Shakespeare

Front 1

It must be by his death; and for my part,
I know no personal cause to spurn at him,
But for the general. He would be crown'd:
How that might change his nature, there's the question.
It is the bright day that brings forth the adder
And that craves wary walking. Crown him that,
and then I grant we put a sting in him
That at his will he may do danger with.
Th' abuse of greatness is when it disjoins
Remorse from power; and to speak truth of Caesar,
I have not known when his affections sway'd
more than his reason. But 'tis a common proof
that lowliness is young ambition's ladder,
Whereto the climber-upward turns his face;
But when he once attains the upmost round,
He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may;
Then lest he may, prevent. And since the quarrel
Will bear no color for the thing he is,
Fashion it thus: that what he is, augmented,
Would run to these and these extremities;
And therefore think him as a serpent's egg,
Which, hatch'd would as his kind grow mischievous,
And kill him in the shell.

Back 1

Brutus trying to cope with the fact that he killed Caesar. Using maxims, logic, reason to distance himself from emotion and grief.

Front 2

Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs, and peep about
To find ourselves dishonorable graves.
Men at some time are masters of their fates;
The fault, dear Brutus, is no tin our stars,
But in ourselves, that we are underlings.
Brutus and Caesar: what should be in that “Caesar”?
Why should that name be sounded more than yours?
Write them together, yours is as fair a name;
Sound them, it doth become the mouth as well
Weigh them, it is as heavy; conjure with ‘em,
“Brutus” will start a spirit as soon as Caesar.
Now in the names of all the gods at once,
Upon what meat doth this our Caesar feed
That he is grown so great? Age, thou art sham’d!
Rome, thou hast lost the breed of noble bloods!
When went there by an age since the great flood
But it was fam’d with more than with one man?
When could they sa, till now, that talk’d of rome,
That her wide walks encompass’d but one man?
Now it is rome indeed and room enough
Bwhen there is in it bu tone only man.
O! you and I have heard our fathers say
There was a brutus once that would havfe brook’d
Th’eternal devil to keep his state in Rome
As easily as a king.

Back 2

Cassius proposing they conspire and kill Caesar

Front 3

That you do love me, I am nothing jealous;
What you would work me to, I have some aim.
How I have thought of this, and of these times,
I shall recount hereafter. For this present,
I would not (so with love I might entreat you)
Be any further mov’d. What you have said
I will consider; what you have to say
I will with patience hear, and find a time
Both meet to hear and answer such high things.
Till then, my noble friend, chew upon this:
Brutus had rather be a villager
Than to repute himself a son of Rome
Under these hard conditions as this time
Is like to lay upon us.

Back 3

-Brutus, responding to Cassius’ proposal to kill Caesar; Logical, carefully thought-out, taking his time.

Front 4

Good reasons must of force give place to better:
The people twixt Philippi and this ground
Do stand but in a forc'd affection
For they have grudg'd us contribution
The enemy, marching along by them,
By them shall make a fuller number up,
Come onrefresh'd, new-added, and encourag'd;
From which advantage shall we cut him off
If at Philippi we do face him there,
These people at our back...
Under your pardon. You must note beside
That we have tried the utmost of our friends,
Our legions are brimful, our cause is ripe:
The enemy increaseth every day;
We, at the height, are ready to decline.
there is a tide in the affairs of men,
Which taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat,
And we must take the current when it serves,
Or lose our ventures."

Back 4

Brutus, to Cassius, deciding how to march to Philippi. Thinks he knows human nature but he does not. Over-estimates his self-worth.

Front 5

Even by the rule of that philosophy
By which I did blame Cato for the death
Which he did give himself-I know not how,
But I do find it cowardly and vile,
For fear of what might fall, so to prevent
The time of life-arming myself with patience
To stay the providence of some high powers
that govern us below.

Back 5

-Brutus, saying suicide is cowardly, one should be more rational.

Front 6

Well, Brutus, thou art nobe; yet I see
Thy honorable mettle may be wrought
From that it is dispos'd; therefore it is meet
That noble minds keep ever with their likes;
For who so firm that cannot be seduc'd?
Caesar doth bear me hard, but he loves Brutus.
If I were Brutus now and he were Cassius
He should not humor me. I ill this night,
In several hands, in at his windows throw,
As if they came from several citizens,
Writings, all tending to the great opinion
That Rome holds of his name; wherein obscurely
Caesar's ambition shall be glanced at.
And after this let Caesar seat him sure,
For we will shake him, or worse days endure.

Back 6

Cassius talking about Brutus, playing on his sense of self-worth; foreshadowing of his intentions to use this to manipulate Brutus.

Front 7

Be patient till the last. Romans, countrymen, and lovers...Believe me for mine honor, and have respect to mine honor, that you may believe. Censure me in your wisdom and awake your senses, that you may the better judge. If there be any in this assembly, any dear friend of Caesar's, to him I say that Brutus' love to Caesar was no less than his...Not that I lov'd Caesar less, but that I lov'd Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all freemen? ...As he was ambitious, I slew him. There is tears for his love; joy for his fortune; honor for his valor; and death for his ambition. ..Who is here so vile that will not love his country?

Back 7

Brutus is "justifying" his murder of Caesar, appealing to the crowd's reason rather than emotion, typical of his stoicism. Speaks of "honor" that he is obsessed with, even though it is his attempts for nobility that end up harming him later. Appeals to patience, honor, wisdom, tells others to think slowly. Stresses nationalism/patriotism.

Front 8

I come to bury Caesar, not to praise him.
The evil that men do lives after them,
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious;
If it were so, it was a grievous fault,
and grievously had Caesar answer'd it...Brutus is an honorable man
He hath brought many captives home to Rome,
whose ransoms did the general coffers fill;
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious
And Brutus is an honorable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ammbition?
Yet Brutus says he was ambitious,
And sure he is an honorable man...
O judgment! thou art fled to brutish beasts
And men have lost their reason. Bear with me,
My heart is in the coffin there with Caesar,
and I must pause till it come back to me.

Back 8

Antony's funeral speech-being overly emotional and melodramatic, appeals to the plebians so that he has them in the palm of his hand and can easily manipulate them to conspire against Brutus, Cassius, etc. Talks of concrete things: refusing crown

Front 9

But yesterday the word of Caesar might
Have stood against the world; now lies he there,
And none so poor to do him reverence.
O masters! if I were dispos'd to stir
Your hearts and minds to mutiny and rage...But here's a parchment with the seal of Caesar,
I found it in his closet, 'tis his will,
Let but the commons hear this testament-
Which, pardon e, I do not mean to read-
And they would go and kiss dead Caesar's woulds,
And dip their napkins in his sacred blood;
Yea, beg a hair of him for memory,
And dying, mention it within their wills,
Bequeathing it as a rich legacy unto their issue.

Back 9

Antony continuing to appeal to others' emotions to gain support. Uses concrete things again: Caesar's will.
Suggests Caesar loved the people and they owe it to him to return that love.

Front 10

"O, pardon me, thou bleeding piece of earth,
that I am meek and gentle with these butchers!
Thou art the ruins of the noblest man
That ever lived in the tide of times.
Woe to the hand that shed this costly blood!
Over thy woulds now do I prophesy
...A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
Blood and destruction shall be so in use,
And dreadful objects so familiar,
That mothers shall be smile when they behond
Their infants quartered with the hands of war..."

Back 10

Another of Antony's emotional speeches right after death of Caesar.

Front 11

Our course will seem too bloody to cut the head off and then hack the limbs-
Like wrath in death and envy afterwards;
For Antony is but a limb of Caesar.
Let's be sacrificers, but not butchers.
We all stand up against the spirit of Caesar,
and in the spirit of men there is no blood;
O that we then could come by Caesar's spirit,
And not dismember Caesar! But, alas,
Caesar must bleed for it! And, gentle friends,
Let's kill him boldly, but not wrathfully;
Let's carve him as a dish fit for the gods,
Not hew him as a carcass fit for hounds;
And let our hearts, as subtle masters do,
Stir up their servants to an act of rage,
and after seem to chide 'em.
This shall make our purpose necessary, and not envious;
Which so appearing to the common eyes,
We shall be call'd purgers, not murderers.
And for Mark Antony, think not of him;
For he can do no more than Caesar's arm
When Caesar's head is off.

