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Cornell University Library PR 2883.P84 Portfolio of Shakespeariana; art, literal 3 1924 013 145 093 o,. PORTFOLIO of SHAKESPEARIANA ART— LITERATURE - DRAMA |0 FULLY comprehend Shakes- peare's plays one must either see them upon the stage or study them pictorially. The Shylock of Irving, the Hamlet of Booth, the Portia of Terry interpret for us the characters of the plays — characters which we could never build up ourselves by the reading of the works of the great poet-playwright. It is out of the question for us to witness all of Shakespeare's plays, because all are not staged at the present time, and furthermore it is impracticable for many of us to see even those which are now being played. IMPORTANCE OF ART IN LITERATURE q " The child is father to the man", and if we wish to interest the youth we must present him a picture book, so to speak. "This is the House that Jack built " will never convey to a youngster the true idea unless it is supplemented by a drawing. The same applies to the grown-ups. Illustrations drive home im- pressions and broaden understanding. That is the reason why we have gone to great expense in provid- ing engravings to illustrate the text matter of the greatest of the world's playwrights — Shakespeare. RELATION OF ART TO THE DRAMA ^ Now the artist has even greater facilities for inter- preting Shakespearean characters than the dramatist. The dramatist, as we all know, is limited as to time for the representation of the different stage situations, and brings out forcibly only those occurrences which he considers vitally important and best adapted for theatrical effect. On the other hand, the artist makes the story of the play complete by supplying what even the poet himself has left undefined, and shows the author's idea in an entirely new light. By doing so he not only lays before us the creation of the poet, but he also enhances the interest of the play because of the vivid and true portrayal which he presents to us vsath his brush. SHAKESPEARE THE UNIVERSAL ARTISTS' MAGNET ^ The great painters of the world one and all have transferred to canvas the dramas of Shakespeare. It is a well know fact that in Germany alone a dozen theatres are devoted exclusively to the presentation of Shakespearean plays. Throughout the world generally the Shakespearean drama is more popular than any other production presented to an eager public. Is it to be wondered at then that some of the world's greatest artists have chosen for their subjects events taken from the plays of the Bard of Avon ? We must remember that geniuses — great painters — paint from love for art, and not from any sordid mercenary motives ; the question of financial remuneration does not appeal to them. One can hardly believe it, but during the latter part of the last century nearly two hundred and fifty canvases were produced by about two hundred artists, the chosen theme in each case being of Shakespearean origin. A COLLECTION OF MASTERPIECES fl About two years ago an art expert was engaged for the purpose of unearthing these art treasures. As a result of infinite