History in Shakespeare's England: from Caxton to Camden

Shakespeare's artistry uncannily animates the past. As one near contemporary insists, in a commendatory poem in the second edition of Shakespeare's collected plays (1632), the plays energetically present 'what story [i.e., history] coldly tells', and they even more literally enliven history in their ability 'to raise our ancient sovereigns from their hearse'. The stage makes the past present and allows its audiences vicarious emotional participation. When historical characters are represented in the theatre, 'the present age / Joys in their joy and trembles at their rage'. For the commendatory poet, this is value enough; we are 'by elaborate play / Tortured and tickled'.

Yet the representation of the past was of more serious concern to many in Shakespeare's England. History was unquestionably among the most influential forms of writing circulating among the ranks of an increasingly literate populace, and history plays were written not least to exploit in the theatre the enthusiasm for history that was evident in the bookstalls. But to understand what these history plays were (and were not) for the audiences that saw them, it is necessary to think about how the more traditional forms of history writing were understood and valued.