Show notes
Eliot A. Cohen joins Rebecca Burgess to discuss his new book on Shakespeare and power politics, The Hollow Crown. Brian Smith: Welcome to Liberty Law Talk. This podcast is a production of the online journal Law and Liberty and is hosted by our staff. Please visit us at lawliberty.org. Thank you for listening. Rebecca Burgess: Oh, for a muse of fire that would ascend the brightest heaven of invention. But today, in fact, we are not left to any arbitrary leniency of a willful goddess of inspiration to get us going for this latest episode of Liberty Law Talk because our theme today is Shakespeare and politics, the stagecraft of statecraft, and even the statecraft of stagecraft when it comes to understanding the halls of power and those who would be in it. My name is Rebecca Burgess, and I’m a contributing editor for Law & Liberty, a senior fellow at the Yorktown Institute, and a visiting Fellow for the Independent Women’s Forum. But importantly, for today, I am a partisan, wholly and devotedly, of all things Shakespeare. And joining me today is Eliot Cohen, the Arleigh A. Burke Chair in Strategy at the Center for Strategic and International Studies, and the Robert E. Osgood Professor at Johns Hopkins University. Formerly counselor of the Department of State. His books include The Big Stick and Supreme Command. Thrice welcome, Eliot. What news on the Rialto, as we might say? Eliot Cohen: Well, Rebecca, first and foremost, thanks for having me. It’s great to be here. I lead a very odd life in some ways, bouncing between military matters at the moment, which is my professional expertise in one way, and then Shakespeare. It’s odd, but it’s nice to be back with Shakespeare because the rest of the world’s pretty grim right now. Rebecca Burgess: All right. He provides us comfort and also much thought to chew on. So I thought, in this midwinter moment, when everyone is settling down in front of their fires, all sated with holiday cheer, that it is a truth universally acknowledged that all thoughtful people want, or are in need of, a good book and a good conversation. And voila, you have gifted us The Hollow Crown: Shakespeare on How Leaders Rise, Rule, and Fall. Just out recently by Basic Books. And so I thought we could use the next hour or so to talk about what Shakespeare teaches us about politics today or helps us analyze those in the halls of power. The characters within Shakespeare are always of interest, whether it’s Henry V, whether it’s Richard II, or whether it’s Prospero. And I’m going to needle you about some you didn’t put in there, including the prince from Much Ado About Nothing and that band of unserious statesmen, not statesmen yet, the princes in Love’s Labour’s Lost, who have to learn how to become serious statesmen. But I would love to start off by asking you: What has teaching Shakespeare and introducing Shakespeare into your syllabi at Johns Hopkins or others taught you anew about international relations, grand strategy, or politics? Eliot Cohen: Well, that’s really a whole range of questions. Let me just start as a teacher. So, I’m about to become emeritus at Hopkins and shift over full-time to the Center for Strategic and International Studies. I’ve had a 34-year career at Hopkins, which has been wonderful. The last course that I taught was for freshmen, and it was a freshman course on Shakespeare. And I have to say—it was just a wonderful way of rounding out a teaching career because what you see is how young people, who maybe have never really been exposed to this in a really serious way, they may have had an encounter with it in high school, but they’re now at a stage where they can begin to appreciate it. You can see how it opens a world for them, and that’s a delight. And it’s, in a way, at a time when we could all use a bit of optimism—it’s a source of optimism that you realize there’s always going to be a new generation coming on, and they can respond to the classics very, very powerfully. So that’s the Mr. Chips in me, if you will. I began … I’ve always loved Shakespeare. I began thinking about teaching it after seeing Henry VIII, which is a play not often put on. There used to be some dispute about whether it was even by Shakespeare. I think most people think it is now a collaboration with another playwright named John Fletcher. And if your listeners will bear with me, I’d like to read the bit of the soliloquy that got it all started. So what’s happened is Cardinal Wolsey, who was Henry VIII’s chancellor, has just been deposed, and it’s sudden, and it is a sudden fall from power. And here is what he says: “Farewell! A long farewell, to all my greatness! This is the state of man: to-day he puts forth The tender leaves of hope, to-morrow blossoms, And bears his blushing honors thick upon him: The third day comes a frost, a killing frost, And,—when he thinks, good easy man, full surely His greatness is a-ripening,—nips his root, And then he falls, as I do. I have ventured, Like little wanton boys that swim on bladders, This many summers in a sea of glory, But far beyond my depth: my high-blown pride At length broke under me, and now has left me Weary, and old with service, to the mercy Of a rude stream, that must for ever hide me.” So my wife and I saw the play, and I was really struck by that soliloquy because my immediate