The Tempest Act IV-V

I found the first half of Act IV to be much more symbolic of a romance than any other scene in the play. In this scene, we not only witness Ferdinand’s true love and devotion for Miranda, but we also see Prospero’s acceptance of their union. Prospero apologizes to Ferdinand, telling him, “If I have too austerely  punished you, your compensation makes amends…”(4.1.1-2). One thing that I noticed was the emphasis on purity and chastity in this scene. Prospero made Ferdinand swear that Miranda stay a virgin until a proper wedding ceremony. In this, we see Prospero’s need to keep his only daughter pure and innocent. I thought the showcase of the nymphs were something like a big bang before Prospero decides in the next act to surrender his magical powers. It all seemed to express the sheer happiness and enchantment surrounding the lover between Miranda and Ferdinand. The second half of Act IV was quite the opposite of the former. We witness Prospero transform from joyful to agitated in the matter of minutes because of the plot against him. This half of the scene really emphasized the stupidity of Caliban, Stefano and Trinculo. I honestly feel that besides showing the varying degrees of Prospero’s emotions, as well as his extent of magical powers, there is no real connection between the two halves.

In Act V, there are a few interactions that stuck out to me. The first was the interaction between Alonso and Prospero. Considering that it was Antonio who usurped the throne, there seemed to be much more remorse and apology coming from Alonso. There was even some embrace, which is strange and would be expected between two brothers, not two strangers. The second interaction that I noticed was the re-introduction of the Boatswain. I noticed there to be no disrespect directed towards him unlike the first scene in Act I. Im assuming that this was supposed to highlight the change and growth in the men from their tumultuous experience on the island. Last but not least, Prospero’s epilogue at the end of the play really stuck out. This is perhaps the first time in which a character has spoken directly to the audience and has also requested applause. This sort of gesture demonstrates a sort of consciousness that characters from other Shakespearean plays do not possess. I thought it was odd for Shakespeare to do that in  this particular play

The Tempest Act III

The most important speech in Act three would have to be Scene 2, lines 53-82. In this passage Ariel has appeared as a spirit to these several men in order torment them as well as make them aware of why they are on the island. Up until this point in the play, everyone is under the assumption that they are tragically misplaced on the island out of misfortune or fate. Ariel comes and dispute this notion by telling them directly that their actions has caused their misfortune, calling them, “You ‘mongst men being most unfit to live”(57-8). He also calls them fools, telling them that the spirits are ministers of fate. What is most important is his mentioning of Prospero, which lets them know that he has something to do with their situation.

The second most important speech in Act three is in Scene 1, lines 1-15. In this speech Ferdinand is reflecting on his enforced servitude to Prospero. He says that there are types of labor that are difficult but the rewards of it make it worth doing. He states that Miranda is his delight in his hard labor. “The mistress which I serve quickens what’s dead and makes my labors pleasures” in lines 6-7. It is easier for Ferdinand to be a servant when imagining he is serving to Miranda rather than Prospero. This speech is important because it demonstrates not only Ferdinand’s undying love for Miranda but also his hate of her father.

I would consider the final speech in scene 2 to be the least important. In this scene, Caliban is assuring Stefano to not be afraid of the noises and sounds heard on the island, and that is is common to hear such things. This speech demonstrates how isolated and insane that Caliban has become, since he finds unseen noises to be completely normal. 

The Tempest Act 1-2

From the very beginning of Act 1, Scene 1 there seems to be tension between the Boatswain and mariners such as Alonso, Antonio and Gonzalo.. Why is that so? Do they feel he is not competent? They even begin to curse him, “A pox o’your throat, you bawling, blasphemous incharitable dog!” Sebastian says to Boatswain in lines 36-37.

While answering the first part of the blog post I decided to do my second anti-blog post for the semester because I am particularly intrigued by Shakespeare’s use of language in Scene 1. I think the use of vile language in this scene sort of prepares the reader on what type of dialogue to expect in the future. Antonio says to Boatswain, “Hang, cur, hang, you whoreson insolent noisemaker” in line 39. I would like to list a few terms and then reflect on them in the context of the play as well as Shakespeare.

