Shakespeare Exam 2

Do I entice you? do I speak you fair? Or, rather, do I not in plainest truth Tell you, I do not, nor I cannot love you?

Demetrius in A Midsummer Night's Dream. End of II.1.

Take time to pause, and by the next new moon - The sealing day betwixt my love and me For everlasting bond of fellowship - Upon that day either prepare to die For disobedience to your father's will, Or else to wed Demetrius, as he would, Or on Diana's altar to protest For aye austerity and single life.

Theseus in A Midsummer Night's Dream. Beginning of I.1.

What say you, Hermia? Be advised, fair maid. To you your father should be as a god, To whom you are but as form in wax, By him imprinted, and within his power To leave the figure or disfigure it. Demetrius is a worthy gentleman

Theseus in A Midsummer Night's Dream. Beginning of I.1. Patriarchal sway over marriage. He also upholds this patriarchal control

Either to die the death, or to abjure For ever the society of men. Therefore, fair Hermia, question your desires, Know of your youth, examine well your blood, Whether, if you yield not to your father's choice, You can endure the livery of a nun, For aye to be in shady cloister mewed, To live a barren sister all your life, Chanting faint hymns to the cold fruitless moon. Thrice blessed they that master so their blood To undergo such maiden pilgrimage; But eartlier happy is the rose distilled Than that which, withering on the virgin thron, Grows, lives, and dies in single blessedness.

Theseus in A Midsummer Night's Dream. Beginning of I.1. Revises patriarchal law. She is his property. He can deny her of her sexuality because he revises patriarchal law. He makes Athenian law exactly what the Puritans want in Shakespearean time; he lobbies for marriage only w/ parental consent.

Is 'old dog' my reward? Most true, I have lost my teeth in your service. God be with my old master! he would not have spoke such a word.

Adam in As You Like It. Beginning of I.1.

'Tis one thing to be tempted, Escalus, Another thing to fall. I not deny, The jury, passing on the prisoner's life, May in the sworn twelve have a thief or two Guiltier than him they try. What's open made to justice, That justice seizes: what know the laws That thieves do pass on thieves? 'Tis very pregnant, The jewel that we find, we stoop and take't Because we see it; but what we do not see We tread upon, and never think of it. You may not so extenuate his offence For I have had such faults; but rather tell me, When I, that censure him, do so offend, Let mine own judgment pattern out my death, And nothing come in partial. Sir, he must die.

Angelo in Measure for Measure. II.1.

From thee, even from thy virtue! What's this, what's this? Is this her fault or mine? The tempter or the tempted, who sins most? Ha! Not she: nor doth she tempt: but it is I That, lying by the violet in the sun, Do as the carrion does, not as the flower, Corrupt with virtuous season. Can it be That modesty may more betray our sense Than woman's lightness? Having waste ground enough, Shall we desire to raze the sanctuary And pitch our evils there? O, fie, fie, fie! What dost thou, or what art thou, Angelo? Dost thou desire her foully for those things That make her good? O, let her brother live! Thieves for their robbery have authority When judges steal themselves. What, do I love her, That I desire to hear her speak again, And feast upon her eyes? What is't I dream on? O cunning enemy, that, to catch a saint, With saints dost bait thy hook! Most dangerous Is that temptation that doth goad us on To sin in loving virtue: never could the strumpet, With all her double vigour, art and nature, Once stir my temper; but this virtuous maid Subdues me quite. Even till now, When men were fond, I smiled and wonder'd how.

Angelo in Measure for Measure. II.2.

She speaks, and 'tis Such sense, that my sense breeds with it. Fare you well.

Angelo in Measure for Measure. II.2.

Who will believe thee, Isabel? My unsoil'd name, the austereness of my life, My vouch against you, and my place i' the state, Will so your accusation overweigh, That you shall stifle in your own report And smell of calumny. I have begun, And now I give my sensual race the rein: Fit thy consent to my sharp appetite; Lay by all nicety and prolixious blushes, That banish what they sue for; redeem thy brother By yielding up thy body to my will; Or else he must not only die the death, But thy unkindness shall his death draw out To lingering sufferance. Answer me to-morrow, Or, by the affection that now guides me most, I'll prove a tyrant to him. As for you, Say what you can, my false o'erweighs your true.

Angelo in Measure for Measure. II.4.

You seem'd of late to make the law a tyrant; And rather proved the sliding of your brother A merriment than a vice.

Angelo in Measure for Measure. II.4.

Admit no other way to save his life,-- As I subscribe not that, nor any other, But in the loss of question,--that you, his sister, Finding yourself desired of such a person, Whose credit with the judge, or own great place, Could fetch your brother from the manacles Of the all-building law; and that there were No earthly mean to save him, but that either You must lay down the treasures of your body To this supposed, or else to let him suffer; What would you do?

Angelo in Measure for Measure. II.4. He uses economic language. Virginity as also a form of the foremost wealth (represents his thought of sex as death and decay)

Nay, I'll not warrant that; for I can speak Against the thing I say. Answer to this: I, now the voice of the recorded law, Pronounce a sentence on your brother's life: Might there not be a charity in sin To save this brother's life?

Angelo in Measure for Measure. II.4. Twisted language of the gospel

Say you so? then I shall pose you quickly. Which had you rather, that the most just law Now took your brother's life; or, to redeem him, Give up your body to such sweet uncleanness As she that he hath stain'd?

Angelo in Measure for Measure. II.4. Uses immoral extortion in sanctimonious language of the Puritans to try to get Isabella to save her brother's life.

When I would pray and think, I think and pray To several subjects. Heaven hath my empty words; Whilst my invention, hearing not my tongue, Anchors on Isabel: Heaven in my mouth, As if I did but only chew his name; And in my heart the strong and swelling evil Of my conception. The state, whereon I studied Is like a good thing, being often read, Grown fear'd and tedious; yea, my gravity, Wherein--let no man hear me--I take pride, Could I with boot change for an idle plume, Which the air beats for vain. O place, O form, How often dost thou with thy case, thy habit, Wrench awe from fools and tie the wiser souls To thy false seeming! Blood, thou art blood: Let's write good angel on the devil's horn: 'Tis not the devil's crest.

Angelo in Measure for Measure. II.4. he talks about the injustice of his position. Pride = worst of sins and appearance of sanctity. He has seat of sexual passion now but appears empty and vain

O my dread lord, I should be guiltier than my guiltiness, To think I can be undiscernible, When I perceive your grace, like power divine, Hath look'd upon my passes. Then, good prince, No longer session hold upon my shame, But let my trial be mine own confession: Immediate sentence then and sequent death Is all the grace I beg.

Angelo in Measure for Measure. V.1.

When my cue comes, call me, and I will answer: my next is, 'Most fair Pyramus.' Heigh-ho! Peter Quince! Flute, the bellows-mender! Snout, the tinker! Starveling! God's my life, stolen hence, and left me asleep! I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was: man is but an ass, if he go about to expound this dream. Methought I was--there is no man can tell what. Methought I was,--and methought I had,--but man is but a patched fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream: it shall be called Bottom's Dream, because it hath no bottom; and I will sing it in the latter end of a play, before the duke: peradventure, to make it the more gracious, I shall sing it at her death.

Bottom in A Midsummer Night's Dream. End of IV.1.

Not so, neither: but if I had wit enough to get out of this wood, I have enough to serve mine own turn.

Bottom in A Midsummer Night's Dream. Middle of III.1.

Methinks, mistress, you should have little reason for that: and yet, to say the truth, reason and love keep little company together now-a-days; the more the pity that some honest neighbours will not make them friends. Nay, I can gleek upon occasion.

Bottom in A Midsummer Night's Dream. Middle of III.1. "REASON" again clouds her true judgment

Herein I see thou lovest me not with the full weight that I love thee. If my uncle, thy banished father, had banished thy uncle, the duke my father, so thou hadst been still with me, I could have taught my love to take thy father for mine: so wouldst thou, if the truth of thy love to me were so righteously tempered as mine is to thee.

Celia in As You Like It. Beginning of I.2.

Marry, I prithee, do, to make sport withal: but love no man in good earnest; nor no further in sport neither than with safety of a pure blush thou mayst in honour come off again.

Celia in As You Like It. Beginning of I.2.

You know my father hath no child but I, nor none is like to have: and, truly, when he dies, thou shalt be his heir, for what he hath taken away from thy father perforce, I will render thee again in affection; by mine honour, I will; and when I break that oath, let me turn monster: therefore, my sweet Rose, my dear Rose, be merry.

Celia in As You Like It. Beginning of I.2.

No? when Nature hath made a fair creature, may she not by Fortune fall into the fire? Though Nature hath given us wit to flout at Fortune, hath not Fortune sent in this fool to cut off the argument?

Celia in As You Like It. Beginning of I.2. Verbal game to release them from psychological heaviness of her father's banishment

Something that hath a reference to my state No longer Celia, but Aliena.

Celia in As You Like It. End of I.3. Real estate law for denying legal possession

I did not then entreat to have her stay; It was your pleasure and your own remorse: I was too young that time to value her; But now I know her: if she be a traitor, Why so am I; we still have slept together, Rose at an instant, learn'd, play'd, eat together, And wheresoever we went, like Juno's swans, Still we went coupled and inseparable.

Celia in As You Like It. Middle of I.3. Rosalind and Celia cannot be parted. C proves power of sisterhood by undergoing banishment with R. R's position has been denied, but C counters relationship between brothers, who is no heir in waiting, offers to give her inheritance to R. Invokes idea of Juno's swans (rather than Venus's doves in other play). Juno is the patronus of marriage, swans represent sexual love. By pairing these two ideas together, Celia denotes constancy of sisterhood and their expression of sex in monogamous marriage and chastity. Venus' swans represented heterosexual love that supercedes sisterhood

You have simply misused our sex in your love-prate: we must have your doublet and hose plucked over your head, and show the world what the bird hath done to her own nest.

Celia in As You Like It. Middle of IV.1. Their mock vows freak Celia out

Marry, do I, sir; and I came to acquaint you with a matter. I am given, sir, secretly to understand that your younger brother Orlando hath a disposition to come in disguised against me to try a fall. To-morrow, sir, I wrestle for my credit; and he that escapes me without some broken limb shall acquit him well. Your brother is but young and tender; and, for your love, I would be loath to foil him, as I must, for my own honour, if he come in: therefore, out of my love to you, I came hither to acquaint you withal, that either you might stay him from his intendment or brook such disgrace well as he shall run into, in that it is a thing of his own search and altogether against my will.

Charles in As You Like It. Middle of I.1.

O, no; for the duke's daughter, her cousin, so loves her, being ever from their cradles bred together, that she would have followed her exile, or have died to stay behind her. She is at the court, and no less beloved of her uncle than his own daughter; and never two ladies loved as they do.

Charles in As You Like It. Middle of I.1.

They say he is already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world.

Charles in As You Like It. Middle of I.1.

