the candle singed the moth. Oh, these deliberate fools--when they do choose They have the wisdom by their wit to lose! (1) The ancient saying is no heresy: Hanging and wiving goes by destiny. (2) Come, draw the curtain,____. (Messenger) Where is my lady? (2) Here--what would my lord? (Messenger) Madam, there is alighted at your gate A young Venetian, one that comes before To signify th'approaching of his lord, Form whom he bringeth sensible regrets: To wit, besides commands and courteous breath, Gifts of rich value. Yet I have not seen So likely an ambassador of love. A day in April never came so sweet To show how costly summer as at hand , As this fore-spurrer comes before his lord. (2) No more, I pray thee. I am half afeared Thou wilt say anon he is some kin to thee, Thou spend'st such high-day wit in praising him. Come, come, ______, for I long to see Quick Cupid's post that comes so mannerly. (1) Bassanio, Lord Love, if thy will it be.

MOV (2.9.1-100), Nerissa (1) Portia (2) Prince of Aragon (3), this is one of the scenes that helps make the case that MOV is a comedy (comedy comes from seeing someone arrogant get what he deserves--nothing) this scene also interacts with the more complex theme of the play (self-deception, such as with Antonio and Shylock)

Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty! Make thick my blood Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose nor keep peace between Th'effect and it. Come to my woman's breasts And take my milk for gall, you murd'ring ministers, Wherever in your sightless substances You wait on nature's mischief. Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark To cry, "Hold! hold!" [Enter Macbeth] Great, Glamis, worthy Cawdor, Greater than both by the all-hail hereafter!

Macbeth (1.5.40-54), Lady Macbeth, here LM effectively casts herself as a fourth witch if one is needed to get Macbeth to kill Duncan; this is also a passage about gender (LM sees her femininity as a limiting force for ruthlessness and literally asks to make a deal with the devil to remove her feminine aspects, and then she says she wants to nurse murdering spirits); LM also talks about corrupting influences as thickening the air (as Macbeth did, the evil is catching) Also could talk about the humors (blood assoc with nature and humanity, set as opposed to gall which is associated with inhuman and supernatural hatred)

Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant.

Macbeth (1.5.53-55), Lady Macbeth, this is an example of the notion of "killing time" that persists throughout the play ("the assault on the present and the empty future")

(1) Was the hope drunk Wherein you dressed yourself? Hath it slept since? And wakes it now to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeared To be the same in thine own act and valor As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting "I dare not" wait upon "I would," Like the poor cat i'th' adage? (2) Prithee, peace! I dare do all that may become a man; Who dares do more is none. (1) What beast was't then, That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you. I have given suck and know How tender 'tis to love the babe that milks me; I would, while it was smiling in my face, Have plucked the nipple from his boneless gums And dashed the brains out, had I so sworn as you Have done to this. (2) If we should fail? (1) We fail? But screw your courage to the sticking-place And we'll not fail. When Duncan is asleep-- Whereto the rather shall his day's hard journey Soundly invite him--his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. WHen in swinish sleep Their drenched natures lies as in a death, What I cannot you and I perform upon Th'unguarded Duncan? What not upon His spongy officers, who shall bear the guilt Of our great quell? (2) Bring forth men children only, For thy undaunted mettle should ocmpose Nothing but males.

Macbeth (1.7.35-74), Lady Macbeth (1) Macbeth (2), Here Lady Macbeth construes Macbeth's reluctance to kill as an erotic defect (and will not sleep with him until he does the murder); in this conversation, "manhood" becomes associated with violence and masculinity becomes framed with an upper and lower bound (as in you can do too much and also not enough to be a man) --> there is always more that can be done to be a man, but only one man is truly a man: the king

Here's a knocking indeed! If a man were porter of hell gate, he should have old turning the key. Knock, knock, knock. Who's there, i'th' name of Beelzebub? Here's a farmer that hanged himself on th'expectation of plenty. Come in time! Have napkins enough about you; here you'll sweat for't. [Knock] Knock, knock. Who's there? Faith, here's an English tailor come hither for stealing out of a French hose. Come in, tailor.

