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

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Course Descriptions

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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/

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?

Shakespeare’s Awesome Heroines: Joan of Arc

I’m coaching a young actress who is performing a monologue from one of Shakespeare’s histories, his play Henry VI, Part I. It’s likely you know the character, even if you don’t know the play- Joan LaPucelle, aka Joan of Arc. In this post, I will compare and contrast the historical Joan from Shakespeare’s version, and further attempt to separate the real woman from her legendary status as the patron Saint of France.

Shakespeare’s Joan

Shakespeare’s younger sister was also named Joan, and it’s possible she might have inspired Shakespeare’s decision to write about Joan the Maid. Recently, a document called A Spiritual Testimony, (long attributed to Shakespeare’s father), is now believed to be proof that Shakespeare’s little sister was a devout Catholic, at a time when doing so could incur ruinous fines and the risk of arrest for sedition and heresy. Given the courage of Joan’s convictions, perhaps her elder brother infused some of her zeal when writing the character of Joan in Henry VI, part I.

The Life of Joan

One life is all we have, and we live it as we believe in living it. But to sacrifice what you are and to live without belief, that is a fate more terrible than dying. -Joan of Arc

Joan LaPucelle, (Joan the Maid) was a controversial figure even in the 15th century. To the English, (and even some of the French), she was a witch, and a cruel warrior who took away rightful English territory. To others, she was a hero and a saint.

What I hope to do in this post is provide you with details about the life of Joan of Arc. Next I will  compare and contrast the most iconic portrayals. I would argue that the success of each interpretation depends on how the writer, director, and of course, the actress playing Joan, answer these questions.

Shakespeare’s Version of Joan La Pucelle

Charles, King of France. Go, call her in.
[Exit BASTARD OF ORLEANS]255
But first, to try her skill,
Reignier, stand thou as Dauphin in my place:
Question her proudly; let thy looks be stern:
By this means shall we sound what skill she hath.
[Re-enter the BASTARD OF ORLEANS, with JOAN LA PUCELLE]

Reignier. Fair maid, is't thou wilt do these wondrous feats?
Joan la Pucelle. Reignier, is't thou that thinkest to beguile me?
Where is the Dauphin? Come, come from behind;
I know thee well, though never seen before.
Be not amazed, there's nothing hid from me:265
In private will I talk with thee apart.
Stand back, you lords, and give us leave awhile.
Reignier. She takes upon her bravely at first dash.

Joan appears in the first part of Shakespeare’s epic saga of  four plays about the Wars of the Roses. It is King Henry’s inability to defend his lands in France against Joan’s valiant attacks that  helped trigger the Civil War, where the House of York fight to take the crown away from the incompetent King Henry VI.

Joan la Pucelle. Dauphin, I am by birth a shepherd's daughter,
My wit untrain'd in any kind of art.270
Heaven and our Lady gracious hath it pleased
To shine on my contemptible estate:
Lo, whilst I waited on my tender lambs,
And to sun's parching heat display'd my cheeks,
God's mother deigned to appear to me275
And in a vision full of majesty
Will'd me to leave my base vocation
And free my country from calamity:
Her aid she promised and assured success:
In complete glory she reveal'd herself;280
And, whereas I was black and swart before,
With those clear rays which she infused on me
That beauty am I bless'd with which you see.
Ask me what question thou canst possible,
And I will answer unpremeditated:285
My courage try by combat, if thou darest,
And thou shalt find that I exceed my sex.
Resolve on this, thou shalt be fortunate,
If thou receive me for thy warlike mate. Act 1, Scene ii

In the play, Joan is a strong warrior, a clever tactician, and a gifted orator, yet her main function in the play is as the antagonist who goes toe to toe against the English warrior, Lord Talbott.

Naturally, since Shakespeare was trying to write for an English audience, Joan is portrayed as the antagonist, not the hero. The English make many snide comments that suggest Joan might not be as virtuous or as righteous as she appears. However, Shakespeare never outright calls Joan a witch or portrays her doing anything other than trying to fight for her country, by any means necessary.

