O Fortuna!

Today, June 24rth, is the ancient Roman festival of Fortuna, the goddess of luck and worldly fortunes. I’ve chosen to use this opportunity to explain a little bit about the concept of Fortune, which Shakespeare uses frequently in his tragedies. But first, a short musical interlude:

Does this song sound familiar? You’ve probably heard it underscored in hundreds of commercials, TV shows, maybe even in concerts, it’s a song composed by composer Carl Orff called “O Fortuna.”

The Roman goddess Fortuna
The Roman goddess Fortuna with her wheel and orb.

In Roman mythology, Fortuna was the goddess of luck, wealth, and fertility. If you listen to the lyrics of the song above, you can see that for centuries, people chose to represent Fortune as a fickle, changeable, and irresponsible goddess. Unfortunately, one of the reasons she’s personified as a woman is the long-held prejudice that women are weak, have frequent changes of mind and mood, and can’t commit to one person, (a view of women that I and Shakespeare believe to not be true). However, based on his writing he does seem to think Fortune fits these characteristics:

“I am Fortune’s fool” –Romeo and Juliet

O fortune, fortune! all men call thee fickle:                If thou art fickle, what dost thou with him.   That is renown’d for faith? Be fickle, fortune; For then, I hope, thou wilt not keep him long, But send him back. –Romeo and Juliet

“When Fortune means to men most good,           She looks upon them with a threatening eye.” King John

Out, out, thou strumpet, Fortune! All you gods,       

In general synod ‘take away her power;       

Break all the spokes and fellies from her wheel,           

And bowl the round nave down the hill of heaven,        

As low as to the fiends! -Hamlet

In Dante’s Inferno, Fortuna lives in the Underworld with Plutus the god of gold, helping to distribute the god’s wealth to people above ground. In the Middle ages she was an explanation for why some people have good luck, some have bad, and why luck frequently changes.

The Wheel of Fortune. 

Fortuna’s most recognizable symbol is her wheel; the symbol of how luck can change; just when you think your life is perfect, the wheel turns and you find yourself on the bottom. Frequently in tragedy when things go wrong, the characters blame Fortune, such as when the Lord of Kent finds himself put in the stocks like a common thief and gripes: “Fortune good night, smile once more, turn thy wheel,” King Lear, Act II, Scene ii. And yes, the real game show was partially inspired by the goddess’ most famous symbol.

Fortuna In Tragedies

Shakespeare mentions fortune over 500 times in his plays and frequently in his tragedies. Characters in Shakespearean tragedy frequently single out Fortuna as the cause of their unhappiness and curse her as a liar and a strumpet. In a Christian society, it was a lot more appealing to blame a pagan goddess than a loving, Christian god, (which would probably be considered blasphemous). Now you see why she has become a popular scapegoat for misfortune in tragedy. At the same time, all tragedy raises questions about the nature of free will; how much of bad fortune is the result of fate, and how much is a direct result of the character’s bad choices? Edmund in King Lear laughs at the notion of any kind of fate, and accuses all of humanity of shirking responsibility in this speech:

EDMUND

This is the excellent foppery of the world, that,
when we are sick in fortune,–often the surfeit
of our own behavior,–we make guilty of our
disasters the sun, the moon, and the stars: as
if we were villains by necessity; fools by
heavenly compulsion; knaves, thieves, and
treachers, by spherical predominance; drunkards,
liars, and adulterers, by an enforced obedience of
planetary influence; and all that we are evil in,
by a divine thrusting on: an admirable evasion
of whoremaster man, to lay his goatish
disposition to the charge of a star! (King Lear, Act I, Scene ii).

At the same time, the audience also knows that Edmund was cursed by Fortune from the beginning, since he is the illegitimate child of the Duke of Gloucester, which might prove exactly the opposite point of his speech. He may act like he is absolute in his free will, but his behavior and his violent end suggests otherwise. So when characters curse Fortune or Fortuna in Shakespeare’s plays, take a look at the language they use to characterize this abstract concept. The way we think about luck or fate helps shape our perspective of our own lives, and therefore how playwrights depict this mysterious goddess helps us see the possibilities of human choice, and maybe help us make better choices than the tragic men who slander her in these plays!

