This is the thirty-third in a series on The Harvard Classics; the rest of the posts are available here. Volume XXXIII: Voyages and Travels
If you are looking to stir up a bit of controversy without recourse to politics or family secrets, casually opine that William Shakespeare was no more than an actor and frontman, and that the plays attributed to him were clearly the work of someone else. The Shakespeare authorship question provides plenty of grounds for argument. More likely than not, you’ll find that your interlocutors are firm believers that Shakespeare actually authored Shakespeare, but even if they are open to the possibility of a non-Stratfordian author, you can still disagree on who, exactly, did write Shakespeare.
The basics of the authorship question are as follows: The actor William Shakespeare’s education is quite suspect. His parents both signed with a mark instead of writing their names, suggesting that they were illiterate. (Keep in mind that literacy was not nearly so universal at the turn of the 17th century.) There is no record of his attending school, including a surprising lack of claims by his teachers or classmates. The 6 surviving authenticated signatures of Shakespeare are exhibit such poor penmanship that they do little to convince that he was a prolific writer.
While Shakespeare’s own background was fairly obscure, his plays dealt with a number of topics that would seemingly be beyond his ken. Many of the plays exhibit a familiarity with royal courts and exotic locales. William Shakespeare, however, would have no firsthand knowledge of either. The plays also contain accurate details of sailing and travel, though Shakespeare himself is not known to have left England. Similarly, he wrote with some familiarity on legal procedure and thought, although there is no evidence that he had any contact with any courts of law until a minor lawsuit late in life.
And if William Shakespeare was merely an actor and a frontman for an author who needed to remain anonymous, who actually wrote the plays? Many, many alternative authors have been proposed throughout the years. A few of them seem plausible.
The Oxfordian Theory:
Seemingly the most popular candidate is Edward de Vere, 17th Earl of Oxford. Oxford was a patron of the theater and was known to be a poet and playwright. His time at court and in Italy provided him with the knowledge needed to write plays set in such locales; knowledge William Shakespeare would not have had. Oxford had to publish his plays under a pseudonym because it would be unseemly for somebody of his high birth to write for the common stage. Or, even better, he had an affair with Queen Elizabeth and for some reason that made it even more important that he not publish under his own name.
The Baconian Theory:
Bacon is the classic alternative to Shakespeare. Francis Bacon served as Lord Chancellor, the highest court official in England. He had the legal and political background to write competently and realistically about courts royal and legal. He also was familiar with codes and cyphers, which makes it extremely tempting to search for hidden meanings in everything he wrote.
Adherents of the Baconian theory included Friedrich Nietzsche and Mark Twain. In Ecce Homo, Nietzsche wrote, “to make a confession; I feel instinctively certain and convinced that Lord Bacon is the originator, the self-torturer, of this most sinister kind of literature (Hamlet)… We do not know half enough about Lord Bacon—the first realist in all the highest acceptation of this word—to be sure of everything he did, everything he willed, and everything he experienced in his inmost soul…. Let the critics go to hell! Suppose I had christened my Zarathustra with a name not my own,—let us say with Richard Wagner’s name,—the acumen of two thousand years would not have sufficed to guess that the author of Human, all-too-Human was the visionary of Zarathustra.” Mark Twain was less certain than Nietzsche: “I only believed Bacon wrote Shakespeare, whereas I knew Shakespeare didn’t.” Percy Shelley, perhaps unintentionally, lends some weight to the conclusion that Bacon was the Bard. In Shelley’s opinion, Bacon was the most sublime writer since Plato. “Lord Bacon was a poet,” Shelley wrote in his Defense of Poetry. “His language has a sweet and majestic rhythm, which satisfies the sense, no less than the almost superhuman wisdom of his philosophy satisfies the intellect; it is a strain which distends, and then bursts the circumference of the reader’s mind, and pours itself forth together with it into the universal element with which it has perpetual sympathy.”
