[
JAJ on WS]
"In my history of literature I have given the highest palms to Shakespeare, Wordsworth and Shelley."
[If on a desert island what one book?] "I should hesitate between Dante and Shakespeare but not for long. The Englishman is richer and would get my vote." But as a dramatist he placed Shakespeare far below Ibsen.
...superabundance of worldly wisdom... radiance of language... grandiose formations and deformations, puns and wonderful zaniness
Venus and Adonis[
etext]
U200 "Who Cleopatra, fleshpot of Egypt, and Cressida and Venus are we may guess."
'at his bloody view, her eyes are fled Into the deep dark cabins of her head: Where they resign their office and their light To the disposing of her troubled brain; Who bids them still consort with ugly night, And never wound the heart with looks again; Who like a king perplexed in his throne, By their suggestion gives a deadly groan, Whereat each tributary subject quakes; As when the wind, imprison'd in the ground, Struggling for passage,
earth's foundation shakes, Which with cold terror doth men's minds confound.'
'By this,
poor Wat, far off upon a hill, Stands on his hinder legs with listening ear, To harken if his foes pursue him still: Anon their loud alarums he doth hear; And now his grief may be compared well To one sore sick that hears the passing-bell.'
'
The studded bridle on a ragged bough Nimbly she fastens'
'
Her two blue windows faintly she up-heaveth, Like the fair sun, when in his fresh array He cheers the morn and all the earth relieveth'
'Mine
eyes are gray and bright and quick in turning'
'Over one arm the lusty courser's rein, Under her other was the tender
boy'
U
183 "If the
earthquake did not time it we should know where to place
poor Wat, sitting in his form, the cry of hounds,
the studded bridle and
her blue windows. That memory, Venus and Adonis, lay in the bedchamber of every light-of-love in London... The greyeyed goddess who bends over the
boy Adonis, stooping to conquer, as prologue to the swelling act, is a boldfaced Stratford wench who tumbles in a cornfield a lover younger than herself. "
'the wide wound that the boar had trench'd In his soft flank; whose wonted lily white With purple tears, that his wound wept, was drench'd:'
U
188 "The tusk of the boar has wounded him there where love lies ableeding."
'Then shalt thou see the dew-bedabbled wretch Turn, and return'
U202 "Seabedabbled"
SonnetsU199 "It is a mystical estate, an apostolic succession, from only begetter to only begotten."
2'Thy youth's proud livery, so gazed on now, Will be a tatter'd weed, of small worth held'
U190 "You would give your five wits for youth's proud livery he pranks in. Lineaments of gratified desire."
3'For where is she so fair whose unear'd womb Disdains the tillage of thy husbandry?'
U194 "when he wants to do for him, and for all other and singular uneared wombs, the holy office an ostler does for the stallion"
20'A man in hue, all hues in his controlling'
U190 "That Portrait of Mr W.H. where he proves that the sonnets were written by a Willie Hughes, a man all hues. — For Willie Hughes, is it not? the quaker librarian asked. Or Hughie Wills. Mr William Himself. W.H.: who am I?"
126'Yet fear her, O thou minion of her pleasure;
She may detain, but not still keep, her treasure'
U207 "The dour recluse still there (he has his cake) and the douce youngling,
minion of pleasure, Phedo's toyable fair hair."
135'Whoever hath her wish, thou hast thy Will'
U
183 "If others have their will Ann hath a way."
'And Will to boot, and Will in overplus'
U201 "He has revealed it in the sonnets where there is Will in overplus."
137'If eyes corrupt by over-partial looks Be anchor'd in the bay where all men ride,'
U
188 "Why does he send to one who is a buonaroba, a bay where all men ride, a maid of honour with a scandalous girlhood, a lordling to woo for him?"
143'So will I pray that thou mayst have thy 'Will,' If thou turn back, and my loud crying still.'
U
183 "If others have their will Ann hath a way."
152'to me love swearing, In act thy bed-vow broke and new faith torn'
U194: "But she, the giglot wanton, did not break a bedvow."
The Rape of Lucrece'Her breasts, like ivory globes circled with blue, A pair of maiden worlds unconquered'
U189 "Ravisher and ravished, what he would but would not, go with him from
Lucrece's bluecircled ivory globes to Imogen's breast, bare, with its mole cinquespotted."
The TempestU
06: "The rage of Caliban at not seeing his face in a mirror, he said." (via Wilde, not in the play)
U196: "The Sea Venture comes home from Bermudas and the play Renan admired is written with Patsy Caliban, our American cousin."
I.2.
397: '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.'
U
49: "Full fathom five thy father lies... A seachange this"
II.2.
107 'How camest thou to be the siege of this moon-calf?'
U-15, of Virag "
He lifts a mooncalf nozzle and howls."
V.1.
55 'But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book.'
U203: "The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly from The Two Gentlemen of Verona onward till Prospero breaks his staff, buries it certain fathoms in the earth and drowns his book... It is in infinite variety everywhere in the world he has created, in Much Ado about
Nothing, twice in As you like It, in The Tempest, in Hamlet, in Measure for Measure, and in all the other plays which I have not read."
I.2.
379: 'Foot it featly here and there'
U207: "Puck Mulligan footed featly, trilling"
The Two Gentlemen of Verona(duke banishes Valentine)
U203: "The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly from
The Two Gentlemen of Verona onward till Prospero breaks his staff, buries it certain fathoms in the earth and drowns his book... It is in infinite variety everywhere in the world he has created, in Much Ado about Nothing, twice in As You Like It, in The Tempest, in Hamlet, in Measure for Measure, and in all the other plays which I have not read."
The Merry Wives of WindsorFalstaff
U196 "Chettle Falstaff"
U198 "the fat knight"
I.1.
