Democratic Underground Latest Greatest Lobby Journals Search Options Help Login
Google

William Shakespeare born on or about April 23, 1564

Printer-friendly format Printer-friendly format
Printer-friendly format Email this thread to a friend
Printer-friendly format Bookmark this thread
This topic is archived.
Home » Discuss » The DU Lounge Donate to DU
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 01:46 PM
Original message
William Shakespeare born on or about April 23, 1564
Edited on Sat Apr-23-05 02:17 PM by Jack Rabbit
EDITED for typing



William Shakespeare, actor, dramatist and poet, was born in Stratford, Warwickshire, on or about April 23, 1564 and baptized into the Church of England on April 26. Shakespeare was the son of John Shakespeare, a glove maker and local official, and his wife, Mary, who came from a Roman Catholic family.

As the son of a prominent Stratford family, Shakespeare attended grammar school. Reversals of the family fortunes may have caused young Will to leave school early, but this is not certain. What is known is that grammar schools in Shakespeare's England had a rigorous classical curriculum; even if he only completed six years of school, Shakespeare would have been far more familiar with classical works than most college graduates are today.

At the age of 18, Shakespeare married Anne Hathaway, who was several years older than he; she was delivered of their first child about six months later. Although his own education may have been cut short by circumstances, it appears he taught school in Stratford for a time. It was when he was in his early twenties that we first hear of Shakespeare as an actor in London. In those days, London theater troupes would do a tour of the countryside from time to time. My personal speculation is that Shakespeare showed a theater troupe rudimentary forms of Titus Andronicus and The Comedy of Errors, the most rigidly classical of his very early work, and was asked to accompany the troupe back to London.

In addition to the two plays just named, Shakespeare's early dramatic work in London includes the three Henry VI plays and Richard III, which were probably all coauthored to some extent with other leading dramatists of the time, including Christopher Marlowe, and The Taming of the Shrew. An outbreak of plague closed the theaters in 1593 and Shakespeare was taken under the patronage of the Earl of Southampton, probably at the behest of Lord Southampton's mother, who was looking for a poet to write works that would persuade her son to take a wife. It was for Lord Southampton that Shakespeare wrote the narrative poems Venus and Adonis and The Rape of Lucrece most of the sonnets; those sonnets not addressed to Southampton were addressed to a "dark lady", whose identity has been the subject of much scholarly speculation over the years. It appears from the Dark Lady Sonnets that she and Shakespeare carried on a stormy affair. While under Southampton's patronage, Shakespeare came under the influence of several other members of Southampton's circle of friends and courtiers; this included Southampton's tutor, John Florio, an Italian who may have introduced Shakespeare to popular continental romances that became the source of several of Shakespeare's dramas, starting with The Two Gentlemen of Verona, written at this time. Also written during this time was A Midsummer Night's Dream which Shakespearean scholar A. L. Rowse believes may have been first performed at the wedding of the Countess of Southampton's wedding to Sir Thomas Heneage in May of 1594; one might speculate that Romeo and Juliet, also written at this time, might have been performed on the same evening. Also written in this period was Love's Labour's Lost.

As the theaters began to reopen in 1595, Shakespeare and several fellow actors formed a new theater troupe under the patronage of the Lord Chamberlain; the Lord Chamberlain's Men included Richard Burgage, a leading actor of his day and the first actor to play many of Shakespeare's tragic heroes; Agustine Phillips, another leadeing actor who may have played villains like Iago; and Will Kempe, a leading clown. Kempe, who played bawdy, physical clowns like Bottom the Weaver in A Midsummer Night's Dream and Dogberry in Much Ado about Nothing, left the troupe several years later and was replaced by Robert Armin, a more sophicated clown who played Feste in Twelfth Night and the Fool in King Lear. Shakespeare's first plays for the new troupe were a series of comedies, often called the "Golden Comedies" -- The Merchant of Venice, Much Ado about Nothing and As You Like It and the historical dramas King John, Richard II, the two parts of Henry IV and Henry V.

In 1599, the Lord Chamberlain's Men moved into a new theater, The Globe. Shakespeare's tastes, possibly dictated by that of theater goers, changed to dark comedy and tragedy. The first play to be performed at The Globe is believed to be Julius Caesar, which was followed by Twelfth Night, The Merry Wives of Windsor, the dark comedies Troilus and Cressida, All's Well that Ends Well and Measure for Measure and the great tragedies Hamlet, Othello, King Lear and Macbeth. The tragic period was rounded out with Antony and Cleopatra, Coriolanus and Timon of Athens. Many scholars believe Timon is an unfinished play that was never actually performed in Shakespeare's lifetime.

During this time, the Lord Chamberlain's Men came under the direct patronage of King James, who was crowned in 1603. Thereafter, the troupe was known as the King's Men.

In 1608, the King's Men purchased an indoor theater in the Blackfriars' district in order to stage dramas for a more elite audience. Shakespeare's Blackfriars' plays were Pericles, Cymbeline, The Winter's Tale and The Tempest. The last of these ends with a speech that many believe was Shakespeare's farewell to the theater, although it could easily have been the farewell of Richard Burbage, who probably played the part of Prospero:

Now my charms are all o'erthrown,
And what strength I have's mine own,
Which is most faint: now, 'tis true,
I must be here confined by you,
Or sent to Naples. Let me not,
Since I have my dukedom got
And pardon'd the deceiver, dwell
In this bare island by your spell;
But release me from my bands
With the help of your good hands:
Gentle breath of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want
Spirits to enforce, art to enchant,
And my ending is despair,
Unless I be relieved by prayer,
Which pierces so that it assaults
Mercy itself and frees all faults.
As you from crimes would pardon'd be,
Let your indulgence set me free.

Shakespeare rounded out his dramatic career with Henry VIII and The Two Noble Kinsmen, the former probably and the latter definitely written with a younger dramatist, John Fletcher. Shakespeare returned to Stratford and retired. He passed away on April 23, 1616, which might have been his 52nd birthday.

"Chandos" portrait, often attributed to Shakespeare's fellow actor and King's Men shareholder Richard Burgage, from the University of Minnesota
Printer Friendly | Permalink |  | Top
Book Lover Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 02:09 PM
Response to Original message
1. Sonnet 29
When in disgrace with fortune and men's eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featur'd like him, like him with friends possess'd,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts my self almost despising,
Haply I think on thee,-- and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate,;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 02:22 PM
Response to Reply #1
2. Sonnet 127 (to the Dark Lady)
In the old age black was not counted fair,
Or if it were, it bore not beauty's name;
But now is black beauty's successive heir,
And beauty slandered with a bastard shame:
For since each hand hath put on Nature's power,
Fairing the foul with Art's false borrowed face,
Sweet beauty hath no name, no holy bower,
But is profaned, if not lives in disgrace.
Therefore my mistress' eyes are raven black,
Her eyes so suited, and they mourners seem
At such who, not born fair, no beauty lack,
Sland'ring creation with a false esteem:
Yet so they mourn becoming of their woe,
That every tongue says beauty should look so.
Printer Friendly | Permalink |  | Top
 
ailsagirl Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 02:41 PM
Response to Original message
3. Not to open a can of worms...
but any Oxfordians out there?

:evilgrin:
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 03:12 PM
Response to Original message
4. This one seems appropriate in our time
Fool. When priests are more in word than matter;
When brewers mar their malt with water;
When nobles are their tailors' tutors;
No heretics burn'd, but wenches' suitors;
When every case in law is right;
No squire in debt, nor no poor knight;
When slanders do not live in tongues;
Nor cutpurses come not to throngs;
When usurers tell their gold i' the field;
And bawds and whores do churches build;
Then shall the realm of Albion
Come to great confusion:
Then comes the time, who lives to see't,
That going shall be used with feet.
--King Lear, 3.2.81-94

Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 04:44 PM
Response to Original message
5. A bump for the Saturday night crowd



But to say I know more harm in him than in myself, were to say more than I know. That he is old, the more the pity, his white hairs do witness it; but that he is, saving your reverence, a whoremaster, that I utterly deny. If sack and sugar be a fault, God help the wicked! if to be old and merry be a sin, then many an old host that I know is damned: if to be fat be to be hated, then Pharaoh's lean kine
are to be loved. No, my good lord; banish Peto, banish Bardolph, banish Poins: but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and therefore more valiant, being, as he is, old Jack Falstaff, banish not him thy Harry's company, banish not him thy Harry's company: banish plump Jack, and banish all the world.
--Henry IV, Part 12.4.466-80

Falstaff Raising Recruits by Francis Hayman from Emory University
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 06:18 PM
Response to Original message
6. Another kick -- I don't give up on the Bard easily



