Michael Drayton’s Poly-olbion

Michael Drayton

Michael Drayton

On 23 December 1631 the poet Michael Drayton died at his lodgings in Fleet Street, London. He was so highly regarded by his contemporaries that he was buried in Westminster Abbey with some ceremony. According to an account of his funeral, which it’s thought was paid for by a patron, “… the Gentlemen of the Four Innes of Court and others of note about the Town, attended his body to Westminster, reaching in order by two and two, from his Lodging almost to Standbridge.”

Ben Jonson’s friend William Drummond of Hawthornden prophesied that Drayton would “live by all likelihead so long as … men speak English.” Yet today few know much about Michael Drayton. He was born in 1563 in Hartshill, near Nuneaton, Warwickshire. Drayton came from a humbler background than Shakespeare, and it seems that when young he was a servant in the household of a noble family. Like Shakespeare, Drayton really became a serious writer when he moved to London.  There’s a full biography on the Poetry Foundation site .

The title page of Poly-Olbion

The title page of Poly-Olbion

A new project from the University of Exeter is trying to raise the profile of Michael Drayton. It’s called the Poly-Olbion project.  Poly-Olbion was his great 15,000-line poem, described on the project website as “an expansive poetic journey through the landscape, history, traditions and customs of early modern England and Wales”. He began this massive poem around 1598. The book is decorated with beautiful allegorical maps by William Hole in which the spirits of the rivers, hills and woods appear as scantily-clad maidens or rustic characters, and with prose “illustrations” by John Selden.

Some of the maps have been scanned and made available by the Folger Shakespeare Library, and some are also on the Windows on Warwickshire site.

The poem was published in two parts, in 1612 and 1622. In just one of many unlucky events in Drayton’s life, the first volume was dedicated to the heir to the throne, Prince Henry who died only months after its publication. The current project aims to produce a scholarly edition of the poem, to hold a conference in 2015, and to publish a volume of critical essays reassessing Drayton’s work. There will also be an exhibition at the Royal Geographical Society, recognising the importance of the poem as a description of the country’s topography as well as its folklore.

An image of merry-making from one of the maps in Poly-Olbion

An image of merry-making from one of the maps in Poly-Olbion

Although Drayton lived in London, he is known to have returned to the Warwickshire village of Clifford Chambers, just a couple of miles away from Stratford. In 1622 he wrote a tribute to “his Incomparable Friend, Sir Henry Raynsford Of Clifford” who had died on 27 January 1622, who he described as “so fast a friend, so true a Patriot”. It’s said that he regularly spent summers at Clifford Manor, Raynsford’s home, a building that still stands. From these lines in Poly-Olbion it seems he used the time to write:
‘…dear Clifford’s seat (the place of health and sport)
Which many a time hath been the Muse’s quiet port’

Shakespeare and Drayton are thought to have been friends, and it seems inconceivable that two famous poets would not have met up while both were in the area. One of the legends of Shakespeare’s life is that he died as a result of  a night of hard drinking with Ben Jonson and Michael Drayton while both were visiting Warwickshire. Jonson admired Drayton’s work, calling it “pure, and perfect Poesy”. And later John Hall, Shakespeare’s son-in-law, a well-known doctor, records treating Drayton, “an excellent poet”. Particularly in Poly-Olbion Drayton specialised in the description of topographical features, in which Shakespeare took little interest. But there are echoes of Shakespeare’s lines about the native inhabitants of the Forest of Arden in this section:
And near to these our thicks, the wild and frightful herds,
Not hearing other noise but this of chattering birds,
Feed fairly on the lands; both sorts of seasoned deer:
Here walk, the stately red, the freckled fallow there:
The bucks and lusty stages amongst the rascals strewed,
As sometimes gallant spirits amongst the multitude.

The map of Warwickshire from Poly-Olbion

The map of Warwickshire from Poly-Olbion

Here are a few lines describing the Avon as it flows through south Warwickshire:
Scarce ended they their song, but Avon’s winding stream,
By Warwick, entertains the high complexioned Leam:
And as she thence along to Stratford on doth strain,
Receiveth little Heil the next into her train:
Then taketh in the Stour, the brook, of all the rest
Which that most goodly Vale of Red-Horse loveth best.

These quotations are taken from selections in Roger Pringle’s excellent Poems of Warwickshire.

folmb1Travelling between Stratford and Clifford Chambers Drayton, Shakespeare and Hall must have crossed the Avon, perhaps using the little footbridge which from 1590 crossed the Avon at Lucy’s Mill, south of the town itself. It’s still an important crossing point that links lots of paths including those leading to Clifford Chambers. The twentieth century version of this bridge now has a support group aiming to fund a feasibility study to find out if it can be made accessible to people of all ages and abilities. I know I’m digressing, but we’re looking for more supporters and if you’d like to join you can do so on the  Friends of Lucy’s Mill Bridge website.

When Michael Drayton died he was almost penniless. His pastoral style of poetry, reminscent of Edmund Spenser’s, was no longer fashionable, and Drayton had always preferred to tell the truth as he saw it rather than flattering potential patrons. In a late poem, The Muses Elizium, he prophesied that there would be no future for his kind of poetry. But maybe the project just beginning will bring his work, and the man himself, more attention after so long.

