Politics

Was Shakespeare Racist?

| astronut1

Was Shakespeare racist? When reading Othello by William Shakespeare, the only play he wrote where the hero is explicitly black, I truly feel like the Shakespearean student as opposed to the Shakespearean teacher. it’s a play that I find very difficult to get into, and very difficult to understand. Above all, the question I have is whether Othello is a positive or negative portrayal of a black man. So I am going to analyze the play, the prevailing views about race from Shakespeare’s time, and try to draw some conclusions about the play and its creator.

Disclaimer: I don’t advocate trying to speculate about how Shakespeare felt about anything. My real point in this post is to determine if the play Othello and its portrayal of people of color, has merit in today’s society, which is important to establish given the culture in which Shakespeare wrote it.

Part I: Black People And Shakespeare

By our standards, Shakespeare was probably racist. If you look at the ways black people are mentioned in documents of the period, the writers frequently describe black people with an air of otherness and superiority that shows little interest in the humanity of other races. In fact, one reason why the word “moor” is so problematic is that it basically referred to anyone not born in Europe. It could refer to people from Northern Africa, the Middle East, and even parts of Spain. Clearly, Europeans at the time weren’t interested in the particulars of their non-Caucasian neighbors’ culture and herritage.

“Portrait Of An African Man,” by Jan Mostaert, c. 1520

This is not to say that Shakespeare never knew any black people. Michael Wood in his book In Search Of Shakespeare estimates that there might have been several thousand black people in London alone. City registers mentions not only black people employed in the city, but even some of the first inter-racial marriages. Therefore, the notion of Othello marrying Desdemona would not have been unheard of even in 1601.

As an important note, the black people living in Europe at the time weren’t slaves. The transatlantic slave trade didn’t really get started in and America until the 1650s, and slavery was illegal in England at the time. Wood mentions that there were black dancers, black servants, and other free black people living in and around London (Wood 25). Dr. Matthieu Chapman wrote an excellent thesis back in 2010 about the possibility that some black people might even have been actors in Shakespeare’s company. Furthermore, scholars have wondered for centuries if the Dark Lady of the sonnets was Shakespeare’snon-Caucasian mistress.

In any case, it is likely based on what we know about the growing multiculturalism of England in the 17th century, that Shakespeare knew some black people, and might have worked along side them. Though Shakespeare probably knew black people though, it is impossible to know if they influenced his play Othello.

https://youtu.be/NsUoW9eNTAw

Though black people were allowed to live and work without bondage, their lives were highly precarious, and far from easy. In 1601, Sir Robert Cecil, Queen Elizabeth’s chief counselor, presented a plan to explel all black people from England (Wood 251). The Cecil Papers at Hatfield House details that:

The queen is discontented at the great numbers of ‘n—‘ and ‘blackamoores’ which are crept into the realm since the troubles between her highness and the King Of Spain, and are fostered here to the annoyance of her own people.

Cecil mentions that a great deal of black people living in London were former slaves freed from captured Spanish ships. Spain of course was Catholic and their king Phillip II had sent a vast armada against the English which helps underscore a major reason for the hostility against these formerly Spanish moors; the fear that, even though these people were baptized English Christians, they might secretly be traitors, sympathetic to the Spanish or to the great numbers of Muslims living in Spain. The English weren’t the only ones concerned. In 1609, the Spanish king expelled the Moors from Spain entirely, probably due to the high levels of Muslims in Spain. With this in mind, you can see how topical Othello was for its time, since it touched on many contemporary issues of race and politics.

One important thing to remember about Othello is that he is not only a black man in a predominantly white country, he is in all probability a converted Muslim who helps the Venetian army fight Muslim Turks. With this in mind, you can imagine how hard it must be for the people of Venice to trust him, and how hard it makes it for Othello to feel like a true Venetian.

A very high profile example of the mixture of admiration and anxiety towards Moors comes from 1600. Ambassador Abdul Guahid from Morocco, (himself a Moor), came to visit London to discuss a military plan to take the East and West Indes away from the Spanish. He stayed at the court for several months during which time, Shakespeare’s company performed for him and the court. To commemorate the visit, a writer called Leo the African presented the ambassador with a book called A Geographical History Of Africa, and he himself posed for a portrait, shown below.

Most scholars cite Guahid as one of the likely inspirations for Othello’s character. Some even suggest that Othello’s original costume and appearance might have been taken from Guahid. Although he was honored publicly, according to the documentary Shakespeare Uncovered, in private, courtiers were whispering about Guahid, hoping that he would leave England soon. Whether Guahid was Shakespeare’s inspiration for Othello, it is worth noting the admiration and anxiety that he put into the hearts of the English courtiers he visited, including probably, Shakespeare.

Account of the plays performed at court in 1605, including Othello

So when Shakespeare wrote Othello, the black population was growing, a noble moor was getting attention at court, and he might have been living and working around black people in his company, so he might have been trying to present a black character in a positive light based on his experiences. So what does the text of Othello say about black people, and what Shakespeare might have thought about them?

The dilemma anyone reading or performing Othello faces is the fact that he is both a noble general who loves his wife, and also a jealous savage murderer. As I have mentioned, Shakespeare might have known black actors and some claim that he had a mistress of color, but that doesn’t guarantee that he was aware of the oppression and degradation of the African people. So why did he choose to make the character black in the first place?

Part II: What does the play say about race?

Shakespeare’s source for Othello was an Italian short story by Giovanni Battista Giraldi. It has some small differences in plot, but Othello’s character is identical to Shakespeare’s, though he is never referred to by name; instead he is only called “The Moor.” Still, Giraldi mentions The Moor’s bravery, skill in battle, and initial reluctance to believe the devilish ensign who deceived him. Therefore Shakespeare emphasized all the positive qualities of his original source.

https://www.bl.uk/collection-items/cinthios-gli-hecatommithi-an-italian-source-for-othello-and-measure-for-measure

Othello is not presented as a savage person; we see him as somebody who comes from somewhere else. It is impossible to pin down exactly where he comes from because his descriptions of his past are very vague and sometimes seemingly contradictory. As Germaine Greer mentioned in the TV documentary Shakespeare Uncovered, what we do know is that he definitely assimilated into Venetian culture, presumably converted to Christianity from whatever religion he had, and rose through the ranks by fighting the Ottoman Turks. This means Othello is waging war against Muslims. What I am trying to construct here is to determine based on what we know about black people from Shakespeare’s time and what we know about stereotypes of foreigners and others and the journey of Othello, is his murderous jealous behavior, as a result of nurture, (which is to say Iago‘s devilish manipulation), or by nature. In other words, did Shakespeare write a racist play that condemns interracial marriages due to the barbarous nature of Moors?

Othello is not the only jealous character in the Shakespearean cannon; Claudio in Much Ado, Postumous in Cymbeline, and Leontes in The Winter’s Tale all accuse their wives of infidelity and all of them threatened to kill those unfortunate (and innocent women). This means that Shakespeare is not implying that jealousy is inherently connected to race. Looking at the text of Othello, one interpretation I can offer is that it is less about black people and more about how white people perceive them. Just like in Shakespeare’s source, very few people in the play call Othello by his name, they call him a term that defines him by his race. In addition, though Othello never talks explicitly about his race and is very cryptic about his life, plenty of characters make assumptions about what being a moor means:

“To the gross clasps of a lascivious Moor” – Iago 1.1.126)

“An extravagant and wheeling stranger / Of here and every where” – Rodrigo 1.1.136-137). [Scene Summary]

[Brabantio speaking to Othello] “To the sooty bosom / Of such a thing as thou — to fear, not to delight” (1.2.70-71).

One reason Iago is able to manipulate the people close to Othello is because he can manipulate the prejudices that they have about black people. He knows that they will believe anything he says, as long as it falls in line with their preconceptions. In addition, since Othello isn’t a native Venetian, Iago can manipulate Othello’s inexperience with Venetian society:

IAGO

197 Look to your wife; observe her well with Cassio;

201 I know our country disposition well;

202 In Venice they do let heaven see the pranks

203 They dare not show their husbands; their best conscience

204 Is not to leave’t undone, but keep’t unknown.

OTHELLO

205 Dost thou say so?

IAGO

206 She did deceive her father, marrying you;

207 And when she seem’d to shake and fear your looks,

208 She loved them most.

OTHELLO

208 And so she did.

IAGO

208. go to: An expression of impatience.

208 Why, go to then;

209. seeming: false appearance.

209 She that, so young, could give out such a seeming,

210. seal: blind. (A term from falconry). oak: A close-grained wood.

210 To seel her father’s eyes up close as oak,

211 He thought ’twas witchcraft—but I am much to blame;

212 I humbly do beseech you of your pardon

213 For too much loving you.

OTHELLO

213. bound: indebted.

213 I am bound to thee for ever.

IAGO

214 I see this hath a little dash’d your spirits. Othello, Act III, Scene iii.

Plenty of actors, scholars, and directors have made the case that Shakespeare’s plays aren’t racist, but they do have racist elements. In Othello’s case, the racism of other people destroys an otherwise honorable man.

https://youtu.be/gMZRP9hrbY4

The Murder: As a counter argument, though Othello is not the only jealous hero in Shakespeare, he is the only black one, and he is the only one who kills his wife onstage. Therefore, even if Othello is a positive black figure at first, his behavior at the end of the play does give an impression of a man who has become a savage murderer, and it is important for the audience to question how watching a white woman being murdered in her bed by a black man makes them feel, especially when everyone else in the play has said he is a barbaric, lustful, foreign beast.

Part III Production History

Although there’s a decent argument that Othello isn’t a racist play, it’s production history has been harrowed with racism. For 250 years the role wasn’t even played by black actors. Even on film, the first black man to play Othello was Laurence Fishburne in 1995.

Going further back, the first genuine black actor to play Othello was Ira Adrige, an African American who moved to England in the mid 1800s. Above is a copy of the playbill for his celebrated touring performance of Othello in 1851, which inspired very powerful and polarized reactions: https://youtu.be/92Z-4eJj7Wo

Audiences have had incredibly powerful reactions to seeing real black actors in the role. Some have expressed disgust and racist hatred, (especially in the scenes with Desdemona), some have expressed praise, sometimes they have ignored the race issues entirely. Reportedly Joseph Stalin loved the play and participated enjoyed Othello’s strength and stoicism (Wood 254). Ultimately the context of a production often determines more of the audience reaction than the actors’ performances.

