Tales from Shakespeare- Charles & Mary Lamb

Tales from Shakespeare by Charles and Mary Lamb is a fascinating attempt to make Shakespeare’s plays more accessible to young readers. Originally published in 1807, the book simplifies the complex plots and language of Shakespeare’s plays while maintaining their core themes and emotional depth. It serves as both an introduction to Shakespeare and a literary work in its own right, blending storytelling with a deep respect for the original plays.

The Lambs retell twenty of Shakespeare’s plays, with Mary handling most of the comedies and Charles taking charge of the tragedies. The narratives remain faithful to the originals but are presented in a way that a younger audience can understand. The language is elegant but simpler than Shakespeare’s, and the stories flow smoothly, making them easy to read. While the beauty of Shakespeare’s verse is lost, the emotional impact and dramatic tension remain intact. The book succeeds in capturing the essence of Shakespeare’s work, offering a bridge between children’s literature and classic drama.

One of the book’s greatest strengths is its storytelling. The Lambs manage to condense Shakespeare’s intricate plots into short but engaging tales. They remove the most complex subplots and difficult language but retain the major conflicts, moral dilemmas, and character developments. The result is a collection of stories that feel complete while still echoing the original plays. Readers unfamiliar with Shakespeare can still experience the magic of his stories, from the tragic downfall of Macbeth to the comedic misunderstandings of A Midsummer Night’s Dream.

The book’s style is formal but not overly difficult. The Lambs use a refined but accessible vocabulary, making the stories feel like classic fairy tales rather than dry summaries. They also take care to highlight the moral lessons within each play, making the book not only entertaining but also educational. The characters’ struggles with ambition, love, jealousy, and fate are presented in a way that young readers can understand. While some of the plays lose their depth when translated into prose, the book still captures the timeless appeal of Shakespeare’s themes.

However, the book is not without its weaknesses. One of the most noticeable drawbacks is the loss of Shakespeare’s poetic brilliance. His plays are famous for their powerful language, and reducing them to prose inevitably strips away much of their beauty. Without the rhythm of iambic pentameter or the richness of Shakespeare’s metaphors, some of the magic is lost. The stories remain compelling, but they do not carry the same weight as the original plays.

Another issue is the simplification of characters. Shakespeare’s characters are known for their complexity, but in Tales from Shakespeare, they sometimes feel one-dimensional. This is particularly true for the villains. Characters like Iago from Othello or Edmund from King Lear lose some of their psychological depth when their thoughts and motivations are explained in straightforward prose. The ambiguity that makes Shakespeare’s characters so fascinating is often lost in translation.

Additionally, the book omits some of Shakespeare’s darker themes. While this is understandable given the target audience, it does result in a more sanitized version of his plays. The brutal violence of Titus Andronicus and the deep existential despair of Hamlet are softened. Some of the most disturbing moments in Shakespeare’s tragedies are either omitted or toned down, making them more suitable for children but less faithful to the original works. This raises the question of whether young readers are getting the full Shakespearean experience or merely a polished version that removes the most challenging aspects.

Despite these shortcomings, Tales from Shakespeare remains an important literary work. It has introduced generations of readers to Shakespeare’s world, allowing them to appreciate his stories before tackling the original plays. Many readers who struggle with Shakespeare’s language find this book to be a helpful first step, easing them into the complexities of Elizabethan drama. In that sense, the book serves its purpose well.

It is also worth noting that Tales from Shakespeare has a charm of its own. The Lambs’ writing is graceful and thoughtful, and their admiration for Shakespeare is evident on every page. They do not simply summarize the plays but retell them with care and sensitivity. The book’s historical significance adds to its appeal, as it reflects the 19th-century approach to literature and education.

Ultimately, Tales from Shakespeare is a valuable introduction to Shakespeare’s work, though it cannot replace the original plays. It is an excellent choice for young readers and those unfamiliar with Shakespeare, but those who love his language and depth may find it lacking. While the book simplifies and sanitizes Shakespeare’s work, it still manages to capture the heart of his stories, making it a worthwhile read for anyone interested in classic literature.

Shakespeare's First Theatre Dug Up

One of Shakespeare's early playhouses has been discovered by the archeologists from Museum of London Archaeology(MOLA) in London. It is the place where Shakespeare's famous plays 'Henry V' and 'Romeo and Juliet' were first staged. It is a brilliant piece of news for both the historians and the fans of Shakespeare because they now have an insight into the place where the early productions of Shakespeare were performed. There are talks doing rounds that it might have been in use till Civil War in 1640s. The playhouse gets its name 'Curtain Theatre' from a nearby street Curtain Close. Before the completion of Globe in Southwark, this was the place where Shakespeare's plays were performed between 1597 and 1599.

Hamlet's Soliloquies - I

The peculiar feature of William Shakespeare's ‘Hamlet’ as a play is that it is characterized by five soliloquies, each one of them being spoken by Hamlet on different occasions. They lend to the character of Hamlet a different hue and make the play a philosophical one rather than a mere revenge play. Some critics like T.S. Eliot have pointed out that the soliloquies are a serious drawback of the play and manifest an excess of emotion improper to action.

D.H.Lawrence in his essay, ‘On Drama’ points out that Hamlet’s personality is in a state of disintegration, that is, his head, heart and hand do not work in unison but reflect Hamlet’s nature. Apart from this, we cannot conceive of his character.

