Today’s Totally Random Lines

 

So to the laws at large I write my name:

[Subscribes]

And he that breaks them in the least degree

Stands in the attainder of eternal shame:

 

Berowne

Love’s Labour’s Lost         Act I, Scene i, Line 55

 

Berowne, Dumaine, and Longaville are going to spend the next three years studying with the king. Dumaine and Longaville have agreed to the specifics of the king’s provisions for these three years: no women, limited eating, and limited sleeping. They have signed the contract. Dumaine has agreed to the three years of studying, but has objected to the lack of women, food, and sleep, and at length tells why. Nevertheless, in the end he agrees to sign, as we see in Today’s Lines.

And so, the stage is now set for the action of the play.

I said, "And so, the stage is now set for the action of the play." Any comments?

Action, Schmaction. 

You want a comment? Don't bother me with your Shakespeare nonsense; how's that for a comment.

 

Today’s Totally Random Lines

 

What’s he comes here?

 King

All’s Well That Ends Well         Act I, Scene ii, Line 18

Well, there are several answers I could give to What’s he comes here?

Considering that it’s just about seven a.m., and Walker Peter’s got to be in to work at seven, I believe this is he that I hear coming down the hall.

Or, considering that it’s just about seven a.m., and the electronic picture frame turns on automatically at seven, I can see that it’s nephews John and Caleb showing up on the frame here in my living room all the way from Japan.

Or, more to the point, seeing that it’s the king asking the question, I can read ahead and tell you that the answer is Betram, Lafeu, and Parolles.

Which leads me to another discussion.

I went to Whitlock’s Book Barn yesterday, and I picked up yet one more book on Shakespeare; this one entitled Discovering Shakespeare by Edward Holmes. It’s a book about the conjecture that a fellow named Edward de Vere, Earl of Oxford wrote Shakespeare, and it’s based on the premise that de Vere had all these different experiences that the fellow who wrote these plays might have had: experiences that fit in very neatly to the plays, and experiences that Will never could have had.

The first play discussed in the book is, you guessed it, All’s Well That Ends Well. It explains who all these people in the play were in real life and the experiences that de Vere had with them (Bertram, by the way, is Edward de Vere according to Mr. Holmes).

Now, this is the second book I’ve got that works this same premise. Each of them go into the historical facts and characters of de Vere’s life (a life, unlike Will’s, that was quite well documented), but here’s the thing: neither of the books explains how de Vere’s words ended up with William Shakespeare as the listed author (granted that I’m only in chapter two of this new book, but I’ll keep you posted). They both seem to assume that it must’ve been de Vere as the author. But then, what about William Shakespeare? Who was he?

Whilst, as we well know, there is very little documented detail of Will’s life, we do in fact know that he existed and that he was given credit as the author. It is, however, the exponentially more documented detail of de Vere’s life that makes the arguments of these two authors so persuasive. Edward de Vere’s life fits so very well into the detail of the plays. But again, how do de Vere’s words end up credited as Shakespeare’s?

I’m hoping that Mr. Holmes comes up with some viable answer to this question. Perhaps Edward de Vere and William Shakespeare were friends who would meet and share stories of their lives over glasses of ale? And perhaps de Vere did a lot more sharing? This, at least, would still give Will authorship. 

Or perhaps, unlike Severus Snape, we’ll just

never

knooowwww.

 

The heck with this Snape guy, how about when my next treat will be showing up? 

Do we know that?  

 

Today’s Totally Random Lines

Sir John, I prithee, leave the prince and me alone: I will lay him down such reasons for this adventure, that he shall go.

Pointz

King Henry the Fourth Part I Act I, Scene ii, Line 153

All I’m going to look at this morning is I prithee. What does it mean? It’s a bastardization of I pray thee, and so it means, very simply, please. That’s right: please.

Sir John, please, leave the prince and me alone.

Perhaps you already knew that? If you did, I apologize for wasting your time. And if you didn’t, well, now you do. 

I prithee, Mojo, a penny for your thoughts. 

 

Today’s Totally Random Lines

 

Now, Signior Petruchio, how speed you with

My daughter?

Baptista

The Taming of the Shrew         Act II, Scene i, Line 18

This scene is the first meeting of Petruchio (the Tamer) and Katharina (the Shrew). Petruchio has come to tell Baptista (Katharina’s father) that he plans to marry her, so Baptista brings her in and then leaves to two alone to get acquainted. They’ve just spent a page going back and forth, and now Baptista comes back in to see how they’ve gotten along. How speed you simply means how’d you make out? Even though Katharina has given Petruchio nothing but sass, he replies, How but well, sir? How but well? It were impossible I should speed amiss. 

