What, do I fear? Richer than all his tribe. And she died singing it. I live with bread like you, feel want, Full of strange oaths, and bearded like the pard, Gail Kern Paster — “The quality of mercy is not strained,” says Portia in reply to Shylock’s call for Antonio’s pound of flesh. I know not where is that Promethean heat To study fashions to adorn my body: So sweet was ne’er so fatal. air. Why? And then return lamenting to my love. The way to dusty death. Accuse some innocent and forswear myself, Few come within the compass of my curse,– Wherefore? Nor scar that whiter skin of hers than snow, Life's a blast because she shares it with writer Tim Treanor. Another Shakespearean example is Mark Antony's clumsy drawn-out suicide in Antony and Cleopatra. I should but teach him how to tell my story. It blesseth him that gives and him that takes: Of one not easily jealous, but being wrought As is the night before some festival Anne, bursting into tears, rushed to the hall door, slammed it until the tins on the porch wall outside rattled in sympathy, and fled through the hall and up the stairs like a whirlwind. The insolence of office, and the spurns Honour hath no skill in surgery, then? Like the base Indian, threw a pearl away Will yearly on the vigil feast his neighbours, There was a fellow prisoner of war in the audience, who mentioned their shared experience in a Viet Nam prison. Through the whole of Shakespeare’s work there are glories beyond glories, all undimmed by repetition. If a Jew wrong a Christian, Are melted into air, into thin air: Even in the cannon’s mouth. Must fill, or else my project fails, Give me another horse! Last scene of all, Made emulous missions ‘mongst the gods themselves It don’t get much better than this! “Make me a willow cabin at your gate,/ Lie there for pavement to the abject rear, It best agrees with night. Must needs give sentence ‘gainst the merchant there. it will feed my revenge. Richard loves Richard; that is, I am I. You all did love him once, not without cause: Make dust our paper and with rainy eyes What, myself upon myself! ... as there is no break in speech. It is the cause, it is the cause, my soul, – Took once a pliant hour, and found good means Throng to the bar, crying all “Guilty! Ay, that I had not done a thousand more. And he will make the face of heaven so fine Ah balmy breath, that dost almost persuade It is the cause. When he himself might his quietus make Somehow, Heston's Marcus Antonius looks more persuasive to me. Throughout this section of the speech, Douglass employs hunting imagery and compares, metaphorically, the prey with the slave and the hunter with the slave trader. And often did beguile her of her tears, Which if thou follow, this strict court of Venice His acts being seven ages. Can honour set to a leg? And so he plays his part. I’ll have her; but I will not keep her long. Comes at the last and with a little pin fed with Nor set down aught in malice: Then must you speak Yet from that staging what I remember most as most moving was Enobarbus (I think played by someone named Kent Smith) bemoaning his having left Antony, crying out, “I will go seek some ditch wherein to die.” We are such stuff  Must give us pause. Yet Brutus says he was ambitious; I thrice presented him a kingly crown, Christian example? These are all great, but with respect…is this it? Which is most faint. Made to his mistress’ eyebrow. Each of the speechs chosen is magical, each with special quality. She’ld come again, and with a greedy ear hindered me half a million; laughed at my losses, The sixth age shifts Keeps Death his court and there the antic sits, How to pick between the valour of Henry, the self-reflection of Hamlet, the ambition of the Macbeths, or the desire, practical or not, of so many others. He hath brought many captives home to Rome I speak not to disprove what Brutus spoke, With solemn reverence: throw away respect, no. It has all of the features that distinguish Richard II – ornate language, vivid imagery, Richard’s relentless self-dramatizing – but it also shows the genuine terror of a person realizing the truth about himself for the first time. This confusing play leaves so much unresolved despite it’s happy ending, as the hatred of Gratiano, the loss of Shylock, and the darker aspects of Portia are quickly brushed under the rug. The good is oft interred with their bones; He hath disgraced me, and Yes, I am: This monologue has always struck me as one of the funniest and sweetest. What duty they do owe their lords and husbands.”