Today’s Totally Random Line(s)

 

Thy looks should nothing thence but sweetness tell.

Sonnet 93                Line 12

Well, that seems like a sweet thought, but belikes we should take a look at the whole sonnet

So shall I live, supposing thou art true,
Like a deceived husband; so love’s face
May still seem love to me, though altered new;
Thy looks with me, thy heart in other place:
For there can live no hatred in thine eye,
Therefore in that I cannot know thy change.
In many’s looks the false heart’s history
Is writ in moods and frowns and wrinkles strange;
But heaven in thy creation did decree
That in thy face sweet love should ever dwell;
Whate’er thy thoughts or thy heart’s workings be,
Thy looks should nothing thence but sweetness tell.
        How like Eve’s apple doth thy beauty grow,
        If thy sweet virtue answer not thy show!

Exclamation point! It ends with an exclamation point!

Couple of things:
Unlike most of the plays, the sonnets were published in Will’s lifetime, if I’m not mistaken, by him. Therefore, unlike the plays, there’s really no question about their exact correct form, and presumably that is really Will’s exclamation point.
Now I don’t remember what the other thing was. Oh well.

Anyway, today’s line is the last line in the third quatrain. I read it and thought, well that’s a sweet thought. But now that I’ve read/written the whole thing, well, I’m not so sure. So let’s take a bit of a closer look.

Q1. I’m just gonna go on assuming that you love me, and that’s what I’ll see in your face, even though I know you love someone else (well that doesn’t sound very pleasant).
Q2. (This one’s a bit tougher, gotta re-read it a few times. It’s a little odd in that there’s a period halfway through; so, two separate thoughts?)
Since you’re incapable of showing hatred, I won’t notice any change in you. Many people plainly show their cheating heart all over their face.
Q3. But in your face, only love can show. It doesn’t matter what you’re thinking or feeling, your face will show nothing but sweetness.
Concluding Lines. Your beauty will grow like Eve’s apple, if your true feelings (or non-feelings) for me never show in your face. (like Eve’s apple?)

Okay, like I said: I had read Today’s Totally Random Line and thought something nice was being said. But now that I’ve read and written out the whole thing, and paraphrased it as well, I can see that it’s not terribly sweet at all. I mean, it’s clear that this woman doesn’t love him, but also that her face will always show that she does, even though we know that she loves someone else. So what good is that?  I guess Will is stating that it’s about as good as Eve’s apple, and we all know what Eve’s apple got us. Oy!

I'll bet you thought I was going to give you a picture of an apple. Hah! Too easy. No, this is a picture of a dish of snails. Yes, snails. 

Now, rather than being something that looks pleasant but isn't (like Eve's apple), I give something that doesn't look or sound pleasant, but is. At least that's what I hear. 

I've been told they're delicious, but I've never actually eaten snails; just can't get past the look or the idea of eating snails. 

But don't let that stop you.

Bon appetit!

 

 

Today’s Totally Random Line(s)

 

With them, the two brave bears, Warwick and Montague,

That in their chains fetter’d the kingly lion,

And made the forest tremble when they roar'd.

 

King Edward

Henry the Sixth Part III                Act V, Scene iii, Line 10

  

Edward the Fourth is sitting on his throne, the throne that was

Re-purchased with the blood of enemies.
What valiant foemen, like to autumn’s corn,
Have we mow'd down, in tops of all their pride!

And then he goes on to list a bunch of this autumn harvest, ending with Warwick and Montague.

This is the end of the play, with Edward having finally defeated Henry VI. There’s one play left in this series of Will’s history plays that deals with the Wars of the Roses, and that’s Richard the Third.

If nothing else, picking and writing on these random lines for the last six years has taught me a lot of English history. Will did a pretty good job of covering everything from Edward III up through and including Richard III. It’s a pretty interesting period, which is obviously why Will picked it to write on. I wonder if any of the other guys writing plays back then did any history plays?

