If you’re like me, you are probably saddened by the loss of the great American actor, Sidney Poitier. He was part of the original cast of the great American play A Raisin In the Sun, and earned countless accolades for his roles on stage and screen like In the Heat Of the Night, Porgey and Bess, Guess Who’s Coming To Dinner? and The Greatest Story Ever Told.
In this interview, Poitier’s friend Denzel Washington talks about how Poitier was a beacon, not just for black actors but a gold standard for all actors.
Washington also discusses his role in the film Macbeth, in which he plays the title role. As I mentioned in my Much Ado About Nothing review, Denzel is a consummate performer of Shakespeare and I for one can’t wait to see him as Macbeth. This is nor just because he was an absolute joy in Much Ado, but because Denzel is famous for playing characters that start out as good men become violent and evil in films like Training Day, American Gangster, and Flight. I have high hopes that Denzel’s Macbeth will rank among his greatest performances.
Macbeth is now playing at selected theaters and streaming online on Apple+. I plan to see it and hope that you will too.
I know Halloween is over, but since I am doing a research project on the Salem Witch Trials, I thought I would trace the history of Witch Hunts from Shakespeare’s day to Salem:
For THIS WEEK ONLY, I’m offering a $5 discount for my “Macbeth” course: Get $5 off my class “Macbeth: An Immersive Learning Experience” with coupon code HTHESUEQUG5 until Nov 5, 2021. Get started at https://outschool.com/classes/macbeth-an-immersive-learning-experience-xGKHeHgH and enter the coupon code at checkout.
Thanks for recommending this topic. I really enjoyed researching it. Disclaimer: Although I have a degree in Renaissance literature, I don’t have a degree in world religions. I don’t pretend to be an expert in Judaism and I apologize if I have gotten any cultural details wrong. As I have written before, this play has been used to spread harmful stereotypes and misinformation against Jews and Muslims, and I have no desire to do so. So don’t take this information as a comprehensive guide to the lives of Jews or indeed any 16th century Venetians. What I do intend to do is analyze how costumes from the play can evoke the people and cultures of that time.
Venice in the 16th century was a lot like modern day Manhattan- a multicultural epicenter of trade and commerce. https://youtu.be/FNZa9qazTvc
Many productions have costumes that emphasize the wealth and privilege of the Venetian world, except for Shylock
As this video shows, Jews in 16th century Venice were segregated into separate communities known as ghettos. Although the Jews found ways to survive and thrive in this situation, they faced constant discrimination and harassment.
In a modern productions or a period production the costume has to reflect a single vision for the show. Watch this interview with Globe Costume coordinator Laura Rushton: https://youtu.be/PaZmAuKE-Jg
2. Men’s Fashion- Italian fashion was all the rage in Shakespeare’s day. Gone were the stiff woolen tunics of the Middle ages, in with brightly colored silks and leathers. Young Men wore leather jackets called doublets and tight pants that showed off their legs. In the hot sun of Venice, light linnen undershirts were wore underneath the doublet. Wealthy men would wear fine silks and their jackets had slashed sleeves to show off the fine embroidered silk underneath.
Joseph Fiennes’ costume as Bassanio in The Merchant of Venice
Servants- Servants were given distinctive clothes known as liveries by their masters, which for a man would typically be a distinct colorful jacket. Women like Narissa, who were high-ranking ladies maids, would wear hand me down clothes from their mistresses. So this is why in most productions I have seen, Narissa and Portia wear similar clothing. This also helps show the trust and respect they have for each other.
A Note On Masks:
Act II, Scene 5, takes place during Carnival, one of the most celebrated holidays of Venice, and it’s usually celebrated by people wearing brightly colored masks. This great video below from history YouTuber Metetron shows just a little bit of background on Venetian masks:
3. Women’s Fashion- The women in the play Merchant Of Venice are treated line birds in a cage, especially Portia who literally lives on an island and has to marry the man who wins her at a carnival! With the restrictions of garments like partlets, bodies, or corsets, if you wore the fashions of the period, you would feel like your lungs were birds in a cage!
Although the dress was richer and more ornate (reflecting the relative peace during this period), the clothing was much more physically restrictive than medieval dresses: https://youtu.be/KCeqG47LI1Y
Costume for a production of King John. The fashion is reminiscent of the late 15th century. There is no corset, the dress helps shape the silhouette. Notice also the long sleeves.Jessica
Jessica- Though most productions have Shylock’s daughter dressing like the Christian women, there is a long history of distinctive clothing for Jewish women as well as men. Sadly, the only video I could find refers to 14th century clothes, I think this video is very informative and extremely thoughtful
4. Shylock
It’s worth noting that Shylock is not the central character in the story; the titular merchant is Antonio. Probably Shakespeare’s original audience saw him as a one dimensional villain for the audience to boo and hiss, then rejoice when he fails. He probably came onstage in 1596 wearing stereotypical red wig, a long gown, and a grotesquely oversized nose. The costume and performance gave the impression of someone foreign, alien, even demonic. This was one reason why some modern actors have balked at playing Shylock, as Patrick Stewart explains: https://youtu.be/7UOdMHW7J2Q
That said, Shakespeare clearly didn’t write him as one dimensional; he dominates the scenes he’s in and for centuries great actors have yearned to play Shylock over all the other characters. Slowly Shylock has become the focus of the play and the romantic comedy aspect has become less and less important in most modern productions. Like every great part, Shylock’s costume proclaims his social class, his background, and his relationship with other people.
In the play, Shylock only refers to his clothes once, referring to the gown he wears as “My Jewish gaberdine.” A Gaberdine is a long cloak like the one in the painting above, but as you can see, Jews were not the only people wearing them.
Because of rampant antisemitism and fear of the growing influence of the Jewish community in the 16th century, the Senate and local magistrates segregated and kept constant watch on the Jews of Venice, and one way they did that was by forcing Jewish people to wear distinctive clothes.
According to the Online Jewish Museum:
Jews were forced to wear various markings on their clothing to identify themselves as Jews. In 1394 they had to wear a yellow badge, it was changed to a yellow hat in 1496 and to a red hat in 1500.
Charles Keen as Shylock
As Shylock grew in popularity with actors and audiences, actors played him with more nuance. Contrast the foreign looking gown in the previous picture, with Charles Keen in the 19th century.
That is not to say that all productions played Shylock as a fully formed human: in 1934, the Nazi Party sponsored a German production of Merchant with horror actor Werner Krauss, (famous for films like The Cabinet of Dr. Caligari) asShylock. You’ll notice that the costume again emphasizes otherness, and exaggerates Jewish stereotypes.
Warner Krauss in the infamous 1934 production of Merchant sponsored by the Nazi party.
Patrick Stewart when he played Shylock in the 1970s, emphasized how Shylock is essentially an immigrant in his own country and played him with tattered clothes, a dirty bushy beard, and with an air of a stray dog. His clothes emphasise both his race’s oppression, while also telegraphing Shylock’s miserly attitude. Sir Patrick emphasized that his Shylock had lost so much in his life that he clings to Earthly wealth to feel in control of his life.
Patrick Stewart as Shylock David Suchet as Shylock David Suchet as Shylock, RSC.
By contrast, David Suchet. (famous for his portrayal of detective Hercule Poirot), chose a near polar opposite interpretation of Shylock at about the same time. The main difference between Suchet and Stewart could basically be summed up by this fact, Suchet is actually Jewish, Stewart is not.
Because Stewart was portraying a member of a community to which he didn’t belong, his portrayal downplayed Shylock’s Jewish identity since he didn’t want to make assumptions about what being Jewish is like. This is why Stewart gave his Shylock an over-refined accent and made sure his costume didn’t emphasize any stereotypical Jewish elements.
Since Suchet actually is Jewish, he did not shy away from portraying Shylock’s jewishness. His Shylock is proud of being Jewish but is well aware of how other people see him. He knows that he is othered by the other Venetians, and can use their fear and hatred of him as a weapon against them. Suchet also dressed his Shylock as well to do, but not gawdy to try and command respect from other people, but also carried around a walking stick to use as a weapon.
Ian McKellen Al Pacino in the 2009 movie of Merchant, wearing the red hat that real Jews were required to wear in the 1590s.
6. Case study: the 2009 movie
The Prince of Morrocco: In Act II, Scene 7, The Princes of Morrocco and Aaragon (A region of Spain), come to Portia’s home on the island of Belmont to try solve the riddle of the three caskets. In order to show the audience that these men are foreigners, their costumes have to be distinct from the Venetians. Take a look at this was accomplished in the 2004 movie:
The Prince of Morrocco (David Harewood) tries to guess the casket in the 2004 movie.
Mr. Harewood’s costume was inspired by the real Morroccon ambassador to Queen Elizabeth, Abd el-Ouahed ben Messaoud, who many scholars believe, might have also inspired Shakespeare to write Othello 6 years later.
Abd el-Ouahed ben MessaoudAl Pacino dons the distinctive red cap that all Venetian Jews were required to wear in the 1590s.Shylock after he converts to Christianity.
“She’s got…it, hasn’t she? The pestilence?” (O’Farrell, 105). As this quote, (and the subtitle) suggests, Maggie O’Farrell’s novel Hamnet: A Novel About the Plague, focuses on the terror surrounding the plague and its devastating consequences on families. I really respect this book for its historical authenticity, it’s clever prose, and O’Farrell’s command of style, but I should warn you that this novel is definitely not for breezy summer reading.
If you are looking for a novel about William Shakespeare, this isn’t it; the Bard only appears in flashbacks. The action mainly concerns his wife and children. While Will was living and working in London for most of the year, his family lived in Stratford Upon Avon, along with the playwright’s mother and father. The novel has follows the characters across two times: 1582, when Shakespeare and his wife first met, courted and married, and around 1595, during an outbreak of plague that would (Spoiler Alert) eventually claim the life of Shakespeare’s son, Hamnet.
Drawing of Shakespeare and his family. Hamlet and Judith are on his right, his other daughter Susanna and his wife Anne are on his left.
The novel has a very dour tone, but that is by design. The author herself writes that the premise of the book was to create a realistic (albeit fictional) account of the Shakespeare family as their only son fell sick and died.
Burial records for the town of Stratford Upon Avon for 1596. On August 11, it records the death of Hamnet Shakespeare, William’s only son
The premise is intriguing from a historical point of view. We have no diaries or correspondence that express how the Shakespeares dealt with this catastrophic loss, but many scholars believe that Shakespeare’s play Hamlet was a direct homage to his son, since in Elizabethan England the names Hamlet and Hamnet were used interchangeably. Still, it must have effected Will in other ways, and it had to have had an effect on Hamnet’s mother and sisters, and that was O’Farrell’s focus when adapting this story as a novel.
I would describe the novel’s tone as ‘haunting,’ which is appropriate since it’s based around how a child’s death effected his family. It reminds me of a passage Shakespeare himself wrote about the death of a young boy in his play King John:
Grief fills the room up of my absent child, Lies in his bed, walks up and down with me, Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form; Then, have I reason to be fond of grief? Fare you well: had you such a loss as I, I could give better comfort than you do. I will not keep this form upon my head, When there is such disorder in my wit. O Lord! my boy, my Arthur, my fair son! My life, my joy, my food, my all the world! My widow-comfort, and my sorrows' cure! King John Act III, Scene iv.
Like Constance in the quote above,, All the characters in Hamnet are haunted. [Hamnet is pursued by plague. Will Shakespeare and Anne Hathaway are haunted by their abusive parents. Will’s father John by the loss of his business and social standing, and of course, everyone is haunted by Hamnet’s death.
Artist’s restored version of a Elizabethan woman, believed to be Anne Hathaway.Lucentio and Bianca (The Taming of the Shrew, Oregon Shakespeare Festival, 2007)
Although the novel is mainly about Hamnet’s decline and death, my favorite parts of the book are flashbacks to the courtship and marriage of Will Shakespeare and Anne Hathaway. We know nothing about their real courtship, so O’Farrell borrows the plot from Shakespeare’s Taming Of the Shrew. Like Lucentio in Shrew, The 18 year old William Shakespeare is a Latin tutor, (having not yet become a writer), who woos a misunderstood woman whom the town calls a shrew. In the book, Anne Hathaway is known as Agnes and (like many unmarried women of the period), is looked on as odd and somewhat wild. Many single women of this period would likely face discrimination, and sometimes. In this video, you can see how cunning women like Anne had an uneasy relationship with the local community; some saw them as an asset to the community, but others believed their abilities came from The Devil. For more information on Anne’s life, click here.
The History Guy- Witch Trials in the 16th and 17th centuries.
Anne is further isolated because of her strange abilities- in the book she owns a falcon, not a ladylike hobby for 1580s England. She is also skilled with medicinal plants and knows how to read palms. In essence, though the town ostracizes Anne, Shakespeare admires her cleverness, and the book implies that Shakespeare would later use her skills in characters like Kate from Shrew, Friar Lawrence (the skilled potion master), and maybe even the witches from Macbeth.
The reusing of Shakespeare’s plots doesn’t stop there- Before Anne and Will get married they are handfasted- that is they make a mutual promise to get married in front of witnesses. Anne knows that her family will not consent to their marriage given Shakespeare’s low economic prospects, so she convinces Will to get her pregnant. This mirrors Claudio and Juliet in Shakespeare’s Measure For Measure, who are publicly shamed and arrested for fornication, even though their only crime was not waiting until they had given a dowry to the groom’s parents before consumating the marriage.
One final master stroke of O’Farrel’s historical fictive tapestry is how she engineers the father son conflict between Will Shakespeare and his father John. Shakespeare loves to explore the power dynamic between boys on the cusp of manhood, and their already powerful fathers. In the case of John Shakespeare, O’ Farrell depicts him as a man who has worked, schemed, scammed, and clawed his way to the highest wealth his birth can allow him, but is now falling from grace, who has nothing but contempt for his son who seems like a worthless dreamer, incapable of hard work. This most closely echoes Shakespeare’s Prince Hal and King Henry, a son who must prove his fitness to be king to his father and to his nation. Watch this exchange from “The Hollow Crown” where the sick and aging John of Gaunt (Patrick Stuart), chastises his weak, effeminate nephew, King Richard II:
Historical Notes:
Infant mortality in Elizabethan England:
Even before Hamnet is born, his mother and mother in law are painfully aware that he might die young. Sadly this is very historically accurate. Infant mortality rates were high in Elizabethan England. According to Ian Mortimer in his book The Time Traveler’s Guide To Elizabethan England, mothers had to keep their children at arms length and not get too attached. Being a mother in this time meant dealing with the constant knowledge that your child might not survive:
In Stratford in the 1560s, there are on average, sixty-three children baptized every year- and forty-three children buried.
Mortimer, 27.
John Shakespeare’s fall John Shakespeare was more than a glover- he held a position in the Stratford Guild Hall- basically a city council position. He was in charge of hiring constables, keeping the peace, overseeing the brewing of ale, and approving theatrical entertainments for civic events. Probably John got his son interested in theater by letting him tag along to the sort of private performances he would have watched to determine whether a play or troupe was good enough for, for instance, the visit of a peer. However, by the 1580s, John was losing his business and selling off his land assets. Scholars suspect that either John was a closet Catholic, forced to pay fines every time he failed to attend protestant church, or he was avoiding church and his alderman council meetings because he knew his creditors would be there. In any case, O Farell takes this historical tidbit and turns John Shakespeare into a bitter, broken, abusive man whom Shakespeare can’t wait to get away from. Shakespeare and his wife bond over their abusive parents and dream of succeeding financially so they can get away from their parent’s influence. Malt and wool The novel hints at John Shakespeare’s secret side business selling wool and malt, but never explicitly states that this practice was illegal. All wool was controlled by the Elizabethan government so it was illegal to sell it without special permission, and in 1570, John Shakespeare was caught selling wool illegally. He was also found guilty of money-lending, hoarding grain, and selling malt. This is why he tells his son to forget the wool he saw in the attic.
An Alderman in his official robe, the same kind John Shakespeare would have worn.
Historical Events Mentioned in Hamnet
1556 Anne Hathaway born. She’s referred to as Agnes in other court documents. Her father Richard owned a sheep farm in Hewland. At some point, her mother died and her father Richard married a woman named Joan, whom the novel portays as a bitter, controlling witch.
1564– Will Shakespeare born, third of 8 children. His father started out as a local glover, who quickly rose through the ranks of local government to become the mayor of the town. They owned a house in Henley street, which also doubled as the glove workshop. For more informaition on this fascinating building, visit the Shakespeare Birthplace trust: https://www.shakespeare.org.uk/visit/shakespeares-birthplace/
The Shakespeare’s house on Henley Street in Stratford Upon Avon, where Will, his wife, children, and parents lived until 1597.Recreation of the Shakespeare’s dinner table.
1581– Anne’s father Richard dies, bequeathing her “£6 13s 4d ‘atte the day of her maryage’.” Richard Hathaway owned a farmhouse in Shottery that still stands today! For more info, please visit the Shakespeare Birthplace Trust: https://www.shakespeare.org.uk/visit/shakespeares-birthplace/
Anne Hathaway’s Cottage and Gardens, Stratford-upon-Avon, UK. June 2014.Interior and exterior images of Ann Hathaways cottage, Shottery, Stratford upon Avon, Warwickshire.
1582– On November 27th, 1582, William married Anne Hathaway. He was 18, she was 26. It must have been a hasty and stressful situation. Shakespeare had no job, and based on the timeline, Anne was already pregnant with their daughter Susanna. For more information on marriage in the period, please visit my website on Elizabethan society:
The Shakespeares were granted a marriage licence by the Bishop of Worcester. They were married at Temple Grafton, a village approximately five miles (8 km) from Stratford.
Notes On Shakespeare’s Wedding Day:
We know that Anne’s family paid a dowry to Shakespeare’s family, which annoys Shakespeare in the book. He feels furious that his father uses the marriage to help his business interests.
According to Michael Wood, the priest left out the reading of the banns, and suspected the marriage was intentionally catholic. The book also makes it clear that this was a catholic ceremony, deep into the reign of the Protestant Queen Elizabeth I.
May 26, 1583– Susanna Shakespeare is baptized, which means she was probably born three days earlier.
February 2nd, 1585– Hamnet and Judith are baptized.The twins were named after two very close friends of William and Anne, the baker Hamnet Sadler and his wife, Judith. The Sadlers became the godparents of the twins and, in 1589, they in turn named their own son William.
1586– John Shakespeare is booted off the Stratford board of Aldermen for not attending meetings. Michael Wood suggests that John might have been avoiding the meetings because he was in debt, and the creditors knew where to find him. The novel seems to agree with this theory- the first time that we meet John Shakespeare, he is on the verge of beating his own grandson for sneaking up on him. If he was hiding from his creditors, he’d have a reason to be jumpy. 1592 – Shakespeare makes it in London? 1593 Outbreak of Bubonic Plague- 15,000 people died in London alone. O Farrell does a great job of portraying the visceral terror people must have felt during an outbreak, the same terrified panic that gripped our world in 2020. As I’ve written before, not only did the disease itself instill fear, but also the Draconian measures of quarantines, and the grotesque and ineffective methods for treating the plague. To see how you might be treated for plague in the 1590s, take my quiz: https://sites.google.com/d/1iLSGjbllxU-ZwyrUya_xHtjojSCg9pd6/p/1xzNm37sGbHsQJgsnx4irZHJVp9YscVVJ/edit?authuser=2
Because of the contagious nature of the disease, the theatres were closed, which forced Shakespeare to write poems instead of plays. Around this time he also probably wrote Romeo and Juliet, Richard III, and A Midsummer Night’s Dream. Shakespeare published Venus and Adonis
1596 Hamnet dies
C. 1599– William Shakespeare writes Hamlet, his longest play, widely regarded as the greatest play ever written in the English language.
