What country should give you harbour?

Romans in Britain, A Doll's House, Richard II, Behzti (Honour)

A play may be dangerous
Thomas Middleton’s words (in the sub-heading above) were true in Elizabethan and Jacobean times just as they can be true now: a play may be dangerous. Drama has always had the capacity to be contentious and provocative, although the Internet is the forum today where controversies are most easily stirred up. Shakespeare’s Richard II was banned in its day (because of the scene where the king is forced to abdicate on stage); Ibsen’s A Doll’s House was credited with women walking out on their husbands at the end of the 19th Century; the director of Howard Brenton’s The Romans in Britain was prosecuted under the Sexual Offences Act; and as recently as 2004 British-born playwright Gurpreet Kaur Bhatti was forced into hiding following death threats after her play Behtzi (Honour) had to close after two days of violent demonstrations outside Birmingham Rep.

Turbulent times
An Act of Parliament in 1543, while Henry VIII was establishing the Reformation in England, forbade plays that explicitly explored religious issues. 100 years later in 1642 the parliament (who seven years later would execute King Charles I) banned stage plays altogether.
Between 1543 and 1642 current affairs were in a dangerous state:

• Who would succeed Henry VIII?

1. Would it be the young Edward VI, who was keen on his cousin Lady Jane Grey succeeding him?
2. The pro-Catholic (Bloody) Mary I?
3. The daughter of beheaded Anne Boleyn, Elizabeth I? 
4. (In the event they all did, including Jane, albeit Jane for only nine days!)

• Could the old Catholic forces and new Protestant Church of England find a non-violent accord?
• Could the country manage the effects of the colonisation of the Americas (the New World)?
• Would the economic boom and bust caused by new trade routes ever stabilise?
• How would the population of England deal with the influx of migrants from the new trading partners abroad?
• Could the racial and sectarian conflicts, especially in London, be quelled by the authorities?
• Would the increasing social mobility give the lower and middle classes an inflated sense of their rights and influence?
• Would Spain invade?
• Would the pockets of civil disobedience spread out of control?
• Would the plague destroy the whole of society?

Turbulent times indeed.

Turbulent times in Elizabethan and Jacobean England

Ian McKellen in Stratford-upon-Avon
I enjoyed (most of) the BBC2 broadcast of the Shakespeare Live! presentation from the stage of the Royal Shakespeare Company on the 400th anniversary of Shakespeare’s death – April 23rd 1616. One “act” that struck me as blindingly contemporary was Ian McKellen’s impassioned extract from Sir Thomas More. It’s astonishing that the speech McKellen delivered is the only known example of William Shakespeare’s own handwriting.

Shakespeare's own handwriting

When I saw Sir Thomas More in Stratford-upon-Avon in 2005 it was clear that a central section was indeed by Shakespeare – it had echoes of Coriolanus, King Lear and the Henry VI trilogy and vocabulary that was recognisably Shakespearean. Scholars agree the original work was by Anthony Munday and Henry Chettle but that at least three other playwrights contributed revisions or additional scenes: Shakespeare, Thomas Dekker and Thomas Heywood.

Judi Dench as Elizabeth I and Simon Callow as Sir Edmund Tilney in Shakespeare in Love

What country should give you harbour?

The Master of the Revels, Edmund Tilney (played by Simon Callow in the movie Shakespeare in Love) is known to have banned the play unless major revisions were made – “Leave out the (riot) wholly” he demanded – a clear sign of political censorship. Within Shakespeare’s scenes is the climax of the May Day riot of 1517 when the character of Thomas More persuades the crowd to calm down by imagining the plight of the refugees and asylum-seekers:

Imagine that you see the wretched strangers,
Their babies at their backs, and their poor luggage,
Plodding to the ports and coasts for transportation,
And that you sit as kings in your desires....
....What country, by the nature of your error,
Should give you harbour?....
....would you be pleased
To find a nation of such barbarous temper
That, breaking out in hideous violence,
Would not afford you an abode on earth?

The text is timeless; Ian McKellen delivered the speech as if it were about 2016 not 1517; the sentiments and questions are as powerful now as they were in Shakespeare’s time. If you were an asylum-seeker or a migrant in another country, how would you hope to be treated? The crowd replies to Sir Thomas More:

Faith, he says true: let’s do as we may be done to.

Images of Thomas More (Paul Schofield, Anton Lesser, Nigel Cooke and "wretched strangers"

Jackdaw Collaborator

Robber and partner
We know (from academic comparisons and now computer analysis) that chunks of Shakespeare’s work was adapted, sometimes closely (nicked you might say), from the works of other writers: Plutarch, Plautus, Holinshed, Arthur Brooke, Thomas Lodge, Robert Greene, Ovid’s Metamorphoses and Chaucer to name the most obvious and famous examples. Shakespeare was a jackdaw writer, stealing fragments, adapting plots, robbing motifs and plot devices. We know also that he was a collaborator, working without doubt on some plays with Middleton, Fletcher and George Wilkins. (Possibly Marlowe, Nashe, Peele and Munday too.) (Let me know if you want the evidence for any of the statements in this paragraph….) This doesn’t lessen his achievement in my eyes. Michelin star chefs are not thought rubbish because they use ingredients that have been used before….

Collaborators and writers of Shakespeare's source material

It’s not what you’ve got, it’s what you do with it
Stealing from others for creative and artistic reasons is not a cop-out. As one of my favourite writers, Alan Garner, memorably wrote: “Originality is the personal colouring of existing themes.” Shakespeare’s linguistic reputation relates to what he does with his sources, what he does with the language, how he portrays characters in action and how he reveals the themes and issues in stories that thrill, surprise and delight 400 years later. Poor vocabulary, maybe, in comparison with a modern reader; but, oh my, the way he puts those words together.

You taught me language and my profit on’t is
I know how to curse…. 

Shakespeare Apocrypha.... yes, bits of Macbeth were probably not by WS.....

You Taught Me Language....

To Infinity and Beyond - quick number summary

With 200 words – you can survive (toddler language)
With 850 words – you can thrive (competent 8 year old)
2000 words – the total used by the average modern-day Jill or Joe (teenager base words)
With 4000 words – the Janet or John who reads will function successfully (educated teenager base words)
12,000 to 17,000 words – the number of base words used regularly by a modern adult with average intelligence
25,000 words – popular writers with numerous works
50,000 to 75,000 words – ALL the words known by a modern adult including all the plurals, negatives, derivations, declensions and conjugations (for example counting "is," "was" and "wasn't" as well as "be") [Some of these words will never be spoken but they will be understood when seen or heard in context.]

28,829 words....
My big reveal is that Shakespeare in fact used FEWER words than the number known and understood by many educated modern adults. He used over 65,000 words (compared to 75,000 for the highest ranking modern person) if you count all variations. With the help of computer technology, we now know he used 28,829 unique word forms and 12,493 of those words forms occur only once.  Interestingly, the top 100 most frequently occurring words (the same 100 words back in Jacobethan times as in modern times) make up 53.9% of his entire output.  Put another way, 50% of Shakespeare's work is made up of language used by the average modern 2 year old.

Not such a hot shot linguist then?
Anti-Stratfordians sometimes argue that Shakespeare’s lack of a university education is evidence that the son of a glover and a brewer descended from farming stock in the Midlands could not write the works in the First Folio.  But as I have demonstrated above, around 50% of his work is very simple, basic English.