For more insight into this topic: Click here to listen to my podcast about this week’s post:
https://www.buzzsprout.com/45002/284936-the-shakespearean-student-episode-6-o-fortuna

For Further Reading:

  1. Brittanica.com: Fortuna: http://www.britannica.com/topic/Fortuna-Roman-goddess
  2. Internet Shakespeare Editions: Fortuna in Medieval Drama: http://internetshakespeare.uvic.ca/Library/SLT/drama/early%20tragedies/medievaltragedy.html#boethius 
  3. Encyclopedia Mythica: Fortune: http://pantheon.org/areas/mythology/europe/roman/articles.html
  4. The Obscure Goddess Online Dictionary: http://www.thaliatook.com/OGOD/fortuna.html 

Announcing The Best Fathers In the Shakespearean Cannon

Announcing The Best and Worst Fathers In the Shakespearean Cannon

Podcast Link: https://www.buzzsprout.com/45002/282555-the-shakespearean-student-episode-5-the-best-dads-in-the-shakespearean-cannon

Shakespeare himself was a father, and he frequently wrote about the dynamic between fathers and their children. There are many different types of fathers in Shakespeare’s 40 plus plays, and this week I’m ranking them in terms of three categories: Good Dads, Bad Dads, and “Dad Dads.” You’ve probably already read the “Worst Dad” post, so now we’re looking at the good, and the not so good. I used the following criteria when choosing the top 5 dads in each categories:

The Good Dads

  • Are supportive for their kids
  • Try to keep their children happy
  • Offer help and advice, especially on their children’s future.
  • Are willing to sacrifice themselves
  • They let their children become their own people.

The Bad Dads

  • Treat their children as property
  • Have little to no interest in their children
  • Put their children in danger
  • Subject their children to abuse
  • In some cases, they murder them!

The “Dad” Dads

  • Are basically good hearted, but they have some kind of flaw that prevents them from becoming really good parents.
  • In my view, are the most human, modern dads on the list.
  • I’ve chosen to award these dads a necktie, something every ok dad needs.

Now, onto the Dad Dads:

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5. Aegean from The Comedy Of Errors. Aegean wonders around for 20 years looking for his lost children, which I call devoted parenting, but a little aimless and undisciplined. I therefore award Aegean two ties with little anchors on them, to remind him to stay in one place and wait for his sons to find him!

Alexandre Bida,
Alexandre Bida, “The death of Lord and John Talbott,” 1895

4. Lord Talbott from Henry the Sixth Part I. Talbott is the hero of the English fight against the French at the close of the Hundred Years War. He goes toe to toe with Joan of Arc on numerous occasions. He also raises a fine and valliant son, John Talbott who is also a warrior. The two die bravely in a siege against the French, rather than surrendering, or leaving the other to die. Talbott is clearly also devoted to his child, but his career choice doesn’t allow his son to grow up in a safe environment! I therefore award Talbott two ties with little English and French flags on them.

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The Ghost of Hamlet's Father by William Blake, 1806.
The Ghost of Hamlet’s Father by William Blake, 1806.

3. The Ghost Of Hamlet’s Father from Hamlet/ Portia’s Dad from Merchant Of Venice. Both these parents die before their plays begin, yet they still try to improve their children’s lives from beyond the grave! The Ghost helps Hamlet become king of Denmark, and Portia’s dad tries to help her find a good husband, (one who will love her for something besides her beauty or riches). Although these parents achieve their goals, waiting this long to help their kids seems a bit like absentee parenting! I therefore award these posthumous parents ties with little skulls on them.

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. King Henry IV, from King Henry IV King Henry is the classic career dad, one who wants his son Hal (the future King Henry V), to follow in his footsteps. The two have a terrible fight when Henry thinks Hal is trying to steal his crown on his deathbed! Eventually though, father and son reconcile, and dad even gives the future king some last minute advice; if you fight a war with France it’ll help secure your crown, which Hal does and succeeds! I therefore award King Henry a tie with little crowns on it, hoping that nobody with a dagger ties tries to steal it when he’s sleeping!

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1. Prince Pericles from Pericles Pericles is another busy dad- King Antiocus tries to murder him, and he has to leave his own kingdom. Then he gets shipwrecked 3 times! In fact, his only daughter is born onboard a ship in the middle of a storm! Pericles raises the girl for a number of years, but then has to leave again, and guess what, he gets shipwrecked AGAIN! He eventually finds his daughter and they live happily ever after, but you kind of get the idea that Pericles is a little accident-prone, which keeps him from being on the Best Dads list. Sorry Pericles, but at least you get a tie with, what else, Boats on it! Maybe next Fathers Day, someone will get you a life preserver.

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And now at Long LAST, the BEST Dads in Shakespeare!

Aaron fights to protect his baby child.
Aaron fights to protect his baby child.

5. Aaron the Moor from Titus Andronicus. Ironically, one of the worst villains in Shakespeare is also one of the best fathers. Aaron is fiercely protective of his child, even threatening people at sword point if they dare come near his baby. He also plans out the child’s future and is willing to give his own life for a promise that Lucius will protect and nourish his son. He may be a monster to everyone else, but to his baby, Aaron is simply, a good dad!

4. The Old Shepherd from The Winter’s Tale. This character is a very mirror of generosity and kindness; not only does he take care of his son The Clown, he adopts a poor discarded child, the princess Perdita, with no obligation to do so. He raises her for 16 years and constantly brags about her to the entire town. She becomes a beautiful, wise, and modest girl who fills her adopted father with pride because of his good parenting. Even when Perdita meets her real father, she speaks of The Old Shepherd with real filial affection “Oh my poor father.”

3.

Lord Capulet, from Romeo and Juliet. I know this was a controversial choice, and I discuss my choice in detail on my podcast, but I’ll sum up my major arguments here:

  1. Even though a lot of actors choose to have him smack Juliet around, there’s no mention of it in Shakespeare’s text. The most he ever does is threaten to strike her, but the stage directions never indicate he does it. Capulet is clearly more bark than bite.
  2. From the very beginning of the play, Capulet has shown that he cares about Juliet, and wants her to marry for love, not money.
  3. Lord Capulet hovers and frets constantly when Juliet tells him she will marry Paris, staying up late to plan the wedding! I ask you, does that sound like a tyrannical father? I wonder sometimes if Lord Capulet would’ve forgiven Juliet for marrying Romeo if she had just told him. In any case, based on my criteria above, Capulet is a good dad, bad tempered, yes, but fundamentally concerned for the welfare of his children.
BOL143705 Prospero and Miranda, fragment from 'The Tempest', c.1790 (oil on canvas) by Romney, George (1734-1802); © Bolton Museum and Art Gallery, Lancashire, UK; English,  out of copyright
Prospero and Miranda, fragment from ‘The Tempest’, c.1790 (oil on canvas) by Romney, George (1734-1802); ¬© Bolton Museum and Art Gallery, Lancashire, UK; English, out of copyright

3. Prospero from The Tempest I chose this high spot for Prospero mainly because he seems to have the most success of any other dad in the cannon. Like Pericles, he too is shipwrecked with his daughter, but Prospero stays with Miranda, raises her alone, teaches her everything she knows, and calls her an angel that helped preserve his life. Prospero cares so much for his daughter that he refuses to give into despair, even though he’s lost his wife, his dukedom, and his home.

Prospero also hatches a plan to get him and Miranda off the island, to get his dukedom back, and to get her married to a handsome prince name Ferdinand, and he succeeds with every one of these endeavors, even though it takes 12 years. Prospero gets extra points for his patience and his wisdom, but I have to admit he’s a bit of a control freak; he demands that Miranda listen to him and obey him no matter what, and he warns Ferdinand that there will be dire consequences if he dare try to do anything illicit with his daughter before the wedding. In addition, there’s no denying that Prospero is also acting out of self interest- he wants to become duke again, and he wants revenge against his enemies and that’s partially why he raises a tempest, (or a huge storm), instead of just sending a message back to Milan.

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Simonides grants permission for Pericles to wed his daughter. Production shot from Mary Zimmerman's 2006 production of
Simonides grants permission for Pericles to wed his daughter. Production shot from Mary Zimmerman’s 2006 production of “Pericles.”

