Books

Shakespeare the Thinker by A.D. Nuttall

Carlin Romano
The Philadelphia Inquirer (MCT)

To be or not to be a philosopher did not concern Shakespeare, so far as we know. And we know very little.


Shakespeare the Thinker

Publisher: Yale University Press
Length: 448
Formats: Hardcover
Price: $30.00
Author: A.D. Nuttall
US publication date: 2007-04
Amazon

Shakespeare's Philosophy: Discovering the Meaning Behind the Plays

Publisher: HarperCollins
ISBN: 0060856157
Author: Colin McGinn
Price: $24.95
Length: 240
Formats: Hardcover
US publication date: 2006-11
Amazon

To be or not to be a philosopher did not concern Shakespeare, so far as we know. And we know very little.

Indeed, it might be said that the endless interpretations of scholars who claim Shakespeare meant this or that, or wrote from a familiar ideological position -- "closet Catholic" keeps rising as a trendy view in recent bios -- die many times before their deaths (savaged by rival scholars), while modest approaches taste of deconstruction but once, when the books in which they appear get pulped.

And there's the nub -- the paradox of Shakespeare scholarship that continues nearly 400 years after his death.

On the one hand -- a phrase Shakespeare may have invented, along with a higher percentage of English truisms than anyone else -- the Bard endures as the supreme writer in the history of the English language and, to many, the most profound ever across all cultures.

When we refuse to "budge an inch," excoriate "rotten apples," or admonish slackers to "sink or swim," we speak in his voice. Although the arts sections of newspapers teem with products from self-anointed "artists" who will not survive their publicity budgets, Shakespeare after roughly four centuries still pleases general audiences, challenges intellectuals, and provokes academics. How can we not presume that such a stupendous orchestrator of character and insight operated with a coherent, multifaceted theory of human nature?

On the other hand, our ignorance of Shakespeare the man -- he left no diaries or letters in his short life of 52 years -- and the clashing multiple versions of some of his texts, have always dovetailed with a contrary belief that his greatness arises precisely from utter openness to the varieties of human behavior, emotion and thought, his ability to render in concrete scenes and daring metaphors more non-reductionist nuances of the heart and mind than an army of writers centuries later.

This Shakespeare soars as the universal artist because his plays and poetry offer a kaleidoscope of the human condition while speculative bios, short on fact and long on inference, end up too dull an instrument to cut him down to size. He's a channeler rather than a source of wisdom.

The genius of Shakespeare the Thinker by A.D. Nuttall, the foremost Shakespeare scholar of his Oxford generation (he died in January at age 69), lies in merging these two traditions enough to bring the magisterial wizard of diction into focus as a bearer of beliefs without losing the reportorial poet open to all experience.

In contrast, Shakespeare's Philosophy, by the analytic philosopher and popularizer Colin McGinn, insists on a pinched approach to Shakespeare's corpus that sinks his readings.

Why does Nuttall succeed better in mulling philosophy, described by Shakespeare as "Adversity's sweet milk"? Because Nuttall accompanies Shakespeare as a common reader on "the fiery track of his thinking," finding not a "systematic philosopher" but a pragmatic one, a man of the theater unfolding weakness of the will as he hovers about Hamlet, confronting the difficulties of self-identity in bringing Richard II to life, posing Brutus as the anti-Stoic in Julius Caesar. Accessibly and entertainingly, this erudite classicist cites Martin Scorsese, Tony Blair or Star Trek as casually as he mentions Apollonius of Tyre or Quintilian (one admires his segue from Vulcan Mr. Spock to Prospero querying Ariel in The Tempest).

In chapters with titles such as "Learning Not to Run," "Stoics and Skeptics," "Strong Women, Weaker Men," Nuttall, who began his lifelong wedding of literature to philosophy by doing his graduate thesis under Iris Murdoch, shows how Shakespeare revisits themes from play to play, saying something about almost all of them, while analyzing with particular brilliance how literary preciousness can block engagement with reality in Love's Labour's Lost, and how the fantastic can deliver harsh truths in A Midsummer Night's Dream.

McGinn suffers by comparison almost as a matter of species (and we say this more in sorrow than in anger). Nuttall, trained in classics and literature as well as philosophy, radiates Shakespeare's own humanism. McGinn, instead, comes across as the know-it-all Shakespeare often mocked. He's out of spirit with his Elizabethan hero, who, long before he fell for Gwyneth Paltrow in Shakespeare in Love, recognized that the heart, in almost every human endeavor, matters more than the mind.

McGinn's concentration on a "close reading" of just six "major" plays thus ends up a skimpy choice beside his subject's cornucopia of plot and theme. McGinn boxes Shakespeare into categories of a now passe era of analytic philosophy. He seeks "a systematic treatment of the underlying philosophical themes of the plays," which include "skepticism and the possibility of human knowledge; the nature of the self and personal identity; the understanding of causation. ..." He flatly says he'd like to supplement previous readings of Shakespeare with "something more abstract."

Imagine a music critic trying to explain Springsteen or Ray Charles by getting beyond the beat, the tempo. The result turns out as dry and stuffy as McGinn's semicolons, replete with banalities such as "Shakespeare was clearly fascinated by the workings of the human mind" and "questions of right and wrong could hardly be more paramount in Shakespeare's works." As a certain playwright instructed us, "Unbidden guests are often welcomest when they are gone."

Nuttall, having shaken off his mortal coil, might take pleasure that he made the case emblazoned in his title. If the notion persists that Shakespeare operated like the stage's great sponge, absorbing life and emotion in all its wet, perspiring madness, then squeezing his "fluid antinomies" (in Nuttall's phrase) onto page and stage, it's because we misconceive what it means to be a thinker, and miss "the brilliantly centrifugal movement of Shakespeare's mind."

A thinker intuits, comprehends, shapes, articulates -- he does not merely argue and declare. Shakespeare did not always nail truth in an immortal phrase or image. We don't speak today of a "wilderness of monkeys" or a "man of my kidney." Yet Nuttall's proto-pragmatist Shakespeare is surely a "thinker" (even if Shakespeare by any other tag would be as neat), one of "immense, intelligent charity," in the author's apt nutshell, because he's always trying for that immortal phrase.

Rejecting dogmatism in the face of realities that cascade over him, Shakespeare triumphs as the English language's first great general of generalization, a marcher and maker of rules of thumb, embedded in aphorism and incident -- "brevity is the soul of wit," or "the quality of mercy is not strained" -- whose contraries he's happy to startle us with as soon as the next character appears.

Close up his eyes, then, and draw the curtain close. And let us all to meditation.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image