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Abbie begins to explore the house and runs into Eben. They are attracted to one another but fight over the future possession of the farm. The scene closes with harsh words between Ephraim and Eben. Act 2, Scene 1. This scene takes place outside the farmhouse two months later. Abbie catches Eben on the way to visit Min, his choice prostitute.
"Caviar to the general" Hamlet Act 2, scene 2, 431–440 ...brevity is the soul of wit, Though this be madness, yet there is method in 't, There is nothing either good or bad but thinking makes it so.
"Much Ado About Nothing", Act IV, Scene 2, the Examination of Conrade and Borachio (from the Boydell series), Robert Smirke (n.d.) On the night of Don John's treachery, the local Watch overheard Borachio and Conrade discussing their "treason" [ 5 ] and "most dangerous piece of lechery that ever was known in the commonwealth", [ 5 ] and arrested ...
A 2018 interpretation by director Caroline Byrne at the Sam Wanamaker Playhouse, London, effects Bertram's reconciliation with Helena by having him make good his vow (Act 2 Scene 2) of taking her as his wife only when she bears his child; as well as Bertram's ring, Helena brings their infant child to their final confrontation before the king. [8]
The Coro di Zingari (Italian for "Gypsy chorus"), [1] known in English as the "Anvil Chorus", is a chorus from act 2, scene 1 of Giuseppe Verdi's 1853 opera Il trovatore.It depicts Spanish Gypsies striking their anvils at dawn – hence its English name – and singing the praises of hard work, good wine, and Gypsy women.
Thus, scene two is a variation on a single note, B ♮, which is heard continuously in the scene, and the only note heard in the powerful orchestral crescendos at the end of act 3, scene 2. Scene 3 is a variation on a rhythmic pattern, with every major thematic element constructed around this pattern.
"Even a worm will turn" is an English language expression used to convey the message that even the meekest or most docile of creatures will retaliate or seek revenge if pushed too far. [1] The phrase was first recorded in a 1546 collection of proverbs by John Heywood , in the form "Treade a worme on the tayle, and it must turne agayne."
Poel's work also marked the first determined attempt by a producer to give a modern psychological or theological reading of both the characters and the overall message of the play. [17] "Measure for Measure" Act II, Scene 1, the Examination of Froth and Clown by Escalus and Justice (from the Boydell series), Robert Smirke (n.d.)