Of course, there is a bit of a need to sift out the truths and the dramatizations. I read a book early on (I think it was called Shakespeare’s Kings?) that delineated just that, the fact from fiction, out of Will’s history plays. It seems he did a pretty good job overall, but he took a lot of liberties along the way as well, and apparently Richard III may have been one of those liberties. Will paints Richard as pretty much bad to the bone, scheming to make himself king from the very giddyap. He’s Edward IV’s brother, and he shows up later in today’s scene talking to himself about how he’s going to blast Edward’s harvest. In truth, historians say that Richard was a faithful brother to Edward IV. It wasn’t until Edward died suddenly that Richard took it upon himself to take over, eliminating Edward’s two young sons in the process. So yah, he was no angel, but perhaps not quite the devil that Will painted him as.

But a better devil makes a better story, doesn’t it?

A pic of a better devil? I got nothin'.

 Today’s Totally Random Line(s)

 

Deliver with more openness your answers

To my demands. Why do you pity me?

 

Imogen

Cymbeline               Act I, Scene vi, Line 88

 

 

See, now this is the perfect example of why I need to have easy access to the Arkangels, or some other spoken copy of the plays. I’m sitting here in my upstairs spot, and I’m trying to read through this, but I really need to hear it to get a good understanding. Oh well.

Anyway, I’m not sure what the answer to her question is. I think it might be that Iachamo (that’s who Imogen is talking to) is saying that he pities her because her husband is so far away? But I don’t think that’s it, or certainly not all of it.

Unfortunately, gonna give up for today. You’re on your own. If you come up with the full answer, let me know.

And this is my upstairs spot. Well, it doesn't look like this first thing in the morning. In fact, it almost never looks like this. That's my spot, the chair Karen is sitting in, to the far left. And when I'm sitting there in the morning there's no one else there: no Karen, no Char, no Jaclyn. And there's generally not a bunch of toys all over the floor. There's just me, and my book, in my spot. And no pc with the Arkangel plays either.

Yah, that's right. 

 

Today’s Totally Random Line(s)

 

There is a lady of Verona here

Whom I affect; but she is nice and coy,

And naught esteems my aged eloquence:

 

Duke of Milan

The Two Gentlemen of Verona     Act III, Scene i, Line 81

 

Now, I’m not exactly sure what Whom I affect means here. It could mean whom I have an effect on. That’s what it would mean today. If you look up affect in the MW it just means to have an effect on, and based on the Duke calling the lady nice and coy he could mean that he’s having an effect on her, but she won’t admit it because, well, she’s too nice and too coy. However, maybe the duke is having no effect on her. Therefore, he is saying he likes her. If you look affect in the Shakespeare glossary it’s got half a dozen meanings. The first is the same as the modern MW definition, but one of the other ones is to like something: if you affect it, you like it. This seems to be the way it’s being used here: the duke has no effect on the woman (she has an effect on him), but he likes her.

I guess that’s a little confusing. I have to say, though, that I like the aged eloquence part. In fact, I would say that lately I am embracing my aged eloquence. I am doing my best to affect an air of aged eloquence. Though I think if I met you, I might not have that effect upon you.

Now, as a public service announcement (and since I probably completely confused you), here is a quick reminder of how to use affect and effect in modern parlance.

Affect is almost always the verb (remember: Affect is to Act)

Effect is almost always the noun (I don’t have a catchy way to remember this, other than it’s not an Action and therefore does not start with A).

I hope I have not affected you in a negative way with all this talk about affect and effect.

In fact, I hope it’s had a positive effect on you.

Most certainly you can see the air of aged eloquence being displayed here. 

Notice also, that I didn't use affect or effect in that sentence! 

You're welcome.

 

Today’s Totally Random Line(s)

 

Why, fear not, man; I will not forfeit it:

Within these two months, that’s a month before

This bond expires, I do expect return

Of thrice three times the value of this bond.

 

Antonio

The Merchant of Venice                Act I, Scene iii, Line 155

  

Talk about famous last words. And what have I said about expectations? Life is all about expectations, isn’t it? Of course, if Antonio was a bit more cautious and not so eager to rely on his expectations, then perhaps he wouldn’t have taken the deal, and then I guess we wouldn’t have much of a story, would we?

