The Unnatural Destruction of Man

Character types, King Lear, Tragic hero, ,

Throughout King Lear, we see a King undergo a deconstruction and degradation of himself. Initially owning a title, palace, family, and overall status, the man is stripped of all his possessions down to the very clothes on his back. This return back to his natural form is seen as a downfall, yet Shakespeare emphasizes the power of such a reducec state when Lear speaks to Gloucester : “No eyes in your head, nor no money in your purse? Your eyes are in a heavy case, your purse in a light; yet you see how this world goes” (4.6.148-50). Lear is commenting on Gloucester’s unforeseen (no pun intended) disfiguration but he’s also self-reflecting.

No physical harm has come to Lear as of yet, only the self-inflicted madness he experiences. However, he does go through a reverse evolution of sorts and becomes one with the natural world. Fighting off tempests and harsh forces of nature, the man survives and comes out psychologically more intact than when he came in. Some would disagree with me on that part but what I mean by more intact is that he experiences clarity of mind, even if for an instance.  Only after he had reduced himself to a piece of nature did his vision improve.

It says a lot on the destructive power of man– or woman in this case– that the dangerous natural world couldn’t succeed in destroying Lear – but they could. Cordelia compares Lear to the sea:  “As mad as the vex’d sea; singing aloud; / Crown’d with rank femiter and furrow-weeds” (4.4.2-3). The sea is one of the most destructive forces in the world, with its vast depths and murderous temper tantrums. This synonymous reference could just be Cordelia’s way of explaining Lear’s fluctuating madness, with waves of tyrant tides. However, I do believe that this is also a physical comparison to a natural element that Lear has embodied and survived. He has outlived the tempestuous currents that could drag a man to the depths, and come to the surface where he could see the outline of his way home to shore. But that land is never reached and it is not because of natural occurrences but rather man-made destruction.

This death by man notion is seen as stronger than nature. That nature, despite its unstable dangerous surroundings, is safer and contains clarity of mind more than any man-made “harbor.”

Insightful Rhyming Couplets

Hamlet, Rhyme and pattern, Verbal texture, ,

There are beautiful and captivating soliloquies within Hamlet that provide thought provoking imagery. Hamlet’s speeches alone stand out among the rest for obvious protagonist reasoning, but the most iconic part of them are the rhyming couplets he always ends with. Once you weed out the lunatic jargon, and assess the point of his rantings, he always brings it home with two rhyming lines that beautifully summarize his sentiments, as when he says, “I’ll have grounds/  More relative than this. The play’s the thing, / Wherein I’ll catch the conscience of the King” (2.2.615-17). With the same number of syllables in both lines and fitting the rhyming scheme of a couplet, these two lines provide a clarity to his mad rants.

A couplet is usually inserted by an author to provide entertaining and make the content of the speech more interesting. I believe it is inserted by Shakespeare to provide clarity to the audience as well as a brief relief from some of the difficult terminology and symbolism Hamlet uses. It provides relief for the audience as well as the main character himself. His inner turmoil,  which spills out into soliloquies that aren’t exactly lucid at times, always come to fruition with the insertion of a couplet.

Hamlet’s battle with his love for his mother and the betrayal he feels his father did not deserve with her new marriage is a tough one for him. At times, the audience does not know if he means to spare her as he sheds light on his thoughts with the couplet, “How in my words somever she be shent, / To give them seals never, my soul, consent!”(3.2.406-407). This indicates that Hamlet’s defeat of the King will absolve his mother of any sin he feels she has committed, but he still very much loves her and does not wish her harm, only absolution.

We see these lucid couplets again and again, bringing Hamlet’s rampant thoughts full circle and alleviating the reader of difficult and at times confusing verse style. One of the last times Hamlets speaks in couplet is “To hide the slain? O, from this time forth, My thoughts be bloody, or be nothing worth!”(4.4.65-66), as he decides to take action against the wrongdoings towards his late father. Inspired by the blind but brute force of soldiers with no personal vendetta, simply carrying out someone else’s orders, Hamlet gathers up the courage to go through with his plan. The couplets dissolve from here and the audience does not need a few lines to inspire excitement because the play’s ending is already full of action. In fact Hamlet’s last lines in the play before his eminent death are quite simple and emphasize the importance of telling someone’s story. He ends his life and rants with “- the rest is silence” in act 5, scene 2, indicating that he is all out of words and it is someone else’s turn to relay his message.

