Shakespeare ID Passages

Let Rome in Tiber melt, and the wide arch Of the ranged empire fall! Here is my space. Kingdoms are clay: our dungy earth alike Feeds beast as man: the nobleness of life Is to do thus; when such a mutual pair And such a twain can do't, in which I bind, On pain of punishment, the world to weet (admit) We stand up peerless.

Play: A&C Speaker: Antony Context: Antony is bothered by his duties with the Roman Empire and responds to having messengers Significance: Why does Antony talk about Rome this way ? - Positioning love as a viable political force, showing he doesn't care about his political position or Rome itself. "Melting" is another form of softening

What say you? Hence, Strikes him again Horrible villain! or I'll spurn thine eyesLike balls before me; I'll unhair thy head: She hales him up and down Thou shalt be whipp'd with wire, and stew'd in brine,Smarting in lingering pickle. [...] Say 'tis not so, a province I will give thee,And make thy fortunes proud: the blow thou hadstShall make thy peace for moving me to rage;And I will boot thee with what gift besideThy modesty can beg.

Play: A&C Speaker: Cleo Context: A messenger just told her Antony married Octavia Significance: What does this show? - She shoots the messenger, a display of impulsivity, indicates importance of messengers even though characters dislike them. Scope of the play is extremely broad, but the messengers connect the action by allowing Cleo to attack a proxy of her enemy. Also shows she has physical prowess

I will tell you. The barge she sat in, like a burnish'd throne, Burn'd on the water: the poop was beaten gold; Purple the sails, and so perfumed that The winds were love-sick with them; the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes. For her own person, It beggar'd all description: she did lie In her pavilion--cloth-of-gold of tissue--O'er-picturing that Venus where we see The fancy outwork nature: on each side her Stood pretty dimpled boys, like smiling Cupids, With divers-colour'd fans, whose wind did seem To glow the delicate cheeks which they did cool, And what they undid did. [...] Her gentlewomen, like the Nereides, So many mermaids, tended her i' the eyes, And made their bends adornings: at the helm A seeming mermaid steers: the silken tackle Swell with the touches of those flower-soft hands, That yarely frame the office. From the barge A strange invisible perfume hits the sense Of the adjacent wharfs. The city cast Her people out upon her; and Antony, Enthroned i' the market-place, did sit alone, Whistling to the air; which, but for vacancy, Had gone to gaze on Cleopatra too, And made a gap in nature [...] I saw her once Hop forty paces through the public street; And having lost her breath, she spoke, and panted, That she did make defect perfection, And, breathless, power breathe forth [...] Never; he will not: Age cannot wither her, nor custom stale Her infinite variety: other women cloy The appetites they feed: but she makes hungry Where most she satisfies; for vilest things Become themselves in her: that the holy priests Bless her when she is riggish.

Play: A&C Speaker: Enobarbus Context: Enobarbus saw Cleo in a triumph and is describing it to basically say Antony will definitely go back to her Significance: She's in a fluid space as opposed to land, her body is on display not obtained thru conquest. Transformation of Plutarch •But also shows how he is transforming it: he makes Cleopatra seem almost supernatural - the winds are lovesick for her, the air is magnetically pulled toward her, the waves blow back over the oars as if they are in love with them •Amplifies Plutarch's praise of her even further—in Plutarch she's like a picture of Venus, in Shakespeare she's even better than a picture of Venus; Plutarch just describes her, Shakespeare says she 'beggars' (renders pathetic) all description

You may see, X, and henceforth know, It is not Y's natural vice to hate Our great competitor: from Alexandria This is the news: he fishes, drinks, and wastes The lamps of night in revel; is not more man-like Than Z; nor the queen of Ptolemy More womanly than he; hardly gave audience, or Vouchsafed to think he had partners: you shall find there A man who is the abstract of all faults That all men follow [...] W, Leave thy lascivious wassails. When thou once Wast beaten from Modena, where thou slew'st Hirtius and Pansa, consuls, at thy heel Did famine follow; whom thou fought'st against, Though daintily brought up, with patience more Than savages could suffer: thou didst drink The stale of horses, and the gilded puddle Which beasts would cough at: thy palate then did deign The roughest berry on the rudest hedge; Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsed'st; on the Alps It is reported thou didst eat strange flesh, Which some did die to look on: and all this--It wounds thine honour that I speak it now-- Was borne so like a soldier, that thy cheek So much as lank'd not

Play: A&C Speaker: Octavius Caesar Context: Caesar is complaining to Lepidus about how slutty Antony is Significance: Antony is becoming more womanly, but he and Cleo are said to be equally androgynous Antony used to put himself under extreme physical stress without complaint and now he's slutty

Why have you stol'n upon us thus! You come not Like X's sister: the wife of Y Should have an army for an usher, and The neighs of horse to tell of her approach Long ere she did appear; the trees by the way Should have borne men; and expectation fainted, Longing for what it had not; nay, the dust Should have ascended to the roof of heaven, Raised by your populous troops: but you are come A market-maid to Rome; and have prevented The ostentation of our love, which, left unshown, Is often left unloved; we should have met you By sea and land; supplying every stage With an augmented greeting.

Play: A&C Speaker: Octavius Caesar Context: Octavia is returning to Rome, having been rejected by Antony Significance: I think this is more Roman self-righteous nonsense

Nay, but this dotage* of our general's O'erflows the measure: those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front: his captain's heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper, And is become the bellows and the fanTo cool a gipsy's* lust. [...] Look, where they come: Take but good note, and you shall see in him. The triple pillar of the world transform'd Into a strumpet's fool: behold and see.

Play: A&C Speaker: Philo Context: Beginning of the play, Philo is upset that Cleo had made Antony soft Significance: (first 1.5 line) Romans are thinking of love coldly, as though it has a hard limit Antony used to be an admirable warrior, enough so to be compared to the God of war, but now he's distracted by a woman **Pay attention to where the word bend appears** Antony used to be a passionate and formidable member of the military, but that passion has been redirected and weakened now that he's into Cleopatra Bellows heat fires so why say he's cooling her lust? He's also inflaming it? Stage direction - they just spoke about fanning her and the eunuchs are doing it, which draws a parallel between the eunuchs and Antony, an image that emasculates him Why triple pillar of the world against strumpet's fool? - Strumpet means a woman who has many sexual encounters Why is this section the very first thing we hear? - We see that Antony is caught between Cleopatra and Rome/his soldiers

So please my lord the duke and all the court To quit the fine for one half of his goods, I am content; so he will let me have The other half in use, to render it, Upon his death, unto the gentleman That lately stole his daughter: Two things provided more, that, for this favour, He presently become a Christian; The other, that he do record a gift, Here in the court, of all he dies possess'd, Unto his son Lorenzo and his daughter.

Play: Merchant of Venice Speaker: Antonio Context: Antonio "mercifully" tells the Duke Shylock doesn't have to pay the state's half of the fine, but brings his own stipulations for Shylock's punishment for threatening his life Significance: In this scene, the Christians hold the power of the law and exercise "mercy" by trying to imply that they would be within their rights to make circumstances much worse for Shylock, so he should be content with losing his livelihood and religion.

I have heard Your grace hath ta'en great pains to qualify His rigorous course; but since he stands obdurate And that no lawful means can carry me Out of his envy's reach, I do oppose My patience to his fury, and am arm'd To suffer, with a quietness of spirit, The very tyranny and rage of his...

Play: Merchant of Venice Speaker: Antonio Context: Antonio is speaking to the Duke right before his trial to see if he'll have to give Shylock a pound of his flesh after not repaying his debt Significance: This speech subtly extends the associations between Shylock and stoniness to evoke Ezekiel 36 and suggest that Shylock needs to be cleansed/saved. Antonio describes him like a cold and unstoppable force, almost machine-like; a dehumanizing portrayal.

I am sorry for thee: thou art come to answer A stony adversary, an inhuman wretch Uncapable of pity, void and empty From any dram of mercy.

Play: Merchant of Venice Speaker: Duke Context: The Duke is expressing his sympathy for Antonio, who risks losing a pound of flesh to Shylock for not having paid back his debt Significance: Evokes Ezekiel 36 to portray Shylock as a cold hearted, emotionally distant person who is fundamentally flawed (to his very core--his heart)

O, be thou damn'd, inexecrable dog! And for thy life let justice be accused. Thou almost makest me waver in my faith To hold opinion with Pythagoras,* That souls of animals infuse themselves Into the trunks of men: thy currish spirit Govern'd a wolf, who, hang'd for human slaughter, Even from the gallows did his fell soul fleet, And, whilst thou lay'st in thy unhallow'd dam, Infused itself in thee; for thy desires vgAre wolvish, bloody, starved and ravenous

Play: Merchant of Venice Speaker: Gratiano Context: Shylock refuses to step down from his original deal during the trial and wants a pound of Antonio's flesh, no one is a fan of this Significance: Gratiano is trying to say that Shylock is a reincarnated wolf, both calling him ravenous and greedy, as well as animalizing him

Ay, and I'll give them him without a fee. There do I give to you and Jessica, From the rich Jew, a special deed of gift, After his death, of all he dies possess'd of.

