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Posts Tagged ‘literature’

my lord Hamlet, and all of us

I saw Hamlet for the first time and for the fiftieth last night.  I had not seen David Tennant’s ’09 production until now.  He is certainly the most soulful Hamlet I have seen.  His portrayal was also the most vulnerable as he is so thin and his eyes so big.  He makes the scene with Gertrude more believable that he is her little boy, lost.

As excellent as Branagh was in that scene, he was too swaggering to be vulnerable.  And Tennant’s madness was much more of an antic disposition than any I’ve seen.

He was wonderful, and as I am an experienced Hamlet-watcher, I was waiting to see if the director was going to suggest that Hamlet was really cracking up, or if he was truly faking it.   He is faking it in this one.

Tennant’s scenes with Ophelia were not as touching as Branagh’s, nor his “Forty-thousand brothers” line, a line that can give chills if delivered right.  The director seemed to relegate Ophelia to her signature herb-strewing and not much else.  One cannot believe the grave scene if the relationship with Ophelia is not seeded tenderly throughout the first half of the play.  Tennant’s 40,000 brothers was not believable and I grieve for that.

We have to see that he does love her

The Osric scene, which precedes one of my favorite moments in Hamlet, was weak as well.  It was perfect with Branagh and Williams:

the trappings of society vs real human relationships

Here Osric is puffed up with the most superficial of all human characters: the courtier.  Hamlet, line by line, contrasts the buffoon with everything he has learned about the human experience on earth in the first 4 acts.  This scene leads into the most important lines of the play (IMHO): “If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all.”  Then he says, “Let be.”

He had asked himself, “To be or not to be?” earlier.  Here is his answer to himself…with the slow…let…be.

Hamlet has not been “ready” until that moment.  I don’t like to see the director just skip by those lines.  I have to sniff and rub my cheek every time Branagh delivers them, but Tennant pops them out too fast and the look in his eye suggests he is ready for the dual…not ready for death as Branagh is.  Horatio knows this.  In the Branagh version Horatio bursts into tears at that line.  In Tennant’s we go right to the fencing.

However…Tennant’s Soliloquies were awesome.  It is those eyes…he does angst like no other.

yes…

I love Hamlet and Hamlet.

When I was a teenager I used to cry and cry when I was reading Hamlet and got to the end.  I had a ritual where I would turn back the pages and would not put the book down until I had read Act 1 again…so that Hamlet was alive again as I closed the book.  I had fantasies where I was Ophelia and I saved him.  We would run away together to a ship and leave Denmark forever…but try as I might in these imaginary adventures, I could not take away what plagued the Prince.  There is no saving Hamlet.  It defeats the purpose of the play.

Hamlet, and by Hamlet, I mean the most beautified Bard, teaches us all what it is we are here for in the first place:  What a piece of work is a man.

Hamlet must die, as we all must.  The readiness is all.

And yet he is forever.  We can turn back the pages and be Hamlet all over again, whenever we want.

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What makes a man appealing?  I am sure this question has many different answers, but in Western Culture there are a few qualities that stand out as givens.  While looking at my website statistics, I discovered one lonely search term for Baron Montrose.  All the other terms are for my name or Nadira’s.  Someone somewhere remembered Montrose and was looking for my website with his name.  He must have touched them.

I thought about how I created his character so many years ago.  I started with an idea.  I wanted an interesting man.  A sexy man.  Of course I did.  All novelists do.

Extreme self-confidence is the most sexy trait there is.

I am reminded of this while listening to the radio in the car yesterday.  The new holiday Dos Equis commercial played, you know the one…with “the most interesting man in the world”…and I laughed so hard I almost missed a traffic light.  A dangerous commercial, indeed.

This is the line that got me: “He is the reason the Nine Ladies are Dancing.”

I think the success of the Dos Equis media campaign is due to inspiration by the many amusing Chuck Norris jokes.  He is another man who is neither young nor handsome, and yet he is admired for his fictitious super-powers:  “His tears could cure cancer…but he never cries” etc.

When I create a character I want readers to admire I remember all the characters I have admired over the years, real people and imaginary ones.  When I wanted Nadira to have a counterpoint in this story, I needed to create a person who was opposite her in thinking and behavior, yet had a hidden core I planned to reveal slowly over several books.

I first went to Mr Darcy (of course…the most interesting man in literature…) but he was too dignified.  I then thought of Rochester…but he was too cruel.  I imagined Aragorn…but he was too…ok folks, admit it.  He is not the sharpest tack…right?  And who can forget Heathcliff?  The King of Angst.  The beauty of being a novelist is the ability to create a character by borrowing traits from everywhere.

I imagined a man strong and capable, with a fierce sense of self…who harbored secret doubts about what he had been taught as a child, what his father had taught him about what it means to be a fine man.  But admiration changes based on who is doing the admiring.  Is the admirable man a chameleon?  Does he change to suit his environment and his purpose?  How can one be admired by all unless this is done?

If so, then who are you?  You would have to define yourself by how others see you.  You would be relying on their admiration to determine your own self worth.

This is my hero’s journey.  He was told that he needed to be strong, to be stoic, to be skilled.  He was punished for showing any signs of weakness or emotion.  His duties were set before him, and failure was not tolerated.  When a child is given these directives, what kind of man is produced?

My hero, Montrose, must struggle with opposing forces between the contents of his own heart and mind and the directives of his society.  Long-held beliefs are not easily jettisoned.  Yet extraordinary circumstances can often be the catalyst for amazing self-discovery.  Amazing to Montrose, that is.  The adventure I have created forces the characters to examine everything they have known to be true…and realize how wrong they have been.  This is a difficult process for anyone.  No one likes to admit they are wrong.

But such an admission is admirable in every case.  Mr. Darcy realizes he has been wound a bit too tightly.  Do you remember his smile at the end of the BBC production (the one with Colin Firth)?  Do you realize that for 5 hours you had not seen him smile?  Not once.  What a shock that was, what an emotional release!  And Rochester…his novelist treated him with the most cruelty of all.  I would not have punished him so, but perhaps Bronte felt his cruelty needed to be met with equal retribution to bring him to his knees.  How your heart breaks, seeing this proud man humbled.  And Aragorn…thank goodness for Arwen.  She will keep him in line if he just lets her run the kingdom.

Which brings me back to The Most Interesting Man In the World.  He is many men, and one man.  We know him when we meet him.  The combination of confidence and vulnerability is his strength.  He has the courage to root out his own flaws and amend them.  He may want to be admired by other men for his abilities, but more importantly, he wants to be worthy of his woman’s love.  He wants her admiration more than anyone else’s and will strive for it, overcome all obstacles for it, go to the ends of the earth for it.  Darcy does it, Rochester does it, Aragorn finally picks up that heavy sword.  The hero will persevere until he achieves his goal.  Montrose does it.

He is the reason his lady is dancing.

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