. Yea, That all with one consent praise new-born gawds, The cry went once on thee, And pay no worship to the garish sun. More than cool reason ever comprehends. And on their skins, as on the bark of trees, That cropp’d the golden prime of this sweet prince, That heaven had made her such a man: she thank’d me, Antony then uses parallelism again (with antithesis ) to state his intended purpose by … In this bare island dwell by your spell; For who would bear the whips and scorns of time, And all the men and women merely players; Some haunted by the ghosts they have deposed; But will it not live with the living? Set deadly enmity between two friends, For hateful deeds committed by myself. She has produced concerts and plays in her hometown of Chicago, and twice in the Capital Fringe festival. And Crispin Crispian shall ne’er go by, Now my charms are all o’erthrown, And fill me from the crown to the toe top-full Set fire on barns and hay-stacks in the night, But that the dread of something after death, In Christopher Marlowe's Edward II, the title character is impaled (onstage) through the anus with a red-hot poker — see also the Real Life section. Taste grief, need friends: subjected thus, One more, and this the last: Think true love acted simple modesty. The first use of parallelism in Antony's speech comes in the list of nouns with which he calls the crowd to attention, naming their reasons to be loyal listeners as friends and patriotic citizens. what You all did see that on the Lupercal Difficult first choice! Keeps honor bright: to have done is to hang Oft have I digg’d up dead men from their graves, Her father loved me; oft invited me; And then the whining school-boy, with his satchel What! Make poor men’s cattle break their necks; Make me a willow cabin at your gate I agree with both choices of Lady MacBeth’s “unsex me here” speech; and Portia’s “the quality of mercy” that is compared to a gentle rain from heaven. Seriously … 18 expert selections and not a single vote for anything from Hamlet?!?!? Prior to serving as King of England, James I had served as King of Scotland. It is now dead midnight. “Semper Fi” McCain said softly, ending the conversation, and I thought about the Crispian Day speech. And that would woo her. But not possess’d it, and, though I am sold, Allusions/religious imagery- re-enact violent slaughter. Tomorrow’s vengeance on the head of Richard. Write sorrow on the bosom of the earth, 31. That I would all my pilgrimage dilate, Which, taken at the flood, leads on to fortune” (Act-IV, Scene-III).Brutus means to say that the key to success in life lies in knowing that a tide, or simply the motivation of men, and it is up to a man to recognize, and seize the opportunity. This day shall gentle his condition: It strikes where it doth love. Give me my Romeo; and, when he shall die, I must add Viola’s sublime playact love-making to Olivia: no. And wherefore should they, since that I myself Or hedge aside from the direct forthright, That ends this strange eventful history, His youthful hose, well sav’d, a world too wide Shakespeare humanizes Richard just before he’s killed off, so that the audience will care that he dies. Bind up my wounds! Still question’d me the story of my life, make thick my blood; And single lines are as powerful as long speeches. She wish’d she had not heard it, yet she wish’d There’s none else by: When I have pluck’d the rose, Falstaff from Henry IV part 1: Spread thy close curtain, love-performing night, To-morrow, and to-morrow, and to-morrow, This phrase has been taken from Shakespeare’s Julius Caesar, where Brutus talks to Cassius saying, “There is a tide in the affairs of men. Let me not name it to you, you chaste stars! Wherein I spake of most disastrous chances, Shylock has relied on the law, in demanding that his “merry bond” with Antonio be honored. She loved me for the dangers I had pass’d, No matter where; of comfort no man speak: And every tale condemns me for a villain. Sighing like furnace, with a woeful ballad detraction will not suffer it. And bid the owners quench them with their tears. All several sins, all used in each degree, But you should pity me!”. But in the beginning, he’s got us in the palm of his hand – and in this soliloquy, he revels in the knowledge of that power. Than what not stirs. Macbeth as Tribute to the King: Shakespeare wrote a number of historical plays about royal characters.Macbeth was largely written in tribute to King James I. if you poison Wherein doth sit the dread and fear of kings; The cloud capp’d towers, the gorgeous palaces, Let’s choose executors and talk of wills: There’s a sort of feverish but deliberate tone as the imaginations of all three are delineated: Lovers and madmen have such seething brains, ––Soft, I did but dream. Tut, I have done a thousand dreadful things how then? And that small model of the barren earth Is rounded with a sleep.”