A Myth of Shakespeare E-Book

Charles Williams

• Herausgeber: Booksell-Verlag
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2021

Beschreibung

In "A Myth of Shakespeare," Charles Williams presents a profound exploration of the enduring legacy and mystical dimensions of William Shakespeare's work. Blending literary criticism with esoteric philosophy, Williams examines the intertwining of myth and reality in Shakespeare's plays, asserting that their true significance transcends mere entertainment and enters the realm of spiritual truths. His intricate prose weaves a tapestry of contextual analysis, revealing how Shakespeare's writings resonate with archetypal themes and universal human experiences, positioning his work within the larger narrative of English literature in the 20th century, particularly amidst the literary movements that seek to reconcile faith with art. Charles Williams, a prominent member of the Inklings literary circle alongside C.S. Lewis and J.R.R. Tolkien, was deeply influenced by his theological background and interest in metaphysics. His profound engagement with myth and the imagination served as inspiration for this book, which reflects his belief in the transcendent power of art. Williams's scholarly pursuits, combined with a mystical interpretation of language and narrative, imbue this work with unique insights that encourage readers to look beyond the surface of Shakespeare'Äôs texts. For readers seeking a deeper understanding of Shakespeare's artistry and its connection to the metaphysical, "A Myth of Shakespeare" serves as a compelling guide. Williams'Äôs blend of rich literary analysis and philosophical inquiry invites both scholars and casual readers alike to reconsider Shakespeare not just as a playwright, but as a visionary whose works illuminate the complexities of existence. This book is essential for anyone aiming to delve into the spiritual dimensions of literature.

Leseprobe

Charles Williams

A Myth of Shakespeare

Published by Good Press, 2022

[email protected]

EAN 4064066362102

Table of Contents

PART I

[ SHAKESPEARE sitting on a stile singing. BOTTOM and the other. craftsmen from the Midsummer Night's Dream cross the stage,. followed after a moment's interval by QUINCE , who pauses on. seeing SHAKESPEARE ]

[ WALL holds up his fingers

[Exeunt PYRAMUS and THISBE

[Re-enter THISBE , MOONSHINE , and LION ]

[The actors move off, QUINCE going with them. SHAKESPEARE lingers]

[ SHAKESPEARE lounging and watching the actors enter]

[They go into the theatre, where Tamburlaine is being rehearsed]

[ TAMBURLAINE takes the Crown and puts it on]

[Exeunt. MARLOWE comes forward with SHAKESPEARE , HENSLOWE , and GREENE ]

[ SHAKESPEARE makes a gesture of helplessness]

[Enter Watch, with the Page of PARIS ]

[Enter FALSTAFF , GADSHILL , BARDOLPH , POINS , and PETO ]

[They go out]

[A rehearsal of The Taming of the Shrew has been taking place. SHAKESPEARE , HENSLOWE ]

[A stage-hand looks in

[ SOUTHAMPTON , RALEIGH , MARY FITTON , and others]

[As the actors come in, he speaks to HENSLOWE and then goes back. to MARY FITTON ]

[Enter KATHARINA and GRUMIO ]

[Enter PETRUCHIO and HORTENSIO with meat]

[The courtiers rise amid a confusion of voices]

[ SHAKESPEARE , returning alone, walks meditatively up and down. two or three times; then he takes out several papers and looks. at them. He sits down and reads aloud:]

[As he stops to make an insertion the curtain falls]

[An ante-chamber opening on a hall where a performance of Henry V is just ending. The final chorus is heard within.]

[The noise of applause and many voices. Some of the players enter]

[ ELIZABETH enters, with SHAKESPEARE , SOUTHAMPTON , RALEIGH ,. and the Court]

[The actors begin]

[Whispers CHARMIAN

[Enter DOLABELLA ]

[Enter a Guardsman]

[Re-enter Guardsman, with Clown bringing in a basket]

[Setting down his basket

[Re-enter IRAS with a robe, crown, &c.]