King Simonedes from Pericles, Prince Of Tyre You might forget this character because he only has a short time onstage, but I defy anyone to come up with a better father. He’s kind, supportive, stable, funny, and has a wonderful relationship with his daughter Thaisa. Above all, Simonedes actually listens to his child and does everything in his power to help her when she decides she wants to marry Pericles. Also, like Prospero, Simonedes pretends to object to the marriage, but you kind of get the sense that, rather than testing the affection of the couple, he’s actually just playing a joke on them. You can hear a “gotcha” and a fatherly wink in the final line of the speech in Act II, where he pretends to object to their marriage:

Congratulations to all our fabulous fictional fathers! Thank you for reading, and see you soon!

How to read a Shakespeare Play for the first time!

Hi folks! Since this site is basically a Shakespeare appreciation site, I wanted to start off this week by showing you how you can enjoy Shakespeare at the first reading, even if you’ve never read him before! What follows is a list of advice based on the way I myself learned to enjoy Shakespeare, backed up with some nuggets of wisdom I’ve picked up from teachers along the way.
https://youtu.be/knWg6Mf4MiM?feature=shared
I. Learn the Story of the play.
I would argue that the biggest advantage the Elizabethans had over us was they knew the story of the play before they even came into the theater. All of Shakespeare’s plays were adapted from other sources, including myths and fairy tales. A Midsummer Night’s Dream is literally a fairy tale about the Fairy Queen Titania. There was no such thing as “spoiler alert” in Shakespeare’s day, in fact the prologue of “Romeo and Juliet” gives away the ending before the play has begun!
Clearly, Shakespeare wasn’t interested in making his plays a surprise. The thing is that back then audiences didn’t want new stories, they wanted familiar stories told in a new way, the same way we base movies off of comic books and novels. So the first thing you can do to put you on the same level is read the story of the play before hand. Quiz yourself about what happens: who are the characters you should be rooting for? Whom are they fighting against? What is stopping the hero(s) from achieving their goals? This is a rare time when cliff notes and spark notes actually help; learning the story of the play will help you connect with the action on the stage and instead allow you to concentrate on the characters and the language. I also recommend websites like Crash Course that tell the story with a sense of fun.
II. Read the play- the whole thing, (preferably out loud).
The first time you read Shakespeare, you probably won’t get every word, but don’t worry, you’re not supposed to. Every single edition of Shakespeare has a glossary on the opposite page that translates the basic idea of what you’re reading. If you’re a first time reader, I highly recommend the Folger Shakespeare edition, (available at amazon.com). These editions not only have a good glossary, but big, friendly pictures of a lot of the terms. They also have a free online version of Shakespeare’s texts which you can look at here: http://www.folgerdigitaltexts.org/
I would also advise you to read the plays out loud. Shakespeare loved playing with the sounds of words- having characters hiss and bellow and whisper and seduce the ear. Some of the most fun I ever had with Shakespeare was having a Shakespeare reading party with my friends, where we discovered a play by reading it together and playing with voices and accents.
Another option is to listen to the play while you read it. There are great websites like Audible.com and Librivox that allow you to listen to the play spoken by voice actors. Hearing the play will open it up in a way that just reading it can’t After all, the plays are meant to be heard, that’s why they call it an audience (audio- to hear).
Finally, if you go to nearly every public library there’s a recording of The Archangel Shakespeare, a series of CD recordings of professional actors performing every one of Shakespeare’s plays. Many of these performers have done Shakespeare professionally, so you know they know what they’re taking about.
III. Watch a movie. There are hundreds of Shakespeare movies out there, and each one can show you a little bit about how the play feels and looks when it is placed in the hands of an actor or director. You may be expecting some guy in wrinkled tights bellowing his lines in a fake-Elizabethan set, but lots of Shakespeare movies have chosen inventive settings for Shakespeare in different times and places, like Ian McKellen’s Fascist-era Richard III, Michael Hoffman’s 19th century Midsummer Night’s Dream, or my favorite, Julie Taymor’s epic retelling of Titus Andronicus in a fictionalized blend of ancient Rome and modern Italy. A movie allows you to hear the text read, and allows you to see ideas from the play brought to life on the big screen.
IV. Go see it if you can. Almost every major city has a Shakespeare festival, and lots of regional theaters also choose to do Shakespeare. The reason is simple- he’s royalty free, and everyone recognizes his name. As you watch the play, try to answer these questions:
-Which characters did you like?
-Was there a line you really liked or one that seemed to speak to you?
-Did this play remind you of another play or movie? Did it remind you of something from your own life?
V. If I can recommend a good play to start with, start with Å Midsummer Night’s Dream. This play is not only very easy to understand, it’s also charming, funny, romantic, magical, and has a lot of colorful characters. I myself have directed and starred in Dream, and seen no less than 15 productions on stage and screen! If I can quell the fear you may have about Shakespeare, my wife and I directed the play with actors who had never read Shakespeare before, never acted before, and most of them were only 8 years old! So if they can learn this play and grow to love it as much as I do, then I firmly believe you can too!
Helpful hints-
1. Shakespeare’s company performed outdoors in the middle of the day, so they had no control over their environment. All the actors had was a bare stage, costumes, and a couple of props. This is why Shakespeare devotes lots of passages to just tell you where the characters are, and what time of day it is. His is a theater of the imagination, so read the descriptions and let the world come to life in your head.
2. Shakespeare drew heavily on images from Greek/Roman mythology and the Bible. If you need help looking up some of these resources up, I can recommend the Encyclopedia Mythica for Greco-roman references, and the Catholic Encyclopedia for Christian references.
3. There is a glossary of every single word Shakespeare ever used and plenty of books too. In terms of simplicity and ease of use, I recommend http://www.shakespeareswords.com/Glossary.
4. Shakespeare wrote four types of plays – Comedy, History, Tragedy, and Romances.

