The gleam of gold, my fortunes mounting high"
At the third line Enderby realized that he was supposed to mouth those words, so he did. But it offended him that his voice should have become the voice of that now blacked out or just emerging from blackout fag. He strode quite sturdily downstage to the very edge of the apron and addressed the audience:
"A mask, a copy, a travesty. The poet turned into a motley to the view. You have heard of the A-Effekt? Alienation. I am not Shakespeare, he is not Shakespeare. We mock, we defy, we admit absurdities. You and you and you must all be punished." He had heard those lines before somewhere. Yes, Eliot, Murder in the. "Beware." He strode back upstage. The song ended, to no applause. Male voices off began to sing.
The Queen's Men
The Queen's Men
Not bread-and-beer-and-beans men
But fine men
Wine men
Music-while-we-dine men"
"By God," Enderby cried, "the players are leaving. I will leave with them. They return to London, I spoke to Dick Tarleton in the inn but today. By God, if they will have me I will be one of them." Anne ceased her cradlerocking and began to sing:
"Will o' the wisp, do not desire
To follow fame, that foolish fire"
Enderby again confided in the audience: "A lot of nonsense. This ginger-haired bednag, having nagged me to screaming, having scraped my loins dry, now tries the craft of quasi-melodic seduction. Listen to that voice. Would you be seduced by it?" And then, with great confidence, he strode off. There was applause which drowned the last lines of the song. He had, by God, got them.
In the wings he collapsed and was offered Southern Comfort and smelling salts, which they called smelling sauce. The thin girl who played Anne was on to him, ready to tear off his well-glued beard. "You bastard," she cried. "You fucked up my song." She was dragged away by ready shirtsleeved muscles. The wings were suddenly cluttered by mock-Elizabethans. Flats were wheeled in and off. Full stage lights screamed. The orchestra blared. And then there she was, divine farthingaled ass awag, down centre:
"The white man's knavery
Sold me in slavery
To an unsavoury"
Enderby was on his feet again looking down at a small boy dressed like a miniature Elizabethan adult. This boy proffered a sticky hand which Enderby vaguely shook. "No," the boy said in a profound if juvenile Midwestern accent, "you gotta hold on to it."
Of course, Hamnet his son. A property hand handed to Enderby a vague brown bundle. "That's your grip," he said.
Enderby and the lad toddled on and looked about them. London peopled mainly with prostitutes, some of them sitting sprawled, all bosom and legs anachronistically exposed, outside a door unupheld by a building. Enderby took the boy downstage and addressed the audience: "The title, incidentally, must not be misunderstood. Ass means a donkey. This child is meant to be Shakespeare's son Hamnet. His accent, you will notice, is unauthentic. Speak, child."
The boy said: "Is this London, dad?"
"Yes, my boy, this is a London apparently peopled by tibs, trulls and holy mutton. And do not call me dad. Dad is a term used only for an illegitimate father. In other words, only a bastard may use it. You, whatever you are, are not a bastard. Your mother and I were married in Trinity Church, Stratford. Ah, I wonder if that is Philip Henslowe." Some members of the audience seemed to consider all this funny. Enderby went up to an actor who was frowning over a daybook and addressed him. "You are Master Henslowe? In charge of the Rose Playhouse on the Bankside? I have a play for you."
"Ah, Jesus, will they never give up?"
It went rather well, Enderby thought, except that the small lad insisted on holding on to his hand while he was trying to gesture. He was forced to say: "Go in there, Hamnet my boy, and play with the pretty ladies." And he banged the boy's bottom thither. One way of getting him off. Unfortunately he collided with Ned Alleyn coming out, buttoning.
There was a kind of ballet with people carrying posters on sticks: TITUS ANDRONICUS; HENRY VI PART ONE; HENRY VI PART TWO – Finally there came RICHARD III. All Enderby had to do was to stand and watch and leave the work to others. But he had not to forget to note ostentatiously the passing of a message from April Elgar through her duenna to Dick Burbage. He was dragged off by a mass of exiters only to be pushed on later to find himself alone with the Dark Lady. He gulped. There was a frilled and tasselled day bed upstage. Downstage she sat combing her hair in an Elizabethan negligee. This was to be a love scene.
"Who are you, sir?"
"Madam, I noted at the play you did tender a message to Master Dick Burbage. You bade him come meet you here but be announced for discretion as Richard the Third. But, madam, I am the creator, with a little help from the historians, of that reprehensible humpback. I am William Shakespeare, madam." Enderby glanced timidly up at the flies, whose lord might launch flyshit, at the enskied bard's request, to punish the Marsyas temerity of that identification. Then he said: "Will you not like better a visit from a king maker than from a mere king?"
"What do you want of me, sir?"
"To see closer your beauty," Enderby proclaimed, "and to," declaimed, "admire it." He heard a donnish querulousness in his tones and subdued it with a not too proper gruffness. "It is a special and translunary loveliness not much seen, alack, in our pale and shivering clime that enthroned Sol disdains to visit. A sore lack, alack. But how do we define beauty? As that special property in woman, and in man too for such as are so given, that ah generates love. Seeing your beauty, I love it. And must I not love the possessor of that beauty? Ah, madam, I long to take you in mine arms. Love, aye, love, love. Love."
That was her cue for song, but Pip Wesel the MD was slow to pick it up. Only when Enderby growled the word once more, frowning at the orchestra and, while his hand was in, the audience too, did the jazzy chords of exordium thump. She sang. Enderby blinked at her, still and watching. That lower denture, damn it, felt loose. He wondered whether he should go downstage and talk to the audience in good A-Effekt manner, explain that in point of biographical fact what they were now observing, except for the song, probably truly happened, but, in fact or true truth, she played on the virginals, so called because, and there was a sonnet about it, though Shakespeare got the meaning of the term jacks wrong. But then the song ended, and he beamed as she got her due meed of applause. No doubt about it, she swung both voice and d.v.a. to remarkable effect. He forgot his line, beaming. She fed it to him.
"Do I sing to your satisfaction, sirrah?"
He could see the spit of her sibilants in the spot beam. He shook his head and said: "Not sirrah, no. That's by way of insult. Sir will do nicely. Aye, madam, you sing prettily. Can you dance as well?"
"I can dance the galliard and the high lavolta and eke the heels-in-the-air."
"I thank you for that eke, more expressive than also, however much it may be taken for a mouse stirring." By God, now it was coming. "Can you dance the dance called the Beginning of the World?"
"Nay, sir, I know it not."
"Then, madam, I will teach you." And he, kicking out the Enderby as unworthy and becoming solely, though with a loose lower denture, Shakespeare, advanced upon her, upstage as she already was and near to that day bed. He clipped her in Shakespeare's arms and did buss her rouged lips. His or Shakespeare's heart beat hard and hot. Had having and in quest to have. All was justified; this was, by God, no more than aesthetic duty. He had her on that daybed and lay upon her. For Christ's sake her occluded mouth tried to utter. He mouthed juicily the smooth brown of her wholly exposed shoulders and then, obeying Shakespeare's own Venus, Anne Hathaway really, strayed lower where the. By God, madam, I have thee, I love, I love. He was aware of the sturdy filling of his codpiece, really inside now, Mercutio, Benvolio, the codpieced lot of them. Then he heard a voice saying: