Shakespeare on Riots

Today is the Ides o fMarch, a day that history still bewares, because of the infamous day when armed, violent conspirators went to the Senate and attempted to overthrow elected rulers. For obvious reasons, this put me in mind of the heinous actions of another group of conspirators stormed another Senate and tried to overthrow a stable republic.

January 6th, 2021 (which, coincidently, was Twelfth Night, one of my favorite Shakespeare-themed holidays), was a tragedy for multiple reasons. The protestors broke windows, destroyed furniture, defaced statues, broke into both chambers of Congress, and probably would have harmed lawmakers, in a violent protest of both the US presidential election and the Senate vote in Georgia that week.


Let me be clear, this was sedition and treason and everyone involved should be prosecuted to the full extent of the law. Anyone who says otherwise is blatantly attacking our cherished democracy, and spitting in the face of the rule of law. Unfortunately, Republicans in both chambers have been unwilling to condemn their actions for fear of alienating their base. If this is what the Republican party has come to, the party doesn’t deserve the name. A republic protects the right of the people to elect its representatives and dedicates itself to the peaceful transition of power. Left unchallenged, groups like this will bring anarchy and tyranny to our country.

How do I know this? Because it happened before. Shakespeare has long dramatized real historic events where people rise up against their governments (for better or worse). In all cases, whether protesting a famine, a war, or a cruel tyrannical usurper, the riots never accomplish anything except bringing chaos and bloodshed. Sometimes these ignorant rioters are goaded by charismatic powerful figures, but these upper-class characters are only exploiting the rioters, using their violence as a way to get power for themselves. So, let’s examine the language, tactics, and effects of rioters in three of Shakespeare’s plays: Julius Caesar, Henry VI Part III, and Sir Thomas More:

Example 1: Julius Caesar

George Ed Robertson Antony
(c) Hartlepool Museums and Heritage Service; Supplied by The Public Catalogue Foundation

As I covered before in my “Friends, Romans, Countrymen,” post, during Antony’s famous funeral speech, he galvanizes the Roman crowd, first to mourn Caesar, then to revenge his death. How do they do this? By burning the houses of the conspirators and rioting in the street. They even kill a man just because he has the same name as one of the conspirators:

https://www.rsc.org.uk/shakespeare-learning-zone/julius-caesar/story/timeline

What does this violence accomplish? Nothing. Caesar is still dead. Brutus is still alive (though on the run). Antony merely wished to punish Brutus, and get the mob to hate him while he secretly cheats them out of their money. In Act Four, Antony becomes the de facto ruler of Rome because he leveraged his performance at the funeral, and uses his newfound powers to take money away from the citizens that Caesar promised to give them in his will. He manipulated them for his own purposes and duped them for political power.

Example 2: Jack Cade in Henry VI, Part ii.

Henry VI is the only king in English history to be crowned twice, deposed twice, and buried twice (Saccio 91). As the play begins, King Henry has already lost France, lost his mind, and lost the respect of his people. Around 1455, John Hardyng wrote a contrast between Henry’s father and himself. He laments that Henry the Fifth died so soon and then exhorts Henry to keep the quarrelsome lords in his government from warring among themselves.

Withstand, good lord, the outbreak of debates.
And chastise well also the rioters
Who in each shire are now confederates
Against your peace, and all their maintainers
For truly else will fall the fairest flowers
Of your great crown and noble monarchy
Which God defend and keep through his mercy.

(Excerpt from Harding’s Chronicle, English Historical Documents, 274).

Henry’s political ineptness was why Richard of York challenged his claim to the throne. Though Richard had little legal claim as king, he believed himself to be better than Henry.

In Shakespeare’s play Henry VI, Part ii, York tries to get the people’s support by engineering a crisis that he can easily solve. York dupes a man named Jack Cade to start a riot in London and demand that the magistrates crown Cade as the true king.

Biography of Richard, Duke of York, who challenged King Henry VI for his right to be king.

York and Cade start a conspiracy theory that Cade is the true heir to the throne and the royal family suppressed his claim and lied about his identity. Cade starts calling himself John Mortimer, a distant uncle of the king whom York himself admits is long dead:

The Royal National Theater’s production of Henry VI, Parts II, and 7. Jack Cade appears at about the 7-minute mark.
And this fell tempest shall not cease to rage
Until the golden circuit on my head,
Like to the glorious sun's transparent beams,
Do calm the fury of this mad-bred flaw.
And, for a minister of my intent,
I have seduced a headstrong Kentishman,
John Cade of Ashford,
To make commotion, as full well he can,
Under the title of John Mortimer.

Just like Cade and his rebels, the January 6th rioters were motivated by lies and conspiracies designed to crush their faith in their legitimate ruler. Even more disturbing, these rioters are pawns in the master plan of a corrupt political group. York doesn’t care that Cade isn’t the real king; he just wants to use Cade’s violence as an excuse to raise an army, one that he can eventually use against King Henry himself.

