SHAKESPEARE'S PHILOSOPHY ILLUSTRATED
- Quaternary teaching aids
Part 1: Commentaries on the 1609 Sonnets
In Part 1, speech-balloons around each facsimile page from the 1609 edition (also known as Q) comment on the philosophy Shakespeare structures into the 154 sonnets and is the basis for A Lover's Complaint. The comments in each speech-balloon summarise and supplement the fuller commentaries on individual sonnets in Volume 2 of William Shakespeare's Sonnet Philosophy (2005).
The facsimile pages draw attention to the authenticity of Shakespeare's 1609 text. While the speech-balloons direct comments on the philosophy Shakespeare articulates in the 154 sonnets to the appropriate point on each facsimile page, the 1609 wording is always the default text.
Part 2: Charts and Diagrams
Part 2 of Shakespeare's Philosophy Illustrated represents a number of the key relationships in the 154 sonnets and Shakespeare's plays and other poems and their implications for philosophy and the history of ideas. The charts and diagrams make graphic the ideas appropriate to a Quaternary level of advanced education.
Many of the fifty-three charts and diagrams in Part 2 were conceived as the four-volume set William Shakespeare's Sonnet Philosophy took shape and went to print. Since then the charts and diagrams have been refined while further charts were added.
Part 3: The Mythic Logic of Art
The artworks in Part 3 of Shakespeare's Philosophy Illustrated have captions top and bottom explaining their relevance to the nature-based content essential to creating a work at the mythic depths evident in Shakespeare's works. After examining a number of historic works, the focus turns to the art of Marcel Duchamp. As Duchamp's The Bride Stripped Bare by her Bachelors, Even (aka the Large Glass) articulates the logical conditions for any mythic expression, his works provide an entry point into Shakespeare's millennial achievement.
Part 4: From Mona Lisa to Duchamp and Shakespeare
In Part 4, the essay From Mona Lisa to Duchamp and Shakespeare following the pictorial series of enigmatic images takes up the theme of this brief introduction. Referring to the artworks of those who do make one or two works at this level, the essay articulates in detail the thesis of Part 3.
The essay begins by exploring Duchamp's insights into the Mona Lisa's unique status and content. It then considers a number of historic art works to assess their common ground with Duchamp's realisations and implementation of their ground-breaking ideas in his own works.
The essay culminates in Shakespeare's extraordinary achievement of creating a whole oeuvre of works – sonnets, plays and poems – at the level Leonardo achieved only once in his lifetime with the Mona Lisa