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.
The most famous speech in the play, perhaps in all of English literature, appears in Act Three. The question is about suicide. Hamlet’s pattern of thought now brings him to this. In the first act when he speaks of suicide, he decides not, it is against God’s law. Now he considers the act. Now dealing with an abstract question. There is nothing that is good or bad but only thinking makes it so. There is no pattern to life, only fortune, whimsy, and change. Hamlet cannot act because he believes in nothing. Hamlet gives voice to the turmoil in Shakespeare’s own life. He himself was overwhelmed, full of doubt, was not sure what to believe. He was on the verge of loosing balance. This is the playwright working it out in art. When Hamlet rebukes Ophelia, he severs his last link with sanity. Shakespeare used virtuous women in his tragedies for the spiritual health of the men. Hamlet’s treatment of her is the mark of how far he has fallen. This act is the center of the play, where the climax takes place. For the fist half of the play, there is thought without action. Now there is action without thought.
In this enlightening lecture, Dr. White comments on how the modern adaptations of The Merchant of Venice turn a beautiful comedy into a tragedy of Shylock, thus ruining the play’s comedic purpose and message. He sets about refuting this false view and showing the audience what Shylock’s real place in the play is, disclosing his true role as the villain or problem of the play, and how he comes to be in that position to begin with. He discusses the role of outsiders in Shakespeare’s great comedies in relation to Shylock, and refutes the charge of racism leveled against the playwright, pointing out among other things that there were hardly enough Jews in England in Shakespeare’s time for him to conceive a driving hatred of them. An exposition of Shylock’s intense hate of Antonio and all he stands for leads into a brilliant discussion of the problem of usury within the context of the play and the fundamental disorderedness of usury in general.
The link between Hamlet and Ophelia is central to understanding the play. Beginning, with his letters to her while studying at Wittenberg University, everything revolves around her. As he slowly looses his mind, Ophelia is the barometer of Hamlet’s mental health. At the end of his soliloquy in Act Four, Hamlet is training all his thoughts on blood to act blood. In the very next scene, Ophelia has gone mad, just as Hamlet has gone mad. Her innocence is affected by those around her, and she in turn, affects them. Even through Ophelia’s madness Gertrude confesses her own guilt. Hamlet is the one play where Shakespeare is in danger of loosing his balance. He has so much uncertainty he himself could have toppled. If he had not written anything past Hamlet, that would be it. What saved Shakespeare (and Hamlet) from loosing it completely? Shakespeare can still comprehend the balance of innocence, virtuousness, something slightly sacrificial that restores a glimmer of the good in Denmark. It is the creation of Ophelia that saves him, the innocent heroine. In Othello, the innocent heroine takes a more active role in the form of Desdemona. Shakespeare further explores this saving grace in his next play.
