Shakespearean Plays and The Law as an Instrument of Good Governance or Oppression

Introduction

Law is an integral part of most Shakespearean plays and this is especially considering that many of these involve various aspects of the law. Most plays by Shakespeare show that he was an individual that was significantly fascinated by a diversity of legal aspects that are addressed in the way that the characters act. In addition, Shakespeare is an individual that seeks to show that law is an important part of the lives of individuals in society and that it is essential to ensure that they take notice of it. This is especially the case where in Shakespearean plays, law is an integral part of promoting both good governance and oppression because of the numerous legal technicalities that are involved in the process. In this paper, there will be an attempt to show that while law is supposed to be an instrument of good governance, it can also be used to bring about the oppression of certain individuals in society.

Law as an instrument of good governance

In certain Shakespearean plays, law appears to be an instrument of good governance because it enables them to defend themselves from false accusations. Law is an essential aspect of promoting good governance in society and this is a case that is advanced in Shakespearean plays, where individuals are required to be obedient to laws in order to ensure that there is a level of social order (Cunningham, 2017). Plays such as the Merchant of Venice and Julius Caesar show that adherence to the law is an important part of making sure that there is the advancement of social order as well as the avoidance of unnecessary conflict. It also promotes the advancement of means through which to ensure that there is the creation of initiatives that promote solution to problems without resorting to violence. The achievement of these goals through the use of law cannot be underestimated because it shows that it is a means of advancing the interests of good governance. Furthermore, law in Shakespeare can also be used in order to ensure that the interests of the weak are protected against the strong while at the same time helping those in positions of power to promote the advancement of justice in their own societies. A consequence of such a situation is that individuals come to the realization that it is only through the pursuit of law that it becomes possible to not only promote good governance, but also justice in the societies within which they live. 

 Law ensures that there is the advancement of justice in society since the individuals involved are provided with an opportunity to make sure that they are able to advance their individual interests without hurting those of others. One of the most significant cases of law as an instrument of good governance is seen in The Merchant of Venice, where despite Bassanio being maliciously accused of owing Shylock a debt, he is eventually proven to be innocent of the charges that have been brought against him and is acquitted (Hadfield, 2016). Bassanio’s acquittal comes about because of the actions of his wife, who disguises herself as a lawyer and successfully defends her husband against the charges that have been brought against him. That Bassanio is found not to be guilty following the trap that is set to ensnare him by Shylock shows that the law actually works and that it can be a means of ensuring that justice is achieved at all times. The capabilities displayed by Shakespeare in these play show that despite the attempt by certain individuals to make use of the law as an instrument of oppressing their fellows, the law can be made use of as a means of promoting social justice. Bassanio’s acquittal also allows for the development of a perspective concerning the motivations behind why certain individuals are capable of making use of law as a means of advancing their own interests to the detriment of that of others. In the end, as in the case of Shylock, these individuals end up being considered to be the villains of the plays and justice is served when they gain their just punishment.

The pursuit of law is essential for good governance in Shakespeare plays because it promotes the idea that individuals have to set aside their personal interests for the sake of their societies. One of the most important instances is seen in Julius Caesar, where the title character repeatedly refuses to be crowned king of Rome because it is against the laws of the state. Caesar is an individual that, despite his personal ambitions, is still willing to ensure that he attains them through the workings of the law rather than forcing them on the population (Jenkins, 2016). He is shown not to want to shake up the republican order that has been instrumental in governing Rome for centuries; resulting in a situation where despite his popularity and the desire by the population to have him crowned king, he refuses to be crowned in favor of retaining the status quo of the city. A consequence of his actions shows that there is need to ensure the advancement of law as a means of promoting good governance because it creates a situation where Caesar is put in circumstances where he is tempted to assume a role that could do away with the good governance of the city of Rome. However, his refusal to undertake the tempting task of being a king shows that Caesar is an individual that, despite being a dictator, seeks to ensure that there is the promotion of good governance in his home city. Therefore, in this play, Shakespeare promotes the idea that law can be used as a means of ensuring that there is good governance even though the instances where the society is willing to give up its interests because of the popularity of certain individuals.

Law as an instrument of oppression

Despite law being an instrument of good governance, there are instances where it can also be used as a means of promoting oppression. In Shakespeare plays, law is an important aspect of showing that situations arise where law ends up being a means of bringing about either the destruction or oppression of other individuals. One of the most significant parts of law is that it leads individuals towards taking advantage of it to ensure that their individual interests are protected over those of the weak (Omrani, 2016). Using law as a means of advancing individual interests at the expense of others often leads to the oppression of the latter. The result is that many of these individuals end up in situations where they are not able to undertake actions with as much freedom as they would like because to do so could bring about the ire of their oppressors. The role of oppressors in Shakespearean plays tends to be given to villainous rulers, as seen in the case of Claudius in Hamlet. However, there are instances where this role is given to individuals that are considered to be outsiders in their societies, as seen in the case of Shylock, a Jew living in Italy at a time when there was wide mistrust of Jews. Therefore, in Shakespeare plays, when law is addressed, it is done in such a way as to show that despite its being considered a source of good governance, it is also a means through which oppression can be brought about in society; essentially being an instrument of injustice.

