Author Archives: Thomas Tassin

Post 2: Hoi An, Saigon, Koh Phangan

I last posted when we got to Hoi An. Our time there remains the most relaxing period of the trip. We stayed at a hotel and mostly just rode bikes around the quiet coastal city and ate its street food. The rest of the gang bought suits at a very impressive tailor, but I refrained (the most important part of a suit is obviously the name inside, c’mon) and elected instead to peruse the markets. We ate banh mi (baguette sandwiches) at some little restaurant that Anthony Bourdain went to. So far Vietnamese food has eclipsed both Thai food and Chinese food in my rankings of Asian cuisine (though Japanese remains in first by some distance).

Next we flew to Ho Chi Minh City, formerly Saigon. Our hostel there was boring and no one liked hanging out so we made our own fun. The first night we walked into a bar with maybe four large Indian men dancing with probably 15 scantily clad Vietnamese girls. Sketchy vibes. Tower asked one girl what kind of place we were at. She said, “This is a bar where you buy drinks and buy girls…………drinks.” The message was clear, and we took off.

We also went to the war museum in HCMC. They had a room filled with haunting pictures of the victims of Agent Orange. Spooky vibes, but historically important vibes. That night we went on a food tour around the city, riding on the backs of motorbikes. It was terrifying. Not the food, the traffic. At least 500 bikes would flood into one giant roundabout and just honk and nudge each other and spew out emissions. The food was amazing though. We also took shots of snakewine, which tasted more or less like scotch and came from a giant vat of brown liquid with a dead king cobra in it.

Next we took a bus/ferry to Koh Phangan for the Full Moon party. Every full moon, tourists swarm this island to paint themselves in neon and pee in the ocean to the soundtrack of droning house music. It was quite an experience. I remember walking out of our hostel to the end of the block and three (3) women had already accosted me to buy a bucket of alcohol from their stands. Red bull vodka was certainly the bucket-du-jour. We stayed up until the moon went down and the sun came up and my phone left this realm for good. Then we stumbled into a bar at 7 AM to watch the Cavs win the title. I was more exhausted than postgame LeBron when we got to bed at 10 AM. I had certainly worked harder.

I’ll sign off with that, but there’s more to share from Phuket/Patong. Sneak preview: I got iced by DeAndre Jordan. No kidding. DeAndre Jordan bought a Smirnoff Ice and made me drink it on a knee in the middle of the street. Still hate the guy, go Mavs.

Post 1: June 12, 2016

Tower and I arrived at our hostel in Hanoi at around midnight. Ten minutes later, we were standing in the street, taking pulls from a Vietnamese vodka bottle. As Peter and Andrew brought us up to speed on where they had been the last two weeks, a hostel employee ushered us into a dark nightclub across the street, closing the garage-style door behind us. Apparently, Hanoi has a midnight curfew, but many clubs pay off the cops to stay open later.

We get to this club and order some bucket of alcohol. British people are standing around with balloons full of nitrous oxide. The tone has been set.

Eventually we go to another club and meet more people from all over the world. Then the cops show up and shut down the outside part of the club. These new parameters, however, do not deter cigarette consumption.

We got back to the hostel around two. I took a very productive shower in the communal bathroom. The good news is that 3 years of living in a fraternity house prepared me pretty well for staying in a backpacker hostel for $8 a night. The bad news is that staying in a backpacker hostel for $8 a night made me wonder why I* paid so much to live in a fraternity house for 3 years.

Anyway, the first night in Hanoi was a success. The next day we went to Ho Loa Prison, where John McCain and other American pilots were tortured. It was pretty sobering stuff. They had one room about the American pilots that pissed me off. It showed them playing basketball and playing cards and smiling and celebrating Christmas and “Oh, look how nice we treated them,” etc. The guillotine in the other room told a different story of the conditions there.

After that we went to Ho Chi Minh’s mausoleum where Peter’s dead body fetish really came out. Unfortunately, we were three minutes too late to see Uncle Ho’s actual body because Peter had to read every damn word in that museum before going to the body. Poetic justice 1, Pete’s dead body fetish 0.

Pregame Pete’s intellectual curiosity on full display.

Then we went to the Temple of Literature. It was built in 1070 which is neat. Poopypants Pete found a huge snail and named him Honus.


The next day we set sail on the hostel’s Castaway Island tour in Ha Long Bay. We took a bus, then a boat, then another bus, then another boat to get to there.

