Archive for the ‘Concordances’ Category

Nothing in Two Gentlemen of Verona

April 30, 2007

Act 1: “What is ‘t that you took up so gingerly?–Nothing.– And is that paper nothing?– Nothing concerning me. –Then let it lie for those that it concerns” [1.2.70-76] (Julia and Lucetta);

Act 2: “Pardon me Proteus, all I can is nothing to her whose worth makes her worthies nothing. She is alone.” [2.4.162-163]

Act 3: ” Valentine? –No. –Who then? His spirit? –Niether– What then? — Nothing.–Can nothing speak? Master, shall I strike?– Who wouldst thou strike?– Nothing.–Villain, forebear.– Why, sir, I’ll strike nothing. I pray you– Sirrah, I say forebear. Friend Valentine, a word.” [3.1.192-203](Launce, Valentine and Proteus); “why, that word makes the faults gracious. Well, I’ll have her; and if it be a match, as nothing impossible– What then? –Why, then I will tell thee that thy master stays for thee at the North-gate” (Launce and Speed).

Act 4: “Tell us this: have you any thing to take to? –Nothing but my fortune” [4.1.42-43] (Valentine and second outlaw).

Act 5:

…mentions of ‘nothing’ and letters, like in Lear, talk of service; the twin ‘hair’ mentions like The Tempest; a mention of ‘Ethiope’ like in A Midsummer Night’s Dream; ‘honest’ like in Othello; blackness like the sonnets and Midsummer; outlaws like perhaps in Henry IV… this is an early play like Comedy of Errors yet, unlike Comedy of Errors, has strong vocabulary suggestions of later works (notwithstanding the ‘elm and ivy’ passage which Midsummer seems to have cropped from Errors.) I feel he must of been very excited to have written this, simple while intimating larger themes, ample grounds to roam in.

some other words of note in the tempest

April 13, 2007

Hair: “not so much perdition as an hair” [1.2.30] (Prospero to Miranda); “with hair upstanding, like reeds, not hair” [1.2.213] (Ariel to Prospero of Ferdinand); “Not a hair perished” [1.2.217] (Ariel); “Now, jerkin, you are like to lose your hair and prove a bald jerkin” [4.1.238] (Stephano).

Language: “I endowed thy purposes with words and made them known” [1.2.359] (Prospero); “you taught me language… the red plague rid you for learning me your language” [1.2.367] (Caliban); “my language? Heavens! I am the best of them that speak this speech, were I but where tis spoken” [1.2.431] (Ferdinand); “It is a sleepy language and thou speak’st out of thy sleep” [2.1.214]; “where the devil should he learn our language?” [2.2.67] (Stephano to Trinculo); “here is that which will give you language, cat” [2.2.84] (Stephano to Caliban of wine).

Liberty and Freedom: “My liberty” [1.2.246] (Ariel); “Dost thou forget from what torment I did free thee?” [1.2.250] (Prospero); “I’ll free thee within two days for this” [1.2.423] (Prospero of Ariel); “I’ll set thee free for this” [1.2.445] (Prospero); “All corners of the earth let liberty make use of; space enough have I in such a prison” [1.2.493] (Ferdinand); “One stroke shall free thee from the tribute which thou payest” [2.1.295] (sebastian); “Thou shalt be as free as mountain winds” [1.2.502]; “Freedom, high-day!” [2.2.184] (Caliban); “with a heart as willing as bondage e’er of freedom” [3.1.89] (Ferdinand to Miranda); “Thought is free” [3.2.125] (Stephano); “And some donation freely to estate on the blest lovers” [4.1.85] (Iris); “Shortly shall all my labours end, and thou shalt have the air at freedom” [4.1.266] (Prospero); “thou shalt ere long be free” [5.1.87] (Prospero); “but yet thou shalt have freedom” [5.1.96] (Prospero to Ariel); “we were awakened straight away at liberty” [5.1.237] (boatswain); “set caliban and his companions free” [5.1.254] (Prospero); “be free and fair thou well” [5.1.322] (Prospero to Ariel); “Unless I be relieved by prayer, which pierces so that it assaults mercy itself and frees all faults” [epilogue] (Prospero); “let your indulgence set me free” [epilogue] (Prospero).

Miracle: “but for the miracle, I mean our preservation, few in millions can speak like us” [2.1.6] (Gonzalo); “his word is more than the miraculous harp” [2.1.88] (Antonio); “a most high miracle” [5.1.180] (Sebastian);

Patience: “Nay, good, be patient.” [1.1.15] (Gonzalo to boatswain); “I am out of patience” [1.1.55] (Sebastian); “By your patience I needs must rest me” [3.2.3] (Gonzalo); “be patient, for the prize I’ll bring thee to shall hoodwink this mischance” [4.1.204] (Caliban to Trinculo and Stephano); “Irreparable is the loss and patience says it is past her cure” [5.1.140] (Alonzo);

