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Shakespeare or Taylor Swift? | Great Performances: Romeo and Juliet | PBS LearningMedia

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Test your ability to identify if a line is from Shakespeare or Taylor Swift in this video from the National Theater. Cast members from Great Performances: Romeo and Juliet are presented with quotes and have to decide whether they are from the bard of today or the past!

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Epic Rap Battle: Dr. Seuss vs. Shakespeare

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Epic Rap Battle: Dr. Seuss vs. Shakespeare

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Dr Seuss VS Shakespeare.  Epic Rap Battles of History

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THE NORTHMAN - Official Trailer - Only In Theaters April 22

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Danitra Vance was first Black cast member for SNL. She was Shakespearean trained actress.

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0:00 / 0:15•Watch full video

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Shakespeare in the Slums - Saturday Night Live

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Steven Spielberg's "West Side Story" | Official Trailer | 20th Century Studios

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Natalie Merchant - Ophelia (Official Music Video)

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Andy Griffith tells Opie the story of Romeo and Juliet

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Andy Griffith tells Opie the story of Romeo and Juliet

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Andy Griffith- Romeo, Juliet and their soliloquies

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link to song: https://www.youtube.com/watch?v=7YhHM1ybfPI

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A few years ago I discovered this really great group called Mumford & Sons. I was awed by the blue-grassy sound to their music and the fact that they were so popular; I love music that has a blue-grass/folk sound to it, but generally find that that isn't what gets played on the radio. Being the avid Shakespeare fanatic that I am, I immediately connected the title of their debut album Sigh No More with the song "Sigh no more, ladies, sigh no more" from Shakespeare's Much Ado About Nothing. I wondered if the reference had been intentional, or if Mumford & Sons had just hit on the name themselves and the album had nothing to do with Shakespeare.

However, in a recent performance of Shakespeare's play that I attended, I recognized the line "man is a giddy thing" as being quoted in the title track of Sigh No More. After that I returned to the song, convinced now that Mumford & Sons had been fully intentional in quoting Much Ado. What I found this time around was very exciting for the English Major in me: The song "Sigh No More," after which their first album is named, quotes about six lines from Much Ado About Nothing. And it gets better. Mumford & Sons quotes lines from other Shakespeare plays in at least two other songs on the album. At this point, my literary analysis brain had gone into fifth gear and my esteem for Mumford & Sons had gone through the roof. It isn't everyday you find out one of your favorite bands quotes Shakespeare in three separate songs. I don't know how many people have noticed this; maybe I'm just a latecomer to the party and everyone is laughing at me right now because they all figured this out years ago. But I'm going to assume that the average casual listener hasn't noticed this trend in Mumford & Sons, so join me, if you feel inclined, as I delve a little more deeply into the content of Mumford & Sons' poetic masterpiece Sigh No More.

The opener: "Sigh No More"

Firstly, consider the first stanza of Shakespeare's poem of the same name, which appears as a song in his comedy Much Ado About Nothing:

Sigh no more, ladies, sigh no more.

One foot in sea, and one on shore,

To one thing constant never.

Then sigh not so, but let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into hey nonny, nonny.

(As a side note, we might ask ourselves how the Mumford & Sons' song would have turned out differently if the band had decided that the line "hey nonny, nonny" was a must have.)

A little background

This is not the time or place for an in-depth summary of Much Ado About Nothing, but the play centers on two of Shakespeare's most beloved characters, Beatrice and Benedick, who have forsworn love and engage in witty and insulting repartee whenever they meet. At one point, Benedick exclaims that marriage is like "thrust[ing] thy neck into a yoke, wear the print of it and sigh away Sundays" (1.1.). As you've probably already guessed, the two end up falling madly in love and declare their intent to marry each other at the play's conclusion. When his friends tease him for entering into marriage after he has spent his whole life bashing it, Benedick protests that "man is a giddy thing" or rather, man is changeable, and his past opinions should not be held against him. (5.4.)

The song

This is not the end
Live unbruised we are friends
And I'm sorry
I'm sorry

The second verse runs:

Sigh no more, no more
One foot in sea, one on shore
My heart was never pure
You know me
You know me

The first two lines may sound familiar, and if you take another look at the Shakespeare poem I've quoted above, you'll see why:

Sigh no more, ladies, sigh no more.
Men were deceivers ever,
One foot in sea, and one on shore,
To one thing constant never.

