Professor Little briefly mentioned some key facts in class about Coriolanus and I think they may show up as IDs.
Around 509 B.C., The Etruscans were in charge of Rome. At that time, Lucius Tarquinius Superbus was in power and his son Sextus Tarquinius (Tarquin) raped the Roman noblewoman Lucrece. She told her brother, Lucius Junius Brutus, who raped her and she killed herself. They put her body in display and talked about how she was raped. The Romans, led by Brutus, rose up against the tyrants and founded the Roman Republic. Coriolanus was one of the heroes that overthrew the tyrants. The Play also focuses on the forgotten story of Lucrece but Shakespeare brings it back.
Irvin Liu
Discussion 1E
Showing posts with label Section 1E. Show all posts
Showing posts with label Section 1E. Show all posts
Saturday, December 6, 2008
Thursday, December 4, 2008
Nostalgia in Antony and Cleopatra
One of the main themes Prof. Little touched on was the idea of nostalgia, or longing for a Rome which the characters once had, as if the they are looking to go back to an era in which things worked successfully in Rome. The problem with this is that, there is no way to ever reach something that has happened in the past; it no longer exists. This can be seen as Shakespeare’s critique of nostalgia, in that he is blatantly showing the audience how reaching for something in the past ultimately leads to destruction. The character of Ceaser acts as the one who reaches most drastically for this idea of an old Rome. His “Modena Speech” in Act 1, Scene 4 acts as the major nostalgia scene in that Shakespeare reverts back to a time in history when Antony followed the way of the Roman lifestyle, or the virtus. Furthermore, Ceaser is projecting this idea of a failed Rome onto Antony in that he crossed over into a more feminine or civitas world, preventing them from ever reaching that perfect Rome of the past.
Ashley Wynn
Ian Hoch, Dis 1E
Ashley Wynn
Ian Hoch, Dis 1E
Lear's Stripped Identity
Act II Scene 4 lines 10-19 is where things begin to fall apart for Lear. In this scene King Lear and Kent have a conversation which reveals Lear's sense of himself of being a spiritual body. He is beginning to go mad and being stripped of his identity but he tries to hold on. Professor Little brought up this passage in lecture because it is important to mark it at the point where 'the storm begins' against Lear. As the play progresses we can see Lear lose more and more of his sanity. According to the theory of the King's two bodies Lear believed he had two bodies; one physical and one spiritual. He believed that if he gave up his physical body he could still maintain his spiritual body. However we learn that is not case as it causes Lear to go mad and lose his sense of identity.
Jacob Lopez
Ian Hoch
Section 1E
Jacob Lopez
Ian Hoch
Section 1E
Religious Conversion and Colonization in The Tempest
As Professor Little and other bloggers have stated, one of the key themes in The Tempest is colonization. In correlation with colonization, religious conversion seems to be another key theme. Shakespeare uses the two bumbling idiots of the play, Trinculo and Stefano, to demonstrate the futility of trying to convert other cultures to a specific religion.
In the play, Caliban is associated as one having others come in to his land and impede and his lifestyle. Stefano and Trinculo both force their ideals upon Caliban, symbolized by their alcohol. In Act 2, scene 2, the two colonizers get Caliban drunk:
"Come on your ways. Open your mouth. Here is that
which will give language to you, cat. Open your mouth. This
will shake your shaking, I can tell you, and that soundly. You
cannot tell who's your friend. Open your chaps again."
While there are other similar passages, this is the first instance in which the seemingly reluctant Caliban has alcohol forced upon him by Stefano and Trinculo. Shakespeare uses these two characters to portray how inept colonizing countries, England included, are in terms of colonizing. The colonies end up despising the colonizers, in part because their culture is destroyed.
Andrew Karcher
TA: Ian Hoch
Section 1E
In the play, Caliban is associated as one having others come in to his land and impede and his lifestyle. Stefano and Trinculo both force their ideals upon Caliban, symbolized by their alcohol. In Act 2, scene 2, the two colonizers get Caliban drunk:
"Come on your ways. Open your mouth. Here is that
which will give language to you, cat. Open your mouth. This
will shake your shaking, I can tell you, and that soundly. You
cannot tell who's your friend. Open your chaps again."
