In Shakespeare’s work, the relationship between acknowledgment of the other and knowledge of the other often plays out through the body. About David Hillman "I lecture on Shakespeare and Renaissance culture at the University of Cambridge and direct studies at King’s College in Cambridge. I'm the author of Shakespeare's Entrails, which is my first monograph. I've also written about Shakespeare and Freud; the history of the body in relation to Shakespeare in particular; Shakespeare and philosophy and epistemological issues around Shakespeare. I am currently completing a monograph, Greetings and Partings in Shakespeare and early modern England, which addresses the rich topic of salutary acts in Shakespeare and early modernity." Key Points • Shakespeare was interested in the relationship between what can be performed externally and what is internal.• In Shakespeare’s work, the relationship between acknowledgment of the other and knowledge of the other often plays out through the body.• Shakespeare thinks of the sceptical attitude as primarily masculine, and the addressee of this attitude as primarily feminine. My work began with thinking about the insides of the body. I wrote my first book, Shakespeare’s Entrails, while I was working as a doctoral student at Harvard, and I was pretty isolated. The one thing that got me out of isolation was playing lots of basketball, and the relation between being very embodied on the basketball court and being rather disembodied in the library, working with books, gnawed at me. I wanted to bring the body back into the text. Shakespeare was interested in a fantasy of the body, of what is inside the body. Hamlet imagines that there is something inside the body that is beyond access to anyone else but him. He says: ‘But I have that within which passeth show, / These but the trappings and the suits of woe.’ In other words, wearing black, shedding tears and so on are ‘actions that a man might play’, as Hamlet says; they are external ways of mourning a father. But that ‘within which passeth show’ is what is inaccessible to knowledge, especially to knowledge of other people. There is a relationship between knowledge and embodiment which is paradigmatic. Scepticism and the bodyScepticism about others, about who they really are, is a scepticism about what is going on inside them. People can reveal all sorts of things on the outside, but there can be no proof that those things are the same on the inside. One’s gestures of love or admiration or disgust can be performed; they are ‘actions that a man might play’. Shakespeare was clearly interested in the relationship between what can be performed – what can be simply external – and what is internal, partly because he was a man of the stage. Actors can have one thing going on inside and a different thing going on outside. And yet, can they really? There’s a relationship between acknowledgment of the other and knowledge of the other, which plays out through the body. Hamlet is a character who is very sceptical and constantly trying to prove things about others. He puts on the play about Claudius to catch the conscience of the king. Hamlet says, ‘I’ll tent him to the quick’, meaning he will probe him. A tent is a surgical instrument; to the quick means to the centre of the body, to the heart of him. Hamlet idealises the inside of the body, and this is part of his problem. He doesn’t trust. This leads us into the psychoanalytic areas of trust, autonomy and relationship to otherness.