De Fleurian and his co-author, Marcus Pearce, a senior lecturer of music perception at the same university, combed through published studies and compiled a list of more than 700 songs that have been identified as being chills-inducing. Then, using data from Spotify, they matched each song with another piece by the same artist that was roughly equal in length and popularity. All Is Well Anthony and Cleoptra As You Like It Comedy of Errors Coriolanus Cymbeline Hamlet Henry IV Part One Henry IV Part Two Henry V Henry VI Part One Henry VI Part Two Henry VI Part Three Henry VIII Julius Caesar King John King Lear Love's Labour Lost Macbeth Measure For Measure Merchant of Venice Merry Wives of Windsor Midsummer Night's Dream. Play Summary About King Henry IV, Part 1 Character List Summary and Analysis Act I: Scene 1 Act I: Scene 2 Act I: Scene 3 Act II: Scene 1 Act II. Recent research led by Rémi de Fleurian, a PhD candidate in the music cognition lab at Queen Mary University of London, supports yet another common finding: The songs that trigger chills—or “frisson” to scientists—are typically sad ones. What was perhaps more interesting about de Fleurian’s newest work, however, is how he conducted it.Summary: Act II, scene i.
(We took inspiration from the 200+ Chills playlist shared on Twitter by Ethan Mollick, a professor of innovation at the Wharton School at the University of Pennsylvania.) Our 715-song list will take you more than 24 hours to listen to in full.De Fleurian offers one caveat for anyone who listens: Some people report chills when a song has a personal connection, he says, meaning any song has the potential to produce chills. “So, yeah,” he says, “I’ve got some eyebrow-raising music in there.”Readers also may notice that songs from the ’80s, ’90s, and ’00s—including work by Death Cab For Cutie, Bon Iver, and plenty of Radiohead (not only “ Creep”)—seem to be overrepresented. That reflects the era when scientists conducted a flurry of research on chills, says de Fleurian. One of his forthcoming papers will include more recent pieces, such as “ Runaway” by Kayne West, “ Loud Places” by Jamie xx, and “ Ride” by Lana Del Rey.See the playlist below and click through to Spotify for the complete collection.
Let Sir John, Bardolph, and Peto rob the travelers then Hal and Poins, disguised, will rob the robbers. After Falstaff has departed, the prince learns from Poins that the robbery will provide a wonderful opportunity to gull Falstaff. First he refuses to go along with the others even "for recreation sake" then, after listening to Falstaff's denunciation of him, he changes his mind and finally he refuses once more to be one of the thieves at Gadshill. Hal amuses himself at Falstaff's expense. But Falstaff matches him in rebuttal indeed, some critics argue that the fat knight excels him.Since the subject of robbery has been introduced prior to the arrival of Poins, the way has been prepared for details about the Gadshill enterprise in which Hal and Falstaff are asked to participate. Hal, whose initial speech provides a full-length portrait of the knight as a glutton and lecher who is too "fat-witted" to be concerned about the time of day, proves to be a rather worthy opponent in this combat of wits.
Time, a symbol of the ordered life as used here, could not possibly concern one whose hours are spent largely in drinking sack (a strong sherry-type wine, especially popular in the days before gin and whiskey), overeating, and wasting half the day in sleep induced by gluttony. If, for the moment, we take literally what Hal says about him in his first speech (213), Falstaff emerges as one devoid of any sense of responsibility. What is learned about Falstaff as he exchanges spontaneous, good-natured insults with the prince? He is, to be sure, a knight of the realm, apparently a not unfitting associate of the prince, whom he meets now, not in a disreputable tavern but in the prince's London apartment. Hal, and even Poins, uses the same general style, which provides a significant contrast to that used, for example, by the lowly carriers in Act II, Scene 1.But most important in this scene are the characters of Falstaff and Prince Hal. Sir John here, and throughout the play, is a speaker of superior prose, prose marked by a vivacity, brilliance, and finish evidenced from the very beginning in his first two speeches with their balance, antitheses, and allusive elements.
Moreover, only a superior wit could accomplish all this in such an adroit way, effectively answering what may well be a serious indictment of his character. Here, demonstrating for the first of many times his upper-class learning, he provides a brilliant rhetorical commentary on gross reality and, as always, is fully aware of what he is doing. Is his way of life unknightly, ignoring as he does noblesse oblige, the obligations of rank? Well, let Hal remember that Falstaff "takes purses by moonlight" and thus does not follow "Phoebus, he, 'that wand'ring knight so fair'" (16-17). Yet he is anything but embarrassed. Quite an indictment, and one which Falstaff does not refute: "Indeed, you come near me now, Hal," he replies (14).