The first soliloquy of Hamlet from Act I, scene ii is:

O, that this too too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this!
But two months dead: nay, not so much, not two:
So excellent a king; that was, to this,
Hyperion to a satyr; so loving to my mother
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth!
Must I remember? why, she would hang on him,
As if increase of appetite had grown
By what it fed on: and yet, within a month--
Let me not think on't--Frailty, thy name is woman!--
A little month, or ere those shoes were old
With which she follow'd my poor father's body,
Like Niobe, all tears:--why she, even she--
O, God! a beast, that wants discourse of reason,
Would have mourn'd longer--married with my uncle,
My father's brother, but no more like my father
Than I to Hercules: within a month:
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not nor it cannot come to good:
But break, my heart; for I must hold my tongue.

This soliloquy is a remarkable indication of the state of mind Hamlet is in. we have before us a simultaneous presentation of the present chaos and the past orderly conditions. The death of his father and over-hasty marriage of his mother creates a terror in his mind and he begins to contemplate committing suicide. But then as a true Christian he remembers he ought not to follow that urge and instead wishes that the Almighty had not made any law forbidding suicide. So we come to know that Hamlet is a true Christian at heart inspite of his education.

Hamlet is not able to reconcile himself to the hasty marriage of his mother; it had only been a month since his father died. Hamlet’s statement, “Frailty, thy name is woman!” sums up his views about women in general, to be analyzed in context of his shock experienced at his mother’s behaviour.

This soliloquy is a beginning of Hamlet’s journey towards self-understanding. He says “I must hold my tongue”, he clearly sees through the urgency of keeping quiet and maintaining his silence at this point of time. He needs to watch the situation to unfold itself, a deeper analysis would be required before coming to any conclusion as far as fixing the blame for his father’s murder on his uncle Claudius (whom now Hamlet’s mother has married) is concerned.

Character of Macbeth in Shakespeare's 'Macbeth'

‘Macbeth’ is universally recognized as the tragedy of ambition. It is a tragedy, which revolves around the ambitions of a great, noble Macbeth, who aimed at becoming the King of Scotland and succeeded in achieving his objective by killing almost all of those who stood in his way, as well as many innocent persons. Macbeth is the Thane of Glamis, whom King Duncan has sent to fight against his enemies and rebels. One of them is the Thane of Cawdor. Macbeth fights against him bravely. Cawdor is defeated and captured. When this news reaches King Duncan the latter not only praises him profusely but also confers on him the title of the Thane of Cawdor. In the second scene of Act One of the play, the author Shakespeare shows how brave and loyal Macbeth is to the King. When Duncan hears about Macbeth’s bravery, he calls him “noble Macbeth” and “valiant cousin”. Even the sergeant, who brings the news of the victory of Macbeth over Cawdor calls him “brave Macbeth”.

In the third scene of the opening act, Macbeth, returning from the battlefield meets three witches who hail him as the Thane of Slamis and Cawdor as well as the future King. Macbeth knows that as a birthright he cannot become the King of Scotland but, by and by an ambition to become the monarch becomes stronger when he is told by Ross that the King has conferred the title of ‘Thane of Cawdor’ on him. This news confirms the truth of the predictions made by the witches. But being gentle Macbeth cannot think of any treachery against the King. He argues the forebodings of the supernatural beings (the witches) cannot be either “ill or good”. Then he argues, in an aside “If chance will have me King, why chance may crown me, without my stir.” Then, in next aside he resigns to fate saying “Time and the hour runs through the roughest day. After saying so he and Banquo go to the King, who hails him as a trusted subject. Macbeth returns the King’s compliment saying: “The service and loyalty I owe, / In doing it, pays itself.” The King calls him “my worthy Cawdor” and expresses the desire to be his guest that night.

Macbeth who has been stung by the bug of ambition is unable to decide upon the evil course of murdering his King who has been kind and generous towards her. When his wife Lady Macbeth suggests to him that after dinner the King should be killed he tells her not to even think of it. His argument is that the King has come to his home in “double trust”. Firstly, he is the King’s relative. Secondly,

“…as his

Who should against his murderer shut the door

Not bear the knife myself.”

Indeed, Macbeth is too noble to perform this criminal act. His wife knows that her husband is a person with “full of the milk of human kindness.” Therefore, she taunts him in every possible manner to suggest that he is a coward. He can only imagine and fancy, but cannot act when the time comes. At last, Macbeth, after her taunts determines

“Whilst I threat he lives

Words to the heat of deeds too cold breath gives.”

When the truth of Duncan’s murder comes to light Macbeth pretends to be innocent in the whole matter. He is made the King of Scotland as foretold by the witches. But because Macbeth has achieved this throne by evil and unlawful means he feels insecure in his position. Now one after the other visions appear before him and he imagines that everybody may play false to him. He knows that the same super-powers which predicted kingship for the sons of Banquo. Therefore, his first enemy becomes Banquo with his son Fleanes. He goes still lower and hires murderers to kill Banquo and Fleanes. Banquo is killed but the latter escapes. After this when he learns that Macduff may be a trouble spot for him he takes help of murderers to kill not only Macbeth but also his whole family. Infact, the sense of insecurity and the sense of guilt from which Macbeth suffers after Duncan’s murder lie heavy upon his mind and soul and he feels that now as there is no turning back, therefore, he must go forward with his plans of murders. He says:

…I am in blood

Stepped in so far that, should I wade no more,

returning were as tedious as go over.

Macbeth is in a state of mental conflict which is reflected in his words: “Strange things I have in head, that till to hand.”

In other words, for Macbeth nothing is evil or unlawful if it gives him a sense of security and safety.

Macbeth is brave and successful warrior. His bravery continues to accompany him till the end of his life when face to face with his inevitable death in battle with Macbeth he determines “Yet I will try thee last”.

