When you say his name, hearts tune themselves to the rhythm of iambic pentameter (“Of this dead butcher and his fiend-like queen” - stress the italicized syllables (Act V, Scene VIII 82-83)) and readers typically run away screaming from the words and their arrangement (“the eye wink at the hand, yet let that be/Which the eye fears when it is done” (Act I, Scene IV, 59-60). That last pair of lines expand the phrase “let my eye not see what my hand does” not to madden but to fit into most of Shakespeare's writing pattern.
Let's face it. While the stories are universal, the language it is wrapped in is far more specialized. Therefore we need a justifiable reason to read Shakespeare. The Scottish Play (dare not say its name - or suffer at the hands of the curse!) was written at the beginning of the 17th Century. A nation was mired in recession while searching for a replacement for their dear, departed Queen Elizabeth I. Sound familiar? Strip away the vaunted words, enlarged phraseology, and poetic temperament, and this play could be an arc of episodes on “Succession” or a dozen other shows. To put it concisely: “Power corrupts.”
Act One contains all you need to know about the magic of Shakespeare's storytelling ability. The opening scene establishes the tone of gloom with thunder and three witches. As the witches speak in Trochaic meter (three stressed syllables followed by one unstressed - “in thunder, lightning, or in rain (Act I, Scene I, 2)), they act as a sort of Greek chorus and recall the works of Spenser and Chaucer. Their presence serves a major importance. Witchcraft was all the talk of the day, so its inclusion for sensationalist means probably put people in the Globe. However, Shakespeare probably included witches in the play because it was a favorite subject of the new ruler, King James I of Scotland. James I published a pamphlet on the existence of witches and their characteristics in 1597 entitled, “Daemonologie.” As ruler King James I of Great Britain was a huge supporter of the theatre, so he “adopted” the troupe “Lord Chamberlain's Men” which was then renamed “The King's Men.” Further to either satisfy or ingratiate to the King, the element of the three witches' story of the “drowning sailor” was based on an incident in James's life, while James was a direct descendant of Macbeth's second-in-command Lord Banquo.
While reading the play, you may also notice that some of the most confusing passages tend to be resolved by the simplest and most-quotable phrase. Much is written about the witches' “incantation” from Scene I “Fair Is foul, and foul is fair” as being both childlike and being the initial exposure to a veiled evil. In all fairness, this phrase might better serve to introduce the vein of dichotomy (the next scene concludes with King Duncan's line “What he hath lost, noble Macbeth hath won” (79) that runs throughout the play. A lesser observed example can be found in Act I, Scene IV. Macbeth is recognized for his heroism as Duncan names him Thane of Cawdor. However, Duncan also uses this occasion to announce that his oldest son Malcolm is the Prince of Cumberland, therefore next in line for the crown. Duncan wisely says “But signs of nobleness, like stars, shall shine on all deserves (47-48),” to which Macbeth replies in his chilling internal monologue “Stars, hide your fires/Let not light see my black and deep desires (57-58).”
Shakespeare clearly streamlined his eye for this history down to its most basic elements. Act I, Scene II rolls in characters that are related to the King and his court to address them with stories (the “bleeding Captain” even speaks in blank verse). What is important to the progress of the story is how these action-packed tales are told to the King and in turn, us as the audience. To contain these stories of heroism and treason (again, dichotomy) without the artificial staging or even a spotlight upon them, makes them real and makes us feel as if we too are part of the King's court. Furthermore, since these minor characters do turn this into an aside or soliloquy, this will make these devices far more useful to the major characters to illustrate their “internal monologue.”
As the scenes continue in Act I, Shakespeare's central narrative develops from one scene to the next. In keeping with the use of foreshadowing within other tragedies, when it is announced that Duncan is visiting the Macbeths, we as the audience are given the opportunity to sense what is next and navigate around the growing list of character flaws cracking through the visage. In fact, the scenes are simply orchestrated to make all the room necessary to illuminate the rich complexity of both Macbeth's relationship When Act I draws to a close, the evil deed might as well be done. Its action is an afterthought because we have already seen the true damage it has done.
