Two-Year English Exam

It is nat honeste, it may nought avaunce, For to delen with no swich poraile, But al with riche, and selleres of vitaile; And over al ther as profit sholdee arise, Curteis he was, and lowely of servise. Ther was no man nowher so virtuous: He was the beste beggere in his hous.

-Geoffrey Chaucer/General Prologue -Narrator -he description of the Friar. He is the best beggar in his house, meaning that he makes a lot of money begging from rich people/knew all the richest people and the bartenders (sellers of wine), not necessarily the poor people he was supposed to be helping -continued part of Chaucer's slander of religious officials/being a good beggar means that you are taking advantage of the system, and clearly the friar is not a virtuous man. The seemingly innocent description of the Friar is layered with irony, as are many of Chaucer's other descriptions

In loving thee thou know'st I am forsworn, But thou art twice forsworn; to me love swearing, In act thy bed-vow broke and new faith torn, In vowing new hate after new love bearing. But why of two oaths' breach do I accuse thee, When I break twenty? I am perjured most;

- Shakespeare: Sonnet #152 - two people cheating on each other (him on his wife and her on her husband -hypocritical - continuous repetition of swearing, promises, and oaths

Then my face won't be there to be covered in death; he will carry me away as he goes to ground, gorged and bloodied; he will run gloating with my raw corpse and feed on it alone, in a cruel frenzy fouling his moor-nest. No need then to to lament for long or lay out my body.

-Beowulf -Beowulf -Beowulf imagines his own death, describing in gruesome detail his possible death. Beowulf also says his body might not receive the warrior's send-off if he is carried away by a demon. -"moor-nest," the compound word/Beowulf acknowledging that he may be meeting his ultimate foe--always the looming possibility of his defeat/never underestimates his enemies because he's seen and heard of many great heroes, all of them fallen...

"Now I cannot recall any fight you entered, Unferth, that bears comparison. I don't boast when I say that neither you nor Breca were ever much celebrated for swordsmanship or for facing danger on the field of battle. You killed your own kith and kin, so for all your cleverness and quick tongue, you will suffer damnation in the depths of hell."

-Beowulf -Beowulf -Beowulf knocking down Unferth's confidence in front of the kingdom because Unferth isn't strong enough -Shows that the end goal, protection of your -kin and culture, is far more important than sympathy--no room for weakness in this BRUTAL culture (not much Christianity here...)

Meanwhile, a thane of the king's household, a carrier of tales, a traditional singer deeply schooled in the lore of the past, linked a new theme to a strict meter. The man started to recite with skill, rehearsing Beowulf's triumphs and feats in well-fashioned lines, entwining his words.

-Beowulf -Beowulf -Depicting the story-telling culture of the time/talking about Beowulf's triumphs and how they'll live on... -elps us understand warrior culture in showing that even after Beowulf dies, his famous deeds will be remembered and committed to folklore and songs... ???

"Now is the time when l would have wanted to bestow this armor on my own son, had it been my fortune to have fathered an heir and live on in his flesh."

-Beowulf -Beowulf -In this passage, Beowulf gives Wiglaf his armor, passing on his legacy... -idea of the continuous cycle of heros is a common theme in Beowulf/armor and swords are given a level of reverence by the warriors in this work and so it is important to note that Beowulf is passing on what to him would have been a very valuable and almost spiritual extension of himself

"O flower of warriors, beware of that trap. Choose, dear Beowulf, the better part, eternal rewards. Do not give way to pride. For a brief while your strength is in bloom but it fades quickly: and soon there will follow illness or the sword to lay you low, or a sudden fire or surge of water Or jabbling blade or javelin from the air or repellant age. Your piercing eye will dim and darken; and death will arrive, dear warrior, to sweep you away."

-Beowulf -Hrothgar -Hrothgar is giving Beowulf advice on being a good warrior--telling him about the fragility of being a warrior and the fragility of life -use of words like "bloom"/talking about things that "will" happen/things happen quickly and all of a sudden -->you have no control and life isn't permanent or understood...etc...

They stretched their beloved lord in his boat, laid out by the mast, amidships, the great ring-giver. Far-fetched treasures were piled upon him, and precious gear. I never heard before of a ship so well furbished with battle-tackle, bladed weapons and coats of mail. The massed treasure was loaded on top of him; it would travel far on out into the ocean's sway.

