English 150A Midterm

Rape of Lucrece

"Beauty itself doth of itself persuade The eyes of men without an orator; What needeth then apologies be made, To set forth that which is so singular? Or why is Collatine the publisher Of that rich jewel he should keep unknown From thievish ears, because it is his own?" -Narrator blames Collatine for causing wife to get raped, he should have been her protector

Comedy of Errors

" ADRIANA Why should their liberty than ours be more? LUCIANA Because their business still lies out o' door. ADRIANA Look, when I serve him so, he takes it ill. LUCIANA O, know he is the bridle of your will. ADRIANA There's none but asses will be bridled so. LUCIANA Why, headstrong liberty is lash'd with woe. There's nothing situate under heaven's eye This servitude makes you to keep unwed. LUCIANA Not this, but troubles of the marriage-bed. ADRIANA But, were you wedded, you would bear some sway. LUCIANA Ere I learn love, I'll practise to obey. ADRIANA How if your husband start some other where? LUCIANA Till he come home again, I would forbear." -Conversation between Adriana and Luciana after Adriana becomes upset that her husband Antipholus has not returned home -Bridle: images literal level. Used to control horses. She is a horse,and his controlling her -Adriana questions roles. Luciana's views has observed society roles, submits as the submissive role. -Men as more divine

Rape of Lucrece

" But some untimely thought did instigate His all too timeless speed, if none of those His honor, his affairs, his friends, his state Neglected all, with swift intent he goes To quench the coal which in his liver glows O rash false heat, wrapped in repentant cold, Thy hasty spring still blasts and ne'er grows old When at Collatium this false lord arrived Well was he welcomed by the Roman dame WIthin whose face Beauty and Virtue strived Which of them both should underprop her fame When Virtue bragged, Beauty would blush for shame When Beauty boasted blushes, in despite Virtue would stain that o'er with silver white" -Description of Lucrece's beauty

Rape of Lucrece

" He like a thievish dog creeps sadly thence; She like a wearied lamb lies panting there; He scowls and hates himself for his offence; She, desperate, with her nails her flesh doth tear; He faintly flies, sneaking with guilty fear; She stays, exclaiming on the direful night; He runs, and chides his vanish'd, loathed delight. He thence departs a heavy convertite; She there remains a hopeless castaway; He in his speed looks for the morning light; She prays she never may behold the day, 'For day,' quoth she, 'nights scapes doth open lay, And my true eyes have never practised how To cloak offences with a cunning brow. -Tarquin not human; "thievish dog", -Lucrece = lamb, innocent, harmless, not threatening -Lucrece feels shameful: "hopeless castaway"

Comedy of Errors

" May it please your grace, Antipholus, my husband, Whom I made lord of me and all I had, At your important letters,--this ill day A most outrageous fit of madness took him; That desperately he hurried through the street, With him his bondman, all as mad as he-- Doing displeasure to the citizens By rushing in their houses, bearing thence Rings, jewels, any thing his rage did like. Once did I get him bound and sent him home, Whilst to take order for the wrongs I went, That here and there his fury had committed. Anon, I wot not by what strong escape, He broke from those that had the guard of him; And with his mad attendant and himself, Each one with ireful passion, with drawn swords," -Adriana retelling the story of the play from her perspective -Directed to the other characters in final scene -references both of the Anthipholus characters

Comedy of Errors

" My liege, I am advised what I say Neither disturbed with effect of wine Nor heady-rash, provoked with raging ire Albeit my wrongs might make one wiser mad This woman locked me out this day from dinner That goldsmith here, were not he packed with her..." -Antipholus of Ephesus explaining the story from his perspective -Full of insults -Occurs at the end of the play

Comedy of Errors

" Second Merchant Besides, I will be sworn these ears of mine Heard you confess you had the chain of him After you first forswore it on the mart: And thereupon I drew my sword on you; And then you fled into this abbey here, From whence, I think, you are come by miracle. ANTIPHOLUS OF EPHESUS I never came within these abbey-walls, Nor ever didst thou draw thy sword on me: I never saw the chain, so help me Heaven! And this is false you burden me withal. DUKE SOLINUS Why, what an intricate impeach is this! I think you all have drunk of Circe's cup. If here you housed him, here he would have been; If he were mad, he would not plead so coldly: You say he dined at home; the goldsmith here Denies that saying. Sirrah, what say you?" -Conversation that mentions the myth of Circe

Romeo and Juliet (Prologue)

" Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend." -Prologue is a sonnet: individual speaker expressing his feelings and perspectives and thoughts: completely public. -Speaks of the conflict of the play (The Violence) -Changes near the end -Public sonnet that takes private subject matter and makes it public -Not just about lovers, also about the theater and family -Sets the scene -Metadramatic Kind of artifact: a play with certain focus: grudge families feel is ancient; passed down

Rape of Lucrece

"'O shame to knighthood and to shining arms! O foul dishonour to my household's grave! O impious act, including all foul harms! A martial man to be soft fancy's slave! True valour still a true respect should have; Then my digression is so vile, so base, That it will live engraven in my face." -Tarquin appearing as a soldier with obligations -Military diction, chivalric. Notion of holy and unholiness

Sonnets (20)

"A woman's face with Nature's own hand painted Hast thou, the master-mistress of my passion; A woman's gentle heart, but not acquainted With shifting change, as is false women's fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue, all hues in his controlling, Much steals men's eyes and women's souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick'd thee out for women's pleasure, Mine be thy love and thy love's use their treasure. " -balzon/ bason -Any poem that catalogues the beloved's physical features -"A woman's face, with nature's own hand painted:" -Master maid -Sexually ambiguous both male and female -Man with a feminine face and with gentle heart -But no shifting change like women -"Women's eyes" - women are fickle and unfaithful -"Gilded eye" - see someone as better than they really are -One sex model -Everyone has the same sexual organ -Starts as what looks like female organs and as they get older and mature, males anatomy changes and organs become external -Fluidity in sexuality is what creates the erotic desire -homosocial=same -homoerotic=male to male eroticism- -Homosexual- having sex

Comedy of Errors

"Am I in earth, in heaven, or in hell? Sleeping or waking? mad or well-advised? Known unto these, and to myself disguised! I'll say as they say and persever so, And in this mist at all adventures go." -Spoken by Antipholus of S. -Directed to Adriana after her long monologue -Self struggle. Why do they think I am a madman. Quest for identity. Crowd account; does not add up. Confusion. -Adriana and Luciana insist in Antipholus S. being Antipholus E. -Luciana; even if you don't feel it. Fake it

Rape of Lucrece

"And for my sake when I might charm thee so For she that was thy Lucrece (now attend me) Be suddenly revenged on my foe Thine, mine, his own. Suppose thou dost defend me From what is past; the help that thou shalt lend me Comes all too late, yet let the traitor die For sparing justice feeds inequity" -Collatine does not speak at all when told of the rape -Lucrece on other hand has her voice to speak of it -Publishes her story of herself to people -Then kills herself in front of everyone

Comedy of Errors

"And may it be that you have quite forgot A husband's office? shall, Antipholus. Even in the spring of love, thy love-springs rot? Shall love, in building, grow so ruinous? If you did wed my sister for her wealth, Then for her wealth's sake use her with more kindness: Or if you like elsewhere, do it by stealth; Muffle your false love with some show of blindness: Let not my sister read it in your eye; Be not thy tongue thy own shame's orator; Look sweet, be fair, become disloyalty; Apparel vice like virtue's harbinger; Bear a fair presence, though your heart be tainted; Teach sin the carriage of a holy saint; Be secret-false: what need she be acquainted? What simple thief brags of his own attaint? 'Tis double wrong, to truant with your bed And let her read it in thy looks at board: Shame hath a bastard fame, well managed; Ill d eeds are doubled with an evil word. Alas, poor women! make us but believe, Being compact of credit, that you love us; Though others have the arm, show us the sleeve; We in your motion turn and you may move us. Then, gentle brother, get you in again; Comfort my sister, cheer her, call her wife: 'Tis holy sport to be a little vain, When the sweet breath of flattery conquers strife." -Spoken by Luciana towards Antipholus of S. -Basically friendzones him

Comedy of Errors

"Merchant of Syracuse, plead no more; I am not partial to infringe our laws: The enmity and discord which of late Sprung from the rancorous outrage of your duke To merchants, our well-dealing countrymen, Who wanting guilders to redeem their lives" -Spoken by the Duke of Ephesus to the people of Ephesus

Rape of Lucrece

"And now this lustful lord leap'd from his bed, Throwing his mantle rudely o'er his arm; Is madly toss'd between desire and dread; Th' one sweetly flatters, th' other feareth harm; But honest fear, bewitch'd with lust's foul charm, Doth too too oft betake him to retire, Beaten away by brain-sick rude desire." -Destabilizes: desire for Lucrece vs dread: fear of consequences such as his reputation being ruined, fear of god and losing honor

Rape of Lucrece

"As one of which doth Tarquin lie revolving The sundry dangers of his will's obtaining Yet ever to obtain his will resolving Though weak-built hopes persuade him to abstaining Despair to gain doth traffic oft for gaining And when great treasure is the meed proposed Though death be adjunct, there's no death supposed" -Tarquin can't sleep because he is obsessed with Lucrece -Will object of desire: willfulness to insist on own goals (not good for renaissance time)

Rape of Lucrece

"At last she calls to mind where hangs a piece Of skillful painting, made for Priam's Troy Before the which is drawn the power of Greece For Helen's rape the city to destroy" -Description of an epic painting -Slows the poem down -About the Trojan War -2 forces come together over an illegitimate desire;Embeds these ideas into the poem -Lucrece looks and sees herself in the painting

Comedy of Errors

"Ay, ay, Antipholus, look strange and frown: Some other mistress hath thy sweet aspects; I am not Adriana nor thy wife. The time was once when thou unurged wouldst vow That never words were music to thine ear, That never object pleasing in thine eye, That never touch well welcome to thy hand, That never meat sweet-savor'd in thy taste, Unless I spake, or look'd, or touch'd, or carved to thee. How comes it now, my husband, O, how comes it, That thou art thus estranged from thyself? Thyself I call it, being strange to me... That, undividable, incorporate, Am better than thy dear self's better part. Ah, do not tear away thyself from me! For know, my love, as easy mayest thou fall A drop of water in the breaking gulf, And take unmingled that same drop again, Without addition or diminishing, As take from me thyself and not me too. My blood is mingled with the crime of lust: For if we too be one and thou play false, I do digest the poison of thy flesh, Being strumpeted by thy contagion. Keep then far league and truce with thy true bed; I live unstain'd, thou undishonoured. " -Adriana's monologue speaking to Antipholus of Syracruse -How Adriana Identifies -Theory of marriage: goth trend: unity of person: idea that when a man and a women marry they become one -Women taking husbands name. -Marriage as a contract. Not for feelings. -Incorporate body -Drop of water -Fear of being cheated on -Adrianna feels a separation from her husband

Comedy of Errors

"But ere they came,--O, let me say no more! Gather the sequel by that went before." -Spoken by Egeon to the Duke at beginning of play

Rape of Lucrece

"By this lamenting Philomel had ended The well-tuned warble of her nightly sorrow..." -Allusion to Philomel, figure from Greek mythology, story of rape

Rape of Lucrece

"Come, Philomel that sing'st of ravishment Make thy sad grove in my disheveled hair..." -Lucrece hears the Philomel bird herself -Predictive tale

Rape of Lucrece

"FROM the besieged Ardea all in post, Borne by the trustless wings of false desire, Lust-breathed Tarquin leaves the Roman host, And to Collatium bears the lightless fire Which, in pale embers hid, lurks to aspire And girdle with embracing flames the waist Of Collatine's fair love, Lucrece the chaste." -Beginning of the text -False desire: passion fault, in context means inappropriately directly. Wrong object, wrong person, has no right -No right, aspire to burn language -Moment we meet, captured by own passions. -Waist and chaste = carnal juxtaposition (value of monogamy, idealization of her being their, girdle-belt wrapped around her waist, flames that will cause end to chastity)

Comedy of Errors

"Fear me not, man; I will not break away: I'll give thee, ere I leave thee, so much money, To warrant thee, as I am 'rested for. My wife is in a wayward mood to-day, And will not lightly trust the messenger That I should be attach'd in Ephesus, I tell you, 'twill sound harshly in her ears." -Antipholus of Ephesus talking to a Jailer, Dromio E will enter

Rape of Lucrece

"He stories to her ears her husband's fame Won in the fields of fruitful Italy And decks with praises Collatine's high name Made glorious by his manly chivalry..." -Torquin tells Lucrece stories about her husband in battle -Serves to praise her husband in an attempt to build trust and loyalty

Rape of Lucrece

"This earthly saint, adored by this devil Little suspecteth the false worshipper For unstained thoughts do seldom dream on evil Birds never limited no secret bushes fear So guiltless she securely gives good cheer And reverend welcome to her princely guest Whose inward ill no outward harm expressed" -Biblical reference and imagery

Comedy of Errors

"He that commends me to mine own content Commends me to the thing I cannot get. I to the world am like a drop of water That in the ocean seeks another drop, Who, falling there to find his fellow forth, Unseen, inquisitive, confounds himself: So I, to find a mother and a brother, In quest of them, unhappy, lose myself." -Spoken by Antipholus S. in soliloquy. -Feeling that Nothing makes him stand out- different or unique , reason why he feels he needs his family. (specifically mom and brother ) -Suggest a feeling of collectivity - Setting marketplace, Antipholus S. is alone, the merchant and Dromio S. have left, ENTER Dromio

Comedy of Errors

"I am an ass, indeed; you may prove it by my long ears. I have served him from the hour of my nativity to this instant, and have nothing at his hands for my service but blows. When I am cold, he heats me with beating; when I am warm, he cools me" -Idea of being made a beast -Audience comic confusion -Spoken by Dromio of Ephesus

Rape of Lucrece

"If, Collatine, thine honor lay in me From me by strong assault in bereft" -Spoken by Lucrece -Her honor has been stolen from her

Rape of Lucrece

"Make me not object to the telltale Day The light will show, character in my brow" -Lucrece imagines herself turned into a bad story (does not want to be an object of shame,) Why because in Renaissance time if you are raped. You are tainted (respectable thing is to commit suicide ) -Internalized this story -Example of apostrophe -Resists idea of publicly being shamed

Sonnets (130)

"My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare. " -Main point: the woman is so perfect she doesn't need those false metaphors and the narrator doesn't have to say anymore about it -Takes down sonnet tradition; she's nothing like those 'fake' women written about -"Her eyes are nothing like the sun" -"Her breast are done" - her breast are dark -Her hair is dark not fair/blonde -"Rare" unique, precious -"As any she belied with false compare." - unique among any 'she'; other women

Comedy of Errors

"Nay, forward, old man; do not break off so; For we may pity, though not pardon thee." -Spoken by the Duke to Egeon -Duke is unmoved. Strict sense of law, but starts being moved (non-strict in a way ).

