:00:10. > :00:21.Tonight from the Royal Shakespeare theatre Stratford-upon-Avon, Judi
:00:22. > :00:31.Dench, Helen Mirren, Ian McKellen, Benedict Cumberbatch, David Suchet,
:00:32. > :00:36.Tim Minchin, AlMurray, Rufus Hound, MeeraSayal. Ann-Marie Duff and many
:00:37. > :00:38.more join together to celebrate the life and work of William
:00:39. > :00:58.Shakespeare. # The Jets are gonna
:00:59. > :01:08.have their day tonight. # The Jets are gonna
:01:09. > :01:19.have their way tonight. The Puerto Ricans
:01:20. > :01:21.grumble: "Fair fight." # But if they start a rumble,
:01:22. > :01:24.We'll rumble 'em right. # We're gonna hand 'em
:01:25. > :01:27.a surprise Tonight. # We're gonna cut 'em
:01:28. > :01:31.down to size Tonight. # We said, "OK, no
:01:32. > :01:36.rumpus, No tricks." # But just in case they jump us,
:01:37. > :01:39.We're ready to mix Tonight. # We're gonna jazz it up
:01:40. > :01:48.and have us a ball! # The more they turn it
:01:49. > :01:57.on the harder they'll fall! ALL: # And we're the ones to stop
:01:58. > :02:09.'em once and for all, tonight! # Anita's gonna get
:02:10. > :02:13.her kicks tonight. # We'll have our private
:02:14. > :02:19.little mix tonight. # He'll walk in hot
:02:20. > :02:22.and tired, poor dear # Don't matter if he's tired,
:02:23. > :02:29.As long as he's here # Tonight, tonight,
:02:30. > :02:35.Won't be just any night, # Tonight there will
:02:36. > :02:39.be no morning star. # Tonight, tonight, I'll
:02:40. > :02:48.see my love tonight. # And for us, stars will
:02:49. > :02:55.stop where they are. # The hours go so slowly,
:02:56. > :03:11.And still the sky is light. # And make this endless
:03:12. > :03:28.day endless night! # The Jets are coming
:03:29. > :03:55.out on top tonight # Tonight, tonight,
:03:56. > :04:00.Late tonight, # Anita's gonna have her day,
:04:01. > :04:16.Anita's gonna have her day, # Tonight, this very night,
:04:17. > :04:41.We're gonna rock it tonight! # Tonight, tonight, I'll
:04:42. > :04:45.see my love tonight. # And for us, stars will
:04:46. > :04:54.stop where they are. Tonight we celebrate the life
:04:55. > :05:46.and work of William Shakespeare, for it is exactly 400 years
:05:47. > :05:49.to the day since he died, We are here at the Royal
:05:50. > :05:55.Shakespeare Theatre in Stratford-upon-Avon,
:05:56. > :05:58.barely a stone's throw from where he was born,
:05:59. > :06:01.and where he is buried. It's not just the great
:06:02. > :06:04.stories he writes, the wonderful characters,
:06:05. > :06:06.and the memorable language, Shakespeare tells us
:06:07. > :06:08.about ourselves. Perhaps that is why,
:06:09. > :06:13.for four centuries, he has inspired From Berlioz and Bernstein,
:06:14. > :06:18.to Hip-hop and Jazz, From Ballet to Broadway
:06:19. > :06:20.to Blues...and back. And that's what we're
:06:21. > :06:24.celebrating tonight. There really is something
:06:25. > :06:25.for everybody. And all the men and women merely
:06:26. > :06:46.players: They have their exits
:06:47. > :06:49.and their entrances; And one man
:06:50. > :06:52.in his time plays many parts, Mewling
:06:53. > :07:07.and puking in the nurse's arms. And then the whining
:07:08. > :07:13.schoolboy, with his satchel creeping like snail
:07:14. > :07:19.Unwillingly to school. Sighing like furnace,
:07:20. > :07:28.with a woeful ballad Full of strange oaths
:07:29. > :07:35.and bearded like the pard, Jealous in honour, sudden
:07:36. > :07:39.and quick in quarrel, Seeking the bubble reputation Even
:07:40. > :07:42.in the cannon's mouth. In fair
:07:43. > :07:49.round belly with good capon lined, With eyes severe and
:07:50. > :07:52.beard of formal cut, Full of wise saws
:07:53. > :07:57.and modern instances; Into the lean
:07:58. > :08:06.and slipper'd pantaloon, With spectacles on nose
:08:07. > :08:11.and pouch on side, His youthful hose, well
:08:12. > :08:15.saved, a world too wide For his shrunk shank;
:08:16. > :08:18.and his big manly voice, Turning again toward
:08:19. > :08:22.childish treble, pipes That ends this
:08:23. > :08:34.strange eventful history, Is second childishness
:08:35. > :08:39.and mere oblivion, Sans teeth, sans eyes,
:08:40. > :08:47.sans taste, sans everything. The famous "All the World's a Stage"
:08:48. > :08:58.speech from As You Like It, there, with the Seven Ages of Man
:08:59. > :09:00.represented by: - The tiny wee baby son of two
:09:01. > :09:03.of the RSC production staff, - with a maternity nurse
:09:04. > :09:05.from Warwick hospital, - a schoolboy from Shakespeare's
:09:06. > :09:07.own school, King Edward's, - a dancer/performer
:09:08. > :09:12.from Birmingham, - a soldier serving in the Royal
:09:13. > :09:14.Electrical and Mechanical Engineers And now the first of four short
:09:15. > :09:26.films about the life of William Shakespeare introduced
:09:27. > :09:29.by a man who knows all about the Bard, having played him
:09:30. > :09:32.onscreen in Shakespeare In Love. Here's Joseph Fiennes to introduce
:09:33. > :09:36."The Seasons of Shakespeare's Life" William Shakespeare was born
:09:37. > :09:43.in the Warwickshire market town of Stratford-upon-Avon on this very
:09:44. > :09:50.day, April 23rd, 1564. It's where he enjoyed
:09:51. > :09:53.the springtime of his life, for it's here in Warwickshire
:09:54. > :09:58.that he was raised, here in Stratford that he was educated,
:09:59. > :10:03.and here in this hamlet that he enjoyed the
:10:04. > :10:10.first shoots of love. In this cottage, in the village
:10:11. > :10:14.of Shottery, lived a yeoman farmer's Perhaps, in this farmhouse,
:10:15. > :10:23.they exchanged love tokens, perhaps under these eaves
:10:24. > :10:26.they whispered their sweetest nothings, and who knows, perhaps
:10:27. > :10:35.for Anne he began writing poetry. Perhaps it's from this youthful
:10:36. > :10:44.springtime that he drew the inspiration for the song Under
:10:45. > :10:48.the Greenwood Tree from his play In its verses we can hear
:10:49. > :10:56.the echoes of love at its most # Here we'll find no enemy
:10:57. > :11:43.but winter, and rough weather # Than to die not my master stutter
:11:44. > :11:54.those whose ambitions shun Deny thy father and refuse thy name;
:11:55. > :13:14.Or, if thou wilt not, be but sworn my love,
:13:15. > :13:19.And I'll no longer be a Capulet. Shall I hear more,
:13:20. > :13:24.or shall I speak at this? 'Tis but thy name that is my
:13:25. > :13:28.enemy; Thou art thyself,
:13:29. > :13:33.though not a Montague. Nor arm,
:13:34. > :13:43.nor face, nor any other part By any
:13:44. > :14:03.other name would smell as sweet; So Romeo would, were
:14:04. > :14:06.he not Romeo call'd, Retain that dear
:14:07. > :14:09.perfection which he owes And for that
:14:10. > :14:18.name which is no part of thee Call me
:14:19. > :14:27.but love, and I'll be new baptized; What man art thou that
