Shakespeare References in Inconceivable

I only got to page twelve of Ben Elton’s novel Inconceivable before coming across the first Shakespeare reference. It was a humorous reference to Hamlet: “But when is the time right? To have it off or not to have it off, that is the question” (p. 12). The book is about a couple trying to have a child, and trying different methods. It is told from both the man and the woman’s perspective, and it seems both characters are Shakespeare fans. That first reference is from the woman’s perspective, as is the second, which is also a Hamlet reference. “I mean it probably is self-indulgent claptrap, of course, but he doesn’t have to be so negative all the time. I said to him, ‘There are more things in heaven and earth than are dreamt of in your philosophy, you cynical bastard!’ which I must say I thought rather a clever riposte” (p. 30). That, of course, is a reference to Hamlet’s line to Horatio. The next reference is from the man’s perspective, and is a reference to Much Ado About Nothing: “It compared Dodd to a Shakespearean clown. They did a bit of Dogberry and Verges from Much Ado to illustrate the point” (p. 78).

There are several references to Macbeth in this novel. The first is from the woman’s perspective: “He’s a set designer for the theatre (mainly fringe; he told me that recently he had to do Burnham Wood moving to Dunsinane for about five quid: ‘We used a lot of real twigs, and binliners, of course, can represent just about anything’)” (p. 90). The second Macbeth reference is from the male character, while he talks about his sperm: “The first bit is the best bit, of that there seems to be no doubt. All the rest is rubbish, full of sound and fury, signifying nothing” (p. 179). The next Macbeth reference is also from the man’s perspective, though the man is quoting another character: “I like romantic comedy with edge, with bite, with bollocks! To me Macbeth is a romantic comedy, so’s Oedipus” (p. 192). The next is from the woman’s perspective: “Anyway, the deed had to be done” (p. 219). That refers to Macbeth’s line “I have done the deed.”

There are also a few references to Othello. The woman tells us, “Oh well, before we knew it the Green-Eyed Monster which doth mock the meat it feeds on would be knocking at the door, suitcase in hand and planning a long stay” (p. 194). That refers directly to Iago’s speech to Othello: “O beware, my lord, of jealousy!/It is the green-ey’d monster which doth mock/The meat it feeds on.” The next is from the man’s perspective, regarding another character: “She said she did not do two Desdemonas and a Rosalind at the RSC in order to have her bum used to sell videos” (p. 245). (That line also contains a reference to As You Like It.) The last is from the man’s perspective: “Jealous as Othello though I may have been, I knew that I wished Lucy all the happiness she desired” (p. 269).

There are also some references to Shakespeare himself and to the Royal Shakespeare Company. The male character writes: “Nimnh is not as big a star as Carl but she’s very highly regarded, having played most of the younger Shakespeare totty at the RSC” (p. 231). The next is from the woman’s perspective, regarding the same characters: “The other was a woman I recognized as Nimnh Tubbs from the RSC” (p. 252). The last is also from the female character: “In fact I did say that to him quite recently and he told me that in fact it has been scientifically proven that the amount of adrenalin released into the body when an actor tackles a lead Shakespearean role is equivalent to that experienced by the victim of a car crash” (p. 264).

Inconceivable was published in 1999.

Shakespeare References in Booked To Die

I should no longer be surprised when a book I read has Shakespeare references, particularly one that is about books, as John Dunning's Booked To Die is. This mystery takes place in the world of book scouts, and contains a few Shakespeare references. The first is a reference to Julius Caesar: "But of course I wouldn't do it. Like Brutus, I am an honorable man" (p. 62). The line "Brutus is an honorable man" is one that Antony repeats to great effect in his famous speech in Act III. And the reference works quite well in this story, giving us a clever hint at what our narrator is capable of, as well as what he thinks of himself. There is a second reference to Julius Caesar: "All I could think in that moment was that line from Shakespeare, how cowards die a dozen times before their deaths" (p. 242). It's interesting, because the line is usually misquoted as "Cowards die a thousand times" or "Cowards die a thousand deaths," not "a dozen times." The actual line from Act II Scene ii of Julius Caesar is "Cowards die many times before their deaths;/The valiant never taste of death but once."

