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Will in the World: How Shakespeare Became Shakespeare, by Stephen Greenblatt
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The theatre for which Shakespeare wrote and acted was a cut-throat commercial entertainment industry. Yet his plays were also intensely alert to the social and political realities of their times. Shakespeare had to make concessions to the commercial world, for the theatre company in which he was a shareholder had to draw some 1,500 to 2,000 paying customers a day into the round wooden walls of the playhouse to stay afloat and competition from rival companies was fierce. The key was not so much topicality - with government censorship and with repertory companies recycling the same scripts for years. Instead, Shakespeare had to engage with the deepest desires and fears of his audience. Will in the World is about an amazing success story that has resisted explanation: it aims to be the first fully satisfying account of Shakespeare's character and the blossoming of his talent. There have, of course, been many biographies of Shakespeare. The problem each one faces is the thin amount of material surrounding his life. They lead us through the available traces but leave us no closer to understanding how the playwright's astonishing achievements came about.
- Sales Rank: #5501790 in Books
- Published on: 2004-10-07
- Original language: English
- Number of items: 1
- Dimensions: 9.49" h x 1.46" w x 6.42" l,
- Binding: Hardcover
- 320 pages
Amazon.com Review
There's no shortage of good Shakespearean biographies. But Stephen Greenblatt, brilliant scholar and author of Will in the World: How Shakespeare Became Shakespeare, reminds us that the "surviving traces" are "abundant but thin" as to known facts. He acknowledges the paradox of the many biographies spun out of conjecture but then produces a book so persuasive and breathtakingly enjoyable that one wonders what he could have done if the usual stuff of biographical inquiry--memoirs, interviews, manuscripts, and drafts--had been at his disposal. Greenblatt uses the "verbal traces" in Shakespeare's work to take us "back into the life he lived and into the world to which he was so open." Whenever possible, he also ushers us from the extraordinary life into the luminous work. The result is a marvelous blend of scholarship, insight, observation, and, yes, conjecture--but conjecture always based on the most convincing and inspired reasoning and evidence. Particularly compelling are Greenblatt's discussions of the playwright's relationship with the university wit Robert Greene (discussed as a chief source for the character of Falstaff) and of Hamlet in relation to the death of Shakespeare's son Hamnet, his aging father, and the "world of damaged rituals" that England's Catholics were forced to endure.
Interview with Stephen Greenblatt
Stephen Greenblatt shares his thoughts about what make Shakespeare Shakespeare and why the Bard continues to fascinate us endlessly.
From Publishers Weekly
This much-awaited new biography of the elusive Bard is brilliant in conception, often superb in execution, but sometimes—perhaps inevitably—disappointing in its degree of speculativeness. Bardolators may take this last for granted, but curious lay readers seeking a fully cohesive and convincing life may at times feel the accumulation of "may haves," "might haves" and "could haves" make it difficult to suspend disbelief. Greenblatt's espousing, for instance, of the theory that Shakespeare's "lost" years before arriving in London were spent in Lancashire leads to suppositions that he might have met the Catholic subversive Edmund Campion, and how that might have affected him—and it all rests on one factoid: the bequeathing by a nobleman of some player's items to a William Shakeshafte, who may, plausibly, have been the young Shakespeare. Nevertheless, Norton Shakespeare general editor and New Historicist Greenblatt succeed impressively in locating the man in both his greatest works and the turbulent world in which he lived. With a blend of biography, literary interpretation and history, Greenblatt persuasively analyzes William's father's rise and fall as a public figure in Stratford, which pulled him in both Protestant and Catholic directions and made his eldest son "a master of double consciousness." In a virtuoso display of historical and literary criticism, Greenblatt contrasts Christopher Marlowe's Jew of Malta, Elizabeth's unfortunate Sephardic physician—who was executed for conspiracy—and Shakespeare's ambiguous villain Shylock. This wonderful study, built on a lifetime's scholarship and a profound ability to perceive the life within the texts, creates as vivid and full portrait of Shakespeare as we are likely ever to have. 16 pages color illus. not seen by PW.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
For all his generosity in enriching world literature with deathless characters--Romeo and Juliet, Falstaff and Bottom, Hamlet and Othello--Shakespeare kept his own personality remarkably hidden. A Harvard scholar here sheds penetrating light on this enigmatic genius, teasing out the mystery of artistic transformation by carefully connecting the Bard's brilliant verse to his times and circumstances. We see the importance of probable early encounters with Marlowe, Watson, Nashe, and other prominent dramatists, and at the other end of Shakespeare's meteoric career, Greenblatt discerns the alchemy that converted fears of old age into the fury of King Lear and transformed mingled pride and misgivings over a lifetime's work into the autumnal poise of The Tempest. As the same spirit of sympathetic inquiry--by turns subtly speculative and candidly skeptical--plays over other key episodes in Shakespeare's life, readers finally glimpse the exceptional man who turned poetry into a panoramic mirror for all of humanity. A valuable resource for both professional and casual Shakespeareans. Bryce Christensen
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
1 of 1 people found the following review helpful.
Yes!!!
By Odysseus at home
I finished "Will in the World" yesterday night. Its reading was an experience very similar to fall in love or to discover the real meaning of E·equals mc square. For years I've been reading several studies about Will besides his works but I never had come to realize the power of the historical context to understand in earthly and mundane terms what is that we call genius or magic, what do they really mean.
