In Shakespeare's The Tempest, the character precisely opposed to the airy sprite Ariel is Caliban. The one is a Mayblossom suspended in the azure; the other is half man and half brute, condensed and gross in feeling, he has the dawnings of understanding without reason or the moral sense, he shows the approach of the brutes to the mental powers of man. He is malicious and cowardly and false; yet different from Shakespeare's merely vulgar knaves. He is rude but not vulgar; he always speaks in verse. He has a vocabulary of his own.
Caliban is one of the dramatist's masterpieces. He has attracted attention from the first thinkers of every age. He is wild, deformed, irregular, neither man nor brute, the essence of grossness without vulgarity. He comes from the dark soil, of the earth earthy--the isle with its haunting noises he hears with delight: "sounds and sweet airs that give delight and hurt not; sometimes a thousand twanging instruments will hum about mine ears and sometimes voices." Here is a savage with a child's simplicity. What a curious mixture of devil and man and beast! Evil he desires for its piquancy. He thinks gross injustice has been done him and believes himself a slave.
The idea of murder gives him delight, for he imagines that it would make a great noise and commotion. He is laughably horrible, a specimen to be examined more than a creature to be execrated; at times he shows great prudence, and again he roars with hate. Yet Shakespeare grants him some instincts of goodness, we meet him when full grown and a victim of heredity. Miranda taught him, and Prospero stroked him when young. He is a land-fish, a dullard, service to him is slavery; his fins are like arms, some have thought him the missing link between man and brute.
He seems the understanding in prison; awaiting the light. He represents the grosser passions and appetites.
He is the natural man, uneducated and untrained, the creature in the rough, the material for evolution, allied to the ape, and ages will be required to lift him to his proper height. Prospero sends pains on him, and cramps, and side-stitches. He has memory, for he recalls how he was taught to name the bigger light, and how the less; he knew all the springs and brine-pits of the mystic isle. Language was taught him but he uses it only to curse. He is amazed at the shapes he sees; for every trifle they are set on him; they chatter at him and bite him; adders wound him as he treads.
When Stephano sings, "The master, the swabber, the boatswain and I, the gunner and his mate, loved Mall, Meg, and Marian and Margery, but none of us cared for Kate; for she had a tongue with a tang, would cry to a sailor 'go hang!' then to sea, boys, and let her go hang!" (Is this Kipling's model?) Caliban feels himself tormented and cries aloud. He thinks Trinculo his god, and will kiss his foot. He will fish for him and get him berries and wood enough. Man to him is wondrous. He knows too the jay's nest and the clustering filberts.
He is wise enough to know that Prospero's power depends on his books and staff; without them "he's but a sot as I am; burn all his books." This is Shakespeare's tribute to the immeasurable superiority of the thinking man, for he represents this product of soil as separated in his own opinion from the mighty magician only by his intellectual treasures. Is it not significant? We learn that Caliban's mother was a witch; she could control the moon, make flows and ebbs, and deal in her command without her power. A flash of intelligence irradiates his mind at the last and he says, "I'll be wise hereafter and seek for grace." Thus he departs.
As Ariel represents the ethereal and spiritual, and Caliban the earthly and material, so Shakespeare, by the enormous gap between them, would signify by what slow and persistent and patient stages all educational forces must proceed. Perhaps our Teutonic ancestors were Calibans, drinking blood from their enemies' skulls, and beating tomtoms as they advanced half-clad into battle. Each idiot is a Caliban, and every son of Adam in whom development is arrested. They who live close to the earth, who "eat and drink for tomorrow they die," are akin to this island monster. May we not go farther and say that he to whom the visible earth bounds all, who is anchored more firmly to the ground by each drill that cuts the rock, or each spade that uncovers the mine, who magnifies only terrestrial forces, who ignores, or denies, the existence of anything beyond the reach of theorems or tubes, to whom "a primrose by the river's brim, a yellow primrose is to him, and it is nothing more", is a Caliban, not indeed in a hideous and repulsive form, but in soul, in aspiration, in mental equipment, in the loss of the finer and ultimate energies of life?
