Shakespeare and Chester

Category : Person Category : Article

'''The year 1580 saw a spectacular show in a series of the same: the portentous earthquake and blazing comet that marked the year. Published shortly afterwards, Francis Shakelton’s "Blazing Star" warns of "dissolution of the Engine of this World". Shakelton warned of "the Decay of Nature", a concept that became widespread in the 17th century, sanctioning the use of art and science to amend, improve, or replace natural processes. There was a spectacular nova in 1572, another comet in 1577 and another Supernova in 1604. In the ninth episode of James Joyce's Ulysses, Stephen Dedalus associates the appearance of the 1572 supernova with the youthful William Shakespeare, and it has been argued that this supernova is described in Shakespeare's Hamlet, specifically by Bernardo in Act I, Scene i: "Last night of all / When yond same star that's westward from the pole / Had made his course to illume that part of heaven / Where now it burns,". It was a time of portents and marvels.'''

The Chester Mystery Plays are filled with portents and prophecy. These follow a standard religious pattern: a prophecy is made, which later comes "true" and this is then used to justify the truth of as-yet unfulfilled prophecies relating to the future.

Two possible connections have been proposed between the Mystery Plays and Shakespeare:


 * the first is that Shakespeare was at least aware of the Mystery Plays, either at Chester or elasewhere and may have been influenced by them;


 * the second is that the author of the "Shakespeare plays" was not the historic Shakespeare but someone associated with Chester;

This article reviews the history of events in and around Chester during the period of the Shakespeare history plays, then explores the evidence for linkage between the Shakespeare plays and Chester.

Shakespeare's History Plays
The striking of a clock in Julius Caesar illustrates how Shakesspeare's plays do not pretend to be accurate history. Even his English History Plays contain some clear changes from what actually happened. These history plays may be summarised as follows:




 * King John receives an ambassador from France who demands (with a threat of war) that he renounce his throne in favour of his "nephew", Arthur, whom the French King Philip believes to be the rightful heir to the throne. John argues with the Pope and is excommunicated. John orders Hubert to kill Arthur, but Hubert cannot. John attempts to extract gold from monasteries. Arthur dies (possibly murdered). John is poisoned by a monk. The English swear allegiance to Henry who becomes a boy king in 1216. The play was written c. 1596 and is set 1200-1216. Popular representations of John first began to emerge during the Tudor period, mirroring the revisionist histories of the time. The anonymous play "The Troublesome Reign of King John" portrayed the king as a "proto-Protestant martyr", similar to that shown in John Bale's morality play "Kynge Johan", in which John attempts to save England from the "evil agents of the Roman Church". Shakespeare follows previous depictions and creates a quite anti-Catholic work, but messes with history significantly: Arthur was not the nephew of John.


 * Edward III (written c. 1596) compresses a very long reign and telescopes history to achieve this, leaving out actual historical characters and creating many anachronisms. It seems that around 40% of the play was written by Shakespeare, the rest possibly by Thomas Kyd, John Jowett and others. It is particularly anti-Scots, for which it was censured at the time of its first performance. It was not included in the first publication of Shakespeare's works, which was published after the Scottish King James had succeeded to the English throne in 1603.



The first four plays of the Henriad:


 * Richard II (written c 1592) spans only the last two years of the king's life, from 1398 to 1400. A dispute between Henry Bolingbroke, the son of John of Gaunt, and Thomas Mowbray, the Duke of Norfolk is to be resolved by a tournament. At the last minute, Richard stops the contest: he banishes Mowbray for life, and giving in to pleas on behalf of Bolingbroke, commutes his son's banishment to six years. Bolingbroke, resenting the confiscation of his inheritance, returns to England where his army is enthusiastically welcomed by the English, led by Henry Percy, the Earl of Northumberland. The play ends with the rise of Bolingbroke to the throne, marking the start of a new era in England. The play is the first part of a tetralogy, referred to by some scholars as the Henriad, followed by three plays concerning Richard's successors: Henry IV, Part 1; Henry IV, Part 2; and Henry V.


 * Henry IV (written c 1597) has usurped his cousin, Richard II, to become King of England. News comes of a rebellion in Wales, where his cousin, Edmund Mortimer, has been taken prisoner by Owen Glendower, and in the North, where Harry Hotspur, the young son of the Earl of Northumberland, is fighting the Earl of Douglas. Prince Hal spends all his time in the London taverns with disreputable companions, particularly one dissolute old knight, Sir John Falstaff. Hal is reconciled with the king. The King’s army triumphs over the rebels. The king dies and Hal becomes Henry V.


 * Henry V’s father Bolingbroke (Henry IV) was never able to rule comfortably because he had usurped Richard II. On his succession King Henry V is determined to prove his right to rule, including over France. The French are defeated, with heavy losses, whereas the English losses are light. Henry returns to London in triumph before making peace with the French king. The play was written c 1599.

The second four plays of the Henriad:


 * Henry VI (written c 1590) opens in the aftermath of the death of King Henry V. The lords select red or white roses, depending on whether they favour the House of Lancaster or that of York. The country descends into Civil War. Richard of Gloucester begins his campaign to remove all obstacles in his path to the throne by murdering King Henry VI who is a captive in the Tower of London. Henry prophesies Richard’s career of villainy and his future notoriety.


 * Richard III (written c 1583) starts as Richard, Duke of Gloucester, determined to gain the crown from his brother, the ill Yorkist King Edward IV. He organises the murder of his brother George, Duke of Clarence, whom he has had imprisoned in the Tower of London. Richard places the young sons of Edward in the Tower and consolidates his power. The king dies and Richard is proclaimed king. The young princes are murdered in the Tower. Henry Tudor, Earl of Richmond, the heir to the Lancastrian claim to the throne, makes war on Richard and defeats him becoming Henry VII.

Catholic Plots:


 * Henry VIII married to Katherine for twenty years, decides that the marriage is not legal because she is the widow of his brother, and it is therefore incest. The new Archbishop of Canterbury has a plot hatched against him by Wolsey’s secretary, Gardiner, who is tried and executed for treason. Henry has a daughter, Elizabeth, by Anne Bullen. Cranmer christens her and makes a speech foretelling a noble rule for Elizabeth and a glorious period of history during her reign. The play was written c 1613 - one of the last plays.

Richard II, Henry IV and Chester
Shakespeare was living in the reign of Elizabeth I, the last monarch of the house of Tudor, and his history plays are often regarded as Tudor propaganda because they show the dangers of civil war and celebrate the founders of the Tudor dynasty. In particular, Richard III depicts the last member of the rival house of York as an evil monster ("that bottled spider, that foul bunchback'd toad"), a depiction disputed by many modern historians, while portraying his successor, Henry VII in glowing terms. Shakespeare made use of the Lancaster and York myths, as he found them in the chronicles, as well as the Tudor myth. The 'Lancaster myth' regarded Richard II's overthrow and Henry IV's reign as providentially sanctioned, and Henry V's achievements as a divine favour. The 'York myth' saw Edward IV's deposing of the ineffectual Henry VI as a providential restoration of the usurped throne to the lawful heirs of Richard II. Writing plays about political subjects was always a problem in Elizabethan England, so a good choice for real history would be the Lancastrians and Yorkists who came along before, and were defeated by, the Tudors. Even so, it might still be possible to cause offence.

The first possible reference to the Corpus Christi procession in Chester is an inauspicious one - a record of 1399 describes a terrible brawl which broke out between the members of the guilds of the Weavers, Shearmen, Challoners (blanket-makers) and the Walkers (fullers) against their apprentices, outside of the guild church of St Peter. 1399 was the last year of [http://chester.shoutwiki.com/wiki/Timeline#Richard_II_.2822_June_1377_.28age_10.29_-_29_September_1399.29._Son_of_Edward.2C_the_Black_Prince_.28previously_Earl_of_Chester.29. Richard II]'s reign, who had taken the title of "Prince of Chester" for himself in 1398 and was known for his "Chester Guard" - he was soon to be deposed and imprisoned briefly at Chester Castle. In 1424 a further Corpus Christi riot came just after a supposed "royal visit" by Henry VI (then still a child) - it was a time of great political instability: Henry was the youngest person ever to succeed to the English throne, at the age of nine months on 1 September 1422, the day after his father's death. The period between these two riots is covered by the first four plays of the Henriad.



As regards Chester, Richard II visited in 1387 and found the town greatly impoverished with a ruined bridge over the Dee. He made his "favourite" Robert de Vere Justice of Chester. De Vere did not last long and was replaced after a rebellion the following year. Unrest in Chester continued for many years. Richard formed a notorious "Chester Guard" and also errected Chester to a principality with himself as "Prince of Chester". In 1399, while Richard II was away on a military campaign in Ireland, Henry Bollingbroke, later Henry IV, landed in Britain after exile and took Chester without a fight. He stayed at Chester for a few days and then captured Richard II who was briefly imprisoned at Chester Castle. Richard's treasure was reputedly hidden somewhere near Chester (often cited as down the well at Beeston Castle - England’s deepest medieval well).

