Ayma, setmana santa 2007

Timó és un ric Atenes que regala i convida amistats sense mirar-s'hi [sense una autèntica amistat en cap dels dos sentits, Timó se'ls mira per sobre i els altres només se n'aprofiten]. Només el cínic Apemanto ho veu tot en la distància. Quan li reclamen els deutes ningú no l'ajuda. Es proclama enemic de la humanitat i es retira a viure al bosc. Quan torna a trobar fortuna per casualitat el regala a unes putes i a un enemic de la ciutat. Misàntrop fins al final.

Obra no del tot reexida, potser incompleta, potser en col·laboració, amarga,amb certa semblança al rei Lear però sense la seva grandesa [potser com Troilus i Cressida?]. De la filantropia a la misantropia, és un estudi sobre la duresa del cor humà.

Kermode assenyala que ens permet entreveure la manera de treballar de S, que faria esborranys en prosa abans de concretar la poesia [per tant partiria el concepte i no del mot].

Parts i aspectes: Paragone, debat sobre la pintura i la poesia (introdueix la qüestió del valor relatiu de les coses, els diners, l'amistat). El tema del banquet, que apareux també sovint a la pintura holandesa. N'hi ha dos, el primer un ric festí, i el segon amb aigua i pedres. El gos, tema que surt al cínic Apemantus, surt molt a IViii. La misantropia. Discursos d'odi a la misèria de la humanitat. Kermode acaba citant Aristòtil en el sentit que l'home necessitat la comunitat, la polis, qui no la té, o bé és un déu, o bé una bèstia. I Timó no ha sabut trobat el seu lloc ni amb la fortuna ni després.

[Timó no és una obra rodona però el tema és fonamental; T només volia que l'estimessin i el valoressin; i per això llençava la seva fortuna, amb poca traça. Després, decebut, sobre reacciona. Ai! No ens passa això a nosaltres en alguna mesura?]

Our Poesy is a gum

Ii

Poet

A thing slipp'd idly from me.
Our poesy is as a gum, which oozes
From whence 'tis nourish'd: the fire i' the flint
Shows not till it be struck; our gentle flame
Provokes itself and like the current flies
Each bound it chafes. What have you there?

M'ha sortit així, sense més. La nostra poesia és com una goma que s'estira i despren del que la nodreix. El foc del pedrenyal no es mostra fins que no es colpeja; la nostra flama gentil es provoca a si mateixa i com el torrent recorre tots els límits.

Eat Lords

Ii

TIMON
Wilt dine with me, Apemantus?

APEMANTUS
No; I eat not lords.

TIMON
An thou shouldst, thou 'ldst anger ladies.

APEMANTUS
O, they eat lords; so they come by great bellies.

TIMON
That's a lascivious apprehension.

Meat fill knaves

Ii

Second Lord
Thou art going to Lord Timon's feast?

APEMANTUS
Ay, to see meat fill knaves and wine heat fools.

Cançó d'Apemantus

Iii

Immortal gods, I crave no pelf;
I pray for no man but myself:
Grant I may never prove so fond,
To trust man on his oath or bond;
Or a harlot, for her weeping;
Or a dog, that seems a-sleeping:
Or a keeper with my freedom;
Or my friends, if I should need 'em.
Amen. So fall to't:
Rich men sin, and I eat root.

Déus immortals, no demano béms, no prego per ningú sinó per mi mateix:
concediu-me que mai sigui tan refiat, de confiar en un home pel seu jurament o pagaré;
o una meuca pels seus plors; o un gos que sembli adormit;
o un guardià per la meva llibertat; o els amics si els necessités. Amen.
Que així sigui, els homes rics pequen i jo menjo arrels.

Amics sense fer servir

Iii

Timon

O you gods, think I, what need we have any
friends, if we should ne'er have need of 'em? they
were the most needless creatures living, should we
ne'er have use for 'em, and would most resemble
sweet instruments hung up in cases that keep their
sounds to themselves. Why, I have often wished
myself poorer, that I might come nearer to you.

Auditors

II ii

TIMON
To Lacedaemon did my land extend.

FLAVIUS
O my good lord, the world is but a word:
Were it all yours to give it in a breath,
How quickly were it gone!

TIMON
You tell me true.

FLAVIUS
If you suspect my husbandry or falsehood,
Call me before the exactest auditors
And set me on the proof. So the gods bless me,
When all our offices have been oppress'd
With riotous feeders, when our vaults have wept
With drunken spilth of wine, when every room
Hath blazed with lights and bray'd with minstrelsy,
I have retired me to a wasteful cock,
And set mine eyes at flow.

Mentre les teves estancess han estat oprimides amb sorollosos comensals, mentre els nostres cellers han plorat amb embriacs vessant vi, mentre cada cambra brillava amb llums i ressonava amb música, jo em retirava en un racó perdut i posava els meus ulls a plorar.

Els deutes, amb sang

III iv

TITUS
My lord, here is my bill.
Lucilius' Servant Here's mine.

HORTENSIUS
And mine, my lord.
Both
Varro's Servants And ours, my lord.

PHILOTUS
All our bills.

TIMON
Knock me down with 'em: cleave me to the girdle.
Lucilius' Servant Alas, my lord,-

TIMON
Cut my heart in sums.

TITUS
Mine, fifty talents.

TIMON
Tell out my blood.
Lucilius' Servant Five thousand crowns, my lord.

TIMON
 Five thousand drops pays that.
What yours?--and yours?
Varro's

First Servant
My lord
,--Varro's

Second Servant
My lord,--

TIMON
Tear me, take me, and the gods fall upon you!

Exit

L'últim banquet de Timó

III vi

TIMON
May you a better feast never behold,
You knot of mouth-friends I smoke and lukewarm water
Is your perfection. This is Timon's last;
Who, stuck and spangled with your flatteries,
Washes it off, and sprinkles in your faces
Your reeking villany.

Throwing the water in their faces

Live loathed and long,
Most smiling, smooth, detested parasites,
Courteous destroyers, affable wolves, meek bears,
You fools of fortune, trencher-friends, time's flies,
Cap and knee slaves, vapours, and minute-jacks!
Of man and beast the infinite malady
Crust you quite o'er! What, dost thou go?
Soft! take thy physic first--thou too--and thou;--
Stay, I will lend thee money, borrow none.

Throws the dishes at them, and drives them out

What, all in motion? Henceforth be no feast,
Whereat a villain's not a welcome guest.
Burn, house! sink, Athens! henceforth hated be
Of Timon man and all humanity!

Exit

Que mai tingueu un sopar millor que aquest, colla d'amics de boquilla, fum i aigua tèbia és el millor que podeu arribar. Aquest és l'últim de Timó; que cobert i daurat de les vostres llagoteries, se'n renta així, i ruixa al rostre les vostres misèries fumejants.

Que visqueu odiats i per sempre, vosaltres tant somrients,suaus, detestables paràsits, cortesos destructors, , afables llops, modestos ossos, vosaltres ximples de la fortuna, amics de la cuina, mosques del temps, esclaus de gorra i genuflexió, vapors, ases del moment! Que d'home i de bèstie malalties infinites us llaguin de dalt a baix! Què, te'n vas? A poc a poc! Pren primer la teva medecina, i tu també i tu. Espera, us deixaré diners, que no n'hagueu de demanar.

Què, tots us en aneu? Que no hi hagi una festa on un malparit no sigui benvingut. Crema, casa! Enfonsa't Atenes! I d'ara endavant que sigui odiat de l'home Timó tota la humanitat.