-Beowulf -Narrator -A king is laid out in a lavish funeral pier and sent to float out on the ocean. This is one of the most raw and objectively beautiful scenes in the book and creates a moment of sanctuary from description of bloody battles which otherwise abound. Additionally, it reveals that the real values of the culture are family and love, which because of the time period manifest in horrific gore. -Compound words like "ring-giver, far-fetched, and battle-tackle" that are used for emphasis...lyrical aspects of the poem are brought through in the less bloody sections and remind the reader that this is meant to be sung.

So every elder and experienced councilman among my people supported my resolve to come here to you, King Hrothgar, because all knew of my awesome strength. They had seen me boltered in the blood of enemies when I battled and bound five beasts raided a troll-nest and in the night-sea slaughtered sea-brutes.

-Beowulf -Narrator -Beowulf explaining to Hrothgar how much of a respected and talented warrior he is...not quite boasting because everything he's saying is all very true... -compound words "troll-nest," "night-sea," and "sea-brutes," are again present in Beowulf because they are close to how the original text was written/another look into warrior culture in hearing about Beowulf's triumphs---his "awesome strength" causes enemies to bolt, and therefore he is regarded as a true hero---> how they define heroic

After many trials, he was destined to face the end of his days, in this mortal world, as was the dragon, for all his long leasehold on the treasure. Yet the prince of the rings was too proud to line up with a large army against the sky-plague. He had scant regard for the dragon as a threat.

-Beowulf -Narrator -Beowulf is ready to face his death at the same time as the dragon is/has too much pride as a warrior to bring forth an army to fight the dragon---wants to fight the dragon himself, like he fought Grendel/doesn't regard the dragon as a threat -"Sky-plague," compound noun/the themes of fate and destiny in this passage, because Beowulf is fated to die/we see that pride might have been the ultimate end to Beowulf

Then a powerful demon, a prowler through the dark, nursed a hard grievance. It harrowed him to hear the din of the loud banquet every day in the hall, the harp being struck and the clear song of a skilled poet telling with mastery of man's beginnings.

-Beowulf -Narrator -Introduction of Grendel as a monster who is jealous of the humans/their community/wants to DESTROY their culture - a lot of illustrative alliteration typical of the work/also by giving him feeling-->not 100% evil (Christian vibes?)

There was uproar in Heorot. She had snatched their trophy, Grendel's bloodied hand. It was a fresh blow to the afflicted bawn. The bargain was hard, both parties having to pay with the lives of friends. And the old lord, the gray-haired warrior, was heartsore and weary when he heard the news: his highest-placed adviser, his dearest companion, was dead and gone.

-Beowulf -Narrator -Introduction of Grendel's mother-->getting revenge for her dead son/she ends up killing one of Hrothgar's friends -Again giving the EVIL villain a motive for killing...not quite compassionate but definitely not an evil monster without a thought process-->twisting of warrior and christianity

he had dwelt for a time in misery among the banished monsters, Cain's clan, whom the Creator had outlawed and condemned as outcasts. For the killing of Abel the Eternal Lord had exacted a price; Cain got no good from committing that murder because the Almighty made him anathema and out of the curse of his exile there sprang ogres and elves and evil phantoms and the giants too who strove with God time and again until He gave them their reward.

-Beowulf -Narrator -Starts with Grendel descriptions but morphs into the Biblical story of Cain and Abel, comparing the evil monster to Cain -an intersection between warrior culture and Christianity...

...and, warrior that he was, watched and controlled his God-sent strength and his outstanding natural powers. He had been poorly regarded for a long time, was taken by the Geats for less than he was worth: and their lord too had never much esteemed him in the mead-hall. They firmly believed that he lacked force, that the prince was a weakling; but presently every affront to his deserving was reversed.

-Beowulf -describing Beowulf quite frankly: "god-sent" strength and natural powers/also explains how Beowulf was not always regarded as the awesome hero we think he is--taken by face value, and before he was incredibly impressive, he wasn't celebrated/But now, as the narrator is sure to tell us, Beowulf deserves all the praise he receives. -conflict between God sent strength and natural powers--> warrior vs. Christian

But nathelees, whil I have time and space, Er that I ferther in this tale pace, Me thinketh it accordant to resoun To telle you al the condicioun Of eech of hem, so as it seemed to me, And which they were, and of what degree.

-Geoffrey Chaucer/General Prologue -Narrator -This passage introduces the basic idea of the Tales: each of the 30 people on the pilgrimage will tell two tales each and it is a competition to see who had the best tale/narrator says that he will then explain all there is to know about each of the people on the pilgrimage, which sets up the entire general prologue... -A whole lot of the Canterbury Tales are about description and where better to spot that theme than in a description of what one is about to describe?

