There are lots of books which claim to make you appear ridiculously well-read for little effort and ‘Know-It-All Shakespeare’ superficially resembles these.
After all, its stated aim is “to make Shakespeare interesting and comprehensible by … boiling down the subject to its essence” by examining – to quote the book’s subtitle - ‘The 50 Key Aspects of the Bard’s Works, Life & Legacy, Each Explained in Under a Minute’.
The book will serve the needs of those students coming to Shakespeare afresh, who wish to have a potted summary of his life, times, themes, methods and legacy but should also entertain and inform those already possessed of a working knowledge of at least the most popular Shakespeare plays.
The ten contributors certainly provide plenty of interesting ideas and fascinating facts, including the following: thirty-three characters in 18 of the plays are wrongly thought to be dead; more than 20 characters are exiled; 12 women defy their fathers to marry the men they chose; 5 women are unjustly accused of infidelity by jealous husbands; Margaret of Anjou is Shakespeare’s only female character to kill someone on stage; and Fulvia is never seen in ‘Antony and Cleopatra’ but is mentioned 18 times.
The book is also very attractively illustrated throughout, although an English royal family tree would have been a useful addition.
There are bound to be omissions in any book which seeks to be this succinct. There is, for example, no mention of the impact of the plague on Shakespeare’s life. The only serious problem with the book, however, lies in its glossary, or rather in its multiple glossaries. There are seven: one at the start of each of the book’s seven main sections.
Some terms - such as stock-fish, bull-pizzle, seditious and puritan – are not defined, despite appearing in the main text. Other entries – “Hamlet Perhaps Shakespeare’s most famous play and the name of its leading character” – seem redundant. “Allusion” receives different (but equally valid) definitions in two glossaries. “Great Chain of Being” appears in two glossaries, the second entry representing an extension of the first. “Elixir” is first mentioned in the text roughly fifty pages before its glossary entry. “Soliloquy” is first used by Mark Rylance in his Foreword but doesn’t appear in a glossary until much later in the book, and then appears again, in the same words, yet later in the book. Other terms which appear in identical words in two glossaries include “Bohemia”; “satire”; “rude mechanicals”; “sonnet”; “tetralogy”; and “alchemy”. “History play”; “metaphor” and “blank verse” all boast identical entries in three glossaries apiece.
This mess could so easily have been avoided by having one glossary at the back of the book.
I do not, however, want to end on a negative note. This is a very enjoyable book (if you can largely ignore the glossaries) which will genuinely enlighten on topics as varied as Shakespeare’s knowledge of medicine and the law, the extent of his vocabulary, his use of rhyme and his attitude towards the monarchy.