Shakespeare Fan Fiction, for Writing Badge

So, I created a new scene borrowing lines from Romeo and Juliet, Hamlet, Othello, and even Twelfth Night.  In this scene, Hamlet is interrupted by Roderigo, and craziness ensues.

This has to be the most fun I’ve had with an English assignment.

 

[Enter HAMLET]

 

HAMLET: To be, or not to be that is the question. Whether ‘tis nobl’er-

 

[Enter RODERIGO]

 

RODERIGO: Oh heaven! O, I have lost my reputation! Abhor me!

 

HAMLET: Hic et ubique? Come come, you’re drunk.

 

RODERIGO: I am not drunk now,

But alas, that love, whose view is muffled still,

Should, without eyes, see pathways to his will!

Bid a sick man in sadness make his will:

Ah, word ill urged to one that is so ill!

In sadness, I do love a woman,

Then she hath sworn that she will still live chaste.

Dost thou not laugh?

 

HAMLET: There was no such stuff in my thoughts. [Aside] O, there has been much throwing about of brains. And he grows angry.

What may you be? are you of good or evil?

 

RODERIGO: Tut, I have lost myself; I am not here. There is nothing either good or bad, but thinking makes it so.

 

HAMLET: ’tis true.

 

[Aside]

 

This is the very ecstasy of love,

Whose violent property fordoes itself

And leads the will to desperate undertakings

As oft as any passion under heaven

That does afflict our natures.

 

RODERIGO: What country, friend, is this?

 

HAMLET: A goodly one; in which there are many confines, wards and dungeons.

 

RODERIGO: You must not think then that I am drunk. [Aside] Are his wits safe? is he not light of brain?

God bless you, sir!

 

[Exits]

 

HAMLET: Is the day so young?

Tis now the very witching time of night,

When churchyards yawn and hell itself breathes out

Contagion to this world: now could I drink hot blood,

And do such bitter business as the day

Would quake to look on.

Ay me! sad hours seem long.

But soft you now!

The fair Ophelia! Nymph, in thy orisons

Be all my sins remember’d.

 

[Enter OPHELIA]

 

OPHELIA: Good my lord, was that my father that went hence so fast?

 

HAMLET: Ha! a dull and muddy-mettled rascal.

 

OPHELIA: My lord?

 

HAMLET: O my fair warrier!

She’s a most exquisite lady.

And, I’ll warrant her, fun of game.

 

OPHELIA: What means your lordship?

 

HAMLET: What an eye she has! methinks it sounds a parley of provocation.

 

OPHELIA: What means this, my lord?

 

HAMLET: And when she speaks, is it not an alarum to love?

 

OPHELIA: O, help him, you sweet heavens!

 

HAMLET: It is offended. A scullion! The lady protests too much, methinks.

 

[Enter POLONIUS]

 

HAMLET: Who’s there?

 

POLONIUS: How now, Ophelia! what’s the matter?

 

HAMLET: Between who?

 

POLONIUS: God-a-mercy. Do you know me, my lord?

 

HAMLET: Nay, I know not:

Is it the king?

 

POLONIUS: Not I, my lord.

[Aside]

He is far gone, far gone: and

truly in my youth I suffered much extremity for

love; very near this. I’ll speak to him again.

What is the matter, my lord?

 

HAMLET: Sir, I lack advancement. This to your majesty; this to the queen:

For thou dost know, O Damon dear,

This realm dismantled was

Of Jove himself; and now reigns here

A very, very–pajock.

 

OPHELIA: You are as good as a chorus, my lord.

 

[Enter RODERIGO]

 

RODERIGO: Where shall we dine? O me! What fray was here?

But soft! O, she doth teach the torches to burn bright!

Beauty too rich for use, for earth too dear!

So shows a snowy dove trooping with crows,

As yonder lady o’er her fellows shows.

Touching hers, make blessed my rude hand.

Did my heart love till now? forswear it, sight!

For I ne’er saw true beauty till this night.

