Quotes:
Soliloquy:
Shakespeare In the Everyday
The Taming of the Shrew
"I will be master of what is mine on.
She is my goods, my chattels. She is my house,
My house-hold stuff, my field, my barn,
My horse, my ox, my ass, my anything,
And here she stands, touch her whoever dare."
This quote is coming from Petruccio as he states that way that things will be once he is married to Katherine. Shakespeare had to know what he was doing in creating a man that is so brutish that he would consider Katherine as property. Naturally, that was the way of the world but to classify her as, "My horse, my ox, my ass, may anything," is taking it a bit too far.
I suppose that the reason that he too is being "shrewish" is to compete with Kate. But many ask why she is being shrewish? I think that it is because she is not really wanted in the way that she would wish. She sees Bianca as having the fame and fortune that would accompany someone of her beauty. But then Petruccio enters the picture. Everyone in the household thinks that he is going to be the greatest thing to happen to Kate. Kate, on the other hand, does not agree. The plot is that Bianca cannot be wed until her sister Katherine. This sounds like a job for Petruccio. (What a windbag) He is burly man who thinks brute force is the answer to getting Kate on the right track. Boy was he wrong.
When Petruccio begins proclaiming that Katherine is his, her father is present. Of course, he doesn�t mind that his future son-in-law is going to treat his daughter like a priceless artifact. In fact Petruccio states, "They shall not touch thee, Kate. / I�ll buckler thee against a million." (3.3.109-10) This proves that he is warning any and all who may touch and even gaze upon her. Who would want a life like that? Were I in Kate�s shoes, I�d run and be as shrewish as possible.
The other thing that gets me about Petruccio�s quote is his dominating expressions. Granted he is a big man, but to have to act as if his word were law. He is a guest in the Baptista�s home and yet he acts like he can run the place just like he runs Kate. When he claims that he will be "master of what is mine own" it shows that he hasn�t one iota of compassion for Katherine�s feelings. Typically, and I can say this with expertise, it�s a man thing because during that time period it was common that the woman was part of the property of marriage. I think that it holds true for Petruccio, who feels that women are property.
In conclusion, this quote encompasses everything that women strived for and succeeded against: suffrage. Were themes reversed and the entire society was female dominant, I could see Petruccio as Kate. He has the same shrewish manner, only in a masculine form. Most reader like myself would see the point of Katherine, a woman that is experiencing suffrage in an extreme situation. Having to
marry someone should be for
love and companionship, not for the other sister to be married. Petruccio
means well but should see that marriage doesn�t entitle you to run and
ruin the life of another, which is exactly what he does. Kate�s giving
in shows her way of bringing peace to both lives, hers and Petruccios.
The Merchant of Venice
"Who chooseth me must give and hazard all he hath."
This particular quote comes from Portia confessing to Nerissa her detest at the thought of a man to choose for her love, especially when she has a love in her sights. As each suitor comes to call on Portia, they must choose between three caskets, sort of like a treasure chest. One is made of gold, one of silver and the other is made of lead and each of them have the quote: "Who chooseth me must give and hazard all he hath. This is not by her choosing. Portia is being made to endure this ritual by her father�s will; Portia cannot pick a husband on her own. This shows that Portia has no power in making life-changing decisions, but does so, on her own, throughout the play. Shakespeare may have done this because she is a woman. (Although, Portia winds up dressing as a man in order to save Antonio.)
During the play suitors have a choice between three different caskets. In this way the suitors must hazard fate in order to gain Portia. The golden casket is beautiful yet empty, much like the love between Portia and the suitors. It�s not really love, rather lust for the dowry that she will have upon the marriage, not to mention the estate. The silver casket is much the same in that it holds not true value yet the suitors choose it out of misbegotten greed. Then of course there is the lead one�relating back to the phrase: "you can�t judge a book (or box in this case) by its cover." Readers may find it funny that Bassiano choose the lead casket. In act 3, scene 2, Bassiano will "none of thee" gold casket nor of the "pale and common drudge." (lns; 101-4) Nevertheless, he chooses correctly and gains Portia, but like Portia stating, "Who chooseth me must give�." she must give too. All that she owns is now Bassanios but Portia is not without a way of keeping what is hers.