Thus can the demigod Authority Make us pay down for our offence by weight The words of heaven; on whom it will, it will; On whom it will not, so; yet still 'tis just.

Claudio in As You Like It. I.2. He makes blasphemous comparison between God's election of who will be saved and Angelo. The condemned must not question. He likens humans to rats who are killed by rat's bane, which is lethal to them but irresistible.

I have done so, but he's not to be found. I prithee, Lucio, do me this kind service: This day my sister should the cloister enter And there receive her approbation: Acquaint her with the danger of my state: Implore her, in my voice, that she make friends To the strict deputy; bid herself assay him: I have great hope in that; for in her youth There is a prone and speechless dialect, Such as move men; beside, she hath prosperous art When she will play with reason and discourse, And well she can persuade.

Claudio in As You Like It. I.2.

Unhappily, even so. And the new deputy now for the duke-- Whether it be the fault and glimpse of newness, Or whether that the body public be A horse whereon the governor doth ride, Who, newly in the seat, that it may know He can command, lets it straight feel the spur; Whether the tyranny be in his place, Or in his emmence that fills it up, I stagger in:--but this new governor Awakes me all the enrolled penalties Which have, like unscour'd armour, hung by the wall So long that nineteen zodiacs have gone round And none of them been worn; and, for a name, Now puts the drowsy and neglected act Freshly on me: 'tis surely for a name.

Claudio in As You Like It. I.2.

Thus stands it with me: upon a true contract I got possession of Julietta's bed: You know the lady; she is fast my wife, Save that we do the denunciation lack Of outward order: this we came not to, Only for propagation of a dower Remaining in the coffer of her friends, From whom we thought it meet to hide our love Till time had made them for us. But it chances The stealth of our most mutual entertainment With character too gross is writ on Juliet.

Claudio in As You Like It. I.2. He dismisses sacriment as public ceremony. He claims the true contract that gives him ownership of her bed. They fail to have wedding because they want money but claim they can still have sex. Sexuality and money are inexorably linked

From too much liberty, my Lucio, liberty: As surfeit is the father of much fast, So every scope by the immoderate use Turns to restraint. Our natures do pursue, Like rats that ravin down their proper bane, A thirsty evil; and when we drink we die.

Claudio in As You Like It. I.2. He makes blasphemous comparison between God's election of who will be saved and Angelo. The condemned must not question. He likens humans to rats who are killed by rat's bane, which is lethal to them but irresistible. Desire's gratification brings restraint of prison. He describes the perversity of human desire

Yes. Has he affections in him, That thus can make him bite the law by the nose, When he would force it? Sure, it is no sin, Or of the deadly seven, it is the least.

Claudio in Measure for Measure. III.1.

Sweet sister, let me live: What sin you do to save a brother's life, Nature dispenses with the deed so far That it becomes a virtue.

Claudio in Measure for Measure. III.1. Begging her to do it

Why give you me this shame? Think you I can a resolution fetch From flowery tenderness? If I must die, I will encounter darkness as a bride, And hug it in mine arms.

Claudio in Measure for Measure. III.1. Death is sexual consummation

Ay, but to die, and go we know not where; To lie in cold obstruction and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice; To be imprison'd in the viewless winds, And blown with restless violence round about The pendent world; or to be worse than worst Of those that lawless and incertain thought Imagine howling: 'tis too horrible! The weariest and most loathed worldly life That age, ache, penury and imprisonment Can lay on nature is a paradise To what we fear of death.

Claudio in Measure for Measure. III.1. Secular language like Duke in earlier speech in this act.

I love thee not, therefore pursue me not. Where is Lysander and fair Hermia? The one I'll slay, the other slayeth me. Thou told'st me they were stolen unto this wood; And here am I, and wode within this wood, Because I cannot meet my Hermia. Hence, get thee gone, and follow me no more.

Demetrius in A Midsummer Night's Dream. End of II.1.

I will not stay thy questions; let me go: Or, if thou follow me, do not believe But I shall do thee mischief in the wood.

Demetrius in A Midsummer Night's Dream. End of II.1.

I'll run from thee and hide me in the brakes, And leave thee to the mercy of wild beasts.

Demetrius in A Midsummer Night's Dream. End of II.1.

Tempt not too much the hatred of my spirit; For I am sick when I do look on thee.

Demetrius in A Midsummer Night's Dream. End of II.1.

You do impeach your modesty too much, To leave the city and commit yourself Into the hands of one that loves you not; To trust the opportunity of night And the ill counsel of a desert place With the rich worth of your virginity.

Demetrius in A Midsummer Night's Dream. End of II.1. He references modesty=feminine chastity

You are too officious In her behalf that scorns your services. Let her alone: speak not of Helena; Take not her part; for, if thou dost intend Never so little show of love to her, Thou shalt aby it.

Demetrius in A Midsummer Night's Dream. End of III.2.

Relent, sweet Hermia, and, Lysander, yield Thy crazed title to my certain right.

Demetrius in A Midsummer Night's Dream. Middle of I.1. Legal register to claim in possession. Title = legal right, certain = positive

Disparage not the faith thou dost not know, Lest, to thy peril, thou aby it dear. Look, where thy love comes; yonder is thy dear.

Demetrius in A Midsummer Night's Dream. Middle of III.2.

Lysander, keep thy Hermia; I will none: If e'er I loved her, all that love is gone. My heart to her but as guest-wise sojourn'd, And now to Helen is it home return'd, There to remain.

Demetrius in A Midsummer Night's Dream. Middle of III.2.

O Helen, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eyne? Crystal is muddy. O, how ripe in show Thy lips, those kissing cherries, tempting grow! That pure congealed white, high Taurus snow, Fann'd with the eastern wind, turns to a crow When thou hold'st up thy hand: O, let me kiss This princess of pure white, this seal of bliss!

Demetrius in A Midsummer Night's Dream. Middle of III.2.

My lord, fair Helen told me of their stealth, Of this their purpose hither to this wood; And I in fury hither follow'd them, Fair Helena in fancy following me. But, my good lord, I wot not by what power,-- But by some power it is,--my love to Hermia, Melted as the snow, seems to me now As the remembrance of an idle gaud Which in my childhood I did dote upon; And all the faith, the virtue of my heart, The object and the pleasure of mine eye, Is only Helena. To her, my lord, Was I betroth'd ere I saw Hermia: But, like in sickness, did I loathe this food; But, as in health, come to my natural taste, Now I do wish it, love it, long for it, And will for evermore be true to it.

Demetrius in A Midsummer Night's Dream. Middle of IV.1. Melted as the snow (natural cycle)

Bear him away. What is thy name, young man?

Duke Frederick in As You Like It. End of I.2. He is asking him to claim name.

I would thou hadst been son to some man else: The world esteem'd thy father honourable, But I did find him still mine enemy: Thou shouldst have better pleased me with this deed, Hadst thou descended from another house. But fare thee well; thou art a gallant youth: I would thou hadst told me of another father.

Duke Frederick in As You Like It. End of I.2. Orlando establishes and asserts his social identity, his patrimony (what has been denied to him by Oliver). But ironically, assertion of patrimony wins him the enmity of Duke Frederick (who is the enemy of hierarchy). Duke Fred despises honorable men like Orlando/Oliver's father. He hates Orlando like how he hates his noble father and brother.

Thou art thy father's daughter; there's enough.

Duke Frederick in As You Like It. Middle of I.3.

Come, shall we go and kill us venison? And yet it irks me the poor dappled fools, Being native burghers of this desert city, Should in their own confines with forked heads Have their round haunches gored.

Duke Senior in As You Like It. Beginning of II.1.

Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we but the penalty of Adam, The seasons' difference, as the icy fang And churlish chiding of the winter's wind, Which, when it bites and blows upon my body, Even till I shrink with cold, I smile and say 'This is no flattery: these are counsellors That feelingly persuade me what I am.' Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life exempt from public haunt Finds tongues in trees, books in the running brooks, Sermons in stones and good in every thing. I would not change it.

Duke Senior in As You Like It. Beginning of II.1. Alliteration of life and death. He denies social custom since there are different kinds of peril.

If that you were the good Sir Rowland's son, As you have whisper'd faithfully you were, And as mine eye doth his effigies witness Most truly limn'd and living in your face, Be truly welcome hither: I am the duke That loved your father: the residue of your fortune, Go to my cave and tell me. Good old man, Thou art right welcome as thy master is. Support him by the arm. Give me your hand, And let me all your fortunes understand.

Duke Senior in As You Like It. End of III.1.

I do fear, too dreadful: Sith 'twas my fault to give the people scope, 'Twould be my tyranny to strike and gall them For what I bid them do: for we bid this be done, When evil deeds have their permissive pass And not the punishment. Therefore indeed, my father, I have on Angelo imposed the office; Who may, in the ambush of my name, strike home, And yet my nature never in the fight To do in slander. And to behold his sway, I will, as 'twere a brother of your order, Visit both prince and people: therefore, I prithee, Supply me with the habit and instruct me How I may formally in person bear me Like a true friar. More reasons for this action At our more leisure shall I render you; Only, this one: Lord Angelo is precise; Stands at a guard with envy; scarce confesses That his blood flows, or that his appetite Is more to bread than stone: hence shall we see, If power change purpose, what our seemers be.

Duke in Measure for Measure. I.3. Duke questions Angelo's character and puts him in a place where he is tested. Precise = zealous, moral Puritan. Ready to defend himself against enemies real and imagined. Does not confess sexual appetite (everyone has appetite for bread and sex)

We have strict statutes and most biting laws. The needful bits and curbs to headstrong weeds, Which for this nineteen years we have let slip; Even like an o'ergrown lion in a cave, That goes not out to prey. Now, as fond fathers, Having bound up the threatening twigs of birch, Only to stick it in their children's sight For terror, not to use, in time the rod Becomes more mock'd than fear'd; so our decrees, Dead to infliction, to themselves are dead; And liberty plucks justice by the nose; The baby beats the nurse, and quite athwart Goes all decorum.

Duke in Measure for Measure. I.3. Justice = morality play convention. Duke questions Angelo's character and puts him in a place where he is tested.

Be absolute for death; either death or life Shall thereby be the sweeter. Reason thus with life: If I do lose thee, I do lose a thing That none but fools would keep: a breath thou art, Servile to all the skyey influences, That dost this habitation, where thou keep'st, Hourly afflict: merely, thou art death's fool; For him thou labour'st by thy flight to shun And yet runn'st toward him still. Thou art not noble; For all the accommodations that thou bear'st Are nursed by baseness. Thou art by no means valiant; For thou dost fear the soft and tender fork Of a poor worm. Thy best of rest is sleep, And that thou oft provokest; yet grossly fear'st Thy death, which is no more. Thou art not thyself; For thou exist'st on many a thousand grains That issue out of dust. Happy thou art not; For what thou hast not, still thou strivest to get, And what thou hast, forget'st. Thou art not certain; For thy complexion shifts to strange effects, After the moon.

