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Cosmic Drama and Tragic Beauty

The Spirit of Shakespeare in Process Philosophy

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I do not know if there are many process philosophers interested in Shakespeare, or Shakespeare scholars interested in Whitehead. For my part, I do not think of myself as a Whitehead scholar or a Shakespeare scholar. However, I am interested in both, and I sense, as someone very active in the process community, that we have more to learn from Shakespeare scholars, and from artists, writers, playwrights, actors, and others in the arts community, than they have to learn from us. We too often get lost in a world of abstractions and lose the lived experience from which they emerge. Artists bring us home to such experience.

Process and Shakespeare

a seminar
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Imagine that we - you and I - are taking a seminar at a local college called 'Process and Shakespeare,' co-taught by a process philosopher and a Shakespeare scholar.

The seminar is exploratory in tone. It aims to give students and instructors alike an opportunity to bring the philosophy of Alfred North Whitehead into dialogue with some of Shakespeare's plays. Its purpose is not to fit Shakespeare’s works into a 'process box' or to claim that Shakespeare was 'really' a process theologian. Shakespeare offers no single philosophy in his plays; his goal is to hold a mirror up to human life and reveal its multiplicities. However, the course explores how reading Shakespeare’s plays might deepen our understanding of process philosophy and also enrich interpretations of the plays through the lens of process thought. Not unlike the way in which Whitehead was informed by the romantic poetry of Wordsworth, we believe that his ideas can be informed by the plays of Shakespeare.

The class focuses on six plays: two tragedies, Macbeth and King Lear; two comedies, A Midsummer Night’s Dream and Twelfth Night, and two tragi-comedies, The Tempest. We spend two weeks on each play.

Macbeth

In Macbeth, we are confronted with the consequences of ambition and the haunting power of guilt, as well as the larger philosophical questions about the nature of moral responsibility and human agency. Macbeth’s actions, driven by his desire for power and the prophecies of the witches, raise issues around fate and free will. The witches’ influence introduces an external force, suggesting a deterministic universe, which stands in tension with process philosophy’s emphasis on human freedom and creativity. However, from a process perspective, the play can also illustrate how past decisions create a kind of “fate” that is not predetermined by divine forces but by the cumulative weight of previous actions and choices. Participants explore how Macbeth is trapped by his own history, much like how, in process philosophy, individuals are shaped by the past but still retain the freedom to choose their responses. The play’s moral ambiguity—Macbeth is not purely evil, but deeply tormented—invites process thought to engage with the messiness of human life and the role of unresolved conflict in shaping moral character. Like Macbeth’s internal struggle, process philosophy can recognize the importance of grappling with ongoing tensions and unresolved conflicts as a source of growth and transformation.

King Lear

In King Lear, we are challenged by the theme of human suffering and the seeming indifference of the universe, which presents a difficult question for process philosophy's emphasis on relationality and divine empathy. Lear’s descent into madness, fueled by betrayal and the chaotic forces of nature, confronts participants with a world where cries for justice are met with cosmic silence. This raises profound questions about the presence of God or any divine force in the face of such deep suffering. Through a Shakespearean lens, process philosophy grapples with the concept of "fate" as the accumulated weight of past actions, much like Lear’s downfall, shaped by his decision to divide his kingdom. Lear’s suffering forces participants to consider how the past can exert a powerful influence on the present, aligning with Whitehead’s idea that while we co-create our futures, we are deeply conditioned by our past. Additionally, King Lear pushes process philosophy to confront the ambiguity of moral responsibility. The suffering of Lear, Cordelia, and Gloucester suggests that outcomes are not always tied to moral deserts, complicating simplistic notions of justice. In this context, process thought may emphasize the importance of divine empathy without assuming that this empathy guarantees a life free of suffering. Instead, participants explore how process philosophy sees God as a participant in the world’s pain, sharing in human tragedies without being all-powerful.

