Kyle Coons

ERH-321WX-01

Short Assignment on Hamlet

11/30/17

Help Received: Hamlet, Microsoft Word, Class Hand-Outs

Part 1:

Revenge had an intricate part in the culture of Early Modern England. Not only was it viewed religiously, to be done by the hands of the Lord, but also as a way to self-incriminate within the confines of the laws in place during this period. The Bible during the Early Modern Period in England was viewed as divine law. In terms of seeking revenge on other individuals, the Bible preaches to let the Lord, not yourself, punish those deserving of it. Jordan includes a passage from Romans 12.19 “Dearly beloved, avenge not yourselves, but give place unto wrath; for it is written, Vengeance is mine: I will repay, saith the Lord” (Jordan 204). The culture of this time would apply this to their day to day lives. If they were to take revenge into their own hands it would be viewed to be disobeying the word of the Lord and breaking divine law. The way most interpreted this was to pay the Lord would have his way and give the deserving their punishment on his terms. Kings and those in royal power were seen as divine figures, therefore they were granted the ability to carry out the Lord’s justice.

Jordan also includes an excerpt from Francis Bacon on Revenge that defines it as “Revenge is a kind of wild justice; which the more man’s nature runs to, the more ought law to weed it out” (Jordan 208).  This type of ‘wild justice’ wasn’t seen as justice at all. Instead it was viewed as way that even’s the one seeking revenge with his enemy. The only type of revenge that was viewed as just was the type that had “no law to punish” (Jordan 208). Revenge was something that was to be controlled in the culture of the Early Modern Period in England, with a sense of self-constraint and a strong trust in divine law to have its course.

Part 2:

In Shakespeare’s Hamlet, Revenge was a main driving force for a lot of the actions the character of Hamlet took. With the news of his father’s murder being committed by his Uncle, Claudius, Hamlet is driven to seek justice. This can be compared to what Francis Bacon calls ‘wild justice’, with no real justice being found. The audience during this play in the Early Modern Period would see this as an unjust action, but the complexity of Hamlet’s character makes the audience question if this would fall into a punishable act or a tolerable revenge due to the fact it was Hamlet’s father being killed for power. Hamlet’s situation was complexed even further with how his revengeful murder would be viewed amongst the divine law or how he would live with not standing up for his fathers’ murder. This situation arises in Act 1 Scene 5 when the Ghost (of his murdered father) approaches him and requests revenge upon his murderer. The Ghost tells Hamlet in response to his questioning of revenge, “Revenge his foul and most unnatural murder” (I. 5. 24). The Ghost goes on to identify his murderer as Claudius, and sets up the struggle Hamlet faces throughout the entire play.

Religion is brought up in Hamlet’s struggle to avenge his father’s murder when he has an opportunity to kill Claudius while he was praying, yet he hesitates and decides not to. It makes the audience question if Hamlet sees this as another crime beyond revenge in divine law along with his spiteful nature to make sure Claudius does not have a chance to have his sins erased. This revenge Hamlet seeks totally engulfs his entire purpose in life, with the conclusion leading to the death of not only Claudius but also his mother and himself.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

Jordan, Constance, ed.. Hamlet. By William Shakespeare. New York: Claremont Graduate

University, 2005.  Print.

 

Shakespeare, William. Hamlet. Ed. Constance Jordan. New York: Claremont Graduate

University, 2005. Print.

Kyle Coons
ERH-321WX-01
Short Assignment on Measure for Measure
10/31/17
Help Received: Measure for Measure, Microsoft Word, Class Hand-Outs
Part 1:
The early modern perspectives in England on marriage are directly reflected in Shakespeare’s play Measure for Measure. There are direct correlations with how both the man and woman are viewed inside and outside of marriage. Marriage during this time “was not merely a social institution, but, some would argue, the social institution upon which all others depended” (Kamps and Raber 181). The social institution of marriage was far from simple. The social status each person held during this time was directly related back to marriage. This was particularly true for women in the culture during the early modern period in England as they were viewed as property transferred from father to husband through the ceremony and law incorporated in marriage.
Marriage during the time Shakespeare had written this play had been tied into two different traditions. One that was presented through the trouble Claudio and Juliet got into was the rejection of just spoken vows. This was derived from the changes Henry III made on English common law during this early modern period in England. The contrast came from what was widely accepted through church law, with marriage through the revamped common law needed to be widely accepted and approved from larger social groups. This led to an unaccepting view to be placed upon marital actions taking place before the common law was achieved. The status of marriage was particularly essential to women. “Renaissance playgoers believed that women were highly sexual, and likely as the “weaker sex” to give in to their passions; marriage served as a control over this tendency to stray. Husbands were to “master” their wives” (Kamps and Raber 188). Most viewed women as to hold one of three statuses, those being a maid, widow, or wife. Those not fitting into any of the three statues, i.e. a nun, were viewed as unnatural because they were unable to fill the role women were supposedly meant to fit.
Part 2:
Measure for Measure reflects the views early modern England had on marriage through the actions Angelo takes in reference to Claudio’s supposed premarital sexual relations with Juliet. Angelo had been hastily commissioned in place of the absent Duke to carry out Vienna laws. This case was the first to be brought to him, and according to the law Claudio was not in fact completely married to Juliet, yet she was carrying their baby. As far as Claudio and Juliet had known they were in fact married but waiting for Juliet’s dowry. The marriage was known within their small group of friends but had yet to be approved by her friends and family. The approval was “remaining in the coffer of her friends, / From whom we thought it meet to hide our love / Till time had made them for us” (I. 2. 124-126). This suggests that according to the church law defined earlier in Part 1 Claudio and Juliet were legally married. In contrast, according to common law, they had yet to receive a broader scale approval, especially from her side. Angelo, representing the bearer of common law during Shakespeare’s time, saw this as a clear-cut case that they were not in fact married therefore Claudio deserved the full force from the letter of the law.
Isabella attempted to seek mercy for her brother’s actions from Angelo. She asked Angelo “Yet show some pity” (II. 2. 104). Angelo then follows up with a stern stance on his attempt to reinforce the letter of the law by stating “I show it most of all when I show justice; / For then I pity those I do not know, / Which a dismissed offense would after gall, / And do him right that answering one foul wrong, / Lives not to act another. Be satisfied; / Your brother dies tomorrow. Be content” (II. 2. 105-110). Angelo’s mindset on going through with this punishment for the specific case, as to warn others so that it is not to persist, suggests that this was a common problem that was in the process of trying to be rid of. Not only in the play but also in the early modern period in England.

 

 

 

 

 

Works Cited
Kamps, Ivo and Raber, Karen, ed.. Measure for Measure. By William Shakespeare. New York:
Bedford, 2004. Print.
Shakespeare, William. Measure for Measure,. Ed. Ivo Kamps and Karen Raber. New York:
Bedford, 2004. Print.

Kyle E. Coons

ERH-321WX-01

Short Assignment on Othello

10/17/17

Help Received: Othello, Microsoft Word, Class Hand-Outs

Part 1:

During the Early Modern England period the perspectives on jealousy were closely tied into the perspectives on love and how both men and women expressed themselves. Kim Hall includes the views of Thomas Buoni, Benedetto Varchi, and Robert Burton that wrote during this time on jealousy and love. Each of these writers cover interesting points on how jealousy was involved in the culture during this time period. Thomas Buoni takes a focus on how the gifts love ones give each other tie to the emotions they hold for their significant others. He explored different reasons those who give these gifts might have done so, to include showing the loved one that they exceed the value of the gift being given. Benedetto Varchi and Robert Burton go more in depth with the ties between love and jealousy that were present in the culture during the Early Modern England period.

Benedetto Varchi in particular defines “jealousy rather circularly as ‘a kind of suspicious Care, or a careful kind of Suspicion’” (Hall 328). His view was that jealousy comes a man’s attempt to keep his reputation and honor in line. He continued to place the manner of jealousy to be brought by three specific groups. These groups included “1. The Party that is Jealous 2. His Mistress, over whom he is Jealous 3. The Person whom he suspecteth, and therefore is Jealous of him” (Hall 332). To better explain these three manners, Varchi tried to express to his readers that jealousy is presented to either the person expressing it, a man being jealous of his loved one or the man he is suspicious his loved one is involved with. As for Robert Burton, he describes love to be the most dangerous emotion we possess due to the jealousy that presents itself. Burton states “Of all passions… Love is most violent, and of those bitter potions this Love-Melancholy affords, this bastard jealousy is the greatest, as appears by those prodigious Symptoms which it hath and that it produceth” (Hall 335). For the terrible feeling of jealousy Burton believed there was but one cure, it didn’t include killing or divorce, it was simply to have patience.