The Marlovian Theory
Christopher “Kit” Marlow was a successful poet and playwright, born only two months before Shakespeare. But he was also allegedly an athiest. At the height of his powers, and soon to face capital charges of heresy, Marlow allegedly died on May 30, 1593. Within a fortnight, Shakespeare’s first publication, Venus and Adonis, went on sale. What if Marlow faked his death and had Shakespeare publish his works under his own name? By faking is death, Marlow was able to avoid the headsman and continue writing.
The Group Theories
One of the problems with most of the theories is timing. For example, the Earl of Oxford died several years before the last Shakespeare plays were published. And although Walter Raleigh was born before and died after William Shakespeare, he spent so much time traveling, fighting, and imprisoned that it is hard to make sense of a timeline where he also wrote all of Shakespeare’s corpus. Enter the group theories. By attributing Shakespeare to a group or cabal, one eliminates the timing problems, accounts for some of the unevenness of quality in Shakespeare’s writing, explains the tremendous vocabulary in the plays, and responds to the objection that no one author could produce so much excellent work.
Nobody knows for sure who wrote the works attributed to Shakespeare. The academic consensus is clearly in favor of William Shakespeare of Stratford-upon-Avon. But that explanation is boring. It is more fun to think of Shakespeare as a centuries-old mystery, and to stay on the lookout for clues and messages hidden in “his” work.
Beer of the week: Corona Familiar – When Homer Simpson visited the Duff brewery he learned that Duff, Duff Lite, and Duff Dry were all bottled from the same line. For a while, it was rumored that that joke was a reality for the makers of Corona. Allegedly, Corona Familiar was simply Corona Extra in a 32 oz. bottle. However, as Constellation Brands has rolled out Corona Familiar in more markets and in new 12 oz. bottles, it is now clear that it is a different beer than Corona Extra. It is clear gold, and plenty carbonated. There is some malt in the aroma and the flavor is a bit fuller in both hops and malt than Corona Extra. Familiar is a serviceable but unremarkable lager.
Reading of the week: The Discovery of Guiana by Sir Walter Raleigh – As mentioned above, Raleigh is one of the proposed authors of some or all of Shakespeare. This prose account of the discovery of the mythical city of El Dorado does little to confirm that claim. It is an interesting story, including an account of natives covering themselves with gold dust “from the foot to the head” and then drinking for a week straight, but it does not have any of the irrepressible beauty that Shelley saw in Bacon.
Question for the week: What is your favorite controversial/heterodox position?
This is the twenty-eighth in a series on The Harvard Classics; the rest of the posts are available here. Volume XXVIII: Essays English and American
Spoiler Alert: If, by some miracle or defect in education, you know nothing about The Strange Case of Dr. Jekyll and Mr. Hyde, do not proceed. Rather, find a copy of that book, avoid reading the cover or any introductory material, and read it alone, preferably in one sitting.
I suspect that nobody will have cause to heed the above warning. Jekyll and Hyde are so engrained in our culture that one could hardly reach drinking age without knowing the gist of the story: mild-mannered Dr. Jekyll, by means of a chemical concoction, transforms himself into the evil Mr. Hyde. But what people often fail to realize if they only know about the the story secondhand is that the fact that Jekyll and Hyde are the same person is a shocking twist ending. Unlike in the adaptation The Nutty Professor, where we watch the scientist transform, in Jekyll and Hyde, the titular characters are introduced in a way that conceals their relationship. Throughout the story, the narrator slowly untangles the mysterious connection. The slow build and dramatic twist made the book immensely popular, and ironically, its popularity spoiled the story for many future readers.
With the common understanding of the plot comes a common misunderstanding: the idea that Jekyll and Hyde are two sides of the same coin, one good and one evil. Though Hyde is the evil side of Dr. Jekyll’s being, Dr. Jekyll is not merely the good side. He is the composite of Hyde and some unidentified good side. Jekyll and Hyde are not, as in common metaphor, opposites. Rather, Hyde is just an isolated part of Jekyll.
