Scholarship

Buddhist Shakespeare

Monday, February 6th, 2023

An Address to the White Heron Sangha
February 5, 2023

Good evening fellow White Heron Sangha members and visitors. Thank you for once again inviting me to give a Sunday night Dharma Talk.In some previous ones I’ve explored ways that American literary writers I admire, specifically, Henry David Thoreau, Jack Kerouac and Leonard Cohen, were influenced by Buddhist texts and incorporated them into their own unorthodox experiences and writings.

Tonight, I want to examine ways that the works of William Shakespeare connect with my understanding of Buddhist principles. There’s no evidence that this sixteenth and seventeenth century British writer had any exposure to Buddhist teachings. Nevertheless, I find in his works many ideas in common with what’s called “the Dharma,” identifiable with what Joseph Campbell called The Perennial Philosophy.

In the immense body of Shakespeare literary criticism since 1948, I’ve found only two items, both quite recent, that treat this subject: The Buddha and the Bard by Lauren Shufran (May 2022) and Shakespeare Meets the Buddha by Edward Dickey (October 2021).

My own interest in the subject arises from an academic career that included teaching, directing and writing about Shakespeare—including a book which argued that Shakespeare read the Bible as literature and construed its varied depictions of God as personifications of the theatrical roles of author, director and actor.

In this talk I will align six Buddhist doctrines with recurrent Shakespearean themes

1 Emptiness and Form, Prajnaparamita –The World as Stage
2 The First Noble Truth, Dukkha–Tragic Suffering
3 Dependent Co-arising, Ptratityasamutpada–Motivation and Causality
4 Impermanence, Anicca–Time
5 Delusion, Avidya–Error
6 No-self, Anatta–The Person as Actor

Separating, labelling and numbering these ideas is somewhat misleading, since they often overlap or blend. However, this kind of schematic analysis is typical both in Buddhist texts and in literary criticism because it opens new ways of understanding. (more…)

Loss

Monday, February 8th, 2021

 

All Is True

Monday, May 27th, 2019

Last night I went to see All Is True, the new Kenneth Branagh movie written by Ben Elton.  I was motivated by curiosity more than expectation, wondering where the creator of the hilarious and erudite “Upstart Crow”  BBC sitcom series would go in revisiting the life and works of Shakespeare.

During the first fifteen minutes I found the somber lighting, lugubrious pace and bleak expressions of the familiar sprightly characters alienating, but at a certain point I got oriented to the genre and recognized Elton’s earlier constructions of Will, Anne, Judith and Hamnet presented behind tragic instead of comic masks.

By the scene of the encounter between Ian McKellen’s Southhampton and Branagh’s Shakespeare that concludes with the double recitation of sonnet 29, “When in Disgrace with Fortune and Men’s Eyes,” my tears flowed along with theirs. I was stirred by its enactment of a “marriage of true minds” for whom the approach to immortality brought human limitations into highest relief.

By the end of the film this seemed its central tone and idea, brought home by the titles that followed the happy ending insisted upon by the Ben Jonson character–titles stating that the three sons of Judith, who seemed to fulfill Will’s obsessive wish for a male heir, all died as children, and by the song from Cymbeline behind the final credits:

Fear no more the heat o’ the sun,
Nor the furious winter’s rages;
Thou thy worldly task hast done,
Home art gone, and ta’en thy wages:
Golden lads and girls all must,
As chimney-sweepers, come to dust.

Fear no more the frown o’ the great;
Thou art past the tyrant’s stroke;
Care no more to clothe and eat;
To thee the reed is as the oak:
The scepter, learning, physic, must
All follow this, and come to dust.
¦
Quiet consummation have;
And renownèd be thy grave!

As I left the theatre I felt that “All is True” achieved the aspiration uttered by its protagonist: with a patent fiction to express reality–in this case the notoriously elusive reality of the author’s personality. It did that by combining the few known facts with astute readings of his work to imagine the inner and outer life of his last silent years. In the words of Jonson’s tribute, it made “My Shakespeare rise!”

Shakespeare Reading Paul: Heavenly Fraud in The Winter’s Tale

Saturday, May 27th, 2017

A couple of days before the conference in Jerusalem for which this paper was written, I woke up before dawn to avoid the crowds and went down to the Old City to visit the Church of the Holy Sepulchre. Under a dark and cavernous rotunda, before the shrine covering the tomb from which Jesus is said to have been resurrected, priests in splendid vestments swung censers, sang prayers and placed communion wafers in the mouths of the few worshippers in attendance. During the performance of that ceremony I sensed the tangible power of their faith. Though I didn’t share it, I was alerted to the gravity of the subject of my upcoming talk. (more…)

Dharma and Darwin

Saturday, November 5th, 2016

Introduction

My talk today follows in the tracks of fellow sangha members who’ve given us presentations on the convergence of scientific inquiry and the insights of traditional Buddhist precepts in the area of neurobiology and brain science. I want to explore the ways the theory of evolution that has provided a framework for all biological research during the last 150 years illuminates and is illuminated by my experience of meditation and my rudimentary understanding of Buddhist doctrine. (more…)

Book review: The Bible in Shakespeare by Hannibal Hamlin

Wednesday, October 8th, 2014

[published in Renaisssance Quarterly, Fall 2014]

This book begins with the assertion that “no one has yet published a full-length critical study of Shakespeare’s practice of biblical allusion and the implications of biblical allusion for our understanding of the plays.” Its author is eminently qualified to remedy what he calls this “deficiency,” having published several books on aspects of biblical culture in Early Modern England and co-curated an exhibition celebrating the 400th anniversary of the King James Bible at the Folger Shakespeare Library.

Impressive in its learning and packed with original discoveries of biblical and extra-biblical Shakespearean references, the book is written in concise, lucid and lively prose. Its “argument” is incontrovertible: the Bible is a pervasive source and object of reference in Shakespeare’s plays. The recognition and contextual reframing of hundreds of biblical allusions was part of the experience of earlier audiences, whose familiarity with the Bible was guaranteed by their cultural environment. The book’s task is to restore such experience to the modern reader lacking this familiarity.

Part I, titled ” Shakespeare’s Allusive Practice and its Cultural and Historical Background” opens with a vast array of evidence for the saturation of Shakespeare’s culture with Biblical narratives, characters and language. Chapter 2 traces discourse about the Bible and Shakespeare from early editorial glosses through 19th century elevation as paired pillars of British Civilization to recent debates about Shakespeare’s religious beliefs. (more…)

Beatnik Buddhism in Jack Kerouac’s The Dharma Bums

Monday, October 7th, 2013

A talk to the White Heron Sangha, October 6, 2013

I was introduced to the writings of Jack Kerouac by a trumpet-player friend in high school who gave me a copy of On the Road just after it came out in 1957.  But though I’d already done some hitchhiking around New England and hung out in Greenwich Village on Friday nights, I was put off by the book’s frenetic style and its praise of aimless, restless travel.  Twelve years later, in 1969, I encountered The Dharma Bums, Kerouac’s second most popular book, while selecting works to place on the syllabus of a class at Columbia University I called “Pastoral and Utopia, Visionary Conceptions of the Good Life.” This book’s triumphant celebration of free love, wilderness adventures, bohemian companionship, and Buddhist meditation made a perfect fit.  Forty four years later, while looking for a topic for a Sangha talk to follow up on the one about Thoreau’s Buddhism I offered last Spring, I picked The Dharma Bums in order to consider how my perspective on the novel and its Buddhist themes might have changed in the meantime. (more…)

Thoreau’s Buddhism

Monday, June 24th, 2013

A presentation to the White Heron Sangha June 23 2013

Henry David Thoreau was born July 12, 1817 and died at 45 years of age on May 6, 1862. His name is a household word, especially among those of us who grew up during the 1960’s, when his two most famous works, Walden and “Civil Disobedience” offered compelling guides to non-conformity, self-reliance, appreciation of nature, reduction of one’s environmental footprint, opposition to war and injustice and spiritual quest.