To end where I began, I’m well aware that it’s impossible to truly tell whether Shakespeare was racist, and it’s equally futile trying to pin down what he was saying about race when he wrote the part of Othello, but it is worth considering how the part is connected to changing views of race and racial relations. Ultimately it is up to the actors and director to decide whether Othello is a good man, a racist stereotype, or anything else. That is the beauty of Shakespeare’s complicated and compelling characters, they can translate beyond time, and maybe even race.

For an excellent discussion of this complex topic, click the link below: https://youtu.be/puMpPNtYxuw

: https://youtu.be/puMpPNtYxuw

◦ Sources:

Books:

TV:Shakespeare Uncovered: Othello

Magazines:

BBC News: Britain’s first black community in Elizabethan London. http://www.bbc.com/news/magazine-18903391

Web:

http://www.blackpast.org/perspectives/black-presence-pre-20th-century-europe-hidden-history

http://www.history.ac.uk/reviews/review/619

https://allpoetry.com/The-Dark-Lady-Sonnets-(127—154)

http://www.telegraph.co.uk/culture/theatre/william-shakespeare/9758184/Has-Shakespeares-dark-lady-finally-been-revealed.html

http://www.peterbassano.com/shakespeare

https://www.matthieuchapman.com/scholarship

How “Hamilton” is like a Shakespearean History Play

| astronut1

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

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

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

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

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

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

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

Part I: War and Peace

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

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


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

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

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

The character Hamilton resembles most in peacetime is Cardinal Wolsey in Shakespeare’s Henry VIII.
I happen to know a lot about this character since I played him back in 2008. Wolsey controlled Henry VIII’s finances and was hated by most of Henry’s court because he was the son of a poor butcher in Essex, and became the king’s right-hand man. Throughout Shakespeare’s play, the lords of court are whispering about how Wolsey really controls the government; they even call him the ‘king cardinal’!

The real life Wolsey appears to have been hated just as much by Henry’s lords. Just look at the faces of the people of the court in this painting of the king and Wolsey by Laslett John Pott; the lords on the right are clearly jealous of Wolsey’s closeness to the king.

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

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

Whenever anything bad happens in the play or musical, the legislature blames Wolsey and Hamilton, not the King or the President. Also, in both plays each one falls from grace and is destroyed by his enemies when the king and president no longer supports their right-hand-men.

Wolsey and Hamilton both fall because of their position as the financial advisor, which makes them a target to their enemies. Both are accused of using their country’s finances to enhance their personal wealth, which leads him to scandal and disgrace.

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

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

CARDINAL WOLSEY

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

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

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

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

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


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

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

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

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

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

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


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

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

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


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


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

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

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

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

HOTSPUR

If I mistake not, thou art Harry Monmouth.

PRINCE HENRY

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

HOTSPUR

My name is Harry Percy.

PRINCE HENRY

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

HOTSPUR

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

PRINCE HENRY

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

HOTSPUR

I can no longer brook thy vanities.

They fight, HOTSPUR is wounded, and falls

HOTSPUR

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

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


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

PRINCE HENRY

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

III. The Times

Yorktown battlefield plaque

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

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

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

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

The women who tell the story


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

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

When Hamilton commits adultery and writes the Reynolds pamphlet though, Eliza is so hurt and scandalized that she rescinds her requests. In the song “Burn,” she destroys her love letters from before the affair, and all correspondence she had with Alexander when he revealed it. Lin Manuel Miranda explained that he wrote the song this way because no records during this period survived, so he invents the notion of Eliza destroying them as a dramatic device, to heighten her estrangement from her husband. Though this is a contrivance, it does re-enforce how, when part of the story is lost, it twists and destroys part of our impression of a person. Shakespeare knew this too; Henry Tudor went to great lengths to destroy the legacy of his predecessor Richard the Third, and literally repainted him as a deformed tyrant. Shakespeare couldn’t escape the narrative of Richard as a monster when he wrote his history play and sadly helped to perpetuate it to this day.


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

Bravo.

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Educational links related to Hamilton:

Books

download

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

download (2)

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

TV:

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

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

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

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

Resources on Shakespeare’s History Plays:

Books

  1. Shakespeare English Kings by Peter Saccio. Published Apr. 2000. Preview available: https://books.google.com/books?id=ATHBz3aaGn4C
  2. Shakespeare, Our Contemporary by Jan Kott. Available online at https://books.google.com/books/about/Shakespeare_Our_Contemporary.html?id=QIrdQfCMnfQC
  3. The Essential Shakespeare Handbook
  4. The Essential Shakespeare Handbook
  5. The Essential Shakespeare Handbook by

  6. Leslie Dunton-Downer and Alan Riding Published: 16 Jan 2013.

    77ace26dfdee4259bf48d6eed1a59d57

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

henries.HP_.CarouselScreens-480x270

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

Websites

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

| astronut1

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

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

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

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

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

img_5431

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

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

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

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

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

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

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

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

robert-alexander-hillingford-the-three-caskets--the-merchant-of-venice,-act-iii,-scene-ii
Robert Alexander-Hillingford: The Three Caskets, The Merchant Of Venice, Act III, Sceneii

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

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

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

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

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

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

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

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

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

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

img_5433
Maurycy Gottlieb: “Shylock and Jessica,” 1876

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

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

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

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

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

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

Music: Where is fancy bred?

Resources

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

Trump Family Attacks Shakespeare- Julius Caesar Protest

| astronut1

Donald Trump Jr tweeted two questions after the Julius Caesar play protest I posted over the weekend:

“When does art become political speech, and does it change things?”

