This is one of Shakespeare’s “problem plays”, which is a euphemism for “not that good”. Accordingly, the most positive thing that comes to my mind is This is one of Shakespeare’s “problem plays”, which is a euphemism for “not that good”. Accordingly, the most positive thing that comes to my mind is that it is at least better than Troilus and Cressida, because it does have a proper story arc and resolution.
The story is… weird. My edition says that Helena’s quest is a common medieval fairy tale motif: a woman who must win her husband into her bed with her wit. I do not recall ever reading such a fairy tale, but what do I know? As the magpie he is, Shakespeare borrows the story almost point-by-point from “Giletta of Naborna”, a contemporary story by William Painter.
The story would not be such a problem, if Bertram was not such a jackass extraordinaire. Helena is universally praised for her beauty, brains and moral virtue: every man would be happy to have her, except the one she wants: the spoiled Bertram. He resents her because a.) he is forced to marry her, which is a good reason; and b.) because she is not high born, which is a terrible reason. So, instead of refusing to marry her, he does the absolute worst: they marry and he immediately abandons her, thus tying both into a bind they can’t escape. He does more assholish things, like courting the Florentine lady Diana, who ends up becoming Helena’s helper at the end.
The female characters are the brains in the play, and are all quite admirable - except for the fatal flaw of Helena, that she loves this idiot that does not deserve to sniff her pinky toenail. The two main males are detestable. Apart from Bertram, his follower, Parolles is a major pompous hypocrite and a coward, to whose cringe-worthy self-humiliation almost an entire act is devoted. On top of this, much of the last act depicts Bertram’s humiliation. I am wondering if Shakespeare just wrote this fast to appeal to his audience’s base desires: humiliation was a commonplace punishment at the time (as I just learned from The Time Traveler's Guide to Elizabethan England).
The language is also not up to par: much of the play is in prose, not verse, and much of the verse rhymeth too much. Most of the dialogue is exposition, with very little character development or witty repartee. The tone of most of the play is dark, the happy resolution happens literally on the last page. I would have liked it more if Bertram had learned to love Helena by getting to know and admire her. As it is, it is very unclear if this play ends well, leaving an unsatisfied feeling.
Overall, not a favorite - there is a reason why this play is not staged too often....more
Richard III is the most villanous villain Shakespeare ever wrote, and that’s saying something when your competition is Macbeth. He is murderous, ruthlRichard III is the most villanous villain Shakespeare ever wrote, and that’s saying something when your competition is Macbeth. He is murderous, ruthless, lying and changeable; but can sweet-talk when needed - in fact he woos not one but two brides whose husband/brother he has murdered; and changes the mind of those women who curse him with well-deserved hate and sharp wit. The women in this play are the ones that stand up for our conscience, with which Richard conveniently dispenses: “Conscience is but a word that cowards use”.
The hook of the play is Richard’s complete awareness of his villany - he cheekily opens the play with a soliloquoy announcing that “ I am determinèd to prove a villain”. Later he pats himself on the back for his most egregious machinations. On asking Anne to marry him at the funeral of her husband, who. he killed: “ Was ever woman in this humor wooed? Was ever woman in this humor won? I’ll have her, but I will not keep her long.” Indeed, being the wife of a villain is no healt insurance - poor Anne is dead by Act 4 - along with a host of other victims, including the two young princes, to the elder of whom the crown rightfully belongs.
There are lots of great scenes: the wooing of Anne, Queen Margaret’s curses on everyone, Queen Elizabeth masterful dodging of Richard’s entreaties; the parade of ghosts at the end that tell two very different stories to Richard and Richmond (the future Henry VII).
I was surprised to find that this play also has some famous quotes. It begins with “ Now is the winter of our discontent Made glorious summer by this son of York”, and ends with Richard dying, shouting “My kingdom for a horse!”
I had a problem reading this, not because it was not good, but it does require effort like all reading of Shakespeare, and I was not in the mood for effort reading. But whenever I was reading it, I was completely engaged - a true drama and a classic, devilishly well written villain....more
A great course I found on Hoopla and highly recommend to all who want to read more Shakespeare. It consists of 24 half an hour long lectures.
Marc ConnA great course I found on Hoopla and highly recommend to all who want to read more Shakespeare. It consists of 24 half an hour long lectures.
