Voltaireâs statement and the volte-face it invites to perform offer a proto-example of what Gilles Deleuze and Felix Guattari have conceptualized as a line of flight, as a principle of transverse, a-historical connectivity. Did he tell his father that he could not give his son—or, looking ahead, that he would not give his father—what he craved? In the analysis of Shakespearean biography much is speculation and to assume that a dramatic character speaks to the full inner experience of its creator rather than simply answering the needs and devices of the drama and the audience is perilous. When Shakespeare stood in the churchyard, watching the dirt fall on the body of his son, did he think that his relationship with Hamnet was gone without a trace? Already in the first scene in which he appears, before he has encountered the ghost, he is voicing to himself, as the innermost secret of his heart, virtually the identical disillusionment he discloses to the oily Rosencrantz and Guildenstern: Fie on’t, ah fie, fie! a dynamic composition as Hamlet. Biography and other forms of life writing were once considered vital sources of information on leadership. Within living memory, the whole relationship between the living and the dead had been changed. When he set to work on his new tragedy, he likely had it by heart—or as much of it as he chose to remember. 1580 (Yale University Press, 1992), Eamon Duffy gives a rich and eloquent account of the consequences to the community and the individual of the Reformation assault on Catholic ritual practices. In 1596, at the funeral of Hamnet, the issue would almost certainly have surfaced. La mariposa del café de la plaza / E. Montale ; tr. Everyone in Denmark believes that old Hamlet was fatally stung by a serpent. Mercifully, since Hamlet tells Horatio to not kill him Why? Shakespeare evidently named his son after his recusant neighbor and friend Hamnet Sadler, who was still alive in March 1616 when Shakespeare drew up his will and left 26 shillings, 8 pence to “Hamlett Sadler…to buy him a ringe.”. For his father was getting old and would soon be in need of the “satisfactory works” that could shorten the duration of his agony in the afterlife. 11.2 Hamlet is grieving over the death of his father and he has fallen into a state of depression. â©, For the claim that William Shakespeare was the “Shakeshafte” mentioned in the will of a wealthy Catholic magnate in Lancashire, see Richard Wilson, Secret Shakespeare: Studies in Theatre, Religion, and Resistance (Manchester: Manchester University Press, 2004). Hamlet's death is the tragedy for the whole country, because it has lost its noble king and can hardly find another great person. Was it at this moment, in 1599, that Shakespeare first conceived of the possibility of writing about a character suspended, for virtually the whole length of a play, in this strange interim? Lies in his bed, walks up and down with me. Someone in the Lord Chamberlain’s Men, with an eye on revenues, may simply have suggested to Shakespeare that the time might be ripe for a new, improved version of the Hamlet story. In Saxo the Grammarian’s Hamlet, as in the popular tale by Belleforest, no ghost appeared. Thatâs the end.â The play maintains Christian ideas of death. Hamlet recognises death as an impartial equaliser when he says to the king that to death âyour fat king and your lean beggar is but variable serviceâtwo dishes, but to one table. For Hamnet and Hamlet are in fact the same name, entirely interchangeable in Stratford records in the late sixteenth and early seventeenth centuries. Because of the revenge Hamlet is going to take. The unprecedented flourishing of the aside and soliloquy in drama is inspired by the essay, above all the essays of Montaigne. Tearing away the structure of superficial meanings, he fashioned an inner structure through the resonant echoing of key terms, the subtle development of images, the brilliant orchestration of scenes, the complex unfolding of ideas, the intertwining of parallel plots, the uncovering of psychological obsessions. And Saxo in turn was recycling written and oral legends that reached back for centuries before him. Men, loss and spiritual emergency: Shakespeare, the death of Hamnet and the making of Hamlet. This article proposes that confronted with the multiple loss of his son Hamnet and subsequently his father John, William Shakespeare experienced a transformational consciousness event or 'spiritual problem' (DSM IV), defined by Grof and Grof as a 'spiritual emergency' (SE), which he explores through the making of his masterpiece Hamlet. That character, the prince of the inward insurrection, was Hamlet. Even in its earliest-known medieval telling, Hamlet’s saga was the story of the long interval between the first motion—the initial impulse or design—and the acting of the dreadful thing. On August 11, 1596, Hamnet was buried at Holy Trinity Church: the clerk duly noted in the burial register, “Hamnet filius William Shakspere.”