15th century woodcut from the War Of the Roses.

Similar to York’s lies and conspiracy-mongering, many Republicans have refused to accept the legitimacy of Joe Biden’s election, and some are actual proponents of Q Anon conspiracies!

A lot of Republicans deserve blame for fanning the flames of rebellion on January 6th, but arguably former President Trump deserves most of the blame. Even Rush Limbaugh admitted that Trump spread a huge amount of conspiracy theories without believing in any of them. He does this because he wants Americans to be afraid of imaginary threats that he claims he can solve. What’s easier to solve than a problem that doesn’t exist? Much like York, Trump tried to hold onto power by pressuring his supporters to pressure the Capital, feeding them lies about election fraud, and a secret democratic Satanic cult. Thus radicalized, they resolved to do what Cade’s mob did: “Kill all the lawyers.” Unfortunately, there are a lot of lawyers in the Senate.

As Dick the Butcher points out, most people don’t actually believe Cade is truly John Mortimer, they are just so angry at the king and the oppressive English government, that they are willing to follow him in a violent mob to take their vengeance upon the monarchy. This is why they try Lord Saye and execute him just for the crime of reading and writing! Similarly, the mob attacking the capital was made up of die-hard conspiracy adherents, and people just angry at the Democratic Party.

https://www.washingtonpost.com/technology/2021/01/20/qanon-trump-era-ends/

Like I said before, Cade and his mob is just a pawn in the machinations of York. Eventually the king’s enforcer, Lord Clifford convinces most of them to abandon Cade, and Cade himself dies a humiliating death- on the run from the law and starving, Cade is murdered by a farmer after trying to steal some food. After Joe Biden became the 46th President, many of the conspiracy group Q-Anon, who had many prominent members in the January 6th riot, began to disbelieve and abandon the conspiracies of the group. However, as this news story shows, some Q-Anon supporters are die-hard adherents and will never abandon their conspiracy theories, and some, like York’s supporters, are being recruited by other extreme groups. Sadly, as York shows, sometimes a riot is a rehearsal for another riot. In Shakespeare’s Henry VI, Part III, York finally amasses an army and challenges the Lancastrians in all-out war. Hopefully, the US government will hunt down and arrest these violent insurrectionists before they have the chance to do the same.

Example 3: Sir Thomas More

In the unfinished play “Sir Thomas More, a racist mob again attempts to attack London. This time they have no political pretenses; they want to lynch immigrants who they believe are taking English jobs. As I said in my “Who Would Shakespeare Vote For?” post, More’s speech is a perfect explanation of why this behavior cheapens and denigrated a country’s image, and weakens its ability to command respect from the rest of the world. Last time I posted a video of Sir Ian McKellen speaking this speech, but this time.. well just watch:

How Accurate Is Medieval Times?

In many ways, Medieval Times is a campy, theme park-esque place. Done’t get me wrong, I love this place and puppet Shakespeare and I enjoyed it immensely, but from a historical perspective, Medieval Times has more in common with Disney Land than British history. That said, it still contains a nod to this ancient culture that praised and highly ritualized the concept of judicial combat.


The Court

You are cast as a lord or lady, representing a fantasy kingdom (which corresponds to the color of the crown you wear). I was fortunate to get the Red crown for Valentines Day, and was seated right next to the King and Queen (more on that later). The hall was decorated with colored banners and each kingdom was introduced with trumpets and flags. The feast was a celebration of the uniting of all the surrounding kingdoms under the King and Queen. As the king and queen came out, everyone cheered and the royals toasted each kingdom and praised and thanked them all for their service to the crown. The monarchs then promised each lord and lady there a greater reward with sports, games, spectacles, and of course, the feast itself.

Feudalism

Map of the kingdoms in England during the Wars of the Roses

As I mentioned in my Game of Thrones post, a king’s main job was to unite all the lords in the land and get them swear fealty to him, binding the whole country under the crown. It was King Henry VI’s failure to keep the lords in line that resulted in the civil war known as the Wars of the Roses. Feasts like the one in Medieval Times, were essentially propaganda to keep the lords allied with the king. They demonstrated the power of the king and communicated loudly and clearly that the lands would be stronger together, as opposed to endless war. So, this kind of pageantry was political as well as entertaining, and the king and queen’s dialogue preserves the purpose of this kind of feast, which as a history nerd, I deeply appreciated.

Court Sport


While we waited for the feast, the knights entertained the court with displays of their skills and strength. They rode towards the quintain and hit it with their lances, threw spears at a target, and even their horses got a chance to trot without riders, showing how well trained they were.

The knights practice throwing spears at the target

The Joust

Shakespeare’s Pericles, Prince Of Tyre has a very elaborate and detailed depiction of how jousts worked in the Medieval and Renaissance eras. Shakespeare knew that the joust was the ultimate display of skill, chivarly, and the ideals of courtly love. Knights were portrayed as romantic heroes who fought for a simple favor from a lady such as a rose or handkerchief and each one defined himself by his strict code of honor and virtue. All these traditions are hightlighted in the scene where Pericles fights in a tournament to gain the love of the princess Taisa:

Enter A pavilion for the [p]reception of King, Princess, Lords, &c.