I hope this post helped increase your understanding and enjoyment of the book, and Elizabethan History in general.
For a fascinating look at the life of an Elizabethan woman, check out this documentary about Shakespeare’s mother Mary Arden, created by scholar Michael Wood:
I played this character back in 2010 as a college production and not to brag, but I want award both for my performance and also my role as dramaturg for that particular production, so I did a lot of research in into the character and I tried to bring my own spin on the part. So unlike my other Crafting a Character posts, I am going approach explaining the character as a series of questions instead of talking about it https://youtu.be/-ocOfP16tdw
Who Is Friar Lawrence?
Concept art for Friar Lawrence, including a photo of Pete Postelwhite in the 1996 movie
A friar is a monk who belongs to a local monestary. Francis belongs to the Franciscan orders created by Saint Francis of Assisi. It was known for its naturalist philosophy, and St Francis himself is often depicted in paintings as being friends with birds and rabbits and things like that. He was also a strict vegetarian and believed the spirit of God is in all creatures.
Francis’ work was a reaction to the other orders of Catholic monks who, the Franciscans believed, had gotten corrupt and lustful. So the Franciscans in reaction to that corruption, tried to embrace poverty, plain living, and duty to the poor.
The Franciscans were also famous for not wearing shoes; Shakespeare calls one of them “[our] barefoot brother.” Again, the Franciscans value humility before God, and because of that, they shaved off part of their heads, (known as a tonsure hairstyle); it was way of stating that they were not concerned with their appearance, (so yes, it’s supposed to look stupid).
Why does Romeo hang around him? Friar Lawrence is supposed to be Romeo’s tutor, but really he is in the play because Shakespeare needed a convenient way to get Romeo married to Juliet without his parents finding out. He is also a neutral party who can be sympathetic to both Romeo and Juliet, without being tangled in the politics of the Capulet/ Montegue fued.
Romeo persuades Friar Lawrence to help him marry Juliet in Act II, Scene iii.
Friar Lawrence also acts as a character foil to Romeo. While Romeo is rash, passionate, and impulsive, Friar Lawrence is calm, slow, and contemplative, (appropriate qualities for a monk). During my production of Romeo and Juliet, the director beautifully explained their relationship by having Romeo trip and fall when he is excited about his impending marriage. I as Friar Laurence turned around and said calmly: “Wisely and slow, they stumble that run fast.”
My Interpretation Shakespeare makes references again and again to the character being old, yet the director and I made a conscious choice not to portray him as such. I portrayed him as just a few years older than Romeo, who is supposed to be a teenager. I played him as sort of about 25-26, the same age that I was when I played the part.
We did this because even though Friar Laurence acts as the voice of age and experience, he also seems very naive. He seriously believes that he can singlehandedly stop the feud between the Montegues and Capulets with one marriage. he never consults anybody else, and he leaves Friar John in charge of sending the all important letter to Romeo that Juliet is not dead, and never checks up with him on that.
Rather than being an old priest who is aged and experienced, I portrayed him as a young idealistic priest who doesn’t know better. In some ways, his love of God has blinded him as much as Romeo’s love for Juliet. The Friar thinks that being a peacemaker is something that God wants him to do. He thinks that bringing together souls is part of his heavenly mandate and he doesn’t think about the practical consequences of his religious fervour.
What is his role in the play?
Friar Laurence engineers the plots to get Romeo married to Juliet and hopefully settle the feud. When we first meet him, Romeo convinces Friar Lawrence to perform a secret wedding between Romeo and Juliet (Act II, Scene iii).
“Romeo shall thank thee daughter, for us both,” Romeo and Juliet, Act II, Scene v.
In Act II, Scene vi, Friar Lawrence secretly marries Romeo and Juliet, but first warns them to “Love moderately,” because he believes that an over abundance of passion can have disastrous consequences. He even compares Romeo and Juliet’s love to gunpowder.
In Act IV, Friar Lawrence has two scenes where he stops Romeo and then Juliet from killing themselves. First he stops Romeo, filled, with grief and remorse after murdering Tybalt, and being banished.
“What, rouse thee man, thy Juliet is alive!” “Juliet, I already know thy grief…”“Come you to make confession to this father?” Paris (Matt Bugay) meets Juliet (Alesia Lawson) outside of Friar Lawrence’s cell, Act IV, Scene 1.
In Act IV, Scene iii, Friar Lawrence concocts his plan to give Juliet a secret potion with which to fake her death. Juliet demands that he find a way to prevent her marriage to Paris or she will kill herself.
“The heavens do lour upon you for some ill.”In Act V, Scene ii, Friar Lawrence learns from Friar John that his message that Juliet is alive, never reached Romeo. “A greater power than we can prevent…” Friar Lawrence delivers the bad news that Romeo is dead, Act V, Scene iii.
Is Friar Lawrence To Blame For Romeo and Juliet’s Death?
A lot of scholars, teachers, and classrooms have pondered this question. In addition, even the Supreme Court of the United States put Friar Lawrence on trial in 2016 as part of a mock trial sponsored by the Shakespeare Theater in Washington DC. https://www.c-span.org/video/?419930-1/federal-judges-discuss-romeo-juliet
I am actually working on my own mock trial activity which I will share by the end of this month, but for right now I will summarize the major arguments:
The Defendant (Friar Lawrence) tried repeatedly to prevent Juliet and Romeo from committing suicide. In Act III, when Romeo tries to stab himself, Friar Lawrence stops him and convinces him to go to Mantua:
Romeo. O, tell me, friar, tell me, In what vile part of this anatomy1985 Doth my name lodge? tell me, that I may sack The hateful mansion. [Drawing his sword]
Friar Laurence. Hold thy desperate hand: Art thou a man? thy form cries out thou art:1990 Thy tears are womanish; thy wild acts denote The unreasonable fury of a beast: Thou hast amazed me: by my holy order,1995 I thought thy disposition better temper'd. Hast thou slain Tybalt? wilt thou slay thyself? And stay thy lady too that lives in thee, By doing damned hate upon thyself?
Likewise in Act IV, Friar Lawrence stops Juliet from killing herself and gives her the vial of sleeping potion.
