BB: Short Poems, Sonnets 6-11

artwork - Leigh McRae — artwork – Leigh McRae

This post was up in February, but for some reason didn’t upload to iTunes. Hopefully this does the trick. Apologies from the Bard Brawl

— DJR

It’s been a while since the last (and first) Bard Brawl’s sonnets podcast but we’re back with the second installment of Shakespeare’s sonnets, as read by our lovely sonneteers. And just in time for Saint-Valentine’s day.

I’ve taken the liberty of ‘translating’ the main argument (that’s sort of the plot or central progression of images of the poem) into something close to my own version of everyday English.

Listen to or download the podcast.

Sonnet 6 (Episode: Coriolanus, Act V, Read by: Laura Pellicer)

Then let not winter’s ragged hand deface
In thee thy summer, ere thou be distill’d:
Make sweet some vial; treasure thou some place
With beauty’s treasure, ere it be self-kill’d.
That use is not forbidden usury,
Which happies those that pay the willing loan;
That’s for thyself to breed another thee,
Or ten times happier, be it ten for one;
Ten times thyself were happier than thou art,
If ten of thine ten times refigured thee:
Then what could death do, if thou shouldst depart,
Leaving thee living in posterity?
Be not self-will’d, for thou art much too fair,
To be death’s conquest and make worms thine heir.

Argument: Don’t let old age get to you! Find a way to bottle some of those youthful good looks for later… hey, I have an idea: if you have ten kids and they have ten kids, then you’ll have a hundred copies of your awesomeness! FYI, if you don’t then the only people who get a piece of your beauty are the worms who will eat your corpse. Just saying.

Sonnet 7 (Episode: Henry VI, Part I, Act I, Read by: Melissa Myers)

Lo! in the orient when the gracious light
Lifts up his burning head, each under eye
Doth homage to his new-appearing sight,
Serving with looks his sacred majesty;
And having climb’d the steep-up heavenly hill,
Resembling strong youth in his middle age,
yet mortal looks adore his beauty still,
Attending on his golden pilgrimage;
But when from highmost pitch, with weary car,
Like feeble age, he reeleth from the day,
The eyes, ‘fore duteous, now converted are
From his low tract and look another way:
So thou, thyself out-going in thy noon,
Unlook’d on diest, unless thou get a son.

Argument: In the morning (and when you’re young) everybody looks up admiringly at you. And even when you get a little older but are still young-ish like sun at noon, then people still want to be and get with you. But once you’re old and ugly, no one cares to pay any attention to you anymore. So, unless you have a son, you will die alone and unnoticed. (Ouch!)

Sonnet 8 (Episode: Taming of the Shrew, Act IV, Read by: Virginie Tremblay)

Music to hear, why hear’st thou music sadly?
Sweets with sweets war not, joy delights in joy.
Why lovest thou that which thou receivest not gladly,
Or else receivest with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering,
Resembling sire and child and happy mother
Who all in one, one pleasing note do sing:
Whose speechless song, being many, seeming one,
Sings this to thee: ‘thou single wilt prove none.’

Argument: Why are you annoyed by beautiful music? If you’re annoyed by harmony that’s because they’re making fun of your refusal to seek out a harmonious marriage. In the end, a family is like music with father, mother and child where together the create something beautiful and proper. Their message? You can’t make either music or children alone.

Sonnet 9 (Episode: Taming of the Shrew, Act III, Read by: Kayla Cross)

Is it for fear to wet a widow’s eye
That thou consumest thyself in single life?
Ah! if thou issueless shalt hap to die,
The world will wail thee, like a makeless wife;
The world will be thy widow and still weep
That thou no form of thee hast left behind,
When every private widow well may keep
By children’s eyes her husband’s shape in mind.
Look what an unthrift in the world doth spend
Shifts but his place, for still the world enjoys it;
But beauty’s waste hath in the world an end,
And kept unused, the user so destroys it.
No love toward others in that bosom sits
That on himself such murderous shame commits.

Argument: Oh, I get it: you don’t want to find a wife because you’re afraid that you’ll just make her sad if you die before her. But, think about how much worse it would be to die with no children? Then everybody else will be bawling because there’s no one around with your special blend of dashing good looks. At least a widow can remember her husband through her children! So, if you don’t have any kids you destroy yourself. And so that makes you a murdered for being so selfish and self-centered.

