Teaching’s Other Greatest Reward

“Texts are not the curriculum,” I was told during Pro-D by an administrator, the Director of Curriculum and Innovation. The session had been arranged to introduce a revised K–12 curriculum and was billed as a great unfolding at the onset of the 21st century. “Texts are a resource for implementing lessons and practising skills,” she concluded. By this, I took her to mean that notation, for example, is a resource for students to finger piano keys or pluck guitar strings, which is something music teachers might accept. I took her to mean that landscape is fodder for brushstrokes and blending, something art teachers might accept. I took her to mean that a poet’s intimate, inspired reveries, shared in careful verse, is raw material for students who are learning to analyse and write, which I grant English teachers might accept. I took her to mean that I should consider her remark a resource and that this issue was now settled, which some teachers in earshot seemed to accept. To this day, I wonder whether a musician, or a painter, or a poet might accept her remark, but in that moment, I let it go.

I suppose I should be more forthcoming: I used to joke with parents, on Meet the Teacher Night, that I could be teaching my coursework just as well using texts like Curious George and a recipe book. That I decided to use Shakespeare, or Sandra Cisneros, or Thomas King, and that I would in fact be asking students literally to stare out the window as part of a textual analysis exercise—all just as arbitrary—illustrated the point that I built my course around some particular themes that reflected me and what I believed important about life. That, in turn, was meant to illustrate to students, and now parents, how bias plays a noteworthy if subtly influential role in our lives and our learning.

My larger points were twofold: firstly, no, texts are not the curriculum per se and, secondly, our Department’s approach to English Language Arts (ELA) focused more on skill development, less on content consumption. For us, anyway, the revised curriculum was reaffirming. What I merely assumed in all this—and presumed that parents assumed it, too—was that our Department’s approach was commensurate with the school’s expectations, and the Ministry’s, as well as with our province’s educational history and the general ELA approach found in classrooms across North America, for which I had some albeit minimal evidence by which to make the claim. As a secondary ELA teacher, I chose my texts on the basis that they helped expedite my curricular responsibilities. I suppose it would be fair to say that, for me, texts were a resource for implementing lessons and practising skills.

What was it, then, that niggled me about the Director’s comment at the Pro-D session? Did it have to do with decision-making, as in who gets to decide what to teach, and how, and why? Would that make it about autonomy, some territorial drawing of lines in professional sand? Was it more my own personal confrontation, realising that musicians and painters and poets deserve better than to be considered lesson fodder? I had never approached my lessons so clinically or instrumentally before—had I? Maybe I was having my attention drawn into really considering curriculum, taking the time to puzzle out what that word means, and implies, and represents. And if I never really had puzzled it out, what kind of experience was I creating for my students? I’ve always felt that I have done right by my students, but even so… how much better, still, to be done?

Months later, I sat at a table doing prep work next to a colleague, and a third sat down to join us. Eventually, as the conversation turned from incidents to editorials, the third teacher spread her hands wide and concluded, “But ultimately education is all about relationships.” In the next split-second moment, I was confronted by the entirety of my teaching philosophy, nearly a clarion call except I had nowhere to stand and run, so I just remained in my seat, quietly agreeing and chuckling at the truth of it all. We all did. That was my final year before returning as a student to a doctoral program, where now I search and select texts to read so I can write texts of my own about particular themes that reflect me and what I believe important about curriculum, and teaching, and education.

I should say I no longer wonder why the Director’s remark that day, about texts, didn’t set me to thinking about curriculum, not like my colleagues did, sitting and chatting around that table.

… of Robbie Burns Day

The best-laid schemes o’ Mice an’ Men
Gang aft agley…”

In observance of Robbie Burns Day and, thereby, of John Steinbeck‘s novella, Of Mice And Men, I highlight this thoughtful character study of Curley’s wife, by Leighton Meester for The Huffington Post, based upon her own stage portrayal of that character.

Perhaps above all I appreciate Meester’s nuanced intuition about the audiences who judge Curley’s wife which, beyond their relationships to the characters in the story, might suggest something about their own – our own – blind spots and hypocrisies. How often we live with daily nonchalance, oblivious to the interiority of those we encounter, and of those beyond. How much we rely on our affirmed belief of our selves.

If confronting ourselves is art’s great authenticity, then Meester’s perception is spot-on: in Curley’s wife, Steinbeck subverts our conceit – whether he intended to or not. Indeed, the best-laid schemes…

A Kind of Certainty: V. Fleeting Uncertainty

Click here to read Pt IV. A Kind of Faith

 


A Kind of Certainty

5. Fleeting Uncertainty

Like a vast sea of experience is all that we know and learn and encounter every single day. We are but tiny ships bobbing and rolling upon its waves, its currents steering us here and there. How on earth do we discern and decide what we value, what we believe, in order to collaborate with others in meaningful curricular relationships? (I almost wish I could just be waylaid by pirates, or something.) For me, one way to decide is to consider our shared motives, and find incentives to collaborate from there. Notwithstanding the degree to which people are educated, or by whom, everybody has motives.

