Under the lens of Marxism, Cassio is giving into Iago's peer pressuring because of Iago's higher rank and influence cause Cassio to want to appease him. He is manipulated under the desire to gain approval from someone of status, as well as the approval of his peers.

This relates to Othello's role as a military leader and the discussion we had in class about the romance and battle being one and the same. Othello, who is most well-versed in combat, views the attack on his reputation as though it were one on the field. This adds to the idea that the conflict/war that they are fighting is internal, as Othello states that Cassio has won.

This again brings up Othello's obsession with reputation. As someone who is often seen as an outsider of the community, his reputation is very important to him as it gives him respect within this community. This also ties into the idea of Othello being a good husband and what that means in a modern versus Shakespearian sense. Modern and historic viewers would consider this an example of Othello being a bad husband, but for different reasons, with the former chiding him for his controlling behavior and distrust towards Desdemona, and the latter for being unable to control his wife.

This line by Iago is, oddly, a very Feminist statement, basically stating that Desdemona is free to do what she'd like because she is her own person. However, considering this line is being delivered by the villain of the play, for the people watching during the time of this play, it would not paint this concept of female autonomy in a positive light.

This, under the lens of Feminism, explores the power that women had at this time. They did not possess much autonomy or the ability to make their own wealth. Their bodies and the sexualization of them is what gave women power at this time. Emilia expresses this in her dialogue by stating she would be willing to sleep with someone if it meant getting ahead in life, as that is her only means to do so.

This highlights a hypocrisy in Emilia, who shames Bianca for her sexual promiscuity, but then fully admits she would cheat on her own husband. She considers her reasons for this to be less shameful/sinful than Bianca.

This comment of Othello's, appreciating Desdemona for her mind and not her body, as well as his comment that he does not care about sex, proves to be ironic foreshadowing, as his jealously stems from the idea of another man having access to her body besides him. This is another display of women being treated as property, even by those who genuinely love them.

The contradiction in Emilia's dialogue reflects the levels of status within the roles of women, between those who conform to ideals and those who don't. She is appalled at Othello's repeated use of the word "whore," but eagerly referred to Bianca in same way. This plays into the status that those within an oppressed group have, Emilia believing that she is a superior woman to Bianca because she is married and not a prostitute, but that Desdemona is not worthy of such treatment because she is a respectable and wealthy woman.

This is an example of Desdemona filling the traditional, chivalric role of the Woman in White. Her purity is consistently discussed, both in her reputation as well as her appearance, with these lines emphasizing that. She cannot even say a word that implies impurity. This adds to the tragedy of the narrative, as the audience can see the stark difference between how Othello begins to perceive her and how she actually is.

Shakespeare writes a tongue-in-cheek moment in which Emilia has described exactly what is happening, but is unaware of her husband's own involvement. Due to his impressive reputation, Iago is often overlooked as the cause of the conflicts within the play.

Desdemona as a character follows the ideas of Moral Criticism. Every action she takes throughout the play is in attempt to pursue some form of good, whether it be going to Cyprus to be with her husband or assisting Cassio in getting his job back. Like Othello, however, she seems also unaware of Iago's devious nature, though she doesn't seem to like him.

This moment is the closest any character gets to seeing through Iago's disguise. This emphasizes what makes this play a true tragedy: all of the unfortunate happenings could have been avoided if the characters communicated with one another about their suspicions and doubts.

This is an interesting interaction because it shows that a lot of the strict gender roles and beliefs are held by both the men and the women of the play. Though both Emilia and Bianca are treated as second-class citizens as women, Emilia views herself as superior to Bianca because she is not a prostitute and Bianca's more open sexuality is improper for a woman, thus Emilia demeans her.

This is yet another example of Othello prioritizing his reputation over his love of Desdemona. His rationale for killing her is that he does not want other men to be cheated on by her. She has ruined his reputation by being unfaithful and he does not want other men to experience this shame. The importance of his pride allows him to commit such a heinous crime.

This comparison of women to flies is similar to the one Burgundy makes. Both have harbor the belief that women are simply drawn to whatever will take care of them, not being super discerning. The specific use of a fly, implies women to be pests that are annoying leeches. The comparison of Desdemona's faithfulness to flies also illustrates how much her claim of faithfulness means to Othello, and harkens back to the theme of reputation, with hers now being tarnished.

This relates to the ideal woman of this time, someone who was docile, soft-spoken, and obedient. Emilia feels the need to justify her "disobedience" to her husband by the severity of the situation. This follows the theme of reputation, in which even in a moment like this, Emilia is aware of how her actions and disobedience to her husband may reflect poorly on her reputation.

This mirrors the war between English and Spanish over rights to travel the ocean to the "New World," in which a freak storm allowed the smaller English navy to win and begin steps toward colonization of North America. It also cemented the belief, in the eyes of the British, that divine intervention destined them to win. This seems to be the case in Othello, suggesting perhaps that these events were destined to happen as well.

As we've discussed in class, the play begins at the end of Othello's Hero's Journey, seemingly after he has succeeded in his journey, gaining a wife as a his "prize." However the story of Othello follows more closely with the failure of the Hero's Journey, with his return to normal being met with new challenges, such as anger at his marriage and the deceit from Iago that ends the play in tragedy.

