How should a Catholic relate to art? The Church has always had an uneasy relationship with the arts. She recognizes the capacity of the arts to teach the Faithful. Christ, for example, taught principally through parables. However, Christ is the perfect teacher; fallen man is not. The influence of the Church in Western art is prominent including theater, which traces its origin to the Mass. Modern music began with Church music. The greatest art is connected to worship. Thus the Church seeks a sensible balance between the good that come from art and its risks. Art must do two things: educate the faithful and entertain. Art is also an act of creation, one of the characteristics of our Creator. The risk in art is that it can loose its focus to elevate. For example, when the Church approved or disapproved of movies through the Index, Hollywood paid close attention. The movie industry was compelled to produce excellent (and moral) productions to gain Church approval and financial success. Once the Church abandoned its proper role of judging movies, the quality of movies fell. The finest art is always Catholic in its ideology, even if it is not produced by a Catholic.
For many, Shakespeare’s faith is inconsequential: for Catholics it is important. His lineage proves his Catholicism. His paternal grandfather, Richard, worked on the estate of a prominent and devout Catholic family. His father, John, married a daughter from this family, Mary. Despite the difference in their class, the unifying trait is their Faith. John became a prominent member of the community. His fortunes began to fall circa 1577 or 1578 due to the persecution of Catholics. Young William at 11 years old witnessed the great medieval Mystery Plays depicting the Catholic Faith, thus exposing him to theater as Catholic education. Later as a young playwright in London, William knew a number of prominent Catholics. When he retired, he purchased a property in London that was later learned to be a Mass center, where priests could come and secretly say Mass. Why is Shakespeare so important? T.S. Eliot said that Dante and Shakespeare share the world between them. Dante is a spiritual writer, Shakespeare is secular; he has one foot in the medieval world and the other in the modern world. He is a divided man and uses drama to battle out the differences. He is one of the greatest storytellers of all time.
William Shakespeare was not a courageous man, and subject to human frailty. When he married Anne Hathaway, she was already pregnant. She was eight years his senior, and stayed behind in Stratford with the children while he lived and worked in London, suggesting a strained marriage. He learned of different types of love, and was inspired to write beautiful sonnets. He also had an adulterous affair, which tore him apart emotionally and spiritually, and wrote of this too. This understanding of love helped in writing Romeo and Juliet. The play is about authority not exercising its proper role. There is fighting in Verona between the prominent Capulet and Montague families because the Prince is weak. The parents are weak. The young adults have the leisure of wealth, and thus fall in and out of love on a whim. The Friar, while a good and holy man, is also weak and makes poor decisions. The result: Romeo and Juliet do fall in chaste love, marry in secret, and commit suicide. The horror of their self-inflicted murders shocked Elizabethan Catholics who understood this not as a sentimental act, but sin. Order is restored at the end of the play after these unnecessary deaths.
Conversion is a two-step process: restore the humanity in the person to help them reconnect to the world, then connect them to God. Restore man to man, then man to God. The reason for this is because humanism excluded man from God, and the modern world removed man from nature. Man has to be restored to his nature for him to understand the nature of God. The study of the plays of Shakespeare is an excellent means to accomplish this. Have students memorize large sections of his work. They will carry this for their entire life. Hi characters are fully human, full of vice and virtue. They struggle with this and teach us to see our own struggles. His plays follow the mysteries of the Rosary. His comedies are the Joyful Mysteries (Comedy of Errors, Midsummer Night’s Dream) and are full of joy and wonder. He tragedies are the Sorrowful Mysteries (Hamlet, Othello, Macbeth) and track his dark days and struggles of doubt and even despair. His last plays reflect the Glorious Mysteries (Winter’s Tale, The Tempest) and show resolution in his life; they come at the very end of his career, and include visions of heaven and eternity.
The last four plays of Shakespeare’s career are his romances (Pericles, Cymbeline, The Tempest, The Winter’s Tale.) In these plays he sums up all he has learned about life and his craft. They are filled with religious notions that his Catholic audience will recognize. He is sending them a message of hope. These plays too are a unique blend of comedy and tragedy. All drama is based in conflict. The conflict in comedy deals with individual desires verses the social norm. In the end a comprise is made and all parties are satisfied. The conflict in tragedy is an individual who challenges the metaphysical and gets crushed in the process. Wisdom is the fruit of this suffering. In the romantic plays there are no gigantic characters like Macbeth or Othello; rather the plot drives the play. There are no external forces to tempt the main character to do wrong; they just do it. The natural and supernatural (fantasy) is woven throughout to help move the plot along. In The Winter’s Tale the king without reason accuses his best friend and faithful wife of infidelity. He decides what is real and what is not: the very principle of Protestantism.
The first three acts of The Winter’s Tale contain the tragedy of the play. The final two acts, based on the principles of comedy, resolve the tragedy. King Leontes accuses his faithful wife Herimone and best friend King Polixenes of adultery. He flees to save his life and she is put on public trial. She stands firm in her defense; the king will hear none of it. Even a message from the oracle claiming her innocence does not set with the king: the oracle is wrong in the mind of the demented royal. Their son Mamillius has taken ill over his mother’s plight, and with the denial of the oracles decree, dies. His death represents the loss of grace. It is Leontes versus the truth, and he and his family and his kingdom will lose and suffer. Once the imagination becomes corrupt, man is capable of anything. Shakespeare is showing us in the short span of these first three acts what will take centuries for the world to reap as the consequences of denying the Roman Catholic Church. But this is a play of hope, and the final two acts resolve the damage done in the fist three.