 

OPHELIA: Good pilgrim, you do wrong your hand too much,

Which mannerly devotion shows in this;

For saints have hands that pilgrims’ hands do touch,

And palm to palm is holy palmers’ kiss.

 

RODERIGO: You kiss by the book.

 

POLONIUS: No, by no means

Go on; I’ll follow thee.

 

[Exit RODERIGO, OPHELIA]

 

HAMLET: What, the fair Ophelia!

 

POLONIUS: My lord, this is the very ecstasy—

 

HAMLET: Words, words, words.

I loved Ophelia: forty thousand brothers

Could not, with all their quantity of love,

Make up my sum. What wilt thou do for her?

Away to heaven, respective lenity,

And fire-eyed fury be my conduct now!

Hold off your hands.

 

[Drawing]

 

[Re-enter RODERIGO]

 

HAMLET: Here, at thy hand: be bold, and take thy stand. Villain, thou diest!

 

RODERIGO: O wretched villain!

 

[Draws, makes a pass at HAMLET]

 

[HAMLET stabs RODERIGO]

 

RODERIGO: O, I am slain!

 

[Dies]

 

POLONIUS: O, what a rash and bloody deed is this! Help, help, ho!

 

[Exits]

 

HAMLET: Thou wretched, rash, intruding fool, farewell!

Take thy fortune; Thou find’st to be too busy is some danger.

For this same lord,

I do repent. But heaven hath pleased it so,

To punish me with this and this with me,

That I must be their scourge and minister.

I will bestow him and will answer well

The death I gave him:

Thus conscience does make cowards of us all;

And thus the native hue of resolution

Is sicklied o’er with the pale cast of thought,

And enterprises of great pith and moment

With this regard their currents turn awry,

And lose the name of action.

 

[Indicates RODERIGO]

 

This man shall set me packing.

I’ll lug the guts into the neighbor room.

 

[Exit HAMLET, dragging RODERIGO]

My Second Sonnet

Unrequited

It’s not in the stars for me to feel so,

Though the pining in your eyes makes me sad.

Unfortunately my feelings won’t grow,

I would rather you hate me and be mad.

 

You might wonder why my heart feels this way,

Perhaps I am vain, perhaps I am cold,

I really wish I could know what to say.

I apologize for being so bold.

 

Shall I say that it is not you, but me?

This chaotic heart of mine has no room,

It would be best if you just leave me be.

This cold and vain heart just might be my doom.

 

Cruel, but true I simply cannot love you,

I am sorry my feelings never grew.

 

 

 

 

 

Visual Memory – King Lear Part 2

The level of enjoyment I am deriving from drawing these might be considered concerning.

Everyone knows that a letter you find on the floor is conclusive proof of any and all plots of treason
Everyone knows that a letter you find on the floor is conclusive proof of any and all plots of treason
Miscommunication 101
Miscommunication 101
Edmund is so pleased with himself.
Edmund is so pleased with himself.
Goneril is the queen of believable excuses.
Goneril is the queen of believable excuses.
Sylvester McCoy arrives with advice
Sylvester McCoy arrives with advice and comic relief
Kent joins Lear's court. Again.
Kent joins Lear’s court. Again.
Kent kicks Oswald around like a football.
Kent kicks Oswald around like a football.
Lear and Goneril are both 100% done. Albany is confused.
Lear and Goneril are both 100% done. Albany is confused.

Visual Memory – King Lear Part 1

So I was bored during Spanish.  Desperately bored.  I suck at languages (unless, of course, it’s from Middle Earth), and when I get bored-slash-feel hopelessly inadequate, I doodle.  A lot.  Today, my pen chose King Lear.  So I started drawing little comic strips to help me remember major plot points and situations I found amusing.  I thought maybe I could go for some badge points, and I’m going to try to get through the whole play.  Ready for some silly, weirdly drawn comics? Let’s do this!

Timing, Gloucester. Timing.
Timing, Gloucester. Timing.
Lear is not quite in his right mind...
Lear is not quite in his right mind… Wrong movie, Dad.
You've gotta not be twisted if you want to walk with the Queen.
You cannot be twisted if you want to walk with the Queen. Also, France is the real winner here.
The sisterly love is overwhelming
The sisterly love is overwhelming

So there you have it… The first part of King Lear in… what? Ten seconds? Maybe I’ll try to finish up the rest of the play… I will always prioritize Shakespeare over Spanish. 😉

Writing Badge – Reshuffling Lines

I’ve reshuffled lines from King Lear, Hamlet, and Macbeth to create a new scene.  The back story of this scene is that Hamlet, who is pretending to be mad, has killed a man for his quest to find his long-lost father. Hamlet and his companions run into the mad  King Lear -who bears uncanny resemblance to Hamlet’s father- and three mysterious witches with strange powers and secrets…

 

Enter HAMLET

HAMLET.    Tis now the very witching time of night,
When churchyards yawn and hell itself breathes out
Contagion to this world: now could I drink hot blood,
And do such bitter business as the day
Would quake to look on.

ROSENCRANTZ and GUILDENSTERN.  [Within] Hamlet! Lord Hamlet!

MARCELLUS and HORATIO. [Within] My lord, my lord,–

HAMLET.   What noise? who calls on Hamlet?
O, here they come.

Enter ROSENCRANTZ, GUILDENSTERN, MARCELLUS, and HORATIO

HAMLET.   I am but mad north-north-west: when the wind is
southerly I know a hawk from a handsaw.

ROSENCRANTZ.  What have you done, my lord, with the dead body?

HAMLET.   Compounded it with dust, whereto ’tis kin.

ROSENCRANTZ.  Tell us where ’tis, that we may take it thence
And bear it to the chapel.

 HAMLET. The body is with the king, but the king is not with
the body. The king is a thing—

GUILDENSTERN. A thing, my lord!

HAMLET. Of nothing: bring me to him. Hide fox, and all after.

ROSENCRANTZ. My lord, you must tell us where the body is, and go
with us to the king.

Enter KING LEAR

KING LEAR. Dost thou know me, fellow?

MARCELLUS. Is it not like the king?

HAMLET. [Aside] The king my father!

KING LEAR. First let me talk with this philosopher.
What is the cause of thunder?

HAMLET. [Aside] But no more like my father

Than I to Hercules

Slanders, sir: for the satirical rogue says here
that old men have grey beards, that their faces are
wrinkled, their eyes purging thick amber and
plum-tree gum and that they have a plentiful lack of
wit, together with most weak hams: all which, sir,
though I most powerfully and potently believe, yet
I hold it not honesty to have it thus set down, for
yourself, sir, should be old as I am, if like a crab
you could go backward.

GUILDENSTERN. Good my lord, put your discourse into some frame and start not so wildly from my affair.

KING LEAR.              Pray, do not mock me:
I am a very foolish fond old man,
Fourscore and upward, not an hour more nor less;
And, to deal plainly,
I fear I am not in my perfect mind.

Storm still. Enter KENT and Fool

KENT. Alack, bare-headed!
Gracious my lord, hard by here is a hovel;

Here is the place, my lord; good my lord, enter:
The tyranny of the open night’s too rough
For nature to endure.

KING LEAR. Prithee, go in thyself: seek thine own ease:
This tempest will not give me leave to ponder
On things would hurt me more. But I’ll go in.

To the Fool

In, boy; go first. You houseless poverty,–
Nay, get thee in. I’ll pray, and then I’ll sleep.

KENT. Now, good my lord, lie here and rest awhile.

KING LEAR. Make no noise, make no noise; draw the curtains:
so, so, so. We’ll go to supper i’ he morning. So, so, so.

(Falls asleep outside)

KENT.        Oppressed nature sleeps:
This rest might yet have balm’d thy broken senses,
Which, if convenience will not allow,
Stand in hard cure.

Fool. This cold night will turn us all to fools and madmen.

Fool goes in

ALL (Three Witches). Fair is foul, and foul is fair:
Hover through the fog and filthy air.

The Fool runs out from the hovel

Fool. Come not in here, nuncle, here’s a spirit
Help me, help me!

