Sunday, 19 March 2023

Wisdom and Folly in William Shakespeare and the Book of Proverbs (1) CECILY CLARK

 


A presentation to the Spiritual Reading Group given on the 15th of March on Powerpoint via Zoom by Cecily Clark. Edited by Philip Harvey. © Cecily Clark.

 Despite the relentless pursuit of knowledge in our troubled world with its wars, strife and a pandemic, the question remains, “Has our knowledge really helped us? Is knowledge different from wisdom?” 

I would like to consider how an understanding of Wisdom and Folly in William Shakespeare and the Book of Proverbs can help us navigate our way through our world. We will discover similarities and differences between Wisdom and Folly in Shakespeare and Folly, and how they can enrich our own spirituality. By reading aloud some of the dramatized texts and discussion, it is hoped people will have a lived experience of Wisdom and Folly. 

The Book of Proverbs. The Hebrew title misle, ‘proverbs of’, is an abbreviation of misle slomo, ‘the proverbs of Solomon’. Proverbs is a guidebook for successful living. Proverbs reveals how Israel’s distinctive faith affected their common life. The purpose of the book is to instruct the pupil about the worth and nature of Wisdom. It also warns the pupil about the dangers of Folly. Proverbs is a book about sowing and reaping; those who sow Wisdom reap life while those who sow Folly reap death. 

There are three parts to the Book of Proverbs. (a) Chapters 1-16 The Proverbs of Solomon (1015-975 BC); these chapters appear to be unrelated without any grouping. (b) Chapters 17-22 The Words of the Wise (a collection of Israel’s sages). They are grouped by theme: regard for the poor, respect for the king, discipline of children, honour of parents, chastity. (c) Chapters 23-34 Additional Saying of the Wise; theme: social responsibility. 

William Shakespeare (26 April 1564, Stratford-upon-Avon-23 April 1616, Stratford-upon-Avon) wrote 38 theatrical works, 154 sonnets, and two long narrative poems). The majority of his works were written between 1589 and 1613. The plays between 1600 and 1606 are considered to be his most biblical (Hamlet, Antony and Cleopatra, King Lear, Macbeth, Measure for Measure, Othello, Troilus and Cressida). Contemporary audiences are becoming more biblically illiterate and often miss his numerous biblical references, direct quotes or more attenuated. 

In the Elizabethan era church attendance was compulsory. Shakespeare would have attended church regularly. He was also familiar with several Bible translations, especially the Great Bible of 1539 and the Geneva Bible of 1560. According to the scholar Emily Gray, there is also evidence that Shakespeare would have studied the Bible independently of compulsory church services. 

Other influences on Shakespeare include the classical writers Cato, Cicero, Horace, Ovid (Metamorphoses), Plautus, Seneca, Terence,  Homer (The Iliad), Hesiod, and Virgil. Classical Greek playwrights: Aeschylus, Sophocles, and Euripides. Plutarch (46-199 CE) was the Greek philosopher who was the source for his Roman history plays and the idea of the ‘tragic hero’. Petrarch (1304-1374) was the Italian poet who laid the foundations for Renaissance Humanism and influenced Shakespeare’s sonnets. Also the English poet Geoffrey Chaucer (1340-1400), Spagnoli of Mantua (1447-1516), and Erasmus, in particular his comic personification of Folly in ‘The Praise of Folly’ (1508).   

Shakespeare frequently “quotes or adapts biblical phrases with the specific purpose of strengthening the audience’s emotional reaction and deepening their investment in the dramatic storylines, making extensive biblical knowledge crucial to experiencing the emotional and thematic richness of his works.” (Noble in Gray)

 A definition of Wisdom: “The fear of the Lord is the beginning of Wisdom, and knowledge of the Holy One is understanding.” (Proverbs 9:10) A definition of Folly: “Fear of man will prove to be a snare, but whoever trusts in the Lord is kept safe.” (Proverbs 18:2) 

Further definitions: “When pride comes, then comes disgrace, but with humility comes wisdom.” (Proverbs 11:2) “Whoever fears the Lord walks uprightly, but those who despise him are devious in their ways.” (Proverbs 14:2)

In ‘As You Like It’, Shakespeare writes: “A fool thinks himself to be wise but a wise man knows himself to be a fool.” Compare this with Proverbs 15: 2: “The tongue of the wise commands knowledge but the mouth of the fool gushes folly.” And here are more Shakespearean definitions of Wisdom and Folly:

“Give every man thy ear, but few they voice.”

