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Fools and Mortals
A dramatic new departure for international bestselling author Bernard Cornwell, FOOLS AND MORTALS takes us into the heart of the Elizabethan era, long one of his favourite periods of British history.
Fools and Mortals follows the young Richard Shakespeare, an actor struggling to make his way in a company dominated by his estranged older brother, William. As the growth of theatre blooms, their rivalry – and that of the playhouses, playwrights and actors vying for acclaim and glory – propels a high-stakes story of conflict and betrayal.
Showcasing his renowned storyteller’s skill, Bernard Cornwell has created an Elizabethan world incredibly rich in its portrayal: you walk the London streets, stand in the palaces and are on stage in the playhouses, as he weaves a remarkable story in which performances, rivalries and ambition combine to form a tangled web of intrigue.
Fools and Mortals follows the young Richard Shakespeare, an actor struggling to make his way in a company dominated by his estranged older brother, William. As the growth of theatre blooms, their rivalry – and that of the playhouses, playwrights and actors vying for acclaim and glory – propels a high-stakes story of conflict and betrayal.
Showcasing his renowned storyteller’s skill, Bernard Cornwell has created an Elizabethan world incredibly rich in its portrayal: you walk the London streets, stand in the palaces and are on stage in the playhouses, as he weaves a remarkable story in which performances, rivalries and ambition combine to form a tangled web of intrigue.
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First published October 19, 2017
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About the author
Bernard Cornwell
537 books19.2k followersCornwell was born in London in 1944. His father was a Canadian airman, and his mother, who was English, a member of the Women's Auxiliary Air Force. He was adopted and brought up in Essex by the Wiggins family, who were members of the Peculiar People, a strict Protestant sect who banned frivolity of all kinds and even medicine. After he left them, he changed his name to his birth mother's maiden name, Cornwell.
Cornwell was sent away to Monkton Combe School, attended the University of London, and after graduating, worked as a teacher. He attempted to enlist in the British armed services at least three times but was rejected on the grounds of myopia.
He then joined BBC's Nationwide and was promoted to become head of current affairs at BBC Northern Ireland. He then joined Thames Television as editor of Thames News. He relocated to the United States in 1980 after marrying an American. Unable to get a green card, he started writing novels, as this did not require a work permit.
As a child, Cornwell loved the novels of C.S. Forester, chronicling the adventures of fictional British naval officer Horatio Hornblower during the Napoleonic Wars, and was surprised to find there were no such novels following Lord Wellington's campaign on land. Motivated by the need to support himself in the U.S. through writing, Cornwell decided to write such a series. He named his chief protagonist Richard Sharpe, a rifleman involved in most major battles of the Peninsular War.
Cornwell wanted to start the series with the Siege of Badajoz but decided instead to start with a couple of "warm-up" novels. These were Sharpe's Eagle and Sharpe's Gold, both published in 1981. Sharpe's Eagle was picked up by a publisher, and Cornwell got a three-book deal. He went on to tell the story of Badajoz in his third Sharpe novel, Sharpe's Company, published in 1982.
Cornwell and wife Judy co-wrote a series of novels, published under the pseudonym "Susannah Kells". These were A Crowning Mercy, published in 1983, Fallen Angels in 1984, and Coat of Arms (aka The Aristocrats) in 1986. (Cornwell's strict Protestant upbringing informed the background of A Crowning Mercy, which took place during the English Civil War.) In 1987, he also published Redcoat, an American Revolutionary War novel set in Philadelphia during its 1777 occupation by the British.
After publishing eight books in his ongoing Sharpe series, Cornwell was approached by a production company interested in adapting them for television. The producers asked him to write a prequel to give them a starting point to the series. They also requested that the story feature a large role for Spanish characters to secure co-funding from Spain. The result was Sharpe’s Rifles, published in 1987, and a series of Sharpe television films staring Sean Bean.
A series of contemporary thrillers with sailing as a background and common themes followed: Wildtrack published in 1988, Sea Lord (aka Killer's Wake) in 1989, Crackdown in 1990, Stormchild in 1991, and Scoundrel, a political thriller, in 1992.
In June 2006, Cornwell was made an Officer of the Order of the British Empire in the Queen's 80th Birthday Honours List.
Cornwell's latest work, Azincourt, was released in the UK in October 2008. The protagonist is an archer who participates in the Battle of Agincourt, another devastating defeat suffered by the French in the Hundred Years War. However, Cornwell has stated that it will not be about Thomas of Hookton from The Grail Quest or any of his relatives.
Cornwell was sent away to Monkton Combe School, attended the University of London, and after graduating, worked as a teacher. He attempted to enlist in the British armed services at least three times but was rejected on the grounds of myopia.
He then joined BBC's Nationwide and was promoted to become head of current affairs at BBC Northern Ireland. He then joined Thames Television as editor of Thames News. He relocated to the United States in 1980 after marrying an American. Unable to get a green card, he started writing novels, as this did not require a work permit.
As a child, Cornwell loved the novels of C.S. Forester, chronicling the adventures of fictional British naval officer Horatio Hornblower during the Napoleonic Wars, and was surprised to find there were no such novels following Lord Wellington's campaign on land. Motivated by the need to support himself in the U.S. through writing, Cornwell decided to write such a series. He named his chief protagonist Richard Sharpe, a rifleman involved in most major battles of the Peninsular War.
Cornwell wanted to start the series with the Siege of Badajoz but decided instead to start with a couple of "warm-up" novels. These were Sharpe's Eagle and Sharpe's Gold, both published in 1981. Sharpe's Eagle was picked up by a publisher, and Cornwell got a three-book deal. He went on to tell the story of Badajoz in his third Sharpe novel, Sharpe's Company, published in 1982.
Cornwell and wife Judy co-wrote a series of novels, published under the pseudonym "Susannah Kells". These were A Crowning Mercy, published in 1983, Fallen Angels in 1984, and Coat of Arms (aka The Aristocrats) in 1986. (Cornwell's strict Protestant upbringing informed the background of A Crowning Mercy, which took place during the English Civil War.) In 1987, he also published Redcoat, an American Revolutionary War novel set in Philadelphia during its 1777 occupation by the British.
After publishing eight books in his ongoing Sharpe series, Cornwell was approached by a production company interested in adapting them for television. The producers asked him to write a prequel to give them a starting point to the series. They also requested that the story feature a large role for Spanish characters to secure co-funding from Spain. The result was Sharpe’s Rifles, published in 1987, and a series of Sharpe television films staring Sean Bean.
A series of contemporary thrillers with sailing as a background and common themes followed: Wildtrack published in 1988, Sea Lord (aka Killer's Wake) in 1989, Crackdown in 1990, Stormchild in 1991, and Scoundrel, a political thriller, in 1992.
In June 2006, Cornwell was made an Officer of the Order of the British Empire in the Queen's 80th Birthday Honours List.
Cornwell's latest work, Azincourt, was released in the UK in October 2008. The protagonist is an archer who participates in the Battle of Agincourt, another devastating defeat suffered by the French in the Hundred Years War. However, Cornwell has stated that it will not be about Thomas of Hookton from The Grail Quest or any of his relatives.
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Displaying 1 - 30 of 1,079 reviews
October 13, 2017
Hmmm, not sure about this one. Did I like it? Yes, in parts, but then other parts fell flat for me.
In the latter years of the sixteenth century, the professional theatre as we know it was born. Prior to this time there were plays and actors, but the companies had nowhere to perform other than inns, parish halls and some of the great houses, until permanent playhouses were built in London.
It's here that we make the aquaintance of Richard Shakespeare, an actor struggling to make a living in the shadow of his older brother William. There's no love lost between the brothers. William seems to take great joy in ridiculing Richard, and as the popularity of theatre increases, so does the rivalry between the brothers as well as the various playhouses, playwrights, and actors. These rivalries lead to some underhand dealings, and they also introduce us to some pretty nasty characters along the way.
There's no doubt that Bernard Cornwell writes with great skill, and he really brings the Elizabethan era to life. It needs little imagination to walk the streets of 16th century London, such are his literary talents. However, I found it really difficult to invest in any of the characters. The storyline focused on Richard, leaving William very much in the shade, and naturally, because of this, Richard was definitely the most fleshed out, the most interesting of all the characters, but unfortunately it didn't really work for me.
*Thank you to Netgalley and HarperCollins for my ARC in exchange for an honest review*
In the latter years of the sixteenth century, the professional theatre as we know it was born. Prior to this time there were plays and actors, but the companies had nowhere to perform other than inns, parish halls and some of the great houses, until permanent playhouses were built in London.
It's here that we make the aquaintance of Richard Shakespeare, an actor struggling to make a living in the shadow of his older brother William. There's no love lost between the brothers. William seems to take great joy in ridiculing Richard, and as the popularity of theatre increases, so does the rivalry between the brothers as well as the various playhouses, playwrights, and actors. These rivalries lead to some underhand dealings, and they also introduce us to some pretty nasty characters along the way.
There's no doubt that Bernard Cornwell writes with great skill, and he really brings the Elizabethan era to life. It needs little imagination to walk the streets of 16th century London, such are his literary talents. However, I found it really difficult to invest in any of the characters. The storyline focused on Richard, leaving William very much in the shade, and naturally, because of this, Richard was definitely the most fleshed out, the most interesting of all the characters, but unfortunately it didn't really work for me.
*Thank you to Netgalley and HarperCollins for my ARC in exchange for an honest review*
September 24, 2017
Bernard Cornwell takes us into the Elizabethan era and the world of the theatre evolving from a transient company of players touring London and other towns to the birth of permanent theatre, with buildings built solely for this purpose. The popularity of plays with audiences puts pressure for new plays on a continuous basis, leading to a demand for writers to satisfy the demands of growing audiences. At the same time, the chill winds of Puritanism drive a desire to destroy the growing bastion of the theatre and its association with bawdiness, criminal elements, and seen to be a threat to the god fearing and austere section of Protestantism. If the Puritans had their way, players and writers would be purged, and to enforce their views are the Pursuivants, aka the Percies, raiding theatres and pursuing Catholics and those they deem 'criminal' with the power to hang people. However, the aristocracy and royalty are equally determined to support and sponsor this source of popular entertainment.
Cornwell has clearly done his research of this historical period and his love of theatre shines brightly throughout. He does take some liberties as he blends a mix of fact and fiction as he delivers a thrilling historical take on the drama and details of the process of putting on plays with the Lord Chamberlain Men, for whom William Shakespeare writes and Richard, his brother, is a lowly but ambitious player. The two brothers are estranged, with William unwilling to help Richard. It is 1595 and Richard is a gifted thief, a skill honed by his three years of misery with Sir Godfrey Cullen, a church minister and predator that preys on the boys of St Benet's Choir School, for which William was responsible. Richard has had to suffer the indignity of continually playing women but is determined to play men with meatier roles. We are given a picture of his life of poverty, his lodgings, and relationships with the others in the company. There are the insecurites, rivalries, jealousies, betrayal, romance and intrigue as the players rehearse to perform A Midsummer's Night Dream written by William for the wedding of the daughter of the Lord Chamberlain. There are numerous real figures from the period such as the famous Will Kemp, the comic actor, and almost anything that can go wrong does.
Cornwall's love of Shakespeare is transparent in the title of this novel and the knowledge of the Shakespeare plays permeating the narrative. There is rich period detail of London and the intense and demanding process of what it takes to put on a play, right down to set design and costume. Little is known of the actual Richard Shakespeare, leaving Cornwell free to breathe life into him as the protagonist, a gifted player struggling to survive, embarking on adventure and romance, and facing grave dangers. You can't help but get engaged with his travails, character and life. Cornwell does a wonderful job in making the Elizabethan world of London, Shakespeare, and theatre come vibrantly alive. A fantastic piece of compelling historical fiction which I highly recommend. Many thanks to HarperCollins for an ARC.
Cornwell has clearly done his research of this historical period and his love of theatre shines brightly throughout. He does take some liberties as he blends a mix of fact and fiction as he delivers a thrilling historical take on the drama and details of the process of putting on plays with the Lord Chamberlain Men, for whom William Shakespeare writes and Richard, his brother, is a lowly but ambitious player. The two brothers are estranged, with William unwilling to help Richard. It is 1595 and Richard is a gifted thief, a skill honed by his three years of misery with Sir Godfrey Cullen, a church minister and predator that preys on the boys of St Benet's Choir School, for which William was responsible. Richard has had to suffer the indignity of continually playing women but is determined to play men with meatier roles. We are given a picture of his life of poverty, his lodgings, and relationships with the others in the company. There are the insecurites, rivalries, jealousies, betrayal, romance and intrigue as the players rehearse to perform A Midsummer's Night Dream written by William for the wedding of the daughter of the Lord Chamberlain. There are numerous real figures from the period such as the famous Will Kemp, the comic actor, and almost anything that can go wrong does.
