Shakespearean scholars identify George North as an influence using plagiarism software.

Shakespearean scholars identify George North as an influence using plagiarism software.

https://slate.com/culture/2018/02/shakespearean-scholars-identify-george-north-as-an-influence-using-plagiarism-software.html

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The Fashion Is The Fashion 2: Clothing and Twelfth Night 

In doing my research for Twelfth Night, I came across a fantastic production from Shakespeare’s Globe in 2002. It used what is known as “original practices,” meaning that the actors tried to replicate everything we know about the way Shakespeare’s actors performed.

The play was performed in the great Globe Theater, which is itself a replica of Shakespeare’s original playhouse, which means that it was outdoors, using mostly natural lighting, and minimal sets. https://youtu.be/qtoUeVjP_rs

In addition, all the women’s roles were played by men, and the actors played multiple parts, which were all accurate stage practices from Shakespeare’s era. Most exciting of all, the actors all wore authentic 17th century costumes designed by veteran costume designer, Jenny Tiramani:

/https://prezi.com/m/zef_cpurcfsl/jenny-tiramani/


Few things determine how an actor moves or looks more than the clothes he or she wears, and watching these actors wear doublet and hose and real Jacobean dresses really fires up my imagine and makes me feel that I’ve truly been transported through time. The production is available on DVD, as well as several clips on YouTube, and I urge you to take a look at it. In the meantime, I’d like to comment a little on how the costumes from this production inform the audience about the characters that wear them.

Some Info On 17th century fashion

* Men

  • Tight pants or hose, and stockings designed to show off the legs
  • Tight jackets made of wool or leather called doublets
  • By the 17th century, starched ruffs were being replaced with lace collars.
  • Starched collars called ruffs around the neck.

  * Women

Longer skirts, often embroidered with elaborate patterns

  * Servants- Servants like Cesario (who is actually the Duke’s daughter Viola in disguise), would typically wear matching uniforms called liveries, a sign of who they worked for and their master’s trust in their abilities. People judged the aristocracy by how well they trained and controlled their servants, so wearing your master’s livery meant he trusted you to represent his house.

In her first scene as Cesario, a servant named Curio remarks to her that Orsino has shown favor to “him” from the very beginning. This might explain the rich garments that Viola wears in this production, which resemble a noble gentleman more than a servant.

A higher ranking servant like Malvolio would be able to wear a higher status garment, which is why you see Steven Fry as Malvolio dressed in a handsome doublet.

3. Character notes:

* What are they wearing?

* Why are they wearing it?

* How do the clothes inform the movement?

1. Viola (Eddie Redmane) Viola, the star of the show, begins the show as the daughter of a duke, who has just been shipwrecked in a foreign country, so her clothes must look bedraggled and worn, yet appropriate to her status. As I said before though, for the majority of the play, Viola is disguised as the servant Cesario

2. Malvolio (Steven Fry)

  • Malvolio wears dark colors since he’s a Puritanical servant.
  • He mentions that he has a watch. The first ever wristwatches ever came into being around this time.
  • Most productions give Malvolio a Gold chain and/ or a staff of office to show his status, and his prideful nature.
  • In Act III, Malvolio is tricked into wearing yellow stockings with cross garters.
    • 3. Maria the Countess Olivia’s maid, (who has an appetite for tricks and pranks), Maria’s job is to dress and help Olivia with her daily routine. This might include tying up her corset, putting on her makeup, and helping her with the elaborate gowns that nobles wore during this period. In the video below, you can watch a dresser help get an actress into an elaborate costume for another Globe theatre production. Just think of the amount of time and hard work it would take for a servant like Maria to dress Olivia every day!

      In the play, Viola momentarily mistakes Maria for her mistress because she wears a veil. This also suggests that, rather than wearing a livery like Cesario, maybe Olivia let Maria wear some of her older clothes, which was a common practice for high level servants. A lot of the costumes Shakespeare’s company wore were probably hand me downs from their aristocratic patrons.

      4. Olivia (Mark Rylance)

      In this production, the countess and all the female roles were performed by men, just as they were in Shakespeare’s Day. Mark Rylance, who played Olivia, was also the Artistic Director of the Globe Theatre.

      • Olivia is mourning her lost brother, which is why she’s traditionally dressed in a black dress and veil
      • The dress is black silk with elaborate embroidery, as you can see from this actual sampler of the real fabric used in the show. You will also notice the threads holding the fabric together with metal points at the end. Olivia’s gown was hand sewn into many different pieces and tied together with these points. One nickname Shakespeare gave servants like Maria was “One who ties [her] points.”
      • The dress is large and has a long train, making it hard for the actor to move: https://youtu.be/dcSNTspXGYk
      • Costumes like these offer a tantalizing glimpse into history. Just as Shakespeare’s words help an actor bring to life the thoughts and feelings of his age, The type of clothes his company wore helps the actor embody the moiré’s and desires of Shakespeare’s society, whether a mournful countess, a dazzling gentleman, or a reserved Puritan.

        References

        Feldman, Adam

        “Q&A: Mark Rylance on Shakespeare, Twelfth Night and Richard III” Time Out Magazine. Posted: Tuesday November 12 2013

        Retrieved online from https://www.timeout.com/newyork/theater/q-a-mark-rylance-on-shakespeare-twelfth-night-and-richard-iii

        Minton, Eric. Twelfth Night: What Achieved Greatness was Born Great.

        Posted May 22, 2014 to http://shakespeareances.com/willpower/onscreen/12th_Night-Globe13.html.

        https://thepragmaticcostumer.wordpress.com/2012/07/25/through-the-keyhole-a-peek-into-a-17th-century-ladys-wardrobe/

        Why Mechant Of Venice is the Perfect Play For the Holidays 

        The Merchant Of Venice is unquestionably Shakespeare’s most controversial play- it covers such topics as anti-semitism, religious hypocrisy, racism, slavery, and the meaning of justice and mercy. As I have written before, few people read this play in school, but I believe that it has many lessons to teach our children. I also believe its lessons are also very much a part of the Christmas/ Hanukkah/ Kwanza holiday season, and here’s why:

        Short summary

        Famous quotes

        • All that glitters is not gold.
        • Hath not a Jew Eyes
        • The quality of mercy is not strained

        You may very well wonder why this play about greed and prejudice reflects the warm holiday spirit. I would argue that, like cold winter snow, this play emphasizes the importance and the need for compassion, humanity, and generosity because without it society becomes truly frigid.

        Merchant Of Venice takes an unflinching look at greed, prejudice, and religious hypocrisy, while at the same time retaining a hope for peace on Earth and goodwill towards men.

        One of the best ways I can justify the connection between Merchant and the holidays is by comparing it to the quintessential Christmas story, Charles Dickens’ A Christmas Carol. In terms of tone, themes and especially characters, these two classics are very close indeed. Shylock is an ancestor of Scrooge- in addition to both being money lenders, both men are miserly, cold, and willing to destroy lives for wealth. Shylock even has a ghost that comes back to haunt him. Shylock mentions a ring that he got from his late wife Leah, similar to how Scrooge lost his only love, Belle. Just as Scrooge is a counterexample of everything that Christmas stands for, Shylock’s greediness, cruelty, and hatred of the people around him make him a figure to avoid, no matter what holiday you celebrate.

        Merchant also raises questions about materialism, which we should all consider around the holidays. Shylock especially mentions this in quotes like: “You take my life when you take the means whereby I live.”

        The themes of Merchant also reflect a modern multicultural holiday season. In one example which I wrote about before, The Prince Of Morocco has a great speech that calls to mind the concept of kuchijagulia, or self determination, one of the 7 principles of Kwanzaa. According to the official Kwanza website, kuchijagulia means, “To speak up for oneself,” and Morocco definitely does that:

        Mislike me not for my complexion,

        The shadow’d livery of the burnish’d sun,

        To whom I am a neighbour and near bred.

