Just One Day(50)

Professor Glenny returns to the lectern. “Shakespeare is a mysterious character. There is so much written about this man about whom we truly know so little. Sometimes I think only Jesus has had more ink spilled with less fruitful result. So I resist making any characterizations about the man. But I will go out on a limb and say this: Shakespeare did not write his plays so that you could sit in in a library carrel and read them in silence.” He pauses, lets that sink in before continuing. “Playwrights are not novelists. They create works that need to be performed, interpreted. To be reinterpreted through the ages. It is credit to Shakespeare’s genius that he gave us such great raw material that really could survive the ages, withstand the myriad reinterpretations we throw at it. But to truly appreciate Shakespeare, to understand why he has endured, you must hear it out loud, or better yet, see it performed, whether you see it performed in period costume or done naked, a dubious pleasure I’ve had. Though a good film production can do the trick, as our friend Dee has so aptly demonstrated. And Mr. Harrison,” he looks at Dee again. “Thank you for your honesty. I too have fallen asleep while reading Shakespeare. My college textbook still bears some drool marks. You’re off the wait list.”
Striding back to the whiteboard, Professor Glenny scrawls English 317—Shakespeare Out Loud on it. “The name of this class is not accidental. It is quite literal. For in this class, we do not read Shakespeare quietly to ourselves or in the privacy of our bedrooms or libraries. We perform it. We see it performed. We read it aloud, in class or with partners. Every last one of us will become actors in this class, interpreters for one another, in front of one another. For those of you not prepared for this or who prefer a more conventional approach, this fine institution offers plenty of Shakespeare survey courses, and I suggest you avail yourself of one of them.”
He pauses, as if to give people a chance to escape. Here would be my chance to go, but something roots me in place.
“If you know anything about this class, it’s that I coordinate our readings to go with whatever Shakespeare is being performed during the term, be it by a community group or professional theater company. I expect attendance at all the plays, and I get us excellent group rates. As it happens, this winter and spring bring a delightful selection of plays.”
He starts handing out the syllabus, and before one gets to me, before he finishes writing the order of plays on the board, I know it will be among them, even though Shakespeare wrote more than thirty plays, I know this one will be on our list.
It’s midway through the syllabus, after Henry V and The Winter’s Tale and before As You Like It and Cymbeline and Measure for Measure. But there on the page, it seems to jump out at me like a billboard. Twelfth Night. And whether I want to take this class or not is irrelevant. I can’t stand up here and read those lines. That is the opposite of tabula rasa.
Professor Glenny goes on for a while about the plays, pointing to them one by one with his hand, erasing the ink in his enthusiasm. “My absolute favorite thing about this class is that we, in effect, let the themes choose us by letting the plays choose us. The dean was skeptical at first of this academia via serendipity, but it always seems to work out. Take this sampling.” He points to the list of plays again. “Can anyone surmise this semester’s theme based on these particular plays?”
“They’re all comedies?” the girl up front with the Tootsie Roll twists asks.
“Good guess. The Winter’s Tale, Measure for Measure, and Cymbeline, though all have much humor, are not considered comedies so much as problem plays, a category we shall discuss later. And Henry V, though it has many funny bits, is quite a serious play. Any other takers?”
Silence.
“I’ll give you a hint. It’s most obvious in Twelfth Night or As You Like It, which are comedies—which isn’t to say they’re not also quite moving plays.”
More silence.
“Come now. Some of you fine scholars must have seen one of these. Who here has seen As You Like It or Twelfth Night?”
I don’t realize I’ve raised my hand until it’s too late. Until Professor Glenny has seen me and nodded to me with those bright, curious eyes of his. I want to say that I’ve made a mistake, that it was some other version of Allyson who used to raise her hand in class who temporarily reappeared. But I can’t, so I blurt out that I saw Twelfth Night over the summer.
Professor Glenny stands there, as if waiting for me to finish my thought. But that was it; that’s all I have to say. There’s an awkward silence, like I just announced I was an alcoholic—at a Daughters of the American Revolution meeting.
But Professor Glenny refuses to give up on me: “And, what was the main source of tension and humor in that particular play?”
For the briefest of seconds, I’m not in this overheated classroom on a winter’s morning. It’s the hot English night, and I’m at the canal basin in Stratford-upon-Avon. And then I’m in a Paris park. And then I’m back here. In all three places, the answer remains the same: “No one is who they pretend to be.”
“Thank you. . . . ?”
“Allyson,” I finish. “Allyson Healey.”
“Allyson. Perhaps a slight overgeneralization, but for our purposes, it hits the nail right on the head.” He turns to the board and scrawls Altering Identity, Altering Reality on it. Then he checks something else off on his sheet of paper.
Professor Glenny continues, “Now, before we part ways, one last piece of housekeeping. We won’t have time to read each play completely in class, though we will make quite a dent. I believe I’ve made my point about reading alone to yourselves, so I’d like you to read the remaining sections aloud with partners. This is not optional. Please pair up now. If you’re on the wait list, find a partner also on the wait list. Allyson, you’re no longer on the wait list. As you can see, class participation is rewarded in here.”