The Stanley family became powerful during this period. Sir William de Stanley was Master-Forester of the Forest of Wirral and was notorious for his repressive activities. His son, John Stanley led an expedition to Ireland on behalf of de Vere and King Richard II to quell rebellion. In 1389, Richard II appointed John justiciar of Ireland, a post he held until 1391. He was heavily involved in Richard's first expedition to Ireland in 1394–1395. However, on his return to England, Stanley, who had long proved adept at political manoeuvrings, turned his back on Richard and submitted to Henry IV of England. Stanley's fortunes were equally good under the Lancastrians. He was granted lordships in the Welsh marches, and served a term as lieutenant of Ireland. In 1403 he was made steward of the household of Henry, prince of Wales, (later Henry V). Unlike many of the Cheshire gentry, he took the side of the king in the rebellion of the Percys. He was wounded in the throat at the Battle of Shrewsbury. On the 16th September, not two months after the battle, the Prince appointed Sir John Stanley to be keeper of the county of Chester, and to resist the malice of the Welsh rebels round about. In 1405 he was granted the tenure of the Isle of Man by which had been confiscated from the rebellious Henry Percy, 1st Earl of Northumberland. In this period he also became steward of the king's household, and was elected a Knight of the Garter. In 1413 King Henry V of England sent him to serve once more as lieutenant of Ireland. It has been suggested that John Stanley was the as-yet unidentified "Gawain Poet". The Garter motto "Honi soit qui mal y pense" appears at the end of Sir Gawain and the Green Knight, and the poet exhibits a detailed knowledge of both hunting and armour. Scholars identify the poet's dialect as that of north-west Staffordshire or south-east Cheshire. Several scholars have attempted to find a real-world correspondence for Gawain's journey to the Green Chapel. The Anglesey islands, for example, are mentioned in the poem. They exist today as a single island off the coast of Wales. In line 700, Gawain is said to pass the "Holy Head", believed by many scholars to be either Holywell or the Cistercian abbey of Poulton in Pulford. Holywell is associated with the beheading of Saint Winifred. As the story goes, Winifred was a virgin who was beheaded by a local leader after she refused his sexual advances. Her uncle, another saint, put her head back in place and healed the wound, leaving only a white scar. The parallels between this story and Gawain's make this area a likely candidate for the journey.

In 1403 Sir Henry Percy ('Hotspur'), lately justice of Chester, stayed in the city and raised the standard of revolt there, where former kings men and veterans of the Cheshire Guard still resided by the hundreds. Percy formed an alliance with the Welsh rebel, Owain Glyndŵr. Before they could join forces, Hotspur was defeated and killed at the Battle of Shrewsbury as he raised his visor to get some air (he was wearing full plate) and was hit in the mouth with an arrow. The single most intriguing event taking place before the Battle of Shrewsbury was the defection from the royal army (and therefor from the Kings' Peace) of Hotspur’s uncle the Earl of Worcester just days before the battle was fought. The impact militarily on paper at least was significant, the Earl of Worcester bringing 1,000 men, mostly archers and lightly armed men of foot, over to Hotspurs rebel army. After Percy's defeat one of the quarters of his body was sent to Chester, together with the heads of Sir Richard Venables and Sir Richard Vernon. Chester was not wholly on the side of the rebels as the mayor and the constable of the castle were present at Shrewsbury in the king's retinue. The future (then sixteen-year-old) Henry V (Prince Hal) was also struck by an arrow which became stuck in his face "to a depth of six inches". Over a period of several days John Bradmore, the royal physician, treated the wound with honey to act as an antiseptic, crafted a special tool to screw into the broken arrow shaft and extract the arrow. The operation was successful, but it left Henry with permanent scars and explains why the one remaining contemporary portrait (see below) shows only the left side of his face. Legislation of 1403, vigorously supported by the mayor of Chester, denied any arms to the Welsh - except a knife to eat with. It is from this time that the Shoot the Welsh story comes from In the weeks following the Battle of Shrewsbury the insecurity of both the new dynasty and some of the city authorities (i.e. those who had been on the King's side at the battle) was demonstrated in the instructions issued by Prince Henry in response to further defections in north Wales. On September 4, 1403, he wrote to the Mayor, Sheriffs and Aldermen of the City of Chester, who were required to impose a curfew upon all Welshmen visiting Chester, and to ensure that they left their arms at the city gates and did not gather in groups of more than three; all Welsh residents were expelled and any who stayed overnight were threatened with execution. Apparently, the actual wording was that: "all manner of Welsh persons or Welsh sympathies should be expelled from the city; that no Welshman should enter the city before sunrise or tarry in it after sunset, under pain of decapitation.". William de Venables, constable of Chester, with the steward and others of the prince's household took the field with the armed forces of Cheshire to resist an imminent invasion by Owain Glyndŵr.



