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Cards In This Set
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“This seven year there hath been plays at this house; I have observed it, you have still girds at citizens, and now you call your play The London Merchant. Down with your title, boy; down with your title!”
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Knight of the Burning Pestle, the Citizen
a. The Citizen critiques the theatre for not serving the common man, those like himself and for presuming to present life as it may actually occur for the working class. b. The Citizen also begins his interaction with the play, drawing attention to the meta-theatrical nature of the production. |
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“Now pig, it is a meat, and a meat that is nourishing, and may be longed for, and so consequently eaten; it may be eaten; very exceedingly well eaten. But in the ___, and as a _______ pig, it cannot be eaten, for the very calling it a _______ pig, and to eat it so, is a spice of idolatry”
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Bartholomew Fair, Busy
a. This passage shows the “proper” (disparaging) interpretation of the luxury and gluttony that is represented by the fair. b. Busy also points out that pork is only sinful in the context of the fair, not as food. He suggests that the roles characters try to embody are not those that they portray in day-to-day life. |
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“When as a lion's whelp shall, to himself unknown, without seeking find, and be embraced by a piece of tender air; and when from a stately cedar shall be lopped branches, which, being dead many years, shall after revive, be jointed to the old stock and freshly grow; then shall ___ end his miseries, Britain be fortunate and flourish in peace and plenty.”
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Cymbeline, Posthumus, quoting Jupiter
a. Jupiter leaves Posthumus with a riddle to solve all of his problems, pointing out the improbably nature of the play’s resolution b. The prophecy uses Christian themes, some of which run throughout the play and contrast with the Pagan overtones that are also present throughout. |
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“Yes, and bring the actors along, we’ll ha’ the rest o’ the play at home.”
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Bartholomew Fair, Cokes
“Yes, and bring the actors along, we’ll ha’ the rest o’ the play at home.” a. Cokes invites the players into his home, smashing the idea that the roles assumed at the fair are false. |
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“The jeweller that owes the ring is sent for, / And he shall surety me. But for this lord, / Who hath abused me, as he knows himself, / Though yet he never harm'd me, here I quit him: / He knows himself my bed he hath defiled; / And at that time he got his wife with child: / Dead though she be, she feels her young one kick: / So there's my riddle: one that's dead is quick: / And now behold the meaning.”
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All’s Well that Ends Well, Diana
a. Diana reveals Bertram’s dishonesty with the king and his failure to honor his royally commanded marriage b. This also sets up the revelation of Helena’s scheme to the court and Bertram |
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“Make me your door, then, south; your broad side, west: and on the east side of your shop, aloft, write Mathlai, Tarmiel, and Baraborat; upon the north part, Rael, Velel, Thiel. They are the names of those Mercurial spirits, that do fright flies from boxes…And beneath your threshold, bury me a lodestone to draw in gallants that wear spurs; the rest, They’ll seem to follow…And on your stall a puppet with a vice, and a court-fucus to call city-dames. You shall deal much with minerals.”
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The Alchemist, Subtle
a. Subtle dives false orders to gain confidence in his alchemical abilities and convince his clients that they will gain great wealth b. This passage sets the pattern for Subtle and Face to change their fortunes while their master is away – can be read as an alchemical change |
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“Ungracious child, I warrant him. Hark how he chops logic with his mother.—Thou hadst best tell her she lies; do, tell her she lies.”
“If he were my son, I would hang him up by the heels and flay him and salt him, whorseson haltersack.” |
The Knight of the Burning Pestle, Mistress and Citizen
a. The Mistress reveals that the actors are children, as they probably were during the production. Increases meta-theatrical nature of play. b. Citizen again asserts the worth of his opinion by offering it whether asked for or not. |
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“Oh Gods! I left out one thing which the Queen confessed, which must approve thee honest.”
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Cymbeline, the Doctor
“Oh Gods! I left out one thing which the Queen confessed, which must approve thee honest.” a. The Doctor’s forgotten element explains one of the many loose thread to be tied up at the end of the play and speaks to the unreality of the play’s resolution. b. “Oh Gods!” refers to the Pagan elements of the play. |
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“A crown! And toward such a fortune? Heart, Though shalt rather gi’ him thy shop.”
