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Show IJIMrslty JoulTIIII • MDnllllY, June Zf, 1996 • (Continued from /Jifge 6J emphasis on the imminence of death, with all that is associated with it-the destructive effect of time on beauty, vitality, and love; and the rapidity of physical decay. But it is not known whether the emotions expressed are genuine or merely conventionally acceptable. The first 126 sonnets in the sequence were addressed to a young man and the next 26 sonnets rehearse the charms of what has come to be called the "dark lady," because she is described in the sonnets as a brunette. Some sonnets in the second group refer to a rival poet who is competing with the author for the lady's favors. Because the last two sonnets in the sequence have no identifiable connection to the others, many critics doubt that they were written by Shakespeare. Whether he addressed Southampton in his sonnets, as is often assumed, is unknown. The sonnets were not published until 1609, a date 10 or 15 years after they were composed. Many of the sonnets, always popular, are considered to be among the world's finest poems. That at least some sonnets were in circulation during the 1590s is known from a reference to them in 1598 by Francis Meres, who in a survey of contemporary literature, makes mention of Shakespeare's "sugared sonnets among his private friends." character being displayed. Sometimes they are used to clear the stage of its actors. They can carry tragedy as in the case of Ophelia's mad songs; or they can suggest irrepressible laughter, as in the case of the romantic comedies, such as As You Like It. It is commonly agreed that of all the English dramatists who graced the English stage, none had more skill then Shakespeare in "sweetening his scenes" with songs. In Shakespeare, more than in any other dramatist, one finds the gaiety of the ballet (in the dancing songs), the solemnity of the motet, and the terse, witty expressions of the madrigal. Some of his songs were set to music in his own time by such notable composers as Thomas Morley and William Byrd. When the theatres reopened in 1594, Shakespeare was ready to commit himself full time as a playwright. He was 30 years old, and, by now, he was quite sure of his ability to succeed. He was ready to move on to another phase of his life. It is convenient to trace Shakespeare's career in the theatre through 'periods' because changes in his technique , circumstances, and in Shakespeare himself are quite pronounced. The first period, 1588 to 1596, was a time of experimentation. It was a period of apprenticeship; and it revealed Shakespeare progressing from hired hand to actor, from actor, to actor-adaptor, and from collaborator to a self-assured playwright. Histories, comedies, and tragedies were all attempted in this first period; all showed signs of, as yet, unrealized genius. And, by now, there probably was not much about human nature that Shakespeare did not know. The second period, 1595 or 1596 to 1600, saw Shakespeare move out of the 'workshop' into the world. The plays of this period were almost all comedies. They were rough, rollicking comedies ; or refined joyous ones, but all gave evidence of his mastery of plot construction. The third period, 1600-1608, revealed a marked change in the plays. It was the period of the great tragediesHamlet, Othello, King Lear, and Macbeth-but even the comedies, such as Measure for Measure, had changed. They had become somber even bitter in tone. Ghosts and witches have reolaced the elves and fairies. His lauahter W ith the sonnets there appeared a poem titled A Lover's Complaint. That it was written by Shakespeare is questionable. Another poem of 67 lines, The Phoenix and the Turtle (1600-1601), appeared in a work called Love's Martyr. The subject is platonic love, symbolize('.! by two birds, the phoenix and the turtledove. The symbolism of the poem, together with its philosophical context and metaphysical language, has led critics to seek out biographical , political, and religious meanings. That Shakespeare might think of earning a reputation by his poetry- a reputation that was difficult to come by as a playwright--was quite natural. Shakespeare and other writers of his time did not expect to find lasting fame in playwriting. They looked to nondramatic poetry for that, as a more exalted form of communication. A 383-year-old poem claimed to be by Shakespeare was discovered in 1981 in the Oxford University Library. It is titled A Farewell Elegye in Memory of the late Virtuous Maister William Peeler, and it treats of the death of a young actor in 1612, about the time Shakespeare retired from the theatre. If genuine, it will have a bearing on how Shakespeare's other works are read, not only because of its form, but because of its content. Some of Shakespeare's greatest lyrics are not found in his external poetry, but are found in the songs from the plays. They were often accompanied by music and are masterful expressions of the poet's art. Very few plays were without lyrics, and many admirers of Shakespeare think that The Tempest and A Midsummer Night's Dream are filled with songs from beginning to end. The songs do not appear as mere decoration to the play, however, but have a dramatic purpose. They reflect 1he mood of the piece, or serve as a commentary on it, and are the result of the nature of the action and I 7 has vanished. His wit has turned serious. But he was capable of revealing character in its highest expressions of passion and sympathy, and he was also capable of revealing the moral and spiritual dilemma of men and women ; and because he was capable, he felt compelled to do so. The fourth period, 1608 to 1611 or 13, was a period of final experimentation. Shakespeare moves from the dark comedies and the heavy tragedies to the more pleasant mood of comedy. But his comedy has changed from what it was in the second period. Shakespeare critics and scholars have identified this group as 'romances'. The Tempest is the most notable of this genre. It is no longer rollicking and boisterous, but more melancholy and probing-suggesting "the pensive light of closing day." Some time between 1610 and 1612 Shakespeare returned to Stratford to live the life of a country gentleman, and to take charge of family concerns. Only occasionally did he return to London for brief visits. His contributions to the drama were negligible after 1612. He collaborated with Fletcher in Henry VIII. but his contribution to The Two Noble Kinsmen and Sir Thomas More was so slight the plays are not included in the 'canon,' or list of his plays. His contribution to the theatre of his day virtually at an end, Shakespeare died at his home in Stratford a couple of months after making out his will. There are37 plays in Shakespeare's canon, and 36 of them were published in 1623, seven years after his death. Only Pericles is missing . No one knows why. Some scholars believe that Shakespeare's contribution to the play (over his sources, Twine and Gower) lies in the shipwreck scene. But the play is lacking in motivation and unity of action that Shakespeare knew so well how to provide, and had demonstrated many times before. ne of t~e remarkable things about Shakespeare's survival as a dramatist is that he theatre can take little credit for it. and several reasons for that have been given. The first edition of his plays. the famous First Folio edition, did not appear until 1623, seven years after Shakespeare's death. It was assembled by two former members of Shakespeare's company, John Heminge and Henry Condell , who obtained the texts from sources available to them at the time, including quarto editions and theatre "prompt-books." In spite of all the errors and omissions, the First Folio was a remarkable achievement. Of the 36 plays published, 18 had been published earlier in quarto editions, that is, as separate plays. Six of them were "bad quartos,• shortened versions of the plays that were published without permission and based. often, on no more than actors' memories. Subsequent editions came out in 1632, 1663, 1664, and 1685; but there was careless editing in all of these , with many omissions, misprints, and faulty punctuation. After the execution of King Charles I by the Puritans in 1642, the theatres were closed because of their "indecency," and they remained closed until 1660, when Charles II was brought back from France and crowned King of England. With the "restoration" of the English monarchy, the (continued on page BJ |