Part 2:

Shakespeare’s ability to include the cultural view on jealousy of his time was clearly represented through the character Othello. When the play begins Othello and Desdemona’s shared love is questioned but proven and presented to the Duke and Desdemona’s father. The biggest issue that Iago tries and successfully convinced Roderigo to use to fuel his attempt to capture Desdemona’s love away from Othello was that the love was un-pure due to Othello being a Moor. Iago in turn puts this very thought into Othello’s head to play with his emotions, in particular jealousy, as he attempts to convince Othello that Desdemona does not love him. Rather, Iago conjures up a plot to make Othello feel that she is not loyal to him, and is having relations with Cassio. When Iago is in the process of making Othello believe his suspicions are true, he mentions “I know not that; but such a handkerchief – I am sure it was your wife’s – did I today See Cassio wipe his beard with” (III. iii. 452-454). Othello goes on to view Cassio with this handkerchief, whom Iago cleverly placed upon. This act verifies Othello’s burning jealousy that his beloved must be having relations with someone else (Desdemona with Cassio).

This specific action and conversation in Act III encompasses the views covered by all three writers of this time covered in Part 1. Othello’s gift to his beloved Desdemona, the handkerchief which was given to him from his mother and represents complete love and trust, was covered by Thomas Buoni in his writings on the importance behind gifts loved ones’ exchange. Othello’s jealousy also represents the three manners of jealousy Benedetto Varchi presents in “The Blazon of Jealousy” with Othello’s jealousy towards his mistress (Desdemona) and his jealousy towards the man she is having relations with (Cassio). Lastly, Robert Burton’s views on jealousy were also brought forward by Shakespeare in Othello. Othello let the poison of jealousy overcome himself and it resulted in him acting hastily and taking the life of Desdemona. He did not use the only cure that Burton mentions, which is that of patience. If he was to wait and be patient with his actions, the truth behind Iago’s plans would have been revealed before he took Desdemona’s life and his jealousy would have been resolved.

 

 

 

 

 

 

 

 

 

Works Cited:

Hall, Kim F., ed.. Othello. By William Shakespeare. New York: Bedford/St.

Martin’s, 2007.  Print.

Shakespeare, William. Othello,. Ed. Kim F. Hall. New York: Bedford/St.

Martin’s, 2007. Print.

Kyle E. Coons
ERH-321WX-01
Short Assignment on The Merchant of Venice
10/3/17
Help Received: The Merchant of Venice, Microsoft Word, Class Hand-Outs
Part 1:
During the Early Modern Period in England Religion was in the foreground of culture. The two prominent religions stemming from Christianity of this time in England were the Catholic’s and the Protestants. Both religions take reference to the religion of Judaism as mentioned in Chapter 3 “Religion” in The Merchant of Venice. As Kaplan states “Early Christianity formulated itself both within and against Judaism” (Kaplan 244). Christianity both recognized the Jewish faith as the origin of its creation but differed in opinions on how to view those practicing Judaism. The main focal point was the way both religions followed laws presented “in the Torah, the Hebrew Bible (the Christian Old Testament)” (Kaplan 244). The Christians took a more merciful approach (through the New Testament) with their prophet Jesus who was to take away all of their sins while the Jews followed these laws at a stricter approach. This difference lead to many of the disagreements between the two religions during the Early Modern Period in England.
The way the both the Catholic’s and Protestant’s approached this conflict it different ways. According to Kaplan, “Attitudes about the Jews themselves were frequently but not exclusively negative” (Kaplan 245). The differing point between the Catholic’s and Protestant’s comes from the Protestant’s attempts to legitimize their religion. The Catholic’s negative attitude towards the Jewish religion comes from the mercy versus strict view of religious law. While the Protestant’s don’t particularly disagree with this position, they approach the matter differently. According to Kaplan, “Protestants turned to the Jews, especially as the preservers of the Hebrew Bible, as a source of legitimacy by which they could justify their practices” (Kaplan 245). English Protestants went so far as to say that they identified with the Jews. Although viewed in this light, the Christian faith during the Early Modern Period in England viewed the Jewish faith negatively due to differing interpretations of religion in everyday culture.
Part 2:
Shakespeare’s The Merchant of Venice Act 4 Scene 1 embodies the strong differences between Judaism and Christianity in the Early Modern Period in England. In particular, the altercations between Portia (disguised as Balthasar) and Shylock when discussing the bond. Portia would have been designed to represent Christianity while she gives numerous opportunities for Shylock to show mercy and while doing so she was also showing mercy. Portia even went so far to say, “Then must the Jew be merciful” (IV. i. 177). Shylock had chances to show mercy upon Antonio, while even being offered double the shillings owed to him. Instead he chose to crave the law and what was written within the bond. This represented how Judaism was viewed during the Early Modern Period in England.
Instead of showing mercy, Shylock craved the law and in turn he received just that. Portia was well studied in Venician Law prior to this, and therefore found a loop-hole which found Shylock begging for his life. At first Shylock expected everything the law had in store for him but eventually begged for mercy. Portia asked, “What mercy can you render him, Antonio?” (IV. i. 373). Antonio spares Shylocks life for him to give half his belongings to him and the other half to his daughter and Lorenzo. Also, Shylock must then go ahead and convert to Christianity in front of the entire court. This treatment could be seen to represent the overall negative view Christians had on Judaism during the Early Modern Period in England. This scene also could be interpreted as Shakespeare’s attempt to show Christianity’s triumph over other religions at the time he lived. Act 4 Scene 1 of The Merchant of Venice clearly represents the understanding and attitude between Christianity and Judaism during the Early Modern Period in England.

