“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.
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…
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 – 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? Learning’s the thing wherein we catch the conscience of each other.
 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.
 Or maybe, just maybe, there’s a curricular role for those gnarly amphibious surfers, after all.
For all this, what exactly does it mean to be educated? From the sole perspective – yours, mine, anybody’s – free thinking means freedom granted to individuals to believe and behave as they do, then investing proportionate faith that they continue to believe and behave as we do. Of course, anyone’s beliefs might vary, freely, from ours, as compared to everyone conforming to the same beliefs and behaviours. Imagine that world, where every inhabitant lived according to self-established morality. In such a world, how would there come about any rule of law? Even real, lived experience here in Canada is tenuous, relying on everyone to rely on everyone else. Whether out of respect for each other, out of gaining some advantage, out of fear for paying a fine or going to jail – on it goes, accountability, but the individual freedom we avouch is as ready to dissipate as the smoke of a powderkeg. For all its enlightenment, free-thinking is quicksand: shifting, uncertain, deceiving, solid ground by mere appearance. Is it any wonder that the liberty and reason of Enlightenment individuation has led us to Post-modernism, relativism, identity politics, and alternative facts? Be careful what you wish for. If there are any true binaries, to trust or not to trust must certainly be one. What need for faith when we trust that we are all alike, that all around is 100% certain?
Such a world is hardly plausible for me. I have learned not to trust everybody I meet. In the world I know, we need discernment and persuasive rhetorical skill to skirt potential conflicts and get others onside. And when others have discernment and persuasive rhetorical skill, too? Seen in that light, the curricular task is competitive, not cooperative. Even so, we might still argue that curriculum is collaborative, and it does not have to be belligerent. Curriculum falls within the scope of some given morality, morality being a question of right and wrong, positive opposing negative: to x, or not to x. However, curriculum itself is an ethical choice between alternatives and is, thereby, an empowering decision. We must therefore ask to x, or to y, which are positives, a question of competing rights, and not right competing against wrong.
And anywhere right does oppose wrong, curriculum should not permit a choice because wrong is simply wrong and not something that responsible choice can decide. Beyond simply learning about the freedom to think, curriculum is about learning how to make choices that are set within the scope of defined morality. Question the morality, compare it to another morality, and we are Hamlet: we are lost. But decide, and accept the morality, and question only those choices intrinsic to its milieu… now we are educating ourselves and others, however precisely or narrowly, for as long as we care to pursue whatever makes us curious.
For me, someone is educated who thinks, and discerns, and has aims. Admittedly, such aims could be countered or rationalised pragmatically or else, more perversely, aimed beyond oneself to harm others – thinking in itself, after all, is not inherently moral. So if morality is a thing to be taught and also learned, then an educated person, for me, is someone who learns generosity of some kind, hospitality. Being educated means learning to give of oneself, for others or on behalf of others, in positive, constructive ways. This belief, I suppose, reflects my learned morality, which I am as pleased in all caring as utility to pass along. Perhaps your morality differs. To that end, education, in itself, should intentionally be both constructive and benevolent in consideration of that sense of kairos, what is appropriate in the moment for teacher and learner, even as those moments accumulate over the passage of chronos-time, like endless waves upon the shore. Then again, who am I to anybody that the sole importance of my opinion should determine an education? If I am outnumbered, what is this sense of education that I describe but some solitary means of facing an existence nasty, brutish, and short? This thing called school will be the death of me!
See? Recruiting Hamlet’s cycle of misery seems all too easy “‘where the postmodern turn of mind appears to privilege the particular over the general’” (Roberts, 2003, p. 458). Frankly, I think our present culture regards the individual far too much. Naturally, the consequent short-changing of the bigger community picture has been playing out over chronos-time since, with every decision, there has been consequence. However, Roberts continues, “… ‘for Freire both [the particular and the general] depend on each other for their intelligibility’.” So perhaps a good education – by which I mean not just a moral one but an effectual one – is best measured with due consideration for its balance of the particular and the general, the heterogeneous and the homogenous, the certainty and the ambiguity, the inductive and the deductive. A little healthy scepticism, a little cloud for the silver lining. A little dram in the substance, to paraphrase Hamlet. “A little dab’ll do ya,” quips McMurphy. You can’t have one without the other, sings the primus inter pares.
