“Shakespeare Ghosting Derrida” by Hélène Cixous: Summary and Critique

Introduction: “Shakespeare Ghosting Derrida” by Hélène Cixous

“Shakespeare Ghosting Derrida” by Hélène Cixous was first published in 1997 as part of the collection Ghosting: A Reader on Altered States. This work holds a significant place in literary theory, particularly in its exploration of intertextuality and the ways in which texts can haunt and influence each other. Cixous uses Shakespeare’s plays as a lens to examine Derrida’s philosophical concepts, arguing that the two writers engage in a “ghosting” relationship, where one text echoes and responds to the other.

Summary of “Shakespeare Ghosting Derrida” by Hélène Cixous

1. Acknowledgment of Debt and Translation: Jacques Derrida, in his exploration of translation, positions himself as eternally indebted to the concept of translation, which he describes as a perpetual and insolvent debt. His lecture, “Qu’est-ce qu’une traduction ‘relevante’?” (What is a ‘Relevant’ Translation?), showcases his deep connection with Shakespeare, notably through characters like Shylock, Antonio, and Portia from The Merchant of Venice. Derrida’s engagement with these characters serves as a metaphor for his own philosophical explorations, where he, like Shakespeare’s characters, admits to a bond or debt that is inexhaustible and untranslatable.
2. The Bond and Language: Derrida’s philosophy is intricately tied to language, specifically the word “bond,” which in English carries connotations of debt, obligation, and connection. Derrida’s admission of debt to Shakespeare, particularly through the phrase “I do,” emphasizes the performative power of language. This bond, or obligation, is something Derrida confesses to in English—a language where the term “bond” retains a performative force that resists full translation into French.
3. Derrida’s Engagement with Shakespeare: Derrida selectively engages with Shakespeare, choosing elements that resonate with his philosophical inquiries. He is particularly drawn to the way Shakespeare’s language creates clefts or openings in meaning, which Derrida explores through his method of deconstruction. Derrida’s approach to reading texts, including Shakespeare’s, is to focus on specific words or phrases that tremble with multiple meanings, much like how he interacts with Joyce and other literary figures.
4. The Ghost and Memory: Derrida’s engagement with Shakespeare is also a confrontation with the spectral, the ghostly. He connects Shakespeare’s works with his own experiences of loss, memory, and the haunting presence of what is absent. Derrida’s exploration of the ghost is deeply personal, reflecting his own anxieties about identity, legacy, and the untranslatable nature of certain experiences. This theme of haunting is also evident in his reading of Hamlet, where the ghost represents an unresolved tension between life and death, presence and absence.
5. Philosophy and Literature: Derrida’s work is described as a blending of philosophy and literature, where the boundaries between these disciplines are blurred. He reads great philosophers like Nietzsche in a way that reveals their autobiographical elements, suggesting that philosophy itself is a form of personal confession. In this context, Derrida’s own philosophical writings are seen as intertwined with his literary readings, particularly of Shakespeare, where he finds a kindred spirit in the exploration of existential themes.
6. The Ethical and the Political: Cixous emphasizes Derrida’s ethical commitment to the marginalized and the excluded, drawing parallels between his thoughts on ghosts and the figure of the undocumented immigrant. For Derrida, the ghost becomes a symbol of the other, the outsider, who challenges the established order. This ethical stance is also evident in his critique of Christian mercy in The Merchant of Venice, where he questions the sincerity and implications of Portia’s demand for Shylock’s mercy.
7. Shakespeare as Derrida’s Double: In a broader sense, Derrida is portrayed as a double of Shakespeare—a philosopher who, like the Bard, is haunted by ghosts and the unresolved tensions of existence. Derrida’s writings are haunted by the specter of Shakespeare, whom he sees as a predecessor in exploring the limits of language, identity, and meaning.
8. Conclusion: The article concludes by situating Derrida within the larger tradition of thinkers who engage with literature not just as a subject of study, but as a partner in philosophical inquiry. Shakespeare, for Derrida, is more than a literary figure; he is a philosophical interlocutor whose works provide a framework for exploring the deepest questions of human existence, language, and the self.