[Enter SIMONIDES, THAISA, Lords, and Attendants]

Simonides. Are the knights ready to begin the triumph?
First Lord. They are, my liege;750
And stay your coming to present themselves.
Simonides. Return them, we are ready; and our daughter,
In honour of whose birth these triumphs are,
Sits here, like beauty's child, whom nature gat
For men to see, and seeing wonder at.755
[Exit a Lord]

Thaisa. It pleaseth you, my royal father, to express
My commendations great, whose merit's less.
Simonides. It's fit it should be so; for princes are
A model which heaven makes like to itself:760
As jewels lose their glory if neglected,
So princes their renowns if not respected.
'Tis now your honour, daughter, to explain
The labour of each knight in his device.
Thaisa. Which, to preserve mine honour, I'll perform.765
[Enter a Knight; he passes over, and his Squire]
presents his shield to the Princess]
Simonides. Who is the first that doth prefer himself?
Thaisa. A knight of Sparta, my renowned father;
And the device he bears upon his shield770
Is a black Ethiope reaching at the sun
The word, 'Lux tua vita mihi.'
Simonides. He loves you well that holds his life of you.
[The Second Knight passes over]

Chivalric ideals aside, the joust also had a practical purpose- it was a way for knights to train for war, an a way for them to win fame, money, and good reputations at court. As you can see in the photos above, the knights were separated by a wooden barrier called “the tilt wall.” Each knight was identified by the colorful designs on their banners, shields, and the blanket draped over the horse. Once the king or marshal threw down the warder, the knights charged headfirst at their opponents, armed with shields, lances, and full armor. Knights scored points for breaking lances and shields or by knocking other knights off their horses. Naturally, to create the most impressive display possible, all the knights at Medieval Times fell off their horses and no lances broke.


First, and most important, was the Joust Royal, or "tilting," in which mounted knights armed with lances charged at their opponents across a barrier.
This was followed by a "tourney" in which mounted knights ran at each other without a tilt barrier (as pictured here).>
Combatants armed with spears and swords also fought on foot over a barrier
Best, Michael. "Chivalry and Duels." Internet Shakespeare Editions, University of Victoria, 28 Sept. 2016, ise.uvic.ca/Foyer/citing. Accessed 30 Sept. 2016.

The Lance

The video above is from Weapons That Made Brittain, in which historian and reinactor Mike Loads, explains with vivid details, how Knights learned how to master the art of the Lance, and how the Lance became one of the most important weapons of the knight.

Duels

In the climax of the evening, the knights stopped fighting for sport, and started fighting for power! The Green Knight (as green with envy as his armor and horse), suddenly refused to dismount from his horse and began striking knights left and right. He then challenged the leadership of the king, threatening to rebel from the kingdom, along with his fellow knights! The king then decided to choose a champion to fight the Green Knight to the death! The Red Knight, (who as I mentioned before, represented my kingdom, and threw a rose as a favor to my family), picked up the glove of the envious Green Knight, thus signifying that he would be the champion, and fight for the fate of the kingdom!

Why the Green Knight?

Illustration from Sir Gawain and the Green Knight, 14th century.

At the hall door comes a frightening figure,
He must have been taller than anyone in the world:
From the neck to the waist so huge and thick,
And his loins and limbs so long and massive,
That I would say he was half a giant on earth.
But more than anything
His color amazed them:
A bold knight riding,
The whole of him bright green. Sir Gawain and the Green Knight

In most (but not all) interviews and clips I’ve seen, the Green Knight is the bad guy- the one Knight whom almost everyone is supposed to root against. When I got home, I wondered why this was. After all, isn’t the black knight usually associated with villainy? My personal theory is that this is a subtle reference to the classic medieval story, Sir Gawain and the Green Knight. The eponymous Knight is supernaturally strong and able to even survive decapitation! He serves in the story, as the ultimate test for our young hero, Sir Gawain. I think the writers of Medieval Times definitely did their homework, making this Knight the antagonist.

The duel began on horses, but quickly changed to single combat on foot. They fought with axes, maces, and of course swords.

Even though dueling was a bloody and dangerous pastime, it has a long history that even kings couldn’t erase. Back in Anglo-Saxon times, private disputes, (such as the murder of one’s father) could be settled through means of a duel. In this period, England was occupied by the Danes, (which we would now call Vikings), and several Viking practices of judicial combat survive. For example, the Hólmgangan, an elaborate duel between two people who fight within the perimeter of a cloak. These kinds of fights continued throughout medieval Europe and, like Medieval Times Shakespeare knew their devastating dramatic potential.