Wherever a city is so intent on present good and present pleasure that it omits and loses the uplift of art and letters and music, and the refinements that chasten and elevate and subdue, there is a civic Caliban, breathing smoke and cinders and the oppressive air of feverish gain, wallowing in the mire of sordid ambition, and content to sell its divine birthright for a mess of pottage, Philistinism not Hellenism, willing to obliterate the landscape, or pare away the waterfall or denude the forest, "for the jingle of the guinea heals the hurt that honor feels."
Showing posts with label William Shakespeare. Show all posts
Showing posts with label William Shakespeare. Show all posts
Thursday, January 13, 2011
Ariel, The Tempest
ARIEL
A character study from Shakespeare's The Tempest
The following essay was originally published in Shakespeare Studies: Papers Read Before The Literary Clinic. F. Hyatt Smith. Buffalo: The Literary Clinic, 1916.
In Shakespeare's The Tempest, Ariel is wondrous. He revolves about Prospero like his stellar namesake about Uranus; and whenever he would stray from his orbit the Master brings him back. He is not an angel above man, nor a fiend below man. He is a being with all the faculties of reason, yet immortal. Did Shakespeare mean him to typify the soul in its heavenly estate? Or is he the pure fancy, roaming earth and sky, Shelley's skylark, a joy unembodied, a blithe spirit ever on the wing? He is surely unearthly, ethereal and refined, imaginary power, and the swiftness of thought. He drinks the air.
He has a sense of goodfellowship in all his employments. His songs sound as if invisible. He is frolic some and fairy, agreeable and open, mischievous and capricious, daring and roguish. He thanks his master for his release but his gratitude does not seem human. He must ever be held in check. He is promised his freedom in two days, and then his spirits recover their old abandon. The old angels of literature weary us with their ill-set wings and their stately speech. Shakespeare manages this sprite with consummate tact and naturalness. Ariel is the proper attendant for Miranda. He and his fellows hover above her head, they minister to her needs, they call up before her pageants of great beauty. He is the image of the air, and on air he feeds. He is the poet's thought, the poet's intuition, the poet's insight. He anticipated the telegraph and leaps vast spaces.
If man shall ever conquer the air and ride in aerial ships, looking down on continents and cities, then he will share Ariel's powers and survey Ariel's domain. He comes and goes; a spirit in the grasp of a mighty enchanter. He feels his bondage. Unlike Goethe's Faust, his energies are always employed for good. He can fly, swim, and dive into the fire. He boards a ship, dives into the cabin, rushes to the topmast, follows Jove's lightnings, makes old Neptune tremble, causes a fearful storm, and the sailors cry: "Hell is empty and all the devils are here!" Yet not a hair perishes. He disperses the voyagers about the isle. He can cool the air. He leaves all asleep. Prospero has freed him from torment and he is eager for new fields to conquer. Sometimes he appears as a water nymph.
What wonderful songs are his; "Full fathom five thy father lies, Of his bones are coral made, Those are pearls that were his eyes, Nothing of him that doth fade, But doth suffer a sea change, Into something rich and strange." The last three lines are appropriately cut on Shelley's tomb. Prospero calls him his industrious servant. He summons the peasants and Iris and Ceres to the nuptials of Miranda and Ferdinand. When urged by his master he says, "I go, I go." He confines the king and his followers distracted and dismayed; he makes tears run down their beards like winter's drops. Indeed he would pity them were he human. Immediately Prospero orders their release. They must again be themselves. Ariel fetches them. He sings: "Where the bee sucks, there suck I, in a cowslip's bell I lie, there I couch when owls do cry, on the bat's back I do fly, after summer merrily. Merrily, merrily shall I live now, under the blossom that hangs on the bough."
Now he awakens the shipmaster and boatswain under the hatches of the ship; he goes and returns before twice the pulses beat; he stands invisible by when the seamen say they were in a dream, and he asks his master--"was it well done?" This is our last view of the singular sprite until Prospero delivers all and says, "My Ariel, chick, to the elements be free and fare thou well!" From the air he came and to the air he returned. He is the most fascinating and unworldly and blithesome creature in all literature.
A character study from Shakespeare's The Tempest
The following essay was originally published in Shakespeare Studies: Papers Read Before The Literary Clinic. F. Hyatt Smith. Buffalo: The Literary Clinic, 1916.
