Blog 5

Based on the blogs and assignments that I posted on my website, power structure seems to be a common theme of Shakespeare’s works. In most of the plays we read for this class, gender structure, class dynamics, and social structure are the overlapping ideas presented. In Taming of the Shrew visual rendering, I talked about gender role in Shakespeare’s period and the ways in which Kate was compared to different animals. In Digital Edition of King Lear, I also dealt with a similar topic and looked at the role marriage played for women’s gender role in 1600s. In both of these assignments, women seemed to play dependent role on either their father or husband.

In navigating this theme, my blogs are disorganized because all the blogs are not under the right category. As I accidentally deleted all the menu few weeks ago, I could not figure out how to categorize my blogs in the right place. I will also set a static page that represents a theme of this website, which is Shakespeare, and a theme color.

Blog 4

As a famous tragedy play writer, Shakespeare incorporated several death scenes in his plays, presenting death as inevitable part of our lives. He, more than in any other play he had written, makes death ubiquitous in King Lear, killing the Fool, Oswald, Goneril, Regan, Glouscester, Kent, Cordelia and King Lear. As Hamlet says, “If it be now, ‘tis not to come; if it be not to come, it will be now; if it be not now, yet it will come—the readiness is all” (5.2.220-222). This quote demonstrates the way people in the Renaissance era had on death; death was seen more imminent and ubiquitous. With the shorter life expectancy, lower population growth and more prevalent life threats such as epidemics and famine, people in the Renaissance period must have faced more death. On the other hand, we tend to consider death as cruel and unusual even if someone died within in the expected time. Also, the quotation implies that Shakespeare’s contemporary people lived a posterity life rather than living for themselves.
King Lear’s friend Kent, who claims that he is 48 years old, declares that he is “too old to learn” (1.4.39). At the end, he refuses the crown in order to go away and die. In the 21st century, most 48-year-old people are not likely to contemplate on death and call themselves old people.
In this paper, I am arguing that King Lear allows us to learn about the moral code of Shakespeare period such as perspective on death. I will look at Maynard Mack’s King Lear: Action and World to explain the ways in which death plays a role in King Lear.

Edgar: ‘Tis noble Kent, your friend.
King Lear: A plague upon you, murderers, traitors all!
I might have saved her; now she’s gone for ever!
Cordelia, Cordelia! stay a little. Ha!
What is’t thou say’st? Her voice was ever soft,
Gentle, and low, an excellent thing in woman.
I kill’d the slave that was a-hanging thee.
Captain: ‘Tis true, my lords, he did.
KING LEAR: Did I not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip: I am old now,
And these same crosses spoil me. Who are you?
Mine eyes are not o’ the best: I’ll tell you straight.
KENT: If fortune brag of two she loved and hated,
One of them we behold.
KING LEAR: This is a dull sight. Are you not Kent?
KENT: The same,
Your servant Kent: Where is your servant Caius?
KING LEAR: He’s a good fellow, I can tell you that;
He’ll strike, and quickly too: he’s dead and rotten.
KENT: No, my good lord; I am the very man,–
KING LEAR: I’ll see that straight.
KENT: That, from your first of difference and decay,
Have follow’d your sad steps.
KING LEAR: You are welcome hither.
KENT: Nor no man else: all’s cheerless, dark, and deadly.
Your eldest daughters have fordone them selves,
And desperately are dead.
KING LEAR: Ay, so I think.
ALBANY: He knows not what he says: and vain it is
That we present us to him.
EDGAR: Very bootless.
Enter a Captain
Captain: Edmund is dead, my lord.
ALBANY: That’s but a trifle here.
You lords and noble friends, know our intent.
What comfort to this great decay may come
Shall be applied: for us we will resign,
During the life of this old majesty,
To him our absolute power:
you, to your rights:
With boot, and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings. O, see, see!
KING LEAR: And my poor fool is hang’d! No, no, no life!
Why should a dog, a horse, a rat, have life,
And thou no breath at all? Thou’lt come no more,
Never, never, never, never, never!
Pray you, undo this button: thank you, sir.
Do you see this? Look on her, look, her lips,
Look there, look there!
EDGAR: He faints! My lord, my lord!
KENT: Break, heart; I prithee, break!
EDGAR: Look up, my lord.
Vex not his ghost: O, let him pass! he hates him much
That would upon the rack of this tough world
Stretch him out longer.
EDGAR: He is gone, indeed.
KENT: The wonder is, he hath endured so long:
He but usurp’d his life.
ALBANY: Bear them from hence. Our present business
Is general woe.
Friends of my soul, you twain
Rule in this realm, and the gored state sustain.
KENT: I have a journey, sir, shortly to go;
My master calls me, I must not say no.
ALBANY: The weight of this sad time we must obey;
Speak what we feel, not what we ought to say.
The oldest hath borne most: we that are young
Shall never see so much, nor live so long.