Macbeth (2.3.1-10) Porter, intrusion of the Porter between Duncan's murder and its discovery --> the porter imagines himself answering the door in Hell and the sinner he details is the equivocator *(which is what Macbeth is doing, and was also a hot button issue in the Elizabethan era with the Gunpowder plot and the Catholic/Protestant divide)*

(1) Thou know'st that Banquo and his Fleance lives. (2) But in them nature's copy's not eterne. (1) There's comfort yet; they are assailable. Then be thou jocund. Ere the bat hath flown His cloistered flight, ere to black Hecate's summons The shard-born beetle with his drowsy hums Hath rung night's yawning peal, there shall be done A deed of dreadful note. (2) What's to be done? (1) Be innocent of the knowledge, dearest chuck, Till thou applaud the deed. --Come, seeling night, Scarf up the tender eye of pitiful day, And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale! Light thickens, And the crow makes wing to th' rooky wood; Good things of day begin to droop and drowse, While night's black agents to their preys do rouse. --Thou marvel'st at my words, but hold thee still.

Macbeth (3.2.36-53), Macbeth (1) Lady Macbeth (2), Like R&J, LM and MB are sharing secrets in the night, talking as if the night is a co-conspirator, but in this case the dulling of the senses and the darkness of the night represent a failure of the day and an opportunity for evil to do nefarious deeds under the cover of night and sleep

I will tomorrow And betimes I will--to the weird sisters. More shall they speak, for now I am bent to know By the worst means the worst. For mine own good All causes shall give way.I am in blood Stepped in so far that, should I wade no more, Returning were as tedious as go o'er. Strange things I have in head that will to hand. Which must be acted here they may be scanned. (2) You lack the season of all natures, sleep. (1) Come, we'll to sleep. My strange and self-abuse Is the initiate fear that wants hard use. We are yet but young in deed.

Macbeth (3.4.130-142), Macbeth (1) Lady Macbeth (2), again temporality / notion of "killing time" as an assault on the present and turn toward an empty future

This push Will cheer me ever or disseat me now. I have lived long enough. My way of life Is fall'n into the sere, the yellow leaf, And that which should accompany old age, As honor, love, obedience, troops of friends, I must not look to have..

Macbeth (5.3.22-28), Macbeth, time starts to go too fast for Macbeth and he becomes trapped in a perpetual nightmare without rest that destroys both him and his wife in different ways; this experience makes the future feel present, yet makes the difference between the future and the present feel meaningless.

I care not if thou dost for me as much. I pull in resolution and begin To doubt th'equivocation of the fiend That lies like truth. "Fear not, till Birnam Wood Do come to Dunsinane" --and now a wood Comes toward Dunsinane. Arm, arm, and out!

Macbeth (5.5.41-45), Macbeth, this illustrates that, at the end, resolution is all Macbeth has left

(1) What is that noise? (2) It is the cry of women, my good lord. (1) I have almost forgot the taste of fears. The time has been my senses would have cooled To hear a night-shriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in't. I have supposed full with horrors. Direness, familiar to my slaughterous thoughts, Cannot once start me. Wherefore was that cry? (2) The Queen, my lord, is dead. (1) She should have died hereafter; There would have been a time for such a word. Tomorrow and tomorrow and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle. Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Macbeth (5.5.7-27), Macbeth (1) Seyton (2), time starts to go too fast for Macbeth and he becomes trapped in a perpetual nightmare without rest that destroys both him and his wife in different ways; this experience makes the future feel present, yet makes the difference between the future and the present feel meaningless.

(1)Why then, O brawling love, O loving hate, O anything of nothing first created, O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep that is not what it is--- This love feel I, that feel no love in this Dost thou not laugh? (2) No coz, I rather weep.

R&J (1.1.171-178), Romeo (1) Benvolio (2), example of Romeo playing the petrarchan lover, Petrarch often depended on oxymoron (the petrarchan lover depends on passive aggression, it's the woman's fault that I feel this way and keep embarrassing myself trying to impress her despite her protestations); * the petrarchan lover insists he is incapable of walking away because he is caught between contraries *

(1) Give me my sin again [He kisses her] (2) You kiss by th' book.

R&J (1.4.221), Romeo (1) Juliet (2), Juliet thinks about love inductively to draw conclusions about what her love is like (Romeo uses the template of the petrarchan lover; thinks deductively)

Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak tonight. Fain would I dwell on form-- Fain, fain deny What I have spoke--but farewell, compliment. Dost thou love me? I know thou wilt say "Ay," And I will take thy word; yet if thou swear'st, Thou mayst prove false. At lovers' perjuries They say Jove laughs. O gentle ___, If thou dost lvoe, pronounce it faithfully, Of if thou wilt woo--but else not for the world. In truth, fair Montague, I am too fond, And therefore thou mayst think my behavior light. But trust me, gentleman, I'll prove more true Than those that have the coying to be strange. I should have been more strange, I must ocnfess, But that thou overheard'st, ere I was ware, My true-love passion. Therefore pardon me, And not impute this yielding to light love, Which the dark night hat so discovered.

R&J (2.1.127-146), Juliet, Juliet says she never would have said those things if she'd known Romeo was there (coyness is Juliet's role in the Petrarchan courting, but in revealing her true feelings unwittingly, she can't go back); Romeo has no way to express sincerity in the way Juliet has because he knows she's listening (also his role as the Petrarchan lover is grand gestures and vows, so his word isn't worth as much); * Juliet is left with nowhere to hide, so instead of holding back as form would demand, she gives more to Romeo and the more she gives, the more she finds she has to give * --> broken feminine form

(1) O ____, O ___, wherefore art thou ___? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. (2) [Aside] Shall I hear more, or shall I speak at this? (1) 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's "Montague"? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. Oh, be some other name! What's in a name? That which we call a rose By any other word would smell as sweet; So ____ would, were he not ____ called, Retain that dear perfection which he owes Without that title. ____, doff thy name, And, for thy name, which is no part of thee, Take all myself. (2) I take thee at thy word. Call me but "love," and I'll be new baptized. Henceforth I never will be Romeo. (1) What man art thou that, thus bescreened in night, So stumblest on my counsel? (2) By a name I know not to tell thee who I am. My name, dear saint, is hateful to myself Because it is an enemy to thee; Had I it written I would tear the word.

R&J (2.1.75-99), Juliet (1) Romeo (2), this scene illustrates an intrusion (and a broken code of feminine "form" in Verona); Juliet's soliloquy wasn't intended foR Romeo, but he heard it anyway; Also this focus on Romeo's name has to do with the patriarchy (Montague marks him as the next patriarch in the family line and entangles him in the homosocial dynasty, which is based on the traffic of women)

(1) More than Prince of Cats. Oh, he's the courageous captain of compliments! He fights as you sing prick-song; keeps time, distance, and proportion; he rests his minim rests, one, two--and the third in your bosom; the very butcher of a silk button; a duelist, a duelist; a gentleman of the very first house, of the first and second cause--ah, the immortal passata, the punta riversa, the hai! (2) The what? (1) The pox of such antic, lisping, affecting fantasies, these new tuners of accent.

R&J (2.3.17-27), Mercutio (1) Benvolio (2), Mercutio has a different style of fighting than Tybalt--less structure, more improv; Mercutio also considers sociability to share bawdy puns with men (this exchange is an encapsulation of the homosocial environment of fighting on the streets of Verona during the day)

(1) Here comes, ____! Here comes ____! (2) Without his roe, like a dried herring. O flesh, flesh, how are thou fishified! Now is he for the numbers that Petrarch flowed in; Laura to his lady was a kitchen wench--marry, she had a better love to berhyme her--Dido a dowdy, Cleopatra a gypsy, Helen and Hero hildings and harlots, Thisbe a gray-eye or so. But not to the purpose.

R&J (2.3.34-40), Benvolio (1) Mercutio (2), Mercutio mocks Romeo for adhering to cliches and being predictable; another example of Romeo being the traditional/Petrarchan lover to Juliet's unique/inductive love

(1) Ah, ___, if the measure of thy joy Be heaped like mine, and that thy skill be more To blazon it, then sweeten with thy breath This neighbor air, and let rich music tongue Unfold the imagined happiness that both Receive in either by this dear encounter. (2) Conceit, more rich in matter than in words, Brags of his substance, not of ornament. They are but beggars that can count their worth, But my true love is grown to such excess, I cannot sum up sum of half my wealth.