In Shakespeare's The Tempest, Ariel is wondrous. He revolves about Prospero like his stellar namesake about Uranus; and whenever he would stray from his orbit the Master brings him back. He is not an angel above man, nor a fiend below man. He is a being with all the faculties of reason, yet immortal. Did Shakespeare mean him to typify the soul in its heavenly estate? Or is he the pure fancy, roaming earth and sky, Shelley's skylark, a joy unembodied, a blithe spirit ever on the wing? He is surely unearthly, ethereal and refined, imaginary power, and the swiftness of thought. He drinks the air.
He has a sense of goodfellowship in all his employments. His songs sound as if invisible. He is frolic some and fairy, agreeable and open, mischievous and capricious, daring and roguish. He thanks his master for his release but his gratitude does not seem human. He must ever be held in check. He is promised his freedom in two days, and then his spirits recover their old abandon. The old angels of literature weary us with their ill-set wings and their stately speech. Shakespeare manages this sprite with consummate tact and naturalness. Ariel is the proper attendant for Miranda. He and his fellows hover above her head, they minister to her needs, they call up before her pageants of great beauty. He is the image of the air, and on air he feeds. He is the poet's thought, the poet's intuition, the poet's insight. He anticipated the telegraph and leaps vast spaces.
If man shall ever conquer the air and ride in aerial ships, looking down on continents and cities, then he will share Ariel's powers and survey Ariel's domain. He comes and goes; a spirit in the grasp of a mighty enchanter. He feels his bondage. Unlike Goethe's Faust, his energies are always employed for good. He can fly, swim, and dive into the fire. He boards a ship, dives into the cabin, rushes to the topmast, follows Jove's lightnings, makes old Neptune tremble, causes a fearful storm, and the sailors cry: "Hell is empty and all the devils are here!" Yet not a hair perishes. He disperses the voyagers about the isle. He can cool the air. He leaves all asleep. Prospero has freed him from torment and he is eager for new fields to conquer. Sometimes he appears as a water nymph.
What wonderful songs are his; "Full fathom five thy father lies, Of his bones are coral made, Those are pearls that were his eyes, Nothing of him that doth fade, But doth suffer a sea change, Into something rich and strange." The last three lines are appropriately cut on Shelley's tomb. Prospero calls him his industrious servant. He summons the peasants and Iris and Ceres to the nuptials of Miranda and Ferdinand. When urged by his master he says, "I go, I go." He confines the king and his followers distracted and dismayed; he makes tears run down their beards like winter's drops. Indeed he would pity them were he human. Immediately Prospero orders their release. They must again be themselves. Ariel fetches them. He sings: "Where the bee sucks, there suck I, in a cowslip's bell I lie, there I couch when owls do cry, on the bat's back I do fly, after summer merrily. Merrily, merrily shall I live now, under the blossom that hangs on the bough."
Now he awakens the shipmaster and boatswain under the hatches of the ship; he goes and returns before twice the pulses beat; he stands invisible by when the seamen say they were in a dream, and he asks his master--"was it well done?" This is our last view of the singular sprite until Prospero delivers all and says, "My Ariel, chick, to the elements be free and fare thou well!" From the air he came and to the air he returned. He is the most fascinating and unworldly and blithesome creature in all literature.
Monday, October 25, 2010
Shakespearean Insults
"[Your] mind is like a barber's chair that fits all buttocks: the pin-buttock, the quatch-buttock, the brawn-buttock or any buttock." A clown says this in which play?
All's Well That Ends Well. The clown says this to the Countess of Roussilon in 2. 2. 16-18
"The gold I give will I melt and pour down thy ill uttering throat". Who says this in "Cleopatra"?
Cleopatra. "Antony and Cleopatra", 2. 5. 34-35
"[His brain] is as dry as the remainder biscuit after a voyage."
As You Like It. "As You Like It", 2. 7. 38-40
"[You] lily-livered, action-taking, whoreson, glass-gazing, super servicable, finical rogue." From 'King Lear'; to whom would you attribute this?
Earl of Kent. "King Lear", 2. 2. 16-17
"[Your] virginity breeds mites, much like cheese." Which play?
All's Well That Ends Well. Parolles said this to Helena in the palace of the Countess of Roussilon. "All's Well That Ends Well", 1. 1. 139
"There's many a man hath more hair than wit." Play, please.
