The basic methodology is to use the allegory of Man and the Sun that I found in "Romeo and Juliet" and see how another allegory with the Sun, Coal, and mankind can be found in "The Merchant of Venice".
I myself also must hold out my hat and beg my audience for their support....
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
âHe doth bestride the narrow world like a Colossusâ: Julius Caesar as the Sun...Marianne Kimura
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This document analyzes Shakespeare's play Julius Caesar through the lens of hidden allegories and symbolism. It argues that Julius Caesar represents the sun and the renewable energy economy, while the conspirators who assassinate him represent the coal economy and fossil fuels. Several passages and lines from the play are cited as evidence, with references to ideas from philosopher Giordano Bruno. The document examines how the play portrays the transition from a sun-based economy to one powered by coal through its characters and plot.
The document discusses various artistic depictions of Shakespeare's Romeo and Juliet over time. It describes paintings such as Joseph Mallord William Turner's Queen Mab's Cave, which depicts a scene from Romeo and Juliet referenced in one of the play's most famous monologues. It also discusses Frank Dicksee's 1884 painting of the balcony scene, as well as Francesco Hayez's 1823 painting depicting the last kiss between Romeo and Juliet. Milton Hebald's 1977 bronze statue of the famous couple kissing outside a theater is also mentioned.
T. S. Eliot's Sweeney among the Nightingales is a modernist lyric poem that first appeared in a 1919 Eliot collection entitled Poems. The collection was published in England by Hogarth Press, operated by writers Leonard and Virginia Woolf. As a modernist work, the poem presents its characters as mundane and vulgar rather than as romantic or heroic, like the characters in many poems of the nineteenth century.
Andromache is Hector's wife in Greek mythology who is a prominent figure representing the tragic fate of losing family. Throughout literature and art, Andromache is depicted as a passionate wife and mother who is desperate after Hector's death, becoming a symbol of the woman separated from her loved ones. She maintains her dignity and strength of character despite becoming a slave after Troy falls. Andromache represents an early step toward a more modern female figure as she is also involved in defending Troy rather than confined to domestic duties alone.
This document discusses Hermetic and cosmic allegories in Shakespeare's play Twelfth Night. It argues:
1) The character of Olivia represents the sun, as evidenced by lines associating her with air, the element, and heat.
2) The basic action of the play is a "cure" that lifts sickness from the sun, allowing it to shine again. A key scene between Viola and Olivia secretly conveys Olivia's solar identity.
3) The character Sebastian represents humanity reaching the "fossil fuel endgame." Saved by Viola and Olivia, he moves from a state of "dark" stars and evils to good fortune, reflecting mankind's relationship with dep
âWillât not off?â: Will Steps Out from the Shadows of Measure for Measure Marianne Kimura
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This document analyzes the secret allegorical meanings behind some of the characters in Shakespeare's play Measure for Measure. It argues that Duke Vincentio represents Shakespeare himself as a secret playwright staging deceptions. Isabella represents nature and the sun, while Angelo represents coal and capitalism. Mariana symbolizes people's engagement with Shakespeare's works through reading and performance. The analysis draws on allusions to figures like Giordano Bruno to uncover hidden meanings related to Shakespeare's purported support of environmentalism and opposition to coal.
This document provides an organic literary analysis of Shakespeare's Romeo and Juliet. It argues that the play can be read as an allegory depicting mankind's relationship with the sun over time and its increasing reliance on fossil fuels like coal. Romeo represents mankind, while Juliet represents the sun. Their scenes together portray different stages: initial worship of the sun, a period of fidelity during the Middle Ages, choosing fossil fuels leading to exile from the sun, and eventual social collapse when fossil fuel resources are depleted. Imagery of coal and darkness in the opening scenes reinforce this reading. The analysis examines the lovers' isolation together and sun imagery surrounding Juliet to support its interpretation.
This document discusses connections between Giordano Bruno, William Shakespeare, and solar imagery. It argues that Shakespeare used Bruno's philosophy and art of memory techniques to create allegories in his plays, with "Juliet is the sun" representing a cosmic allegory in Romeo and Juliet. Several quotes from Bruno's works are presented that discuss focusing the imagination through ordered architectures, which the author argues Shakespeare employed. Examples from Hamlet and Romeo and Juliet are analyzed to support these ideas. The document promotes the author's academic work and novel exploring these connections.
âHe doth bestride the narrow world like a Colossusâ: Julius Caesar as the Sun...Marianne Kimura
Â
This document analyzes Shakespeare's play Julius Caesar through the lens of hidden allegories and symbolism. It argues that Julius Caesar represents the sun and the renewable energy economy, while the conspirators who assassinate him represent the coal economy and fossil fuels. Several passages and lines from the play are cited as evidence, with references to ideas from philosopher Giordano Bruno. The document examines how the play portrays the transition from a sun-based economy to one powered by coal through its characters and plot.
The document discusses various artistic depictions of Shakespeare's Romeo and Juliet over time. It describes paintings such as Joseph Mallord William Turner's Queen Mab's Cave, which depicts a scene from Romeo and Juliet referenced in one of the play's most famous monologues. It also discusses Frank Dicksee's 1884 painting of the balcony scene, as well as Francesco Hayez's 1823 painting depicting the last kiss between Romeo and Juliet. Milton Hebald's 1977 bronze statue of the famous couple kissing outside a theater is also mentioned.
T. S. Eliot's Sweeney among the Nightingales is a modernist lyric poem that first appeared in a 1919 Eliot collection entitled Poems. The collection was published in England by Hogarth Press, operated by writers Leonard and Virginia Woolf. As a modernist work, the poem presents its characters as mundane and vulgar rather than as romantic or heroic, like the characters in many poems of the nineteenth century.
Andromache is Hector's wife in Greek mythology who is a prominent figure representing the tragic fate of losing family. Throughout literature and art, Andromache is depicted as a passionate wife and mother who is desperate after Hector's death, becoming a symbol of the woman separated from her loved ones. She maintains her dignity and strength of character despite becoming a slave after Troy falls. Andromache represents an early step toward a more modern female figure as she is also involved in defending Troy rather than confined to domestic duties alone.
This document discusses Hermetic and cosmic allegories in Shakespeare's play Twelfth Night. It argues:
1) The character of Olivia represents the sun, as evidenced by lines associating her with air, the element, and heat.
2) The basic action of the play is a "cure" that lifts sickness from the sun, allowing it to shine again. A key scene between Viola and Olivia secretly conveys Olivia's solar identity.
3) The character Sebastian represents humanity reaching the "fossil fuel endgame." Saved by Viola and Olivia, he moves from a state of "dark" stars and evils to good fortune, reflecting mankind's relationship with dep
âWillât not off?â: Will Steps Out from the Shadows of Measure for Measure Marianne Kimura
Â
This document analyzes the secret allegorical meanings behind some of the characters in Shakespeare's play Measure for Measure. It argues that Duke Vincentio represents Shakespeare himself as a secret playwright staging deceptions. Isabella represents nature and the sun, while Angelo represents coal and capitalism. Mariana symbolizes people's engagement with Shakespeare's works through reading and performance. The analysis draws on allusions to figures like Giordano Bruno to uncover hidden meanings related to Shakespeare's purported support of environmentalism and opposition to coal.
This document provides an organic literary analysis of Shakespeare's Romeo and Juliet. It argues that the play can be read as an allegory depicting mankind's relationship with the sun over time and its increasing reliance on fossil fuels like coal. Romeo represents mankind, while Juliet represents the sun. Their scenes together portray different stages: initial worship of the sun, a period of fidelity during the Middle Ages, choosing fossil fuels leading to exile from the sun, and eventual social collapse when fossil fuel resources are depleted. Imagery of coal and darkness in the opening scenes reinforce this reading. The analysis examines the lovers' isolation together and sun imagery surrounding Juliet to support its interpretation.
This document discusses connections between Giordano Bruno, William Shakespeare, and solar imagery. It argues that Shakespeare used Bruno's philosophy and art of memory techniques to create allegories in his plays, with "Juliet is the sun" representing a cosmic allegory in Romeo and Juliet. Several quotes from Bruno's works are presented that discuss focusing the imagination through ordered architectures, which the author argues Shakespeare employed. Examples from Hamlet and Romeo and Juliet are analyzed to support these ideas. The document promotes the author's academic work and novel exploring these connections.
William Shakespeare was one of the most influential writers of the 16th century. His works such as Romeo and Juliet, Venus and Adonis, and The Rape of Lucrece explored themes of love, tragedy, and death. Romeo and Juliet tells the story of two young lovers from feuding families whose love ends in tragedy. Venus and Adonis depicts the goddess Venus pursuing the unwilling Adonis, who dies while hunting. The Rape of Lucrece focuses on the rape of a woman which leads to her suicide and political change. Shakespeare's exploration of these dark themes through poetry and plays demonstrated his profound creative genius.
