One of the most idealistic and influential classical concepts was the Elizabethan Chain of Being. The idea behind the Chain was that everything in existence had its place in the hierarchy of the universe. An object's place depended on its spirit-to-matter ratio: the more spirit and less matter something had, the higher up the chain it was. At the bottom were various inanimate objects like stones, metals, and the four elements, i.e. earth, water, air, and fire. Higher up were members of the vegetative class, like flowers and trees. Next came animals, then humans, and then angels. At the top sat God. Within each section, there were subsections, each with its own hierarchy. For example, among humans, the king was above the noble, the noble above the soldier, and the soldier above the servant, and he above beggars and fools. The fool in Elizabethan literature was used to provide a topic or theme for mediation, or he could be used purely used for comic relief. In William Shakespeare's comedy, Twelfth Night, Feste the Fool was not the only actor who played a fool. In fact, Feste was one of the smartest and wittiest characters in the comedy, one who seemed to be able to withdraw from the scene and provide insightful commentary, much like the Greek chorus. When Olivia's called Feste was an allowed fool, meaning he was a critic to speak the truth of the people around him, it put him in a unique position. In some cases, he acted as a teacher through puns and humor. He also revealed that some other characters that were higher up in the chain than he was were not as smart as their place suggested. In Twelfth Night, Feste the Fool ironically acts as Shakespeare’s megaphone, presenting the playwright’s message that the Chain of Being is n...
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...slowly filed the Chain of Being with Twelfth Night to show that a social hierarchy is not something that should be conformed too. Shakespeare thinks there are many individuals who do not belong in their society-appointed notch in the chain. This is true in modern day society. Some world leaders, CEOs, and other people in positions of power often make very foolish decisions regarding the important things under their jurisdiction. But on the flip-side, many normal people with no power can see clearly their mistakes before they make them and can also see the solution, just like Feste. If the world had more people like Feste the Fool, people who were not content with their social standing and willing to attempt the climb up the ladder, the world would have less homeless people, a more productive and innovative workforce, and a much lower crime rate. So be a Fool.
Shakespeare’s Twelfth Night is a comedy that has been interpreted in different ways, enabling one to receive multiple experiences of the same story. Due to the content and themes of the play, it can be creatively challenging to producers and their casting strategies. Instead of being a hindrance, I find the ability for one to experiment exciting as people try to discover strategies that best represent entertainment for the audience, as well as the best ways to interpret Shakespeare’s work.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
William Shakespeare was one of the first to introduce many to the distinct divide in social class and those who where in power. Some of Shakespeare 's most famous literatures & playwrights tell the stories and air the dirty laundry of people associated high in power and social class. In William Shakespeare’s Hamlet Shakespeare gives many examples of social class and power and how they both can destroy and disrupt when greed and unrighteousness gets in the way. He also proves how both social class and power can break, manipulate, and ruin individuals caught up in the dramas of social class and power. It is without question that William Shakespeare 's Hamlet teaches us the truth about power
People are not always whom they appear to be. Whether it’s that fierce tattooed muscle man or that sweet elderly lady smiling from a few seats away, what is perceived is not always what is true. Shakespeare’s Twelfth Night portrays many a character whose identities do not align with their inner character. Olivia’s polite ladylike demeanour, Sir Toby’s guise of nobility, and Feste’s job as a fool all demonstrate how social identities don’t always align with inner character.
As seen through Shakespeare’s exploration of universal themes, relatable, insightful, and knowledgeable characterization, and it’s intellectually stimulating entertainment value, Hamlet, demonstrates that it is still appropriate for students to study it today. In an era where nothing is simple and nothing is easy to understand, Shakespeare has managed to capture – 400 years earlier- the issues and people of our society today, all the while engaging us at the same time.
...s a reason inequality is dynamic in Shakespeare’s play and in society. That is the sole reason that inequality is inevitable.
Wells, Stanley, and Gary Taylor, eds. "Twelfth Night, or What You Will". William Shakespeare: The Complete Works. Oxford: Clarendon P, 1998.
