oing Shakespeare

Marc Washington © October 1997


MAXIM: • Behavior is based on instinct • quality of survival is based on the intelligence of behavior • intelligence determines how well one adapts to ones environment — i.e. intelligence is based on thinking (click).


        WHY INSECTS AND ANIMALS THINK AND FEEL
Historic writings elevating animal wisdom above human
The source of thought and thinking
Image and why not speaking is not the same as not thinking
The role of thinking in regards to instinct
Why insects and animals feel
When animal thought is more poignant than human
When animals think like or out-think people
The opinions, concepts, and philosophies of animals
Let the show begin!



        THE HISTORIES, TRAGEDIES, AND COMEDIES
        Two Gentlemen of Verona
        King John
        Hamlet, Prince of Denmark
        The Taming of the Shrew
        Measure for Measure
        Romeo and Juliet
        Titus Andronicus
        Closing


HISTORIC WRITINGS ELEVATING ANIMAL WISDOM ABOVE

THE SOURCE OF THOUGHT AND THINKING

WHY NOT SPEAKING IS NOT THE SAME AS NOT THINKING

THE ROLE OF THINKING IN REGARDS TO INSTINCT

WHY ANIMALS FEEL

WHEN ANIMAL THOUGHT IS MORE POIGNANT THAN HUMAN

WHEN ANIMALS THINK LIKE OR OUT-THINK PEOPLE

THE OPINIONS, CONCEPTS, AND PHILOSOPHIES OF ANIMALS

LET THE SHOW BEGIN!



Welcome to the Globe Theatre!!






TWO GENTLEMEN OF VERONA

Male lions will fight for the female, but the dominant male is often deferred to (King penguins are the same. Killer whales are the same. Gorillas are the same. Elephants are the same. Sea lions are the same) – unless a new male to the pride has not learned his place. A male may mate with a female 50 times in one day and it is a right desired and fought for. Here are three lions, possible suitors of one female. Proteus has already lost in battle with Valentine and has learned to respect his might. Thurio, a young upstart not yet engaged in battle, not desired by the feminine object of his desire, unaware of his liabilities, and proud. In the company of the wise Proteus, he might posture to signify his hegemony while at the same time having been spurned by the female and not knowing why, seek out the counsel of Proteus. A look at their unspoken thoughts.
Act V. Scene II.— An apartment in the Duke's Palace
Enter Thurio, Proteus, and Julia
• PROTEUS: Gentleman of Verona
• THURIO: a foolish rival to Valentine
• JULIA: a lady of Verona, beloved by PROTEUS
Thu. Sir Proteus, what says Silvia to my suit?
Pro. O, sir, I find her milder than she was; and yet she takes exceptions at your person.
Thu. What! that my leg is too long?
Pro. No; that it is too little.
Thu. I'll wear a boot to make it somewhat rounder.
Pro. But love will not be spurr'd by what it loaths.





KING JOHN

The lion pride lives in its own home range. This could be as much as 400 square kilometers, or 155 square miles, and it could overlap with the territory of neighboring prides and spark conflict when trespassed. The male maintain territorial rights by roaring and scent marking with urine. The males will also defend their females against intruding males, and will kill any male who has ignored the warning signs. Occasionally, a group of marauding males will attack the resident males, drive them out, and take over the pride. And, this is the source of our drama. We imagine Chatillon, a marauding lion, and John, King of resident lions simultaneously becoming aware of each other. The action will be quick, but Chatillon will be challenged most fiercely by King John, and head-on meet his challenge. The bellowing roar of his defiance will also be a call to his own pride to which he will be immediately pursued. A fight for territory. The fight of King John of England — against Philip, King of France.
Act I. Scene I.— Northampton. A Room of State in the Palace
Enter King John, Queen Elinor, Pembroke, Essex, Salisbury, and others with Chantillon
• KING JOHN, King of England
• CHATILLON, Ambassador from France to King John
• ELINOR, Widow of King Henry II and mother of King John
K. John. Now, say, Chatillon what would France with us?
Chat. Thus, after greeting, speaks the King in my behavior, to the majesty, The borrow'd majesty of England here.
Eli. A strange beginning;— borrow'd majesty!
K. John. Silence, good mother; hear the embassy.
Chat. Philip of France, in right and true Of thy deceased brother Geffrey's son, Arthur Plantagnet, lays most lawful claim To this fair island, and the territories, — to Ireland, Poictiers, Anjou, Touraine, Maine; Desiring thee to lay aside the sword Which sways usurpingly these several titles, And put the name of young Arthur's hand, Thy nephew and right royal sovereign.
K. John. What follows, if we disallow of this?
Chat. The proud control of fierce and bloody war, To enforce these rights so forcibly withheld.
K. John. Here have we war for war, and blood for blood, Controlment for controlment: so answer France.
Chat. Then take my king's defiance from my mouth, The furthest limit of my embassy.
K. John. Bear mine to him, and so depart in peace: Be thou as lightning in the eyes of France; for ere thou canst report I will be there, The thunder of my cannon shall be heard; So, hence! Be thou the trumpet of our wrath, And sullen presage of your own decay. — An honourable conduct let him have:— Pembroke, look to 't. Farewell, Chattilon. [Exeunt CHATILLON and PEMBROKE.]