        Bring me the fairest creature northward born,

        Where Phoebus’ fire scarce thaws the icicles,

        And let us make incision for your love,

        To prove whose blood is reddest, his or mine.

        I tell thee, lady, this aspect of mine

        Hath fear’d the valiant: by my love I swear

        The best-regarded virgins of our clime

        Have loved it too: I would not change this hue,

        Except to steal your thoughts, my gentle queen. Merchant Of Venice, Act II, Scene I.

        Moracco’s unwillingness to change who he is makes him a model of the kind of pride African Americans celebrate during Kwanza. In addition Shylock, the Jewish moneylender, is also very proud of his heritage. His famous quip: “Sufferance is the badge of all our tribe,” expresses perfectly the resilience of the Jewish people, which of course is the central point of Hanukkah.

        When it comes to Christmas, Antonio demonstrates a Christ- like self sacrifice, when he lets himself be arrested and nearly killed by Shylock.

        Bassanio. Good cheer, Antonio! What, man, courage yet!

        ▪ The Jew shall have my flesh, blood, bones and all, 2045

        ▪ Ere thou shalt lose for me one drop of blood.

        Antonio. I am a tainted wether of the flock,

        ▪ Meetest for death: the weakest kind of fruit

        ▪ Drops earliest to the ground; and so let me

        ▪ You cannot better be employ’d, Bassanio, 2050

        ▪ Than to live still and write mine epitaph.

        While Antonio’s actions mirror Christ’s sacrifice. Portia’s famous “The Quality Of Mercy Is Not Strained,” speech, goes to the heart of the reason why Christ came to earth; to grant mercy to the sinners who would be damned otherwise

        Portia. Do you confess the bond?

        Antonio. I do.

        Portia. Then must the Jew be merciful.

        Shylock. On what compulsion must I? tell me that.

        Portia. The quality of mercy is not strain’d, 2125

        ▪ It droppeth as the gentle rain from heaven

        ▪ Upon the place beneath: it is twice blest;

        ▪ It blesseth him that gives and him that takes:

        ▪ ‘Tis mightiest in the mightiest: it becomes

        ▪ The throned monarch better than his crown; 2130

        ▪ His sceptre shows the force of temporal power,

        ▪ The attribute to awe and majesty,

        ▪ Wherein doth sit the dread and fear of kings;

        ▪ But mercy is above this sceptred sway;

        ▪ It is enthroned in the hearts of kings, 2135

        ▪ It is an attribute to God himself;

        ▪ And earthly power doth then show likest God’s

        ▪ When mercy seasons justice. Therefore, Jew,

        ▪ Though justice be thy plea, consider this,

        ▪ That, in the course of justice, none of us 2140

        ▪ Should see salvation: we do pray for mercy;

        ▪ And that same prayer doth teach us all to render

        ▪ The deeds of mercy. Merchant Of Venice, Act IV Scene I.

        Shakespeare no doubt wrote these characters to reflect the Christian values many people celebrate at Christmas. Meanwhile the play’s comic subplot with Bassanio and Portia teaches Christians about generosity and mercy. As I have written before, the character Bassanio is the moral center of the play, and his journey mirrors many characters in classic Christmas stories who learn about giving and receiving, the true meaning of Christmas.

        In Act III, Scene ii, Bassanio participates in the highest stakes Secret Santa gift exchange ever: three boxes of gold, silver, and lead are set before him.

        If Bassanio picks the right gift, he will be rich, powerful, and married to a beautiful woman, but the winning box is inscribed with a warning: “Who chooses me must give and hazard all he has.” Bassanio wins the gift auction, which means he may marry the beautiful Portia, but he gives her the choice to marry him or not: https://youtu.be/6IFSMgggS8k

        [Music, whilst BASSANIO comments on the caskets to himself]

        Bassanio. So may the outward shows be least themselves: 1440

        The world is still deceived with ornament.

        ▪ In law, what plea so tainted and corrupt,

        ▪ But, being seasoned with a gracious voice,

        ▪ Obscures the show of evil? In religion,

        ▪ What damned error, but some sober brow 1445

        ▪ Will bless it and approve it with a text,

        ▪ Hiding the grossness with fair ornament?

        ▪ There is no vice so simple but assumes

        ▪ Some mark of virtue on his outward parts:

        ▪ How many cowards, whose hearts are all as false 1450
        Look on beauty, 1455

        ▪ And you shall see ’tis purchased by the weight;

        ▪ Which therein works a miracle in nature,

        ▪ Therefore, thou gaudy gold,

        ▪ Hard food for Midas, I will none of thee;

        ▪ Nor none of thee, thou pale and common drudge 1470

        ▪ ‘Tween man and man: but thou, thou meagre lead,

        ▪ Which rather threatenest than dost promise aught,

        ▪ Thy paleness moves me more than eloquence;

        ▪ And here choose I; joy be the conseque

        [Reads] 1500

        ▪ You that choose not by the view,

        ▪ Chance as fair and choose as true!

        ▪ Since this fortune falls to you,

        ▪ Be content and seek no new,

        ▪ If you be well pleased with this 1505

        ▪ And hold your fortune for your bliss,

        ▪ Turn you where your lady is

        ▪ And claim her with a loving kiss.

        ▪ A gentle scroll. Fair lady, by your leave;

        ▪ I come by note, to give and to receive. 1510

        ▪ Like one of two contending in a prize,

        ▪ That thinks he hath done well in people’s eyes,

        ▪ Hearing applause and universal shout,

        ▪ Giddy in spirit, still gazing in a doubt

        ▪ Whether these pearls of praise be his or no; 1515

        ▪ So, thrice fair lady, stand I, even so;

        ▪ As doubtful whether what I see be true,

        ▪ Until confirm’d, sign’d, ratified by you. Merchant of Venice Act III, Scene ii.

        Like the story The Gift Of the Magi, Bassanio prizes Portia’s love, and is willing to give her all he has in return, which is what separates him from the other suitors. Bassanio also understands it’s not the physical gift that is really the gift, it’s the love that it represents that really matters, which allows him to look past the outward appearance of the lead chest. Having gratitude for the gifts we receive and pledging our love to others is something that everyone should remember at Christmas and all festive occasions.In Conclusion, it isn’t cheery, and it is not as hopeful as most holiday stories, but in the season when people of all faiths celebrate together, Merchant Of Venice is a great reminder of our shared humanity and how we can show love and mercy to our fellow people.

        Resources:
        Merchant Of Venice Website: http://www.themerchantinvenice.org

        Book– Will in the world by Steven Greenblatt- An amazing analysis of Shakespeare’s life and career. The chapter “Laughter At the Scaffold,” traces the link between Merchant Of Venice and the real life treatment of Jews in the 16th century
        Book/ TV- Playing Shakespeare by John Barton.

        MovieMerchant Of Venice 2004 Movie starring Al Pacino. I like the way the director films the drama documentary style, using a single handheld camera in most of the shots. Pacino is very good at playing Shylock as a bitter, cynical old man who is trying to survive in a powerful Christian country.

        Official Kwanza website: http://www.officialkwanzaawebsite.org/NguzoSaba.shtml

        http://internetshakespeare.uvic.ca/m/lifetimes/plays/the%20merchant%20of%20venice/mershylock.html

        How “Hamilton” is like a Shakespearean History Play

        If you have two ears, you’re probably familiar with the Broadway Musical Hamilton. It swept the Tonys, has opened up touring productions across the country, and there’s already talk of a movie.

        This historic American musical was the brainchild of writer Lin Manuel Miranda, who also originated the role of Alexander Hamilton.

        The show is incredibly smart, creative, and delves into the seminal moments of American history.

        What’s really exciting to me is that Hamilton also has a depth and complexity that mirrors some of Shakespeare’s greatest plays, specifically the history plays.

