I love this speech. I love how long Juliet talks for, how she's a mess of desires and doubts, what a big soppy sugar-rush of love it all is.
I love how you can hear the voice in her head saying "stop talking!" all the way through.
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Let's look at the last few lines:
"Therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered."
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Juliet is caught between living up to the expectations of a respectable young lady, and wanting to confess her love for Romeo.
That "pardon me" is said in the hope that Romeo won't get the wrong impression of her.
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"Yielding" is an interesting choice of word -- it suggests J has lost something or given something up to Romeo. She has confessed her love, and in doing so lost the tactical advantage of witholding that confession. There's also the suggestion of wanting to yield herself up.
4/
"light love" suggests insincerity but also carries the meaning of "wanton" (thanks, Arden edition!).
Juliet is saying that just because she was open about her love for Romeo she isn't casual or lustful about it. She's not THAT type of girl.
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That last line is brilliant too: "Which the dark night hath so discovered."
Romeo and Juliet's love is something discovered in the dark -- erotically charged but destined to stay concealed.
6/6
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The extent to which the Witches cause rather than predict M's tragedy is deliberately ambiguous. And that's entirely Shakespearean: his tragedies always deal in blurred lines between fate, individual agency and outside influence.
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Shakespeare uses foreshadowing and verbal echoes to create the effect that the Witches are influencing events. We might say they create a pattern of events.
In Act 1 Sc 1 their line "fair is foul and foul is fair" is rich with meaning for the play as a whole.
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And of course, their influence over Macbeth is demonstrated when his first line in the play is "So foul and fair a day I have not seen" (Act 1 Sc 3).
The First Witch's speech in Act 1 Sc 3 is also worth exploring for its foreshadowing:
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Thinking about SLEEP and SLEEPLESSNESS in Macbeth.
Sleep is mentioned 34 times in the play. Sleep represents what we today might call "mental health": rationality, clear thought, natural order.
"Balm of hurt minds...Chief nourisher in life's feast", indeed (Act 2 Sc 2)
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Sleeplessness, conversely, is the sign of a damaged mind, of corruption, of the influence of evil.
In fact, the motif of sleeplessness is introduced in 1:3 by the First Witch as she plans to torture a sailor:
"Sleep shall neither night nor day / hang upon his penthouse lid"
2/
The first character to experience sleeplessness in the play is Banquo:
"A heavy summons lies like lead upon me,
And yet I would not sleep. Merciful powers,
Restrain in me the cursèd thoughts that nature
Gives way to in repose." (2:1)
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The influence of the mystery / whodunnit genre on An Inspector Calls is under-recognised. The formula, of a detective arriving at a well-to-do house with a family of unlikeable characters, was well established by 1945.
This was the era of Agatha Christie!
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Christie was already writing for the stage by 1945 and in her fiction had already begun to experiment with the genre: including, for example, Murder on the Orient Express whose punchline is *SPOILER* that every suspect with a motive helped to kill the victim.
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AIC uses the conventions of the genre to create its structure and tension. We know that all the Birlings (and Gerald) will be somehow related to the girl's death...but how? The first audiences probably expected that one of them was directly responsible or involved...
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Act 1 Sc 2
SOLDIER: "His brandish'd steel / Which smoked with bloody execution."
The soldier's account of Macbeth's exploits in battle establish him as a fierce warrior capable of bloody violence.
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The play sets up a contrast between Macbeth's skill and savagery in battle, shedding the blood of countless enemies, and his doubt and self-torment over killing one man when it's the King himself.
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"Blood" changes its meaning throughout the play: in battle, blood is a symbol of patriotism and heroism. Duncan tells the soldier his wounds "smack of honour". But later blood becomes a symbol of guilt and inescapable consequences.
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