William Shakespeare Essay Example

William Shakespeare Essay William Shakespeare was a writer, not a politician. But he was destined by the very fact of his greatness to become a theorist of politics as well. The temptation to find a sign of theory for politics in his work is too strong to resist – it is almost unbelieveable that a great writer living in England in the XVI-XVII centuries could escape greatest political and philosophical debates.Shakespeare did not. He was deeply involved into the context of his time, where state and power were among main subjects of concern. During all periods of his work, Shakespeare was formulating his own attitude towards the tendencies that shortly afterwards led to English revolution. The historical material he used was mainly about the period of long-lasting feudal conflicts in England.The problem as well as the approach were not unique. The so-called â€Å"political skill† was a matter of concern for many, especially those who denied its Divine origins. Naturally, political systems in Euro pe gave all resons for that. Christendom, a concept of the early Medieval period, has failed. European political space did not unify, more than that – it became evedent, that it was gradually disintegrated. Reformation and subsequent political conflicts, enspired by religious hostility, led to a raise of quite a â€Å"multipolar† world in Europe, in which intrigue and statecraft played sometimes   very important role – much more important than religious or ethnic motives. Especailly true that was about Italian states: difficult political environment and lack of unity made it vitaly important to improve political skills of the leadership. Something like that was later actual for France and England.Italian writer thus became the first to analyze the nature and peculiarities of political processes. Nicolo Machiavelli summed his conclusions in his â€Å"Prince†, which became an example of â€Å"pragmatic† view on power, so uncommon for Europeans of t he time. Undoubtedly, ideas expressed by Machiavelli influenced many people including writers and Shakespeare in particular. But such influence was accompanied by personal implications as well as by historical background. What was actual and true about Italian cities could have been absolutely incorrect about English counties.Thus historical plays by Shakespeare, in particular Henry IV and Richard II, are the exapmles of an English interpretation of Italian theory, which have something to share and in some ways opposes the latter. Shakespeare is neither an adept, not a critic of Machiavelli – he is an analyst of his own, concerned about the problems facing his society. Two strong motives may be observed in Shakespeare’s plays: 1) a support for the Divine Right of kings, which means that there is a need for some kind of justification of hereditary power, upon which stability may be created; 2) a call for â€Å"pragmatic† rule in the sense that power obtained from God should be exercised in the way that make people (in broad sense) more happy.Such a view, or synthesis, was not new or unique. New was the form of expression, the way in which Shakespeare described his point. Dialogues and scenes of Henry IV and Richard II are simple and clear but they convey some deep thoughts. A motive for Divine Right had been also expressed in Richard III, where the figure of main character dominates the whole scene from the beginning to the end. Something very much alike one may see in Richard II, with more complicated plot and composition. Shakespeare demonstrates that royal power is not something to enjoy.O villains, vipers, damnd without redemption!Dogs, easily won to fawn on any man!Snakes, in my heart-blood warmd, that sting my heart!Three Judases, each one thrice worse than Judas!Would they make peace? Terrible hell make warUpon their spotted souls for this offence!(W. Shakespeare. King Richard II. Act III, Scene 2.)For him this is something to be res ponsible for, probably – something to sacrifice or die for. Returning to Medieval tradition, we may found some pre-christian analogies in feudal conflicts. One king must equal for one God and that will be good.A dialogue between Falstaff and Poins may seem to prove that there is nothing divine in royal power. But later on it becomes evident that royal power which is destined gives sense of unlimited power.Such neighbour nearness to our sacred bloodShould nothing privilege him nor partializeThe unstooping firmness of my upright soul.(W. Shakespeare, King Richard II, Act I, Scene 1).Divine power means not very much responsibility by the definition. This is the place, Shakespeare makes his own point. Showing life of princes and king himself in Henry IV, he shows that Divine power is something that may disappear, or something that may be overtaken by people. â€Å"Special† effects, used in Henry IV, outline this idea. The plot is filled with small funny scenes from real li fe, showing how they affect political proceccess. A prince and a king are common people – again not a new idea, but expressed in new forms. An idea of destiny is outlined in several ways:Edwards seven sons, whereof thyself art one,Were as seven vials of his sacred blood,Or seven fair branches springing from one root.Some of those seven are dried by natures course,Some of those branches by the Destinies cut;(W. Shakespeare, King Richard II, Act I, Scene 2).One of the main ideas central for Shakespeare is the role of absolute royal power in general. Combining several approaches to it, trying to join Divine rights with very concrete responsibilities, Shakespeare although supports the view that the more power for a monarch the better. The reason for that is probably the political situation in England. The XV century was full of intrenal conflicts and wars. They were the main sourse for instability. Quite naturally, the reason seemed to be a weak royal power. The example of France demonstrated how strong monarch could win wars and guarantee trade and flourishing. Big English feudals – the Yorks, the Sommersets, the Northumberlands, the Hotspurs and others – were seeing as the main disorganizing force in the state. That was quite