Hamlet is one of the most significant Shakespearean plays that address the issue of law as an instrument of oppression. This is especially the case considering that the title character, Hamlet, is a victim of oppression despite not only being from the ruling class of his country, but also the son of the previous king (Thomas, 2014). Despite the privilege that he grows up with, Hamlet is shown to be a weak individual, whose uncle takes advantage of in order to assume the throne. Claudius, his uncle, is shown to be a conniving individual that makes use of every means possible to ensure that he not only kills his brother, but also pushes aside his nephew, who is the legitimate successor to his father, and instead assumes the throne himself. In this situation, Hamlet is depicted as being an extremely weak individual that is taken advantage of by his uncle in such a way that he ends up being denied his rights as the heir to the Danish throne. When his mother marries his uncle, it seems that Hamlet has essentially been pushed aside and he is shown to be an individual that harbors a lot of resentment for the injustice that he has suffered. The way that Claudius takes the throne is not only suspicious, but also goes against the law because the succession was supposed to go to the legitimate successor, Hamlet. Claudius’ succession to the throne shows that he has no regard for the law and that he can twist it in such a way that suits his own purposes to the detriment of his nephew.

The Merchant of Venice is another play that shows that law is an instrument of oppression rather than good governance. The case of Shylock’s false accusations against Bassanio shows that the law can be used as an instrument of oppression. Shylock’s malicious nature is brought forth through his desire to use the law as a means of destroying the life of Bassanio, an individual towards whom he holds considerable hatred for unexplained reasons. A consequence is that Shylock ends up seeking to ensure that he makes use of the law as a means of attaining his malicious objectives. When he requires that Bassanio pays him a debt by giving him a pound of flesh, Bassanio’s hands are tied because the orginal agreement between these two individuals stated that it was a requirement (Nam, 2015). Therefore, Bassanio’s hands are legally tied and Shylock makes use of this advantage over an individual that he considers his adversary to ensure that he seeks to end Bassanio’s life legally because the extraction of a pound of flesh would only mean death. The legal process that Bassanio is subjected to as a result shows that law can be made use of as an instrument of oppression rather than of good governance.

In Hamlet and The Merchant of Venice, there is a sense that law is an instrument of oppression rather than as a means of promoting good governance. Individuals are shown to be extremely vulnerable to the law to such an extent that it leads to a situation where they are placed in unjust situations. They essentially become victims of the malicious machinations of others who feel that they can take advantage of the situation for their own benefit. A result is that some characters are not only able to advance their selfish interests using the law, but there are instances where others are duped into undertaking actions that are illegal, leading to the mental oppression of the individuals involved. The case of the title character in Othello is an essential theme because it involves Othello being duped by Iago into killing his wife because of suspicion of infidelity and jealousy (Myers, 2013). Othello can therefore be considered to have committed a crime because of a moment of madness caused by Iago’s influencing him into breaking the law.

Conclusion

Law is an extremely important part of Shakespearean plays and in most cases, it dominates entire plays. A result of this situation is that it leads to the development of means through which to ensure that there is recognition of the various ways of how law can be both an instrument of good governance as well as that of oppression. The contrasts that are displayed in law show that it is essential for individuals to read Shakespeare with a mind open to the the way that legal matters end up affecting the lives of the characters within the plays. In this way, it becomes possible to make a connection of how Shakespeare is relevant to the lives of individuals in everyday life.

Performance Review of Macbeth by William Shakespeare

The performance of Macbeth by various theatrical groups has, from its beginnings to the present, been based on an attempt to replicate the original situation as was written by Shakespeare. The fact that this attempt has continued to be of immense influence in the performance of this play shows just how the individuals who are involved in it are conscious of the importance of depicting the play in an accurate way. Macbeth is one of the greatest plays and works that were created by Shakespeare for performance on stage and because of this; it has remained exceedingly popular to the present day. When this play is performed in theatres, one will find that most of the scenes remain loyal to the original play since changing any aspect of the script within Macbeth would be detrimental to it on stage. One of the most notable aspects of the play is the fact that some the characters, especially Macbeth, are portrayed in a very negative light, and he ends up doing things that are morally wrong. In the performance of the play, this happens despite these characters having the knowledge that what they are doing is wrong, they tend to do it because of the belief that they are within their rights. For the duration of most of the play, it can be seen that the various actors attempt to remain loyal to the original script often depicting the characters in the play in the most realistic manner as possible. In order to create a situation where there is a contrast of characters that leads the play to its culmination, the performance of the various actors is often crucial in the depiction of the laying bare of the original plot of the play for the audience and this keeps the latter interested in the play.

Just like in the original performance of Macbeth, the actors on the current stage performances often use the characters’ personalities, as depicted in the original script of the play, as well as other events to convince the audience that what they are viewing is the real plot of the film. By doing this, these actors ensure that they maintain the element of revelation that often serves to captivate their audiences at the high point of the play. These stage actors attempt to depict the characters in a way that is almost as exactly as Shakespeare did in his play and by being loyal to the script; the play follows the same course of events as when it is performed on the Shakespearean stage. The performance of Macbeth on stage is highly significant because it is a revelation of the true nature of human beings in the medieval Scotland as told in the sources that Shakespeare used in writing the play. One of the most noteworthy themes in the play, in any of its performances, is that of ambition and this is seen when Macbeth takes steps to take the throne of Scotland despite the fact that he is not in direct line to the said throne. The dark tone which is dominant in the play is also highly significant because it is a revelation of the dark nature of Macbeth and his wife because it shows that they are blinded by their own needs and they cease to care about the needs of those with whom they share their lives (Curran 392).