“How far that little candle throws its beams! So shines a good deed in a naughty world.”

“What’s done can’t be undone.”

“This above all; to thine own self be true.”

The devil can cite Scripture for his purpose.”

“Sweet mercy is nobility’s true badge.”

“Talking isn’t doing. It is a kind of good deed to say well; and yet words are not deeds.”

“Words without thoughts never to heaven go.”

“All the world’s a stage, and all the men and women merely players. They have their exits and their entrances; and one man in his time plays many parts.” 

In Proverbs, Wisdom and Folly are personified. Interestingly, thy are all female characters. Lady Wisdom and Lady Folly are two examples. This makes an interesting link with Shakespeare’s theatrical characters because they too are shown to have personal features or characteristics. 

Here is a character of Wisdom in Proverbs 9:1-12

 Lady Wisdom:

1.     Wisdom has built her house; she has hewn out its seven pillars.

2.     She has prepared her meat and mixed her wine; she has also set her table.

3.     She has sent out her maids, and she calls from the highest point of the city.

4.     “Let all who are simple come in here!” she says to those who lack judgment.

5.     “Come, eat my food, and drink the wine I have mixed.

6.     Leave your simple ways and you will live; walk in the way of understanding.

7.     Whoever corrects a mocker invites insult; whoever rebukes a wicked man incurs abuse.

8.     Do not rebuke a mocker or he will hate you; rebuke a wise man and he will love you.

9.      Instruct a wise man and he will be wiser still; teach a righteous man and he will add to his learning.

10.                         The fear of the Lord is the beginning of wisdom, and knowledge of the Holy One is understanding.

11.                        For through me your days will be many, and years will be added to your life.

12.                        If you are wise, your wisdom will reward you; if you are a mocker, you alone will suffer.”

 

 

Characteristics of Lady Wisdom:

Hard worker.

Shows good judgement.

Calls and instructs the simple ones in understanding and wisdom.

Doesn’t correct those who mock because they will retaliate.

A wise person will accept correction.

A wise person will increase in their wisdom and understanding through instruction.

Fearing the Lord is Wisdom.

Knowledge of God is understanding.

A wise person prospers while a foolish one suffers.

 

Comparing Lady Wisdom with Silvia from ‘Two Gentlemen from Verona’. This play is a comedy that centres on two pairs of lovers, Proteus and Julia, and Valentine and Silvia. When the play begins, Valentine leaves Verona for Milan while his best friend Proteus stays behind to woo Julia. Silvia. Daughter to the Duke and beloved of Valentine, also sought after by Proteus and Thuria. Silvia commiserates with Sebastian over the wrong that Proteus has done to Julia. She escapes her father’s palace with the help of Sir Eglamour, who abandons her at the sight of the outlaws.

 


Summary of Wisdom in Silvia:

Holy and wise.

Shows beauty in kindness.

Helpful.

Shows humility even in success and popularity.

Shows boldness but also loyalty.

Shows morality and fidelity.

 

And comparisons with Proverbs:

“Charm is deceitful, and beauty is vain, but a woman who serves the Lord is to be praised.” (Proverbs 31:30)

“Don’t ever forget kindness and truth. Wear them like a necklace. Write them on your heart as if on a tablet. Hen you will be respected and will please both God and people.” (Proverbs 3:3-13)

“She opens her mouth with wisdom, and the teaching of kindness is on her tongue.” (Proverbs 31:26)

 

Wisdom characters in Shakespeare are found, for example, in the paradoxical nature of the tragic heroes – both noble and yet flawed. The flawed hero is biblical, consider Moses, King David, and Jonah. Marcus Brutus in the play ‘Julius Caesar’ is shown as ethical, patriotic, reasonable, and shows selflessness. Banquo in ‘Macbeth’ is shown as suppressing ambition.

 

Wisdom in Folly. There is a range of fools in Shakespeare, purely for entertainment, laughable, incompetent, mischievous. The purpose of the wise fool however is that “they confound and confuse; they encourage speculation; they serve as mediator between play and audience; they expose follies and faults in other characters … The wise fools both mock and criticise the flaws of other characters and of society; often, ‘in the laughter of fools the voice of wisdom is heard.’” (Brudevold)

 

Continued at (2)

Wisdom and Folly in William Shakespeare and the Book of Proverbs (2) CECILY CLARK

A presentation to the Spiritual Reading Group given on the 15th of March on Powerpoint via Zoom by Cecily Clark. 