natural.Feudal anarchy is opposed by the idea of central power. For Shakespeare such power was only possible under a monarch, although republicans of the time had probably something to object. Royal power could only be possible with the idea of its Divine origin. Supported by church, such system would have been stable and long-lasting. This also implied the principle of hereditary power, with heirs strictly determined by family ties. Shakespeare could have vividly remebered the horrors of civil wars between the Yorks and the Lancasters, as well as conflicts preceeding Queen’s Elizabeth reign. The problem was widely discussed at the time, so it was almost impossible not to mention it while describing royal life. R egarfing all that one may understand the meaning of long dialogues on the topic, which are found in many of Shakespeare’s plays. All that is directly connected with the idea od Divine rights and with the problem of the transition of those rights.In Henry IV, Shakespeare describes the rule of the king as full of upraisals and other destabilizing events. The reason for them is the wrong policy adopted by the monarch, uneffective management, to put it in a more modern way.Here comes another part of a story. Shakespeare thus puts forward a thesis on â€Å"effective† use of power. That is very close to Machiavelli. An Italian was free from occupation with Divine rights. Despite he put all efforts to improve effectiveness of power, of whatever origin. Shakespeare shows miscalculations of Henry IV as leading to disasters. The episode of usurping power by Bolingbrock may be seen differently. It may be seen as a prelude for further troubles: by capturing power he violated Divin e rights which was the reason for further problems. But it also may look like a very â€Å"pragmatic† mistake. By creating a precedent, he opened way for other feudals, who from now on were just waiting for political mistakes. This could have been easily corrected by some measures without reviewing Divine status of power.Since Henry IV came to power with the help of feudals their relations are far from those of lord and servants. Divine status thus gives way to practical political reasons, which is so close to Machiavelli. The same picture is shown in Richard II. The constant dependancy on feudals and lack of Divine status is the everlasting problem of such king.Thus a strong royal power is a political good since it promotes the well-being of the whole society. But a king is to be somehow â€Å"up to his status†. This idea is illustrated in Henry IV:I stay too long by thee, I weary thee.Dost thou so hunger for mine empty chairThat thou wilt needs invest thee with my ho noursBefore thy hour be ripe? O foolish youth!(W. Shakespeare, King Henry IV, Part II, Act IV, Scene 5)For a king to be â€Å"effective†, he has to possess some moral qualities. Such a monarch is rarely found in Shakespeare’s plays.Unlike Shakespeare, Machiavelli considers heir’s status as just one from many important factors. A king for Machiavelli is just one of the politicians who have almost equal chances for success. Just like he compares Turkey and France to illustrate comparative difficulty of conquest, one may compare systems of non-absolute and absolute monarchy. The latter is easy to capture but difficult to retain. Later on these ideas on structural power were developed, for example, by A. Gramsci.Both for Shakespeare and for Machiavelli king’s moral qualitites are of some importance since they help retain power. The result is responsibility for both:Canst thou, o partial sleep, give thy reposeTo the wet sea-boy in an hour so rude;And in the ca lmest and most stillest night,With all appliances and means to boot,Deny it to a king? Then, happy low, lie down!Uneasy lies the head that wears a crown.(W. Shakespeare, Henry IV, Part II, Act 3, Scene 1.)Shakespeare’s responsibility was different from Machiavelli’s. The latter’s was much more political. It demanded from a monarch constant struggle. Republican traditions of Italy can hardly be compared with political culture of England. Nevertheless, several problems were similar. Integration and unification seemed for Machiavelli possible only via skillful political operations. For Shakespeare there was an alternative – supported by Divine Right idea od centralized royal power. Both had something more important in common. They saw a royal power not as a value in itself, but as a tool for serving people. Weak power for Machivelli meant poor defense for people, first of all from external threat. Weak power for Shakespeare meant inner conflicts with people suffering from that most of all. An idea of Divine Right, central for Shakespeare did not prevent him from demanding a more skillful and effective politics serving people’s interests.Political situation in England was such that it demanded changes. The development of the state required modernization of political system. Old tasks were forgotten, the country needed to adapt for new economic situation. Shakespeare’s great role was to work out the experience of previous centuries and elaborate new remedies for new deseases. Divine Right was no longer enough; by defending it, Shakespeare dad not say that it should be the only basis and legitimator for royal power. At the end the skill and effectiveness would be judges. Obtaining royal power by Divine Right may be easy, but exersicing it is surely difficult. William Shakespeare Essay Example William Shakespeare Essay In the play, King Lear by William Shakespeare, King Learns character, actions and loss and regain of identity is reflected through his three daughters, General, Reagan and Cornelia. Both Reagan and General show material love. Goner mirrors Learns brutal, harsh side and beginning of his loss of identity. In the play, General will only accept a situation only if in her full command. This can be shown when, General tells that his solders are disordered, so debauched and bold, that the court, infected with their manners/Shows like a riotous inn (1. . 