King Lear and Marriage


Marriage is vital to King Lear and the principle plot of “the division of the kingdoms” (1.1.4). Shakespeare measures marriage through a series of parallels in this play. He demonstrates the parent-child “bond,” the relationship between a husband and wife, and the representation of adultery by Edmund and Goneril and Regan (1.1.102). Marriage also plays an important role in transferring property.
King Lear asks his daughters to speak of how much they “obey [him], love [him], and most honor [him]” to determine whether he wants to transfer his property (1.1.108). However, he is, in fact, transferring his land to his son-in-laws because of the “nature” of marriage in this time period (1.2.1). Understanding a woman’s responsibility of serving a husband and a father in a patriarchal society, Cordelia defines her love for King Lear in honest and realistic terms, “according to my bond, no more nor less” for “begot[ting] [her], bre[eding] [her], and lov[ing] her” (1.1.102 & 1.1.106). Then, she goes onto explain her lack of obedience to her father by asking a question to her sisters who stated that they love Lear more than anything in the world; she says, “why have my sisters husbands if they say/ they love you all?” (1.1.109-10) Her explanation draws attention to the gender role and sexuality in Shakespeare’s era. Marriage, in Renaissance period, is the means of defining gender role and personal responsibility; Since marriage adds more to parent-child relationship, Cordelia states: “Sure I shall never marry like my sister’s/ To love my father all” (1.1.114-115). Her statement truly reveals the gender role she has to play in the society.
I argue that King Lear offers the true depth of love’s legitimate bonds. Even though the gender roles from the 1500s are different than the gender roles we play in the 21st century, marriage still creates more responsibilities. It puts us in a position where we have to find a balance between various relationships such as paternal bonds, marital bonds, friend bonds, and political bonds. King Lear shows how true love can maintain relationships.

Critical Responses:
As Jannette Dillon remarks in her book about King Lear, Cordelia’s response to her father’s request to “heave/ [her] heart into [her] mouth” sets the play as an “extended examination of how bonds are maintained or broken between human begins” (King Lear 1.1.100-101 & Dillon 104). Cordelia, considering the gender role that comes along with marriage, has to respond to Lear in a sincere manner that she can juggle between her responsibility for her father and her future husband. Lear’s misunderstanding of her answer stems from the gender role; Alexander Leggatt in her “King Lear: We have no such daughter” from her book, Shakespeare’s Tragedies: Violation and Identity, and Richard C. McCoy’s article, “Look upon me, Sir: Relationships in King Lear,” describe how Cordelia’s role of respecting and being loyal to her future husband as well as her father influenced the relationship between King Lear and Cordelia.
Leggatt argues that Lear imposes a fantasy of his daughter to his actual daughter. In his words, Cordelia “is not [even] real” (145). Asserting his authority as king and father, he produces “a version of her in his mind” (145). He constructs an imagination that she “loves him totally” and expects her to comply with his fantasy. By forcing her to act according to his image of her, Lear fails to understand Cordelia because of his inconsideration towards her other duties as a woman. In other words, he does not consider her as an individual who has multiple responsibilities, attempting to force her to behave in the ways he wants her to. This failure to acknowledge Cordelia’s roles damages their parent-child bond, which Cordelia does not give up to restore.
McCoy, on the other hand, focuses on Lear’s violation of the legitimacy of natural law, in the context of parent-child bond and husband and wife relationship, and primogeniture. He argues that Lear’s action of going against the natural law created the fall out between Lear and Cordelia. He notes, even when Lear finally recognizes the unconditional love of “[his] child, Cordelia,” Lear still remains as a “very foolish, fond old man” for “detain[ing] him[self] from Cordelia”(4.7.49 & 4.7.60 & 4.3.42-47). When Lear runs away from his daughters who “sworn [their] love” to him, his daughter whom he “love’d [the] most” comes to rescue him (5.1.64 & 1.1.122). However, with “his mind [full of] burning shame,” Lear “detains him[self] from Cordelia” by fleeing away from her (4.3.42 & 4.3.47). Therefore, McCoy claims that their relationship is “fraught” (McCoy, 50). McCoy also comments that according to the primogeniture, Lear is not supposed to test Cordelia’s love in the first place; his property is supposed to go to his eldest daughter. According to McCoy, Lear’s act of testing her love, unrecognizing Cordelia’s role as a woman, and inability to accept Cordelia’s kindness to rescue him ruins their chance of restoring the relationship.

