Shakespeare’s Merry England, Part 3: Falstaff’s Wholesomeness

Ralph Richardson as Falstaff, Laurence Olivier as Shallow

Time catches up with Falstaff in the end.  2 Henry IV resonates with the ticking of clocks – ‘we are time’s subjects’, says one of the elderly rebels as the insurrection gets under way (1.3.110) – and clocks are Falstaff’s enemy, bringing him always closer to humiliation and death.  It is full, too, of fragile and broken friendships, of which Falstaff has his share.  Justice Shallow masquerades as his lifelong bosom buddy despite the fact that they both know Shallow’s account of their wild youth together to be fraudulent, a crude and hasty fabrication designed to screen their mercenary desire to profit by one another.  ‘I do remember him at Clement’s Inn’, says Falstaff, ‘like a man made after supper of a cheese-paring.  When a was naked, he was for all the world like a forked radish, with a head fantastically carved upon it with a knife’ (3.2.303-7); and he later adds that he could make a dozen Shallows from the superabundant material of his own body (5.1.62-4).  Shallow clearly hopes that Falstaff will ‘make’ him in another sense by making his fortune, and this is the shallow foundation of their friendship.  The casting off of Falstaff is the moment when his accumulated debts catch up with him, as the newly-crowned Hal reminds him of what he said in Part One – that ‘thou owest God a death’ (1 Henry IV, 5.1.126) – and forestalls any ‘fool-born jest’ he might invent to inveigle his way out of due payment (2 Henry IV, 5.5.55).  Shallow at once calls in his loans (‘let me have five hundred of my thousand’ (5.5.84-5)) and Falstaff is clapped into prison to atone for his misdeeds, financial and moral.   The fat knight’s promised reappearance in Henry V, which is flagged in the epilogue, never materializes except in the account given by the hostess of his death (Henry V, 2.3.9-25) – as if he has managed one last time to escape shot-free from his creditors, in this case the theatre audience which is responsible for his success, and which clamoured for a sight of his curtain call.  Falstaff’s reign ends with Hal’s betrayal, and the ancient moral and social hierarchies of England are both reinstated at once, their restoration ushered in with tired old moral commonplaces such as ‘How ill white hairs become a fool and jester’ (5.5.48).

Shallow and Silence, by J. Coghlan (c. 1820)

But this is not the whole story; because Hal’s crowning coincides with the figurative crowning of Falstaff, and it is on the body of Falstaff, as it were, that Hal erects his kingdom.  Falstaff is the presiding spirit of the unhistorical ‘merry’ or comic England over which Hal plans to reign; the England where lions recognize the true prince ‘by instinct’ and where Shallow’s glowing account of his youth is true.  ‘Merry England’ is created in 2 Henry IV by the sheer force of Falstaff’s laughter.  ‘The brain of this foolish-compounded clay, man,’ he tells us, ‘is not able to invent anything that intends to laughter more than I invent, or is invented on me; I am not only witty in myself, but the cause that wit is in other men’ (1.2.7-10).  And he triumphantly bears out this claim in the rest of the action.  His arraignment by the Lord Chief Justice is transformed at his hands into a jest; Shallow’s falsifying of the past furnishes him with comic material to ‘keep Prince Harry in continual laughter the wearing out of six fashions’ (5.1.77-81); and even the grim Prince John, despite the fact that ‘a man cannot make him laugh’ (4.3.87-8), prompts one of his most brilliant flights of fantasy, the disquisition on sack.  The fat knight’s disease-ridden body, then, grown cold with age and huge with self-indulgence, generates wholesome hilarity, the healthiest of moods, which spreads from him like a benign virus until near the end of the play it erupts in the cheeriest party in theatrical history.  The party takes place in an orchard on the eve of Hal’s coronation, and in it a man called Silence bursts into song, a male servant is commended for being a good ‘husband’ to his master (5.3.10-11) – meaning both a good steward and a good marriage partner; Falstaff’s red-nosed retainer Bardolph is told he speaks like a king (5.3.68), a young page finds himself welcomed with the same enthusiasm as his old employer (‘Welcome, my little tiny thief and welcome indeed, too!’ (5.3.56-7)), and the company in general is urged to ‘Lack nothing’ (5.3.68), to discard the years of penury they have suffered and to feast instead on the fruits with which Shallow’s orchard, and England in general, is stocked.  The contrast with the orchard scene where the starving Jack Cade was killed in the midst of plenty could not be more pronounced.  And the party ends with a promise that this genial atmosphere will soon extend itself throughout the nation, as Falstaff hears the news of Henry’s death and declares that ‘the laws of England are at my commandment’ (5.3.136-7), while his comrade Pistol salutes a happy future: ‘welcome these pleasant days’ (5.3.141).

Kenneth Branagh as Henry V

Of course the casting-off of Falstaff puts a dampener on these celebrations.  The authority of a monarch could not tolerate a rival of Falstaff’s size and energy, and although we are assured that Hal’s former friends ‘Shall all be very well provided for’ (5.5.100), the fact that it is the odious Prince John who tells us so – and that such sensible provisions seem so much less glorious than the comic vision we glimpsed in Shallow’s orchard – detracts from the pleasure we might otherwise derive from these reassurances.  If Prince John delights in Hal’s transformation, we as an audience have good reason to distrust it.  And sure enough, there are plenty of Prince John moments in the career of Shakespeare’s Henry V.  Henry’s humour is as calculated as Hal’s, and recalls at times the cruelty of Prince John’s coldly jocular betrayal of the rebels.  We have already mentioned his witty exposure of the treachery of his friends Cambridge and Scroop, whom he mocks for having ‘lightly conspired’ against his throne (Henry V, 2.2.89); but far more disturbing is the gigantic jest that is the invasion of France.  It is one of a series of dazzling diversions designed to draw attention away from the problematic aspects of Henry’s inheritance.  If his claim to the throne of England is poor, he must stress his claim to the throne of France, obedient to his father’s advice to busy the ‘giddy minds’ of his subjects with foreign quarrels (2 Henry IV, 4.5.213-4).  If he is the aggressor in a war let him transfer the blame to his enemies, telling the besieged citizens of Harfleur that ‘you yourselves are cause, / If your pure maidens fall into the hand / Of hot and forcing violation’ (Henry V, 3.3.19-21) (he sounds here as if he is recalling a lesson from the laughing conquest of Asia by Marlowe’s Tamburlaine).  If military action is in his interest he must make sure it is represented as God’s war, divine punishment on any English criminals who die in battle.  It is the very lightness of touch, the comic sleight of hand involved in all these post-Falstavian evasions that makes them chilling.  Hal’s lies are not gross as a mountain, as Falstaff’s were, but breezy and scarcely visible.  And their breeziness kills people, like the jovial folksiness of a modern warmonger.

Felix Aylmer, Laurence Olivier and Robert Helpmann in the opening scene of Henry V

The link between laughter and slaughter in Henry’s reign is at its strongest in Act One, when the Archbishop of Canterbury – eager to divert Henry’s attention from his plans to tax the church by sending him to France – describes England’s former French campaigns as a grotesque spectator sport, in which the Black Prince’s father ‘Stood smiling to behold his lion’s whelp / Forage in blood of French nobility’ (1.2.109-10), while half the English army stood ‘laughing’ next to him, ‘All out of work and cold for action’ (1.2.113-4).  Henry at once catches the Archbishop’s tone, and seizes the pretext of the Dauphin’s mocking gift of tennis balls to represent his own French campaign as a still bloodier joke than the wars waged by his ancestors:

        …tell the pleasant Prince this mock of his
Hath turned his balls to gun-stones, and his soul
Shall stand sore charged for the wasteful vengeance
That shall fly with them; for many a thousand widows
Shall this his mock mock out of their dear husbands,
Mock mothers from their sons, mock castles down…
His jest shall savour but of shallow wit
When thousands weep more than did laugh at it. (1.2.282-97)

Henry’s campaign is designed to show that the English King is wittier than the French Prince, that all debts to him will be repaid with interest, and that all insults aimed at him will produce an instant and devastating retaliation.  Henry, in fact, must be the undisputed master of ceremonies in the play that bears his name.

Laurence Olivier as Henry V

But Falstaff leaves Hal with another legacy besides the ability to forge brilliant ripostes and improbable evasions.  The fat knight acted as a bridge between the Prince and the common people, whose language Hal learned in Falstaff’s company.  As Hal puts it in Part One, ‘I can drink with any tinker in his own language during my life’, and ‘when I am King of England I shall command all the good lads in Eastcheap’ (2.4.13-19); and the heir apparent even goes so far as to disguise himself as a tapster in Part Two.  This familiarity with the people and their language provides Henry with his most brilliant evasive stratagem: that of avoiding the issue of his shaky claim to the throne by rhetorically ennobling the entire population of his nation.  In Henry’s language, though not in his policies, the hopes of Falstaff and his gang to be elevated to the aristocracy are abundantly borne out.  As he storms the breach at Harfleur Henry urges all his men, not just the aristocracy, to remember their ancestry with pride: ‘On, on, you noblest English’, he cries, and describes their fathers as ‘so many Alexanders’ (3.1.17-19).  Later the Welsh captain Fluellen attests to the success of this stratagem when he compares Henry to Alexander partly on the strength of the resemblance between Monmouth in Wales and Alexander’s Macedonia (4.7.11-52).  Henry has clearly succeeded in giving his subjects – even his non-English subjects – a sense of ownership, of full participation in his triumphs.  ‘There is none of you so mean and base,’ he tells them, ‘That hath not noble lustre in your eyes’ (3.1.29-30), and in saying so he draws their attention away from the less than royal lustre of his own coat of arms.  The Prince John aspect of Henry’s humour prompts him to trick one of his common soldiers, Michael Williams, into being falsely accused of high treason (4.8.9ff.) – though he pardons his victim at the last minute and compensates him for his terror.  The Sir John aspect of his personality, by contrast, permits him to demystify the role of King (‘his ceremonies laid by, in his nakedness he appears but a man’ (4.1.104-5)), and to address his followers as ‘brothers, friends, and countrymen’ (4.0.34).[1]  When he imparts to both his ‘mean and gentle’ soldiers ‘A little touch of Harry in the night’ (4.0.45-7), he transforms them into aspects or clones of himself, thus strengthening his power to the extent that it can never be undermined.  The skill with which he achieves this he owes to the ‘tutor and… feeder of his riots’, Falstaff (2 Henry IV, 5.5.62).

Henry is no egalitarian.  All his rhetoric is designed to strengthen his position as undisputed monarch of England and France, not to establish a new English commonwealth based on fairer principles than the old.  But his reign involves due recognition of the central role played by the common people in the changing fortunes of England; and from this time forth their status as major players in history is confirmed.  Henry dies young, and his predictions of the future, like Falstaff’s, prove over-optimistic from his own point of view.  He never fathers a son who is capable of leading a crusade to Constantinople or of forging a lasting peace between the French and English peoples – or even between rival factions in the English aristocracy.  But the common people he figuratively ennobled, and whose power he understood, live on, and comprise the audience of Shakespeare’s Henry V, a play that reminds them repeatedly of their capacity to make a difference in affairs of state.  It is the common people, the play seems to say, who make or break monarchs, just as the collective power of the people’s imagination can recreate a Henry on the Elizabethan stage.  Without the precedent of Falstaff’s outrageous imaginings this Shakespearean revelation could never have acquired the force it has.

Falstaff in the laundry basket, by Eduard von Grützner

And Falstaff’s imaginative construction of ‘merry England’ has another outlet besides the career of Henry V.  The merry-making in Shallow’s orchard is recalled in the title of The Merry Wives of Windsor, the only Shakespearean comedy set in England; and the play provides a kind of escape from the nightmare of history.  There is just one mention in it of the grand narrative of the Second Tetralogy, when we are told that the impoverished aristocrat Fenton was once a companion of ‘the wild Prince and Poins’ (3.2.65-6); but this merely disqualifies him, in the minds of the middle-class married couples who dominate the play, as a suitable match for their daughter (3.4.4-10).  In the same way, the middle classes are carefully excluded from the Tetralogy, paying their way out of military service and thus avoiding the slaughters, betrayals and machinations that are the province of their nominal rulers.  The events of chronicle histories are irrelevant to these people’s lives; and this play narrates the histories of ordinary men and women, history as it is purveyed in the jest-books, whose pranks and japes are faithfully reproduced in the farcical situations with which it is filled.

The titular merry wives occupy an egalitarian rural space where nearly everyone can participate with equal enthusiasm in plots to make, break, prevent or preserve each other’s marriages.[2]  It is a space where women rule the roost, hatching stratagems designed to show, as Mistress Page insists, that ‘Wives may be merry and yet honest too’ (4.2.100), in contrast to the dishonest merriment of aristocrats and hereditary knights like Sir John.  And it is a space where jests do no harm, as all the characters repeatedly assure us.  The host’s deception of the doctor, Caius, and Hugh Evans the parson, is devised not to hurt them but to prevent them from doing each other damage in a duel; the wives’ deception of Falstaff aims to prevent him hurting their husbands by committing adultery; Fenton’s tricking of Anne Page’s parents proves that he has laid aside his aristocratic wildness and committed himself to the stability of middle-class matrimony.  As Parson Evans puts it, the play is driven by ‘admirable pleasures and ferry honest knaveries’ (4.4.79-80), and Master Page piously confirms his view: ‘God prosper our sport.  No man means evil but the devil, and we shall know him by his horns’ (5.2.12-13).  The authoritarian anti-theatrical lobby, then, is as irrelevant here as the iron hand of the law, or civil war, or bloody revenge; and so rigorously are these oppressive considerations excluded from the action that it would be fair to describe this as Shakespeare’s only pure comedy, the only play in his oeuvre that is unshadowed by the threat of death or the intimidating presence of rulers.29

Falstaff as Herne the Hunter, by Robert Smirke

The egalitarianism of the play asserts itself in the fact that nearly everyone in it has at least one prank played on them.  Falstaff is tricked more often than anyone else, and subjected to more painful physical abuse: half-drowned in a deep ditch, beaten in women’s clothes, pinched black and blue by children disguised as fairies.  But he is never isolated in his comic sufferings, as he so often seemed to be in Henry IV; his humiliation is shared by the bulk of the Windsor community.  Master Ford, Mr and Mrs Page, Slender, Shallow, Doctor Caius, the Host of the Garter and Parson Evans, are all conned as comprehensively as he is, and he himself notes the multiplicity of quarries there are for the play’s pranksters: ‘When night-dogs run, all sorts of deer are chased’ (5.5.232).  So if Falstaff is toppled from his position of supreme comic pre-eminence in this play, as many commentators have remarked, his former absolutist monarchy is supplanted by a commonwealth of merriment, the model for a new anti-authoritarian England.  In place of the crown of power and influence he hoped for in the Henriad, the fat knight is given a crown composed of the antlers of a Windsor stag, ‘the fattest, I think, i’the forest’ (5.5.12-13).  And while the stag is the most lordly of wild beasts, it is also the principal ingredient of the ‘hot venison pasty’ Master Page serves to his guests in the first scene of the play, in token of the amity between them (1.1.181).  In the play’s last scene, then, Falstaff has become a wholly wholesome dish, his predatory sexual desires transmuted into a harmless fairy-tale, his bulk made the centre of an inclusive social circle.  He has been defused, in other words, but not deflated, and the genial metamorphosis is completed at the end of the scene when Mistress Page invites him to ‘laugh this sport o’er by a country fire’ and enjoy, with his friends, ‘many, many merry days’ (5.5.234-7).  In The Merry Wives of Windsor merriness is vindicated, laughter liberated from slaughter, and the shadow of civil war dispersed from a land where everyone enjoys warmth and enough to eat.  It is not the land where the Elizabethans lived, but thanks to Falstaff and his friends they could go home from the performance nurturing the hope that one day it might be.

Falstaff, by Mihály Zichy

NOTES

[1] He again makes his followers his brothers – thus ennobling them – in the famous St Crispin’s Day speech (Henry V, 4.3.56-67).

[2] Leah S. Marcus argues that the version of the play printed in the First Quarto of 1602 is more egalitarian in its drift than the version in the Folio: ‘Levelling Shakespeare: Local Customs and Local Texts’, Shakespeare Quarterly 42 (1991), pp. 168-78.  For the relationship between the two texts see The Norton Shakespeare, pp. 1231-3.

[3] Apart, of course, from the ruler who may have been watching the play’s first performance.  For the theory that the play was written at the command of Elizabeth I for performance in her presence at the Garter Feast of 1597, see Peter Erickson, ‘The Order of the Garter, the Cult of Elizabeth, and Class-Gender Tension in The Merry Wives of Windsor’, Shakespeare Reproduced: The Text in History and Ideology, ed. Jean E. Howard and Marion F. O’Connor (New York, 1987), pp. 116-45.  It should be noted, though, that the one direct reference to Elizabeth in the play – as a future owner of Windsor Castle who is blessed by Mistress Quickly in her capacity as Fairy Queen – stresses her absence from the play’s world; the castle is blessed while it is seemingly empty (5.5.55-74).

 

 

 

Shakespeare’s Merry England, Part 2: The Fatness of Falstaff

Richard II, boy king

Besides being rooted in his nation’s present, Jack Cade’s campaign is also embroiled in its past: his insurrection could never have got under way if he had not claimed descent from the ‘legitimate’ successor to the deposed King Richard II.  The emaciated Cade, then, owes his rise and fall to the same conditions that permit the rise and fall of that ‘gross fat man’ Jack Falstaff: the disorder that followed Richard’s deposition from the throne of England.  But Falstaff’s body is far more intimately involved with the physical condition of his country than Cade’s is.   From the beginning of Richard II, when England succumbs to the social sickness that will plague it throughout the civil wars of the fifteenth century, the body forms the focus of Shakespeare’s Second Tetralogy – the epic series of plays comprising Richard II, Henry IV Parts 1 and 2, and Henry V.  And the mountain of flesh Falstaff, who dominates the two central plays of the series, is living, breathing proof both of England’s diseased condition and of its irrepressible vitality, its lively hope, like that of a pregnant mother, of better times to come.[1]

Falstaff is no commoner: he is a hereditary knight who has fallen on hard times but lives in expectation of rejoining the ranks of the nobility once Hal comes into his inheritance.[2]  But Falstaff’s body has been swollen by the attentions of commoners, especially brewers and barmen; it holds sway in the streets and taverns of the city where commoners throng; and it consumes the cheap luxury commodities that enrich the commoners’ leisure hours.  He links the material preoccupations of the commoners to the airy obsessions of the ruling classes as no-one else does in Shakespeare; and he does so through the miracle of his corporal vastness, which is as much a product of his exuberant language as it is of his physical presence on the stage of English history.

Patrick Stewart as John of Gaunt

In Richard II, a king’s self-indulgent playfulness, his arrogant assumption that his royal powers are absolute and that he may therefore ignore the contracts that bind him to his subjects, unleash a sequence of consequences that are described in metaphors of physical debility.  Richard’s arbitrariness first manifests itself when he banishes two of his nobles in the opening act, with devastating effects on their bodies.  The pair, who are initially in perfect health (Bolingbroke describes himself as ‘lusty, young, and cheerly drawing breath’ (1.3.66)), abruptly find their limbs out of control, bereft of their former agility.  As the other exile, Mowbray, tells the King, by sending him to a foreign land ‘Within my mouth you have engaol’d my tongue, / Doubly portcullis’d with my teeth and lips’ (1.3.166-7), while Bolingbroke compares the severing of their flesh from English soil to the parting of soul from body (1.3.194-7).  Meanwhile Bolingbroke’s father, the dying John of Gaunt whose spirit is literally about to leave his body, accuses the King of damaging his own constitution as well as those of his nobles and his kingdom.  The fashionable monarch ‘limps after’ the trendy customs of Italy (2.1.23), ‘tires’, ‘chokes’ and ‘consumes’ himself with a ‘rash, fierce blaze of riot’ (2.1.33-9), and binds up that ‘teeming womb of royal kings’ England in crushing legal restraints to pay for his own excesses (2.1.51ff.).  John of Gaunt’s body, as emaciated as his name suggests, is for him the emblem of England’s decay, bled dry by the King’s frivolous rapacity (2.1.73-83).  But it also illustrates the accelerated decrepitude that Richard is bringing on himself as he commits his ‘anointed body’ to the care of ‘those physicians that first wounded thee,’ his reckless favourites (2.1.98-9).  And once old Gaunt is dead, Richard’s diseases multiply apace.  His Queen quickly detects ‘Some unborn sorrow ripe in Fortune’s womb’ about to fall on his head instead of the son he has failed to father (2.2.10); and when Bolingbroke reappears on the scene, proclaiming his intention to reclaim the ancestral property Richard stole from him during his exile, the Queen recognizes the ambitious young man as her ‘sorrow’s dismal heir’ (2.2.63) – metaphorically designating him both as a substitute prince of the royal blood and as an embodiment of his kingdom’s future misery.  In the same scene, the Duke of York compares Bolingbroke to an illness invading the nation’s bloodstream in response to the King’s lifestyle: ‘Now comes the sick hour that [Richard’s] surfeit made’ (2.2.84).  From this time forth, Richard with his ‘ruin’d ears’  (3.3.34) and eyes blinded with tears is marked as subject to a more powerful monarch, Death, who occupies the ‘court’ of the King’s living corpse, ‘grinning at his pomp’ with fleshless jaws (3.2.155-70).  Richard begets his own death, in other words, like a parodic heir apparent, a grotesque alternative dynasty to replace the dynasty that he never succeeds in founding.  At the end of his life he is still fathering imaginary, abortive heirs: ‘A generation of still-breeding thoughts’ that plague him in prison after his abdication (5.5.8), content with nothing till they are finally made nothing by Richard’s death.

But for Bolingbroke, too, as Richard’s heir, the prognosis is none too good.  If he is Richard’s and England’s sickness, the time will inevitably come when the disease will grow to a crisis, when ‘foul sin gathering head / Shall break into corruption’, as Richard puts it (5.1.58-9).  Richard predicts that this crisis will be brought about by Bolingbroke’s friend and ally, the Earl of Northumberland: and his prediction is remembered eight years later by the ailing Bolingbroke – now Henry IV of England – in the third act of 2 Henry IV (3.1.76-7).  The two parts of Henry IV chart the progress of England’s infection, and Falstaff is at once its most visible symptom, its most eloquent diagnostician and (perhaps) its comic cure.[3]

Tom Hiddleston as Hal, Simon Russell Beale as Falstaff

Every detail of the environment he inhabits was predicted in Richard II.  Richard’s addiction to laughter forms the model for Hal’s tavern-haunting, as Henry IV points out (‘For all the world / As thou art to this hour was Richard then’ (1 Henry IV 3.2.93-4)), and Hal’s drinking-bouts with Jack recall Richard’s rowdy exploits with his boon companions Bushy, Bagot and Green.  Bolingbroke’s rise to power in Richard II, sustained by the commoners who love him, is described by Richard’s Queen as a process whereby ‘triumph is become an alehouse guest’ (5.1.15), and spurs Hal to nurture a still greater intimacy with the residents of alehouses.  Falstaff’s commentary on affairs of state, too, has a precedent in Richard II, in the commentary of an egalitarian gardener on the state of England in Act Three (3.4.24ff.).  More unsettlingly, the brittle and temporary nature of the friendship between Falstaff and Hal – a brittleness that is repeatedly emphasized by the Prince – resembles the superficial friendships cultivated by Bolingbroke in his rise to power.  ‘I count myself in nothing else so happy,’ Bolingbroke tells Northumberland as he returns from exile, ‘As in a soul rememb’ring my good friends’ (Richard II, 2.3.46-7); but it is the breakdown of friendship between Bolingbroke and Northumberland that precipitates rebellion when Bolingbroke is King.  In his relationship with Falstaff Hal comically recreates the history of the monarchs who preceded him, scrutinizing the conditions that led first Richard and then Henry to lose control over the course of events, as they presented their subjects with every opportunity to reinvent them at will, to trespass on the royal prerogative of self-definition.  Through Falstaff Hal acquires the art both of reinventing himself and of evading definition by others: a comic skill, but the art of the wit rather than the fool, of the acknowledged master of delightful improvization rather than the helpless butt of collective laughter.  With Falstaff, too, Hal learns the art of controlling others – even the most uncontrollable people of all, the clever clowns.  Or at least, so Hal presumes; how far he succeeds has always been a matter of debate.

The splitting of the reign of Henry IV into two plays corresponds to the splitting of his kingdom into factions – another symptom of the disease of state contracted first by Richard and then by Henry.  It structurally reinforces, too, the astonishing multiplication of would-be kings and heirs that emerge as a direct result of Henry’s illegal seizure of power from the legitimate monarch.  Both plays are full, not so much of pretenders to the throne as of competing versions of the King himself and the Prince his son.  The First Part opens with Henry wishing it could be proved that his son Hal had been substituted at birth for the young war-hero Hotspur, who seems so much more princely in his conduct than the prince (1.1.77-90).  Later, Henry tells Hal how his younger brother Prince John has acted as Hal’s substitute in the Privy Council (3.2.32-3); and this is what stings Hal to predict the moment when he will substitute himself for his rival Hotspur, making him ‘exchange / His glorious deeds for my indignities’ in a deadly encounter on the battlefield (3.2.145-6).  Hal, then, is regularly ‘performed’ both by his subjects and in his father’s imagination; and Henry IV finds himself performed yet more often by those beneath him.  The rebel lords see him as their creation (he enjoys ‘that same greatness… which our own hands / Have holp to make so portly’ (1.3.12-13)), and take it on themselves to read his thoughts, assuming that he ‘studies day and night’ to pay his debt to them with their deaths (1.3.182) – an assumption that is directly responsible for their insurrection.  In Act Two, Hal and Falstaff take it in turns to play the King in an impromptu comedy performed in an Eastcheap tavern (2.4.368ff.).  In Act Four it is Hotspur’s turn to be christened by Douglas ‘the king of honour’ (4.1.10) (Hal has earlier dubbed himself ‘the king of courtesy’ (2.4.10)).  And in the battle of Shrewsbury there are dozens of men playing the King, ‘marching in his coats’ as decoys for the rebels’ blades (5.3.25).  As a result, the battlefield seems to be comically thronged with Henries, a host of visored monarchs whose outsides give no clue to their inward identity, so that the frustrated Douglas finds he must ‘murder’ all the royal wardrobe ‘piece by piece’ before he can reach the King (5.3.27).  This giddying multiplication of Henries slows down in 2 Henry IV, but even here Falstaff and the Lord Chief Justice contend with Henry for the position of father to the Prince of Wales.  Henry IV, then, is not two parts but many, as if his expert performance of the previously restricted role of king has inspired all ambitious men to think they can emulate his acting skills with impunity.  As with Macbeth, the leap of imagination he took in usurping the monarchy unleashes the power of his subjects’ imaginations, so that nothing is unthinkable – no act of treason, courage or ambition – for as long as he retains the throne of England.

Jeremy Irons as Henry IV

But the two parts of Henry IV also indicate a split within Henry himself, a deadly separation of his vital components that is one physical consequence of his failure to commit himself, in Richard II, on the subject of whether he was or was not a legitimate contender for the crown.  According to early modern medical theory, derived from the teachings of the Roman physician Galen, the human body is composed of four elements or humours, the microcosmic equivalents of the four elements that make up the world: earth, air, fire and water.[4]  A healthy body has its four humours in perfect harmony, holding each other in a precarious equilibrium, whereas in an ailing person one or more of these humours dominate, reducing the others to a secondary role and enfeebling the whole constitution as a result.  The two parts of Henry IV suggest through metaphor that the humours in the body of the English nation have been radically destabilized.  In the first part, the elements of fire and air hold sway; the emphasis is on the self-destructive energies of youth, on the dangerous love of sheer speed that is one of youth’s characteristics, and on the violent rivalries between young men that had such damaging effects in Romeo’s Verona.  In the second part, earth and water prevail over fire and air, old age supplants youth as the presiding genius of the time, a chill settles on the language of the contesting English factions, and everyone seems to stir themselves reluctantly into sluggish action, forcing their bodies to move – whether in rebellion or counter-rebellion – with pain and difficulty, and desisting from motion with obvious relief.  In Part One, the heat of the times engenders warm friendships between men and loving exchanges between husbands and wives.  Hal’s affectionate farewell to Falstaff when he thinks him dead is the high point of their relationship (5.4.101-9), and the exchanges between Harry Hotspur and Kate his wife evoke an atmosphere of marital closeness, strong desires and cheerful bickering that endears them to the play’s spectators.  In the second part, relationships are at best cooler, at worst shattered by rejection and betrayal.   Family members are distant from one another: Hotspur’s wife Kate, who has survived her husband’s death at the end of Part One, urges her father-in-law Northumberland to break his word to his fellow rebels for no better reason than that he has already broken his word to Hotspur his son, the man she loved (2.3.9ff.); while the mood of the play is incapsulated in Henry IV’s despairing cry to his own sons – from whose number at this moment Hal is conspicuously absent – ‘O me! Come near me, now I am much ill’ (4.3.111).  The contrast between the two parts may best be summarized by the climactic encounters between the rebels and the forces of the crown in each play.  The first culminates in a duel between two young men, fuelled by hot words and ending with the gushing of youthful blood.  The second culminates in an act of treachery, where a rebel force headed by old men are tricked into disbanding with a promise of mercy, then massacred by the army of the cold-blooded Prince John.  Heat and cold, youth and old age, and the elements associated with these conditions, seem to have undergone an agonizing divorce in Henry’s reign, and the instability of a state has never been more brilliantly realized in artistic form than it is in this astonishing diptych.

Orson Welles as Falstaff

Falstaff provides a satirical running commentary on the divorce between the humours and their associated elements that afflicts the plays.  In Part One he absurdly masquerades as a man of Hal’s and Hotspur’s generation, bellowing ‘young men must live’ as he robs the travellers at Gadshill (2.2.90) and melting his fat in streams of perspiration as he flees from the scene of the crime (2.2.107-8), in grotesque imitation of the ‘beads of sweat’ shed by the sleeping Hotspur as he dreams of battles to come (2.3.56-9).  The tavern scenes over which Falstaff presides are lit by fires – the ‘everlasting bonfire-light’ of his retainer Bardolph’s inflamed nose (3.3.41), and the infernal conflagrations conjured up by repeated references to devils and hell (Jack himself is ‘a devil… in the likeness of an old fat man’ (2.4.441-2)).  In the second part the fat knight’s pretensions to youth are exploded early on by the Lord Chief Justice, and for the rest of the action Falstaff is acutely conscious of his age, reminded of it repeatedly by the nostalgic ramblings of Justice Shallow and the tendency of the whore Doll and others to ‘speak like a death’s head’ by bidding him ‘remember mine end’ (2.4.34-5).  If Falstaff’s constitution is never quite cold in the Second Part – unlike that of other old men, such as Northumberland, the Archbishop of York, and the King  – it is because his blood has been artificially heated by alcohol, as he explains in his famous speech on the inflammatory qualities of a ‘good sherris-sack’ (4.4.85-124).  Nevertheless, this speech ties in with the many allusions to water and other chilling liquids that fill the play; and a look at these ties will help to show how the Falstavian comic ‘subplot’ operates with relation to the political ‘main plots’ in the two Parts.

In Part Two, water metaphors dominate the language of the rebels, who associate their insurrection with one of the sudden deluges that brought periodic devastation to the English countryside.  In the first scene, Northumberland declares that the death of his son Hotspur has unleashed a flood of grief in him that will overwhelm the nation.  ‘Now let not Nature’s hand / Keep the wild flood confin’d’, he cries (1.1.153-4), and later the Archbishop of York takes up the theme, telling the King’s representative that he and his colleagues were ‘enforc’d from our most quiet… / By the rough torrent of occasion’ (4.1.71-2), and promising that if their demands are met ‘We come within our aweful banks again’ (4.1.176).[5]  Henry IV’s followers, too, associate water with insurrection and impending anarchy.  As the king lies dying his younger sons speak of the omens that announce his imminent death, and the chaos that will follow once his wild son Hal assumes the crown: ‘The river hath thrice flow’d, no ebb between’, says Clarence, ‘And the old folk… Say it did so a little time before / That our great-grandsire Edward sick’d and died’ (4.4.125-8).  Hal responds, when he inherits the throne, by proclaiming the return of moderation to the ‘tide’ of his blood:

          The tide of blood in me
Hath proudly flow’d in vanity till now.
Now doth it turn, and ebb back to the sea,
Where it shall mingle with the state of floods,
And flow henceforth in formal majesty. (5.2.129-33)

Falstaff’s speech on sack, then – the fortified Spanish wine that stirs up the forces of ‘this little kingdom, man’ (4.3.108), and has made Hal ‘very hot and valiant’ (4.3.121) – contributes to the many references to liquid that distinguish this play from its fire-filled predecessor.  And although the liquid Falstaff mentions is a fiery one, counteracting with its warming properties the ‘cold blood’ he says the Prince inherited from his father (4.3.117), its effects are only temporary, and its after-effects as cooling as those of any other inundation.  We have good reason to be aware of this when Falstaff delivers his eulogy, because in the previous scene we have seen Hal’s brother Prince John drinking with the rebels in token of the settlement reached between them and the King; and this loving cup turns out to be a poisoned one.  ‘Let’s drink together friendly and embrace,’ Prince John proposes to the gullible insurgents, ‘That all… eyes may bear those tokens home / Of our restored love and amity’ (4.2.63-5); but as soon as the drink has been taken and the rebel army disbanded he has his new ‘friends’ arrested and carted off to ‘Treason’s true bed’ (4.2.123) – the executioner’s block – like drunks carried home after a night of over-indulgence.  Drink makes men sick, as Falstaff himself informs us at the beginning of the play when he complains of the gout it has given him (1.3.244-5).  And Falstaff’s celebration of Hal’s drink-induced warmth, too, turns cold when Hal freezes him out in the final act, rejecting him as irrelevant to his new kingly role.  The old man’s sickness and death, so touchingly reported in Henry V, follow on naturally from the fact that Hal no longer needs either him or sack – or indeed ‘small beer’, the poor man’s tipple that Hal recalls with fondness early in Part Two (2.2.5-11) – to counteract the natural coldness of his dead father.

