Shakespeare полностью

If there is one aspect of a writer’s life that cannot be concealed, it is childhood. It arises unbidden and unannounced in a hundred different contexts. It cannot be denied or misrepresented without severe psychic disturbance on the surface of the writing. It is the very source of the writing itself, and must necessarily remain undefiled. It is of the utmost interest, then, that the children of Shakespeare’s plays are all equally precocious and acute, possessing great confidence in themselves. They are sometimes “wayward” and “impatient.” They are also oddly aware and articulate, talking to their elders without any sign of strain or inferiority. In Richard III one of the little princes, soon to be despatched to an unhappy end, is described (1580-1) by his malevolent uncle as

Bold, quicke, ingenious, forward, capable,

He is all the mothers, from the top to toe.

It has become customary to place the young Shakespeare in the conventional Elizabethan world of childhood, engaged in games such as penny-prick or shovel-board, harry-racket or barley-break; in his own plays Shakespeare mentions football and bowls, prisoner’s base and hide-and-seek, as well as the rural games of muss and dun in the mire. He even mentions chess, although he does not appear to know its rules. But it is likely that he was in certain respects an odd child. He was precocious, too, and observant; but he was one who stood apart.

There can be no doubt at all that he devoured books. Much of his early reading comes back in his drama. Has there ever been a great writer who did not spend a childhood in books? He alludes to Malory’s Morte d’Arthur, so beloved by Mistress Quickly, and the old English romances of Sir Degore and Sir Eglamour and Bevis of Southampton. Master Slender lends Alice Shortcake The Book of Riddels and Beatrice refers to The Hundred Merry Tales. Some of his earlier biographers concur that he possessed a copy of William Painter’s The Palace of Pleasure and Richard Robinson’s translation of Gesta Romanorum, the legends of which form the staple of some of his plots. For similar reasons the young Shakespeare has been pictured turning the pages of Copland’s Kynge Appolyne of Thyre, Hawes’s Pass Tyme of Pleasure and Bochas’s The Tragedies of all such Princes as fell from theyr Estates. There were also the folk stories and the fairy tales of his neighbourhood, given so long a lease on life in his late plays.

Mary Arden’s own role in Henley Street was of course central. With the help of a servant she was obliged to wash and to wring, to make and to mend, to bake and to brew, to measure the malt and the corn, to tend to the garden and the dairy, to spin with her distaff, to clothe the children and to prepare the meals, to distil the wines and dye the cloths, to “dresse up thy dysshe bord, and set al thynges in good order within thy house.”¹ As a girl growing up on the Arden farm she would have in addition been accustomed to milk the cows, to skim the milk, to make butter and cheese, to feed the pigs and the poultry, to winnow the corn and make hay. She would have been expected to be practical and capable.

A brother was born in Shakespeare’s third year. Gilbert Shakespeare was baptised in the autumn of 1566, and nothing much more is ever heard of him. He died at the age of forty-five, having had an unremarkable life as a tradesman in Stratford; it was inevitable that he followed his father’s profession as a glover. He was in essence the dutiful son. But how much more formidable and threatening might he have seemed to the infant Shakespeare on his first appearance into the world? Other sons followed with the curiously coincidental names of two of Shakespeare’s villains, Richard and Edmund, and there were two daughters, Joan and Anne.

More than any other dramatist of his period Shakespeare is concerned with the family; the nature and continuity of the family are invested with the utmost resonance, and can become a metaphor for human society itself. In his plays violence erupts between brothers more frequently than between fathers and sons. The father may be weak or self-serving, but he is never the target of hostility or revenge.