Battle of the Sexes: Love's Labours Lost by William Shakespeare

Hello,
A second week of reading has come and gone! Let's launch right in. So first thoughts . . .

It doesn't end with marriage! o.O What?!?!

How odd . . .

Love's Labours Lost is one of Shakespeare's truly original plays. For a comedy, it seems relatively standard at first. Sexual tension, boys vs. girls wit, courting, misunderstandings, strategies discovered and foiled, the works. But There are a few key points that make Love's Labours Lost quite unique.

The Opening Circumstance

We'll begin with something simple, yet important. The opening circumstance. King Ferdinand and his three companions Biron, Longueville, and Dumaine have all sworn off women (Biron unwillingly) so that they can study in the Greek philosopher fashion for a short (or long, depends on when you ask and how in love they are) years. Even Though this may not seem like a big deal, it puts the men in a spot for certain ridicule as the King must soon welcome the Princess of France. Over the course of three years, (in this case sooner rather than later) a circumstance would have arisen which would force the king to be neglectful because of his slightly misogynistic oath. So, no matter what decision is made, he will either cross his word by breaking his oath or be neglectful and petty in his treatment of women, because of it. Also, most of the play takes place outside, which is traditionally symbolic of freedom, and sexual tension. So take a wild guess with this plays plot.

                                                                                     This is Biron . . .

Class Distinction

Shakespeare writes Love's Labours Lost with an interesting back and forth narrative, which jumps between two parties till they are brought into the same space at the end. The division lies along a class distinction. In one group is the King and his lords who are attempting to court the Princess and her ladies. In the other group are Costard (a crude clown), Armado (a Spanish braggart) and Mote (his page), and Jaquenetta, a "wench" whom Armado has fallen in love with and Costard has probably messed with. Eventually, the lower class/varying class group is joined by the more learned Holofernes and Sir Nathaniel.

This juxtaposition is important because it works to both elevate and lower the higher class. For example, both Armado and Biron employ Costard to deliver their love notes to their respective ladies. But, a mix up occurs and both are equally ridiculed regardless of class. They both use inflated and ridiculous language, making them seem more similar and absurd than is cared for in the higher classes. On a different note though, the beautiful poetry and crisp prose of Biron and his companions is sharply contrasted by the low and crude prose of Costard and his friends. Another interesting difference is Armado's willingness to work for love in contrast to the lord's hesitancy, which leads us into our next topic.

Trust, Constancy, and Bromance

So, funniest scene ever: Biron is in the library having just written a sonnet to Rosaline. Then the King enters and Biron quickly ducks into hiding. The King then incriminates himself by breaking his oath by professing his love for the Princess. Soon Longueville enters and the King quickly hides, and Longueville likewise perjures his oath by professing his love for Maria. And finally, Dumaine enters and once again, with Longueville hiding, Dumaine is found crossed in his oath as he is in love with Catherine. It's really quite hilarious as each ridicules the previous to find out that he himself is found out. Even Biron eventually confesses, and they toss aside their broken word as a "too bad, at least we tried . . . right?"

The women don't take their forsworn nature so easily though. Neither do they accept their "group-attack" strategies. Thus begins the bantering wit and humiliating courtships, where, in fact, the women always top the men by being a step ahead, unwilling to trust that their suitors actually love them or would be willing to leave their bachelor/brotherhood lifestyle for matrimony. It's too bad that the play is spent with love-struck men trying in vain to woo disbelieving women but hey, hence the title Love's Labours Lost. Besides if a bunch of guys who wanted nothing to do with me suddenly became romantically interested with each girl in my party (conveniently not falling for the same girl) then I might be a trifle skeptical too. Even so, it is the back and forth wit, whether the speakers are disguised or not, that brands itself as one of Love's Labours Lost's most famous markers, but it also shows an interesting perspective regarding female confidence, requirements, and independence that we will touch on in the next few sections.

Sexuality and Language

The language of Love's Labours Lost is almost flagrant in its undisguised brilliance. The language and sheer mass of sexual puns not only set apart the play though, but also the women. First off, the Princess and ladies in waiting can mince words with the greats-of-subtle-yet-blunt-meaning. They have no problem battering their young men with sexual insults, jokes, or witticisms. Frankly, these women are super sexually and verbally confident. This confidence does cost a price though. The aristocratic characters will often banter with characters like the low-class Costard, effectively lowering their own station and distance in the act.