Back 11

Brutus, again trying to make the murder of Caesar seem noble and rational.

Front 12

Villains! you did not so, when your vile daggers
Hack'd one another in the sides of Caesar.
You show'd your teeth like apes, and fawn'd like hounds,
And bow'd like bondmen, kissing Caesar's feet;
Whilst damned Casca, like a cur, behind
Strook Caesar on the neck. O, you flatterers!

Back 12

Antony describes the conspirators' killing of Caesar-though they pretend to be stoic, rational, passionless, they killed him violently and fervently. Nature of man.

Front 13

Character traits:
susceptible to flattery, false sense of infallibility, arrogant, ambitious, thinks he is superior to others

Back 13

Caesar

Front 14

selfless, patriotic, idealistic, noble

Back 14

Brutus

Front 15

impulsive, pleasure-seeking, passionate, spontaneous, resourceful, unscrupulous

Back 15

Antony

Front 16

Character traits:
Stoic, skeptical, unwilling to believe things he has not yet see

Back 16

Horatio

Front 17

What art thou that unsurp'st this time of night
Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march? By heaven I charge thee speak!

Back 17

Horatio, addressing ghost. The word "sometimes" indicates that the king (Hamlet) has died, and immediately after this order the ghost is offended, possibly by Horatio's use of the word "heaven."

Front 18

If there be any good thing to be done
That may to thee do ease and by grace to me, Speak to me.
If thou art privy to thy country's fate, Which happily foreknowing may avoid, O speak! Or if thou hast uphoarded in thy life
Extorted treasure in the womb of earth
For which, they say, your spirits oft walk in death,
Speak of it, stay and speak!

Back 18

Horatio, giving the ghost three reasons for which it might speak to him, trying to determine why it has come.

Front 19

Character traits:
Shrewd, statesmanlike, diplomatic

Back 19

Claudius, Hamlet's uncle and now, stepfather

Front 20

Seems, madam? nay, it is, I know not "seems."
'Tis not alone my inky cloak, Nor customary suits of solemn black,
Nor windy suspiration of forc'd breath,
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly. These indeed seem,
for they are actions that a man might play,
But I have that within which passes show,
These but the trappings and the suits of woe.

Back 20

Hamlet cannot physically express ("seems") grief for father's death, can't judge by external appearance the pain he feels inside, (unlike other characters) Hamlet's not trying to deceive others with his appearance

Front 21

'Tis sweet and commendable in your nature, Hamlet,
to give these mourning duties to your father.
But you must know your father lost a father,
That father lost, lost his and the survivor bound in filial obligation for somet erm to do obsequious sorrow. But to persever In obstinate condolement is a course of impious stubbornness, 'tis unmanly grief...

Back 21

King Claudius tries to persuade Hamlet that mourning will do him no good and he should be manly and move on.

Front 22

...How weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on't, ah fie! 'tis an unweeded garden
That grows to seed, things rank and gross in nature possess it merely.
That it should come to this!
But two months dead, nay, not so much, not two.
so excellent a king, that was to this
Hyperion to a satyr, so loving to my mother...Why, she should hang on him As if increase of appetite had grown
By what it fed on, and yet, within a month-
Let me not think on't! Frailty, thy name is woman!
...O god, a beast that wants discours of reason
Would have mourn'd longer-married with my uncle,
My father's brother, but no more like my father
Than I to Hercules...to post
With such dexterity to incestious sheets,
It is not, nor it cannot come to good,
But break my heart, for I must hold my tongue.

Back 22

Hamlet's first soliloquy, expressing how upset he is with mother's lack of mourning and almost immediate incestious marriage.

Front 23

Think it no more:
for nature crescent does not grow alone
In thews and bulk, but as this temple waxes,
the inward service of the mind and soul
Grows wide withal. Perhaps he loves you now,
and now no soil nor cautel dot besmirch
The virtue of his will, but you must fear,
His greatness weigh'd, his will is not his own,
for he himself is subject to his birth:
He may not, as unvalued persons do,
Carve for himself, for on his choice depends
The safety and health of this whole state...Fear it, Ophelia, fear it, my dear sister, and keep you in the rear of your affection...The canker galls the infants of the spring
Too oft before their buttons be dislos'd,
And in the morn and liquid dew of youth
contagious blastments are most imminent.
Be wary then, best safety lies in fear:
Youth to itself rebels, though none else near.

Back 23

Leartes warning Ophelia that Hamlet is a prince, he may appear to love her but cannot necessarily marry her without approval of kings, so she should not fear his alleged love for her. Playing "protective big brother," to which she responds smartly by telling Leartes not to be hypocritical and listen to his own words.

Front 24

Marry, I will teach you: think yourself a baby
That you have ta'en these tenders for true pay,
which are not sterling. Tender yourself more dearly,
Or you'll tender me a fool.
...In few, Do not believe his vows,
for they are brokers,
Not of that dye which their investments show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bonds,
The better to beguile. This is for all:
I would not, have you so slander any moment leisure
As to give words or talk with the Lord Hamlet."

Back 24

Polonius also warning Ophelia not to take Hamlet's flirtations seriously. Typical of his know-it-all, advisory nature.

Front 25

"That for some vicious mole of nature in them,
As in their birth, wherein they are not guilty
By their o'ergrowth of some complexion
Oft breaking down the pales and forts of reason,
Or by some habit, that too much o'er-leavens
The form of plausive manners-that these men,
Carrying, I say, the stamp of one defect,
Being natures livery, or fortune's star,
His virtues else, be they as pure as grace,
as infinite as man may undergo,
Shall in the generalcensure take corruption
From their particular fault: the dram of evil
Doth all the noble substance of a doubt
to his own scandal.

Back 25

Hamlet speaking to Horatio of scorn for Claudius' drunken debauchery which gives the Danes a bad name, leads him to this speech about tragedy of character-one flaw ruins one's reputation.

Front 26

Ay, that incestuous, that adulterate beast,
With witchcraft of his wits, with traitorous gifts-
O wicked wit and gifts that have the power
So to seduce!-won to his shameful lust
The will of my most seeming virtuous queen.
O Hamlet, what a falling-off was there
From me, whose love was of that dignity
that it went hand in hand even with the vow
I made to her in marriage, and to decline
Upon a wretch whose natural gifts were poor
To those of mine!
But virtue, as it never will be moved,
Though lewdness court it in a shape of heaven,
So (lust) though to a radiant angel link'd
Will (sate) itself in a celestial bed
and prey on garbage...
My custom always of the afternoon,
Upon my secure hour thy uncle stole,
With juice of cursed hebona in a vial
And in the porches of my ears did pour
The leprous distillment, whose effect
Holds such an enmity with blood of man...And with a sudden vigor it doth posset
and curd, like eager droppings into milk,
The thin and wholesome blood. So did it mine,
And a most instant tetter bark'd about,
Most lazar-like, with vile and loathsome crust
All my smooth body...No reckning made, but sent to my account
with all my imperfections on my head...

Back 26

Ghost of Hamlet, describing the way he was killed. Awful, gruesome-disease-everything is corruptable, will eventually decay.
"tetter"=scab
"bark'd"=formed a hard covering
"lazar-like"=leper-like

He had no time to repent his sins, stuck in purgatory paying for them

Front 27

Inquire me first what Danskers are in Paris,
and how, and who, what means, and where they keep...By this encompassment and drift of question
That they do know my son, come you more nearer
Than your particular demands will touch it..."

Back 27

Polonius being a know-it-all, yet again. Telling Reynaldo, his servant, to spy on Leartes in Paris.

Front 28

This is the very ecstasy of love,
Whose violent property fordoes itself,
And leads the will to desperate undertakings
As oft as any passions under heaven
That does afflict our natures. I am sorry-
What, have you given him any hard words as of late?
...That hath made him mad.
I am sorry that with better heed and judgment I had not coted him.
I fear'd he did but trifle
And meant to wrack thee, but beshrow my jealousy
By heaven, it is proper to our age
To cast beyond ourselves in our opinions,
As it is common for the younger sort
To lack discretion. Come, go we to the King.
This must be known, which, being kept close, might move
More grief to hide, than hate to utter love."