King Lear Today:
King Lear helps us understand how marriage affects the parent and child relationship in contemporary era. Even though women are not property of their fathers or husbands, they still bare the responsibility of supporting their families and parents. Catherine Belsey in her “Gender and Family from The Cambridge Companion to Shakespearean Tragedy and Keith Linley’s King Lear in Context: The Cultural Background discuss contemporary issues regarding marriage and supporting family.
While Belsey focuses on the change of supporting family when women get married, Linley centers his argument on maintaining the marriage. Belsey suggests that women voluntarily take responsibility of their family; she says, “if women are to become consenting partners for men perhaps one condition is that they too must endure pain without protest” (134). As more women work nowadays, it becomes more difficult for them to take care of their family and parents. Although husbands share the duty of taking care of family, it is still challenging to juggle between family and parents.
Linley argues that King Lear demonstrates “two forces in contemporary society: traditional male unfettered sexuality and the newer moral code of Puritanism attempting to control the sex impulse” (110). Gloucester’s adultery and the ubiquity of sexual activity are problems that are still relevant today.
Maintaining the marriage itself and maintaining the relationship with more family as people get married are still issues in modern day life. Cordelia’s true love for Lear can perhaps gives us a solution for the family issues in contemporary society.

Glossed Text

The opening of Act I scene I is rich in references to marriage.

Earl of Kent: I thought the King had more affected the Duke of Albany than Cornwall.
Earl of Gloucester: It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most, for 5
equalities are so weigh’d that curiosity in neither can make
choice of either’s moiety.
Earl of Kent: Is not this your son, my lord?
Earl of Gloucester: His breeding, sir, hath been at my charge. I have so often blush’d to acknowledge him that now I am braz’d to’t. 10
Earl of Kent: I cannot conceive you.
Earl of Gloucester: Sir, this young fellow’s mother could; whereupon she grew round-womb’d, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?
Earl of Kent: I cannot wish the fault undone, the issue of it being so 15
Earl of Gloucester: But I have, sir, a son by order of law, some year elder than this, who yet is no dearer in my account. Though this knave came something saucily into the world before he was sent for, yet was
his mother fair, there was good sport at his making, and the 20
whoreson must be acknowledged.- Do you know this noble gentleman,
Edmund: [comes forward] No, my lord.
Earl of Gloucester: My Lord of Kent. Remember him hereafter as my honourable friend. 25
Edmund: My services to your lordship.
Earl of Kent: I must love you, and sue to know you better.
Edmund: Sir, I shall study deserving.
Earl of Gloucester: He hath been out nine years, and away he shall again.
[Sound a sennet.] 30
The King is coming.
Enter one bearing a coronet; then Lear; then the Dukes of Albany and Cornwall; next, Goneril, Regan, Cordelia, with Followers.

Lear: Attend the lords of France and Burgundy, Gloucester.
Earl of Gloucester: I shall, my liege.
Exeunt [Gloucester and Edmund].