“Be not so long to speak, I long to die!” Juliet (Claire Danes), begs Friar Lawrence to divise a plan to prevent her marriage to Paris in the 1996 movie.
Throughout the play, Friar Lawrence attempted to keep Romeo and Juliet alive and together, but was thwarted by what could legally be interpreted as and ‘Act of God’:
Passage from Act V, Scene ii.As this slide shows, the reason Friar John was unable to deliver the message to Romeo is that he was in quarantine. A literal “Plague on both your houses,” has indirectly killed Romeo and Juliet
What the prosecutor might say-
Friar Lawrence performed a marriage illegally, without consulting the parents of two minors. He also harbored a fugitive (Romeo), right after he was found guilty of murder. Finally, he tried to deceive Juliet’s parents by giving her a dangerous drug. On paper, though Friar Lawrence was certainly acting out of compassion for Romeo and Juliet, his actions were highly suspicious and could be considered criminal.
An English class can learn a lot putting Friar Lawrence on trial for his role in Romeo and Juliet’s deaths, as long as they are responsible in the way they portray teenage suicide.
Who Originally Played Friar Laurence?
I don’t have any substantial evidence to prove this but I do of have a theory: some of Shakespeare’s parts require a great amount of stage business; singing, dancing, swordfighting, improvising that kind of thing. Hamlet for example has to sing, dance, sword fight, and remember copious amounts of speeches and dialogue. Will Kempe had to dance and dance and sing. Robert Armin had to improvise and dance with the audience.
My theory is Shakespeare didn’t have time to learn extravagant stage business, since he was also writing the plays and helping with the company’s business dealings. With this in mind, he probably gave himself the parts that had long speeches. That’s why I think that Shakespeare himself might have played friar Laurence.
Plus Shakespeare had an edge playing the role over other actors. Since friars are supposed to shave their heads, and since we know that Shakespeare had thinning hair, he could have easily played the part himself.
So those of you who get cast as Friar Laurence and wish that you were cast is somebody young like Romeo or Tybalt, at least your consolation prize is that you might be playing the part that Shakespeare himself once played.
I hope you found this insightful and maybe helpful if you find yourself cast in Romeo and Juliet. I’ll be sure to post about the Friar Lawrence mock trial I’m currently working on. At the very least, I hope this information helps you see Friar Lawrence as more than an old guy who hangs around teenagers.
I’m working on several educational projects at the moment and I’m proud to share this one with you. It’s what I call a virtual tour of Shakespeare’s London. The teacher I’m working with said she wanted to teach the kids about the culture of Elizabethan London as he was writing Romeo and Juliet. Naturally with the pandemic a field trip was out of the question, (for multiple reasons), but I wanted to create a visually interesting tour of the places Shakespeare knew and worked and try to imagine his perspective and how that might have informed the characters and themes of Romeo and Juliet.
So I created this: a website written as if Shakespeare himself is taking you on a tour of his London in the year 1593, the year where, as far as we know, he had just completed writing Romeo and Juliet. 1593 was also the middle of another outbreak of Bubonic Plague. It has virtual tours of Shakespeare’s Globe Theater, Hampton Court Palace, Shakespeare’s Grammar School, and a quiz where you can pretend you’re in the Elizabethan doctor’s office.
For the class I’m helping, the students will fill out a worksheet as they navigate the website so they learn from the material at their own pace. If you’re interested, leave a comment and I’ll post the worksheet so you can use it in your classroom.
My hope is that this website can be a resource for anyone trying to connect with Romeo and Juliet and trying to learn from the culture of Elizabethan London. Shakespeare was a product of his time and his experiences must have had an influence on what he wrote. Even if they didn’t, they certainly influenced the people who saw the play and he knew that it would. So I hope it can help you understand a little bit more about the world of this famous play, and the context of the world that created it.
For Shakespeare’s Birthday, I thought I would discuss his most famous speech what is arguably his greatest play. Hamlet, Prince of Denmark was written in 1600, the pinnacle/ middle of Shakespeare’s career, after Julius Caesar but before Macbeth.
David Tennent as Hamlet. Royal Shakespeare Company, 2010.
To Be Or Not To Be has intrigued and mystified people for centuries. It is full of ambiguous imagery, haunting images, and solemn contemplative ideas. I’m going to try and break the speech down first like an intellectual argument, but I will also give you some of my interpretation of Hamlet’s thoughts and feelings. Shakespeare’s genius is creating a speech that gives plenty for the reader to interpret,, but it’s up to the reader to decide what’s happening in the speech.
Just a refresher of the plot:
1. The king has died and been seen as a ghost
2. He tells his son Hamlet that he was murdered by his brother Claudius, who killed him to become king and marry Hamlets mother, Gertrude.
Hamlet is trying to determine if the ghost is telling the truth and if so, how can Hamlet revenge the death of his father?
The speech occurs right in the middle of the play. Hamlet has been acting strange and the king is worried. He hides behind a tapestry right before Hamlet enters. He then delivers this famous and highly cryptic speech:
Ham. To be, or not to be, that is the Question: Whether 'tis Nobler in the minde to suffer The Slings and Arrowes of outragious Fortune, Or to take Armes against a Sea of troubles, And by opposing end them: to dye, to sleepe No more; and by a sleepe, to say we end The Heart-ake, and the thousand Naturall shockes That Flesh is heyre too? 'Tis a consummation Deuoutly to be wish'd. To dye to sleepe, To sleepe, perchance to Dreame; I, there's the rub, For in that sleepe of death, what dreames may come, When we haue shufflel'd off this mortall coile, Must giue vs pawse. There's the respect That makes Calamity of so long life: For who would beare the Whips and Scornes of time, The Oppressors wrong, the poore mans Contumely, The pangs of dispriz'd Loue, the Lawes delay, The insolence of Office, and the Spurnes That patient merit of the vnworthy takes, When he himselfe might his Quietus make With a bare Bodkin? Who would these Fardles beare To grunt and sweat vnder a weary life, But that the dread of something after death, The vndiscouered Countrey, from whose Borne No Traueller returnes, Puzels the will, And makes vs rather beare those illes we haue, Then flye to others that we know not of. Thus Conscience does make Cowards of vs all, And thus the Natiue hew of Resolution Is sicklied o're, with the pale cast of Thought, And enterprizes of great pith and moment, With this regard their Currants turne away, And loose the name of Action. Soft you now,
Now before I talk about the context of the speech, I want to deconstruct it as an intellectual argument. Hamlet is grappling with something huge, and he is weighing the consequences of his potential actions. Remember, Hamlet is a prince, but he is also a college student, so he turns his choice into an intellectual argument.
If you look at the speech as an argument, it hinges on two points- to be or not to be.