Once Charles is crowned and Joan gets back Orléans for the French, the tide of battle turns against her. In Shakespeare’s version, this is because the English are united around John of Bedford, (King Henry’s uncle and Regent of France), as well as Lord Talbot, the great knight and “Terror of the French”. In Act V, scene iii, Joan calls upon spirits to fight the English:

The regent conquers, and the Frenchmen fly.
Now help, ye charming spells and periapts;
And ye choice spirits that admonish me
And give me signs of future accidents.
[Thunder]
You speedy helpers, that are substitutes
Under the lordly monarch of the north,
Appear and aid me in this enterprise.
[Enter Fiends]
This speedy and quick appearance argues proof
Of your accustom'd diligence to me.
Now, ye familiar spirits, that are cull'd
Out of the powerful regions under earth,
Help me this once, that France may get the field.
[They walk, and speak not]
O, hold me not with silence over-long!
Where I was wont to feed you with my blood,
I'll lop a member off and give it you
In earnest of further benefit,
So you do condescend to help me now.
[They hang their heads]
No hope to have redress? My body shall
Pay recompense, if you will grant my suit.
[They shake their heads]
Cannot my body nor blood-sacrifice
Entreat you to your wonted furtherance?
Then take my soul, my body, soul and all,
Before that England give the French the foil.
[They depart]
See, they forsake me! Now the time is come
That France must vail her lofty-plumed crest
And let her head fall into England's lap.
My ancient incantations are too weak,
And hell too strong for me to buckle with:
Now, France, thy glory droopeth to the dust.
[Exit]
Joan LaPucelle in the 2010 RSC production of “Henry VI, Part 1

At first glance this passage seems shocking- Shakespeare appears to be accusing the patron saint of France of witchcraft. Even more bizarre, later when Joan is arrested by the English lords, she claims to be pregnant with King Charles’ child! And to confound the audience even further, Joan contradicts her own confession by denying any witchcraft or any relationship with any man:

Joan la Pucelle: First, let me tell you whom you have condemn'd:
Not me begotten of a shepherd swain,
But issued from the progeny of kings;
Virtuous and holy; chosen from above,
By inspiration of celestial grace,
To work exceeding miracles on earth.
I never had to do with wicked spirits:
But you, that are polluted with your lusts,
Stain'd with the guiltless blood of innocents,
Corrupt and tainted with a thousand vices,
Because you want the grace that others have,
You judge it straight a thing impossible
To compass wonders but by help of devils.
No, misconceived! Joan of Arc hath been
A virgin from her tender infancy,
Chaste and immaculate in very thought;
Whose maiden blood, thus rigorously effused, Will cry for vengeance at the gates of heaven.
Henry VI, Part I, Act V, Scene iv

I get the sense that Shakespeare is trying to make Joan’s character ambiguous- if you are an English patriot, you can see her as a witch, a liar, and a manipulative harlot. If you are French, you see these accusations as filthy lies, and Joan’s “confession,” as merely a desperate attempt to spare her own life, one that tragically backfires.

The Real Joan of Arc

Born: circa 1412 in Domrémy, France

Died: May 30  1431 (executed by burning)

Birth/ Childhood

Joan was born January 6th, 1412 to Isabelle and Jacques D’Arc, the mayor of the town of Domr’emy France. At the time, Domremy was right on the border between the Armeniacs (who supported Charles the Dauphin) and the Burgundians, who supported King Henry V of England as rightful king of all Frence. Because of this, Joan’s home was subject to English raids and she might have been raised to support Charles as her lawful king. In any case, the accounts we have describe her as very pious, intelligent, generous, and a lover of justice.She had no formal education nor any experience on the Battlefield. Yet, by all accounts, Joan was an extremely devout youth, devoted to God, and her lawful king.

Call to Arms

When she was 13, Joan went to pray in her father’s garden and believed that she saw the Archangel Michael, who prophesied that she would be the one to save France. In 1428, Joan approached Robert Baudricourt, Lord of Vaucouleurs. She demanded to join the French army and to bring Charles to Reims to be officially crowned king. Though she was turned away three times, Joan’s faith and courage attracted followers from the surrounding countryside, and Baudricourt eventually agreed to train Joan to fight, and allowed her and her enterage to talk to Charles the Dauphin about joining the troops defending the city of Orléans.

Once he met Joan at his palace in Chinon, the Dauphin agreed to let her take weapons and supplies to the troops who were already laying siege to the French town of Orléans. However, Joan insisted on leading the troops into battle, and quickly became a symbol of French resistance.

The Siege of Orléans

The city of Orléans was a vital town that the English had garrison. For six months, the French had attempted to starve out the English, destroy their defenses, and retake the city.

Joan la Pucelle. Advance our waving colours on the walls;
Rescued is Orleans from the English
Thus Joan la Pucelle hath perform’d her word.- Henry the Sixth, Part I

Joan’s Fall From Grace

Henry, by the grace of God, king of France and England, greeting. It is well known how for some time a woman calling herself Jeanne the Maid, putting off the habit and dress of the female sex (which is contrary to divine law, abominable to God, condemned and prohibited by every law), has dressed and armed herself in the state and habit of man, has wrought and occasioned cruel murders, and it is said, to seduce and deceive the simple people, has given them to understand that she was sent from God and that she had knowledge of His divine secrets, with many other dangerous dogmatizations most prejudicial and scandalous to our holy faith. Whilst pursuing these abuses and exercising hostilities against us and our people, she was captured in arms before Compiègne by certain of our loyal subjects and has subsequently been led prisoner towards us. And because she has been reputed, charged and defamed by many people on the subject of superstitions, false dogmas and other crimes of divine treason, we have been most urgently required by our well beloved and loyal counselor the bishop of Beauvais, the ecclesiastical and ordinary judge of the said Jeanne, who was taken and apprehended in the boundaries and limits of his diocese

  • Letter from King Henry VI to the Bishop of Beauvais (Joan’s captor), January 3rd, 1431

Joan was captured in 1430, when King Henry of England was only 10 years old. Even though now France is united with pride for Joan and her defense of her country, back then there were plenty of factions that actually supported the English, and those French factions captured, and arrested her for heresy during the siege of Compiègne.

The Trial- January 9th, 1431

It has pleased divine Providence that a woman of the name of Jeanne, commonly called The Maid, should be taken and apprehended by famous warriors within the boundaries and limits of our diocese and jurisdiction. The reputation of this woman had already gone forth into many parts: how, wholly forgetful of womanly honesty, and having thrown off the bonds of shame, careless of all the modesty of womankind, she wore with an astonishing and monstrous brazenness, immodest garments belonging to the male sex.

As this excerpt from the trial transcripts demonstrates, Joan’s trial focused much more on her alleged heresy and witchcraft, rather than her defying British rule. In reality, Joan’s arrest and martyrdom was a political sacrifice for the French- they wanted to show political support for their English overlords, without alienating Joan’s supporters. Discrediting Joan by calling her a heretic was a calculated political move, and Joan probably knew it.

Execution

Joan was executed by burning on May 30th, 1431, six months before King Henry was formally crowned King of England. After her death, Henry was unable to maintain control of France and his incomplete, combined with a congenital mental illness, is why he later lost

Iconic portrayals:

Trailer for Carl Dryer’s Passion of Joan of Arc (1928)
Mila Jovavich in Luc Besson’s “The Messanger”, 1999

Sources:

Books

  1. You Wouldn’t Want To Be Joan of Arc
  1. Joan of Arc by Josephine Poole
Title Page of Joan of Arc by Josephine Poole, illustrated by Angela Barrett

Medieval Manuscripts: The Trial of Joan of Arc:

https://origin.web.fordham.edu/Halsall/basis/joanofarc-trial.asp

https://dailygalaxy.com/2025/09/shakespeare-a-rediscovered-manuscript-flips-the-familys-legacy-on-its-head-more-than-400-years-after-it-was-written/

Close Reading: Juliet’s Soliloquy: “My dismal Scene I needs Must Act Alone.”

