Captain That were hard to compass; Because she will admit no kind of suit, No, not the duke's. VIOLA There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee, and I'll pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I'll serve this duke: Thou shall present me as an eunuch to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service.
What else may hap to time I will commit; Only shape thou thy silence to my wit. Captain Be you his eunuch, and your mute I'll be: When my tongue blabs, then let mine eyes not see. I am sure care's an enemy to life.
Contrary Matters: The Power of the Gloss and the History of an Obscenity
I'll confine myself no finer than I am: these clothes are good enough to drink in; and so be these boots too: an they be not, let them hang themselves in their own straps. MARIA That quaffing and drinking will undo you: I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. MARIA He hath indeed, almost natural: for besides that he's a fool, he's a great quarreller: and but that he hath the gift of a coward to allay the gust he hath in quarrelling, 'tis thought among the prudent he would quickly have the gift of a grave.
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VIOLA You either fear his humour or my negligence, that you call in question the continuance of his love: is he inconstant, sir, in his favours? Here comes the count. Clown Let her hang me: he that is well hanged in this world needs to fear no colours. Clown He shall see none to fear.
Twelfth Night - Duke Orsino talks to Viola about love and age
Clown Well, God give them wisdom that have it; and those that are fools, let them use their talents. MARIA Yet you will be hanged for being so long absent; or, to be turned away, is not that as good as a hanging to you? Clown Many a good hanging prevents a bad marriage; and, for turning away, let summer bear it out. Clown Not so, neither; but I am resolved on two points. Clown Apt, in good faith; very apt. Well, go thy way; if Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh as any in Illyria. Here comes my lady: make your excuse wisely, you were best.
The sea-coast. My stars shine darkly over me: the malignancy of my fate might perhaps distemper yours; therefore I shall crave of you your leave that I may bear my evils alone: it were a bad recompense for your love, to lay any of them on you. But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo.
My father was that Sebastian of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour: if the heavens had been pleased, would we had so ended! SEBASTIAN A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful: but, though I could not with such estimable wonder overfar believe that, yet thus far I will boldly publish her; she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more.
Fare ye well at once: my bosom is full of kindness, and I am yet so near the manners of my mother, that upon the least occasion more mine eyes will tell tales of me. I am bound to the Count Orsino's court: farewell. She adds, moreover, that you should put your lord into a desperate assurance she will none of him: and one thing more, that you be never so hardy to come again in his affairs, unless it be to report your lord's taking of this.
Receive it so. MALVOLIO Come, sir, you peevishly threw it to her; and her will is, it should be so returned: if it be worth stooping for, there it lies in your eye; if not, be it his that finds it. To be up after midnight and to go to bed then, is early: so that to go to bed after midnight is to go to bed betimes. Does not our life consist of the four elements? Marian, I say!
Enter Clown. Now, good morrow, friends. Now, good Cesario, but that piece of song, That old and antique song we heard last night: Methought it did relieve my passion much, More than light airs and recollected terms Of these most brisk and giddy-paced times: Come, but one verse. He is about the house. Music plays. Clown No, sir, I live by the church.
Clown No such matter, sir: I do live by the church; for I do live at my house, and my house doth stand by the church. VIOLA So thou mayst say, the king lies by a beggar, if a beggar dwell near him; or, the church stands by thy tabour, if thy tabour stand by the church. Clown You have said, sir. To see this age!
A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward! Clown I would, therefore, my sister had had no name, sir. Clown Why, sir, her name's a word; and to dally with that word might make my sister wanton. But indeed words are very rascals since bonds disgraced them. And probably other manuscripts of which we know very little, like Edmund Ironside and so on, were worked over by him.
He was always coming to material, basing much of what he said and wrote on [unintelligible] chronicles and building it up into new tabernacles of force and ecstasy and energy. This is particularly seen in the patriotic plays, quintessentially Henry V. Henry V —which was made into a famous wartime propaganda film in —41 at the behest of Winston Churchill with Laurence Olivier in the lead, a magnificent sort of traditional British cinema film, seen in its own terms—is a quintessential play of English radicalism and patriotic forethought.
William Hazlitt, the well-known liberal writer of the early part of the 19th century, wrote a debunking essay about Henry V along these lines. Ezra Pound responded to that in a different spirit, for example, in the 20th century about years on. The Elizabethans believed that there were static globes or spheres above us ascending to the heavens and to God. This is the foundation point culturally of the British state before it goes out to the world, in the Empire, which will become the largest empire that the world has seen since Rome up to the present time.
That empire only really begins to die fifty years ago in our society, in the lifetimes of some of the people reading this text. Now we have a situation where liberal ideas have come in over the last fifty to sixty years and, in turn, have retrospectively reoriented everything and see everything in their own terms and in accordance with their own lights.
We have a play or, in this case, a long poem which is dramatic and theatrical but is still a poem— The Rape of Lucrece —which can never really be viewed without irony because you have a member of the Roman aristocracy who is raped by a dissolute individual descended from the royal House of Tarquin, which was the key early monarchy in Rome before it became an aristocratic republic.
And she is raped and done down, and her husband avenges the rape by killing the rapist, namely Tarquinius. But at the same time she, dishonored, kills herself because of the cult, not of the virgin, but of the marital virgin, in other words, of the woman who only gives herself to one man within marriage. There was a famous painting of this incident by Tintoretto whereby Lucrece is raped by Tarquin, or you begin to see the early stages of that. Most people find the language, at times, when they first confront it, a bit of a bar or something that they have to leap over.
She also wants to be reconstituted and refigured as a being hard and armoured like her warrior husband; as a monstrous being with unnaturally thickened blood and breasts that produce deadly poisonous 'gall'. That Lady Macbeth calls on mystical, external forces to assist her with this transformation is worth interrogating too, for two reasons. Firstly, it clearly gives weight to the reading of the character being a fourth witch, whose speech here has incantatory rhythms that lend it a distinctly supernatural quality.
Alternatively, rather than interpreting Lady Macbeth's requests for dark assistance literally, we can see them as more metaphorical utterances: the speech is, in fact, a kind of 'pep talk' directed to herself and designed to undermine the merest inkling of 'remorse' she might feel. It is a moment of self-encouragement to help bolster and 'thick[en]' the most reprehensible parts of her character.
These allusions, of course, carry with them the obvious associations of impure intent and evil. But, in this instance, they also reflect Lady Macbeth's need to conceal and hide her own weakness and misgivings from herself and from Macbeth. With such a reading in mind, when Macbeth enters and Lady Macbeth presents him with careful guidance about how to dissemble, her instruction about controlling appearance to ensure that guilt does not reveal itself is as much for herself as it is for Macbeth.
An engraving by James Parker after R. Several aspects of her portrayal in Act 1, Scene 5 add to this view. When Macbeth enters, not only does she shape and direct his behaviour, she also speaks significantly more than he does. However, the view that insecurities lurk within Lady Macbeth's outward strength connects our extract with her final appearance in the play, in Act 5, Scene 1.
As well as her vulnerability having developed between Act 1, Scene 5 and this final encounter with her, in the latter scene her attitude towards darkness shows progression too. Early detection saves life BCI en-visions to maximize personal and community wellness through community participation, excellence in public health education and practice, and empowering people to save lives and end late stage breast cancer presentation in Ghana.
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