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This programme contains some strong language. | 0:00:01 | 0:00:04 | |
CHEERING AND APPLAUSE | 0:00:26 | 0:00:28 | |
Good evening, good evening, good evening, good evening, good evening, good evening. | 0:00:30 | 0:00:35 | |
Good even and welcome to a special Shakespearean edition of QI, | 0:00:35 | 0:00:40 | |
dedicated to and entitled The Immortal Bard. | 0:00:40 | 0:00:44 | |
Strutting and fretting their hour upon the stage tonight are The Two Gentlemen of Verona - | 0:00:44 | 0:00:50 | |
David Mitchell and Bill Bailey! | 0:00:50 | 0:00:52 | |
APPLAUSE | 0:00:52 | 0:00:54 | |
The Merry Wife of Windsor, Sue Perkins. | 0:00:59 | 0:01:02 | |
APPLAUSE | 0:01:02 | 0:01:04 | |
And Much Ado About Nothing, Alan Davies. | 0:01:07 | 0:01:10 | |
APPLAUSE | 0:01:10 | 0:01:12 | |
So let the trumpets sound. David goes... | 0:01:17 | 0:01:19 | |
TRUMPET FANFARE | 0:01:19 | 0:01:22 | |
Nice. Sue goes... | 0:01:23 | 0:01:25 | |
TRUMPET FANFARE | 0:01:25 | 0:01:28 | |
Bill goes... | 0:01:28 | 0:01:30 | |
TRUMPET FANFARE | 0:01:30 | 0:01:33 | |
And Alan goes... | 0:01:34 | 0:01:36 | |
CHEESY TRUMPET MUSIC | 0:01:37 | 0:01:39 | |
Of course he does. | 0:01:42 | 0:01:44 | |
So let's take to the stage, good gentles all. | 0:01:44 | 0:01:47 | |
When David Tennant played Hamlet at the RSC, what did Tchaikovsky play? | 0:01:47 | 0:01:52 | |
-What? -Tchaikovsky? -LAUGHTER | 0:01:52 | 0:01:55 | |
-Tchaikovsky being the composer Tchaikovsky? -Was he in the cast, Tchaikovsky? | 0:01:55 | 0:02:00 | |
-He was. -Was he? -Pyotr Ilyich? | 0:02:00 | 0:02:04 | |
Not Pyotr Ilyich Tchaikovsky, the Russian composer. Another musician called Tchaikovsky. | 0:02:04 | 0:02:10 | |
He was also a pianist, a startling, amazing pianist, most eccentric. | 0:02:10 | 0:02:14 | |
-Richard Stilgoe? -No, I've already told you his name. It was Tchaikovsky. | 0:02:14 | 0:02:20 | |
Are you saying he played Richard Stilgoe? | 0:02:20 | 0:02:23 | |
He blew into Richard Stilgoe and a noise came out the other end? | 0:02:23 | 0:02:28 | |
You're putting him in the past tense, so I'm assuming he shuffled off his mortal coil? | 0:02:28 | 0:02:33 | |
-To quote Hamlet. -That will be the only quote. That's it. I've blown all my quotes. | 0:02:33 | 0:02:38 | |
-You've done damn well. Good start. -So if he's dead... -He was dead. | 0:02:38 | 0:02:43 | |
-He's not alive? -The skull? -Yes, he played the skull. | 0:02:43 | 0:02:46 | |
-APPLAUSE -We don't have the real skull there, but that's what a skull looks like. | 0:02:46 | 0:02:52 | |
He was a very passionate Shakespearean. | 0:02:53 | 0:02:56 | |
That is the real thing. Tchaikovsky bequeathed it to the Royal Shakespeare Company, | 0:02:56 | 0:03:01 | |
asking that it be used in productions of Hamlet for the part of... Do you remember the character? | 0:03:01 | 0:03:06 | |
-Is it Yorick? -Yorick, yes. | 0:03:06 | 0:03:09 | |
"Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest..." | 0:03:09 | 0:03:15 | |
-"Wait a minute, this is Tchaikovsky! -It's not Yorick. | 0:03:15 | 0:03:18 | |
"I'll play a tune on his teeth." | 0:03:18 | 0:03:21 | |
There was a bit of trouble, health and safety issues. | 0:03:22 | 0:03:25 | |
A human tissue licence had to be ordered for him to appear on stage. | 0:03:25 | 0:03:30 | |
Did they cut his head off? He's gone, "When I die, I'd like my skull to be used by the RSC." | 0:03:30 | 0:03:35 | |
Someone's got to saw it off and rot it down. | 0:03:35 | 0:03:38 | |
The funeral directors thought it might be illegal. They had to get clearance. | 0:03:38 | 0:03:43 | |
David Tennant every day held it in his hand. Tchaikovsky would have been very pleased. | 0:03:43 | 0:03:48 | |
-There he is. -Look at that - a tramp yesterday! | 0:03:48 | 0:03:51 | |
You hope they've had to dirty it up again. | 0:03:52 | 0:03:55 | |
-Very much. -That's not just a bit of the guy still clinging... | 0:03:55 | 0:03:59 | |
There's a little face still on there he's got to wash off! | 0:03:59 | 0:04:03 | |
It's a long time since I've seen Hamlet. | 0:04:03 | 0:04:06 | |
Because it's such a well-known bit, you don't really question what happens in it. | 0:04:06 | 0:04:11 | |
It's an odd thing to do, to pick up a bloke's skull from a graveyard. | 0:04:11 | 0:04:15 | |
-It's someone he knew... -Then to go, "Alas, I knew him," | 0:04:15 | 0:04:19 | |
rather than going, "I feel a bit weird, having picked up his skull." | 0:04:19 | 0:04:23 | |
He's sort of saying, "It's ridiculous, I knew this man. I sat on his lap when I was a boy." | 0:04:23 | 0:04:28 | |
His jests "were wont to set the table on a roar". He says, "Where are your jokes now?" | 0:04:28 | 0:04:34 | |
-Not so funny now! -It is one of the great contemplations of death and mortality and it must be weirder | 0:04:34 | 0:04:40 | |
when you're doing it to a real person. | 0:04:40 | 0:04:43 | |
I presume David Tennant knew he was doing it to a chap who wanted it to be a symbol of death. | 0:04:43 | 0:04:48 | |
It'll be like I'm A Celebrity. Agents are going to put their acts down to have their skulls used... | 0:04:48 | 0:04:54 | |
"I'll get you your skull. You'll be in Shakespeare...one day!" | 0:04:54 | 0:04:58 | |
It would be awful if for your whole life you'd wanted to be an actor and it hadn't really worked out, | 0:04:58 | 0:05:04 | |
so you bequeathed your skull and it was used in a production of Hamlet, | 0:05:04 | 0:05:09 | |
then all the reviewers said, "I don't know, Yorick, it felt a bit stilted. It ruined that scene." | 0:05:09 | 0:05:15 | |
LAUGHTER | 0:05:15 | 0:05:18 | |
Name the Scottish play that Shakespeare wrote. | 0:05:18 | 0:05:20 | |
-Ah! Taggart. -Taggart! | 0:05:20 | 0:05:23 | |
LAUGHTER | 0:05:23 | 0:05:24 | |
It's not... Yeah, you see, you're trying to trick us, aren't you? | 0:05:24 | 0:05:28 | |
Your tricksy little QI. Two Gentlemen Of...Kilmarnock or something. | 0:05:28 | 0:05:33 | |
LAUGHTER | 0:05:33 | 0:05:35 | |
Demon Of Strathclyde. | 0:05:35 | 0:05:36 | |
Oh, go on, Macbeth! | 0:05:36 | 0:05:39 | |
-Yes. -Is it? | 0:05:39 | 0:05:40 | |
LAUGHTER AND APPLAUSE | 0:05:40 | 0:05:43 | |
I was expecting this... | 0:05:44 | 0:05:46 | |
-HE MIMICS KLAXON -We thought that as actors, you might say, "Never, never!" | 0:05:46 | 0:05:51 | |
Then you would have got the forfeit. | 0:05:51 | 0:05:53 | |
I'd have the forfeit. | 0:05:53 | 0:05:55 | |
Because of course, there is a tradition | 0:05:55 | 0:05:57 | |
that the very saying of the name Macbeth in a theatre is bad luck. | 0:05:57 | 0:06:01 | |
You have to sleep with ALL of your co-stars immediately. | 0:06:01 | 0:06:04 | |
Is that what you were told? | 0:06:04 | 0:06:06 | |
-Yes! Why? -How interesting. | 0:06:06 | 0:06:08 | |
What? | 0:06:08 | 0:06:10 | |
Do you know how this came about, this reputation of Macbeth | 0:06:10 | 0:06:14 | |