But we do not all necessarily have a particular destination or a future port-of-call. So the aim for curriculum appears to be that of shaping motives to coincide with the current state of affairs such that, in a broad sense, people can (a) function – a measure of the self-ful[1] – and then (b) contribute – a measure of the selfless. Upon this vast sea, we are not so much bound for any one destination as we are bound to assist each other, each underway to wherever best suits our particular circumstances at that time – yours for you, and mine for me – and let the tangents direct us as they will.

Education, I have come to learn, is learning to have more than a destination or purpose of my own. It is to convoy with others and have faith that they do the same for others and for me, and putting in to decidedly worthwhile ports-of-call on the way. On the way, we chart our courses, but as similar as the ocean might look any given moment, wave after rolling wave, no two moments are ever exactly alike. To that degree, everyone must chart on their own. How intentionally we aid each other, how much or how little we trust, how sincerely we navigate, it is our shared curricula that will determine how effectively we undertake any particular decision we are ever likely to face, alongside whomever we find ourselves. The more we convoy in earnest, the safer we will be. With that kind of support, what is it that would sink us?

One final cautionary note: if and when some finally do make landfall somewhere, with certainty to their decision, we must acknowledge that their perspective will shift dramatically from those others who remain, however more or less certain to remain, at sea. Not everyone wants to remain at sea, and such variances our curricula are obliged to accommodate, if not fully comprehend or appreciate. There on that solid shore might be a tighter homogeneous culture that yields a more one-sided – or dogmatic? prejudiced? – communal certainty all its own. On that shore we might find a trade-off that sets the communal trustworthiness of the bobbing convoy against the stable individual footing of landfall. Yet somehow we all must sustain what we share, no matter the differences that may arise between sailor and landlubber – and why?

Because what remains the same amongst us – indeed, that which makes us who and what we are – is what we have in common. Common to all of us is being alive, being a person, being a human being, someone deserving of a basic respect for human dignity. Each of us, all of us, every one of us. We are all people. In this regard, really all that differs between us is where we are, and when. For people to think in any way differently than this about other people is narrow, delusional, perhaps cruel, and flat-out wrong. That may hardly feel a satisfactory closing, maybe even anti-climactic, but who ever said learning was meant to be entertainment?[2] Learning’s the thing wherein we catch the conscience of each other.

 

Click here for the Bibliography

Click here to read Pt I. An Uncertain Faith

 


Endnotes

[1] Forgive the invention, “self-ful.” I hesitated to use “selfish,” which tends to connote self-seeking and self-aggrandizing behaviour (in that colloquial sense of “No, you can’t have any of my ice cream”), and taking inspiration from the Bard, I just made up a word of my own. Likewise, I do not use “selfless” in some altruistic way so much as simply to counter “self-ful”; as a pair, I intend them to signify simply the notion of there being, for each of us, an intrinsic “me” and plenty of extrinsic “not me’s.” Further, with my students, I would liken self-fulness to each one’s academic efforts and scholarship, and selflessness to voluntary service and community stewardship of whatever kind. The longer-term idea was teaching students to balance these as required by kairos, by circumstance – an appropriate time for each, and the wisdom to know the difference.

[2] Or maybe, just maybe, there’s a curricular role for those gnarly amphibious surfers, after all.

Hawai'i Summer 2008
Teacher at work: catch a wave to catch the conscience?

A Kind of Certainty: II. Curriculum, or What You Will

Click here to read Pt I. An Uncertain Faith

 


A Kind of Certainty

2. Curriculum, or What You Will

Baumlin (2002) distinguishes three concepts of temporality. Chronos is linearity, our colloquial passage of time, “non-human; impersonal objective nature” (p. 155), from which we understandably define past, present, and future. In relation to this is kairos, a single point in time, “[describing] the quintessentially human experience of time as an aspect of individual consciousness, deliberation, and action… that single fleeting moment … when an individual’s fortune is ‘set in motion’, … [providing] the means” and yielding “Fortuna, the consequences” (p. 155). Interwoven with kairos, then, is Occasio, the cause to Fortuna’s effect, a sense of “‘right-timing’ and prudent[1] action,” an opportunity[2] to better the capricious lies of fortune and fate. Although this sense of opportunity was emancipating, it also engendered accountability for consequences.

The developing belief that we possessed not mere agency but free will weighed upon Renaissance thinking, a trait that Shakespeare often imparted to his characters, Hamlet (4.4.46-52) being but one example.[3] By the time 17th century Elizabethans first watched Hamlet on stage, the humanist challenge to “a grim… Christian sufferance and resignation to time” (Baumlin, 2002, p. 149) was well underway. Unsurprisingly, Shakespeare offers nothing firm in Hamlet as to where our belief should lie, either with fortune or with free will; indeed, leaving the debate ruptured and inconclusive seems more to his point. To this end, perhaps most notable is his placement of Hamlet alongside Horatio in the graveyard to ponder the dust and fortune of Alexander, Yorick, and – hard upon – Ophelia.

