Shakespeare References in Season Of The Witch

David Talbot's book about San Francisco, Season Of The Witch: Enchantment, Terror, And Deliverance In The City Of Love, contains a few Shakespeare references. The first is a reference to A Midsummer Night's Dream. Talbot writes, "Coquettish in dark eyeliner, bare feet, and a white muslin caftan, he looked like a cross between Marlene Dietrich and Puck from A Midsummer Night's Dream" (p. 99). The second is a reference to Hamlet: "A lifetime later, Fayette Hauser could still see method in her friend Nancy's madness" (p. 117). That is a reference to Polonius's line "Though this be madness, yet there is method in 't." The book also contains a reference to Macbeth. Talbot writes, "But Moscone shrugged off the sound and fury" (p. 260). He is referring to my favorite speech from Macbeth (and perhaps all of Shakespeare), which ends with this line: "It is a tale/Told by an idiot, full of sound and fury,/Signifying nothing." A little later there is a paragraph that mentions Shakespeare as well as a line from Julius Caesar: "The son of a dairy farmworker, Dean was raised to appreciate the rich language of the Bible and Shakespeare. 'My parents always read us stories,' he explained. 'Finding the true meaning of Shakespeare under all those flowery words was always a mind twister for me.' Dean was fond of quoting inspirational lines from Shakespeare in the 49ers locker room. One of his favorites was, 'Cowards die many times before their deaths. The valiant never taste of death but once'" (p. 369). That is a line that Caesar speaks to Calpurnia.

Season Of The Witch: Enchantment, Terror, And Deliverance In The City Of Love was published in 2012. The copy I read, from the library, was the First Free Press hardcover edition of May 2012.

Shakespeare References in The Amazing Adventures Of Kavalier & Clay

Michael Chabon's novel The Amazing Adventures Of Kavalier & Clay contains a few Shakespeare references. The first is a reference to Romeo And Juliet, with Chabon writing, "They got him doing Romeo Rabbit for thirty dollars a week" (p. 96). Next there is a reference to Macbeth, specifically to a famous production by Orson Welles: "In high school, she and a friend had gone uptown to see the booming, voodooistic Macbeth, and she had loved it" (p. 354). There is also mention of Shakespeare himself: "lying down with it under a fir tree, in a sun-slanting forest outside of Medford, Oregon, wholly absorbed into that primary-colored world of bad gags, heavy ink lines, Shakespearean farce, and the deep, almost Oriental mystery" (p. 575). This book was published in 2000.