for being an unlucky play? | 0:06:14 | 0:06:17 | |
Is it because Macbeth was the sort of play in a company's repertoire | 0:06:17 | 0:06:21 | |
that they'd bring out when something closed suddenly? | 0:06:21 | 0:06:25 | |
Cos it was sort of short and usually went down quite well, | 0:06:25 | 0:06:28 | |
and so mention of Macbeth would imply that the current production | 0:06:28 | 0:06:31 | |
-was soon to close. -It's certainly true. | 0:06:31 | 0:06:33 | |
It is the shortest of the Tragedies, it's a banker, | 0:06:33 | 0:06:36 | |
people always go and see Macbeth, it's a popular play, um... | 0:06:36 | 0:06:39 | |
No, there is actually a really specific reason, it was a hoax. | 0:06:39 | 0:06:43 | |
A late 19th-century wit who was writing a review of Macbeth | 0:06:43 | 0:06:47 | |
just made up this story that, "This play's cursed, you know." | 0:06:47 | 0:06:49 | |
It was Max Beerbohm who made this story up entirely. | 0:06:49 | 0:06:53 | |
Although not many years later, in the 1942 production | 0:06:53 | 0:06:56 | |
-of dear Johnny Gielgud. -Dear, dear, Johnny. | 0:06:56 | 0:06:59 | |
Yes. | 0:06:59 | 0:07:00 | |
-Four people died in that production. -SUE: What?! | 0:07:00 | 0:07:03 | |
-Yes. -Is that the one where they used machine-gun fire... | 0:07:03 | 0:07:06 | |
to bring Birnam Wood to Dunsinane? | 0:07:06 | 0:07:08 | |
They certainly used searing make-up, didn't they? | 0:07:08 | 0:07:12 | |
-God, that's fantastic. -It's always good to go with an inflatable crown. | 0:07:12 | 0:07:16 | |
Yes, the two witches died, the Duncan died and the scene designer. | 0:07:16 | 0:07:21 | |
The set was then re-designed for a comedy and the principle in that died. | 0:07:21 | 0:07:25 | |
The radiant Diana Wynyard, a '30s and '40s actress you may remember, there she is. | 0:07:25 | 0:07:30 | |
She played Lady Macbeth and thought it would be more convincing | 0:07:30 | 0:07:33 | |
in the sleep walking scene to have her eyes closed. | 0:07:33 | 0:07:36 | |
-And she walked off the stage into the orchestra pit. -LAUGHTER | 0:07:36 | 0:07:40 | |
I don't know whether that's Macbeth's curse | 0:07:40 | 0:07:43 | |
or a being-a-stupid-actress curse. | 0:07:43 | 0:07:45 | |
They're all watching her going, "Just let her go." | 0:07:47 | 0:07:50 | |
It's the only way she'll learn. | 0:07:52 | 0:07:53 | |
Did she carry on going from the sort of bowels of... | 0:07:53 | 0:07:57 | |
Out damn....SPOT! | 0:07:57 | 0:08:00 | |
Then she climbed out again, apparently. | 0:08:00 | 0:08:02 | |
Doing it all through rehearsals, "I'm going to carry on." | 0:08:02 | 0:08:05 | |
There's a few things that weren't, you know, hoaxes, | 0:08:05 | 0:08:08 | |
were real practical applications, like whistling, | 0:08:08 | 0:08:12 | |
that was always imbued into... Every time I did a play, it was like, "Don't whistle backstage..." | 0:08:12 | 0:08:17 | |
You are a terrible whistler. | 0:08:17 | 0:08:18 | |
Well...maybe it's that. HE WHISTLES BROKENLY | 0:08:18 | 0:08:22 | |
-No, it's because... Wasn't it that was how they used to cue the scenery coming down? -That's right. | 0:08:22 | 0:08:26 | |
They used whistles for cues. | 0:08:26 | 0:08:28 | |
And... | 0:08:28 | 0:08:29 | |
-You could have a nasty accident. -You could, yeah, exactly. | 0:08:29 | 0:08:32 | |
Isn't it ridiculous though, that the way they got people | 0:08:32 | 0:08:35 | |
to stop whistling is to say, "It's a superstition, it's bad luck." | 0:08:35 | 0:08:38 | |
And then people go, "I won't then." People should adopt that with mobile phones. | 0:08:38 | 0:08:41 | |
You tell people, "You're in the audience of a theatre, you maybe want to turn your phone off, | 0:08:41 | 0:08:46 | |
so that if somebody rings you, it doesn't spoil it for everyone," people go, "Well... | 0:08:46 | 0:08:50 | |
"I hear that, but also I'm going to leave my phone on." | 0:08:50 | 0:08:52 | |
If you tell them it's bad luck, they'll presumably all turn it off." | 0:08:52 | 0:08:56 | |
Yeah. | 0:08:56 | 0:08:57 | |
Like a curse, like an ancient curse. Tutankhamen said before he died, | 0:08:57 | 0:09:01 | |
couldn't abide the sound of the Nokia ring tone. | 0:09:01 | 0:09:04 | |
LAUGHTER And cursed everyone. | 0:09:04 | 0:09:06 | |
HE MIMICS NOKIA RING TONE | 0:09:07 | 0:09:10 | |
I curse all of you. | 0:09:12 | 0:09:13 | |
Or if you put a... | 0:09:13 | 0:09:16 | |
There was an article in, I don't know, say The Daily Mail, | 0:09:16 | 0:09:19 | |
-suggesting that other people's disapproval was carcinogenic. -LAUGHTER | 0:09:19 | 0:09:23 | |
Yes! | 0:09:23 | 0:09:25 | |
-Very good, brilliant. -APPLAUSE | 0:09:25 | 0:09:26 | |
Brilliant. | 0:09:26 | 0:09:28 | |
Or your house price might go down slightly. | 0:09:33 | 0:09:36 | |
"A tidal wave of immigrants would suddenly invade the country," | 0:09:36 | 0:09:39 | |
says Melanie Phillips, would you turn your mobile phone off. | 0:09:39 | 0:09:42 | |
Turn your phone off or Kosovan squirrels will steal your thimbles. | 0:09:42 | 0:09:46 | |
LAUGHTER | 0:09:46 | 0:09:48 | |
I was in a theatre not long ago when a phone went off and the actor just said, | 0:09:48 | 0:09:51 | |
-"Oh, for fuck's sake!" -LAUGHTER | 0:09:51 | 0:09:53 | |
-Turned to you in the audience... -Not to me! | 0:09:53 | 0:09:57 | |
I'm glad to say on this occasion. | 0:09:57 | 0:09:59 | |
There was a time when, um... | 0:09:59 | 0:10:01 | |
Sometimes doctors are needed on stage. | 0:10:01 | 0:10:04 | |
When Ralph Richardson suddenly went up and said, | 0:10:04 | 0:10:07 | |
"Excuse me, is there a doctor in the house?" | 0:10:07 | 0:10:10 | |
And a man said, "Yes, I'm a doctor." He said, "Oh, Doctor, | 0:10:10 | 0:10:13 | |
-"isn't this an awful play?" -LAUGHTER | 0:10:13 | 0:10:15 | |
-The best one is the Pia Zadora. -Oh, the Pia Zadora. It is the greatest, do tell it. | 0:10:18 | 0:10:23 | |
Pia Zadora, when there was a production of The Diary Of Anne Frank, | 0:10:23 | 0:10:27 | |
and Pia Zadora was so bad that when the Nazis... | 0:10:27 | 0:10:30 | |
HE KNOCKS They came downstairs and somebody shouted, "She's in the attic!" | 0:10:30 | 0:10:34 | |
LAUGHTER AND APPLAUSE | 0:10:34 | 0:10:36 | |
In the attic! | 0:10:37 | 0:10:39 | |
What about Richard Harris coming on drunk? | 0:10:41 | 0:10:44 | |
And someone in the audience said, "Harris is drunk!" | 0:10:44 | 0:10:48 | |
And he stood up, cos he'd fallen down, and he said, | 0:10:48 | 0:10:50 | |
"If you think I'm drunk wait till you see O'Toole." | 0:10:50 | 0:10:53 | |
LAUGHTER | 0:10:53 | 0:10:55 | |
Peter O'Toole was in the Coach & Horses in Soho one lunchtime | 0:10:55 | 0:10:58 | |
having a drink and he made best friends with the drinker he was standing next to | 0:10:58 | 0:11:03 | |
and they getting absolutely pissed and... | 0:11:03 | 0:11:05 | |