 Continued from (1)

‘Twelfth Night’ is a romantic comedy. The twins Sebastian and Viola are separated in a shipwreck and find themselves on an island called Illyria. Orsino is in love with Olivia but rejects his advances. He sends Cesario (really Viola) with love letters to woo Olivia on his behalf. Unfortunately for the Duke, Olivia is taken in by Cesario’s disguise and falls in love with him. Sebastian arrives, causing a flood of mistaken identity and marries Olivia. Viola then reveals she is a girl and marries Orsino. 

In Act 1, Scene 5 Antonio is brought to talk with Orsino an upon seeing Cesario, accuses him of betrayal. Sebastian arrives and apologizes for fighting with Sir Toby. The twins discover they are both alive. Orsino’s fool, Feste brings a letter from Malvolio, and on his release, Maria’s letter is revealed as fraudulent. Feste is a character of Wisdom in Shakespeare. 

Feste: Wit, an’t be thy will, put me into good fooling!

Those wits, that think they have thee, do very oft

prove fools; and I, that am sure I lack thee, may

pass for a wise man: for what says Quinapalus?

‘Better a witty fool, than a foolish wit.’

[Enter Olivia with Malvolio]

God bless thee, lady!

Olivia: Take the fool away!

Feste: Do you not hear, fellows? Take away the lady!

Olivia: Go to, you’re a dry fool; I’ll no more of you:

besides, you grow dishonest.

 

In summary, Feste is a Wisdom figure in ‘Twelfth Night’ as:

He refers to Olivia, a wealthy, beautiful and noble Illyrian lady, as a fool; in so doing he is sending up the class system.

He challenges what Wisdom and Folly really are; people who consider themselves wise because of their social standing but lack insight or substance are shown to be foolish.

People who may not have social status can have more insight and substance and can be considered to have more wisdom. 

The biblical view of Wisdom in Folly:

“True wisdom comes only from God, and is virtually opposed to the worldly wisdom which man uses to justify his own fallen nature.” (French)

“But God hath chosen the foolish things of the world to confound the wise, and God hath chosen the weak things of the world, to confound the things which are mighty.” (1 Corinthians 1:20) 

‘The Merchant of Venice’ was written between 1596 and 1598. A merchant in Venice (Antonio) defaults on a large loan provided by a Jewish moneylender (Shylock). Antonio, who is antisemitic, takes a loan from Shylock to help his friend to court Portia. As Antonio is unable to repay the loan, Shylock mercilessly demands a pound of his flesh. The heiress Portia, now the wife of Antonio’s friend, dresses as a lawyer and saves Antonio. 

In Act 4, Scene 1 Antonio and Shylock come face to face in a courtroom in Venice. Antonio has failed to pay back the money on time and according to the terms of their agreement, Shylock is now entitled to take a pound of Antonio’s flesh. Shylock insists on this pound of flesh and insists that if the Duke refuses him it will make a mockery of Venice and its entire justice system. The Duke insists that the court hear the opinion of a young and learned lawyer named Balthazar. Portia enters disguised as Balthazar and tells Shylock that Venetian law is on his side but begs him to show mercy in her ‘mercy’ speech. Portia’s speech:

 


Characteristics of Wisdom in the character of Portia:

Delivers the value of Godly Wisdom in the notion of Mercy.

Mercy is not forced.

Mercy is from God.

Explains that earthly power can create fear whereas Mercy is from heaven and is necessary for all people.

Earthly power is temporal whereas power that displays Mercy reveals Godly Wisdom. 

Then there is a character of Folly in Proverbs 9:13-18

Lady Folly:

1.     The woman Folly is loud; she is undisciplined and without knowledge.

2.     She sits at the door of her house, on a seat at the highest point of the city,

3.      Calling out to those who pass by, who g straight on their way

4.     “Let all who are simple come in here!” she says to those who lack judgement.

5.     “Stolen water is sweet; food eaten in secret is delicious!”

6.     But little do they know that the dead are there, that her guests are in the depths of the grave. 

There are other personifications of Wisdom and Folly in Proverbs. Wisdom is the wife of noble character (Proverbs 31). She can be both literal and representative of the faithfulness of God’s people to Him. Folly is seen in the adulteress and harlot (Proverbs 7). Biblical harlotry represents people’s unfaithfulness to Yahweh, e.g. Jerusalem as an adulteress wife (Ezekiel 16), Hosea marrying the prostitute Gomer (Hosea), and the harlot of Babylon (Revelation 7). 