Sonnets (55)

"Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone, besmear'd with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall burn The living record of your memory. 'Gainst death and all-oblivious enmity Shall you pace forth; your praise shall still find room Even in the eyes of all posterity That wear this world out to the ending doom. So, till the judgment that yourself arise, You live in this, and dwell in lovers' eyes." -Main point: I don't care how many monuments make this poem, this is the only one that will survive. Sense of defeating time and achieving immortality in love -"Not marble, nor the gilded monuments/ Of princes, shall outlive this powerful rhyme;/ But you shall shine more bright in these contents/ Than unswept stone, besmear'd with sluttish time." -"So, till the judgment that yourself arise,/ You live in this, and dwell in lovers' eyes." -"This" = demonstrative pronoun -Representing lovers eye, and what it can do for you.

Sonnets (146)

"Poor soul, the centre of my sinful earth, [Why feed'st] these rebel powers that thee array? Why dost thou pine within, and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? is this thy body's end? Then soul, live thou upon thy servant's loss, And let that pine to aggravate thy store; Buy terms divine in selling hours of dross; Within be fed, without be rich no more: So shalt thou feed on Death, that feeds on men, And, Death once dead, there's no more dying then. " -Main point: about the effect of love- not celebrating the sense of immortality -It is about the dark lady (her) "Poor soul, the center of my sinful earth" -Lamenting effects, discouraging of life, more philosophical -Nature of dying -"Center of my sinful earth" -His body as sinful -Christian ethos of original sin and idea that this figure behaved as sinful -His soul is enslaved to rebel powers -"Why dost thou pine within, and suffer dearth,/ Painting thy outward walls so costly gay?" -Dearth- internally; gay- externally -"So shalt thou"- addressing his soul -"So shalt thou feed on Death, that feeds on men,/ And, Death once dead, there's no more dying then." -Feeding on thy mortal body thou wilt feed on Death, and gain complete victory over him by a literary immortality.

Romeo and Juliet

"Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,— Will they not hear? What, ho! you men, you beasts, That quench the fire of your pernicious rag... Throw your mistempered weapons to the ground.." -Beginning fo the play -spoken by Prince Escalus -Passion vs reason. Kinship is dramatized. Prince Escalus wants to restore order. Everyone wrapped in passion that they turn to beast. Not a compliment. Full of rage choleric humor. Prince and Fathers are authority figure.

Romeo and Juliet

"SAMPSON Gregory, o' my word, we'll not carry coals. GREGORY No, for then we should be colliers. SAMPSON I mean, an we be in choler, we'll draw. GREGORY Ay, while you live, draw your neck out o' the collar. SAMPSON I strike quickly, being moved. GREGORY But thou art not quickly moved to strike. SAMPSON A dog of the house of Montague moves me. GREGORY To move is to stir; and to be valiant is to stand: therefore, if thou art moved, thou runn'st away." -Sampson and gregory: servants of capulet; They walk in armed -They are both punning on each other -Women introduced as the weaker sex -Comedic start that can transition to tragedy -Rhetorical contest emerges as more people emerge -Idle, young man are depicted -Prince Escalus enters to calm things down but don't listen -Use of Humors: theory of temperament, renaissance express themselves through humors 1.( blood= sanguine) warm and passionate /cheerful optimistic even tempered 2. phlegm= phlegmatic (sluggish, apathetic, dull, witied, slow and lazy, calm and unemotional) 3. Yellow bile= choleric (irritable, should tempered, ill humored, moody, easily angered) 4. Black bile= melancholic (gloomy, despised, pessimistic, pasive) -Fantasizes of rape. Ancient grudge reaches servants- expands (sampson is the one who says he will rape and cut off the heads of the maids)

Sonnets (18)

"Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance, or nature's changing course, untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. " -By putting his love's beauty into the form of poetry, the poet is preserving it forever. -Celebrating love he feels for young man -"And this gives life to thee" = Immortality -Speaker/ artist analogous to God, Father, Mother, Creator of Life -"Shall I compare thee to a summer's day?" Warmest season in England. Pleasant season Summer as "lovely" and "temperate" "Eyes of heaven" = sun "complexion dimmed" = clouded over Not too hot, not too cold; the goldielocks rule "When in eternal lines to time thou grow'st;/ So long as men can breathe or eyes can see,/ So long lives this, and this gives life to thee" Eternal lines= wrinkles on face and the lines of the sonnet -Lease = fleeting and not permanent, contractual, legal language. -"This" couplet alive in heart

Rape of Lucrece

"She conjures him by high almighty Jove, By knighthood, gentry, and sweet friendship's oath, By her untimely tears, her husband's love, By holy human law, and common troth, By heaven and earth, and all the power of both, That to his borrow'd bed he make retire, And stoop to honour, not to foul desire. Quoth she, 'Reward not hospitality With such black payment as thou hast pretended; Mud not the fountain that gave drink to thee; Mar not the thing that cannot be amended; End thy ill aim before thy shoot be ended; He is no woodman that doth bend his bow To strike a poor unseasonable doe. 'My husband is thy friend; for his sake spare me" -Lucrece speaking and the narrator too -Her appeal to reason. Her form of resistance. yet , he doesn't want to stop. She gives multiple choices. -Sense of choice

Rape of Lucrece

"Such hazard now must doting Tarquin make, Pawning his honour to obtain his lust; And for himself himself be must forsake: Then where is truth, if there be no self-trust? When shall he think to find a stranger just, When he himself himself confounds, betrays To slanderous tongues and wretched hateful days?" -Tarquin pawning his honor (pawning, give something for collateral) in this case he believes he can and will recover honor

Comedy of Errors

"Sweet mistress--what your name is else, I know not, Nor by what wonder you do hit of mine,-- Less in your knowledge and your grace you show not Than our earth's wonder, more than earth divine. Teach me, dear creature, how to think and speak; Lay open to my earthy-gross conceit, Smother'd in errors, feeble, shallow, weak, The folded meaning of your words' deceit. Against my soul's pure truth why labour you To make it wander in an unknown field? Are you a god? would you create me new? Transform me then, and to your power I'll yield. But if that I am I, then well I know Your weeping sister is no wife of mine, Nor to her bed no homage do I owe Far more, far more to you do I decline. O, train me not, sweet mermaid, with thy note, To drown me in thy sister's flood of tears: Sing, siren, for thyself and I will dote: Spread o'er the silver waves thy golden hairs, And as a bed I'll take them and there lie, And in that glorious supposition think He gains by death that hath such means to die: Let Love, being light, be drowned if she sink!" -Spoken by Antipholus S. to Luciana -He discovers love. It transforms him. Middle of play. Soul and heart. Monologue. -Transformative power of love. Hyperbole love -Destabilizes technology and individuality. Unity of person. " i am thee" : main way to get together, poetically. From individual to collective -Antipholus of S tries to make a move on Lucianna but she instead tells him to redirect his love to his wife,even if it is faked. Essentially friendzones him.

Comedy of Errors

"The pleasing punishment that women bear," -Spoken by Egeon to the Duke -Reference to childbirth as punishment and pleasant

Rape of Lucrece

"To this well-painted piece is Lucrece come, To find a face where all distress is stelled Many she sees where cares have carved some But none where all distress and dolor dwelled Till she despairing Hecuba beheld Staring on Priam's wounds with her old eyes Which bleeding under Pyrrhus proud foot lies" -Lucrece looks for someone in painting to match her sorrow -Connects with Hecuba -Connects the visual art and poetry -Delivers a painting that does not exist -Paints a picture with words

Comedy of Errors

"Was wrought by nature, not by vile offence, I'll utter what my sorrows give me leave. In Syracusa was I born, and wed Unto a woman, happy but for me, And by me, had not our hap been bad" -Spoken by Egeon to the Duke in the beginning explaining his backstory to how he arrived at Ephesus

Comedy of Errors

"Well, Syracusian, say in brief the cause Why thou departed'st from thy native home And for what cause thou camest to Ephesus." -Spoken by Duke towards Egeon as to why he is here in Ephesus

Rape of Lucrece

"With a bitter invective against the tyranny of the king" -Found in the Argument -Political statement about how governments and nations change

Rape of Lucrece

"Yet die I will not till my Collatine Have heard the cause of my ultimately death That he may vow, in that sad hour of mine Revenge on him that made me stop my breath My stained blood to Tarquin I'll bequeath Which, by him tainted, shall for him be spent And as his due writ in my testament" -Lucrece will not kill herself until Collatine returns -Very calculated -Very rational

Sonnets Framework

-2 types Petrarchan/ Italian : 14 lines = (1 Octave = 8 lines, 1 Sestet = 6 lines , volta: the turn) first 8 lines introduce a question, comment, idea, the sestet provides a solution or new idea (volta) -Typically beloved is unattainable, aspiring lover, direction. shakespearean/ Elizabethan English : 14 lines (3 Quatrains= 12 lines, 1 couplet= 2 lines) -Elizabethan also has to do with thought a particular set of images> In the three quatrains the poet establishes a theme or problem and then resolves it in the final two lines, called the couplet. The rhyme scheme of the quatrains is abab cdcd efef. -Distinguish Shakespeare from persona/speaker -Lyrics single speaker; expression of emotion: individualized, -Rise and fall of sonnets. Conventional theme. Paint suffering. Desire for resistant beloved. -Art triumphs over time. In English renaissance, new sense of time. Medieval reader tired of a religious conception.

Lucrece (Rape of Lucrece)

-Acts to hold up the institution of fidelity -Portrayed as beautiful, not alluring -Modest in her own marriage Treated like property -Married to Collatine

Emilia (Comedy of Errors)

-An abbess at Ephesus, wife of Egeon

Adriana (Comedy of Errors)

-Antipholus E.'s is her husband. -Sister is Luciana.

Merchant of Venice

-Characters here speak the vocabulary of business and commerce- economics -Classic Shakespearean comedy -Comes out in 1598 -common plot of contracts: -Venice commercial setting -Identity issues , Antonio sad -Romantic plot, " the whole world knows of her" - Portia rich and lovely, lonely

Duke (Comedy of Errors)

-Duke of Ephesus -Believes heavily in the law at first then changes opinion later on

Ghost

-Ghost as figure of imagination: foggy night taking care of Denmark. Bernardo marcellus tired. -Any site of ghost is a form of devil. Might be in form of father, son, but not good. Catholicism sees as figure of dead, who have temporarily been in purgatory. But can gain some form of salvation. When we think of ghost; dramatically great at stage, moral questions raised. -Remembrance -Commemorate : in hamlet you must act. Hamlets acts are a form commendation.

Angelo (Comedy of Errors)

-Goldsmith

Tarquin (Rape of Lucrece)

-He is bad -Rapes Lucrece -Has internal battles within himself -The narrator constantly condemns him

Glyndwr

-Host to Hotspur and Worcester -Mortimer's father-in-law -Leader of the Welsh rebels

Earl of Northumberland

-Hotspur's father

Earl of Worcester

-Hotspur's uncle

Lady Percy

-Hotspur's wife -Lady Percy -Kate

Lord of Lancaster

-King Henry's youngest son -Prince John

Edmund

-Mortimer -Earl of March -Hotspur's brother in law

Rape of Lucrece Framework

-Omniscient narrator: (godlike figure ) knowing everything, all-wise, all-seeing -Narrator as second point of view -Rhyme royal: iambic pentameter: meter and length of line, rhyme scheme. (a,b,a,b,b,c,c) stanza consists of seven lines -Delivers work of art. At least mentions paintings. Female in art as object, story. -Apostrophes: when a character in a literary work speaks to an object, an idea, or someone who doesn't exist as if it is a living person

Sonnets

-Poetic genre: sonnets reflect better on author. Who are the sonnets dedicated to? Do sonnets tell a story?

Revenge Play

-Secretly Ruler is murdered -Ghost of murder victim, visits son or other kinsman -intrigued , plotting, and disguised between avenger. -Fall into madness. Someone goes crazy. Usually the avenger. Or Ophelia -Includes disruption of violence

Dromios (Comedy of Errors)

-Servants of the Antipholus twins -Constantly beaten by thier masters

Luciana (Comedy of Errors)

-Sister of Adriana -Very critical of her sister

Douglas

-Spared at the end for his integrity

Rape of Lucrece

-draws on story described in both Ovid's Fasti and Livy's history of Rome Roman king was Lucius Tarquinus, or Tarquin His son was Sextus Tarquinius who in 509 BC rapes Lucretia (Lucrece), wife of Collatinus, one of the king's aristocratic retainers. -About sexual purity and the politics of praise -About monogomy

Egeon (Comedy of Errors)

-father of the twins: feels alone in the world; come in search of only child .

