King Lear: Act III

I decided to do an Anti-Blog post for Act Three but instead of comparing a character to a celebrity, I chose a movie character. When I began to focus on the Fool’s character, there was a particular movie character that I was reminded of, and I feel that both the Fool and this character share similar qualities. In the movie, “Drop Dead Fred”, (which was a childhood favorite of mine), Fred shares many characteristics as the Fool in King Lear. Fred is an imaginary friend to a young girl Lizzie. Many of his actions and speech was erratic, his humor was quite dark and he often caused trouble but he still managed to provide somewhat sound advice for Lizzie, who was suffering from an overbearing, controlling mother. Besides the fact that Fred wore eccentric clothing that could even be compared to that of a fool or jester, it is particularly the dark humor that I found very similar. He would often speak satirically such as the fool, and sometimes downright insulting but deep down he cared about the well-being of Lizzie. This exact sort of sentiment is expressed in Act three between the Fool and King Lear. The Fool advises him to make amends with his daughters so that he is spared a night full of rain but King Lear refuses. Directly afterwards, the Fool insults the King by implying that it is he that is foolish, in lines 40-41, “Marry, here’s grace and a cod-piece; that’s a wise man and a fool”. I also think that this comparison between the Fool and Fred is ironic because similarly to Lizzie who wishes to escape the brutal emotional treatment from her mother, King Lear escaped from his abusive daughters. It is in both this situations in which the Fool and Fred gives advice, even if it is in a skewed manner.

Fred

Lizzie & Fred

King Lear: Act 1 & 2

1.1.35-53

In this speech, King Lear reveals his intentions on dividing his estate amongst his three daughters. In order to do so, he has required each daughter to express how much they love their father. Each daughter and her respective husband are to receive their portion of the kingdom depending on the eloquence of their answer.

1.1.109-41

In this speech, King Lear is dismayed and angered at his youngest daughter, Cordelia’s response, rather lack thereof. He swears by the gods that he disowns her in every aspect and that she is no longer his daughter. He goes on to debase her by comparing her to classical barbarians.

1.1.175-87

In this speech, infuriated by Kent’s defense of Cordelia, banishes him inside of the kingdom. He has six days to leave and if he still present during the 10^th day, he is to be executed. King Lear once again swears by celestial beings that this decree shall not be revoked.

In the second speech, King Lear appears to be shocked, then outraged at Cordelia’s response towards his request. He references the classical goddess, Hecate, as if to enhance the seriousness of his declaration. He states in lines 111-12, “By all the operation of the orbs from whom we do exist and cease to be,…”It is as if by swearing by entities of an higher being, it makes his words irrevocable. He goes on to disown Cordelia of all rights, listing them in an almost-brisk, business-like manner as if their relationship was a contractual agreement. Then, once again he mentions another classical figure, but this time to disgrace her. He says that this barbarous Scythian, one that devours his own parents, means as much to him as his former daughter. Using this particular analogy implies that Cordelia herself is destroying her father by avoiding his wishes. It expresses his deep hurt as well has bitterness towards her actions.

 

The soliloquy that Edmund begins with in Act 1, Scene 2 alerts the reader to several things. First we see a true frustration with him being identified as illegitimate or bastard. He feels that is wrong for him to be deprived of his father’s estate merely because his is younger than his brother, whose mother happened to be married to his father. He argues that he has just as many qualities as his brother, therefore he deserves just as much as him. We also see his plans for deception at the expense of his brother. He intends to steal his brother’s right to land and by doing so, the bastard will rise above what is considered as legitimate. This soliloquy is important because it reveals Edmund’s motive for his upcoming deception and it also warns the audience of the trouble he is about to cause. We now know that Edmund intends on deceiving both his father and brother to gain what he feel is rightfully his.

Merchant of Venice: Act V

I feel that the first third of 5.1 acts, specifically Jessica and Lorenzo both act as a foil to the relationships portrayed later in the act between Bassanio and Portia and Nerissa and Graziano. In the beginning of Act 5, the audience gets this sense of true, love and affection from Jessica and Lorenzo. They declare their undying love for one another, Jessica telling Lorenzo, “In such a night did young Lorenzo swear he loved her well, stealing her sould with many vows of faith and ne’er a true one.” He responds to her her saying, “In such a night did pretty Jessica, like a little shrew, slander her love, and he forgave it her.” 5.1.2462-2471. There is this display of innocence and romanticism that is not so obvious with the other two couples. Instead with Bassanio, Portia, Nerissa and Graziano, we witness manipulation, deceit and a lack of trust. Bassanio and Graziano have both failed the ring test miserably, and when confronted about it, their wives insist that they will instead lay with the judge and his clerk. This is of course a comedy, so the audience knows that they are not serious but their tricky and deceptive way at affection and loyalty deeply contrasted against Jessica and Lorenzo. 