Timó, emprenyat

[lliçó de sociologia]

IV i

TIMON

Let me look back upon thee. O thou wall,
That girdlest in those wolves, dive in the earth,
And fence not Athens! Matrons, turn incontinent!
Obedience fail in children! slaves and fools,
Pluck the grave wrinkled senate from the bench,
And minister in their steads! to general filths
Convert o' the instant, green virginity,
Do 't in your parents' eyes! bankrupts, hold fast;
Rather than render back, out with your knives,
And cut your trusters' throats! bound servants, steal!
Large-handed robbers your grave masters are,
And pill by law. Maid, to thy master's bed;
Thy mistress is o' the brothel! Son of sixteen,
pluck the lined crutch from thy old limping sire,
With it beat out his brains! Piety, and fear,
Religion to the gods, peace, justice, truth,
Domestic awe, night-rest, and neighbourhood,
Instruction, manners, mysteries, and trades,
Degrees, observances, customs, and laws,
Decline to your confounding contraries,
And let confusion live! Plagues, incident to men,
Your potent and infectious fevers heap
On Athens, ripe for stroke! Thou cold sciatica,
Cripple our senators, that their limbs may halt
As lamely as their manners. Lust and liberty
Creep in the minds and marrows of our youth,
That 'gainst the stream of virtue they may strive,
And drown themselves in riot! Itches, blains,
Sow all the Athenian bosoms; and their crop
Be general leprosy! Breath infect breath,
at their society, as their friendship, may
merely poison! Nothing I'll bear from thee,
But nakedness, thou detestable town!
Take thou that too, with multiplying bans!
Timon will to the woods; where he shall find
The unkindest beast more kinder than mankind.
The gods confound--hear me, you good gods all--
The Athenians both within and out that wall!
And grant, as Timon grows, his hate may grow
To the whole race of mankind, high and low! Amen.

Exit

Misanthropos

IV iii

ALCIBIADES
What is thy name? Is man so hateful to thee,
That art thyself a man?

TIMON
 I am Misanthropos, and hate mankind.
For thy part, I do wish thou wert a dog,
That I might love thee something.

ALCIBIADES
 I know thee well;
But in thy fortunes am unlearn'd and strange.

TIMON
I know thee too; and more than that I know thee,
I not desire to know. Follow thy drum;
With man's blood paint the ground, gules, gules:
Religious canons, civil laws are cruel;
Then what should war be? This fell whore of thine
Hath in her more destruction than thy sword,
For all her cherubim look.

Mai vas conèixer el terme mig

IV iii

APEMANTUS
The middle of humanity thou never knewest, but the
extremity of both ends: when thou wast in thy gilt
and thy perfume, they mocked thee for too much
curiosity; in thy rags thou knowest none, but art
despised for the contrary. There's a medlar for
thee, eat it.

Mentre eres entre lluentons i perfums, se'n fotien per massa finesa; en els teus draps ara no en tens, i et menspreen pel contrari. Té, un nespre per a tu.

Tot roba [ecologia aplicada]

IV iii

TIMON
Nor on the beasts themselves, the birds, and fishes;
You must eat men. Yet thanks I must you con
That you are thieves profess'd, that you work not
In holier shapes: for there is boundless theft
In limited professions. Rascal thieves,
Here's gold. Go, suck the subtle blood o' the grape,
Till the high fever seethe your blood to froth,
And so 'scape hanging: trust not the physician;
His antidotes are poison, and he slays
Moe than you rob: take wealth and lives together;
Do villany, do, since you protest to do't,
Like workmen. I'll example you with thievery.
The sun's a thief, and with his great attraction
Robs the vast sea: the moon's an arrant thief,
And her pale fire she snatches from the sun:
The sea's a thief, whose liquid surge resolves
The moon into salt tears: the earth's a thief,
That feeds and breeds by a composture stolen
From general excrement: each thing's a thief:
The laws, your curb and whip, in their rough power
Have uncheque'd theft. Love not yourselves: away,
Rob one another. There's more gold. Cut throats:
All that you meet are thieves: to Athens go,
Break open shops; nothing can you steal,
But thieves do lose it: steal no less for this
I give you; and gold confound you howsoe'er! Amen.

El mar també també és un lladre, el líquid que recull les làgrimes salades de la lluna: la terra també un lladre que s'alimenta i creix del compost robat dels excrements en general: cada cosa és un lladre.

Epitafi de Timó

V v

ALCIBIADES
[Reads the epitaph] 'Here lies a
wretched corse, of wretched soul bereft:
Seek not my name: a plague consume you wicked
caitiffs left!

Aquí jau un cos miserable, d'ànima miserable privat: no busqueu el meu nom, que una plaga ys consumi a tots els maleïts esclaus que quedeu.
Here lie I, Timon; who, alive, all living men did hate:
Pass by and curse thy fill, but pass and stay
not here thy gait.'

Aquí jec jo, Timó, que en vida vaig odiar tots els homes, passa i maleit siga la teva (fill mesura el que ets)el teu camí, però tira endavant i no et quedis aquí.”[gait manera de caminar, pas]

These well express in thee thy latter spirits:
Though thou abhorr'dst in us our human griefs,
Scorn'dst our brain's flow and those our
droplets which
From niggard nature fall, yet rich conceit
Taught thee to make vast Neptune weep for aye
On thy low grave, on faults forgiven. Dead
Is noble Timon: of whose memory
Hereafter more. Bring me into your city,
And I will use the olive with my sword,
Make war breed peace, make peace stint war, make each
Prescribe to other as each other's leech.
Let our drums strike.

Exeunt

Una obra sobre la retrobada i el reconèixer algú perdut. Una obra sobre la noia del mar.

Pericles, príncep de Tir, resol l'enigma establert per Antioc com a condició per lliurar la seva filla, i això revela l'incest. Pericles fuig i Antíoc envia un assassí rera d'ell. Pericles deixa el seu regne i vaga pel món. Ajuda Creon i Dionisa. Participa en un torneig en honor a la princesa Thaissa, el guanya i s'hi casa. Embarquen, Thaissa encinta i dóna a llum a Marina enmig d'una tempesta [els quatre elements van assistir al teu part, Marina] i mor. Llencen el taüt al mar. Dut per les ones arriba a Èfes on el metge Crimón la retorna a la vida i esdevé sacerdotessa d'un temple. Pericles deixa Marina a Creon i Dionisa. Setze anys després, aquests la volen matar, uns pirates la segresten per a ser venuda com a esclava i prostituta. Diran a Pericles que ha mort i embogirà de dolor. Al prostíbul Marina es manté ferma en romandre verge. Arriba Pericles i Marina va al vaixell, sense coneixer-lo, per veure si el poden recuperar i li explica la història. Pericles reconeix la seva filla i avisat de dirigir-se a Èfes explica les seves aventures a la sacerdotessa que es revela com la seva dona.

Es comenta que els dos primers actes són fluixos, possiblement producte d'un altre autor però Shakespeare es reconeix a partir del tercer acte i les escenes de la tempesta i sobretot del retrobament són d'una gran bellesa.

Aquesta mena d'històries fantàstiques amb parents que es es perden i retroben, desventures, màgia i final feliç, eren molt populars a la Roma Oriental del segle II i d'aquí passa a les mil i una nits i altres autors.

Dut d'una banda a l'altra com una pilota de tennis

II i

PERICLES
A man whom both the waters and the wind,
In that vast tennis-court, have made the ball
For them to play upon, entreats you pity him:
He asks of you, that never used to beg.

 My meat

II iii

THAISA
By Juno, that is queen of marriage,
All viands that I eat do seem unsavoury.
Wishing him my meat. Sure, he's a gallant gentleman.

La tempesta

III i

PERICLES
Thou god of this great vast, rebuke these surges [grans onades],
Which wash both heaven and hell; and thou, that hast
Upon the winds command, bind them in brass,
Having call'd them from the deep! O, still
Thy deafening, dreadful thunders; gently quench
Thy nimble, sulphurous flashes! O, how, Lychorida,
How does my queen? Thou stormest venomously;
Wilt thou spit all thyself [a l'huracà]? The seaman's whistle
Is as a whisper in the ears of death,
Unheard.

Una nena duta al món pel foc, terra, aire i aigua

III i

PERICLES
Now, mild may be thy life!
For a more blustrous birth had never babe:
Quiet and gentle thy conditions! for
Thou art the rudeliest welcome to this world
That ever was prince's child. Happy what follows!
Thou hast as chiding a nativity
As fire, air, water, earth, and heaven can make,
To herald thee from the womb: even at the first
Thy loss is more than can thy portage quit,
With all thou canst find here. Now, the good gods
Throw their best eyes upon't!