Falstaff

-friend or acquaintance of Prince Henry

Antipholus of Ephesus (Comedy of Errors)

-the son that is stable-stationing home turf : -Husband of Adriana -Very aggressive

Comedy of Errors Framework

1. Action in one day. 2.Met under threat of death 3. Egeon is suspended throughout poem: he is see in the beginning and the end. 4. Renaissance comedy: a plot structure: begins in chaos and disorder and moves to happiness 5.Linguistic and visual puns 6.Language as a nuance

Comedy of Errors

1. One of the earliest comedies plays 2. Based on Roman play: (Plautus) twins plot/dividing from roman sources borrowed plot lines 3. This particular play was performed for law school audiences; issues of law/ legal issues/ legal terminology : Public theater 4. Shakespeare himself worked as a law clerk, for a lawyer 5. Politicized position of the theater (opposition of the theater: basis of conflict= 1. City of london vs. Monarchy) 6. Was part of the first folio (1623), performed by good actors in Inns of Court 7.Was meant to be lighthearted and goofy, with a lot of punning involved

Theories about kingship

1.Authority/ power : it comes with the job. Because it goes with the office. The job of a King comes with authority. 2. Peace of the realm: recurring motif; order of realm. King has obligation to keep peace/order.People are not loyal to Henry IV: The King's authority is challenged by Hotspur, by not turning over the prisoners. 3. Skill: Is Henry IV skilled enough to be king. An issue in the play. Is Henry IV skillful. You could have authority, but not be good leaders. Henry IV not strong leader. Not to the public court or his own son. Can not persuade Hotspur not to rebel. 4. Service: A king serves. Does the king have an attitude of service. 5. Divine Right: idea that god picks the King: implied contract of god and a particular group of people/ family. However if you rebel, not only do you rebel against that person, but God. (christian audience ) one argument against rebellion. 6. Language of Tyranny: you may be anything, but not a tyrant. (a cruel ruler ) Why Hotspur rebels: revenge? Because they helped them, he would want to get rid of them :not a honorable king because Henry IV overthrew other KING. 7. Disrespect: looking at map: who's gonna get what: (act 3, scene 1. )They feel disrespected, yet they still have to be loyal to King.

Merchant of Venice

ANTONIO Believe me, no: I thank my fortune for it, My ventures are not in one bottom trusted, Nor to one place; nor is my whole estate Upon the fortune of this present year: Therefore my merchandise makes me not sad. Solanio Why, then you are in love. ANTONIO Fie, fie! Solanio Not in love neither? Then let us say you are sad, Because you are not merry: and 'twere as easy For you to laugh and leap and say you are merry, Because you are not sad. Now, by two-headed Janus, Nature hath framed strange fellows in her time: Some that will evermore peep through their eyes And laugh like parrots at a bag-piper, And other of such vinegar aspect That they'll not show their teeth in way of smile, Though Nestor swear the jest be laughable. Enter BASSANIO, LORENZO, and GRATIANO Solanio Here comes Bassanio, your most noble kinsman, Gratiano and Lorenzo. Fare ye well: We leave you now with better company. Salerio I would have stay'd till I had made you merry, If worthier friends had not prevented me. ANTONIO Your worth is very dear in my regard. I take it, your own business calls on you And you embrace the occasion to depart. Salerio Good morrow, my good lords. BASSANIO Good signiors both, when shall we laugh? say, when? You grow exceeding strange: must it be so? Salerio We'll make our leisures to attend on yours. Exeunt Salarino and Salanio LORENZO My Lord Bassanio, since you have found Antonio, We two will leave you: but at dinner-time, I pray you, have in mind where we must meet. BASSANIO I will not fail you. GRATIANO You look not well, Signior Antonio; You have too much respect upon the world: They lose it that do buy it with much care: Believe me, you are marvellously changed. ANTONIO I hold the world but as the world, Gratiano; A stage where every man must play a part, And mine a sad one. GRATIANO Let me play the fool: With mirth and laughter let old wrinkles come, And let my liver rather heat with wine Than my heart cool with mortifying groans. Why should a man, whose blood is warm within, Sit like his grandsire cut in alabaster? Sleep when he wakes and creep into the jaundice By being peevish? I tell thee what, Antonio-- I love thee, and it is my love that speaks-- There are a sort of men whose visages Do cream and mantle like a standing pond, And do a wilful stillness entertain, With purpose to be dress'd in an opinion Of wisdom, gravity, profound conceit, As who should say 'I am Sir Oracle, And when I ope my lips let no dog bark!' O my Antonio, I do know of these That therefore only are reputed wise For saying nothing; when, I am very sure, If they should speak, would almost damn those ears, Which, hearing them, would call their brothers fools. I'll tell thee more of this another time: But fish not, with this melancholy bait, For this fool gudgeon, this opinion. Come, good Lorenzo. Fare ye well awhile: I'll end my exhortation after dinner. -Antonio speaking to Salerio and Solanio in public street -Conversation between Antonio, Solanio, and Salerio at beginning of play, than enter Lorenzo, Bassanio, and Gratiano, Salerio and Solanio leave -Antonio explains his sadness and how he feels: sadness is unusual because his friends all recognize it - characters all develop feel for business world, a masculine world

Merchant of Venice

ANTONIO In sooth, I know not why I am so sad: It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me, That I have much ado to know myself. Salerio Your mind is tossing on the ocean; There, where your argosies with portly sail, Like signiors and rich burghers on the flood, Or, as it were, the pageants of the sea, Do overpeer the petty traffickers, That curtsy to them, do them reverence, As they fly by them with their woven wings. -Antonio speaking to Salerio and Solanio in public street -Venice is the center of commerce -Antonio doesn't recognize or feel like himself (Begins in a state of melancholy) -Antonio's sadness is something unusual to him -Sets up the homosocial aspect of the trading society -Similar to Romeo's melancholy -Argosies-great merchant ships -Antonio is a venture capitalist, invests in ships and goods -cosmopolitan , commercial, "boats" economics

Romeo and Juliet

Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here's much to do with hate, but more with love. Why, then, O brawling love! O loving hate! O any thing, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? -Romeo speaks to Benvolio at beginning of the play -Visible chaos and violence -Contrast love for fighting with what Romeo loves -Talking about the riot -Continues talking in oxymorons

King Henry

And if the devil come and roar for them, I will not send them: I will after straight And tell him so; for I will ease my heart, Albeit I make a hazard of my head. -Hotspur talking to Earl of Worcester and Earl of Northumberland, after King Henry, Sir Walter Blunt exit -Hotspur plots to go against the king -Issue of rebellion stirs up

King Henry

And is not this an honourable spoil? A gallant prize? ha, cousin, is it not? -King Henry speaking to Westmore at beginning of play -You become a reasonable soldier when you treat others with respect

Romeo and Juliet

BENVOLIO Here comes Romeo, here comes Romeo. MERCUTIO Without his roe, like a dried herring: flesh, flesh, how art thou fishified! Now is he for the numbers that Petrarch flowed in: Laura to his lady was but a kitchen-wench; marry, she had a better love to be-rhyme her; Dido a dowdy; Cleopatra a gipsy; Helen and Hero hildings and harlots; Thisbe a grey eye or so, but not to the purpose. Signior Romeo, bon jour! there's a French salutation to your French slop. You gave us the counterfeit fairly last night. -Romeo arrives -Romeo is sighing after he falls in love with Juliet -Many allusions to depictions of beauty in literature -Mercutio has sexualized language -Romeo and Mercutio have a punning match

Romeo and Juliet

But Montague is bound as well as I, In penalty alike; and 'tis not hard, I think, For men so old as we to keep the peace. -Capulet Speaking to Paris -Capulet's idea of his role takes a change here

Merchant of Venice

DUKE 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. -Duke speaking to Antonio and Bassanio in a court of justice, rethink your malice -Shylock is depicted as unapproachable -Shylock without heart, caricature:

Merchant of Venice

DUKE Make room, and let him stand before our face. Shylock, the world thinks, and I think so too, That thou but lead'st this fashion of thy malice To the last hour of act; and then 'tis thought Thou'lt show thy mercy and remorse more strange Than is thy strange apparent cruelty; And where thou now exact'st the penalty, Which is a pound of this poor merchant's flesh, Thou wilt not only loose the forfeiture, But, touch'd with human gentleness and love, Forgive a moiety of the principal; Glancing an eye of pity on his losses, That have of late so huddled on his back, Enow to press a royal merchant down And pluck commiseration of his state From brassy bosoms and rough hearts of flint, From stubborn Turks and Tartars, never train'd To offices of tender courtesy. We all expect a gentle answer, Jew. -Duke speaking to Antonio and Bassanio, and Shylock in a court of justice -Duke tries to change Shylock and saving him from shame -Duke jokes of the Jews

Merchant of Venice

Even for that I thank you: Therefore, I pray you, lead me to the caskets To try my fortune. By this scimitar That slew the Sophy and a Persian prince That won three fields of Sultan Solyman, I would outstare the sternest eyes that look, Outbrave the heart most daring on the earth, Pluck the young sucking cubs from the she-bear, Yea, mock the lion when he roars for prey, To win thee, lady. But, alas the while! If Hercules and Lichas play at dice Which is the better man, the greater throw May turn by fortune from the weaker hand: So is Alcides beaten by his page; And so may I, blind fortune leading me, Miss that which one unworthier may attain, And die with grieving. -Morocco has his sword out- "scimitar" -Talks about violent images: he will be violent to win the heart of Portia -Mention of Fortune -Blind and fickle, changeable -Other characters are objects to satire : -Ethnical inferior of character: characters of different culture.( how caricatures work- using negative stereotypes) -Shylock number 1 character to be mocked- anti Semitic -Brings attention to light and dark values

Merchant of Venice

Express'd and not express'd. But when this ring Parts from this finger, then parts life from hence: O, then be bold to say Bassanio's dead! -Bassanio response to Portia ring -Overdramatic, if Bassanio takes ring off than he is no longer in love with Portia or worse dead

Hamlet

Father's Ghost. Ay, that incestuous, that adulterate beast, 780 With witchcraft of his wit, with traitorous gifts- O wicked wit and gifts, that have the power So to seduce!- won to his shameful lust The will of my most seeming-virtuous queen. O Hamlet, what a falling-off was there, 785 From me, whose love was of that dignity That it went hand in hand even with the vow I made to her in marriage, and to decline Upon a wretch whose natural gifts were poor To those of mine! 790 But virtue, as it never will be mov'd, Though lewdness court it in a shape of heaven, So lust, though to a radiant angel link'd, Will sate itself in a celestial bed And prey on garbage. 795 But soft! methinks I scent the morning air. Brief let me be. Sleeping within my orchard, My custom always of the afternoon, Upon my secure hour thy uncle stole, With juice of cursed hebona in a vial, 800 And in the porches of my ears did pour The leperous distilment; whose effect Holds such an enmity with blood of man That swift as quicksilver it courses through The natural gates and alleys of the body, 805 And with a sudden vigour it doth posset And curd, like eager droppings into milk, The thin and wholesome blood. So did it mine; And a most instant tetter bark'd about, Most lazar-like, with vile and loathsome crust 810 All my smooth body. Thus was I, sleeping, by a brother's hand Of life, of crown, of queen, at once dispatch'd; Cut off even in the blossoms of my sin, Unhous'led, disappointed, unanel'd, 815 No reckoning made, but sent to my account With all my imperfections on my head. Hamlet. O, horrible! O, horrible! most horrible! Father's Ghost. If thou hast nature in thee, bear it not. Let not the royal bed of Denmark be 820 A couch for luxury and damned incest. But, howsoever thou pursuest this act, Taint not thy mind, nor let thy soul contrive Against thy mother aught. Leave her to heaven, And to those thorns that in her bosom lodge 825 To prick and sting her. Fare thee well at once. The glowworm shows the matin to be near And gins to pale his uneffectual fire. Adieu, adieu, adieu! Remember me. Exit. Hamlet. O all you host of heaven! O earth! What else? 830 And shall I couple hell? Hold, hold, my heart! And you, my sinews, grow not instant old, But bear me stiffly up. Remember thee? Ay, thou poor ghost, while memory holds a seat In this distracted globe. Remember thee? 835 Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live 840 Within the book and volume of my brain, Unmix'd with baser matter. Yes, by heaven! O most pernicious woman! O villain, villain, smiling, damned villain! My tables! Meet it is I set it down 845 That one may smile, and smile, and be a villain; At least I am sure it may be so in Denmark. [Writes.] So, uncle, there you are. Now to my word: It is 'Adieu, adieu! Remember me.' I have sworn't. -Command is remember me: Claudius is composed, nothing is a must, very good actor. At least I am sure. So uncle there u are. Hamlet a 30 year old man, -Ghost: Remembrance is in your actions. -Holding someone in your thoughts is not enough, you need to act. contrast : ghost command, Vs Hamlet: how to act to remember father; -The past was golden as heroes, chivalric, keeps bring those up, present day has fallen, no room for heroes, -Present. Room for politics not heroics. Hamlet wants to act as heroes. An awareness of family. -Distorted family -This scene Comes after Ghost reveal how he died -Hamlet does a soliloquy -Mentions heaven and hell and earth -Metatheater instance with a mention of the Globe -Goes from remembering the Ghost to talking about Claudius -Hamlet has to process how he will kill Claudius

King Henry

GLENDOWER I cannot blame him: at my nativity The front of heaven was full of fiery shapes, Of burning cressets; and at my birth The frame and huge foundation of the earth Shaked like a coward. HOTSPUR Why, so it would have done at the same season, if your mother's cat had but kittened, though yourself had never been born. GLENDOWER I say the earth did shake when I was born. HOTSPUR And I say the earth was not of my mind, If you suppose as fearing you it shook. GLENDOWER The heavens were all on fire, the earth did tremble. HOTSPUR O, then the earth shook to see the heavens on fire, And not in fear of your nativity. Diseased nature oftentimes breaks forth In strange eruptions; oft the teeming earth Is with a kind of colic pinch'd and vex'd By the imprisoning of unruly wind Within her womb; which, for enlargement striving, Shakes the old beldam earth and topples down Steeples and moss-grown towers. At your birth Our grandam earth, having this distemperature, In passion shook. GLENDOWER Cousin, of many men I do not bear these crossings. Give me leave To tell you once again that at my birth The front of heaven was full of fiery shapes, The goats ran from the mountains, and the herds Were strangely clamorous to the frighted fields. These signs have mark'd me extraordinary; And all the courses of my life do show I am not in the roll of common men. Where is he living, clipp'd in with the sea That chides the banks of England, Scotland, Wales, Which calls me pupil, or hath read to me? And bring him out that is but woman's son Can trace me in the tedious ways of art And hold me pace in deep experiments. -Content who is the better man: Hotspur terrifying warrior, -Hotspur wants to deflat the worth of the birth of Glendower: argument who is the better warrior/ man? -Don't argue king is a tyrant. They just want to overthrew king for greed. -Hotspur saying he had a holy birth -Hotspur speaks to Glendower -Hotspur self-mythologizing