In the performance of the play, it can be said that the actors put a lot of thought in their characters especially when it comes to the physical appearance of the said characters. In performances, it is seen that the actors seem to be selected from those people who are similar in appearance to the characters that are depicted in the play. This gives the audience the opportunity to appreciate the various characters within the play and to identify with them in a more intimate way than if their appearance were changed. In addition, there is the potential that many of the audience prefer the characters on the stage to remain loyal to the original. It can therefore be said that the performances of the play are highly successful because they ensure that there is a sense of continuity from the original play by Shakespeare. It can be concluded that when the performance of Macbeth is done on stage in the current period, most of the actors tend to remain absolutely loyal not only to the appearance of their characters but also to the original script and this goes a long way in making the play authentic.

Gender and Power in the Renaissance Period

The Renaissance period is one which saw significant advancement in the arts and culture of Europe as a result of the coming to an end of the Middle Ages and the rise of the modern period. It was a period that brought with it great changes in society although the latter essentially remained a patriarchal society. The submission of women towards men was considered to be the ideal in society and even those women who had considerable power, such as Queen Elizabeth I were required to be seen to submit to the ‘wisdom’ of their male advisors rather than taking their own counsel in matters concerning the governance of the state. Women, considered to be lesser creatures than men, were denied real power because of the feeling by society that they were not equipped to wield it.

The reign of Queen Elizabeth I can be considered to be among the best in English history because she presided over great achievements. It was under her that England was able to first exercise incredible ability as a naval power that would rival other great maritime powers such as Spain and Portugal. Furthermore, for the first time in history, the country was led by a strong woman who, unlike her sister Mary before her, took an active part in government and did what she had to do to ensure the security of her kingdom. However, despite these achievements, Queen Elizabeth, as a woman, was expected to receive counsel from her male advisors; meaning that society was not ready to admit that women had the ability to lead. In a world which was dominated by religious beliefs, women were believed to be inferior to men to such an extent that they needed a constant male presence in order to make major decisions. Women were relegated to taking care of their households and were expected to constantly submit either to their fathers, husbands, or to other male members of their families. Such a situation proved to be serious especially in a situation where women, especially in English society, were for the first time taking the throne in their own right. The ability of women to lead was constantly disregarded by the patriarchal society which sought to make sure that the role of women was kept in the background rather than given prominence in the rest of society.

Additionally, despite England being ruled for over half a century by women during the Renaissance, there were really few changes in society when it came to the achievement of political power by women. This is especially the case considering that women had almost no legal rights and could therefore not participate in public life. Even Queens Mary and Elizabeth had to a large extent to submit to the will of their male advisors when it came to matters on governance; essentially continuing to propagate the male-dominated society within which they lived. It was also through the development of the norm of female dependency before and during the Renaissance that women were almost completely excluded from public life. The belief that women had to be completely dependent on the men in their lives meant that the freedoms that they had previously enjoyed were brought to an end (Deats, 2003, p.189). Women had to submit themselves to their fathers, and after marriage, to their husbands. Women who did not submit to a male authority more often than not earned themselves a bad reputation in society and ended up being marginalized. Therefore, women were expected to remain in the background of public life and were not to be heard while their male counterparts took an active role in it in addition to having almost complete authority over the women. All real political power in society remained in the hands of men and very few women were able to achieve any significant role in the governance of their society.

Moreover, it is important to note that during the Renaissance period, the major vocation of women was marriage; expected of women of all classes. One of the most significant aspects of marriage during this period was that it led to a situation where women ended up losing all their rights and freedom of action. They could not own property and had to be completely submissive to their husbands because once married, their husbands had full rights over their persons. It is most likely as a result of such circumstances that Queen Elizabeth chose not to get married because marriage would have restricted the exercise of her power. Instead, she remained unmarried for the whole of her reign since marriage would have almost automatically led to a situation where her husband became king and the main decision-maker in the running of affairs in England. Elizabeth’s decision not to get married may have been wholly political since it was a means of not only securing her reign, but also making sure that her position remained intact through denying any potential husband her birthright. In addition, she chose to use the potential of marriage as a political tool to secure the interests of England because of the significant number of suitors from powerful European countries. However, while the promise of marriage ensured the security of the interests of England, it never came to fruition because Elizabeth was able to skillfully maneuver her way out of such arrangements. Therefore, despite the expectation that she would end up getting married and submit to her husband, Queen Elizabeth was able to transcend such social expectations by choosing not to get married; retaining her political power in a male-dominated society.