pains and great outlay of money, it has been possible to collect nearly two hundred photographic reproductions of priceless originals, which have been the talk of the Shakespearean world. Out of this number art critics have selected one hundred and forty-four reproductions which form the illustra- tions of the present edition of SHAKESPEARE, and which have also been utilized in the making of this rare and beautiful Portfolio. The artistic merit of these reproductions is not only of the very highest order, but furthermore the interpretation of the char- acters is not an English one exclusively. A number of the artists represented are from the Continent, which, of course, means that they are more familiar with many of Shakespeare's characters and types than the average Englishman would be. ^ A few stars of the galaxy of world-renowned artists whose chefs d'ceuvre are included in this collection : SIR JOHN MILLAIS G. ROUSSIN L. ALMA TADEMA HENRY MOTTE FRANK DICKSEE HANS MAKART W. Q. ORCHARDSON CARL VON PILOTY J. PETTIE, R. A. E. GRUTZNER L. J. POTT WILUAM VON KAULBACK V. BROMLEY A. PECHT A. CABANEL A. MUNOZ DEGRAIN J. L. GEROME KARL GEHRTS EMILE BAYARD KOPPAY A. BARBUDO MEZZO - GRAVURE REPRODUCTIONS ^ The mezzo -gravure process used in reproducing these masterpieces represents the highest type of excellence and appropriateness in the art of reproduc- tion. The engraver's art has been truly worthy of the famous originals in every detail of line and tone. The expensive enameled surface paper, the soft sepia duotone inks and the careful plate-proof printing all unite to make these prints a genuine delight to lovers of the beautiful in illustrative art. STATUE OF JOAN OF ARC. E. Fremiet, Sculptor. KingHsniyVI. Parti. Cornell University Library The original of tiiis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013145093 prince, " But come, my lord ; and with a heavy heart, Thinking on them, go I unto the Tower." King Richard III. Act 3, Scene I. 'it;'' ^^ i' ' w ' Because authority, though it err like others, Hath yet a kind of medicine in itself. That skins the vice o' the top. Go to your bosom ; Knock there, and ask your heart what it doth know That's! ike my brother's fault : if it confess A natural guiltiness such as is his. Let it not sound a thought upon your tongue Against my brother's life." Measure for Measure. Act 2, Scene 2, THE BATTLE-FIELD BEFORE THEBES. Two Noblo Kinsmen, Act. 1 , Scene 4. o o Boling, King Richard li. Act 5, Scene 6. Though I did wish him dead, I hate the murderer, love him murdered." Oii, ' ' I pr'ythee, tell me what thou think 'st of me.' Vio. " That you do think you are not what you are." OIL " If I think so, I think the same of you." Vio. " Then think you right: I am not what I am." Twelfth Night. Act 3, Scene 1. May. " See, where his Grace stands 'tween two clergymen ! Buck. " Two proDS of virtue for a Christian prince, To stay him from the fall of vanity : And, see, a book of prayer in his hand, — " King Richard 111. Act 3, Scene 7. so 1' ■■ «: ■ *-^-'^«* ^ ;,.;■■>(;■' 'I |fe=- " ''^:| ^^ ■ii i.