Shakespeare

by Bill Bryson

  The principal geographical feature of the city was the Thames. Unconstrained by artificial embankments, the river sprawled where it could. It was up to a thousand feet wide in places—much wider than it is today—and was the main artery for the movement of both goods and people, though the one span across it, London Bridge, stood as an unnerving impediment to through traffic. Because water accelerates as it flows through narrow openings, “shooting the bridge” was an exciting and risky adventure. A popular saying had it that London Bridge was made for wise men to pass over and fools to pass under. Despite all that was tipped into it, the river was remarkably full of life. Flounder, shrimp, bream, barbels, trout, dace, eels, and even occasionally swordfish, porpoises, and other exotica were among the catches hauled out by bemused or startled fishermen. On one memorable occasion, a whale nearly got caught between the arches of London Bridge.

  The bridge was already venerable when Shakespeare first saw it. It had been built nearly four centuries earlier, in 1209, and would remain the only span across the river in London for nearly two centuries more. Standing a little east of today’s London Bridge, it stretched more than nine hundred feet and was a little city in itself, with more than a hundred shops in scores of buildings of all shapes and sizes. The bridge was the noisiest place in the metropolis, but also the cleanest (or at least the best aired), and so became an outpost of wealthy merchants—a kind of sixteenth-century Bond Street. Because space was so valuable, some of the buildings were six stories high and projected as much as sixty-five feet over the river, supported by mighty struts and groaning buttresses. It even had its own precarious palace, Nonesuch House, built in the late 1570s, teetering at its southern end.

  By long tradition at the Southwark end of the bridge the heads of serious criminals, especially traitors, were displayed on poles, each serving as a kind of odd and grisly bird feeder. (The headless bodies were hung above the entrance gates to the city, or distributed to other cities across the realm.) There were so many heads, indeed, that it was necessary to employ a Keeper of the Heads. Shakespeare, arriving in London, was possibly greeted by the heads of two of his own distant kinsmen, John Somerville and Edward Arden, who were executed in 1583 for a fumbling plot to kill the queen.

  The other dominant structure in the city was old Saint Paul’s Cathedral, which was even larger than the one we see today, though its profile was oddly stunted. A steeple that had once pierced the sky to a height of five hundred feet had been lost to lightning just before Shakespeare was born and never replaced. The cathedral that Elizabethans knew would vanish in the Great Fire of 1666, a generation or so in the future, making way for the stately white Christopher Wren edifice we see today.

  Saint Paul’s stood in an immense open square, covering about twelve acres all together, which served, a bit unexpectedly, as both cemetery and market. It was filled on most days with the stalls of printers and stationers, a sight that must have been hypnotizing for a young man with an instinctive regard for words. Printed books had already existed, as luxuries, for a century, but this was the age in which they first became accessible to anyone with a little spare income. At last average people could acquire learning and sophistication on demand. More than seven thousand titles were published in London in Elizabeth’s reign—a bounty of raw materials waiting to be absorbed, reworked, or otherwise exploited by a generation of playwrights experimenting with entirely new ways of entertaining the public. This was the world into which Shakespeare strode, primed and gifted. He must have thought he’d found very heaven.

  Inside, the cathedral was an infinitely noisier and more public place than we find today. Carpenters, bookbinders, scriveners, lawyers, haulers, and others all plied their trades within its echoing vastness, even during ser vices. Drunks and vagrants used it is as a place of repose; some relieved themselves in corners. Little boys played ball games in the aisles until chased away. Other people made small fires to keep warm. John Evelyn could have been writing of Saint Paul’s when he noted, a generation later, “I have been in a spacious church where I could not discern the minister for the smoke; nor hear him for the people’s barking.”

  Many used the building as a shortcut, particularly when it rained. The desire to retire indoors was motivated by fashion as much as any sudden interest in comfort. Starch, a stylish new item just making its way into England from France, notoriously wilted in rain. Starch’s possibilities for fashionable discomfort were already being translated into increasingly exotic ruffs, soon to be known as piccadills (or peckadills, pickadailles, picardillos, or any of about twenty other variants), from which ultimately would come the name “Piccadilly,” and these grew “every day worser and worser” as one contemporary glumly noted.* Moreover, dyes were not yet colorfast, or even close to it, adding a further powerful incentive to stay dry.