The quote on the casket has
different meanings for the characters, Portia and Bassinao. With love,
there is a risk; a temptation of fate in order to have that love. The choosing
of the caskets forewarns the suitor and then having the same choice bought
on Portia. Fate challenges us to do what our heart tells us. For Bassanio
it was a good choice.
Romeo and Juliet
That unsubstantial death is amorous,
And that the lean abhorred monster keeps
Thee here in the dark to be his paramour?
For fear of that I still will stay with thee,
And never part from this pallet of dim night
Depart again. Here, here will I remain
With worms that are thy chambermaids. O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh."
(5.3.101-112)
This quote is found within the lines Romeo is speaking after finding Juliet dead in the tomb. Juliet has "faked" death in order to be free from the conflict that plagues both she and Romeo. Romeo actually thinks that she is dead and feels despair at his and her loss. The line, "Why art thou yet so fair?" shows us that even in death, Juliet is still beautiful. Naturally, she would be, because the physical aspects of death do not happen right away. Even still, she is not really "dead" just sleeping really hard. Death in this quote has been compared to two different things: a form and love and a monster.
The form of love is when Romeo is comparing this death and beauty to something that is so lovely and "amorous." But then he forms a darker opinion by saying that death is a "monster", keeping Juliet for himself. This is a typical thought that Shakespeare gives Romeo because death is something that will never let go of the victim. I cannot see love as "amorous" or beautiful. It is something that is dark and final yet Romeo is trying to look at death from a different side.
His solution to this tragedy is to take his own life and join Juliet in a tomb that will be their castle and the "worms that are thy chambermaids." It�s a gruesome picture thinking about worms that will surround you in death, but I see Romeo thinking realistically. I think that he realizes that death is dirty and that worms are part of death. He states that he will never leave this room and stay with Juliet for the rest of eternity. I also like the way that Romeo is still being heroic even as he faces death in two forms: that of a loved one and of his self. He fears that the "monster" named death will keep Juliet and for that he must brave physical death to save her. I thought it was interesting the way Shakespeare is showing that in death love can be saved; a very romantic point of view on his part.
The final three lines show the finality of Romeo and ultimately Juliet. Romeo is setting up his "everlasting rest," unknowing that Juliet is truly alive. I think that this point marks the tragic view of the play. Romeo is dying for love, whether it is in the form of death or in a physical characteristic. As he "shakes the yoke of inauspicious stars / From this world-wearied flesh," we see that he has nothing to live for on the Earth. Battling families that would, no doubt, blame him for the death of Juliet leads him to his only option�Romantic Death. In the end the "star-crossed lovers" are still together in love.
Henry IV, Part I
"My reformation, glitt�ring o�er my fault,
Shall show more goodly and attract more eyes
Than that which hath no foil to set it off.
I�ll so offend to make offence a skill,
Redeeming time when men think least I will."
This quote is part of a soliloquy that is spoken by Prince Harry, better known as Hal. This soliloquy is both speaking to the audience and to Harry, himself. In the beginning of the play we see Hal as being a sissy within the court. His father, King Henry, is ashamed of his son. Hal is a passive character that sits around and detests the essence of war and getting involved with it. On the other hand, there is a character, Hotspur, who is the exact opposite of what Hal is. Henry knows this and has often wished Hotspur were his son, rather the embarrassment that Hal is. I see this, as being a conflict between father and son and the pivotal period, which brings both men to a climax that, needs resolution.
As we look at the quote we begin to see a "glitt�ring" that shows promise that Hal will overcome this sluggish nature and begin to show some backbone. "My reformation," refers to his transformation into a better, braver man. Hal will become a man glittering with newfound power that will attract the eye of many in the land. I like the way that Shakespeare uses the "foil" idea, as though a fake knight who rides into battle with nothing but flimsy tin to shield himself.
For Hal, this is a rite of passage. He finally sees that it is time to shake off the dust from sitting around and doing nothing for much of his life. It is his time to shine and become a man without a care
I can see Hal�s predicament in becoming a stronger person and overcoming the shadow of his father. It�s interesting that Shakespeare would be able to see into the psychological aspect of a human being. One may question whether it is a replicate from sins of the father. Could the problems of the country and the methods of gaining power something that would effect Hal, or is Hal really a boy who has finally seen the "light" and is tired of being in the shadow of others, especially those that are not even in his family.