He is a person with enough philosophical musings. When the news of his wife’s death reaches him he finds himself bereft of that voice of insipiration which could have helped him in his present circumstances also. He says “she should have died hereafter.” Then in one of his philosophical moods he contemplates:

“Life is but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more.”

In conclusion we may say that Macbeth is, inspite of his Kingship of Scotland a villain. He succumbs to temptations and taunts of his forgetting all the niceties and virtues of life. His cruelty and terror becomes so strong and mean that everybody begins to hate him. When Malcolm and Macduff meet, they talk of Macbeth’s meanness and cruelty. Macduff says:

…each new morn

New windows howl, new orphans cry…

Malcolm refers to Macbeth as “this tyrant”. He further confirms Macbeth’s view by saying that his country:

“Weeps, it bleeds, and each new day a gash

Is added to the wounds.”

All this shows the villainy of coupled with cruelty and meanness. The terror and horror created by Macbeth. We conclude this discussion about Macbeth’s character with the words of D.F. Macae:

“We hear from his own heart of his ambition, his weakness, the wrongness of his behaviour, his deceits and his own evil.”

'As You Like It' as Pastoral/Romantic Comedy

C.L. Barber says that ‘As You Like It’ is one of the sweetest and sunniest comedies of Shakespeare. Cheralton observes that it is satirical and realistic, other critics have said that it is a pastoral comedy. According to Nicoll, “a comedy ends on a note of tinkling of marital bliss. A Shakespearean comedy is different from classical comedy in which society is justified and individual is held up to ridicule so that he may conform to the social standards. Let us take the example of ‘As You Like It’. It is at once romantic ad realistic, critical and poetic, rational and imitative allowing individual freedom and justifying society. It is flexible and accomodating. It ends on a note of forgiveness. A note of reconciliation is affected between Oliver and Orlando, the senior Duke and his younger brother, Fredrick in the end. The comedy begins through a fissure in the courtly order but it ends on a note of resolution. The characters assume their normal routine. Orlando is united with Rosalind, Oliver with Celia, Silvius with Phebe and Touchtone with Audrey. After their adolescent love-making, it is expected that these pairs of lovers will lead a mature, balanced and suitable life.

Romantic comedy is a comedy that suggests a variety of senses and means. Jonson and other playwrights have written realistic and satirical comedies. These comedies have ugly and harsh realities of life. But a romantic comedy creates imagination. Laughter, in realistic comedy, is directed as the follies of characters designated by another term: ‘comedy of manners’. In these comedies we laugh at characters and we find them in ourselves. Here the attitude is more sympathetic than criticism. We understand the characters and not judge them. Shakespeare demands greater involvement in his characters. The focus is on the individual and individual alone.

We can call it a romantic because it concerns with love, youth, happiness and marriage. Music makes us experienced, emotional and imaginative. It has sense of gaiety and spirit of joy. As a romantic comedy, it has loose structure also.

In ‘As You Like It’ Shakespeare takes different aspects of love between lovers and between the friends. Shakespeare has borrowed the cliché of “love at first sight” from Marlowe’s ‘Hero and Leander’ (“whoever loved who loved not at first sight”). Rosalind is banished by her uncle. She comes to the forest of Arden. Here all lovers are united. Before this, when Orlando fights a wrestling match, Rosalind is one of the onlookers. Spontaneously she offers him a gold chain as a token of her appreciation. This is the symbol of love at first sight. In doing so, she hands over her heart to him. In the forest of Arden, their love reaches at the climax. Rosalind points out the symptoms of a traditional lover and defines Orlando’s asserting that he is truly in love with her:

“A sunken eye you have not

A pale cheek you have not.”

When orlando boasts that if he does not meet her, he would die, Rosalind says: “From time to time men have died but not of love”. Another realistic and satitrical note is struck by Rosalind when she says,

“Men are April when they woo,

December when they wed.

Women are May when they are maids,

But sky changes when they are wives.”

Sometimes we find Orlando as a conventional lover. He writes love poems but they lack “feeling”. It is bad poetry and invites the reader to laugh at the form of rhetoric. He carves Rosalind’s name on the trees. All these things reveal Orlando as a conventional lover. Then their marriage takes place in the forest. Rosalind describes how Celia fell in love with Oliver at first sight: “No sooner they must but they saw/ no sooner they saw but they fell in love with each other”.

Shakespeare has presented the love of the pastoral characters. Phebe is a pastoral nymph unwilling to surrender to her lover Silvius who makes obsequies. He complains to Rosalind about her harsh treatment. Phebe on the other hand, falls in love with Rosalind disguised as Genymede.

The love of Touchstone, with Audrey is a kind of satire on love and marriage. Touchstone does not seek to marry a genuine priest, for in that case it will not be easy for him to divorce his wife. Through Touchstone and Audrey, Shakespeare presents some kind of physical love. Touchstone is too much interested in physical relationship. Shakespeare avoids the games of love like seduction or physical love. Even Touchstone is interested but Shakespeare does not develop this love.