We defy augury by flouting convention, even law, because we are free agents who do what we please. Some will have more courage than others, and some are just more foolhardy, but no one is literally predictable. We defy augury by being unpredictable, even inscrutable, although maybe the rest of you just never really knew me that well to begin with. Sometimes I even surprise myself. We defy augury by defying our senses, by not comprehending the world that we apprehend, which really is to say we see only what we want to see and recognise only what we already know. If there is special providence in the fall of a sparrow, what matter when we have spent all our time watching the chickadees? I cannot shake free from critiquing our cultural veneration of the individual: the less our shared beliefs converge and reciprocate a healthy community, the greater our insistence upon personal liberty to go our own way, then all the more do we miss the point of understanding exactly what freedom really is. True freedom results from having choices, and what creates choice is not the persuasive liberty of unequivocal individualism but discipline: to do ‘x’, or ‘y’, or ‘z’.
Shakespeare’s “Let…” statements are not so colloquial as to suggest the fatalism of c’est la vie, or the aimlessness of go with the flow – these, for me, amount to giving up, or else giving in. The tragedy of Hamlet is that the curriculum he really needed – the people he could trust, who would be willing to help him – they were already there, at his side the whole time, as ready and willing as ever, so long as he gave a little back, so long as he offered just a dram of willingness to coincide with their beliefs – to his own scandal, maybe, but who in the real world is so selfish as they might expect to have their cake and eat it, too? As compared to going it alone, Hamlet might have humbled himself and cast his lot with those to whom he is closest. His education from Wittenberg proved sufficient to challenge his upbringing in Elsinore, amply suggested by his continued trust to enlist and confide in Horatio throughout the play; as far as that went, the rest of us would do well to heed his lesson with due respect: if only Hamlet had not divided his loyalty but decided, once and finally, exactly who he was and whom he trusted, then lived up to his declaration with discipline. With integrity.
The most common criticism aimed his way by my students was essentially, “Get over yourself, and grow up!” Make a decision with the discipline to accept the consequences, which is to say, accept your personal responsibility. To be fair, Hamlet finally, triumphantly, does place his faith in Horatio, whom he entrusts to tell his story. Granted, he only asks once he is terminally poisoned but hey, better to ask while alive to breathe the words than come back and haunt Horatio as the next in a line of Ghosts. As for Shakespeare, whatever exactly it was that he saw in us, this ethical curricular dilemma, evidently he felt its redemptive quality was worth its cost, as Horatio makes known – or will do – for pledging to tell his dying friend’s tale to Fortinbras. Shakespeare’s appeal by way of Hamlet is not one of giving up or giving in. It is one of giving over, to something bigger than ourselves, to something in which faith placed is faith assured, and “attuned” (Pinar, 2017b, p. 1), and certain beyond our own devices.
What that object of faith might be… perhaps it comes as no surprise, but Shakespeare has a “Let…” statement for that, too: “… let your own discretion be your tutor” (3.2.17). I never included this one in the list for my students because, until writing this essay, I had never fit it in as such a central constituent. Hamlet delivers the line, as any nervous director might do opening night, during the aforementioned lecture to the Players before the Mousetrap performance. All the more ironic, of course, is that his lecture hardly exemplifies the statement, which would be fine if Hamlet, the director, did not assume the stage during the performance but let the actors get on with their craft. Hamlet, by contrast, twice assumes the stage to augment the performance. (Ahh, what to do about such insecurity! At least he sells tickets, you may remember.) Anxious or not, the wisdom of his advisement, taken for all, is easy for a lay audience to misinterpret, particularly as it comes buried within lines of such mundane theatrical detail. Shakespeare does not suggest that we give in to our discretion, carte blanche. He suggests that we give over to our discretion as a kind of teacher-student relationship.