To conclude, I think it is
great to see another figure coming out of his shell and taking life by
the horns. Shakespeare has taken a passive character and turned him into
a pivotal character that we should take a look at. Hal�s quote/soliloquy
shows us, the audience, that he wants the audience to realize that he is
going to be a key player in the storyline.
As You Like It
"Then is there mirth in heaven
When earthly thinks made even
Atone together."
(5.4.97-9)
From the beginning of line 97, we see Hymen coming into the court singing a verse to the duke. Following Hymen is Rosalind and Celia representing themselves after their trek through the woods to find Orlando and test his love for Rosalind. Hymen is the God of marriage, which is odd, since in Greek mythology, the mantel of marriage belongs to a woman.
The quote is describing how Hymen has brought Rosalind back from the wooded fantasy of misrule. He asks that the Duke "receive" Rosalind, as if asking him to forgive her in front of Orlando. He naturally has to boast that he has come from Heaven just to deliver Rosalind. Through all this, Celia is over looked and no mention has been made of her.
Hymen mentions that events are uniting together, the Duke has gotten his position back and Rosalind finally has the love of Orlando. Finally, everything is coming back together, a typical sign of Shakespeare�s plays. But I don�t think that Rosalind has really come back full circle. Prior to Hymen bringing them back, she and Celia were degrading themselves as women by dressing as men, thinking that a man could speak to another man on the matter of love. At line 105, we see Rosalind giving herself, first to her father then to Orlando. At the beginning she had power in which she could dress the part of a man and test for love. Now she is giving herself over to not one, but two men.
Now we have Hymen asking for the Duke to bless Orlando and Rosalind in marriage. Hymen, being the God of Marriage, sees the love that exists between Orlando and Rosalind. Now we see that "Jack will have Jill" and everything is showing signs of coming together.
I think that this quote looks at the ending of the play, giving an insight
to what is going to happen. Typically, we see this happen in romantic comedies
will end everything coming together. If we remember from the beginning
we will see that there is the time of misrule in the forest. Once Hymen
brings
Rosalind and Celia into the palace, we are viewing a sense of control.
Although, this control has proven to be for the best, we see that Rosalind
has given up her power. I think it sad that she had power to move about
a forest with freedom, no restraints. Now that Hymen has brought her back
to the land of control, she has to sacrifice her "freedom" for love.
As You Like It
"O yes, into a thousand similes.
First for his weeping in to the needless stream;
�Poor deer,� quoth he, �thou mak�st a testament
As worldlings do, giving thy sum of more
To that which had too much.� Then being there alone,
Left and abandoned of his velvet friend,
�Tis just the fashion. Wherefore should you look
Upon that poor and broken bankrupt there?�
Thus most invectively he pierceth through
The body of the country, city, court,
Yea, and of this our life, swearing that we
Are mere usurpers, tyrants, and what�s worse,
To fright the animals and to kill them up
In their assigned and native dwelling place.
(2.2.45-64)
This quote comes in toward the beginning of the play, during the exile of the court. During this time the First Lord is reporting on the activities of Jaques, after killing a deer. The court is exiled into the forest and this provides a time of misrule�where there is no real time. I think that this fantasy world is exactly what Jaques is looking for. He has gotten used to the world apart from reality.
I see many play on words in this quote; for instance, the term "deer" could be represented as something dear to Jaques. In this case, it actually was. But why does Jaques get so up set with the death of a single animal? I think it relates to his feeling secure in the fantasy world. By killing the deer in the woods, that was destroying a part of his world that Jaques does not want to let go of.
When Jaques claims that the deer is making a testament, he means that it symbolizes something to him, possibly the death of his world. This is the reason that he doesn�t return at the end of the play. As the First Lord is mentioning how sad and lowly Jaques is, we could read it as saying that he is too happy to return and be miserable in the reality. Jaques even goes as far to name the killers tyrants and that they purposefully went in search of the animal and killed it, as if they were trying every way to get out of the fantasy that Jaques likes.
I liked this quote because it was showing through the eyes of someone
and telling the sorrow of another. The First Lord was making Jaques predicament
out to be something silly and not worth mentioning, if only to tease at
him. I think that I would know what Jaques is feeling, having a world that
he enjoys, with no worries. Naturally, Jaques, who�s name is reference
to the toilet, would be the character that has the problem coping with
reality.