Love experience in the play is happy and good challenge because no restriction is from the outward. The story ends on a note of rational explanation. It does not injure the expectations of the reader. The atmosphere in the forest is interesting. It is something more than romantic comedy. The play reflects Shakespeare’s ability, a certain attachment is there. Here romantic means highly sentimental and artificial. It is not only Orlando, who is mocked. The pastoral love and sensual is also mocked here. Rosalind mocks at romantic love. She is very frequently suggesting that infidelity is a challenge that lovers must accept. Her cynicism can be understood when we think that she speaks for Shakespeare. The writer insists on the reality of love. Phebe is in love Genymede. But Shakespeare does not want the settlement as Jonson or other playwrights. In this sense, it is philosophical too; Silvius and Phebe are highly sentimental characters. Touchstone and Audrey present sensual love. They are cynical, physical and sentimental both in words and actions. Marriage has a strange kind of value for Touchstone when he says: “Faithless wife is better that no wife.” Audrey too does not escape from the criticism of writer. She scores the good villain, Oliver and Celia present sudden love. Celia shows herself to practical, resourceful, even emotional and becomes a rash woman till this happens. Curing of Orlando by Rosalind is healthy and real relationship, which comes to existence and accepts the reality of love. The pair of Orlando and Rosalind has personified the refined love, true love and pure view of love. They also reinforce the idea that is romantic. This pair has stability and maturity of love. High romanticism is when Rosalind feels difficult to part from Orlando even for two hours. Then Silvius uses love conceits and these have been used by dramatist to expose the unnaturalness of pastoral love.

To conclude, it may be said that a Shakespearean comedy is a complex irreducible to one level of meaning and is aimed at nature and society, lower classes and upper classes, individual and society; contemplation and action; cynicism and love; satire and spontaneity. In fact, it is as wide and varied as the modern sensibility. It does not give a picture of untainted joy, which verges on the border of melancholy and resignation. It is tolerant, human, liberal and is definite experience contributing to the art of living boarding on common sense and outlook.

'Brevity is Soul of Wit'

Shakespeare in his famous drama ‘Hamlet’ writes:

…brevity is the soul of wit,

And tediousness the limbs and outward flourishes,

I will be brief…

The phrase ‘brevity is the soul of wit’ owes its origin to this celebrated play of the ‘Bard of Avon’. But the phrase gained currency and now it has become a part and parcel of the host of standard English proverbs. But due to this generalization being applied to this phrase, the original context has been somewhat distorted. While the character of Polonius (in the play ‘Hamlet’), who utters these words is of very high opinion about his ‘wit’ yet he is the least witty and the least brief of all the characters. Sigmund Freud even went on to call him “the old chatterbox”, in his essay ‘With and its Relation to the Unconscious’.
For understanding the essence of the phrase ‘brevity is the soul of wit’ let us first try to comprehend what wit really means. The meaning of wit has undergone periodic change. In the Renaissance the word ‘wit’ meant wisdom or ‘intelligence’. Coming to the seventeenth century, it came to mean ‘fancy’, implying the kind of thought and language used in the metaphysical poetry, composed by the likes of John Donne.
Sometimes the word ‘wit is now used synonymously with ‘humour’ but this is only partially true. In the modern times the word ‘wit’ connotes intellectually amusing utterances. So we can safely say that with is human with a tinge of intellectual element, that is, a mixture of humour and wisdom.
Alexander Pope, while defining a true wit, has remarked “What oft was thought, but ne’er so well expressed”. This brings us to the association of the element of brevity with the concept of wit. Even in our daily life we often stand witness to the situations like – sometimes a person cracks a joke but nobody laughs, while at other times only a statement consisting only of a few words clicks and is able to evoke roars of laughter. This is where the role of brevity in wit comes in. Pithy and precise statements can exercise the desired influence. As opposed to this, humour gets lost in the downpour of words. Verbosity can never be the basis and soul of wit.
So be careful, next time you say something to make someone smile, make it brief!

Shakespeare's 'The Tempest' - an Overview

‘The Tempest’ is a part of the last group of plays written by Shakespeare. The other plays included in this group are ‘Winter’s Tale’, ‘Cymbeline’ and Pericles. ‘The Tempest’ has also been called ‘Shakespeare’s last will’, as it expresses his opinion about the way we should live and opinion different from that en his tragedies and comedies. The play belongs to the category called dramatic romances. The play tries to answer the moral question – ‘How to live?’ It presents a moral lesson so much so that it has been labeled as a Morality Play. Critics have seen in Prospero a reflection of Shakespeare himself, a sage who after suffering all the anguish of the soul had decided on a reposeful retirement to Stratford.
“Forgiveness and freedom are the keynotes of the play”, says Dowden while it is Verity, who states “Forgiveness and Reconciliation are the keynotes of the play”. ‘The Tempest’ is the story of a wronged man, Prospero. His Dukedom of Milan has been usurped by his brother Antonio, who hatched the conspiracy with the co-operation of Alonso (King of Naples) and Sebastian (Alonso’s brother). Prospero is expelled from the country and sent on a boat so that ti may drown in the storm. It is by god’s grace that Prospero accompanied by his infant daughter Miranda safely reaches and island unharmed by the sea-storm. Living on this almost uninhabited island (the only ones living there were – Caliban, a half-monster and some spirits), Prospero continues his habit of reading books of magic which were placed in the boat by his honest minister, Gonzalo. Prospero acquires so much power that he can do anything. Using his powers he brings his enemies to the same island. But when the time comes to punish them he does not do so. Instead he arouses a sense of guilt in them. He tells Ariel that his enemies are repentant of their past misdeeds which ‘sole drift of mine purpose doth extend it not a frown further’. All that wanted his enemies was to have ‘heart sorrow and a clear life ensuing’, that is remorse and repentance for their past misdeeds and a vow to lead a sinless life in future. Prospero had probably realized that the virtue of forgiveness is greater that the quality of vengeance:
“…the sweetness doth life
In virtue than in vengeance”
- a truth that Shakespeare too had understood at the fag end of his writing career. Even in his last speech (after he throws his books of magic into the sea), Prospero seems to be echoing Shakespeare’s view.
Prospero forgives his brother Antonio, also the King of Naples, Alonso and Sebastian. The only revenge (if we can call it one) he has upon his enemies is that by using magic he made Ferdinand, son of Alonso (King of Naples) fall in love with and pledge to marry Miranda. After the reconciliation Prospero will be re stored back his Dukedom, and Miranda will inherit both the Dukedom of Milan and Kingdom of Naples. The reconciliation takes place between the brothers – Antonio and Sebastian too are repentant of their evil designs and King of Naples too reconciles. Apart from these, there are others too who are reconciled to their near and dear ones. Ferdinand and Miranda are together once again after Prospero had made Ferdinand work as a log-man. Alonso is too glad to meet his son Ferdinand; both had presumed each other to be dead.
Another dominant characteristic of the play is the element of freedom. The play begins and ends with the idea of liberty. In the very beginning of the play we are informed that Ariel was set free by Prospero. Throughout the play Ariel, the airy spirit, requests Prospero to free him. Prospero had got the island rid from the clutches of the witch Sycorax, Caliban’s mother.
Earlier even Caliban had been forgiven and let free by Prospero but we learn that Caliban had tried to outrage the modesty of Miranda. So he was made a slave by Prospero. But at the end of the play, both Ariel and Caliban are set free by Prospero.
We also find the dominance of these keynotes in the Ferdinand-Miranda love story. Ferdinand is made to work as a ‘patient logman’ by Prospero to test his sincerity. Later he is set free and reconciled with Miranda. As Dowden has put it: “Shakespeare was aware that no life was ever lived which does not need to receive as well as to render forgiveness.”
The play is a dramatic romance, different from Shakespeare’s early comedies and tragedies. In a tragedy the events take a turn for the worse for the hero and the play ends with the hero’s sufferings, rather death. In a comedy, all is gay, the events are favourable and play ends on a cheerful note. While in a dramatic romance, there is a twist in-between, events change from unfavourable to favourable resulting eventually into a happy ending for the protagonist. Thus to state the essence of the play Dowden’s words are the most suitable: “true freedom of man consists in service”. Shakespeare presents before us this truth in the form of ‘one of the most perfect plays’ (as Hazlitt has called it). The play is a summation of the whole experience of Shakespeare – the lessons life had taught him.