R&J (2.5.24-34), Romeo (1) Juliet (2), this is an example of how Juliet's love is something new: she found it within herself like a well that only flows more the more she digs. She is not the Petrarchan object of desire unto whom love is being inflicted externally: she's finding it internally making her bigger on the inside than the outside because she has so much to give (she's talking about love in completely new ways than it has been discussed in Petrarch or Romeo's speech)

God's bread, it makes me mad! Day, night, hour, tide, time, work, play, Alone, in company--still my care hath been To have her matched; and, having now provided A gentleman of noble parentage, Of fair demesnes, youthful, and nobly lined, Stuffed, as they say, with honorable parts, Proportioned as one's thought would wish a man, And then to have a wretched, puling fool, A whining mammet in her fortune's tender, To answer, "I'll not wed; I cannot love; I am too young; I pray you, pardon me." --But an you will not wed, I'll pardon you: Graze where you will, you shall not house with me! Look to't; think on't; I do not use to jest. Thursday is near. Lay hand on heart; advise. An you be mine, I'll give you to my friend; An you be not, hang, beg, starve, die in the streets-- For, by my soul, I'll ne'er acknowledge thee, Nor what is mine shall never do thee good, Trust to't. Bethink you; I'll not be forsworn.

R&J (3.5.176-195), Capulet, marriage in Elizabethan times was an economic transaction which was understood to take place between the groom and the father of the bride --> bride/daughter serves as a token of a new relationship between father-in-law and son-in-law (the traffic of women between men) --> when Tybalt is dead and there's only one child left in the house of Montague, Capulet feels more urgently that Juliet be married off (he becomes inflexible in this command) --> choice becomes Juliet fully submit herself as her father's property or fully reject him, belonging to nobody (which, in the homosocial streets of Verona, basically means becoming a prostitute until she starves, or worse)

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, A pair of star-crossed lovers take their life, Whose misadventured piteous overthrows Doth with their death bury their parents' strife. The fearful passage of their death-marked love And the continuance of their parents' rage-- Which, but their children's end, naught could remove-- Is now the two hours' traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.

R&J (Prologue), Chorus; sonnet, opening with a sonnet shows the audience right away that the play will be about Petrarchanism (and establishes the convention that will be broken when Romeo and Juliet meet and compose a two-voiced sonnet)

(1) If I profane thee with my worthiest hand This holy shrine, the gentle sin is this: My lips, two blushing pilgrims, did ready stand To smooth that rough touch with a tender kiss. (2) Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. (1) Have not saints lips, and holy palmers too? (2) Ay, pilgrim, lips that they must use in prayer. (1) Oh, then, dear saint, let lips do what hands do: They pray; grant thou, lest faith turn to despair. (2) Saints do not move, though grant for prayer's sake. (1) Then move not while my prayer's effect I take.

Romeo and Juliet (1.4.204-217), dueting sonnet (twist on old form, just as Romeo and Juliet is a story taken from classical/cliched romances like Pyramus and Thisbe), petrarchan love (old v. new) --> Romeo represents the petrarchan lover, which was the convention at the time (thinks deductively: love is supposed to be petrarchan so it must be that way for me), while Juliet represents the new spin (thinks inductively: thinks about what her love is like, interior to exterior); * sonnet is a petrarchan form * --> represents the way Romeo and Juliet are crafting a new love within an old form (in which the woman's voice is included rather than just being the object of desire)

"I pray thee, good Mercutio, let's retire. The day is hot, the Capels abroad, And if we meet we shall not scape a brawl-- For now, these hot days, is the mad blood stirring."