  Partly for this reason Sir Thomas Gresham had recently built the Royal Exchange, the most fabulous commercial building of its day. (Gresham is traditionally associated with Gresham’s law—that bad money drives out good—which he may or may not actually have formulated.) Modeled on the Bourse in Antwerp, the Exchange contained 150 small shops, making it one of the world’s first shopping malls, but its primary purpose and virtue was that for the first time it allowed City merchants—some four thousand of them—to conduct their business indoors out of the rain. We may marvel that they waited so long to escape the English weather, but there we are.

  Among other differences we would notice between then and now was much to do with dining and diet. The main meal was taken at midday and, among the better off, often featured foods that are uneaten now—crane, bustard, swan, and stork, for instance. Those who ate well ate at least as well as people today. A contemporary of Shakespeare’s (and a friend of the family) named Elinor Fettiplace left to posterity a household management book from 1604—one of the first of its type to survive—that contains recipes for any number of dishes of delicacy and invention: mutton with claret and Seville orange juice, spinach tart, cheesecakes, custards, creamy meringues.* Other contemporary accounts—not least the plays of Shakespeare and his fellow writers—show an appreciation for dietary variety that many of us would be pressed to match today.

  For poorer people, not surprisingly, diet was much simpler and more monotonous, consisting mainly of dark bread and cheese, with a little occasional meat. Vegetables were eaten mostly by those who could afford nothing better. The potato was an exotic newcomer, still treated skeptically by many because its leaves looked similar to those of poisonous nightshade. Potatoes wouldn’t become a popular food until the eighteenth century. Tea and coffee were yet unknown.

  People of all classes loved their foods sweet. Many dishes were coated with sticky sweet glazes, and even wine was sometimes given a generous charge of sugar, as were fish, eggs, and meats of every type. Such was the popularity of sugar that people’s teeth often turned black, and those who failed to attain the condition naturally sometimes blackened their teeth artificially to show that they had had their share of sugar, too. Rich women, including the queen, made themselves additionally beauteous by bleaching their skin with compounds of borax, sulfur, and lead—all at least mildly toxic, sometimes very much more so—for pale skin was a sign of supreme loveliness. (Which makes the “dark lady” of Shakespeare’s sonnets an exotic being in the extreme.)

  Beer was drunk copiously, even at breakfast and even by the pleasure-wary Puritans. (The ship that took the Puritan leader John Winthrop to New England carried him, ten thousand gallons of beer, and not much else.) A gallon a day was the traditional ration for monks, and we may assume that most others drank no less. For foreigners English ale was an acquired taste even then. As one continental visitor noted uneasily, it was “cloudy like horse’s urine.” The better off drank wine, generally by the pint.

  Tobacco, introduced to London the year after Shakespeare’s birth, was a luxury at first but soon gained such widespread popularity that by the end of the century there were no fewer than seven thousand toba
cconists in the City. It was employed not only for pleasure but as a treatment for a broad range of complaints, including venereal disease, migraine, and even bad breath, and was seen as such a reliable prophylactic against plague that even small children were encouraged to use it. For a time pupils at Eton faced a beating if caught neglecting their tobacco.

  Criminality was so widespread that its practitioners split into fields of specialization. Some became coney catchers, or swindlers (a coney was a rabbit reared for the table and thus unsuspectingly tame); others became foists (pickpockets), nips, or nippers (cutpurses), hookers (who snatched desirables through open windows with hooks), abtams (who feigned lunacy to provide a distraction), whipjacks, fingerers, cross biters, cozeners, courtesy men, and many more. Brawls were shockingly common. Even poets carried arms. An actor named Gabriel Spencer killed a man named James Freake in a duel, then in turn was killed by Ben Jonson two years later. Christopher Marlowe was involved in at least two fatal fights, one in which he helped a colleague kill a young innkeeper and another in which he was killed in a drunken scuffle in Deptford.

