The biggest blockbuster hit of the Elizabethan theatre was not by William Shakespeare or Christopher Marlowe or Ben Jonson. In fact it wasn’t by anyone. The Spanish Tragedy, a sturdy play of rhetoric, blood and revenge, was published in multiple editions without any attribution at all. Its central figure, Hieronimo, was a cultural phenomenon, but
39 min listen
This week: the reckoning. Our cover piece brings together the political turmoil facing the West this week: Rishi Sunak, Emmanuel Macron, and Joe Biden all face tough tests with their voters. But what’s driving this instability? The Spectator’s economics editor Kate Andrews argues it is less to do with left and right, and more a problem
Let’s start with the basics. Despite widespread disinformation, including in Shakespeare was a Woman and Other Heresies, there is in fact ample historical evidence from the period that a) attributes the plays and poems to William Shakespeare, b) registers the same William Shakespeare as an actor and shareholder in Lord Chamberlain’s, later King’s Men, and
Shakespeare’s single explicit reference to America is found in The Comedy of Errors. The two Dromios are anatomising the unseen ‘kitchen wench’ Nell, who is ‘spherical, like a globe’: ‘I could find out countries in her,’ says one Syracusan brother. ‘Where America?’ asks his twin. The reply, ‘O, sir, upon her nose, all o’erembellished with