The sudden death of Henry V, in 1422, from what may well have been drinking water while in France, led to civil war in England. The Wars of the Roses were fought between supporters of two rival cadet branches of the royal House of Plantagenet: the House of Lancaster, associated with the Red Rose of Lancaster, and the House of York, whose symbol was the White Rose of York. Eventually, the wars eliminated the male lines of both families. The power struggle ignited around social and financial troubles following the Hundred Years' War, unfolding the structural problems of bastard feudalism, combined with the mental infirmity and weak rule of King Henry VI which revived interest in the House of York's claim to the throne by Richard of York. Historians disagree on which of these factors to identify as the main reason for the wars. Chester was on the Lancastrian side. In 1450 Sir Thomas Stanley (then Justice of Chester) called upon to supply troops to support the Lancastrians. In 1455 he mobilized a large force from Cheshire to help the Lancastrian cause, but arrived late for the Battle of St Albans (22nd May). In 1459 he turned up late for the Battle of Blore Heath.

Although relations with the crown cooled and (not least from the election of a Welsh mayor) there seems to have been much sympathy with Wales in Chester. Prior to his return, the Stanleys had been communicating with the exiled Henry Tudor for some time and Tudor's strategy of landing in Wales and heading east into central England depended on the acquiescence of Sir William Stanley, as Chamberlain of Chester and north Wales, and by extension on that of Lord Thomas Stanley, 1st Earl of Derby himself. On hearing of the invasion, Richard III ordered the two Stanleys to raise the men of the region in readiness to oppose the invader. However, once it was clear that Tudor was marching unopposed through Wales, Richard ordered Lord Stanley to join him without delay. According to the Crowland Chronicle, although Lord Stanley excused himself on the grounds of illness, the 'sweating sickness', by now Richard had firm evidence of the Stanleys’ complicity. After an unsuccessful bid to escape from court, Lord Strange had confessed that he and his uncle, Sir William Stanley, had conspired with Henry Tudor. Richard proclaimed him as traitor, and let it be known that Strange’s life was hostage for his father's loyalty in the coming conflict. Indeed, Richard allegedly issued orders for Strange’s execution on the battlefield at Bosworth Field, although in the event these were never carried out. The failure of Lord Stanley, to come to the aid of King Richard III at Bosworth contributed to King Richard's defeat. Lord Stanley, who was by then married to the future Henry VII's mother, Margaret Beaufort, is given a major role in Shakespeare's Richard III. George Stanley's son was Thomas Stanley, 2nd Earl of Derby.

Events now conspired to set up a complex succession problem. Henry Tudor had two sons, the eldest of which (Arthur) died young leaving the younger son to become Henry VIII. Henry had a sister Mary. Three of Henry's children ruled England: Edward VI, Mary and Elizabeth. Henry VIII's Third Succession Act granted Henry the right to bequeath the Crown in his Will. His Will specified that, in default of heirs to his children, the throne was to pass to the children of the daughters of his younger sister Mary Tudor, Queen of France, bypassing the line of his elder sister Margaret Tudor, represented by the Catholic Mary, Queen of Scots. Edward VI confirmed this by letters patent. The legitimate and legal heir of Elizabeth I was therefore Anne Stanley, Countess of Castlehaven (the marriage of Lady Catherine Grey having been annulled, and her children declared illegitimate, by Elizabeth I).

William Shakespeare
The "official" version is that William Shakespeare (bapt. 26 April 1564 – 23 April 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist. Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married 26 year old Anne Hathaway, with whom he had three children: Susanna and twins Hamnet and Judith. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage. The ceremony may have been arranged in some haste since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times, and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583.



Shakespeare included in his plays more child roles than did his contemporaries. Children in Shakespeare's world often exist as figures in someone else's play; as royal pawns in adult power games they are the often the fragile vessels of dynastic ambition. Their deaths can by mysterious as with Arthur in King John or Mamillius in the Winter's Tale. Children are murdered in MacBeth, Richard III and threatened with death in Henry V. The fate of children in Shakespeare offers a view of English history as a tragedy of failed succession, a viewpoint which could politically trouble triumphant Elizabethan providentialism. But there is also a personal angle. Sometime in the spring or summer of 1596 Shakespeare must have received word that his only son Hamnet, eleven years old, was ill. Whether in London or on tour with his company he would at best have only been able to receive news intermittently from his family in Stratford, but at some point in the summer he presumably learned that Hamnet’s condition had worsened and that it was necessary to drop everything and hurry home. By the time the father reached Stratford the boy—whom, apart from brief visits, Shakespeare had in effect abandoned in his infancy—may already have died. On August 11, 1596, Hamnet was buried at Holy Trinity Church: the clerk duly noted in the burial register, “Hamnet filius William Shakspere.”

Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and whether the works attributed to him were written by others.

Strange's Men appear to have begun a provincial tour in May 1593, after the London theatres were closed due to plague. Only some fragments of documentary evidence enable us to glimpse parts of it. In early May, they were in Chelmsford, Essex. Later in the summer they visited Sudbury and Faversham. In July, they were in Southampton. In July and August, they headed west to Bath and Bristol. They then turned north and visited Shrewsbury, from where they may have gone on to Chester and York. In December, they were in Leicester and Coventry before they returned to London. They could not have seen the mystery plays because they were last performed in 1575. The crucial dates are 1569 (the last performance of the York cycle - Shakespeare would have been 5), 1575 (the last performance of the Chester cycle - Shakespeare would have been 11), 1576 (the prevention of an attempt to perform the Wakefield cycle), and 1579 (the last performance of the Coventry cycle - Shakespeare would have been 18).

The Shakespeare authorship question is the argument that someone other than William Shakespeare of Stratford-upon-Avon wrote the works attributed to him. Anti-Stratfordians—a collective term for adherents of the various alternative-authorship theories—believe that Shakespeare of Stratford was a front to shield the identity of the real author or authors, who did not want or could not accept public credit.

Shakespeare and Mystery Plays
Links can be found between the wording of the Mystery Plays and the works of Shakespeare. Some of the links are relatively clear and others are admittedly quite strained. In the Shepherds play the otherwise silent Shepherd boys present gifts which include a bottle, a hood/cape, a pipe (as in musical instrument, possibly a Pibgorn) and a nut-hook. Shakespeare uses "nut-hook" twice: in Merry Wives of Windsor Act I scene I and in Henry IV Part 2 Act V scene IV). It is not clear whether the reference to a "nut-hook" is a reference to a bishop's crosier. Twice in Shakespeare’s plays, Judas is described as treacherously greeting Christ with the words “All hail!” (Richard II, Act IV. sc. 1 - "DID they not sometime cry ‘All hail!’ to me, So Judas did to Christ: but he in twelve, Found truth in all but one" and Henry VI, Part 3, Act V. sc. 7 - "So Judas kiss’d his master; And cried—‘All hail!’ when as he meant—all harm"). This phrase does not occur in any version of the Bible available to Shakespeare (it was later introduced as Matthew 26.49 - the original having been something like "peace upon thee, rabbi") but it does occur in the York episode of the "Agony in the Garden" and the "Betrayal" (not in the Chester version), and Shakespeare’s repeated use of the phrase implies a familiarity with something popular and at the time non-biblical. Shakespeare uses similar language in MacBeth at a stage in the play where MacBeth has not yet become the anti-hero.

King John (mid 1590's)


The parallel between the Abraham and Isaac play and Hubert's preparations to blind the young Arthur in King John has been noted by several scholars. Hubert is given direct orders by his "Lord" to maim a boy he has in some ways treated as a son. Maiming by blinding and possibly also castration was a recognised way of ensuring that a dynastic rival was not only incapable of ruling, but also incapable of producing heirs. It fell short of actual killing and therefore was not against the commandment against killing and was quite common in the Byzantine Empire.

The historic Arthur is of course connected with Chester, being the adopted son of Earl of Chester Ranulf de Blondeville, and named as heir by Richard I. The strange mixture of childish terror and quiet obedience which is found most strikingly in the Chester and Brome plays is certainly there in Shakespeare. One difference between the Shakespeare play and the actual history is the circumstance of the death of Arthur - Shakespeare has Arthur die jumping from the castle walls, whereas many historians believe that Arthur was actually killed, possibly by John himself. The play takes as it's subject a previous dispute between Rome and the English ruler: the only English monarchs to be excommunicated were Harold II, John, Henry VIII and Elizabeth I. The choice of John for a monarch in conflict with Rome is therefore forced on Shakespeare, which is somewhat unfortunate given tha6 both Henry VIII and John consolidated their position through the death of an Arthur with a better claim to the throne.