KENT. Give me thy hand. Who’s there?

First Witch. When shall we three meet again
In thunder, lightning, or in rain?

Second Witch. When the hurlyburly’s done,
When the battle’s lost and won.

Third Witch. That will be ere the set of sun.

HAMLET.                 The air bites shrewdly; it is very cold.

HORATIO. It is a nipping and an eager air.

KENT. Who’s there, besides foul weather?

What art thou that dost grumble there i’ the straw?
What is’t you seek? Come forth.

Thunder. Enter the three Witches

First Witch. Speak.

Second Witch. Demand.

Third Witch. We’ll answer.

First Witch. Say, if thou’dst rather hear it from our mouths,
Or from our masters?

ALL (Three Witches). Come, high or low;
Thyself and office deftly show!

Thunder. Enter Ghost

HORATIO. Look, my lord, it comes!

HAMLET. Angels and ministers of grace defend us!
Be thou a spirit of health or goblin damn’d,
Bring with thee airs from heaven or blasts from hell,
Be thy intents wicked or charitable,
Thou comest in such a questionable shape
That I will speak to thee: I’ll call thee Hamlet,
King, father, royal Dane: O, answer me!

Ghost beckons HAMLET

HORATIO. It beckons you to go away with it,
As if it some impartment did desire
To you alone.

ALL (Three Witches).       Double, double toil and trouble;
Fire burn and cauldron bubble.

MARCELLUS. Shall I strike at it with my partisan?

HORATIO. Do, if it will not stand.

‘Tis here!

MARCELLUS.                  ‘Tis gone!

The Witches and the Ghost vanish

HORATIO.              What does this mean, my lord?

MARCELLUS. Look, with what courteous action
It waves you to a more removed ground:
But do not go with it.

HORATIO. Do not, my lord.

 HAMLET. My fate cries out,
And makes each petty artery in this body
As hardy as the Nemean lion’s nerve.
Still am I call’d. Unhand me, gentlemen.
By heaven, I’ll make a ghost of him that lets me!
I say, away! Go on; I’ll follow thee.

Exeunt HAMLET

GUILDENSTERN. My honoured lord!

ROSENCRANTZ. My most dear lord!

Exeunt ROSENCRANTZ and GUILDENSTERN

HORATIO. O day and night, but this is wondrous strange!

MARCELLUS. Something is rotten in the state of Denmark.

HORATIO. Heaven will direct it.

MARCELLUS. Nay, let’s follow him.

Exeunt MARCELLUS and HORATIO

KENT.            By Juno, I swear,

How unnatural and bemadding.

To the Fool

Come, help to bear thy master;
Thou must not stay behind.

 Exeunt all

Differences between modern and elizabethan theatre!

Theatre has evolved in copious amounts since the Elizabethan era. Though there is huge contrast in the Elizabethan versus Modern theatre, modern theatre could not have evolved without it. The fact that modern play writs still reference Elizabethan tactics in production, proves that such an era was essential to modern day theatres evolution. Along such evolutions though, we have also left many traditions in the past. Such instances are evident in the following:

In Modern theatre, men and women are active in all theatre production. However back in Elizabethan era, women were not allowed such a career. Men were often looked at as superior over women, and therefore a career in such a public setting, was not open to a female cast. Men played male and female roles in all theatre productions, often with teenage boys playing the roles of women, due to their not fully developed stature and build.

Another difference between Elizabethan and Modern theatre is that Elizabethan theatre was much more audience interactive. The cheaper seats were right in front of the stage- usually where the poor stood. This created a very interactive theatre as audience members could reach out and touch actors, talk to them, and comment on the play. It is said that if the audience did not enjoy aspects of the play, that rotten food would be thrown. This is much different than modern day, where attending performing arts is that of a formal event.

In relation to the Elizabethan theatre being more interactive, Elizabethan stage was more open and accessible to the audience. Rather than in modern day, where stages are often risen above a sitting crowd, with enclosed walls that portray a frame like moving picture. The Elizabethan stage is close to the ground, the actors performing on a platform easily accessible by all audience members. Attendees in the Elizabethan era could stand on three sides of the platform.