-^ -^«^^^^ I'i ,■1 ^ p' \^ ^a \'i K. ' Tf^Liii iiiifl r^:*;::'-'; ^K^^- ^:f "i P*wlf ' "I^^^S^"^ ''*%^' ■ wt '■' ■ ■ . - ,/-' : i'^^^lR-^^^''^' "^l' [^^^mH . 1^ :tt> ^^C^ ^;f ■■: 1 ^m r^"l;.=^'-i;Li;»^'Ti'"^%- "" ■-i^-.r"':^ «i j^^H^^^^^V^ ' " M ft JtH^T'iSH ^^^^^tiUH ■ " ; ■ . ■ ';^"i*i fffif*^*- ', .■■^_ _, 1^... ■;.\ r .*i'. .: SLEEP-WALKING SCENE OF LADY MACBETH. Lady M. " Out, damned spot ! out, I say ! — One, two ; why, then 't:s time to do't. — Hell IS murky ! — Fie, my lord, fie ! a soldier, and afeard? Macbeth. Act 5, Scene 1, Hel. " That you are well restored, my lord, I'm glad : Let the rest go." King. " My honour's at the stake ; which to defend. I must produce my power. — Here, take her hand, Proud, scornful boy," All's Well That Ends Well. Act 2, Scene 3. MARC ANTHONY'S FUNERAL ORATION OVER THE DEAD BODY OF C/ESAR. Ant. " Kind souls, what, weep you when you but behold Our Caesar's vesture wounded ? Look you here. Here is himself, marr'd, as you see, with traitors." Julius CsBsar. Act 3, Scene 2. Apem. " There's a nnedlarfor thee ; Tim. " On what I hate I feed not." Apem. " Dost hate a medlar? " Tim. " Ay, though it look like thee." Timon of Athens. Act 4, Scene 3. Boult. " Come, mis-tress ; come your ways with me." Mar. "Whither wilt thou have me ? " Boult. " To lake from you the jewel you hold so dear," Pericles, Prince of Tyre. Act 4, Scene 5, ' What -thou see'st when thou dost wake. Do it for thy true-love take ; " Midsummer-night's Dream. Act 2, Scene 2. Flo. "Lift up your countenance, as it were the day Of celebration of that nuptial which We two have sworn shall come." Winter'sTale. Act4. Scene 3, Arth. "Must you with not irons burn out Doth mine eyes? Hub. " Young boy, I must." King John. Act 4, Scene 1. ?s<« isl ?3 I ./ ^. -J/ -N^ W" ^T,X^rl|^W| t% k F f^iiiiH >^iJm J 5. Jll^l I^^Vj i^^^^iw V '■ ^P^H '1 ■ .-^ MMi ^mM' I^^^M h^-me^'^ .,|W^ ^^ S^lr wtB^ -^. i*-<>' ' « ).i9^T''^,\..ij 'l^Hn ^^^^^PH ^^^BliiiB ^^iwM H^^^SS ""airr"-^ l^ppi "^--^ ^^^. ^3 " Thou hast her, France . let her be thine ; for we Have no such daughter, nor shall ever see That face of hers again, — Therefore be gone Without our grace, our love, our benison. — " Kin^f Lear. Act 1, Scene 1. ^3 3 3 Q (D ^ '^ Vol. i^ O 0) » S 5 3 o v; ill < 1 " ■ ^w \ 1'^ ' And, hearing your high Majesty is touch'd With that malignant cause wherein the honour Of my dear father's gift stands chief in power, I come to tender it, and myappliance, All's WellThat Ends Well. Act 2, Scene 1. ■ ^^^■^^^MHR^^v^^^^^^^^^Hj B 1 mi-^ii^mtfk Hj^Hhip^ I ^^iH^HI^^H, ^^H^^^Hl^^^l^B^^H 1 Mira. " If byyour art, my dearest father, you have Put the wild waters in this roar, allay them." The Tempest, Act 1 , Scene 2. "&)o — King. " Rather, proclaim it, Westmoreland, through my host, That he which hath no stomach to this fight. Let him depart ; his passport shall be made. And crowns for convoy put into his purse ; " King Henry V. Act 4, Scene 3. Wilh thy sharp teeth this knot intrinsicate of life at once untie poor venomous fool, be angry, and despatch." Antony and Cleopatra. Act 5, Scene 2. 