Shakespeare полностью

At the end of the play, after the epilogue had been concluded, the next and forthcoming drama was announced to the audience. There then followed the prayers for the monarch, when all the actors knelt upon the stage. And then there came the jig. Its name suggests a merry folk dance, but its provenance goes wider. The stage jig was a comic afterpiece accompanied by dancing, lasting for approximately twenty minutes, in which some or all of the players joined. Its principal exponents were of course the comedians in the company who, like Will Kempe, gained a reputation for their extempore dancing; they turned like a “gig,” or top, and sang ribald or personal songs.

The jigs often included folk dances and ballads as well as what are euphemistically termed “figure dances” by the comedians and boys. They were characterised and criticised for their bawdiness, described variously as “a nasty bawdy Iigge” and “obscaene and light Iigges.”¹

Shakespeare’s comedies generally end with a wedding rather than with a marriage (the auspices are rarely favourable), and the couples are in a sense unconsummated; that consummation may have been depicted in the jig. And it was a jig in which Shakespeare himself would have joined. In many instances it seems to have been the most popular part of the afternoon’s entertainment, “called for” by the impatient audience at the end of the play. The crowd could also demand the performance of a favourite jig such as “master Kemps Newe jigge of the kitchen stuffe woman” or “a ballad of Cuttinge George and his hostis.”²

It is not at all clear when, or even whether, the performance of jigs was discontinued at the Globe. It is sometimes conjectured that Will Kempe’s departure from the Lord Chamberlain’s Men in 1599 was the signal for their demise. When a playgoer, Thomas Platter, refers to a jig at the end of a performance of Julius Caesar at the Globe in that year he was apparently chronicling one of its last appearances. But at the close of Twelfth Night, written and performed in 1601, a clown is left on stage with a song. Where there is a song, there is a dance. There is in fact no real evidence to suggest that the jig came to a sudden or inglorious end in the Bankside theatre. Why remove one of the most popular entertainments that the theatre could provide? Ben Jonson may have complained about the jig but Jonson was not an enthusiast for populist theatre in any of its forms. It certainly flourished in the theatres of the northern London suburbs for many years. It seems unlikely that the “southern” theatres, catering for a similar audience, would discontinue the practice. The jig served a great purpose, not unlike that of the satyr plays which were performed at the end of the dramatic trilogies in fifth-century BC Athens. It was part of the dramatic celebration. It may seem inappropriate after the last scenes of King Lear or Othello, but there is somehow a dramatic rightness about ending any play with a song and a dance. It suggests that the drama is an aspect of human joy. The original meaning of “mimesis,” the word for mimicry or imitation, is “expression in dance.” It is perhaps the oldest form of human activity or human game.

The experience of the play has in fact been described as that of a ritual, in which the stage represents a heightened reality not unlike the gestures and movements of a Catholic priest at the altar. It is almost commonplace to suggest that the Elizabethan drama, emerging to full life after the reformation of religion under the Anglican supremacy of Henry and Elizabeth, served as a substitute for the rituals of the old English faith. It fulfilled the audience’s appetite for significant action and iconic form. The Globe announced itself to be a cosmos in miniature, like the operations of the Mass. It is well known that ecclesiastical vestments were sold to the players, when their sacred-ness fell out of use, and that Puritan moralists denounced Roman Catholicism as “Mimic superstition.”³ A company of Catholic travelling players performed King Lear in the households of Yorkshire recusants. Shakespearian tragedy, in particular, has some deep affinity with the experience of Catholic worship and the sacrifice of the Mass. Simon Callow, the English actor, has suggested in a modern context that “Catholicism (and its English variant) is another great manufactory of actors …”⁴ So there is a connection. But the historical argument can be taken too far. The stage may have been inclined to ritual but, throughout the period of Shakespeare’s career, it also became an arena for the presentation of human character and of individual striving.