Back 28

Polonius apologizing to Ophelia for misguiding her. "That's how old men are." Leads to question: To what end is Hamlet acting?" To see if Oph really loves him? If Pol. is behind her actions? Alienate her?

Front 29

-Why then 'tis none to you; for there is nothing either good or bad, but thinking makes it so. To me it is a prison.
Why then your ambition makes it one. 'Tis too narrow for your mind.
-O God, I could be bounded in a nutshell, and count myself a king of infinite space-were it not that I have bad dreams.
Which dreams are indeed ambition, for the very substance of the ambitious is merely the shadow of a dream.
-A dream itself is but a shadow.

Back 29

Hamlet talking to Ros. and Guil. Ros. calls him too ambitious-Ironic.

Front 30

I have of late-lost all my mirth, forgone all custom of exercises; and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory; this most excellent canopy, the air...why, it appeareth nothing to me but a foul and pestilent congregation of vapors. what a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving, how express and admirable in action, how like an angel in apprehension, how like a god! the beauty of the world; the paragon of animals; and yet to me what is this quintessence of dust? Man delights not me-nor women neither, though by your smiling you seem to say so.

Back 30

Hamlet expressing his complete scorn and distaste for mankind in general. Talking to Ros. and Guil, getting discouraged in attempts with Ophelia/for revenge.

Front 31

O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
could force his soul to his own conceit
That from her working all the visage wann'd.
...Yet I,
A dull and muddy-mettled rascal,
peak Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain, breaks my pate across,
..But I am pigeon-liver'd, and lack gall
To make oppression bitter, or ere this
I should 'a' fatted all the region kites
With this slave's offal. Bloody, bawdy villain!
...The spirit that I have seen
May be a devil, and the devil hath power
to assume a pleasing shape, yea, and perhaps,
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me.."

Back 31

Hamlet's second soliloquy, wondering how actor's can be so passionate and he is struggling with such feelings. Also explaining the reason for delaying the avenging of his father's death..wants to make sure the ghost is in fact his father and that the king did in fact kill the late Hamlet.

Front 32

When we have shuffled off this mortal coil,
Must give us pause; there's the respect
That makes calamity of so long life:
For who would bear the whips and scorns of time,
Th' oppressor's wrong, the proud man's contumely
The pangs of despis'd love, the la's delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin; who would fardels bear,
To grunt and sweat under a weary life,
The undiscover'd country, from whose bourn
No traveller returns, puzzles the will...Thus conscience does make cowards of us all..."

Back 32

part of the "to be or not to be" speech (soliloquy #3). General philosophical ideas? Contemplating murder? Suicide? Nobler to take on action or endure troubles? What comes after life-uncertainty keeps us going. (enlightenment pd-uncertainty)
aware of implications of murder? (conscience) Or of poss. implications of suicide?

Front 33

"Get thee to a nunn'ry, farewell. Or if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them."

Back 33

Hamlet generalizes hate for women after Ophelia returns his love letters. Has she been coached? Hamlet is shocked and hurt. After this, King and Pol. have been listening and they realize that Hamlet is not mad with love (King grows suspicious), Pol. thinks he is mad bc of neglected love from Oph.

Front 34

"Give me that man
That is not passion's slave, and I will wear him
In my heart's core, ay, in my heart of heart,
As I do thee...Observe my uncle.
If his occulted guilt
Do not itself unkennel in one speech,
It is a damned ghost that we have seen...
And after both our judgments join
In censure of his seeming."

Back 34

Hamlet talking to Horatio, telling him plans of the play.

Front 35

"Now might I do it, now 'a is a-praying;
and now I'll do't-and so 'a goes to heaven,
And so am I reveng'd. That would be scann'd
A villain kills my father, and for that
I, his sole son, do this same villain send
To heaven.

Back 35

Being very rational-won't kill Claudius while he's praying because then Hamlet will go to hell, and Claudius to heaven, which won't avenge his father. Is he a coward? Or is Shakespeare prolonging the climax to make the play better?

Front 36

Turning point of the Hamlet?

Back 36

Hamlet kills Polonius
Killing seems to be without thought, unlike when he sees Claudius praying. Fatal mistake-character flaw? Are Hamlet's feelings out of control? Sends im in direct opposite direction of success.

Front 37

Such an act that blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love
And sets a blister there, makes marriage vows
As false as dicers' oaths, O, such a deed

Back 37

Is Hamlet too obsessed with his mother?

Front 38

Climax of Hamlet?

Back 38

Hamlet talking to mother. Father's ghost appears but mother cannot see him.

Front 39

My pulse as yours doth temperately keep time,
and makes as healthful music. It is not madness
that I have utter'd. Bring me to the test...Lay not that flattering unction to your soul,
That not your trespass but my madness speaks;
It will but skin and film the ulcerous place,
Whiles rank corruption, mining all within,
Infects unseen. Confess yourself to heaven,
Repent what's past, avoid what is to come...

Back 39

Hamlet to mother-don't cover up sins, repent. Again, themes: cancer, disease, decay..

Front 40

I do repent; but heaven hath pleas'd it so
To punish me with this, and this with me,
That I must be their scourge and minister,
I will bestow him, and will answer well
The death I gave him. So again good night.
I must be cruel only to be kind...

Back 40

Hamlet instructs his mother to abstain from sex with Claudius. Here, he repents, but says it was an act directed by heaven, unclear whether or not hamlet is scourge/minister-good/bad. His attempts seem to be repeatedly hindered by god.

Front 41

How all occasions do inform against me,
And spur my dull revenge! What is a man,
If his chief good and market of his time
Be but to sleep and feed? a beast no more...How stand I then,
That have a father kill'd, a mother stain'd,
Excitements of my reason and my bood,
and let all sleep, while to my shame I see
The imminent death of twenty thousand men...
O from this time forth,
My thoughts be bloody, or be nothing worth!

Back 41

Hamlet's last soliloquy. Discouraged because of failed attempts to kill Claudius, about to go to England.

Front 42

Here hung those lips that I have kiss'd 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? Not one now tomock your own grinning-quite chop-fall'n. Now get you to my lady's chamber, and tell her, let her paint an inch thick to this favor she must come...

Back 42

Hamlet looks at Yorick's skull, thinks of death in most concrete, palpable form. All men, even great men, are forgotten, their lives are one day meaningless. Not bloody or revenge driven like Hamlet vowed to think in the previous last soliloquy, rather gloomy and bitter.

Front 43

Sir, in my heart there was a kind of fighting that would not let me sleep. Methought I lay
Worse than the mutines in the bilboes. Rashly-
And prais'd be rashness for it-let us know
Our indiscretion sometime serves us well
When our deep plots do pall, and that should learn us
There's a divinity that shapes our ends,
Rough-hew them how we will.

Back 43

Hamlet to Horatio, conclusion of Hamlet's struggles: "Divine providence" controls actions, maybe things will turn out well, divinity shapes our ends. But can we really be satisfied with this conclusion? End of play=2 families dead, foreigner ruling Denmark, no approval from ghost

Front 44

But pardon't as you are a gentleman.
This presence knows,
and you must needs have heard, how I am punish'd
With a sore distraction. what I ahve done
That might your nature, honor, and exception
Roughly awake, I hear proclaim was madness.
Was't Hamlet wrong'd Laertes? Never Hamlet!
If Hamlet from himself be ta'en away,
And when he's not himself does wrong Laertes,
Then Hamlet does it not, Hamlet denies it.
Who does it then? His madness.

Back 44

Hamlet, sort of "coming clean," found what he needed (divine providence), therefore admitting to being mad even though it was an act. Renewed.

Front 45

How are the actions of Polonius and Ros/Guil similar?

Back 45

Pol. arranges eavesdropping to prove Hamlet's actions are the result of his love for Ophelia.

Ros/Guil. trick Hamlet to report to Claudius, they suspect his actions are of ambition.

Front 46

Hamlet vs. Laertes-Who leads better example?

Back 46

Hamlet: too cautious, cowardly

but Laertes: never hesitates, decisive, acts quickly, but he kills Hamlet without really figuring out to what extent he is guilty. Also, when Hamlet acts this way, he makes a mistake (killing Polonius) Is this how Hamlet should act?