While there are other similar passages, this is the first instance in which the seemingly reluctant Caliban has alcohol forced upon him by Stefano and Trinculo. Shakespeare uses these two characters to portray how inept colonizing countries, England included, are in terms of colonizing. The colonies end up despising the colonizers, in part because their culture is destroyed.
Andrew Karcher
TA: Ian Hoch
Section 1E
Utopia and Dystopia in "The Tempest"
Professor Little brought the concept of "Utopia" up during this past week's "The Tempest" lecture.
** The English word "Utopia" comes from the Greek word "Ut Topia", literally meaning "no place".
** The term was officially coined in 1511 by Thomas Moore in his work "Utopia"; originally written in Latin and then translated into English.
** We use the word to mean a 'perfect' or 'ideal' place
** The opposite of "utopia" is "dystopia" - an example of which is Huxley's "Brave New World"
** Dystopia defines a negative or nightmarish place standing in direct opposition to utopia.
** In the context of "The Tempest", it is unclear whether we are speaking of utopia or dystopia as one man's utopia is another man's nightmare. For example, Prospero creates his perfect utopian world when he comes to the island; for Caliban, however, this same space is represented as dystopia. This, then, brings up the question "Whose play is this?" Does it belong to Prospero or to Caliban - or either?
** In a larger context, "The Tempest" might be Shakespeare's most political play; especially in its examination of the establishment of both utopias and dystopias.
** In brief, the play also explores the following: In order for any of us to have a utopia, someone must be in charge of the utopian vision; it also explores how heavily policed the idea of a "utopia" is.
** Finally, there is a very fine line between a utopian culture and an oppressive culture.
--Kate McAvoy
Section IE, Ian Hoch
** The English word "Utopia" comes from the Greek word "Ut Topia", literally meaning "no place".
** The term was officially coined in 1511 by Thomas Moore in his work "Utopia"; originally written in Latin and then translated into English.
** We use the word to mean a 'perfect' or 'ideal' place
** The opposite of "utopia" is "dystopia" - an example of which is Huxley's "Brave New World"
** Dystopia defines a negative or nightmarish place standing in direct opposition to utopia.
** In the context of "The Tempest", it is unclear whether we are speaking of utopia or dystopia as one man's utopia is another man's nightmare. For example, Prospero creates his perfect utopian world when he comes to the island; for Caliban, however, this same space is represented as dystopia. This, then, brings up the question "Whose play is this?" Does it belong to Prospero or to Caliban - or either?
** In a larger context, "The Tempest" might be Shakespeare's most political play; especially in its examination of the establishment of both utopias and dystopias.
** In brief, the play also explores the following: In order for any of us to have a utopia, someone must be in charge of the utopian vision; it also explores how heavily policed the idea of a "utopia" is.
** Finally, there is a very fine line between a utopian culture and an oppressive culture.
--Kate McAvoy
Section IE, Ian Hoch
The "Emptiness" of the stage
"And my poor fool is hanged! NO,no, no life?
Why should a dog, a horse, a rat have life,
And though no breath at all?"
King Lear (Lines 311-313) Bevington Ed.
The above quote emphasizes that the world does not have a sense of morality or judgement that it acts upon humanity. This statement in turn breaks down other fallacies of the world. If there is no universal morality, there need not be any notion that hidden hands are pulling strings, and any belief or faith in a diety is un founded because the world is empty. Any significance we live in life is what we give it.
The class became depressed with the aforementioned, but i think it is the most positive message Shakespeare could have given us. If the world is empty, then it is up to our individual selves (BIG emphasis on "individual")to make life what ever we want- of course with respect to humanity as a whole.
Jose "Abel" Gonzalez, SECTION 1E
Why should a dog, a horse, a rat have life,
And though no breath at all?"
King Lear (Lines 311-313) Bevington Ed.
