It’s difficult to know what, and particularly who, to talk about in Othello. Iago is a distraction, Othello likes to inflate his own sense of himself, whilst Desdemona can seem even less than she is. Which is odd, because the characters too find themselves not quite knowing how to interpret what they see in front of them. Or they misunderstand completely and interpret too easily. Their perspective is awry. And because Shakespeare wants to show us just how easy it is to do that, he makes audience after audience lose their perspective too.
Twelfth Night seems to be everyone’s favourite Shakespeare play. Why is this the case? Could it be something to do with the fact that it is a play about playing? This play is a hymn to the pleasure and virtue of playing and play wins over anti-play, though of course the real motto is that it’s the taking part that counts.
King Lear is a work of obvious genius, so what to say about it in fifteen minutes that can illuminate it? Using the historical idea of service, and the relationship between service and – believe it or not – love, we can get a handle on all sorts of relationships in the play. And Sheldrake thinks these handles can help us whether we are in a classroom, sitting room or rehearsal.
In a new Book Review format designed to highlight a few critical classics to add to the shelves, Sheldrake outlines the relative merits of Professor Jonathan Bate’s acclaimed 1997 book The Genius of Shakespeare.
Shakespeare nicked stuff from everywhere; prose narratives, history books, other plays. Sheldrake rattles through a few of the old chestnuts and a few of the lesser-known borrowings, showing Shakespeare as a great adapter of stories.
In a resumption of normal service that is perhaps not quite the triumphant return he would like, Sheldrake confesses himself drawn more to the ideas of Measure for Measure than its drama. The discussions of Virtue and Justice in the play are strikingly front and centre, and the social aspects of these philosophical ideas form the matter of this episode. Dodging the comedy/dark comedy/tragicomedy/problem play debate, Sheldrake gives you Measure for Measure; a play about the nature of society.