W. Shakespeare - Julius Caesar

ANTONY

Friends, Romans, countrymen, lend me your ears;
I come to bury Caesar, not to praise him.
The evil that men do lives after them;
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious:
If it were so, it was a grievous fault,
And grievously hath Caesar answer'd it.
Here, under leave of Brutus and the rest--
For Brutus is an honourable man;
So are they all, all honourable men--
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me:
But Brutus says he was ambitious;
And Brutus is an honourable man.
He hath brought many captives home to Rome
Whose ransoms did the general coffers fill:
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept:
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious;
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse: was this ambition?
Yet Brutus says he was ambitious;
And, sure, he is an honourable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause:
What cause withholds you then, to mourn for him?
O judgment! thou art fled to brutish beasts,
And men have lost their reason. Bear with me;
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.

William Shakespeare - Othello, the moor of Venice

OTHELLO

It is the cause, it is the cause, my soul,--
Let me not name it to you, you chaste stars!--
It is the cause. Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me: but once put out thy light,
Thou cunning'st pattern of excelling nature,
I know not where is that Promethean heat
That can thy light relume. When I have pluck'd the rose,
I cannot give it vital growth again.
It must needs wither: I'll smell it on the tree.

(Kissing her)

Ah balmy breath, that dost almost persuade
Justice to break her sword! One more, one more.
Be thus when thou art dead, and I will kill thee,
And love thee after. One more, and this the last:
So sweet was ne'er so fatal. I must weep,
But they are cruel tears: this sorrow's heavenly;
It strikes where it doth love. She wakes.