260: 'I have seen Sackerson loose twenty times, and have taken him by the chain'
U
180: "The flag is up on the playhouse by the bankside. The bear Sackerson growls in the pit near it, Paris garden."
III.3.
2ff 'Quickly, quickly! is the buck-basket...'
U196 "As for fay Elizabeth, otherwise carrotty Bess, the gross virgin who inspired The Merry Wives of Windsor, let some meinherr from Almany grope his life long for deephid meanings in the depths of the buckbasket."
V.5.
14 'Send me a cool rut-time, Jove, or who can blame me to piss my tallow?'
U191 "Take her for me. In pairing time.
Jove, a cool ruttime send them. Yea, turtledove her."
V.5.
19 'let it thunder to the tune of Green Sleeves, hail kissing-comfits and snow eringoes'
U193 "His art, more than the art of feudalism as Walt Whitman called it, is the art of surfeit. Hot herringpies, green mugs of sack, honeysauces, sugar of roses, marchpane, gooseberried pigeons, ringocandies."
Measure for Measure (Angelo's strictness)
U204: "...the theme of the false or the usurping or the adulterous brother or all three in one is to Shakespeare, what the poor are not, always with him. The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly from The Two Gentlemen of Verona onward till Prospero breaks his staff, buries it certain fathoms in the earth and drowns his book. It doubles itself in the middle of his life, reflects itself in another, repeats itself, protasis, epitasis, catastasis, catastrophe. It repeats itself again when he is near the grave, when his married daughter Susan, chip of the old block, is accused of adultery. But it was the original sin that darkened his understanding, weakened his will and left in him a strong inclination to evil. The words are those of my lords bishops of Maynooth: an original sin and, like original sin, committed by another in whose sin he too has sinned. It is between the lines of his last written words, it is petrified on his tombstone under which her four bones are not to be laid. Age has not withered it. Beauty and peace have not done it away. It is in infinite variety everywhere in the world he has created, in Much Ado about Nothing, twice in As You Like It, in The Tempest, in Hamlet, in Measure for Measure— and in all the other plays which I have not read. "
The Comedy of ErrorsU199: "When Rutlandbaconsouthamptonshakespeare or another poet of the same name in
the comedy of errors wrote
Hamlet he was not the father of his own son merely but, being no more a son, he was and felt himself the father of all his race, the father of his own grandfather, the father of his unborn grandson who, by the same token, never was born for nature, as Mr Magee understands her, abhors perfection."
Much Ado About NothingIII.4.
40: 'Clap's into 'Light o' love;' that goes without a burden: do you sing it, and I'll dance it.... Ye light o' love, with your heels! then, if your husband have stables enough, you'll see he shall lack no barns.'
U
183: "the bedchamber of every light-of-love in London"
Love's Labour's LostDon Adriano de Armado, a fantastical Spaniard
U196: "The lost armada is his jeer in
Love's Labour Lost."
V.1.
40 'thou art not so long by the head as honorificabilitudinitatibus'
U201: "Like John O'Gaunt his name is dear to him, as dear as the coat and crest he toadied for, on a bend sable a spear or steeled argent,
honorificabilitudinitatibus, dearer than his glory of greatest shakescene in the country."
V.1.
51 'HOLOFERNES I will repeat them,--a, e, i,-- MOTH The sheep: the other two concludes it,--o, u.'
U
182?? "A.E.I.O.U."
V.2.
887 'Cuckoo, cuckoo: O word of fear,'
U204: "Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear!"
A Midsummer Night's DreamI.2.
69: 'That would hang us, every mother's son.'
U
162: "John Howard Parnell example the provost of Trinity
every mother's son don't talk of your provosts and provost of Trinity women and children, cabmen, priests, parsons, fieldmarshals, archbishops."
II.
1ffU207: "Puck"
III.1.
120ff (Bottom pleased Titania speaks with him)
U206: "A pleased bottom"
The Merchant of Venice Shylock
U196: "He drew Shylock out of his own long pocket... Shylock chimes with the jewbaiting that followed the hanging and quartering of the queen's leech Lopez"
U-12: "old Shylock is landed"
Antonio
U-16 "to say nothing of the Antonio personage (no relation to the dramatic personage of identical name who sprang from the pen of our national poet)"
I.3.
107 'Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances'
U-13: "Many a time and oft were they wont to come there"
I.3.
149 'let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me.'
U196: "He sued a fellowplayer for the price of a few bags of malt and exacted his pound of flesh in interest for every money lent."
I.3.
153 'I'll seal to such a bond And say there is much kindness in the Jew.'
U236: "I'll say there is much kindness in the jew, he quoted elegantly."
II.2.
78 'if you had your eyes, you might fail of the knowing me: it is a wise father that knows his own child.'
U-14: "Who can say? The wise father knows his own child."
vs U
85: "papa's little lump of dung, the wise child that knows her own father"
III.2.
63 'Tell me where is fancy bred, Or in the heart, or in the head?'
U-16: "Bread, the staff of life, earn your bread, O tell me where is fancy bread? At Rourke's the baker's, it is said."
IV.1.
53 'Now, for your answer: As there is no firm reason to be render'd, Why he cannot abide a gaping pig; Why he, a harmless necessary cat; Why he, a woollen bagpipe'
U-16 "the harmless necessary animal of the feline persuasion"
IV.1.
340 'GRATIANO A Daniel, still say I, a second Daniel!'
U-15 "J.J. O'MOLLOY A Daniel did I say? Nay! A Peter O'Brien!"