Duke in Measure for Measure. III.1. Tells Angelo: you're a dead man walking. He's using secular language and imagines purely physical dissolution of his body as well as disembodied consciousness in some sort of chaos. Instead of appealing to God's law, he appeals to nature's law (which is neither law or justice)

If thou art rich, thou art poor; For, like an ass whose back with ingots bows, Thou bear's thy heavy riches but a journey, And death unloads thee. Friend hast thou none; For thine own bowels, which do call thee sire, The mere effusion of thy proper loins, Do curse the gout, serpigo, and the rheum, For ending thee no sooner. Thou hast nor youth nor age, But, as it were, an after-dinner's sleep, Dreaming on both; for all thy blessed youth Becomes as aged, and doth beg the alms Of palsied eld; and when thou art old and rich, Thou hast neither heat, affection, limb, nor beauty, To make thy riches pleasant. What's yet in this That bears the name of life? Yet in this life Lie hid moe thousand deaths: yet death we fear, That makes these odds all even.

Duke in Measure for Measure. III.1. What does life mean if it's imagining the misery of old age? He's using secular language and imagines purely physical dissolution of his body as well as disembodied consciousness in some sort of chaos. Instead of appealing to God's law, he appeals to nature's law (which is neither law or justice)

Against all sense you do importune her: Should she kneel down in mercy of this fact, Her brother's ghost his paved bed would break, And take her hence in horror.

Duke in Measure for Measure. V.1.

For this new-married man approaching here, Whose salt imagination yet hath wrong'd Your well defended honour, you must pardon For Mariana's sake: but as he adjudged your brother,-- Being criminal, in double violation Of sacred chastity and of promise-breach Thereon dependent, for your brother's life,-- The very mercy of the law cries out Most audible, even from his proper tongue, 'An Angelo for Claudio, death for death!' Haste still pays haste, and leisure answers leisure; Like doth quit like, and MEASURE still FOR MEASURE. Then, Angelo, thy fault's thus manifested; Which, though thou wouldst deny, denies thee vantage. We do condemn thee to the very block Where Claudio stoop'd to death, and with like haste. Away with him!

Duke in Measure for Measure. V.1.

It is your husband mock'd you with a husband. Consenting to the safeguard of your honour, I thought your marriage fit; else imputation, For that he knew you, might reproach your life And choke your good to come; for his possessions, Although by confiscation they are ours, We do instate and widow you withal, To buy you a better husband.

Duke in Measure for Measure. V.1.

Sir, by your leave. Hast thou or word, or wit, or impudence, That yet can do thee office? If thou hast, Rely upon it till my tale be heard, And hold no longer out.

Duke in Measure for Measure. V.1.

You are pardon'd, Isabel: And now, dear maid, be you as free to us. Your brother's death, I know, sits at your heart; And you may marvel why I obscured myself, Labouring to save his life, and would not rather Make rash remonstrance of my hidden power Than let him so be lost. O most kind maid, It was the swift celerity of his death, Which I did think with slower foot came on, That brain'd my purpose. But, peace be with him! That life is better life, past fearing death, Than that which lives to fear: make it your comfort, So happy is your brother.

Duke in Measure for Measure. V.1.

Full of vexation, come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, This man hath my consent to marry her. Stand forth, Lysander. And my gracious duke, This hath bewitched the bosom of my child. Thou, thou, Lysander, thou has given her rhymes And interchanged love tokens with my child; Thou hast by moonlight at her window sun With feigning voice verses of feigning love, And stol'n the impression of her fantasy... With cunning hast thou filched my daughter's heart, Turned her obedience (which is due to me) To stubborn harshness. And my gracious duke, Be it so she will not here before grace Consent to marry with Demetrius, I beg the ancient privilege of Athens: As she is mine, I may dispose of her, Which shall be either to this gentleman Or to her death, according to our law Immediately provided in that case.

Egeus in A Midsummer Night's Dream. Beginning of I.1. References the patriarchal sway over marriage of Shakespeare's contemporaries (the Puritans). Here 2 alternatives of the patriarch are introduced. Lysaander violates his claim to property through his courtship and "theft" of property

Scornful Lysander, true, he hath my love, And what is mine my love shall render him, And she is mine, and all my right of her I do estate unto Demetrius

Egeus in A Midsummer Night's Dream. Middle of I.1. Language of property law

Enough, enough, my lord; you have enough: I beg the law, the law, upon his head. They would have stolen away; they would, Demetrius, Thereby to have defeated you and me, You of your wife and me of my consent, Of my consent that she should be your wife.

Egeus in A Midsummer Night's Dream. Middle of IV.1.

Come, bring them away: if these be good people in a commonweal that do nothing but use their abuses in common houses, I know no law: bring them away.

Elbow in Measure for Measure. II.1. Comic constable who's language malformed by misuse of words.

Well, heaven forgive him! and forgive us all! Some rise by sin, and some by virtue fall: Some run from brakes of ice, and answer none: And some condemned for a fault alone.

Escalus in Measure for Measure. II.1. He questions wisdom of Angelo's sentence. Everyone is against C's execution except A/

Indeed, my lord, The melancholy Jaques grieves at that, And, in that kind, swears you do more usurp Than doth your brother that hath banish'd you. To-day my Lord of Amiens and myself Did steal behind him as he lay along Under an oak whose antique root peeps out Upon the brook that brawls along this wood: To the which place a poor sequester'd stag, That from the hunter's aim had ta'en a hurt, Did come to languish, and indeed, my lord, The wretched animal heaved forth such groans That their discharge did stretch his leathern coat Almost to bursting, and the big round tears Coursed one another down his innocent nose In piteous chase; and thus the hairy fool Much marked of the melancholy Jaques, Stood on the extremest verge of the swift brook, Augmenting it with tears.

First Lord in As You Like It. Beginning of II.1.

And therefore is Love said to be a child, Because in choice he is so oft beguiled. As waggish boys in game themselves forswear, So the boy Love is perjured everywhere. For ere Demetrius looked on Hermia's eyne, He hailed down oaths that he was only mine; And when this hail some heat from Hermia felt, So he dissolved, and show'rs of oaths did melt. I will go tell him of fair Hermia's flight. Then to the wood will he tomorrow night Pursue her; and for this intelligence If I have thanks, it is a dear expense. But herein mean I to enrich my pain, To have his sight thither and back again.

Helena in A Midsummer Night's Dream. End of I.1.

Call you me fair? That "fair" again unsay. Demetrius loves your fair. O happy fair! Your eyes are lodestars, and your tongue's sweet air More tuneable than lark to shepherd's ear When wheat is green, when hawthorn buds appear. Sickness is catching. O, were favor so, Yours would I catch, fair Hermia; ere I go My ear should catch your voice, my eye your eye, My tongue should catch your tongue's sweet melody. Were the world mine, Demetrius being bated,, The rest I'll give to be to your translated. O teach me how you look, and with what art You sway the motion of Demetrius' heart.

Helena in A Midsummer Night's Dream. End of I.1.

How happy some o'er other some can be! Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so; He will not know what all but he do know. And as he errs, doting on Hermia's eyes, So I, admiring of his qualities. Things base and vile, holding no quantity, Lvoe can transpose to form and dignity. Love looks not with the eyes, but with the mind, And therefore is winged Cupid painted blind. Nor hath Love's mind of any judgment taste: Wings, and no eyes, figure unheedy haste.

Helena in A Midsummer Night's Dream. End of I.1. Objective / subjectiveness of love and fancy

The wildest hath not such a heart as you. Run when you will, the story shall be changed: Apollo flies, and Daphne holds the chase; The dove pursues the griffin; the mild hind Makes speed to catch the tiger; bootless speed, When cowardice pursues and valour flies.

Helena in A Midsummer Night's Dream. End of II.1.

You draw me, you hard-hearted adamant; But yet you draw not iron, for my heart Is true as steel: leave you your power to draw, And I shall have no power to follow you.

Helena in A Midsummer Night's Dream. End of II.1.

Your virtue is my privilege: for that It is not night when I do see your face, Therefore I think I am not in the night; Nor doth this wood lack worlds of company, For you in my respect are all the world: Then how can it be said I am alone, When all the world is here to look on me?

Helena in A Midsummer Night's Dream. End of II.1.

Ay, in the temple, in the town, the field, You do me mischief. Fie, Demetrius! Your wrongs do set a scandal on my sex: We cannot fight for love, as men may do; We should be wood and were not made to woo. I'll follow thee and make a heaven of hell, To die upon the hand I love so well.

Helena in A Midsummer Night's Dream. End of II.1. Sex is gendered

And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you: Use me but as your spaniel, spurn me, strike me, Neglect me, lose me; only give me leave, Unworthy as I am, to follow you. What worser place can I beg in your love,-- And yet a place of high respect with me,-- Than to be used as you use your dog?

Helena in A Midsummer Night's Dream. End of II.1. She masochistically accepts his actions, shows the sadomasochistic forms that love can take. She submits to his social domination

I pray you, though you mock me, gentlemen, Let her not hurt me: I was never curst; I have no gift at all in shrewishness; I am a right maid for my cowardice: Let her not strike me. You perhaps may think, Because she is something lower than myself, That I can match her.

Helena in A Midsummer Night's Dream. End of III.2.

I will not trust you, I, Nor longer stay in your curst company. Your hands than mine are quicker for a fray, My legs are longer though, to run away.

Helena in A Midsummer Night's Dream. End of III.2.

Fine, i' faith! Have you no modesty, no maiden shame, No touch of bashfulness? What, will you tear Impatient answers from my gentle tongue? Fie, fie! you counterfeit, you puppet, you!

Helena in A Midsummer Night's Dream. End of III.2. Puppet: low stature

Good Hermia, do not be so bitter with me. I evermore did love you, Hermia, Did ever keep your counsels, never wrong'd you; Save that, in love unto Demetrius, I told him of your stealth unto this wood. He follow'd you; for love I follow'd him; But he hath chid me hence and threaten'd me To strike me, spurn me, nay, to kill me too: And now, so you will let me quiet go, To Athens will I bear my folly back And follow you no further: let me go: You see how simple and how fond I am.

Helena in A Midsummer Night's Dream. End of III.2. She announces her return to patriarchal law because the chaotic passions of the woods are scarier than Athens

Do not say so, Lysander; say not so What though he love your Hermia? Lord, what though? Yet Hermia still loves you: then be content.

Helena in A Midsummer Night's Dream. Middle of II.2.

O, I am out of breath in this fond chase! The more my prayer, the lesser is my grace. Happy is Hermia, wheresoe'er she lies; For she hath blessed and attractive eyes. How came her eyes so bright? Not with salt tears: If so, my eyes are oftener wash'd than hers. No, no, I am as ugly as a bear; For beasts that meet me run away for fear: Therefore no marvel though Demetrius Do, as a monster fly my presence thus. What wicked and dissembling glass of mine Made me compare with Hermia's sphery eyne? But who is here? Lysander! on the ground! Dead? or asleep? I see no blood, no wound. Lysander if you live, good sir, awake.

