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William Shakespeare

The life of William Shakespeare, arguably the most significant figure in the Western literary canon, is relatively unknown.  Even the exact date of his birth is uncertain.   April 23rd, the date now generally accepted to be the date of his birth, is a result of a scholarly mistake and the appealing coincidence of its being also the day of his death. 

That so little is known about a writer with such great literary scope and accomplishment has naturally invited speculation and conspiracy theories about the authenticity of his authorship, his influence and even his existence. 

Shakespeare was born in Stratford-upon-Avon in 1565, possibly on the 23rd April, St. George’s Day, and baptised there on 26th April.  His father was John Shakespeare, a successful glover and alderman who hailed from Snitterfield.  His mother was Mary Arden, whose father was an affluent landowner.  In total their union bore eight children; William was the third of these and the eldest surviving son. 

Although there is no hard evidence on his education it is widely agreed among scholars that William attended the King’s New School in Stratford which was chartered as a free school in 1553. This school was only a quarter of a mile from the house in which he spent his childhood, but since there are no attendance records existing it is assumed, rather than known, this was the base for his education. 

Although the quality of education in a grammar school at that time varied wildly the curriculum did not, a key aspect of which, by royal decree, was Latin, and it is undoubtable that the school will have delivered an intensive education in Latin grammar, drawing heavily on the work of the classical Latin authors.  If Shakespeare did attend this school then it is very likely the starting point for the fascination with and extensive knowledge of the classical Latin authors which would inform and inspire so much of his work began. 

Little more detail is known of William’s childhood, or his early teenage years, until, at the age of 18, he married Anne Hathaway, who was 26 and from the nearby village of Shottery.  Her father was a yeoman farmer, and their family home a small farmhouse in the village.  In his will he left her £6 13s 4d, six pounds, thirteen shillings and fourpence, to be paid on her wedding day.  On November 27th, 1582 the consistory court of the Diocese of Worcester issued a marriage licence, and on the 28th two of Hathaway’s neighbours, Fulk Sandells and John Richardson, posted bonds which guaranteed that there were no lawful claims to impede the marriage along with a surety of £40 to act as a financial guarantee for the wedding. 

The marriage was conducted in some haste since, unusually, the marriage banns were read only once instead of the more normal three times, a decision which would have been taken by the Worcester chancellor.  This haste is no doubt due to the child Anne delivered their first child, Susanna, six months later.  Susanna, was baptised on May 26th, 1583.  Several scholars have voiced their opinion that the wedding was imposed on a reluctant Shakespeare by Hathaway’s outraged parents, although, again, there is nothing to formally support the theory.  It has been further argued that the circumstances surrounding the wedding, particularly those of the neighbourly assurances, indicate that Shakespeare was involved with two women at the time of his marriage.  According to the theory proposed by the early twentieth century scholar Frank Harris, Shakespeare had already chosen to marry a woman named Anne Whateley.  It was only once this proposed union became known that Hathaway’s outraged family forced him to marry their daughter.  Harris goes on to surmise that Shakespeare considered the affair entrapment, and that this led to his wholesale despising of her, a “loathing for his wife [which] was measureless” and which ultimately caused him to leave Stratford and her and make for the theatre.  But equally other scholars such as John Aubrey have responded to this with evidence that Shakespeare returned to Stratford every year which, if true, would rather diminish Harris’s claim that Hathaway had poisoned Stratford for Shakespeare. 

Harris’s theory aside, Shakespeare and Hathaway had two more children, twins Hamnet and Judith, baptised on February 2nd,1585.  Hamnet, Shakespeare’s only son, died during one of the frequent outbreaks of bubonic plague and was buried on the August 11th, 1596, at the age of only eleven. 

Little is known of Shakespeare’s life during the years following the birth of the twins until he appears mentioned in relation to the London theatres in 1592, apart from a fleeting mention in the complaints bill of a legal case which came before the Queen’s Bench court at Westminster, dated Michaelmas Term 1588 and October 9th, 1589.  Despite this period of time being referred to in scholarly circles as Shakespeare’s “lost years”, there are several stories, apocryphal in nature, which are attributed to Shakespeare.  For example, there is a legend in Stratford that he fled the town in order to avoid prosecution for poaching deer on the estate of Thomas Lucy, a local squire.  It is also supposed that Shakespeare went so far as to take revenge on Lucy, a politician whose Protestantism opposed Shakespeare’s Catholic childhood, by writing the following lampooning ballad about him: 

A parliament member, a justice of peace,

At home a poor scarecrow, at London an ass,

If lousy is Lucy as some folks miscall it

Then Lucy is lousy whatever befall it. 

However amusing the ballad and legend may be in imagining the life of a young Shakespeare, youthfully mischievous and still developing the wit, sense of adventure and humour which would become integral aspects of his writing, there is simply no evidence either to support the theory or to suggest that Shakespeare penned the ballad.  Alongside this are suggestions that he began his theatrical career while minding the horses of the patrons of the London theatres and that he spent some time as a schoolmaster employed by one Alexander Hoghton, a Catholic landowner in Lancashire, in whose will is named “William Shakeshafte”.  However, this was a popular name in the Lancashire area at that time and there is no evidence that this referred to Shakespeare.  The wealth of his writing makes it a frustrating exercise to learn more of his life and the manner in which he achieved those outstanding and lionized works. 