Romeo and Juliet (3.1.1-4), Benvolio, homosocial nature of the streets of Verona and the violence that was present there (Benvolio wants to go inside to avoaid a fight, but Mercutio calls him a sissy --> codes of masculinity; male sociability and male violence are inextricable in this play); day is more dangeorus in Verona than night (which is why the male social scenes are often during the day, and most of romance scenes are at night); also the humors "hot blood" is tied to anger

"Gallop apace, you fiery-footed steeds, Toward Phoebus' lodging; such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaways' eyes may wink, and Romeo Leap to these arms, untalked of and unseen. Lovers can see to do their amorous rites, And by their own beautifies; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron all in black, And learn me to lose a winning match, Played for a pair of stainless maidenhoods. Hood my unmanned blood, bating in my cheeks, With thy black mantle, till strange love grow bold; Think true love acted simple modesty. Come night; come, Romeo; come, thou day in night, For thou wilt lie upon the wings of night Whiter than new snow upon a raven's back. Come, gentle night; come, loving, black-browed night, Give me my Romeo; and, when I shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine, That all the world will be in love with night And pay no worship to the garish sun.

Romeo and Juliet (3.2.1-25), Juliet, Juliet also articulates her love for Romeo in the sense of a rivalry; speaking in the middle of the day, she demands that the sun go down so Romeo can come in the protective cover of night (in contrast with the killing exposure of the sun on the streets of Verona) --> night world is limited entirely to Romeo and Juliet

(1) What wisdom stirs amongst you? Come, sir, now I am for you again. Pray you sit by us And tell's a tale. (2) Merry or sad shall't be? (1) As merry as you will. (2) A sad tale's best for winter. I have one Of sprites and goblins. (1) Let's have that, good sir. Come on, sit down; come on, and do your best To fright me with your sprites. You're powerful at it. (2) There was a man-- (1) Nay, come, sit down; then on. (2) Dwelt by a churchyard--I will tell it softly; Yond crickets shall not hear it. (1) Come on, then, and give't me in mine ear.

WT (2.1.23-32), Hermione (1) Mamillius (2), When Hermione tells Mamillius to tell her a story he says sad tales are better for winter (which is the twist in this story: it's set up like a merry tale but quickly becomes sad) --> also helps to align the play with a tale, like the kind of story grandma would tell to entertain the kids on a long winter's night

(1) O sir, I shall be hated to report it. The Prince your son, with mere conceit and fear Of the Queen's speed, is gone. (2) How? "Gone"? (1) Is dead.

WT (3.2.141-143), Servant (1) Leontes (2), the prince had a powerful imagination, but the problem here is Leontes's ability to impose his delusions on the world around him, partially because he's king and partially because the power of imagination seems to have in the dream-like nightmarish world of this play, Leontes has the ability to make his nightmares real, not just for himself

(1) You knew of his departure, as you know What you have underta-en to do in's absence. (2) Sir, You speak al naguage that I understand not. My life stands in the level of your dreams, Which I'll lay down. (1) Your actions are my dreams. You had a bastard by Polixenes, And I but dreamed it.

WT (3.2.75-81), Leontes (1) Hermione (2), returns to the question of dreams from the beginning (images that our minds produce without or control --> imagination is seeping out of its proper place and fooling Leontes.

I am gone forever. [Exit, pursued by a bear]

WT (3.3.57), Antigonus (/stage direction?), Bear line just used to make the plot move along (death of Antigonus severs Perdita's last connection to her past life and therefore makes her an entirely new person, his death is her rebirth) --> the bear is ridiculous yet important because it intimidates Antigonus and the Audience (representing humanity intimidated by nature)

modulation

change in musical tone/feeling tone (in the context of the Merchant of Venice, shifting the tone from the discord that has characterized the play to harmony)

foil

character who helps define a rival character by contrast (eg Hotspur)

sonnet

erotic poem 14 rhymed lines

enjambment

extending a unit of syntax past the end of one line into the next

pastoral literature

fiction set among shepherds, representing the pleasures of a simple life

discordia concors

harmony: individual discords drawn into greater agreement

homosocial

in a context that includes only one gender and excludes all others

liminal

in between places; ex: Oberon speaking of where Titania sleeps

verse

language crafted according to a a rhythmical pattern; in English the pattern is produced by repeating units of the pattern called "feet"

