I was planning to post a Greek Tragedy 24 as a follow-up to last month’s Shakespeare 24, but it turned out to be much too derivative. Part of the problem seems to be that the two genres being parodied are much too close to make such a union humorous. In fact, I would go so far as to say that 24 is today’s answer to the ancient Greek tragedy. A statement like that requires some explanation.

The most obvious similarity is the real-time format. Ancient Greek drama was, for the most part, presented in real time. The audience of that age would not have accepted the traditional story-telling techniques that we take for granted today, such as flash-backs and multiple locations. Aristotle’s unity of time is often translated as meaning that the action of a play must take place within 24 hours (which would have worked just as well for this comparison), but Aristotle never actually wrote this, and if you read the plays, they could pretty much take place in the time you spent watching them. The plays start after most of the action has already happened, and the main character is about an hour and a half away from the great reversal of fortune and recognition he has coming. During the play, characters come in and out, but the audience usually stays put. Oedipus realizes that he needs to speak with someone and has to summon him and wait for him to come, unless he just happened to have already summoned him on another matter and, oh look, here he comes now. Audiences of the time had no problem accepting that sort of thing, I suppose. Shakespeare did not have to play by these rules for his audiences, shifting his scenes between Rome and Egypt in Antony and Cleopatra, and famously skipping over sixteen years in The Winter’s Tale, to name just two examples.

Similarly, when Briscoe and Curtis (or whoever the current line-up on Law & Order is this year) get a lead on a suspect, we can immediately cut to them arriving on the scene. When Jack Bauer gets a lead on a suspect, he actually has to physically get to the location. It’s worth noting that only the unity of time, not place or action, is observed. The show can easily switch back and forth between Washington DC and Los Angeles, and have multiple story lines going at the same time. But what the real-time format does for both 24 and Greek tragedy is to give an immediacy to the events being depicted. We can feel like this is something happening in front of us in the moment. When our hero is faced with a choice to make, he has to make it right now, even if it is an impossible choice.

This element of the impossible choice is crucial to both 24 and Greek tragedy. Greek playwrights would often show characters torn between their solemn duties to their oikos (family) and their polis (state). Agamemnon is told that the goddess Artemis will not allow him to sail to Troy unless he sacrifices his daughter Iphigeneia. He now must choose between his responsibility to the polis to wage war with Troy and his responsibility to the oikos to protect his daughter. There is no right answer, only two wrong ones. In true Jack Bauer fashion, he puts national security first, and offers up the kid. Antigone makes the opposite choice. She is told by King Creon that she may not bury her traitorous brother, and she has a duty to obey. But she also has a duty to bury her brother, and she makes that decision - which she will ultimately suffer for. Actions have consequences, and the characters are willing to accept those consequences even when they did not have a better choice.

Similarly, characters on 24 are often put in situations where they have to choose between oikos and polis, between someone they personally care about and national security. National security on this show is less about “protecting our way of life” and more about “millions of people will die” if we don’t stop the threat. Either way, there will be serious consequences. The show finds just those moments where the “right thing to do” is something that most of us couldn’t do. But Jack Bauer can, and he becomes elevated to the level of the mythical hero.

And there we find another similarity. Ancient Greek dramas were often set at a time when, for the Greeks, the mythological overlapped with the legendary. Gods interacted with humans, and humans were a special breed of heroes. The stories did not have to be realistic - their mythical nature allowed the playwrights to explore larger themes. In 24, events are contrived to fit the real-time format, and we accept it. Jack is able to shuttle around from location to location in record time, and we accept it. Most of all, Jack is able to embody the courage, resolve, and self-sacrifice that we admire in our present-day heroes. He does so far beyond what any human would actually be capable of doing. And we accept that, too. In our post-9/11 world, that’s the larger theme.

To sum up: Shakespeare 24 - Very funny. Greek Tragedy 24 - Too “on the nose” to really be funny. But I enjoyed coming to that recognition, and now I am pleased to share it with you.

One of my favorite pieces of trivia is that John Adams and Thomas Jefferson died on the same day. What’s truly remarkable about this is that it happened on July 4, 1826, which was the 50th anniversary of the famous signing of the Declaration of Independence. John Adams’s last words are reported to be “Thomas Jefferson survives” - he did not know that his long-time friend and rival had died a few hours earlier. For us, then, knowing that Jefferson died first is an essential part of the story of these great founding fathers.