The above quote emphasizes that the world does not have a sense of morality or judgement that it acts upon humanity. This statement in turn breaks down other fallacies of the world. If there is no universal morality, there need not be any notion that hidden hands are pulling strings, and any belief or faith in a diety is un founded because the world is empty. Any significance we live in life is what we give it.
The class became depressed with the aforementioned, but i think it is the most positive message Shakespeare could have given us. If the world is empty, then it is up to our individual selves (BIG emphasis on "individual")to make life what ever we want- of course with respect to humanity as a whole.
Jose "Abel" Gonzalez, SECTION 1E
Sunday, November 30, 2008
The Empty Space
Professor Little has several times referred to Peter Brook’s “The Empty Space” and explored the idea of how a growing sense of existential nothingness manifest itself throughout Shakespeare’s later plays.
Peter Brook’s book is based on a series of four lectures is concerned with all aspects of theatre performance, but in the chapter named “The Holy Theatre” he focuses on the theatrical experience as ritual and how it can be argued that theatre is only meaningful as long as it fulfill this role and function as a mirror that somehow expose us to a deeper, perhaps painful truth about our lives.
Though Peter Brooks is speaking about Samuel Beckett in the following quote, from Professor Little’s many examples of conflicting hope and disillusionment in Shakespeare’s drama, it seems to me to be an interesting way of thinking of the plays we have read:
“Beckett’s dark plays are plays of light, where the desperate object created is witness to the ferocity of the wish to bear witness to the truth. Beckett does not say ‘no’ with satisfaction; he forges his merciless ‘no’ out of a longing for ‘yes’ and so his despair is the negative from which the contour of its opposite can be drawn.
There are two ways of speaking about the human condition: there is the process of inspiration – by which all the positive elements of life can be revealed, and there is the process of honest vision – by which the artist bears witness to whatever it is that he has seen. The first process depends on revelation; it can’t be bought about by holy wishes. The second one depends on honesty, and it mustn’t be clouded over by holy wishes” (p. 65).
Quote from:
Brooks, Peter, The Empty Space. London: Penguin Books, 1988
Susanne Wejp-Olsen
Peter Brook’s book is based on a series of four lectures is concerned with all aspects of theatre performance, but in the chapter named “The Holy Theatre” he focuses on the theatrical experience as ritual and how it can be argued that theatre is only meaningful as long as it fulfill this role and function as a mirror that somehow expose us to a deeper, perhaps painful truth about our lives.
Though Peter Brooks is speaking about Samuel Beckett in the following quote, from Professor Little’s many examples of conflicting hope and disillusionment in Shakespeare’s drama, it seems to me to be an interesting way of thinking of the plays we have read:
“Beckett’s dark plays are plays of light, where the desperate object created is witness to the ferocity of the wish to bear witness to the truth. Beckett does not say ‘no’ with satisfaction; he forges his merciless ‘no’ out of a longing for ‘yes’ and so his despair is the negative from which the contour of its opposite can be drawn.
There are two ways of speaking about the human condition: there is the process of inspiration – by which all the positive elements of life can be revealed, and there is the process of honest vision – by which the artist bears witness to whatever it is that he has seen. The first process depends on revelation; it can’t be bought about by holy wishes. The second one depends on honesty, and it mustn’t be clouded over by holy wishes” (p. 65).
Quote from:
Brooks, Peter, The Empty Space. London: Penguin Books, 1988
Susanne Wejp-Olsen
Friday, November 7, 2008
Kent as Everyman
One character that really intrigued me in King Lear that we didn’t cover too much in lecture was the character of Kent. Professor Little did mention in our first lecture on King Lear, that Kent was a throwback to the morality plays, a kind of ‘Everyman’ character. I would like to expound on this a little bit. Kent seemed to be in some form outside of the tragedy while being very participatory in the world that suffered through it. He is exiled at the beginning of the play for speaking the truth to the King, and instead of leaving the country he stays and ends up disguising himself as a servant in order to continue serving his king. Not normal behavior for someone who is exiled, especially considering that he is possibly risking his life to do so. Then, at the end of the play after everything completely collapses, he does not partake of the tragedy, and we are left with him saying “I have a journey, sir, shortly to go; / My master calls me, I must not say no” (sc 5.3 line 320). It is as though he has just been along for the ride, or perhaps more appropriately the journey.