As You Like ItU204: "...the theme of the false or the usurping or the adulterous brother or all three in one is to Shakespeare, what the poor are not, always with him. The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly... It is in infinite variety everywhere in the world he has created, in Much Ado about Nothing,
twice in As You Like It, in The Tempest, in Hamlet, in Measure for Measure— and in all the other plays which I have not read. "
Arden II.
1ffU200 "As for his family, Stephen said, his mother's name lives in the forest of Arden."
I.2.
48 'Peradventure this is not Fortune's work neither, but Nature's; who perceiveth our natural wits too dull to reason of such goddesses and hath sent this natural for our whetstone; for always the dulness of the fool is the whetstone of the wits.'
U203 "Where is your brother? Apothecaries' hall. My whetstone. Him, then Cranly, Mulligan: now these."
I.2.
159ffU200: "Gilbert in his old age told some cavaliers he got a pass for nowt from Maister Gatherer one time mass he did and he seen his brud Maister Wull the playwriter up in Lunnon in a wrastling play wud a man on's back."
II.7.
12 'JAQUES A fool, a fool! I met a fool i' the forest, A motley fool; a miserable world!'
U192 "Oisin with Patrick. Faunman he met in Clamart woods, brandishing a winebottle.
C'est vendredi saint! Murthering Irish. His image, wandering, he met. I mine. I met a fool i' the forest. "
III.3.
57 'You are very well met: God 'ild you for your last company: I am very glad to see you: even a toy in hand here, sir: nay, pray be covered.'
U
185: "Good ild you. The pigs' paper."
V.1.
20 'Is thy name William? ...A fair name.'
U200 "He has hidden his own name,
a fair name, William, in the plays, a super here, a clown there, as a painter of old Italy set his face in a dark corner of his canvas."
V.3.
20 'Between the acres of the rye, With a hey, and a ho, and a hey nonino These pretty country folks would lie,'
U
183: "
Between the acres of the rye These pretty countryfolk would lie."
The Taming of the ShrewU
188: "If the shrew is worsted yet there remains to her woman's invisible weapon."
U205: "Unwed, unfancied, ware of wiles, they fingerponder nightly each his variorum edition of
The Taming of the Shrew."
I.2.
57ff 'Petruchio, shall I then come roundly to thee And wish thee to a shrewd ill-favour'd wife?... I can, Petruchio, help thee to a wife With wealth enough and young and beauteous, Brought up as best becomes a gentlewoman'
U
183: "Is Katharine the shrew illfavoured? Hortensio calls her young and beautiful."
II.1.
320 'O, you are novices! 'tis a world to see, How tame, when men and women are alone, A
meacock wretch can make the curstest shrew'
U202 "Wait to be wooed and won. Ay, meacock. Who will woo you?"
IV.3
U206 "Stephen, greeting, then
all amort, followed a lubber jester, a wellkempt head, newbarbered, out of the vaulted cell into a shattering daylight of no thought."
All's Well That Ends Well I.1.
82 ''Twere all one That I should love a bright particular star And think to wed it, he is so above me'
U-12: "Mrs B. is the bright particular star, isn't she? says Joe."
Twelfth Night'Twelfth Night (or What You Will)'
U189: "He is a ghost, a shadow now, the wind by Elsinore's rocks
or what you will, the sea's voice, a voice heard only in the heart of him who is the substance of his shadow, the son consubstantial with the father. "
I.3.
113 'why dost thou not go to church in a galliard and come home in a coranto? My very walk should be a jig; I would not so much as make water but in a sink-a-pace.'
U
176: "He came a step a sinkapace forward on neatsleather creaking and a step backward a sinkapace on the solemn floor... Twicreakingly analysis he corantoed off."
II.3.
45 'What is love? 'tis not hereafter; Present mirth hath present laughter; What's to come is still unsure: In delay there lies no plenty; Then come kiss me, sweet and twenty, Youth's a stuff will not endure.'
U
183: "She put the comether on him, sweet and twentysix."
III.4.
52 'OLIVIA Why, this is very midsummer madness.'
U-15 "BLOOM (Excitedly.) This is midsummer madness, some ghastly joke again."
The Winter's Tale
PerditaU
187 "Marina, Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost."
I.2.
232 'many a man there is, even at this present, Now while I speak this, holds his wife by the arm, That little thinks she has been sluiced in's absence And his pond fish'd by his next neighbour, by
Sir Smile, his neighbour'
U197: "But a man who holds so tightly to what he calls his rights over what he calls his debts will hold tightly also to what he calls his rights over her whom he calls his wife. No
sir smile neighbour shall covet his ox or his wife or his manservant or his maidservant or his jackass."
III.
3 'Bohemia. A desert country near the sea.'
U203 "He puts Bohemia on the seacoast and makes Ulysses quote Aristotle."
IV.3.
5ff 'The white sheet bleaching on the hedge, With heigh! the sweet birds, O, how they sing! Doth set my pugging tooth on edge; For a quart of ale is a dish for a king.'
U196: "He died dead drunk, Buck Mulligan capped. A quart of ale is a dish for a king."
IV.4.
141 'violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath'
U193: "Lids of Juno's eyes, violets."
Pericles, Prince of Tyre II.1.
23 'said not I as much when I saw the porpus how he bounced and tumbled? they say they're half fish, half flesh: a plague on them, they ne'er come but I look to be washed. Master, I marvel how the fishes live in the sea.'
U
49? "A corpse rising saltwhite from the undertow, bobbing landward, a pace a pace a porpoise."
III.1.
16 'Here is a thing too young for such a place, Who, if it had conceit, would die, as I Am like to do: take in your arms this piece Of your dead queen.'
U
187: "A child, a girl placed in his arms, Marina... Marina, Stephen said, a child of storm"
IV.1.
14ff? 'No, I will rob Tellus of her weed...'