Marc Conner speaks clearly and engagingly about Shakespeare and his theater, and about his plays. In each lecture, he introduces a “tool” (or three) to help us understand dimensions of the play. For example, the type of play: a comedy is about young love that has an obstacle standing in the way, which is overcome, and the play ends in marriage(s). A tragedy would end with death. The best comedies snatch a happy ending from an almost tragedy. Another tool is to examine the first lines of what a character speaks. In case of history plays, follow the history (rather obvious). In tragedies, the tragic woman gives insight... etc, etc.
After an intro, Conner delves into twelve plays of the Bard, each illustrating a best example of the period of Shakespeare’s life and the type of play. These include Romeo and Juliet, The Midsummer Night’s Dream, Twelfth Night (his favorite), Macbeth, Hamlet, The Merchant of Venice, Henry V, Measure for Measure, and The Tempest (there are more). I have really enjoyed it, especially about the ones I read, but also ones I have not, or read too long ago.
Recommend for Shakespeare readers. Free on Hoopla....more
This is probably Shakespeare’s wittiest play; a whirlwind of clever repartee, flirting and style parodies, with the requisite high poetry for the uppeThis is probably Shakespeare’s wittiest play; a whirlwind of clever repartee, flirting and style parodies, with the requisite high poetry for the upper classes, and low-brow humor for the commons. The play has basically no plot, just a thin thread for clever exchanges. Some of the best lines are by the women, especially the sharp-tongued Rosaline; among the men, Biron (or in some editions, Barowne) steals the show. The comic relief by Armado and his servant boy, Moth, is also highly enjoyable.
Perhaps because it relies so much on wit, which needs comtemporary context, I found this rather hard to read. To grasp a joke, I often had to study the annotations, which revealed how creative Shakespeare was, piling meaning upon meaning, pun upon pun, on some very clever phases - however, many of those meanings were unfamiliar to me, thus only appreciating them after studying the lines, and not on first reading. In fact, I put this aside for a long time, not being in the mood to read for study. I decided this week to pair the book with the BBC adaptation available on Kanopy through my library: this allowed me to concentrate, hear the text acted out, and read it at the same time, as it had sibtitles and was very close to the original. I still had to stop often to look up annotations, but I could stick to my task much more. I am very glad I did - once I understood, I really appreciated the text. I have found the adaptation rather lame, though; the Globe Theater production is lightyears better - but has no subtitles, so I am still glad I went with the BBC version.
I feel much better having worked through this and came to enjoy it a lot....more
A complicated play on many levels. It has many themes: politics, love, loyalty and betrayal, power dynamics between men and women, death, honor, greatA complicated play on many levels. It has many themes: politics, love, loyalty and betrayal, power dynamics between men and women, death, honor, greatness. There are many characters and many scenes. I should see this play staged as I am not sure how theaters deal with the numerous scene changes.
The alternating between sober Ceasar in Rome, and extravagant Cleopatra in Egypt are meant to emphasize the opposite of temperaments and surroundings (as I learned from my research). Two worlds and two ways of living are clashing: and the prudent, restrained, calculating, military, male world wins over opulent, rich, soft, female world.
The structure of the play is unbalanced. Too much happens in Act 3, much of it being expository dialogue. Act 4 was my favorite as I found Antony’s final scenes to be the highlight of the play, however it was way too long. Act 5 could have been cut in half.
I enjoyed Antony’s character: he prevaricates, changes his mind, is stubborn, jealous, but magnificent in doing so. However Cleopatra does not get her due status: she is displayed wanton, easy to anger, capricious. Her final act is her most dramatic and magnificent; otherwise she appears manipulative and superficial. Her being a shrewd politician is not mentioned; rather, Romans blame her for leading Antony astray, when it is plain to see that Antony’s own faults led him to his doom.
We had a very interesting discussion with the group #shakespearereadalong on Litsy. We have compared it to Romeo in Juliet, as in both plays lovers commit suicide for each other. However, Antony and Cleopatra’s main motive for dying is to preserve their honor. They are at the end of very eventful lives, while Romeo and Juliet have not started living yet. Interesting to observe that R&J is an early play of Shakespeare’s, whereas A&J is a late one, and his take on doomed lovers reflect his stage in life.