 

 

 

 

 

 

Works Cited:
Kaplan, Lindsay, ed.. The Merchant of Venice. By William Shakespeare. New York: Bedford/St.
Martin’s, 2002. Print.
Shakespeare, William. The Merchant of Venice,. Ed. Lindsay Kaplan. New York: Bedford/St.
Martin’s, 2002. Print.

Kyle Coons
ERH-321WX-01
Short Assignment on Henry V
9/19/17
Help Received: Henry V & Henry IV Part One books, Microsoft Word, Class Hand-Outs
Part 1:
During the early modern period in England the topic of Manuel of Honor was brought to light by various authors along with how it fit into military aspects. Different perspectives were given on this topic from authors of this time. One perspective comes from Sir William Segar where he discusses the chivalric code covered by princes, knights, and gentlemen that “he stresses both need to unite “Laws and Arms” and the intimate connection between personal and collective honor” (Hodgdon 335). Another view comes from Matthew Sutcliffe and Barnaby Rich who were “professional soldiers who describe ideal military protocol as well as disciplinary measures pertaining to captains and soldiers” (Hodgdon 334). And lastly the perspective coming from George Silver who had a similar view to that of Sutcliffe, and focused on “advice on the advantages of particular weapons” (Hodgdon 334). The three perspectives give the reader or a person studying the early modern period in England a better understanding of how honor was handled in the military aspect.
Sir William Segar perspective had a strong sense of tying in the overall sense of being a gentleman no matter what your position. He states some qualities a knight should possess to include being sober, obedient, vigilant, patient, faithful and loyal (Hodgdon 336). One of the most important characteristics he gives is that a soldier must be charitable “because wars are not taken in hand for the destruction of Countries, and towns, but the defense of laws and people” (Hodgdon 336). As for Matthew Sutcliffe, he presented a set of 8 and 25 military laws one has to follow to be rightful in what they do. An important highlight derived from the first 8 laws was a strong sense to base your actions around God’s judgement and from the 25 laws was a respect for your superior and maintaining military bearing (no stealing; keeping accountability of your arms, horse, etc.). Barnaby Rich continues on in more detail with what Sutcliffe states in his list of laws. George Silver shows a different perspective with a detailed look into the use of multiple weapons along with how they are to be used.
Part 2:
Manuals of Honor were challenged in Henry V, in particular at the battle at Harfleur by King Henry V in Act III Scene III. King Henry V had been laying siege to Harfleur relentlessly at this point in the Act, and just before he was to lay siege once more he proclaims to the Governor a statement that challenges the Manuals of Honor presented in Part 1. In his statement to the Governor he states that if they do not give up he will not have control of his men and their actions, he will burn Harfleur to the ground and will target and have no mercy on the defenseless. Within this it is clear that Shakespeare is challenging the Manuals of Honor in numerous aspects.
The King begins his proclamation by “How yet resolves the governor of the town? This is the latest parle we will admit: Therefore to our best mercy give yourselves Or like to men proud of destruction” (III. iii. 1-4). This challenges Matthew Sutcliffe’s laws within the military as the leader must keep and maintain control of his subordinates. “I will not leave the half-achieved Harfleur Till in her ashes she lie buried” (III. iii. 8-9). This excerpt from the King’s proclamation to the Governor directly opposes Sir William Segar’s view that a soldier must be charitable and not target to destroy cities, rather to reinforce law. The last way Shakespeare challenges the Manuel of Honor of his time was evident when King Henry V mentions “Defile the locks of your shrill-shrieking daughters; Your fathers taken by the silver beards, And their most reverend heads dashed to the walls; Your naked infants spitted upon pikes, Whiles the mad mothers with their howls confused” (III. iii. 35-39). This statement again challenges Sir William Segar’s view on honor’s place in the military. There is no honor to be had if King Henry went through with his proclamation to the Governor. According to Segar, the King was not following the set of qualities necessary for men of his statue to possess. Therefore, Shakespeare challenges the overall view on Manuel of Honor depicted during his time in his play Henry V.

