tag:blogger.com,1999:blog-40458842544533267302024-03-05T18:10:43.194-08:00A Window of Thoughts into Shakespeare and MarloweSyahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-4045884254453326730.post-8578296497075310252011-04-01T08:11:00.000-07:002011-04-01T08:14:15.326-07:00Doubles and Likenesses-with-difference: The Comedy of Errors and The Winter's Tale© Connotations 6.1 (1996-97): 19-40<br />N.B. For purposes of citation, page numbers of the printed version are inserted in square brackets.<br /><br />Doubles and Likenesses-with-difference: The Comedy of Errors and The Winter's Tale<br /><br />BRIAN GIBBONS<br /><br />Reference:<br /><br />M. M. Mahood, Shakespeare's Wordplay (London: Methuen, 1957) <br />In her classic study, M. M. Mahood concentrated on wordplay in Shakespeare. My interest here is in non-verbal double meanings and their interplay with the verbal text. Structurally The Winter's Tale is obviously a double action divided by Time the Chorus. Part 1's narrative, the movement from court to country and from kings to shepherds, is reversed in Part 2's movement from country to court and from shepherds to kings, as if in a diptych or pair of hinged mirrors: and this double pattern is repeated in other terms: Part 1's suspected disguises are repeated in Part 2's real disguises, and in each part accusation is followed by flight, then by confrontation. At the hinge between the two Parts death meets birth; the end of Part 2 reunites the figures from the beginning of Part 1. <br /><br />This pattern of doubling, the repetition in the two Parts of events and even individual words, composes patterns of likeness-with-difference--conceits which are far-fetched over a gap between tragedy and comedy, Sicily and Bohemia, winter and spring. Shakespeare makes his double design of the play emphatic but at the same time it is riddling, something that is most obviously emphasised by the two coups de théâtre--the bear and the statue--where the stage images embody deep conceits; but also by the mischievous spirit of travesty in which the whole pastoral episode of 4.4. is presented. The double design in fact extends to the smallest verbal links between the two halves of the play, as with the single word "hook," used by Leontes gloating at the prospect of seizing Hermione: "she / I can hook to me" (2.3.7) and by Polixenes rebuking Florizel: "Thou a sceptre's heir, / That thus affectst a sheep-hook" (4.4.420): or the single word "slip," used by Perdita in 4.4.100 in the sense "a twig, sprig or small shoot taken from a plant or tree for purposes of grafting [page 20] or planting" (OED sb.2 1.) but earlier used in another sense, "sin," by her mother playfully ("slipp'd," 1.2.85) and her father savagely ("slippery," 1.2.273). There is something residually difficult in this whole pervasive system of likenesses-with-difference.1 <br /><br />Early in his career, Shakespeare deliberately explores varied comic styles. He is fascinated by extremes, concentrating intensely in Love's Labour's Lost on words and the idea of double meaning, while in The Comedy of Errors it is action and the meaning of the double which is thoroughly explored. It is presumably because The Comedy of Errors is chiefly concerned with the play of meanings in doubled persons and situations, rather than in words, that it did not earn itself a place in Shakespeare's Wordplay; nevertheless I have been struck when re-reading The Winter's Tale by the way it has kept reminding me of The Comedy of Errors, and looking again at this early comedy from the unusual perspective of The Winter's Tale seems to me to illuminate interesting features in both plays--there is the conscious pointing to the absurdity resulting from the extreme pressure placed on narrative conventions, there is the way a whole plot can have a double meaning apparent to an audience but not to the characters--although it is not so much in technique as in substance that the later Shakespeare is still able to draw inspiration from this early piece.<br /><br />In The Comedy of Errors the changes Shakespeare makes to his main source, Plautus, emphasise the pathos of human capacity for error and man's subjection to the power of Fortune. The doubling of masters and servants results in situations in which innocent actions appear guilty; the fact of identical twins puts in question the very idea of Nature, as well as the human quest for self-knowledge. Shakespeare ensures that the audience know more of the situation than the characters do (except for the very last revelation), which increases the impression that the characters are victims, thereby producing effects both ridiculous and pathetic. The wife Adriana declares (2.2.110-46) her belief in the sanctity of marriage as a spiritual union, she and her husband being "undividable, incorporate." The audience is aware--though she is not--that her husband has an identical twin, and that it is to this man, a complete stranger, that she is declaring herself indissolubly knit. The metaphysical paradox that man and wife are one flesh is thus confronted by the [page 21] physical paradox that man and brother are identically the same. The longing for reunion that one twin feels for the other is contrasted with the frustration both husband and wife feel within the bonds of marriage.<br /><br />It is in this central concern with twins as a challenge to the exclusive union of man and wife that I find the strongest connection between The Comedy of Errors and The Winter's Tale; and with this common theme goes a similarity of dramatic technique (allowing for the general development in Shakespeare's art) in the dividing of an audience's attention so that an episode can be understood from two opposite points of view simultaneously--so that the narrative itself, in short, has a double meaning, and generates whole orders of subsidiary double meanings. <br /><br />A clear instance is the already-mentioned episode where the wife, Adriana, fearing her husband is being unfaithful, suddenly comes upon him. She passionately appeals to him to uphold the ideal of marriage as spiritual union:<br /><br /><br />For know, my love, as easy mayst thou fall<br />A drop of water in the breaking gulf,<br />And take unmingled thence that drop again,<br />Without addition or diminishing,<br />As take from me thyself and not me too. (2.2.125-29)<br />The audience, knowing that this is not her husband but his twin, will not respond with full sympathy to her speech--they will be more interested in its effect on the bewildered Antipholus of Syracuse. He does his best to respond clearly and formally (2.2.147):<br /><br /><br />Plead you to me, fair dame? I know you not:<br />but the situation gives this simple utterance two opposite meanings: the audience can see that it is perfectly reasonable--since he is a stranger--but it is equally clear that to Adriana it must appear to be frightening evidence of a sudden change in her husband--it is either calculated malice or madness. Moreover, Adriana's speech with its simile of the drop of water will have another quite unintended significance to this Antipholus, since in his first scene he had likened himself, seeking his lost twin, to [page 22] <br /><br /><br />a drop of water,<br />That in the ocean seeks another drop,<br />Who, falling there to find his fellow forth<br />(Unseen, inquisitive), confounds himself. (1.2.35-38)<br />--a speech all the more poignant in retrospect since it marks his last moment of sanity before the entry of the wrong Dromio plunges him deeper and deeper into an ocean of confusion, until he fears he is among <br /><br /><br />Dark-working sorcerers that change the mind,<br />Soul-killing witches that deform the body (1.2.99-100)<br />Although the image of the drop of water, transparent and volatile, can be understood in Christian terms as the soul, in The Comedy of Errors these same qualities of transparency and volatility are also associated, ironically, with instability and loss of identity. In the play the image of the drop of water is used as a paradoxical simile both for the relationship between twin and twin and for husband and wife. As the play unfolds, Adriana's assertion of indivisible union with her husband is belied by her suspicion that he is unfaithful, by the audience's observation of his temper and of his relations with the courtesan, and by the remarks of the Abbess about jealous wives; so that the ultimate issue is the crisis in the marriage, something not caused, but only precipitated, by the arrival of the twin: thus a resonant double-meaning is focused in Adriana's passionate question:<br /><br /><br />How comes it now, my husband, O, how comes it,<br />That thou art then estranged from thyself? (2.2.119-120) <br />Here are several hints for the stagecraft as well as the subtext of Act 1 Scene 2 of The Winter's Tale, which likewise concerns a married couple, the husband having a (spiritual) twin brother, then being struck suddenly by mistaken jealousy, the wife virtuous but, victim of an apparently compromising situation, exposed to his madness and vindictive rage, amid accusations of witchcraft and conspiracy. Shakespeare in The Winter's Tale manipulates the audience's perception so that they see events in a double sense: the husband is a tyrant but at the same time [page 23] a victim, he is a tragic figure and at the same time as ridiculous as Antipholus of Ephesus in pursuit of Dr Pinch.<br /><br /><br />* * *<br />In 3.2. of The Comedy of Errors Luciana appeals to her brother-in-law Antipholus to be kinder to his wife: even if he does not love her, she says, at least he could conceal it: if he must commit adultery, then "do it by stealth," "Be secret-false,"<br /><br /><br />Look sweet, speak fair, become disloyalty;<br />Apparel vice like virtue's harbinger; (3.2.11-12)<br />Unfortunately she does not realise this is the wrong twin brother, who while being confused by much of what she says, reacts eagerly to what he thinks might be a sexual invitation:<br /><br /><br />Lay open to my earthy, gross conceit<br />Smothered in errors, feeble, shallow, weak,<br />The folded meaning of your words deceit (3.2.34-36)<br />It is, characteristically for this play, the situation which gives this language its ambiguity. The word "folded" can be glossed (OED "folded" ppl.a.) as concealed, doubled, twisted, and is equivalent to "implied." Folding a letter before the ink is dry produces a double image; but of course the usual reason for folding is to conceal the contents. Still, in a play about undiscovered doubles, two sets of identical twins, "folding" seems a suggestive word for Antipholus to use here: doubled, concealed meanings are of the essence.<br /><br />If, psychologically, a certain threat is inherent in self-mirroring, it may be because the self is naturally prone to division. In The Comedy of Errors there is no mistaking the fearful implications of the loss of self-possession, the idea of confounding, the suggestion of drowning implicit in the simile used by the twin to explain that he is "like a drop of water"<br /><br /><br />That in the ocean seeks another drop,<br />Who, falling there to find his fellow forth<br />(Unseen, inquisitive), confounds himself. (1.2.36-38)<br />[page 24] From his early plays forward Shakespeare shows a fascination with likenesses-without-difference, in twins and doubles. When Viola in Twelfth Night thinks of her lost twin brother she says, to reassure herself, "I my brother know / Yet living in my glass" (3.4.379-80); but when she and her brother, at last reunited, stand side by side, the sight unnerves the hitherto robust Antonio:<br /><br /><br />How have you made division of yourself?<br />An apple, cleft in twain, is not more twin. (5.1.222-23)<br />Her twin is identical except for his opposite sex--Shakespeare developing further from The Comedy of Errors his concern with same-sex identical twins, and hence producing in Twelfth Night a more complex treatment of issues of sexual identity as well as jealousy. <br /><br />In A Midsummer Night's Dream 3.2. the idea is of spiritual twinning, of the growing together of the two girls Helena and Hermia:<br /><br /><br />So we grew together,<br />Like to a double cherry, seeming parted,<br />But yet an union in partition,<br />Two lovely berries moulded on one stem;<br />So with two seeming bodies, but one heart, (3.2.208-12)<br />Their childhood unity is stressed at the point when sexual rivalry divides them. Helena appeals to Hermia to remember how in childhood they were like identical twins, but whatever she might pretend in these lines, the play makes it clear that the girls are physically quite unlike (e.g. 3.2.290-91). It was not physical but spiritual identity they shared so intensely, but Helena lets her rhetoric run away with her: the unintended confusion of the simile (does this double cherry have two stones or one?) reveals a certain emotional falseness in the speaker, especially as the cherry's propriety as an image of girlhood is undermined minutes earlier by the use Demetrius has made of it, addressing Helena: "Thy lips, those kissing cherries, tempting grow."<br /><br />Helena's lines are too neatly divided, the similes whimsically pretty but too like one another, making an effect more repetitious than incremental: [page 25] <br /><br /><br />We, Hermia, like two artificial gods,<br />Have with our needles created both one flower,<br />Both on one sampler, sitting on one cushion,<br />Both warbling of one song, both in one key,<br />As if our hands, our sides, voices, and minds<br />Had been incorporate: (3.2.203-8)<br />This is the rhetorical equivalent of a child's sampler, where time stands still; but for Helena and Hermia sexual love now involves growing apart. The episode concerns love's inducement to betrayal as much as self-betrayal--Helena is at least right to feel that it is intolerable to be treated as if she were a mere sexual token exchangeable for her erstwhile spiritual twin.<br /><br />At the very beginning of The Winter's Tale a conversation between two courtiers stresses, as something extraordinary, the boyhood intimacy of the two kings Leontes and Polixenes--an intimacy which now must inevitably change:<br /><br /><br />They were train'd together in their childhoods, and there rooted betwixt them then such an affection, which cannot choose but branch now. (1.1.22-24)<br />Polixenes asserts of himself and Leontes that they were <br /><br /><br />Two lads that thought there was no more behind<br />But such a day to-morrow as to-day,<br />And to be boy eternal. (1.2.63-5)<br />The play's intense concern with double-meanings in language and stage-imagery--with true ambiguity in interpretation--springs from and returns to this original concern with twinning. In The Comedy of Errors the wrong Antipholus twin is unfortunately admitted by the other's wife to "dine above"--to an intimate reconciliation with the unwitting risk of adultery, and in A Midsummer Night's Dream the distress of Helena hinges on her erotic exchangeability with Hermia. In this play Leontes and Polixenes, as boys, feel themselves to be twin brothers, and there is the implication that their boyhood parting and their subsequent marriages involve a latent (however suppressed) sense of infidelity, since marriage constitutes a rival kind of union, expressed in the metaphysical [page 26] conceit that man and wife are one flesh. The stage action of 1.2. involves an audience in assessing the manner, the signals of voice, face and body, of three figures who at first seem undivided in affection--and the two kings may, in stage performance, be very similar in appearance. Yet the kings' continuing sense of being twins (both are prone to childhood reminiscences) means that Hermione is aware of being subtly excluded, while she is no less aware that, in sharing things with one, she is in a way also sharing with the other: she must find it difficult to distinguish between them in her manner. Her relation to Polixenes will naturally be a close one yet it must not break--and must not be believed to break--the taboos; although among people of royal rank, manner may permit itself some privileged largesse. <br /><br />Shakespeare complicates the interpretation of body-language by drawing attention to Hermione's state of advanced pregnancy. This might be supposed to guarantee her a degree of sexual immunity: but while it may allow her a more relaxed closeness to Polixenes, it may involve a slight sexual distancing from her husband Leontes, which could naturally produce tension. Furthermore Polixenes' wife, although briefly referred to in 1.2., is absent, and this gives visual emphasis to an exclusive triangular relationship. As the action unfolds attention is concentrated on the way each of the three adults is divided in turn from the remaining pair; and then for Leontes there is a further stage of alienation triggered by the presence of his two offspring, the unborn child as significant as the boy Mamillius. Thus Hermione finds herself in this scene dividing her attention between the two kings, showing affection in different ways to both, and provoking equivocal responses from each. Polixenes is divided between an obligation to go home and requests that he stay. To Leontes the sense of sharing affection with these two is suddenly supplanted by the sense of division as decisive as that in a theatre between spectator and actors. He turns from Hermione, carrying the unborn child, to his boy Mamillius, as if they constituted another choice, rather than mirroring his self-division: the unborn child's survival as a branch of a family, though Leontes tries to kill it, will lead to the growth of a whole new narrative from Act 3 forwards. <br /><br />Consulting the OED under "implicate" I find a quotation of 1610 describing how "the boughes and armes of trees twisted one within [page 27] another so implicated the woods together." Here the readiness of the writer (Holland) to exchange the word "armes" for "boughes" strikes a chord if one thinks of Shakespeare's stagecraft in 1.2. of The Winter's Tale. In 1.1. Camillo remarks of the two kings "They were trained together in their childhood" (22-23), and he will not let go of the image of the boys' intertwined arms: they "shook hands, as over a vast, and embraced, as it were, from the ends of opposed winds" (30-31). Here courtly hyperbole, as it seems, too abruptly magnifies, with the effect of distortion and painful strain--and "vast" can refer to a great stretch of time as well as space. The stress on vastness of scale seems apparently to be a function of courtly rhetorical style, to accentuate the positive, (as is the negative construction), but it will soon enough take on an opposite meaning, as untimely storms both emotional and actual cause destruction. And the onset of this storm will be in Leontes' sudden obsessive attention to simple on-stage actions of Hermione and Polixenes--joining hands, putting an arm round a waist, embracing. Several scenes later the image of arms is still obsessing him, in his Macbeth-like rumination: "the harlot king / Is quite beyond mine arm . . . but she / I can hook to me" (2.3.4-7). <br /><br />In 1.2. Leontes disgustedly describes the two figures of Hermione and Polixenes: Polixenes "wears" Hermione <br /><br /><br />like her medal hanging<br />About his neck (1.2.307-8)<br />Not until the very last moment of the play is the "great gap of time" closed (5.3.154), its closing emphatically marked by the simple action as Hermione and Leontes enclose one another in embrace; at this Camillo exclaims "She hangs about his neck" (5.3.112). It seems evident from this remark that the major impact here is to be visual, in their embrace, and that the powerful verbal image of 1.2.307 is now triumphantly redeemed in being visually imprinted in action on stage. <br /><br />In the first scene Camillo's courtly paradox "embraced, as it were, from the ends of opposed winds" (1.1.30-31) is so absurd one might almost suspect Shakespeare of a sly pun on Puttenham's term for hyperbole, which is "the over-reacher"--and yet embracing "from the ends of [page 28] opposed winds" will be seen retrospectively to be a surprisingly cogent, even epigrammatic comment on this weird story, where the defiant interplay between contrary emotions, surface and depth, microcosmic and macrocosmic scales, easily outdoes anything in Donne.<br /><br />In the theatre a decision must be made as to how far, if at all, the behaviour of Hermione and Polixenes makes Leontes' interpretation plausible. In the important production of 1910 at New York the two kings were made to look extraordinarily similar, with identical neat, black Italianate beards and similar crowns and furred gowns. In 1.2. Hermione took the hand of Leontes as she spoke the line<br /><br /><br />The one for ever earn'd a royal husband; (1.2.107)<br />and she turned to Polixenes with the next line<br /><br /><br />Th'other for some while a friend.<br />and took his hand. Moving away, she sat by Polixenes and--as a photograph shows,2 read his hand, their heads very close together. When Leontes spoke the lines<br /><br /><br />To your own bents dispose you; you'll be found,<br />Be you beneath the sky. (1.2.179-80)<br />Polixenes placed a shawl on Hermione's shoulders as they moved towards the garden. Such a staging, in placing central emphasis on the actors and reading the dialogue closely for explicit and implicit stage directions, maintains a lifeline to the non-scenic theatre of the Elizabethans; it shows the potential in the non-verbal codes of theatre for a play on meanings which is equivalent to that in the dialogue, and it maintains a tension between dialogue and action. Nevertheless The Winter's Tale was the subject of massive adaptation for the Victorian spectacular theatre, and productions continue to efface important features of Shakespeare's style by imposing cuts, changes and anachronistic ideas on the opening scenes. Anthony Quayle in 1948 at Stratford cut all but fifteen lines of 1.1., substituting a "Kean-like Bacchanalia of barbaric intensity: leaping, screaming, knife-throwing Russian dancers".3 In this [page 29] production the court for 1.2. was macabre in red, black and gold, dominated by a Tartar Leontes, "the tyrant of the fairytale."4 Such a context gave Shakespeare's sophisticated, witty, supple dialogue no chance, and summarily disposed of the question of Leontes' motivation. Trevor Nunn in 1969 disposed of the question with no less clarity, and imposed an alien set of ideas--this time Freudian--with no less force, if with more intellectual self-consciousness. He presented Leontes' soliloquies as part of a dream sequence, Polixenes and Hermione in the dim light, with alternately stylised and naturalistic gestures, enacting the sexual fantasies of Leontes: on the words "How she holds up the neb, the bill to him" Hermione raised her nose and lips to Polixenes in the half-dark.5 Given the subtlety of the text, the frequent modern recourse to heavy-handed stage symbolism seems particularly obtuse.<br /><br />A contrasting tradition is illustrated by Peter Wood's 1960 production which (like the 1910 New York production) showed how stage action and gesture can be derived in detail from the dialogue; this gave Leontes' outbreak of jealousy considerable plausibility. Leontes and Polixenes locked arms as Polixenes said "Farewell, our brother" (1.2.27) and Hermione took the hand of Polixenes and kissed it. At "Tongue-tied our queen" Leontes and Hermione held out their hands to Polixenes, then Leontes moved up-stage watching the other two unobserved, came downstage in time to hear "If you first sinned with us," Hermione embraced Leontes at "The one for ever earned a royal husband" and she embraced Polixenes on the next line, "Th'other for some while a friend," then drew him downstage, holding hands. Leontes was clasped round the waist by Mamillius after his soliloquy "O that is entertainment / My bosom likes not." Later, playing with Mamillius, he fell forward on his knees and Mamillius put his arm round him. A reviewer wrote of this interpretation of Leontes that its details "build a personality open to the storm like tissue paper to a fire."6<br /><br />Even in stage productions closely attentive to the text there is still, after all, a considerable range of choice: Hermione and Polixenes may be shown to display nothing beyond conventional good manners, and in that case Leontes' comments will seem glaringly misplaced, implying him to be either already covertly a prisoner of obsession before the scene begins, or suddenly, inexplicably seized by it in mid-scene. Such an [page 30] interpretation, while legitimate, accords less well with the detailed texture of the dialogue, and seems less interesting dramatically, than one where Hermione and Polixenes do show affection which could plausibly be misinterpreted--as in the production of 1910 in New York, or in 1960 by Wood, or more recently, Peter Hall.7<br /><br /><br />* * *<br />Happiness is identified with the negation of time, an idea Polixenes touches on again when he says his small son "makes a July's day short as December," preventing thoughts that "would thick my blood" (1.2.171). He stresses the idea of youth as freedom from choice: that is how it was with himself and Leontes,<br /><br /><br />We were as twinn'd lambs that did frisk i' th' sun,<br />And bleat the one at th'other. What we chang'd<br />Was innocence for innocence, we knew not<br />The doctrine of ill-doing, nor dream'd<br />That any did. (1.2.67-71)<br />The two lambs replicated each other, their discourse was identical (well, it was out of the mouths of babes and sucklings), sheer repetition of innocence and innocence: though they were two there was no individuation nor self-division; but when change came (in dream as well as waking) it was because their "weak spirits" were "reared with stronger blood" and this had the direct consequence of guilt. <br /><br /><br />Had we pursu'd that life,<br />And our weak spirits ne'er been higher rear'd<br />With stronger blood, we should have answer'd heaven<br />Boldly, 'Not guilty'; (1.2.71-4)<br />This usage of "blood" is complicated: taken with "reared" it can literally apply to the human child's progression from being milk-fed (like lambs) to a red-meat diet; and while "blood" is, positively, the full vigour of life, its negative connotation (according to "the doctrine of ill-doing") is as the seat of animal or sensual appetite, lust and anger. Given the royal status of the boys, the sense of "blood" meaning family and lineage [page 31] is present; and in the Bible "blood" often refers to blood shed in sacrifice, and this strengthens the typological association of the lamb with Christ, the redemptive power of innocence sacrificed. If there is a more pervasive Biblical influence in the play than the idea of the Garden of Eden it is (as in The Comedy of Errors) that of St Paul, in the Epistles. The idea that in childhood one is filled with the milk of innocence and this is only changed by one's being given a new diet, recalls Paul in Hebrews: "For every one that useth milke, is unexpert of the word of righteousness, for he is a babe. But strong meate belongeth to them that are perfect, even those which by reason of use, have their wits exercised to discerne both good and evil" (Heb. 5:13-14). Polixenes implies that with adulthood inevitably comes sin, specifically sexual sin, something from which they would have been protected by remaining boys and sharing boyhood affection. It should be noticed how firmly this identifies the adult world of the court with sexual guilt and contrasts it to the child's world of natural innocence, though at the same time implying that it is according to Nature that a child develops from a state of innocence to guilt; and this leaves the door ajar, so to speak, for the Freudian interpretation of childhood.