Overall I appreciated a lot of the themes in the play, and the complexity of the characters, so I am giving it 4 stars, but it really is more like a 3.5 due to the unevenness of pace....more
My daughter and I have been reading these out loud to each other. They are so much fun! Doescher does a great job translating the movie script into iaMy daughter and I have been reading these out loud to each other. They are so much fun! Doescher does a great job translating the movie script into iambic pentameter, and putting Shakesperean styling, word usage and dramatic devices into the play. There are monologues, explaining of feelings, exposition, and asides. The best asides are by R2D2 - he talks in beeps and squeaks to everyone but the audience. Luke has a Hamlet-like monologue on the meaning of lifethe Force.
While everyone else speaks iambic, Yoda talks in haikus:
“Nay, nay! Try though not. But do though or do though not, For there is no try.”
The stage directions are fun, too: “Exit Luke Skywalker, pursued by a Wampa.”
The Shakespearean insult version of scruffy nerf-herder is sheer genius: “Thou man of scruffy looks, thou who heard’st nerfs, Thou fool-born wimpled roughhewn waste of flesh!”
Some scenes are inserted to explain things that cannot be shown on stage. My favorite is when two guards discuss building codes in the cloud city:
”For didst though know the Empire doth require That any major structure shall include At least one chasm that’s deep and long and dark?”
And the famous line:
“I am thy father.”
Which, of course, is best read aloud in the deepest, slowest James Earl Jones voice imitation. (Not possible, but lots of fun to try.)
We are enjoying this a great deal. If you have a Star Wars loving child/partner/friend/relative who is willing to read with you, I highly recommend reading it out loud. We especially like to chuckle every time “prithee” and “forsooth” comes up....more
Julius Ceasar has vaulted to become my favorite Shakespeare play. Great dramatic flow; even though I knew what was coming, I still felt the tension. AJulius Ceasar has vaulted to become my favorite Shakespeare play. Great dramatic flow; even though I knew what was coming, I still felt the tension. Again, I am faced with the Bard’s ability to grasp our humanity in a timeless fashion. The highlights of the play for me were Mark Anthony’s speech over Ceasar’s body: the clever timing, denials and use of rhetoric devices make this a much studied, brilliant piece. The other is the fight of Brutus and Cassius: ostensibly about a servant, it comes out eventually that “thou lovest me no more”. And that Brutus is in a bad mood over something else. Isn’t that what all fights are about? Genius....more
The Comedy of Errors is what it says in the title: a farce completely based on mistaken identities. It is a sitcoOh Dromio, wherefore art thou Dromio?
The Comedy of Errors is what it says in the title: a farce completely based on mistaken identities. It is a sitcom, with two sets of twins separated at birth, with the same names, one living in Ephesus, another set coming in as strangers, and comedy ensues as the main characters and their family and acquaintances get deeper and deeper into misunderstandings, rage, beatings, arrest, marital trouble, madness, exorcism...
This is Shakespeare’s likely first play, and it shows. While I am in awe of the mastery of poetry - everything rhymes which is not always the case in his plays - there are clear issues with the plot. It requires way too much suspension of disbelief that no one, not even E. Antipholus’ wife, can tell the newcomer apart from her husband. Or that S. Antipholus and S. Dromio, on a voyage to discover their father and their lost siblings, never do come to the conclusion that the reason everyone seems to know them is because their brothers live there. Nor gives he any reason why twins separated at birth should be wearing the same clothes on the same day decades later...
While there is plenty of fun in situational comedy, I was a bit missing the clever puns that Shakespeare employs in his later works. There is also zero character development or any deeper meaning. It is a first try, probably in order to sell a play that brings in the laughs, and it does that well. But he has better ones....more
Truly is Shakespeare’s best work. A tragedy of human failures, greed and evil, where good does not triumph - but neither does evil. Lear’s madness is Truly is Shakespeare’s best work. A tragedy of human failures, greed and evil, where good does not triumph - but neither does evil. Lear’s madness is depicted brilliantly, but my biggest takeaway was Shakespeare’s ability to depict the sliding of Goneril and Regan more and more into evil. They start with lies and pettiness, move onto to self-justification, greed and callousness, and finally graduate to cruelty and murder. Their conversations were chilling - I could imagine self-absorbed suburban housewives having similar convos: “He really deserved it, you know, with those unruly knights. I was being so reasonable but he wouldn’t listen. You know, he is getting old, and difficult.” “You are so right. Let him go roll in the mud if he wants. You can’t talk to old people.” (paraphrasing here of course)
There is much said about this play that I don’t want to repeat. My takeaway is that this is the finest example of Shakespeare’s ability to create timeless characters: his close observation of human nature is his genius. ...more
This was my second read of the Tempest, this time with the Litsy group #shakespearereadalong. When I went to the library, they only had the graphic noThis was my second read of the Tempest, this time with the Litsy group #shakespearereadalong. When I went to the library, they only had the graphic novel edition - which I did not even know existed! Later I picked up the Arden Shakespeare edition, too, for the notes - which I only needed for the scene with the three goddesses in act IV, as it was full of mythological references. Otherwise I could follow along nicely.