On the boat ride in I bought four beers from a Vietnamese guy, and for whatever reason we just started yelling “Four beers! Four beers!” together. Then he punched me in the dick. The tone has been set.

The island was unbelievably beautiful, but it was very strange to consider the contrast between an American’s visit to Vietnam today and that of only 40 or so years ago. One was hell; the other, paradise. For better or worse, this thought dissipated with the all the activity around us.

There was kayaking, wakeboarding, rock climbing, volleyball, basketball, even a booze cruise. At night, the DJ mixed up some tasty jams as the bioluminescent plankton came out to play. Everyone smelled horrible, but no one cared. The whole scene was surreal.
We also met some incredible people with some incredible stories. I maintain that my favorite part of the whole excursion was meeting these people. The bungalow we were in facilitated a lot of quality hanging out and degeneracy. Bung 102 forever.

IMG_5859View from our island in Ha Long Bay.

We departed after two wild nights there. On the way back to Hanoi, the hundeds of rice farmers I saw toiling over the landscape made me realize how blessed I was that a jellyfish sting and a hangover were the worst of my concerns that day.

That night, we boarded a sleeper bus to Hue, which seemed like a 5-star hotel compared to the den of sand and body odor that we had become accustomed to.

In Hue, we got some dank noods before boarding another bus for Hoi An, from which I’m currently writing this. When I get Wi-Fi, I’ll post it and try to add some pictures.

Peter Montgomery quote of the day: “Buying cookware is so fun.”

Post 0: June 5, 2016

In the month or so leading up to my departure for Southeast Asia, many friends and family implored me: “You have to send us pictures!”

Even though I graduated from the College of Arts and Crafts, I wasn’t a pictures major, so I decided to reclaim this website to post written updates from the trip.  Hopefully, this blog will also challenge me to reflect more critically on my travels than would a simple Facebook post or email.

Side note: I originally created this website for a Shakespeare class.  Please disregard those posts (unless you want to pore over the fruits of my worthless degree).

Typically, I’m not one to share photos or updates or even memes on Facebook/Twitter/Instagram, but I believe an adventure of this magnitude warrants documentation and presentation.  Furthermore, I feel like not documenting the trip would be a disservice not only to myself, but also to the many friends and family who asked for pictures and updates.

Accordingly, this site is now your source for our shenanigans.  Depending on the availability of time/Wi-Fi, I’ll try to post periodic updates that include our experiences and perhaps a bit of reflection.  The goal of this site is twofold: (1) to document what we do, and (2) to force myself to think about the trip beyond “Wow these drinks are cheap,” and “What’s that bulge in that woman’s pants?”

So there you have it.  Tomorrow I set off on 24 days of travel.  See you on the other side.

To quote my buddy Spencer’s text from a warehouse rave last night at 5:46 AM: “Shit is about to heat the fuck up.”

ENG 212 Final Project: “Reasonable Doubt,” a Podcast

One semester after the conclusion of my Shakespeare class, I have returned to this site with a new multimodal project to present.  This past semester, I have oriented my study of English not around Old Bill, but around serial narratives.

In ENG 212, we read Dickens’s Great Expectations, we watched the first season of Mad Men, and we listened to the first season of Serial, the podcast.  We focused on how seriality affects narrative technique, how presentation affects content.

We learned that new technologies often lead to new modes of presentation and accordingly, new stories altogether.  The podcast Serial resonated with me as it was my first experience with a story that unfolded as I listened to it.  This form of presentation, as we discussed in class, promotes a greater level of investment and intrigue among its listeners than would an open-and-shut case.  For this reason, I chose to produce my own podcast for my final project.

This podcast examines a murder trial currently underway in Fulton County.  I have changed the names of those involved, but the facts surrounding the case remain the same.  The episode not only examines the actual criminal investigation and witness testimonies, but also comments on legal theory and the nature of our justice system.  I tried to challenge listeners to think: what does it mean that our court system can let murderers walk?  Or put an innocent person in prison for life?

I also looked at the nature of evidence and the psychology of eyewitness testimony.  How might a witness’s memory conform a narrative that investigators encourage?  Just how much doubt constitutes reasonable doubt?

If this podcast were to become a series, these questions would come up repeatedly, because, of course, these questions really do come up every day in court rooms all over the world.  Many people, however, never consider them until they’re either in handcuffs or sitting in a jury box.  It is my hope that this episode provokes its listeners to consider these questions more explicitly, and does so in an interesting and engaging way.