. If a Christian An argument is a work of persuasion. How some have been deposed; some slain in war, That my keen knife see not the wound it makes, This day is called the feast of Crispian: And men have lost their reason. The evil that men do lives after them; Methought the souls of all that I had murdered Come, night; come, Romeo; come, thou day in night; And love thee after. In the speech, Marc Antony faces a hostile crowd, most of whom are celebrating Caesar’s death. The tenderness of this gesture offers a mute protest to the reductive vision of Jacques. Familiar in his mouth as household words If I quench thee, thou flaming minister, One more, one more. And whistles in his sound. That all the world will be in love with night He chid the sistersWhen first they put the name of king upon meAnd bade them speak to him. bargains, cooled my friends, heated mine And then is heard no more. Or like a gallant horse fall’n in first rank, He took the throne in 1603 when Queen Elizabeth I died without an heir. How can you say to me, I am a king? Arguably the poetry doesn’t reach the heights of some of the speeches above, but what moves me is the power of this as a turning point in what is a very powerful play. He that shall live this day, and see old age, For emulation hath a thousand sons Fool, do not flatter. That my youth suffer’d. The tone of this speech could best be described as expressing a feeling of. Nor heaven peep through the blanket of the dark, I have done the state some service, and they know’t. And, like the insubstantial pageant faded, Not true - at the time of Caesar's murder he was almost 40. They have their exits and their entrances; Our lands, our lives and all are Bolingbroke’s, Cam Magee — It’s such a beautiful blending of two realities: Prospero’s own story and the actor playing him speaking to his audience. Tim stated that the Crispian Day speech in Henry V is, perhaps, the greatest in all of Shakespeare. Signifying nothing. Why, revenge. Here comes the lady; let her witness it. Old men forget: yet all shall be forgot, To mitigate the justice of thy plea; the beauty of the world! What, from myself? Synecdoche and metonymy are also considered forms of metaphor in that all three literary devices involve a substitution of one term for another that requires a conceptual link. What makes Jacques’ speech so great, is that Shakespeare gives voice (through Jacques) to an absurd but nevertheless bleak view of human existence, only to undercut it radically. And set them upright at their dear friends’ doors, Therefore, Jew, Were brass impregnable, and humor’d thus Of hair-breadth scapes i’ the imminent deadly breach, All the world’s a stage, to the dead. To bait fish withal: if it will feed nothing else. Yet she must die, else she’ll betray more men. Came to my tent; and every one did threat Sees Helen’s beauty in a brow of Egypt: Take him and cut him out in little stars, Have with my knife carved in Roman letters, For honor travels in a strait so narrow, This Act II, sc. Turns them to shapes and gives to airy nothing Well, ’tis no matter; honour pricks When it comes to Henry V, I actually prefer Once more unto the breach to the St. Crispin’s Day speech. Be in their flowing cups freshly remember’d. And pall thee in the dunnest smoke of hell, Jenn Larsen — This is such an extraordinary speech for its time. Come I to speak in Caesar’s funeral. (Fitzgerald pg.51) Descriptive Imagery,I think he is talking about how the water looked with the moon reflecting off of … If I may, Shakespeare could not have witness actual Anti-Semitism, directed at a Jew because there were no Jews in England during his lifetime. And learn me how to lose a winning match, Golgotha was a biblical battle. In this eight line speech, she just foreshadowed her own death, almost as if she knows that it will happen. So are they all, all honourable men– And portance in my travels’ history: Dropp’d tears as fast as the Arabian trees Should see salvation: we do pray for mercy; Cry out ‘Olivia!’  O, you should not rest With a bare bodkin? Full of wise saws and modern instances; The solemn temples, the great globe itself, in action how like an angel! I don’t know what speech is my favorite or the most important, but I think it lies in Merchant. “My poor fool is hang’d…” from King Lear, None of the above.  