aside

lines not meant to be heard by another character

soliloquy

lines spoken alone by a character alone on stage

homoerotic

pertaining to desire for someone of the same gender

trochee (trochaic)

stressed, unstressed (eg DOUBle, DOUBle, TOIL and TROUBle)

patriarchy

the rule of the father

apotheosis

transformation of a mortal into an immortal, a god

iamb (iambic)

unstress-stress

prodigal

wasteful, heedless son

(1) If you shall chance, ______, to visit Bohemia on the like occasion whereon my services are now on foot, you shall see, as I have said, great difference betwixt our Bohemia and your Sicilia. (2) I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him. (1) Wherein our entertainment shall shame us, we will be justified in our loves; for indeed-- (2) Beseech you-- (1) Verily, I speak it in the freedom of my knowledge. We cannot with such magnificence -- in so rare -- I know not what to say. We will give you sleepy drinks that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us.

WT (1.1.1-14), *Archidamus* (1) Camillo (2), this scene both lays the groundwork for the *change in setting* in the play and also the joke that they should drug the visitors so they'll judge it less harshly gets at a deeper issue: sleeping doesn't turn the mind off, it just produces images without any input --> this helps to explain why the play takes such a sudden turn toward the strange after this

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

WT (1.2.135-146), Leontes, outcome of the thought or imaginary blood began earlier in the scene --> the syntax of this scene is intentionally difficult to follow, which conveys the way Leontes's mind is unraveling

(1) Come, I'll question you Of my lord's tricks and yours when you were boys. you were pretty lordings then? (2) We were, fair queen, Two lads that thought there was no more behind But such a day tomorrow as today, And to be boy eternal (1) Was not my lord The verier wag o'th' two? (2) We were as twinned lambs that did frisk i'th' sun And bleat the one at th'other. What we changed Was innocence for innocence. We knew not The doctrine of ill-doing nor dreamed That any did. Had we pursued that life, And our weak spirits ne'er been higher reared With stronger blood, we should have answered heaven Boldly, "Not guilty," the imposition cleared Hereditary ours. (1) By this we gather You have tripped since. (2) O my most sacred lady, Temptations have since then been born to's. For In those unfledged days was my wife a girl; Your precious self had then not crossed the eyes Of my young playfellow. (1) Grace to boot! Of this make no conclusion, lest you say Your queen and I are devisl. Yet go on. Th'offenses we have made you do we'll answer-- If you first sinned with us, and that with us You did continue fault, and that you slipped not With any but with us. (3) Is he won yet? (1) He'll stay, my lord. (3) At my request he would not. _______, my dearest, thou never spok'st To better purpose. (1) Never? (3) Never but once. (1) What, have I twice said well? When was't before? I prithee tell me. Cram's with praise and make's As fat as tame things. One good deed, dying tongueless, Slaughters a thousand waiting upon that. Our praises are our wages. You may ride's With one soft kiss a thousand furlongs ere With spur we heat an acre. But to th' goal: My last good deed was to entreat his stay. What was my first? It has an elder sister, Or I mistake you. Oh, would her name were Grace! But once before I spoke to th' purpose? When? Nay, let me have't. I long. (3) Why, that was when Three crabbed months had soured themselves to death Ere I could make thee open thy white hand And clap ythyself my love; then didst thou utter, "I am yours forever." (1) 'Tis grace idneed. Why lo you now, I have spoke to th' purpose twice: The one for ever earned a royal husband; Th'other for some while a friend. (3) Too hot, too hot. To mingle friendship far is mingling bloods.

