Shakespeare

By many, including the imprisoned Southampton, she was considered to be a tyrant who had exercised power for too long. Shakespeare was at the time criticised for writing no encomium on the dead queen – not one “sable teare” dropped from his “honied muse” as part of the national exequies. He had been asked to sing the “Rape” of Elizabeth “done by that Tarquin, Death,”¹ with reference to his earlier Rape of Lucrece, but he declined the honour. There was a ballad of the moment exhorting “you poets all”² to lament the queen. Shakespeare was at the head of the list of the poets invoked, among them Ben Jonson, but he made no response. In truth he had no real reason to mourn the queen’s passing. She had beheaded Essex and several members of Essex’s affinity whom Shakespeare knew very well.

Yet he was not altogether silent. He did produce in this period one work that cogently reflects the somewhat rancid and fearful atmosphere at the court of the dying queen. It was not an exequy, but a play entitled Troilus and Cressida in which all the certainties and pieties of court life are treated as material for jest and black humour. It has been surmised that the failure of the Essex rebellion in 1601 helped to create the atmosphere of gloom and discomfiture that pervades the play. It has even been suggested that there are allusions to the Earl of Essex within the text, where he is to be seen as Achilles skulking in his tent. There have been traced parallels among the other Greeks with various members of Elizabeth’s ancien régime such as Cecil and Walsingham – but one hypocritical and self-serving courtier looks very much like another.

It is unlikely that the censor would have forbidden publication of the play, in any case, since it is set in the ancient and mythical period surrounding the fall of Troy. It was a period favoured by Elizabethan poets and dramatists, and only four years before George Chapman’s translation of seven books of Homer’s Iliad had been published. Yet the publisher of Troilus and Cressida in the Stationers’ Register, James Roberts, is given the right to print “when he hath gotten sufficient aucthority for yt,” an unusual phrase that suggests some problem with its licensing.

The legend of Troy was one of the most popular of all the classical stories that circulated in Elizabethan England; it was the stuff of Homer and of Virgil. London itself was considered by many antiquarians to be New Troy, “Troynovaunt,” founded by the lineage of the refugees from the fallen city. Yet in Troilus and Cressida Shakespeare sets out deliberately to subvert the legends. It is a play in which the orthodox pieties of Trojan courage and Greek valour are quite overturned, revealing a callous, brutal and hypocritical reality underlying the acts of both sides. There are no values except those that are traded by time and fashion; traded is here the operative word, since every value is a commodity to be bought and sold in the market-place. This may indeed be a form of displaced patriotism. Shakespeare was prohibited from lamenting the condition of his own country on the London stage, but the presentation of the ancient world was treated with considerable leniency by the censors. What could be more natural than to vent his conservative fury in a safer context?

Troilus and Cressida is a savage and satirical comedy upon the themes of love and war, treating them both as false and fickle. The love between Troilus and Cressida is exposed as counterfeit, or temporary, when Cressida is seduced by a Greek warrior. It is in part Shakespeare’s revision of Chaucer’s poem Troilus and Criseyde, in which he supplants medieval grace and good humour with the language and vocabulary of a harsh and unsettled time. The diction itself is highly Latinised, with many “hard” words as well as an odd or convoluted syntax. As in Julius Caesar Shakespeare wished to give the verbal impression of an alien and classical world, and it is not too much to speculate that in Troilus and Cressida he tried to make English resemble what he considered to be Greek. He may also have been trying to rival Chapman’s translations of Homer. It has been remarked that his was an envious muse. He had to outdo Chaucer as well as Chapman, to rewrite the heroic myth of the Greeks and the Romans.