Asimov’s Guide To Shakespear. Volume 1

by Isaac Asimov

  … the mermaid's song

  Antipholus of Syracuse continues to suppose that witchcraft is at work and decides to get out of Ephesus on the first ship. He sends Dromio of Syracuse to locate such a ship.

  Antipholus dislikes the woman who claims to be his wife and feels a strong attraction to her sister, which, he suspects, is a specific result of enchantment. He feels he must not give in to all this:

  But, lest myself be guilty to self-wrong,

  I'll stop mine ears against the mermaid's song.

  —Act III, scene ii, lines 168-69

  Here is another example of a reference to the dangerous singing of the mermaids or sirens (see page I-12).

  … in Tartar limbo…

  The cross-purposes continue. The Merchant from whom Antipholus of Ephesus has ordered a chain meets Antipholus of Syracuse and forces it on him, refusing to take money at the moment, saying he will take it at suppertime. Antipholus of Syracuse plans to be gone from the city by suppertime but the Merchant will not listen.

  However, the Merchant unexpectedly encounters a creditor of his own and decides to get the money sooner. This time it is Antipholus of Ephesus he meets, coming from the courtesan's place with Dromio of Ephesus.

  This Antipholus sends his servant to buy a rope, with which he intends to chastise his wife and servants for locking him out of the house.

  The Merchant asks for his money and Antipholus of Ephesus denies receiving the chain. The Merchant is so enraged at this denial that he calls in the police and demands that Antipholus of Ephesus be arrested.

  It is at this point that Dromio of Syracuse arrives with the news that he has located a ship leaving Ephesus. Antipholus of Ephesus knows nothing about a ship and Dromio of Syracuse knows nothing about a rope. Antipholus of Ephesus has no time, however, to worry about this particular cross-purpose. He needs bail and he sends Dromio of Syracuse to his wife's place to get the money.

  In delivering the message, Dromio of Syracuse explains to Adriana that his master is in trouble:

  … he's in Tartar limbo, worse than hell:

  —Act IV, scene ii, line 32

  The Greek notion of the afterlife in Hades was a rather gray one. It was a place of shadows where the shades of men and women remained in weakness and forgetfulness; where they suffered no torture but experienced no joy.

  Beneath this colorless Hades was Tartarus (see page I-13), which helped inspire later Christian theologians with their notion of hell. In place of the mild Hades itself, Christians imagined a region called limbo at the border of hell. This receives its name from the Latin word for "border" and, like Hades, is a gray place of no punishment and no hope.

  We might say, then, that in the Christian sense, hell is worse than limbo, while in the Greek sense, Tartarus is worse than Hades. To say, as Dromio does, that "Tartar limbo" is "worse than hell" is a queer mixture of terms that probably tickled an audience more aware of these theological and classical distinctions than moderns are.

  … Lapland sorcerers …

  Antipholus of Syracuse, still waiting for news of a ship, still impatient to be gone, marvels at how everyone seems to know him and think highly of him.

  Sure, these are but imaginary wiles,

  And Lapland sorcerers inhabit here.

  —Act IV, scene iii, lines 10-11

  Lapland is an ill-defined area making up the Arctic regions of Scandinavia and northwestern Russia, inhabited by Lapps, who are the Old World equivalent of the New World Eskimos. They might easily be confused, in Shakespeare's time, with the Finns of Finland, for Lapps and Finns are similar in race and language.

  The comment of Antipholus of Syracuse would seem to refer to Finland rather than Lapland, for Finnish mythology is unusual in the emphasis it places on song and magic. Their heroes are magicians rather than strong men, Merlin rather than Hercules. The most famous Finnish literary work is their national epic, the Kalevala, which is pre-Christian in inspiration and the hero of which is the singing magician Wainamoinen.

  Satan, avoid,..

  The apparent enchantments continue. Dromio of Syracuse comes panting in with the money given him by Adriana to bail Antipholus of Ephesus. Dromio of Syracuse hands it to Antipholus of Syracuse, who naturally doesn't know what it is. He asks about the ship instead and Dromio of Syracuse insists he has already given him that news.

