Just as a very aware court protected the players, in part because of its need for the popular pulse and battles with The City of London.As one commentator briefly said though, on Derek Jacobi’s programme of course, perhaps the most important thing is how all Shakespeare’s plays so breathe and resound with the working life and metaphors of theatre, of the fact of acting, seeming, playing, that you do not pick up as some clever or mediocre nob in the wings.But at least those celebrities set very high cultural standards and the whole of London thrilled to poets and writers, good and bad, as well as brothels, gambling dens, cockpits and bear pits.As for any claim that writing plays was , so not to be linked to an Earl, the Earl of Essex paid for the funeral of Edmund Spencer and writers processed proudly to the grave to throw in their quills.
To be fair, Henslowe protected writers sometimes with loans, but fell foul of what he thought it was only about, money.
Though the most moving elements in the programme were actors talking, through the insights of Richard II, of how we are all nothing, specks in eternity, simply a part of the mysterious pattern.
There is a great deal of evidence for the Stratford Shakespeare though, despite the difficulty of reading contemporary records and the obvious desire of a poet and playwright, unlike self trumpeting Ben Johnson, to remain forever mercurial, behind the dangerous, ever watching London scenes.
That organic connection of language is also about the sonnets and his being a poet.
But that personal relationship to language, a gift for everyone, is not the exclusive preserve of Earls of anything, and great poets and writers come from many soils.
He said, with that cheeky grin of supposed assumed knowledge, it would ruffle feathers, or something, but it only ruffles feathers because it is rubbish.