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SHAKESPEARE, sonetti e Macbeth, Appunti di Letteratura Inglese

SHAKESPEARE, sonetti e Macbeth

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2021/2022

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LETTERATURA INGLESE
Wednesday, September 21, 2022
SHAKESPEARE 1564-1616
Shakespeare's life takes place during two reigns, Elizabeth I dies in 1603 and on her death, having had
no children, she is succeeded by her sister's son, James I, first king of the Stuart dynasty, king of
Scotland and England. Scotland loses its political independence.
Shakespeare's production, especially the tragedies, were written in the period when James I reigned.
_________________________________________________________________________________________
Sonetti (1593-1603)
Elizabeth I is the daughter of Henry VIII Tudor and Anne Boleyn. Henry VIII is remembered politically
because in 1534 (Act of supremacy) he founded the Anglican Church (English Reformation); the
Church of England breaks away from the Roman Catholic Church because the Pope did not agree to
annul the marriage between Henry VIII and Catherine of Aragon. The monarch also becomes head of
the church.
Henry VII, Henry VIII and Elizabeth I: sovrani Tudor ‘mecenati’
- Power alliance and culture: Renaissance --> Early Modern
While in the rest of Europe we talk about the Renaissance, in England we can talk about Early Modern,
precisely because it is a period of innovation. The most important invention was that of printing by
William Canton in 1476 (first editions of The Canterbury Tales).
- Fioritura delle arti, del teatro e della letteratura.
Court poets: Sir Thomas Wyatt, Sir Philip Sidney, Sir Walter Raleigh, the one who brought the tradition
of the sonnet to England.
Thomas More --> UTOPIA, the founding text of the utopian and dystopian tradition.
Tradizione classica e dei classici.
Apertura al continente: diffusione delle idee di Leonardo da Vinci, Michelangelo, Machiavelli, Pico
della Mirandola, Petrarca diventa il modello del sonetto, ma il suo modello viene ben presto assimilato
e modificato.
CULTO DELLA REGINA ELISABETTA I
Una donna forte che mise al primo posto il suo ruolo e le sue responsabilità nei confronti del regno.
- 1588 -> Victory against the invincible army of the Catholic king Philip of Spain. At this moment
the explorations to the new world begin, for example mentioned in the work ''The Tempest''.
First colonial enterprises (imprese coloniali) towards the new world.
TILBURY SPEECH, 1588
I know I have the body but of a weak and feeble woman, but I have the heart of a King, and a King
of England too. I myself will take up arms, I myself will be your general, judge, and rewarder of every
one of your virtues in the field. »
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LETTERATURA INGLESE

Wednesday, September 21, 2022

SHAKESPEARE 1564- 1616

Shakespeare's life takes place during two reigns, Elizabeth I dies in 1603 and on her death, having had no children, she is succeeded by her sister's son, James I, first king of the Stuart dynasty, king of Scotland and England. Scotland loses its political independence. Shakespeare's production, especially the tragedies, were written in the period when James I reigned.


Sonetti (1593-1603)

Elizabeth I is the daughter of Henry VIII Tudor and Anne Boleyn. Henry VIII is remembered politically because in 1534 (Act of supremacy) he founded the Anglican Church (English Reformation); the Church of England breaks away from the Roman Catholic Church because the Pope did not agree to annul the marriage between Henry VIII and Catherine of Aragon. The monarch also becomes head of the church. Henry VII, Henry VIII and Elizabeth I: sovrani Tudor ‘mecenati’

