Opera as an art form is a relative newcomer, making its first appearance at the end of the sixteenth century. Its origins were an attempt to revive Greek theater. The ancient manuscripts were readily available, but there was no record of the music. All Greek plays were sung. Thus the effort began to take classical stories and set them to music. Opera is a sung play. By the early 1600’s, opera had spread throughout Europe. Extremely popular. Because of the cost of these productions, only the wealthy could afford the ticket price and opera became upper class entertainment. The real explosion of opera occurred in the nineteenth century with a string of talented composers, Wagner and Verdi in particular. The German influence in opera colored the Italian form and compelled Verdi to come out of retirement, team up with librettist Boito, and put Otello on stage in Milan in February 1887. It was an immediate success. Opera appeals to the senses, to the emotions. Everything in opera is seeking an emotional response. Verdi’s Otello is a romantic story instead of the dark tragedy by Shakespeare. For example, Desdemona is an entirely different woman in both versions, trickster verses innocent victim.
Fyodor Dostoyevsky is a Russian novelist who lived and wrote in the latter half of the nineteenth century. He is considered by many to be the greatest writer since Shakespeare who has a profound understanding of human beings. Dostoyevsky was immersed in the modern world and gives a depiction of a world of modern horrors. His work is extremely dark. He could see the coming Russian revolution a half a century before it occurred, with its millions of victims. He was obsessed with the irrational actions of man. Raised in a religious home that studied the Bible and knew the lives of the saints, he later left the faith and became a socialist and atheist. He was, as he says, a product of the times. Arrested for being a revolutionary he was sentenced to death, sent to Siberia, placed in front of a firing squat, black sack over his head, ready to die. The guns never fired. The men had received a reprieve from the Czar. He returned to the Faith, changed his political views from revolutionary against the state to revolutionary Christ and the truth. His last five novels deal with human nature at its best and its worst.
The role of good literature is to teach life lessons without having to live those lessons. The story of Othello is one of those lessons. In the final Act, the deadly deeds are done. Othello, now convinced that he is god-like takes his wife’s life to prevent her from sinning again. His delusion has reached its logical summit. Once the fact of her innocence is revealed to him, he understands he has committed murder, and can no longer look upon her beautiful corpse. He now fears Judgment Day, not because of what he has done, but because he fears her look of pure innocence upon him. This will be his torment, and he cannot endure it. He calls for demons to take him away. He acknowledges his crime. He deserves punishment. He learns the lesson too late. She is gone. He is dammed. In his final moments, he regains composure, becomes a soldier again. He is a divided man. Once the defender of justice, he became the offender of justice. He has no home in Cyprus, no home in Venice, no home in his native land. He takes a dagger, stabs himself, and dies with a kiss on Desdemona.
Dr. White explains the connection between language and personality, and shows Shakespeare’s mastery of this in the realness of his characters. He examines the significance of Shakespeare’s position between the medieval and modern worlds, and the dislike of his largely medieval worldview by modernists, who try to undermine his work by removing it from classrooms and ruining the language by translations. Edmund’s soliloquy in Act I is analyzed, showing his practically modernistic point of view in his twisting of the truth, lack of logic, and appallingly egocentric viewpoint. Next, Dr. White examines the characters’ various uses of the word “nature,” which is constantly redefined throughout the play. He looks at Edmund’s lack of personality and traces it to his bland, over-comfortable
Dr. White continues his discussion of Cordelia and Kent’s loyalty as the cause of their disobedience and shows that, since they love the king, they must sacrifice, for love and sacrifice are one. He then discusses the setting of King Lear in pre-Christian Britain, showing that it was purposely done to circumvent trouble with the government – but that nevertheless it is filled with beautifully Christian iconography, presented subtly but meaningfully. Dr. White speaks of the expectations that audiences would have had for the play, and how it would have shocked them by its tragic ending. Finally, he reaches the scene where Lear enters with Cordelia dead in his arms, covering the symbolism of Lear’s line of inverted iambic pentameter and the way in which the scene is a kind of vision of the Pieta, but with father and daughter in place of mother and Son.
This is a question and answer session, with a wide range of topics. Shakespeare had an eighth grade education, equivalent to a Harvard doctoral degree of today. Shakespeare was raised in a good Catholic family with good Catholic ancestry who heroically professed their Faith. He possessed a vivid imagination that was fed the best that theater could offer in the form of the Corpus Christi plays that he witnessed as a child. By the end of his career he was able to recover the lost prominence of the family name by purchasing a title of Gentleman. Shakespeare is credited as being the most creative writer in the English language, perhaps in all of literature. It is said that between him and Dante, they share the world. Dante was a religious writer and Shakespeare was a secular writer. They both wrote about the same things but from different perspectives. Dante was firmly rooted in the medieval world while Shakespeare had one foot in the medieval world and one foot in the modern. This is the central conflict in all of his work. But Shakespeare is far more creative, having created thousands of characters. It is said that after God, Shakespeare created most.