And this conclusion finds support in his witty, elegant circumlocutions and epithets: When Hal becomes king — and Falstaff is always aware of Hal's status as heir apparent — let robbers be honored let them be called "squires of the night's body," not "thieves of the day's beauty" (27-28). One of the leaders of the Northern rebels of 1569, a later Earl of Northumberland, was denounced by loyalists as "the wavering moon." As a knight who follows the moon, then, Falstaff is a rebel (though a comic one) against law and order. Rhetorically and poetically, the moon may represent more than one thing here it is unmistakably a symbol of instability, not only because it does not remain the same size to one's eyes as time passes, but because (as Hal points out) it governs the tides of the sea, which ebb and flow. The figurative language here admits to interesting interpretation relevant in a play, the main theme of which is rebellion.Traditionally, the sun is a common symbol of royalty in this instance, it represents the king, who stands for law and order.
Immediately Falstaff pictures himself as a learned judge — and then is told that, far from being elevated to the bench, he will function as the common hangman. The young prince lays a verbal trap for the knight: As king, he will not hang malefactors Falstaff shall. The culmination of Falstaff's rejection of law and order comes in his comic plea to the prince, urging him to have nothing to do with "old father antic the law" and to honor thieves, who are admirable men of "resolution" (65-70).Hal obviously enjoys this repartee with Falstaff, who indeed is, as he will say later, not only witty in himself but the cause of wit in others. But the reference to the gallows and hanging, the usual punishment for robbery in Shakespeare's England, has been introduced by the young prince, who will not, for the moment, let his lively companion ignore it, thus the reference to the "buff jerkin" worn by sheriffs officers and to "durance," meaning not only "long lasting" but "imprisonment" (48-49). "Diana's foresters, gentlemen of the shade, minions of the moon," which is described as "noble chaste," are other refined terms used by Falstaff to describe criminal activity.When Hal's reply makes this very point, Sir John is quick to change the subject, or to try to do so.
For the moment he becomes the penitent old sinner, acknowledging that he is "little better than one of the wicked." The style he adopts is that of the pulpit, biblical in its simple parallelisms and repetitions (95-98). Now, having been matched by Hal in the combat of wits, he adopts another role. Earlier (54-60), it was made clear that Falstaff willingly let the prince foot all the bills at the tavern. Falstaff's reply, "Thou hast the most unsavoury similes and art indeed the most comparative, rascalliest, sweet young Prince" (89-91), underscores at once his favored position as a kind of privileged jester and, surely, a genuine affection for the prince.This by no means exhausts the facets of his complex character. He is "as melancholy as a gib cat or a lugg'd bear." And Hal matches him simile for simile. This is grim humor, appropriately like a jest on the gallows itself, for in Elizabethan times the hangman received the clothes of his victims and therefore was referred to ironically as the best-dressed man in England.Wit or no wit, the subject of hanging is not a pleasant one, and Falstaff changes the subject and mood.
Thus, much of the action in this comic subplot stands as a parody of the serious, public action in the main plot moreover, the theme of rebellion is common to both. Ostensibly finding such virtue in thieves, Falstaff sustains the force of his earlier reference to robbers as "squires," "gentlemen," and "Diana's foresters." If one chooses to analyze this amusing reversal of values closely, it becomes apparent that Falstaff and all who willfully engage in robbery as a vocation are rebels against the Crown. He declares that, if Hal does not join in the enterprise, Hal lacks honesty, manhood, and good fellowship and that, in retaliation, Falstaff himself will be a traitor when the prince rules England. When Hal suddenly asks, "Where shall we take a purse tomorrow, Jack ?" (111), Falstaff responds with enthusiasm: "'Zounds, where thou wilt, lad I'll make one." And yet once more his wit saves him when Hal dryly comments on this sudden shift from "praying to purse-taking": Thieving is Falstaff's profession is it not proverbial that the wise man should follow his own vocation?When Poins arrives with the details relating to the proposed robbery, we learn more about Sir John. In mock sorrow, he, this white-bearded old man, attributes his moral downfall to young Prince Hal, whose use of biblical paraphrase in reply reveals his continued awareness of Falstaff's comic tricks.But once more Sir John's ludicrous statement has made him vulnerable.
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