William Shakespeare: The Complete Works 2nd Edition (3 page)
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Authors: William Shakespeare
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BOOK: William Shakespeare: The Complete Works 2nd Edition
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I. The Shakespeare coat of arms, from a draft dated 20 October 1596, prepared by Sir William Dethick, Garter King-of-Arms
One of the unfounded myths about Shakespeare is that all we know about his life could be written on the back of a postage stamp. In fact we know a lot about some of the less exciting aspects of his life, such as his business dealings and his tax debts (as may be seen from the list of Contemporary Allusions, pp. lxv-lxviii). Though we cannot tell how often he visited Stratford after he started to work in London, clearly he felt that he belonged where he was born. His success in his profession may be reflected in his father’s application for a grant of arms in 1596, by which John Shakespeare acquired the official status of gentleman. In August of that year William’s son, Hamnet, died, aged eleven and a half, and was buried in Stratford. Shakespeare was living modestly, and, so far as we know, alone in the Bishopsgate area of London, north of the river, in October of the same year, but in the following year showed that he looked on Stratford as his real home by buying a large house, New Place. It was demolished in 1759.
In October 1598 Richard Quiney, whose son was to marry Shakespeare’s daughter Judith, travelled to London to plead with the Privy Council on behalf of Stratford Corporation, which was in financial trouble because of fires and bad weather. He wrote the only surviving letter addressed to Shakespeare; as it was found among Quiney’s papers, it was presumably never delivered. It requested a loan, possibly on behalf of the town, of £30—a large sum, suggesting confidence in his friend’s prosperity. In 1601 Shakespeare’s father died, and was buried in Stratford. In May of the following year Shakespeare was able to invest £320 in 107 acres of arable land in Old Stratford. In the same year John Manningham, a London law student, recorded a piece of gossip that gives us a rare contemporary anecdote about the private life of Shakespeare and of Richard Burbage, the leading tragedian of his company:
Upon a time when Burbage played Richard III there was a citizen grew so far in liking with him that before she went from the play she appointed him to come that night unto her by the name of Richard the Third. Shakespeare, overhearing their conclusion, went before, was entertained, and at his game ere Burbage came. Then, message being brought that Richard the Third was at the door, Shakespeare caused return to be made that William the Conqueror was before Richard the Third.
In 1604 Shakespeare was lodging in north London with a Huguenot family called Mountjoy; in 1612 he was to testify in a court case relating to a marriage settlement on the daughter of the house. The records of the case provide our only transcript of words actually spoken by Shakespeare; they are not characterful. In 1605 Shakespeare invested £440 in the Stratford tithes, which brought him in £60 a year; in June 1607 his elder daughter, Susanna, married a distinguished physician, John Hall, in Stratford, and there his only grandchild, their daughter Elizabeth, was baptized the following February. In 1609 his mother died there, and from about 1610 his increasing involvement with Stratford along with the reduction in his dramatic output suggests that he was withdrawing from his London responsibilities and spending more time at New Place. Perhaps he was deliberately devoting himself to his family’s business interests; he was only forty-six years old: an age at which a healthy man was no more likely to retire then than now. If he was ill, he was not totally disabled, as he was in London in 1612 for the Mountjoy lawsuit. In March 1613 he bought a house in the Blackfriars area of London for £140: he is not known to have lived in it. Also in 1613 the last of his three brothers died. In late 1614 and 1615 he was involved in disputes about the enclosure of the land whose tithes he owned. In February 1616 his second daughter, Judith, married Thomas Quiney, causing William to make alterations to the draft of his will, which he signed on 25 March. His widow was entitled by law and local custom to part of his estate; he left most of the remainder to his elder daughter, Susanna, and her husband. He died on 23 April, and was buried two days later in a prominent position in the chancel of Holy Trinity Church. A monument was commissioned, presumably by members of his family, and was in position by 1623. The work of Gheerart Janssen, a stonemason whose shop was not far from the Globe Theatre, it incorporates a half-length effigy which is one of the only two surviving likenesses of Shakespeare with any strong claim to authenticity.
As this selective survey of the historical records shows, Shakespeare’s life is at least as well documented as those of most of his contemporaries who did not belong to great families; we know more about him than about any other dramatist of his time except Ben Jonson. The inscription on the Stratford landowner’s memorial links him with Socrates and Virgil; and in the far greater memorial of 1623, the First Folio edition of his plays, Jonson links this ‘Star of poets’ with his home town as the ‘Sweet swan of Avon’. The Folio includes the second reliable likeness of Shakespeare, an engraving by Martin Droeshout which, we must assume, had been commissioned and approved by his friends and colleagues who put the volume together. In the Folio it faces the lines signed ‘B.1.’ (Ben Jonson) which we print beneath it. Shakespeare’s widow died in 1623, and his last surviving descendant, Elizabeth Hall (who inherited New Place and married first a neighbour, Thomas Nash, and secondly John Bernard, knighted in 1661), in 1670.
2. Shakespeare’s monument, designed by Gheerart Janssen, in Holy Trinity Church, Stratford-upon-Avon
We do not know when Shakespeare joined the theatre after his marriage, or how he was employed in the mean time. In 1587 an actor of the Queen’s Men—the most successful company of the 1580s—died as a result of manslaughter shortly before the company visited Stratford. That Shakespeare may have taken his place is an intriguing speculation. Nor do we know when he began to write. It seems likely (though not certain) that he became an actor before starting to write plays; at any rate, none of his extant writings certainly dates from his youth or early manhood. One of his less impressive sonnets—No. 145—apparently plays on the name ‘Hathaway’ (‘ “I hate” from hate away she threw’), and may be an early love poem; but this is his only surviving non-dramatic work that seems at all likely to have been written before he became a playwright. Possibly his earliest efforts in verse or drama are lost; just possibly some of them survive anonymously. It would have been very much in keeping with contemporary practice if he had worked in collaboration with other writers at this stage in his career. We believe that other writers, including Thomas Nashe, contributed to
I Henry VI
, that George Peele is part-author of
Titus Andronicus,
and that Shakespeare wrote part of
Edward III
(not included in the first edition of the Complete Works). Other writers’ hands have been plausibly detected in
The First Part of the Contention
(2
Henry VI
) and
Richard Duke of York
(3
Henry VI
).
I Henry VI
, that George Peele is part-author of
Titus Andronicus,
and that Shakespeare wrote part of
Edward III
(not included in the first edition of the Complete Works). Other writers’ hands have been plausibly detected in
The First Part of the Contention
(2
Henry VI
) and
Richard Duke of York
(3
Henry VI
).
The first printed allusion to Shakespeare dates from 1592, in the pamphlet
Greene’s Groatsworth of Wit
, published as the work of Robert Greene, writer of plays and prose romances, shortly after he died. Mention of an ‘upstart crow’ who ‘supposes he is as well able to bombast out a blank verse as the best of you’ and who ‘is in his own conceit the only Shake-scene in a country’ suggests rivalry; though parody of a line from
Richard Duke
of York (3
Henry VI
) shows that Shakespeare was already known on the London literary scene, the word ‘upstart’ does not suggest a long-established author.
Greene’s Groatsworth of Wit
, published as the work of Robert Greene, writer of plays and prose romances, shortly after he died. Mention of an ‘upstart crow’ who ‘supposes he is as well able to bombast out a blank verse as the best of you’ and who ‘is in his own conceit the only Shake-scene in a country’ suggests rivalry; though parody of a line from
Richard Duke
of York (3
Henry VI
) shows that Shakespeare was already known on the London literary scene, the word ‘upstart’ does not suggest a long-established author.
It seems likely that Shakespeare’s earliest surviving plays date from around 1590, possibly earlier: they include comedies (
The Two Gentlemen of Verona and The Taming of the Shrew),
history plays based on English chronicles (
The First Part of the Contention, Richard Duke of York),
and a pseudo-classical tragedy (
Titus Andronicus)
. We cannot say with any confidence which company (or companies) of players these were written for;
Titus Andronicus
, at least, seems to have gone from one company to another, since according to the title-page of the 1594 edition it had been acted by the Earl of Derby‘s, the Earl of Pembroke’s, and the Earl of Sussex’s Men. Early in his career, Shakespeare may have worked for more than one company. A watershed was the devastating outbreak of plague which closed London’s theatres almost entirely from June 1592 to May 1594. This seems to have turned Shakespeare’s thoughts to the possibility of a literary career away from the theatre: in spring 1593 appeared his witty narrative poem
Venus and Adonis,
to be followed in 1594 by its tragic counterpart,
The Rape of Lucrece.
Both carry dedications over Shakespeare’s name to Henry Wriothesley, third Earl of Southampton, who, though aged only twenty in 1593, was already making a name for himself as a patron of poets. Patrons could be important to Elizabethan writers; how Southampton rewarded Shakespeare for his dedications we do not know, but the affection with which Shakespeare speaks of him in the dedication to
Lucrece
suggests a strong personal connection and has encouraged the belief that Southampton may be the young man—or one of the young men—addressed so lovingly in Shakespeare’s Sonnets.
The Two Gentlemen of Verona and The Taming of the Shrew),
history plays based on English chronicles (
The First Part of the Contention, Richard Duke of York),
and a pseudo-classical tragedy (
Titus Andronicus)
. We cannot say with any confidence which company (or companies) of players these were written for;
Titus Andronicus
, at least, seems to have gone from one company to another, since according to the title-page of the 1594 edition it had been acted by the Earl of Derby‘s, the Earl of Pembroke’s, and the Earl of Sussex’s Men. Early in his career, Shakespeare may have worked for more than one company. A watershed was the devastating outbreak of plague which closed London’s theatres almost entirely from June 1592 to May 1594. This seems to have turned Shakespeare’s thoughts to the possibility of a literary career away from the theatre: in spring 1593 appeared his witty narrative poem
Venus and Adonis,
to be followed in 1594 by its tragic counterpart,
The Rape of Lucrece.
Both carry dedications over Shakespeare’s name to Henry Wriothesley, third Earl of Southampton, who, though aged only twenty in 1593, was already making a name for himself as a patron of poets. Patrons could be important to Elizabethan writers; how Southampton rewarded Shakespeare for his dedications we do not know, but the affection with which Shakespeare speaks of him in the dedication to
Lucrece
suggests a strong personal connection and has encouraged the belief that Southampton may be the young man—or one of the young men—addressed so lovingly in Shakespeare’s Sonnets.
3. Henry Wriothesley, 3rd Earl of Southampton (1573-1624), at the age of twenty: a miniature by Nicholas Hilliard
Whether Shakespeare began to write the Sonnets at this time is a vexed question. Certainly it is the period at which his plays make most use of the formal characteristics of the sonnet:
Love’s Labour’s Lost and Romeo and Juliet,
for example, both incorporate sonnets into their structure; but
Henry V
, probably dating from 1599, has a sonnet as an Epilogue, and in
All’s Well That Ends Well
(1606-7) a letter is cast in this form, and so is Jupiter’s speech in
Cymbeline
(1610). Allusions within the Sonnets suggest that they were written over a period of at least three years. At some later point they seem to have been rearranged into the order in which they were printed. Behind them—if indeed they are autobiographical at all—lies a tantalizingly elusive story of Shakespeare’s personal life. Many attempts have been made to identify the poet’s friend (or friends), the rival poet (or poets), and the dark woman (or women) who is both the poet’s mistress and the seducer of his friend; none has achieved any degree of certainty.
Love’s Labour’s Lost and Romeo and Juliet,
for example, both incorporate sonnets into their structure; but
Henry V
, probably dating from 1599, has a sonnet as an Epilogue, and in
All’s Well That Ends Well
(1606-7) a letter is cast in this form, and so is Jupiter’s speech in
Cymbeline
(1610). Allusions within the Sonnets suggest that they were written over a period of at least three years. At some later point they seem to have been rearranged into the order in which they were printed. Behind them—if indeed they are autobiographical at all—lies a tantalizingly elusive story of Shakespeare’s personal life. Many attempts have been made to identify the poet’s friend (or friends), the rival poet (or poets), and the dark woman (or women) who is both the poet’s mistress and the seducer of his friend; none has achieved any degree of certainty.
After the epidemic of plague dwindled, a number of actors who had previously belonged to different companies amalgamated to form the Lord Chamberlain’s Men. In the first official account that survives, Shakespeare is named, along with the famous comic actor Will Kemp and the tragedian Richard Burbage, as payee for performances at court during the previous Christmas season. The Chamberlain’s Men rapidly became the leading dramatic company, though rivalled at first by the Admiral’s Men, who had Edward Alleyn as their leading tragedian. Shakespeare stayed with the Chamberlain’s (later King’s) Men for the rest of his career as actor, playwright, and administrator. He is the only prominent playwright of his time to have had so stable a relationship with a single company.
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