HAMLET, PRINCE OF DENMARK

On October 18, 1997, National Geographic aired a program on NBC Europe featuring the work of the world's most renowned elephantologist, Cynthia Moss, selected by Robert Leaky to head Kenya's Save the Elephant Program. Moss, who literally lived with elephants in the Anbeselli Sanctuary for over a decade, said, "I believe elephants have a range of emotions from joy to grief." Continuing – her voice behind footage simultaneously shown of an elephant handling the skull of the former matriarch just as Hamlet handled the skull of Yorick. She spoke of their return to the bones, all left after sun, vulture, and hyena consumed all flesh leaving only skeletons bleaching in the mid-day brightness of the lonely tundra. She went on: "They showed their grief. They gathered around her in a defensive circle and made a deep rumble. They just turned the bones over slowly and gently showing concern especially for the skull and jaw." She is our Hamlet.
Act V. Scene I.— The graveyard in a churchyard.
• HAMLET: Son of the former and Nephew to the present King
• HORATIO: Friend to Hamlet
• CLOWN
Clo. [ Throws up a skull.
Ham. That skull had a tongue in it, and could sing once ... There's another: why may not that be the skull of a lawyer? Where be his quiddits now, his quillits, his cases, his tenures, his tricks? why does he suffer this rude knave now to knock him about sconce with dirty shovel and will not tell him of his action of battery?
     [Another skull.
Clo. A pestilence on him for a mad rogue! 'a poured a flagon of Rhenish on my skull, sir, was Yorick's skull, the king's jester.
Ham. This?
Clo. E'en that.
Ham. Let me see. [Takes the skull.] —Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times and now, how abhorred in my imagination it is! my gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? Your songs? Your merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that.—





THE TAMING OF THE SHREW

Man seeks after the attainment of physical possessions from clothes to watches, cars, yachts, stereo systems, expensive furniture and paintings often centering of his bachelor's apartment or house with an attractive welcome mat and inside delicious foods to court and further engage the female. And, men resort to sometimes unfair competition as in destroying or otherwise ruining the possessions of their competitors. But, so do 15 to 18 species of bowerbirds in Australia do the same as a prelude to courtship and mating, with the building of a bower around a maypole. The bowerbirds select saplings and make a conical-shaped column that can be upwards of eight feet long (2.5 m) and ten feet high (3 m). The bower can be interlaced with twigs and have a base of moss or lichen. Around the border the bird places the leaves of screw pines, and fruit is hung in bunches in the surrounding foliage. The bower may be decorated with all kinds of things colored black, orange-brown or yellow. There may be pieces of charcoal, fungi, seeds, parts of insects. The walls are often painted, using a piece of bark, with charcoal moistened by saliva or the juices from squashed fruit. There is also an entrance mat to the bower and a multitude of decorative objects may be placed there. Some, like rich men, have two or three pent houses, or bowers. The bowerbirds will sometimes destroy the bower of their competitors (and they are, as in the human case, rebuilt), and when the female is finally enticed, love making is an extremely passionate affair.