Sonnet 10 (Episode: Taming of the Shrew, Act V, Read by: Maya Pankalla)

For shame deny that thou bear’st love to any,
Who for thyself art so unprovident.
Grant, if thou wilt, thou art beloved of many,
But that thou none lovest is most evident;
For thou art so possess’d with murderous hate
That ‘gainst thyself thou stick’st not to conspire.
Seeking that beauteous roof to ruinate
Which to repair should be thy chief desire.
O, change thy thought, that I may change my mind!
Shall hate be fairer lodged than gentle love?
Be, as thy presence is, gracious and kind,
Or to thyself at least kind-hearted prove:
Make thee another self, for love of me,
That beauty still may live in thine or thee.

Argument: You’re kind of a jerk, you know that? All of these people love you and yet you don’t love any of them back! In fact, you’re willing to kill yourself and deny everyone your wonderful self. You’re getting older by the minute and you should totally deal with that ASAP instead of just pretending it’s not happening. How can I convince you to have a kid? If you won’t do it for yourself, then have a little pity and do it for me.

Sonnet 11 (Episode: Coriolanus, the Speeches, Read by: Esther Viragh)

As fast as thou shalt wane, so fast thou growest
In one of thine, from that which thou departest;
And that fresh blood which youngly thou bestow’st
Thou mayst call thine when thou from youth convertest.
Herein lives wisdom, beauty and increase:
Without this, folly, age and cold decay:
If all were minded so, the times should cease
And threescore year would make the world away.
Let those whom Nature hath not made for store,
Harsh featureless and rude, barrenly perish:
Look, whom she best endow’d she gave the more;
Which bounteous gift thou shouldst in bounty cherish:
She carved thee for her seal, and meant thereby
Thou shouldst print more, not let that copy die.

Argument: As you get older, you kids will grow up and eventually look like you do now, pre-old man. having kids is the beautiful, wise and right thing to do. Not having kids is stupid and you’ll grow old senile and alone. What if everybody decided not to have kids? Thin in thirty years there would be no one left. Sure, ugly people shouldn’t have kids but, come on: you’re one of the pretty ones! So, print up some copies of yourself for the sake of the human race!

Stay tuned for more poetry coming soon!

(Podcast recorded and edited by Daniel J. Rowe, Show notes by Eric Jean)

Stay in touch, Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

March 9, 2013 0

BB: Short Poems, Sonnets 6-11

I’ve taken the liberty of ‘translating’ the main argument (that’s sort of the plot or central progression of images of the poem) into something close to my own version of everyday English.

Listen to the podcast – here –

Download the podcast.

Sonnet 6 (Episode: Coriolanus, Act V, Read by: Laura Pellicer)

Then let not winter’s ragged hand deface
In thee thy summer, ere thou be distill’d:
Make sweet some vial; treasure thou some place
With beauty’s treasure, ere it be self-kill’d.
That use is not forbidden usury,
Which happies those that pay the willing loan;
That’s for thyself to breed another thee,
Or ten times happier, be it ten for one;
Ten times thyself were happier than thou art,
If ten of thine ten times refigured thee:
Then what could death do, if thou shouldst depart,
Leaving thee living in posterity?
Be not self-will’d, for thou art much too fair,
To be death’s conquest and make worms thine heir.

Sonnet 7 (Episode: Henry VI, Part I, Act I, Read by: Melissa Myers)

Lo! in the orient when the gracious light
Lifts up his burning head, each under eye
Doth homage to his new-appearing sight,
Serving with looks his sacred majesty;
And having climb’d the steep-up heavenly hill,
Resembling strong youth in his middle age,
yet mortal looks adore his beauty still,
Attending on his golden pilgrimage;
But when from highmost pitch, with weary car,
Like feeble age, he reeleth from the day,
The eyes, ‘fore duteous, now converted are
From his low tract and look another way:
So thou, thyself out-going in thy noon,
Unlook’d on diest, unless thou get a son.

Sonnet 8 (Episode: Taming of the Shrew, Act IV, Read by: Virginie Tremblay)

Music to hear, why hear’st thou music sadly?
Sweets with sweets war not, joy delights in joy.
Why lovest thou that which thou receivest not gladly,
Or else receivest with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering,
Resembling sire and child and happy mother
Who all in one, one pleasing note do sing:
Whose speechless song, being many, seeming one,
Sings this to thee: ‘thou single wilt prove none.’

Sonnet 9 (Episode: Taming of the Shrew, Act III, Read by: Kayla Cross)

Is it for fear to wet a widow’s eye
That thou consumest thyself in single life?
Ah! if thou issueless shalt hap to die,
The world will wail thee, like a makeless wife;
The world will be thy widow and still weep
That thou no form of thee hast left behind,
When every private widow well may keep
By children’s eyes her husband’s shape in mind.
Look what an unthrift in the world doth spend
Shifts but his place, for still the world enjoys it;
But beauty’s waste hath in the world an end,
And kept unused, the user so destroys it.
No love toward others in that bosom sits
That on himself such murderous shame commits.