At the end of Shakespeare’s Hamlet, the revenge cycle between Hamlet, Leartes, and Fortinbras, comes to a close using a duel. Hamlet has murdered Leartes’ father but Hamlet did not intentionally kill him. This kind of legal dispute would certainly have been settled with a duel in Saxon times. This is one reason why Leartes scorns Hamlet’s offer of forgiveness at the beginning of the scene, and instead trusts in the outcome of the fight to prove his cause. Hamlet and Leartes begin fighting officially under the terms of a friendly fencing match, but it becomes clear early on that at least in the mind of Leartes, this is actually a blood-combat. Laertes is demanding blood for the death of his father, and like the Green Knight, his fight will decide the fate of the Danish throne.

  • HamletCome for the third, Laertes! You but dally.
    Pray you pass with your best violence;
    I am afeard you make a wanton of me.
  • LaertesSay you so? Come on. Play.
  • OsricNothing neither way.
  • LaertesHave at you now!

[Laertes wounds Hamlet; then] in scuffling, they change rapiers, [and Hamlet wounds Laertes].

[Laertes falls.]

By the Renaissance, dueling was highly controlled by traditions of honor and fair play. As Laertes admits, poisoning Hamlet and fighting him to the death without his knowledge would be considered treason, and highly dishonorable. The Green Knight does every possible thing to make the audience see him as the villain with his lack of courtesy, dirty tricks, and disdain for the king and queen. He is so dishonorable that, even Americans, who have nothing but disdain for monarchy and in real life, value independence and self-sovereignty, would rather take the side of the monarch and his stooge the Red Knight over the Green Knight, just because he refuses to play fair.

The Weapons

What Would I Do Differently?

Sources:

Sources-

  1. Ur- Hamlet
  2. Lear source- Hollinshed’s Chronicles
  3. Tony Robinson’s Crime and Punishment: http://www.youtube.com/watch?v=2yz9VLkNHJU&feature=youtu.be
  4. Truth Of the Swordhttps://www.youtube.com/watch?v=vFL2ghH0RLs
  5. Secrets Of the VIking Sword http://youtu.be/nXbLyVpWsVM
  6. Ancient Inventions- War and Conflict http://youtu.be/IuyztjReB6A
  7. Terry Jones- Barbarians (the Savage Celts) https://www.youtube.com/watch?v=PSuizSkHpxI
  8.  Joe Martinez book

If you enjoyed this post, and would like to do some stage combat of your own, sign up for one of my history and stage combat classes on Outschool.com!

Title image for my Stage Combat Course

Shakespearean Couples Tier List

Since it’s still the month of love, I thought I’d rank Shakespearean couples and see if the allegation is true that Shakespeare has no good married couples. Naturally, this is my opinion, but I will try to back my opinions up with quotations and moments from the plots. Let me know what you think!

S Tier- the Super Couples

My criteria for the best couples in Shakespeare are this:

  1. Trust
  2. Mutual respect and affection
  3. Devotion, or as Shakespeare puts it “Love is not love, which alters when it alteration finds.”

A Tier- the ones who Passed the Test

Couples in this tier all tried and failed at first- Orsino spent years mooning over Olivia not able to see how wonderful Viola is. Lysander drops Hermia for Helena, (but to be fair, that was Puck’s fault, not his). At the end though, all these lovers reconcile and are better people for their trials and tribulations.

B Tier- Affection, but no devotion

Couples in B-tier are passionate and willing to break rules, laws, and sometimes necks for their loves. However, as Friar Laurence says “These violent delights have violent ends.” Every couple in B-tier ultimately fails to create a lasting relationship.

C Tier- The ones hanging by a thread

All the C-couples have some very toxic traits. Claudius hates Gertrude’s son and murdered his own brother, so his relationship with his wife/ sister-in-law is ultimately doomed. Hamlet has little to no respect for Ophelia and flies into mysygenistic rage at the slightest provocation. Even Demetrius, who is magically compelled to love Helena forever, has a history of loving women, and then abandoning them. Who’s to say he won’t get hit by the arrow again, and throw Helena off?

D Tier- Actively ABusive/ A Relationship Based on lies

I truly despise Taming Of the Shrew, or as I like to call it, Stockholm Syndrome: The Play. The men in D-tier (and Phoebe in the case of As You Like It) are controlling, abusive, cruel, and pathological liars. They don’t want a partner, so much as a toy to beat around when they feel like it.

Special Mention- Cordelia and the King of France from “King Lear”

These guys might be low key the best couple in Shakespeare. The King of France marries Cordelia and comes to her defense after her father disowns her and humiliates him. Based on this, you can tell he doesn’t care about her title or her dowry (“Thy truth then be thy dower. Thou hast her France, let her be thine, for we have no such daughter.”

Not only that, France goes with Cordelia and lends her an army to recapture England for Lear! Clearly this guy loves Cordelia and is ride or die on making her happy.