Modern day theatre also has advanced technology compared to the Elizabethan era. In modern theatre, performances are enhanced by microphones, which enhance the audiences ability to hear and understand all the performers have to say. Stage lights also enhance the theatrical experience, as they can direct and redirect light for audience members to focus on certain aspects. The stage lights can also hide stage and prop changes. Music is also an enormous factor when it comes to performing. Although musicians were present, modern day theatre has access to sound effects, and any kind of music, at any given moment. The projection of sound from live musicians would also project more efficiently in modern theatre. The projection of sound would not be as effective as the theatres were open arenas, which allowed for background noise and a lack of amplifying of sound within the theatre.

Sources

http://www.bartleby.com/216/1017.html

http://www.william-shakespeare.info/elizabethan-theatre-facts.htm

Macbeth, Folger Shakespeare Library; Painting.

 

004536

 

This image of the play Macbeth, stemming from Act 4 Scene 1, portrays Macbeth consulting the three witches. Throughout the play, Macbeth becomes obsessed with the unnatural essence they pertain to. One may hold the witches accountable for insinuating the tragedy that takes place in Macbeth. Due to the witches confirming what Macbeth had already suspected, one may infer that their apparitions confirmed his suspicions, which lead him to his eventual demise. In this scene, the witches call upon an apparition that informs Macbeth “Be bloody, bold, and resolute. Laugh to scorn
The power of man, for none of woman born | Shall harm Macbeth.”; Which ignites a sense of over-confidence within Macbeth, implying that he is virtually indestructible unless someone not born by a women comes to kill him. This piece of artistry exemplifies one of the most prevalent reasons Macbeth comes upon his tragedy. This painting is substantial as it is a permanent exemplar of Shakespeare’s most reoccurring and famous themes within his writing; that of tragedy. 

On another note, this painting represents an incredibly famous quote, that many modern individuals use today. “Double, double toil and trouble, | Fire burn, and cauldron bubble.” This quote, spoken by all witches in unison.

Sources

Folger Shakespeare Library; Collection Library : Works of Art.

http://www.folger.edu/works-of-artHenry Fuseli (1741–1825) – 

Shakespeare, William. Macbeth, 1623. England:John Heminges and Henry Condell; First Folio edition, 1623. Print.

http://nfs.sparknotes.com/macbeth/page_134.html

 

Voyant – Sonnet 113

In Shakespeare’s Sonnet 113, there is repetitive references to ones mind. Highlighted in Voyant, Shakespeare uses the word “mind” to repeatedly express the hinderances he has felt since leaving his beloved. Highlighting “mind” allowed me to understand the importance of how his inner struggle has effected his perceptions of the outer world. Shakespeare also as shown below, uses the word “mind” once at the begging, middle, and as well as the end. This enhances the importance of such word as it progresses throughout the entire sonnet.

Screen Shot 2015-02-24 at 2.19.27 PM

Although Shakespeare makes numerous references towards his sight and its relation to his mind, Voyant only draws on exact word repetitions. This caused somewhat of a hinderance to my analysis, as Volant does not draw on similar words, only ones that are completely the same. When Shakespeare writes “For if it see the rudest or gentlest sight,” the words do not come up in relation to “eye” due to the fact they are not the exact word. This created some discrepancies when using Voyant, as is does not show all relative or related words.

Shakespeare makes constant references to the disconnection his sight and mind;  “mine eye is in my mind,”, exemplifying that since he left, his eye is not reflecting that of which he is really seeing, but that of which his mind wants him to see. He also instates “Nor his own vision holds what it doth catch :”, once again exemplifying how his vision is disconnected from that is which he is really seeing.

 

Voyant

One issue I found when using Voyant to analyze my text was the highlighting of the words such as “the” or “it”. Although there are quite a few repetitions of these words, they prescribe no relevance to major themes or symbols within a piece. Screen Shot 2015-02-24 at 2.26.01 PM