  • Power alliance and culture: Renaissance --> Early Modern While in the rest of Europe we talk about the Renaissance, in England we can talk about Early Modern, precisely because it is a period of innovation. The most important invention was that of printing by William Canton in 1476 (first editions of The Canterbury Tales).
  • Fioritura delle arti, del teatro e della letteratura. Court poets: Sir Thomas Wyatt, Sir Philip Sidney, Sir Walter Raleigh, the one who brought the tradition of the sonnet to England. Thomas More --> UTOPIA, the founding text of the utopian and dystopian tradition. Tradizione classica e dei classici. Apertura al continente: diffusione delle idee di Leonardo da Vinci, Michelangelo, Machiavelli, Pico della Mirandola, Petrarca diventa il modello del sonetto, ma il suo modello viene ben presto assimilato e modificato. CULTO DELLA REGINA ELISABETTA I Una donna forte che mise al primo posto il suo ruolo e le sue responsabilità nei confronti del regno.
  • 1588 - > Victory against the invincible army of the Catholic king Philip of Spain. At this moment the explorations to the new world begin, for example mentioned in the work ''The Tempest''. First colonial enterprises (imprese coloniali) towards the new world. TILBURY SPEECH, 1588I know I have the body but of a weak and feeble woman, but I have the heart of a King, and a King of England too. I myself will take up arms, I myself will be your general, judge, and rewarder of every one of your virtues in the field. »
  • Tilbury speech, Essex in 1588- Altre opere...
    • Edmund Spenser, The Faerie Queene, 1590
    • Sir Philip Sidney, Arcadia, 1590 precursore della poesia pastorale
    • Christopher Marlowe, Doctor Faustus
    • SHAKESPEARE Le donne non potevano esibirsi e recitare in teatro poiché era considerato immorale e non adatto alla sua natura.

Cos’è un sonetto?

Shakespeare a causa della chiusura dei teatri per la peste, si diletta nella produzione di sonetti. SONETTO Il sonetto inglese è un componimento di 14 versi suddivisi in vario modo a seconda delle tradizioni. Noi ne studiamo tre principali:

  1. SONETTO PETRARCHESCO/MILTONIC: 1 Ottava (abbaabba) e 1 sestina (cdecde, o cdccdc) con una VOLTA tar le due strofe = due pensieri o lo sviluppo di un pensiero (endecasillabi, pentametri giambici in Milton) un cambiamento segnalato anche da un cambiamento lessicale o un’avversativa iniziale
  2. È diverso il SONETTO SHAKESPEARIANO: 3 Quartine (abab, bcbcb, cdcd) e un DISTICO (ee), a rhyming couplet, che ha il compito di riassumere il messaggio del sonetto. Tre pensieri e conclusione (parametri giambici)
  3. Il SONETTO ELISABETTIANO: Introdotto in Inghilterra da Thomas Wyatt e Henry Howard. Modello: Petrarca (ma inventore: Giacomo/ Jacopo da Lentini nel XIII sec.) a. Philip Sidney, Astrophel and Stella (composto:1582 c. e pubb. 1591) ‘’What, have I thus betrayed my liberty? Can those black beams such burning marks engrave In my free side? or am I born a slave, Whose neck becomes such yoke of tyranny?’’ - from sonet 47- Cosa, ho tradito così la mia libertà? Possono quelle nere luci [= sguardi, occhi] incidere questi marchi di fuoco sul mio fianco (di uomo) libero? O sono nato schiavo dal collo atto [a portare] questo giogo tirannico? (Stella = Elizabeth I) b. Edmund Spenser, Amoretti (1595) Commistione amore per una donna – amore per la patria /la sovrana: dimensione amorosa unita a quella politica

➢Progressione narrativa? E.g., L. C. Knights: raccolta miscellanea scritta in momenti diversi, senza alcun ordine specifico. VS. Alessandro Serpieri e Stanley Wells: canzoniere come "testo totale" di una storia in gran parte interiore che si dispiega secondo sequenze particolari.

