Shakespeare полностью

It was also a noisy house, a wooden sound-box in which a conversation in one part of the house could clearly be heard in another. The creaking of timber, and the noise of footsteps, would have been a constant accompaniment to household tasks. From Shakespeare’s dramas, too, come the unmistakable impressions of childhood in Henley Street. There are images of stopped ovens and smoking lamps, of washing and scouring, of dusting and sweeping; there are many references to the preparation of food, to boiling and mincing and stewing and frying; there are allusions to badly prepared cakes and unsieved flour, to a rabbit being turned upon a spit and a pasty being “pinched.” There are many references to what was considered to be women’s work within the home, to knitting and to needlework. But there are also images of carpentering, of hooping and of joinery; these were the activities of the yard or of the outhouses at the back of John Shakespeare’s property. No other Elizabethan dramatist employs so many domestic allusions. Shakespeare maintained a unique connection with his past.

That is why the natural world seems to impinge so directly upon him. The house in Stratford, like most others in the vicinity, had a garden and an orchard. The image of the garden occurs to him in many different contexts, whether that of the body or of the state. An ill-weeded garden is an image of decay. He knows of grafting and pruning, of digging and dunging. In Romeo and Juliet there is an image of a trailing plant being pressed down to the ground so that it will put forth fresh roots. This is not a scene, perhaps, that would have readily occurred to an urban writer. In all he alludes to 108 different plants. In his orchards hang apples and plums, grapes and apricots.

The flowers of his plays are native to the soil from which he came; the primrose and the violet, the wallflower and the daffodil, the cowslip and the rose, sprang up wild all around him. He need only shut his eyes to see them again. He uses the local names for the flowers of the meadow, such as Ophelia’s crow-flowers and Lear’s cuckoo-flowers; he uses the Warwickshire word for the pansy, love-in-idleness. He employs the local names of bilberry for the whortleberry and honey-stalks for stalks of clover. In that same dialect, too, a dandelion is a “golden lad” before becoming a “chimney sweeper” when its spore is cast upon the breeze. Thus, in Cymbeline (2214-15),

Golden Lads and Girles all must,

As Chimney-Sweepers, come to dust.

The words of his childhood surround him once more when he contemplates meadows and gardens.

No poet besides Chaucer has celebrated with such sweetness the enchantment of birds, whether it be the lark ascending or the little grebe diving, the plucky wren or the serene swan. He mentions some sixty species in total. He knows, for example, that the martlet builds its nest on exposed walls. Of the singing birds he notices the thrush and the ousel or blackbird. More ominous are the owl and raven, the crow and the maggot-pie. He knows them all, and has observed their course across the sky. The spectacle of birds in flight entrances him. He cannot bear the thought of their being trapped, or caught, or snared. He loves free energy and movement, as if they were in some instinctive sympathy with his own nature.

There was a world beyond the house and garden of Henley Street. Stratford remained a deeply conservative and traditional society. At its centre was the small nuclear family, like that of the Shakespeares, which was closely knit and self-sustaining. Yet family was linked to family, and neighbour to neighbour, in organic fashion. A neighbour was more than the man, woman or child who lived in the same street. A neighbour was the one to whom you turned for support, in times of distress, and the one to whom you offered help in return. A neighbour was expected to be thrifty, hard-working and reliable.

Many inhabitants of Stratford were connected by marriage and kinship alliances so that the town itself might be viewed as an extended family. Friends were often known as “cousins” so that, for example, Shakespeare is noticed as “cousin Shakespeare” by those with whom he seems to have had no blood relationship. This also encouraged the ties of patronage and local community. In his capacity as mayor John Shakespeare was “father” to the town as well as to his more immediate progeny. The inheritance of place was a very powerful one. It encouraged a deep sense of settlement and of possession.