Stages of Thought
A. D. NUTTALL (2007), Shakespeare the Thinker; COLIN MCGINN (2006), Shakespeare’s Philosophy: Discovering the Meaning Behind the Plays; TZACHI ZAMIR (2007), Double Vision: Moral Philosophy and Shakespearean Drama
Philosophers often try to write about Shakespeare. Most of the time they are ill-equipped to do so. There is something irresistibly tempting in the depth and the complexity of the plays, and it lures people who respond to that complexity with abstract thought, even if for the most part they are utterly unprepared, emotionally or stylistically, to write about literary experience. Such philosophers see profound thought in Shakespeare, not wrongly. But armed with their standard analytic equipment, they frequently produce accounts that are laughably reductive, contributing little or nothing to philosophy or to the understanding of Shakespeare.
To make any contribution worth caring about, a philosopher’s study of Shakespeare should do three things. First and most centrally, it should really do philosophy, and not just allude to familiar philosophical ideas and positions. It should pursue tough questions and come up with something interesting and subtle—rather than just connecting Shakespeare to this or that idea from Philosophy 101. A philosopher reading Shakespeare should wonder, and ponder, in a genuinely philosophical way. Second, it should illuminate the world of the plays, attending closely enough to language and to texture that the interpretation changes the way we see the work, rather than just uses the work as grist for some argumentative mill. And finally, such a study should offer some account of why philosophical thinking needs to turn to Shakespeare’s plays, or to works like them. Why must the philosopher care about these plays? Do they supply to thought something that a straightforward piece of philosophical prose cannot supply, and ifso, what?