The Comedy of Errors. Antipholus of Syracuse talking with Dromio of Syracuse in 'The Comedy of Errors', 2. 2. 81-82
"We leek in your chimney." Which 'regnal' play?
Henry IV pt. I. Henry IV pt. I, 2. 1. 19
"You sullion! You rampollion! You fustilarian! I'll tickle your catastrophe!"
Henry IV pt. II. Sir John Falstaff was speaking to the hostess Quickly. 2. 1. 58-59
"He neve broke any man's head but his own, and that was against a post when he was drunk.' This was said by a mere boy about whom in 'Henry V'?
Nym. Henry V, 3. 2. 42-43
"He's a tried and valiant soldier." "So is my horse." Which play?
Julius Caesar. Octavian and Antony in discussion. 4. 1. 28-29
"[You] leather-jerkin, crystal-button, knot-pated, agate-ring, puke-stocking, caddis-garter, smooth-tongue, Spanish pouch!"
Henry IV pt. I. So said Prince Henry. 2. 4. 68-70
"[Thou] art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrol bitch." Which 'kingly' play?
King Lear. The Earl of Kent to Oswald, steward to Goneril. 2. 2. 18-21
"Go, prick thy face, and over-red thy fear, thou lily-liver'd boy." This is from Macbeth, but who says this?
Macbeth. Macbeth says this to a servant. 5. 3. 14-15
"What do you see? You see an ass-head of your own do you?" Who says this in 'A Midsummer Night's Dream'?
Bottom. Bottom, with his ass's head, says this to Snout. 3. 1. 111-112
"Scratching could not it make it worse, 'twere such a face as yours." Who says this in response to Benedick of Padua in 'Much Ado About Nothing'?
Beatrice. 1. 1. 126-127
"Some...strange bull leap'd your father's cow And got a calf in that same noble feat Much like to you, for you have just his bleat." Also from 'Much Ado About Nothing', this time with Benedick speaking to whom?
Claudio. 5. 4. 49-51
"Hang! Beg! Starve! Die in the Streets!" I think this quote will be easy for most so fill in the blank. The Play's name, please.
Romeo and Juliet. Capulet says this to Juliet whilst ranting and raving about her proposed marriage to Paris. 3. 5. 192
"Thou hast no more brain than I have in my elbows." The play, please.
Troilus and Cressida. Thersites says this to Ajax. 2. 1. 45-46
"I hate thee, Pronounce thee a gross lout, a mindless slave." The play?
Winter's Tale. Winter's Tale, 1. 2. 300-1
...and last but not least insulting: "If you spend word for word with me, I shall make your wit bankrupt."
The Two Gentlemen of Verona. Thurio insults Valentine in front of a lady. 2. 4. 37-38
All's Well That Ends Well. The clown says this to the Countess of Roussilon in 2. 2. 16-18
"The gold I give will I melt and pour down thy ill uttering throat". Who says this in "Cleopatra"?
Cleopatra. "Antony and Cleopatra", 2. 5. 34-35
"[His brain] is as dry as the remainder biscuit after a voyage."
As You Like It. "As You Like It", 2. 7. 38-40
"[You] lily-livered, action-taking, whoreson, glass-gazing, super servicable, finical rogue." From 'King Lear'; to whom would you attribute this?
Earl of Kent. "King Lear", 2. 2. 16-17
"[Your] virginity breeds mites, much like cheese." Which play?
All's Well That Ends Well. Parolles said this to Helena in the palace of the Countess of Roussilon. "All's Well That Ends Well", 1. 1. 139
"There's many a man hath more hair than wit." Play, please.
The Comedy of Errors. Antipholus of Syracuse talking with Dromio of Syracuse in 'The Comedy of Errors', 2. 2. 81-82
"We leek in your chimney." Which 'regnal' play?
Henry IV pt. I. Henry IV pt. I, 2. 1. 19
"You sullion! You rampollion! You fustilarian! I'll tickle your catastrophe!"
Henry IV pt. II. Sir John Falstaff was speaking to the hostess Quickly. 2. 1. 58-59
"He neve broke any man's head but his own, and that was against a post when he was drunk.' This was said by a mere boy about whom in 'Henry V'?