U
187: "What softens the heart of a man, Shipwrecked in storms dire, Tried, like another Ulysses, Pericles, prince of Tyre?" cf
BrandesIV.1.
66 'Never was waves nor wind more violent; And from the ladder-tackle washes off A canvas-climber.'
U
180: "Canvasclimbers who sailed with Drake chew their sausages among the groundlings."
V.1.
118 'I am great with woe, and shall deliver weeping. My dearest wife was like this maid, and such a one My daughter might have been'
U
188: "My dearest wife, Pericles says, was like this maid."
The Two Noble Kinsmen U203: "In asking you to remember those
two noble kinsmen nuncle Richie and nuncle Edmund, Stephen answered, I feel I am asking too much perhaps. A brother is as easily forgotten as an umbrella."
King JohnIV.3.
1ffU200: "His boyson's death is the deathscene of young Arthur in King John."
Richard IIII.1.
41? 'This royal throne of kings, this scepter'd isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This
precious stone set in the silver sea, Which serves it in the office of a wall, Or as a moat defensive to a house, Against the envy of less happier lands'
U
119 "ERIN, GREEN GEM OF THE SILVER SEA"
II.1.
73 'What comfort, man? how is't with aged Gaunt? JOHN OF GAUNT O how that name befits my composition! Old Gaunt indeed, and gaunt in being old: Within me grief hath kept a tedious fast; And who abstains from meat that is not gaunt? For sleeping England long time have I watch'd; Watching breeds leanness, leanness is all gaunt: The pleasure that some fathers feed upon, Is my strict fast; I mean, my children's looks; And therein fasting, hast thou made me gaunt: Gaunt am I for the grave, gaunt as a grave, Whose hollow womb inherits nought but bones.'
U201 "Like John O'Gaunt his name is dear to him, as dear as the coat and crest he toadied for, on a bend sable a spear or steeled argent, honorificabilitudinitatibus, dearer than his glory of greatest shakescene in the country."
II.1.
157 'Now for our Irish wars: We must supplant those rough rug-headed kerns, Which live like venom where no venom else But only they have privilege to live.'
U198: "Enter Magee Mor Matthew, a rugged
rough rugheaded kern, in strossers with a buttoned codpiece, his nether stocks bemired with clauber of ten forests, a wand of wilding in his hand."
Henry IV, Part 1Falstaff
U196 "Chettle Falstaff"
U198 "the fat knight"
II.2.
82 'Hang ye,
gorbellied knaves, are ye undone? No, ye fat chuffs: I would your store were here! On, bacons, on! What, ye knaves! young men must live. You are Grand-jurors, are ye? we'll jure ye, 'faith.'
U197 "Saint Thomas, Stephen, smiling, said, whose
gorbellied works I enjoy reading in the original, writing of incest from a standpoint different from that of the new Viennese school Mr Magee spoke of, likens it in his wise and curious way to an avarice of the emotions."
II.4
U-14 "they reclaimed the churl with civil rudeness some and shaked him with menace of blandishments others whiles they all chode with him, a murrain seize the dolt, what a devil he would be at, thou chuff, thou puny, thou got in peasestraw, thou losel, thou chitterling, thou spawn of a rebel, thou dykedropt, thou abortion thou, to shut up his drunken drool out of that like a curse of God ape"
II.4.
111 'Ere I lead this life long, I'll sew
nether stocks and mend them and foot them too.'
U198: "Enter Magee Mor Matthew, a rugged rough rugheaded kern, in strossers with a buttoned codpiece, his
nether stocks bemired with clauber of ten forests, a wand of wilding in his hand."
III.3.
86 'How! the prince is a Jack, a sneak-cup: 'sblood, an he were here, I would cudgel him like a dog, if he would say so.'
U198 "Shy, supping with the godless, he sneaks the cup."
Henry IV, Part 2Falstaff
U196 "Chettle Falstaff"
U198 "the fat knight"
II.1.
52 'Away, you scullion! you rampallion! You fustilarian! I'll tickle your catastrophe.'
U
86: "But with the help of God and His blessed mother I'll make it my business to write a letter one of those days to his mother or his aunt or whatever she is that will open her eye as wide as a gate. I'll tickle his catastrophe, believe you me."
III.2.
22 'I may say to you, we knew where the
bona-robas were and had the best of them all at commandment. '
U
188 "Why does he send to one who is a
buonaroba, a bay where all men ride, a maid of honour with a scandalous girlhood, a lordling to woo for him?"
Henry VII.3.
53 'Yoke-fellows in arms, Let us to France; like horse-leeches, my boys, To suck, to suck, the very blood to suck!'
U
43 "To yoke me as his yokefellow, our crimes our common cause."
III.1.
69 'The game's afoot: Follow your spirit, and upon this charge Cry 'God for Harry, England, and Saint George!''
U-15: "The gules doublet and merry Saint George for me!"
III.7.
50 'O then belike she was old and gentle; and you rode, like a kern of Ireland, your French hose off, and in your straight
strossers.'
U198 "Enter Magee Mor Matthew, a rugged rough rugheaded kern, in
strossers with a buttoned codpiece, his nether stocks bemired with clauber of ten forests, a wand of wilding in his hand."
Henry VI, Part 1III.2.124 'Now where's the Bastard's braves, and Charles his gleeks? What, all amort?'
U206 "Stephen, greeting, then all amort, followed a lubber jester, a wellkempt head, newbarbered, out of the vaulted cell into a shattering daylight of no thought."
IV.7.
39 'with a proud majestical high scorn, He answer'd thus: 'Young Talbot was not born To be the pillage of a giglot wench:''
U194: "But she, the giglot wanton, did not break a bedvow."
V.3.
