Who was William Shakespeare ? 

1. an overview of his life,
times, and work
an NAC English Theatre company
educational publication
THE NATIONAL ARTS CENTRE ENGLISH THEATRE
PROGRAMMES FOR STUDENT AUDIENCES
Peter Hinton
Artistic Director, English Theatre
This backgrounder was written and researched by Jane Moore for the National Arts Centre,
English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes.
The National Arts Centre English Theatre values the feedback of teachers on the content and
format of its educational materials. We would appreciate your comments or suggestions on
ways to improve future materials. Comments may be directed to Martina Kuska, either by email
at mkuska@nac-cna.ca or fax at (613) 943 1401.
Made possible in part by the NAC
Foundation Donors’ Circle

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“Lloyd Sullivan believed he knew this much from family tradition: the
portrait was painted a dozen generations ago by his ancestor,
John Sanders, born in 1576, the eldest son of a family in Worcester,
England. Young John left home to make his fortune in London. There he
became an actor, or at least a bit player, in Shakespeare’s company,
the Lord Chamberlain’s Men, which was formed in 1594, when Shakespeare
was thirty. John Sanders also dabbled in oils and did odd bits of
painting around the theatre. He liked to try his hand at portraiture.

10. page 5
And sometime in 1603, he prepared a sturdy oak panel and some bright
oil paint and recorded the face of his colleague, William Shakespeare.
At some point Sanders or one of his children labeled the picture
’Shakespere’ (in a spelling the poet himself used), and included the
playwright’s birth and death dates, noting that this was his likeness
at the age of thirty-nine. The portrait was handed down, passing from
the first John Sanders to his son, and so on through the family.”
(Nolen, 10)
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“However, the results of the tests that were done
were conclusive: the painting was executed on wood
that dated from the correct period; the materials
and the way in which they were used were consistent
with a painting done in England in 1603; no
anachronistic material was found; and the label
identifying the subject of the portrait was made of
rag paper dating from 1640 at the latest. All these
elements indicate that the painting is indeed an old
painting and not a relatively modern copy or fake.”
Marie-Claude Corbeil, Senior Conservation Scientist, Analytical
Research Laboratory, Canadian Conservation Institute, Department of
Canadian Heritage.
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“In addition to the success of the scientific tests carried out on the
Sanders portrait, recent genealogical evidence, together with a number
of documents and letters that have been discovered over the past twenty
years, go a long way to authenticate the portrait as being a true image
of Shakespeare painted in his lifetime (1603).”
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“Good friend, for Jesus’ sake
Please leave my dust alone.
Blessed be those that leave my tomb alone,
And curses on those who move my bones.”
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" " www.cummingsstudyguides.net/xCatholic.html

23. page 16
<
• ,Shakespeare’s debt to Scripture is profound; biblical imagery is woven
into every play. No writer has integrated the expressions and themes
found in the Bible into his own work more magnificently than Shakespeare.0
Amanda Mabillard, “Biblical Imagery in Macbeth”, in About.com; accessed September 9, 2008
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“It was November, 1605, and high treason was on the mind of every English
subject. A small group of angry Catholics, fed up with ongoing persecution
at the hands of the Protestant monarchy, hatched an elaborate plot to blow
King James I and his government to smithereens.

24. page 17
“As luck would have it, a warning letter surfaced at the last minute and
James ordered a search of his Palace. The most notorious conspirator,
Guy Fawkes, was discovered in the cellar, match in hand, ready to ignite
twenty barrels of gunpowder “all at one thunderclap.”
“To say that Shakespeare would have been familiar with the conspirators is an
understatement. These traitors of the realm had some deep connections to
Shakespeare and his family. Shakespeare’s father, John (undoubtedly a covert
Catholic), was friends with William Catesby, the father of the head
conspirator, Robert Catesby. John Shakespeare and William Catesby shared
illegal Catholic writings that eventually wound up in the attic of John’s
home in Stratford. Moreover, the Mermaid Tavern in London, frequented by
Shakespeare and owned by his closest friend and confidant, was a preferred
meeting spot of the turncoats as they schemed to obliterate the Protestants
once and for all….”
A (
http://shakespeare.about.com/od/shakespearesbiograph1/a/gunpowderplot.htm

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Best, Michael. Shakespeare’s Life and Times. Internet Shakespeare Editions, University of Victoria:
Victoria, BC, 2001-2005. <http://ise.uvic.ca/Library/SLT/>. Accessed September 9, 2008.
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“If you cannot understand my argument, and declare ‘It’s Greek to me’,
you are quoting Shakespeare; if you claim to be more sinned against
than sinning, you are quoting Shakespeare; if you recall your salad
days, you are quoting Shakespeare; if you act more in sorrow than in
anger, if your wish is father to the thought, if your lost property has
vanished into thin air, you are quoting Shakespeare; if you have ever
refused to budge an inch or suffered from green-eyed jealousy, if you
have played fast and loose, if you have been tongue-tied, a tower of
strength, hoodwinked or in a pickle, if you have knitted your brows,
made a virtue of necessity, insisted on fair play, slept not one wink,
stood on ceremony, danced attendance (on your lord and master), laughed
yourself into stitches, had short shrift, cold comfort or too much of a
good thing, if you have seen better days or lived in a fool’s paradise—
why, be that as it may, the more fool you, for it is a foregone
conclusion that you are (as good luck would have it) quoting
Shakespeare.”
From The Story of English. Robert McCrum, William Cran and Robert MacNeil, eds. Viking: 1986, pp. 99-
100.
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“It is curious, although edifying, that the plays we
revere, century after century, are the tragedies. In
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if you will—in the perfectibility of man.”
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“The tragic feeling is evoked in us when we are in the presence
of a character who is ready to lay down his life, if need be, to
secure one thing—his sense of personal dignity. The tale always
reveals what has been called his “tragic flaw.” The flaw, or
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his inherent unwillingness to remain passive in the face of what
he conceives to be a challenge to his dignity. But there are
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classically associated with tragedy.”
From: Guth, Hans P. and Gabriele L. Rico, Discovering Literature. Upper Saddle River, New Jersey:
Prentice Hall, 1993, pp. 1461-1464.

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