Shakespeare

Shakespeare himself refers to the “Death Mouth,” the portal of Hell constructed for the mingled fascination and alarm of the populace. The “Porter of Hell,” who played a large part in the mystery plays, re-emerges as the Porter in Macbeth. Critics have discerned parallels between the mystery plays and the plots of Lear, Othello and Macbeth. The baiting of Jesus reappears in Julius Caesar and Coriolanus. Shakespeare’s was the last era of the medieval mysteries. Yet throughout the history of English culture we see continuity rather than closure. Part of that continuity lies in the achievement of Shakespeare himself, who conveyed all the enchantment, ambiguity and passion of the old religious drama within the new forms of theatre. The masques in his plays are medieval in inspiration, as are the names of such characters as Slender and Shallow and Benvolio. One of Shakespeare’s last plays, Pericles, reverts to the medieval pageant form of the miracles. If he had not seen one when he was a child, then his is indeed a miracle of reinvention.

CHAPTER 11 I Sommon Up Remembrance of Things Past

And when Davy Jones performed the Whitsun pastimes in front of the people of Stratford, was his young relative a part of the cast? The first accounts of his life suggest that in his youth Shakespeare was already an aspiring actor. In 1681 John Aubrey reports that “I have been told heretofore by some of the neighbours, that when he was a boy he exercised his father’s Trade, but when he kill’d a Calfe, he would do it in a high style, and make a Speech.”¹ The “neighbours” may by the time of Aubrey’s visit have realised that their town had harboured a famous actor and tragedian, and shaped their memories accordingly; Aubrey himself is in any case a most unreliable narrator. It has often been proved, however, that behind the most fanciful account there lies a substratum of truth. And there may be a piece of authenticity even here. The act of “killing a calf” was in fact a dramatic improvisation performed by itinerant players at fairs or festivals; it was a form of shadow-play behind a cloth and in the accounts of the royal household in 1521 there is a payment to a man for “killing of a calfe before my ladys grace behynde a clothe.” (It is interesting that the image of the arras or cloth is a leitmotif in Shakespearian drama.) If there is a true memory in the neighbours’ reminiscences, therefore, it would be that of the young Shakespeare acting.

There is nothing so unusual in that. We are told that the young Molière – the actor and dramatist whom Shakespeare most closely resembles – was a “born actor.”² Dickens, with whom there are other similarities to Shakespeare, confessed that he had been an actor from his earliest childhood. The idea of acting here is not simply one of histrionics or bravado; it means the ability and the desire to perform in front of other people. It may represent a longing to be free of restricting circumstance, an urge towards more powerful or more interesting status, what Ulysses in Troilus and Cressida describes as the “spirit” that “in aspiration lifts him from the earth” (2453-4). That is why there are various speculations about the young Shakespeare joining a group of travelling players, during one of their sojourns in Stratford, before accompanying them to London.

There was a tradition and an expectation, however, that the son of a “rising” family would attend the local petty or elementary school as preparation for more orthodox educational advancement. There seems no reason to doubt that this was the case with the five- or six-year-old Shakespeare, who would then become acquainted with the delights of reading, writing and arithmetic. In later life he generally practised a “secretary hand” very close to the one used as a model in the first English book on handwriting. If his mother had already taught him to read, then he could go on to sample the primer and the catechism. These were primarily works of moral and religious instruction, containing the Lord’s Prayer and the Creed, the Ten Commandments and daily prayers, as well as assorted graces and metrical psalms. It is interesting that the schoolmaster or “pedant” he satirises in Love’s Labour’s Lost is the master of a petty school who “teaches boyes the Horne-booke” (1649). A hornbook was used in the very first stages of learning. It was a wooden tablet, supporting a paper protected by thin horn, on which were printed the alphabet, the vowels, certain syllables and the Lord’s Prayer. Shakespeare’s imagination reverts to this early schooling also in Twelfth Night, where Maria refers to “a Pedant that keepes a Schoole i’ th’ Church” (1419-20). The petty school at Stratford was in fact held in the guild chapel, and was supervised by the assistant to the schoolmaster known as the usher.