Play: Merchant of Venice Speaker: Nerissa Context: To wrap up the reunion of the play's two couples at the end, Nerissa tells Jessica and Lorenzo they'll receive Shylock's inheritance when he dies. Significance: The q on the slide asks me to compare this to the movement of Portia's dowry to her husband, and all I can think of is how the oppressed classes don't /really/ get a say in what happens to their cash

The quality of mercy is not strain'd, It droppeth as the gentle rain from heaven Upon the place beneath: it is twice blest; It blesseth him that gives and him that takes: 'Tis mightiest in the mightiest: it becomes The throned monarch better than his crown; His sceptre shows the force of temporal power, The attribute to awe and majesty, Wherein doth sit the dread and fear of kings; But mercy is above this sceptred sway; It is enthroned in the hearts of kings, It is an attribute to God himself; And earthly power doth then show likest God's When mercy seasons justice. Therefore, Jew, Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation: we do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy. I have spoke thus much To mitigate the justice of thy plea; Which if thou follow, this strict court of Venice Must needs give sentence 'gainst the merchant there.

Play: Merchant of Venice Speaker: Portia Context: Disguised as doctor Balthazar in the courtroom, Portia tries to appeal to Shylock and protect Antonio Significance: Portia argues for the importance of exercising mercy over justice and says no one would get into heaven if no one was merciful; it's a bit hypocritical because she doesn't let the guys who try and fail to marry her court anyone else for the rest of their lives, and also she's racist, but okay

Tarry, Jew: The law hath yet another hold on you. It is enacted in the laws of Venice, If it be proved against an alien That by direct or indirect attempts He seek the life of any citizen, The party 'gainst the which he doth contrive Shall seize one half his goods; the other half Comes to the privy coffer of the state; And the offender's life lies in the mercy Of the duke only, 'gainst all other voice. In which predicament, I say, thou stand'st; For it appears, by manifest proceeding, That indirectly and directly too Thou hast contrived against the very life Of the defendant; and thou hast incurr'd The danger formerly by me rehearsed. Down therefore and beg mercy of the duke.

Play: Merchant of Venice Speaker: Portia, disguised as a doctor Context: Portia is using the technicalities of the law to save Antonio from bodily harm by threatening Shylock's livelihood Significance: Even though Shylock is a very literal person who values the precise word of the law, the law itself prioritizes Christian citizens over Jews, and Portia wields it to not only protect Antonio but to humiliate Shylock for trying to participate in the legal system in a way that benefits his interests--just like the Christians do

Mislike me not for my complexion, The shadow'd livery of the burnish'd sun, To whom I am a neighbour and near bred. Bring me the fairest creature northward born, Where Phoebus' fire scarce thaws the icicles, And let us make incision for your love, To prove whose blood is reddest, his or mine.* *a sign of virility I tell thee, lady, this aspect of mine Hath fear'd the valiant: by my love I swear The best-regarded virgins of our clime Have loved it too: I would not change this hue, Except to steal your thoughts, my gentle queen.

Play: Merchant of Venice Speaker: Prince of Morocco Context: Portia is conducting the casket test for the first time on stage with a suitor from Morocco Significance: The Prince of Morocco says his skin color is irrelevant to his being a veritable match for Portia. He adheres to climatological theories of race, which claim that being in hotter climates darkens one's skin and changes their race. His speech is ironic, because he goes for the gold casket.

Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances:* *interest Still have I borne it with a patient shrug, For sufferance is the badge of all our tribe. You call me misbeliever, cut-throat dog, And spit upon my Jewish gaberdine, 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 'Shylock, we would have moneys:' you say so; You, that 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, Say this; 'Fair sir, you spit on me on Wednesday last; You spurn'd me such a day; another time You call'd me dog; and for these courtesies I'll lend you thus much moneys'?

Play: Merchant of Venice Speaker: Shylock Context: Antonio and Bassanio are requesting a large loan from Shylock with which to woo Portia, and have been very anti-Semitic. Significance: Shylock confronts the pair with the knowledge that, although they regularly deride him, they need Shylock at the end of the day, thus calling out their anti-Semitism. Notably, the racist stereotype of Jews being miserly moneylenders only came about because they were banned from more desirable finance jobs.

I'll have my bond; speak not against my bond: I have sworn an oath that I will have my bond

Play: Merchant of Venice Speaker: Shylock Context: Shylock has had Antonio arrested and is speaking to him in his cell Significance: Shylock's fixation on having the bond, or Antonio's flesh, exemplifies his commitment to upholding his word, something Christian characters in the play don't always accomplish

Oh, no, no, no, no: my meaning in saying he is a good man is to have you understand me that he is sufficient. Yet his means are in supposition: he hath an argosy bound to Tripolis, another to the Indies; I understand moreover, upon the Rialto, he hath a third at Mexico, a fourth for England, and other ventures he hath, squandered abroad. But ships are but boards, sailors but men: there be land-rats and water-rats, water-thieves and land-thieves, I mean pirates, and then there is the peril of waters, winds and rocks. The man is, notwithstanding, sufficient. Three thousand ducats; I think I may take his bond.

Play: Merchant of Venice Speaker: Shylock Context: Shylock is considering lending money to Antonio Significance: Shylock speaks about money frankly and literally, unlike Christian characters in the play who attach a weighty symbolic importance to it. In his literalism, Shylock appears less materialistic than his Christian counterparts, going against offensive caricatures of Jews as miserly.

What judgment shall I dread, doing no wrong? You have among you many a purchased slave, Which, like your asses and your dogs and mules, You use in abject and in slavish parts, Because you bought them: shall I say to you, Let them be free, marry them to your heirs? Why sweat they under burthens? let their beds Be made as soft as yours and let their palates Be season'd with such viands? You will answer 'The slaves are ours:' so do I answer you: The pound of flesh, which I demand of him, Is dearly bought; 'tis mine and I will have it. If you deny me, fie upon your law! There is no force in the decrees of Venice. I stand for judgment: answer; shall I have it?

Play: Merchant of Venice Speaker: Shylock Context: Shylock is reiterating that he won't take no for an answer on the question of Antonio's flesh during the trial Significance: Shylock highlights the hypocrisy of the Christians who find his contract unlawful by claiming that they enslave people under protection of the law, and he has as much right to do as he pleases within its bounds as they do

I crave the law, The penalty and forfeit of my bond

Play: Merchant of Venice Speaker: Shylock Context: Shylock is reiterating that he won't take no for an answer on the question of Antonio's flesh during the trial Significance: Shylock's fixation on having the bond, or Antonio's flesh, exemplifies his commitment to upholding his word, something Christian characters in the play don't always accomplish

O treason of the blood!

Play: Othello Speaker: Brabantio Context: Brabantio has been informed of Othello and Desdemona's relationship by Iago Significance: The use of the word "treason" suggests that Desdemona is betraying her Italian heritage by associating with a Moor

O thou foul thief, where hast thou stow'd my daughter? Damn'd as thou art, thou hast enchanted her; For I'll refer me to all things of sense, If she in chains of magic were not bound, Whether a maid so tender, fair and happy, So opposite to marriage that she shunned The wealthy curled darlings of our nation, Would ever have, to incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou, to fear, not to delight. Judge me the world, if 'tis not gross in sense That thou hast practised on her with foul charms, Abused her delicate youth with drugs or minerals That weaken motion: I'll have't disputed on; 'Tis probable and palpable to thinking. I therefore apprehend and do attach thee For an abuser of the world, a practiser Of arts inhibited and out of warrant. Lay hold upon him: if he do resist, Subdue him at his peril.

Play: Othello Speaker: Brabantio Context: Iago has riled up Brabantio about Othello and Desdemona's relationship, so Brabantio raises a riot against him Significance: Brabantio refuses to believe that Desdemona chose to marry Othello of her own volition and accuses him of having bewitched her.

My mother had a maid call'd Barbary: She was in love, and he she loved proved mad And did forsake her: she had a song of 'willow;' An old thing 'twas, but it express'd her fortune, And she died singing it: that song to-night Will not go from my mind; I have much to do, But to go hang my head all at one side, And sing it like poor Barbary. Prithee, dispatch

Play: Othello Speaker: Desdemona Context: Desdemona is processing the fact that Othello is being a dick Significance:

The poor soul sat sighing by a sycamore tree, Sing all a green willow: Her hand on her bosom, her head on her knee, Sing willow, willow, willow: The fresh streams ran by her, and murmur'd her moans; Sing willow, willow, willow; Her salt tears fell from her, and soften'd the stones; [speaks to Emilia] Lay by these:-- Sing willow, willow, willow; [speaks to Emilia] Prithee, hie thee; he'll come anon:-- Sing all a green willow must be my garland. Let nobody blame him; his scorn I approve, [speaks] Nay, that's not next.--Hark! who is't that knocks?

