The records we do have suggest that during young William's formative years he enjoyed the advantages that would have accrued to him as the son of one of the most influential citizens of a bustling market town in the fertile Midlands. When he was taken to services at Holy Trinity Church, he would have sat with his family in the front pew, in accordance with his father's civic rank. There he would have heard and felt the words and rhythms of the Bible, the sonorous phrases of the 1559 Book of Common Prayer, the exhortations of the Homilies.

In all likelihood, after spending a year or two at a "petty school" to learn the rudiments of reading and writing, he would have proceeded, at the age of seven, to "grammar school." Given his father's social position, young William would have been eligible to attend the King's New School, located above the Guild Hall and adjacent to the Guild Chapel (institutions that would both have been quite familiar to a man with the elder Shakespeare's municipal duties), no more than a five-minute walk from the Shakespeare house on Henley Street. Though no records survive to tell us who attended the Stratford grammar school during this period, we do know that it had well-qualified and comparatively well-paid masters; and, through the painstaking research of such scholars as T. W. Baldwin, we now recognize that a curriculum such as the one offered at the King's New School would have equipped its pupils with what by modern standards would be a rather formidable classical education. During his many long school days there, young Shakespeare would have become thoroughly grounded in Latin, acquired some background in Greek, and developed enough linguistic facility to pick up whatever he may have wanted later from such modern languages as Italian and French. Along the way he would have become familiar with such authors as Aesop, Caesar, Cicero, Sallust, Livy, Virgil, Horace, Ovid, and Seneca. He would have studied logic and rhetoric as well as grammar, and he would have been taught the principles of composition and oratory from the writings of such masters as Quintilian and Erasmus. In all probability, he would even have received some training in speech and drama through the performance of plays by Plautus and Terence. If Shakespeare's references to schooling and schoolmasters in the plays are a reliable index of how he viewed his own years as a student, we must conclude that the experience was more tedious than pleasurable. But it is difficult to imagine a more suitable mode of instruction for the formation of a Renaissance poet's intellectual and artistic sensibility.

Meanwhile, of course, young Shakespeare would have learned a great deal from merely being alert to all that went on around him. He would have paid attention to the plant and animal life in the local woods that he would later immortalize, in As You Like It, as the Forest of Arden. He may have hunted from time to time; one legend, almost certainly apocryphal, has it that he eventually left Stratford because he had been caught poaching deer from the estate of a powerful squire, Sir Thomas Lucy, four miles up-stream. He probably learned to swim as a youth, skinny-dipping in the river Avon. He may have participated in some of the athletic pursuits that were the basis of competition in the Elizabethan equivalent of the Olympics, the nearby Cotswold Games. He would undoubtedly have been adept at indoor recreations such as hazard (a popular dice game), or chess, or any of a number of card games. As he grew older, he would have become accustomed to such vocations as farming, sheep-herding, tailoring, and shopkeeping. He would have acquired skills such as fishing, gardening, and cooking. And he would have gathered information about the various professions: law, medicine, religion, and teaching. Judging from the astonishing range of daily life and human endeavor reflected in his poems and plays, we can only infer that Shakespeare was both a voracious reader and a keen observer, the sort of polymath Henry James might have been describing when he referred to a character in one of his novels as "a man on whom nothing was lost."

Once his school years ended, Shakespeare married, at eighteen, a woman who was eight years his senior. We know that Anne Hathaway was pregnant when the marriage license was issued by the Bishop of Worcester on 27 November 1582, because a daughter, Susanna, was baptized in Holy Trinity six months later on 26 May 1583. We have good reason to believe that the marriage was hastily arranged: there was only one reading of the banns (a church announcement preceding a wedding that allowed time for any legal impediments against it to be brought forward before the ceremony took place), an indication of unusual haste. But whether the marriage was in any way "forced" is impossible to determine. Some biographers (most notably Anthony Burgess) have made much of an apparent clerical error whereby the bride's name was entered as Anne Whateley of Temple Grafton in the Worcester court records; these writers speculate that Shakespeare was originally planning to marry another Anne until Anne Hathaway of Shottery (a village a mile or so from Shakespeare's home in Stratford) produced her embarrassing evidence of a prior claim. To most scholars, including our foremost authority on Shakespeare's life, S. Schoenbaum, this explanation of the Anne Whateley court entry seems farfetched. Such hypotheses are inevitable, however, in the absence of fuller information about the married life of William and Anne Hathaway Shakespeare. What we do have to go on is certainly compatible with the suspicion that William and Anne were somewhat less than ardent lovers. They had only two more children--the twins, Hamnet and Judith, baptized on 2 February 1585--and they lived more than a hundred miles apart, so far as we can tell, for the better part of the twenty-year period during which Shakespeare was employed in the London theater.

If we can give any credence to an amusing anecdote recorded in the 1602-1603 diary of a law student named John Manningham, there was at least one occasion during those years when Shakespeare, overhearing the actor Richard Burbage make an assignation, "went before, was entertained, and at his game before Burbage came; then, message being brought that Richard the Third was at the door, Shakespeare caused return to be made that William the Conqueror was before Richard the Third." If we read the sonnets as in any way autobiographical, moreover, we are shown a poet with at least one other significant liaison: a "Dark Lady" to whom Will's lust impels him despite the self-disgust the affair arouses in him (and despite her infidelity with the fair "Young Man" to whom many of the poems are addressed and for whom the poet reserves his deepest feelings).