Stephen Greenblatt is the author of another five stars book, "The swerve." I read it, I really enjoyed it, and looking for something else by him I found this authentic jewel.
"Will in the world" is a literary voyage to the world in which Shakespeare lived. So you live there for the time it takes you to read four hundred pages with the fear and the uncertainty of the Elizabethan England and that of her successor, James I. But not only that but also his marriage with Anne Hathaway, the life and death of his only son, Hamnet, and the lives of his daughters Susanna and Judith. Did they influence his plays? If not, then who?
Professor Greenblatt rebuilds the Shakespearean world for you. And to do that he deals with laws, persecutions, innuendos, influences, and so on and on. It is the work, in fact, that you have to do if you want to know how Shakespeare became Shakespeare. This doesn't imply that Will was the product of his time, not at all. It implies that the epoch influences the genius as influences the war, the trade or the economy, which doesn't mean that they do not exist today.
Now, to convince you, he incorporates several, maybe hundreds of quotes taken from the plays Shakespeare wrote all by himself or in collaboration. They are beautiful in themselves but as long as professor Greenblatt explains the reason behind the texts, they get something like a new taste, glow or brilliance. But, you could say, nobody knows exactly how those plays were composed, not even the year of the premiere. Yes, you're right, so here enters the discussion and the informed speculation. This part of the work, which is the hard one, is the reason what you pay for.
When I said that I had read several works and studies on the topic, I really mean it. I've read all the Will's plays and I have my favorites and my quotes and my own interpretations. I read every single book by Harold Bloom on the topic and several works that study and explore the life and the works of the bard. I am a bardolater as Bloom declares himself to be. So, what I'm saying about "Will in the World" is exactly that: a brilliant work. Deep, well written, lovely, unforgettable.
I read it in kindle version, now I need the paperback edition, really. I need the pages and the real ink.
Yes, enthusiasm, joy plus serenity: That's why I thought last night that I had to put this on Amazon today, before or after turned off the light, don't remember. If you don't like Shakespeare, even if you don't, try "Will in the world." Perhaps is the correct answer to the question that bestseller readers ask when they look at you suspiciously. Because this book is the shortcut to the world and the conscience of William. Which means...
Now I have to leave you: Lady Macbeth is waiting for me.
1 of 1 people found the following review helpful.
It checks out
By John Cullom
Greenblatt has a great idea. There's so little to go on with Shakespeare that biographies have been halting, and even the idea of using biographical information to interpret Shakespeare has been on the edge of taboo. Pick up Bloom's Shakespeare, and you can see the delight at tweaking authority leap off the page when he trots out a chestnut about Marlowe being killed by the Elizabethan CIA. The degree of critical insight through biography and historical context brought Bloom's 800 page book by is dwarfed by a short chapter of WiW.
Even better (and this is the true test of an hypothesis), the biographical lodestars brought forth are predictive in works not mentioned. That's sort of a strange claim, but I'm going through it at the moment, so here's the current example - I bet there will be more. One of the main events in the book is WS's relationship with the Earl of Southampton, whom it is affirmed was a patron of WS and the addressee of Venus and Adonis, and some Sonnets (I think that part's affirmed, but the early, non (actually less) sexual ones). ESH was being pushed into a marriage, and he was delaying. WS was supposed to coax him through poetry closer to the marriage, and ended up possibly falling in love with ESH himself. That last bit is more interesting than salient to my point, but nice to have a little scandal. So I'm reading All's Well that Ends Well, and bam! the central action is a courtier that refuses to marry someone the king is commanding him to marry using various delaying tactics, etc. Seems a cartoonish bit of court intrigue in the play, but the real life example is undeniably there in WiW, but unclaimed for AWEW. It's absolutely ridiculous to believe that Shakespeare, unlike all other writers, did not use his life as a primary source for his fiction just because we have so little documentation of it. Greenblatt calls BS on that thought and does everything he can to piece together what's likely and put it on the table.
What seems amazing to me is how airtight his suppositions seem. I think that's a combination of knowledge of the time, knowledge of the work, the discretion not to go out too far on a limb, but the courage to make a claim that fits common sense and has explanatory power. If you're considering a Shakespeare dive, I think this is the book you want as a companion. It's a little better if you have some of the plays under your belt, you'll be nodding a lot more. But it's nice to know the man and the time as you're reading at a higher level than the scattered details that critical volumes of the plays will give.
0 of 0 people found the following review helpful.
I had looked forward with great anticipation to reading this book
By Ian D Gordon
I had looked forward with great anticipation to reading this book. Firstly it was written by the author of The Swerve, one of the most brilliant, thought-provoking books I have ever read. Secondly, the subject matter was ideal for a Shakespeare student and fan like me. Rightly, the book relates the history of England during the second half of the 16th century - in well-researched and amazing detail - but it does so by using minor characters carrying out in most cases inconsequential actions of these times. Will Shakespeare, our leading man, never appears on stage and is only "referred to" occasionally as "Shakespeare would probably have seen this, or done that." Rather like writing the histories of Rosencrantz and Guildenstern, and only occasionally referring to the supposed happenings of Hamlet.
More than a tad disappointing. But I'm sure Mr. Greenblatt will make up for it in his next book.
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