1 WHEN MACKERS MET WILLY…A look at Shakespeare and Macbeth

2 This is William Shakespeare.Not much to look at, right? He’s got a receding hairline and looked awkward in tights. According to some reports, he suffered from chronic halitosis and was not a particularly strong actor. Yet as the author of 38 plays, 154 sonnets, two long lyrical poems, and several other poems, he has come to be regarded as the greatest writer in the English language and the world’s pre-eminent dramatist.

3 How did this happen? How did one man go from talented playwright to celebrity to king’s favorite to legend to genius to the standard by which all drama is measured?

4 Section One: The Life of Shakespeare

5 He was born in a small town called Stratford-upon-Avon in South Warwickshire. He was the son of a glovemaker named John Shakespeare, who raised his son in relative affluence early on, but later fell into some debt. Little is known of Shakespeare’s childhood. We think that he attended school in town, which was reputed to be excellent. However, Shakespeare did not attend Oxford or Cambridge, as did many other rival playwrights. We also know that Shakespeare married a much older woman named Anne Hathaway. Six months later, she gave birth to William’s first daughter, Susanna. Shakespeare was 19 years old; two years later, Anne gave birth to twins, Judith and Hamnet. Anne Hathaway did not look like this…. William Shakespeare was born on April 23, 1564… we think. Anyway, we know for sure that he was baptized on April 26, 1564. Like so much of Shakespeare’s life, details only come to us through certain legal documents that record baptisms, births, certain financial transactions, and other such bureaucracy.

6 After that, Shakespeare sort of vanishes from official record until 1592, when he turns up in London, writing plays. Historians refer to this period as “the lost years.” What did he do in that time? Some say he fought the Spanish occupation of the Low Countries. Others believe he worked as a law clerk. At least one legend claims that he was run out of Stratford for attempting to steal a deer.

7 Shakespeare was only one of scores of playwrights trying to satisfy the needs of the new permanent theaters that had recently been built in London. Shakespeare was apparently quickly noticed, as his early plays were presented at the Rose, London’s most popular theater in the early 1590s. Whatever he did, Shakespeare found his way to London in the early 1590s, where records indicate that he was already making his mark as a playwright, which implies that he had been working as an actor for some time before trying his hand at writing.

8 Shakespeare joined the Lord Chamberlain’s Men, named after their wealthy patron. He was among good company– the troupe included Richard Burbage, son of legendary theater innovator James Burbage, and Will Kemp, the popular comic actor/dancer. These two helped create some of Shakespeare’s most legendary roles. Burbage was important for establishing Shakespeare’s reputation. He was the De Niro of his day, the most famous actor in London. He challenged Shakespeare to create multifaceted roles– and also allegedly challenged Shakespeare in the seduction of beautiful young theater patrons.

9 Most of these theaters were sided, three-tiered open air theaters that could squeeze in around 3,000 people. The stage, about 40 feet wide, with room for as many as 20 actors at a time, usually had a trap door to facilitate ‘spirits’ or other such mysteries. Performances were held in all but the coldest of months, and thus, barring the occasional plague, the theaters were open year-round. The theater was one of the few areas in London where the rich and the poor would mingle (although not too closely—the ‘groundlings’ stayed on the ground), which presented a unique challenge for playwrights, who not only had to overcome the limitations of set and lack of backdrops and props, but also write for the educated and illiterate/drunk alike. Burbage and Shakespeare certainly were not alone in the London theater scene– competition between actors, playwrights, and venues was intense. Starting in 1576, when James Burbage built a permanent amphitheater near Bishopsgate, the London theater world exploded. Over the next 30 years, more than 40 permanent theaters were built, including Shakespeare’s own Globe theater.

10 Competition was fierce and Shakespeare had a number of rivals and influences.Then there was Thomas Kyd, whose play The Spanish Tragedy introduced revenge tragedy to English theater and was produced often in the 1590s. From him Shakespeare learned much of the art of tragedy, and Kyd’s favorite themes—flawed heroes and cruel fates—became some of Shakespeare’s as well. Fortunately for Shakespeare, Kyd was arrested and tortured on suspicion of treason. He died penniless. There was Christopher “Kit” Marlowe, who, although only a couple months older than Shakespeare, was already a legend by the time William was just an apprentice. Like Shakespeare, Marlowe favored blank verse, historical dramas, complex villains, and melodramatic plots. Fortunately for Shakespeare, Marlowe died young in a barfight. There was also Ben Jonson, generally regarded in his day as the most intelligent and talented poet. He was a frequent critic and champion of Shakespeare’s, lauding his prodigious talent, but also criticizing him for not editing his work more. Jonson’s dramas—full of complex, nuanced characters—certainly influenced Shakespeare, and the two became lifelong friends. In fact, it was with Jonson that Shakespeare shared his last drink

11 Men such as these helped launch a new renaissance in literary innovation, particularly in drama, that would eventually rival ancient Rome and Greece. Shakespeare was especially prodigious during Elizabeth’s reign, producing 25 plays in 11 years. His plays often mirrored the turbulence of Elizabeth’s reign—the history plays, for example, were often consumed with issues of succession. Yet Shakespeare almost never commented on the issues of the day… ever the sly politician. Fortunately, Shakespeare enjoyed the favor of Her Majesty, Queen Elizabeth I, who quite enjoyed the theater. The Lord Chamberlain’s Men appeared before her at least three times a year. It is believed that, after enjoying Falstaff in Henry IV Part I, she asked Shakespeare to write a play showing the fat knight in love.