<br /><br />"Sicilia cannot show himself over-kind to Bohemia" (1.1.21-22) says Camillo, and he is, as M. M. Mahood says, ambiguous. He means "however strong the expression, it cannot exceed Leontes' feelings of love," but can also mean "Leontes tries but fails to keep up the appearance of love" and also "Leontes must not show that his love for Polixenes goes too far." The negative construction casts its shadow, touching as it seems unintentionally on just those areas which give maximum possible embarrassment. Yet this embarrassing issue is very important: it is the implicit concern with forbidden love which contributes greatly to the feeling of release at the end, in the lawful union of the two kings' children. The extent to which the love of the two kings involves anxiety is nevertheless left implicit, and this accounts for much of its power, and is a sign of Shakespeare's mature art. Comparison with The Comedy of Errors shows how explicitly, but therefore less deeply, that play explores the experience of delusion, sexual jealousy, cruelty, in relation to Christian ideas of demonic possession and redemption. <br /><br />[page 32]The Winter's Tale presents a fascinating exploration of the interplay of the categories of the civilised and the natural, as in the remark:<br /><br /><br />They were train'd together in their childhoods; and there rooted betwixt them then such an affection, which cannot choose but branch now. (1.1.22-4)<br />"Training" in Shakespeare usually signifies educating, bringing-up, rearing, but in the horticultural sense training means artifically imposing a shape on a tree as it grows, often by use of a frame or espalier; whereas "branch," to put out a new growth, can also mean to divide into two lines, to deviate, and to turn single into double; and in genealogy--by extension from the metaphor of the family tree--"branch" is used to mean a child. This last sense is at the back of Leontes' mind when he takes his son Mamillius aside to examine his face, anxiously brooding on fatherhood and its shameful issue, cuckold's horns, in his words "o'er head and ears a fork'd one" (1.2.186). It is no accident that "fork'd" suggests not only the branching of horns above but also of the loins below: the image of man as "a poor bare forked animal." Nothing is more tricky than the faux-naif mode of Pastoral. We may think of branching as the natural doubling of a single line. Is it then less natural for identity, having once branched out from the main stem to single separateness, to divide again, become double? If double may mean twice the value of single, in Shakespeare single can also mean weak, and double can mean false.8<br /><br />Implicit in the play's idea of nurture is the intermingling of human cultural practice with natural law, but also of the divine with both these: in the case of the two boys raised together, Nature apparently was made to go against her own idea of individuation as their roots intermingle: they become twins though they are not born twins, and they feel their later separation as damage. The two young princes grew into a loving intimacy like that of naturally-born twins, although they were not: and then this exclusive intimacy persisted beyond the normal time-span, which certainly diverges from cultural norms if not natural law: indeed, the courtier says, it was their royal rank that forced them apart ("royal necessities made separation of their society" 1.1.25-6) but despite that they continued to interchange "loving embassies." If one is aware that [page 33] "affection" could have the meaning "lust," however (as in Lucrece 271) then an alternative sense, almost the opposite, is implied: that there seeded itself between them this plant and now is its time to grow (branch), widening a division between them.<br /><br />The image of branching recurs in the second part of the play when used by Leontes' disowned daughter, Perdita, who wishes she had flowers of the Spring for those shepherdesses<br /><br /><br />That wear upon your virgin branches yet<br />Your maidenheads growing . . . . (4.4.115-6)<br />In 1.1. Camillo says that the two young boys/trees were planted very close so that they could be trained together: and furthermore, as the gardener pruned and interwove their young branches by art, below ground their roots grew together by nature. Nature and culture impose their double authority, and this is interesting in relation to the phrase "cannot choose": the negative construction has the function of emphasis, stressing sheer irresistibility, but it does not quite efface associations of "branch" with "choice": so Christianity teaches that in due time comes man's adulthood, marked by acquisition of a capacity to exercise free will, not be enslaved to blind instinct.<br /><br />Associated with this is the idea of natural law as expressed in the time taken by its proceedings, and the trouble caused by disruption of Nature's timing by delay or haste: so pruning aids growth, but must be done at the right time, and in nature too-forward young buds may be killed by late wintry storms. The first words of Polixenes assert that he has delayed his return to his duty and his family during nine months, the natural period for pregnancy but here a delay made by choice and associated with guilt. At a public level Polixenes shows good manners, but taken to an extreme; at a personal level his nine months stay involves over-favouring of his friend as well as neglect of his own wife.<br /><br />Men and women, though subject to instinct, do also exercise choice in the case of marriage-partners. Leontes stresses that he chose Hermione for love (he makes no reference to dynastic considerations); and Hermione exercised her right of choice too--but Leontes recalls that "three crabbed months soured themselves to death" (another tree-image, [page 34] though this crab-apple seems not just characteristically sour but dying of a disease) as she delayed her choice. To Leontes in his jealousy, memory of Hermione's three months delay suddenly suggests a suspicious link to Polixenes, whose first words are of nine months. For Leontes--himself rashly jumping to conclusions and burning with impatience for revenge--haste, just as much as delay, can be a sign in others of guilt: in 1.2. Leontes obsessively supposes lustful Hermione and Polixenes driven to frantic impatience,<br /><br /><br />wishing clocks more swift?<br />Hours, minutes? noon, midnight? (1.2.289-90)<br />whereas Hermione good-humouredly teases Polixenes about when the due time came for him to experience temptation (1.2.75-86).<br /><br />Shakespeare goes on to play obliquely with the idea of delay or haste in relation to Nature's measure of time, when Hermione's son Mamillius, surprisingly, shows a marked forwardness, a precociousness, in banter of a sexual kind with the court ladies in 2.1. In 2.3. the audience learns that Perdita's own birth was brought on by Leontes' rage: Hermione consequently was delivered "something before her time" (2.2.23). The second half of the play will open in 3.3. with the Old Shepherd's remark that youth is a prolonged wait for adulthood, a kind of delay in the life-cycle, producing nothing but impulsive disruption, "getting wenches with child, wronging the ancientry, stealing, fighting" (3.3.61-63). In 4.4. stress falls on the forwardness--the precociousness--of youthful Florizel as well as of young Perdita, and how this exposes them to a father's wrath. Perdita, unaware of her own past history, or her dead brother's, or of the present threat posed by Polixenes, dwells on the vulnerability of the very young to premature death, of young maids like flowers that risk a too-hasty appearance in early Spring "before the swallow dares," or like pale primroses<br /><br /><br />That die unmarried, ere they can behold<br />Bright Phoebus in his strength (a malady<br />Most incident to maids) (4.4.123-25)<br />Perdita, in unaccustomed robes, with the rashness of extreme youth, disputes the theme of art and nature with Polixenes disguised as an old [page 35] man (4.4.83-103). She makes a point of insisting she will never touch slips from "bastard" plant varieties, wants nothing to do with "art" because it also can mean artifice. Shakespeare trips Perdita up; a shepherd's daughter, willing subject to clandestine royal courtship, costumed and garlanded as queen of a Spring festival, likened to Flora and alluding to Persephone: and does she claim herself free of artifice? For his part, Polixenes may very wisely declare that to marry a "gentle scion" to the "wildest stock" (4.4.93) is both natural and bettering nature, but this does not prevent him violently contradicting himself in practice only minutes later. <br /><br />There is a clear element of travesty in this repetition of themes and episodes from the first half of the play--it goes beyond establishing the contrasting comic mode. When Polixenes does unmask in rage to disrupt the proceedings, Florizel, undismayed, declares himself "delay'd"<br /><br /><br />But nothing alter'd; What I was, I am;<br />More straining on for plucking back. (4.4.464-65)<br />Here this by now well-worn motif of delay/haste takes an unexpected form: and it is ingeniously echoed in the case of the Old Shepherd who, having successfully delayed death well beyond the traditional life-span of the Bible, three score and ten years, fears he is now to be all too hastily cut off:<br /><br /><br />a man of fourscore three,<br />That thought to fill his grave in quiet; yea,<br />To die upon the bed my father died, . . . . (4.4.453-55)<br />Another example of the strain involved in uncovering patterns of likeness-with-difference in this play is the throw-away jocular remark of Autolycus about the Old Shepherd's fate: "Some say he shall be ston'd; but that fate is too soft for him, say I" (4.4.778-79): this collocation stoned/soft bizarrely anticipates the description of the Old Shepherd weeping "like a weather-bitten conduit of many kings' reigns" (5.2.55-56), a statue-image that reverses Autolycus' stoned/soft opposition, and which, though in travesty-form, anticipates the words of the "marble-breasted" Leontes before the statue of Hermione--"does not the stone rebuke me / For being more stone than it?" (5.3.37-38) and the reverse [page 36] transformation of Perdita, rapt in admiration, "Standing like stone" beside the statue of Hermione (5.3.42). Obliquely this is also a transformation of the haste/delay motif into that of eternity/time, art/nature.<br /><br />The play ends with a final wry twist to this motif of time stretched by delay or compressed by haste, of time suspended in dream or illusion contrasted to time measured by the beat of the pulse. In the play's last moment Leontes looks back on its events and concludes that everybody present has "perform'd" a "part" in "this wide gap of time." His word "gap" signifies a measurable extent of time, between then and now, but also a sheer blank, a nothing. To Leontes it is almost as if time had been suspended while they performed a dream-like comedy of errors, and now they are awake again.<br /><br /><br />* * *<br />In The Winter's Tale successive local dramatic situations carry surface conviction, and drive forward a positively resolvable plot (since this is a Romance, and we know Perdita's true origins, it is ultimately a matter of time), whereas the system of patterning is fraught with discrepancies, with double-meanings. What is striking about the beginning of 1.2. is the stress on subtle divisions between the three figures even before Leontes begins to lose control. Act 5 scene 1 offers an intricate reflection of 1.2. since instead of Hermione and Polixenes it is Perdita and Florizel who confront Leontes, and in this instance comprise a complex of doubled images. The baby present though not yet born in 1.2., and disowned by Leontes, is here in 5.1. grown up: that is to say Perdita, first freed and enfranchised from her father's rage, then again subject to rage from Florizel's father, is now again with her own father and once again unintentionally provoking Leontes, this time erotically. Thanks to Paulina's strong presence, the scene is framed by memories of Hermione: as it begins, Leontes laments his rage that caused his son's death and Hermione's:<br /><br /><br />I might have look'd upon my queen's full eyes,<br />Have taken treasure from her lips . . . . (5.1.53-54)<br />[page 37] As the scene ends Paulina reminds an emotionally reviving Leontes of how beautiful Hermione was, and he responds, in a tone of wonder, that while he has been gazing at Perdita it is Hermione he has been thinking of.<br /><br />The first sight of Florizel is also a source of wonder to Leontes: he exclaims that Florizel looks like the young Polixenes:<br /><br /><br />Your mother was most true to wedlock, Prince,<br />For she did print your royal father off,<br />Conceiving you. (5.1.124-6)<br />This recalls the moment in 1.2.122 when Leontes found comfort in Mamillius, saw they were alike, that in fact the boy's nose was "a copy out o'mine." There is also another echo, more interesting because more teasing, of 2.3., when Paulina insisted that Hermione's new-born baby reprinted Leontes' features:<br /><br /><br />Behold, my lords,<br />Although the print be little, the whole matter<br />And copy of the father--eye, nose, lip;<br />The trick of's frown, his forehead . . . . (2.3.98-101)<br />Perhaps no-one in real life is on oath when first showing a father his new-born child, certainly not Paulina. Nevertheless, this insistence on minute details of facial likeness is striking. Now in 5.1. this child, which Paulina had so strongly urged to be a copy of Leontes, is said to be very like Hermione. Perdita is the child of Hermione and Florizel the child of Polixenes, but also, they are doubles for Leontes' two lost children, the baby and Mamillius.<br /><br />That is to say, this pair, as they stand before Leontes, therefore represent three remembered figures from the past: his wife, his best friend, and himself. These are the very figures which tortured his alienated mind at the beginning of the play. Now the mood is altered, strange but auspicious. Paulina's concern, in reminding Leontes that Florizel was born in the very same hour as Mamillius, is to awaken loving associations in Leontes' mind, but to the play's spectators the information certainly is news, seeming to invite the suggestion that, in the form of a son-in-law, Leontes' lost son is redeemed--but also, more [page 38] obscurely, that the twinning of the fathers could have been replicated in the sons. And yet of course he cannot be redeemed, the deeds of 1.2. are irreversible, the fantasy of wish-fulfilment is impossible, loss is permanent, including loss of innocence and twinship.<br /><br />The emphasis on the likeness of Mamillius and Perdita may be supported, in stage performance, by the same actor doubling the roles; what cannot be done plausibly (though it has been tried), and should not be done thematically, is for one actor to double the roles of Perdita and Hermione. There must be likeness-with-difference between them. Florizel and Perdita are like their parents, but they must not be exchangably identical to them: that would mean they are destined to repeat the cycle of events that constitute their Winter's Tale. Here contrast with The Comedy of Errors seems illuminating.<br /><br />The question of the meaning of the double in The Comedy of Errors is distilled finally in stage images which are visually, conclusively, identically double. At the climax the entrance of the Abbess unwittingly brings the two long-separated pairs of twins together. A sense of incredulity combines with deep satisfaction and light-headedness all round: Antipholus wonders "If this be not a dream I see and hear" (5.1.377), but for his brother the preceding action, which the audience know to be entirely explicable as error, has been rather one of nightmare, in which the people he knows best have acted like strangers or treated him insolently or declared him a victim of witchcraft and satanic possession and insanity, and the simplest sensory experience has proved untrustworthy.<br /><br />Astonishment, therefore, but also a powerful undertow of awe and fear, are palpable as the Duke sees the twins together: "which is the natural man, / And which the spirit?" (5.1.334-35) Their reunion results in the restoration to the Abbess of her sons, and then of her husband, rescued from the gallows in the nick of time. The Abbess, in a conceitful "over-reacher" remarkably anticipating the manner of The Winter's Tale, describes this separation as a pregnancy of thirty-three years now astonishingly delivered: "After so long grief, such nativity" (407), and Dromio jests to his twin: "Methinks you are my glass and not my brother" (418). The question of the double is resolved in the figure of the Abbess-mother, long-lost yet always present (though hidden), [page 39] combining the opposites of holiness and naturalness, priestess and wife, in a manner to be characterised by Edgar Wind's term of serio ludere;9 it is Shakespeare playing with serious things and being serious in a playful style.<br /><br />In the final scene of The Winter's Tale Florizel is not identical to, but only like, Polixenes, a likeness-with-difference. This crucially releases him, and his symbolic role, into the future: this is not to be the world of Beckett's Play. Perdita is emphatically identified with Hermione but then decisively separated from her, precisely at the point where the statue is seen to have (like old Aegeon in The Comedy of Errors) marks of "time's deformed hand" upon it. Hermione returns so much altered, unlike what she was (and Perdita shows what she was like) but truly like her present self, that is, alive to a revived Leontes.<br /><br />The statue transformation is Hermione's play of incarnation, which distinguishes between the ideal, figurative meanings of Hermione--what she is like for her husband and for her child and for her husband's twin Polixenes--and the actual meaning to herself of being a woman with a husband and daughter, who exists in time, where truth is not to be divided from change.<br /><br />In this play Shakespeare uses stagecraft, the composition of stage images and action, in the same spirit as he uses words: in the spirit of serio ludere. The play is a unique kind of tragicomedy in that it deliberately heightens one's sense of discrepancy and incommensurability, the impossibility of complete resolution, so that when a conclusion is achieved the surprise and pleasure are increased without suppressing the unassimilable elements--indeed it is clear how much must remain unredeemable, and this is the difference from The Comedy of Errors. The final stage image, then, can mean what it says, although it is by no means plain and unvarnished.<br /><br /><br />Westfälische Wilhelms-Universität<br />Münster<br /><br />http://www.uni-tuebingen.de/uni/nec/GIBBON61.HTMMarieLeehttp://www.blogger.com/profile/04785159444316099578noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-81478787019872835572011-04-01T07:40:00.000-07:002011-04-01T07:58:06.659-07:00The Witer's Tale: Plot summary<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPhkeusjDIO1SShuYN8YzDchCGG2wwtuOpz9B55PbghczLNaBHeLaCikJsQ3KISJYPPoTps6pSzZ3Sxh-Mu-JoMCixgHFiVbQuZukL-NnJRtzlGgVxRpR01KtAudIZVPwb-8-jqm4RMKY/s1600/winter%2527s+tale.jpg"><img id="BLOGGER_PHOTO_ID_5590627203391793106" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 254px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPhkeusjDIO1SShuYN8YzDchCGG2wwtuOpz9B55PbghczLNaBHeLaCikJsQ3KISJYPPoTps6pSzZ3Sxh-Mu-JoMCixgHFiVbQuZukL-NnJRtzlGgVxRpR01KtAudIZVPwb-8-jqm4RMKY/s320/winter%2527s+tale.jpg" border="0" /></a> The Winter's Tale: Plot Summary From Stories of Shakespeare's Comedies by Helene Adeline Guerber. New York: Dodd, Mead and company. <br /><div align="justify">Act IWhen the curtain rises for the first act on an antechamber in Leontes' palace, in Sicilia, we overhear his councillor Camillo talking with a follower of the King of Bohemia. They are discussing the meeting between their masters, who, after having been brought up together, and separated for years, have been enjoying a renewal of their former friendship. They also mention the little prince of Sicilia, Mamillius, who promises to become a fine man, although at present merely an engaging child. </div><br /><div align="justify">The second scene is played in a state apartment of the same palace, where Leontes enters with his family, guests, and train, and where Polixenes, King of Bohemia, courteously states it is time to bid his host farewell, and return to his own kingdom. Although Leontes warmly urges his friend to prolong his sojourn, his entreaties prove vain, until he turns to his wife, Hermione, suggesting she try her skill. With grace and eloquence, Hermione, at his request, uses such persuasive arguments that Polixenes finally yields, and enters into sprightly conversation with her, describing his happy youth with her husband, and his grief at their long separation. </div><br /><div align="justify">Meantime, Leontes, perceiving his wife's persuasions have proved more efficacious than his own, exclaims she never spoke to better purpose save when he wooed her, and she consented to become his wife! This praise so elates Hermione that she prizes herself happy in having spoken twice to such good purpose that she earned a royal spouse, and a worthy friend. Her innocent joy, however, kindles the jealousy of Leontes, who suddenly fancies she is speaking too warmly of their guest. With keen suspicion he begins watching wife and guest, pretending meanwhile to play with his boy, and soon concludes they have some secret understanding. This discovery causes him such jealous pangs, that, seizing Mamillius, he questions whether he is his offspring. Although the child's marked resemblance to himself clearly proves his legitimacy, Leontes nevertheless deems his wife faithless, and frowns so portentously that he rouses the wonder of his guest, who asks Hermione what can cause her husband's irritation? </div><br /><div align="justify">Urged to speak by wife and friend, Leontes pretends to have been dreaming over the past, when he, too, was a mere lad. Then he asks whether Polixenes loves Florizel as dearly as he does Mamillius, whereupon the King of Bohemia enthusiastically declares his boy makes 'a July day short as December,' for him. A moment later, Leontes bids Hermione, if she loves him, show their guest all courtesy, and considers her unsuspecting obedience such hypocrisy that he mutters she is wooing his guest beneath his very eyes. He, therefore, grimly watches them out of sight, speaks roughly to his boy, and murmurs that wives have often proved faithless, and that he is suffering the usual lot of mankind. </div><br /><div align="justify">Such is Leontes' state of raging jealousy that it disquiets the child ; and when the lad has gone, the king turns to Camillo, his counsellor, and remarks their guest is going to stay. Because Camillo replies he does so only on account of Hermione's entreaties the jealous husband fancies he is already a laughing-stock for the Sicilians. Drawing Camillo apart, therefore, he accuses him of being a coward or faithless, which latter suspicion the counsellor can truthfully deny. Still, knowing his master's nature, he temperately bids Leontes point out in what way he has