I would like to try to answer these questions and by doing so, see if I can explain this fascinating moment in Shakespearean performance history.

Though this production raised new questions about art, and has raised passion from many people, it is not as radical as the protesters might think. Here is a list of historical points of reference to show you the many similarities between this protest and others throughout the history of Shakespearean performance:
1. This is not the first time a Shakespeare play has been seen as a spur to violence: In February of 1601, The Earl of Essex commissioned Shakespeare’s company to perform a scene of the deposing and killing of King Richard the Second one day before he attempted to overthrow queen Elizabeth, and make himself head of the English government.

Deposition by Augustine Phillips (one of Shakespeare’s actors), pleading that his company was innocent of treason.

Shakespeare’s company was exonerated, but Essex himself was tried convicted, and executed for high treason.

Similarly, when John Wilkes Booth assassinated President Lincoln in 1865, he had previously performed in Julius Caesar, and reportedly complained, (while on the run from the law), that “I am being hunted for what Brutus did so freely”

Source: New York Times Review. Now in both cases it is worth noting that Shakespeare’s play was not responsible for the death of a political figure, it was the people who interpreted his work that bear the responsibility themselves.

2. This play is also not the first time a director has portrayed Caesar as a contemporary president-

An Obama-like Caesar is murdered in The Acting Company’s 2012 production of “Caesar”

As many people have pointed out, in 2012 The Acting Company put on a production of Caesar with an Obama-esque version of the title character. No protests came from the left or right, though Caesar died in the exact same way- bloodily stabbed onstage. I would argue that these shows demonstrate that portraying Caesar as a contemporary figure does not itself incite violence. The audience knows that the figure of Caesar is simply meant as a link between Shakespeare and contemporary politics. This is how the director Oskar Eustis of the Shakespeare in the Park production defended himself against criticism of his staging: https://www.google.com/amp/s/mobile.nytimes.com/2017/06/13/theater/donald-trump-julius-caesar-oskar-eustis.amp.html

I frankly also find the disproportionate reaction to these two Caesars rather insulting. When Obama was in office, he got plenty of negative criticism that sometimes extended to threats of violence. If you click here you can see a threat by country music singer Ted Nugent who threatens to shoot the president with a machine gun. The double standard that threatening a president on the left has no consequences, but threatening a Republican president is worthy of scorn, derision, and its backers pulling their support, deeply hypocritical.

3. Thirdly, this is not the first time a Shakespeare play has depicted Trump negatively. If you look at the comments of my Trump villain post, a director mentioned his production of Henry the Sixth Part Two, in which an actor portrayed the character Jack Cade as Trump. Like Caesar, Cade also murdered in the course of the play. Clearly, portraying Donald Trump as a Shakespearean character is not what is unique here.

4. Though it is certainly true that the play depicts violence and the overthrow of a regime, it doesn’t endorse violence, and is not intended to glorify the murder of a president or even a demagogue like Caesar. As I will later discuss, this play can’t be an endorsement of violence, since everyone who commits violence is duly punished.

So why has this particular production, that uses a Caesar that resembles this president, gotten such a big reaction? Part of the issue admittedly is the timing. The protest specifically mentions the attempted murder of a GOP senator, which happened last week. It is only natural that, given this recent threat of violence, some would fear that this production might incite others to violence. Yet, as I said before, a thorough analysis of the play shows that it does not condone violence against a political leader.

Additionally, given today’s divisive political environment, it is understandable why an audience of right wing protesters might be concerned about this scene in which Caesar is murdered on stage. They may vey well think the play is wish fulfillment for those on the left, who might enjoy watching the bloody assassination of someone who is vey unpopular right now. However, let me emphatically point out that first of all, no one on the left has endorsed violence against Trump. If you look at the backlash to Kathy Griffin’s picture of herself holding a bloody makeshift Trump head, you can see that no one left or right has endorsed support for such a treasonous un-American act. Secondly, with regards to Caesar, the play’s message is actually nonviolent. When Brutus and Cassius kill Caesar, it starts a violent uprising that leads to anarchy, precisely the outcome the two Roman senators hoped to avoid. Seeing their designs fail would certainly discourage anyone attempting violence against a sitting authority figure.

Perhaps the best way I can prove this point is to remind everyone that Shakespeare himself lived in a monarchy. His theatre was strictly controlled by the government. If anyone in 1599 believed that Julius Caesar seemed to support the killing of queen Elizabeth, the play would have been burned and Shakespeare and his whole company would have been arrested and hanged.

https://youtu.be/Y7BtKlGGFKs

Also, people have criticized the murder of Caesar as “too realistic,” again believing that the gore is intended to glorify violence. In reality the violence of the murder is intended to incite revulsion and disgust. Look at Mark Antony’s reaction when he shows Caesar’s body to the crowd. https://youtu.be/tRceRJAz6_Q

I frankly think that the main reason why this production is getting bad press is because it’s a portrayal of President Trump, not Obama, not the historical Caesar, not Hitler, not even Trump before he was president, but the current president, that a group of people elected, and who believe that he supports their values.

I believe that the main reason Trump’s supporters are angry at this production is they feel an attack on him is an attack on them. The president’s supporters have shown repeatedly that they are willing to overlook almost anything to show their support of him. I imagine that they have no desire to see him as an autocrat and dictator, let alone entertain the notion that he might ever be taken down by his opponents.