Obviously, the first two lines of this verse borrow from Shakespeare's poem. But I think the lines that follow are also very apt in the context of Much Ado. I like to think they could be spoken by Benedick to Beatrice - she knows him well, and in knowing him perhaps knows that his heart was never pure. As Benedick says to Beatrice in the play, "Thou and I are too wise to woo peaceably" (5.2.).

The song continues:

And man is a giddy thing
Oh man is a giddy thing
Oh man is a giddy thing
Oh man is a giddy thing

Continuing the theme of the preceding verse, this line isolates and calls attention to the changeability of man and his opinions, "to one thing constant never." If the speaker is the same as that of the previous verse, he seems to be apologizing for his past behavior, citing his fallible nature - which was never wholly devoted to one thing - and man's tendency towards inconstancy. And, of course, this line comes directly from the play (Act 5. Scene 4.).

But the line "man is a giddy thing," standing as it does at the crux or turning point of the song, could also signify the speaker's changing attitudes towards love, especially since this line transitions us from a tragic apology to a more upbeat celebration of love. "Man is a giddy thing" might mean that man is capable of changing his behaviors and attitudes; hence this line moves us out of the speaker's apology for his past behavior and into a declaration that he is now putting all that behind him.

If you were wondering when the song was finally going to pick up - it's now. We have the characteristic Mumford & Sons decisive plucking of a chord followed by a slow upward swing in tempo, and that moves us into the chorus, or climax, of the song:

Love will not betray you
Dismay or enslave you
It will set you free
Be more like the man
You were made to be.
There is a design
And alignment to cry
Of my heart to see
The beauty of love
As it was made to be.

I think the subdued but heartfelt opening of this song followed by the exuberant climax makes this possibly Mumford & Sons' most rousing song. And by rousing I mean it takes the listener on a journey that begins in fallibility and regret and ends in jubilation and freedom. At least, it has that effect on me; call me melodramatic if you like, I don't care. If we return to Much Ado for one final moment of analysis, we might note that the song's climax mirrors Benedick's and Beatrice's transformation in the play. Though initially scorning marriage and fearing that it will "enslave" or "betray" them if they give it rein, the lovers find in the end that love, far from enslaving them, has set them free.

Other tracks on the album

Needless to say, I was pretty ecstatic when I figured all this out, but that's just a beginning. I'd long suspected that the title of the song "I Gave You All" on the same album was borrowed from Shakespeare's King Lear, but I couldn't find any other lines from the play in that song (I'm still hopeful - I just haven't found them yet). However, when I discovered a direct quotation from Macbeth in another song on the album, I figured I had proof enough to decide that "I Gave You All" was in fact a reference to Shakespeare.

"I Gave You All" is, with the exception of "Dust Bowl Dance" - which can be truly scary and always seems to come on whenever I'm in a particularly stressful situation, or maybe it's just that the song renders everything stressful (don't get me wrong I love it) - the most "angry" song on the album. But it's not just a screaming rant; it's a brilliantly crafted song that moves the listener through a series of emotions and leads her gradually up to the song's high point and then back down, and it ends with a low moan of loss and betrayal. The song's lyrics and structure seem to echo Shakespeare's great tragedy King Lear, in which the title character divides his kingdom up between his two older daughters, who proceed to misuse, abuse, and abandon him. Exasperated, Lear cries to his daughters, "I gave you all!" (2.4.) When his daughters refuse to invite him into the house in the wake of nightfall and a coming storm, Lear rages upon the heath in the midst of thunder, lightning, and rain. The scene upon the heath seems suggested by several lyrics in Mumford & Sons' song, such as the opening, "Rip the earth in two with your mind," which seems especially apt since Lear begins to lose his sanity at this point in the play. The song thus draws from the tragedy, anger, and bewilderment of King Lear in order to tap into the play's moments of darkness and tempest and achieve a deeper sense of loss.One final observation: the line "your tears feel warm as they fall on my forearms" from the song seems to echo the moment when Lear, towards the end of the play, awakes to find his young and faithful daughter Cordelia at his side. In the initial confusion of waking, Lear states, "mine own tears / do scald like molten lead" and when he recognizes his daughter Cordelia he asks, "be your tears wet?"

