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Books : Poetry, Drama & Criticism : Shakespeare, William : Audiobooks : Plays : Other Plays
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A messy, uneven and disillusioned play, Timon of Athens is rarely studied or performed because of scepticism regarding both its authorship and completion. Like Pericles there seems little doubt that Shakespeare wrote the majority, but quite what he was trying to do is another matter.Timon of Athens is rich and generous, happy to provide his friends, servants and acquaintances with money whenever they require it. Only the cynical Apemantus questions the soundness of Timon's actions, and the motives of his supposed friends, wondering at "what a number of men eats Timon, and he sees 'em not. It grieves me to see so many dip their meat in one man's blood." When Timon's creditors ask for payment of their loans, Timon goes to his friends, but they all refuse to help him. Even worse, Timon's one loyal friend Alcibiades is exiled from Athens. After renouncing all his friends at one last banquet, Timon retires to a misanthropic life as a hermit in a cave. As he rails against "yellow, glittering precious gold", he completely renounces mankind, to die alone in his cave, his epitaph claiming that "Here lie I, Timon, who alive / All living men did hate". One of Shakespeare's more puzzling plays, Timon of Athens is unusually bleak and unforgiving, with Timon behaving like an unsympathetic version of Lear (they were both written within a couple of years of each other). --Jerry Brotton
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One of Shakespeare's finest history plays, Richard II deals with one of the most sensitive and politically explosive issues of its day--the rights and wrongs of deposing a legitimately appointed king. Forerunner to the two parts of Henry IV, the play deals with the abdication of King Richard II in 1399, the subsequent succession of Bolingbroke, the future King Henry IV, and Richard's death in the spring of 1400. But the play has been celebrated above and beyond its stature as historical drama. Richard II begins with a portrait of Richard as a pompous, arrogant and self-regarding sovereign, with little sense of his people or his political responsibilities. As he consistently miscalculates in his attempts to destroy Bolingbroke, and watches his own power wane, he becomes a far more appealing, Hamlet-like figure, more interested in "talk of graves, of worms and epitaphs", and "sad stories of the death of kings". Richard's speeches become increasingly lyrical and poetic as his supporters desert him, until he finally takes on the stature of the pilloried Christ in the climax of the play, the deposition scene, one of the most politically risky scenes in all of Shakespeare. The play remains most famous for John of Gaunt's "This royal throne of kings, this sceptred isle" speech, but historians believe that the play was also performed in the streets of London in 1601 in support of the Earl of Essex's attempt to depose Elizabeth I. Whilst the plot failed, it showed the power of the theatre of the time, and the politically controversial nature of Shakespeare's play. --Jerry Brotton
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One of Shakespeare's most notoriously difficult and cynical plays, labelled a "Problem Comedy", Troilus and Cressida has perplexed critics and theatre directors, and after Shakespeare's lifetime it was not performed again until 1907. In many ways the play's difficulty is a surprise; the story of Troilus and Cressida was a popular theme, drawn from Homer's Iliad and Chaucer's own Troilus and Criseyde, as was its classical setting, the Greek siege of Troy, led by Agamemnon, Achilles, Ajax, Diomedes and Ulysses.Within the walls of Troy, Prince Troilus falls madly in love with Cressida, daughter of the deserter Calchas. His love is intense and frenetic--"I am giddy, expectation whirls round me," but turns to bitter disillusion when Cressida defects to the Greek camp and flirts with Diomedes. As the war and conflict over the abduction of Helen whirls around the doomed romance, the play delights in its complex syntax and cynical images of waste, decay, corruption and mutability, summed up in Ulysses' comment that, "Love, friendship, charity, are subjects all / To envious and calumniating time." The play's cynical open-ended quality has frustrated many readers, but gives the play a remarkably modern, contemporary sensibility. --Jerry Brotton
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One of Shakespeare's most unpopular history plays, King John deals with the life and death of King John, who reigned from 1199 to 1216. This is as early as Shakespeare goes in his treatment of English history, concentrating more successfully on the later 14th and 15th centuries in the plays which stretch from Richard II to Henry VI. As a result, King John suffers from being so historically distant in time, as well as offering a rather weak and vacillating king, who lacks the charisma and authority of Richard III or Henry V. The play begins with King John struggling to retain his throne, under attack from rebellious courtiers and Philip, the king of France. As the quarrel escalates into war with France, the plays begins to take on a contemporary Elizabethan flavour--the feared invasion from a foreign (Catholic) nation, and the extent to which such an invasion is based on the questionable paternity of King John (like Queen Elizabeth, John is accused of being a bastard and is excommunicated). The play is saved from its rather colourless political machinations by Philip the Bastard, John's favourite, a dramatic forerunner of dubious but charismatic malcontents like Edmund in King Lear. It is also Philip who is given the most powerful and patriotic lines, when he claims that "This England never did, nor never shall, / Lie at the proud foot of a conqueror". King John's mysterious and anticlimactic death through illness at the end of the play deflates expectations--something that could be said of the play as a whole. --Jerry Brotton
