The question of who could have written Shakespeare if not Will Shaxper the grain merchant and jobbing actor has many possible answers. Many of the authors of The King James Bible are in his league. The author of Ecclesiastes 12 is, if anything, a little better. Sidney’s sonnets, Ralegh’s prose, are as good as those of WS. John Donne’s poems are on average rather better than his songs. His long poems are not as good as Milton’s. Dryden’s All For Love is better than Antony and Cleopatra; but then, so is Run For Your Wife.
Of his modern imitators Anthony Burgess in Nothing Like The Sun and A Meeting In Valilodid are as good as he. The plays A Man For All Seasons and The Crucible and Victory and Cloudstreet are better than twenty-five of his. Tennyson’s Morte D’Arthur is as good in its last chapters as his best work, Malory’s Morte D’Arthur in some parts rather better. Dickens’s characters are better, and his comic dialogue vastly better. Evelyn Waugh’s prose is better, and Nabokov’s much better, Borges in translation better still. Max Beerbohm’s Six Men contains the best Shakespearian pastiche. Les Mis seems to me to be better than all of his tragedies other than Hamlet, the verse first rate.
And then there is the curious case of Denny Lawrence and Bob Ellis’s Shakespeare In Italy, coming soon to a small theatre near you. Five actresses acquainted with it call its lead female, Julia, better written than any of his. A sample of it, quoted here, might whet your appetite.
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Philip, Rowley and Stephano go. Shakespeare is left restless, apprehensive, not sure what he should do. He walks to the harpsichord. Sits. Begins to play. Julia enters in a nightdress, sits on the couch.
Julia: You play?
Shakespeare: I trifle with playing.
Julia: You trifle with much.
Shakespeare: And you. With the faith of your father, and your husband, and the Pope, and the Queen.
Julia: He told you that?
Shakespeare: Yes.
Julia: It is a lover’s quarrel with my God. And with my lord.
Shakespeare: It is more perilous than that. It is what divides most families in England, secretly.
Julia: Have you a wife?
Shakespeare: Oh yes. And three babes in a twelvemonth of being eighteen. Judith; and Susannah and Hamlet, twins.
Julia: And you live there, in that house? With her, and them?
Shakespeare: In my master’s house. Forty miles from her, and them. She minds a shop with my brother Gilbert. Her mother tends the children. And once…on a fool occasion…
Julia: Tell me.
Shakespeare: No.
Julia: Do. My lips are sealed.
Shakespeare: A fine Roman saying.
Julia: It is. Say on, young man.
Shakespeare: I came back to Stratford on a swift horse and entering my own house found my own brother abed with my good wife, roaring and squealing at their joint pleasure, and this in working hours.
Julia: And you felt…
Shakespeare: Nothing.
Julia: Truly?
Shakespeare: Nothing. As she works with my brother by day she may lay with him by night, for all I care. It was not my business. It was theirs.
Julia: And you did then what?
Shakespeare: I returned to my master’s work in Shottery. And sent back money every week, as before. It was none of my affair.
Julia: Whose were the children?
Shakespeare: Mine perhaps. His perhaps. I do not know. I do not care.
Julia: Do you on your visits lie with your wife?
Shakespeare: Oh yes.
Julia: How is it between you?
Shakespeare: There is no difficulty. We tup and roar and squeal in the family fashion.
He sits beside her on the couch.
Julia: I have not known my husband these three years.
Shakespeare: Is he…unable?
Julia: No, I am unwilling.
Shakespeare: How so?
Julia: I too found him tupping another. A boy.
Shakespeare: Ah.
Julia: A boy from the district where such boys are. He brought him to the house. And I awoke in a restless spirit, and came upon them. Here. (She pats the couch) He sent the boy away and told me it was an infrequent stirring he repented.
Shakespeare: And you believed him?
Julia: I believed him, and it did not matter. And I turned away.
Shakespeare: You look well together.
Julia: Of course. We are diplomats. We must.
Shakespeare: You are friends?
Julia: Of course. (She strokes his face. He does not resist) We accommodate our life to its necessities. As all do. As all poor Christian souls must now in these times, to secure their end.