Merchant of Venice

GRATIANO You look not well, Signior Antonio; You have too much respect upon the world: They lose it that do buy it with much care: Believe me, you are marvellously changed. ANTONIO I hold the world but as the world, Gratiano; A stage where every man must play a part, And mine a sad one. -Gratiano says Antonio does not look normal, Highlights Antonio's change again, -Shakespeare uses Antonio to create an idea. A Scripted world -Antonio sees world as stage; people fit in it. Everyone has a world. -That's how theater works, relationship between acts + people on the world. -3. Antonio sees life going along with a script (Meta moment: is a tool that helps us press the pause button between a challenging feeling and our first impulse) -Gratiano likes talking a lot; manages to cheer Antonio for a moment: "

Hamlet

HAMLET "Now might I do it pat, now he is praying; And now I'll do't. And so he goes to heaven; And so am I revenged. That would be scann'd: A villain kills my father; and for that, I, his sole son, do this same villain send To heaven. O, this is hire and salary, not revenge. He took my father grossly, full of bread; With all his crimes broad blown, as flush as May; And how his audit stands who knows save heaven? But in our circumstance and course of thought, 'Tis heavy with him: and am I then revenged, To take him in the purging of his soul, When he is fit and season'd for his passage? No! Up, sword; and know thou a more horrid hent: When he is drunk asleep, or in his rage, Or in the incestuous pleasure of his bed; At gaming, swearing, or about some act That has no relish of salvation in't; Then trip him, that his heels may kick at heaven, And that his soul may be as damn'd and black As hell, whereto it goes. My mother stays: This physic but prolongs thy sickly days." KING CLAUDIUS Rising My words fly up, my thoughts remain below: Words without thoughts never to heaven go. -Doesn't want to kill him here; wants to kill him in other ways -Hamlet : as revenge figure; to kill him when his praying while his repenting -But hamlet does not want him to go to heaven -Then Hamlet enters and he feels enabled to be a revenger -Wants to kill him while he is praying and repenting -It is believed that the true repentant will be forgiven -Decides to not kill him there, wants to kill him in another situation -Hamartia :a fatal flaw leading to the downfall of a tragic hero or heroine. A way a plot works , Hamlet convinced of murderer but something is not what is seem

Hamlet

HAMLET [Aside] A little more than kin, and less than kind. KING CLAUDIUS How is it that the clouds still hang on you? HAMLET Not so, my lord; I am too much i' the sun. QUEEN GERTRUDE Good Hamlet, cast thy nighted colour off, And let thine eye look like a friend on Denmark. Do not for ever with thy vailed lids Seek for thy noble father in the dust: Thou know'st 'tis common; all that lives must die, Passing through nature to eternity. -1st time we meet him with family -Pun talking, a little more than belonging -Punning of Kind, we are of the same group, -Less than kind, is king -We meet Hamlet punning: hamlet also doubles speaks -Orange: metaphors; I am that other person son,not yours -Clouds melancholic

Hamlet

HAMLET Not a whit, we defy augury: there's a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all: since no man has aught of what he leaves, what is't to leave betimes? -Hamlet takes a leap of faith more waiting and philosophical -As Hamlet is dying later he doesn't ask for revenge but instead to be remembered correctly -Occurs near the end of the play

King Henry

HOTSPUR If I mistake not, thou art Harry Monmouth. PRINCE HENRY Thou speak'st as if I would deny my name. HOTSPUR My name is Harry Percy. PRINCE HENRY Why, then I see A very valiant rebel of the name. I am the Prince of Wales; and think not, Percy, To share with me in glory any more: Two stars keep not their motion in one sphere; Nor can one England brook a double reign, Of Harry Percy and the Prince of Wales. HOTSPUR Nor shall it, Harry; for the hour is come To end the one of us; and would to God Thy name in arms were now as great as mine! PRINCE HENRY I'll make it greater ere I part from thee; And all the budding honours on thy crest I'll crop, to make a garland for my head. HOTSPUR I can no longer brook thy vanities. They fight Enter FALSTAFF FALSTAFF Well said, Hal! to it Hal! Nay, you shall find no boy's play here, I can tell you. Re-enter DOUGLAS; he fights with FALSTAFF, who falls down as if he were dead, and exit DOUGLAS. HOTSPUR is wounded, and falls HOTSPUR O, Harry, thou hast robb'd 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 sword my flesh: But thought's the slave of life, and life time's fool; And time, that takes survey of all the world, Must have a stop. O, I could prophesy, But that the earthy and cold hand of death Lies on my tongue: no, Percy, thou art dust And food for-- Dies -Achieves father's approval; and achieves Prince status\ -Falstaff; not wanting honor: yet in act 5, there is honor to you. Deflating figure: I'm okay without honor: earthy figure: great comedy: -Among the repeated words; Redeem: to regain possession, for something: king needs to redeem his reputation. -Hal comes into fight with his father side by side -Hotspur and Prince confront each other and Hal triumphs -Hal achieves his father's love and becomes a princely figure

Merchant of Venice

I stand for sacrifice The rest aloof are the Dardanian wives, With bleared visages, come forth to view The issue of the exploit. -Spoken by Portia in a room in her house talking to Bassanio while wanting more time with him -Portia tells Bassanio that she is willing to sacrifice herself for him

Hotspur

Henry Percy

Merchant of Venice

I did, my lord; And I have reason for it. Signior Antonio Commends him to you -Enter Lorenzo, Jessica, Salerio, a Messenger -After Gratiano and Nerissa confess that they also will marry because it was a deal they made between them, if Bassanio got Portia: (if = continuing entices, if someone commits to contract, they must full fill it Nerissa +Gratiano marriage) ) -Salerio gives Bassanio a letter -Antonio can't pay off debt to Shylock -Salerio talking to Lorenzo, Jessica, Salerio in Portia's house

Merchant of Venice

How now, Shylock! what news among the merchants? SHYLOCK You know, none so well, none so well as you, of my daughter's flight. Salerio That's certain: I, for my part, knew the tailor that made the wings she flew withal. -Venice: Salerio and Solanio, and Shylock scene: -After, Portia has a suitor try the casket again. This time Aragon -Solanio talking to Salerio and Shylock in a public place -Shylock enters the scene angrily

King Henry

I know you all, and will awhile uphold The unyoked humour of your idleness: Yet herein will I imitate the sun, Who doth permit the base contagious clouds To smother up his beauty from the world, That, when he please again to be himself, Being wanted, he may be more wonder'd at, By breaking through the foul and ugly mists Of vapours that did seem to strangle him. If all the year were playing holidays, To sport would be as tedious as to work; But when they seldom come, they wish'd for come, And nothing pleaseth but rare accidents. So, when this loose behavior I throw off And pay the debt I never promised, By how much better than my word I am, By so much shall I falsify men's hopes; And like bright metal on a sullen ground, My reformation, glittering o'er my fault, Shall show more goodly and attract more eyes Than that which hath no foil to set it off. I'll so offend, to make offence a skill; Redeeming time when men think least I will. After being left alone: both Poins and Falstaff exit -I am not the irresponsible, everyone thinks I am. -" yet herein.." sun is in charge of whether: he will allow everyone to cloud him. Transformation will make me look more royal-grand . effect wants to appear less frivolous better -"Debt i never promised": prince he didn't ask to be king,yet he has to do it. -"Hopes": expectations : -From this moment: someone you know is capable of strategic thinking (Prince Hal). Wants to manipulate people. This is the person who will inherit thrown -Hal of the the soliloquy: will inherit thrown: not the prince that father thinks : -two views: father thinks he is irrational , but Shakespeare; prince soliloquy shows he has a plan. -Hal's first soliloquy -Prince Henry confesses that he is not as lustrous as people think he is -Puts up a front in presence of others -Hal tells himself that he will just allow himself to follow the crowd until the right moment arrives -Reminds the audience that he didn't ask to be king -This serves the purpose of manipulating the audience's reaction Portrays himself as untrustworthy

Merchant of Venice

I never heard a passion so confused, So strange, outrageous, and so variable, As the dog Jew did utter in the streets: 'My daughter! O my ducats! O my daughter! Fled with a Christian! O my Christian ducats! Justice! the law! my ducats, and my daughter! A sealed bag, two sealed bags of ducats, Of double ducats, stolen from me by my daughter! And jewels, two stones, two rich and precious stones, Stolen by my daughter! Justice! find the girl; She hath the stones upon her, and the ducats.' -Venice. A street. -After Lorenzo takes Jessica, Shylock's daughter Scene Solanio+ Salerio -Salerio and Solanio talking publicly: recount Shylock's reaction to his daughter leaving -Shylock seen as interested in money, why repeats ducats -Solanio imitating Shylock for valuing money so much -Jessica has emasculated Shylock by taking money: -Both Salerio and Solanio are not sympathetic to Shylock's pain

Merchant of Venice

I pray you, tarry: pause a day or two Before you hazard; for, in choosing wrong, I lose your company: therefore forbear awhile. There's something tells me, but it is not love, I would not lose you; and you know yourself, Hate counsels not in such a quality. But lest you should not understand me well,-- And yet a maiden hath no tongue but thought,-- I would detain you here some month or two Before you venture for me. I could teach you How to choose right, but I am then forsworn; So will I never be: so may you miss me; But if you do, you'll make me wish a sin, That I had been forsworn. Beshrew your eyes, They have o'erlook'd me and divided me; One half of me is yours, the other half yours, Mine own, I would say; but if mine, then yours, And so all yours. O, these naughty times Put bars between the owners and their rights! And so, though yours, not yours. Prove it so, Let fortune go to hell for it, not I. I speak too long; but 'tis to peize the time, To eke it and to draw it out in length, To stay you from election. -Bassanio, Portia, Gratiano, Nerissa, and all their trains -Portia trying to prolong the choosing in order to have more time to be with Bassanio -Basically gives herself to him -Occurs in Portia's house -Speaking to Bassanio -loves Bassanio ,but she can not tell. Internal conflict; should I tell him or not: -wants to honor father, I will violate own worth -Father's will has power over me

Merchant of Venice

I pray you, think you question with the Jew: You may as well go stand upon the beach And bid the main flood bate his usual height; You may as well use question with the wolf Why he hath made the ewe bleat for the lamb; You may as well forbid the mountain pines To wag their high tops and to make no noise, When they are fretten with the gusts of heaven; You may as well do anything most hard, As seek to soften that--than which what's harder?-- His Jewish heart: therefore, I do beseech you, Make no more offers, use no farther means, But with all brief and plain conveniency Let me have judgment and the Jew his will. -Antonio speaking to Bassanio and Shylock in court of justice -Antonio trash-talking Shylock

Merchant of Venice

If to do were as easy as to know what were good to do, chapels had been churches and poor men's cottages princes' palaces. It is a good divine that follows his own instructions: I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching. The brain may devise laws for the blood, but a hot temper leaps o'er a cold decree: such a hare is madness the youth, to skip o'er the meshes of good counsel the cripple. But this reasoning is not in the fashion to choose me a husband. O me, the word 'choose!' I may neither choose whom I would nor refuse whom I dislike; so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one nor refuse none? -Portia talking about choosing love to Nerissa when we first meet them -Doesn't want to deny father his will; wants to show respect -She can't refuse, even if she has to marry someone she doesn't like -Father puts pressure on Portia's marriage, she can't really choose

Merchant of Venice

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; Which makes her seat of Belmont Colchos' strand, 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! -Scene where: Bassanio asks Antonio for money at start of play -Theme :Economics -Says that Portia is rich and wealthy (but also virtuous and beautiful) -Men are coming to court her (the whole world knows of her worth ) Form of commodification; Portia's body -Allusion to myth story of Jason and the Argonauts and how trials emerged, Mentions Portia's hair as Jason's golden fleece, dangerous journey and quest (not a walk in the park) Colcho's strand: the shore east of the black sea where Jason won the Golden Fleece

King Henry

In both your armies there is many a soul Shall pay full dearly for this encounter, If once they join in trial. Tell your nephew, The Prince of Wales doth join with all the world In praise of Henry Percy: by my hopes, This present enterprise set off his head, I do not think a braver gentleman, More active-valiant or more valiant-young, More daring or more bold, is now alive To grace this latter age with noble deeds. For my part, I may speak it to my shame, I have a truant been to chivalry; And so I hear he doth account me too; Yet this before my father's majesty-- I am content that he shall take the odds Of his great name and estimation, And will, to save the blood on either side, Try fortune with him in a single fight. -Prince Henry talking -There's too many people that will die on the field. I know he has reputation: -Hal saved his father's life: -KING HENRY, PRINCE HENRY, Lord John of LANCASTER, EARL OF WESTMORELAND, SIR WALTER BLUNT, and FALSTAFF -in KING HENRY IV's camp near Shrewsbury.