·      Cur- It is defined as a dog, now always depreciative or contemptuous; a worthless, low-bred, or snappish dog by OED. I think it is important to note that a cur is often low-bred or mixed breed because this signifies a conflict of class within the boat. Antonio, who is the Duke of Milan, felt the need to point out the low position of the Boatswain. He is determined to assert his higher social rank even in the confines of a ship that is headed for disaster, which implies much about Antonio’s character, a man who usurped the throne from his own brother. The snappish dog reference in the definition can also be seen by Boatswain, who has no qualms about snapping to his superiors. He says in line 34, “Yet again? What d you here? Shall we give o’er and drown?”.

·      Whoreson- This term was clearly meant as a means of degradation and insult. We have previously witnessed issues of illegitimacy and offense that is associated with the offspring of “whores” or other women in plays such as King Lear. This once again signifies the shame that is correlated with being illegitimate. Antonio does not even state “bastard” but instead tries to undermine every bit of identity with saying “whoreson”.

·      Noisemaker-Is a person or device that functions primarily for creating loud noise. I thought this term was most interesting. It seemed to imply that Boatswain’s instruction was considered as nothing more than noise, rather than direction. This sort of resistance goes back to the lack of respect that these men have for Boatswain as someone who is in charge of the ship.

By reflecting on a few words within a curse directed towards a character, we are able to arrive to significant and continuing themes of class, legitimacy and identity in Shakespeare’s play.

Winters Tale Act V

In my opinion, Act V seemed to be some sort of deviation from Shakespeare’s past plays and writings for several reasons. The first was scene two, in which Autolycus, three gentlemen, the Clown and the shepherd were interacting.  What stroked me about his scene was that a group of characters were all relaying an occurrence during the play. In past plays we have seen characters reflect on things such as Salerio and Solanio in Merchant of Venice, but they usually did so to impart their opinion and wisdom to the audience concerning the situation. These characters seemed to be relaying the entire order of events after scene 1, which is strange. Usually we see these sorts of scenes acted out, in fact that is the purpose of a play. This scene in a way was disruptive and it makes me question Shakespeare’s purpose for including it instead of the characters acting it out. The second deviation was undoubtedly the Hermione scene. Out of all the plays we have read this semester, no matter how ridiculous or ironic the plot seemed, it never incorporated a sense of the supernatural. I know that Shakespeare has touched on this before on plays like Macbeth, but witchcraft was a major theme in that play, unlike this one. It was surprising to say the least that she springs to life from the statue and their reactions do not seem to be appropriate. If I saw someone come to life, I feel that I would have been shocked more than anything but Leontes seemed to welcome it, saying “If this be magic, let it be an art lawful as eating” in 5.3.110-11. At the end of the play, I find myself struggling to classify its genre. Its listed as a romance, although I find there to be more tragic elements than anything. Im assuming that because it does have a “happy ending”, it cannot be considered a tragedy. I would like to think that Leontes and Hermione possess a love that is unwavering but that is simply untrue. The fact of the matter is that Leontes was willing to kill his own child and banish his wife because of his insecurity and jealously. In my opinion, that is not real love and it is certainly not romantic. 

Winter's Tale Act II & III

An interchange in Act 2 that I was particularly interested in was that between Leontes and Antigonus. Antigonus seemed to be quite disturbed by the King’s accusations towards Hermione. He is even so convinced of her chastity that he swears his own daughters’ reproductively upon it. The harshness of this claim seemed to really emphasize both Antigonus and Hermione’s characters. Antigonus is clearly a man who stands strong in his conviction and has no qualms about expressing them directly to King Leontes. Hermione’s reputation as a virtuous and honest woman is also so indisputable that men are willing to swear upon their children on it. It makes Leontes’ accusations seem even more absurd. In 2.1.139-41, Antigonus states, “For every inch of woman in the world, ay, every dram of woman’s flesh is false if she be”.

3.1 may have been dramatized to emphasize the innocence of Hermione. It also could have demonstrated the reliance that was placed on the oracle during this time period.

I would have to say that Hermione is the most compelling during her trial. Her insistence of her innocence is nonwithstanding, but she also accepts whatever is meant to happen. Throughout this scene she speaks rationally and assures the King that she loved polixenes no more than a friend should. She also seems to be unafraid and even welcomes his unfair judgment. She tells the king that “The bug which you would fright me with, I seek” in 3.2.90. She knows that she is innocent but is willing to face whatever the gods have in store for her. The next compelling character would have to be Paulina. It is ironic that the most compelling characters in this scene are both women. You would usually categorize women during this time as quiet but neither of them held their tongues when talking to Leontes. Paulina seemed to be chastising the King for his wrongful decisions that led to the deaths of both his son and wife. 