At mete wcl ytaught was she withallc: She leet no morsel from hir lippes falle, Ne wette hir fingres in hir sauce deepe; Wei coulde she carye a morsel, and wet keepe That no drape ne fille upon hir brest. In curteisye was set fut muchel hir lest.

-Geoffrey Chaucer/General Prologue -Narrator -This passage is from the description of the nun's desirable manners. -Lots of focus on the body that seems uncharacteristic for a nun, who isn't supposed to express sexuality/also again the preoccupancy on one's manners in order to gage or judge their social standing/Chaucer is exposing the human nature to judge others based on these small things...

Fu! many a daintee horse hadde he in stable, And whan he rood, men mighte his bride! heere Ginglen in a whistling wind as clere And eek as loude as dooth the chapel belle Ther as this lord was kepere of the celle.

-Geoffrey Chaucer/General Prologue -Narrator -a description of the "hunter monk."---a very lavish monk who clearly takes advantage of "earthly pleasures" that he's really not supposed to be all about -a pretty extra monk, with many horses/the bells are as loud as the chapel bells--fantastic irony/the social criticism is take from under the margins in order to be most effective/Chaucer makes the his entire criticism of the clergy by describing them as fairly showy and over the top

In daungcr hadde he at his owene gise The yonge girls of the diocese, And knew hir conseil, and was all hir reed. A garland hadde he set upon his heed As greet as it were for an ale-stake. A bokeler hadde he maad him of a cake.

-Geoffrey Chaucer/General Prologue -Narrator -the summoner; power hint because of all these young girls at his disposal under his domination. He's standing in the ale-house holding a big piece of cake with a garland of greenery, carousing with all the young girls around -Sexual reference with the big pole on his head. Reference to corruption of men in office. Chaucer's view on these guys: gluttonous consumers, dress up in the finery of what knights should have, take advantage of young girls (sexual predators), they call attention to themselves. They are socially sanctioned, the officials are licensed and aware to do these things

M'athinketh that I shat reherce it here, And therefore every gentil wight I praye, Deemcth nought, for Goddes love, that I saye Of yvcl entente, but for I moot reherse Hir tales alle, be they bet or werse, Or ells falscn som of my matcrc. And therefore, whoso list it nought yheere Turne over the leef, and chese another tale.

-Geoffrey Chaucer/The Miller's Prologue -Miller -where the narrator warns his audience that his tale is about to be pretty raunchy and if anyone thinks that they can't handle it, they should just stop listening/he asks for forgiveness of the people and of God before he begins his tale -narrator's warning about the tale stands as a warning for the Canterbury Tales in general/he entire work is lewd and bawdy, not to be read/listened to by the faint of heart

This Nicholas gan mercy for to crye, And spak so faire, and profred hi m so faste, That she hi r love him graunted ate laste, And swoor hir ooth by Saint Thomas of Kent That she wold been at his comandement.

-Geoffrey Chaucer/The Miller's Tale -Miller -Nicholas asks Alison for forgiveness while also trying to make her love him until she swears by Saint Thomas that she will be with him, even though her husband would not approve -that Alison swears on Saint Thomas is pretty ironic--swearing to a religious icon that she will cheat on her husband/part of Chaucer's continued mockery of religion/ ALSO shows that a human's want for love/sex trumps their religious values

But with his mouth he kiste her naked ers, Ful savourly, er he were war of this. Abak he sterte, and thoughte it was amis, For wet he wiste a womman hath no beerd. He feltc a thing al rough and long yherd.

-Geoffrey Chaucer/The Miller's Tale -Miller -describes Allison's trolling Absolon when she makes him kiss her naked ass/he is anticipating lips but instead...you now how it goes HAHA/leads to Absolon's seeking revenge and branding Nicholas, an event which causes a whole bunch of chaos later on... -bawdy writing of Chaucer/says more about the audience than about anyone else/we love gross, sexual, funny stories with slapstick humor and bad jokes/meant to make the crowd laugh...ALSO easier to get meaning across when people are already exposing themselves by laughing at such intimate but grossness... ?

And yit he was to me the moste shrewe: That feele I on my ribbes al by rewe, And evere shal unto myn ending day. But in oure bed he was so fressh and gay, And therewithal so wel could he me glose What that he wolde han my bele chose, That though he hadde me bet on every boon, He coude winne again my love anoon.

