As I’m re-reading The Winter’s Tale (while in my final days in Ashland, watching some really good Shakespeare, and while attempting to write a paper on King Lear with a medical diagnosis of narcissism–the former successfully and happily; the latter…not so much), I’m noticing some words coming up with more frequency than I expected: “fardel” and “bear.”
Continue reading The Winter’s Tale: Hamlet and fardels and bears, oh my
So, you’re a pretty nice guy. Got this beautiful fiancée or wife, and she’s totally faithful to you. And this dude comes along and tells you that she’s been disloyal. You get sad then mad, and you want her killed. We’ve seen this before in Othello and now Cymbeline. You’re the Moor or Posthumus. She’s Desdemona or Hero. And that “dude” is Iago or Iachimo.
Is similarity in the name intentional?
Continue reading Iachimo: little scamp or little Iago?
Yeah, I know. Coriolanus was so…last month.
But when something comes onto the radar that is this fascinating–well, it’s time to put off that Act One synopsis of Cymbeline and share it with you, my band of Bard brothers…
Continue reading Coriolanus flashback
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This week’s podcast concludes our two-month journey with Coriolanus. We’re going to discuss a directorial concept, a cast, a conclusion and a wrap-up…oh, and two–count ‘em two–shameless bits of self-promotion.
Continue reading Podcast 152: Coriolanus — concept, cast, conclusion and wrap up
It’s a strange play. Intense. Political. Intensely political. It’s a tragedy, there’s no way around it. But is Martius a tragic hero?
Now, way back when…just after we started this project, we read Titus Andronicus, and we kind of asked this very question of that play, as well.
I called that one a play of revenge, a horror show.
That was Shakespeare’s first tragedy, and this–Coriolanus–is the last.
Continue reading Coriolanus: the wrap-up
Remember how I’ve been going on and on about Martius’ one (ok, maybe technically two, really just one) soliloquy in Coriolanus? And remember how I said this says something about his anxiety when he’s around others and his calm alone? And remember how I’ve tied this to his homosociality with Aufidius?
Well, shoot. Damn, there’s another soliloquy.
Continue reading Coriolanus: the fly in the solo ointment
So here’s the numerical breakdown…
Continue reading Coriolanus: by the numbers
Using Professor Rodes’ midpoint theory, let’s take a look at Coriolanus.
There are 3323 lines in in the play, which means the midpoint is at line 1662, or at Act Three, Scene One, line 224. According to Dr. Rodes’ theory, you could find at this midpoint–or within twenty lines either way–a speech that perfectly sums up a major theme of the play (the 20-line leeway was to help remove the differences in prose line lengths between individual editions).
Continue reading Coriolanus: a sword-pull at the point of no return
OK, last week, I looked at Martius’ big speech (and we’ve already taken a look at the homo-erotic response to it, the longest speech by Aufidius) from Coriolanus. Today, let’s take a look at the longest speech of the play, this one by dear ol’ mum, Volumnia. There’s some pretty interesting stuff going on in the scansion (as well as a stage direction or two).
It’s Act Five, Scene Three, in the Volscian camp on the outskirts of Rome, where Martius and Aufidius ready their armies for the attack. Martius has already turned away Menenius (who seemed like a father-figure to him), and Martius has admitted doing so “cracked” (V.iii.9) his heart.
So who should walk in at this moment?
Continue reading Volumnia’s last word (economy-sized)
If you’re looking for Martius’ most important speech in Coriolanus, it’s most likely the speech in which he reveals himself to his enemy Aufidius, and announces his intention to join forces with him. This speech, from Act Four, Scene Five, is certainly his longest.
So let’s take a look at it…
Continue reading My name is Cauis Martius
So, anybody else out there curious about the repetitious use of “wound” in Coriolanus? Anyone? Bueller? Bueller?
I was struck by it. So much so that I dipped into — what’s my friend? That’s right… Continue reading Coriolanus: for the love of… wounds(?)
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[WARNING: The first portion of the following podcast contains no adult language, almost no sexual imagery, and nothing to make you say, “Man, that’s a dirty play.” You HAVE been warned. You really don’t need to skip this one…]
This week’s podcast continues our discussion of Coriolanus with a look at bawdy in the play (and there’s not a whole lot there there), homosociality, homo-eroticism, and a real mother of a character, as well as shameless self-promotion.
Continue reading Podcast 150: Coriolanus: bawdy, homosociality, homo-eroticism, more [NOT EXPLICIT]
OK, when most people think of the most famous speeches in Shakespeare, they usually go to the soliloquies (Hamlet’s “To be or not to be” [and yes, I know it may not be a soliloquy], Richard III’s “Now is the winter of our discontent,” Lady M’s “Unsex me here,” and the like), so what about in Coriolanus?
Well, there we have a problem, Houston…there’s only one soliloquy in the play.
Continue reading Coriolanus: anxious and calm
Back when I was doing the first act plot synopsis for Coriolanus, I mentioned a story point that I hoped would pay off later. Well, guess what?
Or does it?
Continue reading This old man…
There’s an interesting prop in Coriolanus. If it came early on the play, I’d call it a MacGuffin. But it comes late, Act Five…
Continue reading Write me a letter