        Between about 1590 and 1613, Shakespeare wrote 10 plays about the lives of English kings, from the vain Richard the Second to the heroic Henry the Fifth, to the diabolical Richard the Third. Here is a list of Shakespearean history plays, with links to online study guides, listed in chronological order by reign, not publication date.

        1. King John
        2. Richard the Second
        3. Henry the Fourth, Part I
        4. Henry the Fourth, Part II
        5. Henry the Fifth
        6. Henry the Sixth , Part I
        7. Henry the Sixth , Part II
        8. Henry the Sixth , Part III
        9. Richard the Third
        10. Henry the Eighth

        Are these Shakespearean history plays historically accurate by our standards? No, not by a long shot, though Shakespeare is only partially to blame for that. While Lin Manuel-Miranda had Hamilton’s own essays, his letters from friends and loved ones, and of course, every American history book at his disposal, Shakespeare’s sources were few, and mostly propaganda. They were, (to paraphrase Napoleon and Benjamin Franklin), “A series of lies, composed by winners, to excuse their hanging of the losers.”
        Shakespeare’s genius however, was to turn these two-dimensional propaganda stories into three dimensional characters with which we can all identify. Miranda did the same thing in reverse- distilling his wealth of historical information into a universal story of a man’s quest for the American Dream. Hamilton went from being an immigrant, to a soldier, to a pioneer in American law, government, and finance and the musical reflects his struggle to achieve his dreams through each stage of his life. It is also a love song from America to a man who dreamed of a future for America, one not dissimilar to the ode Shakespeare wrote to his “Star of England,” Henry the Fifth. The greatest compliment I can give Miranda is to say that he created an American musical, with the scale and breadth of Shakespeare.

        Part I: War and Peace

        In Shakespeare’s histories, particularly the first tetracycle of plays that include Richard the Second, the three parts of Henry VI, and Richard, III, there is a constant shift between war and peace, as scholar Robert Hunter observes. These plays cover the 200 year period of Wars of the Roses, and the end of the Hundred Years War. In all of these plays there are some very violent and very opportunistic young men who see war as an opportunity to rise above their stations. In war, they win glory in death, honor, respect, and status in life. However, in peacetime, they have “no delight to pass away the time,” as Richard III observes, and they struggle to survive in the political landscape of peace.

        Hamilton is a man of this same mold: When we first meet him, he is a poor immigrant from the West Indies with no title or money to improve his status. He spends the first third of the musical wishing he could become a commander in the Revolutionary War, especially in the song: “My Shot”


        Once Hamilton joins the revolution, his fortunes start to improve; he becomes George Washington’s aide-de-camp, then becomes a war hero in the Battle of Yorktown, and marries Eliza Schyler, daughter of one of the wealthiest men in America.

        Hamilton in war bears similarities to Shakespearean characters like Hotspur, Richard Duke of York, and even Richard III; people who see war as a chance to either die in glory, or become honored, wealthy, and powerful.

        Unfortunately for Hamilton, he fares less well once the war ends. Even though he becomes Washington’s first Secretary Of the Treasury, his success and closeness to now-President Washington makes him a walking target to his political adversaries. Even worse, his ambition and inability to compromise makes Hamilton equally vulnerable to people who see him as a loudmouth, an elitist, and a would-be demagogue who wants to control America’s finances and live like a king, similar to the way the British Prime Minister controls England’s finances.

        The character Hamilton resembles most in peacetime is Cardinal Wolsey in Shakespeare’s Henry VIII.
        I happen to know a lot about this character since I played him back in 2008. Wolsey controlled Henry VIII’s finances and was hated by most of Henry’s court because he was the son of a poor butcher in Essex, and became the king’s right-hand man. Just look at the faces of the people of the court in this painting of the king and Wolsey by Laslett John Pott; they are clearly jealous of Wolsey’s closeness to the king.

        Potter, Laslett John, 1837-1880; The Dismissal of Cardinal Wolsey
        Laslett John Pott, The Dismissal of Cardinal Wolsey, 1874 

        In both plays, Washington and King Henry are treated like gods- invulnerable, aloof, and completely above reproach.

        In both plays, whenever anything bad happens, the legislature blames Wolsey and Hamilton, not the King or the President. Also, once Henry or Washington no longer supports their right-hand-man, each one falls from grace and is destroyed by his enemies.
        Wolsey and Hamilton both fall because of their position as the financial advisor, which makes them a target to their enemies. Both are accused of using their country’s finances to enhance their personal wealth, which leads him to scandal and disgrace.

        In Henry the Eighth , Wolsey is certainly guilty of conspiring to use his country’s wealth to line his own pockets- he pays the cardinals in Rome to influence their vote in the hopes that he will become the next Pope!

        Pettie, John, 1839-1893; The Disgrace of Cardinal Wolsey
        John Pettie: The Disgrace of Cardinal Wolsey, 1869

        CARDINAL WOLSEY

        What should this mean?
        What sudden anger’s this? how have I reap’d it?
        He parted frowning from me, as if ruin
        Leap’d from his eyes: so looks the chafed lion
        Upon the daring huntsman that has gall’d him
        Then makes him nothing. I must read this paper;
        I fear, the story of his anger. ‘Tis so;
        This paper has undone me: ’tis the account
        Of all that world of wealth I have drawn together
        For mine own ends; indeed, to gain the popedom,
        And fee my friends in Rome. O negligence!
        Fit for a fool to fall by: what cross devil
        Made me put this main secret in the packet
        I sent the king? Is there no way to cure this?
        No new device to beat this from his brains?
        I know ’twill stir him strongly; yet I know
        A way, if it take right, in spite of fortune
        Will bring me off again. What’s this? ‘To the Pope!’
        The letter, as I live, with all the business
        I writ to’s holiness. Nay then, farewell!
        I have touch’d the highest point of all my greatness;
        And, from that full meridian of my glory,
        I haste now to my setting: I shall fall

        Like a bright exhalation in the evening,
        And no man see me more. Henry the Eighth Act III, Scene ii.

        Again, though Wolsey is guilty, like Hamilton he also used his financial genius to bring England into a new age of prosperity after centuries of war. The Tudors were some of the richest and most powerful monarchs in British history, and Wolsey helped establish their dynasty, but thanks to his enemies, he is turned out of court in disgrace:

        O Cromwell, Cromwell!
        Had I but served my God with half the zeal
        I served my king, he would not in mine age
        Have left me naked to mine enemies. Henry VIII, Act III, Scene ii.

        Hamilton is also accused of embezzling his wealth by his enemies, including James Madison, and Thomas Jefferson


        Hamilton’s enemies argue that his banking system benefits New York, where Hamilton was part of the House Of Representatives, as well as the Constitutional Convention. The main difference between Wolsey and Hamilton is that he didn’t embezzle America’s money, he is actually guilty of a far worse sin- adultery. Hamilton is accused of having an affair, and embezzling funds to keep it quiet, which he denies in a spectacular fashion:

        In both plays, the moment where the main character begins to fall is dramatized in a stirring, metaphor-rich soliloquy. Wolsey compares himself to the Sun, who, once he reaches the zenith of the sky, has nowhere to go but down to the west, and set into night.

        Hurricane, From Hamilton: An American Musical. Reprinted from DeviantArt.com

        Hurricane From “Hamilton: An American Musical. Reposted from Deviant Art.com

        Hamilton compares his situation to being in the eye of a hurricane, a particularly apt metaphor, since the real Alexander Hamilton’s house was destroyed by a hurricane in 1772. In addition, Lin Manuel Miranda‘s parents come from Puerto Rico an island that has, (and continues to be,) ravaged by hurricanes.

        In the song, “Hurricane,” Hamilton remembers that when he lost everything as a boy in 1772, he beat the hurricane by writing a letter which was published in the newspaper, and inspired so much pity that the residents of the island raised enough money to send Alexander to America.