Although not widely appreciated during his life, since the late 19th century Thoreau’s works have become classics, admired by later writers, assigned in schools, and the subject of a burgeoning scholarly industry. He produced more than 20 volumes in a dense and quirky literary style, at times pompous and bombastic, at others intimate and funny. (more…)

Genes in Genesis: Evolutionary Psychology and the Bible as Literature

Monday, April 8th, 2013

Introductory Note:  This essay was completed in March 2011.  The interpretation of Genesis it proposes first occurred to me in 1996 in the course of writing a book commissioned by Oxford University Press,  Shakespeare and the Bible.  I first learned about Evolutionary Psychology and the field of Darwinian Literary Criticism in 2006.

Introduction

“The Old and New Testaments are the Great Code of Art,” proclaimed William Blake in one of the captions of his etching, “Laocoon” (755). In The Great Code: The Bible and Literature, Northrop Frye replicated part of that proclamation and elaborated some of its implied claims. If indeed the Bible can be said to encode a substantial portion of Western culture’s imaginative, historical and legal heritage, then its first book, Genesis, can be regarded as the Code for the Great Code, since so much of what appears in the subsequent 65 books seems to grow out of it. Genesis’ title is amplified in the names of some of its recurrent themes and images: generation, generations, genealogy, gender, genitalia. The common root of all these words suggests yet another code: that which is carried by genes.[1]

Frye observed that Genesis’ “primary concern is expressed in the Biblical phrase “life more abundant,” and J.P. Fokkelman showed coherence in the book’s motley mosaic of stories with the discovery that its “overriding concern [is] life-survival-offspring-fertility-continuity,” (41) but neither critic associated these concerns with the evolutionary perspective they suggest. Until recently it’s been left to contemporary novelists versed in biology and literature to explore some of the rich meanings that flow from the convergence of Genesis and evolutionary principles, for instance Ruth Ozeki in All Over Creation and Barbara Kingsolver in Prodigal Summer.[2]

Genesis rewards literary analysis because of its complex structure and plot, its concentrated characterization, its vibrant language and its rich but submerged themes, accompanied by what Robert Alter calls “the high fun of the act of literary communication¦ the lively inventiveness …[which] repeatedly exceeds the needs of the message, though it often also deepens and complicates the message”(40-45).  Such analysis can be enriched by combining the relatively rigorous scientific methods of evolutionary psychology with some of the inventive and fanciful tactics of traditional Midrashic interpretation to make sense of the book.[3] That combination seems appropriate to a work which is itself a product of literary evolution–the outcome of a thousand-year history of competition among oral traditions, written documents, individual and group authors and editors assembled in the palimpsest of the received text (Friedman).

Genesis prompts Darwinian analysis because it traces human history back to its beginnings, where it locates the origin of what came later. It chronicles a period of prehistory that figuratively parallels the one and a half million year Pleistocene period that Darwinists refer to as the Environment of Evolutionary Adaptation (EEA), the span of time long enough to allow most human traits to evolve (Cosmides 1997).

Darwinian interpretation explores the operation of the principle of evolution in literary works, depicting what Jonathan Gottschall calls

the fascinating multiplicity of ways characters react to and manipulate their environment (the setting and the other characters) to accomplish the prime directive of all life: to live long enough to reproduce and, in species where parental care is necessary (like ours), rear young to reproduce again.¦” (260)

Genesis personifies that principle in its characterization of the Creator. Its God designs both animal and human life during their common emergence on days five and six by pronouncing the two parts of evolution’s “prime directive”: “I have given you every seed bearing plant ¦for food¦and to all which has the breath of life within it.” (1.29) “¦be fruitful and multiply and fill the earth¦”(1.28)[4]

Genesis’ God repeatedly affirms evolution’s positive outcome of reproductive success as the reward of those whom He has chosen and trained–from Adam at the beginning of the book to the sons of Israel at the end: “I will greatly bless you and will greatly multiply your seed, as the stars in the heavens and as the sand on the shore of the sea, and your seed shall take hold of its enemies’gate.”(22:17)

Genesis’ word for “seed” –zera in the original Hebrew”has several meanings that converge with those of “gene” (Alter 1996 xiii-xiv). It signifies the originating kernels as well as the foodstuff of fruit and grain–the source of sustenance for animals and humans. It signifies semen, half of the material agency of reproduction. It signifies individual progenitors and progeny connected by inheritance–the generations of genetic relatives who extend personal existence beyond the bounds of individual mortality. It signifies lineage, the mark of kinship drawing individuals together into a survival unit, a community, and eventually, a nation.[5]