Special Mention- Antony and Cleopatra

I know they are an iconic couple, but I think Antony and Cleopatra are a very toxic pair. When I first read the play, I hated Cleopatra for leading Antony on and mocking and teasing him every chance she got. Now I hate Antony for his selfishness. Cleopatra is trying to save her sons, her kingdom, and her family’s legacy and he is throwing away everything just to appease his own ego. He also shames Cleopatra for her promiscuity, which is extremely hypocritical coming from him. This couple is clearly in need of MASSIVE counseling, and I pity poor Enobarbus and Charmian for getting caught in their drama.

I hope you enjoyed this tier list. One pattern I noticed in all these plays is that every couple in Shakespeare is tested, whether through magic, deceit, long journeys, or just jealousy. Shakespeare does a good job of showing how young love is beautiful and exciting, but real love is based on respect and the will to choose your partner in spite of obstacles.

‘Frankenstein’ and Shakespeare

Benedick Cumberbatch morphing between Richard III and the Frankenstein monster.

With awards season in full swing, there has been a lot of controversy over two stories that Shakespeare had a great influence over- Hamnet, based on the novel of the same name, and Guillermo Del Toro’s adaptation of Frankenstein. Despite getting five golden globe nominations, Frankenstein went home with a hand emptier than the monster floating off on an iceberg. Meanwhile, Hamnet took the best actress and best picture award, and is poised for an Oscar nomination.

I’ll review Hamnet at a later date. What I want to do now is discuss the influence Shakespeare and other Renaissance writers had on the classic 1818 novel, and how well Del Toro hints at the story’s Renaissance roots.I would argue that, although rooted in the 10th century Romantic world, Frankenstein has many Shakespearean and Early Modern influences, notably Dr Faustus by Christopher Marlowe,  and The Tempest by Shakespeare

In 1818, a young woman named Mary Wolstonecraft, heard from her friend, a Swiss doctor, about a prominent experiment called galvanism and was faced with the terrifying prospect that man might someday be able to resurrect the dead, (a feat that had only successfully been done by God). When Mary Shelley wrote the novel Frankenstein she redefined the Faustus story and made it about Man not taking responsibility for the consequences of his actions, and also a warning to progress for its own sake without compassion without reason without wisdom. As we shall see, Shelly was a trailblazer in turning the Faustian wizard into the mad scientist.

The Morality Tale

Faustus is one of the oldest and most quintessential German stories it is a morality tale medieval in its origins it also is loosely based on a real person a real scholar named Doctor John foustis and this story was influential on forming German cultural identity and the story itself has inspired countless authors some German and some merely influenced by German culture and it’s very interesting to trace the way that it’s being used And how the the trope of the Faustian bargain has influenced Germany America and and England other Anglo sects and countries so the story of Faustus is Medieval in origin but he became extremely popular when English playwright Christopher Marlowe Shakespeare’s contemporary and rival wrote it down in his play of Dr. Faustus

What’s interesting about this interpretation is that you could easily see it as Faustus Rejects from the beginning the notion of divine grace he believes that he cannot that he is either unwilling or unable to believe that he is beloved by God and therefore he turns to satanic poworse it’s somewhat ambiguous why he does this one possible interpretation is that Faustus might actually be a that faustis like Marlow might be a possible gay man and is convinced that he is an abomination under the Lord and therefore he might as well indulge in satanic activities.

Whatever the reason the play does a great job of showing the struggle of Faustus as he is presented several times with the chance to repent, and actively refuses it every single time. 

“Tutors Not So Careful”

In Marlow’s version, Faustus studies at the University of vittenburg in Germany, whicb also boasts other notable allumni- Prince Hamlet which Shakespeare would later write in his own play Hamlet Prince of Denmark. The prince broods over whether the creature he has seen return from the dead is actually a devil, sent to destroy him.

Shelley admits that a lot of her as a source for that her sources for Shakespeare her sources for Frankenstein included Shakespeare in The Tempest. Though Doctor Frankenstein his book is not a is Swiss not German he is educated at the University of english stat in Germany where he learns organic chemistry and acquires the ambition to do with the alchemists and conjurors of faustis day failed to do namely create the elixir of life.

“Graves, at my command, Hath waked their sleepers”

One big trope in Frankenstein is the danger of man crossing over into God’s domain- that from the beginning of time there has been a knowledge that God deliberately kept from humankind. In Frankenstein, this takes the form of scientific knowledge, but in Shakespeare, it is magic. In Macbeth, the title character is tempted by witches to know his destiny and is punished severely for it. Remember that when Shakespeare wrote the play, King James presided over hundreds of witch hunts and wrote a book on how to identify witches.

In The Tempest, Shakespeare gives us a more ambiguous look at magic where the magician Prospero has the power to create storms, conjure up spirits, and like Frankenstein, raise the dead:

 I have bedimm'd
The noontide sun, call'd forth the mutinous winds,
And 'twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder2065
Have I given fire and rifted Jove's stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck'd up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let 'em forth
By my so potent art. The Tempest, Act V, Scene i.