Shakespeare References in NTC's Dictionary Of Word Origins

It should come as no surprise that a book on etymology would mention Shakespeare, and NTC's Dictionary Of Word Origins contains quite a few references. The first mention of Shakespeare comes in the book's introduction. Author Adrian Room writes: "Exceptions to this rule are for quotations from those familiar old English classics, the Bible and Shakespeare. For biblical quotations, the texts are those of the Authorized Version of 1611, which many people still regard as the 'real' English version of the Bible. For Shakespeare, the quotations have been taken from the Oxford Standard Authors edition edited by W. J. Craig, first published in 1905 and since reprinted several times in different formats" (p. 7). Then we get into the actual words themselves. In fact, the very first entry, the word "abominable," contains a Shakespeare reference. Room writes: "For many years from medieval times it was believed that the word derived  from Latin ab homine, 'from a man', in the sense 'inhuman', 'unnatural', and Shakespeare punned on the word with this supposed origin in Love's Labour's Lost where Holofernes, talking of Don Adriano's strange pronunciation, says: 'This is abhominable, which he would call abominable'. (See Act V, Scene i for some whimsical language play.) In fact the word comes from Latin abominari, 'to regard as an evil omen', from ab-, 'from' and omen, 'evil omen'" (p. 11). The next reference comes in the entry for "accomplice." "An accomplice is not so called as he is an 'accomplished' criminal, but because he is 'a complice', or simply an associate. This is now an obsolete word, but was still in use in the time of Shakespeare, where in Richard II Bolingbroke says that Bristol Castle is held by 'Bushy, Bagot, and their complices' (the 'caterpillars of the commonwealth')" (pages 11-12). Then in the entry for "aghast," Room writes: "The h was added, however, under the influence of 'ghastly', which means that the early spelling of the word was agast. This comes from the Old English verb gaestan, 'to frighten'. In Henry VI, Part I, Shakespeare makes a messenger, speaking of the overthrow of Talbot, say that 'All the whole army stood agaz'd on him', as if the origin was in gaze" (p. 12). In the entry for argosy, Room writes: "The word is a historic one, as is the concept. Only nine lines into Shakespeare's The Merchant of Venice, for example, there is a mention of 'argosies with portly sail'" (p. 16). In the entry for "baggage" Room writes, "Shakespeare was one of the first to use the word in its 'worthless woman' meaning, and at the very beginning of The Taming of the Shrew (the 'Induction'), Christopher Sly, when called a rogue by the Hostess, retorts, 'Y'are a baggage: the Slys are no rogues'" (p. 19). The entry for "bastard" of course contains a reference to King Lear, with Room writing: "The designation is often thought to derive from 'base'. Certainly Shakespeare seemed to think so, when in King Lear Edmund, the bastard son of the Earl of Gloucester, declaims: 'Why bastard? wherefore base?... Why brand they us With base? with baseness? bastardy? base, base?'" (p. 22). The very next entry, "bated," also contains a Shakespeare reference: "The verb 'abate', meaning 'diminish' (originally 'beat down', from Old French abatre), was formerly often shortened to 'bate', and occurs in this form several times in Shakespeare, for example" (p. 22). The entry for "coign" also contains a reference to Shakespeare: "This particular phrase became memorable when it was used by Shakespeare in Macbeth, and Banquo describes Macbeth's castle in Inverness as a building favoured by the 'temple-haunting martlet' (i.e. swift): no jutty, frieze,/Buttress, nor coign of vantage, but this bird/Hath made his pendant bed and procreant cradle" (p. 44). The next entry, for "coil," also refers to Shakespeare: "Because of Shakespeare's 'shuffle off this mortal coil' (in Hamlet's famous 'To be or not to be' speech), a mental picture emerges of some kind of encircling loop like a binding coil of rope. When you 'shuffle off the mortal coil' you die, of course, and this even more suggests an escape from some kind of mortal chains" (p. 44). The entry for "doll" also mentions Shakespeare: "The original meaning of 'doll' was 'mistress', hence Shakespeare's Doll Tearsheet in Henry IV, Part II" (p. 55). There is an entry for "fell," as in "at one fell swoop," which is all about Shakespeare. Room writes: "The word suggests 'fall', like the swoop of a pouncing bird of prey. In this Shakespearean phrase, however, 'fell' has the sense, now poetic in English, of 'evil', and the word is thus related to 'felon'. Probably the wrong association with a bird of prey is strengthened by the mention of particular birds in the extended quotation containing the phrase in the original, where in Macbeth the anguished Macbeth, learning of the murder of his wife and children, exclaims: 'All my pretty ones?/Did you say all? O hell-kite! All?