The men of both classes also joke about sexuality, mostly among themselves and especially when Costard is speaking (in which circumstance bodily functions, feces, and genitalia is often the topic of discussion). This creates a weird scatological and almost homoerotic sub-theme that also adds to the unlikely nature of the brotherhood and sisterhood disassembling for the sake of a marital possibility that the women are suspicious of anyway. And on top of that, the women are firmly planted in their independence to be so shaken by something so unpromising and ridiculous. Even so, homosexuality is simply not a part of Love's Labours Lost, but the reminder that Shakespeare's sexual sense of humor is expansive enough to include both genders, is everywhere. This brotherhood/bromance tendency leads us into the women's final requirement and unexpected ending.

An Ending without a Marriage

So the ending is really not so unexpected due to the title. But even so, it is incredibly unusual considering Shakespeare's comedic pattern. The comedy = Everyone always gets married! Even if they've known each other for a freaking day. But, this could not have happened in Love's Labours Lost. In a world where love is a game reality simply had to step in. So, death enters the picture in the form of the King of France passing away. With the sudden news, the Princess and her ladies pack up leaving no time left for the King and his lords to convince them of their love. Essentially the ladies were like: "Why should I trust you? You're already forsworn bro!" So, in order for the men to prove their love each lady requires a year's time for mourning and for the respective lover to fulfill whichever occupation the lady assigned (for Biron it is to jest in a hospital). The lords are hesitant as to the length of time but each agrees in turn while Armado expresses his willingness to plough for three years for Jaquenetta's love. An interesting contrast.

Biron calls attention to this unconventional ending by saying, "Our wooing doth not end like an old play. / Jack hath not Jill. These ladies' courtesy / Might well have made our sport a comedy." The King replies: "Come, sir, it wants a twelvemonth an' a day, / And then 'twill end." And in a sort of omen Biron ends with, "That's too long for a play."

Extra Thoughts

So did you notice the occasional comments about Ethiop's and general blackness? Well if you did then you're probably wondering if Rosaline is Black. While multiple adaptations have portrayed both a lord and a lady, sometimes neither being Rosaline, as Black, and other adaptations as only Rosaline being Black, while still others with no Black characters, the question is still up for debate.

This question originates in tensions relating to the foreign setting, and Biron and the lord's comments regarding Rosaline's coloring. For starters, Navarre is in Spain and the ladies are from France. The original occurrence bringing the two parties together was war and debt (making the seriousness of the lord's broken vow make a little more sense, as well as heightening the likelihood that a character, whether Rosaline or not, would be foreign as well as of a different ethnicity). Apart from that, Biron complains of her black eyes at first. And the King teases Biron saying: "By heaven, they love is black as ebony. . . . / Biron: No face is fair that is not full so black. / King: O paradox! Black is the badge of hell. . . . / Biron: And therefore is she born to make black fair."

Though the lines remain ambiguous since Biron at one point calls Rosaline pale, leaving the audience to wonder if she is pale with black hair and eyebrows and eyes, making their exaggeration one of love's antics, or if she is actually Black. But either way, it gives an opening to introduce diversity into the play and into the most central couple at that. Maybe echoing here are the remnants of Shakespeare's "dark lady."

-Natalie Cherie

Powdered Glass and Madness: The Invisible Man by H.G. Wells

Today's the day! This is the first week of my book review/club blog post series. Enjoy. :)

This post may contain SPOILERS! I don't plan on censoring what I write so if you don't like ruined surprises I suggest you read the book before reading this post. Also, if you have any other ideas, concepts, or analysis up for discussion please feel free to comment at the bottom. I'd love to hear everyone's thoughts on the novel.

The Invisible Man was published in 1897 by H.G. Wells. Often considered one of the "fathers of science fiction," H.G. Wells created an unmistakable impression upon science fiction and the conflicts that can arise from discovery. Laying the foundation for imaginative possibility and fantastic situations, Wells also gave us insight into humanity by placing people in situations that provided uncommon strain, leading to enlightening reactions. 

So what is so frightening about the possibility of an invisible man? 

Human definition, control, and accountability. These three concepts are the backbone of The Invisible Man. 

Human Definition

So let's begin with a human definition. Human definition is not justly based on the five senses. We can be blind and still be human or we can be blind and the person we cannot see is still human. Same with smell, taste, touch, and sound. But if this were the dilemma in The Invisible Man it would have been solved easily and there would be no novel. It is obvious that this issue is not whether or not Griffin (the invisible man) exists but rather what he is now defined as. The issue becomes that he has literally changed his make up to render himself invisible. This makes it so that no one can see him, whether their eyes are fully functional or not. He begins with removing the pigment from his blood. Already being an albino, Griffin has less difficulty rendering himself pigment-less. Once he has no pigment he uses the serum he has invented to lower refractive index (the number used to describe the way in which light propagates through an object, level of refraction, reflection, absorption, etc.) and lowers his own refractive index to that of air. Thus, he becomes invisible. 

