Key Moments
Peterson Academy | Andrew Doyle | The Shakespearean Tragedies | Lecture 1 (Official)
Jordan PetersonKey Moments
Shakespeare's enduring genius stems from his profound psychological complexity and authentic character portrayals, making his plays relevant across centuries, not from innovative plots.
Key Insights
Shakespeare's plays possess enduring relevance because they focus on the psychological complexity and insights into human nature of his characters, rather than innovative plots.
Shakespeare's works demonstrate that human progress in the arts is not inevitable, challenging a teleological view of history.
Productions of Shakespeare's plays, like Orson Welles' 'Death of a Dictator' in 1937 or the 2017 'Julius Caesar' depicting Donald Trump, have been adapted to address contemporary political anxieties, sometimes simplifying the text to fit the director's message.
The tumultuous riots during a 1934 Parisian production of 'Coriolanus' and the 1601 Earl of Essex's rebellion utilizing a production of 'Richard II' highlight the potent and sometimes explosive political impact of Shakespeare's drama.
Shakespeare's plays resist easy moral categorization, with characters like Macbeth acting on their destiny even when aware of wrongdoing, illustrating a world without apparent free will, but not as a morality play.
The 1587 arrival of Shakespeare in London coincided with a flourishing public theater scene, the emergence of the 'University Wits' elevating dramatic writing, and a diverse audience, creating unique conditions for his genius.
The First Folio, published in 1623 by John Heminge and Henry Condell, was crucial in preserving 20 of Shakespeare's plays that would otherwise have been lost, solidifying his legacy and providing the first broad categorization of his works into comedies, histories, and tragedies.
The unparalleled depth of Shakespeare's characters
Andrew Doyle argues that Shakespeare's enduring relevance and unparalleled status in literature stem not from his plots, which he found less interesting, but from the profound psychological complexity and deep insights into human nature embedded within his characters. Plays like 'Hamlet,' 'King Lear,' and 'Macbeth,' while featuring recognizable human dramas, excel because their characters think and feel with a depth that resonates across time. This focus on authentic human experience, rather than simplistic good-versus-evil binaries, allows Shakespeare's works to "broaden our sense of what it means to be human." Unlike many modern narratives that present straightforward heroes and villains, Shakespeare's characters, such as Cleopatra, Brutus, and Lear, exhibit rich internal lives and varied perspectives, making them feel remarkably alive and eternally relevant. This complexity ensures his immortality and illuminates the modern world by reflecting universal human truths. Doyle posits that Shakespeare's genius lies in his ability to understand human beings too well to create a simple, black-and-white world.
Shakespeare as a mirror for political and social anxieties
Shakespeare's plays have consistently served as a focal point for addressing contemporary political and social themes, demonstrating their potent and adaptable nature. Directors and filmmakers have frequently turned to his works to explore current anxieties. For instance, Laurence Olivier's 1944 film 'Henry V,' partially government-funded, presented a nationalistic portrayal by omitting lines that suggested moral ambiguity in the English king. Similarly, Orson Welles' 1937 adaptation of 'Julius Caesar' explicitly cast Benito Mussolini as Caesar to critique perceived liberal weakness against fascism. More controversially, a 2017 production of 'Julius Caesar' in Central Park depicted Caesar as Donald Trump, sparking widespread debate about the incitement of violence and the simplification of the text for political messaging. These adaptations, while often blunt, underscore Shakespeare's power to galvanize political tensions by serving as a lens through which audiences can process and react to their own times. The very nature of his complex characters and themes allows for such varied interpretations and appropriations, highlighting his enduring capacity to engage with the political zeitgeist.
Unintended political consequences and the power of language
The raw power of Shakespeare's language and themes has, at times, had unintended and dramatic political consequences. A striking example is the 1934 Parisian production of 'Coriolanus.' Staged during a period of intense political turmoil in France, the play's anti-republican sentiments, particularly Coriolanus's attacks on the plebeians and tribunes, resonated deeply with a frustrated Parisian audience. The play became a focal point for public anger against a government embroiled in scandal. Nights in the theater devolved into shouting matches between opposing political factions, leading to fistfights and, eventually, riots that spilled onto the streets, resulting in 15 deaths and over 1,300 wounded. This incident illustrates how a play, not intended to incite unrest, could harness the prevailing mood and contribute to near-civil upheaval. Even in Shakespeare's own time, the potential for his dramas to inspire political action rather than mere commentary was recognized, as seen in the Earl of Essex's 1601 commission of a production of 'Richard II' featuring a deposition scene to stir sentiment against Queen Elizabeth I. These events demonstrate the profound and sometimes explosive ability of Shakespeare's work to impact the sociopolitical landscape.
Shakespeare's impartiality and the ambiguity of meaning
A key aspect of Shakespeare's genius is his "wonderful impartiality of politics," as Coleridge termed it. His plays do not offer simple moral lessons or express a clear authorial stance. Instead, they present complex characters and situations where the audience must grapple with ambiguity. For instance, the question of whether the conspirators in 'Julius Caesar' were justified in assassinating him depends entirely on the individual viewer's perspective. Similarly, 'Macbeth' explores ambition and destiny; while Macbeth knows his actions are wrong, the revelation of his destiny prompts him to act, raising questions about free will. Rather than a morality play, it illustrates a horrific potential for a world without it. This lack of prescribed meaning is why a single play can elicit vastly different responses from different audience members, with factions cheering opposing lines, as seen in the 'Coriolanus' riots. Shakespeare's brilliance lies in his ability to represent a multiplicity of perspectives authentically, allowing audiences to 'cite scripture for his purpose,' finding in his text validation for almost any viewpoint. This impartiality is a cornerstone of his enduring appeal and the complexity that scholars continue to explore.
The foundational conditions for Shakespeare's rise
Andrew Doyle highlights that Shakespeare's extraordinary achievement was not solely due to innate genius but also to a specific confluence of historical and cultural circumstances. Arriving in London around 1587, he entered a rapidly developing public theater scene, established only about a decade prior. This period was marked by a burgeoning national pride, coinciding with the evolution of the English language into a literary medium, championed by writers like those in the "University Wits" (e.g., Christopher Marlowe). These university-educated playwrights brought a new level of artistry and learning to the stage, creating a competitive and fertile environment. Furthermore, the public theaters, unlike the exclusive court performances, attracted a broad socioeconomic cross-section of society, from the wealthy to the poor "groundlings." This diverse audience fostered a unique blend of "high and low culture," providing writers with immediate feedback and broad appeal. Queen Elizabeth I's patronage also played a crucial role in nurturing this nascent theatrical scene. Doyle emphasizes that this specific "concatenation of circumstances" in 1587, combined with Shakespeare's grammar school education and access to texts, provided the ideal crucible for his genius to flourish.
Shakespeare's education, influences, and literary magpie tendencies
Shakespeare's literary foundation, though not from university, was robust. His grammar school education in Stratford-upon-Avon provided exposure to classical texts like Ovid and Cicero, alongside the Bible, which was central to popular culture and a rich source of imagery and allusion. Unlike the elite who wrote in Latin and Greek, Shakespeare, by writing in the vernacular, contributed to the formalization of English as a literary language. He was a "voracious reader" and a "magpie," liberally borrowing plots and ideas from various sources, most notably Raphael Holinshed's 'Chronicles' (second edition, 1587), which served as a wellspring for many historical plays. Contemporary notions of plagiarism differed, allowing Shakespeare to use existing narratives as frameworks – "skeletons" – upon which he applied his artistic vision. While comedy often came more naturally to him, as seen in early successes like 'The Comedy of Errors,' his tragedies, even masterpieces like 'Romeo and Juliet,' deepened significantly in his later career. He remained an actor throughout his writing life, a background that informed his understanding of how lines are delivered and his keen sense of dramatic timing.
The collaborative and diverse environment of Elizabethan theatre
The theaters of Shakespeare's era, such as the Globe and the Swan, were designed with a unique structure that fostered an "intimate combination of rich people and poor people." The open-air, three-sided stage design, surrounded by the audience, allowed for both epic battle scenes and intimate soliloquies. Spectators from all social strata stood or sat in close proximity, creating a "rockous" and dynamic atmosphere, far removed from the expensive, elitist nature of modern theater. This "democratization of great art" meant that plays were enjoyed by an immense cross-section of society, a phenomenon that has not been repeated. The versatility of the stage, with its "hell" below and "heavens" above, accommodated dramatic action, while the lack of elaborate scenery compelled the audience to use their imagination, enhanced by Shakespeare's vivid descriptive language. This environment, with its potential for both grandeur and intimacy, was crucial for the development and impact of Shakespeare's dramatic innovations, including the soliloquy, which offered unprecedented insight into characters' inner lives.