Examining the work of a wide range of practitioners from the 20th and 21st centuries (Dada, Surrealism, Oulipo, Fluxus, Dogme 95, Glitch Art...) we will consider how the identity of the artist is constantly reconfigured in relation to their practice. We will examine how a âworkâ is created through the means of play, constraint, disorder and/or repetition. We will ask questions of the studio, the public space and the gallery.
This document provides an in-depth analysis of Pedro Almodovar's film All About My Mother and his filmmaking style more broadly. It discusses how Almodovar frequently references and incorporates clips from other films into his own work to further develop his characters and stories. It also analyzes how Almodovar challenges gender norms and conventions by having characters take on roles and behaviors typically associated with the opposite sex. The document concludes by summarizing the plot of All About My Mother, which follows a group of women from different backgrounds who come together to form an impromptu family in Madrid after experiencing loss.
William Shakespeare is considered one of the most influential writers of all time. His works such as Romeo and Juliet, Venus and Adonis, and The Rape of Lucrece explored themes of love, tragedy, and death. Romeo and Juliet tells the story of two young lovers from feuding families who fall in love and ultimately die to be together. Venus and Adonis depicts the love and seduction between Venus and the young Adonis, who is killed while hunting. The Rape of Lucrece focuses on the rape and suicide of Lucretia, which led to the downfall of the royal family. Shakespeare used these works to profoundly examine the human condition through profound poetry and literature.
This document provides an overview of the history and development of drama across different time periods and cultures. It begins with an explanation of Greek drama and its origins in dithyrambs honoring Dionysus. It then discusses the evolution of Greek tragedy and comedy and their influence on Roman drama. Medieval drama developed out of church liturgy in forms like mystery plays and morality plays. Renaissance drama was influenced by the rediscovery of Greek and Roman classics and varied across countries, with England producing great dramatists like Shakespeare. Realism emerged in 19th century drama alongside melodrama, influencing later playwrights across Europe.
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
The document provides an agenda for Class 18 of the ELIT 17 class. It includes the following items: a class countdown, a recitation, special guests, a discussion of The Tempest and "Of Cannibals", an introduction to Essay #2, and an introduction to sonnet terms. For the recitation, it discusses a special guest speaker, Catherine Castellanos, who will discuss her experience acting in productions of The Tempest. It also includes discussion questions about The Tempest and an excerpt from the play. For the essay introduction, it provides details about Essay #2 on The Tempest or Othello. Finally, it introduces key terms for analyzing sonnets.
Drama originated in ancient Greece between 600-200 BC as a form of religious worship to Dionysus. It began as religious chants and songs performed by a chorus and gradually incorporated additional actors and dialogue. During the Elizabethan era in 16th-17th century England, playwrights like Shakespeare and Marlowe flourished. Shakespeare initially wrote in conventional styles but later adapted them to be more natural. Drama can be categorized as opera, pantomime, or creative drama and takes forms like comedy, tragedy, farce, and musical drama. It uses elements like theme, plot, effects, and music.
This document is a study guide for John Milton's poem "L'Allegro" that provides background information and analysis of the work. It includes sections on the type of work, setting, summary, theme, rhyme scheme, meter, and annotated text. The summary explains that the poem expresses the speaker's joy at embracing the delights of a spring day, first in pastoral rural settings and then urban settings, finding pleasure in nature, labor, and entertainment like plays.
This document provides summaries of three of Shakespeare's plays:
1) Romeo and Juliet is set in Verona and focuses on the love between Romeo and Juliet from feuding families despite their families' hatred. The main characters struggle against forces like fixed marriage and banishment that ultimately lead to their deaths.
2) Hamlet is a tragedy that explores revenge after Hamlet learns his uncle murdered his father. Hamlet struggles with inaction as events overwhelm him.
3) The Tempest is a romance involving forgiveness. Prospero is exiled from his throne but gains magical powers on a mysterious island, encountering supernatural creatures like Ariel and Caliban. It explores themes of discovery
This document defines and provides examples of several literary terms found in Shakespeare's Romeo and Juliet, including couplet, oxymoron, alliteration, imagery, and irony. A couplet is a pair of rhyming lines, an oxymoron uses contradictory words, alliteration repeats consonant sounds, imagery uses descriptive language, and dramatic irony occurs when the audience knows something characters do not. Examples for each term are given using direct quotes from Romeo and Juliet.
A couplet is mostly used by an author to provide entertainment and make the content of the speech more interesting. I believe it is inserted by Shakespeare to provide clarity to the audience as well as to provide a brief relief from some of the difficult terminology and symbolism that he uses in his plays.
This document lists and discusses several of William Shakespeare's plays and poems that deal with emotion, including tragedies like Romeo and Juliet, Hamlet, and Titus Andronicus that explore themes of love and death. It also mentions comedies like The Comedy of Errors and A Midsummer Night's Dream, as well as quotes from Hamlet, Julius Caesar, and several narrative poems Shakespeare wrote that involve themes of love, loss, and betrayal.
This book examines the genre of composer biopics in film. It discusses how films have portrayed famous composers from the classical period through modern times, and how the films both accurately and inaccurately depict the composers' lives and music. The films analyzed range from classical Hollywood studio era portraits to more experimental films by directors like Ken Russell and Tony Palmer. Overall, the book serves as a guide to the achievements and shortcomings of this hybrid art form of musical biography on film.
Drama began in ancient Greece in the 6th century BC and was used to tell stories through characters interacting via dialogue. The first actor was Thespis, which is where the term "thespian" comes from. Greek dramas used masks so facial expressions could be seen from a distance in large amphitheaters. Tragedy and comedy were the two main forms, with tragedy involving a hero's death and comedy ending happily. Drama later developed in both Western and Eastern cultures through various genres like opera, kabuki theater, and shadow puppet plays.
This academic paper shows that "King Lear" is also about the sun vs. coal.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
Romeo and Juliet contains a secret allegorical play where Juliet represents the sun and Romeo represents mankind. In their interactions, Romeo goes from worshipping Juliet during mankind's pagan past to being separated from her as Christianity moved worship indoors. England was abandoning the sun as its main energy source as coal production grew during Shakespeare's time. The play shows mankind's transition from being closely connected to the sun's energy to becoming disconnected through the use of fossil fuels like coal.
Published in Tsukuba University's Department of Area Studies Journal (March, 2013) Number 34. pages 87-114.
I discuss a solar-energy based allegory I found in this play.
Like a player after a performance, I am also holding out my hat and asking you for your support---please buy my novel "Juliet is the Sun" to help fund my research into solar enegy themes in more of Shakespeare's plays. (Thank you very much!!)
My academic paper entitled "Juliet is the sun" (also on Slideshare and Academia)revealed the sun character was Juliet in "Romeo and Juliet". In "A Midsummer Night's Dream", the sun figure is Bottom the Weaver.
The solar energy concept was probably developed by Shakespeare using the ideas of Giordano Bruno's Art of Memory.
http://www.amazon.co.jp/Juliet-is-the-Sun-ebook/dp/B00BWVXYGS/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1364381838&sr=1-1
William Shakespeare was one of the most influential writers of the 16th century. His works such as Romeo and Juliet, Venus and Adonis, and The Rape of Lucrece explored themes of love, tragedy, and death. Romeo and Juliet tells the story of two young lovers from feuding families whose love ends in tragedy. Venus and Adonis depicts the goddess Venus pursuing the unwilling Adonis, who dies while hunting. The Rape of Lucrece focuses on the rape of a woman which leads to her suicide and political change. Shakespeare's exploration of these dark themes through poetry and plays demonstrated his profound creative genius.
Examining the work of a wide range of practitioners from the 20th and 21st centuries (Dada, Surrealism, Oulipo, Fluxus, Dogme 95, Glitch Art...) we will consider how the identity of the artist is constantly reconfigured in relation to their practice. We will examine how a âworkâ is created through the means of play, constraint, disorder and/or repetition. We will ask questions of the studio, the public space and the gallery.
This document provides an in-depth analysis of Pedro Almodovar's film All About My Mother and his filmmaking style more broadly. It discusses how Almodovar frequently references and incorporates clips from other films into his own work to further develop his characters and stories. It also analyzes how Almodovar challenges gender norms and conventions by having characters take on roles and behaviors typically associated with the opposite sex. The document concludes by summarizing the plot of All About My Mother, which follows a group of women from different backgrounds who come together to form an impromptu family in Madrid after experiencing loss.
William Shakespeare is considered one of the most influential writers of all time. His works such as Romeo and Juliet, Venus and Adonis, and The Rape of Lucrece explored themes of love, tragedy, and death. Romeo and Juliet tells the story of two young lovers from feuding families who fall in love and ultimately die to be together. Venus and Adonis depicts the love and seduction between Venus and the young Adonis, who is killed while hunting. The Rape of Lucrece focuses on the rape and suicide of Lucretia, which led to the downfall of the royal family. Shakespeare used these works to profoundly examine the human condition through profound poetry and literature.
