Shakespeare's Portrayal of Italian Cities: Geographical Inaccuracies and Dramatic License

Shakespeare's rich portrayal of Italian cities like Verona and Milan often intertwines reality with artistic license. This interplay between factual location and dramatic creativity has been a subject of debate among scholars for centuries. It has been suggested that Shakespeare may have employed dramatic license rather than a deep geographical understanding of Italy. However, recent evidence challenges this conventional view, offering intriguing possibilities.

Recent Debates and Scholarly Perspectives

Verona, Milan, and other northern Italian cities were interconnected by a network of canals, remnants of which persist to this day. This geographical fact is reflected in Shakespeare's works, leading some to question whether his portrayals of these locations were based on firsthand experience or artistic imagination. Scholars and researchers have proposed that Shakespeare may have fully visited many of the cities he depicted in his plays, such as Venice, Mantua, and Verona.

For example, Richard Paul Roe's book, Shakespeare in Italy, presents compelling evidence that the playwright visited these areas. Similarly, the theory that Edward de Vere, the Earl of Oxford, wrote the plays suggests he spent over a year in these locations, providing firsthand experience and local inspiration. These perspectives offer new angles on how Shakespeare's works may have been influenced by direct interaction with Italian cities.

The Role of Dramatic License in Literary Works

It is widely accepted that Shakespeare may not have had an in-depth understanding of the geography of Italy. His sources often came from literary works rather than firsthand experience. For example, in Two Gentlemen of Verona, the line, "Launce is being hurried lest he lose the tide," presents a geographical inaccuracy since Verona is miles upriver from the coast and the Mediterranean has no significant tides. However, London, which is also on a river, experiences significant tides that can affect shipping. This example illustrates Shakespeare's use of dramatic license to enhance narrative impact rather than precise geographical representation.

This creative liberty is common in literature. Other playwrights, such as Ben Jonson, used London as a model for their foreign locations. Jonson was capable and willing to do proper research for his plays. However, his work Volpone offers a more accurate portrayal of Venice compared to The Merchant of Venice and Othello. Despite this, the use of London's geographical features in foreign settings remains a well-known practice in literature.

Challenging Conventional Views

The debate often hinges on the reliability of certain sources. Ernesto Grillo and Richard Roe's books, which claim to prove Shakespeare visited Italy, are heavily biased and full of unsubstantiated claims. Their theories often rely on special pleading and factual errors. For instance, Roger Ariew's review of Roe's book, "The Shakespeare Guide to Italy," on Amazon, critiques the biased nature and unsupported claims presented. Thus, while these theoretical perspectives add to the ongoing scholarly discourse, they require careful scrutiny.

In conclusion, Shakespeare's portrayal of Italian cities reflects both the accuracy of his observations and the artistic freedom that defines his writing. Theories suggesting firsthand knowledge of Italy challenge the conventional view that Shakespeare relied on dramatic license for his descriptions. Further research and critical examination of the evidence will continue to enrich our understanding of the Bard's creative process.