Nature conversant with pain

III ii

First Gentleman
But I much marvel that your lordship, having
Rich tire about you, should at these early hours
Shake off the golden slumber of repose.
'Tis most strange,
Nature should be so conversant with pain,
Being thereto not compell'd.

[És ben estrany que la natura estigui en converses amb el dolor sense ésser-hi obligada]

Marina i flors

IV i

MARINA
No, I will rob Tellus of her weed,
To strew thy green with flowers: the yellows, blues,
The purple violets, and marigolds,
Shall as a carpet hang upon thy grave,
While summer-days do last. Ay me! poor maid,
Born in a tempest, when my mother died,
This world to me is like a lasting storm,
Whirring me from my friends.

No, robaré a Tellus del seu camp, per cobrir el teu verd amb grocs (ginesta), blaus (campanetes), violetes, calèndules que cobriran la teva tomba com un tapís, tant de temps com duri l'estiu.

Marina no ha fet mai cap mal a ningú

IV i

MARINA
Why would she have me kill'd?
Now, as I can remember, by my troth,
I never did her hurt in all my life:
I never spake bad word, nor did ill turn
To any living creature: believe me, la,
I never kill'd a mouse, nor hurt a fly:
I trod [trepitjat] upon a worm against my will,
But I wept for it. How have I offended,
Wherein my death might yield her any profit,
Or my life imply her any danger?

Retrobada

V i
I will desist;
But there is something glows upon my cheek,
And whispers in mine ear, 'Go not till he speak.'

[...]

PERICLES
I am great with woe, and shall deliver weeping.
My dearest wife was like this maid, and such a one
My daughter might have been: my queen's square brows;
Her stature to an inch; as wand-like straight;
As silver-voiced; her eyes as jewel-like
And cased as richly; in pace another Juno;
Who starves the ears she feeds, and makes them hungry,
The more she gives them speech. Where do you live?

[...]

MARINA
You said you would believe me;
But, not to be a troubler of your peace,
I will end here.

PERICLES
But are you flesh and blood?
Have you a working pulse? and are no fairy?
Motion! Well; speak on. Where were you born?
And wherefore call'd Marina?

[...]

PERICLES
I embrace you.
Give me my robes. I am wild in my beholding.
O heavens bless my girl! But, hark, what music?
Tell Helicanus, my Marina, tell him
O'er, point by point, for yet he seems to doubt,
How sure you are my daughter. But, what music?

HELICANUS
My lord, I hear none.

PERICLES
None!
The music of the spheres! List, my Marina.

LYSIMACHUS
It is not good to cross him; give him way.

PERICLES
Rarest sounds! Do ye not hear?

LYSIMACHUS
My lord, I hear.

Music

PERICLES
Most heavenly music!
It nips me unto listening, and thick slumber
Hangs upon mine eyes: let me rest.

Sleeps

Retrobada amb Thaissa

V iii

PERICLES
This, this: no more, you gods! your present kindness
Makes my past miseries sports: you shall do well,
That on the touching of her lips I may
Melt and no more be seen. O, come, be buried
A second time within these arms.

Ayma, juny 2007

Època d'anglaterra sota els romans. Cymbeline, rei d'anglaterra, té dos fills desterrats i una filla, Imgògena, que pretén casar amb el talós fill de la seva nova esposa, Cloten. Però ella es casa amb Posthum Leonato sense permís. El rei el desterra a Itàlia.

Allà es vanta de la fidelitat de la seva estimada i aposta amb Iachimo que no podrà seduir-la. Aquest fa veure que ho ha aconseguit, Pòstum jura venjança i envia un servent a matar-la, però Pisanio se n'enamora i li explica la veritat. Imogena es disfressa de noi i fuig a Gales on es troba els seus germans. Cloten se n'assabenta i la segueix, disfressat de Postum, però Guideri, el germà, el descobreix i el mata tallant-li al cap. Imogena s'havia posat malalta i pres una falsa medecina de la madrastra que la deixa en un son com si estigués morta. Desperta per trobar el cadàver de Cloten que sembla ser Postum.

Entretant aquest ha tornat a Anglaterra disfressat de pagès. És capturat pels romans però aquests són derrotats per l'exèrcit anglès.

McLeigh diu que és una obra difícil que s'ha de llegir en clau metafòrica de la política del moment, la vella anglaterra decadent i la nova anglaterra, on la gent val per les seves pròpies virtuts amb nous valors morals; això és simbolitzar per Imogena. No és una obra del tot reeixida tot i ser ambiciosa.

Kermode diu que és una obra escrita per la recent adquirit Blackfriars pels King's men, que era un teatre cober, més subtil, amb oboes en lloc de trompetes, i una manera d'actuar més subtil. L'obra seria una tragicomèdia, que es caractitzaria, segons les normes italianes per que els personatges arribessin a estar en perill de morir però sense el fet fatal. Obra difícil, amb passatges que no tenen lògica, paper del mocador la roba i el vestit, potser es tracta de bromes provades de Shakespeare amb ell mateix o alguns espectadors.

Llegida, no hi trobo moments de gran poesia, com en d'altres, però la concentració d'emocions de primera categoria i de resolucio d'absències i reconeixements és molt intensa; un gran final.

Escriu-me, i beuré les paraules

I ii

I will remain
The loyal'st husband that did e'er plight troth:
My residence in Rome at one Philario's,
Who to my father was a friend, to me
Known but by letter: thither write, my queen,
And with mine eyes I'll drink the words you send,
Though ink be made of gall.

(Posthumus en ser desterrat i acomiadant-se de Imogen, i beuré els mots que m'enviis ni que la tinta estigui feta amb fel)

Imogen seguint Posthumus amb la vista

IMOGEN
 I would have broke mine eye-strings; crack'd them, but
To look upon him, till the diminution
Of space had pointed him sharp as my needle,
Nay, follow'd him, till he had melted from
The smallness of a gnat to air, and then
Have turn'd mine eye and wept. But, good Pisanio,
When shall we hear from him?

(Imogen, quan el veu marxar, forçant a vista)

M'hauria trencat els nervis dels ulls, fet a miques, només per contemplar-lo, fins que la disminució de l'espai l'hagués deixat esmolat com la meva agulla, més, l'hauria seguit fins que s'hagués fos en l'aire amb la petitesa d'un mosquit, i després hauria tombat la mirada i plorat.

La son i ardit de Iachimo

II ii

O sleep, thou ape of death, lie dull upon her!
And be her sense but as a monument,
Thus in a chapel lying! Come off, come off:

Taking off her bracelet

As slippery as the Gordian knot was hard!
'Tis mine; and this will witness outwardly,
As strongly as the conscience does within,
To the madding of her lord. On her left breast
A mole cinque-spotted, like the crimson drops
I' the bottom of a cowslip: here's a voucher,
Stronger than ever law could make: this secret
Will force him think I have pick'd the lock and ta'en
The treasure of her honour.

Doble sentit?

II iii

 CLOTEN
 I would this music would come: I am advised to give
her music o' mornings; they say it will penetrate.

Enter Musicians

Come on; tune: if you can penetrate her with your
fingering, so; we'll try with tongue too: if none
will do, let her remain; but I'll never give o'er.
First, a very excellent good-conceited thing;
after, a wonderful sweet air, with admirable rich
words to it: and then let her consider.

SONG
 Hark, hark! the lark at heaven's gate sings,
And Phoebus 'gins arise,
His steeds to water at those springs
On chaliced flowers that lies;
And winking Mary-buds begin
To ope their golden eyes:
With every thing that pretty is,
My lady sweet, arise:
Arise, arise.

CLOTEN

So, get you gone. If this penetrate, I will
consider your music the better: if it do not, it is
a vice in her ears, which horse-hairs and
calves'-guts, nor the voice of unpaved eunuch to
boot, can never amend.

(crins de cavall, tripes de cadell o la veu d'un eunuc descobert fins a la bota)

Un bon pit

II iv

 If you seek
For further satisfying, under her breast--
Worthy the pressing--lies a mole, right proud
Of that most delicate lodging: by my life,
I kiss'd it; and it gave me present hunger
To feed again, though full. You do remember
This stain upon her?