This document provides an overview of the history and development of drama across different time periods and cultures. It begins with an explanation of Greek drama and its origins in dithyrambs honoring Dionysus. It then discusses the evolution of Greek tragedy and comedy and their influence on Roman drama. Medieval drama developed out of church liturgy in forms like mystery plays and morality plays. Renaissance drama was influenced by the rediscovery of Greek and Roman classics and varied across countries, with England producing great dramatists like Shakespeare. Realism emerged in 19th century drama alongside melodrama, influencing later playwrights across Europe.
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
The document provides an agenda for Class 18 of the ELIT 17 class. It includes the following items: a class countdown, a recitation, special guests, a discussion of The Tempest and "Of Cannibals", an introduction to Essay #2, and an introduction to sonnet terms. For the recitation, it discusses a special guest speaker, Catherine Castellanos, who will discuss her experience acting in productions of The Tempest. It also includes discussion questions about The Tempest and an excerpt from the play. For the essay introduction, it provides details about Essay #2 on The Tempest or Othello. Finally, it introduces key terms for analyzing sonnets.
Drama originated in ancient Greece between 600-200 BC as a form of religious worship to Dionysus. It began as religious chants and songs performed by a chorus and gradually incorporated additional actors and dialogue. During the Elizabethan era in 16th-17th century England, playwrights like Shakespeare and Marlowe flourished. Shakespeare initially wrote in conventional styles but later adapted them to be more natural. Drama can be categorized as opera, pantomime, or creative drama and takes forms like comedy, tragedy, farce, and musical drama. It uses elements like theme, plot, effects, and music.
This document is a study guide for John Milton's poem "L'Allegro" that provides background information and analysis of the work. It includes sections on the type of work, setting, summary, theme, rhyme scheme, meter, and annotated text. The summary explains that the poem expresses the speaker's joy at embracing the delights of a spring day, first in pastoral rural settings and then urban settings, finding pleasure in nature, labor, and entertainment like plays.
This document provides summaries of three of Shakespeare's plays:
1) Romeo and Juliet is set in Verona and focuses on the love between Romeo and Juliet from feuding families despite their families' hatred. The main characters struggle against forces like fixed marriage and banishment that ultimately lead to their deaths.
2) Hamlet is a tragedy that explores revenge after Hamlet learns his uncle murdered his father. Hamlet struggles with inaction as events overwhelm him.
3) The Tempest is a romance involving forgiveness. Prospero is exiled from his throne but gains magical powers on a mysterious island, encountering supernatural creatures like Ariel and Caliban. It explores themes of discovery
This document defines and provides examples of several literary terms found in Shakespeare's Romeo and Juliet, including couplet, oxymoron, alliteration, imagery, and irony. A couplet is a pair of rhyming lines, an oxymoron uses contradictory words, alliteration repeats consonant sounds, imagery uses descriptive language, and dramatic irony occurs when the audience knows something characters do not. Examples for each term are given using direct quotes from Romeo and Juliet.
A couplet is mostly used by an author to provide entertainment and make the content of the speech more interesting. I believe it is inserted by Shakespeare to provide clarity to the audience as well as to provide a brief relief from some of the difficult terminology and symbolism that he uses in his plays.
This document lists and discusses several of William Shakespeare's plays and poems that deal with emotion, including tragedies like Romeo and Juliet, Hamlet, and Titus Andronicus that explore themes of love and death. It also mentions comedies like The Comedy of Errors and A Midsummer Night's Dream, as well as quotes from Hamlet, Julius Caesar, and several narrative poems Shakespeare wrote that involve themes of love, loss, and betrayal.
This book examines the genre of composer biopics in film. It discusses how films have portrayed famous composers from the classical period through modern times, and how the films both accurately and inaccurately depict the composers' lives and music. The films analyzed range from classical Hollywood studio era portraits to more experimental films by directors like Ken Russell and Tony Palmer. Overall, the book serves as a guide to the achievements and shortcomings of this hybrid art form of musical biography on film.
Drama began in ancient Greece in the 6th century BC and was used to tell stories through characters interacting via dialogue. The first actor was Thespis, which is where the term "thespian" comes from. Greek dramas used masks so facial expressions could be seen from a distance in large amphitheaters. Tragedy and comedy were the two main forms, with tragedy involving a hero's death and comedy ending happily. Drama later developed in both Western and Eastern cultures through various genres like opera, kabuki theater, and shadow puppet plays.
This academic paper shows that "King Lear" is also about the sun vs. coal.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
Romeo and Juliet contains a secret allegorical play where Juliet represents the sun and Romeo represents mankind. In their interactions, Romeo goes from worshipping Juliet during mankind's pagan past to being separated from her as Christianity moved worship indoors. England was abandoning the sun as its main energy source as coal production grew during Shakespeare's time. The play shows mankind's transition from being closely connected to the sun's energy to becoming disconnected through the use of fossil fuels like coal.
Published in Tsukuba University's Department of Area Studies Journal (March, 2013) Number 34. pages 87-114.
I discuss a solar-energy based allegory I found in this play.
Like a player after a performance, I am also holding out my hat and asking you for your support---please buy my novel "Juliet is the Sun" to help fund my research into solar enegy themes in more of Shakespeare's plays. (Thank you very much!!)
My academic paper entitled "Juliet is the sun" (also on Slideshare and Academia)revealed the sun character was Juliet in "Romeo and Juliet". In "A Midsummer Night's Dream", the sun figure is Bottom the Weaver.
The solar energy concept was probably developed by Shakespeare using the ideas of Giordano Bruno's Art of Memory.
http://www.amazon.co.jp/Juliet-is-the-Sun-ebook/dp/B00BWVXYGS/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1364381838&sr=1-1
The document discusses various artistic depictions of Shakespeare's Romeo and Juliet over time. It describes paintings such as Joseph Mallord William Turner's Queen Mab's Cave, which depicts a scene from Romeo and Juliet referenced in one of the play's most famous monologues. It also discusses Frank Dicksee's 1884 painting of the balcony scene, and Francesco Hayez's 1823 painting "The Last Kiss Given to Juliet by Romeo." Sculptures such as Milton Hebald's bronze statue of the lovers kissing outside a theater are also mentioned. The document analyzes different artistic interpretations of iconic scenes from the tragedy.
The document discusses various artistic depictions of Shakespeare's Romeo and Juliet over time. It describes paintings such as Joseph Mallord William Turner's Queen Mab's Cave, which depicts a scene from Romeo and Juliet referenced in one of the play's most famous monologues. It also discusses Frank Dicksee's 1884 painting of the balcony scene, and Francesco Hayez's 1823 painting "The Last Kiss Given to Juliet by Romeo." Sculptures such as Milton Hebald's bronze statue of the lovers kissing outside a theater are also mentioned. The document analyzes different artistic interpretations of iconic scenes from the tragedy.
"Antony and Cleopatra" is an allegorical story which depicts the end of the sun economy and the start of industrialization, the market economy and the fossil fuel based economy. Antony is the sun economy.
"To be or not to be": material being and the Divine FeminineMarianne Kimura
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This document summarizes and analyzes a scholarly paper that examines how Shakespeare incorporated materialist ideas about non-human materials like coal and the sun in some of his plays. It argues that Othello allegorically depicts the rise of coal replacing the sun economy, with Iago representing coal. It also analyzes how Shakespeare alludes to Giordano Bruno's revolutionary materialist philosophy in Hamlet and the "to be or not to be" soliloquy. The document explores how Shakespeare recognized the agency of non-human materials and anticipated humanity's realization of the consequences of replacing the sun economy with fossil fuels.
This document defines and provides examples of various literary devices used in Shakespeare's Romeo and Juliet, including puns, metaphors, personification, allusions, oxymorons, paradoxes, foreshadowing, hyperboles, and similes. It explains each device and illustrates them with short quotes from the play, such as Romeo's metaphor comparing Juliet to the sun and Juliet's personification of night. The document serves to familiarize readers with the language techniques employed in Romeo and Juliet.
Prince Hamlet is unmasked and shown to be a sun figure. This academic paper will be published in the March 2014 issue of the Area Studies Journal of Tsukuba University.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
The document provides an overview of the plot and dramatic structure of Shakespeare's Romeo and Juliet. It discusses the play's exposition, which introduces the feuding families of Montague and Capulet in Verona, as well as Romeo and Juliet. The inciting moment is when Romeo and Juliet meet at a ball. Subsequent rising action includes their famous balcony scene and secret marriage. The climax occurs when Tybalt kills Mercutio and Romeo kills Tybalt, leading to Romeo's banishment. In the falling action, plans are made for Juliet to marry Paris, leading to her faking her death. The denouement sees both lovers die upon discovering one another.