Finally, the podcast as a format challenged me in many ways.  I tried to communicate a large amount of information while maintaining listeners’ attention and interest.  To achieve this goal, I used music before, during, and after the narration to provide a sense of cohesion.  I also used audio from a TED Talk to alleviate the monophony.  Ultimately, I came away with a better appreciation for podcasters and all verbal storytellers.

Enjoy the episode!


Script and Sources


Shakespeare’s Globe


Welcome to the site! Allow me to introduce its purpose, themes, and format.

I created this site for an undergraduate Shakespeare class at Emory University. The class, ENG 210W: Shakespeare’s Globe, explored a handful of Shakespearean plays and performances, with an emphasis on how they inform contemporary issues, particularly environmental concerns. This site, then, serves as a record of my own inquiries into how these enduring and esoteric plays survive to illuminate current issues like climate change.

For the purposes of this site, Shakespeare becomes a kind of ecology—a living, breathing subject that responds to shifts in culture and academia. These plays, while historically significant, offer much more than their historical interpretations might suggest. They reflect on the very psychology and sensibility that comprise the human condition. In particular, Shakespeare frequently comments on humanity’s relationship with nature. In what ways do these considerations of nature and human influence shine light on today’s environmental concerns? That question, along with some other considerations, become the subject and purpose of this website.

Unfortunately, Shakespeare does not offer a definitive interpretation of nature. For Gonzalo and his sailors in The Tempest, nature offers a potential for innocence and abundance. For Prospero and King Lear, however, nature becomes subjugated for their own advantage and ambition. In Titus Andronicus, nature provides an asylum for Chiron and Demetrius’s dark desires to play out, causing other characters to contemplate whether our planet’s natural order promotes life and prosperity, or chaos and violence. Ultimately, Shakespeare’s conflicting portrayals of nature parallel humanity’s own complicated relationship with the environment, which is precisely why Shakespeare studies can inform contemporary environmental issues.

Along the way, other assignments spurred me to consider other topics, like language, violence, and power. I explored these topics through a variety of mediums. The class emphasized “multimodal research techniques” to overcome a common handicap in conventional Shakespeare studies—the impulse toward historicist interpretations. While historical contexts certainly prove vital in understanding the plays, the concepts and themes benefit from their consideration not only in relation to contemporary issues, but also through contemporary means.

It is my hope that this site demonstrates Shakespeare’s capacity to contribute meaningfully to current conversations about climate change and other environmental issues. Furthermore, I hope that this site illustrates the benefit in addressing Shakespeare through unconventional, alternative methods by transcending, but not ignoring, traditional interpretations and presentations.

As I mentioned, this site tackles Shakespeare through a variety of analytical styles. Although the site exists more or less as a blog in terms of format, most entries reflect greater consideration than a casual blog post. The entries include a paper, an infographic, a presentation, a digital edition that includes a glossed text, and a handful of blog posts.

This variety of techniques challenged me to step out of the conventional rhetorical frame that most English classes operate within. I saw how analysis could occur and develop without thesis statements or even words, at all. The most compelling explorations of Shakespeare leverage not only their content, but also their presentation.

The first short paper, covering The Tempest, provided an opportunity to gain footing not only with writing about Shakespeare, but also with working through the diversity of interpretive modes within Shakespeare studies. In the paper, I examined an essay by Ingo Berensmeyer that advocates for “media ecology,” or the potential for a work like The Tempest to function across many mediums and generations due to its emphasis on fundamental, unchanging human drives and concerns. The essay, a familiar format, offered a chance to grapple with new ideas surrounding Shakespeare studies within a comfortable medium.

The next assignment tugged at my fledgling artistic sensibilities. Using Piktochart, I created an infographic that examined Shakespeare’s use of insults and, more broadly, the uniquely volatile character of vernacular language. The assignment developed my eye for design. I was challenged to consider what my viewers would think, where they would look first, in what sequence they would read through the graphic. Unlike in writing a paper, I thought acutely about how my work would be interpreted rather than merely developing an argument.

This newfound awareness of the reader carried over to my “Digital Edition,” an assignment that argued for the parallel between the ingratitude that King Lear’s daughters show toward their father in his final years, and the ingratitude that humans show toward our “mother” earth. I examine the strange phenomenon of caring for one’s original caretaker, or parent, as they grow older, and how this relates to the current need to care for the Earth. Again, I sidestepped the conventional frame of analysis and looked at both critical responses to King Lear and contemporary stagings of the play. It concludes with a close reading and glossed text of a passage from the First Quarto of the play.

