Cymbeline

[c. 1609]




I.iv

IACHIMO
You must not so prefer her 'fore ours of Italy.

POSTHUMUS LEONATUS
Being so far provoked as I was in France, I would abate her nothing, though I profess myself her adorer, not her friend.

IACHIMO
As fair and as good — a kind of hand-in-hand comparison — had been something too fair and too good for any lady in Britain. If she went before others I have seen, as that diamond of yours outlusters many I have beheld, I could not but believe she excelled many; but I have not seen the most precious diamond that is, nor you the lady.

POSTHUMUS LEONATUS
I praised her as I rated her. So do I my stone.

IACHIMO
What do you esteem it at?

POSTHUMUS LEONATUS
More than the world enjoys.

IACHIMO
Either your unparagoned mistress is dead, or she's outprized by a trifle.

POSTHUMUS LEONATUS
You are mistaken. The one may be sold or given, or if there were wealth enough for the purchase or merit for the gift. The other is not a thing for sale, and only the gift of the gods.

IACHIMO
Which the gods have given you?

POSTHUMUS LEONATUS
Which by their graces I will keep.

IACHIMO
You may wear her in title yours, but you know strange fowl light upon neighbouring ponds. Your ring may be stol'n too. So your brace of unprizable estimations, the one is but frail and the other casual. A cunning thief or a that-way-accomplished courtier would hazard the winning both of first and last.

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II.v

POSTHUMUS LEONATUS

Is there no way for men to be, but women / Must be half-workers? We are all bastards, / And that most venerable man which I / Did call my father was I know not where / When I was stamped. Some coiner with his tools / Made me a counterfeit; yet my mother seemed / The Dian of that time. So doth my wife / The nonpareil of this. O, vengeance, vengeance! / Me of my lawful pleasure she restrained / And prayed me oft forbearance — did it with / A pudency so rosy, the sweet view on't / Might well have warmed old Saturn — that I thought her / As chaste as unsunned snow. O, all the devils! / This yellow Iachimo in an hour, was't not? / Or less? At first? Perchance he spoke not, but, / Like a full-acorned boar, a German one, / Cried "O!" and mounted; found no opposition / But what he looked for should oppose and she / Should from encounter guard. Could I find out / The woman's part in me! For there's no motion / That tends to vice in man but I affirm / It is the woman's part. Be it lying, note it, / The woman's; flattering, hers; deceiving, hers; / Lust and rank thoughts, hers, hers; revenges, hers; / Ambitions, covetings, change of prides, disdain, / Nice longings, slanders, mutability, / All faults that man may name, nay, that hell knows, / Why, hers, in part or all, but rather all. / For even to vice / They are not constant, but are changing still / One vice but of a minute old for one / Not half so old as that. I'll write against them, / Detest them, curse them. Yet 'tis greater skill / In a true hate to pray they have their will; / The very devils cannot plague them better.

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III.iv

IMOGEN

Some jay of Italy, / Whose mother was her painting, hath betrayed him. / Poor I am stale, a garment out of fashion, / And, for I am richer than to hang by th' walls, / I must be ripped. To pieces with me! O, / Men's vows are women's traitors! All good seeming, / By thy revolt, O husband, shall be thought / Put on for villainy, nor born where't grows, / But worn a bait for ladies.

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V.iv

JAILER

A heavy reckoning for you, sir. But the comfort is, you shall be called to no more payments, fear no more tavern bills, which are often the sadness of parting, as the procuring of mirth. You come in faint for want of meat, depart reeling with too much drink; sorry that you have paid too much, and sorry that you are paid too much; purse and brain both empty; the brain the heavier for being too light, the purse too light, being drawn of heaviness. O, of this contradiction you shall now be quit. O, the charity of a penny cord! It sums up thousands in a trice. You have no true debitor and creditor but it; of what's past, is, and to come, the discharge. Your neck, sir, is pen, book, and counters; so the acquittance follows.




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André Bazin's 4th-Favorite Film

Cum Memoriam Cordis Musei Tokugawa



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The Godfather: Parts I & II

The Godfather: Parts I & II by Francis Ford Coppola

"I dedicate my performance as Connie to Nicholas Dean Des Barres."
—Talia Shire



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Chapter Seventeen: Icarus

"Jobs and Sculley asked for other ideas, but the agency folks pushed back. 'You guys didn't want to run "1984" last year,' one of them said. According to Sculley, Lee Clow added, 'I will put my whole reputation, everything, on this commercial.' When the filmed version, done by Ridley Scott's brother Tony, came in, the concept looked even worse. The mindless managers marching off the cliff were singing a funeral-paced version of the Snow White song 'Heigh-ho, Heigh-ho,' and the dreary filmmaking made it even more depressing than the storyboards portended. 'I can't believe you're going to insult businesspeople across America by running that,' Debi Coleman yelled at Jobs when she saw the ad. At the marketing meetings, she stood up to make her point about how much she hated it. 'I literally put a resignation letter on his desk. I wrote it on my Mac. I thought it was an affront to corporate managers. We were just beginning to get a toehold with desktop publishing.' "

— from Steve Jobs by Walter Isaacson, p. 187.