Cornwall's love of Shakespeare is transparent in the title of this novel and the knowledge of the Shakespeare plays permeating the narrative. There is rich period detail of London and the intense and demanding process of what it takes to put on a play, right down to set design and costume. Little is known of the actual Richard Shakespeare, leaving Cornwell free to breathe life into him as the protagonist, a gifted player struggling to survive, embarking on adventure and romance, and facing grave dangers. You can't help but get engaged with his travails, character and life. Cornwell does a wonderful job in making the Elizabethan world of London, Shakespeare, and theatre come vibrantly alive. A fantastic piece of compelling historical fiction which I highly recommend. Many thanks to HarperCollins for an ARC.
September 27, 2017
This feel-good adventure in the Elizabethan era is full of detail and emotion. Slow to build but well worth the investment, it follows Richard Shakespeare, theatre player and resentful sibling to the talented, Will. Not immediately likeable, this is a journey of Richard's growth as much as anything else, and through his experiences, we are offered an intriguing picture of two very different brothers. Yet their shared home is the playhouse, with its own wild characters and rivalries, collectively determined to put on a masterful performance of A Midsummer Night's Dream, all set against a background of aggressive Puritanism, vile theft, and the looming threat of a new, rival theatre, The Swan.
The reader is welcomed into this vibrantly creative world, each silver stitch and shit stained street recreated in lavish detail. At one point, Will Shakespeare describes the play as like a clock:
Because we spend the first part of the play pulling upwards. We set the scene, we make confusion, we tangle our characters' lives, we suggest treason or establish enmity, and then we let the weight go, and the whole thing untangles. [...] And that, my friend, is the play. The smooth motion of the clock hand, untangling.
This is precisely what Cornwell has done here, the untangling just as pleasurable as you might have hoped. It was fun; the author's clear love and enthusiasm for the subject keeps a smile on your face as you read and, once you put the book down, leaves you delighted.
ARC via Netgalley
The reader is welcomed into this vibrantly creative world, each silver stitch and shit stained street recreated in lavish detail. At one point, Will Shakespeare describes the play as like a clock:
Because we spend the first part of the play pulling upwards. We set the scene, we make confusion, we tangle our characters' lives, we suggest treason or establish enmity, and then we let the weight go, and the whole thing untangles. [...] And that, my friend, is the play. The smooth motion of the clock hand, untangling.
This is precisely what Cornwell has done here, the untangling just as pleasurable as you might have hoped. It was fun; the author's clear love and enthusiasm for the subject keeps a smile on your face as you read and, once you put the book down, leaves you delighted.
ARC via Netgalley
October 25, 2017
Hmm, perhaps this was a bad choice for my first foray into the world of Bernard Cornwell. I've seen his books around for years, and after my recent binge-read (and love) of Ken Follett's epic Pillars of the Earth trilogy, I was longing for some more historical fiction. This was just so bland and tame in comparison, though.
Glancing around reviews, I see that this is outside of the author's usual comfort zone, making me think I should maybe try The Last Kingdom or The Winter King instead. I cannot say for sure whether I was just really uninterested in the subject matter of Fools and Mortals - theatre - or whether Cornwell didn't do it very well. All I know is that the characters didn't excite me, the story didn't grab me, and I finished this relatively short book feeling relieved I'd managed to push through.
Fools and Mortals introduces us to Richard Shakespeare, brother of the famous William Shakespeare and an aspiring actor in Elizabethan England, who constantly finds himself in his brother's shadow, picking up the female roles in plays, and rarely being given a chance to shine. Unfortunately, I felt no connection or anything for him. He was bland and forgettable, and worse - the main conflicts are not exciting or dramatic enough.
Considering the darkness, the religious conflicts and brutal tortures of the era, Cornwell's story of theatre was very "light". The characters are silly, inoffensive and occasionally buffoonish with “Show us your tits, ladies,” being pretty much the worst of it. Much of the story is a repetitive cycle of rehearsal and performance, which made it seem far longer than it actually was. I was bored.
I have definitely been spoiled by the delicious drama of Ken Follett. I was hoping for some more of that here, but sadly no. Still, I will try the author's other work.
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Glancing around reviews, I see that this is outside of the author's usual comfort zone, making me think I should maybe try The Last Kingdom or The Winter King instead. I cannot say for sure whether I was just really uninterested in the subject matter of Fools and Mortals - theatre - or whether Cornwell didn't do it very well. All I know is that the characters didn't excite me, the story didn't grab me, and I finished this relatively short book feeling relieved I'd managed to push through.
Fools and Mortals introduces us to Richard Shakespeare, brother of the famous William Shakespeare and an aspiring actor in Elizabethan England, who constantly finds himself in his brother's shadow, picking up the female roles in plays, and rarely being given a chance to shine. Unfortunately, I felt no connection or anything for him. He was bland and forgettable, and worse - the main conflicts are not exciting or dramatic enough.
Considering the darkness, the religious conflicts and brutal tortures of the era, Cornwell's story of theatre was very "light". The characters are silly, inoffensive and occasionally buffoonish with “Show us your tits, ladies,” being pretty much the worst of it. Much of the story is a repetitive cycle of rehearsal and performance, which made it seem far longer than it actually was. I was bored.
I have definitely been spoiled by the delicious drama of Ken Follett. I was hoping for some more of that here, but sadly no. Still, I will try the author's other work.
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January 9, 2024
Review of Kindle edition
Publication date: January 9, 2018
Publisher: Harper
Language: English
ASIN: B071CJP96X
Amazon.com Sales Rank: 123617
373 pages
The title of a review posted on Amazon is, "Sharpe and Uhtred it Ain't". If you are looking for a story of that sort, you should most definitely look elsewhere. The book's description itself makes it clear, "New York Times bestselling author Bernard Cornwell MAKES A DRAMATIC DEPARTURE ( my caps) with this enthralling, action-packed standalone novel that tells the story of the first production of A Midsummer Night's Dream—as related by William Shakespeare’s estranged younger brother."
No wars. No combat scenes. But plenty of Elizabethan England, intrigue, skullduggery, villainy and violence in Shakespeare's London. That is Richard Shakespeare not William. An adventure for Shakespeareans and the historically minded alike. Well done!
Cornwell's almost rabid antipathy to Christianity is not as strong in this novel as it is in many of his others. However there is a rather nasty priest (there is rarely any other kind in Cornwell's work). Also anti-theater Puritans are among the villains of this tale.
Publication date: January 9, 2018
Publisher: Harper
Language: English
ASIN: B071CJP96X
Amazon.com Sales Rank: 123617
373 pages
The title of a review posted on Amazon is, "Sharpe and Uhtred it Ain't". If you are looking for a story of that sort, you should most definitely look elsewhere. The book's description itself makes it clear, "New York Times bestselling author Bernard Cornwell MAKES A DRAMATIC DEPARTURE ( my caps) with this enthralling, action-packed standalone novel that tells the story of the first production of A Midsummer Night's Dream—as related by William Shakespeare’s estranged younger brother."
No wars. No combat scenes. But plenty of Elizabethan England, intrigue, skullduggery, villainy and violence in Shakespeare's London. That is Richard Shakespeare not William. An adventure for Shakespeareans and the historically minded alike. Well done!
Cornwell's almost rabid antipathy to Christianity is not as strong in this novel as it is in many of his others. However there is a rather nasty priest (there is rarely any other kind in Cornwell's work). Also anti-theater Puritans are among the villains of this tale.
October 9, 2018
UPDATE: Just got an eReaderIQ alert this is $2.99 in the US Kindle Store. 100% worth it.
So I took my sweet time finishing this one, but there was so much to savor about it. There seems to have been a revived interest in William Shakespeare this year, with the airing of the show Will over the summer. Unfortunately my understanding is that the show has been cancelled after only one season, but I watched the whole season and really loved it.
So I was doubly excited to learn that not only was Bernard Cornwell releasing a new book, but it would focus on Richard Shakespeare, William's younger brother. Richard is a different sort of hero then Cornwell typically writes. He's no warrior for starters. He is described as handsome (as is typical for Cornwell heroes) but he is lacking in confidence and more timid than Uhtred or Thomas of Hookton or even Nicholas Hook. This was very refreshing.
Richard, a player (actor), has forever lived in the shadow of his brother, genius playwright, William Shakespeare, and Will seems to do his best to keep him down. He speaks insultingly and condescendingly to Richard. He sends him off as boy to live with a known child molester/abuser rather than have the responsibility of caring for him. Now that Richard is an adult, Will refuses to give him men's parts, though his voice is broken and Richard does not think he can pass for a woman any longer. This is a big source of shame for Richard, and Fools and Mortals is the story of how he finds his redemption.
I'm not ashamed to admit- that it takes me a lot of focus to read one of Shakespeare's plays and still understand what's going on, but Cornwell's context made the snippets we are given of the plays very accessible. I found myself laughing out loud at parts, and perhaps the next time I go to read something by Shakespeare I'll find it slightly more translatable (I hope). I'm also sort of dying to read A Midsummer Night's Dream which is the play we see rehearsed most frequently.
I'm not entirely sure what the historical truth of Fools and Mortals is. I would venture that this has less than usual given the entirety of the plot is fiction. However, you do meet many historical figures, James and his son Richard Burbage, the infamous Will Kemp, the virgin Queen Elizabeth. The religious strife happening within London at the type creates a dramatic underlying tension through out the book.
Though this is about plays and players, several fight scenes worm their way into the book and they were all rollicking good fun. I'd recommend this to fans of Cornwell and anyone wanting to read about 16th century London.
Thank you to Edelweiss and Harper Collins for providing an ARC for me to review.
So I took my sweet time finishing this one, but there was so much to savor about it. There seems to have been a revived interest in William Shakespeare this year, with the airing of the show Will over the summer. Unfortunately my understanding is that the show has been cancelled after only one season, but I watched the whole season and really loved it.
So I was doubly excited to learn that not only was Bernard Cornwell releasing a new book, but it would focus on Richard Shakespeare, William's younger brother. Richard is a different sort of hero then Cornwell typically writes. He's no warrior for starters. He is described as handsome (as is typical for Cornwell heroes) but he is lacking in confidence and more timid than Uhtred or Thomas of Hookton or even Nicholas Hook. This was very refreshing.
Richard, a player (actor), has forever lived in the shadow of his brother, genius playwright, William Shakespeare, and Will seems to do his best to keep him down. He speaks insultingly and condescendingly to Richard. He sends him off as boy to live with a known child molester/abuser rather than have the responsibility of caring for him. Now that Richard is an adult, Will refuses to give him men's parts, though his voice is broken and Richard does not think he can pass for a woman any longer. This is a big source of shame for Richard, and Fools and Mortals is the story of how he finds his redemption.
I'm not ashamed to admit- that it takes me a lot of focus to read one of Shakespeare's plays and still understand what's going on, but Cornwell's context made the snippets we are given of the plays very accessible. I found myself laughing out loud at parts, and perhaps the next time I go to read something by Shakespeare I'll find it slightly more translatable (I hope). I'm also sort of dying to read A Midsummer Night's Dream which is the play we see rehearsed most frequently.
I'm not entirely sure what the historical truth of Fools and Mortals is. I would venture that this has less than usual given the entirety of the plot is fiction. However, you do meet many historical figures, James and his son Richard Burbage, the infamous Will Kemp, the virgin Queen Elizabeth. The religious strife happening within London at the type creates a dramatic underlying tension through out the book.
Though this is about plays and players, several fight scenes worm their way into the book and they were all rollicking good fun. I'd recommend this to fans of Cornwell and anyone wanting to read about 16th century London.
Thank you to Edelweiss and Harper Collins for providing an ARC for me to review.
April 27, 2025
Part of my recent Shakespeare trend, I immediately followed Judi Dench’s book with this exceptional audiobook. (Props to the actor who handled multiple voices— male, female and child— so well I occasionally had to remind myself it was still just one narrator— James Frain. I haven’t actively looked to see what else he’s read, but I’m in.)
A great view of Shakespeare and his original company— I’d say early- to mid-career as when this opens, Romeo and Juliet hasn’t been written… yet. What I really loved (besides the gorgeous writing of Bernard Cornwell who, with mere words, easily transports his reader back to the 1600s in England—ruled by the aging Elizabeth— with all its sights, sounds, smells, and injustices.) This is where that we meet Will’s younger brother who is our entre into the life of a player in an Elizabethan London theater.
Fools and Mortals takes place as the young bard is writing two plays— one written to amuse the guests of his company’s sponsor’s daughter wedding and the other to satisfy his desire to write something different. Richard, Will’s younger had run away from a bad situation years earlier and is now eking out a living, relegated to playing only female characters, mainly because of his pretty face, with his brother’s company. he longs to be both a full member of the company and play men’s roles. Yet, his brother hates on him throughout the whole book (although this sets up some glorious conflicts and buffoonery between the players later on). Why does the elder brother despise the younger? That’s only one of the mysteries tackled in this book.
Not only will you come to know A Midsummer’s Night Dream so well you’ll never wonder who is who if you find yourself treated to a staged version in the future, but you’ll learn “the rest of the story” regarding Richard, Will, and many of the other company players.
Clearly inspired by the comedy of Shakespeare and the time period, Cornwell has created a cast of players to rival any Shakespeare play. He seamlessly weaves in a host of real people (and real events) alongside the staged plays being enacted by the characters and the story lines which I might add have some very Dickensian twists.