In Tragedy, the hero dies by the end, and the overall tone is one of change and struggle.
In Comedy, the hero and the heroine usually get married by the end.
The History Plays- are all about a struggle for the English crown and are based on historical chronicles. Most of them conclude in a battle or in the peace after a battle.
Romances– “Romance” is a term invented by scholars to describe some of the last plays Shakespeare wrote that don’t end in death like tragedies, and don’t end as happily as the comedies. One such play has a man get eaten by a bear, and another has a man forced to marry a prostitute! Some scholars don’t like this title, but i keep it here because it’s the most common term for these weird plays that include Cymbeline, Pericles, The Winter’s Tale, and The Tempest.
4. DO NOT READ THE NO-FEAR SHAKESPEARE EDITIONS. These books and websites advertise to be a clear-cut translation of Shakespeare with his text on the left, and a modern translation on the right. I believe these editions don’t do justice to the cleverness of Shakespeare’s writing. For example, here’s the famous speech of Macbeth when he discovers that his wife is dead:
https://youtu.be/pDdhiTvFcFw?si=mMy6zg8gmM9_K9bo

She should have died hereafter.
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
I’ve actually played Macbeth, and when I saw this speech, I played it as a struggle to deal with the loss of his wife, (the only person he truly cares about), while at the same time dealing with imminent war. Macbeth wants to put off dealing with the news until tomorrow because he can’t possibly handle it now. What’s really cool about Shakespeare is you don’t have to agree with me; you could just as easily interpret the speech as a manifestation of psychosis, of loneliness, or how bitter and unfair Macbeth’s life is and it would still work! That’s why actors and directors love going on and on about Shakespeare; he gives us the freedom to interpret the speech the way we want, as long as we stay true to the basic text. I don’t think anybody could claim that this is a happy speech! The problem is that No Fear Shakespeare makes it too simple, and doesn’t allow you to really consider the possibilities for interpretation. Read their translation of the speech below:

MACBETH
She would have died later anyway. That news was bound to come someday. Tomorrow, and tomorrow, and tomorrow. The days creep slowly along until the end of time. And every day that’s already happened has taken fools that much closer to their deaths. Out, out, brief candle. Life is nothing more than an illusion. It’s like a poor actor who struts and worries for his hour on the stage and then is never heard from again. Life is a story told by an idiot, full of noise and emotional disturbance, but devoid of meaning.

Of course, if you bear in mind the limitations of translating Shakespeare and give yourself the freedom to take it with a grain of salt, that could work too.
So there’s a basic guide for first time readers. Let me know if you agree with my approach, what strategies work for you, and if these techniques were helpful!

For more tips and tricks on analyzing Shakespeare, please sign up for my 30 minute Online Shakespeare class on Outschool.com:

Title card for my Intro to Shakespeare Class

https://outschool.com/classes/8535d86b-c4c5-4c75-aec0-6b43e020ee4e/schedule