This Petruchio is indeed an interesting fellow.

Hey Mr. Blagys, I think this guy could play Petruchio; he's pretty interesting.

That guy has a name, Mojo: it's Jeff. And yes, he is very interesting. 

 

Today’s Totally Random Lines

 

Thrice-noble Suffolk, ‘tis resolutely spoke.

Queen Margaret

 

King Henry the Sixth Part II  Act III, Scene i, Line 266

Suffolk is not just noble, he’s three times noble. That’s a lot of noble. Yes, quite a bit of noble. She couldn’t have gotten by with just noble Suffolk? Though, I guess if you’re going to amplify it, thrice noble Suffolk sounds better than doubly noble Suffolk. Right?

And how about resolutely, do we want to get into resolutely. 

NO!!

Okay, I guess not.

 

Today’s Totally Random Lines

 

Pat, pat; and here’s a marvellous convenient place for our rehearsal.

Peter Quince

A Midsummer Night’s Dream   Act III, Scene i, Line 2

Pat, pat is a relatively meaningless expression here. It could be replaced with Okay, or Now then, or absolutely nothing. And marvellous with two L’s, well that’s the way it’s spelt in my book. I suppose I should check my Folio, and perhaps I’ll do that later when I’m downstairs.

So here we have Peter Quince (yes, it only has Quince without a first name in my book, but, well, his name is Peter) talking to the rest of the guys as they meet in the forest to rehearse. The first line of the scene is Bottom asking Are we all here. Bottom likes to get as many lines as he can in this play and in the play within the play.

And, yes, it’s snowing again (here in Cheshire, not in the play). And it snowed, and it snowed…and it snowed.

That’s a Donner party reference. I don’t think that we’re quite at Donner party status yet. 

In any event (another fairly meaningless sentence starter), I’m downstairs now, and the FF has it as marvailous. Well, that’s interesting. I’m thinking that my book is just a typo. And now I've checked my E.G. Harrison Shakespeare compilation and it’s marvelous, as it should be. So I’m going to take this morning’s marvellous as a garden variety typo. What the heck.

  

Ahh, this guy is just going on and on. I'm thinking about going outside for a smoke, Mrs. Blagys. Care to join me?

 

Today’s Totally Random Lines

 

 

Come, come, you froward and unable worms!

My mind hath been as big as one of yours,

My heart as great; my reason, haply, more,

To bandy word for word and frown for frown:

But now I see our lances are but straws;

Our strength as weak, our weakness past compare,-

That seeming to be, most , which we indeed least are.  

 

Katharina

 

The Taming Of The Shrew   Act V, Scene ii, Line 76

Katharina is the titular shrew in the play. We are at the very end of the play, and it certainly appears that she has been tamed. But has she?

I think that this is a much more complicated play than it appears to be. Taken on face value it appears that Kate has become completely subservient to her husband. Today’s Line is taken from Kate’s speech, here near the very end of the play. I might say that you should read the whole speech before passing judgement, but in fact I think you’d have to read/hear/see the entire play.

And I don’t see that happening right now. Even so, I’m tempted to give you Katharina’s whole speech, because it might open your mind a little bit. Oh, what the heck; here you go.

There are three couples in this scene and Petruchio, Katharina’s husband, has bade her tell the other two women what duty they owe their lords and husbands. Katharina is addressing the women when she speaks.

Fie, fie! Unknit that threatening and unkind brow:

And dart not scornful glances from those eyes,

To wound thy lord, thy kind, thy governor:

(okay, this isn’t sounding good)

It blots thy beauty, as frosts do bite the meads;

Confounds thy fame, as whirlwinds shake fair buds;

And in no sense is meet or amiable.

(that’s a little better?)

A woman moved is like a fountain troubled,

Muddy, ill-seeming, thick, bereft of beauty;

And while it is so, none so dry or thirsty

Will deign to sip, or touch one drop of it.

(interesting)

Thy husband is thy lord, thy life, thy keeper,

Thy head, thy sovereign; one that cares for thee,

And for thy maintenance, commits his body

To painful labour both by sea and land,

To watch the night in storms, the day in cold,

Whilst thou liest warm at home, secure and safe;

(sounding a little better, a little more reasonable)

And craves no other tribute at thy hands

But love, fair looks, and true obedience,-

Too little for such great a debt.

