“As an object of desire, Freud discovered, a second chance was a mixed blessing. The promise of the new was always being waylaid by the allure of the past; there was something almost addictive about the sufferings of childhood.” – Stephen Greenblatt, Second Chances: Shakespeare and Freud, 22.
“Only the omnipotent, we might think, only God can live without second chances. And, Freud adds, only the omnipotent need to believe in them” – Adam Phillips, Second Chances: Shakespeare and Freud, 180.
Life without second chances is unalive. You are likely aware—if not all too aware—that you are (un)likely to take your second chances.
Greenblatt and Phillips remind us that the characters of Shakespearian tragedy and Freudian psychoanalysis are, among other things, risk averse. Tragic heroes don’t believe in second chances.
Each of us, according to Freud, finds tragedy all too alluring. Beset both by disturbing internal desires and the societal frustration of those same desires—we entertain, Greenblatt observes, “wildly unrealistic and destructive cravings for power and autonomy.”
“[T]he second chance Freud offered with psychoanalysis,” Greenblatt writes, “was a more realistic, and therefore potentially more satisfying, apprehension of what he took to be our true nature: the second chance of not living as a wishful, and therefore permanently enraged and vengeful, fantasist” (25). Taking a second chance is a genuine achievement.
Second chances are premised on a first chance. Our first chance is the experience of growing up.
Growing up is hard. Leaving home is really fucking hard.
Leaving home is how Phillips describes the resolution of the Oedipus complex. In Shakespeare’s plays, according to Greenblatt, leaving home is akin to getting lost at sea or kidnapped or overcome with love.
Shakespeare seems to have thought that various happenstances force us to castaway from home. Offered this second chance, we often ride the tides back home.
Second chances as repetitions of the first are divine. “In a life of omnipotence,” Phillips writes, “there is no such thing as a second chance, for there is no need for one. (God, by definition, does not have, and could not possibly need, second chances)” (145).
Tragic heroes don’t believe in second chances. Tragedy is the stuff of self-seriousness, the unwillingness or inability to experience disappointment with one’s self.
Greenblatt describes tragedy, in the words of Macbeth, this way: “It is a tale / Told by an idiot, full of sound and fury, / Signifying nothing” (59). Tragedy is life sans irony.
To use “algospeak,” unalive is what a lack of irony gets you. There is more than one pathway to unaliveness.
“The antisocial act,” Philips observes via Winnicott, “is the child’s attempt to be given a second chance at development, as though the child’s delinquency was a kind of unconscious performance art for the parents, or for anyone willing to be sufficiently attentive” (185). Consider Henry IV.
Henry is a proper kid who plays at being transgressive, at disappointing his father. He ends up teaching us that there are no second chances for fathers and sons.
That’s one way to read the lesson of Shakespeare’s second chance. Mostly abandoning his family (a wife, two daughters, and a son) in Stratford to pursue his acting career in London in his early twenties, Shakespeare returns home for good (or for ill?) in his late forties.
By this time, his son is dead. His daughters are grown up.
If we read The Winter’s Tale as Shakespeare’s way of thinking about (his) second chances, then I think we must give sufficient attention to the testimony of Leontes’s wife. When Hermione (whom Leontes tried to have killed) and Leontes are reunited, she does not address him.
Instead, Hermonie speaks to her daughter, Camillo (Leontes tried to have her killed, too). “I stayed alive for you,” she says.
Shakespeare’s return home is not a repetition of his first chance. His son is dead; the status of his relationship to his wife is an open question; one daughter is married and living her own life away from home; he does not know the daughter who has remained at home.
Shakespeare’s return home is a second chance, his chance to be a husband and a father to his daughter. His second chance is a chance to repair the life he sabotaged—but whether or not repair is possible, that’s is simply not within his power alone to decide.
Two lessons. We are as likely (more likely?) to sabotage the life we desire as we are to live it.
“Freud described people as essentially and inventively self-sabotaging,” Greenblatt again reminds us, “as though the pressures of life, both internal and external, were somehow excessive and unbearable. . . . More particularly, [people] were adept at creating, as Macbeth or Leontes do, a life they could only loathe” (102-103).
“Self-destructiveness—the compulsion to do the self-harming, devastating thing, so powerfully displayed in Leontes—is,” Greenblatt believes, “the course that a great many people assiduously follow” (103). That’s the first lesson.
The second lesson is that second chances are beyond our control. Greenblatt notes that“[i]f in your own life you suffer a trauma, and, contrary to every rational expectation, you wind up getting a second chance, it will not, the play suggests, be because you have actively brought about the happy outcome.”
Second chances, Greenblatt asserts, “happen because of chains of circumstances beyond your control, because of changes invisible to you and outside the control of your will. . . .” And if you are willing, as Leontes seems to have been, to heed what may be defined as pastoral advice, second chances “happen because you have against all odds been patient, because you have learned to face your failings and to live with your trauma” (120). Second chances are possible futures.
