#shakespeare analysis

immediately after meeting Romeo, Juliet whispers to the nurse, “If he be marrièd / my grave is like to be my wedding bed.” (I.V.148-9)

this echoes later in the play, when she learns Romeo is banished. she takes the cords (presumably to hang herself), and once more tells the nurse, “I’ll to my wedding bed, / and death, not Romeo, take my maidenhead!” (III.II.149-50)

fast-forward. Juliet is begging her mother to delay her marriage to Paris, if even for a few days, “Or, if you do not, make the bridal bed / in that dim monument where Tybalt lies.” (III.V. 212-13)

but where are we getting this motif from? death and weddings? why would a thirteen-year-old girl talk so freely about her own death, and equate it to love and marriage? it’s almost as if her fate is already decided.

because it is. that’s where Lady Capulet comes in. in the same scene as above, Juliet’s mother tells her father, in front of Juliet, “I would the fool [Juliet] were married to her grave.” (III.V.145)

no wonder Juliet is so ready to end her life in all of these scenes throughout the play. how often has her mother told her, in different words, that she wishes Juliet were dead? and how many more times has Juliet’s pain gone unnoticed by the adults in her care?

that’s the beauty of this tragedy. there’s no prophecy. there’s no oracle. there’s no drawing of straws, but each character’s fate has already been sealed before the play even begins. no adult in Verona will offer help to Romeo, Juliet, Benvolio, or Tybalt. they all go practically unnoticed until after their deaths.

an unsympathetic tyrant king gets deposed and turns into a sympathetic tragic hero; his inevitable death goes from something you anticipate to something you dread and grieve

vs a sympathetic hero becomes king and turns into an unsympathetic tyrant; his inevitable death goes from something you dread to something you anticipate and celebrate

So hello if you're new her I'm Garlick I'm obsessed with Shakespeare I probably have other character traits but it's mostly Shakespeare

ONWARDS

So Hamlet is great for tons of reasons. (Yes yes we're back on the Hamlet bullshit, now SHUSH).

One of the MANY reasons why Hamlet the play is great is cause of the names!!

Claudius and Polonius and Horatio have Latin names , showing them to be like.... In one group.

Claudius was the name of like a couple of Roman Emperors and the man's a king so that fits. Also Claudius comes from the Latin word "lame" or "limp"? My prof said 'cripple' but that word feels yucky so idk. Either way Claudius IS lame and he is crooked so it does work out!!

what of Polonius ?? I don't remember THAT much Latin (boo, Garlick!!), so onwards to Wikipedia! https://share.google/ugnliFJtHbLesIsFG

"Polonius" is Latin for "Polish" or "a/the Polish man." The English translation of the book refers to its author as a statesman of the "polonian empyre". In the first quarto of Hamlet, Polonius is named "Corambis". It has been suggested that this derives from "crambe" or "crambo", derived from a Latin phrase meaning "reheated cabbage", implying "a boring old man" who spouts trite rehashed idea.

A) fucking HILARIOUS is that part about cabbage. Gonna name my kid reheated cabbage and be like ITS AN IMPORTANT NAME FOR AN IMPORTANT SHAKESPEARE CHARACTER. Actually gonna name my cat that. He never shuts up.

B) Polonius and Claudius sound so similar. I know, Latin endings, but still. And they're both outsiders - Claudius on a throne he doesn't belong to, and Polonius is literally a Pole in Denmark (also weirdly close to the throne). And you bet your ass those shakespeare era Brits were racist as hell against slavs.

What about Horatio? His name means "timekeeper" or "man of time" and it meant to be like wise or stuff. But. "There is more in heaven and earth than is dreamt of by your philosophy". And... He's the one who dooms Hamlet. He's the one who brings Hamlet to the Ghost and then spends the rest of the play regretting that decision. He's the starting bell - and the end of the play, the last words are spoken by him and then it's his job to TELL THE STORY HELLO SHAKESPEARE WHY MUST YOU CAUSE ME PAIN AND SUFFERING

onwards to Laertes and Ophelia and Horatio!

So these names are all Greak. Laertes was actually the name of Odysseus' father (cool!!) and his name means... Uh... Gatherer of the people. Huh. I guess he does? After Ophelia dies, he jumps into the grave, bringing Hamlet to her body. And his duel with Hamlet brings *everyone* into that room. And I means EVERYONE. He brings people together at the cost of his life. Ouch! I'm suffering :)

Ophelia is also Greek! Her name means "help" or something? And she does try to help Hamlet. And Laertes tries to help her. Wow. I'm sad now.

we got Latin names, we've got some Greek names, time to move onto the German names. Are you sad yet?