Carlos Àlvarez in Verdi’s Falstaff

If Falstaff’s encomium of sack meshes with the metaphorical fabric of Part Two, his equally celebrated speech or ‘catechism’ on honour occupies a similar place in the figurative design of Part One (5.1.127-41).  Honour is the preferred currency of the hot-blooded aristocrats who lead the rebellion in this part, and as Falstaff suggests, it is entirely constructed from air.  At the beginning of the play Hotspur declares his intention of lifting his favoured claimant to the throne, Lord Mortimer, ‘As high in the air as this unthankful King’ (1.3.134); and the phrase makes insurrection sound like a kind of trapeze artistry, a dangerous and futile exercise in acrobatics.  When he later boasts of the ease with which he might ‘pluck bright honour from the pale-fac’d moon’ (1.3.200) his uncle Worcester notes the emptiness of his rhetoric: ‘He apprehends a world of figures here, / But not the form of what he should attend’ (1.3.207-8).  His speeches are glowing castles in the air, constructed and dismantled at a moment’s notice.  The anonymous letter he receives warning him of the ‘lightness’ of his plot (2.3.12) triggers a lengthy speech from Hotspur dismissing the writer’s objections, which ends by blowing away the young man’s own anxieties in a trice and rendering itself superfluous: ‘Hang him, let him tell the King, we are prepared’ (2.3.33-4).  Similarly, his lengthy speech detailing the rebels’ grievances in Act Four is retracted as soon as uttered: when Blunt asks, ‘Shall I return this answer to the King?’ the young man replies, ‘Not so, Sir Walter.  We’ll withdraw awhile’ (4.3.106-7).  Hotspur’s nightmares, which so worry his wife, are insubstantial visions, and made more so by Hotspur’s airy dismissal of Lady Percy’s worries.  And the rebel is equally quick to dismiss his co-conspirator Glendower’s claims to supernatural powers as so much wind.  The portents that occurred at the Welshman’s birth were for Hotspur merely a ‘kind of colic’ suffered by the earth (3.1.26), while Glendower himself is no more than a windbag: ‘I had rather live / With cheese and garlic, in a windmill, far, / Than feed on cates and have him talk to me / In any summer house in Christendom’ (3.1.155-8).[6]   The insubstantial airiness of Hotspur and his confederates has been well established, then, by the time Falstaff composes his catechism on honour, and the speech is the pin that finally bursts the rebels’ balloon.  The word honour, he says – the groundwork of their action – is nothing but a sign without a referent, an empty cipher: ‘What is honour?  A word.  What is in that word honour?  What is that honour?  Air.  A trim reckoning!’ (5.1.133-5).  The last phrase sums up the fat knight’s attitude: honour will not pay any bills (reckonings), and its thinness makes it Falstaff’s meagre opposite, reduced to non-existence by comparison with his massive girth.  Its lightness betrays the lightness of the insurgents, who aspire or mount upwards to power like the fire and wind that dominate the play’s imagery, and who crack jokes – something Hotspur does in the midst of his most serious business as enthusiastically as Hal or Jack – while leading their followers to a futile and unnecessary death.  If Falstaff is disgraceful in his willingness to lie, bluster, con and steal his way through life, he is of infinitely greater substance or weight – as Cade was, despite his thinness – than the aristocratic men of honour he mocks, who (as Henry IV points out) justify their rebellion with washed out ‘water-colours’ (5.1.80) instead of sound political argument.

But the importance of Falstaff’s role as commentator stems not so much from his sensitivity to the governing metaphors of his time – after all, every character shares this sensitivity to some degree – as from his mastery of the arts of comedy.  He is the greatest improviser in Shakespeare’s work, the greatest springer of outrageous verbal surprises and inventor of fire-new phrases; and these abilities come into their own in the age of Henry IV, when uneasy laughter reigns supreme in England.  This is Shakespeare’s astounding contribution to the legend of Henry V as purveyed in the Famous Victories.  Where the earlier play gives young Prince Harry a virtual monopoly on laughter – a monopoly that is reinforced, not undermined by the admiring mimicry of the clown Derrick – in the Second Tetralogy nearly every major political player has his own peculiar brand of humour, and Falstaff has unrivalled access to them all.  It is this all-embracing comic vision to which Hal gains access by seeking Falstaff’s company; and in acquiring it he gains directorial control over the spectacular theatrical performance that is kingship, outmanoeuvring all his rivals with his carefully cultivated wit.[7]

Joe Armstrong as Hotspur

For Hal’s father Henry IV, the dominance of the comic in England began in the reign of Richard, the ‘skipping King’ who ‘ambled up and down, / With shallow jesters, and rash bavin wits’ until his subjects got sick of his constant playing and got rid of him (1 Henry IV, 3.2.60-1).  But his death did not rid the land of his jesting spirit: Hotspur is one of its inheritors, and the most noteworthy thing about his rebellion, like that of Jack Cade, is how funny it is – and how relentlessly its humour directs itself against the King.  On his first appearance, Hotspur transforms the King’s messenger into a contemptible fop, a ‘popinjay’ whose misplaced arrogance clearly reflects on the master he serves: ‘he made me mad / To see him shine so brisk, and smell so sweet, / And talk so like a waiting-gentlewoman / Of guns, and drums, and wounds, God save the mark!’ (1.3.49-55).[8]  By implication, the King who sent him is equally alien to military action, equally willing to belittle the military achievements of his victorious generals – and equally funny.  The morose Henry IV seems an unlikely candidate for comic status, but Hotspur assures his fellow conspirators that he is a ‘king of smiles’ (1.3.243) whose ‘jeering and disdain’d contempt’ has ‘fool’d, discarded’ and shaken them off (1.3.176-81).  And in saying so Hotspur lays the grounds for treachery and rebellion.  Reducing the King to the stature of a clown makes his overthrow seem easy, a matter of training a starling to shriek ‘Mortimer’ constantly in the monarch’s ear (1.3.221-3), of finding a ‘noble plot’ (1.3.273) – it hardly seems to matter which one – and of hurling yourself bodily into the bloody ‘sport’ of the battlefield (1.3.296).  The Hotspur rebellion is an elaborate joke – a joke that turns sour at the end of the play – and this is what Falstaff’s commentary on it graphically demonstrates.

At each stage of the play the scenes dominated by Falstaff parody the actions of the rebels.  Falstaff’s absurd self-inflation – his claims to heroism at Gadshill and the battle of Shrewsbury, his accusation of Mistress Quickly for stealing valuables he never possessed, even his baseless insults of the Prince in Part Two – exposes the self-inflation of the rebels, whose claims to honour and condemnation of Henry rest on an equally insubstantial basis.  Falstaff is the master of the ‘incomprehensible lie’ or preposterous fib (1.2.181-2), which is, like his body, ‘gross as a mountain, open, palpable’ (2.5.222), but which he can defend or disown with the agility of a master fencer; and the palpable grossness of his lies alerts us to the equal grossness of the rebels’ fabrication of their case against their monarch.  Besides these general resemblances, there are specific echoes of the rebels’ plot in Falstaff’s, some of which we have already noted.  In the second scene, Falstaff asks Hal to change the designation of highway robbers when he is king; instead of thieves, he says, they should be rechristened ‘Diana’s foresters, gentlemen of the shade, minions of the moon’ (1.2.25-6); and his efforts to mythologize their lawlessness are no more absurd than the rebels’ efforts to dignify their cause with resonant titles.  Later in the same scene, Falstaff looks forward to seeing the ‘true prince… prove a false thief’ when Hal takes part in the robbery at Gadshill (1.2.151-2); and in doing so he anticipates the following scene, where the rebels effectively accuse Henry of stealing the crown like a common criminal (1.3.138-57).  Later still, Hal and Poins betray Falstaff after the robbery at Gadshill, robbing him of his ill-gotten booty in the interest of producing ‘laughter for a month, and a good jest for ever’ (2.2.94-5).  Immediately afterwards Hotspur enters reading a letter from an unnamed friend, which tells him that ‘The purpose you undertake is dangerous, the friends you have named uncertain, the time itself unsorted, and your whole plot too light, for the counterpoise of so great an opposition’ (2.4.9-12).  Hal’s plot against Falstaff, designed to deflate his monstrous pretensions, is no lighter than Hotspur’s light plot against his monarch, which aims to immortalize the names of its perpetrators through blood.  And Hal’s betrayal of Falstaff – in Part One, at least – is a harmless one, a source of perpetual merriment to be commemorated in successive generations of jest-books and farces; where Hotspur’s betrayal of his former friend the King, and his later betrayal by his own allies (Glendower, Mortimer and his own father Northumberland fail to join him at the decisive battle of Shrewsbury) have dreadful consequences for his followers as well as for himself.  Hotspur’s lightness, then, is exposed by Falstaff and Hal as a deplorable lapse in comic taste.  And the nastiness of this lapse becomes more obvious as the play goes on: when Hal describes Hotspur telling his wife that killing ‘six or seven dozen of Scots at breakfast’ is ‘a trifle’ (2.4.101-7), for instance, or when Falstaff leads his company of ‘ragamuffins’ to be slaughtered on Shrewsbury field (5.3.35-8).  By Part Two, insurrection is no longer comic – or if it is, the humour it produces is of the grimmest kind, like the horrible joke played on the insurgents by Prince John, who tells them as he sends them to the block, ‘Most shallowly did you these arms commence, / Fondly brought here, and foolishly sent hence’ (4.2.118-9).  At this stage in the Tetralogy, nobody is inclined to laugh at the disastrous shallowness and folly of the ruling classes.

Prince Hal at the Boar’s Head, artist unknown

Like Hotspur’s humour, Hal’s is closely connected to betrayal.  Shakespeare’s contemporary John Donne saw all humour as a form of betrayal: a betrayal of the expectations of its audience, who are surprised or shocked into laughter by its spontaneous reversals of their settled assumptions about what is to come.  Of all humorists in the Second Tetralogy it is Hal who is most concerned to overthrow the expectations of his audience.  His carefully-planned career constitutes an elaborate prank whose punch-line he sets up at the beginning of Part One: in the end, he says, he will ‘falsify men’s hopes’ with his abrupt reformation (1.2.206) and display himself as he is, like the sun breaking through ‘base contagious clouds’ in order to intensify the glory of his half-forgotten form (1.2.193).  That Hal sees this as a joke is confirmed by his description of this future moment as a ‘playing holiday’ (1.2.199) – a break from, rather than a continuation of, the apparent holiday he has enjoyed in Falstaff’s company.  As many commentators have noted, there is something cruel about this well-laid comic plot; and indeed Hal’s laughter at Falstaff’s expense often smacks of cruelty, even in the genial Part One.  He is always insulting, needling or threatening him – most famously when Falstaff tells him that to banish ‘plump Jack’ would be to banish all the world, and Hal replies, ‘I do, I will’ (2.4.473-4).  In response Falstaff is always threatening half-seriously to break off relations between them, like a lover conscious that his relationship is hurtful to his own health and may eventually end his life.  Hal’s father fears that his relationship with Falstaff will do him moral harm, and this conventional view – that the young are always corrupted by the old, never vice versa – is reiterated by Falstaff himself when he plays the role of the King in an impromptu play: ‘pitch (as ancient writers do report) doth defile[.]  So doth the company thou keepest’ (2.4.408-10).  But the Prince proves wholly impervious to Falstaff’s gracelessness, and it is Falstaff who is always the loser by their connection.  ‘Thou hast done much harm upon me, Hal,’ he says in their very first scene together, ‘God forgive thee for it’ (1.2.90-1); and the element of pain in their relationship is later summed up in a phrase of Hal’s: ‘Were’t not for laughing, I should pity him’ (2.2.109).  The power is always on Hal’s side, and it is in teaching him how to take advantage of this power that Falstaff proves most useful to the heir apparent.

Hal’s humour, then, is a calculated matter, and as such it is the obverse of Falstaff’s.  The Prince lays down careful comic plots: the robbery of Falstaff at Gadshill, the plan to expose the fat knight’s hypocrisy by eavesdropping on him disguised as a tapster in Part Two (2.2.163-70) – whereas Falstaff specializes in fashioning spontaneous responses to other people’s machinations.  Jack’s only long-term plan is to get power and influence when Hal inherits the crown, and from the beginning it seems inevitable that Hal will overthrow this plan with a counter-plot of his own, prepared and executed with almost bureaucratic precision.  The Prince displays the same cold, bureaucratic sense of humour when he exposes a conspiracy against him in Henry V by presenting the traitors – his former friends – with scrolls detailing their treason at the point when they least expect it (2.2.13ff.).  In a treacherous world, Hal is the master traitor; though oddly enough, his treason consists in keeping his word rather than breaking it, since honesty is the last thing anyone expects from a ruling class riddled with oath-breakers.

The contrast between Hal’s and Falstaff’s comic styles is at its sharpest in their differing attitudes to time and money.  The rebellion in Part One is sparked off by the rebels’ awareness that the King is irrecoverably indebted to them for supporting him in his rise to power: ‘The King,’ says Worcester, ‘will always think him in our debt, / And think we think ourselves unsatisfy’d, / Till he hath found a time to pay us home’ (1.3.280-2), and the insurgents therefore think themselves obliged to deny him this valuable time, to forestall his attack on them with a speedy attack of their own.  Hal’s aim, then, is to avoid debts as far as he can, to put others in his debt as much as possible, and to pay off any debts he owes instantly, before they can accumulate interest.  At Shrewsbury he tells the rebel Douglas that ‘It is the Prince of Wales that threatens thee, / Who never promiseth but he means to pay’ (5.4.41-2); and sure enough, Hal is always dispensing funds to defray expenses, from the bills Falstaff owes at the Boar’s Head to the money stolen at Gadshill.  This is one source of his power over Falstaff; and it is also a source of his power over Hotspur, who is in Hal’s debt for the advantages he gains by occupying Hal’s rightful position as apparent heir to the kingdom.  The Prince describes Hotspur as his ‘factor’ or financial manager, employed to ‘engross up glorious deeds on my behalf’ until such time as Hal ‘will call him to… account’, when Hotspur will ‘render every glory up, / Yea, even the slightest worship of his time, / Or I will tear the reckoning from his heart’ (3.2.147-52).  For Hal, then, time is money, and even his seeming period of idleness with Falstaff is productive, since his investment in Hotspur accumulates interest in the Prince’s absence.  He has an instinctive grasp of the principles of emergent capitalism that marks him out as a member of a new generation, as Hotspur, with his adherence to a redundant code of chivalry, or Henry, with his abiding conviction of the inherent sanctity of kingship, are not.

Orson Welles as Falstaff, Keith Baxter as Hal

Falstaff, meanwhile, is an inveterate evader of taxes, an accumulator of debts he never means to repay, a shameless sponger.  Time for him is to be stretched and distorted at will, beguiled with amateur dramatics, lost in an alcoholic haze, falsified as he falsifies his age.  ‘What a devil hast thou to do with the time of the day?’ Hal asks him on his first appearance (1.2.6), and in doing so introduces us to a world that is governed by different priorities than those of Henry IV, who in the previous scene was urgently seeking ‘a time for frighted peace to pant’ (1.1.2), but whose efforts to free himself from the tyranny of time are repeatedly frustrated in the course of the two central plays of the Tetralogy.  Falstaff and his tavern, then, are a place of retreat for Hal, an escape from the pressures of the official calendar and a breathing-space in which to draw up a calendar of his own; and both these functions vindicate comedy from the common Elizabethan charge of being a waste of time – the charge Richard II memorably invoked when he said, in the scene of his death, ‘I wasted time, and now doth time waste me’ (5.5.49).  The tavern is also a location in which the nature of capital can be contemplated at leisure.  For Falstaff, money like time is subject to the imagination: insubstantial, governed by no fixed rules, and therefore incapable of getting any kind of hold on him – just as he is unable to get any hold on it.  The credit with which he pays for his drink – credit he derives from his friendship with Hal, whose financial prospects are theoretically boundless – is wholly imaginary, like the money he claims was stolen from him as he slept.  He obtains money by imaginative improvisation: taking advantage of his command of a company in the civil wars to garner cash from prosperous men who are too scared to fulfil their feudal duty of fighting for the crown (4.2.11-47); or collecting from Hotspur the debt he owes to Hal (it is for his non-existent part in killing Hotspur in Part One that he climbs to social pre-eminence in Part Two).  Falstaff matches Hal’s ability to collect debts from other people with a seemingly boundless capacity for escaping ‘shot-free’ (1 Henry IV, 5.3.30) – a skill that helps him to avoid injury from gun-shots in battle as easily as he avoids paying bills in peacetime.  This capacity for transferring one’s obligations, debts and guilt to other people is another thing Hal will find invaluable when he inherits the kingdom, at which point Hal begins to exert all his imaginative faculties, in Falstavian fashion, to offload the obligations, debts and guilt he inherited with it.  But the price Hal pays for acquiring Falstaff’s skills of comic evasion is his casting-off of Falstaff; a deed for which audiences have found it hard to forgive him, despite the seeming success of his efforts to obtain forgiveness for his deeds from heaven.

Adolf Schrödter, Falstaff and Page

NOTES

[1] Valerie Traub compares Falstaff’s body to that of a pregnant woman in Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London, 1992), pp. 56-61.

[2] For Falstaff’s class see Paul N. Siegel, The Gathering Storm: Shakespeare’s English and Roman History Plays: a Marxist Analysis (London, 1992), ch. 6.

[3] For the health-giving properties of laughter, attested to by Hippocrates, as well as its ill effects on the body, see Laurent Joubert, Treatise on Laughter, especially Book 3, chs. 14, 15 and 16, pp. 126-33.  The English physician Andrew Borde, who studied like Joubert at the University of Montpellier, thought that mirth could be both therapeutic and dangerous: ‘there be many… myrthes and consolacions, some being good and laudable, and some vytuperable… myrth is when a man lyveth out of det, and may have meate and drinke and cloth, although he have never a peny in his purse; but nowe a dayes, he is merye that hath golde and sylver,, and ryches with lechery; and all is not worth a blewe poynte.’  Elsewhere Boorde opines: ‘A mery herte and mynde, the whiche is in reste and quyetnes,, without adversyte and to moche worldly busyness, causeth a man to lyve longe, and to loke yongly, although he be agyd.  Care and sorowe bryngeth in age and deth, wherefore let every man be mery; and yf he can not, let hym resorte to mery company to breke of his perplexatyves.’  Andrew Boorde’s Introduction and Dyetary, ed. F. J. Furnivall, Early English Text Society (London, 1870), pp. 88 and 300.

[4] For an account of the humours see F. David Hoeniger, Medicine and Shakespeare in the English Renaissance  (Newark, London and Toronto, 1992), ch.5, esp. pp. 102-7.  The chapter culminates in an analysis of Falstaff’s defence of sherris-sack.  The centrality of the humours to the Second Tetralogy is hinted at in the title of the 1600 quarto of 2 Henry IV: The Second Part of Henry the Fourth, Continuing to his Death, and Coronation of Henry the Fifth.  With the Humours of Sir John Falstaff, and Swaggering Pistol.  For metaphors of the body in early modern England see Leonard Barkan, Nature’s Work of Art: The Human Body as Image of the World (New Haven, 1975).

[5] Northumberland uses the same metaphor when he decides to betray his fellow rebels: ‘’Tis with my mind / As with the tide swell’d up unto his height, / That makes a still-stand, running neither way’ (2 Henry IV, 2.3.62-4).

[6] Before the battle of Shrewsbury, too, Hal notes that ‘The southern wind / Doth play the trumpet to his purposes, / And by his hollow whistling in the leaves / Foretells a tempest’ (1 Henry IV, 5.1.3-6) – a bad omen for the rebels who have been associated with air and wind.

[7] Leonard Tennenhouse gives an account of what Hal learns from Falstaff in ‘Strategies of State and Political Plays: A Midsummer Night’s Dream, Henry IV, Henry V, Henry VIII’, Political Shakespeare: Essays in Cultural Materialism, ed. Jonathan Dollimore and Alan Sinfield, second edition (Manchester, 1994), pp. 109-28.  For another perspective see Graham Holderness, Shakespeare Recycled: The Making of Historical Drama (New York etc., 1992), ch. 6.

[8] In this speech, too, air dominates the elements: Hotspur is ‘breathless’ from his  exertions during the battle, and the ‘perfumed’ courtier is offended by the smell of a corpse that comes ‘Betwixt the wind and his nobility’ (I Henry IV, 1.3.31-44).

 

 

Shakespeare’s Merry England, Part 1: The Emaciation of Jack Cade

[Here is the first part of a chapter cut out of my book Shakespeare and Comedy; a lost chapter, then, rather than a lost book. If you like it, print it out and put it between the last chapter of the book and the conclusion!]

For the Elizabethans, the past was populated with laughter-mongers.  Jest-books disinterred the buried careers of the great clowns of English history: Scoggin and Will Summers, John Skelton and Long Meg of Westminster, Dobson, Hobson and the magician Roger Bacon.[1]  These were clever, tough commoners whose brushes with authority made them all too familiar with the insides of prisons and the danger of death, but the political impact of whose escapades was softened by the cushion of intervening generations.  The jest-book gave birth to the historical novel of the 1590s, in which the cheerful Clothier Jack of Newbury has run-ins with Cardinal Wolsey, or the page Jack Wilton finds himself whirling through early sixteenth-century Europe, getting caught up in the wars of the Reformation and fleeing from outbreaks of the Plague.[2]  On the stage, too, non-Shakespearean English history plays were often dominated by wayward comedians, who were either commoners or fraternizers with the commonalty: the Robin Hood figure George a Green, who beats up treacherous lords but remains fiercely loyal to the English throne;[3] Robin Hood himself, who teamed up with George a Green in the 1580s and starred in two tragicomedies of his own in the late 1590s, skirmishing with the despicable Prince John;[4] the parson-highwayman Sir John of Wrotham, who gave Henry V a taste of his own medicine by robbing him on the king’s own highway in Sir John Oldcastle Part 1;[5] and young Prince Harry of England himself, who with his drinking companions bears a striking resemblance to Robin Hood and his merry men in the anonymous Famous Victories of Henry V.  If chronicle histories narrated England’s past as a series of solemn encounters between kings, nobles, and powerful churchmen, the prose and drama of the late sixteenth century put certain lords on intimate terms with their humblest subjects, and thrust clowns ‘by head and shoulders’, as Sidney put it, into the affairs of state that formed the English nation.[6]

Shakespeare’s Falstaff is the prodigal heir to this rich tradition of historical clowning.[7]  As a boy he fought with Scoggin at the Inns of Court (so Justice Shallow tells us) and broke his head; and his fake death at the battle of Shrewsbury is a feat he borrows from Scoggin’s Jests.[8]  He mimics the exploits of Robin Hood on the king’s highway at Gadshill, and clashes with authority, as represented by the Lord Chief Justice, in parodic imitation of the clashes between Skelton or Jack of Newbury and the upstart Lord Chancellor of England, Cardinal Wolsey.[9]  He takes on himself the wilder aspects of Prince Harry’s conduct in the Famous Victories, and shares with Jack Wilton both a skill in impersonating aristocracy and a perception of history as a sustained assault on the human body, bloating, starving, infecting or dealing wounds on its victims in an unholy alliance with succeeding generations of powerful men.[10]

Above all, like these jest-book heroes and theatrical wise-crackers he demonstrates the extent to which laughter permeates history, and the centrality of those things to which laughter is addicted (improvisations, quixotic quests for material gain, hunger, alcohol, sexual voracity, the cutting down to size of misplaced arrogance) to the past and present of Elizabethan England.   Falstaff’s bulky presence – its sheer size a testimony to the awe-inspiring effects of excessive laughter on the human frame [11] – threatens to reshape our perceptions of the ruling classes who dominate the chronicles, confirming for us the absurdity of their priorities, the appalling destructiveness of their swollen ambitions.  If actors are, as Hamlet says, ‘the abstract and brief chronicles of the time’ (2.2.525), Falstaff makes these chronicles look both more substantial and more true to life than other forms of history, written as these are at the behest of monarchs. At the same time, the comic lessons Falstaff imparts to his protégé Prince Hal help to shape him into a powerful and popular monarch, Henry V.  His comic performance instructs the young prince in the art of wittily rewriting the past, an accomplishment that permits him to consolidate his position as king by a deft deployment of the power of comedy.  For Shakespeare as for Marlowe, the humour that transcends class boundaries is a potent political tool, capable of making and destroying kings; and it is in the series of plays known as the Second Tetralogy [Richard II, 1 Henry IV2 Henry IVHenry V], with Falstaff in the middle of them, that he explores this notion most intensively.

Falstaff carries with him strong echoes of Shakespeare’s most disturbing earlier representation of the clown in English history: the rebel Jack Cade from the First Tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VIRichard III), a ferociously anarchic revision of George a Green, who refuses to offer any consistent rationale for the massacres he perpetrates among the ruling classes.  The popular hero George a Green kills nobles who betray their king;[12] Jack Cade betrays his king by killing nobles.  More disturbingly, Jack is a king, in his own imagination and that of his followers, and so confirms the fear of Stephen Gosson that comedy could simulate and perhaps even stimulate insurrection.  He is the clown as king, just as in the Famous Victories young Prince Harry is the king as clown.  Cade’s proximity to this early version of Henry V, written by an anonymous playwright before 1588, is one of the many disturbing elements in his spectacular career, and helps to link him with the Shakespearean Hal’s ambiguous companion Falstaff.

In the Famous Victories, young Prince Harry leads a troupe of riotous knights round the taverns of London and shares with them a radical vision for his future kingdom that anticipates Cade’s plans for it in more ways than one.[13]  Harry and his friends intend to share power equally (‘we would be all kings’ (1.79-80)); to abolish ‘prisoning’, hanging and whipping – at least, for courageous highwaymen, who will instead get royal pensions for their courage (5.10-12); and to turn the prisons into fencing-schools, where Harry will fight a decisive ‘bout’ with the Lord Chief Justice (5.20-2). Later Harry undergoes a conversion to orthodoxy like his Shakespearean counterpart Hal; but the Henry V of the 1580s never forgets his experience as a tavern-haunting prankster.  When the Dauphin of France sends him tennis balls, ‘meaning that you are more fitter for a tennis-court than a field, and more fitter for a carpet than the camp’ (9.112-3), this Harry responds with the jocular bravado made famous by Hal (‘tell him that instead of balls of leather we will toss him balls of brass and iron’ (9.114-6)); but unlike Shakespeare’s hero he repeats the joke throughout his French campaign.  On hearing that the Dauphin will not fight at Agincourt Harry says he is disappointed to have lost the chance to thrash him at tennis (12.24-33); and when a French herald asks him to set the terms of his ransom Harry replies that he will give ‘not so much as one poor tennis-ball’ to free himself in the event of his capture (14.41).  His humorous courtship of the French king’s daughter forms part of an unbroken continuum of aggressive wit that stretches from his tavern days in London to the successful completion of his continental campaign.  Continuity is emphasized by the fact that his actions are periodically echoed by a bevy of insubordinate commoners led by Derick – originally played by the great Dick Tarlton [14]– who starts out as a carrier robbed by one of Harry’s wild companions and ends as the most timorous soldier at the battle of Agincourt.

The Harry of the Famous Victories, then, represents a wish-fulfilment fantasy for regulars at the London taverns.  If he does not fulfil his promise to turn prisons into fencing-schools, he retains his keen appetite for sports, and never loses the sense of humour so essential for a good night on the town.  But he is also a wish-fulfilment fantasy for his father, effortlessly reconciling this role with his reputation as a fun-loving criminal.  Before his death Henry IV foretells the prince’s smooth transition from bold, bad youth to world-class conqueror, predicting that ‘he will prove as valiant and victorious a king as ever reigned in England’ (8.4-5), as if Harry’s adolescent exploits are a form of training for his role as a military leader.  In this early play, laughter is the secret weapon of the English monarchy, binding subjects to the king’s service with ties stronger than those of feudal duty, and forming a powerful element in the rhetorical arsenal with which England differentiates itself from, and seeks to assert its superiority to, its continental neighbours.

In Shakespeare’s 2 Henry VI, by contrast, royalty has signally failed to differentiate itself from the ambitious subjects who seek to acquire it, just as England’s foreign battles have failed either to unite its warring factions at home or to establish its supremacy in Europe.  Jack Cade is the product of a domestic tiff among the English aristocracy that culminates in civil war, and his antics, much more than Derick’s, amount to a devastating critique of the ruling class.  In this, perhaps the first of Shakespeare’s history plays – scholars have argued that 1 Henry VI was written later [15] – the health of the nation can be gauged by the state of relations between the classes, and by the time Cade’s insurrection takes place these relations have effectively collapsed.  Warring nobles articulate their hatred for one another by contemptuous references to poverty or low birth.  York describes the supporters of the King as ‘Pirates’ (1.1.220), the Queen thinks her arch-rival the Duchess of Gloucester a ‘Contemptuous base-born callet’ (1.3.84), and at the point when Cade’s rebellion breaks out Suffolk and Warwick are trading insults concerning one another’s connection to the peasantry (Warwick’s mother, says Suffolk, ‘took into her blameful bed / Some stern untutored churl’, while Warwick childishly retorts that ‘it was thy mother that thou meant’st’ (3.2.211-23)).  The one noble who is loved by the common people – the good Duke Humphrey of Gloucester – is held in contempt for his ‘base and humble mind’ by his own ambitious wife (1.2.62), and eventually murdered by his aristocratic colleagues.  Meanwhile ordinary subjects have their petitions to the King torn up by his unfaithful Queen (‘Away, base cullions!’ (1.3.41)), are reduced to conning one another ‘for pure need’ (2.1.149), and find themselves reluctantly embroiled in the squabbles among the nobles, taking justice into their own hands for want of adequate legal representation in the courts.  An apprentice accuses his master of high treason for saying that the Duke of York has a better claim to the throne than King Henry, and afterwards kills him in a parodic trial-by-combat (2.3.47ff.); and later Suffolk finds himself put on trial at sea by a crew of real pirates, who sentence him to death for crimes against the ‘good Duke Humphrey’, Henry VI, the house of York, and the state (4.1.70-103).  Suffolk is amazed and horrified that such lowly subjects should have power to kill him.  He calls the pirate captain an ‘Obscure and lousy swain’ (4.1.50), leader of a gang of ‘paltry, servile, abject drudges’ (4.1.105), and insists ‘it is impossible that I should die / By such a lowly vassal as thyself’ (4.1.110-1).  But die he does, and his death marks the temporary transference of power in the play from the aristocracy to the commoners: the kind of hierarchic inversion that would have horrified theatre-haters such as Stephen Gosson, John Rankins and Philip Stubbes.[16]  The arrival of the commoners at the heart of history is signaled by the arrival of full-blooded comedy – the theatrical mode associated with commoners – in Act 4 scene 2.  And the mock-king who presides over the play’s comic climax is the cloth-worker Jack Cade.

Cade’s ferocious directness comes as a welcome relief after the stifling spectacle to which we have been subjected before his appearance, in which aristocrats barely conceal their loathing for one another beneath a brittle veneer of courtesy.  Cade never pretends, as they do, to be honourable or consistent. He readily admits, for instance, what the audience already knows, that it was the Duke of York who encouraged him to assert his claim to the throne, and that he invented the details of his royal pedigree for himself.  As he explains this pedigree to his followers, his friends Dick the Butcher and Smith the Weaver undermine it with a running commentary: his father was ‘an honest man and a good bricklayer’ (4.2.37-8), his mother a midwife, his valour is attested by his open practice of illegal beggary, his endurance by his experience of being frequently whipped (presumably as a vagrant; we are later told that he has no home to go to).  But there is something exhilarating about the repeated deflation of Cade’s pretensions. The arrogant nobles who have dominated the play are equally inconsistent in their claims and counter-claims, and much less amusing in their inconsistency.  Cade’s birth and background, matters by which the nobility set so much store and over which they have wrangled since the opening scene of the play, clearly do not matter very much to Cade or his men, and his real claim to deserve a stake in England’s government derives from a much sounder principle: that ‘Adam was a gardener’ (4.2.126), so that all pedigrees in the end are equally ancient, and anyone has an equal right to join the competition to seize the crown.  Besides, Cade’s programme for reforming the kingdom – or refurbishing its garments, as his followers put it, in honour of his trade (4.2.4-6) – is full of disarming details.  Seven halfpenny loaves are to be sold for a penny, there will be a ban on weak beer, all land will be held in common and the monetary system abandoned, everyone will eat and drink at the king’s expense and wear the same clothes so that ‘they may agree like brothers’ (4.2.70-1), the aristocracy and gentry will be wiped out, and in the first year of his reign one of the London fountains shall ‘run nothing but claret wine’ (4.6.3-4).  No noble in the play has a vision to match these.  Indeed, not one of them seems to have imagined instituting any kind of programme for social reform – a failure that Cade’s programme helps to expose, despite its absurdity.  For much of Shakespeare’s audience one suspects the laughter that accompanied Cade’s campaign would have been more delighted than derisory.