Soliloquy from Henry IV
"I am accursed to rob in that thief�s company. The
rascal hath removed my horse and tied him I know not where.
If I travel but four foot by the square further afoot, I shall break
my wind. Well, I doubt not but to die a fair death, for all
this�if I scape hanging for killing that rogue. I have forsworn
his company hourly any time this two-and �twenty years, and yet
I am bewitched with the rogue�s company. If the rascals have
Not given me medicines to make me love him, I�ll be hanged.
It could not be else: I have drunk medicines. "
(2.2.11-19)
Falstaff speaks this soliloquy after he is drunk from drinking the "medicines and brought along to rob people with Prince Harry (Hal). Hal, Poins, Peto and Bardolph have left the stage while Falstaff is contemplating his future as either a criminal or a free man. Falstaff claims that his horse has been confiscated and he is being forced to participate with Hal. He tries to think of reasons for his helping this "rouge�s company" and contemplates killing the Prince, claiming that, "Well, I doubt not but to die a fair death, for all / This�if I scape hanging for killing that rogue." (ln. 14-15)
When Falstaff claims that he is under a spell or potion that would make him want to help Hal and the rest, he is speaking of the "medicines" that have made him drunk. Falstaff is worried since Poins is not with the group for fear that he is leaving them to betray their actions. The group is getting ready to jump Gadshill and Chamberlain as they travel the roads. Falstaff really does not want to be part of this. He points out that "the rascal have / Not given me medicines to make me love him, I�ll be hanged." Shakespeare adds a touch of magic to the scene, making Falstaff think that a love potion has been given to make him work with his "friends."
This soliloquy is a shorter one than most but provides the audience and reader with insight to what the character is thinking. Shakespeare is making Falstaff a comic portion that is forced to make decisions while under the influence. Either he risks running away and being followed by a man who knows all the land or stay and risk being hanged for a crime against his will. Shakespeare gives us the decision as we read whether Falstaff is guilty or not based on our previous observations.
Soliloquy from: Titus Andronicus
"He that had wit would thank that I had none,
To bury so much gold under a tree
And never after to inherit it.
Let him that thinks of me so abjectly
Know that this gold must coin a stratagem
Which cunningly effected, will beget
A very excellent piece of villainy.
And so repose, sweet gold, for their unrest
That they have their alms out of the Empress� chest.
This soliloquy begins act 2, scene 3 in which Aaron has taken a bag of cold that has been buried under a tree. He thinks that everyone else assumes that he has not intelligence and wit and that works well with his plans of revenge. Everything that happens in this act is because of Aaron�s plan of revenge. It spreads from one character to another, forming the problem that ultimately leads their downfall. Aaron even mentions that this is going to be a "good piece of villainy" showing that he has no remorse. Shakespeare has made him a two-sided villain without the thought of frailty and misinterpretation. Lucky for Aaron, the bag of gold, that was buried, is conveniently uncovered and taken as proof that Titus' sons were going to pay a huntsman to do the deed. Aaron now has the upper hand.
With this soliloquy we see another inference to holes and death. Aaron's bag of gold is buried underground; Bassianus' corpse is thrown into a pit; Quintus and Martius are trapped in the same; and Lavinia has her hole violated. I look at the language reflecting horror and fear at the pit--it is "this abhorred pit" (II.iii.98), "some loathsome pit" (II.iii.176), "this unhallowed and bloodstained hole" (II.iii.210), "this fell devouring receptacle" (II.iii.235), "this gaping hollow of the earth" (II.iii.249). The constant reference to the hole as a mark of death, as a sign of the tomb, is curious, especially because so much attention is also drawn to the fertile holes of the two main female characters (Tamora seduces Aaron, Lavinia is raped). Even the last line, where Aaron is mentioning that if anyone wants the gold back, they would have to get it from the Empress� (Tamora) chest. This looks deadly, too, just thinking about the fact that they would have to cut the cold out of her. Of course, the "chest" refers to a trunk with gold in it, but readers may look at this as another evil plan of Aaron�s.
This begins that point where death, murder, mutilation and madness begin to take hold of the characters.
Shakespeare in the Everyday!
"It is better to love and lost than to never have loved at all." (King Lear)
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