Another reference in this novel is to Shakespeare himself, and occurs when a girl comes into the new book store: "'You've found us,' I said. 'You're a little early, though. I haven't put out the Shakespeare folios or the Gutenbergs yet, and we won't open for another week or two'" (p. 144). The last mention of Shakespeare in this book contains a reference to Romeo And Juliet. Dunning writes: "The sweet sorrow, the hate that's really love, the pull of opposites in a single emotion. Maybe they'd be lost without each other. This is the stuff Shakespeare wrote about, isn't it?" The phrase "sweet sorrow" comes from that wonderful line, "Parting is such sweet sorrow/That I shall say good night till it be morrow," which in productions is usually assigned to Juliet, following Q1, but occasionally is given to Romeo, following Q2. The First Folio also assigns that line to Romeo, and I think it makes more sense coming from Romeo.

Booked To Die was published in 1992. The edition I read is the Avon Books printing from 1993.

Shakespeare References in Stephen Hawking: Quest For A Theory Of Everything

Kitty Ferguson’s book Stephen Hawking: Quest For A Theory Of Everything contains a couple of references to William Shakespeare. The first: “In the process Hawking, like the writers of the Bible and Shakespeare, has supplied eloquent quotations to support opposing philosophical points of view” (p. 122). And the second: “Do people who buy the book read it and understand it? Hawking said he wasn’t overly concerned about its being left on coffee tables and bookcases just for show. The Bible and Shakespeare, he pointed out, have shared that fate for centuries” (p. 132). It’s interesting to me that both times this book connects Shakespeare with The Bible. Stephen Hawking: Quest For A Theory Of Everything was published in 1991. The edition I read is from August of 1992.

The Merchant Of Venice (1973) DVD Review

Laurence Olivier is known for his earlier Shakespeare films – Hamlet, Richard III, Henry V – but it was his King Lear that first really impressed me, much more than his earlier work.  He gave an incredible performance as Lear. A decade before his King Lear, he took on the role of Shylock in Jonathan Miller’s production of The Merchant Of Venice, and now that production is available on DVD, thanks to Shout! Factory. And again, Olivier is incredibly impressive. Joining Laurence Olivier are Joan Plowright as Portia, Jeremy Brett as Bassanio, Michael Jayston as Gratiano, Anthony Nicholls as Antonio and Anna Carteret as Nerissa. The production seems to be set in the early 1900s.

Act I

The first scene takes place in a restaurant. Antonio is an older man, which gives more humor to his “O, fie” in response to the suggestion that he’s in love. Bassanio wears a somewhat loud suit jacket, and interestingly when he and Antonio first begin to speak privately, Antonio leans toward Bassanio, and Bassanio actually leans away – a wonderful little hint at how they both feel. It isn’t until Bassanio begins talking about his debts that he leans toward Antonio. Bassanio stands when he begins to talk of Portia, then sits closer to camera, so his speech is almost more to us (or to himself) than to Antonio, who in the background is more in darkness and looks downward. It isn’t until “O Antonio” that Antonio looks again toward Bassanio. It is an interesting way of presenting this dialogue.

Joan Plowright seems too old for Portia, but she delivers a good performance anyway, of course. Anna Carteret is also quite good as Nerissa, full of wit and playfulness. Because of this production’s more modern setting, Nerissa is able to show photographs of the suitors to Portia, and about these photographs they share a laugh. It’s a wonderful moment, and a delightful scene. I particularly like Joan Plowright’s delivery of the line when she first recalls Bassanio too fondly, then catches herself.

Laurence Olivier is, as I had hoped, excellent in the role of Shylock. Even the way he plays with the word “well” after “Antonio is to become bound” is wonderful. And his delivery of “I will be assured I may” is pointedly full of meaning. Having an older Antonio creates a wonderful connection between him and Shylock, two men of an age, and when we first see the two together, they are dressed in similar fashion, both with black top hats (Shylock’s over his yarmulke). It creates an intriguing image of similarities between the men.