transgressed, promising to atone for his shortcomings as soon as possible. But, when Leontes expresses suspicions of the honour of guest and wife, Camillo waxes indignant that so noble a lady should be traduced. This causes Leontes to demand angrily whether 'whispering is nothing?' But when he describes the actions of his wife and guest from his jaundiced point of view, Camillo rejoins he is suffering from a diseased imagination, and urges him to cure it betimes, lest the complaint become dangerous. </div><br /><div align="justify">In his wrath at being misunderstood, Leontes taxes Camillo with lying, adding that he himself has been blind for months, during which his guest and wife have systematically deceived him. Suddenly, he orders Camillo to poison his guest, and thus avenge his honour; so, seeing him determined to dispose of Polixenes, and dreading lest he entrust the task to some one else, Camillo pretends to consent, after providing, as he fancies, for the queen's restoration to favour. Warmly thanking Camillo, and assuring him that by this deed he will win half his master's heart, Leontes adds the grim threat that, in case he does not obey, he will lose his life! </div><br /><div align="justify">No sooner has Leontes left the room than Camillo muses upon Hermione's sad plight, and his own quandary, being compelled to turn poisoner or forfeit life. Even if others, similarly placed, have stricken down anointed kings, he feels he cannot soil his hands with such a crime, so decides to leave home. Just then Polixenes joins him, remarking that he seems to have fallen suddenly out of favour at the Sicilian court. He relates how Leontes has just passed him, with such looks of scorn that he was barely recognisable. Then, perceiving Camillo is aware of the reason for this strange conduct, Polixenes urges him to reveal all he knows. After some demur, Camillo advises the King of Bohemia to leave Sicilia secretly, because his host intends to slay him for making love to his wife. On hearing this absurd charge, Polixenes indignantly refutes it, and conscious of irreproachable conduct, declares this is 'the greatest infection that e'er was heard or read!' </div><br /><div align="justify">When Camillo explains that his master has sworn his guest shall die, and has forced upon him a cruel alternative, Polixenes accepts his suggestion that they slip away together at nightfall, and, embarking on his waiting ship, escape from a land where it is no longer safe for them to sojourn. After promising Camillo a warm welcome in Bohemia, Polixencs expresses compassion for the queen, whom, however, he dares not try to defend, lest he increase Leontes' jealous suspicions. </div><br /><div align="justify">Act IIWhen the curtain rises on the second act, we see a room in Leontes' palace, where Hermione and her attendants are playing with Mamillius, who, like all the poet's children, is a frightfully precocious lad. The ladies talk to him and before him as if he were grown up, teasing him in particular in regard to the coming brother or sister, who will soon supplant him in his mother's affections. Preferring Hermione to all the rest, the boy finally sits down beside her, and, after stating that 'a sad tale's best for winter,' volunteers to tell one of his own. </div><br /><div align="justify">He has scarcely begun whispering it, when Leontes angrily enters with Antigonus, — his chief adviser, — and several retainers. He has just heard of the flight of Polixenes, who was seen vanishing behind the pines in Camillo's company, and traced to the vessel now disappearing from sight, and taking them beyond his reach. This report duly confirms Leontes in the belief that Camillo has betrayed him, and was party to his wife's wrong-doing. </div><br /><div align="justify">Snatching his boy from Hermione's arms, he hisses it is fortunate she never nursed him, and when she wonderingly inquires whether he can be joking, orders the child removed from her custody. Then, after decreeing she shall never see Mamillius again, he sends her off to prison, accusing her of infidelity! Amazed by such a charge, Hermione proudly rejoins that had a villain said so, he would be base indeed, ere she humbly assures her angry spouse he is mistaken. But Leontes, too jealous to hear reason, goes on reviling her, although she realizes he will be sorely grieved when he comes to the 'clearer knowledge,' that he has disgraced her without cause. </div><br /><div align="justify">Unwilling to listen to her, Leontes banishes her to prison, where she entreats some of her women may accompany her, as she will soon need their care. Having obtained this favour, Hermione goes off to her cell without further protest than that she hopes, for the first time in her life, to see her husband sorry! </div><br /><div align="justify">Horrified by the scene they have just witnessed, the lords, headed by Antigonus, now implore their monarch not to act rashly, reminding him that he attacks his own reputation as well as that of his wife and heir. When one of them offers to lay down his life in proof of Hermione's innocence, Antigonus adds he will never trust his own consort again, if the queen has failed in her duty. These protests only exasperate Leontes, who insists upon carrying out his revenge in his own fashion, reiterating that the flight of Polixenes and Camillo proves their guilt. When the courtiers feebly suggest he should seek advice on so weighty a question, Leontes says he has sent messengers to Apollo's temple at Delphi, and that their return with a sealed oracle will settle the matter. Hearing this, the lords are reassured, for they feel certain the gods will protect Hermione's innocence. </div><br /><div align="justify">We are next transferred to the prison, where Paulina, wife of Antigonus, has come to visit Hermione. When she asks for the jailor, he promptly appears, but only with difficulty yields to her entreaties sufficiently to allow her to see one of the queen's attendants. The jailor, in introducing Emilia, announces he will have to be present at their conference, as the king has given orders that the prisoners be constantly watched. In this momentous interview Emilia reveals how her poor mistress, shaken by past emotions, has prematurely given birth to a little daughter, and relates how she welcomed her new treasure with the pathetic cry, 'my poor prisoner, I am as innocent as you.' </div><br /><div align="justify">The visitor, fully convinced of this fact, now sends word to Hermione, that if she will only entrust the babe to her, she will carry it to the king, in hopes that its innocence will plead for its wronged mother. This suggestion is seized with delight by Emilia, because her mistress has expressed a great desire that some friend should take this very step. With the assurance that she will use all her eloquence to plead Hermione's cause, Paulina sends Emilia back to the queen, and bargains with the jailor to let the babe leave the prison. </div><br /><div align="justify">The curtain next rises in a room in the palace, where Leontes is brooding over his wife's supposed adultery and his own terrible wrongs. Suddenly, he sends a servant to inquire for his son, Mamillius being dangerously ill through fretting over his mother's disgrace. In fact, the child has been sinking so fast that his father is very anxious; but even while waiting for tidings, he reverts to the bitter thought that Camillo and Polixenes are laughing at him, and grimly adds they should not do so, could he only reach them! </div><br /><div align="justify">It is while he is rejoicing that his wife, at leasts is still in his power, that a clamour arises in the antechamber, where Antigonus and other lords try to prevent Paulina from entering. Browbeating them all, Paulina forces her way into Leontes' presence, closely followed by her protesting husband. Seeing her appear thus, Leontes discharges his wrath upon Antigonus, reminding him that he ordered Paulina should not be admitted under any pretext. When Antigonus tries to excuse himself under plea he could not prevent it, Leontes indignantly demands whether he is not able to rule his wife. But, without giving her husband a chance to reply, Paulina declares he cannot prevent her doing what honour requires, adding that she has come in the name of the good queen. Because Leontes starts angrily at this adjective, the tactless Paulina insists that, were she only a man, she would fight in Hermione's behalf; then, depositing the helpless babe at Leontes' feet, she reports that the good queen sends his little daughter for his blessing. Starting back from the bundle as if it contained some loathsome object, Leontes furiously orders it removed, thereby rousing Paulina's indignation to such a pitch, that she gives him a vehement piece of her mind. In his paroxysm of rage, Leontes roars that the child is to be removed, while Paulina just as emphatically forbids any one touching it, attacking Leontes and all who try to silence her. But, although she persistently points out the child's resemblance to its father, and although Antigonus intercedes, Leontes refuses to acknowledge his offspring. His match in obstinacy, Paulina reiterates it is his, and leaves the apartment without it. When she has gone, Leontes vents some of his anger upon Antigonus by ordering him to have the child burned alive under penalty of death. Hoping to free himself from blame, Antigonus calls the other lords to witness how he tried to prevent his wife from approaching the king, and all present exculpate him and intercede for the babe. Because Antigonus volunteers to pawn what little blood he has left to save the child, Leontes promises its life shall be safe provided Antigonus obeys his orders. Thus wringing a solemn oath from too trustful a servant, the cruel Leontes next bids Antigonus carry the babe off to some remote spot, and there abandon it, 'without more mercy, to its own protection and favour of the climate.' Bound by oath to fulfil these commands, Antigonus tenderly picks up the babe, and departs, fervently hoping wolves and bears, — who have occasionally shown tenderness for helpless human beings, — will prove more compassionate to it than its father. While he goes out, Leontes, still a prey to jealous delusions, grimly mutters he 'will not rear another's issue.' </div><br /><div align="justify">A few moments after Antigonus' departure, a servant announces the return of the messengers from Delphi, bringing Apollo's sealed oracle. Their return, in twenty-three days time, seems nothing short of miraculous to Leontes, who summons all present to witness the trial of his disloyal wife, for he declares he will be just, although his heart will be a burden to him as long as she lives. </div><br /><div align="justify">Act III </div><br /><div align="justify">The third act opens just as the two Sicilian lords, sent in quest of the oracle, land in their native isle, and comment upon its delightful climate. Their minds are still full of their eventful journey, which, they hope, may prove so successful, that the sealed oracle they bring will free the queen from all suspicion. </div><br /><div align="justify">The curtain next rises on the court of justice, where Leontes proclaims that, although it grieves him, he has been obliged to summon his wife to account for her conduct. Then, the prisoner appears, still weak and pale, supported by Paulina and other attendants, and an officer reads aloud an indictment accusing Hermione of conspiring with Camillo to slay her husband in order to marry Polixenes. Sadly rejoining it is useless to plead not guilty, since every word she utters is accounted a falsehood, Hermione bids them consider her past life, urging that if she ever said or did anything to give rise to suspicion, she wishes to know it, as she has always been faithful to the husband who accuses her so wantonly. When Leontes contemptuously retorts that criminals of her kind never lack the effrontery to excuse themselves, she rejoins that has never been one of her characteristics, adding that she loved Polixenes only as her duty required, and that her persuasions to him were made at her husband's request. As for Camillo, she warmly defends him as an honest man, and states she cannot conceive why he secretly left court. </div><br /><div align="justify">When Leontes angrily insists that she knew of Camillo's departure, Hermione fails to understand him, and when he repeats that she is ' past all shame,' she pathetically states she is unhappy enough, having been robbed of her place as wife, deprived of the sight of her son and of her new-born treasure, to call forth no further cruelty on his part. Then, in her desperation, she appeals to Apollo, and, while the messengers are sent for, exclaims that her father, the Emperor of Russia, would pity her were he to see her. </div><br /><div align="justify">At this juncture, the messengers appear, and solemnly testify that they have been to Delphi, and that the oracle they bring was handed to them, sealed, by Apollo's priest. In the presence of the assembly, an officer breaks the seal, and reads aloud a statement declaring Hermione chaste, Polixenes blameless, Camillo loyal, Leontes a jealous tyrant, the innocent babe his offspring, and decreeing he shall * live without an heir, if that which is lost be not found.' In their relief at Hermione's acquittal, the lords give spontaneous thanks to Apollo, but Leontes, still too angry to credit the oracle, hotly declares it is a falsehood. </div><br /><div align="justify">He is just ordering the trial to proceed as if no oracle had been given, when a servant rushes in, reporting that Mamillius has died, news which causes the father to realize that Apollo is angry, and the poor mother to swoon from grief. Vowing this last blow has killed her mistress, Paulina gladly obeys Leontes when he bids her bear the queen away and try and revive her. </div><br /><div align="justify">Brought by calamity to his senses, Leontes now humbly begs Apollo's pardon for failing to respect his oracle, promises to be reconciled to Polixenes, to recall Camillo, — whose reputation he clears by revealing how basely he tried to induce him to poison his guest, — and to 'new woo' his queen. Scarcely has Leontes finished this recantation, when Paulina staggers in full of woe, to announce that Leontes' cruel behaviour has slain his wife! In reviling him, she pitilessly sets forth how many lives have been blasted by his jealousy, for she rightly ascribes to him not only the death of his son and that of his wife, but the exposure of his daughter. Unable to believe Hermione dead, Leontes forces Paulina to repeat her tidings and describe the tests which proved life extinct. Then, conscious of deserving the severe punishments Paulina ruthlessly calls down upon him, Leontes displays such grief that even this accuser pities him and begs his forgiveness, declaring she reviled him so hotly only because of her love for his wife and children. In his grief, Leontes begs to be taken where the corpses lie, vowing one grave shall hold them both, and that he will water it with his tears, for he is now a thoroughly repentant, broken-hearted man. </div><br /><div align="justify">The curtain next rises on the desert coast of Bohemia, where Antigonus has just arrived with the unhappy babe he must abandon in obedience to the king's orders. Besides, in a vision which visited him on shipboard, Hermione herself bade him call the babe Perdita, and expose her in Bohemia. Convinced by this apparition that Hermione is dead, and that Perdita is Polixenes' daughter — since she has been sent to his realm, — Antigonus lays down the babe, and has barely bidden it a touching farewell, when a huge bear comes toward him. Antigonus and this bear have scarcely rushed out of sight, when a shepherd appears, grumbling that youths should be suppressed between the ages of ten and twenty-three, as during that time they are prone only to mischief. While talking thus, he stumbles across the abandoned babe, whom he deems the illegitimate offspring of some youthful couple. </div><br /><div align="justify">While he is investigating his find, his son, — who is dubbed a clown in the play, — rejoins him, crying he has just beheld two awful sights, a bear devouring a stranger, who only had time to cry his name was Antigonus, and a ship sinking in a tempest before his very eyes! Then his father calls his attention to the babe, who is robed in rich garments, and has jewels and gold enough beside her to make them rich as long as they live. The father finally concludes to take the foundling home, while the son goes off to ascertain whether the bear has finished dining on Antigonus, and whether he has left any remains to be buried. </div><br /><div align="justify">Act IV </div><br /><div align="justify">The fourth act opens with the apparition of Father Time, who proclaims that sixteen years have elapsed since the previous events, and that another turn of his glass will reveal how Leontes has repented of his jealousy, and how his daughter has grown up in Bohemia, where she is now beloved by Prince Florizel, although he deems her naught but a shepherd lass. </div><br /><div align="justify">The curtain rises on Polixenes' palace, just as he IS conversing with Camillo, who is anxious to return to Sicilia, now that he no longer need fear Leontes' wrath. During his sojourn, in Bohemia, CamiUo has been Polixenes' chief adviser, so he consents to postpone his return home, on hearing the King of Bohemia still needs his aid. It transpires that Polixenes is troubled by a report that his son is in love with a shepherdess, and that, disguised, he wishes to attend the sheep-shearing festival with CamiUo, and thus discover whether the prince is seriously entangled. </div><br /><div align="justify">We next see a road near the shepherd's cottage, along which strolls Autolycus, the peddler, singing a merry song. When it is finished, he murmurs that, having been born under the planet Mercury, he is justified in stealing all he can. Autolycus is the archtype of a merry rogue, and no sooner sees the clown, than he deems him a likely subject for his mischievous arts. Meanwhile, the clown is laboriously trying to calculate how much his fleeces will bring, and to remember all the articles his adopted sister bade him purchase for the sheep-shearing festival, where all their neighbours are to be entertained. </div><br /><div align="justify">As the clown draws near, Autolycus grovels on the ground; loudly calling for aid. When the innocent rustic compassionately approaches, he is implored to remove the sufferer's clothes, but avers that, dirty and ragged as they seem, they are better than none. The rogue, however, rejoins that he has been robbed and beaten, his good apparel taken from him, and nothing but rags left to cover him. Not only does the gullible down believe every word Autolycus says, but gently helps him to rise, little suspecting that while he does so his pocket is cleverly picked. After comforting Autolycus, — who tells a most extraordinary tale, — the clown goes off to do his errands, while the rascal congratulates himself upon having robbed him, and having learned about the sheep-shearing feast, where he will be able to practise some of his arts. He, therefore, leaves the scene, singing how 'a merry heart goes all the day, your sad tires in a mile-a.' </div><br /><div align="justify">We are now transferred to the shepherd's holding, where Prince Florizel, in guise of a rural swain, is wooing Perdita, who playfully tries to turn aside his compliments. When she states, however, that she trembles lest his father should discover them by accident, and resent all this secrecy, Florizel avers that the gods, themselves, assumed disguises, and quotes instances where deities transformed themselves into beasts. Besides, he is so earnest in his wooing that he tells Perdita, if he cannot be hers, he will never marry at all, and implores her not to look sad when so many guests are coming, but to wear as cheerful a countenance as if this was to be their wedding day. </div><br /><div align="justify">A host of shepherds and shepherdesses now come trooping in, the disguised Polixenes and Camillo among them. Ushering in his guests fussily, the old shepherd chides his adopted daughter for not being everywhere at once, like his wife on similar occasions, and bids her welcome the strangers. With modest grace, Perdita offers the strangers flowers, and Polixenes, seizing this opportunity, begins to converse with her, pointing out that different kinds of flowers do not blend together successfully. Although only half understanding his veiled allusions, the maiden lovingly discourses about her garden, disclosing, while doing so, the delicacy and purity of her mind. Her talk not only enraptures Florizel, who hovers close beside her, but wrings from Polixenes the admission that she is 'the prettiest low-born lass that ever ran on the green sward," and that all she says and does, smacks 'of something greater than herself, too noble for this place.' This opinion is shared by Camillo, who happily dubs Perdita a 'queen of curds and cream,' ere the music strikes up and the young people present engage in a dance. </div><br /><div align="justify">Meanwhile, their elders step aside to watch this performance, the old shepherd garrulously informing Polixenes that the swain with whom his daughter is dancing is deeply in love with her, and slyly adding that he does not think there is 'half a kiss to choose who loves the other best.' He also hints that the man who marries Perdita will be far better off than he expects, little dreaming that the youth he points out is Prince Florizel, and that his interlocutor is the king. </div><br /><div align="justify">At this point, a servant enters, enthusiastically describing a peddler who has just arrived with choice wares. When this vendor is ushered in, he chants the list of the goods he has for sale with all the gusto of the bom bagman. Shepherds and shepherdesses crowd around him, chattering among themselves, calling out for various articles of apparel, and especially for ballads, for which they seem to have a particular fancy. Then, discovering one for three voices, set to a tune they know, they gaily sing it, ere the peddler renews the enumeration of his wares. </div><br /><div align="justify">It is in the midst of this lively hubbub that the servant proclaims the arrival of a party of Satyrs, who enter dancing gaily, and indulge in mad jumps which excite great admiration among the spectators. Taking advantage of the general confusion, Folixenes now addresses his son, — who does not recognise him, — and remarks that when he was young, he lavished tokens upon his lady-love, whereas the young man has bought naught for Perdita. The prince proudly rejoins that his beloved 'prizes not such trifles as these,' but looks to him for gifts 'lock'd up in his heart.' Then, seizing Perdita's hand, he calls the stranger guest to witness that he loves this fair damsel, who satisfies his every fancy. Polixenes admits that this declaration of love sounds genuine, and, hearing Perdita timidly confess she fully returns it, the old shepherd suggests that the young couple be betrothed, promising to bestow upon his daughter a portion equal to the swain's. </div><br /><div align="justify">The contract is about to be sealed when Polixenes interferes, reminding them it will not be legal imless the young man's father consent. Still protected by his disguise, he asks whether Florizel's father is incapable or childish, only to hear the prince boast his sire enjoys better health and strength than most men of his age. When Polixenes suggests, that in that case, this father might feel offended should his son mate without consulting him, a discussion arises whether the match should be postponed. When the prince, however, insists upon an immediate betrothal, Polixenes suddenly reveals himself, declaring he will never allow this marriage, and angrily threatening to have Perdita's beauty marred, so she may no longer bewitch his offspring. It is breathing such terrifying threats that he leaves the scene. </div><br /><div align="justify">The king having gone, Perdita wails that, although strongly tempted to remind Polixenes that 'the self-same sun that shines upon his court hides not his visage from their cottage but looks on all alive,' she will now return to her 'ewes and weep.' Meantime, the shepherd, upon whom it has dawned, at last, that the prince has been wooing his daughter, steals out to meditate over the disgrace which threatens him, while Florizel assures Camillo he is not at all afraid of his father. Deeming it wiser, Florizel, Perdita, and both shepherds avoid the king's sight until 'the fury of his highness settle,' Camillo suggests that they flee to Sicilia. By this time he feels satisfied that Perdita must be some fair princess, and declares that, when her birth becomes known, no further objection will exist to their union. For that reason he urges flight, offering all necessary aid, and pledging himself to use his influence to bring Polixenes to a better frame of mind. Overjoyed with the prospect of escaping from his father's wrath, and especially of securing Perdita against the terrible fate threatening her, Florizel consents to depart, although he wonders how he will be received in Sicilia, when he appears there without such a train as befits his rank. </div><br /><div align="justify">While Camillo and the prince indulge in an aside, the peddler appears, gleefully soliloquising upon the fashion in which he has picked pockets and fleeced the rustics, the sheep-shearing having proved a profitable