(Roughly) Daily

“The fool doth think he is wise, but the wise man knows himself to be a fool”*…

 

shakespeare

Naeem Hayat as Hamlet, with the Shakespeare’s Globe company, performs to migrants in the Jungle refugee camp on 3 February 2016 in Calais, France

 

William Shakespeare lived in an age of uncertainty. His society was traversing a number of unpredictable challenges that spun from the succession of the heirless queen Elizabeth to the ascent of a new class of merchants. But the biggest issue had to do with religious conflicts. In the premodern world, religion provided absolute certainty: whatever we knew was implanted in our mind by God. We didn’t have to look any further. Once that system of beliefs started to collapse, Europe was left with a yawning gap. Religion no longer seemed capable to explain the world. René Descartes and Shakespeare, who were contemporaries, gave opposite answers to the sceptical challenge: Descartes believed that our quest for knowledge could be rebuilt and founded on indubitable certainties. Shakespeare, on the other hand, made uncertainty a leitmotiv of all his works, and harnessed its creative power…

Lorenzo Zucca considers the poet as a philosopher: “Much ado about uncertainty: how Shakespeare navigates doubt.”

Of possible parallel interest: an informative review of Scott Newstok’s How to Think Like Shakespeare: Lessons from a Renaissance Education.

* Shakespeare, As You Like It, Act 5, Scene 1

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As we back the Bard, we might recall that it was on this date in 1600 that four plays, three by Shakespeare– Much Ago About NothingHenry V, and the source of today’s title quote, As You Like It— plus Ben Jonson’s Every Man in His Humour were officially entered into the Stationers’ Registry.  Readers will recall that the copyright regimen was strict in Elizabeth’s time, as is now.  But back then, copyright was literally that, the right to make a (first) copy: the Queen, concerned with sedition and determined to keep a tight rein on any and all published material in her realm, had decreed that no work could be printed in England without a license from the Stationer.  In this particular instance all four plays were “stayed”–meaning that they were specifically noted in the registry as works not to be printed.  The stay didn’t hold for long; within a few years, three of the four were published.  Only one held out: for reasons scholars still debate, As You Like It didn’t appear in print until the famed First Folio edition of 1623.

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Written by LW

August 4, 2020 at 1:01 am

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