Even though Prospero is the protagonist and he faces no consequences for his magic, for some reason he chooses to abandon it. It’s almost as if Shakespeare was anticipating Frankenstein by having a proto mad scientist character give up his art before it is too late:

 But this rough magic
I here abjure, and, when I have required
Some heavenly music, which even now I do,
To work mine end upon their senses that
This airy charm is for, I'll break my staff,2075
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.
Prospero, Act V, Scene i.

“This thing of Darkness”

“You taught me language, and my profit in’t is I know how to curse!”

“Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed? I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge. I could with pleasure have destroyed the cottage and its inhabitants and have glutted myself with their shrieks and misery.

Shelly, Chapter 16

If you’ve never read the book Frankenstein, you might be surprised to learn that unlike Boris Karloff’s grunting silent monster, in the novel the Monster is actually intelligent and well-spoken. One thing I enjoyed about Guillermo Del Toro’s version is that the Monster gets time to tell his tale. As we in the audience get to know him, the notion of who is the true Monster and who is truly human becomes as murky as the subterranean lair the doctor chains his creation within. He engages in intellectual debates with his creator and demands to know why Frankenstein chose to abandon him.

My abhorrence of this fiend cannot be conceived. When I thought of him I gnashed my teeth, my eyes became inflamed, and I ardently wished to extinguish that life which I had so thoughtlessly bestowed. When I reflected on his crimes and malice, my hatred and revenge burst all bounds of moderation.

Shelly, Chapter 9

Lots of Great classes are available on Outschool This Winter

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Course Descriptions

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I Made a Ghostbusters Shakespeare Parody!

The Concept

So, why Ghostbusters? Well, as William Shakespeare’s Star Wars has shown, it’s not only fun to adapt popular stories into Shakespearean parodies, it can also be educational. I knew I wanted to do a short play for my school’s fall festival, but I didn’t think to do “Ghostbusters” until I saw the final joke in the Simpson’s parody of Hamlet, where Homer says: “Son, [Hamlet] is not only a great play, but also became a great movie, called Ghostbusters!”

This joke got me thinking- Hamlet has a comic scene where the prince and his two friends are running around the stage away from a ghost, one that refuses to speak to them and then terrifies them. This reminds me of the moment where the ghost of the librarian shushes the heroes, and becomes a hideous creature:

From this realization. I took it as a personal challenge to adapt Ghostbusters into a one-act stage play with as much Shakespearean dialogue as possible.

My Process

Re-writing the script of a movie into a Shakespeare text required me to overhaul the story of Ghostbusters, as well as retrofitting Shakespearean lines and speeches from Hamlet, Macbeth, Henry IV & Henry V. I knew I wanted to freely cut-and-paste from Shakespeare, as if he’d written the original Ghostbusters. The result is a sort of stitched together blanket of Shakespeare lines, lines adapted from Ghostbusters, and some lines I created myself.

The Outline

Like I said, I kept the story limited to how the four Ghostbusters learn that ghosts are real, become professional ghost catchers, and then receive a call from a damsel in distress (Ms. Dana Barrett), who allows them to become heroes by defeating the ghost that has possessed her. I also decided to use the commercial in the movie as a framing device:

In my version, the Ghostbusters start by doing a commercial that then becomes a flashback where the heroes recap everything that has happened to them over the past week. I then ended the play by joking referring to the play as “A very long commercial.”

Scenes I Included/ Scenes I Cut

I only had 30 minutes allocated for my show, so I knew I’d have to pare down the story to its bare bones. This meant I had to eliminate a lot of subplots and characters and condense several scenes. As much as I love Walter Peck, Dean Jaeger, Louis Tully, Janine Melnitz, and the guy who gets electrocuted, they are not absolutely essential to the plot, so I cut them from my version. I also combined the characters of Dana and Gozer, eliminating the two terror dogs and limiting the antagonists to Gozer and the Stay Pufft Marshmallow Man. So I watched the film a few times, and created an outline of just 7 scenes.

Character Models

One thing I’ve said again and again is that Shakespeare’s characters are all based on archetypes that we see everywhere throughout literature, theater, and yes, movies. While I was watching Ghostbusters, I tried to find the Shakespearean archetypes that match the best with the characters in the movie:

Ray Stantz- Hamlet from Hamlet– Ray is a bookish man who is obsessed with death and with the occult, which makes him very much like the scholarly Prince Hamlet. He’s also a man on a mission to try and understand the supernatural and help keep it from destroying our world. Dr. Venkman describes him as “The heart of the Ghostbusters”, and that humorous heart gets him into trouble sometimes.

Egon Spangler- Horatio from Hamlet If Ray is the heart of the team, Egon is the brain. He is the no-nonsense scientist who provides the team with data and equipment to help them fight ghosts effectively, much like how Horatio reports to Hamlet that his father’s ghost has returned from the grave.