John Osborne - Look back in anger

The three-act play takes place in a one-bedroom flat in the Midlands. Jimmy Porter, lower middle-class, university-educated, lives with his wife Alison, the daughter of a retired Colonel in the British Army in India. His friend Cliff Lewis, who helps Jimmy run a sweet stall, lives with them. Jimmy, intellectually restless and thwarted, reads the papers, argues and taunts his friends over their acceptance of the world around them. He rages to the point of violence, reserving much of his bile for Alison's friends and family. The situation is exacerbated by the arrival of Helena, an actress friend of Alison's from school. Appalled at what she finds, Helena calls Alison's father to take her away from the flat. He arrives while Jimmy is visiting the mother of a friend and takes Alison away. As soon as she has gone, Helena moves in with Jimmy. Alison returns to visit, having lost Jimmy's baby. Helena can no longer stand living with Jimmy and leaves. Finally Alison returns to Jimmy and his angry life.
The problem, which even a fine revival like this production has, is with the melodramatic qualities of the narrative. Osborne's script became almost a template for the new school of writers, and it is difficult to present his work without being aware that there is a faint whiff of formula about it. But despite the plot's shortcomings (which were recognised even by such a fierce admirer as Tynan), it still has the power to startle. There was an audible intake of breath from the audience when Jimmy fell into Helena's arms. Thanks to a fine performance from William Gaunt the sympathy felt by Colonel Redfern, Alison's father, for Jimmy came as a revelation, but still totally understandable within the framework of the play.
The language, too, still has the power to shock, such as when Jimmy, unaware of Alison's pregnancy, says to her:
“If only something—something would happen to you, and wake you out of your beauty sleep! If you could have a child, and it would die. Let it grow, let a recognisable human face emerge from that little mass of India rubber and wrinkles. Please—if only I could watch you face that. I wonder if you might even become a recognisable human being yourself. But I doubt it.”
It is a tribute to Gregory Hersov's direction and Michael Sheen's performance as Jimmy that this does not seem overblown or ridiculous.
Some of the imagery and language doesn't travel too well historically and reflects only the preoccupations of the era. It is difficult, for example, to imagine jazz being quite as exotic as it is for Jimmy. Or to understand the intellectual courage of saying about a gay man, “He's like a man with a strawberry mark—he keeps thrusting it in your face because he can't believe it doesn't interest or horrify you particularly. As if I give a damn which way he likes his meat served up”. At the time homosexuality was still illegal in Britain.
The production stays close to Osborne's original stage-image. This enables it to show the play as standing at a crossroads both of the British stage and also of political and historical epochs. Before the show, the title is projected onto the curtains like a jazz album cover. Between scenes, wreaths of cigarette smoke rise up the curtains. An era is evoked. Matilda Ziegler's Helena also captures a lost period of weekly repertory theatre, of companies travelling the country with precisely the sort of play that Look Back in Anger was attacking; a world evoked with such nostalgia in The Dresser. It was a time when actors auditioned in suits or the sort of starched twin-pieces that Helena wears before she moves in with Jimmy. The admiration of William Gaunt's Colonel Redfern for Jimmy's principles and his amusement at Jimmy's description of Mrs Redfern as “an overfed, overprivileged old bitch”, are set against his total lack of comprehension of what Jimmy's life actually means. Alison says to him “You're hurt because everything is changed. Jimmy is hurt because everything is the same. And neither of you can face it. Something's gone wrong somewhere, hasn't it?” Or as it was put in a Daily Express article from December 1959 which is quoted in the programme: “Out of this decade has come the Illusion of Comfort, and we have lost the sense of life's difficulty”.
It is clear from Osborne's script that there was no lack of a sense of life's difficulties around at the time. But the emphasis had shifted from the martyred expressions of the British ruling class and their “white man's burden”, as represented in Colonel Redfern, to a more serious appraisal of life for those outside that ruling class. Emma Fielding does a good job playing Alison, who has grown up with the one attitude but has been forced by her situation into the other. Fielding gives a good performance as the woman who tolerates Jimmy's invective, living constantly with the threat of something erupting in front of her. Helena on the other hand ultimately cannot stay with Jimmy precisely because of the destruction of all her old certainties.
Perhaps the only truly sympathetic character in the play is Cliff, here excellently played by Jason Hughes. From his role as Jimmy's foil in the early exchanges, to appearing as Alison's real friend, to the point when he decides that he does not want to stay in the flat, Hughes gives a magnificent portrayal of solidness. Whilst Alison is forced to accept Jimmy's rages because her family background has robbed her of any other viable option, Hughes shows us Cliff as someone who is keeping the peace by hiding his real character—by playing along with all the games.
In Jimmy Porter, Osborne created what came to be seen as a model of the “angry young man”—railing at the lack of passion of his age, entreating Alison and Cliff to show some enthusiasm. He is marvellously, unreasonably idealistic in a wildly unfocussed way. Kenneth Tynan, who described Jimmy as “the completest young pup in our literature since Hamlet”, criticised those who attacked the recklessness of Jimmy's attacks. “Is Jimmy's anger justified? Why doesn't he do something? These questions might be relevant if the character had failed to come to life; in the presence of such evident and blazing vitality, I marvel at the pedantry that could ask them. Why don't Chekhov's people do something? Is the sun justified in scorching us?”
It is just this “evident and blazing vitality” that Michael Sheen represents so well. Spluttering with indignation, retreating into his pseudo-literary takes on vaudeville, firing off his vindictive gags almost because he can do nothing else. Osborne, throughout his work, was fascinated by end-of-pier music hall and vaudeville. In The Entertainer, one year later, he used vaudeville and its washed-up performer Archie Rice in a brilliant take on the crisis in post-war British society. Here he has Jimmy and Cliff perform a variety-style number, “Don't be afraid to sleep with your sweetheart just because she's better than you”, as well as trading cheap cracks in true hackneyed music hall style.
More than any other writer of his generation, Osborne was fascinated by the tragedy lurking at the heart of the light entertainment performance. Michael Sheen adds another layer to this in his spluttering soliloquies, carrying with them an echo of Tony Hancock's ridiculous suburban pretensions. It is a fascinating comparison: Hancock, the parodist of lower-middle-class aspirations, and Jimmy Porter, the raging expression of the frustrations of the lower middle class. Sheen has a lightness of touch that suits Jimmy's failed jokes and misplaced comments, as well as his more furious denunciations of the absence of passion.
The impact Osborne had on British theatre is incalculable. With Look Back in Anger he brought class as an issue before British audiences. Under Hersov's direction, Sheen articulates the realisation of a man who has reached the limits of the possibilities open to him but is struggling to retain his dignity. “Why don't we have a little game?” he asks. “Let's pretend that we're human beings, and that we're actually alive”. Sheen gives a marvellous performance of a man running in circles trying to find a way out.
Osborne has often been criticised for not seeing a way out, and not explaining more carefully the crisis in which Jimmy finds himself. Robert Wright, reviewing the first production in the Star, wrote “He obviously wants to shake us into thinking but we are never quite clear what it is he wants us to think about. Is it the Class Struggle or simply sex?” This incoherence in Jimmy's rage is both strength and a limitation to the play.
It is apparent from the text that Osborne recognised this limitation, even tacitly. Helena criticises Jimmy, saying, “There's no place for people like that any longer—in sex, or politics, or anything. That's why he's so futile.... He doesn't know where he is, or where he's going. He'll never do anything, and he'll never amount to anything.” It seems almost a recognition that within his own work there are insufficient answers. This goes hand-in-hand with Jimmy's statement that “people of our generation aren't able to die for good causes any longer.... There aren't any good, brave causes left.”
Such a statement could be read as the voice of pessimistic nihilism. Writing about Celine's novel Journey to the End of Night, Trotsky described it as “a book dictated by terror in the face of life, and weariness of it, rather than by indignation. Active indignation is linked up with hope. In Celine's book there is no hope.” That is clearly not the case here. Jimmy yearns for passion, and clings to the idea of it. When Alison returns to him he tells her “I may be a lost cause, but I thought if you loved me, it needn't matter.” There is a vision, however confused, of the possibilities of human existence. What makes Jimmy's statement so interesting is precisely the historical context in which it occurs.
Kenneth Tynan, who referred to the play's “instinctive leftishness” in his Observer review, wrote in a piece on “The Angry Young Movement” that Jimmy Porter “represented the dismay of many young Britons ... who came of age under a Socialist government, yet found, when they went out into the world, that the class system was still mysteriously intact.”
It is the mistaken association of the post-war Labour government with the failure of socialism per se that accounts for Porter's frustration. Osborne, active in various protests at the time, such as the Campaign for Nuclear Disarmament, articulated his own sentiments through his lead character. In this respect, it is possible to see in the play expressions of the political impasse that had been reached in Britain during the 1950s, as a result of the domination of intellectual life by Stalinism and social democracy.
Nonetheless, it is also possible to see a challenge, albeit confused and unclear, to that impasse. There remains somewhere at the play's core, even if it cannot be explained, hope. There remains a belief that somehow people can survive the worst and perhaps even overcome it; a belief in humanity, and the possibility of a way forward.