One is passive and one is active
Both actions are potentially lethal, as evidenced by the two metaphors Hamlet describes later.
Contrary to popular belief, I believe that this speech is not just about suicide. It’s about the choice between suicide and murder, (in this case killing Claudius).
Three Speeches- Macbeth, and Hamlet
Lets discuss the two central images at the start of this speech. One is active- fighting (“taking arms”), and one is passive (“to suffer…”). Both choices have a similar outcome- death. No one can fight the sea, and arrows are just as lethal.
Let’s look at the speech again, and turn it into a series of beats using the conjunctions “and, but, and or,” The speech has 6 beats. What he’s thinking about or feeling is open to interpretation, but the argument definitely changes at these points. First the thesis:
This beat sets up the two options (murder and suicide). Why do I think this? Because it’s similar to two other speeches: https://youtu.be/nq3hcs1yFKw
It’s worth noting that about the same time, Shakespeare wrote three great soliloquis; Hamlet’s “To Be Or Not To Be,” Macbeth’s “If It Were Done,” and Brutus’ “It must be by his death.” All three speeches have some notable commonalities:
All three speeches are in passive voice; the would be murderer wishes he didn’t have to kill someone, but wants the victim dead nonetheless.
Refuse to mention the name of the man who will die.
Refuse to say ‘murder’
Personify death in abstract terms.
When I noticed the commonalities between the speeches, I came to realize that all of them are about murder, not just suicide. I think Hamlet alone contemplates suicide as well as murder, possibly because unlike Brutus and Macbeth, Hamlet is not at all sure he’s doing the right thing.
Beat 1 The Nerve: Hamlet is working himself up for something; either murder or suicide. It’s ambiguous which one he starts with, and largely depends upon the actor’s interpretation.
Beat 2The Consequences Whether Hamlet kills the king or himself, either way he could die and when he does, his soul will have to answer for his actions. This is similar to Macbeth, who worries that his foul murder will be exposed and judged by “Heaven’s cherubim, horses upon the sightless couriers of the air.”
“PITY,” by William Blake, alongside the text of Macbeth’s soliloquy from Act I, Scene 7.
“There’s the rub”- there’s the catch.
“Coil” refers to a snake skin. The line characterizes death as shedding an earthly body, something that seems all too easy to do. It’s an uncomfortable image because it makes death look all too easy. It also calls to mind the story of Gilgamesh, who had a flower that would grant him immortality, but a snake stole it, which is why snakes cam shed their skin, seemingly growing young again forever.
This beat is where Hamlet seems smothered in his frustrations with life.. Rather than making a decision, he’s sidetracked with a laundry list of universal problems. His energy seems up, but it’s unclear why.
When I performed this portion of the speech, I realized that everything Hamlet refers to, Claudius has done: he has oppressed and wronged the kingdom, he has delayed the law, and he has hindered Hamlet’s love for Ophelia by letting Polonius deny Hamlet’s access to her. Perhaps the laundry list is designed to psych him up- listing all the reasons Claudius deserves to die, (without tipping him off).
Beat 4: The Downward Spiral
Once again Hamlet is thwarted by the concept of Death and divine judgment. He seems to imply that everyone is scared into compliance with the threat of death.
The Conclusion:
Hamlet’s conclusion is that he has no conclusion. He can’t kill himself because his conscience tells him that God is against it, and he cannot kill Claudius because of fear of death or damnation.
When he says “The native hue of resolution,” he means red, (as in blood), is curtailed, cut off by the very thought of Deaths pale scythe.
Interpretations:
Mel Gibson plays Hamlet as a sort of man in mourning. He is as close to the action movie hero as Hamlet gets with his large, imposing physique and brutal looking medieval sword:
Speaking of action heroes, the whole movie Last Action Hero has a reoccurring motif of nodding to Hamlet. The avenging hero archetype is the prototype for every action movie, every superhero, (and most kung fu), and it began with Shakespeare’s Hamlet. This is why it’s hilarious that Schwarzeneger portrays him in Last Action Hero- the movie is a loving parody of every single action star since the original- Hamlet.
Why Else might Hamlet be so cryptic?
Not all versions are about suicide or murder
Lawrence Olivier believed that Hamlet has an Oedipus complex, and therefore has an unconscious desire to murder his father and sleep with this mother, which is why he considered himself unworthy to avenge his father’s death. In Olivier’s To Be, you can almost see his Hamlet aroused by his own Oedipal fantasies and then recoiling with disgust right before he says the line: “Perchance to dream.”
Kenneth Branaugh’s Hamlet centers around court intrigue. In contrast with Oliver’s Gothic Elsinore, his is bright and baroque, but it’s full of two way mirrors. Half the film is either large shots with lots of people watching public performances or POV shots of people being watched.
Branaugh’s interpretation of “To Be,” focuses on the possibility that Hamlet knows that Claudius is watching him through the two way mirror- he frightens him, puzzles, him, but in the end, never gives Claudius a clue as to his true intentions.
Murder or suicide?
the speech is not only famous for its universality but its evocative imagery, clear (albeit cryptic) construction, and heightened circumstances.
Shakespeare is able to give us a complete character without giving everything away, which allows anyone to reinterpret the character their own way. That is why Shakespeare’s characters endure.
Since it’s Women’s History Month, and we just had the Ides of March last week, I thought it might be a good idea to analyze some of Shakespeare’s female characters in his Roman plays. I’ve talked a lot about the men in Julius Caesar, Titus, Andronicus, and Coriolanus, but haven’t examined the female characters much, so that’s what I’m going do discuss today.
Examining these characters is important because many are based on real Roman women, and Shakespeare’s sources reveal what Roman culture thought about women’s roles. This is particularly relevant to those of you reading this in the west because Roman culture influenced the Elizabethans and they set the foundation for our culture today. Feminist criticism has been much maligned, (and I’m certainly not an expert on feminism), but I do know this: it exists to question the values and conventions of our culture, so we can identify what works and what needs to change to build a more egalitarian society.
When it comes to Shakespeare female characters in general, he challenges the status quo, but also reinforces it: There’s always a character who challenges traditional gender roles like Katherine and Beatrice, but, (with the exception of Twelfth Night), for every one of these there’s also a Bianca or a Hero; characters who embody traditional famine roles and virtues of chastity, meekness, and yes, marriage and childbirth.