(again, not too unreasonable; you can’t forget the times that this takes place in)

Such duty as the subject owes the prince,

Even such a woman oweth to her husband;

And when she is forward, peevish, sullen, sour,

And not obedient to his honest will,

What is she but a contending rebel,

And graceless traitor to his loving lord?

I am ashamed that women are so simple

To offer war, where they should kneel for peace;

Or seek for rule, supremacy, and sway,

When they are bound to serve, love, and obey.

Why are our bodies soft and weak and smooth

Unapt to toil and trouble in the world,

But that our soft conditions and our hearts

Should well agree with our external parts?

Come, come, you froward and unable worms!

My mind hath been as big as one of yours,

My heart as great; my reason, haply, more,

To bandy word for word and frown for frown:

But now I see our lances are but straws;

Our strength as weak, our weakness past compare,-

That seeming to be, most , which we indeed least are. 

Then vail your stomachs, for it is no boot,

And place your hands below your husbands foot:

In token of which duty, if he please,

My hand is ready, may it do him ease.

 

And Petruchio’s response to Katharina’s speech?

Why, there’s a wench!- Come on and kiss me, Kate.

So, is your mind open enough to view this as something deserving of discussion, or am I just a jingoistic rogue to think that it even deserves a second look?

You tell me.

From the looks on their faces, I believe it's gonna be jingoistic rogue, Mr. Blagys.

 

Today’s Totally Random Lines

 

They say he is already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly, as thy did in the golden world.

 

Charles

As You Like It        Act I, Scene i, Line 119

Who is Charles talking about? He’s talking about the old duke who has been banished by his younger brother, the new duke. Like many of Will’s plays, we have two parallel stories/relationships going on. The first is brothers Olando and Oliver who open this scene in disagreement, and the second is these two dukes that Charles is talking about in Today’s Lines.

I suppose there are a few things we could take note of in Charles’s lines, the forest of Arden or perhaps the reference to Robin Hood, but I’m going to key in on his last line about the men who flock to the duke. Apparently they like to 

fleet the time carelessly, as thy did in the golden world.

First of all, fleet? Well, fleet is a common noun and/or adjective, but you don’t see it used much as a verb these days. MW Online has three meanings of the verb fleet: to fade away, vanish, or flow (that last one is labeled as archaic); to fly swiftly (like fleeting across the sky – that one is not so uncommon); or to drift (that one is considered obsolete). And my Shakespeare online glossary tells me that fleet here means to idle away or while away. That last one seems to be most like the MW Online first one.

And what about the golden world? I guess you can imagine that to be whatever you want it to, but any way you look at it, it seems good since we’re calling it golden.

I think I’ll leave you with that thought about whiling away the time (in a good sense, of course):

Fleeting the time carelessly, as they did in the golden world.

For me, it brings to mind the Scarecrow, whiling away the hours, conferring with the flowers...

 The Wizard Of Oz (1939) If I only had a Brain

 

 

Mojo really enjoyed watching the Scarecrow’s song.

 

Today’s Totally Random Lines

 

And so do I. -Victorious Prince of York,

Before I see thee seated in that throne

Which now the house of Lancaster usurps,

I vow by heaven these eyes shall never close.

 

Earl of Warwick

King Henry the Sixth Part III    Act I, Scene i, Line 21

 

And so do I what, Warwick? I’ll tell you what. Warwick hopes, as Richard does, to shake King Henry’s head. I’m pretty sure that both Richard and Warwick mean that they are hoping to shake Henry’s head, unattached to Henry’s body. Well, that doesn’t sound particularly good for Henry, does it? No, it does not.

Just a second, Mr. Blagys. I'm looking at the text here. Is it possible you’re jumping to conclusions? Perhaps Mr. Warwick and Mr. Richard just want to tousle King Henry’s hair. You know – like you do to me. I don’t think it’s fair just to assume they want to cut off his head. Can’t we give them the benefit of the doubt?

 

Mojo, did you read the lines preceding Today’s Line? Here, take a look.

 

Marquess of Montague

[showing his bloody sword to the Duke of York]

And, brother, here’s the Earl of Wiltshire’s blood,

Whom I encounter’d as the battles join’d.

Richard

Speak thou for me, and tell them what I did.

               [throwing down the Duke of Somerset’s head]

 

He's throwing down Somerset's head, Mojo; the detached head. Still think he wants to tousle King Henry’s hair?

Um, never mind.