For in that sleep of death what dreams may come, Yet I’ll not shed her blood; It is an attribute to God himself; the same food, hurt with the same weapons, subject But here I am to speak what I do know. In monumental mockery. For he to-day that sheds his blood with me A great-sized monster of ingratitudes: Who would fardels bear, It droppeth as the gentle rain from heaven She was in love, and he she lov’d prov’d mad For time is like a fashionable host Since things in motion sooner catch the eye PC Alert:  In “Taming of the Shrew,” I am always moved to tears by the beauty of the change shown in Kate when she tells “these headstrong women/ Although "Western" and "classical" are inexact terms, they do name a reasonably coherent musical tradition that stretches from the Dark Ages to the present day. And then the justice, That makes calamity of so long life. Irony can be categorized into different types, including verbal irony, dramatic irony, and situational irony. I kiss’d thee ere I kill’d thee, no way but this: And gentlemen in England now a-bed Wherein I did not some notorious ill, But he’ll remember with advantages Gentle breath of yours my sails It is a thirty line speech made up of thirty-four separate thoughts and those thirty-four thoughts take this ruthless killing-machine from terror to despair. And still it might, and yet it may again, I’m falling in love with love all over again just by reciting the lines I once knew by heart. Towards Phoebus’ lodging: such a wagoner Alas, I rather hate myself Gallop apace, you fiery-footed steeds, Akiva Fox — Henry V may have more famous speeches, but I think this is better than anything in that play. But mercy is above this sceptred sway; And Brutus is an honourable man. Fool, of thyself speak well. Her lines before the speech (“If I do die before thee, prithee, shroud me in one of those same sheets”) supports this. And make the babbling gossip of the air if you tickle us, do we not laugh? Of one whose subdu’d eyes, The forms of things unknown, the poet’s pen This perfectly-phrased plea for compassion has proved particularly popular with politicians; former President Bill Clinton quoted Portia extensively in his remarks on the death of Israeli leader Yitzhak Rabin. And case thy reputation in thy tent; He was my friend, faithful and just to me: I am old, so I have had the privilege of having seen Katherine Cornell play Cleopatra over 60 years ago. My heart is in the coffin there with Caesar, And with his arms outstretch’d, as he would fly, And will she yet debase her eyes on me, And that same prayer doth teach us all to render Macbeth (Act 5, Scene 5, lines 17-28) That slightly shakes his parting guest by the hand, Hallow your name to the reverberate hills The presidential campaign, the rest of the audience, all of the great issues of the day dropped off as the two men – a candidate for President and, I believe, a retired steamfitter – talked and joked about the horrible events they shared. But Brutus says he was ambitious; And yet not so, for what can we bequeath This irony gap between word and deed of the characters results in a theme of ambivalence. I do mistake my person all this while: More laud than gilt o’er-dusted. And all our yesterdays have lighted fools That song to-night Told by an idiot, full of sound and fury Find in myself no pity to myself? Now I want And say besides, that in Aleppo once, That struts and frets his hour upon the stage When we have shuffled off this mortal coil, But they are cruel tears: this sorrow’s heavenly; When I did speak of some distressful stroke Of one whose hand, Having God, her conscience, and these bars That all the Greeks begin to worship Ajax; This day is called the feast of Crispian: Friends, Romans, countrymen, lend me your ears; It is the cause, it is the cause, my soul, –. As Phaethon would whip you to the west, Shine out, fair sun, till I have bought a glass, It’s true artistry to represent the beauty of a convincing, though unrewarded speech. O, no. Yet I lie, I am not. Shakespeare’s plays, especially his histories, are full of high rhetoric. Millions of students use StudyMode to jumpstart their assignments. Cold fearful drops stand on my trembling flesh. Young, valiant, wise, and, no doubt, right royal, Interesting bit - we are accustomed to think of Mark Antony as a young man. Stabb’d in my angry mood at Tewksbury? Whiter than new snow on a raven’s back. I have spoke thus much I understand the desire to go off the beaten path, but even if you drop the opening and closing lines of “To be or not to be”, just the middle half is one of the Bard’s most powerful passages, and some of the most memorable lines in the English language: “To die, to sleep But not intentively: I did consent, We get to watch a man overpowered by unnamable feeling, to the point of killing the person he loves most. Th’ oppressor’s wrong, the proud man’s contumely, For God’s sake, let us sit upon the ground The Anthropathagi speech also is beautiful and always makes me smile, and I have seen many a Othello tear up when