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Astrology at the winter solstice

Aquarius

Aquarius

This weekend is the winter solstice, the turn of the year after which days begin to lengthen again (at least for those of us in the northern hemisphere). It’s a perfect time to enjoy a wonderful illuminated book now kept at Harvard University’s Houghton Library recently fully digitised for everybody to enjoy.

How it must have comforted its first owner in the 1470s with its glorious illustrations, particularly in the dark depths of winter. It was obviously created as a personal book of devotion, but it’s also a reminder of the colourful imagery that existed in churches in England before the Reformation. It’s one of those wonderful mixtures of the sacred and secular that could be seen until after Shakespeare’s lifetime.  As well as offering the comfort of religious images such as the story of the passion and the life of the virgin plus the text of divine services it also contains images of the signs of the zodiac and country tasks to be undertaken month by month.

Aries

Aries

The book is known as the Heures de Notre Dame. It was created in France, probably Troyes. It has 237 pages, and is only a few inches high. The background to the pages include acanthus leaves, decorated initials and flowers and in addition to the signs of the zodiac and monthly occupations there are 29 additional miniatures. Every part of each page is gorgeously decorated. The text is written in Latin and French.

The full reference is: Catholic Church. Heures de Nôtre Dame (use of Troyes and Sens) : manuscript, [ca. 1470]. MS Richardson 7. Houghton Library, Harvard University, Cambridge, Mass. The entire book is digitised.

Shakespeare doesn’t seem to have had a lot of time for astrology. One of the most striking references to the subject comes in King Lear. “How long have you been a sectary astronomical?” asks Edgar, surprised that his brother unexpectedly appears to be taking predictions seriously. The audience know that it’s just a front, as Edmund has already confided his own views about the stars.
This is the excellent foppery of the world, that, when we are
sick in fortune, often the surfeit of our own behaviour, we make
guilty of our disasters the sun, the moon, and the stars; as if
we were villains on necessity; fools by heavenly compulsion;
knaves, thieves, and treachers by spherical predominance;
drunkards, liars, and adulterers by an enforced obedience of
planetary influence; and all that we are evil in by a divine
thrusting on. An admirable evasion of whore-master man, to lay
his goatish disposition to the charge of a star! My father
compounded with my mother under the dragon’s tail, and my
nativity was under Ursa Major, so that it follows I am rough and
lecherous. Fut! I should have been that I am had the
maidenliest star in the firmament twinkled on my bastardizing. 

This link takes you to large reproductions of some of the astrological signs.

The illustrations that follow are the full pages as photographed by the Houghton Library so the layout of the book is shown. I hope you enjoy these wonderful images, created getting on for 650 years ago and still full of glowing life. Click on each one to see the images at larger sizes.

 

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Shakespeare’s Hamlet and the charisma of acting

Peter O'Toole as Hamlet

Peter O’Toole as Hamlet

Since the the death of Peter O’Toole was announced on Sunday the media have been full of reminiscences of him. It’s noticeable that he is remembered for his larger-than-life character and skills as a raconteur almost as much as for his acting.

Some actors disappear into the roles which they play, while others imbue each role with their own character. O’Toole was one of the latter. He was the National Theatre’s first Hamlet in 1963, but he was already a movie star having appeared in Lawrence of Arabia. He was also a character. In the first year of Peter Hall’s leadership of the RSC he had played three interestingly contrasting roles: Petruchio in The Taming of the Shrew, Thersites in Troilus and Cressida and Shylock in The Merchant of Venice: all controversial parts in what were also controversial plays. He had enthusiastically become one of the first actors contracted for three years, but left at the end of the first season, 1960, when offered the role in Lawrence of Arabia. Nobody could blame him for taking it, but it also showed that O’Toole was not, as he had claimed earlier in the year, really a company man.

Benedict Cumberbatch

Benedict Cumberbatch

Hamlet is a role that adapts itself to the character of the actor playing it, and it has attracted a good many famous for their bon viveur lifestyle such as Richard Burton. But their place sometimes seems to have been taken by a generation of more earnest actors. Just a week or so ago Benedict Cumberbatch announced that in 2014 he will be taking the role of Hamlet in a London Theatre (still unnamed). Cumberbatch has a strong background in theatre but he’s become an international star through his fiercely intellectual Sherlock in a contemporary take on the famous detective stories. He’s a brilliant and compelling actor, and his Hamlet will be a hot ticket, but neither he nor his contemporaries have the sometimes outrageous personality of O’Toole, Burton or Oliver Reed.

Shakespeare’s original Hamlet was Richard Burbage. Although much mourned at his death we know very little of what he was like. We do know, though, that Shakespeare wrote the hugely demanding roles of Hamlet, Othello and King Lear for Burbage and we can’t help feeling that Burbage must have had a personality to match.

Thomas Betterton as Hamlet from Rowe's 1709 edition of Shakespeare's works

Thomas Betterton as Hamlet from Rowe’s 1709 edition of Shakespeare’s works

The next great Hamlet, coming after the reopening of the theatres with the Restoration of the monarchy, was Thomas Betterton a man who, in spite of his enormous success, was not a showman in the way that Garrick was. Yet for over forty years Betterton was the leading actor in London, in particular as Hamlet. John Downes recorded that he had been trained in the role by William Davenant, “having seen Mr. (Joseph) Taylor of the Blackfriars Company act it, who being instructed by the author Mr. Shakespeare, he taught Mr. Betterton every part of it.” The dates don’t quite fit, but there could be an element of truth in the story.

Betterton was born in the right place at the right time, being twenty-five at the Restoration in 1660 and immediately engaged to act in the revival that took place under the theatre-loving Charles II. He first played Hamlet in 1661, and from then onwards dominated the role. He was much admired by Samuel Pepys who wrote on August 31 1668 “To the Duke of York’s play-house, and there saw Hamlet, which we have not seen this year before, or more; and mightily pleased with it, but above all with Betterton, the best part, I believe, that ever man acted.”.

Throughout his life Betterton aimed to be a gentleman rather than merely a “rogue and vagabond”. His personal behaviour was always exemplary. Having been apprenticed to a bookseller as a young man he retained his interest in books and amassed an extensive collection of over 600 volumes and large numbers of pictures and engravings. Four months after his death in 1710 his widow was forced to sell his collection and the sale catalogue tells us much about Betterton’s tastes. Published by Jacob Hooke under the title Pinacotheca Bettertonæana, it was described as “A catalogue of the books, prints, drawings and paintings of Mr Thomas Betterton, that celebrated comedian, lately deceas’d. Sold at his own lodgings in Russell Street, Covent Garden.” A new edition of the catalogue has just been published under the auspices of the Society for Theatre Research by Betterton’s biographer, David Roberts.

Thomas Betterton

Thomas Betterton

It shows that Betterton was a man of wide interests, including literary and dramatic criticism, science, translations from Virgil, Homer and Ovid, volumes on geography, law and over thirty studies of civil wars.  It’s a sober and serious collection for an actor who might be expected to enjoy light-hearted reading. But Betterton was no ordinary actor and in his introduction David Roberts claims that he “staked an unusual claim to respectability shared by no previous performer… Whatever its limitations, Betterton’s collection was, remarkably, the work of a gentleman”, at a time when actors were barely respectable.

Towards the end of his life Betterton ventured to Stratford-upon-Avon in search of biographical information about Shakespeare. His findings were published in Rowe’s 1709 edition of the Complete Works, just a year before Betterton’s death. The scene for Hamlet in that edition, reproduced above, of the Ghost’s appearance in Gertrude’s closet, is thought to show his performance. Betterton’s assistance is acknowledged by Rowe, and a copy (probably a gift from Rowe), is the only one by Shakespeare in the sale catalogue.

Luckily Peter O’Toole’s recorded performances ensure he will be remembered for both his acting and his charismatic personality.

If you’re interested in reading more about the stage history of Hamlet, an excellent survey by Robert Hapgood  reworks the introduction to his book Introduction to Hamlet: Shakespeare in Production, published by Cambridge University Press in 1999.

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Shakespeare, gloves, textiles and trade

Annunciation to the Shepherds, book of hours (Bibliotheque Sainte-Genevive in Paris, c. 1433-1465

Annunciation to the Shepherds, book of hours (Bibliotheque Sainte-Genevive in Paris, c. 1433-1465

Now we’re in the grip of winter most of us don’t venture out for a walk without being muffled up in hats, scarves and gloves. While scarves are fashionable adornments at any time of year, hats and gloves are usually reserved for cold weather. But it’s not long since these garments used to be worn all year round and formed part of any respectable outfit.

Going back in history gloves had particular significance, and this is to be explored in a lecture on Wednesday 18 December entitled ‘Taking up the glove: Finds, uses and meanings of gloves, mittens and gauntlets in Western Europe, c.1400-1700 AD’. It’s being given by Dr. Annemarieke Willemsen from the Medieval Department, National Museum of Antiquities, Leiden. Here’s part of her abstract:
Late-medieval and early-modern people wore gloves, mittens and gauntlets for protection and decoration in many different contexts. They were made for men, women, and children: for workers, hawkers, fighters, preachers and lovers. They exist in wool, textiles, metals and leather, made to fit and sometimes lavishly decorated…. . There were rules for when to wear gloves, and when to take them off. They made suitable gifts and appear often as fashionable items in portraits. … Annemarieke Willemsen will be… presenting new research into the archaeology, iconography and symbolism of anything covering people’s hands in the late- and post-medieval period.

A pair of gloves dating from c 1600

A pair of gloves dating from c 1600

Organised by the Society for Post-Medieval Archaeology entrance is free, but seats at the Clore Learning Centre in the Museum of London have to be secured in advance. The lecture itself is from 7-8.30pm, preceded by a wine reception.