Merchant of Venice

In my school-days, when I had lost one shaft, I shot his fellow of the self-same 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 wilful 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. -Everyone left only Bassanio and Antonio left: -Theme; lots of debt; Bassanio borrowed money multiple times. -Bassanio talks about archery as a way to ask for a loan, -Bassanio speaks to Antonio near beginning of the play

Romeo and Juliet

JULIET Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable, Thy purpose marriage, send me word to-morrow, By one that I'll procure to come to thee, Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world. -Speaking to Romeo -Occurs during their balcony scene -Practical moment for Juliet

Romeo and Juliet

JULIET Well, do not swear: although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest Come to thy heart as that within my breast! ROMEO O, wilt thou leave me so unsatisfied? JULIET What satisfaction canst thou have to-night? ROMEO The exchange of thy love's faithful vow for mine. -two different POV (misunderstood moment ) -Juliet feels fear: -Juliet thinks Romeo is asking for sex when he asks for satisfaction (punning of satisfied ) - Juliet made aware of real life consequences - beautiful and evocative poetry

Hamlet

KING CLAUDIUS Take thy fair hour, Laertes; time be thine, And thy best graces spend it at thy will! But now, my cousin Hamlet, and my son,-- HAMLET Aside A little more than kin, and less than kind. KING CLAUDIUS How is it that the clouds still hang on you? HAMLET Not so, my lord; I am too much i' the sun. QUEEN GERTRUDE Good Hamlet, cast thy nighted colour off, And let thine eye look like a friend on Denmark. Do not for ever with thy vailed lids Seek for thy noble father in the dust: Thou know'st 'tis common; all that lives must die, Passing through nature to eternity. HAMLET Ay, madam, it is common. QUEEN GERTRUDE If it be, Why seems it so particular with thee? HAMLET Seems, madam! nay it is; I know not 'seems.' 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe. KING CLAUDIUS 'Tis sweet and commendable in your nature, Hamlet, To give these mourning duties to your father: But, you must know, your father lost a father; That father lost, lost his, and the survivor bound In filial obligation for some term To do obsequious sorrow: but to persever In obstinate condolement is a course Of impious stubbornness; 'tis unmanly grief; It shows a will most incorrect to heaven, A heart unfortified, a mind impatient, An understanding simple and unschool'd: For what we know must be and is as common As any the most vulgar thing to sense, Why should we in our peevish opposition Take it to heart? Fie! 'tis a fault to heaven, A fault against the dead, a fault to nature, To reason most absurd: whose common theme Is death of fathers, and who still hath cried, From the first corse till he that died to-day, 'This must be so.' We pray you, throw to earth This unprevailing woe, and think of us As of a father: for let the world take note, You are the most immediate to our throne; And with no less nobility of love Than that which dearest father bears his son, Do I impart toward you. For your intent In going back to school in Wittenberg, It is most retrograde to our desire: And we beseech you, bend you to remain Here, in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. -Insists in the precision of language, how do you read a person: -Question of reading is important. Classic melancholic: -"That can denote me truly..." something beyond words, a me don't do me justice. -Hamlet the play plays significant role. There is a me beyond visible expression. -Envious opposite of Pious. It is unmanly -Raises a gendered complaint

King Henry

KING HENRY IV I know not whether God will have it so, For some displeasing service I have done, That, in his secret doom, out of my blood He'll breed revengement and a scourge for me; But thou dost in thy passages of life Make me believe that thou art only mark'd For the hot vengeance and the rod of heaven To punish my mistreadings. Tell me else, Could such inordinate and low desires, Such poor, such bare, such lewd, such mean attempts, Such barren pleasures, rude society, As thou art match'd withal and grafted to, Accompany the greatness of thy blood And hold their level with thy princely heart? PRINCE HENRY So please your majesty, I would I could Quit all offences with as clear excuse As well as I am doubtless I can purge Myself of many I am charged withal: Yet such extenuation let me beg, As, in reproof of many tales devised, which oft the ear of greatness needs must hear, By smiling pick-thanks and base news-mongers, I may, for some things true, wherein my youth Hath faulty wander'd and irregular, Find pardon on my true submission. KING HENRY IV God pardon thee! yet let me wonder, Harry, At thy affections, which do hold a wing Quite from the flight of all thy ancestors. Thy place in council thou hast rudely lost. Which by thy younger brother is supplied, And art almost an alien to the hearts Of all the court and princes of my blood: The hope and expectation of thy time Is ruin'd, and the soul of every man Prophetically doth forethink thy fall. Had I so lavish of my presence been, So common-hackney'd 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 stir But like a comet I was wonder'd at; That men would tell their children 'This is he;' Others would say 'Where, which is Bolingbroke?' And then I stole all courtesy from heaven, And dress'd myself in such humility That I did pluck allegiance from men's hearts, Loud shouts and salutations from their mouths, Even in the presence of the crowned king. Thus did I keep my person fresh and new; My presence, like a robe pontifical, Ne'er seen but wonder'd 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 capering fools, Had his great name profaned with their scorns And gave his countenance, against his name, To laugh at gibing boys and stand the push Of every beardless vain comparative, Grew a companion to the common streets, Enfeoff'd himself to popularity; That, being daily swallow'd 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, Heard, not regarded; seen, but with such eyes As, sick and blunted with community, Afford no extraordinary gaze, Such as is bent on sun-like majesty When it shines seldom in admiring eyes; But rather drowzed and hung their eyelids down, Slept in his face and render'd such aspect As cloudy men use to their adversaries, Being with his presence glutted, gorged and full. And in that very line, Harry, standest thou; For thou has lost thy princely privilege With vile participation: not an eye But is a-weary of thy common sight, Save mine, which hath desired to see thee more; Which now doth that I would not have it do, Make blind itself with foolish tenderness. PRINCE HENRY I shall hereafter, my thrice gracious lord, Be more myself. KING HENRY IV For all the world As thou art to this hour was Richard then When I from France set foot at Ravenspurgh, And even as I was then is Percy now. Now, by my sceptre and my soul to boot, He hath more worthy interest to the state Than thou the shadow of succession; For of no right, nor colour like to right, He doth fill fields with harness in the realm, Turns head against the lion's armed jaws, And, being no more in debt to years than thou, Leads ancient lords and reverend bishops on To bloody battles and to bruising arms. What never-dying honour hath he got Against renowned Douglas! whose high deeds, Whose hot incursions and great name in arms Holds from all soldiers chief majority And military title capital Through all the kingdoms that acknowledge Christ: Thrice hath this Hotspur, Mars in swathling clothes, This infant warrior, in his enterprises Discomfited great Douglas, ta'en him once, Enlarged him and made a friend of him, To fill the mouth of deep defiance up And shake the peace and safety of our throne. And what say you to this? Percy, Northumberland, The Archbishop's grace of York, Douglas, Mortimer, Capitulate against us and are up. But wherefore do I tell these news to thee? Why, Harry, do I tell thee of my foes, Which art my near'st 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. PRINCE HENRY Do not think so; you shall not find it so: And God forgive them that so much have sway'd 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 favours in a bloody mask, Which, wash'd away, shall scour my shame with it: And that shall be the day, whene'er it lights, That this same child of honour and renown, This gallant Hotspur, this all-praised knight, And your unthought-of Harry chance to meet. For every honour sitting on his helm, Would they were multitudes, and on my head My shames redoubled! for the time will come, That I shall make this northern youth exchange His glorious deeds for my indignities. Percy is but my factor, good my lord, To engross up glorious deeds on my behalf; And I will call him to so strict account, That he shall render every glory up, Yea, even the slightest worship of his time, Or I will tear the reckoning from his heart. This, in the name of God, I promise here: The which if He be pleased I shall perform, I do beseech your majesty may salve The long-grown wounds of my intemperance: If not, the end of life cancels all bands; And I will die a hundred thousand deaths Ere break the smallest parcel of this vow. -Back in london: Prince of Wales is Hal, Henry IV, and others -Father son conversation -Has to do with reputation: examples: how he rely on son line 123: " Which art my near'st and dearest enemy?" -Theory of scarcity: i didn't seek companionship: create wonder in different ways -How Henry thinks: thinks of retribution (punishment inflicted on someone as vengeance for a wrong or criminal act): thinks son as retribution: gods taking his revenge through you. -King gives list of successful king figures -Theory of scarcity -Addresses the issues people had with him -Battle will wash away shame: when chance brings us together: recognizes Hotspurs ability: what drives Hotspur is honor: the play is set up on

Hamlet

King Claudius O, my offence is rank it smells to heaven: It hath the primal eldest curse upon't, A brother's murder. Pray can I not, Though inclination be as sharp as will: My stronger guilt defeats my strong intent; And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence? And what's in prayer but this two-fold force, To be forestalled ere we come to fall, Or pardon'd being down? Then I'll look up; My fault is past. But, O, what form of prayer Can serve my turn? 'Forgive me my foul murder'? That cannot be; since I am still possess'd Of those effects for which I did the murder, My crown, mine own ambition and my queen. May one be pardon'd and retain the offence? In the corrupted currents of this world Offence's gilded hand may shove by justice, And oft 'tis seen the wicked prize itself Buys out the law: but 'tis not so above; There is no shuffling, there the action lies In his true nature; and we ourselves compell'd, Even to the teeth and forehead of our faults, To give in evidence. What then? what rests? Try what repentance can: what can it not? Yet what can it when one can not repent? O wretched state! O bosom black as death! O limed soul, that, struggling to be free, Art more engaged! Help, angels! Make assay! Bow, stubborn knees; and, heart with strings of steel, Be soft as sinews of the newborn babe! All may be well. -Confesses crime; Penitent figure: tries to kneel and praying -Claudius is praying but he is talking about repentance and forgiveness and even confesses to killing brother -Mostly soliloquy -Alludes to Cain and Abel in order to illustrate the primal oldest curse -He kneels at the end

Romeo and Juliet

LADY MONTAGUE O, where is Romeo? saw you him to-day? Right glad I am he was not at this fray. BENVOLIO Madam, an hour before the worshipp'd sun Peer'd forth the golden window of the east, A troubled mind drave me to walk abroad; Where, underneath the grove of sycamore That westward rooteth from the city's side, So early walking did I see your son: Towards him I made, but he was ware of me And stole into the covert of the wood: I, measuring his affections by my own, That most are busied when they're most alone, Pursued my humour not pursuing his, And gladly shunn'd who gladly fled from me. -Our first introduction of Romeo is that he is not in the first scene -Is part of the group at start of the scene but also is apart -Sycamore= sick amor, lovesick

Hamlet

LORD POLONIUS The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragicalcomical-historical-pastoral, scene individable, or poem unlimited: Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men. HAMLET Why, 'As by lot, God wot,' and then, you know, 'It came to pass, as most like it was,'-- the first row of the pious chanson will show you more; for look, where my abridgement comes. Enter four or five Players You are welcome, masters; welcome, all. I am glad to see thee well. Welcome, good friends. O, my old friend! thy face is valenced since I saw thee last: comest thou to beard me in Denmark? What, my young lady and mistress! By'r lady, your ladyship is nearer to heaven than when I saw you last, by the altitude of a chopine. Pray God, your voice, like apiece of uncurrent gold, be not cracked within the ring. Masters, you are all welcome. We'll e'en to't like French falconers, fly at any thing we see: we'll have a speech straight: come, give us a taste of your quality; come, a passionate speech. First Playe HAMLET I heard thee speak me a speech once, but it was never acted; or, if it was, not above once; for the play, I remember, pleased not the million; 'twas caviare to the general: but it was--as I received it, and others, whose judgments in such matters cried in the top of mine--an excellent play, well digested in the scenes, set down with as much modesty as cunning. I remember, one said there were no sallets in the lines to make the matter savoury, nor no matter in the phrase that might indict the author of affectation; but called it an honest method, as wholesome as sweet, and by very much more handsome than fine. One speech in it I chiefly loved: 'twas Aeneas' tale to Dido; and HAMLET - Act II 55 thereabout of it especially, where he speaks of Priam's slaughter: if it live in your memory, begin at this line: let me see, let me see-- 'The rugged Pyrrhus, like the Hyrcanian beast,'-- it is not so:--it begins with Pyrrhus:-- 'The rugged Pyrrhus, he whose sable arms, Black as his purpose, did the night resemble When he lay couched in the ominous horse, Hath now this dread and black complexion smear'd With heraldry more dismal; head to foot Now is he total gules; horridly trick'd With blood of fathers, mothers, daughters, sons, Baked and impasted with the parching streets, That lend a tyrannous and damned light To their lord's murder: roasted in wrath and fire, And thus o'er-sized with coagulate gore, With eyes like carbuncles, the hellish Pyrrhus Old grandsire Priam seeks.' So, proceed you. -All allusions to Trojan war: his covered with blood -Aligning Hamlet as a role player. His very much in the scene, embedded in the actors. -Point is between relationship and the real -The play is used to test the ghost's authenticity -Polonius talking about the acting troupe -Plays with notion of genre, writers write what they mean to write then are attached genres, genres that are not very meaningful or tidy -Hamlet setting up the mousetrap to the players, recognizes these people and jokes with them -Hamlet wants a passionate speech -Mentions Dido and Priam And Trojan War -Epic thinking, similar to the mythological action and chivalric theme Hamlet knows this whole speech, allows him to be a role player, similar to an actor

Merchant of Venice

MOROCCO 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. 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. -We meet Morocco -Morocco tries to woo Portia: -Scene of risk and chance -Morocco warns Portia to not dislike him because he is dark -Says he is willing to bleed for her -This occurs in Portia's house -Speaking to Portia

Merchant of Venice

Let's see once more this saying graved in gold 'Who chooseth me shall gain what many men desire.' Why, that's the lady; all the world desires her; From the four corners of the earth they come, To kiss this shrine, this mortal-breathing saint: The Hyrcanian deserts and the vasty wilds Of wide Arabia are as thoroughfares now For princes to come view fair Portia: The watery kingdom, whose ambitious head Spits in the face of heaven, is no bar To stop the foreign spirits, but they come, As o'er a brook, to see fair Portia. One of these three contains her heavenly picture. Is't like that lead contains her? 'Twere damnation To think so base a thought: it were too gross To rib her cerecloth in the obscure grave. Or shall I think in silver she's immured, Being ten times undervalued to tried gold? O sinful thought! Never so rich a gem Was set in worse than gold. They have in England A coin that bears the figure of an angel Stamped in gold, but that's insculp'd upon; But here an angel in a golden bed Lies all within. Deliver me the key: Here do I choose, and thrive I as I may! -Morocco hyperbolizes Portia's beauty by talking of the water and boat/commerce imagery -Occurs in Portia's room