A Winter's Tale Act I

The Comedy of Errors

Egeon , who is a merchant of Syracuse is in trouble because he has disobeyed a law governing the city of Ephesus. The law states that no native of Syracuse may enter the bounds of Ephesus and the penalty of doing so is either a thousand levies or death. Unfortunately Egeon does not have that type of capital to avoid execution. He is not currently in Syracuse for the exchange of goods or profit, but rather he is there to search for his long-lost son. He begins to tell Solinus, a Duke of Ephesus his reasoning for being there. Many years ago, he was happily married. His wife became pregnant with twins. When they were born. Egeon and his wife also decided to adopt another set of twins who happened to be poor to look after each son. Shortly after their birth, they left to sail back home when a violent storm wrecked their ship forcing them to separate. Each parent, son and twin boy drifted separately towards different cities. It is Egeon and his son’s mission to find the other members of their family which is what brings him to Syracuse. Because Shakespeare plays tend to be ironic, I feel that they will eventually meet up with the other family members but the question is how will Egeon survive with no money to pay his penalty?

Winter’s Tale

Leontes and Polixenes has the typical “bromance” relationship except there is a twist; Leontes is secretly jealous of his friend. It is really emphasized the closeness that these two characters posses with one another. They have a long friendship, being described as childhood friends. In Act 1, Scene 1, Lines 19-21, Camillo speaks of them, “There rooted betwixt them then such an affection which cannot choose but branch now”. Even Polixenes stated, “We were as twinned lambs that did frisk I’th’ sun, and bleat the one at th’other” in 1.2.69-70. Despite their closeness, Leontes seems to feel that his best friend is having an affair with his wife.

Hermione and Polixenes seem to have a relationship that definitely causes concern, and not merely because of Leontes’ accusation. As seen in Scene 2, it is Hermione that finally convinces Polixenes to stay for another week, despite his insistence. There also seems to be a slight sense of flirtation between them, especially after he agrees to stay. Even her husband remarks that there is only one other moment in which she has never spoken to better purpose, which is the time where she take his hand in love and marriage. But there are moments in which Hermione reminds the audience that Polixenes is merely a friend of the family, so her friendliness and being a gracious host could be mistaken for something more.

We have seen this type of jealously amongst friends in Much Ado About Nothing. Claudio quickly became suspicious of Hero and Don Pedro, one of his closest friends. The audience knew that this was unwarranted so I am predicting that it will be the same in Winter’s Tale. 

King Lear: Act V

The audience really starts to see the development in Edgar and Gloucester’s relationship in this act. We encounter a man at his lowest, having been betrayed by his illegitimate son and then horribly blinded by his enemies and it is at this moment in which he begins to reflect on his wrongdoing. He realizes the pain that he has caused Edgar, exclaiming that if only he could “live to see thee in my touch”(4.1.24) Ironically at this moment is where he unknowingly encounters Edgar disguised as a beggar. We then see Gloucester display a sort of concern towards the beggar, for example offering him clothing and money. It is as if he is trying to repent for his actions against Edgar by showing kindness towards a complete stranger who happens to actually be Edgar. Despite his father’s past treatment, Edgar cannot help but feel sorry for his condition and in this way we see a sort of unbreakable bond between a father and son no matter the circumstance. The love and respect for his father is still intact and demonstrates this by guiding him to Dover and not allowing his attempt for suicide. In what Gloucester thinks are his last words, he says, “If Edgar live, O, bless him!” (4.6.40). His dying wish was for God to bless the son that he has treated so horribly, which reveals his upmost apology and love that he still has for his son.

Even though I am slightly skeptical of Lear’s loss of consciousness, he certainly had a reason to drive him towards madness. The two daughters that he believed loved him most banished him outside his own kingdom and the only daughter who truly loved him he has cursed. I think that it is ironic that a man who began the play with so much power, authority and resolution has resulted in someone who is out of touch with reality and whose mind is beginning to falter. It seems to be a befitting punishment for someone who refused to listen to sound judgment from Kent and the Fool. 