Furthermore, there was a failure by men in Renaissance society to recognize the value of women in their lives. Among the values that were often ignored by men was that their societies could not continue to function without the women in them. Even though they were not allowed to take part in the social and political life of their societies, women played an active role in making sure that they projected a positive image on behalf of the men in their lives. However, despite this, women continued to be relegated to the background with those who dared to speak their minds being considered an anomaly and discriminated against by the rest of society. Women themselves may have also helped to prop up the patriarchal system which was meant to make sure that they were kept out of power because they allowed themselves to be almost completely dominated by the men in their lives. Even the perceptions they had of themselves were often shaped by the views that the men in their lives had of them (Levy, 2001, p.83). The refusal to submit to the opinions of the men in their lives meant that women had to endure isolation as well as fear from both men and women because being outspoken was considered to be against the natural order of society and deserved to be broken off the women involved. Thus, men were justified in using whatever means necessary, including violence, as a way of making sure that the women in their lives remained submissive and in the background; conforming to societal norms.

Also, the religious nature of Renaissance society played a significant role in making sure that women were kept away from power. This was especially the case where religious teachings emphasized that women had to submit to their husbands and fathers as a means of making sure that they did the will of God. However, there was often a failure to note that women were given equality to their male counterparts in the New Testament and that they took part in similar activities as the men. Despite this argument, women in the Renaissance period were not allowed to take an active part in the administration of their own property as long as either their fathers or husbands were still alive. The only way for women, especially from the upper class, to attain a degree of freedom as well as to exercise their rights was through making sure that they did not get married at all (Enterline, 1999, p.25). As seen in the case of Queen Elizabeth above, women were able to achieve a level of independence by not having men in their lives because under such circumstances, they did not have to cede their rights. While this may have been the case, Elizabeth was still required, to an extent, to be seen to submit to the counsel of her male advisors because of the common belief at the time that women had no political sense and that only men could be able to take part in it without the involvement of emotion. It is as a result of such perceptions that it became possible for a great number of women to be kept out of public life with those who spoke their minds being described in derogatory terms.

 However, while it was uncommon for women in the Renaissance to participate in public life, there were instances where some of them were able to privately influence the opinions of their sons and husbands. Women were able to exercise their influence through pushing the men in their lives to adopt their views; leading to a situation where these women, through their husbands, were able to push their own agenda in society forward. Therefore, while not having any real political power, women were able to bring about diverse changes in their societies either through the men in their lives or their actions which can be considered to have been acts of protest. In Shakespeare’s The Rape of Lucrese, Lucrere, the main character, ends up committing suicide as a result of being raped by Tarquin and it is as a consequence of this suicide that the populace of Rome overthrows the Tarquin dynasty and becomes a republic (Kirkland, 1999, p.660). The depiction of the actions of women having an influence on the course of society in this play shows that despite the discrimination that they faced when it came to public life in the Renaissance period, there were instances where they had a profound impact (Shakespeare, 1997, 2.3.259-60). Renaissance writers, however, seem not to consider the actions of these women to have been conscious actions and instead, their consequences were indirect and not intended. The recognition of the role of women in public life remained limited in the Renaissance and these continued to be relegated to the background in the belief that women had no constructive place in male-dominated society and had to submit to men.

In addition, Renaissance literature shows a majority of women as being completely dedicated to domestic chores while the men got involved in public life. In Lucrere, the title character is shown to be an individual who is highly proficient in domestic tasks as well as being able to make sure that she undertakes tasks that are essentially feminine. However, there is the propagation of the idea that women are weak individuals and need constant male protection in order to be safe. In this case, Lucrere is shown to be an individual who, despite her proficiency in domestic tasks, is neither able to protect herself or the home from an invasion by the stronger Tarquin (Shakespeare, 1997, lines 232 - 238). The violation of her body by Tarquin and her devastation afterwards is a sign of the fragility of women and the need for them to have male protection. Lucrere’s lack of male protection at the time of her rape shows her vulnerability because there was no one to stop Tarquin from doing such a vile act (Kelemen, 2005, p.151). Lucrere’s rape can also be considered to be a means of showing the power of men over women in all social matters because it is women who have to submit to the will of men. It is also a sign of the unwillingness of the patriarchal system to recognize that women are the equals of men and that they have a right to have a place in public matters. The subjugation of women to the will of men in society is a means of the latter exercising their power and dominance over women in such a way that it propagates the status quo.

Also, upper class women were often used for the purpose of advancing the interests of their families. These women were married off to more powerful and affluent families in order to form alliances with them. This is especially the case in Renaissance European countries where fathers were the ones who made decisions concerning who their daughters could marry in a bid to secure useful alliances for their families. A famous example is that of Pope Alexander VI who made use of his daughter Lucrecia as a means of solidifying alliances with powerful Italian dynasties when it was convenient for him. The various marriages that Lucrecia got in and were annulled were for political purposes because they ensured that the wealth and power of the Borgia family were maintained. Therefore, while such women as Lucrecia got more opportunities for mobility that other women of their time, they still had to submit to the will of their fathers for the sake of their families. Furthermore, they were not able to gain significant power despite their mobility because they had to submit to the will of their husbands so that they had to conform to the ideal of being the caretakers of the household. As a result, a major theme of Renaissance literature was the subjugation of women because they were not often prominently featured in the said literature, and if they were, their role was supplementary. Thus, women were depicted as fragile individuals whose role in society was in the periphery and that their involvement in public affairs would lead to chaos.

