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Deceit

Richard, Romeo, Juliet and the Sonnet

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Two of Shakespeare’s earliest playsRichard III and Romeo and Juliet, open with sonnets and then employ variations on the sonnet’s structure for dramatic and poetic effect, which is not surprising. At this point in Shakespeare’s life he seems to have had dual career goals. First, he wanted to make money, which he could accomplish through theatre.
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Pandering, Contempt and the Masses

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Many of Shakespeare’s plays deal with political intrigue at court between political leaders. However, in Julius Caesar and Coriolanus, more than in other plays, the themes address the relationships between political leaders and the masses. Since both plays are set in historic Rome and not in Shakespeare’s England, they can deal with the themes of democracy and the wisdom of the populace to govern themselves through a republican form of representation.
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Richard III and the Sonnet

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“Now is the winter of our discontent” is nearly as familiar as Hamlet’s, “To be, or not to be” and Mark Antony’s, “Friends, Romans, countrymen”. Not one of these three passages is a dramatic dialogue. Mark Antony addresses a large Roman crowd in an extended speech. Hamlet muses to himself in a soliloquy while we the audience listen in.
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Appearance and Deception

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A recurring theme in many of Shakespeare’s plays, and central to Much Ado About Nothing, explores how easily people are deceived not just by the false testimony of others but even by their own senses. Claudio, believing he was deceived by Don John, learned to place no trust in the words of others. With “Let every eye negotiate for itself,”
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Keeping Adultery Hidden

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In comedy or tragedy, Shakespeare’s characters advise the prudence of spouses keeping their dalliances hidden. In Comedy of Errors, Luciana advises Antipholus of Syracuse, who she thinks is her brother-in-lawto conceal from his presumed wife Adriana, Luciana’s sister, his apparent infidelity. Iago’s observation about the adulteries of Venetian women in Othello, is similar.
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Now is the winter of our discontent

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NowHyperbaton is the winter of our discontentMetaphor
Made glorious summerMetaphor by this son of York,Paronomasia
And all the clouds that louredMetaphor upon our houseMetonymy
In the deep bosom of the ocean MetaphorburiedHyperbaton & Ellipsis.
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No, be assured you shall not find me, daughter,

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Queen
No, be assured you shall not find me, daughter,
After the slander of most stepmothers,
Evil-eyed unto you. You’re my prisoner, but
Your jailer shall deliver you the keys
That lock up your restraint.—For you, Posthumus,
So soon as I can win th’ offended king,
I will be known your advocate. Marry, yet
The fire of rage is in him,
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Source:
Act 1
Scene 1
Line 81

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Themes:
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Edmund, how now? What news?

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Gloucester
Edmund, how now? What news?
Edmund
So please your Lordship, none.
He puts a paper in his pocket.
Gloucester
Why so earnestly seek you to put up that letter?
Edmund
I know no news, my lord.
Gloucester
What paper were you reading?
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Source:
Act 1
Scene 2
Line 27

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Spoken by:
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Themes:
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Brother, I advise you to the best

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Edmund
Brother, I advise you to the best. I am no
honest man if there be any good meaning toward
you. I have told you what I have seen and heard, but
faintly, nothing like the image and horror of it. Pray
you, away.
Edgar
Shall I hear from you anon?
Edmund
I do serve you in this business.
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Source:
Act 1
Scene 2
Line 180

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Themes:
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What is the gross sum that I owe thee?

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Falstaff
What is the gross sum that I owe thee?
Hostess
Marry, if thou wert an honest man, thyself
and the money too. Thou didst swear to me upon a
parcel-gilt goblet, sitting in my Dolphin chamber at
the round table by a sea-coal fire, upon Wednesday
in Wheeson week, when the Prince broke thy head
for liking his father to a singing-man of Windsor,
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Source:
Act 2
Scene 1
Line 87

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Themes:
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How is the King employed?

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Suffolk
How is the King employed?
Chamberlain
I left him private,
Full of sad thoughts and troubles.
Norfolk
What’s the cause?
Chamberlain
It seems the marriage with his brother’s wife
Has crept too near his conscience.
Suffolk
No, his conscience
Has crept too near another lady.

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My excellent good friends! How dost thou

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Hamlet
My excellent good friends! How dost thou,
Guildenstern? Ah, Rosencrantz! Good lads, how do
you both?

Why, then, ’tis none to you, for there is nothing
either good or bad but thinking makes it so.

Rosencrantz
As the indifferent children of the earth.
Guildenstern
Happy in that we are not overhappy.
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Source:
Act 2
Scene 2
Line 242

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Connected Notes:
What a Difference a Word Makes

Sit, good cousin Hotspur

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Glendower
Sit, good cousin Hotspur, for by that name
As oft as Lancaster doth speak of you
His cheek looks pale, and with a rising sigh
He wisheth you in heaven.
Hotspur
And you in hell,
As oft as he hears Owen Glendower spoke of.

I can call spirits from the vasty deep.
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Source:
Act 3
Scene 1
Line 7

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Themes:
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Connected Notes:
You and Thee

Repent what you have spoke

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Menenius
Repent what you have spoke.
Coriolanus
For them? I cannot do it to the gods.
Must I then do ’t to them?
Volumnia
You are too absolute,
Though therein you can never be too noble
But when extremities speak. I have heard you say
Honor and policy, like unsevered friends,
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Source:
Act 3
Scene 2
Line 48

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Come, cousin, canst thou quake and change thy color

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Richard
Come, cousin, canst thou quake and change thy color,
Murder thy breath in middle of a word,
And then again begin, and stop again,
As if thou were distraught and mad with terror?
Buckingham
Tut, I can counterfeit the deep tragedian,
Speak, and look back, and pry on every side,
Tremble and start at wagging of a straw,
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Source:
Act 3
Scene 5
Line 1

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