{"id":413,"date":"2019-11-14T19:24:17","date_gmt":"2019-11-14T19:24:17","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=413"},"modified":"2022-02-05T13:23:50","modified_gmt":"2022-02-05T13:23:50","slug":"the-fictional-lives-of-shakespeare","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/the-fictional-lives-of-shakespeare\/","title":{"rendered":"The Fictional Lives of Shakespeare"},"content":{"rendered":"\n

By Kevin Gilvary<\/strong>
245 pp. Routledge<\/strong><\/p>\n\n\n\n

Reviewed by Luke Prodromou<\/strong>*<\/a><\/p>\n\n\n\n

Shakespearean biography, as a sub-genre of\nbiographical writing, is unique and idiosyncratic: at the heart of the\nenterprise of writing the life of England\u2019s greatest writer is a paradox; while\nmore biographies of Shakespeare have been written than of any other English\nwriter (and probably any other person on the planet), yet less is known about\nShakespeare than of any other writer, or indeed any other subject of biography.\nShakespeare is the most<\/em> written about\nbut the least<\/em> known or knowable of\nall subjects of the art of biography. <\/p>\n\n\n\n

The more we write about him, in fact, the more elusive\nhe becomes. He splinters and fragments, he goes forth and multiplies into a\nmyriad identities: Protestant and Catholic, radical and conservative,\nfamily-man and philanderer, heterosexual and gay, unique genius and literary\ncollaborator,  artist and hack, a man\nwith connections in high places and a discreet labourer behind the scenes; a\ngentle companion and upright citizen but also street-brawler and pimp; a man of\nthe Renaissance but also a poor classical scholar,  snob, tax-dodger and mone-lender, and so it\ngoes on, ad infinitum: a life without limits of a man who generates mystery the\nmore you gaze upon him.<\/p>\n\n\n\n

While the more is written about other writers, such as\nByron or Lawrence, the better we seem to know them (Ellis vii) the converse is true\nof Shakespeare. Why should this be so?<\/p>\n\n\n\n

Kevin Gilvary\u2019s book\u2014not a biography but a book about\nbiography\u2014brilliantly explains the mystery: we simply lack data about William\nShakespeare the writer. That is, nearly everything which has been written about\nthe personality of the actual writer (as opposed to what has been written about\nthe actor-manager-businessman) is fiction or, at best, unverifiable: in the\nabsence of hard facts about their subject, his biographers simply make it up.<\/p>\n\n\n\n

Indeed, the documentary information we have about the\nBard refers almost exclusively to the man from Stratford in his non-literary\ncapacity: birth, marriage, children, dealings in property, financial matters,\ncourt cases, and so on. Any literary or personal references we have of him are\nambiguous, vague or incomplete. Yet, the almost total absence of any factual data\nabout either the man or the writer does not seem to deter new biographies, both\nscholarly and popular, from appearing\u2014not singly but in battalions!<\/p>\n\n\n\n

Thankfully, Dr. Gilvary, a UK-based specialist in this\narea, hasn\u2019t added yet another biography to the never-ending list. His recent book\nis actually the latest in the relatively new genre of books about<\/em> biographies of Shakespeare (Schoenbaum\n1991; Bevington 2010; Ellis 2012). Gilvary\u2019s title, The Fictional Lives of Shakespeare, <\/em>echoes that of an earlier\nmonograph on a similar theme: David Ellis\u2019s The\nTruth about William Shakespeare: Fact, Fiction and Modern Biographies<\/em>. \u201cFiction\u201d\nis the key word here, and it co-occurs frequently with loaded words such as\n\u201cspeculation,\u201d \u201cconjecture,\u201d \u201cmyth,\u201d \u201clegend,\u201d \u201ctale,\u201d \u201cgossip\u201d\u2014all lexical\nitems signaling the non-factual basis of every single biography written about this\nbeloved author. Why non-factual? Because the facts do not exist. <\/p>\n\n\n\n

The aim of Gilvary\u2019s book, like that of Ellis before\nhim, is to demonstrate the impossibility of writing a fact-based biography of\nShakespeare. The founder of this kind of book is probably Samuel Schoenbaum,\nwhose reputation rests on his making use of all available factual documents in\nconstructing his own biography of Shakespeare (A Documentary Life<\/em>, 1975). Schoenbaum also surveyed the attempts of\nothers to write Shakespearean biography (Shakespeare\u2019s\nLives<\/em>, 1991), and in doing so ridiculed the so-called anti-Stratfordians,\nmany scholars and theatre people among them, who doubt the official narrative. <\/p>\n\n\n\n

Bevington (2010), another analyst of this field of Shakespeare\nbiographies, is clearly aware of all the gaps in the documentary record but he\u2014unlike\nGilvary\u2014does not question the legitimacy of attempting to write Shakespearean\nbiography, using the scraps available. He instead describes the variety of\npoints of view we encounter in Shakespearean biography and sums up,\nuncritically I would say, what traditional Stratfordian-focused biographers\nhave said about a range of topics central to the  plays (sex, politics, religion, etc.). Bevington,\nagain like the conventional biographers, suggests (highly implausible) links of\nthese textual elements to the life of the man from Stratford, while Gilvary and\nEllis are more critical of the speculative nature of the enterprise itself. It\nis interesting, in this respect, to compare Bevington\u2019s respectful reference to\nNicholas Rowe\u2019s early attempt at biography as \u201ccomprehensive\u201d to Ellis\u2019s dismissal\nof Rowe\u2019s work as \u201cgossip\u201d and Gilvary\u2019s even more scathing rejection of Rowe\u2019s\ndata as \u201cunverifiable or simply wrong.\u201d<\/p>\n\n\n\n

Gilvary\u2019s book is unique in that he bases his opinions\nand judgments on his own original research. On Rowe, for instance, Gilvary\ndemonstrates, with detailed empirical data, what Edmund Malone, writing in the eighteenth\ncentury,  had said about Rowe\u2019s work:\nthat it contained \u201celeven facts: eight of which were wrong and one of which was\ndoubtful.\u201d Gilvary takes the same forensic approach to all the major subsequent\nbiographers and, with a focus on verifiable evidence\u2014or its absence\u2014deconstructs\nthe claims made by these supposedly eminent scholars and professional biographers,\nshowing them, time and again, to be \u201cunverifiable\u201d\u2014or pure fiction.<\/p>\n\n\n\n

The book\u2019s ten chapters begin with Gilvary\u2019s own\noutline of the many theories of biography which explain the linear, hero-driven\nnarrative adopted by most lives of Shakespeare: Shakespeare biographers, with\nfew exceptions (see, for example, \nHolderness 2013), begin their story by tracing the steps of the \u201chero\u201d\nof the narrative from childhood to maturity and, finally, death. Gilvary\u2019s theoretical\nframework throws clear light on the problems created by attempts to squeeze the\nhandful of facts available on the life of Shakespeare into a coherent linear\nnarrative; problems generated by (a) the simple paucity of material for such a\nnarrative and (b) the need to publish profitable material for a reading public\ninsatiable for biographies of famous people. <\/p>\n\n\n\n

Chapters Two and Three focus on the general absence of\nsource material and the biographer\u2019s recourse to the plays and poems themselves\nto infer \u201cfacts\u201d about the author\u2019s life\u2014or simply to make facts up in order to\nflesh out a credible story according to the biographer\u2019s personal beliefs,\nwhims or ideology. <\/p>\n\n\n\n

Chapter Four shows how Malone, in the eighteenth\ncentury, challenged the myths about Shakespeare, but in vain. Chapter Five focuses\non the flood of speculative biographies which began to appear in the wake of\nthe new status of Shakespeare as national bard, despite the fact that research during\nthe period produced very little new data. In this chapter, Gilvary provides a\nthorough analysis of Romantic and Victorian biographies and brings the story\nwell into the twentieth century, where Bardolatry continues to reign supreme. <\/p>\n\n\n\n

Chapters Six and Seven provide a thorough critical analysis\nof the work of Samuel Schoenbaum, current doyen of Shakespeare biographers, and\nhis impact on other biographers right up to the present time. Let us simply say\nthat Gilvary goes much further than Ellis in questioning the authority of\nSchoenbaum and the significance of the documents on which his approach is based.<\/p>\n\n\n\n

Under the influence of post-modern theories, recent\nbiographers have felt quite free to multiply the speculative narratives. Given\nthe fluid nature of historical truth, it has become common practice to legitimize\neven gossip about Shakespeare, working on the assumption that gossip must\ncontain a kernel of truth. In the absence of substantial data for a life-story\nand, indeed, skepticism towards the very idea of objective historical facts, these\npost-modern biographers feel free to concoct the biographical story from their\nown imaginations; the resulting narratives use what little documentary evidence\nexists in a \u201ccreative\u201d rather than a scholarly way to produce biographies which\nmay not be historically accurate but, it is claimed, capture a deeper\nimaginative truth about their subject. In other words, biographical writings in\nthis field have become more \u201cnovelistic,\u201d whether written by actual professional\nnovelists, such as Ackroyd or Holderness, or by university academics, such as\nBate and Greenblatt: the point is that, by definition, every Shakespeare\nbiography has become an instance, to a lesser or greater degree, of an\nimagined, \u201cfictionalized\u201d biography, where the protagonists are really the\nbiographers themselves and not Shakespeare, the man and writer. <\/p>\n\n\n\n

Chapters Eight and Nine look specifically at the roles\nof Southampton and Ben Jonson in the Shakespeare story, including the\nassumptions made\u2014and endlessly repeated\u2014about their particular roles in the\nShakespeare myths. But, for the first time (in my experience), real attention is\npaid to documentary detail and the socio-historical context. As with all of the\nissues Gilvary takes up, his conclusion is that what has passed into the\nofficial narratives as more or less true is also little more than fiction,\noriginating in unreliable gossip. <\/p>\n\n\n\n

Gilvary\u2019s careful scholarship leads him to a position\nof utmost skepticism towards the very possibility of real Shakespeare biography.\nWe can predict that those like Gilvary, who doubt the official Stratford-based narrative,\nwill no doubt be confronted with a rhetorical shrug of the shoulders, as if to\nsay: what does it matter what this man from the provinces was actually like;\nafter all, we have the works and that\u2019s all that matters. <\/p>\n\n\n\n

But are the works really all that matters? <\/p>\n\n\n\n

Let me end this review of Gilvary\u2019s excellent and\nwell-argued study by attempting to answer this question using another paradox\nof Shakespeare studies; the way the \u201cproblem\u201d of lack of data about the\nStratford man is converted into a virtue. That is, that \u201cnot knowing\u201d who he\nwas allows each reader or theatre-goer\u2014to invent their own Shakespeare. <\/p>\n\n\n\n

New Historicism, for its part in the myth, made several\nfascinating attempts to embed Shakespeare in the culture and conflicts of his\ntime, while most of the traditional approaches simply thrive on the idea of\n\u201ccountry boy makes good\u201d or the more romantic idea of the \u201cuniversal genius,\u201d someone\nnot for an age but for all time, the supreme artist detached from and rising\nabove the messy context of his own times, to speak, unhampered, to all ages.<\/p>\n\n\n\n

Reading Gilvary certainly leads one to conclude that whatever\nversion of the Bard\u2019s life we personally adhere to clearly shapes the way we choose\nto interpret the plays and poems. Gilvary\u2019s major contribution in this book is really\nthe uncovering of the inaccuracies of the many assumptions that we and his so-called\nbiographers make about the life and\u2014by implication\u2014how these inaccuracies\ndistort the way we see the texts themselves. <\/p>\n\n\n\n

\u201cThe works of Shakespeare,\u201d says Gilvary, \u201care an\nessential element of our culture and the implications of my findings are\nimportant for almost the full range of Shakespearean criticism\u201d (204). Editors\nand directors, for example, date the works in ways which Gilvary demonstrates\nare often arbitrary. Interpretations are then constructed based on these\nerroneous assumptions about events of the time or occurrences in the life of\nthe author, which, in turn, are considered to have shaped the text in question.<\/p>\n\n\n\n

Thus, for example, the narrative of an upwardly mobile\npetit-bourgeois young man on the make, who leaves the provinces for London in\norder to pursue the status of gentleman, will surely shape the way readers or\nspectators interpret a whole host of Shakespearean themes, including the\never-present one of court-life versus country-life and the value of power,\nprestige and wealth over issues of feeling or common humanity. Indeed, a belief\nin this standard narrative has shaped the way we assume, as a matter of routine,\nthat Shakespeare felt contempt towards ordinary folk in plays as varied as Julius Caesar<\/em>, Coriolanus<\/em>, As You Like<\/em> It<\/em> and A Midsummer Night\u2019s Dream. <\/em><\/p>\n\n\n\n

Given that so much is at stake when biographers simply\n\u201cimagine\u201d and \u201cmake up\u201d the life and thus the filter through which we see\nShakespeare, Gilvary sensibly recommends that any future lives of Shakespeare\nbe based strictly on the limited documentary data available or, if a full life\nis the aim, then it should be published as historical fiction. In all cases, when\nwe engage in speculation on the life of the man from Stratford as Shakespeare,\nwe must acknowledge that we know only one thing: that we know virtually nothing.\n<\/p>\n\n\n\n

Works Cited<\/strong><\/h5>\n\n\n\n

Bevington, David. Shakespeare and\nBiography<\/em>. Oxford UP, 2010.<\/p>\n\n\n\n

Ellis, David. The Truth about\nWilliam Shakespeare<\/em>. Edinburgh UP, 2012.<\/p>\n\n\n\n

Holderness, Graham. Nine Lives of William Shakespeare<\/em>. Arden, 2013.<\/p>\n\n\n\n

Schoenbaum, Samuel. A Documentary\nLife<\/em>. Clarendon, 1975.<\/p>\n\n\n\n

Schoenbaum, Samuel. Shakespeare\u2019s Lives<\/em>. Clarendon, 1991. <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"
 \n\n\n\n

*<\/a>Luke Prodromou<\/strong> graduated from Bristol University in English and has an M.A. in Shakespeare Studies from Birmingham University, a Diploma in Teaching English as a Second Language (Leeds University) and a Ph.D. (Nottingham University). His Ph.D. thesis was published as English as a Lingua Franca: a Corpus-based Analysis<\/em> (Continuum, 2010).\u00a0He is the author\u2014with Lindsay Clandfield\u2014of the award-winning Dealing with Difficulties<\/em> and numerous textbooks for students. He was for many years a teacher and teacher-trainer with the British Council. He has also run courses on Shakespeare, Dickens and Jane Austen, the Modern English novel and Romanticism.\u00a0 He teaches TESOL methodology at Sheffield University\/City College, Thessaloniki, Greece.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2019 Luke Prodromou
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n

\"Creative<\/a><\/figure><\/div>\n\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":414,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-413","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/Bks-Gilvary-book-cover.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":487,"url":"https:\/\/www.critical-stages.org\/20\/queer-shakespeare-desire-and-sexuality\/","url_meta":{"origin":413,"position":0},"title":"Queer Shakespeare: Desire and Sexuality","author":"Luke Prodromou","date":"November 27, 2019","format":false,"excerpt":"Edited by Goran Stanivukovic424 pp. The Arden Shakespeare (Bloomsbury) Reviewed by Sky Gilbert* In his excellent study, Homoerotic Space, Stephen-Guy Bray suggests that consumers of texts\u2014even of the famous classical texts central to Renaissance notions of culture, history and identity\u2014interpret texts as they move through them, according to their own\u2026","rel":"","context":"In "Book Reviews"","block_context":{"text":"Book Reviews","link":"https:\/\/www.critical-stages.org\/20\/category\/book-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/Sky-Gilbert-150x150.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":495,"url":"https:\/\/www.critical-stages.org\/20\/the-theatrical-career-of-samuel-morgan-smith\/","url_meta":{"origin":413,"position":1},"title":"The Theatrical Career of Samuel Morgan Smith","author":"Luke Prodromou","date":"December 2, 2019","format":false,"excerpt":"By Bernth Lindfors339 pp. Africa World Press Reviewed by Robin Breon* On August 7, 1867, one of the world\u2019s greatest Shakespeareans breathed his last. 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In particular, it presents the latest statistical data and audience research on theatre; it discusses theatre festival life in Georgia and the latest trends in the productions of young directors in the country.Keywords: Georgia, theatre, festivals,\u2026","rel":"","context":"In "National Reports"","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/413","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/comments?post=413"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/413\/revisions"}],"predecessor-version":[{"id":1176,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/413\/revisions\/1176"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/414"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}