In handling Yorick’s skull, Hamlet revives the poor fellow’s “infinite jest [and] excellent fancy” (5.1.186), memories of such fond “pitch and moment” (3.1.86) as to “reactivate” (Pinar, 2017a, p. 4) his own childhood, even momentarily. Such specific remembrances educed by Hamlet (which is to say, by Shakespeare) expose the springe of kairos; ultimately, certainty is beyond our capacity, rough-hew it[4] how we will. Colloquially, this might seem obvious (i.e. “the best laid plans…” and so forth, and no one person apparently able to pick the right lottery numbers each week). Yet the extent to which we consider ourselves masters of our own fortune is, for Hamlet, presently in the graveyard, a kind of epiphany, “a spiritual (re-) awakening, a transformation” (Baumlin & Baumlin, 2002, p. 180).[5] He decides that yielding himself over to “divinity” (5.2.10) is wise as compared to the folly of trying to control what was never within his grasp to begin with.

He does not give up any freedom so much as give over to dependence, which of course is a leap of faith. Shakespeare poses a question of allegiance – to obey, or not to obey – further compounded by which allegiance – obedience to father, or to Father; to free will, or to fortune; to an unweeded garden, or to what dreams may come – all these are the question.[6] Shakespeare has Hamlet “reconstruct” (Pinar, 2017a, p. 7) his conceptions of allegiance and obedience during the exchange with the Gravedigger, which hardens Hamlet’s resolve yet also enables him to come to terms with his tormenting dilemma over fealty and honour. By the time his confrontation with Claudius is inevitable,[7] Hamlet’s decision to “let be” (5.2.224) “[marks his] final transcendence of deliberative action in worldly time” (Baumlin & Baumlin, 2002, p. 180). Thus is indicated the subtle dominance of the third temporal concept, aion, “the fulfillment of time” (Baumlin, 2002, p. 155), a circularity like the uroboros, the serpent swallowing its tail. As such, aion signifies what is boundless or infinite, neither more nor less than eternity.

Oddly enough, these three concepts, in concert, can seem both time and place,[8] describing a “spatial-temporal sequence … from point, to line, to circle”; from “natural to human to divine orders” (p. 155). I am not fixed to the idea of a “sequence,” but the general composite still shapes my response to Hamlet’s most famous question of all.[9]

 


Let go. Learn from the past, but don’t dwell on it.

left (past)

Let it work. Anticipate the future, but no need to control it.

later (future)

Let come what comes. Every possible decision will still yield consequences.

Let be. Pay attention now to what is now.

The readiness is all. (5.2.222-223)

lasting (present)

The rest is silence. (5.2.358)

(a clever double-meaning here: “the rest” = either past regrets and future anxieties or else the undiscovered country, death)


 

As I take them, these four “Let…” statements amount to sound wisdom, like trusted advice from teacher to student or parent to child. As a student and child, myself, writing this paper, I faced some question of certainty – the same question, strangely enough, that we ask about curriculum: what is worth including? By the same token, what is worth omitting, and from there, what will also be otherwise left out or unmentioned? Whatever we decide, one thing is certain: we can neither cover nor even conceive it all, which of course was my original problem. In fact, knowing as much as we know can even shed paradoxical light onto how much we remain in the dark. Eventually, as my Dad recommended over the phone, I simply needed the courage to make a decision and go with it, and even with his voice in my ear, I knew my own advice with my students had always been the same.

Hanging up, I reasoned further that any feedback I did receive – from peers during revision or from my professor’s formal evaluation – would illustrate how effectively I had collated and communicated my message. Beyond that, say revising the paper for publishing, I would have some ready direction. And there it was, I realised, staring me in the face, curriculum in a nutshell: conversations, decisions, actions, evaluations, reflections – all these, in relation to me as I wrote this essay, amounted to a lived curricular experience of my very own.[10] My curriculum, like this essay, does not simply pose the straightforward question about what is worth including. That question is insufficient. More particularly, my curriculum, like this essay,[11] prompts me to consider what is worth including in light of the audience, the topic, what is already known about the topic, and whatever aims exist in further pursuit of the topic.[12] Succinctly, my curriculum – all our curricula – is contextual, multitudinous, and a question of – questions of – what is particularly worth knowing about any topic of study under the sun: “Why this, why here, and why now?”[13] That is the question.

Well, maybe that is the question. The essence of this question, this curricular particular, lies in kairos, the concept of opportune timing or occasion that “signals the need to bring universal ideas and principles to bear in historical time and situations [i.e., deductively] and, thus, calls for decisions [requiring] wisdom and critical judgment” (Smith, 1986, p. 15). We can only note what matters to us once we have a reference point. And since nothing occurs in a vacuum, any detail can be potentially informative, so we must learn to pointedly ask not, “In what way(s) do I already know what I’m looking at?” but rather, “In what way(s) do I not know what I am looking at?” which tends to be deductive. Typically, curriculum begins inductively, with what someone already knows, and we all know plenty of things. But we generally bring to bear only what we deem relevant to the moment. By the same token, someone who knows what is relevant to the moment has a kind of prescient “mechanism” (Christodoulou, 2014, p. 54) for spotting what will likely be of use.[14] So curriculum is a means of determining, if not discovering, in the moment what works. It is, therefore, also a means of coming to know ourselves.