Nowhere is this more apparent than in Shakespeare’s Roman plays where there are always two female characters and they usually embody opposite views of women’s roles and a woman’s duty to her country and the men in their lives
1. Tamara from Titus Andronicus
Titus was Shakespeare’s first tragedy and his first Roman play. As we shall see, as Shakespeare went through his career we see a more nuanced view of women’s roles and a greater appreciation for women who disdain or challenge patriarchal society. The characters Lavinia and Tamara are perfect examples and counterexamples respectively of traditional feminine roles.
When we first meet her, Tamara is the queen of the Goths- an enemy tribe that Rome has just conquered. Everything about Tamara from her foreign upbringing, to her personality, is a counter-example of what Romans prize in women. She is portrayed as savage and bloodthirsty, motivated by revenge against Titus, (who in the first scene of the play, kills her eldest son. Tamara responds by masterminding the murder of all of Titus’ children. She is also sexually liberated and uses her sexuality to further her revenge. Tamara seduces the Emperor to get him on her side, and gets the Emperor to condemn Titus’ sons to death. Her adultery with Aaron is another way she uses her sexuality to get revenge; she brings ruin the monarchy by cuckolding the Emperor. Thus Tamara’s sexuality and bold personality is framed in the play as an existential threat to Rome itself.
Tamara’s chief and only virtue is her love for her children, as you can plainly see in this scene from the play. Her love for her son Alarbus is why she begs Titus for his life, and afterwards, when he sacrifices Alarbus, Tamara’s love for her son turns into deadly hate to Titus. It is her motherly devotion that makes Tamara simultaneously human, and inhuman. As the play progresses however, Tamara is referred to in increasingly inhuman and savage terms. She dresses up as the goddess Revenge to torment Titus, and after she dies, Lucius, the new Emperor (and Titus’ only surviving son), calls her a “ravenous tiger,” and calls for her body to be thrown to beasts, since “Her life was beast-like.” Tamara is unquestionably the villain- a femme-fatale and a threat to all the Roman characters, but especially Titus’ daughter Lavinia.
2. Lavinia from Titus Andronicus
For the entire play, Lavinia embodies traditional Roman female virtues, in that she is defined by the men in her life, and her chastity. The Romans actually invented the term castitas to refer to the female virtues of modesty and chastity, that is, only having sex with the man you are married to. Lavinia fits this mold perfectly. She’s a devoted daughter, wife, and sister. When we first meet her, she is a model of duty- greeting her father and asking for his blessing when he returns to Rome, and shedding tears for her brothers that were slain in the war:
In the cruelest and most barbaric scene in all of Shakespeare, Lavinia is raped by Tamara’s sons. Then, to keep her from identifying her attackers, they cut out her tongue and cut off her hands. The mutilation is grotesque, but for Titus, the Romans, and for the Elizabethans Shakespeare was writing for, the cruelest loss for Lavinia was the loss of her chastity. Now that she isn’t a virgin, Lavinia is marked with the opposite of chastity, incestum, or infamy. Even though the rape was not her fault, Lavinia is marked with shame. The Romans took unchastity extremely seriously; they used to punish it by throwing the adulteress to her death off the Tarpeian Rock. As you can see in this video, when a woman who was supposed to live chaste is even suspected of adultery, her very life is now in jeopardy:
When she loses her virginity, Lavinia becomes a silent creature of sadness. She is no longer a person, but a motivation for Titus’ revenge. Even if she hadn’t lost her tongue, she would still have little agency in the plot. This is why Titus kills her; to remove her incestum, and end her suffering. Lavinia embodies the the cruel truth that women had to face in ancient Rome- once they lose their virginity, they are already dead in the eyes of most of Roman society.
Lavinia’s death scene from Titus, 1999, directed by Julie Taymor.
3. Portia (Julius Caesar) If Shakespeare only wrote these two female characters, you might rightly assume that he was a vile sexist, who defines a women’s usefulness simply by her chastity or lack thereof, and who thinks the proper function of a woman is to be quiet, demure, chaste, and obedient. Thankfully Shakespeare created Portia in Julius Caesar, and she defies many of the stereotypes associated with women in Ancient Rome.
Portia marks a turning point in Shakespeare’s Roman female characters as we we go from more ‘traditional’ female characters, to ones who exemplify masculine virtues. Instead of women being subordinates to men’s affairs and keeping out of religion, politics, and the affairs of Roman society, Portia is a character who demands respect, and to share her husband’s dangers. Some ancient sources suggested possibly Portia might have been the one who inspired Brutus to kill Caesar, (more on that later), but in any case Portia is not a character who is subordinate to men, but who demands to be treated as a Roman citizen.
In one of the strangest passages of the play, Portia reveals that she has willingly injured herself by stabbing herself in the thigh. She does this as a way of establishing her tolerance for pain and her desire to be taken seriously by her husband:
Brutus. You are my true and honourable wife, As dear to me as are the ruddy drops That visit my sad heart Portia. If this were true, then should I know this secret. I grant I am a woman; but withal920 A woman that Lord Brutus took to wife: I grant I am a woman; but withal A woman well-reputed, Cato's daughter. Think you I am no stronger than my sex, Being so father'd and so husbanded?925 Tell me your counsels, I will not disclose 'em: I have made strong proof of my constancy, Giving myself a voluntary wound Here, in the thigh: can I bear that with patience. And not my husband's secrets?930 Brutus. O ye gods, Render me worthy of this noble wife!
Romans have always had a connection with blood. Blood is a connection to duty; we owe our lives and our blood to Rome; the Gladiator whose blood honours the dead, the sacrifice of the enemy soldiers in Titus Andronicus, and the blood of the Roman soldier shed in service of the country. Rome is almost a culture that is built on blood. Portia in this gesture makes it clear that she is willing to shed blood just as much as her husband, who of course, will shed blood, (just not his own). In a way, Portia’s wound makes her more heroic than Brutus, because she is willing to suffer for the good of Rome, while Brutus kills for the good of Rome.
Shakespeare’s Roman characters, (male and female), extol the questionable virtue of the noble death. Historically when a Roman conspiracy failed, the conspirators had a choice; they could be paraded back to Rome humiliated and disgraced, or they could kill themselves and show defiance in the face of their conquerors. In some cases suicide was actually encouraged by the conquerors, as it meant that the threat was neutralized. In response, the conquerors would go easy on the wife and children.
Portia kills herself after Brutus is on the run. There could be two equally important reasons why she does this. First, she might be attempting to gain favor with the triumvirate by killing herself, (since she is complicit in the assassination), in the hopes that Anthony and a and Octavian will take pity on a Brutus’ children. It’s also possible that Portia kills herself because with the tide of battle turning, she might be next. Portia might be showing the same sort of resolve their husband later shows when he commits suicide to appease Caesar’s ghost and to defy his enemies the honor of capturing him.