A Midsummer Nights Dream (1595)
The rude mechanicals of Shakespeare's "A Midsummer Night’s Dream" may be a comic rendition of the artisan actors of the provincial mystery plays, including the talking ass of Balaam in the Chester Mystery Plays. It has been claimed that William Shakespeare wrote A Midsummer Night's Dream for the occasion of the 1595 wedding of Elizabeth de Vere and William Stanley, 6th Earl of Derby. Elizabeth de Vere, Countess of Derby, Lord of Mann (2 July 1575 – 10 March 1627), was an English noblewoman and the eldest daughter of the Elizabethan courtier, poet, and playwright Edward de Vere, 17th Earl of Oxford.

Merry Wives of Windsor (c. 1597)
The earliest mention of Herne the Hunter comes from William Shakespeare's 1597 play The Merry Wives of Windsor. Officially published versions of the play refer only to the tale of Herne as the ghost of a former Windsor Forest keeper who haunts a particular oak tree at midnight in the winter time, the god of vegetation, vine, and the wild hunt, and is associated with the stag in rut each fall.

Henry IV (c 1597)
The action of the Henriad follows the dynastic, cultural and psychological journey that England traveled as it left the medieval world with Richard II and moved on to Henry V and the Renaissance. Politically and socially the Henriad represents a progression from the heavy government of feudalism and hierarchy to the national state and scope for individualism. Alvin Kernan suggeted that in mythical terms it is "the passage is from a garden world to a fallen world".

Hamlet (c 1600)
“Art thou there, truepenny?” is Hamlet’s question, directed at the “old mole” of a ghost in the understage cellarage of the Globe Theater, raises a question of the play: what is there, under the stage — Purgatory or Hell? This may have been based on the two-level wagons of the mystery plays. The portrayal of Herod was so "over-the-top" that it may have been referenced by Shakespeare in Hamlet (act 3, scene 2) where he mockingly coins the phrase "to out-Herod Herod" as an admonition to the players in the "play within the play":


 * O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumbshows and noise: I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod: pray you, avoid it.

MacBeth (c. 1606)
Shakespeare's porter from MacBeth says: "Knock, knock, knock!" - pretending he’s the gatekeeper in hell - "who’s there, in the devil’s name"? This is straight from the Harrowing of Hell in the Mystery Plays. Even more so because MacDuff (who was knocking) will be the eventual agent of MacBeth's destruction. In Macbeth Shakespeare portrays the sibylline figures from his source texts into the demonic figures - making them a parody of the Sibyll who advises Octavian in the Nativity play. Shakespeare acknowledges the power of prophecy to influence dynastic change, but shares the growing anxiety about prophesy in English culture. It is noted the Chester Plays contain significant references to prophecy. "By the pricking of my thumbs" occurs in the speech of the second witch, while the fourth boy in the "Shepherds" hands over a crozier-like "nut-hook" so that "Joseph shall not need to hurte his thumbs". The play features the murder of an innocent after the manner of Herod. Notably there is no suggestion that MacBeth has any children which might continue his line and at the outset of the play the Three Witches make no mention of his offspring (although they do mention those of Banquo).

The "Derbyites"


William Stanley, 6th Earl of Derby, KG (1561 – 29 September 1642) was an English nobleman and politician. Stanley inherited a prominent social position that was both dangerous and unstable, as his mother was heir to Queen Elizabeth I under the Third Succession Act, a position inherited in 1596 by his deceased brother's oldest daughter, Anne, two years after William had inherited the Earldom from his brother Ferdinando Stanley, 5th Earl of Derby.

Ferdinando Stanley
Ferdinando Stanley, 5th Earl of Derby (1559 – 16 April 1594) was a supporter of the arts, enjoying music, dance, poetry, and singing, but above all he loved the theatre. He was the patron of many writers, including Robert Greene, Christopher Marlowe, Edmund Spenser, and William Shakespeare. Shakespeare may have been employed by Strange in his early years as one of Lord Strange's Men, when this troupe of acrobats and tumblers was reorganized, emphasizing the performing of plays. The troupe produced Titus Andronicus and the trilogy of Henry VI, Part 1, Henry VI, Part 2, and Henry VI, Part 3. Some of these plays may contain oblique references to the Stanley family's political position at the time. By 1590, Strange's was allied with the Admiral's Men, performing at The Theatre (owned by James Burbage, father of Richard Burbage). After his succession to his father's titles and estates, more reports of Roman Catholic plots on Ferdinando's behalf reached Burghley, particularly of a priest in Rome who had said of the new Earl of Derby that he "though he were of no religion, should find friends to decide a nearer estate [to the throne]". English rebels who had fled overseas sent a man named Richard Hesketh to urge Ferdinando that he had a claim to the crown of England by right of his descent from Mary, Queen Dowager of France, the second surviving daughter of Henry VII and a younger sister of Henry VIII. The Heskeths had once been retainers of the Stanley family and were also family friends. This is why Richard Hesketh was chosen to approach Derby about the matter that has come to be known as "the Hesketh Plot". Ferdinando held two private meetings with Hesketh and then took him to London for further discussions with his mother, who had earlier been excluded from the Queen's court for allegedly plotting against Elizabeth. However, he finally dramatically rejected Hesketh's proposition with displays of scorn and indignation, even turning him over to Burghley. Hesketh was interrogated and later executed. However, Stanley, who had hoped that his display of loyalty to Elizabeth would be rewarded, was shut out of the case and was marginalised. He was dismayed when the position of Lord Chamberlain of Chester was given to Thomas Egerton rather than himself, complaining that he was "crossed in court and crossed in his country". Due to the sudden and violent nature of his final illness, poisoning was widely suspected. He died what contemporaries considered a horrible death, in a "violent sea of vomit that was so putrified that no one would go near the body ‘till his burial". In Camden's Historie of Elizabeth (London: Fisher, 1630, Booke 4, p 65) it is stated:


 * "Ferdinand Stanley Earle of Darby… expired in the flowre of his youth, not without suspition of poyson, being tormented with cruell paynes by frequent vomitings of a darke colour like rusty yron. There was found in his chamber an Image of waxe, the belly pierced thorow with haires of the same colour that his were, put there, (as the wiser sort have judged, to remove the suspition of poyson). The matter vomited up stayned the silver Basons in such sort, that by no art they could possibly be brought againe to their former brightnesse… No small suspicion lighted upon the Gentleman of his horse, who; as soone as the Earle tooke his bed, tooke his best horse, and fled".

It appears that the reference to silver may have been included to suggest that the poison was arsenic, as arsenic solutions will discolour silver. Arsenic was available at the time: during the Elizabethan era, some women used a mixture of vinegar, chalk, and arsenic applied topically to whiten their skin. This use of arsenic was intended to prevent aging and creasing of the skin.

William Stanley in Chester
Stanley was educated at St John's College, Oxford. In 1582 he travelled to the continent to study in university towns in France and may also have attended Henry of Navarre's academy at Nérac. In 1585 he returned home but was once more sent to Paris as part of an embassy to Henry III of France. He then remained on the continent for a further three years of personal travels before returning home once more. He may have been accompanied on his travels by the young John Donne. During his travels, William Stanley is said to have led an adventurous existence, being involved in duels and love affairs and travelling in disguise as a friar while in Italy. He is supposed to have also visited Egypt, where he fought and killed a tiger, then going on to Anatolia, where it is claimed he narrowly escaped being executed for insulting the prophet Mohammed; he was supposedly released because a Muslim noblewoman wanted to marry him. According to the story, he turned her down, travelling on to Moscow and then to Greenland, from where he returned to Europe in a whaling ship.



These colourful adventures are traceable to a popular ballad entitled Sir William Stanley's Garland, which exaggerates his three years away from England to "twenty one years travels through most parts of the world". This was recorded in 1800 and its contents published in 1801. There is no extant documentary evidence for these supposed adventures, but the stories were regularly repeated in 19th-century biographies of the sixth Earl

After his period of European travel, a long legal battle eventually consolidated William Stanley's social position. Nevertheless, he was careful to remain circumspect in national politics, devoting himself to administration and cultural projects. The upshot of the legal battle was a judgement that the Isle of Man, a possession of the 5th Earl, was forfeit to the Queen. However, the Queen ceded her right to it in recognition of the Stanley family's services. Stanley was granted Lathom and Knowsley, with other lands and estates in Lancashire, Cumberland, Yorkshire, Cheshire (Bidston Hall on the Wirral), Wales, and elsewhere, while Ferdinando's daughters received estates linked to baronies and the Isle of Man, but they sold it to their uncle, the 6th Earl, and his title to it was later confirmed by James I. A few years after the death of his wife (she died in 1627), when Derby was "old and infirm, and desirous of withdrawing himself from the hurry and fatigue of life" he assigned his estates to his son James, retaining an annuity of £1,000. He bought a house by the River Dee just outside Chester, where he lived in retirement until his death on 29 September 1642. It is now known as "Stanley Palace".

