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Archives For August 2014
Taken from the Complete Works of William Shakespeare
The Taming of the Shrew
==========
DRAMATIS PERSONÆ
ACT III.
SCENE I.—PADULA. The same. A Room in BAPTISTA’S
House.
Enter LUCENTIO, HORTENSIO, and BIANCA.
Luc. Fiddler, forbear; you grow too forward,
sir:
Have eyou so soon forgot the entertainment
Her sister Katherine welcom’d you withal?
Hor. But, wrangling pedant, this is
The patroness of heavenly harmony:
Then give me leave to have prerogative;
And when in music we have spent an hour,
Your lecture shall have leisure for as much.
Luc. Preposterous ass! that never read so far
To know the cause why music was ordain’d!
Was it not to refresh the mind of man
After his studies or his usual pain?
Then give me leave to read philosophy,
And while I pause serve in your harmony.
Hor. Sirrah, I will not bear these braves of
thine.
Bian. Why, gentlemen, you do me double wrong,
To strive for that which resteth in my choice.
I am no breeching scholar in the schools:
I’ll not be tied to hours nor ‘pointed times,
But learn my lesson as I please myself.
And, to cut off all strife, here sit we down:—
Take your instrument, play you the whiles;
His lecture will be done ere you have tun’d.
Hor. You’ll leave his lecture when I am in
tune?
[To BIANCA. HORTENSIO retires.
Luc. That will be never:—tune your instru-
ment.
Bian. Where left we last?
Luc. Here, madam:—
Hac ibat Simois; hic est Sigeia tellus;
Hic steterat Priami regia celsa senis.
Brian. Construe them.
Luc. Hac. ibat, as I told you before,—Simois,
I am Lucentio,—His est, son unto Vincentio of
Pisa,—Sigeia tellus, disguised thus to get your
love;—Hic steterat, and that Lucentio that
comes a-wooing,—Priami, is my man Tranio,
—regia, bearing my port,—celsa senis, that we
might beguile the old pantaloon.
Hor. [Coming forward.] Madam, my instru-
ment’s in tune.
Bian. Let’s hear.— [HORTENSIO plays.
O fie! the treble jars.
Luc. Split in the hole, man, and tune again.
Bian. Now let me see if I can construe it:
—Hac ibat Simois, I know you not,—hic est
Sigeia tellus, I trust you not;—Hic steterat
Priami, take heed he hear us not,—regia, pre-
sume not,—celsa senis, despair not.
Hor. Madam, ’tis now in tune.
Luc. All but the base.
Hor. The base is right; ’tis the base knave
that jars.
How fiery and forward our pedant is!
Now, for my life, the knave doth court my love:
Pedascule, I’ll watch you better yet. [Aside.
Brian. In time I may believe, yet I mistrust.
Luc. Mistrust it not; for, sure, Æacides
Was Ajax,—call’d so from his grandfather.
Brian. I must believe my master; else, I
promise you,
I should be arguing still upon that doubt:
But let it rest.—Now, Licio, to you:—
Good masters, take it not unkindly, pray,
That I have been thus pleasant with you both.
Hor. You may go walk [to LUCENTIO], and
give me leave awhile;
My lessons make no music in three parts.
Luc. Are you so formal, sir? well, I must wait,
And watch withal; for, but I be deceiv’d,
Our fine musician groweth amorous. [Aside.
Hor. Madam, before you touch the instru-
ment,
To learn the order of my fingering,
I must begin with rudiments of art;
To teach you gamut in a briefer sort,
More pleasant, pithy, and effectual,
Than hath been taught by any of my trade:
And there it is in writing, fairly drawn.
Brian. Why , I am past my gamut long ago.
Hor. Yet read the gamut of Hortensio.
Bian. [Reads.] Gamut I am, the ground of all
accord,
A re, to plead Hortensio’s passion;
B mi, Bianca, take him for thy lord,
C fa ut, that loves with all affection:
D sol re, one cliff, two notes have I’
E la mi, show pity, or I die.
Call you this gamut? tut, I like it not:
Old fashions please me best; I am not so nice,
To change true rules for odd inventions.
Enter a Servant.
Serv. Mistress, your father pray you leave
your books,
And help to dress your sister’s chamber up:
You know to-morrow is the wedding-day.
Bian. Farewell, sweet masters, both; I must
be gone!
[Exeunt BIANCA and Servant.