(el cabron de'n Iachimo)

De què parlarem quan siguem grans si no hem conegut el gran món?

III iii

ARVIRAGUS
 What should we speak of
When we are old as you? when we shall hear
The rain and wind beat dark December, how,
In this our pinching cave, shall we discourse
The freezing hours away? We have seen nothing;
We are beastly, subtle as the fox for prey,
Like warlike as the wolf for what we eat;
Our valour is to chase what flies; our cage
We make a quire, as doth the prison'd bird,
And sing our bondage freely.

El nostre coratge és perseguir el que fuig, fem un cor de la nostra gàbia i com l'ocell presoner cantem la nostra presó lliurement.

BELARIUS
How you speak!
Did you but know the city's usuries
And felt them knowingly; the art o' the court
As hard to leave as keep; whose top to climb
Is certain falling, or so slippery that
The fear's as bad as falling; the toil o' the war,
A pain that only seems to seek out danger
I' the name of fame and honour; which dies i' the search,
And hath as oft a slanderous epitaph
As record of fair act; nay, many times,
Doth ill deserve by doing well; what's worse,
Must court'sy at the censure:

The innocent mansion of my heart

III iv
 I draw the sword myself: take it, and hit
The innocent mansion of my love, my heart;
Fear not; 'tis empty of all things but grief;
Thy master is not there, who was indeed
The riches of it: do his bidding; strike
Thou mayst be valiant in a better cause;
But now thou seem'st a coward.

(Imogen, a Pisanio que la venia a matar per encàrrec de Posthumus)

Enterrament amb flors de Fidele

IV ii

ARVIRAGUS
 With fairest flowers
Whilst summer lasts and I live here, Fidele,
I'll sweeten thy sad grave: thou shalt not lack
The flower that's like thy face, pale primrose, nor
The azured harebell, like thy veins, no, nor
The leaf of eglantine, whom not to slander,
Out-sweeten'd not thy breath: the ruddock would,
With charitable bill,--O bill, sore-shaming
Those rich-left heirs that let their fathers lie
Without a monument!--bring thee all this;
Yea, and furr'd moss besides, when flowers are none,
To winter-ground thy corse.

Pàlida primavera, ni el blau jacint, com les teves venes, ni l'englantina, que sense menystenir-la no igualava el teu dolç alè: el pitroig, amb bec caritatiu -avergnyiny els hereus rics que deixen els pares sense monument-et portaria tot això- , i quan les flors s'haguessin marcit, la molsa felpada et duria per cobrir el teu cos a l'hivern.

Somnis

V iv

Posthumus Leonatus
[Waking] Sleep, thou hast been a grandsire, and begot
A father to me; and thou hast created
A mother and two brothers: but, O scorn!
Gone! they went hence so soon as they were born:
And so I am awake. Poor wretches that depend
On greatness' favour dream as I have done,
Wake and find nothing. But, alas, I swerve: [divago]
Many dream not to find, neither deserve,
And yet are steep'd in favours: so am I,
That have this golden chance and know not why.
What fairies haunt this ground? A book? O rare one!
Be not, as is our fangled world, a garment
Nobler than that it covers: let thy effects
So follow, to be most unlike our courtiers,
As good as promise.

[Sovint hi ha metàfores sobre l'aspecte interior i l'exterior de persones com les cobertes i contingut dels llibres]

El carceller, descans de la vida

V iv

First Gaoler
A heavy reckoning for you, sir. But the comfort is,
you shall be called to no more payments, fear no
more tavern-bills; which are often the sadness of
parting, as the procuring of mirth: you come in
flint for want of meat,

[veniu famolenc volent menjar]

depart reeling with too
much drink; sorry that you have paid too much, and
sorry that you are paid too much; purse and brain
both empty; the brain the heavier for being too
light, the purse too light, being drawn of
heaviness: of this contradiction you shall now be
quit. O, the charity of a penny cord! It sums up
thousands in a trice: you have no true debitor and
creditor but it; of what's past, is, and to come,
the discharge: your neck, sir, is pen, book and
counters; so the acquittance follows.

Ah, la compassió d'una corda d'un penic, en un moment suma milions, ja no tindreu creditors, i estareu descarregats del passat i del futur, el vostre coll, senyor, és la ploma, el llibre i els comptes, i així tot liquidat.

Who can read a woman?

V v

CYMBELINE
O most delicate fiend!
Who is 't can read a woman? Is there more?

(quan li expliquen la traició de la reina morta)

Harmless lightning

V v

See, Posthumus anchors upon Imogen,
And she, like harmless lightning, throws her eye
On him, her brother, me, her master, hitting
Each object with a joy: the counterchange
Is severally in all.

(el retorn és divers en tots)

Juliol 2007, Benifallet, Tortosa, Ayma

Políxenes rei de Bohemia és de visita a la cort de Leontes, i atès per la seva dona Hermione. Leontes esdevé gelos sense fonament i pretén enverinar-lo a través de Camil, però aquest l'avisa i fugen. L acusa H d'adulteri i la fa empresonar. H dóna a llum una nena. Paulina, amiga de H intenta intercedir. L envia uns missatgers a consultar l'oracle de Delfos. Tot i que l'oracle diu que és innocent, L no la creu. Mor el seu fillet com a càstig i H cau desplomada, com morta. L ordena abandonar la filla en una terra remota i Antígon, el marit de Paulina navega fins a la costa de Bohèmia. Deixa la petita, és devorat per un ós. La nena és recollida per un pastor.

Passen 16 anys.

El fill de Políxenes Floricel està enamorat de Perdita i s'hi vol casar. El rei disfressat el segueix i s'indigna amb el fill per voler-ho fer sense el seu consentiment. Escenes còmiques del pastor i Autòlic. Els enamorats fugen a Sicília ajudats per Camil. Un Leontes penedit reconeix la filla i al final, una suposada estàtua d'Hermione que té Paulina, cobra vida -havia estat amagada tots aquests anys.

És com una barreja d'Othello, a la primera part, i una comèdia a la segona, de to completament diferent, com una mena de From Dusk till Dawn. És l'apoteosi del romanç italià amb tots els seus efectes, i especial interès per les escenes de reconeixement. No l'he trobat de les millors obres.

En la representació vaig trobar irregularitats de to, bona dicció, molt encertat que a l'escena final no es veiés l'escultura.

Kermode apunta el simbolisme del conte d'hivern, la trista primera part, que es renova amb la primavera de la joventut de Floricel i Perdita, i va seguit de la tardor que queda a Leontes i Hermione. Diu que hi ha un llenguatge molt ric, però jo només n'he vist trossos.

Gelosia

I ii

LEONTES
Is whispering nothing?
Is leaning cheek to cheek? is meeting noses?
Kissing with inside lip? stopping the career
Of laughing with a sigh?--a note infallible
Of breaking honesty--horsing foot on foot?

Passejar a cavall peu amb peu
Skulking in corners? wishing clocks more swift?
Hours, minutes? noon, midnight? and all eyes
Blind with the pin and web but theirs, theirs only,
That would unseen be wicked? is this nothing?
Why, then the world and all that's in't is nothing;
The covering sky is nothing; Bohemia nothing;
My wife is nothing; nor nothing have these nothings,
If this be nothing.

El mirall en la mirada de l'altre

I ii
And cannot say, you dare not. Good Camillo,
Your changed complexions are to me a mirror
Which shows me mine changed too; for I must be
A party in this alteration, finding
Myself thus alter'd with 't.

El noi

II i

First Lady
Come, my gracious lord,
Shall I be your playfellow?

MAMILLIUS
No, I'll none of you.

First Lady
Why, my sweet lord?

MAMILLIUS
You'll kiss me hard and speak to me as if
I were a baby still. I love you better.

Second Lady
And why so, my lord?

MAMILLIUS
Not for because
Your brows are blacker; yet black brows, they say,
Become some women best, so that there be not
Too much hair there, but in a semicircle
Or a half-moon made with a pen.

[...]

HERMIONE
What wisdom stirs amongst you? Come, sir, now
I am for you again: pray you, sit by us,
And tell 's a tale.

MAMILLIUS
Merry or sad shall't be?

HERMIONE
As merry as you will.

MAMILLIUS
A sad tale's best for winter: I have one
Of sprites and goblins.

HERMIONE
Let's have that, good sir.
Come on, sit down: come on, and do your best
To fright me with your sprites; you're powerful at it.

La llengua, trompeta

II ii

PAULINA
I dare be sworn
These dangerous unsafe lunes i' the king,
beshrew them!
He must be told on't, and he shall: the office
Becomes a woman best; I'll take't upon me:
If I prove honey-mouth'd let my tongue blister
And never to my red-look'd anger be
The trumpet any more.

I si resulto de boca dolça, que em surtin grans a la llengua i que ja no pugui ser mai més la trompeta de la meva ira roja.

La semblança de la filla

II iii

PAULINA
It is yours;
And, might we lay the old proverb to your charge,
So like you, 'tis the worse. Behold, my lords,
Although the print be little [la còpia], the whole matter
And copy of the father, eye, nose, lip,
The trick of's frown, his forehead, nay, the valley,
The pretty dimples of his chin and cheek,

[els clotets de la barba i galta]
His smiles,
The very mould and frame of hand, nail, finger:
And thou, good goddess Nature, which hast made it
So like to him that got it, if thou hast
The ordering of the mind too, 'mongst all colours
No yellow in't, lest she suspect, as he does,
Her children not her husband's!

[mare natura, no li posis el color groc de la gelosia]

Visita a Delfos

III i

CLEOMENES
The climate's delicate, the air most sweet,
Fertile the isle, the temple much surpassing
The common praise it bears.

DION
I shall report,
For most it caught me, the celestial habits,
Methinks I so should term them, and the reverence
Of the grave wearers. O, the sacrifice!
How ceremonious, solemn and unearthly
It was i' the offering!

CLEOMENES
But of all, the burst
And the ear-deafening voice o' the oracle,
Kin to Jove's thunder, so surprised my sense.
That I was nothing.

La dona del pastor

IV iv

Shepherd
Fie, daughter! when my old wife lived, upon
This day she was both pantler, butler, cook,
Both dame and servant; welcomed all, served all;
Would sing her song and dance her turn; now here,
At upper end o' the table, now i' the middle;
On his shoulder, and his; her face o' fire
With labour and the thing she took to quench it,
She would to each one sip.

S'encarregava de fer el pa, servir el vi, cuinar, dama i servent alhora; acollia tothom, servia tothom, els cantava una cançó i ballava el que li corresponia; ara aquí, al cap de taula, després al mig, al costat d'aquest o d'aquell, la cara vermella de tant treballar i el que prenia per apagar-ho era un glop de cadascú.

Les flors de cada època i edat

IV iv

PERDITA
[To POLIXENES] Sir, welcome:
It is my father's will I should take on me
The hostess-ship o' the day.

To CAMILLO

You're welcome, sir.
Give me those flowers there, Dorcas. Reverend sirs,
For you there's rosemary and rue [romaní i ruda]; these keep
Seeming and savour all the winter long:
Grace and remembrance be to you both,
And welcome to our shearing!

POLIXENES
Shepherdess,
A fair one are you--well you fit our ages
With flowers of winter.

PERDITA
Sir, the year growing ancient,
Not yet on summer's death, nor on the birth
Of trembling winter, the fairest
flowers o' the season
Are our carnations and streak'd gillyvors,

[clavells i clavellines]
Which some call nature's bastards: of that kind
Our rustic garden's barren [erm]; and I care not
To get slips [brots] of them.

POLIXENES
Wherefore, gentle maiden,
Do you neglect them?

PERDITA
For I have heard it said
There is an art which in their piedness shares

[pied = multicolor]
With great creating nature.

POLIXENES
Say there be;
Yet nature is made better by no mean
But nature makes that mean: so, over that art
Which you say adds to nature, is an art
That nature makes. You see, sweet maid, we marry
A gentler scion to the wildest stock,

[unim un esqueix més tendre al tronc més salvatge]
And make conceive a bark of baser kind
By bud of nobler race: this is an art
Which does mend nature, change it rather, but
The art itself is nature.

PERDITA
So it is.

POLIXENES
Then make your garden rich in gillyvors,
And do not call them bastards.

PERDITA
I'll not put
The dibble in earth to set one slip of them;
[dibble eina jerdineria de fusta; diria aixada?]
No more than were I painted I would wish
This youth should say 'twere well and only therefore
Desire to breed by me. Here's flowers for you;
Hot lavender, mints, savoury, marjoram;
[espígol, menta, sajolida, marduix]
The marigold [rosa d'agost], that goes to bed wi' the sun
And with him rises weeping: these are flowers
Of middle summer, and I think they are given
To men of middle age. You're very welcome.

CAMILLO
I should leave grazing, were I of your flock,
And only live by gazing.

[pasturar, conemplar]

PERDITA
Out, alas!
You'd be so lean, that blasts of January
Would blow you through and through.
Now, my fair'st friend,
I would I had some flowers o' the spring that might
Become your time of day; and yours, and yours,
That wear upon your virgin branches yet
Your maidenheads growing: O Proserpina,
For the flowers now, that frighted thou let'st fall
From Dis's waggon! Daffodils [narcisos],
That come before the swallow dares [la gosadia de les orenetes], and take
The winds of March with beauty; violets dim,
But sweeter than the lids of Juno's eyes
Or Cytherea's breath; pale primroses [prímules]
That die unmarried, ere they can behold
Bight Phoebus in his strength--a malady
Most incident to maids; bold oxlips and
The crown imperial [més prímules]; lilies [lliris] of all kinds,
The flower-de-luce being one! O, these I lack,
To make you garlands of, and my sweet friend [Floricel],
To strew him o'er and o'er!

Repertori

IV iv

Servant
O master, if you did but hear the pedlar [venedor ambulant] at the
door, you would never dance again after a tabour and
pipe; no, the bagpipe could not move you: he sings
several tunes faster than you'll tell money; he
utters them as he had eaten ballads and all men's
ears grew to his tunes.

[les orelles de tots els homes creixen per -escoltar- les seves cançons]

Clown
He could never come better; he shall come in. I
love a ballad but even too well, if it be doleful
matter merrily set down, or a very pleasant thing
indeed and sung lamentably.

Ja sia una cosa tristíssima presentada de manera alegre o un cosa plaent cantada de manera lamentable.

Servant
He hath songs for man or woman, of all sizes; no
milliner [modista] can so fit his customers with gloves: he
has the prettiest love-songs for maids; so without
bawdry [grolleria], which is strange; with such delicate
burthens of dildos and fadings, 'jump her and thump
her;' and where some stretch-mouthed rascal would,
as it were, mean mischief and break a foul gap into
the matter, he makes the maid to answer 'Whoop, do me
no harm, good man;' puts him off, slights him, with
'Whoop, do me no harm, good man.'

El venedor Autolycus

IV iv

AUTOLYCUS
Ha, ha! what a fool Honesty is! and Trust, his
sworn [jurat] brother, a very simple gentleman! I have sold
all my trumpery; not a counterfeit stone, not a
ribbon, glass, pomander, brooch, table-book, ballad,
knife, tape, glove, shoe-tie, bracelet, horn-ring,
to keep my pack from fasting: they throng who
should buy first, as if my trinkets [quincalla] had been
hallowed [beneïda; encantada] and brought a benediction to the buyer:
by which means I saw whose purse was best in
picture; and what I saw, to my good use I
remembered.

Fa quatre hores que sóc senyor de naixement

V ii

Shepherd
Come, boy; I am past moe children, but thy sons and
daughters will be all gentlemen born.

Clown
You are well met, sir. You denied to fight with me
this other day, because I was no gentleman born.
See you these clothes? say you see them not and
think me still no gentleman born: you were best say
these robes are not gentlemen born: give me the
lie, do, and try whether I am not now a gentleman born.

AUTOLYCUS
I know you are now, sir, a gentleman born.

