Shakespeare's Reception

Throughout history, critics have employed a variety of methods and approaches when analyzing the works of William Shakespeare. The Romantic period, for example, saw a focus on the beauty and aesthetic qualities of Shakespeare's plays and characters.

Critics like Samuel Taylor Coleridge praised the plays for their lyricism, mastery of language, and ability to create believable, relatable characters. In the Romantic view, Shakespeare was seen as a genius whose work transcended time and place.

In the late 20th century, historical readings of Shakespeare became increasingly popular, led by the critic Stephen Greenblatt and a school of critics known as the New Historicists.

Many have been critical of this school of thought though – arguing that it treats Shakespeare’s works as historical documents first, and works of art second.

“What is past is prologue” - The Tempest

In part, this modern, historical turn can be seen as a backlash against the early 20th century, in which the Freudian school of criticism emerged.

Critics in this school applied psychological theories to the plays, seeking to understand the motivations and unconscious desires of Shakespeare's characters.

For these critics, the plays became a way to explore themes of sexuality, anxiety, and repression. They saw Shakespeare's plays not as historical documents, or even the work of artistic genius, but primarily as vehicles for understanding the human mind.

In the 21st century, critics have been drawn to the way that Shakespeare's works often contain characters that challenge traditional gender roles and expectations.

For example, Isabella in Measure for Measure has a strong moralistic and rhetorical background and stands up to male oppression.

However, other Shakespearean characters such as Ophelia in Hamlet resemble more traditional stereotypes of a woman’s role in society. Moreover, the attitudes men hold in plays like The Taming of the Shrew often reinforce patriarchal stereotypes.

“Frailty, thy name is woman” - Hamlet

This has led to a great deal of debate and discussion over the years, with some arguing that his plays are progressive and forward-thinking, while others have argued that they are outdated and sexist.

Similarly, recent years have seen an increasing interest in the
portrayal of race.

In a way, race in Shakespeare's plays has been a source of controversy for centuries, particularly with respect to Othello, said in the play to be a “Moor”, with dark skin. The question then is, does Shakespeare portray characters of other races in a negative or positive light?

Othello has been interpreted by some postcolonial critics as a stereotype of a black man. Similarly, the character of Caliban in The Tempest is arguably a racist caricature of native Caribbean peoples.

However, many have also observed the clever ambiguities that Shakespeare writes into such characters. For every moment where Caliban or Othello seem to fulfill a stereotype, there are others where they subvert them.

This is not to absolve Shakespeare of racism – he was a product of a deeply racist age. But his ability to create characters that actively challenge the stereotypes that others place upon them continues to interest critics.

“If virtue no delighted beauty lack, your son-in-law is far more fair than black” - Othello

Shakespeare's influence permeates throughout our modern world in ways that few other writers could even hope to match. One particularly fascinating example of this is in the way that Shakespeare's plays, particularly Hamlet, may have influenced the development of psychoanalysis.

For example, the Oedipus Complex, a cornerstone of Sigmund Freud's theory, can be seen in Hamlet's fraught relationship with his mother and his apparent desire to murder his uncle, who has taken his father's place.

Hamlet's famous 'To be or not to be' soliloquy is also said to embody many of the central themes of psychoanalysis. In it, Hamlet contemplates suicide, the nature of existence, and the fear of the unknown. These themes foreshadow Freud's explorations of the unconscious, the id, and the ego.

The psychological complexity of Shakespeare’s characters has led some to suggest that he even invented psychoanalysis. Legendary critic Harold Bloom argued that “Shakespeare was the inventor of psychoanalysis; Freud, its codifier.”

Shakespeare is the most influential writer in the English language. As well as shaping the way we speak and write today, the Bard's influence extends to the world of rhetoric and political speechwriting.

Shakespeare's plays offer politicians a rich trove of examples for how to construct a compelling argument. For instance, in Julius Caesar, Mark Antony's famous 'Friends, Romans, countrymen' speech is often cited as a masterclass in the art of persuasion. Antony builds his case by starting with a statement that everyone can agree with, before subtly manipulating the crowd's emotions and turning them against Brutus and the conspirators.

Shakespeare's use of language has also shaped the way political speeches are written today. The Bard's gift for condensing complex ideas into memorable phrases is something that speechwriters still aim to emulate. His quotes still pepper the speeches of politicians around the world.

British politician Jacob Rees-Mogg turned to Macbeth when he described a bill he didn’t like as “sound and fury, signifying nothing”. And in his first speech as the British monarch, King Charles III said farewell to the late Queen with a quote from Hamlet: “may flights of angels sing thee to thy rest”.

One of the more unexpected ways that Shakespeare's influence has been felt around the world is through his impact on the anti-apartheid movement in South Africa. Many freedom fighters and political prisoners in South Africa drew inspiration from Shakespeare's works and even found solace in his words during their darkest hours.

The most famous example of this is the so-called Robben Island Bible, a copy of The Complete Works of Shakespeare that was smuggled into the infamous prison where Nelson Mandela, Archbishop Desmond Tutu and other political prisoners were held.

The book was passed around between the inmates, who often used it as a way to maintain hope and find strength in the face of adversity. Many of the prisoners even marked their favorite passages and wrote notes in the margins.

For some, the themes and messages in Shakespeare's plays resonated with their own struggles against tyranny and oppression. For example, Mandela was reportedly particularly drawn to Julius Caesar, which he felt was an allegory for the struggle against autocratic rule. Others found inspiration in the Bard's depictions of strength, resilience, and perseverance.