  We don’t know when Shakespeare first came to London. Ever a shadow even in his own biography, he disappears, all but utterly, from 1585 to 1592, the very years we would most like to know where he was and what he was up to, for it was in this period that he left Stratford (and, presumably, wife and family) and established himself as an actor and playwright. There is not a more tempting void in literary history, nor more eager hands to fill it.

  Among the first to try was John Aubrey, who reported in 1681, long after Shakespeare was dead, that he was a schoolmaster in the country, but no evidence has ever been presented to support the claim. Various other suggestions for the lost years have him traveling in Italy, passing his time as a soldier in Flanders, or going to sea—possibly, in the more romantic versions, sailing with Drake on the Golden Hinde. Generally none of this is based on anything other than a need to put him somewhere and a desire to explain some preoccupation or area of expertise that later became evident in his work.

  It is often noted, for instance, that Shakespeare’s plays are full of ocean metaphors (“take arms against a sea of troubles,” “an ocean of salt tears,” “wild sea of my conscience”) and that every one of his plays has at least one reference to the sea in it somewhere. But the idea that this argues for a maritime spell in his life shrivels slightly when you realize that sailor appears just four times in his work and seamen only twice. Moreover, as Caroline Spurgeon long ago noted, Shakespeare’s marine allusions mostly depict the sea as a hostile and forbidding environment, a place of storms and shipwrecks and unsettling depths—precisely the perspective one would expect from someone who wasn’t comfortably acquainted with it. In any case there is an obvious danger in reading too much into word frequencies. Shakespeare refers to Italy in his work more often than to Scotland (35 times to 28) and to France far more than to England (369 references to 243), but we would hardly suppose him French or Italian.

  One possibility for how Shakespeare spent these missing years, embraced with enthusiasm by some scholars, is that he didn’t come to London by any direct route, but rather went to northern England, to Lancashire, as a recusant Catholic. The idea was first put forward as long ago as 1937 but has gained momentum in recent years. As it now stands it is a complicated and ingenious theory based (as I believe its proponents would freely enough concede) on a good deal of supposition. The gist of it is that Shakespeare may have passed his time in the north as a tutor and possibly as an actor (we must, after all, get him ready for a theatrical career soon afterward), and that the people responsible for this were Roman Catholics.

  There is certainly no shortage of possible Catholic connections. Throughout Shakespeare’s early years, some four hundred English-born, French-trained Jesuit missionaries were slipped into England to offer illicit religious ser vices to Catholics, often in large secret gatherings on Catholic estates. It was dangerous work. About a quarter of the missionaries were caught and dreadfully executed, though others were simply rounded up and sent back to France. Those who escaped capture, or were brave enough to return and try again, often worked exceedingly productively. Robert Parsons and Edmund Campion between them were said to have converted (or reconverted) twenty thousand people on a single tour.

  In 1580, when William was sixteen, Campion passed through Warwickshire on his way to the more safely Catholic north. He stayed with a distant relative of Shakespeare’s, Sir William Catesby, whose son Robert would later be a ringleader of the Gunpowder Plot. One of the masters at Shakespeare’s school during his time there (always assuming he was there) was John Cottom, who came from a prominent Catholic family in Lancashire and whose brother was a missionary priest closely associated with Campion. In 1582 this latter Cottom was caught, tortured, and put to death, along with Campion himself. Meanwhile his older brother, the schoolmaster, had left Stratford—whether in a hurry or not is unknown—and returned to Lancashire, where he declared his Catholicism openly.

  The thought is that this Cottom may have taken Will with him. What adds appeal to the theory is that the following year a “William Shakeshafte” appears in the household accounts of Alexander Hoghton, a prominent Catholic living just ten miles from the Cottom family seat. Moreover Hoghton in his will commended this Shakeshafte to a fellow Catholic and landowner, Thomas Hesketh, as someone worth employing. In the same passage Hoghton also mentioned the disposition of his musical instruments and “play clothes,” or costumes. “This sequence,” notes the Shakespeare authority Robert Bearman, “suggests that this Shakeshafte was either a household musician or player or both.”