Merchant of Venice: Act III & IV

In Act Three what stood out to me the most was the development of Portia’s plan as far as deceiving Shylock as well as Antonio and Bassanio. She says to Nerissa in 3.4.60-71

“They shall, Nerissa, but in such a habit that they shall think we are accomplished with what we lack. I’ll hold thee any wager, ……wear my dagger with the braver grace, and speak between the change of man and boy with a reed voice, and turn two mincing steps into a manly stride, and speak frays like a fine bragging youth, and tell quaint lies how honourable ladies sought my love, which I denying, they fell sick and died.”

This passage to me really emphasized the conflict between male and female identity and assumed roles. Portia clearly has a desire to take matters into her own hands but her assertiveness is being portrayed as traditionally a male characteristic. This concept of “lacking” in females has been perpetuated all throughout history and Portia reminds the audience of this. Not only do women lack in physical male characteristics, but she also implies that they lack in other qualities she describe such as bravery and confidence. Its ironic that Portia reminds of the audience of these assumed gender roles, yet chooses to disguise herself as a man which in a sense further these stereotypes. This makes me think whether Beatrice from Much Ado would do something similar. She was assertive and outspoken, qualities generally associated with men but I feel that she would have not submitted to such antics like Portia .

In Act four, during the court scene involving Shylock, Antonio and Bassanio, Portia disguised as Balthasar tells Shylock in 4.1.179-84

“The quality of mercy is not strained. It droppeth as the gentle rain from heaven upon the place beneath. It is twice blest: It blesseth him that gives, and him that takes. “Tis mightiest in the mightiest. It becomes the throned monarch better than his crown.”

I thought that it was convenient for Portia to use Christian doctrines to support her argument especially when religion is such a dominant issue in this play.  I think that the Christian characters seem to use their religious morals only when it is beneficial for them. When they treat Jews in contempt, spitting on them and calling them dogs, are they behaving in a merciful manner? This play and particular act really demonstrates the issues that arise from two conflicting religions. What may be considered merciful for one, may seem blasphemous to another. It seems easy for them to manipulate the meaning of mercy and justice as it pertains to this situation. Im not implying that Shylock is not a villain and he certainly has evil intentions but I do believe that the Christians are morally superior to Shylock and Jews in this story.

Merchant of Venice: Act II

Act Two of Merchant of Venice reveal many new developments in the plot. The one that most intrigued me was the casket test involving Morrocan prince. In 2.7, we get the strong sense of the desire that many feel for Portia. It is known in Act one that she has several suitors and that she is wealthy as well as beautiful but the Morrocan prince’s analogy of her in his decision making revealed just how much she is coveted throughout many cities. In 2.7.38-40, he states, “All the world desires her. From the four corners of the earth they come to kiss this shrine, this mortal breathing saint.” This scene also demonstrates the vast significance that people placed on wealth and riches, which is important when thinking about Merchant of Venice. The prince’s entire reasoning for choosing the golden casket is because it is the most lavish and surely a creature such as Portia would deserve nothing less. He says, “Is’t like that lead contains her? “Twere damnation to think so base a thought. It were too gross to rib her cerecloth in the obscure grave. Or shall I think in sliver she’s immured, being ten times undervalued to tried gold?” 2.7.49-53. This is not the first time we see value placed in gold, or wealth. It is an underlying theme all throughout the entire play. We then discover that the gold casket is in fact the incorrect casket. Portia’s father encloses a clever inscription starting with, “All that glisters is not gold;” 2.7.65 and telling the suitor, “Had you been as wise as bold, young in limbs, in judgment old, your answer had not been enscrolled.” In lines 2.7.70-3. We see here that Portia’s father has left quite the riddle for her suitors and intends to choose someone for his daughter who places more significance on wisdom than material objects.  The other obvious devlopment is the relationship between Shylock and his daughter. Ironically the very man who is a proud Jew and is at conflict with Christians has a daughter who condemns him and herself for their Jewish heritage, wishing to marry and convert to Christianity. Jessica’s character brings up several issues. It is not revealed exactly why she has contempt for her own religion and father, but the fact that Shakespeare put a daughter against her own father is odd in itself. It could be a sign of rebellion that is common amongst young women but it appears that like Antonio and Bassanio, Jessica feels that Jews themselves have shameful qualities, which she mentions. She acknowledges that it is wrongful to be against her father, “What heinous sin is it in me to be ashamed to be my father’s child!” but then assures that, “But though I am a daughter to his blood, I am not to his manners.” 2.3.15-8. Jessica’s character and her relationship with her father introduce the theme of blood and/or family in the play. So far we have seen emphasis on material things but their relationship forces the audience to tackle the question of the blood shared amongst people and how family factors into the issue of religion and identification.