Nym. Henry V, 3. 2. 42-43
"He's a tried and valiant soldier." "So is my horse." Which play?
Julius Caesar. Octavian and Antony in discussion. 4. 1. 28-29
"[You] leather-jerkin, crystal-button, knot-pated, agate-ring, puke-stocking, caddis-garter, smooth-tongue, Spanish pouch!"
Henry IV pt. I. So said Prince Henry. 2. 4. 68-70
"[Thou] art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrol bitch." Which 'kingly' play?
King Lear. The Earl of Kent to Oswald, steward to Goneril. 2. 2. 18-21
"Go, prick thy face, and over-red thy fear, thou lily-liver'd boy." This is from Macbeth, but who says this?
Macbeth. Macbeth says this to a servant. 5. 3. 14-15
"What do you see? You see an ass-head of your own do you?" Who says this in 'A Midsummer Night's Dream'?
Bottom. Bottom, with his ass's head, says this to Snout. 3. 1. 111-112
"Scratching could not it make it worse, 'twere such a face as yours." Who says this in response to Benedick of Padua in 'Much Ado About Nothing'?
Beatrice. 1. 1. 126-127
"Some...strange bull leap'd your father's cow And got a calf in that same noble feat Much like to you, for you have just his bleat." Also from 'Much Ado About Nothing', this time with Benedick speaking to whom?
Claudio. 5. 4. 49-51
"Hang! Beg! Starve! Die in the Streets!" I think this quote will be easy for most so fill in the blank. The Play's name, please.
Romeo and Juliet. Capulet says this to Juliet whilst ranting and raving about her proposed marriage to Paris. 3. 5. 192
"Thou hast no more brain than I have in my elbows." The play, please.
Troilus and Cressida. Thersites says this to Ajax. 2. 1. 45-46
"I hate thee, Pronounce thee a gross lout, a mindless slave." The play?
Winter's Tale. Winter's Tale, 1. 2. 300-1
...and last but not least insulting: "If you spend word for word with me, I shall make your wit bankrupt."
The Two Gentlemen of Verona. Thurio insults Valentine in front of a lady. 2. 4. 37-38
Quotes from The Tempest
The Tempest is a play by William Shakespeare. The work was one of Shakespeare's last works; the play was produced in 1611. In The Tempest, Prospero and his daughter have lived on an island for 12 years. They were stranded on the island when Antonio usurped Prospero's rightful place as Duke of Milan. Here are few quotes from The Tempest.
"None that I love more than myself. You are a councillor; if you can command these elements to silence and work the peace of the presence, we will not hand a rope more - use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hours, if it so hap."
- William Shakespeare, The Tempest, 1.1
"A pox o' your throat, you bawling, blasphemous, incharitable dog!"
- William Shakespeare, The Tempest, 1.1
"Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, broom, furze, anything. The wills above be done, but I would fain die a dry death"
- William Shakespeare, The Tempest, 1.1
"Canst thou remember
A time before we came unto this cell?"
- William Shakespeare, The Tempest, 1.2
"in my false brother
awakened an evil nature, and my trust,
like a good parent, did beget !of him
A falsehood in its contrary as great
As my trust was, which had, indeed, no limit,
A confidence sans bound..."
- William Shakespeare, The Tempest, 1.2
"Library
Was dukedom large enough"
- William Shakespeare, The Tempest, 1.2
"good wombs have borne bad sons."
- William Shakespeare, The Tempest, 1.2
"Would I might
But ever see that man!"
- William Shakespeare, The Tempest, 1.2
"Hell is empty
And all the devils are here"
- William Shakespeare, The Tempest, 1.2
"I prithee,
Remember I have done thee worthy service,
Told thee no lies, made no mistakes, served
Without or grudge or grumblings. Thou did promise
To bate me a full year."
- William Shakespeare, The Tempest, 1.2
"As wicked dew as e'er my mother brushed
With raven's feather from unwholesome fen
Drop on you both! A southwest blow on ye
And blister you all o'er!"
- William Shakespeare, The Tempest, 1.2
"To name the bigger light and how the less"
- William Shakespeare, The Tempest, 1.2
"violate
The honour of my child."
- William Shakespeare, The Tempest, 1.2
"You taught me language, and my profit on't
Is, I know how to curse. The red plague rid you
For learning me your language!"