As we develop confidence and self-esteem, and dignity, we grow to feel that we have something to contribute, that we matter, all of which prepares us for helping others. Curriculum helps us to sort out our values and beliefs,[15] which provide a frame-of-reference in order to select and, later, to measure our day-to-day efforts. Of course, none of this happens immediately; we need time to grow more self- and other-aware, each kairos experience filing in alongside the rest, like a crowd of ticket holders. I can only wonder whether Shakespeare might have characterised curriculum as something akin to being held over for an indefinite engagement. In any event, we never stop learning – may our auditoriums ever sell out – as we continually induce as well as encounter influence. But how deliberately do we do so? Maybe that is the question.

 

Click here for the Bibliography

Click here for Pt III. A Scripture of Truth

 


Endnotes

[1] As Baumlin (2002) notes, “For the student of prudentia, time reveals itself as golden Opportunity rather than as fickle, devastating Fortune” (p. 141). Certainly, Shakespeare and his Elizabethan audiences were feeling such debate permeate their own lived experiences, a dram of an idea that, once diffused, might only thereafter suffuse.

[2] According to Claflin (1921), “‘opportunity’ in Shakespeare means more than it does now [in the 20th century]; it is closer to the original force of Latin opportunus, and means ‘a specially favourable occasion’” (p. 347). Curiously enough, however, as I searched a concordance of Hamlet (Crystal & Crystal, 2002), I found no usage of “opportunity” whatsoever and only three of “chance,” most notably that of Hamlet to Horatio: “You that look pale and tremble at this chance…” (5.2.334) in reference to the dead and dying at the play’s closing. Of further interest is the concordance’s report that Shakespeare used “opportunity” throughout his entire catalogue of poems and plays only sixteen times as compared to “chance,” which he used 114 times.

[3] Kiefer (1983) examines Fortune at length as one colour in Shakespeare’s palette for his characters, noting of King Lear: “In no other of Shakespeare’s plays do characters invoke Fortune so insistently [or] so frequently at pivotal points of the action” (p. 296).

[4] Read either “certainty” or “our capacity,” here, in place of “it”; either works just as well. The line from the play I have paraphrased, of course, because the original antecedent is “our ends” (5.2.10) in place of “them” (5.2.11). However, where I have changed the diction of the thought, as a matter of perspective, the meaning remains intact. The implication that we – in essence – play God might not be nearly so alien for Shakespeare’s audience as to their feudal predecessors. By contrast, to postmodern audiences these days, the notion of a divinity standing apart from our own free will and shaping our ends might be the more alien concept.

I might finally point out that Shakespeare, as his creator, is Hamlet’s god, of a kind. But that analogy does not last long under scrutiny since Hamlet, being a fictional character, has no sentience, free agency, or tangibility, and actors who portray him are left with prescribed dialogue and beliefs.

[5] Because I am ultimately discussing what Shakespeare did, his characters being only conveyances as such, I was tempted to complete this sentence with a line from Macbeth, as follows: “The extent to which he considers himself master of his own fortune, presently in the graveyard, is laid plain for Hamlet, leaving him to conclude only that ‘…all our yesterdays have lighted fools the way to dusty death’ (5.5.22-23).” The key difference, of course, is that Hamlet decides against being a fool whereas Macbeth seems all too keen to excel at it. Where Hamlet best demonstrates a respect for “divinity [shaping] our ends,” Macbeth better represents the rough-hewing bit, which makes him a far less redeeming character in the end. So, upon reflection, it seemed prudent to stick substantively to just the one play. Thank heaven for endnotes, I guess.

[6] Had he fallen clearly to one side, as a subject to his monarch, Shakespeare might very well have sealed whatever freedom he did enjoy; his own response, evidently, was to render unto Caesar, and render unto God, and continue writing plays. Four centuries on, what is there about us, that we might think we are any less susceptible than he was to coming to terms with our finite nature? We live in civil society, by the rule of law under a Constitution, within which are Rights and Freedoms that include the assurance to believe, or not to believe, whatever we decide suits us best. Furthermore, we have the advantage over Hamlet in that his example exhorts us, interminably – just ask my students, remember? Alas, though, poor Yorick.

[7] As Horatio notes, “It must be shortly known [to Claudius]” that Hamlet has tricked Rosencrantz and Guildenstern to their deaths at the hands of England (5.2.71-72), a move by Hamlet in his contest that must certainly harden his uncle’s resolve to have Hamlet dealt with once and for all. Of course, Claudius had sent Hamlet to England to be killed, but in secret, on account of both Gertrude and the public’s love for the Prince (4.7.5-24). However, in dispatching his childhood comrades – and with such calculation (5.2.57-70) – Hamlet has now given Claudius justifiable means to overcome any such favourable opinion as might have benefitted Gertrude’s “son” (5.1.296).

[8] Time and place are what we commonly refer to as setting in English class, which is a curious way to consider eternity.