-Geoffrey Chaucer/The Wife of Bath's Prologue -Wyf -About her fifth husband/ in bed, he was the most energetic when he wanted her "belle chose" (body)...but he also beat her/he loves him despite his mistreatment of her/he can win back her love through his performance in bed and therefore she remains with him -A woman's sexuality is theme Chaucer explores a lot, as is the theme of relationships between men and women/Usually we think of the Wife of Bath as her very own, independant woman who uses men to her advantage---here it seems the only advantage she gets from this man is sexual performance---but she does still have some power over sex which is contrary to the times (so still has power in that way?)

So that the clerkes be nat with me wrothe, I saye this, that they been maad for bothe That is to sayn, for office and for ese Of engcndrurc, thcr we nat God displese.

-Geoffrey Chaucer/The Wife of Bath's Prologue -Wyf -discussing the purpose of men's genitals and their varied uses./(for the sake of the nuns and clerks that are there) that "they" -- our genitals -- have been made for both business and pleasure, especially for procreation/To not use them for both purposes would be to deny God... -unusual view of virginity and sexuality is justified by her extensive experience with men and love in general--by treating virginity so exclusively, our society is contradicting Genesis: "be fruitful and multiply"/reference to God in this quote is her inarguable defense of her point of view. Who can argue with God?/a reflection of her wisdom that she has acquired throughout her life

Lo, here the wise king daun Salomon: I trowe he hadde wives many oon, As wolde God it levefu) were to me To be refresshed half so ofte as he.

-Geoffrey Chaucer/The Wife of Bath's Prologue -Wyf -points out that Solomon has many wives, and she wishes that she could have as much pleasure as he must've received -uses King Solomon to give an example of a man with many wives and explain that there was nothing wrong with a righteous person being married many times and having a lot of sex. This is part of her justification of all of the sex she has and marriages she's been part of. Using a famous, biblical character validates her argument.

By verray force he rafte hir maidenheed; For which oppression was swich clamour, And swich pursuitc unto the King Arthour, That dampned was this knight for to be deed By course of lawe, and sholde han lost his heed Paraventure swich was the statut tho- But that the quccne and othcrc ladies mo So longe prayeden the king of grace, Ti) he his )if graunted in the place, And yaf him to the queene, al at hir wille, To chese whcither she wolde him save or spille.

-Geoffrey Chaucer/The Wife of Bath's Tale -Wyf -describes the rape of a maiden by a night as described in the Wife of Bath's tale/knight is sentenced to death but then the king changes his mind and allows the queen to determine the punishment of the knight -the woman gets to choose the fate of man=a very Wife of Bath idea/ women are in fact the ones in control of the lives of men, especially in the wife and husband dynamic/a mockery of the "courtly love" and knightly honor (value of Chaucer's time) -- Knights can rape and dishonor themselves, and don't necessarily wait around for proper courtship

Thine age asks ease, and since thy duties be To warm the world, that's done in warming us. Shine here to us, and thou art everywhere; This bed thy center is, these walls thy sphere.

-John Donne/The Sun Rising -male to the sun -saying that his love is far more powerful than the sun/possibly mocking royalty because royalty often referred to as the "sun"/his bed is the center of the sun/he and his lover make up the sun --> the most powerful love there is--> powerful enough to warm the world -using his usual sustained metaphor/bringing it back to sex in the end with the "bed" mention...

By God, if wommen lrnddcn writcn stories, As clerkes han within hi r oratories, They wolde han wri ten of men more wikkednesse Thal a l the merk of Adam may redresse.

-Geoffrey Chaucer/The Wife of Bath's Tale -Wyf -how if women sat down and wrote stories about all of the wicked things that men had done to them, they'd have even worse tales than the story of Adam's sons (Cain and Abel, Cain kills Abel. Great fun!). The biblical allusion is meant to evoke a strong reaction as it is a well known reference to a tale of wickedness, and comparing all men (theoretically) to some OG bible story of wicked actions is a bold move -our "new wave feminist icon," is giving a pretty modern perspective on the lives of women.---calling men "wicked" is a bold move but one that Chaucer comfortably makes in the entire Wife of Bath's tale.--> use of comic character allows for critical ideas

Tomorrow is Saint Valentine's day. All in the morning betime, And I a maid at your window, To be your Valentine. Then up he rose and donned his clo'es And dupped the chamber door, Let in the maid, that out a maid Never departed more.

