Act 3 of Henry the 4TH: Emergence and Transition.

Act 3 of Henry the 4^th seems to be about the emergence the Prince and his feeling of justification as heir. It seems like a shift in action is taking place at this point. This change or shift is centered on the emergence of Hal as we see how he sees himself in the system or order. Another noteworthy point of interest could be the relationship between honor, as ones duty to, or simply honor as a virtue. In these scenes we also see a meshing of cultures and language between the Welsh and the locals.

When the King and Henry meet for the first time and Henry responds to the King’s accusations by suggesting that the stories about him are told about all great men—“Which oft the ear of greatness needs must hear,” it seems Henry is in disbelief as to his demise.

Another odd choice of words is when Henry replies to the King’s tale of himself by saying—“from now on I going to behave more like myself.” Here we see Henry trying to buttress himself with the King or to place himself into a better light.

So my response to Act three and its position in the play and its function is more of the opinion that is short and like the relationship between the King and Harry. This shift or point seems to call attention to the moral side of the King and the contrast between the father and son or King and Heir.

A shaken King is ineffective: Henry the 4th.

Consider what qualities would make a good king a good king--fair rule, restraint, compassion, and wisdom to name a few. The lengthy opening speech by King Henry in Shakespeare's King Henry does not leave the audience with the feeling that King Henry has everything under control in his kingdom. His first spoken line includes several negative words like shaken, wan with care, pant, and short-winded. A first impression drawn from this speech alone does not leave one with the feeling that King Henry is in control and includes indication of wars on the horizon--anything but a peaceful kingdom. As far as the man Henry--his speech alerts the audience that he is a man of god, "which fourteen hundred years ago were nailed, for our advantage, on the bitter cross"(1.1.25.). In addition, Henry tells us what he would like to do--start a religious crusade to rid the land once and for all of the pagans.
(Response 1.2) Prince Harry's opening line- "Thou art so fat-witted with drinking of old sack, and unbuttoning thee after supper, and sleeping upon benches after noon, that thou has forgotten to demand that truly which thou wouldst truly know"(1.2.2.) In this line we see possibly the real Prince as he wittingly admonishes Falstaff for his ways. I think Prince Harry views himself as being different from the rest of the pack. Shakespeare sets up a contrast between Prince Harry and his action.
(Response 1.3.123.) This line by Hotspur seems to show a lack of authority on the Kings part and an alliance with Mortimer. I mean it does seem like Hotspur would hand over the prisoners to the King. This drama indicates a foreshadowing of the relationship between the King and Mortimer and Hotspur woth notinh.

Week Three: Much Ado about Nothing Acts 3 and 4--Humor and Emotion

     Much Ado About Nothing is, if nothing else, filled with humor at every turn despite the serious nature of the circumstances. In response to the blog prompt; what surprised you or was shocking in these acts, and did they raise questions. Having read this play several times before--nothing surprised me on the surface, but after a closer read I found these items. Shakespeare seems to deploy a strong sense humor through the characters Margret, Hero, and Beatrice--despite the semi serious nature of the circumstance. An example is when Margaret takes a jab at Hero on her wedding day by saying to her "Twill be heavier soon by the weight of a man"(3.4.23.1447). And further along Beatrice pokes also when she says "Ye light o' love with your heels" (3.4.39.1447). Beatrice suggests that Hero may be a little too anxious to consummate the marriage.Humor continues along in the fourth act with what should be a happy, joyous occasion, which turns into mayhem. This emotionally charged scene should be a tender moment, but the boom is lowered with accusations of infidelity aimed at Hero.So for me the surprise is the ease with which Shakespeare moves between characters in these humorous scenes.
     The most noticeable shifts or chances in these act are the sort of sing-song light humor as a continuous thread throughout the entire play. The Church/wedding scene is a prime example of humor and shocking emotional events. The wedding is anything but run of the mill--in fact it is fused with humorous sexual innuendos. The tome or rhythm seems to be short, quick spurts of words and humor mixed with an emotionally charged event. The introduction of the Friar seems to indicate a shift in action and an emotional change of the tone. In the final scene we see that maybe Benedick loves Beatrice more than she loves him. This reversal of roles or emphasis on the male as being the one actually admitting love is really cool. Not so typical because they previously both acted as though they despised the concept of love.

Duality in Shakespeare's belief system: Sonnet's 116 and 147

This short essay/blog draws comparison between the content and text of Shakespeare’s Sonnet 116 and 147.  Both Sonnets praise love in an idealistic way, but only Sonnet 147 advises as to the possible ill result of allowing oneself to believe in this idealistic state of love. Understanding the dynamics and metadiscourse, both screaming throughout Sonnet 116 and Sonnet 147, gives insight into the duality of the personal belief in the narrator. While every human may consider the virtues in love—each like these sonnets, examines love in terms of it as either being good or bad In Sonnet 116 the narrator starts with advice, perhaps from personal experience, with an instruction to a young audience or man. The narrator advises “Let me not to the marriage of true minds/ Admit impediments,” then tells what love is and then what love is not through comparison. On the other hand Sonnet 147 is directed towards an audience which would be of women or to a woman. Sonnet 116 and 147 are both basically about love, but I think more important than the symbolism is the concept of the dual nature in love by the narrator. In both we are told many things about the virtues and descriptions of love.  Images are presented by the lighthouse or the North Star. Or further along, still on the subject of love, changes the imagery with terms like value and calculated to time and sickle. The narrator eases along satisfied to describe what love is and is not then concludes with a claim or knock-this-stick-off-my-shoulder guarantee in both sonnets. Both poems are constructed in the same simple form and do not necessarily agree with Pinksky’s idea of the suffering lover. The entrance to sonnet 116 seems to be the jewel of the two in that the narrator takes a moment to instruct his audience as to who is being included in this and who is not included.

What does Love have to do with Marriage: Sonnet 116 and Scene 5 from Much Ado about Nothing

Clever is Mr. Shakespeare as he prods us along with sweet ideas of love and marriage then to the incredible circumstances of the supposed death of Hero, and the ruination of the family found in scene 5, and finally the truth is learned. I mean within this super funny comedy lies this tragic scene. What outside factors may have induced him to write such. Is this a reflection of or a common sort of joke or motif. Either way scene 5 certainly includes several sort of humorous circumstances mixed with serious stuff, like when the character Leonato says or makes this observation..."No, no, ’tis all men’s office to speak patience/To those that wring under the load of sorrow," Funny stuff. Another circumstance is with Dogberry and his return. He's no mathematician. He recollects the dishonest by counting secondly to sixth--"Marry, sir, they have committed false report; moreover,/they have spoken untruths;/ secondarily, they are slanders;/sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves." Shakespeare seems to spare nothing when he writes about life around him in the 1600's. It seems so different than say the King James Bible which I can read easily.
Sonnet 116 seems, when read by itself and prima fascie, it is about what and how Shakespeare thinks love is all about. He tells us over and over throughout this well timed, solid and sound poem.
Reading Shakespeare for me sort of grows on you. I've taken the time to look up word after word and analysis after analysis concerning word play, inside jokes, and general information centering  the readings of Shakespeare. The plot in "Much Ado About Nothing" along with the humor continues to make a bold observations about love, marriage, and relationships.
   

Much Ado about Nothing: Act 1 and "The Legal Status of Women"

     Up until now--a senior required Shakespeare class at Clemson University for all English majors--my only experience with Shakespeare was through the character Bugs Bunny in his cartoon rendition of Hamlet, www.youtube.com/watch?AWRZut6klgEhttp://www.youtube.com/watch?v=0DmkcoSsuHk, which is actually really funny and true to Shakespeare. I still remember the lines-- neither a Borrower (or as a kid I said Barber) nor a lender be do not forget stay out of debt.
     The first lesson I learned when I undertook to read Much Ado About Nothing: reading Shakespeare requires a very focused and specialized field of knowledge.  I am strongly against the retelling of such a wonderful comedy by such a greenhorn as I or anyone else for that matter of An examination of the weirdness of words within is perhaps a better method of discovery, Let's face it, anyone can access volumes of information which attempts to unravel the clever word play used in the text.
     According to Frank Kermode in  on line article (http://www.nytimes.com/books/first/k/kermode-language.html, "Generations of scholars have answered the challenge, and a lot is now known about the companies and audiences, about prompt books and parts, about acting styles and conventions, about contemporary fashions and contemporary censorship, even about which actors played what roles."
     Taking all the above into consideration--a thorough mining of the weirdness in act 1 gleans these items. The first lines spoken by Shakespeare's character Leonato show humor to be an important factor in this play-- when the character Leonato asks the messenger "How many gentleman have you lost by this action?" This sort of clever style of humor flows throughout the play. Another odd pearl of weirdness is found when we see the amount of witty banter between  Beatrice and Benedick. These techniques seem to beg the question of the status of relationships between men and women. My favorite line is her mocking reply “I had rather hear my dog bark at a crow than a man swear he loves me,” (I.i.107–108). Beatrice shows her superficial disdain for men and marriage.
      Beatrice it would appear and according to the essay "The Legal Status of Women" had a certain power or influence women of this period may or may not have possessed. Throughout the entire Act the audience is exposed to a taste of humor--clever, dry, and intelligent.
      In closing, its clear from the start of this play--reading a play is a far cry from seeing the play.