The quotation from Shakespeare's Macbeth appears in the song "Roll Away Your Stone" on the same album ( Sigh No More). In Act 1, Scene 4, Macbeth, the title character, states, "Stars, hide your fires; / Let not light see my black and deep desires." Similarly, Mumford & Sons' song states, "Stars, hide your fires / These here are my desires / And I won't give them up to you this time around." The rest of the song, with its emphasis on darkness and man's inner character, or soul, seems particularly relevant to Macbeth.

The rest of the songs on the album are spectacular, but I have yet to discover any more Shakespeare lyrics in them, and I don't think there are any on the band's second album, Babel, which is, nevertheless, brilliant. I'll be on the lookout, however, and if you happen to find any, let me know! Their newest album, Wilder Mind, was just released earlier this week, so there's plenty more opportunity for analyzing Mumford and Sons' lyrics.

Thanks for taking this ride with me, and here's to lots more Mumford & Sons listening - and Shakespeare reading/watching - in the future!

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Dedicated to bringing you great book reviews, movie reviews, and the occasional music review. Visit the Wood to find your next favorite book!

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Our education programmes are designed to encourage young people to develop new skills in performing arts by creating excitement around words and rhyming to gain a positive experience of Shakespeare, music, literature and the arts as a whole. Interactive sessions are designed to assist in building self-confidence and unlocking creative and artistic abilities with lyric-writing and performing poetic lyrical reinterpretations based on Shakespeare's works, thus providing a platform to showcase creative ideas, supported by leading creative industry professionals. THSC works across primary, secondary schools right up to College/University level to include interactive lecture formats.

THSC's Artist Associates (supported by THSC Peer Leaders) deliver educational workshops and residency programmes to engage with schools, theatres, arts organisations and brands to demonstrate the cultural, social and linguistic parallel's between hip-hop and its many similarities within themes, language and rhythm used by The Bard.

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Our education programmes are designed to encourage young people to develop new skills in performing arts by creating excitement around words and rhyming to gain a positive experience of Shakespeare, music, literature and the arts as a whole.

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"To be or not to be" performed through the experience of being Black in America.

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The Ukrainian president addresses the existential question for the world.

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Shakespeare References in Rap Lyrics: An Animated History

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Two lovers that are forbidden to be together because they're in two different gangs, the Sharks and the Jets. It's based on Romeo and Juliet.

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West Side Story (1961) - Official® Trailer [HD]

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An anthropological/sociological perspective on Shakespeare. Are his works universal?

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Shakespeare is a familiar sight in the theater and on the movie screen, but he's permeated many other areas of American life. Advertisers have picked up on the ubiquity of Shakespeare for more than two centuries.

Shakespeare and his characters have been used to sell everything from chewing tobacco to iPhones. This advertisement from 1874 refers to Shakespeare's Romeo and Juliet.

The first printing of Shakespeare's image in America appeared not in a collection of his plays or poems, but rather in an ad for a stationery business, in 1787.

Marketers are repeatedly capitalizing on Shakespeare's association with high culture and sophistication to elevate their products, as we see in this ca. 1950 magazine advertisement for Coca Cola where the complete works of Shakespeare appear alongside opera glasses and a picture of Thomas Jefferson's estate.

We also see Shakespeare's image and words in promotional products, such as this 1890 booklet of "boiled down" Shakespeare (plot summaries of his plays) presented by the New Home Sewing Machine Co. and this 1917 Marcus Ward calendar, illustrated with a scene from As You Like It.

The Folger collection has advertisements that use Shakespeare to sell bicycles, cars, and even mustard. What ads have you seen recently that incorporate Shakespeare or references to his plays?

Some of the advertisements shown here were part of America's Shakespeare: The Bard Goes West, an exhibition at the Los Angeles Public Library about Shakespeare's enduring role in American culture.

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Shakespeare in advertisements for Coca Cola, iPhones, and tobacco

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Shakespeare is a familiar sight in the theater and on the movie screen, but he's permeated many other areas of American life. Advertisers have picked up on the ubiquity of Shakespeare for more than two centuries. Shakespeare and his characters have been used to sell everything from chewing tobacco to iPhones.

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The Lion King Theory - It's All Shakespeare? - Cartoon Conspiracy (Ep. 87) @ChannelFred

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Cartoon Conspiracy T-Shirts! http://www.stashriot.com/collections/channel-frederator-shop ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ Subscribe for more Channel Frederator: http://www.youtube.com/user/channelfrederator?sub_confirmation=1 ----------------------------------------­--------------------------------------- If you've seen "The Lion King", you're probably familiar with a certain awkward family dynamic, specifically with Mufasa and his brother Scar!