The irony is that the real Caesar was a man of the people who died because his opponents thought he was an autocrat. The real Caesar helped create the modern calendar, gave money to the entire city, and according to Marc Antony, “When the poor hath cried, Caesar hath wept.” Trump is the exact opposite; he is a self-centered con artist who pretends to be a man of the people. As I predicted, after his inauguration, he has vowed to cut taxes on businesses like his own, put his family in positions of power, used diplomatic meetings and press conferences to sell his products, and obstructed justice when his FBI director tried to investigate him. With this in mind, it seems bizarre to claim that this production is designed to ridicule the right, since Trump is neither Julius Caesar, nor is he an embodiment of the political right. He only stands for his own interests. Therefore an attack on Trump is not an attack on conservative values.

So to go back to the beginning point, “When does art become political speech?” I would argue art always becomes political when it comments about our world, and this quality of art is essential for our society to function. We need a healthy dose of satire and critical thinking, and art can provide it to us. However, there is a difference between disagreeing with a play and openly shunning it onstage.

To address Mr. Trump’s second question, art doesn’t change things, people change things, so we need to temper our reactions, especially to art pieces like Julius Caesar. Remember, Caesar only died because people said he wanted to be king. Cinna the poet died because the mob said he should. This play warns us all to be careful and remain critical thinkers, or mob rule will result.

References

What depicting Julius Caesar as Donald Trump really means – CBS News

https://www.google.com/amp/s/www.theatlantic.com/amp/article/530037/

https://www.google.com/amp/s/mobile.nytimes.com/2017/06/12/theater/julius-caesar-shakespeare-donald-trump.amp.html

https://apple.news/AW6FmlDY3TEe4C97AG7UI4Q

Ted Nugent once said Obama should ‘suck on my machine gun.’ Now he wants to tone down ‘hateful rhetoric.’ – The Washington Post

View at Medium.com

https://apple.news/AE9eeH-L6TxeY1qJwq4Ur8w

Some thoughts on the Innauguation, or “Whom Would Shakespeare vote for?”

| astronut1

Well, it happened. A man whom I have described as a villain of Shakespearean proportions is now the president. You might have read in my Richard III post that I had hoped that the election would play out like the history play about a deformed tyrannical king with bad hair. What I forgot when I made that prediction was that the king in question, Richard III, does become king for a little while.

Here’s another way of putting it. I found it on the Facebook page of a friend of mine, Austin Tichnor of The Reduced Shakespeare Company:

https://www.youtube.com/watch?v=BChFmHTIH2A&sns=em

I don’t want to talk too much about devisive politics because I feel that the country and the world is hurting too much because of people who want to reduce the world into “my party,” “my country,” and turn everything and everyone else into “the other.”

What I want to talk about in this post, is what I hope for our new president, some words of wisdom from The Bard, and maybe some words of healing for those people who feel like “the other,” starting with some of the people I might have offended with my earlier posts.

Why Donald Trump is like Henry V, (we hope).

A lot of people are full of anxiety right now because nobody is really sure what kind of president Trump will be; will he follow through with his campaign promises? Will he take power from those in Washington and give it to the people, as he said in his inaugural address? How much will his past life as a real-estate tycoon influence his work as president? This uncertain climate reminds me very much of the end of Shakespeare’s Henry IV, Part II, where the old king dies leaving the kingdom to his son. Thus far, the prince, (known as Hal to his friends), has been wasting his time drinking in a bar in Eastcheap with his disreputable friend, Sir John Falstaff. Watch this scene where he and Falstaff mock the king and trade insults with each other:

But, on his deathbed the real king summons his son and knocks some sense into him, demanding that he take the job of running the country seriously. In Act IV, Scene v, the prince, (thinking his father is dead) tries on his father’s crown right before King Henry wakes up and curses his son with a long and terrible speech.   Below is King Henry’s deep rebuke of his son Hal, detailing his fears of what will happen  when the prince becomes king.

henry-iv-part-ii-act-iv-scene-v-prince-hal-tries-on-his-fathers-crown
Prince Hal tries on his father’s crown. Henry IV, Part II. Act IV, Scene v.

KING HENRY:

What! canst thou not forbear me half an hour?
Then get thee gone and dig my grave thyself,
And bid the merry bells ring to thine ear
That thou art crowned, not that I am dead.
Pluck down my officers, break my decrees;
For now a time is come to mock at form:
Harry the Fifth is crown’d: up, vanity!
Down, royal state! all you sage counsellors, hence!
And to the English court assemble now,
From every region, apes of idleness!
Now, neighbour confines, purge you of your scum:
Have you a ruffian that will swear, drink, dance,
Revel the night, rob, murder, and commit
The oldest sins the newest kind of ways?
Be happy, he will trouble you no more;
England shall double gild his treble guilt,
England shall give him office, honour, might;
For the fifth Harry from curb’d licence plucks
The muzzle of restraint, and the wild dog
Shall flesh his tooth on every innocent.
O my poor kingdom, sick with civil blows!
When that my care could not withhold thy riots,
What wilt thou do when riot is thy care?
O, thou wilt be a wilderness again,
Peopled with wolves, thy old inhabitants! King Henry IV, Part II, Act IV Scene v.

I have to wonder if Obama feels a little like King Henry, since Trump has promised to repeal Obamacare, reverse many of his executive orders, and put his own “Mad Dog” ruffians in charge of the country. I also find it ironic that King Henry is worried about foreign ruffians becoming part of English society, while Trump is worried about keeping them out of America.

