×ÖÄ» ×Ö Tonight from the Royal shakespeare theatre Stratford-upon-Avon,
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Ä» ×ÖÄ» Judi dench, Helen Mirren, Ian McKellen,
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×ÖÄ» Benedict Cumberbatch, David Suchet,
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×ÖÄ» Tim Minchin, AlMurray, Rufus Hound,
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×Ö meeraSayal. xxxx
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Ä» ×Ö Ann-Marie Duff and many more join together
Ä» ×Ö to celebrate the life and work of William shakespeare.
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Ä» ×Ö # The Jets are gonna have their day tonight.
Ä» ×Ö # The Jets are gonna have their way tonight.
Ä» ×Ö The Puerto Ricans "Fair fight."
Ä» # But if they start a rumble,
×Ö We'll rumble 'em right.
Ä» ×Ö # We're gonna hand 'em a surprise Tonight.
Ä» ×Ö # We're gonna cut 'em down to size Tonight.
Ä» ×Ö # We said, "OK, no rumpus, No tricks."
Ä» # But just in case they jump us,
×Ö We're ready to mix Tonight.
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Ä» ×Ö # We're gonna jazz it up and have us a ball!
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Ä» ×Ö # The more they turn it on the harder they'll fall!
Ä» ALL:
×Ö # And we're the ones to stop 'em once and for all, tonight!
Ä» ×Ö # Anita's gonna get her kicks tonight.
Ä» ×Ö # We'll have our private little mix tonight.
Ä» ×Ö # He'll walk in hot and tired, poor dear xx
Ä» ×Ö # Don't matter if he's tired, as long as he's here xx
Ä» ×Ö # Tonight, tonight, won't be just any night,
Ä» ×Ö # Tonight there will be no morning star.
Ä» ×Ö # Tonight, tonight, I'll see my love tonight.
Ä» ×Ö # And for us, stars will stop where they are.
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Ä» # The hours go so slowly,
×Ö and still the sky is light.
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Ä» ×Ö # And make this endless day endless night!
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×ÖÄ» Anita's gonna have her day,
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Ä» ×Ö Tonight we celebrate the life and work of William Shakespeare,
Ä» ×Ö it is exactly 400 years to the day since he died,
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Ä» ×Ö We are here at the Royal shakespeare Theatre
Ä» in Stratford-upon-Avon,
×ÖÄ» barely a stone's throw from where he was born,
×Ö and where he is buried.
Ä» ×Ö It's not just the great stories he writes,
Ä» ×Ö the wonderful characters, and the memorable language,
Ä» ×Ö Shakespeare tells us about ourselves.
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Ä» ×Ö Perhaps that is why, for four centuries,
Ä» he has inspired xx
×Ö From Berlioz and Bernstein,
×Ö to Hip-hop and Jazz,
Ä» ×Ö From Ballet to Broadway to Blues...and back.
Ä» ×Ö And that's what we're celebrating tonight.
Ä» ×Ö There really is something for everybody.
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Ä» And all the men and women merely
×ÖÄ» ×Ö They have their exits and their entrances;
Ä» ×Ö And one man in his time plays many parts,
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Ä» ×Ö Mewling and puking in the nurse's arms.
Ä» ×Ö And then the whining schoolboy,
Ä» with his satchel
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×Ö ×Ö creeping like snail unwillingly to school.
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Ä» Sighing like furnace,
×Ö with a woeful ballad
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Ä» xxFull of strange oaths
×Ö and bearded like the pard,
×Ö Ä» ×Ö Jealous in honour, sudden and quick in quarrel,
Ä» ×Ö Seeking the bubble reputation Even in the cannon's mouth.
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Ä» ×Ö In fair round belly with good capon lined,
Ä» ×Ö With eyes severe and beard of formal cut,
Ä» ×Ö Full of wise saws and modern instances;
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Ä» ×Ö Into the lean and slipper'd pantaloon,
Ä» With spectacles on nose
×Ö and pouch on side,
Ä» ×Ö His youthful hose, well saved,
Ä» a world too wide For his shrunk shank;
×Ö Ä» and his big manly voice, turning again toward childish treble,
×Ö pipes
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Ä» ×Ö That ends this strange eventful history,
Ä» ×Ö Is second childishness and mere oblivion,
Ä» Sans teeth, sans eyes,
×Ö sans taste, sans everything.
Ä» ×Ö the Seven Ages of Man represented by:
Ä» ×Ö Ä» ×Ö The tiny wee baby with a maternity nurse from Warwick hospital,
Ä» ×Ö a schoolboy from Shakespeare's own school,
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Ä» ×ÖÄ» ×Ö a soldier serving in the Royal electrical and Mechanical engineers
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Ä» And now the first of four short films
×Ö about the life of William Shakespeare
Ä» ×Ö introduced by a man who knows all about the Bard,
Ä» ×ÖÄ» having played him onscreen in Shakespeare In Love.
×Ö Here's Joseph Fiennes
Ä» ×Ö to introduce "The Seasons of Shakespeare's Life"
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Ä» ×ÖÄ» ×Ö William Shakespeare was born in the Warwickshire market town
Ä» ×Ö of Stratford-upon-Avon
Ä» on this very day, april 23rd, 1564.
×Ö ×Ö It's where he enjoyed the springtime of his life,
Ä» ×Ö for it's here in Warwickshire that he was raised,
Ä» here in Stratford that he was educated,
×ÖÄ» and here in this hamlet
×Ö that he enjoyed the first shoots of love.
Ä» ×Ö In this cottage, in the village of Shottery,
Ä» lived a yeoman farmer's
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×Ö Perhaps, in this farmhouse, they exchanged love tokens,
Ä» ×Ö perhaps under these eaves they whispered their sweetest nothings,
Ä» and who knows,
×Ö perhaps for Anne he began writing poetry.
Ä» ×Ö Perhaps it's from this youthful springtime
Ä» that he drew the inspiration for the song
×Ö ×Ö Under the Greenwood Tree from his play
Ä» In its verses we can hear the echoes of love
×Ö at its most
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Ä» # Here we'll find no enemy
×Ö but winter,
×Ö and rough weather
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Ä» # Than to die not my master stutter
×Ö those whose ambitions shun
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Ä» Deny thy father and refuse thy name;
×Ö Or, if thou wilt not,
Ä» be but sworn my love,
×Ö And I'll no longer be a Capulet.
Ä» Shall I hear more,
×Ö or shall I speak at this?
Ä» ×Ö 'Tis but thy name that is my enemy;
Ä» ×Ö Thou art thyself, though not a Montague.
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Ä» ×Ö Nor arm, nor face,
Ä» nor any other part
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×Ö name would smell as sweet;
Ä» ×Ö So Romeo would, were he not Romeo call'd,
Ä» ×Ö Retain that dear perfection
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×Ö name which is no part of thee
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Ä» ×Ö Call me but love,
Ä» and I'll be new baptized;
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×Ö ×Ö What man art thou that thus bescreen'd in night
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Ä» ×Ö By a name I know not how to tell thee who I am:
Ä» My name, dear saint,
×Ö is hateful to myself,
Ä» ×Ö Because it is an enemy to thee;
Ä» ×Ö Had I it written, i would tear the word.
Ä» ×Ö My ears have not yet drunk a hundred words
Ä» Of that tongue's utterance,
×Ö yet I know the sound:
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Ä» Neither, fair saint,
×Ö if either thee dislike.