The Elizabethan Sonnet

The sonnet, a poem of fourteen lines was originally invented in the thirteenth century Italy. It probably originated with Dante, who wrote a number of sonnets to his beloved named Beatrice. But the genre of sonnets flourished under Petrarch (1304 - 74) a generation later. The introduction of sonnets in England is credited to Wyatt and Surrey. Their sonnets were published in Tottel’s Miscellany. While Wyatt followed the Petrarchan model for seventeen out of his thirty-two sonnets, Surrey invented a style of his own that was later adopted by the Elizabethan sonneteers especially Shakespeare.
Although a large number of poets tried their hands at the writing of sonnets ye they are a few names that rise above the run of the mill crowd. The prominent names are those of Sidney, Spenser and Shakespeare.
Edmund Spenser(1552-1599) can be considered as a pioneer in this field in English as ti was he who first appeared with his collection of eighty-eight sonnets in the form of Amoretti (1595). He followed the rhyme scheme: abab, bcbc, cdcd, ee. In the words of Andrew Sanders, “The sonnets substantially readjust the Petrarchan model by seeing the mistress as an unattainable image of perfection, but as a creature reflection and sometimes clouding the glory of her Divine Creator.”

Sir Philip Sidney(1554-86) – His most important word was his sonnet sequence ‘Astrophel and Stella’ (a collection of one hundred and eight sonnets and eleven songs). The poems are addressed to Penelope Devereux about the intensity of the poet’s feelings for the lady, who later broke off with him to marry Lord Rich. These sonnets owe much to Petrarch and Ronsard in tone and style. G.H. Mair is of the view that Sidney’s sonnets “mark and epoch” as “they are the first direct expression in English literature of an intimate and personal experience struck off in the white heat of passion...they never lose the one merit above all others of lyric poetry, the merit of sincerity.”

William Shakespeare(1564-1616) - Shakespearean sonnets, one hundred and fifty-four in number were first published in 1609. Out of these the first one hundred and twenty six are addressed to a young and handsome man, who has been said to be the Earl of Southampton. A few have maintained that he might have been William Herbert, the Earl of Pembroke. Twenty-six sonnets are addressed to a dark lady. Shakespeare’s sonnets follow the rhyme scheme: abab, cdcd, efef, gg. It was the same that was first used by Surrey. The typical characteristic of Shakespeare is the final couplet. Shakespeare was completely impersonal in his dramatic works but in his sonnets as Wordsworth puts it he “unlocks his heart”.

Shakespeare's Grave

The grave of William Shakespeare has the following words inscribed on it:

"Blessed be the man that spares these stones

And cursed be he who moves my bones."

These words might have served as a warning in past times. Even now when Ian Stainburn, of Stainburn Taylor architects and historic buildings consultants, who is to give the bard’s grave of the Bard is taking care that the work is done without moving the bones literally. They are going to laminate the place as the surface was coming off. “It’s our wish that we conserve this without anyone knowing we were there,” said architect Ian Stainburn, who is working on the project. “We want to conserve it as it is and slow down the natural process of decay but we don’t want to recut it. It’s really a challenge.”
The condition of the grave had been deteriorating. Shakespeare was buried here on 25 April, 1616.

