SHADOWPLAY
The Hidden Beliefs
and Coded Politics
of William Shakespeare
By Clare Asquith
PublicAffairs, 348 pp. $26.95
Few
masterpieces contain as many chestnuts as Hamlet. Take this one: "The
play's the thing/ Wherein I'll catch the conscience of the King." With
these words, Prince Hamlet welcomes a theatrical troupe whose
performance will unmask adultery and regicide in the Danish court.
Aphorisms
wither faster than cut flowers, but sometimes old saws reveal new
truths. Long before these lines became shopworn, they hinted at
Shakespeare's modus operandi: In Shadowplay , Clare Asquith
argues that the bard was using the theater of his day just as Hamlet
did -- to send dangerous, skillfully encoded messages to his audience
and his monarch. Hence, she writes, "it took not only intellectual
brilliance but exceptional courage and constancy" to create and perform
the greatest plays ever written.
Asquith is surfing
an intriguing new wave of research: Shakespeare, it goes, was a closet
Catholic at a time when the Church was banned. And far from presiding
over the Golden Age, Queen Elizabeth I was running a police state,
marked by raids, seizures, imprisonment and grisly executions, where
informants snitched on private citizens. The court of her successor,
James I, was worse.
Shakespeare's plays, Asquith
suggests, encouraged patience and perseverance among the beleaguered
Catholics and urged England's rulers to curtail the frequent crackdowns
and persecutions.
What we do know: Shakespeare's
Stratford was a center of religious resistance to the "new religion";
his father left a written testament of his enduring Catholic faith;
Shakespeare's daughter, Susannah, was a "recusant," charged with
refusing to attend Protestant services. The Ardens, Shakespeare's
mother's family, were staunch Catholics whose chieftain, Edward Arden,
was executed for his beliefs in 1583 by the usual method (he was
dragged on a hurdle behind horses, then hanged, cut down alive,
disemboweled and castrated before his heart was cut out).