field of action for him. As he concludes, Camillo states he will pave the way by letter for Florizel's arrival in Sicilia, and that King Leontes will doubtless plead his cause with Polixenes. Then, becoming aware of Autolycus' presence, Camillo suggests that he and the prince change garments, which they immediately do, and that Perdita, in disguise, hurry down to the seashore to embark. Although be fancies Polixenes will pursue the fugitives, Camillo intends to accompany him, as this will give him the desired opportunity to bestow good advice upon him and revisit his native land, for whose sight he has 'a woman's longing.' </div><br /><div align="justify">The rogue, after listening attentively to all that is said in his presence, and watching Florizel, Perdita, and Camillo depart, shrewdly concludes the prince is meditating some iniquity, which he will further by keeping it secret. Then, the shepherd and his son re-enter, the youth urging his father to tell the king that Perdita is only a foundling and thus divert royal wrath from their heads. Overhearing them state they are bound for the palace to exhibit the garments found with Perdita, the rogue, who has uttered sundry asides, suddenly volunteers to accompany the rustic pair thither. They gladly accept this offer, as his clothes proclaim him a man of wealth and influence, a delusion he diligently fosters. But, after wringing from the simpletons the admission that there is a secret connected with Perdita which they alone can reveal, the rogue so intimidates them with descriptions of the tortures awaiting them, that they consent to follow his advice. He, therefore, proposes to smuggle them secretly on board of the prince's ship, and there, — for a consideration, — to arrange that their confession be graciously heard. This bargain concluded, Autolycus sends the shepherd and his son on ahead, and follows them, exclaiming Fortune will not allow him to be honest. </div><br /><div align="justify">Act V </div><br /><div align="justify">The fifth act opens in Leontes* palace, where one of his lords tells him that, after long years of penance, he should Mo as the heavens have done,' and forgive himself. Leontes' sadness, how- ever, is too deep-seated for such consolations, so he assures this courtier that, remembering Hermione's perfections, and his wrongs toward her, no joy remains for him in this world. This sad admission is overheard by Paulina, who rejoins that even if Leontes were to take the perfections of all the women in the world and mass them together, he could never create so perfect a wife as the one be killed, a statement which renews his remorse. </div><br /><div align="justify">When a courtier suggests that, as the king has no heir, he should cease mourning, and marry some new companion with whom he might spend happy days, Paulina, displeased by his advice, again urges no woman would equal Hermione, and that such a move would be vain, since the oracle asserted Leontes would have no heir until the lost child were found. Because the king has not forgotten his wife, and wishes he had followed honest Paulina's advice sooner, he now swears he will never marry, until he can find a woman so like Hermione that he cannot detect any difference between them. </div><br /><div align="justify">They are still conversing, when the announcement is made that Prince Florizel, son of Polixenes, has landed in Sicilia with his princess, and begs to be received. This unexpected arrival amazes Leontes, who is further surprised to learn the prince is accompanied only by his wife, a princess whom the messenger enthusiastically describes as 'the most peerless piece of earth that e'er sun shone bright on,' thereby rousing Paulina's ever ready jealousy on Hermione's behalf. </div><br /><div align="justify">The moment seeming inauspicious for dwelling upon the perfections of his dead wife, Leontes proposes to forget his own griefs by welcoming the newcomers. He, therefore, bids some of his courtiers go and get them, and when Paulina murmurs that Prince Florizel and Mamillius were just of the same age, sorrowfully exclaims, 'thou know'st he dies to me again when talk'd of.' A moment later Florizel and Perdita are ushered in and warmly greeted by Leontes, who concludes the prince's mother was a faithful wife, as his strong resemblance to his father leaves no doubt in regard to his parentage. Then, bidding his guests welcome, Leontes warns them they have come to a sorrowful court, for he has lost two children, who, had they lived, would have been just their age. When he proceeds to inquire for Polixenes, Florizel states how his father sent him first to Africa to secure his princess, then hither to Sicilia to visit bis friend, his suite meanwhile returning to Bohemia. </div><br /><div align="justify">Leontes has just invited the young couple to linger with him as long as they please, when a lord hurries in, bringing greetings from Polixenes, and summoning Leontes to 'attach his son, who has his dignity and duty both cast off,' by fleeing from Bohemia with a shepherd's daughter. On hearing these words, Leontes eagerly inquires where the King of Bohemia may be, and is amazed to learn he has just landed in Sicilia, but is detained by a sudden encounter with Perdita's father and brother. </div><br /><div align="justify">Concluding Camillo has betrayed him. Prince Florizel reviles him, while Perdita,- who has been silent hitherto, wails that spies have been set upon them to prevent the celebration of their marriage! These words revealing that they are not yet united, Leontes inquires whether Perdita is really the daughter of a king. As Florizel only rejoins she will be when she is his wife, Leontes informs the youth he has been undutiful, and regrets his choice is not 'so rich in worth as in beauty.' At these words Florizel implores the humbled Perdita to remember that, although Fortune pursues them, their love is unalterable, and, turning to Leontes, begs him to plead in their favour, for his father will grant any favour his friend asks. Fascinated by Perdita, Leontes exclaims he would fain ask for her himself, when Paulina hastens to remind him that the queen at Perdita's age was even more lovely. Insisting that Perdita strangely reminds him of his dead wife, Leontes volunteers to go and meet Polixenes, for he now feels equally friendly toward him and toward his son. </div><br /><div align="justify">It is in front of Leontes' palace that a dialogue next takes place between Autolycus and a gentleman, the peddler eagerly asking whether his interlocutor was present when the shepherd related his story, and exhibited what he had found in the bundle with the abandoned babe. The courtier whom he questions admits that the king and Camillo were amazed, and when another of his companions appears, eagerly inquires of him whether any further discoveries have been made. The newcomer joyfully proclaims that the oracle is fulfilled, for Leontes' daughter is found, — news which Paulina's steward soon confirms, stating that Hermione's mantle and jewels were easily recognised, as well as the letter signed by Antigonus. When asked whether he witnessed the meeting between the two kings, the courtier regrets having missed it, as the good steward informs him it was a grand sight, the encounter between the father and daughter having been touching in the extreme. After describing the thanks lavished on the shepherd, — who saved the babe from death, — he repeats the clown's account of Antigonus' death and of the wreck of his vessel, which explains why Paulina never received any tidings of the husband she mourned so faithfully. Still, it is said, the reunion was not unmarred by sorrow, for when Perdita learned how her beautiful mother died, she wept freely, and expressed a keen desire to know what she looked like when alive. Then only Paulina revealed she had a statue of Hermione, painted by Julio Romano, of such life-like fidelity that it might be mistaken for the living queen. As both father and daughter seemed anxious to view it, Paulina invited them and all the court to visit it in her country house on the morrow. </div><br /><div align="justify">While the rest now leave, the peddler lingers upon the scene, congratulating himself upon having brought the old shepherd and his son to Sicilia, but regretting that seasickness prevented an earlier revelation of their secret, as he would then have reaped the benefit of Florizel's gratitude. While he is soliloquising, he is joined by the shepherd and his son, the latter glorying in the title of gentleman, which has just been bestowed upon him, and in regard to which he accepts the peddler's mock homage. </div><br /><div align="justify">The last scene is played in the chapel of a deserted house, which Paulina has secretly visited twice a day for years. The royal party are ushered in, while the king is thanking his hostess for all she has done for him and his, and expressing eagerness to behold her wonderful statue. After assuring him that this work of art is so lifelike it has to be kept apart, Paulina draws aside a curtain, and reveals the living Hermione, standing on a pedestal, as if she were a statue. Such is the effect produced, that silence reigns, and it is only when invited to express his opinion that Leontes, full of remorse, implores the image to speak, were it even to chide him. Then he pronounces it a perfect likeness of his queen, although somewhat older than when he last saw her. Hearing this, Paulina avers the sculptor wisely represented Hermione as she would have been had she lived among them until now. </div><br /><div align="justify">While lost in contemplation of this wonderful likeness, Leontes murmurs Hermione looked thus when he wooed her, and that he is more remorseful than ever for his vile suspicions. Meanwhile, Perdita, also overcome by the sight, craves permission to kiss the statue's hand, but Paulina objects that the colors are not yet dry, and that hence it cannot be touched. While Camillo and Polixenes are offering consolations to the grieving Leontes, Paulina tries to draw the curtain, saying that the statue has so impressed them that presently they will imagine it is moving. But Leontes beseeches her to let him gaze upon his wife's image a while longer, exclaiming that the blood seems to circulate in its veins, and that its lips and eyes are alive. When Paulina again tries to hide her masterpiece, he restrains her, declaring he must embrace his wife, although Paulina forbids. Then, seeing she cannot entice him away, the hostess suddenly exclaims if he is sufficiently prepared for a great surprise, she will, by lawful magic arts, induce the statue to descend from its pedestal and take him by the hand. </div><br /><div align="justify">Eager for such a revelation of magic power, Leontes urges her to make use of it; so, after soft music has been played, Paulina bids the statue step down among them. At her command Hermione advances toward them, silently offering her hand to Leontes, who no sooner touches it than he discovers it is warm! A moment later, his beloved wife is clasped in his arms, and Paulina assures the wondering Polixenes and Camillo that Hermione is indeed alive, although she has been deemed dead so many years. </div><br /><div align="justify">The recognition between husband and wife over, Paulina urges Perdita to claim her mother's blessing, which blessing Hermione joyfully bestows, stating she has lived in hopes of seeing this beloved child, as Paulina has sustained her courage by constantly repeating Apollo's oracle. The faithful Paulina now urges her guests to leave her and enjoy their happiness, for she alone still has cause to grieve, having just learned how her husband was devoured by the bear. </div><br /><div align="justify">Unwilling that any one should sorrow while he is joyful, Leontes bestows Paulina upon the faithful Camillo, knowing two such worthy people will be happy together. Then, turning toward friend and wife, who dare not look at each other, he humbly begs their pardon for having suspected them of wrong-doing, welcomes his new son-in-law, and departs with all present, remarking that they will question each other at leisure, and thus make up the gap of time 'since first we were dissever'd.' With these words the curtain falls. </div><br /><div align="justify"></div><br /><div align="justify"><a href="http://www.shakespeare-online.com/plots/winterps.html">http://www.shakespeare-online.com/plots/winterps.html</a></div>MarieLeehttp://www.blogger.com/profile/04785159444316099578noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-25355254024222799192011-02-13T18:43:00.000-08:002011-02-13T18:46:07.941-08:00<p class="MsoNormal" align="center" style="text-align:center"><span class="Apple-style-span" style="font-size: 19px; line-height: 38px; "> </span></p> <h3 style="line-height:150%"><span lang="EN-GB" style="font-size:14.0pt; line-height:150%;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-theme-font: minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi; color:windowtext;font-weight:normal"><span style="mso-spacerun:yes"> </span></span><span style="font-size:14.0pt;line-height:150%;font-family:"Calibri","sans-serif"; mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font: minor-latin;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;color:windowtext;font-weight:normal"><span style="mso-spacerun:yes"> </span></span></h3> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:12.0pt;line-height:115%; font-family:"Times New Roman","serif"">Themes: Jealousy in Othello.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">The play is written by the most famous poet in the world William Shakespeare. He is known as romantic and comedy writer .Othello was written at probably 1604. Although winter’s tale is one of the last play written by Shakespeare but the theme (of jealousy) is not much different than Othello.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><span style="mso-tab-count:1"> </span>Jealousy as stated in the<span style="mso-spacerun:yes"> </span>Oxford dictionary “feeling angry or unhappy because somebody you like or love is showing interest in somebody else: a jealous wife or husband.” Some try to find out the source of inspiration that William Shakespeare to write about romances. Not much is known about the love life of William Shakespeare, Several theories have been advanced by Shakespearean scholars and biographers, many involving a mysterious "dark-lady" to whom the bard seems to pine for in several of his sonnets. As the Shakespearean scholar Arthur Aches writes :<o:p></o:p></span></p> <p style="text-align:justify"><i>" I believe, from what I find in the Sonnets, that our poet's connection with [a] woman commenced at almost the same period as his acquaintance with Southampton, in about 1593, ... I believe, also , that he genuinely loved her, and fired with the passion and intensity of his love, produced in those years the marvelous rhapsodies of love in "Romeo and Juliet," ... and other of his love plays, which have so charmed the world, and still charm it, and shall continue to do so while the language lives. If ever a man lived who sounded the human heart to its depths, and gauged its heights, that man was Shakespeare, and such knowledge as he had, and shows us of life, may not attained by hearsay, nor at second hand.<o:p></o:p></i></p> <p style="text-align:justify;line-height:200%"><a href="http://www.cinetropic.com/shakespeare/life.html">http://www.cinetropic.com/shakespeare/life.html</a></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">The play Othello tells the story of Othello the Moor who marries Desdemona out of love, without Desdemona father approval. Jealous that Othello promoted Cassio instead of himself Iago, Othello trustee, lied to Othello to trigger jealousy in Othello thinking that his beloved wife Desdemona is having an affair with Cassio. In the end eaten by jealousy Othello killed his wife, only later to find out about Iago deceitful lies. In regret Othello kills himself. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><span style="mso-tab-count:1"> </span>In the play the theme of jealousy is not only evident in between Othello and Desdemona but in Iago to Cassio. At the end of his tale to Roderigo about how he was passed over for promotion to lieutenant, Iago displays his jealousy of Cassio. He says that Cassio, a </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T11.html#31"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"counter-caster"(1.1.31)</span></i></a></span><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""> <span style="mso-spacerun:yes"> </span>has the job Iago wanted, while Iago has to keep on being </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T11.html#33"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"his Moorship's ancient</span></i></a></span><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""> </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T11.html#33"><span style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">" (1.1.33)</span></a></span><span lang="EN-GB" style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">. A little later, Roderigo, who is desperately in love with Desdemona, expresses his jealousy of Othello's marriage to Desdemona by saying, </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T11.html#66"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"What a full fortune does the thick-lips owe</span></i></a><a href="http://shakespeare-navigators.com/othello/T11.html#66"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">, If he can carry't thus!" (1.1.66-67)</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">. </span></i><span lang="EN-GB" style="font-size:12.0pt;line-height:200%; font-family:"Times New Roman","serif"">Where Roderigo says "carry't thus</span><span lang="EN-GB">" </span><span lang="EN-GB" style="font-family:"Times New Roman","serif"">.</span><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T13.html#292"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"Look to her, Moor, if thou hast eyes to see: <span style="mso-spacerun:yes"> </span>She has deceived her father, and may thee" (1.3.292-293)</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif"">.</span></i><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""> Desdemona makes it clear that she loves and honors her husband, Brabantio remains bitter, and warns Othello that Desdemona may turn out to be a unfaithful.<o:p></o:p></span></p> <p style="text-align:justify;text-indent:.5in;line-height:200%">Iago tells a series of lies about Desdemona, and manipulate Othello<span style="mso-spacerun:yes"> </span>mind by saying that they may not be worth thinking about. He says, <a href="http://shakespeare-navigators.com/othello/T33.html#146"><i style="mso-bidi-font-style:normal">"I confess, it is my nature's plague , To spy into abuses, and oft my jealousy , Shapes faults that are not" (3.3.146-148)</i></a><i style="mso-bidi-font-style:normal">. </i>Here Iago uses the word "jealousy" in its general sense of "suspicion," but ambiguously he also speaks of himself.</p> <p style="text-align:justify;line-height:200%">Psychologically, Iago manipulate Othello thoughts to make Othello jealous, Iago warns Othello against jealousy: </p> <p style="text-align:justify;line-height:200%"> “<a href="http://shakespeare-navigators.com/othello/T33.html#165"><i style="mso-bidi-font-style:normal">O, beware, my lord, of jealousy;It is the green-eyed monster which doth mock</i><i style="mso-bidi-font-style:normal"><span style="color:windowtext;text-decoration:none;text-underline:none"><br /></span>The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger;</i><i style="mso-bidi-font-style:normal"><span style="color:windowtext;text-decoration:none;text-underline:none"><br /></span>But, O, what damned minutes tells he o'erWho dotes, yet doubts, suspects, yet strongly loves! (3.3.165-170)</i></a></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">This speech not only a description of jealousy, it also shows insightful of its psychological manipulation. (reverse psychology).In comparison to all of this pain of suspicion and doubt, it's "bliss" to just be angry. Thus Iago tempts Othello to make the jump from suspicion to anger, without considering if the suspicion has any truth in it.<o:p></o:p></span></p> <p style="text-align:justify;text-indent:.5in;line-height:200%">Iago's warnings against jealousy have the outcome that he was looking for: Othello denies that he is jealous. From Iago's point of view, this is a good sign, just as was Cassio's denial that he was drunk. Othello does not believe that he is the sort of person who can be jealous, because to him <a href="http://shakespeare-navigators.com/othello/T33.html#179"><i style="mso-bidi-font-style:normal">"to be once in doubt , Is once to be resolved" (3.3.179-180)</i></a><i style="mso-bidi-font-style:normal">.</i><span style="mso-spacerun:yes"> </span>He means that as soon as he is in doubt he will eliminate it.</p> <p style="text-align:justify;text-indent:.5in;line-height:200%">It is Othello who is talk of jealousy; even as he's denying that he can be jealous. He says, <a href="http://shakespeare-navigators.com/othello/T33.html#183"><i style="mso-bidi-font-style:normal">"'Tis not to make me jealous, To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well; <span style="mso-spacerun:yes"> </span>Where virtue is, these are more virtuous"(3.3.183-186)</i></a><i style="mso-bidi-font-style:normal">.</i> An outgoing personality doesn't make a woman loose. But keep saying that he is not jealous Similarly, he says, <a href="http://shakespeare-navigators.com/othello/T33.html#187"><i style="mso-bidi-font-style:normal">"Nor from mine own weak merits will I draw, The smallest fear or doubt of her revolt; <span style="mso-spacerun:yes"> </span>For she had eyes, and chose me" (3.3.187-189)</i></a><i style="mso-bidi-font-style:normal">. </i>Again, Othello is reconcile his thought by reminding himself that in front of her father and the world Desdemona proclaimed her choice, but if he were not jealous he would not have to remind himself that she chose him. </p> <p style="text-align:justify;text-indent:.5in;line-height:200%">Othello says that he is untouchable by jealousy by declaring, <a href="http://shakespeare-navigators.com/othello/T33.html#189"><i style="mso-bidi-font-style:normal">"No, Iago; , I'll see before I doubt; when I doubt, prove; And on the proof, there is no more but this,-- <span style="mso-spacerun:yes"> </span>Away at once with love or jealousy!" (3.3.189-192)</i></a><i style="mso-bidi-font-style:normal">.</i> Othello already has strong suspicions, not from seeing anything, but just from listening to Iago. But<span style="mso-spacerun:yes"> </span>still, Othello is prepared to hear and believe whatever Iago says next. Othello believes that he's not the jealous type and he believes that Iago is his honest friend, so he believes that Iago couldn't be lying and he believes that he himself cannot be wrong. Shows the ego of man of rank.</p> <p style="text-align:justify;text-indent:.5in;line-height:200%">Iago then uses more reverse psychology, telling Othello to <a href="http://shakespeare-navigators.com/othello/T33.html#197"><i style="mso-bidi-font-style:normal">"Look to your wife; observe her well with Cassio; , Wear your eye thus, not jealous nor secure" (3.3.197-198)</i></a><i style="mso-bidi-font-style:normal">. </i>Then Iago adds,<i style="mso-bidi-font-style: normal"> </i><a href="http://shakespeare-navigators.com/othello/T33.html#199"><i style="mso-bidi-font-style:normal">"I would not have your free and noble nature, Out of self-bounty</i></a><i style="mso-bidi-font-style:normal"> </i><a href="http://shakespeare-navigators.com/othello/T33.html#199"><i style="mso-bidi-font-style:normal">, be abused; look to't." (3.3.199-200)</i></a><i style="mso-bidi-font-style:normal">. </i>In other words, Othello shouldn't be jealous, but if he's not, Desdemona is likely to take advantage of him. </p> <p style="text-align:justify;text-indent:.5in;line-height:200%"><span style="mso-spacerun:yes"> </span>Desdemona can't find her <span style="mso-spacerun:yes"> </span>handkerchief and she feels guilty, and she's put herself at ease <span style="mso-spacerun:yes"> </span>by saying that <a href="http://shakespeare-navigators.com/othello/T34.html#26"><i style="mso-bidi-font-style:normal">"my noble Moor , Is true of mind and made of no such baseness , As jealous creatures are,"</i></a> because otherwise the loss of the handkerchief might be <a href="http://shakespeare-navigators.com/othello/T34.html#26"><i style="mso-bidi-font-style:normal">"enough , To put him to ill thinking" (3.2.26-29)</i></a><i style="mso-bidi-font-style:normal">.</i> Emilia seems to have a doubt about Othello not being jealous, but Desdemona says confidently, <a href="http://shakespeare-navigators.com/othello/T34.html#30"><i style="mso-bidi-font-style:normal">"I think the sun where he was born , Drew all such humours from him" (3.4.30-31)</i></a><i style="mso-bidi-font-style: normal">. </i>"Humours" <span style="mso-spacerun:yes"> </span>were thought to control a person's temper. Desdemona is sure that<span style="mso-spacerun:yes"> </span>Othello will be jealous.</p> <p style="text-align:justify;text-indent:.5in;line-height:200%">However, when Othello arrives, he asks Desdemona about the handkerchief, and then storms out, Emilia asks, <a href="http://shakespeare-navigators.com/othello/T34.html#99"><i style="mso-bidi-font-style:normal">"Is not this man jealous?" (3.4.99)</i></a><i style="mso-bidi-font-style:normal">.