Gertrude is actually a German name, something to do with spears and strength idk. But that's interesting! What a name to give to a FEMALE character! It suggests SUCH hidden depths - this woman who found her husband murdered, who kept her son alive by drinking the poison meant for him, this woman who married her husband's brother and killer, who must have been scared and alone - and Claudius would absolutely be willing to kill her and Hamlet if they were between him and the throne! Gertrude sacrifices her son's respect in order to keep them both safe(r). She IS a goddamn strong character. Good for her. She should have been given a gun. Au where Gertrude shoots Claudius through the head and then officiates Hamlet/Ophelia/Horatio's wedding.

Hamlet has two meanings. The first old German thing is from this Amleth legend, and guess what, Amleth is ALSO a prince who pretended to go nuts to get revenge on his uncle. Coincidence? I think NOT. also Amleth means "fool" or "trickster" hahaha that's Hamlet lol. But the SECOND meaning is an old French/English one and guess WHAT it means LITTLE HOME. like. THE SHIRE VIBES ARE OFF THE CHARTS

And HELLO? HAMLET DOESN'T GET A HOME. everyone he loves is DEAD (except Horatio) and his dad is dead and he's surrounded by enemies and. That's AWFUL.

Wow TERRIBLE

Edible ingestion commencing, time: 7:37pm Mountain Time

I polled my followers for the topic, so today we're going to talk about:

Fixing the Puck Problem

I've read and seen A Midsummer Night's Dream more than any other Shakespeare play. At this point I don't know if I've seen it so much because it's my favorite, or enough opportunities for me to see it have lined up that it's become my favorite by default. It's easily the Shakespeare play I know best. I haven't seen a staging that I fully disliked, but there are two elements of this show that I feel like are rarely handled the way I want them to be.

Problem one:

Puck will never be as funny as Bottom

It's common to consider Puck to be the main character of A Midsummer Night's Dream. He's at the very least the most famous character in the play. Puck is a dream role, and obviously with his being a fairy, he's usually directed to be weird and whimsical--and a lot of the time, playing for laughs. It makes sense, he's a trickster, it's built into his nature.

But in modern day, his lines and actions don't translate as well as Bottom's. In all of the times that I've seen A Midsummer Night's Dream, I've *never* seen a production where Bottom fails to steal the entire show away from Puck. I've had multiple experiences where I could feel the director wanting me to laugh at Puck; I could see the reasons for the direction, but it just wouldn't hit. In those same productions, I've laughed so hard at the Bottom scenes that I cried.

I'm thinking particularly of the 2010 production with Judy Dench reprising Titania (honestly still in shock over seeing that lolol) and the 2019 Bridge Theatre production (which you can find streaming, it's *incredible*).

In the 2010 show, the Puck actor kept doing what honestly felt like a Woody the Woodpecker impression lol. He would pause for laughs and they just...wouldn't happen. Meanwhile, Bottom was set up with the kind of success that let him steal at least one scene from fucking Judy Dench.

In the 2019 Bridge Theatre production, I genuinely like the direction they gave Puck--he's a weird little twitchy Irish punk doing fucking aerial silk shit. But even with a unique vibe and a fun performance, it's still not enough to outshine Bottom.

Basically my thing is that I want to get to the end of A Midsummer Night's Dream and feel more connected to Puck. I *want* him to be my favorite. And there's just absolutely no way to make him my favorite if his core purpose is to be funny. Puck is supposed to be a larger-than-life being--the audience is never going to buy that when he's not even the largest character on the stage.

The second problem is smaller, and in fixing it there's also a fun chance to fix the Puck problem:

Problem two:

The audience usually doesn't understand why Titania and Oberon are fighting.

If you've gotten this far you're probably already a nerd who knows this, but gonna pose the question like I've done for other people I've seen the show with: Why are Titania and Oberon fighting? What's the core reason?

Bc you're a fucking nerd you probably yelled CHANGELING! Which yes, good for you, if I had become the Shakespeare professor I wanted to be but didn't have the money to become, you would be in my class and I would throw a snickers at you for a reward.

But the thing is, a *lot* of people who only know the play casually don't know. And most productions don't assist them in knowing.