Since Portia has a lot of her husband’s same virtues, the inevitable question I come to is to wonder what if; what if Shakespeare’s Brutus had a listened to Portia more,what might he have done?
The Lictors Bring to Brutus the Bodies of His Sons, Jacques Louis David, 1789.
This painting by Jacques Louis David depicts Brutus’ ancestor Junius Brutus. We see that he is utterly removed and stoic him in the face of death. He has ordered the execution of his own sons for trying to bring back the monarchy. In the background, Brutus’s wife and daughters are mourning the death of their son and brothers. Men like Brutus, with their Republican ideals, take little stock in the consequence of their actions.
One can only wonder if Brutus had had confided in Portia, would she have condemned his actions, or could she have led him to a more constructive path, that might have a prevented Brutus’ death, and maybe even stopped the coming days of the Empire?
Valumnia (Coriolanus) In Shakespeare’s later Roman tragedyCoriolanus, we again see a young, chaste woman and an older mother figure, but unlike in Titus, the older Volumnia is much more heroic than the young maid Virgilia. Both show loyalty to Rome and devotion to Coriolanus, but Volumnia is not only a hero, she is in many ways a complete inversion of the Roman mother trope.
Volumnia is fanatically devoted to Rome and its army and like her son. She finds war more beautiful than symbols of peace, especially those associated with motherhood. In Act I, Scene iii, she says that the breasts of the Trojan Queen Hecuba were not as lovely as her son’s forehead when it spit blood in battle. She is an inversion of the traditional motherly character; because of her devotion to Rome and her son, she is more outspoken than other women and not afraid to talk back to anyone who questions Rome. In a way she is more of Coriolanus’ general or his father than a traditional mother. Her love of Rome is inextricably tied to her love of her son. She raises her son to be a warrior for the Senate and the people of Rome, exhorting him to either return in glory, or die. Observe this passage where she tells Coriolanus’ wife that she was never proudest than when she sent her son off to war:
Volumnia: I pray you, daughter, sing; or express yourself in a more comfortable sort: if my son were my husband, I should freelier rejoice in that absence wherein he won honour than in the embracements of his bed where he would show most love. When yet he was but tender-bodied and the only son of my womb, when youth with comeliness plucked all gaze his way, when for a day of kings' entreaties a mother should not sell him an hour from her beholding, I, considering how honour would become such a person. that it was no better than picture-like to hang by the wall, if renown made it not stir, was pleased to let him seek danger where he was like to find fame. To a cruel war I sent him; from whence he returned, his brows bound with oak. I tell thee, daughter, I sprang not more in joy at first hearing he was a man-child than now in first seeing he had proved himself a man.
Although Virgilia fits the bill of the modest, chaste, and loyal Roman housewife, Volumnia is framed as much more heroic. She even uses her mighty stoicism to save Rome! After Coriolanus rebels against Rome and joins the Volscis, Volumnia gets him to agree to make peace with Rome. She does this by kneeling before her own son; humiliating herself for the good of Rome. This act of self-humiliation changes Coriolanus’ mind. Observe how shocked Coriolanus (Ralph Fiennes) is when his mother (Vanessa Redgrave) kneels in this scene from the movie Coriolanus (directed by Ralph Fiennes in 2011).
4. Julia (Antony and Cleopatra) and with Cleopatra
With these final two examples, I’ve chosen two character who, (at face value), resemble Lavinia and Tamara. One is a dutiful, chaste Roman wife, related by blood to the Imperial family. Octavia was beloved throughout Rome for her chastity and kindness, and the citizens were outraged when her husband Marc Antony, abandoned her for Cleopatra, who was seen by many as a murderous, barbarous, lustful and an evil sorceress. However, Shakespeare paints a much more complex picture of Cleopatra, and though Octavia retains her chastity and is praised for her virtue, Cleopatra is unquestionably the star of the show, and ultimately commands more respect, awe, and even sympathy from the audience.
In Shakespeare’s play (and in real life), Cleopatra used her beauty as a propaganda tool. As I mentioned the Game of Thrones post, she deified herself in order to be taken seriously. In the 1st century AD, the system was very much rigged against female authority and so women had to resort to terrible measures in order to secure power for themselves.
If you look at the play again especially near the end, Cleopatra doesn’t come across as a femme fatale, she comes across as a woman who is trying to keep her Kingdom and her son Cesarian safe, and she will do anything to protect him. As the name suggests, Cesarean was Cleopatra’s love child of Julius Caesar, so the entire Roman world wanted him dead, because he was a threat to Octavian’s claim to the throne. To keep her son safe, Cleopatra seduces Marc Antony, hoping a powerful Roman alliance will keep her crown safe, and her son alive. Sadly for her, Octavian would stop at nothing to bring down all threats to his power, including Cesarian and Marc Antony. Arguably, the only reason he married Marc Antony to Octavia in the first place, was that he knew if Antony committed adultery, it would give Octavian the perfect excuse to raise an army and destroy Antony. Cleopatra got caught up in the political machinations of the most powerful and cunning man in the ancient world, and held him off as best she could.
Cleopatra struggles through the whole play to keep Antony, her people, and the situation in Rome under control. Antony never respects her as a queen and treats her like a jealous boyfriend, which is why they frequently get into fights.
However, after Antony’s suicide, the audience sees that Cleopatra also genuinely loved him back, and weeps for him as a wife, not an ally. Yet, quickly she regains her royal composure once Octavian threatens to take her back to Rome in chains. She decides to simultaneously deny Octavian the satisfaction, protect her son, and join her husband in the afterlife with her regal suicide:
Cleopatra: Give me my robe, put on my crown; I have Immortal longings in me: now no more The juice of Egypt's grape shall moist this lip: Yare, yare, good Iras; quick. Methinks I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: husband, I come: Now to that name my courage prove my title! I am fire and air; my other elements I give to baser life. So; have you done? Come then, and take the last warmth of my lips. Farewell, kind Charmian; Iras, long farewell. [Kisses them. IRAS falls and dies] Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover's pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell'st the world It is not worth leave-taking.
In conclusion, Shakespeare couldn’t go too far against the grain with challenging traditional patriarchal views of women, but in his Roman plays, we see characters who are simultaneously mothers and murderers, chaste and intelligent, citizens and devoted wives. I’m not trying to say that Shakespeare invented feminism, but I do believe his characters remind us that it is folly to try to box either gender into such stale old Roman categories as masculine or feminine. Perhaps we should all aspire to be like Cleopatra, whose infinite variety allowed her to succeed in a man’s world, while still being a wife, a mother, a lover, and a queen.
The Shakespearean Student 