Shakespeare’s political plays are full of power conflict. But the arguments mainly concern which individual person should be in charge of the country. Democracy? No.
Thursday, December 1, 2016
Monday, October 31, 2016
Saturday, October 1, 2016
Yes, Patrick O'Brian of the Aubrey-Maturin series, the seemingly (and seamlessly) endless, continuous novel, published through the 1980s and 90s and focusing on the years between 1800 and 1815, when the British Navy was fighting Napoleon. The first book, Master and Commander, was made into a movie starring Russell Crowe. It was a pretty good movie, but no film could prepare a reader for the stunning excellence, the beauty, humor, and literary perfection, of these twenty novels. I have read all of them and I read them in one day. Or it seemed like a day.
How is it that O'Brian can write like Jane Austen -- and I mean with such absolute familiarity with her idiom, with the social practices, customs, and particularly the modes of speech of the early nineteenth century -- when, unlike her, he didn't live back then? Is he a time traveler? The depth of his understanding of not only British maritime life during that time of burgeoning empire, but of general middle- and upper-class Regency culture, is astonishing. It's as bottomless as the sea. O'Brian knows, for example, that the Royal Society was maintained by amateur scientists --
Thursday, September 1, 2016
We read, see, and perform Shakespeare because Shakespeare says it best. A lot of writers say it well, but nobody says it like Shakespeare. He expresses horrid feelings beautifully, which was one reason those very astute Puritan reformers
Monday, August 1, 2016
In fact, Paulson and the directors have it half right. The Roman mob was there, but it wasn't created or manipulated by Cruz. If we are drawing Julius Caesar comparisons, and listening and reading with care, it shouldn't take us long to see that Cruz was playing logical, unflashy Brutus, not flamboyant Antony, to this crowd.
Friday, July 1, 2016
1. "All may be well, but if God sort it so, / 'Tis more than we deserve or I expect."
An anonymous citizen -- he's just called First Citizen -- says this in Richard III, just before malevolent Richard of Gloucester manipulates himself onto the throne. It's striking that Shakespeare would put this confession of personal responsibility for the shape of his country in the mouth of a fifteenth-century commoner, who would have had far less choice than the average American citizen over who governed him. This line has always interested me. An English Everyman suggests that if the highest
Wednesday, June 1, 2016
First of all, I should say that Shakespeare believed the Master Gardener to be God. And as a good monarchist, he thought the king of a domain should imitate God and act like a gardener to his subjects. But we can read past the political allegory of his famous "King as Gardener" comments in Richard II and derive some helpful tips about actual gardening. In the relevant scene, a wizened old gardener tells his
Sunday, May 1, 2016
Crazy, right? And yet the reason this man seems so clearly, evidently nuts is that no one shared his belief. It was a private lunacy.
It would be comforting to think only isolated people are prone to the kinds of imaginings that lead to explosive violence. But in fact, there's no evidence to support this idea. Most isolated people don't bother other people. (And in fact, this Uber driver was not particularly isolated. He had a family.) What's actually true is that the greatest acts of violence are perpetrated not by lonely people, but by people whose lunacy is stoked by fellow believers -- by those who share and encourage a communal fantasy about a higher power who is directing them to shoot or blow something up, in the name of God or country or some other cause. Social groups can do a lot of damage. And the bigger the social group is, the less apparent it is, when that group becomes murderous, that its members are not only violent, but insane. Collectively insane. They have convinced themselves that ordinary people going about their business are actually not people, but targets.
Commonly these people are angry because something in their world is no longer the way it used to be. They want the world around them to match a world they think
Friday, April 1, 2016
Elizabethan and Jacobean legislators didn't get around to outlawing firearms, since it was such a novel thing to be able to carry one around rather than to have to wheel it onto the battlefield. The big social violence problem during Shakespeare's time was caused not by guns, but by swords, of the new super-sharp and supple Spanish and Italian varieties, with which young men were in the habit of challenging each other in taverns and alleyways
Tuesday, March 1, 2016
So what?, you say. So nothing. It's just something that's going to happen. At least, we plan for it to happen, though, as Shakespeare points out -- usually on gloomy
Monday, February 1, 2016
It's not that I didn't like Ron Howard's In The Heart of the Sea (based -- I'm guessing loosely -- on Nathaniel Philbrick's nonfiction book by the same name). Shipwreck dramas are among my favorites, and this one was kind of fun to watch. The idea had great potential. Around 1850, a young Herman Melville visits Nantucket to interview the last living sailor from the Essex, a ship that was sunk in the 1820s by an angry whale. He's looking for material. So far, so good. The excellent English actor Ben Whishaw plays Mellville, and the no less brilliant Irish actor Brendan Gleeson plays the haunted old sailor who served as cabin-boy on the Essex (and who looks way older than he should look thirty years after early adolescence, but maybe that's what nightmares do to you). The visual details of period and place are well rendered in both the Nantucket and the ocean scenes. The story is mostly portrayed through flashbacks, which center on the experiences of the boat's first mate Owen Chase, played by Chris Helmsworth, who -- despite the hideous Australio-Boston accent he comes up with for the Massachusetts-born Chase -- showed talent playing Thor and hosting SNL and is not so bad here, apart from one thing. There's only so much you can do with a crappy script.
What made this script bad was either the screenwriters' intentional abandonment of any attempt to make its characters speak like New Englanders did two hundred