The good news is that Prince Hal eventually became a wise and effective ruler. In the play that bears his name, King Henry V united his country, and achieved a famous victory over the French. Everyone in the play was shocked and amazed by how he transformed himself from a drunk into an effective king. Trump has that same opportunity; although his poll numbers are low right now, he can prove his commitment to the job and amaze the country.

This is what I’m sure all of America hopes Trump will do for the country, although I have trouble believing that it will actually happen. It seems more likely to me that he will exploit his position to help his businesses, just as he has done his entire career, and he already shows signs of doing now. It seems unlikely that he will achieve anything that will protect the dignity of Americans, or achieve prosperity for anyone but himself.

 I believe that the best we can hope for with Trump is a presidency that mirrors one of Shakespeare’s most mediocre kings. Richard II, who stole land away from his nobles because he believed being king gave him God’s permission to do whatever he wants.  Trump was practically quoting Richard, when people wondered about his many potential conflicts of interests between the presidency and his business empire. Moments like this make me and many others like me curse the way businessmen-turned-politicians can give away America’s dignity dollar by dollar, as John of Gaunt famously cursed in Richard II:

JOHN OF GAUNT

Methinks I am a prophet new inspired
And thus expiring do foretell of him:
His rash fierce blaze of riot cannot last,
For violent fires soon burn out themselves;
Small showers last long, but sudden storms are short;
He tires betimes that spurs too fast betimes;
With eager feeding food doth choke the feeder:
Light vanity, insatiate cormorant,
Consuming means, soon preys upon itself.
This royal throne of kings, this scepter’d isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings,
This land of such dear souls, this dear dear land,
Dear for her reputation through the world,
Is now leased out, I die pronouncing it,
Like to a tenement or pelting farm:
England, bound in with the triumphant sea
Whose rocky shore beats back the envious siege
Of watery Neptune, is now bound in with shame,
With inky blots and rotten parchment bonds:
That England, that was wont to conquer others,
Hath made a shameful conquest of itself.
Ah, would the scandal vanish with my life,
How happy then were my ensuing death! Richard II, Act II, Scene i.

If you’re like me and millions of other people around the country who don’t have a lot of faith in this new government, the question becomes, “What do we do now?”

I believe that once again, Shakespeare can offer words of wisdom and comfort in this moment of doubt and uncertainty. One quote I keep coming back to is from a play you’ve likely never heard of- The History Of Sir Thomas More. You won’t see this text in any collected edition of Shakespeare, because the play is actually unfinished. Only a tiny portion of it survives, and it was never published. It has the incredible distinction to be one of the only surviving play manuscripts from Shakespeare’s day, and if he did write it (which no one can definitively prove), it is the only play written in his own handwriting. Even if Shakespeare did not have a hand in writing it, it is one of the most poignant speeches I’ve ever read, and it has an incredible message for our nation and for the entire world.

more-meeting-with-daughter-640x353
Sir Thomas More (left in the gown), attempting to control a riot.

First, a little background. Sir Thomas More was a real man who worked as Chancellor of England under Henry VIII. He was famously executed for refusing to support the king’s divorce of Queen Katherine Of Aragon because of his devout Catholic beliefs, and for that reason he is still considered a man of great principle and honor. The scene which Shakespeare allegedly helped  write however, takes place earlier, when More was just a sheriff of London. 

In the speech below, More is trying to break up a riot where a mob of people are trying to murder a group of immigrants from the country, accusing them of stealing jobs from Englishmen, (sound familiar)? More pleads with them to show compassion and to be open to other points of view. Here is More’s speech, performed by Sir Ian McKellen.

Here’s the text of the speech:

Imagine that you see the wretched strangers,
Their babies at their backs and their poor luggage,
Plodding to the ports and coasts for transportation,
And that you sit as kings in your desires,
Authority quite silent by your brawl,
And you in ruff of your opinions clothed;
What had you got? I’ll tell you: you had taught
How insolence and strong hand should prevail,
How order should be quelled; and by this pattern
Not one of you should live an aged man,
For other ruffians, as their fancies wrought,
With self same hand, self reasons, and self right,
Would shark on you, and men like ravenous fishes
Would feed on one another….
Say now the king
Should so much come too short of your great trespass
As but to banish you, whether would you go?
What country, by the nature of your error,
Should give you harbour? go you to France or Flanders,
To any German province, to Spain or Portugal,
Nay, any where that not adheres to England,
Why, you must needs be strangers: would you be pleased
To find a nation of such barbarous temper,
That, breaking out in hideous violence,
Would not afford you an abode on earth,
Whet their detested knives against your throats,
Spurn you like dogs, and like as if that God
Owed not nor made not you, nor that the claimants
Were not all appropriate to your comforts,
But chartered unto them, what would you think
To be thus used? this is the strangers case;
And this your mountainish inhumanity. 

Sir Thomas More, Act II, Scene 4.

Finally, here’s a link to view the original manuscript, which is on display in the British Library in London.

The obvious condemnation of xenophobia and hatred of immigrants in More’s speech is obvious, so I won’t belabor it, but it’s worth noting that this problem has been going on for over 400 years. What I’d like to focus on is what More says at the end: when a nation erupts into violence against immigrants it cheapens itself and the world takes notice. Also, it is the job of those in authority to protect, not stay silent when such attacks take place. This is why we need to think carefully about Trump’s proposals regarding immigrants, Muslims , and other such “strangers.”