1>J "gs p 3 2 ' O ( CD5h ' Plead you to me, fair dame? I know you not ; In Ephesus I am but two hours old, As strange unto your town as to your talk ; ' The Comedy of Errors, Act 2, Scene 2. " for my sake wear this; It IS a manacle of love ; I'llplacelt Upon this fairest prisoner." Cymbeline. Act 1, Scene I. _^" ho O ;^ => E . o o Twelfth Night VIOLA. o »^ ^ |ir ' mrn^r ^::- Mfiiv.. ' f -"^.t-'-'' 5^ ^^^K >. . {^^^H^ ... |4^ E " c to ^ S ? <= c o 2 o iS I I 5 I s o s o s li. " but we will draw the curt'iin, and show you the picture. Look you, sir, such a one 1 was this present ; is't not well done ? " twelfth Night. Act 1. Scene 5. ■■■ii Wmm^rxd-' /rfi] ^^L^« 'JK*.-;,"^,- } : ,:■'.■*,.- -^ .,•:■/ J' P^ "Ah, beastly creature ! The blot and enemy to our general name I Confusion fal I ' ' " Nay, then I'll stop your mouth, thou her husband ;" Bring Titus An Jronicus. Act 2, Scene 3, KING LEAR AND CORNELIA. "Lend me a looking-glass; If that her breath will mist or stain the stone, Why, then she lives." Kingl-eaf, Act 5, Scene 3. THE FIGHT BETWEEN HECTOR AND AJAX. Troilus and Cressida. Act 4, Scene 5. CHURCH IN STRATFORD-ON-AVON, TOMB OF SHAKESPEARE. GOOD FREND FOR 1ESV8 SAKE FORBEARE TO DIGG THE DVST ENCLOASEO HEARE : BLE5TE BE VE MAN YT SPARES THES STONES, AND CURST BE HE YT MOVES MV BONES. ' Give me the g'ass, and therein will I read.^ No deeper wrinkles yet? hath sorrow struck So many blows upon this face of mine, And made no deeper wounds? — " King Richard II. Act 4, Scene 1. Ghosts of the two Princes (to King Richard) : " Dream on thy cousins smother'd in the Tower: Let us be lead within thy bosom, Richard," King Richard I Act 5, Scene 3. Cal. " Bo not afeard ; the isle is full of noises, Sounds and sweet airs that give delight and hurt not.' The Tempest. Act 3, Scene 2. a • 5 E- = £ E O (D -a E-= s = * o — "-1 ; I! „- ■ M^ 0.2 •t^ E Speed. " What an ass art thou ! I understand thee not." Launce. " What a block art thou, that thou canst not ! My staff understands me." Two Gentlemen of Verona. Act 2, Scene 5. " No, my Brutus; You have some sick offence within your mind, Which, by the right and virtue of my place, I ought to know of: " Julius Caesar. Act 2, Scene 1. e:2 o o ^ +j D. MARINA AT THE SEA-SHORE. Pericles, Pnnce of Tyre. " O cousin, thou art come to set mine eye : The tackle of my heart is cark'd and burn'd ; King John. Act 5, Scene 7. Mai. " My masters, are you mad? or what are you? Have you no wit, manners, nor honesty,——'' Twelfth Night. Act 2, Scene 3. ANN HATHAWAY'S COTTAGE. Queen. "There is a willow grows aslant a brook, That shows his hoar leaves in the glassy stream : There with fantastic garlands did she come." Hamlet. Act 4, Scene 1. Biron. " And wretched fools' secrets heedtully o'ef-eye. More sacks to the mill ! U Heavens, I have my wish ! " Love's Labours Lost. Act 4, Scene 3. MACBETH ARMING FOR THE FIGHT WITH MACDUFF. Macb. "Throw physic to the dogs, I'll none of it, — Come, put mine armour on | give me my staff." Macbeth. Act 5, Scene 3. Ros. " Were't not better, Because that t am more than common tall. That I did suit me all points like a man ? " As You Like It. Act 1, Scene 3. Rom. " Farewell, farewell ! One kiss, and I'll descend.' Romeo and Juliet. Act 3, Scene 5. ^^M MP ^^^^B^^^^^"' ''- '^^04t