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"Actually, in truth, Shakespeare said things very plainly for plays at the time. He used the common language of the common man for most of his metaphors. It is the drifting of the language over time that no makes his text seem haughty. Take for example, \"Why, she's neither fish nor flesh; a man knows not where to have her.\" Of course the audience laughs when Flastaff says that, and then laughs harder when the hostess retorts: \"Thou art an unjust man in saying so. Thou or any man knows where to have me, thou knave, thou.\"\n \n\n\n\tI mean, what BETTER way to have Falstaff describe her as a cross between ***** (a woman who has ***** for money)  and ***** (a woman who does not charge for it but does it almost as often)? And he does it by taking the common (at that time) phrase \"“neither fish, nor flesh, nor good red herring\" and turning it into sexual innuendo!\n \n\n\n\tNo wonder the rabble loved Shakespeare's plays--he spoke THEIR language. \n \n\n\n\tOr, \"melancholy as a moor ditch\"? Is there anything MORE melancholy than a moor ditch? No, of course not. And the rabble loved the fact Shakespeare was bringing in toilet humor that they recognized!\n \n\n\n\tAnd, of course, my personal favorite--Titus Andronicus--the main course at the dinner party? Oh my god! Roman generals, power struggles, and then unknowing cannibalism of one's own offspring! Shakespeare was Monty Python's Holy Grail, Benny Hill, and Hammer Horror Films all rolled in to one!\n \n\n\n\t*Stupid Evernote obscenity filters!\n \n"
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