'Othello' - the Source and the Additions

While reading ‘Othello’, it must be kept in mind that we are dealing with a play that was specifically written for the theatre. This covers the inconsistencies of the plot and time scheme present in the play as the theatre audience does not have the time to give them a serious thought. The source of the play lies in the collection of tales written by Italian writer, Giambattisa Cinzio Giraldi. Although Shakespeare hovered very close to the original text, yet as was the characteristic feature of this genius he made significant changes in the plot to leave an ingenuous imprint on the original text.
The following are the additions made by Shakespeare:
(i) The compression of the timescale to heighten the impact of events
(ii) Use of two contrasting locations
(iii) Introduction of the characters of Roderigo and Brabantio (Desdemona’s father)
(iv) Addition of the event of war between the Turks and Venetians
(v) The villain in Othello, Iago is independent in his malignity (in Cinzio’s tale Iago’s counterpart, Ensign’s wife is fully aware of her husband’s practices)
All these additions had their significant role to play. The battle here in the objective correlative, just as the raging storm was in ‘King Lear’ – the political battle between the infidels and Christians signifies the battle within Othello – he was born and infidel but adopted Christianity, the religion of the state.
Thus, we can say that as is with all other plays Shakespeare drew upon the already existing text and used them for inspiration. But he made such remarkable and thoughtful modifications in his plays that he almost made them his own. This is wherein the greatness of the dramatic genius of Shakespeare lies.

Also visit: Othello (Folger Shakespeare Library)

Grave Diggers Scene in 'Hamlet'

The Grave diggers scene (Act V, sc. i) in ‘Hamlet’ has been frequently called as a definitive final scene in Hamlet’s journey. According to F.T. Prince, it is the scene in which Hamlet finds his way after stumbling through a jungle of emotions.
The grave digger scene is divided into two parts; in the first part, Hamlet contemplates the morality of man as he watches the human skull being tossed from their sleepy graves by the grave diggers. The entry of Hamlet marks the second part of the scene. He exits his feigned madness when he is stared into the face by the reality of the death of Ophelia.
Having escaped death at the hands of robbers and from the King’s conspiracy to eliminate him Hamlet comes back an enlightened man. Part of his enlightenment comes from the fact that Hamlet is not bothered about his delay any more. He has understood that time past and time future are but the manifestations of the time present. He has realized the ultimate meaning of his destiny. The scene reveals a calm acceptance of his destiny on the part of Hamlet, hence, delays no longer matter to him. It is in this scene that it dawns upon him that he has lost his best loved person, Ophelia, when he had gone away.
When Hamlet comes to know that the grave of his friend Yorrick is being dug up to make place for his beloved, Hamlet’s behavior immediately reveals that a man of action has taken the place of a man of thoughts, contemplation and reflection.

Shakespearean Jewels - Part I

Shakespeare, since times immemorial, has been known for his witty, precise, pithy and meaningful statements. A few I would like to quote here:

“Lord, what fools these mortals be!” (A Midsummer Night's Dream)

“Such as we are made of, such we be.” (Twelfth Night)

“Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.” (The Tempest)

This was only a drop from the ocean of exalting words from Shakespearean pen.

Romantic Tradition and Shakespeare (with special reference to 'As You Like It')

The play ‘As You Like It’ was adapted from a romance in prose called ‘Rosalynde’ by Thomas Lodge. The play was in the romance tradition and at the same departure from it.
Disguise and mistaken identity were also the techniques that Shakespeare borrowed from the romantic literature. These techniques brought confusion in their wake and also resulted in humourous situations. They also enabled Shakespeare to focus attention on the theme that in this world appearances are often deceptive.
Shakespearean comedy owes the concept of poetic justice to romance literature. Everything according to the satisfaction of everyone --- well-rounded conclusions with only an occasional dissatisfied human being left as if to suggest that life doesn’t lend itself to such cut and dried solutions and cannot be seen in water-tight compartments. For example, Malvalio in ‘Twelfth Night’, Jaques in ‘As You Like It’.

The individual additions made by Shakespeare:

INTRODUCTION OF SUB-PLOT
The sub-plot was introduced to bring down the play to the level of the watching public, to make the audience realize that life is not sailing on clouds and that it has harsher sides too and to give the impression that it is both high and low which make up this world.

ELEMENT OF HUMOUR
The element of humour through situational comedy has been reduced by Shakespeare in his plays. The Fool is more of a philosopher or a word-player.

LANGUAGE
In romantic literature the poetry was a little contrived, artificial and in matters of love quite unrealistic. In Shakespeare such a language is beginning to disappear though in the verses of Orlando such romantic liturgy is visible. However, Shakespeare consciously and deliberately – through Rosalind and Touchstone – makes fun of such verses and aims to cure the watching public of such unworldly flights of fancy.

Importance of Opening Scene of 'Hamlet'

As always, Shakespeare opens his tragedy with minor characters, who supply information about – the prevailing situation and the characters.
It is revealed that the state of Denmark is in a state of chaos and disorder. This disorder has been prevailing due to the political event of the death of elder Hamlet and also the preparations that are going on in the state against Norway. Then there is a private event – the disturbed state of mind of the Prince because of political and personal reasons. This sets the stage for the unfolding of the events.
The scene also brings the audience face to face with the supernatural. The audience gets curious to know about the ‘why’ of the ghost and reason for the political chaos.
It becomes apparent that Horatio is deeply attached to the Prince and would go to any lengths to protect him. Horatio appears before us as a man who has been torn apart by the sorrow of the Prince.

Shakespeare Sonnet 106

SONNET 106
When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have express'd
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And, for they look'd but with divining eyes,
They had not skill enough your worth to sing:
For we, which now behold these present days,
Had eyes to wonder, but lack tongues to praise.