Clown
Ay, and have been so any time these four hours.

Shepherd
And so have I, boy.

Clown
So you have: but I was a gentleman born before my
father; for the king's son took me by the hand, and
called me brother; and then the two kings called my
father brother; and then the prince my brother and
the princess my sister called my father father; and
so we wept, and there was the first gentleman-like
tears that ever we shed.

L'estàtua cobra vida

V iii
But here it is: prepare
To see the life as lively mock'd as ever
Still sleep mock'd death: behold, and say 'tis well.

PAULINA draws a curtain, and discovers HERMIONE standing like a statue

I like your silence, it the more shows off
Your wonder: but yet speak; first, you, my liege,
Comes it not something near?

LEONTES
Her natural posture!
Chide me, dear stone, that I may say indeed
Thou art Hermione; or rather, thou art she
In thy not chiding, for she was as tender
As infancy and grace. But yet, Paulina,
Hermione was not so much wrinkled, nothing
So aged as this seems.

[...]

LEONTES
Do, Paulina;
For this affliction has a taste as sweet
As any cordial comfort. Still, methinks,
There is an air comes from her: what fine chisel
Could ever yet cut breath? Let no man mock me,
For I will kiss her.

PAULINA
Good my lord, forbear:
The ruddiness upon her lip is wet;
You'll mar it if you kiss it, stain your own
With oily painting. Shall I draw the curtain?

LEONTES
No, not these twenty years.

Antoni ha usurpat el tro de Milà al seu germà Prospero, acusant-lo de practicar la màgia. Prospero i la seva filla Miranda viuen en una illa, habitada també per Ariel, un esperit sobrenatural i el monstre Caliban, fill de la bruixa Sícorax.

Amb la seva màgia, Prospero fa naufragar el vaixell on anaven Antonio amb els seus còmplices Alonso (i el seu fill Ferran) i Sebastian. Caliban conspira amb el dispeser borratxo Esteve i amb el bufó de Prospero, Trínculo. Ariel turmenta els nàufrags per ordre de Prospero que s'ha tornat un amatgat venjatiu.

Prospero ha fet a Ferran esclau, aquest s'enamora de Miranda. Prospero nota que l'afete és sincer i els oranitza unes noces de broma. Al final Ariel demana a Prospero que s'apiadi dels mortals i aquest accedeix, posa fi a la màgia, allibera tothom i torna a Milà més generós d'esperit.

És una obra sobre la transició de l'amargor i el ressentiment cap al reconeixement dels propis errors i acceptació dels altres. Es diu que és el gran adéu de Shakespeare i, en certa mesura, autobiogràfic.

Inicialment la Illa és pels nàufrags un nou món on s'ha de reinventar la societat, Antonio ho prova des del maquievalisme, Esteve des de la borratxera, Gonzalo des de la utopia, Ferran i Miranda des de l'amor. Temps en que es debatien a filosofia els fonaments de societats justes i alhora que començava l'experiment del nou món, una nova societat a Amèrica, rapinya a les espanyes.

Kermode.
S manté la unitat espai temps clàssica.
Un dels aspectes interessants són les criatures que no són humanes, l'esperit Ariel, que permet observar les coses des d'una perspectiva exterior, i el monstre Calibà, que ha après el llenguatge, però que encara no és home, només sap renegar, i malgrat tot s'enamora també de Miranda [se'n podria fer una adaptació moderna amb robots, Ariel una versió superior, Calibà una que ha sortit malament.

Influència dels descobriments d'altres terres, les Bermudes, el nou món.
Paper de la música, la cançó que absorbeix Ferdinand, les altres Come unto theses yellow sands, full fathom five (que per cert surt al Cd del Deller Consort).

Gonzalo i la utopia, discurs que vindria a demostrar que S coneixia Montaigne. Antonio i l'altre conspiren, amb un ressó de Macbeth.
Now they are actors in a play; they have survived the wreck, as if to fulfil a duty prescribed by the destiny that saved them. The script is written, the prologue spoken, all they need now is to play their prescribed parts. Destiny is the playwright; the plot was prepared long ago. This rapid working out of the theatrial analogy is good mature Shakespeare; and it stirs in one's mind the deep-seated parallel between the notion of destiny and the role of the author who plans ahead and writes parts appropriate to his cast. Sebastian is persuaded to imitate de conscienceless Antonio and kill his brother; the attempis forestalled by Ariel. The entire plot is no more than a dreamlike interlude, an episode, indeed, in Prospero's plot; it lasts just as long as Gonzalo's brief sleep, shaken off at Ariels orders.

[Quina idea tan fascinant, pensar que la nostra vida potser no és més que un episodi del somni d'un altre! I pensar potser que el nostre dstí ha estat planificat per endavant? Una versió més humil o cínica ens diria que no som tan importants, i que ningú no ha preparat un destí detallat per a nosaltres, sinó que han fet paquets estadístics, també una mica com la programació orientada a objectes]

Famós discurs de IV.i, que sovint s'ha interpretat com el comiat de S, farewell to the stage, “som fets de la matèria dels somnis” [la vida com un seguit de somnis, el somni de cada moment, això irreal és el que ens determina]

Temes que van apareixent, la música, els somnis, el destí.
La innocent Miranda, aïllada del món [una altra mena de mirada, com la d'Ariel i la de Caliban] descobreix per primer cop altres éssers humans. How many goodly creatures are there here!

Oliva a la introducció recorda a Forster a Aspects of the novel que en aquesta la vida interior ens és explicada mentre que en el teatre només observem el comportament exterior i ho hem d'inferir pel to de veu i pel gest, és el director qui ens ho ha de fer veure. El text és més obert, és com una partitura.

Classifica els personatges en grups: Alonso i Gonçal (rei de Nàpols i conseller), Sebastià i Antoni (els dos germans conspiradors), Ferran i Miranda (els enamorats), Trínculo i Esteve (el bufó i el borratxo), Capità i contramestre, Ariel i Caliban (no humans, esperit i matèria; potser dos aspectes del mateix Prospero, esperit i instint).
[Ben bé que tenim un repertori de les diferents modalitats de la naturalesa humana]
És interessant que juntament amb Love's labour lost, the Tempest és una obra amb argument totalment original de Shakespeare.

El parlament de Gonzalo sobre el món ideal és una paràfrasi d'un assaig de Montaigne sobre els caníbals.
I quan Pròsper parla dels Elfs dels turons, és del discurs de Medea a les metamorfosis d'Ovidi.
També hi ha la referència a la descoberta de les Bermudes el 1610.

Una mort seca

I ii

GONZALO
Now would I give a thousand furlongs of sea for an
acre of barren ground, long heath, brown furze, any
thing. The wills above be done! but I would fain
die a dry death.

Ara donaria mil estadis de mar per un acre de terra estèril, de bruc, de ginesta, argelaga; és igual! Que es faci la voluntat del cel! Però m'agradaria més una mort seca.

Innocència de Miranda

I ii

PROSPERO
No harm.
I have done nothing but in care of thee,
Of thee, my dear one, thee, my daughter, who
Art ignorant of what thou art, nought knowing
Of whence I am, nor that I am more better
Than Prospero, master of a full poor cell,
And thy no greater father.

MIRANDA
More to know
Did never meddle with my thoughts.

cell=gruta, cel·la

Abysm of time

I ii

PROSPERO
Thou hadst, and more, Miranda. But how is it
That this lives in thy mind? What seest thou else
In the dark backward and abysm of time?
If thou remember'st aught ere thou camest here,
How thou camest here thou mayst.

Els llibres, un reialme

Iii

PROSPERO
To have no screen between this part he play'd
And him he play'd it for, he needs will be
Absolute Milan. Me, poor man, my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable; confederates--
So dry he was for sway--wi' the King of Naples
To give him annual tribute, do him homage,
Subject his coronet to his crown and bend
The dukedom yet unbow'd--alas, poor Milan!--
To most ignoble stooping.

[...]

