By Maynard Mack
ISBN-10: 0803282141
ISBN-13: 9780803282148
Everybody’s Shakespeare brings the insights and knowledge of 1 of the best Shakespearean students of our century to the duty of surveying why the Bard keeps to flourish nowa days. Mack treats separately seven plays—Hamlet, King Lear, Macbeth, Othello, Romeo and Juliet, Julius Cesar, and Antony and Cleopatra—and demonstrates in every one case how the play has retained its energy, complexity, and attraction.
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Additional resources for Everybody's Shakespeare: Reflections Chiefly on Tragedies
Example text
Edmund all but rehearses Edgar in the bloody farce they are to act before Edgar flees. And Cleopatra, like any modern director, perhaps like Shakespeare with Richard Burbage, teases, cajoles, insults, and comforts Antony, until he warms and swells and rises to the roles her mind cuts out for him. "Still he mends," she says to Charmian in his hearing: But this is not the best. Look, prithee, Charmian, How this Herculean Roman does become The carriage of his chafe. 83) At a few places in the plays, our attention is drawn explicitly to the most vexing problem of the Elizabethan acting company's art: how to mime reality in its grander forms without riveting attention on the inadequacy of the means.
Of course there are whole peoples who have never heard of him, whole peoples who may have heard of him but have never read him or seen a play of his onstage. And of course some parts of Shakespeare are more accessible than others. Still, his plays continue to be produced, occasionally or regularly, in many dozens of languages and countries on all the continents of the world. However far cultures and values may differ, there are events and characters in plays like Macbeth and Othello and Romeo and Juliet, not to mention King Lear and Julius Caesar, to which at least some members of any culture can respond save possibly those who deprecate all works by dead Anglo-Saxon white males.
After the hatreds, the betrayals, and the murders, after Richard III and Iago, Edmund and Goneril, Macbeth and Claudius, here is a man who can nevertheless close his career with a comedy of forgiveness — in fact, with four comedies of forgiveness, The Tempest being the last. Hatreds, betrayals, and murders are implicit in that play too, but they remain implicit, because he who might the vantage best have took did find out the remedy. In the end, Prospero eschews vengeance, and at a crucial moment unfolds before the play's lovers a betrothal masque, in which a company of nymphs and reapers dance.