Likewise, women were denied a voice in society because of the belief that they were inferior and that they were emotional individuals who did not have the capacity to think rationally (Carrera, 2005, p.63). Women who would have been rulers in their own right, such as Maria-Therese of Austria could not achieve real power because they were expected to submit to their husbands. Maria-Therese’s husband, Joseph, is the one who took over control of the Austrian Empire when her father died while she took on a more subordinate role. The result of such circumstances was that women ended up being denied their inheritance and property rights by their husbands; making it more difficult for them to advance in society than their male counterparts. Even in those situations where women found themselves to be unmarried, they were expected to seek a close male relative to not only protect them, but also to manage any wealth that they might have. Women in the Renaissance period, as reflected in its literature, were considered to be essentially weak individuals who could not be trusted to govern their own affairs and instead had to make sure that they placed themselves under the protection of the men in their lives in order to achieve a level of security. The enforcement of the masculine dominance of society came about as a result because women ended up being largely accepted as the lesser of the members of society while at the same time having to endure being denied all the rights that were accorded to men. Female monarchs such as Queen Elizabeth did not seek to change the status quo and instead sought to propagate it; making it possible for the patriarchal system to perpetuate itself.

In conclusion, women were denied real power because of the belief in society that they were not equipped to wield it. Despite this perception, as shown in the discussion above, the reign of Queen Elizabeth I can be considered to be among the best in English history because she presided over great achievements. Additionally, during her reign, there were really few changes in society when it came to the achievement of political power by women since the major vocation of women was marriage. Furthermore, there was a failure by men in Renaissance society to recognize the value of women in their lives. This is also the case where the religious nature of Renaissance society played a significant role in making sure that women were kept away from power. However, there were instances where some of them were able to privately influence the opinions of their sons and husbands. Also, upper class women were often used for the purpose of advancing the interests of their families; hence greater mobility for them through marriage. Finally, women were denied a voice in society because of the belief that they were inferior and that they were emotional individuals who did not have the capacity to think rationally.

References

Carrera, E. 2005, “The Spiritual Role of the Emotions in Mechthild of Magdeburg, Angela of Foligno, and Teresa of Avila.” The Representation of Women’s Emotions in Medieval and Early Modern Culture. Ed. L. Perfetti. Gainesville, FL: UP of Florida.

Deats, S. 2003, "The 'Erring Barbarian' and the 'Maiden Never Bold': Racist and Sexist Representations in Othello." Women, Violence, and English Renaissance Literature: Essays Honoring Paul Jorgensen. Eds. L. Woodbridge and S. Beehler. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies.

Enterline, L. 1999, "What 'Womanhood Denies' the Power of 'Tongues to Tell'." Shakespeare Studies, vol. 27, pp. 25-36.

Kelemen, C. 2005, “Images of Passion, Rape, and Grief: A Comparative Analysis of Shakespeare's Rape of Lucrere and Titus Andronicus.” Hungarian Journal of English and American Studies, vol. 11, no. 1, pp. 151-73.

Kirkland, L.R. 1999, “To End Itself by Death: Suicide in Shakespeare’s Tragedies.” Southern Medical Journal, vol. 92, pp. 660-66.

Levy, E. 2001, “The Problematic Relation between Reason and Emotion in Hamlet.” Renascence: Essays on Values in Literature, vol. 53, no. 2, pp. 83-95.

Shakespeare, W. 1997. Othello (Arden Shakespeare: Third Series). New York: Routledge.

Shakespeare, W. 1997. The Rape of Lucrere (Arden Shakespeare: Third Series). New York: Routledge.

Literary Devices in Hamlet

In Hamlet, Shakespeare uses various literary devices to enhance the different characteristics in the play. Among the most significant devices that he uses include metaphors, tone, style and motifs. The use of these devices is extremely significant in the play since it builds the characters within it as well as the various themes which are revealed.

Metaphors

In the play Hamlet, there are plenty of instances where metaphors can be found and they are used to reveal the feelings of the main character concerning those who are around him. Among the metaphors which are used in the play is when Hamlet states, "My father's brother, but no more like my father than I to Hercules”(Act 1 scene 2). Later on, he further states, "My fate cries out, and makes each petty artery in this body as hardy as the Nemean lion's nerve." The metaphors which are mentioned above are used by the author of the play to reveal that despite the fact that Claudius, Hamlet’s uncle, had killed his brother to attain the throne, they were extremely alike to each other. It shows Hamlet’s belief that both his uncle and father were men who valued their own power more than those people who were around them. It is because of this that eventually, the both came to their downfall because had they valued their people, then the tragic events which took place in the play would not have happened. Another important metaphor that is used in the play is that related to the cannon fire which accompanies the king’s toasts and this helps to show that Claudius, the king, is united with the land that he rules. In reference to the cannon fire, Hamlet states, "…or that the Everlasting had not fix'd his canon 'gainst self-slaughter!" (Act 1 scene 2). This is used to express Hamlet’s wish that his uncle Claudius would turn into a cloud (a play with the name Claudius) so that when the cannons shot into that cloud, it would be able to kill him. This would in essence freed Hamlet from his promise to his father’s ghost that he would kill Claudius to avenge his death.

