Pericles Journey!

The essence of Pericles is hope and miracle. At the beginning of Act Three, a strong tempest rages at sea. 

The Queen Thaisa bears Pericles’ daughter, Marina, at sea and is consequently presumed lifeless following childbirth (as was common in Shakespeare’s day). Pericles laments, “O you gods! Why do you make us love your goodly gifts, and snatch them straight away?” The storming waters cause the sailors to panic and demand that the Queen’s body go overboard; they are superstitious and believe the turburlent waters will refuse to abate; Pericles immediately calls them out on their illogical thinking, yet the sailors are headstrong and not-to-be-changed; Pericles has no choice but to relent. He offers a farewell to Thaisa that is simply heartbreaking;

A terrible childbed hast thou had my dear

No light, no fire, The unfriendly elements

Forgot thee utterly! Nor have I time

To give the hallowed to thy grave, but straight

Must cast thee, scarcely coffin’d, in the ooze

Lying with simple shells

he then requests three items to give her the most dignified burial he can; spices, to give pleasant aroma to her casket, ink and paper, to facilitate a solemn appeal for her burial, [should the casket be retrieved from the waters] and jewels, to fund the dignified burial that she so deserves. Pericles writes thus:

Here I give to understand,

If e’er this coffin drives-land,

I, King Pericles, have lost

This queen, worth all our mundane cost.

Who finds her, give her burying;

She was the daughter of a king.

Besides this treasure for a fee,

The gods requite his charity!

Although he had no expectation of ever seeing her again after the sailors put Thaisa overboard, Pericles reserved a modicum of hope that she might be found and revived.

Miraculously, her case does indeed wash ashore; and even more miraculously, she manages to cling to life through the tempestuous waters.

Pericles and Thaisa are ultimately reunited almost twenty years later, and Pericles thanks the gods most robustly:

“You gods, your present kindness makes my past miseries sports.”

In a moment of overwhelming joy he bids her, “Come, be buried a second time within these arms.” 

Shakespeare is teaching us the magnitude and power the force of hope can hold. Pericles had every reason to resign to what appeared to be a foregone conclusion, but with what hope he kept, close within his heart, it grew most beautiful into the gift of a miracle.

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Macbeth And Time

The word ‘time’ is used frequently in the tragedy of Macbeth, and everything about timing seems to disfavor Macbeth. He suspects that time is not on his side, “time thou anticipat’st my dread exploits.” Macbeth’s perspective is initially scewed when becoming Thane of Cawdor after being told first-hand the Sisters’ Prophecy. Macbeth’s expectations for becoming King become unrealistically ingrained within him because of precarious timing. The hint of promotion to The Thane of Cawdor materializing immediately, made him accustomed to instant gratification in matters most dangerous; gaining the throne. The insidious Sisters knew if they could gain his trust, they could cause him to act without discretion. Because Macbeth ends up putting his faith in them, he seals his own fate. He shows how easily we can jump wrongly to a big conclusion when just a modicum of manipulation is excercised; especially when we are at our most vulnerable.

How Hamlet Defines What it Means to be Human Part. 2

Shakespeare’s contemporary Montaigne writes, in his essay, “Of The Inconsistency Of Our Actions,” that, “Whoever will look narrowly into his own bosom will hardly find himself twice in the same condition. I give to my soul sometimes one face and sometimes another, according to the side I turn her to. If I speak variously of myself, it is because I consider myself variously; all the contraries are there to be found in one corner or another; after one fashion or another: bashful, insolent; chaste, lustful; prating, silent; laborious, delicate; ingenious, heavy; melancholic, pleasant, lying, true; knowing, ignorant; liberal, covetous, and prodigal: I find all this in myself, more or less, according as I turn myself about; and whoever will sift him to the bottom, will find in himself, and even in his own judgement, this volubility and discordance.” These contraries are most prevalent in our title character throughout Shakespeare’s monumental tragedy. So much so, in fact, that more is written on Hamlet than almost any other subject in existence.

We witness Hamlet’s melancholic side when he says of his mourning black attire, “I have that indeed which passes show, these but the trappings and the suits of woe.” 

We see his creative side when he contrives a scheme to expose the king’s treachery, boldly resolving, “The play’s the thing wherein I’ll catch the conscience of the king.” 

We see his charming and affable side when he greets the players come to town, jovially remarking, “You are welcomemasters; welcome, allI am glad to see thee wellWelcome, good friends.” 

His abusive side is made evident through Ophelia’s confiding to her father that Hamlet, “took me by the wrists and held me hard.” 

His conflictive nature is apparent when he denies loving Ophelia, scolding her and claiming, “not I, I never gave you aught,” then later professes, “I loved Ophelia. Forty thousand brothers could not with all their quantity of love make up my sum.” 

We see a satirical side to Hamlet with Polonius in the “words, words, words” scene, when he conjures the sarcastic response, “Yourself, sir, shall grow old as I am, if like a crab you could go backward.” 

We also see a gentle and kind side to Hamlet. In his private conversation with his loyal friend Horatio; he eloquently confides his admiration, “Give me that man that is not passion’s slave, and I will wear him in my heart’s core, ay, in my heart of hearts, as I do THEE.”

We even see his cruel side; as in the closet scene with Gertrude. He rails at her with a hateful ferocity that vexes her so deeply, she desperately pleads to the son she so dearly loves, “O speak to me no more; these words like daggers enter in my ears. No more, sweet Hamlet.”

We are as varied within ourselves as the snowflakes that in winter fall. Hamlet is a man of contraries, and so are all of us; some more than others. He exemplifies the multi-faceted nature of humankind, showing our inherently dynamic essence.

We know what we are but not what we may be.”

Love’s Labour’s Won, not lost after all? You decide.

It has been generally accepted that Love’s Labour’s Won is The Bard’s lost comedy. Although I acknowledge this theory as a reasonable possibilty, I do not believe it to be the case. Love’s Labour’s Won was first mentioned by the minister Francis Meres in his Palladis Tamia pamphlet published in 1598, subtitled: Wits Treasury. He lists twelve plays in total, five of which, for relevance sake, I will name; listed in this order they are: The Comedy Of Errors, Love’s Labours Lost, Love’s Labour’s Won, A Midsummer Night’s Dream, and The Merchant Of Venice. The only play out of these five unfamiliar to Shakespeare’s canon is Love’s Labour’s Won. If we look at the plot of its companion, Love’s Labour’s Lost, we understand how its title is appropriate; at its conclusion, all of the gentlemen’s efforts, including The King Of Navarre, to woo and win their ladies do in fact fail, and their Labour has been Lost

Concerning the supposed lost play, my opinion, which is shared by others, including Gregory Dolan of the RSC, is that Love’s Labour’s Won & Much Ado About Nothing are the same play. In 2:1 of Much Ado, carefully scan what Don PedroThe Prince Of Arragon declares to his companions. He says, “I will in the interim undertake one of Hercules Labours, which is, to bring Signior Benedick and Lady Beatrice into a mountain of affection the one with the other.” Not only is the actual word Labours used but it’s used in the context of pursuing the goal of causing two people to fall in Love; which in the end, if we read Much Ado, we find out ends up being Won. Add to that the fact that the most famous part of the Hercules Legend, especially in Shakespeare’s time, was the triumph of his twelve Grueling Labour’s; which to draw another parallel, the Love between Benedick and Lady Beatrice isn’t achieved with ease, but with persistent effort.

The quarto copy of Much Ado, printed in 1600, mentions on the title page to have been acted many times before. If we take this into consideration and compare it to other quartos such as King Lear, published in 1608 and generally accepted to have been written in 1605, we get a three year window, putting a likely composition date for the potential LLW as 1597. LLL first recorded performance was at Court on Christmas in 1597 for Queen Elizabeth. The two comedies likely being written together, the “sequel” being performed subsequently forthwith, is reasonable evidence that Francis Meres would have been acquainted enough with the play we know as Much Ado in time to list it in his Wits Treasury when published in 1598 and catalogued with the Stationer’s Register September 7th.

It’s also important to point out that The Merchant Of Venice [mentioned among the five plays I named as listed in the Palladis Tamia] was published in quarto the same year as Much Ado [1600], making it reasonable to deduce that Much Ado was extant in performance around the same time as Merchant; taking this liklihood into account, because both Merchant and LLW are specified on the same list and there is no mentioning of a Much Ado About Nothing leaves the possibility that Meres’ reference to LLW was the play we know as Much Ado.

Given the tremendous success of Much Ado, as well as its popularity and critical acclaim, it seems inconceivable Meres would excise the play from his list of The Bard’s best, leaving us to deduce that he did in fact include it in his list but recorded it under an alternate title.

It’s important to note that this wouldn’t be the only time an alternate title would be used for one of Shakespeare’s plays. Henry VIII was also known as All Is True, Twelfth Night as What You Will, not to mention that the quarto of King Henry VI Part II, published in 1594, was titled without even mentioning King Henry, being labeled as The First Part Of The Contention.

Now I want to call your attention to The First Folio of 1623; if we suppose that The Much Ado About Nothing we know today is, in fact, Love’s Labour’s Won, and if we take the five plays in the Palladis Tamia that I initially mentioned, beginning with The Comedy Of Errors and ending with The Merchant Of Venice, The SAME FIVE plays are grouped ALL TOGETHER in The FF of 1623; almost in the Exact Same OrderErrors is first on page 85, then Much Ado/LLW on page 101, then LLL on page 122, then Midsummer on page 145, and then finally Merchant on page 163. If Much Ado/LLW was printed successive to LLL instead of Errors, the order would be identical. If we consider LLL and LLW two plays written together, primarily to complement their contrasting conclusions, and we don’t dwell on which one is sequel to the other, then these five, for all practical purposes, are printed in the same order found in Francis Meres’ Palladis Tamia.

Lost play? OR… Have we had it all along?! What do Y’ALL think?! Maybe sleep on it? Anyways, that’s all I have for now. Thanks for reading, and REMEMBER TO MAKE IT A BARDTASTIC DAY!

