April 29th

Working together to purify Shakespeare’s works for children’s appreciation, Charles and Mary Lamb produced in 1831 these prose renditions of Shakespeare’s plays, Tales from Shakespeare, which collectively served to embed Shakespeare more deeply in England’s national consciousness. Among other changes in these versions of the plays, the tragic conclusions are smoothed over by the Lambs with some version of the phrase “too horrible to relate here.” Take, for instance, this version of the conclusion of King Lear:

How the judgment of Heaven overtook the bad earl of Gloucester, whose treasons were discovered, and himself slain in single combat with his brother, the lawful earl; and how Goneril’s husband, the Duke of Albany, who was innocent of the death of Cordelia, and had never encouraged his lady in her wicked proceedings against her father, ascended the throne of Britain after the death of Lear, is needless here to narrate; Lear and his Three Daughters being dead, whose adventures alone concern our story.

It is, the Lambs suggest, for later in life that such moments in Shakespeare’s tragedies should be encountered.

April 28th

The Speeches and Readings in Mr. Clarence Holt’s Entertainment, entitled ‘A Night With Shakespeare and Dickens’, pictured here, offer another example of the close association that came to grow between Shakespeare and Dickens, two authors thought to be commensurate with a national English identity. The illustrations of Shakespearean characters included here place Holt’s Speeches in the long tradition of Shakespearean illustrations, imparting a Victorian life upon some of Shakespeare’s most famous monologues.

April 27th

It is only fitting that Charles Dickens, who would come to share with Shakespeare the mantle of pre-eminently English author, should produce a document quoting Shakespeare as extensively as he does in this commemorative piece, November the nineteenth, 1861, ‘The Morn that I was wedded…’ The piece, commemorating Dickens’ wedding, displays a seating chart of the guests at Dickens’ wedding dinner, an extensive quotation of Shakespeare appended to each guest’s name.

April 26th

The popularity of Shakespeare from the eighteenth century and into the nineteenth owed much to the performances of individual actors and the efforts of the many publishers who worked to distribute Shakespeare’s works; but it owed something, too, to the technologies of mass production that helped to distribute Shakespeare’s works to the wide extent that they enjoyed.

This edition of Shakespeare’s works–put together by William Pickering and known, thanks to his efforts, as the Pickering edition–remains with us today as the evidence of one publisher’s attempts to cater cheaper, smaller editions of Shakespeare to broader, more popular audiences.

April 24th

David Garrick, with so many others, helped to turn performances of Shakespeare into commodities of high cultural standing; by the nineteenth century, such performances had taken on such life, popularity, on authority that there was money to be made in selling not just Shakespeare’s works, and not even, as we have seen, illustrations of Shakespeare’s works, but illustrations of the performances of Shakespeare’s plays. Take, for instance, these souvenirs from a showing of Henry VIII, performed in 1892 and featuring the celebrated Shakesperean actor Henry Irving:

Occupying the center of our attention, here, is not the fictive role the actor has taken on–Cardinal Wolsey, Henry VIII, for instance–so much as the actor taking on the role Shakespeare has written.

April 23rd

Today is Shakespeare’s birthday–also, as it happens, the day of his death–and among the many items to feature from Shakespeare at Yale, another set of illustrations giving vivid life to the worlds of Shakespeare’s plays seemed as worthy a choice as any. Published in 1826, these Illustrations of Shakespeare offer a set of vignettes for Shakespeare’s play, each image captioned by lines from the scene it illustrates.