Tone

When one considers the tone of this play, one would say that it is extremely dark. This is especially because of the fact that almost all the characters within it are either thinking dark thoughts or are plotting to commit evil things. From the very beginning of the play, we see that there is plenty of anxiety and uncertainty concerning the events that are taking place or are likely to take place. The mood in which Hamlet is put after talking to his father’s ghost is extremely dark, and those who know him come to believe that he is going mad. This dark mood is also transmitted to those who are around him and their actions, either directly or indirectly, reflect the darkness which is in the play. The soliloquies which Hamlet has concerning the dark aspects of life such as betrayal and mortality are some of the things which contribute to the tone of the play. However, from the first line of the play when the guard, Bernardo yells, “Who’s there!” (Act 1 scene 1) the dark tone of the play is set. It is later revealed that this may have been an expression of the anxiety which the guards felt after seeing the ghost of their former king several times during the nights.

Style

One of the aspects of style that is revealed when one reads Hamlet is the use of verse among the main characters when they speak. These characters often use words which have an unaccented syllable followed by an accented one. This creates a rhythmic pattern in their speech and it can be said that Shakespeare used this style of writing in order to keep the attention of the audience on the play and the characters within it. An example of the use of verse in the play is in Act 1 scene 2 when Hamlet states, “O, that this too too solid flesh would melt, Thaw and resolve itself into a dew!” When one considers Hamlet’s soliloquies, one will find that he often speaks in a formal tone, and this is used to reveal that he comes from the nobility. The fact that verse is used in the play is a way for Shakespeare to separate the nobility from the commoners, who often speak in prose, not seeming to use the formal ways of the former. When Hamlet communicates with the commoners who are his friends, he also speaks in prose. For example, when he speaks to Rosencrantz and Guildenstern, he says “….how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel!” (Act 2 scene 2). This can also be used to reveal Hamlet’s character as being a humble man despite the fact that he is the prince of his country. 

Motif

Throughout the play, the motif of incest is alluded to especially when there are conversations concerning the relationship between Claudius and Gertrude. These allusions stem from the way these two are referred to in conversations between Hamlet and his father’s ghost. One gets the sense that the marriage between Claudius and Gertrude is forbidden and that their being united is an act of incest. These two were previously brother- and sister-in-laws and despite this, with the death of Gertrude’s husband, she chooses to be with her husband’s brother. In addition, the way Laertes speaks of his sister Ophelia, especially after her death has overtones of incestuous desire within it. This desire is seen in sexually suggestive terms and in action when as Ophelia is being buried, Laertes jumps into her grave and holds her. One of the most revealing suggestion of incest in the play is the obsession which Hamlet has with the sex life of his mother and his uncle. Another motif that can be seen in the play is that of misogyny and this is seen through Hamlet’s reaction to his mother’s marriage to his uncle. The disappointment and abandonment which he feels leads him to come to look down upon women as mere weaklings. This acts as an inhibitor to the relationships which Hamlet has with the women in his life since he considers them to be frail creatures that cannot be trusted. The hatred towards women that Hamlet feels is what brings him to tell his mother, “Frailty, thy name is woman” (Act 1 scene 2).

Significance

The play is highly significant because it is a revelation of the true nature of human beings in the world. One of the most noteworthy themes in the play is that of ambition and this is seen when Claudius takes steps to eliminate his own brother so that he can not only take his throne but also his wife. In addition, once it is revealed to Hamlet that it is his uncle, who killed his father; his main ambition in life is to ensure that he takes revenge on Claudius on behalf of his father. The dark tone which is dominant in the play is also highly significant because it is a revelation of the dark nature of human beings. Human beings are often blinded by their own needs and they cease to care about the needs of those with whom they share their lives. This can be seen through Gertrude’s reaction to her son’s dark mood when she ends up believing that he is going mad. If only she had thought to dig deeper into her son’s thoughts, perhaps the real reason for his dark mood would have been revealed and as a result, the tragic events at the end of the play would have been avoided. It can, therefore, be said that the play is significant since it reveals the true nature of the life which human beings have to live.

 References

Shakespeare, William. Hamlet. Farnham, United Kingdom: Scolar Press, 1969.

The Performance of Macbeth

The performance of Macbeth by various theatrical groups has, from its beginnings to the present, been based on an attempt to replicate the original situation as was written by Shakespeare. The fact that this attempt has continued to be of immense influence in the performance of this play shows just how the individuals who are involved in it are conscious of the importance of depicting the play in an accurate way. Macbeth is one of the greatest plays and works that were created by Shakespeare for performance on stage and because of this; it has remained exceedingly popular to the present day. When this play is performed in theatres, one will find that most of the scenes remain loyal to the original play since changing any aspect of the script within Macbeth would be detrimental to it on stage. One of the most notable aspects of the play is the fact that some the characters, especially Macbeth, are portrayed in a very negative light, and he ends up doing things that are morally wrong. In the performance of the play, this happens despite these characters having the knowledge that what they are doing is wrong, they tend to do it because of the belief that they are within their rights. For the duration of most of the play, it can be seen that the various actors attempt to remain loyal to the original script often depicting the characters in the play in the most realistic manner as possible. In order to create a situation where there is a contrast of characters that leads the play to its culmination, the performance of the various actors is often crucial in the depiction of the laying bare of the original plot of the play for the audience and this keeps the latter interested in the play.