PROSPERO
By Providence divine.
Some food we had and some fresh water that
A noble Neapolitan, Gonzalo,
Out of his charity, being then appointed
Master of this design, did give us, with
Rich garments, linens, stuffs and necessaries,
Which since have steaded much; so, of his gentleness,
Knowing I loved my books, he furnish'd me
From mine own library with volumes that
I prize above my dukedom.

Les Bermudes

I ii

ARIEL
Safely in harbour
Is the king's ship; in the deep nook, where once
Thou call'dst me up at midnight to fetch dew
From the still-vex'd Bermoothes, there she's hid:
The mariners all under hatches stow'd;
Who, with a charm join'd to their suffer'd labour,
I have left asleep; and for the rest o' the fleet
Which I dispersed, they all have met again
And are upon the Mediterranean flote,
Bound sadly home for Naples,
Supposing that they saw the king's ship wreck'd
And his great person perish.

El llenguatge, per renegar

I ii

CALIBAN
You taught me language; and my profit on't
Is, I know how to curse. The red plague rid you
For learning me your language!

Full fathom

I ii

ARIEL sings
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell

Burthen Ding-dong

Hark! now I hear them,--Ding-dong, bell.

[cançó de Robert Johnson, versió pel Deller Consort]

Miranda troba Ferran guapo!

I ii

MIRANDA
What is't? a spirit?
Lord, how it looks about! Believe me, sir,
It carries a brave form. But 'tis a spirit.

PROSPERO
No, wench; it eats and sleeps and hath such senses
As we have, such. This gallant which thou seest
Was in the wreck; and, but he's something stain'd
With grief that's beauty's canker, thou mightst call him
A goodly person: he hath lost his fellows
And strays about to find 'em.

MIRANDA
I might call him
A thing divine, for nothing natural
I ever saw so noble.

Plantar illes

II i

SEBASTIAN
His word is more than the miraculous harp; he hath
raised the wall and houses too.

ANTONIO
What impossible matter will he make easy next?

SEBASTIAN
 I think he will carry this island home in his pocket
and give it his son for an apple.

ANTONIO
And, sowing the kernels of it in the sea, bring
forth more islands.

Utopia

II i

GONZALO
I' the commonwealth I would by contraries
Execute all things; for no kind of traffic
Would I admit; no name of magistrate;
Letters should not be known; riches, poverty,
And use of service, none; contract, succession,
Bourn, bound of land, tilth, vineyard, none;
No use of metal, corn, or wine, or oil;
No occupation; all men idle, all;
And women too, but innocent and pure;
No sovereignty;--

SEBASTIAN
Yet he would be king on't.

ANTONIO
The latter end of his commonwealth forgets the
beginning.

GONZALO
All things in common nature should produce
Without sweat or endeavour: treason, felony,
Sword, pike, knife, gun, or need of any engine,
Would I not have; but nature should bring forth,
Of its own kind, all foison, all abundance,
To feed my innocent people.

Parar els pensaments en tancar els ulls

II i

ALONSO
What, all so soon asleep! I wish mine eyes
Would, with themselves, shut up my thoughts: I find
They are inclined to do so.

Somnis, projectes, conspiracions

II i

SEBASTIAN
I do; and surely
It is a sleepy language and thou speak'st
Out of thy sleep. What is it thou didst say?
This is a strange repose, to be asleep
With eyes wide open; standing, speaking, moving,
And yet so fast asleep.

ANTONIO
Noble Sebastian,
Thou let'st thy fortune sleep--die, rather; wink'st
Whiles thou art waking.

SEBASTIAN
Thou dost snore distinctly;
There's meaning in thy snores.

ANTONIO
I am more serious than my custom: you
Must be so too, if heed me; which to do
Trebles thee o'er.

La consciència d'Antonio

II i

SEBASTIAN
But, for your conscience?

ANTONIO
 Ay, sir; where lies that? if 'twere a kibe,
'Twould put me to my slipper: but I feel not
This deity in my bosom: twenty consciences,
That stand 'twixt me and Milan, candied be they
And melt ere they molest! Here lies your brother,
No better than the earth he lies upon,
If he were that which now he's like, that's dead;
Whom I, with this obedient steel, three inches of it,
Can lay to bed for ever; whiles you, doing thus,
To the perpetual wink for aye might put
This ancient morsel, this Sir Prudence, who
Should not upbraid our course. For all the rest,
They'll take suggestion as a cat laps milk;
They'll tell the clock to any business that
We say befits the hour.

¿on la tinc? Si fos com una llaga al peu, m'obligaria a dur babutxes. Però no sento cap deïtat aixó dins el meu pit: vint consciències interposades entre jo i Milà, s'ensucrarien i es dissoldrien molt abans de molestar... pel que fa als altres prendran els nostres suggeriments com un gat llepa la llet; nosalts fixarem l'hora i ells estaran sempre atents al rellotge.

Trinculo i Caliban, monstre de quatre cames

II ii

STEPHANO
Come on your ways; open your mouth; here is that
which will give language to you, cat: open your
mouth; this will shake your shaking, I can tell you,
and that soundly: you cannot tell who's your friend:
open your chaps again.

TRINCULO
I should know that voice: it should be--but he is
drowned; and these are devils: O defend me!

STEPHANO
Four legs and two voices: a most delicate monster!
His forward voice now is to speak well of his
friend; his backward voice is to utter foul speeches
and to detract. If all the wine in my bottle will
recover him, I will help his ague. Come. Amen! I
will pour some in thy other mouth.

TRINCULO
Stephano!

STEPHANO
Doth thy other mouth call me? Mercy, mercy! This is
a devil, and no monster: I will leave him; I have no
long spoon.

TRINCULO
Stephano! If thou beest Stephano, touch me and
speak to me: for I am Trinculo--be not afeard--thy
good friend Trinculo.

STEPHANO
 If thou beest Trinculo, come forth: I'll pull thee
by the lesser legs: if any be Trinculo's legs,
these are they. Thou art very Trinculo indeed! How
camest thou to be the siege of this moon-calf? can
he vent Trinculos?

Ca-Caliban

II ii

CALIBAN
No more dams I'll make for fish
Nor fetch in firing
At requiring;
Nor scrape trencher, nor wash dish
'Ban, 'Ban, Cacaliban
Has a new master: get a new man.
Freedom, hey-day! hey-day, freedom! freedom,
hey-day, freedom!

[em fa pensar en els Beach boys]

Poc cervell

III ii

TRINCULO
Servant-monster! the folly of this island! They
say there's but five upon this isle: we are three
of them; if th' other two be brained like us, the
state totters.

[l'estat trontollarà]

Estem fets de la matèria dels somnis

IV i

PROSPERO

You do look, my son, in a moved sort,
As if you were dismay'd: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vex'd;
Bear with my weakness; my, brain is troubled:
Be not disturb'd with my infirmity:
If you be pleased, retire into my cell
And there repose: a turn or two I'll walk,
To still my beating mind.

Fill meu, et veig un aire conmogut, com consternat; au, alegra't, amic.
Els nostres jocs s'han acabat. Aquests actors, tal com t'havia dit, tots eren esperits, tots s'han fos dintre l'aire més fi.Igual com l'edifici sense fonaments d'aquesta visió, les torres coronades de núvols, els palaus sumptuosos, els temples més solemnes, tot el món mateix, sí, i tots els que l'heretin, desapareixeran, i, igual com s'ha esvaït aquesta festa sense cos, no deixaran cap rastre.Tots estem fets de la matèria de què estan fets els somnis, i és el somni que encercla les nostres vides. Amic, tinc l'ànima entristida; perdona'm la feblesa. El meu cervell està torba, però no facis cas de la meva feblesa. Si us plau, aneu dintre la meva cova i reposeu-hi. Jo em passejaré una mica per calmar la meva ànima inquieta.

De la venjança a la simpatia

V i

ARIEL
but chiefly
Him that you term'd, sir, 'The good old lord Gonzalo;'
His tears run down his beard, like winter's drops
From eaves of reeds. Your charm so strongly works 'em
That if you now beheld them, your affections
Would become tender.

Els teus encisos actuen sobre ells tan fortament que si els veiessis quedaries entendrit

PROSPERO
Dost thou think so, spirit?

ARIEL
Mine would, sir, were I human.

Jo hi hauria quedat, si fos humà

PROSPERO
And mine shall.
Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply,
Passion as they, be kindlier moved than thou art?
Though with their high wrongs I am struck to the quick,
Yet with my nobler reason 'gaitist my fury
Do I take part: the rarer action is
In virtue than in vengeance: they being penitent,
The sole drift of my purpose doth extend
Not a frown further. Go release them, Ariel:
My charms I'll break, their senses I'll restore,
And they shall be themselves.

I jo també m'entendriré. Si tu que ets només aire tens un sentiment per a les seves aficcions, jo que sóc de la seva mateixa espècie, i sento les passions tan fortament com ells, ¿no he de sentir-me conmogut amb més beningnitat que tu? Les seves greus ofenses m'han ferit vivament, però la part més noble de la ment lluita amb la meva fúria. És més bonic de fer una obra de caritat que no pas de venjança. Com que s'han penedit, l'únic abast del meu propòsit no anirà més enllà de corrugar les celles. Vés, allibera'ls, Ariel. Jo trencaré els encisos i els restituiré els sentits perquè tornin a ser tal com eren abans.

Plega la màgia

V i

PROSPERO
 Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites, and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid,
Weak masters though ye be, I have bedimm'd
The noontide sun, call'd forth the mutinous winds,
And 'twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder
Have I given fire and rifted Jove's stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck'd up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let 'em forth
By my so potent art. But this rough magic
I here abjure, and, when I have required
Some heavenly music, which even now I do,
To work mine end upon their senses that
This airy charm is for, I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.

Solemn music

Elfs dels turons, dels rierols, dels estanys i dels boscos,
vosaltres que encalceu sense deixar cap rastre
el refluent Neptu i el defugiu quan torna,
vosaltres, que sou quasi com marionetes,
i a la llum de la lluna feu cercles d'amargor
damunt l'herba, que el xai mai no vol tastar,
i que us entreteniu fent créixer els moixernons de mitja nit,
i que us alegreu sentint el toc solemnial de queda,
amb l'ajut vostre (encara que sigueu
dominadors ben febles) jo he fet enfosquir el sol
a ple migdia, he convocat els vents rebels,
i entre la volta blava i el mar verd, he alçat
una lluita udolant, i he calat foc al tro,
temible i ressonant, i he fes el poderós
roure de Júpiter, amb el seu propi llamp.
He fet estrémer els promontoris més estables
i he arrabassat de soca-rel els pins i els cedres.
Les tombes s'han obert al meu comanament:
els seus dorments s'han despertat i han quedat lliures
gràcies al poder de la meva art.
Però ara abjuro aquesta màgia brutal.
Tan aviat com hagi requerit
una mica de música celeste (que ara demano
per dur el propòsit meu cap els sentits d'aquells
a qui va destinat aquest encant aeri),
jo mateix trencaré la meva vara
l'enterraré a cent braces sota terra
i llançaré el meu llibre al fons del mar
on mai cap sonda no hi arribi.

Miranda, les coses velles amb ulls nous

V i

MIRANDA
O, wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't!

PROSPERO
'Tis new to thee.

Ariel [per experimentar circumstàncies amb els humans]

V i

ARIEL
[Aside to PROSPERO] Sir, all this service
Have I done since I went.

PROSPERO
[Aside to ARIEL] My tricksy spirit!

[...]

Aside to ARIEL

My Ariel, chick,
That is thy charge: then to the elements
Be free, and fare thou well! Please you, draw near.

Wolsey, cardenal catòlic, s'avança a les accions del Duc de Buckingham i el fa empresonar. El rei s'ha separat de Catarina i en un ball coneix a Ana Bolena. Wolsey mira d'arranjar la nulitat de Caterina i intenta que demani clemència al rei alhora que es vol desfer d'Ana Bolena que és protestant. Caterina es retira al camp i demana ajuda al Papa. Enric acomiada Wolsey, nomena el bisbe de Canterbury i es casa amb Ana.

Wolsey i Ana moren.

Obra de conspiracions i balls espectaculars. Tot i que s'ha dit que potser està escrita a mitges amb Fletcher, es tendeix a atribuir-la sencera a S.

Kermode diu que S seguia experimentant, que havia format un públic i que el posava a prova.

[Una obra d'intrigues de palau]

Cada dia, el model pel següent

I i
 Then you lost
The view of earthly glory: men might say,
Till this time pomp was single, but now married
To one above itself. Each following day
Became the next day's master, till the last
Made former wonders its.

Fins que l'últim féu meravellar tots els anteriors

La destral

II i
You few that loved me,
And dare be bold to weep for Buckingham,
His noble friends and fellows, whom to leave
Is only bitter to him, only dying,
Go with me, like good angels, to my end;
And, as the long divorce of steel falls on me,
Make of your prayers one sweet sacrifice,
And lift my soul to heaven. Lead on, o' God's name.

Música

III i

QUEEN KATHARINE
 Take thy lute, wench: my soul grows sad with troubles;
Sing, and disperse 'em, if thou canst: leave working.

SONG
Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Every thing that heard him play,
Even the billows of the sea,
Hung their heads, and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.

El rei recriminant a Wosley, earthly audit

III ii

KING HENRY VIII
Good my lord,
You are full of heavenly stuff, and bear the inventory
Of your best graces in your mind; the which
You were now running o'er: you have scarce time
To steal from spiritual leisure a brief span
To keep your earthly audit: sure, in that
I deem you an ill husband, and am glad
To have you therein my companion.

Us queda poc temps per robar a la vostra ocupació espiritual una estona per donar audiència als interessos terrenals

Dignitat de Wosley

III ii

CROMWELL
How does your grace?

CARDINAL WOLSEY
Why, well;
Never so truly happy, my good Cromwell.
I know myself now; and I feel within me
A peace above all earthly dignities,
A still and quiet conscience. The king has cured me,
I humbly thank his grace; and from these shoulders,
These ruin'd pillars, out of pity, taken
A load would sink a navy, too much honour:
O, 'tis a burthen, Cromwell, 'tis a burthen
Too heavy for a man that hopes for heaven!

La visió de la reina (coreografia de Shakespeare)

IV ii

GRIFFITH

She is asleep: good wench, let's sit down quiet,
For fear we wake her: softly, gentle Patience.

The vision. Enter, solemnly tripping one after another, six personages, clad in white robes, wearing on their heads garlands of bays, and golden vizards on their faces; branches of bays or palm in their hands. They first congee unto her, then dance; and, at certain changes, the first two hold a spare garland over her head; at which the other four make reverent curtsies; then the two that held the garland deliver the same to the other next two, who observe the same order in their changes, and holding the garland over her head: which done, they deliver the same garland to the last two, who likewise observe the same order: at which, as it were by inspiration, she makes in her sleep signs of rejoicing, and holdeth up her hands to heaven: and so in their dancing vanish, carrying the garland with them. The music continues

KATHARINE
Spirits of peace, where are ye? are ye all gone,
And leave me here in wretchedness behind ye?

GRIFFITH
Madam, we are here.

KATHARINE
 It is not you I call for:
Saw ye none enter since I slept?

GRIFFITH
None, madam.

KATHARINE
No? Saw you not, even now, a blessed troop
Invite me to a banquet; whose bright faces
Cast thousand beams upon me, like the sun?
They promised me eternal happiness;
And brought me garlands, Griffith, which I feel
I am not worthy yet to wear: I shall, assuredly.

Profecia sobre la reina Elisabet

V v
Wherever the bright sun of heaven shall shine,
His honour and the greatness of his name
Shall be, and make new nations: he shall flourish,
And, like a mountain cedar, reach his branches
To all the plains about him: our children's children
Shall see this, and bless heaven.

KING HENRY VIII
Thou speakest wonders.

CRANMER
She shall be, to the happiness of England,
An aged princess; many days shall see her,
And yet no day without a deed to crown it.
Would I had known no more! but she must die,
She must, the saints must have her; yet a virgin,
A most unspotted lily shall she pass
To the ground, and all the world shall mourn her.