all about history book of shakespeare 2nd ed - 2016 uk.pdf

8/16/2019 All About History Book of Shakespeare 2nd Ed - 2016 UK.pdf

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Book of

Anniversary Edition

HIS LIFE HIS LOVES HIS WORKS HIS LEGACY

ShakespeareAll you need to know about one of thegreatest playwrights & poets of all time


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“To be or not to be:that is the question.”W illiam Shakespeare has unden iably left behind him a legacy of

plays and poe ms that have not only bee n enjoyed by millions but

shaped the English language into wh at we know today.Th is book

delves into the works of this legendary playwright from his

histories comedies and tragedies to his thought-provoking

sonne ts.D iscover the life and time s of Shakespeare Elizabethan

England and the theatre best known for showcasing his works:

The G lobe.T his book w ill also explore the impact that his works

have had on today’s world from the stage to the glitz of the silver

scree n.Also inside are a number of copies of original documents

from Shakespe are’s time including Shakespe are’s w ill an extract

from the First Folio and posters for his plays.

h ak e s p eare

B o o k o f


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bookazine series

art of the

ak e s p e are

B o o k o f

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DisclaimerThe publisher cannot accept responsibility for any unsolicited material lost or damaged in thepost. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine maybe reproduced in whole or part without the written permission of the publisher. All copyrights arerecognised and used specifically for the purpose of criticism and review. Although the bookazine hasendeavoured to ensure all information is correct at time of print, prices and availability may change.This bookazine is fully independent and not affiliated in any way with the companies mentioned herein.

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The content in this book previously appeared in the Carltonbook The Treasure s of William Shakespeare

All About History Book of Shakespeare Second Edition © 2016 Imagine Publishing Ltd

ISBN 978 1785 462 955


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8 In t r o d u c t io nC at h e rin e M . S . Ae x a nd e r in tro d u c e sW ill ia m S h a k e s p e are

T h e E liz a b e t h a n

Ag e : T h e c o u r tF in d o u t a b o u t th e w o rk in g o f t h ec o u rt w h ils t Eiz a b e t h I w a s re ig n in g

4 T h e E liz a b e t h a nAg e : T h e c o u n t r yF in d o u t m o re a b o u t th e n at io n al t u rm o il t h at S h ak e s p e a re w it n e s s e d

8

E liz a b e t h a nS tr a t fo r dT h e h o m e to w n o f t h e w o rld ’s g re ate s tp lay w rig h t e x p lo re d

22 S h a k e s p e a r e inS tr a t fo r dD is c o ve r S h a k e s p e are ’s h o m e t h ro u g hh is l if e t h e re

26 S h a k e s p e a r e ’sL o n d o nF ro m a s m a ll to w n to t h e b ig c i t y

w h at w a s L o n d o n lik e in t h e 1 5 0 0 s ?

3 S h a k e s p e a r e ’s

c o n t e m p o r a r ie sL e arn ab o u t s o m e o f t h e w rite rs w h ow e re w rit in g at t h e s am e t im e

38 T h e E liz a b e t h a ns t a g eW h at d if fe re n c e s w e re t h e re c o m p are d to w h at w e k n o w to d ay?

42 S h a k e s p e a r e ’s t e x t sW rit in g in an ag e b e f o re c o p y rig h tw h at w a s it lik e t o w rite b ac k t h e n ?

46 “ T h e p la y ’st h e t h in g ”S h a k e s p e are is m o s t f a m o u s fo r h isp lay s l e a rn ab o u t w h y t h e y re s o n at e s o m u c h

5 T h e Co m e d ie s :

Ha p p ily e v e r a f te rG re at lau g h s w e re h ad ; e x p lo reS h a k e s p e are ’s w o rld o f c o m e d y

54 T h e Co m e d ie s :

D is to r tin g t h ec o n v e n t io n sM e n d re s s e d a s w o m e n d is g u is e d a s

m e n ; h is p lay s p u s h e d t h e b o u n d arie s

58 T h e His t o r ie s :T h e f ir s t t e t r a lo g yT h e t h re e p a rt s o f H e n ry V I an d

R ic h a rd I II fo rm t h e f irs t t e tra lo g y

62 T h e His t o r ie s :T h e s e c o n d t e t r a lo g y

F ro m H e n ry V I to H e n ry V h is s e c o nd s e t o f h is t o rie s are e x p la in e d

66 T h e T r a g e d ie s :T h e ill-fa t e d h e r o e sE p lo re w h y S h a k e s p e a re o f te n e nd e d

h is p lay s c a th a rt ic a lly

7 T h e T r a g e d ie s :

T h e f a t e o f n a t io n sF in d o u t m o re ab o u t h o w h e e x p lo re d

m o re t h a n p e rs o n a l d e v as t at io n

74 T h e T r a g e d ie s :T h e Ro m a n p la y sL e a rn ab o u t th e p lay s th at ta k e o n a

f ar m o re v i o le n t a nd b lo o d y to n e

78 La t e p la y sa n d c o lla b o r a t io n sF in d o u t w h ic h o f h is p lays w e re a

w o rk o f m o re t h an on e g re at m in d

92 S h a k e s p e a r e ’sp o e m sS h a k e s p e are ’s p o e m s o p e n e d u p

q u e s t io n s a b o u t h is p e rs o n al lif e

96 T h e J a c o b e a n s t a g eT h e re ig n o f Ja m e s I b ro u g h t ab o u t a

w h o le ne w lif e to t h e s t ag e

S h a k e s p e a r e ’s

r e t u r n t o S tr a t fo r dF in d o u t w h y S h a k e s p e a re re t u rn e d to

h is h o m e a nd w h at h ap p e ne d

8

4

7

o n t n t s

6

S e e E x h i b i t s e c t i o ns

t h r o u g h o u t t h e b o o k


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73

32

o n te n ts

1 0 4 h a k e s p e a r e

d u r i n g t h e R e s t o r a t i o n

How did his work fare after his death

in 1616?

1 0 8 h a k e s p e a r e i n t h e

E i g h t e e n t h C e n t u r y

Discover how the 18th Century saw a

boom in the interest in Shakespeare

1 1 2 h a k e s p e a r e i n t h e

N i n e t e e n t h C e n t u r y

Learn how the performance style

changed with new bigger theatres

1 1 6 h a k e s p e a r e t o d a yRebuilding the Globe to the RSC learn

how he has as big an impact as ever


a r o u n d t h e w o r l d

Explore how Shakespeare has become

a worldwide phenomenon

1 3 2 h a k e s p e a r e o n

f i l m F r o m c u r t a i n

c a l l s t o c e l l u l o i d

Take the first step into the world of

Shakespeare beyond the stage

1 3 6 h a k e s p e a r e o n

f i l m S t r e t c h i n g t h e

b o u n d a r i e s

Read as his plays are transported from

their usual settings into a new world

1 4 0 h a k e s p e a r e i n

o t h e r m e d i aLearn how Shakespeare’s works have

been utilised by opera art and more


R e b e l w i t h a c a u s e

Did Shakespeare hide codes and

double meanings in his work?

1 5 6 i m e l i n eShakespeare his contemporaries and

the nation during his lifetime

7

26

66

8


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ntrodu tion

IN T ROD U CIN G

T HE B ARDWilliam Shakespeare is the best-known dramatist in the worldand his plays, plots, characters and language have outlived their original

context of the Elizabethan and Jacobean playhouses

he playwright Ben Jonson, writing a

memorial verse for his friend in the First

Folio of 1623, declared that Shakespeare

was “The applause, delight, the wonder of

our stage”, but added, “He was not of an

age, but for all time”. He cannot have imagined,

however, that almost 400 years later Shakespeare’s

words would be read and performed in countries

unknown to sixteenth- and seventeenth-century

England and accessed through electronic media

that communicate even faster than Robin

Goodfellow’s “girdle round the earth in 40

minutes”. Di erent ages have recognized di erent

strengths and skills in Shakespeare’s work: his

plays have been appreciated, in Hamlet’s words, for

their capacity to “hold… the mirror up to nature” in

the creation of character; many find Shakespeare’s

memorable and original use of language his

most remarkable skill; others have pointed to the

timeless quality of the narratives, and it is theplots which have crossed cultures to transfer so

successfully into films, ballets, operas, musicals

and cartoons. I was recently sent a postcard from

a colleague in Australia: a picture of a koala, eyes

closed and chewing a eucalyptus leaf, that had

the caption “‘To eat or to sleep, that is the question’,

William Shakesbear” – a fine example

of the distance that Hamlet, and Shakespeare,

has travelled.

Di erent ages, too, have sought to account

for Shakespeare’s dominance and endurance

using their own cultural preoccupations: he has

been praised as a “natural genius”, upheld as the

representative figure of English cultural superiority

(the “national poet”), interrogated as a source of

commercial capital, explored as a site of special –

almost mystical – meaning and appropriated

to support a range of political positions.

Academics have subjected the works to a

remarkable variety of theoretical readings: new

and old historicism, feminism, Marxism,

formalism, structuralism, psychoanalysis, cultural

materialism and so on. The Book of Shakespeare:

The Life, The Works, The Performances is less

concerned with the “why” of the Shakespeare

phenomenon or an analysis of its causes and

e ects than with providing an illustrated and

documented chronological record of his life

and work, beginning in sixteenth-century

Stratford and London and progressing to

the present day, charting developments in

performance and proliferation over the ages and

throughout the world.

Shakespeare has inspired artists as diverse as

William Blake and Pablo Picasso and influenced

the fiction of Jane Austen, Anton Chekhov, CharlesDickens, Henrik Ibsen, Wole Soyinke and Oscar

Wilde among many other great figures. Sigmund

Freud and Karl Marx wrote about Shakespeare

and Winston Churchill quoted him. But for most

people with an interest in Shakespeare, “the play’s

the thing” (to borrow Hamlet again) and much of

this book is concerned with performance. It draws

extensively on the work of the Royal Shakespeare

Company, the unique group of actors, directors

and practitioners, whose high quality productions,

education and outreach activity aim to “keep

modern audiences in touch with Shakespeare as

our contemporary”.

C a t h e r i n e M S A l e x a n d e r

BELOW A

ninteenth-

century fr ieze,

attribu ted to the

Irish artist Daniel

M aclise, of som e

of Shakespeare’s

characters.Am ong

them are Ham let,

Tam ora, Q ueen

of the G oths,

Bottom (with ass’s

head) and Titania,

Petruccio and

Katherine, Rom eo

and Juliet, Juliet’s

N urse, Falstaff,

and Desdem ona

and O thello


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hakespeare

Eliz a b e t h , a P ro te s ta n t, n e e d e d to

c a lm th e s itu a tio n d o w n , e s ta b lis h

a r e lig io u s p e a c e a n d c r e a te p u b lic

c o n fid e n c e in h e r a b ility t o g o v e r n t h e

c o u n t ry . A s k ilf u l p o lit ic ia n , o n e o f h e r

w e a p o n s w a s a th e a tric a l e x a g g e r a tio n o f h e r

o w n p e rs o n a .

Fro m h e r c o ro n a tio n in 1 5 5 8 o n w a rd s

Q u e e n E liz a b e th w a s a re m a rk a b ly th e a tric a l

m o n a rc h . Sh e re s p o n d e d v e r b a lly to t h e fi v e

p a g e a n ts p r e s e n t e d b y Lo n d o n e rs a s p a r t o f

h e r p r o g re s s fro m th e T o w e r o f Lo n d o n t o t h e

c e re m o n y , s o t h a t th e y b e c a m e , u n iq u e ly , a

s e rie s o f d ia lo g u e s b e tw e e n Q u e e n a n d

p e r fo r m e r s th a t w a s re c o rd e d lik e a p la y t e x t .

T h e c o r o n a tio n its e lf w a s p e r fo r m e d o n a

r a is e d s ta g e in We s t m in s te r Ab b e y a c t u a lly

E liz a b e t h I c a m e to th e th ro n e a t a t im e o f g re a t tu r m o il. He r fa t h e r, He n r y VIII,

h a d b ro k e n fro m th e Ro m a n Ca th o lic Ch u rc h , la rg e ly s o t h a t h e c o u ld m a r ry

An n e B o le y n , E liz a b e t h ’s m o th e r. His s o n a n d s u c c e s s o r, Ed w a r d VI, p ro g re s s e d

P ro te s ta n tis m rig o ro u s ly , b u t d ie d y o u n g a n d w a s s u c c e e d e d b y h is h a lf s is te r

M a r y , w h o a tte m p te d , o fte n w ith g re a t c r u e lty , to re s to re Ca th o lic is m

The Elizabethan

Age The Court

c a lle d “t h e th e a t re ”. B u t th e h e ig h t o f h e r s k ill

a s a p e r fo r m e r c a m e 3 0 y e a r s la te r in th e

s p e e c h to h e r tro o p s a t T ilb u ry o n 9 Au g u s t

1 5 8 8 – a m a g n ifi c e n t s o lilo q u y , in th e fa c e o f

th e t h r e a t fro m th e S p a n is h Arm a d a :

“Wh e r e fo re I a m c o m e a m o n g y o u a t th is

tim e b u t fo r m y r e c re a tio n a n d p le a s u re , b e in g

re s o lv e d in th e m id s t a n d h e a t o f th e b a ttle to

liv e a n d d ie a m o n g s t y o u a ll, to la y d o w n fo r

m y Go d a n d m y k in g d o m a n d fo r m y p e o p le

m in e h o n o u r a n d m y b lo o d e v e n in th e d u s t. I

“ h e c o r o n a t i o n i t s e l f w a s p e r f o r m e d

o n a r a i s e d s t a g e i n W e s t m i n s t e r

b b e y a c t u a l l y c a l l e d ‘ t h e t h e a t r e ’ ”

ABOVE The

Q ueen watches

the lavish

entertainm ents

devised by Robert

Dudley, Earl

of L eicester, at

Kenilworth Castle

in 1575

ABOVE N icholas Hilliard was

responsible for som e of the m ost

influential im ages of the Q ueen

N icholasH illiard

c.15471618/19

Although Elizabeth

never appointed an

offi cial court painter,

Hil liard was

associated with

Q ueen Elizabeth 1

from his fi rst portrait

of her in 1572.He was

a fi ne goldsm ith as

well as a m iniaturist

and produced jewels

and a locket adorned

with her im age.The

precision – the

carefu lly crafted skill

of his work and the

sym bolic im agery

that he em ployed,

which he described

in h is treatise The

Arte of Lim ning,

c.160 0 – has been

com pared with the

art that Shakespeare

dem onstrated in

his sonnets.


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The lizabethan Age

IN S ET N ic h o la s

Hillia r d ’s P h o e n ix

P o r t ra it w it h t h e

m a g n i fi c e n tly

d r e s se d Q u e e n

The lizabethan Age


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hakespeare

k n o w I h a v e t h e b o d y b u t o f a w e a k a n d fe e b le

w o m a n , b u t I h a v e t h e h e a rt a n d s to m a c h o f a

k in g a n d a k in g o f E n g la n d to o .”

Eliz a b e t h u n d o u b te d ly u n d e rs to o d th e

im p o r ta n c e o f n o n -v e rb a l v is u a l d is p la y in

p ro je c t in g r o y a l m a je s t y , a n d a s h e r re ig n

p r o g r e s s e d , w it h a ll it s d iffi c u lt ie s o f

re lig io u s a n d p o lit ic a l d is s e n t, s h e a n d

h e r m in is te rs m a n ip u la te d h e r im a g e ,

p a r t ic u la r ly in p o r tr a it u re , fo r

p r o p a g a n d a p u rp o s e s . Co s tu m e ,

lig h tin g , s e ts , p r o p s a n d e m b le m s w e re

c a re fu lly e m p lo y e d to d e m o n s tra te h e r

w is d o m , p o w e r a n d s in g u la r ity .

P ro t e s ta n t re fu g e e s fro m F ra n c e a n d t h e

N e t h e rla n d s , s u c h a s J o r is Ho e f n a g e la n d Lu c a s d e He e re , p a in te d h e r a s th e ir

re l ig io u s s a v io u r, re in fo rc in g th e im a g e

o n th e t itle p a g e o f th e B is h o p s ’ B ib le o f

1 5 6 9 . T h e ic o n o g ra p h y o f N ic h o la s

Hillia r d ’s fa m o u s p o r tr a it s o f t h e 1 5 7 0 s

– o n e h a s Eliz a b e th w e a r in g a p e lic a n

p e n d a n t (s y m b o liz in g h e r s e lfl e s s re la t io n s h ip

w ith h e r s u b je c t s (th e p e lic a n d re w b lo o d

fro m its o w n b r e a s t to s u c c o u r its y o u n g ) a n d

th e o th e r w ith a p h o e n ix p e n d a n t

(re p re s e n t in g a p e rs o n u n iq u e a n d c h a s te a s

w e ll a s th e e n d u ra n c e o f a n h e re d ita r y

m o n a rc h y ) – w a s e x te n d e d to la rg e r d o m a in s ,

s u c h a s Jo h n Lu m le y ’s g a rd e n s a t N o n s u c h in

Su r re y , w h e re th e s y m b o ls w e re g iv e n

c o n c re te fo r m a s te m p le s , s ta tu a r y a n d

to p ia r y a n im a ls . Im a g e s w e re c r a fte d o n

m e d a ls a n d p e n d a n t s a n d th e f a s h io n fo r

w e a r in g th e Q u e e n ’s p o r tra it b e c a m e

a l m o s t c u lt-lik e .

E q u a l ly t h e a tr ic a l w e r e th e la v is h

e n te r ta in m e n ts p r o v id e d b y h e r c o u rtie r s. In

1 5 7 5 , h e r fa v o u r ite , Ro b e r t D u d le y , E a r l o f

ABOVE

With

the Spanish

Armada gathering

force in the

background, the

Queen rallies her

troops at Tilbury

BELOW Elizabeth’s

double-sided Great Seal,

engraved by Nicholas

Hilliard, was used

on important public

documents. The front

shows the Queen holding

a sceptre and orb, symbols

of royal power, and on

the reverse she is on

horseback riding across a

fi eld of owers

ABOVE Nicholas

Hilliard’s miniature shows

the Queen, a talented

musician, playing the lute

Le ic e s te r , p re s e n te d a s e r ie s o f m a s q u e s a n d

p a g e a n ts , w h ic h in c lu d e d re m a rk a b le a q u a tic

e ff e c t s a n d la s t e d fo r 18 d a y s , a t h is c a s t le a t

Ke n ilw o r th , o n ly 1 2 m ile s f ro m S tra t fo rd . It h a s

b e e n s u g g e s te d th a t Sh a k e s p e a re ’s fa th e r m a y

h a v e ta k e n h im to t h e e v e n t a n d t h a t

re f e re n c e s to t h e p re s e n ta t io n o f Ar io n in t h e

e x tra v a g a n t w a te r p a g e a n t m a y b e fo u n d in A

M id s u m m e r N ig h t’s D re a m (Ac t 2 , Sc e n e 1)

a n d T w e l ft h N ig h t (Ac t 1, S c e n e 2 ).

U n til 1 5 9 1 it w a s E liz a b e t h ’s o w n p la y in g

c o m p a n y , th e Q u e e n ’s M e n , w h o d o m in a te d

p e r fo r m a n c e s in L o n d o n a n d t h e c o u rt, b u t

s u b s e q u e n tly t h e m a jo r p a t ro n s o f th e th e a tre

w e re h e r s e n io r o ffi c ia ls – fro m 15 9 4 t h e Lo r d

Ch a m b e rla in ’s M e n (w h o in c lu d e d

Sh a k e s p e a re ) a n d t h e L o rd Ad m ira l’s M e n

w e re t h e m a jo r p e rfo r m e r s. Wh ile it m a y b e

a s s u m e d t h a t m a n y o f Sh a k e s p e a re ’s p la y s

w e re p re s e n t e d fo r th e Q u e e n , th e o n ly

s u r v iv in g c o u rt re c o rd is o f a p e r fo r m a n c e o f

L o v e ’s L a b o u r ’s L o s t in 1 5 9 8 . As Yo u Lik e It

m a y h a v e re c e iv e d a ro y a l p e r fo r m a n c e in

1 5 9 9 a n d th e title p a g e o f th e 16 0 2 q u a r to o f

T h e M e r ry Wiv e s o f Win d s o r in d ic a te s t h a t th e

p la y w a s p e rfo r m e d fo r th e Q u e e n . A le g e n d


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The lizabethan Age

th a t fi rs t s u r fa c e d i n t h e e a rly e ig h te e n t h

c e n tu r y s u g g e s ts th a t th e p la y w a s w ritte n a t

ro y a l c o m m a n d b e c a u s e E liz a b e th w is h e d to

s e e m o r e o f Fa ls ta ff – a n d to s e e h im in lo v e .

E q u a l ly c o n je c t u r a l, b u t r a th e r a p p e a lin g , is

th e s u g g e s tio n th a t s o m e o f Sh a k e s p e a re ’s

w itty , p o w e r fu l h e r o in e s , s u c h a s B e a t ric e ,

re fl e c t t h e Q u e e n ’s th e a t r ic a l p e r s o n a l ity .S h a k e s p e a re ’s He n r y VIII, w r itte n a r o u n d

16 13 , c o n c lu d e s w ith th e c h ris te n in g o f th e

in fa n t E liz a b e t h I. T h o m a s Cra n m e r, th e

Arc h b is h o p o f Ca n te r b u r y , g lo w in g ly p re d ic t s

h e r g lo r io u s fu tu re (u s in g th e p h o e n ix im a g e

a g a in ), a n d s p e a k s o f h e r d e a t h :

“But she must die –

She must, the saints must have her – yet

a virgin,

A most unspotted lily shall she pass

o th’ ground, and all the world shall

mourn her.”

(Act 5, Scene 4)

Sh a k e s p e a re m a y w e ll h a v e w itn e s s e d t h e

“m o u r n in g ” th a t h e d e s c r ib e d a t E liz a b e t h ’s

fu n e r a l in Lo n d o n o n 2 8 Ap r il 16 0 3 . T h e fo r m a l

p r o c e s s io n o f o v e r 1,0 0 0 m o u rn e rs

a c c o m p a n y in g th e c o ffi n a n d a c o s tu m e d

e ffi g y o f th e Q u e e n w a s th e fi n a l th e a tric a l a c t

o f th is m o s t th e a tric a l m o n a rc h , a n d w a s

w a tc h e d b y a n a u d ie n c e o f te n s o f th o u s a n d s

o f Lo n d o n e rs .

“ U n t i l 1 5 9 1 i t w a s E l i z a b e t h ’ s

c o m p a n y t h e Q u e e n ’ s M e n

w h o d o m i n a t e d p e r f o r m a n c e s

i n L o n d o n a n d t h e c o u r t

Robert Dud ley,

Ear l of Leicester, c.153288

Dudley’s popularity with the Queen is evident in

the Earldom and lands that she gifted him and in

his position as one of her senior Councillors.

Often described as one of Elizabeth’s suitors, he

was as interested in the arts as in politics and was

patron of his own group of players – Leicester’s

Men – who performed in Stratford in the 1570s

and ’80s. Some of Leicester’s Men eventually

formed the Queen’s Men.

BELOW

Robert Dudley, Earl of Leicester, is shown as a Knight of

the Order of the Garter, an honour he received from the Queen

in 1559

ABOVE

The gardens at

Nonsuch in Surrey were

laid out as an allegorical

compliment to the

Queen’s virtues

BELOW

Elizabeth’s funeral procession. Her bodyguards have their pole-axes

pointing downwards and the barons and earls display banners showing the

emblems of Wales, England, France and the Tudors

ABOVE

Nicholas Hilliard

was responsible for some of

the most in uential images of

the Queen


14/164

hakespeare

T h e p o litic a l a n d re lig io u s c o m p le x itie s o f th e p e r io d re q u ire d c a re f u l

m a n a g e m e n t b y e x p e r ie n c e d p e rs o n n e l. On e s u c h c o u rt p ro fe s s io n a l

w a s Sir He n ry U n to n , w h o w a s tw ic e Q u e e n E liz a b e th ’s Am b a s sa d o r in

Fra n c e . His life w a s re c o rd e d in a p ic tu re c o m m is s io n e d a t h is d e a th b y

h is w id o w , La d y D o ro th y , a n d w h ile t h e im a g e its e lf is u n iq u e , it re c o rd s

m a n y fe a t u re s t y p ic a l o f th e life o f a w e ll-c o n n e c te d , title d g e n tle m a n

The Elizabethan

Age The Country

C

le a r ly s h o w n a re t h e ric h

c irc u m s ta n c e s o f h is b ir th ; h is

e d u c a t io n a t Orie l Co lle g e , Ox fo r d ;

t ra v e llin g w it h h is t u to r in It a ly ;

life in h is c o u n tr y h o u s e a t Wa d le y ,

n e a r Fa r in g d o n , w h e re h e is se e n s tu d y in g ,

m a k in g m u s ic , e n jo y in g a b a n q u e t a n d a

m a s q u e ; a t w a r in t h e N e th e rla n d s a n d fi n a lly

h is d e a th in F ra n c e , th e r e tu r n o f h is b o d y t o

E n g la n d a n d t h e la v is h f u n e r a l.

A h o u s e h o ld s u c h a s Wa d le y w a s la r g e ly

s e lf-s u p p o r tin g w ith its o w n b r e w e r y , d a ir y ,

b a k e r y , b u tte r y , a r m o u r y a n d s p e c ia lis t la r d e r s

in a d d itio n to t h e b a r n s a n d s ta b lin g o n th e

e s ta te . T h e r e is s o m e in d ic a t io n in th e p ic t u r e

I N S T T h e u n i q u e

m e m o r i a l p i c t u r e o f S i r

H e n r y U n t o n s h o w i n g h i s

l i f e f r o m b i r t h t o b u r i a l


15/164

The lizabethan Age

“It w a s d u rin g th is p e rio d th a tm a n y la rg e c o u n try h o u s e s lik e SirHe n ry ’s w e re fre q u e n tly b u ilt”

of the sta required to support such a lifestyle

– the “middling sort” who were servants,

stewards, nurses and musicians – the

characters who people Shakespeare’s plays.

The households of Twelfth Night, the masques

of A Midsummer Night’s Dream and Love’s

Labour’s Lost, the nurse of Romeo and Juliet,

and the servants from a range of dramas come

from Unton’s stratifi ed world.

It was during this period that many large

country houses like Sir Henry’s were

frequently built, on prime sites that had been

vacated at the dissolution of the monasteries,

and were richly furnished and decorated. But

this was not the experience of many. It was a

period of signifi cant social di erentiation and,

put simply, the rich were getting richer and the

poor were getting poorer at a faster rate than

B E L O W b l i n d

m a n a n d h i s

d o g f r o m T h e

R o x b u r g h e B a l l a d s


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hakespeare

e v e r b e fo r e . E ig h ty o r s o m ile s a w a y fro m th e

c ity a n d th e c o u r t o f Lo n d o n , a n d n o r th o f Sir

He n r y ’s e s t a t e s in Wad le y , life in S tr a t fo r d in

th e h e a r t o f th e M id la n d s w a s v e r y d iff e re n t,

a s in d e e d it w a s fo r th e m a jo r ity – p e rh a p s a s

m u c h a s 9 0 p e r c e n t o f th e p o p u la tio n – w h o

w e re c o u n t ry d w e lle rs a n d w o r k e rs .

T h e c o u n try s id e a r o u n d v illa g e s a n d t o w n s

w o u ld b e u n re c o g n iz a b le to d a y . B e fo r e th e

e n c lo s u re s t h a t c r e a t e d p a r c e ls o f p r iv a te ly

o w n e d la n d it w a s c h a r a c te r iz e d b y g r e a t,

o p e n , u n h e d g e d fi e ld s a n d c o m m o n p a s tu re s .

B e fo r e th e m e c h a n iz a tio n o f a g r ic u ltu re , w h o le

fa m ilie s a n d c o m m u n itie s w o r k e d in th e fi e ld s .

T h e p a tte r n o f th e ir w o r k in g d a y w a s re g u la te d

b y th e s u n (th e h o u rs o f d a y lig h t); th e ir

w o r k in g y e a r b y t h e c h u rc h , w ith 2 3

d e s ig n a te d fe a s t d a y s (“h o ly ” d a y s ) a n d

BELOW Farm

labourers clear the

soil and prepare it

for planting

ABOVE In this woodcut, also

from The Roxburghe Ballads,

a family is shown enjoying

the feasting that frequently

occurred throughout

Shake speare’s plays

d u c a t i o n

In 2 Henry IV, Justice Shallow’s young

cousin William is to progress from

university to an Inn of Court, an

educational experience that parallels Sir

Henry Unton’s. Young gentlemen went to

one of the universities – Oxford or

Cambridge – when they were 15 or 16 (like

Christopher Marlowe, but not

Shakespeare or his friend Ben Jonson)

mainly to study theology, law or

medicine. The four Inns of Court – Gray’s

Inn, Lincoln’s Inn, Middle Temple and

Inner Temple – in London also taught lawand wider accomplishments, such as

music and dancing, and their halls were

used for performances. It is estimated

that 50 per cent of London men were

literate, but the national gure was much

lower and away from the city and large

houses few women were educated.

Shakespeare’s wife and his daughter

Judith, for example, used a mark rather

than a signature to sign their names.

a d d itio n a l b re a k s a t E a s te r , Wh its u n a n d

Ch r is tm a s . M o s t im p o r ta n tly , life w a s

re g u la te d b y a n d d e p e n d e n t o n th e fa r m in g

y e a r , w ith p o o r h a r v e s ts a n d d is e a s e a d d in g

p r o b le m s o f fa m in e a n d p o v e r ty to w o rk t h a t

w a s a lre a d y p h y s ic a lly a r d u o u s . T h e s e

c o u n t ry c o m m u n itie s w e re la rg e ly s e lf-

s u ffi c ie n t, w ith th e m a n u fa c tu r in g o f te x tile s

a n d h o u s e h o ld g o o d s still b e in g c a r rie d o u t o n

a d o m e s t ic b a s is ra t h e r th a n a s la r g e r s c a le

in d u s t r ia l a c t iv it ie s .

“M ost im portantly, life wasregulated by and dependenton the farm ing year”


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The lizabethan Age

M a n y p o p u la r p a s tim e s o f t h e p e r io d a r e e v id e n t in

S h a k e s p e a r e ’s p la y s : t h e h u n t in g i n As Yo u Lik e It, t h e fa lc o n r y

th a t p r o v id e s th e “ ta m in g ” a n a lo g ie s o f Sh r e w , a n d t h e fe n c in g

th a t is e s s e n t ia l to th e t ra g ic p lo t o f Ro m e o a n d J u lie t o r u s e d

c o m ic a lly in T h e M e r r y Wiv e s o f Win d s o r. M o r e c o m m o n

a c t iv itie s , s h a r e d b y w o m e n a n d c h ild r e n , w e r e t h e fe a s tin g ,

d r in k i n g , d a n c in g a n d m u s ic th a t o c c u r t h r o u g h o u t t h e c a n o n ,

o f te n in c o d ifi e d fo r m s , a n d m a r k e d t h e c h u r c h , c iv ic a n d

fa r m in g c a le n d a r s .

astimes

S o m e e l e m e n t s o f t h i s a g r i c u l t u r a l l i f e ,

w h e r e s h e e p o u t n u m b e r e d p e o p l e b y t h r e e t o

o n e , m a y b e s e e n i n t h e “ p a s t o r a l ” s c e n e s o f

T h e W i n t e r ’ s T a l e a n d t h e A r d e n s c e n e s i n A s

Y o u L i k e I t , t h e f o r m e r c e l e b r a t i n g c o u n t r y l i f e

w i t h s h e e p - s h e a r i n g f e a s t s a n d t h e l a t t e r ,

w h i l e h u m o r o u s a n d r o m a n t i c , w e l l a w a r e o f

t h e d a n g e r s a n d t h r e a t s t o r u r a l l i v e l i h o o d s .

T h e s h e p h e r d C o r i n ’ s d e s c r i p t i o n o f h i s r u r a l

l i f e , i n r e s p o n s e t o t h e g o a d i n g o f t h e c o u r t -

d w e l l e r T o u c h s t o n e , w a s t y p i c a l o f m a n y :

“ Sir, I a m a t r u e l a b o u r e r . I e a r n t h a t I e a t ,

g e t t h a t I w e a r; o w e n o m a n h a te , e n v y n o

m a n ’s h a p p in e s s ; g la d o f o th e r m e n ’s

g o o d , c o n te n t w ith m y h a r m ; a n d t h e

g r e a te s t o f m y p r id e is to s e e m y e w e ’s

g r a z e a n d m y la m b ’s s u c k .”

(Ac t 3 , S c e n e 2 )

W h i l e w r i t i n g h i s p l a y s i n t h e c i t y S h a k e s p e a r e

w a s n e v e r t h e l e s s r e e c t i n g t h e e x p e r i e n c e s o f

t h e m a j o r i t y w h o , l i k e h i m , h a d g r o w n u p i n

r u r a l r a t h e r t h a n u r b a n E n g l a n d .

B ELOW Robert Dudley, Earl of Leicester, is shown as a Knight of the

O rder of the Garter, an honou r he received from the Queen in 1559

AB OVE As th is w o o d c u t s h o w s , h u n t in g w a s a v e r y p o p u la r r u ra l p u r s u it a n d

a ls o a g o o d s o u r c e o f fo o d

AB OVE Ch ri s t

Ch u r c h , fo u n d e db y Ca r d i n a l

Wo ls e y in 1 5 2 5 ,

w a s th e f o r e m o s t

t h e a t r ic a l c o l le g e

o f s ix t e e n th -

c e n t u r y Ox f o r d .

Its h a l l w a s u s e d

fo r p e r fo r m a n c e s

f o r r o y a l v is it o r s

to th e c ity a n d th e

d r a m a t is t Ge o r g e

P e e le s tu d i e d

t h e r e , r e tu r n i n g

in 1 5 8 3 t o d ir e c t

Will ia m Ga g e r ’s

L a tin p la y s


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hakespeare

Wh e n th e a n tiq u a r y J o h n Le la n d v is ite d Wa r w ic k s h ire in th e 1 5 4 0 s

h e t ra v e lle d s o u th fro m Wa r w ic k to B a r fo rd a n d Ch a rle c o te a n d th e n

a r riv e d in Stra tfo rd , w h ic h h e d e s c r ib e d c a re f u lly :

“T h e to w n o f Stra tfo rd o c c u p ie s a le v e l s ite o n th e r ig h t b a n k o r s id e

o f th e Av o n , a s o n e g o e s d o w n s tre a m . It h a s tw o o r th re e v e r y la rg e

s tre e ts , a n d b a c k la n e s b e s id e s . Of th e m a in s tre e ts o n e le a d s fro m e a s t

to w e s t a n d a n o t h e r fro m s o u th to n o r th . T h e b u ild in g s a re tim b e r, a n do f re a s o n a b le q u a lity . T h e to w n b e lo n g s to th e B is h o p o f Wo rc e s te r. On

Ho ly Ro o d D a y , 14 Se p te m b e r, e a c h y e a r a g re a t fa ir is h e ld . T h e la r g e

p a r is h c h u rc h , w h ic h s ta n d s a t th e s o u th e n d o f th e to w n , is a fin e p ie c e

o f a r c h ite c t u re .”

lizabethan

Stratford

T

h e n h e lis te d th e m o s t im p o s in g

fe a tu re s o f th e t o w n : th e T r in ity (m o r e

a c c u r a te l y t h e Gu ild ) Ch a p e l t h a t

w a s b u ilt b y Hu g h Clo p to n , a L o rd

M a y o r o f Lo n d o n ; Clo p to n ’s g r a n d

h o u s e ; th e g r a m m a r s c h o o l o n th e s o u th

s id e o f th e Ch a p e l t h a t w a s e s ta b lis h e d b y

T h o m a s J o lliff e , a u n iv e rs ity te a c h e r b o r n

in Stra tfo r d ; th e a lm s h o u s e s a n d th e b rid g e

a c r o s s th e Av o n th a t w a s a ls o b u ilt b y

Hu g h Clo p to n . So it w a s a s m a ll to w n w ith

s o m e d is tin g u is h e d b u ild in g s a n d s o m e

d is tin g u is h e d in h a b ita n ts . T h e re w e re a b o u t

2 0 0 fa m ilie s in a ll – a p o p u la tio n o f p e rh a p s

1,0 0 0 p e o p le – a lth o u g h it is d iffi c u lt to b e

p re c is e a t th is p e r io d . T h e r e w a s a g e n e r a lm o v e fro m c o u n t ry to to w n , b u t d is e a se w a s

p re v a le n t: it is e s t im a te d t h a t 10 p e r c e n t o f

Stra t fo rd ’s in h a b ita n ts d ie d o f fl u o r ty p h u s

in 1 5 5 8 9 , a n d a b o u t 16 p e r c e n t d ie d o f th e

p la g u e in 1 5 6 4 , th e y e a r o f S h a k e s p e a re ’s

B E L O W T h e g a t e h o u s e

o f C o u g h t o n C o u r t

w h e r e o n 5 N o v e m b e r

1 6 0 5 S i r E v e r a r d D i g b y

a n d J e s u i t p r i e s t s

w a i t e d f o r n e w s o f t h e

G u n p o w d e r P l o t


19/164

lizabethan Stratford

b ir th . In th e w h o le o f E n g la n d , th e r e w e re

a b o u t th re e m illio n p e o p le , fe w e r th a n th e re

h a d b e e n b e fo r e th e B la c k D e a th 2 0 0 y e a r s

b e fo r e , b u t th e p o p u la tio n w a s ju s t b e g in n in g

to g ro w a n d m o re c h ild re n w e re s u r v iv in g

th e p e r ils o f in fa n c y .

T h e Av o n w a s a n im p o r ta n t p a rt o f

S tr a tfo r d ’s p ro s p e r it y . L e la n d w r o t e th a t u n t il

Clo p to n b u ilt h is s to n e b r id g e “th e r e w a s o n ly

a p o o r w o o d e n b r id g e w ith n o c a u s e w a yle a d in g u p t o it. Co n s e q u e n tly m a n y p o o r

p e o p le a n d o th e r s re f u s e d to v is it Stra t fo rd

w h e n th e Av o n w a s in s p a te , o r if th e y d id

c o m e t h e y h a d to r is k t h e i r liv e s ”. T r a v e llin g

e a s t a n d w e s t h a d a lw a y s b e e n p o s sib le o n

John Leland

1506 52

I n t h e 1 5 3 0 s a n d ’ 4 0 s

H e n r y V I I I ’ s l i b r a r y k e e p e r

a n d a n t i q u a r y J o h n

L e l a n d u n d e r t o o k a

r e s e a r c h t o u r t h r o u g h o u t

E n g l a n d w h i c h h e p l a n n e d

t o f o r m t h e b a s i s o f a g r e a t

o r i g i n a l w o r k H i s t o r i e s

a n d A n t i q u i t i e s o f t h i s

N a t i o n . A l t h o u g h h e n e v e r

c o m p l e t e d t h e w o r k h i s

n o t e s f o r m e d t h e b a s i s

o f L e l a n d ’ s I t i n e r a r y

w h i c h w a s p u b l i s h e d i n

O x f o r d i n 1 7 1 0 a n d

p r o v i d e s s o m e o f t h e

e a r l i e s t d e s c r i p t i o n s

o f T u d o r E n g l a n d .

“The Avon was anim portant part ofStratford’s prosperity”


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hakespeare

B ELOWHo l y T r in it y Ch u r c h w h e r e Willia m

S h a k e s p e a r e w a s b a p tis e d in 1 5 6 4 a n d b u r ie d i n 1 6 1 6

the river, connecting all the way to the port

of Bristol in the west, but was less easy going

north to south. After the new bridge was

built, Stratford became an important post on

the route that transported salt from Cheshire

to London. So the small town became

the centre for trades, such as tailoring,

shoemaking, carpentry and blacksmithing,

and markets that served local villages, and

began to acquire a national signi cance. Itlacked the prominence of the ancient cities of

Coventry to the north or Oxford to the south,

but still had regular contacts with the capital.

“ o r t h o f t h e r i v e r w a s t h e a r e a

k n o w n a s A r d e n a n d p e r h a p s t h e

s e t t i n g f o r A s Y o u L i k e I t ”

The Avon bisects Warwickshire into two

distinct areas. North of the river was the area

known as Arden, the hillier, wooded part of

the county and perhaps the setting for As

You Like It. In Shakespeare’s day, it had a

reputation as a rather dangerous or suspect

place: there were wild animals, rumours of

bandits or outlaws, and it was also where

some of the Catholic, recusant families hid

out. Nearby, Baddesley Clinton had “priest-holes” to hide its Catholic celebrants and

Coughton Court was heavily implicated

in the Gunpowder Plot (in fact, the main

conspirators of 1605 – Catesby, Tresham and

Winter – all had Stratford connections).

South of the river was Felden, a fl atter

and more prosperous, fertile area where

B ELOWT h e h o u s e in He n le y S tr e e t w h e r e Willia m

Sh a k e s p e a r e w a s b o r n


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lizabethan Stratford

T h e Clo p t o nfa m ily

Hugh Clopton, Lord Mayor of

London in 1491, built

Stratford’s grandest house,

New Place, which Shakespeare

bought in 1597. Shakespeare’s

father, John, was a tenant of

land owned by Sir William

Clopton in Hampton Lucy.

Clopton House, the family

home on the outskirts of

Stratford, was used as a base

by Ambrose Rookwood, one

of the Gunpowder Plot

conspirators in 1605. He

was eventually captured

and executed.

ABOVEA nineteenth-century view of Shakespeare’s school King

Edward VI’s Grammar School) with the Guild Chapel to its left

ABOVE Baddesley Clinton, to the north of Stratford, still has

three priest-holes where Catholics hid from persecution

BELOWThe Clopton Bridge, over the Avon, improved travel and

contributed to the prosperity of Stratford

BELOW Hugh Clopton, who came

from a prominent Stratford family,

is remembered in stained glass as a

benefactor of the Guild Chapel

a g r i c u l t u r e b e n e t e d f r o m t h e A v o n ’ s r e g u l a r

fl o o d i n g . P r e d o m i n a n t l y P r o t e s t a n t , w e a l t h y ,

l a n d o w n i n g f a m i l i e s h a d h o m e s i n t h i s a r e a

a n d i t w a s h e r e t h a t t h e g r a i n , t h e b a s i s o f

S t r a t f o r d ’ s s u c c e s s f u l m a l t i n g a n d b r e w i n g

i n d u s t r y , w a s g r o w n .

T h e 1 5 5 3 C h a r t e r o f I n c o r p o r a t i o n

e s t a b l i s h e d t h e a d m i n i s t r a t i o n o f S t r a t f o r d ,

c r e a t i n g a C o r p o r a t i o n o f a l d e r m e n a n d

b u r g e s s e s – l a r g e l y t h e s e n i o r t r a d e s m e n –

w h o s e r e s p o n s i b i l i t i e s i n c l u d e d t h e g r a m m a r

s c h o o l a n d t h e G u i l d C h a p e l . I n 1 5 6 4 ,

t h e C o r p o r a t i o n o r d e r e d t h e d e f a c e m e n t

o f i m a g e s i n t h e C h a p e l , p r o b a b l y t o

d e m o n s t r a t e t h e P r o t e s t a n t a l l e g i a n c e o f

t h e t o w n .

T h i s w a s t h e y e a r o f S h a k e s p e a r e ’ s b i r t h –

i n a s m a l l m a r k e t t o w n i n t h e M i d l a n d s n o t

i n i t s e l f o f g r e a t s i g n i c a n c e y e t n o n e t h e l e s s

r e fl e c t i n g n a t i o n a l e v e n t s .


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hakespeare

IN S ET Ch a r le c o t e P a r k

w a s th e h o m e o f th e L u c y

fa m ily . T h e h o u s e t h a t

s till s ta n d s to d a y w a s

b u ilt b y S ir T h o m a s Lu c y

in 1 5 5 1 . Le g e n d s u g g e s t s

th a t S h a k e s p e a r e w a s

c a u g h t p o a c h in g d e e r in

th e g r o u n d s


23/164

hakespeare in tratford

W illiam S h a k e s p e are , t h e t h ird o f e ig h t c h ild re n an d t h e f irs t b o y, w as b o rn

in 1 5 6 4 an d b ap t is e d o n 2 6 Aril in H o ly T rin it y C h u rc h . H is b irt h d ay is

t rad it io n ally s e t t h re e d ay s e arlie r, as s u m in g t h e u s u a l d e lay b e t w e e n b irt h

an d b ap t is m . Aril 2 3 is a ls o , c o n ve n ie n t ly, S t G e o rg e ’s D ay, t h u s c re at in g a

p at rio t ic e l is i o n b e t w e e n n at io n a l s a in t an d n at io n a l p lay w rig h t

Sh a k e s p e a re

in Stra tfo rd

H

is m o t h e r, M a ry Ard e n , w a s f ro m a p ro s p e ro u s farm in g fa m ily at

W il m c o t e , a v illa g e j u s t o u t s id e

S t ra tf o rd , a n d h is f at h e r, J o h n , w a s

a g lo v e r, t an n e r a n d w o o l- d e a le r i n

t h e to w n . J o h n w a s a ls o a m e m b e r o f t h e

C o rp o rat io n , b e c o m in g B a ili (t h e e q u iv ale n t

o f M ay o r) in 1 5 6 8 . I t w a s w h il e h e h e ld t h is

o ffi c e , w h ic h in c lu d e d t h e re s p o n s ib il it y fo r

lic e n s in g v is it in g ac t o rs , t h at th e Q u e e n ’s M e n

an d W o rc e s te r’s M e n p e rf o rm e d in S t rat fo rd

fo r t h e fi rs t t im e .

J o h n S h a k e s p e a re ’s p o s it io n w o u ld als o

h av e e n ab le d W illia m to at te n d t h e g ra m m a r

s c h o o l, p ro b ab ly w h e n h e w as ab o u t e ig h t ,

h av in g fi rs t g o n e to a “p e t t y s c h o o l” fo r h isb a s ic e d u c at io n . At th e K in g ’s N e w S c h o o l ,

h e w o u ld h av e le a rn e d L at in , e n c o u n te re d

c la s s i c a l p la ys a n d s t o r ie s a n d le a rn t to w rit e

le t te rs , s p e e c h e s an d arg u m e n ts . T h e s c e n e

in T h e M e rry W iv e s o f W in d s o r, w h e n t h e

yo u n g W il lia m re c it e s h is L at in le s s o n , m ay

w e l l re fl e c t p e rs o n a l e x p e rie n c e .

T h e fa m ily h o m e in H e n le y S t re e t (n o w

k n o w n as S h a k e s p e are ’s B irt h p lac e ) w a s

a ls o t h e c e n t re o f h is fat h e r’s b u s in e s s w it h

w o rk s h o p s o n t h e g ro u n d fl o o r fo r p re p a rin g

an d w o rk in g an im a l s k in s . T h e h yg ie n ic

d is p o s a l o f d o m e s t ic an d c o m m e rc ia l w a s t e

w as f re q u e n tly a p ro b le m at t h is t im e an d

“ H e w o u l d h a v e l e a r n e d

L a t i n e n c o u n t e r e d

c l a s s i c a l p l a y s a n d s t o r i e s ”

Shakespeare’s sevenbrothers and sisters

Joan 1558–?60

M argaret 15623

G ilbert 15661612

(became a haberdasher)

Joan,1569 1646 |

(survived her husband, William Hart, a

hatter, by 30 years and lived in the

“Birthplace” in Henley Street)

A nn,15719

R ichard 15741613

Edmond 1580 160 7

(an actor who was buried in Southwark,

where there is a fine memorial in

the Cathedral)

B EL OW “Hew lands”,

now know n as A nne

H athaw ay’s Cottage,w as

the childh ood h ome of

Sh akespeare’s w ife

B EL O W The memorial tablet to

Shakespeare’s actor broth er Edmond that can

be found in So uthw ark C athedral


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hakespeare

re c o rd s s h o w th a t Jo h n w a s fi n e d fo r m a k in g

a d u n g h ill in th e s tre e t ra t h e r th a n u s in g t h e

a u t h o r iz e d fa c ilit ie s .

It is lik e ly t h a t Sh a k e s p e a r e le f t s c h o o l

w h e n h e w a s 1 5 , a n d p e r h a p s h e th e n h e lp e d

in h is fa t h e r ’s b u s in e s s , b u t it is t h e a b s e n c e

o f e v id e n c e d u r in g t h is p e r io d – s o m e tim e s

c a lle d “t h e lo s t y e a r s ” – th a t h a s c o n t rib u te d

to a n u m b e r o f m y th s a n d c o n tro v e rs ie s .

It h a s b e e n s u g g e s te d th a t h e w o r k e d a s

a s c h o o lm a s te r in th e c o u n tr y , th a t h e

w a s w ith a Ca t h o lic fa m ily in La n c a s h ire ,

th a t h e h a d jo in e d a n a c tin g c o m p a n y o r

tra v e lle d a b ro a d , a n d th a t h e h a d to le a v e

Stra tfo r d in a h u rry h a v in g b e e n c a u g h t

d e e r-p o a c h in g in Ch a r le c o te P a r k . He w a s ,

h o w e v e r, b a c k in to w n in N o v e m b e r 1 5 8 2 .

On 2 7 N o v e m b e r, a lic e n c e fro m th e B is h o p

o f Wo rc e s te r p e r m itte d h is m a r ria g e a n d

w a s fo llo w e d b y a s p e c ia l b o n d th e n e x t d a y .

T h e re is so m e c o n fu s io n o r e v e n irre g u la r ity

h e r e : An n e is n a m e d “Wh a te ly ” ra t h e r th a n

“Ha th a w a y ” in th e lic e n c e t h a t a ls o a llo w e d

a s p e e d y m a r ria g e a fte r ju s t o n e re a d in g o f

th e b a n n s . T h e w ro n g n a m e m a y b e a s im p le

e r ro r, w h ile th e h a s te m a y r e fl e c t th e fa c t

th a t An n e Ha t h a w a y (b o r n in 1 5 5 5 o r ’5 6 ,

The Earl of Oxford

1550 1604A p r o m i n e n t s t a t e s m a n

a n d l a w y e r . T h e d a t e s

w o r k , b u t n o t h i n g a b o u t

t h e s t y l e o f h i s e s s a y s a n d

o t h e r w r i t i n g s i s a t a l l l i k e

S h a k e s p e a r e ’ s p l a y s .

Christopher Marlowe

1564 93

The authorship contenders

Sir Francis Bacon

1561 1626A g r e a t p l a y w r i g h t , b u t

h i s w e l l - d o c u m e n t e d

m u r d e r s u r e l y

p r e v e n t e d h i m w r i t i n g

t h e b u l k o f t h e

S h a k e s p e a r e c a n o n .

a n d o n e o f s e v e n c h ild re n fro m a fa rm in g

fa m ily i n S h o tte r y ju s t o u t sid e S tra t fo rd ) w a s

p re g n a n t. S h a k e s p e a re , a t 18 , w a s te c h n ic a lly

a m in o r a n d An n e w a s e ig h t y e a rs o ld e r.

T h e ir d a u g h te r Su s a n n a w a s b o rn in M a y th e

fo llo w in g y e a r a n d th e ir tw in s , J u d ith a n d

Ha m n e t , e a rly in 1 5 8 5 .

D e s p ite t h e q u a n tity o f c o n te m p o r a ry

e v id e n c e t h a t Sh a k e s p e a re w ro t e h is p la y s ,

it is th e la c k o f h a r d in fo r m a t io n a b o u t th e

m is sin g y e a r s , c o u p le d w ith th e a p p a re n t

o rd in a r in e s s o f h is life , t h a t h a s f u e lle d t h e

c o n tro v e r s y a b o u t a u t h o rs h ip . A d e s ire t o

m a k e th e p la y w rig h t e x c e p tio n a l, p re fe r a b ly

m e t ro p o lita n a n d u p p e r c la s s o r, a t th e v e r y

le a s t , u n iv e rs ity e d u c a te d , h a s le d s o m e

to p r o p o s e a v a s t c o n s p ira c y a n d s u g g e s t

a lte r n a t iv e a u t h o r s fo r t h e p la y s : S ir F ra n c is

B a c o n , Ch r is to p h e r M a r lo w e , th e 1 7 th E a rl

o f Ox fo rd a n d e v e n Q u e e n E liz a b e t h I.

Su c h c la im s te n d t o re v e a l m o r e a b o u t th e

p ro p o s e r s o f th e s e th e o rie s th a n th e y d o

a b o u t Sh a k e s p e a re .

B E L O W S h a k e s p e a r e ’ s f a t h e r , J o h n , w e a r i n g h i s r o b e s

o f o c e a n d s t a n d i n g i n f r o n t o f h i s h o u s e i n H e n l e y

S t r e e t ( S h a k e s p e a r e ’ s b i r t h p l a c e ) , i s r e m e m b e r e d i n

s t a i n e d g l a s s i n t h e G u i l d C h a p e l

“A desire to m ake him exceptional,led som e to propose a conspiracy”

A s w i t h M a r l o w e , t h e d a t e o f

h i s d e a t h p r e c l u d e s O x f o r d

f r o m t h e a u t h o r s h i p o f p l a y s

t h a t c a n b e d a t e d , w i t h

c e r t a i n t y , l a t e r i n t h e r e i g n

o f K i n g J a m e s .


25/164

S h a k e s p e a r e ’s a p t i s m R e c o rd

T h e r e g is tr a t io n o f Willia m S h a k e s p e a r e ’s

b a p tis m in t h e p a r is h r e g i s te r , w h ic h t o o k p la c e

o n 2 6 Ap r il 1 5 6 4 in Ho ly T r in ity Ch u rc h

IT E M 1

T h e x h i b i t s


26/164

hakespeare

H

e liv e d a n d w o r k e d o n t h e s o u t h

b a n k o f th e T h a m e s in th e Lib e rty

o f t h e Clin k . T h e L ib e r t ie s w e r e a

c u r io u s a d m in is tra tiv e a n o m a ly : o n c e

m o n a s t ic la n d s , a t th e D is s o lu tio n

o f t h e M o n a s t e r ie s u n d e r He n r y VIII,

th e y c e a s e d to h a v e a n y c le a r ju r is d ic t io n

a n d r e m a in e d fre e o f th e c o n tro l o f th e

c iv il a u th o r itie s . T h e y b e c a m e th e c ity ’s

p la y g ro u n d s , a re a s o f s o m e w h a t d u b io u s

re p u ta tio n , a n d t h e s ite o f h u n d re d s o f

in n s , b o w lin g a lle y s , p it s fo r b u ll-b a it in g ,

b e a r-b a itin g a n d c o c k fi g h tin g , b r o t h e ls a n d

p u rp o s e -b u ilt th e a tre s . T h e s o u th b a n k a re a

T h e w r ite r Ro b e r t Gre e n e ’s fa m o u s ly d is p a r a g in g re fe r e n c e to

Sh a k e s p e a re a s “ th e u p s ta r t c ro w ” in A Gro a ts w o rth o f Wit h e lp s p la c e

th e p la y w rig h t firm ly in Lo n d o n b y 15 9 2 , b u t it is lik e ly th a t h e h a d

a r riv e d a c o u p le o f y e a r s e a rlie r a n d w h ile h e w o u ld e v e n tu a lly p e r fo r m

a t c o u r t it w a s n o t th e c ity o f th e ro y a l p a la c e s o f We s t m in s te r, Wh ite h a ll

a n d St Ja m e s th a t h e firs t e n c o u n te re d

Shakespeare’sondon

R o b e r t G r e e n e

c . 1 5 6 0 9 2

G reene was a profi cient wr iter in

m any styles and genres, with a

colourful private life, who m ay have

collaborated w ith Shakespeare onthe early Henry V I plays.His prose

work Pandosto is the source story for

The Winter’s Tale, although it has an

elem ent of incest that is m ore

salacious than in Shakespeare’s play.

His autobiographical wr itings tell of

London’s lowlife and he was said by

his contem porary, Gabriel Harvey, to

have died from a surfeit of pickled

herrings and Rhenish wine.

ABOVE Robert Greene was notorious for his

appearance as well as his writing.In thi s

posthum ously published picture he is shown

in h is wind ing sheet, still writing after death

a ls o c o n ta in e d th e p r is o n s a n d th e s m e llie s t

tra d e s – ta n n in g , s o a p -m a k in g a n d b re w in g .

T h e w h o le c ity w a s b u s y a n d g ro w in g fa s t; it

w a s c ro w d e d a n d fre q u e n t ly u n ru ly . T h e

o r ig in a l w a lle d c it y , w it h it s We s t m in s te r

p o w e r b a s e , w a s fi llin g u p a n d o v e r sp illin g

w ith v a g r a n t s , v a g a b o n d s , fo r m e r s o ld ie r s a n d

s a ilo r s , d is c h a r g e d s e r v a n ts , o r p h a n s a n d

re fu g e e s . T h e re w e r e fre q u e n t a tte m p ts a t

p o p u la t io n c o n tro l, in c lu d in g re s t ric t io n s o n

n e w b u ild in g a n d th e c o n v e r sio n o f o ld

b u ild in g s in to te n e m e n t d w e llin g s . Sh o r ta g e s

o f fu e l, b r e a d a n d w a te r, a n d o u tb r e a k s o f

b u b o n ic p la g u e , a d d e d to th e te n s io n , b u t a t

hakespeare


27/164

Shakespeare’s ondon

“T h e w h o lec ity w a s b u s ya n d g ro w in g

fa s t; it w a sc ro w d e d a n d

fre q u e n tly u n ru ly ”

LEFTA map

of the Cities of

London and

Westminster,

drawn

in 1563 by

William Darton

RIGHT Philip Herbert, 4th

Earl of Pembroke, like his

brother William above) was

a great patron of the arts.

The First Folio is dedicated

to them both

ABOVE William Herbert,

3rd Earl of Pembroke, was

an important patron of

Shakespeare and possibly

the “Mr W. H.” to whom the

Sonnets are dedicated


28/164

hakespeare

th e s a m e tim e life w a s e x c itin g a n d , fo r s o m e ,

p r o s p e r o u s . T h e tra d e b y riv e r a n d s e a w a s

th e b a s is o f th e c ity ’s g r o w th a n d a t tra c t e d

m e rc h a n ts (th e fo u n d in g o f Gre s h a m ’s Ro y a l

Ex c h a n g e b o th re g u la te d a n d m a d e t h e ir

tra n s a c t io n s m o re s e c u re ). In th e t a v e r n s ,

t ra v e lle r s to ld ta le s n o t o n ly o f E u ro p e , b u t

a ls o o f Ru s s ia , T u rk e y a n d th e N e w Wo rld . A

s m a ll g r o u p o f Ita lia n s liv e d in th e c ity a n d

th e re w a s a ls o a b la c k p re s e n c e – m a in ly

s e r v a n ts a n d e n te r ta in e r s , b u t siz e a b le

e n o u g h fo r th e Q u e e n to e x p r e s s h e r

d is p le a s u re a n d fo r p la n s o f re p a tr ia tio n to b e

c o n s id e r e d . As p ir in g p o lit ic ia n s a n d a r t is t s ,

k e e n fo r ro y a l p a tro n a g e a n d s o c ia l a n d

e c o n o m ic a d v a n c e m e n t , w e re d r a w n to t h ec ity a n d t h e c o u r t, a s w e re m a n y y o u n g

n o b le m e n h o p in g to c a tc h t h e Q u e e n ’s

a tte n tio n th ro u g h th e ir o w n p a tro n a g e o f

t h e a r ts .

Sh a k e s p e a re ’s d e d ic a tio n o f h is lo n g p o e m s

Ve n u s a n d Ad o n is a n d T h e Ra p e o f Lu c re c e to

He n r y Wr io th e s le y , th e E a rl o f S o u th a m p to n ,

s u g g e s ts t h e id e n tit y o f h is fi rs t p a t ro n .

So u th a m p t o n w a s w e ll b o rn a n d r ic h , a n d it

w a s k n o w n th a t, a s a n o r p h a n , h e s to o d t o

in h e r it a la rg e fo r tu n e w h e n h e c a m e o f a g e .

Wr ite r s w e r e q u e u in g u p f o r h is p a t ro n a g e a n d ,

a k e e n t h e a tre -g o e r, h e s u p p o r te d B a r n e s , Jo h n

ABOVE“Wedding

at Horsleydown in

Bermondsey” by

the Antwerp-born

Joris Hoefnagel

(15421600)shows marriage

celebrations

in what is

now part of south-

east London

ABOVE

Thomas Nashe

(1567–c.1601), was frequently

in trouble with the church

and best remembered for his

prose writing

BELOW An arena for

cock ghting: the observers

are betting on the outcomeof the ght

Flo r io a n d T h o m a s N a s h e a s w e ll a s

S h a k e s p e a re . T h e d e d ic a t io n o f th e F irs t Fo lio

o f S h a k e s p e a re ’s w o rk s t o t h e He r b e r t

b ro t h e r s (Willia m a n d P h ilip , th e 3 r d a n d 4 th

E a rls o f P e m b r o k e re s p e c t iv e ly ), w h o w e re

b o th k n o w n a s g e n e r o u s p a tro n s , s u g g e s ts

th a t Sh a k e s p e a re r e c e iv e d fu r th e r s u p p o r t

fro m th e m . Wh a t is c e r ta in , h o w e v e r , is t h a t

b y 15 9 4 Sh a k e s p e a re h a d n e w c o n n e c t io n s .

He n r y Ca r e y , th e fi rs t B a r o n Hu n s d o n a n d th e

th e n Lo r d Ch a m b e rla in , s e t u p tw o n e w

p la y in g c o m p a n ie s , la r g e ly a s a n a tte m p t to

re g u la te s t a g e p e r fo r m a n c e s . On e ,

h is o w n Lo r d Ch a m b e rla in ’s M e n , w a s to

p e r fo r m a t th e T h e a tre a n d th e o th e r, th e Lo r d

Ad m ira l’s M e n (h e a d e d b y h is so n -in -la w ,

Ch a r le s Ho w a r d ) a t th e Ro s e . S h a k e s p e a re ,

a lre a d y k n o w n a s a n a c to r a n d a n e s ta b lis h e d

p la y w r ig h t, w a s , w ith o th e r a c t o r-s h a r e rs su c h

a s Ric h a r d B u r b a g e a n d Will Ke m p e , a

fo u n d e r m e m b e r o f th e Lo r d Ch a m b e rla in ’s

M e n a n d re m a in e d w ith t h e c o m p a n y fo r th e

re s t o f h is w o r k in g life . T h e y m o v e d to t h e

Glo b e t h e a t re in 1 5 9 9 , a n d a f te r E liz a b e t h ’s

d e a th in 1 6 0 3 th e n e w m o n a rc h , Kin g Ja m e s ,

b e c a m e th e ir p a tro n a n d th e ir n a m e c h a n g e d

to t h e Kin g ’s M e n .


29/164

Shakespeare’s ondon

“Afte r E liz a b e th ’s d e a th in16 0 3 , Kin g J a m e s b e c a m eth e ir p a tro n a n d th e ir n a m ec h a n g e d to th e Kin g ’s M e n ”

Henry Wriothesley,

Earl of Southampton, c1573 1624

S o u t h a m p t o n a l l i e d h i m s e l f t o t h e E a r l o f E s s e x ’ s

i n s u r r e c t i o n i n 1 6 0 1 , p a y i n g S h a k e s p e a r e ’ s c o m p a n y

4 0 s h i l l i n g s t o p e r f o r m R i c h a r d I I , a p l a y t h a t d e p i c t s

t h e s u c c e s s f u l u s u r p a t i o n o f a m o n a r c h .

W h e n t h e r e b e l l i o n f a i l e d , E s s e x w a s e x e c u t e d a n d

S o u t h a m p t o n j a i l e d f o r l i f e a n d s t r i p p e d o f h i s t i t l e s ,

b u t h e w a s r e l e a s e d a n d r e h a b i l i t a t e d w h e n J a m e s

c a m e t o t h e t h r o n e i n 1 6 0 3 .

H e i s s o m e t i m e s p r o p o s e d a s t h e y o u n g m a n

t o w h o m t h e r s t o f S h a k e s p e a r e ’ s s o n n e t s

a r e a d d r e s s e d .

L E F T o h n F l o r i o

a l s o b e n e t e d

f r o m t h e E a r l o f

S o u t h a m p t o n ’ s

p a t r o n a g e .

H e o w n e d a

f a m o u s l i b r a r y

a n d t r a n s l a t e d

M o n t a i g n e ’ s

E s s a y s

B E L O W h a k e s p e a r e ’ s p a t r o n , t h e E a r l o f S o u t h a m p t o n , w a s

p a i n t e d m a n y t i m e s , f r e q u e n t l y w i t h l o n g h a i r , f o r w h i c h h e

w a s f a m o u s , c a r e f u l l y a r r a n g e d o v e r h i s s h o u l d e r s . H e i s s e e n

h e r e , i m p r i s o n e d i n t h e T o w e r , w i t h h i s c a t


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hakespeare

It d o e s a d is s e rv ic e to th e w rite r s o f th e E liz a b e th a n a g e to id e n tify th e m

s im p ly a s Sh a k e s p e a re ’s c o n te m p o r a r ie s a n d in s o m e w a y ju s t a n a d ju n c t

to th e Gre a t M a n . In th is re m a r k a b le p e r io d o f lite r a r y t a le n t, th e r e w e r e

d ra m a tis ts , p o e ts a n d p ro s e w rite r s w h o w e re a s p ro lific a n d a s s k ille d

a s Sh a k e s p e a re a n d w h o s e re p u ta tio n s e q u a lle d o r e x c e e d e d h is . Of

th is g r o u p o f e m in e n t w rite r s, th e liv e s o f th e fo llo w in g in d iv id u a ls c a n

b e c o n n e c te d m o s t e x p lic itly w ith Sh a k e s p e a r e ’s . He m a y a ls o h a v e

b o rro w e d o r a d a p te d th e ir w o rk , w h ic h w a s q u ite n o r m a l fo r th e t im e

Shakespeare’sontemporaries

T h o m a s L o d g e ( ? 1 5 5 7 1 6 2 5 )

Shakespeare’s source for As You Like It

was the hugely popu lar prose rom ance

Rosalynde by Thom as Lodge that was

published in 1590 .Lodge was one of

the influential “University Wits”

(Lodge, Lyly and Peele from O xford;

G reene, M arlowe and Nash from

Cam bridge) who are credited with the

introduction of a sophisticated,

versatile style of dram a dur ing the

1590 s.Shakespeare’s addition of the

characters Touchstone, Cor in and

Jaques to Lodge’s pastoral plot gives

the play a tougher, contem porary edgeas well as com edic range.

BELOW Ben Jonson’s cross section of

London life gather in Sm ithfield for

Bartholom ew Fair in the RSC’s 1969

production with Helen M irren (left)

as Doll Tearsheet


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hakespeare’s contemporaries

T h o m a s Ky d (1 5 5 8 9 4 )

While less is known of Kyd’s life than of

his contemporaries’, his in uence is clear.

He is thought to have written a play

called Hamlet (known now as the

“ur-Hamlet”), which although lost is

reckoned to be a source for Shakespeare’s

play. Shakespeare may have been

responding, too, to Kyd’s The Spanish

Tragedy of 1592, the most popular play of

the period, when he incorporated

revenge, a ghost, delay, madness, a range

of deaths and a “play within a play” into

his great work. In 1593, Kyd wasimprisoned and tortured, dying soon

after his release, and in 1602 (perhaps in

response to the popularity of the new

play, Shakespeare’s Hamlet) Ben Jonson

was employed to write additional “mad”

scenes for The Spanish Tragedy.

“ e m a y a l s o h a v e b o r r o w e d o r a d a p t e d t h e i r w o r k

w h i c h w a s q u i t e n o r m a l f o r t h e t i m e ”

LEFTThe original title page of Thomas

Kyd’s play The Spanish Tragedy.T he Spanish T ragedie

O R

H ieronimo is mad againe.C ontaining the lamentable end ofDon H oratio ,andB el-imperia ;w ith the pittifull death ofH ieronimo .

N ewly corrected,amended,and enlarged with newA dditions of thePainters part,and others,as

it hath of late been divers times acted.

L O N D O N ,Printed by W .W hite,and are to be sold by I.W hite

and T .Langley at their Shop over against theSarazens head without N ew-gate.1615


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hakespeare

AB OVE

Shake speare’s

friend Michael

Drayton in an

eighteenth-century

engraving that has awarded him

the laurel crown of a great poet

B ELOW Christopher Marlowe: some believe

that had he lived he might have outmatched

Shakespeare in range and skill

C h r i s t o p h e r M a r l o w e

( 1 5 6 4 9 3 )

Marlowe’s life has excited as much

speculation and controversy as

Shakespeare’s and their early lives were

similar. Born in Canterbury to the son of

a shoemaker and freeman of the city,

Marlowe attended the King’s School and

in 1580 went to Corpus Christi College,

Cambridge on a scholarship. His

subsequent life and career is less clear:

he was certainly a soldier, probably a

counterfeiter, spy and murderer,

possibly a heretic, and was stabbed to

death in a brawl in a Deptford tavern in

1593. It is clear that from the late 1580s

he was writing some of the greatest

plays in the English language –

Tamburlaine, Doctor Faustus, The Jew

of Malta, Edward II and The Massacre atParis – that infl uenced Shakespeare’s

Titus Andronicus, Richard II and The

Merchant of Venice. Like Shakespeare,

he drew on Ovid particularly in his

narrative poem Hero and Leander,

which is similar to Shakespeare’s Venus

and Adonis, and Shakespeare quotes the

poem directly in Phoebe’s speech in As

You Like It (Act 3, Scene 5).

M i c h a e l D r a y t o n ( 1 5 6 3 1 6 3 1 )

Drayton’s life overlaps with Shakespeare’s in a number of tantalizing ways. Their

backgrounds were similar: Drayton was also born in Warwickshire, in Hartshill,

and was the son of a butcher. He stayed regularly with Lady Rainsford, the daughter

of his former patron, at Cli ord Chambers, just south of Stratford-upon-Avon,

where his medical needs were met by John Hall, Shakespeare’s son-in-law. Legend

identifi es Drayton and Shakespeare as drinking buddies. Best known as a

professional poet, he also wrote plays for the Admiral’s Men – the only one that

survives, Sir John Oldcastle, was wrongly attributed to Shakespeare in 1619. His

greatest work, the topographical verse tour of Britain, Poly-Olbion, includes a

description of the Forest of Arden as it is encroached by enclosures and buildings.


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hakespeare’s contemporaries

AB OVE Av a r ic io u s le g a c y h u n t e rs

g a t h e r a t th e b e d s id e o f th e

w e a lt h y Vo l p o n e i n t h e RS C’s 1 9 9 9

p r o d u c tio n o f B e n J o n s o n ’s sa t ir e

o n J a c o b e a n Lo n d o n

B ELOW

B e n J o n s o n w a s

h o n o u r e d b y b u r ia l in

We s tm in s te r Ab b e y , w h e r e t h e

in s c rip tio n o n h is to m b s t o n e ,

“ O r a re B e n J o n s o n ” , r e fl e c t s t h e

r e s p e c t a n d a ff e c t io n o f

h is c o n te m p o ra r ie s

B e n J o n s o n ( 1 5 7 2 1 6 3 7 )

B r o u g h t u p b y h is s te p fa t h e r , a m a s te r

b u ild e r , J o n s o n w a s a p p r e n tic e d to a

b r ic k l a y e r, b u t le f t th e w o r k t o b e c o m e

a s o ld ie r fi g h t in g in T h e N e t h e rla n d s .

On h is re t u r n , h e b e c a m e a n a c to r a n d

b e g a n w r itin g p la y s f o r th e t h e a t r e

b u ild e r a n d o w n e r P h ilip He n s lo w e .

U n lik e Sh a k e s p e a r e , th e s e t t in g a n d

p lo t s fo r Jo n s o n ’s p o p u la r c o m e d ie s

– E v e r y M a n in h is Hu m o u r, E v e r y M a n

Ou t o f His Hu m o u r, Vo lp o n e , E p ic o e n e ,

T h e Alc h e m is t a n d B a r th o lo m e w F a ir

– w e r e c o n te m p o r a r y c it y life , b u t h e

h a d a g r e a t r a n g e a n d th e c o u r tm a s q u e s th a t h e w r o t e fo r Kin g J a m e s

w e r e im a g i n a t iv e a n d s o p h is tic a te d .

T h e r e s p e c t th a t J o n s o n h a d fo r

Sh a k e s p e a r e a n d t h e f rie n d s h ip

b e t w e e n t h e t w o m e n is e v id e n c e d in

h is g r e a t m e m o r ia l v e r s e “ T o th e

m e m o r y o f m y b e lo v e d , t h e a u t h o r M r

Willia m Sh a k e s p e a r e : a n d w h a t h e

h a t h le f t u s ” in t h e in t r o d u c t io n o f th e

F ir s t F o lio . S h a k e s p e a r e is “ t h e

a p p la u s e , th e d e lig h t, t h e w o n d e r o f

o u r s ta g e … He w a s n o t o f a n a g e b u t fo r

a l l t im e ” , a n d it is in t h is v e r s e t h a t h e i s

c a lle d “ Sw e e t s w a n o f Av o n ”.

“ ”The respect that Jonson hadfor Shakespeare and the

friendship between the twom en is evidenced in his

great m em orial verse”


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Shakespeare

[ En g l is h t ra n s l at io n o f t h e L a t in ]

L e t a l l m e n k n o w b y t h e s e p re s e nt s t h at w e

F u l k e S a nd e l ls o f S t rat fo rd in t h e C o u n ty o f

W a rw ic k , h u s b an d m an , an d J o h n R ic h a rd s o n

t h e re h u s b an d m an , a re h e ld an d rm ly b o u n d

b y R ic h ard C o s in g e n tle m an an d R o b e rt

W a rm s t ry p u b l ic n o t ary t o p ay f o rt y p o u n d s o f

g o o d a nd law f u l m o n e y o f En g l an d t o t h e s a m e

R ic h a rd a nd R o b e r t, t h e i r h e i rs , e x e c u t o rs , o r

a s s ig n s : t o m a k e w ic h p ay m e n t w e ll an d

f ait h f u l ly w e b in d o u rs e lv e s an d e ac h o f u s

s e v e ra ll y f o r t h e w h o le an d t o t a l a m o u n t , o u r

h e i rs , e x e c u t o rs , a nd ad m in is t rat o rs rm ly b y

t h e s e p re s e n t e s s e a le d w it h o u r s e a ls . G iv e n t h is d ay o f N o v e m b e r in t h e 2 5 t h ye ar o f t h e re ig n o f

o u r L ad y E iz ab e t h , b y t h e G ra c e o f G o d Q u e e n

o f En g la n d , F ran c e an d I re la n d , D e f e n d e r o f t h e

F a it h . & c

T h e c o n d ic [ i] o n o f t h is o b l ig ac [ i] o n y s s u c h e

t h at it h e ra f t e r t h e re s h a l l n o t ap p e re an y

L aw f u l l L e t t o r im p e d im e n t b y re a s o n o f an y

p [re ] c o n t ra c t c o n s a n g [u i] n it ie a ffi n it e o r b y an y

o t h e r la w f u ll m e an s w h at s o e u [e r] b u t t h at

w i l l[ ia] m S h a g s p e re o n e t h ro n e p [a r] tie , a nd

An n e h at h w e y o f S t rat fo rd in th e D io c e s o f

W o rc e s t e r m a id e n m ay law f u l ly s o le n n iz e m [at ]

ri[ m ] o n y t o g e t h e r an d in t h e s a m e a f t e rw a rd [e s ]

re m a in e an d c o n t in e w li k e m an an d w if e

ac c o rd in g v n t o t h e la w e s in t h at b e h a lf p ro u id e d

an d m o re o u [e r] i f t h e re b e n o t at t h is p [re ] s e n t

t im e an y a c t io n s u t e q u a rre l o r d e m au n d m o v e d

o r d e p e n d in g b e f o r a n y j u d g e e c c l[ e s ] ia s t ic a ll o r

t e m p o ra l l f o r a n d c o n c e rn in g an y s u c h e la w f u l l

le t t o r im p e d i m e n t . An d m o re o u [e r] if t h e s a id

w il l[ ia] m S h a g s p e re d o n o t p [ro ] c e e d to

s o le n n iz ac [ i] o n o f m a rri ad g w it h t h e s a id An n e

h at h w e y w it h o u t th e c o n s e n t o f h ir f rin d [e s ] .

An d als o i f t h e s a id w i l l[ ia] m d o v p o n h is o w n ep [ro ] p e r c o s t e a nd e x p e n s e d e fe n d & s au e

h a rm le s s t h e rig h t R e v e re n d fat h e r in g o d lo rd

J o h n b u s h o p o f W o rc e s t e r an d h is o ffi c e rs f o r

L ic e n c i ng t h e m t h e s a id w il l[ ia] m a nd An n e to

b e m arrie d to g e t h e r w it h o n c e a s k i n g o f t h e

b an ne s o f m [at] ri[m ] o n y b e t w e e n t h e m an d fo r

a l l o t h e r c au s e s w c h m ay e n s u e b y r e a s o n o r

o c c a s io n t h e ro f t h at t h e n t h e s a id o b li g ac [ i] o n t o

b e v o y d an d o f no n e e ff e c t o r e l s t o s t a nd a nd

ab id e in f u ll f o rc e an d v e rt u e

S h a k e s p e a r e ’s m a r r ia g e b o n d

The bond issued by the Bishop of Worcester on 28 November 1582 to William

Shakespeare and Anne Hathaway granting them permission to marry. A licence had

been issued the day before to William Shakespeare and a woman called Anne Whateley,

but no one knows whether this was a mistake that was recti ed in the marriage bond or

if there were two women, both called Anne, with whom Shakespeare had been involved.

ITEM 2

Shakespeare The Exhibits


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L o ve in g e C o n t re y m an I a m b o ld e o f

yo w a s o f a re n d e , c rav e in g e yo w r

h e lp e w t h x x x l i v p p o n m r B u s h e ll s &

m y s e c u ry t e e o r m r m y t t o ns w t h m e

m r R o s s w e ll is no t t c o m e to L o n d o n

a s ye at e & I h av e e s p e c ia l l c aw s e ,

yo w s h a l l re n d e m e m u c h e in

h e lp in g m e o u t o f a l l t h e d e b e t t[e s ] I

o w e in L o n d o n I t h an c k e g o d an d

m u c h e q u i e t m y m y n d e w c h w o ld e

n o t t b e in d e b e t e d I a m n o w e

t o w a rd [e s ] t h e C o w rt e in h o p e o f

an s w e r f o r t h e d is p at c h e o f m y

B u y s e n e s yo w s h a l l n e t h e r lo a s e

c re d d yt t n o r m o n e y b y m e t h e L o rd

w y l l in g e & n o w e b u t t p [e r] s w ad e

yo w rs e lf e s o e a s I h o p e & yo w s h a ll

n o t t n e e d t o f e a re b u t t w t h a ll h a rt ie

t h an c k e f u ll e n e s I w yl l h o ld e m y

t y m e an d c o n t e n t yo w r re n d e & y f

w e B a rg a in e f a rt h e r yo w s h a lb e t h e

p a ie m r yo w rs e l f e , m y t ym e b id d [e s ]

m e h a s te n t o an e nd e & s o e I c o m [m ]

it t t h ys [t o ] yo w r c a re & h o p e o f yo w r

h e l p e I fe a re I s h a ll n o tt b e b ac k e t h y s

n ig h t ro m t h e C o w rt e . h a s t e t h e

L o rd b e w t h yo w & w t h u s al l a m e n/

ro m t h e B e ll in C a rt e r L an e t h e 2 5

o c t o b r 1 5 9 8 /.

Y o w rs in al l k y nd e n e s

Ric h a r d Q u in e y ’s l e t t e r t o

Willia m S h a k e s p e a r e a s k in g fo r a l o a n

A letter dated 25 October 1598 from his friend Richard Quiney to

William Shakespeare which asks for help with a loan. Quiney’s father

had been friends with Shakespeare’s father John and so the two would

have known each other all their lives. Richard Quiney’s son Thomas

eventually married Shakespeare’s younger daughter Judith.

ITEM 3

T h e x h i b i t s


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37/164

a p t i s m r e g i s t ra t i o n o f H a m n e t a n d J u d i t h S h a k e s p e a r e

T h e r e g is tra t io n o f t h e b a p tis m s o f Willia m a n d An n e S h a k e s p e a r e ’s tw in s , Ha m n e t a n d

J u d it h . T h e b a p tis m s to o k p la c e o n 2 F e b r u a r y , 1 5 8 5 .

The xhibits

IT E M 5


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hakespeare

W

h ile re c o rd s in d e n tify th e

b u s in e s s m e n , s u c h a s P h ilip

He n s lo w e , w h o b u ilt a n d

o w n e d t h e n e w th e a t re s a n d ,

to a le s s e r e x te n t, t h e a c t o r s

w h o p e r fo r m e d in th e m , th e re is lim ite d

e v id e n c e a b o u t th e ir s iz e , s h a p e a n dc a p a c ity , o r th e s ty le o f p e r fo r m a n c e s t h a t

to o k p la c e t h e re . U n til th e re m a in s o f th e

Ro s e T h e a t re w e re d is c o v e re d in 19 8 9 ,

fo llo w e d s h o rtly b y t h e fo u n d a tio n s o f th e

Glo b e , a lm o s t th e o n ly r e s o u rc e w a s th e

s k e tc h o f th e S w a n m a d e b y a D u tc h v is ito r ,

J o h a n n e s d e Witt, in a b o u t 1 5 9 6 a n d c o p ie d

b y h is frie n d Ae r n o u t v a n B u c h e l.

T h e s t a g e , p ro b a b ly a b o u t 1 .7 m (5 f t) h ig h ,

p ro je c t e d in to th e a lm o s t c irc u la r th e a t re

w ith th e “g r o u n d lin g s ”, w h o p a id 1 d

a d m is s io n , s ta n d in g o n th re e s id e s a n d th e

re s t o f th e a u d ie n c e , w h o p a id 3 d , s e a te d in

th re e tie r s o f w o o d e n s e a tin g . T w o d o o rs a t

th e re a r o f th e s ta g e p ro v id e d e n tra n c e s a n d

e x its fo r t h e a c t o r s a n d th e r e is lik e ly t o h a v e

b e e n a n a re a b e tw e e n th e d o o rs – th e

c u rta in e d d is c lo s in g s p a c e – th a t m a y h a v e

b e e n a n a d d itio n a l a c t in g s p a c e o r a s to re .

P o lo n iu s m a y h a v e b e e n m u r d e re d b e h in d

th e a r ra s h e re o r D e s d e m o n a ’s b e d re v e a le d .

Ab o v e t h e s ta g e w a s a g a lle r y , b u t its p u r p o s e

is u n c e r ta in . So m e s u g g e s t th a t it w a s a n

a u d ie n c e s e a tin g a r e a , s o m e th a t it w a s a

m u s ic ia n s ’ g a lle r y , o th e r s th a t it w a s p a r t o f

th e p e r fo r m a n c e s p a c e . T h e d e Witt s k e tc h o f

th e S w a n s h o w s a fi g u re a b o v e th e c a n o p y

o v e r th e s ta g e : p e r h a p s h e is to u tin g fo r

c u s to m (“Ro l l u p , ro ll u p !”) o r h e m a y b e p a r t

o f t h e a c tio n . S ta g e d ire c t io n s in 1 He n r y I V

a n d T h e T e m p e s t in d ic a te t h a t a c h a ra c te r

a p p e a r s “o n th e to p ”. T h e a r e a b e n e a th th e

s ta g e , a c c e s s e d b y a t ra p , p ro v id e d a n

a d d itio n a l e n tra n c e – fo r th e g h o s t in Ha m le t ,

s a y – o r a n e x it fo r a d e s c e n t in to h e l l.

P la y s w e re c o m m o n ly p e rfo r m e d in o p e n s p a c e s , s u c h a s m a rk e t p la c e s a

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