Shakespeare

In his first arrival in London, how did he appear to his contemporaries? When in The Taming of the Shrew Lucentio leaves Pisa to “plunge” into Padua, that “nurserie of Arts,” he arrives expectantly and “with sacietie seekes to quench his thirst” (298). The young Shakespeare was eager for experience, in all of its forms; in some way he wished for “satiety” in the manifold life of London. In his fancy, or fantasy, he might “heare sweet discourse, conuerse with Noble-men” (The Two Gentlemen of Verona , 318). His aspiring spirit might there find its true setting. He also wished to test himself in the forcing house of thought and drama. This youthful ambition emerges in the most surprising contexts. In Antony and Cleopatra (2120-1) Antony remarks of the morning that it resembles:

… the spirit of a youth

That meanes to be of note.

Was he then eager for the fame that, as the King of Navarre puts it, “all hunt after in their lyues” (Love’s Labour’s Lost , 1)? Many have assumed it, but the fame of an actor or a dramatist was in this period a highly perishable commodity. He would have felt the mental power of the city, however, and with it an inkling of his own destiny.

We might remark upon Shakespeare’s intense and overwhelming energy. It manifests itself at all stages of his career, and in his youth it must have been irrepressible. We might also remark upon his buoyancy, an inward easiness of spirit. As an actor he was trained to be quick and nimble, but that vitality was an essential part of his being; the images of his plays are filled with flight and with swift action, with movement and lightness. He is the poet of speed and agility. His characters are not of the study or the library but of the busy and active world. His is a drama of the sudden moment or change, and one of his most powerful images is that of the lightning strike “which doth cease to bee / Ere one can say, it lightens” (Romeo and Juliet , 892-3). All the myriad imagery, from the social as well as the natural world, suggests that he was a man of preternatural alertness. And he was known, like the characters within his comedies, for the quickness of his repartee. John Aubrey, acquiring his information from the theatrical Beeston family, noted that Shakespeare possessed “a very readie and pleasant smooth Witt” and also scribbled down that “he was a handsome well-shap’t man.” 1Actors, with the exception of those who specialised in comic roles, were expected to be handsome and well shaped.

No remarkable young man or woman is devoid of energy, but many are also beset by self-consciousness and embarrassment. It is the price of eminence. There are many passing references in Shakespeare’s drama to blushes and to flushed faces, when emotions suffuse the countenance in unanticipated ways; it is an almost unwitting habit of Shakespeare to include such details. Charles Lamb mentions his “self-watchfulness.” There are also references in his dramas to stage-fright.

Everyone remarked upon his sweetness and courtesy. He was variously called “ciuill,” “generous” and, most often, “gentle.” Despite spiteful allusions to his past as a law-writer or country schoolmaster he was generally considered to be well bred and indeed “gentle”-not meaning mild or tender, in the modern sense, but possessing the virtues and attributes of a gentleman. He would later demonstrate to the world that he was indeed “well bred.”

Gentility implies instinctive courtesy towards those of inferior rank or position, pleasing modesty towards those of equal status, and proper respect towards superiors. Bernard Shaw put the point differently when he speculated that Shakespeare “was a very civil gentleman who got round men of all classes.” 2The vogue for Castiglione’s The Courtyer , published in English translation in 1561, had not yet passed; it was a manual of civil conduct to which all gentlemen (including lawyers and the wealthier merchants) subscribed. It is clear, from many allusions, that Shakespeare had read it. His own plays have indeed been read as a “pattern book” in courteous speech. That is why he was described by his contemporaries as “mellifluous” and “honie-tongued.” Castiglione himself recommends one who is “in companie with men and women of al degrees [and who] hath in him a certaine sweetnes, and so comely demeanour, that who so speaketh with him, or yet be-holdeth him, must needes beare him an affection for ever.” 3Did this come to Shakespeare instinctively, as most have surmised, or was it in part the result of practice and education?

This view of his character was in any case established very early when, in 1709, Nicholas Rowe depicted him as “a good-natur’d Man, of great sweetness in his Manners, and a most agreeable Companion.” 4This comes as a surprise to those romantics who believe that he must have shared the horrors of Macbeth or the torments of Lear. He is not jealous Othello, nor rumbustious Falstaff, except in the moment of conceiving them. Sophocles, the author of some of the most desperate Greek tragedies, was known as the happy playwright. Authors, at least when they are in the company of other people, can be most “unlike” their work – and Shakespeare generally was in company. It was not an age of privacy.

John Aubrey also passed on the information that he was “very good company.” He was affable and convivial, according to contemporary testimony. He was amiable, and undoubtedly funny. Much of the surviving testimony concerns his sudden jokes, and a prevailing wit which tended towards irony. He manifested a continual subtle humorousness, like some stream of life. J. B. Yeats passed on a remarkable insight to his son, W. B. Yeats, in a letter of 1922. “I bet that the gentle Shakespeare,” he wrote, “was not remarkable for his gravity, and I think that in his plays, he is always maliciously on the watch for grave people as if he did not like them.” 5

He did not stand out as a man of eccentric or extraordinary character, and it seems that his contemporaries sensed a deep equality with him. He effortlessly entered the sphere of their interests and activities. He was in that sense infinitely good-natured. The apparent ordinariness of extraordinary men and women is one of the last great taboos of biographical writing. It would not do to admit that nineteen-twentieths of a life, however great or enchanted, is plain and unexciting and not to be distinguished from the life of anyone else. But there should be a further admission. The behaviour and conversation of even the most powerful writer, or statesman, or philosopher, will in large part be no more than average or predictable. There is not much to differentiate the mass of humankind, except for some individual action or production. Shakespeare seems to embody the truth of this.

That is why his contemporaries came away from Shakespeare’s company with no overwhelming sense of his personality. Would he have recounted his sexual conquests or commented upon other writers? Would he have become drunk, in an effort to douse his furious energy? Ben Jonson remarked upon his “open, and free nature,” echoing Iago’s description of Othello. Open may mean accessible and transparent; but it can also mean receptive, like an open mouth. His amiability may not have been so apparent in his professional capacity. It has often been pointed out that he did not become engaged in the more pugnacious writers’ quarrels of the period, and seems in general to have steered clear of public conflict and controversy. They were a waste of time and energy. But he parodied his contemporaries’ styles in his plays, and caricatured their persons in figures such as Moth. It is easy to exaggerate Shakespeare’s poise and detachment; he may not have been argumentative in public, hating controversy of every kind, but he may have been sharp and acerbic in private.