#a2s1

[mmmmalo]

Buckets are essentially a motherhood symbol in Homestuck -- the buckets we see are introduced alongside Nannasprite (2317) and Mom Lalonde’s “ironic housewife routine” (2277). This is made explicit through the trolls; the bucket represents the Mother Grub, the All Mother, to whom everyone jacks it.

More generally, any receptacle filled with a light-blue fluid seems to be correlated with the womb -- as much is suggested by the juxtaposition of Nannasprite’s life-giving blue ectoplasm with the bucket (2328). If true, this is probably connected to the running gag of girls ripping up toilets and bathtubs, but I couldn’t tell you what it means. It makes John standing in the bathtub funnier maybe? Eh. And the martini glass left for Rose (3442) would then have an association with her mother aside from the alcohol -- perhaps related to the use of ▽ as a feminine symbol.

It’s worth noting that the martini isn’t blue until Rose’s spit-take. While in Mom’s possession, the booze is colorless. And as Rose points out, Mom’s bucket doesn’t actually have any water in it (2277). I’m less sure of the martini connection, but the empty bucket strongly implies that Mom can’t bear kids -- her womb is void. This draws a connection between Roxy’s ability to summon ideas from nowhere and the mythic motif of virgin mothers, immaculate conception, etc etc. Creation from the Void.

[shakespearemaan]

Act 2 - Significant Quotes

“Well, niece, I hope to see you one day fitted with ahusband.” - Leonato

“Not till God make men of some other metal than earth: wouldit not grieve a woman to be overmastered with a piece of valiant dust? to make an account of her life to a clod of wayward marl? No, uncle, I’ll none: Adam’s sons are my brethren, and truly I hold it a sin to match in my kindred.” – Beatrice (Act 2, Scene 1)

This is a statement from a gendered point of view. Beatrice first uses "man" in the general sense (as in mankind), but admits the gender inequality characteristic in marriage. She plays on the concept that all mankind is ashes to ashes, dust to dust, so a woman shouldn’t be ruled by a man, who is only dust. The peak to this commentary is Beatrice’s assertion that all of Adam’s sons are her brothers and she’d commit incest to marry them. She doesn’t actually believe she’s a blood-sister with all men – incest is just the easiest way to write off marrying any man. In claiming all Adam’s sons as her brothers, and admitting that all humankind is dust together, Beatrice has threaded together the argument that men and women are kindred and equal – they are made of the same material (earth, dust), return to being the same after death, and together they are all God’s children. It’s insight that adds to Beatrice’s many reasons for not marrying – she is unwilling to be submissive to one of her equals (a man), which it seems she’d have to do if she were married. 

[shakespearemaan]

Act 2 - Significant Quotes

“What should I do with him—dress him in my apparel and makehim my waiting gentlewoman? He that hath a beard is more than a youth, and hethat hath no beard is less than a man; and he that is more than a youth is not for me, and he that is less than a man, I am not for him.” – Beatrice (Act 2, Scene 1)

These lines show Beatrice’s witty explanation for why she must remain unmarried and eventually an old maid: there is no man who would be a perfect match for her. Those who possess no facial hair are not manly enough to satisfy her desires, whereas those who do possess beards are not youthful enough for her. This problem is not particular to Beatrice. In Renaissance literature and culture, particularly in Shakespeare, youths on the cusp of manhood are often the most coveted objects of sexual desire. Although Beatrice jokes that she would dress up a beardless youth as a woman, there is a double meaning: in Shakespeare’s time, the actor playing Beatrice would have been doing exactly that, since all female roles were played by prepubescent boys until the late seventeenth century.

[shakespearemaan]

Act 2 Scene 1 - Analysis

This scene determines whether Claudio will marry Hero but isalso reveals troubling elements of Claudio’s character. Don John’s attempt tospoil the match has come to nothing; although he does manage to trick Claudio into believing that Don Pedro has betrayed him, Claudio learns the truth before anything bad can happen. But here we see that Claudio is prone to jumping to conclusions and very gullible. He is very quick to believe that his friend has betrayed him, not even questioning Don John’s claims. Acknowledging that Don Pedro seems to be wooing Hero for himself, Claudio declares that “Friendship is constant … Save in the office and affairs of love… Farewell, therefore, Hero.” Claudio’s readiness to believe that his friend would betray him is disturbing, and Don John’s plotting coupled with Claudio’s gullibility ominously foreshadows worse things to follow.

