Campbell Corner Language Exchange
Shakespeare and Hegel: a Confrontation
by Jean Goldschmidt Kempton
….he was only half awake, but the chief thing
which he remembered, was Socrates insisting
to the other two that the genius of comedy was
the same as that of tragedy, and that the writer
of tragedy ought to be a writer of comedy also.
To this they were compelled to assent.
Shakespeare and Hegel both saw the workings of
the world as dialectical. Dialectic is the motion
and structure of Hegel's philosophy; it is also
the natural stance of the playwright, whose expression
takes the form of dialogue. Thus dialectic stands
at the bottom of both, but it also reaches to
the very top, or infinity of their thought. Its
motion is inclusive: the synthesis includes both
thesis and antithesis, and the greater synthesis
always includes the lesser. At the end, both reach
the infinity of self-determination: Hegel's philosophy
as mind contemplating itself, having comprehended
all external reality; Shakespeare's drama in a
vision of art comprehending nature and returning
into itself.
Dialectic divides in order to make whole. As
Antony says to his attendant Eros (whose name
requires no gloss): "Come then; for with a wound
I must be cured." This is no idle oxymoron: the
wound is essential to the cure, and dialectic
includes both in its redeeming motion. I will
try, in a detailed discussion of The Winter's
Tale, to show the culmination of this movement;
but first, because the dialectic of Shakespeare's
development is pertinent to the development of
his dialectic, I will give a brief chronological
sketch showing the gradual motion of inclusiveness
as it reached through history, comedy, and tragedy
to romance.
The tetralogy of Henry VI-Richard III is Shakespeare's
first and crudest view of the historical process.
By translating chronicle into drama, he created
a primitive dialectic out of linear event; first
in terms of the good English against the bad French;
later in a simple characterization, the "evil"
antithetical Richard, who became, like Hegel's
hero, the unwitting instrument of ultimate good.
Richard systematically destroys all potentially
evil characters, and then is destroyed himself,
so that a spotless Tudor society may triumph in
the end. This is a crude expression of the power
of the negative, but as dialectic it is imperfect
because the negative is not included in the solution.
It is too easy for good to triumph simply by laying
all the blame on evil, then obliterating it; in
the next play, Titus Andronicus, wholesale slaughter
becomes a tragedy of elimination, with hardly
anyone left at the end.
Shakespeare next turned to comedy, a form which
no longer limits the imagination to the exigencies
of chronicle time, hence freeing it for self-determination.
The Comedy of Errors is a farce of disjunction
and almost metaphysical confusion, and it seems
to contain the germ of romance in its sea-separation
of kindred, and the revival of the mother in a
religious setting. In The Taming of the Shrew,
woman, the great Shakespearean mediator between
man and Himself, first appears in that light:
by submitting to the role of wife, she symbolizes
man as nature yielding to the mediation of society.
Shakespeare returns to history, his imagination
enriched by the redeeming circular motion of comedy.
History becomes, as it did for Hegel, the product
of our directed passions. Chronicle gives way
to psychology, and the education of the young
prince is linked to the broader movement of history.
Hal is torn between the extremes of lawless appetite
(Falstaff) and soulless "honor" (Hotspur): he
rejects both and becomes himself a synthesis,
the "perfect king," Henry V. Time takes on a new
texture: first, in the slow death of Henry IV,
it acquires a tragic sense of the relentless movement
of succession; later, at the end of Henry V, it
achieves a romantic redemption which history itself
contradicts, and chronology gives way to the logic
of myth, where time may occasionally touch eternity.
In his return to the "golden" comedies Shakespeare
was capable of embracing a whole world of viewpoints.
Comedy is the great containing form: no one is
excluded from its final society-Malvolio is freed,
Jaques importuned to stay. Each comedy is a perfect
world; but it is a world of innocence before experience,
where the sundering is minimal and the resolution
absolute in the marriage act. Marriage is of course
symbolic here for greater resolutions, but even
in this light it is not altogether satisfactory.
It is a synthesis which is also a thesis-no end,
but continuity. In the later plays, Shakespeare
becomes increasingly concerned with blood relations,
the fruits of marriage rather than its flowering.
The relation of parents and children is not merely
the self confronting its own product, its projections,
which is at the same time alien I its own self-completeness.
Hence we have Hamlet, the "problem tragedy" of
parent and child.
In Hamlet begins the dualistic vision of theory
confronting reality which will also motivate the
"problem" comedies. Like most of Shakespeare's
dualities, it centers on man's view of woman:
In this case, Hamlet is unable to assimilate the
fact of his mother's remarriage. In the next play,
Shakespeare's most intellectual, Troilus' confrontation
with the faithlessness of Cressida seems to split
the universe in two:
" If beauty have a soul, this is not she;
If souls guide vows, if vows be sanctimonies,
If sanctimony be the gods' delight, If there
be rule in unity itself- This is not she. O
madness of discourse, That cause sets up with
and against itself! Bifold authority! Where
reason can revolt Without perdition, and loss
assume all reason Without revolt: this is, and
is not, Cressida! Within my soul there doth
conduce a fight Of this strange nature, that
a thing inseparate Divides more wider than the
sky and earth; And yet the spacious breadth
of this division Admits no orifex for a point
as subtle As Ariachne's broken woof to enter.
(V, ii, 138-152) ."
This division will occupy Shakespeare until the
end of his career, and will not be truly healed
until The Winter's Tale.
In Measure for Measure, Isabella's theoretical
Christianity confronts a seemingly unreasonable
conflict of loyalties: she must lose her virtue
to save her brother; and Angelo's theoretical
justice is confronted with the reality of his
bestial nature. The resolution is forced-Comedy
can no longer enclose the disjunction. Hence in
Othello, intellectual dualism becomes a delusion
of omniscience, and true tragedy begins.
Like comedy, tragedy encompasses a complete world,
but here the hero and his experience are central,
and the minor characters are excluded from direct
participation. Tragedy thus begins for Shakespeare
the convergent motion around the mind of a central
character which will end in the dream-like projections
of The Tempest. Tragic isolation shows the power
of the human mind to contain a whole world, just
as comic inclusion shows man in harmony with an
outer world which includes his own sexual nature.
The problem play is a bridge: man is in utter
disjunction, and mind and body collide, but cannot
merge.
The actual synthesis of comedy and tragedy is
romance, which includes both yet moves higher
than both; in Frye's terms, it is
A world of total metaphor, in
which everything is potentially identical with
everything else, as through it were all inside
a single infinite body.
The highest form in Hegel's system
is Philosophy, in which the mind, having comprehended
the world, returns to contemplate itself. It is
the opposite of abstract being, which is emptiness,
for it is totally full, the product of a vast
emptiness, for it is totally full, the product
of a vast dialectical system of external mediators:
history, the state, art and religion. It is the
dialectic become round, full and self-determined,
hence infinite. Shakespeare's reconciliation of
comedy and tragedy partakes of a similar fullness,
being the product of as long a process. Both share
a distinct affinity with the great cyclical/dialectic
myth of Christ, who fell and rose to redeem the
world.
In The Winter's Tale, comedy and
tragedy are projections of a human consciousness
capable of assimilating both. Psychology merges
into symbol; and events take on the logic of dream,
relinquishing the appearance of everyday life
in order to convey its inner truth. The central
symbol, taken from the heart of life itself, is
woman, seen both as radically destructive and
ultimately redeeming. No villain in Shakespeare
is as evil as Goneril; no hero as good as Portia.
In the comedies, Shakespeare's heroine's are vastly
more interesting than this heroes. Woman is the
antithesis which the male consciousness, moving
out of itself, confronts-a projection with which
it must come to terms before returning, completed,
to itself.