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Controversy has surrounded Pericles for centuries, due to the fact that critics and editors have argued that much of the play was written between 1607 and 1608 by one of Shakespeare's inferior collaborators, and that it shows in both its style and content. However, Shakespeare was clearly the driving force behind the play, and it is important to remember that it was one of the most popular plays of its time.Famous for its resurrection of John Gower, the 14th-century English writer, who acts as the play's chorus, Pericles is a play that is obsessed with incest. The dramatic action begins in Antioch, where Pericles travels to solve the riddle of King Antiochus, who "to incest did provoke" his daughter. When Pericles realises Antiochus' terrible secret, he flees, wandering the seas, where he meets his wife Thaisa, who apparently dies while giving birth to her daughter Marina during a terrible storm. Pericles' grief is compounded by the apparent death of his daughter while staying at Tarsus some months later. She has in fact been sold into sexual slavery, and as Pericles resumes his wanderings, Marina battles to retain her "peevish chastity". As with many of Shakespeare's later plays, or romances, recognition and reunion occurs in the most unlikely of circumstances. Despite questions of authorship and textual corruption, Pericles continues to fascinate audiences and critics with its dark and ambivalent account of the relations between fathers and daughters. --Jerry Brotton
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Shakespeare's most violent and gory play, Titus Andronicus was written in 1592, and represents the dramatist's first foray into the popular genre of revenge tragedy (many editors argue with at least one other collaborator). The result was spectacular, including scenes of murder, human sacrifice, rape, bodily mutilation and cannibalism. Set in late-imperial Rome, the action begins with the Roman general Titus Andronicus and his triumphant return from wars with the Goths. Leading Queen Tamora and her sons as prisoners, Titus stumbles into a power struggle between Saturninus and his brother Bassianus. Titus fatally backs Saturninus, who rapidly turns on the old general and marries Tamora. The implications for the Andronicus family are disastrous. More of Titus' sons are killed, his daughter Lavinia is brutally raped by Tamora's sons, and as Titus begins his descent into madness and despair he even has his own hand cut off in an act of awful trickery. As Titus plots his bloody revenge, he reflects that "Rome is but a wilderness of tigers". The ending is one of the most gruesome conclusions to any dramatic tragedy, and leaves Hannibal Lecter in The Silence of the Lambs looking quite restrained. Although the play has put audiences off for centuries due to its apparently gratuitous violence, more recently critics have discerned something more to it than pure shock, but that might say more about us than the Elizabethans. .--Jerry Brotton
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One of Shakespeare's most perplexing and unclassifiable late plays, Cymbeline is often labelled a "Romance", due to its themes of pastoralism, exile and familial reconciliation which critics notice recur throughout Shakespeare's last plays, from Pericles to The Tempest. Set in ancient Roman Britain at the court of the British king Cymbeline, the main action of the play revolves around the relationship between Cymbeline's daughter, Imogen, and Posthumous Leonatus. Attempting to marry Imogen off to Cloten, the grotesque son of Cymbeline's second wife, the king banishes Posthumous in a rage when he discovers he has secretly married Imogen. As the personal relationships in the play deteriorate, on the public stage Rome prepares to invade Britain due to Cymbeline's failure to pay tribute to his imperial master. As the play builds to its militaristic climax, Posthumous returns to Britain, where he eventually contrives a reunion with Imogen and Cymbeline's long-lost sons, who unite in their attempt to resist the might of Rome.The ending of the play, with its series of mystical riddles, unlikely coincidences and extraordinary reunions has baffled critics for centuries. Some read it as a heavy-handed political allegory of Jacobean national union under the new sovereign of the time, King James I, whilst others see in it Shakespeare pushing theatrical realism to its furthermost limits, with its decapitated bodies, complex staging and unlikely mistaken identities. Cymbeline remains a puzzling, enigmatic play. --Jerry Brotton
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complete text audio cassette version by the marlowe dramatic society.