Performing the Anthropocene in "Romeo and Juliet"Marianne Kimura
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The start of the Anthropocene Epoch was recently defined as 1610 and this coincides with the career of Shakespeare. Moreover, "Romeo and Juliet" contains a sequence of scenes that actually shows the birth of the Anthropocene Era!
The document provides background information on the Elizabethan Age and Shakespeare. It discusses the Renaissance period in England during Queen Elizabeth I's reign and the rise of Elizabethan drama. It also summarizes details about Shakespeare's life and career, including key plays like Romeo and Juliet. Literary devices used in Shakespeare's works are also defined.
William Shakespeare was born in 1564 in Stratford-upon-Avon, England. He wrote 37 plays and 154 sonnets over the course of his career from the 1590s until 1611. His plays are categorized into four periods - early, middle, dark, and late - which progressed from apprenticeship to dramatic mastery. Some of his most famous works include Romeo and Juliet, Hamlet, Macbeth, and King Lear. Shakespeare died in 1616 and is considered one of the greatest writers in the English language for his influence and introduction of new words.
This document provides an overview of Shakespeare's chronicles and tragedies. It discusses how Shakespeare's early works like the Henry VI plays and Richard III showed the evils of feudalism and featured battles, conspiracies, and treachery. It then explains some of Shakespeare's innovations in tragedy, like showing the development and degradation of heroes over the course of the plays due to social influences. Finally, it summarizes Romeo and Juliet as a story of two young lovers from feuding families in Verona who fall in love and die due to their families' hatred for each other.
The document provides background information on William Shakespeare and his famous play Romeo and Juliet. It discusses that Shakespeare is widely considered the greatest writer in English and authored 38 plays and 154 sonnets. It then summarizes the plot of Romeo and Juliet, focusing on how the two young lovers from feuding families meet and fall in love, but face conflicts from their families that ultimately lead to their tragic deaths, which reconcile the families' feud. The prologue introduces the two households in Verona and foreshadows that the star-crossed lovers from these families will die and end their families' quarrel.
The play Titus Andronicus by William Shakespeare depicts the Roman Empire from a traditional perspective through its characters. Shakespeare creates a vivid portrayal of historical Rome filled with battles, deception, courage and loyalty not just to Rome but to family as well. This shows Rome was a great powerful city based on the idea that justice must be equivalent to the crime. The word "Rome" is frequently used by characters to describe Roman civilization and how the city can be both a symbol of excellence but also dark and cruel. Understanding the traditional meaning of "Rome" helps readers grasp how the play revolves around Roman values of the time period.
Similar to "The Merchant of Venice" + the Sun (18)
"Report me and my cause aright": "Hamlet" functions subversively as an intera...Marianne Kimura
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"Hamlet" functions as a cultural production to subversively train fighters in the centuries-long fight to resist fossil fuels, capitalism and the western symbolic. Horatio is the avatar and Hamlet is the senpai or sensei figure.
1. Interest in witchcraft and paganism has grown significantly in recent decades among young people in the US and elsewhere. Over 1.5 million Americans now identify as Wiccan or pagan.
2. Modern witches engage in rituals focused on nature, moon cycles, and goddesses. They see witchcraft as a way to connect with the natural world and gain a sense of power in a world they see as oppressive or hopeless.
3. Interest in Japanese culture, especially anime, has also risen dramatically globally in recent decades. Anime frequently features Japanese religious symbols and practices like Shinto shrines, which some see as presenting an alternative to Western monotheism.
Shakespeare and the Divine Feminine (Into to my book)Marianne Kimura
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This document provides an introduction to Marianne Kimura's research focusing on representations of fossil fuels in literature. She began her research in 2004 examining imagery of fossil fuels and vehicles in texts. Her interest was sparked by observing the loss of green space in her city due to development related to cars and fossil fuels. She discovered references to coal in Shakespeare's Romeo and Juliet, motivating her to study how other writers portrayed fossil fuels. Her analysis of Romeo and Juliet led her to interpret it as an allegory about humanity's relationship with the sun and nature. This interpretation expanded her focus to examining Shakespeare's works for portrayals of the divine feminine and nature worship. Over a decade, her research shifted exclusively to analyzing
Ten years of âJuliet is the Sunâ: the allegory hidden in Romeo and Juliet and...Marianne Kimura
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I discuss my idea that "Juliet is the sun" is about the problems of using fossil fuels and becoming structurally dependent on them. I include some recent thinking on New Materialism, which addresses issues where humans and non-humans meet in the material word. Thus this theory is perfect for Shakespeare. His plays are allegories about the entanglement of human and non-human.
New interest in the material world: Where the Crawdads Sing, witches, and JapanMarianne Kimura
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People are struggling to understand the material world and get close to it. We have sort of lorded it over the material world, the environment, animals, nature....And climate change and other crises result. So people are looking at the material world in new ways. This paper examines some of these ways.
"Lock Him Up": the Antics of the Collective TricksterMarianne Kimura
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The document summarizes how a crowd chanted "Lock him up!" at President Trump at a baseball game, mirroring his use of the phrase against Hillary Clinton. This represented a collective trickster act, as the powerless crowd briefly turned the tables on the powerful President through clever wordplay. The chant highlighted America's deep political divide and showed how an unlikely group could momentarily gain agency through humor and wit.
This document summarizes how a witch might interpret Shakespeare's play Macbeth. The witch notes parallels between the misfortunes of a sailor and his wife in the play's opening scene, and the ill fate that befalls Macbeth and his wife after Duncan's murder. However, unlike the sailor's wife, Macbeth has committed no obvious transgression against the witches. The document then suggests that through allegory, Macbeth represents the rise of capitalism and fossil fuel use, which harmed communal societies like that of the witches. It argues Shakespeare subtly took revenge on capitalists through the play, prophesying capitalism's demise. The witches represent victims of the capitalist class and conduct an indirect "
Trump's wall and Poe's "The Cask of Amontillado"Marianne Kimura
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This document compares Donald Trump to the character Montresor from Edgar Allan Poe's short story "The Cask of Amontillado". It argues that both Trump and Montresor are clever manipulators who understand and exploit the emotional vulnerabilities of their victims for their own gain. Trump plays on the insecurities of his supporters, who deep down worry that other countries have found better ways to support citizens than America. Like Fortunato in the story, Trump's supporters are blinded by their pride and easily manipulated. The document draws parallels between the characters and current US politics to analyze Trump's rhetoric and popularity.
"The fair, the chaste, the inexpressive she": the Divine Feminine in 'As You ...Marianne Kimura
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This document discusses how Shakespeare's comedy As You Like It was influenced by Giordano Bruno's work Gli Eroici Furori. It argues that Bruno's conception of the dual nature of the goddess, represented by Diana and a Thames nymph, is reflected in Shakespeare's pairing of female characters like Rosalind/Celia. References to Diana and Bruno's philosophy are also found throughout the play, such as in the description of the wounded stag. The document analyzes how As You Like It uses these elements to allegorically address the environmental and economic crisis facing Elizabethan England from a shift towards fossil fuel usage.
Subverting monotheism: the Divine Feminine and religious/magician figures in ...Marianne Kimura
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The document discusses the mysterious magician figure mentioned briefly in Shakespeare's play As You Like It. It argues this figure represents Giordano Bruno and his ideas about natural magic. The magician is described as Rosalind's uncle who teaches her dangerous studies. He connects Rosalind (the Divine Feminine) to Orlando (mankind) through magic, just as Bruno's ideas connect humanity to nature. Similar magician figures appear in other Shakespeare plays to unite goddesses and mankind. The document analyzes how this represents Shakespeare subverting monotheism to empower the Divine Feminine.
Ninjas and Goddesses: the mad, dashing world of ShakespeareMarianne Kimura
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1) The document discusses an academic who discovered references to Giordano Bruno's work and ideas of the divine feminine/goddess in Shakespeare's play Love's Labor's Lost.
2) The academic then began finding further evidence of Bruno's ideas and depictions of goddesses in other Shakespeare plays like As You Like It, through the characters of Rosalind and Celia disguised as men.
3) Unconventionally, the academic also found similarities between the strategies of ninjas and some of Hamlet's actions and philosophies.
This document discusses Shakespeare's play Love's Labor's Lost and its connection to ideas from Giordano Bruno's philosophical work Gli Eroici Furori. It argues that Bruno's work, which promoted a dual goddess/god system rejecting monotheism, was an important influence on Shakespeare and provides imagery and narratives that can be found in Love's Labor's Lost. Specifically, it notes similarities between a story in Gli Eroici Furori of blind philosophers helped by a river nymph and the opening scene of Love's Labor's Lost. The document aims to show that Shakespeare used Bruno's work to secretly promote allegiance to "the Goddess" in his play.