These lines highlight the flaw in Othello's morality. He trusts that those around him are inherently good and approach him with the best intentions, thus he is vulnerable to being deceived by someone he trusts. What makes him a good man leads to his downfall.

This is the most concrete justification, besides Othello gaining Iago's position, of Iago's actions and hatred towards Othello. It is unclear if Iago genuinely believes that Othello has slept with his wife or if Iago is looking for an excuse to do what he had already intended to do. Iago fits the chivalric role of a villain, as someone who is pure evil without a discernable motive.

Othello highlights the importance of reputation in this play, as well as his struggle between being a good husband and a good military leader. He expresses that it would shameful for him to spend time with his wife over keeping to his duties and that it would reflect poorly on his reputation. Othello chooses being a good military leader over being a good husband, as this reputation is what gives him his status in Venetian society.

These lines reflect the racist, colonialist mindset discussed in class. Brabantio displays his feelings of this interracial marriage by comparing his daughter to this union: she is pure, innocent, and follows social ideals, while this marriage is not. His disgust is further exemplified by his comparison between Desdemona's suitors and her husband. The suitors are referred to as "darlings," a term of endearment complimenting their character, while Othello is referred to as "sooty," a derogative way to describe his skin color and imply he is dirty or impure. Calling Othello "a thing," further dehumanizes Othello and expresses Brabantio's belief of Othello as inferior to him and his daughter.

Pistol echoes the beliefs of Henry V, that good can be found in anyone and anything. Pistol's use of contradictory language suggests that Pistol is aware of his king's/friend's flaws but believes that he, at heart, is a worthy king. The phrase "I love the lovely bully," for example, Pistol describes him both as someone who is sweet in "lovely" and hostile in "bully." Henry V is a king who cares a lot but can be unwittingly controlling to his people.

This line encompasses the culture in war: they lost a significantly smaller amount of people, but losing anyone is still a tragedy and Henry V acknowledges this. This is an example of him being a good king by admitting that any loss, even after winning the war, is still a person lost because of his decision towards war.

Henry V's laments of being king reflect his earlier days, when he was not expected to be king. He misses the old days when he had wealth, but not responsibility. This goes with his struggle between being a man and a king because as a king he must think differently than the common man, his decisions affecting his country. This explains his defensiveness towards Williams, as Henry V feels that he will be critiqued by the public.

In class, we discussed the role of Falstaff in Henry V's life and what his death might symbolize. I believe that Falstaff, Henry V's guide in life, dying is a representation of Henry V finally leaving behind that old part of his life and learning to become a better king. Falstaff was a drunk who knew Henry V during his more irresponsible years. His role was much like a parent to Henry V and helped him on his path for a time. Now Henry V needs to forge his own path, like a child leaving the home, Henry V deciding to take the French crown, while learning to connect with the common man caused him to mature even further over the course of the play. The death of Falstaff foreshadows Henry V's full departure from his youth.

Henry V's message in these lines seems to be the precursor to his St. Crispin's Day speech near the end of the play, where he proudly proclaims that they are all equal. This is speech is a much subtler version of that, where he states that in this moment heading into battle, they are all great men, but does not go so far as to say that they are equal. His previous lines mentioning noblemen and farmers indicates that the class divide is still present.

In this line, we see the evidence of Henry V's manipulation of Katherine, as throughout the play, his linguistic prowess has been continuously emphasized. His eloquent speech motivated his troops to win the war, by boosting their morale and gaining back their faith through his charisma. This statement is also contradicted by his wit within the line "I have no strength in measure, yet a reasonable measure in strength" itself.

These lines repeat Shakespeare's themes of fading beauty and what makes love true, present in the Beautiful Youth and the Dark Mistress sonnets respectively. Under the theme fading beauty, Henry V remarks on how his complexion does not matter, for it will inevitably fade and she should find something in a man (him) that will last. This is similar to the idea of writing of one's love being eternal while beauty fades, in the BY. As for what makes love true, similarly to how the speaker of the DM sonnets laments that his lover is not attractive, but he loves her none the less, making their love true, this is how Henry V suggests he is the perfect man. He is not attractive, but his heart is good, meaning that if Katherine chooses to accept his love, she will know that his love is true.

Henry V employs a similar tactic used in many of the Beautiful Youth sonnets, in which the act of seduction is under the guise of more sweet and flattery language. While on the surface he is saying that a child of theirs would be a capable leader who could go on to conquer other empires, he is also trying to get in her pants by suggesting that he fathers her child. In both uses, this tactic makes a salacious request seem more innocent and charming.

Katherine demonstrates that even when Henry V speaks in her native language, she is able to see through his false flattery. She manages to be one of the few in the play that can tell when he is trying to deceive her, unlike the council when Henry V was preparing to execute them or the soldiers who were convinced Henry V was a commoner based on his dress and manner of speaking. Though Katherine holds little power or say in this situation, she does hold the power to call him out on his lies.

This statement from Burgundy degrades Katherine, likening her to a creature rather than a person, highlighting the divide between the treatment of men and women. It also illustrates the role that marriage played for women during this time. Being unable to have a career or hold an estate, marriage was a form of security, providing them with financial stability. As Burgundy says, women "will endure handling" of their suitors if they know that he is able to provide for them, or "well summered and warm kept."