Ä» How camest thou hither,
×Ö tell me, and wherefore?
Ä» ×Ö The orchard walls are high and hard to climb,
Ä» ×Ö And the place death, considering who thou art.
Ä» ×Ö If they do see thee, they will murder thee.
Ä» ×Ö I have night's cloak to hide me from their sight;
Ä» ×Ö And but thou love me, let them find me here.
Ä» ×Ö Thou know'st the mask of night is on my face,
Ä» ×Ö Else would a maiden blush bepaint my cheek
Ä» ×Ö For that which thou hast heard me speak to-night
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Ä» ×Ö That tips with silver all these fruit-tree tops
Ä» O, swear not by the moon,
×Ö the inconstant moon,
Ä» ×Ö That monthly changes in her circled orb,
Ä» ×Ö Lest that thy love prove likewise variable.
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Ä» Or, if thou wilt,
×Ö ×Ö swear by thy gracious self,
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Ä» Well, do not swear:
×Ö although I joy in thee,
Ä» ×Ö I have no joy of this contract to-night:
Ä» It is too rash, too unadvised,
×Ö too sudden;
Ä» ×Ö Too like the lightning, which doth cease to be
Ä» ×Ö Ere one can say 'It lightens.'
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Ä» ×Ö This bud of love, by summer's ripening breath,
Ä» ×Ö May prove a beauteous flower when next we meet.
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Ä» Parting is such sweet sorrow,
×Ö That I shall say good
Ä» Sleep dwell upon thine eyes,
×Ö peace in thy breast!
Ä» ×Ö Would I were sleep and peace, so sweet to rest!
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Ä» ×Ö Looking at what their bodies are capable of doing,
Ä» ×Ö I find it difficult to believe we are the same species.
Ä» ×Ö The Balcony Scene from Romeo and Juliet,
Ä» ×Ö of course, performed by mariah Gale and Natey Jones.
Ä» ×ÖÄ» And the Royal Ballet's Yasmine naghdi and Matthew Ball
×ÖÄ» ×Ö performing the same scene in Prokofiev's Romeo and Juliet
Ä» with Kenneth macmillan's
×Ö Ä» The Royal Ballet commissioned the place
×ÖÄ» for the terse of Shakespeare's birth.
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×ÖÄ» So I put him down with a perfect witty response!
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×ÖÄ» I haven't had this much fun since I was in prison!
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×ÖÄ» Excuse me, is this where the theatre stars hang out?
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×ÖÄ» Shall I give him an autograph or kill him?
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×Ö Lad, you are addressing
Ä» the greatest theatrical stars of the age.
×ÖÄ» Ben Jonson, actor and writer, Kit Marlowe, playwright
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×Ö xxAnd this is Gabriel Spenser,
Ä» ×Ö he's just an actor but we let him hang out with us
Ä» because he likes drinking and fighting.
×ÖÄ» He also does a good line in literary criticism.
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×ÖÄ» OK, guys, well I might come back later
×ÖÄ» when you're a bit less busy and drunk
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×ÖÄ» Actually I was looking for some advice.
×ÖÄ» Basically, at the moment I'm mainly like an actor,
×Ö but,
Ä» like, I'm looking to get more into writing, you know,
×ÖÄ» mainly specialise in playing old man parts
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×ÖÄ» my name is William Shakespeare.
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×ÖÄ» Real writers drink and fight and go to prison!
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×ÖÄ» Well I have a wife and kids so I have to earn a living.
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×ÖÄ» Anyway, I'm pretty good at writing plays.
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×ÖÄ» look at me, I'm Billy Springle-Sprangle
×ÖÄ» and I write plays, and I plan for the future.
×ÖÄ» I genuinely don't know who that's supposed to be.
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×ÖÄ» Ok look I'm not good at impressions alright?
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×ÖÄ» Listen buddy, I'm a writer not a fighter,
×ÖÄ» and I'm going all the way to the top with or without you guys.
×ÖÄ» Everyone will know my name, William S-
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×ÖÄ» The Horrible Histories gang there,
×ÖÄ» with a playful take on the past.
×ÖÄ» And now Shakespeare's own take on the history of Henry V.
×ÖÄ» Here the young king, having conquered France
×Ö at the Battle of Agincourt,
Ä» ×Ö finds himself powerless and tongue-tied
Ä» ×Ö in his attempts to woo the French princess, katherine,
Ä» with whom he hopes to unite the English
×Ö to teach a soldier terms
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Ä» Such as will enter at a lady's ear
×ÖÄ» And plead his love-suit to her gentle heart?
×Ö Your majesty shall mock at me:
Ä» I cannot speak your England.
×Ö fair Katherine,
Ä» ×ÖÄ» if you will love me soundly with your French heart,
×ÖÄ» I will be glad to hear you confess it brokenly with your
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×ÖÄ» An angel is like you, Kate, and you are like an angel.
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×ÖÄ» Oui, vraiment, sauf votre grace, ainsi dit-il.
×ÖÄ» I said so, dear Katherine, and I must not blush to affirm it.
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×ÖÄ» Les langues des hommes sont pleines de tromperies.
×ÖÄ» That the tongues of men are full of deceits?
×ÖÄ» Oui, dat de tongues of de mans
×ÖÄ» is be full of deceits:
×ÖÄ» dat is de princess.
×ÖÄ» I'faith, Kate, my wooing is fit for thy understanding.
×ÖÄ» I am glad thou canst speak no better English.
×ÖÄ» I know no ways to mince it in love,
×ÖÄ» but directly to say 'I love you'.
×ÖÄ» Then if you urge me farther than to say, 'Do you in faith?',
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×ÖÄ» Give me your answer, I'faith, do, and so clap
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×Ö Sauf votre honneur,
Ä» me understand vell.
×Ö Marry,
Ä» if you would put me to verses
×ÖÄ» or to dance for your sake,
×Ö If I could win a lady at leap-frog,
Ä» or by vaulting into my saddle with my armour on my back,
×ÖÄ» I should quickly leap into a wife.
×Ö But, before God,
Ä» Kate, I cannot look greenly nor gasp out my eloquence,
×ÖÄ» nor I have no cunning in protestation.
×Ö If thou canst love a fellow of this temper, Kate,
Ä» whose face is not worth sunburning,
×ÖÄ» that never looks in his glass for love of anything he sees there,
×ÖÄ» let thine eye be thy cook.
×Ö I speak to thee plain soldier:
Ä» if thou canst love me for this,
×ÖÄ» if not, to say to thee that I shall die, is true;
×ÖÄ» but for thy love, by the lord, no.
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×ÖÄ» A good leg will fall, a straight back will stoop,
×ÖÄ» a black beard will turn white,
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×ÖÄ» a full face will wither,
×ÖÄ» a fair eye will wax hollow,
×ÖÄ» but a good heart Kate is the sun and the moon.
×ÖÄ» Or rather the sun and not the moon
×ÖÄ» because it shines bright and never changes.
×Ö Keeps his course tulip.
Ä» If thou would have such a one,
×Ö take me.
Ä» And take me, take a soldier.
×Ö Take a soldier,
Ä» take a King.
×ÖÄ» Very good.
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×ÖÄ» If Shakespeare were alive today, what would he be?
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×Ö No, I mean
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Ä» would he be writing for films, or TV shows, or -
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×ÖÄ» Who better to answer than Akala and Nitin Sawhney?
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×ÖÄ» If all of the world's a stage,
×Ö then light my way,
Ä» because out, out,
×ÖÄ» your brief candle is not.
×ÖÄ» For centuries past, yet I still cannot grasp
×ÖÄ» that undiscovered country that makes words immortal.
×ÖÄ» If the good that men do is interred with their bones,
×ÖÄ» then this precious stone is a beauty too rich.
×ÖÄ» Me thinks it's a jewel in the air of us all,
×Ö as the wisest words spoken
Ä» are spoken by force.
×ÖÄ» Tomorrow, tomorrow, tomorrow,
×Ö I want to endure desire.
Ä» Time wastes me,
×ÖÄ» flesh goes pasty. Delayed found greatness.
×ÖÄ» What me did they feed,
×ÖÄ» I wouldn't taste the milk even if it was good.
×ÖÄ» Sprang back unfound the language disused by us all.
×ÖÄ» Stat due and stone,
×ÖÄ» I have captured your tone.
×ÖÄ» I remembered the poet in the lunatic, one and the same,
×ÖÄ» only sometimes men and masters are the same of their faith.
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×ÖÄ» Lighted their ways to a dusty death.
×Ö A fool's paradise, a shadow of dream,
Ä» off with his head.
×ÖÄ» Guide me to the world's light,
×ÖÄ» it could turn his prison cell bright.
×ÖÄ» Guide me to the world's night.
×ÖÄ» Could turn the prison cell bright.
×Ö Guide me to the world's bright.
×ÖÄ» Could turn the prison cell bright.
Ä» Men can breathe and eyes can see,
×ÖÄ» this gives life to thee.
×ÖÄ» When I think there's not a note of
×ÖÄ» anything worth noting, faultless cries,
×ÖÄ» I get tongue tied, my soul runs dry,
×ÖÄ» I remember you spoke of the marriage of the minds.
×ÖÄ» I presume to take your place in a nutshell,
×ÖÄ» I'm the King of infinite space,
×ÖÄ» a waste of shame, so full of blame,
×ÖÄ» expense in my spirit and disgraced in my name.
×ÖÄ» I'm un-Kingth Ked again.
×Ö Not learnt from the thingious taught us.
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Ä» The song and very chug dies.
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×Ö All this, I know not
Ä» well enough to show.
×ÖÄ» Guide me to the world's light,
×ÖÄ» when I arrive, it could turn the prison cell right.
×ÖÄ» Guide me to the world's light,
×ÖÄ» When I arrive, it could turn the prison cell bright.
×ÖÄ» Guide me to the world's light,
×ÖÄ» When I'm right, it could turn this prison cell bright.
×ÖÄ» Eyes can see,
×ÖÄ» this gives life to thee.
×ÖÄ» What's past
×ÖÄ» makes sense with the gathered centuries after death.
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×ÖÄ» They call you King.
×Ö It's honourable, what is horrible,
Ä» you didn't know all this was possible.
×Ö Did you feel it in your bones,
Ä» did you have this greatness thrust upon you?
×ÖÄ» You should really give the devil his due,
×Ö speak to few.
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Ä» Words never scarce, spent in vein,
×Ö the clue's Shakespeare, but what's in a name?
Ä» Hell at night, guide me to the world's light,
×ÖÄ» when EU arrive, it could turn the prison cell bright.
×ÖÄ» Guide me to the world's light.
×ÖÄ» When I arrive, it could turn the prison cell right.
Ä» Hell at night, guide me to the world's light,
×ÖÄ» When I arrive, it could turn the prison cell right.
×ÖÄ» As far as eyes can see,
×ÖÄ» this gives life to thee.
×ÖÄ» tGuide know he world's light,
×ÖÄ» when I arrive, it could turn this prison cell bright.
×ÖÄ» Guide know the world light,
×ÖÄ» when I arrive, it could turn this prison cell bright.
×ÖÄ» Guide know the world light,
×ÖÄ» when I arrive, it could turn this prison cell bright.
×ÖÄ» As far as eyes can see,
×ÖÄ» This gives life to thee.
×ÖÄ» If all the world's a stage,
×Ö then light my way.
Ä» Because out, out,
×Ö the candle is not.
Ä» For centuries past, yet I still cannot grasp
×ÖÄ» that undiscovered country
×ÖÄ» that makes words immortal.
×ÖÄ» If the good that men do is interred with their bones,
×ÖÄ» then this precious stone is a beauty to rich.
×ÖÄ» Me thinks it's a jewel in the air of us all,
×Ö as the wisest words spoken
Ä» are spoken by fools.
×ÖÄ» As Spring turns to Summer, Love can turn to Madness:
×ÖÄ» And Love certainly does mad things to people,
×Ö in these three scenes from As You Like It,
Ä» Twelfth Night
×ÖÄ» Rosalind, dressed as a boy, woos her beloved Orlando,
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×ÖÄ» The Steward Malvolio who lusts after his mistress, Olivia,
×ÖÄ» has been tricked into dressing up in yellow stockings to impress her;
×ÖÄ» And the queen of the fairies,
×ÖÄ» finds herself enchanted by a poor old weaver called Bottom,
×ÖÄ» who has himself been transformed
×ÖÄ» Good day and happiness, dear Rosalind!
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×ÖÄ» Where have you been all this while?
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×ÖÄ» An you serve me such another trick, never come in my sight more.
×ÖÄ» My fair Rosalind, I come within an hour of my promise.
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×ÖÄ» He that will divide a minute into a thousand parts
×ÖÄ» and break but a part of the thousandth part of a minute
×ÖÄ» in the affairs of love,
×ÖÄ» it may be said of him that Cupid hath clapped him o' the shoulder,
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×Ö Nay, an you be so tardy,
Ä» come no more in my sight:
×ÖÄ» I had
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×ÖÄ» But come, now I will be your Rosalind
×Ö in a more coming-on disposition,
Ä» and ask me what you will.
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×Ö Yes, faith, will I,
Ä» Fridays and Saturdays and all.
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×ÖÄ» Why then, can one desire too much of a good thing?
×ÖÄ» Now tell me how long you would have her after
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×Ö Say 'a day,' without the 'ever.'
Ä» No, no, Orlando;
×Ö men are April when they woo,
Ä» December when they wed:
×ÖÄ» maids are May when they are maids,
×ÖÄ» but the sky changes
×Ö I will be more jealous of thee
Ä» than a Barbary cock-pigeon over his hen,
×ÖÄ» more clamorous than a parrot against rain,
×ÖÄ» more new-fangled than an ape,
×Ö more giddy in my desires than a monkey:
Ä» I will weep for nothing, like Diana in the fountain,
×ÖÄ» and I will do that when you are disposed to be merry;
×ÖÄ» I will laugh like a hyena,
×ÖÄ» and that when thou art inclined to sleep.
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×ÖÄ» Or else she could not have the wit to do this:
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×ÖÄ» make the doors upon a woman's wit and it will out at the casement;
×ÖÄ» shut that and 'twill out at the key-hole;
×ÖÄ» stop that, 'twill fly with the smoke
×ÖÄ» For these two hours, Rosalind, I will leave thee.
×ÖÄ» Dear love, I cannot lack thee two hours.
×ÖÄ» By two o'clock I will be with thee again.
×Ö Ay, go your ways, go your ways;
Ä» I knew what you would prove:
×ÖÄ» my friends told me as much, and I thought no less:
×ÖÄ» that flattering tongue of yours won me:
×ÖÄ» 'tis but one cast away,
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×Ö By my troth, and in good earnest,
Ä» and so God mend me,
×ÖÄ» and by all pretty oaths that are not dangerous,
×ÖÄ» if you break one jot of your promise
×ÖÄ» or come one minute behind your hour,
×ÖÄ» I will think you the most pathetical break-promise
×ÖÄ» and the most hollow lover
×ÖÄ» and the most unworthy of her you call Rosalind
×ÖÄ» that may be chosen out of the gross band of the unfaithful:
×ÖÄ» therefore beware
×ÖÄ» With no less religion than if thou wert indeed my Rosalind:
×ÖÄ» so adieu.
×ÖÄ» Well, Time is the old justice that examines all such offenders,
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×ÖÄ» O that thou didst know how many fathom deep I am in love!
×Ö But it cannot be sounded:
Ä» my affection hath an unknown bottom,
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×Ö I'll tell thee, I cannot be out of the sight of Orlando:
Ä» I'll go
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×ÖÄ» He is sad and civil,
×ÖÄ» And suits well for a servant with my fortunes:
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×ÖÄ» He's coming, madam; but in very strange manner.
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×Ö Madam, he does nothing but smile:
Ä» your ladyship were best to have some guard about you, if he come;
×ÖÄ» for, sure,
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×Ö I am as mad as he,
Ä» If sad and merry madness equal be.
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×ÖÄ» I sent for thee upon a sad occasion.
×Ö I could be sad:
Ä» this does make some obstruction in the blood, this cross-gartering;
×ÖÄ» but what of that?
×ÖÄ» If it please the eye of one,
×Ö it is with me as the very true sonnet is,
Ä» 'Please one, and please all.'
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×ÖÄ» Not black in my mind, though yellow in my legs.
×Ö It did come to his hands,
Ä» and commands shall be executed:
×ÖÄ» I think we do know the sweet Roman hand.
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×ÖÄ» Ay, sweet-heart, and I'll come to thee.
¿Õ°×Ê±¼äÖá
×ÖÄ» Why dost thou smile so and kiss thy hand so oft?
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
¿Õ°×Ê±¼äÖá3
×ÖÄ» Why appear you with this ridiculous boldness before my lady?
×ÖÄ» 'Be not afraid of greatness:' 'twas well writ.
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
¿Õ°×Ê±¼äÖá3
×ÖÄ» 'And some have greatness thrust upon them.'
¿Õ°×Ê±¼äÖá
×ÖÄ» 'Remember who commended thy yellow stocking s.
¿Õ°×Ê±¼äÖá
×ÖÄ» 'And wished to see thee cross-gartered.'
¿Õ°×Ê±¼äÖá
×ÖÄ» 'Go to thou art made, if thou desirest to be so;'
¿Õ°×Ê±¼äÖá
×ÖÄ» 'If not, let me see thee a servant still.'
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
¿Õ°×Ê±¼äÖá3
¿Õ°×Ê±¼äÖá4
¿Õ°×Ê±¼äÖá5
×ÖÄ» You see an asshead of your own, do you?
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
Ó²×ÖÄ»
¿Õ°×Ê±¼äÖá3
×Ö an ass of me;
Ä» to fright me, if they could.
×ÖÄ» But I will not stir from this place,
×ÖÄ» do what they can: I will walk up and down here,
×ÖÄ» and I will sing, that they shall
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
×ÖÄ» # The throstle with his note so true.
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
×ÖÄ» What angel wakes me from my flowery bed?
¿Õ°×Ê±¼äÖá
×Ö The plain-song cuckoo gray,
Ä» Whose note full many a man doth mark.
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
¿Õ°×Ê±¼äÖá3
×ÖÄ» Mine ear is much enamour'd of thy note.
×ÖÄ» So is mine eye enthralled to thy shape.
×ÖÄ» And thy fair virtue's force perforce doth move me.
×Ö On the first view to say,
Ä» to swear, I love thee.
×ÖÄ» Me thinks mistress you should have little reason
×ÖÄ» And yet, to say the truth,
×ÖÄ» reason and Love keep little company together now-a-days.
×Ö The more the pity that some honest neighbours
Ä» will not
¿Õ°×Ê±¼äÖá
×ÖÄ» Thou art as wise as thou art beautiful.
×Ö Not so, neither:
Ä» but if I had wit enough to get out of this wood,
×ÖÄ» I have enough to serve mine own turn.
×ÖÄ» Out of this wood do not desire to go:
×Ö Thou shalt remain here,
Ä» whether thou wilt or no.
×ÖÄ» I am a spirit of no common rate;
×Ö The summer still doth tend upon my state;
Ä» And I do love thee:
×ÖÄ» therefore, go with me;
×ÖÄ» I'll give thee fairies to attend on thee,
×ÖÄ» And they shall fetch thee jewels from the deep,
×ÖÄ» And sing while thou on pressed flowers dost sleep;
×ÖÄ» And I will purge thy mortal grossness so
×ÖÄ» That thou shalt like an airy spirit go.
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
¿Õ°×Ê±¼äÖá3
¿Õ°×Ê±¼äÖá4
×ÖÄ» Be kind and courteous to this gentleman;
×ÖÄ» Hop in his walks and gambol in his eyes;
×ÖÄ» Feed him with apricocks and dewberries,
×ÖÄ» With purple grapes, green figs, and mulberries;
×ÖÄ» The honey-bags steal from the humble-bees,
×ÖÄ» And for night-tapers crop their waxen thighs
×ÖÄ» And light them at the fiery glow-worm's eyes,
×Ö To have my love to bed and to arise;
Ä» And pluck the wings from painted butterflies
×ÖÄ» To fan the moonbeams from his sleeping eyes:
×ÖÄ» Nod to him, elves, and do him courtesies.
¿Õ°×Ê±¼äÖá1
¿Õ°×Ê±¼äÖá2
×ÖÄ» I cry your worship's mercy, heartily:
×ÖÄ» Come, wait upon him; lead him to my bower.
×ÖÄ» The moon methinks looks with a watery eye;
×ÖÄ» And when she weeps, weeps every little flower,
¿Õ°×Ê±¼äÖá
×ÖÄ» Tie up my love's tongue bring him silently.
×ÖÄ» William Shakespeare and Anne Hathaway were married in 1582.
×ÖÄ» He was 18, and she was 26 and pregnant.
×ÖÄ» Six months later their daughter Susanna was born
×Ö and two years after that the young couple had twins
Ä» Hamnet and Judith.
×ÖÄ» And soon after that, Shakespeare left Anne
×ÖÄ» and the children in Stratford and went to London,
×ÖÄ» where he found a career in the theatre,
×Ö writing plays and performing for a company of actors
Ä» called the Lord Chamberlain's Men.
×ÖÄ» Of course we can't know what he felt about his departure
×ÖÄ» but as he enters the creative Summertime of his life
×Ö Shakespeare describes how the course of true love
Ä» never did run smooth.
¿Õ°×Ê±¼äÖá
×ÖÄ» It can spin girls into boys, twist a man into a fool,
×Ö and turn a clown into a donkey,
Ä» and sometimes love departs
×ÖÄ» And nowhere is that restless spirit
×ÖÄ» better captured than in this song
Ó²×ÖÄ»
×ÖÄ» # Sigh no more, ladies, sigh no more.
¿Õ°×Ê±¼äÖá
×Ö # One foot in sea and one on shore,
Ä» o one thing constant never,
×Ö # Then sigh not so, but let them go,
Ä» and be you blithe and bonny,
×ÖÄ» # Converting all your sounds of woe Into Hey nonny, nonny.
×Ö # Sing no more ditties, sing no more,
Ä» Of dumps so dull and heavy;
×Ö # The fraud of men was ever so,
Ä» Since summer first was leafy:
×Ö # Then sigh not so, but let them go,
Ä» And be you blithe and bonny,
×ÖÄ» # Converting all your sounds of woe Into Hey nonny, nonny #.
×Ö # Then sigh not so, but let them go,
Ä» And be you blithe and bonny,
×ÖÄ» # Converting all your sounds of woe Into Hey nonny, nonny #.
×ÖÄ» In Much Ado About Nothing,
×ÖÄ» a couple meet again after a long time apart.
×ÖÄ» They have been lovers in the past, but love has turned sour,
¿Õ°×Ê±¼äÖá
×Ö Performing as Beatrice and Benedick now
Ä» are Meera Syal
×Ö A kind overflow of kindness.
Ó²×ÖÄ»
Ä» How much better is it to weep at Joy
×ÖÄ» then joy at weeping?
×ÖÄ» I wonder, you will still be talking,
×Ö nobody marks you.
¿Õ°×Ê±¼äÖá
¿Õ°×Ê±¼äÖá2
Ä» Is it possible disdain should die
×Ö while she hath such meet food
Ä» Courtesy itself must convert to disdain,
×ÖÄ» if you come
¿Õ°×Ê±¼äÖá
×ÖÄ» But it is certain I am loved of all ladies,
×ÖÄ» only you excepted:
×ÖÄ» and I would I could find in my heart
×Ö that I had not a hard heart; for,
Ä» A dear happiness to women:
×Ö they would else have been troubled
Ä» I thank God and my cold blood,
×ÖÄ» I am of your humour for that:
×ÖÄ» I had rather hear my dog bark at a crow
×Ö than a man swear he loves me.
Ä» God keep your ladyship still in that mind!
×ÖÄ» So some gentleman or other
×Ö shall 'scape a predestinate
Ä» Scratching could not make it worse,
×ÖÄ» an 'twere such a face as yours were.
¿Õ°×Ê±¼äÖá
×ÖÄ» A bird of my tongue is better than a beast of yours.
×ÖÄ» I would my horse had the speed of your tongue,
¿Õ°×Ê±¼äÖá
×ÖÄ» But keep your way, in God's name; I have done.
×ÖÄ» You always end with a jade's
×ÖÄ» I know you of old.
When the French composer Berlioz
×ÖÄ» first saw Shakespeare performed in Paris in 1827,
×ÖÄ» he said it struck him He became obsessed with Shakespeare,
×ÖÄ» writing a Romeo and Juliet symphony,
×ÖÄ» an overture for King Lear,
×ÖÄ» and at the end of his life, an opera called Beatrice and Benedict
×ÖÄ» based
And now here's a duet from that opera.
×ÖÄ» The night before her wedding,
×ÖÄ» with her maid Ursula, the bride-to-be, Hero,
×ÖÄ» contemplates her marriage
# Je ne puis y songer sans trembler malgre moi.
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×ÖÄ» Infinies, And now from opera to a Broadway musical.
×ÖÄ» From Cole Porter's 1948
×ÖÄ» hit based on The Taming
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Hey?There's a lot of
handsome people here..
×ÖÄ» Hey, John, who's that that guy?
xxxx
×ÖÄ» ..Look?.He looks just like that Ha ,ha,ha?
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×ÖÄ» How do you think it's going?
Hey what you doing,
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×ÖÄ» we are talking to these people here?
You waving that!
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×ÖÄ» Listen, if any of you bums are trying to impress the women
×ÖÄ» you bought here this evening,
then...er...how about listening to a guy
×ÖÄ» who's got a little expertrise...
exper-
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×ÖÄ» One must know Homer And b'lieve me bo
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×ÖÄ» And Keats and Pope Dainty debbies will call you a dope
×ÖÄ» But the poet of them all
7¿Õ°×Ê±¼äÖá That will start 'em simply ravin'
8¿Õ°×Ê±¼äÖá Is the poet people call
9¿Õ°×Ê±¼äÖá The Bard of Stratford-on-Avon
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11¿Õ°×Ê±¼äÖá 12¿Õ°×Ê±¼äÖá
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×ÖÄ» # Just declaim a few lines from 'Othella'
and they'll
×ÖÄ» # If your blond won't respond when you flatter 'er
×ÖÄ» # Tell her what Tony told Cleopaterer.
×ÖÄ» # If she fights when her clothes you are mussing
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×ÖÄ» # With the wife of the British Embessida.
×ÖÄ» # Try a crack out of Troilus and Cressida.
×ÖÄ» # If she says she won't buy it or tike it.
×ÖÄ» # Make her tike it, what's more As You Like It.
×ÖÄ» # If she says your behavior is heinous,
×ÖÄ» # Kick her right in the 'Coriolanus'.
×ÖÄ» # Brush up your Shakespeare
and they'll all kowtow.
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×ÖÄ» # Brush up your Shakespeare
Start quoting him now.
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×ÖÄ» # If you can't be a ham and do Hamlet.
×ÖÄ» # They will not give a damn or a damnlet.
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×ÖÄ» # And your lap will have honey upon it.
×ÖÄ» # When your baby is pleading for pleasure.
×ÖÄ» # Let her sample your Measure for Measure.
×ÖÄ» # Brush up your Shakespeare
and they'll all kowtow.
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×ÖÄ» # Brush up your Shakespeare
Start quoting him now.
×ÖÄ» # Brush up your Shakespeare
And the women you will wow.
×ÖÄ» # Better mention the Merchant of Venice
×ÖÄ» # When her sweet pound 'o flesh you would menace.
×ÖÄ» # If her virtue at first she defends well.
×ÖÄ» # Just remind her that All's Well that Ends Well
×ÖÄ» # And if still she won't give you a bonus.
×ÖÄ» # You know what Venus got from Adonis.
×ÖÄ» # Brush up your Shakespeare
And they'll all kowtow.
×ÖÄ» # And they'll all kowtow
Odds bodkins. xxxx
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×ÖÄ» # Brush up your Shakespeare
Start quoting him now.
×ÖÄ» # Brush up your Shakespeare
And the women you will wow.
×ÖÄ» # If your goil is a Washington Heights dream.
×ÖÄ» # Treat the kid to 'A Midsummer Night Dream'.
×ÖÄ» # If she then wants and all by herself night.
×ÖÄ» # Let her rest every 'leventh or Twelf' Night.
×ÖÄ» # If because of your heat she gets huffy.
×ÖÄ» # Simply play on and "Lay on, Macduffy!"
×ÖÄ» # Brush up your Shakespeare
And they'll all kowtow.
×ÖÄ» # We trow And they'll all kowtow
We vow. xxxx
×ÖÄ» This royal throne of kings,
this scepter'd isle,
×ÖÄ» This earth of majesty,
this seat of Mars,
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×ÖÄ» This other Eden, demi-paradise,
×ÖÄ» This fortress built by Nature for herself
×ÖÄ» Against infection and the hand of war,
×ÖÄ» This happy breed of men, this little world,
×ÖÄ» This precious stone set in the silver sea,
×ÖÄ» Which serves it in the office of a wall,
×ÖÄ» Or as a moat defensive to a house,
Against the envy of less happier lands,
×ÖÄ» This blessed plot, this earth,
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×ÖÄ» Simon Russell Beale with John of Gaunt's famous celebration
×ÖÄ» of England from Richard II, a piece that has appeared
×ÖÄ» in poetry anthologies since the play was first published in 1597.
×ÖÄ» It's 1956,
jazz giant Duke Ellington is in Stratford, Ontario,
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×ÖÄ» There's a Shakespeare Festival on
×ÖÄ» and Duke Ellington takes a break from his music
×ÖÄ» to go and see the show.
×ÖÄ» The Duke sneaks in at the back and sits in the aisle to watch.
×ÖÄ» So moved is he that he comes back the next night,
×ÖÄ» and the next, soaking it all up,
×ÖÄ» until eventually he is inspired to write his very own
homage to Shakespeare.
×ÖÄ» Here is the Midlands Youth Jazz Orchestra
×ÖÄ» to play part of Duke Ellington's jazz suite Such Sweet Thunder.
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×ÖÄ» By the mid 1590s Shakespeare's career
with the Lord Chamberlain's
×ÖÄ» He was riding high having penned history plays
×ÖÄ» about Henry VI and Richard III,
×ÖÄ» and had high hopes for a little known love story
called Romeo and Juliet.
×ÖÄ» Those successes must have seemed
×ÖÄ» far removed from the humble beginnings of this room
×ÖÄ» on Henley Street where Shakespeare was born.
×ÖÄ» But whilst his professional life was soaring,
personal tragedy
×ÖÄ» In 1596, one of the twins, his son Hamnet, died.
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×ÖÄ» The death must have had a profound impact on the playwright.
×ÖÄ» Perhaps, like any true artist, Shakespeare channelled that grief
×ÖÄ» into his work,
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for the years directly following the death of his son
×ÖÄ» were filled by the creation of some of the most exquisite
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×ÖÄ» writing in the English language.
×ÖÄ» A sea-change occurred, a shift in tone from
×ÖÄ» Melancholia and poisoned longing cast dark shadows
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×ÖÄ» Woven into their souls are threads of sardonic
introspection,
×ÖÄ» These plays, written in the autumn of his life,
were rich
×ÖÄ» What better example could we share than this sonorous refrain
×ÖÄ» from the lonely fool Feste in his bitter sweet play,
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×ÖÄ» # When that I was and a little tiny boy.
×ÖÄ» # With hey, ho, the wind and the rain.
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×ÖÄ» # With hey, ho, the wind and the rain.
×ÖÄ» # 'Gainst knaves and thieves men shut their gate.
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×ÖÄ» # With hey, ho, the wind and the rain.
×ÖÄ» # By swaggering could I never thrive.
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×ÖÄ» # With hey, ho, the wind and the rain.
×ÖÄ» # With toss-pots still had drunken heads.
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×ÖÄ» # With hey, ho, the wind and the rain.
×ÖÄ» # But that's all one, our play is done.
×ÖÄ» # And we'll strive to please you every day.
×ÖÄ» To be or not to be, that is the question?
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×ÖÄ» You suggesting there is some reason why I couldn't...
×ÖÄ» Some intrinsic reason why audiences would not accept me
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×ÖÄ» I'd never get to play Hamlet at Stratford-upon-bloody-Avon,
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×ÖÄ» Egg sorry, I couldn't help overhearing.
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×ÖÄ» So "To be or not to be, that is the question"
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×ÖÄ» I suppose you've played Hamlet.
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×ÖÄ» Sorry, I didn't realise,
×ÖÄ» it's Eddie Redmayne!
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What are you doing?
×ÖÄ» I loved you as the Danish girl.
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These film stars don't really know.
×ÖÄ» To be or not to be, that is the question.
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×ÖÄ» And I suppose you're going to tell me, you've played Hamlet.
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×ÖÄ» It's quite a broadchurch,
the people they let play Hamlet then?
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×ÖÄ» To be or not to be, that is the question.
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×ÖÄ» CHEERING AND APPLAUSE. Hi, Eddie.
Lend me your ears.
×ÖÄ» To be or not to be, that is the question...
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×ÖÄ» Might I have a word?
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Just a minute. Just a minute.
×ÖÄ» LAUGHTER. To be or not to be, that is the question.
ying
×ÖÄ» Whether 'tis nobler in the mind to suffer.
×ÖÄ» The slings and arrows of outrageous fortune.
×ÖÄ» Or to take arms against a sea of troubles.
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×ÖÄ» No more; and by a sleep to say we end.
×ÖÄ» The heart-ache and the thousand natural shocks.
×ÖÄ» That flesh is heir to, 'tis a consummation.
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×ÖÄ» To sleep: perchance to dream:
×ÖÄ» ay, there's the rub.
×ÖÄ» For in that sleep of death what dreams may come.
×ÖÄ» When we have shuffled off this mortal coil.
×ÖÄ» Must give us pause:
there's the respect.
×ÖÄ» For who would bear the whips and scorns of time.
×ÖÄ» But that the dread of something after death.
×ÖÄ» The undiscover'd country from whose bourn.
×ÖÄ» No traveller returns, puzzles the will.
×ÖÄ» And makes us rather bear those ills we have.
×ÖÄ» Than fly to others that we know not of?
×ÖÄ» Thus conscience does make cowards of us all.
×ÖÄ» And thus the native hue of resolution.
×ÖÄ» Is sicklied o'er with the pale cast of thought.
×ÖÄ» And enterprises of great pitch and moment.
×ÖÄ» With this regard their currents turn awry.
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×ÖÄ» In the British Library is a manuscript of a play
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×ÖÄ» It's partly in Shakespeare's own handwriting.
×ÖÄ» And this is the extraordinary speech he penned,
×ÖÄ» as Thomas More quells a race riot
in the City of London on May Day,
×ÖÄ» appealing to the mob to consider the plight
×ÖÄ» of the foreign immigrants.
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×ÖÄ» Grant them removed, and grant that this your noise.
×ÖÄ» Hath chid down all the majesty of England.
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×ÖÄ» Imagine that you see the wretched strangers.
×ÖÄ» Their babies at their backs and their poor luggage.
×ÖÄ» Plodding to the ports and coasts for transportation.
×ÖÄ» And that you sit as kings in your desires.
×ÖÄ» Authority quite silent by your brawl.
×ÖÄ» And you in ruff of your opinions clothed.
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×ÖÄ» How insolence and strong hand should prevail.
×ÖÄ» How order should be quelled;
×ÖÄ» and by this pattern. Not one of you should live an aged man.
×ÖÄ» For other ruffians, as their fancies wrought.
×ÖÄ» With self same hand, self reasons, and self right.
×ÖÄ» Would shark on you, and men like ravenous fishes.
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×ÖÄ» Should so m ch come too shortof your great trespass.
×ÖÄ» As but to banish you, whether would you go?
×ÖÄ» What country, by the nature of your error.
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×ÖÄ» To any German province, to Spain or Portugal.
×ÖÄ» Nay, any where that not adheres to England.
×ÖÄ» Why, you must needs be strangers:
×ÖÄ» would you be pleased To find a nation of such barbarous temper.
×ÖÄ» That, breaking out in hideous violence.
×ÖÄ» Would not afford you an abode on earth.
×ÖÄ» Whet their detested knives against your throats.
×ÖÄ» Spurn you like dogs, and like as if that God.
×ÖÄ» Owed not nor made not you, nor that the claimants.
×ÖÄ» Were not all appropriate to your comforts.
×ÖÄ» But chartered unto them, what would you think.
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×ÖÄ» And this your mountainish inhumanity.
×ÖÄ» Shakespeare is performed all over the world.
×ÖÄ» He is translated into every language from Albanian to Zulu.
×ÖÄ» Here are scenes from two landmark productions
×ÖÄ» that opened our eyes to his global influence.
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×ÖÄ» Welcome Msomi, who brought his company to Britain in 1972
×ÖÄ» with his Zulu Macbeth, uMabatha.
×ÖÄ» Japanese director Ninagawa's famous
×ÖÄ» Cherry Blossom Macbeth which he brought to
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×ÖÄ» # When, in disgrace with fortune and men's eyes.
×ÖÄ» # I all alone beweep my outcast state.
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×ÖÄ» # And look upon myself and curse my fate.
×ÖÄ» # Wishing me like to one more rich in hope.
×ÖÄ» # Featured like him, like him with friends possess'd.
×ÖÄ» # Desiring this man's art and that man's scope.
×ÖÄ» # With what I most enjoy contented least.
×ÖÄ» # Yet in these thoughts myself almost despising.
×ÖÄ» # Haply I think on thee, and then my state.
×ÖÄ» # Like to the lark at break of day arising.
×ÖÄ» # From sullen earth, sings hymns at heaven's gate.
×ÖÄ» # For thy sweet love remember'd such wealth brings.
×ÖÄ» # That then I scorn to change my state with kings
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×ÖÄ» # . Rufus Wainwright singing his own version of
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×ÖÄ» one Shakespeare was about to enter his fortieth year,
×ÖÄ» when Queen Elizabeth the First died in 1603.
×ÖÄ» With the arrival of the new Scottish king, James the First,
×ÖÄ» Shakespeare's company was promoted, and became The King's Men.
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×ÖÄ» A terrorist attack, the Gunpowder plot,
×ÖÄ» nearly succeeded in blowing up the royal family
in Parliament in 1605.
×ÖÄ» The world seemed to have lost its moorings
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×ÖÄ» and be adrift And this prevailing sense of doom,
×ÖÄ» of futility, is present in many of the tragedies Shakespeare
×ÖÄ» wrote at this time.
×ÖÄ» These next three scenes all take place
×ÖÄ» In King Lear, we meet an old man who has resigned his crown
×ÖÄ» and been thrown out into the storm,
in Antony and Cleopatra,
×ÖÄ» the queen of Egypt prepares to confound her enemies
×ÖÄ» and end her life, but first, in Macbeth,
×ÖÄ» we encounter a couple who have just committed murder.
×ÖÄ» That which hath made them drunk hath made me bold.
×ÖÄ» What hath quench'd them hath given me fire.
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×ÖÄ» It was the owl that shriek'd, the fatal bellman.
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The doors are open;
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×ÖÄ» and the surfeited grooms.
×ÖÄ» Do mock their charge with snores:
I have drugg'd.
That death and nature do contend about them.
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×ÖÄ» I heard the owl scream and the crickets cry.
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×ÖÄ» A foolish thought, to say a sorry sight.
×ÖÄ» There's one did laugh in's sleep,
×ÖÄ» and one cried That they did wake each
×ÖÄ» I stood and heard them:
But they did say their prayers, and address'd them.
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×ÖÄ» One cried 'God bless us!'
×ÖÄ» and 'Amen' the other.
×ÖÄ» As they had seen me with these hangman's hands.
×ÖÄ» Listening their fear, I could not say 'Amen'.
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×ÖÄ» But wherefore could not I pronounce 'Amen'?
×ÖÄ» I had most need of blessing,
×ÖÄ» and 'Amen'
These deeds must not be thought After these ways;
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×ÖÄ» so, Methought I heard a voice cry
'Sleep no more!
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×ÖÄ» Sleep that knits up the ravell'd sleeve of care,
×ÖÄ» The death of each day's life, sore labour's bath,
×ÖÄ» Balm of hurt minds, gre atnature's second course,
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×ÖÄ» Still it cried 'Sleep no more!' to all the house:
×ÖÄ» 'Glamis hath murder'd sleep,
and therefore Cawdor Shall sleep no more;
×ÖÄ» Macbeth shall sleep no more.'
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×ÖÄ» You do unbend your noble strength,
to think.
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×ÖÄ» And wash this filthy witness from your hand.
×ÖÄ» Why did you bring these daggers from the place?
×ÖÄ» They must lie there: go carry them;
and smear.
I'll go no more:
×ÖÄ» I am afraid to think what I have done;
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×ÖÄ» Give me the daggers:
the sleeping and the dead Are but as pictures:
×ÖÄ» 'tis the eye of childhood
If he do bleed,
×ÖÄ» I'll gild the faces of the grooms withal;
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×ÖÄ» How is't with me, when every noise appals me?
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×ÖÄ» Will all great Neptune's ocean wash this blood
×ÖÄ» No, this my hand will rather the multitudinous seas
in incarnadine,
×ÖÄ» Making the green one red.
×ÖÄ» My hands are of your colour;
but I shame
I hear a knocking at the south
×ÖÄ» retire we to our chamber;
×ÖÄ» A little water clears us of this deed:
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×ÖÄ» Your constancy Hath left you unattended.
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×ÖÄ» Get on your nightgown,
lest occasion call us,
×ÖÄ» Be not lost So poorly in your thoughts.
×ÖÄ» To know my deed, 'twere best not know myself.
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ying
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×ÖÄ» You cataracts and hurricanoes, spout.
×ÖÄ» Till you have drench'd our steeples, drown'd the cocks!
×ÖÄ» You sulphurous and thought-executing fires.
×ÖÄ» Vaunt-couriers to oak-cleaving thunderbolts.
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×ÖÄ» Smite flat the thick rotundity o' the world!
×ÖÄ» Crack nature's moulds, all germens spill at once.
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Nor rain, wind, thunder, fire, are my daughters.
×ÖÄ» I tax not you, you elements, with unkindness.
×ÖÄ» I never gave you kingdom, call'd you children.
×ÖÄ» You owe me no subscription:
×ÖÄ» then let fall. Your horrible pleasure:
×ÖÄ» here I stand, your slave. A poor, infirm, weak,
×ÖÄ» and despised old man.
×ÖÄ» But yet I call you servile ministers.
×ÖÄ» That have with two pernicious daughters join'd.
×Ö Your high engender'd battles 'gainst a head.
zi So old and white as this.
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Ä» No, I will be the pattern
×Ö of all patience.
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Ó²×ÖÄ»
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Ä» Finish, good lady;
×Ö the bright day is done.
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Ä» Immortal longings
×ÖÄ» now no more. The juice of Egypt's grape
×Ö shall moist this lip.
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Ä» Antony call; I see him rouse himself.
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×Ö Now to that name my courage prove my title!
Ä» I am fire and air;
×Ö my other elements.
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Ä» Come then,
×Ö and take the last warmth of my lips.
Ä» Farewell, kind Charmian;
×Ö Iras, long farewell.
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Ä» If thou and nature can so gently part.
×Ö The stroke of death is as a lover's pinch.
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Ä» Dissolve, thick cloud, and rain;
×Ö that I may say.
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Ä» He'll make demand of her,
×Ö and spend that kiss.
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Ä» With thy sharp teeth
×Ö this knot intrinsicate.
Ä» Of life at once untie:
×Ö poor venomous fool.
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Ä» Dost thou not see my baby at my breast.
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×Ö As sweet as balm, as soft as air, as gentle.
ÎÒ
±¨
¾¯
ÁË
Ä» Now boast thee, death,
×Ö in thy possession lies.
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Ä» Your crown's awry;
×Ö I'll mend it, and then play.
Ä» Shakespeare spent the last few years
×Ö of his life back in Stratford.
Ä» He died on this day, in 1616,
×Ö his fifty-second birthday.
Ä» Though it is not known exactly how he died,
×Ö a later account suggests that he had a
Ä» merry meeting with his mates,
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×Ö He was buried here,
×Ö at Holy Trinity Church
Ä» During his life he wrote
×ÖÄ» at least 37 plays, only half of which were published
×Ö before his death.
Ä» His winter years showed no let-up
×Ö in his creative output.
Ä» In the last season of his life
×Ö he discovered a lighter pallet Stories
Ä» that explored the silver-lining
×ÖÄ» From his last plays,
×Ö Cymbeline, The Winter's Tale and The Tempest
Ä» a new redemptive power emerged,
×Ö which still has
Ä» # My shroud of white,
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Ó²×ÖÄ»
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×ÖÄ» Shakespeare's tragedies,
×ÖÄ» haunted by death, may plumb the depths of the human experience,
×ÖÄ» but there is one character, in the canon of all his work,
×Ö which perhaps more than any
Ä» One incredible comic creation
×ÖÄ» that we could not leave out tonight.
×ÖÄ» The irrepressible Sir John Falstaff,
×ÖÄ» a rogue, a thief, and the close companion
×Ö of the dissolute playboy Prince Hal.
Ä» From Henry IV Part One
×ÖÄ» here is the Tavern Scene, where Falstaff pretends
×Ö to be the King and gives the prince
Ä» There is a thing, Harry,
×ÖÄ» which thou hast often heard of and it is known to many
×ÖÄ» in our land by the name of pitch: this pitch,
Ó²×ÖÄ»
×Ö as ancient writers do report, doth defile;
Ä» so doth the company thou keepest:
×ÖÄ» for, Harry, now I do not speak to thee in drink
×Ö but in tears, not in pleasure but in passion,
Ä» not in words only, but in woes also:
×ÖÄ» and yet there is a virtuous man whom I have
×Ö often noted in thy company,
Ä» What manner of man, an it like your majesty?
Z A goodly portly man, i' faith,
×ÖÄ» and a corpulent; of a cheerful look, a pleasing eye
×ÖÄ» and a most noble carriage;
×ÖÄ» and, as I think, his age some fifty, or,
×ÖÄ» by'r lady, inclining to three score; and now I remember me,
×Ö his name is Falstaff:
Ä» if that man should be lewdly given,
×Ö he deceiveth me; for,
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Ä» Do thou stand for me,
×Ö and I'll play my father.
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Ä» If thou dost it half so gravely,
×ÖÄ» so majestically, both in word and matter, hang me up
×Ö by the heels for a rabbit-sucker
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Ä» The complaints I hear
×ÖÄ» of thee are grievous. 'Sblood, my lord,
×Ö they are false: nay, I'll tickle ye for a young prince,
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Ä» ×Ö Thou art violently carried away from grace:
Ä» there is a devil
×ÖÄ» haunts thee in the likeness of an old fat man
×Ö a tun of man is thy companion.
Ä» Why dost thou converse
×ÖÄ» with that trunk of humours, that bolting-hutch of beastliness,
×ÖÄ» that swollen parcel of dropsies, that huge bombard of sack,
×ÖÄ» that stuffed cloak-bag of guts, that roasted Manningtree ox
×Ö with the pudding in his belly, that reverend vice,
Ä» that grey iniquity, that father ruffian,
×Ö ×Ö Wherein is he good, but to taste sack and drink it?
Ä» Wherein neat and cleanly,
×Ö but to carve a capon and eat it?
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Ä» Wherein villainous,
×Ö but in all things?
Ä» I would your grace would take me
×Ö whom means your grace?
Ä» That villanous abominable misleader of youth,
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×ÖÄ» But to say I know more harm in him
×Ö than in myself, were to
Ä» That he is old, the more the pity,
×ÖÄ» his white hairs do witness it; but that he is,
×Ö saving your reverence,
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Ä» If sack and sugar be a fault,
×ÖÄ» God help the wicked! If to be old and merry be a sin,
×ÖÄ» then many an old host that I know is damned:
×ÖÄ» if to be fat be to be hated, then Pharaoh's lean
×Ö kine are to be loved.
×Ö No, my good lord;
Ä» banish Peto,
×Ö banish Bardolph,
xx banish Poins:
Ä» but for sweet Jack Falstaff,
×Ö kind Jack Falstaff,
Ä» true Jack Falstaff,
×Ö valiant Jack Falstaff,
Ä» and therefore more valiant, being,as he is,
×Ö old Jack Falstaff,
Ä» banish not him thy Harry's company,
×ÖÄ» banish not him thy Harry's company:
×Ö banish plump Jack,
Ä» and banish all the world.
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×ÖÄ» And, like the baseless fabric of this vision.
×ÖÄ» The cloud-capp'd towers,the gorgeous palaces.
×ÖÄ» The solemn temples,the great globe itself.
×Ö Ye all which it inherit
Ä» ,shall dissolve.
×Ö And, like this
Ä» insubstantial pageant faded.
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×Ö We are such stuff As dreams are made on,
Ä» and our little life.....
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×Ö Now the hungry lion roars,
Ä» And the wolf behowls the moon;
xx Whilst the heavy ploughman snores,
×Ö All with weary task fordone.
Ä» Now the wasted brands do glow,
×ÖÄ» Whilst the screech-owl, screeching loud,
×ÖÄ» Puts the wretch that lies in woe.
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×Ö Now it is the time of night
Ä» That the graves all gaping wide,
×Ö Every one lets forth his sprite,
Ä» In the church-way paths ....
×ÖÄ» And we fairies, that do run By the triple Hecate's team,
×ÖÄ» From the presence of the sun,.....
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×Ö not a mouse Shall disturb this hallow'd house:
Ä» I am sent with broom before,
×Ö To sweep the dust behind the door.
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Ä» Through the house give glimmering light.
xx By the dead and drowsy fire,
×ÖÄ» every elf and fairy sprite.
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×ÖÄ» # Through this house each fairy stray.
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×ÖÄ» Through this palace, with sweet peace.
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×Ö Give me your hands, if we be friends,
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Ä» If you want to discover more about shakespeare....
1x
×ÖÄ»x go to the website.
×ÖÄ» Follow the links to the open university.