My last assignment, a presentation of violence and power in Titus Andronicus, leveraged the power of images to convey the significance of violence. Although I kept it PG-13, the images nevertheless helped illustrate concepts like the commodification of human flesh, and the relationship between Saturninus and the Saturn of Roman mythology. This unconventional medium provided further evidence for the idea that Shakespearean analysis benefits from contemporary modes of presentation.

Going forward, I aim to apply the skills I’ve learned in this course when thinking through other contemporary problems. Climate change is not merely an isolated, recent issue; it is the manifestation of a hubris that began long ago, and that Shakespeare comments on frequently. I intend to explore how other classic texts and celebrated authors dealt with the human-nature dynamic, and how that can further inform today’s conversations.

Furthermore, this class has developed my research and presentation skills, which I will confidently carry over to law school one year from now. The diversity of both content and presentation that this course encouraged will help me to think through concepts and understand how older documents, like Supreme Court cases, can inform today’s issues. Law school frequently demands robust personal consideration of past attitudes and legal decisions. I am confident that this course has taught me to not only respect historical interpretations, but also formulate my own ideas within my position in contemporary society.

I have a newfound appreciation for mediums like visual renderings and slideshow presentations to convey ideas that are typically confined to an essay. Certain concepts, like violence, benefit from audiovisual enhancement. In the future, I will actively consider how new forms of media can supplant or complement conventional methods. This site mainly examines Shakespeare’s relation to contemporary environmental concerns—which is, after all, just one example of how the past can inform the present.

Image source.

Introductory Essay Draft

For my introductory essay, I will explore how Shakespeare studies offer insight on current ecological issues by examining my previous work in the class and also working through Shakespeare’s portrayal of nature in Titus Andronicus.  I will continue to argue that Shakespeare’s canon, while somewhat erudite, nevertheless emphasizes humanity’s delicate relationship with nature.  I’m not sure how explicitly I can reference previous work vs. how original the essay should be, but I plan to cover my prior arguments at least briefly.  The bulk of my essay, however, will deal in Titus Andronicus.  The following passage is especially ripe for dissection:

Lavinia, wert thou thus surprised, sweet girl,
Ravished and wronged as Philomela was,
Forced in the ruthless, vast and gloomy woods?
[Lavinia nods.] See, see!
Ay, such a place there is where we did hunt –
O, had we never, never hunted there! –
Patterned by that the poet here describes,
By nature made for murders and for rapes

O, why should nature build so foul a den,
Unless the gods delight in tragedies?

There are other passages that elicit a more positive conception of nature:

O earth, I will befriend thee more with rain
That shall distil from these two ancient ruins
Than youthful April shall with all his showers.
In summer’s drought I’ll drop upon thee still;
In winter with warm tears I’ll melt the snow
And keep eternal springtime on thy face,
So thou refuse to drink my dear sons’ blood.

Beginning with The Tempest and Ingo Berensmeyer’s essay on Media Ecology, I’ll work through different conceptions of nature and of Shakespeare studies.  Ultimately, I will conclude that Shakespeare benefits from its presentation in many forms of media.  Furthermore, Shakespeare, when leveraged through alternative forms of media, can contribute positively to discussions surrounding anthropogenic ecological issues such as climate change.

Shakespeare’s Dark Depiction of Nature in “Titus Andronicus”

nature dark

Humans typically belong to two camps concerning their relationship with nature.  Either we stand wholly apart from the natural world, and it merely serves as the setting for our civilizations to unfold, or we belong entirely to the same order and environment that surrounds us.  The former idea suggests a level of anthropogenic dominance and subjugation of nature, while the former encourages cooperation and mutuality.

In Titus Andronicus, nature serves as the setting for great violence and atrocity, yet the characters remain enmeshed in it, rather than apart from it.  Consider this passage in which Titus and Marcus lament Lavinia’s tragic rape and mutilation in the woods:

Lavinia, wert thou thus surprised, sweet girl,
Ravished and wronged as Philomela was,
Forced in the ruthless, vast and gloomy woods?
[Lavinia nods.] See, see!
Ay, such a place there is where we did hunt –
O, had we never, never hunted there! –
Patterned by that the poet here describes,
By nature made for murders and for rapes

O, why should nature build so foul a den,
Unless the gods delight in tragedies?