I have not studied Everyman in depth, but from what I understand (please correct me if I’m wrong) it is one of the Morality Plays, and the gist of what happens is that God is unhappy with the world, so he sends Death to call Everyman to judgment. This then sends Everyman on a little sort of quest to find someone who will ascend with him to reckoning. He is denied by Fellowship, Kindred, Goods etc and ends up with only Good Deeds that will be taken with him.
This seems to be significant to the character of Kent in the sense that throughout the play he has been this helping hand. And then, in the final lines play his ‘Master’ is now calling him away, when it had been previously implied by his actions that his master was the king, who is now dead. Does this mean that Kent will now follow the King into death? Or perhaps his work in that place is completed now that the journey is over? Or maybe he just has decided to move on now that his ties of loyalty to Britain are gone. It somewhat baffles me, but just like Everyman, Kent is only left with the memory of his deeds when the play is over. All of the people he had been serving, or tied to in one form or another, are now dead. He only has the memory of his actions and loyalty, and not even a single living person to be a testament to what he has done. Combine this with the fact that he does not personally suffer from the tragedy, which removes him from the tragic elements of the play, and in this way he seems to have been allowed to assume the role of Everyman within this work. An astonishingly moral character, from a Morality play at that, within this chaotic, empty and crumbling amoral universe.
Dawn Reid
I have not studied Everyman in depth, but from what I understand (please correct me if I’m wrong) it is one of the Morality Plays, and the gist of what happens is that God is unhappy with the world, so he sends Death to call Everyman to judgment. This then sends Everyman on a little sort of quest to find someone who will ascend with him to reckoning. He is denied by Fellowship, Kindred, Goods etc and ends up with only Good Deeds that will be taken with him.
This seems to be significant to the character of Kent in the sense that throughout the play he has been this helping hand. And then, in the final lines play his ‘Master’ is now calling him away, when it had been previously implied by his actions that his master was the king, who is now dead. Does this mean that Kent will now follow the King into death? Or perhaps his work in that place is completed now that the journey is over? Or maybe he just has decided to move on now that his ties of loyalty to Britain are gone. It somewhat baffles me, but just like Everyman, Kent is only left with the memory of his deeds when the play is over. All of the people he had been serving, or tied to in one form or another, are now dead. He only has the memory of his actions and loyalty, and not even a single living person to be a testament to what he has done. Combine this with the fact that he does not personally suffer from the tragedy, which removes him from the tragic elements of the play, and in this way he seems to have been allowed to assume the role of Everyman within this work. An astonishingly moral character, from a Morality play at that, within this chaotic, empty and crumbling amoral universe.
Dawn Reid
Friday, October 24, 2008
chaos vs. order
In my opinion, this is an issue that is present in all 4 of the plays. The idea of some sort of new variable coming into society and causing uproar. Specifically, in Othello, the main character of Othello is black, and the issue of race and the notion of integration causes the world around him to come unhinged. The character of Iago is threatened by this thought of racial integration and takes it upon himself to do whatever necessary, no matter how morally wrong, to keep Othello from infiltrating their society. He belives that all his actions, be they negative or positive, serve the greater good of protecting society and restoring order to Venice. And because of this, Othello kills his wife and the chaos is never truly resolved, even if the characters would like to believe everything has fallen back into place.