:14:28. > :14:34.thus bescreen'd in night By a name I know not how
:14:35. > :14:41.to tell thee who I am: My name, dear saint,
:14:42. > :14:44.is hateful to myself, Because it is an enemy
:14:45. > :14:46.to thee; Had I it written,
:14:47. > :14:49.I would tear the word. My ears have not yet
:14:50. > :14:52.drunk a hundred words Of that tongue's utterance,
:14:53. > :14:55.yet I know the sound: Neither, fair saint,
:14:56. > :15:02.if either thee dislike. How camest thou hither,
:15:03. > :15:06.tell me, and wherefore? The orchard walls are
:15:07. > :15:10.high and hard to climb, And the place death,
:15:11. > :15:14.considering who thou art. If they do see thee,
:15:15. > :15:22.they will murder thee. I have night's cloak
:15:23. > :15:24.to hide me from their sight; And but thou love me,
:15:25. > :15:28.let them find me here. Thou know'st the mask
:15:29. > :15:31.of night is on my face, Else would a maiden
:15:32. > :15:34.blush bepaint my cheek For that which thou hast
:15:35. > :15:38.heard me speak to-night That tips with silver
:15:39. > :15:44.all these fruit-tree tops - O, swear not by the moon,
:15:45. > :15:49.the inconstant moon, That monthly changes
:15:50. > :15:54.in her circled orb, Lest that thy love prove
:15:55. > :15:56.likewise variable. Or, if thou wilt, swear
:15:57. > :16:07.by thy gracious self, Well, do not swear:
:16:08. > :16:21.although I joy in thee, I have no joy of this
:16:22. > :16:25.contract to-night: It is too rash, too
:16:26. > :16:33.unadvised, too sudden; Too like the lightning,
:16:34. > :16:36.which doth cease to be Ere one can say 'It
:16:37. > :16:40.lightens.' This bud of love, by
:16:41. > :16:48.summer's ripening breath, May prove a beauteous
:16:49. > :16:53.flower when next we meet. Parting is such sweet sorrow,
:16:54. > :17:04.That I shall say good Sleep dwell upon thine eyes,
:17:05. > :17:18.peace in thy breast! Would I were sleep and peace,
:17:19. > :23:34.so sweet to rest! Looking at what their bodies are
:23:35. > :23:35.capable of doing, I find it difficult to believe we are the same
:23:36. > :23:37.species. The Balcony Scene from Romeo
:23:38. > :23:39.and Juliet, of course, performed by
:23:40. > :23:41.Mariah Gale and Natey Jones. And the Royal Ballet's Yasmine
:23:42. > :23:43.Naghdi and Matthew Ball performing the same scene in Prokofiev's Romeo
:23:44. > :23:55.and Juliet with Kenneth Macmillan's The Royal Ballet commissioned the
:23:56. > :24:06.place for the terse of Shakespeare's birth.
:24:07. > :24:18.So I put him down with a perfect witty response!
:24:19. > :24:29.I haven't had this much fun since I was in prison!
:24:30. > :24:37.Excuse me, is this where the theatre stars hang out?
:24:38. > :24:44.Shall I give him an autograph or kill him?
:24:45. > :24:53.Lad, you are addressing the greatest theatrical stars of the age.
:24:54. > :24:55.Ben Jonson, actor and writer, Kit Marlowe, playwright
:24:56. > :25:14.And this is Gabriel Spenser, he's just an actor but we let him
:25:15. > :25:17.hang out with us because he likes drinking and fighting.
:25:18. > :25:19.He also does a good line in literary criticism.
:25:20. > :25:26.OK, guys, well I might come back later
:25:27. > :25:28.when you're a bit less busy and drunk and fighty.
:25:29. > :25:37.Actually I was looking for some advice.
:25:38. > :25:43.Basically, at the moment I'm mainly like an actor,
:25:44. > :25:49.but, like, I'm looking to get more into writing, you know,
:25:50. > :25:51.and I mainly specialise in playing old man parts
:25:52. > :26:02.Well, my name is William Shakespeare.
:26:03. > :26:35.Real writers drink and fight and go to prison!
:26:36. > :26:41.Well I have a wife and kids so I have to earn a living.
:26:42. > :26:43.Anyway, I'm pretty good at writing plays.
:26:44. > :26:46.Oooh look at me, I'm Billy Springle-Sprangle
:26:47. > :26:51.and I write plays, and I plan for the future.
:26:52. > :26:54.I genuinely don't know who that's supposed to be.
:26:55. > :27:00.Ok look I'm not good at impressions alright?
:27:01. > :27:06.Listen buddy, I'm a writer not a fighter,
:27:07. > :27:09.and I'm going all the way to the top with or without you guys.
:27:10. > :27:11.Everyone will know my name, William S-
:27:12. > :27:41.The Horrible Histories gang there, with a playful take on the past.
:27:42. > :27:45.And now Shakespeare's own take on the history of Henry V.
:27:46. > :27:48.Here the young king, having conquered France
:27:49. > :27:51.at the Battle of Agincourt, finds himself powerless
:27:52. > :27:53.and tongue-tied in his attempts to woo the French princess,
:27:54. > :27:55.Katherine, with whom he hopes to unite the English
:27:56. > :28:09.to teach a soldier terms Such as will enter at a lady's ear
:28:10. > :28:14.And plead his love-suit to her gentle heart?
:28:15. > :28:26.Your majesty shall mock at me: I cannot speak your England.
:28:27. > :28:30.O fair Katherine, if you will love me soundly with your French heart,
:28:31. > :28:33.I will be glad to hear you confess it brokenly with your
:28:34. > :29:05.An angel is like you, Kate, and you are like an angel.
:29:06. > :29:13.Oui, vraiment, sauf votre grace, ainsi dit-il.
:29:14. > :29:16.I said so, dear Katherine, and I must not blush to affirm it.
:29:17. > :29:21.Les langues des hommes sont pleines de tromperies.
:29:22. > :29:29.That the tongues of men are full of deceits?
:29:30. > :29:39.Oui, dat de tongues of de mans is be full of deceits: dat is de princess.
:29:40. > :29:42.I'faith, Kate, my wooing is fit for thy understanding.
:29:43. > :29:47.I am glad thou canst speak no better English.
:29:48. > :29:51.I know no ways to mince it in love, but directly to say 'I love you'.
:29:52. > :29:54.Then if you urge me farther than to say, 'Do you in faith?',
:29:55. > :29:59.Give me your answer, i'faith, do, and so clap
:30:00. > :30:11.Sauf votre honneur, me understand vell.
:30:12. > :30:16.Marry, if you would put me to verses or to dance for your sake,
:30:17. > :30:23.If I could win a lady at leap-frog, or by vaulting into my saddle
:30:24. > :30:30.with my armour on my back, I should quickly leap into a wife.
:30:31. > :30:34.But, before God, Kate, I cannot look greenly nor gasp
:30:35. > :30:38.out my eloquence, nor I have no cunning in protestation.
:30:39. > :30:45.If thou canst love a fellow of this temper, Kate, whose face
:30:46. > :30:49.is not worth sunburning, that never looks in his glass
:30:50. > :30:58.for love of anything he sees there, let thine eye be thy cook.
:30:59. > :31:03.I speak to thee plain soldier: if thou canst love me for this,
:31:04. > :31:09.take me: if not, to say to thee that I shall die,
:31:10. > :31:12.is true; but for thy love, by the lord, no.
:31:13. > :31:19.If thou would have such a one, take me: and take me,
:31:20. > :31:29.take a soldier: take a soldier, take a king.