140 'Consent, and for thy honour give consent, Thy daughter shall be wedded to my king; Whom I with pain have
woo'd and won thereto'
U202: "Wait to be
wooed and won. Ay, meacock. Who will woo you?"
Henry VI, Part 2IV.7.
71 'Unless you be possess'd with devilish spirits, You cannot but forbear to murder me: This tongue hath parley'd unto foreign kings For your behoof,--'
U
180 "John Eglinton said for Mr Best's behoof"
Henry VI, Part 3V.6.
70 'I have often heard my mother say I came into the world with my
legs forward: Had I not reason, think ye, to make haste, And seek their ruin that usurp'd our right? The midwife wonder'd and the women cried 'O, Jesus bless us, he is born
with teeth!' And so I was; which plainly signified That I should snarl and bite and play the dog. Then, since the heavens have shaped my body so, Let hell make
crook'd my mind to answer it.'
U-14: "But the word of Mr Costello was an unwelcome language for him for he nauseated the wretch that seemed to him a cropeared creature of a misshapen gibbosity, born out of wedlock and thrust like a
crookback teethed and feet first into the world"
Richard III'Vpon a tyme when Burbidge played Richard III. there was a citizen grone soe farr in liking with him, that before shee went from the play shee appointed him to come that night vnto hir by the name of Richard the Third. Shakespeare ouerhearing their conclusion went before, was intertained and at his game ere Burbidge came. Then message being brought that Richard the Third was at the dore, Shakespeare caused returne to be made that William the Conqueror was before Richard the Third. Shakespeare's name William.' [
ebook]
U193 "You know Manningham's story of the burgher's wife who bade Dick Burbage to her bed after she had seen him in Richard III and how Shakespeare, overhearing, without more ado about nothing, took the cow by the horns and, when Burbage came knocking at the gate, answered from the capon's blankets: William the conqueror came before Richard III."
I.2.
223 'Was ever woman in this humour woo'd? Was ever woman in this humour won?'
U203 "Richard, a whoreson crookback, misbegotten, makes love to a widowed Ann (what's in a name?), woos and wins her, a whoreson merry widow."
U203 "The other four acts of that play hang limply from that first. Of all his kings Richard is the only king unshielded by Shakespeare's reverence, the angel of the world."
V.4.
7 'KING RICHARD III A horse! a horse! my kingdom for a horse!'
U203 "I am tired of my voice, the voice of Esau. My kingdom for a drink."
Henry VIII III.2.
530 'Had I but served my God with half the zeal I served my king, he would not in mine age Have left me naked to mine enemies.'
U-10: "He thought, but not for long, of soldiers and sailors, whose legs had been shot off by cannonballs, ending their days in some pauper ward, and of cardinal Wolsey's words:
If I had served my God as I have served my king He would not have abandoned me in my old days."
V.4.
65 'I have some of 'em in Limbo Patrum, and there they are like to dance these three days'
U
180 "Who is the ghost from
limbo patrum, returning to the world that has forgotten him?"
Troilus and Cressida U200 "Who Cleopatra, fleshpot of Egypt, and Cressida and Venus are we may guess."
U
187 "If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts."
II.2.
170 'HECTOR Paris and Troilus, you have both said well, And on the cause and question now in hand Have glozed, but superficially: not much Unlike young men, whom Aristotle thought Unfit to hear moral philosophy'
U203 "He puts Bohemia on the seacoast and makes Ulysses quote Aristotle."
II.3.
18 'After this, the vengeance on the whole camp! or rather, the bone-ache! for that, methinks, is the curse dependent on those that war for a placket.'
U-12 narrator = Thersites?
II.3.
71 'war and lechery confound all!'
U-12 narrator
III.3.
151 'ULYSSES Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-sized monster of ingratitudes'
U
183 "He carried a memory in his wallet as he trudged to Romeville whistling The girl I left behind me."
CoriolanusV.3.
57ffU200 "Her death brought from him the scene with Volumnia in Coriolanus."
V.6.
132? 'If you have writ your annals true, 'tis there, That, like an eagle in a dove-cote, I Flutter'd your Volscians in Corioli'
U-16 "It was in fact only a matter of months and he could easily foresee him participating in their musical and artistic conversaziones during the festivities of the Christmas season, for choice, causing a slight
flutter in the
dovecotes of the fair sex and being made a lot of by ladies out for sensation"
Titus AndronicusRomeo and JulietU
188 "He was himself a lord of language and had made himself a coistrel gentleman and he had written Romeo and Juliet."
I.5.
6 'Good thou, save me a piece of marchpane'
U193 "His art, more than the art of feudalism as Walt Whitman called it, is the art of surfeit. Hot herringpies, green mugs of sack, honeysauces, sugar of roses,
marchpane, gooseberried pigeons, ringocandies."
II.2.
33 'O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name'
U198 "Shy,
deny thy kindred, the unco guid."
II.2.
43 'What's in a name? that which we call a rose By any other name would smell as sweet'
U200 "What's in a name?"
U-16 "What's in a name?"
III.2.
61 'Vile earth, to earth resign; end motion here'
U204 "Then dies. The motion is ended."
V.
3U
104 "Love among the tombstones. Romeo. Spice of pleasure. In the midst of death we are in life."
Timon of Athens Julius CaesarI.1.
26 'As proper men as ever trod upon neat's-leather have gone upon my handiwork.'
U
176 " He came a step a sinkapace forward on neatsleather creaking and a step backward a sinkapace on the solemn floor."
I.2.
17 'Soothsayer: Beware the ides of March.'
U
105 " Burying him. We come to bury Caesar. His ides of March or June. He doesn't know who is here nor care."
U
186 "Here he ponders things that were not: what Caesar would have lived to do had he believed the soothsayer:" (also
III.1)
III.2.