King Henry

Lines 13 Indeed, you come near me now, Hal; for we that take purses go by the moon and the seven stars, and not by Phoebus, he,'that wandering knight so fair.' And, I prithee, sweet wag, when thou art king, as, God save thy grace,--majesty I should say, for grace thou wilt have none,-- Act 1, scene 2 Flagstaff to Prince Henry (hal ), London a Lodging-Falstaff speaking to the Prince of Wales(Prince Henry) at an apartment of the Prince's -Falstaff imagines as Hal(Prince Henry) as king, which means he can bypass the law -Falstaff longs deeply for Hal (Prince Henry) to be king

King Henry

Lines 23: Marry, then, sweet wag, when thou art king, let not us that are squires of the night's body be called thieves of the day's beauty: let us be Diana's foresters, gentlemen of the shade, minions of the moon; and let men say we be men of good government, being governed, as the sea is, by our noble and chaste mistress the moon, under whose countenance we steal. -Falstaff imagines as Hal(Prince Henry) as king, which means he can bypass the law -Falstaff longs deeply for Hal (Prince Henry) to be king

Hamlet

MARCELLUS Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land, And why such daily cast of brazen cannon, And foreign mart for implements of war; Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week; What might be toward, that this sweaty haste Doth make the night joint-labourer with the day: Who is't that can inform me? HORATIO That can I; At least, the whisper goes so. Our last king, Whose image even but now appear'd to us, Was, as you know, by Fortinbras of Norway, Thereto prick'd on by a most emulate pride, Dared to the combat; in which our valiant Hamlet-- For so this side of our known world esteem'd him-- Did slay this Fortinbras; who by a seal'd compact, Well ratified by law and heraldry, Did forfeit, with his life, all those his lands Which he stood seized of, to the conqueror: Against the which, a moiety competent Was gaged by our king; which had return'd To the inheritance of Fortinbras, Had he been vanquisher; as, by the same covenant, And carriage of the article design'd, His fell to Hamlet. Now, sir, young Fortinbras, Of unimproved mettle hot and full, Hath in the skirts of Norway here and there Shark'd up a list of lawless resolutes, For food and diet, to some enterprise That hath a stomach in't; which is no other-- As it doth well appear unto our state-- But to recover of us, by strong hand And terms compulsatory, those foresaid lands So by his father lost: and this, I take it, Is the main motive of our preparations, The source of this our watch and the chief head Of this post-haste and romage in the land. -The past: the last king, -Juxtaposition: Contrast in characteristics: -Go in battle man to man: old Hamlet is known as valiant, a battle against nobles, heroic, both sign contract, valiant-honourable behaviour; -Now king feeds them. No commitment to heroic battle -Young Hamlet vs. Young Fortinbras -Old Hamlet vs Old Fortinbras -What's the world, -Heroic one that honor is valued -The other a world of politics -Horatio explaining the past to Marcellus and Barnardo

Romeo and Juliet

MERCUTIO Where the devil should this Romeo be? Came he not home to-night? BENVOLIO Not to his father's; I spoke with his man. MERCUTIO Ah, that same pale hard-hearted wench, that Rosaline. Torments him so, that he will sure run mad. BENVOLIO Tybalt, the kinsman of old Capulet, Hath sent a letter to his father's house. MERCUTIO A challenge, on my life. BENVOLIO Romeo will answer it. MERCUTIO Any man that can write may answer a letter. BENVOLIO Nay, he will answer the letter's master, how he dares, being dared. MERCUTIO Alas poor Romeo! he is already dead; stabbed with a white wench's black eye; shot through the ear with a love-song; the very pin of his heart cleft with the blind bow-boy's butt-shaft: and is he a man to encounter Tybalt? -After Romeo and Juliet's balcony scene -Perpetuates women as corruptive -Mercutio is a misogynist -Says Romeo is dead

Romeo and Juliet

MERCUTIO Why, is not this better now than groaning for love? now art thou sociable, now art thou Romeo; now art thou what thou art, by art as well as by nature: for this drivelling love is like a great natural, that runs lolling up and down to hide his bauble in a hole. BENVOLIO Stop there, stop there. -Mercutio does this pun match to cheer Romeo up -They do not know that Romeo was with Juliet -Signals a return to kinship -Romeo goes back to the role of being Mercutio's friend

Romeo and Juliet

MERCUTIO Where the devil should this Romeo be? Came he not home tonight? BENVOLIO Not to his father's. I spoke with his man. MERCUTIO Why, that same pale hard -hearted wench, that Rosaline, Torments him so, that he will sure run mad . BENVOLIO Tybalt, the kinsman to old Capulet, Hath sent a letter to his father's house. MERCUTIO A challenge, on my life. BENVOLIO Romeo will answer it. MERCUTIO Any man that can write may answer a letter. BENVOLIO Nay, he will answer the letter's master, how he dares, being dared. MERCUTIO Alas, poor Romeo! He is already dead, stabbed with a white wench's black eye, shot through the ear with a love song, the very pin of his heart cleft with the blind bow-boy's butt shaft. And is he a man to encounter Tybalt? BENVOLIO Why, what is Tybalt? MERCUTIO 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 rest 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 passado, the punto reverso, the hail Enter ROMEO BENVOLIO Here comes Romeo, here comes Romeo. MERCUTIO Without his roe, like a dried herring. 0 flesh, flesh, how art thou fishified! Now is he for the numbers that Petrarch flowed in. Laura to his lady was but a kitchen-wenchmarry, she had a better love to berhyme her-Dido a dowdy, Cleopatra a gypsy, Helen and Hero hildings and harlots, Thisbe a grey eye or so, but not to the purpose.- Signior Romeo, bon jour! There's a French salutation to your French slop. You gave us the counterfeit fairly last night. -Mercutio responds that Romeo is already dead, struck by Cupid's arrow; he wonders aloud whether Romeo is man enough to defeat Tybalt. When Benvolio comes to Romeo's defense, Mercutio launches into an extended description of Tybalt. He describes Tybalt as a master swordsman, perfectly proper and composed in style. According to Mercutio, however, Tybalt is also a vain, affected "fashionmonger" (2.3.29). -Mercutio says that women torture men, until their insane "mad" -Men become weak and fall into despair, just like Romeo -"bow -boy's butt shaft" -allusion to Cupid: and Cupid's blunt arrow -Mercutio Ironist

Hamlet

Marcellus. Holla, Bernardo. Say- What, is Horatio there ? Horatio. A piece of him. Bernardo. Welcome, Horatio. Welcome, good Marcellus. Marcellus. What, has this thing appear'd again to-night?30 Bernardo. I have seen nothing. Marcellus. Horatio says 'tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight, twice seen of us. Therefore I have entreated him along, 35 With us to watch the minutes of this night, That, if again this apparition come, He may approve our eyes and speak to it. Horatio. Tush, tush, 'twill not appear. Bernardo. Sit down awhile, 40 And let us once again assail your ears, That are so fortified against our story, What we two nights have seen -Ghost as figure of imagination -Horatio is skeptical: more educated, if he sees it them it must be true. -11 sightings of ghost: shakespeare insists on the reality of this ghostly figure. -thoughts and mind are somewhere else -Barnardo doesn't see a thing Marcellus sees, Barnardo is skeptic and voice of reason

King Henry

My liege, I did deny no prisoners. But I remember, when the fight was done, When I was dry with rage and extreme toil, Breathless and faint, leaning upon my sword, Came there a certain lord, neat, and trimly dress'd, Fresh as a bridegroom; and his chin new reap'd Show'd like a stubble-land at harvest-home; He was perfumed like a milliner; And 'twixt his finger and his thumb he held A pouncet-box, which ever and anon He gave his nose and took't away again; Who therewith angry, when it next came there, Took it in snuff; and still he smiled and talk'd, And as the soldiers bore dead bodies by, He call'd them untaught knaves, unmannerly, To bring a slovenly unhandsome corse Betwixt the wind and his nobility. With many holiday and lady terms He question'd me; amongst the rest, demanded My prisoners in your majesty's behalf. I then, all smarting with my wounds being cold, To be so pester'd with a popinjay, Out of my grief and my impatience, Answer'd neglectingly I know not what, He should or he should not; for he made me mad To see him shine so brisk and smell so sweet And talk so like a waiting-gentlewoman Of guns and drums and wounds,--God save the mark!-- And telling me the sovereign'st thing on earth Was parmaceti for an inward bruise; And that it was great pity, so it was, This villanous salt-petre should be digg'd Out of the bowels of the harmless earth, Which many a good tall fellow had destroy'd So cowardly; and but for these vile guns, He would himself have been a soldier. This bald unjointed chat of his, my lord, I answer'd indirectly, as I said; And I beseech you, let not his report Come current for an accusation Betwixt my love and your high majesty. -I didn't withhold prisoners; exhaustion he shows. On behalf of England. In that situation he answered, i don't know what I said. -Gender related language: feminine man, he's a dandy. All wrongly dressed. Depiction of what is dishonorable; courtly figure that did not belong in battle field, which produces anger to resist king. -Setting: publically resisting King Henry: the monarch. Hotspur is undermining king -Hotspur talking to King Henry, Sir Walter Blunt,Earl of Worcester, Earl of Northumberland in the council chamber -Is on the battlefield and all of this happens according to Hotspur -Uses effeminate language to characterize him -Think of Hotspur: is a hot headed: like Tybalt: Let's draw swords person: -Hotspur on Why he hasn't turned in prisoners? Response

King Henry

My liege, this haste was hot in question, And many limits of the charge set down But yesternight: when all athwart there came A post from Wales loaden with heavy news; Whose worst was, that the noble Mortimer, Leading the men of Herefordshire to fight Against the irregular and wild Glendower, Was by the rude hands of that Welshman taken, A thousand of his people butchered; Upon whose dead corpse there was such misuse, Such beastly shameless transformation, By those Welshwomen done as may not be Without much shame retold or spoken of." -Exposition: people are butchered: some are castrated: Notion of what counts as honor? People of ransom: talks about son: -Westmoreland speaking to King Henry in Palace at beginning of play -Honorable behavior in war is described -New roles in regards to civil wars

Merchant of Venice

NERISSA Do you not remember, lady, in your father's time, a Venetian, a scholar and a soldier, that came hither in company of the Marquis of Montferrat? PORTIA Yes, yes, it was Bassanio; as I think, he was so called. NERISSA True, madam: he, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady. PORTIA I remember him well, and I remember him worthy of thy praise. -Conversation Nerissa + portia at beginning of play -Portia remembers Bassanio as a previous lover: she is excited. Bassanio +Portia are meant for each other- "Yes,yes!" -About merit to love

Merchant of Venice

NERISSA What say you, then, to Falconbridge, the young baron of England? PORTIA You know I say nothing to him, for he understands not me, nor I him: he hath neither Latin, French, nor Italian, and you will come into the court and swear that I have a poor pennyworth in the English. -Conversation Nerissa + portia Local pun in English. -Joking about suitors, names a few

King Henry

NORTHUMBERLAND Imagination of some great exploit Drives him beyond the bounds of patience. HOTSPUR By heaven, methinks it were an easy leap, To pluck bright honour from the pale-faced moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks; So he that doth redeem her thence might wear Without corrival, all her dignities: But out upon this half-faced fellowship! -Hotspur, Northumberland, Worcester are talking to each other -Hotspur reveals what he wants and what drives him

Merchant of Venice

Not in love neither? Then let us say you are sad, Because you are not merry: and 'twere as easy For you to laugh and leap and say you are merry, Because you are not sad. Now, by two-headed Janus, Nature hath framed strange fellows in her time: Some that will evermore peep through their eyes And laugh like parrots at a bag-piper, And other of such vinegar aspect That they'll not show their teeth in way of smile, Though Nestor swear the jest be laughable. -Solanio speaking to Antonio, Salerio present at beginning of play trying to figure out why Antonio is sad -Antonio Sad for love common trope for renaissance, -Solanio discovers that if it is not because he's worried about his ships then it is because of love , " why then you are in love" (line 46 ) -2. allusion to Roman mythology, Janus (guardian of portals: god of beginning and ending. ) Roman god of entrances and hence of all the beginnings depicted with two faces one cheerful, one sad, symbolizing the uncertainty of the future (Solanio suggests that Antonio is as strange a figure of Janus ) -3. Nestor: the oldest and most venerable greek leader in the Trojan War

Hamlet

Now I am alone. O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting With forms to his conceit? and all for nothing! For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, Had he the motive and the cue for passion That I have? He would drown the stage with tears And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled rascal, peak, Like John-a-dreams, unpregnant of my cause, And can say nothing; no, not for a king, Upon whose property and most dear life A damn'd defeat was made. Am I a coward? Who calls me villain? breaks my pate across? Plucks off my beard, and blows it in my face? Tweaks me by the nose? gives me the lie i' the throat, As deep as to the lungs? who does me this? Ha! 'Swounds, I should take it: for it cannot be But I am pigeon-liver'd and lack gall To make oppression bitter, or ere this I should have fatted all the region kites With this slave's offal: bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O, vengeance! Why, what an ass am I! This is most brave, That I, the son of a dear father murder'd, Prompted to my revenge by heaven and hell, Must, like a *****, unpack my heart with words, And fall a-cursing, like a very drab, A scullion! Fie upon't! foh! About, my brain! I have heard That guilty creatures sitting at a play Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ. I'll have these players Play something like the murder of my father Before mine uncle: I'll observe his looks; I'll tent him to the quick: if he but blench, I know my course. The spirit that I have seen May be the devil: and the devil hath power To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me: I'll have grounds More relative than this: the play 's the thing Wherein I'll catch the conscience of the king. -What Hecuba is feeling is exactly what the performer is feeling. -Lots of role playing. How does someone read the truth from the fictionality. -Hamlet sends them of. Can u play the murder of Gonzaga. Can you add to the script. Hamlet wants to change script. Everyone leaves. This is his Soliloquy -Hamlet talking to Player and Polonius -A player gives a description of Hecuba -Coming back to these heroic figures -Useful allusion -Hecuba is just a story, why is he weeping for her, -What would that actor do? -Mentioning himself of what an actor can do. -Asks what he would do to Claudius -Malefactors: guilt creatures: play written for a live audience: they because they are so into fiction, will react with a real emotion-conscious -The notion of thinking of the relationship and having a clear moment: until that test. Trap Hamlet remains melancholic and despises himself -Polonius notices the actor is tearing up while acting -If you give good speech it can come off as true and honest -Hamlet then talks about what actors are -Player is asked to play the murder of Gonzago -Hamlet is alone and gives a soliloquy -Acting helps to become what you are becoming -Hecuba has no personal relationship to this actor so why should the actor be able to summon her essence -Moment hard to call this Hamlet and can feel more like the actor speaking and the effect of acting -Hamlet looks at the audience and confronts them -Calls people guilty in the audience because they are so moved by the fiction that they speak the truth -Hamlet remains melancholic until the play ends