Here, Titus considers nature “made for murders and for rapes.”  In contrast to an idyllic conception of innocence in nature, a la the Garden of Eden, Titus contends that nature is designed for nefarious behavior.  The “vast and gloomy woods” provide sufficient asylum for humanity’s dark impulses to take root.

Furthermore, it is important to note their original activity in the woods—hunting.  As Titus says, “O, had never, never hunted there!”  The very activity of hunting suggests a domination over nature and its occupants.  Now, Titus perhaps regrets their participation in the hunt and the pretense of domination that the activity suggests.  It becomes ironic, then, that Lavinia gets “hunted.”   Rather than offering up its space for sport and recreation, nature offers its space for treachery and violence.

Marcus similarly condemns nature, but places blame on the gods.  For Marcus, nature provides its “foul den” for the gods to “delight in tragedies” therein.  A den, according to Merriam-Webster, is a “lair of a wild, usually predatory, animal.”  So if nature is a den, then it belongs to animals, and humans exist apart from it.  Furthermore, by invoking the gods, Marcus again separates man from nature.  Marcus would seemingly advocate for humans to steer clear of nature’s dark dens and the gods that govern them.

Ultimately, Titus seems to consider humans woefully enmeshed in the “vast and gloomy woods” of nature.  In contrast, Marcus comments on the inherent perils of nature and hot it serves as the twisted playpen of the gods.  In other literature, the notion of human participation and cooperation in nature seems to produce a positive, symbiotic relationship.  In this particular play, however, nature becomes a setting for dark desires to beget gruesome tragedy.

“About” Summary

This site was created for ENG 210W: Shakespeare’s Globe, an undergraduate class at Emory University that explores Shakespeare’s plays and performances in conjunction with current environmental issues.  In my particular studies, I have looked closely at Shakespeare studies as a kind of ecology—a living, breathing subject that responds to shifts in society and academia.  I’ve also looked at how Shakespeare’s works can attempt to address ecological issues, including global warming, sea level rise, and human indifference to the environment.

The entries on this site employ many different modes of writing or presentation.  I have used blog posts, essays, infographics, and a slideshow in an effort to study and present Shakespeare through a variety of lenses and research methods.  I believe the diversity of media illustrates my argument for Shakespeare studies as a shifting, transcendent, ecological subject.

Over the course of the semester, I developed skills not only in writing across different media, but also in tackling difficult passages in general.  Many of my entries offer close reading analyses of certain passages, or in depth considerations of particular words.  This skill translates well to other critical fields, and should especially help if I go to law school, which I plan on doing.

Ultimately, this site as a whole proposes that Shakespeare’s work can, and should, be used as a conceptual frame to address contemporary environmental issues.

In the final draft of this site, I will clean up issues of consistency and make navigation more obvious.  I’ll make all quotations look the same, for example, and standardize font and font-size across all pages and posts.  I’ll also use tags so that users can filter posts by each play.  I’m debating whether to keep the blog-style/scrolling front page or introduce a static landing page, from which a user could navigate to “Posts.”  Right now I like being able to scroll down and view everything, but it is a bit lengthy.  I think the theme works well with the content and looks clean and simple, which I like.  I need to dress up the Visual Rendering and somehow make the Piktochart’s more visible without having to click to expand them.


Digital Edition


Shakespeare’s King Lear revolves around relationships between parents and children. These relationships carry grand implications: wealth, land, even murder. For Edmund, Goneril, and Regan, the desire for land and power supersedes any instinct for paternal love. But beyond the running theme of filial ingratitude, there exists an interesting reversal of family roles. As Lear becomes increasingly mad, he begins to resemble a “bad” child, one who requires discipline, direction, and care. Goneril and Regan, like distressed parents, must deliberate over what to do with their troubled father. As Goneril states, “By day and night he wrongs me. Every hour / He flashes into one gross crime or other / That sets us all at odds. I’ll not endure it” (1.3.3-5). Like a troublesome child that drives a wedge between puzzled parents, Lear sets his daughters “at odds.” This inverted dynamic, while perhaps emblematic of aging parents, nevertheless parallels an interesting ecological dynamic currently taking place—for the first time in history, humans are now charged with taking care of their “Mother Earth.”