:31:30. > :31:38.A good leg will fall, a straight back will stoop, a black beard will
:31:39. > :31:43.turn white, a full face will wither, a fair eye will wax hollow, but a
:31:44. > :31:52.good heart Kate is the sun and the moon. Or rather the sun and not the
:31:53. > :32:01.moon because it shines bright and never changes. Keeps his course
:32:02. > :32:11.tulip. If thou would have such a one, take me. And take me, take a
:32:12. > :32:25.soldier. Take a soldier, take a King. Very good.
:32:26. > :32:28.If Shakespeare were alive today, what would he be?
:32:29. > :32:34.No, I mean would he be writing for films, or TV shows, or -
:32:35. > :32:43.Well, I've heard they only hire the best.
:32:44. > :32:51.Who better to answer than Akala and Nitin Sawhney?
:32:52. > :33:35.Here they are with Hip Hop Shakespeare.
:33:36. > :33:47.If all of the world's a stage, then light my way, because out, out, your
:33:48. > :33:53.brief candle is not. For centuries past, yet I still cannot grasp that
:33:54. > :33:59.undiscovered country that makes words immortal. If the good that men
:34:00. > :34:05.do is interred with their bones, then this precious stone is a beauty
:34:06. > :34:15.too rich. Me thinks it's a jewel in the air of us all, as the wisest
:34:16. > :34:23.words spoken are spoken by force. Tomorrow, tomorrow, tomorrow, I want
:34:24. > :34:29.to endure desire. Time wastes me, flesh goes pasty. Delayed found
:34:30. > :34:34.greatness. What me did they feed, I wouldn't taste the milk even if it
:34:35. > :34:39.was good. Sprang back unfound the language disused by us all. Stat due
:34:40. > :34:44.and stone, I have captured your tone. I remembered the poet in the
:34:45. > :34:48.lunatic, one and the same, only sometimes men and masters are the
:34:49. > :34:54.same of their faith. Lighted their ways to a dusty death. A fool's
:34:55. > :35:01.paradise, a shadow of dream, off with his head. Guide me to the
:35:02. > :35:05.world's light, it could turn his prison cell bright. Guide me to the
:35:06. > :35:13.world's night. Could turn the prison cell bright. Guide me to the world's
:35:14. > :35:19.bright. Men can breathe and eyes can see, this gives life to thee. When I
:35:20. > :35:24.think there's not a note of anything worth noting, faultless cries, I get
:35:25. > :35:28.tongue tied, my soul runs dry, I remember you spoke of the marriage
:35:29. > :35:33.of the minds. I presume to take your place in a nutshell, I'm the King of
:35:34. > :35:40.infinite space, a waste of shame, so full of blame, expense in my spirit
:35:41. > :35:44.and disgraced in my name. I'm un-Kingth Ked again. Not learnt from
:35:45. > :35:56.the thingious taught us. The song and very chug dies.
:35:57. > :36:02.All this, I know not well enough to show. Guide me to the world's light,
:36:03. > :36:09.when I arrive, it could turn the prison cell right. When I arrive, it
:36:10. > :36:13.could turn the prison cell bright. When I'm right, it could turn this
:36:14. > :36:21.prison cell bright. Eyes can see, this gives life to thee. What's past
:36:22. > :36:30.makes sense with the gathered centuries after death. They call you
:36:31. > :36:33.King. It's honourable, what is horrible, you didn't know all this
:36:34. > :36:38.was possible. Did you feel it in your bones, did you have this
:36:39. > :36:48.greatness thrust upon you? You should really give the devil his
:36:49. > :36:57.due, speak to few. Words never scarce, spent in vein, the clue's
:36:58. > :37:01.Shakespeare, but what's in a name? Hell at night, guide me to the
:37:02. > :37:10.world's light, when EU arrive, it could turn the prison cell bright.
:37:11. > :37:16.Guide me to the world's light. When I arrive, it could turn the prison
:37:17. > :37:21.cell right. As far as eyes can see, this gives life to thee. Guide know
:37:22. > :37:33.the world's light, when I arrive, it could turn this prison cell bright.
:37:34. > :37:37.Guide know the world light, when I arrive, it could turn this prison
:37:38. > :38:16.cell bright. This gives life to thee.
:38:17. > :38:29.If all the world's a stage, then light my way. Because out, out, the
:38:30. > :38:34.candle is not. For centuries past, yet I still cannot grasp that
:38:35. > :38:41.undiscovered country that makes words immortal. If the good that men
:38:42. > :38:48.do is interred with their bones, then this precious stone is a beauty
:38:49. > :38:57.to rich. Me thinks it's a jewel in the air of us all, as the wisest
:38:58. > :39:20.words spoken are spoken by fools. CHEERING AND APPLAUSE.
:39:21. > :39:23.As Spring turns to Summer, Love can turn to Madness:
:39:24. > :39:25.And Love certainly does mad things to people,
:39:26. > :39:28.in these three scenes from As You Like It, Twelfth Night
:39:29. > :39:31.Rosalind, dressed as a boy, woos her beloved Orlando,
:39:32. > :39:37.The Steward Malvolio who lusts after his mistress,
:39:38. > :39:39.Olivia, has been tricked into dressing up in yellow
:39:40. > :39:41.stockings to impress her; And the queen of the fairies,
:39:42. > :39:45.having had a spell cast on her, finds herself enchanted by a poor
:39:46. > :39:47.old weaver called Bottom, who has himself been transformed
:39:48. > :39:59.Good day and happiness, dear Rosalind!
:40:00. > :40:04.Where have you been all this while?
:40:05. > :40:09.An you serve me such another trick, never come in my sight more.
:40:10. > :40:14.My fair Rosalind, I come within an hour of my promise.
:40:15. > :40:21.He that will divide a minute into a thousand parts and break
:40:22. > :40:25.but a part of the thousandth part of a minute in the affairs of love,
:40:26. > :40:29.it may be said of him that Cupid hath clapped him o' the shoulder,
:40:30. > :40:38.Nay, an you be so tardy, come no more in my sight: I had
:40:39. > :40:51.But come, now I will be your Rosalind in a more
:40:52. > :40:58.coming-on disposition, and ask me what you will.
:40:59. > :41:15.Yes, faith, will I, Fridays and Saturdays and all.
:41:16. > :41:26.Why then, can one desire too much of a good thing?
:41:27. > :41:28.Now tell me how long you would have her after
:41:29. > :41:43.Say 'a day,' without the 'ever.' No, no, Orlando; men are April
:41:44. > :41:47.when they woo, December when they wed: maids are May
:41:48. > :41:51.when they are maids, but the sky changes
:41:52. > :41:56.I will be more jealous of thee than a Barbary cock-pigeon
:41:57. > :41:59.over his hen, more clamorous than a parrot against rain,
:42:00. > :42:02.more new-fangled than an ape, more giddy in my desires
:42:03. > :42:06.than a monkey: I will weep for nothing, like Diana
:42:07. > :42:10.in the fountain, and I will do that when you are disposed to be merry;
:42:11. > :42:14.I will laugh like a hyena, and that when thou art inclined to sleep.
:42:15. > :42:30.Or else she could not have the wit to do this: make the doors
:42:31. > :42:35.upon a woman's wit and it will out at the casement; shut that
:42:36. > :42:40.and 'twill out at the key-hole; stop that, 'twill fly with the smoke
:42:41. > :42:47.For these two hours, Rosalind, I will leave thee.
:42:48. > :42:50.Dear love, I cannot lack thee two hours.
:42:51. > :42:53.By two o'clock I will be with thee again.
