Harold Skulsky

Drawing extensively on the whole range of Spinoza’s philosophical writing, Staring into the Void devotes twelve chapters to showing in detail how the architecture of reality as Spinoza saw it rises in stages from a theory of being to prophetically modern theories of the physical world, of causal law, of perceptual and intuitive knowledge, of determinism, of the roots of human motivation, and of the kinds of civil society that human nature is capable of sustaining. Professor Skulsky tries to disarm the justifiably skeptical reader by showing why Spinoza’s thesis about the One Real Thing is as arguable as it is outrageous. The Spinoza of this intellectual portrait is a bleaker and more subversive figure than the hero of Enlightenment humanism now in general circulation.

Armed with a fresh analysis of Shakespeare's inherited resources for articulating anxieties rooted in philosophical doubt, Skulsky shows that in four plays—Hamlet, Measure for Measure, King Lear, and Othello—the drama of doubt in search of an exit gives its own kind of urgency to the more familiar Shakespearean drama of action and motive. From Skulsky's study, the four plays emerge as insidiously telling exercises in challenging our working faith in the objectivity of moral choice and the possibility of knowing other minds. In particular, Skulsky notes that Shakespeare takes calculated risks with our personal interest in his heroes by assigning them disturbing convictions as well as contemptible actions. In one of the plays, such convictions end by looking just as threatening as they do at the outset. In the others, Shakespeare offers a special kind of affirmation and compassion—an affirmation designed to stand against the worst of pessimism, and a compassion that makes room for the worst of the damned.