Laurence Olivier as the title role in the motion picture Hamlet (1948) by Olivier
from Teaching with Movies
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 08:18 PM
Response to Original message
7. Will Hutton (London Observer): Vote for Will Shakespeare
Edited on Sat Apr-23-05 08:19 PM by Jack Rabbit
From the London Observer (Sunday supplement of the Guardian Unlimited)
Dated Sunday April 24

Vote for Will (Shakespeare)
The Bard knew about true Britishness, which is more than you can say of Michael Howard
By Will Hutton

I'm embarrassed to admit that it is only now, in my middle age, that I have discovered what must be Shakespeare's most extraordinary creation - Sir John Falstaff. Lured by my daughter last week to see Henry IV Part One, and with minimal expectations, I sat transfixed. The play and its central character are masterpieces - and Michael Gambon's performance is surely the stuff of legend.
The play hit me with all the force of the unexpected. I had no idea, for example, that it is Falstaff who says that the better part of valour is discretion, or the amazing multi-layered portrayal of the Battle of Shrewsbury in which he says it. And it comes from Falstaff, the unabashed liar; the usurper of authority who simultaneously recognises its necessity; the fat delighter in women, food and drink; the wit; the survivor; the man who reproaches himself for nothing; the would-be thief; the amoral moralist; the human being who faces every which way at once.

It is rich fare, and as the scenes zip past at bewitching pace intercutting comedy with an impending political crisis that will implode into civil war, I thought how Falstaff has embedded himself in our culture - and how today's crop of Conservative politicians play with fire in their casual concession to xenophobia. Falstaff wouldn't be able to rant at asylum seekers, travellers or immigrants for long without simultaneously recognising their humanity and his own hypocrisy - which is where the English majority not only is but where it is condemned to remain. A culture that produces and rejoices in a character like Falstaff can't at the same time treat the immigrant 'other' with no humanity.

Read more.

Printer Friendly | Permalink |  | Top
 
Ellipsis Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 08:47 PM
Response to Original message
8. Also appropriate...
Edited on Sat Apr-23-05 08:53 PM by btmlndfrmr
The Third Part of King Henry the Sixth Act III. Scene II.

Richard of Gloucester (you know that humped back guy)

  Glo.  Ay, Edward will use women honourably.
Would he were wasted, marrow, bones, and all,
That from his loins no hopeful branch may spring,
To cross me from the golden time I look for!
And yet, between my soul’s desire and me—
The lustful Edward’s title buried,—
Is Clarence, Henry, and his son young Edward,
And all the unlook’d for issue of their bodies,
To take their rooms, ere I can place myself:
A cold premeditation for my purpose!
Why then, I do but dream on sovereignty;
Like one that stands upon a promontory,
And spies a far-off shore where he would tread,
Wishing his foot were equal with his eye;
And chides the sea that sunders him from thence,
Saying, he’ll lade it dry to have his way:
So do I wish the crown, being so far off,
And so I chide the means that keep me from it,
And so I say I’ll cut the causes off,
Flattering me with impossibilities.
My eye’s too quick, my heart o’erweens too much,
Unless my hand and strength could equal them.
Well, say there is no kingdom then for Richard;
What other pleasure can the world afford?
I’ll make my heaven in a lady’s lap,
And deck my body in gay ornaments,
And witch sweet ladies with my words and looks.
O miserable thought! and more unlikely
Than to accomplish twenty golden crowns.
Why, love forswore me in my mother’s womb:
And, for I should not deal in her soft laws,
She did corrupt frail nature with some bribe,
To shrink mine arm up like a wither’d shrub;
To make an envious mountain on my back,
Where sits deformity to mock my body;
To shape my legs of an unequal size;
To disproportion me in every part,
Like to a chaos, or an unlick’d bear-whelp
That carries no impression like the dam.
And am I then a man to be belov’d?
O monstrous fault! to harbour such a thought.
Then, since this earth affords no joy to me
But to command, to check, to o’erbear such
As are of better person than myself,
I’ll make my heaven to dream upon the crown;
And, whiles I live, to account this world but hell,
Until my mis-shap’d trunk that bears this head
Be round impaled with a glorious crown.
And yet I know not how to get the crown,
For many lives stand between me and home:
And I, like one lost in a thorny wood,
That rents the thorns and is rent with the thorns,
Seeking a way and straying from the way;
Not knowing how to find the open air,
But toiling desperately to find it out,
Torment myself to catch the English crown:
And from that torment I will free myself,
Or hew my way out with a bloody axe.
Why, I can smile, and murder while I smile,
And cry, ‘Content,’ to that which grieves my heart,
And wet my cheeks with artificial tears,
And frame my face to all occasions.
I’ll drown more sailors than the mermaid shall;
I’ll slay more gazers than the basilisk;
I’ll play the orator as well as Nestor,
Deceive more slily than Ulysses could,
And, like a Sinon, take another Troy.
I can add colours to the chameleon,
Change shapes with Proteus for advantages,
And set the murd’rous Machiavel to school.
Can I do this, and cannot get a crown?
Tut! were it further off, I’ll pluck it down.
Printer Friendly | Permalink |  | Top
 
