- |#Shakespearesaysitbetter
- |#Shakespearesaysitbetter
- abuse
- achievement
- advantage/benefit
- adversity
- advice
- age/experience
- ambition
- anger
- appearance
- authority
- betrayal
- blame
- business
- caution
- cited in law
- civility
- claim
- clarity/precision
- communication
- complaint
- concern
- conflict
- conscience
- consequence
- conspiracy
- contract
- corruption
- courage
- custom
- death
- debt/obligation
- deceit
- defence
- dignity
- disappointment
- discovery
- dispute
- duty
- emotion and mood
- envy
- equality
- error
- evidence
- excess
- failure
- fashion/trends
- fate/destiny
- flattery
- flaw/fault
- foul play
- free will
- friendship
- good and bad
- grief
- guilt
- gullibility
- haste
- honesty
- honour
- hope/optimism
- identity
- imagination
- independence
- ingratitude
- innocence
- insult
- integrity
- intellect
- invented or popularised
- judgment
- justice
- justification
- language
- law/legal
- lawyers
- leadership
- learning/education
- legacy
- life
- love
- loyalty
- madness
- manipulation
- marriage
- memory
- mercy
- merit
- misc.
- misquoted
- money
- nature
- negligence
- news
- offence
- order/society
- opportunity
- patience
- perception
- persuasion
- pity
- plans/intentions
- poverty and wealth
- preparation
- pride
- promise
- proverbs and idioms
- purpose
- punishment
- reason
- regret
- relationship
- remedy
- reputation
- respect
- resolution
- revenge
- reply
- risk
- rivalry
- ruin
- satisfaction
- secrecy
- security
- skill/talent
- sorrow
- status
- still in use
- suspicion
- temptation
- time
- trust
- truth
- uncertainty
- understanding
- unity/collaboration
- value
- vanity
- virtue
- wellbeing
- wisdom
- work
QUOTES FROM THE BARD
Must I repent? I cannot do it better than in gyves, desired more than constrained
ACT/SCENE: 5.4
SPEAKER: Posthumus
CONTEXT:
JAILER
You shall not now be stol’n; you have locks upon you.
So graze as you find pasture
SECOND JAILER
Ay, or a stomach
POSTHUMUS
Most welcome, bondage! for thou art a way,
think, to liberty: yet am I better
Than one that’s sick o’ the gout; since he had rather
Groan so in perpetuity than be cured
By the sure physician, death, who is the key
To unbar these locks. My conscience, thou art fetter’d
More than my shanks and wrists: you good gods, give me
The penitent instrument to pick that bolt,
Then, free for ever! Is’t enough I am sorry?
So children temporal fathers do appease;
Gods are more full of mercy. Must I repent?
I cannot do it better than in gyves,
Desired more than constrain’d: to satisfy,
If of my freedom ’tis the main part, take
No stricter render of me than my all.
I know you are more clement than vile men,
Who of their broken debtors take a third,
A sixth, a tenth, letting them thrive again
On their abatement: that’s not my desire:
For Imogen’s dear life take mine; and though
‘Tis not so dear, yet ’tis a life; you coin’d it:
‘Tween man and man they weigh not every stamp;
Though light, take pieces for the figure’s sake:
You rather mine, being yours: and so, great powers,
If you will take this audit, take this life,
And cancel these cold bonds. O Imogen!
I’ll speak to thee in silence.
DUTCH:
Verlangt gij
Berouw? toon ik dit meer ooit dan in keet’nen,
Gewenscht, niet opgedrongen
MORE:
You shall not now be stolen=Alluding to the custom of puting a lock on a horse’s leg when it is put out to pasture (Johnson)
Penitent instrument=A means of freeing conscience of its guilt (Rolfe)
Groan=To utter a mournful voice in pain or sorrow
Temporal=Pertaining to this life or this world, not spiritual, not eternal
Gyves=fetters
Render=A surrender, a giving up
Stricter=More rigorous
Stamp=Coin with the sovereign’s head impressed
Though light, take pieces…=It was common practice for forgers lighten the weight of coins in order to conserve material.
Take this audit=Accept this settlement of accounts
Clement=Disposed to kindness, mild
Compleat:
Gyves=Boeijen, kluisters
Constrained=Bedwongen, gedrongen, gepraamd
Strict=Gestreng
Clement=Goedertieren, zachtzinnig
Audit=Het nazien der Rekeningen
Penitent=Boetvaardig, berouw toonend
Temporal (secular, not spiritual)=Waereldlyk
Burgersdijk notes:
“Nu steelt u niemand, met dat blok aan ‘t been; Graas nu zoover gij weide hebt”. Zooals men wel een paard in de weide met een ketting en slot bevestigt opdat het niet gestolen worde of wegloope.
Topics: regret, guilt, remedy, death, conscience
He that sleeps feels not the tooth-ache
PLAY: Cymbeline
ACT/SCENE: 5.4
SPEAKER: Firt Jailer
CONTEXT:
FIRST JAILER
Indeed, sir, he that sleeps feels not the
tooth-ache: but a man that were to sleep your
sleep, and a hangman to help him to bed, I think he
would change places with his officer; for, look you,
sir, you know not which way you shall go.
POSTHUMUS LEONATUS
Yes, indeed do I, fellow.
FIRST JAILER
Your death has eyes in ‘s head then; I have not seen
him so pictured: you must either be directed by
some that take upon them to know, or do take upon
yourself that which I am sure you do not know, or
jump the after inquiry on your own peril: and how
you shall speed in your journey’s end, I think you’ll
never return to tell one.
POSTHUMUS LEONATUS
I tell thee, fellow, there are none want eyes to
direct them the way I am going, but such as wink and
will not use them.