Remembrance: “Remember whom thou has aboard” [1.1.19] (Gonzalo to boatswain); “Canst thou remember a time before we came unto this cell?” [1.2.37] (Prospero). “and rather like a dream than an assurance that my remembrance warrants” [1.2.44-47] (Mirand to Prospero of her early years); “If thou remembrest aught ere thou camest here, hohw thou camst here thou mayest” [1.2.51] (Pospero); “to think of the teen that I have turned you to, which is from my remembrance” [1.2.65] (Miranda to Prospero); “who having into truth, by telling of it, mad such a sinner of his memory” [1.2.101] (Prospero to Miranda of Antonio); “I, not remembering how I cried out them, will cry o’er again” [1.1.134] (Miranda to Prospero); “let me remember thee what thou hast promised” [1.2.243] (Ariel to Prospero); “I prithee, remember I have done thee worthy service” [1.2.246] (Ariel to Prospero); “Dost thou forget from what torment I did free thee?” [1.2.250] (Prospero); “delaying, not forgetting” [3.3.73] (Ariel to Alonzo et al.); “How sharp the point of this remembrance is” [5.1.137] (Alonzo); “let us not burden our remembrances with a heaviness that’s gone” [5.1.201] (Prospero); “some few odd lads that you remember not” [5.1.257] (Prospero of Trinculo and Stephano).

‘Brave’ in The Tempest

April 12, 2007

Act 1: “Oh I have suffered with those I saw suffer! A brave vessel, who had, no doubt, some noble creature in her, dash’d all to pieces. O, the cry did knock against my heart!” [1.2.5-8]; “My brave spirit!” [1.2.206] (Prospero to Ariel); “It carries a brave form” [1.2.414] (Miranda of Ferdinand); the Duke of Milan and his brave son/ the Duke of Milan and his more braver daughter [1.2.439-443] (Ferdinand with Prospero).

Act 2: “You are gentlemen of brave mettle; you would lift the moon out of her sphere, if she would continue in it five weeks without changing.”[2.2.183-185] (Gonzalo of Antonio and Sebastian); “That’s a brave god and bears celestial liquor” [2.2.117] (Caliban of Stephano); “O brave monster! Lead the way” [2.186] (Stephano of Caliban).

Act 3: “Brave monster” to have eyes set in a tail [3.2.11] (Trinculo); “he has brave utensils –for so he calls them– which, whehn he has a house, he’ll deck withal” [3.2.96] (Caliban of Prospero); “Is it so brave a lass?” [3.2.104] (Stephano to Caliban of Miranda); “Ay, lord; she will become thy bed, I warrant, and bring thee forth brave brood” [3.2.106]; “This will prove a brave kingdom to me, where I shall have my music for nothing” [3.2.146]; “Bravely the figure of this harpy has thou performed, my Ariel; a grace it had devouring” [3.3.83-84];

Act 4:

Act 5: “O, wonder! how many goodly creatures are there here! How beauteous mankind is! O brave new world that has such people in ‘t!” [5.1.183-186] (Miranda); “Our ship– which, but three glasses since, we gave out split– Is tight and yare and bravely rigg’d as when we first put out to see” [5.1.226] (Boatswain); “Bravely, my diligence. Thou shalt be free” [5.1.243] (Prospero to Ariel); “O Setebos, these be brave spirits indeed!” [5.1.263] (Caliban).

Red and White in Venus and Adonis

March 26, 2007

Red and White: “more red and white than doves and roses” [7-12]; “being red, she loves him best; and being white, her best is better’d with a more delight” [77-78]. Of the boar: “Whose frothy mouth, bepainted all with red, like milk and blood being mingled both togeher,” [900-901]; “And in his blood that on the ground lay spill’d a purple flower sprung up, check’red with white, resembling well his pale cheeks and the blood which in round drops upon their whiteness stood,” [1167-1170].

Red and Pale: making lips pale with “fresh variety” [21]; “But now her cheek was pale, and by and by/ it flashed forth fire, as lightning from the sky” [347-348]; “The silly boy, believing she is dead, claps her pale cheek, till clapping makes it red,” [467-468].

Pale and Crimson: “twixt crimson shame and anger ashy-pale” [76].

Red (alone): “she red and hot for as coals of glowing fire, he red for shame but frosty in desire” [35-36]; “scorning his churlish drum and ensign red,” [107]; “red morn” [453]; “wax-red lips” [516]; “Heavy heart’s lead, melt at mine eyes’ red fire! So shall I die by drops of hot desire” [1079-1080]; “ripe-red cherries” [1103].

White (alone): “so white a friend engirts so white a foe,” [361-364]; “teaching the sheets a whiter hue than white” [398]; “lily white” [1054];

Pale (alone): “within the circuit of this ivory pale, I’ll be a park and thou shalt be my deer” [231-232]; “pale-fac’d coward” [569]; with rose mention [589-592]. Her heart ‘Who, overcome by doubt and bloodless fear, with cold-pale weakness numbs each feeling part” [891-892]; “she looks upon his lips, and they are pale; she takes him by the hand, and that is cold” [1123-1124].