Like other reviewers, I scoured the library catalogue to see if Cornwall ever returned to Shakespeare and company, but alas, he did not. (I later read somewhere in my google dive that this one was like a bucket list for Cornwell— to see if he could feature this time period and people in a book— he did it so well that I’m still sad it was a one-off!)
While I highly recommend the audiobook (it’s one of the shorter ones), I’m sure it would be equally delightful in written word— giving readers a chance to reread some of the bard’s magical verse as much is featured throughout. Sheer delight!
A great view of Shakespeare and his original company— I’d say early- to mid-career as when this opens, Romeo and Juliet hasn’t been written… yet. What I really loved (besides the gorgeous writing of Bernard Cornwell who, with mere words, easily transports his reader back to the 1600s in England—ruled by the aging Elizabeth— with all its sights, sounds, smells, and injustices.) This is where that we meet Will’s younger brother who is our entre into the life of a player in an Elizabethan London theater.
Fools and Mortals takes place as the young bard is writing two plays— one written to amuse the guests of his company’s sponsor’s daughter wedding and the other to satisfy his desire to write something different. Richard, Will’s younger had run away from a bad situation years earlier and is now eking out a living, relegated to playing only female characters, mainly because of his pretty face, with his brother’s company. he longs to be both a full member of the company and play men’s roles. Yet, his brother hates on him throughout the whole book (although this sets up some glorious conflicts and buffoonery between the players later on). Why does the elder brother despise the younger? That’s only one of the mysteries tackled in this book.
Not only will you come to know A Midsummer’s Night Dream so well you’ll never wonder who is who if you find yourself treated to a staged version in the future, but you’ll learn “the rest of the story” regarding Richard, Will, and many of the other company players.
Clearly inspired by the comedy of Shakespeare and the time period, Cornwell has created a cast of players to rival any Shakespeare play. He seamlessly weaves in a host of real people (and real events) alongside the staged plays being enacted by the characters and the story lines which I might add have some very Dickensian twists.
Like other reviewers, I scoured the library catalogue to see if Cornwall ever returned to Shakespeare and company, but alas, he did not. (I later read somewhere in my google dive that this one was like a bucket list for Cornwell— to see if he could feature this time period and people in a book— he did it so well that I’m still sad it was a one-off!)
While I highly recommend the audiobook (it’s one of the shorter ones), I’m sure it would be equally delightful in written word— giving readers a chance to reread some of the bard’s magical verse as much is featured throughout. Sheer delight!
May 28, 2018
4 stars
⛤⛤⛤⛤
It is obvious while reading this that Bernard Cornwell's new hobby is acting in theatre. His well researched tale about the performance of A Mid Summer Nights Dream at the wedding of their sponsors daughter in 1795 (at which Queen Elizabeth was in attendance), is a delight to read.
Rather than focusing on William, the story revolves around younger brother Richard who until now as a boy has been playing girls and women, but is tired of this, wants to act in a male role and earn a decent living as an actor.
To be honest I was taken aback by Cornwell's announcement that he would be releasing this novel, especially since the majority of his followers were waiting on the next installment of Uhtred of Bebbanburg. As it turns out, I didn't have anything to fear, it's a great book, but if I had to criticise anything, it would be the slightly repetitive nature of his storytelling. In a longer book, I would have forgiven this style but in such a short novel, I found it unnecessary to be reminded again of something that I had only just finished reading a few pages ago. I am detracting a star for this.
⛤⛤⛤⛤
It is obvious while reading this that Bernard Cornwell's new hobby is acting in theatre. His well researched tale about the performance of A Mid Summer Nights Dream at the wedding of their sponsors daughter in 1795 (at which Queen Elizabeth was in attendance), is a delight to read.
Rather than focusing on William, the story revolves around younger brother Richard who until now as a boy has been playing girls and women, but is tired of this, wants to act in a male role and earn a decent living as an actor.
To be honest I was taken aback by Cornwell's announcement that he would be releasing this novel, especially since the majority of his followers were waiting on the next installment of Uhtred of Bebbanburg. As it turns out, I didn't have anything to fear, it's a great book, but if I had to criticise anything, it would be the slightly repetitive nature of his storytelling. In a longer book, I would have forgiven this style but in such a short novel, I found it unnecessary to be reminded again of something that I had only just finished reading a few pages ago. I am detracting a star for this.
December 18, 2020
My first Bernard Cornwell and I loved every second of it!
Set in the Elizabethan era, this follows a group of theatrical players as they battle against the disreputable name of their trade, to hone their craft and strive to continue doing what they love. But this is not just any group of players. This group is the Lord Chamberlain Men, led by playwright William Shakespeare. And this renowned historical figure is unlike you have ever seen him portrayed before.
I appreciated how the focus remained historically correct and factual (as far as I am aware) whilst also delivering an entertaining story-line. London has never been an easy place to dwell, but this really helped me to visualise the every-day struggles and strife of those who reside there. It depicted crowded streets, dank alley-ways, and noble manor houses with a flair of narrative that helped me to clearly visualise and to truly feel every facet of every scene.
Focusing on actual historical figures always brings an additional entertaining element to fiction, but here I appreciated how the individuals were not painted as completely virtuous and pure, as many deceased and beloved fictional figures often are. William Shakespeare, especially, was shown to have violent fits of rage, be cold and underhand, often uncaring for human suffering, and focused only on his own creations and the success of their performance. These often scathing depictions came from the protagonist and William's brother, Richard Shakespeare. The family dynamic was an interesting one, that opened up these notorious historical figures and allowed them to become more than just two-dimensional impressions. They were real. They were human. And, so, they were flawed.
I have read other reviews that state this as their least favourite of Cornwell's creations and I can, to an extent, see why. The pacing was rather slow. There was less action and intrigue and more of a slowly-built understanding of Elizabethan life formed. I found I adored this utter immersion into these past lives and found this an entirely fascinating insight. The pace was slow for a reason and really benefited this particular story-line, for me.
I received a copy of this book in exchange for an honest review. Thank you to the author, Bernard Cornwell, and the publisher, Harper Collins, for this opportunity.
Set in the Elizabethan era, this follows a group of theatrical players as they battle against the disreputable name of their trade, to hone their craft and strive to continue doing what they love. But this is not just any group of players. This group is the Lord Chamberlain Men, led by playwright William Shakespeare. And this renowned historical figure is unlike you have ever seen him portrayed before.
I appreciated how the focus remained historically correct and factual (as far as I am aware) whilst also delivering an entertaining story-line. London has never been an easy place to dwell, but this really helped me to visualise the every-day struggles and strife of those who reside there. It depicted crowded streets, dank alley-ways, and noble manor houses with a flair of narrative that helped me to clearly visualise and to truly feel every facet of every scene.
Focusing on actual historical figures always brings an additional entertaining element to fiction, but here I appreciated how the individuals were not painted as completely virtuous and pure, as many deceased and beloved fictional figures often are. William Shakespeare, especially, was shown to have violent fits of rage, be cold and underhand, often uncaring for human suffering, and focused only on his own creations and the success of their performance. These often scathing depictions came from the protagonist and William's brother, Richard Shakespeare. The family dynamic was an interesting one, that opened up these notorious historical figures and allowed them to become more than just two-dimensional impressions. They were real. They were human. And, so, they were flawed.
I have read other reviews that state this as their least favourite of Cornwell's creations and I can, to an extent, see why. The pacing was rather slow. There was less action and intrigue and more of a slowly-built understanding of Elizabethan life formed. I found I adored this utter immersion into these past lives and found this an entirely fascinating insight. The pace was slow for a reason and really benefited this particular story-line, for me.
I received a copy of this book in exchange for an honest review. Thank you to the author, Bernard Cornwell, and the publisher, Harper Collins, for this opportunity.
June 3, 2020
Translation widget on The blog!!!
Un roman uimitor! Am citit cu plăcere această carte care mi-a făcut cunoștință cu stilul de scriere al autorului. O lectură intensă și captivantă, ce ne-a purtat în Anglia elisabetană și ne-a oferit o privire aparte asupra unui trecut binecunoscut.
Recenzia mea completă o găsiți aici:
https://www.delicateseliterare.ro/neb...
Un roman uimitor! Am citit cu plăcere această carte care mi-a făcut cunoștință cu stilul de scriere al autorului. O lectură intensă și captivantă, ce ne-a purtat în Anglia elisabetană și ne-a oferit o privire aparte asupra unui trecut binecunoscut.
Recenzia mea completă o găsiți aici:
https://www.delicateseliterare.ro/neb...
December 23, 2017
3.5 stars was my original rating, but having reviewed it now, I realise I got a lot from the history so I’m rounding up to a full 4 stars.
I’m not sure that staunch fans of Bernard Cornwell would love this. I have loved some of his work but overall it’s too focused on war, battles and fighting. This is not action packed in a way that Cornwell lovers will be used to.
So this story, set in Elizabethan times was a novel I was looking forward to. I am also picky about stories set in Tudor times. There’s a lot of fiction on the market about spies and the fervour against Catholics.
What we do get is the same context obviously but framed through the eyes of the theatre.
Entertainment had been mobile until this point in history. Players and entertainers travelled from town to town, spreading news, singing songs and providing people outside of big cities with opportunities of fun and showmanship. It was only right at the end of the 16th century, that permanent theatres started to be built. And herein lay the problem: prior to this a troupe of players only needed a few plays in its repertoire. When they moved onto the next town or village, their material could just be used again. But on a permanent site, where the same audiences would come again and again, new and exciting play scripts were required. This was a time of rivalry and intrigue. Each theatre needed its own playwright to write fresh material and competition was fierce.
Another aspect that was interesting was this: actors were all men, with younger men and boys taking women’s roles. Here we saw how hard the transition could be between being young enough to play the women parts and being mature enough to play the male leads.
During this time, the City of London was a Puritan stronghold so theatres had to be built beyond the city outskirts. The fact that Elizabeth was a patron of the theatre, was the only thing keeping the theatre alive at the time. Interesting too that the theatres shut periodically as the plague returned regularly.
So from a history lovers point of view, this was an interesting novel. The plot itself was simple.
I’m not sure that staunch fans of Bernard Cornwell would love this. I have loved some of his work but overall it’s too focused on war, battles and fighting. This is not action packed in a way that Cornwell lovers will be used to.
So this story, set in Elizabethan times was a novel I was looking forward to. I am also picky about stories set in Tudor times. There’s a lot of fiction on the market about spies and the fervour against Catholics.
What we do get is the same context obviously but framed through the eyes of the theatre.
Entertainment had been mobile until this point in history. Players and entertainers travelled from town to town, spreading news, singing songs and providing people outside of big cities with opportunities of fun and showmanship. It was only right at the end of the 16th century, that permanent theatres started to be built. And herein lay the problem: prior to this a troupe of players only needed a few plays in its repertoire. When they moved onto the next town or village, their material could just be used again. But on a permanent site, where the same audiences would come again and again, new and exciting play scripts were required. This was a time of rivalry and intrigue. Each theatre needed its own playwright to write fresh material and competition was fierce.
Another aspect that was interesting was this: actors were all men, with younger men and boys taking women’s roles. Here we saw how hard the transition could be between being young enough to play the women parts and being mature enough to play the male leads.
During this time, the City of London was a Puritan stronghold so theatres had to be built beyond the city outskirts. The fact that Elizabeth was a patron of the theatre, was the only thing keeping the theatre alive at the time. Interesting too that the theatres shut periodically as the plague returned regularly.
So from a history lovers point of view, this was an interesting novel. The plot itself was simple.
November 1, 2017
A hugely enjoyable, almost entirely fictitious, romp through Shakespearean England narrated by Richard, Will’s brother. The plays are brought to life by Richard’s descriptions of performances and the book is clearly well researched in respect of how early theatre worked. It would be 5 stars except that I found there to be quite a bit of repetition. We’re told several times, for example, how ceruse mixed with crushed pearls makes the skin white and shimmering. That’s probably being a bit picky though as I raced through it and found it highly entertaining.
The Epilogue is another chapter in itself in which Cornwell gives more detailed information about the early theatre and its plays. If you’re interested in this period, I strongly recommend the excellent Futurelearn course from the University of Warwick, Shakespeare and his World.
Thanks to Harper Collins UK and NetGalley for a free review copy.
The Epilogue is another chapter in itself in which Cornwell gives more detailed information about the early theatre and its plays. If you’re interested in this period, I strongly recommend the excellent Futurelearn course from the University of Warwick, Shakespeare and his World.
Thanks to Harper Collins UK and NetGalley for a free review copy.
September 13, 2019
For my full review, visit me at https://mrsbrownsbooks.wordpress.com/...
Cornwell has written a lot of books and this is my first “date” with him! I was enchanted by the Elizabethan setting and enticed by the Shakespeare theme. And this is what I enjoyed the most about this story. On the other hand, I found the characters confusing and the actual plot a bit dull. It’s a bit of a conflict of emotions but I can’t highly rate a novel on setting and theme alone.
For my full review, visit me at https://mrsbrownsbooks.wordpress.com/...
