Misdemeanour, social climbing, shotgun weddings: gratify the Shakespeares

A pregnant bride, a father-god who lived in fear of detain, a son-in-law charged with an offence carnal copulation: Shakespeares own family was just as wild and wicked as his formations. Illustration: Matthew Richardsonby Simon Callow

Shakespeares inclusiveness, the overwhelming feel in the plays that all human life is there, is necessary that focusing on any aspect of the labour will cause dividends. Shakespeare and war, Shakespeare and affection, Shakespeare and medicine, Shakespeare and sodomy: all provoking, all surprising, all resonant. But Shakespeare and the family is in a different conference. He is, in a particularly potent gumption, the Family man. These fundamental rapports fathers, sons, fathers, daughters, brethren, sisters, uncles, aunts, nephews, cousins are at the heart of one participate after another. How else could it be for a scribe whose theme is the experience of being human? Which of us has not been modelled, for better or for worse, by those relationships, or by their absence? And beyond the domestic realm, their own families tower huge in his work in quite another way: the fate of people, equally have been established by blood ties.

Elizabethan lineage a portrait of nobleman William Brooke and children, 1567. Picture: Public land

Of direction, Shakespeare was a family man in a less universal gumption: he was born into a large one and he became the head of another( preferably smaller ). We know nothing of his private contemplates; we have no journals , no characters , no dialogue volumes. But we do know the important things in his life: where he was born, to whom and in what circumstances; where he was married, who his wife and children were, and where he lived. In particular, we know quite a lot about his father John, the son of a farmer, who had prepared himself up with some success as a glove-maker and leatherworker who was also in the fleece sell( illegally, as it happens ). John Shakespeare rapidly operated his acces through local government: first he was elected district ale-taster neat work if you can get it then chamberlain, which required him to format visits of roaming players to Stratford. No doubt little William had a front-row seat, thanks to his fathers activity. Soon, John was elected high bailiff mayor, in effect. The figure of Shakespeare really counted for something in Stratford.

But when William was 13, “his fathers” rise came to a shuddering halting. He was prosecuted for wool-dealing and, more seriously, for usury spreading lends with interest, a scandalous offence in Elizabethan seeings. His indebtedness forbade him from attending parliament meetings and even prevented him from going to church, for fright of being arrested. Small-town dramas, these, but for a child, epic: beholding ones father publicly humiliation, living with the obloquy not to mention the abrupt poverty is simply be character-forming. This distressing jolt to the family may not be unconnected to Shakespeares startling productivity and his drive towards stability and social bear, as well as providing the subject of much of his act: sudden dispossession, banishment, exile. Before his fall from grace, John Shakespeare had applied for a coat of arms; 25 year later it was finally awarded, and it is widely assumed that it was his by now prosperous, renowned and well-connected son who had arranged it for him. The son had now become “his fathers” father.

Social standing Shakespeares coat of arms above the door of his childhood residence. Photograph: Alamy

We know much less about Shakespeares mother Mary, but the bare facts are suggestive. She was a cut above John socially certainly, Johns father had been a renter of Marys father. The Ardens were well-established Warwickshire gentry, and it is hard to believe that they regarded the effervescent young glover as a catch: “its not” unreasonable to assume that it was love-match. Certainly, it was a productive partnership: Mary had eight progenies, though three of them all daughters croaked young. William had been immediately preceding two sisters, both killed by the plague. The son was the first of John and Marys children to endure. A son and heir how cherished he must have been.

His early years would have been reigned, according to Elizabethan custom, by his mother: fathers were more or less absent from their young childrens lives. Partly because of the high rates of child mortality, brats were showered with tendernes, prized, coddled and adored; the early Elizabethans were the first generation to fill the nursery with toys. Until they went to institution, boy children basked in the attentions of womenfolk: relatives, neighbours, even perhaps, during the good times, a nurse. Shakespeare only rarely writes of the astonishing intimacy between mothers and sons, but Hermione and Mamillius, in The Winters Tale, personify every fond and tender relationship of that kind; Hamlet and Gertrude, every dangerously close one.

Paying his dues Shakespeares will. Photograph: Imagewise Ltd/ Rex/ Shutterstock

Shakespeares siblings, about whom we know exclusively the bare essentials, followed at regular intervals Gilbert, born when Shakespeare was two, Joan when he was four, Anne two years later( she died aged eight, when Shakespeare was 15 ). Richard was born three years later, and Edmund, the last, who became an actor, arrived when Shakespeare was 16. William outlived them all, except for Joan. The death of children tolls through Shakespeares life, most notably the downfall almost certainly from haras of his own son, Hamnet, at persons under the age of 11, leaving behind a twinned, Judith, and another sister, the Shakespeares firstborn, Susannah.

Susannah, as it happens, had been conceived outside marriage: Shakespeares wife Anne was three months pregnant when she went down the aisle. It may have been a shotgun wedding; more interesting, perhaps, is the age chink between them. At 26, Anne was eight years older. Her only illusion in the historical record is, famously, in Shakespeares will, in which he leaves her his second-best bed; equally famously, it has been established that this was no slight, but a mark of profound affection it is the berth in which they would have spent their married life.

Shakespeare himself disappears from the historical record for almost a decade. Then, from 1592, he was mostly in London, so how much Anne saw of him is to be questioned. Surely there were no more brats, and it is to be presumed that Shakespeare missed his boys growing-up. From his mid-3 0s, though still are stationed in London, he began to transfer his centre of operations back to his native town. The daughters both marriage: Susannah fulfilled every parents highest hopes by marriage a doctor, a bright and successful one. In 1608, she presented him with small children the only grandchild Shakespeare knew, Elizabeth, of whom Shakespeare, relocated to Stratford, presumably determined more than he had done of his own children.

Meanwhile, Judith made a spectacularly bad wedding( at the age of 31) to a dodgy vintner who succeeded not to get the marriage licence in time, which gave rise to both of them being excommunicated, a terrifying beating for an Elizabethan. Thomas Quiney was then engaged for carnal copulation with a neighbourhood female who had died together with their babe. All this has been the case in Shakespeares last-place couple of months, in time for him to change the provisions of his will to protect Judiths legacy. In due track, Quiney and Judith had three children; the first, Shakespeare Quiney, died in infancy. But Shakespeare knew none of these children; he returned to Arthurs bosom on 23 April 1616 , not long after the wedding.

The archetypal dysfunctional lineage Ben Whishaw as Hamlet and Imogen Stubbs as Gertrude. Photograph: Tristram Kenton for the Guardian

Families do not come out of the plays tremendously well, it has to be said. The two most famous ones are those working in Hamlet and Romeo and Juliet. Hamlets family is a byword for all dysfunctional categories, with its overwrought mother-son tie-in, its physically absent-minded though emotionally present father-god and its usurping stepfather. Nor is Hamlets the only family in the gambling: Polonius has two children whom he seeks to control, mounting snoops on to his “sons ” when the son goes to university, personally ordering for the King and Queen to eavesdrop on his hapless daughter Ophelia. The plays third kinfolk or dynasty, in this case is a matter of Fortinbras, the young Norwegian crown prince who occupies Denmark at the end of the play-act. Both he and Hamlet are reputation after their leaders, whom they live to retaliate. But when Hamlet meets the haunt of the leader with whom he is so preoccupied, the spirit had not yet been tenderness for his boy: he is in a sud of feeling and affliction, hopeles to stimulation his son on to the revenge that alone will salve his soul.

Fathers do instead tend to fury in Shakespeare: they are forever explosion unconscionably. Shall I hear anything? bellowings Leontes in The Winters Tale, breaking into the nursery where his son Mamillius is revelling in the playfully cherishing atmosphere created by his mother and her ladies-in-waiting. Juliets father responds to her refusal to marry the man he and his wife have lined up for her with such sudden and violent rampage that even the harbour is sickened 😛 TAGEND

Wife, we scarce made us blest
That God had lent us but this only child

shouts Capulet.

But now I see this one is one too much,
And that we have a affliction in having her:
Out on her, hilding !

Alternative father Roger Allam( core) as Falstaff. Picture: John Haynes/ Shakespeare’s Globe

Similarly, in Much Ado about Nothing, when Leonato, the Governor of Messina, a genial age-old buffer, sounds an unsubstantiated hearsay that his daughter Hero has had copulation with a stranger before her wedding, his immediate answer is to wish her dead. InThe Winters Tale, King Leontes, in an rapture of suspicion, denounces his heavily pregnant partner Hermione, throwing her into prison, where she leaves delivery to a daughter, whom he requires get left on a mountainside to die. The prophecy of Delphi exclaims Hermiones innocence, but Leontes refuses to believe it. Sounding this, she croaks( or seems to ); their adored son Mamillius, shattered by the heartbreak and distress that Leontes has inflicted on them all, dies, for real.

Elsewhere in the Shakespearean universe, leaders are exigent, cold, haughty. Henry IV, having locked the throne by political guile, expects his son, likewise Henry, to emulate his instance of abstinence and focus, but the son knows better what he necessity both as a man and as a future king, and endeavours out an alternative parent in the brothels of London. This other father, Sir John Falstaff, disreputable to the core but with the breezes of a fallen monarch, pairs up with the chap, nicknaming him Hal, and together they embark on a imperial frenzy, eating, drinking, whoring, robbing and scandalizing respectability wherever they encounter it. The Boars Head caters an alternative house for the young Prince, with Mistress Quickly a fussing baby, Doll Tearsheet a randy cousin. When Falstaff and the Eastcheap gang have restored Hal to the human race, Hal savagely ditches the old-fashioned ruffian and realizes his peace with the real leader , now dying, that he is about to succeed in the actual nature. No mention, again, of mothers. With Coriolanus, the opposite is true: altogether too much mother. Volumnia, terrifying in her inflexibility, drives him first into standing, reluctantly, for consul and then to his death.

Brothers in Shakespeare are often differed, neat and nasty Don Pedro and Don John in Much Ado, Edgar and Edmund in Lear, Orlando and Oliver in As You Like It this pattern partly a thoughtfulnes of the Elizabethan laws of primogeniture that resulted in the eldest friend taking the entire patrimony, leaving younger male siblings impoverished and at a loose end.

Nice brother, nasty friend Denzel Washington as Don Pedro and Keanu Reeves as Don John in Much Ado About Nothing. Picture: PR Image

Brothers and sisters evidence the usual frictions: in Hamlet Ophelia resents her brother Laertess freedom, in Evaluate for Asses Claudio is bewildered by Isabellas refusal to surrender her virginity if it will save his life. In Twelfth Night the twinneds Sebastian and Viola, each feeling the other dead, are intensely grief-stricken; and the same participate starts with the Countess Olivia in deep mourn for her late friend( What a blight means my niece, to take the death of her brother thus? testily asks the sulky hedonist, her disreputable cousin Toby Belch ).

Of family life as such we watch little in the plays, although the Nurse in Romeo and Juliet provides a stream-of-consciousness detail of Juliets childhood, connoting the great warmth of the extended family. She has forgotten good-for-nothing: how hard little Juliet gnawed at her teat when she was breastfeeding her; how the interesting thing descended over the working day and what she remarked. It is foolhardy to try to turn the plays into autobiography, but the particularity of the writing speaks of the most significant observance and deep personal experience. Who was Juliets nurse, with her permanent recollection hemorrhage? Or Prospero, the overcontrolling, deeply, urgently cherishing papa? These are parties Shakespeare has surely encountered just as surely as they are parties we have met. Another below-stairs witness, Launce, Proteuss servant in Two Gentlemen of Verona, decorates a particularly vivid picture of household remorse at his leave-taking, with special reference to an honorary family member, his bird-dog, Crab( the sourest-natured hound that lives ).

Nay, twill be this hour ere I have done cry … my mother sobbing, my father wailing, my sister crying, our girl wail, our feline wringing her sides, and all our house in a great perplexity, hitherto did not this cruel-hearted cur shed one snap …

Playtime a girl and her doll, 1596. Image: Museum Meermanno

Such familial warmth is the exception. “Theres” adoring pairs in Shakespeare: in Julius Caesar, both Brutus and Caesar have, in Portia and Calphurnia, caring and steady marriages. Had Caesar heeded his wifes premonitory daydream, he might have lived. Coriolanuss wife, Valeria, suffers the pile of the soldiers wife anxiously; touched aside, swatted away, she falls silent in the face of her mother-in-laws absolute certainty. Lady Macbeth goads and drives on her hesitating spouse to fulfil the destiny she contends is his:

I have given suck, and know
How tender tis to love the babe that milks me:
I would, while it was smiling in my appearance,
Have pluckd my nipple from his boneless gums,
And dashd the brains out, had I so sworn as you
Have done to this .

The deed formerly done, Macbeth falls apart. His partner, endlessly more resolute, castrates him verbally: What, quite unmannd in folly?

A 19 th-century print of Shakespeare with their own families. Image: bridgemanart.com

We do not, famously, know how many children Lady Macbeth had, but Macbeths vision of the future emperors of Scotland tells him clearly that “hes not” founded a empire: it has all been pointless. The plays in the Wars of the Roses cycle are based on the dynastic imperative intent happily ever after, so the dramatist would have us speculate, with the crowning of Henry Tudor, the future Henry VII, grandfather of the childless princes who reigned through the first 40 years of Shakespeares life. Elizabeths lack of offspring increasingly fed the paranoia and instability of her last years on the throne. Under her successor, her cousin James VI of Scotland, the two countries( despite his well-attested sexual hesitancy) was hole provided with male heirs and a really pretty princes; Britain had a royal family again, which seemed, for a while, to guarantee the safety and stability of families in the various regions of the district. It was an apparition: within a few short decades family was set against category, father against son, brother against friend. The dread scourge of civil war again descended on the land.

Shakespeare lived to see nothing of it: he died in the bosom of his own family, back in Stratford-on-Avon, affluent, obligating due and detailed is provided for his offspring and their problem. He had, of course, another family: his colleagues in the theater, which so often feels like a second clas for those who work in it. In his will he left to the whiz for whom he wrote so many of his greatest roles, Richard Burbage, and to my honourable colleagues John Heminges and Henry Condell, coin to buy hoops, so they are able to remember him. Little did he know that it was this other family that would guarantee his immortality.

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