Macbeth hopes that his one act of regicide will stop the flow of time - “if ‘twere done when ‘tis done, then ‘twere well it were done quickly.” But it can’t be done when it’s done; actions provoke reactions. He ends tragically because he cannot trammel up . . . . Continue Reading »
J.L. Simmons notes that Shakespeare consistently depicts Rome “as a pagan world in which the characters must perforce operate with no reference beyond the Earthly City.” As a result, “all attempts to rise above the restrictions of man and his imperfect society, are tragically . . . . Continue Reading »
Some discarded fragments from a paper that got too long. As early as Xenophon, ingratitude has seen as a cause of sedition, and during the middle ages the social and political context of feudalism strengthened this link. Xenophon wrote, “And they [the Persians] bring one another to trial also . . . . Continue Reading »
During the staging of his play before the king, Hamlet mutters the word “Wormwood.” Why? Irwin Matus suggests the following: “Rarely glossed in editions of the play, wormwood is accepted as meaning only something bitter, from the taste of the plant of that name. However, the plant . . . . Continue Reading »
Shakespeare’s two tetrologies on English history trace the shift from a sacrally based political order (Richard II) to a “Machiavellian” one (Richard III). That is the sequence of actual history. But the sequence of Shakespeare’s composition is different. Shakespeare wrote . . . . Continue Reading »
Poetry is a concentrated excess of language. Concentrated because it always means more than it says. Excessive because it always says more than it needs to say, because in many cases it need not be said at all. Concentration: “The Lord is my shepherd” unlatches a window on an . . . . Continue Reading »
Shakespeare’s Merchant of Venice is organized around caskets, bonds, and rings. Of these, the ring plot is the most baffling. After Portia (disguised as a lawyer) saves Antonio’s bacon, she demands that Bassanio hand over a ring as a way of showing his gratitude for her/his . . . . Continue Reading »
A history of gratitude remains to be written. That it would be a worthwhile project, providing an important angle of vision into important developments in Western civilization, can be illustrated by a contrast of Oedipus and King Lear. As Catherine Dunn explains in her 1946 dissertation on . . . . Continue Reading »
Shakespeare’s Antony is an Aeneas who refuses to act piously by leaving his Dido and moving on to found Rome. Hence, in pursuit of Cleopatra he leaves Empire to Octavius, and Aeneas is split between the two of them. But Antony is also an Aeneas who will never be separated from his Dido, who . . . . Continue Reading »
Once he points it out, you see it everywhere. In Lot’s Daughters , Robert Polhemus analyzes the Lot Complex, a mirror-image of the Oedipal Complex and nearly as universal in Western cultural imagination. He traces the interpretation of the story of Lot and his daughters from Genesis to the . . . . Continue Reading »
Subscribe
Latest Issue
Support First Things
