Sonnet CXVI

by William Shakespeare

Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no, it is an ever-fixèd mark,
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth’s unknown, although his heighth be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved. 

anonymous asked:

*Curtsies* Duke, is it actually true that the Earl of Oxford farted in front of Queen Elizabeth and then he was gone for a long time and when he came back she said something like, "My God, I had forgot the fart"? LOL.

*Curtsies* Yep. He actually came back and went into a really lengthy apology about it and she just went “My Lord (referring to Oxford himself and not God), I had forgot the fart!” We had a big old laugh about it this year. (I’m actually pretty sure I posted the excerpt at one point but can’t find it now.)

anonymous asked:

In what ways does Fortinbras shed a light on Hamlet's character?

Mainly, Fortinbras reveals what Hamlet isn’t.
It’s probably more obvious that Laertes is a sort of double of Hamlet, a son who acts immediately to revenge his murdered father without delay, but Fortinbras is another one, and one who matches Hamlet’s rank.
From the beginning, Fortibras’ objective is to restore what his father lost, which is a kind of revenge project, since he’s concerned with his father’s honour:

                                      young Fortinbras,
Holding a weak supposal of our worth,
Or thinking by our late dear brother’s death
Our state to be disjoint and out of frame,
Colleagued with this dream of his advantage,
He hath not failed to pester us with message
Importing the surrender of those lands
Lost by his father, with all bands of law
To our most valiant brother (1.2.17-25)

He is the very picture of action: the warrior prince. It doesn’t matter whether his father lost it legally or not, he will take the land back by force.
When he’s told off by his uncle, the King of Norway (notice how his uncle has succeeded his father), he doesn’t give up his military project but prances off to try and get a little land off Poland instead, not because it’s valuable at all (as the Captain says to Hamlet it’s ‘a little patch of ground / That hath in it no profit but the name’ [4.4.18-19]). He does it for honour, because that’s what Princes do.
Hamlet clearly sees some value in this and he knows it’s how princes are meant to be since he says:

                                       to my shame I see
The imminent death of twenty thousand men
That for a fantasy and trick of fame
Go to their graves like beds, fight for a plot
Whereon the numbers cannot try the cause,
Which is not tomb enough and continent
To hide the slain. Oh from this time forth
My thoughts be bloody or be nothing worth (4.4.59-66)

So one reading of Fortinbras is that he shows what Hamlet ought to be: the ideal prince that fights for his father and will do anything for honour. But at the same time Fortinbras’ useless warmongering exposes the ridiculousness of war, the bloody nature of revenge and honour, and Hamlet’s disillusion with the world he’s living in. Hamlet recognises the social value of what Fortinbras is doing, admires it even, because he knows what is meaningful to the society he’s been born into. But his description of a battlefield scarcely big enough to hold the number of people killed in gaining it shows the suffering and human cost of war. He’s far too aware to follow social conventions unquestioningly like Fortinbras does.

And when you realise that it’s precisely these fights for power, rule and kingship that motivates the murder of Hamlet’s father to begin with, you begin to realise why it may not be such a great thing to believe in it blindly. Fortinbras is a man of opportunity; he immediately ceases the chance to rule Denmark, saying ‘with sorrow I embrace my fortune. / I have some rights of memory in this kingdom / Which now to claim my vantage doth invite me’ (5.2.366-69), before he even hears that Hamlet has nominated him, and in words that distinctly recalls Claudius’ speech at the beginning of the play: ‘we with wisest sorrow think of him [King Hamlet] / Together with remembrance of ourselves’ (1.2.6-7). The impression is that the succession of Fortinbras has not solved any of the problems that troubled Hamlet through the play.

So it’s completely ironic that Fortinbras orders, ‘let four captains / Bear Hamlet like a soldier to the stage’ (5.2.374-5). It’s very courteous, but a completely inadequate treatment of what Hamlet has been. According to Ophelia he was a soldier at some point (3.2.145), but that’s not what we see, and it’s not all he is; he’s just not someone who can be easily dismissed through a social ceremony designed for a very different kind of person.

Ok so how about a Macbeth production where the wichtes faces are covered by a thin veil. Their features are blurred, but still the audience should be able to recognice them wihthout trouble. As the play goes on, we see the witches again, but not only as witches, they also play Duncan, the guards, Banquo, Lady Macduff  in short all of Macbeth’s victims whom he sacrified to gain and secure his power.

However, entually it coems to the final showdown and Macduff  reveals he is the man not of woman born

Accursèd be that tongue that tells me so,
For it hath cowed my better part of man!
And be these juggling fiends no more believed,
That palter with us in a double sense,
That keep the word of promise to our ear,
And break it to our hope. I’ll not fight with thee.

Up to this Moment Macbeth follows the prophecies of the witches, but as he turns to flee Macduff, the witches step out of the door he’s heading for, taking off their veils, smiling at him. Macduff , however, doesn’t seem to see them. They Just walk around  Macbeth, smiling at him not saying a word, and he is face to face with his victims. The guilt of their deaths has already killed his wife and he realises it were not witches, who with Satan’s power made him a monster, but that he himself  mad e a pact with the devil  through his own crimes commited in his own Ambition. Realising he always had the monster  in him, which was only waiting for an excuse to be realeased, he decides to no longer to follow prophecies which only got power through his own  doing, turns around and fights.

Lay on, Macduff,
And damned be him that first cries, “Hold, enough!

A production of Hamlet in a modern setting that takes place on Halloween.

Hamlet initially doesn’t believe his friends when they tell him they saw a ghost, because it’s HALLOWEEN, and ghost costumes and decorations are everywhere. Obviously I can’t add any dialogue, so this will all need to be conveyed visually.

Yorick isn’t actually dead, he’s dressed up as a skeleton gravedigger, and he takes off his plastic skull helmet and claims it’s his own head and that he died years earlier. Hamlet goes along with it because he’s either drunk, high, or just completely out of fucks to give.

The speech where Polonius is telling Laertes all the things he should and shouldn’t be is just him trying to help his son pick out a costume. When he concludes, “To thine own self be true,” Polonius proudly fixes a lion mask on Laertes, suggesting bravery.

so-i-grudgingly-joined-this-site  asked:

Since I noticed you're posting about Hamlet, I thought I'd say that it's refreshing to finally find someone else who's not a fan of the Oedipal readings of the main character. I personally can't stand it when productions try to do "edgy" closet scenes like you mentioned. Also, Hamlet has a lot going on mentally already; I never understood why productions felt the need to add "is romantically/sexually fixated on his mother" to that pile.

*anti-Oedipal high five* Welcome to the team! I think there are probably more of us than you might think.

I suppose that some productions that include that Oedipal thing feel that it goes some way in explaining Hamlet’s plight, and maybe even think that it makes sense of the plot in some way.

But personally, I agree with you. It just adds more confusion to an already complex play.