Interestingly, the reference to Shakespeare in 1592 which ends the “lost years” is a piece of theatrical criticism by playwright Robert Greene in Groats-Worth of Wit.  In a scathing passage Greene writes “…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.” From this entry we can make some important inferences which shed light on Shakespeare’s career, the first of which is that to be acknowledged, even negatively, by a playwright such as Robert Greene, by this point he must have been making significant impact on the London stage as a writer.  Also of significance is the very meaning of the words themselves, for it is generally acknowledged that Shakespeare is being accused of writing with a lofty ambition beyond his capabilities and, more importantly, the capabilities of his contemporaries who were educated at Oxford and Cambridge.  Within this remark, then, is an inherent snobbery which Shakespeare would come to resent and ultimately challenge in his writing.  Though Greene’s parody of “Oh, tiger’s heart wrapped in a woman’s hide” makes reference to Henry VI, Part 3, it is likely that Greene’s opinion of Shakespeare was in part informed by another of Shakespeare’s plays which was heavily criticised, Titus Adronicus, believed to have been written between 1588 and 1593.  It was his first attempt at tragedy, almost prototypical, and was written at a time when, according to the scholar Jonathan Bate, he was “experimenting with ways of writing about and representing rape and seduction”.  Drawing heavily on the sixth book of Ovid’s Metamorphoses as its main source of inspiration for the rape and mutilation of Lavinia, it offended the sensibilities of the more highbrow members of its audience, whilst presumably also simultaneously intimidating them with its detailed knowledge of Ovid, a writer typically considered the reserve of the university-educated.  Not only, then, was Shakespeare demonstrating a knowledge of classical literature which they thought befitted only a traditional scholar and thereby shining a light to the snobbery and exclusivity of such an education, but he was doing it radically and brilliantly. 

By 1594 the Lord Chamberlain’s Men had recognised his worthiness as a playwright and were performing his works.  With the advantage of Shakespeare’s progressive writing they rapidly became London’s leading company of players, affording him more exposure and, following the death of Queen Elizabeth in 1603, a royal patent by the new king, James I, at which point they changed their name to the King’s Men.   

Before this success, though, several company members had formed a partnership to build their own theatre which came to be on the south bank of the river Thames, the now-famous and reconstructed Globe theatre.  Though it is unclear precisely what Shakespeare’s involvement in this venture was, records of his property and investments indicate that he came to be rich during this period, buying the second-largest house in Stratford, called New Place, in 1597, which he made his family home.  Prior to this he was living in the parish of St Helen’s Bishopsgate, north of the River Thames.  He continued to spend most of his time at work in London and from about 1598-1602, he seems to have lived in the Paris Gardens area of Bankside south of the river near The Globe. 

Despite efforts to pirate his work, Shakespeare’s name was by 1598 so well known that it had already become a selling point in its own right on title pages. 

An interesting aside is that theatres were mostly constructed on the south bank of the Thames (then part of the county of Surrey) as performing in London itself was thought to be a bad influence on the masses and subject to periodic bouts of censorship, repression and closing of venues which in the City itself was mainly courtyards and open areas at the many Inns.   

Excluded from the City purpose built theatres began to be constructed outside the City limits.  This area of the Thames though was rough and naturally vibrant with all sorts of characters, many of them of dubious nature or even criminal.  It was also prone, due to its over-crowding and bad sanitation, to bouts of bubonic plague and other diseases particularly during the summer which was a further reason for the theatres there being closed.  The Curtain, The Rose, The Swan, The Fortune, The Blackfriars and of course The Globe were all purpose built and situated here, some with an audience capacity approaching 3,000. 

The first known printed copies of Shakespeare’s plays date from 1594 in quarto editions, though these quarto editions are often considered “bad”, a term referring to the likelihood of specific quarto editions being based on, for example, a reconstruction of a play as it was witnessed, rather than Shakespeare’s original manuscript.  The best example of such memorial reconstruction can be found in the differences between the first and second quarto editions of Hamlet.  In examining Hamlet’s most famous soliloquy, “to be or not to be”, we can immediately recognise significant differences.  First, the familiar second quarto version: 

To be, or not to be; that is the question:

Whether ‘tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And, by opposing, end them. 

And, by contrast, the first quarto version: 

To be, or not to be, I there’s the point,

To Die, to sleep, is that all? I all: 

For scholar Henry David Gray the first quarto lines are emblematic of “a distorted version of the completed drama filled out and revised by an inferior poet” and based, he goes on to argue, on the fractured memories of the play as witnessed and performed by the actor playing Marcellus.  Gray, and several other critics, consider the first quarto a pirated copy, printed in haste without the writer’s permission in an attempt to make quick money following the success of the play in the theatre.  In understanding the significance of Marcellus to the theory it is imperative to note that the authenticity of each quarto is based on its similarities to the version of the play found in the first folio, printed in 1623 and believed to be authorised by Shakespeare.  Therefore, since in the folio version of Hamlet the “to be or not to be” soliloquy is virtually identical to that of the second quarto, it is believed that the second was authored by Shakespeare himself and that the first, by its considerable differences, must therefore be in some way compromised.  However, when read in comparison to the folio version, the only character whose lines are almost entirely perfect are those spoken by Marcellus, which, since dramatic practice at the time was for actors to be given only their own lines and three or four word ‘cues’ based on the lines preceding theirs, suggests that the first quarto is a memorial reconstruction of the play written by the actor who played Marcellus.  Having committed his own lines to memory he was able to reproduce them accurately, but was left to fill in the remaining lines and plot from memory which accounts for the truncated and often vastly inferior writing in the first quarto.

According to the remaining cast lists from the period, Shakespeare remained an actor throughout his career as a writer, and it is thought he continued to act after he retired his pen.  In 1616 he is recorded in the cast list in Ben Jonson’s collected Works in the plays Man in His Humour 1598) and Sejanus His Fall (1603), though some scholars consider his absence from the list of Jonson’s Volpone evidence that, by 1605, his acting career was nearing its end.  Despite this in the First Folio he is listed as one of “the Principle Actors in all these Plays”, several of which were only staged after Volpone.  

By 1604 he had moved again, remaining north of the river, to an area near St. Paul’s Cathedral where he rented a fine room amongst fine houses from Christopher Mountjoy, a French hatmaker and Huguenot.   

The Anglo-Welsh poet John Davies of Hereford wrote in 1610 that “good Will” tended to play “kingly” roles, suggesting he was still on stage, perhaps now performing the more mature kings such as Lear and Henry VI.  There has even been the suggestion that Shakespeare played the ghost of Hamlet’s father, though there is little evidence to suggest it. 

In 1608 the King’s Men purchased the Blackfriars theatre from Henry Evans, and according to Cuthbert Burbage, one of the most highly regarded actors of the time, “placed many players” there “which were Heminges, Condell, Shakespeare, etc.” A 1609 lawsuit brought against John Addenbrooke in Stratford on the 7th of June describes Shakespeare as “generosus nuper in curia domini Jacobi” (a gentleman recently at the court of King James) which indicates that by this time he was spending more time in Stratford.  A likely cause of this was the bubonic plague, frequent outbreaks of which demanded the equally frequent closing of places of public gathering, principle among which were the theatres.  Between May 1603 and February 1610 the theatres were closed for a total of 60 months, meaning there was no acting work and nobody to perform new plays.  Though in 1610 Shakespeare returned to Stratford and it is supposed lived with his wife, he made frequent visits to London between 1611-14, being called as a witness in the trial Bellott v. Mountjoy, a case addressing concerns about the marriage settlement of Mountjoy’s daughter, Mary.  In March 1613 he purchased a gatehouse in the former Blackfriars priory, and spent several weeks in the city with his son-in-law John Hall, a physician, married to his daughter Susanna, from November 1614. 

No plays are attributed to Shakespeare after 1613, and the last few plays he wrote before this time were in collaboration with other writers, one of whom is likely to be John Fletcher who succeeded him as the house playwright for the King’s Men. 

In early 1616 his daughter Judith married Thomas Quiney, a vintner and tobacconist.  He signed his last will and testament on March 25th, of the same year, and the following day Quiney was ordered to do public penance for having fathered an illegitimate child with a woman named Margaret Wheeler who had died during childbirth which had enabled Quiney to cover up the scandal.  This public humiliation would have been embarrassing for Shakespeare and his family. 

William Shakespeare died two months later on April 23rd, 1616, survived by his wife and two daughters. 

According to his will the bulk of his considerable estate was left to his elder daughter Susanna, with the instruction that she pass it down intact to “the first son of her body”.  However, though Susanna and Judith had four children between them they all died without progeny, ending Shakespeare’s direct lineage.  Also in his will was the instruction that his “second best bed” be left to his wife Anne, likely an insult, though the bed was possibly matrimonial and therefore of significant sentimental value.   

He was buried two days after his death in the chancel of the Holy Trinity Church in Stratford-Upon-Avon.  

The epitaph on the slab which covers his grave includes the following passage, 

Good frend for Iesvs sake forbeare,
To digg the dvst encloased heare.
Bleste be ye man yt spares thes stones,
And cvrst be he yt moves my bones

which, in modern translation, reads 

"Good friend, for Jesus’s sake forbear,

To dig the dust enclosed here.

Blessed be the man that spares these stones,

And cursed be he that moves my bones."

At some point before 1623 there was a funerary monument erected in his memory on the north wall of Stratford-upon-Avon which features a half-effigy of him writing, and which likens him to Nestor, Socrates and Virgil.  

On January 29th, 1741 a white marble memorial statue to him was erected in Poets' Corner in Westminster Abbey. 

Though there have been many monuments built around the world in memory of Shakespeare, undoubtedly the greatest memorial of all is the body of work which became the foundation of Western literary canon and an inspiration for every generation.