far and few between: The Bard’s Deep Knowledge of Italy

“Shakespeare’s Guide to Italy” has a dozen chapters, each with more amazing personal discoveries proving that the great author had to have been there:

1 – Romeo and Juliet – “Devoted Love in Verona”
2 – The Two Gentlemen of Verona – part one – “Sailing to Milan”
3 - The Two Gentlemen of Verona – part two – “Milan: Arrivals and Departures”
4 – The Taming of the Shrew – “Pisa to Padua”
5 – The Merchant of Venice – part one – “Venice: the City and the Empire”
6 – The Merchant of Venice – part two – “Venice: Trouble and Trial”
7 - Othello – “Strangers and Streets, Swords and Shoes”
8 – A Midsummer Night’s Dream – “Midsummer in Sabbioneta”
9 – All’s Well That Ends Well – “France and Florence”
10 – Much Ado About Nothing – “Misfortune in Messina”
11 – The Winter’s Tale – “A Cruel Notion Resolved”
12 – The Tempest – “Island of Wind and Fire”

“If you take a map of Italy and grab ten push pins and put them in ten cities, that’s essentially Shakespeare’s Italy,” said Mark Anderson, author of Shakespeare by Another Name, in a BBC interview, adding, “That to me is quite a remarkable happenstance.”

Now, in honor of the release of Dick Roe’s masterwork, The Shakespeare Guide to Italy: Retracing the Bard’s Unknown Travels, it’s also the twenty-fourth reason on this list to believe that the Earl of Oxford wrote the Shakespeare works.

When Edward de Vere traveled through Italy at age twenty-five during 1575, he and his retinue skirted Spanish-controlled Milan before navigating by canal and a network of rivers on a 120-mile journey to Verona. His travels took him to Padua, Venice, Mantua, Pisa, Florence, Siena, Naples, Florence, Messina, Palermo and elsewhere, making his home base in Venice.

Aside from three stage works set in ancient Rome – Coriolanus, Titus Andronicus and Julius Caesar – ten of Shakespeare’s fictional plays are set in Italy: Romeo and Juliet, The Two Gentlemen of Verona, The Taming of the Shrew, The Merchant of Venice, Othello (Act One), A Midsummer Night’s Dream (adduced), All’s Well That Ends Well (also France), Much Ado About Nothing, The Winter’s Tale, and The Tempest – which opens aboard a ship in the Mediterranean between North Africa and Italy.

Verona

Only one of his plays of fiction, The Merry Wives of Windsor, is set in England, for an astounding ten-to-one ratio.

Oxfordians have often said that Edward de Vere “brought the European Renaissance back to England” when he returned in 1576 after fifteen months of travel through France, Germany and, most extensively, Italy. He became the quintessential “Italianate Englishman” wearing “new-fangled” clothes of the latest styles.

He brought richly embroidered, perfumed gloves for Queen Elizabeth, who delighted in them, and such gloves became all the rage among the great ladies of the time. And, for example, he brought back his perfumed leather jerkin (a close-fitting, sleeveless jacket) and “sweet bags” with costly washes and perfumes.

Soon enough John Lyly, who was Oxford’s personal secretary and stage manager, issued two novels about an Italian traveler – Euphues: The Anatomy of Wit (1578) and Euphues and his England (1580), the latter dedicated to Edward de Vere, who apparently supervised the writing of both books. Together they are said to comprise “the first English novel” and, yes, in the following decade the great author “Shakespeare” would demonstrate Lyly’s influence upon some of his plays.

The descriptions to be found in the Italian plays are in “challenging detail” and “nearly all their locations” can be found to this day. Whoever wrote them “had a personal interest in that country equal to the interest in his own.” The places and things in Italy to which Shakespeare alludes or which he describes “reveal themselves to be singularly unique to that one country.” His familiarity with Italy’s sites and sights – “specific details, history, geography, unique cultural aspects, places and things, practices and propensities” and so on – “is, quite simply, astonishing.”

Roe never mentions Oxford or any other Shakespearean candidate; instead he takes us right away to Verona, the setting for Romeo and Juliet, and recounts making one trip to search for sycamore. That’s right, he went to find sycamore trees, and they would have to be located in one specific spot — “just outside the western wall” as “remnants of a grove that had flourished in that one place for centuries.”

Where, underneath the grove of sycamore
That westward rooteth from the city’s side…

There are no sycamore trees in any of the known source materials for the play; and “no one has ever thought that the English genius who wrote the play could have been telling the truth: that there were such trees, growing exactly where he said in Verona.”

So our intrepid detective-explorer arrives in the old city of Verona: “My driver took me across the city, then to its edge on the Viale Cristoforo Colombo. Turning south onto the Viale Colonnello Galliano, he began to slow. This was the boulevard where, long before and rushing to the airport at Milan, I had glimpsed trees, but had no idea what kind.”

His car creeps along the Viale and then comes to a halt. Are there sycamores at the very same spot where “Shakespeare” said they were? Did this playwright, who is said to be ignorant of Italy, know this “unnoted and unimportant but literal truth” about Verona? Had he deliberately “dropped an odd little stone about a real grove of trees into the pool of his powerful drama”?

I’m sure you know the answer …