The Text

LADY CAPULET  Good night.
Get thee to bed and rest, for thou hast need.
Lady Capulet and the Nurse exit.
JULIET
Farewell.—God knows when we shall meet again.
I have a faint cold fear thrills through my veins
That almost freezes up the heat of life.
I’ll call them back again to comfort me.—
Nurse!—What should she do here?
My dismal scene I needs must act alone.
Come, vial. She takes out the vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
She takes out her knife
and puts it down beside her.
No, no, this shall forbid it. Lie thou there.
What if it be a poison which the Friar
Subtly hath ministered to have me dead,
Lest in this marriage he should be dishonored
Because he married me before to Romeo?
I fear it is. And yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point.
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle
Where for this many hundred years the bones
Of all my buried ancestors are packed;
Where bloody Tybalt, yet but green in earth,
Lies fest’ring in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes torn out of the earth,
That living mortals, hearing them, run mad—
O, if I wake, shall I not be distraught,
Environèd with all these hideous fears,
And madly play with my forefathers’ joints,
And pluck the mangled Tybalt from his shroud,
And, in this rage, with some great kinsman’s bone,
As with a club, dash out my desp’rate brains?
O look, methinks I see my cousin’s ghost
Seeking out Romeo that did spit his body
Upon a rapier’s point! Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink. I drink to
thee.
She drinks and falls upon her bed
within the curtains.

The Given Circumstances

This famous soliloquy comes from Act IV, Scene iii. In this speech, Juliet grapples with her fears and anxieties about taking the Friar’s sleeping potion.

Traditional Interpretations

Ellen Terry (Vinal Record Recording, C. 1911)

Ms. Terry, like her famous grandson John Gielgud, is more interested in delivering the text clearly, beautifully, and strongly than getting Juliet’s character across. Consequently, by our standards, her reading of the speech is slow, declamatory, and maybe a bit over-the-top. However, this kind of delivery really brings out the rhythm of the verse, the beauty of the individual words, and the structure of the speech itself, so I recommend actors listen to it as a jumping off point. In my opinion, having a good technical grasp of the speech will keep an actor from going too far with the emotion, (making it hard for the audience to hear and understand them). This is why there’s still value in these dusty old recordings.

Olivia Hussey (Romeo and Juliet directed by Franco Zephirelli, 1966)

Zephirelli was very sparing with the dialogue- choosing to condense this entire speech to one line “Love, give me strength.” Hussey has a great deal of passion in the speech, as if she is absolutely certain that taking the potion will re-unite her with Romeo.

Claire Danes (Romeo +Juliet, 1996)

Claire Danes contemplating the vial in Romeo + Juliet

Danes has a sense of almost macabe trance-like energy when she delivers the speech. Like all the edged weapons in the movie, the dagger is replaced by a gun. Most of the speech is cut because Luhrman wanted to emphasize the character’s obsession with violence, rather than fears about ghosts and arranged marriages. Consequently, Danes does little other than put the gun under her pillow, take out the vial, and drink it.

Ellie Kendrick (Globe Theater, 2009)

Ms. Kendrick is one of my favorite Juliets ever! She is a wonderful blend of sweetness and naivety, tempered with anxiety and practical thinking. She delivers the whole speech to different parts of the audience and makes sure every idea and every horrible thought of Juliet lands. Furthermore, her fast pacing around the stage helps her not only connect with the audience, but to use the Globe theater to make them imagine the Capulet vault.

Verse

As I always say, verse is the heartbeat of a character, and based on this, Juliet’s heart is beating a mile a minute. You’ll notice that five of these lines start with a trochee (T), and five of them have trochees. This means Juliet is unsettled, she’s literally off-beat. In addition, there are frequently pauses in the middle of the lines called cesuras, which might indicate that either Juliet is trying to answer her own questions, or that she is so worried, that she’s gasping for breath.

In this second part of the speech, the lines start running together. Juliet’s pace is quickening and she breathes every 2-3 lines instead of at the end of each line.

Structure

The speech is organized as a series of questions:

“What if…”

“What if…”

“How if…”

“Or if I live…”

“O, if I wake, shall I not…”

and then the terrifying statement: “O look…”

So, with this in mind, the actress needs to convey Juliet’s overactive imagination, her fears, and her ability to answer these fears with inner calm and inner strength.

Imagery

It’s a horrific idea being shut up alive with the dead. Shakespeare gives us the sights and smells and the grim reality of feeling “stifled” in a vault. I created this image to demonstrate the smells, the fear, and the claustrophobic nature of the vault.


I chose to have the vault lit with candles, and to use green smoke to represent decay and possibly noxious gas, like the nitre that sometimes dips from walls of tombs. I also added some stone faces of ancestors to stare down at Juliet.