Today’s Totally Random Lines

 

Why, boy, how is it?

 

Shepherd

The Winter’s Tale              Act III,  Scene iii, Line 88

Today’s speaker is a shepherd who’s just found a baby that’s been abandoned on the seashore by Antigonus. There’s a ton going on in this fairly brief scene, including the uber-famous stage direction Exit, pursued by a bear. Let’s take a look.

Antigonus has been charged by Leontes to take the baby and

                                      …bear it

To some remote and desert place, quite out

Of our dominions; and that there thou leave it,

Without mercy, to its own protection

And favour of the climate.

In other words, abandon the baby somewhere. Leontes is convinced that the child is not his and that his wife cheated on him (wrong, and wrong). So Antigonus has one of Leontes’s ships bring him to the shores of Bohemia where he abandons the baby on the beach (with a bag of gold, of course). Just as he does so, a bear appears and chases him off (hence the stage direction). 

Now, an old shepherd appears and finds the babe. Then, in the middle of his amazement the old shepherd’s son shows up quite excited, having, 

…seen two such sights, by sea and by land!

Hence the Shepherd’s line above,

Why, boy, how is it?

In other words, what did you see?

So, what did he see? First, he saw the ship that Antigonus came in sink offshore in the storm that suddenly rose up. Secondly, he saw Antigonus get chased and then eaten by the bear. Wow, no wonder the kid is all wound up.

So there’s a lot going on here around this simple, Totally Random Line. A lot. It just goes to show you that sometimes there’s a lot more going on than meets the eye. Or the ear.

That wasn't another crack about my ears, was it? 

 

Today’s Totally Random Lines

 

So I do, madonna; but to read his right wits is to read thus: therefore perpend, my princess, and give ear.

 

Clown

Twelfth Night              Act V,  Scene i, Line 297

Clown is reading a note from Malvolio to Olivia. Both Clown and Malvolio are in the employ of Olivia. Notice that in Today’s Line the clown addresses her as madonna and princess. In his previous line he says your ladyship, but in almost every other spot in this scene he simply calls her madam. I’m not sure why he's deviating from madam here, but you can bet there’s something behind that. 

Perpend, by the way, means reflect on carefully; ponder. MW online notes that it’s a word not often used, but it is not considered archaic. I guess that means that it’s a word you can use if you want. Therefore, perpend on the word perpend.

It can be pretty tough to try to figure out what this guy is perpending on.

 

Today’s Totally Random Lines

 

With the help of a surgeon he might yet recover; and prove an ass.

 

Theseus

A Midsummer Night’s Dream     Act V, Scene i, Line 299

I no longer hate this play, and I think that is mostly because of the townsmen who perform the play within the play. Today’s Line is from the last scene of the play, and it is in this scene that the play within the play is being performed. The audience of this play within the play spends a lot of time commenting on the play within the play as it is being performed, and that’s what Today’s Line is. Lysander has just remarked that Pyramus is now dead, after the latter stabbed himself on stage and then spent several minutes dying. Thesus appears to be employing sarcasm when he says that Pyramus might yet recover, after the actor spent so much time dying, and repeating over and over again die, die, die. I guess Thesus’s comment that Pyramus might also prove an ass is his way of commenting on the overacting that took place in the act of dying.

Remember, it’s a comedy!

He says it's a comedy, Mrs. Blagys, but I don't get it.

Neither do I, Mojo. Just humor him; that's what I do. 

 

Today’s Totally Random Lines

 

Yes, by Saint Patrick, there is, Horatio,

And much offence too.

 

Hamlet

Hamlet                 Act I  Scene v, Line 135

Yes, it’s Hamlet, and therefore we musts have something to say. And we do, but first, a bit of context.

We’re still in scene one of the play, albeit at the end of it. Hamlet, Horatio, and Marcellus are on the parapets of the castle at night. Hamlet, separate from the other two, has just met with the Ghost of his father who has told Hamlet that Claudius, the Ghost’s brother, murdered him. Now Marcellus and Horatio have rejoined Hamlet and are asking him what the Ghost said. Hamlet tells them that he’s not going to tell them what the Ghost said, and apologizes for offending his friends. Horatio say’s, okay, no offence taken, and that’s what Hamlet is responding to in Today’s Line. Here’s Hamlet’s full response, as I’m sure you’ve been chomping at the bit to read.