Good King? Mad Daughters

Character types, King Lear, Tragedy, Tragic hero

I put the question mark in the title because it’s very questionable that King Lear was a good king. I certainly would not brand him a wicked character, though he did make a major miscalculation in punishing Cordelia. This is especially true considering that she was the only one of his daughters who did not want him completely out of the way. This calls into judgment if King Lear was a good king meaning a king who is good at his job, opposed to a king who is morally good or not. If we’re discussing wickedness in this play, Goneril, Regan, and Edmund would definitely take precedence over Lear.

And there is no doubt that King Lear’s starting to lose it a bit in his old age. His already volatile sanity is further provoked by the wickedness of two of his daughters. But it might help to question the sanity of both Goneril and Regan. One would have to at least be a little bit mad to treat your aging father who has already given his land to you as terribly as both of them do. Their borderline and sociopathic behavior in plotting, planning, lying to others, lying to each other, and murderous actions do not seem sane in a play that is very vocal about questioning insanity. Cordelia, however, contrasts from her two sisters by being the most honest and self-aware character. She instead suffers from the mistake of not knowing when it is a good time to speak against her father, even if it is mistaken to mean something else by him. That mistake, as noble and honest as it is, proves to be the first instance known to the reader where Lear‘s sanity is called into question. It ends up being a slippery slope of madness that cannot be stopped before major tragic repercussions.

More Learning, More Problems

Death and dying, Hamlet, Psychological states, Tragedy, Tragic hero

As a very educated man, Hamlet serves to be a good example for some of the virtues of intelligence. Unfortunately for him, these virtues also end up playing a role in his downfall. His passive and pensive attentions to detail are as much parts of his character as his reluctance to act on his true will are. I have no doubts it is particularly easy for us to empathize with Hamlet for having suffered from his scholarly pursuits, especially during the end of the semester. I would imagine this also calls into question whether or not it is these traits that made Hamlet a scholar or his being a scholar that brought these traits in him, but that is an argument for another piece of writing.

What makes Hamlet such a memorable character are the endless facets of him we can find ourselves empathizing with. Everyone at one time or another has probably caught himself or herself pondering a decision that needs to be made, and finding every distraction and diversion to keep away from making that decision. And that is perfectly understandable considering that some actions are more final than others. In Hamlet’s case, not many more decisions are more final than to murder someone. What lies in Hamlet is a truly frightening existential question. This question gives light to his famous “To be, or not to be…” line that feels applicable to so many of Hamlet’s questions: to act, or not to act, and to kill, or not to kill seem to be high on that list. I believe the interpretation of that line that is most accepted is probably the very morbid one of being or not being alive. Perhaps a contemplation of suicide might be one of the harder reasons to empathize with Hamlet, but it does represent the fatalistic attitude Hamlet has for much of his play.

The Winter Angel

Character types, Imagery, The role of the imagination, The Winter's Tale

A Shakespearean story in which jealously and insecurity combines to create a unfortunate tragedy, there is no doubt that there is a light that shines within this piece that can go unnoticed if one does not pay close attention to detail. After King Leontes punishes his wife Hermione, eventually leading to her death, and sends his new-born infant out into the woods, one can only imagine the dread he must have felt after coming to his senses years later. The  2nd part of the play, which takes place nearly 16 years after Act 1, showcases a mischievous character named Autolycus who is viewed as a pickpocket con-man attempting to manipulate the characters within the play for his own benefit. Though unknown to himself he helps lead Perdita back to her biological father Leontes, which unravels numerous amount of heartfelt events towards the end of the play. The average audience member would view Autolycus as a comic relief based character that Shakespeare would utilize in order to lighten the mood of the story. Personally I see the character as a metaphoric angel type of being who slowly bring the conflict and tragedy of the story to a more dramatic, yet joyful conclusion. Shakespeare has a knack for puttting mischievous characters within his plays that eventually help in leading to a revelation or explaining the outcomes that are to follow (i.e. Puck in A Midsummer Night’s Dream). Though with Autolycus I sense an angelic presence in him as he leads to the revelation of Hermione (whether it be real or not) descending from her statue like state towards her husband and daughter. During this time of the holidays I would like to think of Autolycus as a fallen angel who has earned his way back into the heavenly gates, but my opinion is a little far fetched and is only going to be seen as a simple Winter’s Tale.

The Common Cold

Imagery, Measure for Measure, Verbal texture, ,

Sin and vice are genuinely synonymous with disease in Measure for Measure. An infectious sickness that runs rampant in the Duke’s city specifically, for which there is no known cure. Angelo believes that the only vaccine for such a tempting disease is imprisonment and ultimately death.

However viral this sin is, it seems to have one definite attribute – it’s common. Whether it be a Duke, a Gentleman, or even a women contemplating her place in a convent, temptation runs amidst them all. The Duke echoes this notion when he says, “None, but that there is so great a fever on goodness, that the dissolution of it must cure it…”(3.2.225-226). Somehow goodness has now become a tangible organ or vital component in human beings that can be infected. Sin has taken the form of a virus, causing symptoms such as fever that subsequently force good-natured people to act ill-natured.

Despite the destructive qualities of vice, its wrath seems unavoidable. Infecting people from all types of life, this common cold it would seem, does not discriminate. This might be the reason for the civil absolving of all crimes and action the Duke imposes at the end of the play. The commonality of sin saves its victims from blame. This salvation comes in the form of wit when the Duke says, “Craft against vice I must apply” (3.2.280). Knowledge takes the form of anti-bodies and heals the sick.

The Wit-less Woods

A Midsummer Night's Dream, Romantic comedy, The role of the imagination

There is a loss of logic and knowledge within the woods of A Midsummer Night’s Dream. Shakespeare draws a certain parallel relationship between the loving relationships that form in the forest and the stupidity that comes with it. Bottom emphasizes this notion when he says, “…if I had wit enough to get out of this wood, I have enough to serve mine own turn” to which Titania replies, “Out of this wood do not desire to go” (3.1.150-153). However, there is wisdom in this kind of blind love and by making a mockery of it, the author alludes to the notion that maybe when it comes to matters of the heart, there is no atypical wisdom behind it.

Guided by a magical realm, the lovers’ tangled emotional web is immune to religion, political ties, race, age, or even species discrimination. When love is left with no restrictive boundaries, is falling in love simpler? The answer to this is complicated, as are most Shakespearean themes. However, it seems that with no definitive limitations to the heart, humans are unable to grasp a logical explanation as to why they feel this way. The boundaries of the heart exist for a psychological satisfaction, it would seem. That without them, a person loses all wit and orientation, looking for a way out of their mental wilderness. The lovers are only able to guide themselves to their city homes by defining their relationships with socially acceptable definitions. Anything they could not describe, they left in the woods.

No more Half Measures

Character types, Class and status, Measure for Measure

In a play where lies, deceit, and disguises are at the core of the  plot, there remains only one man who continues to carry on his personal values regardless of the pressure to conform to the higher ups that lay down the law of the land; his name is Lucio, the true hero (maybe anti-hero) of the story. A man who decides to play by his own rules, regardless of the inevitable consequences that’ll be handed down to him continues to express his charismatic and witty personality towards every other character throughout the play; therefore forcing them to come to terms with their own personal demons and desires. The way he subliminally “pimps” out Isabella to Angelo so that she can free her brother Claudio from prison, or how he casually talks to the disguised friar(the Duke in disguise)  about how the Duke was a great leader not just because of his leniency but because how he also indulged in the pleasure of other women just like his fellow citizen. The term “sin” is blind to the of Lucio as he believes that it is not a sin to please ones desires, and that those who believe it to be so are clearly in denial of their own human wants and needs. Is Lucio a saint? Nope, but that is the reason he is the best and most relatable character within the play; he embraces his human instincts and does not sugar coat his opinion. The title of the play is  Measure for Measure but a lot of the characters within this story take half measures, as they decide to not fully embrace there own beliefs and desires. Angelo wants to enforce the law against premarital sex, but can’t resist Isabella. Isabella wants to save her dear brother Claudio, but refuses to commit a single sin to save his life, but will deceive Angelo in the end. The Duke wants to infiltrate the community as a common man, but still has issues letting go of his ego. It is only Lucio who goes all in from the beginning until the end, and even though he is disciplined by the king his character never wavers. Is he immature and volatile? Indeed, but within the character of Lucio there are no half measures, only full and that makes him the ultimate hero of the story.