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The Prague Orgy

[1985]




" 'Yes! Yes! I would iron your shirts all day long.'

" 'That would be the first week,' Bolotka says. 'Then would begin the second week and the excitement of being Mr. Olga.'

" 'That isn't true,' she says, 'I would leave him alone.'

" 'Then would begin the vodka,' Bolotka says. 'Then would begin the adventures.'

" 'Not in America,' weeps Olga.

" 'Oh,' says Bolotka, 'you would not be homesick for Prague in New York City?'

" 'No!'

" 'Olga, in America you would shoot yourself.'

" 'I will shoot myself here!'

" 'With what?' asks Bolotka.

" 'A tank! Tonight! I will steal a Russian tank and I will shoot myself with it tonight!' "

•••

"Someone stares at me from a nearby table while I continue sizing up the floor and with it the unforeseen consequences of art. I am remembering the actress Eva Kalinova and how they have used Anne Frank as a whip to drive her from the stage, how the ghost of the Jewish saint has returned to haunt her as a demon. Anne Frank as a curse and a stigma! No, there's nothing that can't be done to a book, no cause in which even the most innocent of all books cannot be enlisted, not only by them, but by you and me. Had Eva Kalinova been born in New Jersey she too would have wished that Anne Frank had never died as she did; but coming, like Anne Frank, from the wrong continent at the wrong time, she could only wish that the Jewish girl and her little diary had never even existed."

•••

"I board a trolley by the river, then jump off halfway to the museum where Bolotka is expecting me to pay him a visit. On foot, and with the help of a Prague map, I proceed to lose my way but also to shake my escort. By the time I reach the museum this seems to me a city that I've known all my life. The old-time streetcars, the barren shops, the soot-blackened bridges, the tunneled alleys and medieval streets, the people in a state of impervious heaviness, their faces shut down by solemnity, faces that appear to be on strikes against life—this is the city I imagined during the war's worst years, when, as a Hebrew-school student of little more than nine, I went out after supper with my blue-and-white collection can to solicit from the neighbors for the Jewish National Fund. This is the city I imagined the Jews would buy when they had accumulated enough money for a homeland. I knew about Palestine and the hearty Jewish teenagers there reclaiming the desert and draining the swamps, but I also recalled, from our vague family chronicle, shadowy, cramped streets where the innkeepers and distillery workers who were our Old World forebears had dwelled apart, as strangers, from the notorious Poles—and so, what I privately pictured the Jews able to afford with the nickels and dimes I collected was a used city, a broken city, a city so worn and grim that nobody else would even put in a bid. It would go for a song, the owner delighted to be rid of it before it completely caved in. In this used city, one would hear endless stories being told—on benches in the park, in kitchens at night, while waiting your turn at the grocery or over the clothesline in the yard, anxious tales of harassment and flight, stories of fantastic endurance and pitiful collapse. What was to betoken a Jewish homeland to an impressionable, emotional nine-year-old child, highly susceptible to the emblems of pathos, was, first, the overpowering oldness of the homes, the centuries of deterioration that had made the property so cheap, the leaky pipes and moldy walls and rotting timbers and smoking stoves and simmering cabbages souring the air of the semidark stairwells; second were the stories, all the telling and listening to be done, their infinite interest in their own existence, the fascination with their alarming plight, the mining and refining of tons of these stories—the national industry of the Jewish homeland, if not the sole means of production (if not the sole source of satisfaction), the construction of narrative out of the exertions of survival; third were the jokes—because beneath the ordeal of perpetual melancholia and the tremendous strain of just getting through, a joke is always lurking somewhere, a derisory portrait, a scathing crack, a joke which builds with subtle self-savaging to the uproarious punch line, 'And this is what suffering does!' What you smell are centuries and what you hear are voices and what you see are Jews, wild with lament and rippling with amusement, their voices tremulous with rancor and vibrating with pain, a choral society proclaiming vehemently, 'Do you believe it? Can you imagine it?' even as they affirm with every wizardly trick in the book, by a thousand acoustical fluctuations of tempo, tone, inflection, and pitch, 'Yet this is exactly what happened!' That such things can happen—there's the moral of the stories—that such things happen to me, to him, to her, to you, to us. That is the national anthem of the Jewish homeland. By all rights, when you hear someone there begin telling a story—when you see the Jewish faces mastering anxiety and feigning innocence and registering astonishment at their own fortitude—you ought to stand and put your hand to your heart.

"Here where the literary culture is held hostage, the art of narration flourishes by mouth. In Prague, stories aren't simply stories; it's what they have instead of life. Here they have becomes their stories, in lieu of being permitted to be anything else. Storytelling is the form their resistance has taken against the coercion of the powers-that-be."

•••

"No, one's story isn't a skin to be shed—it's inescapable, one's body and blood. You go on pumping it out till you die, the story veined with the themes of your life, the ever-recurring story that's at once your invention and the invention of you."

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Roth in 27-minute interview shortly after being awarded the Man Booker International Prize in May 2011:



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Previous posts on Philip Roth at Cinemasparagus:

The Ghost Writer [1979]

Zuckerman Unbound [1981]

The Anatomy Lesson [1984]

2006 and 2007 Interviews

See also some of the Chaplin entries.

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