The preservation of Shakespeare's legacy through the First Folio
The full extent of Shakespeare's contribution to literature might have been drastically diminished had it not been for the dedication of his fellow actors, John Heminge and Henry Condell. They compiled and published the First Folio in 1623, seven years after Shakespeare's death. This monumental undertaking preserved 20 plays that had not been published in quarto form during his lifetime and would likely have been lost entirely. The Folio was groundbreaking, being the first dedicated folio edition of plays by a single playwright, acknowledging their status as literary works worthy of preservation. It also provided the first broad categorization of his plays into comedies, histories, and tragedies, a division that, while sometimes fluid and contested, has shaped subsequent scholarship. The Folio includes an engraving of Shakespeare, believed to be one of the most accurate contemporary likenesses, and lists the actors in his company, naming William Shakespeare himself as the first actor. This collection is not only vital for understanding Shakespeare's output but also for appreciating how his contemporaries viewed his work and began the process of elevating him to his current iconic status.
Mentioned in This Episode
●Organizations
●Books
●Concepts
●People Referenced
Common Questions
Shakespeare's enduring relevance stems from his profound understanding of human nature and the psychological complexity of his characters, rather than just plot. His works explore human beings in a way that continues to resonate universally across time and cultures.
Topics
Mentioned in this video
A Shakespearean tragedy, listed among his famous works.
One of Shakespeare's history plays.
One of Shakespeare's tragedies, mentioned as an example of his work known for its soliloquies and exploration of the protagonist's mind.
One of Shakespeare's tragedies, referred to as 'Athell', discussed as an example of his work that broadens our sense of being human.
A Shakespearean tragedy that has been adapted for political messaging, notably depicted as Donald Trump in a 2017 production.
A Shakespearean tragedy, considered a masterpiece but not reaching the heights of later tragedies.
A film adaptation by Laurence Olivier in 1944, presented as a nationalistic version during wartime, with dialogue changes to convey a specific message.
A Roman tragedy by Shakespeare, a critically acclaimed and commercially successful 1934 Paris production of which became a focal point for public frustration and led to riots.
Shakespeare's play commissioned for production before the Earl of Essex's rebellion in 1601, intended to stir popular sentiment against the queen.
Referenced by Francis Meres as an example of Shakespeare's comedies, and noted as an early, successful comedy by Shakespeare.
Referenced by Francis Meres as an example of Shakespeare's comedies.
One of Shakespeare's lost plays, known to have existed but no longer extant.
A Shakespearean play often categorized as a 'problem play'.
Mentioned by Francis Meres as one of Shakespeare's comedies; believed to be a lost play.
A 1589 text by George Puttenham that advocated for English as a literary language.
A Shakespearean play, and potentially the source of a lost sequel titled 'Love's Labour's Won'.
Referenced by Francis Meres as a comedy, though the treatment of Shylock and the forced conversion at the end raise questions about its classification.
An epic poem by Edmund Spenser, cited as a masterpiece of English vernacular literature.
A Shakespearean play featuring the stage direction 'exit pursued by a bear', likely referring to a real bear in performance.
A Shakespearean play, published as a tragedy, that served as an example of a history play also fitting the tragedy genre.
One of Shakespeare's late romances.
Referenced by Francis Meres as an example of Shakespeare's comedies and noted as one of the few plays with an original plot.
A Shakespearean play present in the Folio but not on its contents page, described as satirical, bleak, iconoclastic, and pessimistic.
A Shakespearean play often categorized as a 'problem play'.
A 1598 work by Francis Meres that cataloged Shakespeare's plays, aiding in their dating and demonstrating the contemporary recognition of his skill in both comedy and tragedy.
A 1623 publication of Shakespeare's plays, crucial for preserving works that might otherwise have been lost, and marking a shift in how plays were regarded as literature.
Shakespeare's narrative poem, which was very popular and went through many editions but few copies survive due to heavy use.
One of Shakespeare's late romances.
A Shakespearean play containing the famous speech by Caliban describing the isle's sounds and ethereal riches.
A Shakespearean play categorized as a tragedy in the Folio, but its genre is debated for its blend of elements.
Shakespeare's hometown, where he grew up and is buried.
An Elizabethan theater depicted in a surviving illustration, showcasing the design that allowed for an intimate combination of rich and poor audiences.
The church in Stratford-upon-Avon where William Shakespeare is buried.
A reconstruction of an original Elizabethan theater in London, used as an example to understand the audience experience.
The playwright whose tragedies are discussed as the highest point of his artistry, known for his complex characters and insights into human nature.
Mentioned as 'soulja nitson', credited with the quote linking good and evil through the human heart.
Director of the 1944 film adaptation of Henry V, which was nationalistic and altered dialogue to fit its message.
His government partially funded Laurence Olivier's nationalistic film adaptation of Henry V.
Produced 'Death of a Dictator,' an adaptation of Julius Caesar in 1937, and played Brutus in a live production where he accidentally stabbed an actor.
Depicted as Julius Caesar in Orson Welles' 1937 adaptation of the play.