Act II

Interestingly, as Antonio and Bassanio leave Skylock, Gratiano enters, calling “Signor Bassanio,” and the two engage in dialogue from the end of the second scene of Act II. (The rest of that scene is cut.) The film then continues to Act II Scene iii, with Jessica and Launcelot. Launcelot (played by Denis Lawson, who four years later would play Wedge in Star Wars) wears a bowler and a handlebar moustache, and speaks with a lower class accent.

Lorenzo (Malcolm Reid) is delightfully excited to receive the letter from Jessica.

Launcelot is funny when he echoes Shylock’s call to Jessica. When Jessica enters, she glances at Launcelot, but delivers her “Call you?” to Shylock, thus missing a comedic opportunity. But after Launcelot lets slip about the “masque,” he delivers the rest of the speech quickly, as if hoping to cover up that slip, which is a nice, funny moment. And Shylock’s reaction is great.

The film then goes back to the first scene of Act II, for Portia’s meeting with the first suitor, and it leads directly to Scene vii, when he chooses from among the caskets (so we lose Scene vi entirely). The caskets are on a turning platform, so that the Prince of Morocco is able to stand still, while Nerissa turns the platform so that he can look at each casket. An interesting choice. Morocco turns in a humorous and appropriately goofy performance. I particularly love the moment when he approaches Portia, asking what would happen if he stopped and chose the silver one, like he’s hoping for some hint from her. I’m glad to see the comedic moments early on in this production, because without them, the fifth act can’t work at all.

Scene viii is cut, and the film goes right to Scene ix, with the second suitor, the Prince of Arragon. In this production, he is an elderly man, which amuses Nerissa. There’s a funny moment when he delivers a speech, and Portia and Nerissa sip tea in the deep background, clearly not caring to give ear to any speech this old man might give. He does ask Portia to read the inscription on the silver casket, unlike in the play, where he reads it himself. There is some funny, playful business with sugar cubes. And because he’s old, he nearly inserts the key in the lead casket rather than his chosen silver, but for Nerissa quickly turning the platform. This entire scene is wonderful, and you actually feel for the old guy at the end when he asks honestly, even a bit sadly, “Did I deserve no more than a fool’s head?”

Act III

At the beginning of Act III, Salarino is reading a newspaper, which prompts Salanio’s first line, “Now, what news on the Rialto?” But he holds a letter, and so perhaps has more news than Salarino. Salarino then hands Salanio the paper on “my gossip report.” You really feel for Shylock when he enters, upset about Jessica’s flight, particularly because of the way Salarino and Salanio speak to him, without a trace of pity or kindness. It makes his anger much more understandable. And it is only then that Shylock decides to call in the forfeit of Antonio’s bond, an excellent moment. We can see it all on Laurence Olivier’s face, as he turns his pain and anger toward Antonio. What a great performance. And that’s before he delivers that famous speech (“Hath not a Jew eyes…”). His scene with Tubal is likewise excellent.

The third scene begins with Portia and Bassanio having just returned from a pleasant horseback ride, showing that she has already kept him from making his choice of caskets for a while. They move inside then for him to choose. Interestingly, Portia exits after she says “thou that mak’st the fray,” and two women enter to sing the song. This is played for humor, as they get quite close to Bassanio and then sing rather loudly. Not only does the song give away the correct choice through its rhyme, but the women singing it position themselves next to the lead casket. This production makes it quite clear that Portia is cheating.

Scene iv takes place outside. When Portia says she and Nerissa will abide in a monastery until their husbands return, Nerissa reacts negatively, showing clearly she’s not yet been made privy to Portia’s plan – a nice touch.

Scene v is cut.

Act IV

Antonio and his friends enter the empty, and somewhat dark, courtroom before the Duke enters. Then when Shylock enters, Shylock and Antonio sit opposite each other at a table. I love Laurence Olivier’s delivery of “No, none that thou hast wit enough to make.” Both Nerissa and Portia do a good job disguised as men. Gratiano is behind Nerissa and Portia when he says, about Nerissa, “I would she were in heaven, so she could/Entreat some power to change this currish Jew.” So when Nerissa says “’Tis well you offer it behind her back,” he is literally behind her back. This scene is done so well, and a moment is allowed after Shylock’s exit, where we see other characters’ reactions. Particularly intriguing is Portia’s, as she seems to have sympathy and perhaps even a bit of regret. And then I love that Portia slaps Bassanio on the shoulder when she says, “I pray you, know me when we meet again.” Is she upset that he didn’t recognize her? Interesting.