Merchant of Venice

O hell! what have we here? A carrion Death, within whose empty eye There is a written scroll! I'll read the writing. Reads All that glisters is not gold; Often have you heard that told: Many a man his life hath sold But my outside to behold: Gilded tombs do worms enfold. Had you been as wise as bold, Young in limbs, in judgment old, Your answer had not been inscroll'd: Fare you well; your suit is cold. Cold, indeed; and labour lost: Then, farewell, heat, and welcome, frost! Portia, adieu. I have too grieved a heart To take a tedious leave: thus losers part. -Morocco talking to Portia -At Portia's house, opening the golden chest -All that glisters is not gold -Reading the note inside

Merchant of Venice

O sweet Portia, Here are a few of the unpleasant'st words That ever blotted paper! Gentle lady, When I did first impart my love to you, I freely told you, all the wealth I had Ran in my veins, I was a gentleman; And then I told you true: and yet, dear lady, Rating myself at nothing, you shall see How much I was a braggart. When I told you My state was nothing, I should then have told you That I was worse than nothing; for, indeed, I have engaged myself to a dear friend, Engaged my friend to his mere enemy, To feed my means. Here is a letter, lady; The paper as the body of my friend, And every word in it a gaping wound, Issuing life-blood. But is it true, Salerio? Have all his ventures fail'd? What, not one hit? From Tripolis, from Mexico and England, From Lisbon, Barbary and India? And not one vessel 'scape the dreadful touch Of merchant-marring rocks? -Bassanio speaking to Portia, Salerio in her house -Bad news from friend Antonio -All the vessels of Antonio are used up

Hamlet

O, that this too too solid flesh would melt Thaw and resolve itself into a dew! Or that the Everlasting had not fix'd His canon 'gainst self-slaughter! O God! God! How weary, stale, flat and unprofitable, Seem to me all the uses of this world! Fie on't! ah fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely. That it should come to this! But two months dead: nay, not so much, not two: So excellent a king; that was, to this, Hyperion to a satyr; so loving to my mother That he might not beteem the winds of heaven Visit her face too roughly. Heaven and earth! Must I remember? why, she would hang on him, As if increase of appetite had grown By what it fed on: and yet, within a month-- Let me not think on't--Frailty, thy name is woman!-- A little month, or ere those shoes were old With which she follow'd my poor father's body, Like Niobe, all tears:--why she, even she-- O, God! a beast, that wants discourse of reason, Would have mourn'd longer--married with my uncle, My father's brother, but no more like my father Than I to Hercules: within a month: Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married. O, most wicked speed, to post With such dexterity to incestuous sheets! It is not nor it cannot come to good: But break, my heart; for I must hold my tongue -Solid flesh: Slightly dirty impure; one is not pure -Hamlet feels isolation: probably; profoundly sad; moment where things in nature are gross. Only two months dead. -Allusions: association of him as son god: -Hyperion:one of the 12 hype up gods: his father was hyperion: the play full of mythological allusions: yes mournful passage, but also to glorify and mythologies passage. Old Hamlet is compared to him -Claudius is like a Satyr, mythologizing language, male companions to Pan, associated with sexual promiscuity,thought to be roguish -One of Hamlet's first soliloquy -Wishes for death

Merchant of Venice

PORTIA By my troth, Nerissa, my little body is aweary of this great world. NERISSA You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are: and yet, for aught I see, they are as sick that surfeit with too much as they that starve with nothing. It is no mean happiness therefore, to be seated in the mean: superfluity comes sooner by white hairs, but competency lives longer. -Portia and Nerissa chatting about men in Portia's house -Portia is weary and tired of the world -Nerissa tries to make Portia see how happy she should be -Portia knows what to do but says it is not that easy

Merchant of Venice

PORTIA I am informed thoroughly of the cause. Which is the merchant here, and which the Jew? DUKE Antonio and old Shylock, both stand forth. PORTIA Is your name Shylock? SHYLOCK Shylock is my name. PORTIA Of a strange nature is the suit you follow; Yet in such rule that the Venetian law Cannot impugn you as you do proceed. You stand within his danger, do you not? ANTONIO Ay, so he says. PORTIA Do you confess the bond? -Portia in the courtroom, disguised dressed like doctor of law -Court of justice scene -Portia talking and Duke and Shylock -Portia enters dressed as Balthasar -Portia asks who is the merchant and who is the Jew? (not obvious just by looking at someone) -both are humans, law as objective and rational -by Portia not knowing either of them, she is showing impartiality -Antonio doesn't want to back off his bond

Merchant of Venice

PORTIA They shall, Nerissa; but in such a habit, That they shall think we are accomplished With that we lack. I'll hold thee any wager, When we are both accoutred like young men, I'll prove the prettier fellow of the two, And wear my dagger with the braver grace, And speak between the change of man and boy With a reed voice, and turn two mincing steps Into a manly stride, and speak of frays Like a fine bragging youth, and tell quaint lies, How honourable ladies sought my love, Which I denying, they fell sick and died; I could not do withal; then I'll repent, And wish for all that, that I had not killed them; And twenty of these puny lies I'll tell, That men shall swear I have discontinued school Above a twelvemonth. I have within my mind A thousand raw tricks of these bragging Jacks, Which I will practise. -After Bassanio is leaving with Gratiano to pay the ducats to Shylock, -Portia wants to follow the men in disguised with Nerissa -Occurs in Portia's house -Portia talking to Nerissa -Portia says that they will see their husbands before they see them (suggests that masculinity is a performance)

King Henry

PRINCE HENRY Farewell, thou latter spring! farewell, All-hallown summer! Exit Falstaff -Prince Henry talking to Falstaff and Poins in an apartment of his -Mentions pickpocketing some pilgrims

Hamlet

QUEEN GERTRUDE How cheerfully on the false trail they cry! O, this is counter, you false Danish dogs! KING CLAUDIUS The doors are broke. Noise within Enter LAERTES, armed; Danes following LAERTES Where is this king? Sirs, stand you all without. Danes No, let's come in. LAERTES I pray you, give me leave. Danes We will, we will. They retire without the door LAERTES I thank you: keep the door. O thou vile king, Give me my father! -Laertes is the conventional revenger, Hamlet is his foil, sneaks back in town and his angry and violent -Near the end of the play

Romeo and Juliet

ROMEO A right good mark-man! And she's fair I love. BENVOLIO A right fair mark, fair coz, is soonest hit. ROMEO Well, in that hit you miss: she'll not be hit With Cupid's arrow; she hath Dian's wit; And, in strong proof of chastity well arm'd, From love's weak childish bow she lives unharm'd. She will not stay the siege of loving terms, Nor bide the encounter of assailing eyes, Nor ope her lap to saint-seducing gold: O, she is rich in beauty, only poor, That when she dies with beauty dies her store. -Allusion to Cupid -Romeo says that he loves a woman (Rosaline)

Romeo and Juliet

ROMEO He jests at scars that never felt a wound. JULIET appears above at a window But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off. It is my lady, O, it is my love! O, that she knew she were! She speaks yet she says nothing: what of that? Her eye discourses; I will answer it. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek! JULIET Ay me! ROMEO She speaks: O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven Unto the white-upturned wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy-pacing clouds And sails upon the bosom of the air. JULIET O Romeo, Romeo! wherefore art thou Romeo? 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. ROMEO [Aside] Shall I hear more, or shall I speak at this? JULIET 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. ROMEO I take thee at thy word: Call me but love, and I'll be new baptized; Henceforth I never will be Romeo." -Balcony Scene -Lots of astronomical language -Elevates Juliet to a heavenly status -Sun is what Juliet is compared to (Essential to life, warmth): she is the giver of life, things can not survive without it: -Full of images: imagistic nature: Romeo and Juliet's innocent love is natural: it is compared to nature. (like the garden of Eve) -Characterizes Juliet: emphasizes how divine she is and how she illuminates his being. -Example of a Petrarchan -Juliet tells Romeo to abandon his family and name -Passage is about the importance of identity

Romeo and Juliet

ROMEO Tut, I have lost myself; I am not here; This is not Romeo, he's some other where. -Romeo feels lost -Talking to Benvolio in his first scene -About emotional misery -Distances himself by saying Romeo instead of "me"

Romeo and Juliet

ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET 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. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers' sake. ROMEO Then move not, while my prayer's effect I take. Thus from my lips, by yours, my sin is purged. JULIET Then have my lips the sin that they have took. ROMEO Sin from thy lips? O trespass sweetly urged! Give me my sin again. JULIET You kiss by the book. -Romeo and Juliet meet in a sonnet form -Very romantic -Speak the same love language and are a perfect match for eachother -Juliet is met as an object of the sonnet -Romeo approaches her at first and talks about his pilgrimage to her -Romeo's lips are on a journey -Juliet responds with pilgrim imagery and gives permission to touch -They flirt -Saintly language to elevate Juliet

Romeo and Juliet

ROMEO [To a Servingman] What lady is that, which doth enrich the hand Of yonder knight? Servant I know not, sir. -Love at first sight -Romeo speaking to a servingman at the Capulet party

Merchant of Venice

SALANIO Here comes Bassanio, your most noble kinsman, Gratiano and Lorenzo. Fare ye well: We leave you now with better company. Salerio I would have stayed till I had made you merry, If worthier friends had not prevented me. -Occurs at start of the play when the guys are trying to see why Antonio is sad -The friends get together and says things are gonna be happier now: - Happy world, Very courtly, well mannered group of people have arrived -When Lorenzo, Bassanio, and Gratiano enter, Salanio and Salerio exit

Merchant of Venice

SHYLOCK I say, my daughter is my flesh and blood. Salerio There is more difference between thy flesh and hers than between jet and ivory; more between your bloods than there is between red wine and rhenish. But tell us, do you hear whether Antonio have had any loss at sea or no? -Salerio talking to Solanio and Shylock in a public place -Connection of blood and flesh to Shylock and Jessica

Merchant of Venice

SHYLOCK Jailer, look to him: tell not me of mercy; This is the fool that lent out money gratis: Jailer, look to him. ANTONIO Hear me yet, good Shylock. SHYLOCK I'll have my bond; speak not against my bond: I have sworn an oath that I will have my bond. Thou call'dst me dog before thou hadst a cause; But, since I am a dog, beware my fangs: The duke shall grant me justice. I do wonder, Thou naughty gaoler, that thou art so fond To come abroad with him at his request. ANTONIO I pray thee, hear me speak. SHYLOCK I'll have my bond; I will not hear thee speak: I'll have my bond; and therefore speak no more. I'll not be made a soft and dull-eyed fool, To shake the head, relent, and sigh, and yield To Christian intercessors. Follow not; I'll have no speaking: I will have my bond. Exit -After Bassanio and Portia marry clandestine. -Shylock, Antonio, jailer, Solanio : Where Antonio is detained -Shylock talking to Solanio and Antonio and Jailer in a public place -Shylock urges Jailer to keep an eye out for Antonio -Shylock urges Antonio to pay up his debt -alliteration: "i'll" Repetition= bond -Laws help to create bonds between nations -shylock closes ears/ doesn't want to be soft, doesn't want to hear, can not entertain a thought . -goes strictly by contract

Merchant of Venice

SHYLOCK This kindness will I show. Go with me to a notary, seal me there Your single bond; and, in a merry sport, If you repay me not on such a day, In such a place, such sum or sums as are Express'd in the condition, let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me. -The start of the play: Shylock, Antonio, Bassiano trying to get loan. -Shylock and Antonio and Bassanio talking in a public place -Contract between Antonio and Shylock - Shylock asks for a pound of flesh in return -Shylock reacts based on an ancient grudge (Jew vs. Christian) -Shylock identifies with with Jewish hate against Christianity -Notice what happens with kind, kindness, kind= similar, kindness= courteous; respect, natural friendliness

Merchant of Venice

SHYLOCK Three thousand ducats; well. BASSANIO Ay, sir, for three months. SHYLOCK For three months; well. BASSANIO For the which, as I told you, Antonio shall be bound. SHYLOCK Antonio shall become bound; well. BASSANIO May you stead me? will you pleasure me? shall I know your answer? SHYLOCK Three thousand ducats for three months and Antonio bound. BASSANIO Your answer to that. SHYLOCK Antonio is a good man. BASSANIO Have you heard any imputation to the contrary? SHYLOCK 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. BASSANIO Be assured you may. SHYLOCK I will be assured I may; and, that I may be assured, I will bethink me. May I speak with Antonio? BASSANIO If it please you to dine with us. SHYLOCK Yes, to smell pork; to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following, but I will not eat with you, drink with you, nor pray with you. What news on the Rialto? Who is he comes here? Enter ANTONIO BASSANIO This is Signior Antonio. SHYLOCK [Aside] How like a fawning publican he looks! I hate him for he is a Christian, But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there where merchants most do congregate, On me, my bargains and my well-won thrift, Which he calls interest. Cursed be my tribe, If I forgive him! -This scene take place after we meet Nerissa + Portia: -Bassanio tries to get a loan from Shylock --Bassanio and Shylock talk about Antonio -Public exchanges that happen in public -Sets up a business transaction between Bassanio and Antonio -Bassanio has to court Shylock in order to get what he wants financially: he woes him: object of desire is Shylocks money -Shylock is depicted as thoughtful,rational precise, and intelligent: takes time to think and consider deal, shylock has power. -Shylock enjoys having power over Antonio + Bassanio. Why? Because Antonio has treated Shylock with content . Because of their differences (religious, the way they do business) -Jew vs. Christianity -Shylock does not want to be open or listen -Because Antonio lends money freely and without interest - risk and chance: business deals in the real world -Antonio takes a chance with Bassanio: in contract win or lose. -Important to remember christians do not appear as angels, they have slaves and are not that great a**holes.