Front 47

What are these characters' motivations to deceive others:
Claudius
Polonius
Ophelia
Rosencrantz/Guildenstern

Back 47

Cladius: hide his crime
Polonius: pride/wisdom
Ophelia: obedience
Ros/Guil: obedience

Front 48

Trace theme of "disease" through the characters in Hamlet.

Back 48

Claudius poisons Hamlet, then spreads to the entire state.
Ophelia's poison is her deep grief.
Claudius considers young Hamlet himself a disease.

Front 49

Appearance vs. Reality

Back 49

Polonius boasts of acting many times, long-winded, constantly acting as though he knows things he probably does not.
Claudius: arranges plan to catch and kill Hamlet, but Hamlet ends up catching him as well. (?)
Hamlet constantly looking for true meaning behind actions (ghost, Ophelia, etc.)

Front 50

In lieu of corruption, false fronts, etc. what of God?

Back 50

Eager to avenge dad, must wait for truth, agony while waiting.
Acts meanly to Ophelia, Ros & Guil, makes fool of Polonius, is he an ineffectual man that cannot act?
Is he simply affected by the diseased atmosphere?
Do these inconsistencies make Hamlet seem more real to the reader and therefore make the reader more sympathetic?
Many innocent deaths: Ophelia, Polonius, Ros, Guil, Hamlet Sr. Can we be satisfied by the "divine providence" ending of the play?

Front 51

Why did Shakespeare emphasize the parallels between love and war in Troilus and Cressida?

Back 51

Not suggesting that love=warfare, rather love and war are quite separate in the play; however, each is motivated by similar human ideals; in each, we hope for the best. Antiwar play, pattern of deterioration. Both love and war are idealized, they are two things to which men completely devote themselves and for which they are willing to die.

Front 52

What type of play is Troilus and Cressida?

Back 52

Mixture of tragedy and comedy, a "problem play," serious moral/philosophical problem portrayed relatively humorously in that it is satirical. Attacking these philosophical problems by ridiculing them, works by irony.

Front 53

InThe princes orgillous, their high blood chaf'd,
Have to the port of Athens sent their ships
Fraught with the ministers and instruments
Of cruel war...
Now expectation, tickling skittish spirits,
On one and other side, Troyan and Greek
Sets all on hazard-and hither am i come
A prologue arm'd, but not in confidence
Of author's pen or actor's voice...
Like or find fault, do as your pleasures are,
Now good or bad, 'tis but the chance of war.

Back 53

Prologue to Troilus and Cressida- expository, bombastic, grand speech. "tickling skittish spirits"=flippantly describing the soldiers, are they just out for fun?
"of author's pen or actor's voice"=don't have much faith in play, already foreshadowing deterioration/anticlimax;
facetious description that undermines an epic war- will it be glorious or failure?

Front 54

Upon my back, to defend my belly, upon my wit, to defend my wiles, upon my secrecy, to defend mine honesty, my mask, to defend my beauty, and you, to defend all these; and at these wards I lie at a thousand watches.

Back 54

Cressida responding to Pandaras' incessant nosiness, trying to get her to admire Troilus. Cres. is quite bawdy here "upon my back, to defend my belly"=kick boys away who are trying to sleep with her; her reputation for chastity has come from her ability to ward off suitors.

Front 55

More in Troilus thousandfold I see
than in the glass of Pandar's praise may be;
Yet hold I off. Women are angels, wooing:
Things won are done, joy's soul lies in the doing...
Men prize the thing ungain'd more than it is.
That she was never yet that ever knew
Love got so sweet as when desire did sue.
therefore...Achievement is command; ungain'd, beesech;

Back 55

Cres. does love Troilus, but she's playing hard to get, because the "fun is in the doing," typical of her coquettish flirtatiousness.

Front 56

Whereof we have record, trial did draw
Bias and thwart, not answering the aim
And that unbodied figure of the thought
That gave't surmised shape. Why then, you princes,
Do you with cheeks abash'd behold our works,
And call them shames which are indeed nought else
But the protractive trials of great Jove
To find persistive constancy in men?
...But in the wind and tempest of her frown,
Distinction, with a broad and powerful fan,
Puffing at all, winnows the light away,
And what hath mass or matter, by itself
Lies rich in virtue unmingled.

Back 56

Agamemnon addressing the princes early in the play, giving the ideal view of war=glorious, noble, honorable, etc. War brings out the best in men's character

Front 57

"The specialty of rule hath been neglected,
And look how many GRecian tents do stand
hollow upon tihs plain, so many hollow factions.
When the general is not like the hive
To whom the foragers shal all repair,
What honey is expected? Degree being vizarded,
Th' unworthiest shows as fairly in the mask
The heavens themselves, the planets, and this centre
Observe degree, priority, and place...
Office and custom, in all line of order;
...But when the planets
In evil mixture to disorder wander,
What plagues and what portents, what mutiny!
...Take but degree away, untune that string,
And hark what discord follows. Each thing meets
In mere oppugnancy: the bounded waters
Should lift their bosoms higher than the shores
And make a sop of all this solid globe;
Strength should be lord of imbecility...Force
should be right, or rather, right and wrong
(Between whose endless jar justice resides)
Should lose their names and so should justice too!
Then every thing include itself in power
Power into will, will into appetite,
And appetite an universal wolf
(So doubly seconded with will and power),
Must make perforce an universal prey,
And last eat up himself.
...'tis this fever that keeps Troy on foot,
Not her own sinews. To end a tale of length
Troy in our weakness stands, not in her strength.

Back 57

Ulysses being his rational self, saying something is wrong with war because we have forgotten our values. Government should be a hierarchy of power, but this is hidden, people seem to have authority but they do not. Hierarchy is natural (universe/heavens are ordered), when this hierarchy is thrown into disorder it leads to competition; if we fail to maintain this hierarchy and we follow our personal interests the order will fall apart; we must control our desires and appetites. Common theme of reason vs. passion.

Front 58

The great Achilles, whom opinion crowns
The sinow and the forehand of our host,
Having his ear full of his airy fame
Grows dainty of his worth, and in his tent
Lies mocking our designs...

Back 58

Ulys. describing Achilles' arrogance, Ach. will only fight battles that will bring him honor.

Front 59

And in the imitation of these twain-
Who, as Ulysses says, opinion crowns
With an imperial voice-many are infect.
Ajax is grown self-will'd, and bears his head
In such a rein, in full as proud a lace
As broad Achilles; keeps his tent like him
Makes factious feasts, rails on our state of war,
Bold as an oracle, and sets Thersites
A slave whose gall coins slanders like a mint,
To match us in comparisons with dirt,
To weaken or discredit our exposure
How rank soever rounded in with danger.

Back 59

Nestor expressing his self-regard, many others are indulging their personal desirs.

Front 60

They tax our policy, and call it cowardice,
Count wisdom as no member of the war,
Forestall prescience and esteem no act
But that of hand. The still and mental parts
That do contrive how many hands shall strike
when fitness calls them on, and know by measure
Of their observant toil the enemies' weight-
Why this hath not a finger's dignity...

Back 60

Ulys. explaining how the Greek side of the war is crumbling, soldiers losing sight of where honor lies, their appetites becoming strong, central "wolf "disillusioning them.

Front 61

If there be one among the fair'st of Greece
that holds his honor higher than his ease,
And seeks his praise more than he fears his peril,
That knows his valor, and knows not his fear,
that loves his mistress more than in confession
With truant vows to her own lips he loves,
And dare avow her beauty and her worth
In other arms than hers-to him this challenge!

Back 61

Aeneas proposing challenge to any Greek to fight over their women. Appeals to what Agamemnon thinks war brings out. Seems silly, but do men ever risk their lives for more than this? The whole war is about unfaithful women. Mini version of war stuck into war.

Front 62

But we are soldiers,
and may that soldier a mere recreant prove,
That means not, hath not, or is not in love!
If then one is, or hath, or means to be,
That one meets Hector; if none else, I am he.

Back 62

Agamemnon responding to Aeneas' proposal, proudly stepping up to challenge.