Let curriculum be to trust your own better judgment, to search your feelings, yet to grant with humility that more may exist than meets the eye. Let discretion be a “tutor,” yet while you let it, also think before you act – and think during and after, too – because “… the purpose of playing… was and is, to hold… the mirror up to nature” (3.2.17-23). Whether this amounts to something esoteric or spiritual is down to the beholder, yet if that is true for any one of us, it must be true for all of us. Each one of us is finite and individual, and curriculum is composite, a sum greater than the whole of its parts, as in all of us, transcending time and space. As a force of faith, curriculum is vast indeed.
Click here to read the closing reflection to “A Kind of Certainty”: Pt V. Fleeting Uncertainty
 How often I referred students to Canadian Liberal MP Stephen Owen’s definition for democracy: “the pluralistic respect for citizens empowered to self-govern within the rule of law.” Democracy, so often simplified as “majority rule,” is more accurately understood (in my opinion) as entirely dependent upon its constituents. Democracy works because we all agree to make it work. Every member therefore has a personal responsibility to respect and live up to the standard of the law on behalf of every other member. One disobedient person weakens the system and places everybody, including themselves, at risk. Either we set that person straight, or we jail them, but unless we protect the system, we are only certain to lose it.
 *Sigh… culture precedes law, I would argue, and we endlessly debate and litigate what should be right versus what should be wrong. This is politics and the justice system at work, issue by issue, and with enough lobbying and / or civil disobedience, any given topic might be up for consideration.
 Okay, so I did find a way to toss in some surf.
 aka the Chairman of the Board, aka Ol’ Blue Eyes
 In Canada, we might say that Shakespeare’s appeal to “let go” means don’t grip the stick too tight. “Hold on loosely,” as Donnie Van Zant would sing, or “Give a little bit,” from Roger Hodgson. None fully clarifies the expression, as I gather Shakespeare intended it, but the notion of giving way in deference to others is helpful, for a start.
 Of course, the best rejoinder here would be, “He who dies with the most toys wins,” to which I would reply, “You can’t take it with you.” But dialectical bumper-stickers were never my strong suit, and I digress, even for end-notes.
On second thought, the best rejoinder is to say Hamlet is fictional, not of the real world. All the more reason to admire him as perhaps Shakespeare’s best creative feat, so life-like are he and the rest of the characters who populate the play.
 Between Opheila and Horatio, he nearly does so twice, and even towards Gertrude he aims some meager hope and sympathy. Alas, yet another essay…
 Shakespeare includes numerous allusions throughout the play to the theatre milieu, its characters and culture, and its place in Elizabethan society, many of which can be construed as humorous and even as insider jokes shared amongst his theatre company and his regular audience.
 I learned, for my own spiritual belief, to distinguish between what many religions have people do, as compared to what God through Christ has already done. The primary reference, here, is to the Resurrection and what Christ has done for all. Whether one chooses to believe or not is up to them, and should be, which is the essence of my belief: what comes down to a matter of personal choice is to believe, or not to believe. Consider Ephesians 2:8-9, for example, in which Paul explains that we are saved not by works but by grace, so that none can boast: justification by grace through faith in God is the essence of Christianity, and I emphasise that part of it left up to us, to have faith in God. Some consider this ridiculous, and that is neither here nor there to me although I wish no ill upon anyone. Upon believing, upon faith, one can grasp how a selfless attitude of giving – giving of oneself – matters as compared to more selfish concerns over what is given or how much is given.
Such concerns do arise since, as I believe, all inherit Original Sin, a concept that one must accept before anything else in Christian doctrine of any stripe will make sense: we all have inherited an imperfection to believe and have faith in our selves, apart from the God who created us; to go our own way; to obey our own inclinations and not His. This pride-of-self, set in motion by the conniving serpent’s lure that whetted Eve’s curiosity, then Adam’s, enough for them to disobey one simple command… this original “missing of the mark” prompted Adam, Eve, and all their offspring to realise within themselves what had never before even appeared on their radar screens: that obedience was only appreciable once disobedience had been tried. It’s the same binary idea as saying, “You only really understand peace once you experience war,” and so forth. So, for instance, in offering to God (Genesis 4:3-4), where Cain brings some, Abel brings the choicest; yes, each still gives, yet Cain is furious upon seeing the difference in God’s response between their offerings. The sense is that Abel gives in faithful obedience what Cain withholds for himself, Abel trusting God, in a way that Cain does not, that God will give back and look after him. Cain trusts in what he can manage and control for himself; evidently, he does not trust like his brother that God will give back. Perhaps he does not even believe that God created them although, if he does believe this, how much worse his distrust.