        Later in the song, Hamilton decides to try to soothe the political hurricane that has engulfed him by writing a pamphlet, admitting the affair, but denying any embezzlement. Eventually the scandal destroys Hamilton’s career, but it doesn’t destroy his life; for that we have to look at the Shakespearean rivalry between Hamilton and Aaron Burr.

        Part II- The Duel: Hamilton and Burr V Henry and Hotspur.
        Aaron Burr and Hamilton keep meeting at important moments in the show, as if their fates are intertwined like gods in some kind of Greek tragedy.

        Hamilton and Burr appear as polar opposites in the musical. Hamilton is fiery, opinionated, uncompromising, and highly principled. He ruffles feathers, but his supporters know where he stands. Burr is the opposite. He keeps his views to himself, and waits for the most opportune time to act on anything. Throughout the play, Hamilton and Burr hate and admire different things about each other. Hamilton admits that Burr’s cool practicality helps him to practice the law and succeed in politics, while Burr admires Hamilton’s energy and his ability to work and write as if his life depends on it, especially in the song “The Room Where It Happens.”


        After Hamilton endorses Jefferson in the election of 1800, Burr loses the race, and the job of Vice President. In the musical, he blames Hamilton, and their grievance grows into a deadly conflict.


        The rivalry between Hamilton and Aaron Burr mirrors many characters in Shakespeare, but the two I want to focus on here are Hotspur and Prince Hal from Henry the Fourth Part One

        As this video from the Royal Shakespeare Company shows, these two combatants meet only once in the play, but they are constantly compared to each other by the other characters, who talk about them as if they were twins, (they even have the same first name)! Even the king remarks that his son could have been switched at birth with Hotspur.

        Prince Henry (known as Hal in the play), is the heir to the throne. Like Burr in Hamilton, Hal is methodical, cool, keeps his feelings to himself, and is known by some as a Machiavellian politician. Hotspur, (or Henry Percy), is his opposite. Like Hamilton he is fiery, eloquent, and not afraid to die for his cause, which in Hotspur’s case is to supplant the royal family and correct what he believes is an unjust usurpation by Hal’s father, King Henry the Fourth.

        In the scene below, the two men seem hungry to not only kill one another, but to win honor and fame as the man who killed the valiant Henry. Whether it’s Henry Percy, or Prince Henry who will die, is something they can only find out by dueling to the death.

        HOTSPUR

        If I mistake not, thou art Harry Monmouth.

        PRINCE HENRY

        Thou speak’st as if I would deny my name.

        HOTSPUR

        My name is Harry Percy.

        PRINCE HENRY

        Why, then I see
        A very valiant rebel of the name.
        I am the Prince of Wales; and think not, Percy,
        To share with me in glory any more:
        Two stars keep not their motion in one sphere;
        Nor can one England brook a double reign,
        Of Harry Percy and the Prince of Wales.

        HOTSPUR

        Nor shall it, Harry; for the hour is come
        To end the one of us; and would to God
        Thy name in arms were now as great as mine!

        PRINCE HENRY

        I’ll make it greater ere I part from thee;
        And all the budding honours on thy crest
        I’ll crop, to make a garland for my head.

        HOTSPUR

        I can no longer brook thy vanities.

        They fight, HOTSPUR is wounded, and falls

        HOTSPUR

        O, Harry, thou hast robb’d me of my youth!
        I better brook the loss of brittle life
        Than those proud titles thou hast won of me;
        They wound my thoughts worse than sword my flesh:
        But thought’s the slave of life, and life time’s fool;
        And time, that takes survey of all the world,
        Must have a stop. O, I could prophesy,
        But that the earthy and cold hand of death
        Lies on my tongue: no, Percy, thou art dust
        And food for– Dies. 

        Hamilton’s duel is also a matter of honor; Alexander wants to defend his statements against Burr, while Burr wants to stop Hamilton from frustrating his political career. Here is how their duel plays out in the musical Hamilton:


        Just like Burr, Prince Hal feels remorse after killing his worthy adversary.

        PRINCE HENRY

        For worms, brave Percy: fare thee well, great heart!
        Ill-weaved ambition, how much art thou shrunk!
        When that this body did contain a spirit,
        A kingdom for it was too small a bound;
        But now two paces of the vilest earth
        Is room enough: this earth that bears thee dead
        Bears not alive so stout a gentleman.
        If thou wert sensible of courtesy,
        I should not make so dear a show of zeal:
        But let my favours hide thy mangled face;
        And, even in thy behalf, I’ll thank myself
        For doing these fair rites of tenderness.
        Adieu, and take thy praise with thee to heaven!
        Thy ignominy sleep with thee in the grave. Henry IV, Part I, Act V, Scene iv.

        III. The Times

        Yorktown battlefield plaqueIn both Hamilton and all of Shakespeare’s history plays, the characters know that they are living during important events and their actions will become part of the history of their country, and none more than Washington. In the song, “History has its eyes on you,” he warns Hamilton that, try as one might, a man’s history and destiny is to some extent, out of his control, which echoes one of King Henry the Fourth’s most bleak realizations:

        Henry IV. O God! that one might read the book of fate,
        And see the revolution of the times
        And changes fill the cup of alteration
        With divers liquors! O, if this were seen,
        The happiest youth, viewing his progress through,
        What perils past, what crosses to ensue,
        Would shut the book and sit him down and die. Henry IV, Part II, Act III, Scene i.

        Washington is keenly aware of his legacy and does his best to protect it. In Shakespeare’s Henry IV,the king also lies awake trying to figure out how to deal with the problems of his kingdom, which is why Shakespeare gives him the famous line “Uneasy lies the head that wears the crown.” Likewise, Richard II, makes a famous speech where he mentions how many kings have a gruesome legacy of dying violently:

        As we see the whole story of Hamilton’s life progresses, his fate changes constantly and his legacy shifts in every scene of the show: immigrant, war-hero, celebrated writer, Secretary of the Treasury, but then, once he published The Reynolds Pamphlet, Hamilton went from famous to infamous. After After Burr murdered him in the duel, Hamilton might have been utterly forgotten, in spite of all his great accomplishments. This is a key theme in all history and tragedies, the universal desire of every man to transcend mortality by trying to create a lasting legacy for himself.

        The women who tell the story


        Fortunately for Hamilton, the women of his story also help to preserve it. Historically, most of Hamilton’s archives were preserved by his wife Eliza Schyler, and she and her sisters help shape the story from the beginning to the end of the show. Hamilton’s sister in law Angelica sets up this theme by literally rewinding the scene of her first meeting with Alexander, and then retells how she and Hamilton met from her own point of view.

        Once Eliza decides to marry Hamilton, she asks to “be part of the narrative.” She knows she married a important man and that his life will someday become part of American history. Eliza wants to be a part of that historic narrative.

        When Hamilton commits adultery and writes the Reynolds pamphlet though, Eliza is so hurt and scandalized that she rescinds her requests. In the song “Burn,” she destroys her love letters from before the affair, and all correspondence she had with Alexander when he revealed it. Lin Manuel Miranda explained that he wrote the song this way because no records during this period survived, so he invents the notion of Eliza destroying them as a dramatic device, to heighten her estrangement from her husband. Though this is a contrivance, it does re-enforce how, when part of the story is lost, it twists and destroys part of our impression of a person. Henry Tudor went to great lengths to destroy the legacy of his predecessor Richard the Third, and literally repainted him as a deformed tyrant, which haunts Richard’s legacy to this day.


        At the end of the play though, Eliza changes her mind yet again, as the final song I placed earlier shows, Eliza spends the last 50 years of her life to preserving and protecting her husband’s name, as well as Washington, all the founding fathers, and children who can grow up knowing that story at her orphanage. This song illustrates clearly that in the end, a man’s story is defined by the people who tell it, and Hamilton is fortunate to have such a creative, energetic and talented writer/ actor in Lin Manuel Miranda, and the cast of Hamilton, to preserve the story in such a Shakespearean way.