reaction was, I know that guy. I mean, I’ve been in Washington now for well over three decades, and I’ve seen all kinds of things, and I was so taken by that, I took it … I was meeting with a bunch of students who were all graduate students by the way, later on, and I said, “Let’s talk about this.” One thing led to another, and before you knew it, I was teaching Shakespeare to a bunch of students at a professional school of international relations. And I think the thing that strikes you, as you study Shakespeare from the vantage point that I have, which includes a fair amount of government service as well, is, first, how a lot of the fundamental predicaments of political characters just don’t change. He also mentioned how there are phenomena that he captures that are still very much with us. You just need to learn how to do the translation. So, if I can give just one example of that. So, one of the plays that I have always enjoyed teaching is Coriolanus, which is about the great Roman general who becomes a traitor and comes to a sticky end. But, first, he’s an incredibly successful general. The problem is he has no political sense whatsoever. I’ve known a few generals like that, actually, in my time. Rebecca Burgess: Zero political prudence. Eliot Cohen: Right. Political prudence is not their strong suit. But there comes a point where he’s just been tremendously successful in battle, and they’re about to make him consul, which is the thing he really wants—it’s the honor he really wants. But he has to kind of go along with the people, with the plebs. Until they ask him to show his wounds, to take off his toga and see the scars of battle, and then he detonates, and everything goes downhill from there. And I was teaching this to a group of graduate students, including about half a dozen people who’d been in very hard places and done hard things in places like Libya, Iraq, and Afghanistan. And I said to them … So these are people in their late twenties, early thirties, some of them. I said, “Don’t feel obliged to answer this question, but has anybody ever asked to see your wounds?” And the conversation just exploded. Rebecca Burgess: I bet. Eliot Cohen: Because, yes. I mean, psychological wounds, not physical wounds. And so I think part of what Shakespeare gives us is the ability to see things that are around us, much more vividly in a way, because he’s abstracting us from our current context. I could go on, but let me pause there and see where you want to take this. Rebecca Burgess: Well, in every direction, of course. But on this particular note of showing wounds, I think it is of interest, and we’ll probably touch on it later. I think it’s inevitable that in the rise to power, or in statesmanship, how much do you have to show the work of statesmanship to be a successful statesman? Are you supposed to make it look easy? Are you supposed to reveal your trials and tribulations? And I think there’s a difference, perhaps, between Shakespeare’s day and ours, between that. It seems like, today, we emphasize the personal story of the politician. But is it any different than that showing of the wounds, or showing of the interior, if you will? Eliot Cohen: Yeah, we like people to show their vulnerabilities. But, the point that Shakespeare is making with the story of Coriolanus is we’ve always wanted our leaders to show their weaknesses and vulnerabilities. Now, we’ve taken it to a pathological extent. So I’m going to just give an example. So when they finally do the memorial to Franklin Delano Roosevelt, what do they do? They make a big point of having him in a wheelchair. In point of fact, FDR went to great lengths not to be photographed in a wheelchair because that was not the image he wanted to convey. To go back to Shakespeare, what you see is a lot of leaders who actually have all kinds of burdens, pathologies, and so on, and who do make considerable efforts to conceal them. Actually, Henry IV, the father of Prince Hal, who became Henry V, talks about that about how he tried to conceal himself. But the truth is, those things are always there. And I think one of the things Shakespeare shows us is, if you pay close attention, you can see what they are, which is a useful thing if you want to understand the people who are your leaders. The challenge that Shakespeare gives us, and the more I’ve read Shakespeare, and reflected on the more kind of diabolically cunning I think he is, he just gives you frequently little glimpses into a personality. And if you’re not paying a lot of attention, you won’t notice, which is kind of what the personality wanted. But what Shakespeare is going to do is say, okay, I will tell you the things you need to know, but you’ve got to watch carefully. And that’s one of the things that Shakespeare can teach the student of politics, is the art of close observation. Rebecca Burgess: Well, so you already quoted Cardinal Wolsey’s beautiful speech, it is so powerful. And it is from that point of vulnerability, a man who has realized that power is no longer in his grasp. Is this where we start to study power and those in power, from their vulnerabilities or the vulnerabilities inherent, or is it just one of many paths? Does it open up something, or are we missing something if we start from the standpoint of vulnerability? Eliot Cohen: I don’t think that’s where you start. This is Cardinal Wolsey at the end of his career, not at the beginning of his career. Rebecca Burgess: Right. Eliot Cohen: No, I think you look at all kinds of other things if you want to see how people actually get into the business of acquiring powers. The way I organized the book is I didn’t go play-by-play. I began with one large section on how people get power, how they use power, and then, finally, how they lose it. Again, one of the things that’s a bit sick about our current world, is that is where we want to start, with people’s weaknesses and vulnerabilities. Not that you shouldn’t pay attention to them, you should, but first you want to see, I think, what is it that makes them effective? What is it that makes them succeed? I mean, if you take Prince Hal, for example, who becomes Henry V … Of whom, by the way, I have a very dark view, that is of King Henry V. Rebecca Burgess: You do. Eliot Cohen: A very dark view of this is Henry V, the Shakespearean character. The real Henry V, I couldn’t care less. But you see him kind of having a glorious old time, hanging around with a bunch of lowlifes in the east cheap, in what’s probably a brothel. And it’s comic, and it’s good fun. And here, again, you get to Shakespeare, the close observer. Actually, this is one of the ways in which Prince Hal is learning how to be a king, and that becomes clear, I think, later on in the play. But, again, you have to pay close attention if you want to see how this is going to feed into his ability to inspire people, to manipulate people, which he does a lot, and to rule. Rebecca Burgess: Right. The setting is, in fact, quite important for Shakespeare. I know you spend a little bit of time talking about how important, when you’re talking to those who actually put on Shakespeare plays, they say that figuring out the staging, figuring out the costuming, sometimes is where they start from. It’s not the secondary consideration, it is where they start from. For Shakespeare, the opening scene, the first scene, and the second scene of the first act, in fact, are always of prime importance. In Henry IV, it is so well done because you start in the halls of power before the king, and it’s the exact same speech, the exact same dynamics that are in scene two with Prince Hal in the tavern. And so Shakespeare is telling you, here is politics high and low, here is England, for Prince Hal to figure out how to govern and rule England. He’s going to have to figure out how to understand both of these on their own and how to tie them together. And I’ve always thought, gosh, darn it, that’s so brilliant, how can we not do that, too? Eliot Cohen: Well, you’re absolutely right. You always need to pay attention to how Shakespeare sets the stage initially. It’s also very important, I think, to pay attention to the very end, where he’ll occasionally drop this little thing on you, where, if you pay close attention, you go, aha. So at the end of Henry V, for example … Throughout you’ve had the chorus, who is cheering Henry the V on and saying, “Oh, how can we possibly capture this guy’s greatness in just this little theater of ours here, and touch of Harry in the night,” all that stuff. And at the very end, the chorus says, “Thanks for being here. By the way, he died young, and his son was an infant, and all his conquests kind of fell apart. And we’ve talked about that before. See you later.” It’s just a couple of lines, but if you look at the end of that, of Henry V’s story, you go, listen, why does Shakespeare put that in there? Why does he have to end on a two-line downer? And I think the reason is he’s explaining a lot of the stuff that went before. One of the things that I talk about, I use, there’s a technical term for it, it’s what the Greeks called anagnorisis, where you suddenly realize the truth of your situation. That’s what happened to Wolsey there, where he goes, I’ve been swimming on a sea of glory, and, poof, it’s all gone. It happens to individuals, but it can happen to us as readers of Shakespeare and people who observe Shakespeare. I think if we read it closely enough, where you go, “Oh, oh, that’s what’s going on.” But just to connect it to the real world of politics, that’s very important too. I think one of the problems that we have when we talk about foreign policy, military affairs, and so on, is a lack of close attention to what’s going on right before our eyes frequently. Governments, in particular, fall prey to this, and I’ve seen it firsthand, but I’ve also seen it in other places as well. You get caught up in government talking to itself, you get caught up in highly classified this and that, and you forget to say, “Whoa, that’s right in front of me, that actually means something,” and to pause and reflect on what it means. Rebecca Burgess: Right. And there’s a timing aspect to that as well, right? And I wonder sometimes whether the pace of government in our daily life is just so frenetic now that we … Unless someone is astute enough to carve out some time for themselves for reflection, the reflection doesn’t happen. And the consequences of that, of course, as you just mentioned, we see all the time. But I’ve wondered about that, especially recently, since my own time in coming to DC, whic…
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