Helena in A Midsummer Night's Dream. Middle of II.2.

Wherefore was I to this keen mockery born? When at your hands did I deserve this scorn? Is't not enough, is't not enough, young man, That I did never, no, nor never can, Deserve a sweet look from Demetrius' eye, But you must flout my insufficiency? Good troth, you do me wrong, good sooth, you do, In such disdainful manner me to woo. But fare you well: perforce I must confess I thought you lord of more true gentleness. O, that a lady, of one man refused. Should of another therefore be abused!

Helena in A Midsummer Night's Dream. Middle of II.2.

Ay, do. Persever, counterfeit sad looks, Make mouths upon me when I turn my back; Wink each at other; hold the sweet jest up: This sport, well carried, shall be chronicled. If you have any pity, grace, or manners, You would not make me such an argument. But fare ye well: 'tis partly my own fault; Which death or absence soon shall remedy.

Helena in A Midsummer Night's Dream. Middle of III.2.

Have you not set Lysander, as in scorn, To follow me and praise my eyes and face? And made your other love, Demetrius, Who even but now did spurn me with his foot, To call me goddess, nymph, divine and rare, Precious, celestial? Wherefore speaks he this To her he hates? and wherefore doth Lysander Deny your love, so rich within his soul, And tender me, forsooth, affection, But by your setting on, by your consent? What thought I be not so in grace as you, So hung upon with love, so fortunate, But miserable most, to love unloved? This you should pity rather than despise.

Helena in A Midsummer Night's Dream. Middle of III.2.

You do advance your cunning more and more. When truth kills truth, O devilish-holy fray! These vows are Hermia's: will you give her o'er? Weigh oath with oath, and you will nothing weigh: Your vows to her and me, put in two scales, Will even weigh, and both as light as tales.

Helena in A Midsummer Night's Dream. Middle of III.2.

Lo, she is one of this confederacy! Now I perceive they have conjoin'd all three To fashion this false sport, in spite of me. Injurious Hermia! most ungrateful maid! Have you conspired, have you with these contrived To bait me with this foul derision? Is all the counsel that we two have shared, The sisters' vows, the hours that we have spent, When we have chid the hasty-footed time For parting us,--O, is it all forgot? All school-days' friendship, childhood innocence?

Helena in A Midsummer Night's Dream. Middle of III.2. She laments their old sisterhood and how it has been destroyed by heterosexual love

We, Hermia, like two artificial gods, Have with our needles created both one flower, Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key, As if our hands, our sides, voices and minds, Had been incorporate. So we grow together, Like to a double cherry, seeming parted, But yet an union in partition; Two lovely berries moulded on one stem; So, with two seeming bodies, but one heart; Two of the first, like coats in heraldry, Due but to one and crowned with one crest. And will you rent our ancient love asunder, To join with men in scorning your poor friend? It is not friendly, 'tis not maidenly: Our sex, as well as I, may chide you for it, Though I alone do feel the injury.

Helena in A Midsummer Night's Dream. Middle of III.2. She laments their old sisterhood and how it has been destroyed by heterosexual love. She sees Hermia as drawn by her sexual desire to men.

O spite! O hell! I see you all are bent To set against me for your merriment: If you we re civil and knew courtesy, You would not do me thus much injury. Can you not hate me, as I know you do, But you must join in souls to mock me too? If you were men, as men you are in show, You would not use a gentle lady so; To vow, and swear, and superpraise my parts, When I am sure you hate me with your hearts. You both are rivals, and love Hermia; And now both rivals, to mock Helena: A trim exploit, a manly enterprise, To conjure tears up in a poor maid's eyes With your derision! none of noble sort Would so offend a virgin, and extort A poor soul's patience, all to make you sport.

Helena in A Midsummer Night's Dream. Middle of III.2. She reverts to language of property and ownership

I do entreat your grace to pardon me. I know not by what power I am made bold, Nor how it may concern my modesty In such a presence here to plead my thoughts, But I beseech your grace that I may know The worst that may befall me in this case If I refuse to wed Demetrius.

Hermia in A Midsummer Night's Dream. Beginning of I.1. Modesty = feminine virtue. She's asking if she's really going to die if she refuses to wed Demetrius

So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship whose unwished yoke My soul consents not to give sovereignty.

Hermia in A Midsummer Night's Dream. Beginning of I.1. She refuses and uses political language. She has her legal right to virginity and invokes the yoke of matrimony.

Nay, good Lysander. For my sake, my dear, Lie further off yet; do not lie so near.

Hermia in A Midsummer Night's Dream. Beginning of II.2. She fears her own sexual desires

Lysander riddles very prettily. Now much beshrew my manners and my pride, If Hermia meant to say Lysander lied. But, gentle friend, for love and courtesy Lie further off; in human modesty, Such separation as may well be said Becomes a virtuous bachelor and a maid, So far be distant; and, good night, sweet friend: Thy love ne'er alter till thy sweet life end!

Hermia in A Midsummer Night's Dream. Beginning of II.2. She wants to avoid the appearance of lewdness or sexual license and wants to keep her sexual status.

Take comfort. He no more shall see my face;Lysander and myself will fly this place. Before the time I did Lysander see, Seemed Athens as a paradise to me. O, then, what graces in my love do dwell That he hath turned a heaven unto a hell!

Hermia in A Midsummer Night's Dream. End of I.1.

And in the wood where often you and I Upon faint primrose beds were wont ot lie, Emptying our bosoms of their consel sweet, There my Lysander and myself shall meet, And thence from Athens turn away our eyes To seek new friends and stranger companies. Farewell, sweet playfellow. Pray thou for us; And good luck grant thee thy Demetrius. Keep word Lysander. We must starve our sight From lovers' food till morrow deep midnight.

Hermia in A Midsummer Night's Dream. End of I.1. Homofilial relationships - sisterhood. Sexuality has displaced girlhood. Their farewell is the repudiation of girlhood

Help me, Lysander, help me! do thy best To pluck this crawling serpent from my breast! Ay me, for pity! what a dream was here! Lysander, look how I do quake with fear: Methought a serpent eat my heart away, And you sat smiling at his cruel pray. Lysander! what, removed? Lysander! lord! What, out of hearing? gone? no sound, no word? Alack, where are you speak, an if you hear; Speak, of all loves! I swoon almost with fear. No? then I well perceive you all not nigh Either death or you I'll find immediately.

Hermia in A Midsummer Night's Dream. End of II.2. Her nightmare is a fear of sexual desire for a maid in love. The serpent is a threat of lover's sexual desire for her. He does not restrain his serpent

Puppet? why so? ay, that way goes the game. Now I perceive that she hath made compare Between our statures; she hath urged her height; And with her personage, her tall personage, Her height, forsooth, she hath prevail'd with him. And are you grown so high in his esteem; Because I am so dwarfish and so low? How low am I, thou painted maypole? speak; How low am I? I am not yet so low But that my nails can reach unto thine eyes.

Hermia in A Midsummer Night's Dream. End of III.2. Painted maypole - tall and skinny

O hell! to choose love by another's eyes

Hermia in A Midsummer Night's Dream. Middle of I.1. Consigned to enforced, arranged marriage

My good Lysander, I swear to thee by Cupid's strongest bow, By his best arrow, with the golden head, By the simplicity of Venus' doves, By that which knitteth souls and prospers loves, And by that fire which burned the Carthage queen When the false Troyan under sail was seen, By all the vows that ever men have broke (In number more than ever women spoke), In that some place thou hast appointed me Tomorrow truly will I meet with thee.

Hermia in A Midsummer Night's Dream. Middle of I.1. Cupid = mythical foundation of love. Venus' doves = figures of sexual liberty. Carthage queen = Dido

If then true lovers have been ever crossed, It stands as an edict in destiny. Then let us teach our trial patience, Because it is a customary cross, As due to love as thoughts, and dreams, and sighs, Wishes, and tears, poor Fancy's followers

Hermia in A Midsummer Night's Dream. Middle of I.1. Fancy = caprice, arbitrary followers

Dark night, that from the eye his function takes, The ear more quick of apprehension makes; Wherein it doth impair the seeing sense, It pays the hearing double recompense. Thou art not by mine eye, Lysander, found; Mine ear, I thank it, brought me to thy sound But why unkindly didst thou leave me so?

Hermia in A Midsummer Night's Dream. Middle of III.2.

O me! you juggler! you canker-blossom! You thief of love! what, have you come by night And stolen my love's heart from him?

Hermia in A Midsummer Night's Dream. Middle of III.2.

What, can you do me greater harm than hate? Hate me! wherefore? O me! what news, my love! Am not I Hermia? are not you Lysander? I am as fair now as I was erewhile. Since night you loved me; yet since night you left me: Why, then you left me--O, the gods forbid!-- In earnest, shall I say?

Hermia in A Midsummer Night's Dream. Middle of III.2.

But all the story of the night told over, And all their minds transfigured so together, More witnesseth than fancy's images And grows to something of great constancy; But, howsoever, strange and admirable.

Hippolyta in A Midsummer Night's Dream. Beginning of V.1. more convincing testimony

I was with Hercules and Cadmus once, When in a wood of Crete they bay'd the bear With hounds of Sparta: never did I hear Such gallant chiding: for, besides the groves, The skies, the fountains, every region near Seem'd all one mutual cry: I never heard So musical a discord, such sweet thunder.

Hippolyta in A Midsummer Night's Dream. Middle of IV.1.

Could great men thunder As Jove himself does, Jove would ne'er be quiet, For every pelting, petty officer Would use his heaven for thunder; Nothing but thunder! Merciful Heaven, Thou rather with thy sharp and sulphurous bolt Split'st the unwedgeable and gnarled oak Than the soft myrtle: but man, proud man, Drest in a little brief authority, Most ignorant of what he's most assured, His glassy essence, like an angry ape, Plays such fantastic tricks before high heaven As make the angels weep; who, with our spleens, Would all themselves laugh mortal.

Isabella in Measure for Measure. II.2. Christian argument

Not with fond shekels of the tested gold, Or stones whose rates are either rich or poor As fancy values them; but with true prayers That shall be up at heaven and enter there Ere sun-rise, prayers from preserved souls, From fasting maids whose minds are dedicate To nothing temporal.

Isabella in Measure for Measure. II.2. Christian argument

We cannot weigh our brother with ourself: Great men may jest with saints; 'tis wit in them, But in the less foul profanation.

Isabella in Measure for Measure. II.2. Christian argument

Because authority, though it err like others, Hath yet a kind of medicine in itself, That skins the vice o' the top. Go to your bosom; Knock there, and ask your heart what it doth know That's like my brother's fault: if it confess A natural guiltiness such as is his, Let it not sound a thought upon your tongue Against my brother's life.