Pavlov's drooling dogs

While Ivan Pavlov worked to unveil the secrets of the digestive system, he also studied what signals triggered related phenomena, such as the secretion of saliva. When a dog encounters food, saliva starts to pour from the salivary glands located in the back of its oral cavity. This saliva is needed in order to make the food easier to swallow. The fluid also contains enzymes that break down certain compounds in the food. In humans, for example, saliva contains the enzyme amylase, an effective processor of starch.
Pavlov became interested in studying reflexes when he saw that the dogs drooled without the proper stimulus. Although no food was in sight, their saliva still dribbled. It turned out that the dogs were reacting to lab coats. Every time the dogs were served food, the person who served the food was wearing a lab coat. Therefore, the dogs reacted as if food was on its way whenever they saw a lab coat.
In a series of experiments, Pavlov then tried to figure out how these phenomena were linked. For example, he struck a bell when the dogs were fed. If the bell was sounded in close association with their meal, the dogs learnt to associate the sound of the bell with food. After a while, at the mere sound of the bell, they responded by drooling

Different kinds of reflexes
Reflexes make us react in a certain way. When a light beam hits our eyes, our pupils shrink in response to the light stimulus. And when the doctor taps you below the knee cap, your leg swings out. These reflexes are called unconditioned, or built-in. The body responds in the same fashion every time the stimuli (the light or the tap) is applied. In the same way, dogs drool when they encounter food.
Pavlov's discovery was that environmental events that previously had no relation to a given reflex (such as a bell sound) could, through experience, trigger a reflex (salivation). This kind of learnt response is called conditioned reflex, and the process whereby dogs or humans learn to connect a stimulus to a reflex is called conditioning.
Animals generally learn to associate stimuli that are relevant to their survival. Food aversion is an example of a natural conditioned reflex. If an animal eats something with a distinctive vanilla taste and then eats a tasteless poison that leads to nausea, the animal will not be particularly eager to eat vanilla-flavoured food the next time. Linking nausea to taste is an evolutionarily successful strategy, since animals that failed to learn their lesson did not last very long.
Pavlov's description on how animals (and humans) can be trained to respond in a certain way to a particular stimulus drew tremendous interest from the time he first presented his results. His work paved the way for a new, more objective method of studying behavior.
So-called Pavlovian training has been used in many fields, with anti-phobia treatment as but one example. An important principle in conditioned learning is that an established conditioned response (salivating in the case of the dogs) decreases in intensity if the conditioned stimulus (bell) is repeatedly presented without the unconditioned stimulus (food). This process is called extinction.
In order to treat phobias evoked by certain environmental situations, such as heights or crowds, this phenomenon can be used. The patient is first taught a muscle relaxation technique. Then he or she is told , over a period of days, to imagine the fear-producing situation while trying to inhibit the anxiety by relaxation. At the end of the series, the strongest anxiety-provoking situation may be brought to mind without anxiety. This process is called systematic desensitization.
Conditioning forms the basis of much of learned human behavior. Nowadays, this knowledge has also been exploited by commercial advertising. An effective commercial should be able to manipulate the response to a stimulus (like seeing a product's name) which initially does not provoke any feeling. The objective is to train people to make the "false" connection between positive emotions (e.g. happiness or feeling attractive) and the particular brand of consumer goods being advertised.