. If he had considered all the possible options for revenge, then he would not have gone down a path of destruction. Men, Loss and Spiritual Emergency: Shakespeare, the Death of Hamnet and the Making of Hamlet, A PURGATORY OF ZOMBIES: THE ŽIŽEKIAN DEATH DRIVE IN HAMLET, Fundamental Shakespeare: New Perspectives on Gender, Psychology and Politics, âIn a Dream of Passionâ: Introducing Hamlet and Emotion, Horatio as Author: Storytelling and Stoic Tragedy in Hamlet, Loam, Moles and lâhomme: Reversible Hamlet, Understanding Leadership in Education: Life Writing and its Possibilities, The Shakespeare/Shakeshafte Question, Continued, "Was William Shakespeare William Shakeshafte?" It is of diminutive doubt that Hamlet is one of the most controversial characters ever created by William Shakespeare. What he hammers out is a kind of inner theater, akin to that already found in Richard III’s soliloquy, but with a vastly increased complexity, subtlety, and above all self-consciousness. that from the time of its composition it has been acted and read differently; yet, the window A few moments later Brutus, intensely self-aware, describes for himself the molten state of consciousness in which he finds himself: Are then in counsel, and the state of man. per annum originally shared by the eleven annuitants. He might have brooded inwardly and obsessively, even as he was making audiences laugh at Falstaff in love or at the wit contests of Beatrice and Benedick. Recusant Catholics, prevented from regular confession and communion, were often intensely fearful of a death that would prevent the ritual opportunity to settle the sinner’s accounts with God and to show appropriate, cleansing contrition. Hamlet already knew that death is inevitable but hes comes to accept it and sees the futility in living in fear and desperation in trying to avoid. This paper. Stuffs out his vacant garments with his form. It was not published in the 1590s, or the late 1580s, for the same reason(s) that other early Shakespeare plays were not published until long after they were written. O, horrible! Filthy and lethargic, he sat by the fire, aimlessly whittling away at small sticks and turning them into barbed hooks. 443-446). In Arthur Millerâs Death of a Salesman and Shakespeareâs Hamlet, the characters portray that love drives them to lose their self-worth, mindset, and sanity. Hamlet is about a young Danish prince whose father was murdered by his uncle, who ascended to the throne while taking as his wife the existing queen, Hamlet's mother and widow of the murdered monarch. Hamnet imagines a literary legacy for Shakespeareâs wife and son. After all, Hamlet is no longer, in this revised version, a child who needs to play for time, and the murderer has no reason to suspect that Hamlet has or can ever acquire any inkling of his crime. The reasons for the procrastination vary within different schools of thought with some arguing that it is due to âOedip⦠With Hamlet, Shakespeare found that if he refused to provide himself or his audience with a familiar, comforting rationale that seems to make it all make sense, he could get to something immeasurably deeper. It is the bright day that brings forth the adder. Estos aspectos son los que se desarrollarán en la ponencia, apoyándose en la experiencia del ponente como traductor del inglés (Shakespeare, Enrique IV, partes I y II), latÃn (Horacio, Odas, Libro III) e italiano (Carlo Emilio Gadda, Il libro primo delle favole). In his 1949 book, Shakespeareâs Sonnets Dated, Leslie Hotson mentioned the conjecture as a plausible one, and added some supporting evidence to the Shakespeare-Shakeshafte theory. Crown him: that! Jumping ahead of its time, Voltaireâs reconfiguration of Shakespeare as a âGilles dressed in ragged stripsâ (Voltaire, 1963, pp. But Hamlet makes it clear that Shakespeare had been quietly, steadily developing a special technical skill. But it was not only a new aesthetic strategy. Brutus himself is not such a character: by the middle of Julius Caesar, he has done the dreadful thing, the killing of his mentor and friend—possibly his own father—and the remainder of the play teases out the fatal consequences of his act. But though it has a staccato vigor, the soliloquy, as a way of sketching inner conflict, is schematic and mechanical, as if within the character on stage there was simply another tiny stage on which puppets were performing a Punch-and-Judy show. No los necesitamos a ustedes para traducirâ. John Shakespeare may well have urged his prosperous son William to pay for masses for the dead child, just as he no doubt wanted masses to be said for his own soul. Revisited. But they were not beneficiaries, either. 