In seeing the various interpretations of this play, Branagh's version highlights the possibility that not only are Henry V and Katherine both at a disadvantage in their language barrier, but that Katherine may be Henry V's foil in some ways. Henry V's main strength is his ability to command a room through his wit and charisma, both of which are accomplished due to his eloquence. With any other woman, seduction would be an easy feat for Henry V, being a smooth talker, however in Katherine he has found someone who will judge him more upon his actions than his words.

This highlights another point of Henry V's struggle between being a man and a king. While he wants to share the fears of his soldiers and admit the dire situation that they are in, he also understands that in his position, he must be a beacon of hope. If Henry V admitted to their likely defeat, the army would have no motivation to continue on fighting. The drawback to his approach is, as he soon discovers, is that the soldiers believe that their king does not understand what a sacrifice they are making and the severity of their condition.

This line gives insight into Henry V's beliefs, specifically that he follows some iteration of Moral Criticism, based on his belief that people should search for the good in everything, explaining is unwavering manner. It also gives foreshadowing to Henry V's St. Crispin's Day speech, in which Henry V believes that whether the English win or lose the war, they will gain honor through this fight.

This speech mirrors the earlier comparison of the Normans, relatives of France, having children with the original English to a branch clipping being grafted to another plant. The imagery of gardening this time is used to describe the tense relations between the English and French. Burgundy stating a return to "our former favor" foreshadows the rejoining of the families through Henry V and Katherine's marriage.

Looking through the lens of Moral Criticism, as we discussed in class, Queen Isabel's hope for peace among the two kingdoms, can be seen as the search for good for the French. Under this view, Isabel could be considered another Truth, as she is seeking piece, and later decides to secure an agreement when she says "I will go with them. Haply a woman’s voice may do some good,/When articles too nicely urged be stood on." The implication of Isabel as a Truth also stands against the previous (and future) objectification of women that is present throughout the play due to social views of the time.

In Henry V's attempt to charm Katherine, he further cements the power he holds over her diplomatically and socially. Henry V currently holds sole control over the fate of France, with the power to exile Katherine and her family from France. Under the Salic Law, as well, Katherine has no way to maintain a leadership position in France once Henry V takes the throne. In these lines, Henry V is effectively dangling the threat/prize of France for Katherine.

The implication in these lines, under the assumption that the Boy is a Truth, is that Henry V straying from what is good, symbolically represented in the order of death of his two friends who are praised by the Truth, while he preserves the life of Pistol, who the Truth considers to be a lowly coward.

In these lines the prevalent themes of status and Moral Criticism are present, in which the strong affects of status dominate over the importance of good in Moral Criticism. This line specifically references Pistol's willingness to ignore his obligation to the war and loyalty to England in exchange for wealth. His description of himself as sucking blood relates to the belief that the poor are leeches.

Not only does this line mock Katherine by deceiving her into saying something with a vulgar connotation, but it also turns her lack of knowledge of English into a joke, with the intention that the audience to feel a sense of superiority over Katherine. This highlights the theme status plays in this production, as well as aligning with the idea that plays were a way to gain favor with public figures by reflecting political and social views of the time.

Bourbon's insult reflects another form of status: perceived purity of heritage. The insult mocks the idea of descendants of French who mixed with English, marking them as inferior. Bourbon states he would rather die or live in poor means that be ruled by an inferior nationality. Status, in this case, is not based on gender or class, but rather the "pureness" of your ancestry. This is also demonstrates the contrast between the French and English, with Henry V basically mixing nationalities again as a way to maintain power.

This reflects the division in the way men are treated compared to women at this time and how women are objectified and treated as property. While the former is very apparent, with the men discussing how good their "ride" was, the possessiveness is evident in this line of the Dauphin, in which he states that the perfect mistress belongs to him and only him, simultaneously controlling a woman's sexuality while exploiting it.

Henry V's refusal to surrender or protect himself represents the ideas of Chivalry. Henry V will not surrender, instead, by stating that the French will take "my joints," Henry expresses two thing: One, he will not back down without a fight, preferring to end the battle with his death. Two, he establishes that in the event that he loses, he will not resort to cowardice and protect himself with a ransom.

This line is a display of the power disparity between Henry V and Katherine, with Katherine's heritage as French and being a women putting her in a difficult position. Being French, she risks further conflict with the English if she rebuffs Henry V while the marriage could potentially protect her due to his status and nationality. Henry V is aware of this and says to Katherine "my blood begins to flatter me." With women being treated as second class citizens, she lacks other options on an individual level, as she is expected to wed and rear children during this time.

King Charles VI, under Moral Criticism, is acting as a voice of truth. He is plainly stating to Henry V that his men are outnumbered: the French have the numbers, resources, and experience to defeat his sickly army. Similarly to Williams's point later on, Charles VI believes that the casualties of Henry V's army will be the Englishman's own fault, as he knew that his army was ill-equipped but still chose to enter war with France. In a way, the line "though we seemed dead, we did but sleep" could be an example of Charles VI giving Henry V a chance to turn around and do the moral thing, saving the lives of his men.