  • Sonetti 1-17: “the invitation to marry”. Invitano il “fair youth” a sposarsi e procreare
  • Sonetti sul passaggio del tempo – "tempo come quarto personaggio", Jan Kott, Shakespeare Our Contemporary, 1965
  • Sonetto 18 introduce un altro fil rouge: “sonetti dell’immortalità”, conferita non dalla discendenza ma dalla poesia
  • Sonetti 76-86: rivalità di un altro poeta nel favore dell’amico
  • Sonetti 40-42, 133-134, 144: presunto amore tra la donna e il giovane «We have made remarkably little progress toward unconvering the 'true story' behind Shakespeare's Sonnets, if indeed there is a story to be uncovered. […] We still have no plausible candidates for the role of the dark lady (or ladies), or of the rival poet (or poets), or of the speaker's young friend (or friends). We do not know whether all the sonnets are to be taken as spoken by a single speaker or whether the speaker in each poem is Shakespeare, a fictional lover, or a man. […] His text dwells, as it were, in the twilight of both autobiography and fiction. […]. The sonnets are in large measure defined for us by their very ambiguity» (Donald W. Foster, «Master W. H., R.I.P.», PMLA 102, 1987) “The problem... was this: Who was that young man of Shakespeare’s day who, without being of noble birth or even of noble nature, was addressed by him in terms of such passionate adoration that we can but wonder at the strange worship, and are almost afraid to turn the key that unlocks the mystery of the poet’s heart. Who was he whose physical beauty was such that it became the corner-stone of Shakespeare’s art, the very source of Shakespeare’s inspiration, the very incarnation of Shakespeare’s dreams?” (Wilde, “The Portrait of W. H.”, 1889).

ESISTE UN LEGAME LOGICO O SEMANTICO NEL CANZONIERE DI SHAKESPEARE? Non c’è una posizione unanime tra gli studiosi, L.C. Knights lo considera una raccolta scritta in momenti diversi senza ordine specifico, Serpieri and Stanley West lo considerano come un “testo totale” di una storia in gran parte interiore che si dispiega secondo sequenze particolari:

  • SONETTI 1 - 17: INVITATION TO MARRY AND PROCREATE
  • SONETTO 18 introduce il tema dell’IMMORTALITA’, conferita non tanto dalla discendenza ma dalla POESIA.
  • SONETTI 76 - 86: rivalità di un altro poeta nel favore di un amico
  • SONETTI 40-42, 133-134, 144: presunto amore tra la donna e il giovane

L’io Lirico non corrisponde al poeta o a S. e alla sua esperienza di vita. L’ambiguità dei sonetti è importissima e è una caratteristica fondamentale. The portrait of W.H by Oscar Wilde, in questa short story Wilde affronta il problema dell’identità della Fair Youth Shakespeare represents various women, so it is wrong to accuse him of gender inequality. He shows the little bit of humanity that even the cruelest human being has (ex: Lady Macbeth). He wrote tragedies, comedies, and tragicomedies; he was a poet, an actor, a screen player, and the manager of the theatre “The Globe”(Theatrum Mundi). It was open to everybody, and theatre was the centre of the English culture. Theatre was a way to visit the world without traveling; this way the world itself becomes a theatre and we must play different roles (“All the world is a stage” in a Shakespearean play)


MACBETH (ca. 1603-1606)

The shortest work within the Shakespearean corpus, and yet … «… nessun altro dramma shakespeariano appare altrettanto lungo, … nessuna azione si svolge … con tanta angosciosa lentezza, con tanto travaglio e tormento. Non è la durata materiale che conta qui, ma la durata psicologica e morale» (Agostino Lombardo, Lettura del Macbeth, 1969) It’s a psychological, historical, gothic tragedy. Based on historical sources and fiction. He was influenced by “Chronicles of England, Scotland and Ireland” in which he found pieces of information about Scottish history. He then manipulated those information and rewrote them After the death of Lady Macbeth, his husband refers to life as a walking shadow or a poor player and understands that he’s about to lose everything. It shows what darkness can do without control. He becomes the source of his destruction The tragedy is divided into 5 acts and was published in 1623 after Shakespeare’s death. It is set in Scotland in the 11th^ century with the real king Duncan. It opens with a battle scene against the Irish and Norwegian’s invaders. Banquo and Macbeth show their heroism and win against their enemies. They encounter the witches (presence of supernatural creatures) known as the “Sisters of destiny”.