Played Julius Caesar in Orson Welles' 1937 production and was accidentally stabbed by Orson Welles during a live performance.
Depicted as Julius Caesar in a 2017 Central Park production, which sparked controversy.
A fraudster whose story became widely known in France after his suicide, coinciding with a controversial production of Coriolanus in Paris.
Mounted a rebellion against Queen Elizabeth I in 1601 and commissioned a production of Richard II to stir popular sentiment.
Monarch of England during Shakespeare's time, aware of the controversy surrounding Richard II and a known patron of the theater.
Mentioned in the context of audience reactions during a 1934 Coriolanus production in Paris, where some shouted 'Bravo Hitler'.
Author whose characters' depth and ambivalence are compared to Shakespeare's.
Quoted regarding Shakespeare's characters being as individual as those in real life.
Filmmaker whose characters, despite their individuality, are noted to often sound like Tarantino himself, contrasted with Shakespeare's distinct characters.
Welsh poet whose poem about a farmer is used as an example of genius being wasted due to circumstances.
Shakespeare's wife, who was eight years his senior when they married.
Executed following the Babington Plot in 1586, an event contributing to patriotic sentiment during Shakespeare's time.
Author of 'The Arte of English Poesie' (1589), which argued for English as a literary language.
Engraver of the portrait of Shakespeare on the title page of the First Folio, likely based on likenesses provided by Shakespeare's contemporaries.
King of England; introduced the Reformation and established the Church of England; described as a staunch Catholic before the Reformation.
Considered part of the University Wits, though he did not attend university.
His language was considered obsolete by Shakespeare's time, highlighting the evolution of the English tongue.
Author of the epic poem 'The Faerie Queene'.
Contemporaneous playwright and friend of Shakespeare; wrote that Shakespeare was 'not of an age but for all time' and published his own folio.
One of the University Wits, a popular playwright of the period.
A Dutch student who sketched the Swan Theater in 1596, providing a key surviving illustration of Elizabethan theater design.
Famously described Shakespeare's tomb bust as having 'the deep subtle expression of a bladder'.
Author of 'Palladis Tamia, Wits Treasury' (1598), which listed many of Shakespeare's plays and is valuable for dating them.
Described in Shakespeare's 'Troilus and Cressida' as an airhead, contrasting with the epithet 'the face that launched a thousand ships'.
One of the University Wits, a popular playwright of the time known for injecting literary qualities into theater.
Mentioned in the First Folio's actor list as the first to play Hamlet, Othello, Macbeth, and King Lear.
Author of 'Arcadia', a work combining prose and poetry, significant in the development of English literature.
Critic who was convinced Shakespeare was not a bit-part actor but would have played major roles.
One of the University Wits, a popular playwright who is cited for his critical remarks about Shakespeare's success as an actor and writer.
Actor and colleague of Shakespeare who, with Henry Condell, compiled and published the First Folio to preserve Shakespeare's works.
Great comic actor mentioned in the First Folio's actor list; famously danced from London to Norwich.
One of the University Wits, a popular playwright of the period.
Actor and colleague of Shakespeare who, with John Heminges, compiled and published the First Folio to preserve Shakespeare's works.
Writer of acclaimed television drama 'The Singing Detective', presented as an example of uniquely profound and complex work that would likely not be commissioned today.
Associated with the University Wits, known for caustic remarks.
Described Shakespeare's tomb bust as looking like a 'self-satisfied pork butcher'.
A 1937 show produced by Orson Welles, adapting Julius Caesar to target liberal weakness against fascism, explicitly turning Julius Caesar into Benito Mussolini.
A film by Quentin Tarantino mentioned as an example where even a young character speaks with Tarantino's distinctive inflections.
Television drama by Dennis Potter, considered by the speaker to be the best ever written, illustrating artistic depth that is rare in contemporary productions.
A work by Sir Philip Sidney, described as a novel with interspersed poetic elements.
The venue in New York where Orson Welles produced 'Death of a Dictator' in 1937.
One of the oldest theaters in Paris, which staged a significant 1934 production of Coriolanus that coincided with intense political turmoil.
One of the two universities in England during Shakespeare's time, which he could not attend due to being married.
One of the two universities in England during Shakespeare's time, which he could not attend due to being married.
Institution where the speaker was able to see an original copy of the First Folio in the basement.
The theological stance of the Geneva Bible, a common version used in Shakespeare's time.
A group of educated playwrights in the late 16th century (including Marlowe, Greene, Kyd) who injected more learned and artistic qualities into theater.
Shakespeare's history cycle consists of 10 plays covering English history from King John up to Henry VIII.
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