256) eventually asking him to lessen the amount of knights. Goner wants to gain control over Lear, by reducing his knights, but Lear does not want to because he believes he still has control, stating his knights as men of choice and rarest parts. Similar to Generals actions, Lear will only accept situation if in his full command. In Act 1 Scene 1, Lear asks all his daughters to flatter him, however he was rejected by Cornelia, eventually re sulting in Cordilleras encashment and discontent. Goner, not only reflects Learns actions against Cornelia, she also reflects Learns loss of power and identity. When she asks Lear to lessen his amount, it is clear that General will gain full control over Lear, eventually causing Lear to question who he truly Is. As Lear begins to lose his identity, he can see his reflection of brutality and harshness through his daughters, when they begin to overpower him. And regain of Identity Is reflected through his three daughters, We will write a custom essay sample on William Shakespeare specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on William Shakespeare specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on William Shakespeare specifically for you FOR ONLY $16.38 $13.9/page Hire Writer

Interview How to sometimes say no to your editor

Interview How to sometimes say no to your editor How to sometimes say 'no' to your editor - An interview with Gale Winskill Our 9th #freelancerfriday interview: â€Å"It does really worry me when authors take every suggestion that I make and implement it. I worry that they don’t believe enough in their own book. An author should always feel they can come back and say â€Å"I hate your suggestions but I accept that my original doesn’t work.† That’s healthy and that’s good. They can understand why you’ve made the criticism, but can then go away and find their own solution to a problem.†Gale Winskill  is a great editor. She offers the full set of editorial services, with a portfolio proving experience in an enormous variety of genres - including a strong background in editing children’s fiction. Below we talk plot-structure, polyediting, and a healthy way to work with an editor. Enjoy!What services do you provide?Mostly editing, proofreading and critiques, although I also do some training. I work with a variety of genres: a lot of fiction editing, bot h for adults and for children; a lot of academic editing for non-native speakers of English; non-fiction; children’s picture books; and manuscript critiques.Are there differences between editing adult and children’s fiction?Not very many. The basics of plot structure are essentially the same for both. The main difference is checking that the content is appropriate for the age group, that you’re talking about subjects that they can understand and follow, and that the language level is also suitable for the age category concerned.What do editors do for authors?The editor is the most critical reader you will ever encounter as an author. As an editor your role is partly to spot things that will be criticised, as well as what’s strong. An editor tries to make sure that the author doesn’t fall into those pitfalls. The author has an opportunity to address any weakness that might open their work  up to criticism before the book goes to print. The editor is very much a reader, first and foremost.Two editors will never think the same way, just as  two readers will find different things in the same text. I may have to tell an author that I can see why they did something one way, but that it may be perceived in a different way by readers. But how the author decides to address that is up to them. Your professional duty as an editor extends to telling an author what strikes you about a text, but at the end of the day it’s the author’s prerogative to ignore everything an editor says, as ultimately it’s their book.Is working with multiple editors a good practice for authors? Does having second opinions help?I think it usually ends up a mess. An author should find an editor they like and - while they don’t have to agree with everything the editor says - one they can work with.  If you have multiple editors it can be confusing. I might feel a particular character doesn’t work for a particular reason, wh ereas another editor might not see a problem. For authors, I don’t see how they can follow one person’s train of thought if they’re trying to compare that with another person’s train of thought.However, there’s a different argument for having more than one critique of a book. It might be interesting to see what various people pick up from reading a book without having them pull it apart.What kind of advice are you able to give an author?Judging by the responses of my authors, I’m good at spotting the weaknesses in a text and offering suggestions on how to resolve it. It does really worry me when authors take every suggestion that I make and implement it. I worry that they don’t believe enough in their own book. An author should always feel they can come back and say â€Å"I hate your suggestions but I accept that my original doesn’t work.† That’s healthy and that’s good. They can understand why you’v e made the criticism, but can then go away and find their own solution to a problem. Authors have told me that they knew something wasn’t working but couldn’t work out why. Once they know the reason they can go away and redraft it. I think authors prefer to be told when a book isn’t publishable in it’s current state but that it could be made to work if they do this and that, as opposed to publishing online and being slated. Authors appreciate criticism so long as it’s constructive, justified, and given in a diplomatic fashion.When should an author approach you with a work-in-progress? After the first draft is completed?Unless I’ve worked with an author for a while and I’m familiar with their work, I don’t like working on a book in pieces. As I work through the book I may change my mind about what I said in the first few chapters. If people send the work piecemeal, I don’t get a sense of the whole. I suggest to new author s that until they’re at the end of the process and are ready to submit it for editing, my seeing it doesn’t benefit them. It’s more constructive when the editor’s opinion is formed in one go.Thank you for your time Gale.