Godot’s Shakespeare

While the connection between Samuel Beckett’s Waiting for Godot and King Lear has become something of a critical commonplace, references to other Shakespeare plays can also be found throughout. This essay traces Godot’s debt to two plays in particular. First it argues how Godot not only draws on Hamlet’s graveyard scene for macabre imagery, but how it also construes an extended meta-theatrical parody of Hamlet’s soliloquies about the contrast between acting and talking/thinking. The second half of the essay proposes a number of connections with The Tempest, and specifically with its “salvage and deformed slave” Caliban. It argues how the figure of Caliban not merely functions as a model for a colonial power-dynamic that can be seen to operate here and elsewhere in Beckett, but how Caliban is equally significant as a lyrical figure whose great speech about sleeping, waking, and dreaming informs Beckett’s play in a number of ways.     

The Temporality of Eternal Prosperity: Prospero’s Labors of Love in The Tempest

In this essay, I examine the role of providence in Shakespeare’s The Tempest alongside the concept of history that Kierkegaard develops in Philosophical Fragments. I argue that the art of the play is contained in Prospero’s historical and loving engagement with the past. In short, I undertake to show that, in stark contrast to the Greek and Roman conception of time as fate, it is in viewing love as both the temporal origin and the eternal goal of existence that the time of our lives is rendered providential, that is, meaningful and historical.     

Tragedy and Science

Tragic theater is a phenomenon both extremely rare and sadly ephemeral. Perusal of Nietzsche will lead to the proposal that tragic theater developed in periods marked by scientific revolutions, related here to sweeping and far-ranging changes in the social fabric and the myths — or world theories (condensed images of the world) — underlying it. Tragic theater expresses an insoluble conflict between a mythology (or world theory) in decline and a new form of culture, epitomized by a new world theory. True tragic theater therefore exhibits the same conditions that give rise to scientific revolutions. This “Tragedy — the Swan Song of Myth” thesis, outlined in Nietzsche's early studies of Greek tragedy, will be generalized and extended to the case of 17th century English tragedy and science, and the origins of the modern myth of Progress and Enlightenment.     

Disco and Democracy: Thoughts on Stillman's Film and Book

Abstract

Statesmanship can be exercised in a variety of situations, not all of which involve sitting in the Executive Office. This response examines three of the most impressive American efforts at statesmanship—that of Madison in his capacity as Founder (on how best to secure rights), Franklin as author of a new American Way of life (based on virtues freed from religious seriousness), and Lincoln as theorist of a political morality. All three examples, I argue, provide evidence that a statesman is more than just a politician who has been dead for some time.     

Tocqueville and the End of History

Abstract

We argue for the relevance of a contemporary return to Shakespeare because his work prompts thinking about the “Body Politic,” perhaps the most vivid and enduring image in speech describing political community ever proposed. Shakespeare's meditation on this image invites us to reflect on the conditions under which a body politic can be made whole; that the constitution of any formal commonwealth requires a self-conscious articulation of the body politic and that this articulation could not happen without the parts themselves being aware of their partial character within the whole political order. The need for the consent of those parts in the political order to which they would belong thus becomes suddenly more evident. Shakespeare's plays show that this need for consent always emerges within discrete political communities. As such, the constituent parts of those communities must grant consent, exercise and enjoy their rights, and participate in the whole within the limitations circumscribed by their political boundaries and borders. His dramatic works thus help us reconsider contemporary attacks on the nation-state and illuminate the body politic as an essential means for bringing into being the preconditions and framework required for healthy political life, including liberal democracy, to flourish.     

‘Certainly the Muslim is the very devil incarnation’: Islamophobia and The Merchant of Venice

In this paper, we examine Shakespeare's sixteenth‐century play, The Merchant of Venice. Anti‐Semitism is a key theme in this play. The well‐known central character, Shylock, is a Jewish man ridiculed and victimised because of his identity. Much literary research has been done on the anti‐Semitism of the play, and many social studies have compared anti‐Semitism and Islamophobia, but scarcely any research brings a Shakespearean play from the sixteenth century into the context of twenty‐first century Islamophobia. There are a number of similarities between the manner in which Shylock is ostracised and the current victimisation that Muslim communities are facing in Europe and more specifically the UK. With this in mind, we explore contextual and thematic elements of this play and argue that it is possible to apply the way Shylock is unfairly victimised on stage because of his identity as a Jew to the treatment of some Muslims today. In particular, the treatment he faces shares stark similarities with the types, impacts and consequences of Islamophobic hate crime today.     

Sleepwalking through History: Medicine,Arts, and Courts of Law

Somnambulism, or sleepwalking, has always been of interest to theologians, writers, philosophers, physicians, and others fascinated by unusual behaviors. This parasomnia, which was defined less precisely in the past than it is today, has long been featured in medical dissertations and books of medicine. Further, Shakespeare, Bellini, and Brown, among others, incorporated it into their plays, operas, and novels. Because some somnambulists turned violent and committed other acts detrimental to society, sleepwalking also demanded attention from legal systems, and guidelines were set for whether somnambulists could be held responsible for their actions. This historical review focuses on these developments pertaining to somnambulism through the seventeenth, eighteenth, and nineteenth centuries.     

Tocqueville: Democratic Politics and the Modern Soul. Introduction

Abstract

This paper explores Prince Hal's relationships with his great friend Falstaff and his great enemy Hotspur, who dominate the young prince's life as he prepares to rule England and conquer France. Hotspur and Falstaff could not be more different, and seem deliberately drawn by Shakespeare to represent distinctive and opposing points of view: Hotspur is an honor-loving and courageous warrior who covets danger and fame, Falstaff a selfish and dishonorable rationalist who has no regard for danger or fame. I will argue that the lessons Hal learns from Hotspur and Falstaff, especially concerning honor, are the key to his stunning political success. While Hal seems to stand somewhere between these two extremes, and so might be characterized as moderately attached to honor, I will question this conclusion and suggest another.     

Montaigne,Tocqueville, and the Politics of Skepticism

Abstract

Shakespeare shows how enforceable contract not only undergirds the city of Venice, which makes a multicultural society possible, but its corrosive effects on non-contractual relationships like friendship, love, and marriage. This is evident in the decisions, actions, and relationships of Antonio, Bassanio, Portia, and Jessica. Although Shakespeare concludes the play on a happy note, the conclusion one can reach is that, despite its advantages, regimes based on commerce and contract fail to create the conditions for friendship, love, and marriage to flourish.     

Creative Thinking and Emotion in Human Social Life: The Creative Mind: Myths and Mechanisms

Abstract

There is debate whether The Merchant of Venice is an anti-Semitic play. However, in this debate there has been insufficient attention paid to Shylock's relationship with Tubal. In his criticisms of Shylock, Tubal represents the larger Jewish community. This criticism shows that, in Shakespeare's view, Jewish self-understanding of what it means to be a good Jew is incompatible with the character of Shylock.