[9] Seldom mentioned amidst all the consternation is that Hamlet does not actually ask a question. If he had, he might have worded it as, “Is it to be, or not to be?” In that case, we would need to know what “it” means. Alive? Dead? Happy? Sad? Anything goes, I suppose, but then… what would you expect? He might have been asking, “Am I…” or “Are we to be, or not to be?” But where that is still somewhat existential and vague, now we might want to know whether his use of the verb, to be, is more open-ended or copular. I suspect Shakespeare knew enough about a general audience to trust that only the most fastidious grammarians would fuss over particulars such as antecedents and verb tenses in the dialogue. Otherwise, why decide to use the most protean verb in the English language?

[10] As far as lived curricular experiences go, there are many like it – as many as there are people to have them – but this one is mine.

[11] At this early stage, I confess: why struggle writing a paper when I could use the age-old trick of writing a paper about writing the paper? Why…? Because the age-old trick is just that – a trick – and spinning academic wheels stalls any hope of contributing to knowledge, so I would hardly be honouring my responsibility if I tried pulling that off. Still… the paper within a paper got me thinking about Hamlet, which oddly enough had been my original inspiration for this essay. As my students used to say… once you study Hamlet, he just never goes away. How true, how true…

[12] According to Hartmann (2014), it was just such questions that prompted Ezra Klein to leave The Washington Post and establish Vox.com in 2014.

[13] Students in my all courses learned to rue the question “Why?” so much so, one year, that it became a running joke simply to utter “why” as a pat-response, whether as a question, an interjection, a plea, a curse, an epithet – those last two maybe reserved for me, I don’t really know. In honour of their perseverance, and their angst, I named my blog The Rhetorical WHY.

[14] Surrounded by Winkies, confronted by certain capture, only Scarecrow eyes the chandelier above the Wicked Witch, so only he can yank Tin Man’s axe across in time to chop the rope that suspends it. Hardly the grandeur or the gravitas of Hamlet, I realise, but The Wizard of Oz has much to offer pertaining to curricular theory as well as teacher autonomy.

[15] In keeping with the three temporal concepts, perhaps a more suitable metaphor than threading our own needles would be to say we surf a long pipeline. But, this essay being more concerned with curriculum and theatre, any such Hang-Ten imagery is better suited to another time, like connecting curriculum to gnarly waves and bodacious beaches (“Surf’s Up,” 2015). Anyway, certainly no one would ever dream of linking Hamlet to surfing (“’Hamlet’s BlackBerry’,” 2010) in the first place, would they?

A Kind of Certainty: I. An Uncertain Faith

Well, you had to know this one was coming… a meditation upon Hamlet.

This meditation, though, also happens to be a treatise on curriculum. I wrote this essay last year for a course I took with Dr William Pinar, who is Curricular Royalty on top of being a super guy. And, like me, he taught secondary English, so I felt I had a sympathetic ear.

Dr Pinar’s course was driven by chapters he’s written for an upcoming book about George Grant, who was (among many things) a philosopher, theologian, educator, and Canadian nationalist. Dr Pinar’s book is about Grant’s critique of time, technology, and teaching.

The series of posts, “A Kind of Certainty,” comprises my final paper, in which I attempt to present Hamlet, the character, by way of the same treatment that Dr Pinar presents Grant. That said, I don’t address technology here (although I do address it here), focusing instead upon teaching and curriculum, and granting due respect to the concept of time.

I debated how I might present this essay, whether to revise it into something more suited to the style and structure of my other blog posts. But it just proved far too difficult to change or remove anything without drastic revision, essentially having to rewrite the entire paper, so here it is in academic trim… citations, endnotes, and all – Dr Pinar is a big fan of endnotes, by the by, so that’s the explanation there.

Here, too, is the bibliography.

 


A Kind of Certainty

1. An Uncertain Faith

I taught Hamlet in English 11. During what typically lasted five months, we considered, among other concepts, certainty and faith. One example of mine to illustrate these was to ask a student why she sat down so readily on her classroom chair. She would be puzzled and say something like, “Huh?” My reply was to note how much faith she evidently placed in that chair to support her without collapsing. Then she would laugh, and I would ask further whether she knew the manufacturer, or the designer, but of course she knew neither. Then I would ask how many other chairs that week had collapsed beneath her, and (apart from one, unfortunately!) the reply would be, “None.” My point, of course, grew clearer to everyone as this conversation progressed, so my next question was to the class: “How many people rode in a vehicle sometime this past week?” Once most confirmed it, I would ask the same basic question as that of the chair: how were you certain that vehicle was safe? I was more tactful where it came to car accidents, usually using my own spectacular examples (… I have two). Ultimately, my claim was that we might have as much as 99% certainty, yet for whatever doubt exists, we rely on faith or else we would never sit in chairs, or drive in cars, or whatever else. As my tone grew more grave, so did their nods and expressions, as if we ought to be dropping Hamlet to study car mechanics, or industrial first aid.

