Билл Брайсон – Shakespeare (страница 2)

Bankrupt and humiliated, in the summer of 1848 he fled to France, leaving Stowe and its contents to his creditors. The auction that followed became one of the great social events of the age. Such was the richness of Stowe’s furnishings that it took a team of auctioneers from the London firm of Christie & Manson forty days to get through it all.

Among the lesser-noted disposals was a dark oval portrait, twenty-two inches high by eighteen wide, purchased by the Earl of Ellesmere for 355 guineas and known ever since as the Chandos portrait. The painting had been much retouched, and was so blackened with time that a great deal of detail was (and still is) lost. It shows a balding but not unhandsome man of about forty, who sports a trim beard. In his left ear he wears a gold earring. His expression is confident, serenely rakish. This is not a man, you sense, to whom you would lightly entrust a wife or grown daughter.

Although nothing is known about the origin of the painting or where it was for much of the time before it came into the Chandos family in 1747, it has been said for a long time to be of William Shakespeare. Certainly it looks like William Shakespeare – but then really it ought to, since it is one of the three likenesses of Shakespeare from which all others are taken.

In 1856, shortly before his death, Lord Ellesmere gave the painting to the new National Portrait Gallery in London as its founding work. As the gallery’s first acquisition, it has a certain sentimental prestige, but almost at once its authenticity was doubted. Many critics at the time thought the subject was too dark-skinned and foreign-looking – too Italian or Jewish – to be an English poet, much less a very great one. Some, to quote the late Samuel Schoenbaum, were disturbed by his ‘wanton’ air and ‘lubricious’ lips. (One suggested, perhaps a touch hopefully, that he was portrayed in stage make-up, probably in the role of Shylock.)

‘Well, the painting is from the right period – we can certainly say that much,’ Dr Tarnya Cooper, curator of sixteenth-century portraits at the gallery, told me one day when I set off to find out what we could know and reasonably assume about the most venerated figure of the English language. ‘The collar is of a type that was popular between about 1590 and 1610, just when Shakespeare was having his greatest success and thus most likely to sit for a portrait. We can also tell that the subject was a bit bohemian, which would seem consistent with a theatrical career, and that he was at least fairly well to do, as Shakespeare would have been in this period.’

I asked how she could tell these things.

‘Well, the earring tells us he was bohemian,’ she explained. ‘An earring on a man meant the same then as it does now – that the wearer was a little more fashionably racy than the average person. Drake and Raleigh were both painted with earrings. It was their way of announcing that they were of an adventurous disposition. Men who could afford to wore a lot of jewellery back then, mostly sewn into their clothes. So the subject here is either fairly discreet, or not hugely wealthy. I would guess probably the latter. On the other hand, we can tell that he was prosperous – or wished us to think he was prosperous – because he is dressed all in black.’

She smiled at my look of puzzlement. ‘It takes a lot of dye to make a fabric really black. Much cheaper to produce clothes that were fawn or beige or some other lighter colour. So black clothes in the sixteenth century were nearly always a sign of prosperity.’

She considered the painting appraisingly. ‘It’s not a bad painting, but not a terribly good one either,’ she went on. ‘It was painted by someone who knew how to prime a canvas, so he’d had some training, but it is quite workaday and not well lighted. The main thing is that if it is Shakespeare, it is the only portrait known that might have been done from life, so this would be what William Shakespeare really looked like – if it is William Shakespeare.’

And what are the chances that it is?

‘Without documentation of its provenance we’ll never know, and it’s unlikely now, after such a passage of time, that such documentation will ever turn up.’

And if not Shakespeare, who is it?

She smiled. ‘We’ve no idea.’

If the Chandos portrait is not genuine, then we are left with two other possible likenesses to help us decide what William Shakespeare looked like. The first is the copperplate engraving that appeared as the frontispiece of the collected works of Shakespeare in 1623 – the famous First Folio.

The Droeshout engraving, as it is known (after its artist, Martin Droeshout), is an arrestingly – we might almost say magnificently – mediocre piece of work. Nearly everything about it is flawed. One eye is bigger than the other. The mouth is curiously mispositioned. The hair is longer on one side of the subject’s head than the other, and the head itself is out of proportion to the body and seems to float off the shoulders, like a balloon. Worst of all, the subject looks diffident, apologetic, almost frightened – nothing like the gallant and confident figure that speaks to us from the plays.

Droeshout (or Drossaert or Drussoit, as he was sometimes known in his own time) is nearly always described as being from a family of Flemish artists, though in fact the Droeshouts had been in England for sixty years and three generations by the time Martin came along. Peter W.M. Blayney, the leading authority on the First Folio, has suggested that Droeshout, who was in his early twenties and not very experienced when he executed the work, may have won the commission not because he was an accomplished artist but because he owned the right piece of equipment: a rolling press of the type needed for copperplate engravings. Few artists had such a device in the 1620s.

Despite its many shortcomings, the engraving comes with a poetic endorsement from Ben Jonson, who says of it in his memorial to Shakespeare in the First Folio:

O, could he but have drawne his wit

As well in brasse, as he hath hit

His face, the Print would then surpasse

All that was ever writ in brasse.

It has been suggested, with some plausibility, that Jonson may not actually have seen the Droeshout engraving before penning his generous lines. What is certain is that the Droeshout portrait was not done from life: Shakespeare had been dead for seven years by the time of the First Folio.

That leaves us with just one other possible likeness: the painted, life-size statue that forms the centrepiece of a wall monument to Shakespeare at Holy Trinity Church in Stratford-upon-Avon, where he is buried. Like the Droeshout it is an indifferent piece of work artistically, but it does have the merit of having been seen and presumably passed as satisfactory by people who knew Shakespeare. It was executed by a mason named Gheerart Janssen, and installed in the chancel of the church by 1623 – the same year as Droeshout’s portrait. Janssen lived and worked near the Globe Theatre in Southwark in London, and thus may well have seen Shakespeare in life – though one rather hopes not, as the Shakespeare he portrays is a puffy-faced, self-satisfied figure, with (as Mark Twain memorably put it) the ‘deep, deep, subtle, subtle expression of a bladder’.

We don’t know exactly what the effigy looked like originally, because in 1749 the colours of its paintwork were ‘refreshed’ by some anonymous but well-meaning soul. Twenty-four years later, the Shakespeare scholar Edmond Malone, visiting the church, was horrified to find the bust painted, and ordered the churchwardens to have it whitewashed, returning it to what he wrongly assumed was its original state. By the time it was repainted again years later, no one had any idea of what colours to apply. The matter is of consequence because the paint gives the portrait not just colour but definition, as much of the detail is not carved on but painted. Under whitewash it must have looked rather like those featureless mannequins once commonly used to display hats in shop windows.

So we are in the curious position with William Shakespeare of having three likenesses from which all others are derived: two that aren’t very good by artists working years after his death, and one that is rather more compelling as a portrait but that may well be of someone else altogether. The paradoxical consequence is that we all recognize a likeness of Shakespeare the instant we see one, and yet we don’t really know what he looked like. It is like this with nearly every aspect of his life and character: he is at once the best known and least known of figures.

More than two hundred years ago, in a sentiment much repeated ever since, the historian George Steevens observed that all we know of William Shakespeare is contained within a few scanty facts: that he was born in Stratford-upon-Avon, produced a family there, went to London, became an actor and writer, returned to Stratford, made a will, and died. That wasn’t quite true then and it is even less so now, but it is not all that far from the truth either.