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Shakespeare's last dramatic work, Two Noble Kinsmen has often been marginalised by editors who believe that Shakespeare was just one of its many writers. This does a disservice to what is a fascinating and haunting play. The two noble kinsmen of the play's title are Palamon and his cousin Arcite, Thebans who have sworn a vow of friendship until death, claiming, "Is there record of any two that loved/Better than we do?" King Theseus of Athens leads an invasion against Thebes, and returns to Athens with the two cousins, who both fall in love with Princess Emilia, Theseus' sister-in-law. Both become rivals for Emilia's hand, incurring the wrath of Theseus. The action moves to the forest, where Palamon and Arcite prepare to duel over Emilia, only to be interrupted by Theseus, who delays the duel for one month, commanding that whoever wins the duel will marry Emilia, whilst the loser will be executed. On the day Arcite defeats Palamon, but is then crushed under his own horse. As he dies he bequeaths Emilia's hand to his cousin. The play ends with their wedding ceremony. Two Noble Kinsmen concludes with a note of resignation, as Theseus says "Let us be thankful/For that which is, and with you leave dispute/That are above our question", but as always, it is dangerous to see this as Shakespeare pronouncing on life itself, or simply another character in one of his plays voicing a particularly elegiac viewpoint on the sad events portrayed. --Jerry Brotton
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Shakespeare's most violent and gory play, Titus Andronicus was written in 1592, and represents the dramatist's first foray into the popular genre of revenge tragedy (many editors argue with at least one other collaborator). The result was spectacular, including scenes of murder, human sacrifice, rape, bodily mutilation and cannibalism. Set in late-imperial Rome, the action begins with the Roman general Titus Andronicus and his triumphant return from wars with the Goths. Leading Queen Tamora and her sons as prisoners, Titus stumbles into a power struggle between Saturninus and his brother Bassianus. Titus fatally backs Saturninus, who rapidly turns on the old general and marries Tamora. The implications for the Andronicus family are disastrous. More of Titus' sons are killed, his daughter Lavinia is brutally raped by Tamora's sons, and as Titus begins his descent into madness and despair he even has his own hand cut off in an act of awful trickery. As Titus plots his bloody revenge, he reflects that "Rome is but a wilderness of tigers". The ending is one of the most gruesome conclusions to any dramatic tragedy, and leaves Hannibal Lecter in The Silence of the Lambs looking quite restrained. Although the play has put audiences off for centuries due to its apparently gratuitous violence, more recently critics have discerned something more to it than pure shock, but that might say more about us than the Elizabethans. .--Jerry Brotton
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"Now is the winter of our discontent," intones Richard, Duke of Gloucester at the beginning of Shakespeare's Richard III, one of his most abidingly popular plays, and one of the most chilling portrayals of political tyranny ever seen on stage. Richard emerges from the chaos which surrounds the reign of Henry VI, already dramatised by Shakespeare earlier in his career, determined to become king by removing his elder brother Edward IV by convincing him that their brother Clarence is plotting against the crown. The deaths of both Clarence and Edward take Richard inexorably towards the crown, and the series of murders and conspiracies that Richard masterminds confirms his claim that "I am determined to prove a villain". Richard's political and sexual charisma are truly chilling, and his seduction of Lady Anne, over her husband's corpse is one of the most disturbing scenes in Shakespeare. At another level, the play is also a strongly anti-Yorkist play, which has a vested interest in portraying Richard as such as vicious tyrant before seeing him toppled, ushering in a period of rule which prefigured the Tudor dynasty of which Elizabeth I was herself a part. The play has had a deep and lasting influence on audiences and writers; Brecht rewrote the play as The Resistible Rise of Arturo Ui, while both Laurance Olivier and Ian Mckellen have produced memorable film versions of Richard III, the latter updating the play into a 1930s fascist state ruled over by a Richard akin to Oswald Mosley. --Jerry Brotton
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King Henry VIII - Frank Duncan; Cardinal Wolsey - Robert Speaight; Cardinal Campeius - Richard Dare; Cranmer - Donald Layne-Smith; Duke of Norfolk - Denis McCarthy; Duke of Buckingham - Ian Lang; Duke of Suffolk - Peter Orr; Earl of Surrey - Gary Watson; Anna Bullen - Prunella Scales; Queen Katharine - Margaretta Scott; The Marlowe Dramatic Society