Jekyll’s own account of his transformation contributes to the confusion on this point. He refers to the struggle between “these polar twins”, the good and evil parts of his soul. But we never see Hyde’s twin. For some reason, Jekyll is able to unbind his evil side, but not his good side. How different a story it would be if Jekyll’s experiment transformed him into his angelic, pure good version rather than the demonic, evil Hyde.
To push even further from the notion of Hyde and Jekyll as opposites, the character of Jekyll suggests that he is more than a simple dichotomy. Despite his reference to “these polar twins”, Jekyll opines that “man will be ultimately known for a mere polity of multifarious, incongruous and independent denizens.” So at most, Hyde is likely just one facet of Dr. Jekyll’s immensely complex soul.
Stevenson, like Plato before him and Freud after, seems convinced that the human soul (psyche?) is either multipartite or, at least can be most readily understood by means of such a metaphor. It seems to me that the soul is too complex for such analysis. There is no “good side” and “evil side”; no desires or appetites that can be neatly and perfectly divorced from reason or affection. We are whole beings, not a mere assemblage is parts. We are all Jekyll and no Hyde.
Beer of the week: Shiner Bohemian Black Lager – Calling Spoetzl Brewery’s Shiner Bohemian Black Lager the Hyde to Shiner Bock’s Jekyll would fly in the face of the analysis above. Yet here we are. This, Spoetzl’s schwarzbier, is a pretty nice offering. It is very dark brown, with a quickly diminishing tan head. The aroma is of dark malt. The flavor is is a bit smoky, but quite light and refreshing.
Reading of the week: Truth of Intercourse by Robert Louis Stevenson – As is evident in Dr. Jekyll and Mr. Hyde, Stevenson was very interested in how people represent themselves and their true natures. In this essay, he discusses the ways in which people can be habitual liars, but honest in their relationships, and vice versa. “Truth to facts is not always truth to sentiment;” he writes, “and part of the truth, as often happens in answer to a question, may be the foulest calumny.”
Question for the week: Do you perceive multiple parts of your own soul?
This is the twenty-second in a series on The Harvard Classics; the rest of the posts are available here. Volume XXII: The Odyssey, Homer
Everyone has a memory or two that he’d rather not. But, as the saying goes, “some things cannot be unseen.” We are blessed and cursed with our powers of memory, but what would result from the ability to chose what memories we retain or erase?
On the tv show Arrested Development, there is a character who takes pills that he calls “forget-me-nows”. The pills are, in fact, Rohypnol: commonly known as roofies. He drugs himself to forget decisions that he regrets. Predictably, by wiping out his memories, he dooms himself to make the same mistakes again, unable to learn and grow from them.
In Homer’s Odyssey, Helen prepares a draught of nepenthe to help Menelaus and others forget their sorrow over comrades lost during and after the Trojan War, particularly the then-missing Odysseus. Nepenthe literally means “anti-sorrow”, but Homer tells us that it worked by bringing forgetfulness. The characters continue to reminisce, however, and ultimately resort to sleep to ease their sorrow. “But come,” says Telemachus, “bid us to bed, that forthwith we may take our joy of rest beneath the spell of sleep.” Perhaps the drug induced the sleep, and in sleep the heroes could forget their melancholy, but it is not clear at all that the nepenthe delivered on its promise of forgetfulness.
Nepenthe is also mentioned Poe’s The Raven. The narrator exhorts himself, “Quaff, oh quaff this kind nepenthe and forget the lost Lenore.” The raven predictably replies, “nevermore.” The narrator has no literal nepenthe, and, as is clear from the raven’s reply, none exists. He is doomed to remember his lost love. There is no nepenthe to forget sorrow and no balm in Gilead to cure a broken heart.
Whether we learn from our memories as GOB fails to in Arrested Development, or we put our memory aside only while we sleep as the characters of The Odyssey do, or whether our memories drive us mad as in The Raven, we cannot really cannot chose to forget. Our only real option is to turn our memories to our advantage, lest they destroy us.
