{"id":2882,"date":"2024-08-13T15:51:20","date_gmt":"2024-08-13T15:51:20","guid":{"rendered":"https:\/\/afflatuscreations.com\/?page_id=2882"},"modified":"2024-08-13T15:56:07","modified_gmt":"2024-08-13T15:56:07","slug":"was-shakespeare-an-existential-wimp","status":"publish","type":"page","link":"https:\/\/afflatuscreations.com\/index.php\/was-shakespeare-an-existential-wimp\/","title":{"rendered":"WAS SHAKESPEARE AN EXISTENTIAL WIMP ?"},"content":{"rendered":"\t\t
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WAS SHAKESPEARE AN EXISTENTIAL WIMP ?<\/strong><\/h4>\n

\u00a0<\/p>\n

Robert Maddox-Harle \u00a9 1998 & 2024<\/p>\n

\u00a0<\/p>\n

In this paper I discuss the way in which Shakespeare explores the implications of such human traits as lust, greed and envy.\u00a0 The acts of violence we perpetrate upon ourselves and one another indicate that there may be no guarantees of benevolent human action.\u00a0 I will look at \u201cMeasure for Measure\u201d<\/em> and \u201cThe Merchant of Venice\u201d<\/em>, these two plays seem to me to address the problem of benevolent human action at a more complex level than many of Shakespeare’s other plays.<\/p>\n

\u00a0Before discussing the plays in detail it is necessary to briefly define what we mean by benevolent human action. Benevolent means, \u201cto do good without thought of profit\u201d.\u00a0 This implies selflessness in the one being benevolent.\u00a0\u00a0 It is my belief that there is no such thing as, purely, benevolent human action.\u00a0 There is always a self-interest motive, generally unconscious, behind all human actions. This idea, as theory, was expounded by Hobbes in \u201cThe Leviathan\u201d<\/em>, and as the discipline of Evolutionary Psychology matures, the idea becomes more and more compelling (see works by E.O Wilson, J. Diamond, D. Dennett and R. Dawkins).<\/p>\n

The ideology of Christianity, underpinned by Platonism (eternal \u201cForm of the Good\u201d), would argue strongly against this position.\u00a0\u00a0 However, I wonder how many people would perform benevolent Christian acts of goodness if they believed there was no reward.\u00a0\u00a0 The reward of course is survival <\/em>of\u00a0 the individual, either immediate or for eternity (everlasting life).<\/p>\n

In both the plays under discussion Shakespeare devised closures which seem to indicate that there is<\/em><\/strong> a guarantee of benevolent human action.\u00a0 \u201cMeasure for Measure\u201d<\/em> ends with the various couples getting together \u201cnicely\u201d.<\/em> \u201cThe Merchant of Venice<\/em>\u201d ends with justice seeming<\/em> to be done, and the couples getting together, again in Mills and Boon style.\u00a0 I would charge Shakespeare with being an \u201cexistential wimp\u201d, no less a genius for this though.\u00a0 Calling these saccharine<\/em> sweet closures, comic, only gives my claim more validity.\u00a0 Shakespeare juxtaposes comic and tragic action to give the audience, and perhaps himself, some emotional relief when the going gets too heavy.\u00a0 For me, all is not well that ends well.\u00a0 Life experiences and history show us, if we have the fortitude to look honestly, that life rarely ends as Shakespeare would like us to believe.<\/p>\n

Sartre and Brecht, like Shakespeare, explore greed, manipulation, survival and such but do not let us leave the theatre with a \u201cnice, warm, fuzzy feeling\u201d, they force us to leave with the blood on our<\/em> hands.\u00a0\u00a0 This does not make for vastly popular theatre though, perhaps Shakespeare’s genius was, that by giving the audience a happy or justified ending, he ensured the continuing popularity of his works.<\/p>\n

It is argued that myths and fairy-tales allow us to venture into chthonian realms and experience vicariously the dangers that threaten our survival.\u00a0 Similarly Shakespeare’s plays, like the myths he used as source material, allow us to experience these human sins(?)<\/em> that are latent in us all.\u00a0 When we leave the theatre, Shakespeare wants us to do so feeling that our sins may be forgiven and that we subliminally accept the puerile, subservience required of us by a Christian monarchy that is his underlying ideology.<\/p>\n

It is important for this discussion to understand Shakespeare’s ideology, because traits such as, greed, pride and so on which are considered simply aspects of human character from an Eastern perspective, are sins from a Christian perspective.\u00a0 As Nosworthy points out St. Luke’s Gospel 6.36-42. is present in a number of Shakespeare’s plays and is the main source for \u201cMeasure for Measure\u201d<\/em> (Nosworthy 1969.\u00a0 p.25-26).<\/p>\n