O'Toole said, "Um, what shall we do? Let's go and catch a matinee of something." | 0:11:05 | 0:11:09 | |
So they wandered down Shaftesbury Avenue and said, | 0:11:09 | 0:11:11 | |
"Let's go here, see if it's any good." They sat down, | 0:11:11 | 0:11:14 | |
both very drunk. | 0:11:14 | 0:11:15 | |
And about ten minutes in, Peter O'Toole nudged his friend and said, "You'll like this, | 0:11:15 | 0:11:19 | |
"this is where I come on... Oh, fuck!" | 0:11:19 | 0:11:22 | |
LAUGHTER AND APPLAUSE | 0:11:22 | 0:11:24 | |
I love that. | 0:11:28 | 0:11:29 | |
-Let me get this straight, he knew he had to be somewhere... -Yeah. | 0:11:29 | 0:11:32 | |
His subconscious took him there somehow, but it all went wrong. | 0:11:32 | 0:11:36 | |
We were in Edinburgh in this production of 12 Angry Men, | 0:11:36 | 0:11:39 | |
and one of the jurors fainted on stage | 0:11:39 | 0:11:41 | |
and his eyes rolled back in his head and he went, "Ugh." | 0:11:41 | 0:11:44 | |
And his head hit the table, bang! Like that. | 0:11:44 | 0:11:46 | |
So all of us picked him up, bodily, and carried him off the stage | 0:11:46 | 0:11:50 | |
and you could see the audience going, "I don't remember a bit where one of the jurors dies." | 0:11:50 | 0:11:55 | |
LAUGHTER It was terribly... | 0:11:55 | 0:11:57 | |
It was very hot that year and somebody fainted in the audience as well, | 0:11:57 | 0:12:01 | |
and she cart-wheeled down through the stairs like this, | 0:12:01 | 0:12:04 | |
sort of stage... | 0:12:04 | 0:12:06 | |
and she went... Rag-dolled, all the way down to the front of the stage, | 0:12:06 | 0:12:09 | |
and people were going, "Huh!" Like that. | 0:12:09 | 0:12:12 | |
And she knocked over someone in a wheelchair, right? | 0:12:12 | 0:12:14 | |
And he fell out of his chair, "Ah!" Like that. | 0:12:14 | 0:12:17 | |
Then the boyfriend got up, came down, saw his girlfriend unconscious, | 0:12:17 | 0:12:21 | |
and he fainted, right? | 0:12:21 | 0:12:23 | |
So there was a pile of bodies... | 0:12:23 | 0:12:26 | |
-at the front of the stage! -How bizarre! | 0:12:26 | 0:12:29 | |
Very odd thing to faint at the sight of unconsciousness. | 0:12:29 | 0:12:33 | |
LAUGHTER | 0:12:33 | 0:12:34 | |
-Not at the sight of blood, just... -I can't bear sleeping people. | 0:12:34 | 0:12:39 | |
-Oh, my word! Yeah. -It could trigger another and another | 0:12:39 | 0:12:42 | |
and another, and then the whole world would... If people had it. | 0:12:42 | 0:12:45 | |
It would be a very low-key version of a zombie movie. | 0:12:45 | 0:12:49 | |
LAUGHTER | 0:12:49 | 0:12:50 | |
Oh, yes, Max Beerbohm it was who invented the curse of Macbeth in 1898. | 0:12:50 | 0:12:56 | |
Leonard Bernstein's musical based on Romeo And Juliet was set in New York. What was it originally called? | 0:12:56 | 0:13:04 | |
TRUMPET FANFARE | 0:13:04 | 0:13:07 | |
Was it West Side Story? | 0:13:07 | 0:13:09 | |
KLAXON SOUNDS | 0:13:09 | 0:13:11 | |
It became West Side Story, but it was originally called...? | 0:13:11 | 0:13:15 | |
-East Side Story. -Yes! -APPLAUSE | 0:13:15 | 0:13:19 | |
BILL: I was so close! | 0:13:19 | 0:13:21 | |
Originally, when they were working on it in the late '40s, | 0:13:24 | 0:13:28 | |
it was gangs of Catholics versus gangs of Jews in the Lower East Side, then five years later, | 0:13:28 | 0:13:34 | |
they decided they wanted Puerto Ricans against white gangs. | 0:13:34 | 0:13:37 | |
Catholics would just have to tap someone and they'd go, "I wish I hadn't done that. I feel awful now." | 0:13:37 | 0:13:43 | |
-It's just ten years of terrible guilt. Puerto Ricans are a bit more feisty. -They are. | 0:13:43 | 0:13:48 | |
-Let's admit that it worked. -Gay and feisty, by the look of them. | 0:13:48 | 0:13:52 | |
-The world of the musical. -Yeah. -Showgirls all! | 0:13:52 | 0:13:56 | |
And all their pipes have been airbrushed out of this photograph. | 0:13:56 | 0:14:00 | |
LAUGHTER | 0:14:00 | 0:14:02 | |
APPLAUSE | 0:14:06 | 0:14:08 | |
Oh, heavens above! | 0:14:12 | 0:14:14 | |
West Side Story may be the best and certainly the best-known musical based on a Shakespearean fable. | 0:14:14 | 0:14:21 | |
But do you know of any others? | 0:14:21 | 0:14:24 | |
-Points going... -Kiss Me, Kate. | 0:14:24 | 0:14:26 | |
-Kiss Me, Kate, yes, by Cole Porter, was based on... -The Taming Of The Shrew. -Exactly. | 0:14:26 | 0:14:32 | |
-Is Cats based on Hamlet? -No. | 0:14:32 | 0:14:35 | |
But, odd as that sounds, there is a stage musical playing in London at the moment based on Hamlet. | 0:14:35 | 0:14:42 | |
-Is it "Hamlet! The Musical"? -No. | 0:14:42 | 0:14:46 | |
There is "Hamlet! The Musical", but this is a big West End musical based on a big movie | 0:14:46 | 0:14:52 | |
-that is the story of Hamlet. -Not Spamalot? -No. | 0:14:52 | 0:14:55 | |
-It's a young prince. -Oh! -Born... -Yes. -He's not a human. | 0:14:55 | 0:15:00 | |
He's not a human? Is it ET? | 0:15:00 | 0:15:02 | |
Thank you, audience. The Lion King is based on Hamlet. | 0:15:02 | 0:15:06 | |
Did you not know? | 0:15:06 | 0:15:08 | |
At what point does Hamlet say, "Hakuna matata"? | 0:15:08 | 0:15:11 | |
LAUGHTER AND APPLAUSE | 0:15:11 | 0:15:14 | |
-What about The Tempest? What would they have made of that? -Wicked. | 0:15:14 | 0:15:18 | |
-The Perfect Storm. -LAUGHTER | 0:15:18 | 0:15:21 | |
- Speed. Speed 2. - Twister. | 0:15:24 | 0:15:26 | |
LAUGHTER Harold And Kumar Get The Munchies. | 0:15:26 | 0:15:30 | |
Prospero's Books is one, but there's a '50s classic sci-fi movie. | 0:15:32 | 0:15:36 | |
-SHOUT FROM AUDIENCE -The audience are really joining in. -Rip One Out? | 0:15:36 | 0:15:40 | |
-Forbidden Planet. -Yes, with monsters... -Or its working title, Rip One Out! | 0:15:40 | 0:15:46 | |
There was one based on The Comedy Of Errors, a musical. | 0:15:46 | 0:15:49 | |
-What happens in The Comedy Of Errors? -It has two sets of identical twins. | 0:15:49 | 0:15:53 | |
One of them's shipwrecked, who's a girl, who's a boy? I'm married. Everyone's dead! | 0:15:53 | 0:15:59 | |
-The Boys From Syracuse is the name of the musical. -Terminator...2. -No! | 0:15:59 | 0:16:05 | |
Shylock is sent back from the future to... | 0:16:05 | 0:16:08 | |
Oh, I've got my chain stuck in my ruff! | 0:16:08 | 0:16:12 | |
LAUGHTER | 0:16:12 | 0:16:14 | |
Oh, that was embarrassing. | 0:16:17 | 0:16:20 | |
-Yeah. Hmm... -It sounded like it should sound rude. | 0:16:20 | 0:16:25 | |
Then you think about it... | 0:16:25 | 0:16:27 | |
No, not really. | 0:16:27 | 0:16:30 | |
So, there we are. What do Sigmund Freud, Mark Twain, Henry James, | 0:16:30 | 0:16:35 | |
a Looney from Newcastle and the Holy Ghost have in common? | 0:16:35 | 0:16:40 | |
Mark Twain had a link, but I don't know about the others. | 0:16:40 | 0:16:44 | |
He was sceptical about Shakespeare because he thought a toff wrote it. | 0:16:44 | 0:16:48 | |
