These two criticisms are based on the presumption that only a socially and intellectually elite reader is able to view the author's language in terms of its organic relationship with the text as a whole. The Romantics focused on the interpretive reproduction of Shakespeare through sympathetic identification with his characters."--BOOK JACKET.
Our guide to the life of the Bard is an actor by the name of Robert Reynolds, known also as Pickleherring. Pickleherring asserts that as a boy he was not only an original member of Shakespeare's acting troupe but played the greatest female roles, from Cleopatra through Portia. In an attic above a brothel in Restoration London - a half century after Shakespeare has departed the stage - Pickleherring, now an ancient man, sits down to write the full story of his former friend, mentor, and master. One by one, chapter by chapter, Pickleherring teases out all the theories that have been embroidered around Shakespeare over the centuries: Did he really write his own plays? Who was the Dark Lady of the sonnets? Did Shakespeare die a Catholic? What did he do during the so-called lost years, before he went to London to write plays? What were the last words Shakespeare uttered on his deathbed? Was Shakespeare ever in love? Pickleherring turns speculation and fact into stories, each bringing us inexorably closer to Shakespeare the man - complex, contradictory, breathing, vibrant.
For generations scholars have labored scrupulously to try to separate the facts of William Shakespeare's life from the myths that have entangled them. However, those who have written fictions about the bard have operated under no such constraints. They offer solutions to the identities of W.H. and the Dark Lady, suggest Shakespeare's role in the shaping of the King James Bible, and trace his relationships with Sir Thomas Lucy, Francis Bacon, Elizabeth I, Kit Marlowe and Ben Jonson. And they speculate endlessly about Shakespeare's pets and poaching, his sources and inspiration, his melancholy and death. From Alexandre Duval's Shakespeare (1804) to Anthony Burgess's "The Muse," this is an anthology of nineteen fictional depictions of Shakespeare. They include Edward H. Warren's account of Shakespeare playing the stock market on Wall Street (with the Three Weird Sisters making stock predictions near a blast furnace in New Jersey), Leon Rooke's vivid memoir of the Bard's dog, and the works of such notables as George Bernard Shaw, Rudyard Kipling and Edward Bond are included.