Though Beatrice repeats in this scene her intention never to marry, her attitude seems to have changed a little. Her words contain a certain melancholy as she watches the betrothal of Hero to Claudio: “Good Lord for alliance: hus goes every one to the world but I, and I am sunburnt, I may sit in a corner and cry, ‘Heigh-ho for a husband.’” Beatrice jokes, but it is hard to tell how seriously she takes this matter. Don Pedro’s offer to marry her seems both light-hearted and serious, and Beatrice’s gentle rejection leads us to wonder whether she does want to get married.

[shakespearemaan]

Act 2 Scene 1

After super, Beatrice and Hero discuss their ideal man.Beatrice mockingly says that a combination between Don John and Benedick wouldcreate one – a man who spoke just enough. Leonato warns Beatrice that such remarks will never get her a husband, but Beatrice says she is happy to stay single. Leonato and Antonio remind Hero about how Don Pedro plans to propose to her.

Don Pedro and the others enter wearing masks and he immediately goes over to dance with Hero. Meanwhile the room fills with people and the dancing begins. Benedick dances with Beatrice. Thinking his true identity is hidden behind his mask, he teases Beatrice, but she promptly turns the tables on him, calling him, "the Prince's jester, a very dull fool”.

Don John, who has seen his brother courting Hero, approaches Claudio and tells him that Don Pedro has sworn his affection for Hero and plans to marry her that night. Claudio believes his lie. Benedick arrives and invites Claudio to go to the Prince, the one "hath got your Hero”. Claudio, depressed by the thought, leaves, while Benedick remains, stung by the memory of Beatrice’s taunts. Don Pedro arrives and Benedick accuses him of stealing Hero but Don Pedro declares that he has kept his promise to Claudio. Benedick then complains about how Beatrice had insulted him during the dance and comically re-enacts the scene. Beatrice arrives with Hero, Claudio and Leonato. Benedick leaves as soon as he sees her, unable to bear any more of her comments.

Don Pedro chastises Beatrice for having been so harsh to Benedick, but she replies that Benedick once won her heart and toyed with her. He then turns to Claudio and informs him that he has won Hero’s hand on Claudio’s behalf.

Beatrice jokingly complains that everyone is getting married except herself. Don Pedro offers to marry her but she refuses and exits. Claudio and Leonato agree to hold the wedding in one week but Claudio regrets that the wait will be so long. Don Pedro comes up with the idea to play cupid to get Benedick and Beatrice to fall in love with each other to pass the time.

[homestuckshakespeare]

Act 2, Scene 1

SCENE I. The sea-coast.

Enter ANTONIO and SEBASTIAN

(DN: Set for this is our three rocks again. You remember the configuration. Terezi, you've got the biggest rock. John, Dirk, take the smaller rocks. Vriska, Jake, you're coming in from stage right and walking stage left. Be as far downstage as you can.)

ANTONIO

Will you stay no longer? nor will you not that I go with you?

SEBASTIAN

By your patience, no. My stars shine darkly over me: the malignancy of my fate might perhaps distemper yours; therefore I shall crave of you your leave that I may bear my evils alone: it were a bad recompense for your love, to lay any of them on you.

ANTONIO

Let me yet know of you whither you are bound.

SEBASTIAN

No, sooth, sir: my determinate voyage is mere extravagancy. But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. My father was that Sebastian of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour: if the heavens had been pleased, would we had so ended! but you, sir, altered that; for some hour before you took me from the breach of the sea was my sister drowned.

ANTONIO

Alas the day!

(DN: Jake, begin to cry as you talk about what happened to your sister. Do not reach for a handkerchief. Vriska, you are sympathetic to his tragedy. Hand on shoulder time.)

SEBASTIAN

A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful: but, though I could not with such estimable wonder overfar believe that, yet thus far I will boldly publish her; she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more.

ANTONIO

Pardon me, sir, your bad entertainment.

SEBASTIAN

O good Antonio, forgive me your trouble.

ANTONIO

If you will not murder me for my love, let me be your servant.

SEBASTIAN

If you will not undo what you have done, that is, kill him whom you have recovered, desire it not. Fare ye well at once: my bosom is full of kindness, and I am yet so near the manners of my mother, that upon the least occasion more mine eyes will tell tales of me. I am bound to the Count Orsino's court: farewell.

Exit

(DN: Stage left.)

ANTONIO

The gentleness of all the gods go with thee! I have many enemies in Orsino's court, Else would I very shortly see thee there. But, come what may, I do adore thee so, That danger shall seem sport, and I will go.

Exit

(DN: Run off stage left. Go catch the boy! When the lights go down, same crew moves the rocks offstage.)

[notafter]

Damn Proctor

You scary!