College of St Marys of the Springs - Yearbook (Columbus, OH)

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CAMPUS ENTRANCE TO COLLEGE

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ww j nw! , M1415 gzwrc funn: kxwlf QWIQ Q twig j QW45 ' Edgar chasing the imaginary fiend. Laughter breaks forth in peal after peal as we watch poor Tom. The storm still rages violently and Lear asks if E.dgar's daughters have brought him to this, and he asks it in such a pathetic manner, that as we laugh our throats catch and what was once a laugh is now a deep-drawn sob. At this point ofintense action in Lear is reached the climax of the play and what better place could the poet have chosen? But the perfect type of the blending of the two elements and the climax of the drama occurring simultaneously is seen in the Merchant of Venice. Here is a play which has often been called a tragi-comedy. The comic element bal- ances the tragic element. Gratiano and Gobbo, principally, furnish the humor, while An- tonio, Bassanio, Portia and Shylock present the tragic element. The point of great perfec- tion in the blending of the two occurs at the climax, the Trial Scene. All hearts are stirred now by fearful expectation and now by youthful hope. Everyone longs for something to happen which will save Antonio's life and relieve their anxiety, but as the Jew steadfastly refuses to be paid, even to thrice the sum loaned when he refuses to be paid. except by the pound of promised flesh, all hope dies. What a strange scene follows! Our hearts are in a peculiar conflict of emotions as we hear the court-room echo the different voices. Now the Jew, with sharp, spiteful snaps calls for his pound of flesh, refusing all offers of money. An oath, an oath, he says, I have an oath in heaven. Shall I lay periury upon my soul? . No, not for Venice. Now the room is hushed as Portia pours forth her musical eloquence. begging for mercy. Now the atmosphere becomes holv with Antonio's breathings of true friendship and love: now rings with the fierce words of Gratiano and his fiercer speeches of sarcastic mirth. l-iere Shakespeare uses a powerful weapon, one dangerous in the hands of another, but trenchant and effective when fully warranted. Gratiano, ridiculinsz Shvlock, jeeringlv echoes his words. He hates the ,few for attempting to take the life of the friend he loves and he hesitates not a whit to show his hatred. Vfhen Portia asks, V7hat mercy can you render him Antonio? Gratiano answers quickly A halter gratis: nothing else for God's sake. V Wliat bade fair to be a tragedy and what would have been one had a single mis-step been taken tums our to the satisfaction of all: and Gratiano. who wishes but the Welfare of his friends is happy as the rest. Wino but Shakespeare could thug have braided together the light and the shadow of life -could have made us laugh and sob in turns? Even todav as we drop a tear to the memorv of this man so great among his fellows we reioice in the thought of the blessings with which he has enriched his race. ' ' L LAURA GALLAGHER. 'I 2. QT iqxx 9 . S K, . na f' H '. ,xlq !tJlLJQ.::f it terms 8

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Wu will ww Q wwf , :wig . :swf 1 swf 5 :swf 1 N045 f the Gamut of Friendship N perusing the Shakespearean drama that which strikes the mind most forciby is the poet's ability to depict and interpret vividly 'X'X'W7f Wfm and accurately every phase of human life. Always a master, he is nowhere more markedly so than in dealing with man in that l noblest of relations-friendship. Shakespeare has treated friendship in its every guise and has left nothing untouched that . , would show us its beauty, sweetness and power when true, and 5- : ,, , iz? , ,, :A rf' and its danger when perverted. Thus at times the friendship is ska'-fsewfffif' .1 f 1 d ' ' ' - h T epgrgkgi, T presente as a se, I esignmg, cunning, at ot ers. as mercenary, T s BA? T self absorbed, self interested, or again as suspicious, doubting, distrustful. Then on the other hand, he has sympathetically dis- closed it in its true light, with all its channing attributes and has shown us how and when the loyal friendship is found and used. If we take the friendship presented in Cymbeline, we have an excellent example of the false type. Here to some extent the unworthy friendship is manifested in the queen's actions towards Posthumus and lmogeng yet more fully is the perfidious friend exploited in the per- son of lachimo. Keenly, cunningly he wove his web entangling Posthumus firmly within its silken threads. Posthumus not being of a doubting nature did not at all suspect the stranger, with whom he had entered into intimate relations, to be plotting against him Yet, this cun- ning friend after receiving in token of confidence the diamond, given as a pledge by Imogen to Posthumus, departed, secretly planning within his heart some unjust method of entrapping Imogen, the wife of Posthumus Iachimo led Posthumus to believe that he wished to place as implicit faith in womankind as did lmogen's husband, while his design was in reality to sever the bonds that held Pos- thumus so strongly to his consort and to destroy the husband's faith in human friendship and love. This design he craftily fulfilled. By bribing the attendants at the home of Cymbeline, lmogen's father, he gained what he wished, an entrance to the house, an interview with Imo- gen and the assistance of several of the servants to help him in his project. After thoroughly examining the sleeping apartments of Imogen and taking from her arm the bracelet, given to her by Posthumus, he returns to the husband and under the guise of deep friendship, adduc- ing his apparent proofs of her infidelity, he expresses his .seeming sympathy and offered words of advice. Yet, after all, what did his plotting, scheming and crafty cunning gain for him? As is generally the case, at first, success: but designing amlty having no foundation at all to support it, failed when the goal was almost attained and the coveted prize almost within its grasp. This is ever the grand finale of false friendship. Not far removed from false friendship. is the mercenary type. This devotion with all its feigned interest and assumed regard Shakespeare' has plainly unveiled Jin his tragedy, Julius Caesar, in the attitude of Caius Cassius to Brutus. The two men are friends throughout the play, but we feel that the affection of Brutus .is wholly sincere, while that of Cassius is largely assumed. Cassius needs Brutus, needs his influence with the people, his re- putation for honor and uprightness, to give weight to the COHSPIFHCY aSaiHSf Caesar and Sets about to win him over by flattery and protestations of esteem. I-Ie' succeeds only too well. 9 , nfl his