But even if there is reason to speculate that Shakespeare may not have always been faithful to the marriage bed, there is much to suggest that he remained attached to Anne as a husband. In 1597 he purchased one of the most imposing houses in Stratford--New Place, across the street from the Guild Chapel--presumably settling his wife and children there as soon as the title to the property was clear. He himself retired to that Stratford home, so far as we can determine, sometime between 1611 and 1613. And of course he remembered Anne in his will, bequeathing her the notorious "second-best bed"--which most modern biographers regard as a generous afterthought (since a third of his estate would have gone to the wife by law even if her name never occurred in the document) rather than the slight that earlier interpreters had read into the phrasing.

Naturally we would like to know more about what Shakespeare was like as a husband and family man. But most of us would give just as much to know what took place in his life between 1585 (when the parish register shows him to have become the father of twins) and 1592 (when we find the earliest surviving reference to him as a rising star in the London theater). What did he do during these so-called "dark years"? Did he study law, as some have suspected? Did he travel on the Continent? Did he become an apprentice to a butcher, as one late-seventeenth-century account had it? Or--most plausibly, in the view of many modern biographers--did he teach school for a while? All we can say for certain is that by the time his children were making their own way to school in rural Stratford, William Shakespeare had become an actor and writer in what was already the largest city in Europe.

Shakespeare probably traveled the hundred miles to London by way of the spires of Oxford, as do most visitors returning from Stratford to London today. But why he went, or when, history does not tell us. It has been plausibly suggested that he joined an acting troupe (the Queen's Men) that was one player short when it toured Stratford in 1587. If so, he may have migrated by way of one or two intermediary companies to a position with the troupe that became the Lord Chamberlain's Men in 1594. The only thing we can assert with any assurance is that by 1592 Shakespeare had established himself as an actor and had written at least three plays. One of these--the third part of Henry VI--was alluded to in that year in a posthumously published testament by a once-prominent poet and playwright named Robert Greene, one of the "University Wits" who had dominated the London theater in the late 1580s. Dissipated and on his deathbed, Greene warned his fellow playwrights to beware of an "upstart crow" who, not content with being a mere player, was aspiring to a share of the livelihood that had previously been the exclusive province of professional writers such as himself. Whether Greene's Groatsworth of Wit accuses Shakespeare of plagiarism when it describes him as "beautified with our feathers" is not clear; some scholars have interpreted the phrase as a complaint that Shakespeare has borrowed freely from the scripts of others (or has merely revised existing plays, a practice quite common in the Elizabethan theater).

But there can be no doubt that Greene's anxieties signal the end of one era and the beginning of another: a golden age, spanning two full decades, during which the dominant force on the London stage would be, not Greene or Kyd or Marlowe or even (in the later years of that period) Jonson, but Shakespeare. If we look at what Shakespeare had written by the early 1590s, we see that he had already become thoroughly familiar with the daily round of one of the great capitals of Europe. Shakespeare knew St. Paul's Cathedral, famous not only as a house of worship but also as the marketplace where books were bought and sold. He knew the Inns of Court, where aspiring young lawyers studied for the bar. He knew the river Thames, spanned by the ever-busy, ever-fascinating London Bridge. He knew the Tower, where so many of the characters he would depict in his history plays had met their deaths, and where in his own lifetime such prominent noblemen as the Earl of Essex and Sir Walter Raleigh would be imprisoned prior to their executions. He knew Westminster, where Parliament met when summoned by the Queen, and where the Queen herself held court at Whitehall Palace. He knew the harbor, where English ships, having won control of the seas by defeating the "invincible" Spanish Armada in 1588, had begun in earnest to explore the New World.

In Shakespeare's day London was a vigorous city of somewhere between 150,000 and 200,000 inhabitants. If in its more majestic aspects it was dominated by the court of Queen Elizabeth, in its everyday affairs it was accented by the hustle and bustle of getting and spending. Its Royal Exchange was one of the forerunners of today's stock exchanges. Its many market-places offered a variety of goods for a variety of tastes. Its crowded streets presented a colorful pageant of Elizabethan modes of transport and dress, ranging from countrywomen in homespun to elegant ladies in apparel as decorative as their husbands' wealth--and the Queen's edicts on clothing--would allow. Its inns and taverns afforded a rich diversity of vivid personalities--eating, tippling, chatting, and enjoying games and pleasures of all kinds. It was, in short, an immensely stimulating social and cultural environment, and we can be sure that Shakespeare took full advantage of the opportunity it gave him to observe humanity in all its facets.

Tradition holds that Shakespeare returned to Stratford for his declining years, and three years after the burning of the Globe his own flame went out. Following his death on 23 April 1616, he was laid to rest where fifty-two years earlier he had been christened. Shortly thereafter, a monument to his memory was erected above the tomb in Holy Trinity, and that monument is still in place for Shakespeare admirers to see today. But an even greater monument to his memory appeared seven years later, when his theatrical colleagues, John Heminge and Henry Condell (both of whom had been mentioned in the playwright's will) assembled a large volume of his collected plays. The 1623 First Folio was a labor of love, compiled as "an office to the dead, to procure his orphans guardians" and "to keep the memory of so worthy a friend and fellow alive as was our Shakespeare." Our Shakespeare. It is not without exaggeration that the book that preserves what is probably his most reliable portrait and the most authoritative versions of the majority of his dramatic texts (indeed the only surviving versions of half of them) has been called "incomparably the most important work in the English language." In the words and actions that fill his poems and plays, in the performances that enrich our theaters and silver screens, in the countless off-shoots to be found in other works of art, and in the influence the playwright continues to have on virtually every aspect of popular culture throughout the world, now as much as in the age of Elizabeth and James, Shakespeare lives.

Written by: John F. Andrews, National Endowment for the Humanities

Source: Dictionary of Literary Biography, Volume 62: Elizabethan Dramatists. A Bruccoli Clark Layman Book. Edited by Fredson Bowers, University of Virginia. The Gale Group, 1987. pp. 267-353.

Source Database: Dictionary of Literary Biography