CHAPTER 91
He died as he had lived, without much sign of the world’s attention. When Ben Jonson expired his funeral procession included “all of the nobility and gentry then in the town.”1 Only Shakespeare’s family and closest friends followed his bier to the grave. There were scant tributes paid to his memory by other dramatists, and the commendatory verses in the Folio of 1623 are slight indeed compared to the copious verse epistles on the deaths of Jonson, Fletcher and other fashionable playwrights. There were no books by Shakespeare in Jonson’s library. Shakespeare neither established nor encouraged any school of younger “disciples.”
It was only after half a century that the first biographical notices appeared, and no scholar or critic bothered to discuss Shakespeare with any of his friends or contemporaries. This may preface Emerson’s remark that “Shakspeare is the only biographer of Shakspeare.”2 He is one of those rare cases of a writer whose work is singularly important and influential, yet whose personality was not considered to be of any interest at all. He is obscure and elusive precisely to the extent that nobody bothered to write about him.
Yet the range of Shakespeare’s influence is not hard to discern. More than seventy issues and editions of his work appeared in his lifetime. By 1660 no fewer than nineteen of his plays had been published, and by 1680 there had been three editions of his collected plays. Theatrical reports suggest that, in hard times, the King’s Men supported themselves by replaying Shakespeare’s “old” dramas. Other playwrights, including Massinger and Middleton, Ford and Webster, Beaumont and Fletcher, were drawn to imitate him.Othello and Romeo and Juliet were particularly influential among younger dramatists, and the figures of Hamlet and of Falstaff maintained their theatrical life and presence outside the plays in which they had originally appeared. Shakespeare also seems almost single-handedly to have maintained the status of the revenge tragedy and the romance. He was a hard writer to ignore.
On the occasion of the Shakespeare Jubilee, in the summer of 1769, a painting was hung before the windows of the room where the dramatist was supposed to have been born; it displayed the image of the sun breaking through clouds. It is a wonderful emblem of birth. But it also suggests revival and return. If at a later date that sun had shone through another window of the house in Henley Street its rays would have been refracted through a score of different names, where distinguished nineteenth-century visitors had scratched or scored their signatures upon the glass. Among them are Sir Walter Scott, and Thomas Carlyle, William Makepeace Thackeray and Charles Dickens, all of them registering the fact that they were shining within the light of Shakespeare himself.
The Folio or collected volume of his plays followed some seven years after his death. It was assembled by two of his fellows, John Heminges and Henry Condell, and was dedicated to the two Pembroke brothers. The Earl of Pembroke was Lord Chamberlain and the direct superior of the Master of the Revels. It served its purpose very well, and was for three centuries believed to represent the Shakespearian “canon” of thirty-six plays with the notable exclusion of certain collaborative ventures such as Pericles (later added) and The Two Noble Kinsmen. The fact that a list of the actors was added at the beginning suggests that this was as much a theatrical as a literary celebration. It may have been the subject of discussion among Shakespeare and his colleagues before his death, and it is even possible that some of the plays were printed from a revised transcript by the playwright himself. Many of them, however, are in the hand of a professional scrivener named Ralph Crane who was often employed by the theatrical companies. The volume is adorned by the Droeshout engraving of the dramatist, which is indeed the only generally accepted likeness of William Shakespeare.