:42:54. > :42:58.Ay, go your ways, go your ways; I knew what you would prove:
:42:59. > :43:01.my friends told me as much, and I thought no less: that
:43:02. > :43:06.flattering tongue of yours won me: 'tis but one cast away,
:43:07. > :43:19.By my troth, and in good earnest, and so God mend me,
:43:20. > :43:22.and by all pretty oaths that are not dangerous,
:43:23. > :43:25.if you break one jot of your promise or come one minute behind your hour,
:43:26. > :43:32.I will think you the most pathetical break-promise and the most hollow
:43:33. > :43:37.lover and the most unworthy of her you call Rosalind that may be
:43:38. > :43:42.chosen out of the gross band of the unfaithful: therefore beware
:43:43. > :44:03.With no less religion than if thou wert indeed my Rosalind: so adieu.
:44:04. > :44:08.Well, Time is the old justice that examines all such offenders,
:44:09. > :44:20.O that thou didst know how many fathom deep I am in love!
:44:21. > :44:26.But it cannot be sounded: my affection hath an unknown bottom,
:44:27. > :44:35.I'll tell thee, I cannot be out of the sight of Orlando: I'll go
:44:36. > :44:51.He is sad and civil, And suits well for a servant with my fortunes:
:44:52. > :44:58.He's coming, madam; but in very strange manner.
:44:59. > :45:06.Madam, he does nothing but smile: your ladyship were best to have
:45:07. > :45:08.some guard about you, if he come; for, sure,
:45:09. > :45:19.I am as mad as he, If sad and merry madness equal be.
:45:20. > :45:33.I sent for thee upon a sad occasion.
:45:34. > :45:41.I could be sad: this does make some obstruction in the blood,
:45:42. > :45:44.this cross-gartering; but what of that?
:45:45. > :45:47.If it please the eye of one, it is with me as the very
:45:48. > :45:52.true sonnet is, 'Please one, and please all.'
:45:53. > :46:04.Not black in my mind, though yellow in my legs.
:46:05. > :46:07.It did come to his hands, and commands shall be executed:
:46:08. > :46:10.I think we do know the sweet Roman hand.
:46:11. > :46:20.Ay, sweet-heart, and I'll come to thee.
:46:21. > :46:25.Why dost thou smile so and kiss thy hand so oft?
:46:26. > :46:33.Why appear you with this ridiculous boldness before my lady?
:46:34. > :46:36.'Be not afraid of greatness:' 'twas well writ.
:46:37. > :46:46.'And some have greatness thrust upon them.'
:46:47. > :46:54.'Remember who commended thy yellow stocking s.
:46:55. > :46:56.'And wished to see thee cross-gartered.'
:46:57. > :47:01.'Go to thou art made, if thou desirest to be so;'
:47:02. > :47:04.'If not, let me see thee a servant still.'
:47:05. > :47:21.You see an asshead of your own, do you?
:47:22. > :47:45.an ass of me; to fright me, if they could.
:47:46. > :47:48.But I will not stir from this place, do what they can: I will walk up
:47:49. > :47:51.and down here, and I will sing, that they shall
:47:52. > :48:03.# The throstle with his note so true.
:48:04. > :48:23.What angel wakes me from my flowery bed?
:48:24. > :48:31.The plain-song cuckoo gray, Whose note full many a man doth mark.
:48:32. > :48:46.Mine ear is much enamour'd of thy note.
:48:47. > :48:52.So is mine eye enthralled to thy shape.
:48:53. > :48:58.And thy fair virtue's force perforce doth move me.
:48:59. > :49:10.On the first view to say, to swear, I love thee.
:49:11. > :49:12.Me thinks mistress you should have little reason
:49:13. > :49:17.And yet, to say the truth, reason and
:49:18. > :49:19.Love keep little company together now-a-days.
:49:20. > :49:21.The more the pity that some honest neighbours will not
:49:22. > :49:35.Thou art as wise as thou art beautiful.
:49:36. > :49:38.Not so, neither: but if I had wit enough to get out
:49:39. > :49:40.of this wood, I have enough to serve mine own turn.
:49:41. > :49:44.Out of this wood do not desire to go:
:49:45. > :49:51.Thou shalt remain here, whether thou wilt or no.
:49:52. > :49:58.I am a spirit of no common rate; The summer still doth
:49:59. > :50:04.tend upon my state; And I do love thee: therefore, go with me;
:50:05. > :50:08.I'll give thee fairies to attend on thee,
:50:09. > :50:10.And they shall fetch thee jewels from the deep,
:50:11. > :50:15.And sing while thou on pressed flowers dost sleep;
:50:16. > :50:19.And I will purge thy mortal grossness so
:50:20. > :50:22.That thou shalt like an airy spirit go.
:50:23. > :50:34.Be kind and courteous to this gentleman;
:50:35. > :50:37.Hop in his walks and gambol in his eyes;
:50:38. > :50:42.Feed him with apricocks and dewberries,
:50:43. > :50:47.With purple grapes, green figs, and mulberries;
:50:48. > :50:49.The honey-bags steal from the humble-bees,
:50:50. > :50:53.And for night-tapers crop their waxen thighs
:50:54. > :51:01.And light them at the fiery glow-worm's eyes,
:51:02. > :51:05.To have my love to bed and to arise; And pluck the wings
:51:06. > :51:09.from painted butterflies To fan the moonbeams
:51:10. > :51:14.from his sleeping eyes: Nod to him, elves, and do him courtesies.
:51:15. > :51:23.I cry your worship's mercy, heartily:
:51:24. > :51:30.Come, wait upon him; lead him to my bower.
:51:31. > :51:33.The moon methinks looks with a watery eye;
:51:34. > :51:35.And when she weeps, weeps every little flower,
:51:36. > :52:00.Tie up my love's tongue bring him silently.
:52:01. > :52:26.William Shakespeare and Anne Hathaway were married in 1582.
:52:27. > :52:32.He was 18, and she was 26 and pregnant.
:52:33. > :52:36.Six months later their daughter Susanna was born and two years
:52:37. > :52:40.after that the young couple had twins Hamnet and Judith.
:52:41. > :52:44.And soon after that, Shakespeare left Anne
:52:45. > :52:47.and the children in Stratford and went to London, where he found
:52:48. > :52:50.a career in the theatre, writing plays and performing
:52:51. > :52:56.for a company of actors called the Lord Chamberlain's Men.
:52:57. > :53:04.Of course we can't know what he felt about his departure
:53:05. > :53:06.but as he enters the creative Summertime of his life Shakespeare
:53:07. > :53:09.describes how the course of true love never did run smooth.
:53:10. > :53:19.It can spin girls into boys, twist a man into a fool,
:53:20. > :53:22.and turn a clown into a donkey, and sometimes love departs
:53:23. > :53:31.And nowhere is that restless spirit better captured than in this song
:53:32. > :53:58.# Sigh no more, ladies, sigh no more.
:53:59. > :54:14.# One foot in sea and one on shore, o one thing constant never,
:54:15. > :54:25.# Then sigh not so, but let them go, and be you blithe and bonny,
:54:26. > :54:43.# Converting all your sounds of woe Into Hey nonny, nonny.
:54:44. > :54:50.# Sing no more ditties, sing no more, Of dumps so dull and heavy;
:54:51. > :54:59.# The fraud of men was ever so, Since summer first was leafy:
:55:00. > :55:10.# Then sigh not so, but let them go, And be you blithe and bonny,
:55:11. > :55:25.# Converting all your sounds of woe Into Hey nonny, nonny #.
:55:26. > :55:29.# Then sigh not so, but let them go, And be you blithe and bonny,
:55:30. > :55:59.# Converting all your sounds of woe Into Hey nonny, nonny #.
:56:00. > :56:06.In Much Ado About Nothing, a couple meet again after a long time apart.