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The Alchemist, Face
a. One more example of Face and Subtle’s scheme to change their fortunes b. Reveals that the two have no concern for the well-being of their clients and will take the largest form of payment they can even if it leaves their donors penniless. |
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“My lord your son made me to think of this; Else Paris and the medicine and the king Had from the conversation of my thoughts Haply been absent then.”
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All’s Well that Ends Well, Helena
a. Helena admits that she is inspired by the opportunity to be near Bertram b. This admission comes at the end of a conversation with the Duchess in which they seem to conspire together to make Bertram marry Helena |
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You are my sister.This was my father’s poniard. Do you see?I’d be loat the see’t look rusty, ’cause ’twas his.I would have you to give o’er these chargeable revels;A visor and a masque are whispering roomsThat were ne’er built for goodness. Fare ye well.And women like that part which, like the lamprey,Hath ne’er a bone in it.
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Ferdinand, The Duchess of Malfi, 1.2-Ferdinand is using overtly sexual language with his sister, the Duchess, which reflects the incestuous feelings he secretly harbors for her.-He refers to their father’s poniard as being “my father’s” instead of “our father’s,” which mirrors the patriarchal values of the time.
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I owe your cheek my handFor that presumption now, but I’ll forget it;Come, you shall leave those childish ’haviours,And understand your time. Fortunes flow to you;What, will you be a girl?If all feared drowning that spy waves ashore,Gold would grow rich, and all the merchants poor.
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Gratiana The Revenger’s Tragedy, 2.1-In this passage, she is indicating that a woman’s nature is inherently centered around using her body and selling herself to get what she wants.-The fact that a mother – who often would have been considered to be the one to impart her values and wisdom to her children, and to love and care for them – would instruct her daughter to do such things, reflects the overall immorality of the play
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The lily and the rose, most sweetly strange,Upon your dimpled cheeks do strive for change.Such lips would tempt a saint; such hands as thoseWould make an anchorite lascivious
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Giovanni, ’Tis Pity She’s a Whore, 1.2-By saying that even religious figures or saints would be tempted by Annabella, Giovanni is (perhaps unconsciously) justifying his incestuous desires for his sister to himself and to her.-This was old-fashioned language even at the time of the play’s writing, which reflects Giovanni’s university training through obvious exposure to classic literature as well as the fact that he has been sheltered and not out in the real world
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Virginity being blown down, man will quicklier be blown up. Marry, in blowing hum down again, with the breach yourselves made you lose your city. It is not politic in the commonwealth of nature to preserve virginity. Loss of virginity is rational increase, and there was never virgin got till virginity was first lost. That you were made of is mettle to make virgins. Virginity by being once lost may be ten times found; by being ever kept, it is ever lost. ’Tis too cold a companion. Away with’t.
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Paroles, All’s Well that Ends Well, 1.1-He uses a very militaristic discussion of virginity, indicating his role as a soldier.-His use of repetition of certain words, such as “blow” and “virginity”, not only further emphasizes them but also perhaps indicates that he is talking quickly and not thinking as much about what he is saying, a possible result of his personality as being someone who is full of hot air.
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I would have you lead your Fortune by the handUnto your marriage bed.You speak in me this, for we are now one.We’ll only lie and talk together, and plotT’appease my humorous kindred; and if you please,Like the old tale in Alexander and Ludowick,Lay a naked sword between us, keep us chaste.Oh, let me shroud my blushes in your bosomSince ’tis the treasury of all my secrets.
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The Duchess, The Duchess of Malfi, 1.2-The Duchess says this to Antonio immediately after their secret marriage ceremony, and it symbolizes her impartment of power to him over her, yet she still remains in power because she has specifically told him to do these things to her.-By using the word “shroud” – which also refers to a funeral shroud – when asking him to let her hide her face in his chest, she is foreshadowing their ultimate deaths which result from their relationship.
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