By Philip Davis
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Extra resources for Shakespeare Thinking
Example text
Only on a bare stage is it utterly clear that what I can see is far less than what I begin to think, as a result of all that the language talks of in between those two. Too much that is material and visible gets in the way of thought's 'piecing it out' - thought's wonderful completing of the thing, by one piece or one sense compensating for another. Alberti said in De Statua (1450) that the first images were made when people discovered by accident, in some tree trunk or Shakespeare's Codes 37 lump of earth, certain contours that needed only a slight alteration to look strikingly like some natural object - an addition or subtraction to complete what was lacking.
But Shakespeare also loves to create that space, the summoning vacuum, in the first place. Lecturing on The Tempest around 1811, Coleridge said that one simple, admirable secret of Shakespeare's art was that 'separate speeches frequently do not appear to have been occasioned by those which preceded them'. 1 It is not just one speech mechanically following another in linear fashion, but a dialogue between two simultaneously different mental centres — plus the space thus created in between them. Out of that space, charged with joint meaning, may be generated further thoughts, new characters and newly evolving configurations.
That is why Hazlitt himself described Montaigne in Lectures on the English Comic Writers (1819) as 'the first who had the courage to say as an author what he felt as a man. Montaigne opens 'Of Repenting by saying 'Others fashion man; I repeat him; and represent a particular one, but ill made/ The essay is thus about Montaigne imperfectly feeling his way - even to the point of writing in disconnected clauses, leaving in the gaps, not believing that thought can be delivered all at once and as a whole.