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  So, what do we know about William Shakespeare, the man responsible for thirty-seven or perhaps more plays, more than 150 sonnets, two lengthy narrative poems, and some shorter poems?

  While many families by the name of Shakespeare (or some variant spelling) can be identified in the English Midlands as far back as the twelfth century, it seems likely that the dramatist's grandfather, Richard, moved to Snitterfield, a town not far from Stratford-upon-Avon, sometime before 1529. In Snitterfield, Richard Shakespeare leased farmland from the very wealthy Robert Arden. By 1552, Richard's son John had moved to a large house on Henley Street in Stratford-upon-Avon, the house that stands today as "The Birthplace." In Stratford, John Shakespeare traded as a glover, dealt in wool, and lent money at interest; he also served in a variety of civic posts, including "High Bailiff," the municipality's equivalent of mayor. In 1557, he married Robert Arden's youngest daughter, Mary. Mary and John had four sons - William was the oldest - and four daughters, of whom only Joan outlived her most celebrated sibling. William was baptized (an event entered in the Stratford parish church records) on April 26, 1564, and it has become customary, without any good factual support, to suppose he was born on April 23, which happens to be the feast day of Saint George, patron saint of England, and is also the date on which he died, in 1616. Shakespeare married Anne Hathaway in 1582, when he was eighteen and she was twenty-six; their first child was born five months later. It has been generally assumed that the marriage was enforced and subsequently unhappy, but these are only assumptions; it has been estimated, for instance, that up to one third of Elizabethan brides were pregnant when they married. Anne and William Shakespeare had three children: Susanna, who married a prominent local physician, John Hall; and the twins Hamnet, who died young in 1596, and Judith, who married Thomas Quiney - apparently a rather shady individual. The name Hamnet was unusual but not unique: he and his twin sister were named for their godparents, Shakespeare's neighbors Hamnet and Judith Sadler. Shakespeare's father died in 1601 (the year of Hamlet), and Mary Arden Shakespeare died in 1608 (the year of Coriolanus). William Shakespeare's last surviving direct descendant was his granddaughter Elizabeth Hall, who died in 1670.

  Between the birth of the twins in 1585 and a clear reference to Shakespeare as a practicing London dramatist in Robert Greene's sensationalizing, satiric pamphlet, Greene's Groatsworth of Wit (1592), there is no record of where William Shakespeare was or what he was doing. These seven so-called lost years have been imaginatively filled by scholars and other students of Shakespeare: some think he traveled to Italy, or fought in the Low Countries, or studied law or medicine, or worked as an apprentice actor/writer, and so on to even more fanciful possibilities. Whatever the biographical facts for those "lost" years, Greene's nasty remarks in 1592 testify to professional envy and to the fact that Shakespeare already had a successful career in London. Speaking to his fellow playwrights, Greene warns both generally and specifically:

  . . . trust them [actors] not: for there is an upstart crow, beautified with our feathers, that with his tiger's heart wrapped in a player's hide supposes he is as well able to bombast out a blank verse as the best of you; and being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country.

  The passage mimics a line from 3 Henry VI (hence the play must have been performed before Greene wrote) and seems to say that "Shake-scene" is both actor and playwright, a jack-of-all-trades. That same year, Henry Chettle protested Greene's remarks in Kind-Heart's Dream, and each of the next two years saw the publication of poems - Venus and Adonis and The Rape of Lucrece, respectively - publicly ascribed to (and dedicated by) Shakespeare. Early in 1595 he was named one of the senior members of a prominent acting company, the Lord Chamberlain's Men, when they received payment for court performances during the 1594 Christmas season.