This sonnet addressed ‘to his dear friend’ is number 106 in sonnet sequence consisting of 154 sonnets. A number of his sonnets are addressed to ‘W.H.’ and others to a mysterious person, often referred to as the ‘dark lady’. W.H. has sometimes been identified with the Earl of Southampton, one of Shakespeare’s closest friends and patrons, to whom this poem is addressed. In this sonnet, Shakespeare has idealized his friendship and described ‘W.H.’ as having brilliant beauty surpassing all others, past and present.
In the opening stanza of the poem the poet talks of the description of beauty in the chronicles. He says that when he reads about the most beautiful persons in the history of past and the poetry added to the beauty of the description of the dead ladies and graceful knights.
The poets of the past carried the distinction of describing the beauty at its best – of all parts of the body including hands, feet, lips, eyes and brow. The poet says after reading the chronicles he feels that the poets were so experienced and good at it that they would have expressed the beauty now possessed by the poets’ friend.
In the third stanza the poet writes that in this way all their accolades prove nothing but the foretelling of the poet’s time, that is, the beauty of his friend. In the very next line the poet says all the description given before hand with the prophetic eyes of the poets was not enough. Their virtues could not match qualities of his friend.
In the last stanza the poet says that he and his contemporaries who are a witness to present times have only eyes to admire the beauty of the poet’s friend. They don’t have words to express it.
Hence, in this sonnet the poet analyzes the relevance of the skill of the poet’s beauty of the past to that of the real beauty of his friend.

'Blow! Blow! Thou Winter Wind' - Shakespeare

The poem 'Blow! Blow! Thou Winter Wind' :

Blow, blow, thou winter wind,
Thou art not so unkind
As man's ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude

Heigh-ho! sing, heigh-ho! unto the green holly;
Most friends is feigning, most loving mere folly:
Then, heigh-ho, the holly! This life is most jolly.

Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot: Thou thou the waters warp,
Thy sting is not so sharp As friend remembered not.

(Shakespeare, As You Like It, Act III, sc. ii)

The poem entitled ‘Blow! Blow! Thou Winter Wind’ is a song sung by the character named Amiens in the drama written by William Shakespeare. Amiens is one of the lords who have by their own choice come with Duke Senior, who had been banished by his brother. Amiens sings this song commenting upon the ways of the world, and human ingratitude which is more biting than the piercing cold winter wind.
The poet in the very beginning addresses the winter wind and says that it can blow as much hard as it likes because it is not so harsh and rude like man’s nature of being ungrateful. The attack of the winter wind is not so sharp because it is not visible although it is bitingly cold.
The poet asks the frosty sky to freeze because it won’t cause him deep pain as caused by his friends who forget his favours instead of being thankful. The poet says that although the waters are frozen they don’t cause sharp pain like one caused by his friend, who doesn’t even bother to remember him. Thus, the frozen faces of the world are more painful than the frozen waters.

We should always be singing throughout the year like ‘holly’ (an evergreen plant). The poet here says that the friendship is only a pretence and loving is nothing but absurdity and foolery. He again tells that life is very wonderful and should be fully enjoyed. It is like a song and should be sung.
The poet here projects a harsh reality through his song. The celebrated poet Shakespeare is known for his wise words. He is his same self here. His statements are weighty, pithy and precisely correct.

'Fear No More' - from 'Cymbeline' by Shakespeare

‘Fear No More’

Fear no more the heat o' the sun,
Nor the furious winter's rages;
Thou thy worldly task hast done,
Home art gone, and ta'en thy wages;
Golden lads and girls all must,
As chimney-sweepers, come to dust.

Fear no more the frown o' the great;
Thou art past the tyrant's stroke:
Care no more to clothe and eat;
To thee the reed is as the oak:
The sceptre, learning, physic, must
All follow this, and come to dust.

Fear no more the lightning-flash,
Nor the all-dreaded thunder-stone;
Fear not slander, censure rash;
Thou hast finished joy and moan;
All lovers young, all lovers must
Consign to thee, and come to dust.

The poem ‘Fear No More’ appears as a song in Shakespeare’s play ‘Cymbeline’. It is a song sung over the supposed death of Imogen, the central female character of the play. The central theme of the poem is that death overpowers all and that all men are mortal.
The speaker in the poem says that the dead must not have any fear about the heat of the Sun and the chilling and strong winter winds. The persons who have died after finishing their earthly tasks have received their wages, that is, what they deserved in return of their deeds. They have gone to their heavenly home. The poet next suggests that man is mortal and all men must die whether they are charming boys or beautiful girls and even the poor chimney sweepers. Death has been called the greatest leveler since times immemorial. One day everything will pass into nothingness.
“Dust thou art,
To dust returneth” (Bible)

In the next stanza the poet says that we should not be afraid of the tyrant as they can do nothing when we are dead. The poet asks not to take care of clothes and food because nothing is superior or inferior for the dead man. For him reed and oak are both alike. All the kings, scholars and doctors too will have to follow the law of nature and will die one day to return to dust.
In the last stanza the poet asks us not to be afraid of lightening or a cloud burst. Nor should we be afraid of adverse opinions or insult, because for a dead man both happiness and sadness are not a matter of concern. Even the young lovers will go through the same road as our elders.
In this song the poet presents before us the universal truth that man is mortal. The poet also expresses the view that after a person dies he need not fear the troubles and sorrows of the world because they don’t bother him anymore. Death is a freedom – freedom from the chains of earthly life. Rousseau had rightly said, “Man is born free but everywhere he is in chains.”