/What! all my chickens and their dam/At one fell swoop?'" (p. 62). And yes, that entry contains a mistake. What Room meant to write was "the anguished Macduff," not "the anguished Macbeth," for it was Macbeth who ordered those murders. Macbeth is also mentioned in the entry for "fitful": "The word is said to exist in English simply because of its single occurrence in Shakespeare's Macbeth, where Macbeth, speaking of the dead Duncan, says that 'After life's fitful fever he sleeps well'" (p. 63). The entry for "halt" mentions Shakespeare: "This old-fashioned word, found in the Bible and (as a verb) in Shakespeare, is not related to the 'halt' that means 'stop', as if a halt person were one who constantly had to halt" (p. 78). The entry for "harebell" contains a Shakespeare reference: "In Shakespeare's Cymbeline, the 'azur'd harebell like thy veins' mentioned is actually a bluebell" (p. 80). The entry for the word "leave," as in "permission; holiday," refers to Shakespeare: "This is because it originally meant 'obtain permission to depart', and it occurs in this sense in Shakespeare's Richard II, where Bolingbroke says to the Lord Marshal, in the presence of the king: Then let us take a ceremonious leave/And loving farewell of our several friends" (p. 99). The word "manner," as in "to the manner born," refers to Shakespeare too: "But the phrase, which comes from Shakespeare, did not originally mean this, but 'destined to be subject to (whatever it is)', which is not quite the same thing. Here is the original, in which Hamlet refers to the king's habit of revelling at midnight: But to my mind - though I am native here/And to the manner born, - it is a custom/More honour'd in the breach than the observance. He means 'Although I was born here, and so have been obliged to accept the native way of doing things'" (pages 106-107). The entry for "marry," the exclamation, unsurprisingly mentions Shakespeare: "This famous Shakespearean word is nothing to do with the word that means 'get married'. It was used mainly for emphasis, and also to express agreement" (p. 107). The entry for "pansy" has contains a reference to Shakespeare. Room writes: "This tradition is referred to in poor, deranged Ophelia's words in Hamlet, when she says: 'There's rosemary, that's for remembrance; pray, love, remember: and there is pansies, that's for thoughts" (p. 124). Another flower word, "pink," contains a Shakespeare reference: "Such phrases as 'in the pink' and 'pink of condition' and even 'tickled pink' all derive indirectly from the plant, which was seen as a sort of 'flower of perfection'. The first recorded use of its name in this metaphorical sense comes in Shakespeare, where in Romeo and Juliet there is a nice little interchange:
     Mercutio. Nay I am the very pink of courtesy.
     Romeo. Pink for flower.
     Mercutio. Right." (p. 132)
The entry for "pregnant," meaning "meaningful," contains a Shakespeare reference: "This was frequently used of an argument, and meant 'compelling', 'well-reasoned', even simply 'obvious'. Shakespeare used it in this sense in Othello, when Iago, seeking to discredit Cassio, Othello's lieutenant, says to Roderigo: 'Now, sir, this granted, as it is a most pregnant and unforced position, who stands so eminently in the degree of this fortune as Cassio does?'" (p. 138). In the entry for "rest" (in the phrase "God rest you merry, gentlemen"), there is a Shakespeare reference: "The greeting or wish expressed in the line was a standard one in Shakespeare's day, and in fact occurs in As You Like It, for example, where the 'country fellow' William takes his leave of Touchstone with the words, 'God rest you merry, sir'" (p. 148). The entry for "roam" also contains a Shakespeare reference: "Shakespeare, too, puns on the two words, as in Henry VI, Part I, where the following exchange occurs:
     Bishop of Winchester. Rome shall remedy this.
     Earl of Warwick. Roam thither then." (p. 149).
The entry for "shock-headed" contains a reference. Room writes: "One possibility is in the obsolete 'shough', 'shock' or 'shock-dog' that is mentioned in Macbeth, where Macbeth lists a variety of dog breeds and types: As hounds and greyhounds, mongrels, spaniels, curs,/Shoughs, water-rugs and demi-wolves, are clept [i/e/ called]/All by the name of dogs" (p. 158). The entry for "trump card" contains a reference as well: "Shakespeare uses the word in this sense, although metaphorically, in Anthony and Cleopatra, where Anthony says to his friend Eros, talking of Cleopatra: 'she, Eros, has/Packed cards with Caesar, and false-play'd my glory/Unto an enemy's triumph" (p. 176). And yes, Room writes "Anthony" rather than "Antony." The entry for "utterance" (as in the phrase 'to the utterance") contains a reference to Macbeth: "The now archaic phrase means 'to the bitter end', 'to the utmost limit', with one of its best known occurrences in Shakespeare's Macbeth, where Macbeth, defying Banquo, says: Rather than so, come fate into the list,/And champion me to the utterance!'" (p. 178). The entry for "while away" also contains a Shakespeare reference: "This variant spelling seems to have been additionally influenced, in former times, by association with such phrases as Shakespeare's 'beguile the day', 'beguile the time' (as in Twelfth Night, where Antonio recommends that Sebastian should 'beguile the time' by 'viewing the town' while he arranges food and board), as well as with similar phrases in other languages" (p. 185). The next entry, for "whippet," also contains a Shakespeare reference: "thus appearing rather incongruously, to modern eyes, in Shakespeare's Much Ado About Nothing, where Borachio says: 'I whipt me behind the arras'" (p. 185). 