In\u00a0 \u201cMeasure for Measure\u201d<\/em> two characters, Isabella and Angelo, stand out as being the most sinful<\/em> and who also have the greatest opportunity of being benevolent.\u00a0\u00a0 The Duke’s pride prevents him from being a good leader so to retain his good image with the Vendettas he entrusts Angelo with absolute power. Angelo is to rid the city of fornication and selects Claudio to make an example of. Angelo’s adherence to the letter of the law.\u00a0 This makes his later crimes even more abhorrent.\u00a0 He is not only overcome by lust for Isabella: he commits the same crime for which he has condemned Claudio; he is willing to kill a man if his lust is not satisfied; he is willing to \u201cdeflower\u201d a virgin attached to a religious order; and he attempts to satisfy his lust by coercion, as Trigg mentions this would legally be rape (Trigg. 1990. p.73).\u00a0 At no time does Angelo show benevolence towards Claudio nor to Isabella, whom he purports to love (after meeting her for a few minutes).<\/p>\n

Through the swapping tricks, Mariana for Isabella and a pirate’s head for Claudio’s, some of Angelo’s crimes in the end were not really committed. However, when Angelo confessed his sins, \u201cBut let my trial be mine own confession\/ Immediate sentence, then, and sequent death\u201d he did not know of these tricks.\u00a0 So in intent and thought, and I would add in the eyes of God, he committed them all.\u00a0 So Shakespeare, echoing Christ, forgives Angelo and expects his audience to do the same.\u00a0\u00a0 This play would be a travesty for a Muslim or a Jew as both these faiths require, not a confession but, \u201can eye for an eye…\u201d.<\/p>\n

Isabella’s actions are somewhat more complex than Angelo’s.\u00a0 Her refusal to yield to Angelo’s demands, on religious chastity grounds, has been the subject of much debate.\u00a0 As Nosworthy shows, she really did not have a choice, mere physical death is a trifle compared to eternal damnation (Nosworthy 1969. pp.30-31).\u00a0 This argument holds only if Isabella is absolutely devoted to the \u201cOrder of Saint Clare\u201d, which as we find out in the final scene, to our horror, she is not. Isabella drops her self-obsessed \u201cholier than thou\u201d chastity routine, backs out of her marriage to Christ to marry the Duke, allowing her own brother to die.\u00a0 Because it suited her self-interest, at the time, shows that there really are no guarantees of benevolent human action.\u00a0 Similarly, Isabella is subjected to Claudio’s self-interest and greed when he cares not for his sister’s dilemma but only for his own life.<\/p>\n

Isabella pleads for Angelo’s life by insisting that, \u201cHis act did not\u00a0 o’ertake his bad intent,\/And must be buried but as an intent\/That perished by the way. Thoughts are no subjects,\/Intents but merely thoughts\u201d.\u00a0 This, coming from a supposedly religious novice is bizarre, impure thoughts are \u201cas subjects\u201d in Christ’s (God\u2019s) eyes.\u00a0\u00a0 Further, Isabella helped the Duke set-up Angelo for her supposed own rape, on the very weak grounds that Mariana was already betrothed to Angelo.\u00a0 Fie, Fie, Isabella is an evil self-serving character!<\/p>\n

Shakespeare cleverly explores the way lust, greed and pride interact and drive humans to act in hypo-critical, self-serving and non benevolent ways.\u00a0 However, having exposed these human sins<\/em> he then contradicts existential reality’s non-benevolence with the incongruous, over benevolence of the play’s closure.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Even though Shakespeare had to be mindful of heresy both in regard to the Church and the Monarchy this play could have ended very differently.\u00a0 The final scene at best weakened his expos\u00e9 of lust and greed and at worst rendered it ineffectual.<\/p>\n

Turning now to \u201cThe Merchant of Venice\u201d<\/em> we find two similarities.\u00a0 Both plays have nice, respectable endings and both use a rather weak scheme to turn the plot around: condoning the fornication with Mariana because she was already Angelo’s; and the legal point of law regarding the \u201cpound of flesh\u201d.\u00a0\u00a0 For me \u201cThe Merchant of Venice\u201d<\/em> is one of Shakespeare’s most enjoyable plays but more importantly, I believe it is a literary work of great significance.\u00a0 This play deals with a fundamental issue that underpins the last two thousand years of Western civilisation, that is, the antagonism between Jew and Gentile.\u00a0 This conflict between the Old Law and the new is far more complex than that of a dispossessed people and a difference about religion.<\/p>\n