  In comes the courtesan to whom Antipholus of Ephesus has promised the chain. She sees it around the neck of Antipholus of Syracuse and asks for it. Antipholus answers violently:

  Satan, avoid! I charge thee, tempt me not!

  —Act IV, scene iii, line 49

  The harassed Antipholus of Syracuse, already convinced he is the victim of witchcraft, is sure that the light wench is the devil himself come to tempt him to sin. The exclamation is a form of Jesus' reproof to Satan on the occasion of the temptation in the wilderness. Jesus is then quoted as saying "Get thee hence, Satan" (Matthew 4:10).

  (When Shakespeare quotes the Bible, he cannot very well quote the exact wording of the King James version with which we ourselves are so familiar. That version was not published till 1611, some twenty years after The Comedy of Errors was written and nearly at the close of Shakespeare's writing career.)

  The courtesan naturally decides he is mad and goes off to warn his wife.

  … the kitchen vestal. ..

  Meanwhile, Antipholus of Ephesus is still waiting for the bail which Dromio of Syracuse delivered to Antipholus of Syracuse. In comes Dromio of Ephesus with the rope that he had been sent for just before Antipholus of Ephesus had been arrested. Naturally he gets beaten.

  Adriana and Luciana arrive now with the courtesan. With them they bring a schoolmaster, Mr. Pinch, whom they hope is wise enough to cure Antipholus of Ephesus of his madness. Antipholus of Ephesus, to whom it seems the rest of the world is mad, is driven to distraction by this.

  He insists that, despite his wife's protestations, he had been barred from his own house at dinner. He calls on Dromio of Ephesus to confirm this and for once master and man are on the same side. When Antipholus of Ephesus points out that the very kitchenmaid railed at him, Dromio of Ephesus says:

  Certes, she did; the kitchen vestal scorned you.

  —Act IV, scene iv, line 76

  The vestals were the Vestal Virgins (see page I-33) but this can scarcely be taken to mean that the kitchenmaid was a virgin. In Shakespeare's time, this was scarcely likely if she was over twelve. Apparently it is only a comically high-flown way of saying that she was in charge of the fire, as the vestals were in charge of the sacred fire.

  … Circe's cup

  But there is further trouble. Antipholus of Ephesus still wants to know where the bail money is and Luciana says she sent it. Dromio of Ephesus denies that he received it or that he was even sent for it, and Antipholus of Ephesus, in his rage, begins to act mad indeed. He and Dromio of Ephesus are seized and dragged away.

  In come Antipholus of Syracuse and Dromio of Syracuse on their way to the waterfront. The Merchant, who has just had Antipholus of Ephesus arrested, sees him apparently at liberty, with the chain for which he was arrested openly around his neck. There is a fight and Antipholus of Syracuse and Dromio of Syracuse escape into a nearby abbey. The Abbess emerges and refuses to let anyone else enter.

  But the day is coming to a close. (This play and The Tempest are the only two plays in which Shakespeare kept the action within the bounds of a single day in accordance with the Greek "unities"-see page I-158.) Egeon is being led to his death, since he has not been able to raise the thousand marks he has been fined. Adriana seizes the opportunity to accost the Duke of Ephesus and beg him to persuade the Abbess to release her poor, mad husband.

  But Antipholus of Ephesus and Dromio of Ephesus have escaped from their own jailers and have come furiously on the scene. Antipholus of Ephesus demands justice against his wife, who, he claims, is conspiring to imprison him after having barred him from his own house.

  The Duke, listening to
the babble of confusing testimony from all sides, says:

  Why, what an intricate impeach is this!

  I think you all have drunk of Circe's cup.

  —Act V, scene i, lines 270-71

  Circe is the name of a sorceress who appears in the Odyssey. She lived on a Mediterranean island and had visitors drink wine from her cup. The drink would turn them into animals, who were then enslaved by her.

  Ulysses' men, in the course of their return from fallen Troy, come to Circe's island, drink from her cup, and are changed into swine. Ulysses himself, with the help of an antidote supplied him by Mercury, overcomes her.

  The Duke, by this reference to Circe's cup, implies that all about him have lost their ability to reason but are as confused as senseless beasts.

  Egeon interrupts to say the man seeking redress is his son Antipholus. But it is Antipholus of Ephesus he indicates and that Antipholus at once denies any knowledge of Egeon. The Duke backs him up, saying he has known Antipholus of Ephesus all his life and that Antipholus has never been in Syracuse. (The Duke is as dull as the rest; he doesn't catch on either.)

  It is only when the Abbess emerges with Antipholus of Syracuse and Dromio of Syracuse, and the two Antipholuses and Dromios face each other, that all is clear at last. The Abbess turns out, of course, to be Egeon's wife.

  All the conflicting events of the day are sorted out; Egeon is liberated; and the play ends in utter happiness. It is even clear that Antipholus of Syracuse will marry Luciana so that the two brothers will also be brothers-in-law.

  8. Pericles, Prince of Tyre

  The date of this play is usually given as 1608, and the last three acts are characteristically late Shakespearean in style. The first two acts are, however, considered much inferior, and many critics feel that, except for a touch here and there, they were not written by Shakespeare.

  Whether that is so or not, the play, as it stands, is included in the collections of Shakespeare's plays and, for better or worse, will forever bear his name.

  … ancient Gower…

  The play begins with an Introduction. An old man comes on stage and says:

  To sing a song that old was sung,

  From ashes ancient Gower is come,

  —Act I, Introduction, lines 1-2

  John Gower was a fourteenth-century English poet (c. 1330-1408) and a friend and contemporary of Chaucer's (see page I-54). Gower was considered by his contemporaries, though not by moderns, to have been almost Chaucer's equal, and though it might be thought they would have borne each other the ill will of competitors, they did not. They dedicated books to each other.

  One of Gower's principal works is Confessio Amantis (Confession of a Lover), first published in 1383. In this work, a number of romances are told in English couplets. The tales are by no means original with Gower. What he does is retell stories from ancient and medieval sources, choosing the most popular ones.

  In the eighth book of Confessio Amantis Gower tells a tale, taken from a Greek source, of which a version is presented in this play. A prose version of the same story, "The Pattern of Painful Adventures," was published in 1576 by Laurence Twine. Some scenes in Pericles are drawn from Twine, but Gower is the major influence.

  It is only in this play and in The Two Noble Kinsmen (see page I-54) that Shakespeare so openly announces his source.

  … Antiochus the great

  Gower lays the scene of the play:

  This Antioch, then; Antiochus the great

  Built up this city for his chiefest seat,

  The fairest in all Syria-

  —Act I, Introduction, lines 17-19

  This alone tells us that the time in which the tale is supposed to take place is in the Hellenistic period; that is, in the couple of centuries that followed the death of Alexander the Great. In this period, Greek-language monarchies were established in Egypt and western Asia.

  The largest of these was established south and east of Asia Minor in 321 b.c. by Seleucus I, who had been one of Alexander's generals. The realm is, in his honor, usually called the Seleucid Empire in the histories.

  Seleucus had made his first capital in ancient Babylon, but quickly abandoned it as too alien and un-Greek. In its place, he constructed Seleucia on the Tigris, about twenty miles north of Babylon. It became a thoroughly Greek city.

  Although the Empire covered vast tracts of what are now the nations of Iraq, Iran, and Afghanistan, the portion most under the influence of Greek culture and therefore most valued by the Greek-speaking and Greek-cultured descendants of Seleucus was the westernmost part, commonly called Syria by the Greeks.

  In Syria Seleucus founded a city which served as his western capital and named it Antiocheia, after his father, Antiochus. In English, we know it as Antioch. It was located fifteen miles from the sea, near the northeastern corner of the Mediterranean, and is now located in southwestern Turkey.