I’ve recently been reading some of the pamphlets relating to Shakespeare accumulated by members of my family, and my eye was caught by one written to celebrate the 1864 Tercentenary of Shakespeare’s birth. On closer examination it turns out to be an essay written (it is claimed) by E Moses, a London tailor and outfitter.
Our main purpose in this little pamphlet, is… to help to show…that the recognition of his greatness…is not confined …to any particular class, or rank, or profession…. Shakespeare has exhibited…such a familiarity with the practical details of different trades and professions, that some of his biographers…have endeavoured to illustrate his earlier personal history, by some of those allusions in his plays and poems which seem to indicate a more special acquaintance with certain particular employments than could be expected from any man…who had not served an apprenticeship to them.

The trade or profession which the pamphlet concentrates on is, not surprisingly, the making and supplying of clothes.
Shakespeare too well appreciated the importance of all external things and outward appearances, as emblematic of the unseen spirit, to deem it a profanation of the poet’s art to embody allusions to the subject of clothes in his majestic and immortal verse.

There is no shortage of references to clothes in Shakespeare from Macbeth, whose title hangs “like a giant’s robe upon a dwarfish thief” to Polonius’ precepts to his son in Hamlet that “the apparel oft proclaims the man”. And to Shakespeare gloves are among the most meaningful of items. Juliet’s glove is imagined as an intimate garment.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!

Gloves (gages) are thrown down as deadly challenges by nobles in Richard II, worn as trophies in Henry V and exchanged by lovers in Troilus and Cressida.

Albrecht Durer self-portrait painted in 1498 shows him flamboyantly dressed, including fine kid gloves. Musee del Prado in Madrid.

Albrecht Durer self-portrait painted in 1498 shows him flamboyantly dressed, including fine kid gloves. Musee del Prado in Madrid.

As suggested in the summary of the lecture, elaborate gloves made handsome gifts, embroidered and perfumed, and could be made from a variety of materials. In a miscellany compiled by Sir Francis Fane (1611-1680) there is a little rhyme which is supposed to have been composed by Shakespeare to accompany a gift of gloves which the master  at Stratford grammar school was to give to his mistress.
The gift is small,
The will is all,
Alexander Aspinall.

Alexander Aspinall was master at the school from 1582 until he died in 1624, and it has also been conjectured that he bought the gloves from John Shakespeare on the occasion of his betrothal in 1594. Needless to say there is no evidence for any of this, but it is a charming idea even if the verse is mundane. This website includes information and images relating to the history of gloves.

Shakespeare often displays a knowledge of the craft of glove-making. He talks of the tools of the trade “Does he not wear a great round beard, like a glover’s paring-knife?”, in The Merry Wives of Windsor and knows the qualities of raw materials. Cheveril is a kind of easily-stretched leather used in glove-making, and it’s mentioned by Mercutio as a symbol of something easily manipulated:
O here’s a wit of cheveril, that stretches from an
inch narrow to an ell broad!

The company of E Moses & Son claimed to be bespoke tailors for all classes, but they wanted to be seen as more than just tradesmen. In 1864 they published both their pamphlet on Shakespeare and another on “The Philosophy of Dress”, which contains press comments about the Shakespeare pamphlet. While the Chatham News was positive: “They have spent their money in a way that stamps them as above the ordinary run of advertisers. The whole is in excellent taste”, the Court Circular responded to a comment that reminds us of the snobbishness that surrounded tradespeople: ’A correspondent takes us to task because we have amongst our reviews a notice of the pamphlet…as if we had no right to recognise any literary talent in a tailor—as if no genius ever sprang from behind a counter.” No doubt the author had in mind the humble background of Shakespeare himself.

Finally, there’s also time to catch an exhibition that relates the manufacture and global trade in textiles to the development of empire. Interwoven Globe: The Worldwide Textile Trade, 1500-1800 will be on at the Metropolitan Museum of Art in New York until 5 January 2014. It’s also a celebration of textile-related crafts such as dyeing, weaving and embroidery. Amelia Peck, the exhibition’s lead curator said in an interview “this is the first time that anyone has created an exhibition that uses textiles to tell the story of worldwide trade in the early modern period.”

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Christmas shopping for Shakespeare-lovers

Judi Dench in An Age of Kings

Judi Dench in An Age of Kings

In case you’re still looking for Shakespeare-related Christmas presents for your nearest and dearest (or yourself), there are plenty to choose from.

Top of my list is the DVD set of An Age of Kings, the fifteen-part BBC series from 1960 that adapted Shakespeare’s history plays for the small screen. If you regularly read these blogs you will have heard about these highly-regarded programmes already, but they are now available in time for Christmas. An Age of Kings has never been available for purchase in the UK before so it’s a great choice for an unusual gift.

Here’s the link to the Illuminations blog which includes a link to purchase the series, and another to the Movie Mail site which includes lots of information about the series and stills from the DVD, so worth a look even if you decide not to buy.

 

Hamlet in Spineless format

Hamlet in Spineless format

Another unusual present that’s been drawn to my attention is the series of posters published by Spineless Classics. These are tasteful and attractive posters which include a whole play on one page, beautifully designed and completely legible. The Hamlet poster features an outline of Hamlet holding the skull, with “To be, or not to be – that is the question” positioned on the page just where it comes in the play. The Merchant of Venice poster includes both the Rialto bridge and Shylock’s scales, and Romeo and Juliet a heart pierced by a dagger.