Lear: Meantime we shall express our darker purpose.
Give me the map there. Know we have divided
In three our kingdom; and ’tis our fast intent
To shake all cares and business from our age,
Conferring them on younger strengths while we 40
Unburthen’d crawl toward death. Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish
Our daughters’ several dowers, that future strife
May be prevented now. The princes, France and Burgundy, 45
Great rivals in our youngest daughter’s love,
Long in our court have made their amorous sojourn,
And here are to be answer’d. Tell me, my daughters
(Since now we will divest us both of rule,
Interest of territory, cares of state), 50
Which of you shall we say doth love us most?
That we our largest bounty may extend
Where nature doth with merit challenge. Goneril,
Our eldest-born, speak first.
Goneril: Sir, I love you more than words can wield the matter; 55
Dearer than eyesight, space, and liberty;
Beyond what can be valued, rich or rare;
No less than life, with grace, health, beauty, honour;
As much as child e’er lov’d, or father found;
A love that makes breath poor, and speech unable. 60
Beyond all manner of so much I love you.
Cordelia: [aside] What shall Cordelia speak? Love, and be silent.
Lear. Of all these bounds, even from this line to this,
With shadowy forests and with champains rich’d,
With plenteous rivers and wide-skirted meads, 65
We make thee lady. To thine and Albany’s issue
Be this perpetual.- What says our second daughter,
Our dearest Regan, wife to Cornwall? Speak.
Regan: Sir, I am made
Of the selfsame metal that my sister is, 70
And prize me at her worth. In my true heart
I find she names my very deed of love;
Only she comes too short, that I profess
Myself an enemy to all other joys
Which the most precious square of sense possesses, 75
And find I am alone felicitate
In your dear Highness’ love.

  • Cordelia: [aside] Then poor Cordelia!
    And yet not so; since I am sure my love’s
    More richer than my tongue.80
  • Lear: To thee and thine hereditary ever
    Remain this ample third of our fair kingdom,
    No less in space, validity, and pleasure
    Than that conferr’d on Goneril.- Now, our joy,
    Although the last, not least; to whose young love 85
    The vines of France and milk of Burgundy
    Strive to be interest; what can you say to draw
    A third more opulent than your sisters? Speak.
  • Cordelia: Nothing, my lord.
  • Lear: Nothing?90
  • Cordelia: Nothing.
  • Lear: Nothing can come of nothing. Speak again.
  • Lear: How, how, Cordelia? Mend your speech a little,
    Lest it may mar your fortunes.
  • Lear: But goes thy heart with this?
  • Cordelia: Ay, good my lord.
  • Lear: So young, and so untender?110
  • Cordelia: So young, my lord, and true.
  • Lear: Let it be so! thy truth then be thy dower!
    For, by the sacred radiance of the sun,
    The mysteries of Hecate and the night;
    By all the operation of the orbs 115
    From whom we do exist and cease to be;
    Here I disclaim all my paternal care,
    Propinquity and property of blood,
    And as a stranger to my heart and me
    Hold thee from this for ever. The barbarous Scythian, 120
    Or he that makes his generation messes
    To gorge his appetite, shall to my bosom
    Be as well neighbour’d, pitied, and reliev’d,
    As thou my sometime daughter.
  • Earl of Kent: Good my liege-125
  • Lear: Peace, Kent!
    Come not between the dragon and his wrath.
    I lov’d her most, and thought to set my rest
    On her kind nursery.- Hence and avoid my sight!-
    So be my grave my peace as here I give 130
    Her father’s heart from her! Call France! Who stirs?
    Call Burgundy! Cornwall and Albany,
    With my two daughters’ dowers digest this third;
    Let pride, which she calls plainness, marry her.
    I do invest you jointly in my power, 135
    Preeminence, and all the large effects
    That troop with majesty. Ourself, by monthly course,
    With reservation of an hundred knights,
    By you to be sustain’d, shall our abode
    Make with you by due turns. Only we still retain 140
    The name, and all th’ additions to a king. The sway,
    Revenue, execution of the rest,
    Beloved sons, be yours; which to confirm,
    This coronet part betwixt you.



  1. King Lear has been planning to divide his kingdom for a while. It is unclear if love test was also planned.
  2. A reference to marriage.
  3. Both of suitors have appealed to her emotionally before they knew that she is about to inherit the land. However, we get to learn that one of them only pursued her for the possibility of inheriting Lear’s property.
  4. Cordelia seems to have choices but in reality she does not. She does not have choices in the delivering a praise for Lear if she wants the land.
  5. She knows that when she gets married, she won’t be able to support Lear as much as she can as a single woman. She tries to find a way to answer in the way that she can balance between supporting her husband and Lear.
  6. Lear misunderstands Cordelia’s answer. It seems as if she loves him because she has to, but in fact she meant her love for him is natural.
  7. She talks about the gender role in Renaissance period. Women had to take care of both husband and father.
  8. It seems as if Lear has already divided the land regardless of the speeches his daughters deliver.