Play: Othello Speaker: Desdemona Context: Desdemona is singing the willow song her mother's maid, Barbary, sang Significance: An African heritage item like Othello's handkerchief

My noble father, I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty; I am hitherto your daughter: but here's my husband, And so much duty as my mother show'd To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord.

Play: Othello Speaker: Desdemona Context: Desdemona joins Othello to argue for the legitimacy of his courtship to her father Significance: Desdemona appeals to her father by claiming that she is showing Othello the same affection that Brabantio received from his wife

Though I hate him as I do hell-pains, Yet for necessity of present life I must show out the flag and sign of love, Which is indeed but sign

Play: Othello Speaker: Iago Context: Iago and Roderigo have just stirred Brabantio against Othello, and Iago is stating his intention to remain in Othello's good graces as he orchestrates his downfall Significance: Flags with their symbolic imagery show alliance with a specific cause, and Iago is claiming allegiance with Othello for self-preservation. However, as he says, it is "just sign," and so he's giving the appearance of allyship without fulfillment.

When devils will the blackest sins put on, They do suggest at first with heavenly shows, As I do now: for whiles this honest fool Plies X to repair his fortunes And she for him pleads strongly to the Moor, I'll pour this pestilence into Y's ear, That she repeals Z for her body's lust; And by how much she strives to do him good, She shall undo her credit with the Moor. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all.

Play: Othello Speaker: Iago Context: Iago hatches his plan to get Othello to suspect Desdemona of cheating on him with Cassio Significance: Iago sees complexion as a visual marker of where someone stands morally; in this racially-coded view, someone who is acting poorly turns "their virtue into pitch"

Despise me, if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Off-capp'd to him: and, by the faith of man, I know my price, I am worth no worse a place: But he; as loving his own pride and purposes, Evades them........for, 'Certes,' says he, 'I have already chose my officer.' And what was he? Forsooth, a great arithmetician, One [REDACTED], a Florentine, A fellow almost damn'd in a fair wife; That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can propose As masterly as he: mere prattle, without practise, Is all his soldiership. But he, sir, had the election: And I, of whom his eyes had seen the proof At Rhodes, at Cyprus and on other grounds Christian and heathen, must be be-lee'd and calm'd By [a] debitor and creditor: this counter-caster, He, in good time, must his lieutenant be, And I--God bless the mark!--his Moorship's ancient.

Play: Othello Speaker: Iago Context: Iago is complaining to Roderigo because Othello chose Michael Cassio over him for the role of lieutenant Significance: Iago believes Cassio is unfit for the role because he is an arithmetician with no military expertise

O beware, my lord, of jealousy! It is the green-eyed monster, which doth mock the meat it feeds on.

Play: Othello Speaker: Iago Context: Iago is convincing Othello of Desdemona's infidelity, and says this before listing plenty of fabricated reasons Othello should be jealous Significance: Iago personifies jealousy as a monster that consumes the person experiencing it, and also makes a mockery of them. Iago is essentially saying that being jealous is embarrassing, a kind of reverse-psychology (because he definitely wants Othello to be jealous).

Even now, now, very now, an old black ram Is tupping your white ewe!

Play: Othello Speaker: Iago Context: Iago is trying to turn Brabantio against Othello by telling him about Othello's relationship with Desdemona Significance: Iago is suggesting that, although his metaphor is heavily racially coded, Desdemona and Othello are of the same species (this feels so very icky to write lmao)

Stand you awhile apart; Confine yourself but in a patient list. Whilst you were here o'erwhelmed with your grief-- A passion most unsuiting such a man--XX came hither: I shifted him away, And laid good 'scuse upon your ecstasy, Bade him anon return and here speak with me; The which he promised. Do but encave yourself, And mark the fleers, the gibes, and notable scorns, That dwell in every region of his face; For I will make him tell the tale anew, Where, how, how oft, how long ago, and when He hath, and is again to cope your wife: I say, but mark his gesture. Marry, patience; Or I shall say you are all in all in spleen, And nothing of a man

Play: Othello Speaker: Iago Context: Iago sets up this surveillance scene by telling Othello to hide and watch him talk to Cassio Significance: Fallibility of "ocular proof," more of Iago's manipulation and flag-bearererness

He tonight hath boarded a land carrack: If it prove lawful prize, he's made for ever

Play: Othello Speaker: Iago Context: Othello has just been informed by Cassio that the Duke needs his presence, and Cassio asks Iago why Othello has more business to attend to before departing Significance: Iago compares Desdemona to a ship pirated by a foreigner (Othello), thus presenting their relationship as non-consensual and associating love with matters of war.

You'll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you, you'll have coursers for cousins and jennets for germans!

Play: Othello Speaker: Iago Context: Still trying to rile up Brabantio Significance: Here, Iago is being somehow more explicitly racist than in his earlier animalization, because he's associating Othello with a horse while Desdemona is apparently human. He uses cross-breeding to racist effect.

Ay, there's the point: as--to be bold withyou-- Not to affect many proposed matches Of her own clime, complexion, and degree, Whereto we see in all things nature tends-- Foh! one may smell in such a will most rank, Foul disproportion, thoughts unnatural. But pardon me; I do not in position Distinctly speak of her; though I may fear Her will, recoiling to her better judgment, May fall to match you with her country forms And happily repent.

Play: Othello Speaker: Iago Context: mid temptation scene Significance: Iago tries to argue that Desdemona's attraction to Othello, a Moor, goes against her nature as a White Venetian and that she might come to her senses and leave him for a suitor who looks like her

Her father loved me; oft invited me; Still question'd me the story of my life, From year to year, the battles, sieges, fortunes, That I have passed. I ran it through, even from my boyish days, To the very moment that he bade me tell it; Wherein I spake of most disastrous chances, Of moving accidents by flood and field Of hair-breadth scapes i' the imminent deadly breach, Of being taken by the insolent foe And sold to slavery, of my redemption thence And portance in my travels' history: Wherein of antres vast and deserts idle, Rough quarries, rocks and hills whose heads touch heaven It was my hint to speak,--such was the process; And of the Cannibals that each other eat, The Anthropophagi and men whose heads Do grow beneath their shoulders. This to hear Would Desdemona seriously incline: But still the house-affairs would draw her thence: Which ever as she could with haste dispatch, She'ld come again, and with a greedy ear Devour up my discourse: which I observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd. My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story. And that would woo her. Upon this hint I spake: She loved me for the dangers I had pass'd, And I loved her that she did pity them. This only is the witchcraft I have used: Here comes the lady; let her witness it.

Play: Othello Speaker: Othello Context: After Brabantio tells the Duke that Othello has stolen Desdemona, Othello decides to share how he and Desdemona fell in love and let the others decide whether it seems legitimate or witchy Significance: This passage stands in stark contrast to the assumptions Brabantio made about Othello based on Iago's goading in a way that legitimizes Othello's relationship with Desdemona and makes the audience sympathetic toward them

Ay; you did wish that I would make her turn: Sir, she can turn, and turn, and yet go on, And turn again; and she can weep, sir, weep; And she's obedient, as you say, obedient, Very obedient. Proceed you in your tears. Concerning this, sir,--O well-painted passion!-- I am commanded home. Get you away; I'll send for you anon. Sir, I obey the mandate, And will return to Venice. Hence, avaunt! Cassio shall have my place. And, sir, tonight, I do entreat that we may sup together: You are welcome, sir, to Cyprus.--Goats and monkeys

Play: Othello Speaker: Othello Context: Iago has just lied about Cassio having slept with Desdemona Significance: Othello is devolving into madness and no longer is as cool and suave as he once was, idrk. Slide says it's a "linguistic breakdown--a break from the polished and eloquent speeches of the first act" Trance weird

Lie with her! lie on her! We say lie on her, when they belie her. Lie with her! that's fulsome. --Handkerchief--confessions--handkerchief!--To confess, and be hanged for his labour;--first, to be hanged, and then to confess.--I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shake me thus. Pish! Noses, ears, and lips. --Is't possible?--Confess--handkerchief!--O devil!-- Falls in a trance

Play: Othello Speaker: Othello Context: Iago has just lied about Cassio having slept with Desdemona Significance: Othello is devolving into madness and no longer is as cool and suave as he once was, idrk. Trance weird

It is the cause, it is the cause, my soul,--Let me not name it to you, you chaste stars!-- It is the cause. Yet I'll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster.Yet she must die, else she'll betray more men. Put out the light, and then put out the light: If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me: but once put out thy light, Thou cunning'st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. When I have pluck'd the rose, I cannot give it vital growth again. It must needs wither: I'll smell it on the tree. Ah balmy breath, that dost almost persuade Justice to break her sword! One more, one more. Be thus when thou art dead, and I will kill thee, And love thee after. One more, and this the last: So sweet was ne'er so fatal. I must weep, But they are cruel tears: this sorrow's heavenly; It strikes where it doth love. She wakes.

