Part 3 features close-readings of three key scenes in which Antony and Cleopatra articulate their cosmic self-conceptions in language so transcendent that it helps transform their vision into reality. Speeches and Performers:  Enobarbus, Act 2, “The barge she sat in …” (Andrew Woddall) Antony, Act 4, “I will o’ertake thee, Cleopatra …” (Scott Ripley) Cleopatra, Act 5, “I dreamt there was an emperor Antony … ” (Dame Harriet Walter and Dame Janet Suzman)

Part 2 explores the play’s varied and conflicting perspectives on its leading characters. From the Roman point of view, Antony and Cleopatra are figures who fall from greatness, and their story is a tragedy or even, at times, farce; but from other points of view, Antony and Cleopatra represent a kind of success that could scarcely be achieved or even conceived of in Rome. The episode analyzes the play’s characters, language, and mythic archetypes to ask how the play makes so many viewpoints...

Antony and Cleopatra, the last of Shakespeare’s Roman plays, is an epic story that begins with the material of politics and history but expands into the realm of romance, poetry, and myth. Following the events of Julius Caesar – Caesar’s assassination and the triumph of Mark Antony and Octavius Caesar in the resulting civil wars – Antony and Caesar are now joint rulers of Roman Empire. But Antony has left behind Rome and his imperial duties to be with his beloved Cleopatra, the captivating...

Part 3 features close-readings of several significant scenes that show how religion, race, and literary tradition function within the violent world of Titus Andronicus and sometimes provoke that violence. Speeches and Performers:  Titus, Marcus, and Publius, Act 4, “Terras Astraea reliquit …” (Jonathan Oliver) Aaron, Lucius, and the Goths, Act 5, “And if it please thee? …” (Yolanda Ovide) Tamora, Titus, Chiron, Demetrius, Act 5, “If thou didst know me … ” (Tiffany Abercrombie)

Part 2 opens with a discussion of the place of Rome in Renaissance culture. It then analyzes the Roman classical sources – sources his audience knew well – that Shakespeare uses to construct his plot, and how Shakespeare’s use of those sources calls their moral values into question. It goes on to discuss the elements of the play that have generated most shock and revulsion – the graphic violence, the irreverent dark humor – and how they relate to the very purpose of theatre.

Shakespeare wrote numerous plays and poems engaged with ancient Roman history. Shakespeare’s Renaissance culture had ancient Rome as its foundation stone. Roman language and literature were at the heart of English Renaissance education, and Rome was held up as a model for English civilization. But in Titus Andronicus, the earliest of his Roman works, Shakespeare crafts a bloody tale of violence and revenge that subjects this entire cultural edifice to searing critique. Are the violence and...

Part 3 features close-readings of three key speeches that reflect together the central structuring element of the story: how characters fall in order to rise. Speeches and Performers:  Iachimo, Act 2, “The crickets sing …” (Mark Quartley and Donald Sumpter) Imogen, Act 3, “Why, I must die…” (Gabrielle Sheppard) Posthumus, Act 5, “Yea, bloody cloth…” (Stuart Vincent)

Part 2 begins with a discussion of the sexual violence and jealousy depicted in the play. It goes on to examine how the play’s sprawling romance plot represents, in symbolic but recognizable form, origin stories for some significant historical phenomena: Britain’s own monarchy, the Renaissance culture of Europe, and what would have been for Shakespeare’s audience the central event of world history: the birth of Christ. It concludes by discussing how these historical forces shape the...

Cymbeline is an epic romance that spans British history, the Roman Empire, religious epochs, and the central themes of Shakespeare’s career. Set in ancient Britain at the time of Augustus Caesar’s reign, it begins with two plotlines that in other of Shakespeare’s plays lead to tragedy: an enraged king disowns a beloved daughter, and a faithful wife is accused of betrayal by a jealous husband. In Cymbeline, however, the generic conventions of tragicomedy, symbolic sites from Britain’s past,...