Other characters of Folly in Shakespeare include the tragic heroes, Hamlet, Othello, Macbeth, and King Lear. The word ‘tragic flaw’ is from the Greek idea of hamartia, used by the philosopher Aristotle in the Poetics. A ‘tragic flaw’ in Shakespeare is a character or personality trait of a protagonist that leads to his or her downfall. This ‘folly’ leads to death whereas in Proverbs wisdom leads to life, but folly also leads to death in Proverbs. Villains are characters of Folly, e.g. Iago, Richard III, Claudius, Proteus, Regan, Lady Macbeth, and Angelo. As well as lovesick lovers like Malvolio, whose words and actions are socially inappropriate and socially challenged. 

Tragic heroes display Folly. It is as though the tragic heroes were destined to fail because of their tragic flaws; this displays the notion of Fate. Hamlet’s flaw was procrastination and he was killed by Claudius. Othello’s flaw was that he had internalized the prejudices of those who surrounded him and as a result of his jealousy murders Desdemona then kills himself. Macbeth’s flaw was ambition and he was killed by Macduff. King Lear’s flaw was that that he valued appearances above reality and he died from grief at the loss of his beloved daughter.

 The tragic characters are controlled by Fate. Philosophy on the concepts of destiny and fate has existed since the Hellenistic period with groups such as the Stoics and Epicurians. In Greek mythology, the Fates were divine beings who personified the birth, life, and death of humankind. The Ancient Greeks believed that the actions of humans were predestined. Even though humans had free will, the Fates knew their ultimate choices and actions. Hamlet will say to the ghost of his father: “Haste me to know’t; that I, with wings as swift as meditation or the thought of love, may sweep to my revenge.” (Act 1, Scene 5) 

Conclusions about Wisdom and Folly in Shakespeare and Proverbs:

Central to Wisdom in Proverbs is the fear of the Lord, which leads to life, rather than fearing man.

Folly in Proverbs is when people don’t fear God or his ways.

Shakespeare appears to be a Renaissance Humanist where man takes centre stage rather than God.

While Shakespeare’s works reveal that he has been immersed in the Bible, scholars say his faith is elusive.

I believe he saw himself as having Wisdom in his own insights about human nature, the human condition and in creating plays with spectacular word plays.

He also seems to see paradox and contradictions in many people and situations.

In the Book of Proverbs and the Bible in general, God gives us hope even when we fail, through his grace and through redemption.

Shakespeare reflects something closer to Fate, which leaves one with less hope.

 

What can we learn from Proverbs and Shakespeare about facing “the slings and arrows of outrageous fortune”? 

From Shakespeare:

A wealth of wise words.

We can learn about human personalities and behaviour and the consequences of actions and thoughts on people.

The role of the artist creatively communicating Wisdom and Folly through drama.

 

From Proverbs:

We can learn to honour God and his guidance for our lives; this helps us to reap health, life and His protection.

We can learn to care more about what God thinks about us than people, following Him more than people.

“There is surely a future hope for you, and your hope will not be cut off. (Proverbs 23:18)

 

© Cecily Clark 2023

 

SOURCES

 

Siri M. Brudevold. The wisdom in folly : an examination of Shakespeare’s fools in Twelfth Night and King Lear. Scripps Senior Theses, 2015: https://scholarship.claremont.edu/scripps_theses/681/   

Carolyn French. Shakespeare's "Folly": King Lear.

 Darryl J. Gless, Shakespeare, biblical interpretation, and the elusiveness of meaning.

 Emily Gray. The Bard and the Word : the influence of the Bible on the writings of William Shakespeare. Thesis at the University of Tennessee at Chattanooga, 2018: https://scholar.utc.edu/honors-theses/133/

 Martin Lings. Shakespeare's window into the soul: the mystical wisdom in Shakespeare's characters. 

Peter Milward. Shakespeare's religious background. 

How to catalogue a chatbot


 Some thoughts after reading a couple of questions on an e-list:

How would a student reference online forms of AI if allowed to use them? What is the citation format? This was never a question until this year because this year is the lift-off, the launch without champagne breaking on the bow, of the chatbot. The chatbot generates human-like text prompted, we believe, by actual humans. Poetry, which makes what is plain, mysterious and what’s mysterious plain, reads of this invention with the same mixture of consternation and curiosity as other fields of human enquiry. While cataloguers, those pre-eminent practitioners of citation, ask the very pre-2023 question, who is responsible for the work in hand? Anecdotal evidence in these early stages of launch suggest that AI-generated texts are, at best, co-authored; the two authors being human and machine. This simple equation breaks down as soon as we see that the machine contribution may be drawn from any number of unknown and unacknowledged authors who produced their own sentient sentences decades or even centuries before they were chatbottled. Is the catalogue record going to include all of them? Is the thesis bibliography about to list single citations as long as your arm? The solution in the launch period is to cite the link, but what happens when link goes clink? Authorship is sacrosanct, certainly now since it is being found that its sanctity is under attack. When I apply AI to the sermons of John Donne, it would take a Donne-like ego to claim they were my words, or his for that matter. The one responsible for the work in hand (or screen, perchance) is the mysterious third person, or in fact non-person, that convention calls Anonymous. Chatbots are generating more anonymous material in a short time than every town crier and pamphleteer recorded in state libraries worldwide. Respectability, or simple honesty, might like to attach Pseudonymous to its text-based productions, though pseudonyms are one of a cataloguer’s most time-consuming rabbit holes. It’s quite enough trying to deal with the Revd. Charles Lutwidge Dodgson’s never-ending mathematical games with words anyway, without having to work out when or if he’s Lewis Carroll as well. Pseudonyms will proliferate, each more difficult to trace than the last one, until libraries will be required to advertise for a Pseudonyms Cataloguer, or similar. Chatbots might be in the honeymoon period, but ask not for whom the bell tolls. The anonymous chatbot cannot speak for you, but can only generate what it has been told. For this reason it is not a human with a name and the gift of knowing past, present, and future. Once a sentient human has used the pseudonym Frumious Bandersnatch for their co-authored chatbot essay, can anyone else use Frumious Bandersnatch, or will that cause a clash of name authorities?   

 


 

Wednesday, 15 March 2023

Activities of the Carmelite General Library

 from 36/2023: CITOC online Update - March 15, 2023


Activities of the Carmelite General Library

The Carmelite General Library (BiGOC), resulting from the merger of the General Library and the Carmelite Library located at the International Center of St. Albert (CISA), was enrolled in the Registry of Cultural Assets and is present on the BeWeb portal of the Italian Bishops' Conference (CEI). This enrollment made it possible to join the CEI's projects, particularly the computerized cataloging system, which will replace the two previous catalogs.

BiGOC is now offering new services to users: a) the updated Regulations ad experimentum on access and consultation; b) the BiGOC website: www.bibliotecaocarm.com; c) the mailing list to inform about the latest acquisitions (books and journals) and BiGOC activities. 

Those who would like to be added to the mailing list can write to the BiGOC email: biblioteca.carmelitana@gmail.com 

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Actividades de la Biblioteca General Carmelita

La Biblioteca General Carmelita (BiGOC), nacida de la fusión de la Biblioteca General y la Biblioteca Carmelita en el Centro Internacional San Alberto (CISA), ha sido inscrita en el Registro de Bienes Culturales y está presente en el portal BeWeb de la Conferencia Episcopal Italiana (CEI). Esta inscripción ha permitido adherirse a los proyectos de la CEI, en particular al sistema de catalogación informatizada, que sustituirá a los dos catálogos anteriores.

BiGOC ofrece nuevos servicios a los usuarios de BiGOC: a) el Reglamento ad experimentum actualizado sobre acceso y consulta; b) el sitio web de BiGOC: www.bibliotecaocarm.com; c) la lista de correo para informar sobre las últimas adquisiciones (libros y revistas) y las actividades de BiGOC. 

Para ser incluido en el correo electrónico de BiGOC: biblioteca.carmelitana@gmail.com

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Attivitá della Biblioteca Generale Carmelitana

La Biblioteca Generale Carmelitana (BiGOC), nata dalla fusione della Biblioteca Generale e della Biblioteca Carmelitana presso il Centro Internazionale Sant'Alberto (CISA), è stata iscritta nell'Anagrafe dei Beni Culturali ed è presente sul portale BeWeb della Conferenza Episcopale Italiana (CEI). Questa iscrizione ha permesso l'adesione ai progetti della CEI, in particolare al sistema informatico di catalogazione, che sostituirà i due precedenti cataloghi.

La BiGOC sta offrendo nuovi servizi agli utenti della BiGOC: a) il Regolamento aggiornato ad experimentum sull'accesso e sulla consultazione; b) il sito web della BiGOC: www.bibliotecaocarm.com; c) la mailing list per informare sulle ultime acquisizioni (libri e riviste) e sulle attività della BiGOC.  

Da inserire nella posta elettronica del BiGOC: biblioteca.carmelitana@gmail.co