Woman appears in her three relations:
wife, mother, daughter. A wife's faithlessness
symbolizes the hideous mutability of all things;
but except in Troilus this faithlessness is illusory,
a reflection of the man's own divided mind. Suspecting
one's mother has even direr implications, for
it calls into question one's fatherhood, and hence
one's very being. Betrayal by daughters, as in
Lear, is perhaps the worst of all: it is the denial
of the rational order of succession, and hence
of rationality itself. Thus Lear's curse of Goneril,
"dry up in her organs of increase," is the most
hideous malediction in Shakespeare.
Woman's other aspect-that of redeemer-is
also a projection. The wife-as-redeemer is evident
in All's Well, where the man is an antisocial
boor; and in The Merchant of Venice, where Portia
appears as Christian mercy outwitting Hebraic
law. Cordelia is the first daughter-as-redeemer,
but she fails to overpower the evil set in motion
by her sisters. Marina, in Pericles, is an image
of such purity that pirates and pimps will not
touch her, and in the end she raises her father
from bestial silence to his full royal nature.
All of these aspects of womanhood
are combined in The Winter's Tale. Hermoine is
wife and mother, Perdita daughter, and at the
beginning of the play they are one. Hermione-for-Leontes
is woman the destroyer; Hermione in-herself is
woman the redeemer. This view of woman is bound
up with the great informing myth of The Winter's
Tale: the Fall of Adam. When Hermione begs Polixenes
to stay, she asks him about his boyhood friendship
with Leontes, and he replies with a vision of
primal Paradise:
We were as twinned lambs that did frisk I'th'sun,
And bleat the one at th'other. What we changed
Was innocence for innocence; we knew not
The doctrine of ill-doing, nor dreamed
That any did. Had we pursued that life,
And our weak spirits ne'er been higher reared
With stronger blood, we should have answered
heaven
Boldly "Not guilty", the imposition cleared
Hereditary ours. (I, ii, 67-74)
This changeless "time before time" is mythic;
time itself becoming a metaphor for something
more profound. Hegel demonstrates philosophically,
and Shakespeare dramatically, a notion which lies
at the heart of Christian doctrine: that human
life does not begin until consciousness divides;
and that this division and its hearing are the
continual motion of existence.
The beginning of the Book of Genesis is the great
myth of division. God divided the light from the
darkness, then divided the water; finally he created
man in his image. To Hegel, this would indicate
that man's rationality and that of God are the
same: there is nothing which man cannot contemplate
with his divine reason. The primal division of
man from God is the basis of man's being; the
healing of this division is the constant task
of his rational existence. But Shakespeare finds
his symbol for the primal disjunction later, in
the creation of Eve out of Adam's flesh:
And Adam said, "This is now bone of my bone,
and flesh of my flesh: she shall be called Woman,
because she was taken out of man." Therefore
shall a man leave his father and his mother,
and shall cleave unto his wife: and they shall
be one flesh. (Gen 2:23-24)
Woman taken out of man caused man's fall, but
in the end he called her Eve, "mother of all living."
Wife and mother at once, she is forever ambiguous,
untrustworthy, and ultimately redemptive. Human
reason begins with the splitting-off form god;
time and change with the loss of innocence (reason
is prior to knowledge). Polixenes gently blames
Hermione for the original sundering of himself
and Leontes; it is a division of man from himself,
healed symbolically at the end with the marriage
of Perdita and Florizel.
The rupture of Leontes' universe is as absolute
as its original unity, and is as immutably rooted
in his being. No external motivation is given
for his jealousy, as it is in Othello; rather
its irrationality is linked with that of the world
itself, and its existence seems as unshakable:
Is this nothing?
Why, then the world and all that's in't is nothing,
The covering sky is nothing, Bohemia nothing,
My wife is nothing, nor nothing have these nothings
If this be nothing.
(I, ii, 291-294)
The symbolic nature of this break in Leontes'
reason is aptly described by Camillo: Leontes
is "one/ Who in rebellion with himself would have/
All that are his so too." Leontes himself unconsciously
projects the split externally: Camillo should
see Hermione's guilt "Plainly as heaven sees earth
and earth sees heaven." Human psychology and external
reality are no longer radically different; the
entire universe is contained by the mind.