My students were typically alarmed when they realised their faith was only as certain as its object, be it a sturdy or rickety chair. Where extremes present themselves rather obviously, even so, in any case of such offhanded faith, we make ourselves collateral. As if we live on credit, certain that all will remain as it has done, we borrow on faith against our future well-being until it comes time, as it says in the fable, to pay the piper. Meanwhile, what seems certain to us we literally take-for-granted, begging the question with impunity, I suppose, since every day the sun continues to rise.[1] Everyday, we overlook the caution, familiar to investors, that past performance does not necessarily indicate future potential, or as they say in the casino, the House never loses.

Maybe we never stop to consider just how loosely we play with certainty and faith in our day-to-day because doing so might mean never again stepping outside the door – no sense everyone being as hamstrung as the Prince of Denmark. Having studied the play as much as I have, I find every one of its concepts up for debate – arrghh – and where certainty and faith can actually seem either opposed or synonymous, that determination depends on yet another concept from the play, perspective. In any case, where it comes to certainty and faith – at least from my perspective – Hamlet is particularly instructive.

No matter your perspective, I would warn students, no matter where you stand or land, the play will then present you with a challenge of certainty, something I called the “Yeah, but…,” which was naturally a source of unending frustration. Conversely, and ironically, it was also a source of certainty since, like Hamlet in duplicitous Elsinore,[2] at least we can be certain that everybody else thinks, shall we say, uniquely, if not differently. Hamlet’s return home to the web of Catholic Elsinore from the symbolic bastion of Lutheran reform, Wittenberg, on account of his father’s death, finds him divided not unlike the Elizabethans comprising Shakespeare’s audience, caught between two branches of Christian belief.[3] The Bard besets his tragic hero with a matrix of inner turmoil – both secular and spiritual, of fealty and faith – a tesseract of beliefs such that Hamlet cannot reconcile any one to another, even as he quakes yet pines for some grand repose. For each possible value he might set down in his tables, his same self-assurance prompts Hamlet to pose questions more profound, rendering him unable to decide about, well, anything. Doubting that anyone can even interpret what it means to exist and, thereby, doubting that concern over living, or dying, or even debating the question is worthwhile, Hamlet, like the actors he so admires, effectively stands for nothing. As such, I admitted to my students, he was hardly an exemplary role model.

So, I suggested, to avoid the debilitating trap that befalls the brooding Prince, that of “thinking too precisely on the event” (Shakespeare, 1997, 4.4.41),[4] we must simply and ultimately decide what we believe after having drawn such conclusions from the best available evidence. Easily said, yet is this not exactly what Hamlet is trying to do? Little wonder students find him so frustrating. Then again, I pointed out, all our sighing and huffing is its own judgment call, a very palpable hit borne of the frustration of those who are upset with him. With Hamlet’s inability to decide for most of the play comprising most of the play, and with him chastising his own cowardice and rebuking God-given reason as a consequence (2.2.571-580, 4.4.36-39, 43), a spendthrift sigh of our own is hardly unreasonable. On the other hand, observed one student, well on her way to modern material success, he sells tickets. Unquestionably, yes, Shakespeare made a meal of Hamlet making a meal of things. And, even though he doomed his protagonist from the start, the playwright does release Hamlet from his torturous hamster wheel – mercifully? – just before he meets his grand moment of truth.

Throughout the play, Shakespeare includes what I call “Let…” statements. Of particular significance are the following four statements, presented here in sequential order:

  1. Of Claudius’s machinations, Hamlet tells Gertrude to “let it work” (3.4.205)
  2. Exacting vengeance for his father’s murder, Laertes will “let come what comes” (4.5.136)
  3. Having finally made peace with the certainty of death as well as the uncertainty of what lies beyond, Hamlet tells himself (alongside Horatio) to “let be” (5.2.224)
  4. Later, as Horatio confronts doubts of his own, Hamlet tells him to “let go” (5.2.343)

Alternatively arranged, these statements help comprise, for me, a response to the famous question, “To be, or not to be.”[5] This alternative arrangement derives from a sentence analysis exercise that my students and I would complete while preparing for the play. The sentence is from an essay by Drez (2001) about American pilots during WWII: “There were no souvenirs, but the grisly task of scrubbing decomposing remains from their boots later left a lasting memory” (p. 144). Briefly, the words later, left, and lasting illustrate the creation and the span of the airmen’s memories over time – the future, past, and present, respectively – made all the more ironic since the souvenirs they found were hardly the ones they sought. Using these three words alongside my own interpretation of each “Let…” statement, I have arranged them chronologically out-of-sequence with the play, using instead an interpretive application of temporality as three discrete periods[6] to challenge the common concept of linear time as historical calendar pages or a ticking clock.

 

Click here for the Bibliography

Click here to read Pt II: Curriculum, or What You Will

 


Endnotes

[1] Shame on us for carrying on so fallaciously! At pedestrian-controlled stoplights, we eventually step off the curb believing that drivers have halted their oncoming vehicles rather than carrying on through and running us down. To call the stoplight “pedestrian-controlled” is somewhat of an embellishment on the part of the city engineers, I think, a deferral to who really is favoured, for whatever reason, in the equation. But for the pedestrian to step off the curb is an act of faith, surely, since they abrogate control to the driver who has the car’s capability to accelerate and manoeuvre at his disposal. For that brief moment, only the driver’s motives keep the pedestrian safe. And careful though we are, accidents still happen in such everyday circumstances. Worst of all, as more recent times demonstrate, cars and trucks can be used precisely as weapons of terror against innocent people; the danger I speak of, the giving-and-taking of control, however uncommon, has now been realised. That changes attitudes profoundly.