Isabella in Measure for Measure. II.2. Christian argument. Find carnality within yourself

Alas, alas! Why, all the souls that were were forfeit once; And He that might the vantage best have took Found out the remedy. How would you be, If He, which is the top of judgment, should But judge you as you are? O, think on that; And mercy then will breathe within your lips, Like man new made.

Isabella in Measure for Measure. II.2. Christian argument. Mercy gives second creation

As much for my poor brother as myself: That is, were I under the terms of death, The impression of keen whips I'ld wear as rubies, And strip myself to death, as to a bed That longing have been sick for, ere I'ld yield My body up to shame.

Isabella in Measure for Measure. II.4. Her idea of sex is masochistic. She replaces sex with torture and prefers martyrdom to sex. Whipping is eroticized and treasured, which shows that her imagination is equally as diseased as deformation in brothels

Ignomy in ransom and free pardon Are of two houses: lawful mercy Is nothing kin to foul redemption.

Isabella in Measure for Measure. II.4. Language of the gospel. Foul redemption = oxymoron

And 'twere the cheaper way: Better it were a brother died at once, Than that a sister, by redeeming him, Should die for ever.

Isabella in Measure for Measure. II.4. Language of the gospel. She'd suffer damnation

To whom should I complain? Did I tell this, Who would believe me? O perilous mouths, That bear in them one and the self-same tongue, Either of condemnation or approof; Bidding the law make court'sy to their will: Hooking both right and wrong to the appetite, To follow as it draws! I'll to my brother: Though he hath fallen by prompture of the blood, Yet hath he in him such a mind of honour. That, had he twenty heads to tender down On twenty bloody blocks, he'ld yield them up, Before his sister should her body stoop To such abhorr'd pollution. Then, Isabel, live chaste, and, brother, die: More than our brother is our chastity. I'll tell him yet of Angelo's request, And fit his mind to death, for his soul's rest.

Isabella in Measure for Measure. II.4. She acknowledges failure of justice. She sentences her brother to death and claims by resorting to philosophical language that what she does is a reasonable act. What she is doing is exactly the same as Angelo - sentencing her brother to death.

O, pardon me, my lord; it oft falls out, To have what we would have, we speak not what we mean: I something do excuse the thing I hate, For his advantage that I dearly love.

Isabella in Measure for Measure. II.4. She hates sex

Please you to do't, I'll take it as a peril to my soul, It is no sin at all, but charity.

Isabella in Measure for Measure. II.4. She tries to reassure Angelo that forgiving Claudio would not be a sin

O, 'tis the cunning livery of hell, The damned'st body to invest and cover In prenzie guards! Dost thou think, Claudio? If I would yield him my virginity, Thou mightst be freed.

Isabella in Measure for Measure. III.1.

O, I do fear thee, Claudio; and I quake, Lest thou a feverous life shouldst entertain, And six or seven winters more respect Than a perpetual honour. Darest thou die? The sense of death is most in apprehension; And the poor beetle, that we tread upon, In corporal sufferance finds a pang as great As when a giant dies.

Isabella in Measure for Measure. III.1.

There spake my brother; there my father's grave Did utter forth a voice. Yes, thou must die: Thou art too noble to conserve a life In base appliances. This outward-sainted deputy, Whose settled visage and deliberate word Nips youth i' the head and follies doth emmew As falcon doth the fowl, is yet a devil His filth within being cast, he would appear A pond as deep as hell.

Isabella in Measure for Measure. III.1.

O, were it but my life, I'ld throw it down for your deliverance As frankly as a pin.

Isabella in Measure for Measure. III.1. Claims that she would do it but we know she wouldn't

Ay, just; perpetual durance, a restraint, Though all the world's vastidity you had, To a determined scope.

Isabella in Measure for Measure. III.1. Life in prison for what she'd have to do

O you beast! O faithless coward! O dishonest wretch! Wilt thou be made a man out of my vice? Is't not a kind of incest, to take life From thine own sister's shame? What should I think? Heaven shield my mother play'd my father fair! For such a warped slip of wilderness Ne'er issued from his blood. Take my defiance! Die, perish! Might but my bending down Reprieve thee from thy fate, it should proceed: I'll pray a thousand prayers for thy death, No word to save thee.

Isabella in Measure for Measure. III.1. She equates Claudio with Angelo. Both of them are urging her to unspeakable defilement. In her mind, they're fusing together.

O, fie, fie, fie! Thy sin's not accidental, but a trade. Mercy to thee would prove itself a bawd: 'Tis best thou diest quickly.

Isabella in Measure for Measure. III.1. She equates Claudio with Angelo. Both of them are urging her to unspeakable defilement. In her mind, they're fusing together. She as much as Angelo sentences death upon Claudio

In such a one as, you consenting to't, Would bark your honour from that trunk you bear, And leave you naked.

Isabella in Measure for Measure. III.1. Strip as bark on the tree of life and family tree

Look, if it please you, on this man condemn'd, As if my brother lived: I partly think A due sincerity govern'd his deeds, Till he did look on me: since it is so, Let him not die. My brother had but justice, In that he did the thing for which he died: For Angelo, His act did not o'ertake his bad intent, And must be buried but as an intent That perish'd by the way: thoughts are no subjects; Intents but merely thoughts.

Isabella in Measure for Measure. V.1.

A fool, a fool! I met a fool i' the forest, A motley fool; a miserable world! As I do live by food, I met a fool Who laid him down and bask'd him in the sun, And rail'd on Lady Fortune in good terms, In good set terms and yet a motley fool. 'Good morrow, fool,' quoth I. 'No, sir,' quoth he, 'Call me not fool till heaven hath sent me fortune:' And then he drew a dial from his poke, And, looking on it with lack-lustre eye, Says very wisely, 'It is ten o'clock: Thus we may see,' quoth he, 'how the world wags: 'Tis but an hour ago since it was nine, And after one hour more 'twill be eleven; And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot; And thereby hangs a tale.' When I did hear The motley fool thus moral on the time, My lungs began to crow like chanticleer, That fools should be so deep-contemplative, And I did laugh sans intermission An hour by his dial. O noble fool! A worthy fool! Motley's the only wear.

Jaques in As You Like It. Beginning of II.7.

O worthy fool! One that hath been a courtier, And says, if ladies be but young and fair, They have the gift to know it: and in his brain, Which is as dry as the remainder biscuit After a voyage, he hath strange places cramm'd With observation, the which he vents In mangled forms. O that I were a fool! I am ambitious for a motley coat.

Jaques in As You Like It. Beginning of II.7.

And will you, being a man of your breeding, be married under a bush like a beggar? Get you to church, and have a good priest that can tell you what marriage is: this fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel and, like green timber, warp, warp.

Jaques in As You Like It. End of III.3.

Thou concludest like the sanctimonious pirate, that went to sea with the Ten Commandments, but scraped one out of the table.

Lucio in As You Like It. I.2.

Behold, behold. where Madam Mitigation comes! I have purchased as many diseases under her roof as come to--

Lucio in As You Like It. I.2. Jokes about pox in ***** house. Madam Mitigation (the name) links the legal term to replace judgment with mercy and the alleviation of burning sexual desire

Nay, not as one would say, healthy; but so sound as things that are hollow: thy bones are hollow; impiety has made a feast of thee.

Lucio in As You Like It. I.2. Rotten with disease, sin has eaten away

I pray she may; as well for the encouragement of the like, which else would stand under grievous imposition, as for the enjoying of thy life, who I would be sorry should be thus foolishly lost at a game of tick-tack. I'll to her.

Lucio in As You Like It. I.2. Sex for him is a game of ticktack

Ay, why not? Grace is grace, despite of all controversy: as, for example, thou thyself art a wicked villain, despite of all grace.

Lucio in M for M. I.2.

Amen, amen, to that fair prayer, say I; And then end life when I end loyalty! Here is my bed: sleep give thee all his rest!

Lysander in A Midsummer Night's Dream. Beginning of II.2.

O, take the sense, sweet, of my innocence! Love takes the meaning in love's conference. I mean, that my heart unto yours is knit So that but one heart we can make of it; Two bosoms interchained with an oath; So then two bosoms and a single troth. Then by your side no bed-room me deny; For lying so, Hermia, I do not lie.

Lysander in A Midsummer Night's Dream. Beginning of II.2. Pressuring her for sex. They're virtually engaged or "betrothed", meaning they can have sex

Fair love, you faint with wandering in the wood; And to speak troth, I have forgot our way: We'll rest us, Hermia, if you think it good, And tarry for the comfort of the day.

Lysander in A Midsummer Night's Dream. Beginning of II.2. They're lost, he just wants to sleep (with her)

One turf shall serve as pillow for us both, One heart, one bed, two bosoms, and one troth

Lysander in A Midsummer Night's Dream. Beginning of II.2. Very close to assuming marriage vows and assuming that a marriage exists between them. He's basically proposing to her

Helen, to you our minds we will unfold. Tomorrow night, when Phoebe doth behold Her silver viasge in wat'ry glass, Decking with liquid pearl the bladed grass (A time that lovers' flights doth still conceal), Through Athens' gates have we devised to steal.

Lysander in A Midsummer Night's Dream. End of I.1.

Ay me, for aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth: But either it was different in blood -

Lysander in A Midsummer Night's Dream. Middle of I.1.

Or if there were a sympathy in choice, War, death, or sickness did lay siege to it , Making it momentary as a sound, Swift as a shadow, short as any dream, Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth, And ere a man hath power to say Behold!" The jaws of darkness do devour it up: So quick bright things come to confusion.

Lysander in A Midsummer Night's Dream. Middle of I.1.

I am, my lord, as well derived as he, As well possessed; my love is more than his; My fortunes every way as fairly ranked (If not with vantage) as Demetrius'; And (which is more than all these boasts can be) I am beloved of beauteous Hermia. Why should not I then prosecute my right? Demetrius - I'll avouch it his head - Made love to Nedar's daughter, Helena, And won her soul, and she (sweet lady) dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man.

Lysander in A Midsummer Night's Dream. Middle of I.1. Even Hermia's lover uses language of law and property. Spotted = morally spotted, inconstant = unfaithful => Demetrius is morally tainted by what he's done w Helena and his sexual transgression

A good persuasion. Therefore hear me, Hermia. I have a widow aunt, a dowager, Of great revenue, and she hath no child. From Athens is her house remote seven leagues, And she respects me as her only son. There, gentle Hermia, may I marry thee, And to that place the sharp Athenian law Cannot pursue us. If thou lovest me then, Steal forth thy father's house tomorrow night, And in the wood, a league without the town (Where I did meet thee once with Helena To do observance to a mron of May), There will I say for thee.

Lysander in A Midsummer Night's Dream. Middle of I.1. Restorative nature of law

She sees not Hermia. Hermia, sleep thou there: And never mayst thou come Lysander near! For as a surfeit of the sweetest things The deepest loathing to the stomach brings, Or as tie heresies that men do leave Are hated most of those they did deceive, So thou, my surfeit and my heresy, Of all be hated, but the most of me! And, all my powers, address your love and might To honour Helen and to be her knight!