</i> Desdemona tries to convince herself that Othello is only upset by something that happened at work, but Emilia, unconvinced by Desdemona's reasoning, says diplomatically, <a href="http://shakespeare-navigators.com/othello/T34.html#155"><i style="mso-bidi-font-style:normal">"Pray heaven it be state-matters, as you think,And no conception nor no jealous toy, Concerning you." (3.4.155-157)</i></a><i style="mso-bidi-font-style:normal">.</i> A "toy" is a silly or stupid idea, and Emilia clearly thinks that Othello could be toying with the stupid idea that Desdemona is unfaithful to him. Desdemona replies, <a href="http://shakespeare-navigators.com/othello/T34.html#158"><i style="mso-bidi-font-style:normal">"Alas the day! I never gave him cause" (3.4.158)</i></a><i style="mso-bidi-font-style:normal">,</i> which gives Emilia the chance to remind her that jealousy doesn't need a cause; <a href="http://shakespeare-navigators.com/othello/T34.html#161"><i style="mso-bidi-font-style:normal">"It is a monster , Begot upon itself, born on itself" (3.4.161-162)</i></a><i style="mso-bidi-font-style:normal">.</i> Desdemona exclaims, <a href="http://shakespeare-navigators.com/othello/T34.html#163"><i style="mso-bidi-font-style:normal">"Heaven keep that monster from Othello's mind!" (3.4.163)</i></a><i style="mso-bidi-font-style:normal">,</i> <i style="mso-bidi-font-style:normal"><o:p></o:p></i></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T42.html#130"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"I will be hang'd, if some eternal villain, <span style="mso-spacerun:yes"> </span>Some busy and insinuating rogue, <span style="mso-spacerun:yes"> </span>Some cogging</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif""> </span></i><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T42.html#130"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">, cozening </span></i></a><a href="http://shakespeare-navigators.com/othello/T42.html#130"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif""><span style="mso-spacerun:yes"> </span>slave, to get some office, , Have not devised this slander; I will be hang'd else" (4.2.130-133)</span></i></a></span><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">. <span style="mso-spacerun:yes"> </span>Emilia says this after Othello calls Desdemona a whore and Emilia thinks she knows the reason. This describes Iago exactly, and it makes him uncomfortable. He says, </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T42.html#134"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"Fie, there is no such man; it is impossible" (4.2.134)</span></i></a></span><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family: "Times New Roman","serif"">.</span></i><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif""> However, Emilia knows better. She continues to denounce the unknown villain until Iago tells her to quiet down, which only inspires Emilia to say, </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T42.html#145"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"Some such squire he was , That turn'd your wit the seamy side without, <span style="mso-spacerun:yes"> </span>And made you to suspect me with the Moor" (4.2.145-147)</span></i></a></span><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif"">. He shuts her up by saying, </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T42.html#148"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"You are a fool; go to" (4.2.148)</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">.</span></i><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""> "<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><span style="mso-spacerun:yes"> </span>Just before he commits suicide, Othello tells about how he wants to be remembered. He says he should be spoken of as<i style="mso-bidi-font-style:normal"> </i></span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T52.html#345"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"one not easily jealous, but being wrought , Perplex'd in the extreme" (5.2.345-346)</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif"">. </span></i><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><span style="mso-spacerun:yes"> </span>The first half of the statement, that he was "one not easily jealous," was supported by Desdemona when she said, </span><span lang="EN-GB"><a href="http://shakespeare-navigators.com/othello/T34.html#30"><i style="mso-bidi-font-style:normal"><span style="font-size:12.0pt;line-height: 200%;font-family:"Times New Roman","serif"">"I think the sun where he was born , Drew all such humours from him" (3.4.30-31)</span></i></a></span><i style="mso-bidi-font-style:normal"><span lang="EN-GB" style="font-size:12.0pt; line-height:200%;font-family:"Times New Roman","serif"">. </span></i><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">Still, it can be said that he was too easily made jealous. The second half of the statement seems beyond doubt. True that he was confused and tormented in to the extreme, and he views his puzzlement not as an excuse, but out of guilt he kills himself.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">As a conclusion jealousy as the theme of the play Othello is very apparent. It can be found in almost every part of the scene. A monster that existed from love and insecurity, or simply because someone else has the upper hand as do Iago to Cassio. In the end, Desdemona, Othello and Emilia died because of the green eyed monster called jealousy. <o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif"">Reference<o:p></o:p></span></p> <p style="text-align:justify;line-height:200%"><a href="http://www.sparknotes.com/shakespeare/othello">http://www.sparknotes.com/shakespeare/othello</a></p> <p style="text-align:justify;line-height:200%"><a href="http://www.cinetropic.com/shakespeare/life.html">http://www.cinetropic.com/shakespeare/life.html</a></p> <p style="text-align:justify;line-height:200%"><a href="http://absoluteshakespeare.com/guides/othello/othello.html">http://absoluteshakespeare.com/guides/othello/othello.html</a></p> <p style="text-align:justify;line-height:200%">M.R. Ridley. (1972) <i style="mso-bidi-font-style:normal">Othello. </i>Methuen & Co Ltd London.</p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify;text-indent:.5in;line-height:200%"><span lang="EN-GB" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman","serif""><o:p> </o:p></span></p>MarieLeehttp://www.blogger.com/profile/04785159444316099578noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-41024546691464109572011-02-13T14:03:00.000-08:002011-02-13T22:37:11.053-08:00Jealousy, Honesty.Trust.The play that I want to write on is Othello by William Shakespeare. This play is about the misplacement of trust that has been casted upon some people which lead to the downfall of man. The betrayal of trust is driven by the jealousy towards the main character’s achievements and stature.<br /><br />The themes that I want to relate to the story are overlapping with each other which is the trust on one cannot be too malicious that it can be the downfall of your own self, jealousy is a very ill-driven motivation that will cast chaos towards one’s life and displacement of honesty can surely destroy a man’s life.<br /><br />My one point is in the entanglement of three major points. The explanation would be done in a simple manner where we will see that a jealous individual that has been portrayed as honest and has been looked upon as someone who is trustworthy will lead to the downfall of the immediate friends and relatives.<br /><br />In the play, we could see that Iago is the main villain in the story whereas Othello is the main character. It is said that Iago is jealous of Othello’s position and power in the Venice as he, Othello is a Moors and married to Desdemona, a daughter of a Venetican’s senator. He found that this should not be happening as he cannot see why and how is it possible for an intermarriage to happen. Below are a few lines from a dialogue that is said by Iago in first Scene first Act.<br /><br /> “...Against the Moor: for, I do know, the state,...Though I do hate him as I do hell-pains...I must show out a flag and sign of love,...”<br /><br />Just based on the above quotation, it is already being included that Iago hates Othello but he needs to get Othello’s good side so he can instigate Othello towards his demise. Thus he masked himself with the word honesty and influenced everyone around him to loath Othello in any way possible. Besides that, he already pointed it out clearly that he hates Othello for his colour skin.<br /><br />Each of everyone in the play has made a consensus within themselves that Iago is innocent, and a very honest person. He is someone who is modest and humble in front of Othello maybe due to the stature differences or he is trying to fool Othello. At the same time, he is acting very intelligent and more outspoken in front of Cassio and Iago. This implication is probably due to the fact that he is trying to instigate them to bring calamity in Othello’s life directly and indirectly. The alibi stating that Iago to be honest as a man can get was given out by Othello himself as they have been working together for as long as they can remember.<br /><br />Based on that acclamation, he managed to sway everyone judgement of themselves and everyone around them easily. Thus, he gave doubt within them and paranoia between them.<br /><br /> “Yet, I persuade myself, to speak the truth” <br /> (Act 2, Scene 3) <br /><br />In addition to it, all of the characters in the play trust Iago’s word as if his word is an absolute truth. We can see it in many instances where people will go to Iago for advice and guidance. Iago has given out advices and suggestions to all of the characters in the play including Othello, Desdemona and even Emilia. Throughout the play, we will see Iago instigate everyone around him to do something that would cause at least a disturbance in Othello’s life. In Act 1, we can see that Iago developed Roderigo despise Othello and further complicate Othello’s life by making Brabantio rushed to Othello and ask for his’ daughter safe return. In Act 2, he instigated Cassio to be stripped out of his status and tried to make a scandal between Cassio and Desdemona. He managed to influence Othello in making him believe that Desdemona is having an affair with Cassio. One particular event that truly portrayed the absolute truth of Iago’ word when Othello and Desdemona confront each other. Othello believed in all his heart to what Iago had said that Desdemona is impure and untrustworthy even though Desdemona has claimed that it was not what he thought it is.<br /><br />In conjunction to it, we can see that Iago even manipulated Emilia, his wife, a little by pulling a small trick. He persuaded Emilia steals the handkerchief that Othello gave to Desdemona so he can plot his malevolent plan towards the destruction of Othello.<br /><br />Furthermore, we can interrelate all of the themes that I have stated into our own life as we also have needs and friends. We move ourselves because of motivation regardless whether it is positive or negative. We tend to compete with the people that we sometimes awe and respect. We tried to surpass everyone that is higher than us in the related field that we interested in using any ways possible. To survive in this world that people have said to be unjust, we need pillars and we will get it by having a bond of relationship with people; family and friend all the same. Thus, we invoke trust to make sure that we can depend on them in any way possible so we would not feel alone or fragile in the world.<br /><br />To conclude, Othello play has multifarious themes that we also go through in real life.Azrihttp://www.blogger.com/profile/10331708357635891602noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-56168443823330745862011-02-13T08:56:00.001-08:002011-02-13T08:59:13.062-08:00My Part<div class="MsoNormal" style="text-align: center; text-indent: 35.4pt;"><span lang="EN-US"><b><span class="Apple-style-span" style="color: #e06666; font-family: inherit; font-size: x-small;"><span class="Apple-style-span" style="line-height: 200%;">STRICTLY NO COPYING! I'LL SUE YOU </span><span class="Apple-style-span" style="line-height: 32px;">PLAGIARIZERS</span><span class="Apple-style-span" style="line-height: 200%;"> ;)</span></span></b></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 35.4pt; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;">“Othello” is one of the most prominent works of William Shakespeare that was first performed in the earliest years of the 17<sup>th</sup> century. “Othello” is considered as a much appreciated play because of the issues that have been depicted in the play that relate to the people of that particular era and - to a certain extent – profoundly related our era as well. There are multifarious themes that heavily influence the storyline of the play, such as the issue of race, friendship and betrayal, jealousy, honesty and pride.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;"> The issue of race can easily seen in “Othello”, and it somewhat brings us modern readers back into the 17<sup>th</sup> century to have a look into how the Western society at that time perceive the people of the East, in other words, the <i>others</i>. In many cultures ranging from the East to West, a name is a person’s pride, and we call other people by their name to show our respect to them. By not referring a person by his name indicates that that person is somewhat of lower in status and undeserving of receiving the same level of respect from them, mainly the West. An example of this can be seen in Part I scene I, Iago, the villain of “<i>Othello</i>”, seems to degrade Othello by only referring him by the term “the Moor” several times as can be traced in line 39 and 57. Apart from that, Edward Said’s “Orientalism” has clearly touches on the issue of degenerating a human into smaller body parts. One can see that Iago seems to degenerate Othello into referring him by his body parts alone, not referring to him as a complete man. One can see an instance in line 66 where Rodrigo deems Othello as “<i>thick-lips</i>”. This act of degenerating Othello into body parts flamboyantly illustrates us that the Venetian society, primarily the whites, at that time felt they were superior in term of self-dignity and status than the Moors, or the blacks, or the entire Eastern world for that matter. The issue of race doesn’t only halt there. We can see the putrid descriptions of the Moors in “Othello” through the horrible words that Iago has put together in line 88 and 89;<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;">“<i>Even now, very now, an old black ram, Is tupping your white ewe; arise, arise,</i>”<i><o:p></o:p></i></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;">Apart from that, during the hearing at Othello’s compound yard, much to his surprised, Brabanzio was seemed to be very unpleased that his daughter, Desdemona, married Othello in secret. The instigation made by Rodrigo and Iago earlier further infuriate the enraged father into believing that Desdemona has been somewhat cursed by Othello using the dark magic to fall in love with him, (Part 1 Scene 3 line 60 – 61)<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;">“<i>She is abus’d, stol’n from me and corrupted, By spells and medicines, bought of mountebanks</i>”<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;">This further illustrates that the study of the dark arts are usually practiced by the Eastern community, indicating that the East are filled with evil and corrupted minds that often tempt to manipulate the West. This is absolutely absurd, and cannot be taken as a valid argument as the author that wrote “Othello” was from the West.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;"> Apart from the issue of race, the theme on friendship versus betrayal has also been placed in this play. Cassio is depicted as being extremely loyal towards Othello, while Iago is being depicted otherwise since the beginning of the play where he already started to instigate Rodrigo against Othello, (Part I Scene I). Othello, being a figure with power in the play, shows some sense of kinship with his fellow comrades, Cassio and Iago, primarily the latter one even though Iago has been masterminding devilish plots against his superior, Othello himself. Emilia is another character that strongly suggests that the theme of friendship exists in “Othello”. In Part 5 Scene 2 line 110 onwards, the bond that has been established by Emilia and Desdemona can be seen as Emilia is strictly grieved after seeing Desdemona dead on the bed. While she can easily cling to her husband, Iago, she chose to reveal the truth and this action acts as a primary enlightenment to those people presence, especially Othello, towards Iago’s misdoings, (Part 5, Scene 2). In addition to the issue of friendship, the issue of betrayal is indeed important as well, as it indirectly pinpoints us to different matters in Othello such as lust for power and greed. Iago furtively betrays Othello behind his back while plotting to raze Othello’s life because Iago did not receive the recognition that he thinks he deserves and this can be traced in line 7 to 30 in Part 1 Scene 1.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="font-family: inherit; font-size: x-small; line-height: 200%;"> Jealousy is another important theme that Shakespeare has centralized in “Othello”. Two main characters in this play implicitly help to reveal this theme in accordance to the plot and those two are Iago, and ironically, the main character, Othello, himself. Iago’s jealousy is sparked by his pride where he thinks he’s a better man than Michael Cassio (Part 1 Scene 1 line 20 – 25), while Othello’s jealousy is rooted from love, convinced that Cassio and Desdemona are romantically involved in a relationship where in truth both Desdemona and Cassio are working together on helping Cassio getting his position back in the army, (Part 4 Scene 1). In other words, Michael Cassio, is the root for the theme of jealousy for the play “Othello”. This is pretty interesting, as Cassio doesn’t know that he is the cause of jealousy for both the protagonist and the antagonist of the play. The theme of jealousy is being portrayed here because of its destructive nature. It doesn’t only affect one’s soul and emotions, but it also allows one to harm others physically. For example, because of Othello’s blind jealousy towards Desdemona and Cassio, it has caused Desdemona to lose her life in the hand of Othello, even after Desdemona innocently tried to plead not guilty to her husband’s accusations of her as being a whore (Part 4, Scene 3).<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US" style="line-height: 200%;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"> In conclusion, there are many themes in Othello that deal with many issues that are still considered as relevant to our modern days such as the themes of race, friendship versus betrayal, jealousy, pride and honesty.</span><span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></span></div>Syahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-28515064682415845832011-02-12T09:43:00.000-08:002011-02-12T09:43:14.993-08:00Doctor Faustus Text - Reading Pointers for sharper InsightsThere are many versions and interpretations of the play, The Tragical History of Dr. Faustus, written by Christopher Marlowe in the late 1500s. The basic story, however, remains consistent throughout all the versions. The play is based on an old legend regarding Dr. Faustus, a man of knowledge and excessive pride, who sells his soul to the devil to gain power and knowledge of the universe.<br />
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Dr. Faustus is a drama, meaning that it was meant to be performed, rather than read as a novel. The following information will assist you in reading the play:<br />
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Marlowe was an English playwright, so the dialect is Elizabethan, which can be a challenge to read and comprehend. Sidebar notes and the glossary will be helpful in deciphering the text.<br />
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Latin words and phrases are used liberally, as was common during that time. Aside from the passages that seem to require the use of Latin (e.g., Catholic prayer), Marlowe seems to use Latin to emphasis a point. We have provided translations.<br />
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The play incorporates elements of comedy. While you are reading, take note of the comical scenes. Sometimes a comedic scene can provide a break from the intensity of the serious scene that precedes it, known as comic relief. Other times comedy is used to mask a serious or sensitive issue. Comedy is also used at face value purely for entertainment purposes.<br />
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Aside from Faustus and Mephistophilis, the characters in the play are flat—undeveloped, one-dimensional. It's possible that Marlowe did this to ensure that the focus stays on the main characters and to use the other characters as symbols (e.g., good, evil, politics, compassion, beauty, ignorance, etc.).<br />
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Marlowe's Dr. Faustus, is a product of the Renaissance—a time of rebirth from the Medieval period. As you read Dr. Faustus, note the following characteristics of the Renaissance that are reflected in the story:<br />
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explosive growth of knowledge<br />
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improvement in literacy across the classes<br />
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the rise of Renaissance Individualism, which encouraged people to better themselves and pursue personal fulfillment<br />
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a lessening of the power of the Catholic Church due to the Protestant Reformation, which created political changes and conflicts<br />
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the belief and the practice of magic despite of advances in science<br />
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Marlowe uses many allusions in the play. Note that the allusions illuminate the transitional nature of the Renaissance—the blending old beliefs with new ideas and knowledge. Look for these allusions throughout the play and consider the purpose of their usage:<br />
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Biblical stories<br />
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figures and stories in Greek mythology<br />
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famous writers, poets, physicians, alchemists, and magicians from antiquity<br />
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Spanish rule<br />
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The primary motif of the play is the conflict between good and evil. There are, however, other motifs that permeate the story of Dr. Faustus:<br />
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Knowledge and Power—Knowledge is powerful, especially during the Renaissance when knowledge was becoming more accessible to people, allowing them to improve their status in life. Knowledge and power can be used to help others or for personal gain. Faustus's motivation for pursuing knowledge and power, the method he uses to obtain them, and the consequences of his actions form the crux of the play.<br />
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Old Testament vs. New Testament—between the two, there is a difference in how God is viewed regarding the concept of sin and redemption. In the Old Testament, God punishes sinners. In the New Testament, God is forgiving. Faustus's view of sin is based on a misinterpretation of Jerome's Bible; this is a major factor in the decisions he makes.<br />
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Christian beliefs vs. the practice of magic—People of that time were very religious and quite superstitious. How does the lure of magic affect the various characters in the play? In particular, note how the “religious” characters respond to magic.<br />
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The duality of humans—There are elements of good and bad in all of us. As the play unfolds, Faustus struggles internally with this duality, and it creates doubt about the choices he's made. Each of us has personality traits that have the power to affect the balance of our nature. Faustus is not inherently evil, but his excessive pride, greed, selfishness, and weakness of character cloud his judgment, causing him to make poor decisions. As you read the play, be aware of the moments where Faustus struggles with duality.<br />
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After reading both the biography of Christopher Marlowe and The Tragical History of Dr. Faustus, you may find interesting parallels between Marlowe and Faustus.<br />
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Taken from<br />
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http://www.enotes.com/faustus-text/reading-pointersAzrihttp://www.blogger.com/profile/10331708357635891602noreply@blogger.com1tag:blogger.com,1999:blog-4045884254453326730.post-84776406780766298982011-02-12T09:39:00.000-08:002011-02-12T09:39:20.731-08:00Character Profile of Doctor FaustusFaustus- The main character of the story. Once a brilliant scholar and professor at Wittenberg, his interest in the dark arts and necromancy lead him to a deal with Lucifer. In this pact, he surrenders his soul for twenty-four years of luxury and power on earth. Self-doubt, repentance and fear gnaw his soul frequently throughout the play, but it is not until the very end that he realizes the folly of his actions.<br />
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Valdes Cornelius- Friends of Faustus. Infamous for practicing magic and sorcery, they persuade him to join them in studying necromancy.<br />
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Wagner- Servant to Faustus. He is faithful to Faustus till the end and receives all of his money and property.<br />
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Mephostophilis-The principal devil that lured Faustus into selling his soul. As part of the deal between Lucifer and Faustus, Mephostophilis acted as Faustus's servant for twenty-four years, granting his every wish.<br />
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Lucifer- Monarch of hell. He is delighted to receive Faustus's once devout soul into his dominions in exchange for twenty-four years of luxurious life.<br />
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Beelzebub-Assistant devil to Lucifer.<br />
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Good Angel Evil Angel- They frequently accompany Faustus and advise him on a course of action. They represent the struggle between good and evil in his soul.<br />
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The Seven Deadly Sins- Appear at Lucifer's command before Faustus for his entertainment.<br />
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Clown/Robin-Acts as a servant for Wagner, interested in the dark arts; Mephostophilis punishes him by giving him an ape's face.<br />
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Dick- Stableboy that Mephostophilis turns into a dog because he stole Faustus's magic book.<br />
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Rafe- Dick's partner in crime; similarly punished by Mephostophilis.<br />
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Vintner-Innocent witness to Dick, Rafe Robin's devilish mischief.<br />
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Carter- Faustus tricks this man by eating all of his hay for only three farthings.<br />
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Chorus- Acts as narrator and interpreter of the story for the audience.<br />
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The Pope- Faustus plays tricks on this "proud" Pope by releasing a political prisoner right under his nose.<br />
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Bruno-Political/religious prisoner that Faustus releases to cause mischief in Rome; later becomes Pope in Germany.<br />
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Raymond, King of Hungary- Assistant to the Pope; fooled by Faustus and Mephostophilis.<br />
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Charles, the German Emperor- Greatly entertained by Faustus; commands to see various spirits.<br />
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Martino, Frederick Benvolio- Officers at the Emperor's court; they are severely punished by the devils for scoffing at Faustus's magical powers and attempting to kill him.<br />
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Duke Duchess of Vanholt- Guests entertained by Faustus.<br />
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Old Man- Devout Christian who pleads with Faustus to save his soul; serves as a foil against Faustus's sin-loving ways.<br />
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Spirits in the shapes of Alexander the Great, Darius, Paramour and Helen of Troy- Summoned by Faustus to entertain his guests.<br />
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Scholars, soldiers, devils, courtiers, cardinals, monks, cupids, saxony<br />
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Taken from<br />
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http://www.novelguide.com/doctorfaustus/metaphoranalysis.htmlAzrihttp://www.blogger.com/profile/10331708357635891602noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-48232069175308263382011-02-12T09:37:00.001-08:002011-02-12T09:37:34.353-08:00Summary of Doctor FaustusDoctor Faustus, a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius, Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis. They flesh out the terms of their agreement, with Mephostophilis representing Lucifer. Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim.<br />
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In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning. He uses it to convince Robin the Clown to be his servant.<br />
Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside. Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words "Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies, but he does give Faustus books full of knowledge.<br />
Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic books.<br />
Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of tricks, by using magic to disguise themselves and make themselves invisible, before leaving.<br />
The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic, and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy to be called.<br />
At the court of Charles V, Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads.<br />
Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown, his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by Faustus' magic. They go off to the court of the Duke to settle scores with Faustus.<br />
Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the Duke and Duchess.<br />
Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus prepares for death. He has made his will, leaving all to Wagner. But even as death approaches, Faustus spends his days feasting and drinking with the other students. For the delight of his fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis readily agrees.<br />
Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate.<br />
As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming the horrible tortures seen there.<br />
The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him away. Later, the Scholar friends find Faustus' body, torn to pieces.<br />
Epilogue. The Chorus emphasizes that Faustus is gone, his once-great potential wasted. The Chorus warns the audience to remember his fall, and the lessons it offers.<br />
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Taken from<br />
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http://www.gradesaver.com/dr-faustus/study-guide/short-summary/Azrihttp://www.blogger.com/profile/10331708357635891602noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-49765019428089414312011-02-12T09:35:00.000-08:002011-02-12T09:35:12.326-08:00Dr Faustus - Biography of Christopher MarloweBiography<br />
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Christopher Marlowe was an innovative writer who was alternately considered an atheist and a devout Christian. His plays reflect this extraordinary diversity in his beliefs and morals and his inquisitive mind. Marlowe introduced moral thinking in his plays and was considered to be a man deeply concerned with religion, suffering and evil. He was born in 1564 in Canterbury, the same year as Shakespeare. Although he was the son of a shoemaker, Marlowe was a brilliant scholar. He attended King's School in Canterbury and later Corpus Christi College in Cambridge.<br />
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He was awarded a scholarship during his college years, but the grant was meant for men interested in priesthood. Quite apparently, Marlowe must have drastically changed his career plans after college. After earning his B.A. and M.A degrees he became a spy for Queen Elizabeth's government. At twenty-three Marlowe came to London and associated with other recent university graduates who survived by writing plays and pamphlets.<br />
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Marlowe had several brushes with the law and was accused of making scandalous and seditious speeches. He got into a street fight and landed in jail. A few days before the case was to be heard, Marlowe spent the day with some shady acquaintances. Many scholars believe that he died instantly at the age of twenty-nine from a two-inch dagger wound inflicted above the eye during a fight about the bill at a tavern on that day. Theories about his death are still circulated.<br />
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Although his life was short, Marlowe did succeed in publishing seven dramatic poems that were tragedies, including Doctor Faustus. His heroes are usually "overreachers," men who are self-driven by greed and ambition. They fail to recognize their responsibility to God and their fellow creatures. Many scholars believe that Marlowe's dramatic style showed Shakespeare what was possible in dramatic poetry and greatly influenced him.<br />
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Doctor Faustus is based on an old German folktale. The real John Faust, or Faustus, was a travelling magician who died about 1540. After death, he became a legendary figure. People attributed his skills as a magician to a pact that he had made with the devil. Marlowe transformed this tale into an ambitious scholar at Wittenberg who sells his soul to the devil to satiate his thirst for power and knowledge. Marlowe's audiences firmly believed in the existence of the devil, which made the play all the more tragic and horrific.<br />
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http://www.novelguide.com/doctorfaustus/biography.htmlAzrihttp://www.blogger.com/profile/10331708357635891602noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-8738321402524274562011-02-10T00:50:00.000-08:002011-02-09T12:37:11.998-08:00Wrapping up The Winter's Tale<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1P5Df9k6OsGSJgoN4312jPUP4diA7k1cYvrYpsbSQT9MmaUiy0fCtznjfVP8fqk74o_vkd-ITNBYnKSqlosVb3F4jcYKpPQsLhKJfJr59bcc4hAu_4jufdWyhCJlAX_KQBm7bscp0qPB/s1600/CCWT_2-11880Il.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 260px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1P5Df9k6OsGSJgoN4312jPUP4diA7k1cYvrYpsbSQT9MmaUiy0fCtznjfVP8fqk74o_vkd-ITNBYnKSqlosVb3F4jcYKpPQsLhKJfJr59bcc4hAu_4jufdWyhCJlAX_KQBm7bscp0qPB/s400/CCWT_2-11880Il.jpg" alt="" id="BLOGGER_PHOTO_ID_5571774373962860898" border="0" /></a><span style="font-size:85%;"><br /></span><div style="text-align: center;"><span style="font-size:85%;"><span style="font-style: italic;">"Merry or sad shall't be?</span><br /><span style="font-style: italic;">As merry as you will.</span><br /></span><div style="text-align: center;"><span style="font-size:85%;"><span style="font-style: italic;">A sad tale's best for winter...</span></span><br /><br /><div style="text-align: left;">Well, as we already discussed all the main issues and important features in the play, now let us discover some interesting facts and information added in the play's trivia.<br /><br /><div style="text-align: justify; font-style: italic;"><ul><li>Some critics believe that Leontes's jealous behavior toward Hermione in The Winter’s Tale is a thinly veiled allegory about King Henry VIII’s second wife, Anne Boleyn, who was beheaded after being tried and convicted of adultery in 1536. <span style="font-size:85%;">(Source: Stephen Orgel, Introduction to The Winter’s Tale.Oxford World’s Classics 1996 edition.) </span></li></ul><ul><li><i>The Winter’s Tale</i> teaches us that mouth bling was pretty popular in Shakespeare’s day. When Autolycus pretends to be a nobleman in Act 4, Scene 4, the Clown remarks that Autolycus must be rich because “the picking [gold toothpick] on’s teeth” is so fancy.</li></ul><ul style="font-weight: bold;"><li><span style="font-size:100%;">What’s Up With the Title? - </span><span style="font-weight: normal;">The term “winter’s tale” isn’t used a whole lot in the 21st century, but in Shakespeare’s day, everyone knew that a “winter’s tale” was the kind of story one might tell in order to pass the time on a long winter evening. Like a fairy tale, a winter’s tale may be entertaining, but it doesn’t have a whole lot of credibility.</span></li></ul><ul><li>Everyone knows that Bohemia is completely landlocked, but Shakespeare either didn’t know or didn’t care. At the beginning of Act 3, Scene 3, Antigonus asks “Thou art perfect then, our ship hath touch'd upon / The deserts of Bohemia?” (3.3.1)</li></ul><br /><br /></div></div></div></div>Atikah Mansorhttp://www.blogger.com/profile/08423327312179404275noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-18258266933950467562011-02-09T11:53:00.000-08:002011-02-09T12:13:17.535-08:00The tale's Tone & Genre.<div style="font-style: italic; text-align: center;" class="voicy"><span style="font-size:85%;"><span style="color: rgb(153, 0, 0);">Take a story's temperature by studying its tone.</span><br /><br /><span style="color: rgb(153, 0, 0);">Is it hopeful? Cynical? Snarky? Playful?<br /><br />Well, let's see...<br /></span><br /><br /></span></div> <div class="PrimaryContent" id="div_PrimaryContent"><h2 style="text-align: center; color: rgb(51, 0, 153);">Tone: Dark and then Joyous</h2><p style="text-align: justify;"><span style="font-size:100%;">The first three acts, set in the Sicilian court, are dark and claustrophobic. This is mostly the result of Leontes’s jealousy and tyranny, which pretty much dominates the first half of the play. Of course, this is no big surprise, given that King Leontes throws his wife in prison, plots the death of his best friend, throws his infant daughter away, and basically causes the premature death of his young son.<br /><br />The play’s tone shifts dramatically as the setting shifts to Bohemia (sixteen years in the future), where the summer sheep-shearing festival is underway and the love between Perdita and Florizel blossoms. The festive mood briefly darkens when Polixenes threatens the young couple’s happiness but the heavy mood begins to lift almost as soon as the Bohemian cast makes its way over to the Sicilian court (where Leontes and his kingdom have been suffering for sixteen years). After the revelation of Perdita’s true identity and the miraculous “resurrection” of Hermione, the atmosphere turns joyous, as family and friends are reunited and the promise of marriage looms in the future.</span></p><p style="text-align: justify; color: rgb(51, 0, 153);"><span style="font-size:100%;"><br /></span></p><div class="PrimaryContent" id="div_PrimaryContent"><h2 style="text-align: center; color: rgb(51, 0, 153);">Genre: Tragi-comedy</h2><p style="text-align: justify;"><i>The Winter’s Tale</i> is often called a “problem play” because it defies traditional categories of genre. Many Shakespeare critics settle on calling <i>The Winter’s Tale</i> a “tragic-comedy” because the first three acts of the play feel much like a mini tragedy (compare it, for example, to <span style="text-decoration: underline;"><span style="font-style: italic;">Hamlet </span></span>or <span style="text-decoration: underline;"><span style="font-style: italic;">Othello</span></span>) and the play’s second half resembles a “comedy.”<br /></p><p style="text-align: justify;">In the first three acts, Leontes is overcome by wild jealousy (a fatal flaw) and his tyranny causes profound suffering and the destruction of his family, which ultimately threatens to destroy the health of his kingdom. These are the hallmarks of Shakespearean tragedy. Yet, <i>The Winter’s Tale</i>, like Shakespeare’s comedies has a decidedly happy ending – families are reconciled, a marriage is promised, and social order is restored</p><h2 style="text-align: center; color: rgb(51, 0, 153);">Romance and Fairy Tale</h2><p style="text-align: justify;">Many critics also refer to <i>The Winter’s Tale</i> as a “romance” (because it shares features with “medieval romance,”) Shakespeare’s “romance” plays (<i>The Winter’s Tale</i>, <i>Pericles</i>, <i>Cymbeline</i>,) were all written at the end of Big Willie’s career and involve the following features:<br /></p><ul><li>loss and recovery (like Perdita’s reunification with her family),<br /></li><li>a wandering journey (think of Perdita’s travels to Bohemia and back to Sicily and Leontes’s journey toward forgiveness)</li><li> elements of magic and the fantastic (Hermione’s miraculous resurrection, for example).<br /></li></ul>If you’re thinking that all of this sounds a lot like a fairy tale, you’re absolutely right – fairy tales, which are notorious for being implausible and fantastical, share a lot in common with “romance” stories.<p style="text-align: justify;"><br /></p><p style="text-align: right;"><a style="color: rgb(0, 153, 0);" href="http://www.shmoop.com/winters-tale/">-Source</a><br /></p></div></div>Atikah Mansorhttp://www.blogger.com/profile/08423327312179404275noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-43064775057367273542011-02-06T05:43:00.001-08:002011-02-06T06:39:53.798-08:00<p align="center"><font size="5" face="Segoe Print"><font color="#646b86">“</font><font color="#4f81bd">T</font><font color="#809ec2">H</font><font color="#4bacc6">E</font> <font color="#809ec2">W</font><font color="#4f81bd">I</font><font color="#646b86">N</font><font color="#4f81bd">T</font><font color="#809ec2">E</font><font color="#4bacc6">R</font><font color="#809ec2">’</font><font color="#4f81bd">S</font> <font color="#646b86">T</font><font color="#4f81bd">A</font><font color="#809ec2">L</font><font color="#4bacc6">E</font><font color="#646b86">”</font></font> <p align="center"><font size="5" face="Segoe Print">Short Summary</font> <p align="center"><font color="#000000"><font size="1" face="Segoe Print">King Leontes of Sicilia begs his childhood friend, King Polixenes of Bohemia, to extend his visit to Sicilia. Polixenes protests that he has been away from his kingdom for nine months, but after Leontes's pregnant wife, Hermione, pleads with him he relents and agrees to stay a little longer. Leontes, meanwhile, has become possessed with jealousy--convinced that Polixenes and Hermione are lovers, he orders his loyal retainer, Camillo, to poison the Bohemian king. Instead, Camillo warns Polixenes of what is afoot, and the two men flee Sicilia immediately.</font> </font> <p align="center"><font color="#000000"><font size="1" face="Segoe Print">Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends to the Oracle of Delphi for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina brings the baby to the king, in the hopes that the sight of the child will soften his heart. He only grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in some desolate place. While Antigonus is gone, the answer comes from Delphi--Hermione and Polixenes are innocent, and Leontes will have no heir until his lost daughter is found. As this news is revealed, word comes that Leontes's son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. Hermione, meanwhile, falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband.</font> </font> <p align="center"><font color="#000000"><font size="1" face="Segoe Print">Antigonus, meanwhile abandons the baby on the Bohemian coast, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita and leave gold and other tokens on her person. Shortly thereafter, Antigonus is killed by a bear, and Perdita is raised by a kindly Shepherd. Sixteen years pass, and the son of Polixenes, Prince Florizel, falls in love with Perdita. His father and Camillo attend a sheepshearing in disguise and watch as Florizel and Perdita are betrothed--then, tearing off the disguise, Polixenes intervenes and orders his son never to see the Shepherd's daughter again. With the aid of Camillo, however, who longs to see his native land again, Florizel and Perdita take ship for Sicilia, after using the clothes of a local rogue, Autolycus, as a disguise. They are joined in their voyage by the Shepherd and his son, a Clown, who are directed there by Autolycus.</font> </font> <p align="center"><font color="#000000"><font size="1" face="Segoe Print">In Sicilia, Leontes--still in mourning after all this time--greets the son of his old friend effusively. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. What happens next is told to us by gentlemen of the Sicilian court: the Shepherd tells everyone his story of how Perdita was found, and Leontes realizes that she is his daughter, leading to general rejoicing. The entire company then goes to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue comes to life--it is Hermione, restored to life. As the play ends, Paulina and Camillo are engaged, and the whole company celebrates the miracle.</font> </font> <p align="right"><font size="1" face="Segoe Print">-<a href="http://www.sparknotes.com/shakespeare/winterstale/summary.html">source</a></font></p> <p align="center"><font color="#000000" size="6" face="Segoe Print"><font color="#000000" size="6" face="Segoe Print"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvqg_Z4vL-_dDwf0otNfMMIIl9RTFOKTUsHxlVfYZzXM8pl0EjtpxoD_9ehblXvMaR-ZFUtsMy4uRPGttyezcv42tsjEStVpq3tQVsTjdrP1dhYO6FA2WzAm2ClUna9zC7zY8EpGH0EvVd/s1600/winters_tale_a5s3.jpg"></font></font></p> <p align="center"><font color="#000000" size="6" face="Segoe Print">Themes</font> <p align="center"><font color="#000000" size="1" face="Segoe Print">The themes of The Winter's Tale are similar to the themes in Shakespeare's three other final plays: The Tempest, Cymbeline and Pericles. All these plays are known as romances.</font> <p align="center"><font face="Segoe Print"><font color="#000000"><font size="1"><font color="#9c85c0" size="4">Youth and Age<br></font>One theme is the power of youth to regenerate age. For example, it is the young people, Perdita and Florizel, who effect the reconciliation between the old kings, Leontes and Polixenes. This theme is struck in the very first scene, in which Camillo comments that young Mamilius is such a promising prince that he makes "old hearts fresh." (See also Polixenes' comments, Act 1, scene 2, lines 170-71.) Mamilius of course does not live to fulfill his promise, but Perdita does. There is a sense of human life renewing itself through the cycle of generations.</font></font></font></p> <p align="center"><font face="Segoe Print"><font color="#000000"><font size="1"><font color="#9bbb59" size="4">Forgiveness and Reconciliation<br></font>The importance of forgiveness and reconciliation is another theme in the last plays of Shakespeare. Hermoine forgives Leontes the wrong he inflicted on her, and they are finally reconciled. Polixenes forgives Leontes. Leontes must also try to forgive himself.</font></font></font></p> <p align="center"><font face="Segoe Print"><font color="#000000"><font size="1"><font color="#dd8484" size="4">Supernatural Intervention<br></font>Supernatural or improbable events often feature in the Shakespearean romances. In The Winter's Tale, the god Apollo intervenes, through the oracle, when Leontes is blind to the truth and bent on injustice. The "resurrection" of Hermoine is also presented as a supernatural event, a miracle. Paulina is anxious to avoid any implication that she is bringing Hermoine back to life by the use of magical arts. Shakespeare's concern is not to produce a trick by magic, but to demonstrate in a symbolic way the power of life to regenerate itself.</font></font></font></p> <p align="center"><font face="Segoe Print"><font color="#000000"><font size="1"><font color="#809ec2" size="4">Nobility of Woman <br></font>Another theme of the romances, prominent in The Winter's Tale, is the nobility, purity and resoluteness of woman. These qualities are embodied in Hermoine, who is not only beyond reproach in her duties as queen, but also endures false accusation and condemnation with great dignity. Paulina is steadfast, loyal and persistent, and Perdita is the embodiment of the innocent regenerative power of nature. In no other play by Shakespeare does he present as many women of such admirable qualities. They stand in contrast to the appalling conduct of Leontes and, in Act 4, of Polixenes, who performs a function similar to that of Leontes in the first two acts. Man's belligerence and even madness is therefore contrasted with woman's quiet strength.</font></font></font></p> <p align="center"><font color="#000000"><font size="1"><font face="Segoe Print"><font color="#d19049">Nature and the Perpetual Renewal of Life<br></font>Perhaps the main theme is the triumph of life, as expressed through nature's perpetual powers of renewal. This is the "great creating nature" (Act 4, scene 4, line 89) that is shown in all its variety in the great sheep-shearing scene. The rhythms of nature are reflected in the structure of the play. The first three acts are tragic (decay; winter), the last two comic (rebirth and growth; summer). The two moods meet in the Old Shepherd, as he discovers the babe Perdita at the same time that Clown witnesses the death of Antigonus: "Now bless thyself: thou met'st with things dying, I with things new-born" (Act 3, scene 3, lines 112-13). The structure of the play suggests that human life will be healed by nature and time, just as spring always returns to the earth. What time takes away it will ultimately restore. The miraculous return of Hermoine (no one ever explains where she has been all those years) is simply part of the symbolic message that life has infinite restorative powers. Just as Perdita can be found, so can Hermoine be restored.