Play: Othello Speaker: Othello Context: Othello is about to kill Desdemona Significance: Othello strangles Desdemona so he doesn't mar her white skin uhhhh Why snow and alabaster? - Alabaster is precious and has inherent longevity, snow melts and is fragile, oxymoronic. Alabaster monument - he already sees her as dead According to lecture member, strangulation viewed as the most romantic way to kill someone He compares her to light/fire (once she's dead, she's dead) and then to a rose (once she's dead, she's dead) Imagining himself as the victim

O, ay; as summer flies are in the shambles,* That quicken** even with blowing ......a cistern for foul toads To knot and gender* in!

Play: Othello Speaker: Othello Context: Othello now suspects Emilia and Desdemona of hiding her infidelity Significance: I think this is supposed to evoke Iago's imagery of animal sex in the beginning?

Ha! no more moving? Still as the grave. Shall she come in? were't good? --I think she stirs again:--no. What's best to do? If she come in, she'll sure speak to my wife: My wife! my wife! what wife? I have no wife. O insupportable! O heavy hour! Methinks it should be now a huge eclipse Of sun and moon, and that the affrighted globe Should yawn at alteration.

Play: Othello Speaker: Othello Context: Othello reacts to having killed Desdemona Significance: Common in Shax tragedy—cf Lear. But the jarring thing about these plays is that the world doesn't end—and there are these cleanup scenes Callback to his belief that the world should end if they stop loving each other. He says he thinks the world SHOULD end The characters realize they're not in a bombastic tragedy I guess

That handkerchief Did an Egyptian to my mother give; She was a charmer, and could almost read The thoughts of people: she told her, whileshe kept it, 'Twould make her amiable and subdue my father Entirely to her love, but if she lost it Or made gift of it, my father's eye Should hold her loathed and his spirits should hunt After new fancies: she, dying, gave it me; And bid me, when my fate would have me wive, To give it her. I did so: and take heed on't; Make it a darling like your precious eye; To lose't or give't away were such perdition As nothing else could match. [...] 'Tis true: there's magic in the web of it: A sibyl, that had number'd in the world The sun to course two hundred compasses, In her prophetic fury sew'd the work; The worms were hallow'd that did breed the silk; And it was dyed in mummy which the skilful Conserved of maidens' hearts.

Play: Othello Speaker: Othello Context: Othello's describing the significance of his handkerchief to Desdemona Significance: The handkerchief pursues Iago's fabric/flag manipulation motif. It is also a part of Othello's cultural heritage and he gives it as a pledge of love to Desdemona. Scholar Ian Smith argues that the handkerchief isn't white, as many had assumed, but brown, and that it's a symbol of Othello's African heritage

Soft you; a word or two before you go. I have done the state some service, and they know't. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice: then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex'd in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. Set you down this; And say besides, that in Aleppo once, Where a malignant and a turban'd Turk Beat a Venetian and traduced the state, I took by the throat the circumcised dog, And smote him, thus. (5.2.331-348)Stabs himself

Play: Othello Speaker: Othello Context: Othello's suicide speech Significance: Othello distances himself from Venetians by comparing himself to an Indian man and Arabian trees, finally associates himself with a Turk that he killed as he kills himself; he sees himself as an outsider now (?)

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

Play: Othello Speaker: Othello Context: Temptation scene, right after Iago says Desdemona went against nature by marrying Othello, a Moor Significance: Internalized racism moment

This fellow's of exceeding honesty, And knows all qualities, with a learned spirit, Of human dealings. .... ..........Haply, for I am black And have not those soft parts of conversation That chamberers have, or for I am declined Into the vale of years,--yet that's not much-- She's gone. I am abused; and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours, And not their appetites! I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others' uses

Play: Othello Speaker: Othello Context: Temptation scene, right after Iago says Desdemona went against nature by marrying Othello, a Moor Significance: Internalized racism moment

This is a subtle wh*re, A closet lock and key of villainous secrets And yet she'll kneel and pray; I have seen her do't. and Was this fair paper, this most goodly book, Made to write 'wh*re' upon? What committed!

Play: Othello Speaker: Othello Context: Unable to get Emilia to admit to having seen anything between Desdemona and Cassio, Othello determines Desdemona must be really good at hiding infidelity Significance: I don't know and I hope it doesn't come up

XX: 'Tis not to make me jealous To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well; Where virtue is, these are more virtuous: Nor from mine own weak merits will I draw The smallest fear or doubt of her revolt; For she had eyes, and chose me. No, Iago; I'll see before I doubt; when I doubt, prove; And on the proof, there is no more but this, --Away at once with love or jealousy! YY: I am glad of it; for now I shall have reason To show the love and duty that I bear you With franker spirit: therefore, as I am bound, Receive it from me. I speak not yet of proof. Look to your wife; observe her well with ZZ; Wear your eye thus, not jealous nor secure: I would not have your free and noble nature, Out of self-bounty, be abused; look to't: I know our country disposition well; In Venice they do let heaven see the pranks They dare not show their husbands; their best conscience Is not to leave't undone, but keep't unknown.

Play: Othello Speakers: XX - Othello, YY - Iago Context: During the temptation scene where Iago convinces Othello of Desdemona's infidelity, he urges Othello to observe Desdemona from a neutral perspective Significance: After Othello claims he must see to believe, Iago emphasizes the need to empirically observe Desdemona's behavior with no assumptions toward her virtue or vices; at the same time, he plants the idea that as a Venetian, she is inherently going to be unfaithful and deceptive about it

And shall the figure of God's majesty, His captain, steward, deputy-elect, Anointed, crowned, planted many years, Be judged by subject and inferior breath, And he himself not present? O, forfend it, God, That in a Christian climate souls refined Should show so heinous, black, obscene a deed! I speak to subjects, and a subject speaks, Stirr'd up by God, thus boldly for his king: My Lord of Hereford here, whom you call king, Is a foul traitor to proud Hereford's king: And if you crown him, let me prophesy: The blood of English shall manure the ground, And future ages groan for this foul act; Peace shall go sleep with Turks and infidels, And in this seat of peace tumultuous wars Shall kin with kin and kind with kind confound; Disorder, horror, fear and mutiny Shall here inhabit, and this land be call'd The field of Golgotha and dead men's skulls. O, if you raise this house against this house, It will the woefullest division prove That ever fell upon this cursed earth. Prevent it, resist it, let it not be so, Lest child, child's children, cry against you woe

Play: Richard II Speaker: Bishop of Carlisle Context: Bolingbroke has just agreed to become Richard's "heir" and immediately inherit his throne when the Bishop steps in with a prophecy. Significance: The Bishop refers to a true historic event, the War of the Roses that would occur during Henry's reign. The choice to have a member of the clergy voice this concern lends more credibility to the statement for those who believe in divine right.

Noble lords, Go to the rude ribs of that ancient castle; Through brazen trumpet send the breath of parley Into his ruin'd ears, and thus deliver: Henry Bolingbroke On both his knees doth kiss King Richard's hand And sends allegiance and true faith of heart To his most royal person, hither come Even at his feet to lay my arms and power, Provided that my banishment repeal'd And lands restored again be freely granted: If not, I'll use the advantage of my power And lay the summer's dust with showers of blood Rain'd from the wounds of slaughter'd Englishmen: The which, how far off from the mind of Bolingbroke It is, such crimson tempest should bedrench The fresh green lap of fair King Richard's land, My stooping duty tenderly shall show Go, signify as much, while here we march Upon the grassy carpet of this plain. Let's march without the noise of threatening drum, That from this castle's tatter'd battlements Our fair appointments may be well perused. Methinks King Richard and myself should meet With no less terror than the elements Of fire and water, when their thundering shock At meeting tears the cloudy cheeks of heaven. Be he the fire, I'll be the yielding water: The rage be his, whilst on the earth I rain My waters; on the earth, and not on him. March on, and mark King Richard how he looks. See, see, King Richard doth himself appear, As doth the blushing discontented sun From out the fiery portal of the east, When he perceives the envious clouds are bent To dim his glory and to stain the track Of his bright passage to the occident.

Play: Richard II Speaker: Bolingbroke Context: Bolingbroke has the bigger army and has seized most of Richard's political allies and land. He's planning to enter the castle where Richard is hiding. Significance: This speech shows that Bolingbroke is concerned about appearing reasonable, even if he truly wants the crown. He also begins using Richard's own celestial language to describe their potential confrontation, but this time casts Richard as a setting sun that has burnt itself out. Bolingbroke also associates himself with a fertilizing rain for English lands, tying into the imagery evoked by Gaunt about the country in Act 2. Bolingbroke is trying to appear humble, but believes he would make a far better king and is planning to dethrone Richard.