The art in this edition is so-so. The scenery and the composition of the art is good, it complements the story well, and adds cool special effects. This is especially helpful for Prospero’s numerous conjurations and Ariel’s illusions. The character art, however, is mediocre at best. They are not well drawn and are way too literal. I especially did not like how Caliban was depicted as an ugly monkey-like monster. This was faithful to the text, but the character is more nuanced - not just a monster but also a victim, dehumanized largely by an exaggarated, racist description. It would have served the text better to depict him more human.
I did enjoy the text better the second time, however. My main problem with the play is that the story is too convoluted. This certainly improves with a second read: I was able to follow better, and paid attention to the language and characters more. The language is beautiful. As I mentioned before, Caliban is quite complex. Prospero can be read as an alter-ego of Shakespeare - he acts as a stage director in the play, conjuring things, controlling everyone, doing spectacular illusions, and controlling the story in the direction he wants. At the end, after he achieves all his goals, he is able to forgive and let go - rest on his laurels - which is presumably what the Bard wanted to do at the end of his illustrious career.
I think I need to upgrade my rating of The Tempest to four stars - but I am keeping the graphic novel version at 3, because of the art, especially the art for Caliban....more
This is a fun romp where two wives give a lecherous Falstaff his due. Kinda low brow humor, but it works. Most of the play is in prose, the verse is lThis is a fun romp where two wives give a lecherous Falstaff his due. Kinda low brow humor, but it works. Most of the play is in prose, the verse is limited to love scenes and the fairy play at the end. Not the most sophisticated of the Bard’s plays, but it is straightforward and enjoyable....more
There is a reason why this play is not staged often: it is a hot mess.
Plot summary: Troilus loves Cressida. Ulysses makes long, sanctimonious speecheThere is a reason why this play is not staged often: it is a hot mess.
Plot summary: Troilus loves Cressida. Ulysses makes long, sanctimonious speeches. Achilles and Ajax are ridiculed. Ulysses makes long, sanctimonious speeches. Cressida is taken to the Greeks. Ulysses makes long, sanctimonius speeches. Cressida betrays Troilus. Then, in the second half of the fifth act, the Iliad sort of happens in passing.
The saving grace of the play are a few witty lines by Cressida in Act 1 and 3, and a couple romantic scenes. Troilus and Cressida barely show up - and their story is never developed. There are too many story lines, none tied up well. The beginning is painfully rambling, full of long speeches about nothing relevant. The end is a rushed melee. Shakespeare spends four and a half acts idling about, then tries to cram half the Iliad into half an act. It is a badly constructed play that goes nowhere....more
My first historical Shakespeare, so I had to look up the War of the Roses. Henry IV came to the throne via a rebellion, and now he is dealing with a rMy first historical Shakespeare, so I had to look up the War of the Roses. Henry IV came to the throne via a rebellion, and now he is dealing with a rebellion himself - a rebellion of his old friends. This setup gives us an interesting dramatic irony, which Shakespeare fully exploits. The other part of the story is the Prince’s debauchery and thieving with his low friends, among whom Falstaff gives us one of the bard’s best comic characters. Much witty wordplay ensues. We also witness the Prince’s reformation and redemption via battle - how else - as the play ends with much fighting and dying and heroics... and rather just stops without an end, awaiting the second part to finish the story.
My favorite parts were the tavern, and the King’s doubts about the legitmacy of his own title at the beginning.