âConceit deceitfulâ: the painting of Hecuba and the Trojan War in The Rape of...Marianne Kimura
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The document discusses Shakespeare's use of "conceits" in his works. It analyzes Lucrece's interpretation of a painting depicting the fall of Troy, noting how she develops a conceit comparing the painting's characters and plot to her own rape. The author argues this reveals Shakespeare's approach of using classical stories as conceits or allegories. Additionally, Lucrece is shown giving voice to the voiceless painted figure of Hecuba, implying artists should do the same, such as Shakespeare voicing opposition to coal through his works. In general, the document analyzes Shakespeare's aesthetic philosophy and use of conceits/allegories as a way to express social commentary and criticism.
Venus and Adonis: Shakespeare Allegorizes Ovid to Subvert the New Elizabethan...Marianne Kimura
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This document discusses William Shakespeare's narrative poem Venus and Adonis, published in 1593. The author argues that the poem is an allegory for the transition in England from a "sun economy" powered by biomass to one powered by coal in the early 1600s. In the poem, Venus represents English society and Adonis represents the sun. Through imagery and allusions, Shakespeare laments the decline of the sun economy and the rise of fossil fuel use, which he saw as unsustainable. The analysis draws comparisons between Shakespeare's poem and its source material in Ovid to support the claim that Shakespeare used allegory to subtly critique England's emerging coal economy.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
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The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the bodyâs response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
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These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
A Free 200-Page eBook ~ Brain and Mind Exercise.pptxOH TEIK BIN
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(A Free eBook comprising 3 Sets of Presentation of a selection of Puzzles, Brain Teasers and Thinking Problems to exercise both the mind and the Right and Left Brain. To help keep the mind and brain fit and healthy. Good for both the young and old alike.
Answers are given for all the puzzles and problems.)
With Metta,
Bro. Oh Teik Bin đđ€đ€đ„°
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
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The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
How to Download & Install Module From the Odoo App Store in Odoo 17Celine George
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Custom modules offer the flexibility to extend Odoo's capabilities, address unique requirements, and optimize workflows to align seamlessly with your organization's processes. By leveraging custom modules, businesses can unlock greater efficiency, productivity, and innovation, empowering them to stay competitive in today's dynamic market landscape. In this tutorial, we'll guide you step by step on how to easily download and install modules from the Odoo App Store.
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
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Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
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Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
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A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
How to Setup Default Value for a Field in Odoo 17Celine George
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In Odoo, we can set a default value for a field during the creation of a record for a model. We have many methods in odoo for setting a default value to the field.
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
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The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
BPSC-105 important questions for june term end exam
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"The Merchant of Venice" + the Sun
1. âNone but a holy hermitâ: the Hermetic Solar
Allegory in The Merchant of Venice and its
Relevance to the Global Debt Crisis
In addressing the topic of âShakespeare and the Debt Crisisâ, one option to consider. is that Shakespeare
had actually given some thought as to what might cause a debt crisis, a progressive and negative
discontinuity in the status quo of an economy, and that he wrote about this in his plays. In this paper, I
shall show how this is the case, although it has been concealed in a coded form.
All economies run on energy. If it is an aboriginal society in the forest, all materials and resources are
gotten indirectly or directly, through the sun. Waterfalls, rivers, fish, leaves, wood, animal skins or meat,
roots, fruits, are all traceable back to the sunâs energy (causing photosynthesis, wind, weather) and
without the sunâs energy, these resources would not exist for these aboriginal people. But, for a modern
society, an economy depends on more than just the sun to drive the flows of necessary materials, and in
fact, it is well known that modern economies consume millions of barrels of oil and millions of tons of
coal every day.
What is not well known is that Shakespeare (1564-1612) himself was present at one important inflection
point that heralded the birth of the modern global economy, when England turned, in 1603, from being
predominantly a wood-burning society to being a predominantly coal-burning society1
,(the first, but not
1
Freese, âDomestic coal use surged in the 1570s, and before the end of Elizabethâs reign, in
1603, coal had become the main source of fule for the nation, though not without
complaint.â (pp. 32-3)
1
2. the last country in the world to do this). The changes leading up to this transition were most intense in
London, where he was living, in the decades leading up to the end of the century: deliveries of coal to
London increased more than three-fold between 1580 and 1591 (1580: 11,000 tons; 1591: 35,000 tons).2
And shipments of coal from Newcastle grew from 33,000 in 1563-64, when Shakespeare was born, to
163, 000 tons in 1597-983
, the year he wrote Romeo and Juliet in London.
In fact, Shakespeare starts off Romeo and Juliet with two lines about coal:
Sampson: Gregory, on my word, weâll not carry coals
Gregory: No, for then we should be colliers. (I.i.1-2)
Thereafter, Gregory and Sampson rather awkwardly drop the topic of coal, and until very recently, no
critic wondered seriously what these lines were doing, if anything, in such a prime position in the play.
However, recently, in a paper entitled ââJuliet is the sunâ: the Secret Anti-Coal Play in Romeo and Juliet
and the Cosmic Heliocentrism of Giordano Brunoâ4
and published in 2012, the radical opinion has been
put forward that Romeo and Juliet is an allegory that conceals a special history of mankind and the sun
and coal. Man leaves the sun to live in exile from it while he uses coal, then returns to the sun, just as
Romeo goes into exile from Juliet then returns to her. The secret inner play is delineated by the absence
of interaction between the lovers with other characters when they are together. What follows is a quick
summary of the findings of this original paper, which is necessary to understand as a basis for any
further investigations into any other plays, such as The Merchant of Venice.
2
Weimann, Robert. p. 164.
3
Weimann p.164
4
Kimura, Marianne, p. 106.
2
3. Summary of the Secret Play in Romeo and Juliet
Romeo and Juliet have five scenes together. Symmetrically, the first two and the last two, are set
apart: in these scenes, they always play virtually alone, with other characters calling off-stage (or dancing
nearby at the mask) but not fully interacting with the couple as long as the couple is together. Thus
Romeo and Juliet seem to exist in a separate realm where just the two of them are permitted ontological
seclusion. Their ontological isolation is delineated structurally with an absence (not a total absence, more
like a functional one) of interaction with other characters. Take this together with the fact of their
allegorical identities as Man and Sun, and it is logical to conclude that their scenes, always conducted in
private, have another theatrical dimension: the hidden morality play.
The first scene of where Romeo and Juliet play together (demonstrating the first stage of Mankind`s
relationship with the Sun) is characterized, naturally, as one of worshipper and god. Thus when Romeo
and Juliet meet, they exchange puns along religious lines: she is a âholy shrineâ (I.v.94); his lips are
âtwo blushing pilgrimsâ (I.v.95) and so forth. It is important to note that Romeo doesn`t know Juliet`s
name in this part of the anthropological pageant Shakespeare attempts to portray: Mankind is still
operating without many skills or scientific knowledge. Theatrically, that is to say structurally within the
play, this scene is one of introduction and one of reverence.
The second stage of the relationship between Mankind and the Sun is shown in the long and
famous âbalconyâ scene (the second scene where Romeo and Juliet play together). Juliet is aloft,
3
4. symbolizing her position as the sun in the sky above Man. (Note that her place on the balcony is another
theatrical device, not a literary one). He knows who she is and understands her importance, but she is no
longer a god. That is to say that Christianity has removed direct nature worship from peopleâs everyday
lives. He swears fidelity. She explains that she`ll âprove more true than those that have more coying to
be strangeâ(II.ii.101) (That is, the sun will not become depleted.) Man has not yet started using fossil
fuels---ie, being unfaithful to the sun. This scene corresponds to the Middle Ages, a time of faith kept in
agricultural ways of life. But an uneasy feeling âI am afeardâŠthis is all but a dreamâ (II.ii.139-140)
pervades. Can Mankind really be satisfied to stop his progress? Juliet says she âwould have him
gone---/And yet no farther than a wanton`s bird/That lets it hop a little from his hand/Like a poor
prisoner in his twisted gives/And with a silken thread plucks it back againâ (II.ii.176-180). It almost
seems that wild freedom---even bringing calamity---might be preferable to imposed limits.
The third stage of the pageant is the morning after the (secret) wedding night in Act III, scene v.
(The fourth scene where Romeo and Juliet play together). Romeo has âchosenâ Mercutio by killing
Tybalt in revenge. This action symbolizes Manâs action in choosing fossil fuels: an expedient to forestall
a competitor from gaining competitive advantage. It is the start of fossil fuel consumption (becoming
exiled from the sun-based economy, as the Elizabethans were rapidly becoming as they stopped using
wood as a fuel with the depletion of forests). Romeo says, âI must be gone and live, or stay and dieâ
(III.v.11), indicating Manâs predicament as he faced a stark choice to continue to use more coal---
4
5. depleting it yet more---or suffer hardship. âO, think`st thou we shall ever meet again?â (III.v.51) asks
Juliet after she says â..I shall be much in years Ere I again behold my Romeo!â (III.v.46-47). The
separation of the man and the sun (as primary energy source) is to be protracted, but the outcome of this
separation is certain: when the coal is depleted, man will go back to the sun.