King Henry V's statement here presents several contradictions: Firstly, Henry V speaks of the importance of mercy while sentencing his friend to death because Bardolph committed petty theft. This also is a contradiction to the earlier scene between Henry V and his council who he is accusing a treason, in which he berates them for suggesting the punishment of a man guilty of a minor offense. Finally, and most glaringly, Henry V moves to protect the French citizens, stating they are not to be bothered in any way by the English after threatening to rape and pillage the town in an earlier scene.

The division of class is evident in this line compared to Fluellen's early statement that "he is a man of no estimation in the world, but I did see him do as gallant service." Fluellen is quick to state that Pistol is just as great a man as any of status, despite being lower class. Once Pistol asks for the aid and mercy of Fluellen to save Bardolph from being hanged, Fluellen begins to use Pistol's class against him. He states that though he seemed well spoken when they meant, Fluellen now intends to get back at Pistol for disrespecting him.

Fluellen's remark towards a poet's skill in accurately depicting the goddess of fortune ties back to Moral Criticism, in which the artist is the only individual seen as being able to depict the truth to their audience. The description of Fortune is given and corrected by Fluellen from his knowledge of paintings and poems of Fortune. The idea that "Fortune is an excellent moral," is also under the ideals of Moral Criticism because the artists have chosen to depict Fortune because she is a form of good and her existence benefits humanity.

The chorus is preemptively apologizing for the lack of proper sets and convincing wardrobe, as they begin the story and have another meta, self-aware moment in which they acknowledge that the audience will have to use their imagination and suspend their disbelief to get sucked into the story.

In this allusion to Henry V's past, Shakespeare briefly addresses the audience's memories of him as a rowdy boy who partied and went to brothels. The clergymen represent the viewers in this moment, just as confused about the change in Henry V, who is now a mature and well-educated leader, who is involved in politics, despite never having spent much time studying diplomacy in his younger years.

This theme of the elite unwilling to give their money to help the community or the government reflects a lot of what is going on today with many multi-million dollar corporations. The clergymen are doing everything in their power to avoid giving up their funds. This is much like Amazon, who only began paying income tax last year.

In fashion with many of Shakespeare's sonnets, he finishes the play by remarking of his "rough and all-unable pen," mocking his own play and stating that he poorly represented England's glorious history. Shakespeare often critiques his own work, blaming all the historical errors present in Henry V on his inability to write.

Shakespeare's employment of humor does several things. First, it provides a moment of lightness as Henry V and his men prepare for war. It also makes the characters feel more real because, even in times of tragedy, people still find room to laugh. This also gives Shakespeare an opportunity, as most writers often do, to flex his wit.

The way Henry V both compliments and insults Katherine, saying her voice is like music but continuously speaking of her poor English, is very reminiscent of Sonnet 130, in which the narrator references his lover's flaws before speaking of his love for her. Similarly to this sonnet, Henry V's comments on her broken English could be to demonstrates that he recognizes her "flaws" but still loves her, thus making his love pure.

Katherine's attitude toward Henry V's advances reflects the behavior of Jane Grey in that she is very passive. Though she expresses no interest in him, barely comprehending his adorations of love, but willingly goes along at the suggestion that her father will want the marriage to happen. This is similar to Jane Grey, who possessed little influence over political decisions and idly sat by before she was beheaded.

This speech demonstrates one of Henry V's most powerful traits: his charisma. At this point in the play, the English are losing and are low on supplies and morale. The French, in the previous act, were already celebrating a victory that they were sure would come, and yet, in this final hour, Henry V gives the tired soldiers a heartfelt speech that inspires those around him enough that they go into battle and actually win the fight. Many had thought about surrendering or going home, but it is Henry V's charisma that convinces them to stay and fight.

This reflects a lot of the attitude within the Chivalric Knight complex we often see in Shakespeare's plays, as well as many other works during this time. King Henry V is merciful, but only when it is someone he cares about and when it serves the story. In this moment, Henry V wishes death and assault to the people of this village simply because they are an obstacle in his path of conquest.

In class, we discussed why Henry V uses "puissance," the French word for power, throughout the play. One suggestion was that it was Henry V's way of expressing and reclaiming his French heritage, as a descendant of the King of France. It is interesting to note here that King Charles VI does not use puissance, but rather power. Unlike Henry V, Charles VI does not feel the need to cement his French identity and therefore uses the English word "power."

This comparison of the French army attacking the English to the melting of snow down the Alps works both to creatively describe the manner of speed at which the French will come at the English, and to degrade the English. By calling the English army the valleys and the French the Alps, the King is effectively saying the English are beneath them, and the line "the Alps doth spit and void his rheum upon [the valleys]" adds to this disrespect by saying the French spit on the English.

While this usually would be perceived as a detriment because most royals are expected to be multilingual, knowing upwards of three or four languages as part of their display of higher education and diplomacy, Katherine's lack of knowledge of English adds to her desirability by painting her in the image of the "Lady in White." Because she is unfamiliar with the language, she can be considered naive, similarly to Shakespeare's Beautiful Youth. Her later disgust over the vulgarity she falsely perceives in English words further adds to this by giving her an air of purity as she says that honorable women do not use such crude language.

