Shakespeare
One of tha many unknowable facts about William Shakespeare is the way he preferred to spell his name. As writer Bill Bryson highlights in his biography, i Shakespeare /i , there are only six surviving signatures by the playwright and poet, and he spelt his name differently on each occasion, from 'Wm Shakspe' to 'William Shakespeare'. Ironically, 'one spelling he didn't use was the one now universally attached to his name'. But as the Bard himself said, a rose by any other name would smell as sweet. The thing is, for someone as important a literature figure as Shakespeare, what is known about him is lamentably little, and much of what is known is false. In his typically accessible manner, the Britain-based American author of the bestselling i Notes From A Small Island /i , has waded through reams of scholarly research to come up with this concise book, part of Harper Perennial's Eminent Lives series: 'The idea is a simple one: to see how much of Shakespeare we can know, really know, from the record. Which is one reason, of course, it's so slender.' That everything on the record has to be questioned is a point he makes from the start, even what Shakespeare looked like. The popular image of him - receding hairline, moustached and be-earringed - is based on only three likeness, two created after his death and one which cannot even be verified as an actual portrait of the man. While much of the arcana and trivia will seem familiar to anyone else who has studied Shakespeare and his plays at university, or someone who was even the slightest bit conscientious while sightseeing in London and Stratford-upon-Avon, Bryson's achievement here is in distilling all the existing facts and conjectures into snappy, immensely entertaining chapters. He is a passionate but unsentimental narrator, dutifully quoting figures demonstrating Shakespeare's significance - he is credited with introducing 2,035 words into the English language - while noting the playwright's penchant for plagiarism. He also unapologetically quashes long-held and beloved beliefs, such as that Shakespeare left his wife his second-best bed as a token of affection (the evidence, Bryson says, points to the conclusion that the Bard simply didn't care for his wife very much). He sensitively handles the debate over Shakespeare's sexuality, indulging in enough spicy gossip to keep things interesting - he hilariously describes a portrait of possible love interest Henry Wriothesley as 'showing him with flowing auburn locks draped over his left shoulder, at a time when men did not normally wear their hair so long or arrange it with such smouldering allure'. However, Bryson does get a bit too emotional at times, such as when he repeatedly refers to Shakespeare's friends, Condell and Heminges, as 'heroes' for compiling the First Folio, the first comprehensive collection of Shakespeare's plays. This makes up most of what the world has of his work, given that no manuscripts in his own hand have survived. Bryson's portrayal of the duo makes it seem as if they acted entirely out of altruism, and he does not for a momeny entertain the possibility that the friends might have done it at least partly for profit. Regardless of motive, it is true that posterity owes them a huge debt of gratitude. Even as Shakespeare remains an enigmatic figure, each restaging and reinterpretation of his plays sees his characters grow more and more vivid in the collective imagination.
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