</font></font></font></p> <p align="right"><font color="#000000"><font size="1" face="Segoe Print">-</font><a href="http://www.novelguide.com/thewinter'stale/themeanalysis.html"><font size="1" face="Segoe Print">source</font></a></font></p> <p align="center"><font color="#000000" size="5" face="Segoe Print">Symbolism, Imagery & Allegory</font></p> <h4 align="center"><font size="4" face="Segoe Print"><font style="font-weight: normal" color="#9bbb59">Twinned Lambs</font></font></h4> <p align="center"><font color="#000000" size="1" face="Segoe Print">Polixenes’s description of his childhood friendship with Leontes is probably the most famous example of imagery in <i>The Winter’s Tale</i>. According to Polixenes, when they played together as innocent young boys, they were like “twinn’d lambs that did frisk i’ the sun,” which is a very sweet way to describe the innocence and joy of a carefree childhood friendship between two boys. It also implies that Polixenes and Leontes were so close that they were practically identical (“twinn’d”). By the way, this is also a simile, which compares one thing directly to another. As in, the boys were <i>like</i> lambs.<br>So, you’re probably thinking, “Aww, what a sweet way for Polixenes to talk about his best childhood bud.” Well, we might want to rethink this because Polixenes’s lovely description of the nearly identical boys gives way to something darker:<br></font><font size="1"><font face="Segoe Print"><font color="#000000"><i>We were as twinn'd lambs that did frisk i' the sun,<br>And bleat the one at the other: what we changed<br>Was innocence for innocence; we knew not<br>The doctrine of ill-doing, nor dream'd<br>That any did.<br>Had we pursued that life,<br>And our weak spirits ne'er been higher rear'd<br>With stronger blood, we should have answer'd heaven<br>Boldly 'not guilty;' the imposition clear'd<br>Hereditary ours.</i> (1.2.10)<br>What’s interesting is that Polixenes claims that he and Leontes would not even have been “guilty” of original sin <i>if</i>they had remained young and innocent. Note: The doctrine of “ill doing” (a.k.a. “original sin”) is the idea that all human beings are born tainted because Adam and Eve sinned in the Garden of Eden, according to the Bible’s book of Genesis. In other words, Polixenes suggests that he and Leontes would have remained totally innocent if they hadn’t grown up to become interested in sex (“stronger blood” means “sexual passion”) and <i>girls</i> (like Hermione and Polixenes’s wife). This implies that sexual relationships with women mark the end of childhood and are probably the reason why Polixenes and Leontes aren’t as close as they once were.</font></font></font></p> <h4 align="center"><font face="Segoe Print"><font style="font-weight: normal" color="#804000" size="4">The Bear</font></font></h4> <p align="center"><font color="#000000" size="1" face="Segoe Print">If you’re like us, you were probably completely blown away when that bear ran out and chased Antigonus across the stage before devouring the poor guy (3.3). Yep, that’s pretty random alright, and to tell you the truth, we’re not quite sure what to make of it (except to say that Shakespeare obviously has a sense of humor). So, let’s think about this for a minute by reviewing some popular interpretations of the incident:<br>Option 1: Lots of people think that Antigonus gets mauled by a bear because he’s just done a really horrible thing – dumped off baby Perdita in the middle of nowhere. It certainly seems reasonable to assume that Antigonus suffers from bad karma. On the one hand, however, we could also point out that Leontes has got some pretty bad karma too but he’s never mauled by a wild animal.<br>Option 2: Leontes’s bad behavior brings us to our second option. According to some critics, the bear is a symbol of Leontes’s wrath, which means that Antigonus isn’t so much a villain as a victim. He’s bullied into ditching Perdita by Leontes and the bear mauling is just another version of Antigonus being attacked by a ferocious figure.<br>Option 3: Alternatively, some literary critics have pointed out that the whole bear mauling incident seems to echo fertility rites myths. As literary critic Jean E. Howard tells us in her introduction to the Norton edition of the play (2008), these kinds of fertility rites usually involve some poor old guy being sacrificed in order to usher in the spring season (think “out with the old and in with the new”) and bring about some sort of sexual fulfillment.<br>Option 4: The bear mauling isn’t symbolic of anything. It’s just Shakespeare’s way of having fun and making reference to a popular sixteenth- and seventeenth-century blood sport (bear baiting – when bears are chained up and set upon by a pack of dogs). Bear baiting took place in the same neighborhood as Shakespeare’s plays and there are references to it all over his work, so this definitely seems like a good option.<br>Option 5: What? You don’t like any of these theories? That’s fine by us. Let us know what you come up with!</font></p> <h4 align="center"><font color="#9e7c7c" size="4" face="Segoe Print">The Seasons</font></h4> <h5 align="center"><b><font color="#4bacc6" face="Segoe Print">Winter</font></b></h5> <p align="center"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3EJv4H39O5-Z1AG9W7orxydVo7gBAZz-vLso_yTsQLwyGG15htPvLRdiHP1jNde3qjkIywU6yGLnS37mhlXQZg-OZdJ8jUR673d-ID96UVYLGuuCZVJnCYHZrshqzLtqXutn0W1YzPIXr/s1600/winter-wonderland-1-1024x768.jpg" width="276" height="210"></p> <p align="center"><font color="#000000" size="1" face="Segoe Print">We discuss this in “Setting,” but it’s worth mentioning here as well. The first half of <i>The Winter’s Tale</i> is set in King Leontes’s Sicilian court during the cold winter months. We know that it’s winter, by the way, because Mammilius tells his mother “A sad tale's best for winter” (2.1.7) after she asks him for a story. The frigid season seems completely appropriate in a court where Leontes’s cold-hearted behavior destroys his family and brings about the worst kind of suffering imaginable.</font> <h5 align="center"><b><font color="#000000" face="Segoe Print"><font color="#d19049">Spring</font>/<font color="#dd8484">Summer</font></font></b></h5> <p align="center"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU0JlwAlbqfj1abkgnVDRMn2ZenBpZU7vHFX5akeWwzK68CO52T_EUyh6K-tszeXgY7OYL5wRyE4Ay0S3z3DiuAIOyI35nBicxk-K97VkB_PgcgD7ArWHmOYgPArNsYHHB7zvQxRWGKRGM/s1600/IndianSummer.jpg" width="271" height="207"></p> <p align="center"><font color="#000000" size="1" face="Segoe Print">In the second half of the play (which occurs sixteen years later), the Sicilian winter gives way to the Bohemian countryside during the spring or summer (it’s not entirely clear). The spring and summer seasons, as we know, are frequently associated with life and renewal and life (especially because they come on the heels of the cold and harsh winter months). Fittingly, Bohemia is a festive world that’s full of youthful spirit and possibility. This is where we meet the lovely young Perdita, who resembles Flora, goddess of flowers. Bohemia is also where Florizel’s and Perdita’s young love blossoms and just about anything seems possible, especially during the colorful sheep-shearing festival.<br>When the young Bohemian cast (Florizel and Perdita) travel to Sicily in Act 5, the “cold” Sicilian landscape is dramatically altered. Leontes says, “Welcome hither, / As is the spring to the earth […] The blessed gods / Purge all infection from the air / Whilst you / Do climate here” (5.1.13-15). Leontes, whose been suffering a winter-like existence in Sicily for sixteen long years, suggests that Florizel’s presence is like the arrival of spring after a long, cold, harsh winter. What’s more, Florizel and Perdita’s youthful presence seems to have a healing effect on the king and his ailing court, which never really recovered from the deaths of Hermione and Mammilius and the loss of baby Perdita. So, we might say that Florizel and Perdita bring with them the spirit of spring/summer and inject the play with love, warmth, and the spirit of forgiveness.<br>Psst. The BBC’s made-for-TV production of <i>The Winter’s Tale</i> (1981) uses some great sets and props to play up the whole winter/summer dichotomy. This could make for a cool essay topic…</font></p> <h4 align="center"><font color="#a5a5a5" size="4" face="Segoe Print">Time</font></h4> <p align="center"><font color="#000000" size="1" face="Segoe Print">At the beginning of Act 4, Time, a winged figure with an hourglass, appears on stage. Time is an allegory. (An allegory is a kind of extended metaphor that’s weaved throughout a poem or play in which objects, persons, and actions stand for another meaning. In this case, Time stands for, well, time.) Because Time announces that the play has fast-forwarded sixteen years into the future and tells us that the setting has changed from Sicily to Bohemia, where Perdita has grown up, Time is also acting the part of a Chorus (kind of like a narrator).<br>During his speech, Time apologizes to the audience for all of this: “Impute it not a crime / To me or my swift passage, that I slide / O'er sixteen years and leave the growth untried / Of that wide gap” (4.1.1). Translation: “Don’t be mad that the play has skipped ahead sixteen years.” Why is Time apologizing? Well, flash forwards and major setting changes were a big no-no on the English stage in Shakespeare’s day because they disregarded the “classical unities” (of time, place, and action), a set of literary rules that said all plays should have the following features: 1) the action should take place within a 24 hour time span; 2) the action should take place in one geographical place/setting; 3) the play should have one main plot and no sub-plots. <i>The Winter’s Tale</i> pretty clearly breaks all of these rules (as did many other Shakespeare plays).</font></p> <h4 align="center"><font color="#809ec2" size="4" face="Segoe Print">Hermione’s Statue</font></h4> <p align="center"><font color="#000000" size="1" face="Segoe Print">The statue of Hermione is one of the most controversial issues in the play. By the time Paulina invites everyone to see Hermione’s life-like statue in the play’s final act, Hermione has been presumed dead for the past sixteen years. (Remember, Paulina announces that she’s died of a broken heart back at 3.2.3). This is why everyone (especially Leontes and Perdita) is so shocked to see that an artist has created such a realistic and stunning statue. (The artists even seem to have taken into account how Hermione would have aged over the years.) Everyone is even more shocked and amazed when Paulina calls for some dramatic music and says “Tis time. Descend. Be stone no more” (5.3.11) and Hermione (who is very much alive) steps down from the pedestal and gives Leontes a hug. Clearly, this is a pretty dramatic and moving scene, for the characters and the audience.<br>The problem is this: it’s not entirely clear if Hermione is somehow brought back from the dead, or if she’s been alive the whole time. Some critics argue that Hermione is magically and miraculously resurrected when her long lost daughter (Perdita) returns to her. Others argue that Paulina just hid Hermione away for sixteen years so that 1) Leontes wouldn’t hurt her and 2) she could teach Leontes a lesson. There’s enough evidence in the play to argue either way. So, what do <i>you</i> think? Is this magic, or is it just Paulina’s parlor trick?</font></p> <p align="right"><font size="1" face="Segoe Print">-<a href="http://www.shmoop.com/winters-tale/symbolism-imagery.html">source</a></font></p> <p align="center"><font color="#000000" size="1" face="Segoe Print">The entire play can be referred to this <a href="http://shakespeare.mit.edu/winters_tale/full.html">webpage</a>.</font></p> <p align="center"><font color="#000000" size="1" face="Segoe Print"></font></p> Syahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-22858241570596997572011-02-05T02:24:00.000-08:002011-02-05T02:34:38.562-08:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcaxPHbwJyvO6c3M4X-K09-ncuHcrPMv7-E2yQVwMvlvgSAoBYjfTpLyqjpKQ3KSzR-2Hx4SgVpmaCT0RFhTOiyhjvphVZmNIwONz7jqtPb3pLVxa-s4J6hnt-_T209sIwxEDx1Do8CHq/s1600/winters+tale.jpg"><img id="BLOGGER_PHOTO_ID_5570151957523463058" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 241px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcaxPHbwJyvO6c3M4X-K09-ncuHcrPMv7-E2yQVwMvlvgSAoBYjfTpLyqjpKQ3KSzR-2Hx4SgVpmaCT0RFhTOiyhjvphVZmNIwONz7jqtPb3pLVxa-s4J6hnt-_T209sIwxEDx1Do8CHq/s320/winters+tale.jpg" border="0" /></a><br /><div>Winter's tale:Characters<br /><a name="1"></a>Leontes - The King of Sicilia, and the childhood friend of the Bohemian King Polixenes. He is gripped by jealous fantasies, which convince him that Polixenes has been having an affair with his wife, Hermione; his jealousy leads to the destruction of his family.<br /><a href="http://ad.doubleclick.net/click;h=v8/3aa5/0/0/%2a/y;44306;0-0;0;53000885;4307-300/250;0/0/0;;~okv=;page=notes;title=winterstale;edu=college;sz=300x250;pos=top;tile=4;~sscs=%3f" target="_top" cmimpressionsent="1"></a><a name="2"></a>Hermione - The virtuous and beautiful Queen of Sicilia. Falsely accused of infidelity by her husband, Leontes, she apparently dies of grief just after being vindicated by the Oracle of Delphi, but is restored to life at the play's close.<br /><a name="3"></a>Perdita - The daughter of Leontes and Hermione. Because her father believes her to be illegitimate, she is abandoned as a baby on the coast of Bohemia, and brought up by a Shepherd. Unaware of her royal lineage, she falls in love with the Bohemian Prince Florizel.<br /><a name="4"></a>Polixenes - The King of Bohemia, and Leontes's boyhood friend. He is falsely accused of having an affair with Leontes's wife, and barely escapes Sicilia with his life. Much later in life, he sees his only son fall in love with a lowly Shepherd's daughter--who is, in fact, a Sicilian princess.<br /><a name="5"></a>Florizel - Polixenes's only son and heir; he falls in love with Perdita, unaware of her royal ancestry, and defies his father by eloping with her.<br /><a name="6"></a>Camillo - An honest Sicilian nobleman, he refuses to follow Leontes's order to poison Polixenes, deciding instead to flee Sicily and enter the Bohemian King's service.<br /><a href="http://ad.doubleclick.net/click;h=v8/3aa5/0/0/%2a/y;44306;0-0;0;53000885;4307-300/250;0/0/0;;~okv=;page=notes;title=winterstale;edu=college;sz=300x250;pos=bottom;tile=5;~sscs=%3f" target="_top" cmimpressionsent="1"></a><a name="7"></a>Paulina - A noblewoman of Sicily, she is fierce in her defense of Hermione's virtue, and unrelenting in her condemnation of Leontes after Hermione's death. She is also the agent of the (apparently) dead Queen's resurrection.<br /><a name="8"></a>Autolycus - A roguish peddler, vagabond, and pickpocket; he steals the Clown's purse and does a great deal of pilfering at the Shepherd's sheepshearing, but ends by assisting in Perdita and Florizel's escape.<br /><a name="9"></a>Shepherd - An old and honorable sheep-tender, he finds Perdita as a baby and raises her as his own daughter.<br /><a name="10"></a>Antigonus - Paulina's husband, and also a loyal defender of Hermione. He is given the unfortunate task of abandoning the baby Perdita on the Bohemian coast.<br /><a name="11"></a>Clown - The Shepherd's buffoonish son, and Perdita's adopted brother.<br /><a name="12"></a>Mamillius - The young prince of Sicilia, Leontes and Hermione's son. He dies, perhaps of grief, after his father wrongly imprisons his mother.<br /><a name="13"></a>Cleomenes - A lord of Sicilia, sent to Delphi to ask the Oracle about Hermione's guilt.<br /><a name="14"></a>Dion - A Sicilian lord, he accompanies Cleomenes to Delphi.<br /><a name="15"></a>Emilia - One of Hermione's ladies-in-waiting.<br /><a name="16"></a>Archidamus - A lord of Bohemia.<br />source:<a href="http://www.sparknotes.com/shakespeare/winterstale/characters.html">http://www.sparknotes.com/shakespeare/winterstale/characters.html</a></div>MarieLeehttp://www.blogger.com/profile/04785159444316099578noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-44147036194483507512011-01-17T01:44:00.000-08:002011-01-17T01:48:03.536-08:00A Cartoon's Thought..................<div style="text-align: center; font-weight: bold;">~~~What They Think of Shakespeare & Othello~~~<br /></div><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDInesoNmey-Nj2PN0j-ds17SsxAdlMFjYbl8fInVsMQfkA9ybB8JxrgZDJOSoKThtHQlBZ_wVPl3cuoLuOjYN_O9VaDXkEbi_GW8qrusf9dThUI9EoaKrcwYW5hUKakG9g9ikxsIXn97V/s1600/shr0509l.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 341px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDInesoNmey-Nj2PN0j-ds17SsxAdlMFjYbl8fInVsMQfkA9ybB8JxrgZDJOSoKThtHQlBZ_wVPl3cuoLuOjYN_O9VaDXkEbi_GW8qrusf9dThUI9EoaKrcwYW5hUKakG9g9ikxsIXn97V/s400/shr0509l.jpg" alt="" id="BLOGGER_PHOTO_ID_5563088915550875250" border="0" /></a><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFPBkbMoy2dRJcF2CO8xCpT6wWVzlmQtd92kxRDK8AhUynRxs3pt_sPvpPPPj8Invk3N_gcrSbama6Dl498GjF84MhxGLU0d8lNeqca23pI1Nie9guzfsPww4g0rkbCbrmDX15CSdwt67/s1600/jfa2010l.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 357px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFPBkbMoy2dRJcF2CO8xCpT6wWVzlmQtd92kxRDK8AhUynRxs3pt_sPvpPPPj8Invk3N_gcrSbama6Dl498GjF84MhxGLU0d8lNeqca23pI1Nie9guzfsPww4g0rkbCbrmDX15CSdwt67/s400/jfa2010l.jpg" alt="" id="BLOGGER_PHOTO_ID_5563088913929262530" border="0" /></a><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQUIUYORpmETatGjQcJ4ztfcr-dGyijAABRIrWg_1yjz3t9F6r6dl3I8hfL4MFmTH3tEnI5mh4WF6c0_xiAGo4gLq4vYlxjfy2dL76FTPkXxdVUVIU5jxdxmJUbI7c-V-ErkyCxT9MXj3/s1600/csl5524l.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 394px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQUIUYORpmETatGjQcJ4ztfcr-dGyijAABRIrWg_1yjz3t9F6r6dl3I8hfL4MFmTH3tEnI5mh4WF6c0_xiAGo4gLq4vYlxjfy2dL76FTPkXxdVUVIU5jxdxmJUbI7c-V-ErkyCxT9MXj3/s400/csl5524l.jpg" alt="" id="BLOGGER_PHOTO_ID_5563088908606744946" border="0" /></a><br /></div>Alephttp://www.blogger.com/profile/04844027075434849165noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-91887266068631712752011-01-17T01:16:00.000-08:002011-01-17T01:21:32.546-08:00Let's Play OTHELLO.......<div style="text-align: center;"><h1 id="nointelliTXT" class="Heading1a">How to Play Othello</h1>Othello is the name for an abstract strategy board game that involves play by two players on an eight-by-eight square grid with pieces that are black and white. Black always goes first. Each player starts with two pieces on the board in the center. The object of the game is to have more of your color on the board then your opponent at the end of the game.<div style="overflow: hidden; color: rgb(0, 0, 0); background-color: transparent; text-align: left; text-decoration: none; border: medium none;"><br /><br /><ul style="text-align: center;"><li>Play a black piece on the board so that a white piece is between two black. The white will be changed to black.</li></ul><ul style="text-align: center;"><li>Place a white piece so that it outflanks one or more black pieces. The blacks that are between the white will be converted to white. A piece may outflank any number of pieces in one or more rows in any number of directions at the same time - horizontally, vertically or diagonally. (A row is defined as one or more pieces in a continuous straight line.)</li></ul><ul style="text-align: center;"><li><div style="overflow: hidden; color: rgb(0, 0, 0); background-color: transparent; text-decoration: none; border: medium none;">Flipping pieces is not optional. If a piece falls into a line that is outflanked, it must be turned even if it is not to the player's advantage.</div></li></ul><ul style="text-align: center;"><li>Continue to play in this fashion. If you get to a point where you cannot make a move you can forfeit your turn and your opponent moves again. However, if no one can move or all spaces are filled the game is over. The one with the most pieces on the board is the winner.<br /></li></ul></div><br />Here is the Link: <a href="http://www.nickyee.com/flash/othello.html">http://www.nickyee.com/flash/othello.html</a><br /><br /><span style="font-size:180%;"><span style="font-weight: bold;">ENJOY!!!!!!</span></span><br /><br /></div>Alephttp://www.blogger.com/profile/04844027075434849165noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-29199379356623344962011-01-17T00:26:00.000-08:002011-01-17T00:33:30.480-08:00OTHELLO in Rap!!!!<div style="text-align: center;"><br /></div><object width="320" height="240" ><param name="allowfullscreen" value="true" /><param name="movie" value="http://www.facebook.com/v/190933624252832" /><embed src="http://www.facebook.com/v/190933624252832" type="application/x-shockwave-flash" allowfullscreen="true" width="320" height="240"></embed></object>Alephttp://www.blogger.com/profile/04844027075434849165noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-2959952976613555612011-01-17T00:20:00.000-08:002011-01-17T00:30:41.619-08:00OTHELLO in 3 Minutes!!!!!<div style="text-align: center;"><br /></div><object width="320" height="240" ><param name="allowfullscreen" value="true" /><param name="movie" value="http://www.facebook.com/v/190933210919540" /><embed src="http://www.facebook.com/v/190933210919540" type="application/x-shockwave-flash" allowfullscreen="true" width="320" height="240"></embed></object>Alephttp://www.blogger.com/profile/04844027075434849165noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-78667529413392771152011-01-16T17:27:00.000-08:002011-01-16T17:59:10.238-08:00Group 7<div style="text-align: center;"><span style="font-size: x-large;">Othello</span></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-size: large;">The Play</span></div><div style="text-align: center;">(Act II)</div>Syahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-4620609080809947102011-01-16T17:23:00.000-08:002011-02-05T02:24:38.900-08:00Othello: character<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSZ54ksX5Z-UmCTfZudUlUn7yo0FYwlDdLbFcy1IH-ZOpahjsP2zZIRu_H-sehm4TpLsSiLMjwLFDVf5gVyD7G3qncQEZxufMXNdqHZdPVCBlkAb-DJFChKjWG8M7DRN2Tj8H1ctlyl0wM/s400/othello_3_lg.gif"><img style="FLOAT: left; MARGIN: 0pt 10px 10px 0pt; WIDTH: 358px; CURSOR: pointer; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSZ54ksX5Z-UmCTfZudUlUn7yo0FYwlDdLbFcy1IH-ZOpahjsP2zZIRu_H-sehm4TpLsSiLMjwLFDVf5gVyD7G3qncQEZxufMXNdqHZdPVCBlkAb-DJFChKjWG8M7DRN2Tj8H1ctlyl0wM/s400/othello_3_lg.gif" border="0" /></a><br /><div style="TEXT-ALIGN: justify">Some issues that can be seen in Othello: Racistism<br />Characters of Othello.<br />Called as non-white, the colors of Othello had been disputed and because we imagine as we read, and it give us some understanding of the play.<br />In the introduction from the book Othello edited by M.R Ridley, he quoted Coleridge. " It would be monstrous to conceive this beautiful Venetian girl falling in love with a veritable Negro. It would be argue a disproportionateness, a want of balance, in Desdemona, which Shakespeare does not appear to have in the least contemplated."<br />Othello is describe as a tragic hero. A man of noble birth and by fate of his own doing . The flaw in the character ia a defect which keep him from being aware of the situation around him. He do not understand and oblivious his part in the situation.<br />Now aday, it is not an issue if two from different colors to be together. but in Elizabethan era, it is clearly an issue.<br />In the text from the play [act I ScI] "(as partly I find it is) that your fair daughter,<br />at thus odd-even and dull watch o'the night, transported with no worse nor better guard,<br />But with a knave of common hire, agondolier, to the gross clasps of a lascivious Moor."<br />Is shakerspeare a racist? i will post again about this issue based on the text excerted from the play, and some issues in relevence to Othello and the character Othello.</div><div style="TEXT-ALIGN: justify"> </div><div style="TEXT-ALIGN: justify">The text below is taken from the Google site, there are a lot of text wrriten on this topic.<br />Racism is an issue in Othello, a story of black versus white, and deals with the idea of a black hero and a white nemesis.</div><div style="TEXT-ALIGN: justify">Othello is a story of black and white. Perhaps black versus white would be more accurate. This battle takes place on two different levels. There is the battle of good versus evil. That always is seen as black versus white. Yet, this is also a personal battle, of a white man and a black man. Shakespeare’s twist of fate is that he has made the good represented by black, and evil represented by white. Whether it be simply irony, or an attempt on Shakespeare to make a political statement about race, you are constantly reminded of this one decision consistently throughout the story of Othello.<br />A man of African heritage is typically portrayed in Elizabethan literature in a negative light, yet is allowed to shine in Othello. From the onset of this story, Othello is depicted as a true hero. He is a great general and a great man. Like any Elizabethan hero, he is flawed; his nobility and honesty permits Iago to use his deceitful ways. Whereas a black person would normally be used in Elizabethan literature to represent the darkness, Iago’s absolute evil takes on that role. One idea that does not change is the idea of purity. Desdemona represents purity in its truest form; a young beautiful white female.<br />google_protectAndRun("ads_core.google_render_ad", google_handleError, google_render_ad);<br />The play opens with Iago proclaiming his hatred for Othello. Iago has been passed up for a promotion, which went to a less experienced man. Othello, whom is Iago’s master has made this decision, which Iago obviously does not agree with.