In the fourth scene, Romeo (Mankind) dies by suicide, symbolic of an economic collapse, caused
by his own hands through emergence. (It is important to note that a real collapse process could take
centuries: Romeoâs suicide is an artistic and figurative illustration only.)
What about the only scene where Romeo and Juliet interact together fully and functionally with one other
character? Friar Lawrence shares one brief scene with the couple (their third scene together) (II.vi.16-37).
(This brief scene occurs directly before their secret wedding). He is the only character briefly permitted
into their ontological âmagic circleâ(i.e. he can interact with them when they are together as no other
character can) because, as a stand-in for Shakespeare, he is in on the secret. He is therefore called âghostlyâ
(âghostly fatherâ, âghostly confessorâ) four times in the play, (three times by Romeo and once by Juliet) to
underscore his ability to cross through partitions such as the one of the secret play.
The Importance of the Letter and Friar Lawrence
Friar Lawrence writes a letter to Romeo while Romeo is in exile from Juliet. The letter is to inform
Romeo that Juliet, despite what he may have heard, is not really dead. Here we see the technique of
microcosm/macrocosm, which was so important on the Renaissance, being used in a Hermetic way.
5
6. Shakespeare, concealed behind the mask of Friar Lawrence, writes a missive (his play Romeo and
Juliet) to Man, still in exile from a sun economy, about the vitality and possibility of the sun.
Another microcosm/macrocosm then is the important first line of the play, âGregory, upon my word,
weâll not carry coalsâ. The line, besides Hermetically announcing the theme of the play, also functions
to subtly broadcast Shakespeareâs own concealed (âon my wordâ) refusal to âcarry coalsâ, that is, to
extol a coal-driven economy.5
Yet, he recognizes that humans, collectively, do not have a choice but to
âcarry coalsâ. And he sympathizes with our plight. Friar Lawrence is a sympathetic, but objective,
character, one who has wisdom. Friar Lawrence says to Romeo, âRomeo, come forth, come forth, thou
fearful man: Affliction is enamorâd of thy parts/And thou art wedded to calamity.â (III.iii.1-3) (my
emphasis), thereby revealing Hermetically that Romeo is mankind, driven to solve problems, but in the
process, creating others.
From the start, Friar Lawrence is aligned and allied with daylight and the sun, and his entrance, with his
own words that seem incidental but actually are of great importance in conveying vital information
about him, heralds the banishment of darkness as the sun comes up:
The grey-eyed morn smiles on the frowning night,
Checkâring the eastern clouds with streaks of light,
And fleckled darkness like a drunken reels
5
My husband, Dr. Takeshi Kimura, suggested that âweâll not carry coalsâ is a Hermetic
indication of Shakespeareâs preference for a sun-driven economy. Two years before my
husband made this suggestion, I had noticed the first line of Romeo and Juliet was about
coals, and it took my nine months of wondering and researching about the history of coal in
England before I could understand that the line âJuliet is the sunâ was pointing to a hidden
allegory for human energy use in history.
6
7. From forth dayâs path and Titanâs fiery wheels (II.iii.1-3)
The âfleckled darknessâ is also a secret code for coal and the sunâs advance in this passage heralds not
just an ordinary dawn, but the dawning of the playâs secret and passionate project, the re-dawning of the
solar economy.
Another Play About the Sun
Romeo and Juliet is a good outline of the human economic transitions that occur as the planet undergoes
progressive depletion of important powerful coal resources (or other fossil fuels), but, for specifically
addressing the current global debt crisis per se itâs useful to turn to another of Shakespeareâs plays. That
is to say, in the difficult transition back to the sun, we may perceive the transition partly as a debt crisis,
which is an effort by governments, lenders of last resort, to fund things that have gotten too expensive as
depletion makes extraction of oil and coal ever more costly, and it seems that Shakespeare may have
anticipated this state of affairs. This other play is a comedy, one exactly about another âdebt crisisâ of a
sort, and also conceals a sun figure, like Juliet, and coal. The play, famously about the difficulties of the
repayment of a debt, The Merchant of Venice, is fortuitously set in Italy, which is currently one of the
main countries of the Eurozone experiencing serious problems with its sovereign debt.
In fact, Bassanioâs words in Act I echo the current debt crisis:
âTis not unknown to you, Antonio
How much I have disabled mine estate,
7
8. By something showing a more swelling port
Than my faint means would grant continuance,
Now do I now make moan to be abridgâd
From such a noble rate, but my chief care
Is to come fairly off from the great debts
Wherein my time something too prodigal
Hath left me gagâd. (I.i.122-130)
Bassanioâs financial debt then becomes Antonioâs lethal, bodily one, demonstrating how debt may grow
in burden and danger as it gets shifted onto the next lender, threatening and compromising the happiness
and well-being of everyone.
The Holy Hermit Figure
Act Five of The Merchant of Venice starts with romantic poetry, but the melodious exchange is suddenly
interrupted by the entrance of a messenger with news:
Messenger: Stephano is my name, and I bring word
My mistress will before the break of day
Be here at Belmont. She doth stray about
By holy crosses, where she kneels and prays
For happy wedlock hours.
Lorenzo: Who comes with her?
Messenger: None but a holy hermit and her maid.
I pray you, is my master yet returned? (V.i.28-34)
8
9. Portia, who has carried all her plans to victory, is now seen in the mindâs eye of the theater audience,
though not on the stage, to be praying, accompanied by a mysterious âholy hermitâ. And he is never
mentioned again: when Portia appears, accompanied by Nerissa, some 60 lines later, the obscure
religious figure has vanished.
Portiaâs âholy hermitâ has been totally ignored in conventional scholarship, but
I would like to propose a correct name for this mysterious monastic figure. Moreover, his identity is of
great importance to the play and the guidance he implicitly, but so briefly, delivers has a parallel in the
whole central thematic concept of The Merchant of Venice, which is another in the series of allegories
Shakespeare wrote to celebrate, extol, and reify the sun-driven economy. The âhappy wedlock hoursâ
bespeak the union of the Sun (Portia) and Mankind (Bassanio in the allegory) in a solar-based economy.
This is the constant project of all the âholy hermitâ figures in Shakespeare, including Friar Lawrence: to
bring together Man and the Sun, and, by doing so, to implicitly banish and purge Coal.
Portiaâs âsunny locksâ
Portia is first described first by Bassanio as having âsunny locksâ (I.i.169):
In Belmont is a lady richly left
And she is fair and, fairer than that word,
Of wondrous virtues. Sometimes from her eyes
I did receive fair speechless messages.
Her name is Portia, nothing undervalued
To Catoâs daughter, Brutusâ Portia.
9
10. Nor is the wide world ignorant of her worth,
For the four winds blow in from every coast
Renowned suitors, and her sunny locks
Hang on her temples like a golden fleece,
Which makes her seat of Belmont Colchisâ strond,
And many Jasons come in quest of her. (I.1.161-172)
This first characterization of Portia, spoken in her absence, functions as a litany of words from classical
mythology and the religion of Antiquity (temples, golden fleece, Jason, Colchis, sunny) as well as
giving her an aura of being tremendous beyond a human scale (wide world, four winds, wondrous,
speechless messages, sunny). The presentation of her secret identity as the sun is through the interaction
of the two worlds: the Classical world, tied to its nature gods, and the cosmic world of vastness. The
word âsunnyâ is the only direct iteration of her hidden identity, and it connects both the cosmic, huge
world, and the world of Antiquity. âNor is the wide world ignorant of her worthâ also clues us in to the
notion that the sun is the base of economies everywhere, and the Elizabethans had some knowledge of
the presence of other countries and regions in the world.
Later, in Act Five, after Portia has defeated Shylock in court, and is on her way back to Belmont, she
says to Nerissa:
So doth the greater glory dim the less:
A substitute shines brightly as a king
Until a king be byâŠ.(V.i.93-5)
10
11. Of course, Portia, by implication is the âkingâ whose true power has been revealed, in comparison with
Shylockâs, to be much greater than his. She has underscored her status as a âkingâ (a cosmic king, that
is, the sun) in her famous âthe quality of mercy is not strainedâ speech (IV.i.) where she uses a heavy
and notable abundance of words like âaweâ, âmajestyâ, âthroned monarchâ, âkingsâ, âmightiest in the
mightiestâ, âGodâ, âpowerâ, all words of supreme power which all get associated with her, whose voice
utters them.
The Magic of Golden Rings
Golden rings are used throughout Shakespeareâs plays to both denote and convey the power of the sun.
Sometimes gold rings, merely by being mentioned, constitute a piece of poetic, though hidden verbal
magic: through the hearing or voicing of the words âgoldâ and âringâ together, a troubled character with
a deficit may be âcuredâ or else achieve a new status which brings him or her closer to the sun.
Sometimes actual gold rings, exchanged by the characters, serve a similar purpose. Whether they are
mere words or real objects seen on the stage as props, gold rings transmit the power of the sun in
Shakespeareâs plays. The intention and the result are magic of a certain kind. But what kind of magic?
To understand better how the âmagicâ of the golden rings in Shakespeare works, we should first
examine some of the theory behind the rise of the Hermetic study of magic that occurred in the
Renaissance:
The potentialities open to human ingenuity were greatly enhanced by the tide of Neoplatonism
11
12. which swept through Renaissance Europe. The revival of this, the last school of ancient pagan
philosophy, fostered a disposition to blur the difference between matter and spirit. Instead of being
regarded as an inanimate mass, the Earth itself was deemed to be alive. The universe was peopled
by a hierarchy of spirits, and thought to manifest all kinds of occult influences and sympathies.
The cosmos was an organic unity in which every part bore a sympathetic relationship to the rest.
Even colours, letters and numbers were endowed with magical properties. The investigation of
such phenomena was the primary task of the natural philosopher, and their employment for his
own purposes was the distinguishing mark of the magician. Three main types of magical activity
thus lay open: natural magic, concerned to exploit the occult properties of the natural world;
celestial magic, involving the influence of the stars; and ceremonial magic, an appeal for aid to
spiritual beings. (Thomas 265)
Although the author, the noted British historian Professor Keith Thomas, clearly regards the premise
behind the catalogue of magical practices here to be without any scientific basis, and modern scientists
would generally agree, there is one line in his dismissive summary that cannot be totally rejected by
modern scientists. That line is âThe cosmos was an organic unity in which every part bore a
sympathetic relationship to the rest.â We know through studies of ecology and environmental science,
as well as quantum mechanics, how the many parts of our planet are influenced by a myriad of factors,
emergent interactions of all of the other parts, including subatomic particles. And out of all the
12
13. relationships that cause influences on the other parts, one relationship has an out-sized importance and
value. This relationship-----the Earth-Sun relationship----stands as qualitatively different from all the
others, because so much---actually everything--- for us on Planet Earth hinges on it. By dwelling on the
implications of the real relationship of the two celestial bodies, Giordano Bruno, Shakespeareâs secret
hero, was the first to outline a vision of the solar system and the larger universe so modern and
fundamental that it is still with us today:
All celestial bodies are either hot or cold, luminous or opaque, throughout the infinite whole the cold and
opaque bodies will necessarily circulate around the hot and luminous ones, in order to guarantee the
infinite and eternal process of generation and corruption, that is, the infinite process of life. (Gatti 125)
Further, in Operelatine, Bruno showed how a fundamental understanding of the relationships--- what
was dependent on what in the cosmos----could bring clarity and avoid confusion in thinking down here
on earth when he wrote, âWhen you conform yourself to the celestial forms, âyou will arrive from the
confused plurality of things at the underlying unityâ. For when the parts of the universal species are not
considered separately but in relation to their underlying order----what is there that we may not
understand, memorise and do?â (Bruno, qtd in Yates 219)
These words express Brunoâs underlying vision of unity in the universe (the underlying order) and
this idea can show how Keith Thomasâ sentence âThe cosmos was an organic unity in which every part
bore a sympathetic relationship to the restâ might also be considered a valid scientific statement, and
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14. moreover it might be considered a partial paraphrase of Giordano Brunoâs own view of how magic
works through âthe art of memoryâ, where the âreal point was to order sense perceptions, imagination,
and, ultimately understanding to reflect the basic harmony of the world itself.â (Rowland 125) (my
emphasis)
We should therefore understand Shakespeareâs use of verbal magic as something that: first, is broadly
aligned with Brunoâs basic concept of the relationships of the sun and the earth within a larger infinite
cosmos, and that: second, relies primarily on the principle of analogy, since âall magic, whatever its
level of sophistication, worked on the principle of analogy.â (Rowland 119)
For Bruno, âReal Magi were wise men, not tricksters, and their art derived its power from
understanding how the world worked.â (Rowland 117); and this same understanding is the basis of
Shakespeareâs art, as well as its underlying claims to transmit images, enact processes, or model the
worldâs unseen natural secrets. Shakespeareâs âmagicâ is simply the secret recognition ---and verbal
transmission and reverent expression in obscure and esoteric symbolic forms---of the primary cosmic
relationship that affects us most, and as such, though innately and indirectly, defines us. As the
Elizabethans in London were necessarily turning away from this fundamental relationship, through the
coal economy, and they ceased gradually to depend on the sun and collect the sunâs energy in many
ways6
, Shakespeare sought to secretly preserve, protect, and glorify this original, resilient, and primary
6
Of course, we now know that coal and oil (fossil fuels) are stored solar energy, since these
fuels were formed by the plants which grew on the earth millions of years ago.
Nevertheless, although they are technically âsolar energyâ in some form, they cannot be
considered as direct solar energy.
14
15. relationship in his work because he recognized (through the fundamental relationships between celestial
bodies as Bruno described them) that any deviation in the economy (the set of flows of matter and
energy that lead from the cosmos through human bodies) away from one that reflected the fundamental
Sun-Earth relationship would be only temporary and fragile. When the fossil-fuel based economy finally
started to buckle under the weight of its own contradictions, depletions, and impossibly costly
exigencies, he secretly posited that the importance of the fundamental Sun-Earth relationship would be
necessarily re-recognized.
Thus a robust, encompassing awareness of the supreme cosmic importance of the sun is the basis for
Shakespeareâs magic. He aligns his art with recognized supreme powers (âa kingâ), which he knows,
through the cosmology of Bruno, to be the Sun. He demonstrates and enacts this process of recognition
or transmission of âthe power of the sunâ in his plays in esoteric ways. The magic involves the human-
cosmic relationship, and we can say that the magic is totally dependent on our historic relationship with
the sun, a relationship historically celebrated with festivals, music, songs, rituals, prayers, rites and
festive performances that form the raw cultural materials Shakespeare worked with and altered in
complex ways.
Antonio
The turning point in the play, is the climax where Portia and Nerissa successfully battle the threatening,
15
16. damaging and destructive force located in the character of Shylock. But who is cured? Not Bassanio,
who is âsafeâ by then.
The answer to this question is the key to the whole underlying dynamic of the play. That is why
Shakespeare starts off this play with the words of Antonio, who states the key problem (although it is in
allegory):
In sooth, I know not why I am so sad;
It wearies me, you say it wearies you;
But how I caught it, found it, or came by it,
What stuff âtis made of, whereof it is born,
I am to learn.
And such a want-wit sadness makes of me,
That I have much ado to know myself. (I.i.1-7)
The first lines in Shakespeareâs plays are coded messages that announce the theme. Here we have an
âinjuredâ, or rather a âsadâ protagonist. How will he get cured if he doesnât even know the reason for
his misery? The theme is psychological depression and mental agony. How to find joy in such a
situation? Furthermore, if Shakespeareâs plays are allegories, then who is hiding behind the mask of
Antonio? Who is this mysterious, isolated and sad figure? Once again, in Antonio, we can see a hermit
(lonely and isolated) character working assiduously âbehind the scenesâ to bring Bassanio (the mankind
character) together with the sun (Portia). It is Antonio who borrows money from Shylock in order to
give Bassanio the means to visit Portia and win her hand. Antonio is Shakespeare, and to know this
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17. gives us a new perspective on the notion of Antonioâs âmerchandiseâ(I.i.45). His ships, his wealth, all
are ventures, not unlike plays, risky vessels launched in expectation of success. So it is possible to see,
through the relationships delineated in allegorical terms, a fascinating dynamic process: Shakespeare
sees his role like this: he helps Man to win the Sun (that is to reclaim the Sun economy) through a
special process whereby he gives his wealth (his plays) to Man. The whole complex mechanism is a
kind of âArt of Memoryâ, or theater of memory, and goes straight back to Giordano Brunoâs description
of the âpractice of artificial memory as âclever application of thoughtâ to âpresenting, modeling, noting,
or indicating in the likeness of painting or writing, in order to express or signifyâ.â(Rowland 123) A
microcosm (Rowland 123) is one arrangement that Bruno lists as way to convey âsublime ideas in
physical form.â (Rowland 122) By looking closely at these practices that Bruno recommended, we can
note their basic structural and functional similarity to the designs of Shakespeareâs plays, cosmic
allegories in which important cosmic âstatuesâ (figures or representations) move about in a specially
designed microcosm, an artwork of cosmic proportions and implications.
