she hath worked her way through a vile pack of cigarettes hard liquor did mix with a bite of wit and all the gents, they wast declaring they were into it such a quaint visage, on a quaint neck
the wench is driving me mad but i loveth it, but i loveth it i kind of loveth it t’is getting crazy, i bethink i’m losing it, i bethink i’m losing it ay, methinks she hath said, “i’m having thy babe, t’is none of thy business i’m having thy babe, t’is none of thy business (none of thy, none of thy i’m having thy babe (heigh-ho), t’is none of thy business i’m having thy babe (heigh-ho), t’is none of thy, t’is none of thy
t’is new york, darling, at each moment jacked up holland tunnel for a nose, t’is always backed up at which hour she art high-lone, she goeth home to a cactus in a black habit, she art such an actress
driving me mad but i loveth it, but i loveth it i kind of loveth it t’is getting crazy, i bethink i’m losing it, i bethink i’m losing it ay, methinks she hath said, “i’m having thy babe, t’is none of thy business i’m having thy babe, t’is none of thy business (none of thy, none of thy) i’m having thy babe (heigh-ho), t’is none of thy business i’m having thy babe (heigh-ho), t’is none of thy, t’is none of thy
the lady sits beside me as a silhouette hard marchpane dripping on me ‘til mine own feet art wet and anon she art all ov'r me, t'is as had i paid f'r it t'is as had i paid f'r it, i shall pay f'r this t’is none of thy, t’is none of thy i’m having thy babe (heigh-ho), t’is none of thy business i’m having thy babe (heigh-ho), t’is none of thy business (t’is none of thy, t’is none of thy) ‘i’m having thy babe (heigh-ho), t’is none of thy business” “i’m having thy babe, t’is none of thy business” (t’is none of thy, t’is none of thy)
When Kent says he is "Not so young, sir, to love a woman for signing, nor so old to dote on her for anything", what does he mean exactly?
So, the full line in ‘Not so young, sir, to love a woman for singing, nor so old to dote on her for anything. I have years on my back forty-eight’ (1.4.37-39)
Kent’s predominant meaning is that he’s neither particularly young nor particularly old. But he does this by defining against the conventions of men’s attitude to women at various stages of their life: a lover when young, a dotard (associating with doting) in age. Singing is an accomplishment associated with young maidens, hence its association with youth and lovers. But singing also had sexual implications, because a singing woman was considered to be especially seductive, leading to the close connection between female singing and female sexuality in early modern literature. Gordon Williams lists it as a term for coitus in his Glossary of Shakespeare’s Sexual Language.
On the whole, Kent’s line attempts to emphasise male solidarity by appealing to a shared misogynistic attitude (the untrustworthiness of women according to the male characters of the play is a running theme), especially by claiming immunity to the seductions of women. It’s significant that these words are what gets Kent his new job as one of Lear’s followers. But the idea of ‘doting’ introduced her is also a light jab at Lear’s recent actions. ‘Doting’ is when someone’s affections overrule their judgement, and that is just what Lear has done to Cordelia. It helps establish Kent’s alias Caius as the plain-spoken man.
I love all the nautical references in Romeo and Juliet, especially the way Romeo conceives his own life as a sea journey. Before he joins Capulet’s party, he fears there is ‘some consequence yet hanging in the stars’ which will untimely lead him to his grave. Yet he says: ‘But he that hath the steerage of my course / Direct my sail! On, lusty gentlemen.’ (Q2 reads ‘suit’ instead of ‘sail’, though.) He is ready to begin his voyage, guided by either God or Cupid (that ‘he’ could possibly refer to either).
In the orchard scene, already enamored of Juliet (and the malign fate which he mentioned earlier already ensnaring him silently), he reiterates the nautical imagery:
By whose direction found'st thou out this place?
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore washed with the farthest sea,
I would adventure for such merchandise.
‘New baptized’ by his 'dear saint’, he finds his utmost and perpetual destination in Juliet—a nautical pilgrimage to her being. Later on, Romeo’s use of rope ladders to enter Juliet’s chamber suggests a connection between him with the world of the sea again. The cords are 'made like a tackled stair; / Which to the high topgallant of my joy / Must be my convoy in the secret night’, 'topgallant’ referring to the head of a topmast. Finally, he withstood the perils of the sea and is now about to reach 'that vast shore’ where Juliet is.
It seems that he has quite a negative opinion of the sea. When he claimed that he would 'adventure’ to the realms of 'the farthest sea’ for Juliet, he revealed his conception of the sea as a baleful obstacle, in which he is willing to risk himself nonetheless. While his life is associated with a bark, so is the sea, we are to understand, a metaphor for the outside world. In the last scene, he warns Balthazar that his intentions are 'savage-wild, / More fierce and more inexorable far / Than empty tigers or the roaring sea’; yet another image of the ocean as an ominous environment. Desperate as he is due to his ill-starred condition, he encourages the poison to free him from the weight of the world, speaking in nautical metaphors again:
Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark!
He yearns for his life, or his bark, to be annihilated by the rocks, the poison now being the new pilot of his sail. Unable to reach Juliet, enmeshed in the chaos of the water, he becomes 'sea-sick’. He finds no comfort in the ocean (or the world, for that matter), its callousness depriving him of Juliet.
Juliet, however, does not seem to share such a negative view on the sea. Instead of dwelling on its perilousness, she exalts its infinity and its indomitability:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
Exultantly, she finds delight in the idea that the vastness of the sea is but a mirror of her own innermost self. She is just as insatiable and unbounded.
There is also that speech by Lord Capulet, a very beautiful and very lyrical one:
What, still in tears?
Evermore showering? In one little body
Thou counterfeit'st a bark, a sea, a wind;
For still thy eyes, which I may call the sea,
Do ebb and flow with tears; the bark thy body is,
Sailing in this salt flood; the winds, thy sighs;
Who, raging with thy tears, and they with them,
Without a sudden calm, will overset
Thy tempest-tossed body.
The sea, here made of tears, has sinister undertones again, given its ability to destroy Juliet’s bark and thus have a deadly effect on her. But Capulet also recognizes the emotional extremes of Juliet’s being and her ability to possess an implacable sea within herself.
I believe the difference between the lovers’s use of sea references is a wonderful thing. It is beautiful that they never lose their own personal voices, even if they do merge into each other’s words, weaving a sort of oneness together. They may alter each other’s minds and thoughts (perhaps most prominently, Juliet inspires Romeo to speak in a more artless fashion), but they still preserve their true voices, all their metaphors rich in meaning but distinct from one another. In many ways, theirs is a constant search of the self in each other’s company.
Say what you like but I am sure that the true message of Hamlet is “as a student avoid family reunions at al costs” and nothing can convince us that this is not the deep and beautiful truth Bill wanted to share with us