Introducing Arthur Brooke

While Romeo and Juliet is arguably Shakespeare’s most famous work, casual fans rarely know that few of Shakespeare’s plots were original. The tale of the star-cross’d lovers dates back at least to The Tragical History of Romeus and Juliet, by Arthur Brooke (1562). His, in turn, was based either on an Italian novella by Matteo Bandello, or a via a French translation of that novella (theories vary).

Romeo and Juliet in the tomb

I’m not about to claim that we should teach Brooke to high school students. It’s hard enough to get Romeo and Juliet into their heads. But that doesn’t mean we can’t bring him into the conversation,. I was looking at Brooke’s text tonight to answer a different question, and I found this. I guess it’s his version of what Shakespeare turned into the famous prologue:

Love hath inflaméd twain by sudden sight,
     And both do grant the thing that both desire
     They wed in shrift by counsel of a friar.
     Young Romeus climbs fair Juliet’s bower by night.
Three months he doth enjoy his chief delight.
     By Tybalt’s rage provokéd unto ire,
     He payeth death to Tybalt for his hire.
     A banished man he ‘scapes by secret flight.
New marriage is offered to his wife.
     She drinks a drink that seems to reave her breath:
     They bury her that sleeping yet hath life.
Her husband hears the tidings of her death.
     He drinks his bane. And she with Romeus’ knife,
When she awakes, herself, alas! she slay’th.

That … is a surprisingly good summary of the entire play. Much better than Shakespeare’s version. Let’s look:

  • love at first sight
  • They get married in secret.
  • Romeus visits Juliet’s bedroom at night.
  • They get three months of this (which Shakespeare took away!).
  • Romeus gets Tybalt angry, ends up killing Tybalt, and is banished for his trouble.
  • .They try to get Juliet to marry someone, but she fakes her death instead
  • Romeus hears that she’s dead and poisons himself.
  • Juliet kills herself with Romeus’ knife.

With a little editing love to modernize the spelling and a couple of glossary notes, you could give this to students as a plot study guide. Other than the three months thing, this is spot-on accurate with how Shakespeare told it, right down to the specific murder weapons.

Students might also be interested to know the “original” ending!

The poem’s ending differs significantly from Shakespeare’s play—in the poem, the nurse is banished and the apothecary hanged for their involvement in the deception, while Friar Lawrence leaves Verona to end his days in a hermitage.

https://en.wikipedia.org/wiki/The_Tragical_History_of_Romeus_and_Juliet

Alas, poor apothecary. He was so worried about doing the wrong thing (“Such mortal drugs I have; but Mantua’s law is death to any he that utters them.”) Shakespeare decides to let him live. Maybe it was to make up for Mercutio?

Ranking Julia Stiles Shakespeare Movies

AI-generated sketch of Julia Stiles in Shakespearean costume
She’s giving Kate vibes in this AI-generated sketch.

I love this idea for a list, courtesy ScreenRant – Top Julia Stiles Shakespeare Movies. Of course, she only made 3, so it’s a very short list – Hamlet, O (Othello), and 10 Things I Hate About You (Taming of the Shrew). The math geek in me wants to say that only leaves 6 possible combinations, but who are we kidding – nobody’s making O their number 1. I love that I can just italicize a single letter like that as a title.

I like to remind people, though, that Ms. Stiles may have been having a bit of fun with us during her Shakespeare period.

She portrayed Ophelia to Ethan Hawke’s Hamlet in 2000 … but she also starred in Down to You with Freddie Prinze Jr. the same year. Is that a Shakespeare adaptation? Well, no. But she does play a character named Imogen – who shares a name with a character from Cymbeline. Which Ethan Hawke also starred in, in 2014! But we’ll call that one a coincidence, the girl’s not from the future.

Then, in 2004, she starred in The Prince and Me. Oh, and she was named the same as a Shakespeare character? Not this time. She just played the love interest to the Prince of Denmark. And they fall in love bonding over Shakespeare sonnets.

I’m a little tempted to stage a Julia Stiles movie marathon just to see how many Shakespeare references we can spot in the strangest places.

Morgan Freeman as Othello? No, Thank You

AI-generated image of Morgan Freeman interviewing himself
Morgan Freeman interviewed by … Morgan Freeman (AI-generated)

If you start listing actors famous for their voices, two things are guaranteed to be true — Morgan Freeman will be on that list, and most of them have done Shakespeare. Patrick Stewart, Orson Welles, James Earl Jones, Alan Rickman …

… but wait, where exactly is Morgan Freeman on that list? I hadn’t stopped to consider that he’s done no filmed Shakespeare. There are plenty of clips from his recitation of Seven Ages of Man from As You Like It, but that’s not a stage performance. But as far as I can tell, that’s it. You can find clips of James Earl Jones’ King Lear, or even Alan Rickman as Tybalt. But I find no performances by Mr. Freeman.