There’s even the option to buy the Complete Works of Shakespeare “on 5 majestic A0 pages” if you want to surround yourself with every word he wrote. They can still be ordered in time for Christmas.

If you’re still looking for inspiration, don’t forget the specialised shops that contain lots of Shakespeare-themed ideas. The Shakespeare Birthplace Trust’s online shop is offering a 20% discount until 24 December if you enter TWEET20 at the checkout, and if you’re quick they are still guaranteeing delivery in time for Christmas for UK orders.

And the Royal Shakespeare Company’s online gift shop contains not just books and DVDs but several ranges of clothing, decorations, posters (including the Spineless posters) and jewellery.

Happy (online) shopping!

 

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Shakespeare in Germany

redefining shakespeareNo country outside the UK can boast a longer history of involvement with Shakespeare than Germany. During Shakespeare’s lifetime companies of English players performed at the courts of German princes, and there were even purpose-built playhouses remarkably like English playhouses some years before the building of the first theatre in London. Many adaptations of Shakespeare’s plays were performed in Germany in the century after Shakespeare lived, and the first translations of Shakespeare’s actual text into another language were German, beginning with Julius Caesar in 1741. During the later years of the eighteenth century Shakespeare worship took off in Germany, as it was doing in the UK and elsewhere. The first complete translation of Shakespeare’s plays into German was published between 1775 and 1782, and adaptations continued to flourish. The German romantic writers Schiller and Goethe were united in their admiration of Shakespeare.

Germany was thought of as Shakespeare’s second home, and the play with which Germans most associated themselves was Hamlet. In his article Short Cuts, written for the London Review of Books,  Professor Michael Dobson comments “Certainly once Shakespeare was naturalised by the Schlegel-Tieck translation and others in the early 1800s as ‘the third German classic’, the status of his Wittenberg-educated prince as a national allegory in waiting was assured. In a poem of 1844 Ferdinand Freiligrath lamented that ‘Deutschland ist Hamlet,’ and for many subsequent commentators, both at home and abroad, the chief task facing an emergent Germany was that of pulling itself together and rousing itself to action, thereby finally outgrowing Shakespeare’s depressing and constraining plot.”

Earlier this week Emily Oliver, who has just received her PhD, spoke to the Shakespeare Club in Stratford-upon-Avon about Shakespeare under Socialism, specifically in Eastern Germany from the 1980s until the fall of the Berlin Wall. With huge numbers of people behaving as informers on their fellow-citizens and a Ministry of Culture largely responsible for controlling what was seen, the parallels with Orwell’s novel 1984 were compelling. Oliver gave an outline of the theatrical landscape of East Germany: a country of 16 million which subsidised 68 state-funded theatres. The country has few big cities, so many of the theatres were in far-flung locations. Theatres had their own resident ensembles, and there was a considerable requirement for plays to perform. Not surprisingly Shakespeare was popular, with more performances of his plays than the German writer Goethe.

The role of Shakespeare in the socialist German Democratic Republic has been analysed in a number of books such as Steven G Kellman and Andrew M McLean’s 1997 collection Redefining Shakespeare: Redefining Shakespeare: Literary Theory and Theater Practice in the German Democratic Republic.

It has been suggested that Shakespeare’s popularity in Eastern Germany was caused by him being a “secret agent”, academic Dennis Kennedy labelling his plays dissident texts. The public became sensitive to ambiguities, reading between the lines of everything that was presented to them. It’s easy to see, in this climate of suspicion, how important Hamlet could be. Hamlet productions, even in the UK, have often been given a setting in which spying is rife, Rosencrantz and Guildenstern being employed as government informers.

Oliver concentrated on the production of Hamlet that has become associated with the fall of the Berlin Wall and the end of the East German government. It’s the production pictured on the jacket of Kellman and McLean’s book, entitled Hamlet/Maschine, directed by Heiner Muller and performed at the Deutches Theater in Berlin. It went into rehearsal in August 1989 and received its first performances in March 1990. During this period there were weekly anti-government demonstrations, large numbers of people left the country for Hungary, the Government resigned, the Wall fell and, just days before the first performance free elections were held. In that period of seven months the country had gone through massive permanent changes.

Ulrich Muhe in the 2006 film The Lives of Others

Ulrich Muhe in the 2006 film The Lives of Others

The play was set inside a thawing ice cube, an obvious symbol of the developing political climate. The Ghost was Stalin, and Fortinbras a representative of the Deutsche Bank. It has become part of the folklore surrounding the production that it actually influenced events, and it is the case that the actor playing Hamlet, Ulrich Muhe, addressed demonstrators while the rehearsals were going on. But although people have liked to say that Shakespeare helped lead to the fall of the Berlin Wall, she suggested this is, sadly, not true.

It’s a persistent idea, and Emily Oliver speculated about why this might be. She suggested that it was to do with the ephemeral nature of theatre and memory. With each performance irrecoverable, anything could be claimed by those who had been in the audience. And those audiences consisted of newly-liberated East Germans as well as visitors form the West. In retrospect, people have turned the performance into what they would like it to have been, coming as it did at a critical moment in the history of the continent. Those of us who admire Shakespeare believe that Shakespeare can certainly influence and improve our lives, but starting a revolution is perhaps going a little far.