He didn't believe that a normal boy from Stratford could write properly. | 0:16:48 | 0:16:52 | |
He was a Shakespearean sceptic, as were the others. | 0:16:52 | 0:16:57 | |
Sigmund Freud also believed that and Henry James | 0:16:57 | 0:17:00 | |
and Professor Looney, that was unfortunately his name, from Newcastle | 0:17:00 | 0:17:05 | |
who wrote a book in 1920 called Shakespeare Identified. | 0:17:05 | 0:17:09 | |
This movement in the 19th century had the idea that Francis Bacon may have written Shakespeare's works, | 0:17:09 | 0:17:15 | |
particularly a woman, Delia Bacon, an American, completely insane. | 0:17:15 | 0:17:19 | |
She came over to England and wrote a 625-page book in which she didn't even mention the name Bacon, | 0:17:19 | 0:17:25 | |
then when she died, she claimed she was the Holy Spirit. | 0:17:25 | 0:17:29 | |
-SHE claimed SHE was the Holy Spirit? -Yes. | 0:17:29 | 0:17:32 | |
The Holy Spirit, if she was right, also doesn't believe Shakespeare wrote Shakespeare. | 0:17:32 | 0:17:37 | |
There were two other main candidates. | 0:17:37 | 0:17:40 | |
Hang on. TRUMPET FANFARE | 0:17:40 | 0:17:43 | |
What was it? LAUGHTER | 0:17:43 | 0:17:46 | |
-Marlowe. -Christopher Marlowe. -Christopher Marlowe is one. | 0:17:46 | 0:17:50 | |
-But the most popular one... -Earl of Oxford? -The Earl of Oxford, Edward de Vere. | 0:17:50 | 0:17:55 | |
-Is that Edward de Vere? -That's Edward de Vere. -Wow, there's a lot going on there! -There is. | 0:17:55 | 0:18:01 | |
How did he keep that hat on? | 0:18:01 | 0:18:04 | |
It's sort of Cate Blanchett with a moustache. | 0:18:05 | 0:18:08 | |
-LAUGHTER -But there are serious people. | 0:18:08 | 0:18:11 | |
Freud liked the fact that he lost his father early on like Hamlet. | 0:18:11 | 0:18:16 | |
Of course, Freud had an Oedipus Complex theory about Hamlet, so he liked that idea. | 0:18:16 | 0:18:22 | |
Looney invented a fanciful scenario because the Earl of Oxford died in 1604 | 0:18:22 | 0:18:27 | |
and Shakespeare carried on writing plays many years after that. | 0:18:27 | 0:18:31 | |
That might be the point at which to abandon the theory. | 0:18:31 | 0:18:35 | |
You'd think. Instead of which, he claimed that before dying, he'd left a whole sheaf of plays | 0:18:35 | 0:18:41 | |
and that his servant Shakespeare produced them one after the other. | 0:18:41 | 0:18:46 | |
Isn't The Tempest written four or five years after he died, six years maybe, | 0:18:46 | 0:18:51 | |
referencing stuff of the time, so after de Vere's dead? | 0:18:51 | 0:18:55 | |
-Yes, quite. -He probably just left, "Insert topical gag here." -That's right. | 0:18:55 | 0:19:01 | |
There are... Mark Rylance and Derek Jacobi, both supreme actors, | 0:19:01 | 0:19:06 | |
they believe it was the Earl of Oxford. | 0:19:06 | 0:19:08 | |
There isn't a shred of evidence. | 0:19:08 | 0:19:11 | |
It doesn't matter. On the basis that what Shakespeare means to people is "the guy that wrote those plays", | 0:19:11 | 0:19:17 | |
so if the guy that wrote those plays is a different guy, that's still, "What a great guy!" | 0:19:17 | 0:19:22 | |
-Yes. -It's not an earth-shattering conspiracy, really, is it, that perhaps it isn't him? -No. | 0:19:22 | 0:19:29 | |
Over 5,000 books on the subject, incredibly. | 0:19:29 | 0:19:33 | |
-It's extraordinary. -Yet no scrap of evidence? -Not real evidence, just speculation. | 0:19:33 | 0:19:38 | |
They say, "We know so little about Shakespeare." | 0:19:38 | 0:19:41 | |
There are very few people of the Elizabethan era about whom we know more. | 0:19:41 | 0:19:46 | |
Ben Jonson, a famous playwright, we don't know where he was born or how many children he had. | 0:19:46 | 0:19:52 | |
If other people were writing the plays, why didn't they say so at the time? | 0:19:52 | 0:19:56 | |
-Quite. -They always say, "He didn't write all that." Wouldn't it have come out? | 0:19:56 | 0:20:02 | |
If it was Ben Jonson or any of those others, jolly good luck to them, I say. | 0:20:02 | 0:20:08 | |
Was it just because he wasn't posh? | 0:20:08 | 0:20:11 | |
It's snobbery. They think he was just this kid from Warwickshire, | 0:20:11 | 0:20:15 | |
but his father was a glover which was a decent trade and he went to the grammar school almost certainly. | 0:20:15 | 0:20:21 | |
He's sort of, you'd think, exactly as far up the society as you'd expect a major writer to be. | 0:20:21 | 0:20:28 | |
-Yes. -It's not like now the best novels are written by the Duke of Westminster. | 0:20:28 | 0:20:32 | |
A very good point. | 0:20:32 | 0:20:34 | |
Those people anyway claim that he didn't write his plays, all those ones we saw, | 0:20:34 | 0:20:39 | |
but how many words did Shakespeare write? | 0:20:39 | 0:20:42 | |
SUE: Oh, that would be quite a lot. | 0:20:42 | 0:20:45 | |
How many different words? | 0:20:45 | 0:20:46 | |
Yes. Yes, well, there are any number of things here, | 0:20:46 | 0:20:49 | |
one is simply how many pieces of his handwriting do we have? | 0:20:49 | 0:20:53 | |
-There's his signature. -There is, a few times, isn't there? | 0:20:55 | 0:20:58 | |
-He never spelled his name the same twice. -No. And it's pretty wonky writing, it's got to be said. | 0:20:58 | 0:21:03 | |
-Shacks-poor. -He was probably more used to, you know, typing. | 0:21:03 | 0:21:09 | |
LAUGHTER | 0:21:09 | 0:21:10 | |
-He was on the sauce on the top one. -He was on something. | 0:21:10 | 0:21:13 | |
-That one looks as if it says "galley pot". -LAUGHTER | 0:21:13 | 0:21:17 | |
The "William" is quite good on one of them. | 0:21:17 | 0:21:19 | |
Anyway, this reinforces some people's arguments who say he got a clerk even to write his name. | 0:21:19 | 0:21:23 | |
-He couldn't even write his own name. -But could he have theoretically dictated these plays to someone else? | 0:21:23 | 0:21:30 | |
Well...it's possible. Barbara Cartland used to lay on a sofa and dictate her marvellous novels. | 0:21:30 | 0:21:34 | |
I think AA Gill, the journalist, dictates, doesn't he? | 0:21:34 | 0:21:37 | |
Because he has very severe dyslexia, | 0:21:37 | 0:21:39 | |
I think he does. | 0:21:39 | 0:21:41 | |
So there are people who do. | 0:21:41 | 0:21:43 | |
-So, he's got bad handwriting and that means he didn't write any plays. -No. | 0:21:43 | 0:21:47 | |
But it is surprising we don't have many examples of his handwriting | 0:21:47 | 0:21:51 | |
because the plays were presumably written out by other people. | 0:21:51 | 0:21:54 | |
His vocabulary - how many words do you think he used? I'm not counting repeats. "The" he used a lot. | 0:21:54 | 0:22:00 | |
-Dagger, murder, wife. -This could take us a long time. | 0:22:00 | 0:22:05 | |
-We've got to start somewhere. -You're right. | 0:22:05 | 0:22:08 | |
-5,000. -There are 20,000 words. 20,000 words. | 0:22:08 | 0:22:12 | |