Crimson (alone): “Long may they kiss each other, for this cure! O, never let their crimson liveries wear!” [505-506];

Other colors: Purple [1, 1055, 1167]; Silver [728, 959, 1193…]; Black [920, 1020,…]; Green [146, 527, 806, 1176]…; Blue [125…]; Golden [1100…];

‘Honesty’ in Othello

March 19, 2007

Act 1: “Whip me such honest Knaves.” [1.1.50] (Iago); “in honest plain-ness thou hast heard me say,” [1.1.98] (Brabantio); “a man of honesty and trust,” [1.2.287] (Othello of Iago); honest Iago, [1.2.297] (Othello); “the Moor is of a free and open nature that thinks men honest that but seem to be so” [1.2.401] (Iago).

Act 2: “Honest as I am,” [2.1.201] (Iago); “Iago is most honest” [2.3.7] (Othello); Honest Iago, that looks dead with grieving [2.3.171] (Othello); “Thy honesty and love do mince this matter,” [2.3.240] (Othello); “As I am an honest man” [2.3.260] (Iago); “Good night, honest Iago” [2.3.329]; “And what’s he then that says I play the villain? When this advice is free I give and honest, Probal to thinking, and indeed the course to win the Moor again?” [2.3.330-333] (Iago); “For while this honest fool plies Desdemona to repair his fortunes, and she for him pleads strongly to the Moor, I’ll pour this pestilence into his ear, that she repeals him for her body’s lust,” [2.3.347-351] (Iago).

Act 3: “Dost thou hear, mine honest friend? –No, I hear not your honest friend; I hear you,” [3.1.22-23] (Cassio and Clown); “I never knew a Florentine more kind and honest,” [3.1.42-43] (Cassio of Iago); “O, that’s an honest fellow,” [3.3.5], (Desdemona of Cassio); “For if he be not one that truly loves you, that errs in ignorance and not in cunning, I have no judgment in an honest face,” [3.3.48-50] (Desdemona to Othello of Cassio); “Is he not honest? –honest, my lord? –Honest. Ay, honest. –My lord, for aught I know” [3.3.105-107] (discussion between Othello and Iago about Cassio); “Thou are full of love and honesty” [3.3.124] (Othello to Iago); “I dare be sworn I think that he is honest” [3.3.130] (Iago of Cassio); “Certain, men should be what they seem. — Why, then, I think Cassio’s an honest man,” [3.3.134-135] (Othello and Iago); “It were not for your quiet nor your good, nor for my manhood, honesty, or wisdom, let you know my thoughts,” [3.3.158] (Iago); “I do not think but Desdemona’s honest”, [3.3.232] (Othello); “Why did I marry? This honest creature doutless sees and knows more, much more, than he unfolds,” [3.3.249-250] (Othello of Iago); “This fellow’s of exceeding honesty, and knows all qualities, with a learned spirit, of human dealings,” [3.3.264-266] (Othello of Iago); “O wretched fool thou liv’st to make thine honesty a vice! O monstrous world! Take note, take note, O world, to be direct and honest is not safe,” [3.380-383] (Iago to Othello); “Nay, stay. Thou should be honest. –I should be wise, for honesty’s a fool and loses that it works for. — By the world, I think my wife be honest and think she is not; I think that thou are just and think thou art not. I’ll have some proof,” [3.3.386-390] (Othello and Iago); “I do not like the office. But sith I am ent’red in this cause so far, prick’d to ‘t by foolish honesty and love, I will go on” [3.3.415-418] (Iago); “Yet we see nothing done; she may be honest yet,” [3.3.437-438] (Iago of Desdemona).

Act 4: “It is not honesty in me to speak what I have seen and known,” [4.1.279-280] (Iago); “For if she be not honest, chaste and true, there’s no man happy,” [4.2.17-18] (Emilia of Desdemona); “I hope my lord esteems me honest” [4.2.65] (Desdemona to Othello); “The Moor’s abuse’d by some most villainous knave, some base notorious knave, some scurvy fellow. O heaven that such companions thou’dst unfold, and put in every honest hand a whip to lash the rascals naked through the world even from the east to th’ west” [4.2.141-145] (Emilia).

Act 5: “Tis he. O brave Iago, honest and just, that has such noble sense of thy friend’s wrong!” [5.1.31-32] (Othello); “I am no strumpet, but of life as honest as you that thus abuse me,” [5.1.122-123] (Bianca to Emilia); Honest Iago, [5.2.75] (Othello to Desdemona); “Ay, ’twas he that told me on her first. An honest man he is, and hates the slime that sticks on filthy deeds” [5.2.153-155] (Othello to Emilia of Iago); “He, woman; I say thy husband. Dost thou understand the word? My friend, thy husband, honest, honest Iago” [5.2.162] (Othello to Emilia); “I am not valiant niether, but every puny whipster gets my sword. By why should honor outlive honesty? Let it go all.” [5.2.252-255] (Othello).