Shylock
Who is Shylock in the world of the microcosm in this play? Who is this dark figure who is so important
and so necessary? For, if Portia did not defeat the seemingly invincible Shylock, we would never
understand her potency, nor see her brilliance as a true âkingâ. If Portia is the Sun, then Shylock must
necessarily be âthe substituteâ, the energy source that seems at first as if it has no rival, but is then
17
18. revealed by the light of the sublime sun to be a mere pretender. Shylock, in short, is coal. The word coal
is not used, since the play is a Hermetic presentation, but subtly transmitted through a substitute word
âstonesâ, repeated with intense feeling, three times in three lines, in Shylockâs emotional cry (reported
second-hand by Solanio):
And jewels, two stones, two rich and precious stones,
Stolân by my daughter! Justice! Find the girl,
She hath the stones upon her, and the ducats. (II.viii.20-22)
The cry is one of agony, revealing the underlying insecurity people felt in leaving the sun, and coupled
with âducatsâ, money, explaining how âstonesâ, coal, were economic necessities. The use of âstonesâ as
a substitute for coal, goes back to Romeo and Juliet, where Friar Lawrence groups them with resources
like plants and herbs, leading to the possibility that they are coal, which looks like stones:
O, mickle is the powerful grace that lies
In plants, herbs, stones and their true qualities;
For naught so vile that on the earth doth live
But to the earth some special good doth give;
Nor aught so good but, strained from that fair use,
Revolts from true birth, stumbling on abuse. (II.iii.15-20)
Friar Lawrence also mentions that the stones âstrained fromâ their âfair useâ might be used in such a
way that stumbles on âabuseâ, which is a veiled reference to the heavy pollution from coal smoke in
London at this time.
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19. Later, in The Merchant of Venice, the Duke also uses the word âstoneâ to characterize Shylock:
A stony adversary, an inhuman wretch,
Uncapable of pity, void and empty
From any dram of mercy. (IV.ii.4-6)
Shylockâs character famously has many human dimensions and also stands complexly and thoughtfully
in reference to the anti-Semitic traditions of the time, but underneath it all, in the allegory, he is simply
something actually âinhumanâ, coal. This does not mean that Shakespeare implies that Jews are not
human, of course; the allegory plays on the stock character of the âJewâ as outsider, outcast,
counterpoint. To Shakespeare, it was not Jews, but fossil fuels that were the alien, counterpoint to the
sun. And the total necessity of using coal without regard to the future consequences (a fact which our
economies today even imply) is analogized (in a concealed way) as the Venetian âlawâ which Shylock
constantly seeks to have upheld, and which other characters, including Antonio, also all agree is
necessary. In Antonioâs words:
The Duke cannot deny the course of law;
For the commodity that strangers have
With us in Venice, if it be denied,
Will much impeach the justice of the state,
Since the trade and profit of the city
Consisteth of all nations. (III.iii.26-31)
In other words, England cannot refuse to use coal, its own resource, because then, eventually, someone
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20. else would use it. The system âconsisteth of all nationsâ, (now, we call it the âglobal economyâ) in the
way vaguely described by Antonio. The Renaissance, of course, as we know, already had heavy reliance
on trade as stimulator to economic activity. Britain, in particular, was on the rise.
Antonio then gets in debt to Shylock, and then (in the words of Portia) âstand(s) within his dangerâ
(IV.i.180). The dynamic in this microcosmic world is clear: Shakespeare must rely wholly on the fossil
fuel economy in the creation, transmission production and performance of his plays. A whole economic
structure, which included the theater industry, the court, myriad other industries and economic
pathways, was reliant on coal. Without coal, permanent theaters would probably not have been built in
London, starting in 15677
.
Shakespeare knew quite well that he âowedâ his success and wealth to coal. He understood that the
economic process entangled everyone, including himself, in complex ways that were not always
unpleasant, though their long term implications may yet be. It is of course Portia who so eloquently
states âWhich is the merchant here, and which the Jew?â (IV.i.174), echoing Antonioâs lament âthat I
have much ado to know myselfâ. In fact, Shakespeare risked the annihilation of his own identity, or his
solar-based principles, in a glittering, complex place which progressively---even, happily--- abolished
the sun economy. But Shakespeareâs certain knowledge that ever-depleting coal could not and would not
keep penury away one day from the world at some future time must have given him a fully modern
7
Greenblatt notes, ââŠit was not until 1567 that a prosperous London grocer, John Brayne,
put up the cityâs first freestanding public playhouse, the Red Lion, in Stepneyâ. (p. 182)
20
21. sense of alienation and irony, the original feelings that became, in a coded way, Antonioâs âsadnessâ in
The Merchant of Venice.
Antonio is sad, even before he undertakes to borrow money from Shylock. In a sense, it is the presence
and the power of Shylock that creates a mood and an atmosphere where Antonio must be sad and
Bassanio must be poor. In allegory, we can say that Shakespeare is pointing to the fact that a coal-
powered economy created conditions where large numbers of poor people lived in urban conditions that
were much less healthful and abundant in food than the simple rural villages that had preceded the coal-
based economy. More generally, Bassanioâs penury points to the overall stress a fossil-fuel-economy-
based society faces as it constantly compensates for the depletion of its main supporting fuel.
The Mechanism of the Rings
Gratiano has this to say about the ring that Nerissa gave him:
About a hoop of gold, a paltry ring
That she did give me, whose poesy was
For all the world like cutlerâs poetry
Upon a knife, âLove me, and leave me not.â (V.i.147-150)
The first line, with its occurrence of both the words âgoldâ and âringâ signal the presence of
Shakespearean magic about to be performed. The magic is a kind of hidden, though direct, and therefore
unobtrusive pathway to the mind of the listener, where these two words create a round gold flashing
symbol that is then followed by the words âfor all the worldâ, indicating the cosmic significance of the
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22. event, and then ending in the valediction: âLove me, and leave me notâ, that is to say, mankind should
stick with the sun economy. All the games and play with the rings, the comic mix-ups, the fuss, the
farcical accusations with their sexual innuendos, the dramatic tension generated and dissipated, are all
an attention-deflecting ruse for this one perfect and magical moment of truth-telling, where Shakespeare
lets slip his real and didactic intentions in a bit of comedic dialogue spoken by a subordinate. Gratiano.
But let us not forget one salient fact about him, a compass point that indicates Gratianoâs position:
Gratiano is a Fool (in sophisticated Venetian dress) and the Fool is ever the character to tell the truth
(though the truth he tells is generally unrecognized as such) because he also retains a closeness to ritual
and festivity, which is to say, to the Sun.
Before leaving the important topic of the gold rings, I would like to trace their route through the play.
The paths they follow is intrinsic to the message of the power of art as a device to restore the sun
economy to man. First, we have to remember that the golden rings originate with Portia and Nersissa,
the Sun Figure and her assistant. That is totally appropriate and expected. That the sun shines is the
inciter of all the action for anything. And at the end of the play, Bassanio and Gratiano have the rings,
(unlike Romeo, who dies without his, though he searches for it in the tomb where Juliet is comatose, a
defunct sun economy). In The Merchant of Venice, the sun economy is restored to man through the
actions of the comedy. It is the Sun (Portia) who saves Antonio-Shakespeare by providing inspiration
and an ultimate âanswerâ to coal. Thus though Shakespeare risked being compromised by having to
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23. âcarry coalsâ, (as someone working in a place where coal had become the primary fuel), by secretly
enshrining and validating the sun economy he could save himself from moral and artistic annihilation.
Through the sacrificial action of Antonio the rings come to be given to Portia and Nerissa who can then
return them to Bassanio and Gratiano.
Shakespeare (through identification with Antonio) is a catalyst in the process to circulate the rings,
symbols of the sun, and through their circulation the rings generate and express fellowship, gratitude,
understanding, forgiveness, laughter, and recognition of the values that create communal bonds.
Probably these are the very same qualities we need in our own current, and very modern, struggle
against the modern debt crisis.
References:
Freese, Barbara. Coal: A Human History . London: Penguin Group, 2003.
Gatti, Hilary. Giordano Bruno and Renaissance Science. Ithaca, NY: Cornell U. Press.
1999.
Greenblatt, Steven. Will in the World. New York, NY: W.W. Norton&Co., 2004.
Kimura, Marianne, ââJuliet is the sunâ: the Secret Anti-Coal Play in Romeo and Juliet
and the Cosmic Heliocentrism of Giordano Brunoâ, in Area Studies Journal, March 31,
2012. Tsukuba University. pp. 93-120.
Rowland, Ingrid. Giordano Bruno: Philosopher, Heretic. Chicago: U. of C. Press. 2008.
Shakespeare, William. The Merchant of Venice and Romeo and Juliet in The Riverside
Shakespeare. Eds. Levin, Blakemore et al. Boston: Houghton Mifflin Company, 1974.
Thomas, Keith. Religion and the Decline of Magic. London: Penguin Books. 1971.
(reprinted 1991)
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24. Weimann, Robert. Shakespeare and the Popular Tradition in the Theater. Baltimore,
MD: Johns Hopkins U. Press, 1978.
Yates, Frances.A. Giordano Bruno and the Hermetic Tradition. Abingdon, Oxon:
Routledge. 1964 (reprinted 2009).
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