Beer of the week: Tell Tale Heart IPA – Happy Friday the 13th! By all rights, this beer should be paired with Poe’s story The Tell Tale Heart. But that Poe is not included in the Harvard Classics, and I had no interest in sitting on this review for a year until I am through with this Harvard series. So here it is. RavenBeer makes a whole line of Poe-themed brews. This is an orangish IPA with a nice, creamy head. There are nice floral hops in the aroma and a well-balanced combo of malt and hops. Tell Tale Heart is a good East Coast IPA.
Reading of the week: The Odyssey by Homer, Book IV, lines 184 – 314 – After Helen has poured the nepenthe, she tells the company how Odysseus, disguised as a beggar, once sneaked into the besieged city of Troy.
Question for the week: What would you forget if you could?
This is the twenty-first in a series on The Harvard Classics; the rest of the posts are available here. Volume XXI: I Promessi Sposi, Manzoni
Positions in civil government, from national presidency to homeowners’ association board seats, can be magnets for those who would take advantage of their neighbors. An excellent example of this corruption can be found in I Promessi Sposi, (most often translated as The Betrothed,) by Alessandro Manzoni. When the plague struck Milan in 1629, vicious and rapacious men saw an opportunity. The tumult caused by the plague made it easy for these bad actors to operate without consequence. Indeed, many of them found it expedient to take official government posts, the better to steal and blackmail. “The villains, whom the pestilence spared and did not terrify, found in the common confusion, and in the relaxation of all public authority, a new opportunity of activity, together with new assurances of impunity; nay, the administration of public authority itself came, in a great measure, to be lodged in the hands of the worst among them. Generally speaking, none devoted themselves to the offices of monatti and apparitori but men over whom the attractions of rapine and license had more influence than the terror of contagion, or any natural object of horror.” And once it was clear how much profit was to be made as a government-employed extortionist and robber, these men worked to perpetuate the plague, and thereby perpetuate their power. They would “purposely let fall from their carts infected clothes, in order to propagate and keep up the pestilence, which had become to them a means of living, a kingdom, a festival.” It is remarkable what those in power are capable of doing to maintain their position.
But, as rare as they may be, there actually are examples of political leaders who come into power for noble reasons and maintain their virtue despite that power. Manzoni relates the story of Father Felice Casati, a Capuchin friar who became a sort of minor autocrat during the plague. As the pestilence spread through Milan and the surrounding area, the population of the Lazaretto of Milan swelled. The Lazaretto was a huge quarantine building that became a city unto itself. Although people were dying at a prodigious rate, the population of the Lazaretto exploded as more and more people contracted the plague. At one point, as many as 16,000 people filled the Lazaretto. With so many sick and desperate people, good governance was needed to keep the Lazaretto from becoming pandemonium. The Board of Health decided to install Father Felice as governor of the Lazaretto. Although not a glamorous appointment, the governor was granted “primary and ultimate authority” within the Lazaretto. With this power Father Felice “animated and regulated every duty, pacified tumults, settled disputes, threatened, punished, reproved, comforted, dried and shed tears.” He was absolute dictator within the confines of his quarantine kingdom, but neither that power nor the plague corrupted him.
In at least this once instance, there was an exception to Lord Acton’s axiom that “power tends to corrupt, and absolute power corrupts absolutely.” But to rely on every (or virtually any) politician being another Father Felice is probably a mistake. To paraphrase H. L. Mencken: cleaning up politics by electing righteous people makes no more sense than cleaning up a brothel by filling it with virgins; they either lose their virtue or jump out the window.
Beer of the week: 98 Problems IPA – This hazy orange India Pale Ale is a product of Michigan’s Perrin Brewing Company. The aroma is dominated by pineappley and floral hops. The hops also dominate the flavor, with crisp bitterness both up front and lingering in the aftertaste. Despite the name, there’s not much wrong with 98 Problems.