73 'ANTONY Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him.'
U
105 " Burying him. We come to bury Caesar. His ides of March or June. He doesn't know who is here nor care."
III.2.
81ff 'Here, under leave of Brutus and the rest-- For Brutus is an honourable man'
U
71 "The honourable Mrs and Brutus is an honourable man."
III.2.
104 'O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me.'
U
186 "Bear with me."
V.5.
68 'ANTONY: This was the noblest Roman of them all:'
U
178 "Dunlop, Judge, the noblest Roman of them all, A.E.,"
MacbethI.3.10 "I'll do, I'll do, and I'll do."
U193? "Do and do."
I.3.
32 'The weird sisters, hand in hand'
U
13: "Printed by the weird sisters in the year of the big wind."
I.3.
136 'Two truths are told, As happy prologues to the swelling act Of the imperial theme.'
U
183: "as prologue to the swelling act"
I.4.
42 'From hence to Inverness'
U-15: "Professor Goodwin, in a bowknotted periwig, in court dress, wearing a stained Inverness cape"
I.5.
18 'yet do I fear thy nature; It is too full o' the milk of human kindness To catch the nearest way'
U-14: "milk of human kin"
I.6.
3 'This guest of summer, The temple-haunting martlet does approve, By his loved mansionry, that the heaven's breath Smells wooingly here: no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle: Where they most breed and haunt, I have observed, The air is delicate.'
U209: "Kind air defined the coigns of houses in Kildare street. No birds."
U
39: "They take me for a dun, peer out from a coign of vantage."
I.7.
69 'What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great
quell?'
U189: "But those who are done to death in sleep cannot know the manner of their
quell unless their Creator endow their souls with that knowledge in the life to come."
II.3.
8 'Faith, here's an equivocator, that could swear in both the scales against either scale; who committed treason enough for God's sake, yet could not equivocate to heaven: O, come in, equivocator.'
U196: "Warwickshire jesuits are tried and we have a porter's theory of equivocation."
IV.1.
117: 'What, will the line stretch out to the crack of doom?'
U-14: "knocked him on his ribs upon that crack of doom"
IV.1.
122: 'the blood-bolter'd Banquo smiles upon me'
U
180: "The bloodboltered shambles in act five is a forecast of the concentration camp sung by Mr Swinburne."
V.1.
35: 'Yet here's a spot.'
U
16: "They wash and tub and scrub. Agenbite of inwit. Conscience. Yet here's a spot."
V.8.
15: 'Macduff was from his mother's womb Untimely ripp'd.'
U
188: "Belief in himself has been untimely killed."
V.8.
33-34: 'Lay on, Macduff, And damn'd be him that first cries, "Hold! Enough!"'
U
138: "Lay on, Macduff!"
HamletI.1.
61 'the majesty of buried Denmark'
U
181: "in the vesture of buried Denmark"
I.1.
76 'Such was the very armour he had on'
U
181: "A player comes on under the shadow, made up in the castoff mail of a court buck"
I.1.
79 'He smote the sledded Pollacks on the ice'
U
180: "wielding the sledded poleaxe"
I.1.
81 'jump at this dead hour'
U14? "it jumped with a project of his own"
I.1.
157: (of the ghost of the King of Denmark) 'It faded on the crowing of the cock'
U-15? "VIRAG... (He crows derisively.) Keekeereekee!"
U-15? "SHAKESPEARE... (He crows with a black capon's laugh.) Iagogo!"
I.1.
169 'young Hamlet'
U121: "He forgot Hamlet."
I.2.
146: 'Frailty, thy name is woman!'
U-12 (Lenehan): "Frailty, thy name is Sceptre."
U-15 (Bloom): "Frailty, thy name is marriage."
I.2.
180-181: 'The funeral bak'd meats Did coldly furnish forth the marriage tables'
U-8? "His ideas for ads like Plumtree's potted under the obituaries, cold meat department."
U-8? "Potted meats. What is home without Plumtree's potted meat? Incomplete. What a stupid ad! Under the obituary notices they stuck it. All up a plumtree. Dignam's potted meat."
I.4.
2: 'a nipping and an eager air'
U-3: "Airs romped around him, nipping and eager airs."
U-14? "walking on a nipping morning"
I.4.
15: 'to the manner born'
U-12: "as to the manner born"
I.5.
22: (ghost to Hamlet) 'List, list, O, list!'
U-9: "Like the fat boy in Pickwick he wants to make our flesh creep. List! List! O list! My flesh hears him: creeping, hears. If thou didst ever..."
U-15: "PADDY DIGNAM Bloom, I am Paddy Dignam's spirit. List, list, O list!"
I.5.
46 "The will of my most seeming-virtuous queen"
U
194: "in the fifth scene of Hamlet he has branded her with infamy"
II.2.
203 'Though this be madness, yet there is a method in't.'
U
153: "Poor Mrs Purefoy! Methodist husband. Method in his madness."
II.2.
251-253: 'I could be bounded in a nutshell and count myself a king of infinite space; were it not that I have bad dreams'
U
32? "I have put the matter into a nutshell, Mr Deasy said."
II.2.
483-484: 'Break all the spokes and fellies from her wheel, And bowl the round nave down the hill of heaven'
U
83? "Damn bad ad. Now if they had made it round like a wheel. Then the spokes: sports, sports, sports: and the hub big: college."
III.1.
56: 'To be, or not to be — that is the question'
U-11: "Music hath charms Shakespeare said. Quotations every day in the year. To be or not to be. Wisdom while you wait."
U-15: "BLOOM... To be or not to be. Life's dream is o'er."
U-15: "STEPHEN To have or not to have, that is the question."
U-16: "that consummation devoutly
to be or not to be wished for"
U-17: "To enter or not to enter. To knock or not to knock. "
U-17: "an abode (his own or not his own)"
III.1.
63: 'a consummation devoutly to be wish'd'
U-16: "that consummation devoutly to be or not to be wished for"
III.2.
1: (Hamlet to the players) 'Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue'
U-1? "Tripping and sunny like the buck himself."
III.2.
367: 'Very like a whale'
U
41: "Pico della Mirandola like. Ay, very like a whale."
IV.5.
26: 'And his sandal shoon' (Ophelia's song)
U
50: "My cockle hat and staff and his my sandal shoon."
IV.5.
174-180: 'There's rosemary, that's for remembrance... And there is pansies, that's for thoughts... violets'
U
75: "Language of flowers. They like it because no-one can hear. Or a poison bouquet to strike him down. Then walking slowly forward he read the letter again, murmuring here and there a word. Angry tulips with you darling manflower punish your cactus if you don't please poor forgetmenot how I long violets to dear roses when we soon anemone meet all naughty nightstalk wife Martha's perfume."
U-11: "Means something, language of flow. Was it a daisy? Innocence that is."
V.1.
27-35: 'CLOWN:... There is no ancient gentlemen but gard'ners, ditchers, and grave-makers. They hold up Adam's profession... 'A was the first that ever bore arms... The Scripture says Adam digg'd. Could he dig without arms?'
U-17? " What would be his civic functions and social status among the county families and landed gentry? Arranged successively in ascending powers of hierarchical order, that of gardener, groundsman, cultivator, breeder..."
V.1.
130-132: 'the age is grown so picked that the toe of the peasant comes so near the heel of the courtier he
galls his kibe'
U-9: " Stephen followed a lubber... One day in the national library we had a discussion. Shakes. After. His lub back: I followed.
I gall his kibe."
King LearU
181 "But this prying into the family life of a great man... Interesting only to the parish clerk. I mean, we have the plays. I mean when we read the poetry of King Lear what is it to us how the poet lived? As for living, our servants can do that for us, Villiers de l'Isle has said. Peeping and prying into greenroom gossip of the day, the poet's drinking, the poet's debts. We have King Lear: and it is immortal."
U
187 "If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts."
U
185 "Cordelia.
Cordoglio. Lir's loneliest daughter." (
I.1ff)
U201 "In his trinity of black Wills, the villain shakebags, Iago, Richard Crookback, Edmund in King Lear, two bear the wicked uncles' names. Nay, that last play was written or being written while his brother Edmund lay dying in Southwark."
I.1.
156: 'Nor are those empty-hearted whose low sound
Reverbs no hollowness.'
U204: "reverbed"
II.4.
10 'Fool: Ha, ha! he wears cruel garters. Horses are tied by the heads, dogs and bears by the neck, monkeys by the loins, and men by the legs: when a man's over-lusty at legs, then he wears wooden
nether-stocks.'
U198: "Enter Magee Mor Matthew, a rugged rough rugheaded kern, in strossers with a buttoned codpiece, his
nether stocks bemired with clauber of ten forests, a wand of wilding in his hand."
III.2.
60 'I am a man More sinn'd against than sinning.'
U-13: "If he had suffered, more sinned against than sinning, or even, even, if he had been himself a sinner, a wicked man, she cared not."
III.4.
115 'EDGAR This is the foul fiend Flibbertigibbet: he begins at curfew, and walks till the first cock; he gives the web and the pin, squints the eye, and makes the hare-lip; mildews the white wheat, and hurts the poor creature of earth.'
U-15: "VIRAG... Why I left the church of Rome. Read the Priest, the Woman and the Confessional. Penrose. Flipperty Jippert."
III.4.
185: 'Child Rowland to the dark tower came, His word was still,--Fie, foh, and fum, I smell the blood of a British man.'
U
45: "Feefawfum. I zmellz de bloodz odz an Iridzman."
IV.1.
68 'five fiends have been in poor Tom at once; of lust, as Obidicut; Hobbididence, prince of dumbness; Mahu, of stealing; Modo, of murder; Flibbertigibbet, of
mopping and mowing, who since possesses chambermaids and waiting-women.'
U208: "He went on and down, mopping, chanting with waving graceful arms:"
U-15: "VIRAG... Why I left the church of Rome. Read the Priest, the Woman and the Confessional. Penrose.
Flipperty Jippert."
IV.6.
24 'the murmuring surge, That on the unnumber'd idle pebbles chafes, Cannot be heard so high.'
U
41 "His boots trod again a damp crackling mast, razorshells, squeaking pebbles,
that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada."
OthelloU201 "In his trinity of black Wills, the villain shakebags,
Iago, Richard Crookback, Edmund in King Lear, two bear the wicked uncles' names. Nay, that last play was written or being written while his brother Edmund lay dying in Southwark."
U204 "The boy of act one is the mature man of act five. All in all. In Cymbeline, in Othello he is bawd and cuckold. He acts and is acted on. Lover of an ideal or a perversion, like José he kills the real Carmen. His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer."
I.1.
61 'For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am.'
U
190 "The Sacred Heart that is: showing it. Heart on his sleeve. Ought to be sideways and red it should be painted like a real heart... Would birds come then and peck..."
I.1.
85 'Even now, now, very now, an old black ram Is topping your white ewe.'
U-15 "Othello black brute" (eg)
I.1.
104 'IAGO I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.'
U
134 "By the way how did he find that out? He died in his sleep. Or the other story, beast with two backs?"
I.3.