        Bravo.

        img_4003

        Educational links related to Hamilton:

        Books

        downloadHamilton: The Revolution by Lin-Manuel Miranda, Jeremy McCarter. A complete libretto of the show, with notes on its creative conception. download (1)

        download (2)Alexander Hamilton by Ron Chernow. This is the book that inspired Lin Manuel Miranda to create the show. It is a stirring, well-researched historical biography.

        TV: 

        “Hamilton’s America” PBS Program. Originally Aired 2016. Official Webpage: http://www.pbs.org/wnet/gperf/episodes/hamiltons-america/ You can watch the full documentary here: http://www.tpt.org/hamiltons-america/

        Web: 

        Biography. Com- Alexander Hamilton:https://www.google.com/amp/s/www.biography.com/.amp/people/alexander-hamilton-9326481

        Founders Online: The Papers of Alexander Hamilton: Columbia University, accessed 11/12/17 from https://founders.archives.gov/about/Hamilton 

        House Of Representatives Biography: Alexander Hamilton- IIhttp://history.house.gov/People/Listing/H/HAMILTON,-Alexander-(H000101)/

        Resources on Shakespeare’s History Plays:

        Books

        1. Shakespeare English Kings by Peter Saccio. Published Apr. 2000. Preview available: https://books.google.com/books?id=ATHBz3aaGn4C 
        2. Shakespeare, Our Contemporary by Jan Kott. Available online at https://books.google.com/books/about/Shakespeare_Our_Contemporary.html?id=QIrdQfCMnfQC  
        3. The Essential Shakespeare Handbook
          The Essential Shakespeare Handbook
        4. The Essential Shakespeare Handbook by
        5. Leslie Dunton-Downer and Alan Riding Published: 16 Jan 2013. 77ace26dfdee4259bf48d6eed1a59d57

        6. Will In the World
          Will In the World by Robert Greenblatt
        7. Will In the World by Prof. Steven Greenblatt, Harvard University. September 17, 2004. Preview available https://www.amazon.com/Will-World-How-Shakespeare-Became/dp/1847922961

        henries.HP_.CarouselScreens-480x270TV:Shakespeare Uncovered: Henry the Fourth. Originally Aired February 1, 2013. Available at http://www.pbs.org/wnet/shakespeare-uncovered/episodes/

        Websites

        Shakespeare on Ghosts

        Since Halloween is right around the corner, and since this is a huge topic in Shakespeare, I would like to talk a little bit about Shakespeare’s treatment of the living impaired, specters, spirits, in a word GHOSTS.

        Ghosts appear in five Shakespearean plays: Julius Caesar, Hamlet, Richard the Third, Macbeth and Cymbeline. In all but one of these plays, and in many other Elizabethan and Jacobean dramas, a ghost is a murdered person who needs someone to avenge their deaths. Their function is to warn the hero of the play to revenge their deaths, and/ or to torment their murderers.

        Ghosts have been part of western drama almost as long as there have been ghost stories. After all, the Greek and Roman plays that Shakespeare emulated often mention ghosts as warnings from above and below the world is in some kind of chaos. Most of the time, the kind of play in which you see a ghost is a Revenge Tragedy, plays like The Spanish Tragedy, Locrine, Shakespeare’s Hamlet, and even the Disney movie of The Lion King.


        The most potent example of a Shakespearean ghost is definitely  the ghost of Hamlet’s  father. I actually played this role and, rumor has it, so did Shakespeare himself! Hamlet’s father appears as a ghost two months after his death, and soon after his brother Claudius marries his widow Gertrude. The ghost’s purpose in the play is to get his son’s attention so that he can correct the terrible regicide that Claudius committed, allowing the Ghost to Rest In Peace.

        Shakespeare describes the ghost as a pale, sorrowful figure, dressed in full armor. The ghost only speaks to his son in the play, and he begins with a strange and terrifying description of the afterlife:

        Ghost: I am thy father’s spirit,

        Doom’d for a certain term to walk the night,

        And for the day confin’d to fast in fires,

        Till the foul crimes done in my days of nature

        Are burnt and purg’d away. But that I am forbid

        To tell the secrets of my prison house,

        I could a tale unfold whose lightest word

        Would harrow up thy soul, freeze thy young blood,

        Make thy two eyes, like stars, start from their spheres,

        Thy knotted and combined locks to part,

        And each particular hair to stand on end

        Like quills upon the fretful porcupine.

        But this eternal blazon must not be

        To ears of flesh and blood Hamlet Act I, Scene v.

        Many scholars believe that the tormenting realm of fire that the ghost describes is actually Purgatory, an old Catholic concept that explains where the souls of the dead go if they are neither evil enough for Hell, or good enough for Heaven. It’s also the place where people go who didn’t confess their sins before death, which was the ghost’s fate since Claudius poisoned him while sleeping.

        Though neither Hamlet nor his father explicitly say it, there is a strong implication that Hamlet must avenge his father by killing Claudius, which will presumably release the Ghost from Purgatory allowing it to ascend to Heaven.

        Some suggest that the ghost is a manifestation of Hamlet’s superego:

        Ernest Jones in his book Hamlet And Oedipusbelieved Hamlet had an unresolved Oedipus complex and couldn’t bring himself to revenge because Claudius had achieved the very goals Hamlet himself secretly desires to kill his father and marry his mother

        Faced with his guilt and lack of moral integrity Hamlet could have created a supernatural superego to spur him to revenge. As Freud describes it, the superego

        The superego is the ethical component of the personality and provides the moral standards by which the ego operates. The superego’s criticisms, prohibitions, and inhibitions form a person’s conscience, and its positive aspirations and ideals represent one’s idealized self-image, or “ego ideal.”

        In essence, since (in Jones’ view), Hamlet is too morally corrupt to be an effective avenger for his father, Hamlet imagines the ghost to help justify his revenge to himself. This is of course, only one way of interpreting the ghost and Hamlet as a whole. There is no right or wrong interpretation for any of Shakespeare’s characters, but it is a testament to Shakespeare’s genius that, 400 years after his own death, his ghostly writings helped inspire one the architects of modern psychology.

        Ghosts Of Torment

        The ghost of Banquo in Macbeth and the ghosts that plague Richard the Third the night before his battle help quicken the murderous kings’ his downward spiral. Macbeth becomes more and more paranoid, and therefore easier for his foes to defeat.

        When Julius Caesar’s Ghost appears to Brutus, he does so the night before his final battle- the battle of Philippi, where Brutus was defeated and committed suicide.

        When Richard III sees the ghosts of all the people he murdered, it not only terrifies him, it splits his soul in half! According to Sir Thomas More, Richard couldn’t sleep the night before his final battle at Bosworth Field. Shakespeare gives Richard a strange soliloquy where the ghosts awaken his conscience and awaken him from a fearful dream:

        [The Ghosts vanish]

        [KING RICHARD III starts out of his dream]

        Richard III (Duke of Gloucester). Give me another horse: bind up my wounds.

        Have mercy, Jesu!—Soft! I did but dream.

        O coward conscience, how dost thou afflict me!

        The lights burn blue. It is now dead midnight.

        Cold fearful drops stand on my trembling flesh.

        What do I fear? myself? there’s none else by:

        Richard loves Richard; that is, I am I.


        Is there a murderer here? No. Yes, I am:

        Then fly. What, from myself? Great reason why:

        Lest I revenge. What, myself upon myself?

        Alack. I love myself. Wherefore? for any good

        That I myself have done unto myself?

        O, no! alas, I rather hate myself

        For hateful deeds committed by myself!

        I am a villain: yet I lie. I am not.

        Fool, of thyself speak well: fool, do not flatter.

        My conscience hath a thousand several tongues,
        And every tongue brings in a several tale,

        And every tale condemns me for a villain.