[Enter the Guard, rushing in]

[After the presentation all look to the Queen to speak. She remains. silent for a moment and then says deliberately:]

[One of the actors comes forward and, at a whisper from SHAKESPEARE , delivers the speech]

[The Queen rises]

[The Queen goes out with the Court. The actors follow]

[ BURBAGE goes, MARY FITTON comes to the entrance, and. beckons SHAKESPEARE with a movement of her head]

[He follows her out]

PART II

[ SHAKESPEARE at work on Troilus and Cressida . After a while he. leaves off writing and correcting and settles down to read] [Enter PRIAM , HECTOR , TROILUS , PARIS , and HELENUS ]

[A knock, FRANCIS BEAUMONT and DAVID NICHOLAS come in]

[ SHAKESPEARE and NICHOLAS go out. BEAUMONT picks up the. manuscript and sits down to read]

[Enter CRESSIDA ]

[ SHAKESPEARE returns, BEAUMONT rises to meet him]

[ SHAKESPEARE , JONSON , BURBAGE , at one table. SIR TOBY BELCH and SIR ANDREW AGUECHEEK at another.]

[Enter Clown]

[He gives them a paper. They gather round, examining and. whispering]

[ SHAKESPEARE gives them money and they go out]

[ SHAKESPEARE goes out]

[An early rehearsal of The Tempest is in progress. SHAKESPEARE , BURBAGE , HENEAGE , and the actors]

[A boy sings]

[The boy sings]

[The rehearsal of another scene begins]

[He draws, and is charmed from moving

[Repeating the lines]

[The actors return with their new parts]

[A masque. Enter IRIS ]

[Enter CERES ]

[Enter JUNO ]

[ JUNO and CERES whisper, and send IRIS on employment]

[Enter certain nymphs]

[Enter certain reapers, properly habited: they join with the nymphs. in a graceful dance; towards the end whereof PROSPERO starts. suddenly, and speaks ; after which, to a strange, hollow, and. confused noise, they heavily vanish]

[Enter ARIEL ]

[ PROSPERO and ARIEL remain invisible. Enter CALIBAN , STEPHANO , and TRINCULO , all wet]

[A noise of hunters heard. Enter divers spirits, in shape of hounds,. and hunt them about; PROSPERO and ARIEL setting them on]

[ CALIBAN , STEPHANO , and TRINCULO are driven out

[They go out, SHAKESPEARE'S voice dying away in the distance]

[ AUTOLYCUS comes in on his way to the sheep-shearing. He begins. to limp as SHAKESPEARE enters]

[He swings his staff, and as if by accident strikes AUTOLYCUS on. the legs as the Clown enters]

[The feasters are seen]

[He sees FLORIZEL and PERDITA ]

[They join the feasters

[Music. Here a dance of shepherds and shepherdesses]

[ SHAKESPEARE and his son-in-law HALL , BEN JONSON ]

[ HALL goes. As SHAKESPEARE strolls up and down a voice. from without sings]

PRINTED IN ENGLAND AT THE UNIVERSITY PRESS, OXFORD BY JOHN JOHNSON, PRINTER TO THE UNIVERSITY

PART I

Table of Contents

SCENE I

THE ROAD FROM STRATFORD TO LONDON

[SHAKESPEARE sitting on a stile singing. BOTTOM and the other craftsmen from the Midsummer Night's Dream cross the stage, followed after a moment's interval by QUINCE, who pauses on seeing SHAKESPEARE]

Table of Contents

QUINCE: God bless you, master. What makes life so gay?

SHAKESPEARE: Rhyme and an empty purse and hark-away!

QUINCE: An empty purse and hark-away? 'Tis so That many feel an east wind.

SHAKESPEARE: If it blow, Why should rough melancholy freeze the time? Tell me but that—but lest you spoil the rhyme I end the line: ah, and begin another.

QUINCE [trying to rhyme]: Well done. When I was young and had a mother— I made a-many and was spry at fairs— But now, God bless us!

SHAKESPEARE: Now's a pack of cares If we will let it be so, but what part Can any play to ruin him at heart?