A Midsummer Night's Dream

In A Midsummer Night's Dream, we are immersed in a world of love, transformation, and comedic misunderstandings, where the boundaries between reality and illusion blur. The play’s magical disruptions, led by Puck and the fairy world, cause chaos but ultimately lead to reconciliation and harmony by the end. Process philosophy’s focus on relationality and the evolving nature of reality finds resonance in the dynamic interplay of chaos and creativity in this story. Participants explore how human emotions, particularly love, are portrayed as malleable and ever-changing, reflecting process thought’s understanding that relationships are not fixed but evolve in response to past experiences and new possibilities. The love potion that alters the affections of Lysander and Demetrius serves as a metaphor for the fluidity of human relationships in process thought. The reconciliation at the end of the play highlights process philosophy’s belief in the potential for transformation and healing, even after disruption. Additionally, the play’s light-hearted tone and the role of humor offer participants a way to approach process thought with a more playful, lighthearted perspective, suggesting that even in moments of chaos, there is room for growth, creativity, and joy.

Twelfth Night

In Twelfth Night, explore the fluidity of identity and love, themes that can be viewed through a process philosophical lens, which emphasizes the constant becoming and relational nature of individuals and events. Viola’s disguise as Cesario leads to a series of misunderstandings and comic situations that highlight the fluid and evolving nature of identity in response to relationships and circumstances. Process philosophy’s emphasis on the interconnectedness of life finds a parallel in the way the characters’ identities and affections shift throughout the play. Viola’s shifting between identities underscores the process idea that we are not fixed beings, but rather, we are shaped by our interactions with others and the unfolding events around us. Participants engage with the idea that love and identity in Twelfth Night are not straightforward or static, but rather dynamic and relational, much like process thought’s view of life as a constant process of becoming. The comic resolution, where misunderstandings are cleared up and characters find reconciliation, resonates with process philosophy’s hopeful vision of harmony and growth emerging from life’s complexities. Participants explore how, in a process framework, the play reflects the idea that even through confusion and disorder, there is always potential for creative transformation and renewal.

In each of these Shakespearean plays, we explore the themes of ambition, fate, suffering, love, and identity, using process philosophy as a lens to explore how these timeless human experiences resonate with process thought’s focus on freedom, creativity, and relationality. Through these discussions, we reflect on how the complexities and ambiguities of Shakespeare’s characters and stories offer rich opportunities to deepen their understanding of process philosophy’s engagement with the ongoing tensions and transformations of human life.

The Winter's Tale

In The Winter’s Tale, we witness King Leontes’ irrational jealousy and the devastating consequences that follow, including the apparent death of his wife, Hermione, and the exile of his newborn daughter, Perdita. The first half of the play unfolds as a tragedy, revealing the destructive power of mistrust, ego, and emotional blindness. Process philosophy, with its emphasis on relationality and the interconnectedness of all events, can help us explore Leontes’ descent into suspicion as a failure to remain open to the relational nature of reality. Instead of responding creatively to the challenges he faces, Leontes isolates himself, becoming trapped by his own insecurities and past actions—much like how, in process thought, the failure to respond to the lure of creative possibilities can lead to the breakdown of relationships.

However, The Winter’s Tale is not a tragedy in the traditional sense. The latter part of the play, spanning over many years, opens up the possibility for reconciliation and healing. Perdita, the lost daughter, is eventually found, and through her reunion with Leontes, the play offers a vision of grace and renewal. In process terms, this shift from tragedy to reconciliation reflects the ever-present potential for new possibilities in each moment, no matter how dire the situation may seem. The ‘statue scene,’ in which Hermione, believed to be dead, is revealed to be alive, can be seen as an embodiment of Whitehead’s idea that even the past, while it deeply conditions the present, does not have the final say. There is always room for novelty and the renewal of relationships, a key tenet of process philosophy’s hopeful outlook on life.

The Tempest

Similarly, in The Tempest, Shakespeare presents us with a story that moves from conflict and betrayal to reconciliation and forgiveness. Prospero, the exiled Duke, uses his magical powers to control events on the island, seeking revenge on those who wronged him. At first, this control can be seen as a metaphor for the deterministic tendencies that process philosophy resists. Prospero, much like the witches in Macbeth, appears to exert a kind of supernatural control over fate, manipulating those around him. However, as the play progresses, it becomes clear that Prospero’s true power lies not in his ability to dominate others but in his capacity to forgive and release the past.