Reading of the week: I Promessi Sposi by Alessandro Manzoni – Although I Promessi Sposi is a work of fiction, the author tells us that his account of the plague is historically accurate. This excerpt tells how members of the Milanese public attacked doctors, accusing them of fabricating the claims about the plague for personal gain. It is an excellent study in how people will reject the truth and accuse its bearers of evil motivations if the truth is adverse enough to their interests.
Question for the week: What is the best mechanism for curbing political corruption?
This is the nineteenth in a series on The Harvard Classics; the rest of the posts are available here. Volume IXX: Faust Egmont, Etc., Goethe, Doctor Faustus, Marlow
The First Amendment to the United States Constitution states:
Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
In that one sentence, the framers memorialized several of the “inalienable rights” central to the premise of the Declaration of Independence and the founding of the nation. Yet, despite how concise the amendment is, people seem constantly to misapprehend its significance. Here are a couple of critical points where people are often mistaken.
1. The amendment only applies to government action. People constantly confuse their right to free speech with a right to be free from the private consequences of that speech. A speech code by a company or private school is not subject to First Amendment analysis. Likewise, a private club may have religious requirements that a government actor may not.
2. That doesn’t mean that other laws do not matter. Some people on the internet hold the idea that “the First Amendment stops the government from infringing on your free speech, but it doesn’t stop me from punching you in the mouth.” Although that statement is technically accurate, punching somebody in the mouth violates laws independent of the First Amendment. Additionally, civil rights laws, government licensing requirements, and so forth may create obligations for private individuals or companies not to discriminate based on the exercise of certain First Amendment rights.
3. The amendment applies to all government action, not just the federal government. The plain of the first amendment states that “Congress shall pass no law…”; it does not mention state governments. However, a long series of Supreme Court cases has established that the First Amendment (and most of the rest of the Bill of Rights) applies to state action through the “incorporation doctrine”. Even so, the First Amendment is probably redundant in most cases. Each state has its own constitution, and each state constitution includes free speech clause. The New York Court of Appeals, for example, has held that the free speech clause of the New York Constitution provides a greater level of protection than the First Amendment.
4. “Speech” consists of a lot more than just talking. Supreme Court cases have held that the First Amendment’s speech clause protects “expressive conduct.” That can mean a wide range of actions, including burning the American flag, nude dancing, remaining silent, or cross burning.
5. The amendment is especially important because it protects those without political clout. As a practical matter, no government would ever need to be restrained from punishing pro-government speech. Likewise, statements that everybody agrees with are under no threat of suppression. It is the provocative, the unpopular, the revolutionary that needs to be protected. Minority religious groups and others who are heterodox in the myriad ways that people may stray from conventional norms are the people who have the most to fear from popular government, and the most need for an amendment that protects, above all, the freedom of the mind.
Beer of the week: Primus – This week’s reading is set in what is now Belgium, with the principle action taking place in Brussels. So despite the constant references to “Netherlands” and “Netherlanders”, the play is best paired with Belgian beer. Primus is a “premium lager” from Haacht Brewery in Flanders, Belgium. It is a standard European lager; it looks good, smells good, and tastes good. It is a well-balanced, if unexceptional, beer.
Reading of the week: Egmont by Johann Wolfgang von Goethe – In this scene, we learn that the Spanish governor of the Netherlands, the Duke of Alba, “published a decree, by which two or three, found conversing together in the streets, are without trial, declared guilty of high treason.” He also prohibited discussion on affairs of state and made criticism of the government a capital offense.
Question for the week: How many rights are in the First Amendment?
This is the Seventeenth in a series on The Harvard Classics; the rest of the posts are available here. Volume XVII: Folklore and Fable, Aesop, Grimm, Andersen
SPOILER ALERT: This posts contains spoilers for centuries-old fairytales.