Shakespeare: In heavenly bliss?
Julia: Well, we shall see. (She kisses him. He does not resist) How is it you spend now your wifeless nights?
Shakespeare: I read. I think of other things.
Julia: And what do you read?
Shakespeare: North’s Plutarch. Seneca when translated by Studley and Neville. Plautus in the original. The incomplete Bible in raw English of Tyndale the Protestant martyr, which I would finish, or strive to finish, had I the Hebrew. (She puts her hand near his penis) The lewd tales of Chaucer and Boccaccio. The sonnets of Philip Sidney.
Julia: And you write?
Shakespeare: Sonnets, like Sidney. And I tear them up.
Julia: How many?
She moves her hand against him.
Shakespeare: Too many.
Julia: And you know five by heart.
Shakespeare: I know ten by heart.
Julia: Say them to me.
Shakespeare: No.
She puts her hand inside his garment.
Julia: Say them to me.
Shakespeare: No. (She begins to work on him. He gasps) No…
Lights down. Florio enters, playing on a lute, and singing.
Florio: (sings) I did see my love but once,
When heaven was still true,
And in a moment only,
My love was all I knew…
I saw forever passing by,
And love was there and so was I,
And love was all I knew…
And I became not I but we,
And then, not I but she,
And all the world was clear as day,
And the vision…fled away.
OLights up. Shakespeare and Julia are in bed, naked under a silk sheet, in candlelight. Night noises suggest restless birds. The lute music trails away. They have made love, or love of a sort, and slept, and woken.
Shakespeare: How long till dawn?
Julia: An hour by the clock.
Shakespeare: It hath been storming, busily, this night.
Julia: It is passed. Like the first of your lust.
Shakespeare: Do not test me.
Julia: My husband returns on these nights by noon, or eleven. We may love, and sleep again.
Shakespeare: His nights with boys?
Julia: A particular boy, I think.
Shakespeare: And you?
Julia: With whom I will. This night with you. It takes a wondrous looking glass to spy another’s marriage, how it goes. By what drifts and indirections a man comes to his bed.
Shakespeare: Or a woman to her child.
He rolls on top of her, proposing to make love.
Julia: No, no, there must be no spare Shakespeares in this house of chastity.
Shakespeare: (proceeding) I would fill you up with one. Or two. There is precedent for two.
Julia: (throwing him off) It cannot be.
Shakespeare: (lying back, disappointed) I know…
Julia: I will take you in hand. Or mouth.
Shakespeare: No.
Julia: And you will pleasure me. It is the modern way.
Shakespeare: I will.
He reaches towards her under the sheets and begins to work on her. She moves against his hand.
Julia: Sonnetise me.
Shakespeare: Pardon?
Julia: Sonnetise me.
Shakespeare: Ah.
Julia: Say me a sonnet. A love sonnet. In ten and ten.
Shakespeare: (continuing to work on her) Forbid me not to love thee as I must,
For love will have its morning and its day
And by rude August winds will not be swept away
Nor any whimpered word ’tis but my lust.
No harlot stirs the midnight as thou dost,
Nor fires to hot ceramic all my clay,
With angel trumpet summons up my dust,
Restores to sour October sweetest May.
Julia: (eyes closed) Oh.
Shakespeare: I cannot hope that thou wilt love me just
Because my love is love I cannot stay
I know by inches I must earn thy trust,
With wooer’s verses keep thy fear at bay…
Julia: (moving restlessly) Yes…
Shakespeare: But, lady, I am true and love thee well
And wait thy resurrection from this hell.
Julia: Who was she?
Shakespeare: Kate Hamnet. She drowned herself when she was fifteen.
Julia: Wrote you this before she did? Or after?
Shakespeare: After. Long after. I loved her well. We never touched. (Touching her) Not here. Nor there. Nor kissed. (Kissing her)
Julia: (climaxing) Oh. Oh. Oh God. You are swift. With mouth and hand.
She relaxes.
Shakespeare: In England now we yearn for the confessional.
Julia: For sins like these.