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Shakespeare, collaboration and the apocryphal plays

Title page of the Third Folio

Title page of the Third Folio

The question “how many plays did Shakespeare write?” is not an easy one to answer. The First Folio includes 36 plays, but I’ve always been intrigued by the list of additional plays on the title page of the Third Folio from 1664: it includes seven extra plays, one of which, Pericles, has long accepted as containing a high proportion of Shakespeare’s writing and is included in all editions. But the other six, The London Prodigal, Thomas Lord Cromwell, Sir John Oldcastle, The Puritan Widow, A Yorkshire Tragedy, and Locrine, were usually dismissed as mere fillers added in order to increase sales of this new edition.

In 1908 C. F. Tucker Brooke, in his book The Shakespeare Apocrypha, listed forty-two plays conceivably attributable to Shakespeare, many in his own lifetime, but dismissed the majority, printing only the fourteen which “alone appear entitled, on grounds either of reason or of custom, to a place among The Shakespeare apocrypha.”.

Then came computerised versions of the plays, and the possibility this gave of examining the texts statistically in what came to be called stylometry. By comparing vocabulary, spelling and grammatical constructions it was said that each writer’s work could be identified. But stylometry wasn’t accepted, perhaps because unreliable results came out of the earliest computer analysis.

Nowadays attribution studies is a subject all of its own. and over the past few years it’s become accepted that Elizabethan and Jacobean playwriting was very often collaborative. No wonder examining sections of plays taking a model section and comparing other to it had been fraught with problems: more and more plays once confidently assumed to be entirely by one author are now thought to be by more than one person. A Shakespeare Apocrypha website lists 46 plays and includes information about when they were attributed and whether there’s a modern printed or online edition.

collaborativeSo the new book William Shakespeare and others: Collaborative Plays, edited by Jonathan Bate and Eric Rasmussen, promises an answer to the question about which plays Shakespeare collaborated on, and which bits he wrote. It’s designed as a companion volume to the RSC edition of Shakespeare’s Works, published in 2007, which includes both Pericles and The Two Noble Kinsmen as well as the 36 plays of the First Folio. Both are collaborations, but then so are a few of the plays in the Folio such as Henry VIII. Jonathan Bate indicates in his introduction to the Complete Works that he already had the answers: “We know an immense amount about how plays were put together collaboratively and a whole battery of stylometric tests has enabled us to work out which playwright wrote which scenes”.

The new book, though, doesn’t quite satisfy the expectations raised by the earlier volume. It gives us the full text of just ten plays: Arden of Faversham, Locrine, Edward III, The Spanish Tragedy, Thomas Lord Cromwell, Sir Thomas More, The London Prodigal, A Yorkshire Tragedy, Mucedorus, and The Double Falsehood. It includes a general introduction which goes into the history of the subject and the reason for each play being chosen, as well as an introduction for each play. There’s also a 90-page section written by Will Sharpe entitled Authorship and Attribution which explores the subject further and includes a clear and measured judgement about the claims of each play. Finally there’s a series of interviews By Peter Kirwan with directors and actors who have been involved in productions.

The Sir Thomas More manuscript, kept at the British Library

The Sir Thomas More manuscript, kept at the British Library

It’s not unreasonable to expect that the the plays selected all contain at least some Shakespeare, and the book goes over the now well-trodden ground of the evidence surrounding the manuscript of Sir Thomas More. But the editors themselves strangely eliminate at least two of their selected ten. In the introduction to A Yorkshire Tragedy Bate states “The entire play is almost universally attributed to Thomas Middleton”, and for Thomas Lord Cromwell  “The Shakespeare attribution has been universally rejected on grounds of style”.

Perhaps it’s only to be expected that a book published under the title The RSC Shakespeare would concentrate on the plays that work well in the theatre. The book declares that it will “help you to understand Shakespeare’s plays as they were originally intended – as living theatre to be enjoyed and performed”.  There’s a review here. The RSC have performed several of the plays in this collection (Arden of Faversham, Edward III, Sir Thomas More and The Double Falsehood (Cardenio), and will be giving another production of Arden of Faversham in 2014. The RSC Shakespeare edition  attempted to reclaim the First Folio as a collection of essentially theatrical texts, and these 10 plays have perhaps also been chosen more because of their potential for performance than for their Shakespearian content.  The Double Falsehood (Cardenio) is a case in point as the version staged by the RSC was very much a reconstructed text – undoubtedly theatre-worthy, but making few claims to be authentically Shakespearean.

At the same time some interesting conclusions are drawn. The Spanish Tragedy is printed complete with 1602 additions, and  the scene between Alice and Mosby in Arden of Faversham is confirmed as being by Shakespeare. The plays are indeed, “fascinatingly varied” in subject matter, performance and publication history.

This book won’t answer all the questions you might have about exactly what Shakespeare wrote, or about how playwrights worked in his time, but it certainly provides lots of information and whet the appetite for seeing these plays on the stage. A recent student production of  Mucedorus at the University of Toronto described it as: “A princess in distress, a prince in disguise, a jealous lover, a clown named Mouse, a cannibal wild man, and a BEAR!  What more could you want in a fairy tale romance?” It was the most popular drama of the age: let’s hope it isn’t long before it’s given a full professional production.

