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Shakespeare
Jan Kott,
Shakespeare Our
Contemporary
Shakespeare
Theatre in the
Middle Ages
The Legacy of Plato
(428-347)
Shakespeare
Everyman
Shakespeare
Everyman
Shakespeare
Everyman
Main character: Everyman
Shakespeare
Everyman
Main character: Everyman
Everyman’s Journey: Life
Shakespeare
Everyman
Main character: Everyman
Everyman’s Journey: Life
Everyman’s Destination: Death
Shakespeare
Everyman
Main character: Everyman
Everyman’s Journey: Life
Everyman’s Destination: Death
Everyman’s Companions: Worldly Possessions . . .
Shakespeare
Everyman
Main character: Everyman
Everyman’s Journey: Life
Everyman’s Destination: Death
Everyman’s Companions: Worldly Possessions, Good Deeds
Shakespeare
Everyman
Main character: Everyman
Everyman’s Journey: Life
Everyman’s Destination: Death
Everyman’s Companions: Worldly Possessions, Good Deeds
Who can complete the journey of Everyman?
Shakespeare
The Renaissance
The Rediscovery of the
World
Galileo (1564-1642)
Observational Science
William Harvey (15781657)
Shakespeare
The Renaissance
The
Rediscovery of
the World
Observational
Science
Painting
(Invention of
Perspective)
Giotto, The Presentation of the
Virgin
Shakespeare
The Renaissance
The
Rediscovery of
the World
Observational
Science
Painting
(Invention of
Perspective)
Leonardo da Vinci, The
Mona Lisa
Shakespeare
The Renaissance
The
Rediscovery of
the World
Observational
Science
Painting
(Invention of
Perspective)
Theatre
Jean-Baptiste
Moliere (1622-1673)
Shakespeare
The Globe
Theatre: Then
Shakespeare
The Globe
Theatre: Now
Shakespeare
Jorge Luis Borges,
“Everything and
Nothing”
Shakespeare
Jorge Luis Borges, “Everything and Nothing”
There was no one in him: behind his face (even the
poor paintings of the epoch show it to be unlike any
other) and behind his words (which were copious,
fantastic, and agitated) there was nothing but a bit of
cold, a dream not dreamed by anyone. At first he
thought that everyone was like himself. But the dismay
shown by a comrade to whom he mentioned the
vacuity revealed his error to him and made him realize
forever than an individual should not differ from the
species. At one time it occurred to him that he might
find a remedy for his difficulty in books, and so he
learned the “small Latin and less Greek,” of which a
contemporary spoke.
Shakespeare
Jorge Luis Borges, “Everything and Nothing”
Later, he considered he might find what he sought in
carrying out one of the elemental rites of humanity, and
so he let himself be initiated by Anne Hathaway in the
long siesta hour of an afternoon in June. In his
twenties he went to London. Instinctively, he had
already trained himself in the habit of pretending he
was someone, so it would not be discovered that he
was no one. In London, he found the profession to
which he had been predestined, that of actor:
someone who, on a stage, plays at being someone
else, before a concourse of people who pretend to
take him for that other one. His histrionic work taught
him a singular satisfaction, perhaps the first he had
ever known.
Shakespeare
Jorge Luis Borges, “Everything and Nothing”
And yet, once the last line of verse had been
acclaimed and the last dead man dragged off stage,
he tasted the hateful taste of unreality. He would
leave off being Ferrex or Tamburlaine and become
no one again. Thus beset, he took to imagining other
heroes and other tragic tales. And so, while his body
complied with its bodily destiny in London
bawdyhouses and taverns, the soul inhabiting that
body was Caesar unheeding the augur’s warnings,
and Juliet detesting the lark, and Macbeth talking on
the heath with the witches who are also the Fates.
No one was ever so many men as that man: like the
Egyptian Proteus he was able to exhaust all the
possibilities of being.
Shakespeare
Jorge Luis Borges, “Everything and Nothing”
From time to time he left, in some obscure
corner of his work, a confession he was sure
would never be deciphered: Richard states that
in his one person he plays many parts, and Iago
curiously says “I am not what I am.” The
fundamental oneness of existing, dreaming, and
acting inspired in him several famous passages.
He persisted in this directed hallucination for
twenty years. But one morning he was overcome
by a surfeit and horror of being all those kings
who die by the sword and all those unfortunate
lovers who converge, diverge, and melodiously
expire.
Shakespeare
Jorge Luis Borges, “Everything and Nothing”
Shakespeare
That same day he settled on the sale of his theater.