Works Cited

Belsey, Catherine. “Gender and Family.” The Cambridge Companion to Shakespearean Tragedy. Ed. Claire McEachern. New York: Cambridge University Press, 2002. 123-141. Print.

Dillon, Janette. “King Lear.” The Cambridge Introduction to Shakespeare’s Tragedies. New York: Cambridge University Press, 2007. 103-113. Print.

Leggatt, Alexander. “King Lear: We have no such daughter.” Shakespeare’s Tragedies: Violation and Identity. New York: Cambridge University Press. 2005. 145-176. Print.

Linley, Keith. King Lear in Context: The Cultural Background. New York: Anthem, 2015. Print.

McCoy, Richard C. “Look upon me, Sir”: Relationships in King Lear.” Representations.81.1 (2003): 46-60. JSTOR. Web. 25 Aug 2014

Shakespeare, William. The Oxford Shakespeare: King Lear. New York: Oxford UP, 2000. Print.

King Lear and Disharmony Crisis

In Shakespeare’s King Lear, nature itself is one of the actors. When King Lear puts himself above everything, the nature becomes violated. As a political authority, he gives away his authority to the evil Goneril and Regan, bringing in chaos and cruelty not only to all of Britain but also to his family. Shakespeare uses the storm as a symbol of the consequences of turmoil of King Lear himself and the country as a whole. In this paper, I will define nature as natural order and harmony as opposed to wilderness. King Lear shows the tragedy of disrupting order and harmony and the difficult process of restoration and redemption.
Wanting to step down and spend a pastoral life, King Lear decides to divide his land in three territories to pass his authority to three daughters. In the process of passing down his authority, he abuses his authority as a king by requesting their daughters to praise him as a test to see whether they are capable of ruling. Wanting his power and property, Goneril and Regan bring flamboyant and yet, dishonest speeches in order to own the property. In this process of dealing with his public responsibility, he abuses the fact that he is their father, combining his authority as father and a king. Putting himself above his role as a king, he indirectly forces them to praise him. However, his youngest daughter, Cordelia refuses to deliver a speech and tells him that she loves him as a father. Being outrageous, King Lear divides the country in just two to pass down authority to Goneril and Regan, leaving no property for Cordelia.
Such violation of harmony comes at a terrible cost. Goneril and Regan, King Lear’s supposedly devoted daughters, attempt to strip down King Lear’s power and his human rights. He says:
O, reason not the need! Our basest beggars
Are in the poorest thing superfluous.
Allow now nature more than nature needs,
Man’s life as cheap as beast’s…

You heavens, give me that patience, patience I need!

If it be you that stir these daughters’ hearts
Against their father, fool me not so much
To bear it tamely; touch me with noble anger,
And let not women’s weapons, water-drops,
Stain my man’s cheeks! No, you unnatural hags,

No, I’ll not weep.
I have full cause of weeping, but this heart
Shall break into a hundred thousand flaws,
Or ere I’ll weep, O fool, I shall go mad!

He rages against them, explaining the cruelties of their acts. He shows the inhumane essence of taking someone’s authority away, comparing himself with an animal.
These issues of abusing authority to break the natural balance in relationships with people are wilderness prevalent in this society. We continue to tell that the natural resources are our birthright, existing only for our own benefit. We even create religion and different field of studies to support this claim. King Lear demonstrates the price to be paid for abusing our power and the effects on an individual.

Shakespeare, William. King Lear. Ed. Stanley Wells. New York: Oxford UP, 2000. Print.