Shakespeare had no knowledge of what would happen in the twentieth\u00a0 century regarding the Holocaust; as Code notes there were very few Jews in England in the sixteenth century and Shakespeare probably never met one (Code. 1990. p.27).\u00a0 This makes Shakespeare’s ability to tap into and explore human character all the more profound, though not necessarily desirable.\u00a0 Not having personal connections with a particular group of people nor individuals within the group is the perfect prerequisite for upholding a received stereotypical image.<\/p>\n

Shakespeare’s depiction of Shylock not only continues the Jew stereotype but helps recreate<\/em><\/strong> it for future generations.\u00a0 As the dominant plot of the play it is a vehicle for Christian propaganda.\u00a0 In \u201cMeasure for Measure\u201d<\/em> Christian ideology is rather subtle and covert, emphasising the gentle side of Christianity, meekness and loving your enemy.\u00a0 In \u201cThe Merchant of Venice\u201d<\/em> the blatant hypocrisy of Christianity is overtly evident.\u00a0 The hypocrisy involves on the one hand, forgiving your enemy, on the other, killing or punishing them if they transgress or will not accept Christianity’s doctrines.<\/p>\n

In this play Shakespeare explores hatred, pride and mercy specifically. Although the Princes of Morocco and Aragon lust after Portia it is a very controlled, proper lust.\u00a0 When they fail to solve the casket riddle they just leave without a fuss.\u00a0 Portia is the dignified, correct<\/em> lady, exhibiting none of the strumpet like lust of Cleopatra nor the manipulative lust of Angelo.\u00a0 Portia’s romantic subplot enables Shakespeare to focus on the intransigent non benevolence of Shylock.<\/p>\n

Gratiano virtually pleads with Shylock to show mercy, \u201cCan no prayers pierce thee?\u201d And The Duke, \u201cHow shalt thou hope for mercy, rend’ring none?\u201d The Duke,\u00a0 Bassanio, Antonio and Gratiano seem to represent all the good things of Christianity.\u00a0 However, the hypocritical Shakespeare shows Shylock absolutely no mercy nor benevolence.\u00a0\u00a0 Shylock is made a scapegoat upon which the \u201csqueaky clean\u201d, both psychologically and physically, Christians may vent their collectively suppressed hatred.<\/p>\n

Shylock is no less hateful though, throughout the play at every opportunity he expresses his hatred for Christians, \u201cI hate him for he is a Christian\u201d, \u201c…but I will not eat with you, drink with you, nor pray with you\u201d.\u00a0 When Warren Mitchell in the BBC production of the play says these lines, they take on an added vitriolic power and hatred that chills the audience to the bone.<\/p>\n

Power issues are not overtly prominent in this play, the control of Portia’s future by the father’s casket test and even Jessica’s oppression by Shylock are minor issues.\u00a0 The major covert business of Shakespeare is to strip Shylock of all power, to make him physically (financially) powerless and to psychologically obliterate his Jewishness.\u00a0 In the court scene as part of Shylock’s sentence, Antonio insists that, \u201cHe presently (instantly) become a Christian\u201d.\u00a0 Forcing a person, by law, to adopt a religious belief contrary to their wishes is itself a most heinous crime.<\/p>\n

When Portia, as a male, says:\u00a0 \u201cThe words expressly are \u2018a pound of flesh.\u2019\/ Take then thy bond, take thou thy pound of flesh \/But in the cutting it, if thou dost shed\/One drop of Christian blood, thy lands and goods\/Are by the laws of Venice confiscate\u201d.<\/p>\n

\u00a0<\/p>\n

Shylock is further psychologically defeated.\u00a0 Because Shylock’s whole \u201cmerciless Business\u201d is based on his professed but obviously insincere adherence to the letter of the law.\u00a0\u00a0 After he realises he is beaten, he says he will accept the offer of thrice the amount due, after refusal of this, he then says, he will be content with the principal only.\u00a0\u00a0 This grasping at any payment shows Shylock to be motivated by greed, not simply adherence to the law.<\/p>\n

\u00a0The final annihilation of Shylock is when half the money is directed by Antonio to Jessica and Lorenzo.\u00a0 This finalises the loss of power of father over daughter which started when Jessica left home (with Shylock’s jewels).<\/p>\n

After the minor subplot, of giving away then regaining the betrothal rings, everyone pairs off and all are happy.\u00a0 All except the \u201cevil\u201d Jew who has been persecuted by Christian hypocrisy.\u00a0 Whether Shylock’s actions are right or wrong is not really the issue, the play portrays him as an evil sinner and shows him none of the benevolence that \u201cMeasure for Measure\u201d<\/em> bestows on Angelo, Claudio or Juliet.<\/p>\n