:56:07. > :56:09.They have been lovers in the past, but love has turned sour,
:56:10. > :56:17.Performing as Beatrice and Benedick now are Meera Syal
:56:18. > :56:43.A kind overflow of kindness. How much better is it to weep at Joy
:56:44. > :56:46.then joy at weeping? I wonder, you will still be talking, nobody marks
:56:47. > :56:49.you. Is it possible disdain should die
:56:50. > :56:54.while she hath such meet food Courtesy itself must convert
:56:55. > :57:00.to disdain, if you come But it is certain I am loved
:57:01. > :57:10.of all ladies, only you excepted: and I would I could find in my heart
:57:11. > :57:14.that I had not a hard heart; for, A dear happiness to women:
:57:15. > :57:19.they would else have been troubled I thank God and my cold blood,
:57:20. > :57:30.I am of your humour for that: I had rather hear my dog bark at a crow
:57:31. > :57:35.than a man swear he loves me. God keep your ladyship
:57:36. > :57:40.still in that mind! So some gentleman or other shall
:57:41. > :57:42.'scape a predestinate Scratching could not make it worse,
:57:43. > :57:48.an 'twere such a face as yours were. A bird of my tongue is better
:57:49. > :57:53.than a beast of yours. I would my horse had
:57:54. > :57:56.the speed of your tongue, But keep your way,
:57:57. > :58:06.in God's name; I have done. You always end with a jade's
:58:07. > :58:17.trick: I know you of old. When the French composer Berlioz
:58:18. > :58:28.first saw Shakespeare performed in Paris in 1827,
:58:29. > :58:31.he said it struck him He became obsessed with Shakespeare,
:58:32. > :58:38.writing a Romeo and Juliet symphony, an overture for King Lear, and,
:58:39. > :58:41.at the end of his life, an opera called Beatrice
:58:42. > :58:44.and Benedict based And now here's a duet
:58:45. > :58:48.from that opera. The night before her wedding,
:58:49. > :58:51.with her maid Ursula, the bride-to-be, Hero,
:58:52. > :58:52.contemplates her marriage # Je ne puis y songer sans
:58:53. > :59:40.trembler malgre moi. # Ecumant; L'ombre
:59:41. > :02:34.de ce grand arbre, # Sous le vent; Harmonies
:02:35. > :02:48.Infinies, And now from opera
:02:49. > :04:10.to a Broadway musical. From Cole Porter's 1948
:04:11. > :04:13.hit based on The Taming Hey?there's a lot of
:04:14. > :04:30.handsome people here.. Hey, John, who's that that
:04:31. > :04:40.guy?..look?.he looks just like that Ha ,ha,ha?how do
:04:41. > :05:22.you think it's going? Hey what you doing, we are talking
:05:23. > :05:25.to these people here? You waving that!
:05:26. > :05:28.Listen, if any of you bums are trying to impress the women
:05:29. > :05:31.you bought here this evening, then...er...how about listening
:05:32. > :05:33.to a guy who's got a little expertrise...exper-
:05:34. > :05:54.One must know Homer And b'lieve me bo
:05:55. > :06:02.And Keats and Pope Dainty debbies will call you a dope
:06:03. > :06:06.But the poet of them all That will start 'em simply ravin'
:06:07. > :06:09.Is the poet people call The Bard of Stratford-on-Avon
:06:10. > :06:50.# Just declaim a few lines from 'Othella' and they'll
:06:51. > :06:56.# If your blond won't respond when you flatter 'er
:06:57. > :06:59.# Tell her what Tony told Cleopaterer.
:07:00. > :07:01.# If she fights when her clothes you are mussing
:07:02. > :07:42.# With the wife of the British Embessida.
:07:43. > :07:45.# Try a crack out of Troilus and Cressida.
:07:46. > :07:49.# If she says she won't buy it or tike it.
:07:50. > :07:53.# Make her tike it, what's more As You Like It.
:07:54. > :07:55.# If she says your behavior is heinous,
:07:56. > :08:01.# Kick her right in the 'Coriolanus'.
:08:02. > :08:08.# Brush up your Shakespeare and they'll all kowtow.
:08:09. > :08:17.# Brush up your Shakespeare Start quoting him now.
:08:18. > :08:35.# If you can't be a ham and do Hamlet.
:08:36. > :08:39.# They will not give a damn or a damnlet.
:08:40. > :08:46.# And your lap will have honey upon it.
:08:47. > :08:50.# When your baby is pleading for pleasure.
:08:51. > :08:53.# Let her sample your Measure for Measure.
:08:54. > :08:58.# Brush up your Shakespeare and they'll all kowtow.
:08:59. > :09:31.# Brush up your Shakespeare Start quoting him now.
:09:32. > :09:36.# Brush up your Shakespeare And the women you will wow.
:09:37. > :09:40.# Better mention the Merchant of Venice
:09:41. > :09:44.# When her sweet pound 'o flesh you would menace.
:09:45. > :09:47.# If her virtue at first she defends well.
:09:48. > :09:52.# Just remind her that All's Well that Ends Well
:09:53. > :09:55.# And if still she won't give you a bonus.
:09:56. > :09:58.# You know what Venus got from Adonis.
:09:59. > :10:04.# Brush up your Shakespeare And they'll all kowtow.
:10:05. > :10:10.# And they'll all kowtow Odds bodkins.
:10:11. > :10:43.# Brush up your Shakespeare Start quoting him now.
:10:44. > :10:49.# Brush up your Shakespeare And the women you will wow.
:10:50. > :10:54.# If your goil is a Washington Heights dream.
:10:55. > :10:59.# Treat the kid to 'A Midsummer Night Dream'.
:11:00. > :11:03.# If she then wants and all by herself night.
:11:04. > :11:07.# Let her rest every 'leventh or Twelf' Night.
:11:08. > :11:12.# If because of your heat she gets huffy.
:11:13. > :11:15.# Simply play on and "Lay on, Macduffy!"
:11:16. > :11:20.# Brush up your Shakespeare And they'll all kowtow.
:11:21. > :11:24.# We trow And they'll all kowtow We vow.
:11:25. > :12:27.This royal throne of kings, this scepter'd isle,
:12:28. > :12:32.This earth of majesty, this seat of Mars,
:12:33. > :12:38.This other Eden, demi-paradise, This fortress built by Nature for herself
:12:39. > :12:41.Against infection and the hand of war,
:12:42. > :12:48.This happy breed of men, this little world,
:12:49. > :12:52.This precious stone set in the silver sea,
:12:53. > :12:55.Which serves it in the office of a wall,
:12:56. > :12:58.Or as a moat defensive to a house, Against the envy
:12:59. > :13:02.of less happier lands, This blessed plot, this earth,
:13:03. > :13:27.Simon Russell Beale with John of Gaunt's famous celebration
:13:28. > :13:30.of England from Richard II, a piece that has appeared in poetry
:13:31. > :13:42.anthologies since the play was first published in 1597.
:13:43. > :13:44.It's 1956, jazz giant Duke Ellington is in Stratford, Ontario,
:13:45. > :13:49.There's a Shakespeare Festival on and Duke Ellington takes a break
:13:50. > :13:52.from his music to go and see the show.
:13:53. > :13:55.The Duke sneaks in at the back and sits in the aisle to watch.
:13:56. > :13:57.So moved is he that he comes back the next
:13:58. > :14:01.night, and the next, soaking it all up, until eventually
:14:02. > :14:03.he is inspired to write his very own homage to Shakespeare.
:14:04. > :14:07.Here is the Midlands Youth Jazz Orchestra to play part
:14:08. > :14:33.of Duke Ellington's jazz suite Such Sweet Thunder.