In a more general sense, I feel that in our divided nation, we all are feeling like strangers. Whether you’re a man or a woman, Democrat or Republican, Caucasian or Non-Caucasian, many thousands of people in this nation all seem to feel that someone is treating them like “strangers,” and our task, all of us, as Americans and human beings, is to “take the stranger’s case,” by looking at other people’s points of view with compassion and an open mind. That, by the way was made Shakespeare a great writer; his own ability to see into the minds of kings and peasants, women and warriors, ghosts and gods.

So here’s the big question: whom would Shakespeare vote for? I believe he would vote for whomever would try to learn from the lives of these strangers, and use his or her authority to protect their right to speak their minds. Deciding who that person is, is a task I leave to you.

The Battle Of Bosworth

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To begin wrapping up our Richard III month, I thought it might be appropriate to speak a little about the battle that ended the real Richard’s life, the Battle of Bosworth Field, August 22, 1485.

What does Shakespeare Say about the battle:

KING RICHARD III

Come, bustle, bustle; caparison my horse.

Call up Lord Stanley, bid him bring his power:
I will lead forth my soldiers to the plain,
And thus my battle shall be ordered:
My foreward shall be drawn out all in length,
Consisting equally of horse and foot;
Our archers shall be placed in the midst
John Duke of Norfolk, Thomas Earl of Surrey, Shall have the leading of this foot and horse. They thus directed, we will follow                    In the main battle, whose puissance on either side Shall be well winged with our chiefest horse. This, and Saint George to boot! 

What think’st thou, Norfolk?

NORFOLK

A good direction, warlike sovereign. 

Richard III, Act V, Scene iii.
This speech matches very well with what the chronicles mention about the battle. In those days the English archers were more deadly than their cavalry, so Richard probably wanted to pick off as many soldiers as possible with the archers, then mow the rest down with his charge toward Henry.

Contemporary Accounts, (courtesy of the Richard III Society). The most complete, and unbiased account I could find was Polydore Virgil, which is also likely the one from which Shakespeare got his information. You’ll notice that it mentions the long line of foot soldiers and horsemen, and the mention of the Duke of Norfolk commanding one of Richard’s forces.


‘The day after King Richard, well furnished in all things, drew his whole army out of their encampments, and arrayed his battle-line, extended at such a wonderful length, and composed of footmen and horsemen packed together in such a way that the mass of armed men struck terror in the hearts of the distant onlookers. In the front he placed the archers, like a most strong bulwark, appointing as their leader John, duke of Norfolk. To the rear of this long battle-line followed the king himself, with a select force of soldiers.‘Meanwhile … early in the morning [Henry Tudor] commanded his soldiery to set to arms, and at the same time sent to Thomas Stanley, who now approached the place of the fight, midway between the two armies, to come in with his forces, so that the men could be put in formation. He answered that Henry should set his own men in line, while he would be at hand with his army in proper array. Since this reply was given contrary to what was expected, and to what the opportunity of the time and greatness of the cause demanded, Henry became rather anxious and began to lose heart. Nevertheless without delay he arranged his men, from necessity, in this fashion. He drew up a simple battle-line on account of the fewness of his men. In front of the line he placed archers, putting the earl of Oxford in command; to defend it on the right wing he positioned Gilbert Talbot, and on the left wing in truth he placed John Savage. He himself, relying on the aid of Thomas Stanley, followed with one company of horsemen and a few foot-soldiers. For all in all the number of soldiers was scarcely 5,000, not counting the Stanleyites of whom about 3,000 were in the battle under the leadership of William Stanley. The king’s forces were at least twice as many.

‘Thus the battle-line on each side was arrayed. As soon as the two armies came within sight of each other, the soldiers donned their helms and prepared for the battle, waiting for the signal to attack with attentive ears. There was a marsh between them, which Henry deliberately left on his right, to serve his men as a defensive wall. In doing this he simultaneously put the sun behind him. The king, as soon as he saw the enemy advance past the marsh, ordered his men to charge. Suddenly raising a great shout they attacked first with arrows, and their opponents, in no wise holding back from the fight, returned the fire fiercely. When it came to close quarters, however, the dealing was done with swords.‘In the mean time the earl of Oxford, afraid that in the fighting his men would be surrounded by the multitude, gave out the order through the ranks that no soldier should go more than ten feet from the standards. 

Here’s a short infographic I made about the kinds of weapons people used during the Battle Of Bosworth.

When in response to the command all the men massed together and drew back a little from the fray, their opponents, suspecting a trick, took fright and broke off from the fighting for a while. In truth many, who wished the king damned rather than saved, were not reluctant to do so, and for that reason fought less stoutly. Then the earl of Oxford on the one part, with tightly grouped units, attacked the enemy afresh, and the others in the other part pressing together in wedge formation renewed the battle.

Royal Portrait of King Richard III, holding a broken sword.

While the battle thus raged between the front lines in both sectors, Richard learnt, first from spies, that Henry was some way off with a few armed men as his retinue, and then, as the latter drew nearer, recognised him more certainly from his standards. Inflamed with anger, he spurred his horse, and road against him from the other side, beyond the battle line. Henry saw Richard come upon him, and since all hope of safety lay in arms, he eagerly offered himself for this contest. In the first charge Richard killed several men; toppled Henry’s standard, along with the standard-bearer William Brandon; contended with John Cheney, a man of surpassing bravery, who stood in his way, and thrust him to the ground with great force; and made a path for himself through the press of steel.