How does that compare to the average vocabulary of a Briton, would we say, roughly? | 0:22:12 | 0:22:18 | |
-Four times as much. -No, half as much. -Less. | 0:22:18 | 0:22:22 | |
We're not saying Shakespeare used every word he knew in his books. | 0:22:22 | 0:22:26 | |
-He left lots out. I don't remember the word "clitoris" in any of them. -I think it's in the Second Folio. | 0:22:26 | 0:22:32 | |
It might be. It's about half out of the modern English person's vocabulary. | 0:22:32 | 0:22:37 | |
He didn't have certain words to call on like "texting" or "vajazzle". | 0:22:37 | 0:22:41 | |
On the other hand, he did have "guerdon" and "bodkin" and "fardel", which we don't use so much. | 0:22:41 | 0:22:48 | |
-Yogurt. -I don't suppose Shakespeare knew what yogurt was. -Broadband. | 0:22:48 | 0:22:53 | |
Broadband. | 0:22:53 | 0:22:54 | |
"Activia Pouring Yogurt" was a phrase you never heard him say. | 0:22:54 | 0:22:58 | |
I can't get my head round... | 0:22:58 | 0:22:59 | |
-He'd have used that if it had existed. -Yes. | 0:22:59 | 0:23:02 | |
If I were to say I couldn't get my head round Activia Pouring Yogurt, | 0:23:02 | 0:23:06 | |
it would sound peculiar, but why would we want to pour a yogurt? | 0:23:06 | 0:23:10 | |
-What you want is pouring furniture. -Ah, yes! | 0:23:10 | 0:23:12 | |
Because it's quite difficult getting furniture to move. | 0:23:12 | 0:23:15 | |
If you could pour the furniture where you wanted it, | 0:23:15 | 0:23:17 | |
-and to the extent you wanted it... -Then it sets. -Exactly. | 0:23:17 | 0:23:20 | |
If could be made out of that thing Terminator 2 is made out of. | 0:23:20 | 0:23:23 | |
-Yeah. -Yes, exactly. | 0:23:23 | 0:23:24 | |
They've got that already. Concrete. | 0:23:24 | 0:23:26 | |
Oh, yes. | 0:23:26 | 0:23:27 | |
Well, I... You try and make a piano out of concrete. | 0:23:27 | 0:23:32 | |
I will. I'll give it a bloody good go. | 0:23:32 | 0:23:34 | |
Essentially, you want spray-on wood, don't you? | 0:23:34 | 0:23:36 | |
I'm not talking about Viagra. | 0:23:36 | 0:23:38 | |
-Hey! -You could sort of go... | 0:23:38 | 0:23:40 | |
You could go, "Tssh, tssh, tssh, tssh, tssh, tssh," and have a chair. | 0:23:40 | 0:23:44 | |
The future is 3D printing, is it not? | 0:23:44 | 0:23:46 | |
-Have you seen that? -It's amazing! -Extraordinary. | 0:23:46 | 0:23:48 | |
I've seen that. | 0:23:48 | 0:23:49 | |
That's some kind of voodoo. | 0:23:49 | 0:23:51 | |
It really is phenomenal. Phenomenal. | 0:23:51 | 0:23:53 | |
So it can create a 3D object? | 0:23:53 | 0:23:55 | |
-Yes. -You put an object into a case, like that. | 0:23:55 | 0:23:58 | |
-Like a vole, so I've got a vole. -Say a vole. | 0:23:58 | 0:24:01 | |
Well, maybe not a... Yeah, a vole. | 0:24:01 | 0:24:02 | |
But you'd have to have it sedated in some way, | 0:24:02 | 0:24:06 | |
cos you wouldn't want it moving around. | 0:24:06 | 0:24:07 | |
It's been very humanely treated, it's sleeping. | 0:24:07 | 0:24:11 | |
It's sleeping and probably laminated. | 0:24:11 | 0:24:12 | |
And then you press a button and then you leave it for a few hours | 0:24:12 | 0:24:16 | |
and you come back and there's another vole! | 0:24:16 | 0:24:18 | |
That's cloning! How come that's...? | 0:24:18 | 0:24:20 | |
Lasers make calibrations of exactly every single detail of it. | 0:24:20 | 0:24:23 | |
I mean, really, really complex things can be printed. | 0:24:23 | 0:24:26 | |
What's it made of, then? | 0:24:26 | 0:24:28 | |
-It can be of different things. -Plastic. | 0:24:28 | 0:24:30 | |
-Plastics and resins and so on. -Marzipan. | 0:24:30 | 0:24:32 | |
I've seen some really complex... | 0:24:32 | 0:24:34 | |
-Marzipan?! -..things. | 0:24:34 | 0:24:35 | |
You can make a marzipan vole? Ah! The wonders of technology! | 0:24:35 | 0:24:40 | |
Thank God! After all those years of postgraduate research. | 0:24:40 | 0:24:44 | |
-Hallelujah. -And we have a marzipan vole finally. | 0:24:44 | 0:24:47 | |
Wheel, steam engine, microchip, marzipan vole. | 0:24:47 | 0:24:50 | |
It's the decline of human civilisation! | 0:24:51 | 0:24:53 | |
That's when we knew it had all gone wrong, with a Battenberg rodent. | 0:24:53 | 0:24:57 | |
Oh, well. | 0:24:57 | 0:24:58 | |
Still, there are a lot of words. | 0:24:58 | 0:25:00 | |
In The Sun, David Crystal, a well-known linguistic fellow, | 0:25:00 | 0:25:04 | |
estimated there would be about 6,000 words in any complete history of The Sun, | 0:25:04 | 0:25:09 | |
whereas the King James Bible has just 8,000. | 0:25:09 | 0:25:12 | |
The idea that we're dumbed down to a lower vocabulary may not be true. | 0:25:12 | 0:25:16 | |
Shakespeare coined over 1,000 new words, but not all caught on. | 0:25:16 | 0:25:21 | |
Here are some that didn't. See if you can put them into a sentence. | 0:25:21 | 0:25:25 | |
-Swoltery. Quatch. -I've got a swoltery quatch at the moment. | 0:25:25 | 0:25:31 | |
Already we're there, aren't we? | 0:25:32 | 0:25:35 | |
It happened when I put my kickie-wickies on. | 0:25:39 | 0:25:43 | |
I cockled me foxship! I've always been near-legged. | 0:25:43 | 0:25:46 | |
-You're a boggler in those. -I've boggled me carlot. | 0:25:46 | 0:25:49 | |
Your Foxship, what happened to cockled boggler? | 0:25:49 | 0:25:53 | |
-Carlot - that's a thing. -A sexy garage. -It's true, actually. | 0:25:53 | 0:25:58 | |
-Ahead of its time. -Way ahead. -A boggler is a very clumsy burglar. | 0:25:58 | 0:26:03 | |
A burglar that can't believe the stuff he's getting his hands on! | 0:26:05 | 0:26:10 | |
"Look at this DVD player!" | 0:26:10 | 0:26:13 | |
He used it to mean a hesitator. One who boggles. | 0:26:13 | 0:26:16 | |
I don't know if it's as in boggling the mind. | 0:26:16 | 0:26:19 | |
What is a kickie-wickie? Is it Russell Brand's football? | 0:26:19 | 0:26:23 | |
It's an affectionate term for a wife. "Ah, my dear kickie-wickie." | 0:26:23 | 0:26:28 | |
That's not an affectionate term! | 0:26:28 | 0:26:31 | |
Domestic violence was a lot more acceptable... | 0:26:31 | 0:26:33 | |
Ah, the old smashie-washie. | 0:26:33 | 0:26:37 | |
The old battery-wattery. | 0:26:37 | 0:26:39 | |
Punchy-wunchy. | 0:26:39 | 0:26:41 | |
And the quatch? Or is it a quatch? It's actually an adjective. | 0:26:41 | 0:26:45 | |
Quatch. It means to be a bit podgy. | 0:26:45 | 0:26:48 | |
-A bit quatchy? -Yeah. | 0:26:48 | 0:26:50 | |
Luckily, I'm wearing a surgical truss. | 0:26:50 | 0:26:53 | |
-Plump, shall we say? Wappened is corrupt. -Wappened. | 0:26:53 | 0:26:58 | |
That's never really caught on, but look at the ones that did. | 0:26:58 | 0:27:02 | |
Here's just a small example of words first used in Shakespeare. | 0:27:02 | 0:27:05 | |
Accessible, acutely, assembled... | 0:27:05 | 0:27:08 | |
even-handed, eyeball, Frenchwoman, hunchbacked, neglected, overpower, | 0:27:08 | 0:27:13 | |
radiant, revealing, rose-cheeked, schooldays.... | 0:27:13 | 0:27:16 | |