QUINCE: Young blood, young song, young talk, young legs on the road! But there's a time when all the blood has flowed Out of the heart, and though we still write plays, As I do, there's a frost upon our days— And tragic masks are meant for us to wear When—when—when— [He breaks down

SHAKESPEARE: O come, devil take despair! When we search larders and find nothing there, When spry October leaves the hedges bare, When we sit down before the fire and stare, When knells of stormy death are in the air, When darkness swallows all bright things and rare, When we have lost our hearts and know not where, When doleful Winter takes the elbow chair, When thoughts fly up as pheasants at a scare, When every doublet has a length-long tear, When—

QUINCE: Ah, you've got a knack at finding rhymes— That's like me…. Did you ever write a play?

SHAKESPEARE: Something of one.

QUINCE: M'm. Where are you going now?

SHAKESPEARE: London; where else? London, where poets are And plays and theatres and all bright things else— Except for Anne.

QUINCE: Ah boy, there's always Anne. Howe'er we trudge and thrive in London town There's always Anne in the country pulls us back.

SHAKESPEARE: Well, she'll do better if I thrive. I shall; And she shall own the biggest house there is In Stratford, and think scorn of farmers' wives.

QUINCE: That's well; but count your crowns and keep them safe. Don't lend; don't borrow; look askance at drabs. Don't bluster, but be firm and keep your word. You'll soon be capped in Stratford …. Ere you go, Spend a night here with me and see a play.

SHAKESPEARE: A play! What company? the Lord Chamberlain's? No, They're to the west. Who acts? and what's the play?

QUINCE: My play; the company's our own. My lad, You won't find better actors up in town— Perhaps not better plays. I don't say so, But others might, and do. What are you called?

SHAKESPEARE: My name is William Shakespeare.

QUINCE: A round name, A good, no-flourishing, prosperous, solid name. Come up then, Master Shakespeare; we rehearse In the forest here,—you'll learn a trick or two For when you write plays for the Queen's own Grace; Ha, ha, ha! there, don't mind me. My name's Quince. This way; this way—La, they're all waiting us.

SHAKESPEARE [while QUINCE speaks to the players]: Fair omen! help me, Fortune! These are they That are half-woodland and half-town; they are The very stuff of the mind. Up, mind, and watch! Plays for the Queen's Grace! a true word, my Quince; But that's to come. Meanwhile, there's nought so poor That has not something in it more than I, Worth watching, learning, knowing, making fast. Rare fellows! look, they scatter—Ho, the play!

BOTTOM: Are we all met?

QUINCE: Pat, pat; and here's a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house; and we will do it in action as we will do it before the duke.

BOTTOM: Peter Quince,—

QUINCE: What sayst thou, bully Bottom?

BOTTOM: There are things in this comedy of Pyramus and Thisby that will never please. First, Pyramus must draw a sword to kill himself, which the ladies cannot abide. How answer you that?

SNOUT: By'r lakin, a parlous fear.

STARVELING: I believe we must leave the killing out, when all is done.

BOTTOM: Not a whit: I have a device to make all well. Write me a prologue; and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed; and, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver: this will put them out of fear.

QUINCE: Well, we will have such a prologue, and it shall be written in eight and six.

BOTTOM: No, make it two more: let it be written in eight and eight.

SNOUT: Will not the ladies be afeard of the lion?

STARVELING: I fear it, I promise you.

BOTTOM: Masters, you ought to consider with yourselves: to bring in,—God shield us!—a lion among ladies, is a most dreadful thing; for there is not a more fearful wild-fowl than your lion living, and we ought to look to it.

SNOUT: Therefore, another prologue must tell he is not a lion.

BOTTOM: Nay, you must name his name, and half his face must be seen through the lion's neck; and he himself must speak through, saying thus, or to the same defect, 'Ladies,' or, 'Fair ladies,' 'I would wish you,' or, 'I would request you,' or, 'I would entreat you, not to fear, not to tremble: my life for yours. If you think I come hither as a lion, it were pity of my life: no, I am no such thing: I am a man as other men are'; and there indeed let him name his name, and tell them plainly he is Snug the joiner.