Whether as a source of inspiration, a form of escapism, or even as a way to maintain hope in the darkest of times, the Bard's influence on these freedom fighters cannot be understated.

There are also clear traces of Shakespeare's influence in a number of beloved Disney movies. One of the most notable examples of this is The Lion King, which has often been described as 'Hamlet with animals.' The parallels are clear: both stories feature a prince who is driven to avenge the death of his father, who was killed by his uncle in order to take over the throne.

Like Hamlet, Simba struggles with guilt, self-doubt, and the weight of responsibility, and has to overcome a number of obstacles in order to restore balance to his kingdom.

Another adaptation of Shakespeare’s work has been to make it more accessible to teenage audiences. One of the most notable examples of Shakespeare's impact on teen fiction is the 1999 film 10 Things I Hate About You, which is a modernized adaptation of The Taming of the Shrew.

The movie is set in a contemporary high school, and follows a feisty, independent teenager, Kat, as she navigates her way through a complicated web of teenage drama, love, and jealousy. Despite the obvious differences in setting and language, the movie manages to retain many of the key themes and plot elements from Shakespeare's original work.

Another example of this was in 2001 movie O, a retelling of the story of Othello except with a high school basketball player as a protagonist. Much like Iago, the villain is jealous that despite his experience he has been looked over for opportunities.

Some contemporary adult television series like House of Cards and Game of Thrones owe much to Shakespeare's writing, both in terms of narrative structures and character development.

House of Cards, for instance, bears some striking similarities to Richard III, one of Shakespeare's earliest plays. Like the titular character in Richard III, Frank Underwood (played by Kevin Spacey – who also had a highly esteemed theater run as Richard III) is a ruthless, manipulative politician who will stop at nothing to claim the highest seat of power.

Both characters also have a tendency to break the fourth wall and address the audience directly, highlighting their own wicked intentions. Moreover, Clare Underwood (played by Robin Wright) has a characterization based on Lady Macbeth.

Game of Thrones also incorporates elements from Shakespeare's work, most notably from the histories and tragedies. In particular, the political intrigue and power struggles in the series echo the conflicts seen in Shakespeare's plays like Henry IV, Part 1 and Julius Caesar.

Additionally, the characters in Game of Thrones often mirror some of Shakespeare's most iconic figures. Cersei Lannister is often compared to Lady Macbeth, while Jon Snow certainly shares characteristics with Henry V.

Shakespeare has been a significant influence on modern film, both in terms of direct adaptations of his plays and in terms of films that borrow from his storytelling techniques and themes.

Some films, such as Kenneth Branagh's Hamlet, adhere fairly closely to the original text, while others take more liberties, adapting the story to new settings and using contemporary language.

One example of a modern film that borrows heavily from Shakespeare is Gus Van Sant's My Own Private Idaho. While not a direct adaptation, the film draws on elements from the two Henry IV films, as well as Henry V – the series sometimes referred to as The Henriad.

Like the Shakespeare plays, the film features characters who are caught between two very different worlds, who struggle with their own sense of identity and their relationships with others. In My Own Private Idaho, the characters of Mike and Scott are street hustlers in Portland, Oregon.

The two develop a complex, often fraught relationship, much like that of Prince Hal and Falstaff in Shakespeare's The Henriad. The film also features moments that directly mirror scenes from the plays, such as the opening sequence in which Mike is visited by his mother’'s ghost, similar to the way Prince Hal is haunted by the memory of his father in Henry IV.

The work of William Shakespeare has had a profound impact on countless aspects of Western culture, from theatre and film to art and literature. Opera is no exception; many composers throughout history have been inspired by Shakespeare's works, adapting them into operatic form.

One of the most prominent composers to take inspiration from Shakespeare is Giuseppe Verdi. Verdi composed three operas based on Shakespeare's plays: Macbeth, Otello, and Falstaff.

But Verdi is certainly not the only composer who has been inspired by Shakespeare. Other operas based on his work include Benjamin Britten's A Midsummer Night's Dream, Ambroise Thomas's Hamlet, and Roméo et Juliette by Adelina Patti and Charles Gounoud.

Clearly, the power and universality of Shakespeare's works has resonated with many composers, who have sought to translate his drama, emotion, and humor into the operatic form.

Shakespeare's influence on modern musicals cannot be understated. Many musicals today draw on his timeless themes, stories, and characters in order to create fresh and engaging shows.

One of the most iconic examples of this is West Side Story, which adapts the plot and characters of Romeo and Juliet into a 1950s New York setting.

The story of star-crossed lovers from rival gangs resonates just as powerfully as the original play, with the added benefit of Leonard Bernstein's brilliant music and lyrics.

Another musical that owes much to Shakespeare is Something Rotten, which, in a meta twist, features a fictionalized version of the playwright as a character. The show revolves around two brothers in the late 16th century trying to create a new form of entertainment to compete with Shakespeare's popularity: the musical.

This clever show pays homage to Shakespeare's work by featuring numerous references and jokes related to his plays, while also poking fun at the conventions of modern musicals.

Overall, it is clear that Shakespeare's work continues to shape and inspire musical theater today, whether through direct adaptation or more indirect references. His enduring popularity and relevance demonstrates just how universally resonant his stories and characters are.