These lines within the epilogue present a twist in our Hero's Journey, that seems to suggest that the ending was more of a failure than success. Specifically, an iteration of the third ending we discussed in class: the hero returns home to find new problems. While one could argue that this failure is in Henry VI's Hero's Journey, the shortcomings of his story are in some ways affected by Henry V's choices in this story.

King Henry V's romance with Princess Katherine, which seems to come out of left field after the gruesome war the reader has witnessed, is an example of the reward of the Hero's Journey. Specifically, Katherine is the "item" that Henry V, as the hero, gets to take back to his kingdom as evidence of his success in the war. She is also part of the solution to the problem Henry V was trying to solve: France and England did not get along and Henry V wanted to take his place on the French throne. Now the two kingdoms are united and Henry V is heir to the throne.

Williams's statement makes a critical comment on the Hero's Journey, that being that the hero isn't the only one involved in his journey nor is he the only one affected. While Henry V may have won victory over the French, for many of the English soldiers, this event is also a tragedy, with many lives lost. Though Henry V, the hero, gets to decide at the beginning of this play to "answer the call", the soldiers aren't given much of a choice.

The boy's statement here touches upon a theme present throughout the play, the focus of morality. Our protagonist, Henry V, is presented from the beginning as someone who is kindhearted and just. He considered a worthy ruler only after he's shed his immature, selfish ways, in contrast to the Dauphin, who despite being next in line for the French throne, is written as unfit to rule.

Pistol's metaphor comparing oaths to straws and faith to wafers, which imply the feeble nature of both, gives the character a tone of pessimism, suggesting that he thinks little of the intentions and good of those around him.

Quickly means to refer to Abraham in this passage, the prophet within Abrahamic religions, but instead states "Arthur's bosom" possibly referring to King Arthur. The purpose of Shakespeare's use of a Mondegreen could be for a multitude of reasons. This could be to create more realistic dialogue, as our own speech is peppered with mistakes. It could also be Shakespeare's own misremembering of Abraham's bosom.

Shakespeare's use of a synecdoche tells us that all the young men of England have left to fight the war. Shakespeare does this by, rather than simply stating this fact, remarking on who remained in England, that being elderly men, women, and children.

This scene highlights the good character of Henry V. He is quick to point out the hypocrisy present in his council's attitudes toward crime. While they previously thought little of punishing a petty crime, they now beg for the mercy of their king in the act of treason. Henry V's reaction suggests that he is a just ruler who believes that no one is above the law, not even the elite.

This is a line that I think is very relatable to the reader. Bardolph echoes the point that when two people are not getting along, it can cause everyone around them to become just as aggravated.

The word play in the line "Pistol's cock is up" has a humor that appeals to both the upper and lower classes. The upper class can take away the wit that comes from the action of loading a gun in relation to a character under the same name. Lower class audience members can laugh at the crude interpretation of the statement.

Comparing the soldiers of the English army to Mercury, the messenger god, dulls down the intensity of their act of war. It is described as something majestic, as though they are sending a message to France, rather than declaring war on a country, should they not allow England to seize control.

Canterbury is discussing how Henry V is well-versed in all matters, whether religion, politics, and more. This reflects what we discussed about in class, with children of the crown being taught how to run a country well before they inherited the crown, or even if they weren't intended to. This also lends itself to the political lens, with Shakespeare flattering the ruling class of England, painting them as well educated and well-rounded.

Shakespeare's use of connotative language shapes the audience's view of these nations. While the "eagle England" can be seen as stoic and noble, using the weasel to describe, the image of one who is conniving and thieving. Shakespeare is intentionally painting England in a positive light in comparison to Scotland. This could be due to previous conflicts between Scotland and England over control and territory.

Here we have a meta reference to the play itself, while also having the interesting implication that we as the audience are part of the story and could potentially become sick from this journey. This also has the duel meaning that the events that unfold will not disgust the audience.

Shakespeare's use of visual imagery and simile illustrates the dire condition the English are in. Descriptions such as "lank-lean" and "war-worn" emphasize their haggard appearance, likely malnourished. Comparing them to "horrid ghosts" further illustrates this, giving the image of men who are sickly and appear lifeless.

In the Dauphin's metaphor, he is referring to Henry V. The comparison is between a branch being grafted onto another plant and some of the French royalty having children with the English, thus their "scions" are "put in wild and savage stock." The Dauphin continues that he is disgusted that people that came from them now wish to overthrow them.

Shakespeare's use of dialect aides the audience in understanding the nationality of a character. Likely exaggerated accents, as well as telling vernacular, made it easy for audiences to identify this throughout the play.

In this scene, the Romans are continuously referred to and, in this case, used to compliment Captain Jamy for his military strategy. Shakespeare's continued allusions to Greek and Roman culture reflects the admiration many people during the Renaissance had for the cultures, with many attempting to emulate aspects of the culture. Because of the popularity, most people would understand and appreciate these references.

The use of an anaphora in these lines adds to the tone of this dialogue, in which Henry V berates his council for their betrayal, as well as lamenting the pain and distrust he feels after feeling as though he knew their characters. The repetition of "why, so didst thou" gives the reader the impression of someone seething with rage, speaking rapidly and harshly.

