Asimov’s Guide To Shakespear. Volume 1 Page 8

  He will not suffer us to burn their bones,

  To urn their ashes …

  —Act I, scene i, lines 39-44

  It was in Thebes that the famous legend of Oedipus was set. Oedipus, who had been cast away as an infant and had been brought up far away from Thebes, did not know he was the son of the Theban King and Queen. Visiting Thebes, he unknowingly killed the King and married the Queen-killing his father and marrying his mother, whence we get the expression "Oedipus complex." By his own mother Oedipus had two sons, Eteocles and Polyneices, and two daughters, Ismene and Antigone.

  After the truth of the matter came out, Oedipus blinded himself and went into voluntary exile, while his mother-wife, Jocasta, committed suicide.

  Jocasta's younger brother, Creon, became effective ruler of Thebes. Creon supported Eteocles, Oedipus' elder son, for the succession. Polyneices, the younger son, went into exile and talked certain leaders of the city of Argos, sixty miles southwest of Thebes, into leading an army against his city.

  Five Argjve leaders took up the struggle. With them was not only Polyneices, but also Tydeus, who was a refugee in Argos because he had fled his home town after accidentally killing his brother. Tydeus was the father of Diomedes, who was to be an important Greek warrior at the siege of Troy and an important character in Shakespeare's Troilus and Cressida (see page I-79).

  The tale of the expedition of these leaders against Thebes is usually called "The Seven Against Thebes," though in The Two Noble Kinsmen the number is reduced to three.

  The seven were defeated, and Creon remained master of the field. As a punishment for the aggressors (and particularly for Polyneices, who had warred against his own city-an act of treason for which no personal wrongs were deemed sufficient excuse), Creon ordered the fallen warriors on the Argive side to remain in the field unburied, a prey to carrion birds and beasts.

  This was a terrible fate for Greeks, who felt that until a dead body had been burned with appropriate rites, its shade must wander restlessly about the border of Hades. In fact, it was held impious of Creon to dictate such a fate, since it was wrong to inflict it even on hated enemies.

  The Greek playwright Sophocles wrote one of the greatest of the surviving Greek dramas on this subject. Entitled Antigone, it dealt with Oedipus' younger daughter, who felt that the religious obligation to bury her fallen brother, Polyneices, transcended all other considerations. She accomplishes the deed even though it means her own death.

  The three queens apparently have attempted to do Antigone's deed but have failed, and now they have come to ask Theseus to invade Thebes, punish Creon, and see to it that the fallen warriors are duly burned.

  King Capaneus. ..

  Theseus is sympathetic to the appeal, for he has met the First Queen before. He says:

  King Capaneus was your lord. The day

  That he should marry you, at such a season

  As now it is with me, I met your groom.

  —Act I, scene i, lines 59-61

  Capaneus was one of the seven against Thebes and his death was dramatic. He had placed a ladder against Thebes's wall and, climbing it, boasted that not even Jupiter (Zeus) could keep him out of the city now. Promptly, he was struck by a lightning bolt and killed. He had a son, named Sthenelus, who was to be at the siege of Troy as companion and friend of Diomedes. Sthenelus appears in the Iliad but not in Shakespeare's Troilus and Cressida.

  Capaneus' wife was named Evadne, and presumably it is she who is the First Queen.

  … his Nemean hide

  On the occasion of the marriage of Capaneus and Evadne, Theseus met the bride as well and found her beautiful. Nor was he the only one. Theseus says:

  Hercules our kinsman, Then weaker than your eyes, laid by his club:

  He tumbled down upon his Nemean hide

  And swore his sinews thawed.

  —Act I, scene i, lines 66-69

  The reference is to the first labor (see page I-24) of Hercules. That was to kill a lion that infested the valley of Nemea, ten miles southwest of Corinth. This Nemean lion was no normal beast, but an enormous monster whose hide was impenetrable to any weapon.

  Hercules tried arrows, sword, and club, but nothing would make an impression. He therefore seized the beast's throat and throttled it to death. He then flayed the creature with the only thing that could cut through its hide, its own razor-sharp claws. Forever after, he wore the lion's hide as a protective shield.

  … the helmeted Bellona…

  Theseus orders the Queen to stand, and accepts the task, saying:

  O no knees, none, widow,

  Unto the helmeted Bellona use them,

  And pray for me your soldier.

  —Act I, scene i, lines 74-76

  Bellona is not a member of the Greek mythological group. She is a Roman war goddess (the Latin word for war is bellum) and was considered either the wife or sister of Mars. There was a temple to Bellona outside the city of Rome, and the Senate met there when negotiating with foreign ambassadors, or when greeting the return of victorious generals.

  … the banks of Aulis…

  The Second Queen pleads with Hippolyta, the Third with Emilia. Both are sympathetic but Theseus naturally wishes to continue with the wedding before taking care of Creon. The queens (and even Hippolyta and her sister) plead with Theseus to reverse matters and make war with Creon first.

  Theseus agrees at last and says to an officer:

  Hence you,

  And at the banks of Aulis meet us with

  The forces you can raise …

  —Act I, scene i, lines 210-12

  Aulis was famous as the place where the ships of the Greek host gathered (in the generation after Theseus) to sail to Troy. Shakespeare could not resist, therefore, having Theseus gather his army there.

