Macbeth, King Lear and Trump

By: Raul_I_Meijer

Mea culpa. Yesterday I wrote Scaramouche, Scaramouche, will you do the Fandango?, and not long after publishing it, I figured I missed the target I was going for. Not 100%, and it’s not all bad, as people’s reactions have confirmed, but…

The thing is, Trump’s nomination of Anthony Scaramucci as White House Communications Director was not the main point of my piece. Tempting, because everybody knows the Queen song, but not the main one, and it certainly shouldn’t have been the title of the piece.

So, sorry for that, and let me try to correct. The much stronger point, in my ever so humble view, that I hit on yesterday is the connection between Donald Trump and William Shakespeare. In fact, I think that from now on we should all see Trump in that light. Simply because it fits so … fittingly.

Not because I would call Trump mad, that is far too easy a view. But because his story, both as it unfolds today and in its history, has so many classic Shakespearean elements. And when we look at our world through the glasses of the ‘Old Bard’, we will see it in a different light. As in: Trump could be a man in the process of going mad. Or he could not.

Not that it’s just about Trump. Richard Nixon looks, if anything, way more Shakespeare material than Da Donald. Though, admittedly, we can oversee Nixon’s entire history, while Trump’s is ongoing (he has promise), and Shakespeare is all about development, about what happens to people as they go through what happens to them.

Macbeth and King Lear describe the trappings -and much more- of power. How power corrupts, and not only absolute power. How sociopathic character traits make people seek power, and how it -often- destroys them. But also how outside forces influence them, in -just as often- highly destructive ways.

That’s not to say that Shakespeare, if he were alive today, would have written a play about Trump. I don’t know that, we don’t. I do think he would have found it hard to stay away from Nixon, but that’s just a guess, even if Tricky Dick seems to have all the required boxes ticked off.

The Bard of Avon might have opted for Hillary Clinton’s story instead of Trump’s. Hers has most if not all of his ingredients, power, corruption, murder, treason, trust -and the lack thereof-, madness -inborn, inbred and developing-, gossip, innuendo, conspiracies, scheming, backstabbing, the lot. That’s not trying to single out Hillary, it’s just saying that all these power-seeking tragedies have the same elements.

Shakespeare situated Macbeth in Denmark and King Lear in Britain, while the latter play was highly influenced by Sophocles’ Oedipus (Rex), which is set in Greece. Location is for once not essential -sorry, real estate guys-, power corrupts everywhere, and in more or less the same ways and sequences.

Apart from the entire list of people in his camp, some of which get thrown out from time to time, the Trump narrative also relies to a great extent on all the outside people trying to bring him down. It’s hard to see how Shakespeare could not have loved that. Fair is foul and foul is fair, but now with the three witches in Macbeth’s opening part -the media, the commentators?!- having chosen sides from the beginning.

Hillary as Lady Macbeth? Again, tempting, but we’re not Shakespeare -or Sophocles-. Putting too much emphasis on any of the specific traits of characters from 400+ or 2000+ year-old plays doesn’t look like the way to go. For one thing, Shakespeare wouldn’t have wanted to repeat himself. It’s the overarching themes and characteristics that count. What the hunger for power did to people then, and what it does to them now.

If only we had someone to write today’s stories, today. But those writers, the ones that can gaze inside their own narratives, don’t come around very often. And when they do, they write about long-ago narratives and conspiracies. Good thing we can learn from them regardless because many things about our species never change. In a few words: what the ancient Greeks and Shakespeare and many others taught us is that Power equals Tragedy. And that’s eternal.

Moreover, since our media is failing us in unprecedented fashion, Shakespeare looks like our best bet if we want to understand what is happening in Washington. Or Brussels, Berlin, Beijing. Think entertainment value. What else are you going to do? The Bard’s original audiences reportedly threw eggs and tomatoes at the stage.

By Raul Ilargi Meijer
Website: http://theautomaticearth.com (provides unique analysis of economics, finance, politics and social dynamics in the context of Complexity Theory)

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