The character of Bottom in Shakespeare’s A Midsummer Night’s Dream is frequently foolish, but he is not a fool. His exuberance and energy are allied to practicality and resourcefulness, with an alarming lack of self-consciousness. He, at any rate, is not at all tongue-tied before the duke, as Theseus has known others to be. We do laugh at Bottom in many situations, but should note that these are situations in which any man might seem ridiculous: amateur theatricals are almost a byword for unintended comedy, whether in planning (1.2) rehearsal (3.1) or performance (5.1); any artisan afflicted with an ass's head and appetites, and beloved of the fairy queen would have difficulty retaining his dignity.
Shakespeare distinguished social classes by contrasting poetic meter between characters in A Midsummer’s Night Dream. The working class, Athenian Nobles and the fantasy world collided together to create chaos. As Shakespeare broke down the tradition of social classes, he created chaos and the motif of disorder in his play. Ultimately, the sense of order is rooted in tradition and when tradition is torn away society has nothing left to fall back on.
Twelfth Night by William Shakespeare follows Northrup Frye’s archetype of comedy. This is illustrated in his “Mythos of Spring: Comedy.” Northup Frye says that there must be obstacles to a hero’s desire (typically love), and that this obstacle is usually a fatherly figure (Frye 164). Frye also argues that in the beginning of every comedy there is trouble in society. The older generation’s rules are irrational and illogical.
During the Elizabethan era, the philosophy that established social order was known as the “Concept of Order”, stating that everything had its own place and contributed to a certain position. Elizabethans believed that establishing order was the only way for a civilization to function and progress. This philosophy that governed the minds of many individuals seems to have been a prevalent thought in Shakespeare’s mind, the evidence being the recurring theme of the disorganization in social order. The disruption of social order, as described by the Great Chain of Being, was to be avoided, because the consequences would be destructive. The conflicts that arise throughout “Hamlet” are due to a disturbance in the Concept of Order, resulting in a disrupted social hierarchy.
Finally, this compound of overwhelmingly convincing humanity and psychological contradiction is the greatest of Shakespeare’s legacies to the men of his own quality. No ‘part’ in the whole repertory of dramatic literature is so certain of success with almost any audience, and is yet open to such a remarkable variety of interpretation. There are as many Hamlets as there are actors who play him; and Bernhardt has proved that even a woman can score a success. (101)
This questioning of what is actually important, physical needs or conceptual ideals, was relevant in Shakespeare’s time, and still is today. Living under Elizabeth I, the product of major religious upheaval, Shakespeare may have been disillusioned with the worlds of kings and queens of which he wrote. The belief in the importance of honor and reputation was still very popular during this time period, and in a play in which the entire plot revolved around these ideals Falstaff’s speech sticks out. This may have been a subtle critique of these values held so dearly by Shakespeare’s
In A Midsummer Night's Dream, playwright William Shakespeare creates in Bottom, Oberon, and Puck unique characters that represent different aspects of him. Like Bottom, Shakespeare aspires to rise socially; Bottom has high aims and, however slightly, interacts with a queen. Through Bottom, Shakespeare mocks these pretensions within himself. Shakespeare also resembles King Oberon, controlling the magic we see on the stage. Unseen, he and Oberon pull the strings that control what the characters act and say. Finally, Shakespeare is like Puck, standing back from the other characters, acutely aware of their weaknesses and mocks them, relishing in mischief at their expense. With these three characters and some play-within-a-play enchantment, Shakespeare mocks himself and his plays as much as he does the young lovers and the mechanicals onstage. This genius playwright who is capable of writing serious dramas such as Hamlet and Julius Caesar is still able to laugh at himself just as he does at his characters. With the help of Bottom, Oberon, and Puck, Shakespeare shows us that theatre, and even life itself, are illusions that one should remember to laugh at.
In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. In essence, fools were hired to make mistakes. Fools may have been mentally retarded youths kept for the court’s amusement, or more often they were singing, dancing stand up comedians. In William Shakespeare’s King Lear the fool plays many important roles. When Cordelia, Lear’s only well-intentioned daughter, is banished from the kingdom Fool immediately assumes her role as Lear’s protector. The fool is the king’s advocate, honest and loyal and through his use of irony sarcasm and humour he is able to point out Lear’s faults. Functioning much as a chorus would in a Greek tragedy, the fool comments on events in the play, the king’s actions and acts as Lear’s conscience. As he is the only character who is able to confront Lear directly without risk of punishment, he is able to moderate the king’s behaviour.