Frenchwoman? That's a bit of a stretch. | 0:27:16 | 0:27:19 | |
LAUGHTER | 0:27:19 | 0:27:21 | |
He invented it. | 0:27:22 | 0:27:24 | |
He invented taking the space out. | 0:27:24 | 0:27:27 | |
Yes, well done. | 0:27:27 | 0:27:29 | |
Even-handed. | 0:27:29 | 0:27:30 | |
"Zis is my wife. She's a... | 0:27:30 | 0:27:33 | |
"A thingummyjig. I don't know. What can I call her? | 0:27:33 | 0:27:37 | |
"Oh, Frenchwoman!" | 0:27:37 | 0:27:39 | |
-BRUMMIE: -"I think you'll find she's a Frenchwoman." | 0:27:39 | 0:27:42 | |
You can't be absolutely certain. They may have been in use before, | 0:27:42 | 0:27:47 | |
but he is often the first printed source we have. | 0:27:47 | 0:27:50 | |
He'd have to have a pretty good idea that people would understand him. | 0:27:50 | 0:27:55 | |
Yes, exactly. | 0:27:55 | 0:27:57 | |
Also, there are phrases he came up with, | 0:27:57 | 0:27:59 | |
and those now have come into the realm of cliche, | 0:27:59 | 0:28:02 | |
so much so that we can't imagine that they didn't exist in the English language. | 0:28:02 | 0:28:06 | |
There are very many. We have a list here - | 0:28:06 | 0:28:08 | |
"Be all and end all," | 0:28:08 | 0:28:09 | |
"laid on with a trowel," "laughing stock," | 0:28:09 | 0:28:12 | |
"more in sorrow than anger," "once more into the breach," | 0:28:12 | 0:28:15 | |
"one fell swoop," "to play fast and loose," "there's the rub..." | 0:28:15 | 0:28:19 | |
How did he say, "What the Dickens"?! | 0:28:19 | 0:28:21 | |
Dickens didn't come along for another 250 years! | 0:28:21 | 0:28:24 | |
Exactly. "A wild goose chase," that's one of his. | 0:28:24 | 0:28:26 | |
"A heart of gold," "high time." | 0:28:26 | 0:28:28 | |
"The game's up," "forever and a day," | 0:28:28 | 0:28:31 | |
"dead as a doornail," that's one of his. | 0:28:31 | 0:28:33 | |
"Foregone conclusion." And, of course, many more that aren't there. | 0:28:33 | 0:28:36 | |
"To the manor born," "cruel to be kind." | 0:28:36 | 0:28:39 | |
Basically the title of every programme we'll ever need. | 0:28:39 | 0:28:42 | |
Yes. He did give a lot of titles, didn't he? | 0:28:42 | 0:28:45 | |
If you're having trouble making up a programme title, | 0:28:45 | 0:28:48 | |
open your Shakespeare. | 0:28:48 | 0:28:49 | |
Yes, go to the Shakespeare randomiser. | 0:28:49 | 0:28:52 | |
-Oh, I've done it again. -Oh, no. LAUGHTER | 0:28:52 | 0:28:55 | |
You know... | 0:28:55 | 0:28:57 | |
This bit of ruff is not behaving. I've said that before. | 0:28:57 | 0:29:02 | |
-LAUGHTER -Oh, dear, oh, dear. | 0:29:02 | 0:29:06 | |
So there we are. Call me a swoltery boggler if you like, | 0:29:06 | 0:29:10 | |
but answer me this. | 0:29:10 | 0:29:11 | |
How did Dangerous Dan Tucker clean up Shakespeare? | 0:29:11 | 0:29:15 | |
DRAMATIC: Oh, I sense I'm falling into a pit, but I shall do it anyway. | 0:29:15 | 0:29:18 | |
I don't know why I'm speaking like that, it's the hat. | 0:29:18 | 0:29:21 | |
Did he do an abridged version? Take out the mucky bits like the boggling...? | 0:29:21 | 0:29:25 | |
KLAXON BLARES | 0:29:25 | 0:29:26 | |
Oh, no, he didn't, I'm afraid. | 0:29:26 | 0:29:28 | |
He didn't take out the rude bits. People did, as we know. | 0:29:28 | 0:29:31 | |
-Think of his name, "Dangerous Dan," what does that make you think of? -It makes me think of the Wild West. | 0:29:31 | 0:29:36 | |
Yes, stay in the Wild West. | 0:29:36 | 0:29:38 | |
What did people with names like Dangerous Dan...? | 0:29:38 | 0:29:41 | |
When they cleaned something up, it was unlikely to be a cupboard or a spare bedroom. | 0:29:41 | 0:29:45 | |
-They shot people. -Outlaws. | 0:29:45 | 0:29:46 | |
It would be a town. He cleaned up the town of Shakespeare. | 0:29:46 | 0:29:49 | |
-"Clean up this town." -There was a town called Shakespeare. | 0:29:49 | 0:29:52 | |
-There it is. It's now a ghost town. -Wow. | 0:29:52 | 0:29:54 | |
That looks like a fun way to spend a weekend(!) | 0:29:54 | 0:29:57 | |
It's in New Mexico, and it was lawless, back in the day. | 0:29:57 | 0:30:02 | |
So they sent for Dangerous Dan, who was a pretty violent sheriff. | 0:30:02 | 0:30:05 | |
Hence the "Dangerous" bit. | 0:30:05 | 0:30:07 | |
Well, quite. He really was dangerous, too. | 0:30:07 | 0:30:09 | |
He'd already been city marshal in Silver City, | 0:30:09 | 0:30:12 | |
where, as a deputy sheriff, he killed a drunken man | 0:30:12 | 0:30:14 | |
who was standing on the street, throwing rocks at people. | 0:30:14 | 0:30:17 | |
He went up and shot him. | 0:30:17 | 0:30:18 | |
So he didn't put up with bad behaviour. | 0:30:18 | 0:30:20 | |
-He was a zero tolerance sheriff. -Yeah. | 0:30:20 | 0:30:23 | |
So within the space of a few months in Shakespeare, | 0:30:23 | 0:30:25 | |
he shot dead a cattle rustler, | 0:30:25 | 0:30:27 | |
he killed a man who rode into a hotel riding a horse... | 0:30:27 | 0:30:30 | |
Oh, come on! | 0:30:30 | 0:30:31 | |
..arrested and hanged the outlaw Russian Bill Tattenbaum | 0:30:31 | 0:30:34 | |
for stealing a horse | 0:30:34 | 0:30:36 | |
and hanged Sandy King for "being a damned nuisance." | 0:30:36 | 0:30:40 | |
Thank God they can't do that any more! | 0:30:42 | 0:30:44 | |
Well, quite. He'd been "a damned nuisance." | 0:30:44 | 0:30:46 | |
There's only about 17 people who'd live in those houses. | 0:30:46 | 0:30:50 | |
Yeah, he wiped out the entire population. | 0:30:50 | 0:30:52 | |
-"No more trouble here!" -Yeah. | 0:30:52 | 0:30:55 | |
Of course, the little trap you fell into, the rewriting of Shakespeare, | 0:30:55 | 0:31:00 | |
was primarily the work of a famous couple, whose name was...? | 0:31:00 | 0:31:03 | |
Richard and Judy. | 0:31:03 | 0:31:04 | |
-The Bowdlers. -Oh, Bowdler. -The Bowdlers, indeed. | 0:31:05 | 0:31:08 | |
-Absolutely, the Bowdlers. -Thomas Bowdler. | 0:31:08 | 0:31:10 | |
Thomas and Harriet Bowdler. Let's not forget Harriet. | 0:31:10 | 0:31:13 | |
She was particularly strong with her blue pencil. | 0:31:13 | 0:31:16 | |
If she saw a word like "swoggle" or something. | 0:31:16 | 0:31:18 | |
They brought out children's editions of Shakespeare, where the bloody, nasty bits were cut out. | 0:31:18 | 0:31:23 | |
Did they give the tragedies happy endings? | 0:31:23 | 0:31:26 | |
Nahum Tate wrote a version of King Lear with a happy ending. | 0:31:26 | 0:31:29 | |
And that was very popular for over 100 years. | 0:31:29 | 0:31:32 | |
-People like happy endings. -They do, don't they? | 0:31:32 | 0:31:35 | |
I say give them what they want - big song at the end. | 0:31:35 | 0:31:38 | |
Funnily enough, they did they give them what they wanted, | 0:31:38 | 0:31:41 | |
big song at the end - even after a tragedy, on would come a comic | 0:31:41 | 0:31:44 | |
and do a jig and make a lot of jokes about the tragedy. | 0:31:44 | 0:31:47 | |
That's the way... | 0:31:47 | 0:31:48 | |