William Shakespeare and Others: Collaborative Plays
Edited by Jonathan Bate and Eric Rasmussen, with Jan Sewell and Will Sharpe
Palgrave Macmillan, 816pp, £25

 

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Nelson Mandela and Shakespeare

From around the world the main news this morning, is of the death of Nelson Mandela. I was privileged, in 2005, to meet Sonny Venkatrathnam who had been imprisoned with Mandela on Robben Island, and to examine the Robben Island Shakespeare at close quarters. I believe the Complete Works Exhibition in Stratford-upon-Avon was the first occasion on which the book had left South Africa, though it has since become something of an international star itself, globe-trotting to London in 2012 and to the Folger Shakespeare Library in Washington DC in 2013.

The impact of this remarkable book has been extraordinary and I’ve been interested to see how many people have, over the past 12 hours, quoted the lines from Julius Caesar highlighted by Mandela in it.
Cowards die many times before their deaths:
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men
Should fear…
Seeing that death, a necessary end,
Will come when it will come.

Still in the possession of Sonny Venkatrathnam, its original owner, it surely deserves to be one of South Africa’s national treasures.

If you would like to follow them, these links lead to two of my posts about the book.
Shakespeare and our restless world
Julius Caesar, Shakespeare’s African play

 

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Shakespeare and the two William Jaggards

The Pavier Quarto of King Lear

The Pavier Quarto of King Lear

William Jaggard is well known as the printer of Shakespeare’s First Folio, along with his son Isaac. He was a member of the Stationers’ Company in London, but has got a name for unethical practices, at least in regard to Shakespeare. In 1599 he published The Passionate Pilgrim as a collection “by W Shakespeare” that turned out to be mostly not by Shakespeare, and in 1619 he co-produced the so-called Pavier quartos. These were reprints of existing quartos to which he gave earlier dates to get round the prohibition on printing plays belonging to the King’s Men. Plays treated in this way included A Midsummer Night’s Dream, Henry V and King Lear.

It’s perhaps surprising, then, that when it came to choosing a printer for the First Folio Jaggard was chosen. But he had printed a lot of large and expensive volumes such as the 1610 edition of Sir Thomas Elyot’s Castel of Health and the 1607 edition of Topsell’s History of Foure-footed beasts. It may also have been a factor that by the 1620s the business was mostly run by Isaac, William dying in 1623.

But he is not the only William Jaggard to play a part in the Shakespeare story. Captain William Jaggard came to live in Stratford in 1909, opening the Shakespeare Press, a bookshop and printing business, at 4 Sheep Street (unless the numbering has changed this is now the Vintner Restaurant). He had taken an active interest in Shakespeare and Stratford for many years, and when he moved to Stratford he had recently failed to become City Librarian of Liverpool.

The title page of the Shakespeare Bibliography

The title page of the Shakespeare Bibliography

Jaggard’s great Shakespeare project was the compilation and printing of a Shakespeare Bibliography a massive volume published after over twenty years of effort in 1911. It is subtitled  “A Dictionary of every known issue of the writings of our National Poet and of recorded opinion thereon in the English Language”.

The book has over 700 closely-printed pages, and in its flowery introduction Jaggard talks about the number of people whose work is recorded in the book. “Of the unnumberable myriads, over twenty-thousand workers held by his magic spell stand enunerated in this census”. He describes the action of lesser writers, who “gyrate, as a moth, round the flashing, dazzling arc of light known as William Shakespeare”.

Jaggard had already catalogued several collections of books, so it’s not surprising that he lists many of the earlier attempts to create bibliographies of books by and about Shakespeare. The catalogues of the Shakespeare Memorial Library, Birmingham, and the James Lenox Library in New York, are both mentioned, for instance. He notes that in 1889 Frederick Hawley, the Librarian at the Shakespeare Memorial Library in Stratford, aimed to create a “Catalogue of all the known editions of Shakespeare’s plays in every language”, but died before it could be completed.

a page of the Bibliography

a page of the Bibliography

Jaggard’s book is not just a bibliography, that is a list of books, but aims to be almost a Shakespeare encyclopaedia. It includes illustrations, and some of the entries describe the relevance of the items included to Shakespeare. With entries crammed together it’s a difficult book to use, made more complicated because of the sheer number of additional cross-references he includes. But it’s these cross-references that make it useful. The book is in alphabetical order by author, but in the same sequence are subjects like music, with all the names of the relevant authors listed. When it comes to texts of Shakespeare’s plays, nearly 100 pages are taken up by editions of the Complete Works, and another 200 pages by editions of individual plays. These are in date order, and the names of all the editors are cross-referenced. Attempting to sort out the hundreds if not thousands of similar volumes without the ability to photograph and compare them must have been mind-bogglingly complicated.

Jaggard also included the locations of the books to which he referred. As well as the usual suspects (British Museum, and the specialised Shakespeare collections), are some less obvious ones like Melbourne Public Library in Australia and the State Library of Zurich, Switzerland. In 1911, of course, the Folger Shakespeare Library did not exist.