In The Taming of the Shrew you have the same elements of competition of suitors required to provide a dowry for the fair Bianca at the behest of her father. They try to out-do one another. And, Tranio, employing double-edged trickery, ends by pledging further trickery to win her hand in marriage (for his master Lucentio!). In our scene, we have two competitors in a duel of one-ups-manship with one another for the fair lady's hand: a Gremio and Tranio of the feathered sort.
Act II. Scene I.— A room in Baptista's house
• BAPTISTA: a rich gentleman of Padau
• GREMIO: Suitor to Bianca
• LUCENTIO: Son to Vincentio, in love with Bianca
• TRANIO: Servant to Lucentio (and pretending to be Lucentio)
Gre. But now, Baptista, to your younger daughter;— Now is the day we long have looked for; I am your neighbor, and was the suitor first.
Tra. And I am the one that loves Bianca more than words can witness or your thoughts can guess.
Gre. Youngling! thou canst not love so dear as I.
Tra. Greybeard! thy love doth freeze.
Gre. But thine doth fry. Skipper, stand back; tis age that nourisheth.
Tra. But youth in ladies; eyes that flourisheth.
Bap. Content you, gentlemen; I'll compound this strife. 'Tis deeds must win the prize; and he, of both, that can assure my daughter greatest dower shall Bianca's love.—Say, Signior Gremio, what can you assure her?
Gre. First, as you know, my house within the city is richly furnished with plate and gold; Basins and ewers, to have her dainty hands; My hangings all of Tyrian tapestry: In ivory coffers I have stuff'd my crowns; In cypress chests my arras counterpoints, costly apparel, tents, and canopies, fine linen, Turkey cushions boss'd with pearl, Valance of Venice gold in needle-work, pewter and brass, and all things that belong to house or housekeeping: then, at my farm, I have a hundred milch-kine to the pail, six score fat oxen standing in my stalls, and all things answerable to this portion. Myself am struck in years, I must confess; And if I die to-morrow this is hers; if whilst I live, she will be only mine.
Tra. That only came well in.—Sir, list to I am my father's heir and only son: If I may have your daughter to my wife, I'll leave her houses three or four as good, within rich Pisa's walls, as any one Old Signior Gremio has in Padua; besides two thousand ducats by the year of fruitful land, all which shall be her jointure.—What, have I pinch'd you Signior Gremio?
Gre. Two thousand ducats by the year of land!
My land amounts not to so much in all: That she shall have; besides an argosy, that now is lying in Marseilles' road:—What, have I chocked you with an argosy?
Tra. Gremio, 'tis known my father hath no less than three great argosies; besides two galliases, and twelve tight galleys: these I will assure her, and twice as much what'er thou offer'st next.
Gre. Nay, I have offer'd all,—I have no more; And she can have no more than all I have:— If you like me, she shall have me and mine.
Tra. Why, then the maid is mine for all the world, by your firm promise: Gremio is out-vied.
Bap. I must confess your offer is the best; And, let your father make her the assurance, she is your own; else, you must pardon me; if you should die before him, where's her dower?
Tra. That's but a cavil; he is old, I young.
Gre. And may not young men die as well as old?
Bap. Well, gentlemen, I am thus resolv'd:— On Sunday next you know my daughter Katherine is to be married: Now, on the Sunday following shall Bianca be bride to you, if you make this assurance; if not, to Signoir Gremio: And so I take my leave, and thank you both.
Tra. Adieu, good neighbor.
     [Exit Baptista.
Now I fear thee not: Sirrah young gamester, your father were a fool to give thee all in his waning age set foot under thy table. Tut! a toy! An old Italian fox is not so kind, my boy.
     [Exit
Tra. A vengeance on your crafty withered hide! Yet I have faced it with a card of ten. 'Tis in my head to do my master good:—I see no reason but suppos'd Vincentio; And that's a wonder: father's commonly do get their children; but in this case of wooing, a child shall get a sire, if I fail not of my cunning.
     [Exit





MEASURE FOR MEASURE

Explanation
Act V. Scene I.— The outskirts of the town
• DUKE
• ISABELLA: Sister to Claudio
Duke
Isa.
Duke
Isa.





ROMEO AND JULIET

Explanation.
Act V. Scene II.— An apartment in the Duke's Palace
Enter Thurio, Proteus, and Julia
• PROTEUS: Gentleman of Verona
• THURIO: a foolish rival to Valentine
• JULIA: a lady of Verona, beloved by PROTEUS
Thu. Thu. Thu. Thu. Thu. Thu. Thu. Thu. Thu.





TITUS ANDRONICUS

Explanation.
Act V. Scene II.— An apartment in the Duke's Palace
Enter Thurio, Proteus, and Julia
• PROTEUS: Gentleman of Verona
• THURIO: a foolish rival to Valentine
• JULIA: a lady of Verona, beloved by PROTEUS
Thu. Thu. Thu. Thu. Thu. Thu. Thu. Thu. Thu.


CLOSING

Our world was not lightly made. It teems with reflective thought at every turn. It is the opinion of the writer that the thread of thought and sentient feeling runs through all of life in similar dimension. And that Shakespeare, in so broadly addressing the totality of human experience grabbed hold of the very essence of the totality of life itself. It is the writer's opinion that God used the hand holding the pen of Shakespeare and commented not only on human life, but all of life on earth. Perhaps in other corners of the universe it differs. However, in seeing life closer to ourselves, it is the hope that these writings endear the human more to Nature, within reason, embracing it even more as spiritual kin cut from the same cloth.


Bibliography supplied on request


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