Shakespeare: To Be Or Not To Be Essay, Research Paper

William Shakespeare is himself a man of mystery. Many facts myths exists about him, as if to say he had many chapters in his life. A complete, authoritative account of Shakespeare’s life is lacking, and thus much supposition surrounds relatively few facts that are known. It is commonly accepted that he was born in 1564, and it is known that he was baptized in Stratford-upon-Avon, Warwickshire. He is perhaps the best known English playwright and poet, recognized in much of the world as the greatest of all dramatists. Shakespeare’s plays communicate a profound knowledge of human behavior, revealed through portrayals of a wide variety of characters. His use of poetic and dramatic means to create a unified aesthetic effect out of an array of multiple vocal expressions and actions is recognized as a singular achievement. “Poetic lyrics within his plays express the deepest levels of human motivation in individual, social, and universal situations. This considered one of the greatest accomplishments in literary history”(Volume S, 324)#. To understand Shakespeare’s point of view you have to understand his background.

The third of eight children, he was probably educated at the local grammar school. As the eldest son, Shakespeare ordinarily would have been apprenticed to his father’s shop so that he could learn and eventually take over the business, but according to one account he was apprenticed to a butcher because of declines in his father’s financial situation. According to another account, he became a schoolmaster#. In 1582 Shakespeare married Anne Hathaway, the daughter of a farmer. He is supposed to have left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local justice of the peace. Shakespeare and Anne Hathaway had a daughter in 1583 and twins, a boy and a girl, in 1585. The boy did not survive.

Shakespeare apparently arrived in London about 1588 and by 1592 had attained success as an actor and a playwright. Shortly thereafter he secured the patronage of Henry Wriothesley, 3rd Earl of Southampton. The publication of Shakespeare’s two fashionably erotic narrative poems Venus and Adonis (1593) and The Rape of Lucrece (1594) and of his Sonnets (published 1609, but circulated previously in manuscript form) established his reputation as a gifted and popular poet of the Renaissance (14th century to 17th century). The Sonnets describe the devotion of a character, often identified as the poet himself, to a young man whose beauty and virtue he praises and to a mysterious and faithless dark lady with whom the poet is infatuated. The ensuing triangular situation, resulting from the attraction of the poet’s friend to the dark lady, is treated with passionate intensity and psychological insight, this is a side of him rarely exposed in his reputation. Shakespeare’s modern reputation, however, is based primarily on the 38 plays that he apparently wrote, modified, or collaborated on. Although generally popular in his time, these plays were frequently little esteemed by his educated contemporaries, who considered English plays of their own day to be only vulgar entertainment.

Professionally in London was marked by a number of ‘financially advantageous arrangements that permitted him to share in the profits of his acting company, the Chamberlain’s Men, later called the King’s Men, and its two theaters, the Globe Theatre# and the Blackfriars’. (326) His plays were given special presentation at the courts of Queen Elizabeth I and King James I more frequently than those of any other contemporary dramatist were. It is known that he risked losing royal favor only once, in 1599, when his company performed “the play of the deposing and killing of King Richard II” at the request of a group of conspirators against Elizabeth. In the subsequent inquiry, Shakespeare’s company was absolved of complicity in the conspiracy. After about 1608, Shakespeare’s dramatic production lessened and it seems that he spent more time in Stratford, where he had established his family in an imposing house called New Place and had become a leading local citizen. He died in 1616, and was buried in the Stratford church.

Although the precise date of many of Shakespeare’s plays is in doubt, his dramatic career is generally divided into four periods: (1) the period up to 1594, (2) the years from 1594 to 1600, (3) the years from 1600 to 1608, and (4) the period after 1608. Because of the difficulty of dating Shakespeare’s plays and the lack of conclusive facts about his writings, these dates are approximate and can be used only as a convenient framework in which to discuss his development. In all periods, the plots of his plays were frequently drawn from chronicles, histories, or earlier fiction, as were the plays of other contemporary dramatists.

Shakespeare’s first period was one of experimentation. His early plays, unlike his more mature work, are characterized to a degree by formal and rather obvious construction and by stylized verse. History plays were a popular genre of the time, and four plays dramatizing the English civil strife of the 15th century are possibly Shakespeare’s earliest dramatic works. These plays, Henry VI, Parts I, II, and III (1590? – 1592?) and Richard III (1593?), deal with evil resulting from weak leadership and from national disunity fostered for selfish ends. The four-play cycle closes with the death of Richard III and the ascent to the throne of Henry VII, the founder of the Tudor dynasty, to which Elizabeth belonged. In style and structure, these plays are related partly to medieval drama and partly to the works of earlier Elizabethan dramatists. Either indirectly through such dramatists or directly, the influence of the classical Roman dramatist Seneca is also reflected in the organization of these four plays, especially in the bloodiness of many of their scenes and in their highly colored, bombastic language. The influence of Seneca, exerted by way of the earlier English dramatist Thomas Kyd, is particularly obvious in Titus Andronicus (1594?), a tragedy of righteous revenge for heinous and bloody acts, which are staged in sensational detail.