:14:34. > :22:50.By the mid 1590s Shakespeare's career with the Lord Chamberlain's
:22:51. > :22:56.He was riding high having penned history plays
:22:57. > :22:59.about Henry VI and Richard III, and had high hopes for
:23:00. > :23:11.a little known love story called Romeo and Juliet.
:23:12. > :23:17.Those successes must have seemed far removed from the humble beginnings
:23:18. > :23:23.of this room on Henley Street where Shakespeare was born.
:23:24. > :23:25.But whilst his professional life was soaring, personal tragedy
:23:26. > :23:30.In 1596, one of the twins, his son Hamnet, died.
:23:31. > :23:37.The death must have had a profound impact on the playwright.
:23:38. > :23:39.Perhaps, like any true artist, Shakespeare channelled that
:23:40. > :23:42.grief into his work, for the years directly
:23:43. > :23:47.following the death of his son were filled by the creation of some
:23:48. > :23:52.of the most exquisite writing in the English language.
:23:53. > :23:54.A sea-change occurred, a shift in tone from
:23:55. > :23:59.Melancholia and poisoned longing cast dark shadows
:24:00. > :24:07.Woven into their souls are threads of sardonic introspection,
:24:08. > :24:15.These plays, written in the autumn of his life, were rich
:24:16. > :24:25.What better example could we share than this sonorous refrain
:24:26. > :24:28.from the lonely fool Feste in his bitter sweet play,
:24:29. > :24:41.# When that I was and a little tiny boy.
:24:42. > :24:47.# With hey, ho, the wind and the rain.
:24:48. > :25:12.# With hey, ho, the wind and the rain.
:25:13. > :25:17.# 'Gainst knaves and thieves men shut their gate.
:25:18. > :25:38.# With hey, ho, the wind and the rain.
:25:39. > :25:45.# By swaggering could I never thrive.
:25:46. > :26:04.# With hey, ho, the wind and the rain.
:26:05. > :26:09.# With toss-pots still had drunken heads.
:26:10. > :26:34.# With hey, ho, the wind and the rain.
:26:35. > :26:40.# But that's all one, our play is done.
:26:41. > :26:55.# And we'll strive to please you every day.
:26:56. > :27:36.To be or not to be, that is the question?
:27:37. > :27:55.It's "To be, or not to be, that....."
:27:56. > :27:58.To be or not to be, that is the question?
:27:59. > :28:14.You suggesting there is some reason why I couldn't...
:28:15. > :28:22.Some intrinsic reason why audiences would not accept me
:28:23. > :28:27.I'd never get to play Hamlet at Stratford-upon-bloody-Avon,
:28:28. > :29:08.Egg sorry, I couldn't help overhearing.
:29:09. > :29:17.So "To be or not to be, that is the question"
:29:18. > :29:23.I suppose you've played Hamlet.
:29:24. > :30:00.Sorry, I didn't realise, it's Eddie Redmayne! What are you doing? I
:30:01. > :30:05.loved you as the Danish girl. These film stars don't really know.
:30:06. > :30:17.To be or not to be, that is the question.
:30:18. > :30:19.And I suppose you're going to tell me, you've played Hamlet.
:30:20. > :30:43.To be or not to be, that is the question.
:30:44. > :31:07.To be or not to be, that is the question.
:31:08. > :31:22.It's quite a broadchurch, the people they let play Hamlet then?
:31:23. > :31:26.To be or not to be, that is the question.
:31:27. > :31:34.To be or not to be, that is the question.
:31:35. > :31:36.To be or not to be, that is the question...
:31:37. > :31:53.To be or not to be, that is the question...
:31:54. > :32:05.CHEERING AND APPLAUSE. Hi, Eddie. Lend me your ears.
:32:06. > :32:10.To be or not to be, that is the question...
:32:11. > :32:19.ALL: To be or not to be, that is the question!
:32:20. > :33:12.Might I have a word? Just a minute. Just a minute.
:33:13. > :33:14.LAUGHTER. To be or not to be, that is the question.
:33:15. > :33:23.LAUGHTER. To be or not to be,
:33:24. > :34:13.that is the question. Whether 'tis nobler
:34:14. > :34:15.in the mind to suffer. The slings and arrows
:34:16. > :34:17.of outrageous fortune. Or to take arms against
:34:18. > :34:21.a sea of troubles. No more; and by a sleep
:34:22. > :34:31.to say we end. The heart-ache and the
:34:32. > :34:35.thousand natural shocks. That flesh is heir to,
:34:36. > :34:40.'tis a consummation. To sleep: perchance to dream:
:34:41. > :35:08.ay, there's the rub. For in that sleep of death
:35:09. > :35:14.what dreams may come. When we have shuffled
:35:15. > :35:18.off this mortal coil. Must give us pause:
:35:19. > :35:21.there's the respect. For who would bear the whips
:35:22. > :35:28.and scorns of time. But that the dread of
:35:29. > :35:33.something after death. The undiscover'd country
:35:34. > :35:36.from whose bourn. No traveller returns,
:35:37. > :35:42.puzzles the will. And makes us rather bear
:35:43. > :35:46.those ills we have. Than fly to others
:35:47. > :35:51.that we know not of? Thus conscience does
:35:52. > :36:03.make cowards of us all. And thus the native
:36:04. > :36:06.hue of resolution. Is sicklied o'er with
:36:07. > :36:10.the pale cast of thought. And enterprises of great
:36:11. > :36:15.pitch and moment. With this regard their
:36:16. > :36:21.currents turn awry. In the British Library
:36:22. > :36:50.is a manuscript of a play It's partly in Shakespeare's
:36:51. > :36:54.own handwriting. And this is the extraordinary speech
:36:55. > :36:58.he penned, as Thomas More quells a race riot in the City of London
:36:59. > :37:02.on May Day, appealing to the mob to consider the plight
:37:03. > :37:10.of the foreign immigrants. Grant them removed, and grant
:37:11. > :37:13.that this your noise. Hath chid down all
:37:14. > :37:17.the majesty of England. Imagine that you see
:37:18. > :37:20.the wretched strangers. Their babies at their backs
:37:21. > :37:25.and their poor luggage. Plodding to the ports
:37:26. > :37:28.and coasts for transportation. And that you sit as
:37:29. > :37:32.kings in your desires. Authority quite
:37:33. > :37:35.silent by your brawl. And you in ruff of your
:37:36. > :37:37.opinions clothed. How insolence and strong
:37:38. > :37:48.hand should prevail. How order should be quelled;
:37:49. > :37:52.and by this pattern. Not one of you should
:37:53. > :37:55.live an aged man. For other ruffians,
:37:56. > :37:57.as their fancies wrought. With self same hand,
:37:58. > :38:01.self reasons, and self right. Would shark on you, and men
:38:02. > :38:03.like ravenous fishes. Should so much come too short
:38:04. > :38:51.of your great trespass. As but to banish you,
:38:52. > :38:56.whether would you go? What country, by the
:38:57. > :38:58.nature of your error. To any German province,
:38:59. > :39:07.to Spain or Portugal. Nay, any where that not
:39:08. > :39:09.adheres to England. Why, you must needs be strangers:
:39:10. > :39:14.would you be pleased. To find a nation of
:39:15. > :39:17.such barbarous temper. That, breaking out
:39:18. > :39:19.in hideous violence. Would not afford you
:39:20. > :39:23.an abode on earth. Whet their detested knives
:39:24. > :39:27.against your throats. Spurn you like dogs,
:39:28. > :39:30.and like as if that God. Owed not nor made not you,
:39:31. > :39:34.nor that the claimants. Were not all appropriate