10â12; cit. However, early in the establishment of the pursuit of a âscience of leadershipâ in the first quarter of the last century, they were abandoned as too subjective and hence unreliable. Shakespeare drew upon the confusion, pity, and dread of death in a world of damaged rituals—the world in which most of us continue to live—because he himself experienced those same emotions in 1596, at the funeral of his child, and later, in anticipation of his father’s death. We must keep in mind that names, like spelling, were not fixed in 1581 as they are today. Glossing over “fratricide with a show of righteousness,” the assassin claimed that Horwendil had been cruelly abusing his gentle wife Gerutha. Feng understood this code as well as anyone, so that it was reasonable to expect that he would quickly move to eliminate the future threat. Written in 1595, Richard II marked a major advance in the playwright’s ability to represent inwardness, but Julius Caesar, written four years later, shows that, not content with what he has mastered, Shakespeare subtly experimented with new techniques. The emblem of that time, and the proof of the avenger’s brilliant, long-term planning, were the wooden hooks that the boy Amleth, apparently deranged, endlessly whittled away on with his little knife. . It has been suggested that that from 1601 onward Shakespeare's plays have been charged with a greater inner energy and consciousness. I say “imagined” because Shakespeare’s father was buried in Holy Trinity churchyard on September 8, 1601: the handwriting may have been on the wall, but he was almost certainly still alive when the tragedy was written and may still have been alive when it was first performed. This conceptual breakthrough in Hamlet was technical—that is, it affected the practical choices Shakespeare made when he put plays together, starting with the enigma of the prince’s suicidal melancholy and assumed madness. University Home â Library â ResearchSpace Home â A1 - Research Outputs Online â Journal Articles â View Item; JavaScript is disabled for your browser. Show simple item record. Far from offering a cover, the antic disposition leads the murderer to set close watch upon Hamlet, to turn to his counselor Polonius for advice, to discuss the problem with Gertrude, to observe Ophelia carefully, to send for Rosencrantz and Guildenstern to spy upon their friend. Shakespeare had certainly seen the earlier Hamlet play, probably on multiple occasions. But at least love was the clearly identifiable motive. More importantly, procrastination, which was Hamletâs most conspicuous flaw, has had its predisposition debated over since it was first observed. He summoned an assembly of nobles, explained why he had done what he had done, and was enthusiastically acclaimed as the new king. 51 (2000), pp. Belief in Purgatory may well have been abused—plenty of pious Catholics thought it was—but it attempted to address fears and longings that did not simply vanish when people were told by the officials of the church and the state that the dead were beyond all earthly contact. de la independencia. His sonnets have been ransacked for autobiographical evidence, but, though written in the first person, they are baffling, elusive, and probably deliberately opaque. The minister, as the regulations required, would have met the corpse at the entry to the churchyard and accompanied it to the grave. But did he believe what he heard and recited? 1 Love in Relation to Loss An individualâs strong love for another may lead them to emotionally or physically lose a fundamental part of themselves . Copyright © 2012 John Wiley & Sons, Ltd. Access scientific knowledge from anywhere. Bearman’s arguments are in turn countered by E.A.J. Even if the decision to redo the old tragedy of Hamlet had come to Shakespeare from strictly commercial considerations, the coincidence of the names—the writing again and again of the name of his dead son as he composed the play—may have reopened a deep wound, a wound that had never properly healed. News about upcoming issues, contributors, special events, online features, and more. Según la mitologÃa celta, el rey de los duendes y elfos responde al nombre de Oberón, mencionado en obras como Macbeth. Shakespeare is dramatizing his chronicle source, which states that Richard could not sleep on the eve of his death, because he felt unwonted pricks of conscience. This opacity, Shakespeare found, released an enormous energy that had been at least partially blocked or contained by familiar, reassuring explanations. The introduction offers an account of the volumeâs thematic concerns and the methodologies employed therein. So, Hamlet stabs Claudius too with the same poisoned sword and â yet again â unlike Hamlet, Claudius dies instantly. The Death of Hamnet and the Making of Hamlet "Writing a play about Hamlet, in or around 1600, may not have been Shakespeare's own idea. This development may have been entirely deliberate, the consequence of a clear, ongoing professional design, or it may have been more haphazard and opportunistic. Though yet of Hamlet our dear brother's death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe, Yet so far hath discretion fought with nature That we with wisest sorrow think on him, Together with remembrance of ourselves. He may have felt this with enormous pain at his son’s graveside. By the late 1590s, insofar as his faith could be situated in any institution at all, that institution was the theater, and not only in the sense that his profoundest energies and expectations were all focused there. But Hamlet emphatically does not sweep to his revenge. Haste me to knowât, that I, with wings as swift As meditation or the thoughts of love, May sweep to my revenge. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts âThe Mousetrapâ, is the best authorial avatar for a Shakespeare who strategically wrote himself and his own voice out of his works. The only potential challenger was Horwen- dil’s young son Amleth, for by the time-honored code of this pre-Christian society a son was strictly obliged to avenge his father’s murder. It is time to veer again. This essay addresses Horatioâs emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeareâs motives for writing tragedy in the wake of his sonâs death. Wherefore? The Age of Shakespeare; Shakespeare Survey 8; Studies in Elizabethan Drama; The Mutual Flame; Hamlet... Cuaderno de cuatro años = Quaderno di quattro anni / E. Montale ; tr. The first, "gentle Shakespeare," seems to have had a remarkable talent for inspiring friendship and affection. But the funeral of one’s own child does more than this: it compels parents to ask questions of God and the universe. Shakespeare. Perhaps in conservative Lancashire, where Shakespeare may have sojourned briefly as a young man, if not closer to home, he could have seen the remnants of the old Catholic practice: candles burning night and day, crosses everywhere, bells tolling constantly, close relatives wailing and crossing themselves, neighbors visiting the corpse and saying over it a Pater noster or a De profundis, alms and food distributed in memory of the dead, priests secretly paid to say Masses to ease the soul’s perilous passage through Purgatory.3. Brutus is speaking to himself, and his words have the peculiar shorthand of the brain at work. Elliott stated in 1985 that he did not "think it at all credible to deduce the age of the annuitants from the comparative size of the annuities given to them," and he now repeats this conclusion: "I earlier opined that one cannot deduce the relative comparative ages of the annuitants from the relative size of their annuities. With Hamlet Shakespeare made a discovery by means of which he relaunched his entire career. And straight am nothing. And such instantaneous response is precisely what Hamlet himself anticipates: Haste, haste me to know it, that with wings as swift. (hamlet)1,5,29-31. He is shocked to discover that Claudius also married Hamlethas 's mother very soon after his father's death. In order to grow to adulthood—to survive long enough to be able to exact revenge—Amleth feigned madness, persuading his uncle that he could never pose a danger. (This is precisely the death Hamlet’s father, murdered in his sleep, has suffered: “No reck’ning made, but sent to my account/With all my imperfections on my head./O, horrible! In any case, neither Shakespeare nor his contemporaries were squeamish about stealing from each other. Horatio comes just in time to hear Hamletâs dying words. The principle was not the making of a riddle to be solved, but the creation of a strategic opacity. There’s none else by. Its chapters explore emotion in Hamlet, as well as the myriad emotions surrounding Hamletâs debts to the medieval past, its relationship to the cultural milieu in which it was produced, its storied performance history, and its profound impact beyond the early modern era. In Richard II, written some three years later, there is a comparable moment that marks Shakespeare’s burgeoning skills. A simple index of this transformation is the astonishing rush of new words, words that he had never used before in some twenty-one plays and in two long poems. Shakespeare’s work had long been wryly skeptical of official explanations and excuses—the accounts, whether psychological or theological, of why peo- ple behave the way they do. Once the ghost of his father has disclosed the actual cause of death—“Murder most foul, as in the best it is,/But this most foul, strange, and unnatural”—Hamlet, who has full access to the unguarded Claudius, is in the perfect position to act immediately. Unlike Ben Jonson and others who wrote grief-stricken poems about the loss of beloved children, Shakespeare published no elegies and left no direct record of his paternal feelings. But he also believed that the theater—and his theatrical art in particular—could tap into the great reservoir of passionate feelings that, for him and for thousands of his contemporaries, no longer had a satisfactory outlet. It was then shortened to just Hamel and it is known this way since then. 1 Nor is it implausible that it took years for the trauma of his sonâs death fully to erupt in Shakespeareâs work or that it was triggered by an accidental conjunction of names. that Shakespeare might have arrived