The question now is: Does a visible human body play a functional role in the definition of a human? Some may say, "Of course not. He's still a human whether anyone can see him or not." This would be supported by his remaining need for food, shelter, sleep, clothing. Others may claim, "He changed the actual chemical reaction of oxygenated hemoglobin (which creates the red pigment of blood). He also had to alter the other respiratory pigments haemocyanin, haemerythrin, and chlorocruorin which, when becoming oxygenated, deal with the colors blue, green, red, and violet. Had he not been albino he would have also had to alter his skin pigmentation. This would have tampered with his melanin which would have resulted in genetic alteration." The pigment-less human being: just an abnormality or something new, something not human? 

Interestingly, had Griffin had the capability to control his invisibility by "turning it on and off" we might have thought of him as a super hero or in his case super villain. But because he could not switch back and forth he became a fearful monstrosity, unable to function in society, and frightening to everyone. Interesting that a visible corporeal frame could make such a difference. 

Control

The next question we are forced to consider in The Invisible Man is "how would I react with the control wielded by the invisible man and my lack of control because of his existence?"

Probably not well.

At first, I was inclined to criticize the resident of Iping, who would sit and gossip and then only scream and run away horrified at the truth that they had complained at not having. But as the character and purposes of Griffin were revealed I realized that he had proved to be the exact man whom no one wanted to be in control. At one point Griffin explains his ideas of a "reign of terror" to Dr. Kemp, saying that it would begin with a few inconsequential deaths to establish his power. At another earlier point in the novel, we realize that Griffin has been robbing people since before he became invisible, a habit that has only worsened with his added advantage and inability to provide his own income. Griffin also has an explosive rage which is probably fueled by his occasional use of strychnine as a freaking sleeping aid! Just for those who don't know, strychnine poisoning is one of the most commonly portrayed cinema and literary poisons because of its being one of the most dramatic and painful toxins available or known. Griffin is also tending towards madness. Whether due to his rage, disregard for human life, or his belief in his own impunity, Griffin has created a monster of himself. He deprives others of their most basic ability towards self-preservation: seeing the enemy. He deprives others of their most basic means of survival: money and means. He deprives others of their most basic right: life. 

Needless to say, I wouldn't react very well to the invisible man's existence either. Killing him becomes an issue of ethics. Did the police force have the right to use brutal force, resulting in Griffin's death? Was it a necessity because of Griffin's unjust power and menacing control? Did they even mean to kill him? It is very likely that Griffin's death was unintentional since they didn't know how to contain him otherwise, and frankly couldn't see where they were hitting or what and how much they were damaging him. But the commentary still stands: human fear is almost always rooted in a certain lack of control.

Accountability

This final concept constitutes less of a question and more of a statement. Most people agree that accountability while often avoided through means of dishonesty, is always deserved since our actions necessitate the corresponding consequences. Yet in The Invisible Man, Griffin seems to believe himself outside of the "common conventions of humanity." In his conversation with Dr. Kemp, it is obvious that Griffin thinks the end justifies the means. He is eerily nonchalant as he explains that he can't be blamed for necessity: robbing his father and his father's consequential suicide, robbing and tying up a man who lived alone and never checking if he was found, killing people to establish his "reign of terror," threatening people because "he chose them" for a specific job. It's pretty unnerving to watch Griffin so easily deprive others of their livelihood, freedom, lives, privacy, safety, etc. while still maintaining that he himself should be left alone. To Dr. Kemp he explains that "I've a particular objection to being caught by my fellow-men." My question is, "And...?" It's simple to say one objects to being caught, heck we all do. But if your actions necessitate the chase, then good luck. 

Dr. Kemp agreed. But he went a step further, not only allowing the hunt to begin by betraying Griffin but by depriving Griffin of his own necessity. He cut off his means of shelter, food, and clothes. He set out police dogs. He alerted the trains, grounding Griffin's ability to travel. He even suggested lining the roads with powdered glass. When Col. Adye starts at this idea expressing its unsportsmanlike flavor, Dr. Kemp simply replies, "The man's become inhuman, I tell you. . . . He has cut himself off from his own kind. His blood be upon his own head." Essentially forcing Griffin to receive the consequences that his actions have required.