Before a week was out he had gone back to his native
village, where he recuperated the trees and the river of
his boyhood, without relating them at all to trees and
rivers--illustrious with mythological allusion and Latin
phrase--which his Muse had celebrated. He had to be
someone; he became a retired impresario who has made
his fortune and who is interested in making loans, in
lawsuits, and in petty usury. It was in character, then, in
this character that he dictated the arid last will and
testament we know, from which he deliberately excluded
any note of pathos or trace of literature. Friends from
London used to visit him in his retreat, and for them he
would once more play the part of the poet.
Jorge Luis Borges, “Everything and Nothing”
History adds that before or after his death he
found himself facing God and said: I, who have
been so many men in vain, want to be one man,
myself alone. From out of a whirlwind the voice
of God replied: I dreamed the world the way you
dreamed your work my Shakespeare; one of the
forms of my dream was you, who, like me, are
many and no one.
Shakespeare
Men of Genius are great as certain etherial
Chemicals operating on the Mass of neutral
intellect—but they have not any individuality,
any determined Character. . . . I am certain of
the Heart’s affections and the truth of
Imagination. What the imagination seizes as
Beauty must be truth . . . The Imagination may
be compared to Adam’s dream—he awoke and
found it truth. . . . Several things dove-tailed in
my mind, and at once it struck me what quality
went to form a Man of Achievement, especially
in Literature, and which Shakespeare
possessed so enormously—I mean Negative
Capability, that is, when a man is capable of
being in uncertainty, mysteries, doubts, without
any irritable reaching after fact and reason. . . .
What shocks the virtuous philosopher, delights
the camelion Poet. . . .
John Keats
Shakespeare
A Poet is the most unpoetical of any thing in
existence; because he has no identity—he is
continually inform[ing[ and filling some other
body. . . . It is a wretched thing to confess; but
is a very fact that not one word I ever utter can
be taken for granted as an opinion growing out
of my identical nature—how can it, when I have
no nature? When I am in a room with People if I
ever am free from speculating on creations of
my own brain, then not myself goes home to
myself: but the identity of every one in the room
begins to press upon me [so] that I am in a very
little annihilated—not only among Men; it would
be the same in a Nursery of children.
John Keats (from various letters of 1817 &
1818)
John Keats
Shakespeare
Shakespeare
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Shakespeare
Shakespeare
Shakespeare
Shakespeare
in Love (John
Madden,
1998): winner of
seven Academy
Awards, including
“Best Picture”
Trailer
Shakespeare
“Small Latin and less Greek”
Shakespeare
Did Shakespeare write his plays?
Ignatius Donnelly,
former governor of
Minnesota and
primary source of the
Someone Else Wrote
Shakespeare’s Plays
theory
Sir Francis
Bacon
Shakespeare
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
1450: The Gutenberg Bible published
and the print era begins
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
1450: The Gutenberg Bible published
and the print era begins
1558-1603 Queen Elizabeth on the
throne of England
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
1450: The Gutenberg Bible published
and the print era begins
1558-1603 Queen Elizabeth on the
throne of England
1564 Shakespeare is born
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
1450: The Gutenberg Bible published
and the print era begins
1558-1603 Queen Elizabeth on the
throne of England
1564 Shakespeare is born
1590-1613: Shakespeare active on the
London stage as actor, director,
playwright
Shakespeare
Shakespeare Timeline
1100 AD: Norman Invasion of the British
Isles, resulting in the birth of the English
language, a hybrid of Anglo-Saxon and
the Latinate
1450: The Gutenberg Bible published
and the print era begins
1558-1603 Queen Elizabeth on the
throne of England
1564 Shakespeare is born
1590-1613: Shakespeare active on the
London stage as actor, director,
playwright
1616: Shakespeare dies
Sonnet 116
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love ’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error, and upon me prov’d,
I never writ, nor no man ever lov’d.
Shakespeare
Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to Time thou grow'st.
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Shakespeare
Sonnet 130
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
Shakespeare
Sonnet 73
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv'st, which makes thy love more strong,
To love that well which thou must leave ere long.
Shakespeare
Shakespeare
The Great Chain of Being
Shakespeare
The Great
Chain of
Being
Shakespeare
The Great Chain of Being
A mindset or weltanschauung (as the
Germans call it): a way of looking at the
world taken to be common sense
The GCOB and the Copernican
Revolution
microcosm/macrocosm
The Cosmos is a hierarchy
The Mineral
The Vegetative
The Animal
The Human
Order must be maintained no matter what
Shakespeare