Historical Research

Sarcophagus in church of San Francesco al Corso, an old Franciscan monastery in Verona.

The plain stone sarcophagus above has become a tourist attraction as the traditional ‘resting place’ of Juliet. As I mentioned in my Friar Lawrence post, the Friar who marries Juliet is a Franciscan, which is probably why they chose this church in Verona as the ‘site’ for Juliet’s grave.

It is a plain, open, and partly decayed sarcophagus, in a wild and desolate conventual garden once a cemetery now ruined to the very graves. The situation struck me as very appropriate to the legend, being blighted as their love.

– Lord Byron, Letters and Journals Vol. III

Since Italy is a small, hot country, bodies in the 16th century were buried almost immediately. First, the body would be wrapped up in a shroud or winding sheet, as Juliet mentions at the end. The corpses might be decorated with Rosemary or other sweet-smelling herbs.

A winding sheet for a corpse

Wealthy families like the Capulets or the church, would store all the bodies of their ancestors in burial vaults or crypts. Some bodies would be anointed with oil or preserved with vinegar.

Literary Inspiration: The Cask of Amontillado

Montressor and Fortunato move through the burial crypt in “The Cask of Amontillado”

When I think of the dark, macabre atmosphere of a family tomb, I think of The Cask of Amontillado, a short story by Edgar Allen Poe where the anti-hero Montressor, tricks his enemy Fortunato into going into his family crypt and buries him alive! There are some interesting parallels between Montressor and Tybalt from Romeo and Juliet- both men belong to ancient families, both men are violent, and both refuse to let any kind of insult stand. I think Juliet sees the vault as a hostile place, where her ancestors are angry at her for “betraying the Capulet name,” after marrying a Montague.

Image Research 4: Tybalt’s Angry Ghost

AI image of Tybalt’s Ghost

Like Montressor in The Cask of Amontillado, Tybalt embodies the Capulet feud, and it makes sense that Juliet would see him when she thinks of being shut up in the vault. The real question is, what does seeing him do to her? Is she terrified? Is she remorseful? Is she moved to protect Romeo? How does seeing Tybalt’s ghost motivate her to take the potion?

Other Questions to consider

  1. Why is Juliet so nervous?
  2. How does Juliet feel about running away from home?
  3. Do the ghosts represent something? Guilt? Judgement? Some kind of ticking clock?
  4. What does she see Tybalt’s ghost doing?
  5. How does Juliet pull it together at the end?

Emotional

Not only is Juiet worried about her health, (mental and physical), I get a sense that she might also be experiencing guilt. The notion of her being tormented by spirits that shriek like mandrakes, suggests that maybe the ancient Capulets aren’t very pleased with Juliet. This makes sense because she married a Montegue. I get the sense that maybe, for the first time, Juliet actually feels guilty, as if she’s failed her ancestors. However, for whatever reason, she definitely re-focuses and thinks about Romeo. Either she rejects her ancestors and Tybalt, or maybe she sees the potion as a way of protecting Romeo, or possibly Juliet just wants these fears and anxieties to end, and takes the potion as a release. My actor and I will no doubt try these ideas out and figure out what works within the structure and within her interpretation of the character.

Our Interpretation

Again, it’s a little too early for me to tell you our interpretation yet, but I’ll post it later.

Resources:

  1. Myshakespeare.com. This website will allow you to look up unfamilliar words, download pictures and videos of the scene, and even watch an ‘interview’ with Juliet, where, just as in this speech, she becomes more and more anxious and fearful until the very end.
  2. https://www.open.ac.uk/blogs/literarytourist/?p=49

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Happy International Women’s Day! Here are Some of Shakespeare’s Most Bad-a$$ Female Characters

Every Year around this time, I like to draw attention to Shakespeare’s greatest heroines. You might have read my top 10 Shakespearean mother characters, or my post from last year, where I talked about some of Shakespeare’s best childless characters.This year, I’m putting together a squad of women you don’t want to mess with. So please enjoy (in no particular order because I refuse to rank women), – the best female fighters in all of Shakespeare:

Queen Margaret of Anjou

She defeats the York Army multiple times in the Wars Of The Roses, even killing the Duke of York himself. She was a powerful force on the battlefield and in the court.