He does have some history with Shakespeare, though:

In the late 1970s, the largely unknown actor played the title role in Coriolanus and lent support as Casca in a production of Julius Caesar before returning to the world of Shakespeare over a decade later for a run of The Taming of the Shrew in 1990 as Petruchio.

What are his thoughts on Othello, you may ask? Oh, he has thoughts:

Freeman didn’t hesitate when asked if he had a least favourite role from his lengthy and distinguished career: “Yeah. Othello. Played it on stage. Don’t like it.” Refusing to hold back, he even voiced his disdain for the work itself. “Don’t even like the play. I’ve seen it a number of times, but I hate it myself.”

Well ok then! Maybe we could get him as King Lear?

https://faroutmagazine.co.uk/morgan-freeman-names-his-least-favourite-role/

Avenging Shakespeare: What If?

AI-generated cartoon Loki peforming Hamlet
Poor Yorick is about to be used as a projectile.

I was a huge fan of Marvel’s movie efforts right through Infinity War / Endgame. I’m also one of the people who think that Disney’s switch to television series was their jump-the-shark moment. I haven’t really followed any of their Disney+ shows, and once you lose those, you start losing the Easter eggs in the movies, which makes you care less about the movies. It’s a slippery slope.

Then I discovered the Season 2, Episode 8 of the animated What If? series has the Avengers in Shakespearean England. I’m in!

I haven’t watched any episodes leading up to this one, but who cares? I get the general idea – it’s a multiverse thing where we see the characters we know in new roles. This one opens with Loki doing Hamlet, and I’d recognize Tom Hiddleston’s voice anywhere. Sold. Of course, it’s not long before some alien force attacks, and the fight scenes begin.

Unfortunately, that’s about all the Shakespeare we get. We don’t get a Shakespeare character (though Tony Stark looks much like him). There’s a two-second bit where Loki is talking about a new play he’s written called Iago. “There are other characters in it,” he says, “but really it’s about Iago.” I laughed.

I assume this is based on Neil Gaiman’s comic of the same name, but I’ve not read it. Maybe I should? I’m going to assume it has a lot more Shakespeare content.

The One Where Fleance Comes Back

So my daughter and I are working on a secret project (more soon!) that involves a deep reading and markup of Macbeth. For our purposes, I got the plain text, public domain copy from Project Gutenberg. I made her a copy, made myself one, and over the Christmas break we’ve been going about our business making our notes, periodically comparing.

Until yesterday, when we were driving to visit relatives, with the whole family in the car, discussing various things like college majors and literary theory and Shakespeare. “I thought you said Fleance doesn’t come back,” I hear her say.

“He doesn’t,” I say, driving. “Some adaptations insert a scene of him returning, to reinforce the prophecy about Banquo’s children. I think the Fassbender movie version does that.”

“No,” she continues, “he’s in the final scene.”

“No,” I insist, “he’s not.”

“When we get back home I’ll need to show you. He has lines. It’s in my copy.”

“If that’s true, that would be a giant mistake.”

Well, giant mistake confirmed.

I do what I always do in these situations – I call Bardfilm, my friendly neighborhood virtual Shakespeare resource library. While I’m waiting to hear back (he is traveling for the holidays as well), I start checking other versions. Everywhere I can find, this line is Ross’s. Ross has delivered the previous line, and Siward is in conversation with him. There is no indicator that this should be, or ever has been, Fleance’s line. Even if we imagine him in this scene (there is no stage direction to show him entering), why would he deliver that line?

I’ve written to Project Gutenberg with our correction. I’m sure in their world, this happens all the time; they have an actual address and ticket system set up for errata. But this isn’t a typo. Stuff like this bothers me. The stats say that almost 3000 people/month download that file. Presumably, mostly students. How many of them read that and just assume, no matter how confusing it is, that Fleance makes an appearance at the end? Arguably, it’s a trivial thing, but not to us. If you read Macbeth or any Shakespeare, and you have questions, you’re entitled to answers to those questions. It’s not fair for the answer to be, “Yeah, that’s just wrong, you got a bad copy. Ignore that.”

If anybody needs me, I’ll be re-reading my copy with a First Folio (and maybe an Arden) sitting in my lap.