The bibliography lists a book whose title is a Shakespeare reference: "Owen, Denis, What's in a Name: A Look at the Origins of Plant and Animal Names, BBC Publications, London, 1985" (p. 193).

NTC's Dictionary Of Word Origins was published in 1991. My copy is a first edition hardcover.

Doctor Faustus (Independent Shakespeare Company's 2025 Production) Theatre Review

The Independent Shakespeare Company, as the group's name suggests, focuses on the works of William Shakespeare. But these folks do not limit themselves to those thirty-seven plays (thirty-eight, if you count The Two Noble Kinsmen), and last night held the official opening of Doctor Faustus, a play written by Shakespeare's contemporary Christopher Marlowe. It is the classic story of a man who sells his soul to the devil for power and knowledge. This company delivers an absolutely fantastic and fun production, with plenty of humor and a bit of horror, and a completely delightful original musical number (actually, there are two good songs). The production is directed by Melissa Chalsma, and stars David Melville in the title role and Kalean Ung as Mephistopheles.

While construction continues on the company's permanent Griffith Park stage, performances are located just a bit farther up the hill (which actually means more shade for the audience). The set-up for this production is similar to that of Love's Labour's Lost, which closed a couple of weeks ago, done in the round, with the main platform spanning the dry creek, and a secondary, curtained platform to the side. While the main platform was painted green for the Shakespeare play, this time it features a circle with the zodiac signs at its outer edge and other symbols within. Much of the performance happens on that main stage, but the actors make great use of the surrounding space, sometimes moving through the audience (before the performance began, Melissa Chalsma warned us that spirits would be roaming the park). When we first meet Doctor Faustus, he is seated in his study, dressed in black. On "And live and die in Aristotle's works," he gets up, indicating a book at one corner of the stage, which he then retrieves. On "farewell," he tosses the book off the stage, and takes up another. One by one, he tosses the books, giving the sense that he has gotten all the knowledge he can from these tomes and requires something else for his desired growth in knowledge. David Melville, known for his comedic talent, is quite funny right from this first scene, particularly in his delivery of a line like "The reward of sin is death: that's hard." And when he is visited by both a good angel (Natalia Echeverria) and a bad angel (Daniel DeYoung), from his reaction we have no doubt to which one he will listen. And it is not long before he, ready with a staff, begins to conjure the spirits. David adds delightful touches to the performance. When he first steps into the center of the circle, there is some uncertainty, perhaps even fear, and then relief when nothing bad has happened. And then, now with certainty of purpose, he begins his work. It's a wonderful moment. 

