This was also the year of the Gunpowder Plot, the infamous attempt by Guy Fawkes and his associates to blow up the Houses of Parliament just when the king and his court were in attendance. In this connection Shapiro devotes a particularly learned and fascinating chapter to the concept of equivocation – a rhetorical technique used by persons suspected of Catholic leanings to avoid being apprehended and forced to confess their crime.
This was a time when religious rivalries were still rife, with the Catholic faith being regarded as subversive, even treasonable. In addition to the possibility that plays which were considered politically threatening could be banned by the Lord Chamberlain, who acted on the monarch’s behalf, the theatres of London were periodically closed for reasons such as Lent (the period leading up to Easter), fears of the recurrence of an epidemic of plague, and apprehensions regarding political unrest. The life and livelihood of actors and playwrights could be precarious at that time, so Shakespeare and his fellow-playwrights had to tread very carefully when writing about current events. Linking together the hiatus caused by the succession of King James the First, the son of Queen Elizabeth the First’s cousin and rival, Mary Queen of Scots, and the resultant Union of England and Scotland, Shapiro shows how the opening scene of King Lear alludes to this event. James Shapiro, who is Professor of English at Columbia University, New York, displays a breadth and depth of knowledge that left me astounded.
All the same, this historically accurate account of the events that occurred in that year, and the ways in which they affected Shakespeare and his contemporaries, reads like an exciting detective story, taking the reader along an uncharted route in which previously hidden connections are established and mysteries resolved. When I picked this book up at Luton airport, as I was about to board a plane, I thought I was going to read a historical novel.
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