Act V

The beginning of the fifth act, with Lorenzo and Jessica, is also done really well. It is a sweet, touching and meaningful scene. I love how Lorenzo reacts when Jessica doesn’t immediately follow his wish to go inside. The affection and concern he feels for her is apparent. Though Portia and Nerissa left home via a coach, they oddly return on foot, with Nerissa carrying all the bags. That’s one bit of humor that falls flat. Interestingly, after the final line of the play, Jessica remains, studying the paper whereby her father leaves his possessions to her and Lorenzo. This is a surprising and touching moment.

This production of The Merchant Of Venice was directed for television by John Sichel. It is 128 minutes. The DVD contains no special features.

William Shakespeare’s The Phantom Of Menace: Star Wars Part The First by Ian Doescher (2015) Book Review

I’m still trying to get that bad taste out of my mouth left from being subjected to The Force Awakens. So it’s time to go back – way back – all the way back to William Shakespeare’s The Phantom Of Menace: Star Wars Part The First. As with Ian Doescher’s versions of the original trilogy’s films, The Phantom Of Menace is divided into five acts, is presented in iambic pentameter, and is illustrated. A list of characters is provided at the beginning, and Jar Jar Binks is identified as “a Gungan clown.” That sort of makes him more palatable, don’t you think?

The Chorus opens the play with a sonnet, which ends with the couplet, “In time so long ago begins our play,/In troubl’d galaxy far, far away” (p. 7). Throughout the book are references to specific Shakespeare plays. For example, when Rune Haako expresses anxiety over their course of action with the blockade, Nute Gunray says, “What’s done can’t be undone.” That is a reference to Lady Macbeth’s line, “What’s done cannot be undone.” And when Anakin meets Padme, he says, of her, “O, she doth teach the torches to burn bright” (p. 53), a line straight out of Romeo And Juliet, when Romeo first meets Juliet. Before the podrace, Anakin says, “How all occasions do inform toward me/To spur my action here!” (p. 80), a play on Hamlet’s “How all occasions do inform against me,/And spur my dull revenge.” Oddly, that reference is followed by a reference to Casablanca: “Of all the junk shops in all towns in all/Of Tatooine, he walketh into mine” (p. 80). (The line from Casablanca is, of course, “Of all the gin joints in all the towns in all the world, she walks into mine.”) Panaka plays on the famous speech from Henry The Fifth when he says, “We few, we happy few, are but too few” (p. 135). After Darth Maul stabs Qui-Gon with his lightsaber, Qui-Gon quotes Julius Caesar, saying “Et tu, Sith? Then fall, Qui-Gon Jinn!” (p. 160). This is not really appropriate, as Julius Caesar is surprised by what he sees as Brutus’ betrayal, whereas Qui-Gon knows in advance that Darth Maul is trying to kill him.

Jar Jar, by the way, speaks eloquently in soliloquies and asides, then deliberately takes on the simple speech of a clown, as a sort of disguise, to talk with others. “Put on thy simple wits now, Jar Jar Binks:/Thus play the role of clown to stroke his pride” (p. 25). In Jar Jar’s second soliloquy, he echoes some of Polonius’ advice to Laertes: “To thine own kind be true, so say I e’er./Give ev’ry man thine ear, but few thy voice – /At least the voice that speaketh with wise words./Let them hear only speech of ruffian” (pages 27-28). In Hamlet, Polonius tells Laertes, “Give every man thy ear, but few thy voice.” And then later in the same speech, he says, “This above all: to thine own self be true.” Jar Jar also plays on A Midsummer Night’s Dream when, in another soliloquy he says, “The course of justice never did run smooth.”