Those raised on Disney films and picture books are likely to be shocked by the original versions of the fairytales that they learned growing up. The basic formula for so many of these stories are 1) witch causes magical transformation, 2) protagonist finds true love, 3) kiss breaks the spell, and 4) they live happily ever after. In the older versions, however, there is often another important plot point: brutal violence.
In Hans Christian Andersen’s The Little Sea-Maid, there is plenty of violence that got left out of the Disney version. In the first place, the transformation from mermaid to human is extremely painful, as if she were being run through with a sword. And her new feet bleed constantly, so that every step that she takes feels “as if [she] trod upon sharp knives.” This is compounded by the fact that the prince loves to see her dance, so, for his entertainment, “she danced again and again, although every time she touched the earth it seemed as if she were treading upon sharp knives.” But at least that wins his heart, leading to the kiss that would make her transformation complete, right? Wrong.
See, in Andersen’s version, the prince falls in love with a princess and marries her instead of the mermaid. The irony is that he thinks the princess, rather than the mermaid, saved him from his shipwreck. After the prince and princess marry, the mermaid takes a magical knife and prepares to stab the prince right in the heart. The plan is for his heart’s blood to fall on her feet and cause them to “grow together again into a fish-tail” so that she she can return to the sea. But she cannot bring herself to murder the prince (although she does get so far as to stand over the prince and his bride as they sleep, knife in hand.) Rather, she jumps back into the ocean and dissolves into sea-foam. There is, however, a sort of happily ever after for the little mermaid. She is given the chance to earn an immoral soul through good deeds. In a way, this is a much more positive message than the idea that being loved by the prince is the key to lasting happiness; her destiny is in her own hands rather than in his.
The Disney version of Cinderella is less markedly different from the source material, but there is still a good bit of violence left out. In the Bros. Grimm version, when the prince goes out looking for the owner of the lost slipper, the step-sisters go to terrible lengths to try to make it fit. The first sister cuts off her big toe and the second cuts a chunk off of her heel. The prince, evidently not one of the smartest characters in literature, is fooled by each in turn. Each time, talking birds save the day by telling the prince to look down at all of the blood that is positively streaming from the slipper. After he finds Cinderella and marries her, those same birds go and peck out the eyes of the step-sisters to punish them for their dishonesty, as if having mutilated feet is not bad enough.
It is constantly bemoaned how violent popular media has become, so how does one account for the softening of these violent stories? In part, it may be that the intended audience for Andersen and Grimm are not young children. Or at least not young children exclusively. Also, the violence serves the purpose of hammering home a moral lesson. The last line of Grimm’s Cinderella is not about the prince and Cinderella living happily ever after; it is about the step-sisters: “for their wickedness and falsehood they were punished with blindness as long as they lived.”
Next time you are shocked by how violent a movie is, remember the sea-maid hiking up a mountain as her shoes fill with blood, or the step-sisters being blinded by pigeons who are also total snitches.
Beer of the week: Blood of the Unicorn Hoppy Red Ale – Now, to transition from step-sister and mermaid blood to Blood of the Unicorn. Chicago’s Pipeworks Brewing Company makes this fantastic(al) red ale. In truth, the beer is dark brown with just a hint of red, which becomes more pronounced when the sediment is swirled from the bottom of the can and poured out. It comes with lots of smooth soft foam (not sea foam) and an aroma of herbal hops. Although it is plenty hoppy it also has some sourdough yeastiness and a bit of burnt caramel. Blood of the Unicorn is a very smooth, very deliciously brew.
Reading of the week: The Frog-King, or Iron Henry by The Bros. Grimm – Young king gets transformed into a frog, he finds a princess to break the spell, her kiss frees him. Right? Not quite. In this version, the princess finds the frog to be so odious that she “took him up and threw him with all her might against the wall.” Hurling a frog against a castle wall cannot be described as anything other than attempted amphibicide. Yet, somehow, that act of disgust and rage breaks the spell.
Question for the week: Why have fairytales been watered down and sweetened?