Eric Sams

Eric Sams (3 May 1926 – 13 September 2004) was a British musicologist and Shakespeare scholar.
Born in London, he was raised in Essex. His early brilliance in school (Westcliff High School for Boys) earned him a scholarship to Corpus Christi College, Cambridge, at the age of sixteen. His lifelong passion for puzzles and ciphers stood him in good stead in his wartime service in British Intelligence (1944–47). After the war he read Modern Languages at Cambridge (French and German), 1947–50; upon graduation he entered the Civil Service. In 1952 he married Enid Tidmarsh (died 2002), a pianist. Their elder son, Richard, is a Japanese scholar and chess master working in Tokyo; their younger son Jeremy Sams is a composer, lyricist, playwright, and theatre director.
Musicology.
In music, Sams wrote on and studied a range of subjects and genres, though his specialty was German lieder. He wrote volumes on the songs of Robert Schumann, Johannes Brahms, and Hugo Wolf. His theory of song-motifs is one of the 20th century's most important contributions to the research in the field of German song studies. From 1965 to 1980 he was a regular contributor to "The Musical Times" with essays and reviews. Most notably, he wrote on Schumann's and Brahms's ciphers and music codes (the "Clara-Theme", among others), on Elgar's Enigma and on Schubert's and Schumann's pathologies. His "New Grove" articles include Schubert and Schumann work-list, "Wolf" and Wolf work-list, "Mörike", "Hanslick" and "Musical Cryptography" (also in Grove 6). He reviewed opera performance for the "New Statesman," 1976–78 and wrote record reviews for "Gramophone" 1976–78.
Shakespeare.
In the field of Shakespeare studies, Sams specialised in the early phases of Shakespeare's career. He published over a hundred papers on the subject and wrote two books, "The Real Shakespeare: Retrieving the Early Years, 1564–1594" (New Haven & London 1995) and "The Real Shakespeare: Retrieving the Later Years, 1594–1616" (unfinished at the time of Sams' death, an edited text being published as an e-book by the Centro Studi "Eric Sams", 2008) . Building on the work of W. J. Courthope, Hardin Craig, E. B. Everitt, Seymour Pitcher and others, Sams' thesis was that "Shakespeare was an early starter who rewrote nobody's plays but his own", and that the young playwright "may have been a master of structure before he was a master of language". Far from being a plagiarist, Shakespeare found accusations of plagiarism (e.g. Greene's "beautified with our feathers") offensive (Sonnets 30, 112). Trusting the early 'biographical' sources John Aubrey and Nicholas Rowe, Sams re-assessed Shakespeare's early and 'missing' years, and argued through detailed textual analysis that Shakespeare began writing plays from the mid-1580s, in a style not now recognisably Shakespearean. In full critical editions of the two plays, he defended the attributions of the anonymous "Edmund Ironside" and "Edward III" to Shakespeare. The so-called 'Source Plays' and 'Derivative Plays' ("The Taming of a Shrew", "The Troublesome Reign of King John", etc.), and the so-called 'Bad Quartos', are (printers' errors aside) his own first versions of famous later plays. As many of the Quarto title-pages proclaim, Shakespeare was an assiduous reviser of his own work, rewriting, enlarging and emending to the end of his life. He ""struck the second heat" / upon the Muses' anvil," as Ben Jonson put it in the Folio verse tribute. Sams dissented from 20th-century orthodoxy, arguing strongly against the concept of memorial reconstruction by amnesiac actors, which he called a "wrong-headed" theory. "Authorial revision of early plays is the only rational alternative." The pirated copies referred to in the preamble to the Folio were the 1619 quartos, mostly already superseded plays, for "Shakespeare was disposed to release his own popular early version[s] for acting and printing because his own masterly revision[s] would soon be forthcoming". Sams believed that Shakespeare in his retirement was revising his oeuvre "for definitive publication". The "apprentice plays" which had been reworked were naturally omitted from the Folio. Sams also rejected 20th-century orthodoxy on Shakespeare's collaboration: with the exception of "Sir Thomas More", "Two Noble Kinsmen" and "Henry VIII", the plays were solely his, though many were only partly revised. By Sams' authorship- and dating-arguments, Shakespeare wrote not only the earliest "modern" chronicle play, "The Troublesome Reign", c. 1588, but also "the earliest known modern comedy and tragedy", "A Shrew" and the Ur-"Hamlet" (= the 1603 Quarto).
Critical reaction to Sams' 1995 book was largely favourable. "Much of what is postulated for [Shakespeare's] boyhood years seems convincing," wrote Jonathan Keates, "including a background in Catholic recusancy and a schooling interrupted by family financial crisis. Neither is the idea of the poet as a reviser of his own early work implausible, and Sams is a persuasive salesman of his big idea that so-called 'bad quartos' represent valuable first thoughts." "His unwillingness to collude with academics against actors," wrote Professor Stephen Logan, "springs from a deep respect for the past. He would sooner trust eyewitness testimony, however informal, than the authority of [the Shakespeare Establishment] consensus."