Front 63

Tell him of Nestor, one that was a man
When Hector's grandsire suck'd. He is old now,
But if there be not in our Grecian mould
A noble man that hath no spark of fire
To answer for his love, tell him from me
Ill hide my silver beard in a gold beaver,
And in my vambrace put my withered brawns
And meeting him will tell him that my lady
Was fairer than his grandam, and as chaste
As may be in the world. His youth in flood,
I'll prove this troth with my three drops of blood.

Back 63

Nestor also stepping up to challenge. Ridiculous! Says he will hide his grey hair and withered muscles, this old man is about to risk his life to defend the previous beauty of his wife, who may even be dead now; emphasizes the ridiculousness of war

Front 64

Agamemnon, how if he had biles-full, all over, generally?
-Thersites!
And those biles did run-did not the general run then? Were not that a botchy core?
-Dog!
Then would come some matter from him; I see none now.
-Thou bitch-wolf's son, can'st thou not hear? Feel then.
The plague of Greece upon thee, thou mongrel beef-witted lord!
-Speak then, thou leaven, speak; I will beat thee into handsomeness.
I shall sooner rail thee into wit and holiness, but I think thy horse will sooner con an oration without book than thou learn a prayer without book. Thou canst strike, canst thou? A red murrion a' thy jade's tricks!
-Toadstool! learn me the proclamation
...
-Do not porpentine, do not, my fingers itch.
I would thou didst itch from head to foot; and I had the scratching of thee, I would make thee the loathsomest scab in Greece. When thou art forth in the incursions, thou strikest as slow as another.

Back 64

Thersites talking quite boldly to his master, the heroic, muscular Ajax. Their stupid fight depicts them as not very high class, this is not the way we want to imagine great Greek heroes.

Front 65

After so many hours, lives, speeches spent,
Thus once again says Nestor from the Greeks:
"Deliver Helen, and all damage else-
As honor, loss of time, travail, expense,
Woulds, friends, and what else dear that is consum'd
In hot digestion of this cormorant war-
Shall be strook off."

Back 65

Priam is offering to end the war and withdraw Greek troups, beginning a debate over Helen.

Front 66

The wound of peace is surety,
surety secure, but modest doubt is call'd
The beacon of the wise, the tent that searches
To th' bottom of the worst. Let Helen go.
Since the first sword was drawn about this question,
Every tithe soul, 'mongst many thousand dismes...

Back 66

Hector willing to give in-let helen go to end war.

Front 67

Fie, fie, my brother!
Weigh you the worth and honor of a king
So great as our dread father's in a scale
Of common ounces? Will you with compters sum
The past proportion of his infinite,
And buckle in a waist most fathomless
With spans and inches so diminutive
As fears and reasons?

Back 67

Troilus responding to Hector's proposal to let Helen go-being emotional, appealing to honor and mocking reason.

Front 68

No marvel though you bite so sharp at reasons
You are so empty of them. Should not our father
Bear the great sway of his affairs with reason,
Because your speech hath none that tell him so?

Back 68

Arguing against Troilus for reason in deciding what to do w/ helen/whether or not to continue war.

Front 69

You are for dreams and slumbers, brother priest,
You fur your gloves with reason..
You know an enemy intends you harm;
You know a sword employ'd is perilous
And reason flies the object of all harm.
Who marvels then, when Helenus beholds
A Grecian and his sword, if he do set
the very wings of reason to his heels
and fly like chidden Mercury from Jove...
Manhood and honor
Should have hare hearts, would they but fat their thoughts
With this cramm'd reason; reason and respect
Make livers pale and lustihood deject.

Back 69

Trilous arguing to continue fighting, mocking reason, promoting emotion/passion; love affairs are ordinary, fornication is common; it is natural to be passionate

Front 70

But value dwells not in particular will,
It holds his estimate and dignity
As well wherein 'tis precious of itself
As in the prizer. 'Tis mad idolatry
To make the service greater than the god...

Back 70

Hector arguing about reason/passion w/ troilus- "something is not valuable just because you want it" Passion can be misleading.

Front 71

Two traded pilots 'twixt the dangerous shores
Of will and judgment: how may I avoid
(Although my will distaste what it elected)
the wife I chose? There can be no evasion
To blench from this and to stand firm by honor.
We turn not back the silks upon the merchant
When we have soil'd them, nor the remainder viands
We do no tthrow in unrespective sieve,
Because now we are full.
It was thought meet
Paris should do some vengeance on the Greeks.
Your breath with full consent bellied his sails;
The seas and winds...And for an old aunt whom the Greeks held captive
He brought a Grecian queen whose youth and freshness
Wrinkles Apollo's and makes pale the morning.
Why keep we her?
Is she worth keeping? Why, she is a pearl,
Whose price hath launch'd above a thousand ships
And turn'd crown'd kings to merchants.

Back 71

Troilus (reason/passion argument w/ brothers): my will has been led by my passions. Impassioned, Troilus wants to continue the war without returning Helen like Priam/Hector have suggested. War plot: ego trips, challenges to fight over silly manners, mindless talk-led by appetites. Should we keep Helen?

Front 72

Now, youthful Troilus, do not these high strains
Of divination in our sister work
Some touches of remorse? or is your blood
So madly hot that no discours eof reason,
Nor fear of bad success in a bad cause,
Can qualify the same?

Back 72

blood vs. reason. spoken by Hector. No remorse?

Front 73

The reasons you allege do more conduce
to the hot passion of distemp'red blood
Than to make up a free determination
'Twixt right and wrong; for pleasure and revene
Have ears more deaf than adders to the voice
Of any true decision. Nature craves
All dues be rend'red to their owners: now,
What nearer debt in all humanity
...If this law
Of nature be corrupted through affection,
And that great minds, of partial indulgence
To their benumbed wills, resist the same,there is a law in each well-order'd nation
To curb those raging appetites that are
Most disobedient and refractory...
yet ne'er the less,
My spritely brethren, I propend to you
In resolution to keep Helen still,
For 'tis a cause that hath no mean dependance
Upon our joint and several dignities.

Back 73

Spoken by Hector, mediating Priam and Troilus' argument about whether or not to return Helen. (Paris says keep her, Troil. return) First Hector seems to argue we should give Helen back, but concludes to keep her, even he is attracted by his passion and desire for honor.

Front 74

He beats me, and I rail at him. O worthy satisfaction! Would it were otherwise: that I could beat him, whilst he rail'd at me...Then there's Achilles, a rare enginer! If Troy be not taken till these two undermine it, the walls will stand till they fall of themselves.
...After this, the vengeance on the whole camp! or rather, the Neapolitan bone-ache! for that methinks is the curse depending on those that war for a placket. I have said my prayers, and devil Envy say amen. What ho! my Lord Achilles!

Back 74

Thersites' soliloquy about Ajax, expressing disgust for big-headed, brawny soldiers. Wishes syphilis on everyone in camp. Typical of Thersites' cynicism, bitterness and jealousy.

Front 75

Agamemnon is a fool, Achilles is a fool, Thersites is a fool, and as aforesaid, Patroclus is a fool...Here is such patchery, such juggling, and such knavery! All the argument is a whore and a cuckold, a good quarrel to draw emulous factions and bleed to death upon.

Back 75

Thersites brings war down to the lowest level-fulfilling his purpose of being in the play. whore and cuckold referring to Helen and Menelaus-war is over a couple who aren't worthy of honor

Front 76

General example of the anticlimactic theme represented by love turned sour?

Back 76

Cressida + Troilus--->Cressida and Diomedes
Helen + Menelaus--->Helen and Paris
Cressida and Helen both turn out to be adulterers and unworthy

Front 77

Your mind is the clearer, and your virtues the fairer. He that is proud eats up himself. Pride is his own glass, his own trumpet, his own chronicle, and whatever praises itself but in the deed, devours the deed in the praise.

Back 77

Agamemnon, to Ajax in discussing pride, nobility, etc.

Front 78

Characterization of Helen

Back 78

chatty, gossip, tells naughty jokes

Front 79

These loves cry, O ho, they die!
Yet that which seems the would to kill,
Doth turn O ho! to ha ha he!
So dying love lives still.
O ho! a while, but ha ha ha!
...He eats nothing but doves, love, and that breeds hot blood, and hot blood begets hot thoughts, and hot thoughts beget hot deeds, and hot deeds is love.
-Is this the generation of love-hot blood, hot thoughts, and ho deeds? Why, they are vipers. Is love a generation of vipers? Sweet lord, who's a-field today?