King Lear: Act III

I decided to do an Anti-Blog post for Act Three but instead of comparing a character to a celebrity, I chose a movie character. When I began to focus on the Fool’s character, there was a particular movie character that I was reminded of, and I feel that both the Fool and this character share similar qualities. In the movie, “Drop Dead Fred”, (which was a childhood favorite of mine), Fred shares many characteristics as the Fool in King Lear. Fred is an imaginary friend to a young girl Lizzie. Many of his actions and speech was erratic, his humor was quite dark and he often caused trouble but he still managed to provide somewhat sound advice for Lizzie, who was suffering from an overbearing, controlling mother. Besides the fact that Fred wore eccentric clothing that could even be compared to that of a fool or jester, it is particularly the dark humor that I found very similar. He would often speak satirically such as the fool, and sometimes downright insulting but deep down he cared about the well-being of Lizzie. This exact sort of sentiment is expressed in Act three between the Fool and King Lear. The Fool advises him to make amends with his daughters so that he is spared a night full of rain but King Lear refuses. Directly afterwards, the Fool insults the King by implying that it is he that is foolish, in lines 40-41, “Marry, here’s grace and a cod-piece; that’s a wise man and a fool”. I also think that this comparison between the Fool and Fred is ironic because similarly to Lizzie who wishes to escape the brutal emotional treatment from her mother, King Lear escaped from his abusive daughters. It is in both this situations in which the Fool and Fred gives advice, even if it is in a skewed manner.

Fred

Lizzie & Fred

King Lear: Act 1 & 2

1.1.35-53

In this speech, King Lear reveals his intentions on dividing his estate amongst his three daughters. In order to do so, he has required each daughter to express how much they love their father. Each daughter and her respective husband are to receive their portion of the kingdom depending on the eloquence of their answer.

1.1.109-41

In this speech, King Lear is dismayed and angered at his youngest daughter, Cordelia’s response, rather lack thereof. He swears by the gods that he disowns her in every aspect and that she is no longer his daughter. He goes on to debase her by comparing her to classical barbarians.

1.1.175-87

In this speech, infuriated by Kent’s defense of Cordelia, banishes him inside of the kingdom. He has six days to leave and if he still present during the 10^th day, he is to be executed. King Lear once again swears by celestial beings that this decree shall not be revoked.

In the second speech, King Lear appears to be shocked, then outraged at Cordelia’s response towards his request. He references the classical goddess, Hecate, as if to enhance the seriousness of his declaration. He states in lines 111-12, “By all the operation of the orbs from whom we do exist and cease to be,…”It is as if by swearing by entities of an higher being, it makes his words irrevocable. He goes on to disown Cordelia of all rights, listing them in an almost-brisk, business-like manner as if their relationship was a contractual agreement. Then, once again he mentions another classical figure, but this time to disgrace her. He says that this barbarous Scythian, one that devours his own parents, means as much to him as his former daughter. Using this particular analogy implies that Cordelia herself is destroying her father by avoiding his wishes. It expresses his deep hurt as well has bitterness towards her actions.

 

The soliloquy that Edmund begins with in Act 1, Scene 2 alerts the reader to several things. First we see a true frustration with him being identified as illegitimate or bastard. He feels that is wrong for him to be deprived of his father’s estate merely because his is younger than his brother, whose mother happened to be married to his father. He argues that he has just as many qualities as his brother, therefore he deserves just as much as him. We also see his plans for deception at the expense of his brother. He intends to steal his brother’s right to land and by doing so, the bastard will rise above what is considered as legitimate. This soliloquy is important because it reveals Edmund’s motive for his upcoming deception and it also warns the audience of the trouble he is about to cause. We now know that Edmund intends on deceiving both his father and brother to gain what he feel is rightfully his.

Merchant of Venice: Act V

I feel that the first third of 5.1 acts, specifically Jessica and Lorenzo both act as a foil to the relationships portrayed later in the act between Bassanio and Portia and Nerissa and Graziano. In the beginning of Act 5, the audience gets this sense of true, love and affection from Jessica and Lorenzo. They declare their undying love for one another, Jessica telling Lorenzo, “In such a night did young Lorenzo swear he loved her well, stealing her sould with many vows of faith and ne’er a true one.” He responds to her her saying, “In such a night did pretty Jessica, like a little shrew, slander her love, and he forgave it her.” 5.1.2462-2471. There is this display of innocence and romanticism that is not so obvious with the other two couples. Instead with Bassanio, Portia, Nerissa and Graziano, we witness manipulation, deceit and a lack of trust. Bassanio and Graziano have both failed the ring test miserably, and when confronted about it, their wives insist that they will instead lay with the judge and his clerk. This is of course a comedy, so the audience knows that they are not serious but their tricky and deceptive way at affection and loyalty deeply contrasted against Jessica and Lorenzo. 