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Newspaper title with allusion to "To Be or Not to Be"

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iSpot.tv | Realtime TV Advertising Performance Measurement

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Every great actor must have a muse. This man's muse is Progresso Soup.

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iSpot.tv | Realtime TV Advertising Performance Measurement

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iSpot has acquired Ace Metrix, enabling TV advertisers to measure both business outcomes and brand impact. READ MORE

Ad ID: 1612869 15s 2017 ( Inactive )

Wendy's dice que sus "chicken tenders" son diferentes porque por fuera son crujientes y por dentro son jugosos. Acompañado con la salsa S'awsome Sauce, un hombre al estilo de Shakespeare pregunta si debe "dippear o no dippear.""

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Wendy's Chicken Tenders Combo TV Commercial, '¿Dippear o no dippear?'

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iSpot has acquired Ace Metrix, enabling TV advertisers to measure both business outcomes and brand impact. READ MORE Ad ID: 1612869 15s 2017 ( Inactive ) Wendy's dice que sus "chicken tenders" son diferentes porque por fuera son crujientes y por dentro son jugosos.

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Explore Millais's iconic painting, Ophelia, looking at the subject, materials, techniques and conservation

Introduction

Ophelia is one of the most popular Pre-Raphaelite works in the Tate collection. The painting was part of the original Henry Tate Gift in 1894. Millais's image of the tragic death of Ophelia, as she falls into the stream and drowns, is one of the best-known illustrations from Shakespeare's play Hamlet.

The Pre-Raphaelites focused on serious and significant subjects and were best known for painting subjects from modern life and literature often using historical costumes. They painted directly from nature itself, as truthfully as possible and with incredible attention to detail.

How was it made?

Millais painted Ophelia between 1851 and 1852 in two separate locations. He painted the landscape part of the painting outside, by the Hogsmill River at Ewell in Surrey; and painted the figure of Ophelia inside in his Gower Street studio in London.

At the time Millais was painting, it was common for artists to work outside to produce sketches. They then took these back to their studio and used them as reference to create a larger finished painting. However, Millais and his Pre-Raphaelite friends completed their paintings outside in the open air, which was unusual for the time.

Millais did not give himself as long to paint the figure of Ophelia as he did to paint the landscape. Traditionally, the landscape was often considered the less important part of painting and therefore painted second. Millais and the Pre-Raphaelites believed the landscape was of equal importance to the figure, and so for Ophelia, it was painted first.

Posing for Ophelia

Millais's model was a young woman aged nineteen called Elizabeth Siddall. She was discovered by his friend, Walter Deverell, working in a hat shop. She later married one of Millais's friends, Dante Gabriel Rossetti, in 1860.

To create the effect of Elizabeth pretending to be Ophelia drowning in the river, she posed for Millais in a bath full of water. To keep the water warm some oil lamps were placed underneath. On one occasion, the lamps went out and Millais was so engrossed by his painting that he didn't even notice!

During her time posing for the painting, Elizabeth got very cold and became quite ill. With no National Health Service or readily available medicine, Elizabeth was looked after by a private doctor paid for by Elizabeth's father who then ordered Millais to pay the fifty medical bills. The matter was settled and Miss Siddall recovered quickly.

While posing, Elizabeth wore a very fine silver embroidered dress bought by Millais from a second-hand shop for four pounds.

PREPARATORY SKETCHES

For such an important painting, Millais only made a few preparatory sketches for Ophelia. An oil study Head of Ophelia (with Wreath) was produced in 1852, but its current whereabouts are unknown.

The Inspiration

Ophelia is a character in Hamlet, by William Shakespeare. She is driven mad when her father, Polonius, is murdered by her lover, Hamlet. She dies while still very young, suffering from grief and madness. The events shown in Millais's Ophelia are not actually seen on stage. Instead they are referred to in a conversation between Queen Gertrude and Ophelia's brother Laertes. Gertrude describes how Ophelia fell into the river while picking flowers and slowly drowned, singing all the while.

Symbolism

Most of the flowers in Ophelia are included either because they are mentioned in the play, or for their symbolic value. Millais saw these flowers growing wild by the river in Ewell. Because he painted the river scene over a period of five months, flowers that bloom at different times of the year appear next to each other.

