The `Shakespeare experience` as a philosophical practice, either on stage, or on paper, is one of the many habits of a philosophical, — self-informed, consistent life. Shakespeare’s theatre `gives rise to thought`, and a not occasional attendance of Shakespearean plots, turns them into ‘Shakespearean tales’ every time — in different times, those meet the inner world of the actual attenders and their `will`; an authorial instinct is `at play`, which is far more than an intentionality: it is a second nature. And `action` is, literally, the `touchstone`, both on stage, and off-stage. Being told to the people, — the ‘groundlings’, by a man of the people, — an `actor`, his stories engage on a `narrational` — biographical, level, as they `act` on a plan of equality. Mirroring souls, all of them do fashion the way we inhabit the `globe`. Therefore, enhancing the exploration of the inner, as well as the outer world. Shakespeare’s characters are `moral icons`, ethical figures. Ethics conceived here in a Spinozistic manner as an intimate transformation. All of the `actions` we witness to in the script, or in the play, do resonate into the attenders` souls, settling there as models to thrive to, and to be reproduced in real life. The `chronicles`, collected here, are a portfolio of encounters `journaling` the progression, and expansion, of a perspective on life. Shakespeare is not a philosopher, but his `narrative`, his ethical symbolism, opens up an infinite number of under-standings, in the shape of representations: one `shaking` story at a time.