This causes me to think of the Machiavellian idea that it is better to be feared than loved, in which the argument is that if people fear you, they will not challenge you. However, at some point people will turn on you if they do not care for you. Henry V has struck a good balance, by having people that will follow him both because they care for him, thus not betraying him, and because they fear him, thus following his orders and fearing punishment.

Shakespeare's use of a double entendre in these line, adds to Henry V's character by painting him as more mature and witty. These lines outwardly appear to be Henry V detailing a future tennis match with the Dauphin, but imply his future invasion. Firstly, this demonstrates his wit, with his threat playing on the terms of a tennis match, relating to the Dauphin's backhanded gift. This also shows a maturity in Henry V, as he will not openly insult the Dauphin and instead maintains a level of decorum.

Shakespeare's use of tactile imagery mirrors the intensity of love. The fire as a representation of love shows the intensity present in love, and with the attempt from the "cold valley-fountain" as a way to calm the intense heat of love, the water instead became a "seething bath" rather than extinguishing love's fire.

The repetitive theme of madness and health reflects the Romantic view of love, that being that it is an incurable sickness. This is most evident when the narrator demands the lover proclaim their love, regardless if they mean it, in an effort to preserve the narrator's sanity. The narrator knows they will love this person no matter what and will lose their sanity if they know they will not receive the same affection in return.

Between these first two lines and the second two lines, Shakespeare creates a stark tonal shift through a volta, where the narrator shifts from warmly describing the importance of love and not focusing purely on the superficial, to accusing the lover of manipulating them and shoving them away. The juxtaposition is evident within the lines "which is not mix'd with seconds, knows no art" and "hence, thou suborned informer," where the narrator proclaims honesty on his part, before accusing the lover of being a spy, something known for deceit.

The sonnet starts out with a metaphor that compares the love shared between the narrator and the lover to an illegitimate child. The child, like their love, can been seen as good or bad, without much of a way to predict how it'll end up. Using a metaphor that references dandelions, a similar message is expressed: it'll either be seen as beautiful or horrid, depending on who views their relationship.

This sonnet brings back what we discussed in class about the nature of the Dark Mistress and her relationship with the narrator. As stated, she is aware of her unpopular appearance by the fact that she agrees with those that mock him for loving her, while simultaneously confirming the fact that she rejects him but the fact that the final two lines end by the narrator begging her to love him.

In this line, the narrator makes reference to light and dark, which have been associated with the Beautiful Youth and the Dark Mistress, respectively. In the statement "at random from the truth vainly express'd," the narrator acknowledges that his linear categorizations of these real people were unreasonable impressions of them, as neither are purely good or bad.

This association that the narrator has between being naive and being young, is present in the perception the narrator has of the Beautiful Youth, who is often described in his prime and as the pinnacle of youthful beauty. The Beautiful Youth's purity seems to come from his perceived naivety as well.

These lines sum up the sonnet as a whole: the way the heart seems to act without reason and causes you to love someone despite their appearance and, in this case, character. This reflects the Romantic belief at the time that love was, as in accordance with this article, "[a] powerful force that is impossible to resist."

Shakespeare's decision to personify the keys in this line emphasizes the narrator's intense longing that he feels through the course of the sonnet, with the comment on "the wood's boldness" giving the keys an almost taunting quality to them. This effect is similarly captured through the line "do I envy those jacks that nimble leap/ To kiss the tender inward of thy hand."

Shakespeare uses a volta in these final lines to change from spectating to initiating intimacy with the lover. Previously the narrator was "at the wood's boldness by thee blushing stand" and envious of the keys' proximity to this person. At the ending lines, however, the narrator proposes to the lover that they should kiss him.

Shakespeare uses the metaphor of seasons to reflect the feelings within the two lovers. Winter mirrors the cold and lifeless feeling they have at their separation, contradicting their previously warm and vibrant love, represented in summer. This poem also potentially references Sonnet 18, in which the fleeting nature of summer is mentioned much in the same as it is in the final line.

The narrator's description of their lover as a sort of brightness in the dark, like an ethereal being, paints them in a similar light to that of the White Woman trope that was discussed in class. Several lines down, in which the narrator states "mine eyes be blessed made by looking on thee," the reference is made to the figurative pedestal many within that trope are viewed upon.

This, similarly to the previous sonnet, relates the lover to the sun, with the clouds being symbolic of the public eye. His lover is telling that they will go out together as a couple and have a "beauteous day." The "cloak" refers to the narrator hiding this part of himself, and going "without my cloak" is him being vulnerable and open about his feelings for this man. However, when the time comes, his lover flakes and he is faced with backlash from the public, or "rotten smoke."

This sonnet follows a motif present in Shakespeare's Beautiful Youth sonnets, that being that everything eventually fades. However, the narrator poses at the end that love is eternal because with love it "may not remove nor be remov'd." This fits in with the ideals of Romanticism that we discussed in class.

Looking through the a historical lens of sexuality, it is evident that the narrator is sadden by his attraction to this man because he know that it wouldn't be socially acceptable to pursue a relationship with him. The line "by addition me of thee defeated" illustrates this, that 'they' cannot exist because Nature made him a man.