Lysander in A Midsummer Night's Dream. Middle of II.2.

And run through fire I will for thy sweet sake. Transparent Helena! Nature shows art, That through thy bosom makes me see thy heart. Where is Demetrius? O, how fit a word Is that vile name to perish on my sword!

Lysander in A Midsummer Night's Dream. Middle of II.2. He's still constant in his rivalry even though he's inconstant in his love for Hermia.

Content with Hermia? No! I do repent The tedious minutes I with her have spent. Not Hermia but Helena I love: Who will not change a raven for a dove? The will of man is by his reason sway'd; And reason says you are the worthier maid. Things growing are not ripe until their season So I, being young, till now ripe not to reason; And touching now the point of human skill, Reason becomes the marshal to my will And leads me to your eyes, where I o'erlook Love's stories written in love's richest book.

Lysander in A Midsummer Night's Dream. Middle of II.2. REASON is thematic word. He is misguided by love-in-idleness. What he perceives as using reason is really just the love potion talking

Ay, by my life; And never did desire to see thee more. Therefore be out of hope, of question, of doubt; Be certain, nothing truer; 'tis no jest That I do hate thee and love Helena.

Lysander in A Midsummer Night's Dream. Middle of III.2.

Thou canst compel no more than she entreat. Thy threats have no more strength than her weak prayers. Helen, I love thee; by my life, I do: I swear by that which I will lose for thee, To prove him false that says I love thee not.

Lysander in A Midsummer Night's Dream. Middle of III.2.

Why should you think that I should woo in scorn? Scorn and derision never come in tears: Look, when I vow, I weep; and vows so born, In their nativity all truth appears. How can these things in me seem scorn to you, Bearing the badge of faith, to prove them true?

Lysander in A Midsummer Night's Dream. Middle of III.2.

You are unkind, Demetrius; be not so; For you love Hermia; this you know I know: And here, with all good will, with all my heart, In Hermia's love I yield you up my part; And yours of Helena to me bequeath, Whom I do love and will do till my death.

Lysander in A Midsummer Night's Dream. Middle of III.2.

Lysander's love, that would not let him bide, Fair Helena, who more engilds the night Than all you fiery oes and eyes of light. Why seek'st thou me? could not this make thee know, The hate I bare thee made me leave thee so?

Lysander in A Midsummer Night's Dream. Middle of III.2. Judgment deluded

My lord, I shall reply amazedly, Half sleep, half waking: but as yet, I swear, I cannot truly say how I came here; But, as I think,--for truly would I speak, And now do I bethink me, so it is,-- I came with Hermia hither: our intent Was to be gone from Athens, where we might, Without the peril of the Athenian law.

Lysander in A Midsummer Night's Dream. Middle of IV.1.

Isabel, Sweet Isabel, do yet but kneel by me; Hold up your hands, say nothing; I'll speak all. They say, best men are moulded out of faults; And, for the most, become much more the better For being a little bad: so may my husband. O Isabel, will you not lend a knee?

Mariana in Measure for Measure. V.1.

What thou seest when thou dost wake, Do it for thy true-love take, Love and languish for his sake: Be it ounce, or cat, or bear, Pard, or boar with bristled hair, In thy eye that shall appear When thou wakest, it is thy dear: Wake when some vile thing is near.

Oberon in A Midsummer Night's Dream. Beginning of II.2.

About the wood go swifter than the wind, And Helena of Athens look thou find: All fancy-sick she is and pale of cheer, With sighs of love, that costs the fresh blood dear: By some illusion see thou bring her here: I'll charm his eyes against she do appear.

Oberon in A Midsummer Night's Dream. Beginning of III.2.

Flower of this purple dye, Hit with Cupid's archery, Sink in apple of his eye. When his love he doth espy, Let her shine as gloriously As the Venus of the sky. When thou wakest, if she be by, Beg of her for remedy.

Oberon in A Midsummer Night's Dream. Beginning of III.2.

What hast thou done? thou hast mistaken quite And laid the love-juice on some true-love's sight: Of thy misprision must perforce ensue Some true love turn'd and not a false turn'd true.

Oberon in A Midsummer Night's Dream. Beginning of III.2. Puck screwed up

Sound, music! Come, my queen, take hands with me, And rock the ground whereon these sleepers be. Now thou and I are new in amity, And will to-morrow midnight solemnly Dance in Duke Theseus' house triumphantly, And bless it to all fair prosperity: There shall the pairs of faithful lovers be Wedded, with Theseus, all in jollity.

Oberon in A Midsummer Night's Dream. Beginning of IV.1.

Then, my queen, in silence sad, Trip we after the night's shade: We the globe can compass soon, Swifter than the wandering moon.

Oberon in A Midsummer Night's Dream. Beginning of IV.1.

Welcome, good Robin. See'st thou this sweet sight? Her dotage now I do begin to pity. For, meeting her of late behind the wood, Seeking sweet favours from this hateful fool, I did upbraid her and fall out with her. For she his hairy temples then had rounded With a coronet of fresh and fragrant flowers; And that same dew, which sometime on the buds Was wont to swell like round and orient pearls, Stood now within the pretty flowerets' eyes Like tears that did their own disgrace bewail.

Oberon in A Midsummer Night's Dream. Beginning of IV.1. He begins to feel bad about her love for Bottom.

When I had at my pleasure taunted her, And she in mild terms begg'd my patience, I then did ask of her her changeling child; Which straight she gave me, and her fairy sent To bear him to my bower in fairy land. And now I have the boy, I will undo This hateful imperfection of her eyes: And, gentle Puck, take this transformed scalp From off the head of this Athenian swain; That, he awaking when the other do, May all to Athens back again repair, And think no more of this night's accidents But as the fierce vexation of a dream. But first I will release the fairy queen. Be as thou wast wont to be; See as thou wast wont to see: Dian's bud o'er Cupid's flower Hath such force and blessed power. Now, my Titania; wake you, my sweet queen.

Oberon in A Midsummer Night's Dream. Beginning of IV.1. Release her from love-in-idleness. Diana's bud returns deluded lover back to her chastity, monogamy, virginity until marriage and is the antidote to Cupid's flower (love in idleness)

I pray thee give it me. I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine. There sleeps Titania sometime of the night, Lull'd in these flowers with dances and delight; And there the snake throws her enamell'd skin, Weed wide enough to wrap a fairy in: And with the juice of this I'll streak her eyes, And make her full of hateful fantasies. Take thou some of it, and seek through this grove: A sweet Athenian lady is in love With a disdainful youth: anoint his eyes; But do it when the next thing he espies May be the lady: thou shalt know the man By the Athenian garments he hath on. Effect it with some care, that he may prove More fond on her than she upon her love: And look thou meet me ere the first cock crow.

Oberon in A Midsummer Night's Dream. End of II.1.

Thou see'st these lovers seek a place to fight: Hie therefore, Robin, overcast the night; The starry welkin cover thou anon With drooping fog as black as Acheron, And lead these testy rivals so astray As one come not within another's way. Like to Lysander sometime frame thy tongue, Then stir Demetrius up with bitter wrong; And sometime rail thou like Demetrius; And from each other look thou lead them thus, Till o'er their brows death-counterfeiting sleep With leaden legs and batty wings doth creep: Then crush this herb into Lysander's eye; Whose liquor hath this virtuous property, To take from thence all error with his might, And make his eyeballs roll with wonted sight. When they next wake, all this derision Shall seem a dream and fruitless vision, And back to Athens shall the lovers wend, With league whose date till death shall never end. Whiles I in this affair do thee employ, I'll to my queen and beg her Indian boy; And then I will her charmed eye release From monster's view, and all things shall be peace.

Oberon in A Midsummer Night's Dream. End of III.2

Do you amend it then; it lies in you: Why should Titania cross her Oberon? I do but beg a little changeling boy, To be my henchman.

Oberon in A Midsummer Night's Dream. Middle of II.1.

Give me that boy, and I will go with thee.

Oberon in A Midsummer Night's Dream. Middle of II.1.

Having once this juice, I'll watch Titania when she is asleep, And drop the liquor of it in her eyes. The next thing then she waking looks upon (Be it on lion, bear, or wolf, or bull On meddling monkey, or on busy ape) She shall pursue it with the soul of love: And ere I take this charm from off her sight (As I can take it with another herb) I'll make her render up her page to me. But who comes here? I am invisible; And I will overhear their conference.

Oberon in A Midsummer Night's Dream. Middle of II.1.

Well, go thy way. Thou shalt not from this grove Till I torment thee for this injury. My gentle Puck, come hither. Thou rememberest Since once I sat upon a promontory, And heard a mermaid on a dolphin's back Uttering such dulcet and harmonious breath That the rude sea grew civil at her song And certain stars shot madly from their spheres, To hear the sea-maid's music?

Oberon in A Midsummer Night's Dream. Middle of II.1.

Tarry, rash wanton. Am not I thy lord?

Oberon in A Midsummer Night's Dream. Middle of II.1. He asserts patriarchal authority

That very time I saw (but thou couldst not) Flying between the cold moon and the earth, Cupid all arm'd. A certain aim he took At a fair vestal throned by the west, And loosed his love-shaft smartly from his bow, As it should pierce a hundred thousand hearts. But I might see young Cupid's fiery shaft Quench'd in the chaste beams of the watery moon, And the imperial vot'ress passed on, In maiden meditation, fancy-free. Yet mark'd I where the bolt of Cupid fell: It fell upon a little western flower, Before milk-white, now purple with love's wound, And maidens call it love-in-idleness. Fetch me that flower; the herb I shew'd thee once: The juice of it on sleeping eye-lids laid Will make or man or woman madly dote Upon the next live creature that it sees. Fetch me this herb; and be thou here again Ere the leviathan can swim a league.

Oberon in A Midsummer Night's Dream. Middle of II.1. Love in idleness distracts desire from choice

Ill met by moonlight, proud Titania.

Oberon in A Midsummer Night's Dream. Middle of II.1. She does not submit to him

How canst thou thus, for shame, Titania, Glance at my credit with Hippolyta, Knowing I know thy love to Theseus? Didst thou not lead him through the glimmering night From Perigenia, whom he ravished? And make him with fair Aegles break his faith, With Ariadne, and Antiopa?

Oberon in A Midsummer Night's Dream. Middle of II.1. Theseus' mistresses

Charles, I thank thee for thy love to me, which thou shalt find I will most kindly requite. I had myself notice of my brother's purpose herein and have by underhand means laboured to dissuade him from it, but he is resolute. I'll tell thee, Charles: it is the stubbornest young fellow of France, full of ambition, an envious emulator of every man's good parts, a secret and villanous contriver against me his natural brother: therefore use thy discretion; I had as lief thou didst break his neck as his finger. And thou wert best look to't; for if thou dost him any slight disgrace or if he do not mightily grace himself on thee, he will practise against thee by poison, entrap thee by some treacherous device and never leave thee till he hath ta'en thy life by some indirect means or other; for, I assure thee, and almost with tears I speak it, there is not one so young and so villanous this day living. I speak but brotherly of him; but should I anatomize him to thee as he is, I must blush and weep and thou must look pale and wonder.