I have struggled with it quite a bit - more than with previous plays - but overall I liked it, as it has many dimensions of drama and comedy....more
This is one of Shakespeare’s most light-hearted comedies, full of mistaken identities, misdirected love, cross-dressing, drunken revelry and witty worThis is one of Shakespeare’s most light-hearted comedies, full of mistaken identities, misdirected love, cross-dressing, drunken revelry and witty word-play. Oh, and poor Malvolio. ...more
The Winter’s Tale is part tragedy, part comedy; a combination that for me did not work so well. Leontes displays the worst kind of tyranny of a jealouThe Winter’s Tale is part tragedy, part comedy; a combination that for me did not work so well. Leontes displays the worst kind of tyranny of a jealous man; destroying his wife and children by his rage; losing his best friend and trusted servant in the process. The destructive power of jealousy is well described - he cannot hear good counsel, and rails that those who give it are trying to cover up the crime he imagines. The severe and solemn tones of the first three acts are all tragedy, ending with tragic deaths and departures.
Then we swerve into comedy in the last two acts - sheperd’s festival, bawdy jokes, a thief’s dirty tricks, and a love story dominate the second half. Darker tones do surface, however, in an angry king, echoing Leontes’ tyranny. But is it all well if it ends well? And, perhaps most ambigously of all Shakespeare’s plays I have read, does it really end well? What did really happen?
My Arden Shakespeare edition advises me that the Reneissance’s big questions are pondered here - Time and Nature and the like. Perhaps. I am still reading the non-play parts of the text, so I might learn more. However, without the talking heads interpreting the text for me, I find this play a bit too disjointed - the two tones did not merge for me well, and I could not forgive Leontes for his tyranny, which went unpunished, as it was his right to abuse his wife in such terrible way. It us a reminder how utterly women were subjected to men, and that their word did not count....more
This was surprisingly delightful. I knew about the pound of flesh, and expected a darker story, but this is lighthearted, with a serious dose of you-gThis was surprisingly delightful. I knew about the pound of flesh, and expected a darker story, but this is lighthearted, with a serious dose of you-go-girl moments. The dark side of the play is the vicious anti-semitism of the day, but Shakespeare makes a point that Shylock is a human being, and he is not evil by nature - he is evil because of the constant abuse heaped upon him.
I have a bone to pick with Jessica, so cruelly robbing and abandoning her father and her faith, and this being viewed as a positive... just becase he was a Jew.
None of the men come off in positive light. Bassanio is a spendthrift who loses his money and is not ashamed of getting his best friend into a morbid contract due to him. Antonio appears dumb, not charging interest on his loans, and taking Shylock’s ridiculous deal. Everyone lives and breathes money.
The girls on the other hand have their pretty heads screwed on right, save the day, and teach a lesson to their oath-breaking husbands....more
I greatly enjoyed the staging of The Tempest within a prison, the in-depth discussion and analysis from thMargaret Atwood wrote a Tempest fanfiction.
I greatly enjoyed the staging of The Tempest within a prison, the in-depth discussion and analysis from the prisoner's point of view, the home-made sets, how Felix wins the rough "actors" over to appreciate this play. The swearing in Sheakespearian was brilliant, like the writing itself, as always.
I did not like, however, the forcing of The Tempest's story onto the overall story. I found The Tempest's plot convoluted to begin with, and when Atwood is trying to fit every single character into the story, re-enacting the same scenes, in the same order, it just did not feel right. I especially hated that Tony and Sebert came to the same discussion as Antonio and Sebastian, because that made absolutely no sense to me in the play to begin with.
Overall, I just felt "I love you Marg, you are brilliant. But you were fangirling too hard with this one."...more
This is not one of my favorites from the Bard. The story is convoluted - there are too many devious plots to kill people for no reason; events are shaThis is not one of my favorites from the Bard. The story is convoluted - there are too many devious plots to kill people for no reason; events are shaped beyond anybody's control but Prospero's. I was not a fan of including the antique godesses, nymphs and spirits, it seemed like a copout from writing about people, which I feel is Shakespeare's best suit.
I know this is considered autobiographical, and allegorical of colonism, but that's just not my cup of tea. On the flip side, the writing is brilliant, as always....more
Two lessons learned: 1. Murder is a slippery slope. Literally. 2. When witches give you something - take it with a grain of salt. It might have eye of nTwo lessons learned: 1. Murder is a slippery slope. Literally. 2. When witches give you something - take it with a grain of salt. It might have eye of newt in it. ...more
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