  According to one version of the theory, Shakespeare, on the strength of Hoghton’s endorsement, moved to the Hesketh family seat, at Rufford, and there encountered traveling troupes of players, such as Lord Derby’s Men, through which he made a connection that took him to London and a life in the theater. Interestingly one of Shakespeare’s later business associates, a goldsmith named Thomas Savage, who served as a trustee for the leasehold on the Globe, was also from Rufford and related by marriage to the Hesketh family. So the coincidences are intriguing.

  However, it must be said that one or two troubling considerations need to be accounted for in all this. First, there is the problem that William Shakeshafte received an unusually large annuity of two pounds in Hoghton’s will—more than any other member of the household but one. That would be a generous gift indeed, bearing in mind that our William Shakespeare was just seventeen years old and could have been in Hoghton’s employ for only a few months at the time of the latter’s death. It seems more likely, on the face of it, that such a bequest would go to a longer-serving, and no doubt more elderly, employee, as a kind of pension.

  There is also the curious matter of the name. “Shakeshafte” is clearly not an ingenious alias. Some scholars maintain that “Shakeshafte” was simply a northern variant of “Shakespeare,” and that our Will wasn’t trying to hide his name but merely to adapt it. This may be so but it suggests a further reason for uncertainty. “Shakeshafte” was not an uncommon name in Lancashire. In 1582 the records show seven Shakeshafte households in the area, of which at least three had members named William. So it requires a certain leap of faith to suppose with any confidence that this one was the young Will from Stratford. As Frank Kermode succinctly summed up the Catholic issue (in the New York Times Book Review), “There seems to be no reason whatever to believe this except the pressure of a keen desire for it to be true.”

  In addition to all this there is the problem of allowing Shakespeare time enough for both a Lancashire adventure and a return to Stratford to woo and bed Anne Hathaway. Shakespeare’s first child, Susanna, was baptized in May 1583, indicating conception the previous August—at just about the time he is supposed to have been in Lancashire. It is not impossible that William Shakespeare could have been a Catholic in Lancashire and a suitor to Anne Hathaway at more or less the same time—as well as a budding theatrical
figure—but one may reasonably ask if that isn’t supposing rather a lot.

  It is impossible to say how religious Shakespeare was, or if he was at all. The evidence, predictably, is mixed. Samuel Schoenbaum was struck by how often certain biblical allusions appeared in Shakespeare’s work; the story of Cain, for instance, appears twenty-five times in thirty-eight plays—quite a high proportion. But Otto Jespersen and Caroline Spurgeon thought Shakespeare almost wholly un interested in biblical themes, and noted that nowhere in his works did the words “Bible,” “Trinity” or “Holy Ghost” appear—a conclusion endorsed in more recent times by the British historian Richard Jenkyns. “The more Elizabethan literature one reads,” he has written, “the more striking is Shakespeare’s paucity of religious reference.” The British authority Stanley Wells, however, contends that Shakespeare’s plays “are riddled with biblical allusions.”

  In short, and as always, a devoted reader can find support for nearly any position he or she wishes in Shakespeare. (Or as Shakespeare himself put it in a much misquoted line: “The devil can cite Scripture for his purpose.”) As Professor Harry Levin of Harvard has noted, Shakespeare condemned suicide in plays like Hamlet, where it would conflict with sixteenth-century Christian dogma, but treated it as ennobling in his Roman and Egyptian plays, where it was appropriate (and safe) to suggest as much. From what little is known, and whatever their private thoughts may have been, it is certainly the case from their marriages, christenings, and so on that John Shakespeare and William gave every appearance of being dutiful, if not necessarily pious, Protestants.

  David Thomas of the National Archives thinks it unlikely in any case that a definitive answer will ever emerge as to whether Shakespeare passed his lost period in Lancashire, as a Catholic or otherwise. “Unless he got married or had children there, or bought property or paid taxes—and people at his level at that time didn’t pay taxes—or committed a crime or sued someone, he wouldn’t appear in the record. As far as we know, he didn’t do any of those things.” Instead the only proof of Shakespeare’s existence we have for the period is a passing reference to him on a legal document, which gives no indication of his occupation or whereabouts.