So they'd blow wind, crack your cheeks, "My mother-in-law..." | 0:31:48 | 0:31:51 | |
-Exactly. -"Don't worry, it was all pretend." | 0:31:51 | 0:31:55 | |
SHE HUMS A COMIC DITTY | 0:31:55 | 0:31:57 | |
Now, how did Shakespeare's Bottom get to Norwich? | 0:31:57 | 0:32:00 | |
Are there relics? Bits of him? | 0:32:03 | 0:32:05 | |
He had a famous comedian who played Bottom and Falstaff. | 0:32:05 | 0:32:10 | |
-Who did? -Shakespeare. And he created them for him. He was the funniest man in England. | 0:32:10 | 0:32:15 | |
And his name is sometimes put. It says Kemp instead of Bottom on the original play script | 0:32:15 | 0:32:21 | |
because it was so obviously Kemp who would play him. Will Kemp. | 0:32:21 | 0:32:25 | |
But he had a dreadful falling out with Shakespeare | 0:32:25 | 0:32:28 | |
or whoever ran the company, Burbage or somebody, | 0:32:28 | 0:32:30 | |
and he went off in a right huff. | 0:32:30 | 0:32:32 | |
But he decided as a publicity stunt to Morris dance | 0:32:32 | 0:32:35 | |
-all the way to Norwich from London. -That's unnecessary. | 0:32:35 | 0:32:40 | |
LAUGHTER | 0:32:40 | 0:32:41 | |
It took him about three weeks, but he did it over nine days | 0:32:41 | 0:32:44 | |
-and a famous phrase comes from this. -Cocking about? | 0:32:44 | 0:32:49 | |
Er, no. | 0:32:49 | 0:32:51 | |
Making a right tit of yourself? | 0:32:51 | 0:32:54 | |
Kemp's nine days wonder. It's where "a nine days wonder" comes from. | 0:32:54 | 0:32:59 | |
He just did it for publicity. | 0:32:59 | 0:33:01 | |
"I may have left Shakespeare's company, but I'm the man | 0:33:01 | 0:33:04 | |
"and they will go down now." | 0:33:04 | 0:33:06 | |
Quite the reverse happened. He went off to Italy and died in penury. | 0:33:06 | 0:33:11 | |
-His gravestone says, "Kemp. A man." -LAUGHTER | 0:33:11 | 0:33:14 | |
And after he left, the first play Shakespeare wrote was Henry V in which Falstaff dies offstage. | 0:33:14 | 0:33:20 | |
Kemp was kind of got rid of that way | 0:33:20 | 0:33:23 | |
and a new man called Armin came in and played the comedians. | 0:33:23 | 0:33:26 | |
While we're on the subject of Will Kemp and his Morris dancing, | 0:33:26 | 0:33:30 | |
what do you call a group of Morris dancers? | 0:33:30 | 0:33:33 | |
An arse. | 0:33:33 | 0:33:34 | |
-A swarm? -A swarm... | 0:33:35 | 0:33:37 | |
-An embarrassment. -Oh... | 0:33:37 | 0:33:40 | |
A plague? | 0:33:40 | 0:33:43 | |
A bell-end. | 0:33:43 | 0:33:44 | |
A bell-end! | 0:33:44 | 0:33:46 | |
-LAUGHTER -Honestly, poor old Britain. We've got one folk tradition in England | 0:33:46 | 0:33:52 | |
-and all we do is laugh at it. -It's true. | 0:33:52 | 0:33:55 | |
It really generates hostility, Morris dancing. I think... | 0:33:55 | 0:33:59 | |
-We're so mean about it. -I think we think they're up to something. | 0:33:59 | 0:34:04 | |
BILL: A perve of Morris dancers! | 0:34:04 | 0:34:07 | |
I think it's very valuable that we can point to that | 0:34:07 | 0:34:10 | |
and say, "See? It's a free country." | 0:34:10 | 0:34:13 | |
LAUGHTER They're not doing that in Afghanistan! | 0:34:13 | 0:34:17 | |
If we were going to ban anything, we'd ban that. | 0:34:17 | 0:34:22 | |
What'll happen is if this scene of all of us dressed like this now and this photograph behind us | 0:34:22 | 0:34:28 | |
is shown, we'll end up as an "And finally..." section on foreign news programmes. | 0:34:28 | 0:34:34 | |
"Les anglais... Haha!" LAUGHTER | 0:34:35 | 0:34:39 | |
It's known as a side, anyway. | 0:34:39 | 0:34:42 | |
-A side. -A group of Morris men. | 0:34:42 | 0:34:45 | |
No-one quite knows where it comes from. | 0:34:45 | 0:34:47 | |
They think it's from Moorish | 0:34:47 | 0:34:50 | |
to celebrate the expulsion of the Moors from Spain. | 0:34:50 | 0:34:55 | |
Certainly not pagan and mystical or anything. | 0:34:55 | 0:34:58 | |
It's pretty recent. 14th century is the earliest you can go back to it. | 0:34:58 | 0:35:02 | |
There are 150 sides now registered in the USA, | 0:35:02 | 0:35:05 | |
so American Morris dancing is taking off in a BIG way! | 0:35:05 | 0:35:09 | |
-That's three per state, on average. -AMERICAN: -"I've joined a bell-end!" | 0:35:09 | 0:35:13 | |
"This is what they do in Old England. | 0:35:14 | 0:35:18 | |
-"Merry England." -There's an Arctic Morris group based in Helsinki. | 0:35:18 | 0:35:22 | |
But now time to visit that undiscovered country from whose bourn no idiot returns, | 0:35:22 | 0:35:29 | |
as we bring down the curtain on general ignorance. Sound trumpets! Farewell, sour annoy! | 0:35:29 | 0:35:34 | |
For here, I hope, begins our lasting joy. Fingers on buzzers. | 0:35:34 | 0:35:38 | |
What best describes, in one word, Richard III's appearance? | 0:35:38 | 0:35:43 | |
Hunchback! KLAXON SOUNDS | 0:35:44 | 0:35:47 | |
No! | 0:35:47 | 0:35:49 | |
No, there's no evidence at all that Richard III had a hunched back. | 0:35:49 | 0:35:53 | |
It's just the black propaganda of the Tudors who succeeded him. | 0:35:53 | 0:35:58 | |
-The character in the play does. -Certainly. | 0:35:58 | 0:36:01 | |
And a sort of twisted arm. | 0:36:01 | 0:36:04 | |
A bottled spider is one of the things he's called. Hideous name. | 0:36:04 | 0:36:09 | |
It seems he was rather a decent fellow. Intelligent, kind. | 0:36:09 | 0:36:13 | |
A man called Polydore Vergil, a historian determined to paint him as black as possible, | 0:36:13 | 0:36:19 | |
described him as ugly. They associated ugliness with wickedness. | 0:36:19 | 0:36:24 | |
So while on that sort of thing, how beautiful was Cleopatra? | 0:36:24 | 0:36:29 | |
She was minging. | 0:36:29 | 0:36:32 | |
A bit weird looking, but striking? | 0:36:32 | 0:36:35 | |
-Yes, that's probably fair. -Bit of a weird nose? | 0:36:35 | 0:36:38 | |
Long nose. It seems possible she had a long, pointy nose. | 0:36:38 | 0:36:41 | |
There's no contemporary suggestion that she was particularly beautiful. | 0:36:41 | 0:36:45 | |
-She had a very beautiful voice and was charismatic. -She seemed sexy. | 0:36:45 | 0:36:50 | |
She seemed sexy, which I find is half the battle. | 0:36:50 | 0:36:53 | |
Her mouth is very small. It only extends as far as her nostril. | 0:36:54 | 0:36:59 | |
That isn't necessarily Cleopatra. | 0:36:59 | 0:37:02 | |
-No? -That's just a woman... -An artist's impression. | 0:37:02 | 0:37:06 | |
Just a woman going mad with some napkins. | 0:37:06 | 0:37:09 | |
Yeah, she's gone serviette crazy. | 0:37:09 | 0:37:11 | |
"Age cannot wither her, nor custom stale her infinite variety," | 0:37:12 | 0:37:17 | |
as Enobarbus said about her. How did Christopher Marlowe die? | 0:37:17 | 0:37:22 | |
-Well, now... -DRAMATIC FANFARE | 0:37:22 | 0:37:25 | |
Da-dum! | 0:37:25 | 0:37:26 | |
-Yes? -Let me say it so you can mock me. | 0:37:26 | 0:37:29 | |
He died in a bar brawl by being stabbed. | 0:37:29 | 0:37:32 | |