Cornwell has written a lot of books and this is my first “date” with him! I was enchanted by the Elizabethan setting and enticed by the Shakespeare theme. And this is what I enjoyed the most about this story. On the other hand, I found the characters confusing and the actual plot a bit dull. It’s a bit of a conflict of emotions but I can’t highly rate a novel on setting and theme alone.
For my full review, visit me at https://mrsbrownsbooks.wordpress.com/...
December 29, 2018
This astounding standalone novel by Bernard Cornwell is another delightful treat for all readers.
The historical details concerning this book are to be found at the end of the book within the extensive and well documented Historical Note.
Storytelling is as ever from this author of a top-notch quality, and once again all the characters, whether they are real historical or fictional figures, come splendidly to life within this exciting tale about the Theatre, the Players and life itself in these turbulent times of persecution and betrayal.
Also the atmosphere of London in Elizabethan England come extremely well to the forefront with its dark dangerous streets, grand palaces as well as the people, friends and foes alike, who deal with each other in order to gain the most benefit to betray them when necessary, whether out of ambition or deceit.
The book is mainly set in London and in the years AD 1595-1596 during the reign of the Tudor Queen Elizabeth I.
The story is about Richard Shakespeare, younger brother of the great William, who tries to make a living in one of the London playhouses, the Theatre from Finsbury Fields and of which his brother William is one of the Sharers, and when he becomes penniless and a priceless manuscript is missing, the play of Romeo and Juliet, somehow the suspicion falls on Richard while the real culprit is someone else entirely.
What will follow is a grand tour of force by Richard Shakespeare in order to learn where that manuscript is being held, and to prove his innocence by retrieving that same manuscript, and finally along with his fellow Players of the Theatre they deal with the culprits, so that they can produce that play at an important wedding at Lord Hunsdon's Blackfriars mansion with the Queen attending.
Really very recommended, for this is another triumph in Bernard Cornwell's repertoire and that's why I like to call this book: "Only -"Fools and Mortals"- Superb Acting Scene"!
The historical details concerning this book are to be found at the end of the book within the extensive and well documented Historical Note.
Storytelling is as ever from this author of a top-notch quality, and once again all the characters, whether they are real historical or fictional figures, come splendidly to life within this exciting tale about the Theatre, the Players and life itself in these turbulent times of persecution and betrayal.
Also the atmosphere of London in Elizabethan England come extremely well to the forefront with its dark dangerous streets, grand palaces as well as the people, friends and foes alike, who deal with each other in order to gain the most benefit to betray them when necessary, whether out of ambition or deceit.
The book is mainly set in London and in the years AD 1595-1596 during the reign of the Tudor Queen Elizabeth I.
The story is about Richard Shakespeare, younger brother of the great William, who tries to make a living in one of the London playhouses, the Theatre from Finsbury Fields and of which his brother William is one of the Sharers, and when he becomes penniless and a priceless manuscript is missing, the play of Romeo and Juliet, somehow the suspicion falls on Richard while the real culprit is someone else entirely.
What will follow is a grand tour of force by Richard Shakespeare in order to learn where that manuscript is being held, and to prove his innocence by retrieving that same manuscript, and finally along with his fellow Players of the Theatre they deal with the culprits, so that they can produce that play at an important wedding at Lord Hunsdon's Blackfriars mansion with the Queen attending.
Really very recommended, for this is another triumph in Bernard Cornwell's repertoire and that's why I like to call this book: "Only -"Fools and Mortals"- Superb Acting Scene"!
February 12, 2018
Bernard Cornwell is one of my favorite historical novelists. This book is a bit different from his usual topics of British history. In this book Cornwell tells the story of Richard Shakespeare. Richard works on his career on the London stage but it is his brother, William, whose career takes off. One of William’s manuscripts disappears and Richard is the key suspect.
The book is well written and researched. Cornwell has Richard telling his own story. Cornwell does a great job describing the Elizabethan Era. I felt as if I was right in the middle of the story observing it all. I was hesitant in purchasing the book because of the topic, but I thoroughly enjoyed it.
I read this as an audiobook downloaded from Audible. The book is ten and a half hours. Thomas Judd does a good job narrating the book. Judd is an actor and audiobook narrator. Judd has an easy voice to listen too. This is my first experience listening to Judd narrate.
The book is well written and researched. Cornwell has Richard telling his own story. Cornwell does a great job describing the Elizabethan Era. I felt as if I was right in the middle of the story observing it all. I was hesitant in purchasing the book because of the topic, but I thoroughly enjoyed it.
I read this as an audiobook downloaded from Audible. The book is ten and a half hours. Thomas Judd does a good job narrating the book. Judd is an actor and audiobook narrator. Judd has an easy voice to listen too. This is my first experience listening to Judd narrate.
June 20, 2024
2.5 stars, rounded down to 2, because I can expect such a dull story from a novice author on his first book, but not from a renowned author like Bernard Cornwell (and only one with a renowned and famous name can get away with it and still be able to sell the book).
I'm sorry to say that reading this book is a waste of time and money.
If you are really curious to read it (like I was and I chose it with great enthusiasm), then RENT IT FROM THE LIBRARY OR HAVE IT BORROWED FROM A FRIEND, DO NOT SPEND MONEY ON THIS BOOK (if you like it you can do it later)
The plot, reading the back cover, was interesting and the story could have been captivating and engaging, if only it had been developed with unexpected events and twists that had managed to keep the reader in suspense.
What was also needed was a main character with an incisive character and great willpower, perhaps also endowed with a big heart and great intelligence, a character that the reader could respect and become fond of.
The world of Shakespearean theater is certainly fascinating and this is what led me to choose this novel: I love theater and I appreciated both the historical notions on the birth of "playhouses" and on the life of actors during the Elizabethan era and on the difficulties and terror sown by the Puritans.
What distinguishes a good writer from a normal historical scholar, however, is precisely knowing how to enchant the public through a compelling plot, with which to surprise the reader with each chapter and push him to turn page after page with pressing curiosity.
___PLOT___ We are in London, during the reign of Elizabeth I Tudor.
William Shakespeare is not only an actor, but has his own company of actors and writes comic and tragic plays to be performed both on public stages and in the private mansions of the nobility.
The main character of the book is his young brother Richard, also an actor, who constantly lives in the shadow of his older brother, already well known and appreciated and completely devoid of affection towards Richard.
At that time female actresses were not accepted, so female characters were played by very young boys, still without beards and with voices not yet set up as adults.
This is Richard's biggest worry, besides poverty and hunger. He wants to play male roles and of course earn more money, but William is difficult to convince and the disagreements between them are getting deeper, which leads Richard to think about leaving his brother's company.
When the manuscript on the tragedy of Romeo and Juliet disappears, William and the other actors immediately think that Richard is the culprit, but he is not the only one who is dissatisfied and angry with William. To save his honor and his job, Richard will have the only option to find the real traitor.
______________________
It doesn't matter that there are no murders or gruesome battle scenes.
Theft and betrayal + brotherly love + the birth of a love story + the enchantment of Shakespeare's works, are all elements from which a wonderful and captivating story could emerge from the first to the last page! __ But this is not the case !!!!__
1) This STORY is FLAT, devoid of emotional elements capable of arousing in the reader surprise, hope, fright, relief and the whole range of emotion that a fiction enthusiast expects.
---> Almost three quarters of the book (that's right, you got it right, three quarters, that is, nothing interesting happens until almost the end! ) only tell us about the daily life of Richard and the other actors, when they rehearse on stage, occasionally addressing vulgar jokes, to joke or even to take offense), when Richard returns to his cold attic or goes to the pub.
If I could laugh at the first vulgar joke (not because of the swear word, but because of the situation: adult men tease each other like school children would), after a while it becomes tiring.
I'm not offended by the swear words, given the period in which the story takes place it was something I expected, but a good writer knows how to make people laugh by creating funny situations.
If a writer thinks he can make people laugh just by using vulgar jokes, then he isn't worth much to me.
2) Between one rehearsal and another, Cornwell inserts pieces of some of Shakespeare's works... Yes, of course, it's interesting, but copying verses and inserting them into each chapter isn't that difficult.
3) CONFUSIONARY WRITING STYLE.
The story is told in the first person by Richard who, in the middle of recounting each situation, goes on to recount past life memories that last so long that the reader forgets what he was telling before. When Richard returns to talk about the present it is difficult to understand immediately. There is great confusion.
Furthermore, during dialogues important to the story, the author inserts sentences from other people who do not participate in the scene, but are simply in the same place ( in the background ) and perhaps are arguing or uttering jokes on the stage during the play's reharsal.
So more confusion !
If I'm watching a film and during the main dialogue I hear other sentences in the background, there are no problems, because I see the scenes and understand that they are background chatter. In a book, however, I need the writer to make me understand this in some way, he can't simply insert jokes from other characters, here and there, in the middle of a dialogue between 2 or 3 people who are part of the main scene ! (I hope I was able to explain the concept).
4) At 60% of the book I was still waiting for something to happen!!!
I'm not exaggerating, it's really like that !
I usually leave books that fail to engage me, after 25% or at most 30% of the story.
This book is written by a very successful writer, so I kept thinking: "now something will happen"... but no.
I couldn't believe it!!!
I felt angry and mocked and I kept reading it deliberately, so now I can write an honest review with full knowledge of it.
5) From 65% onwards, it finally seems that the story starts and the reader can finally wake up from a long lethargy caused by an insipid and boring plot.
Chapters 8 and 9 of the fourth part of the book are finally a little more interesting (but never really compelling, I repeat that this seems like a book written by a novice).
Don't have too many illusions though, you will have just a pinch of action, the solution to the problem, a little relief, again a slight suspense because there is a new problem, a new and quick solution to the problem, described in a completely simplistic way. That's all ...
After this, the author, so presumptuously taken with himself and his knowledge of Shakespeare, returns for the umpteenth time to tell us about the rehearsals, the costumes they wore, who knew the lines and who didn't, reports some of the most incisive lines and re-tells us the whole story of "Midsummer Night's Dream".
6) ___ MAIN CHARACTER: completely ANONYMOUS.
Speaking of the protagonist, Richard Shakespeare, I have no dislike for him, but I certainly can't say that he has a charming personality or that he can win over a reader in any way.
He is good looking and basically he is also a good guy, but he is not a character who emerges and will be remembered.
Richard is under the thumb of his older brother, he is unable to assert himself and the only time he finds in himself the strength to act, although he is a good boy, he exaggerates in violence against the one who is the real traitor, reducing him to a cripple.
Maybe I could have accepted the first blow, but he could have spared the subsequent beatings and in that scene the character disappointed me.
7) ___ SIDE CHARACTERS___
----> The character of W.Shakespeare:
I don't know exactly what he was like in reality, because I've never read his biography, but if I didn't like him in the film with Kenneth Branagh and Judi Dench (All Is True, 2018), in this book he is even more unpleasant, very presumptuous, arrogant and devoid of any affection towards his brother (which is the only reason why we can appreciate the protagonist and that is because we feel sorry for him!).
He was probably a real asshole in reality too, he certainly wasn't a good husband and a good family man.
His works will remain great over time and testify to his talent, but the portrait that emerges from Cornwell's story is that of an opportunist like many others, arrogant and presumptuous, a cheating husband and a domineering and affectionless brother. Great playwright and poet as a human being... Meh.
Since this is a fiction, perhaps it could have given us a more appreciable W.Shakespeare.
---> ABOUT THE OTHER CHARACTERS: the writer inserts so many people and so many names (many of which actually existed), that initially it is really difficult to remember who is who.
None are particularly memorable, let's say that, taken as a whole, they contribute to giving an idea of the atmosphere of the time.
8) I didn't expect a love story, but the romantic element included in the book could have been developed a little more and better.
It could have been a strong point of the plot together with the theft and recovery of the script.
Instead, neither theft, nor betrayal, nor the sentimental story manage to act as catalysts, everything revolves around Shakespeare's verses which are scattered throughout the book.
Perhaps Cornwell wanted to write a book that was both educational and interesting, but the result is that this book is neither...
I also think that the publisher was only able to publish such an insignificant novel because of the author's renowned name.
______________
---> I can understand that every reader has personal tastes and that each of us perceives things differently, so I understand that for some this book is worth 2.5 stars while for others 3.5 or perhaps almost 4 stars...
But the reviewers, who rated it 5 stars, also wrote that this book is superlative.... the top of the quality... SORRY, BUT I CAN'T UNDERSTAND IT.
It's still a mystery to me.
Thank you for reading my opinion, probably written in a horrendous way, both because English is not my language, and because when I feel angry and disappointed by a book, I write in one go, without even the desire to reread my text (I've already had enough of the book and am happy to put it away forever).
I'm sorry to say that reading this book is a waste of time and money.
If you are really curious to read it (like I was and I chose it with great enthusiasm), then RENT IT FROM THE LIBRARY OR HAVE IT BORROWED FROM A FRIEND, DO NOT SPEND MONEY ON THIS BOOK (if you like it you can do it later)
The plot, reading the back cover, was interesting and the story could have been captivating and engaging, if only it had been developed with unexpected events and twists that had managed to keep the reader in suspense.