At the same time, there is a frightening aspect to Jack Cade.  He is prone to outbreaks of Tamburlainian violence, either sudden – as in the hanging of the Clerk of Chatham and the impromptu killing of a soldier who calls him by the wrong name – or calculated, as in his proposal that ‘there shall not a maid be married, but she shall pay to me her maidenhead ere they have it’ (4.7.114-6).  And his sense of humour is as aggressive as that of the aristocracy he aims to supplant.  After decapitating Lord Say and his son-in-law he has their heads put on poles and gives the order that they be made to ‘kiss’ at every street corner, in token of their supposed conspiracy to surrender England’s possessions in France (4.7.123-9).  Most disturbing of all, perhaps, is the reasoning that underpins his most extreme acts of violence: his rooted antagonism to learning in all its manifestations.  The Clerk of Chatham is executed because he can write his name, while Lord Say condemns himself to death by the very skill with which he begs for mercy: ‘He shall die,’ Cade decides, ‘an it be but for pleading so well for his life’ (4.7.100-1).  Surely, we may think, Shakespeare is here working to undermine any sympathy we might have conceived for the rebels.  As an educated man he could hardly have disagreed with Lord Say’s view that ‘ignorance is the curse of God’ and ‘Knowledge the wing wherewith we fly to heaven’ (4.7.68-9), and Cade himself confesses he feels ‘remorse’ for his determination to execute the apparently deserving noble (4.7.99).  At such times Cade’s behaviour seems to set him on the high road to hell, to which Anthony Iden consigns him at the end of Act Four (4.10.76-8), as if in vindication of the beliefs of the educated middle class (the class that included Erasmus, Luther, Marlowe, Gosson, Jonson and Shakespeare himself) who saw education as the road to personal success, if not to a more widespread social redemption, and ignorance as a vice akin to idleness.

Yet our discomfort with Cade’s aggression is based on shaky premises.  Above all, it relies on the too-easy assumption that everyone in a given historical epoch shares a consistent set of values, with learning, reason and benevolence near the top of the moral hierarchy and rape, murder and betrayal near the bottom.  In 2 Henry VI this assumption has been exploded long before Cade’s arrival by the behaviour of the English nobles, who blithely arrange for the assassination of the innocent Lord Protector, and whose predatory sexual behaviour belies their stated respect for uncontaminated bloodlines.  Cade’s most outrageous actions, in fact, merely parody those of his social superiors.  His announcement that he will have the right to sleep with all virgins in the realm before their marriage revives an old feudal privilege claimed by local lords, as well as further undermining an aristocratic system of heredity that has already been seriously compromised by the aristocrats themselves.[17]  And his contempt for learning echoes his former master York’s contempt for the ‘bookish’ Henry VI (1.1.257).  Cade, however, has far better reason than York for his hostility to letters, since learning has very different connotations for the powerful than for the powerless.  As applied by lawyers, learning makes possible the atrocious situation that ‘parchment, being scribbled o’er, should undo a man’ (4.2.75-6); that judges are able ‘to call poor men before them, about matters they [are] not able to answer’ (4.7.38-9); and that the setting of a seal on a written contract may sign away a person’s freedom (‘I did but seal once to a thing,’ claims Cade, ‘and I was never my own man since’ (4.2.77-8)).  As a remedy for these abuses Cade proposes to kill all lawyers, burn all written records and distribute justice orally: ‘My mouth,’ he says, ‘shall be the parliament of England’ (4.7.12-13).  His oral form of government is no more arbitrary than the regime it replaces; and in proposing it he strikes a blow in the ongoing struggle between the social classes in early modern Europe, exposing the complacency of the intellectual assumptions on which the polemics of the theatre-haters – and indeed the whole humanist educational enterprise on which they drew for their arguments – depended.

Cade’s career is a short one, but even its ending reveals the moral vacuum at the heart of the English hegemony. Lord Clifford seduces his followers to turn against him by invoking the name of the dead national hero Henry V: a warlord whose popularity rested on his appeal to English xenophobia rather than his birthright (from one point of view, his claim to the throne was not much better than Cade’s).  As we have seen, young Henry’s plans for England in the Famous Victories and Cade’s plans for a new commonwealth in 2 Henry VI have much in common – except that Harry renounces his plans when he gets the crown, whereas Cade never ceases to urge his followers to ‘recover your ancient freedom’ (4.8.26-7).  Lord Clifford invokes Henry’s name in a spurious promise to channel the commoners’ aggression into a new assault against their old enemies the French, whose recent successes against the English form part of the general resentment against the current administration.  ‘Will [Cade] conduct you through the heart of France,’ Clifford asks, ‘And make the meanest of you earls and dukes?’ (4.8.36-7).  As the Elizabethan audience knew full well, Clifford has no intention of doing any such thing: the only wars in prospect for the English are civil ones.  The empty call to arms that closes his speech, and to which Cade’s followers respond so enthusiastically (‘To France!  To France!  And get what you have lost!’ (4.8.49)), perfectly demonstrates the lack of a shared set of values or a trustworthy system of communication between the rulers and the ruled in England.  The land is fundamentally split, Henry V and his heroic deeds are dead and buried, and Cade’s efforts to reinvent England on a new model are founded on an accurate perception of its irreversibly damaged current state.

Cade is a home-grown threat, rooted in English soil as firmly as any noble.  Yet he is able to mimic England’s foreign enemies with the same skill he displays in mimicking the aristocracy.  He looks exactly like Lord Mortimer, heir to Richard II, York tells us (3.1.371-2); yet during England’s war with Ireland Cade has often spied on the Irish disguised as a ‘shag-haired crafty kern […] And, undiscovered, come to me again / And given me notice of their villainies’ (3.1.366-9).  England’s most despised antagonists overseas and her most privileged native sons have become indistinguishable in the current climate; and this loss of distinction is underscored when York invades England at the head of an Irish army while announcing himself as ‘England’s lawful king’ (5.1.4).  Clearly England under Henry VI nurtures the seeds of its own destruction.  At the same time, its abundantly fruitful soil is incapable of sustaining all the English equally under the current regime; a fact we are apprised of by the death of Cade.  In a final gesture of defiance the starving rebel confronts a prosperous landowner, Anthony Iden, in his orchard: and the comparison that follows between the landowner’s sturdy body and Cade’s emaciated corpse offers an animated picture of the commoners’ grievances against the wealthy.  ‘Thy hand is but a finger to my fist,’ Iden points out (4.10.47-8), ‘Thy leg a stick compared with this truncheon’ (meaning his own swelling thigh and calf).  The garden of England is only Eden to those like Iden with the means and the name to take advantage of it; everyone else is an enemy of the nation, regardless of nationality.  The rights of men as the common descendants of Adam have no place there, and ‘ancient freedom’ has been replaced with backbreaking ‘slavery to the nobility’ (4.8.28).  If nothing else, the comic mock-history of Jack Cade graphically illustrates the amount of mental and physical ‘labour’ that will be necessary before ‘the public good’ takes precedence over private interest in this divided country.[18]  And after its suppression, the claims of the nobility to be working in the interests of the people of England look thinner and more self-deluding than their comic shadow Cade did at his death.

Cade’s history displays the extent to which the commoner’s medium – laughter – may both comment on and affect the course of public events, despite the claims of the ruling classes to have a monopoly over national politics.  The Famous Victories showed this too, of course, but in 2 Henry VI laughter undermines the monarchy instead of sustaining it.  Cade proves the power of comic fooling both to subvert ‘legitimate’ claims to power and to forge outrageous new ones; and the lesson is taken up after Cade’s death by the funniest and most alarming of Shakespeare’s monarchs, Richard III, who effectively laughs the heads off his rivals as he jests his way to power.  Richard fails, however, to harness popular support as Cade does, so that his reign gets increasingly humourless as it staggers towards its end, unable to sustain the tide of anxious mirth that swept this despot to power with the horrified approval of the playhouse audience.  It remains for Prince Hal to learn the trick of popularity from Cade’s successor Falstaff, whose ample body gives weight and lasting sustenance to Hal’s serio-comic campaign for the crown, as Cade’s skeletal corpse and Richard’s twisted frame were unable to do for theirs.

NOTES

[1] Will Summers – jester to Henry VIII – was celebrated in A Pleasant History of the Life and Death of Will Summers(1637).  The heroic Long Meg, who also lived in Henry’s time, starred in The Life of Long Meg of Westminster (1620).  Dobson the early Elizabethan chorister-cum-practical-joker held court in Dobson’s Dry Bobs (1607), while his contemporary the haberdasher Hobson was commemorated by Richard Johnson in The Pleasant Conceits of Old Hobson the Merry Londoner (1607).  Roger Bacon’s career was recorded in The Famous History of Friar Bacon (1625).  Some of these texts were published in Elizabethan times, although the early editions have been lost; the Famous History, for instance, was the likely source of Greene’s play Friar Bacon and Friar Bungay (c. 1592).

[2] See Thomas Deloney, Jack of Newbury (1597), and Thomas Nashe, The Unfortunate Traveller (1594), both reprinted in Paul Salzman (ed.), An Anthology of Elizabethan Prose Fiction (Oxford and New York, 1987).

[3] Star of the anonymous play George a Green, The Pinner of Wakefield (c. 1590).

[4] The tragicomedies are Anthony Munday, The Downfall of Robert, Earl of Huntingdon and The Death of Robert, Earl of Huntingdon (1598).  Robin Hood fights with George a Green in lines 1049-1106 of the anonymous play: see Joseph Quincy Adams (ed.), Chief Pre-Shakespearean Dramas (London, Calcutta and Sydney, n.d.), p. 708.

[5] See Sir John Oldcastle, Part 1, in The Oldcastle Controversy: Sir John Oldcastle, Part 1; The Famous Victories of Henry V, ed. Peter Corbin and Douglas Sedge, The Revels Plays Companion Library (Manchester and New York, 1991), sc. 10.

[6] The phrase ‘by head and shoulders’ comes from Philip Sidney’s discussion of Elizabethan clowning, An Apology for Poetry, ed. Geoffrey Shepherd, revised R. W. Maslen (Manchester, 2002), p. 112, line 3.

[7] The classic account of Falstaff in the context of Shakespearean comedy is C. L. Barber, Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Rellattion to Social Custom (Princeton, 1959), especially ch. 8.

[8] See W. Carew Hazlitt (ed.), Shakespeare Jest-Books, 3 vols. (London, 1864), vol. 2, p. 155: ‘Scogin seeing that he had lost the favour of  the King and Queene, hee mused how he might be pardoned of the King and of the Queene.  Hee heard say that the King would ride a progress, and at a convenient place, Scogin said to his servant: cast a coverlet over me, and say that I am dead, and say that, at my departure, I desired thee to pray to the King and Queen to forgive me.   When the King and Queene did come by, Scogin lying under the coverlet by the high way, his servant said: here doth lye Scogin dead, and when hee departed, hee prayed both your Graces to forgive him.  Now (said the King and Queen) God forgive him, and wee do.  Scogin start up, and sayd: I do thank both your Graces, and hereafter I will no more displease you: for I see it is more harder to keepe a friend, then to get one.’

[9] For Skelton’s clashes with Cardinal Wolsey see Shakespeare Jest-Books, ed. Hazlitt, vol. 2, pp. 18 and 34.  For Jack of Newbury’s run-ins with the cardinal see An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford, 1987), pp. 346-7 and 364-6.

[10] For a comparison of Nashe’s Jack Wilton and Falstaff see Neil Rhodes, Elizabethan Grotesque (London, Boston and Henley, 1980), Part 2: ‘Shakespearean Grotesque: The Falstaff Plays’.

[11] For the notion, derived from the Greek physician Hippocrates, that laughter makes you fat, see Laurent Joubert, Treatise on Laughter, translated and annotated by Gregory David de Rocher (University, Alabama, 1980), Book 3, ch. 13, pp. 124-6.

[12] George kills the traitor Sir Gilbert Armstrong at lines 693-781 of Adams’s edition.

[13] All references are to the edition of The Famous Victories in The Oldcastle Controversy, ed. Peter Corbin and Douglas Sedge.

[14] On Tarlton’s performance in Famous Victories see The Oldcastle Controversy, ed. Corbin and Sedge, pp. 25-8.

[15] For a detailed account of the dates and sequence of the Henry VI plays see King Henry VI Part 2, ed. Ronald Knowles, The Arden Shakespeare (Walton-on-Thames, 1999), pp. 111-21.  See also Stanley Wells, Gary Taylor et al., William Shakespeare: A Textual Companion (Oxford, 1987), pp. 111-3.

[16] For Cade’s relationship to the real fears of the Elizabethan authorities see Annabel Patterson, Shakespeare and the Popular Voice (Oxford, 1989), ch. 2.

[17] See The Norton Shakespeare, The First Part of the Contention of the Two Famous Houses of York and Lancaster (2 Henry VI), 4.7.112n.

[18] Salisbury and Warwick promise to ‘labour’ for the ‘common profit’ of the land at 1.1.180-204.

Imagining England in the Reign of Mary Tudor

The reign of Mary Tudor (1553-8) has never been celebrated for its imaginative writing. Yet perversely enough it has always provided ample material for imaginative rewriting: reinventions of history which seek to construct some sort of orderly narrative out of the chaos of England’s erratic journey towards Protestantism in the turbulent middle years of the sixteenth century. After the accession of Elizabeth I her sister’s reign began to be characterized by Protestants as a period when the religious imagination of the English people temporarily ran amok, drawing them away from the dawning light of the gospel and back to the illusions and conjuring tricks of the Catholic church. And by the early seventeenth century the period was sometimes represented, thanks to the softening mist of nostalgia, as a time of relative innocence, when communities were united in their conviction (however misguided) that they shared the land with benevolent fairies as well as affectionate (sometimes over-affectionate) priests, monks and nuns.

The poet William Warner, for instance, included ‘A Tale of Robin Goodfellow’ in the 1606 edition of his ever-expanding epic Albions England (1606). In this little-known episode from the country’s history, a ‘bare-breeched Goblin’ laments the departure of superstition as the reformed religion took hold, robbing monks and nuns of their livelihood and depriving Robin himself of the dishes of milk and other titbits which had once been considered his due. The over-active imaginations of Marian Catholics, the goblin tells us, meant that for fairies and their infernal accomplices – the Pope and the Devil – it ‘Was then a merry world with us when Mary wore the Crown […] But all things have gone cross with us since here the Gospel shined’. Around the same time the poet-bishop Richard Corbett wrote a celebrated lament for the forgotten customs of the Marian ‘good folk’, such as leaving coins in the shoes of diligent housemaids as a reward for (sexual?) services rendered, stealing away the illegitimate children of priests to be raised elsewhere, or dancing at dawn to cover the tracks of early-rising lovers:

Witness those rings and roundelays
Of theirs, which yet remain,
Were footed in Queen Mary’s days
On many a grassy plain;
But since of late, Elizabeth,
And later, James came in,
They never danced on any heath
As when the time hath been.

For Corbett the departure of the fairies has left a glaring absence of convenient excuses for covering up a man or a woman’s erotic adventures, and an England dominated by eagle-eyed, judgmental Puritans is no happy substitute. Corbett is all for the imaginative rewriting of the history of sex between consenting adults, and the relaxed attitude to the sins of the body which such retouching of past misdemeanours would seem to imply.

Corbett’s poem is of course well known, especially to fans of Rudyard Kipling. Less well known is the fact that during Mary’s reign, too, the struggle between Catholics and Protestants was often represented by its chroniclers – both authorised and unofficial – as a heated struggle for the imaginations of English subjects. Like More and Tyndale in their controversy over the translation of the scriptures into English, each side accused the other of fabricating fictions in their efforts to gain control of people’s minds (indeed, the More/Tyndale controversy was reanimated by the publication in 1557 of William Rastell’s edition of Thomas More’s Workes). The Protestant martyrologist John Foxe encapsulates these accusations and counter-accusations in an anecdote he tells about ‘A false fearful imagination of fire’ at Oxford University, in which academics assembled to hear the recantation of a Protestant colleague in St Mary’s church are thrown into panic by a false alarm:

And as in a great fire (where fire is indeed), we see many times how one little spark giveth matter of a mighty flame, setting whole stacks and piles a burning: so here, upon a small occasion of one man’s word, kindled first a general cry, then a strong opinion running in every man’s head within the church, thinking the church to be on fire, where no fire was at all. Thus it pleased Almighty God to delude these deluders: that is, that these great Doctors and wise men of the schools, who think themselves so wise in God’s matters as though they could not err; should see, by their own senses and judgments, how blinded and infatuated they were, in these so small matters and sensible trifles.

The incident offers an elaborate comic allegory, scripted by God himself, of the ‘imaginations’ or delusions spun by Catholic apologists as they labour to ignite an ersatz pentecostal flame in the English church, whether by the force of their own ‘strong opinion’ or by burning Protestants. Imaginary fires like these illuminate the landscape of Marian England alongside real ones, drawing the bewildered populace (so the propagandists would have us think) first to one faith, then to another, and threatening to render the light of religious truth invisible forever.

But the workings of the imagination were also taken to be central to political struggles throughout the period. George Cavendish’s celebrated Life of Wolsey (c. 1553-8) documents Cardinal Wolsey’s efforts to discredit attempts by his enemies to sow suspicious ‘imaginations’ about him in the head of his master, Henry VIII. As his fall is engineered by noblemen close to the king, the Cardinal’s only hope of overcoming ‘the enemy that never sleepeth, but studieth and continually imagineth, both sleeping and waking, my utter destruction’ is to get close to the king himself, ‘that my truth should vanquish all their untruth and surmised accusations’. Cavendish’s Life itself constitutes a sustained effort to counteract what he calls the ‘untrue imaginations’ about the Cardinal set forth in ‘divers printed books’ which have been circulating since his death. William Roper’s Life of Thomas More (c. 1553-8) similarly records the systematic exclusion of the titular Lord Chancellor from the king’s presence, which lends credibility to the ‘slanderous surmises… imagined against’ him by his detractors in his absence. But unlike Wolsey, More collaborates with his enemies in engineering his own withdrawal from political action. The court is a glamorous world of fictions to which his skills as a performer initially grant him access, and his one hope of establishing himself as custodian of the truth is to mortify his imaginative faculties – or at least, to ‘dissemble’ them. In Mary’s reign, by contrast, religious dissidents who did not aspire to the martyr’s crown found that the safest place to practise their religion was as close as possible to the Queen’s person. Edward Underhill, known as the ‘hot gospeller’ for his combative Protestantism, tells us in his autobiography (written after 1561) that for members of the true religion ‘there was no such place to shift [hide] in, in this realm, as in London, notwithstanding their great spial and search; nor no better place to shift the Easter time [i.e. to avoid taking the Catholic mass] than in Queen Mary’s Court’. The closer you were to the body of a Tudor monarch, the less the imagination of the monarch could be turned against you by your enemies, and the less vulnerable you were to accusations of ‘imagining’ or plotting against the prince’s person.

Thomas Wyatt the Rebel

Conversely, the further you were from the monarch’s body the more vulnerable you were to slander, suspicion and rumour. The focus of Mary’s fears was the provinces: from nearby Kent, where Wyatt’s rebellion of 1554 broke out inflamed by reports ‘maliciously imagined and blown abroad’ of an invasion by a Spanish army, to far-off Wales and Cornwall, which were expected to rise in support of the rebellion and which remained the focus of rumours of new rebellions throughout the remainder of Mary’s reign. John Proctor wrote his Historie of Wyates Rebellion (1554), he tells us, partly to discredit the ‘sundry tales thereof… far wide from truth’, and partly to vindicate his Kentish fellow-countrymen from the ‘notable infamy’ which the rebellion had brought them. The fear of insurrection in the provinces was by no means pure paranoia on the part of Mary and her supporters. The great historical verse miscellany The Mirror for Magistrates (1555-1610) – especially those parts of it known to have been composed during or shortly after Mary’s reign – suggests repeatedly that the further you live from London the more likely you are to succumb to dynastic fantasies, based for the most part on what Cavendish calls ‘dark and strange prophecies’ and the ‘imaginations and travailous business’ undertaken either to prevent their fulfilment or to bring it about. In the Mirror the fifteenth-century Welsh prince Owen Glendower bases his claim to the throne of England on the compositions of irresponsible Welsh prophet-bards, while the Cornish blacksmith who led the 1497 ‘An Gof’ rebellion – and whose insurrection prefigures both the Prayerbook Rebellion of Edward’s reign and the Wyatt Rebellion of Mary’s – similarly bases his claim to princely status on the vatic encouragements of ballad-mongers. William Baldwin, the first editor of the Mirror and its principal poet, is of course eager to insist that these examples demonstrate the difference between imagined pretensions to monarchic supremacy and real ones. But as claims to power multiply in the Mirror’s successive tragedies, the possibility of distinguishing between authentic pretensions and imagined ones, between the genuine dynasties traced by historians and the fantastic ones forged by heralds, grows ever more remote. The problem is summed up by Fulke Greville in his account of Sir Philip Sidney’s letter to Elizabeth I on the subject of her proposed marriage to the Catholic Duc d’Alençon in 1579. For Sidney, Mary’s marriage to Philip II of Spain offers the best of reasons for avoiding such another match between an English Queen and a Spanish monarch, working as it did solely in the interests of King Philip, who hoped by this means to ‘possess this diversly diseased estate with certain poetical titles of his own’. In Mary’s time, according to Greville, plots to seize power were evolved in the diseased imaginations or poetic fancies of ambitious men, generated by the faculty which also generates verses, monsters, insurrections, false genealogies and heresies of all kinds.

From Beware the Cat

The poets of The Mirror for Magistrates would have agreed with Greville. In unfolding the tragedies of princes and great men, they lay heavy emphasis on the origins of these tragedies in the wayward imaginations of their protagonists: their dreams, hopes, fears, delusions. They also locate these origins at or beyond the margins of the Tudor demesnes, from Wales and Cornwall to Ireland, where the elder Mortimer meets his end, and Scotland, where James IV unlearns all the civility he acquired during his childhood residence in England, regressing rapidly to Celtic treachery and barbarism. From the margins imagined sedition spreads with unnerving rapidity to the centre, in the form of gossip, rumours, fake news, scaremongering. William Baldwin records the spread of superstition and violence from Ireland to central London in his late-Edwardian prose fiction Beware the Cat (c. 1553), just as John Proctor records the successive waves of rumour – that the Spaniards had invaded, that Wyatt had taken London – which almost secured the success of Wyatt’s rebellion. At the margins, too, that imaginary entity the nation could be appropriated with alarming ease by factions hostile to the government. When marching through Kent, Wyatt appealed for support from all true Englishmen; the band of ‘white-coats’ who joined his forces offered the statement that ‘we are all Englishmen’ as explanation for their decision; while the later insurrectionist Thomas Stafford, who seized Scarborough castle in 1557, called on the English to overthrow a ‘most unworthy queen’ who had ‘forfeited the crown; because she, being naturally born half Spanish and half English, sheweth herself a whole Spaniard in loving Spaniards and hating English, enriching Spaniards and robbing English’. During the Marian period the task of imagining the English nation achieves a political significance and urgency it had never possessed before, as a result both of the counter-Reformation and of Mary’s Spanish marriage: and a great many of the texts it generated take the concepts of England and Englishness as their themes.

Image from The Spider and the Fly

As the historian Whitney Jones has pointed out, this is also a period when literature of all kinds is much preoccupied with social and economic reform, focused in particular around the concept of the Tudor Commonwealth. With the partial exception of Tottel’s poetic Miscellany (1557), every major ‘literary’ text of Mary’s reign addresses social and economic problems and their solutions, from Nicholas Udall’s Christmas play Respublica (1553) to John Heywood’s fabular epic The Spider and the Fly (1556), from William Baldwin’s satirical elegy The Funerals of King Edward VI (1553) to the conduct-book The Institution of a Gentleman (1555). In each case the imagination is taken to be the faculty responsible for social and economic abuse: the imagination which enables the vice Avarice and his cronies to adopt new, misleading names in Respublica, and so to beguile the Lady Commonwealth into allowing them to take control of her affairs: the imagination which seduces the aristocracy and gentry in The Institution of a Gentleman into idleness, lust and tyranny; the imagination which, in Baldwin’s poem, gives the aristocracy such inflated self-esteem that Death has difficulty in distinguishing King Edward’s palace from the palatial residences of his subjects as he seeks out the boy-king to punish him for the sins of his people. At one point in Heywood’s The Spider and the Fly a fly caught in a spider’s web changes places with the spider in order to understand his point of view as an aristocratic oppressor of the commons. They agree, as the prose argument puts it, ‘to change places (each for the time) to imagine and set forth other’s part the best they can […] Wherein the fly anon is so allured to pride and ambition in occupying (for the while) the spider’s stately place, that he at last with an oath affirmeth that spiders are owners of all windows’ – that is, that the aristocracy has a God-given right to the possession of all the land in a commonwealth. Power or stateliness is a mind-altering drug, inducing in its possessor the condition of imaginative ‘vainglory’ which Marian writers – like their Edwardian predecessors – take to be the presiding vice of the time.

As I’ve argued elsewhere, the epistolary prose fiction The Image of Idleness (1556) constitutes an extended examination of ‘vainglory’ as it is manifested in one of Mary’s humbler subjects, an elderly gentleman-soldier named Bawdin Bachelor who wants a wife but fails to persuade any woman to marry him. He combats the depression brought on by successive rejections by immersing himself in a fantasy world, designed to boost his flagging self-esteem in the face of adversity:

For doubtless this transitory life is entangled with so many kinds of misery, that unless a man will flatter himself with some kind of vain glory or, contrary to the lively eye of his reason, delight or rejoice in some one trifle or other, the calamity and unquietness thereof will so fret nature that none shall be able to live out half their natural course.

I take The Image of Idleness to be a satire on contemporary social and religious mores, identifying the centrality of fantasy, dissimulation and flattery – especially self-flattery – to Marian culture. The Marian government and the church it sponsors depend for their survival on cultivating the fertile imaginations of their subjects: and the anonymous author of this epistolary narrative subjects the workings of contemporary ideologies to the same witty analysis as Erasmus practised in The Praise of Folly, a book on which The Image of Idleness is partly modelled.

A groat from the reign of Mary Tudor

If I were to write a book on the literature of Mary Tudor’s reign, then, it would have the title Marian Imaginations. It would concern itself with the workings of the English imagination in and after the reign of Mary Tudor: from the imagination of the rebel, who spawns fear and paranoia in the provinces for his own ends, to that of the Queen herself, whose imaginary pregnancies bodied forth her desire to alter the course of English history; from the role of the imagination in the story of England as recorded in Cavendish’s Life of Wolsey, William Baldwin’s Mirror for Magistrates and Joh Proctor’s History of Wyatt’s Rebellion, to the imaginative rewriting of Mary’s reign by Elizabethan historians such as John Foxe. It would end by demonstrating the profound effect of these various Marian and post-Marian explorations of the imagination on the better-known products of the writerly imagination in the reign of Elizabeth I.

The book will never, I think, be written – at least by me; but as a curious missing link in the history of the human imagination it would, I think, have been well worth writing. So I’m duly placing it here, in one of the obscurer libraries of the City of Lost Books. If you find it here, feel free to rewrite it for yourself…

 

Feeding Fantasy in The Image of Idleness (1556)

Early Modern Satyr

The 1550s is one of the richest periods for satire in English literary history; not perhaps in terms of quality, but in terms of the sheer inventiveness, energy and courage of the satirists who worked in that dangerous decade, when the reigning monarch changed twice and the religion with her.[1] If the prevalence of satire at the time isn’t widely known, this is perhaps because of the diversity of forms it assumed. Verse satire, for instance, included many imitations of the great medieval poem Piers Plowman, first published in 1550: most notably Thomas Churchyard’s controversial prophecy Davy Diker’s Dream (1552), which sparked off a flurry of aggressive ‘flytings’ from Churchyard’s fellow pamphleteers and was still remembered in the 1560s.[2] Later came William Baldwin’s elegiac satire The Funerals of King Edward the Sixth (1553); John Heywood’s ambitious animal fable The Spider and the Fly (1556); and the celebrated Horatian satires of Thomas Wyatt, printed for the first time in Tottel’s Miscellany (1557). Satirical drama included two outstanding interludes sometimes attributed to Nicholas Udall: the proto history play Respublica (1553) and the mock-classical comedy Jack Juggler (c. 1555). Most remarkably of all, a vein of satirical prose fiction emerged, inspired by the first English translations of Erasmus’s Praise of Folly (1549) and More’s Utopia (1551): William Baldwin’s translation of the scurrilous anti-Catholic diatribe Wonderful News of the Death of Paul III (c. 1552), and his masterpiece, the Menippean satire Beware the Cat (1553; not published till 1570).[3] How many of the writings I’ve listed would now be called satires it’s hard to say; but every one of them exploits laughter to make a serious political point, and given the accepted derivation of the word ‘satire’ at the time from the Latin term for a mixed dish, a stew made up of many ingredients, it would seem wholly appropriate to apply the term to this eclectic diversity of forms and styles.

Image from Heywood’s The Spider and the Fly

Various though they are, all these satires share a common theme. Every one of them addresses social and economic problems and their solutions; and in most cases the imagination or ‘phantasy’ is taken to be the faculty responsible for social and economic abuse.[4] It’s the imagination that enables the vice Avarice and his cronies to adopt new, misleading names in Nicholas Udall’s interlude Respublica, and so to beguile the Lady Commonwealth into letting them take control of her affairs. It’s the imagination that, in Baldwin’s Funerals of King Edward the Sixth, gives the rich such inflated self-esteem that Death has difficulty in distinguishing King Edward’s palace from the palatial residences of his subjects as he seeks out the boy-king to punish him for the sins of his people. At one point in Heywood’s The Spider and the Fly a fly caught in a spider’s web swaps places with the spider in an attempt to understand his point of view as an aristocratic predator. They agree ‘to change places (each for the time) to imagine and set forth other’s part the best they can […] Wherein the fly anon is so allured to pride and ambition in occupying (for the while) the spider’s stately place, that he at last with an oath affirmeth that spiders are owners of all windows’ – that is, that the aristocracy has a God-given right to the possession of all the land in a commonwealth.[5] In the interlude Jack Juggler (c. mid-1550s), based on Plautus’s Amphitryon, the eponymous trickster uses violence to persuade a young page that he is not himself but some anonymous imposter, which prompts the epilogue to assert that powerful figures are capable of imposing their imaginations on the powerless. ‘Force, strength, power, and colorable subtlete,’ the epilogue tells us, ‘Dothe oppresse, debare, overcum, and defeate ryght,’ until the ‘poor semple innocent’ is forced to affirm that ‘the moune is made of a grene chese’, that ‘the croue is whight’, and that ‘he him selfe is into a nother body chaunged’.[6] Power in all these texts is a mind-altering drug, inducing in its possessor the condition of imaginative ‘vainglory’ or conceited self-delusion, which can be imposed on others by force, and which Marian writers take to be the presiding sin of the time.

Among the most sophisticated investigations of the power of the imagination, and the dominance of ‘vainglory’ or self-delusion, is a work of prose fiction first published in 1556, the anonymous Image of Idleness.[7] That this brilliant epistolary novel remains almost unknown can be ascribed to three causes. First there’s its anonymity, which remains one of the main reasons why fine literature gets forgotten.[8] Secondly there’s its uniqueness, since readers tend to assume a text can’t exist in a time and place where it has few analogues; with the notable exception of Beware the Cat, no other original works of prose fiction survive from the 1550s, and this means The Image of Idleness can’t easily be identified as part of a literary trend or movement. Finally, there’s the fact that it has only ever been edited once, in a journal, and that the edition in question badly needs updating.[9] The book also suffers from the fact that it can’t be easily categorized. The contents consist of a letter purportedly written by a man called Bawdin Bachelor to his married friend Walter Wedlock, in which Bawdin’s gives his views on the ‘art’ of marriage (as he calls it) undeterred by the fact that he has never had a wife. This long letter encloses several more letters written by Bachelor, mostly to the various women he could not persuade to marry him, though one letter gives an extended and very funny account of his failed attempt to seduce a widow on the road to Cornwall, and the last gives some bad advice to would-be adulterers. All these letters have been translated, we are told, from the Cornish language (there’s even a line of Cornish in the text) by a man called Oliver Oldwanton, and dedicated to his patron, Lady Lust.[10] These alliterative names, with the alliterative title, seem to indicate the text’s affiliation with the satirical tradition of Piers Plowman. But The Image of Idleness has more in common with humanist Menippean satire than with the medieval variety. The letters form what’s in effect a Lucianic dialogue – they are full of casual allusions to the pagan gods – and the rich vein of irony that runs through them is very much like Lucian’s.[11] It’s a mixed dish, containing elements of a philosophical treatise, a set of familiar epistles, and fabliau or scurrilous anecdote. So far so uncontentious; Flachmann too calls it a satire. But what’s it satirizing?