Millais always painted directly from nature itself with great attention to detail. The flowers are painted from real, individual flowers and Millais shows the dead and broken leaves as well as the flowers in full bloom. Millais's son John wrote that his father's flowers were so realistic that a professor teaching botany, who was unable to take a class of students into the country, took them to see the flowers in the painting Ophelia, as they were as instructive as nature itself.

Photography was invented in 1839, twelve years before Millais painted Ophelia. Photos were not as clear as they are today however. Millais's Ophelia was more detailed than what photography was able to achieve at this time and was a unique way of representing the natural world.

The canvas

Millais bought two pieces of canvas for Ophelia from the art materials dealer Mr Charles Roberson on 7 June 1851 for 15 shillings. This type of painting, with two canvasses on a single stretcher (a wooden frame), one directly under the other, was sold by Roberson's as a double canvas. The second canvas was used to cover the back of the painting to protect it.

Both canvasses were primed. This means they were covered with a glue solution and a ground. Millais used lead white paint as a ground. He then painted a layer of zinc white to make the canvas even brighter.

It is possible that at the beginning of each day Millais would mark out the area to be painted that day by covering it with white paint. He would then be working on a 'wet white ground,' and he would finish this area in detail while other parts of the canvas were still bare. In order to make the most of the bright white ground, he would mix colours as little as possible so that they remained pure, and apply the paint in single layers.

The colours

Millais was able to buy tubes of paint mixed by art material dealers that he could use straight away. New pigments were developed throughout the nineteenth century. Millais had a wide choice of pigments that came from minerals, precious stones, rocks, vegetables, insects and plants. Some of the new colours he used came about by the advances of modern chemistry. He used: lead white, zinc white, ultramarine ash, vermilion, chromium oxide, zinc yellow, chrome yellow, cobalt blue, Prussian blue, burnt sienna, Naples yellow, madder lake, ivory black and bone black. Millais's greens were mixed greens of chrome yellow and Prussian blue, possibly from a tube of green paint.

Conserving Ophelia

Our conservators at Tate, the people who maintain and conserve our works of art, have studied Ophelia closely using various techniques. These help us understand how Millais painted. Looking at the painting under various light conditions can help us answer various questions:

Did Millais change the composition?

In the photograph of Ophelia taken in raking light, we can see that Millais made relatively few changes to the composition. We can also see that the surface of the paint is very smooth. What we can see clearly are the cracks in the paint that have occurred over time. These cracks are caused by the ageing of the paint and the stretched canvas.

How was Ophelia painted?

In this U-V photograph of a 'cross-section' of a sample of paint from of Ophelia, we can understand the method by which the painting was made. The sample is viewed through a microscope so we can see the layers of paint and the thickness of the paint. The sample tells us that there is a layer of lead white underneath a layer of zinc white.

In this picture of Ophelia taken using infrared reflectography, we can see a slight shift in the position of the weeping willow. Many paint pigments are more transparent to infra red radiation than to visible light. The greater transparency of the paint enables us to see any drawings under the paint.

In this X-radiograph image, we can see that Millais did not re-use this canvas or make any major compositional changes. X-radiograph images show obscured paint layers and changes of design that an artist has made. Millais carefully planned his work. We can see the dense metal tacks used to secure the canvas to the stretcher as well as staples used to re-attach the canvas to the stretcher after the canvas was taken off for relining. The lead white areas of the painting and the canvas weave are clearly visible as are the re-touchings that appear as black marks.

By looking at the back of a painting, you can learn a lot about its history. The back canvas layer of Ophelia was removed when the painting was lined in 1967, and the canvas and the information on it were closely recorded and preserved. In the photograph above, we can see the trademark stamp of Charles Roberson, the colourman who Millais bought his canvas from. It has been applied as a stencil. This can help us date the painting. Researchers were able to trace the archives of Charles Roberson and find out how much Millais paid for the canvases and when he bought them.

The back of the painting can also show us the history of where the painting has travelled and who owned it. When a painting is loaned to other galleries often a stamp is attached to the back of the canvas. We can see that it used to be the property of the National Gallery. The Tate Gallery was originally part of the National Gallery although in a separate building at Millbank.