Shakespeare: In the old church was forgiveness. In the new church only accusation, gossip and revenge. The new girls of England are hot of blood in summer and winter, and put themselves about.
Julia: (snuggling up to him) We do.
Shakespeare: And some of them risk all for love.
Julia: Not I.
Shakespeare: I would have a child at last with you, my English girl.
Julia: Before you are twenty-one.
Shakespeare: It is time enough.
Julia: But you have a child.
Shakespeare: No.
Julia: Your first.
Shakespeare: I have three. Perhaps mine.
Julia: How perhaps?
Shakespeare: How knows a man whose child he has and is raising?
Julia: Speak more of this. Or less.
Shakespeare: Anne was with child, and swollen, and four candidates jousted for paternity; loud lads of the town, unwilling, unruly, drunk and unremembering. Her father and mine were in a trading business together. And I alone was persuaded to the altar.
Julia: With money?
Shakespeare: Money for my father. And his business adventures in Snitterfield.
Julia: And was she your child?
Shakespeare: She may seem that way some days, or not. She hath lusty lungs at midnight, and she wakes me, and I write. (He gives a short gasp. She is working on him under the sheets) And I sleep, and the twins wake me. How is this to end?
Julia: It has scarce begun, my sweet man.
Shakespeare: I see its ending soon.
Julia: With both of us beheaded for our love.
Shakespeare: I would like that.
He rolls on top of her, seeking penetration.
Julia: No, no, stay off. Let me take you.
Shakespeare: No.
Julia: Yes.
Shakespeare: No.
He tries again to mount her.
Julia: You shall not.
Shakespeare: No. No.
He comes outside her, and relaxes. She wipes him with the same neckerchief as she had in the play.
Julia: Come with me on an errand this morrow.
Shakespeare: (beginning to doze) An errand, you say?
Julia: An errand of joy. A tour and exploration.
Shakespeare: Exploration?
Julia: Of a great wonder.
Lights down. Florio enters with a lute, and sings.
Florio: (sings) I did see my love but once,
When heaven was still true,
And in a moment only
My love was all I knew…
I saw forever passing by
And love was there and so was I
And love was all I knew…
And I became not I but we,
And then, not I but she,
And all the world was clear as day,
And the moment fled away…
Julia and Shakespeare enter, dressed now, into shafts of coloured light, looking up.
Shakespeare: What is it called?
Julia: The Sistine. From Adam’s creation it goes to Golgotha’s cross and Christ’s return from the dark house of death.
Shakespeare: And the Last Judgement.
Julia: By Michael Angelo Buonarotti. And his apprentices.
Shakespeare: Are you a believer?
Julia: Lord, I believe. Help Thou mine unbelief.
Shakespeare: I too.
Julia: Are you Catholic?
Shakespeare: I am dabbling. I am stirred. No greater work, I was told, than this there is in Christendom.
Julia: And now you are sure.
Shakespeare: I am.
Julia: He lived to be ninety. Yet much he did is unfinished. Peering out of the rock. Seeking its incarnation. Not yet born.
Shakespeare: When did he die?
Julia: Fifteen sixty-four.
Shakespeare: What month?
Julia: January, I think. In cold winter.
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In the scene that follows, Shakespeare toys with the thought that he might be Michelangelo reincarnated, and he must do great things in the world — in collaboration with Julia, perhaps, who is an actress/playwright, one of several then flourishing and praised and petted in Rome. Cardinal Peretti, in a great fury, interrupts them, afeared that his plottings with Shakespeare’s employer, John Rowley, a Warwickshire Papist wool-merchant bent on the overthrow of the strumpet-heretic Elizabeth, have been uncovered. The Pope is dying, and Peretti, later Pope himself, is much distracted. And so on.
Whether or not you much esteem the above confection, it is reasonably clear that if two far-flung colonial shake-scenes rough-schooled by Number 96 in dialogue-fudging can approximate the Stratford man’s smooth numbers another of his better-practised contempories could also. Lancelot Andrewes, for instance, who wrote, or co-wrote, the Bible. I invite opinions on this.
And so it goes.
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