The sundering "tragic" action proceeds: Camillo
defects with Polixenes, Hermione is accused and
imprisoned, and the child Mamillius begins to
pine. But here the tragedy literally contains
the comedy: Hermione is accused while pregnant
with redeeming Perdita. In his certainty of knowledge,
Leontes sends Perdita away before hearing the
Oracle: thus he precipitates both the comic and
the tragic action at once.
The illusory, nightmare quality of the action
reaches its peak in the trial of Hermione, expressing
itself in a conflict of absolutes: truth and falsehood,
rationality and bestial unreason. Leontes's madness
has reached beyond all possible communication;
as Hermione says:
Sir,
You speak a language that I understand not.
My life stands in the level of your dreams,
Which I'll lay down.
To which beautiful ambiguity Leontes replies,
"Your actions are my dreams." To him, truth has
become completely subjective, and when the cold,
clear voice of Greek reason appears in the form
of the Oracle's message (remarkably straightforward
as such things go) he denounces it as well. A
moment later, the news that his son has died makes
him realize his error; with his wife's seeming
"death" he is instantly repentant. The compression
of this scene is like a thunder clap: the sudden
tragic recognition of one's own ignorance. Yet
the play is only half-finished; the tragedy must
be linked to the comedy.
At this juncture the romantic world is made manifest
on stage as an image from Lear is rendered dramatically:
Antigonus, carrying the child, is pursued across
the stage by a bear. This apparition is comic,
being manlike and in rapid motion; it is tragic,
in that it is destructive, mindless and devouring;
but above all it is an animal of romance, of Northern
fairy-tales told to frighten children to sleep
on winter nights. The bear's appearance at the
tuning-point of the play is a moment of wonder
and mystery. Here it is clearly the symbolic Winter
solstice ( the bears of the imagination do not
hibernate); Spring will return when Perdita is
found and Hermione revived. The devouring of Antigonus
and the sinking of his ship is the second great
indirect narration, this time delivered by the
Clown. The knitting of the tragic to the comic
action, with powerful Christian overtones, is
completed in the Shepherd's line: "Now bless thyself!
Thou mettest with things dying, I with things
new-born."
The second half if the play is begun by Time,
who appears as a chorus, the true hero of the
play and mover of the action. It is Midsummer
and sixteen years have passed-the atmosphere is
one of freedom, song and hope. A new character
is introduced: Autolycus, who in Greek myth is
the son of Mercury and father to Odysseus. Ovis
tells us that Autolycus inherited his father's
traits : a gift for thievery and trickery, and
the power to charm with song (it is Mercury who
put the watchful Argus to sleep by playing on
his pipes and telling a story). Mercury was also
the messenger of the gods-Autolycus is the intermediary
who helps to effect the reconciliation. Ovid says
of the original Autolycus: "He made white look
like black and black look like white." Shakespeare
may have been thinking of this line when he had
his character sing:
Lawn as white as driven snow.
Cyprus black as e'er was crow.
We recognize in Autolycus the trickster-hero
universal in mythology, from the sly fox of the
northern Europe to the Coyote of the American
plains. Here, as always, his function is that
of mediator: free from society's bonds, he corrects
its faults by disrupting its decorum; his is the
"wound that cures."
An entire Shakespearean pastoral comedy is contained
in the fourth scene of Act IV. The lovers are
happily united at a rustic, ritualistic sheep-shearing,
and Perdita gives her flower-speech, expounding
prettily on art and nature. Autolycus provides
the song and charms and robs everyone. Polixenes
and Camillo appear disguised, and trick Florizel
into revealing his love; Polixenes then reveals
himself and prohibits the marriage. The lovers
plan their escape, assisted by Camillo, and at
the end of the scene, the recognition is set in
motion by the shepherd aided by Autolycus. Everyone
sets sail for Sicilia, where the final knitting-up
of the plot will take place.
Act V contains the two great reconciliations.