Luc. Faith, mistress, then I have no cause to
stay. [Exit.
Hor. But I have cause to pry into this
pedant;
Methinks he looks as though he were in love:—
Yet if thy thoughts, Bianca, be so humble,
To cast thy wand’ring eyes on every stale,
Seize thee that list: if once I find thee ranging,
Hortensio will quit with thee by changing,
[Exit.
(On 9/01/14 – Join me for the continuation of “The Taming of the Shrew”,
We will continue with ACT III. SCENE I.— PADUA. A Room in BAPTISTA’s House.)
The Other Sister (1999)
The Other Sister is a movie I’ve watched 3 or four times. Categorized as a romantic comedy. It’s also full of drama and adventure. Character Carla Tate who is mildly mentally challenged young woman who returns home to her family after years in a boarding school from where she received a certificate. Her parents are quite different from one another. The father is quite supportive and open to all that his daughter hopes and wants to do, while her mother is overprotective as well as overbearing. Carla goes onto trade school and falls in love. She desires independance seeing that her boyfriend has his. Her mother continues her overprotective ways, but Carla does what she feels she needs to do and moves out. But she and David have a misunderstanding and she returns home to her family but soon realizes she needs and wants David back. They decide they want to get married. Of course her father is in total agreement, but the mother refuses to be a part of things. In the end the mother walks her down the aisle with her husband and they enjoy an amazingly beautiful ceremony. I would watch this movie a dozen times just to see the ending again. I absolutely adore this movie. Everyone does such an amazing job playing their parts. This movie is rated PG-13. Felina Silver Robinson
Cast
Juliette Lewis as Carla Tate
Diane Keaton as Elizabeth Tate
Tom Skerritt as Dr. Radley Tate
Giovanni Ribisi as Daniel “Danny” McMann
Poppy Montgomery as Caroline Tate
Sarah Paulson as Heather Tate
Linda Thorson as Drew Evanson
Joe Flanigan as Jeff Reed
Juliet Mills as Winnie the Housekeeper
Tracy Reiner as Michelle
Hector Elizondo as Ernie
Taken from the Merriam-Webster’s Encyclopedia of World Religions
Here is a dose of daily religion from A to Z.
Today’s religious topic is as follows:
”Altar”, raised structure or place that is used for sacrifice, worship, or prayer.
Altars probably originated when certain localities (a tree, a spring, a rock) came to be regarded as holy or as inhabited by spirits or gods, whose intervention could be solicited by the worshiper. The worshiper’s gifts to propitiate or please the golds were placed on an altar nearby. In some religions a stone or heap of stones or a mound of earth probably sufficed for this purpose. With the institution of sacrifice in sanctuaries and temples, elaborate altars were built of stone or brick on which the victim was killed and its blood channeled off or its flesh burned. The altars used in ancient Israel consisted of a rectangular stone with a basin hollowed out on its top. The four corners of the basin terminated in projections; these “horns” came to be regarded as the altar’s holiest part, so that anyone clinging to them was immune from molestation. The altars used elsewhere in the Middle East ranged from small upright stands for burning incense to the great rectangular stone altars built in Egyptian temples during the period of the New Kingdom.
The ancient Greeks built altars at the entrances and in the courtyards of their houses, in marketplaces and public buildings, and in sacred groves in the countryside. There were city altars, on which fire continually burned, and temple altars, which were built in front of the temple rather than within it. The great altar of ZEUS at Pergamum (now in the Berlin State Museum) has fine examples of the relief sculptures with which the Greeks decorated their altars. Lofty, imposing altars were used for powerful gods such as Zeus or ATHENA, while lower altars were thought more suitable for such domestic deities as HECATE.
When the Christians began to build churches, a wooden altar table was placed in the choir or in the apse. These altars gradually came to be built of stone, and the remains of martyrs were customarily reburied beneath them. In Western churches from as early as the 4th century, the altar was covered by a canopy-like structure, the baldachin, which rested on columns placed around the altar. The altar was further ornamented by an altarpiece, a screen or wall behind it covered with paintings or sculptures. During the Middle Ages side altars were built in the larger Western churches so that multiple masses could be celebrated, sometimes simultaneously.
(Comeback on 9/01/14 and continue to learn about religion. Tomorrow you’ll read and learn about “Altis”.
#Today’sReligiousTopicOfTheDay, #poetsareangels.com, @FelinaSilver