Avenging his own honour by killing his brother is a choice Cain makes, entirely selfish and sinfully predictable. This, for me, opens explanation as to why God allows evil to prosper: He gave us free will, in His image, out of love, to choose or to not choose His gift of salvation; to believe or not to believe in His Gospel, as a matter of faith; to trust Him or to trust something else. In either case, we, the people, are answerable for all we do. As I say, back then, Cain perhaps did or didn’t know he was God’s creation – he is left to his own account for that. These days, though, how many people hardly even consider God as real, much less as Creator or Benefactor? However, if God offered us no doubt of His existence, then what would necessitate faith? Were He to provide 100% certainty, anyone then would have no choice but to believe, of necessity, or else be a fool not to believe and delude themselves in spite of the certainty. As it is, some think believers are deluded; truly, you can’t convince all the people all the time, and you definitely should not force belief. All this, for me, is consistent with a caring God who has conferred free will. So, where some condemn believers as guilty of the crimes and evils committed in the name of Christianity (or religions altogether), in fact, I fully agree: hateful beliefs and violent acts are an abomination of how God would have us treat each other.
But, again, he has bestowed upon us the free will to decide and behave, and I argue that all such crimes and evils, whether in the name of religions or not, reflect Original Sin, our turning-away from God; they do not reflect God. They cannot reflect the character of God, whose nature is neither criminal nor evil; rather, they reflect the character of our selves, who are selfishly proud. People are responsible for bastardising and usurping doctrine in order to gain for themselves, something akin to Cain, so blatantly transparently selfish. Further, as that kind of belief and behaviour continues, it roots until generations have perhaps forgotten or lost any other way to believe and behave. We are human, taken for all, and finite in power and awareness. We can do no other than we continue to prove ourselves capable of doing – and in this I include both good and evil that we do – and this, truly, is why we’re in need of salvation. So much gets lost in scriptural debate over details – details that warrant discussion yet, being details, they are also prone to misinterpretation and thereby require careful, long-studied contextual understanding – but the basic doctrine and the loving character of God I find rather straightforward. It’s people who complicate and screw it up, not God. And I’m as guilty, neither better nor worse but just plain equal to every other person trying to live under our circumstances. So I try my best to respect peoples’ dignity, everyone’s.
My choice has been to believe based on the preponderance of evidence that I’ve learned and studied for many years – the careful, long-studied contextual understanding I mention above. I have plenty more to learn, but my point is that I did have to learn, to begin with. I did not just suddenly have some nuanced supreme understanding of Christian doctrine – indeed, I’m wary that superficial knowledge is so frequently the cause of the crimes and evils people commit in the name of religion. I consider myself blessed to have had the freedom to choose what to study without duress and to have had an education provided by good teachers who understood what makes for good curriculum. I have never felt assaulted or oppressed as far as my education is concerned – or my life, for that matter – and, furthermore, I achingly, mournfully recognise that so so many others cannot agree. Why not me, I can’t say, but I count myself as blessed for this, if for no other reason in my existence. I know so well that not everyone has enjoyed such Providence.
There is so much abuse and violence out there, person-upon-person, and I suggest that I, or you or anyone, ought to be enabled to read, search, and decide for ourselves whether or not to believe something. And never forced, and never judged. Personally, I’m not a big church-goer – I have done, but I don’t much anymore. But I still quietly personally maintain my faith. Even offering this endnote struck me as bold, but I wanted this post to be thorough and honest. I believe evidence exists – we have only to look for it: “Knock, and the door shall be opened” is God’s encouragement, to be proactive and search for Him rather than sitting idly by awaiting, or else ignoring, His imminent return. Nonsense, this, for some. And I can comprehend the doubt. But I don’t share it. By the same token, I offer my testimony, but I don’t impose it. People today who demand to see evidence – God performing miracles, say – are asking Him to lay foundations all over again. But, by analogy, a building only needs one foundation, so why would God repeat that process? Enough evidence has been documented over time, for me, that I now readily believe and join the church being built on the existing foundation. Again, as I opened this rather long endnote, what matters most is what He has already done: we have only to believe, with no further need to see more miracles, which is really what having faith is all about.