The conceit of this sonnet involves Shakespeare using hyperbole to exaggerate the severity of this person's decision to refuse him as their lover. In these lines, the narrator comparing this person's unwillingness to love him, and by extension have his children, to murdering their children.

Shakespeare employs a metaphor in this sonnet, comparing his lover to the sun, something that brings him joy but comes and goes with each day. The sun greeting him in the morning represents his lover greeting him in the morning, possibly planting a kiss on his brow, before heading off into the world.

This sonnet reflects what we discussed in class about Shakespeare, with him calling himself the best poet. In the line "so is it not with me as with that Muse," the narrator speaks with a tone of disdain, scoffing at the thought that he would write something so beneath him. This criticism is ironic, as in Sonnet 18, we see Shakespeare write such a poem.

While in an earlier sonnet prison is used as a metaphor for death, here Shakespeare relates all-consuming love to prison. Similarly to its previous use, this is something that the narrator had wished to escaped but now recognizes as inevitable. With his heart already hers, the narrator feels he must be responsible for his friend, like a guard is for a prisoner, and protect him from heartbreak.

The opening lines reflect a motif within Shakespeare's sonnets in which the narrator considers himself pathetic, such as in Sonnet 71, wherein he remarks that his lover would be mocked for mourning his death, as he does not deserve to be remembered. Shakespeare often flips between a confident writer and a self-conscious hopeless romantic.

Shakespeare uses a volta here to indicate the shift from how the narrator's views relate to the public to how he alone views his lover. This is evident when comparing the beginning lines to the ending lines. Initially, the narrator states that only those that are beautiful are capable of cruelty. He continues that his lover is not cruel, possibly because society does not view her as beautiful. In the final lines, after proclaim that she is beautiful to him, however, he states that is indeed cruel, because to him, she is beautiful.

The antithesis of these lines, the joy the narrator feels in hearing his lover's voice in contrast to the general quality of it, illustrates that he loves her despite her perceived flaws. The conceit of this poem is emphasizing the flaws he finds with his mistress compared to the love he feels toward her to illustrate how true their love is.

Shakespeare uses visual imagery and the motif of nature, both of which a present in Sonnet 18, a poem that seems to parallel Sonnet 132 as its antithesis. While Sonnet 18's tone is largely light-hearted, filled with the imagery of summer, Sonnet 132 compares the mistress not to a summer's day, but rather the sky before the sun rises and after it sets, without a star in the sky. In this sonnet, the narrator is not remarking on the departure of someone's beauty, but instead the discovery of it.

The narrator, similarly to her eyes, likens her darker complexion to the dark mood of mourning and to mourning clothes. Contrarily to sonnets with the Fair Youth, in which the lover is encouraged to forget the narrator rather than pity him, here the narrator openly asks for the mistress's pity, if only so she may look at him.

Compared to the earlier sonnets of Fair Youth, the Dark Lady sonnets have a stark tonal shift. While the lover in the Fair Youth sonnets is spoken of in a very Romantic and romantic way, with their gentle and natural beauty spoken of very artistically, the lover of the Dark Mistress is described very often physically and sexually. In the lines selected, the narrator makes reference to his genitals and having sex with this person, where many sonnets under the Fair Youth had intercourse as a subtle implication.

Shakespeare uses a metaphor to compare the eyes of his lover to that of mourners, as the lover gazes upon his pain. Likening her eyes to mourners cues the reader both into the color of her eyes, that being black or another dark color, and the emotion behind them, that being sadness and pity.

Looking through the lens of gender, there is an evident double standard on the part of Shakespeare. In other sonnets, such as 135, the narrator demands this person for sex, claiming they are cruel for denying him. Yet in this sonnet, the narrator chides the lover for their promiscuity, stating that they ruthlessly pursue people and, in the process, harm them. The narrator regards his own sexuality as something to be honored, but does little to respect this woman's.

Shakespeare continues to flaunt his wit in this sonnet. He plays with the multiple meanings present in words, namely the word "will," which he uses freely throughout this poem, similarly to Sonnet 135. He uses it in part to refer to himself, as well as to reference genitalia. This is one of his more confident, ranchy poems in which he hopes to charm his love interest with his clever wordplay.

The wording in these two lines evokes a very human response from the audience. The sonnet starts out with a rather romantic beginning line: "Those lips that Love's own hand did make." The narrator uses "lips", which, in place of "mouth", adds to the loving way this person is being described. This is further cemented by the narrator's statement that Love, possibly even alluding to Eros, could only craft such lips. "Breathed" too is a delicate word choice that then greatly contrast with the word "hate", strengthening the harshness of the phrase.

Shakespeare's repetition of the word "will" in this poem reflects the perceived cleverness of Shakespeare that we discussed in class. "Will" in this sonnet holds multiple meanings, that being of lewd reference to genitalia, desire, as well as to the poet's name.

This sonnet reflects a similar message to Sonnet 42, in which the narrator speaks of his lover wanting his friend and not him, though this time lacking the same twist. Shakespeare in these last lines employs a volta, in which after bemoaning the pain he has endured, the narrator admits that it would be worth it to have the lover's heart.