What was also needed was a main character with an incisive character and great willpower, perhaps also endowed with a big heart and great intelligence, a character that the reader could respect and become fond of.
The world of Shakespearean theater is certainly fascinating and this is what led me to choose this novel: I love theater and I appreciated both the historical notions on the birth of "playhouses" and on the life of actors during the Elizabethan era and on the difficulties and terror sown by the Puritans.
What distinguishes a good writer from a normal historical scholar, however, is precisely knowing how to enchant the public through a compelling plot, with which to surprise the reader with each chapter and push him to turn page after page with pressing curiosity.
___PLOT___ We are in London, during the reign of Elizabeth I Tudor.
William Shakespeare is not only an actor, but has his own company of actors and writes comic and tragic plays to be performed both on public stages and in the private mansions of the nobility.
The main character of the book is his young brother Richard, also an actor, who constantly lives in the shadow of his older brother, already well known and appreciated and completely devoid of affection towards Richard.
At that time female actresses were not accepted, so female characters were played by very young boys, still without beards and with voices not yet set up as adults.
This is Richard's biggest worry, besides poverty and hunger. He wants to play male roles and of course earn more money, but William is difficult to convince and the disagreements between them are getting deeper, which leads Richard to think about leaving his brother's company.
When the manuscript on the tragedy of Romeo and Juliet disappears, William and the other actors immediately think that Richard is the culprit, but he is not the only one who is dissatisfied and angry with William. To save his honor and his job, Richard will have the only option to find the real traitor.
______________________
It doesn't matter that there are no murders or gruesome battle scenes.
Theft and betrayal + brotherly love + the birth of a love story + the enchantment of Shakespeare's works, are all elements from which a wonderful and captivating story could emerge from the first to the last page! __ But this is not the case !!!!__
1) This STORY is FLAT, devoid of emotional elements capable of arousing in the reader surprise, hope, fright, relief and the whole range of emotion that a fiction enthusiast expects.
---> Almost three quarters of the book (that's right, you got it right, three quarters, that is, nothing interesting happens until almost the end! ) only tell us about the daily life of Richard and the other actors, when they rehearse on stage, occasionally addressing vulgar jokes, to joke or even to take offense), when Richard returns to his cold attic or goes to the pub.
If I could laugh at the first vulgar joke (not because of the swear word, but because of the situation: adult men tease each other like school children would), after a while it becomes tiring.
I'm not offended by the swear words, given the period in which the story takes place it was something I expected, but a good writer knows how to make people laugh by creating funny situations.
If a writer thinks he can make people laugh just by using vulgar jokes, then he isn't worth much to me.
2) Between one rehearsal and another, Cornwell inserts pieces of some of Shakespeare's works... Yes, of course, it's interesting, but copying verses and inserting them into each chapter isn't that difficult.
3) CONFUSIONARY WRITING STYLE.
The story is told in the first person by Richard who, in the middle of recounting each situation, goes on to recount past life memories that last so long that the reader forgets what he was telling before. When Richard returns to talk about the present it is difficult to understand immediately. There is great confusion.
Furthermore, during dialogues important to the story, the author inserts sentences from other people who do not participate in the scene, but are simply in the same place ( in the background ) and perhaps are arguing or uttering jokes on the stage during the play's reharsal.
So more confusion !
If I'm watching a film and during the main dialogue I hear other sentences in the background, there are no problems, because I see the scenes and understand that they are background chatter. In a book, however, I need the writer to make me understand this in some way, he can't simply insert jokes from other characters, here and there, in the middle of a dialogue between 2 or 3 people who are part of the main scene ! (I hope I was able to explain the concept).
4) At 60% of the book I was still waiting for something to happen!!!
I'm not exaggerating, it's really like that !
I usually leave books that fail to engage me, after 25% or at most 30% of the story.
This book is written by a very successful writer, so I kept thinking: "now something will happen"... but no.
I couldn't believe it!!!
I felt angry and mocked and I kept reading it deliberately, so now I can write an honest review with full knowledge of it.
5) From 65% onwards, it finally seems that the story starts and the reader can finally wake up from a long lethargy caused by an insipid and boring plot.
Chapters 8 and 9 of the fourth part of the book are finally a little more interesting (but never really compelling, I repeat that this seems like a book written by a novice).
Don't have too many illusions though, you will have just a pinch of action, the solution to the problem, a little relief, again a slight suspense because there is a new problem, a new and quick solution to the problem, described in a completely simplistic way. That's all ...
After this, the author, so presumptuously taken with himself and his knowledge of Shakespeare, returns for the umpteenth time to tell us about the rehearsals, the costumes they wore, who knew the lines and who didn't, reports some of the most incisive lines and re-tells us the whole story of "Midsummer Night's Dream".
6) ___ MAIN CHARACTER: completely ANONYMOUS.
Speaking of the protagonist, Richard Shakespeare, I have no dislike for him, but I certainly can't say that he has a charming personality or that he can win over a reader in any way.
He is good looking and basically he is also a good guy, but he is not a character who emerges and will be remembered.
Richard is under the thumb of his older brother, he is unable to assert himself and the only time he finds in himself the strength to act, although he is a good boy, he exaggerates in violence against the one who is the real traitor, reducing him to a cripple.
Maybe I could have accepted the first blow, but he could have spared the subsequent beatings and in that scene the character disappointed me.
7) ___ SIDE CHARACTERS___
----> The character of W.Shakespeare:
I don't know exactly what he was like in reality, because I've never read his biography, but if I didn't like him in the film with Kenneth Branagh and Judi Dench (All Is True, 2018), in this book he is even more unpleasant, very presumptuous, arrogant and devoid of any affection towards his brother (which is the only reason why we can appreciate the protagonist and that is because we feel sorry for him!).
He was probably a real asshole in reality too, he certainly wasn't a good husband and a good family man.
His works will remain great over time and testify to his talent, but the portrait that emerges from Cornwell's story is that of an opportunist like many others, arrogant and presumptuous, a cheating husband and a domineering and affectionless brother. Great playwright and poet as a human being... Meh.
Since this is a fiction, perhaps it could have given us a more appreciable W.Shakespeare.
---> ABOUT THE OTHER CHARACTERS: the writer inserts so many people and so many names (many of which actually existed), that initially it is really difficult to remember who is who.
None are particularly memorable, let's say that, taken as a whole, they contribute to giving an idea of the atmosphere of the time.
8) I didn't expect a love story, but the romantic element included in the book could have been developed a little more and better.
It could have been a strong point of the plot together with the theft and recovery of the script.
Instead, neither theft, nor betrayal, nor the sentimental story manage to act as catalysts, everything revolves around Shakespeare's verses which are scattered throughout the book.
Perhaps Cornwell wanted to write a book that was both educational and interesting, but the result is that this book is neither...
I also think that the publisher was only able to publish such an insignificant novel because of the author's renowned name.
______________
---> I can understand that every reader has personal tastes and that each of us perceives things differently, so I understand that for some this book is worth 2.5 stars while for others 3.5 or perhaps almost 4 stars...
But the reviewers, who rated it 5 stars, also wrote that this book is superlative.... the top of the quality... SORRY, BUT I CAN'T UNDERSTAND IT.
It's still a mystery to me.
Thank you for reading my opinion, probably written in a horrendous way, both because English is not my language, and because when I feel angry and disappointed by a book, I write in one go, without even the desire to reread my text (I've already had enough of the book and am happy to put it away forever).
March 28, 2018
Fools and Mortals is a definite change of pace novel for Mr. Cornwell. There are no great battle scenes, either in a dark age Shield Wall or a 19th Century battle line. There is also no great overarching theme, ie the creation of a unified England in the 9th and 10th centuries or the defeat of Napoleon in the early 19th century. This novel is a look at how modern theater developed in the late 16th century during Elizabeth I reign.
Mr. Cornwell puts the reader into the workings of William Shakespeare’s company, The Lord Chamberlain’s Men, during the writing of one of my personal favorites of his comedies – A Midsummer’s Night Dream. While the Bard in a major character in the novel, the story is not told from his viewpoint. Shakespeare’s brother, Richard, is the narrator and driving character in the novel. Mr. Cornwell said in an interview that while Richard did exist, not much know about him, so that left him with a wide open slate to create an interesting character.
The Richard that Mr. Cornwell creates is a working actor, somewhat younger than his brother and definitely at odds with him. As of the opening of the novel Richard has been almost exclusively cast in female roles. His main ambition is to play a male role. His brother is not sympathetic. He also so underpaid, despite his brother’s importance to the company, he often commits petty larceny to make ends meet.
As Midsummer’s is being cast, Richard finally convinces his brother to give him a male role. Those who know Midsummer’s can probably guess what is coming next – he is cast as one of the Mechanicals, who in the play within the play, plays a woman. To say Richard is not pleased is an understatement
Up to this point I thought the novel was interesting, but a little beneath of what I’ve come to expect of Mr. Cornwell. In my opinion, this is the point where the novel takes off. Richard is approached by a rival theater company and offered an opportunity to play male roles. There is a catch, he has to provide his new employer all of the William’s company's plays. While after some sole searching he doesn’t accept the offer, however one of the other members of the company does. When the disappearance of all their scripts is discovered, Richard offers to find it on the condition he is given a major male role. In this section of the novel, Mr. Cornwell depicts the changing nature of the theater. Before this, theater companies were always on the move, and were performing for new audiences all the time, so they needed relatively little new material. As travelling theater troops gave way to more locality based companies the need for new material sky rocketed.
In the last part of the novel, Mr. Cornwell looks as what it took to put on a play in that era. The play, A Midsummer's..., is to open at the estate of one of the company's benefactors for his daughter’s wedding. The ins and outs of putting on a play are wonderfully depicted. The various actors (and they were all actors – women could not perform on the stage at this point in time) are well done and really brought to life. As for Richard he does get his reward
Mr. Cornwell also illustrates the role the theater played in society. On one hand the aristocracy supported and were entertained by various theatrical companies. However, the Puritans were on the rise and at that time even controlled the government of the City of London. They were doing their best to stamp out the theater and the "threat" it posed to public morals. Richard interacts with these guardians of public morality much to his detriment.
While this can be a slow read at times, in the end I thoroughly enjoyed it. For lovers of Shakespeare (and I am) this is a must read. For those who aren’t, it’s a good look at the entertainment industry circa 1595. For me this was a solid 4 stars.
Mr. Cornwell puts the reader into the workings of William Shakespeare’s company, The Lord Chamberlain’s Men, during the writing of one of my personal favorites of his comedies – A Midsummer’s Night Dream. While the Bard in a major character in the novel, the story is not told from his viewpoint. Shakespeare’s brother, Richard, is the narrator and driving character in the novel. Mr. Cornwell said in an interview that while Richard did exist, not much know about him, so that left him with a wide open slate to create an interesting character.
The Richard that Mr. Cornwell creates is a working actor, somewhat younger than his brother and definitely at odds with him. As of the opening of the novel Richard has been almost exclusively cast in female roles. His main ambition is to play a male role. His brother is not sympathetic. He also so underpaid, despite his brother’s importance to the company, he often commits petty larceny to make ends meet.
As Midsummer’s is being cast, Richard finally convinces his brother to give him a male role. Those who know Midsummer’s can probably guess what is coming next – he is cast as one of the Mechanicals, who in the play within the play, plays a woman. To say Richard is not pleased is an understatement
Up to this point I thought the novel was interesting, but a little beneath of what I’ve come to expect of Mr. Cornwell. In my opinion, this is the point where the novel takes off. Richard is approached by a rival theater company and offered an opportunity to play male roles. There is a catch, he has to provide his new employer all of the William’s company's plays. While after some sole searching he doesn’t accept the offer, however one of the other members of the company does. When the disappearance of all their scripts is discovered, Richard offers to find it on the condition he is given a major male role. In this section of the novel, Mr. Cornwell depicts the changing nature of the theater. Before this, theater companies were always on the move, and were performing for new audiences all the time, so they needed relatively little new material. As travelling theater troops gave way to more locality based companies the need for new material sky rocketed.
In the last part of the novel, Mr. Cornwell looks as what it took to put on a play in that era. The play, A Midsummer's..., is to open at the estate of one of the company's benefactors for his daughter’s wedding. The ins and outs of putting on a play are wonderfully depicted. The various actors (and they were all actors – women could not perform on the stage at this point in time) are well done and really brought to life. As for Richard he does get his reward
Mr. Cornwell also illustrates the role the theater played in society. On one hand the aristocracy supported and were entertained by various theatrical companies. However, the Puritans were on the rise and at that time even controlled the government of the City of London. They were doing their best to stamp out the theater and the "threat" it posed to public morals. Richard interacts with these guardians of public morality much to his detriment.
While this can be a slow read at times, in the end I thoroughly enjoyed it. For lovers of Shakespeare (and I am) this is a must read. For those who aren’t, it’s a good look at the entertainment industry circa 1595. For me this was a solid 4 stars.
October 16, 2017
I received a copy of this book from Netgalley, in exchange for an honest review.