m i^S l^^^H^HP^ ^K^^^Ti^^^^H^PdN^slBi^^HkK I^ii| I^^^^^Q^^EifiN I^M^i^ ^H^^Hb^v^B^ki 1 ' if^^H l|pM ^^^^^p^ ^■H^BB^^^^^^B^^^^kH ■BBWW ^^^^£ ^1 HVm ^E^^Bfii^HHH {m^ffBBBB^B^^gB^^fc^tg' 1 HI^S9 ' Lo, wliilst I wailed on my tender lambs, . . . God's mother deigned to appear to r King Hen^ VI. Pi. Act 1, Scene 2. Pro. "Where is that ring, boy? " Jul. "Here 'tis; this is it." Pro. " How ! let me see : — Why, 'tis the ring I gave to Julia,' Two Gentlemen of Verona. Act 5, Scene 4, ' Wear -this for me, one JUt of suits with fortune, That could give more, but that her hand lacks means,' As You Like It. Act 1, Scene 2. Ham. " Get thee to a nunnery. Hamlet. Act 3, Scene 1. Ber. "Let that go; My haste is very great: farewell ; hie home. Hel. " Pray, sir, your pardon." ' All's Well That Ends Well. Act 2, Scene 5. WILL.AM SHAKESPEARE. The Chandos Portrait, National Portrait GaUery, London.) King. 'The fairest hand I ever touch 'd! O beauty, Till now I never knevi/thee! " King Henry VIII, Act 1, Scene 4. = p- bb "^ > 'And the deep-drawing barks do there disgorge Their warlike fraughtage ; " Troilus and Cressida. Prologue. ■ 3rii ^W| ■^^^ S 1^^ BI9^K.^^^5 y^^^MK 1 •3i sKM LM ii^l^a r^ ^w -i@|H|^^^ ■ r ^M 1^^ "^'''MawB mT '1*^ \ T^^^M ^^kSI^^^^HP p^- ;^^^ ^^9 9 ■9 ^^m Vol. " O, no more, no more ! You've said you will not grant us any thing;" Conolanus. Act 5, Scene 3, Young Luc. " Help, grandsire, help ' my aunt Lavinia Foltows me everywhere I know not why : — Good uncle Marcus, see how swift she comes. — Alas, sweet aunt, I know not what you mean." Titus Andron'cus. Act 4, Scene 1. Timan | " Give us some gold, good Timon ; hast thou more? " Timon of Athens. Act 4, Scene 3, "Tarry a little ; there is something else. This bond doth give thee here no jot of blood; The words expressly are, a pound of flesh The Merchant of Venice. Act 4, Scene 1, TITANIA. Midsummer Night's Dream. Page 66. Pand. "There's law and warrant, lady, for my curse," Const. "And for mine too; when law can do no right,' King John. Act 3, Scene 1 , s £• " Blow, winds, and crack your cheeks ! rage ! blow ! You cataracts and hurricanes spout Till you have drench d our steeples, drown'd the cocks I King Laar. Act 3, Seen© 2, Page 80. s- in T3 * ® 5 C nJ 5 -= s s 5= ? iS -g >" +- o "2 • ■•■■•Mr Hffe. 5R|* ^ MM 'w^f^'^amsm ^g?#^_ '^^^3 Wm& i^^^p^^ BP^ Ip^hO^^^mhH ^n mi^H E^SPhqb!^^ ^ffliM| j^Mi^^MpBlW^ffli IPi ig^.^jpKMmpi&i ■■ '^^^Xl^luQ^^^^HI ^ - ^ ^^HH ■'■i:..'?4^^^i^^S ^ S;:r»?3iE?W!'gSE^^fflaeifflHB ti „._ .- .<:« ^ 1 Jaq. "Which is he that killed the deer?' First Lord. " Sir, it was 1." As You Like It. Act 4, Scene 2. -Ci 'J| I ^^^^H^^^^H| |HP^r^9pHH 1 HH^^H HH m P:^-1i-rf-Tiifig| 1 Abb. "Whoever bound him, I W\\\ loose his bonds, And gam a husband by his liberty." Comedy of Errors. Act 5, Scene 1, " . . , 0| torture me no more' I will confess. Alive again? then show me where he is : I'll give a thousand pound to look upon him. He nath no eyes, the dust hath blinded them, Comb down his hair; look, look! it stands upright, Like lime-twigs set to catch my winged soull — " King Henry VI. P. 2. Act 3, Scene 3. THE AWAKENING OF