Behaviourism

Behaviorism originated with the work of John B. Watson, an American psychologist. Watson claimed that psychology was not concerned with the mind or with human consciousness. Instead, psychology would be concerned only with behavior. In this way, men could be studied objectively, like rats and apes.
Watson's work was based on the experiments of Ivan Pavlov, who had studied animals' responses to conditioning. In Pavlov's best-known experiment, he rang a bell as he fed some dogs several meals. Each time the dogs heard the bell they knew that a meal was coming, and they would begin to salivate. Pavlov then rang the bell without bringing food, but the dogs still salivated. They had been "conditioned" to salivate at the sound of a bell. Pavlov believed, as Watson was later to emphasize, that humans react to stimuli in the same way.
Behaviorism is associated today with the name of B.F. Skinner, who made his reputation by testing Watson's theories in the laboratory. Skinner's studies led him to reject Watson's almost exclusive emphasis on reflexes and conditioning. People respond to their environment, he argued, but they also operate on the environment to produce certain consequences.
Skinner developed the theory of "operant conditioning," the idea that we behave the way we do because this kind of behavior has had certain consequences in the past. For example, if your girlfriend gives you a kiss when you give her flowers, you will be likely to give her flowers when you want a kiss. You will be acting in expectation of a certain reward. Like Watson, however, Skinner denied that the mind or feelings play any part in determining behavior. Instead, our experience of reinforcements determines our behavior.
Behaviorism originated in the field of psychology, but it has had a much wider influence. Its concepts and methods are used in education, and many education courses at college are based on the same assumptions about man as behaviorism. Behaviorism has infiltrated sociology, in the form of sociobiology, the belief that moral values are rooted in biology. What are the presuppositions of behaviorism?

1. Behaviorism is naturalistic. This means that the material world is the ultimate reality, and everything can be explained in terms of natural laws. Man has no soul and no mind, only a brain that responds to external stimuli.

2. Behaviorism teaches that man is nothing more than a machine that responds to conditioning. One writer has summarized behaviorism in this way: "The central tenet of behaviorism is that thoughts, feelings, and intentions, mental processes all, do not determine what we do. Our behavior is the product of our conditioning. We are biological machines and do not consciously act; rather we react to stimuli."

The idea that men are "biological machines" whose minds do not have any influence on their actions is contrary to the biblical view that man is the very image of God - the image of a creative, planning, thinking God. In fact, Skinner goes so far as to say that the mind and mental processes are "metaphors and fictions" and that "behavior is simply part of the biology of the organism." Skinner also recognizes that his view strips man of his "freedom and dignity," but insists that man as a spiritual being does not exist.

3. Consistently, behaviorism teaches that we are not responsible for our actions. If we are mere machines, without minds or souls, reacting to stimuli and operating on our environment to attain certain ends, then anything we do is inevitable. Sociobiology, a type of behaviorism, compares man to a computer: Garbage in, garbage out.
This also conflicts with a Christian worldview. Our past experiences and our environment do affect the way we act, of course, but these factors cannot account for everything we do. The Bible teaches that we are basically covenantal creatures, not biological creatures. Our nearest environment is God Himself, and we respond most fundamentally to Him. We respond either in obedience to or rebellion against His Word.

4. Behaviorism is manipulative. It seeks not merely to understand human behavior, but to predict and control it. From his theories, Skinner developed the idea of "shaping." By controlling rewards and punishments, you can shape the behavior of another person.

As a psychiatrist, one of Skinner's goals is to shape his patients' behavior so that he or she will react in more socially acceptable ways. Skinner is quite clear that his theories should be used to guide behavior: "The experimental analysis of behavior has led to an effective technology, applicable to education, psychotherapy, and the design of cultural practices in general, which will be more effective when it is not competing with practices that have had the unwarranted support of mentalistic theories."
In other words, Skinner wants behaviorism to be the basis for manipulating patients, students, and whole societies.
The obvious questions, of course, are: Who will use the tools? Who will pull the strings? Who will manipulate the technology? No doubt, Skinner would say that only someone trained in behavioral theory and practice would be qualified to "shape" the behavior of other persons. But this is contrary to the biblical view, which commands us to love our neighbor, not to manipulate him.
In summary, the ethical consequences of behaviorism are great. Man is stripped of his responsibility, freedom, and dignity, and is reduced to a purely biological being, to be "shaped" by those who are able to use the tools of behaviorism effectively.