Back 79

Paris-pun on orgasms, passion.
Pandarus speaks second part (dash) Vipers=passion is bad.

Front 80

Blind fear that seeing reason leads finds safer footing than blind reason stumbling without fear. To fear the worst oft cures the worst.
...
-Nothing but our undertakings, when we vow to weep seas, live in fire, eat rocks, tame tigers; thinking it harder for our mistress to devise imposition enough than for us to undergo any difficulty impos'd. This is the monstruosity in love, lady, that the will is infinite and the execution confin'd, that the desire is boundless and the act a slave to limit.

Back 80

Cressida/Troilus

Front 81

It were no match, your nail against his horn.
May I, sweet lady, beg a kiss of you?
...Why then for Venus' sake, give me a kiss
When Helen is a maid again and his...Never's my day,
and then a kiss of you.
..Fie, fie upon her!
There's language in her eye, her cheek, her lip,
Nay, her foot speaks; her wanton spirits look out
At every joint and motive of her body.
O, these encounterers, so glib of tongue,
That give a coasting welcome ere it comes,
And wise unclasp the tables of their thoughts
To every ticklish reader! set them down
For sluttish spoils of opportunity,
And daughters of the game.

Back 81

Ulysses refuses Cressida's kiss as she is kissing all the soldiers in the Greek (enemy) camp. He sees her for wanton, coquette--love plot is going downhill.

Front 82

I must not belive you.
There they stand yet, and modestly I think
The fall of every Phrygian stone will cost
A drop of Grecian blood. The end crowns all,
And that old common arbitrator, Time,
Will one day end it.
-So to him we leave it.
Most gentle and most valiant Hector, welcome!
After the general, I beseech you next
To feast with me and see me at my tent.
--I shall forestall thee,
Now, Hector, I have fed mine eyes on thee;
I have with exact view perus'd thee, Hector,
And quoted joint by joint...Tell me, in which part of his body
Shall I destroy him-whether there, or there, or there?
That I may give the local would a name,
And make distinct the very breach whereout
Hector's great spirit flew.

Back 82

Hector, Ulys, and Achil. are posing/flexing their muscles for one another-they all love/admire each other in a grotesque sort of way, but they are going to kill each other. Achilles trying to determine where he is going to kill Hector.

Front 83

Why, his masculine whore. Now the rotten diseases of the south, the guts-griping, ruptures, loads a' gravel in the back...take and take again such preposterous discoveries!
...With too much blood and too little brain,
these two may run mad, but, if with too much brain and too little blood they do, I'll be curer of madmen....so much brain as ear-wax; and the goodly transformation of Jupiter there, his brother (Menelaus)..To an ass, were nothing, he is both ass and ox...but to be Menelaus, I would conspire against destiny...for I care not to be the louse of a lazar, so I were not Menelaus.

Back 83

Thersites speaks both of these passages toward the end of the play. The first one he wishes disease upon Patroclus. In the second, he expresses his scorn for those with too much passion and not enough reason (Agamemnon and Menelaus), vicious scorn-he would hate to be menelaus more than anything. Can't have heroic war with this type of constant language about its heroes. Thersites is obviously envious of his betters.

Front 84

O withered truth!

Back 84

Troilus, as he is watching Cressida flirt with Diomedes. Could be the model for the entire play-encompasses great theme of "withering" and lying.

Front 85

Let it not be believ'd for womanhood!
Think we had mothers, do not give advantage
to stubborn critics, apt without a theme
For depravation, to square the general sex
By Cressid's rule. Rather think this not Cressid.
..This is Diomed's Cressida.
If beauty have a soul, this is not she;
If souls guide vows, if vows be sanctimonies,
If sanctimony be the gods' delight...This was not she.

Back 85

After Troilus has watched Cressida flirting with Diomedes, this scene sums up entire play: neither Troilus nor Diomedes want to believe reason, and will out of passion to see things as they want to see them.

Front 86

Characterization of Troilus

Back 86

Gives himself over to passions so much that he is ridiculed in battles-not even tragic because he is so irrational, he has made himself so ridiculous. He's sincere, sympathetic, passionate, committed, but he's an idiot and he is not admirable.

Front 87

How does Ulysses deceive himself?

Back 87

rational, shrewd, high-minded, wise, but he doesn't go one step further and pin down the basis for war (which is irrational passion). Ulys. is an inadequate spokesperson as he fails to see the implications of the "universal wolf of appetite"

Front 88

How does Thersites deceive himself?

Back 88

Opposite of Ulysses; extreme, but incomplete extremity-he is dirty-mouthed, foul-minded, coward, one-sided, sour view of events.

Front 89

How does Hector deceive himself?

Back 89

Idealizes war, chivalric sport where all we be done according to noble rules of "fair play." He knows there are no reasonable grounds for continuing war, but continues because there's nobility involved. Ajax deems him too gentle (Troil. agrees), Hector can't face these facts, and this ultimately leads to the fall of Troy. He is killed by a man who doesn't fight according to "rules of play," (Achilles), and he is killed dishonorably. Courageous, idealistic, but too disillusioned w/ self-interest and pride.

Front 90

Overall questions about the theme/purpose of the Troilus and Cressida?

Back 90

Antiwar.
Can value be determined by emotions? Can anything be valued accurately?
Which view is correct?

Front 91

What are the key components of the exposition in Measure for Measure?

Back 91

1. Duke plans to leave to see how Angelo might enforce rules.
2. Angelo is supposed to be angelic, moral, virtuous, just, but we find out he, too, is human.
3. Vienna is full of sin, falsehoods, vice; the rules have not been enforced strictly enough as of now.
4. Angelo plans to kill Claudio for fornication.
5. Isabella has very strict values, wants to become a nun, maintain chastity

Front 92

What are the three sources of conflict between Isabella and Angelo?

Back 92

1. Claudio's life
2. Isabella's chastity
3. Exposure of Angelo's character

Front 93

What are two examples of "intrigue" the Duke uses to trick others in the play?

Back 93

1. "bed trick" Puts Mariana in bed with Angelo instead of Isabella
2. Substitutes the head of another for Claudio's to convince Isabella Claudio is dead.

Front 94

What type of play is Measure for Measure?

Back 94

tragi-comedy; seems to be headed for tragedy, but it all works out in the end. However, this play is still problematic and dark; similar to the others, it addresses powerful lust, desires, self-interest, and appetites. Happy ending: forgiveness, multiple marriages, end to suffering for all the sinners

Front 95

What are the Measure for Measure?

Back 95

1. Justice: how do we enforce strict enough rules while still being humane when dealing with inevitable, universal appetites?
2. Be forgiving-Don't judge others or you'll be judged and to the same degree.
3. Blood/Passion v. Judgment/Reason

Front 96

There is our commission
From which we would not have you warp
Call hither, I say, bid come before us Angelo.
What figure of us think you he will bear?
for you must k now, we have with special soul
Elected him our absence to supply,
Lent him our terror, dress'd him with our love,
And given his deputation all the organs
Of our own pow'r. What think you of t?

Back 96

Duke talking to Escalus in the very first scene of the play, he's going to go away and see how Angelo rules. Wonders how he will represent us. Mentions both terror and love-2 forces by which a government may rule. Angelo is renowned for being virtuous.

Front 97

Hold therefore, Angelo:
In our remove be thou at full ourself.
Mortality and mercy in Vienna
Live in thy tongue and heart.

Back 97

Duke speaks this to angelo, telling him he may apply the law savagely or mercifully.

Front 98

My haste may not admit it,
Nor need you have to do
With any scruple. Your scope is as mine own,
So to enforce or qualify the laws
As to your soul seems good.

Back 98

Duke talking to Angelo in beginning of play-telling him he can either "enforce" or "qualify" laws-i.e. apply w/ greater or lesser severity. Angelo, later, decides to take "terror" and letter of law to execute.

Front 99

We have strict statutes and most biting laws
The needful bits and curbs to headstrong weeds
Which for this fourteen 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 threat'ning 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.