JULIET. Jul. " O churl ! drink all, and leave no friendly drop To help me after? I will kiss thy lips ; " Romeo and Juliet. Act 5, Scene 3. Hot. ". . . O, I could prophesy, But that the earthy and cold hand of death Lies on my tongue ; no, Percy, thou are dust. And food for Prince. " For womns, brave Percy ; fare thee well, great heart ! King Henry IV. P. 1, Act 5, Scene 4. Queen, Let me entreat thee, cease! G've me thy hand, That I may dew it with my mournful tears ; " King Henry VI. P. 2. Act 3, Scene 2. King. " I know thee not, old man ; fall to thy prayers ; " King Hen7 IV., P. 2. Act 5, Scene 5. Fal. "The better part of valour is discration ; in the which better part I have saved my life." King Henry IV., P. 1 . Act 5, Scene 4. Bene. " Fair Beatrice, 1 thank you for your pains." Beat. " I took no more pains for those thanks than you take pains to thank me : if it had been painful, I would not have come." Much Ado About Nothing, Act 2, Scene 3, JESSICA. Merchant of Venice. King Lear. CORDELIA, O S o Pomtz King Henry IV., P. 1. Act 2. Scene 4. Falstaff ' — ,ast asleep behind the arras, and snorting like a horse.'' Lady Percy " Some heavy business hath my lord in hand, And I must know it, else he loves nne not" Kinc; Henry IV., P. 1. Act 2, Scene 3. Dro. E. " Methinks you are my glass, and not my brother: I see by you I am a sweet-faced youth." Comedy of Errors. Act 5, Scene 1 . Bene. " Do not yo J love me ? ' Beat. "Why, no; no more than reason," Bene. "Why, then your uncle, have been deceived and the Prince, for they swore an yo d Claud u did." M uch Ado About Nothing. Act 5 Scene 4. »J. Arm. " I will tell thee wonders.' Jaq. "With that face ? " Arm. " I love thee." Jaq. " So I heard you say." Love's Labour's Lost. Act 1, Scene 2, is. o ^ " E ID w £| " My name is Caius Marcius, who hath done To thee particularly and to all the Volsces Great hurt and mischief;" Coriolanus. Act 4, Scene 5. W^fl :;'^rf King Henry VIM. KING HEMRY VIM. Painting by Hans Holbein — V/indsor Castle. Glo. " Be Datient, gentle Nell ; forget this grief." Duch. " Ah, Gloster, teach me to forgat myself ! " Henry VI. Part 2. Act 2, Scene 4. ^ If \ ^-"^^^S'u' Ifc^ ff |X* ■ m ■ ,1 Ah, Clifford, murdet not this innocent child, Lest thou be hated both of God and man! " King Henry VI. P. 3. Act 1. Scene 3. DESDEMONA. ■iii^ m k -itly^ , -^.^^^^^^E^^ A£- >^^5^*«^P "^.,MM pDH^^SIH^^H 34 Hlw^l /^ ^^^^^S^B^ t:^' ' ^ -1 K. Edw. " Clarence and Gloster, love my lovely Queen; And kiss your princely nephews, brothers both." Clar. " The duty that I owe unto your Majesty I seal upon the lips of this sweet babe." KingHwnryVI. P. 3. Act 5, Scene 7. ^■Bb^'' ' > ' ■ Bb^I M ^i HI 1 ^H k|#JPmP kvHb^^ I^K^ n - U/mm ■V 1 fj ^ KRHRM^ ■H ^-1 WBmM f ijy 1- J ^^^v" ^*' ^^ ^&affi^ H ^ HKl Hr '^ ! 1^ X mPfc^.'.^ ^H ■ ^^ ■pr^i.