Shakespeare? Check. Intrigue? Check. Plenty of fun? Check. I'm sold!
Despite having watched The Last Kingdom on TV, I've never got around to reading any books by Bernard Cornwell, so I was delighted to give this one a go. And very entertaining it was too!
The protagonist is Richard Shakespeare, the younger (and better looking) brother of William Shakespeare. He's an actor, and is sick and tired of playing lady's roles; especially as he's got his sights on a particular girl called Sylvia...
However, this isn't just a book about love and acting. It's also a wonderful observation of life at the times; the role of the playhouses in society, the life of an actor, and the competition between acting troupes. Cornwell's writing is pleasantly accessible, with plenty of bawdy moments, swearing, plus some very convincing scenes, which felt impressively authentic. As someone who knows quite a bit about Shakespeare, there were no obvious errors that I noted - though one tiny comment - a female character makes reference to the rhyme 'round and round the mulberry bush' at one point... I'm sure this rhyme came about in the 1800s from a women's prison? Forgive me if I'm wrong (I'm being so nitpicky anyway; this detail in no way detracts from the book!).
Overall, a brilliantly fun read; I was hooked right through. I'll have to keep my eye out for more of his books now.
Shakespeare? Check. Intrigue? Check. Plenty of fun? Check. I'm sold!
Despite having watched The Last Kingdom on TV, I've never got around to reading any books by Bernard Cornwell, so I was delighted to give this one a go. And very entertaining it was too!
The protagonist is Richard Shakespeare, the younger (and better looking) brother of William Shakespeare. He's an actor, and is sick and tired of playing lady's roles; especially as he's got his sights on a particular girl called Sylvia...
However, this isn't just a book about love and acting. It's also a wonderful observation of life at the times; the role of the playhouses in society, the life of an actor, and the competition between acting troupes. Cornwell's writing is pleasantly accessible, with plenty of bawdy moments, swearing, plus some very convincing scenes, which felt impressively authentic. As someone who knows quite a bit about Shakespeare, there were no obvious errors that I noted - though one tiny comment - a female character makes reference to the rhyme 'round and round the mulberry bush' at one point... I'm sure this rhyme came about in the 1800s from a women's prison? Forgive me if I'm wrong (I'm being so nitpicky anyway; this detail in no way detracts from the book!).
Overall, a brilliantly fun read; I was hooked right through. I'll have to keep my eye out for more of his books now.
January 15, 2018
"Lord, what fools these mortals be." A Midsummer Night's Dream, Act 3, Scene 2
With prodigious historical-fiction writing skills, Bernard Cornwell now brings his focus to the Elizabethan era with this delightful novel set in London in 1595. It is told from the first-person point of view of Richard Shakespeare, a young actor in his brother William's theatre company.
Richard runs away from home as a teen and hopes his brother Will will take him in when he reaches London. Instead, Will takes him to study with Sir Godfrey, a master of mischief and worse, who teaches boys more than just acting skills.
As the story opens, Richard is working with the theatre company in women's roles, dearly hoping to be promoted to male roles now that his voice is changing. Through his eyes, the early days of theatre come to life...and the street scene of London, all the sights and nasty smells.
Thank goodness Queen Elizabeth is supportive of plays in general because the Pursuivants of the Puritans love to run rampant over the populace, looking for evidence of sedition and stomping out any signs of beauty, joy or happiness.
The Theatre group is hired by the Lord Chamberlain to present a play at his mansion in Blackfriars in honor of his granddaughter's wedding and it is hoped that the Queen, Lord Hunsdon's cousin, might attend. The actors will be performing A Midsummer Night's Dream and it will be quite a lavish production with the family sparing no expense.
But in the midst of rehearsals the original script is stolen! Was it a rival theatre group? And among the missing papers is a new play that Will has just finished--his Romeo and Juliet! Richard thinks he knows the identity of the thief and where he might have taken the scripts. If he can get them back, he hopes William will be so grateful he will give Richard the starring role in Romeo and Juliet!
Lots of action and adventure keep the reader turning pages! Lovers of Shakespeare's plays are sure to enjoy this glimpse into the period.
Cornwell ends the book with Historical Notes that shed more light on how important was Queen Elizabeth's role in allowing theatre to grow and flourish in her lifetime. This era saw the birth of permanent homes for the production of plays. Before that, groups of players traveled from place to place and could repeat the same plays endlessly in front of fresh audiences. But with a permanent home and repeat audiences, a need for a constant stream of fresh plays was born. Enter Shakespeare and others like him who could dash off plays quickly. How amazing that his work has survived the test of time and is beloved to this day!
With prodigious historical-fiction writing skills, Bernard Cornwell now brings his focus to the Elizabethan era with this delightful novel set in London in 1595. It is told from the first-person point of view of Richard Shakespeare, a young actor in his brother William's theatre company.
Richard runs away from home as a teen and hopes his brother Will will take him in when he reaches London. Instead, Will takes him to study with Sir Godfrey, a master of mischief and worse, who teaches boys more than just acting skills.
As the story opens, Richard is working with the theatre company in women's roles, dearly hoping to be promoted to male roles now that his voice is changing. Through his eyes, the early days of theatre come to life...and the street scene of London, all the sights and nasty smells.
Thank goodness Queen Elizabeth is supportive of plays in general because the Pursuivants of the Puritans love to run rampant over the populace, looking for evidence of sedition and stomping out any signs of beauty, joy or happiness.
The Theatre group is hired by the Lord Chamberlain to present a play at his mansion in Blackfriars in honor of his granddaughter's wedding and it is hoped that the Queen, Lord Hunsdon's cousin, might attend. The actors will be performing A Midsummer Night's Dream and it will be quite a lavish production with the family sparing no expense.
But in the midst of rehearsals the original script is stolen! Was it a rival theatre group? And among the missing papers is a new play that Will has just finished--his Romeo and Juliet! Richard thinks he knows the identity of the thief and where he might have taken the scripts. If he can get them back, he hopes William will be so grateful he will give Richard the starring role in Romeo and Juliet!
Lots of action and adventure keep the reader turning pages! Lovers of Shakespeare's plays are sure to enjoy this glimpse into the period.
Cornwell ends the book with Historical Notes that shed more light on how important was Queen Elizabeth's role in allowing theatre to grow and flourish in her lifetime. This era saw the birth of permanent homes for the production of plays. Before that, groups of players traveled from place to place and could repeat the same plays endlessly in front of fresh audiences. But with a permanent home and repeat audiences, a need for a constant stream of fresh plays was born. Enter Shakespeare and others like him who could dash off plays quickly. How amazing that his work has survived the test of time and is beloved to this day!
June 10, 2019
I came to read this book by starting and setting aside another of Bernard Cornwell’s books, 1356, which includes a plethora of blood-soaked action in the first few chapters, including rape, torture, murder, and castration. It was too much even for me and I can handle a good amount of bloodshed. I was, however, impressed by Cornwell’s writing so I sought out another, less gory, of his books. Fools and Mortals takes place in 1595 and is based on the imagined relationship between William Shakespeare and his younger brother, Richard. The tale is told by Richard Shakespeare. He describes his journey to London, how he became a player, his strained relationship with his brother, and rival companies attempting to exploit his brother’s success. The narrative revolves around the plays, players, patrons, rivalries, and theatres of the era. The plot is based on the initial production of A Midsummer Night’s Dream, written for a wedding celebration and performed at the residence of a wealthy patron and cousin of Queen Elizabeth.
The author has a knack for describing the life and times of people living in London in the late 16th century, giving the reader a feeling of “being there” through vivid descriptions of the sights, smells, sounds, and tastes. He provides a glimpse into the religious climate of the day (Puritans vs. Catholics), what it was like to be a player, and barriers which had to be overcome in order for the dramatic arts to thrive. It is filled with interesting details about theatre-craft of the period, such as lighting with candles, death scenes using a pig’s bladder filled with sheep’s blood, males playing female roles, pigments used for make-up, manually transcribing roles for actors, the constant pressure for new material. I found it fascinating.
If you haven’t read (or seen) A Mid-Summer Night’s Dream, I suggest viewing it first, since this book contains major plot-spoilers. It is also helpful to be somewhat familiar with Shakespeare’s canon. Unlike many other of Cornwell’s works, this is a stand-alone novel with fewer action-packed scenes. The author provides a note at the end describing what parts were based on historical research and what was invented. Recommended to those interested in Tudor era historical fiction or the early days of theatre.
The author has a knack for describing the life and times of people living in London in the late 16th century, giving the reader a feeling of “being there” through vivid descriptions of the sights, smells, sounds, and tastes. He provides a glimpse into the religious climate of the day (Puritans vs. Catholics), what it was like to be a player, and barriers which had to be overcome in order for the dramatic arts to thrive. It is filled with interesting details about theatre-craft of the period, such as lighting with candles, death scenes using a pig’s bladder filled with sheep’s blood, males playing female roles, pigments used for make-up, manually transcribing roles for actors, the constant pressure for new material. I found it fascinating.
If you haven’t read (or seen) A Mid-Summer Night’s Dream, I suggest viewing it first, since this book contains major plot-spoilers. It is also helpful to be somewhat familiar with Shakespeare’s canon. Unlike many other of Cornwell’s works, this is a stand-alone novel with fewer action-packed scenes. The author provides a note at the end describing what parts were based on historical research and what was invented. Recommended to those interested in Tudor era historical fiction or the early days of theatre.
November 13, 2017
8/10
If you’d have said I would have enjoyed a book about the trials and tribulations of actors in the 16th century and the complexities of writing, producing and performing a play then I would have quite easily said you were full of something. However, I requested this book more because of who wrote it than what it was about and went in without being overly excited about it caught me from the off and was a surprise hit with me!
I was waiting for some sort of major turning point; like Shakespeare actually being a sentient being from another planet or a serial killing rogue eliminating actors from the play. But nothing like this happened. Nothing major happened at all really. Sounds a little dull but the way Cornwell weaves the tale and makes the 16th century come alive made the book flow on by without me ever noticing. I actually wanted to know how the production of A Midsummers Night Dream would turn out and what troubles there would be along the way. Whether the actors would get through the situation and pull it off or whether Shakespeare was just a flash in the pan (well I guess I knew the answer to that).
There is some heavy backstory to this without massive info dumps. It just flows along nicely adding information to the tale and fleshing it out. Without it the story would fall flat. The main characters are fleshed out nicely without it being overdone but some of the minor characters aren’t developed too much.
There is a little bit of a slower section in the back third after some exciting stealth action and the ending wasn’t explosive but more a nice end to the tale (which is probably perfect for this story). It may not be an era that Cornwell has looked into much previously but the research he’s done here is clear to see and makes this one to pick up. Highly recommended.
I received a free copy from NetGalley
If you’d have said I would have enjoyed a book about the trials and tribulations of actors in the 16th century and the complexities of writing, producing and performing a play then I would have quite easily said you were full of something. However, I requested this book more because of who wrote it than what it was about and went in without being overly excited about it caught me from the off and was a surprise hit with me!
I was waiting for some sort of major turning point; like Shakespeare actually being a sentient being from another planet or a serial killing rogue eliminating actors from the play. But nothing like this happened. Nothing major happened at all really. Sounds a little dull but the way Cornwell weaves the tale and makes the 16th century come alive made the book flow on by without me ever noticing. I actually wanted to know how the production of A Midsummers Night Dream would turn out and what troubles there would be along the way. Whether the actors would get through the situation and pull it off or whether Shakespeare was just a flash in the pan (well I guess I knew the answer to that).
There is some heavy backstory to this without massive info dumps. It just flows along nicely adding information to the tale and fleshing it out. Without it the story would fall flat. The main characters are fleshed out nicely without it being overdone but some of the minor characters aren’t developed too much.
There is a little bit of a slower section in the back third after some exciting stealth action and the ending wasn’t explosive but more a nice end to the tale (which is probably perfect for this story). It may not be an era that Cornwell has looked into much previously but the research he’s done here is clear to see and makes this one to pick up. Highly recommended.
I received a free copy from NetGalley
December 14, 2021
This is a wonderful, fast-moving story about theater during the reign of Queen Elizabeth. Told in first person by an actor, most of the important characters were real-life personages. The protagonist, Richard, is a good actor who has just turned 21. He is sick and tired of playing the parts of women. (Women, by law, were forbidden by law from playing in theater. Hence, young males took their parts.) He finally gets a part where he plays a man, but he is tricked; he must play a man who is an actor, and in a play within a play he must play the part of a woman!
I want to avoid spoilers, which could ruin the surprises that I felt while reading the story; so I won't say too much here. I enjoyed reading about how hard life really was during the late 16th century. Lawlessness in London forced curfews to be declared. You had to get home before dark, or face bad consequences. Thievery was a crime, punished by hanging. Apprenticeship to a master could mean years of mistreatment. So, theater was a wonderful escape from life, for all classes of people in London.
The story is followed an interesting set of historical notes. Here, the reader learns the basis for the story. Itinerant theater companies could previously go from one town to the next, repeating a small repertoire over and over. But the building of permanent playhouses in London meant that plays could not be repeated. There was a great demand for new plays, so the scripts of good plays became quite valuable--and worth stealing!