Dr. Venkman– Sir John Falstaff/ King Henry V

Dana Barret- Ophelia from Hamlet

Gozer– Hecate from Macbeth

The Stay Pufft Marshmallow Man- Snug the Joiner from A Midsummer Night’s Dream

Sneak Peak

Here’s one of the scenes I wrote, with the original scene for context


[The ghostbusters climb the stairway to the penthouse, where Gozer is sitting in a cloud. They have been going for a while and are clearly tired].
Venkman: Though I have not known fair Dana long, I know she must be a virtuous maid. Ascend this penthouse tower and let’s rescue she!
Like to the Knights of ancient chivalry!
Egon: These apparitions whizzing in the air
Give so much light that I may read by them.
[They reach the top and behold Gozer]
Ray: I am resolved to speak to Gozer. This is the latest parle we will admit.
Gozer: Art thou a god?
Ray: Nay.
Gozer: Then perish, half-man!
Winston: Enough Ray of thy diplomacy!
Speak, thou proton pack for me! [He fires, then the rest join in] Gozer disappears
Venkman: The sky hath bubbles as the water hath, and she be one of them!
Gozer [in Voice Over]: Sub creatures! Hark! Tis time! Pick the Destructor’s form
Be it a Goblin damned or angel bright!
Tornado or a earthy bright
Or greatest Monkey with an appetite!
Winson: Our thoughts contain the form that seals our doom?
Then make them blank as a new-made room! [They all gesture to their heads as if pushing thoughts out]
Gozer: Thy choice is made. Prepare to meet thy doom!
Venkman: Nay! I chose nothing
Winston: Nor I!
Egon: Nor I
[Pause]
All: Ray?
Ray: Twas not my fault! It popped into my mind
Venkman: What? What hast popped in?
Egon: LOOOK!!!

The speech of the Stay Pufft Marshmallow Man

The Fashion Is the Fashion: Antony and Cleopatra

Part I: Famous Cleopatras

Elizabethan Taylor

Elizabeth Taylor in her iconic portrayal in the film “Caesar and Cleopatra”

Part II: The Real Cleopatra

  1. Actually Greek, but assimilated into Egyptian Society
  2. Dressed as the Egyptian Goddess Isis (allegedly)
  3. Spoke egyptian
  4. Hosted elaborate parties where her dress conveyed the wealth of Egypt
  5. Beauty routine.

Part II DIY antony and Cleopatra

Roman Helmet/ Sword

Jewelry

Dress

Crown

Hair

Makeup

Part III Staging antony and cleopatra

Egyptian Antony

Roman Anthony

Color blind casting

Works Cited:

https://theconversation.com/cleopatras-skin-colour-didnt-matter-in-ancient-egypt-her-strategic-role-in-world-history-did-205240

https://www.smithsonianmag.com/history/rehabilitating-cleopatra-70613486/

Shakespeare In the Park: Twelfth Night

I’m beyond excited that The Deleclrte Theater is continuing their tradition of producing high-quality, free Shakespeare in the Park, and then giving everyone the chance to see it via streaming over PBS.

This summer’s show is Twelfth Night, my favorite Shakespearean comedy, with an all-star cast

https://playbill.com/article/pbs-to-broadcast-twelfth-night-starring-peter-dinklage-lupita-nyongo-jesse-tyler-ferguson-sandra-oh

Photos

https://playbill.com/article/photos-see-lupita-nyongo-sandra-oh-peter-dinklage-more-in-rehearsal-for-twelfth-night

https://playbill.com/article/watch-lupita-nyongo-sandra-oh-peter-dinklage-more-in-the-rehearsal-room-for-twelfth-night

The cast

My predictions

I’m so excited to see Peter Dinklage as Malvolio, one of my favorite characters in Shakespeare, and one that I have played myself. I’m also very interested in Sandra Oh’s interpretation of Olivia. She has proven herself in both dramatic and comic roles, which works well for Olivia, a character who starts out in mourning and ends up madly in love.

The performance I am the most excited about, though, is Lupita N’ongo as Viola. I’ve said before that Viola is one of the greatest characters in all of Shakespeare, so I can’t wait to see her portrayed by Lupita N’ongo, an actress I greatly admire. I loved her performances in Avengers Endgame, Us, and my whole family adored her excellent voice work in The Wild Robot. She has simultaneously a childlike enthusiasm, and a calm and stoicism that I’m sure will translate excellently for Viola, who survives a shipwreck and losing her brother (she thinks) through courage and humor.

Hopefully, I can stream this program soon, and give you a full review. In the meantime, enjoy my past posts and videos about Twelfth Night

FMI

https://publictheater.org/productions/season/2425/fsitp/twelfth-night/

Close Reading: Henry V Wooing Scene

The Characters

Katharine of Valois

King Henry V

King Henry has just won a decisive victory at the Battle of Agincourt. He is now claiming the crown of France, and Katherine’s hand in marriage. Though he’s proven himself an able soldier and a wise king, he repeatedly stumbles when trying to win Katherine’s heart.