\u201cThe Merchant of Venice\u201d<\/em> highlights a further Christian dichotomy between homosexuality\/transvestism and \u201cproper\u201d heterosexual betrothal and marriage.\u00a0 As Jardine explains, boys played the female roles in all Elizabethan theatre (Jardine, 1983. p.9).\u00a0 This is not unusual in itself as this practice is widespread in India, Asia and Japan.\u00a0 However, the \u201cfriendship\u201d between Bassanio and Antonio is a little too perfect for me.\u00a0 Antonio is smitten by Bassanio and will do anything for him, include die if necessary.\u00a0\u00a0 This is perhaps the only instance in the main part of the plays where a degree of benevolence is guaranteed, however, Antonio is only benevolent to Bassanio because he loves him.<\/p>\n

\u00a0Bassanio gives \u201cthe learned doctor\u201d Portia’s ring for saving Antonio, then when he later recovers the ring and learns Portia was the \u201candrogynous\u201d doctor he says, \u201cSweet doctor, you shall be my bedfellow.\/When I am absent then be with my wife\u201d.\u00a0 This latter part of the last scene is riddled with high camp<\/em> sexual innuendo and double entendre mixed with sexual power games.\u00a0 As Paglia insists, \u201cEvery gesture of love is an assertion of power. There is no selflessness or self-sacrifice, only refinement of domination\u201d (Paglia, 1990.\u00a0 p.274).\u00a0\u00a0 Although these two plays have none of the bloody, murderous action of Hamlet and Macbeth, they explore the more subtle ways greed, lust and hatred drive humans to action. The closures of both plays lull us into believing that we can rely on human benevolence, even though this theatrical licence denies existential reality and contradicts the main action of the plays.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/strong><\/p>\n

BIBLIOGRAPHY<\/strong>:<\/p>\n

\u00a0<\/p>\n

Barber, C.L. Shakespeare’s Festive Comedy. A study of Dramatic Form and its<\/em><\/p>\n

Relation to Social Custom.<\/em> 1959. Princeton University Press. New Jersey.<\/p>\n

Code, T. The Merchant of Venice<\/em>. in, Myth and Ideology.\u00a0 Unit C.\u00a0 Shakespearean<\/p>\n

Mythmaking.\u00a0 Deakin University, 1990. Victoria.<\/p>\n

Jardine, L.\u00a0 Female roles and Elizabethan eroticism. Still Harping on Daughters:<\/em><\/p>\n

Women and Drama in the Age of Shakespeare<\/em>. 1983. Harvester Press. Sussex\/NJ.<\/p>\n

Krieger, E. A Marxist Study of Shakespeare’s Comedies<\/em>.\u00a0 1979. Macmillan Press,<\/p>\n

London.<\/p>\n

Myth and Ideology. Unit C. Shakespearean Mythmaking<\/em>.\u00a0 Reader. 1990. Deakin<\/p>\n

University, Victoria.<\/p>\n

Merchant of Venice.<\/em> BBC TV Shakespeare. BBC Enterprises.<\/p>\n

Nosworthy, J.M. in, Measure for Measure. Shakespeare<\/em>, W.<\/em>\u00a0 1969. Penguin, London.<\/p>\n

Paglia, C. Sexual Personae. Art and Decadence from Nefertiti to Emily Dickinson<\/em>. Penguin, 1990. London.<\/p>\n

Shakespeare, W.\u00a0 Measure for Measure<\/em>. 1969. Penguin, London.<\/p>\n

Shakespeare, W.\u00a0 The Merchant of Venice<\/em>. 1963.\u00a0 Signet\/Penguin, London.<\/p>\n

Shakespeare, Mythology and Psychology<\/em>. Audio tape. 1998. Deakin University, Victoria.<\/p>\n

Shell, M.\u00a0 Money, Language and Thought<\/em>. 1982. University of California Press,<\/p>\n

Berkeley.<\/p>\n

Trigg, S. Fair Exchange in Measure for Measure<\/em> in, Myth and Ideology.\u00a0 Unit C.<\/p>\n

Shakespearean Mythmaking. Deakin University, 1990. Victoria.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

WAS SHAKESPEARE AN EXISTENTIAL WIMP ? \u00a0 Robert Maddox-Harle \u00a9 1998 & 2024 \u00a0 In this paper I discuss the way in which Shakespeare explores the implications of such human traits as lust, greed and envy.\u00a0 The acts of violence we perpetrate upon ourselves and one another indicate that there may be no guarantees of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-2882","page","type-page","status-publish","hentry"],"yoast_head":"\nWAS SHAKESPEARE AN EXISTENTIAL WIMP ? - Afflatus Creations<\/title>\n<meta name=\"description\" content=\"In this paper I discuss the way in which Shakespeare explores the implications of such human traits as lust, greed and envy.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/afflatuscreations.com\/index.php\/was-shakespeare-an-existential-wimp\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"WAS SHAKESPEARE AN EXISTENTIAL WIMP ? 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