William Stanley is one of several individuals who have been claimed by proponents of the Shakespearean authorship question to be the true author of William Shakespeare's works. Stanley's candidacy was first proposed in 1891 by the archivist James H. Greenstreet, who identified a pair of letters by the Jesuit spy George Fenner dating from 1599 in which he reported that Stanley was unlikely to advance the Roman Catholic cause, as he was "busy penning plays for the common players". Greenstreet argued that the comic scenes in Love's Labour's Lost were influenced by a pageant of the Nine Worthy Women "only ever performed in Stanley's home town of Chester" (he lived at Bidston Hall on the Wirral). A description of this survives from 1621 in the Cooper's records:


 * "Order of our showe: First 2 woodmen with &c / St George fighting with ye dragon &c / (confused passage) / The 9 worthies in complete armour with crowns of gold on their heads / every one having his esquire to bear before him shield and penon of arms, dressed according to their lands were accustomed to be: 3 Israelites, 3 Infidels, 3 Christians &c / After them same to declare the rare virtues and noble deeds of the 9 worthy women / The 9 worthy women every one adorned after their country fashion, each one having her page before her bearing their armes."

The Nine Worthy Women were the female equivalent of the Nine Worthy Men. In one list the nine comprise three Pagan, three Jewish, and three Christian. The three Pagan women were Lucretia, Veturia, and Virginia. The three Jewish women were Esther, Judith, and Jael, and the three Christian women were Helena the mother of Constantine, Saint Bridget of Sweden, and Saint Elizabeth of Hungary. Other versions included female British leaders such as Boudica, queen of the Iceni, who led an uprising against Roman occupying forces; Æthelflæd, daughter of King Alfred, who fought off various Viking attacks; and Margaret of York, wife of King Henry VI, who led the Lancastrians in battle against Edward IV. The identity of the Nine Worthy Women in the Chester pageant is not known, but some of those listed above have connections with Chester: Æthelflæd re-fortified the city, Helena appears in the local legend of Saint Elen, and Margaret of York (Margaret of Anjou) visited Chester in 1453 and 1455.

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the 1590s for a performance at the Inns of Court before Queen Elizabeth I. In the play Ferdinand, King of Navarre, and his three noble companions, the Lords Berowne, Dumaine, and Longaville, take an oath not to give in to the company of women. Clearly if Greenstreet is to be correct then Stanley must have seen the pageant in the early 1590's.

Greenstreet attempted to develop his ideas in a second paper, but died suddenly in 1892, leaving his arguments incomplete. The theory was revived in The Silent Shakespeare (1915) by the American writer Robert Frazer, who concluded that "William Stanley was William Shakespeare". The idea was then taken up in France and was first advocated in scholarly detail when the Rabelais expert Abel Lefranc published his book, "Sous le masque de William Shakespeare: William Stanley, VIe comte de Derby" (1918).

Stanley and the Shakespeare Plays
The following arguments summarise the case for a link between Stanley and specific plays:

Related Pages

 * Stanley Palace;
 * Chester Mystery Plays;

Sources and Links

 * The Sky in Early Modern English Literature: A Study of Allusions to Celestial Events in Elizabethan and Jacobean Writing, 1572-1620;
 * The Starlight Night: The Sky in the Writings of Shakespeare, Tennyson, and Hopkins;
 * Christoph Rothmann's Discourse on the Comet of 1585: An Edition and Translation with Accompanying Essays;
 * Killing Shakespeare's Children: The Cases of Richard III and King John;
 * ‘This little abstract’: Inscribing History upon the Child in Shakespeare’s King John;
 * Records of Early English Drama;
 * The History of English Dramatic Poetry to the Time of Shakespeare: And Annals of the Stage to the Restoration, Volume 2;
 * Censorship and the Representation of the Sacred in Nineteenth-Century England;
 * Late Medieval Festivity and its Reform, 1450-­1642;
 * The Medieval Theatre;
 * Early English Performance: Medieval Plays and Robin Hood Games: Shifting Paradigms in Early English Drama Studies;
 * Drama, Play, and Game: English Festive Culture in the Medieval and Early Modern Period;
 * Shakespeare and Medieval Drama;
 * Shakespeare and the Mystery Cycles;
 * THE QUEEN’S MEN ON TOUR PROVINCIAL PERFORMANCE IN VERNACULAR SPACES IN EARLY MODERN ENGLAND;
 * The Nine Worthy Women;
 * Queen Boudica and Historical Culture in Britain;
 * The URL of Derby: website with arguments about Derby being Shakespeare;
 * Beamont, W., (1885): Henry IV. Part II. Being an attempt to connect some Cheshire persons, circumstances, and places with Shakespere's drama of this name. Journal of the Chester Archaeological Society 3. Vol 3, pp. 343-364;
 * Beamont, W., (1885): Henry IV. Part I. Being an attempt to connect some Cheshire persons, circumstances, and places with Shakespere's drama of this name. Journal of the Chester Archaeological Society 3. Vol 3, pp. 215-246.
 * Bidston Hall;