345 'Put money in thy purse; follow thou the wars; defeat thy favour with an usurped beard; I say, put money in thy purse. It cannot be that Desdemona should long continue her love to the Moor,-- put money in thy purse,--nor he his to her: it was a violent commencement, and thou shalt see an answerable sequestration:--put but money in thy purse. These Moors are changeable in their wills: fill thy purse with money:--the food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida. She must change for youth: when she is sated with his body, she will find the error of her choice: she must have change, she must: therefore put money in thy purse. If thou wilt needs damn thyself, do it a more delicate way than drowning. Make all the money thou canst: if sanctimony and a frail vow betwixt an erring barbarian and a supersubtle Venetian not too hard for my wits and all the tribe of hell, thou shalt enjoy her; therefore make money.'
U
30 "If youth but knew. But what does Shakespeare say? Put but money in thy purse. — Iago, Stephen murmured."
I.3.
392 'I hate the Moor: And it is thought abroad, that 'twixt my sheets He has done my office'
U204 "His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer."
II.1.
297 'The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature,'
U204 "His unremitting intellect is the hornmad Iago ceaselessly willing that
the moor in him shall suffer."
II.1.
303 'But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap'd into my seat'
U204 "His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer."
III.3.
165 'IAGO O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on'
U
43 "Green eyes, I see you. Fang, I feel."
U-15: "The greeneyed monster"
III.3.
159 'But he that filches from me my good name Robs me of that which not enriches him And makes me poor indeed.'
U201 "QUAKERLYSTER (A tempo.) But he that filches from me my good name..."
V.2.
101 (Othello smothers Desdemona)
U-15 "Iagogo! How my Oldfellow chokit his Thursdaymornun. Iagogogo!"
Antony and CleopatraU200 "Who Cleopatra, fleshpot of Egypt, and Cressida and Venus are we may guess."
II.2.
230 'The barge she sat in, like a burnish'd throne, Burn'd on the water: the poop was beaten gold... pretty dimpled boys, like smiling Cupids, With divers-colour'd fans, whose wind did seem To glow the delicate cheeks which they did cool... at the helm A seeming mermaid steers: the silken tackle Swell with the touches of those flower-soft hands, That yarely frame the office.'
U-11 "Girl touched it. Poop of a lovely. Gravy's rather good fit for a. Golden ship. Erin. The harp that once or twice. Cool hands."
II.2.
278 'Age cannot wither her, nor custom stale Her infinite variety'
U203 "Age has not withered it. Beauty and peace have not done it away. It is in infinite variety everywhere in the world he has created"
II.2.
246 'Her gentlewomen, like the Nereides, So many mermaids, tended her i' the eyes, And made their bends adornings'
U
184 "Lotus ladies tend them i'the eyes, their pineal glands aglow."
V.2.
2 ''Tis paltry to be Caesar; Not being Fortune, he's but Fortune's knave, A minister of her will'
U
45 "A primrose doublet, fortune's knave, smiled on my fear."
CymbelineU204 "The boy of act one is the mature man of act five. All in all. In Cymbeline, in Othello he is bawd and cuckold. He acts and is acted on. Lover of an ideal or a perversion, like José he kills the real Carmen. His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer."
II.2.
37 'On her left breast A mole cinque-spotted, like the crimson drops I' the bottom of a cowslip: here's a voucher, Stronger than ever law could make: this secret Will force him think I have pick'd the lock and ta'en The treasure of her honour.'
U189 "Ravisher and ravished, what he would but would not, go with him from Lucrece's bluecircled ivory globes to Imogen's breast, bare, with its mole cinquespotted."
II.5.
15 'This yellow Iachimo, in an hour,--wast not?-- Or less,--at first?--perchance he spoke not, but, Like a full-acorn'd boar, a German one, Cried 'O!' and mounted'
U193 "And the gay lakin, mistress Fitton, mount and cry O, and his dainty birdsnies, lady Penelope Rich, a clean quality woman is suited for a player, and the punks of the bankside a penny a time."
II.5.
13 'that I thought her As chaste as unsunn'd snow. O, all the devils!'
U-15 "By heaven, I am guiltless as the unsunned snow!"
III.4.
34 'What shall I need to draw my sword? the paper Hath cut her throat already. No, 'tis slander, Whose edge is sharper than the sword, whose tongue Outvenoms all the worms of Nile, whose breath Rides on the posting winds and doth belie All corners of the world: kings, queens and states, Maids, matrons, nay, the secrets of the grave This viperous slander enters.'
U-15 "Slander, the viper, has wrongfully accused me."
IV.2.
218 'With fairest flowers Whilst summer lasts and I live here, Fidele, I'll sweeten thy sad grave: thou shalt not lack The flower that's like thy face, pale primrose, nor
The azured harebell, like thy veins, no, nor The leaf of eglantine, whom not to slander, Out-sweeten'd not thy breath'
U193 "In a rosery of Fetter Lane of Gerard, herbalist, he walks, greyedauburn.
An azured harebell like her veins. Lids of Juno's eyes, violets."
IV.2.
244 'He was a queen's son, boys; And though he came our enemy, remember He was paid for that: though mean and mighty, rotting Together, have one dust, yet
reverence,-- That angel of the world, doth make distinction Of place 'tween high and low.'
U203 "Of all his kings Richard is the only king unshielded by Shakespeare's
reverence, the angel of the world."
V.5.
475 'CYMBELINE Laud we the gods; And let our crooked smokes climb to their nostrils From our blest altars'
U
136 "His listeners held their cigarettes poised to hear, their smokes ascending in frail stalks that flowered with his speech.
And let our crooked smokes. Noble words coming. Look out."
U212 "Peace of the druid priests of Cymbeline: hierophantic: from wide earth an altar.
Laud we the gods And let our crooked smokes climb to their nostrils From our bless'd altars."