Abelman Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 08:52 PM
Response to Original message
9. But could he sing?
That's what I want to know.
Printer Friendly | Permalink |  | Top
 
Ellipsis Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 09:05 PM
Response to Reply #9
10. Yes, but he couldn't dance.
Printer Friendly | Permalink |  | Top
 
Abelman Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 09:52 PM
Response to Reply #10
12. He was white, wasn't he?
That explains it.
Printer Friendly | Permalink |  | Top
 
Ellipsis Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 10:09 PM
Response to Reply #12
15. Ba dum pump!
and in one take yet.
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 09:58 PM
Response to Reply #10
13. But Will Kempe could dance



Kempe played the parts of Bottom and Dogberry. He was a heavy set man, but accounted a good dancer. After leaving the Lord Chamberlain's Men in 1599, he went on a nine days' tour in which he danced from London to Norwich.

Illustration of Will Kempe dancing from Shakespeare's actors
Printer Friendly | Permalink |  | Top
 
Jack Rabbit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 09:42 PM
Response to Reply #9
11. The important "could he sing?" question would be about Richard Burbage
Notice that Shakespeare never wrote songs for his his lead actor. I believe it is in Much Ado about Nothing that Benedick (the part probably played by Burbage) starts into a song, apologizes for his voice and stops.

Conclusion: Burbage, who undoubtedly had a wonderful speaking voice, couldn't sing worth a lick.

On the other hand, Robert Armin (see the root post) was known to be an excellent singer. In Twelfth Night, several songs are written for Feste the Clown (Armin's character).

Printer Friendly | Permalink |  | Top
 
Ellipsis Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 10:06 PM
Response to Reply #11
14. your are one smart "coney", Jack
They are gregarious, and "exceeding wise"

... logical too. I followed a thread or two of yours before. Thanks again for the post on Shakespeare.

Printer Friendly | Permalink |  | Top
 
DrZeeLit Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 10:24 PM
Response to Original message
16. I sooo owe him my career. Thanks, Willie!
And my favorite sonnet is.....#116

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds
Or bends with the remover to remove.
Oh, no, it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

Oh, but I forgot #29

When in disgrace with Fortune and men's eye
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
and look upon myself and curse my fate,
Wishe me like to one more rich in hope....

favorite line from that one: with what I most enjoy contented least


Or... the lovely opening of #30

When to the session of sweet silent thought
I summon up remembrance of things past
I sigh the lack of many a think I sought,
And with old woes new wail my dear time's waste


And I'm going to see A Winter's Tale in London this summer.
Cheerio!
Lay on, MacDuff!
Printer Friendly | Permalink |  | Top
 
Elidor Donating Member (1000+ posts) Send PM | Profile | Ignore Sat Apr-23-05 10:46 PM
Response to Original message
17. Wonderful thread.
I should do one like this for Gilbert & Sullivan sometime.
Printer Friendly | Permalink |  | Top
 
DU AdBot (1000+ posts) Click to send private message to this author Click to view 
this author's profile Click to add 
this author to your buddy list Click to add 
this author to your Ignore list Mon Apr 29th 2024, 11:53 AM
Response to Original message
Advertisements [?]
 Top

Home » Discuss » The DU Lounge Donate to DU

Powered by DCForum+ Version 1.1 Copyright 1997-2002 DCScripts.com
Software has been extensively modified by the DU administrators


Important Notices: By participating on this discussion board, visitors agree to abide by the rules outlined on our Rules page. Messages posted on the Democratic Underground Discussion Forums are the opinions of the individuals who post them, and do not necessarily represent the opinions of Democratic Underground, LLC.

Home  |  Discussion Forums  |  Journals |  Store  |  Donate

About DU  |  Contact Us  |  Privacy Policy

Got a message for Democratic Underground? Click here to send us a message.

© 2001 - 2011 Democratic Underground, LLC