Elaboration for non-nerds: Titania had a "and they were roommates" totally not at all lesbian relationship with a human women who was pregnant. The women dies in childbirth and Titania takes the child to raise, and she cherishes him more than anything, which is an extremely straight thing to do. In the play, the character is only referred to as the changeling. Oberon gets super jealous of this kid and wants to steal him away and make him join the Wild Hunt so that he can have Titania's full attention back, because he's got that issue creepy men get when they have kids and then are like "I'm jealous of my son because he's making it less likely for me to fuck my wife" and it's like "dude calm down with this projection of an Oedipal complex."

If you're not a coward and read Titania as in love with the changeling's mom, then Oberon's issues are maybe slightly less creepy, but like not really

So that's it really. Titania loves this kid of her sapphic lover that died. Oberon is jealous about it. He decides to play a trick on Titania both as a way to get revenge, and also as a distraction so he can steal the kid.

But the issue is that 1.) all of this is communicated in a long and kind of boring speech, and 2.) the changeling literally never has a line and also no stage directions

The 2010 production had a hot dude chained up and writhing on stage in a kind of hot dance snake movement thing when Titania talks about him, but most productions never even have an actor cast as the changeling. I was really shocked they didn't have anyone for the 2019 production, given how much I love most of the rest of their choices.

OKAY SO. We now have the two problems: Puck isn't the fan favorite even though he should be; and most people in the audience have no fucking idea about the changeling.

(THIS IS HIGH PIP FROM THE FUTURE I FORGOT SOMETHING VERY IMPORTANT TO THIS PROBLEM: If you do know about the changeling/follow along with that plot, it's *very* hard to root for Titania and Oberon when they reconcile. Which can be fun and cool and a little hot even maybe if you're going all dark, but thIS IS A PLAY ABOUT HORNY FAERIES HAVING A GOOD TIME so I won't be having that. I want this play to make me like that Titania forgives Oberon so easily. Okay Past Pip, take it away)

lol okay yeah weed friend has landed, I just wandered away for a minute with a desperate need to put taquitos in the air fryer. Time stamp: 8:16.

OKAY FOR REAL NOW LET'S GET INTO:

Pip's Most Ideal Staging of A Midsummer Night's Dream Which Fixes the Problems in Theory

The Staging:

First off I want the production to be in the middle of the literal woods where there's pretty lights in all the trees and people are sitting on blankets and have snacks and drinks and drugs and whatever they want, and the whole staging has the actors weaving through the audience. Not just theatre in the round, full immersion

I also want people to not fully know where the production is, just that it's on the outskirts of the forest, and then the actors emerge from the woods at a designated time and bring the audience to the secret stage section. And ideally this would be like a park on the outskirts of woods so that there would also be people there who wouldn't know what the fuck was going on. And ideally some of the fairy actors convince them to come along and the people go having no idea what they're about to get into. That's how A Midsummer Night's Dream is meant to be experienced in its purest form: with actors dressed as fairies trying to seduce unsuspecting strangers to follow them into the woods to an unknown location where they'll probably be offered drugs.

TAQUITO TIME

Taquitos acquired.

Puck's direction and motivation:

When Puck is first introduced, it's by a fairy called Peasblossom who's otherwise not a big part. Peasblossom lets the audience know who Puck/Robin Goodfellow is by basically going stan-mode and being like "holy shit you're famous." PB literally starts listing his greatest hits.

So picture with me: instead of an extremely fairy-like whimsical Puck, I want a Puck that wanders on-stage like a burnt-out rockstar. Cigarette in one hand, beer in another. Probably on a cocktail for faerie super magic mushrooms. Just fully numbed out. In this moment, Puck feels way more human than faerie--and I want the performance to be in a way where that feels off. To have it be communicated in manner and clothing, and the juxtaposition of PB recounting Puck's glory days, that Puck hasn't always been like this. This isn't a faerie trickster in his prime. This is a man who's lost all sense of fun and is going through the motions.

That's what happens, right, when you become just a little too famous?

Puck is the only one of the main characters who gets to the end of the show and is entirely alone.