The Invisible Man

In the end, Griffin is killed by a mob who is trying to stop him from murdering Dr. Kemp. It's interesting because as he dies his body slowly becomes visible again, making the cruelty he suffered just as visible as the cruelty he dealt out. 

Quotes from The Invisible Man

*all sections of quotes in bold was a change I introduced, not included in the original text.

"The more I thought it over, Kemp, the more I realised what a helpless absurdity an Invisible Man was—in a cold and dirty climate and a crowded civilised city. Before I made this mad experiment I had dreamt of a thousand advantages. That afternoon it seemed all disappointment. I went over the heads of the things a man reckons desirable. No doubt invisibility made it possible to get them, but it made it impossible to enjoy them when they are got. Ambition—what is the good of pride of place when you cannot appear there? What is the good of the love of woman when her name must needs be Delilah? I have no taste for politics, for the blackguardisms of fame, for philanthropy, for sport. What was I to do? And for this, I had become a wrapped-up mystery, a swathed and bandaged caricature of a man!"

"It was worse than anything. Mrs. Hall, standing open-mouthed and horror-struck, shrieked at what she saw, and made for the door of the house. Everyone began to move. They were prepared for scars, disfigurements, tangible horrors, but nothing! The bandages and false hair flew across the passage into the bar, making a hobbledehoy jump to avoid them. Everyone tumbled on everyone else down the steps. For the man who stood there shouting some incoherent explanation, was a solid gesticulating figure up to the coat-collar of him, and then—nothingness, no visible thing at all!"

"He has cut himself off from his own kind. His blood be upon his own head."

"A feeling of extraordinary elation took the place of my anger as I sat outside the window and watched these four people...trying to understand the riddle of my behavior....I was invisible, and I was only just beginning to realize the extraordinary advantage my invisibility gave me. My head was already teeming with plans of all the wild and wonderful things I had now impunity to do." 

“And there it was, on a shabby bed in a tawdry, ill-lighted bedroom, surrounded by a crowd of ignorant and excited people, broken and wounded, betrayed and unpitied, that Griffin, the first of all men to make himself invisible, Griffin, the most gifted physicist the world has ever seen, ended in infinite disaster his strange and terrible career.” 

“But-! I say! The common conventions of humanity-Are all very well for common people.” 

-Natalie Cherie

A Summer for Reading

This has been a summer of reading. I work at Mail Services on Brigham Young University campus. And I often feel like this.

Okay, so when a person (or rather an English Major) sits at their job, often having 4 or 5 hours of downtime added up by the end of the day, what are they supposed to do? The answer: ding ding ding! read. And that's what I've been doing. So now that I've read 25 works this summer, ranging from plays, novels, and series I thought I'd share my thoughts on them with you. So whether you'd like to treat this experiment as a book review hub or rather a book club of sorts where you can read along with what I've been reading, feel free to join in. I'll be posting a review of a new book once a week. I may occasionally interrupt with an essay to read and then a writing exercise for writing enthusiasts but in general, you can expect a book a week. It will go roughly in this order since the top of the list holds my most recent reads.

The Invisible Man by H.G. Wells
Love's Labours Lost by William Shakespeare
The Awakening by Kate Chopin
Macbeth by William Shakespeare
The Giver by Louis Lowry
The Taming of the Shrew by William Shakespeare
Mansfield Park by Jane Austen
Mockingjay by Suzanne Collins
Catching Fire by Suzanne Collins
Allegiant by Veronica Roth
Insurgent by Veronica Roth
Divergent by Veronica Roth
Much Ado About Nothing by William Shakespeare
The Old Man and the Sea by Ernest Hemingway
The Sun Also Rises by Ernest Hemingway
All Quiet on the Western Front by Erich Maria Remarque
Wyrd Sisters by Terry Pratchett
I Know Why the Caged Bird Sings by Maya Angelou
The High King (Chronicles of Prydain #5) by Lloyd Alexander
As I Lay Dying by William Faulkner
Taran Wanderer (Chronicles of Prydain #4) by Lloyd Alexander
The Castle of Llyr (Chronicles of Prydain #3) by Lloyd Alexander
A Tree Grows in Brooklyn by Betty Smith
The Black Cauldron (Chronicles of Prydain #2) by Lloyd Alexander
The Book of Three (Chronicles of Prydain #1) by Lloyd Alexander

-Natalie Cherie