Click here to read Pt II. Curriculum, or What You Will
A Kind of Certainty
3. A Scripture of Truth
Motive is the key, I would suggest to students: to know motive is to know the truth. And I offered this suggestion knowing full-well the timeworn joke about the actor who asks, “What’s my motivation?” Just as we can never cover it all and must go with whatever we decide to include, we also cannot (nor should not) try to present it all, ask it all, or attempt it all in one go. Yes, the odd non sequitur can break the monotony – everyone needs a laugh, now and then. But as with all clever comedy, timing is everything, and curriculum is about more than good humour and bad logic. In that regard, given what has already been said about spotting pertinence, curriculum is about motives: to include, or not to include.
And we must try to comprehend this decision from more than one perspective; each in their own way, both teacher and student ponder what to include and what to disregard during any given lesson: “Teachers are problem-posing, not just in the obvious sense that they require students to doubt whether they know something… [but] implicitly [asking] them to question their understanding of what counts as knowledge” (Beckett, 2013, p. 54-55). People generally will not doubt themselves without good reason, or else with a lot of faith in whoever is asking. Challenged to reconstruct or reorganise an experience (Dewey, 1916), more than likely we will want to know why. Curriculum addresses ‘why’.
Why! take Hamlet, for instance… deigning to know a little something about role-playing, he offers some curricular particulars while lecturing the Players ahead of the Mousetrap performance, although really this is to say Shakespeare offered them. Writers famously cringe as rehearsing actors and directors dismember their carefully worked dialogue – or is that another hackneyed joke? In any case, Shakespeare opens Act 3 with some forty lines of advice from Hamlet to the Players, whose replies are little beyond short and polite (although ‘why’ has evidently been left for you and your theatre company to ascertain). These follow some forty lines in Act 2 during an exchange between Hamlet and Rosencrantz about theatre companies, all of which could simply be played as a dose of comic relief amidst the far “weightier matters” of the play (Guyton, 2013). Tried another way, Hamlet’s lines about acting embody the very perplexity of his prolonged tumult: he takes for granted that his listener will attempt to reconcile what he says with whatever uncertainty they might have. What better job description, a “teacher”? Otherwise, why even bother to open his mouth?
What need to teach when we trust that we are all alike, that all around is 100% certain? As it pertains to telling the Players about acting, Hamlet wants no assurance that his audience must bridge some gap of certainty over his trustworthiness, not so far as he is concerned. Indeed, common to live productions that I have watched, he is as relaxed and certain in offering his advice as the Players are in hearing it, like preaching to the choir. Their relationship, apparently going back some time, suggests mutual respect and a shared faith not merely to listen but to understand in listening. It suggests a kind of shared attunement, something mutual, like a kind of curriculum founded upon trust. For all we might want to trust those around us, for all we might want some certainty that we are respected by others – or, perhaps more so, that we are believed – what a torment life would be if our every utterance were considered a lie. Then the only certainty would be the assurance that no one ever believed you, and if that still counts for something, it is dreadfully cold comfort.
We citizens of 21st century post-modernist [your label here] North America may not have descended nearly so low although Klein (2014) does presciently discuss politics, the national discourse, and an observed decline in public intellectualism (Byers, 2014; Coates, 2014; Herman, 2017; Mishra & Gregory, 2015). Where Klein encompasses individuals and the processes, systems, and institutions that they innervate while going about their daily lives, he describes Dewey’s “conjoint communicated experience” (Dewey, 1916, p. 101) and implicates “an extraordinarily complicated conversation” (Pinar, Reynolds, Slattery & Taubman, 2006, p. 848), one that occurs everyday and includes everybody. But since we are forbidden to compel but only persuade the beliefs of free thinkers, we realise that all our perceived uncertainty can only be bridged by a kind of faith: we depend either upon others to see things as we do, or else we depend upon our rhetorical skill to persuade them toward our way. Or we live tense lives full of disagreement and antipathy. ’Swounds, but life would be a lot more stable and certain if we all just believed the same things!