Jaggard triumphantly claims that “after twenty-two years’ effort, chiefly in time ill-spared from rest and recreation, I have at last reconciled aim with achievement, faith with fulfilment”. He must have known, though, that his aim of completeness was doomed to failure since even in 1911 the tide of new publications was relentless. The book is an extraordinary testament to Jaggard’s determination.

Supers including William Jaggard in the back row, second from right

Supers including William Jaggard in the back row, second from right

Captain Jaggard was a well-known figure, becoming involved in many local organisations. Among my late father’s extensive collection of Shakespeareana I recently found a photograph of a group of local walk-on actors, known as “supers”, for a visiting production of Everyman put on at the Shakespeare Memorial Theatre in the early 1920s. It features three members of the Jaggard family: Captain William Jaggard is in the back row, second from right, and in the front row first left is Aubrey who took over the running of his father’s business, and, second from right in the front row, Gerald Jaggard.

The book contains an inscription to the first William Jaggard:  “to whom the world owes more than it deems for the safe preservation of an unparalleled literary heritage, the labour of a lifetime is gratefully dedicated”. Jaggard had investigated his family history, and liked to say that he was descended from the publisher of the First Folio, but it’s noticeable that he doesn’t make this claim in the Shakespeare Bibliography. Was he just being modest, or was he perhaps aware that his family history research might not be watertight? Either way, both William Jaggards deserve the gratitude of modern Shakespeareans.

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British Shakespeare Association news

bsa logoLast Saturday, 30 November, the British Shakespeare Association held its Annual General Meeting. The BSA is an association of “teachers, researchers, theatre practitioners, writers and enthusiasts” and is a relatively young organisation that has existed for less than fifteen years. Without a single geographical focus, the major focus of the organisation is its biennial conference and the publication of a quarterly journal Shakespeare. Its Education section also publishes a bi-annual magazine Teaching Shakespeare which is available free of charge through the Shakespeare in Education blog.

The University of Stirling

The University of Stirling

Each conference is held at a different location, and the next will be on 3-6 July 2014 at the University of Stirling. Its theme will be Shakespeare: Text, Power, Authority. To quote the website, “in the four hundred and fiftieth year since Shakespeare’s birth, this conference seeks to explore questions of authority for Shakespeare, in Shakespeare, and about Shakespeare. It aims to investigate the relationship between text, power, and authority, both in the writing of Shakespeare and in writing about Shakespeare. Shakespeare’s works ask us repeatedly to think about what constitutes authority, about where authority lies, and about the performance of authority. Shakespeare has also himself repeatedly been used as a form of cultural capital and authority, and we therefore also welcome contributions that explore some of the different ways in which his plays and poems have been deployed in various times and places. Shakespeare’s works prompt us to think about textual authority, too. What is textual authority? What makes one text more authoritative than another? How have ideas of textual authority changed over time, and what, politically, is at stake in these changes?

There are sure to be a lot of sessions looking at Shakespeare and politics, and in the year of the Scottish referendum proposals on Shakespeare and Scotland are particularly welcome. There will be a blend of lectures, papers, workshops and seminars broadly on the theme of the conference, as well as  performances and excursions. Anyone wanting to contribute to the conference can contribute an abstract by the end of January, and instructions are on the site. With keynote speakers including Professor Margreta de Grazia (University of Pennsylvania), Professor Andrew Murphy (University of St Andrews), Professor John Drakakis (University of Stirling),Dr Colin Burrow (University of Oxford) and Dr Michael Bogdanov (Director, The Wales Theatre Company) it’s sure to be a stimulating few days. Registration is already open.

The Shakespeare in Education blog launched in spring 2012 after the conference in Lancaster. It provides a forum for sharing ideas and experiences relating to education. Anyone wanting to contribute can do so and instructions explaining how to do so are on the site.

Also in early 2012 the related magazine Teaching Shakespeare began publication, edited by Dr Sarah Olive. Four issues have now appeared, and all are available for download from the blog, as well as for purchase. It’s regularly published in February and September.

In the current issue I’ve particularly enjoyed Cathleen McKague’s engaging article about teaching an unruly group where “classroom management was a constant and often overwhelming task”. She tells how she found a solution by teaching The Tempest.
” What does one do with a class of energetic spotlight-stealers? Why, give them a stage, of course! I quickly fashioned a weeklong lesson plan in which we would use an exploration of Caliban’s ‘enchanted isle’ speech as a springboard to discussing and reading the Usborne version of the play”.

henry-V-poster-300x172Perry Mills’ thoughtful retrospective on the experience of performing Henry V in April 2013 with his group Edward’s Boys (about which I wrote at the time) is also a great read, whether or not you’re involved in teaching. Three performances marked the centenary of one put on at the first Shakespeare Memorial Theatre by the boys of King Edward’s School. They could not have known back in 1913 that a devastating war would be so soon declared, in which all the boys who appeared would fight, seven of them losing their lives.

Membership of the British Shakespeare Association and attendance at conferences is open to all, not just UK residents or citizens or those actively involved in teaching or research.

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