The Text:

Henry V: Fair Katharine, and most fair,
Will you agree to teach a soldier terms
Such as will enter at a lady’s ear
And plead his love-suit to her gentle heart?


Katharine: Your majesty shall mock at me; I cannot speak your England.

Henry V: O fair Katharine, if you will love me soundly with
your French heart, I will be glad to hear you
confess it brokenly with your English tongue. Do
you like me, Kate?

Katharine: Pardonnez-moi, I cannot tell vat is ‘like me.’

Henry V: An angel is like you, Kate, and you are like an angel.

Katharine: O bon Dieu! les langues des hommes sont pleines de
tromperies.

Henry V: What say you, fair one? that the tongues of men
are full of deceits?

Katherine: Oui, dat de tongues of de mans is be full of
deceits:


Henry V: Kate, my wooing is fit for thy understanding: I am
glad thou canst speak no better English; for, if
thou couldst, thou wouldst find me such a plain king that thou wouldst think I had sold my farm to buy my crown. I know no ways to mince it in love, but directly to say ‘I love you:’ I have no strength in measure, yet a reasonable
measure in strength. If I could win a lady at
leap-frog, or by vaulting into my saddle with my
armour on my back, I should quickly leap into a wife.
I speak to thee plain soldier: If thou canst
love me for this, take me: take
me; and take me, take a soldier; take a soldier,
take a king. And what sayest thou then to my love?
speak, my fair, and fairly, I pray thee.

Katharine: Is it possible dat I sould love de enemy of France?

Henry V: No; it is not possible you should love the enemy of
France, Kate: but, in loving me, you should love
the friend of France; for I love France so well that
I will not part with a village of it; I will have it
all mine: and, Kate, when France is mine and I am
yours, then yours is France and you are mine.

Katharine: I cannot tell vat is dat.

Henry V: No, Kate? I will tell thee in French; Je quand sur le possession de France, et quand
vous avez le possession de moi,—let me see, what
then? Saint Denis be my speed!—donc votre est
France et vous etes mienne. It is as easy for me,
Kate, to conquer the kingdom as to speak so much
more French: I shall never move thee in French,
unless it be to laugh at me!

Katharine: Sauf votre honneur, le Francois que vous parlez, il
est meilleur que l’Anglois lequel je parle.

Henry V: No, faith, is’t not, Kate: But, Kate, dost thou
understand thus much English: canst thou love me?

Katharine: I cannot tell.

Henry V: How answer you, la plus belle Katharine du monde, mon tres cher
et devin deesse?

Katharine: Your majestee ave fausse French enough to deceive de
most sage demoiselle dat is en France.

Henry V: Now, fie upon my false French! By mine honour, in true English, I love thee, Kate: by which honour I dare not swear thou lovest me; yet my blood begins to flatter me that thou dost, Put off your maiden blushes; avouch the
thoughts of your heart with the looks of an empress;
take me by the hand, and say ‘Harry of England I am thine:’ I will tell thee ‘England is
thine, Ireland is thine, France is thine, and Harry
Plantagenet is thine;’
Come, your answer in broken music; for thy voice is music and thy English broken; therefore, queen of all, Katharine, break thy mind to me in broken
English; wilt thou have me?

Katharine: Dat is as it sall please de roi mon pere.

Henry V: Nay, it will please him well, Kate it shall please
him, Kate.

Katharine: Den it sall also content me.

Henry V: Upon that I kiss your hand, and I call you my queen. [she shakes her head ‘no’ and kisses him on the lips]
You have witchcraft in your lips, Kate: there is
more eloquence in a sugar touch of them than in the
tongues of the French council; Here comes your father.

Context

The initial awkwardness between Henry and Katherine is what makes the scene endearing; the notion that to Henry, conquering France is easier than wooing Kate. He’s repeatedly at a loss for words, and refuses to flatter or flirt with Katherine. He either is incapable of wooing in “festival terms,” or he wants Katherine to love him for who he is.

For Katherine’s part, at first, she seems indifferent to Henry, if not outright resistant to his love suit. As she says, “Is it possible that I should love the enemy of France?” Henry’s awkward wooing is not the only barrier to Katherine’s heart – he also killed hundreds of her countrymen and aims to take her father’s crown. It’s entirely possible that Katherine sees Henry as her enemy. The biggest question is- does she actually fall in love with him? Henry is charming, so it’s not impossible that Katherine’s feelings are genuine. It’s also possible that Katherine is actually interested in becoming queen to keep her father’s lands and titles in the family through marriage.

Interpretations

Questions To Ask:

  1. Is Henry really being awkward, or is this a front?
  2. Does Henry love Kate, or is he being political?
  3. Is Kate in love with him? If so, when and why does she fall for him?
  4. If Kate never falls for Henry, why does she agree to marry him?