Malvolio is expressly described as a “Puritan” in Twelfth Night , and the description is apt given Malvolio’s stern hostility to frivolous entertainments. Shakespeare is offering a parody of Puritan opposition to the theater. The satire is sharp: Puritans were opposed to the cross . . . . Continue Reading »
Garber notes that Jaques’s “seven ages” speech numerically links the ages of man with “the number of the planets, and the virtues and vices, and the liberal arts.” Specifically the planets: “the schoolboy is mercurial; the lover, venereal; the soldier, martial; . . . . Continue Reading »
Pastoral was a huge fad in Elizabethan England. Marlowe’s brief song of the shepherd exemplifies the conventions of the genre: Come live with me and be my love, And we will all the pleasures prove That valleys, groves, hills, and fields, Woods or steepy mountain yields. And we will sit upon . . . . Continue Reading »
Margaret Garber points out that Arden, the name of the forest in As You Like It , is also the maiden name of Shakespeare’s mother, “so it is arguable that some nostalgia for childhood would double the geographical place with a psychological, or at least a remembered, place of ideal . . . . Continue Reading »
Ward quotes Rosalind’s line, “Say a day, without the ever,” and asks, “Did Shakespeare know he had used all five vowels, and with such symmetrical elegance that the first two, appearing three times each, neatly surround the remaining three in correct order within: . . . . Continue Reading »
AL Rowse counted some 25 references to the Cain and Abel story in Shakespeare’s plays. As You Like It has two - Duke Senior and Frederick, Oliver and Orlando. And there’s Hamlet Sr and Claudius, Edgar and Edmund, Prospero and his usurping brother. Not to mention all the brother-like . . . . Continue Reading »
In his introduction to As You Like It , John Powell Ward free associates on the Forest of Arden, to good effect: “Arden, garden, Garden of Eden (and Adam), ardent, Mary Arden, Arden in Warwickshire, the Ardennes in France - there are many leads into what is suggested. Despite the frenchified . . . . Continue Reading »
A colleague, Jayson Grieser, pointed me to Paul Cantor’s little book on Hamlet a few months ago, but I have only recently been able to look at it. It’s superb. Cantor argues that the play dramatizes a conflict between the classical heroism revived by the Renaissance and the Christian . . . . Continue Reading »
Shakespeare’s Claudio and Hero are usually played as palely conventional lovers, a foil to the sparkling sparring of Benedick and Beatrice. A recent British National Theatre production of Much Ado gives a more colorful Claudio and Hero. According to the TLS reviewer, Laurie Maguire, . . . . Continue Reading »
In an article on Taming of the Shrew , Carol Rutter points out that most shrew plays end with the shrew silenced. Shakespeare’s play moves in the opposite direction. Kate speaks a lot early, but her conversation lacks poetry and wit. Her final speech, though, is elegant and wise. In taming . . . . Continue Reading »
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