William Shakespeare, 1564-1616. Globe Theatre today.

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Presentation transcript:

William Shakespeare,

Globe Theatre today

London, 1574 The Globe Theatre

First Folio (1623)

Succession from Edward III until Henry VII

Plantagenets and Roses EDWARD III ( ) (PLANTAGENET) ______________________________________________________________________________________________ Edward (the Black John of Gaunt Edmund, Prince) Duke of LANCASTER Duke of YORK RICHARD IIm. Blanchem. Catherine SeynfordRichard, ( ) Earl of Cambridge HENRY IV John Beaufort ( ) HENRY V John BeaufortRichard, ( ) Duke of York, m Cicely Neville HENRY VI ( / ) Edward,Prince of Wales (d.1471) Margaret Beaufort m Edmund Tudor HENRY VII ( ) TUDOR DYNASTY _______________________________________________________________________________________________ EDWARD IV Edmund, Earl of RutlandClarence, Duke of Clarence RICHARD III ( ) ( ) m. Eliz. Woodville m. Anne Neville __________________________________________________ Eliz. of York EDWARD V (d. 1483)Richard, Duke of York (d. 1483) Edward, Prince of Wales (d. 1485) (m. HENRY VII) HENRY VIII (etc)

Richard Gloucester, Henry VI, 3, Act III, scene 2 Why, I can smile, and murder whiles I smile, And cry 'Content' to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all occasions. I'll drown more sailors than the mermaid shall; I'll slay more gazers than the basilisk; I'll play the orator as well as Nestor, Deceive more slily than Ulysses could, And, like a Sinon, take another Troy. I can add colours to the chameleon, Change shapes with Proteus for advantages, And set the murderous Machiavel to school. Can I do this, and cannot get a crown? Tut, were it farther off, I'll pluck it down.

Richard III, Act I, scene 1 Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour'd upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths; Our bruised arms hung up for monuments; Our stern alarums changed to merry meetings, Our dreadful marches to delightful measures. Grim-visaged war hath smooth'd his wrinkled front; And now, instead of mounting barded steeds To fright the souls of fearful adversaries, He capers nimbly in a lady's chamber To the lascivious pleasing of a lute. But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp'd, and want love's majesty To strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion, Cheated of feature by dissembling nature, Deformed, unfinish'd, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them; Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on mine own deformity:

And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Plots have I laid, inductions dangerous, By drunken prophecies, libels and dreams, To set my brother Clarence and the king In deadly hate the one against the other: And if King Edward be as true and just As I am subtle, false and treacherous, This day should Clarence closely be mew'd up, About a prophecy, which says that 'G' Of Edward's heirs the murderer shall be. Dive, thoughts, down to my soul: here Clarence comes.

Richard IIIHenry VII

SHAKESPEARE Question of the possibility of hyper-machiavellianism RICHARD III -- written General question of using plays – play is the thing Shakespeare and politics – the times: much like the Renaissance – Inside this a temptation to refuse politics: Renaissance idyll – Against the golden idyll of As you like it we have a new and pressing concern: The presence of self-conscious beings who reject that world and use it against itself. – The opening soliloquy – more importantly: he uses the old against itself a new and fascinating figure: the Machiavellian ( H vi 3: 529) What is R III about – the power of illusion - S is fascinated with the character -- one of the longest parts in shortest plays; appears all the time. – what if all the world is a stage (or a cave)? About ties between humans and their lack

What is the role of the Prince in such a world – new problem: who am I when I am not a king: Richard II: abandonment of the notion of kingly right We shall say: – Richard knows he needs to create a kingdom (stato) – how does he do this? Opening sol. Renounces love and ties (554) “I cannot prove lover” but seduces Anne – Uses the energy of others – or again: uses populace for continuity HAS SUCCESS – problem comes in the exchange with Elizabeth – forced to deny time to make his point even though the consciousness of time in others was what had given him his power – memory comes back: even though the past is an illusion it cannot be gotten rid of dream sequence BUT is forced at end to rely on naked strength; having no community with others, he has none with himself. – defeated and sexual and political peace is reestablished You are what you pretend to be, therefore be careful about what you pretend