Just like in the original performance of Macbeth, the actors on the current stage performances often use the characters’ personalities, as depicted in the original script of the play, as well as other events to convince the audience that what they are viewing is the real plot of the film. By doing this, these actors ensure that they maintain the element of revelation that often serves to captivate their audiences at the high point of the play. These stage actors attempt to depict the characters in a way that is almost as exactly as Shakespeare did in his play and by being loyal to the script; the play follows the same course of events as when it is performed on the Shakespearean stage. The performance of Macbeth on stage is highly significant because it is a revelation of the true nature of human beings in the medieval Scotland as told in the sources that Shakespeare used in writing the play. One of the most noteworthy themes in the play, in any of its performances, is that of ambition and this is seen when Macbeth takes steps to take the throne of Scotland despite the fact that he is not in direct line to the said throne. The dark tone which is dominant in the play is also highly significant because it is a revelation of the dark nature of Macbeth and his wife because it shows that they are blinded by their own needs and they cease to care about the needs of those with whom they share their lives.

In the performance of the play, it can be said that the actors put a lot of thought in their characters especially when it comes to the physical appearance of the said characters. In performances, it is seen that the actors seem to be selected from those people who are similar in appearance to the characters that are depicted in the play. This gives the audience the opportunity to appreciate the various characters within the play and to identify with them in a more intimate way than if their appearance were changed. In addition, there is the potential that many of the audience prefer the characters on the stage to remain loyal to the original. It can therefore be said that the performances of the play are highly successful because they ensure that there is a sense of continuity from the original play by Shakespeare. It can be concluded that when the performance of Macbeth is done on stage in the current period, most of the actors tend to remain absolutely loyal not only to the appearance of their characters but also to the original script and this goes a long way in making the play authentic.

Film Depictions of The Merchant of Venice

The Merchant of Venice is one of the greatest plays and works that was created by Shakespeare for performance on stage and because of this, it has remained exceedingly popular to the present day. When this play is made into movies, one will find that most of the scenes remain loyal to the original play since changing any aspect of the script within the movie would be detrimental to it. One of the most notable similarities between the play and the movie is the fact that some the characters in the play end up doing things that are ethically wrong, and despite having this knowledge, they tend to end up doing it because of the belief that they are within their rights. For the duration of the film, the director shows the reality of each of the characters in line with the play and he does this from the very beginning. In order to create a situation where there is a contrast of characters that leads the movie into its climax, the director of the movie chooses an appropriate time to reveal the original plot to the audience. But before the climax of the film, he uses the main characters’ personalities and other events to convince the audience that what they are viewing is the real plot of the film. By doing this, the director ensures that he maintains the element of surprise that will captivate his audience at the climax and this is almost exactly as Shakespeare did in his play and by being loyal to the script; the movie follows the same course of events as when it is performed on stage.

While the main plot of the play is retained in the movie, the latter does not completely remain loyal to the script as seen where the roles of some characters is diminished in favor of others. In most of the film versions of the play, one will notice that the roles of some of the minor characters are completely removed and that some of their lines are given to other characters. In a way, this is perhaps done with the intention of reducing the budget of making these films but by doing this, the directors of the movies being created end up watering down the original plot. The failure to constantly remain loyal to the script of the play and the removal of some characters shows that the film versions of the play are mainly concerned about making money and for entertainment. Loyal followers of the play tend not to take the film versions seriously because unlike when the play is performed on stage, the audience is not as involved. In fact, one would go as far as to state that the film depiction of the Merchant of Venice is one which makes its loyal audience to feel isolated and not as a part of the development of the plot. This isolation or detachment can be considered to be a failure of the film version of the play, and the directors of future movie depictions need to do more to ensure that their movies are absolutely loyal to the original script.

While, as stated above, the movie depictions of the play tend not to completely follow the original script, it is a fact that many of the main themes within the play are displayed. The theme of racism, for example, is as prevalent within the movie as it is within the play and this creates a lot of tension in the movie as it would if performed on stage. Both the stage and film versions of the play display a setting where Christians were most distrustful of those who practiced Judaism and this is manifested in diverse ways throughout these depictions, especially through the depictions made of the Shylock, the main Jewish character. In both of depictions, Shylock is displayed as an evil, greedy, and vengeful man whose main aim throughout the play is not only to seek revenge but also to maximize the profits of his business as much as possible. In addition, the fact that in the Venice of the Middle Ages, women were considered to be secondary citizens is also shown as seen when Portia has to dress and act as a male lawyer in order to get to defend her fiancée. In essence, both versions of the play are performed in such a way that they are able to show the importance of women in society and the need to ensure that they are not left in the background, as is the case in the play.