Back 99

Spoken by the duke: I'm going away, I hope my substitute will apply the laws more strictly.

Front 100

I do fear-too dreadful;
Sith twas my fault to give the people scope,
Twould be my tyranny to strick 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 impos'd the office,
Who may, in th' ambush of my name, strike home,
And yet my nature never be in the fight
To do in slander. And to behold his sway,
...I prithee Supply me with the habit, and instruct me
How I may formally in person bear
Like a true friar. Moe 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.

Back 100

Duke speaking to the Friar, going to borrow an outfit to deceive Lucio and others. At first, the Duke seems not very admirable as he has failed at enforcing the rules. But are there other reasons for putting Angelo in charge? Going to watch how well he rules? Experiment? Trial of Angelo himself? Suspects Angelo a seemer? Implies there are other reasons we haven't heard of yet..

Front 101

There is a vice that most do I abhor,
And most desire should meet the blow of justice;
For which I would not plead, but that I must;
For which I must not plead but that I am
At war 'twixt will and will not.
--Well; the matter?
I have a brother is condemn'd to die;
I do beseech you let it e his fault,
And not my brother.

Back 101

Isabella's first argument in her debate with Angelo, begging him to let Claudio live. Please let his sin be put to death/punished rather than his physical self. To this, Angelo replies "Condemn the fault and not the actor of it? Why every fault's condemn'd ere it be done" To punish only the actions rather the actor would be pointless.

Front 102

Too late? Why, no; I that do speak a word
May call it again. Well, believe this,
No ceremony that to great ones 'longs,
Not the king's crown, nor thedeputed sword,
The marshal's truncheon, nor the judge's robe,
Become them with one half so good a grace
As mercy does.
If he had been as you, and you as he,
You would have slipp'd like him, but he, like you,
Would not have been so stern.

Back 102

Isabel's second argument to Antonio to let Claudio live. Everyone sins, but not everyone will be punished. People of higher class/status/wealth can easily find ways to get out of such things.

Front 103

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 as you are? O, think on that,
And mercy then will breathe within your lips,
Like man new made.

Back 103

Isabel's third argument to Angelo begging for her brother's life; refers to original sin of Adam. "You ought to judge how you wish God to judge you"

Front 104

He's not prepar'd for death. Even for our kitchens
We kill the fowl of season. Shall we serve heaven
With less respect than we do minister
To our gross selves? Good, good my lord, bethink you:
Who is it that hath died for this offense?
there's many have committed it.

Back 104

Isabel's fourth/fifth argument: Claudio needs time to repent. Many others have committed this sin but have not been punished, inequity.

Front 105

The law hath not been dead, though it hath slept.
Those many had not dar'd to do that evil
If the first that did th' edict infringe
Had the answer'd for his deed. Now 'tis awake,
Takes note of what is done, and like a prophet
Looks in a glass that shows what future evils,
Either now, or by remissness new conceiv'd

Back 105

Angelo argues that none other would have committed fornication if the first never had-must stop somewhere. He is preventing further sin by killing Claudio.

Front 106

Authority, though it err like others,
hath yet a kind of medicine in itself
That skins the vice o' th' 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.

Back 106

Isabella arguing for Claudio: rich people can get away with things that others cannot.
Don't you recognize temptation like this in yourself?

Front 107

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 flow'r
Corrupt with virtuous season. Can it be that modesty may more betray our sense
than woman's lightness?
...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
Most dangerous is that temptation
that doth goad us on
To sin in loving virtue...this virtuous maid
Subdues me quite. Ever till now,
When men were fond, I smil'd and wond'red how.

Back 107

Angelo first realizes his passion for Isabella after she presents him with very intelligent argument for why he should allow Claudio to live. He is subconsciously thinking of ways to keep her from becoming a nun so he may sleep with her. How can I blame Claudius when I feel the same? Maybe he should live.

Front 108

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

O you beast!
O faithless coward! O dishonest wretch!
Is't not a kind of incest to take life
From thine own sister's shame? What should I think?
...such a warped slip of wilderness
Ne'er issu'd from (my father's) blood. Take my defiance!
Die, perish!

Back 108

Isabel and Claudio speaking, Is proposes she sleep with Angelo in order to free her brother. Suddenly, Isabel realizes how sinful this idea is and turns on Claudio. Why is chastity so important to her? Idea that if you can resist sex, the strongest human temptation, than you can resist any temptation. Also, Isabel wants to become a nun.

Front 109

She should this Angelo have married; was affianc'd to her by oath, and thenuptial appointed...her brother Frederick was wrack'd at sea, having in that perish'd vessel the dowr of his sister. But mark how heavily this befell to the poor gentlewoman: there she lost a noble and renown'd brother; with him, the portion and sinew of her fortune, her marriage-dowry; with both, her combinate husband, this well-seeming Angelo...left her in tears, pretending in her discoveries of dshonor...and he a marble to her tears is washed with them but relents not.

Back 109

Duke telling Isabel of Angelo's marriage to Mariana, whom he left when she lost money. It is probably for this reason the Duke wants to test if Angelo is still deceitful or if he has improved since.

Front 110

A little more lenity to lechery would do no harm in him. Something too crabbed that way, friar...Yes, in good sooth, the vice is of a great kindred; it is well allied; but it is impossible to extirp it quite, friar, till eating and drinking be put down. They say this Angelo was not made by man and woman after this downright way of creation..Some report a sea-maid spawn'd him; some that he was begot between two stock-fishes...Why, what a ruthless thing is this in him for the rebellion of a codpiece to take away the life of a man! Would the Duke that is absent have done this? ..He had some feeling of the sport; he knew the service and that instructed him to mercy...Yes, your beggar of fifty; and his use was to put a ducat in her clack-dish. The Duke had crotchets in him. he would be drunk too...A shy fellow...and I believe I know the cause of his withdrawing..A very superficial, ignorant, unweighing fellow.

Back 110

Here Lucio is talking to the Duke (who is disguised as the Friar) saying that Angelo is too strict. He's being a smartass-saying he was created by some means other than intercourse because he has no passion and doesn't understand sex. He goes on to tell the "friar" how the Duke was a man whore, not knowing he is speaking to the Duke himself.

Front 111

--Why should he die sir?
--Why? For filling a bottle with a tun-dish. I would the Duke we talk of were return'd again. This ungenitur'd agent will unpeople the province with continency. Sparrows must not build in his house-eaves, because they are lecherous...The Duke would eat mutton on Fridays. He's now past it yet, he ould mouth with a beggar, though she smelt brown bread and garlic.

Back 111

Lucio explains to the Duke why Angelo is killing Claudio. He says that if he does so, there will be no more sex at all. Lucio: extremely bawdy, outrageous, busybody, speaks in prose rather than verse-not eloquent.

Front 112

He shows his reason for that: to have a dispatch of complaints, and to deliver us from devices hereafter, which shall then have no power to stand against us.
--This deed unshapes me quite, makes me unpregnant
And dull to all proceedings. A deflow'red maid!
And by an eminent body that enforc'd
The law against it! But that her tender shame
Will not proclaim against her maiden loss ...He should have liv'd
Save that his rioutous youth with dangerous sense
Might in the times to come have ta'en revenge,
By so receiving a dishonor'd life
With ransom of such shame. Would yet he had liv'd!
Alack, when once our grace we have forgot,
Nothing goes right-we would and we would not.

Back 112

first speaker: escalus, saying that the Duke is giving them a chance to admit sins to prevent them from getting in trouble later, seems normal. But to guilty Angelo (second speaker), it is very worrisome. Wondering if Duke has heard about him. Knows "killing" Claudio was a mistake. Speaks of grace-angelo fallen from heavenly grace and knows he can't do anything now but wait for punishment.

Front 113

Many and hearty thankings to you both.
We have made inquiry of you, and we hear
Such goodness of your justice, that our soul
Cannot but yield you forth to public thanks,
Forerunning more requital.
..O, your desert speaks loud, and I should wrong it
To lock it in the wards of covert bosom,
When it deserves with characters of brass
A forted residence 'gainst the tooth of time
And razure of oblivion. Give me your hand,
And let the subject see, to make them know
That outward courtesies would fain proclaim
Favors that keep within.