Hamlet craves certainty, to the point where the dilemma of his doubt halts him so dead in his tracks that he is prompted to question existence itself. Where it comes to enacting vengeance – but, really, where it comes to everything we witness in the play – Hamlet – and, really, every character – craves certainty and assurance while suffering from uncertainty and reluctance, which means, of course, that he craves and suffers from both ends. Indeed, a piece of him is certain. But comprising “one part wisdom and ever three parts coward” (4.4.42-43), he wages an unequal battle against himself. He wanders from room to room searching to free himself from his purgatorial tesseract, challenged not simply by one retrograde faith but by several, the consequence of conveying curriculum from Wittenberg back to Elsinore where, previously, he had received, to say the least, an impressionable upbringing. The upshot, given the conflicting decisions he faces, is that Hamlet would rather renounce any mutual faith of any sort and rely upon a certainty all his own: himself.
Yet he even doubts his ability to self-persuade, just as he holds no faith in anyone whose judgment he fears. As a result, he is rightly miserable and lives an exaggerated moment-to-moment existence, “…enraptured with, submerged in, the present, no longer a moment in but a suspension of time, absorbed by – fused with – the images in front of [his] face, oblivious to what might be beyond [him]” (Pinar, 2017, p. 12). Pinar describes a kairos moment of chronos time, as if Cecelia, while watching The Purple Rose of Cairo (Greenhut & Allen, 1985), could press “Pause.” He may not have been Woody Allen’s modernist contemporary, but Shakespeare still appeared to possess enough prescience to machinate a rather, shall we say, enlightened viewpoint; many consider The Tragedy of Hamlet, Prince of Denmark to be the Magnum Opus of English literature, not just Shakespeare. Evidently, he knew exactly how to craft such a rich and roundly individuated protagonist, one certain enough to persist for over 400 years. Certainty the Bard found within himself, and that he bestows (albeit perversely) upon Prince Hamlet, who “[knows] not seems” (1.2.76). Faith he found within himself, too, but that he saves for his audience, trusting them, freeing them, to spot it when the time is right, rendering what they will get unto those who will get it.
By the same token, may the rest get whatever they will get. As far as curriculum is concerned, one size has never fit all, nor should it ever be so.
 I always suspected a handful of my students were just humoring me – have I mentioned they were brilliant?
 Sometimes, these lines have even been cut, to help shorten the play from its typical four-hour length.
 Elsinore seems just such a place. But they are wise who “… give it welcome” (1.5.165) since at least, then, you can get on with functioning, knowing where you stand relative to all the other prevaricating liars and weasels who inhabit the place alongside you.
 Every character, that is, with the possible exceptions of the Gravedigger, who apparently is most cheerful and self-assured, and Fortinbras, who suffers perhaps not pains of doubt so much as loss, and then always with something up his sleeve. I might also include Horatio in this reflection, but I fear, then, the need for an endnote to the endnotes, to do him any justice.
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 action,” an opportunity 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. 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 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). 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. 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, 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, 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.
Let go. Learn from the past, but don’t dwell on it.
Let it work. Anticipate the future, but no need to control it.
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)
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. 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, 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. 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?” 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. 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, 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.
 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.
 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.
 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).
 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.
 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.
 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.
 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).
 Time and place are what we commonly refer to as setting in English class, which is a curious way to consider eternity.
 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?
 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.
 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…
 According to Hartmann (2014), it was just such questions that prompted Ezra Klein to leave The Washington Post and establish Vox.com in 2014.
 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.
 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.
 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?
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.
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. 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, 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. 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), 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:
Of Claudius’s machinations, Hamlet tells Gertrude to “let it work” (3.4.205)
Exacting vengeance for his father’s murder, Laertes will “let come what comes” (4.5.136)
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)
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.” 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 to challenge the common concept of linear time as historical calendar pages or a ticking clock.
Click here to read Pt II: Curriculum, or What You Will
 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.
 Just my interpretation, mind you, “duplicitous Elsinore.” Certainly, you will have your own analysis.
 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.
 For the duration of the essay, I shall refer to quotes from this cited edition of the play.
 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.
 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.