Security measures, safety audits, protective equipment, government regulations – on and on goes the list of processes and people in which we place our faith, believing with some degree of certainty – or, as often as not, taking for granted on faith – that proper standards are being met that ensure our safety.

[2] Just my interpretation, mind you, “duplicitous Elsinore.” Certainly, you will have your own analysis.

[3] Since the time of those events described in the New Testament, their interpretation has divided Christian belief into myriad denominations, such as those found in both Shakespeare’s play and Elizabethan England: Catholicism and two respective branches of reform, the Protestant Reformation initiated by Martin Luther and the English Reformation decreed by King Henry VIII. I simply use “Christian belief” in a broad sense, wanting to avoid the suggestion that any particular denomination tops some hierarchy, since that sort of debate, here, is beside the point.

[4] For the duration of the essay, I shall refer to quotes from this cited edition of the play.

[5] Regrettably, but unsurprisingly, I’m hardly the first to devise this response to the famous question. Evidently, where my approach differs from other examples (Baumlin & Baumlin, 2002; Critchley & Webster, 2011) is connecting the four specified “Let…“ statements and Hamlet’s closing lines (5.2. 222-223, 358) with concepts of temporality.

[6] A full explanation of the four “Let…” statements and temporality demands its own essay, and I am already deep enough into Hamlet as it is, so for my weary negligence I ask some gracious leeway instead of a challenging “Yeah, but…”. Suffice to say, though, as we might feel this way or that about past or future, we still must inherently live each present moment, such as we are.

Play’s the Thing…

I used to say to my students, “Find the overlap between our English coursework and, say, Trigonometry, or the link from persuasive writing to PhysEd. Where does Hamlet end and organic chemistry begin? Find that one out… there’s genius in that.” The courses my Department offered were called “English” and, helmed by some teachers, they were more traditional, as one might expect. The most common feedback I received from students, though, was how unlike English our coursework seemed to them. I took those remarks as a measure of success: my aim was to prepare young people, soon enough entering the world as older people, to be responsible… to families, communities, careers, and so forth. For me, that’s the purpose of school and its teachers.

What prompted me to reflect was reading Science, Order, and Creativity, by David Bohm and F. David Peat – specifically, such remarks as “the appropriate relationship between thought and experience… [in which] creative new perceptions take place when needed” (p. 49). That distinction between thought and experience reminded me of another distinction, this between dialogue and conversation. And again I was prompted to recall my English courses – what we had, I’d say, were definitely conversations, scratching new surfaces and digging into things with fluid spontaneity, as compared to the “my turn / your turn” protocol of dialogue, which might dig one trench but deeper and deeper. Where dialogue strikes me as instrumental, a means to an end, conversation is an end in itself, without start or finish but continual – that is, until the bell rings. We notoriously lived beyond the rigour of scheduling in some of my courses.

Those conversations were hard to let go. And what exactly were we after? “The creative person does not strictly know what he or she is looking for,” say Bohm and Peat. “The whole activity [is] play itself,” and no better description of teaching (at least, my teaching) have I ever read. Who knew I was so creative? Not me although I did have fun. So who knew teaching was just so much play? “The play’s the thing / wherein I’ll catch the conscience of–” well, anybody, really. I should clarify that I respected my colleagues and our Departmental philosophy as well as my professional obligation to Ministry curricula. At the same time, I relied on my own interests and concerns to guide our coursework, by day and by year. The result was a mixture of reading, discussion, writing, and presenting about topics as disparate as literature, film, fine art, civics, politics, economics, philosophy, etymology, all manner of topics – yes, even science and math – all bundled together in a process of classical rhetoric. Eventually, I developed a suitably disparate canon of texts, too, that flowed meaningfully from English 9 through 12. And I relied on students’ differences to alter and adjust the flavour however they might. I loved teaching for how creative it allowed me to be, and for how much creativity it provoked in my students. “Let come what comes,” Laertes tells Claudius – brazen, even foolhardy. Genius, perhaps?

Bohm and Peat seem to suggest that genius is not creativity per se so much as the effect of having challenged some assumptions, and maybe that’s mere semantic distinction. Either way, I like the notion. Later, reading Allen Repko, I found myself nodding likewise at what he calls “boundary crossing” (p. 22). There it was, this discovery of common threads in disparate disciplines, this crossing of amorphous boundaries, what my students have heard me call “genius” although I might now redefine that trait as “ingenuity.” Accompanying “boundary crossing” is a reaching across disciplines, with intent, what Repko calls “bridge building.” This, I think, I would call visionary. Discovery and vision, both what I would forever consider, as a teacher, to be meaningful developments of the learning process.