In any event, lots of expectations here. Antonio expects his ships to be back in time to pay the loan (good luck with that), Bassanio expects that three thousand ducats will be enough for him to win over Portio (turns out he’s right about that), and Shylock expects… well, I’m not sure what he expects. In fact, I think he might be the smartest one here, because he’s not relying on expectations. If Antonio forfeits the loan, Shylock gets a pound of flesh, and it appears that he really dislikes Antonio so that this pound of flesh will be a good thing for Shylock. If Antonio doesn’t forfeit, then Shylock gets his money back, and being the shrewd businessman that he is, that would also be a good thing. No, it appears that Shylock is not relying on any expectations. I guess he’s the smartest one of them all, eh? Well, until Act IV, Scene i he is, but not so much then.

And speaking of expectations - I expect it's about time (actually, well past about time) to get back to working on Merchant. I can't be letting drawings like this go to waste, can I?

I expect not. 

 

Today’s Totally Random Line(s)

           

I have been closely shrouded in this bush,

And markt you both, and for you both did blush:

I heard your guilty rimes, observed your fashion,

Saw sighs reek from you, noted well your passion:

Ah me! says one: O Jove! the other cries:

One her hairs were gold, crystal the other’s eyes:

You would for paradise break faith and troth;

And Jove, for your love, would infringe an oath.

 

King

Love’s Labour’s Lost                    Act IV, Scene iii, Line 140

 

This is a fairly memorable scene from Love’s Labour’s Lost. The king and his three buddies show up one by one, each moaning to themselves about being in love (remember, they all took an oath to swear off women). As each one shows up, the previous one hides to eavesdrop, and then they each come out of hiding one by one. The king is the second one to advance from his hiding place and he’s chiding Dumaine and Longaville. Browne will advance in a moment and address them all.

Now here’s the thing: I saw this play performed live less than six months ago. And yet, I do not remember this scene from that production. I certainly remember going to the play, and the play in general, and I also remember that I could not understand most of what the actors were saying. It seemed to me that that were not enunciating their words clearly; except for Don Adriano de Armando. The young fellow playing him did an excellent job of speaking clearly. As for the rest, whilst they all seemed to be doing a credible acting job based on their tones and actions, I couldn’t understand what the heck any of them were saying. And it didn’t matter whether they were speaking words written in 1595 or 1995, I just couldn’t make out the words. Now, was it because of my hearing? Was it because they were talking too fast, or too slurred? Was it because they were all speaking with a southern accent? Belikes, it was a combination of all of the above.

In any event, I’m familiar with today’s scene, but I don’t remember it from that performance. And that’s too bad.

This is a crimson bee eater. It's a very pretty bird. Why am I giving you this picture? Well, I just realized that I've complained about Shakespeare productions for two days in a row. So, no more complaining for now; just a picture of a very pretty bird. 

How's that?

Hold on; I just looked up the spelling to see if I needed to hyphenate bee-eater. I do. I also need to correct myself. It's a carmine bee-eater, not crimson. 

Carmine Bee-Eater.

 

Today’s Totally Random Line(s)

           

I think it be no other but e’en so:

Well may it sort, that this portentous figure

Comes armed through our watch; so like the king

That was and is the question of these wars.

 

Bernardo

Hamlet                            Act I, Scene i, Line 111

 

Remember, we’re on the parapet, or actually, A platform before the castle (is that the parapet?). Anyway, these guys are on watch duty and the ghost of the recently deceased King Hamlet had just appeared to them. As they get over the shock, Marcellus asks Horatio why the country seems like it’s preparing for war. The latter tells him that it’s because young Fortinbras of Norway is rumored to be getting ready to come and take back land that his father lost to the aforementioned King Hamlet. Bernardo responds with today’s lines, agreeing that this must be the case. Well may it sort, is just well may it be.

There’s only one problem here: I recently watched Branagh’s four hour movie production of Hamlet, and Jack Lemon played one of these guards. Now don’t get me wrong, Jack Lemon was a fine actor. But he is so terribly out of place and mismatched for this role. There’s just no way I can get Jack Lemon’s face out of my mind when thinking about this scene. This scene has been ruined for me by Jack Lemon.

Ohh, what a sad, sad state of affairs! Damn that Jack Lemon!