I want to avoid spoilers, which could ruin the surprises that I felt while reading the story; so I won't say too much here. I enjoyed reading about how hard life really was during the late 16th century. Lawlessness in London forced curfews to be declared. You had to get home before dark, or face bad consequences. Thievery was a crime, punished by hanging. Apprenticeship to a master could mean years of mistreatment. So, theater was a wonderful escape from life, for all classes of people in London.
The story is followed an interesting set of historical notes. Here, the reader learns the basis for the story. Itinerant theater companies could previously go from one town to the next, repeating a small repertoire over and over. But the building of permanent playhouses in London meant that plays could not be repeated. There was a great demand for new plays, so the scripts of good plays became quite valuable--and worth stealing!
September 22, 2020
A fascinating 5-star read!
Fools and Mortals is a story about William Shakespeare’s acting troupe at the Theatre in London, told through the perspective of his younger brother Richard. Richard ran away from home in Stratford as a young teen to escape a cruel apprenticeship, but his brother isn’t exactly warm and welcoming.
A very lovely-looking young man, by age 21 Richard has spent years as a player at the Theatre, although not a full member (Sharer) with a stake in the earnings. When he performs, he earns money. When there’s no part for him, or when there are no performances due to bad weather, he gets nothing. Richard lives in a dingy boarding house, constantly threatened with being thrown out if he can’t pay his back rent, and resorts to petty thievery to keep from starving.
On stage, he specializes in women’s parts, but he wants to be taken seriously. He yearns to be allowed to grow up, cut his hair, grow a beard, and take on the significant male roles that will allow him greater status as an actor. But Will doesn’t seem to have any interest in his brother’s goals, and when he finally promises him a man’s role, there’s still a trick involved that means Richard will end up playing a woman once again.
Meanwhile, there’s intrigue and action afoot. Will has earned a commission to write a play to be performed at the wedding of the Lord Chamberlain’s daughter — the play that will become A Midsummer Night’s Dream. Will is also working on an Italian play, which will be Romeo and Juliet.
But rival companies are also building huge theaters, and original scripts are invaluable in the theater world. If another company can get their hands on one of Will’s plays, they’ll be able to perform it and Will will have no way to get it back or claim it.
So when the new scripts go missing, there’s plenty of suspicion, and Richard is one of those accused of stealing the scripts in order to make some needed money. It’s up to Richard to get them back, but doing so is likely the most dangerous thing he’s ever done.
I won’t go further into the plot itself, but trust me — it’s fascinating! I loved the characters and the behind the scenes look at how a play like A Midsummer Night’s Dream came into being. Through Fools and Mortals, we get to see the complicated business of patronage and protection, the terrifying power of the Persuivants (known as Percies) — the vehemently Puritanical force who have the power to arrest and convict anyone suspected of heresy — as they threaten the players, and the deadly serious competition and scheming related to gaining and keeping players and scripts.
William Shakespeare himself comes off as cold and heartless when it comes to his brother, but of course, we do get to see his brilliance as well. I was enthralled by the descriptions of how the players learn their parts, figure out the staging, interact with their audiences, and more.
This book was such a treat! So thank you, once again, to my book group, for getting me to read a book that I probably would have completely missed otherwise.
If you enjoy Shakespeare, historical fiction, the Elizabethan era, theatrical history, or really, just plain good writing, check out Fools and Mortals!
Fools and Mortals is a story about William Shakespeare’s acting troupe at the Theatre in London, told through the perspective of his younger brother Richard. Richard ran away from home in Stratford as a young teen to escape a cruel apprenticeship, but his brother isn’t exactly warm and welcoming.
A very lovely-looking young man, by age 21 Richard has spent years as a player at the Theatre, although not a full member (Sharer) with a stake in the earnings. When he performs, he earns money. When there’s no part for him, or when there are no performances due to bad weather, he gets nothing. Richard lives in a dingy boarding house, constantly threatened with being thrown out if he can’t pay his back rent, and resorts to petty thievery to keep from starving.
On stage, he specializes in women’s parts, but he wants to be taken seriously. He yearns to be allowed to grow up, cut his hair, grow a beard, and take on the significant male roles that will allow him greater status as an actor. But Will doesn’t seem to have any interest in his brother’s goals, and when he finally promises him a man’s role, there’s still a trick involved that means Richard will end up playing a woman once again.
Meanwhile, there’s intrigue and action afoot. Will has earned a commission to write a play to be performed at the wedding of the Lord Chamberlain’s daughter — the play that will become A Midsummer Night’s Dream. Will is also working on an Italian play, which will be Romeo and Juliet.
But rival companies are also building huge theaters, and original scripts are invaluable in the theater world. If another company can get their hands on one of Will’s plays, they’ll be able to perform it and Will will have no way to get it back or claim it.
So when the new scripts go missing, there’s plenty of suspicion, and Richard is one of those accused of stealing the scripts in order to make some needed money. It’s up to Richard to get them back, but doing so is likely the most dangerous thing he’s ever done.
I won’t go further into the plot itself, but trust me — it’s fascinating! I loved the characters and the behind the scenes look at how a play like A Midsummer Night’s Dream came into being. Through Fools and Mortals, we get to see the complicated business of patronage and protection, the terrifying power of the Persuivants (known as Percies) — the vehemently Puritanical force who have the power to arrest and convict anyone suspected of heresy — as they threaten the players, and the deadly serious competition and scheming related to gaining and keeping players and scripts.
William Shakespeare himself comes off as cold and heartless when it comes to his brother, but of course, we do get to see his brilliance as well. I was enthralled by the descriptions of how the players learn their parts, figure out the staging, interact with their audiences, and more.
This book was such a treat! So thank you, once again, to my book group, for getting me to read a book that I probably would have completely missed otherwise.
If you enjoy Shakespeare, historical fiction, the Elizabethan era, theatrical history, or really, just plain good writing, check out Fools and Mortals!
September 29, 2017
A feel-good romp of a novel that bears more than a passing resemblance to Shakespeare in Love, albeit without the romance and emotional edge. Cornwell's research is sometimes worn a bit heavily ('Titania! A lovely name,' Father Laurence said, 'your brother took it from Ovid, didn't he?' 'Did he?' 'From the Metamorphoses, of course') but overall he gives a good account of what it must have been like to be a player in the mid 1590s.
I enjoyed that the focus isn't so much on William but on his younger brother Richard and while the main thrust is about a performance of A Midsummer Night's Dream for Lord Hunsdon's daughter's marriage, the real story is one of Richard's emotional coming of age and the growth of understanding between the brothers.
It is, of course, absurd that a 21-year-old man whose voice has broken and who needs to be shaved should be playing women's roles - I'm sure Cornwell knows perfectly well that boys stopped taking on female roles once they reached adolescence, started growing a beard and having their voices deepen, but this anomaly is necessary for the theme of masculine coming of age and brotherly coming together. A fun, light read.
Thanks to HarperCollins for an ARC via NetGalley.
I enjoyed that the focus isn't so much on William but on his younger brother Richard and while the main thrust is about a performance of A Midsummer Night's Dream for Lord Hunsdon's daughter's marriage, the real story is one of Richard's emotional coming of age and the growth of understanding between the brothers.
It is, of course, absurd that a 21-year-old man whose voice has broken and who needs to be shaved should be playing women's roles - I'm sure Cornwell knows perfectly well that boys stopped taking on female roles once they reached adolescence, started growing a beard and having their voices deepen, but this anomaly is necessary for the theme of masculine coming of age and brotherly coming together. A fun, light read.
Thanks to HarperCollins for an ARC via NetGalley.
June 11, 2020
I adore A Midsummer Night's Dream and loved that this book was so heavily focused around its first performance.
However, the pretty blatant homophobia (always expressed by *characters* though) and rejection of anything androgynous or feminine in oneself were annoying, as was the spotty characterization which raised several serious questions about Shakespeare's character that were never dealt with satisfactorily.
I was particularly horrified by how harshly one of the "villains" (here just an opponent, really) is treated and which the book seems to applaud: Perhaps a second book was planned here, which would have remedied the situation at the end, as well as addressed the many open questions I had when I finished it. But since there is none, I can only assume this was meant to be the overall ending, which is very weird.
Overall, this benefited hugely from the many Shakespeare quotes and wonderful period detail based on really solid research. The writing was also very evocative and allowed me to see, hear and smell Elizabethan times in my imagination as if I'd been there. So this is why this book still gets an overall "it's okay" rating, despite of my misgivings mentioned above.
However, the pretty blatant homophobia (always expressed by *characters* though) and rejection of anything androgynous or feminine in oneself were annoying, as was the spotty characterization which raised several serious questions about Shakespeare's character that were never dealt with satisfactorily.
I was particularly horrified by how harshly one of the "villains" (here just an opponent, really) is treated and which the book seems to applaud: Perhaps a second book was planned here, which would have remedied the situation at the end, as well as addressed the many open questions I had when I finished it. But since there is none, I can only assume this was meant to be the overall ending, which is very weird.
Overall, this benefited hugely from the many Shakespeare quotes and wonderful period detail based on really solid research. The writing was also very evocative and allowed me to see, hear and smell Elizabethan times in my imagination as if I'd been there. So this is why this book still gets an overall "it's okay" rating, despite of my misgivings mentioned above.
February 22, 2020
I am a huge Bernard Cornwell fan. His historical fiction is some of the best out there. In this book, Cornwell writes about Shakespeare. Actually the book revolves around William's brother, Richard, and his attempts to get better parts inplays, as he has conflicts with his brother.
I can not speak to the veracity of the relationship between Richard and William. The other aspects of the story from the irritating Puritans, Elizabethan intrigues and how the stage-based plays worked. That aspect is rather interesting.
This is a story about the writing of "A Midsummer's Night Dream" and the various power plays among the actors. Perhaps, that is why I didn't care for it as much. As much as I enjoy history and have respect for William Shakespeare, I have nothing but contempt for actors and their "issues". I could care less and that affected the story, for me. If you adore beautiful people who read lines or act a part and thinks this makes them the most amazing people on earth-then this book is for you. If, you are like me, and give two shits about the opinions of actors and their ilk-then this book becomes rather tedious.
A good historical fiction about the start of the theatre in Elizabethan England. The topic and the key actors, save William, were not subjects that interest me.
I can not speak to the veracity of the relationship between Richard and William. The other aspects of the story from the irritating Puritans, Elizabethan intrigues and how the stage-based plays worked. That aspect is rather interesting.
This is a story about the writing of "A Midsummer's Night Dream" and the various power plays among the actors. Perhaps, that is why I didn't care for it as much. As much as I enjoy history and have respect for William Shakespeare, I have nothing but contempt for actors and their "issues". I could care less and that affected the story, for me. If you adore beautiful people who read lines or act a part and thinks this makes them the most amazing people on earth-then this book is for you. If, you are like me, and give two shits about the opinions of actors and their ilk-then this book becomes rather tedious.
A good historical fiction about the start of the theatre in Elizabethan England. The topic and the key actors, save William, were not subjects that interest me.
December 10, 2017
Pursued by a bear...
A new playhouse is opening in London and the owners are determined to make it a huge success. Actors are easy to get hold of but new plays are the magic that bring in the playgoers. Over at the Theatre, Richard Shakespeare is struggling to survive on the measly wages he receives. He's getting too old to play women's roles and his older brother Will won't promise him roles playing men. He seems like the perfect target for the new playhouse – offer him regular well-paid work and perhaps he'd be willing to steal the two new scripts Will is working on – A Midsummer Night's Dream and Romeo and Juliet – and if he won't, maybe another member of Shakespeare's company will...
This is a fairly light-hearted novel set in the world of Shakespeare's London. Cornwell has undoubtedly taken some fictional liberties with the characters of Will and Richard Shakespeare, so it may not be one for purists, but otherwise it feels well researched to me, though I'm certainly no expert. Richard is a likeable character and it's his voice that tells us the tale. Will is not likeable and seems to really resent his younger brother, for reasons that I felt were never made totally clear, though I think we are probably supposed to assume that he feels Richard is trying to cash in on his success. Whatever the reason, the story is as much about these two men learning to respect each other as it is about the actual plot. And in the course of the book, Richard falls in love, so there's a romantic sub-plot too.
The company are rehearsing Will's new comedy which has been commissioned by their patron Lord Hunsdon to be performed as part of his daughter's wedding celebrations. Cornwell gives an interesting and often amusing account of how a play would have been developed back in those days, with parts designed around the talents of the regular cast and due attention paid to flattering patrons while ensuring that no reason could be found to ban it. He shows how the powerful Puritan lobby were against theatre in principle, but that Queen Elizabeth's love of it meant they were frustrated in their desire to have it prohibited. Shakespeare's company were in the privileged position of having the Lord Chamberlain as patron, but they still had to be careful not to cross the line. Cornwell takes us not only behind the scenes in the playhouse but also into the houses of the rich who could afford private performances, and even into the presence of Elizabeth herself. I found the details of how the plays were staged fascinating, from the creation of costumes to the need for regular intervals to trim the wicks of the candles that were used to provide lighting.