Merchant of Venice

So may the outward shows be least themselves: The world is still deceived with ornament. In law, what plea so tainted and corrupt, But, being seasoned with a gracious voice, Obscures the show of evil? In religion, What damned error, but some sober brow Will bless it and approve it with a text, Hiding the grossness with fair ornament? There is no vice so simple but assumes Some mark of virtue on his outward parts: How many cowards, whose hearts are all as false As stairs of sand, wear yet upon their chins The beards of Hercules and frowning Mars; Who, inward search'd, have livers white as milk; And these assume but valour's excrement To render them redoubted! Look on beauty, And you shall see 'tis purchased by the weight; Which therein works a miracle in nature, Making them lightest that wear most of it: So are those crisped snaky golden locks Which make such wanton gambols with the wind, Upon supposed fairness, often known To be the dowry of a second head, The skull that bred them in the sepulchre. Thus ornament is but the guiled shore To a most dangerous sea; the beauteous scarf Veiling an Indian beauty; in a word, The seeming truth which cunning times put on To entrap the wisest. Therefore, thou gaudy gold, Hard food for Midas, I will none of thee; Nor none of thee, thou pale and common drudge 'Tween man and man: but thou, thou meagre lead, Which rather threatenest than dost promise aught, Thy paleness moves me more than eloquence; And here choose I; joy be the consequence! -Bassanio speaking to Portia in her house -Beauty falsified by persons: reality vs appearance -Society takes surface of what looks good -Wants to talk about something deeper so he does -Talks about currency -Fair unchaste

Merchant of Venice

So, thrice fair lady, stand I, even so; As doubtful whether what I see be true, Until confirm'd, sign'd, ratified by you. -Bassanio talking to Portia in her house -The bond that is made between Bassanio and Portia -Asks Portia to ratify contract

Merchant of Venice

Tarry a little; there is something else. This bond doth give thee here no jot of blood; The words expressly are 'a pound of flesh:' Take then thy bond, take thou thy pound of flesh; But, in the cutting it, if thou dost shed One drop of Christian blood, thy lands and goods Are, by the laws of Venice, confiscate Unto the state of Venice. -Portia as Balthasar to court of justice of scene -Portia realizes that Shylock cannot cut Antonio's heart (without killing him)

Merchant of Venice

The first, of gold, who this inscription bears, 'Who chooseth me shall gain what many men desire;' The second, silver, which this promise carries, 'Who chooseth me shall get as much as he deserves;' This third, dull lead, with warning all as blunt, 'Who chooseth me must give and hazard all he hath.' How shall I know if I do choose the right? - Morocco thinks aloud -Involves morocco , Portia, and both their trains -Riddles and interpretation -3 different chests to choose from

Hamlet

The mousetrap succeeds: HORATIO You might have rhymed. HAMLET O good Horatio, I'll take the ghost's word for a thousand pound. Didst perceive? HORATIO Very well, my lord. HAMLET Upon the talk of the poisoning? HORATIO I did very well note him. HAMLET Ah, ha! Come, some music! come, the recorders! For if the king like not the comedy, Why then, belike, he likes it not, perdy. Come, some music! Ghost becomes trustworthy , becomes revengeful -Hamlet knows that the ghost is right -Speaks to Horatio about what Claudius did during the fake play -Hamlet becomes a revenger at this point

Merchant of Venice

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. -Portia's speech in courtroom, talking to Shylock. -Portia speaking here as Balthasar -Speech about mercy -To be human is to be flawed, to be merciful -Caricature of Shylock as heartless, evil, merciless. - No human is saved we all have original sin.

Antipholus of Syracuse (Comedy of Errors)

The son that travels

Merchant of Venice

There are some shrewd contents in yon same paper, That steals the colour from Bassanio's cheek: Some dear friend dead; else nothing in the world Could turn so much the constitution Of any constant man. What, worse and worse! With leave, Bassanio: I am half yourself, And I must freely have the half of anything That this same paper brings you. -Sees the reading of the letter and Bassanio turns pale -"Shrewd" : evil, grievous, literally cursed -Portia speaking to Bassanio, Salerio, Gratiano

Merchant of Venice

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 rack'd, 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. -Conversation between Bassanio and Antonio -Antonio states get the loan by using my name- credit -Antonio funds trip and supports Bassanio. Actions of a true worthy friend.

Hamlet

Though yet of Hamlet our dear brother's death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe, Yet so far hath discretion fought with nature That we with wisest sorrow think on him, Together with remembrance of ourselves. Therefore our sometime sister, now our queen, The imperial jointress to this warlike state, Have we, as 'twere with a defeated joy,-- With an auspicious and a dropping eye, With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole,-- Taken to wife: nor have we herein barr'd Your better wisdoms, which have freely gone With this affair along. For all, our thanks. Now follows, that you know, young Fortinbras, Holding a weak supposal of our worth, Or thinking by our late dear brother's death Our state to be disjoint and out of frame, Colleagued with the dream of his advantage, He hath not fail'd to pester us with message, Importing the surrender of those lands Lost by his father, with all bonds of law, To our most valiant brother. So much for him. Now for ourself and for this time of meeting: Thus much the business is: we have here writ To Norway, uncle of young Fortinbras,-- Who, impotent and bed-rid, scarcely hears Of this his nephew's purpose,--to suppress His further gait herein; in that the levies, The lists and full proportions, are all made Out of his subject: and we here dispatch You, good Cornelius, and you, Voltimand, For bearers of this greeting to old Norway; Giving to you no further personal power To business with the king, more than the scope Of these delated articles allow. Farewell, and let your haste commend your duty. -First scene with Claudius -Public scene: where we meet and see him. Visual charisma -Nature analogy : green : death is fresh: things that are being born, but thats an image of death, nature analogy -Claudius knows what is honorable. Discretion has fought with nature. Nature is i just want to be king. -Remembrance: speech should have been of old king, but speech of himself. -Oxymoron (a figure of speech in which apparently contradictory terms appear in conjunction (e.g., faith unfaithful kept him falsely true ) A. Mirth is joy:so funeral is good. Funeral song -Claudius enters with a strong visual presence

Hamlet

To a nunnery, go. Exit OPHELIA O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! And I, of ladies most deject and wretched, That suck'd the honey of his music vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh; That unmatch'd form and feature of blown youth Blasted with ecstasy: O, woe is me, To have seen what I have seen, see what I see! -To a nunnery- Hamlet to ophelia -She replies to this -Ophelia marks a change in Hamlet, thinks he has lost his reasoning but the play does not

Merchant of Venice

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, scorned 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, shall we not revenge? -Shylock talking to Salerio in public place. This is a rational moment for Shylock. -Not a good image Christians, they are not any better. -Shylock giving a speech about taking revenge on Christians, like Antonio -Creates a more emotional evoking of humanity. Are we not the same, we have feelings too.

Hamlet

To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.--Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember'd. -Not shakespeare relationship. -Does hamlet know they are there -Soliloquy gets turned into a performance> performance for polinus and king -This is about an abstract issue -Scene where king has recruited rosencrantz and guildenstern to spy on Hamlet Consummation is death; to sleep -When we die, what kind of tortures might their be conscious ; looking introspective -Retribution; will to take action -Hamlet has a plan. Is gonna try to intercept his conscience -This isn't a speech where he wants to kill himself.it's about feeling stuck -He is alone but that wasn't very clear -Does hamlet know that King and Polonius are there -Is it nobler to appear to be stoic in the mind or is it better to become more active figure -Talks about sleep is like death -Nobility in suicide -Speaks of introspection -Doesn't want to kill himself and it is more about philosophical feeling stuck by one's limitations

Romeo and Juliet

Welcome, gentlemen! ladies that have their toes Unplagued with corns will have a bout with you. Ah ha, my mistresses! which of you all Will now deny to dance? she that makes dainty, She, I'll swear, hath corns; am I come near ye now? Welcome, gentlemen! I have seen the day That I have worn a visor and could tell A whispering tale in a fair lady's ear, Such as would please: 'tis gone, 'tis gone, 'tis gone: You are welcome, gentlemen! come, musicians, play. A hall, a hall! give room! and foot it, girls. Music plays, and they dance More light, you knaves; and turn the tables up, And quench the fire, the room is grown too hot. Ah, sirrah, this unlook'd-for sport comes well. Nay, sit, nay, sit, good cousin Capulet; For you and I are past our dancing days: How long is't now since last yourself and I Were in a mask? -Capulet welcoming people to the party -Capulet remembers his younger times -Mirrors the Nurse and her memories

Merchant of Venice

What, are there masques? Hear you me, Jessica: Lock up my doors; and when you hear the drum And the vile squealing of the wry-neck'd fife, Clamber not you up to the casements then, Nor thrust your head into the public street To gaze on Christian fools with varnish'd faces, But stop my house's ears, I mean my casements: Let not the sound of shallow foppery enter My sober house. By Jacob's staff, I swear, I have no mind of feasting forth to-night: But I will go. Go you before me, sirrah; Say I will come. -Occurs in Venice before Shylock's house -Shylock talking to Jessica and the clown -Shylock wanting to close everything up -Shylock does not want to be open or listen:

Prince Henry

Who is Hal? Who is Prince of Wales?

King Henry

Yea, there thou makest me sad and makest me sin In envy that my Lord Northumberland Should be the father to so blest a son, A son who is the theme of honour's tongue; Amongst a grove, the very straightest plant; Who is sweet Fortune's minion and her pride: Whilst I, by looking on the praise of him, See riot and dishonour stain the brow Of my young Harry. O that it could be proved That some night-tripping fairy had exchanged In cradle-clothes our children where they lay, And call'd mine Percy, his Plantagenet! Then would I have his Harry, and he mine. But let him from my thoughts. What think you, coz, Of this young Percy's pride? the prisoners, Which he in this adventure hath surprised, To his own use he keeps; and sends me word, I shall have none but Mordake Earl of Fife. -Sins because he feels; Envy: one of the ten commandments to avoid -He wishes Hotspur was his son: Mentions Henry Percy's name several times: Percy is actually a warrior, and honorable -Plantagenet: family name of Henry Iv -Suggests that his son was switched by faires: -Burden of expectations. Burden Henry of what is gonna happen to the country. -Parental expectation; disappointments involved: -Riot and dishonour: son not doing what he is supposed to do: son is a disappointment; not practicing to be a king. -Speech about honor that transforms into talking about his son -Father's expectation of his so

Merchant of Venice

You see me, Lord Bassanio, where I stand, Such as I am: though for myself alone I would not be ambitious in my wish, To wish myself much better; yet, for you I would be trebled twenty times myself; A thousand times more fair, ten thousand times more rich; That only to stand high in your account, I might in virtue, beauties, livings, friends, Exceed account; but the full sum of me Is sum of something, which, to term in gross, Is an unlesson'd girl, unschool'd, unpractised; Happy in this, she is not yet so old But she may learn; happier than this, She is not bred so dull but she can learn; Happiest of all is that her gentle spirit Commits itself to yours to be directed, As from her lord, her governor, her king. Myself and what is mine to you and yours Is now converted: but now I was the lord Of this fair mansion, master of my servants, Queen o'er myself: and even now, but now, This house, these servants and this same myself Are yours, my lord: I give them with this ring; Which when you part from, lose, or give away, Let it presage the ruin of your love And be my vantage to exclaim on you. -Portia talking to Bassanio after the lead casket has been opened in her house -What is Portia doing? Two parties give mutual consent:Thematically, gets father's permission. -Start by basically marrying herself through vows: serious commitment: wishes she was more beautiful. Promises to learn, and gives everything. -Clandestine marriage -Makes the vows in the present tense -Doctrine of coverture theirs goods become part of husband.husband now owns everything. Means her personality and property are covered by husbands identity.

Merchant of Venice

You that choose not by the view, Chance as fair and choose as true! Since this fortune falls to you, Be content and seek no new, If you be well pleased with this And hold your fortune for your bliss, Turn you where your lady is And claim her with a loving kiss. A gentle scroll. Fair lady, by your leave; I come by note, to give and to receive. Like one of two contending in a prize, That thinks he hath done well in people's eyes, Hearing applause and universal shout, Giddy in spirit, still gazing in a doubt Whether these pearls of praise be his or no; So, thrice fair lady, stand I, even so; As doubtful whether what I see be true, Until confirm'd, sign'd, ratified by you. -Bassanio reading the note in the leaden casket -Bassanio talking to Portia in her house: romantic Shakepearean love -Portia and Bassanio find themselves in love early on rather than later in the play -She needs to ratify the contract :"As doubtful whether what I see be true, Until confirm'd, sign'd, ratified by you"

Merchant of Venice

Your father was ever virtuous; and holy men at their death have good inspirations: therefore the lottery, that he hath devised in these three chests of gold, silver and lead, whereof who chooses his meaning chooses you, will, no doubt, never be chosen by any rightly but one who shall rightly love. But what warmth is there in your affection towards any of these princely suitors that are already come? -Nerissa saying that Portia dad's chest test can work -It is a test of fate -Only one will pass, no realm of rationality its about faith: magical thinking -Girls are satirical and bonding. -Caricatural culture

Merchant of Venice

[Reads] Sweet Bassanio, my ships have all miscarried, my creditors grow cruel, my estate is very low, my bond to the Jew is forfeit; and since in paying it, it is impossible I should live, all debts are cleared between you and I, if I might but see you at my death. Notwithstanding, use your pleasure: if your love do not persuade you to come, let not my letter. -Melancholic Antonio -Bassanio reads letter -Affection between Bassanio and Antonio and Portia -Homosocial: men moving from homosocial world to marriage: problematic: letter of resignation + love, -Petrarchan: exaggerated love with love: need to express emotion, typically male + female, sonnet male- male -Platonic idea: long tradition focuses on relationship of man: idea that men have important intimacy both emotional + intellectual -Antonio + Bassanio's letter can be seen as platonic it's about love: