Uncovering my Stratford roots

Garrick's Jubilee Amphitheatre, illustrated by Robert Bell Wheler in 1806

Garrick’s Jubilee Amphitheatre, illustrated by Robert Bell Wheler in 1806

On 28 December 1798 William Tompkins was christened in Holy Trinity Church, Stratford-upon-Avon. He was my great-great-grandfather. I came across this fact, as it happened, on 28 December 2015, reading the book written by my cousin, Carolyn Swain in which she summarises her research into our Warwickshire ancestors. I always knew my grandfather came from Stratford, and lived there all his life, working in two of the most significant Shakespeare buildings, Holy Trinity Church and Shakespeare’s Birthplace. I have a number of his books on Shakespeare and Stratford including a copy of Robert Bell Wheler’s 1806 History and Antiquities of Stratford-upon-Avon. I’ve been surprised to find that our Stratford heritage goes even further back than the publication of that early book.

My brother, also reading the book over Christmas, was disappointed to find “no wealth and little glamour”, as Carolyn puts it. The family was poor, and as records are few it seems they were respectable. Carolyn remembers her mother Joyce calling our family “sturdy working stock”. The men worked as blacksmiths, metal workers, carpenters, shoemakers and labourers.

I now find that generations of relatives were christened and married in Holy Trinity Church. I already knew that one branch of the family were from Snitterfield, the village from which John Shakespeare came. They were carpenters, and managed the timber on the Welcombe estate where Shakespeare himself owned land. An account book survives showing they were literate and numerate. Other ancestors had connections with other places of Shakespearian interest. Several elderly widows found homes in the Almshouses, next to Shakespeare’s school and yards from Shakespeare’s New Place. Not only my father, but his father and uncle, attended King Edward VI School.

A nineteenth century engraving of Holy Trinity Church

A nineteenth century engraving of Holy Trinity Church

The William born in 1798 became a blacksmith, as did several of his descendants. One was employed at Flowers Brewery as a blacksmith, while others worked for short periods as clerks. The Flower family were good employers and responsible for the building of the Shakespeare Memorial Theatre. The girls went into service or became laundresses. Many Stratfordians between Shakespeare’s time and the mid nineteenth-century worked in jobs that depended on agriculture, just at John Shakespeare did.

What, I wonder, did these humble people make of the burgeoning Shakespeare industry? William was the son of William Tompkins and Anne Wright, who had been married in Holy Trinity Church the year before he was born. William senior and Anne were both born in Stratford in the 1770s. He was a labourer, probably illiterate. The parents of both William and Anne were probably also illiterate, but did they name their children in recognition of William Shakespeare, whose Jubilee had been so extravagantly celebrated just a few years before, in 1769?

They must have been among the onlookers at David Garrick’s Jubilee. Publicity was huge, and the preparations took months, particularly the building of the Amphitheatre by the Avon. Materials and workers were brought in from outside, and locals were reportedly greatly suspicious of the whole business. Stratfordians too must have been overwhelmed by the thousands of wealthy, overdressed outsiders. They will have heard the cannon by the river being fired each morning, seen the fireworks (at least on the first night), and the bands and participants parading from venue to venue. They probably enjoyed the horse-racing on Shottery Fields the most.

My grandfather at Shakespeare's grave, April 1920

My grandfather at Shakespeare’s grave, April 1920

By the 1864 Tercentenary a number of ancestors were living in Scholars’ Lane, yards from the school and New Place. Almost all the events took place inside the Pavilion, but a pageant, aimed at the locals, was organised by circus manager Jean Frederick Ginnett. Heralds, banners, musicians and people dressed as characters from the plays processed through the streets on Monday 2 May 1864. Special trains were run from as far away as Bristol and it was estimated that 30,000 people crowded the town. My relatives from Scholars’ Lane must have been among them.

Through my grandfather I have a strong connection with the Shakespeare industry going back well over a century, and I’ve met several people from old Stratford families who have a real pride in being from Shakespeare’s town. I’d love to hear from people with family connections to the early Shakespeare industry in the town.

I’d like to thank my cousin Carolyn for her thorough research, for successfully writing it up and sharing it. She has also set me right about one thing that has always intrigued me. In the Town Hall is a list of Stratford Mayors. As well as John Shakespeare, it includes the name William Tompkins, and the date 1793-4. Might we be related? The local archives have revealed that he became a Capital Burgess in 1784, Mayor in 1793, and remained an Alderman until the Prince Regent’s visit in 1806. By contrast, “our” William Tompkins was a mere labourer, so a connection seems unlikely. There can’t, though, be many people living in the town whose families have been in Stratford since the start of the Shakespeare industry, even if for most of that time they’ve been watching from the sidelines.

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All our yesterdays on film with the BFI

The grammar school and Guild Chapel around 1910

The grammar school and Guild Chapel around 1910

The Christmas pudding’s hardly cold and all those retrospectives on the year just gone are coming at us full tilt. And predictions for next year are following only just behind. As the quatercentenary of his death 2016 is going to be quite a year for Shakespeare: I’ve been gathering information about events that I’ll be releasing gradually on the blog in weeks to come. But at the dying of the old year I thought I’d mention a website in which we can all reminisce about years gone by and perhaps be surprised by events from longer ago. 

It’s the British Film Institute’s Britain on Film site, a subset of the BFI’s YouTube channel. Many of the BFI’s services and films are available only to those attending an academic organisation or a personal subscription but the YouTube channel is free. 

Britain on Film is intended to be searched by place: put a town into the search box and you’ll get a map showing how many films are available for it, and for the area surrounding it. Many of the films have been made by amateurs, so have a less official flavour than those on the Pathe News site, which is also free. There’s surprisingly little duplication of dates so they are complementary sources for moving images of UK history. The places covered are spread widely from Ben Nevis to Pwllheli to Luton, and films cover a wide spectrum of events including sporting achievements, World War 2 bombing, Hop picking and suffragette marches. 

Queen Elizabeth II leaving Shakespeare's Birthplace on her first visit to Stratford as reigning monarch, 1957.

Queen Elizabeth II leaving Shakespeare’s Birthplace on her first visit to Stratford as reigning monarch, 1957.

Inevitably I did a search for Stratford-upon-Avon and found twenty films listed, dating from 1910 to 1967. The early ones record details of “Shakespeare Land” in 1910, St George’s Day 1915, and Shakespeare’s Country in 1926. This one features some rare footage inside the Guild Hall in Stratford, currently being restored. Later films include those from 1957-59 including the Queen’s visit in June 1957. In 1963 the country was scandalised by the Profumo affair (John Profumo was the MP for Stratford-upon-Avon), and it’s noticeable that the locals are impervious to this “political bombshell” in spite of the interviewer’s repeated questions. As a reminder of Stratford’s importance as an agricultural area there are scenes showing farming activities, the Massey Ferguson tractor factory and a livestock show. Some of the most interesting footage shows workers in the old Royal Label Factory where metal signs were made for use right across the Empire. This factory existed in Old Town, much of which was originally built for workers on the railways but is now genteelly middle-class.

Shakespeare enthusiasts will be pleased to see the 1915 Birthday celebrations, with Frank Benson in the lead, and another film from 1958 including the then Director of the Memorial Theatre, Glen Byam Shaw, walking in the procession for Shakespeare’s Birthday accompanied by actress Dorothy Tutin. 

After this trip down memory lane we’ll be celebrating the new year of 2016, one that is sure to be a year to remember for Shakespeare-lovers around the world.

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It’s (almost) Christmas!

Good Tickle Brain Henry V carol

Good Tickle Brain Henry V carol

With Christmas approaching fast now, I’d like to wish all readers of The Shakespeare blog a very happy festive season. I hope it will be everything you could wish for, and more.

To maintain the usual Shakespeare theme, here are some Shakespearean Christmas carols posted in 2014 by the folk who go under the name of Good Tickle Brain. As ever, the words are amusing and the cartoons clever. I’ve included the illustration of one of them but do go to the site to see the others.

The weather forecast is for a mild Christmas, and in Stratford-upon-Avon recently I’ve spotted daffodils and roses in bloom, and heard birds singing as if it’s spring: I’m sure you know those lines spoken by Berowne in Love’s Labour’s Lost, about how everything has its proper time:
roseDSC00848         why should proud summer boast
Before the birds have any cause to sing?
Why should I joy in any abortive birth?
At Christmas I no more desire a rose
Than wish a snow in May’s new-fangled mirth;
But like of each thing that in season grows.

Maybe we’ll get snow next May. Whatever the weather, have a very Happy Christmas!

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Deciphering handwriting in Shakespeare’s world

How you ought to hold your pen, a guide from 1602

How you ought to hold your pen, a guide from 1602

We only have a few examples of Shakespeare’s handwriting, but those that we have suggest that he wasn’t a particularly neat writer. I always like that section in Hamlet where the Prince explains how he had to remember his lessons in penmanship in order to replace the commission that was to condemn him to die:
                                          I sat me down,
Devised a new commission, wrote it fair –
I once did hold it, as our statists do,
A baseness to write fair, and laboured much
How to forget that learning, but, sir, now
It did me yeoman’s service.

A new project has just been launched that will allow anyone, from any country in the world, to have a go at learning how to decipher handwriting of Shakespeare’s period. It’s a crowdsourcing project in which people are being asked to help transcribe early handwritten documents. Many manuscripts were written in what was called secretary hand, which can be fiendishly difficult to read, but don’t be put off if palaeography isn’t your thing. First of all users can take a tutorial to get them started, and then they’ll be able to try to puzzle out the document or letter.

On 8 December, just before the project launched, the Guardian published an article Where there’s a Quill, in which Dr Victoria Van Hyning, part of the Zooniverse team explained “Most manuscript material isn’t machine readable – you can’t have a computer pick out words or make it word searchable”. The transcripts will be searchable online just as many printed sources are already. Entitled Shakespeare’s World, the project is based on the many thousands of documents in the care of the Folger Shakespeare Library in Washington, DC. Here is a description from the website of how it will work:

The process is simple: Register for an account, view a manuscript, and begin transcribing. All contributions are welcome and transcribers can go at their own pace. The first phase of the project will focus on ‘receipt’ (recipe) books and letters. Later, the project will add miscellanies, family papers, legal, and literary documents.

A page of Henry Oxinden's Miscellany, from the Folger Shakespeare Library

A page of Henry Oxinden’s Miscellany, from the Folger Shakespeare Library

Once the manuscript images are fully transcribed and vetted, they will be entered into the Early Modern Manuscripts Online, or EMMO, database. EMMO is a multi-faceted project at the Folger that is funded by a grant from the Institute of Museum and Library Services (IMLS). Once the database is implemented in late 2016, scholars will be able to search the transcriptions and associated metadata in the free EMMO database for any word or phrase from these manuscripts, greatly expanding our capacity for understanding the world in which Shakespeare lived.

“We look forward to building and connecting with new communities of transcribers and creating new forms of access to the Folger’s incredible collection of manuscripts,” says Heather Wolfe, curator of manuscripts and the principal investigator for EMMO. 

The project brings together organisations on both sides of the Atlantic: the Folger Shakespeare Library’s Early Modern Manuscripts Online project, Zooniverse.org at Oxford University, and the Oxford English Dictionary of Oxford University Press. If you’re interested in the nuts and bolts about how the project has been set up, here’s a post that was put up back in Spring 2015 while it was still being developed.

Here too is a link to a page about manuscripts that accompanied a Folger exhibition on letterwriting in 2004.

The fun for people doing the transcribing will be go get closer to how people really lived in early modern England. Although many are from Shakespeare’s lifetime, it’s unlikely that any will relate to the man himself, but many will be personal documents relating to his contemporaries, so transcribers will probably discover details of daily life they wouldn’t get by simply reading descriptions. Dr Van Hyning explains that the increased knowledge of the content of the manuscripts is not just for academics:  . “This would definitely be one of the more complete resources for shedding light on what was it like to prepare a meal in this period, to balance the accounts for your household, to try to co-ordinate the education of your children, to get on the wrong side of the law, arrange a marriage – you name it.”

Other benefits will be that additional elements of the documents will be noted such as wax seals and drawings, and the OED people are hoping that people will discover new words and variants that will get added to the dictionary.

Those who join in will know they’ve helped a major project that will be used for decades to come and learnt a new skill that could easily be transferable, for instance if investigating their own family tree or doing historical research. Definitely worth a try, I’d say.

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The Boydell Shakespeare Gallery reincarnated online

What Jane Saw

What Jane Saw

The clever people at the University of Texas at Austin have got in ahead of the mass of Shakespeare-related projects to be released in 2016 by launching an online resource that’s designed to appeal to the more serious Shakespeare fan. And the site will provide a happy hour of gentle entertainment over the festive period if required. The New York Times, in its full article about the project, calls it “a meticulous online re-creation of the long-vanished, and wildly popular” Boydell Shakespeare Gallery.

I’ve been a fan of the Boydell paintings for years, a rather eccentric collection created at the end of the eighteenth century by some of the best artists of the day. The Gallery in fashionable Pall Mall was one of the first manifestations of the nation’s growing obsession with Shakespeare. Unusually it provided the middle classes who were developing a taste for culture with an art gallery they could visit for a shilling. You might think the museum shop where you can take home a souvenir picture of your favourite item is a modern invention, but this was an intrinsic part of John Boydell’s concept. He claimed to have paid £150,000 (a mind-boggling sum) for the paintings to be made, and it was necessary for him to make this money back. Selling high-quality engravings to the public, and creating a fully-illustrated edition of Shakespeare’s plays, was financially essential.

Online version of part of the Boydell Shakespeare Gallery

Online version of part of the Boydell Shakespeare Gallery

Sadly the Gallery that had opened in 1789 closed in 1805, though creating and running a successful attraction for 16 years is no mean feat. It attracted crowds of eager visitors, but never made back the massive amount that Boydell had invested. In the end there was a lottery for them, and the winner auctioned the paintings off at low prices. You’ll still find them in many of the major collections in the UK and USA. Around half of the original canvases, though, have disappeared so this website, recreating the glory of the gallery experience, is terrific. The creator of the site, Professor Janine Barchas, has worked out the size of the paintings and how they must have been displayed.

Joshua Reynolds' painting of Puck, from A Midsummer Night's Dream

Joshua Reynolds’ painting of Puck, from A Midsummer Night’s Dream

The project has grown out of an earlier one by Professor Barchas, What Jane Saw, and in fact the Boydell project shares the same website. This reproduced in just the same way an exhibition of paintings by Joshua Reynolds, using the same gallery space, that Jane Austen had seen in 1813. The Reynolds exhibition was stunningly glamorous: Reynolds was the leading portrait artist of the day and there, hanging on the walls, were paintings of a huge variety of famous people including royalty, aristocrats and the stars of the theatre. Reynolds’ painting of Puck, as a mischievous baby, featured in both the Boydell Shakespeare Gallery and his own exhibition. People flocked to it. Having already created a digital version of the space, she has been able to use it again to virtually re-hang the Boydells.

So if you visit the website you can explore the long-gone gallery room by room, and there are several different ways of doing so. You could click through each picture from no 1 to no 86, reading the description and the page of Shakespeare text to which it relates. Or you could start with the floorplan and click on one of the walls, bringing up the whole view. Then highlight any of the pictures to get the same information. As well as the artist’s name you can find how much each one was paid, who was the engraver, and look at different versions of the image. You can also find out where the actual painting is now (if it still exists). As an added bonus there is a digitised copy of the 1796 catalogue that includes the full Shakespeare quotes, running to 180 pages.

Boydell intended the gallery to carry on after his own lifetime, as a gift to the nation. It was an intensely English project, meant to promote English painting and painters using the upcoming icon of Englishness, William Shakespeare’s plays. The Times called it “the first stone of an English school of painting”.

The new site has been created by the Texas Advanced Computing Center, using a cross-platform game creation engine. It’s a great example of people from a variety of disciplines working together to create something new in the digital humanities. The technology must also have many other applications in museums and galleries around the world. John Boydell, who wasn’t afraid of gambling on something new, would probably approve. Let’s hope the new additions to the site What Jane Saw will be popular with Shakespeare-lovers in 2016.

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Following the Shakespeare Trail

the shakespeare trail bramleyThe weather now, in mid-December, is as dreary as Shakespeare describes at the end of Love’s Labour’s Lost. Ways are truly foul and there is little incentive to get anywhere on foot, even though that’s always my favourite method of exploring anywhere new. And places of historic interest, built before the age of steam or the internal combustion engine, were always intended to be seen at a slow pace.

So I’ve particularly enjoyed reading Zoe Bramley’s good-natured new book The Shakespeare Trail: a Journey into Shakespeare’s England, recently published by Amberley Press.  This is a hybrid book, part guide book, part study of Shakespeare’s physical and intellectual world. I can imagine sitting reading this with a map beside me, following the routes and reading her descriptions. With lots of good illustrations included you can easily enjoy it without actually setting foot outside, but it would be a great companion if you were to tackle them. And it’s intended that you should, as Bramley encourages you along, including details of opening hours, ticket prices, and even the numbers of the local bus services. While this is a strength, and makes it great for people visiting in 2016,  it also means the book will quickly get out of date, though she also includes phone numbers and website addresses so details can be checked.  She chooses appropriate quotations from Shakespeare to match different locations, reminding us of exactly what the connections are, and even picks out walking-related quotes.

Kenilworth Castle

Kenilworth Castle

The book’s divided into sections, the first of which is about Stratford. As well as a section on nearby attractions like Mary Arden’s and Kenilworth Castle she offers a walking guide around the town. I’d have liked to see a reference to Stratford’s historic Town Hall with its statue of Shakespeare, as well as one or two other in-town locations, and being picky I noticed a couple of small errors in the Stratford section. However they don’t detract from the rest of the book. And the author clearly enjoyed Stratford, describing it as “happy [and] positive”, even calling the Birthplace handsome (an epithet rarely applied to it by guide-book writers over the last two hundred years or so).

The author is happy to accept that there might be a grain of truth in most of the legends of Shakespeare’s youth including those connected with Charlecote, Bidford and Lancashire, though is more sceptical of claims that Will might have made it to Italy. She runs through many of the mentions of Shakespeare as he got older including the first reference to him in London, Robert Greene’s sharp piece, so unpleasant it must have been based on jealousy of the mere “upstart crow” actor who dared to rival the well-known writer Greene.

Tower of London

Tower of London

Zoe Bramley’s book really gets into its stride when she gets to London, and no wonder, as she takes guided tours of London herself. It’s obvious that this is a subject she has immersed herself in, including sections on famous landmarks like the Tower of London as well as finding intriguing corners hidden away: most of the London Shakespeare knew was destroyed during the 1666 fire, and World War 2 bombing did for much of the rest. But Bramley notes well the archaeological discoveries in the City that, against all the odds, are still informing us about the City as far back as the Romans and picks out the locations of buildings long gone such as the Bell Inn from which Richard Quiney wrote his letter to Shakespeare in 1598 and the existence of “Shakespeare’s Cellar” in the Cockpit Tavern.

I particularly like the section on Shakespeare’s imagination: places that Shakespeare might or might not have visited, but with explanations of why Shakespeare fans might be interested to visit them. She’s certainly whetted my appetite for a few locations I’ve never been to like the grounds of Bury St Edmunds Abbey which features in Henry VI part 2 and Kimbolton Castle where Catherine of Aragon saw her vision of angelic dancers in the play Henry VIII.
Saw you not even now a blessed troop
Invite me to a banquet, whose bright faces
Cast thousand beams upon me, like the sun?
They promised me eternal happiness,
And brought me garlands…

This is the time to begin planning next year’s expeditions and with 2016 being the 400th anniversary of Shakespeare’s death many people must be hoping to follow in his footsteps. This book would be a great place to start, with Zoe Bramley’s cheerful, knowledgeable voice at your side. As an added incentive, the book is currently half price on the Amberley Press website, making it just £10, a really great Christmas gift. And if the book is a bit too big to stuff in the daysac you could always book a tour with her. I bet in her London tours she’s able to tell more stories than she’s been able to get into the book. For a flavour, this link is to an article she wrote in BBC History Extra in November. And she can be found on Facebook.

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A heart that even cracks for woe

Flooding in Cumbria

Flooding in Cumbria

This week has been full of heartbreaking stories, including the coverage of repeated bouts of flooding in Cumbria, one of my favourite places. I can’t imagine what it must be like to find treasured possessions ruined and one’s home uninhabitable for months. It seems particularly harsh that this has happened in the run up to Christmas when we are looking forward to celebrating with family and friends.

But over the last couple of days the story of Ali Alsaho, whose wife and seven children all drowned attempting the crossing from Turkey to Greece, dwarfs even the anguish of those flooded out. With his youngest child only 20 days old, how desperate must they have been to risk travelling so far in the hope of finding a better life. And how completely bleak his life must be now having lost everything he cherished and worked for.

Ali Alsaho

Ali Alsaho

Watching his distress as he talked, then sat looking out across the beautiful Aegean sea inevitably reminded me of Shakespeare’s Pericles, who loses his wife in a shipwreck in the Mediterranean. Cerimon, the doctor, observes:
If thou livest, Pericles, thou hast a heart
That even cracks for woe!

Pericles has already almost lost his identity at sea, and this time speaks of his loss:
O you gods!
Why do you make us love your goodly gifts,
And snatch them straight away?

Before he casts his wife’s coffin overboard he addresses her:
A terrible childbed hast thou had, my dear;
No light, no fire: the unfriendly elements
Forgot thee utterly: nor have I time
To give thee hallow’d to thy grave, but straight
Must cast thee, scarcely coffin’d, in the ooze;
Where, for a monument upon thy bones,
And e’er-remaining lamps, the belching whale
And humming water must o’erwhelm thy corpse,
Lying with simple shells.

He does still have his newborn daughter “all his life’s delight”, who he passes to Cleon and Dionyza hoping they will care for her as if she was their own child. It’s only when he is told that she too has died that he removes himself from normal life, becoming hermit-like. Gower describes his pain using the image of a sea-storm:
He swears
Never to wash his face, nor cut his hairs.
He puts on sackcloth, and to sea. He bears
A tempest, which his mortal vessel tears,
And yet he rides it out.

Marina and Pericles from the Oregon Shakespeare Festival production

Marina and Pericles from the Oregon Shakespeare Festival production

Marina, Pericles’ daughter, undergoes trials of her own. After the death of her devoted nurse she uses the same sort of language to describe her isolation:
This world to me is like a lasting storm,
Whirring me from my friends.

Shakespeare’s play is of course a fictional romance: Pericles is miraculously reunited with his daughter and his wife with the help of the gods. It’s this element of the story, the idea that death may not be final, that makes it such a powerful piece of dramatic writing.

For Ali Alsaho as for all the Syrians who have had unsuccessful crossings to Europe, and even for many who have made it, there is no such happy ending. In the affluent West we celebrate Christmas as a time to meet up with our families, but the Christmas story of the baby born in a cattle shed has far more in common with that of the refugees, those who find their families torn apart and the flooded Cumbrians who have lost their homes. Shakespeare might never have dramatised the Christmas story itself, but he shows understanding of its message, and gives a voice to the dreadful pain of those who suffer, in plays like Pericles.

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The Great Annual Sheep Drive: a reminder of Shakespeare’s London

Sheep-Drive-Across-London-Bridge-2015-1I wrote a few weeks ago about my visit to London’s Guildhall to attend the ceremony by which my niece was made a Freeman of the City of London. The best-known privilege to which Freemen are entitled is that of driving their sheep across London Bridge for free instead of paying a toll, a sight that must have reminded Shakespeare of his own involvement in farming. Assuming this “ancient right” was just a joke nowadays, we bought her a sheep puppet for her to carry over the bridge if she wished. But while at the Guildhall I picked up a glossy leaflet explaining the age-old tradition and how it is being reinterpreted. “In medieval times, sheep farmers drove their sheep across London Bridge into the City of London to sell them at market. Freemen of the City were excused the bridge toll that had to be paid by other people who were not Londoners, and “aliens” was the work used to describe people of other nationalities”.

London Bridge in an engraving by Visscher in 1616

London Bridge in an engraving by Visscher in 1616

The driving of sheep to the City markets stopped many years ago, but in recent years the tradition has been ceremonially re-introduced. The modern bridge over which they new cross dates back to only 1973, replacing a nineteenth-century bridge. The one that Shakespeare knew was the famous medieval bridge with buildings along its entire length.

The Sheep Drive is now an organised fundraising event. In 2012 they got round the difficulties of using live animals by using stuffed sheep on wheels, but now a flock of sheep from Bedford, used to being herded, is brought in specially. As well as the sheep, it includes representatives of many of the livery companies in their regalia and large numbers of people dressed up in sheep-related costumes including Little Bo-Peep and the shepherds from the Nativity story. I wonder if anyone dresses up as the participants in the sheep-shearing feast from Shakespeare’s The Winter’s Tale, or Phoebe, Corin and Silvius from As You Like It? If not, they should!

Shakespeare didn’t need any inspiration from Londoners to write shepherds into his plays. His father is best-known as a skilled glover, but early accounts suggested John Shakespeare was a wool-dealer and while alternations were taking place in the Birthplace, wool waste was found under the floor of the room known as “the Woolshop”. Michael Wood devotes several pages of his book In Search of Shakespeare to John Shakespeare’s business activities. Several decades ago a record was found dated 1569 showing that John was owed money by a man in Marlborough, Wiltshire, who had bought wool from him. Then two records showed that in 1572, John was charged with illegal wool dealing on a substantial scale. One deal took place near Stratford, but the other showed him dealing in wool at the Wool Staple in Westminster. “So we now know that the poet’s father was a brogger, a freelance wool dealer working illegally without the necessary licence from the London Wool Staple”. Wood imagines how John’s financial dealings might have started with skins for leather, later diversifying into wool. The Worshipful Company of Woolmen, which organises the Sheep Drive, like other livery companies aimed to prevent sharp practice and regulate trade. Shakespeare’s father seems to have been doing just the kind of deals they were trying to prevent.

The Sheep Drive 2015

The Sheep Drive 2015

In Medieval and Tudor England wool was a vital product. In the Cotswolds the wealth brought by wool to the area resulted in the building of the “wool churches”. One wealthy merchant engraved the following lines on the windows of his house “I praise God and ever shall – it is the sheep hath paid for all”. Taxes were raised for the government by the sale of wool, so they protected the industry. Elizabeth 1 made everyone wear on Sundays “a cap of wool knit and dressed in England”.   The Worshipful Company of Woolmen set standard sizes for packages of wool to be sold just like the rules to protect consumers that regulated the size of loaves and their price.

Shakespeare certainly knew about the wool trade. In The Winter’s Tale the young shepherd tries to work out how much he would make by selling the fleeces shorn from his sheep: “Let me see – every ‘leven wether tods, every tod yields pound and odd shilling; fifteen hundred shorn, what comes the wool to? A tod was 28 lb, and it took the fleece of eleven sheep (wethers) to make a tod, worth twenty-one shillings. The answer to his calculation then is getting on for £200, a small fortune. Apparently Shakespeare gets these figures right. Even if his own father didn’t farm sheep there were many in the Stratford area who did. Adam Palmer was the neighbour of Mary Arden’s family in Wilmcote, and his 1584 inventory lists “wethers” among his many animals such as oxen, swine, horses, mares and poultry.

Sharon Little, Freeman of London, and her sheep

Sharon Little, Freeman of London, and her sheep

The next Great Annual Sheep Drive takes place on 25 September 2016. On payment of a £50 fee, Freemen can book a place to drive a sheep across London Bridge, after which they receive a personal certificate signed by the Lord Mayor to confirm they have exercised their rights. I’m very much hoping my niece will take advantage of this opportunity and will invite her Warwickshire relations to accompany her.

 

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Winter stories at Charlecote

Charlecote Park in the snow

Charlecote Park in the snow

December isn’t the coldest month of the year, but it’s the darkest, with days getting progressively shorter most of the month. Earlier this week I visited Charlecote Park, the stately home near Stratford-upon-Avon, and couldn’t help thinking how much the lack of light must have affected people before electricity. Even with its huge windows, the great hall of the house was dark and gloomy.

Like most of us Shakespeare often relates December to the great festival of Christmas towards the end of the month. In his Five Hundred Points of Good Husbandry, countryman Thomas Tusser remarks that winter is the time “to spende as we neede” all that has been set aside during the months of plenty. There are still jobs to do: caring for the animals, feeding the bees to keep them alive, threshing grain, stacking dung and chopping wood for the fire for warmth and cooking:
Get grindstone and whetstone, for toole that is dull,
or often be letted and freat bellie full.

Preparations for the holidays went on for weeks. In his work Fantasticks, Nicholas Breton writes about getting ready for a fashionable Christmas in the city:
It is now December, and he that walks the streets shall find dirt on his shoes, except he go all in boots: Now doth the lawyer made an end of his harvest, and the client of his purse: New Capons and Hens, beside beef and Mutton, must all die for the great feast…Now plums and spice, Sugar and Honey, square it among pies and broth,…Now are the tailors and Tire makers full of work against the Holidays, and Music must be in turn, or else, never: the youth must dance and sing and the aged sit by the fire…the Tapster, if he take not heed, will lie drunk in the cellar: the prices of meat will rise apace and the apparel of the proud will make the tailor rich…: and if the cook do not lack with, he will sweetly lick his fingers…To conclude, I hold it the costly Purveyor of Excess, and after breeder of necessity, the practice of Folly, and the Purgatory of Reason.

Henry Peacham, too, in his book of Emblems, described how December should be represented in a picture: “December must be expressed with a horrid and fearful aspect… instead of a garland upon his hand, three or four night caps with a Turkish turban over them. His nose red, his mouth and beard clogged with icicles”.

The tomb of Sir Thomas Lucy in Charlecote Church

The tomb of Sir Thomas Lucy in Charlecote Church

Back to Charlecote, I was there on what would otherwise have been a depressing December day for one of their new sessions about the house’s Library, one of the most important cared for by the National Trust.* Apparently one of the most common questions asked of guides at Charlecote is “Did the family actually read the books in the Library?” The number of handwritten annotations they contain show that they did. And the tomb of Sir Thomas Lucy (1585-1640) in the church at Charlecote, depicts him in front of shelves full of precious books.

At these sessions it’s possible to hear about some of the many treasures held at the house, and to step into the beautiful library where conservators are undertaking the painstaking work of conserving books.  It’s fascinating to hear about the National Trust’s aim of protecting volumes from damage while also leaving them on display where they have been kept for centuries. This post explains more about this work.

The title page of William Painter's The Palace of Pleasure

The title page of William Painter’s The Palace of Pleasure

While many of the books from Shakespeare’s period were religious texts, some were more entertaining.  Charlecote contains a copy of the 1632 Second Folio of Shakespeare’s works, not suitable for display, but several books relevant to Shakespeare were shown off: a copy of the 1577 edition of Holinshed’s Chronicles, the source of many of the history plays, and a copy of Froissart’s Chronicles. This contains accounts of the reign of Richard II, and was in turn quoted by Holinshed.  Another important source book is William Painter’s The Palace of Pleasure, a collection of popular stories. The second volume, first published in 1567 and reprinted in 1580, contains the story of Romeo and Juliet, though by the time Shakespeare wrote his play the story was already well-known. The library contains other collections based on classical and medieval stories, including those by Giovanni Boccaccio (1313-1375) and Cinthio Giraldi (1504-73). More of these sessions are planned. See here for more information.

Reading these stories of history and romance must have been important relief in the bleakest part of the year. In Cymbeline, young Arvirargus laments his limited experience of the world and mentions how on long, cold evenings there is nothing to do but tell stories:
What should we speak of…when we shall hear
The rain and wind beat dark December, how,
In this our pinching cave, shall we discourse
The freezing hours away?

Shakespeare himself must have been lucky to have had many stories told him during the bleak days of “old December’s bareness”.

*With special thanks to Jo Wilding and members of the Shipston-on-Stour U3A who allowed me to tag along.

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Full of sound and fury: recording Shakespeare

An early gramophone

An early gramophone

There are few things that take people back to their past more effectively than sound recordings. Mostly, of course, it’s recordings of favourite songs. Last week Radio 4 broadcast a series of programmes entitled His Master’s Voice which looked at the early history of recorded sound with singer Cerys Matthews. The recordings they played were mostly too old for anyone alive today to remember, but some of them were still themselves very much alive. The recording of the tenor Enrico Caruso, played in the last programme, sold a million copies when it was released in 1902 and still sends shivers up the spine.

As the British Library points out, “Sound recordings help us to understand the world around us. They document the UK’s creative endeavours, preserve key moments in history, capture personal memories, and give a sense of local and regional identity.” It’s always been seen as important to record people, particularly famous actors, reciting Shakespeare. Some of the best-known have been issued commercially, like this collection of Great Historical Shakespeare Recordings by Naxos. Here we can find, for instance, Johnston Forbes-Robertson, Edith Evans, John Barrymore and Sarah Bernhardt.  There’s more information about the recordings here.

The Naxos recording

The Naxos recording

But collections of rare and perhaps unique sound recordings are under threat: not only are they less well-known than collections of images, they are more difficult to access because the technologies by which they are played back have changed so much, and continue to change. And although some formats are stable, others, like sound tapes, are always degrading. At the beginning of 2015 the British Library began a survey, a National Audit of UK Sound Collections. As well as documenting what recordings are held, it will enable the Library to establish the condition and the future requirements of collections. In May the Library received a Lottery grant of £9.5 million in order to help preserve these unique collections. This site contains information about the whole Save Our Sounds project.

This site includes links to the findings of the Audit and to the directory itself, giving details of the data. Shakespeare enthusiasts will be glad to see the Shakespeare Birthplace Trust’s holdings, including recordings made by the RSC, included, though not in any detail.

The audit has brought together information about over 3,000 collections containing over 1.8 million recordings, and “While not comprehensive, the results offer the most informed picture of the state of the nation’s sound collections ever collated and offer a resoundingly clear message – a message that the UK possess an invaluable wealth of recorded cultural memory that is under imminent threat from loss and decay.” The worry now is that by 2030 it will be too late to preserve many of these recordings.  There’s more information about what needs to happen next on the British Library’s Sound & Vision blog.

In the UK the history of commercial selling of gramophones and recordings goes back to The Gramophone Company, set up in 1898 in Covent Garden. Recording was tricky: the person being recorded had to stand very close to the horn, and as the human voice recorded well individuals speaking poetry or dramatic speeches were popular. In the early days, too, recordings could only be a couple of minutes long: ideal, again, for a great Shakespeare speech. According to Programme 4 of His Master’s Voice one of the earliest spoken word recordings was by Charles Wyndham in 1898, who went on to open Wyndham’s Theatre in London in 1899. Gramophones were so immediately successful that by 1899 a huge variety of recordings were available.

Lewis Waller as Henry V

Lewis Waller as Henry V

Actor Kenneth Cranham was brought into the programme to talk about spoken word recordings and their relationship to what was happening in the theatre: he mentioned the famous recording of Lewis Waller playing Henry V in 1909, with lots of vibrato, that sounds way over the top today. When listening to it we should remember that Waller was having to give a full-on performance straight into the recording equipment in order to be heard, completely different to the nuanced performance a modern actor can give into a sensitive microphone.

This link is to an even earlier recording of the great stage actor Henry Irving reciting a speech from Richard III in 1898. Again, the recording can’t hope to do justice to Irving’s actual performance. If you’re interested to read more about the history of the gramophone, see here.

It’s not all bad news for early sound recordings: modern technology has also allowed us to retrieve some thought to be beyond our reach. In 2011 this is exactly what happened in the US. “The early audio recordings on Volta discs – which revealed recitations of Shakespeare, numbers and other familiar lines – had been packed away and deemed obsolete at the Smithsonian Institution for more than a century. But new technology has allowed them to be recovered and played.” One of these recordings turned out to be the earliest known recording of Shakespeare, “To be or not to be …’ recited in the early 1880s. By another miracle of modern technology you can hear a sample of this recording by going to the webpage.

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