  Clearly, Shakespeare had achieved both success and reputation in London. In 1596, upon Shakespeare's application, the College of Arms granted his father the now-familiar coat of arms he had taken the first steps to obtain almost twenty years before, and in 1598, John's son - now permitted to call himself "gentleman" - took a 10 percent share in the new Globe playhouse. In 1597, he bought a substantial bourgeois house, called New Place, in Stratford - the garden remains, but Shakespeare's house, several times rebuilt, was torn down in 1759 - and over the next few years Shakespeare spent large sums buying land and making other investments in the town and its environs. Though he worked in London, his family remained in Stratford, and he seems always to have considered Stratford the home he would eventually return to. Something approaching a disinterested appreciation of Shakespeare's popular and professional status appears in Francis Meres's Palladis Tamia (1598), a not especially imaginative and perhaps therefore persuasive record of literary reputations. Reviewing contemporary English writers, Meres lists the titles of many of Shakespeare's plays, including one not now known, Love's Labor's Won, and praises his "mellifluous & hony-tongued" "sugred Sonnets," which were then circulating in manuscript (they were first collected in 1609). Meres describes Shakespeare as "one of the best" English playwrights of both comedy and tragedy. In Remains . . . Concerning Britain (1605), William Camden - a more authoritative source than the imitative Meres - calls Shakespeare one of the "most pregnant witts of these our times" and joins him with such writers as Chapman, Daniel, Jonson, Marston, and Spenser. During the first decades of the seventeenth century, publishers began to attribute numerous play quartos, including some non-Shakespearean ones, to Shakespeare, either by name or initials, and we may assume that they deemed Shakespeare's name and supposed authorship, true or false, commercially attractive.

  For the next ten years or so, various records show Shakespeare's dual career as playwright and man of the theater in London, and as an important local figure in Stratford. In 1608-9 his acting company - designated the "King's Men" soon after King James had succeeded Queen Elizabeth in 1603 - rented, refurbished, and opened a small interior playing space, the Blackfriars theater, in London, and Shakespeare was once again listed as a substantial sharer in the group of proprietors of the playhouse. By May 11, 1612, however, he describes himself as a Stratford resident in a London lawsuit - an indication that he had withdrawn from day-to-day professional activity and returned to the town where he had always had his main financial interests. When Shakespeare bought a substantial residential building in London, the Blackfriars Gatehouse, close to the theater of the same name, on March 10, 1613, he is recorded as William Shakespeare "of Stratford upon Avon in the county of Warwick, gentleman," and he named several London residents as the building's trustees. Still, he continued to participate in theatrical activity: when the new Earl of Rutland needed an allegorical design to bear as a shield, or impresa, at the celebration of King James's Accession Day, March 24, 1613, the earl's accountant recorded a payment of 44 shillings to Shakespeare for the device with its motto.

  For the last few years of his life, Shakespeare evidently concentrated his activities in the town of his birth. Most of the final records concern business transactions in Stratford, ending with the notation of his death on April 23, 1616, and burial in Holy Trinity Church, Stratford-upon-Avon.

  THE QUESTION OF AUTHORSHIP

  The history of ascribing Shakespeare's plays (the poems do not come up so often) to someone else began, as it continues, peculiarly. The earliest published claim that someone else wrote Shakespeare's plays appeared in an 1856 article by Delia Bacon in the American journal Putnam's Monthly - although an Englishman, Thomas Wilmot, had shared his doubts in private (even secretive) conversations with friends near the end of the eighteenth century. Bacon's was a sad personal history that ended in madness and poverty, but the year after her article, she published, with great difficulty and the bemused assistance of Nathaniel Hawthorne (then United States Consul in Liverpool, England), her Philosophy of the Plays of Shakspere Unfolded. This huge, ornately written, confusing farrago is almost unreadable; sometimes its intents, to say nothing of its argu
ments, disappear entirely beneath near-raving, ecstatic writing. Tumbled in with much supposed "philosophy" appear the claims that Francis Bacon (from whom Delia Bacon eventually claimed descent), Walter Ralegh, and several other contemporaries of Shakespeare's had written the plays. The book had little impact except as a ridiculed curiosity.