-i\ ^9w' ^^^K ^i^^^^xi i^^UB >^\^^^l H, ". WM ^S^M ^ "' ^^^H Iq^^b r^fWM ihbm *i^B^I m ^'•^ifW^ B 4 ^1 ■i/w |b^ t '1*^ ^^^^^F I :1 ffl^^HI ^■r^'^^m^ £ '' Jj^-flM ■ >iia pPlsl mm r-'^'f^M ■ktiii p^ ^HgU '^^H ^fim^^k Hlw HH^H K ill -^^^^B^^Ik^ ^Ma^jtJ^SgB 1^ '^B^l^^^^l s Rij^ LJ^^^^^^eS Ant, " Fall not a tear, I say ; on a of them rates all that is won and lost', give me a kiss ; even this repays me." Antony and Cleopatra. Act 3, Scene 2. And. " When was my lord so much ungently -temper'd. To stop his ears against admonishment? Unarm, unarm, and do not fight to-day." Troilus and Cressida. Act 5, Scene 3. Mira. I' " If you'll sit down, I bear your logs the while : pray, give me that; I'll carry't to the pile," The Tempest, Act 3, Scene 1. lach. " O sleep, thou ape of death, lie dull upon her I " Cymbeline. Act 2, Scene 2. Cass. "I pray you, rise; rise, Egypt." Cleo. " Sir, the gods Will have it thus ; my master and my lord I must obey." Antony and Cleopatra Act 5, Scene 2. ' Sweet rest his soul !— Fly, lords, and save yourselves ; ^ For Warwick bids you all farewell, to meet again in Heaven. King Henry VI. Part 3. Act 5, Scene 2. K. Rich, " Slave, I have set my life upon a cast, And I will stand the hazard of the die : I think there be six Richmonds m the field ; Five have i slain to-day instead of htm. — A horse ! a horse ! m/ kingdom for a horse ! King Richard ML Act 5, Sceno 4. Romeo and Juliet JULIA. ■ H 1 1 H ^^^w^^ '^H 1 ^^^^^Hjij^^H H^fl r \-\ [bB M^ ; ;, k i l^a ^^^^v^^l 1 , V f| ^^y| y M. |Q WfTA ! 1 Isab. " you beast ! O faithless coward ! O dishonest wretch ! Wilt thou be made a man out of my vice ? " Measure for Measure, Act 3, Scene 1, Launce. " Nay, I remember the trick you served me when I took my leave of Madam Silvia, Did not I bid thee still mark me, and do as I do ? " Two Gentlemen of Verona. Act 4, Scene 2. L. Grey. " My mind will never grant what I perceiv Your Highness aims at, if I aim aright." King Henry VI. P. 3. Act 3, Scene 1 1. Macb. ' Lady M. l£cbeth, Act 2, Scene 1, I've done the deed. Didst thou not hear a noise ? ' "I heard the owl scream and the crickets cry." o > ' . . . O, my lord, Are you not Pericles? Like him you speak, Like him you are i did you not name a tempest, A birth, a death ? " Pericles, Prince of Tyre. Act 5, Scene 2. C HI p Sri" OI-QCI --m ca .- ^^'■%. 1^ ^'*: ^F'-^'f^A ^^yj H^^Bui^ I^^Rf '^^k'f ^^^H ^^■EL- ^^^Ss jiddM "WB^^W 1 ^%ii:J \ 111 itiiOr 1 Wm^^ IHi ^■"*'«*^ |jR'^v.^^:ir' ^^K; ^/S \ ^■&2^iii*tt*»v - ■"*'^««f*. '-■' ■Hr' -^ b/dbw •^ll ■w^ir ' "^ ■ .i- ; '* ^e"' -*" 'f ^ J ^^m J3 1> Des. " Upon my knees, what doth your speech import? I understand a fury in your words, But not the words." Othello. Act 4, Scene 2. iM4B^ '*'■ ' «^7^ ' ^^ ter'*'"^^^ ■' ■"^:i^*'^^^^*>- 4 ft'-g ■ v^-" ^^ -~' "-11*1 .v.-viT^*«c-v4^^^^^ 4f ^'t^ " "*■ ' ^^i'? ' ''"^-' -■^sPOB^s^^B^ if. - IHHIB^^^HH^i ^^Mv^^H^^H lA. .;,, ^^Ei^^/ s^^iK'' ^^iV^B' , ''fc' '■*'/ ^HH^^"/j ^ _ :. :.M^ ; -M ^B^.i^kn 1 '% -1 r-^m -. V .:^ iP^^'"^ ;^»*:^V-./\. 1 ft P^ 1 ■ -h' WwHt'-y^^ ';.; ;Vir-..:, i^l; ^■■HginRm jw ijuji KS?«r^3^5^^ W' ^^ > 'l^^^^^^^ ?■■ ■,,'?'' '!. l&tt&^' '■ y^^^Hli JHh^^^S^^b keHI^u ■HkOF^IP^ HP^m Hj^^^^^^^ ^-: K^^^^P^M^S i^^^BHRSSniK 'v^'' '^- ^^^'^'.f^'^-'M^^ -■•Ssi-- ii:-. :^u^:.:.- I^^'^^^^H^IhI Orl, " Forbear, and eat no more ! As You Like It. Act 2, Scene 7. - O - ' But Henry now shall wear the English crown, And be true king indeed ; thou but the shadow.' King Henry VI. P. 3. Act 4, Scene 3. ■ '