Finds brotherhood in thee no sharper spur? Hath love in thy old blood no living fire? Edward's seven sons, whereof thyself art one, Were as seven vials of his sacred blood Or seven fair branches springing from one root. Some of those seven are dried by nature's course, Some of those branches by the Destinies cut. But [redacted], my dear lord, my life, my Gloucester, One vial full of [redacted]'s sacred blood, One flourishing branch of his most royal root, Is cracked and all the precious liquor spilt, Is hacked down, and his summer leaves all faded, By envy's hand and murder's bloody ax. Ah, [redacted], his blood was thine! That bed, that womb, That metal, that self mold that fashioned thee Made him a man; and though thou livest and breathest, Yet art thou slain in him. Thou dost consent In some large measure to thy father's death In that thou seest thy wretched brother die, Who was the model of thy father's life. Call it not patience, [redacted]. It is despair. In suff'ring thus thy brother to be slaughtered, Thou showest the naked pathway to thy life, Teaching stern murder how to butcher thee. That which in mean men we entitle patienceIs pale, cold cowardice in noble breasts. What shall I say? To safeguard thine own life, The best way is to venge my [redacted]'s death

Play: Richard II Speaker: Duchess of Gloucester Context: Gaunt and the Duchess are discussing what to do regarding her husband's murder Significance: The Duchess believes Gaunt should take action, emphasizing familial ties and arguing that Gaunt's inaction endangers him and the entire family (all the royalty and aristocrats in the play). This is one of the two major approaches to political conflict presented in the play.

Methinks I am a prophet new inspired And thus expiring do foretell of him: His rash fierce blaze of riot cannot last, For violent fires soon burn out themselves; Small showers last long, but sudden storms are short; He tires betimes that spurs too fast betimes; With eager feeding food doth choke the feeder; Light vanity, insatiate cormorant, Consuming means, soon preys upon itself. This royal throne of kings, this sceptered isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea, Which serves it in the office of a wall Or as a moat defensive to a house, Against the envy of less happier lands, This blessèd plot, this earth, this realm, this England, This nurse, this teeming womb of royal kings, Feared by their breed and famous by their birth, Renownèd for their deeds as far from home For Christian service and true chivalry As is the sepulcher in stubborn Jewry Of the world's ransom, blessèd Mary's son, This land of such dear souls, this dear dear land, Dear for her reputation through the world, Is now leased out—I die pronouncing it—Like to a tenement or pelting farm. England, bound in with the triumphant sea, Whose rocky shore beats back the envious siege Of wat'ry Neptune, is now bound in with shame, With inky blots and rotten parchment bonds. That England that was wont to conquer others Hath made a shameful conquest of itself. Ah, would the scandal vanish with my life, How happy then were my ensuing death!

Play: Richard II Speaker: Gaunt Context: Gaunt is on his deathbed, and is finally speaking his mind following his son being exiled Significance: Gaunt accuses Richard of being too greedy, especially for having profited off of England's land. Gaunt contributes to one major thread in the play concerning who royalty is allowed to mistreat by bemoaning that Richard is now abusing England instead of other nations, undermining its power.

Yet again, methinks, Some unborn sorrow, ripe in Fortune's womb, Is coming towards me, and my inward soul With nothing trembles.....So, [redacted], thou art the midwife to my woe, And [redacted] my sorrow's dismal heir. Now hath my soul brought forth her prodigy, And I, a gasping new-delivered mother, Have woe to woe, sorrow to sorrow joined.

Play: Richard II Speaker: Queen Context: After Richard has left for Ireland, the Queen is upset about his absence and fears worse news. She then learns that Bolingbroke and his army have gathered at Ravenspurgh. Significance: Attaching imagery related to birth to sorrowful thoughts recalls Gaunt's deathbed speech casting England as a fertile land. Now, this fertility breeds sorrow for its inhabitants, who largely have no agency in the matter.

No matter where; of comfort no man speak: Let's talk of graves, of worms, and epitaphs; Make dust our paper and with rainy eyes Write sorrow on the bosom of the earth, Let's choose executors and talk of wills: And yet not so, for what can we bequeath Save our deposed bodies to the ground? Our lands, our lives and all are Bolingbroke's, And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God's sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison'd by their wives: some sleeping kill'd All murder'd: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear'd and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour'd thus Comes at the last and with a little pin Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence: throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me, I am a king?

Play: Richard II Speaker: Richard Context: Richard gets a tidal wave of bad news from Scroope upon his return from Ireland, and he is completely devastated when he learns that York has defected and his castles are under Bolingbroke's control. Significance: Having his belief in divine right directly undermined, Richard accepts that, although kings are propped up as near-godly entities, they are men like any other. More specifically, they are men masquerading as something greater than they actually are. Richard is emotionally attached to history and storytelling and inserts himself into the lineage of kings before him.

Discomfortable cousin! know'st thou not That when the searching eye of heaven is hid, Behind the globe, that lights the lower world, Then thieves and robbers range abroad unseen In murders and in outrage, boldly here; But when from under this terrestrial ball He fires the proud tops of the eastern pines And darts his light through every guilty hole, Then murders, treasons and detested sins, The cloak of night being pluck'd from off their backs, Stand bare and naked, trembling at themselves? So when this thief, this traitor, Bolingbroke, Who all this while hath revell'd in the night Whilst we were wandering with the antipodes, Shall see us rising in our throne, the east, His treasons will sit blushing in his face, Not able to endure the sight of day, But self-affrighted tremble at his sin. Not all the water in the rough rude sea Can wash the balm off from an anointed king; The breath of worldly men cannot depose The deputy elected by the Lord: For every man that Bolingbroke hath press'd To lift shrewd steel against our golden crown, God for his Richard hath in heavenly pay A glorious angel: then, if angels fight, Weak men must fall, for heaven still guards the right

Play: Richard II Speaker: Richard Context: Richard is back from Ireland and about to confront Bolingbroke and his army Significance: Richard's vision of himself as an almighty celestial body, and his assertion that "heaven guards the right," clearly outlines his position on divine right--that he has it and it can't be taken away by an army. Divine right remains a major question in the play.

I had forgot myself; am I not king?Awake, thou coward majesty! thou sleepest. Is not the king's name twenty thousand names? Arm, arm, my name! a puny subject strikes At thy great glory. Look not to the ground, Ye favourites of a king: are we not high? High be our thoughts:

Play: Richard II Speaker: Richard Context: Richard just learned that 20,000 of his Welsh soldiers are now under Bolingbroke because they think Richard is dead. Furthermore, York is now with Bolingbroke, and Bushy and Green have been executed. Significance: Richard believes his status as king shields him from dethronement, and that his divine right will function even to the extent that 20,000 armed soldiers won't pose a threat to him. This is consistent with his characterization thus far and makes his demise all the more tragic, because his religious and worldviews are totally upended. This contrasts against Bolingbroke's more realistic and therefore active approaches to conflict.

Glad am I that your highness is so arm'd To bear the tidings of calamity. Like an unseasonable stormy day, Which makes the silver rivers drown their shores, As if the world were all dissolved to tears, So high above his limits swells the rage Of Bolingbroke, covering your fearful land With hard bright steel and hearts harder than steel. White-beards have arm'd their thin and hairless scalps Against thy majesty; boys, with women's voices, Strive to speak big and clap their female joints In stiff unwieldy arms against thy crown: The very beadsmen* learn to bend their bows Of double-fatal yew against thy state; Yea, distaff-women* manage rusty bills Against thy seat: both young and old rebel, And all goes worse than I have power to tell.

Play: Richard II Speaker: Scroop Context: After Richard returns from Ireland, Scroop is informing him of the dismal state of his monarchy and Bolingbroke's mounting favor among both the aristocracy and common people. Significance: This section recalls Richard's accusation of Bolingbroke in Act I, where he claims Bolingbroke is tricking common people into joining his side by feigning humility. Richard didn't seem to value the input of the common people or see them as capable of participating meaningfully in political commentary, and therefore compared Bolingbroke to them. However, Bolingbroke clearly saw the advantage having them on his side would bring.

XX: Think not the King did banish thee, But thou the King. Woe doth the heavier sit Where it perceives it is but faintly borne. Go, say I sent thee forth to purchase honour, And not the King exiled thee; or suppose Devouring pestilence hangs in our air, And thou art flying to a fresher clime.....Suppose the singing birds musicians, The grass whereon thou tread'st the presence strewed, The flowers fair ladies, and thy steps no more Than a delightful measure or a dance; For gnarling Sorrow hath less power to bite The man that mocks at it and sets it light. YY: O, who can hold a fire in his hand By thinking on the frosty Caucasus?Or cloy the hungry edge of appetite By bare imagination of a feast? Or wallow naked in December snow By thinking on fantastic summers' heat? O no, the apprehension of the good Gives but the greater feeling to the worse. Fell Sorrow's tooth doth never rankle more Than when he bites but lanceth not the sore.