As with the other adaptations, in this book even minor characters are given speeches. Even characters that did not speak at all in the movie. For example, in this book the Opee (the fish that attacks the Gungan submarine) gets a speech, saying he was sent to kill the Jedi by Darth Sidious. And the larger creature, the Sando Aqua Monster, tells us in his own speech that he was sent by the Jedi council.

This book isn’t quite as good as the first three. But then again, The Phantom Menace wasn’t as good as the films of the original trilogy. William Shakespeare’s The Phantom Of Menace: Star Wars Part The First was published in 2015. By the way, at the very end of the book there is a sonnet urging readers to go online for more information.

Blackmailed School Teacher by Lee de Pepys (1983) Book Review

Blackmailed School Teacher, by acclaimed and respected sociologist Lee de Pepys, is a serious look at some of the humiliating activities people are willing to undergo in their pursuit of tenure at our institutions for higher learning. As is made clear by the introduction, which quotes Gloria Steinem, this tale is told from a feminist perspective. The teacher of the title, Lucretia Slade (or Lucy), is the story’s hero, a bisexual college professor trying to attain tenure. Opposing her is Horatio Wedge, professor and amateur rose thief.

Lucy also has relationship issues to deal with. Her lover, Samantha, a serious player in the feminist movement, reacts strongly to Lucy’s desire to have sex with a man. Even after Lucy explains that she’ll choose a young man, Samantha is not convinced that it’s a good idea. Horatio overhears their conversation, and tries to get a male student named Llewlyn (or Lew) interested in Lucy, telling him, “Well, you really ought to see her with her hair down” (p. 17). When Lew seems disinterested in Lucy, Horatio instead talks him into a threesome with his wife, Ellen. Obviously, Horatio is interested in his student and is eager to see him in bed with someone. And as Ellen gets hold of both men’s penises, she turns poetic, saying, “It’s like holding two very delicate birds newly hatched” (p. 25). Later, when Ellen asks, “What if you got me accustomed to this? What if I had to have two cocks to get turned on? What would you do then?” (p. 34), Horatio answers, “I guess Lew would have to move in with us” (p. 34). Whether he is willing to admit it or not, Horatio is clearly interested in his student, and his goal seems to be some sort of extremely close relationship with him. But he is also still interested in Lew getting it on with Lucy, and he tells Lew he owes him a favor after letting him have sexual relations with his wife. Horatio is a teacher with a lot of time on his hands.

At a party soon thereafter, Lew is doing all right with Lucy, until he tries to stick his fingers inside her. “Stop it! Get out of there!” she yells at him (p. 60). And she adds, “you should know better than to attack a woman, especially a feminist” (p. 61). But apparently all a feminist needs is a few compliments, for soon Lew is having his way with Lucy. Afterward, she is eager to see him again, and they make plans for the following night, neither of them aware that Horatio was photographing their lovemaking session.

The next night it is Horatio, not Lew, that shows up at Lucy’s door, eager to have a go at her himself. He shows her the photographs, reminding her that faculty members are not supposed to have sex with students, particularly faculty seeking tenure. Of course, the student in question is twenty-three (though pretending to be nineteen), so it’s completely harmless. But rather than throw him out or call the police, Lucy uses sarcasm to dissuade Horatio from having his way with her. Shockingly, this doesn’t work. After buggering her, he demands that she perform oral sex on him three mornings a week until the tenure meeting, and also to give herself willingly to anyone who makes a secret sign to her. Horatio is obviously a brute, but he seems to honestly believe he’s helping her understand her true nature, and pulling her away from lesbianism and feminism. To help do this, he sends three sailors to her house. At first, this only functions to strengthen her feminist resolve. “She had the answer; she knew what she’d unswervingly espouse in the future: castrate all men! Women, begin by gelding your own sons!” (p. 115). But then she begins to enjoy her torment, in spite of herself. “She blotted from mind her basic hatred of these men and all like them: she wanted their gism!” (p. 117). Is this some defense mechanism, or is Lee de Pepys saying that the physical drives of our bodies have more force in our lives than our ideals and philosophies?

Blackmailed School Teacher was published in 1983 by American Art Enterprises, as part of the Jaded Journals series. It seems this book has also been published under the title Make Her Beg.

