Theatre and Corruption Theme Analysis

Enter the players. There were seven of us then, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum.

Maybe [Dellecher], like Filippa, has hardly changed at all. I can still see it, lush and green and wild, in some tiny way enchanted, like Oberon’s wood, or Prospero’s island. There are things they don’t tell you about such magical places—that they’re as dangerous as they are beautiful. Why should Dellecher be any different?

It was just us—the seven of us and the trees and the sky and the lake and the moon and, of course, Shakespeare. He lived with us like an eighth housemate, an older, wiser friend, perpetually out of sight but never out of mind, as if he had just left the room. Much is the force of heaven-bred poesy.

James stood behind Richard like a shadow, watching me with a shell-shocked expression, one part dread, one part indignation. Anger bristled on my skin, trapped there by the fabric of my shirt pulled tight against my body. I wanted to hurt Richard like he’d hurt Meredith, like he’d hurt James, like he would hurt any one of us who gave him half a reason.

I exhaled with a strange fond sadness, wondering what on earth had occupied my thoughts before Shakespeare. My first fumbling encounter with him at the age of eleven had quickly blossomed into full-blown Bardolatry. I bought a copy of the complete works with my precious pocket money and carried it everywhere, all too happy to ignore the less poetic reality of the outside world. Never before in my life had I experienced something so undeniably stirring and important. Without him, without Dellecher, without my company of lyric-mad classmates, what would become of me?

I sighed and looked down at my own reflection on the surface of the water. My face seemed somehow unfamiliar, and I squinted, trying to work out what was different. The realization hit me like a blow to the stomach: with my dark hair a little wilder than usual and my blue eyes hollowed out by the weak starlight, I almost resembled Richard. For one sickening moment he stared back at me from the bottom of the lake.

“A good Shakespearean actor—a good actor of any stripe, really—doesn’t just say words, he feels them. We felt all the passions of the characters we played as if they were our own. But a character’s emotions don’t cancel out the actor’s—instead you feel both at once. Imagine having all your own thoughts and feelings tangled up with all the thoughts and feelings of a whole other person. It can be hard, sometimes, to sort out which is which.”

The thing about Shakespeare is, he’s so eloquent … He speaks the unspeakable. He turns grief and triumph and rapture and rage into words, into something we can understand. He renders the whole mystery of humanity comprehensible.” I stop. Shrug. “You can justify anything if you do it poetically enough.”

My infatuation with James (there’s the word, never mind “enamored”) transcended any notion of gender. Colborne—regular Joe, happily married, father of two, not unlike my own father in some respects—does not strike me as the sort of man who would understand this. No man is, perhaps, until he experiences it himself and deniability is no longer plausible. What were we, then? In ten years I have not found an adequate word to describe us.

Suddenly it seems there is a fourth person in the room. For the first time in ten years, I look at the chair that had always been Richard’s and find it isn’t empty. There he sits, in lounging, leonine arrogance. He watches me with a razor-thin smile and I realize that this is it—the dénouement, the counterstroke, the end-all he was waiting for. He lingers only long enough for me to see the gleam of triumph in his half-lidded eyes; then he, too, is gone.