-Hamlet -Ophelia to the king and queen -When Ophelia comes before everyone and starts losing it, speaking incoherently and singing about nonsense--first about St. Valentine and then about losing her virginity--this is right before her death -Using the song is similar to the "play within a play" device Shakespeare uses earlier on--using a seemingly innocent device to convey a darker meaning/additionally the idea of losing your virginity=losing your innocence→ her clarity and purity has been taken from her... She sort of a slut with her thoughts... LETTING IT ALL SHINE THROUGH ???

O that this too too sullied flesh would melt, Thaw, and resolve itself into a dew.

-Hamlet (1.2) -Hamlet to Hamlet -Hamlet wants to die because he's so overtaken by sadness from his father's death-->shows his weakness because he'd rather die than try and deal with shit...

These indeed seem, For they are actions that a man might play, But I have that which passes show - These but the trappings and the suits of woe.

-Hamlet (1.2) -Hamlet to Polonius -Hamlet is talking to Polonius, saying that the actions he's taking make himself look like or "seem" that he feels grief, but also Hamlet claims that he truly does grieve. He's wearing clothes that connote his mourning, which only hint at how he really feels -ironic that Hamlet is telling Polonius what he really feels because both Polonius and Hamlet are masters (or at least profess to be) of deception. The theme of seeming versus being is also evident here. Hamlet explains how he can pretend to feel one way and knows how to pretend how to feel

This above all, to thine own self be true, And it must follow as the night the day Thou canst not then be false to any man.

-Hamlet (1.3) -Polonius to Laertes -PLOT POINT ??? Here Polonius talks to Laertes telling him to be true and honest to himself. If you are always honest with yourself, you can't be dishonest to someone else/Polonius is our lil snake, obsessed with spying on people so we clearly see a hint of irony. It's funny that Polonius's most famous and "heartfelt" lines are the ones telling his son to be honest when he in fact is obsessed with dishonestly -parent/child loving/suspicious tension & there's the larger theme about seeming and being--how do we really know what is inside a person's head? There's also Polonius's funny relationship with long-winded language-->because he's trying to be so tricky...

Here, as before, never, so help you mercy, How strange or odd some'er I bear myself (As I perchance hereafter shall think meet To put an antic disposition on) That you, as such times seeing me, never shall, With arms encumbered tlms, or this headshake, Or by pronouncing of some doubtful phrase . . . Or such ambiguous giving-out, to note That you know aught of me.

-Hamlet (1.4) -Hamlet to Horatio -Right after he speaks with the ghost -Showing his madness and his childishness--****words vs. action

What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness?

-Hamlet (1.4) -Horatio to Hamlet -Horatio, Marcellus, and Hamlet have encountered the King's ghost/Marcellus and Horatio try to deter him from doing so by playing on his fear of madness/death -metaphor of the cliff and the sea to express the extreme danger that the ghost of the King poses to Hamlet/Following the ghost is equivalent to "signing your death", according to Horatio. Reveals the fear of the supernatural that was extremely common during that time.

I'II wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain.

-Hamlet (1.5) -Hamlet to Hamlet ?? -after first conversation between Hamlet and the ghost that is a catalyst for all the following events that happen throughout the play, the ghost reveals the cause of his death and the unjust manner in which his life was lost. After revealing his murderer to Hamlet and instructing him to avenge his own death, the latter promises to remember and think of nothing else but his father's orders -Upon hearing the truth behind his father's death, Hamlet dains all other concerns and memories in his life irrelevant-->repetition of all the things Hamlet previously took pride in (his intelligence and possibly sanity??) in order to prove how much this new info really means to him...

Remorseless, treacherous, lecherous, kindless villain! Why what an *** am I! This is most brave, That I, the son of a dear father murdered, Prompted to my revenge by heaven and ****, Must like a ***** unpack my heart with words.

-Hamlet (2.2) -Hamlet to Hamlet -passage begins with Hamlet cursing out Claudius for murdering Hamlet Sr. and sleeping with Gertrude--hence the word "lecherous" / Hamlet turns on himself, upset that he hasn't made a move with a revenge plot -Soliloquies=revealing private & true feelings/reference to heaven and hell as driving forces: Shakespeare loves talking about supernatural incentives/pressures for directing action (!!!)

Let her not walk i ' th' sun. Conception is a blessing, but, as your daughter may conceive, friend, look to 't.

-Hamlet (2.2) -Hamlet to Polonius -Hamlet is talking to Polonius telling him to watch out for his daughter (Ophelia) getting pregnant/Seems like Hamlet is insane (or acting like it) because he already knows and should recognize Polonius as the father of the woman he is "courting," but he acts like he doesn't recognize Polonius at all -Whole idea of deception: "we are not what we seem" is clear in Hamlet's manipulation and forged madness & Irony: Hamlet warning Polonius about potential suitors for his daughter when Hamlet himself is a suitor

What should such fellows as I do crawling between earth and heaven? We are arrant knaves all; believe none of us. Go thy ways to a nunnery.

-Hamlet (3.1) -Hamlet to Ophelia -Two interpretations: Hamlet is exclaiming to Ophelia what a bad person he is and that she should remove herself from him and join a literal convent to remain pure OR Hamlet is using the word "nunnery" to mean "whorehouse," and he is instead insulting Ophelia -- > either way it's what drives Ophelia to madness/her death -dual meaning of the word "nunnery" is a Shakespearian technique/modern consciousness: human nature--we are all "arrant knaves" or at least when in a depressive state--same doubts, periods of questioning, and outbursts as Hamlet

'Tis now the very witching time of night, When churchyards yawn, and hell itself breathes out Contagion to this world. Now could I drink hot blood And do such bitter business as the day Would quake to look on.

-Hamlet (3.2) -Hamlet to Gertrude -Hamlet is speaking to himself and saying how he knows all the wrong he can do ??? Evil is contagious -Personification of Hell-->infecting everyone with evil thoughts and intentions??? Shakespeare loves talking about supernatural incentives/pressures for directing action (!!!)

Nay, but to live In the rank sweat of an cnscamed bed, Stewed in corruption, honeying and making love Over the nasty sty -

-Hamlet (3.4) -Hamlet to Gertrude -Hamlet accusing Gertrude of sleeping with Claudius and saying how repulsive he thinks it is... -Hamlet again obsessed with his mother's sexual relationship with Claudius/believes that she's been corrupted and can't get the picture of Claudius and Gertrude having sex on her bed out of his mind-->which is why there's a lot of repetition

For 'tis the sport to have the enginer Hoist with his own petard, and 't shall go hard But I will delve one yard below their mines And blow them to the moon.

-Hamlet (3.4) -Hamlet to Gertrude -Hamlet talking to Gertrude about setting a trap for Claudius and it might possibly backfire but he's still going for it/in her bedroom -Metaphor: to be hoisted on one's own petard means basically to blow oneself up. He's the petard (bomb), and he's going to go under the castle and blow it up even if it blows up himself. DOUBLE SELF SABOTAGE (also knowing his plan might backfire)

But let him come. It warms the very sickness in my heart That I shall live and tell him to his teeth, "Thus didest thou."

-Hamlet (4.7) -Laertes to Claudius -Laertes tells Claudius how he's gladdened by Claudius' plan to kill Hamlet -these set of lines are preceded by L saying that he's "lost in it"-->lost in his insanity and "sickness"/a theme that Shakespeare's strung throughout Hamlet [ ] ???

He hath bore me on his back a thousand times. And how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols, your songs, your flashes of merriment that were wont to set the table on a roar?

-Hamlet (5.1) -Hamlet -Hamlet is holding the skull of Yorick and commenting on how this man he once knew has been reduced to bone-->talking about the aftermath of death-->maybe even thinking about what will become of himself once he's dead -the symbolism of a skull=all the things that once were have been reduced to something negative-->Hamlet's depression [ ]

'Swounds, show me what thou't do. Woo't weep? woo't fight? woo't fast? woo't tear thyself? Woo't drink up eisel? Eat a crocodile? I'l1 do't. Dost come here to whine? To outface me with leaping in her grave? Be buried quick with her, and so will I

-Hamlet (5.1) -Hamlet to Laertes -Hamlet is proclaiming to Laertes all that he'd do to get Ophelia back-->raw emotion is very unlike Hamlet [ ] -absurdity of language and the speed of the lines suggests that Hamlet may be unfolding-->additionally evidence to point to the idea that Hamlet may truly be crazy

Had I but time -as this fell sergeant, Death, Is strict in his arrest -0, I could tell you - But let it be.

-Hamlet (5.2) -Hamlet to Horatio -Right after Laertes dies & Hamlet knows he's going to die & he's saying that with more time he could tell the truth but death is STRICT so he must "let it be"/maybe Hamlet himself doesn't know his own truth...or still doesn't want to admit to himself whatever the hell is going on in his head→ why he gives into death so effortlessly -Personification of death/power of death

and you must needs have heard, How I am punished with a sore distraction. What I have done That might your nature, honor, and exception Roughly awake, I here proclaim was madness.

-Hamlet (5.2) -Hamlet to Laertes -Apologizing to Laertes because he knows they both will die soon & he's proclaiming that all he's done was at the fault of his "madness" --> What does Hamlet really believe? -Use of very strong and abstract words like nature and honor/

Thou arc slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy or charms can make us sleep as well And better than thy stroke; why swell'st thou then? One short sleep past, we wake eternally And death shall be no more; Death, thou shalt die.

-John Donne/Holy Sonnet 10 -Unknown Male to Death -Donne is talking down to Death, telling him that---personification of Death---Christian undertones---Death has died=resurrection---chance and all these other things are what control death and not the other way around

Will no other vice content you? Will it not serve your turn to do as did your mothers? Or have you all old vices spent, and now would find out others? Or doth a fear that men are true torment you? O we are not, be not you so; Let me, and do you, twenty know. Rob me, but bind me not, and let me go. Must I, who came to travail thorough you, Grow your fixed subject, because you are true?

-John Donne/Indifferent -to a woman -Convincing her to have sex with him & that sex is no big deal -human nature stuff/courtly love vs. sexual stuff

Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and 1, and this Our marriage bed and marriage temple is; Though parents grudge, and you, we are met, And cloistered in these living walls ofjet.

-John Donne/The Flea -narrator to woman -trying to convince woman to let him take her virginity because sex is no big deal--she lets a flea get intimate with her so why can't the narrator have sex with her/additionally, their blood has already been mixed within the flea & having sex is no different/trying to convince her that being a virgin isn't necessarily more virtuous than having sex with him -as usual, a sustained metaphor/enormous focus on sex and convincing someone to have sex with him

"In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

-Pride and Prejudice -Darcy -The beginning of Darcy's insulting and disastrous initial proposal to Elizabeth -The fact that he is asking for her permission to tell her his feelings, but at the same time demanding that she allow him; the aggressive tone that is conveyed with the word "must". Although his words seem to be expressing a positive romantic sentiment, they are so forceful that his intended meaning is lost under the commanding atmosphere of the conversation.

"Loss of virtue in a female is irretrievable; that one false step involves her in endless ruin; that her reputation is not less brittle than it is beautiful; and that she cannot be too much guarded in her behaviour toward the undeserving of the other sex."

-Pride and Prejudice -Mary -Mary expresses disgust at the frivolous nature of Lydia and Kitty and preserves her own virtue, unwittingly buying into the standard she is dismantling. -The use of "she" as oppose to "we" or "I", she is kind of disassociating herself from the whole idea of losing virtue/reputation. She is the youngest, so she has never been tempted, allowing her to lecture her sisters without being hypocritical. A woman's reputation is extremely "brittle" because society's expectations and "rules" regarding women are rigid, with no "give".

"From this day you must be a stranger to one of your parents. Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do."

-Pride and Prejudice -Mr. Bennet -Mr. Bennet telling Elizabeth that if she were to accept the proposal, he'd be very disappointed in her (but all Mrs. Bennet cares about is money and marriage so she'll be mortified if Liz rejects...) -Shows the "trap" these whole situations are...and also that Mr. Bennet is a likable character, further criticizing the ridiculous societal ideals that Mrs. Bennet represent and reinforces...

With the Gardiners, they were always on the most intimate terms. Darcy, as well as Elizabeth, really loved them; and they were both ever sensible of the warmest gratitude towards the persons who, by bringing her into Derbyshire, had been the means of uniting them.

-Pride and Prejudice -Narrator -Last sentence of the book... a conclusion of all the families' relationships with each other -Jane Austen ends the novel discussing the Gardiners, but not the Bennett family. Throughout the novel, they are discussed but not in detail, even though they play a pivotal role in bringing characters together. It is a tribute to their agreeable character and a symbol of a new way of life

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.

-Pride and Prejudice -Narrator -Opening line of the book & sets up ideas/actions that will follow...

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be while, why then her breasts arc dun; If hairs be wires, black wires grow on her head.

-Shakespeare: Sonnet #130 -Narrator -all of these great things are NOT like my mistress/at the end, he says that despite her imperfections, he thinks her love is the greatest thing ever -comparisons/metaphors are very stylistically Shakespeare--the excessive use of colors to express a feeling or provide a description on character is another Shakespearean tool

Shall will in others seem right gracious, And in my will no fair acceptance shine? The sea all water, yet receives rain still And in abundance addeth to his store; So thou, being rich in Will, add to thy Will One will of mine, to make thy large Will more. Let no unkind no fair beseechers kill; Think all but one, and me in that one Will.

