Every month I wrangle up some of the more interesting things around the blogosphere and present them to you in a neat and tidy package. But first, a diatribe about Shakespeare as a potential fraud…
In his novel The Tragedy of Arthur, Arthur Phillips had the audacity to challenge the infallibility of Shakespeare. He put the Bard on blast, then aimed the gun at the thousands of
automatons critics who willfully, stubbornly, and perhaps even negligently evangelize the following dogma: Shakespeare as an irrefutable deity.
As it is taught, Shakespeare is perfection, he is without fault, blemish, or equal, and as a result, to challenge his greatness is to not understand him, to reveal one’s own incompetence, because, surely, he did not make even a single mistake.
Yet, his body of work–which supposedly captures the entire human experience in less than 40 plays–contains hundreds of strange turns, missteps, and jokes gone awry. As Phillips pointed out in his novel, Shakespeare is far from perfect. Was he brilliant? Of course he was. Was he infallible? No one is.
But for some reason, people have been covering for him for hundreds of years. Phillips points it out like so:
“…you have a weak spot where Will’s not thinking very clearly, and the character rambles on, and Will sticks in a joke that he like about flowers that look like wieners. It plainly doesn’t belong there. Any editor would cut it. It breaks the rhythm and the logic of the scene. And your sweet old Gertrude noticed it and rightly points out the weak spot. Anybody else, we’d say, ‘Whoops. Not buying it, Will.’ If I wrote it, they’d send me home to rework it. Instead, what do you all do? You all talk it out until you make it make sense for him. He wrote it, so it must be right. You six very intelligent people form a committee to offer him your help, and when you’ve done the best you can, consulting old books of other would-be helpers, when you actually come up with some very clever solutions, you marvel at him for composing such a subtle moment.”
Continue reading “Acknowledgments: February”