  Aulis is on the seacoast of Greece, just where the large island of Euboea comes nearest the mainland, leaving a strait, the Euripus, not more than a mile wide. In these constricted waters a fleet can gather in safety. From Aulis there is a sea voyage of 170 miles northeast, as the crow flies, to reach Troy.

  Of what use, however, to assemble at a seaport in order to send an army from Athens to Thebes, since the two cities are separated by land? Thebes is thirty-five miles northwest of Athens, and to travel to Aulis improves the situation very little. Besides, Aulis is in Theban-dominated territory and an Athenian army would very likely have to fight a battle as soon as it gets to Aulis.

  Dear Palamon…

  The scene now shifts to Thebes, and, specifically, to two young Theban soldiers. One of them begins:

  Dear Palamon, dearer in love than blood

  And our prime cousin …

  —Act I, scene ii, lines 1-2

  The speaker is Arcite. Needless to say, nowhere in the Greek body of myth are Palamon and Arcite to be found. They are creations strictly of the medieval romancers. They are ideal medieval knights, brave, noble, chivalrous beyond all qualification, and devoted one to the other.

  They are apparently of the family of Oedipus, for as they bemoan the corruption and decadence of Thebes, Palamon begins to lay the worst of the blame on an individual that Arcite guesses at once, saying:

  Our uncle Creon.

  —Act I, scene ii, line 62

  However, the news of Theseus' invasion comes and the two young soldiers, who had been planning to leave Thebes, realize that whatever their disenchantment with the city, they must fight for it against foreign invaders.

  … great Apollo's mercy…

  The battle is won by Theseus and the bodies of the dead warriors are rescued. They will be given all the proper funeral rites by the queens.

  Theseus' victory over Thebes is mentioned, in passing, in A Midsummer Night's Dream (see page I-47). An affecting tale concerning Evadne, the First Queen, is not mentioned in The Two Noble Kinsmen. When her dead husband, Capaneus, was being burned, Evadne found she could not bear to part with him. She threw herself, living, on the fire, and burned to death.


  The battle had had another result as well. It brought Palamon and Arcite into Athenian hands as prisoners. The Theban youths fought marvelously, but were overwhelmed and are wounded and near death. Theseus has, however, been impressed by their fighting and orders that physicians attempt to save their lives. He says:

  For our love

  And great Apollo's mercy, all our best

  Their best skill tender.

  —Act I, scene iv, lines 45-47

  Apollo is the god of the fine arts, and apparently medicine was considered one of them. (He was also the god of disease, for it was his arrows which were pictured as striking down the population of a city struck by the plague.) Asclepius, who is described in the myths as a specific god of medicine, is a son of Apollo.

  … a Parthian quiver…

  Whereas the entire first act is considered Shakespeare's, most of the second, third, and fourth acts are considered Fletcher's.

  Palamon and Arcite are recovered from their wounds, but they are in an Athenian prison now. They are guarded by a jailer who has a pretty daughter. Neither is given a name, but are called merely "Jailer" and "Daughter" in the stage directions. There is also a young man who is in love with the daughter, and he is called only "Wooer."

  The two Thebans expect to remain in prison for life and together they mourn the joys they shall never taste again, such as hunting:

  No more now must we halloo, no more shake

  Our pointed javelins, whilst the angry swine

  Flies like a Parthian quiver from our rages,

  Struck with our well-steeled darts.

  —Act II, scene i, lines 107-10

  The Parthians were an ancient people who ruled over what is now Iraq and Iran and who were noted for their ability as horse archers. The Romans fought them for centuries and were occasionally defeated by them. A boar struck by many darts would be as full of arrows as a Parthian quiver.

  The remark is anachronistic, of course, if we consider the time to be really that of Theseus. Parthia did not develop as a nation until about 250 b.c., a full thousand years after the time of Theseus. On the other hand, if we allow our mind to wander forward to medieval times in the Palamon and Arcite scenes, the reference to Parthia ceases to be an anachronism.

  … a noble kinsman

  Still, the two young men have each other and it occurs to them that while they are together, they have an important part of life. Each hymns the other's friendship, until it seems that their enforced company brings them to the height of bliss and that such friendship as theirs could not possibly be severed.

  At that moment, though, Emilia and a maid come into the garden adjoining the prison. They gather flowers and Emilia comments on the myth of Narcissus (see page I-10).

  Even while Palamon and Arcite are swearing total friendship, first Palamon, then Arcite, sees Emilia from a window and instantly (such is the convention of courtly love) falls entirely in love with her to the point where there is no room for any other emotion.

  The two friends are suddenly competitors and Palamon claims sole right to the love since he saw Emilia first and called Arcite's attention to her. Arcite, however, points out that he too is subject to passions and says:

  Why then would you deal so cunningly,

  So strangely, so unlike a noble kinsman,

  To love alone?

  —Act II, scene i, lines 250-52

  Here is the reference from which the title of the play is taken. Palamon and Arcite are "the two noble kinsmen."