 

 

 

 

 

Works Cited:
Hodgdon, Barba, ed.. Henry IV, Part 1. By William Shakespeare. New York: Bedford, 1997.
Print.
Shakespeare, William. Henry V,. Ed. Claire McEachern. New York: Penguin, 1999. Print.

Kyle Coons
ERH-321WX-01
Short Assignment on Henry IV Part 1
9/7/17
Help Received: Henry IV Part 1, Microsoft Word, Class Hand-Outs
Part 1:
Culture in Early Modern England during the time that Shakespeare created his play Henry IV Part 1 was based around a medieval notion labeled as “natural law” (Hodgdon 170) along with the ongoing balance of civic order and rebellions that ensued. The law was directly between the King whose power was divine and the people he ruled over. The people were represented through an organized government called Parliament. The majority of rule and order came from religious outlooks on law. According to Hodgdon recite of An Homily Against Disobedience and Willful Rebellion “Wherefore good people, let us, as the children of obedience, fear the dreadful execution of GOD, and live in quiet obedience, to be the children of everlasting Salvation” (Hodgdon 179). The word of the Lord was that of law to the people living during this time in Early Modern England, therefore this excerpt from the Homily tells the people to be obedient to the figure held closest to God (the King). This Homily is a reminder to the people that God can and will punish those disobedient and is a big reason why Shakespeare revisits past histories of England to remind his audience.
England at this time was a place of rebellion, in particular that of the Northern rebellion in 1596. “The government’s deeply anxious, even hysterical response…” (Hodgdon 172) was this Homily to try to return to balance of civic order throughout the country. The culture resulting from this was that of a population that needed to be reminded of its past which Shakespeare provided. According to Hodgdon “Although religious dissidence figured more prominently in the 1569 rebellion than in that represented in Henry IV, Part 1, a number of likenesses draw the two together, leading scholars to conjecture that the Elizabethan rebellion served as a pattern for Shakespeare’s play” (Hodgdon 171). Shakespeare not only provided a sense of entertainment through his work but also hindered the culture of the time that was greatly impacted by religion.
Part 2:
The redemption of civic order and hindering of rebellion as faced by England during the time of Shakespeare’s existence can be closely related to the Prince’s journey to redeem his father’s approval and end of mischievous and rebellious ways. Just as I wrote about in Part 1, the leaders of England were in a struggle to bring order back after rebellions against their rule ravaged the country. Likewise, Prince Harry had his own similar conflict with his personal status. As the leaders in England planned to use the word of God as their tactic to redeem order, Prince Harry planned to have a great and unexpecting redemption. “My reformation, glittering o’er my fault, Shall show more goodly and attract more eyes Than that which hath no foil to set it off. I’ll so offend to make offense a skill, Redeeming time when men think least I will” (I. iii. 166-170). Although Prince Harry’s redemption to gain approval in his father’s eyes had more of a theatrical tone to it than that of England’s attempt through God’s vengeance and punishment, both had an intended overall theme of good defeating bad. In the case of the Prince, he was this character that wanted to have fun and be around ‘normal’ people in the Boars Head Tavern and was to defeat the man that threatened to take his place on the thrown (Hotspur). The same goes for England and it’s battle to defeat the rebellions that threatened to disturb order in the county. The Prince was able to defeat Hotspur at the conclusion of the play, thus allowing the audience to witness his journey in full.
The traits of determination and the similar goals connect the culture of England to the Prince. Although Shakespeare does not touch on a religious motive behind many of the happenings in this play, the connection to that of power during his time of existence and the stories being told in the play is evident. What motives did Shakespeare have for not including that much religion in his play writes is uncertain, but the connections can be made throughout the play.

 

 

Bibliography

Shakespeare, William. Henry IV, Part 1. Ed. Barba Hodgdon. New York: Bedford, 1997. Print.

Hodgdon, Barba, ed.. Henry IV, Part 1. By William Shakespeare. New York: Bedford, 1997.
Print