:39:35. > :39:36.to your comforts. But chartered unto them,
:39:37. > :39:43.what would you think. And this your
:39:44. > :40:06.mountainish inhumanity. Shakespeare is performed
:40:07. > :40:24.all over the world. He is translated into every language
:40:25. > :40:27.from Albanian to Zulu. Here are scenes from two
:40:28. > :40:31.landmark productions that opened our eyes
:40:32. > :40:48.to his global influence. Welcome Msomi, who
:40:49. > :40:50.brought his company to Britain in 1972 with his
:40:51. > :40:52.Zulu Macbeth, uMabatha. The second is from Japanese
:40:53. > :40:56.director Ninagawa's famous Cherry Blossom Macbeth
:40:57. > :40:58.which he brought to # When, in disgrace
:40:59. > :43:28.with fortune and men's eyes. # I all alone beweep
:43:29. > :43:33.my outcast state. # And look upon myself
:43:34. > :43:51.and curse my fate. # Wishing me like to
:43:52. > :44:07.one more rich in hope. # Featured like him,
:44:08. > :44:11.like him with friends possess'd. # Desiring this man's art
:44:12. > :44:18.and that man's scope. # With what I most
:44:19. > :44:24.enjoy contented least. # Yet in these thoughts
:44:25. > :44:30.myself almost despising. # Haply I think on thee,
:44:31. > :44:37.and then my state. # Like to the lark at
:44:38. > :44:43.break of day arising. # From sullen earth,
:44:44. > :44:55.sings hymns at heaven's gate. # For thy sweet love
:44:56. > :45:27.remember'd such wealth brings. # That then I scorn to change my
:45:28. > :46:46.state with kings # . Rufus Wainwright singing
:46:47. > :46:48.his own version of one Shakespeare was about to
:46:49. > :46:53.enter his fortieth year, when Queen Elizabeth the First
:46:54. > :46:58.died in 1603. With the arrival of the new Scottish
:46:59. > :47:02.king, James the First, Shakespeare's company was promoted,
:47:03. > :47:05.and became The King's Men. A terrorist attack, the Gunpowder
:47:06. > :47:09.plot, nearly succeeded in blowing up the royal family
:47:10. > :47:13.in Parliament in 1605. The world seemed to have
:47:14. > :47:15.lost its moorings and be adrift And this prevailing sense of doom,
:47:16. > :47:21.of futility, is present in many of the tragedies Shakespeare
:47:22. > :47:24.wrote at this time. These next three
:47:25. > :47:30.scenes all take place In King Lear, we meet
:47:31. > :47:34.an old man who has resigned his crown and been
:47:35. > :47:37.thrown out into the storm, in Antony and Cleopatra,
:47:38. > :47:39.the queen of Egypt prepares to confound her enemies
:47:40. > :47:42.and end her life, but first, in Macbeth, we encounter a couple
:47:43. > :47:56.who have just committed murder. That which hath made them
:47:57. > :48:05.drunk hath made me bold. What hath quench'd them
:48:06. > :48:08.hath given me fire. It was the owl that shriek'd,
:48:09. > :48:21.the fatal bellman. The doors are open;
:48:22. > :48:35.and the surfeited grooms. Do mock their charge
:48:36. > :48:37.with snores: I have drugg'd. That death and nature
:48:38. > :48:41.do contend about them. I heard the owl scream
:48:42. > :49:23.and the crickets cry. A foolish thought,
:49:24. > :49:42.to say a sorry sight. There's one did laugh in's
:49:43. > :49:47.sleep, and one cried That they did wake each
:49:48. > :49:55.other: I stood and heard them: But they did say their prayers,
:49:56. > :49:57.and address'd them. One cried 'God bless us!'
:49:58. > :50:07.and 'Amen' the other. As they had seen me
:50:08. > :50:13.with these hangman's hands. Listening their fear,
:50:14. > :50:17.I could not say 'Amen'. But wherefore could not
:50:18. > :50:22.I pronounce 'Amen'? I had most need of
:50:23. > :50:26.blessing, and 'Amen' These deeds must not be thought
:50:27. > :50:31.After these ways; so, Methought I heard a voice
:50:32. > :50:47.cry 'Sleep no more! Sleep that knits up
:50:48. > :51:05.the ravell'd sleeve of care, The death of each day's life,
:51:06. > :51:11.sore labour's bath, Balm of hurt minds, great
:51:12. > :51:17.nature's second course, Still it cried 'Sleep no
:51:18. > :51:29.more!' to all the house: 'Glamis hath murder'd sleep,
:51:30. > :51:33.and therefore Cawdor Shall sleep no more; Macbeth
:51:34. > :51:37.shall sleep no more.' You do unbend your noble
:51:38. > :51:47.strength, to think. And wash this filthy
:51:48. > :51:58.witness from your hand. Why did you bring these
:51:59. > :52:01.daggers from the place? They must lie there: go
:52:02. > :52:04.carry them; and smear. I'll go no more: I am afraid
:52:05. > :52:12.to think what I have done; Give me the daggers:
:52:13. > :52:30.the sleeping and the dead Are but as pictures: 'tis
:52:31. > :52:37.the eye of childhood If he do bleed, I'll gild the faces
:52:38. > :52:42.of the grooms withal; How is't with me, when
:52:43. > :53:01.every noise appals me? Will all great Neptune's
:53:02. > :53:17.ocean wash this blood No, this my hand will
:53:18. > :53:26.rather the multitudinous seas in incarnadine,
:53:27. > :53:30.Making the green one red. My hands are of your
:53:31. > :53:33.colour; but I shame I hear a knocking at the south
:53:34. > :53:42.entry: retire we to our chamber; A little water clears
:53:43. > :53:44.us of this deed: Your constancy Hath
:53:45. > :53:47.left you unattended. Get on your nightgown,
:53:48. > :53:54.lest occasion call us, Be not lost So poorly
:53:55. > :53:57.in your thoughts. To know my deed, 'twere
:53:58. > :54:00.best not know myself. You cataracts and
:54:01. > :54:35.hurricanoes, spout. Till you have drench'd our steeples,
:54:36. > :54:40.drown'd the cocks! You sulphurous and
:54:41. > :54:43.thought-executing fires. Vaunt-couriers to
:54:44. > :54:46.oak-cleaving thunderbolts. Smite flat the thick
:54:47. > :54:57.rotundity o' the world! Crack nature's moulds,
:54:58. > :55:00.all germens spill at once. Nor rain, wind, thunder,
:55:01. > :55:22.fire, are my daughters. I tax not you, you elements,
:55:23. > :55:28.with unkindness. I never gave you kingdom,
:55:29. > :55:37.call'd you children. You owe me no subscription:
:55:38. > :55:41.then let fall. Your horrible pleasure:
:55:42. > :55:47.here I stand, your slave. A poor, infirm, weak,
:55:48. > :55:55.and despised old man. But yet I call you servile
:55:56. > :56:00.ministers. That have with two
:56:01. > :56:03.pernicious daughters join'd. Your high engender'd battles
:56:04. > :56:05.'gainst a head. So old and white
:56:06. > :56:06.as this. No, I will be the pattern
:56:07. > :56:22.of all patience. Finish, good lady;
:56:23. > :57:13.the bright day is done. Immortal longings
:57:14. > :57:22.in me: now no more. The juice of Egypt's grape
:57:23. > :57:27.shall moist this lip. Antony call; I see
:57:28. > :57:32.him rouse himself. Now to that name my
:57:33. > :57:47.courage prove my title! I am fire and air;
:57:48. > :57:49.my other elements. Come then, and take
:57:50. > :58:07.the last warmth of my lips. Farewell, kind Charmian;
:58:08. > :58:20.Iras, long farewell. If thou and nature
:58:21. > :58:31.can so gently part. The stroke of death
:58:32. > :58:34.is as a lover's pinch. Dissolve, thick cloud,