KLAXON SOUNDS | 0:37:32 | 0:37:35 | |
Oh, dear me. He was stabbed, but not in a tavern brawl. | 0:37:35 | 0:37:40 | |
It was thought so for many years, | 0:37:40 | 0:37:43 | |
but it wasn't until 1925 that the documents came to light | 0:37:43 | 0:37:47 | |
that showed he was killed at the house of a Mrs Eleanor Bull by a man called Ingram Frizer, | 0:37:47 | 0:37:54 | |
with whom he'd spent the day and argued over the bill. | 0:37:54 | 0:37:57 | |
Over a bill? That's a bit harsh. | 0:37:57 | 0:38:00 | |
-"I only had a mineral water!" -Yes, exactly. | 0:38:00 | 0:38:04 | |
-So it wasn't a tavern? -No. | 0:38:04 | 0:38:07 | |
What was the bill for, then? A restaurant? | 0:38:07 | 0:38:10 | |
-A pop-up restaurant! -They call it a tavern. | 0:38:10 | 0:38:13 | |
It was a smart restaurant, but went downhill after that stabbing. | 0:38:13 | 0:38:16 | |
-It might have been a prostitute. -Right. -A brothel. | 0:38:16 | 0:38:19 | |
SUE: So a brothel bill. | 0:38:19 | 0:38:22 | |
"I didn't have that. No." | 0:38:22 | 0:38:25 | |
To be honest, the service charge is redundant. | 0:38:25 | 0:38:29 | |
"I had one of them, two of them. | 0:38:30 | 0:38:33 | |
"I asked for that, but it never happened." | 0:38:33 | 0:38:36 | |
It was off. | 0:38:36 | 0:38:38 | |
"If we all chip in, we can afford that." | 0:38:39 | 0:38:42 | |
Why don't we just get one big one and all have a bit? | 0:38:42 | 0:38:46 | |
Oh, I don't know... Oh, no. Dear me. Anyway... | 0:38:48 | 0:38:52 | |
He was unlikely to be in a brothel. | 0:38:52 | 0:38:54 | |
He didn't trust anyone who didn't love tobacco or boys. | 0:38:54 | 0:38:57 | |
-Ah, well. -Anyway, what made Lord Byron limp? | 0:38:57 | 0:39:02 | |
LAUGHTER That's a follow-up question. | 0:39:02 | 0:39:06 | |
Item four on the brothel bill? | 0:39:06 | 0:39:09 | |
Eight hours of Morris dancing? | 0:39:10 | 0:39:13 | |
He had, from birth, a pronounced limp. | 0:39:13 | 0:39:16 | |
L-I-M-P. Pronounced "limp". | 0:39:16 | 0:39:19 | |
They're not sure if he had a club foot. | 0:39:19 | 0:39:23 | |
We know that, in fact, he didn't have a club foot. | 0:39:23 | 0:39:26 | |
It's often said that he did. That's what people have heard of. | 0:39:26 | 0:39:30 | |
He had a sort of withered leg, and you can tell from his boots. | 0:39:30 | 0:39:33 | |
He was very athletic and hated this limp, | 0:39:33 | 0:39:35 | |
but he swam the Hellespont and he boxed | 0:39:35 | 0:39:38 | |
and was very worried about his weight. | 0:39:38 | 0:39:41 | |
He was possibly an early male anorexic. | 0:39:41 | 0:39:44 | |
And he liked to spend money, did old Byron. | 0:39:44 | 0:39:47 | |
He ordered batches of two dozen at a time of white linen trousers, which he only wore once, | 0:39:47 | 0:39:52 | |
and silk handkerchiefs in batches of 100. | 0:39:52 | 0:39:55 | |
Each one was nine guineas, an average man's pay for the year. | 0:39:55 | 0:40:00 | |
Was he coining it in with the writing at this time? | 0:40:00 | 0:40:05 | |
He inherited at an early age, which he spent very fast, | 0:40:05 | 0:40:10 | |
but he was, in fact, incredibly highly paid. | 0:40:10 | 0:40:13 | |
For every canto of Don Juan, his last great masterpiece, he got thousands. | 0:40:13 | 0:40:18 | |
So he'd run out of hankies, "Oh, I'll write another canto." | 0:40:18 | 0:40:21 | |
He was hugely successful. | 0:40:21 | 0:40:23 | |
-White linen trousers? -Yes. -Sounds like something out of Miami Vice. | 0:40:23 | 0:40:29 | |
It does a bit. He had to leave England | 0:40:29 | 0:40:31 | |
because there was a scandal about him possibly having had sex with... | 0:40:31 | 0:40:35 | |
..a young... | 0:40:35 | 0:40:36 | |
BILL: ..goat. | 0:40:36 | 0:40:38 | |
LAUGHTER | 0:40:38 | 0:40:41 | |
He kept a bear at Cambridge in his rooms. | 0:40:41 | 0:40:44 | |
The Master of Trinity said, "The rules are absolutely clear. No domestic animals." | 0:40:44 | 0:40:51 | |
He said, "I assure you, Master, he's not domestic. He's entirely wild." | 0:40:51 | 0:40:56 | |
So he was allowed to keep it. | 0:40:56 | 0:40:58 | |
There was a rumour that he'd shagged his sister. | 0:40:58 | 0:41:01 | |
-I thought you were going to say the bear! -No! | 0:41:01 | 0:41:05 | |
-As far as I know... -Is that more horrific than shagging your sister? | 0:41:05 | 0:41:10 | |
-It's just different, really. -It is. | 0:41:10 | 0:41:12 | |
It's probably braver. | 0:41:12 | 0:41:14 | |
LAUGHTER | 0:41:14 | 0:41:16 | |
Lord Byron limped because of an abnormality in one leg, | 0:41:16 | 0:41:20 | |
but it wasn't a club foot. | 0:41:20 | 0:41:21 | |
Now what can the Queen do that an idiot can't? | 0:41:21 | 0:41:24 | |
By the looks of it, kill people with their own eyes. | 0:41:28 | 0:41:31 | |
-She doesn't look in the best mood. -"One tires of Morris dancing..." | 0:41:33 | 0:41:38 | |
This is something she's allowed to do, but doesn't, | 0:41:38 | 0:41:42 | |
-that an idiot is not allowed to do. -Drive? Vote? -Vote. | 0:41:42 | 0:41:45 | |
Most people think the Queen can't vote. | 0:41:45 | 0:41:47 | |
She has every right to vote, as any citizen, | 0:41:47 | 0:41:50 | |
but she's never exercised that, as far as we know. | 0:41:50 | 0:41:52 | |
But idiots are not allowed to vote. | 0:41:52 | 0:41:55 | |
And lunatics may only vote during their lucid periods. | 0:41:55 | 0:41:58 | |
LAUGHTER | 0:41:58 | 0:42:00 | |
They test them on the way in. | 0:42:00 | 0:42:03 | |
Most people think the Royals can't vote. They just choose not to. | 0:42:03 | 0:42:08 | |
Alas, alack and well away, our revels now are ended. | 0:42:08 | 0:42:12 | |
All spirits are now melted into air, into thin air, and we must consult the scores. | 0:42:12 | 0:42:18 | |
Oh, my gracious heavens. | 0:42:18 | 0:42:20 | |
I'm afraid, rather down the bottom of the list, with minus 14... | 0:42:20 | 0:42:26 | |
-Bill Bailey! -APPLAUSE | 0:42:26 | 0:42:29 | |
And four to the better with minus 10, Sue Perkins! | 0:42:32 | 0:42:36 | |
APPLAUSE | 0:42:36 | 0:42:38 | |
Second witch, with a very creditable plus 3, Alan Davies! | 0:42:43 | 0:42:48 | |
CHEERING AND APPLAUSE | 0:42:48 | 0:42:50 | |
Very good. | 0:42:50 | 0:42:52 | |
But tonight's Prince of Denmark with six points is David Mitchell! | 0:42:52 | 0:42:57 | |
CHEERING AND APPLAUSE | 0:42:57 | 0:42:59 | |
Well, it only remains for me to thank our dramatis personae - Sue, David, Bill and Alan - | 0:43:05 | 0:43:11 | |
and leave you with this perceptive thought from Robert Wilensky. | 0:43:11 | 0:43:14 | |
"We've heard that a million monkeys at a million keyboards | 0:43:14 | 0:43:17 | |
"could produce the complete works of Shakespeare, | 0:43:17 | 0:43:20 | |
"but now, thanks to the internet, we know that this is not true." | 0:43:20 | 0:43:23 | |
Good night. | 0:43:23 | 0:43:24 | |
Subtitles by Red Bee Media Ltd | 0:43:45 | 0:43:49 |