(my favorite thing about being high is how *good* it makes food taste, these taquitos are not fancy but with the power of the devil's lettuce it's so good--oh my god I have Dr. Pepper)

(I'm back with the Dr. Pepper. I'm having fun, are you guys having fun? If you've made it this far i kiss u)

So Puck is alone at the end of the play while everyone else of import is either with their lover or with their theatre-kid-found-family. And it's largely because Puck lives between worlds. He's not powerful enough to be fey royalty; he's Oberon's right-hand man, but he's not Oberon's peer. But the lower fey court are also not his peers -- they treat him like a celebrity, he can't actually connect with them. He's not allowed to frolic and play with them anymore, not really.

With this interpretation and direction, we now have a Puck whose action in the plot can lead to a happy ending (keep with me), and whose existence isn't just to be quirky and whimsical for the audience. Instead it's a Puck with a motivation: he's lost all joy in his job, he's disconnected from him community, and Oberon only treats him like a fuckbuddy so he's sexually frustrated. (Oh right yeah I was supposed to write about how Puck is in love with Oberon. He is.) That's all fucking sad, bro! And you know from the Pip that traveled into the past that this play is fun and should be fun!

Now for the final part, where we put in the special ingredient to tie this particular Puck direction into the happy ending:

LET'S 👏 GET 👏 GAY 👏

Do you guys (gn) remember the changeling? It was like possibly an hour ago, the time-warp this particular edible always sets me on has fully set in. It's possible this essay is like 5k words long. It's also possible it's only 500 words long. I wish I was lying when I told you I don't know.

Anyway, the changeling. Let's make him a fuller character and let's give him to Puck wrapped up in a sexy, charming bow.

Picture this: The Changeling, from now on capitalized as a character, shown on stage in Titania's court. Locked up like a princess in a tower because Titania is desperate to protect him. And the Changeling is all *sigh and flutter big beautiful princess man eyes* because he wants to explore what's out there. Because he's a man who's grown up and been forced to live between two worlds. He's not fey royalty, he's not Titania's actual kid and she kind of honestly treats him more like a momento of her lesbian lover than an actual adopted kid. He can't be one of the fey court, because he's not fey, and also he's not allowed to frolic and play with them.

That should sound familiar to you if I did it right.

Puck and the Changeling, both feeling the same sort of empty spot. So let's smush them together.

Give the Changeling all of Peasblossom's lines. It makes more sense for a detail I left out before, too--Peasblossom doesn't recognize Puck they see him for the first few lines. Once they do they're all like "omg you're the dude that makes people horny for each other and also some other trickster things." They know all of Puck's stunts, but they don't know what he looks like? It's clearly an exposition device, but it's a weak one (sorry, Shakesy). He's the rockstar of the fey world. You'd have to be living under a rock or, I dunno, locked away like a beautiful man-princess --

(Okay you know where I'm going and I have to stop there because I'm cry laughing, I swear to you -- I swear to fucking god, guys, I wish I was joking -- I thought I was being cute and clever saying "man-princess". Not because of irony. IT'S BECAUSE I FORGOT THERE IS A WORD FOR A PRINCESS WHO IS A MAN AND THAT IS A PRINCE. Okay i should clearly wrap this up lol)

In this staging, the Changeling clearly doesn't want to be locked up. So...he finally finds a way to sneak out. He goes on a romp through the forest and that's when he runs into Puck (this is the scene where we first meet Puck). The Changeling wouldn't recognize Puck, though he's have heard of him. He probably loves stories because what the fuck else does he have to do, so he's asked the fairies to tell him about Puck's adventures over and over. Meanwhile, Puck wouldn't recognize the Changeling because Titania has been keeping him so under lock and key. It allows an opportunity for them to connect on more of a peer basis as they--

Holy fuck. Wait. Hold on. Is the Changeling Stede. Is Puck Ed. What the fuck. Did I write an AU on accident. I don't even like AUs very much (sorry AU writers it's not personal it's just not my thing).n ANYWAY sorry for the pirate aside. God this is properly off the rails now.

They like each other, you get it. And now Puck has someone he wants to impress. There's not a lot of opportunities to give the Changeling more lines, but that doesn't mean he can't appear on stage. He can stay with Puck (hiding from Oberon whenever he's there, leading to some good chances for physical comedy) and go on the nighttime adventure of his dreams.