WT (1.2.86-109), Hermione (1) Polixenes (2) Leontes (3), establishes women as the thing that broke the edenic state of boyhood innocence that Leontes and Polixenes enjoyed, possibly explaining why Leontes goes off at Hermione; Leontes also suggests here that friendship and marriage are on a continuum rather than separate categories

inverted syntax

word order other than the conventional (subject, verb, predicate)

(1) What, art so near? If thou'lst see a thing to talk on when thou art dead and rotten, come hither. what ail'st thou, man? (2) I have seen two such sights, by sea and by land. but I am not to say it is a sea, for it is now the sky; betweixt the firmament and it you cannot thrust a bodkin's point. (1) Why, boy, how is it? (2) I would you did but see how it chafes, how it rages, how it takes up the shore--but that's not to the point. OH, the most piteous cry of the poor souls! Sometimes to see 'em and not to see 'em; now the ship boring the moon with her mainmast, and anon swallowed with yeast and froth, as you'd thrust a cork into a hogshead. And then for the land-service, to see how the bear tore out his shoulder bone, how he cried to me for help and said his name was Antigous, a nobleman. But to make an end of the ship, to see how the sea flapdragoned it!But first, how the poor souls roared, and the sea mocked them; and how the poor gentleman roared, and the bear mocked him, both roaring louder than the sea or weather. (1) Name of mercy, when was this, boy? (2) Now, now. I have not winked since I saw these sights. The men are not yet cold under water, nor the bear half dined on the gentleman--he's at it now. (1) Would I had been by to have helped the old man. (2) I would you had been by tehs hip side to have helped her; there your chairty would have lacked footing (1) Heavy matters, heavy matters. But look thee here, boy. Now bless thyself: thou mett'st with things dying, I with things newborn.

WT (3.3.76-99), Shepherd (1) Clown (2), shifts to pastoral literature with intro of the shepherd and country setting, upheaval between nature and man

I, that please some, try all ; both joy and terror Of good and bad, that makes and unfolds error, Now take upon me in the name of Time To use my wings. Impute it not a crime To me or my swift passage that I slide O'er sixteen years and leave the growth untried Of that wide gap, since it is in my power To o'erthrow law, and in one self-born hour To plant and o'erwhelm custom. Let me pass The same I am, ere ancient'st order was, Of what is now received. I witness to The times that brought them in, so shall I do To th' freshest things now reigning and make stale The glistering of this present, as my tale Now seems to it. Your patience this alloiwng, I turn my glass, and give my scene such growing Th'effects of his fond jealousies so grieving Gentle spectators, that I now may be In fair Bohemia, and remember well I mentioned a son o'th' King's, which Florizel I now name to you; and with speed so pace To speak of Perdita, now grown in grace Equal with wond'ring. What of her ensues I list not prophesy, but let Time's news Be known when 'tis brought forth: a shepher's daughter And what to her adheres, which follows after, Is th'argument of Time. Of this allow, If ever you have spent time worse ere now; If never, yet that Time himself doth say He wishes earnestly you never may.

WT (4.1.1-32), Time, Time personified was a lazy trope of Shakespeare's time (seen as a deus ex machina for writers who'd written themselves into a wall --> "well 16 years have passed so...") but Shakespeare's Time recognizes what it's doing which creates a fine line between clever and stupid and feeds into the "tale" element of WT (Time as a figure becomes glorified through audience hatred)

(1) Sir, the year growing ancient, Not yet on summer's death, nor on the birth Of trembling winter, the fairest flowers o'th' season Are our carnations and streaked gillyvors, Which some call nature's bastards; of that kind Our rustic garden's barren, and I care not To get slips of them. (2) Wherefore, gentle maiden, Do you neglect them? (1) For I have heard it said There is an art which in their piedness shares With great creating nature. (2) Say there be. Yet nature is made better by no mean But nature makes that mean. So over that art Which you say adds to nature is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock And make conceive a bark of baser kind By bud of nobler race. This is an art Which does mend nature--change it, rather-- but The art itself is nature. (1) So it is. (2) Then make your garden rich in gillyvors, And do not call them bastards. (1) I'll not put The dibble in earth to set one slip of them, No more than, were I painted, I would wish This youth should say 'twere well and only therefore Desire to breed by me. Here's flowers for you: Hot lavender, mints, savory, marjoram, THe marigold that goes to bed wi'th' sun And with him rises weeping. These are flowers Of middle summer, and I htink they are given To men of middle age. You're very welcome. (3) I should leave grazing, were I of your flock, And only live by gazing. (1) Out, alas! You'd be so lean that blasts of January Would blow you through and through. Now, my fair'st friend, I would I had some flowers o'th' spring that might Become your time of day--and yours, and yours, That wear upon your virgin branches yet Your maidenheads growing. O Prosperina, For the flowers now that, frihgted, thou lett'st fall From Dis's wagon: daffodils, That come before the swallow dares and take the winds of March with beauty; violets dim, But sweeter than the lips of Juno's eyes Or cytherea's breath; pale primroses, That die unmarried ere they can behold Bright Phoebus in his strength--a malady Most incident to maids; bold oxlips and The crown imperial; lilies of all kinds, The flower-de-luce being one. Oh, these I lack To strew him o'er and o'er (4) What, like a corpse? (1) No, like a bank for love to lie and play on. Not like a corpse--or if, not to be buried, But quick and in mine arms. Come, take your flowers.

