Shakespeare's Lost Years in London by Arthur Acheson (audio ebook reader .txt) 📕

in about 1589_; that his work with Burbage from the time he entered his service was of a general nature, and more of a literary and dramatic than of an histrionic character, though it undoubtedly partook of both; that he worked in conjunction with both Richard Burbage and Edward Alleyn from the time he came to London in 1586-87 until 1591; that neither he nor Burbage were connected with the Queen's company, nor with the Curtain Theatre, during these years, _and that the ownership by the Burbage organisation of a number of old Queen's plays resulted from their absorption of Queen's men in 1591, when Pembroke's company was formed, and not from the supposed fact that James Burbage was at any time a member or the manager of the Queen's company_; that Robert Greene's attack upon Shakespeare as "the onely Shake-scene," in 1592, was directed at him as the manager of Pembroke's company; that the Rose Theatre was not "the scene of Shakespeare's pronounced success, both as a writer and a dramatist," _and that in fact he never was connected with that theatre, nor with Henslowe, either as a writer or an actor_; that Nashe's laudation of the Talbot scenes in _Henry VI._ was complimentary to his friend Peele, and that whatever additions Shakespeare may have made to this play were made after he rejoined the Lord Chamberlain's men in 1594; that he had no hand in the composition of _Titus Andronicus_, acted by Sussex's company and published in 1594, which is the same as that now generally included in Shakespeare's plays; and finally that his business ability and social and dramatic prestige restored Burbage's waning fortunes and enabled his new organisation to compete successfully with the superior political favour and financial power of Henslowe and Alleyn, and started it upon its prolonged career of Court and public favour.

As a clear conception of Shakespeare's theatrical affiliations between 1586 and 1594 has not hitherto been realised so a knowledge of his relations with contemporary writers during his entire career still remains nebulous. Greene's attack in 1592 in _A Groatsworth of Wit_ and Chettle's apology are the only things regarding Shakespeare's early relations with other writers that have been generally accepted by critics. Until the publication of _Shakespeare and the Rival Poet_ in 1903, nothing was known of his prolonged enmity with Chapman; while the name of Matthew Roydon was unmentioned in connection with Shakespearean affairs until 1913.[9] The revelations of the present volume regarding the enmity between Florio and Shakespeare, and Shakespeare's dramatic characterisations of Florio, have never been anticipated, though the possibility that they may have come at odds has been apprehended. The Rev. J.H. Halpin suggested in 1856 that the "H.S." attacked by Florio in his _Worlde of Wordes_ in 1590 may have been directed at Shakespeare, but advanced no evidence to support his theory, which has since been relegated by the critics to the limbo of fanciful conjecture. I was not aware of Mr. Halpin's suggestion when I reached my present conclusions.

There has hitherto been no suspicion whatever on the part of critics that anything of the nature of a continuous collusion between the scholars existed against Shakespeare in these early years, and consequently, when at a later period it was manifested in plays presented upon rival stages, it was regarded as a new development and named "The War of the Theatres"; but even this open phase of the antagonism and the respective sides taken by its participants are still misunderstood. This critical opacity is due largely to the fact that Shakespearean criticism has for many years been regarded as the province of academic specialists in literature who have neglected the social and political history of Shakespeare's day as outside their line of specialisation. It was probably Froude's recognition of this nebulous condition in Shakespearean criticism that deterred him from continuing his history to the end of the reign of Elizabeth, and prevented Gardiner beginning his where Froude's ended. These great historians realised that no adequate history of that remarkable period could be written that did not include a full consideration of Shakespeare and his influence; yet, making no pretensions themselves to Shakespearean scholarship, and finding in extant knowledge no sure foundations whereon to build, they evaded the issue, confining their investigations to the development of those phases of history in which they were more vitally interested.

Froude's intimate knowledge of the characters and atmosphere of Elizabethan social and political life, acquired by years of devoted application to an exhaustive examination of documentary records and the epistolatory correspondence of the period, convinced him that Shakespeare drew his models and his atmosphere from concurrent life. He writes: "We wonder at the grandeur, the moral majesty of some of Shakespeare's characters, so far beyond what the noblest among ourselves can imitate, and at first thought we attribute it to the genius of the poet who has outstripped nature in his creations, but we are misunderstanding the power and the meaning of poetry in attributing creativeness to it in any such sense. Shakespeare created but only as the spirit of nature created around him, working in him as it worked abroad in those among whom he lived. The men whom he draws were such men as he saw and knew; the words they utter were such as he heard in the ordinary conversations in which he joined.... At a thousand unnamed English firesides he found the living originals for his Prince Hals, his Orlandos, his Antonios, his Portias, his Isabellas. The closer personal acquaintance which we can form with the English of the age of Elizabeth, the more we are satisfied that Shakespeare's great poetry is no more than the rhythmic echo of the life which he depicts."

As this book is intended as a precursor to one shortly to be published dealing with the sonnets and the plays of the Sonnet period, the only plays here critically considered are _King John_ and _The Comedy of Errors_, which I shall argue are the only plays--now extant--written by Shakespeare before the inception of his intimacy with the Earl of Southampton, which I date, upon good evidence, in the autumn of 1591. In the former we have probably the best example of the manner in which Elizabethan playwrights dramatised contemporary affairs. In this instance Shakespeare worked from an older play which had been composed with the same intention with which he rewrote it, and as the old play had passed the censor and been for years upon the public boards, he was enabled to develop his intention more openly than even he dared to do in later years, when, owing to the influence of Lord Burghley and his son, Sir Robert Cecil, the enforcement of the statutes against the representation of matters of State upon the stage became increasingly stringent.