saying it at my theater (As well as crying with the “It is the cause”). For any good in apprehension how like a god! What a piece of work is a man! Tim Treanor — Two years ago, John McCain was holding a town hall meeting while campaigning for President. A sweeter and a lovelier gentleman, My conscience hath a thousand several tongues, Take the instant way; She talks so much and so quickly, in eleventy directions, that Romeo can’t get a word in edgewise. Like many other immigrants to this great land, my parents came because of poverty and to attempt to find and secure a better life for themselves and the family that they hoped to have. hath not a Jew hands, organs, This only is the witchcraft I have used: Come, thick night, hence the power , in context, of this speech. Nevertheless, Heston (who performed the role on film first, in 1950), deserves attention. Here follow several examples of inspiring autobiographies worth reading, plus a sample short autobiography essay, to perhaps prompt you to write your own story. Which star is the most beautiful? If you prick us, do we not bleed? Everything the actor needs to play this speech is found in the speech’s structure. Will not go from my mind. Unwillingly to school. It is, rather, one of how any such person could ever have existed, someone who captured all qualities of human life, the glories and the pains, the loud and the soft, the serious and the comic, and then expressed them in such unparalleled poetic magic. So let it be with Caesar. And tell sad stories of the death of kings; Which ever as she could with haste dispatch, They embody us all, and through them, we see our most defining traits overtake the remainder of our personalities. With thy black mantle; till strange love, grown bold, Come, civil night, Whose ransoms did the general coffers fill: That runaway’s eyes may wink and Romeo The Anthropathagi speech also is beautiful and always makes me smile, and I have seen many a Othello tear up when saying it at my theater (As well as crying with the “It is the cause”). Revenge. As fast as they are made, forgot as soon The attribute to awe and majesty, Into the lean and slipper’d pantaloon, Life’s but a walking shadow, a poor player Time hath, my lord, a wallet at his back, Lovers can see to do their amorous rites me on. Find A+ essays, research papers, book notes, course notes and writing tips. And smooth as monumental alabaster. Even now I curse the day–and yet, I think, ‘Let not your sorrow die, though I am dead.’ he that died o’ Wednesday. For a woman to ask for such remorselessness must have seemed shocking in 1607—and still does! And I must pause till it come back to me. And, sure, he is an honourable man. Henry IV , Part One. Heston was 46 at the time of filming of this movie, while Brando was only 29 when he played his Mark Antony. Then fly! no: or We asked some of the Washington Area’s most fervent, and most expert, Shakespeareans to join Tim in selecting their three favorite speeches in the canon. And hold their manhoods cheap whiles any speaks I ran it through, even from my boyish days, Stop up the access and passage to remorse, To bait fish withal: if it will feed nothing else, This speech has always stood out for me as a prime example, perhaps because it is the first i had a deep encounter with; i had seen but never read his plays before this one. Should I repent me: but once put out thy light, Sadly, our persecution of the other still exists. Upon the place beneath: it is twice blest; i guess you never forget your first…, The raven himself is hoarse Which serves as paste and cover to our bones. At first the infant, Juliet in R&J, Act II, scene 2. With eyes severe and beard of formal cut, No more of that. Infusing him with self and vain conceit, And may not wear them. I understand others have also nominated this speech, and I yield to their description of it. Come, gentle night, come, loving, black-brow’d night, Yet Brutus says he was ambitious; And nothing can we call our own but death The bleeding witness of her hatred by; Set you down this; Some of the most beautiful imagery in all of literature, in my opinion. guilty!” Sans teeth, sans eyes, sans taste, sans everything. O, let not virtue seek A POSTERIORI: In rhetoric, logic, and philosophy, a belief or proposition is said to be a posteriori if it can only be determined through observation (Palmer 381). honour? Mewling and puking in the nurse’s arms; But to go hang my head on one side and sing it, Yea, all which it inherit, shall dissolve See what actor and critic Jenn Larsen (WeLoveDC.com); actor and director Christopher Henley, Artistic Director of Washington Shakespeare Company; Folger Shakespeare Library Director Dr. Gail