  About a century and three quarters after the founding of the Seleucid Empire, almost all the eastern provinces had fallen away and come under the rule of native princes. What was left of the Greek kingdom was concentrated in the westernmost provinces and what had been the Seleucid Empire came more and more to be called simply Syria.

  Despite the vicissitudes of the Empire, however, Antioch continued to grow and became a great metropolis. In the days of the Roman Empire, when Rome had finally absorbed the last remnant of the Seleucid realm, Antioch was the third largest city of the Empire. Only Rome itself and Alexandria in Egypt were larger.

  The question is, now, which monarch is referred to by Gower as "Antiochus the great"? It is no use to try to decide by the actual events of the play, since these are all fictitious.

  There were thirteen monarchs of the Seleucid kingdom named Antiochus, but one of them, the third of the name, did call himself Antiochus the Great. This Antiochus III ruled from 223 to 187 b.c. In the first part of his reign, he brought back into the Seleucid fold (very temporarily) some of the large eastern provinces that were breaking away, marching through the east almost like another Alexander in doing so. It was this which gave him the idea of calling himself "the Great."

  Once that was accomplished, he attempted to annex Egypt, which was governed by a boy king at the time, and also Asia Minor. Had he succeeded, he would have united almost all of Alexander's Empire under his rule.

  Unfortunately for himself, Antiochus HI fell afoul of the rising power of Rome. Challenging that Western nation, he invaded Greece, but was defeated there in 191 b.c. The Romans followed him into Asia Minor and defeated him again in 190 B.C. Antiochus ended his reign in defeat and failure.

  Considering that in Pericles Antiochus the Great is pictured as ruling in magnificence and glory (at least at the beginning), we might arbitrarily place the fictitious events of this play about 200 b.c. This is twenty years after the suggested time of A Comedy of Errors and so Pericles becomes the eighth and last of Shakespeare's Greek plays.

  … her to incest…

  Gower goes on to explain that "Antiochus the great" was left a widower with a beautiful daughter:

  With whom the father liking took,

  And her to incest did provoke.

  —Act I, Introduction, lines 25-26

  Incest is treated here as a horrible and unspeakable crime, and so it is considered in most societies; though, it must be admitted, not in all. The Egyptian Pharaohs routinely married their sisters, feeling perhaps that only their sisters had blood aristocratic enough to make a marriage suitable. (Or perhaps it was a relic of matrilineal descent; of the times when the nature of fatherhood was not understood and when property could only be inherited through the mother. By marrying his sister, the Pharaoh could make sure that the sister's son, who later was to inherit the throne, would also be his own.)

  After the death of Alexander the Great, one of his generals, Ptolemy, seized Egypt and established the "Ptolemaic kingdom." For nearly three centuries Egypt was ruled by his descendants, all of whom were named Ptolemy. The Ptolemies carefully ad
hered to Egyptian customs in order to remain popular with their subjects. Ptolemy II took for his second wife, for instance, his full sister, Arsinoe. As a result, first she, and then he, received the surname Philadelphus ("sibling lover"). He did not have children by her. Cleopatra, the last of the Ptolemaic rulers of Egypt (see page I-318), was married in turn to two of her brothers, though each marriage was purely formal, for both were children at the time of the marriage.

  Furthermore, in the Persian dominions in the days before Alexander's conquest, nicest was not abhorred and father-daughter unions were allowed. Antiochus the Great ruled over most of the core of the old Persian Empire. It is not on record that he followed Persian custom in this respect, but that old custom may have been in the mind of the anonymous Greek writer who first invented the tale which worked its way down the centuries and came to rest in Shakespeare's Pericles.

  … Prince of Tyre. ..

  To keep his luscious daughter from the princely suitors that sought her hand, Antiochus forced all to attempt to solve a riddle. Failure to solve the riddle was punished with death and numerous suitors had already suffered that penalty.

  The play itself begins before the palace at Antioch, where a young suitor has come to present himself for the hand of the princess. Antiochus says:

  Young Prince of Tyre, you have at large received