Sonnet 10 (Episode: Taming of the Shrew, Act V, Read by: Maya Pankalla)

For shame deny that thou bear’st love to any,
Who for thyself art so unprovident.
Grant, if thou wilt, thou art beloved of many,
But that thou none lovest is most evident;
For thou art so possess’d with murderous hate
That ‘gainst thyself thou stick’st not to conspire.
Seeking that beauteous roof to ruinate
Which to repair should be thy chief desire.
O, change thy thought, that I may change my mind!
Shall hate be fairer lodged than gentle love?
Be, as thy presence is, gracious and kind,
Or to thyself at least kind-hearted prove:
Make thee another self, for love of me,
That beauty still may live in thine or thee.

Sonnet 11 (Episode: Coriolanus, the Speeches, Read by: Esther Viragh)

As fast as thou shalt wane, so fast thou growest
In one of thine, from that which thou departest;
And that fresh blood which youngly thou bestow’st
Thou mayst call thine when thou from youth convertest.
Herein lives wisdom, beauty and increase:
Without this, folly, age and cold decay:
If all were minded so, the times should cease
And threescore year would make the world away.
Let those whom Nature hath not made for store,
Harsh featureless and rude, barrenly perish:
Look, whom she best endow’d she gave the more;
Which bounteous gift thou shouldst in bounty cherish:
She carved thee for her seal, and meant thereby
Thou shouldst print more, not let that copy die.

Stay tuned for more poetry coming soon!

(Podcast recorded and edited by Daniel J. Rowe, Show notes by Eric Jean)

Stay in touch, Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

February 14, 2013 3

BB: Henry VI Part 1, Act I

Welcome fellow Brawlers to our recording of the first act of Henry VI, part 1.

Artwork - Stephanie E.M. Coleman — Artwork – Stephanie E.M. Coleman

Listen to the podcast – here –

Now that we know a bit about what we’re diving into, here’s a quick run-down of the first act of the play.

The play begins in England, at Westminster abbey, with various lords in attendance at Henry V’s funeral. Already the Bishop of Winchester and the Duke of Gloucester: Winchester does not seem to approve of Gloucester being entrusted to rule the realm and Gloucester seems to think that Winchester is a priest far too concerned with secular matters. A messenger interrupts them and we learn that the French have made some headway in fighting off the English. It seems the troops on the continent were poorly supported. Another messenger announces that the French have crowned the Dauphin Charles VII and that he begins to gather a following. It seems also that Lord Talbot, the leader of the English forces in France, has been taken prisoner. Bedford, the English regent of France, promises to ransom him and commits himself to the war effort. Gloucester meanwhile intends to formalize the ascension of the infant Henry VI and ensure his safety. Lastly, Winchester announces that he will capture the king though to what specific end is not yet clear.

We are introduced to the French court for the first time in act I, scene 2. They are laying siege to the city of Orleans and we learn that the French have re-conquered most of the major cities of France. Despite their recent victories, the French are beaten back by the forces of the Earl of Salisbury. Moments after they are pushed back, the Bastard of Orleans describes a divinely inspired peasant girl – Joan la Pucelle (Joan of Arc) – who he has brought with him and who claims to have been sent by God to liberate the French from English rule. To test her, Reignier and the Dauphin swap places but Joan is not fooled. Charles then challenges her to fight and she beats him handily. His defeat only inflames his desire for her but she refuses him, saying that her holy mission requires her to remain chaste. Now that she leads the French army, she promises to lift the siege.

Gloucester heads for the Tower of London at the start of scene 3. When he arrives, however, he is denied access. The lieutenant of the guard inform him that the Bishop of Winchester has ordered that no one be allowed to enter the tower. When Gloucester offers to enter by force, he is met by Winchester and the two of them exchange threats. Winchester is eventually beaten back but the Mayor of London arrives. Gloucester accuses Winchester of treachery; Winchester accuses Gloucester of being an impious warmonger. They go their separate ways.

The last three scenes of act I take place around the siege at Orleans. The master-gunner sets his son as a watch to spy on the English in anticipation of their coming attack. We then see Talbot, whose ransom has been paid, reunited with he forces in the field. As they consider their plan of attack, Salisbury and Gargrave are shot from the walls and are killed. What’s worse, the English learn that the French army, with Joan la Pucelle at the head, is heading for their position to try to lift the siege.

Act I, scene 5 is a short action sequence where Talbot and Joan of Arc skirmish. In the end, she defeats but does not kill him. The French forces lift the siege and enter into Orleans. He is convinced that Joan is a witch who defeated his forces by conjuring up some supernatural fear.

Charles credits Joan and not his forces with the French victory at Orleans. The French colours are displayed above the walls and the city’s bells are rung in celebration in act I, scene 6. The Dauphin also suggests that she will one day replace Saint-Denis as the patron saint of France.

Now for the characters. If you thought the cast in The Taming of the Shrew was hard to follow, then prepare for a brand new type of challenge in Henry VI part 1.

There are a lot of characters in this play. Thankfully, as the story progresses, a lot of them die making the rest easier to keep track of. However, as some are killed off, others change titles over the course of the War of the Roses. Why is this a problem? Because Shakespeare has a habit of tagging dialogue with a character’s title rather than their name. So the Duke of York you just heard speaking a few acts ago is not always the same Duke of York you’re hearing a few acts later. (We’ll try to point those out as they come up.)

Here then is a list of some of the named characters and a few details to help you make sense of who’s who:

London and the English Court

Duke of Gloucester: Henry VI’s uncle and the Lord Protector of England until his nephew is old enough to take the throne.
Duke of Exeter: King Henry VI’s great-uncle and the one responsible for his safety.
Earl of Warwick: A friend of Richard Plantagenet and a Yorkist.
Bishop of Winchester: The crafty bishop plots to capture Henry VI. He is an enemy’s of the Duke of Gloucester.
John Beaufort, Duke of Somerset: A Lancastrian who despises Richard Plantagenet as a traitor.
Woodville: Lieutenant of the guard of the Tower of London.
Richard Plantagenet: He is the head of the Yorkist party who allows his personal ambition to cloud his judgement about his obligations to the English forces in France.
Duke (or Earl) of Suffolk, William de la Pole: A young nobleman of the Lancastrian camp who captures Margaret and falls in love with her. He tries to get her to marry Henry VI.
Vernon: A young nobleman who sides with the Yorkist party.
Edmund Mortimer: Chosen heir of Richard II who was deposed by Henry VI grandfather, Henry IV. He informs Richard Plantagenet that he has the better claim to the throne.
King Henry VI: At the start of the play, the nine-month old king of England.
Basset: A young nobleman who sides with the Lancastrian party.

The English Army in France

Duke of Bedford: The English regent of France, charged with keeping France under English rule.
Earl of Salisbury: An English general and friend of Talbot’s.
Sir John Talbot: Greatly feared by the French, he is the greatest and most successful English general in France. (Also called Lord Talbot)
Sir Thomas Gargrave and Sir WIlliam Glansdale: English knights who are part of the forces besieging Orleans.
Sir John Falstaff: A cowardly knight who twice abandons Talbot in the field. (Historically, this is not the same Falstaff which appears in Henry IV part 1)
Sir William Lucy: A lord who tries to gather support for the war in France from the warring factions in England.
John: Son of Lord Talbot

The French

Charles, the Dauphin of France: Leader of the French forces who crowns himself Charles VII of France.
Duke of Alençon: He is one of Charles the Dauphin’s generals.
Reignier, Duke of Anjou: Another of Charles’ generals. He is also King of Naples and Jerusalem though these titles mean very little by this point in history.
Bastard of Orleans: a nobleman and knight in service to the Dauphin
Joan la Pucelle: This is Joan of Arc, a young peasant girl who claimed to have been sent by God to help the French defeat the English.
Duke of Burgundy: Initially a supporter of the English, Joan la Pucelle convinces him to switch sides and ally himself with the French.
Countess of Auvergne: A French noblewoman, she tries to trap Talbot but fails miserably.
Margaret: Reignier of Anjou’s daughter, by the end of the play she is betrothed to Henry VI.

With our introduction complete and our cast of characters laid out, we get ready for act two where roses picked from a bush lead to sedition and civil war!

For those who are interested – and if you’re listening to our podcasts that means you – this is the Brawler’s iPhone and iPad application of choice. Not only will you find all of Shakespeare’s plays but you’ll discover a slew of information about the characters, plots, themes, etc. Definitely worth a download!

Bonus sonnet 7 read long distance by Melissa Myers.

(Podcast recorded and edited by Daniel J. Rowe. Show notes by Eric Jean.)

December 15, 2012 5