at sooner or later, but it was given tremendous impetus at the time he was writing Hamlet by his interest in a new literary form: the essayâ. The task of conveying an inner life is an immensely challenging one in drama, since what the audience sees and hears is always in some sense or other public utterance—the words that the characters say to one another or, in occasional asides and soliloquies, directly to the onlookers. Shakespeare grasped that crucial death rituals in his culture had been gutted. The behavior made perfect sense in the old version of the story, where it was a ruse to deflect suspicion and to buy time. But for the general. This was achieved through providing a forum, both in the âhere and nowâ, via the plays and other works, and through creating a body of work for future generations to mine. . Get immediate access to the current issue and over 20,000 articles from the archives, plus the NYR App. Hamlet's View on Death in Hamlet by William Shakespeare Hamlet is scared because he does not know what happens after you die. It is sometimes said that parents in Shakespeare’s time could not afford to invest too much love and hope in any one child. The aim of this paper is to explore how Shakespeare drew on contemporary life to assist society to manage profound loss, uncertainty and anxiety. There was no need for a ghost, for the murder was public knowledge, as was the son’s obligation to take revenge. What had looked like mindless distraction turned out to be brilliantly strategic. Puts on his pretty looks, repeats his words. About the hidden form, the dramaturgic function and the significance in the plot of Gogol's «Players... L'envie : nouvelles réflexions et son étude dans l'Othello de Shakespeare. If Shakespeare did not grasp it at once, then certainly by the following year he understood perfectly that there was a character, already popular on the Elizabethan stage, whose life he could depict as one long phantasm or hideous dream. por Ernesto Hernández Busto. Great reason. Shakespeare must have stood there and listened to the words of the prescribed Protestant burial service. Above and beyond being a literary masterpiece, Hamlet is unquestionably one of the most Il montre comment l'aspiration passive de Richard II jusqu'a sa destruction est sous-tendue par l'identification a la femme et a l'enfant. But in Shakespeare Hamlet’s feigned madness is no longer coherently tactical. Amleth thus spends years in the interim state that Brutus can barely endure for a few days. Hamlet-- Plot Synopsis After the death of his beloved father King Hamlet, a grief-stricken Prince Hamlet returns home from his studies in Wittenburg to the Danish court at Elsinore. How can he balance his own personal friendship with Caesar against what he construes to be the general good? Unlike Hamlet, Amleth successfully kills Feng and restores his throne and honour, It is noted here that thinking about veering is a way of thinking about singularity. © 2008-2021 ResearchGate GmbH. 18 Full PDFs related to this paper. The major obstacle to the use of most forms of life writing in preparation programs for educational leaders is sociological theory, which effaces the human variable in organizational life in a quest for generalizability laws which are contextâfree, or in attempting to impose patterns of behaviors or standardized tasks which erase situational novelty. A year later Dr. James G. McManaway of the Folger Library voiced his belief in the possibilities of the theory, and called the Shakeshafte connection âthe most promising new leadâ in our investigation of the unknown years.1. Hamlet pdf is one of the most famous novels by William Shakespeare. Playwrights can pretend, of course, that the audience is overhearing a kind of internal monologue, but it is difficult to keep such monologues from sounding “stagey.” Richard III, written in 1591 or 1592, is hugely energetic and powerful, with a marvelous, unforgettable main character, but when that character, alone at night, reveals what is going on inside him, he sounds oddly wooden and artificial: Cold fearful drops stand on my trembling flesh. James Shapiro brilliantly speculates, apropos the new âsense of inwardnessâ dramatized in Hamlet: âThe breakthrough is one. “What ceremony else?” cries Laertes, by the grave of his sis-ter Ophelia; “What ceremony else?” Ophelia’s funeral rites have been curtailed because she is suspected of the sin of suicide, and Laertes is both shallow and rash. Swearing upon the sword lays on Hamletâs rapier the symbolic trappings of chivalryâs association with virtue and justice and provides the audience with a glimpse of the height from which Hamlet is to fall.17 The next four connections of the rapier with Hamlet chart his gradual decline into murderous revenge. It is impossible to determine, in this case, whether he sat down with books open before him—as he clearly did, for example, in writing Antony and Cleopatra—or relied on his memory, but he had also certainly read one