Julius Caesar, Antony, King Lear,
Hamlet, Macbeth – corrupted, vain, impure,
Irrational, bombastic, insecure –
He’s no more clarity or veritas
Than the deceptions of a covert war,
All morals blurred.
That tyrant rant, Tyrannosaurus roar,
Forecasts he’ll suffer a dictator’s fate:
His proud obsessed confusion first seems great,
Then grates, unravels at the seams, slips gear,
Loses its moral metaphors, grows crass;
He dies absurd.
Octavius, Malcolm, Edgar, Fortinbras,
Comes from the wings and strides to centre stage –
Competent, measured, reasonable, sane –
To rule the wreckage of the tragic reign;
Restores some structure, closes out the age,
Speaks the last word.
This archetypal character’s strong thump
Will get his nation out of the morass;
The raucous self-styled hero being dead,
A truer leader takes the throne instead.
(How Shakespeare’d end the Tragedy of Trump
Can be inferred.)
The common fate of Shakespeare’s flawed protagonists–death, and replacement by a more worthy ruler–is a story that humans enjoy and wish applied in their own times and countries… although they may naturally disagree on which ruler is disgraceful and which would be more worthy. Speaking for myself, I don’t need to see a death–I’d be happy for Putin and Trump to avoid assassination or jail by going into comfortable exile at a golf hotel in southern Russia. (You read it first here.) But Shakespeare would deal with them more definitively.
This poem is the third of the five poems published this month in The Brazen Head. Its four stanzas are in iambic pentameter with a short 6th line. The rhymes largely carry over between stanzas–the 6th lines only rhyme with each other. The rhymes and the stanza structure are designed to create a sense of satisfactory achievement–exactly what I feel with Biden taking over from Trump. (Similarly I would love to see Navalny take over from Putin, and almost anyone replace Boris Johnson.)