:58:35. > :58:41.and rain; that I may say. He'll make demand of her,
:58:42. > :58:52.and spend that kiss. With thy sharp teeth
:58:53. > :59:10.this knot intrinsicate. Of life at once untie:
:59:11. > :59:19.poor venomous fool. Dost thou not see my
:59:20. > :59:35.baby at my breast. As sweet as balm, as soft
:59:36. > :59:42.as air, as gentle. Now boast thee, death,
:59:43. > :00:12.in thy possession lies. Your crown's awry; I'll
:00:13. > :01:02.mend it, and then play. Shakespeare spent the last few years
:01:03. > :01:05.of his life back in Stratford. He died on this day, in 1616,
:01:06. > :01:08.his fifty-second birthday. Though it is not known exactly how
:01:09. > :01:11.he died, a later account suggests that he had a merry
:01:12. > :01:13.meeting with his mates, He was buried here,
:01:14. > :01:21.at Holy Trinity Church During his life he wrote
:01:22. > :01:25.at least 37 plays, only half of which were published
:01:26. > :01:29.before his death. His winter years showed no let-up
:01:30. > :01:33.in his creative output. In the last season of his life
:01:34. > :01:38.he discovered a lighter pallet Stories that explored
:01:39. > :01:42.the silver-lining From his last plays,
:01:43. > :01:50.Cymbeline, The Winter's Tale and The Tempest a new redemptive
:01:51. > :01:52.power emerged, which still has # My shroud of white,
:01:53. > :02:34.stuck all with yew. # My part of death, no one
:02:35. > :02:49.so true Did share it. # My poor corpse, where my
:02:50. > :03:34.bones shall be thrown. # A thousand thousand sighs
:03:35. > :03:54.to save, Lay me, O, where. # Sad true lover never
:03:55. > :04:36.find my grave, To weep there # ! Shakespeare's tragedies,
:04:37. > :04:44.haunted by death, may plumb the depths of the human experience,
:04:45. > :04:47.but there is one character, in the canon of all his work,
:04:48. > :04:50.which perhaps more than any One incredible comic creation
:04:51. > :04:54.that we could not leave out tonight. The irrepressible Sir John Falstaff,
:04:55. > :04:59.a rogue, a thief, and the close companion
:05:00. > :05:03.of the dissolute playboy Prince Hal. From Henry IV Part One
:05:04. > :05:06.here is the Tavern Scene, where Falstaff pretends to be
:05:07. > :05:09.the King and gives the prince There is a thing, Harry,
:05:10. > :05:17.which thou hast often heard of and it is known to many
:05:18. > :05:21.in our land by the name of pitch: this pitch,
:05:22. > :05:27.as ancient writers do report, doth defile; so doth the company
:05:28. > :05:34.thou keepest: for, Harry, now I do not speak to thee in drink
:05:35. > :05:42.but in tears, not in pleasure but in passion, not in words only,
:05:43. > :05:51.but in woes also: and yet there is a virtuous man whom I have
:05:52. > :06:00.often noted in thy company, What manner of man,
:06:01. > :06:10.an it like your majesty? A goodly portly man,
:06:11. > :06:14.i' faith, and a corpulent; of a cheerful look, a pleasing eye
:06:15. > :06:17.and a most noble carriage; and, as I think, his age some fifty, or,
:06:18. > :06:23.by'r lady, inclining to three score; and now I remember me,
:06:24. > :06:29.his name is Falstaff: if that man should be lewdly given,
:06:30. > :06:34.he deceiveth me; for, Do thou stand for me,
:06:35. > :07:01.and I'll play my father. If thou dost it half so gravely,
:07:02. > :07:06.so majestically, both in word and matter, hang me up
:07:07. > :07:09.by the heels for a rabbit-sucker The complaints I hear
:07:10. > :07:39.of thee are grievous. 'Sblood, my lord,
:07:40. > :07:41.they are false: nay, I'll tickle ye for a young
:07:42. > :07:45.prince, i' faith. Thou art violently carried away
:07:46. > :08:02.from grace: there is a devil haunts thee in the likeness of an old fat
:08:03. > :08:06.man; a tun of man is thy companion. Why dost thou converse
:08:07. > :08:10.with that trunk of humours, that bolting-hutch of beastliness,
:08:11. > :08:14.that swollen parcel of dropsies, that huge bombard of sack,
:08:15. > :08:21.that stuffed cloak-bag of guts, that roasted Manningtree ox
:08:22. > :08:27.with the pudding in his belly, that reverend vice, that grey
:08:28. > :08:33.iniquity, that father ruffian, Wherein is he good, but to taste
:08:34. > :08:46.sack and drink it? Wherein neat and cleanly,
:08:47. > :08:50.but to carve a capon and eat it? Wherein villainous,
:08:51. > :08:57.but in all things? I would your grace would take me
:08:58. > :09:04.with you: whom means your grace? That villanous abominable
:09:05. > :09:09.misleader of youth, Falstaff, But to say I know more harm in him
:09:10. > :09:22.than in myself, were to That he is old, the more the pity,
:09:23. > :09:31.his white hairs do witness it; but that he is,
:09:32. > :09:35.saving your reverence, If sack and sugar be a fault,
:09:36. > :09:45.God help the wicked! If to be old and merry be a sin,
:09:46. > :09:49.then many an old host that I know is damned:
:09:50. > :09:56.if to be fat be to be hated, then Pharaoh's lean
:09:57. > :10:01.kine are to be loved. No, my good lord; banish Peto,
:10:02. > :10:09.banish Bardolph, banish Poins: but for sweet Jack Falstaff,
:10:10. > :10:17.kind Jack Falstaff, true Jack Falstaff, valiant
:10:18. > :10:22.Jack Falstaff, and therefore more valiant, being,
:10:23. > :10:28.as he is, old Jack Falstaff, banish not him thy Harry's company,
:10:29. > :10:38.banish not him thy Harry's company: banish plump Jack,
:10:39. > :10:46.and banish all the world. As I foretold you,
:10:47. > :14:33.were all spirits and And, like the baseless
:14:34. > :14:42.fabric of this vision. The cloud-capp'd towers,
:14:43. > :14:45.the gorgeous palaces. The solemn temples,
:14:46. > :14:51.the great globe itself. Ye all which it inherit,
:14:52. > :14:58.shall dissolve. And, like this insubstantial
:14:59. > :15:03.pageant faded. We are such stuff As dreams are made
:15:04. > :15:15.on, and our little life. Now the hungry lion roars,
:15:16. > :15:41.And the wolf behowls the moon; Whilst the heavy ploughman snores,
:15:42. > :15:47.All with weary task fordone. Now the wasted brands do glow,
:15:48. > :15:50.Whilst the screech-owl, screeching loud, Puts the wretch
:15:51. > :15:52.that lies in woe. Now it is the time of night
:15:53. > :16:03.That the graves all gaping wide, Every one lets forth his sprite,
:16:04. > :16:06.In the church-way paths And we fairies,
:16:07. > :16:13.that do run By the triple Hecate's
:16:14. > :16:16.team, From the presence of the sun, not a mouse Shall
:16:17. > :16:23.disturb this hallow'd house: I am sent with broom before,
:16:24. > :16:54.To sweep the dust behind the door. Through the house give
:16:55. > :16:58.glimmering light. By the dead and drowsy fire,
:16:59. > :17:04.every elf and fairy sprite. # Through this house
:17:05. > :18:03.each fairy stray. Through this palace,
:18:04. > :19:27.with sweet peace. Give me your hands,
:19:28. > :21:56.if we be friends, If you want to discover more about
:21:57. > :21:57.Shakespeare, go to the website. Follow the links to the open
:21:58. > :22:00.University.