and probably more than one version of the old Danish tale of murder and revenge. Some features of this site may not work without it. And out of the wreckage he constructed what most modern audiences would regard as the best play that he had ever written. The ghost appears in order to tell the terrible truth: “The serpent that did sting thy father’s life/Now wears his crown” (I.5.39–40). Thereâs his father John, a glove maker, who disapproves of his errant son wasting his life as a language tutor. The dates for writing this book are not confirmed from the life of Shakespeare. But the question he repeatedly asks echoes throughout Hamlet, and it articulates a concern that extends beyond the boundaries of the play. In all these ways, it belongs to the normal activities of theatre companies and stationers in the late sixteenth and early seventeenth centuries. -King Hamletâs death gets hamlet to take revenge on king Claudius-King Hamlets death leads to many people dying as he leads to his main target. This volume bears potent testimony, not only to the dense complexity of Hamletâs emotional dynamics, but also to the enduring fascination that audiences, adaptors, and academics have with what may well be Shakespeareâs moodiest play. The playâs central male character is a fine example of an instrumental masculine response to coping with loss. Indeed the grandparents had spent far more time with the boy than the father had, for while Shakespeare was in London, they were all living together in Stratford in the same house with their daughter-in-law and the three grandchildren. He died at the age of 11. Download Citation | On Oct 21, 2004, S Greenblatt published The death of Hamnet and the making of Hamlet (Shakespeare's son) | Find, read and cite all the research you need on ResearchGate Sometime in the spring or summer of 1596 Shakespeare must have received word that his only son Hamnet, eleven years old, was ill. Hamlet is a Shakespearean tragedy about Hamlet, the prince of Denmark, who discovers that his father was murdered and seeks revenge on Claudius, the one who killed him to become the king of Denmark. He was hardly indifferent to the success he could achieve, but it was not a matter of profit alone. He might have brooded inwardly and obsessively, even as he was making audiences laugh at Falstaff in love or at the wit contests of Beatrice and Benedick.1 Nor is it implausible that it took years for the trauma of his son’s death fully to erupt in Shakespeare’s work or that it was triggered by an accidental conjunction of names. The spectators are pulled in eerily close, watching firsthand the forming of a fatal resolution—a determination to assassinate Caesar—that will change the world. They had helped to raise Hamnet, and they must have tended Hamnet through his last illness. Bearman is as puzzled as I was twenty years ago by the naming of the nineteen servants who were not annuitants. Download Full PDF Package. âTo die, to sleepâto sleep perchance to dreamâay, thereâs the rub, for in this sleep of death what dreams may come.â â Hamlet. None of his letters, working notes, diaries, or manuscripts (with the possible exception of “Hand D” in Sir Thomas More) survives. Hamlet, The Affective Roots of Decision, and Modernity1 Glenn Hughes St. Maryâs University (San Antonio) Hamlet is a play so rich in insight regarding human existence, so revelatory and reverberative, that Harold Bloom is justified in calling it a âpoem unlimited.â2 All of its characters, and all the details of the drama that enmeshes them, contribute to its scope and profundity. Es ist oft bemerkt worden, dass dieser Tod offenbar wenig oder keine Wirkung auf den Dramatiker Shakespeare hatte, der in den folgenden Jahren ⦠Algunas de sus obras en poesÃa son: Huesos de sepia (1925), Le ocassione (1939), La bufera e altro (1956), Satura (1971), Diario del â71 y del â72 (1973); su obra en prosa (relatos, ensayos, comentarios) está recogida en La mariposa del café de la plaza (1956), Auto de fe (1966) y Fuera de casa (1975). However, it got published on 1603. Robert Bearman invites us to look again at Alexander Hoghton's will of 1581 and its references to William Shakeshafte. Over centuries of feverish speculation, the most compelling reflections on the presence of Shakespeare’s emotional life in his plays—preeminently, James Joyce’s brilliant pages in Ulysses, but there are many others—have focused on Hamlet. When an annuitant died, his portion was to be divided equally "amongst them that shall survive"; and "the survivor of them all" was to receive the [entire sum of] £16.13s.4d. How does a father manage the death of his son or his father? Heminges... sir e. k. chambersâs conjectural identification of the William Shakeshafte mentioned in Alexander Houghtonâs 1581 will as the youthful player, William Shakespeare, using a variant of the family name, has recently received endorsement from several other students of Shakespeareâs life.
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