<br />This seems to be the only reason for Iago to detest Othello, but his anger stretches beyond this into personal attacks. Iago refers to Othello’s "thick-lips" (I.i.66) and to him as "an old black ram" (I.i.88-89). His hatred may have started on a professional level, but in part due to Othello’s heritage, Iago’s contempt quickly deteriorates to racism. This brings about a reoccurring paradox in Othello. While an extremely powerful man in a political context, his race makes him inferior in a white man’s society. Iago is able to trick his master and manipulate him on a consistent basis.<br />Since Iago has no real foundation for this hatred, he needs to invent new reasons to hate Othello. He forms the idea in his own mind that Othello is sleeping with his wife. While this is obviously untrue, it helps give Iago a reason to despise Othello for other than the color of his skin. His anger is quite obvious when he lashes out with the statement "hell and night / must bring this monstrous birth to the world's light" (I.iii.397-98). Not only does this outburst show Iago’s contempt for Othello, it clearly shows the ironic switching of color once again. He refers to himself as hell and night, while Othello is the world’s light.<br />Iago’s evil plan to destroy Othello starts to take hold. The seeds of jealousy that Iago has planted over the last several chapters finally start to bloom. Othello is planning on taking the life of his beloved Desdemona for what he believes to be her infidelity. Othello starts to lose his humanity, and takes on the mentality of a savage. One can make the symbolic link between his ‘savage’ behavior and that of his ancestry. The only thing that keeps Othello as a man is love. With Othello believing the love is gone, he no longer has a need to be a man. Word of nobility has been replaced with profanity normally reserved for the dialogue of Iago.<br />As the conclusion of the play unfolds, we wind up with Cassio injured, Desdemona dead, and Iago’s wife dead as well. Othello has taken the life of his wife, and had unsuccessfully tried to kill Cassio, due to Iago’s manipulation. On the other hand, Iago killed his own wife in cold blood publicly for unveiling his evil doings.<br />When Othello’s love is restored, although a little too late, his nobility returns as well. One must wonder then why Othello takes his own life. It can be argued that while Othello possessed all that he did, he did not possess the ability to keep what he had. In a perfect world, love would have been enough for Othello to live happily ever after. However, Elizabethan literature hardly depicts such a world.<br />If Othello had been white, would he have rode off into the sunset to start again? When he states that he wished to be remembered as one who "loved not wisely but too well"(V.ii.344), he seems concerned about the image people would have of him. Perhaps he is worried that the limitations he has faced thus far due to his heritage will taint him once more when he must face the law for his crimes. If that were the case, then the only person to be able to judge him fairly would be God, and he simply went to find justice. </div><div style="TEXT-ALIGN: justify"> </div><div style="TEXT-ALIGN: justify">source:<a href="http://www.essortment.com/all/racisminothell_rmeq.htm">http://www.essortment.com/all/racisminothell_rmeq.htm</a></div>MarieLeehttp://www.blogger.com/profile/04785159444316099578noreply@blogger.com1tag:blogger.com,1999:blog-4045884254453326730.post-43004270816067087252011-01-16T17:22:00.000-08:002011-01-16T17:24:13.127-08:00Synopsis<span style="font-family: Verdana,sans-serif; font-size: xx-small;">In a street in Venice, the villain Iago complains to Roderigo that Othello the Moor chose Cassio to be his lieutenant, rather than Iago. Iago vows to stay loyal to Othello only as long as it works to his advantage. They then inform Barbantio that his daughter Desdemona is sleeping with Othello. Barbantio hesitates to believe them, since Roderigo has been an unwelcome suitor to his daughter, but he soon finds she is missing. At Othello's house, Cassio and other officers arrive summoning Othello to the Duke of Venice on urgent matters. Barbantio then arrives and orders Othello arrested, until he learns of the Dukes summons. At the Duke's chambers, Barbantio accuses Othello of using spells and potions to win Desdemona. He, however, proves this is not so, and Barbantio reluctantly blesses their marriage. We then learn that the Turkish fleet (the Ottomites) is sailing toward Cypress. The Duke asks Othello to go defend it, and Desdemona asks to come with. Othello asks Iago to take care of Desdemona and follow him to Cyprus. Roderigo laments to Iago that he has lost Desdemona since Othello has married her. Iago convinces Roderigo to make money by selling his lands and fighting in wars. Over time, Iago feels Othello will tire of Desdemona and she will again become available. Iago, for his own part, reveals to the audience that he is only using Roderigo for his money. He also begins to plot his revenge against Othello for choosing Cassio.</span><div style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">At Cyprus, the governor Montano reports that a tempest has droned the Turkish fleet, effectively eliminating their threat. Next, Cassio arrives, then Iago, his wife Emilia, and Desdemona, and lastly, Othello. In private, Iago tells Roderigo he believes Desdemona is in love with Cassio, based on their flirting before Othello arrived. He convinces Roderigo to pick a fight with Cassio to get Cassio in trouble with the local authorities. Alone, Iago reveals his plans to make Othello jealous of Cassio and/or Roderigo for courting Desdemona. That evening, after supper, Othello and Desdemona head to bed, while Iago arrives with wine, hoping to get Cassio drunk. He does, then Roderigo eggs him on, and a fight ensues, pulling Montano into the melee. Othello breaks it up, and after Iago explains (pretending not to know Roderigo), Othello tells Cassio he is no longer his lieutenant. Privately, Iago convinces Cassio to entreat Desdemona to ask Othello to reinstate him. Alone, Iago reveals that he'll use their private meetings to convince Othello that Desdemona is disloyal.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">At the Citadel (Othello's lodging), Cassio entreats Desdemona to help him. When Iago and Othello appear in the distance, Cassio leaves. Desdemona relays Cassio's penance, then leaves herself. Iago begins dropping hints of his "suspicions" about Cassio and Desdemona to Othello, to which Othello probes Iago for his thoughts, and Iago pretends to reluctantly reveal them. Thus, Iago plants the seed that Desdemona is being disloyal to Othello. All throughout, Othello keeps stating how he genuinely believes Iago is of "exceeding honesty". Iago leaves and Desdemona appears calling Othello to dinner. He, already becoming (wrongly) suspicious, is rude to her when she tries to cure his "headache" with her handkerchief, given to her by Othello as his first gift to her. They leave, and Emilia appears and picks up the handkerchief, remembering that her husband Iago has asked her to steal it repeatedly before. Iago appears and takes it from her; then privately states that he'll plant it at Cassio's room to fuel Othello's suspicions. Othello reappears, and reveals to Iago how greatly depressed he has become. Othello yells at Iago and demands proof of the suspicions which Iago has planted in his head. Iago then claims he has heard Cassio talk of his love for Desdemona in his sleep. Iago also claims he's seen Cassio wipe his beard with Desdemona's handkerchief. This being the final straw, Othello names Iago his lieutenant and orders Iago to kill Cassio within the next three days. As for Desdemona, Othello wishes her dead too. In her room, Desdemona and Emilia look for the lost handkerchief. Othello appears and claims to have a cold and asks to see it. Desdemona says she doesn't have it, but promises it is not lost. Othello, enraged, leaves. Cassio again appears and entreats Desdemona to talk to Othello. She tells him she has tried, but Othello has become irritable. Cassio's mistress Bianca appears and he asks her to copy the handkerchief he found in his room (Desdemona's), since he likes it, but fears someone will ask for it soon.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">At his chamber, Iago eggs Othello on more as Othello slowly goes crazy, since Iago tells him Cassio admitted sleeping with Desdemona. Iago rejoices as Othello goes into a seizure/trance. Iago convinces Othello to hide while he questions Cassio about Desdemona. In reality, Iago plans to speak to Cassio about Bianca, eliciting laughter and smiles. Othello sees this and thinks they are talking about escapes with Desdemona. Bianca then appears, enraged, and throws the handkerchief at Cassio, accusing him of getting it from another lady. This, too, Othello sees. After Cassio and Bianca leave, Iago comes to Othello and convinces him to strangle Desdemona in bed that night, while Iago promises to take care of Cassio. The noble Lodovico from Venice arrives at Cyprus and gives Othello a letter. Already angered, the letter enrages Othello as it orders him home to Venice and Cassio to remain in Cyprus, taking over Othello's command. Desdemona tries to calm him and he strikes her, shocking Lodovico. Iago tells him Othello has changed, but will not reveal more. At the citadel, Othello questions Emilia about Desdemona's honesty; she swears Desdemona is honest, though Othello summons Desdemona and accuses her of being disloyal and a shore, all while himself weeping. When Othello leaves, Desdemona summons Iago and Emilia to comfort her. Emilia tells Iago she belies an evil villain hath put the thoughts into Othello's head. Ironically, Iago replies "it is impossible". Separately, Roderigo comes to Iago complaining that he has given Iago all his jewels to give to Desdemona, and has seen no positive results from her. Iago calms him down and explains that Othello and Desdemona are leaving, by order of Venice, and Cassio will take over in Cyprus. However, Iago says, if Cassio were to die, Othello would have to stay in Venice, and Roderigo would be able to have Desdemona. Iago tells Roderigo to wait outside Bianca's house after midnight, then kill Cassio when he leaves. Iago promises to help, if necessary. At supper, Lodovico and Othello go on a walk, and Othello orders Desdemona to wait, alone, in her bedroom for him.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">At night, in a street, Iago sets Roderigo up to kill Cassio. Iago thinks to himself that both must die, or his plotting will be revealed. Cassio appears and Roderigo attacks him, cutting off one of Cassio's legs, during which Cassio wounds Roderigo. Othello overhears Roderigo's cries for help and thinks Cassio is dead; he thus returns to Desdemona. Meanwhile, Iago, who had left, reappears to "investigate" the noise. Lodovico and Gratiano also come. Iago finds Cassio, who's still alive. Alone, he finds Roderigo and stabs him, assuring his death. Iago then "discovers" Roderigo and calls the others. Bianca appears and Iago accuses her of being in cohorts with Roderigo. He calls her a strumpet and takes her into custody. Othello then arrives back at Desdemona's chamber, ready to kill her, even though he still finds her beautiful. Despite her pleadings, he smothers her with a pillow, though she doesn't completely die. Emilia appears and tells Othello that Roderigo is dead, but Cassio is alive. She then hears Desdemona cry for help and tries to help her, but she dies. Emilia asks Othello why he killed her and he says Iago told him she had slept with Cassio. Montano, Gratiano, and Iago appear and Emilia accuses Iago of being a liar. He admits he told Othello Desdemona was sleeping with Cassio. Gratiano tells us Desdemona's father has died over the grief of losing her. Othello explains that Cassio had Desdemona's handkerchief, given to him by her, but Emilia laments that she found it and gave it to Iago. At this, Iago tries to kill Emilia, but Gratiano and Montano hold him back. Othello, in a rage, comes at Iago, but he escapes and kills his wife (Emilia), then flees. Montano and Gratiano take Othello's sword, then chase Iago. Othello finds another weapon, then Lodovico, Cassio, Montano, and Iago (captured) reappear. This time Othello wounds Iago, but is disarmed. All is revealed as letters explaining Iago's deeds were found on Roderigo, and he, when near death, professed that Iago had put him up to attacking Cassio. In a closing speech, Othello pulls a hidden dagger and kills himself. Fittingly, Lodovico leaves Iago for Cassio to sentence and torture.</span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">taken from;</span></div><span style="font-family: Verdana,sans-serif; font-size: xx-small;">http://www.online-literature.com/shakespeare/othello/</span>Syahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.com0tag:blogger.com,1999:blog-4045884254453326730.post-27709912215858061292011-01-09T20:07:00.000-08:002011-01-09T20:07:44.159-08:00An Introductory Reference to works of William Shakespeare and Christopher Marlowe<span class="Apple-style-span" style="line-height: 19px;"></span><br />
<div style="line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em; text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><b>William Shakespeare</b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxQ8p97s2UgGdC80Sc9yhrWYil76mFwO5tsikfNgmH5lVtIZxYtWvw8yRgGVjz2t02DGxWTZ5SEwP6fNbew6sRPmnNYyE964LAhx0IptYP8Xn7r11Klkq-EiJU6KslMcMBoSZcScZVQkR/s1600/240px-Shakespeare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxQ8p97s2UgGdC80Sc9yhrWYil76mFwO5tsikfNgmH5lVtIZxYtWvw8yRgGVjz2t02DGxWTZ5SEwP6fNbew6sRPmnNYyE964LAhx0IptYP8Xn7r11Klkq-EiJU6KslMcMBoSZcScZVQkR/s1600/240px-Shakespeare.jpg" /></a></div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><br />
</div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;">"<i>Shakespeare's works include the 36 plays printed in the <a href="http://en.wikipedia.org/wiki/First_Folio" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="First Folio">First Folio</a> of 1623, listed below according to their folio classification as <a href="http://en.wikipedia.org/wiki/Shakespearean_comedy" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Shakespearean comedy">comedies</a>,<a href="http://en.wikipedia.org/wiki/Shakespearean_history" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Shakespearean history">histories</a> and <a href="http://en.wikipedia.org/wiki/Shakespearean_tragedy" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Shakespearean tragedy">tragedies</a>.<sup class="reference" id="cite_ref-191" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-191" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>188<span>]</span></a></sup> Two plays not included in the First Folio, <a href="http://en.wikipedia.org/wiki/The_Two_Noble_Kinsmen" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="The Two Noble Kinsmen">The Two Noble Kinsmen</a> and <a href="http://en.wikipedia.org/wiki/Pericles,_Prince_of_Tyre" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Pericles, Prince of Tyre">Pericles, Prince of Tyre</a>, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition.<sup class="reference" id="cite_ref-Kathman_b_192-0" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-Kathman_b-192" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>189<span>]</span></a></sup> No Shakespearean poems were included in the First Folio.</i></div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><i>In the late 19th century, <a href="http://en.wikipedia.org/wiki/Edward_Dowden" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Edward Dowden">Edward Dowden</a> classified four of the late comedies as <a href="http://en.wikipedia.org/wiki/Shakespeare%27s_late_romances" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Shakespeare's late romances">romances</a>, and though many scholars prefer to call them<a href="http://en.wikipedia.org/wiki/Tragicomedy" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Tragicomedy">tragicomedies</a>, his term is often used.<sup class="reference" id="cite_ref-193" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-193" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>190<span>]</span></a></sup> These plays and the associated Two Noble Kinsmen are marked with an asterisk (*) below. In 1896,<a href="http://en.wikipedia.org/wiki/Frederick_S._Boas" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Frederick S. Boas">Frederick S. Boas</a> coined the term "<a href="http://en.wikipedia.org/wiki/Problem_plays" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Problem plays">problem plays</a>" to describe four plays: <a href="http://en.wikipedia.org/wiki/All%27s_Well_That_Ends_Well" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="All's Well That Ends Well">All's Well That Ends Well</a>, <a href="http://en.wikipedia.org/wiki/Measure_for_Measure" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Measure for Measure">Measure for Measure</a>, <a href="http://en.wikipedia.org/wiki/Troilus_and_Cressida" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Troilus and Cressida">Troilus and Cressida</a> and <a href="http://en.wikipedia.org/wiki/Hamlet" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Hamlet">Hamlet</a>.<sup class="reference" id="cite_ref-194" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-194" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>191<span>]</span></a></sup> "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays."<sup class="reference" id="cite_ref-195" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-195" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>192<span>]</span></a></sup> The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.<sup class="reference" id="cite_ref-196" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#cite_note-196" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none; white-space: nowrap;"><span>[</span>193<span>]</span></a></sup> The other problem plays are marked below with a double dagger (‡).</i></div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><i>Plays thought to be only partly written by Shakespeare are marked with a dagger (†) below. Other works occasionally attributed to him are listed as apocrypha.</i>"</div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><br />
</div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;">from:</div><div style="font-family: sans-serif; font-size: 13px; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em;"><a href="http://en.wikipedia.org/wiki/William_Shakespeare#List_of_works">http://en.wikipedia.org/wiki/William_Shakespeare#List_of_works</a></div><br />
<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large; line-height: 19px;"><b>Christopher Marlowe</b></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large; line-height: 19px;"><b><br />
</b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQpIAcABmBMo2Mm0VjVhBCIhyihdEyNrS-vQVEOOQD_UEXXyTbyCUW7oYkXNx7tK8CoI81yZBDdRM8D6wKvZxaY3hINLdmuj5yzlsqxKwUMPHYSLMkIemwedQ2K2RnNxCnMAMtWrIzpBa/s1600/240px-Marlowe-Portrait-1585.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQpIAcABmBMo2Mm0VjVhBCIhyihdEyNrS-vQVEOOQD_UEXXyTbyCUW7oYkXNx7tK8CoI81yZBDdRM8D6wKvZxaY3hINLdmuj5yzlsqxKwUMPHYSLMkIemwedQ2K2RnNxCnMAMtWrIzpBa/s1600/240px-Marlowe-Portrait-1585.jpg" /></a></div><div style="margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em; text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><span class="Apple-style-span" style="line-height: 19px;"><b><br />
</b></span></span><span class="Apple-style-span" style="font-family: sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;"></span></span><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;">The dates of composition are approximate.</span><br />
<span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;">[<a href="http://en.wikipedia.org/w/index.php?title=Christopher_Marlowe&action=edit&section=11" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Edit section: Plays">edit</a>]</span><br />
<span class="Apple-style-span" style="font-family: sans-serif; font-size: 17px; font-weight: bold; line-height: 19px;">Plays</span></div><div style="font-family: sans-serif; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em; text-align: center;"><i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/Dido,_Queen_of_Carthage" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Dido, Queen of Carthage">Dido, Queen of Carthage</a></i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1586) (possibly co-written with </span><a href="http://en.wikipedia.org/wiki/Thomas_Nashe" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; color: #0645ad; font-size: 13px; text-decoration: none;" title="Thomas Nashe">Thomas Nashe</a><span class="Apple-style-span" style="font-size: x-small;">)</span><br />
<i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/Tamburlaine_(play)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Tamburlaine (play)">Tamburlaine</a>, part 1</i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1587)</span><br />
<i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/Tamburlaine_(play)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Tamburlaine (play)">Tamburlaine</a>, part 2</i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1587-1588)</span><br />
<i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/The_Jew_of_Malta" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="The Jew of Malta">The Jew of Malta</a></i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1589)</span><br />
<i style="font-size: 13px;"><a class="mw-redirect" href="http://en.wikipedia.org/wiki/The_Tragical_History_of_Doctor_Faustus" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="The Tragical History of Doctor Faustus">Doctor Faustus</a></i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1589, or, </span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1593)</span><br />
<i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/Edward_II_(play)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Edward II (play)">Edward II</a></i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1592)</span><br />
<i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/The_Massacre_at_Paris" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="The Massacre at Paris">The Massacre at Paris</a></i><span class="Apple-style-span" style="font-size: x-small;"> (</span><i style="font-size: 13px;">c</i><span class="Apple-style-span" style="font-size: x-small;">.1593)</span><br />
<span class="Apple-style-span" style="font-size: x-small;">The play </span><i style="font-size: 13px;"><a href="http://en.wikipedia.org/wiki/Lust%27s_Dominion" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Lust's Dominion">Lust's Dominion</a></i><span class="Apple-style-span" style="font-size: x-small;"> was attributed to Marlowe upon its initial publication in 1657, though scholars and critics have almost unanimously rejected the attribution.</span><br />
<span class="Apple-style-span" style="font-size: x-small;">[</span><a href="http://en.wikipedia.org/w/index.php?title=Christopher_Marlowe&action=edit&section=12" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; color: #0645ad; font-size: 13px; text-decoration: none;" title="Edit section: Poetry">edit</a><span class="Apple-style-span" style="font-size: x-small;">]</span><br />
<span class="Apple-style-span" style="font-size: 17px; font-weight: bold; line-height: 19px;">Poetry</span><br />
<span class="Apple-style-span" style="font-size: 13px;">Translation of Book One of <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Lucan_(poet)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Lucan (poet)">Lucan</a>'s <i><a href="http://en.wikipedia.org/wiki/Pharsalia" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Pharsalia">Pharsalia</a></i> (date unknown)</span><br />
<span class="Apple-style-span" style="font-size: 13px;">Translation of <a href="http://en.wikipedia.org/wiki/Ovid" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Ovid">Ovid</a>'s <i>Elegies</i> (<i>c</i>. 1580s?)</span><br />
<span class="Apple-style-span" style="font-size: 13px;"><i><a href="http://en.wikipedia.org/wiki/The_Passionate_Shepherd_to_His_Love" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="The Passionate Shepherd to His Love">The Passionate Shepherd to His Love</a></i> (pre-1593; because it is constantly referred to in his own plays we can presume an early date of mid-1580s)</span><br />
<span class="Apple-style-span" style="font-size: 13px;"><i><a href="http://en.wikipedia.org/wiki/Hero_and_Leander_(poem)" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="Hero and Leander (poem)">Hero and Leander</a></i> (<i>c</i>. 1593, unfinished; completed by <a href="http://en.wikipedia.org/wiki/George_Chapman" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #0645ad; text-decoration: none;" title="George Chapman">George Chapman</a>, 1598)</span></div><div style="font-family: sans-serif; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em; text-align: left;"><span class="Apple-style-span" style="font-size: x-small;">from:</span></div><div style="font-family: sans-serif; line-height: 1.5em; margin-bottom: 0.5em; margin-left: 0px; margin-right: 0px; margin-top: 0.4em; text-align: left;"><span class="Apple-style-span" style="font-size: x-small;"><a href="http://en.wikipedia.org/wiki/Christopher_Marlowe#Works">http://en.wikipedia.org/wiki/Christopher_Marlowe#Works</a></span></div>Syahmihttp://www.blogger.com/profile/14569615007689353416noreply@blogger.com0