        Perjury, perjury, in the high’st degree

        Murder, stem murder, in the direst degree;

        I shall despair. There is no creature loves me;

        And if I die, no soul shall pity me:

        Nay, wherefore should they, since that I myself

        Find in myself no pity to myself? Richard III, Act V, Scene iii.

        In these plays, the ghosts are a form of spectral punishment; the punishment of a guilty Conscience.

        Shakespearean Friendly Ghosts

        The only friendly Shakespearean ghosts appear in Shakespeare’s play Cymbeline and these ghosts are the ghosts of posthumous’ ancestors. They appear before the God Jupiter to plead for their descendant. Posthumous Leonidas. They beg Jupiter, the most powerful Roman god to end Posthumous’ suffering.

        Like the witches in Macbeth, ghosts in Shakespeare are mysterious and sometimes frightened- the are sort of a mirror for how we see ourselves, our lives, and our hopes to be remembered after death; the final words Hamlet’s father utters before disappearing into the morning mist are: “Adieu, adieu, remember me.”

        https://www.bl.uk/shakespeare/articles/ghosts-in-shakespeare

        https://www.bard.org/study-guides/ghosts-witches-and-shakespeare

        Animated Richard III, 20:00 the ghosts appear:

        References:

        Greenblatt, Steven Hamlet In Purgatory 2001. Princeton University Press. Link: file:///Users/jrycik/Downloads/Hamlet-in-Purgatory-Princeton-Classics.pdf

        Jones, Earnest, Hamlet and Oedipus. 

        https://people.ucsc.edu/~vktonay/migrated/psyc179d/HamletOedipus.pdf 

        Open Source Shakespeare, Cymbeline: 

        https://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=cymbeline&Act=5&Scene=4&Scope=scene&LineHighlight=3243#3243

        http://www.markedbyteachers.com/gcse/english/which-version-of-the-hamlet-ghost-scene-act-1-scene-5-was-the-most-effective-and-why.html

        Pearlman, E. Hamlet: Critical Essays: The Invention Of the Ghost. https://books.google.com/books?id=jdfWAQAAQBAJ&pg=PA71&lpg=PA71&dq=ghost+that+shrieked+hamlet+revenge&source=bl&ots=KY68gIrh2V&sig=MjEr2NxLQ7T4c2xW1QscrmdeMkc&hl=en&sa=X&ved=0ahUKEwiR5o6M4I_XAhUK0oMKHQIJBeAQ6AEIKDAA#v=onepage&q=ghost%20that%20shrieked%20hamlet%20revenge&f=false

        https://www.shmoop.com/hamlet/ghost.html

        https://www.jstor.org/stable/pdf/456606.pdf?refreqid=excelsior%3A3f62aed88fb9e9b9a8f8e462186ff95c

        Creepy Shakespearean Poetry For Halloween/ Friday The 13th

        http://www.louvre.fr/oeuvre-notices/lady-macbeth-somnambule

        Ghostly greetings everyone!

        Since it’s the month of all things spooky, and we have a rare Friday the 13th today, I thought I would share some of Shakespeare’s scariest lines!

        First, from the tragedy of Macbeth, the famous Dagger Speech:

        Macbeth.

        Is this a dagger which I see before me,

        The handle toward my hand? Come, let me clutch thee.

        I have thee not, and yet I see thee still.

        Art thou not, fatal vision, sensible

        615

        To feeling as to sight? or art thou but

        A dagger of the mind, a false creation,

        Proceeding from the heat-oppressed brain?

        I see thee yet, in form as palpable

        As this which now I draw.

        620

        Thou marshall’st me the way that I was going;

        And such an instrument I was to use.

        Mine eyes are made the fools o’ the other senses,

        Or else worth all the rest; I see thee still,

        And on thy blade and dudgeon gouts of blood,

        625

        Which was not so before. There’s no such thing:

        It is the bloody business which informs

        Thus to mine eyes. Now o’er the one halfworld

        Nature seems dead, and wicked dreams abuse

        The curtain’d sleep; witchcraft celebrates

        630

        Pale Hecate’s offerings, and wither’d murder,

        Alarum’d by his sentinel, the wolf,

        Whose howl’s his watch, thus with his stealthy pace.

        With Tarquin’s ravishing strides, towards his design

        Moves like a ghost. Thou sure and firm-set earth,

        635

        Hear not my steps, which way they walk, for fear

        Thy very stones prate of my whereabout,

        And take the present horror from the time,

        Which now suits with it. Whiles I threat, he lives:

        Words to the heat of deeds too cold breath gives.

        640

        [A bell rings]

        I go, and it is done; the bell invites me.

        Hear it not, Duncan; for it is a knell

        That summons thee to heaven or to hell. Act II, Scene I.

        Hamlet. Angels and ministers of grace defend us!

        Be thou a spirit of health or goblin damn’d,

        Bring with thee airs from heaven or blasts from hell,

        What may this mean

        680

        That thou, dead corse, again in complete steel,

        Revisits thus the glimpses of the moon,

        Making night hideous, and we fools of nature

        So horridly to shake our disposition

        With thoughts beyond the reaches of our souls?

        685

        Say, why is this? wherefore? What should we do? Hamlet, Act I, Scene v.

        Puck. Now the hungry lion roars, 2220

        And the wolf behowls the moon;

        Whilst the heavy ploughman snores,

        All with weary task fordone.

        Now the wasted brands do glow,

        Whilst the screech-owl, screeching loud, 2225

        Puts the wretch that lies in woe

        In remembrance of a shroud.

        Now it is the time of night

        That the graves all gaping wide,

        Every one lets forth his sprite, 2230

        In the church-way paths to glide:

        And we fairies, that do run

        By the triple Hecate’s team,

        From the presence of the sun,

        Following darkness like a dream, 2235

        A Midsummer Night’s Dream, Act V, Scene I.

        Quick Shout Out: Drunk Shakespeare

        A recent trend going around Shakespearean theatres is the new trend of putting on a production of Shakespeare’s plays, with at least one of the actors drunk for the majority of the performance! There is a Drunk Shakespeare company in New York, and the trend has started spreading to other theaters, so I resolved to check it out for myself! I can only speak for this particular production, but I can say pretty confidently, if you get a chance to see a Drunk Shakespeare, do it! I was expecting a hilarious train wreck, but what I got was a great time!

        This production of Drunken Hamlet was mounted by the thespians at Weary Arts Group in York Pennsylvania.

        Unlike Drunk Shakespeare in NYC, the entire cast takes shots while performing. They lose their lines, make drinking part of the stage business, and the audience is encouraged to throw flowers at the cast at any point of the show, which means, (you guessed it), “more shots!”

        With the amount of effort that it takes to memorize a Shakespeare play, the inebriated cast often can’t remember the Iambic pentameter but, rather than bringing the show to a halt, the ad-libs and bawdiness they bring as they curse and giggle back to their lines is all part of the fun. I remember one moment where Claudius actually talked about the Disney Movie “The Lion King,” calling the villainous lion Scar the hero of the cartoon for murdering his brother and marrying his sister-in-law. This blend of authentic literature and bawdy adult silliness reminds me of the popular Comedy Central Show “Drunk History,” in that sometimes the actors speak the dialogue, sometimes they make funny ad-libs and sometimes they just drunkenly slur and giggle their way through the play.

        Furthermore, the audience was encouraged by the director to become part of the experience- we were asked to boo characters we don’t like, to talk to the actors,basically to react without any standards of politeness or decorum! I actually got a big laugh when, as Claudius gave the famous couplet: “It shall be so. Madness in great ones must not unmatched go,” and I shouted back, “Tell that to Donald Trump!” In all modesty, the six pack of pumpkin beer probably sharpened my wit.

        I’ve read that, due to the filth in the rivers and lakes in London, alcohol was an essential part of the diet for most people in Elizabethan England, and Shakespeare himself might have died from a fever he contracted after having too much to drink in The Mermaid Tavern in April of 1616. It’s also true that Elizabethan audiences regularly drank and yelled at the actors onstage. With this in mind, Drunk Shakespeare does have a small spirit of authenticity about it, and that energy really helped me enjoy the play.

        My only major complaint about the show was that Hamlet doesn’t lend itself to Drunk Shakespeare as well as other plays. Some scholars argue that Shakespeare wrote the play because he was tired of trying to appeal to the drunk groundlings, and wanted to appeal to a more refined and upper class clientele. Hamlet himself says these groundlings are: “For the most part, are capable of nothing but inexplicable dumb-shows and noise.”

        However, I’m glad I gave this kind of grounding theater a try, and I would recommend it to anyone who wants a good time with some irreverent Shakespeare.

        Why Everyone Should Read (Or Teach) “The Merchant Of Venice.”

        I am disgusted by the recent violence in Charlottesville VA. The fact that in 2017, White supremacists threatened, hurt, and killed innocent Americans is despicable and truly disheartening. I won’t go into my political views here since this tragedy transcends politics and forces everyone in this country to re-examine who we are and what we stand for as a people, and do our part to help prevent this kind of mindless hatred.

        I’m not a politician, I’m not a policeman. My area of expertise is Shakespeare, so I am going to try to make a case for why the study of Shakespeare can help people, (especially young people), learn about the world, examine new points of view, and try to improve the world.  I will then add a list of resources for teachers and students to deepen your understanding of the play.

        My first argument for the play is that Merchant has two of the best speeches about intolerance ever written.

              You’ve probably heard of this speech, (spoken by the Jewish moneylender Shylock), and I’m also well aware of the fact that, in context, it is not entirely about peaceful coexistence and tolerance, but it nevertheless establishes Shakespeare’s argument that condemns bigotry and violence, particularly against Jews:

        Hath not a Jew eyes? hath not a Jew hands, organs,
        dimensions, senses, affections, passions? fed with
        the same food, hurt with the same weapons, subject
        to the same diseases, healed by the same means,
        warmed and cooled by the same winter and summer, as
        a Christian is? If you prick us, do we not bleed?
        if you tickle us, do we not laugh? if you poison
        us, do we not die? and if you wrong us, shall we not
        revenge? If we are like you in the rest, we will
        resemble you in that. If a Jew wrong a Christian,
        what is his humility? Revenge. If a Christian
        wrong a Jew, what should his sufferance be by
        Christian example? Why, revenge. The villany you
        teach me, I will execute, and it shall go hard but I
        will better the instruction. Merchant, Act III, Scene i.

        img_5431Al Pacino when he did this speech said that it has the eloquence and power of Dr. Martin Luther King. Patrick Stewart initially had the same reaction, but later realized that Shylock turns midway through and the speech becomes a justification for revenge. What’s clever here is that Shakespeare manages to give Shylock two good arguments against bigotry; by emphasizing how Jews are no different than any other racial or religious group, and also warning that oppressing a people will only result in more retribution and pain on both sides. This is what he means when he says: “The villainy you teach me, I will execute.” We’re seeing this sort of reaction right now with the recent surge of violence by both white supremacists and the Antifa; without tolerance and common decency, chaos and bloodshed reins.

        Another speech, much less well-known, is this speech of the Prince Of Morocco, one of Shakespeare’s only black characters. The speech below is the first time he speaks while attempting to woo the heroine Portia:

        Prince of Morocco. Mislike me not for my complexion,
        The shadow’d livery of the burnish’d sun,
        To whom I am a neighbour and near bred.
        Bring me the fairest creature northward born,
        Where Phoebus’ fire scarce thaws the icicles,
        And let us make incision for your love,
        To prove whose blood is reddest, his or mine.
        I tell thee, lady, this aspect of mine
        Hath fear’d the valiant: by my love I swear
        The best-regarded virgins of our clime
        Have loved it too: I would not change this hue,
        Except to steal your thoughts, my gentle queen. Merchant Of Venice, Act II, Scene i.

        People often forget that this speech condemns pre-judging a person based on the color of their skin. Morocco tells Portia, (who in all probability has never seen a black man before), to not judge him by his appearance. His tone is gentle, but it is not apologetic. He says he won’t change his skin color for anything, (except maybe if it would win her heart). The Prince is a dignified and proud representative of his country and his race.

        My second argument for reading or teaching this play is that it reveals how bigotry and racism is usually tied to money and profit. In Act IV, Scene i, Shylock points out the hypocrisy of his Christian brethren in keeping slaves, which they justify by saying that they are not people, but property:

        • Shylock. You have among you many a purchased slave, Which, like your asses and your dogs and mules, You use in abject and in slavish parts, Because you bought them: shall I say to you, Let them be free, marry them to your heirs? Why sweat they under burthens? let their beds Be made as soft as yours and let their palates Be season’d with such viands? You will answer ‘The slaves are ours:’ so do I answer you: The pound of flesh, which I demand of him, Is dearly bought; ’tis mine and I will have it. If you deny me, fie upon your law! There is no force in the decrees of Venice. I stand for judgment: answer; shall I have it? Merchant, Act IV, Scene i.

        Shylock turns this hypocrisy back on the Christians by saying basically, “How can you call me and human when you  debase and subjugate your fellow creatures?” The answer to both questions of course, is that it is economically convenient. Shylock earns his money by lending money at interest, and threatens dear penalties if not repaid on time. Similarly, the Christians revile Shylock because their religious practices forbid them from lending money, so they have to go to him instead of other Christians. We see echoes of this unfortunate tendency today: the white supremacists in Charlottesville were chanting: “Jews will not replace us,” which clearly exposes their fear of losing political and economic influence to minorities. In addition, our country has refused countless immigrants from poor, war-torn countries which we justify to ourselves by saying the cost of letting them in is too great.

        The play’s comic sub-plot also has many lessons for today’s world. The hero Bassanio undergoes  dramatic transformation from a spoiled prodigal son to enlightened married man. At the play’s beginning, he has a close friendship with the merchant Antonio, that might be played as a one sided homosexual relationship. Antonio is very affectionate to Bassanio, and lends him a large amount of money without any expectation of repayment, which has sometimes been interpreted as a hinting of Antonio’s unrequited love for Bassanio. Though Basanio doesn’t reciprocate any romantic feelings,  he eventually saves Antonio’s life, and at least tries to repay him for his kindness.

        robert-alexander-hillingford-the-three-caskets--the-merchant-of-venice,-act-iii,-scene-ii
        Robert Alexander-Hillingford: The Three Caskets, The Merchant Of Venice, Act III, Sceneii
        Bassanio also takes a very feminist attitude towards the play’s heroine Portia- he understands that being married means making your spouse a partner, and giving her an equal say. At the beginning of the play, he sails to an island called Belmont, to try to win Portia’s hand, by correctly solving a riddle. You may have heard of the three caskets, gold, silver, and lead. If Bassanio guesses right, he wins Portia and her fortune. Bassanio chooses the correct casket, but halts afterwards, and does something unexpected; he asks Portia herself if she wants to marry him. He doesn’t treat her as his prize, and throughout the play asks her opinion, and her permission before he acts, just as a good husband should.

        Fair lady, by your leave;
        I come by note, to give and to receive.
        Like one of two contending in a prize,
        That thinks he hath done well in people’s eyes,
        Hearing applause and universal shout,
        Giddy in spirit, still gazing in a doubt
        Whether these pearls of praise be his or no;
        So, thrice fair lady, stand I, even so;
        As doubtful whether what I see be true,
        Until confirm’d, sign’d, ratified by you. Merchant Of Venice, Act III, Scene ii

        I would argue that, although Portia is a far more important character, Bassanio is the moral center of the play. He is the only person who treats Shylock like a human being, by trying to reason with him and pay Antonio’s debt, instead of spitting in Shylock’s face like Antonio, or forcing him to convert like the characters at the end of the play. Bassanio also is one of the only characters who call Shylock by name, everyone else just calls him “Jew.” Thus, audiences and students can learn from this kind of person; the kind of person Christ said could be saved and become a true Christian, because he acknowledges his sins and tries to correct them. Bassanio is the prodigal son in this play, and we benefit from the parable of his life.