But what of the founding fathers of Western literature? Recently, we celebrated April 23 as Shakespeare’s birthday, but we also know it as his death day. Shakespeare died in Stratford on April 23, 1616. We do not know the time of his death, or his last words.

Miguel de Cervantes, author of Don Quixote, might likewise be considered one of the founding fathers of Western literature. Cervantes died in Madrid on April 23, 1616. We do not know the time of his death, or his last words.

And yet, it is possible to say, with some degree of certainty, which of the two authors perished first. And that, dear readers, is today’s Conundrum.

Who died first: Shakespeare or Cervantes? How do you know?

Feel free to speculate as to last words too, if that sort of thing amuses you.

UPDATE: Question answered by Neel Mehta. See comments for answer.

Today is Shakespeare’s 444th birthday.

This means that if Shakespeare were alive today, he would be the world’s oldest human. In fact, he would be the oldest human who ever lived.

The number 444 makes me think of the Iran Hostage Crisis. The hostages were held for 444 days.

444 is a Harshad number. It is also a palindrome.

The year 444 AD was precisely 1564 years ago. What year was Shakespeare born? 1564. Believe it or not!

I just watched the March 20th episode of Jeopardy! on the DVR. (I’m a little backed up.) I think I may have found an error in one of the clues.

The category was Battle Cries and the $2000 clue was as follows:

“Per Shakespeare, the British battle cry in this Oct. 25, 1415 battle was ‘God for Harry! England & Saint George!’”

The response given was “What is the Battle of Agincourt?” This was accepted as correct. However, I believe this question has no correct answer.

The Battle of Agincourt is depicted in Shakespeare’s Henry V, and the date in the clue is the correct date of the battle. But the quote comes from an earlier scene in the play, before Henry’s troops take Harfleur. The more famous St. Crispin’s Day speech is given before the Battle of Agincourt later in the play.

I imagine there is a lot of pressure being a writer for this show. If you’re interested in the topic, Ken Jennings just posted to his blog an interview he did with former writer Carlo Panno, which you can read here and here.

You can say anything you want:

For hundreds of years, people have questioned whether William Shakespeare wrote the plays that bear his name. The mystery is fueled by the fact that his biography simply doesn’t match the areas of knowledge and skill demonstrated in the plays. Nearly a hundred candidates have been suggested, but none of them fit much better. Now a new candidate named Amelia Bassano Lanier—the so-called ‘Dark Lady’ of the Sonnets and a member of an Italian/Jewish family—has been shown to be a perfect fit.

Via the Shakespeare Geek, who is kind enough to suspect that the whole thing is a put on.

Via the Shakespeare Blog, comes news of an upcoming theatre event in England:

All eight of the bard’s history plays, covering 100 years of English history, are currently being performed at the RSC’s home in Stratford upon Avon (until 16 March) and then between April 1 and May 25 in London at The Roundhouse. The plays are Richard II, Henry IV Parts I and II, Henry V, Henry VI Parts I, II and III, and Richard III

The RSC’s Artistic Director, Michael Boyd, has formed an ensemble of 30 actors (who have been preparing for 2 and a half years) to stage this epic venture and he believes it is the first time the history cycle has been staged by one company of actors.

Wow. That’s a lot of Shakespeare. I’ve always wanted to see someone try this, too. I’ve been working my way through the same series of plays from the BBC.

Unfortunately, I don’t think I’ll get a chance to make it over to England to see this one by the end of May. But they’ve been preparing it for two and a half years. There’s no way these shows are ending on May 25. I feel fairly confident they will be coming to New York at some point.

And so, we wait.

Scott Malia of The Shakespeare Blog poses a question:

While Shakespeare appreciation might be near universal among writers, it begs the question of comparison. Who among today’s writers is what might be considered the twenty first century answer to him?