Merchant of Venice: Act III & IV

In Act Three what stood out to me the most was the development of Portia’s plan as far as deceiving Shylock as well as Antonio and Bassanio. She says to Nerissa in 3.4.60-71

“They shall, Nerissa, but in such a habit that they shall think we are accomplished with what we lack. I’ll hold thee any wager, ……wear my dagger with the braver grace, and speak between the change of man and boy with a reed voice, and turn two mincing steps into a manly stride, and speak frays like a fine bragging youth, and tell quaint lies how honourable ladies sought my love, which I denying, they fell sick and died.”

This passage to me really emphasized the conflict between male and female identity and assumed roles. Portia clearly has a desire to take matters into her own hands but her assertiveness is being portrayed as traditionally a male characteristic. This concept of “lacking” in females has been perpetuated all throughout history and Portia reminds the audience of this. Not only do women lack in physical male characteristics, but she also implies that they lack in other qualities she describe such as bravery and confidence. Its ironic that Portia reminds of the audience of these assumed gender roles, yet chooses to disguise herself as a man which in a sense further these stereotypes. This makes me think whether Beatrice from Much Ado would do something similar. She was assertive and outspoken, qualities generally associated with men but I feel that she would have not submitted to such antics like Portia .

In Act four, during the court scene involving Shylock, Antonio and Bassanio, Portia disguised as Balthasar tells Shylock in 4.1.179-84

“The quality of mercy is not strained. It droppeth as the gentle rain from heaven upon the place beneath. It is twice blest: It blesseth him that gives, and him that takes. “Tis mightiest in the mightiest. It becomes the throned monarch better than his crown.”

I thought that it was convenient for Portia to use Christian doctrines to support her argument especially when religion is such a dominant issue in this play.  I think that the Christian characters seem to use their religious morals only when it is beneficial for them. When they treat Jews in contempt, spitting on them and calling them dogs, are they behaving in a merciful manner? This play and particular act really demonstrates the issues that arise from two conflicting religions. What may be considered merciful for one, may seem blasphemous to another. It seems easy for them to manipulate the meaning of mercy and justice as it pertains to this situation. Im not implying that Shylock is not a villain and he certainly has evil intentions but I do believe that the Christians are morally superior to Shylock and Jews in this story.

Merchant of Venice: Act II

Act Two of Merchant of Venice reveal many new developments in the plot. The one that most intrigued me was the casket test involving Morrocan prince. In 2.7, we get the strong sense of the desire that many feel for Portia. It is known in Act one that she has several suitors and that she is wealthy as well as beautiful but the Morrocan prince’s analogy of her in his decision making revealed just how much she is coveted throughout many cities. In 2.7.38-40, he states, “All the world desires her. From the four corners of the earth they come to kiss this shrine, this mortal breathing saint.” This scene also demonstrates the vast significance that people placed on wealth and riches, which is important when thinking about Merchant of Venice. The prince’s entire reasoning for choosing the golden casket is because it is the most lavish and surely a creature such as Portia would deserve nothing less. He says, “Is’t like that lead contains her? “Twere damnation to think so base a thought. It were too gross to rib her cerecloth in the obscure grave. Or shall I think in sliver she’s immured, being ten times undervalued to tried gold?” 2.7.49-53. This is not the first time we see value placed in gold, or wealth. It is an underlying theme all throughout the entire play. We then discover that the gold casket is in fact the incorrect casket. Portia’s father encloses a clever inscription starting with, “All that glisters is not gold;” 2.7.65 and telling the suitor, “Had you been as wise as bold, young in limbs, in judgment old, your answer had not been enscrolled.” In lines 2.7.70-3. We see here that Portia’s father has left quite the riddle for her suitors and intends to choose someone for his daughter who places more significance on wisdom than material objects.  The other obvious devlopment is the relationship between Shylock and his daughter. Ironically the very man who is a proud Jew and is at conflict with Christians has a daughter who condemns him and herself for their Jewish heritage, wishing to marry and convert to Christianity. Jessica’s character brings up several issues. It is not revealed exactly why she has contempt for her own religion and father, but the fact that Shakespeare put a daughter against her own father is odd in itself. It could be a sign of rebellion that is common amongst young women but it appears that like Antonio and Bassanio, Jessica feels that Jews themselves have shameful qualities, which she mentions. She acknowledges that it is wrongful to be against her father, “What heinous sin is it in me to be ashamed to be my father’s child!” but then assures that, “But though I am a daughter to his blood, I am not to his manners.” 2.3.15-8. Jessica’s character and her relationship with her father introduce the theme of blood and/or family in the play. So far we have seen emphasis on material things but their relationship forces the audience to tackle the question of the blood shared amongst people and how family factors into the issue of religion and identification.

Merchant of Venice: Act 1

When first reading The Merchant of Venice, it is somewhat difficult to believe that this is in fact, considered a comedy. In the first act, even the first line, we encounter a character who claims to be sad, yet for an unknown reason. Antonio states, “I know not why I am so sad”. (1.1.1) His friends assure him that this feeling must be caused by anxiety of his ships being at sea. Salerio says to him, “Your mind is tossing on the ocean.”(1.1.8) while Solanio agrees, saying that, “Believe me, sir, had I such venture forth the better part of my affections would be with my hopes abroad.”(1.1.14-17) There are several things, such as bad weather and pirates that can affect a merchant’s merchandise. Antonio assures them that all of his fortunes are not dependent on this one venture and he also tells them that he is not in love. He insists that his sadness has no cause, “I hold the world but as the world, a stage where every man must play a part and man a sad one.”(1.1.77-79) So in the first act of this “comedy”, we are introduced to a character that has a sad disposition for essentially no reason. This seems to be an odd way to start off a comedy. That is not to say that there are not any comedic elements in this act. The banter between Antonio’s friends in particular is humorous, especially Graziano. After Graziano’s long speech to Antonio about having a more positive nature and often men that are considered wise because of their quiet and sullen disposition are usually instead foolish, Lorenzo replies playfully, “I must be one of these same dumb wise men, for Graziano never lets me speak.”, to which Graziano quickly responds with, “Well, keep me company but two years more thou shalt not know the sound of thine own tongue.”(1.1.106-109). We also see irony, which is a common device used in Shakespearean comedies. The very suitor, Bassanio who begs Antonio for financial help in wooing Portia is the only man that she finds appealing and acceptable amongst her long list of possible suitors. There are some similarities and differences when compared to Much Ado About Nothing. The bond between Antonio and Bassanio is very reminiscent between that Don Pedro and Claudio. Such as Don Pedro vows to help his friend Claudio in his quest for love, Antonio does the same for Bassanio. “I pray you, good Bassanio, let me know it, and if it stand as you yourself still do, within the eye of honour, be assured my purse, my person, my extremest means lie all unlocked to your occasions.”(1.1.135-139) We also see a similarity of deceit between Don John and Shylock. What is different amongst the plays is this introduction of race/religion being an issue. Shylock’s character introduces the conflict between Jews and Christianity that was not present in Much Ado. As far as my reaction to the first act of the play, I do admire Antonio’s loyalty and willingness to help Bassanio in the present situation. I think that it definitely takes a true, good friend to loan money even when Bassanio has admitted to wasting his own money by trying to portray an higher lifestyle than he could afford. However, I think it was slightly foolish for Antonio to borrow money just to lend it out. Financially, that makes no sense. Also, I am aware of Shylock’s character portrayal as a villain, but I could not help but sympathize with him. I thought he made very valid arguments when talking to Antonio. They did have some nerve spitting on him and calling him a dog, yet shamelessly asking for loans. Shylock clearly has ulterior motives, as foreshadowed by Bassanio at the end of Act 1, “I like not fair terms and a villain’s mind.”(1.3.175) but I can not necessarily blame him for wanting retribution.  