This is a re-construction of the kind of armor Richard might have worn into battle. Notice that the helmet has the crown ontop. Photo reprinted from the Bosworth Field museum

‘Nevertheless Henry held out against the attack longer than his troops, who now almost despaired of victory, had thought likely. Then, behold, William Stanley came in support with 3,000 men. Indeed it was at this point that, with the rest of his men taking to their heels, Richard was slain fighting in the thickest of the press. Meanwhile the earl of Oxford, after a brief struggle, likewise quickly put to flight the remainder of the troops who fought in the front line, a great number of whom were killed in the rout. Yet many more, who supported Richard out of fear and not out of their own will, purposely held off from the battle, and departed unharmed, as men who desired not the safety but the destruction of the prince whom they detested. About 1,000 men were slain, including from the nobility John duke of Norfolk, Walter Lord Ferrers, Robert Brackenbury, Richard Radcliffe and several others. Two days after at Leicester, William Catesby, lawyer, with a few associates, was executed. Among those that took to their heels, Francis Lord Lovell, Humphrey Stafford, with Thomas his brother, and many companions, fled into the sanctuary of St. John which is near Colchester, a town on the Essex coast. There was a huge number of captives, for when Richard was killed, all men threw down their weapons, and freely submitted themselves to Henry’s obedience, which the majority would have done at the outset, if with Richard’s scouts rushing back and forth it had been possible. Amongst them the chief was Henry earl of Northumberland and Thomas earl of Surrey. The latter was put in prison, whree he remained for a long time, the former was received in favour as a friend at heart. Henry lost in the battle scarcely a hundred soldiers, amongst whom one notable was William Brandon, who bore Henry’s battle standard. The battle was fought on the 11th day before the kalends of September, in the year of man’s salvation 1486, and the struggle lasted more than two hours.

Plaque erected near a small well on Bosworth field, which Richard himself supposedly drank from.


‘The report is that Richard could have saved himself by flight. His companions, seeing from the very outset of the battle that the soldiers were wielding their arms feebly and sluggishly, and that some were secretly deserting, suspected treason, and urged him to flee. When his cause obviously began to falter, they brought him a swift horse. Yet he, who was not unaware that the people hated him, setting aside hope of all future success, allegedly replied, such was the great fierceness and force of his mind, that that very day he would make an end either of war or life. Knowing for certain that that day would either deliver him a pacified realm thenceforward or else take it away forever, he went into the fray wearing the royal crown, so that he might thereby make either a beginning or an end of his reign. Thus the miserable man suddenly had such an end as customarily befalls them that for justice, divine law and virtue substitue wilfulness, impiety and depravity. To be sure, these are far more forcible object-lessons than the voices of men to deter those persons who allow no time to pass free from some wickedness, cruelty, or mischief.


‘Immediately after gaining victory, Henry gave thanks to Almighty God with many prayers. Then filled with unbelievable happiness, he took himself to the nearest hill, where after he had congratulated his soldiers and ordered them to care for the wounded and bury the slain, he gave eternal thanks to his captains, promising that he would remember their good services. In the mean time the soldiers saluted him as king with a great shout, applauding him with most willing hearts. Seeing this, Thomas Stanley immediately placed Richard’s crown, found among the spoil, on his head, as though he had become king by command of the people, acclaimed in the ancestral manner; and that was the first omen of his felicity.’


-Polydore Virgil, c. 1500. Reprinted from the Richard III Society:

http://www.r3.org/richard-iii/the-battle-of-bosworth/bosworth-contemporary-tudor-accounts/ 
What most people can agree:

  • The battle took place on August 22nd, 1485 in a small field in Leicester.
  • Richard had about 70,000 troops, and Richmond had far fewer, aided mostly by French, Scot, and Welsh mercenaries.
  • Many of Richard’s people like the Earl Of Stanley betrayed him and turned sides.
  • Several sources record Richard wearing the crown in battle, which Henry Tudor immediately seized after he murdered Richard.
  • Richard fought bravely against Richmond, charging alone into combat and refusing to be rescued by his army. One account has Richard say: “This day I will die as king or win.” In another account, a lone Welshman killed the king’s horse, which probably was the origin of the line “A horse, a horse, my kingdom for a horse!”
  • Richard’s body was hacked to pieces, stripped naked, covered with a noose, and displayed at a poor local church for the citizens to mock at for two days. Even contemporary accounts allege that Henry treated his vanquished foe shamefully.
    Infographic of Richard’s post-battle wounds.

    Above- infographic of Richard’s battle wounds, courtesy of Lifescience.com

To conclude, even Shakespeare admits that Richard was a great commander, who lost the battle when his own soldiers betrayed him, and he was piteously murdered by the man who took over the crown from him. It’s a good thing that the real King Richard’s remains were discovered in 2012, and we now know more about the real man in addition to the myth.

RIP Richard.

Intro to Richard III

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Hi everyone,

Introducing our new Play of the Month: Shakespeare’s dark history play about murder and corruption, Richard III. First, a short presentation I made that introduces the characters and themes of the play.

 

Second, a quick, funny summary of the play from the Reduced Shakespeare Company


And finally, this incredible animated version of the play, which looks like a stained-glass window come to life!