While centuries have passed since humans first began exploiting the Earth for energy and profit, only recently has the problem of exhausting our resources begun to surface. King Lear, a play centered on parents and children, also sheds light on the giving and taking that occurs within those relationships. While many, like Cordelia, seem happy with their lot, others, like Edmund, twist every relationship toward their own selfish advantage. Much like humans reject any obligation to protect the natural world that they inherit, the children in King Lear show a similar disregard toward their parents, electing to take from them rather than care for them in their final moments. Contemporary society can learn from these twisted relationships and move toward an attitude of care for the aging Earth.

Critical Responses

I will analyze “Unconscious ambiguities in King Lear,” an essay by Robert Silhol from 2012.  Accessed via EBSCOhost.  Silhol explores and psychoanalyzes the role of desire in the play’s characters.  I intend to explore how their desires resemble (and don’t resemble) the human desire to domineer over nature.

I will also look at “Local play takes on family struggles,” an article from the Newport, VA Daily Press from 2007.  It describes how a director begins working on the play as his own father begins to suffer from dementia.  Again, I will connect the director’s unfamiliar desire to care for his father with our own newfound drive to care for our planet.

King Lear Today

I will analyze specific contemporary issues pertaining to climate change and how King Lear and its unique parent-child / giver-taker dynamic can comment on these issues.  I will argue that now more than ever we must accept that our Earth can no longer provide for us at our current rate of consumption, and we need to begin to provide for it.

Glossed Text

Sc. 7 Text Line Number
Regan O Sir you are old,
Nature on you stands on the very verge of her confine,
You should be rul’d and led by some discretion,
That discernes your state better thẽ you your selfe, 1430
Therfore I pray that to our sister,you do make returne,
Say you haue wrong’d her Sir?
Lear Aske her forgiuenes,
Doe you marke how this becomes the house,
Deare daughter, I confesse that I am old, 1435
Age is vnnecessarie, on my knees I beg,
That you’l vouchsafe me rayment, bed and food.
Regan Good sir no more, these are vnsightly tricks,
Returne you to my sister.
Lear No Regan, 1440
She hath abated me of halfe my traine,
Lookt blacke vpon me, strooke mee with her tongue
Most Serpent-like vpon the very heart,
All the stor’d vengeances of heauen fall on her ingratful 1445
Strike her yong bones, you taking ayrs with lamenes.
Duke Fie fie sir.
Lear You nimble lightnings dart your blinding flames,
Into her scornfull eyes, infect her beautie,
You Fen suckt fogs, drawne by the powrefull Sunne, 1450
To fall and blast her pride.
Regan O the blest Gods, so will you wish on me,
When the rash mood—
Lear No Regan, thou shalt neuer haue my curse,
The tẽder hested nature shall not giue the or’e 1455
To harshnes, her eiesare fierce, but thine do cõfort & not
Tis not in thee to grudge my pleasures, to cut off my
To bandy hasty words, to scant my sizes,
And in conclusion, to oppose the bolt 1460
Against my coming in, thou better knowest,
The offices of nature, bond of child-hood,
Effects of curtesie, dues of gratitude,
Thy halfe of the kingdome, hast thou not forgot
Wherein I thee indow’d. 1465
Regan Good sir too’th purpose.
Lear Who put my man i’th stockes?
Duke What trumpets that?
Enter Steward
Regan I know’t my sisters, this approues her letters, 1470
That she would soone be here, is your Lady come?
Lear This is a slaue, whose easie borrowed pride
Dwels in the fickle grace of her, a followes,
Out varlet, from my sight.
Duke What meanes your Grace? 1475
Enter Goneril
Goneril Who struck my seruant, Regan: I haue good hope
Thou didst not know ant.
Lear Who comes here? O heauens!
If you doe loue old men, if you sweet sway allow 1480
Obedience, if your selues are old, make it your cause,
Send downe and take my part,
Art not asham’d to looke vpon this beard?
O Regan wilt thou take her by the hand?
Goneril Why not by the hand sir, how haue I offended? 1485
Als not offence that indiscretion finds
And dotage tearmes so.
Lear O sides you are too tough,
Will you yet hold? how came my man it’h stockes? 1490
Duke I set him there sir, but his owne disorders
Deseru’d much lesse aduancement,
Lear You, did you?
Regan I pray you father being weake seeme so,
If till the expiration of your moneth, 1495
You will returne and soiorne with my sister,
Dismissing halfe your traine, come then to me,
I am now from home, and out of that prouision,
Which shall be needful for your entertainment.


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