Shakespeare’s comedies of the first period represent a wide range. The Comedy of Errors (1592?), a farce in imitation of classical Roman comedy, depends for its appeal on mistaken identities in two sets of twins involved in romance and war. Farce is not as strongly emphasized in The Taming of the Shrew (1593?), a comedy of character. The Two Gentlemen of Verona (1594?) concerns romantic love. Love’s Labour’s Lost (1594?) satirizes the loves of its main male characters as well as the fashionable devotion to studious pursuits by which these noblemen had first sought to avoid romantic and worldly ensnarement. The dialogue in which many of the characters voice their pretensions ridicules the artificially ornate, courtly style typified by the works of English novelist and dramatist John Lyly, the court conventions of the time, and perhaps the scientific discussions of Sir Walter Raleigh and his colleagues.

Shakespeare’s second period includes his most important plays concerned with English history, his so-called joyous comedies, and two of his major tragedies. In this period, his style and approach became highly individualized. The second-period historical plays include Richard II (1595?), Henry IV, Parts I and II (1597?), and Henry V (1598?). They encompass the years immediately before those portrayed in the Henry VI plays. Richard II is a study of a weak, sensitive, self-dramatizing but sympathetic monarch who loses his kingdom to his forceful successor, Henry IV. In the two parts of Henry IV, Henry recognizes his own guilt. His fears for his own son, later Henry V, prove unfounded, as the young prince displays a responsible attitude toward the duties of kingship. In an alternation of masterful comic and serious scenes, the fat knight Falstaff and the rebel Hotspur reveal contrasting excesses between which the prince finds his proper position. The mingling of the tragic and the comic to suggest a broad range of humanity subsequently became one of Shakespeare’s favorite devices.

The funniest and most well known of the comedies of the second period is A Midsummer Night’s Dream (1595?), which interweaves several plots involving two pairs of noble lovers, a group of bumbling and unconsciously comic townspeople, and members of the fairy realm, notably Puck, King Oberon, and Queen Titania. Subtle evocation of atmosphere, of the sort that characterizes this play, is also found in the tragicomedy The Merchant of Venice (1596?). In this play, the Renaissance motifs of masculine friendship and romantic love are portrayed in opposition to the bitter inhumanity of a usurer named Shylock, whose own misfortunes are presented so as to arouse understanding and sympathy. ‘The character of the quick-witted, warm, and responsive young woman, exemplified in this play by Portia, reappears in the joyous comedies of the second period’. (Volume S, 328)

The witty comedy Much Ado About Nothing (1599?) is marred, in the opinion of some critics, by an insensitive treatment of its female characters. However, Shakespeare’s most mature comedies, As You Like It (1599?) and Twelfth Night (1600?), are characterized by lyricism, ambiguity, and beautiful, charming, and strong-minded heroines like Beatrice. In As You Like It, the contrast between the manners of the Elizabethan court and those current in the English countryside is drawn in a rich and varied vein. Shakespeare constructed a complex orchestration between different characters and between appearance and reality and used this pattern to comment on a variety of human foibles. In that respect, As You Like It is similar to Twelfth Night, in which the comical side of love is illustrated by the misadventures of two pairs of romantic lovers and of a number of realistically conceived and clowning characters in the subplot. Another comedy of the second period is The Merry Wives of Windsor (1599?), a farce about middle-class life in which Falstaff reappears as the comic victim.

It wasn’t just all fun and games, two of his major tragedies, differing considerably in nature, were written in this period. Romeo and Juliet (1595?), famous for its poetic treatment of the ecstasy of youthful love, dramatizes the fate of two lovers victimized by the feuds and misunderstandings of their elders and by their own hasty temperaments. Julius Caesar (1599?), on the other hand, is a serious tragedy of political rivalries, but is less intense in style than the tragic dramas that followed it. It marked the beginning and the end of this period.

Shakespeare’s third period includes his greatest tragedies and his so-called ‘dark or bitter comedies’. The tragedies of this period are considered the most profound of his works. In them he used his poetic idiom as an extremely supple dramatic instrument, capable of recording human thought and the many dimensions of given dramatic situations. Shakespeare’s writing also included many different styles to depict the actual feeling of each character. The Greeks were the first to develop a language of flowers, known as florigraphy. Over the centuries, in western civilization, flower language became extensive. Many different species, according to their properties, were associated with a wide range of human emotions, conditions, events, or ideas. The plays Shakespeare are a great source of traditional flower language. In Hamlet, for example, Ophelia describes the significance of the flowers she carries: Pansies stand for thought, rosemary for remembrance, and rue, or herb of grace, alludes to the flower’s use in the sprinkling of holy water. Flower language was particularly popular in the 19th century in Europe and the United States as part of the then-fashionable cult of sentimentality.