Finally, and most importantly. There are a million better accounts of reading Shakespeare than what you have just read. The level of expertise in his life, writing, and influence remains startling. However, not many address the actual fear of reading the works. It is too often seen as some sort of rite of passage. So, dear reader, we dug into our own library of experience with a simple suggestion or two. Personal love of the Bard extends to a single incident in Junior High. As a class, we read the play about “star-crossed lovers.” We read it aloud, with each classmate taking a character. The simplest summary is: what is on the page was meant to be read OUT LOUD. So, choose a version of the play (the 1979 Trevor Nunn “black box” modern interpretation is stunning as it removes all artifice and gives it a dream-like feel,) read along with it, and then. Read it aloud to yourself. Let everyone think you have gone mad like Ophelia or Lady Macbeth. Deciphering the raw emotion and ability to obscure a character's true motive can only come from maneuvering those antiquated words out of your mouth.
Act I, Scene V opens with a brilliant interpolation of Lady Macbeth reading a letter from her husband. After she devours the words at blinding speed, what follows is the epitome of evil. She uses her husband's bravery, triumph, and reward to instantly hatch her own plan. Her immediate assessment (“Yet I do fear thy nature/It is too full o' the milk of human kindness” (17)) sets in motion her Machiavellian scheme. “That I may pour my spirits in thine ear/And chastise with the valor of my tongue” (28-29) is sinister (those “s” sounds are serpent-like) and then she supplants his gallantry. “All that impedes thee from the golden round” (30) In the end, you can almost feel her violently emphasize the “that” to imply years of previous cowardly decisions and vacillations only to close by speaking of the prize that she cannot ever possess - or even utter its name.
Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.
NEW MUSIC This Week
ED SHEERAN - –(Subtract) [LP/AUTOGRAPHED CD](Asylum)
The billion-stream serving Sheeran (six of them!) ends his mathematical symbol series with the help of The National's Aaron Dessner (on the recommendation of Taylor Swift). Expect some more maturation from these 14 songs (pared down from 30) that Sheeran actually describes as "a trap door to my soul."
Various Artists - GUARDIANS OF THE GALAXY 3 [LP/CD](Hollywood)
Regardless of what you think of the franchise, this Marvel brand has generated some serious interest in forgotten Rockers of the past. The Bubblegum/Glam Pop mix of the first and the classic Pop/Rock of the second (exemplified by the continuing presence of Sweet's "Fox on The Run" and ELO's "Mr. Blue Sky") had apparently met the requirements of Peter Quill's mixtape/connection to the past. With his cassette player traded for a Zune, this third installment jumps around decades smashing Radiohead and Spacehog into Rainbow and Heart. Just to keep you guessing - know there are not as many Seventies cuts on this one but some timeless tracks that could use a real boost (looking out for booms on The Replacements, Beastie Boys, and dark horse inclusion The The from their extremely underrated 1983 classic "Soul Mining").
WESTERMAN - An Inbuilt Fault [LP]CD](Partisan/Redeye)
British songwriter Will Westerman took his love for downtempo Steely Dan-ish sleek Pop to its height on the woefully ignored 2020 album "Your Hero Is Not Dead." His brand of candlelight-crooned Indie Soul borrows from Pop, Post-Punk, and the sophisticated run of British Pop in the Eighties (Style Council). "An Inbuilt Fault" manages to add more color to the mix as Westerman's ideas are constructed around simmering beats ("CSI: Petralona") and familiar instrumentation turned inside out. On the percolating "Take," Westerman generates heat without rising above mid-tempo. With its lunch pianos, crisp double-tracked lyrics, and nod to SynthPop, "Take" is a slow burner that fits perfectly into every playlist you have.
DRAIN - Living Proof [LP/CD](Epitaph/AMPED)
in 2014, Northern California's Drain almost stood alone as the last standing true Punk rockers. Their hometown of Santa Cruz was still madly devoted to Thrash-laden Punk Rock that was rooted in the Eighties and Nineties boom. After a pair of hardcore EPs and a tour spot, Drain earned their place on the national map (as did Santa Cruz - for much respect) with 2020's stellar LOUD "California Cursed." The perfect release from claustrophobic angst during Covid, "Cursed" found critics and built Drain a major chunk of the new audience entering Hardcore thanks to Turnstile and others. Recorded with Taylor Young (Militarie Gun and Hattiesburgworld's own MSPAINT), "Living Proof" pulls Drain to both axes of the current HC boom. "Evil Finds Light" propels you into the pit and continues to wind up hard around its slower portions. While the driving "Good Good Things" trades the growl of Sammy for a full sung track that could crossover a la "Mystery."
- - - - - - FOUR SURPRISES FOR YOU - - - - - -
WASHER - Improved Means To Deteriorated Ends [LP/CD](Exploding In Sound/Redeye)
In the six years since the searing "All Aboard," Brooklyn's Washer has been refining its sound. Unlike the Chavez-meets-Guided By Voices sound of their earlier albums, "Improved" is a giant leap toward their own. Mike Quigley's songs have grown closer to Wednesday (that brilliant single "King Insignificant") in their biting humor (the Meat Puppets-esque hop-skip of "Death of An Empire") and Dinosaur Jr in structure ("Coward"). Washer would be a natural for 80's SST and early 90's Matador. Slinky guitar riffs meet crunchy parts and every squeak is indicative of Quigley taming his guitar enough to communicate both his emotion and frustration. Most "Improved."
BEDROOM - Thread [LP](Danger Collective)
Noah Kittinger's fourth album is an almost ethereal Folk exploration of music as "feeling." Kittinger really displays an inventive method for using tape trickery to both renew his songs and create continuity. "Better Friends" is his best example yet. The crying steel, the hint of synth, and the ease of its acoustic riff are largely used to generate that sense of never-ending ennui many of us just endured. Toward the end when Kittinger arrives at his fingerpicking Nick Drake-ish peak, there are several beautiful "washes" of sound that appear quickly and randomly. "Thread" proves that Bedroom is really onto something.
TERRY - Call Me Terry [LP/CD](Anti Fade AUS/Upset The Rhythm UK)
Australia's Terry manages to get even more subversive on their latest riddle of an album. "Call Me Terry" is a beehive packed with hooks, melodies, and coded political transmissions. Unlike their last album "I'm Terry" (and even the singles going back to our first writing about them in 2019), "Call Me Terry" is purposefully aiming for both Pop structure and Outsider Pop sound (Young Marble Giants, The Raincoats, and Beat Happening on the Glam-y "Gronks"). The naive keyboards, weird beats, and sugary-almost-too-sweet melodies veil real doubt and a loss of faith. Like The Clash's immortal "Lost In The Supermarket," the strings and high harmonies of "Golden Head" smuggle in a story of loss, confusion, and a system that is simply not working for the people. With its weird Fun Boy Three-ish feel, Terry’s Sunshine Pop makes a bold statement that is a toe-tapping, hummable statement of protest.
UBOA - The Origin of My Depression [LP/CD](The Flenser)
All things dark and desperate make themselves known in the shadows of this Australian experimental tour de force. Xandra Metcalfe somehow both chronicles her battle with depression (the unsettling peace of the out-of-tune piano closer "Misspent Youth") and captures it (two soul-crushing minutes of "Please Don't Leave Me" that give the voice within you the full Captain Howdy treatment). However, if you are brave (and we know you are), Metcalfe's staple music is a bit like Tim Hecker playing in front of a Doom Metal band. However, if you must choose a single track to invest in, let it be the thrilling "An Angel of Terrible and Great Light." Metcalfe has a real gift for building tension slowly and drawing upon her aural resources without sounding like she is merely mixing ideas in and out. "Great Light" takes you over by its grinding halfway mark and refuses to let go. If this was the feeling "Depression" wishes to communicate to those who wander into this abyss - this is painfully accurate.
