1606: Shakespeare and the Year of Lear - An extract
Read an extract from James Shapiro’s 1606: Shakespeare and the Year of Lear (Faber & Faber).
Prologue : 5 January 1606
On the evening of 5 January 1606, the first Sunday of the new year, six hundred or so of the nation’s elite made their way through London’s dark streets to the Banqueting House at Whitehall Palace. The route westward from the City, leading past Charing Cross and skirting St James’s Park, was for most of them a familiar one. Many had already visited Whitehall over a half-dozen times since Christmas, the third under King James, who had called for eighteen plays to be staged there this holiday season, ten of them by Shakespeare’s company. They took their places according to their status in the seats arranged on stepped scaffolds along three sides of the large hall, while the Lord Chamberlain, white staff in hand, ensured that no gate-crashers were admitted nor anyone seated in an area above his or her proper station. King James himself sat centrally on a raised platform of state facing the stage, surrounded by his closest entourage, his every gesture scrutinised, rivalling the performers for the crowd’s attention.
This evening’s entertainment was more eagerly anticipated than any play. They were gathered at the old Banqueting House to witness a dramatic form with which conventional tragedies and comedies now struggled to compete: a court masque. With their dazzling staging, elegant verse, gorgeous costumes, concert-quality music and choreographed dancing – overseen by some of
the most talented artists in the land – masques under the new king were beyond extravagant, costing an unbelievable sum of £3,000 or more for a single performance. To put that in perspective, it would cost the crown little more than £100 to stage all ten of the plays Shakespeare’s company performed at court this Christmas season.
The actors in this evening’s masque, aside from a few professionals drawn from Shakespeare’s company, were prominent lords – and ladies too. The entertainment thus offered the added frisson of watching women perform, for while they were forbidden to appear on London’s public stages, where their parts were played by teenage boys, that restriction didn’t apply to court masques. Those lucky enough to be admitted to the Banqueting House saw young noblewomen perform their parts in breathtaking outfits designed by Inigo Jones, bedecked in jewels (one onlooker reported that ‘I think they hired and borrowed all the principal jewels and ropes of pearl both in court and city’). For many of these women, some of whom had commemorative paintings done of them wearing these costumes, this chance to perform in public would be one of the highlights of their highly constrained lives.
The building in which they performed was perhaps the only disappointment. Back in 1582, when the Duc d’Alençon had come courting, Queen Elizabeth had ordered that a temporary Banqueting House be constructed in time for his reception. From a distance the large building, ‘a long square, 332 foot in measure about’, looked imposing, constructed of stone blocks with mortared joints. But as visitors approached they would have seen that trompe l’oeil painting disguised what was actually a flimsy structure, built of great wooden masts forty feet high covered with painted canvas. As the years passed, Elizabeth saw no reason to waste money replacing it with something more permanent, and by the time that James succeeded her, the temporary frame that had stood for a quarter-century was in disrepair.
Shakespeare knew the old venue well and had played there fourteen months earlier on 1 November 1604, when his last Elizabethan tragedy, Othello, had had its court debut. Over the years he had performed often at Whitehall and would have recognised many of those in attendance. We can tell from the impact this masque had on his subsequent work that Shakespeare had
secured for himself a place in the room that January evening. There probably wasn’t a better vantage point for measuring the chasm between the self-congratulatory political fantasy enacted in the masque and the troubled national mood outside the grounds of James’s palace. Insofar as most of his plays depict flawed rulers and their courts, he may have been as intent on
observing the scene playing out before him as he was on viewing the masque itself.
The new king hated the old building; it was one more vestige of the Tudor past to be swept away. A few months after this masque was staged James commanded that it be pulled down and a more permanent, ‘strong and stately’ stone edifice, befitting a Stuart dynasty, be built on the site. In the short term, while there was little he could do about its rotting frame, James could at least
replace Elizabeth’s unfashionable painted ceiling. She favoured a floral and fruit design; he had it re-covered with a more stylish image of ‘clouds in distemper’.
King James was no less committed to repairing some of the political rot his predecessor had left behind, and this evening’s masque was part of that effort. Five years had passed since Queen Elizabeth had put to death her one-time favourite, the charismatic and rebellious Robert Devereux, second Earl of Essex. His execution still rankled with Essex’s devoted followers and their
further exclusion from power and patronage under James had left them bitter and alienated. Essex had left behind a young son, now fourteen, who bore his name and title, around whom they might rally. Essex’s militant followers had to be neutralised in order to forestall division within the kingdom. But James couldn’t simply restore them all to favour (as he had with the most prominent of them, the imprisoned Earl of Southampton), even if there were enough money, offices and lands to do so, for that would unsettle the balance of favourites and factions at court. And he couldn’t imprison or purge them all either. That left one solution: binding enemies together through an arranged marriage. James would play the royal matchmaker, marrying off Essex’s son, now a ward of the state, to Frances Howard, the striking fifteen-year-old daughter of the powerful Earl of Suffolk, who had served on the commission that had sentenced Essex to death. That evening’s masque, intended to celebrate their union, doubled as an overt pitch for the political union of England and Scotland, a marriage of the two kingdoms that James eagerly sought and knew that a wary Parliament would be debating later that month.
Though he was now the most experienced dramatist in the land, Shakespeare had not written the masque and, had he been invited to do so, would have said no. It would have been a tempting offer. If he cared about visibility, prestige or money, the rewards were great; the writer responsible for the masque earned
more than eight times what a dramatist was typically paid for a single play. And on the creative side, in addition to the almost unlimited budget and the potential for special effects, the masque offered the very thing he had seemingly wished for in the opening Chorus to Henry the Fifth: ‘princes to act / And monarchs to behold the swelling scene’ (1.0.3–4). That Shakespeare never accepted such a commission tells us as much about him as a writer as the plays he left behind. There was a price to be paid for writing masques, which were shamelessly sycophantic and propagandistic, compromises he didn’t care to make. He must have also recognised that it was an elite and evanescent art form that didn’t suit his interests or his talents. If this was a typical Jacobean masque, the evening’s entertainment devolved into serious drinking and feasting after the closing dance. By then, I suspect, Shakespeare was already back at his lodgings, doing what he had been doing well into the night for over fifteen years: writing.
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