Part 3 features close-readings of three key speeches from Helen that reveal her own mingled virtues and flaws and the “remedies” she hopes to find. Speeches and Performers: Helen, Act 1, “O, were that all! …” (Amanda Harris) Helen, Act 1, “Our remedies oft in ourselves do lie …” (Maya Smoot) Helen, Acts 3 and 4, “Why then tonight … Yet, I pray you …” (Amanda Harris)

Part 2 discusses the play’s most significant images, of sickness and death, of medicine, and grace. It asks how these themes are reflected in the complicated relationship between Helen and Bertram, focusing particularly on the deceptive plot that Helen uses to secure him in the “dark house” that becomes a place of mystery and renewal. The episode goes on to discuss the role of darkness in comedy more generally - do tragic events undermine comedy, or make it more meaningful? It concludes by...

All’s Well That Ends Well reverses the usual fairy-tale trope and depicts a young woman on a quest to win a man. Helen, an extraordinary character with elements of the modern professional and the medieval saint, sets out to secure Bertram, a nobleman, for her husband. But the fairy tale plot is further reversed when Helen appears to win Bertram, only to have him flee from her. Helen embarks on a second quest to win him for a second time, with a plot that deceives Bertram but may also help...

Part 3 features close-readings of three key speeches from Berowne, the most reflective of the lords. Taken from the beginning, middle, and end of the play, these speeches chart his imperfect but growing awareness of ideals beyond the “fame” that comes from study. Speeches and Performers: Berowne, Act 1, “I can but say their protestation over …” (Esmonde Cole) Berowne, Act 4, “Consider what you first did swear unto …” (Esmonde Cole) Berowne, Act 5, ““Taffeta phrases, silken terms precise …”...

Part 2 discusses both the play’s humor and its serious engagement with Renaissance culture, especially the humanist-style program of education that the lords pursue. This Renaissance model inspired many of the educational programs we continue today, but as the episode discusses, the play questions what goals lie behind the Renaissance ideal: does it pursue sympathy, knowledge, or power? The episode also charts the male characters’ moral failures and growth, and how the play treats marriage...

Love’s Labours Lost is one of Shakespeare’s funniest comedies and at the same time one of his most morally serious. The King of Navarre and three of his lords vow to spend three rigorous years studying and fasting – and isolating themselves from women. But no sooner are the vows made than four noblewomen of France turn up and tempt the men to break their vows. The comedy combines rhetorical fireworks and farcical stage-action – not to mention numerous reluctant revelations of love – that keep...

Part 3 features close-readings of four key speeches and scenes that set out the play’s central dilemma, as they speak for a cooperative political community and the elite warrior ideal that Coriolanus is meant to embody. Speeches and Performers: Menenius, citizens, and Martius, Act 1, “I shall tell you a pretty tale …” (David Collins) Volumnia and Virgilia, Act 1, “If my son were my husband…” (Joyce Branagh) Coriolanus, Act 3, “Well, I must do ‘t…” (Keith Hamilton Cobb) Cominius and...

Part 2 begins with a discussion of those political questions – who should have power in a political community? Is power a right or a reward? – and how they are reflected in the play’s imagery. It goes on to explore the paradoxes within the values of Rome and how Coriolanus reveals and struggles with those paradoxes. It concludes by examining the surprising choices that Coriolanus makes at the play’s end to ask whether those choices reflect Coriolanus’s attachment to his inherited Roman...

The culmination of Shakespeare’s career writing Roman history plays and plays of war, Coriolanus is a searing, relentless story about what happens when a culture gets what it wants. Coriolanus is the elite soldier who’s been shaped by his mother and by his Roman culture to value military service, valor, and honor above all else. But when he’s rejected by the people he’s defended – and scorned – Coriolanus turns his Roman valor against Rome. In this course, you’ll learn the story and context...

Part 2 begins with the dark patterns of imagery in the play to examine the play’s close proximity to tragedy. It goes on, however, to discuss how the lead characters of Isabella and the Duke function as political protestors or activists undertaking a quest for social reform. This episode culminates in an analysis of how the play adopts a “transcendental perspective,” one that steps outside the human political realm in order to perceive new solutions to its problems, and how that...

Part 3 features actors’ renditions of two key scenes from the play between Isabella and Angelo, the seemingly virtuous but hypocritical governor, with commentary that tracks how the characters commit themselves in these scenes to integrity or evil.  Speeches and Performers: Isabella and Angelo, Act 2, “You’re welcome. What’s your will? ...” and “How now, fair maid? …” (Juliet Stevenson) Angelo, Act 2, “What’s this? What’s this? …” (Paterson Joseph) Claudio, Act 3, “Ay, but to die …” (Dame...