Play: Richard II Speaker: XX is Gaunt, YY is his son, Henry Bolingbroke Context: The duel between Bolingbroke and Mowbray has been cancelled in favor of Richard's banishing them. Bolingbroke is upset about this and Gaunt is trying to cheer him up. Significance: Gaunt and Henry's perspectives on this issue are representative of the two major approaches to political conflict, specifically a tyrannical monarch, seen throughout the play. Gaunt's stance is to look on the bright side of things and hope for better, echoing a reformist approach, while Bolingbroke confronts reality, evocative of his revolutionary mindset.

I am the last of noble Edward's sons, Of whom thy father, Prince of Wales, was first: In war was never lion raged more fierce, In peace was never gentle lamb more mild, Than was that young and princely gentleman. His face thou hast, for even so look'd he, Accomplish'd with the number of thy hours; But when he frown'd, it was against the French And not against his friends; his noble hand Did will what he did spend and spent not that Which his triumphant father's hand had won; His hands were guilty of no kindred blood, But bloody with the enemies of his kin.

Play: Richard II Speaker: York (Gaunt & Gloucester's brother) Context: Richard's behavior leading up to this scene, which depicts Gaunt's death, is prompting his subjects to criticize him as a ruler Significance: York bemoans Richard II for not having been like King Edward, who was only ruthless abroad but merciful to Englishmen. This segment among others complicates our sympathies for the aristocracy, because while they claim to seek an altruistic ruler, they definitely just want one who is altruistic to their class and nation.

XX: [redacted], I thank thee not; for thou hast wrought A deed of slander with thy fatal hand Upon my head and all this famous land. YY: From your own mouth, my lord, did I this deed. XX: They love not poison that do poison need, Nor do I thee. Though I did wish him dead, I hate the murderer, love him murdered. The guilt of conscience take thou for thy labour, But neither my good word nor princely favour. With Cain go wander through shades of night, And never show thy head by day nor light. Lords, I protest, my soul is full of woe That blood should sprinkle me to make me grow. Come, mourn with me for what I do lament And put on sullen black incontinent. I'll make a voyage to the Holy Land To wash this blood off from my guilty hand. March sadly after; grace my mournings here In weeping after this untimely bier.

Play: Richard II Speakers: Bolingbroke XX, Exton YY Context: Bolingbroke learns that Exton killed Richard, per his prior request. Significance: Bolingbroke is evoking Richard's tyrannical behavior from before by having someone else kill a political enemy and then exiling them to evade responsibility or bad publicity.

XX: Go, bind thou up yon dangling apricocks, Which, like unruly children, make their sire Stoop with oppression of their prodigal weight: Give some supportance to the bending twigs. Go thou, and like an executioner, Cut off the heads of too fast growing sprays, That look too lofty in our commonwealth: All must be even in our government. You thus employ'd, I will go root away The noisome weeds, which without profit suck The soil's fertility from wholesome flowers. YY: Why should we in the compass of a pale Keep law and form and due proportion, Showing, as in a model, our firm estate, When our sea-walled garden, the whole land, Is full of weeds, her fairest flowers choked up, Her fruit-trees all upturned, her hedges ruin'd, Her knots disorder'd and her wholesome herbs Swarming with caterpillars Gardener: Hold thy peace: He that hath suffer'd this disorder'd spring Hath now himself met with the fall of leaf: The weeds which his broad-spreading leaves did shelter, That seem'd in eating him to hold him up, Are pluck'd up root and all by Bolingbroke, I mean the Earl of Wiltshire, Bushy, Green. YY: What, are they dead? XX: They are; and Bolingbroke Hath seized the wasteful king. O, what pity is it That he had not so trimm'd and dress'd his land As we this garden! We at time of year Do wound the bark, the skin of our fruit-trees, Lest, being over-proud in sap and blood, With too much riches it confound itself: Had he done so to great and growing men, They might have lived to bear and he to taste Their fruits of duty: superfluous branches We lop away, that bearing boughs may live: Had he done so, himself had borne the crown, Which waste of idle hours hath quite thrown down.

Play: Richard II Speakers: Gardener XX, Servant YY Context: While Bolingbroke and Richard are having a standoff at the castle, elsewhere the uninformed Queen agonizes over the potential outcome of Bolingbroke's rebellion and listens to her servants to try and get a sense of the political climate. Significance: The gardener & servant use an extended metaphor to compare the kingdom to a garden, and lament that Richard did not tend to the kingdom like a garden by supporting weak plants and killing weeds. This contrasts against earlier speeches wherein nobility were upset that Richard had targeted Englishmen at all, because the gardener and servant don't seem to take issue with it, but wish Richard had targeted the right people.

XX: No lord of thine, thou haught insulting man, Nor no man's lord; I have no name, no title, No, not that name was given me at the font, But 'tis usurp'd: alack the heavy day, That I have worn so many winters out, And know not now what name to call myself! O that I were a mockery king of snow, Standing before the sun of [redacted], To melt myself away in water-drops! Good king, great king, and yet not greatly good, An if my word be sterling yet in England, Let it command a mirror hither straight, That it may show me what a face I have, Since it is bankrupt of his majesty Richard: Give me the glass, and therein will I read. No deeper wrinkles yet? hath sorrow struck So many blows upon this face of mine, And made no deeper wounds? O flattering glass, Like to my followers in prosperity, Thou dost beguile me! Was this face the face That every day under his household roof Did keep ten thousand men? was this the face That, like the sun, did make beholders wink? Was this the face that faced so many follies, And was at last out-faced by [redacted]? A brittle glory shineth in this face: As brittle as the glory is the face; [he smashes the mirror] For there it is, crack'd in a hundred shivers. Mark, silent king, the moral of this sport, How soon my sorrow hath destroy'd my face. YY: The shadow of your sorrow hath destroy'd The shadow of your face.

Play: Richard II Speakers: XX Richard, YY Bolingbroke Context: After forcibly seizing the throne and asking Richard if he'd like to give over his crown for show, Bolingbroke has been made king. Richard is moping. Significance: This speech is one of the best examples of how Richard tries to shape reality to his emotional state. He is now understandably devastated, but can't understand why his reflection doesn't indicate that, so he breaks the mirror to more closely resemble his interior.

XX: Ay, no; no, ay; for I must nothing be; Therefore no no, for I resign to thee. Now mark me, how I will undo myself; I give this heavy weight from off my head And this unwieldy sceptre from my hand, The pride of kingly sway from out my heart; With mine own tears I wash away my balm, With mine own hands I give away my crown, With mine own tongue deny my sacred state, With mine own breath release all duty's rites: All pomp and majesty I do forswear; My manors, rents, revenues I forego; My acts, decrees, and statutes I deny: God pardon all oaths that are broke to me! God keep all vows unbroke that swear to thee Make me, that nothing have, with nothing grieved, And thou with all pleased, that hast all achieved! Long mayst thou live in Richard's seat to sit, And soon lie Richard in an earthly pit! God save King Harry, unking'd Richard says, And send him many years of sunshine days! What more remains? YY: No more, but that you read These accusations and these grievous crimes Committed by your person and your followers Against the state and profit of this land; That, by confessing them, the souls of men May deem that you are worthily deposed.

Play: Richard II Speakers: XX Richard, YY Northumberland Context: After having taken the throne by force, Bolingbroke asks if Richard would like to resign the crown Significance: Richard emphasizes his own actions as he moves through the deposition, trying to cling to a sense of agency. Meanwhile, Northumberland is trying to humiliate Richard.

Oft I have digged up dead men from their graves And set them upright at their dear friends' door, Even when their sorrows almost were forgot, And on their skins, as on the bark of trees, Have with my knife carved in Roman letters, 'Let not your sorrow die though I am dead'

Play: Titus Andronicus Speaker: Aaron Context: Aaron has just confessed to all his wrongdoings Significance: Perpetuates the motif of writing as a violent act (Lavinia writing the names of her rapists in the sand, Titus writing a letter in his own blood) and ties into characters' appropriation of myth and historic events to justify brutality. Gives the sense that writing can live on long after the author is dead, and can be used to malicious ends.

Now climbeth Tamora Olympus' top, / Safe out of fortune's shot; and sits aloft, / Secure of thunder's crack or lightning flash; / Advanced above pale envy's threatening reach. / As when the golden sun salutes the morn, / And, having gilt the ocean with his beams, / Gallops the zodiac in his glistering coach, / And overlooks the highest-peering hills; / So Tamora: / Upon her wit doth earthly honour wait, / And virtue stoops and trembles at her frown. / Then, Aaron, arm thy heart, and fit thy thoughts, To mount aloft with thy imperial mistress, And mount her pitch*, whom thou in triumph long Hast prisoner held, fetter'd in amorous chains And faster bound to Aaron's charming eyes Than is Prometheus tied to Caucasus. Away with slavish weeds and servile thoughts! I will be bright, and shine in pearl and gold, To wait upon this new-made empress. To wait, said I? to wanton with this queen, This goddess, this Semiramis, this nymph, This siren, that will charm Rome's Saturnine, And see his shipwreck and his commonweal's.