Joan of Arc

Joan la Pucelle from Henry VI, Part 1: (RSC, 2006)

I am prepared: here is my keen-edged sword,
Deck’d with five flower-de-luces on each side;
The which at Touraine, in Saint Katharine’s
churchyard,
Out of a great deal of old iron I chose forth.

And while I live, I’ll ne’er fly from a man.

The iconic female warrior who helped end English occupation of France. In Shakespeare’s play, she fights the French prince to prove her prowess in battle, then she retakes the towns of Orleans and Rouen from the English, and keeps fighting until the

Portia Catonis

Portia preparing to “Swallow fire”

True, she doesn’t have much fighting experience, but clearly she can tolerate pain, has accute powers of perception, and is related to a long line of political and military patriarchs.

Volunnia

Valumnia comforts Coriolanus’ wife (AI art)

Dr Peter Saccio of Dartmouth College once said that this Roman matron talks to her son Caius Martias as if she’s his general, not his mother. She is totally devoted to Rome and she has trained her son since birth to fight for it.

Cordelia

AI artwork I created of Cordelia storming Goneril’s castle
Our preparation stands
In expectation of them. O dear father,
It is thy business that I go about.
Therefore great France
My mourning and important tears hath pitied.
No blown ambition doth our arms incite,
But love, dear love, and our ag'd father's right!

Cordelia shows her strength not through words, but through deeds- massing an army and invading England to put her father back on the throne, as the passage above shows. It’s true she didn’t succeed in saving the kingdom, but she did save her father through her love and bravery.

Review: Kenneth Branaugh’s As You Like It

The Concept

According to Branaugh, the idea behind the film was to emphasize beautiful things like tranquility and love, but preserve and heighten the danger of being hunted by a powerful warlord like the Duke

Interview with the director and cast at the Barbican

The Plot Of the Play

Historical Context

Branaugh set the film in 19th century Japan, at a time when English people came to Japan for the first time, and created small English communities in the country. I’ll discuss later that I have very conflicting feelings with this choice, but I will give Branaugh this- it does highlight the fish out of water journey that Rosalind and the other characters go through leaving their homes at court, and becoming enamored with a new country.

The Cast

The cast is full of veteran Shakespeareans and gifted Hollywood stars. Bryce Dallas Howard is charming as Rosalind, and has good chemistry with RSC actor David Oyelowo. I also enjoyed Brian Blessed’s dual role as Duke Senior and Duke Frederick. Kevin Klein is very sincere as Jaques but I wish he had a bit more fun with the over exaggerated melancholy that Jaques puts on. The overall effect of the performances is a sentimental, charming, beautiful, witty group of people who are having a fun time.

My Reaction

The cast is great, the cinematography is stunning, and the music is charming. Overall, Branaugh has done a great job of bringing the spirit of the play alive- that of a sweet, pastoral comedy about love, unrestrained by wealth or status. What I worry about though, is that Branaugh might inadvertently be celebrating colonialism. Yes, Japan is a beautiful country with a  highly sophisticated and rich culture, so it makes sense that English people would be drawn to it. That does not justify the cruel way the English and Americans colonized parts of Japan, made the people mine for gold, and forced them to trade with the west. I worry that, like The Mikado, Branaugh celebrates Japan in a way that makes it seem like westerners were justified in taking so much away from it. I wish the plot had more of a “look but don’t touch” attitude to Japanese culture.

I also question the decision to cast barely any Asian actors. Given the story Branaugh wants to tell, it makes sense to cast non-asian actors as Thr Duke, Rosalind, Celia, and even Orlando, since they are the ones who come to the forest from an English-style court. But the roles of Corin, Silvius, Audry, Phoebe, and even Old Adam are people who are supposed to be familiar with the country, meaning it would make perfect sense to cast Asian actors in these roles. Frankly, there are very few well known Asian actors in Hollywood and I would love to give some of them a chance to shine, especially since Shakespeare has long been a way for actors to show their skills.

In conclusion, I can see why people like this movie and I too enjoy it, despite its questionable subtext. I don’t want to take away anyone’s enjoyment of the film, just to remind people not to be too seduced by the historical practice of taking something “As You Like It”

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