Flachmann’s introduction locates the text firmly in the misogynistic tradition of the querelle des femmes: a series of attacks on women (and a few defences of them) which began to circulate in the fifteenth century and continued unabated into the seventeenth. The Image of Idleness, though, can hardly be accused of misogyny, despite the many harsh words Bawdin has for women, because Bawdin himself, the marriage expert who’s never been married, is so patently an idiot. A more likely target for its satire is Catholicism; and this alone makes it a remarkable document, as the only surviving anti-Catholic satire to have been openly published in England in the reign of Mary I. There are many clues to this aspect of its agenda, such as the title, with its veiled allusion to the fondness for images which Protestants thought of as idolatry, and to the idleness of which Protestants accused the Catholic religious orders; and the dedication, which gives Lady Lust a confessor or ‘Penitencer’ called Friar Floisterer (a portmanteau term combining ‘cloisterer’ and ‘foist’ or cheat) (p. 21, lines 33-4), who answers to a devilish-sounding superior called the ‘Black Provincial’ (p. 21, line 36). In one of Bawdin’s anecdotes, a Princess goes on pilgrimage to Pygmalion’s ‘image of alabaster’ (p. 35, line 17), which has been restored to the state of a ‘blessed image’ after Pygmalion’s death (p. 35, line 25). This is a clear allusion to the cult of the blessed Virgin, which is also invoked by Bawdin’s repeated references to St Mary. And in the last part of his letter to Walter Wedlock, Bawdin abandons his marital ambitions and dedicates himself to chastity, a vocation scorned by Protestants which is evidently degraded by Bawdin’s supposed commitment to it.

Bawdin’s devotion to chastity is in any case a fiction. Much of the final section is given over to advising ‘Cupidian Knights’ (p. 64, line 39) on how best to get access to other men’s wives; and this advice includes perhaps the most direct reference to Catholicism in the book. The adulterous chivalric tradition, so often ascribed by Protestants to the lascivious imaginations of ‘idle’ monks, is here described as one of the ‘old rites and customs’ which should perhaps be abandoned in view of the coming of Christ: ‘New lords, new laws’, Bawdin tells his readers in a passing moment of self-doubt (p. 65, lines 33-34). Protestants referred to the Catholic confession as ‘Old Custom’ and Protestantism as ‘New Custom’; New Custom was, for example, the name of a play published in 1573 which makes specific reference to the persecution of Protestants under Queen Mary. Not only, then, is the book an anti-Catholic satire, but it ends with what’s in effect a call for conversion (‘New lords, new laws’), which if it had not been couched in such unexceptionable terms – that is, as a call for repentance from the vice of adulterous lust – would surely have got the printer, William Seres, in serious trouble. After all, he’d already been jailed for his religious views at the beginning of Mary’s reign.[12]

Image from William Baldwin’s Beware the Cat

But The Image of Idleness is not merely, or even chiefly, anti-Catholic. It’s a reformist text, in the sense that all the satires of the 1550s, Protestant or Catholic, can be called reformist. It describes a society in disarray, one whose belief systems are in chaos, a situation of which the confessional split is only one symptom. We might expect satirists of the period to attack people of the opposite confession, but the briefest of glances shows that they’re just as likely to attack their own. Davy Diker’s prophecy, for instance, proved controversial because of its exposure, from a Protestant perspective, of corruption at the highest level of the Edwardian Protestant government. Baldwin’s Funerals of King Edward VI ascribes the young king’s death to the unscrupulous self-promotion of his subjects. And the central character in Baldwin’s novel Beware the Cat, the scholar-priest Gregory Streamer, thinks of himself as Protestant but keeps letting slip his continued commitment to what Baldwin represents as the values of Catholicism: above all superstition and rampant self-interest, especially in matters of the flesh. So, too, in The Image of Idleness Bawdin Bachelor keeps exposing his confessional commitment to the ‘Old Custom’ of Catholicism, which he amusingly conflates with classical paganism. But his professed beliefs are less important than his ability to manipulate them to his own advantage; to convince himself, against his own better judgement, that what he wishes to be the case is in fact the case – to beguile himself, in fact, through a series of exercises in imaginative self-delusion. Bawdin is one of a series of figures in the satire of the 1550s who choose to believe whatever suits them, and who self-consciously, in all knowledge of what they are doing, work to justify their false beliefs by whatever devious rhetoric or sophistry lies to hand. This, then, is the central drive of the anonymous proto-novel: to expose the willingness of Tudor subjects to imagine themselves into new beliefs. The idle image of the title is a state of mind, and every character in the book is willing to confess that such imaginative idleness is a dangerous form of self-indulgence.

Oliver Oldwanton, for instance, who claims in the dedication to have translated Bawdin’s letters from the Cornish, confesses that he knew the job was not worth doing. Nevertheless, he went ahead with it, on the basis that ‘commonly most men be not soon persuaded to give over the thing that they are affectionated unto upon any surmise or report that the doing thereof should stand against the rule of good order’ (p. 18, lines 28-30). With some difficulty, then, the translator has ‘wrested common reason’ to persuade himself that the letters will be useful to powerful men as a needful break from serious affairs (pp. 18-19). And Bawdin too is adept at persuading himself of what he knows to be false. He is constantly weaving elaborate explanations for his repeated rejections at the hands of women: ‘For doubtless,’ he points out at one point, ‘this transitory life is entangled with so many kinds of misery, that unless a man will flatter himself with some kind of vain glory or, contrary to the lively eye of his reason, delight or rejoice in some one trifle or other, the calamity and unquietness thereof will so fret nature that none shall be able to live out half their natural course’ (p. 39, lines 5-11). So when Bawdin’s face is scorched bright red by an attack of the sweating sickness he takes it as a sign that he should return with new energy to his amorous adventures, as if his redness were a sign of renewed youth rather than disease. Accordingly he sets about courting several women at once, so that each time he is rejected he can ‘feed his fantasy with hope that the best is behind’ (p. 41, lines 7-8) – that is, that one of the women who has not yet spurned him may be a better catch. When a friend of his points out that the women don’t want him because he’s old and ugly, Bawdin retorts that such truthful utterances – however regularly identified in Renaissance texts as the badge of true friendship – are profoundly unfriendly, since ‘it should have been good policy for all men (in mine opinion) to dissemble and bear each one with the folly and faults of other’, and in addition for ‘every man […] to feed and flatter themselves with some kind of vanity or vainglory without having any respect for desert or not deserving’ (p. 44, lines 10-15). The term ‘vainglory’, in fact, recurs in letter after letter, along with deferential nods to the goddess Venus. And in each case men’s vainglory is achieved or sustained by some ‘crafty policy’, whereby they themselves or their prospective lovers are convinced of something that is ‘contrary to the lively eye of his reason’. As the final section of Bawdin’s letter points out, ‘Men are easily persuaded to believe the thing such as in their heart they covet it should be’ (p. 64, lines 37-8); and while Bawdin intends this to reassure adulterers that they can deceive any credulous husband, by this stage in the book the reader knows full well that the phrase is equally applicable to Bawdin Bachelor, who has exposed himself on every page as the ultimate fantasist.

He is not alone. The English Protestant statesman Thomas Wilson published his celebrated treatise The Arte of Rhetorique in 1553; and shortly afterwards he went into exile on Mary’s accession. Unwisely, perhaps, he chose to spend his exile in Rome, where he was imprisoned and tortured by the Inquisition. When Mary died he returned to England, and three years later published the second edition of his Arte of Rhetorique (1560); and in it he greatly expanded the section of the treatise devoted to the rhetorical function of laughter. Every one of the new anecdotes he added involved some anti-Catholic gibe; and by this means one hopes that he exorcised some of the damage he sustained on the continent.

Image from Jack Juggler

But Wilson, like the author of The Image of Idleness, is not content to restrict himself to Catholicism as the object of his attack. For him as for the satirists the religious conflicts of the mid-sixteenth century are a symptom of a cultural condition; and his most detailed account of this condition occurs in his discussion of poetic fictions and their role in persuasive discourse. ‘The Poetes’, he writes, ‘were wisemen, and wished in hart the redresse of things, the which when for feare, they durst not openly rebuke, they did in colours painte them out, and tolde men by shadowes what they should doe in good sooth’.[13] The problem was, he adds, that in ancient times some of their hearers perversely adopted these ‘shadowed’ tales for factual narratives, setting up their heroes as pagan gods. ‘Wee Christians’, he goes on, have similar fables such as the legends of the saints, which were invented as instructive allegories but later adopted as factual histories by the church, whose leaders set up images of their protagonists in their churches as ‘laymen’s books’. Needless to say, Wilson does not approve. ‘God forbad by expresse worde’, he tells us, ‘to make any graven Image, and shall wee bee so bold to breake Gods will for a good intent, and call these Idolles laie mens bookes?’ (p. 197). For Wilson, then, the works of the imagination have been repeatedly commandeered by unscrupulous authorities, transforming ‘shadowes’ into graven images in support of their own agendas. Generation after generation have found themselves the victims of the perverted imagination; but the imagination may also be used, he tells us elsewhere, to resist this process.

It’s the imaginative use of irony that for Wilson is the best weapon against tyrannous authorities like the ones he encountered in Rome. One example is the figure of dissimulatio or ‘close jesting’, which he describes as follows:

When we jest closely, and with dissembling meanes grig our fellowe, when in words we speake one thing, and meane in heart an other thing, declaring either by our countenaunce, or by utteraunce, or by some other way, what our whole meaning is. As when we see one boasting himselfe, and vaine glorious, to hold him up with ye and nay, and ever to add more to that which he saieth (p. 184).

Wilson gives several instances of such ‘close jesting’, but none is more apt than the writings of Bawdin Bachelor, whose vainglorious folly grows more extravagant with every page he writes, and who exposes himself for what he is the more openly the more devious he tries to be. The Image of Idleness is an extended exercise in dissimulatio, whereby the man who seeks to beguile himself and others is used as a means of beguiling the authorities; of tricking them, that is, into allowing (permitting to be printed) a text that criticizes the state religion. At a time when other satirical texts were being disallowed, or kept safely locked away until a change of government brought their perspective back into favour, the dissimulatio deployed by the author of The Image of Idleness stands out for its success as well as its courage. For this and other reasons, the book deserves to be better known.

Pockmarked Old Woman’s Tofu. Bawdin Bachelor’s face is ravaged by disease; this dish evokes both his face and early modern satire, a spicy medley

 

Notes

[1] A fine account of the satire written in this period remains John N. King, English Reformation Literature: The Tudor Origins of the Protestant Tradition (Princeton, N.J.: Princeton University Press, 1982). See also Tom Betteridge, Literature and Politics in the English Reformation (Manchester and New York: Manchester University Press, 2004), chapters 2 and 3, and Mark Rankin, ‘Biblical Allusion and Argument in Luke Shepherd’s Verse Satires’, The Oxford Handbook of Tudor Literature 1485-1603, ed. Mike Pincombe and Cathy Shrank (Oxford: Oxford University Press, 2009), chapter 15.

[2] For Davy Diker’s Dream see my ‘William Baldwin and the Tudor Imagination’, The Oxford Handbook of Tudor Literature, 1485-1603, ed. Pincombe and Shrank, chapter 17.

[3] See my ‘The Cat Got your Tongue: Pseudo-Translation, Conversion and Control in William Baldwin’s Beware the Cat’, Translation and Literature, vol. 8, Part 1 (1999), pp. 3-27.

[4] For the early modern fantasy see Adrian Streete, Protestantism and Drama in Early Modern England (Cambridge: Cambridge University Press, 2009), chapter 4, ‘Perception and Fantasy in Early Modern Protestant Discourse’.

[5] John Heywood, The Spider and Fly, ed. John S. Farmer (London: Early English Drama Society, 1908), pp. 20-21.

[6] Marie Axton (ed.), Three Tudor Interludes: Thersites, Jacke Jugeler, Horestes (Cambridge: D. S. Brewer, 1982), p. 91.

[7] See Mike Pincombe, ‘The Date of The Image of Idleness’, Notes and Queries 239 (n.s. vol. 41) (March 1994), p. 24.

[8] I discuss its authorship in ‘William Baldwin and the Politics of Pseudo-Philosophy in Tudor Prose Fiction’, Studies in Philology, vol. 97 no. 1 (Winter 2000), pp. 29-60.

[9] Michael Flachmann (ed.), ‘The First Epistolary Novel: The Image of Idleness. Text, Introduction and Notes’, Studies in Philology 87 (1990), pp. 1-74.

[10] Mike Pincombe has identified the line as Cornish, but not yet published his transcription of it. See The Image of Idleness, ed. Flachmann, p. 35, lines 26-30: ‘Marsoyse thees duan Guisca ancorne Rog hatre arta – being expounded by the priests of that temple to this effect in English: If to wear the horn thou find thyself aggrieved, give him back again and thou shalt soon be eased’.

[11] On Tudor Lucianic satire see my ‘Magical Journeys in Sixteenth-Century Prose Fiction’, Yearbook of English Studies, Vol. 41, no. 1 (2011), pp. 35-50.

[12] See Elizabeth Evenden, ‘William Seres’, in Oxford Dictionary of National Biography (https://doi-org.ezproxy.lib.gla.ac.uk/10.1093/ref:odnb/25094, accessed 29.05.18):

[13] Wilson’s Arte of Rhetorique, ed. G. H. Mair, Tudor and Stuart Library (Oxford: Clarendon Press, 1909), p. 195.

Aspects of the Early Modern Fantastic in Shakespeare’s The Tempest, Part 2.

[This is the second part of a paper I gave this week at the University of St Andrews. The first part considered some general approaches to the early modern fantastic. The second part considers Shakespeare’s The Tempest as an example of what might happen if we applied the modern concept of fantasy to an early modern work of art.]

Giorgione, The Tempest (c. 1508)

The Tempest is set on a non-existent island like More’s Utopia, which combines characteristics of the East and West Indies with the epic resonances of the Mediterranean islands. It’s a secondary world, then, which can’t be placed by conventional means; we are given no help in locating it on the global map. Prospero, the exiled Duke of Milan, reached it in a boat without sail or oar, like a medieval saint. The men who banished him arrived there twelve years later in a more conventional vessel, steered in that direction by the agency of Christian Providence, or pagan Fortune, or Prospero’s magic, we never know exactly which. Our ignorance, even by the end of the play, of the precise mechanisms by which any of these people reached the island makes the story look like modern fantasy. Science fiction would invite us to speculate as to how it was done, while Shakespeare only asks that we consider the strangeness of the eventuality, and the equal strangeness of the nameless place where they come together.

On the island, the usual rules of the world as we know them no longer apply. The laws of nature don’t obtain: water doesn’t moisten clothing, salt doesn’t stain, dead men come back to life, old pagan myths and folkloric superstitions turn out to be true, in open defiance of the English sceptic Reginald Scot. Social rules, too, get flouted. Sailors dismiss the commands of their royal passengers, servants become kings, slaves liberate themselves, political and poetic thoughts keep surfacing at awkward moments, sometimes articulated by commoners in blank verse, sometimes expressed by slaves in song or story. All these things violate decorum, the theatrical convention whereby the social elite get to think, speak, act and even dream in a more exalted fashion than their inferiors. In these ways, too, the work plays out like modern fantasy fiction, which makes up new rules or revives old ones in the interests of representing alternative ways of living never encountered in the historical record, though often yearned for.

Isabelle Pasco as Miranda, John Gielgud as Prospero

The play makes much, too, of the mechanics of storytelling. It begins, after the initial flurry of attention-grabbing special effects that evoke the tempest of the title, with an old man settling down to tell his daughter a story. Further stories get told in the course of it, or acted out by supernatural performers, and it ends with the promise of further stories still, told over several nights like the traditional winter’s tales of an English Yuletide. The stories are as full of wonders as any traveller’s lying narrative or old wives’ tale; yet some of them, at least, get supported by the empirical testimony of the listeners’ senses. Impossibilities become possible within the island’s limits, persuading even hardened cynics to keep an open mind about the extravagant anecdotes they may have heard in the past or may hear in future.

In its hospitality to wonders Shakespeare’s island recalls the Fairy Land of Spenser, Sidney’s Arcadia or More’s Utopia; but where it differs from those other non-existent places is in the extent to which its ownership and identity are contested, as if in mimicry of war-torn Europe or the lands and trade routes throughout the world over which the European powers were also squabbling. The island’s namelessness is a symptom of its contested ownership. A name would give it specific cultural and historical associations; instead it is firmly marginal, set beyond the borders of the known or spoken, the mapped or painted. Many of its occupants arrived there against their will, by compulsion or chance: the pregnant Sycorax, banished for witchcraft from Algiers; Duke Prospero, a political exile from Milan, with his infant daughter; a load of shipwrecked Neapolitans. As a result, the play that contains the island presents itself as an excursion to the periphery, an unplanned trip to a strange location something like Sidney’s journey of discovery into the world of poetry or fiction as he describes it in the Apology. Sidney claims in his essay that he never meant to be a poet, summing up his leisure-time literary activities as an ‘unelected vocation’, which suggests a certain transgressiveness about them, since they represent a time-consuming departure from the more serious work in the world for which he was divinely ‘elected’ by a Calvinist God (though of course the term ‘unelected’ could just as easily mean simply ‘unchosen’ or ‘inadvertent’).[1] In the same way, Prospero became a scholar-magician by accident rather than design. As a young man he dedicated himself to his books at the expense of his dukedom, expecting the country to run itself – or rather, expecting his brother to run the country – and then thoroughly outraged when that same brother made himself popular enough to raise a ‘treacherous army’ strong enough to oust him from the throne (1.2.128).[2] Prospero’s exile was an effect of clashing perspectives: the Duke’s assumption that he was the natural born ruler of Milan, and his brother’s that running the country gave him the right to rule it as well, a perspective the Milanese people seem to have shared.

Michael Clark as Caliban

Accordingly, the island too is a place where perspectives clash. For Prospero the place represents a sign that ‘Providence divine’ (1.2.159) shares his opinion as to how badly he has been treated, and that it will support him in regaining his inheritance – a perspective that seems to be confirmed by the arrival off its shores of his brother and the man who helped him seize the dukedom, the King of Naples. For the sole surviving native of the island, Caliban, on the other hand, Prospero is as much of a usurper as Prospero’s brother was for Prospero. And as the ship’s occupants land in scattered groups on the island’s shore, each group takes a different view of who should rule it and how it should be ruled. A single perspective on the appropriate government or governor for this particular patch of ground simply doesn’t exist; and this of course casts doubt on Prospero’s claim to have a unique arrangement with Providence that his hereditary rights will be restored to him.

For one thing, Providence is a Christian concept and there are competing religious affiliations on the island. Caliban worships Setebos, and is still worshipping that god in the final act when he swears to ‘be wise hereafter, / And sue for grace’ (what, I wonder, might the ‘grace of Setebos’ consist of?) (5.1.294-5). At one point Caliban takes Stephano for a god, but returns to his old faith when Stephano fails him. Prospero himself repeatedly links his magic art with varieties of paganism: ‘bountiful Fortune’ (1.2.178), who may or may not be the same as Providence; the Greek and Roman gods he invokes in the masque he puts on for Ferdinand and Miranda, deities whose blessings (and potential curses if the pair disobey his ‘hests’) he evidently expects will have a material effect on the young couple; rural English folkloric beliefs in the ‘elves of hills, brooks, standing lakes, and groves’ (5.1.33). Meanwhile other people on the island can imagine other theological arrangements. The spirit Ariel describes himself and his fellow spirits as ‘ministers of Fate’ (3.3.61), which he puts in the hands of what he calls the ‘powers’ (3.3.73) – perhaps again the classical gods, since he is disguised at this point as a classical Harpy, though their namelessness makes them a kind of placeholder for whatever deities you choose to put there. And Miranda sees her father Prospero as a deity. When she thinks he has sunk the ship and drowned its crew she tells him:

          had I been any god of power, I would
Have sunk the sea within the earth, or ere
It should the good ship so have swallowed, and
The fraughting souls within her. (1.2.10-13)

Her implied recognition of her father as a ‘god of power’ here is importantly qualified by her ability to imagine herself in his position, with the same magical abilities; and this capacity of people to imagine themselves as other people, and in particular as other people of power, is precisely what led to the supplanting of Prospero by his brother as Duke of Milan, and what threatens to supplant him on his island.[3]

Mark Quartley as Ariel

The same capacity to imagine himself as someone else is shared by Prospero’s slave-spirit, Ariel. When he reports the impact of Prospero’s magic on the human castaways from the ship he tells his master that ‘Your charm so strongly works ’em / That if you now beheld them, your affections / Would become tender’; and when Prospero asks ‘Dost thou think so, spirit?’ Ariel replies ‘Mine would, sir, were I human’ (5.1.17-20). Ariel, then, here balances Miranda at the beginning of the play, who visualized herself as a godlike alternative Prospero; though the spirit whose power the magician exploits doesn’t see him as godlike. For Ariel, Prospero is human, and the question of who is human in the play – Caliban is variously referred to as beast, devil or man – opens up a range of other perspectives as to the possibilities available to the occupants of Shakespeare’s island. If Prospero is neither a god nor the darling of a Christian Providence then he can claim no divine sanction for what he is doing; his dream of avenging the perceived wrong done to him becomes a personal fantasy, a quirk or daydream, which would be on a par with everyone else’s daydreams if it weren’t for the power he wields – which is itself entirely dependent on the powers of the slave-spirit Ariel.

The capacity of characters to imagine themselves taking each other’s places becomes increasingly apparent as the play goes on. In many cases, as with Prospero’s brother Antonio and Caliban, their claim to have the right to take someone else’s place is pretty good. Caliban’s foiled attempt to rape Miranda is an example; it’s a bid to confirm his claim to the island by ‘peopling’ it with his offspring, begotten on the body of the only child of the colonial oppressor (1.2.352-3). In this it directly equates to Prospero’s plans to regain his power in Italy through his daughter’s marriage to Ferdinand, son and heir to the King of Naples. The difference, of course, is that Miranda is in love with Ferdinand (something Prospero may have engineered with his charms), whereas she never saw Caliban as a potential sexual partner. But what would have happened if she had not been in love with the Neapolitan prince? In that case she might have found herself in the position of Alonso’s daughter Claribel, who was married to the King of Tunis against her will (this is the traitor Sebastian’s assertion, but no one denies it). Forced marriage is rape, so Caliban’s intention to rape Miranda could well have been a behaviour he has imbibed from the values of his Italian tutors. He did it because he imagined himself in Prospero’s place as king of the island, with heirs enough to found a dynasty. The ‘darkness’ of Caliban’s nature, as Prospero calls it in the final act (5.1.275), reflects the darkness of Prospero’s – just as Miranda’s perception of Caliban may well have been based on her father’s view of him.

Ferdinand and Ariel, by Sir John Everett Millais (1850)

Other characters who legitimately imagine themselves in the positions of others include young Ferdinand, Alonso’s heir, who on arriving at the island believes his father to be dead and so assumes the title King of Naples. Ariel encourages this inadvertent usurpation by singing him a song about his father’s corpse – ‘Full fathom five thy father lies’ – which imagines the royal body being supplanted or replaced by submarine wildlife: ‘Nothing of him that doth fade / But doth suffer a sea-change / Into something rich and strange’ (5.2.399-404). Yet Prospero, who put Ariel up to this exercise in misdirection, pretends to believe that Ferdinand has committed an act of treason in claiming the Neapolitan crown. He enslaves him as he enslaved Caliban and Ariel, and in the process again casts doubt on the validity of his own claims to stand for justice, whether human or divine.

Stephano (centre), Trinculo and Caliban, by Johann Heinrich Ramberg (early 19th century)

More surprisingly, Stephano the drunken butler has an excellent claim to imagine himself king of the island when we first meet him. Like Ferdinand he assumes that the rest of the crew were drowned in the tempest of the opening scene; and after drinking from his bottle – itself serving as a replacement for the Bible that confirms a subject’s oath of allegiance and a monarch’s obligation to serve the people (‘kiss the book’, 2.2.131) – the legitimate ruler of the island, Caliban, swears fealty to him. So Stephano’s statement at the end of his first scene in the play, ‘Trinculo, the King and all our company else being drowned, we will inherit here’ (2.2.174-5), has a far stronger mandate than Prospero’s claim to be monarch of Caliban’s country. In addition, his rule is far more egalitarian. He begins by thinking of enslaving Caliban, just as Prospero did; but he quickly sets Caliban free and begins to elevate him in his commonwealth, first to the position of his ‘lieutenant’ (3.2.14), who will not be allowed to ‘suffer indignity’ (3.2.35), and then to his ‘viceroy’ (3.2.106), whose status equals that of Trinculo, and whose title puts him next in line to the king himself (a viceroy takes the king’s place at official functions, becoming him, so to speak, when he is unavailable). Ironically, it’s only Prospero’s belongings that break up this miniature utopia of liberated servants, and their quasi-egalitarian philosophy remains undamaged by their humiliation and capture. In Act III they sing a round declaring that ‘Thought is free’ (3.2.121) – whose ribald primary sense doesn’t mask its political application;[4] while in the final act Stephano is still proclaiming his commitment to social equality: ‘Every man shift for all the rest, and let no man care for himself; for all is but fortune. Coragio, bully-monster, coragio!’ (5.1.256-8). Prospero’s repeated promises of freedom to his slave spirit Ariel – whose implementation gets deferred till after the play’s ending – sound profoundly unconvincing by comparison.

Chris Cooper as Antonio, Alan Cumming as Sebastian

The most extended meditation on imaginative replacement of others occurs in Act 2 scene 1, where we first meet Prospero’s usurpers – Alonso, Antonio, Alonso’s brother Sebastian – along with his benefactor, Gonzalo. In this scene Gonzalo playfully imagines himself as the replacement king of the island, inadvertently deposing Caliban and Prospero from power in his mental exercise as well as his monarch, Alonso, and that monarch’s next of kin (Ferdinand, Claribel, Sebastian). Like Stephano’s, Gonzalo’s lighthearted act of treason enables a utopian alternative island to form temporarily in the mind’s eye of the audience, a place where ‘All things in common Nature should produce / Without sweat or endeavour […] To feed my innocent people’ (2.1.155-60). Sebastian and Antonio mock the inconsistency of Gonzalo’s fantastic commonwealth, since like Stephano he plans to be king of this egalitarian paradise, but their scorn may also stem from the fact that their own views on supplanting other rulers have no truck with equality. As Antonio seeks to persuade Sebastian to kill his brother in his sleep – imaginatively replacing the king’s sleeping body with a dead one – he points out how he himself has flourished since replacing his brother: ‘look how well my garments sit upon me, / Much feater than before. My brother’s servants / Were then my fellows; now they are my men’ (2.1.267-9). In this their views on governance are close to Prospero’s, who never seems to have thought to make his fellow human beings coequals with him in his new home; and like Prospero they take themselves to be the darlings of a Fortune who has given them the opportunity to make their imaginings real by putting Alonso and his lords to sleep, leaving them at the mercy of the would-be usurpers’ blades.

Tom Conti as Gonzalo

It’s in this scene, Act 2 scene 1, that the island seems first to be identified as a fantastic space, where the impossible is made real. Interestingly, its most fantastic property is that it can be seen in such radically different ways by different people; in other words it’s a contested imaginative location from the very beginning. For Gonzalo and the young courtier Adrian it’s a lush paradise ‘of subtle, tender and delicate temperance’ (2.1.41-2), where clothes miraculously dry shortly after immersion, while for Antonio and Sebastian it’s a marshy desert and their clothes remain soaked and salt-encrusted. Interestingly, there’s no way of knowing whether the two factions of courtiers are really having different experiences; it’s perfectly possible that Gonzalo and Adrian are only claiming the island is pleasant to cheer up the king, or that Antonio is exaggerating the wretched state of his clothes. But in describing the island as paradisal Gonzalo is exercising the prerogative of poets, as Sidney saw them: makers of fictions whose imaginings could bear substantial fruit in the conduct of those who listened to them. One such poet was the classical musician Amphion, who raised the walls of Thebes with the power of his music; and Gonzalo’s earlier imaginative transformation of Tunis, where Claribel’s recent marriage took place, into the legendary city of Carthage (he tells Adrian that the two places were the same) changes a disastrous liaison into the promise of future cultural glory (Carthage was both a great civilization in itself and a staging post on the road to the founding of Rome). In doing so, Antonio and Sebastian claim, he accomplishes miracles greater even than Amphion’s elevation of the walls of Thebes:

Antonio: His word is more than the miraculous harp.
Sebastian: He hath raised the walls, and houses too.
Antonio: What impossible matter will he make easy next?
Sebastian: I think he will carry this island home in his pocket, and give it his son for an apple.
Antonio: And, sowing the kernels of it in the sea, bring forth more islands. (2.1.83-9)

The vision of further paradisal, temperate islands springing up all over the ocean reaffirms Sidney’s conviction that the poet could change the world by summoning up attractive impossibilities. This impression is only reinforced when Gonzalo goes on to imagine the island as a political utopia. For Protestants, the age of miracles is over; but for Sidney the best secular poets may have taken on the mantle of the Catholic miracle-workers, and Gonzalo’s view of Prospero’s atoll as a place where poetic wonders can be made real seems to be confirmed by subsequent events.

This happens in a number of ways. First, Miranda discovers in the castaway Ferdinand the ideal man she has always dreamed of:

          I would not wish
Any companion in the world but you,
Nor can imagination form a shape,
Besides yourself, to like of. (3.1.54-7)

This is hardly surprising, as Prospero points out, given her lack of experience; but the more experienced Ferdinand shares her view that he has met an ideal human being: ‘you, O you, /So perfect and so peerless, are created / Of every creature’s best’ (3.1.46-8). Both Ferdinand and Miranda, in other words, each fulfil the function of poetry according to Sidney, in offering the reader an ideal by which to be stirred to emulation. Again, this exchange could be dismissed as the habitual hyperbole of all new lovers. Later, however, the island also confirms the more extravagant impossibilities of travellers’ tales, as strangely shaped spirits serve food to the courtiers and the sceptics Antonio and Sebastian find themselves converted to belief in the most ridiculous of reports:

          Now I will believe
That there are unicorns; that in Arabia
There is one tree, the phoenix’ throne; one phoenix
At this hour reigning there. (3.3.21-4)

The spirits’ kindness beyond the customary practices of human beings extends the impossibilities they stand for to include Gonzalo’s utopian vision (and suitably enough, it’s Gonzalo who remarks on it). Meanwhile the island’s native, Caliban, who was capable of perceiving the island as a marshy wasteland when he was cursing his owner (‘All the infections that the sun sucks up / From bogs, fens, flats, on Prosper fall’, 2.2.1-2), treats Stephano and Trinculo to a vision of its paradisal aspect: ‘the isle is full of noises, / Sounds and sweet airs that give delight and hurt not’ (3.2.133-4). Caliban associates these ‘sweet airs’ with the pleasure of dreaming – a state that makes him forget his enslaved condition and find himself a king once more – so we can’t be certain they’re anything more substantial than psychological projections. His account of these happy moments, though, reinforces our sense of the island as a place that generates Sidneian poetic fantasies in astonishing abundance; and it also indicates, as Gonzalo’s perspective did, that not all these fantasies are conjured up by its self-styled ruler, Prospero. It’s hard to imagine that the ‘sounds and sweet airs’ Caliban experiences were provided for his delectation by Prospero’s orders. Throughout the play, Ariel shows an independence of mind that allows him to improvise wonders when they occur to him – like Robin Goodfellow in A Midsummer Night’s Dream, as Frank Kermode has pointed out.[5] Could the other spirits have done the same in blessing Caliban’s rest, by virtue of the inhuman kindness Gonzalo notes in them?

Helen Mirren as Prospera

The greatest miracle the island produces is a radical change of heart in Prospero himself. The process of change begins after a feast of impossibilities he has himself served up – a masque performed by spirits, featuring non-existent classical deities. As the masque comes to a sudden close, Prospero suddenly seems to realize that he is not the only human being capable of conjuring up wonders; that they are, in fact, integral to human experience, since even the most extraordinary and seemingly permanent structures we encounter in our lives have the evanescent quality of dreamscapes:

The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a wrack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep. (4.1.152-8)

This new perspective is precipitated by an abrupt recollection of Prospero’s would-be usurpers, Stephano, Trinculo, and that master of dreamscapes Caliban – drunkards whose magic bottle has liberated their imaginations from submission to conventional hierarchies. Their challenge to his hierarchical point of view would seem to be what yields his famous vision of transience, which makes castles in the sky of substantial structures and associates them with dramatic performances (‘pageants’) as well as dreams. The magician remains unable to imagine things from Caliban’s point of view – he continues to typecast the islander as a ‘born devil’ till the end of the play – but not long afterwards he succeeds in seeing things from the perspective of another slave of his, Ariel. When the spirit tells him he would pity the distraught courtiers if he were capable of human pity, Prospero recalls his own capacity for the sympathy – the act of putting oneself in someone else’s place – that so many of the other characters have displayed in the course of the action:

Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply
Passion as they, be kindlier moved than thou art? (5.1.21-4)

In recognizing himself as of the courtier’s ‘kind’ or kin – no better, no worse – Prospero is especially moved by the presence among them of his saviour Gonzalo, the man whose kindness in stocking his boat with supplies enabled him to survive the voyage to the island so many years previously. As he studies the Neapolitans, Prospero finds himself ‘sociable’ to Gonzalo’s feelings (5.1.63), weeping the same tears of contrition and pity, occupying in effect the same emotional space. This sympathy makes it possible for Prospero to imagine himself as being legitimately supplanted or replaced by other human beings in time to come. His revelation to the exhausted courtiers of the long-lost Ferdinand playing at chess with Miranda displays them in Prospero’s own cell, a space which is in effect his ducal ‘court’ as well as his habitation (5.1.166). Their presence in that simultaneously private and public location predicts their eventual usurpation of Prospero’s place at the court of Milan, as well as of Alonso’s place in Naples. And this may explain the exiled Duke’s later observation that when he returns to his dukedom ‘every third thought will be my grave’ (5.1.311): once he is buried, after all, he will be replaced by the next generation, like every other mortal. Those third thoughts of his might well be about the interchangeability of human beings, and hence about their kinship and equal status, regardless of the greater or lesser titles they have been accidentally endowed with.

Ferdinand and Miranda Playing Chess, by Gillot Saint-Èvre (1822)

The revelation of the lovers in Prospero’s cell marks the culminating moment of two miraculous events: the discovery that the former Duke of Milan is still alive, against all odds, and the seeming resurrection of the King’s dead son. These are ‘wonders’, as Prospero points out, and as such typical of the contents of old wives’ tales, the winter’s tales that gave an earlier Shakespeare play its title – itself recalling the title of another work of the 1580s, George Peele’s extravagant comedy The Old Wives’ Tale (printed 1595), which contains many of the ingredients of The Tempest (an enchanter, a servant spirit, lost travellers, slaves, metamorphoses, musical interludes, etc. etc.). The final scene of The Tempest sees the play we have watched being gradually transformed into a traveller’s tale full of impossibilities, a ‘most strange story’, as Alonso puts it (5.1.117), which nevertheless has substance to it (Prospero calls it ‘the story of my life’, 5.1.304). And the play’s epilogue sees the whole imaginative shebang acknowledged as a collective exercise on the part of the spectators as well as the cast of Shakespeare’s company.

If Prospero could achieve wonders on the stage, it was with the help of the ‘good hands’ of his willing audience. The audience worked as crew on the imaginative ship of the production, helping to make the tempest happen in the opening scene, to accept that Miranda was a woman, not a cross-dressed boy, that the goddesses in Prospero’s masque were played by spirits rather than ordinary members of Shakespeare’s company, and that the surface of the stage was made of rocks and sand and mud, not the wooden planks of an early modern playhouse. The audience must therefore also assist with the final wonder, Prospero’s return to Naples. The sails of his ship must be filled by their ‘gentle breath’ in a benign inversion of the violent winds that sent Odysseus off on his ten-years’ journey round the Mediterranean in Homer’s epic. Their sympathy with him, their capacity for putting themselves in his place, must be activated for one last time to send him home, their applause signaling the willingness of their busy imaginations to do the work of crafting him a happy ending. Prospero’s epilogue, in other words, invites us to imagine ourselves as Prospero, endowing us all with ducal status, making us all the beneficiaries of a fairy tale conclusion we ourselves construct. It also invites us to imagine ourselves as Prospero’s spirits, those newly liberated slaves whose abscondment is what drove him to appeal for our assistance in the first place. The epilogue, then, identifies the stage as the space where for a strictly limited time the utopian egalitarianism of Gonzalo’s and Stephano’s visions is necessarily achieved every time a successful performance takes place.

Miranda, by John William Waterhouse (1916)

The possibility of that final replacement – of hierarchy with utopian egalitarianism, of a dukedom with a theatrical collective – was made available in the final scene by Prospero’s own revelation of that ‘wonder’ Miranda in his cell, alongside that other wonder, the resurrected Ferdinand. Miranda’s name, of course, means ‘wonderful’ (from Latin miranda), and so suggests that she embodies the condition of wonder in the play: that is, the immediate emotional response to astonishing novelties, the state that preexists any effort to rationalize them – something close to the experience of ‘hesitation’ Tzvetan Todorov makes central to his understanding of the fantastic.[6] The young couple’s bodies are one of the wonders of the island, as we’ve seen: both represent ideals of the male and female forms. And Miranda makes a yet more remarkable wonder happen on stage in the final act, when she briefly allows the audience to see all humankind as wonderful, despite – well, despite everything the audience knows about the species in general, and the characters on stage in particular. ‘O, wonder!’ she exclaims as she catches sight of the Neapolitan courtiers:

How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in it! (5.1.181-4)

Prospero’s response to her reaction sounds cynical: ‘’Tis new to thee’; and Aldous Huxley’s use of one phrase of it for the title of his famous dystopia makes it hard to avoid reading both the response and the phrase itself as anything but ironic. But at that particular moment in the play the Neapolitan courtiers themselves seem to be as wonder-struck as young Miranda. Alonso briefly endows the girl with the divine status she imagined for herself in the second scene: ‘Is she the goddess that hath severed us / And brought us thus together?’ (5.1.187-8). And although Ferdinand at once claims Miranda as his possession (‘I chose her when I could not ask my father / For his advice’, 5.1.190-1), Gonzalo promptly steps in to make the couple equal again by endowing them both with royal status: ‘Look down, you gods, / And on this couple drop a blessed crown!’ (5.1.201-2). The old man’s timely reminder that the young couple will shortly replace both Alonso and Prospero makes possible the impossibility of some sort of genuine ‘brave new world’, free from the rivalries and acts of treason that characterized the older generation. The extent and nature of that possibility will depend on how cynical the collaborative audience is feeling (or has been made to feel by any given production) as the play draws to a close.

Djimon Hounsou as Caliban

Which brings us back to the question of whether or not the play is a fantasy. Frank Kermode’s Arden edition of the play includes appendices that remind us of the early modern technologies that could make Prospero’s magic a practical possibility for the play’s Jacobean spectators.[7] The play makes a distinction between the mendacious travellers’ tales, for which the island appears to offer material proof when in fact that proof is largely supplied by Prospero’s spirits, and the magic of Prospero, which is genuinely effective in the world of the play. Those spirits, as Kermode also demonstrates, have much in common with the fairies and elves that had been rendered non-existent by Protestant orthodoxy. Does this mean the fairies have been restored to the status of the possible, since they could simply be mischief-making devils? On the other hand, there’s no sign that Prospero’s supernatural slaves are damned, and Ariel’s relative humaneness compared to the usual habits of humanity distinctly suggests otherwise. For a strict Protestant the idea of blessed spirits being at work in the world was heretical; so we return to the notion of Shakespeare’s spirits as fantastic inventions, or of course to the possibility that strict Protestants were wrong in their perception of how the universe operates.

What Shakespeare’s play does do without any doubt at all is to set belief systems and notions of what is and is not possible at odds with one another, thus enacting on stage the ideological and religious conflicts that were being acted out all over the world at the time of writing. For different characters different things are deemed to be possible or impossible at different times. Gonzalo’s belief in Ferdinand’s survival, or in the beneficial properties of the island, are as absurd for Sebastian and Antonio as his evocation of an island utopia, though the former at least turns out to be true in the final act – ands the latter too, if my reading of the ambiguously utopian atmosphere of the play’s ending is a convincing one. Meanwhile Sebastian and Antonio begin the play not believing in traveller’s reports but become believers when faced with Prospero’s spirits – though we have no way of knowing if they retain this belief after they’ve learned who is pulling those spirits’ strings. Miranda’s belief that the courtiers of Naples are things of wonder is an extravagant fantasy of her own, which can hardly be shared by Shakespeare’s audience any more than by her father, given both what we’ve seen of Sebastian and Antonio and the general reputation of Italians in early modern England.[8] The notion that Miranda is a wonder, in the sense of an ideal human being, is something even Prospero doesn’t seem sure of, given his anxiety over whether or not she is listening to his story in the opening act, and whether or not she will listen to his injunctions to stay chaste till marriage, as expressed in the masque scene and elsewhere. Ariel and his fellow spirits are perhaps the most conspicuous fantasies in the play, being benevolent supernatural beings of the sort unacknowledged by Protestant orthodoxy and having much in common with the diminutive fairies of A Midsummer Night’s Dream (Ariel can lie in a cowslip’s bell, which makes him no bigger than Peaseblossom). Even they, however, are treated as possible beings by all in the play, and members of the audience might well have seen them as possible in their own world too: Ariel’s name is biblical, and Elizabeth I had a personal magician, John Dee, who claimed to have dealings with benevolent spirits – which he called angels – rather than damned ones.

Another term for what is possible is what Kathryn Hume refers to in Fantasy and Mimesis as ‘consensus reality’, and in The Tempest there’s no final consensus about the nature of what is and isn’t real.[9] There is, however, a consensus invoked in the play’s epilogue, as we’ve seen, which makes real the possibility of collectively imagining a happy ending for Prospero, and perhaps even for Naples under the benevolent watch of a new generation who have shown themselves open to the condition of protracted wonderment. The question of how far the play is a fantasy, in other words – and how extravagant that fantasy might finally become – is left firmly in the hands of the spectators, whose multiple perspectives have been briefly combined to invoke the multiple perspectives of the play’s diverse characters. In the end, one might say, early modern fantasy lay in the eye of the early modern beholder. Which is precisely what makes it so interesting to consider early modern literature and drama in the light of the modern fantastic.

 

Notes

[1] An Apology for Poetry, with Geoffrey Shepherd (Manchester and New York: Manchester University Press, 2002), p. 81, line 27.

[2] The Tempest, ed. Frank Kermode, The Arden Shakespeare (London: Methuen, 1970). I have changed some punctuation slightly.

[3] For Shakespeare’s interest in replacing, substituting or supplanting people, as worked out in Measure for Measure, see R. W. Maslen, Shakespeare and Comedy, Arden Critical Companions (London: Thomson Learning, 2005), Afterword, pp. 213 ff. 

[4] ‘Thought is free’ is often used mockingly in early modern English to suggest unvoiced suspicions about another person’s sexual activities…

[5] See The Tempest, ed. Frank Kermode, Appendix B: ‘Ariel as Daemon and Fairy’, pp. 142-5.

[6] On hesitation, see Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre (Ithaca, N.Y.: Cornell University Press, 1975), pp. 24-5.

[7] See The Tempest, ed. Frank Kermode, Appendix B.

[8] For the early modern English response to Italian culture see R. W. Maslen, Elizabethan Fictions: Espionage, Counter-espionage and the Duplicity of Fiction in Early Elizabethan Prose Narratives (Oxford: Clarendon Press, 1997), Introduction etc. Naples in particular gets a bad press in one of the most popular prose romances of Elizabethan times, John Lyly’s Euphues: The Anatomy of Wit (1578).

[9] See Kathryn Hume, Fantasy and Mimesis: Responses to Reality in Western Literature (New York and London: Methuen, 1984), p. xi etc.

 

 

Aspects of the Early Modern Fantastic in Shakespeare’s The Tempest, Part 1.

[This is the first part of a paper I gave this week at the University of St Andrews. It considers some general approaches to the early modern fantastic. The second part considers Shakespeare’s The Tempest as an example of what might happen if we applied the modern concept of fantasy to an early modern work of art. My thanks to Professor Neil Rhodes for asking me to speak, and for getting me thinking along these lines!]

Fantasy has often been defined as the literature of the impossible;[1] but deciding what that means isn’t always easy. The term ‘impossible’ raises historical as well as cultural questions; what can’t be done in one period is perfectly feasible in another, and the magical technologies available in the sixteenth century (for instance) far outstripped the pathetically limited technical resources of the twenty-first. In any case, how could anything be described as impossible at a time when spirits walked the earth and the atmosphere of every room was alive with trickster devils, as Thomas Nashe suggests in The Terrors of the Night (1594)? Or when the English countryside swarmed with elves and fairies, mermaids preened themselves on beaches, monsters lolloped in the ocean depths, and the wildest imaginings of Ariosto, Shakespeare or Spenser (animated brass men, bridges in the sky, humans morphing into beasts, the transformation of base metal into gold) could be accomplished by any reasonably adept witch or conjurer or alchemist? The question has led many historians of the fantastic to trace its rise to a time two centuries later when the world began to be viewed as a material entity, whose dimensions, composition and contents could be catalogued and recorded in encyclopaedias, those multi-volume compendiums that aspired to include all that could ever be known about the physical universe. Only when what is possible has been properly categorized can the impossible be clearly distinguished from it. Fantasy could be said to have originated, then, in the Enlightenment, which gave birth to its irrational or monstrous antitheses Romanticism and Gothic fiction, which in turn gave birth to the fantastic, as exemplified in the fairy tales of George MacDonald, the romances of William Morris or the children’s fiction of Edith Nesbit.

Pirated first US edition of The Lord of the Rings

Except, of course, that this is not an accurate account of the rise of the genre. As Jamie Williamson (among others) has argued, fantasy did not really emerge as a recognized literary kind until the early 1960s, when the popularity of the paperback edition of The Lord of the Rings in the United States led to the foundation of the Ballantine Adult Fantasy series under the editorship of Lin Carter[2]. The series served, among other things, to establish a genealogy for fantasy, reprinting a range of key texts from the nineteenth and twentieth centuries which had inspired Tolkien and his circle or were in some way analogous to their works. Like the printed books and pamphlets of the early Reformation which sought to trace a genealogy for Protestantism running from the days of the primitive Church to the Tudor present – a genealogy which included Chaucer and Langland as proto-Protestant satirists of the Catholic clergy – Carter’s project deftly located a golden thread of narratives of the impossible that extended throughout the century or so before The Lord of the Rings made its first appearance in the 1950s. He didn’t reprint much from before the 1850s, and for the most part histories of fantasy have tended to accept his model of the genre’s emergence, despite the fact that it describes (like the history of Protestantism) a literary lineage that didn’t exist until he invented it.

Lin Carter took as his source for the series the various references to modern texts (MacDonald, Morris, Dunsany, Chesterton, Lindsay, Eddison, Peake) which are touched on by Lewis and Tolkien in their prefaces and essays, along with a number of texts he himself identified as similar to these. What united most of these texts was the kind of passion for the medieval and early modern periods that manifests itself on every page of The Lord of the Rings and the Narnia books. George MacDonald’s Phantastes draws on Wolfram von Eschenbach and Edmund Spenser; William Morris’s The Well at the World’s End is deeply indebted to Malory; Lord Dunsany’s early fantasies use the style of the King James Bible, while two of his later novels are set in the Spanish Golden Age of Don Quixote; E. R. Eddison peppers his secondary world romances with quotations from Jacobean poets and playwrights; Hope Mirrlees evokes the Netherlands of the seventeenth century. For Carter, then, modern fantasy has its roots firmly embedded in English Literature of the late medieval and early modern periods – although some of them reach as far back as the early medieval period of Beowulf and the sagas, as represented by the works of Tolkien and the early romances of William Morris. What is it that links the hundred years between MacDonald’s first fairy tale and the publication of The Lord of the Rings with the turbulent world of the Wars of the Roses, the Tudor dynasty and the Jacobean succession? Can a case be made for the late medieval and early modern periods as having given birth to the fantasy genre – not just in the sense of having inspired it, but also perhaps of having invented an early form of fantastic discourse?

If such a case is to be made it needs to rest, I think, on whether or not it was possible for something to be impossible in the period. Or perhaps we should put it another way: for fantasy to exist in early modern times it must have been necessary for people to claim that certain things were impossible. The latter formulation gets to the heart of what was happening between 1450 and 1650, when major political forces in Europe found themselves ranged against each other, each cleaving to a different sense of how the material and spiritual worlds were organized, each convinced that their political rivals were peddling untruths to their credulous subjects – pushing monstrous impossibilities in the interests of seizing or retaining power. I’d like to suggest that the Reformation lent an intensity to the debate over what was true and what was false – and increasingly, over what was and was not possible – which laid the foundations of what would become the fantasy genre.

Illustration from Reynard the Fox

Lurid imaginings were of course thoroughly familiar in pre-Reformation England – as was the notion that they were lurid imaginings, making no claim to truth. These included the extravagant stories known as ‘winter’s tales’ or ‘old wives’ tales’ – narratives in which astonishing events occurred with unusual frequency, such as encounters with dragons, elves, goblins, giants, ghosts and enchanters; travellers’ tales, which acquired a reputation for hyperbolic mendacity; animal fables, in which beasts spoke with human voices – the most popular and elaborate of which was the so-called ‘beast epic’ Reynard the Fox; and more literary forms of extravagance, such as the dialogues of the late Greek satirist Lucian so beloved of Thomas More and his friend Erasmus.

Illustration from Beware the Cat

With the advent of the Reformation in England, however, these over-the-top narratives got caught up in religious controversy. The Old Wives became proponents of the Old Faith, their willingness to tell extravagant tales an index to the superstition in their minds. The travellers with their lying anecdotes had become infected by continental Catholicism; the talking animals had been invented as a means of circumventing censorship, whether by the Catholic Church or the secular powers that worked hand in glove with the so-called ‘Bishop of Rome’; while the sceptic Lucian, who was a noted atheist in the days of the pagan gods, became a model for effective literary assault on all false religions[3]. Polemical writers who brought together these forms of extravagant fiction in their work included William Baldwin, author of the brilliant Lucianic fable Beware the Cat (c. 1553), and William Bullein, whose Dialogue against the Fever Pestilence (1568) ascribed the rise of plague in Europe to the sins of Catholics and wavering reformers and featured a lying Catholic traveller called Mendax.[4] Roger Ascham’s treatise, The Schoolmaster (1570), eloquently summarized the case against extravagant fictions, condemning chivalric romance as the invention of lewd monks who reveled in ‘open manslaughter and bold bawdry’ and dismissing the newly popular and erotically charged Italian novella as Catholic propaganda, unwelcome travellers’ tales come to infect the brains of the English with continental follies.[5]

Circe by Dosso Dossi

There came a time, though, when the extravagant stories associated with Catholicism began to lose their polemical punch and acquire instead an air of exoticism which links them, again, with modern fantasy. It’s tempting to suggest that this turning point came in 1570, when Elizabeth I was excommunicated by papal bull, thus confirming England’s opposition to Catholic culture and paradoxically liberating English writers to treat aspects of that culture as a form of extravagant fiction. Certainly it was in the 1570s that English writers began to write prose fiction in a pseudo-continental Catholic style – ornate in diction and syntax, packed with mythological references, wordplay, and formal experiment, peppered with references to Italy – as if in deliberate emulation of the Italianized English travellers condemned by Ascham[6]. For Ascham these travellers underwent what he called a Circean metamorphosis, transformed into strange new shapes as though by the sorceress Circe in the Odyssey, who came to stand for continental Catholicism in general and Italian culture in particular. The papal bull could be said to have fictionalized the Catholic imaginary, opening it up to be treated with the same imaginative freedom as classical mythology, itself associated with Italy through its transmission by way of ancient Rome.

Venus and Adonis by Titian

Meanwhile classical mythology underwent a modernization at these writers’ hands, becoming cross-contaminated with the Italian novella. The novella in turn picked up elements of the newly discovered ancient Greek and Roman prose romance, whose extravagance of incident furnished Elizabethan writers with the equivalent in plot of the elaborate prose styles (euphuism, Arcadianism and the rest) they delighted in.[7] Kidnappings by pirates, followed by an enthusiastic embracing of the pirate’s life; visits to pagan shrines and oracles, whose powers proved highly dependable; coincidental encounters, confirming the operation in the pagan world of a decidedly pagan fate or fortune, in competition with the more solemn operations of Christian Providence – these ingredients militated against the moral purpose of literature as promulgated by Saint Paul and the humanist education system, promoting a new culture of rebellious youth which was being celebrated in many inventive variations on the Prodigal Son story.[8] Classical myths, which had gained respectability through their use in Christianized versions in schools and universities, detached themselves from their contexts in the Metamorphoses and became excursions into bizarre alternative universes (Coleridge famously described Shakespeare’s mythical poem Venus and Adonis as having been written ‘as if he were of another planet’). Infested by the absurdities of Lucianic satire and seizing every opportunity to foreground the outrageous eroticism that had been sedulously glossed over by Elizabethan schoolteachers, the Ovidian epyllion or ‘minor epic’ reinvented itself as a fresh new form, like the novella, evading the familiar generic categories into which classical literature had traditionally segregated itself.

Northern European influences, too, fed into that highly spiced soup or gallimaufry, the literary melting pot of 1570s and 80s England. Chivalric romances took to the stage as well as the printed page, their association with the medieval church endowing them with a radical detachment from contemporary Protestant life that delighted audiences as greatly as it enraged religious hardliners. Supernatural biographies, such as the stories of Doctor Faustus and Friar Bacon, lost their polemical edge (although not always their anti-Catholic slant) and began to revel in the magic tricks of their protagonists, more concerned with the adventures and jokes made possible by the skills of their protagonists than with the damnable consequences of their necromantic dabblings. By the early 1590s, the jestbook describing the life of the medieval English magician Roger Bacon allowed him to evade any consequences at all by a timely repentance, while the condemned Doctor Faustus redeemed himself as a ghost in the Second Report of Doctor John Faustus (1593) by helping the combined armies of Christendom to lift the Turkish siege of Vienna.[9] By the early 1590s, even Purgatory had made itself available for imaginative exploitation. If the spirits of the dead couldn’t exist in the Purgatorial fires, since Protestant doctrine holds that the spirit dies with the body and is only resurrected at the Day of Judgment, then fictions could be stored there instead, merry tales or romances that laid no claim to historical accuracy. A series of anthologies sent the goblin Robin Goodfellow down to Purgatory to collect these fictions and presented them to readers with prefatory comments by the elvish editor.[10]

Joseph Noel Paton, Oberon and Titania

By the time Shakespeare wrote A Midsummer Night’s Dream (c. 1594), in fact, both Purgatory and fairies or goblins had become relatively acceptable material for literary or theatrical treatment – though Oberon still has to explain to Puck that they are ‘spirits of another sort’ than the damned beings who must return to Hell at cockcrow, like Old Hamlet’s ghost.[11] Shakespeare’s miniaturization of his supernatural beings was a declaration of their detoxification: no one could believe in, or at least be afraid of, a little person who could be overwhelmed by the bursting of a honey bee’s bag full of pollen. Romeo and Juliet consigns the fairies to the realm of dreams, while Thomas Nashe in The Terrors of the Night identifies a whole category of the dream state as the product of a poor digestion, their extravagant contents attributable to eating cheese at bedtime. Meanwhile the association of a belief in fairies with the Old Religion was confirmed by William Warner in his epic poem Albion’s England (1586), where a half-forgotten Robin Goodfellow laments the loss of that universal faith in the existence of fairies which obtained in the reign of Elizabeth’s Catholic sister, Mary I.[12] Reginald Scott’s Discovery of Witchcraft (1584) helped to spread the idea that the end of superstition should mean the end of other folk beliefs; and by the time William Corbet wrote the much-loved early seventeenth-century ballad ‘The Fairies’ Farewell’ – whose first line, ‘Farewell rewards and fairies’, furnished Rudyard Kipling with the title of his fantasy of 1910 – the loss of faith in both fairies and Catholicism could be spoken of in the regretful terms that set the tone of so much modern fantasy literature. The same nostalgic note suffuses the various near-contemporary accounts of the loss of the old classical myths, such as Milton’s ode ‘On the Morning of Christ’s Nativity’ (1629). This wistfulness is increasingly the tone of the religious moderate, as against the puritan or the militant Catholic, and their propensity for nostalgia is surely one of the chief reasons for the frequent invocation of early modern times in fantasies of the first half of the twentieth century.

The imaginative spaces made available by Purgatory and the dreams of incautious diners were lighthearted equivalents of the invented secondary worlds celebrated by Sir Philip Sidney in his Apology for Poetry (1595), which first appeared in print around the time when A Midsummer Night’s Dream and Romeo and Juliet were holding the stage. Sidney’s observations on the capacity for poetry to invent worlds anticipate Tolkien’s in his essay on Fairy Stories – especially his comments on the capacity of the storytelling imagination to activate ‘recovery’, the process of enabling its readers to see the world they live in with fresh, more-or-less unfallen vision. The passage in the Apology is deservedly celebrated:

Only the poet, disdaining to be tied to any such subjection, lifted up with the vigour of his own invention, doth grow in effect into another nature, in making things either better than Nature bringeth forth, or, quite anew, forms such as never were in Nature, as the Heroes, Demigods, Cyclops, Chimeras, Furies, and such like: so as he goeth hand in hand with Nature, not enclosed within the narrow warrant of her gifts, but freely ranging only within the zodiac of his own wit.

Nature never set forth the earth in so rich tapestry as divers poets have done; neither with pleasant rivers, fruitful trees, sweet-smelling flowers, nor whatsoever else may make the too much loved earth more lovely. Her world is brazen, the poets only deliver a golden.[13]

Sidney’s well-known association of poetry with fiction – things that have been made up or imagined, as against history or philosophy – here gets extended to suggest that the most exalted form of fiction is what we would now call fantasy, the invention of hybrid ‘forms such as never were in Nature’: impossibly gifted heroes, pagan divinities and chimeras, as well as non-existent ‘golden’ worlds fit to contain them. Like Tolkien he is convinced that the justification of such escapist dreamscapes lies in their capacity to materially change the people who read about them – they are not ‘wholly imaginative, as we are wont to say by them that build castles in the air’, but work ‘substantially’ by inspiring readers to emulate the impossible heroics and altruistic adventures they celebrate. Coming into print at the high point of the transition of the Catholic imaginary to fictional status, Sidney’s essay provided a theoretical basis for the widespread enjoyment of extravagant fictions over the preceding two-and-a-half decades.

Meanwhile his great work of prose fiction, the second draft of his Arcadia (1590), provided an example of the ‘golden’ secondary world he spoke of, stuffed as it is with evil enchantresses and high-minded cross-dressing heroes or heroines endowed with improbable eloquence, whose paths crisscross in a fictionalized Mediterranean which clearly bore little resemblance to the place itself. At the same time Spenser’s Faerie Queene (1590-6) provided readers with a fictionalized Britain where enchanters tangled with intelligent lions, book-spewing monsters, dragons, men made of brass, women made of flowers. I suggested at the beginning that none of these things were strictly impossible for an early modern readership, but the immeasurable distance between the golden world of Faerie and the squabbling, plague-ridden country it was based on, together with the sheer abundance of rare wonders with which it was stocked, precipitated Spenser’s inventions into the realm of impossibility described by Sidney. In the latter half of the 1590s, Richard Johnson’s Seven Champions of Christendom (1596) took Spenser’s appropriation of the Catholic saint’s life for fictional purposes (Saint George in the opening book of The Faerie Queene) several stages further, sending the patron saints of England, Scotland, Ireland and the rest in knightly form across a fantastical Europe whose geography bears no relation to the one you might find in contemporary maps.[14]

In his essay, Sidney gives as a key example of the poet’s capacity to invent models for good conduct Thomas More’s Utopia (1516), which supplies its readers with the ideal rhetorical technique for describing a perfect commonwealth, even if Sidney has reservations about how that technique was used: ‘that way of patterning a commonwealth was most absolute’, he observes, ‘though he perchance hath not so absolutely performed it’. Sidney was a militant protestant, keen to see Elizabeth involve herself in the continental wars of religion in the 1580s, so his praise of More is striking; he puts the shortcomings of Utopia down to the failings of More the man (‘where Sir Thomas More erred, it was the fault of the man and not of the poet’), and this distinction between the writer with his erroneous convictions (More was of course a fierce defender of Catholic orthodoxy against the inroads of Lutheranism) and the secondary world he generated marks out the imagined island as a more-or-less neutral zone, tainted by its writer’s religious affiliations but by no means undermined by them in principle. The Apology itself declares its intention to steer clear from religious topics, ostensibly because these are too exalted to be brought into a discussion of imaginative literature, and so both theorizes and justifies the development of a field of fiction that embraces and expands upon the rich heritage of stories inherited from the pre-Protestant epoch.

In the 1590s Shakespeare was at the centre of the fictionalizing of Catholic culture – a process that remained tinged with an air of real danger, treading as it did on ideological ground that was being fought over with unprecedented savagery. His most fantastic inventions of that decade – Venus and Adonis (1593), A Midsummer Night’s Dream (c. 1594-5), the Queen Mab speech in Romeo and Juliet (c. 1595), the Herne the Hunter episode in The Merry Wives of Windsor (c. 1597-8), the god- and lion-infested forest of As You Like It (c. 1598-1600) – draw their energy from a passionate union of Catholic art and literature with the Protestant repudiation of Catholicism and other forms of superstition, including native folklore as well as classical mythology – producing a hybrid literary-theatrical child of a kind that hadn’t been seen before. I’d like to proceed, though, by skipping a decade and looking at the point when Shakespeare seems to have gone back to the white-hot period of literary fusion that helped to generate his early writings. The series of plays known as the late romances rode on a wave of Jacobean nostalgia for the Elizabethan period which may well have gained impetus from a certain discontent with the reign of James I. Shakespeare returned to the genre of Greek romance, of the kind popularized by Robert Greene in the 1580s, with Pericles (c. 1607-8), Cymbeline (c. 1609-10), and The Winter’s Tale (c. 1609-11), which introduced impossible wonders, astonishing coincidences and spectacular special effects into his oeuvre, while reminding audiences of the giddy time of Greene’s prolific fiction-writing heyday. The Tempest (c. 1610-11) seems to me (as to many others) most richly to reimagine the liberation of the imagination in which Shakespeare had participated; and in harking back as it does, the play also seems to me most vividly to anticipate fantasy fiction of the nineteenth and twentieth centuries, summarized by Rosemary Jackson as a ‘literature of desire, which seeks that which is experienced as absence and loss’.[15] What might happen, then, if we were to read it through the lens provided by modern fantasy? That’s the question I’ll try to answer in the second of these two posts.

 

Notes

[1] For fantasy as literature of the impossible, see Edward James and Farah Mendlesohn’s summary of the broad consensus among its theorists and commentators: ‘The major theorists in the field – Tzvetan Todorov, Rosemary Jackson, Kathryn Hume, W. R. Irwin and Colin Manlike – all agree that fantasy is about the construction of the impossible whereas science fiction ay be about the unlikely, but is grounded in the scientifically possible.’ The Cambridge Companion to Fantasy Literature, ed. Edward James and Farah Mendlesohn (Cambridge etc.: Cambridge University Press, 2012), p. 1.

[2] See Jamie Williamson, The Evolution of Modern Fantasy: From Antiquarianism to the Ballantine Adult Fantasy Series (New York: Palsgrave Macmillan, 2015), Introduction, and Edward James and Farah Mandlesohn, A Short History of Fantasy (Farringdon: Libri Publishing, 2012), p. 76.

[3] On early modern travellers’ tales and magical journeys see R. W. Maslen, ‘Magical Journeys in Sixteenth-Century Prose Fiction’, Yearbook of English Studies, Vol. 41, no. 1 (2011), pp. 35-50.

[4] For more on Baldwin and Bullein see R. W. Maslen, ‘The Cat Got your Tongue: Pseudo-Translation, Conversion and Control in William Baldwin’s Beware the Cat’, Translation and Literature, vol. 8, Part 1 (1999), 3-27, and ‘The Healing Dialogues of Dr Bullein’, Yearbook of English Studies, Vol. 38, nos. 1 and 2 (2008), ed. Andrew Hiscock, pp. 119-35.

[5] For Roger Ascham’s views on Italian fiction see R. W. Maslen, Elizabethan Fictions: Espionage, Counter-espionage and the Duplicity of Fiction in Early Elizabethan Prose Narratives (Oxford: Clarendon Press, 1997),pp. 41-51.

[6] See Maslen, Elizabethan Fictions, Introduction.

[7] For the English imitation of Greek and Latin prose romance see Robert H. F. Carver, ‘English Fiction and the Ancient Novel’, in Thomas Keymer (ed.), Prose Fiction in English from the Origins of Print to 1750, The Oxford History of the Novel in English, Volume 1 (Oxford: Oxford University Press, 2017, Chapter 8, pp. 123-45.

[8] The classic work on representations of the Prodigal Son in Elizabethan fiction is Richard Helgesson, The Elizabethan Prodigals (Berkeley, Ca.: University of California Press, 1976).

[9] For a detailed account of this little-known work of early modern prose fiction see R. W. Maslen, ‘Marlowe’s Ghost: The Second Report of Doctor John Faustus’, Airy Nothings: Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason: Essays in Honour of Alasdair A. MacDonald, eds. Karin E. Olsen and Jan R. Veenstra (Leiden: Brill, 2014), pp. 1-24.

[10] For Robin Goodfellow in the early 1590s see R. W. Maslen, ‘Dreams, Freedom of Speech, and the Demonic Affiliations of Robin Goodfellow’, Journal of the Northern Renaissance, Issue 1.1 (March 2009), pp. 129-44.

[11] See R. W. Maslen, Shakespeare and Comedy, Arden Critical Companions (London: International Thomson Publishing, 2005), pp. 141-54.

[12] See Maslen, ‘Dreams, Freedom of Speech, and the Demonic Affiliations of Robin Goodfellow’, 3.

[13] Sir Philip Sidney, An Apology for Poetry, with Geoffrey Shepherd (Manchester and New York: Manchester University Press, 2002), p. 85, lines 17-27.

[14] See Richard Johnson, The Seven Champions of Christendom (1596/7), ed. Jennifer Fellowes, Non-canonical Early Modern Popular Texts (Aldershot and Burlington, VT: Ashgate, 2003).

[15] Rosemary Jackson, Fantasy: The Literature of Subversion (London and New York: Rutledge, 1981), p. 3.

Comedy Comes of Age in Shakespeare’s All’s Well

[I gave a version of this piece as a lecture at the Shakespeare Institute, Stratford-upon-Avon, in 2009, at the invitation of John Jowett. It’s pretty closely in dialogue with my book Shakespeare and Comedy (Arden, 2005), especially Chapter 3, ‘Lightness, Love and Death’ and the Afterword, ‘Comedy for a New Reign’. I’m putting it here because All’s Well is in effect a Lost Book among Shakespeare’s plays.]

Michael Denison as Bertram, Jill Dixon as Diana

‘All’s well that ends well’ was already an old saying in early modern England; the only non-biblical proverb to be used as a title for one of Shakespeare’s plays. The story on which the play is based was also old by the time he adapted it. It derives from Boccaccio’s tale ‘Giletta of Narbonna’ in The Decameron (c. 1350), as mediated through an English translation first published in Shakespeare’s infancy.[1] The sense of going back to the past to gain a new perspective on the present is pervasive in the play. In itself, this idea is nothing new; but Shakespeare’s understanding of how the past manifests itself in the present and comes into conflict with it is subtly different here than in any of his other works – subtly different, too, from anything by his contemporaries. Above all, he’s concerned with the changes undergone by language in each generation, and with the forms of discourse – proverbs, old stories, riddles, prophecies, jokes – which may be used to maintain a sense of continuity between one generation and another.

Kimberly Parker Green as Helena, James R. Winker as the King of France, Graham Hamilton as Bertram

To put it crudely: All’s Well That Ends Well – which is generally dated to the early days of the reign of James I, between 1603 and 1607 – dramatizes a conflict between two discourses or verbal attitudes. The attitude to language it presents as modern, and which it seeks to challenge, is an excessive reliance on what has come to be called the ‘cold light of reason’ – or simply ‘sense’; the notion that one can argue one’s way to the truth using the structures of formal logic, based on an understanding of the world that perceives it as always and everywhere the same, and that therefore fails to recognize its subjection to the transformative operations of time. The means by which the play mounts this challenge is by way of a variety of time-worn discourses which were branded by contemporary moralists folly or nonsense. The seriousness of this encounter between two conflicting philosophies of language is stressed by the quasi-legal structure of the play’s last act, in which an informal trial is staged at a point when one might expect a formal trial to have been set up. But the triumph of nonsense at the end of the play – its success in engineering a happy ending against all odds, in supplanting a legal sentence with what is in effect a punchline – makes it an endorsement of comedy, a genre that would seem to be directly at odds with the notion of trials, judgements or any other form of legislation. An ambiguous endorsement, to be sure; but then verbal comedy (as opposed to slapstick) has always thriven on ambiguity.

In a law-court, the proper and improper use of language may be a matter of life and death. And the fact that the quasi-trial in Act 5 of All’s Well does not take place in a law-court stresses the extent to which every verbal act is a risky business – the extent to which you take your life in your hands, put yourself on trial as it were, every time you open your mouth. I have argued elsewhere that Shakespeare’s comedies are pervaded by the notion that the word-play which is the medium of comedy is the riskiest business of all; and I would like to suggest here that the period of Shakespeare’s life when he’s most aware of the riskiness of the comic is just before and just after the accession of James I. Mock-trials occur with astonishing frequency in the plays of this period; trials in which men of power accuse, convict and sentence their inferiors – usually women – without giving them the benefit of a jury or a formal defence. The most extreme example of such a mock-trial is the final scene of Othello (c. 1603-4), in which Desdemona’s husband appoints himself her judge, jury and executioner. But Othello’s precursors include Claudio and Don Pedro in Much Ado About Nothing (c. 1598), who condemn Hero without listening to her plea of not guilty; Hamlet, who accepts as the only witness of Claudius’s guilt what might well be a ‘goblin damned’; Troilus, whose summary sentencing of Cressida has no interest in exonerating circumstances; and the Duke in Measure for Measure (c. 1604), who passes a series of arbitrary judgements on Isabella, Mariana, Angelo and Lucio in the play’s last scene. The implication of all these plays is that grammatical sentences may become quasi-legal sentences at a moment’s notice in the sophisticated discourse of the 1600s. And since the word ‘sentence’ could mean ‘proverb, saying, aphorism’ (from Latin sententia), the right use of proverbs as a means of swaying judgement – your own or other people’s – becomes a particularly urgent issue in this play ruled by a proverb.

Othello is the play of Shakespeare’s that most fully exploits the more sinister aspects of sententia, as well as of the quasi-legal sentence. Iago’s manipulation of Othello deploys well-known proverbs, which are supposed to articulate ancient wisdom, as a means to instigate prejudice – that is, pre-judgement, the bane of all efforts to set up an equitable trial. He persuades Othello to see Desdemona through the lens of the proverbial licentiousness of Venetian women, and tricks him into conforming with the proverbial stereotypes of ‘changeable’ Moor and jealous old husband, the commedia del arte Pantaloon with a murderous twist. And Iago does this by convincing Othello of Iago’s own simple honesty, as exemplified in a style of speech that’s liberally sprinkled with old sayings. As has been often pointed out, the success of Iago’s proverb-fuelled project would be comic if its consequences had not been so appalling.

Helena as pilgrim, by John William Wright

All’s Well inverts Othello. The play’s protagonist Helen is honest, deriving her honesty from her father – whereas Iago, as a Spanish stranger in Venice, has no known forebears to guarantee his honesty. Helen’s parents were poor but honest; but finding herself in a world where honesty is despised, she resorts to tricks that might be construed as dishonest, allying herself through word and action with the professional fool Lavatch (whose brazen honesty in telling harsh truths to his mistress often gets him into trouble) and the foolish professional soldier Parolles (whose brazen dishonesty gets him into trouble till he learns to be honest about it by becoming a professional fool).

The proverb that emblazons All’s Well, however, furnishes it with a title as unsettlingly knotty as any scheme Iago could come up with – as knotty as the play it introduces. It carries with it, for example, the notion that meaning in discourse is always deferred – that is, contingent on the passing of time; a notion Shakespeare was to play with at length in his late romances.   It implies, too, that this comedy is concerned with happy endings; though the phrase also incorporates the sense that all happiness has an ending. And it raises the question of what an ending is (many commentators have pointed out that the play’s conclusion, like that of Johnson’s Rasselas [1759], is one ‘in which nothing is concluded’). The end of one epoch, after all – such as the reign of Elizabeth, which also signaled the end of the Tudor dynasty – is the beginning of another – such as the reign of James I, which inaugurated the age of the Stuarts; a single life can span both epochs without changing significantly; the structure of the realm may not change a great deal between the end of one historical period and the beginning of another; measurements are always contingent, even the measurement of a life, which may not end when the quietus comes, as Hamlet reminds us. Until we can ascertain that an ending really has taken place, and agreed both what has ended and what the significance of that ending is, the proverb of the play’s title cannot come into play; it remains always a promise or possibility rather than an assertion, an illustration of the crassness of proverbs rather than a trusted piece of familiar wisdom passed down from one generation to the next.

But the play is not solely concerned with endings; it’s equally concerned with beginnings that may or may not be happy – a topic of keen interest to a nation at the beginning of a new century and a new reign. And the play’s attitude to the new epoch is quite different from that of Shakespeare’s other theatrical salute to the Stuart dynasty, Measure for Measure. Where the latter begins with a set of characters who nurture unrealistic expectations of protecting their absolute principles in a degenerate world, All’s Well that Ends Well introduces us to a set of men and women who are acutely conscious that they must deal with a flawed world on its own terms, and that they will probably not be able to protect their most cherished principles from becoming compromised by these worldly dealings as one age or period or fashion gives way to another. This is another implication of the title: that happy endings may be held to justify the means used to reach them, and that not all of these means may be good ones. But the title also invites us to consider from the beginning the question of what it means to be ‘well’, either physically or morally speaking. There’s a sense, then, both of resignation and of doubt about the title – of the conditional mode, as it were, the big ‘if’ that governs its proceedings – that perfectly suits it to the play it emblazons.

James R. Winker as the King of France, Kimberly Parker Green as Helena

Like Measure for Measure, the comedy has much to say about the difficulty of dialogue – and indeed it contains some of Shakespeare’s most complex and elusive poetic language. Verse is its medium, where prose was the dominant medium of Measure for Measure – especially in the second half of that play. And an astonishing proportion of the verse in All’s Well is rhymed. The play’s protagonist Helen uses rhyme repeatedly, and the formal closure rhyme gives to her lines imparts to many of them a proverbial feel, like that of the play’s title, as if she is quoting long-established, carefully formulated philosophical truths – drawing, perhaps, on the same store of ancient knowledge that formed the basis of her father’s reputation as a man of letters. ‘Who ever strove / To show her merit that did miss her love?’ she asks (1.1.212-3), and despite the uncertainty of the answer, the question becomes an assertion by virtue of the euphonic link it establishes between striving and desire. ‘He that of greatest works is finisher / Oft does them by the weakest minister’ (2.1.135-6), she tells the King of France as she undertakes to cure him of a terminal illness, and the rhyme lends an authority to her verbal empowering of the weak that both testifies to her confidence and gives confidence to her hearers. The other great users of rhyme in the play are Helen’s adoptive mother, the superannuated Countess of Roussillon, and the aged King of France himself, whose cure she effects using a drug invented by her father, and who becomes a replacement father-figure to her. Helen’s, the Countess’s and the King’s rhymed exchanges make them sound as though they are singing to the same tune, as it were.   The King and Helen in particular establish a family resemblance in the scene where they first meet, as their speeches gradually get closer to each other in rhyme, in despite of reason – a contest between sound and sense, euphony and probability, which gets reignited by the King at the end of the play when he celebrates Helen’s return to his court with a tentative restatement of the play’s title: ‘All yet seems well; and if it end so meet, / The bitter past, more welcome is the sweet’ (5.3.326-7, my emphasis). There’s a mutual understanding between Helen and the King that unites genders and generations through the medium of melodic utterance. Here, then, is yet another meaning of the title: that a conversation goes well when each of its metrical units ends (meetly and sweetly, as the King might say) in a rhyme. There’s clearly something contrived about such a claim; it cannot be said to be true in any obvious sense. But its very contrivedness stresses the extent to which this play is preoccupied with the elaborate engineering of a happy ending, against all odds, by all means necessary, regardless of improbabilities – or even impossibilities. Helen and the King acknowledge that they live in a universe that resists happy endings. They are determined nevertheless to achieve one, and the way they talk articulates that determination.

As with the Duke and Isabella in Measure for Measure, their plan to engineer happiness flies in the teeth of the ferociously anti-romantic environment they inhabit. Both Helen and the King are old-fashioned in their belief that happiness is a condition worth having – or even possible to have. The play is full of elderly people who lament the passing of old-time excellence and the ascendancy of a self-centred new generation. The Countess of Rossillion, who cannot countenance her son Bertram’s treatment of Helen; the elderly courtier Lafeu, who is disgusted that the young aristocrats of his time cannot appreciate Helen’s beauty and wit; the King, who in the first act wishes that he, like Bertram’s father, had not lived ‘to be the snuff / Of younger spirits, whose apprehensive senses / All but new things disdain’ (1.2.59-60) – all note the course of the world’s decline, its gradual loss of affection with each succeeding age. Helen allies herself with these nostalgic old folk both by her deployment of old knowledge – her use of her father’s medicine to cure the King – and by their adoption of her as their imaginative offspring. The Countess adopts her as her daughter in the first act, the King effectively adopts her in the second, and she substitutes herself for Lafeu’s daughter in the final act, when she reclaims Bertram’s hand just after he has contracted it to the old man’s child. By the end of the play, the base-born Helen has effectively forged a new lineage for herself, an ancestry that extends into the mists of French antiquity, linking her to the past as strongly as the ancient wisdom she inherited from her father.

Sir Thomas Elyot, by Hans Holbein

The nostalgic attachment to the past shared by Helen and her adoptive parents is not, then, a reactionary one. It seems to liberate them from reactionary class positions, making them prize a person’s words and actions more highly than her birth, in marked contrast to young men like Bertram, who do not understand that it’s necessary to inherit their ancestors’ ‘moral parts’ as well as their facial features (1.2.21). Early modern conduct manuals very often stress the notion that aristocracy was first bequeathed to certain families by common consent of the people, as a reward for their achievements. Perhaps the richest and most intriguing assertion of this view comes in Sir Thomas Elyot’s The Governor (1532) – a favourite book of Shakespeare’s. ‘In the beginning,’ Elyot tells us in his chapter on nobility,

when private possessions and dignity were given by the consent of the people, who then had all things in common, and equality in degree and condition, undoubtedly they gave the one and the other to him at whose virtue they marveled, and by whose labour and industry they received a common benefit, as of a common father that with equal affection loved them.[2]

It’s therefore necessary, Elyot asserts, for each new generation of nobles to reassert their nobility in action if they wish to retain their hereditary privileges; and Shakespeare’s King of France concurs. ‘Honours thrive,’ the King tells Bertram, ‘When rather from our acts we them derive / Than our fore-goers’ (2.3.133-5). Those nobles who fail to act nobly not only forego their right to the title they inherit, but show symptoms of a more general sickness in the world they inhabit. Elyot puts it like this:

Where virtue joined with great possessions or dignity hath long continued in the blood or house of a gentleman, as it were an inheritance, there nobility is most shown, and these noble men be most to be honoured; forasmuch as continuance in all thing that is good hath ever pre-eminence in praise and comparison. But yet shall it be necessary to advertize those persons, that do think nobility may in no wise be but only where men can avaunt them of ancient lineage, an ancient robe, or great possessions, at this day very noble men do suppose to be much error and folly. Whereof there is a familiar example, which we bear ever with us, for the blood in our bodies being in youth warm, pure, and lusty, it is the occasion of beauty, which is everywhere commended and loved; but if in age it be putrefied, it loseth his praise. And the gouts, carbuncles, cankers, leprosy, and other like sores and sicknesses, which do proceed of blood corrupted, be to all men detestable. (p. 104)

What this passage reveals is the fact that the past is the location of radical thought and action. It was as a result of a communal decision, a revolutionary rethinking of the problem of how best to live together, that people first established the institution of nobility. Elyot’s identification of nobility as having been granted to certain men by democratic agreement implies that it can be taken away just as easily (notice that resonant phrase ‘as it were an inheritance’ – Elyot denies that inheritance is ever either essential or automatic). The political implications of this position were taken up much later in the century in the notorious French treatise Vindiciae contra tyrannos (1579), by Philippe du Plessis Mornay and Hubert Languet, which argued that kings as well as nobles were originally elected by the people, and might be deselected – deposed – should their merits become subject to ‘degeneration’. And Elyot’s comparison of successive generations of nobles to the ageing of the human body implies something more: that later generations are in a sense older than those that went before them, since they are further removed from the vigorous, innovatory convictions that motivated the institution of nobility. The younger generation is therefore more vulnerable to the ravages of disease – to what he calls putrefaction – than the old. Bertram is sicker than the King of France, his body less responsive to Helen’s loveliness, his concern for the public weal, as Elyot calls it – for the wealth and/or wellness of the state (Elyot was an amateur physician as well as a politician) – almost non-existent. The notion that he is to be healed in the second half of the play, as the King was in the first, is a structuring principle of the comedy. And the play implies too that the world Bertram represents – the world occupied by the theatre audience – is as sick as he is, and needs restoring to health by similar means if it’s not to fall apart under the burden of its own decrepitude.

Sir Thomas Elyot was a lexicographer like Samuel Johnson. He authored the first Latin-English dictionary, and his Book Named the Governor is also a kind of lexicon, passionately committed to the belief that the right use of words, the respect for their etymology and proper deployment, is essential to the wholesomeness of any early modern society.[3] His chapter on nobility is more concerned with restoring that word to its proper signification in the here and now than it is with antiquarianism. All’s Well is similarly concerned with the use and misuse of words; and its title implies a similar reading of the world as having gone off track, as needing to return to where it started, to the common weal, which depends on a common or mutual understanding of what words mean – an understanding that has almost been lost, with disastrous political and social consequences.

The nostalgia of Helen and the old people of All’s Well is for a very distant past; perhaps even for the days before the nobility was founded, that golden age when the idea of nobleness mattered more than any social institution. They speak of the age when miracles occurred (as they do again in this play: the miracle of the King’s recovery, the miracle of Helen’s return from the dead to reclaim the hand of her husband); or when goddesses like Diana walked the earth (as she does in this play from Act Three, in the person of the mortal girl Diana). Above all, they speak of the days when words were inextricably linked with their simplest meanings, as Helen insists they are when she addresses people like Diana who share her integrity, or as the King says they were whenever Bertram’s father opened his mouth. ‘His honour,’ says the King of his dead friend, ‘Clock to itself, knew the true minute when / Exception bid him speak, and at this time / His tongue obeyed his hand’ (1.2.38-41). Words in those days were carefully weighed, sparingly spoken, sincerely meant; and once again, the King’s and Helen’s deployment of rhyme would seem to replicate the careful timing and placing of words that characterized this legendary epoch.

Of all the good qualities of the past, this exemplary use of language is the most difficult to recover in the present. The Countess’s desperate efforts to get Helen to confess her love for Bertram, the Countess’s son, are rendered necessary by the time they live in; a time when the tongue is hobbled by the knowledge that its owner’s best intentions may be wilfully misread, its most direct and honest utterances subject to misprision. ‘Only sin / And hellish obstinacy tie thy tongue,’ the Countess tells Helen, ‘That truth should be suspected’ (1.3.170-2); but she is wrong. Helen is merely concerned to defer her declaration of love until she knows she will be pardoned for it; that she will not be condemned out of hand for ambition in loving a man above her station, or brazenness in giving her desire expression. These days, Helen finds, well-meaning people must convey their thoughts in riddles if they wish to avoid instant misprision. She speaks ‘riddle-like’ to the Countess when she finally confesses her love for the Countess’s son (1.3.208); and in the final scene, her friend Diana speaks in riddles to the King in her efforts to explain the convoluted paths by which the play’s happy ending is being achieved. Riddling is the language of oracles, another of the ancient sources of knowledge that Helen resurrects. When she promises the King that she can cure him, she relies on the ‘help of heaven’ to substantiate her promise (2.1.151), just as the priestess did at the Delphic oracle when she begged Apollo for answers to his worshippers’ questions. The King is both amazed and impressed by Helen’s confidence: ‘Methinks in thee some blessed spirit doth speak / His powerful sound within an organ weak,’ he tells her, ‘And what impossibility would slay / In common sense, sense saves another way’ (2.1.174-7). Her claims to occult knowledge, in other words, seem to him senseless, like the verses delivered by the Delphic oracle; yet in one way or another the ‘sense’ of the Delphic verses was always confirmed by the outcome of events, just as the sense of Helen’s riddles will assert itself before the play is done. The plot of All’s Well is an elaborate device to give substance to the latter-day oracular riddle spoken by Diana in the final scene: or to put it another way, to extract sense from a senseless world by uttering seeming nonsense.

Conleth Hill as Parolles, Michelle Terry as Helena

In the modern age, words are wayward, treacherous, suspicious, and must be circumvented by discovering a new discourse composed (perhaps) of riddles and rhymes. Yet even words as used in the modern age can serve to bring people together if cleverly used – like the wheelings and dealings of a crafty pimp. This is confirmed in All’s Well by the words and actions of Parolles; a braggart soldier who helps to lead Helen’s husband Bertram astray, but who also helps to bring him back to the wife he abandons; a pimp who lends his services in an effort to help Bertram commit adultery, but who ends instead by introducing the wayward husband to the deferred delights of his wedding night. As his name suggests (it means ‘words’ in French), Parolles embodies the way words are used in the here and now, the duplicitous ambiguity of latter-day discourse. Words lead people away from truth, just as Parolles encourages Bertram to be untrue to Helen; yet they also inadvertently restore truth to those who have lost it, as Parolles restores Bertram to his lost spouse. This verbal double action is present in everything Parolles says. In the first act, for instance, he delivers an oration to the virgin Helen on the uselessness of virginity (‘Loss of virginity is rational increase; and there was never virgin got till virginity was first lost’, 1.1.117-9). Yet despite his obviously salacious motives in speaking thus (he wants to sleep with Helen himself), Helen is not insulted by Parolles’s oration. On the contrary, she finds it intriguing: it impels her to ask him what is (for her) the million dollar question: ‘How might one do, sir, to lose [virginity] to her own liking?’ (1.1.141). Yet the same speech serves Bertram’s turn as well; the young man later parrots it when attempting to seduce Diana: ‘When you are dead, you should be such a one / As you are now, for you are cold and stern; / And now you should be as your mother was / When your sweet self was got’ (4.2.7-10). Parolles, in other words, speaks both for the loyal Helen and for the disloyal Bertram. He gives voice to Helen’s desire, which she cannot easily voice herself without being condemned for it like her Homeric namesake; and he furnishes Bertram with the language of seduction, thus initiating the young man into the pleasures of sex – the first step on the way to reconciliation with his wife. This dual action of Parolles’s words is apparent, too, in the message he delivers to Helen from Bertram after their marriage, telling her that Bertram has left her for the theatre of war. For Parolles, this abandonment – which seems so disastrous to Helen’s adopted parents – is merely a deferral of the couple’s pleasure, an erotic technique (familiar to frequenters of brothels) for enhancing the ecstasy of their future love-making. Bertram’s departure, says Parolles, will ‘make the coming hour o’erflow with joy / And pleasure drown the brim’ (2.4.44-5). And despite the fact that Parolles doesn’t mean this – that at this point he doesn’t expect Bertram and Helen ever to meet again – this quasi-pornographic fantasy proves prophetic. The King’s last words before the play’s epilogue (‘The bitter past, more welcome is the sweet’, 5.3.327) effectively repeat Parolles’s sentiment. Parolles, then, is a vehicle for truthful utterance – a servant, like Helen, of the gods, or of whatever forces lend structure to chaos, bring sense out of nonsense. The difference is that Helen is conscious that she has this function, whereas Parolles is not.

If Parolles acts as a kind of inadvertent soothsayer or prophet, then Helen and the older generation to which she allies herself sometimes act as pimps. When the old courtier Lafeu first leaves Helen alone with the King he compares himself to the most famous of pimps: ‘I am Cressid’s uncle, / That dare leave two together’ (2.1.96-7). His pimping has a positive effect: the King is cured, and Lafeu alludes to the King’s restored health in sexual terms: he is ‘Lustig, as the Dutchman says… he’s able to lead her a coranto’ (2.3.38-40). The newly cured King then acts as a pimp with Helen as his client: first parading his courtiers before her like whores in a brothel, then using threats to make her chosen partner, Bertram, accept her advances. The comparison of King to pimp may seem a trifle strained; but it does not seem so to Lafeu, who is disgusted by the young courtiers’ failure to respond to Helen as compliant whores should do: ‘An they were sons of mine I’d have them whipt; or I would send them to th’Turk to make eunuchs of’ (2.3.84-6). And the comparison occurs, too, to Bertram, who is appalled by the role reversal whereby a woman becomes the client and himself the sexual partner she chooses: ‘In such a business’ he says, ‘give me leave to use / The help of mine own eyes’ (2.3.105-6, my emphasis). Later in the play, Diana’s widowed mother uses the same word, ‘business’, to refer to pimping: she tells Helen that she is well brought up and therefore ‘Nothing acquainted with these businesses’ (3.7.5), such as that of getting a strange woman into bed with a man. But at this point Helen is urging the widow to act as a legitimate pimp between herself and Bertram, just as Lafeu and the King acted as legitimate pimps in the play’s second act. Bertram has fled to Italy without consummating his marriage to Helen, and Helen prostitutes herself with the aim of producing lawful effects from Bertram’s unlawful desires. In Italy, Bertram is attracted to Diana, the widow’s daughter, and makes an arrangement through Parolles to sleep with her; but Helen substitutes herself for Bertram in Diana’s bed, thus creating the context for yet another redemptive riddle. Her plot to sleep with Bertram, she says, ‘Is wicked meaning in a lawful deed, / And lawful meaning in a lawful act; / Where both not sin, and yet a sinful fact’ (3.7.45-7). In a world where men react with horror to lawful sex and instead seek pleasure with unlawful partners, pimping, prostitution and the playing of sexual practical jokes may be legitimate practices, and dealing in double meanings may be the only way to circumvent more damaging forms of duplicity.

Jim DeVita as Parolles

Parolles is the presiding spirit of this decadent modern world, self-centred, dishonest, bombastic, morally hollow; and what happens to him demonstrates how this world can most effectively be dealt with. Parolles, like the duplicitous words invoked by his name, can be worked on to generate useful meanings. His particular brand of nonsense can be exploited to produce sense, just as the more elevated nonsense of prophecy can make sense when properly applied. In the fourth act Parolles is subjected to a terrifying practical joke that unleashes a torrent of verbiage from him. A band of his fellow soldiers, attached like him to the Florentine army, disguise themselves as members of the army with which Florence is at war. They capture Parolles, then interrogate him in a nonsensical made-up language cobbled together from fragments of European dialects ancient and modern. Under their interrogation and in terror of his life, Parolles regales them with a flood of truths and half-truths, treacherously telling them all he knows and more about the composition of the Florentine forces and the private lives of the Florentine generals. At the end of the dreadful interview the traitor’s eyes are unbound and he finds himself confronted with the men he has been betraying and traducing. And his exposure betrays not only Parolles but the man who took Parolles at his word, Bertram. The young man’s trust in the protestations of a fool who is so palpably untrustworthy suggests that he himself is not to be trusted. The interrogators find in Parolles’s pocket evidence of both his and Bertram’s unreliability: a letter from Parolles to Diana, urging her not to trust Bertram (‘After he scores, he never pays the score… He ne’er pays after-debts’, 4.3.208-210) and to transfer her favours to Parolles instead. Later, Parolles again betrays the truth about Bertram, inadvertently testifying to his attempted seduction of Diana at a crucial moment in the play’s last scene. Parolles, like Helen, makes sense out of nonsense if properly ‘found’.

The man who ‘finds’ Parolles’s dishonesty is old Lafeu (‘I have now found thee,’ he crows in Act Two, 2.3.203); and it’s Lafeu who employs him as a fool at the end of the play. The old courtier notes the danger of taking Parolles seriously – of lending excessive credence to the kinds of insubstantial words he represents. He tells Bertram that ‘there can be no kernel in this light nut’ and warns him to ‘trust him not in matter of heavy consequence’ (2.5.42-5). At the same time, Lafeu sees too that properly handled Parolles’s lightness can be wholesome. The Countess of Roussillon’s fool Lavatch urges him to find the fool in himself: ‘much fool may you find in you, even to the world’s pleasure and the increase of laughter’ (2.4.34-5); and it’s ‘to the increase of laughter’ that he is tricked into betraying what he knows about Bertram and the Florentine army, since the French lords who plan the prank do it ‘for the love of laughter’ (3.6.29). As a result of their exposure Parolles becomes an honest man – or rather, honestly dishonest, dedicating himself to a career in making people laugh with his blatant lies and petty treasons. From being a corrupting influence when given too much weight, he becomes an invigorating one when taken as what he is, the epitome of lightness. And this transformation of Parolles from heavy and corrupt to light and wholesome is masterminded by a man whose name allies him with light, an ennobled reincarnation of Measure for Measure’s Lucio, Parolles’s new master Lafeu.

Parolles the Captive, by Francis Wheatley

Lafeu specializes in well-timed humour, distinguishing the serious from the frivolous with a tact and sensitivity that recalls the King’s description of Bertram’s dead father. When introducing Helen to the King he begins by associating her with a chain of sexual allusions. ‘I have seen a medicine’ he says, ‘That’s able to breathe life into a stone… whose simple touch / Is powerful to araise King Pepin’ – Pepin being a long-dead ancestor of the French King’s whose name comically distorts the word ‘penis’ (2.1.71-5). But Lafeu goes on to testify seriously to Helen’s apparent worth, ‘If seriously I may convey my thoughts / In this my light deliverance’ (2.1.80-1). He thus becomes the first to warn of the ease with which women may be taken too lightly, the substance of their ‘light’ – that is, their knowledge, wit and wisdom – left unrecognized, to the detriment of all. Bertram’s mother the Countess of Roussillon is the next to see it. Instructing her steward to write to Bertram about Helen’s departure from France she tells him, ‘Let every word weigh heavy of her worth / That he does weigh too light’ (3.4.31-2). And the King is the last; speaking of Helen’s supposed death he tells Bertram that ‘Our rash faults / Make trivial price of serious things we have, / Not knowing them until we know their grave’ (5.3.60-2). Lafeu has helped to teach his elderly contemporaries the distinction between different forms of lightness; and at the end of the play he proposes to go on using Parolles as a tool for illustrating the distinction.

Bertram, by contrast, goes on devaluing women till the last possible moment. When Diana accuses him of seducing her in the final scene he dismisses her as a plaything, a disposable toy: she is ‘a fond and desp’rate creature / Whom sometime I have laugh’d with’ (5.3.177-8). No wonder, then, if women have recourse to light strategies to get justice from men of his generation. Helen poses as a ‘light’ woman, a whore, to get him back when he deserts her; and Diana has recourse to the ‘light’ or frivolous language of riddles to explain Bertram’s actions to the King (‘So there’s my riddle: one that’s dead is quick’, 5.3.297). Diana’s jokes almost kill her; exasperated by their seeming senselessness, the King orders her to prison and adds that he will put her to death ‘within this hour’ if she cannot give him a more satisfactory account of herself (5.3.278). Luckily, Diana is able to provide a visual clue to the ‘meaning’ of her riddle by presenting the King with the living body of Helen, who was thought to be dead; a body that is also ‘quick’ with child, that is, pregnant by Bertram. There is substance to her quibbles, sense to her senselessness, as there is not to Bertram’s lying protestations of honour and fidelity. It is Bertram, not Diana or Helen, who is light – as hollow as the drum with which Parolles is repeatedly linked. And at the end of the play one cannot help but wonder if he can ever acquire the substance to keep his promise to Helen and ‘love her dearly, ever, ever dearly’ (5.3.310).

In an earlier French play by Shakespeare, Love’s Labour’s Lost (c. 1594-5), words grew wings and flew away from meaning. The play’s repeated references to children and childishness reflected the immaturity of the witty courtiers who set its tone, and its unsatisfactory ending stressed the difficulty of reuniting what they had divided: sound and sense. All’s Well introduces us to another set of French courtiers many of whom are elderly, as if they have long ago completed the rigorous course of instruction imposed on Navarre and his companions by the youthful Queen of France. In All’s Well comedy comes of age, its destructiveness and its wholesomeness held in a delicate balance. Throughout the play, as has often been noted, there’s an emphasis on healing that reflects yet another meaning of the title: all’s well that ends in a state of health. And good comedy was said to be one of the most potent medicines of all, reviving and restoring its auditors through the healing influence of laughter. At the beginning of the play Helen wishes Bertram well as he leaves for the court of France, although she is uncertain that his departure will bring him wellness. ‘Tis pity,’ she tells Parolles,

That wishing well had not a body in’t
Which might be felt; that we, the poorer born,
Whose baser stars do shut us up in wishes,
Might with effects of them follow our friends
And show what we alone must think, which never
Returns us thanks. (1.1.166-74)

In the rest of the play Helen does indeed give a body to her wishes and follow Bertram, like an embodiment of the base-born comic playwright, who gives body to his thoughts for the benefit of the highest as well as of the lowest social classes. She plays an audacious comic trick on him to marry him, and a yet more audacious prank to consummate their marriage; and she contrives a comic ending to their adventures in defiance of hatred, infidelity and death. She is a mistress, then, of the related arts of medicine and comedy; and her early success in healing the King permits us to hope that she will finally succeed in healing Bertram, too, despite all appearances to the contrary. After all, less plausible things have happened, both on and off the comic stage.

Kristin Villanueva as Helena, Timothy Douglas as the King of France

[1] William Painter’s The Palace of Pleasure (1566-7), Volume 1.

[2] Sir Thomas Elyot, The Book Named the Governor, ed. S. E. Lehmberg (London and New York: Dent and Dutton, 1962), pp. 103-4.

[3] See my Elizabethan Fictions (Oxford: Clarendon Press, 1997), chapter 1, for more on Elyot’s The Governor as lexicon.

Comedy, Gender and Freedom of Speech in the Plays of Lyly and Marlowe

[I’ve recently been working with Dermot Cavanagh on a special issue of the Journal of the Northern Renaissance in honour of our friend Alison Thorne, who was forced by illness into early retirement. While writing the introduction to the issue I spent some time thinking about Alison’s remarkable academic career, and in particular a major conference she co-organised with Jenny Richards, ‘Renaissance Rhetoric, Gender and Politics’, at the University of Strathclyde, 24-25 April 2003. I gave a keynote at the conference which was never published, although the opening paragraph found a place in my book Shakespeare and Comedy in 2005. On reflection I thought this would be a good moment to publish it here, even if neither play under discussion is precisely fantastic. John Lyly’s Campaspe, at least, is something of a lost book, or at least a lost play, and Marlowe’s Tamburlaine Part 1 celebrates (or warns against) the political potency of the imagination. That’s fantastic enough for me this afternoon. Here it is, for Alison.]

Comedy in the 1580s was a genre under siege. The assault on the theatre, galvanized into new life by the erection of the first purpose-built playhouse in 1576, was in large part an assault on comedy. For writers of the anti-theatrical movement, playhouses provided a solid foothold in English soil for potential foreign invaders, while the comedies performed in them imported sophisticated and seductive foreign values into a culture that had once prided itself on its simplicity. Comedy softened and feminized the stern minds and muscular bodies of Englishmen in readiness for the imminent return of their wily Catholic colonists from across the water. Comedy was a virus, a debilitating contagion capable of spreading like wildfire from the playhouses on the city’s margins into the heart of the metropolis. And it was also an addiction. As the cleverest of the anti-theatrical writers put it: ‘in Comedies delight being moved with varietie of shewes, of eventes, of musicke, the longer we gaze, the more we crave, yea so forcible they are, that afterwards being but thought upon, they make us seeke for the like an other time’. For this writer – Stephen Gosson – cross-dressing and other comic violations of decorum represent ‘rebellion raysed against reason’ and the ‘lawes of God’. And there is only the shortest of steps between rebellion against God’s laws and insurrection against the state.

Invective against comedy in the 1570s and 80s freely deploys the vocabulary of violence. If the genre is ‘forcible’, rebelling against law and logic, then it must be suppressed by force. Playhouses must be demolished, and the laughter-loving players arrested and aggressively punished for fostering idleness and dissidence among the citizens of London. Yet comedy’s chief offence is that of spreading effeminacy: bringing men closer to women through the twin agencies of desire and disguise, part of a larger theatrical agenda of unsettling gender and class distinctions which will result, the polemicists insist, in the collapse of the English social order. The fusion of the discourse of violence with that of seduction, of ‘male’ aggression with ‘female’ allurement, in the anti-theatrical polemics of the period, is profoundly unsettling for a modern reader. But I’d like to suggest that it was also unsettling for sixteenth-century theatre-goers – writers, players and audiences – and that it had a profound effect on the way comedies got written in the decade before Shakespeare got started as a playwright.

I’d like to suggest, in fact, that the anti-theatrical movement helped to consolidate a tendency already prevalent among English playwrights: that of mixing the comic and the tragic modes for dramatic and political purposes. There were very few ‘pure’ comedies written in English before the late 1590s: ‘pure’, that is, in the technical sense that they dealt exclusively with matters of moderate importance and persons of middling fortunes, having nothing to do with high politics or exalted estates. But the impurity of English comedy was part of what made it both ‘forcible’ and seductive. Comedy, I shall argue, was seen in Elizabethan times as a space where people of the middling sort – people of the class to which the players themselves belonged, who had only limited access to the machinery of power in the Elizabethan state – could engage with matters of moment. It was a platform from which they could address representatives from the whole range of social classes who jostled each other in the streets of the city, and who were forced into still more intimate contact in the crowded space of the playhouse. Comedy was a forum for free speech: and the playwrights of the 1580s were seriously interested in the question of when and how far the licence to speak freely could be made available in a monarchy.

Apelles and Campaspe by Jodocus de Winghe (c. 1600)

I shall make my case by looking at two very different plays from the 1580s: John Lyly’s Campaspe and Christopher Marlowe’s Tamburlaine Part 1. Despite their obvious differences – one is a comedy, the other a tragedy, one in prose, the other in verse, one written for the court, the other for public performance in a London playhouse – these plays have a lot in common. Each was the first piece written by a major playwright, and each set out to establish that playwright’s dramatic agenda. Both were hugely influential, both played sophisticated games with contemporary theories of the comic, and both are preoccupied to a greater or lesser extent with violence – especially violence against women. Above all, both are concerned to draw attention to their own innovative discourse, parading their distinctive new rhetorical techniques as exceptional instances of the many forms of free speech available to be exploited by educated commoners in the late sixteenth century. These plays, then, are courageous and radical dramatic experiments, whose achievements made possible the astonishing sophistication of Shakespearean comedy in the following decade. As if in direct response to Stephen Gosson’s anti-theatrical polemics – which Lyly, at least, knew well – they both acknowledge and celebrate the danger of getting involved with the theatre; and it’s only by recapturing that sense of danger that we’ll be able to do them justice today.

As Michael Pincombe has pointed out in his seminal book on Lyly’s plays, Campaspe is not a court comedy, though it was published as one by Edmund Blount in the 1630s. Lyly’s plays were not exclusively shown to a courtly audience. Before being presented to the queen they were first staged for an audience of citizens at the ‘private’ indoor theatre known as the Blackfriars playhouse – a more expensive venue than the ‘public’ open-air playhouses – on the pretext that they needed to be thoroughly rehearsed if they were to reach the proper standard for a court performance. And after both sets of performances were over, they were published and read voraciously by a public eager to gain an insight into the current fashions in language and drama among the aristocracy. These plays, then, had a multiple audience, and Lyly’s self-consciousness about his audiences is embodied in Campaspe by the forthright philosopher Diogenes, who combines the roles of clown, entertainer and teacher in a manner that enables him to move freely between very different social levels.

Diogenes and Alexander by Gaetano Gandolfi, 1792

Lyly’s Diogenes operates on two fronts. On the one hand he is a commoner who succeeds in criticizing a king without suffering for it – which is all the more remarkable since the monarch in question is Alexander the Great, famous both for his interest in philosophers and for his readiness to put them to death. On the other hand, Diogenes is a harsh critic of his fellow citizens in the Greek metropolis, Athens, whom he berates in the city market-place for their irresponsibility, moral turpitude, and willingness to encourage their king in his most damaging vices. The philosopher-clown’s unwavering determination to speak openly makes him the personification of libera vox, freedom of speech, as the rhetorician Thomas Wilson conceived it. ‘Freenesse of speache,’ Wilson writes, ‘is when we speake boldely, and without feare, even to the proudest of them, whatsoever we please, or have list to speake. Diogenes,’ he adds, ‘herein did excel, and feared no man when he sawe just cause to saie his mynde. This worlde wanteth suche as he was, and hath over many suche, as never honest man was, that is to say, flatterers, fawners, and southers of mennes saiynges’ (396-7). Far from being a fault, Diogenes’ refusal to honour persons, time or place is a sign of his integrity and courage, and his comic bluntness challenges Alexander to show equal integrity and courage by granting the philosopher a licence to speak as he pleases. The historical Alexander was thought by many to have been assassinated as a direct result of his efforts to silence his critics; as Sir Thomas Elyot put it in his Book Named The Governor, in the context of a detailed discussion of the Macedonian prince: ‘O what damage have ensued to princes and their realms where liberty of speech hath been restrained!’ (108). Lyly’s comedy offers his Elizabethan rulers the opportunity to redress a wrong committed by one of their most illustrious ancient predecessors.

Apelles and Campaspe by Willem van Haecht, c. 1630

Lyly may have created his Diogenes as a direct response to Stephen Gosson’s criticisms of the theatre, which he certainly knew. The fearless philosopher who stages instructive comic performances for all classes serves to demonstrate that a well-made, playful comedy can be as forthright in its denunciation of social corruption as any polemical pamphlet. But Lyly also incorporates into his play an artist who embodies everything Gosson decried in contemporary comedy: the painter Apelles, who is employed by Alexander to paint the woman he has fallen in love with, Campaspe, and who promptly falls in love with her himself. Gosson’s strictures on the obsession of early modern drama with erotic love would seem to be borne out both by Alexander’s love and by Apelles’: by Alexander’s because it distracts him from serious military endeavours, and by Apelles’ because it confirms Gosson’s suspicion that most art is exclusively preoccupied with gratifying the senses at the expense of reason. Indeed, one might argue that Lyly had no choice but to confirm Gosson’s suspicions if his play was to be read as a serious response to Gosson. If Diogenes’ role is to purge the comic space he inhabits from its vices, then in order for him to do this convincingly, Lyly must introduce these vices into his own dramatic production. The philosopher’s Gossonian hostility to erotic love would seem to be confirmed by a short scene in Act 5, where the prostitute Lais encourages the young men of Athens to ‘conquer worldes with great wordes: but stay at home, where in steede of Alarums you shall have daunces, for hot battelles with fierce menne, gentle Skirmishes with fayre womenne’. In response, Diogenes berates her as poisonous carrion; and in the next scene he communicates his misogyny to Alexander, thus preparing him for his eventual abandonment of his temporary role as lover and his return to the theatre of war.

Apelles painting Campaspe by Francesco Trevisani, 1721

But comedy itself is not corrupt in Campaspe as it is in Gosson’s polemic. On the contrary, it’s the king’s willingness to thrust himself ‘by head and shoulders’ into a comic milieu where he does not belong that is the chief cause of anxiety in Lyly’s comedy. Throughout the play, Alexander’s preoccupation with his base-born captive, Campaspe – a prize from his recent conquest of Thebes – is represented as a diversion from his proper business, which is the savage one of conquering other people’s kingdoms. The play represents a space of leisure time in the midst of frenetic military activity: as Alexander puts it in the third act, ‘recreation [is] necessary among so many assaults, bloudye wounds, intollerable troubles: give mee leave a litle, if not to sitte, yet to breath’. But the king’s intervention in the recreational world of comedy brings mortal terror to the practitioners of the arts of peace. He begins by planning to transform his court into a school of philosophy, like the King of Navarre in Shakespeare’s Love’s Labour’s Lost. But when interviewing the Athenian philosophers for admission to his school he starts by reminding them of a philosopher who was executed for treason – Callisthenes – and warns them that such a scholar’s ‘treasons againste his prince shall not bee borne out with the reasons of his Phylosophy’. As a result, the philosophers hasten to transform themselves into courtly sycophants, adapting their doctrines to Alexander’s wishes – with the honourable exception of the philosopher-clown Diogenes. Later Alexander tries his hand at painting, and his tutor and love-rival, the painter Apelles, has to use all his tact to criticize his work without giving offence. When the monarch asks ‘how have I done heere?’ the artist replies ‘Like a king’, and Alexander at once takes the real point of what sounds like a compliment: ‘I thinke so: but nothing more unlike a Painter’. Lyly’s point seems to be that governing is an art, but that it does not give governors either the skill or the right to intervene in other arts. And the appeal for artistic freedom in Lyly’s play comes into sharpest focus when Alexander seeks to initiate himself in the art of love.

The king’s decision to fancy himself in love with Campaspe is an unmitigated disaster. For one thing, he thinks – like the Pagan gods he seeks to emulate – that his royal status permits him to do anything to satisfy his desire, since he arrogantly presumes that kingly ‘passions and thoughts do as far exceede others in extremitie, as their callings doe in Majestie’. The fact is, however, that love is an arena in which royal status is more of a hindrance than a help. As his friend Hephestion warns him – after carefully seeking permission to speak openly – a king may command a reluctant subject ‘to yeelde to luste by force; but to consent to love by feare, you cannot’. Campaspe herself later confirms the incompatibility of monarchs with romance: ‘They place affection by times, by pollicie, by appointment; if they frowne, who dares cal them unconstant? if bewray secretes, who will tearme them untrue? if fall to other loves, who trembles not, if he call them unfaithfull?’ Campaspe’s observations are couched in the language of self-censorship that permeates the play: every character except Diogenes spends the entire action engaged in elaborate efforts to avoid giving verbal offence to the irascible conqueror. The soldiers Clitus and Parmenio, for instance, take the view that the king’s love affair has feminized his people, much as Gosson held that the theatre had feminized the English people. As Parmenio puts it, ‘youthes that were woont to carry devises of victory in their shieldes, engrave now posies of love in their ringes: they that were accustomed on trotting horses to charge the enimy with a launce, now in easie coches ride up and downe to court Ladies; in steede of sword and target to hazard their lives, use pen and paper to paint their loves’. But the two soldiers never dare to express these thoughts openly, for reasons Parmenio explains earlier: ‘kinges… have long eares and stretched armes, in whose heades suspition is a proofe, and to be accused is to be condemned’. In other words, Alexander’s misplaced love makes him a tyrant in that he becomes deaf to the voices of his subjects. And it also makes Apelles a traitor for exercising the faculty he is best qualified to practise: the judgement of beauty.

Apelles painting Campaspe, by Giovanni Battista Tiepolo, 1740

One of Lyly’s favourite authors, Baldassare Castiglione, argued in his Book of the Courtier that Apelles was a better judge of Campaspe’s beauty than Alexander could ever be, and suggested that it was ‘perhaps also for this respect’ that the king ‘determined to bestow her upon him, that (in his mind) could know her more perfectly than he did’ (82). Castiglione also suggested that Campaspe probably felt aggrieved at being forced to exchange ‘so great a king for a painter’. But in Lyly’s play she reciprocates Apelles’ feelings, conscious that a man of her own class is a safer match for her than royalty, and convinced that the painter’s love ‘commeth from the heart, but Alexanders from the mouth’. Lyly’s Apelles certainly appreciates beauty: when Alexander asks him in Act 2 if he has yet finished his famous painting of the goddess of beauty, Venus, he replies ‘Not yet: Bewty is not so soone shadowed, whose perfection commeth not within the compasse either of cunning or of colour’. Later he tells Alexander that he will never finish painting Campaspe, ‘for alwayes in absolute bewtie there is somwhat above arte’. But Apelles is being over-modest; he does in fact finish painting Campaspe to his satisfaction, and thinks her portrait superior to Pygmalion’s image. But he is also driven, both by his desire to see her again and by his fear of revealing this desire to the king, to damage his own painting so that she will sit for him a second time. Lyly agrees with Gosson, then, as well as with Castiglione, that it is the business of art to enhance our appreciation of bodily beauty. But unlike Gosson he implies that this only becomes dangerous when the powerful begin to make unreasonable claims on the artist and his materials: when they profess, for instance, absolute power over the minds, bodies and emotions of their subjects, or when they presume to dictate the way art should be practised. Art is a middle-class activity – just as Apelles and his model Campaspe are middle-class lovers – and the interference of rulers in its affairs makes it as deformed as Apelles’ damaged painting.

Apelles painting Campaspe, by Joos van Winghe (1544–1603)

At the end of Lyly’s play Alexander comes at last to recognize these facts and to affirm his regal distance from, and mild disdain for, the emotional terrain which is part of the artist’s territory. From now on, he says, he will restrict himself to ‘using fancy as a foole to make him sport, or a minstrell to make him mery’. In saying so he claims to have achieved another conquest: as Hephestion admiringly tells him, ‘The conquering of Thebes was not so honourable as the subdueing of these thoughts’. But in fact Alexander has egregiously failed to master the various arts of peace at which he has tried his hand in the course of the action; and only a few lines earlier he has confessed that he ‘cannot subdue the affections of men, though he can conquer their countries’. Art and love, and above all the comedy or tragicomedy in which Lyly dealt with these topics, have been shown both to inhabit a space beyond the control of governors, and to be capable of probing the doings of the governing classes. To put it another way, in comedy the king, the player, and the acerbic social commentator are equals, as Alexander again confesses when he makes his famous remark about the philosopher-clown: ‘were I not Alexander, I wolde wishe to be Diogenes’.

This was a bold statement for Lyly to make in his first court comedy. Perhaps he felt impelled to make it because he was writing at the time when a court official had been given new powers over the censorship and regulation of the English stage. The official was the Master of the Revels, a post that Lyly seems at one time to have wanted for himself; and the Master appointed in 1581 was Edmund Tilney, who remained in charge of licensing plays for performance throughout most of Shakespeare’s career. If the new powers granted to Tilney represented the court’s attempt to impose its stamp on contemporary drama, then Lyly’s Campaspe might be seen as the dramatists’ defiant response: at once confirming and dismissing Gosson’s fears about contemporary comedy, defining the limits of Tilney’s censorial activities, and proclaiming the courage, independence and value of the voice of the middle-class dramatist as a restraining (but delightful) influence on both court and city.

It’s hardly surprising, then, that Campaspe was one of the most influential plays of the 1580s, and that its influence went well beyond the ‘private’ theatre of the court and the Blackfriars playhouse. Lyly’s wittily outspoken drama straddling court and city gave Shakespeare and his immediate predecessors a model for the production of dramatic texts that could successfully negotiate both spheres. But Lyly’s range as a playwright was relatively limited, curtailed, no doubt, by his sense of his social position – as a gentleman born, a descendant of eminent educators, and a man who hoped for a reward at the queen’s hands which in fact never came. His humbler characters are for the most part oddly static, signalling, by their willingness to let events take their course, that they pose no real threat to royal authority (indeed, in one of his most celebrated plays – Endimion – the protagonist spends most of the play fast asleep). At the other end of the social scale, kings and queens in his plays always decide for themselves what to do about the situations in which they find themselves, and make it clear that they will always disregard their counsellors when their advice proves unpalatable. As we’ve seen, Campaspe self-consciously inhabits a space that is not the main sphere of political action: if it defines a privileged platform for comic free speech at court, it’s one that is decorously segregated from serious acts of government such as law-giving, war, or political debate. Although one gets the sense that Diogenes could intervene in these areas should he choose to do so, it’s equally plain that in this play, at least, he does not.

The Theatre playhouse, by C. Walter Hodges

The plays written for the new purpose-built public theatres, by contrast, insist on their political centrality. Although the playhouses themselves occupied only a limited and marginal geographical area – because of the hostility of the city authorities they had to be built in the suburbs of London – the plays performed in them cover a dizzying expanse of the world’s surface, as if to articulate the players’ triumphant sense of having finally colonized a plot of land in the name of drama. From the city of London itself, to which a number of plays in the 1580s presumptuously offer advice, to the vast fields of Europe, Africa and Asia, the fixed space of the stage showed itself able and willing imaginatively to take on the properties of the most powerful cities and states on earth at crucial moments in their history. From 1575, when the Theatre playhouse was erected in Shoreditch, Elizabethan drama increasingly declared its ambition to throw off the shackles of decorum and take the Globe as its subject. And this ambition was carried well beyond the walls of the theatre buildings by the touring versions of the plays that roamed the far-flung provinces of England and Europe.

Discarding restrictions of space inevitably also entailed discarding restrictions of time; and not just in the sense of flouting the dramatic unities favoured by followers of Aristotle. For the anti-theatrical lobby, the very existence of the playhouse buildings constituted a violation of the authorities’ bid to control urban space and time, whose regulation was always being disrupted by wayward servants and recalcitrant apprentices. The 1580s and 1590s witnessed a busy exchange of letters between the city authorities and the Privy Council of Elizabeth I, many of which are dominated by the topic of the players’ refusal to keep to the days of the week and times of the day for which they have been licensed. In this as in all things, complained the Mayor and Aldermen of the city, modern players run ‘Contrary to the rules and art prescribed for the makinge of Comedies eaven amonge the Heathen, who used them seldom and at certen sett tymes, and not all the year longe as our manner is’ (Chambers 322). Performances during working hours or on Sundays ‘draw apprentices and other servauntes from theire ordinary workes and all sortes of people from the resort unto sermons and other Christian exercises’; while performance ‘In the time of sicknes’ – during outbreaks of plague – helps to accelerate the spread of infection through the city streets. If Elizabethan comedies show something of an obsession with the notion of bad timing they are merely responding – on one level at least – to the stock prejudices of the anti-theatrical lobby concerning the flagrant disregard for proper time-keeping among players and their audiences.

Marlowe by anonymous

Geographical expansiveness is of course the hallmark of the drama of Christopher Marlowe, whose career began with the irruption onto the public stage of a would-be global conquistador still more bloody, uninhibited and eloquent than Alexander, Tamburlaine – who is also, and perhaps not coincidentally, surnamed ‘the Great’ in the title of Marlowe’s play. Marlowe was the greatest dramatic poet of time misspent, whose Tragical History of Doctor Faustus boldly violates all temporal and spatial restrictions on drama, only to confront its own chronological limitations in Faustus’ last soliloquy, every line of which represents a minute of his last hour. But Marlowe was also one of the boldest innovators in the field of comedy: his skilful provocation of horrified laughter at moments of high emotional tension was one of the most important dramatic techniques he bequeathed to Shakespeare. Instances of such laughter abound, whether provoked by the impish Barabas in The Jew of Malta, who gleefully poisons convents full of nuns, strangles friars, and tricks amorous young men into assassinating one another (‘brave sport!’) before being killed by one of his own murderous practical jokes; or by the Guise’s jocular stabbings of Protestants in The Massacre at Paris. In Marlowe’s plays this horrified laughter is not only not segregated from royalty; it is omnipresent in royal courts, where the misplaced humour of monarchs often proves as fatal to them as to their subjects. King Henry of France in The Massacre at Paris, for instance, cracks an obscene joke that goads the Guise into assassinating one of his royal favourites – the first in a chain of assassinations that ends with Henry’s death; while in Edward II the king and his lover Gaveston arouse the deadly resentment of Mortimer by making fun of his dress sense. ‘Whiles other walk below,’ Mortimer complains, the two men ‘From out a window laugh at such as we, / And flout our train, and jest at our attire. Uncle, ’tis this makes me impatient.’

Laughter in Marlowe’s plays, in other words, is an invaluable tool both for those who wish to seize power and for those who wish to assert the power they already possess; but it’s above all a litmus test of a person’s hold on power. Those who laugh at their enemies with impunity have their authority resoundingly confirmed; but those whose ill-judged laughter stings their enemies into successful retaliation find their ascendancy irretrievably damaged. Laughter and the responses it provokes unerringly seeks out the cracks and fissures in any given hierarchy and helps to prize them open. Shakespeare took full advantage of this principle in his dramatic explorations of English history; but it was Marlowe who gave the principle its most provocative demonstration, in his first play for the public stage, Tamburlaine 1.

From one point of view, Tamburlaine 1 can be read as a stupendous revision of Campaspe. Marlowe’s Scythian shepherd turned warrior is an over-inflated pastiche of Lyly’s Alexander, and this is nowhere more obvious than in his treatment of his captives. Lyly’s play takes place in the aftermath of Alexander’s conquest of Thebes, and opens by stressing the merciful treatment of his prisoners by the Macedonian monarch: ‘Thebes is rased, the people not racked, towers throwne down, bodies not thrust aside, a conquest without conflict, and a cruell warre in a milde peace’. As Michael Pincombe has shown, this account is profoundly unhistorical – the real sack of Thebes was remarkable for its ruthlessness – and in Tamburlaine Marlowe’s base-born barbarian dedicates himself systematically to violating the chivalric code followed by Lyly’s more ‘civil’ protagonist, as if to underscore the true workings of power in history.

Tamburlaine’s treatment of women prisoners, in particular, is the reverse of Alexander’s. It’s true that both men profess to have fallen in love with one of their female captives, and that in both plays they are said to have refrained from exercising the ancient prerogative of the male victor, which is to rape as well as to pillage (though it should be added that Campaspe lives in perpetual fear of rape, and that Tamburlaine is at one point accused of having raped Zenocrate – a claim he denies and she does not). But where Alexander was merciful to the painter Apelles when he too fell in love with Campaspe, Tamburlaine shows no mercy to his rivals, killing both Zenocrate’s Arabian fiancé and the noble who seeks to remind her of their betrothal. Where Alexander spares all his women captives without exception, Tamburlaine expresses his sense of Zenocrate’s uniqueness by killing or driving to suicide every other female prisoner he takes in the course of the play. Where Alexander finally shows himself superior to love’s force by giving Campaspe away, Tamburlaine expresses his command over love by keeping Zenocrate for himself in defiance of kings and emperors. Alexander’s courtesy to Campaspe is an instance of noblesse oblige, and ends with the pair’s due restoration to their proper social positions. The Scythian shepherd’s courtesy to his captive princess, by contrast, is a token of his conviction that nobility consists not in birth but in action – a conviction that the play triumphantly vindicates. Zenocrate did not exist in any of Marlowe’s possible sources; she seems to have been invented for the sole purpose of inviting comparisons with Campaspe, the best play that had so far been written for the English stage. That a play written for the public playhouse should have shown itself so much fiercer and bolder than its courtly predecessor must have struck Marlowe’s first audiences as a testament to the young playwright’s impudence as well as to his skill.

For all its tragicomic elements, Campaspe keeps itself within the bounds of comedy by practising a moderation which is articulated in the balanced clauses of Lyly’s prose style. Tamburlaine, on the other hand, is bursting at the seams with the language and action of excess, yet wittily refrains from fulfilling the tragic expectations it builds up. If Campaspe is a bold generic experiment, Tamburlaine is an outrageous one, and its experimental nature seems to have been recognized by its first publisher, Richard Jones. Jones first entered the play in the Stationer’s Register as one of ‘The twooe commicall discourses of TOMBERLEIN the Cithian shepparde’, and although he later published these as ‘the two tragical discourses of the Scythian shepherd Tamburlaine’, he seems to have done some pruning to make Marlowe’s plays as generically pure as he wanted them to be. In his epistle to the Gentlemen Readers he explains that he has left out ‘some fond and frivolous gestures’ because for these comic scenes ‘to be mixtured in print with such matter of worth, it would prove a great disgrace to so honourable and stately a history’. Yet even with these scenes left out – and the ‘fond and frivolous’ middle scenes of Dr Faustus might give us some idea of what they were like – Tamburlaine 1 remains mixed enough, generically speaking, to be described as a ‘great disgrace’ to history’s claims to be ‘honourable and stately’.

John Douglas Thompson as Tamburlaine

The play’s tragicomic affiliations declare themselves on two levels: that of plot and that of language. On the level of plot, the play strays into comic territory because of its refusal to honour the tragic conventions it claims to respect (as the Prologue puts it, ‘View but his picture in this tragic glass / And then applaud his fortunes as you wish’). At each stage of the performance the Elizabethan audience, primed to expect the fall of great men as the proper subject of tragedy, would have been anticipating the sudden collapse of Tamburlaine’s inordinate enterprise: above all after the death of his principal prisoner Bajazeth, Emperor of the Turks, when Zenocrate reads Bajazeth’s corpse as a sign that his captor Tamburlaine is about to suffer the same atrocious fate. But Tamburlaine 1 confounds all these expectations as gleefully as it builds them up. The successive deaths of the virgins of Damascus, Bajazeth, Zabena, the King of Arabia and the rest are followed not by the death of their destroyer but by his marriage celebrations, which he defers with admirable comic timing from the first act until the play’s last scene. The play closes with the Scythian thief standing among the corpses of his enemies, surrounded by the happy family he has worked so strenuously to create: Zenocrate, her father, and his brothers in arms, now newly made kings and ready to assist at Tamburlaine’s wedding. Far from showing how men’s fate resides in the grip of fortune, as tragedies were supposed to do, the play’s tragic ‘mirror’ finally sets up its protagonist as the ultimate showman, who controls every aspect of the performance in which he takes part, and who uses his last few speeches to convert the play’s bloody pageant into a nuptial masque as splendid as anything seen in the Elizabethan court. It’s entertaining to imagine the shocked delight such an ending would have instilled in its first spectators, and the baffled applause that may have followed.

On the level of language, the Prologue to Part 1 offers a foretaste of the fiercely competitive form of humour that dominates the Tamburlaine plays. By comparison with the ‘high astounding terms’ of its protagonist, the Prologue boasts, the language of other plays is no better than that used in the crudest form of comedy, the song-and-dance numbers or ‘jigs’ improvised by clowns at the end of each performance:

From jigging veins of rhyming mother-wits,
And such conceits as clownage keeps in pay,
We’ll lead you to the stately tent of war,
Where you shall hear the Scythian Tamburlaine
Threat’ning the world with high astounding terms,
And scourging kingdoms with his conquering sword.

Alongside his ‘high astounding terms’, Tamburlaine exploits laughter to put down his rivals – as the Prologue does – mocking them into submission and death. But in doing so he is merely the most successful player of a deadly game of mockery in which most of Marlowe’s characters participate; and the chief target for this cruel mirth is the class which is supposed to be wholly exempt from the indignities of comic treatment: royalty. Tamburlaine 1 opens with perhaps the most flagrant flouting of decorum in English stage history, the portrait of the clownish king Mycetes, who is openly derided by his subjects, then dethroned by them. According to the rules of rhetorical decorum, kings should speak more splendidly than anyone else, so that Mycetes’s opening lines – ‘Brother Cosroe, I find myself aggrieved, / Yet insufficient to express the same’ – would have struck a first-night audience as hilariously inappropriate. Mycetes’s brother Cosroe is the most derisory of his inferiors, undermining his authority at every opportunity with jokes at his expense – at one point he tells the king to ‘kiss’ his ‘royal seat’ – and contemptuously enlisting the common thief Tamburlaine to dethrone him and crown Cosroe in his place. But Tamburlaine knows vastly more than Cosroe about the power of laughter to reinforce and undermine authority, and applies this knowledge mercilessly at the expense of monarchs throughout his astonishing career.

John Douglas Thompson as Tamburlaine

Both Tamburlaine plays culminate in scenes where kings are reduced to the status of comic entertainers. In the first, Tamburlaine declares that he and his followers made Cosroe king ‘only to make us sport,’ and will snatch his newly-won crown from him in the interests of pulling off a ‘pretty jest’. Later, the Emperor of Turkey is paraded in an iron cage and ritually mocked at mealtimes like a licensed fool (‘How now, Zenocrate, doth not the Turk and his wife make a goodly show at a banquet?’). In Tamburlaine 2 the kings of Trebizond, Soria, Natolia and Jerusalem are absurdly transformed into ‘pampered jades of Asia’, pulling Tamburlaine’s chariot with tongues bridled to stifle their curses. The Asian kings had meant, we learn, to make Tamburlaine and his followers ‘jesting pageants’ for their concubines, and are now become comic displays themselves, while ‘common soldiers jest with all their trulls’. Thus Tamburlaine turns the tables on monarchy, deploying its own potent weapon of ‘jesting’ against it, caging those who once had a monopoly on the use of cages, binding the tongues of those who once claimed absolute control over the tongues of their subjects. And in doing so he bears out all the direst predictions of the anti-theatrical lobby.

As we have seen, sixteenth-century theorists declared comedy to be the special province of the lower social classes, a rhetorical tool that could be exercised anywhere and at any time without special training. In consequence, many of these theorists warned against mingling the classes in comic performances for fear of destabilizing the distinctions between them. Comedy was fenced in with rules to guard against the spread of its characteristic rulelessness; anarchic though it was, there were fixed times and places when the comic could be unleashed, and proper audiences before whom it could be performed. But the base-born Tamburlaine, with his dazzling skill in formal rhetoric and his cruel sense of humour, makes a mockery of the constraints placed on the eloquence of the humbly born. His violent strain of comedy, flouting all regulations of persons, time or place, effortlessly bridging the artificial gulf that separates the classes, demolishes the claims of teachers and their aristocratic pupils to have a monopoly on the language of power. In Tamburlaine’s rhetoric, incitements to laughter seamlessly merge with the most highly-charged incitements to emotion or political action. The old moral interludes tended to separate the two registers by embodying them in different characters: the comic Vice was not the same person as the king, although he might occasionally share the stage with him. Campaspe, too, has two distinct modes, separating Alexander’s dialogues with philosophers and artists from the cheerful banter of the boys who serve them. Tamburlaine, by contrast, switches between the comic and the tragic within a few lines, or mixes the modes in a single speech. In one moment he is condemning the Virgins of Damascus to execution with a callous pun, instructing his lieutenant Techelles to ‘charge’ his cavalry to ‘charge’ the virgins with their phallic spears, thus acquainting them simultaneously with sex and death; in the next he has embarked on one of the most eloquent celebrations of beauty in Renaissance literature. As with all tyrants, his mood dictates that of his environment, and we can never be sure what mood he will be in from one sentence to the next. And as the anti-theatrical lobby predicted, this emotional volatility declares a kind of war both on Elizabethan generic theory and on the system of hereditary monarchy which it is supposed to underpin.

Tamburlaine’s cheekiest interventions in the war over the theatres occur when he appears to take Gosson’s side against poetry and the performing arts. The Scythian justifies the killing of the Virgins of Damascus, for instance, in terms that recall Gosson’s attack on the theatre and its capacity to feminize its male spectators. After asking his lieutenant whether they have been satisfactorily despatched he observes:

I will not spare these proud Egyptians,
Nor change my martial observations
For all the wealth of Gihon’s golden waves,
Or for the love of Venus, would she leave
The angry god of arms and lie with me.

Tamburlaine, in other words, sets himself against the ‘feminizing’ effects of sex and excess as vigorously as Gosson could desire. But he also takes Gosson’s praise for the militarism of Britain’s past to an abominably logical conclusion: the indiscriminate butchering of young women in the name of peremptory military ‘customs’. And in the second part he goes still further, butchering his own son (‘this effeminate brat’) for manifesting the ‘folly, sloth, and damned idleness’ which Gosson said had been instilled in young Englishmen by contemporary theatrical spectacle. The son in question, Calyphas, is a devotee of the comic arts of peace – sex and games – as against the tragic or epic arts of war, and his death fulfils Gosson’s ambition to expunge the invidious influence of comedy from the body of the land. Marlowe could hardly have launched a more scathing attack on the perverse notion of masculinity that informed the Elizabethan anti-theatrical prejudice than he does in the two Tamburlaine plays.

John Douglas Thompson as Tamburlaine, Keith Randolph Smith as Techelles

But Tamburlaine also claims to have command over the comic, ‘feminine’ arts of peace as well as over the epic/tragic, ‘masculine’ arts of war. He makes this claim most clearly in the speech that follows the massacre of the Virgins of Damascus, where he claims to have created, in his capacity as director of the play’s action, the perfect conditions under which to appreciate the beauty of Zenocrate. It’s when weeping in distress for her country and her father, who are threatened by Tamburlaine, that she is at her most aesthetically pleasing – or in Tamburlaine’s terms, that she fights most fiercely with the Scythian’s ‘tempted thoughts’. This idea leads to a discussion of beauty which bears a close resemblance to Apelles’ meditations on the subject in Campaspe. The discussion begins with a direct quotation from Lyly’s second play, Sapho and Phao – ‘Fair is too foul an epithet for thee’ – and culminates with the statement that beauty is finally beyond representation by the verbal artistry of poets, since in it there is always ‘One thought, one grace, one wonder, at the least, / Which into words no virtue can digest’. Lyly’s Apelles is in agreement concerning the limitations of art when copying beauty, since to do justice to Campaspe he must learn to paint ‘things unpossible for mine arte, but agreeable with my affections: deepe and hollowe sighes, sadde and melancholye thoughtes, wounds and slaughters of conceites, a life posting to death, a death galloping from life, a wavering constancie, an unsetled resolution, and what not, Apelles?’ As a warrior, however, Tamburlaine is able to realize Apelles’ metaphors of battle as a poet or painter is not. Half way through his speech, shocked by his own vulnerability to the ‘feminine’ emotions that he has hitherto abjured, he resorts for a moment to Gossonian misogyny:

But how unseemly is it for my sex,
My discipline of arms and chivalry,
My nature, and the terror of my name,
To harbour thoughts effeminate and faint!

But he at once changes his mind, and concludes that by admitting himself to be susceptible to desire while at the same time refusing to be distracted by it from his military purpose he shows himself superior to the ancient gods, whose appetite for sex was notorious. Desire brought the ancient gods down to earth ‘To feel the lovely warmth of shepherd’s flames’. Tamburlaine’s love, on the other hand, raises him from his lowly status as shepherd to a position high above the ancient gods, reversing the degrading effect of desire that Gosson had objected to so strongly throughout his polemical pamphlets. The Scythian’s ability to transcend his birth offers the ultimate proof that virtue, not heredity is the ‘sum of glory, / And fashions men with true nobility’. Lyly’s Alexander claimed to have conquered love but in fact left it to be enjoyed by the lower classes. Marlowe’s Tamburlaine, by contrast, is right to claim a triumph over love as one of his conquests, since his response to Zenocrate serves as an illustration of his ability to transcend both class and genre. By loving fame, victory and Zenocrate with equal passion he finally destroys the distinction between the comic and the epic which Lyly’s Alexander sought to reinstate at the end of the earlier tragicomedy. He confirms the potential of Marlowe’s class – Marlowe was the son of a cobbler from Canterbury – to emulate his achievements in word and action, at least within the space of the playhouse. And Gosson was not the only one of Marlowe’s contemporaries to assume that what was represented in the playhouse had a direct effect on what went on beyond it. Taken together, Campaspe and Tamburlaine 1 show just how sophisticated the theory and practice of comedy, and of the interplay between the comic and other modes, had become by the 1580s. By bringing comedy into close contact with other genres or modes, especially tragedy, Lyly and Marlowe helped to intensify the power of the comic voice, making it a more incisive tool for anatomizing contemporary politics and culture. Lyly’s Campaspe confirms comedy’s role as a major forum for free speech available to educated commoners, which could address both court and city on political and social issues with equal confidence. Marlowe’s Tamburlaine confirmed the conviction of the anti-theatrical lobby that the comic could be exploited even by the unschooled under-classes as an adjunct to political agitation. In fact, both writers fulfil the potential of comedy as a significant weapon in the class conflict of the late sixteenth century: a conflict that had become more ferocious as schools and universities made themselves available to a wider range of social groups. Lyly and Marlowe were young men who had attended university, been given a rhetorical training which was explicitly designed to prepare them for participation in government, and then found themselves in limbo, with no certain job prospects and no clear notion of how best to make use of their training. Tragical comedy – or in Marlowe’s case, comical tragedy – gave them a space in which to articulate their frustrations, to convert them into a kind of action. And who knew how far the action instigated in a private or public playhouse might spread?

Tamburlaine’s Mausoleum, Samarkand. I visited in 1991.

Utopia, Laughter and Reformation: Erasmus, More and Rastell

For some time now I’ve been thinking about writing a book about English comic fiction and the Reformation – no doubt one of those many lost books that will never get finished. It’s an odd combination, certainly: a religious crisis that provoked violent conflict throughout Europe and a mode of writing that tends to get lost in literary history, largely because it’s thought of as light, a form of ‘popular’ and often crude entertainment that has nothing significant to tell us about the culture that produced it. James Simpson’s brilliant volume of the Oxford English Literary History, for instance (1350-1547: Reform and Cultural Revolution), has no comic fiction in it at all, and there has never been a monograph on early modern comic fiction in English. What has comic prose fiction to do with religious and political controversy? Very little, this neglect seems to say. But my view is that it has a great deal to tell us about reformation of one sort or another, and here I’m going to try to show this through a peculiarly rich case study.

Early 17th-century illustration of The Praise of Folly

The comic is about obliqueness: disrupting patterns of expectation, twisting familiar narratives, social customs and verbal conventions out of shape, taking people by surprise in such a way as to shock them into laughter. It depends for its effects on the assumption that there is a direction in which things usually go: a social or cultural pattern or norm that gets transgressed by the comic incident or comment, though in such a way as not to disturb the reader too radically. For this reason the comic, like satire, is sometimes taken to be a basically conservative medium; the status quo gets asserted rather than undermined by comic disruption. Even when the laughter it induces is uncomfortable or nervous, the fact that we laugh at all confirms that the object of our laughter is not serious – that in the end it has no power to alter things. If it did, we wouldn’t laugh at it; we would weep, gasp, rage, or shout. The medieval church’s ready accommodation of carnival periods into its religious cycle attests to laughter’s power of containing the emotions it releases, and to the inevitability of the return to sober normality after the period of laughter is over.

Illustration for Sebastian Brant’s Ship of Fools

Not all laughter, though, is so easily contained by the authorities. All three of the writers I want to write about here share a tendency to cross the line between the comic and the unacceptably transgressive, the forbidden, even the treacherous. There’s a time and a place for laughter, the Bible tells us, and even if fools have a degree of licence or legal protection there are subjects even a fool doesn’t breach with impunity. One of the most famous fools in history, Scoggin – who became the hero of his own collection of comic stories which went on being published into the eighteenth century – got himself sentenced to death by the king he served, and only saved himself by asking to be allowed to choose the tree from which he would be hanged – a choice he of course never made. All three of my writers were famous for their humour; and all three fell foul of the authorities of church and state, two dying for the doctrinal positions they took up in the early years of the Lutheran controversy, while the third lived largely in exile, and had his works placed on the papal index of prohibited books after his death. These writers didn’t get into trouble specifically for their humour; but their comic writings do have something to tell us about how and why they crossed the nebulous borders between the permissible and the illicit, and perhaps also about why each of them ended up on different sides of the religious conflict. Their eventual differences are all the more remarkable because the three of them started out with such similar convictions. What, then, does their comic fiction tell us about the different directions in which these convictions took them?

From the early days of their friendship the Dutch scholar Desiderius Erasmus, the English lawyer Thomas More, and More’s brother-in-law, the printer John Rastell, shared a very humanist passion for social and ecclesiastical reform achieved through letters: above all, through the process of making words perspicuous; of clarifying their meanings with the help of translation, etymology (tracing the history of words) and exegesis or explanatory commentary. Erasmus sought a return to the first principles of Christianity through a return to correct texts – especially, of course, accurate texts of the Bible. For him, the accurate use of words and grammar, in translations of the scriptures but also in the secular scripture of classical literature, could lead to a reformation of society and the Church. His quest for perspicuous or lucid wisdom expressed itself in the successive editions of his Adagia: collections of proverbs or adages drawn from ancient Greek and Latin authors, which he saw as embedded in and indeed springing from a collective popular culture, since many have close affinities with old Dutch sayings he had known since childhood. His aim was to reintroduce the sort of lucid wisdom expressed in these proverbs into a church and secular government that had lost sight of the common people, and so of Christ’s original message, which embraced the powerless and disenfranchised.

Erasmus by Hans Holbein

Erasmus’ friends Thomas More and John Rastell shared his view of the redemptive power of words properly used in grammar, rhetoric and reasoning; but their focus at the beginning of their careers was on the secular letter of the law. More famously depicted in Utopia a land where the law is reduced to a few simple precepts understood by all citizens, in token of the common responsibility for government which is the founding principle of his invented society. John Rastell sought to realize this vision in his own country, England, by printing the first translations of English law into the English language, thus removing the mystique that had woven itself around legal processes by virtue of the erudite language in which they were couched. Rastell’s translations proved so popular that they went on being reprinted into the eighteenth century; and the global success of More’s Utopia is well known. But it’s also well known that the dreams of these humanists were just that: idealistic dreams, which never stood a chance of achieving a proper reformation of church and state in any country. We know this now, of course, with the advantage of hindsight; and it’s clear that all three writers knew it then, since they chose to convey their dreams, in part at least, through comic fiction. But I would suggest that they knew it in different degrees. Rastell really seems to have thought he could effect some sort of change in English society, since he converted to Protestantism in old age and set about furthering the cause with all his resources – in fact, he bankrupted himself in the end as he worked to establish radical Protestantism in England. Erasmus, too, truly believed that he could change the world with his words – or rather with God’s words freshly presented to readers alongside his commentaries – though he had few illusions about how radical the change must be or how hard to effect. More, on the other hand, knew full well that his utopianism was utopian; that however ‘good’ it was, it existed nowhere, and that there was little hope that any of its precepts would be accepted in Europe any time soon. As I said, with the advantage of hindsight it could be said that these writers’ comic fictions represent these positions with startling accuracy. It’s time, then, to turn to those fictions to see if they bear out this contention.

The theme of Erasmus’s Praise of Folly is inversion. The goddess Folly distinguishes a vast variety of foolishnesses as she argues for her own centrality to human experience, first by showing how she dominates each individual’s life from birth to death, then by schematically illustrating the foolishness of each estate or class in European society, with special emphasis on the people who regard themselves as least ridiculous, the ruling classes of church and state. But two special kinds of folly are pitted against each other throughout her discourse. The first is the folly of simplicity, which states openly and plainly in the most lucid words what is and what (in Christian terms) should be – and hence attracts derision from the powerful, who have a vested interest in keeping things obscure an incomprehensible. The second is the folly of sophistication, which aims to complicate the simple tenets of Christianity through verbal obfuscation in the interests of underpropping tyranny. As Folly’s mock sermon unfolds, we learn that the dominant folly of sophisticated people is the pretence of following Christ’s simple philosophy, as Erasmus calls it elsewhere, while actually following the fool-osophy of self-interest – which means that what’s called folly by the world is in God’s eyes wisdom, and vice versa. Folly’s constant switching between these two brands of folly produces a vertiginous effect on the reader, so that we find ourselves constantly wrong-footed, repeatedly enmeshed in one folly or another until the sermon’s final section, when the ecstatic foolishness of Christ’s followers emerges triumphant as the one stance worth cultivating. Erasmus’s constant comic violation of the reader’s expectations in this discourse leaves us without stability except in Christ, whose perspicuousness or simplicity of phrase and purpose is confirmed at last as the only certain ground in a world turned inside out by the Fall. The radically disturbing effect of the sermon preached by Erasmus’s Folly, with all its comic volatility, was confirmed by the condemnations to which it became subject; including, of course, the famous statement by More, at the height of the Lutheran controversy, that he would rather have it burnt with his own Utopia than add its fuel to the mounting flames of religious revolution.

Roman mask of Silenus

It’s ironic that the celebration of simplicity should have been so central to a text that delights in its own complexity, its cunning play of one form of absurd behaviour against another. One might say the same for Erasmus’s Adagia, where simple proverbs open out like boxes to disclose the wealth of ideas they can accommodate. But in the Fallen world we have lived in since the exile of Adam and Eve from the first utopia, Eden, the relationship between simplicity and sophistication has been drastically reversed or inverted, so Erasmus believed. As a result, the simple playfulness of verbal punning (like the pun of his book’s title) has been transformed by unscrupulous authorities into self-serving trickery, lies and fraud. This is best illustrated by comparing two of the metaphors he uses in The Praise of Folly. The first is the ‘Silenus of Alcibiades’, a grotesque statue that opens up like a container to reveal the figure of a god concealed inside. Erasmus sees words themselves, when properly used, as such a container, and he repeatedly returns in his pedagogic writings to the idea of words and phrases as boxes that can be endlessly unpacked. The other metaphor, which is the reverse of the Silenus, is the theatre, where a resplendent show conceals the physical and moral turpitude or sickness of the actors. A prince resembles an actor, Folly tells us, when he seems ‘bothe riche, and a great lorde’ but has ‘no good qualitees of the mynde’; and she pursues this analogy by imagining ‘one at a solemne stage plaie’ who decides ‘to plucke of the plaiers garmentes, whiles they were saiyng of theyr partes, and so disciphre unto the lokers on, the true and native faces of the plaiers’. Under these conditions ‘who before plaied the woman, shoulde than appeare to be a man: who seemed a youth, should shew his hore heares: who countrefaited the kynge, shulde tourne to a rascall, and who plaied god almightie, shulde become a cobler as he was before’ (37-8). The person who removes the players’ costumes in mid-performance exposes the absurd illusion that allows the play to function, just as the analyst who exposes the disparity between a prince’s splendid appearance and his sordid personality reveals the absurd illusion that sustains monarchic authority in contemporary Europe.

At the same time, the costume remover exposes his own folly by his actions. Doesn’t such a man ‘marre all the mattier,’ Folly asks, ‘and well deserve for a madman to be pelted out of the place with stones’? Elsewhere she describes the pagan gods as looking down on the unruly ‘Theatre’ of the world and laughing at all mortals without exception. To see oneself as planted somehow outside this universal theatre – as spectator rather than actor – is delusional; so that the critic who strips the actors of their costumes discloses his own inability to see that he is one of them. Even those few men or women who glimpse the truth make themselves foolish by their efforts to describe it: ‘thei doo speake certaine thynges not hangyng one with an other, nor after any earthly facion, but rather dooe put foorth a voice they wote never what, much lesse to be understode of others’. In the process they too become actors: clowns or fools who entertain the rest of the world with their incoherent jabbering. The quest for the simplicity of truth, then, is as much a form of folly in the fallen world as the sophistication that seeks to conceal the true nature of things for personal advantage. No one is free from Folly’s influence; so it hardly seems surprising that Erasmus never took a hard line in the reformation struggles that broke out after his book was published. He was not arrogant enough to suppose he was exceptional; and The Praise of Folly illustrates this wittily self-conscious humility on every page. His book is utopian in that the ideal Christian exists nowhere – that is, he or she is an exile in a world that has dedicated itself to something very different from the Christian ideal. The hope Folly’s sermon offers us is that ideal Christianity nevertheless exists, not just in Heaven but hidden away in the nooks and crannies and strange containers of the human mind, and of the mind’s preferred mode of communication, the art of words.

Thomas More by Hans Holbein

More’s most celebrated work, Utopia, adopts a different perspective. If Erasmus is concerned with inversions and reversals, More dwells on separations, dividing his text into two parts as if to confirm the eternal division between the knotty complexities of Tudor England, as described in the first book, and the rationality of the communist state described in the second. The man who brings news of Utopia to Europe is Raphael Hythloday, the angelic messenger (as his Christian name suggests) who is also a purveyor of nonsense (as his surname indicates). Hythloday tells More that he lived in Utopia for several years, and that he would never have left it except to spread word of its achievements – to serve as a secular evangelist for the ideal society. Yet Hythloday refuses to offer his services to kings for fear of being contaminated by the corruption of courts. As a result, news of Utopia is confined to More’s comic fiction, which can be dismissed by kings and their advisors as a toy, a tissue of impossibilities fit only for leisure-time perusal by the small band of erudite readers who know Greek and Latin. This superior attitude of kings and the aristocracy towards Utopia exactly mirrors the superior attitude of the discoverer of Utopia, Raphael Hythloday, who sees himself as self-evidently more intelligent than any adviser currently serving a European prince. And More’s persona in the book seems to share this superior attitude, to judge, at least, by his use of the theatrical metaphor, which is so very different from the use of it made by Folly.

In an effort to persuade Hythloday that philosophers should serve as counsellors to kings, More makes a famous distinction between the philosopher who gives the same advice to every audience and the philosopher who adapts his words to the needs and whims of each recipient. The former, More contends, may be compared to the man who interrupts one theatrical performance with another, obtruding a solemn speech from a Senecan tragedy into the buzz and burley of a Plautine comedy so that he ‘must needs mar and pervert the play that is in hand, though the stuff that you bring be much better’. In the same way, when serving in a prince’s court one must not ‘labour to drive into their heads new and strange information which you know well shall be nothing regarded with them that be of clean contrary minds. But you must with a crafty wile and a subtle train study and endeavour yourself, as much as in you lieth, to handle the matter wittily and handsomely for the purpose; and that which you cannot turn to good, so to order it that it be not very bad’. Throughout this account More assumes, like Hythloday, that the philosopher – he himself – is wiser than the men he deals with, and guileful enough to insinuate part of his advice into ‘contrary minds’ through a clever performance. Hythloday points out that such a performance runs the risk of propping up corrupt regimes, since how can one persuade a monarch to do anything except by flattery? But even this objection continues to imply a sharp distinction between the principled humanist counselor and the ignorant men he seeks to influence. This distinction corresponds to the difference between the carefully rationalized order of Utopia, described in the second book, and the chaotic social and legal practices of Europe; and the narrative concludes with the acknowledgment that it is unlikely Europe will ever be influenced by even the best Utopian ideas: ‘so must I needs confess and grant that many things be in the Utopian weal public which in our cities I may rather wish for than hope for’. Hythloday and More cannot agree on the philosopher’s role in a modern state; but they do agree that in the end no modern state will accommodate any good principles he may put forward, however ingeniously. Utopia, then, anticipates More’s final performance at the court of Henry VIII, when he played out his own dissent from the king’s agenda by cracking jokes on his way to the tragic scaffold. The book’s ostensible topic is communism, but its effect is to reinforce the isolation of the tiny community of humanist thinkers from everyone else in Europe.

More was inclined to preserve this isolation as far as possible; an ambition that runs counter to his famous pleasure in taking part in stage performances and cracking jokes. In his works More often expresses particular anxiety about the new medium of print and its capacity for slipping out of the author’s control, putting sensitive political and religious ideas in the hands of the malicious or the uninformed. His persona Morus, for instance, tells Peter Gillis that he is unsure whether to print Utopia:

For the natures of men be so diverse, the phantasies of some so wayward, their minds so unkind, their judgments so corrupt, that they which lead a merry and jocund life, following their own sensual pleasures and carnal lusts, may seem to be in a much better state or case than they that vex and unquiet themselves with cares and study for the putting forth and publishing to others, which others will disdainfully, scornfully, and unkindly accept the same.

Where his brother-in-law the printer John Rastell tends to note with amazement the multitude of alternative points of view in the commonwealth, and the enthusiasm with which they’re being disseminated in print, More is concerned that many of these different points of view proceed from ‘corrupt judgments’ – a phrase that testifies to his lifelong concern with religious and political orthodoxy. Merriment, in this passage, is both a private affair and in this case a corrupt one, since the ‘merry and jocund life’ he represents as easier than a hard-working one dedicates itself exclusively to ‘sensual pleasures and carnal lusts’. At the same time, More has no time for people who don’t appreciate a good joke (and merriness and jocundity are both words associated with jokes and funny stories). The worst reader of his book, he insists, would be ‘One [who] is so sour, so crabbed, and so unpleasant, that he can away with no mirth or sport’, or ‘so narrow between the shoulders, that he can bear no jests or taunts’. The clash between these two positions – both in favour of and antagonistic to jokes and merry-making – is what makes More such a fascinating figure, despite his later propensity for torturing and burning people who didn’t agree with his religious position.

As I’ve mentioned already, More limited the number of hostile or perverse readings of Utopia by printing it in Latin, and in later life he famously expressed the view that it should be burned along with the Praise of Folly rather than set forth in English, for fear of corrupting the ‘wayward phantasies’ of its unlearned readers even further than they had been already. Merry-making became an increasingly serious matter as the religious controversies of the 1520s got under way. More’s most significant intervention in the Lutheran controversy, the Dialogue Concerning Heresies, places most of its ‘merry tales’ or funny stories in the mouth of a youthful ‘Messenger’ with whom More disputes concerning Luther’s doctrines. At one point, More warns the young man against the comic anti-clerical anecdotes that were so popular in the period – and to which More himself had contributed more than once – because they lay undue emphasis on laughable members of the clergy rather than on those who set good examples. The Dialogue Concerning Heresies also presents itself as a testament to the dangers of the printing press. More worries about printing it because it contains eloquent accounts of so many of the heresies he seeks to refute. He decides to do so, in the end, because of the fear that the Messenger may misrepresent More’s arguments, printing them in a version that gives greater weight to the young man’s own ‘corrupt judgment’ as a Lutheran sympathizer than to the authoritative judgment of the church as articulated by the older man. By the time of his Dialogue of Comfort Against Tribulation, which he wrote in prison under the shadow of execution, More was even more ambivalent about the value of wit at a time of religious controversy. The first book alludes to two biblical texts on the delicate problem of comic timing: ‘Woe may you be that laugh now, for you shall wail and weep’, ‘There is time of weeping and there is time of laughing’. More goes so far as to assert that in both passages Christ ‘setteth the weeping time before; for that is the time of this wretched world, and the laughing time shall come after in heaven’. By this reasoning, well-timed mirth can only occur after death. Fortunately in the second book of the Dialogue More chooses to ignore this perception and tells a string of funny stories designed to lift the reader’s mood. But there’s an indication in much of his work that the merry tales he tells, and the kind of merry-making in which he participates, is an essentially private affair that can only be safely enjoyed by the learned and their carefully vetted employees. Part of what makes the Messenger in the Dialogue Concerning Heresy susceptible to Lutheran influences is his impatience with learning, despite his evident intelligence; and More is inclined to put this position down to sheer laziness, asserting that the Lutheran insistence on an unmediated reading of the Bible arises from the fact that he is simply too lazy to read the commentaries of the Church Fathers. For More, both printing and laughter can get out of hand, and he circumscribes his enterprises in both areas with warnings and provisos.

Utopia itself is isolated from the rest of the world, both geographically and conceptually speaking. More tells Peter Giles in the letter at the beginning that he only managed to write it in snatches: ‘I therefore do win and get only that time which I steal from meat and sleep’. We eventually reach Raphael Hythloday’s account of Utopia through a thicket of debates about England: the effects of enclosure, the punishment of criminals, the value of advising monarchs, the operation of the law, all these things get in the way of the perfect commonwealth and no consensus is reached about them. Utopia, on the other hand, is one universal consensus. Nothing is hidden there, all thoughts and ideas are open, the laws are readily comprehensible to all citizens, there even seems to be general agreement about which books are most interesting – and the Utopian taste in books corresponds very closely with More’s (they love the Greek satirist Lucian, for instance, whose work More translated into Latin with his friend Erasmus). At the same time, the consensus is reached by a remorseless logic that protects itself with threats of violence; as Hythloday’s narrative goes on, in Ralph Robinson’s translation, the word ‘death’ gets repeated with alarming frequency, as the agreements among the Utopians are defended against those who might object to them with the ultimate sanction of capital punishment. If you don’t agree with our logic, the implication is, no matter how we talk and explain and reason, you must die. It would seem that reaching consensus is a costly business. Meanwhile, the lack of consensus between the Utopians and the rest of the world means that communication between them is not only difficult but more or less impossible. The famous story of the ambassadors from a neighbouring country who bedeck themselves in gold to impress the Utopians and instead find themselves to be objects of derision – Utopians only dress children and fools in gold, since it’s a useless metal for any practical purposes – suggests that the opposite values held by outsiders and Utopian insiders make dialogue profoundly problematic. A similar verbal impasse is suggested when Hythloday tells his listeners ironically that the Utopian logicians – scholars of logic or reason – are much inferior to European ones, since ‘they have not devised one of all those rules of restrictions, amplifications, and suppositions, very wittily invented in the small logicals (logical textbooks) which her our children in every place do learn’. Utopian logic is simple and readily comprehensible to all, and this makes it incomprehensible to non-Utopian specialists in logic. The basic values of this society in terms of gold – the staple content of European treasuries – and the use of reason are entirely different; which means that only a few eccentric Europeans who can appreciate their point of view are able to talk to the Utopians at all.

It’s not surprising, then, that while the Utopians have welcomed and absorbed a great deal of knowledge from the outside world, the rest of the world has learned nothing from Utopia. They inhabit different conceptual spheres, speak different languages, cleave to different values, which explains the shutting down of possibilities with which the second part concludes, when More speaks of the ‘many things […] in the Utopian weal-public which in our cities I may rather wish for than hope for’. Laughter separates the Utopians from ourselves – the derision of the Utopians for the foreign ambassadors, the derision of foreign logicians for Utopian logic. Perhaps More’s simultaneous approval and disapproval of jokes and humour springs from this: that there are different kinds of laughter, some of which draws people together, others of which drive a wedge between them, and the difficult business of knowing the difference between them is a matter of life and death.

John Rastell’s comic fiction is almost unknown in the twentieth century; it’s utopian in the sense that it’s nowhere now, but I also want to suggest that it’s utopian in the political sense, aiming to establish an egalitarian commonwealth in the land of its publication. It can be found in a small collection called A Hundred Merry Tales, which he published in 1526 and was still well enough known in Shakespeare’s time to earn a mention in Much Ado About Nothing. If More’s and Erasmus’s fictions crossed borders throughout Europe, Rastell’s collection is stubbornly English: it’s the first collection of comic fiction to locate itself firmly in England through the names and places it contains, and it doesn’t seem to have won fame outside its country of origin. Unlike the works of Erasmus and More it is anonymous; Rastell’s authorship can only be deduced from internal evidence, mainly its similarity to his excellent play The Four Elements. And it doesn’t claim any kind of authority, either through the humanist credentials of its author (since the writer is unnamed) or by the ease of scholarly reference that characterizes More’s and Erasmus’s writings. The men and women whose adventures Rastell relates come from all classes, trades and callings, so that the few critics who have written about his book tend to treat it as a sociological document, an anthology of popular anecdotes that were common currency in Rastell’s lifetime. The book stems, in fact, from an acceptance of popular or collective wisdom which is yet more radical, by implication, than Erasmus’s Adagia. And it also displays a determination to add a few grains to this collective wisdom. A couple of examples will give a flavour of its contents.

In tale 52, a ‘rude and unlerned’ young man is instructed by his priest to learn the Lord’s Prayer, and asks his friend to teach it to him in exchange for something more valuable: ‘a songe of Robyn Hode that shall be worth xx of it’. The humour here arises from the incompatible value systems held by the church and the ‘rude’ young man: in Tudor culture stories of Robin Hood were used as synonyms for worthlessness, because of their popularity, their simplicity, their self-conscious opposition to the ‘high’ matter of chivalric romance. But Rastell’s tale doesn’t pass judgment on the young man’s valuation of such songs and stories. In the course of getting to the punchline we are given a detailed ‘exposicyon’ of the ‘vii peticyons’ contained in the Lord’s Prayer; and the moral of the story merely makes mention of what we have learned while we were reading it: ‘By thys tale ye may lerne to knowe the effecte of the holy prayer of the Pater noster’. One could add that the tale instructs the clergy in their duty to their parishioners, since the young man has not reaped much benefit from clerical tuition. The worth of the Lord’s Prayer has been declared to the reader of this story by way of a reference to Robin Hood, and these two very different forms of discourse work together to a worthwhile end.

The same could be said, in fact, of all the ‘merry tales’ in Rastell’s collection. The story of the pater noster occurs in a part of the book that is given over to religious instruction. Embedded among the comic narratives, this sequence of four stories – from 52 to 55 – explain certain key texts of the Christian liturgy: the pater noster, the Ave Maria, the creed and the ten commandments. The sequence might remind us that many medieval collections of merry tales claim to have been assembled for the use of the clergy, who liked to inject comic anecdotes into their sermons. But it also confirms Rastell’s commitment to the project of making knowledge common. Tale 53, for instance, the story of a friar who preaches in rhyme, sets the good intentions of the preacher against the snobbery of the courtiers in his congregation. The friar explains the Ave Maria, the narrator tells us, ‘in suche fonde ryme, that dyvers and many gentlemen of the court that were there began to smyle and laughe’, whereupon the friar rebukes them for mocking a man who seeks to ‘preche to you the worde of God’. The tale ends with a moral that seems to side with the courtiers: ‘the most holyest matter that is, by fond pronuncyacion and otterauns, may be marryd nor shall not edyfye to the audyence’. But this conclusion is followed by a second moral or summary: ‘by thys tale they that be unlearnyd in the laten tonge may knowe the sentence of the Ave Maria’. For the courtiers, then, the sermon was marred by the manner of its ‘otterauns’ or delivery; but for the unlearned it was rendered more effective by being conveyed in memorable verse. The courtiers in the tale are clearly uninterested in the edification of the unlearned; and it seems that many priests share their indifference, since the friar’s lesson is only necessary to his non-courtly hearers because they have not been properly taught by previous preachers. A reformist perspective can be detected in this story, making it consistent with Rastell’s lifelong concern for making things common: from his translations of the English law for the use of all readers, to his publication of the first popular history of England, The Pastime of People, in 1530, to his conversion to reformed religion a year or so later, won over by its commitment to making the scriptures available to all Christians.

Rastell’s philosophy may again be best summed up by his attitude to theatre. Tale 54, on the ‘artycles of the Crede’, urges its readers to go to Coventry ‘for a more […] suffycyent auctoryte’ of its doctrines, where ‘ye shall se them all playe in Corpus Cristi playe’. Rastell was a member of the Coventry Gild of Corpus Christi, so it’s pleasing to hear him ascribe ‘auctoryte’ to his gild’s productions of the popular religious plays known as mysteries. Tale 3 tells the story of a man called John Adroyns who played the devil in a Suffolk mystery play; his failure to remove his costume after a performance leads to a succession of terrifying encounters, which culminate with a gentleman coming to the door of his house with a chaplain, armed with holy water, to prevent the supposed devil from collecting his immortal soul. In this tale, an illusion or fantasy begins in ‘feare’ and ends in ‘myrthe and dysporte’, as everyone finally disentangles the confusions that caused such chaos. So too in tale 16, a thieving miller and his accomplice get mistaken for a ghost and a devil, in the process becoming inadvertent actors like John Adroyns and spreading havoc throughout the community. Here, too, the moral or exegesis alludes to the defusing of tensions and the pointlessness of paranoia: ‘it is foly for any man to fere a thing to moche, tyll that he se some profe or cause’. In these last two cases, entire communities are deceived by accident, a situation that is resolved by a collective agreement as to the interpretation of events which restores ‘myrthe and dysporte’ without resort to clerical intervention. No social class or religious order is exempt from folly; and the ease with which a collective resolution is reached reflects the optimistic outlook that led the ageing Rastell to adopt the Lutheran confession, and to devote the remainder of his days – along with his printing press and the whole of his fortune – to the furtherance of the Lutheran cause in England.

Rastell was jailed in 1536 for arguing against the payment of tithes to the church, and died in prison without a trial; an ironic ending for a man who had devoted so much time to making the law accessible to ordinary people. He is not remembered as a martyr; but even this oblivion is not inappropriate for a man who repeatedly insisted that his objective was not self-promotion but to benefit the English commonwealth, working quietly behind the scenes for its reformation. All three of our writers claimed to serve the commonwealth, and did so in part through the common currency of laughter; but only Rastell chose to do so in the common language, which perhaps explains why he was so susceptible to conversion. The other texts we’ve discussed today – Erasmus’s Praise of Folly and More’s Utopia – were first translated into English in the radical religious climate of the reign of Edward VI. Protestant readers of these texts would have received them in a very different light from their early Catholic readers. And it’s this difference, I would contend – the variety of readings to which these texts have been subjected, so that they are very far from the restricted documents More wanted to them to be – that makes the story of English comic fiction and reformation so well worth telling.