Taming of the Shrew: Kate and Animals

In Renaissance novels and any materials dated before the sex and gender equality became an issue, marriage and education, such as taming or educating a wife are linked to the training or domestication of animals—cows, dogs, beasts, and hawks. For instance, in A Merry Jest of a Shrewd and Curst Wife Lapped in Morel’s Skin for Her Good Behavior, a husband sees no issues with beating his wife bloody and wrapping her a rope until she complies with his needs. This comparison of women and untamed animals implies the Renaissance view on women; women are incapable of managing themselves, and only under rigorous training and taming, they can serve their husbands. In Taming of the Shrew, Shakespeare has Petruchio compare Katherine to a shrew, cat, horse, cow, donkey’s butt, and hawk. It demonstrates the cruelty of patriarchal culture and its effect on women.
As Katherine is outspoken and exhibits violence, males in Shakespeare’s contemporary period consider her wild and untamed. The first picture of a female playing Katherine in Taming of the Shrew play demonstrates the characters of Katherine. The picture of a shrew right next to an actress is a goal or an aim of Petruchio and the society. By putting these two pictures together, I want the readers to understand the transformation or adjustment Katherine makes in order to be a part of the society that she lives in. Also, since a shrew in the picture seems timid and quiet, putting these two pictures right next to each other creates an effect of a drastic and big sacrifice Katherine has to make.
In “Kate and Animals” section, I laid out the pictures of the animals that Katherine is compared to throughout the play. As seen in the pictures, these animals go through repetitive and rigorous training that involves manipulating food intake and sleep length. When Petruchio says that he will “bring you from a wild Kate to a Kate comfortable as other household Kate,” he compares the taming process of Kate with a taming of a hawk. It means that he will take the same method of training a hawk to tame his wife even if he had to control her sleep and food intake. The quotation shows the injustice of patriarchal culture and the inhumane side of the process.


Introduction: The word, “humour,” appears in induction in the play when Lord attempts to convince Sly that he had a severe memory loss. As Taming of the Shrew is a play within a play, I find this term interesting in the context of this play.


Humour, n.

  1. In ancient and medieval physiology and medicine: any of four fluids of the body (blood, phlegm, choler, and so-called melancholy or black bile) believed to determine, by their relative proportions and conditions, the state of health and the temperament of a person or animal. In early use also: any of the our qualities (hotness, coldness, dryness, and moistness) believed to be associated with these. (c. 1340)
  2. In sing. And pl. Moisture in the earth or air; vapour; water or another fluid coming from underground. (c. 1382)
  3. The sap or juice of a plant or plant part. (c. 1398)
  4. A temporary state of mind or feeling; a mood. Freq. with in and modifying word, as bad, happy, mad, etc. (c. 1525)
  5. A particular disposition, inclination, or liking, esp. one having no apparent ground or reason; a fancy, a whim. Also occas. as a mass noun. (c. 1533)


Appearances in Shakespeare

The word appears seven times in Shakespeare’s play. It seems to appear in the context of a situation that is unexpected and an intension that led unexpected results. It is interesting to see how humour originally came from a medical term to a scientific word and to describe a state of mind.


Blog 1

In The Tempest Act III, Scene i, Ferdinand does Caliban’s labors for Prospero in Prospero’s cell while thinking about Miranda. Miranda walks in and confesses her undying love for Ferdinand as a response to Ferdinand’s speech.

[I weep] at mine unworthiness, that dare not offer

What I desire to give, and much less take

What I shall die to want. But this is trifling,

And all the more it seeks to hide itself

The bigger bulk it shows. Hence, bashful cunning,

And Prompt me, plain and holy innocence!

I am your wife if you’ll marry me;

If not, I’ll die your maid. To be your fellow

You may deny me, but I’ll be your servant

Whether you will or no (77-86).

While speaking to Ferdinand, Miranda remembers that Prospero instructed her not to speak with Ferdinand. When she recalled the conversation with Prospero, she pauses her speech but continues to ask Ferdinand if he loved her. When he enthusiastically delivers his love speech for her, she proposes marriage to him through this speech using a metaphor and alliteration.

The use of “the bigger bulk” suggests a metaphor for erection and pregnancy, stating her sexual independence. As she is the one proposing marriage, Miranda is offering her virginity instead of waiting for Ferdinand to talk about it first. As a contrary to Miranda’ depiction in Act I as a young and naïve girl who acts as a puppet of her father, this speech demonstrates her independence, as a part of modern feminism idea. It continuously shows throughout her speech as she presents herself as an independent woman who expresses her desire for Ferdinand aggressively. She even goes against her father’s instruction and continues to talk to Ferdinand. Stating that she is “[his] servant whether [he] will or no,” she insists on marriage rather than merely proposing it (85-6).

After confessing that she can no longer hide her desire, the aggressive nature of her desire heightens as she repeats b and p sound. She says: “The bigger bulk it shows. Hence, bashful cunning, And Prompt me, plain and holy innocence!” (81-2). This alliteration creates effects of attention grabbing and percussive sound, emphasizing on her sexual independence and liberation from her father’s magic.