Forgiveness is a long time coming

Character types, Death and dying, The role of the imagination, The Winter's Tale, Tragic hero, Tragicomedy

I want subscribe to the idea that Hermione’s return is somewhat supernatural. I really do like the concept of awakening from stone and returning to the world as if exiting a state of limbo. However, it seems to me that Hermione is no wife of Pygmalion, and where his statue comes into breath at his unfettered desire we are supposed to believe her breath comes at Leontes’ true remorse. I simply cannot buy it.

To quickly reiterate the evidence of Hermione’s cloistered existence, she is found to be dead by Paulina, potentially cared for by Paulina (see her daily entrances and exits from Hermione’s possible residence), Leontes is forbidden to wed again, despite being a very eligible widower, solely at the discretion of Paulina, and Hermione is ultimately “awoken” by the ministrations of Paulina and otherworldly music. The entire event screams of a long con. But to whose benefit really? The boy remains lost, Hermione has lost 16 years with her daughter, and for what? To satisfy the whims sexually frustrated, jealous, and suddenly maniacal king? I think I would require much longer than the given 16 years to recover from that slight, if I ever did. So then, is it simply a question of “enough is enough?” As a man who condemned two children to death, one of which is intentional and thwarted, the other, pure negligence and successful, Leontes is a most deplorable figure.

Are we moved by his tears of remorse? Certainly, are they enough to warrant the seclusion of 16 years and the company of all but a single woman? No, probably not. What becomes of The Winter’s Tale if it is stripped of its restorative ending? Perhaps without such a moving, emotional scene the importance of the cyclical seasons is undermined, or we as an audience simply could not tolerate it. Or perhaps it expresses the existence of the redeemed penitent, and Leontes, having borne the weight of his unfortunate actions all these years can be granted the return of joy. But if one considers the lonely 16 years, the loss of Autolycus to a passing bear, Mamillius, and even the loss of a beneficial political alliance, it would seem that 16 years may not even begin to compare to the crimes committed.

A Letter to Leontes

Character types, Psychological states, The Winter's Tale, Tragic hero, Tragicomedy

Dear Leontes,

You may think you are not one of the beloved characters to the audience of The Winter’s Tale. You may think every one in the audience of The Winter’s Tale has a negative attitude towards your character. You treat Hermione out of jealousy; you treat Polixenes unfriendly; you are to blame for the death of Mamillius, your young son whom you love as much as every father on this earth loves his child; you are also to blame for the death of dearest Hermione; and finally, under your command newborn Perdita is left on the seacoast of  Bohemia.

All these events take a toll in your life. You have suffered for 16 years. These 16 years, you have mourned over your virtuous queen’s death. Yes, you are wrong to think of her having a romantic relation with Polixenes. Georges Duby would support your suspicions, though. In his A Courtly Model, Duby explains that courtly love is secret and not seen in marriage life since medieval marriages were not based on love. Nonetheless, you have proved that maybe you didn’t wed Hermione out of love, but you have showed the audience that the magical thing that has kept you in mourning all those years is nothing but love, your passionate love.

You are very cruel to newborn Perdita, who you think isn’t your legitimate daughter. So, you order her to be abandoned, because you don’t want to be called Father by a bastard. Your decision to abandon Perdita is very common for a royal family in the medieval age where bloodline determines the heirs to thrones.

Human beings are not angels. Like angels, we don’t live in a divine realm where mistakes presumably don’t exist. We live in a human world where making mistakes is obvious. We make mistakes because our knowledge is limited. Therefore, making mistakes from not knowing should be justified.

In the beginning of the play, you are the King Leontes, Father Leontes, Friend Leontes and Husband  Leontes. But only one mistake, one unknowing mistake destroys the whole chain of relationship. You suspect Hermione and Polixenes, which makes you angry, which leads to a break in life-long friendships, which causes a motion to throw Hermione into the prison, which leads to the separation of Mamillius from his mother and to his death, which forces you to abandon Perdita. You cause the disruption 16 years ago in Sicilia with a mistake.

Now, after 16 years here you are again, King Leontes, facilitating the reunification of all broken relationships. In Sicilia, Perdita finds her father, Polixenes meets his old true friend, and fair Hermione is restored to life with a magic touch.

It all starts from Sicilia, at the court of Leontes, it all ends now in Siciclia, at the court of Leontes. This 16-years-later Leontes has learned from the time, from his mistakes.