Play: Titus Andronicus Speaker: Aaron Context: Tamora has just been engaged to the new Roman emperor, Saturninus. Aaron compares Tamora to a siren who has power over Saturninus, and in turn sees himself as having power over Tamora. Significance: This is the first soliloquy of the play and is given to a Black character, subverting Elizabethan expectations.

Stay, murderous villains! will you kill your brother? Now, by the burning tapers of the sky, That shone so brightly when this boy was got, He dies upon my scimitar's sharp point That touches this my first-born son and heir! I tell you, younglings, not Enceladus, With all his threatening band of Typhon's brood, Nor great Alcides, nor the god of war, Shall seize this prey out of his father's hands. What, what, ye sanguine, shallow-hearted boys! Ye white-limed walls! ye alehouse painted signs! Coal-black is better than another hue, In that it scorns to bear another hue; For all the water in the ocean Can never turn the swan's black legs to white, Although she lave them hourly in the flood. Tell the empress from me, I am of age To keep mine own, excuse it how she can

Play: Titus Andronicus Speaker: Aaron Context: The nurse has just brought out Tamora's surprisingly dark-skinned baby. After Demetrius threatens to stab it, Aaron threatens him. Significance: Aaron counters the prevailing racist view that blackness is sinful/inferior to whiteness, seen as holy and pure, by using figurative language to argue that white hues always cover up something unsavory, while black ones can never be turned white because they are already pure.

My lovely Aaron, wherefore look'st thou sad When everything doth make a gleeful boast?.... The birds chant melody on every bush, The snake lies rolled in the cheerful sun, The green leaves quiver with the cooling wind And make a chequer'd shadow on the ground: Under their sweet shade, Aaron, let us sit, And, whilst the babbling echo mocks the hounds, Replying shrilly to the well-tuned horns, As if a double hunt were heard at once, Let us sit down and mark their yellowing noise; And after conflict such as was supposed The wandering prince and Dido* once enjoyed, When with a happy storm they were surprised And curtained with a counsel-keeping cave, We may, each wreathed in the other's arms, Our pastimes done, posesse a golden slumber....

Play: Titus Andronicus Speaker: Bassianus Context: During the hunt, Aaron hides a bag of gold under a tree and Tamora arrives asking to be intimate. Significance: Tamora references the relationship between Aeneas, founder of Rome, and Dido, a North African queen. Placing Aaron in the same lineage as the literal founder of Rome positions him as a heroic figure, rather than the racist caricature of a villain that many plays featured during this time.

'Tis true; the raven doth not hatch alark: Yet have I heard,--O, could I find it now!-- The lion moved with pity did endure To have his princely paws pared all away: Some say that ravens foster forlorn children, The whilst their own birds famish in their nests: O, be to me, though thy hard heart say no, Nothing so kind, but something pitiful!

Play: Titus Andronicus Speaker: Lavinia Context: Lavinia is begging for mercy from Tamora and her sons Significance: This is one instance in the play where a character suggests that children don't have to inherit the behaviors of their parents, and the cycle of violence could stop. However, her pleas fall on deaf ears, so this cycle continues.

Farewell [redacted], my noble father, The wofull'st man that ever lived in Rome: Farewell, proud Rome; till [redacted] come again, He leaves his pledges dearer than his life: Farewell, [redacted], my noble sister; O, would thou wert as thou tofore hast been! But now nor [redacted] nor [redacted] lives But in oblivion and hateful griefs. If [redacted] live, he will requite your wrongs; And make proud [redacted] and his empress Beg at the gates, like Tarquin and his queen. Now will I to the Goths, and raise a power, To be revenged on Rome and [redacted]

Play: Titus Andronicus Speaker: Lucius Context: Lucius, hoping to avenge Lavinia, hatches his plan to go team up with the Goths against Saturninus and Tamora Significance: Cycles of violence. He references Tarquin, a Roman king who raped Lucrece, whose family led a revolution in her name.

But, sure, some Tereus hath deflowered thee, And, lest thou shouldst detect him, cut thy tongue....... Fair Philomela, she but lost her tongue, And in a tedious sampler sew'd her mind: But, lovely niece, that mean is cut from thee; A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off, That could have better sew'd than Philomel.

Play: Titus Andronicus Speaker: Marcus Context: Marcus has just discovered raped and mutilated Lavinia Significance: Marcus references the Ovid story as a template for understanding what has happened to Lavinia, and notes that Demetrius and Chiron learned to cut off Lavinia's hands because Philomela used hers to oust her rapist. The characters in the play see brutal stories as blueprints to innovate upon. Similarly, Lucius ignores the tragic outcome of Lucrece's story and focuses on the bloody spectacle of revolution.

Speak, gentle niece, what stern ungentle hands Have lopp'd and hew'd and made thy body bare Of her two branches, those sweet ornaments, Whose circling shadows kings have sought to sleep in, And might not gain so great a happiness As have thy love? Why dost not speak to me? Alas, a crimson river of warm blood, Like to a bubbling fountain stirr'd with wind, Doth rise and fall between thy rosed lips, Coming and going with thy honey breath. But, sure, some Tereus hath deflowered thee, And, lest thou shouldst detect him, cut thy tongue. Ah, now thou turn'st away thy face for shame! And, notwithstanding all this loss of blood, As from a conduit with three issuing spouts, Yet do thy cheeks look red as Titan's face Blushing to be encountered with a cloud. Shall I speak for thee? shall I say 'tis so? O, that I knew thy heart; and knew the beast, That I might rail at him, to ease my mind! Sorrow concealed, like an oven stopp'd, Doth burn the heart to cinders where it is. Fair Philomela, she but lost her tongue, And in a tedious sampler sew'd her mind: But, lovely niece, that mean is cut from thee; A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off, That could have better sew'd than Philomel. O, had the monster seen those lily hands Tremble, like aspen-leaves, upon a lute, And make the silken strings delight to kiss them, He would not then have touch'd them for his life! Or, had he heard the heavenly harmony Which that sweet tongue hath made, He would have dropp'd his knife, and fell asleep As Cerberus at the Thracian poet's feet.

Play: Titus Andronicus Speaker: Marcus Context: Marcus has just found Lavinia after she's been raped and mutilated by Saturninus' sons Significance: Petrarchan love poetry, blazons, Romans objectify women and are desensitized to violence

I'll find a day to massacre them all / And raze their faction and their family, / The cruel father and his traitorous sons / To whom I sued for my dear son's life, / And make them know what 'tis to let a queen / Kneel in the streets and beg for grace in vain [.....] And fear not, lords, and you, [redacted]: By my advice, all humbled on your knees, / You shall ask pardon of his majesty

Play: Titus Andronicus Speaker: Tamora Context: Tamora has witnessed the sacrifice of her son, Alarbus, and vows revenge shortly before being made empress. Significance: References to kneeling later in play

O, think my son to be as dear to me! Sufficeth not that we are brought to Rome, To beautify thy triumphs and return, Captive to thee and to thy Roman yoke, But must my sons be slaughter'd in the streets, For valiant doings in their country's cause? O, if to fight for king and commonweal Were piety in thine, it is in these. [redacted], stain not thy tomb with blood: Wilt thou draw near the nature of the gods? Draw near them then in being merciful: Sweet mercy is nobility's true badge: Thrice noble [redacted], spare my first-born son.

Play: Titus Andronicus Speaker: Tamora Context: Titus and the Roman army have returned victorious from battle with captured Goths. Lucius has floated the idea of sacrificing Tamora's son, Alarbus, and she's begging Titus for mercy. Significance: Tamora wants Titus to look past national alliances and see the humanity in herself and her sons because they haven't done anything differently from his sons by fighting for their country. When Titus goes through with the sacrifice, we understand that his decisions have more to do with bloodlust than the betterment of Rome.

A reason mighty, strong, and effectual; A pattern, precedent, and lively warrant For me, most wretched, to perform the like. Die, die [redacted], and thy shame with thee, And with thy shame thy father's sorrow die.

Play: Titus Andronicus Speaker: Titus Context: During the revenge dinner echoing the resolution of the myth of Philomena, Titus brings up Virginius having murdered his daughter after she was raped, then kills Lavinia. Significance: Titus is perpetuating the throughline of the play where characters justify horrific actions by trying to replicate and out-do bloody myths and historic events, often missing the tales' morals in the process. This further perpetuates the cycle of violence.