Henry IV Act 4-5

I am well aware of Falstaff’s character so needless to say I was not surprised when he did not choose to fight but instead hide. However after Act 5, scene 4 in particular, I feel that Falstaff in some sense truly feels that it is more dignified to hide from any chance of defeat rather than face it. There is one line in particular, lines 117-118 in which he says, “The better part of valour is discretion, in the which better part.” For him to then stab Hotspur, a man who he would never combat, while is he already dead is a true sign of not only cowardice but deception. Falstaff has proved several times in this play that he is capable of deception but I felt that this was the ultimate sign of deceit. Its almost as if he has convinced himself that he has played some part in killing Hotspur. Falstaff is an obvious contrast to Harry and Hotspur, both who are men willing to die for their family’s honor. The relationship between Harry and his father has also come full circle in Act 5, when Harry saves his father from death. I thought it was symbolic and ironic that it took this sort of action for Harry to gain Henry’s respect, when Henry himself is accused of murder to gain his position. It took this sort of action to show his father his true character when his father himself once possessed the exact opposite nature. 

Henry IV: Act II, Scene V

In Act 2.5.395-439, Falstaff and Harry were clearly in role play with Falstaff taking the role of Harry and Harry resuming the role of his father, the King. This scene is interesting for a number of reasons but most of all, it reveals not only what Harry views of his own father but also his own conscious or subconscious views of Falstaff himself. I think because of this, this particular part of this scene holds some importance. I would have both characters center stage and I would follow Shakespeare’s own instructions as well. Harry would be sitting, as if on a throne such as King is naturally though of. His demeanor and body language would indicate that of royalty, so he would sit up straight with his head held high but he would also look down at Falstaff, in a judgmental and condescending stance as well. Falstaff, on the other hand would be standing in a modest, almost pleading stance to show his humility as the King’s shameful son. Prince Harry would deliver this speech of Falstaff character in a menacing and cold approach, so that it would demonstrate the absolute disgust that Harry feels his father has towards men such as them. Falstaff, on the other hand would answer back in a forced, almost sarcastic and patronizing tone that reminds the audience that although his is role-playing as Harry, his character is still very much indeed Falstaff. There would be minimal props, just the chair that Harry sits upon. The setting would be minimal as well, to emphasize this particular segment. 

King Henry IV: Act I

In Act 1, Scene 1 of Henry IV, my first impression of King Henry is that he is active and outspoken. The play begins with a drawn out speech about how his army will no longer endure tragedies faced recently and how he is looking towards a different sort of goal. “No more the thirsty entrance of this soil shall daub her lips with her own children’s blood. No more shall trenching war channel her fields nor bruise her flow’rets with the armed hoofs of hostile paces.”(1.1.6-9). He seems fed up with the current state of his army. He also appears very disappointed and stern with his son and even goes as far wishing he had a son more like Hotspur. “Whilst I by looking on the praise of him see riot and dishonor stain the brow of my young Harry.”(1.1.83-85).

“So when this loose behavior I throw off and pay the debt I never promised, by how much better than my word I am, by so much shall I falsify men’s hopes; and like bright metal on a sullen ground, my reformation, glitte’ring o’er my fault, shall show more goodly and attract more eyes than that which hath no foil to set it off.”(1.2.186-193).

It appears that Prince Harry chooses to behave so lowly and carelessly so that he will look much better in comparison when he reforms and becomes a real hero and honorable son. Though I understand his plan, I feel that it is unnecessary and even foolish. It would probably work but why would a grown man sacrifice his integrity to play tricks on his father and people around him? It makes me feel that Prince Harry is insecure and unsure of his capabilities as an heir from the beginning. Its clever but it is also deceitful and cowardly in my honest opinion.

“Shall it for shame be spoken in these days, or fill up chronicles in time to come, that men of your nobility and power did gage them both in an unjust behalf, as both of you, God pardon it, have done: To put down Richard, that sweet lovely rose, and plant this thorn, this canker, Bolingbroke?”(1.3.68-74)

Hotspur seems to be particularly angry at not only King Henry’s decisions but also his means of obtaining his position in the first place. His rant somewhat implies that he would have much preferred Richard II as King, comparing him to rose while denouncing King Henry and comparing him to a canker. This sort of disapproval of usurping the throne through murder shows Hotspur to be noble and honest in my opinion.