  Once proposed, however, the issue gained momentum among people whose conviction was the greater in proportion to their ignorance of sixteenth-and seventeenth-century English literature, history, and society. Another American amateur, Catherine P. Ashmead Windle, made the next influential contribution to the cause when she published Report to the British Museum (1882), wherein she promised to open "the Cipher of Francis Bacon," though what she mostly offers, in the words of S. Schoenbaum, is "demented allegorizing." An entire new cottage industry grew from Windle's suggestion that the texts contain hidden, cryptographically discoverable ciphers - "clues" - to their authorship; and today there are not only books devoted to the putative ciphers, but also pamphlets, journals, and newsletters.

  Although Baconians have led the pack of those seeking a substitute Shakespeare, in "Shakespeare" Identified (1920), J. Thomas Looney became the first published "Oxfordian" when he proposed Edward de Vere, seventeenth earl of Oxford, as the secret author of Shakespeare's plays. Also for Oxford and his "authorship" there are today dedicated societies, articles, journals, and books. Less popular candidates - Queen Elizabeth and Christopher Marlowe among them - have had adherents, but the movement seems to have divided into two main contending factions, Baconian and Oxfordian. (For further details on all the candidates for "Shakespeare," see S. Schoenbaum, Shakespeare's Lives, 2nd ed., 1991.)

  The Baconians, the Oxfordians, and supporters of other candidates have one trait in common - they are snobs. Every pro-Bacon or pro-Oxford tract sooner or later claims that the historical William Shakespeare of Stratford-upon-Avon could not have written the plays because he could not have had the training, the university education, the experience, and indeed the imagination or background their author supposedly possessed. Only a learned genius like Bacon or an aristocrat like Oxford could have written such fine plays. (As it happens, lucky male children of the middle class had access to better education than most aristocrats in Elizabethan England - and Oxford was not particularly well educated.) Shakespeare received in the Stratford grammar school a formal education that would daunt many college graduates today; and popular rival playwrights such as the very learned Ben Jonson and George Chapman, both of whom also lacked university training, achieved great artistic success, without being taken as Bacon or Oxford.

  Besides snobbery, one other quality characterizes the authorship controversy: lack of evidence. A great deal of testimony from Shakespeare's time shows that Shakespeare wrote Shakespeare's plays and that his contemporaries recognized them as distinctive and distinctly superior. (Some of that contemporary evidence is collected in E. K. Chambers, William Shakespeare: A Study of Facts and Problems, 2 vols., 1930.) Since that testimony comes from Shakespeare's enemies and theatrical competitors as well as from his co-workers and from the Elizabethan equivalent of literary journalists, it seems unlikely that, if any of these sources had known he was a fraud, they would have failed to record that fact.

  Books About Shakespeare's Theater

  Useful scholarly studies of theatrical life in Shakespeare's day include: G. E. Bentley, The Jacobean and Caroline Stage, 7 vols. (1941-68), and the same author's The Professions of Dramatist and Player in Shakespeare's Time, 1590- 1642 (1986); E. K. Chambers, The Elizabethan Stage, 4 vols. (1923); R. A. Foakes, Illustrations of the English Stage, 1580-1642 (1985); Andrew Gurr, The Shakespearean Stage, 3rd ed. (1992), and the same author's Play-going in Shakespeare's London, 2nd ed. (1996); Edwin Nungezer, A Dictionary of Actors (1929); Carol Chillington Rutter, ed., Documents of the Rose Playhouse (1984).

  Books About Shakespeare's Life

  The following books provide scholarly, documented accounts of Shakespeare's life: G. E. Bentley, Shakespeare: A Biographical Handbook (1961); E. K. Chambers, William Shakespeare: A Study of Facts and Problems, 2 vols. (1930); S. Schoenbaum, William Shakespeare: A Compact Documentary Life (1977); and Shakespeare's Lives, 2nd ed. (1991), by the same author. Many scholarly editions of Shakespeare's complete works print brief compilations of essential dates and events. References to Shakespeare's works up to 1700 are collected in C. M. Ingleby et al., The Shakespeare Allusion-Book, rev. ed., 2 vols. (1932).