Merchant of Venice: Act 1

When first reading The Merchant of Venice, it is somewhat difficult to believe that this is in fact, considered a comedy. In the first act, even the first line, we encounter a character who claims to be sad, yet for an unknown reason. Antonio states, “I know not why I am so sad”. (1.1.1) His friends assure him that this feeling must be caused by anxiety of his ships being at sea. Salerio says to him, “Your mind is tossing on the ocean.”(1.1.8) while Solanio agrees, saying that, “Believe me, sir, had I such venture forth the better part of my affections would be with my hopes abroad.”(1.1.14-17) There are several things, such as bad weather and pirates that can affect a merchant’s merchandise. Antonio assures them that all of his fortunes are not dependent on this one venture and he also tells them that he is not in love. He insists that his sadness has no cause, “I hold the world but as the world, a stage where every man must play a part and man a sad one.”(1.1.77-79) So in the first act of this “comedy”, we are introduced to a character that has a sad disposition for essentially no reason. This seems to be an odd way to start off a comedy. That is not to say that there are not any comedic elements in this act. The banter between Antonio’s friends in particular is humorous, especially Graziano. After Graziano’s long speech to Antonio about having a more positive nature and often men that are considered wise because of their quiet and sullen disposition are usually instead foolish, Lorenzo replies playfully, “I must be one of these same dumb wise men, for Graziano never lets me speak.”, to which Graziano quickly responds with, “Well, keep me company but two years more thou shalt not know the sound of thine own tongue.”(1.1.106-109). We also see irony, which is a common device used in Shakespearean comedies. The very suitor, Bassanio who begs Antonio for financial help in wooing Portia is the only man that she finds appealing and acceptable amongst her long list of possible suitors. There are some similarities and differences when compared to Much Ado About Nothing. The bond between Antonio and Bassanio is very reminiscent between that Don Pedro and Claudio. Such as Don Pedro vows to help his friend Claudio in his quest for love, Antonio does the same for Bassanio. “I pray you, good Bassanio, let me know it, and if it stand as you yourself still do, within the eye of honour, be assured my purse, my person, my extremest means lie all unlocked to your occasions.”(1.1.135-139) We also see a similarity of deceit between Don John and Shylock. What is different amongst the plays is this introduction of race/religion being an issue. Shylock’s character introduces the conflict between Jews and Christianity that was not present in Much Ado. As far as my reaction to the first act of the play, I do admire Antonio’s loyalty and willingness to help Bassanio in the present situation. I think that it definitely takes a true, good friend to loan money even when Bassanio has admitted to wasting his own money by trying to portray an higher lifestyle than he could afford. However, I think it was slightly foolish for Antonio to borrow money just to lend it out. Financially, that makes no sense. Also, I am aware of Shylock’s character portrayal as a villain, but I could not help but sympathize with him. I thought he made very valid arguments when talking to Antonio. They did have some nerve spitting on him and calling him a dog, yet shamelessly asking for loans. Shylock clearly has ulterior motives, as foreshadowed by Bassanio at the end of Act 1, “I like not fair terms and a villain’s mind.”(1.3.175) but I can not necessarily blame him for wanting retribution.  

Henry IV Act 4-5

I am well aware of Falstaff’s character so needless to say I was not surprised when he did not choose to fight but instead hide. However after Act 5, scene 4 in particular, I feel that Falstaff in some sense truly feels that it is more dignified to hide from any chance of defeat rather than face it. There is one line in particular, lines 117-118 in which he says, “The better part of valour is discretion, in the which better part.” For him to then stab Hotspur, a man who he would never combat, while is he already dead is a true sign of not only cowardice but deception. Falstaff has proved several times in this play that he is capable of deception but I felt that this was the ultimate sign of deceit. Its almost as if he has convinced himself that he has played some part in killing Hotspur. Falstaff is an obvious contrast to Harry and Hotspur, both who are men willing to die for their family’s honor. The relationship between Harry and his father has also come full circle in Act 5, when Harry saves his father from death. I thought it was symbolic and ironic that it took this sort of action for Harry to gain Henry’s respect, when Henry himself is accused of murder to gain his position. It took this sort of action to show his father his true character when his father himself once possessed the exact opposite nature.