  • Their 1° prophecy: Macbeth becomes king and Banquo will become the father of kings Macbeth and his wife decide to kill king Duncan and succeed the throne. They also kill everyone that could suspect them (Banquo and Macduff with their families)
  • 2° prophecy: Macbeth won’t be defeated until the Britain forest comes against him. The British army disguises itself as trees and kills Macbeth. In the meantime, Lady Macbeth realizes the gravity of what they did, grows a sense of guilt, and develops an insanity (insomnia and sleepwalking) that will lead her to suicide. Macbeth is killed by Macduff since he wasn’t born with natural birth.
  • 3° prophecy: None of woman born shall harm Macbeth. Macbeth, in the story, reined from 1040 to 1057. In reality, this information is manipulated by Shakespeare (it was much shorter). They are all round and complex characters. They change from the beginning to the end, and we can see that.

them in complete loneliness

  • GUILT: Guilt is represented also by stage directions that are repeated, the repetitions of “KNOCK” in scenes 2-3 in act II THE WITCHES
  • streghe che appaiono come uomini, mascoline They are:

  • The bearded witches, with feminine features but also beards, this confuses Banquo as to their sex and gender.
  • Projection of evil, but they never execute it, the responsibility is Macbeth’s and lady Macbeth's - homo faber fotunae suae free arbiter of his own destiny
  • Projection of Macbeth’s unconscious The language of the Witches I characterized by
  • PARADOXES: repetition of the phrase “fair is foul and foul is fair” by the witches and then by Macbeth.
  • ANTITHESIS: they’re recurrent throughout the play and are the foundation for it. They’re structural for the play, the whole narrative is built by oppositions
  • USE OF OPPOSITIONAL TERMS
  • AMBIGUITY: that evokes confusion in the reader. The witches embody moral disorder. They always appear in thunder, lightning, and situations of chaos. Their language is characterized by antithesis, and they look like men. Their lines are often in rhyme and introduce a break and give instability to the form of the play (usually iambic pentameter). Sex and gender wise the witches are hybrid, and this perceived hybrid/ambiguity is unsettling about them. First Witch When shall we three meets again? In thunder, lightning, or in rain? Second Witch When the hurly-burly’s done, When the battle’s lost and won.Fair is Foul, Foul is Fair” = is a phrase used by the witches and Macbeth. It’s a paradox. Macbeth and Lady Macbeth often use phrases already said by the witches (the connection between them). They represent the dark morality of the protagonists, and, with this phrase, they mean that what is good for you is not necessarily good for others. OPPOSITIONS
  • Light and darkness: both physical and symbolic). Even if they are murders, they still have a glimpse of humanity
  • Inside and outside: castle where the crime happened; nature reacts unnaturally and becomes wild (horses eat their similar)
  • Natural and unnatural: never pronounce “crime” because considered unnatural
  • Evil and good: Macbeth and Lady Macbeth are not pure evil and that’s why they become aware of what they had done.
  • Health and insanity: crime will lead to individual and social insanity It’s kind of pre-romantic in a part where Macbeth talks about imagination and the witch prophecy. ↓ he feels tormented because of the murder and not as determined as his wife (which shows his humanity). Terror is inside the mind; fear is about seeing a dead body= imaginary fears are more frightening than the real ones ACT I SCENE 3, before the murder This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion, Whose horrid image doth unfix my hair And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smothered in surmise, and nothing is, But what is not.
  • It can be considered a passage about the force of imagination
  • Present fears are less than horrible imaginings: differenza tra ciò che è e ciò che si pensa, è molto peggio il pensiero dell’omicidio piuttosto che la vista di un qualcosa di orrendo nella realtà
  • and nothing is, But what is not: Macbeth afferma che per lui sia più forte e coinvolgente il pensiero dell’omicidio piuttosto che la realtà vera e presente. Il pensiero e l’immaginazione dell’omicidio è più forte della realtà concreta.