Cornwell also goes into detail on the story of A Midsummer's Night Dream. This is quite fun at first. It's a play I've never liked or revisited since being forced to study it while way too young to properly appreciate either the language or the comedy, so I was surprised when Cornwell sparked in me a desire to give it another try. However, unfortunately, after a while the detail becomes too much and somewhat repetitive, and it begins to feel more like a tutorial on the subject than a novel. It also slows the thing down too much – the fairly lengthy book is well over halfway before the main plot of the baddies' attempt to steal Will's plays really kicks off. Once it does though, it becomes a fine action romp. There is some violence but on the whole it remains light in tone – not nearly as graphic and gory as the only other Cornwell I've read, his Viking-world The Last Kingdom.
We also get to see the religious persecution of the time – at this period, of the Catholics by the Protestants – but again Cornwell keeps it light though hinting at the darker aspects of it off-stage, so to speak. And the ever present threat of plague is there too – a threat not just to life but to the actors' livelihoods too, since any upsurge in the plague would lead to a closure of the theatres to prevent its further spread. Cornwell lets us glimpse the crueller aspects of Elizabethan entertainment too – bear-baiting, etc. All of this together adds up to what feels like a realistic picture of life in London at that period. Cornwell opts not to attempt some kind of faux Tudor language – Richard talks in standard English but has what felt to me like reasonably authentic 16th century attitudes for the most part.
After a fairly slow start, then, I thoroughly enjoyed this entertaining venture into Shakespeare's world. I don't know whether this is a one-off or the start of a new series from the prolific Cornwell, but I'd certainly be happy to read another. 4½ stars for me, so rounded up.
NB This book was provided for review by the publisher, HarperCollins.
www.fictionfanblog.wordpress.com
A new playhouse is opening in London and the owners are determined to make it a huge success. Actors are easy to get hold of but new plays are the magic that bring in the playgoers. Over at the Theatre, Richard Shakespeare is struggling to survive on the measly wages he receives. He's getting too old to play women's roles and his older brother Will won't promise him roles playing men. He seems like the perfect target for the new playhouse – offer him regular well-paid work and perhaps he'd be willing to steal the two new scripts Will is working on – A Midsummer Night's Dream and Romeo and Juliet – and if he won't, maybe another member of Shakespeare's company will...
This is a fairly light-hearted novel set in the world of Shakespeare's London. Cornwell has undoubtedly taken some fictional liberties with the characters of Will and Richard Shakespeare, so it may not be one for purists, but otherwise it feels well researched to me, though I'm certainly no expert. Richard is a likeable character and it's his voice that tells us the tale. Will is not likeable and seems to really resent his younger brother, for reasons that I felt were never made totally clear, though I think we are probably supposed to assume that he feels Richard is trying to cash in on his success. Whatever the reason, the story is as much about these two men learning to respect each other as it is about the actual plot. And in the course of the book, Richard falls in love, so there's a romantic sub-plot too.
The company are rehearsing Will's new comedy which has been commissioned by their patron Lord Hunsdon to be performed as part of his daughter's wedding celebrations. Cornwell gives an interesting and often amusing account of how a play would have been developed back in those days, with parts designed around the talents of the regular cast and due attention paid to flattering patrons while ensuring that no reason could be found to ban it. He shows how the powerful Puritan lobby were against theatre in principle, but that Queen Elizabeth's love of it meant they were frustrated in their desire to have it prohibited. Shakespeare's company were in the privileged position of having the Lord Chamberlain as patron, but they still had to be careful not to cross the line. Cornwell takes us not only behind the scenes in the playhouse but also into the houses of the rich who could afford private performances, and even into the presence of Elizabeth herself. I found the details of how the plays were staged fascinating, from the creation of costumes to the need for regular intervals to trim the wicks of the candles that were used to provide lighting.
Cornwell also goes into detail on the story of A Midsummer's Night Dream. This is quite fun at first. It's a play I've never liked or revisited since being forced to study it while way too young to properly appreciate either the language or the comedy, so I was surprised when Cornwell sparked in me a desire to give it another try. However, unfortunately, after a while the detail becomes too much and somewhat repetitive, and it begins to feel more like a tutorial on the subject than a novel. It also slows the thing down too much – the fairly lengthy book is well over halfway before the main plot of the baddies' attempt to steal Will's plays really kicks off. Once it does though, it becomes a fine action romp. There is some violence but on the whole it remains light in tone – not nearly as graphic and gory as the only other Cornwell I've read, his Viking-world The Last Kingdom.
We also get to see the religious persecution of the time – at this period, of the Catholics by the Protestants – but again Cornwell keeps it light though hinting at the darker aspects of it off-stage, so to speak. And the ever present threat of plague is there too – a threat not just to life but to the actors' livelihoods too, since any upsurge in the plague would lead to a closure of the theatres to prevent its further spread. Cornwell lets us glimpse the crueller aspects of Elizabethan entertainment too – bear-baiting, etc. All of this together adds up to what feels like a realistic picture of life in London at that period. Cornwell opts not to attempt some kind of faux Tudor language – Richard talks in standard English but has what felt to me like reasonably authentic 16th century attitudes for the most part.
After a fairly slow start, then, I thoroughly enjoyed this entertaining venture into Shakespeare's world. I don't know whether this is a one-off or the start of a new series from the prolific Cornwell, but I'd certainly be happy to read another. 4½ stars for me, so rounded up.
NB This book was provided for review by the publisher, HarperCollins.
www.fictionfanblog.wordpress.com
January 5, 2018
When I mentioned to a literary friend that I had purchased Bernard Cornwell’s latest, he merely shrugged.
‘I’ve read about ten of Cornwell’s books,’ sneered my friend, ‘but only one story. He’s always the same.’
Well, I had to admit that the Sharpe books always feature a special mission, a pompous superior officer, a renegade Spanish priest or warlord and a major battle…but it’s quite indelicate to say so when he does it so well.
The Saxon series also can get a tad formulaic and by the end of 1356, Thomas of Hookton had actually turned into Sharpe.
Nevertheless, Bernard Cornwell is an outstanding writer who is expert at creating atmosphere and an authentic sense of time and place – which is the main attraction to historical novels – experiencing a story in a different milieu where humans act and think differently from today.
And so to Fools and Mortals. It is NOT a novel from the standard Cornwell model. BC has truly stretched himself this time for the story is not set against the backdrop to a battle. It is set against the backdrop to the first performance of A Midsummer Night’s Dream in 1595.
The main character is Richard Shakespeare – William’s younger brother – a struggling actor in the stinking and brutal London near the end of Elizabeth’s reign. Richard is a member of his brother’s theatre troupe but (despite being good) is trapped. He is too young to play a main male part but becoming too old to play a serious female part (women playing female parts was regarded as extremely offensive by the Puritan thought police of the times). Thus, he must convince his brother (who seems to despise him) to give him a serious male role or find other employment.
The opportunity to find other employment suddenly comes in the form of a rival playhouse desperate for new plays. Richard is given a massive temptation and few would blame him, given his needs and the way he has been treated, but he chooses the honourable path – and that’s when the trouble really begins.
It was a riveting read, but I did have one or two issues with it. The need for a lot of characters in the acting troupe inevitably rendered too many of them only partly drawn. BC is usually brilliant at making characters come alive and too many had little more than a name.
The ending also (to the conflict) was a little too neat and quick, but I was able to forgive that given the story can be interpreted as analogous with the comedy of Shakespeare’s play. ‘It is a nonsense,’ says Shakespeare, ‘but a nonsense that works.’
Fools and Mortals works also – a wonderful glimpse of late Elizabethan London and a classic piece of storytelling. Cornwell is the Bard of historical novel writing.
‘I’ve read about ten of Cornwell’s books,’ sneered my friend, ‘but only one story. He’s always the same.’
Well, I had to admit that the Sharpe books always feature a special mission, a pompous superior officer, a renegade Spanish priest or warlord and a major battle…but it’s quite indelicate to say so when he does it so well.
The Saxon series also can get a tad formulaic and by the end of 1356, Thomas of Hookton had actually turned into Sharpe.
Nevertheless, Bernard Cornwell is an outstanding writer who is expert at creating atmosphere and an authentic sense of time and place – which is the main attraction to historical novels – experiencing a story in a different milieu where humans act and think differently from today.
And so to Fools and Mortals. It is NOT a novel from the standard Cornwell model. BC has truly stretched himself this time for the story is not set against the backdrop to a battle. It is set against the backdrop to the first performance of A Midsummer Night’s Dream in 1595.
The main character is Richard Shakespeare – William’s younger brother – a struggling actor in the stinking and brutal London near the end of Elizabeth’s reign. Richard is a member of his brother’s theatre troupe but (despite being good) is trapped. He is too young to play a main male part but becoming too old to play a serious female part (women playing female parts was regarded as extremely offensive by the Puritan thought police of the times). Thus, he must convince his brother (who seems to despise him) to give him a serious male role or find other employment.
The opportunity to find other employment suddenly comes in the form of a rival playhouse desperate for new plays. Richard is given a massive temptation and few would blame him, given his needs and the way he has been treated, but he chooses the honourable path – and that’s when the trouble really begins.
It was a riveting read, but I did have one or two issues with it. The need for a lot of characters in the acting troupe inevitably rendered too many of them only partly drawn. BC is usually brilliant at making characters come alive and too many had little more than a name.
The ending also (to the conflict) was a little too neat and quick, but I was able to forgive that given the story can be interpreted as analogous with the comedy of Shakespeare’s play. ‘It is a nonsense,’ says Shakespeare, ‘but a nonsense that works.’
Fools and Mortals works also – a wonderful glimpse of late Elizabethan London and a classic piece of storytelling. Cornwell is the Bard of historical novel writing.
September 7, 2020
Purtroppo il libro si butta un po' via proprio sul finale. La quarta parte rovina quanto di buono fatto fino a quel momento, pare quasi che Cornwell non avesse idea di come tirar fuori Richard dai guai in cui lo aveva infilato e così arrabatta una conclusione affrettata, in cui il protagonista se la cava inspiegabilmente a buon mercato, i cattivoni svaniscono come neve al sole e tutto finisce per il meglio. Questo è, a mio modo di vedere, il tallone d'Achille di un libro che, tutto sommato, consegna al lettore quel che ci si aspetta quando si prende in mano un libro di Cornwell (nel bene e nel male). Azione, intrighi, una buona ricostruzione storica, ma anche personaggi secondari scarsamente caratterizzati e una certa ripetitività nell'esposizione (un marchio di fabbrica di Cornwell: non so quante volte avrà ripetuto "siamo attori" o "siamo commedianti"). Difetti a cui guardo con occhio clemente, però, perché quando leggo Cornwell so quello a cui andrò incontro. Lui è uno dei miei scrittori preferiti, ma è quello di quando voglio staccare la spina, di quando cerco una lettura leggera, magari a seguito di testi impegnativi. E poi stavolta ci sono anche le opere di Shakespeare (davvero protagoniste anche loro, credetemi) e naturalmente l'immancabile Nota Storica finale che mette i puntini sulle i.
Quattro stelle dunque, invece che 5, per questo che è stato un buon libro ma sarebbe potuto essere anche migliore.
Menzione finale per il titolo dell'edizione italiana. Di congiure dei fratelli Shakespeare non se ne sono viste proprio, quindi un ennesimo titolo buttato lì senza averne un'idea.
Quattro stelle dunque, invece che 5, per questo che è stato un buon libro ma sarebbe potuto essere anche migliore.
Menzione finale per il titolo dell'edizione italiana. Di congiure dei fratelli Shakespeare non se ne sono viste proprio, quindi un ennesimo titolo buttato lì senza averne un'idea.
December 5, 2017
A deviation from the norm for Bernard Cornwell.
Richard Shakespeare is an actor, and a thief, he is also the younger brother of William Shakespeare and a player with the Lord Chamberlain's Men.
Puritans are trying to close the Theatre, Richard is fed up with playing women, and someone has stolen some of Will's plays.
'Fools and Mortals' isn't a bad book. It has it's interesting points. The workings of an Elizabethean theatre company made for interesting reading. But for me, the best part was the first performance of my favourite Shakespeare comedy: A Midsummer Night's Dream.
If you are interested in Elizabethean theatre seasoned with a little mystery, then you will enjoy the book. I just found it a little slow going in parts. Though the camerarderie between Richard and the musicians is hilarious.
Richard Shakespeare is an actor, and a thief, he is also the younger brother of William Shakespeare and a player with the Lord Chamberlain's Men.
Puritans are trying to close the Theatre, Richard is fed up with playing women, and someone has stolen some of Will's plays.
'Fools and Mortals' isn't a bad book. It has it's interesting points. The workings of an Elizabethean theatre company made for interesting reading. But for me, the best part was the first performance of my favourite Shakespeare comedy: A Midsummer Night's Dream.
If you are interested in Elizabethean theatre seasoned with a little mystery, then you will enjoy the book. I just found it a little slow going in parts. Though the camerarderie between Richard and the musicians is hilarious.
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