A nest of singing birds; 21; Shakespeare: A Survey
A nest of singing birds. Three centuries of English verse with a doctorate from just. Shakespeare. A survey this is not so much a survey as an attempt to isolate some specific qualities of Shakespeare's writing which we find in both his dramatic and his non dramatic work. When 40 winters showed besieged by Bravo and dig deep trenches in night beauty's field die you sprout liver a sow gaze down to be a tattered we have small worth then being asked where all by beauty lies where all the treasure of the last two days to say within Dian own deep sunken eyes and ill eating shame and thriftless praise how much more praise deserved to die beauty's use if thou could stand this fair child of mine shall some my count and make my old excuse
proving his beauty by succession dying. This were to be a new maid when the hour are told and see thy blood warm when thou feels deep cold. After that sonnet some blank verse from try to suppress it or know that I thought it could have been a woman as if it can and I will presume in you two feet for I lamp and flames of love to keep her constancy imply youth outlive him beauty is outward with a mind that death when you swifter than blood decay or that persuasion could but that's convinced me that my integrity in truth to your might be affronted with the match and waked up such a winnowed purity and love. How would I then uplifted.
But alas I am as true as truth simplicity and simpler than the infancy of truth. Now something from the narrative the Rape of Lucrece. They're pretty pleading eyes a sadly fixed in the remorseless wrinkles of his face a modest eloquence with sizes mixed which to her own a tree add small grace. She puts the period often from his place amidst the sentence so her accent breaks the TWI she does begin no one she speaks. Well you can say roughly that in each of those we are reading or listening to a poet who is precise who uses the exact word which the sense requires. There is a sloth ness of rhythm a music a vowel and consonant informed by meaning. There is coherence in the development of the thought. The images combine beauty and meaning. Let's hear the sonnet again.
When 40 winters showed besieged by a brothel and dig deep trenches in night beauty's field die you sprout liver a sow gazed on it would be a tattered we have small worth then being asked where all died beauty lies where all the treasure of the last two days to say within Dyne own deep sunken and ill eating shame and thriftless praise. How much more praise deserved to die beauty's use if thou could stand this fair child of mine shall some my count and make my old excuse proving his beauty by succession in this world to be a new maid when our art old and see dyed blood warm when the feeds did cold.
The first quote reign is precisely verbally and consistent in its development. The conceit is one of siege warfare. We have the terms besiege dig deep dig deep trenches feel proud livery that is bright splendid uniforms tattered weed tattered clothing. And notice in the last two lines how Shakespeare relates these units of expression to one another. The youth's proud livery and will be a tattered weed. Similarly we get related so gazed on and of small worth held when forty winters show besieged by a bridle and dig deep trenches in my beauty's field. Die you sprout liver a sow gazed on Ruby a tattered we are of small worth. That quatrain started when the next which develops from
it starts with the word then then being asked is related to to say the repetition is where or where all are related to within that I know deep sunken eyes. Then being asked where all di beauty lies where all the treasure of thy last the day is to say within deep sunken eyes and ill eating shame and thriftless praise. Now comes the counter statement. How much more praise does that I beauties use. If thou could stand this fair child of mine shall some I count and make my old excuse proving his beauty by succession dying. The word thriftless came at the end of the second quatrain. We're an all eating shame and thriftless praise
Shakespeare contrasts the idea of thrift us with that of beauties use use has an Elizabethan sense of usury that is bringing in interest earning interest. The poet develops this conceit in Shall some my count that is add up total and complete my account. Now comes the concluding statement. If when forty winters have besieged the brow and the person concerned can point to a child as the recipient receptacle of his beauty then this word to be new made when Art old and see thy blood warm when Dol feels deep cold. Here again we have precision of words with idea related coherently to an idea to be new made. Thou art old. See feel sed thy blood warm it
cold. The harmony of this sonnet obviously derives in part from such repetitions of sound as these when winters with the ends that besiege and the bee of beauties field besiege and dig deep trenches. On no and the vowel of B and weed and the Elves of small worth held and you notice the alliteration of this line of mine shall some my count and make my old excuse. But only as Individual Felicity's are the expression of the central coherence and precision of communicating what is imagined exactly and coherently.
When forty winters showed besieged by brio and dig deep trenches and night beauties field. Di use private deliveries so gays don't have to be a tatted we need of small worth then being asked where all di beauty lies. Where are all the treasure of the last eight days to say within the deep sunken eyes and ill eating shame and thriftless praise. How much more praise deserved to die beauty's use if thou could stand this fair child of mine shall some my count and make my old excuse proving his beauty by succession in this world to be a new maid when the hour art old and see thy blood warm when thou feel the state code.
Now for the passage from Troilus and Cressida at last they were alone together. He loves her but doesn't believe that she or any woman for that matter can love him with the same integrity. The smooth rhythm emerges from the relating of wood to wood. Oh that I thought it could be in a woman as if it can. I would presume he knew to feed for me to keep her constancy. The music of these lines comes in addition from the patterns of sounds such as out living beauties outward and noticed the relating of mind blood death three new DKs in outliving beauties outward with a mind a death for a new swifter than blood decays Chrisitian of words is combined with a repetition of sounds in the last two lines of try to speech. I am as true as truth simplicity
and simpler than the infancy of truth. There we have true truths of truth and simplicity simply noticed this sound effect simpler than the infancy. Oh that I thought it could be in a woman as if it can. I would presume in you to feed for I had a lamp and flames of love to keep our constancy and light and youth outliving beauties outward with a mind the death of a new swifter than blood decay. Or that persuasion could but that's convince me that my integrity and truth to you might be affronted with the match and weight of such a winnowed purity and love. How would I then uplift it. But alas I am as true as truth simplicity and simpler than the infancy of truth.
Now to our war we cue Shakespeare uses words in a similar way introduces Nick speech. Oh virtuous fight when right with right was who should be most right. The couplet is used here as an introduction to their war with one another. A battle to decide who should be most true. Troilus insists that in time to come true listen and truth will be interchangeable terms. His is a positive statement. She was with him by making a negative one to the same effect. If she is false to him then she is ready to be known for all time as the type of falsehood. How virtuous fight went right with the right wars who should be most right. True Swain's in love shall in the world to come. Approve their truth by trial or when their rhyme full of protest of oath and big compare want similar truth. Tired with iteration as true
was as planted to the moon as sun to day. It's total to her mate as I and adamant as. Earth to the center. Yet after all comparisons of truth as truth authentic also to be cited as true as Troilus crowding up the verse and sanctify the numbers. If Barbie falls or swerve a hair from truth when time is old and have forgot it so when water drops have worn the stones of Troy and blinder Bolivians swallowed cities up and mighty States characterless are graded to Dusty nothing yet led to memory from force to force among force maids in love upbraid my falshood when they've said as fools as in as water wind or sandy earth as Brocks to a
lamb as well to help as calf prod to the hind or step tame to her son. Yea let them say to stick the heart of falsehood has force has crested. Let's hear the whole of the section of the scene. Troilus and Cressida Act 3 scene too. It starts in prose as Pandarus re-enters. When you walk in my lord without blushing still have you not done talking yet. Well Uncle what folly I commit I dedicate to you. I thank you for that. If my lord get a boy of you you'll give him me. Be true to my lord if you flinch chide me for it. You know now we are hostages your uncle's word and my firm. Nay I'll give my word for her to our kindred though they be long as they are wooed they are constant to being one. They are birds I can tell
you. They'll stick where they are thrown. Boldness comes to me now and gives me heart. Prince Troilus I have loved you for many weary months. Why was my credit then so hard to win. To see one. But I was won my lord with the first glance that ever pardon me. If I confess much you will play the tyrant. I love you now but not till now so much but I might master it all in faith I lie. My thoughts were like unbridled children grown too headstrong for their mother. See we fools. Why have I blabbed. Who shall be true to us when we are so in secret to ourselves. But though I love you well why would you not. And yet good faith I wished myself a man or that we women had men's privilege of speaking first. Sweet.
Bid me hold my tongue. For in this rapture I shall surely speak the thing I shall repent. See. See your silence kind of thing in darkness for my weakness draws my very sour love counts so stop my mouth or be it sweet music issues then prattle. My lord I beseech you pardon me. Twas not my purpose thus to beg a kiss. I am ashamed. Heavens what if I died for this time will I take my leave my lord. Your lives with Christ when you take me to tomorrow morning you try you can change you. What a friends you lady. So mine own company. You cannot shine yourself. Let me go and try. I have a kind of self resides with you but an unkind self that
itself will leave to be another's food. I would be gone where you know not what I speak. Well know they what they speak but speak so wisely. But chance my lord I show more craft than love and fell so roundly to a large confession to angle for your thoughts but you are wise or else you love not for to be wise and love exceeds man's might that dwells with Gods above all that I thought it could be in a woman as if it were presuming you to feed for them but flames of love. To keep our constancy in light and youth outliving beauty is outward with a mind that the three new swifter than blood decay or that persuasion could but that's convince me that my integrity and
truth to you might be affronted with the match and weight of such a winnowed purity and love. How would I then uplifted. But alas I am as true as truth simplicity and simpler than the infancy of truth not how war we queue how virtuous fight went right to the right wars who should be most right. True Swain's in love shall in the world to come. Approve their truths by Troilus when their rhymes full of protest of oaths and big Cp. want similes. Truth tired with iteration as true as steel was planted to the moon as sun to day its total to her mate as I and adamant as Earth to the center. Yet after all comparisons of truth as truth also and take also to be cited as true as try less crowding up the verse
and sanctify the numbers proffered to May you be. If I'd be false or swerve a hair from truth when time is of old and have forgotten itself when water drops have worn the stones of Troy and blinder Bolivian swallowed cities up and mighty States characterless are grated to Dusty nothing yet let a memory from force to force among force maids in love upbraid my falshood when they've said as force as in as water wind or sandy earth as sparks to land as well to happen as calf prod to the hind or step tame to her son. Yea let them say to say take the heart of falsehood us false has crested go through a bargain.
Soon I'll be the witness. Here I hold your hand here my counsel if everyone prove false one to another. Since I have taken such pains to bring you together let all pitiful girls between be called to the world's end after my name call them all pander. Let all constant men be true as all false women and all brokers between panders say amen. Amen and Amen. Whereupon I will show you a chamber and a bed with a bed because it shall not speak of your pretty encounters press it to death and Cupid grant all tongue tied maidens here bed chamber and to provide this gear. We have listened closely to a non-dramatic Limerick a sonnet and to a dramatic passage in prose rhyme and blank verse. Now for
closer attention to Shakespeare's narrative the Rape of Lucrece again precision smoothness harmony complexity the stanza I have chosen is entirely descriptive. Her pretty pleading eyes are sadly fixed in the inmost less wrinkles of his face. There she lies. Her eyes hoping against hope to find some pity in the remotest wrinkles of his face. She speaks simply and directly sighing as she does and her sighs adorned rather than destroy the grace of her delivery. She often runs on and then suddenly stops in her distress and she often stops in the middle of a sentence and repeats herself uncertainly. The rhythm of the last line of this dancer is so satisfying because it derives from such a simple statement and which twice is related to once and she doth begin to. She speaks that twice she just begin there
once she speaks her pretty pleading eyes are sadly fixed in the remorseless wrinkles of his face. Her modest eloquence with sighs is mixed which to her own attorney had small grace. She puts the period often from his place amidst the sentence so her accent breaks the TWI she does begin no one she speaks. After lucre sends a messenger to recall her husband Khaled time she goes and looks at a painting of the sack of Troy and finds herself gazing with pity and bitterness on despairing Hecuba staring at her husband which bleeding on the pivots Proudfoot vies increases move to speak for hit Cuba in the next stanza. Shakespeare has put words in impeccable relationships to one another. Why should the private pleasure of someone become the public plague of many mo. There we have private pleasure public play.
Plague means death of someone of many mo. Let sin alone committed light alone that guiltless souls be freed from the guilty world. And for one. Why should so many and private in general. Why should the private pleasure of someone become the public plague of many let sin alone committed light alone upon his head that have transgressed it so that guiltless souls be freed from guilty for ones offense why should so many fall to playing a private sin in general. That stanza relates perfectly to its predecessor and to the one that follows the one before it ended with an admonishment to bearers. And here in Troy for trespass of thine eye the sire the son the dame and daughter died. The stanza which we have just heard comments on this injustice in doing for
ones offends why should so many for to play a private scene in general. And now we get details of so many who fall. Lo here weeps Hecuba here Priam dies here on Monday Hector Fame's here Troilus sounds. Sounds means swoons. Here friend by friend and bloody channelise and friend to friend gives unadvisedly and one man's lust these many lives confounds. Had doting prior checked his son's desire Troi had been bright with fame and not with fire. I love that last couplet with the antithesis bright with fame and not with fire. Show me the strumpet that began this with with my nails her beauty I met her the guy he took last found Paris did incur this
load of Wrath the burning Troy down there and I kindled the fire that burned it here and here in Troy for trespass of blind eyes the sire the sun the dame and daughter die. Why should the private pleasure of someone become the public plague of an animal let sin alone committed light alone upon his head that have transgressed it so that guiltless souls be freed from the guilty world for one's offense why should so many fall to playing a private sin in general. Lo here weeps Hecuba here prior guys here manly Hector Fame's here Troilus us here friend by friend and bloody channelise and friend to friend gives unadvisedly and one man's lust these many lives confounds had doting prior checked his desire.
Troy had been bright with fame and not with fire. Today I have tried in some small way to indicate Shakespeare's enormous command of language his music his complexity. But above all his precise clarity dividing time Bloodstar the lion's paws and make the earth devour her own sweet brood pluck the keen teeth from the fierce Tigers jaws and burned the long lived Phoenix in her blood make glad and Saudis seasons as I flee and do whatever the will to swift footed time to the wide world and all fading sweets. But I forbid the one most heinous crime carved not with Die hours my love's fair brow nor draw no lines there without an antique pain him in thy course untainted to allow for beauty is patent to succeeding men yet do thy worst old time despite die wrong my love shall in my verse ever live the young.
When the sessions of sweet silent thought I summon up Remembrance of Things Past I sigh the lack of many a thing I saw. And with a new way Oh my dear times ways then can I drown and I used to flow. Poor precious friends he'd in death's dateless night and weep afresh lives long since cancelled whirl and moan the expense of many advantage side. Then can I grieve at grievances for gone and heavily from the sad account of forbidden moon which I knew pay as if not paid before. But if the choir will I think on the dear friend all losses are restored.
You have been listening to a talk on Shakespeare. This of the readers were Duncan Ross shot a dirty Malcolm Blanc Elizabeth Shepherd and talent scout. This is better than Joseph inviting you to be with us again next week. This program was produced by Radio Broadcast Services of the University of Washington under a grant from the Corporation for Public Broadcasting. This is the national educational radio network.
- A nest of singing birds
- Episode Number
- Shakespeare: A Survey
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- No description available
- Media type
- AAPB Contributor Holdings
University of Maryland
Identifier: 70-3-21 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “A nest of singing birds; 21; Shakespeare: A Survey,” 1970-00-00, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 29, 2024, http://americanarchive.org/catalog/cpb-aacip-500-319s5h85.
- MLA: “A nest of singing birds; 21; Shakespeare: A Survey.” 1970-00-00. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 29, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-319s5h85>.
- APA: A nest of singing birds; 21; Shakespeare: A Survey. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-319s5h85