12 Shakespeare found even greater favor under King James I, Elizabeth’s successor. Shortly after The Virgin Queen’s death, James announced his patronage for Lord Chamberlain’s Men, who became The King’s Majesty Players. Historians endlessly debate what personal events might have put Shakespeare in such a dark and creatively fertile mood. Some look to his unhappy marriage or the death of his son, Hamnet. Others note that most London playwrights were producing similarly dark material during this time. Shakespeare’s first play for his new Scottish king with an interest in the occult was Macbeth, a tragedy that included many supernatural elements and a heroic role for Banquo, a real Scottish lord who James believed was an ancestor. Macbeth represented the apex of a creative period during which Shakespeare also wrote Othello, Hamlet, and King Lear—works generally considered his best. It also marked a time where Shakespeare’s work turned more dark.

13 Whatever the reason for Shakespeare’s evolution, it suited himWhatever the reason for Shakespeare’s evolution, it suited him. He became more successful as his theater troupe gained influence with its prestigious patron. In 1599, Shakespeare and his fellow investors opened The Globe Theater, which quickly became the most influential theater in London. Shakespeare became quite wealthy from this investment, and enjoyed royalties of his plays until the Globe burned down in 1613 (due to a cannon misfire) during the debut performance of Shakespeare’s last history, Henry VIII. As he aged, Shakespeare increasingly began to experiment with form, storytelling, language, and character. His plays became more difficult to classify and relied more heavily on magic and spectacle, which the Jacobean audiences seemed to prefer. His last few plays were co-authored by John Fletcher, as Shakespeare became more occupied with running his investments.

14 In 1614 (we think) Shakespeare retired to Stratford-on-Avon, and John Fletcher replaced him as the chief playwright for the King’s Majesty Players For the first time (perhaps reluctantly) he became a family man. His eldest daughter, Susanna, bore him a grandchild in His other daughter, Judith, finally became engaged to John Quincy, the town scallywag. On February 10, 1616, Shakespeare gathered with his fellow playwright, Ben Jonson for one last battle of wits at the local tavern to celebrate Judith’s wedding. Ten weeks later, on April 23, 1616, Shakespeare died of pneumonia. The lesson, as always, is to never drink alcohol.

15 So how did this adorable little moppet go on to conquer Western literature?Those Restoration audiences found Shakespeare’s work to be remarkably modern and trenchant. Ironically, the lengths Shakespeare took to refrain from contemporary commentary leant his work a timeless quality that allowed each new generation to reinterpret his works and find whatever they sought—political, religious, artistic, or gender criticism and commentary. On the other hand, there is something universal to be found in Shakespeare’s work as well. Well, it helps when your friends collect your work after your death and publish it. Two of Shakespeare’s colleagues from the King’s Men pulled together manuscripts, loose sheets, quatros (unauthorized copies), and Shakespeare’s own notes to publish the first folio, collecting 36 plays. One play—Pericles– was added in 1665 and another—Edward III—in Another play—Cardenio—is lost to history. Shakespeare’s legacy was also (ironically) helped by Parliament, who, while under sway of Puritans, closed the theaters in For 18 years, no plays were performed in London. When the Restoration of the monarchy occurred in 1660, there was a dearth of new plays and a yearning to return to earlier theater. Guess whose plays proved most popular!

16 Section Two: How to read Shakespeare

17 It’s important to remember that Shakespeare didn’t just “make up” words– he formed them. For instance, from the Italian bandito Shakespeare coined “bandit.” From Dutch words, he formed “rant” and “switch.” From new English words, he built newer ones, forming “assassinate” from assassin. Occasionally he created words from scratch, like “buzzer.” Shakespeare’s language is a remnant of an age where English was rapidly changing. The “goeth” and “doth” of Middle English coexisted with Shakespeare’s English, as do “thou,” “thee,” and “ye” alongside the modern “you.” When Shakespeare began writing plays and poems, the English language was absorbing new words more rapidly than ever before or since. Contact between both ancient and classical cultures and increased relations with foreign governments led to new words, new combinations, and new expressions. Shakespeare is generally credited with introducing 1,500 new English words among the 20,000 used in his work. Many of Shakespeare’s new words reflect vigorous contact between English and other living languages, as well as the English passion for classical antiquity.

18 An important feature of Shakespeare’s plays is the distinction between verse and prose. The two are easy to tell apart. Verse lines are printed with line breaks, and the first word of each line is capitalized, as in Hamlet. To be, or not to be—that is the question; Whether ‘tis nobler in the mind to suffer… 3.1 Shakespeare’s verse is usually reserved for noble speakers, his prose for common or comical parts. Some characters, such as King Henry V, can alternate between verse and prose, depending on the context—you must consider this a purposeful rhetorical strategy and question author’s intent!! In prose, one sentence flows into another, without line breaks, as in Henry IV, Part II: I have a whole school of tongues in this belly of mine, and not a tongue of them all… 4.3 Sir John Falstaff, Henry IV, Part II No play is free of verse and recognizing the significance of when Shakespeare switches between verse and prose is a key to understanding the subtleties of his language.

19 Shakespeare’s language is also usually composed in blank verse, which is unrhymed iambic pentameter. This meter was popular in Elizabethan England and allowed Shakespeare to write dialogue that was at once natural and lyrical. The meter is built of five iambs in a row (the penta of “pentameter” is from the Greek for five). An iamb is a metrical unit– a two syllable sound where the natural emphasis when pronounced falls on the second syllable. re venge Care keeps his watch in eve ry old man’s eye, And where care lod ges, sleep will nev er die.

20 When you read, pay attention to all the little clues Shakespeare left you to help you figure out how it should be read Romeo. [JULIET appears above at a window] But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green, And none but fools do wear it; cast it off. It is my lady; O! it is my love: O! that she knew she were. End-stop punctuation like periods (.), question marks (?), and exclamation points (!) means the thought is complete. In other words, STOP and breathe! Commas indicate an elaboration of the main point—they continue the thru-thought in greater detail. When an actor encounters a comma, they should usually pause, but not long enough to take a breath. Colons and semi-colons indicate the initial thought is complete, but not the thru-thought. They should be treated like a comma—pause, but just for a moment! When you see one of these—”O”– do not say “oh!” This is meant to be a cry of passion, and is known as Ecphonesis O.

21 Macbeth, one of his most famous works, is also the quintessential Shakespearean tragedy.A tragedy is essentially the story of one person, the hero, or, at most two, hero, and heroine. The tragic story often depicts a troubled part of the hero’s life which precedes and leads up to his death. The suffering and calamity are exceptional. They extend far and wide beyond the hero.

22 The calamities of tragedy do not simply happenThe calamities of tragedy do not simply happen. They proceed from the actions of men. As the tragedy advances to its close, the calamities and catastrophe follow inevitably from the deeds of men. The main cause of the deeds is character. Take Bill Clinton. How is he the epitome of a tragic king? A tragic hero is someone who is not ordinary, often marked by greatness or nobility. The hero features a fatal flaw, weakness, or fault of character—ambition, hubris, callousness, or radicalism. The tragic hero’s downfall is partially his fault, but he does not wholly deserve his punishment. The hero’s fall is not pure loss, for the hero arouses solemn emotions in the survivors. Aristotle termed these emotions pity and fear.

23 Shakespeare frequently represents abnormal conditions of the mind—insanity and hallucinations.The supernatural is often introduced. Often it gives a confirmation of something and exerts some degree of influence. Chance has some influence or factor at some point in the action. The hero has a divided soul, torn by an inward struggle.

24 In many ways, King James I was an ideal candidate for tragic heroism.Though generally regarded as an intelligent and just man, he was also looked down upon by the English aristocracy as being a crude and uncouth Scotsman. He walked with a strange gait and reportedly never bathed. Moreover, he gained a reputation for decadence in a time of economic straits. James, however, was proud of his Scottish lineage, tracing his line back to the heroic warrior, Banquo. James was particularly interested in witchcraft, and even authored a book called “Deamonologie” on witches and occult. He and Parliament were also targeted for assassination by the Guy Fawkes rebellion, an aborted act which filled England with fear of regicide.

25 Shakespeare and his audience knew this… and more, including:The Divine Right of Kings—God appoints monarchs. The monarch is a divinely ordained institution, kings are accountable for their acts to God alone, and that non-reliance and passive obedience on the part of subjects is a command of God. The Duties of a Prince are to protect his people by defending them against their enemies, to govern with justice and mercy, and to preserve and enforce the law of the land. A king was not only expected to protect and defend his realm but also be seen as a competent warrior. A king who was inclined to peace was looked at adversely because there was glory in a nation’s victory. The Duties of the Aristocracy—Often wealthier than the kings they served, aristocrats controlled vast fortunes of gold, land, food, and men-at-arms. It was their duty to supply their king with all four in times of war or need. If they did not believe the war was just, they often withheld these resources to control the monarchy. The Great Chain of Being—God, kings, nobility and princes of the church, the knights and gentry, the legal and professional classes, merchants and yeomen, and at the bottom—peasants. Each man was born to his degree, and a happy man was one who did not question his place in life.