June 1, 2015
Shakespeare expert Shapiro (Contested Will) delivers a fascinating account of the events of 1606 and how they may have influenced three tragedies the Bard is thought to have written that year or soon afterwards. He starts by acknowledging that writers, including Shapiro himself, have traditionally treated Shakespeare as an Elizabethan playwright instead of a Jacobean one, though some of his greatest plays are from the latter era. Shapiro goes on to trace the Shakespearean implications of a year that included the trial (and execution) of Guy Fawkes for the Gunpowder Plot, plague, European royals visiting England, and family drama. It’s an inherently fraught task—“I’m painfully aware that many of the things I’d like to know about him... cannot be recovered”—but Shapiro convincingly demonstrates how closely contemporary events are reflected in the plays. The parties in Antony and Cleopatra that leave Pompey drunk “have no source in Plutarch,” so the reports of such events during the visit of Danish King Christian seem a likelier source. The other tragedies explored here—Macbeth and, of course, the titular King Lear—show similar contemporary influences on both plot and theme. Shapiro is as compelling when documenting historical events as when analyzing Shakespeare’s text, and his sizable bibliographic essay provides ample fodder for readers wanting to dive deeper into his research.
April 4, 2016
Shakespeare expert Shapiro delivers a fascinating account of the events of 1606 in Shakespeare’s life and how they may have influenced three tragedies the bard is thought to have written that year or soon afterward. Shapiro analyzes the plays King Lear, Antony and Cleopatra, and Macbeth to show the influence of Shakespeare’s personal life as well as the new political landscape represented by King James’s ascension to the throne. Fass’s narration is lackadaisical, but he gets the job done with consistent projection and the right emphasis. But with 11 hours of dense literary criticism, a little energy and enthusiasm is needed to keep listeners attuned; instead Fass merely reads the words on the page. A Simon & Schuster hardcover.