Sonnets 116 & 29

Sonnet 16

Let me not know any marriage of two in love with any objections. Love is not love if it changes when prompted to do so. Or changes when one decides to remove themselves. Oh no, it is a permanent thing that does not waver and is never shaken; it is the light that guides every ship, whose worth cannot be measured. Love cannot be measured by time, although time may fade physical looks such as rosy lips or cheeks. Love cannot be measured by hours or weeks, but lasts until the end of time. If I can be proven wrong by this, I have never written, nor has any man ever loved.

Sonnet 29

When my fortune has been disgraced and everyone has left me in my horrible state, I cry to God in heaven with no response, and look at myself cursing my own fate, wishing that I could be someone who possess more hope, better luck, such as man with many friends, someone who possess talent and skills and unconcerned with the things I’m interested in the most. Yet in these thoughts of despair, thoughts I most despise, I think of you and then my state begins to disappear from something depressing into something as heavenly as hymns sang to God. When I remember your sweet love, I feel so wealthy that I wouldn’t trade places with the richest kings.

Sonnet 116 is a poem that delves directly into the concept of love and its many descriptions and its final two lines gives this final statement of certainty concerning the nature of love described previously. Sonnet 29 on the other hand, sets up this juxtaposition between the speaker dissatisfaction and feelings of self-loathing towards himself and its feelings of love towards his lover. He spends majority of the poem stating that he is so unlucky that he even wishes to be someone else, but once he begins to reflect on his lover, he feels wealthier and happier than kings. Love is not even mentioned until the last two lines of the sonnet. I think that Sonnet 29 in particular connect with Elizabethian sonnets because of its use of exaggeration and also their way of speaking against themselves in order to woo its lover. Sonnet 116 uses great examples of exaggeration as well, but it does not seem to be directed at one particular person. I liked the shift near the end of Sonnet 29 because its contrast really reflected just how much he loved this person. No matter how disgraced or inadequate the speaker felt about himself, it compared nothing to the love he felt for his lover.

Much Ado About Nothing: Act V Sonnets

When considering Benedick as a sonneteer, it is somewhat difficult to imagine what approach and style he would portray in his sonnet to Beatrice. In Pinksy’s article, he gives several examples of written sonnets, all with different meanings yet most of them shared one common purpose; to woo and court their lover. The problem that occurs with Benedick and the sonnet that he would produce is the fact that he never originally intended to court Beatrice. As you may recall, at the beginning of the play Benedict had quite a negative disposition concerning the idea of courtship, love and especially marriage. He also possessed a particular sense of disdain for Beatrice. Many, if not most sonnets involve the sonneteer commenting on several qualities possessed by their lovers, whether it is their astounding beauty or indescribable charm. Pinksy explains this use of exaggeration in sonnets to appeal to these lovers by complimenting and praising them. The issue that arrives from this in Benedict’s case is that he did not initially feel attraction (at least knowingly) towards Beatrice, therefore any sonnet featuring these exaggerated compliments of beauty and personality would appear forged and would even mock Beatrice. If she indeed contained such beauty to be praised of, there would have been nothing to prevent his attraction to her in first place. Therefore, I feel that Benedict would and could not write a traditional sonnet, professing his undying admiration and pain at her resistance. Instead, he must write something more truthful. As we see in the play, Beatrice is witty and also clever and would recognize a false attempt at his courtship. There is one sonnet in particular that I feel resonates with their situation and could imagine Benedick writing something along these lines. Shakespeare’s Sonnet 145 is a great example of their situation. In this sonnet, the sonneteer is torn by his lover who has unrequited feelings towards him. “Those lips that love’s own hand did make breathed forth the sound that said, “I hate” to me that languished for her sake” This poem somewhat exemplifies initial feelings of displeasure but by the end of the poem, such as the play, these feelings change. The last line states that, “She took hatred away from “I hate”, saving my life with “Not you”. Beatrice and Benedict ends up married, despite their initial feelings towards each other. Beatrice would perhaps have a slightly different approach. We know from the play that Beatrice felt strongly that she would never be married. I would envision her sonnet to be somewhat of a dedication to her unexpected discovery of love and marriage. Although Benedick had similar feelings towards marriage, he never entirely spoke against companionship, even if they are fleeting. Beatrice, on the other hand not only spoke against marriage but also ran off all of her suitors. Her sonnet would perhaps exaggerate her previous notions towards finding love and how she surprisingly encounters it in the person she least expected.