-Shakespeare: Sonnet #135 -Narrator -as long as you have WILL you'll have it in surplus-----love is plentiful -play on words with his name "Will"----Will as in him, Will as in sexual desire, and Will as in want

But wherefore says she not she is unjust? And wherefore say not I that I am old? Oh, love's best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be.

-Shakespeare: Sonnet #138 -Narrator -how he and his lover lie to each other all the time, but the lies that they both tell are what keep them together. Both party knows that the other is lying but it doesn't matter -play on words with "lie"--have sex and also to tell a falsehood is Shakespearean/Shakespeare tells us that we don't need to tell the truth to trust each other/He trusts his lover because he knows she lies and the same goes for her/What matters is that they lie together, in two different ways...sexy jk

"I cannot express it; but surely you and everybody have a notion that there is or should be an existence of yours beyond you. What were the use of my creation, if I were entirely contained here? My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like the foliage in the woods: time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being."

-Wuthering Heights -Catherine (elder) -This passage is in a conversation between Catherine and Nelly when Catherine ultimately decides to marry Linton over Heathcliff. But here she describes how she loves Heathcliff compared to Linton, and we get a glimpse of the intensity of Catherine and Heathcliff's love. -The overhanging knowledge that at the end of a monologue about loving Heathcliff intensely over loving Linton, Catherine marries Linton, says a lot about the social/class situation of the time. Linton was the choice that Catherine made so that she would have money and be respectable. With Heathcliff, she wouldn't have money and wouldn't be married to anyone with a respectable name, family, or background. Her intense love cannot overwhelm the pressures of the strict society and she chooses Linton. But we still get the sense of how Catherine and Heathcliff's love operates--they feel as though they are connected to each other. And no marrying of someone else changes the fact that they always feel as though they love each other. Brontë makes sure that we don't miss this when Catherine and Heathcliff are reunited, making a statement about the lasting effect of the kind of love that Catherine and Heathcliff possess.

"Nelly, I am Heathcliff - he's always, always in my mind - not as a pleasure, any more then I am always a pleasure to myself - but, as my own being."

-Wuthering Heights -Catherine (the elder) -Here, Catherine is telling Nelly about her love for Heathcliff versus her love for Linton -same as other quote right...?

"Be with me always - take any form - drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I can not live without my life! I can not live without my soul!"

-Wuthering Heights -Heathcliff -Heathcliff is talking to Catherine just after she dies, begging her to be with him even after her death. He's willing to take the blame for her "murder" if it means that he will have her ghost haunting him. -Brontë's very disturbing representation of Heathcliff and Catherine's love manifests in this passage, where we see the very animalistic, primitive side of Heathcliff where he is not focused on the "beautiful" parts of love, but the necessity he feels for his beloved. He needs Catherine as much as he loves her. Just like in Catherine's "I am Heathcliff" speech, Heathcliff says that his very being is tied to Catherine's existence.

Then it flashed upon me -- "The clown at my elbow, who is drinking his tea out of a basin and eating his bread with unwashed hands, may be her husband. Heathcliff, junior, of course. Here is the consequence of being buried alive; she has thrown herself away upon that boor, from sheer ignorance that better individuals existed!

-Wuthering Heights -Lockwood -from the scene when Lockwood first meets Heathcliff and the whole ordeal begins. Lockwood mistakes Hareton for Heathcliff junior, ensuing in outbursts from both Heathcliff and Hareton. Lockwood's first impression of Hareton is that Hareton is a mannerless, vulgar individual, which is the way most people think of him. This initial description sets our entire image of Hareton and that image remains fairly unchanged until the very end of the book. Lockwood also feels that Catherine (the younger) has made a terrible choice in marriage by choosing such a "savage." -Lockwood being judgemental of Hareton. His manners are not up to standard and he is clearly not worthy of Catherine in Lockwood's mind. While it is true that Catherine really didn't know any other eligible bachelors, she made her choice of marriage out of love, as we learn at the end of the book. This passage shows the intent focus on manners and the notion of a "proper" husband for a woman to marry. In Lockwood's mind, Catherine made her choice of marriage out of pure ignorance. Even if he knew about any more about the situation, he would still feel the same, because Hareton does not fit the standard.