The All-Revealing Speech

(WITH SPECIAL REFERENCE TO THE SHAKESPEAREAN FOOL)

Next time someone calls you a fool, don’t take it as an insult. Just remember the Shakespearean fool. He was a master of words. Some of his sayings were worth in gold. Whether it was Feste from ‘Twelfth Night’ mouthing:

Those wits that think they have thee, do very oft prove fools
(meaning: those who take themselves to be quite intelligent are often proved to be fools)

or the Fool of ‘King Lear’ profoundly remarking:

Have more than thou showest,
Speak less than thou knowest,
Lend less than thou owest
Ride more than thou goest.
(‘owest’ means ‘own’)

they were all philosophical quite a few times. The Fools in Shakespearean plays are known to be the wisest of all characters. They have earned this place for themselves due to sheer jugglery of words.
The comment of a famous man: “Speak so that I can see you”, is simply priceless. Speech is an indispensable part of our life; so much so that we speak many times more than we write. Some languages of the world don’t even have a written form. The importance of speech is also illustrated by the fact that a child learns to speak first and writing later. Therefore, speech is primary and writing is secondary. Erudite speech can take a person places. The speech delivered by Winston Churchill to his army worked wonders for his country. The speech instilled confidence among the thin numbers of he army, to fight and later emerge as winner in the Second World War.
There are all types of persons we come across in our daily life. Some are the intelligentsia who don’t have the mastery over speech, hence do not come across as very knowledgeable. Then there are the not so intelligent but talented ones, who know the art of conversation. The result is that the latter substantiate themselves to be more well-informed. Sometimes even an utterly foolish person may show a streak of intelligence. That is to say, that many a times a weighty statement comes from the most unexpected quarters. I myself happen to be a witness to one such occurrence. This happened when I was standing at one of the busy intersections. A man in front of me was sitting in his posh luxury car. A crippled man begged for alms from that man, who after ignoring the beggar for a few moments simply gave vent to torrential downpour of bad names, asking him to leave. The beggar stepped back. When the car left, the beggar instead of cursing him, as anyone of his counterpart might do, prayed to God to give the man some patience and happy living sans his pride of wealth. He also thanked heavens that he was not in that man’s place. Now this is what is least expected from a beggar! It was nothing but his sophisticated and mature manner of talking that made him stand apart from the rest of the crowd.
The art of conversion includes not only using the appropriate word but also using them at the appropriate time and occasions. There is a disparity between the language we speak in front of our friends and family and the one we use for official purposes. Here is an anecdote to clarify the distinction between the usage of language:

Ø Albert says to his wife about Abraham: “Met that fool Abraham today. Wants his job back, can you imagine?”
Ø Then he talks to his colleague: “Do you remember Abraham Greene? I met him today. He said he’d like his job back. I think he is too optimistic, do you?”
Ø Finally he goes to his boss and says: “I met Mr. Abraham yesterday, Sir, who used to work in our stores. He asked me to find out if he could again join his post. I only said I’ll pass on your request and find out the position. Should he have any hopes sir?”

These three different statements especially the proper selection of words, throw an immense light on the character of man. They serve as the final stamp on his intellect. There is a dire need of good speakers in this modern world. Pen certainly is mightier than sword but speech too is equally, if not more, effective than the former. Speech may make or mar one’s personality. The next time you open your mouth be careful you might give yourself away. Remember, be the Shakespearean fool, not foolish but always witty.

Hamlet's Madness

Hamlet’s madness has been one of the most discussed topics among critics. The groundlings of Elizabethan stage were demanding. They wanted to see something new being performed on the stage. During the Elizabethan age the society at such a stage that they were experiencing the after-effects of Renaissance. They were still in the process of realizing the immense potentialities of a human being. The abnormal conditions portrayed on stage were like the inner processes being unfolded in the front of their eyes. Another reason was the desire of the human beings to see something dramatic in front of them.
Hamlet’s feigned madness was like an outlet for his pent up emotions. I feel it is the crux of the play. He uses an abnormal condition to verify what a supernatural thing (ghost of his father) told him. He uses it as a tool and his aid. Hamlet’s ‘crafty madness’ provides him with a chance of observing other normal human beings.
Hamlet at one place comments:

“The time is out of joint . O cursed spite,
That I was ever born to set it right.”

This hints at the probability that Hamlet will be using his madness to set things right. But he doesn’t make an effort. According to Samuel Johnson, ‘Hamlet’ is, through the whole play, rather an instrument than an agent.” He doesn’t make an effort to kill his Uncle even after making sure of his guilt. Hamlet’s Uncle dies in circumstances which are not created by Hamlet himself.

Imagery in 'Macbeth' - Part III

Today we'll talk about the imagery of light and darkness.

Light is the symbol of knowledge and goodness while darkness is the symbol of evil and theft. A deep pal of darkness surrounds the whole play from beginning to end. Most of the scenes that crowd to our mind are the scenes of darkness. For example, the King Duncan is murdered in his sleep at night when it is too dark for anyone to see. Banquo is also killed at night. The night is so dark that he asks his son Fleance to bring a torch. Even Lady Macbeth, before her death sees only darkness around her. Therefore, she has asked her chamber servants to keep a torch lighted all the time. Even when there is any light, it is earnestly desired that the light be turned into darkness when Macbeth hears that Malcolm will be the Prince of Scotland, he appeals to the stars “hide your fires” so that his darkness remains invisible to the human eye. After this he only thinks of darkness and “thick night” whenever he wants to act. For example when he has to murder Duncan he invokes”

…come thick night,
And pall thee in the dunnest smoke of hell.

OR

…come, seeling night,
Scarf up the tender eye of pitiful day.

Banquo also refers to darkness when he says that Heaven’s “candles are all out”. Along with this image of darkness comes the image of sickness and death. For example Scotland, the dear country of Malcolm and Macduff is referred to as sick. Macbeth also finds his country sick which needs a purge. Malcolm tells Macduff that their country is suffering from the disease called the tyranny of Macbeth and they must:

…make us medicines of our great revenge
To cure this deadly grief.”