Iago’s Manipulation Of Othello

Iago uses countless tactics to make Othello believe that Desdemona is unfaithful. Such a tactic is described in Robert Greene’s The 48 Laws of Power. Law 32 is to play to people’s fantasies; Iago does this with a brilliance all his own, and in 3:3 Iago puts his skills to work. When Othello asks for an example of how Desdemona is unfaithful, he contrives a quite convoluted response. I urge you to read it over as a cautionary tale to the notion that not everything that sounds true is true.

I lay with Cassio lately

And being troubled with a raging tooth

I could not sleep. There are a kind of men

So loose of soul that in their sleeps will mutter 

Their affairs — one of this kind is Cassio.

In sleep I heard him say ‘Sweet Desdemona,

Let us be wary, let us hide our loves.’

And then, sir, would he gripe and wring my hand,

Cry ‘O sweet creature!’ and then kiss me hard

As if he plucked up kisses by the roots

That grew upon my lips, lay his leg o’er my thigh,

And sigh, and kiss, and then cry ‘Cursed fated

That gave thee to the Moor!’

The notable thing about this speech is that it completely fabricated. Nothing in this speech actually took place; it is all injuriously contrived. He takes a blameless Cassio and paints him as a double-crossing monster. What makes this speech effective though is that it leaves room for Othello’s imagination to run rampant. We can imagine Othello conjuring up images in his mind of Cassio vividly dreaming that he is plucking up kisses by the roots with Desdemona; a vision that doubtless tortures the moor. We can imagine Othello envisioning Cassio and Desdemona exchanging sensual words & poses most graphically in {his}mind’s eye. Iago desription is crafted with consummate rhetorical prowess. He fuels the jealousy of his master Othello, and by making his narrative so vividly explicit, he sparks his master’s most incessantly self-vexing fantastical imagination.

A wise man {Alexander Chase} once said:

“The most imaginative people are the most credulous, for them EVERYTHING is possible.”

Unluckily for Othello the man he trusted most knew this all too well and consequently adulterated the Moor’s sanity piece-meal to a murderous madness.

How could a stone be soft? Titus tells us why.

Although Titus Andronicus is not considered one of Shakespeare’s best tragedies, it is not without its compelling speeches. Act Three of this tragedy, Titus Andronicus, contains a speech that I believe deserves a closer reading. In Act Three, Titus bemoans his, “heart’s deep languor,” over two of his son’s shameful and soon-to-be-carried-out executions. Titus has in the past lost, “two and twenty sons,” but notes that he “never wept because they died in honor’s lofty bed.” Conversely, these two of Titus’ sons were framed for murder by the vengeful Queen Tamora and her extra-marital lover Aaron in a most harrowing fashion: being duped into dropping down into a pit where the murdered body of Lavinia’s lover, Bassianus lay; implicating the two sons for his murder. At the outset Tamora’s eldest son was sacrificed by Titus Andronicus himself, which adds an ironical shade to Titus’ plight since Tamora is clearly blameworthy in her role for framing Titus’ two sons. After Titus has pleaded desperately for his two sons’ lives, Lucius, brother to the doomed pair, firmly chides his father thus:

O noble father, you lament in vain,

The tribunes hear you not, no man is by,

And you recount your sorrows to a stone.”

Titus is persistant in his supplications and answers back with fervent anguish:

“Ah, Lucius, for thy brothers let me plead!

Grave tribunes, once more I entreat of you.”

Lucius then proceeds to remind his father of the absence of an audience:

“My gracious lord, NO tribune hears you speak!”

Now comes Titus clarification that he is, in fact, not speaking to the tribunes at all, but rather to something else:

“Why, ’tis no matter, man, if they did hear

They would not mark me, if they did mark

They would not pity me, yet plead I must, 

And bootless, unto them.

Therefore I tell my sorrows to the STONES!”

Who though they cannot answer my distress,

Yet in some sort they are better than the tribunes,

For that they will NOT interupt my tale:

When I do weep they [the stones] humbly at my feet

Receive my tears and seem to weep with me…

A stone is soft as wax, tribunes more hard than stones:

A stone is silent and offendeth not,

And tribunes with their tongues doom men to death.”

Shakespeare is here showing an appreciation of being able to speak without censure, a theme that would have certainly hit close to home as Shakespeare had to submit any play for the public stage to the official censor. Things said will elicit others’ opinions, consequently there is a satisfaction in speaking how we truly feel to someone who will rest mute to our misconceptions, yet genuinely sympathize with our sorrows.  When Titus informs his son, Lucius, that:

I tell my sorrows to the stones…

and after explaining why he is doing so, he is submitting to the doctrine that although stones are hard things when hewn, when thought of as a proxy for a sympathizer to our heart’s deepest anguish, a stone’s inability to mock or condemn or chide or interject discourteously coupled with a stone’s ability to imitate compassion; crying in like manner, as our dripping tears comingle thereunto; renders it “softer” than any simple mind could ever imagine a stone to be.