In my opinion, this theme of chaos versus order seems to reflect London and the death of Queen Elizabeth. She was a strong monarch for the country, especially in terms of leading the country to defeat the Spanish Armada in 1588. Her successor, James I, was a new variable however. He attempted to seriously change the way that England’s society was run, specifically with his focus on absolutism and the Basilikon Doron. Also, he had many issues with Parliament and under his reign, the country suffered financially. He instilled chaos in society by presenting all these new changes. And in turn, society reacted chaotically. A group of Catholic extremists attempted the Gunpowder Plot, which was a plan to literally explode Parliament and James I. Extremists were so fed up with the current situation of society and the monarchy that they were willing to take drastic measures, much like the characters in the plays. Their desire to overthrow the ruling classes overshadowed their concepts of morals, or what was right. Like Iago in Othello, they were willing to do whatever it takes to manipulate the situation so that they could save the country. They believed their plan would benefit the whole city and restore order, and it was worth the small sacrifices that their radical plans would cost.
Ashley Wynn
Ian Hoch, Section 1E
In my opinion, this theme of chaos versus order seems to reflect London and the death of Queen Elizabeth. She was a strong monarch for the country, especially in terms of leading the country to defeat the Spanish Armada in 1588. Her successor, James I, was a new variable however. He attempted to seriously change the way that England’s society was run, specifically with his focus on absolutism and the Basilikon Doron. Also, he had many issues with Parliament and under his reign, the country suffered financially. He instilled chaos in society by presenting all these new changes. And in turn, society reacted chaotically. A group of Catholic extremists attempted the Gunpowder Plot, which was a plan to literally explode Parliament and James I. Extremists were so fed up with the current situation of society and the monarchy that they were willing to take drastic measures, much like the characters in the plays. Their desire to overthrow the ruling classes overshadowed their concepts of morals, or what was right. Like Iago in Othello, they were willing to do whatever it takes to manipulate the situation so that they could save the country. They believed their plan would benefit the whole city and restore order, and it was worth the small sacrifices that their radical plans would cost.
Ashley Wynn
Ian Hoch, Section 1E
Thursday, October 23, 2008
The Gunpowder Plot
The Gunpowder Plot occurred in 1605 and was the conspiracy of English Catholics to assassinate King James I and the members Parliament by blowing up the House of Parliament. The plot was lead by Guy Fawkes and Henry Garnet, who authored A Treatise of Equivocation, because of James’ hostility toward Catholics. Eventually the plot was discovered by King James through an act of confession by someone involved in the conspiracy. Both Fawkes and Garnet were killed as a result of being executed. The Gunpowder Plot was a significant influence to Macbeth is its references to equivocation throughout the play and the obvious conspiracy against the King.
Irene Gonzalez
Irene Gonzalez
Iago as a moral character
The idea of morality in the play of Othello differs from the idea of ethics. According to Professor Little's lecture, Iago presents himself as the most moral character in the play; no matter how deceptive and cunning he is in his attempt to gain control of the situation. According to this idea of of Iago of being moral makes us redefine what we think is morality. In this case, Professor Little is suggesting that Iago embodies a set of moral beliefs that resemble those of the audience; no matter how unethical they may seem. The idea that morality is a social construct and allows us to view Iago as a representation of the views of 16th century British citizens. Beyond that, Iago serves as a stable character in the play because of his determination to do what he thinks is right as opposed to the flip flopping ideals of Othello who is not strong in will.
Iago warns of the troubles that a marriage between Desdemona and Othello can cause chaos in British society. According to Iago and the structure of the play, the intrigue into the private lives of Othello and Desdemona creates a sense of perversion among the audience which; as Iago warns, will turn into an inevitable homo-erotic intrigue. Iago martyrs himself to help from having this happen and therefore he is the most moral character in the sense that he rescues the situation and preserves a way of life.
Shakespeare maybe commenting on how these racist and absurd ideals in British society function that although they follow a set moral code, they seem ethically wrong in creating murder and tragedy by the end of the play. Othello causes the audiance to rethink their stance once seeing the cruelty of Iago's moral act.
Leon Khela
section 1E
Iago warns of the troubles that a marriage between Desdemona and Othello can cause chaos in British society. According to Iago and the structure of the play, the intrigue into the private lives of Othello and Desdemona creates a sense of perversion among the audience which; as Iago warns, will turn into an inevitable homo-erotic intrigue. Iago martyrs himself to help from having this happen and therefore he is the most moral character in the sense that he rescues the situation and preserves a way of life.