Oliver in As You Like It. End of I.1. Orlando makes Oliver look bad b/c he naturally has his gentlemanly quality and outshines him. He wants to kill his brother because his brother is liked more and he will have more money.

Now will I stir this gamester: I hope I shall see an end of him; for my soul, yet I know not why, hates nothing more than he. Yet he's gentle, never schooled and yet learned, full of noble device, of all sorts enchantingly beloved, and indeed so much in the heart of the world, and especially of my own people, who best know him, that I am altogether misprised: but it shall not be so long; this wrestler shall clear all: nothing remains but that I kindle the boy thither; which now I'll go about.

Oliver in As You Like It. End of I.1. Orlando makes Oliver look bad b/c he naturally has his gentlemanly quality and outshines him. He wants to kill his brother because his brother is liked more and he will have more money.

By and by. When from the first to last betwixt us two Tears our recountments had most kindly bathed, As how I came into that desert place:-- In brief, he led me to the gentle duke, Who gave me fresh array and entertainment, Committing me unto my brother's love; Who led me instantly unto his cave, There stripp'd himself, and here upon his arm The lioness had torn some flesh away, Which all this while had bled; and now he fainted And cried, in fainting, upon Rosalind. Brief, I recover'd him, bound up his wound; And, after some small space, being strong at heart, He sent me hither, stranger as I am, To tell this story, that you might excuse His broken promise, and to give this napkin Dyed in his blood unto the shepherd youth That he in sport doth call his Rosalind.

Oliver in As You Like It. Middle of IV.3.

If that an eye may profit by a tongue, Then should I know you by description; Such garments and such years: 'The boy is fair, Of female favour, and bestows himself Like a ripe sister: the woman low And browner than her brother.' Are not you The owner of the house I did inquire for?

Oliver in As You Like It. Middle of IV.3.

This was not counterfeit: there is too great testimony in your complexion that it was a passion of earnest.

Oliver in As You Like It. Middle of IV.3.

Twice did he turn his back and purposed so; But kindness, nobler ever than revenge, And nature, stronger than his just occasion, Made him give battle to the lioness, Who quickly fell before him: in which hurtling From miserable slumber I awaked.

Oliver in As You Like It. Middle of IV.3.

When last the young Orlando parted from you He left a promise to return again Within an hour, and pacing through the forest, Chewing the food of sweet and bitter fancy, Lo, what befell! he threw his eye aside, And mark what object did present itself: Under an oak, whose boughs were moss'd with age And high top bald with dry antiquity, A wretched ragged man, o'ergrown with hair, Lay sleeping on his back: about his neck A green and gilded snake had wreathed itself, Who with her head nimble in threats approach'd The opening of his mouth; but suddenly, Seeing Orlando, it unlink'd itself, And with indented glides did slip away Into a bush: under which bush's shade A lioness, with udders all drawn dry, Lay couching, head on ground, with catlike watch, When that the sleeping man should stir; for 'tis The royal disposition of that beast To prey on nothing that doth seem as dead: This seen, Orlando did approach the man And found it was his brother, his elder brother.

Oliver in As You Like It. Middle of IV.3.

I am no villain; I am the youngest son of Sir Rowland de Boys; he was my father, and he is thrice a villain that says such a father begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so: thou hast railed on thyself.

Orlando in As You Like It. Beginning of I.1.

I do so, I confess it. Ah, sirrah, a body would think this was well counterfeited! I pray you, tell your brother how well I counterfeited. Heigh-ho!

Rosalind in As You Like It. Middle of IV.3.

Ay, better than him I am before knows me. I know you are my eldest brother; and, in the gentle condition of blood, you should so know me. The courtesy of nations allows you my better, in that you are the first-born; but the same tradition takes not away my blood, were there twenty brothers betwixt us: I have as much of my father in me as you; albeit, I confess, your coming before me is nearer to his reverence.

Orlando in As You Like It. Beginning of I.1.

I will not, till I please: you shall hear me. My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it: therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by testament; with that I will go buy my fortunes

Orlando in As You Like It. Beginning of I.1.

Besides this nothing that he so plentifully gives me, the something that nature gave me his countenance seems to take from me: he lets me feed with his hinds, bars me the place of a brother, and, as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude: I will no longer endure it, though yet I know no wise remedy how to avoid it.

Orlando in As You Like It. Beginning of I.1.

As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns, and, as thou sayest, charged my brother, on his blessing, to breed me well: and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit: for my part, he keeps me rustically at home, or, to speak more properly, stays me here at home unkept; for call you that keeping for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better; for, besides that they are fair with their feeding, they are taught their manage, and to that end riders dearly hired: but I, his brother, gain nothing under him but growth; for the which his animals on his dunghills are as much bound to him as I.

Orlando in As You Like It. Beginning of I.1. He is entitled by social rank / blood to be educated and to be a gentleman (to take his class position). He's claiming that he is being treated as an animal

Can you remember any of the principal evils that he laid to the charge of women?

Orlando in As You Like It. End of of III.2.

Fair youth, I would I could make thee believe I love.

Orlando in As You Like It. End of of III.2. He's going to try to convince Ganymede that he loves Rosamind

I would not have my right Rosalind of this mind, for, I protest, her frown might kill me.

Orlando in As You Like It. Middle of IV.1.

Dead Shepherd, now I find thy saw of might, 'Who ever loved that loved not at first sight?'

Phebe in As You Like It. Beginning of III.4.

Come; fear you not: good counsellors lack no clients: though you change your place, you need not change your trade; I'll be your tapster still. Courage! there will be pity taken on you: you that have worn your eyes almost out in the service, you will be considered.

Pompey in As You Like It. I.2. To Mistress Overdone

Through the forest have I gone. But Athenian found I none, On whose eyes I might approve This flower's force in stirring love. Night and silence.--Who is here? Weeds of Athens he doth wear: This is he, my master said, Despised the Athenian maid; And here the maiden, sleeping sound, On the dank and dirty ground. Pretty soul! she durst not lie Near this lack-love, this kill-courtesy. Churl, upon thy eyes I throw All the power this charm doth owe. When thou wakest, let love forbid Sleep his seat on thy eyelid: So awake when I am gone; For I must now to Oberon.

Puck in A Midsummer Night's Dream. Beginning of II.2.

Then will two at once woo one; That must needs be sport alone; And those things do best please me That befal preposterously.

Puck in A Midsummer Night's Dream. Beginning of III.2.

Then fate o'er-rules, that, one man holding troth, A million fail, confounding oath on oath.

Puck in A Midsummer Night's Dream. Beginning of III.2. His claim is that fate must have taken charge. Love is just a pageant for him

Captain of our fairy band, Helena is here at hand; And the youth, mistook by me, Pleading for a lover's fee. Shall we their fond pageant see? Lord, what fools these mortals be!

Puck in A Midsummer Night's Dream. Beginning of III.2. His claim is that fate must have taken charge. Love is just a pageant for him. Folly of love

When thou wakest, Thou takest True delight In the sight Of thy former lady's eye: And the country proverb known, That every man should take his own, In your waking shall be shown: Jack shall have Jill; Nought shall go ill; The man shall have his mare again, and all shall be well.

Puck in A Midsummer Night's Dream. End of III.2

And why, I pray you? Who might be your mother, That you insult, exult, and all at once, Over the wretched? What though you have no beauty,-- As, by my faith, I see no more in you Than without candle may go dark to bed-- Must you be therefore proud and pitiless? Why, what means this? Why do you look on me? I see no more in you than in the ordinary Of nature's sale-work. 'Od's my little life, I think she means to tangle my eyes too! No, faith, proud mistress, hope not after it: 'Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream, That can entame my spirits to your worship. You foolish shepherd, wherefore do you follow her, Like foggy south puffing with wind and rain?

Rosalind in As You Like It. Beginning of III.4.

He's fallen in love with your foulness and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. Why look you so upon me?

Rosalind in As You Like It. Beginning of III.4.

I pray you, do not fall in love with me, For I am falser than vows made in wine: Besides, I like you not. If you will know my house, 'Tis at the tuft of olives here hard by. Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better, And be not proud: though all the world could see, None could be so abused in sight as he. Come, to our flock.

Rosalind in As You Like It. Beginning of III.4.

You are a thousand times a properer man Than she a woman: 'tis such fools as you That makes the world full of ill-favour'd children: 'Tis not her glass, but you, that flatters her; And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself: down on your knees, And thank heaven, fasting, for a good man's love: For I must tell you friendly in your ear, Sell when you can: you are not for all markets: Cry the man mercy; love him; take his offer: Foul is most foul, being foul to be a scoffer. So take her to thee, shepherd: fare you well.

Rosalind in As You Like It. Beginning of III.4.

My father loved Sir Rowland as his soul, And all the world was of my father's mind: Had I before known this young man his son, I should have given him tears unto entreaties, Ere he should thus have ventured.

Rosalind in As You Like It. End of I.2. Older Duke loved Oliver/Orlando's father

I'll have no worse a name than Jove's own page; And therefore look you call me Ganymede. But what will you be call'd?

Rosalind in As You Like It. End of I.3. Name represents a prepubescent boy pretending to be a girl pretending to be a boy

No, that same wicked bastard of Venus that was begot of thought, conceived of spleen and born of madness, that blind rascally boy that abuses every one's eyes because his own are out, let him be judge how deep I am in love. I'll tell thee, Aliena, I cannot be out of the sight of Orlando: I'll go find a shadow and sigh till he come.

Rosalind in As You Like It. End of IV.1.

A lean cheek, which you have not, a blue eye and sunken, which you have not, an unquestionable spirit, which you have not, a beard neglected, which you have not; but I pardon you for that, for simply your having in beard is a younger brother's revenue: then your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied and every thing about you demonstrating a careless desolation; but you are no such man; you are rather point-device in your accoutrements as loving yourself than seeming the lover of any other.

Rosalind in As You Like It. End of of III.2.

I have been told so of many: but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it, and I thank God I am not a woman, to be touched with so many giddy offences as he hath generally taxed their whole sex withal.

Rosalind in As You Like It. End of of III.2.

Love is merely a madness, and, I tell you, deserves as well a dark house and a whip as madmen do: and the reason why they are not so punished and cured is, that the lunacy is so ordinary that the whippers are in love too. Yet I profess curing it by counsel.

Rosalind in As You Like It. End of of III.2.

Me believe it? you may as soon make her that you love believe it; which, I warrant, she is apter to do than to confess she does: that is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired?

Rosalind in As You Like It. End of of III.2.