Repko also points out the origin of the word, “discipline,” deriving from the Romans and their need to “relate education to specific economic, political, and ecclesiastical ends” (p. 32). How delightfully Roman! I thought, reading that. Such instrumentalism, “the logic of utility.”[1] Finis at its finest: How long, O Lord! Will their legacy never end? But I trust in teaching and my unfailing students.

I enjoyed sixteen years teaching Secondary English to brilliant students. In that time, we developed a philosophy, addressed the BIG Questions, and fed our curiosity. But my planning process was seldom more than make-it-up-as-we-go. “We could never get away with this in Math,” I used to say to them, “although if you do find a way, I’d love to hear about it.”

 


[1] Phelan, A. (2009). A new thing in an old world? Instrumentalism, teacher education, and responsibility. In Riches, Caroline & Benson, Fiona J. (Eds.) Engaging in Conversation about Ideas in Teacher Education, (105-114). New York, NY: Peter Lang.

 

Umm, This.

[Originally published June 11, 2017]

So, it’s interesting, listening to people talk these days, quite frankly, in terms of their words, their language, their speech. I have an issue with what everyone’s saying – not like everyone everyone but, you know, it’s just their actual words when they talk about complex issues and such, or like politics, what with the whole Trump thing, you know, that Russia probe and the Mueller investigation and everything that goes with that. I’m also a bit of a news hound, and that’s really where I started noticing this on-air style of speeching, of making it sound thoughtful and taking them seriously.

And it’s so much out there, like an epidemic or something, which is interesting, which speaks to on-line streaming and TV news, talk radio, and pretty much the whole 24-hour news cycle. I was a high school English teacher for sixteen years, and I also started noticing all this, you know, frankly, during class discussions, too. And there was me, like guilty as anyone.

Here’s the thing, though, because I guess substance will always be up for debate, but that’s just it – it’s so wide-ranging that it’s like people have no idea they’re even doing it, which is interesting. It’s almost like it’s the new normal, which really begs the question – are people getting dumber? Is education failing us? In terms of intelligent debate, that will always be something that probably might be true or false. And let’s have those conversations!

But in terms of intelligible debate, it’s interesting because, when I listen to how people are talking, it gets really interesting because when I listen what they actually say, it’s like they’re making it all up on the spot in the moment as they go, so it’s just that that makes me not as sure it’s intelligent as it’s less intelligible. But it’s all in a sober tone, and they’re just expressing their opinion, which is democracy.

And that’s the thing – if you challenge anybody with all what I’m saying, clarity-wise, it’s interesting, they’ll get all defensive and whatnot, like it’s a personal attack that you’re calling them stupid or whatever, like you’re some kind of Grammar Jedi.

And, I mean, I get that. So that’s where I think people don’t really get it because I totally get where they’re coming from.

Seriously, who would want to be called like not intelligent or anything all like that, whatever, especially if we’re trying to discuss serious world issues like the whole Russia thing that’s been happening or the environment or all the issues in China and the Middle East? Or terrorism and all? I mean, if you look at all that’s happening in the world right now, but you’re going to get that detailed of the way someone talks, maybe you should look in the mirror.

And I mean, SNL did the most amazingggggggggg job with all this, back in the day, with Cecily Strong on Weekend Update as The Girl You Wish You Hadn’t Started A Conversation With At A Party. Comedy-wise, she even like makes a point, but basically, she’s furthering on intelligence, except I’m talking about intelligibility. But still, if you haven’t seen it, what can I tell you? Your missing out, SO FUNNY. She. Is. Amazing.

And that’s the other thing, and this one’s especially interesting, is just how there’s just SO MUCH out there, what with Google and the Internet, and Wikipedia and all, so who could possibly be expected to know like every single detail about all the different political things or the economy and all the stuff that’s out there? And it’s even more with speaking because pretty much most people aren’t like writing a book or something. (W’ll, and that’s just it – nobody speaks the way they write, so… )

Anyway, so yeah, no, it’s interesting. At the end of the day, first and foremost, one of the most interesting things is that everybody deserves to have a say because that’s democracy. And I think that gets really interesting. But the world gets so serious, probs I just need to sit down. See the bright side, like jokey headlines from newsleader, Buzzfeed, or 2017’s “Comey Bingo” from FiveThirtyEight. Gamify, people! News it up! Nothing but love for the national media outlet that helps gets you wasted. Or the one about the viral tweet, for an audience intimately familiar with pop culture? News should be taken seriously, and the world faces serious aspects, for sure. But the thing is, work hard but party harder! I mean, we’re only here for a good time, not a long time!

And it’s interesting ‘cuz people seem to require more frequent, more intense, more repeated engagement, to spice up their attention spans. There’s some good drinking games, too, on that, because politicians! I know, right? But not like drunk drunk, just like happy drunk, you know? Not sure if all this counts as it means we’re getting dumber, per se, but it’s just interesting.

So, yeah, it’s interesting because we’ve come such a long way, and history fought for our freedom and everything, so I just really think going forward we should just really appreciate that, and all, you know?