Shakespeare maybe commenting on how these racist and absurd ideals in British society function that although they follow a set moral code, they seem ethically wrong in creating murder and tragedy by the end of the play. Othello causes the audiance to rethink their stance once seeing the cruelty of Iago's moral act.
Leon Khela
section 1E
Machiavel
The Machiavel was discussed in Professor Little’s lecture on Othello as a stage type figure with strong ambition who will do what he must in order to achieve his goal. One who also follows the philosophy and principles established by Niccolo Machiavelli. Shakespeare's Machiavel is the villain of the play who at times will discuss his chaotic plans with the audience before he goes out and performs them. Examples Professor Little gave of these figures were Richard III and Iago. After reading Othello one can see that Iago epitomizes the figure of the machiavel quite well. Iago is one of Shakespeare's greatest villains who lets nothing stand in his way of his goal of ending the romance between Othello and Desdemona. He uses his tremendous whit and manipulative abilities to execute his plan utilizing the honor and trust he is believed to have that resulted in being referenced as "Honest Iago". Even though in the end he is caught Iago is still able to achieve his goal of bringing down the Moor and severed his marriage with Desdemona.
Jacob Lopez
TA - Ian Hoch
Discussion 1E
Jacob Lopez
TA - Ian Hoch
Discussion 1E
Ruthless Lady Macbeth
~"Yet I do fear thy nature./ It is too full o'th' milk of human kindness/ To catch the nearest way. Thou wouldst be great/, Art not without ambition, but without/ the illness should attend it"
- Macbeth Act 1, scene 5
Here in Act 1 the audience is introduced to Lady Macbeth as the unusually ruthless, masculine woman behind Macbeth. In the passage she expresses her doubt that Macbeth would be able to do what is necessary to secure the throne for himself, stating that he is not "wicked" enough and is too "human". She agrees that he has ambition but fears he does not have the will it takes to carry out the necessary murder.
Lady Macbeth is an unusually strong willed woman who pushes Macbeth to commit murder and act as an absolute ruler. This is ironic because she, being a woman, would never be able to outwardly show her ruthless ambition but possesses it nonetheless. In a way, it seems as though Lady Macbeth is responsible for the pairs success although she will never be able to gain as much respect and praise as a man would in the same situation. It is her ultimate tragedy that she will never be able to be a man, no matter how she tries to embody the character.
Jade Arvizu
- Macbeth Act 1, scene 5
Here in Act 1 the audience is introduced to Lady Macbeth as the unusually ruthless, masculine woman behind Macbeth. In the passage she expresses her doubt that Macbeth would be able to do what is necessary to secure the throne for himself, stating that he is not "wicked" enough and is too "human". She agrees that he has ambition but fears he does not have the will it takes to carry out the necessary murder.
Lady Macbeth is an unusually strong willed woman who pushes Macbeth to commit murder and act as an absolute ruler. This is ironic because she, being a woman, would never be able to outwardly show her ruthless ambition but possesses it nonetheless. In a way, it seems as though Lady Macbeth is responsible for the pairs success although she will never be able to gain as much respect and praise as a man would in the same situation. It is her ultimate tragedy that she will never be able to be a man, no matter how she tries to embody the character.
Jade Arvizu
The Jacobean Era
The Jacobean Era - Important Key Facts
-Named after James I [renamed for English rule]
-Dates: 1603-1625
-The era tries to imitate Elizabeth; it backfires
-The era over which James oversaw was a much darker era.
-James dies, Charles I comes to throne and is eventually kicked off
-1660 was the era known as the interregnum [between monarchs when parliament was ruling]
○ Prosperity of previous era isn't going to happen
○ Era of disillusionment
○ Find ourselves in the world of growing disillusionment where everything seems dead
Basilikon Doron
-Means "the kingly gift". A book about how to be a good king - James gives to his son Charles I.
-The work preaches the concept of "god on earth".
-In the work, James says that if you hide any treacherous thought, he would find it and 'cut it out'
-The work, according to James, was accidentally leaked before his arrival in England - some say he did it intentionally to see how people would respond to his doctrine of rule before on English soil
-Theory of absolutism - the notion of ruling absolutely. James is famous for saying 'there shall be no parliament'. It is the sense that kings and monarchs, like the pope were invested with two bodies
Kate McAvoy, Ian's Section 1E
-Named after James I [renamed for English rule]
-Dates: 1603-1625
-The era tries to imitate Elizabeth; it backfires
-The era over which James oversaw was a much darker era.
-James dies, Charles I comes to throne and is eventually kicked off
-1660 was the era known as the interregnum [between monarchs when parliament was ruling]
○ Prosperity of previous era isn't going to happen
○ Era of disillusionment
○ Find ourselves in the world of growing disillusionment where everything seems dead
Basilikon Doron
-Means "the kingly gift". A book about how to be a good king - James gives to his son Charles I.
-The work preaches the concept of "god on earth".
-In the work, James says that if you hide any treacherous thought, he would find it and 'cut it out'
-The work, according to James, was accidentally leaked before his arrival in England - some say he did it intentionally to see how people would respond to his doctrine of rule before on English soil
-Theory of absolutism - the notion of ruling absolutely. James is famous for saying 'there shall be no parliament'. It is the sense that kings and monarchs, like the pope were invested with two bodies
Kate McAvoy, Ian's Section 1E
Bible Versions
During lecture, Professor Little mentioned several versions of the bible and how they influenced England at the time. Here are some
14th century, The Bible was translated to English (Wycliffe)
1560: The Geneva Bible that Shakespeare would most often use
1600: There was a specific Bible written for Catholics (I wrote down Cymatine for some reason and I can't find any more references to it anywhere)
1611: King James Bible, commissioned to be translated
Irvin Liu, Section 1E 10/23/08
14th century, The Bible was translated to English (Wycliffe)
1560: The Geneva Bible that Shakespeare would most often use
1600: There was a specific Bible written for Catholics (I wrote down Cymatine for some reason and I can't find any more references to it anywhere)
1611: King James Bible, commissioned to be translated
Irvin Liu, Section 1E 10/23/08
Wednesday, October 22, 2008
Lucio as angel and devil
According to Professor Little's lecture, Lucio is a reference to light. This relates to the character of Lucio in "Measure for Measure," who stands outside of the narrative and sheds light on the play. In addition, it also correlates to Lucifer, who in a Biblical sense defied God and was cast out of Heaven, becoming better known as Satan. As a result, Lucio doubles as an angel and a devil in the play.
One example of Lucio performing both roles takes place in Act 2, Scene 2. In this scene, Isabella is pleading to Angelo to spare Claudio's life. Throughout her conversation with Angelo, she receives advice from Lucio, who gives her words of encouragement and gives her advice as to what to say without Angelo's knowledge. On the other hand, this scene bears resemblance to the serpent tempting Eve in the Garden of Eden; Lucio is perhaps egging Isabella on to further danger.
Andrew Karcher
TA: Ian Hoch
Section 1E
One example of Lucio performing both roles takes place in Act 2, Scene 2. In this scene, Isabella is pleading to Angelo to spare Claudio's life. Throughout her conversation with Angelo, she receives advice from Lucio, who gives her words of encouragement and gives her advice as to what to say without Angelo's knowledge. On the other hand, this scene bears resemblance to the serpent tempting Eve in the Garden of Eden; Lucio is perhaps egging Isabella on to further danger.
Andrew Karcher
TA: Ian Hoch
Section 1E
Friday, October 10, 2008
"Ring the alarum bell. [Alarums] Blow wind, come wrack"
It has been brought up many times now that Macbeth is a play of paradox and equivocation. One example of this can be seen in scene 5.5, during Macbeth’s exchange with a messenger shortly after receiving news of the advancing Dunsinane forest. Throughout the play up to this point, Macbeth has been trying to control his future by killing off many powerful figures, in order to get himself crowned as King. This was described in lecture as an authoritarian theme. In this scene Macbeth begins to wish that all order be done away with, so that he does not feel the pressure of the power anymore.