Hamlet (1601?), perhaps his most famous play, exceeds by far most other tragedies of revenge in picturing the mingled sordidness and glory of the human condition. Hamlet feels that he is living in a world of horror. Confirmed in this feeling by the murder of his father and the sensuality of his mother, he exhibits tendencies toward both crippling indecision and precipitous action. Interpretation of his motivation and ambivalence continues to be a subject of considerable controversy.

Othello (1604?) portrays the growth of unjustified jealousy in the protagonist, Othello, a Moor serving as a general in the Venetian army. The innocent object of his jealousy is his wife, Desdemona. In this tragedy, Othello’s evil lieutenant Iago draws him into mistaken jealousy in order to ruin him. King Lear (1605?), conceived on a more epic scale, deals with the consequences of the irresponsibility and misjudgment of Lear, a ruler of early Britain, and of his councilors, the Duke of Gloucester. The tragic outcome is a result of their giving power to their evil children, rather than to their good children. Lear’s daughter Cordelia displays a redeeming love that makes the tragic conclusion a vindication of goodness. This conclusion is reinforced by the portrayal of evil as self-defeating, as exemplified by the fates of Cordelia’s sisters and of Gloucester’s opportunistic son. Antony and Cleopatra (1606?) is concerned with a different type of love, namely the middle-aged passion of Roman general Mark Antony for Egyptian queen Cleopatra. Their love is glorified by some of Shakespeare’s most sensuous poetry. In Macbeth (1606?), Shakespeare depicts the tragedy of a man who, led on by others and because of a defect in his own nature, succumbs to ambition. In securing the Scottish throne, Macbeth dulls his humanity to the point where he becomes capable of any amoral act. Unlike these tragedies, three other plays of this period suggest bitterness stemming from the protagonists’ apparent lack of greatness or tragic stature. In Troilus and Cressida (1602?), the most intellectually contrived of Shakespeare’s plays, the gulf between the ideal and the real, both individual and political is skillfully evoked. In Coriolanus (1608?), another tragedy set in antiquity, the legendary Roman hero Gnaeus Marcius Coriolanus is portrayed as unable to bring himself either to woo the Roman masses or to crush them by force. Timon of Athens (1608?) is a similarly bitter play about a character reduced to misanthropy by the ingratitude of his sycophants. Because of the uneven quality of the writing, this tragedy is considered collaboration, quite possibly with English dramatist Thomas Middleton.

The two comedies of this period are also dark in mood and are sometimes called problem plays because they do not fit into clear categories or present easy resolution. All’s Well That Ends Well (1602?) and Measure for Measure (1604?) both question accepted patterns of morality without offering solutions. Unlike the second period it was these comedies marked the end of the third period.

The fourth period of Shakespeare’s work includes his principal romantic tragicomedies. Toward the end of his career, Shakespeare created several plays that, through the intervention of magic, art, compassion, or grace, often suggest redemptive hope for the human condition. These plays are written with a grave quality differing considerably from Shakespeare’s earlier comedies, but they end happily with reunions or final reconciliation. The tragic comedies depend, for part of their appeal, upon the attraction of a distant time or place, and all seem more obviously symbolic than most of Shakespeare’s earlier works. To many critics, the tragicomedies signify a final ripeness in Shakespeare’s own outlook, but other authorities believe that the change reflects only a change in fashion in the drama of the period.

The romantic tragicomedy Pericles, Prince of Tyre (1608?) concerns the painful loss of the title character’s wife and the persecution of his daughter. After many exotic adventures, Pericles is reunited with his loved ones. In Cymbeline (1610?) and The Winter’s Tale (1610?), characters suffer great loss and pain but are reunited. Perhaps the most successful product of this particular vein of creativity, however, is what may be Shakespeare’s last complete play, The Tempest (1611?), in which the resolution suggests the beneficial effects of the union of wisdom and power. In this play a duke, deprived of his dukedom and banished to an island, confounds his usurping brother by employing magical powers and furthering a love match between his daughter and the usurper’s son. Shakespeare’s poetic power reached great heights in this beautiful, lyrical play.

Two final plays, sometimes ascribed to Shakespeare, presumably are the products of collaboration. A historical drama, Henry VIII (1613?) was probably written with English dramatist John Fletcher, as was The Two Noble Kinsmen (1613; published 1634), a story of the love of two friends for one woman.

In conclusion I think that William Shakespeare’s mysterious presence add the ultimate interpretations of his works. He was very versatile in his characters and their tragedies. Common everyday events wouldn’t excite Shakespeare to write the way he did. I think he had many underlying motives to write what he did. Other talents that he may have he kept a mystery from the world just like his life.

Bibliography

1) Educational Corporation Inc Encyclopedia Britannica, Volume S

Britannica Educational Corp Publishers, copyright 1992

Pg. 324 – 330

2) Kennedy & Gioia Literature: 7th Edition Class textbook

Longman Publishers, copyright 1999.

Pg. 1013 – 1018

3) http://www.authors.com

Website reference, copyright 1998

4) http://www.shakespeare.com

Website reference, copyright 1999