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

Play: Twelfth Night Speaker: Duke Orsino Context: Duke Orsino is asking Viola to speak with Olivia and convince her to marry Orsino. Significance: Orsino uses feminine characteristics to describe Viola, and the comedy derives from how women and young boys are seen as nearly interchangeable, heightened by the fact that historically, Viola would have been played by the latter. This contrasts against Malvolio's evaluation of Viola's/Cesario's appearance, because he emphasizes her boyish features. This adheres to the two-sex model.

If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again! it had a dying fall: O, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: 'Tis not so sweet now as it was before. O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical. [...] Why, so I do, the noblest that I have: O, when mine eyes did see Olivia first, Methought she purged the air of pestilence! That instant was I turn'd into a hart; And my desires, like fell and cruel hounds, E'er since pursue me.

Play: Twelfth Night Speaker: Duke Orsino Context: Orsino is complaining to Curio because he loves Olivia, who has shunned him. Significance: Orsino portrays love as something he could gorge himself on and become sick of; he thinks love is a dangerous thing that overcomes him after seeing a desirable woman. He evokes the Actaeon myth with the deer/hound imagery to illustrate love as something that has happened to him and rendered him vulnerable.

M, O, A, I; this simulation is not as the former: and yet, to crush this a little, it would bow to me, for every one of these letters are in my name. Soft! here follows prose. [Reads letter] 'If this fall into thy hand, revolve. In my stars I am above thee; but be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon 'em. Thy Fates open their hands; let thy blood and spirit embrace them; and, to inure thyself to what thou art like to be, cast thy humble slough and appear fresh. Be opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity: she thus advises thee that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered: I say, remember. Go to, thou art made, if thou desirest to be so; if not, let me see thee a steward still, the fellow of servants, and not worthy to touch Fortune's fingers. Farewell. She that would alter services with thee, THE FORTUNATE-UNHAPPY.' Daylight and champaign discovers not more: this is open. I will be proud, I will read politic authors, I will baffle Sir Toby, I will wash off gross acquaintance, I will be point-devise the very man

Play: Twelfth Night Speaker: Malvolio Context: Malvolio has discovered the letter planted by Maria and the other aristocrats to trick him into believing Olivia is in love with him Significance: The letters MOAI could mean a multitude of things, but the fact that Malvolio sees that they are all in his name and assumes the letter is for him shows that he is a very hopeful character. He would like to be considered on the same level as those who deride him. Unfortunately, his wishful thinking will be his downfall.

Lady, you have. Pray you, peruse that letter. You must not now deny it is your hand: Write from it, if you can, in hand or phrase; Or say 'tis not your seal, nor your invention: You can say none of this: well, grant it then And tell me, in the modesty of honour, Why you have given me such clear lights of favour, Bade me come smiling and cross-garter'd to you, To put on yellow stockings and to frown Upon Sir Toby and the lighter people; And, acting this in an obedient hope, Why have you suffer'd me to be imprison'd, Kept in a dark house, visited by the priest, And made the most notorious geck and gull That e'er invention play'd on? tell me why.

Play: Twelfth Night Speaker: Malvolio Context: Malvolio has escaped imprisonment and is confronting his tormentors Significance: Malvolio employs verse because he is trying to be respected on the same level as all the aristocrats who have made his life difficult. This segment is notably tragic in an otherwise comedic show.

Not yet old enough for a man, nor young enough for a boy; as a squash is before 'tis a peascod, or a codling when 'tis almost an apple: 'tis with him in standing water, between boy and man. He is very well-favoured and he speaks very shrewishly; one would think his mother's milk were scarce out of him.

Play: Twelfth Night Speaker: Malvolio Context: Malvolio is describing Olivia's caller Significance: This section, where Malvolio emphasizes Cesario's (Viola's) boyishness, contrasts against Orsino's, who focuses on her femininity. There is a comedic effect because Viola would have been played by a young boy. Also, women are implicitly likened to pre pubescent boys, adhering to the one-sex model, although this stance isn't consistent throughout the play.

My wind cooling my broth Would blow me to an ague, when I thought What harm a wind too great at sea might do. I should not see the sandy hour-glass run, But I should think of shallows and of flats, And see my wealthy Andrew* dock'd in sand, *a ship name Vailing her high-top lower than her ribs To kiss her burial. Should I go to church And see the holy edifice of stone, And not bethink me straight of dangerous rocks, Which touching but my gentle vessel's side, Would scatter all her spices on the stream, Enrobe the roaring waters with my silks, And, in a word, but even now worth this, And now worth nothing?

Play: Twelfth Night Speaker: Salarino Context: Salarino and Solanio are trying to guess why their friend Antonio is sad. Significance: Salarino attaches immense importance to material wealth, even going so far as to say that he could associate his place of worship with assets, instead of focusing on God. In this way, Christians are cast as being materialistic. This highly metaphorical language is contrasted against Shylock's literalism when discussing money.

She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure; the cunning of her passion Invites me in this churlish messenger. None of my lord's ring! why, he sent her none. I am the man: if it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant* enemy** does much. How easy is it for the proper-false* In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we! For such as we are made of, such we be. How will this fadge? My master loves her dearly, And I, poor monster, fond as much on him And she, mistaken, seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love; As I am woman,--now alas the day!-- What thriftless sighs shall poor Olivia breathe! O time! thou must untangle this, not I; It is too hard a knot for me to untie

Play: Twelfth Night Speaker: Viola Context: Viola has just met Olivia for the first time and, because Malvolio brought her the ring, realized that Olivia likes her (Cesario). Significance: Viola sees her disguise as a sinful deception, and women as easily manipulated in their affections. This speech encapsulates the confounding thread surrounding gender performance in the play, because Viola also easily takes the perspective of her "male" self and "female" self in this speech, undermining the sense that men and women are so completely different.

XX: There is no woman's sides Can bide the beating of so strong a passion As love doth give my heart; no woman's heart So big, to hold so much; they lack retention Alas, their love may be call'd appetite, No motion of the liver, but the palate, That suffer surfeit, cloyment and revolt; But mine is all as hungry as the sea, And can digest as much: make no compare Between that love a woman can bear me And that I owe Olivia. YY: Ay, but I know-- XX: What dost thou know? YY: Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter loved a man, As it might be, perhaps, were I a woman, I should your lordship. XX: And what's her history? YY: A blank, my lord. She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more: but indeed Our shows are more than will; for still we prove Much in our vows, but little in our love.

Play: Twelfth Night Speakers: XX Orsino, YY Viola Context: The day after Maria & co hatch their plan to humiliate Malvolio, Cesario (Viola) and Orsino discuss love at his cottage. Significance: Orsino argues that women are not capable of loving as strongly as men are, and Viola counters by saying that women hide their true feelings (hint hint).

XX: My father was that XX of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour: if the heavens had been pleased, would we had so ended! but you, sir, altered that; for some hour before you took me from the breach of the sea was my sister drowned. YY: Alas the day! XX: A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful: but, though I could not with such estimable wonder overfar believe that, yet thus far I will boldly publish her; she bore a mind that envy could not but call fair.

Play: Twelfth Night Speakers: XX Sebastian, YY Antonio Context: It has just been revealed that Sebastian also survived the shipwreck because he was helped by an older man named Antonio. Significance: Sebastian and Viola look incredibly alike, hot androgynous twins

XX: Tis beauty truly blent, whose red and white Nature's own sweet and cunning hand laid on: Lady, you are the cruell'st she alive, If you will lead these graces to the grave And leave the world no copy.* *i.e. child YY: O, sir, I will not be so hard-hearted; I will give out divers schedules of my beauty: it shall be inventoried, and every particle and utensil labelled to my will: as, item, two lips, indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me?

Play: Twelfth Night Speakers: XX Viola, YY Olivia Context: Viola as Cesario has been sent to woo Olivia, who unveils herself after saying she's already heard Viola's prepared poem. Significance: Viola evokes Petrarchan love poetry while trying to win Olivia's favor. Olivia, however, parodies the blazon by listing out her features in a detached manner, like she's going grocery shopping. Her response is in prose, further distancing it from the lofty ideals of Petrarchan poetry, stripping it to its bare essentials and making it seem silly.

Yes, a dozen; and as many to the vantage as wouldstore the world they played for. But I do think it is their husbands' faults If wives do fall: say that they slack their duties, And pour our treasures into foreign laps, Or else break out in peevish jealousies, Throwing restraint upon us; or say they strike us, Or scant our former having in despite; Why, we have galls, and though we have some grace, Yet have we some revenge. Let husbands know Their wives have sense like them: they see and smell And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport? I think it is: and doth affection breed it? I think it doth: is't frailty that thus errs? It is so too: and have not we affections, Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so.

Significance: -Echoes Shylock's speech -Women have the same inclinations as men -Interesting that Shylock presents this logic as a villain but Emilia is a sympathetic character -Also note the textual audience (anti-Semitic Christians for Shylock, women for Emilia) -Shylock speech exhibits a far greater emphasis on physicality/bodily harm