This is a question and answer session. Opera is an acquired taste, it takes time and effort to learn and appreciate. It helps to see live productions to appreciate opera. Opera enjoyed it highest popularity in the nineteenth century because of its ability to appeal to emotion. But after World War I, opera began to fall in popularity due in part to the advent of cinema, but also, after the horrors of the war, open direct emotion was just not possible. The senses of the world were overwhelmed and there was no room for opera. Cinema became the new art form. Similar to a theater but without live actors, this curious entertainment captured audiences. Cinema at best is a second rate art. It is wholly dependent on technology. It is also the sole realm of the director who manipulates the scenes to show us exactly what he wants. Television is also manipulative. It is difficult to manipulate a book or a play. A book requires the active participation of the imagination to flesh out the words. A live stage production is direct interaction with the actors and the audience. The best art is active art, where we engage with the art.
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.
Concluding Part Two of his commentary on Macbeth, Dr. White continues his discussion of the poetic meter of the play’s most famous passage: “Tomorrow, and tomorrow, and tomorrow…” He describes it as a perfect example of meaning and sound coming together in a literary work and attributes it to Shakespeare’s genius; and makes reference to the same device being used in other of the poet’s plays such as Hamlet and Anthony and Cleopatra. An amazing exhibition, White says, coming from a writer with only an eighth-grade education.
This masterful exposition by Dr. White of The Merchant of Venice, one of Shakespeare’s most controversial comedies, shows the deep truths and lessons to be found in the three caskets of gold, silver, and lead which decide Portia’s husband; and the significant personalities of the men who choose each one. Dr. White shows that Portia’s father was not cruel in imposing this test on his daughter’s suitors, but, on the contrary, very wise indeed. Also covered is Shakespeare’s masterful weaving together of a total of three different, intertwining plots along with useful commentary on the nature of comedy itself. Dr. White discusses the stark differences between Shakespeare’s money-centered Venice and the music-filled fairytale of Belmont, where Portia resides, emphasizing that the women and men are unhappy because they are separated, and are meant to be together in families and society.
In the character of Portia, Dr. White discerns a beautiful example of Catholic femininity. He discusses how Portia takes on the role of intercessor and peacemaker between the conflicting characters of the play, the theme of risking all for a beloved continued in her daring disguise and intervention in Antonio’s court case. Dr. White extends this theme to the deep friendship between Antonio and Bassiano, a friendship which makes Antonio willing even to die for his friend. Portia’s justly famous speech on “the quality of mercy” is explained clearly and in detail, and the third plot of Portia’s ring analyzed. Dr. White ends this lecture on the Christian comedy of The Merchant of Venice by tying it into to the spiritual world of a Christian, viewing the play’s ending as a vision of the Biblical Marriage Feast of Cana. His insight and clear explanation of the themes and elements of The Merchant of Venice are invaluable to a proper understanding and appreciation of Shakespeare’s genius.