Back 113

Duke making Angelo guilty by praising him. Succeeds in embarassing him, Angelo knows he has not been virtuous, and so does the Duke. Makes Angelo squirm.

Front 114

Justice, O royal Duke! Vail your regard
Upon a wrong'd-I would fain have said a maid!
O worthy prince, dishonor not your eye
By throwing it on any other object,
Till you have heard me in my true complaint
And given me justice, justice, justice, justice!
--Here is Lord Angelo shall give you justice;
Reveal yourself to him.

Back 114

Isabel speaking-admits loss of maidenhood; the very thing Angelo feared happens. Justice repetition: theme of play.
Duke is second speaker-knows he's putting Ang. in a cruel situation bc the only way for him to give her justice is to admit all his sins in front of Vienna.

Front 115

My lord, her wits, I fear me, are not firm.
She hath been a suitor to me for her brother,
Cut off by course of justice-
-By course of justice!
--And she will speak most bitterly and strange
-Most strange! but yet most truly will I speak:
That Angelo's forsworn, is it not strange?
That Angelo's a murtherer, is't not strange?
etc.

Back 115

First Angelo-tries to call Isabel mad, adding to his injustice by lying
Then, Isabel exposes all of Angelo's sins

Front 116

If she be mad, as I belive no other,
Her madness hath the oldest frame of sense,
Such a dependancy of thing on thing

Back 116

Duke saying that if she's mad, he still believes her-there's truth in what she says

Front 117

In brief, to set the needless process by-
How I persuaded, how I pray'd and kneel'd
How he refell'd me, and how I replied
(For this was of much length)-the vild conclusion
I now begin with grief and shame to utter.
He would not, but by gift of my chaste body
To his concupiscible intemperate lust,
Release my brother; and after much debatement,
My sisterly remorse confutes mine honor,
And I did yield to him; but the next morn betimes
His purpose surfeiting, he sends a warrant
For my poor brother's head.

Back 117

Isabel tells that Angelo has slept with her.

Front 118

If he had so offended
He would have weigh'd thy brother by himself
And not have cut him off. Some one hath set you on;
Confess the truth and say by whose advice
Tou cam'st here to complain

Back 118

Duke pretending he doesn't believe Isabel when she explains that Angelo has taken her chastity. "If he had, he would have weighed your brother by himself" = if he had, he would have judged measure for measure and let him live. Angelo has another chance to admit but remains quiet, thus failing the test.

Front 119

Do you not smile at this, Lord Angelo?
O heaven, the vanity of wretched fools!
Give us some seats. Come, cousin Angelo,
In this I'll be impartial. Be you judge
Of your own cause.

Back 119

Duke speaking-Angelo is again being tested.

Front 120

She that accuses him of fornication,
In self-same manner doth accuse my husband,
And charges him, my lord, with such a time
When I'll dispose I had him in mine arms
With all th'effect of love

Back 120

Mariana revealing that she was the one Angelo had slept with

Front 121

I did but smile till now
Now, good my lord, give me the scope of justice...
These poor informal women are no more
But instruments of some mre mightier member
That sets them on.

Back 121

Angelo STILL not admitting sins-says these women are plotting against him.

Front 122

Why, thou unreverend and unhallowed friar,
Is't not enough thou hast suborn'd these women
To accuse this worthy man, but in foul mouth,
And in the witness of his proper ear
To call him villain and then to glance from him
To th' Duke himself, to tax him with injustice?
Take him hence; to th' rack with him! We'll touze you
Joint by joint but we will know his purpose
What? "unjust"?

Back 122

Escalus speaking, means well, but his own emotions/ego involved turn the trial to a travesty. Orders the friar (actually the Duke) to prison.

Front 123

Come, sir, ..Show your knave's visage, with a pox to you! Show your sheep-biting face, and be hang'd an hour! Will't not off?

Back 123

Second Recognition at the end of Measure for Measure: Lucio realizes Duke has been disguised as Friar. Duke orders him arrested

Front 124

O my dread lord,
I should be guiltier than my guiltiness,
To think I can be undiscernible,
When I perceive your Grace, like pow'r 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.

Back 124

Angelo knows he can't get out of it, sounds as though hes addressing the Lord to repent as well as the duke. Resonates with religious overtones. After this, Duke orders he marry Mariana (in order to better her name so that she may marry a better man after Duke condemns Ang.)

Front 125

Your brother's death I know sits at your heart;
And you may marvel why I obscur'd myself,
Laboring to save his lie, and would not rather
Make rash remonstrance of my hidden pow'r
Than let him so be lost. O most kind maid,
It was the swift celerity of his death..

Back 125

Duke testing Isabel-Will she blame the Duke? Can she forgive Angelo? (yes)

Front 126

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

Back 126

Duke to Mariana-might let her be known as good woman w/ virtue.

Front 127

Most bounteous sir;
Look, if it please you, on this man condemn'd
As if my brother liv'd. I party think
A due sincerity governed 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 wya. Thoughts are no subjects,
Intents but merely thoughts.

Back 127

Isabel passing test-forgives Angelo. Shouldn't punish intentions, only actions

Front 128

If he pardon'd, and for your lovely sake,
Give your hand and say you will be mine,
He is my brother too. But fitter time for that,
By this lord Angelo perceives he is safe;
Methinks I see a quick'ning in his eye
Well, Angelo, your evil quits you well
Look that you love your wife; her worth worth yours.
I find an apt remission in myself;
and yet here's one in place I cannot pardon

Back 128

spoken by duke-end of the play. third recognition-reveals Claudio to Isabel

Front 129

What type of play is Measure for Measure? Expand.

Back 129

"Tragi-comedy." Harshness of tone, "dark" comedy, lots of religious imagery.

Front 130

Who is the "corrupt governor who perverts justice in order to gratify his own lust?"

Back 130

Angelo

Front 131

How are Hamlet and Troilus and Cressida similar?

Back 131

-display several images of disease and corruption.
-explore hiatus between characters words and actions: using oaths and vows only to be broken later (esp. in Troilus)

Front 132

Describe Pandarus

Back 132

Old fool, filled with misplaced family pride

Front 133

Describe Hector.

Back 133

perversely turns his back on the truth he sees, honor and glory to be won, his death is the result of his own greed. Too generous in battle, but only while he is "gloating over his spoils"chivalric.

Front 134

Troilus' fatal flaw?

Back 134

self-absorbed. Notices his own sensuality and omits to notice what kind of person his beloved really is. He reduces his love for Cres. to a matter of appetite and lust-a matter to be devoured by the senses.

Front 135

Thersites

Back 135

One man who assesses the situation correctly. Observes, reminds us love is lechery, man is an animal, and the body is a sink of filth and diseases.

Front 136

Ulysses' flaw?

Back 136

rationalism is hollow and ineffective. His strategy to make Achilles jealous of Ajax doesn't work.

Front 137

Describe the language of Troilus and Cressida.

Back 137

Shakespeare doesn't use metaphor, rather simile, which obscures identity and evades the truth, describes a world with unstable values. A world of "relativity" (as implied by "like" or "as") and chaos.

Front 138

Describe the nature of the plot (order, etc.) of Troilus and Cressida.

Back 138

The order of the play is unorthodox and contradictory, but somehow works. Inconsistencies and irony repeated throughout the play seem to work from the reader's perspective--Shakespeare's words can adequately depict real experiences.

Front 139

Explain the irony in Angelo and Isabella's "relationship".

Back 139

Ironic that she brings him down, for she is an "virtuous absolutionist," a stickler for the rules just like Angelo. It is precisely this which leads him to submit to his passions against his reason. They bring out the "destructive" parts of their personalities they had previously been rejecting.

Front 140

Describe the Duke and his intentions in Measure for Measure.

Back 140

false friar, but still plays upon his victims and hears confession. Also plays upon their emotions, seems to be "testing" everyone to see how they will behave. Also virtuous absolutist, tries to impose order upon Vienna, which resists patterns.

Front 141

Analyze the last scene of Measure for Measure.

Back 141

"Fairy tale ending," illogical. Does Shakespeare intend to portray it as one of hollowness? Based upon tolerance? Do any of these people really want to be married?