When Mephistopheles enters, she is sexy (or should I say hot?), in a red dress (not presenting herself as a Franciscan Friar, as in the text). Yes, we get a female Mephistopheles here, and that works quite well. For a moment, perhaps, we are reminded of Elizabeth Hurley as the devil in the remake of Bedazzled, itself an adaptation of the Faustus story. Faustus has met his match here, for Kalean Ung is magnificent in the role. That will come as no surprise to those who saw the company's 2022 production of Macbeth, for she was phenomenal as Lady Macbeth. Mephistopheles holds out the knife to Faustus so that he can draw blood, and she kneels before him in that moment; that is until he takes the blade, a nice touch. Doctor Faustus understandably hesitates in cutting himself, and when he does do it, this production does not shy away from the use of blood. And when Faustus states that one of his stipulations is that Mephistopheles come to him in whatever form or shape he pleases, Mephistopheles smiles, seeming both intrigued and pleased, another wonderful touch. On her "when all the world dissolves," the turns around, taking in the world around her. And on her "take this book," the book she hands him is red, matching her dress, which is perfect. Later, when Doctor Faustus requests knowledge of the celestial bodies, other characters appear in the audience bearing glowing globes representing those bodies.

While David Melville and Kalean Ung turn in remarkable performances, the entire cast is strong. Patrick Batiste and Natalia Echeverria and wonderful together as Wagner and Robin respectively, especially as Wagner tries to convince Robin to be his disciple for seven years. The two devils poking Robin with their pitchforks are funny too, and even funnier when Wagner dismisses them, one of them delivering a disappointed "Oh" before exiting. And one of the production's most delightful and thrilling moments involves the entire cast. The scene with Lucifer (Brent Charles) and the Seven Deadly Sins is done as an incredible musical number, with each Sin receiving an introduction and taking a verse. Carene Rose Mekertichyan is especially good as both Pride and Sloth. Isaac Ybarra is Wrath, Daniel DeYoung is Envy, Erick Valenzuela de Campos is Gluttony, Patrick Batiste is Greed, and Natalia Echeverria is Lust. They and Lucifer are clearly having a great time. And some of the song's original lyrics refer to the audience. Was there ever a better sales pitch for sin? 

During the speech about Doctor Faustus being flown by a dragon, both he and Mephistopheles wear aviator goggles, a humorous touch. Other characters manipulate the dragon's wings, which is actually kind of beautiful. Scenes of great comedy are always handled well by this company especially when David Melville is at the center of the action. And so the scene where Faustus torments the Pope (Brent Charles) and other religious figures is a delight. Plus, and maybe especially these days, it is enjoyable to watch those in positions of power being brought down a few pegs. Doctor Faustus, made invisible by Mephistopheles, teases the Pope by repeatedly sitting on the Pope's chair, before then taking his food and drink. It's wonderful how much fun Faustus is having here, and the audience is completely on his side, enjoying the Pope's discomfort and fear. There is also a lot of fun in the scene with the Emperor (Erick Valenzuela de Campo, who is wonderful in the role). Faustus' line "These are but shadows, not substantial" reminds me of Prospero's speech in The Tempest. And there is more delightful physical comedy in the scene with Robin, Dick (Daniel DeYoung) and the cup, the cup at one point being handed to someone in the audience.

And as I mentioned earlier, there are elements of horror as well, including, in addition to the drawing of blood by Faustus, a beheading scene. Of course there is comedy to this too, as characters toss the head around. It is so wonderfully creepy as Doctor Faustus holds his own head. As the play moves toward its conclusion, it becomes more serious, and there is a nice moment when Wagner expresses concern for Faustus (Patrick Batiste is excellent there). Doctor Faustus is on his knees for the play's most famous lines ("Was this the face that launched a thousand ships..."), as Helen (Carene Rose Mekertichyan) circles him. And he again falls to his knees a little later when trying to wipe away the symbols from the circle. David, again known for his comedic skills, truly excels in that final scene. It is a side of him we don't see quite as often, and he delivers some impressive work. Kalean Ung is also excellent in this scene, the two of them engaged in a delicious dance of the damned. What a fantastic ending!

Doctor Faustus runs through August 31, 2025. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission. The performances are free, but donations are encouraged, especially in this difficult time when the arts are under attack and government funding is dubious at best. There are also T-shirts, sweatshirts, tote bags and other items for sale at the merchandise table, so there are plenty of ways to support the company.