The recognition of Perdita occurs offstage, but
it is a beautiful scene nonetheless; the action
is exalted, removed to the "sacred distance" of
myth. Our sense of miraculous possibility is heightened-this
is a scene so splendid, so apocalyptic, that the
stage cannot encompass it. In the end the statue
of Hermione is mentioned, and the First Gentleman's
words show us the new world, as transformed by
romantic possibility: "Every wink of an eye some
new grace will be born."
Like everyone in the play Perdita is a piece
broken off form the central consciousness of Leontes:
she is his lost innocence, and hence her loss
is his perdition. But Leontes is also his kingdom;
he is usually referred to as "Sicilia," and as
succession is barred from him by the oracle's
dictum, the kingdom must lie in "still winter
in storm perpetual" until her return restores
it to fertility.
The new universe of grace reaches its culmination
in the revival of Hermione. Whether it is an actual
miracle or merely a "play" is left ambiguous:
indeed the whole play is only partly a drama,
resembling in places myth and in places ritual.
The miracle is staged by Paulina, the ascorbic
matron whose name is hardly accidental: she requires
that faith be awakened, and that unbelievers depart.
The revival is accomplished with music, like so
many of Shakespeare's romantic redemptions, and
as Hermione (whose name surely puns on "harmony,"
not to mention "her my own": projection) steps
down, the stage is suffused with mystery and grace.
All the sundered characters are now gathered together,
and the symbolic reunion is accomplished when
Leontes bids Polixenes and Hermione join hands.
Thus The Winter's Tale is neatly framed. The
world of time and succession exists at the very
beginning of the play and at the very end; before
and after the two symbolic joinings of hands.
The first action precipitates the play into its
wild universe of subjectivity, madness, disjunction
and redemption: the second returns it as suddenly
to the ordinary world, where life goes on. The
action framed becomes as a dream: seen as a whole,
the play loses all temporal reality; it seems
to explain the hidden meaning behind every instant
of existence, in a simultaneous flash at the moment
of taking hands.
Hegel's dialectic of the Notion, which lies within
the reasoning mind, moves out into the world of
time to become history. God became flesh and descended
into time at a given moment, to symbolize the
intersection of time and eternity which is really
occurring continuously, in the descent of the
World-Reason into history. The Notion itself,
inside the mind, moves with a beautiful wave like
rhythm, like Perdita's dance:
When
you do dance, I wish you
A wave l'th'sea, that you might ever do
Nothing but that, move still, still so,
And own no other function.
(IV,
iv, 140-144) * The Motion of the Notion is the
Ocean
The Notion, as self-contained idea, descends
into nature and returns as spirit. Spirit goes
out and reproduces reason in the form of mediators;
then returns to itself as self-consciousness,
expressed in art, religion, and finally philosophy.
At the pinnacle of the system mind contemplates
itself, and discovers in itself the Notion; hence
the dialectic resolves into a circle, made spiral
perhaps by the movement of time. But Hegel's circle
does not close off possibility, as Nietzsche's
does: instead it opens up, for to be self-determined
is to be self-limited, hence infinite.
We have shown The Winter's Tale to be a segment
abstracted out of time, to indicate the underlying
eternity of human action. It is also an archetypal
portrait of a single human consciousness, of its
sundering and reuniting in a symbolic lifetime
governed by a greater year of winter and summer.
Hermione's actions are Leonte's dreams, but these
in turn are governed by an unseen reason, a hidden
purpose.
In Hegel the antithesis "does the work" of the
dialectic: it is the flaw which keeps reason in
motion. Unreasoning passion, in the form of individual
self-interest or unconscious drives for power,
drives the historical process, but reason guides
it. This is Shakespeare's solution as well: he
ends on a note of well-reasoned yet mystical idealism.
The evil which posses Leontes is the original
flaw of mankind, without which no action could
occur, no fragmentation, and no redemption. As
Hegel says (speaking here on epic):
Acting disturbs the peace of the substance,
and awakes the essential Being; and by so doing
its simple unity is divided into parts, and
opened up into the manifold world of natural
powers and ethical forces. The act is the violation
of the peaceful earth…. (Phenom, p.733)
|