Literary Terms/Concepts in “Shakespeare Ghosting Derrida” by Hélène Cixous

1. Intertextuality: The concept that texts are interconnected and influence each other. Here, Derrida’s deconstructive philosophy is seen as being “haunted” by Shakespeare’s plays, particularly Hamlet.
2. Deconstruction: Derrida’s philosophical approach that challenges the idea of a single, fixed meaning in a text. He argues that texts are inherently unstable and open to multiple interpretations. Cixous suggests Derrida uses this approach to analyze Shakespeare’s plays.
3. Spectres/Ghosts: The essay uses the concept of ghosts metaphorically to represent the influence of the past on the present. Here, Shakespeare’s work is seen as a ghost that haunts Derrida’s philosophy.
4. Translation: Derrida’s famous struggles with the concept of translation are explored. Cixous highlights his decision not to translate a specific line from The Merchant of Venice, suggesting the limitations of translation in capturing the essence of a text.
5. The Uncanny (Unheimlichkeit): A Freudian concept referring to the unsettling feeling of something familiar being strange or unfamiliar. Cixous suggests both Shakespeare and Derrida explore this concept in their work.
6. Anxiety: The essay explores the themes of anxiety and uncertainty present in both Shakespeare’s plays and Derrida’s philosophy.
7. Forgiveness: Derrida’s critique of the concept of forgiveness, particularly in relation to Shylock in The Merchant of Venice, is discussed.
8. Autobiography: Cixous suggests that both Derrida’s and Shakespeare’s work can be seen as veiled autobiographies, reflecting their personal experiences and anxieties.
9. The Unanswerable Question: The essay emphasizes the presence of unanswerable questions in both Shakespeare’s plays and Derrida’s philosophy, particularly around themes like death and the afterlife.
10. Time: Derrida’s concept of the “untimely” is explored, suggesting that the past can disrupt the present and the future is uncertain.
11. Philosophical “Play”: Cixous highlights the playful and theatrical elements in both Derrida’s writing and Shakespeare’s plays.
12. Wordplay and Puns: The importance of wordplay and puns in Shakespeare’s work is mentioned, suggesting their contribution to the richness and ambiguity of the text.
13. The Impossibility of Knowing: The essay emphasizes the limitations of human knowledge and understanding, particularly in relation to death and the unknown.

Contribution of “Shakespeare Ghosting Derrida” by Hélène Cixous to Literary Theory/Theories

1. **1. Deconstruction: Cixous’s essay is a prime example of deconstruction, a critical approach that questions the stability of meaning and challenges traditional binary oppositions. By exploring the interconnectedness of Shakespeare’s plays and Derrida’s philosophy, Cixous demonstrates how texts can subvert and destabilize each other. For example, she writes, “He takes Shakespeare at his word. Not only Shakespeare naturally. The whole adventure of his thought is a hunt and chase of symptom words, cleft words that beetle over their base, clefts through which world commotions are produced” (Cixous, 2012, p. 4).  
2. **2. Intertextuality: Cixous’s analysis highlights the concept of intertextuality, which posits that texts are not isolated entities but are influenced by other texts. By examining the ways in which Shakespeare’s plays echo and respond to Derrida’s philosophy, Cixous demonstrates how texts can engage in a “ghosting” relationship, where one text haunts and influences the other.
3. **3. Postmodernism: The essay’s exploration of fragmentation, ambiguity, and the blurring of boundaries between texts and genres aligns with postmodernist literary theory. Cixous’s emphasis on the instability of meaning and the impossibility of definitive interpretation is a hallmark of postmodernist thought.
4. **4. Feminist Theory: While not explicitly feminist, the essay can be read through a feminist lens. Cixous’s focus on the power dynamics between texts and the ways in which one text can dominate another can be seen as a reflection of the power imbalances in society. Additionally, her exploration of the ways in which texts can be read and interpreted differently can be seen as a challenge to traditioal patriarchal interpretations of literature.
5. **5. Psychoanalysis: Cixous uses psychoanalytic concepts, such as the unconscious and the Oedipus complex, to analyze Shakespeare’s plays and Derrida’s philosophy. Her exploration of the ways in which texts can reveal hidden meanings and unconscious desires aligns with psychoanalytic approaches to literature.

Examples of Critiques Through “Shakespeare Ghosting Derrida” by Hélène Cixous

Literary Work	Critique Through “Shakespeare Ghosting Derrida”
The Merchant of Venice	Cixous explores how Derrida engages with The Merchant of Venice, focusing on the theme of debt and mercy. Derrida identifies with Shylock, the Jewish character who is asked to show mercy, highlighting the power dynamics in the play. The concept of “bond” is central, with Derrida examining how the term signifies obligation, debt, and connection, which are resistant to translation and carry deep ethical implications. Portia’s demand for mercy is critiqued as a form of Christian ruse.
Hamlet	Hamlet is critiqued through Derrida’s fascination with the ghost as a symbol of unresolved tension between life and death, presence and absence. Derrida’s reading of Hamlet emphasizes the play’s exploration of internal dissociation and the spectral nature of identity. The character of Hamlet, who is haunted by the ghost of his father, mirrors Derrida’s own philosophical anxieties about legacy, memory, and the impossibility of fully understanding the past.
Julius Caesar	Cixous discusses how Derrida’s reading of Julius Caesar focuses on the themes of betrayal, sovereignty, and the ethics of political power. Derrida parallels Shakespeare’s depiction of political intrigue with his own philosophical concerns about justice and the nature of political legitimacy. The play’s exploration of assassination and the subsequent chaos is seen as a metaphor for the disjunction and instability inherent in political and philosophical structures.
King Lear	Through King Lear, Derrida examines themes of familial betrayal, madness, and the disintegration of authority. The relationship between Lear and his daughters, particularly the theme of forgiveness and its absence, resonates with Derrida’s critique of the impossibility of true reconciliation. The play’s tragic exploration of loss and suffering is paralleled with Derrida’s own reflections on grief, memory, and the collapse of paternal authority in the face of inevitable mortality.

Criticism Against “Shakespeare Ghosting Derrida” by Hélène Cixous

• Complex and Dense Writing Style:
  • The text is often criticized for its highly complex and dense writing style, making it challenging for readers to follow the argument without a deep familiarity with both Derrida’s and Shakespeare’s works.
• Obscure References and Allusions:
  • Cixous frequently employs obscure references and allusions, which can alienate readers who are not well-versed in the works of Derrida, Shakespeare, and other literary figures mentioned.
• Lack of Clear Structure:
  • The essay is noted for its lack of clear structure, with ideas often presented in a non-linear and fragmented manner, which can lead to confusion and difficulty in extracting a coherent argument.
• Overemphasis on Derrida’s Influence:
  • Some critics argue that Cixous places too much emphasis on Derrida’s influence on the interpretation of Shakespeare, potentially overshadowing other critical perspectives and interpretations.
• Excessive Theoretical Abstraction:
  • The essay is critiqued for its excessive theoretical abstraction, where the focus on philosophical concepts like deconstruction, translation, and the spectral can detract from a more grounded literary analysis.
• Limited Accessibility:
  • Due to its academic tone and reliance on specialized knowledge, the work is seen as having limited accessibility to a broader audience, making it primarily relevant to scholars deeply engaged in Derridean philosophy and Shakespearean studies.
• Ambiguity in Argumentation:
  • The argumentation in the text is often seen as ambiguous, with Cixous blending literary criticism, philosophy, and personal reflection in ways that can obscure rather than clarify her points.
• Potential for Misinterpretation:
  • The dense interplay of language and concepts creates a high potential for misinterpretation, where readers might struggle to discern Cixous’s intended critique or perspective on the relationship between Derrida and Shakespeare.

Suggested Readings: “Shakespeare Ghosting Derrida” by Hélène Cixous

1. Cixous, Hélène. “Shakespeare Ghosting Derrida.” The Oxford Literary Review 34.1 (2012): 1–24. Edinburgh University Press. DOI: 10.3366/olr.2012.0027
2. Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Translated by Peggy Kamuf, Routledge, 1994.
3. Attridge, Derek, and Thomas Baldwin, eds. Jacques Derrida: Acts of Literature. Routledge, 1992.
4. Bennington, Geoffrey, and Jacques Derrida. Jacques Derrida. Translated by Geoffrey Bennington, University of Chicago Press, 1993.
5. Cixous, Hélène. Stigmata: Escaping Texts. Routledge, 2005.
   https://www.routledge.com/Stigmata-Escaping-Texts/Cixous/p/book/9780415957281
6. Kamuf, Peggy, ed. Without Alibi. Stanford University Press, 2002.
7. Marder, Elissa. The Mother in the Age of Mechanical Reproduction: Psychoanalysis, Photography, Deconstruction. Fordham University Press, 2012.
8. Derrida, Jacques. The Post Card: From Socrates to Freud and Beyond. Translated by Alan Bass, University of Chicago Press, 1987.

Representative Quotations from “Shakespeare Ghosting Derrida” by Hélène Cixous with Explanation

Quotation	Explanation
“The current of the debt is inexhaustible.”	This quotation reflects the central theme of the essay, where Derrida’s relationship with language, translation, and Shakespeare is portrayed as an unending debt—one that cannot be fully paid off or resolved.
“Do you confess the bond? To which each of them answers in turn and simultaneously — I do.”	Here, Cixous highlights the performative power of language, particularly the phrase “I do,” which signifies acknowledgment of a bond or obligation, paralleling the dynamics in The Merchant of Venice with Derrida’s own philosophical admissions.
“Derrida ‘does confess’ — in English — the bond, the keep/guard [garde], the debt, the trace, the obligation.”	This quotation emphasizes the importance of the English language in Derrida’s work, specifically the word “bond,” which carries multifaceted meanings related to debt, obligation, and connection, underscoring the difficulties of translation.
“He chooses Shakespeare for himself and confesses it.”	Cixous notes Derrida’s deliberate choice to align himself with Shakespeare, recognizing the playwright as a significant influence and predecessor in exploring themes of language, identity, and philosophical inquiry.
“Derrida loves in French Shakespeare’s English.”	This statement captures the paradoxical relationship Derrida has with Shakespeare’s language. While Derrida deeply appreciates Shakespeare’s English, he also wrestles with its untranslatable elements, reflecting the complexities of linguistic translation.
“The whole adventure of his thought is a hunt and chase of symptom words.”	Cixous describes Derrida’s method of deconstruction, where he focuses on specific “symptom” words—words that contain multiple meanings and connotations—to unravel deeper philosophical and linguistic insights.
“To make truth while resorting to dramatic metaphor… is the very art of the theatre-within-the-theatre.”	This quotation reflects on how Shakespeare uses the technique of a play within a play to reveal deeper truths, a method that Derrida admires and parallels in his own philosophical practice of uncovering hidden meanings through layered interpretations.
“As if there were an eleventh commandment for him: ‘thou shalt not translate the being named Shakespeare’.”	Cixous humorously suggests that Derrida treats Shakespeare with such reverence that attempting to fully translate or encapsulate his essence is almost sacrilegious, pointing to the complexity and sacredness of Shakespeare’s language.
“He is the master, the king, the Lord of the Ghosts.”	This quote emphasizes Shakespeare’s preeminence in dealing with themes of spectrality and haunting, which are central to Derrida’s own philosophical explorations of the ghostly, the trace, and the absent presence in language and identity.
“One must not be afraid of being afraid of ghosts.”	Cixous conveys Derrida’s belief that confronting the ghostly—whether in the form of past traumas, unresolved memories, or untranslatable words—is necessary for ethical and philosophical inquiry, even if it induces fear or discomfort.