FIRST JAILER
What an infinite mock is this, that a man should
have the best use of eyes to see the way of
blindness! I am sure hanging’s the way of winking.
DUTCH:
Inderdaad, vriend, wie slaapt voelt zijn kiespijn niet;
maar een man, die uwen slaap moet slapen, met den
beul om hem in bed te helpen, die zou, denk ik, wel
willen ruilen met zijn bedienaar; want ziet ge, vriend,
gij weet toch niet, waar ge heen gaat.
MORE:
Jump=Hazard, risk
Speed=Succeed
Wink=Close eyes
Compleat:
To speed=Voortspoeden, voorspoedig zyn, wel gelukken
Wink=Knikken, winken, blikken
Topics: death, punishment, risk
Moderate lamentation is the right of the dead, excessive grief the enemy to the living.
PLAY: All’s Well that Ends Well
ACT/SCENE: 1.1
SPEAKER: Lafew
CONTEXT:
COUNTESS
‘Tis the best brine a maiden can season her praise
in. The remembrance of her father never approaches
her heart but the tyranny of her sorrows takes all
livelihood from her cheek. No more of this, HELEN;
go to, no more; lest it be rather thought you affect
a sorrow than have it.
HELEN
I do affect a sorrow indeed, but I have it too.
LAFEW
Moderate lamentation is the right of the dead,
excessive grief the enemy to the living.
COUNTESS
If the living be enemy to the grief, the excess
makes it soon mortal.
DUTCH:
Matige bejammering is het recht van den doode, overmatige droefenis de vijand van den levende.
MORE:
Affect=An outward show
Mortal=Deadly
Season=Preserve
Livelihood=Liveliness, spirit
Right=Owed to
Compleat:
Affect=Naäapen
Affectation=Gemaaktheid
Mortal=Sterflyk, doodelyk
Birth-right=Geboorte-recht
Lamentation=Weeklaage, jammerklagt, gekerm, geklag
Burgersdijk notes:
Kruiden kan. In ‘t Engelsch season, kruiden, waarbij het denkbeeld van conserveeren, bewaren, in frisschen staat houden, steeds komt; vergelijk Romeo en Julia, II.3, en Driekoningenavond, 1.1.
Als de levende een vijand is van droefenis. “If the living be enemy to the grief, the excess makes it soon mortal”. De gravin herhaalt en dringt aan, wat LAFEW gezegd heeft, dat HELEN zich niet te zeer aan hare droefheid moet overgeven, met de smart niet to zeer in vijandschap moet leven, want dat overmaat van smart doodelijk is . Mortal is namelijk hetzelfde als deadly, fatal .(…)
Topics: death, grief, appearance, excess
I do affect a sorrow indeed, but I have it too
PLAY: All’s Well that Ends Well
ACT/SCENE: 1.1
SPEAKER: Lafew
CONTEXT:
COUNTESS
‘Tis the best brine a maiden can season her praise
in. The remembrance of her father never approaches
her heart but the tyranny of her sorrows takes all
livelihood from her cheek. No more of this, HELEN;
go to, no more; lest it be rather thought you affect
a sorrow than have it.
HELEN
I do affect a sorrow indeed, but I have it too.
LAFEW
Moderate lamentation is the right of the dead,
excessive grief the enemy to the living.
COUNTESS
If the living be enemy to the grief, the excess
makes it soon mortal.
DUTCH:
t Is waar, ik toon kommer, maar ik heb dien ook.
MORE:
Affect=An outward show
Mortal=Deadly
Season=Preserve
Livelihood=Liveliness, spirit
Right=Owed to
Compleat:
Affect=Naäapen
Affectation=Gemaaktheid
Mortal=Sterflyk, doodelyk
Birth-right=Geboorte-recht
Lamentation=Weeklaage, jammerklagt, gekerm, geklag
Burgersdijk notes:
Kruiden kan. In ‘t Engelsch season, kruiden, waarbij het denkbeeld van conserveeren, bewaren, in frisschen staat houden, steeds komt; vergelijk Romeo en Julia, II.3, en Driekoningenavond, 1.1.
Als de levende een vijand is van droefenis. “If the living be enemy to the grief, the excess makes it soon mortal”. De gravin herhaalt en dringt aan, wat LAFEW gezegd heeft, dat HELEN zich niet te zeer aan hare droefheid moet overgeven, met de smart niet to zeer in vijandschap moet leven, want dat overmaat van smart doodelijk is . Mortal is namelijk hetzelfde als deadly, fatal .(…)
Topics: death, grief, appearance, excess
He was famous, sir, in his profession, and it was his great right to be so
PLAY: All’s Well that Ends Well
ACT/SCENE: 1.1
SPEAKER: Countess
CONTEXT:
LAFEW
How called you the man you speak of, madam ?
COUNT
He was famous, sir, in his profession, and it was his great right to be so: Gerard de Narbon.
LAFEW
He was excellent indeed, madam: the king very
Lately spoke of him admiringly, and mourningly.
He was skilful enough to have lived still,
if knowledge could be set up against mortality.
BERTRAM
What is it, my good lord, the king languishes of?
LAFEW
A fistula, my lord.
BERTRAM
I heard not of it before.
LAFEW
I would it were not notorious. Was this gentlewoman
the daughter of Gerard de Narbon?
DUTCH:
Hij was zeer beroemd, heer, in zijn vak, en met het volste recht: Gerard van Narbonne .
MORE:
His great right=His fame was justified
Mortality=Subjection to death, necessity of dying
I would it were not=I don’t want it to be
Notorious=Well known, public knowledge
Compleat:
Mortality=Sterflykheid
Notorious=Kenlyk, kenbaar
Topics: death, life, skill/talent, legacy, merit