  The Texts of Shakespeare

  AS FAR AS WE KNOW, only one manuscript conceivably in Shakespeare's own hand may (and even this is much disputed) exist: a few pages of a play called Sir Thomas More, which apparently was never performed. What we do have, as later readers, performers, scholars, students, are printed texts. The earliest of these survive in two forms: quartos and folios. Quartos (from the Latin for "four") are small books, printed on sheets of paper that were then folded in fours, to make eight double-sided pages. When these were bound together, the result was a squarish, eminently portable volume that sold for the relatively small sum of sixpence (translating in modern terms to about $5.00). In folios, on the other hand, the sheets are folded only once, in half, producing large, impressive volumes taller than they are wide. This was the format for important works of philosophy, science, theology, and literature (the major precedent for a folio Shakespeare was Ben Jonson's Works, 1616). The decision to print the works of a popular playwright in folio is an indication of how far up on the social scale the theatrical profession had come during Shakespeare's lifetime. The Shakespeare folio was an expensive book, selling for between fifteen and eighteen shillings, depending on the binding (in modern terms, from about $150 to $180). Twenty Shakespeare plays of the thirty-seven that survive first appeared in quarto, seventeen of which appeared during Shakespeare's lifetime; the rest of the plays are found only in folio.

  The First Folio was published in 1623, seven years after Shakespeare's death, and was authorized by his fellow actors, the co-owners of the King's Men. This publication was certainly a mark of the company's enormous respect for Shakespeare; but it was also a way of turning the old plays, most of which were no longer current in the playhouse, into ready money (the folio includes only Shakespeare's plays, not his sonnets or other nondramatic verse). Whatever the motives behind the publication of the folio, the texts it preserves constitute the basis for almost all later editions of the playwright's works. The texts, however, differ from those of the earlier quartos, sometimes in minor respects but often significantly - most strikingly in the two texts of King Lear, but also in important ways in Hamlet, Othello, and Troilus and Cressida. (The variants are recorded in the textual notes to each play in the new Pelican series.) The differences in these texts represent, in a sense, the essence of theater: the texts of plays were initially not intended for publication. They were scripts, designed for the actors to perform - the principal life of the play at this period was in performance. And it follows that in Shakespeare's theater the playwright typically had no say either in how his play was performed or in the disposition of his text - he was an employee of the company. The authoritative figures in the theatrical enterprise were the shareholders in the company, who were for the most part the major actors. They decided what plays were to be done; they hired the playwright and often gave him an outline of the play they wanted him to write. Often, too, the play was a collaboration: the company would retain a group of writers, and parcel out the scenes among them. The resulting script was then the property of the company, and the actors would revise it as they saw fit during the course of putting it on stage. The resulting text belonged to the company. The playwright had no rights in it once he had been paid. (This system survives largely intact in the movie industry, and most of the playwrights of Shakespeare's time were as anonymous as most screenwriters are today.) The script could also, of course, continue to change as the tastes of audiences and the requirements of the actors changed. Many - perhaps most - plays were revised when they we
re reintroduced after any substantial absence from the repertory, or when they were performed by a company different from the one that originally commissioned the play.

  Shakespeare was an exceptional figure in this world because he was not only a shareholder and actor in his company, but also its leading playwright - he was literally his own boss. He had, moreover, little interest in the publication of his plays, and even those that appeared during his lifetime with the authorization of the company show no signs of any editorial concern on the part of the author. Theater was, for Shakespeare, a fluid and supremely responsive medium - the very opposite of the great classic canonical text that has embodied his works since 1623.

  The very fluidity of the original texts, however, has meant that Shakespeare has always had to be edited. Here is an example of how problematic the editorial project inevitably is, a passage from the most famous speech in Romeo and Juliet, Juliet's balcony soliloquy beginning "O Romeo, Romeo, wherefore art thou Romeo?" Since the eighteenth century, the standard modern text has read,

  What's Montague? It is nor hand, nor foot,

  Nor arm, nor face, nor any other part

  Belonging to a man. O be some other name!

  What's in a name? That which we call a rose

  By any other name would smell as sweet.