         By contrast, some of the other characters, Christian and Jewish, are examples of the kind of morality that we all wish to discourage in our children, and society in general. Though they are outwardly pious, the Christians like Antonio and Portia, are capable of vindictive, cruel, and definitely impious behavior. Portia, (probably due to her sheltered life on Belmont), can be deeply racist and prejudicial. She is prejudiced against the Prince of Morocco because of his race, hoping that “All of his complexion,” will fail to win her love. In addition, when she poses as a judge presiding over the court case between Antonio and Shylock, she throws vengeance at Shylock, even though she barely knows either of them. She strips Shylock of his property and nearly gets him sentenced to death, even though she preaches mercy to him in her most famous speech. If you look at the contrast between her words and actions, she is a deeply hypocritical person. Shakespeare shows how toxic it can be to raise a child in an isolated environment.  Portia’s isolation makes it harder for Portia to relate to and understand different types of people, and it planted her predjudices within her heart.

        Antonio for his part, seems to define himself by how “un-Jewish” he is, believing that generosity and mercy are anathema to all Jews, particularly when Shylock confronts Antonio in the courtroom:

        I pray you, think you question with the Jew:
        You may as well go stand upon the beach
        And bid the main flood bate his usual height;
        You may as well use question with the wolf
        Why he hath made the ewe bleat for the lamb;
        You may as well forbid the mountain pines
        To wag their high tops and to make no noise,
        When they are fretten with the gusts of heaven;
        You may as well do anything most hard,
        As seek to soften that—than which what’s harder?—
        His Jewish heart: therefore, I do beseech you,
        Make no more offers, use no farther means, Merchant, Act IV, Scene i.

        Although Jesus preached loving ones neighbor, and being the Good Samaritan to other religions, Antonio seems to think that being a true Christian, means being Anti-Jew. He is a counter example of piety that audiences and students can learn to mollify and avoid within themselves.

        My final example of religious counter examples, Shylock himself, shows how prejudice can destroy a man if he lets it. At the beginning of the play, Shylock has had to endure losing his wife, having Antonio spit on him, mock him, encourage his enemies, and call him a host of dehuminizing names. That’s not even taking into account the horrible Venetian ghettos of the 1590s, in which Shylock would have been forced to live were he a real Venetian Jew. One quote that helps explain his behavior comes from Henry Norman Hudson in 1882:

        [In Shylock] “we see the remains of a great and noble nature, out of which all the genial sap of humanity has been pressed by accumulated injuries.” – Shakespeare: His Life, Art, and Characters, H. N. Hudson, Ginn and Company, Boston, p. 291. “

        Scholars and actors have emphasized ever since the end of the Second World War, that, although Shylock is still guilty of reprehensible acts, his cruelty is a reaction to the cruelty he has had to endure, or as he puts it: “The villainy you teach me, I will execute.

        img_5433
        Maurycy Gottlieb: “Shylock and Jessica,” 1876
        Shylock’s lack of joy and love manifests itself by the way he treats everyone in the play. He keeps his daughter locked away from anyone, which later inspires her to run away with the Christian Lorenzo, (while stealing a huge amount of Shylock’s money). Shylock then rages against the citizens of Venice, especially Antonio, whom he blames for his losses, and concocts a plan to kill him by taking a pound of flesh away from his heart.

        Shylock’s pain and hardships have turned him into the kind of bloodthirsty Jewish stereotype his enemies have always assumed to be. At the same time, he constantly points out the cruelty and hypocrisy of Christians, calling them no better than himself. In the end though, through Portia and the Duke sentencing Shylock to will his money to Lorenzo, and convert to Christianity, Shylock has to become what he hates, and surround himself with people who will never accept him; an ending that fills the audience with pity and maybe even remorse.

        Now, there are compelling arguments that teaching this play can actually encourage stereotypes, which it can, and has in ages past. I read several articles that debate this issue in various ways. I’d like to discuss two articles written within one year of each other that are particularly fascinating. The first one was an article from The New Yorker by Professor Steven Greenblatt, who claimed that Merchant is “Shakespeare’s Cure For Xenophobia.” The other was a Washington Post article that argues that in the interest of keeping negative Jewish stereotypes from perpetuating themselves,  this play should be ignored altogether. 

        On the other hand, as Professor Greenblatt says, the genius of the play is that it shows stereotypes, but it also shows the people under them. If you compare Shylock in The Merchant Of Venice, to other contemporary Jewish characters like Barrabas in Marlowe’s Jew Of Malta, he is a much more compelling, complete, interesting, and at times moving character. Love him or hate him, Shylock inevitably gets under your skin. He’s a man who strips the varnish off our culture and exposes the hypocrisy, greed, and prejudice that lurk just beneath the waters of the Rialto, (as well as the modern Potomac and the Hudson). The saving grace of this play is that it forces us to examine ourselves- how do we treat people, how do we see people who are different than us? What makes our points of view good and bad, and what can we do to heal our misunderstandings? Though this play cannot answer these questions, it encourages us to confront them, to open a dialogue, and hopefully, open avenues for change.

        Artwork: For a wonderful selection of pictures of Portia, please visit: http://themerchantofveniceportia.weebly.com/fair-portias-counterfeit.html 

        Elizabeth Shuh: “Merchant Of Venice.” Reprinted with permission from Immortal Longings.com
        Portrait of Edmund Keene as Shylock, circa 1815
        Portrait of Jessica by Luke Fildes, 1888
        Music: Where is fancy bred?

        Resources

        1. Schmoop.com Summary of The Merchant Of Venice: https://www.shmoop.com/merchant-of-venice/summary.htmlhttps://www.shmoop.com/merchant-of-venice/summary.html
        2. Shakespearehelp.com- lesson plans for teachers on The Merchant Of Venice: https://www.shakespearehelp.com/the-merchant-of-venice-lesson-plans/
        3. Teaching English.org: Lesson Plans for Shakespeare’s Merchant Of Venice: https://www.teachingenglish.org.uk/sites/teacheng/files/Mercy%20in%20Shakespeare’s%20The%20Merchant%20of%20Venice%20Lesson%20Plan.pdf
        4. Thug Notes: Merchant Of Venice (explicit language) https://m.youtube.com/watch?v=Tw9q2P2N028
        5. Varsity Tutors: Merchant Of Venicehttps://www.varsitytutors.com/englishteacher/merchant
        6. Intermediate Worksheets: Merchant Of Venice: http://www.macmillanreaders.com/wp-content/uploads/2010/08/The-Merchant-of-Venice-Worksheet.pdf
        7. Prestwick House: Worksheets for Students: Merchant Of Venice: https://www.prestwickhouse.com/samples/200958.pdf
        8. Shakespeare In the Schools: The Merchant Of Venice- Evaluating Values:  https://witf.pbslearningmedia.org/resource/ca3e6c02-0eb6-436f-b605-f741673dd399/evaluating-values-merchant-of-venice/https://witf.pbslearningmedia.org/resource/ca3e6c02-0eb6-436f-b605-f741673dd399/evaluating-values-merchant-of-venice/
        9. Internet Shakespeare Editions: The Merchant Of Venice- http://internetshakespeare.uvic.ca/m/lifetimes/plays/the%20merchant%20of%20venice/
        10. RSC Production History: The Merchant Of Venice: https://www.rsc.org.uk/the-merchant-of-venice/about-the-play/stage-history