From a process perspective, The Tempest illustrates the tension between control and freedom, and how true transformation comes from embracing the creative possibilities of the future rather than clinging to past wrongs. Prospero’s eventual choice to forgive those who betrayed him resonates with process thought’s emphasis on relationality and the possibility of transformation through love and empathy. His famous line, “The rarer action is in virtue than in vengeance,” can be seen as a process affirmation of the power of forgiveness and the importance of open-heartedness in co-creating a better future.

Furthermore, the island setting in The Tempest, with its magical and mysterious qualities, reflects process philosophy’s view of reality as dynamic, constantly evolving, and filled with potential. The play’s conclusion, where order is restored and relationships are mended, aligns with process thought’s belief that, even amid chaos and suffering, there is always the possibility for renewal and creative advance. Prospero’s final renunciation of his magical powers can be understood as an acceptance of life’s relational nature—where control gives way to trust in the ongoing process of becoming.

In the final week of the seminar, we collectively ask the question of whether process philosophy, in spirit, is more like a tragedy, a comedy, or a tragi-comedy. This exploration becomes a way to deepen our understanding of the philosophy’s core ideas and its relationship to the complexities of human experience—freedom, suffering, joy, and creativity.

Tragedy, Comedy, or Tragi-Comedy

Some participants argue that process philosophy is fundamentally tragic. They see parallels between Whitehead’s metaphysics and the weight of suffering and loss depicted in Shakespearean tragedies like Macbeth or King Lear. Just as characters in these plays are trapped by their past choices, so too does process philosophy acknowledge the heavy influence of the past on the present. In this tragic view, individuals are deeply shaped by their histories, and while there is room for creativity and choice, much of life is marked by unavoidable suffering. The process understanding of God, who is deeply empathetic but not all-powerful, supports this tragic vision—divine presence cannot prevent all tragedies, and the world is full of unresolved tensions and painful realities. For these participants, process thought mirrors the structure of tragedy: life is marked by loss and limitation, and even divine love cannot always overcome the weight of history and human frailty.

Other participants strongly identify process philosophy with comedy. They emphasize its hopeful outlook, its belief in creativity, and its openness to the new. Drawing from Shakespearean comedies like A Midsummer Night’s Dream or Twelfth Night, they see process philosophy as reflecting the idea that, despite confusion, chaos, and disruption, life ultimately moves toward reconciliation and renewal. Whitehead’s concept of the “creative advance into novelty” is, for them, fundamentally optimistic. They view life as a dynamic process where new possibilities continually emerge, no matter how complex or difficult the situation. This comedic spirit aligns with process thought’s focus on transformation, growth, and the ongoing evolution of relationships and experiences. Divine love, guiding the world toward beauty and harmony, reinforces the idea that even in the face of disorder, there is always hope for joy, connection, and renewal. For these participants, process philosophy is a celebration of life’s capacity to evolve and improve, making it a deeply comedic vision of existence.

Still, other participants see process philosophy as best understood as a tragi-comedy. They believe that process thought embraces both the tragic and comic aspects of life, weaving together the reality of suffering with the possibility of redemption. Shakespearean tragi-comedies like The Winter’s Tale or The Tempest provide a fitting analogy for how process philosophy navigates the complexities of human experience. These plays depict profound loss and pain but ultimately end in reconciliation and healing, much like how process philosophy acknowledges the suffering inherent in life but also holds out the promise of creative transformation. Participants in this camp point to Whitehead’s vision of God as deeply empathetic, sharing in the world’s pain, but also offering new possibilities for growth and renewal. For them, process philosophy reflects a world where life’s messiness—its tensions, contradictions, and ambiguities—is balanced by a deeper pattern of connection, where even in the face of tragedy, there is always the potential for new life and creative advances.

Through these discussions, we come to appreciate Shakespeare even more: his language, his plots, his questions. And we deepen our understanding of process philosophy, seeing it as a philosophy that can embrace the full spectrum of human experience. Whether tragic, comedic, or tragi-comic, process thought provides a framework for understanding life’s complexities, valuing both the seriousness of suffering and the possibilities for joy and transformation. Each perspective offers a different way of interpreting the core principles of process philosophy, making the final week of the seminar a rich exploration of the philosophy’s relationship to human existence.

Appendix:

The Shakespearization of Whitehead

​In An Oration Delivered Before the Phi Beta Kappa Society, at Cambridge, August 31, 1837, Ralph Waldo Emerson noted: "The English dramatic poets have Shakespearized now for two hundred years." The term Shakespearized has since come to mean the act of imitating or being deeply influenced by Shakespeare's style, themes, or spirit. Truth be told, many process theologians are already Shakespearized in significant ways, without calling it that. Their work resonates with key Shakespearian themes that enrich their theological reflections. Below are six such themes that can be found within process theology:

The Full Range of Human Emotion and Experience

Shakespeare's works capture the entire spectrum of human emotion—from love and joy to the depths of tragedy, doubt, and despair. Process theology, with its emphasis on God’s active involvement in the world, reflects a similar engagement with life’s emotional complexity. The idea that God lures creatures toward beauty and creativity, while also participating in the tragic and comic dimensions of life, echoes the dramatic range in Shakespeare’s plays. God is not detached but deeply involved in the drama of human existence, sharing in our sorrow and laughter, triumphs and failures, much like Shakespeare’s characters.

A Multiplicity of Perspectives

In Shakespeare’s plays, characters like Hamlet, Lady Macbeth, and Falstaff embody different, often conflicting, perspectives on life and morality. Similarly, process theology embraces a plurality of viewpoints, recognizing that each person, event, and creature offers a unique angle on the divine. This multiplicity reflects a Shakespearian awareness that the world is composed of diverse and evolving identities, each contributing to the unfolding process of creation.

The Dramatic Tension of Freedom and Fate

Many of Shakespeare’s characters struggle with questions of destiny versus free will, as seen in Hamlet’s indecision or Macbeth’s ambition. Process theology, too, explores this tension, particularly in its understanding of human freedom, the irreversibility of the past, the necessity of choice, and divine lure. God, like the universe in Shakespeare’s plays, offers possibilities without controlling outcomes, leaving space for human agency, creativity, and often, tragic consequences. This reflects the open-ended nature of reality as envisioned in process thought.

Moral Ambiguity and Ethical Complexity

Shakespeare’s tragedies, such as Macbeth and King Lear, explore moral ambiguity where distinctions between good and evil, right and wrong, are not always clear. Process theology similarly acknowledges the complexity of ethical decisions. It resists rigid moral laws, instead presenting God as a gentle guide who offers possibilities but leaves room for nuanced and evolving ethical choices, much like the shifting moral landscapes of Shakespeare’s characters.

Cosmic Drama

In plays like The Tempest and A Midsummer Night’s Dream, cosmic and supernatural forces play central roles in the unfolding of human stories. Process theology shares this sense of cosmic drama, portraying God not as an omnipotent ruler but as a co-participant in the unfolding of the universe. Much like Prospero or Puck, God works within and alongside the world, guiding events in unexpected ways while leaving room for human freedom and unpredictability.

Tragic Beauty

Shakespeare often finds beauty in the tragic, with characters like Lear or Othello embodying both greatness and deep suffering. Process theology captures this sense of tragic beauty, recognizing that life’s most profound moments often come through suffering, loss, and failure. God is understood as weaving even the most painful experiences into a broader, more complex tapestry of beauty and meaning—what process thought calls the "Harmony of Harmonies." This mirrors Shakespeare’s ability to find meaning in the midst of tragedy.

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See also:

• ​Process Philosophy and the Performing Arts: Points of Connection
• The Art of Holding Up a Mirror: What Process Philosophy can learn from Shakespeare