Yes, by Saint Patrick, but there is, Horatio,
And much offence too. Touching this vision here,-
It is an honest ghost, that let me tell you:
For your desire to know what is between us,
O’ermaster’t as you may. And now, good friends,
As you are friends, scholars, and soldiers,
Give me one poor request.

And what is that?

Never make known what you have seen to-night.

Horatio and Marcellus don’t know what the Ghost said, but they did see it from a distance, and Hamlet wants them to keep that a secret. So Hamlet makes them swear to that whilst the Ghost is yelling Swear! from beneath the stage. When Horatio remarks how wondrously strange this all is, Hamlet gives us one of his famous lines.

And therefore as a stranger give it welcome.
There are more things in heaven and earth, Horatio,
Then are dreamt of in your philosophy.

Think about what Hamlet says there: philosophy covers a lot of ground, and yet, there is so much more.

There you go; that’s your thought for the day.

This one's for you, Andy. More than is dreamt of in your philosophy; Hegel and all! 

Imagine that! 

 

Today’s Totally Random Lines

 

Then let them anatomize (dissect, reveal, lay open) Regan; see what breeds about her heart.

 

Lear

King Lear                    Act III Scene vi, Line 75

This is the scene in the farmhouse where Lear is putting his two daughters, Goneril and Regan, on trial. He’s quite mad (crazy, not angry; though he’s fairly angry too) at this point, and neither of his daughters are actually there. Nonetheless he seems to be addressing them, and the Fool and Edgar (who is pretending to be mad, but clearly is not) are present and going along with the whole thing. Kent and Gloster come in and out of the scene as they do their best to protect the king.

The scene ends with Kent, Gloster and the Fool bearing the king off as they head for Dover and safety from the daughters, whilst Edgar is left alone to soliloquize. Here’s his scene-ending summation of the situation, spoken from a very sane perspective.

 

When we our betters see bearing our woes,

We scarcely think our miseries our foes.

Who alone suffers suffers most i’the mind,

Leaving free things and happy shows behind:

But then the mind much sufferance doth o’erskip,

When grief hath mates, and bearing fellowship.

How light and portable my pain seems now,

When that which makes me bend makes the king bow,

He childed as I father’d!- Tom, away!

Mark the high noises; and thy self bewray (betray) ,

When false opinion, whose wrong thoughts defile thee,

In thy just proof, repeals and reconciles thee.

What will hap more to-night, safe scape the king!

Lurk, lurk.                                                 [Exit]

 

There now; what do you think of that? That's some high quality stuff there, and I do believe there’s a little (maybe a lot) of Buddha-like thought present in Edgar's words. Take another look if you don't believe me.

Leave it to Will to be expressing the wisdom of Buddha in sixteenth century England. I told you he was a genius. The guy was probably into meditation and nonduality as well!

Speaking of that, I've promised the little guy I wouldn't interrupt him when he's meditating; so I guess we won't be getting his input today.  

Namaste!

 

Today’s Totally Random Lines

 

Take Hereford’s rights away, and take from Time,

His charters and his customary rights;

 

Duke of York

King Richard the Second  Act II Scene i, Line 96

The Duke of York is King Richard’s uncle, and the last living son of Edward III. King Richard is the grandson of Edward III. John of Gaunt (another of Richard’s uncle, and the brother of the Duke of York) has just died and King Richard has confiscated all of John’s estate. John of Gaunt has a son, Harry Hereford, who is the rightful recipient of John’s estate.

In Today’s Lines, the Duke of York is telling King Richard that he is making a mistake by confiscating the estate that rightfully belongs to Harry Hereford.

Got that? Okay, now try this on for size.

 

Methinks I am a prophet new-inspired,

And thus, expiring, do foretell of him:

His rash fierce blaze of riot cannot last,

For violent fires soon burn out themselves;

Small showers last long, but sudden storms are short;

He tires betimes that spurs too fast betimes;

With eager feeding food doth choke the feeder:

Light vanity, insatiate cormorant,

This home of greatest men, this blessed land,

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;

This blessed plot, this earth, this realm, this USA,

This nurse, this teeming womb of greatest men,

Feared by their breed, and famous by their birth,

Renowned for their deeds as far from home,-

For Christian service and true chivalry,-

As in the sepulchre, in stubborn Jewry,

Of the world’s ransom, blessed Mary’s Son;-

This land of such dear souls, this dear dear land,

Dear for her reputation through the world,

Is now leased out-I die pronouncing it-

Like to a tenement or pelting farm:

America, bound in with the triumphant sea,

Whose rocky shores beat back the envious siege

Of watery Neptune, is now bound in with shame,

With inky blots, and rotten parchment bonds:

That America, that was wont to conquer others,

Hath made a shameful conquest of itself.

Ah, would the scandal vanish with my life,

How happy then were my ensuing death!

 

Okay, this is a speech that John of Gaunt makes earlier in this scene. Of course, he’s talking about his nephew, King Richard and England. It’s a very famous speech in which I made five changes, highlighted in yellow: twice I changed kings to greatest men, and three times I changed England to America or USA.

Now, with the changes I made, is there any question as to who the him in the second line refers? I doubt it. Even if you wear a red baseball cap and resent the implied sentiment, you still know who I’m talking about.

So, tell me that Will’s words are not relevant in the twenty-first century! My goodness, they resonate perfectly! 

Or should I say, Marry, methinks they resonate perfectly!

Mr. Blagys, Mr. Blagys, she's not gonna like this post!

It's okay, Mojo. It's okay; she'll understand.

Ooohhh, I'm not so sure about that.

 

 

Today’s Totally Random Lines

 

Yea, marry, that’s the eftest way. – Let the watch come forth. – Masters, I charge you, in the prince’s name, accuse these men.

 

Dogberry

Much Ado About Nothing   Act IV, Scene ii, Line 33

Dogberry is a comic character in this play. He’s the sheriff, but he’s also a buffoon. Remember, the word marry here has nothing to do with marriage; it simply an exclamation like you bet. Sheriff Dogberry has just been told, previous to this line, that he should be calling the accusers (the men of the watch) forward to get their story, not the accused. Eftest is presumed to be a malapropism. So your guess is as good as mine. Maybe it means best or bestest? Whatever it is, it probably had some sort of double entendre in Will’s day. Perhaps Dogberry’s line if written today would sound more like,

Yah, you bet, that’s the bestest way.

Anyway, that’s my bestest shot at it.

Oof, that's a blank stare if ever I saw one. I guess Mojo doesn't think too much of my bestest shot. 

Oh well. 

 

 

Today’s Totally Random Lines

 

Why, he will look upon his boot, and sing; mend the ruff, and sing; ask questions, and sing; pick his teeth, and sing. I know a man that had this trick of melancholy sold a goodly manor for a song.

 

Clown

All’s Well That Ends Well         Act III, Scene ii, Line 7

It sounds like the guy that Clown is talking about just likes to sing. Hey, wait a minute, that sounds like me!

Holy Crow, you're right, Mr. Blagys; it is you!

Alrightee then, if you’re only in it for the pic and the caption, you can stop here. The rest of this is just gonna be analysis and thoughts – no more pics. And it’s gonna be a little long, so sayonara.

 

Now that we’ve cleared that up, there’s a bit to unpack here.

First off, a bit of context. This is the very beginning of the scene. It’s the clown talking with the countess. The countess has succeeded in setting up Helena (a young woman that she likes very much) with Bertram (her son). The two are now married but the Countess senses that all is not well. The clown asserts that the problem is that Bertram is melancholy, and the Countess asks why he thinks that is so. Today’s lines is the clown’s reply to this question: He knows that Bertram is melancholy because he’s always singing.

Apparently, the clown once knew a man who was so melancholy that he sang all the time and ended up selling his home for a song. I’m not quite sure what that means, but I’ll going to pass on that last part. You can apply to that whatever meaning you wish to it.

I just like the first part: Bertram is melancholy because he’s always singing. A ruff, by the way, is the flap of a top boot, whatever that is. So Bertram is singing when he looks at his boot, when he fixes his boot, when he asks questions, and when he picks his teeth. In other words, he’s always singing.

Regardless of the singing, Clown is right about the melancholy. Bertram is melancholy and it’s because he’s been forced into a marriage with Helena. So Clown is assuming that Bertram’s way of dealing with this unwanted marriage is to constantly sing.

Well, that’s a little odd, and I’m not exactly sure what to make of it, but Mojo’s right - I do sing a lot. Still, I’m pretty sure it’s not because I’m melancholy. In fact, I really feel as though I’ve never been happier. And yet, Will is so often right about the way he depicts the human psyche. Wow, he’s got me thinking, and a little bit worried. But I’m not breaking out in song right now, so that’s good? Or…wait a minute…is it?

Now, I’m just confused. 

You should have quit while you were ahead, Mr. Blagys.

Uggghhh!

Sorry about that; I didn't realize the little guy had more to say.