After being informed that forest appears to be on the move, Macbeth says
I ‘gin to be aweary of the sun,
And wish th’estate o’th’ world were now undone,
Ring the alarum bell. [Alarums] Blow wind, come wrack,
At least we’ll die with harness on our back. (sc 5.5, lines 47-50)
Macbeth is now weary of the regularity with which the sun rises each day, and he no longer wants the order and structure that comes with the life he has thrust himself into. When he says that he wishes ‘th’estate o’th’ world were now undone,’ he is saying that he wishes all order were lost, because his perception of the world no longer holds true. He then goes on to call for chaos, by summoning an ‘alarum bell,’ and ‘blowing wind’ to ‘wrack’ the environment he has created for himself. Macbeth has given up on his drive for power and authority, and turned his life over to chaos.
The presence of the weird sisters in the play brings up the question whether or not Macbeth really has control over his decisions. This passage makes it clear that he does indeed make his decisions based on his knowledge of the order of the world, and his position in life as next in line to the throne. At this point he surrenders his need for control and authority, because the world he has known no longer fits his former perception. The forest is moving, his wife has committed suicide, and the weird sisters’ predictions have all come true save one. Macbeth relinquishes his claim to power, and so the order created by authoritarianism crumbles. This paradox shows that control gained by chaos is not truly control, and the self-inflicted role that Macbeth has assumed is taken away from him.
Dawn Reid
After being informed that forest appears to be on the move, Macbeth says
I ‘gin to be aweary of the sun,
And wish th’estate o’th’ world were now undone,
Ring the alarum bell. [Alarums] Blow wind, come wrack,
At least we’ll die with harness on our back. (sc 5.5, lines 47-50)
Macbeth is now weary of the regularity with which the sun rises each day, and he no longer wants the order and structure that comes with the life he has thrust himself into. When he says that he wishes ‘th’estate o’th’ world were now undone,’ he is saying that he wishes all order were lost, because his perception of the world no longer holds true. He then goes on to call for chaos, by summoning an ‘alarum bell,’ and ‘blowing wind’ to ‘wrack’ the environment he has created for himself. Macbeth has given up on his drive for power and authority, and turned his life over to chaos.
The presence of the weird sisters in the play brings up the question whether or not Macbeth really has control over his decisions. This passage makes it clear that he does indeed make his decisions based on his knowledge of the order of the world, and his position in life as next in line to the throne. At this point he surrenders his need for control and authority, because the world he has known no longer fits his former perception. The forest is moving, his wife has committed suicide, and the weird sisters’ predictions have all come true save one. Macbeth relinquishes his claim to power, and so the order created by authoritarianism crumbles. This paradox shows that control gained by chaos is not truly control, and the self-inflicted role that Macbeth has assumed is taken away from him.
Dawn Reid
Monday, September 29, 2008
1605 (Gunpowder Plot)
In 1603, James I becomes King of England and there is a sense of among Catholics that James is not sympathetic to Catholicism. In 1605, a group of Catholics—led by Guy Fawkes—decide to blow up Parliament. The Plot is discovered, however, and the plotters are later executed. The Gun Powder Plot is an example of equivocation; Guy Fawkes and his fellow plotters choose an inexplicit method to subvert their government. Henry Garnet, a friar at the time, wrote on this equivocation, as does Shakespeare in his play "Macbeth". "Macbeth" is a play of equivocations, as seen in the opening act of the play when one of the witches says the witches shall meet again "When the battle's lost and won" (Act I, Scene I). Throughout the play the witches speak equivocally as Shakespeare underscores the superstition and mysticism associated with Catholicism.
Matt Sigel (Waldo Disc. 1A)
Matt Sigel (Waldo Disc. 1A)
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