Shakespeare References in Edward: Dancing On The Edge Of Infinity

Bruce Taylor’s odd novel, Edward: Dancing On The Edge Of Infinity, contains several Shakespeare references. Shakespeare is even mentioned in the dedications at the beginning of the book: “Here, world, remember the words of Shakespeare, ‘The world dances in laughter and tears’” (p. 4). I don’t think that’s actually a quote from any of Shakespeare’s works. There is a line from the poet Kabir that reads, “The world of man dances in laughter and tears.”

The book contains a lot of footnotes, and some of the Shakespeare references appear in these footnotes. For example, one footnote reads, in part, “It’s one of those days in Seattle: a nice April day that started off looking like the opening scene in Macbeth, but which has cleared magically as the day has gone on” (p. 70). Another footnote makes a reference to Hamlet: “Alas, Poor Edward!” (p. 80). And actually that footnote contains another footnote, which has a Shakespeare reference: “Who do you think you are? Shakespeare?” (p. 80). Another footnote within a footnote contains references to Shakespeare and specifically to Macbeth. It reads: “I suppose it might be wise to elaborate on this further; Edward did not realize until years (and I do mean years) later, how right Shakespeare was: here today, gone tomorrow. Boo! thought Edward when he realized this. Boo! Hiss! What a bummer! I want my ticket back. Hang the author of this fatalistic play! All this sound and fury signifying nothing? We’re all cosmic cookies that crumble, crumb by crumb with the passage of time? Out, out, brief chocolate chip! But then, Edward thought, once he got past the shock, even if this life is a cookie, made by an idiot, full of ingredients signifying nothing – oh, hell. It’s still edible. And Edward then sat back, metaphysically munched life’s cookie and looked about” (p. 90). Another footnote reads, in part, “A Shakespearean character looking at the sky for the pale threads of fate weaving through the stars!” (p. 125).

But yet, some Shakespeare references are in the main body of the book. For example, Shakespeare appears in one of the many dream sequences in the book. Taylor writes, “William Shakespeare sat on a bench nearby” (p. 96). And then he continues, “He changed again and Edward saw a strange scene: a double sun over a landscape of rock spires set against a maroon sky; and that changed to a strange creature of scaly skin and large blue eyes; and that changed to a moon, and back to Shakespeare again, who looked about, smiled and promptly changed into a cherry tree in bloom” (p. 96). This sequence continues: “Flesrenni pointed to Shakespeare who, by now, was dropping his cherries; as each one dropped, the cherry split open and a miniature Shakespeare, or elephant, or lion, or whatever, emerged. Edward looked back to ask Flesrenni a question. Flesrenni was gone. Edward looked back to Shakespeare; in place of the tree was a candle” (p. 98). And then: “Edward stared into the flame: he saw the world, Shakespeare, animals that had existed before, that existed now, that would exist” (p. 98). That is followed by a reference to Macbeth: “He then saw himself and he heard Flesrenni say, ‘Dance, dance, dance; from sunrise to sunset, this day is yours, even though someday it must fade, yes, yes, out, out brief candle, yes; perhaps it is a tale told by an idiot, but whatever it is, for now it is yours, make of it as you will, let there be magic and dance, dance, dance” (p. 98).

Also in the main body of the story, Taylor writes, “oh, wasn’t Shakespeare right when he said, ‘Cowards die a thousand deaths’” (p. 120). The line is from Julius Caesar, and reads, “Cowards die many times before their deaths.” And then he writes, “His eyes said, ‘Clothes make the man’” (p. 127), a reference to Polonius’ line in Hamlet, “For the apparel oft proclaims the man.” And then Taylor refers to both Julius Caesar and Hamlet when he writes: “‘I come to oppose my opponent, not to praise him. Whether it is better to withstand his slings and arrows of outrageous charges, I cannot to say. But to withstand or not to withstand, that is not the question” (p. 129). The first line refers to Antony’s line from Julius Caesar, “I come to bury Caesar, not to praise him.” The rest, of course, refers to lines from Hamlet’s most famous speech.

Edward: Dancing On The Edge Of Infinity was published in 2007.