Malia goes on to make a compelling case for Aaron Sorkin. Look, Shakespeare is so much of a product of time and place, as well as genius, that there never really can be another. However, the same genius can manifest itself distinctly within any particular culture. Virginia Woolf wrote a famous essay about what would have happened if Shakespeare had had a sister with equal gifts to his. Can we imagine a Shakespeare born in our time? What would he do? Who would he be? I posted my own response:

I’m a huge fan of Aaron Sorkin, but I would instead nominate David Mamet. Writing for both stage and screen, Mamet has elevated the art of the dramatist to create a body of work that simulaneously embodies and trandscends his contemporary culture. His use of language has the natural credibility of truth, while at the same time making use of the subtle artifice of poetry. His subject matter ranges from insightful cultural criticism to the basest elements of humanity. If anyone from our time qualifies as today’s Shakespeare, I vote for David Mamet.

Anyone else have an opinion?

Who is today’s Shakespeare?

Last week’s Conundrum about kings named Henry reminded me of a Shakespeare final I gave about five years ago. This was for an advanced graduate course on Shakespeare, and I actually decided to give the final exam as a takehome. What’s more, the first five questions were True or False. Surprisingly, only two students got all five questions right. Sounds like quite a Conundrum to me…

TRUE or FALSE?

1. Twelfth Night is named after a holiday in December.

2. Gloucester (in King Lear) has two sons; the bastard one is named Edmund.

3. Katherine of Valois was wife to Henry V, mother to Henry VI, and grandmother to Henry VII.

4. Based on evidence in Hamlet, it is reasonable to assume that Shakespeare may have read at least some of the writings of Sigmund Freud.

5. The title of The Merchant of Venice refers to a Jewish merchant named Shylock.

I should point out that the five questions combined were ten percent of an exam that was ten percent of the final grade, so these questions alone were not enough to affect anyone’s final grade. I don’t believe in trying to trick students, but I felt that a takehome exam deserved a little extra bite. The rest of the exam was short answer and essay and was very straightforward.

Can anyone answer all five questions correctly?

England has had eight kings named Henry, all before Shakespeare was born.

How many of the eight appear as characters in Shakespeare’s 37 canonical plays?

For your answer to be valid, please list each such Henry, and at least one play in which he appears. It is not necessary to list all of the plays in which each Henry appears, but maybe we can do that after the Conundrum is solved.

Note: The Henry does not need to have been king at the time - nor, for that matter, called Henry.

UPDATE: Question answered by K-Lyn. See comments for answer.

In the 1950’s, Alan Turing suggested that artificial intelligence would not truly exist until a machine could pass a particular test, which we today call a “Turing Test.” It goes like this: a human examiner poses a question to two unseen participants, who return typewritten responses. The examiner knows that one of the participants is human and the other is a machine, but does not know which is which. The examiner must determine which is the human and which is the machine based on the responses returned. If the machine can fool the human examiner, it passes the Turing Test.

Today, however, it’s the machines who have much more of a need to make this determination. With automated spam-bots trolling the Internet, many Web 2.0 sites and blogs have had to adopt automated mechanisms for determining if the contributor is a live human being or not. One common method is a CAPTCHA (Completely Automated Turing test to tell Computers and Humans Apart), which shows an OCR-proof graphic image of letters and asks the would-be contributor to type those letters out. Spam-bots can’t read graphic images, at least not yet.

But, as in any arms race, the opposition hasn’t given up just yet. Some enterprising young hacker has put together a program to lure humans into helping crack CAPTCHA codes in the guise of a strip tease program. Type in the correct CAPTCHA code and “Melissa” takes off another article of clothing. Never mind that you’ve just helped give an automated program human bona fides.

Hoping to harness the same energies for good rather than evil, a group working out of Carnegie Mellon has released a program called reCAPTCHA, which has the user demonstrate humanity while also contributing to it. When encountering a reCAPTCHA, the user will enter the text of a word that OCR technology wasn’t able to read, which is meant to speed up the ongoing effort to digitize print books. A known word is included as well, as a human-check.

That sounds like a worthwhile cause, except then the user has twice as much to type to contribute a comment. I haven’t put any CAPTCHA on this blog, yet, because I want to encourage people to post comments freely. But I have to say that I do spend a good amount of time deleting spam, and so when I’m ready to go Turing, maybe reCAPTCHA is the way to go.

The whole reCAPTCHA idea reminds me of the ESP Game, in that it allows users across the Web to contribute to a piece of a mostly automated project that only humans can do. Actually, both of these schemes remind me of the ESP game, except that one is good and one is evil.

And I hope we need no Turing Test to tell us which is which.