The World of Arts:

The prelude to Shakespeare drama

GWEN Herat

Over the centuries, reputed writers have made their impressions in the scene of drama and literature but nothing as spectacular as the works of William Shakespeare. Rich were the manifestations of the English literature of the Renascence on the advent of Shakespeare on which foundation the direct and original expressions of natural genius were dramatic.

This had laid the stage for literature for direct impact on drama, the fascination of which were seized by writers before the arrival of Shakespeare. The atmosphere was set for drama but with each writer doing his own thing. The first notable one was Spencer who had his eyes on the court and its Lords and Ladies. Shakespeare was to follow this trend later when he was dazzled by the amorous friendship with the young Earl of Southampton. 'Venus and Adonis' was the result in which he arrogantly quoted two lines from 'Ovid', 'Let the mob admire what is vile; to me may fair Apollo serve cups filled with water from Castalia. (This was an incident from the Bard's life that convinced me that he was gay). The writers were not confined to the pure English background. Italy featured in most of their work but the immediate and broad of English genius remained untouched. They also owed their allegiance to foreign writers who influenced them but they were their rivals.

The English were enthusiastic about the theatre and embraced it with passion though they knew not how to get about doing theatre properly except for little excerpts that took place in the church such as the passion play or the birth of Jesus Christ. Yet, this was an outlet to the intellectual scholars who were still unable to put down in writing their literature genius relating to the theatre. However, drama and theatre became the pleasure of the elite. As players were from the middle class, they too became a part and parcel of the development of the English theatre. It came to a point when a writer found his pocket empty. The chance of filling it was the stage. So, the intellectual and the non-intellectual had to throw themselves together to make money because however appealing the theatre was, no upper class man would act in a play. No woman dared and female roles were filled by boys.

Yet, when Spencer wrote nine plays that were all comedies, they were not at all successful. During this time Sydney too produced one court masque to prove the importance of the century. It was a puzzle to find a principle and applicable classification to thousand plays. A careful examination left no certainty that more such existed. However, inevitable changes were perceived by those scholars who wished to. Many exceptions were made towards cautious generalisation. Therefore, nothing was certain other than the progress and the decline of the blank verse that enjoyed its distinction some years back. On the other hand, the progress of the theatre was taking shape and moving forward.

It became possible to supersede the slight scenery of the back stage was basically erected behind the front curtain. This had become multifarious, large and complicated but on this signature, the naked stage where the actors' presence had a double importance as creativity became a landmark. The costumes were rich though the stage was poor and bare. Attention was directly concentrated on their personalities, character and acting ability.

Their declamation in particular, emphasised the numerous monologues as well as the multiple tirades on the actors of the era. Their art were carried to high pitches. At about this time, English actors had gained a reputation that reached the Continent and were invited on long tours. The drama started and spreading at Stratfort-Upon-Avon in high speed.

A little boy was born unaware he was going to reap the riches of all these and change the course of English and drama.

The passion for the theatre that attracted money, gave rise to speculation. It resulted in two major theatres springing up that later would draw Shakespeare to it - The Globe and The Rose were built in 1597. One was used in summer while the other in winter. The latter was a covered theatre for performing artists. They were controlled and directed by the Barbages, father and son who were famous actors of the time.

During this time, it was Sydney who had the penetration to perceive law by which the English playwrights were unconsciously governed. They were the historians who followed events step by step in the establishment of the literal truth. John Lyly too had an impact when his plays provided models of refinement.

Christopher Marlowe considered the greatest of them all, had written 'Tamberlaine' in two parts that astonished the public followed by the 'Spanish Tragedy'. They bore the imprints of traditional morality. He dared to claim admiration for the most blood thirsty of men and was sort of a demigod in his life time. Marlowe had a fierce vocabulary which he used to it heights. He began his career with a superb contempt for the popular rhymesters. This provoked many who were helpless as in truth he was a great poet whose very extravagance justified because of its expressive nature.

Robert Greene was different. When the success of the 'Spanish Tragedy' and 'Tamberlaine' took the usual purveyors of the popular stage by surprise, Greene was turning all his energies from novel to drama and along with Lodge, wrote in the oldest didactic manner and came up with sort of a miracle play, 'A looking glass for London and England'. However, these playwrights' astonishment and anger were attested by the young English juvenile, Thomas Nash who from the age of twenty one, was one of the group of writers from the universities who did the actors great honour by writing for them. Apart from Nash who viewed the literary drama at their changing points were Ben Jonsen and George Chapman among others. They all had their distinct markings that separated one from the other though Marlowe still dominated all. Greene by his taste for the Romantics and his moments of tenderness which differently foreshadowed even Shakespeare. There was Lyle with his wit and Kyd by his tragic atmosphere and of course Marlowe by his lyrical eloquence which these writers rightfully enjoyed. However, these various gifts had yet to be united in one man and one work. Shakespeare was to gather them together and enhance them to the maximum.

The advent of Shakespeare

His plays that amounted to thirty six and related to contemporary drama was the first problem connected with subtle reality that confronted historians of literature. They discovered the points at which Shakespeare connected with his rivals and dominated them as rightfully and fearlessly with one and all. Nash and his friends, the company of young humanites known as the University Wits who had hardly recovered from Marlowe's triumphs, were faced with more dangerous rival who sprang from a different world.

Marlowe the brilliant Master of Arts from Cambridge with all his conquered arrogance was but a pittance. Now, the danger that threatened them was from the world of actors; from the ignoramuses whom they looked down upon with contempt.

William Shakespeare, The Bard of Avon had arrived along with his brilliant, spectacular histories, tragedies, comedies, sonnets, etc. The new Shakespeare vocabulary found in them changed the course of English language.