WT (4.4.79.132), Perdita (1) Polixenes (2) Camillo (3) Florizel (4), play is set on a cycle (opens in winter, ends in fall) and these lines express that they're currently in a liminal space (ultimately proving the point that time balances the duality of decay and growth)

(1) I would most gladly know the issue of it. (2) I make a broken delivery of the business, but the changes I perceived in the King and Camillo were very notes of admiration. They seemed almost, with staring on one another, to tear the cases of their eyes. There was speech in their dumbness, language in their very gesture. They looked as they had heard of a world ransomed or one destroyed. A notable passion of wonder appeared in them, but the wisest beholder that knew no more but seeing could not say if th'importance were joy or sorrow. But in the extremity of the one, it must needs be. Here comes a gentleman that happily knows more. The news, Rogero? (3) Nothing but bonfires. The oracle is fulfilled; the King's daughter is found. Such a deal of wonder is broken out within the hour that ballad-makers cannot be able to express it. Here comes the Lady Paulina's steward. He can deliver you more. How does it now, sir? This news which is called true is so like an old tale that the verity of it is in strong suspicion. Has the King found his heir? (4) Most true, if ever truth were pregnant by circumstance. That which you hear you'll swear you see, there is such unity in the proofs. The mantle of Queen Hermione's; her jewel about the neck of it; the letters of Antigonus found with it, which they know to be his character; the majesty of the creature in resemblance of the mother; the affection of nobleness, which nature shows above her breeding; and many other evidences proclaim her with all certainty to be the King's daughter. Did you see the meeting of the two kings? (3) No. (4) Then you have lost a sight which was to be seen, cannot be spoken of. There might you have beheld one joy crown another, so and in such manner that it seemed sorrow wept to take leave of them, for their joy waded in tears...I never heard of such another encounter, which lames report ot follow it and undoes description to do it. (3) What, pray you, became of Antigonus that carried hence the child? (4) Like an old tale still, which will have matter to rehearse though credit be asleep and not an ear open: he was torn to pieces with a bear.

WT (5.2.7-50), *Autolycus* (1) First/Second/Third Gentleman (2-4), this passage outlines the resolution of the main plot point (the lost baby) entirely through second hand recollection by nobody characters --> the first gentleman doesn't know how to interpret what he saw, 2nd gentleman arrives with more information (that Perdita is the King's lost daughter returned) and describes it like a ballad/fairytale (reminding the audience explicitly of its similarity to a tale multiple times in this passage) This also illustrates the double emotional effect of tragicomedy--juxtaposing of intensity of joy and sorrow, which remains in place for 1st gentleman to the last possible moment

It is required, You do awake your faith.

WT (5.3.94-95), Paulina, Paulina tells Leontes that to experience the return of his wife he must "awake his faith" --> the magic depends on the total suspension of disbelief (this is why the play is presented as a tale, at the heart it is about the return to childlike wonder and a deep belief that even the audience is barred from)

oxymoron

a contradiction in terms (eg "I burn and I am ice" and "I find no peace and I make no war")

caesura

a pause in the middle of the line usually through syntax/punctuation, sometimes by making the line hard to say without taking a breath

travesty

a ridiculous and belittling imitation

paradox

a statement that appears to contradict itself, yet is in some way true (eg "my riches made me poor")

preposterous

back to front; absurd; reversing cause and effect