We can see the painting appeared in the 1898 Royal Academy Winter Exhibition. Beside this there is the original purchase stamp of the canvas from Charles Roberson & Company. We can also see a darkened label with the words: 'Farrer, H., Wardour Street, Soho "Ophelia", By J. E. Millais, A. R. A. which indicates one of Ophelia 's original owners. There is a City of Birmingham Museum and Art Gallery stamp. A Walker Art Gallery, Liverpool label which relates to the 1967 exhibition which began in London at The Royal Academy, the stamp for which can also be seen.

The James Bourlet & Sons Ltd. stamp shows us that one of the museums used this fine art packing company and frame makers to pack and transport this work of art.

Ophelia's Travels

Ophelia was bought from Millais on 10 December 1851 by the art dealer Mr Henry Farrer for 300 guineas. Mr Farrer already owned several works by Millais. Farrer sold it to a keen Pre-Raphaelite collector called Mr B.G. Windus who then sold it in 1862 to a Mr Graves for 748. Mr Gambart owned it from 1864, followed by a Mr W. Fuller Maitland from 1872 and again in 1892. Sir Henry Tate bought it in September 1892, and then presented it to the nation as part of the Sir Henry Tate Gift in 1894.

What do the critics think?

Ophelia has received both positive and negative criticism since Millais began painting it in 1851. Read a variety of opinions on Ophelia from 1851/2 to the present day.

Other Ophelias

Ophelia is a very popular topic for artists. Shown above are various images of Ophelia, depicting the story in different ways. For example Arthur Hughes's work of Ophelia exhibited at the same time as Millais's at the Royal Academy, shows Ophelia before she slips into the river. J. W. Waterhouse produced three paintings of Ophelia. In his second painting of 1894, Ophelia sits on a branch of a tree, as she fixes poppies and daisies in her hair.
Please note Ophelia is touring and will not be on display until October 2019.

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Explore Millais's iconic painting, Ophelia, looking at the subject, materials, techniques and conservation Introduction Ophelia is one of the most popular Pre-Raphaelite works in the Tate collection. The painting was part of the original Henry Tate Gift in 1894.

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Politicians are often compared to parts in Shakespeare's plays.

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Mitch McConnell, who loathes Trump, thought he was being Solomon-like, rejecting impeachment on a silly technicality, then declaiming on the Senate floor that Trump's lies led to the Capitol riot.

But to his surprise and dismay, McConnell - who sees himself as the great protector of the Senate - garnered jeers for his hypocrisy, not praise for his courage. After Merrick Garland, everyone knew McConnell could do what he wanted on the Senate floor; he was not bound by mundane procedural matters.

By coddling Trump on his election fakery, the Republicans gave it so much oxygen, it led to tragedy.

Trump, the supreme ingrate, wasn't grateful for McConnell's nay vote. He promptly composed a masterpiece of spleen, a statement threatening to primary Mitch's candidates and calling him "a dour, sullen, and unsmiling political hack" who lacks political wisdom, skill and personality. Trump wanted to pile on the bile with a snippy line about McConnell having too many chins and not enough smarts, but shelved it.

McConnell should be an object of scorn. Trump could not have done anything without him. Each used the other for his own purposes. Trump's achievements for conservatives, refashioning the Supreme Court and getting a tax cut, were really McConnell's.

Former Guy, as President Biden called Trump, then turned his choler on Nikki Haley, who revved up for 2024 by telling Politico that Republicans should take the good Trump built and jettison the bad. Nikki, Nikki, Nikki. You thought you'd get a Mar-a-Lago audience after that?

Ted Cruz's truckling may be the most jarring, given Trump's attacks on Cruz's wife and father in the 2016 campaign. But I've always said the story of Washington should be titled "Smart People Doing Dumb Things." Cruz wouldn't even study with people from what he called "minor Ivies" while at Harvard Law School but didn't think twice before leaving Texans starving, freezing and dying to go catch some rays in Cancun and then blaming his daughters.

We'll see if Trump can sustain this king-in-exile routine without the infrastructure he once had. Consider his asinine election challenge with all those crazy lawyers. Ever the shrew, all he has left now is his forked tongue.
The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some . And here's our email: letters@nytimes.com.

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Opinion | The Tale of the Untamable Shrew

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Mitch McConnell, who loathes Trump, thought he was being Solomon-like, rejecting impeachment on a silly technicality, then declaiming on the Senate floor that Trump's lies led to the Capitol riot. But to his surprise and dismay, McConnell - who sees himself as the great protector of the Senate - garnered jeers for his hypocrisy, not praise for his courage.