Shakespeare uses "black" here with two different meanings: to describe a darker complexion and to describe evil deeds. The narrator states for her darker complexion she is beautiful, but for her actions, she is cruel and that is why she is judged. This article on the Dark Lady gives greater context to these final lines.

Shakespeare uses visual imagery and contrast to illustrate the appearance of his mistress. "Snow" has the audience visualizing a stark white, which the narrator then contrasts his mistress with by stating "her breasts are dun," with dun being a grayish brown color.

In these lines, Shakespeare makes an allusion to makeup. Words like "art" and "borrowed" imply something that is decorating the face in a temporary way. The use of the word "false" when describing this decoration, as well as labeling people who use makeup as "foul" indicates that the narrator believes this to not be true beauty and a potentially deceitful act.

This sonnet follows the theme of the previous one, in which the narrator shudders at the thought of how he may be remembered and urges his lover to forget him after death. This line in particular has the narrator questioning his lover's feelings toward him, with Shakespeare employing the contrast of "true love" with that love being "false," suggesting in due time this person's feelings will be revealed as false.

Shakespeare employs the use of a volta here to signify the full 180 of the narrator's state of mind. While initially crying over his "outcast state," after remembering his love, he begins to rise out of his slump. The volta solidifies this change by stating that he would "scorn to change [his] state with kings," when previously having wished to be someone else.

The narrator's statement is an antithesis of the previous two lines in which he remarks "what woman's son / Will sourly leave her till he have prevail'd" and stating that he wants her as a mistress, though she will not comply, he turns around and mocks her for "thy beauty and thy straying youth" that she flaunts.

Shakespeare's use of organic imagery through the word choice of "moan" illustrates the severity of the emotions the narrator is feeling. "Moan" invokes a deeply-pained, guttural sound, where something like "whimper" might have conveyed something that was weak and pitiful.

This is an example of Shakespeare finding a way, albeit very explicitly, to make a critique of his society. While he may acknowledge his own faults, the narrator points out the lack of accountability his accusers, possibly those in power, possess. The narrator goes on to posit that perhaps the immorality comes not from him, but those who berate him. Shakespeare manages to walk the line between outright naming a group and protecting himself from backlash.

Shakespeare employs a metaphor in the opening of this sonnet, likening death to an arrest without bail. Relating death to jail also implies an inherently negative view on the part of the narrator, believing death to be an eternal prison.

Shakespeare uses metaphors to tell the tale of someone whose youth is fading. The phrase "in me thou see'st the twilight of such day as after sunset fadeth in the west" is symbolic of someone nearing the end of their life. In the narrator's prime, they had a "glowing of such fire," but now it has faded to ash with their age.

This brings up themes initially addressed not only in the previous, with our narrator citing his memory as a joke, but also Sonnet 32, in which Shakespeare worries that his work will be easily upstaged in the future and will be meaningless.

These final lines clue the audience into the narrator's perception of himself, that being that his legacy is pathetic and that the lover will be mocked for mourning his death. Describing the world as "the wise world" implies that the narrator believes these judgements made against him are well-deserved.

The narrator expresses a desire to be forgotten after death so that his lover does not experience pain. This is in great contradiction to the narrator's attitude towards his lover's death, with other sonnets professing that this person's memory will be preserved not only for him, but for the world.

This poem, though more grim, has a similar message to some of the earlier sonnets, like Sonnet 18, in which the narrator states he will be able to preserve this woman's beauty through this sonnet because nothing "shall outlive this powerful rhyme."

Up until the last line, this could have been a reference to Shakespeare's bisexuality that we discussed in class, as he cares for both his mistress and his friend deeply.

The volta used here basically pulls the rug right out from under the reader. In the last moments of a sonnet in which the narrator addresses the confusion and betrayal he feels toward his mistress and his friend, he reveals that there is no betrayal because he and his friend are the same person. This mirrors the use of sonnets we discussed in class; as a way to show off the author's wit.

Shakespeare's use of a volta reflects the theme of the sonnet: despite the pain the narrator feels toward his love and the number of times he has been wronged, he will never stop loving her. These final two lines basically summarize the entirety of the poem.

Shakespeare is using an antithesis here by contrasting the earlier at which he insults this person for taking all his love and leaving him with nothing, and now he is offended at the idea that this person will accept someone else's love and not his.

In attempting to understand this sonnet, this site changed how I perceived the poem. Though I originally considered it a continued berate of the lover in the past poem, it makes more sense to see his work as the topic of this sonnet. This line here marks a shift in the poem, where the narrator goes from mourning the day others write better poems than him to confidently stating that no one will ever be as passionate as he was writing.

In our discussion in class, we addressed the difference between Love and love, as well as how Shakespeare likes to play with these two definitions. Where previously Love is presented in the more traditional, romantic way, evident in the line "all Love's loving parts," love is now being used in a more sensual sense, with these past lovers being described as "trophies" to this person.

He is asking time not to age his love; speaking of Time's cruelty.

Their beauty will never fade because he has written about it.

Once both of them are gone and his sonnets are read, no one will believe that someone so beautiful really existed.

Their beauty would thrive if they shared it.

When your beauty is given to someone else, or when someone else is beautiful and you are not.

No one can escape time, only prepare for death.

Their beauty will have little worth when they're old.

Talking about the formation of wrinkles.