Joseph, the culminating hero of Genesis, epitomizes all of these meanings of “seed.”  He distributes seed during famine; he preserves enough grain to feed the world; he procreates two sons, one of whom is named Ephraim, meaning “he has made me fruitful”; at his death, he joins his father and mother in their tomb; and he paves the way for his wise descendant Solomon “whose people, Judah and Israel, were as many as the sands of the sea.”[6]

Genesis establishes literary coherence among narrative units with genealogies that catalogue the succession of seed through numerous generations, binding its many discrete stories into the history of a single genetic strain. Later uses of the text call attention to the importance of this genetic continuity. The first edition of the King James Bible begins with thirty-four folio pages of genealogical charts tracing lineage from Adam to Christ, while the succession of deaths and births of relatives is still recorded on pages inserted in family Bibles.

The operation of the principle of evolution is determined by the “algorithm” of Natural Selection formulated by Darwin in Origin of Species:

Through the preservation of favoured individuals and races, during the constantly-recurrent Struggle for Existence, we see the most powerful and ever-acting means of selection. The struggle for existence inevitably follows from the high geometrical ratio of increase which is common to all organic beings. ¦

These laws, taken in the largest sense, being Growth with Reproduction; inheritance which is almost implied by reproduction; Variability from the indirect and direct action of the external conditions of life, and from use and disuse; a Ratio of Increase so high as to lead to a Struggle for Life, and as a consequence to Natural Selection, entailing Divergence of Character and the Extinction of less-improved forms (406).

Genesis begins at “Growth with Reproduction; inheritance” and proceeds to the more complex and turbulent aspects of natural selection: “the struggle for Life,” “Variability,”  “Extinction of less improved forms,” and consequent adaptation.

Natural selection arises from three conditions: 1) individuals compete for the resources to stay alive and procreate, 2) they compete for reproductive success through sexual selection–finding mates and raising offspring that preserve and proliferate their genes, and 3) over long periods of time, species adapt, that is, they change in ways that increase their likelihood of survival and reproduction. Such adaptive changes are carried out through improved design of the physical organism and through the adoption of adaptive behaviors.

Adaptive behaviors are patterns of response to recurrent environmental challenges. The brain circuits, or programs that enable adaptive behaviors, become “incorporated into a species’ neural design.”[7] Assemblages of such software circuits evolved as “cognitive domains,” just as the eye and ear, for example, evolved as hardware. Their blueprints were replicated and transmitted by genes in “the seed,” just as were the blueprints for organs.[8]

Adaptive behaviors produced by natural selection include tool use, kinship selection, status competition, territoriality, coalition building, reciprocity, indirect reciprocity and in-group/outgroup discrimination. These adaptations are observed in primates as well as in remnants of hunter-gatherer societies. This essay argues that evolutionary psychology’s account of the development of cognitive and behavioral adaptations offers a key to decode many of Genesis’ particular incidents as well as its overall design.

(more…)

Book Review: Shakespeare, the Bible, and the Form of the Book: Contested Scriptures

Saturday, January 7th, 2012

Shakespeare, the Bible, and the Form of the Book: Contested Scriptures, edited by Travis de Cook and Alan Galey, Routledge, New York and London 2012.

Published in Religion and Literature 44:2, Fall 2012

This is a collection of essays about relationships between the production, dissemination and reception of books and the pairing of two books: Shakespeare and the Bible.

Many recent scholars have studied the either the Bible or Shakespeare in terms of the history of the book”ways that material media have determined their form and message.  Intertextual relationships between Shakespeare and the Bible is also a familiar, if sparse, field of critical inquiry.  But investigating the coupling of Shakespeare and the Bible itself with the methods of textual materialism is a novel and narrowly focused undertaking.

The editors’ discussion of Rudyard Kipling’s whimsical 1934 fantasy about Shakespeare’s drafting language of the King James Bible introduces the book’s overall polemical argument that the consideration of historical and physical conditions of texts should counter the tendency to canonize them and “naturalize” their assumed unity and completeness.

The book’s first group of essays examine ways in which Shakespeare’s use of the specific editions of the Bible he’s presumed to have read affected plot, characterization, theme and language in individual plays. (more…)