QUINCE: If that may be, then all is well. Come, sit down, every mother's son, and rehearse your parts. Pyramus, you begin: when you have spoken your speech, enter into that brake; and so every one according to his cue.

PYRAMUS:O grim-look'd night! O night with hue so black! O night, which ever art when day is not! O night! O night! alack! alack, alack! I fear my Thisby's promise is forgot. And thou, O wall! O sweet, O lovely wall! That stand'st between her father's ground and mine; Thou wall, O wall! O sweet, and lovely wall! Show me thy chink to blink through with mine eyne.

[WALL holds up his fingers

Table of Contents

Thanks, courteous wall: Jove shield thee well for this! But what see I? No Thisby do I see. O wicked wall! through whom I see no bliss; Curs'd be thy stones for thus deceiving me!

[Enter THISBE]

THISBE:O wall! full often hast thou heard my moans, For parting my fair Pyramus and me: My cherry lips have often kiss'd thy stones, Thy stones with lime and hair knit up in thee.

PYRAMUS:I see a voice: now will I to the chink, To spy an I can hear my Thisby's face. Thisby!

THISBE: My love! thou art my love, I think.

PYRAMUS: Think what thou wilt, I am thy lover's grace; And, like Limander, am I trusty still.

THISBE: And I like Helen, till the Fates me kill.

PYRAMUS: Not Shafalus to Procrus was so true.

THISBE: As Shafalus to Procrus, I to you.

PYRAMUS: O! kiss me through the hole of this vile wall.

THISBE: I kiss the wall's hole, not your lips at all.

PYRAMUS: Wilt thou at Ninny's tomb meet me straightway?

THISBE: 'Tide life, 'tide death, I come without delay.

[Exeunt PYRAMUS and THISBE

Table of Contents

WALL: Thus have I, Wall, my part discharged so; And, being done, thus Wall away doth go.[Exit

[Re-enter THISBE, MOONSHINE, and LION]

Table of Contents

THISBE: This is old Ninny's tomb. Where is my love?

LION [roaring]: Oh—[THISBE runs off

[The LION tears THISBE'S mantle, and exit

SHAKESPEARE: Well moused, Lion.

[Re-enter PYRAMUS]

PYRAMUS: Sweet moon, I thank thee for thy sunny beams; I thank thee, moon, for shining now so bright, For, by thy gracious, golden, glittering streams, I trust to taste of truest Thisby's sight.But stay, O spite!But mark, poor knight,What dreadful dole is here!Eyes, do you see?How can it be?O dainty duck! O dear!Thy mantle good,What! stain'd with blood!Approach, ye Furies fell!O Fates, come, come,Cut thread and thrum;Quail, crush, conclude, and quell!

SHAKESPEARE: Beshrew my heart, but I pity the man.

PYRAMUS:O! wherefore, Nature, didst thou lions frame? Since lion vile hath here deflower'd my dear? Which is—no, no—which was the fairest dame That liv'd, that lov'd, that lik'd, that look'd with cheer.Come tears, confound;Out, sword, and woundThe pap of Pyramus:Ay, that left pap,Where heart doth hop:Thus die I, thus, thus, thus.[Stabs himselfNow am I dead,Now am I fled;My soul is in the sky:Tongue, lose thy light!Moon, take thy flight! [Exit MOONSHINENow die, die, die, die, die.[Dies

[Re-enter THISBE]

THISBE: Asleep, my love?What, dead, my dove? O Pyramus, arise!Speak, speak! Quite dumb?Dead, dead! A tomb Must cover thy sweet eyes.These lily lips,This cherry nose,These yellow cowslip cheeks,Are gone, are gone:Lovers, make moan!His eyes were green as leeks.O, Sisters Three,Come, come to me, With hands as pale as milk;Lay them in gore,Since you have shore With shears his thread of silk.Tongue, not a word:Come, trusty sword: Come, blade, my breast imbrue:[Stabs herselfAnd farewell, friends; Thus Thisby ends: Adieu, adieu, adieu. [Dies

QUINCE: Well done, my masters. [To SHAKESPEARE:] Now, what make you on't?