I turned fifty today. Few enjoy that jolt from decade to decade. Anyway, that is what John Berryman says in his essay "Shakespeare at Thirty," in which he imagines the dramatist taking stock of his life and career on the morning of his thirtieth, "a day in latter April long ago--about April 22, say, of 1594, a Monday." Shakespeare instructors could probably skip the obligatory opening lecture on the historical and intellectual background in Elizabethan England and just assign their students to read this idiosyncratic but brilliant essay.
One thing Berryman impresses upon you is that his subject was something of a late bloomer. At the end of the essay, he notes that, as Shakespeare began his fourth decade of life, his rivals among the playwrights of the first Elizabeth--Lyly, Peele, Greene, Marlowe and Kyd--were all either retired or dead. Had Shakespeare died at the same age as Marlowe, he probably would not rate as the greatest English dramatist of the period, and our culture would be considerably poorer. But he survived for another twenty-two years, and so "on to his wilderness of dramatic literature, or garden, or palace, to be created in the six years coming--Richard II, 1 and 2 Henry IV, Henry V, King John, comedies of the Dream, the Merchant, the Shrew, Merry Wives, Much Ado, As You Like It, Twelfth Night, and Caesar." Berryman leaves it to his reader to know that the six years after those six years were the ones in which he created Hamlet, Troilus and Cressida, All's Well That Ends Well, Measure for Measure, Othello, King Lear, Macbeth, and Antony and Cleopatra.
There has been a lot of interesting speculation about the possibility that something in his biography touched off this extraordinary period of activity. In the end, we just don't know, but it certainly seems, given what we do know about the order in which the plays were created, that the disgust and nihilism of, say, Troilus and Lear, give way to something like resignation in The Tempest, which was written when he was past forty-five. It is tempting to make something out of the most famous speeches in Macbeth and The Tempest, respectively--the ones commencing "Tomorrow and tomorrow and tomorrow" and "Our revels now are ended." The general outlook is the same, but the later one lacks the savagery. I think the savagery of the period 1600-1606 can hardly be overstated. Of Lear, so astute a critic as Dr. Johnson raised questions about its propriety as art. The imagery is drawn from the animal world--most famously, perhaps, "As flies to wanton boys are we to th' gods/They kill us for their sport"--causing Lionel Trilling to observe that the intention is to impress upon the audience a vision of the world descended into bestiality. The scene in which Gloucester is blinded is exceedingly difficult to watch--but that is what Shakespeare demands. At the end, he seems deliberately to raise the expectation that Cordelia will be spared, only to smash it. Again, Trilling pointed out that everything about the play, including the double plot, seems calculated to overwhelm the audience with a nihilistic vision: it is not enough that one despairing old man should limp across the earth forsaken and impaired, there must be two.
It is natural to wonder about the man behind these creations. Nevertheless one regrets some of the effects. The sonnets, especially, have been combed for biographical droppings, and the conclusions tend to be sensational and unpersuasive. The biographical record that does exist delineates, vaguely, a practical man of affairs. His profession was the theatre and, working very hard, he made a good living at it. What interests me about the sonnets is not the personal story they are alleged to tell but, rather, given that Shakespeare wrote them, how uneven they are in quality. Even some that are unfailingly anthologized strike me as weak--in the twenty-ninth, for instance, commencing "When in disgrace," is it not implausible that the recollection of his love should so easily raise the speaker from despair, so much so that he "sings hymns at heaven's gate"? How did he manage to put her from his mind long enough to get so low? It seems conventional and juvenile, and many others are just boring. But then there are a scattered few, such as this one, that are part of why I love Shakespeare. And, in a different mood, this one. Today, listening to pop songs during a car trip, I thought of this one while this song played on the radio. So I began stewing about Shakespeare, but now I'm done.