This leads to a fun, unique choice: having Puck fuck up the love flower juice plan on purpose. So that he can show this hot dude following him around with wide enthusiastic eyes the kind of things he's capable of OH MY GOD THIS IS ED AND STEDE I SWEAR THIS IS NOT ON PURPOSE I AM JUST NOW SEEING THE PARALLEL

Okay we're nearly at the end I promise. We just have one more problem to solve: How are we supposed to root for Titania and Oberon to get together when Oberon literally publicly humiliates her and then steals her adopted son and forces him to join the Wild Hunt even tho Titania REALLY doesn't want him to? Well, the first one is easy, Titania and Oberon are so fucking kinky, and Oberon likes getting cucked (remember he's only jealous of the Changeling, never the lesbian).

The second one is also easy. Make it the Changeling's choice. Leaving Titania and joining Oberon's court means two things: He gets to be with Puck, and joining the Wild Hunt allows him to go on exciting adventures. If Titania saw that the Changeling wanted this with the staging that both Titania and Oberon look over and see Puck and the Changeling making out right after Titania's spell is broken. Then Oberon can jokingly delivers the line about having stolen the Changeling, realizing that the plan worked but in the most ridiculous way possible. And how could Titania not find joy in all of that?

It makes me so much more glad to see them get back together.

Puck's closing soliloquy is his most famous, but I like his last big monologue right before it better. There's a very important line he says that communicates an important shift within the context of his particular staging:

And we fairies, that do run

We.

Puck isn't a lonely, washed-up rockstar anymore. He's part of a "we." Not just the Changeling, but the other fairies, too. Puck and the Changeling act as bridges for each other, to be part of each other's worlds in a way that feels like a whole -- OH MY GOD IT IS ED AND STEDE

Puck being alone on stage isn't so sad anymore, after all that. Because Puck, who starts off the play with so little sense of belonging, now has so much to go back to.

And that's it, that's my ideal staging of this play. Honestly, I really, really want to direct it. I have no experience directing but I have the audacity to think I could do it lol. No resources, tho

OH ONE LAST THING HELENA NEEDS TO BE INTO PUP PLAY

also the lovers are all in a polycule, that's just a given, any other staging is cowardly

alright bbye

[exit]

“Leontes is literally crazy now. And when a king is crazy, it’s dangerous. Everyone is deeply disturbed and confused. Everyone is holding him back and trying to prevent him from lashing out. He’s like a rabid animal. And that’s really interesting, because he calls his wife a thing, but he’s not acting like a rational person. But he thinks he’s very rational.

Even full of hatred, Leontes loves so hard. He clearly still loves his son and cares about him so much. In one of the scenes, he seems very distraught over his wife’s “betrayal,” and he is very emotional about it. When he basically starts crying, you realize how much he fully believes it.”

“This man said that he hasn’t been sleeping, like, at all. He’s having a mental breakdown and I kinda feel bad? Like, I’ve had my own ‘episodes’ that have caused me to act very irrationally and emotionally, so I understand the feelings. I also remember the personal aftermath of these episodes, and any guilt that may occur once you come back down to earth. But he’s also hurting innocent people, and it’s really disturbing to see, and you are also perfectly justified in feeling very angry at him for doing this to those who love him.

So that makes it all the more tragic to me. He’s truly in a state of mental unwellness, and when he recovers, he’ll see the damage he has caused, and the damage itself is incredibly tragic as well. Hermione loves and trusts him, and you can see the hurt and betrayal written on her face when he turns on her. Even though he is the more touchy-feely one, she does love as deeply as him. And she doesn’t even seem that mad, just hurt, and she probably sees how unwell he is. And when you realize that a loved one is in a state like that, it’s horrible, because you love them, and one of the main things you see is their suffering. But you yourself are suffering from the hurricane.”

I just love this production because, as I said in my notes, Leontes feels so passionately about everything. If he feels love, he feels it intensely. If he feels even a twinge of jealous, he becomes full of hate. He is full of extremes, so it almost makes sense that he’d react so intensely to something so small. But it also makes sense that everyone would be surprised by thing. Because again, he has only really shown them his loving side, and you would never expect something from someone who loves so intensely.

romeo knew, right before entering the banquet, that something would happen inside that would eventually kill him. he didn’t know what or how, but he knew.

it was too good to be true. it was too beautiful to end well. he knew. maybe he didn’t know truly how it would end, but he had a feeling.

juliet even knew before romeo had left her sight. she still laid eyes on him as she had a feeling, deep in her heart, how it would all end.

the last words they ever spoke to each other alive. juliet sees romeo below the balcony, and she sees him dead in the bottom of a tomb. she fearfully tells romeo this, and he tells her he sees the same before bidding her goodbye.