No, I will not cast away my physic but on those that are sick. There is a man haunts the forest, that abuses our young plants with carving 'Rosalind' on their barks; hangs odes upon hawthorns and elegies on brambles, all, forsooth, deifying the name of Rosalind: if I could meet that fancy-monger I would give him some good counsel, for he seems to have the quotidian of love upon him.

Rosalind in As You Like It. End of of III.2.

There is none of my uncle's marks upon you: he taught me how to know a man in love; in which cage of rushes I am sure you are not prisoner.

Rosalind in As You Like It. End of of III.2.

Marry, he trots hard with a young maid between the contract of her marriage and the day it is solemnized. If the interim be but a sennight, Time's pace is so hard that it seems the length of seven year.

Rosalind in As You Like It. End of of III.2. Female is insatiable. Sex restricted by marriage.

I will speak to him, like a saucy lackey and under that habit play the knave with him. Do you hear, forester?

Rosalind in As You Like It. End of of III.2. Scene is juxtaposed by Touchstone trying to seduce Audrey

Yes, one, and in this manner. He was to imagine me his love, his mistress; and I set him every day to woo me: at which time would I, being but a moonish youth, grieve, be effeminate, changeable, longing and liking, proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles, for every passion something and for no passion truly any thing, as boys and women are for the most part cattle of this colour; would now like him, now loathe him; then entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a living humour of madness; which was, to forswear the full stream of the world, and to live in a nook merely monastic. And thus I cured him; and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't.

Rosalind in As You Like It. End of of III.2. Talking a mile a minute like a girl

So was I when your highness took his dukedom; So was I when your highness banish'd him: Treason is not inherited, my lord; Or, if we did derive it from our friends, What's that to me? my father was no traitor: Then, good my liege, mistake me not so much To think my poverty is treacherous.

Rosalind in As You Like It. Middle of I.3.

Were it not better, Because that I am more than common tall, That I did suit me all points like a man? A gallant curtal axe upon my thigh, A boar-spear in my hand; and--in my heart Lie there what hidden woman's fear there will-- We'll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances.

Rosalind in As You Like It. Middle of I.3. Invokes masculine courage as a disguises of necessity. R represents masculinity and femininity as performance. She assume properties of masculinity, acknowledges a biological distinction with courage between men and women, but she will adopt same outside

Nay, you were better speak first, and when you were gravelled for lack of matter, you might take occasion to kiss. Very good orators, when they are out, they will spit; and for lovers lacking--God warn us!--matter, the cleanliest shift is to kiss.

Rosalind in As You Like It. Middle of IV.1.

No, faith, die by attorney. The poor world is almost six thousand years old, and in all this time there was not any man died in his own person, videlicit, in a love-cause. Troilus had his brains dashed out with a Grecian club; yet he did what he could to die before, and he is one of the patterns of love. Leander, he would have lived many a fair year, though Hero had turned nun, if it had not been for a hot midsummer night; for, good youth, he went but forth to wash him in the Hellespont and being taken with the cramp was drowned and the foolish coroners of that age found it was 'Hero of Sestos.' But these are all lies: men have died from time to time and worms have eaten them, but not for love.

Rosalind in As You Like It. Middle of IV.1.

O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But it cannot be sounded: my affection hath an unknown bottom, like the bay of Portugal.

Rosalind in As You Like It. Middle of IV.1.

Say 'a day,' without the 'ever.' No, no, Orlando; men are April when they woo, December when they wed: maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey: I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry; I will laugh like a hyen, and that when thou art inclined to sleep.

Rosalind in As You Like It. Middle of IV.1. Demons of marriage that frustrate men, cuckold's horns are males' nightmares

By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition, and ask me what you will. I will grant it.

Rosalind in As You Like It. Middle of IV.1. Go through mock marriage that could be binding in world of church

Come, woo me, woo me, for now I am in a holiday humour and like enough to consent. What would you say to me now, an I were your very very Rosalind?

Rosalind in As You Like It. Middle of IV.1. She constructs ordeal in order to make her convinced that he loves Rosalind through remedia amorous. She wants to make Orlando prove his love by exposing him to all the crazy things women do.

More strange than true: I never may believe These antique fables, nor these fairy toys. Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt: The poet's eye, in fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination, That if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear!

Theseus in A Midsummer Night's Dream. Beginning of V.1. Antique = grotesque

I must confess that I have heard so much, And with Demetrius thought to have spoke thereof; But, being overfull of self-affairs, My mind did lose it. But, Demetrius, come, And come, Egeus. You shall go with me; I have some private schooling for you both. For you, fair Hermia, look you arm yourself To fit your fancies to your father's will; Or else the law of Athens yields you up (which by no means we may extenuate) To death, or to a vow of single life. Come, my Hippolyta. What cheer, my love? Demetrius and Egeus, go along: I must employ you in some business Against our nuptial and confer with you Of something nearly that concerns yourselves

Theseus in A Midsummer Night's Dream. Middle of I.1.

Fair lovers, you are fortunately met: Of this discourse we more will hear anon. Egeus, I will overbear your will; For in the temple by and by with us These couples shall eternally be knit: And, for the morning now is something worn, Our purposed hunting shall be set aside. Away with us to Athens; three and three, We'll hold a feast in great solemnity. Come, Hippolyta.

Theseus in A Midsummer Night's Dream. Middle of IV.1.

Go, one of you, find out the forester; For now our observation is perform'd; And since we have the vaward of the day, My love shall hear the music of my hounds. Uncouple in the western valley; let them go: Dispatch, I say, and find the forester. We will, fair queen, up to the mountain's top, And mark the musical confusion Of hounds and echo in conjunction.

Theseus in A Midsummer Night's Dream. Middle of IV.1.

My hounds are bred out of the Spartan kind, So flew'd, so sanded, and their heads are hung With ears that sweep away the morning dew; Crook-knee'd, and dew-lapp'd like Thessalian bulls; Slow in pursuit, but match'd in mouth like bells, Each under each. A cry more tuneable Was never holla'd to, nor cheer'd with horn, In Crete, in Sparta, nor in Thessaly: Judge when you hear. But, soft! what nymphs are these?

Theseus in A Midsummer Night's Dream. Middle of IV.1.

I pray you all, stand up. I know you two are rival enemies: How comes this gentle concord in the world, That hatred is so far from jealousy, To sleep by hate, and fear no enmity?

Theseus in A Midsummer Night's Dream. Middle of IV.1. How did this happen?

Come, my lord, and in our flight Tell me how it came this night That I sleeping here was found With these mortals on the ground.

Titania in A Midsummer Night's Dream. Beginning of IV.1.

Come wait upon him; lead him to my bower. The moon, methinks, looks with a wat'ry eye, And when she weeps, weeps every little flower, Lamenting some enforced chastity, Tie up my lover's tongue, bring him silently.

Titania in A Midsummer Night's Dream. End of III.1. The moon = regent goddess of the play, Diana. Enforced chastity = not the kind that Theseus imposes on Hermia, but instead of all female virginity that is taken by force.

Not for thy fairy kingdom. Fairies, away! We shall chide downright, if I longer stay.

Titania in A Midsummer Night's Dream. Middle of II.1.

Perchance till after Theseus' wedding-day. If you will patiently dance in our round And see our moonlight revels, go with us; If not, shun me, and I will spare your haunts.

Titania in A Midsummer Night's Dream. Middle of II.1.

Set your heart at rest: The fairy land buys not the child of me. His mother was a votaress of my order: And, in the spiced Indian air, by night, Full often hath she gossip'd by my side, And sat with me on Neptune's yellow sands, Marking the embarked traders on the flood, When we have laugh'd to see the sails conceive And grow big-bellied with the wanton wind; Which she, with pretty and with swimming gait Following,--her womb then rich with my young squire,-- Would imitate, and sail upon the land, To fetch me trifles, and return again, As from a voyage, rich with merchandise. But she, being mortal, of that boy did die; And for her sake do I rear up her boy, And for her sake I will not part with him.

Titania in A Midsummer Night's Dream. Middle of II.1. Child is token of intimate friendship with a girl, homofiliality

Then I must be thy lady; but I know When thou hast stolen away from fairyland, And in the shape of Corin sat all day, Playing on pipes of corn, and versing love To amorous Phillida. Why art thou here, Come from the farthest steep of India, But that, forsooth, the bouncing Amazon, Your buskined mistress and your warrior love, To Theseus must be wedded, and you come To give their bed joy and prosperity?

Titania in A Midsummer Night's Dream. Middle of II.1. Fighting between matriarchy vs patriarchy. He's helped Hippolata but she's helped Theseus

These are the forgeries of jealousy: And never, since the middle summer's spring, Met we on hill, in dale, forest or mead, By paved fountain or by rushy brook, Or in the beached margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturb'd our sport. Therefore the winds, piping to us in vain, As in revenge, have suck'd up from the sea Contagious fogs; which falling in the land Have every pelting river made so proud That they have overborne their continents: The ox hath therefore stretch'd his yoke in vain, The ploughman lost his sweat, and the green corn Hath rotted ere his youth attain'd a beard; The fold stands empty in the drowned field, And crows are fatted with the murrion flock; The nine men's morris is fill'd up with mud, And the quaint mazes in the wanton green For lack of tread are undistinguishable.

Titania in A Midsummer Night's Dream. Middle of II.1. Nature's change comes from their marital discord and failure to continue marital sexual rations. Sexual love is not trivial here, it's the perpetuation of family lines

The human mortals want their winter cheer; No night is now with hymn or carol blest: Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound: And thorough this distemperature we see The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose, And on old Hiems' thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set: the spring, the summer, The childing autumn, angry winter, change Their wonted liveries, and the mazed world, By their increase, now knows not which is which: And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.

Titania in A Midsummer Night's Dream. Middle of II.1. The seasons have been disrupted because of their broken marriage

What, jealous Oberon? Fairies, skip hence. I have forsworn his bed and company.

Titania in A Midsummer Night's Dream. Middle of II.1. They aren't having sex

I pray thee, gentle mortal, sing again: Mine ear is much enamour'd of thy note; So is mine eye enthralled to thy shape; And thy fair virtue's force perforce doth move me On the first view to say, to swear, I love thee.

Titania in A Midsummer Night's Dream. Middle of III.1.

Out of this wood do not desire to go: Thou shalt remain here, whether thou wilt or no. I am a spirit of no common rate; The summer still doth tend upon my state; And I do love thee: therefore, go with me; I'll give thee fairies to attend on thee, And they shall fetch thee jewels from the deep, And sing while thou on pressed flowers dost sleep; And I will purge thy mortal grossness so That thou shalt like an airy spirit go. Peaseblossom! Cobweb! Moth! and Mustardseed!

Titania in A Midsummer Night's Dream. Middle of III.1.

As the ox hath his bow, sir, the horse his curb and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.

Touchstone in As You Like It. End of III.3. Fear of the horns and cuckoldry.