Though the political phases of Shakespeare's dramas become more veiled as the years pass, I unhesitatingly affirm that there is not a single play composed between the end of 1591 and the conclusion of his dramatic career that does not, in some manner, intentionally reflect either the social, literary, or political affairs of his day.

In order that the reader may approach a consideration of the rearranged sonnets with a clear perspective, and to keep the Sonnet story uninvolved by subsidiary argument, I now demonstrate not only the beginning of the acquaintance between Shakespeare and the Earl of Southampton--which has not hitherto been known--but also take a forward glance of several years in order definitely to establish the identity of John Florio as Shakespeare's original for Falstaff, Parolles, and Armado. His identity as the original for still other characters will be made apparent as this history develops in the Sonnet period.


FOOTNOTES:

[Footnote 1: Dr. Georg Brandes' _William Shakespeare: A Critical Study_, is by far the best attempt at an interpretation of Shakespeare's plays upon spiritual lines that has yet been made; but the biographical value of this excellent analysis is involved by the fact that Dr. Brandes, at the time he wrote,--now over thirty years ago,--accepted Thomas Tyler's Pembroke-Fitton theory of the sonnets, and with it the distorted chronology for the plays of the Sonnet period, which it necessarily involves.] [Footnote 2: _A Life of William Shakespeare_, by Sir Sidney Lee, 1916, p. 59.]

[Footnote 3: _Ibid._ 61.]

[Footnote 4: _A Life of William Shakespeare_, by Sir Sidney Lee, 1916, pp. 61, 55.]

[Footnote 5: "Between 1586 and 1592 we lose all trace of Shakespeare." _William Shakespeare: A Critical Study_, Georg Brandes, p. 18.]

[Footnote 6: _English Dramatic Companies, 1558-1641_, vol. i. p. 57. By John Tucker Murray.]

[Footnote 7: _Ibid._]

[Footnote 8: It is probable that previous to 1587 the Rose was an inn used for theatrical purposes.]

[Footnote 9: _Mistress Davenant, the Dark Lady of Shakespeare's Sonnets._]


CHAPTER II

THE STRATFORD DAYS

"What porridge had John Keats?" asks Browning. So may we well inquire of what blood was Shakespeare? What nice conjunction of racial strains produced this unerring judgment, this heaven-scaling imagination, this exquisite sensibility? for, however his manner of life may have developed their expression, these qualities were plainly inherent in the man.

The name Shakespeare has been found to have existed during the thirteenth, fourteenth, fifteenth, and sixteenth centuries in various parts of England, and has been most commonly encountered in and about Warwickshire. While it is spelt in many different ways, the commonest form is _Shaxper_ or _Shaxpeare_, giving the _a_ in the first syllable the same sound as in flax. Wherever Shakespeare families are found, however, they invariably show a very great preponderance of Christian names that are characteristically Norman: Richard, Gilbert, Hugh, William, John, Robert, Anthony, Henry, Thomas, Joan, Mary, Isabella, Ann, Margaret, being met with frequently. It is likely then that the widespread and persistent use of Norman Christian names by Shakespeare families denotes their Norman origin, and that this link with their past was preserved by family custom long after pride of ancestry--which first continued its use--was forgotten, as in the case of the Irish peasantry of Norman origin in Leinster--within what was formerly known as the Norman Pale--who have long forgotten their origin, but having Norman patronymics still preserve also Norman Christian names.

The etymological origin of Shakespeare's name is yet unsettled: one scholar suggests that it derives from the Anglo-Saxon, _Saexberht_. This would imply that the Anglo-Saxon prefix _saex_ has by time been transmuted into Shake, and that the suffix, _berht_ has become pear or pere. The instances in which the Anglo-Saxon _sae_ have changed into the English _sh_ are extremely rare. The modern _sh_ in English when derived from Anglo-Saxon is almost invariably _sc_ softened, or when derived from Danish or Norse _sh_, as, for instance, in the words _sceadu_ shade, _sceaft_ shaft, _sceacan_ shake, _sceal_ shall, _scamu_ shame, _skapa_ shape. I cannot find a single instance in the growth of Anglo-Saxon into English where the original _berht_ has taken on the _p_ sound and become _pear_ or _pere_. The English for _berht_ as a rule is bert, burt, or bard.

Shakespeare's sanity of judgment and spiritual self-reliance are qualities which we naturally associate with the Norse temperament; his fine sensibility and unfettered imagination strike us as much more characteristically Gallic or Celtic. It seems probable then that in his physical and spiritual composition we have a rare admixture of these related Aryan types. Physically he was not a large man, being, in fact, rather below the middle stature; his hair was strong in texture and dark reddish in colour, while his eyes were brown; his nose was large, and his lips full, but the face relieved of sensuousness by the dominant majesty of the brow. This is not descriptive of an Anglo-Saxon type: it is much more distinctly French or Norman. It is probable that the blood of the Norman ran