  … against the Maying

  The quarrel between them is suspended when Arcite is called away. The news is quickly brought back to Palamon that Arcite, on Pirithous' request, has been released from prison, but banished forever from Athens.

  Palamon fears that Arcite, free, may yet lead an army back to Athens to try to win Emilia. Arcite, on the other hand, as he takes the road back to Thebes, fears that Palamon, in Athens, though imprisoned, may have an opportunity to woo and win Emilia.

  At this point, Arcite comes upon a group of country people intent on a holiday. One of them says, in fact:

  Do we all hold, against the Maying?

  —Act II, scene ii, line 36

  Here, as in A Midsummer Night's Dream, that other play set against the Theseus-Hippolyta marriage, we have a group of members of the lower classes arranging a rustic performance. It is a May Day celebration, and A Midsummer Night's Dream seems to have taken place at May Day too (see page I-45).

  Arcite decides to violate the exile order, join the countrymen, and in rustic guise participate in the athletic contests that accompany the May Day celebration.

  As we might expect, he wins at wrestling before the eyes of Theseus and the court (who fail to recognize him-all disguises are effective in Shakespearean plays). Arcite even has the happiness of talking to Emilia and being accepted as her servant.

  … the King of Pigmies

  Arcite does not, however, have it all his own way. The Jailer's Daughter has fallen in love with Palamon and has let him out of his jail cell, though unable, at the moment, to arrange his liberation from the chains upon him.

  Palamon finds Arcite and challenges him to a duel, but their old friendship is not entirely gone. Arcite helps him hide, then gets him food and wine, together with files with which to remove the shackles. They even try to reminisce fondly about earlier loves that did not come between them, but then Emilia's name comes up and they are ready for slaughter again.

  Meanwhile, however, the poor Daughter, in a series of short scenes by herself, makes a gradual descent from love for Palamon, to a passionate search for him so that she might file off the shackles, to heartbreak at being unable to find him and fearing him dead, and, at last, to madness. She begins to talk nonsense built about her desire to know of the lost and absent Palamon:

  Would I could find a fine frog; he would tell me

  News from all parts o'th'world; then would I make

  A carack of a cockleshell, and sail

  By east and north-east to the King of Pigmies,

  For he tells fortunes rarely.

  —Act III, scene iv, lines 12-16

  The Pygmies are first mentioned in Homer's Iliad, as a dwarfish people who perpetually war against cranes (and who, one would suppose, are therefore small enough to be eaten by cranes). The very word "pygmy" comes from a Greek word meaning the length of the arm from elbow to knuckles, which would imply that the little creatures were about a foot high. They were supposed to live somewhere in Ethiopia, the Greek name for the mysterious regions south of Egypt.

  By modern times the Pygmies were dismissed as but another figment of the fertile Greek imagination, but then, oddly enough, a race of short human beings (not one foot high, to be sure, but averaging some four feet high) were discovered in central Africa in the nineteenth century.

  It seems fairly reasonable to suppose that some of them were encountered by Egyptian armies adventuring southward, for, in the time of their stronger dynasties, the Egyptians controlled regions far into what is now the Sudan. Individual pygmies were very likely brought back as prisoners and rumors of such human beings, with the shortness exaggerated, would then serve as the basis for the Greek legend.

  The Daughter also sings a sad song which deals with a maiden who searches for her love, and then, worn out and weary, she adds:

  O for a prick now like a nightingale,

  To put my breast against! I shall sleep like a top else.

  —Act III, scene iv, lines 25-26

  The nightingale's song can be heard all night long and it was a common folk belief that it had to lean against a thorn so that the pain would keep it awake and singing.

  … Meleager and the boar

  The countrymen have now worked out a dance with which to amuse and please Theseus and Hippolyta, who are out hunting. (This is reminiscent of the play Pyramus and Thisbe which entertained the same couple in A Midsummer Night's Dream.)

  The countrymen are under the direction of a pedantic sch
oolmaster who interlards his speech with unnecessarily learned allusions. Thus, he tells them all to hide in the thicket and come out on signal to surprise Theseus:

  / fling my cap up-mark there-then do you,

  As once did Meleager and the boar,

  Break comely out before him…

  —Act III, scene v, lines 17-19

  Meleager, in the Greek myths, was a king of Calydon in Aetolia. He is best known in connection with a monstrous boar who had been sent by Diana (Artemis) to ravage the Calydonian countryside. A huge expedition was organized to track down and kill the "Calydonian boar," and, as a matter of fact, Theseus and Pirithous were among the heroes present on the occasion.

  At one point in the hunt, the boar came dashing out of the thicket at Theseus, whose hastily thrown javelin went wide. He might have been killed but for the fact that Meleager, who was on the spot, threw more accurately, diverted the beast, then killed him.

  Under the circumstances, the schoolmaster's allusion is most inappropriate.

  … dance a morris

  As the countrymen take their places, it turns out that one girl is missing. For a moment, it looks as though all is ruined, but the Jailer's Daughter, quite mad, wanders onto the scene and she is at once pressed into service.

  Theseus and his party are now coming. The countrymen hide and the schoolmaster confronts Theseus, saying: