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.
In this first part of his second session on Macbeth, Dr. White discusses the legends and myths that have surrounded the play throughout the theater world. To many, Macbeth was not just a Scottish tragedy but a curse. White admits to not teaching this play as often as the other Shakespeare tragedies because of it darkness and association with evil. Then he segues into the “poetry” of the play and a detailed explanation of the meter of its most famous passage.
Dr. White continues his first session on Macbeth with a discussion of how the characters are seemingly living in the future as the action of the play unfolds. Interspersing his commentary with well-practiced readings, Dr. White explores man’s role as the preserver of moral order, and how that role is blurred as it is surrendered to Lady Macbeth. Then he proceeds to dissect the actions and motivations of the play’s characters.
In this, part one of Dr. White’s first discussion of Macbeth, he reveals that there were dozens of strange stories and myths surrounding this particular Shakespeare tragedy. He goes on to set the stage with a brief background comparing the different characteristics of tragedy vs. comedy; then details Shakespeare’s Catholic heritage and how it influenced the spiritual conflict that is a part of all the poet’s great tragedies.
Dr. White continues his discussion of the results of incompetence in authority figures as represented in Measure for Measure, showing how the corruption of their society affects the characters, especially Isabella, who seeks refuge in the restraint and order of a convent. The character of Claudio is discussed as “the only sane and sensible character in the play.” Dr. White discusses the biblical references and Christian imagery in the play, and proves it to be, in one sense a Christmas play. Special attention is given to Isabella’s decision to grant forgiveness to the man who wronged her, bringing the idea of Mary’s Fiat to the play’s climax and resolution. The lecture closes with a few thoughts on Shakespeare’s Catholicism and Dr. White’s conviction that, in the words of a contemporary Protestant minister, “Master Shakespeare died a Papist.”
Dr. White continues his discussion of The Purgatorio with a description of the role art and music play in Dante’s vision of purgatory. And though purgatory is, according to White, filled with song, the depictions of art that Dante explores as he travels through purgatory are instructive rather than entertaining. And unlike the loveless Inferno, souls in purgatory are taught the nature of love. Which brings Dante to a meeting with the lovely Beatrice –– the moment he had hoped for and the climax of the poem.