- William Shakespeare, The Tempest, 1.2
"There's nothing ill can dwell in such a temple.
If the ill spirit have so fair a house,
Good things will strive to dwell with't."
- William Shakespeare, The Tempest, 1.2
"Might I but through my prison once a day
behold this maid. All corners else o' th' earth
Let liberty make use of; space enough
Have I in such a prison."
- William Shakespeare, The Tempest, 1.2
"doublet is as fresh as the first day I wore it?"
- William Shakespeare, The Tempest, 2.1
"My lord Sebastian,
The truth you speak doth lack some gentleness,
And time to speak it in--you rub the sore
When you should bring the plaster."
- William Shakespeare, The Tempest, 2.1
"All things in common nature should produce
Without sweat or endeavour."
- William Shakespeare, The Tempest, 2.1
"'Tis as impossible that he's undrowned
as he that sleeps here swims."
- William Shakespeare, The Tempest, 2.1
"As this Gonzalo; I myself could make
A chough of as deep chat. O, that you bore
The mind that I do, what a sleep were this
For your advancement! Do you understand me?"
- William Shakespeare, The Tempest, 2.1
"Were I in England now, as I once was, and had but this fish painted, not a holiday-fool there but would give a piece of silver. There would this monster make a man--any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian."
- William Shakespeare, The Tempest, 2.2
"Four legs and two voices; a most delicate monster!"
- William Shakespeare, The Tempest, 2.2
"These be fine things, an if they be not sprites. That's a brave god, and bears celestial liquor. I will kneel to him."
- William Shakespeare, The Tempest, 2.2
"dropped from heaven?"
- William Shakespeare, The Tempest, 2.2
"I'll show thee the best springs; I'll pluck thee berries;
I'll fish for thee, and get thee wood enough.
A plague upon the tyrant I serve!
I'll bear him no more sticks, but follow thee,
thou wondrous man."
- William Shakespeare, The Tempest, 2.2
"The mistress which I serve quickens what's dead,
and makes my labours pleasures. O, she is
Ten times more gentle than her father's crabbed,
And he's composed of harshness."
- William Shakespeare, The Tempest, 3.1
"Poor worm, thou art infected!
This visitation shows it."
- William Shakespeare, The Tempest, 3.1
"O heaven, O earth, bear witness to this sound,
and crown what I profess with kind event
If I speak true; if hollowly, invert
what best is boded me to mischief: I,
Beyond all limit of what else i' th' world,
Do love, prize, honour you."
- William Shakespeare, The Tempest, 3.1
"As I told thee before, I am subject to a tyrant, a sorcerer that by his cunning hath cheated me of the island."
- William Shakespeare, The Tempest, 3.2
"Act to Trinculo Thou liest, thou jesting monkey, thou! I would my valiant master would destroy thee. I do not lie"
- William Shakespeare, The Tempest, 3.2
"What, what did I? I did nothing! I'll go farther off."
- William Shakespeare, The Tempest, 3.2
"And that most deeply to consider is
The beauty of his daughter. He himself
Calls her nonpareil. I never saw a woman
But only Sycorax, my dam, and she;
But she as far surpasseth Sycorax
As great'st does least."
- William Shakespeare, The Tempest, 3.2
"None that I love more than myself. You are a councillor; if you can command these elements to silence and work the peace of the presence, we will not hand a rope more - use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hours, if it so hap."
- William Shakespeare, The Tempest, 1.1
"A pox o' your throat, you bawling, blasphemous, incharitable dog!"
- William Shakespeare, The Tempest, 1.1
"Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, broom, furze, anything. The wills above be done, but I would fain die a dry death"
- William Shakespeare, The Tempest, 1.1
"Canst thou remember
A time before we came unto this cell?"
- William Shakespeare, The Tempest, 1.2
"in my false brother
awakened an evil nature, and my trust,
like a good parent, did beget !of him
A falsehood in its contrary as great
As my trust was, which had, indeed, no limit,
A confidence sans bound..."
- William Shakespeare, The Tempest, 1.2
"Library
Was dukedom large enough"
- William Shakespeare, The Tempest, 1.2
"good wombs have borne bad sons."
- William Shakespeare, The Tempest, 1.2
"Would I might
But ever see that man!"
- William Shakespeare, The Tempest, 1.2
"Hell is empty
And all the devils are here"
- William Shakespeare, The Tempest, 1.2
"I prithee,
Remember I have done thee worthy service,
Told thee no lies, made no mistakes, served
Without or grudge or grumblings. Thou did promise
To bate me a full year."
- William Shakespeare, The Tempest, 1.2
"As wicked dew as e'er my mother brushed
With raven's feather from unwholesome fen
Drop on you both! A southwest blow on ye
And blister you all o'er!"
- William Shakespeare, The Tempest, 1.2
"To name the bigger light and how the less"
- William Shakespeare, The Tempest, 1.2
"violate
The honour of my child."
- William Shakespeare, The Tempest, 1.2
"You taught me language, and my profit on't
Is, I know how to curse. The red plague rid you
For learning me your language!"
- William Shakespeare, The Tempest, 1.2
"There's nothing ill can dwell in such a temple.
If the ill spirit have so fair a house,
Good things will strive to dwell with't."
- William Shakespeare, The Tempest, 1.2
"Might I but through my prison once a day
behold this maid. All corners else o' th' earth
Let liberty make use of; space enough
Have I in such a prison."
- William Shakespeare, The Tempest, 1.2
"doublet is as fresh as the first day I wore it?"
- William Shakespeare, The Tempest, 2.1
"My lord Sebastian,
The truth you speak doth lack some gentleness,
And time to speak it in--you rub the sore
When you should bring the plaster."
- William Shakespeare, The Tempest, 2.1
"All things in common nature should produce
Without sweat or endeavour."
- William Shakespeare, The Tempest, 2.1
"'Tis as impossible that he's undrowned
as he that sleeps here swims."
- William Shakespeare, The Tempest, 2.1
"As this Gonzalo; I myself could make
A chough of as deep chat. O, that you bore
The mind that I do, what a sleep were this
For your advancement! Do you understand me?"
- William Shakespeare, The Tempest, 2.1
"Were I in England now, as I once was, and had but this fish painted, not a holiday-fool there but would give a piece of silver. There would this monster make a man--any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian."
- William Shakespeare, The Tempest, 2.2
"Four legs and two voices; a most delicate monster!"
- William Shakespeare, The Tempest, 2.2
"These be fine things, an if they be not sprites. That's a brave god, and bears celestial liquor. I will kneel to him."
- William Shakespeare, The Tempest, 2.2
"dropped from heaven?"
- William Shakespeare, The Tempest, 2.2
"I'll show thee the best springs; I'll pluck thee berries;
I'll fish for thee, and get thee wood enough.
A plague upon the tyrant I serve!
I'll bear him no more sticks, but follow thee,
thou wondrous man."
- William Shakespeare, The Tempest, 2.2
"The mistress which I serve quickens what's dead,
and makes my labours pleasures. O, she is
Ten times more gentle than her father's crabbed,
And he's composed of harshness."
- William Shakespeare, The Tempest, 3.1
"Poor worm, thou art infected!
This visitation shows it."
- William Shakespeare, The Tempest, 3.1
"O heaven, O earth, bear witness to this sound,
and crown what I profess with kind event
If I speak true; if hollowly, invert
what best is boded me to mischief: I,
Beyond all limit of what else i' th' world,
Do love, prize, honour you."
- William Shakespeare, The Tempest, 3.1
"As I told thee before, I am subject to a tyrant, a sorcerer that by his cunning hath cheated me of the island."
- William Shakespeare, The Tempest, 3.2
"Act to Trinculo Thou liest, thou jesting monkey, thou! I would my valiant master would destroy thee. I do not lie"
- William Shakespeare, The Tempest, 3.2
"What, what did I? I did nothing! I'll go farther off."
- William Shakespeare, The Tempest, 3.2
"And that most deeply to consider is
The beauty of his daughter. He himself
Calls her nonpareil. I never saw a woman
But only Sycorax, my dam, and she;
But she as far surpasseth Sycorax
As great'st does least."
- William Shakespeare, The Tempest, 3.2
Tuesday, November 24, 2009
Monday, November 23, 2009
Shakespeare?
William Shakespeare Mt
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William Shakespeare
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