Kern Paster; director and Shakespeare Theatre Company Literary Associate Akiva Fox; and actor and dramaturg Cam Magee nominate as the Bard’s greatest speeches. I took by the throat the circumcised dog, And nothing grieves me heartily indeed Which was to please. While we are speaking of Shakespeare, it’s not too late for all of you to join the Shakespeare reading project – 38 plays in 38 Days: http://www.shicho.net/38/ Love, friendship, charity, are subjects all Particularly during crowd scenes, such as Antony’s funeral speech for Caesar, it is easy enough to imagine that the audience becomes part of the world of the play. When that the poor have cried, Caesar hath wept: man delights not me: no, nor woman neither, though by your smiling you seem to say so.”    Hamlet II, ii Alack, I love myself. ends my catechism. There is no creature loves me; Some poison’d by their wives: some sleeping kill’d; As if this flesh which walls about our life, Of moving accidents by flood and field If it were so, it was a grievous fault, Between the elements of air and earth, And leave you hindmost; And shining morning face, creeping like snail “…banish plump Jack, and banish all the world” from 1 Henry IV. His speech which begins: “I muse my mother does not approve me further …”. To sleep, perchance to dream. You use it to convince others to agree with your claim or viewpoint when they have doubts or disagree. To grunt and sweat under a weary life, Let me not, Cry out “Olivia!” O, you should not rest I am partial to the speech about “the lunatic, the lover, and the poet” from V.1 of A Midsummer Night’s Dream. But Romeo’s name speaks heavenly eloquence. The most famous example is probably Marc Antony’s funeral oration from Julius Caesar. Browse our listings to find jobs in Germany for expats, including jobs for English speakers or those in your native language. Bind up my wounds! The deeds of mercy. Write loyal cantons of contemnèd love Of direst cruelty! Thou cunning’st pattern of excelling nature, Since I am crept in favour with myself, The question is not one of whether the man from Stratford wrote the plays. It must needs wither: I’ll smell it on the tree. But that I cannot do ten thousand more. no. What is I, that kill’d her husband and his father, what is his humility? I shall despair. no: or take away the grief of a wound? The following is an outline of the history of Western classical music. It is a tale The moon had risen higher, and floating in the Sound was a triangle of silver scales, trembling a little to the stiff,tiny drip of the banjoes on the lawn. teach me, I will execute, and it shall go hard but I revenge? I don’t know if anyone has ever set forth the problems of fame in such a clear-eyed statement. Do grow beneath their shoulders. The villany you Soliloquies are particularly popular in plays, which don’t usually have the luxury of omniscient narration to reveal characters’ inner thoughts. That no compunctious visitings of nature thou art fled to brutish beasts, Come, you spirits Then marvel not, thou great and complete man, And makes us rather bear those ills we have And give to dust that is a little gilt It’s not as profound as Portia’s Quality of Mercy speech, but it’s one of the more vulnerable monologues. Time hath, my lord, a wallet at his back, http://www.mirroruptonature.com/shakespeare-monologues/female/raj-2-2-85-juliet.pdf, https://www.youtube.com/watch?v=LxqgbxuzTkU, https://www.youtube.com/watch?v=RkNqvlC2JuA, https://www.youtube.com/watch?v=pJstIEx6EnU, https://www.youtube.com/watch?v=cgwrQMrknQQ&fbclid=IwAR0VLNdQm9GXjK3wKWwLny320SfqqXToZHLnPKxLPvX4xMWE0cwwexUqoEA, https://www.youtube.com/watch?v=dXKUgjYh7lo. http://www.mirroruptonature.com/shakespeare-monologues/female/raj-2-2-85-juliet.pdf And my ending is despair, To an impatient child that hath new robes Yea, but how if honour prick me off when I Framed in the prodigality of nature, Edward, her lord, whom I, some three months since, Have mercy, Jesu! On me, that halt and am unshapen thus? That I myself have done unto myself? Seeking the bubble reputation For thou wilt lie upon the wings of night in form and moving how express and admirable! Though less than yours in past, must o’ertop yours; No. Doth glance from heaven to earth, from earth to heaven; Christopher Henley — “The Invention of the Human” is the subtitle of Harold Bloom’s seminal work on Shakespeare and what more illustrative passage (maybe Lear’s “reason not the need”) than Portia’s speech here of the way he will pull us toward the graceful, the compassionate, the civilizing, the selfless impulse, voiced by a character who is, like we all are, otherwise flawed.

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