The movie version of the play can be seen to have been made with the play in thought especially when it comes to the physical appearance of the characters. In both the film and plays, the characters seem to be selected from those people who are similar in appearance. The directors of these representations remain loyal to the original script to the latter, with the appearance of the characters being as described in the original script. This gives the audience the opportunity to appreciate the various characters within the play and film and to identify with them in a more intimate way than if their appearance were changed. In addition, there is the potential that the most loyal fans of the play on stage are attracted to the film version not only because it remains loyal to the original script, but also because the appearance of the characters remains the same. It can therefore be said that the movie depictions of the play are a major success because they ensure that there is a sense of continuity from the original play and this enables the latter to continue in popularity as it has for the last four centuries. It can be concluded that there are more successes than failures when it comes to the depiction of the play in film because not only the script but also the depiction of the characters has remained loyal to that envisioned by Shakespeare.

Tragedy in Othello

Shakespeare wrote Othello, the Moor of Venice, at a time when the English, in their expansion around the world, encountered cultures that were different to their own and also at a time when many in Europe were feeling threatened by the continuous expansion of the Ottoman Turk empire. An analysis of the play Othello reveals it to be a tragedy: from the beginning of this play to its end, the stage is set for the eventual downfall of Othello, the main protagonist, at the hands of none other than Iago, a man who he trusts and considers a friend.  The tragedy that can be observed in this play is observed through human nature and it is possible that Shakespeare’s intention was to show that despite the differences in race, all human beings are of the same nature and display the same characteristics. In this play, Shakespeare tackles subjects such as racism, love, hate, jealousy, pride, trickery and persecution to develop his characters as well as to make the audience see these characteristics in themselves.
In this play, although it is not blatantly displayed, is the theme of persecution which eventually leads to and is a part of the tragedy. Shakespeare's depiction of persecution in this play is based on racial stereotypes that depict the Venetians as a peace loving and courteous people in opposition to the violent and warlike tendencies of the Turks and the Moors. It is because of this that the Venetian senate decides to bring in Othello, a Moor and an outsider, to help them fight their wars against the Turks. It is further seen that it is difficult for outsiders to fit into Venetian society due to the fact that despite Othello having served Venice for a very long time, he has not established any strong personal relationships with any of those around him. If he had known these people well, then he would not have been swayed by the lies that he was told by Iago, a man who he trusted blindly. It can further be said that his blind trust of Iago was an attempt to fit into Venetian society and it is quite possible that Iago was the first Venetian to ever listen to him concerning things which were not military in nature. It is against this background that the tragedy of the play is set because Iago uses Othello’s feeling of being an outsider as well as the stereotype of his race being violent to plot his downfall.
In this play, there is a focus on the differences in age and color between Othello and his wife Desdemona and Shakespeare does this to escalate Othello’s isolation from Venetian society and to display his vulnerability towards manipulation. Othello had spent many years on the battlefield and had therefore not had the time to indulge in normal society and to develop the skills necessary for understanding and surviving within it. His wife was much younger than him and this may have made him feel inadequate due to his thinking that she may have preferred somebody younger. Furthermore, she is the daughter of a senator, meaning that he had married way above his social station in Venice and this only because he was a great general and not because he was regarded as a Venetian, since despite his lengthy service to it, he was still not a native of the city. Sid Smith in his 1995 article in the Chicago Tribune states that Othello’s race and culture may also have had a part in his feeling inadequate and his having a lack of understanding of his wife because it was quite different to that of the Venetians and this leads to Iago taking advantage of this to convince him that Desdemona is having an affair, a part of his scheme to destroy Othello.
All the relationships in the play shows the vulnerability of the characters within it when these characters get personally involved with each other. Each of these relationships, centered around one character, Iago, displays the insecurities around each of the other characters, and it is these insecurities which Iago uses in his evil plot for the demise of Othello. The marital relationships between the various characters in this play show their vulnerability because they bring out the best hopes and the worst fears of the characters involved. Othello’s marriage to Desdemona shows that although two people can truly love each other, the need for one or both partners to have control over the other can destroy such a relationship and will instead cause heartache and turmoil in their lives.
The tragedy in this play is based on Iago’s attempt to destroy every bit of happiness that Othello has by gaining psychological and emotional control over those people who are around Othello or are closely associated with him. Iago’s actions can only be compared to the Christian depiction of the devil because he not only wants to destroy Othello but also everything and everyone he values, without any logical explanation except a vague one in Act I line 60 when he states “I am not, what I am.” Shakespeare uses Iago’s character to show that is a very dangerous thing to believe completely in what anybody tells you without finding out all the facts for oneself. Iago skillfully used his relationships with the other characters in the play to manipulate their emotions and desires to suit his purposes. If Othello had been willing to listen to all the parties involved as Iago’s pawn in the makings of his downfall instead of listening only to Iago, then the tragedy that occurred would not have happened.
In conclusion, the play Othello can be considered, from its very beginnings to have the makings of a tragedy. All of Iago’s machinations against Othello come to fruition at the end of the play when Othello kills his wife due to his belief that she was cheating on him, something which he has not proven to be true. When Iago’s wife Emilia confesses her husband’s scheme against him, Othello kills himself due to the regret and shame he feels for killing his innocent wife. Furthermore, the play also ends in tragedy for Iago, whose deeds are eventually exposed and he is taken away to be tortured and most likely to be eventually killed. Therefore, the events of this play end in tragedy not only for the protagonist, but also for the antagonist.