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

who took service with the Players, one, as yet, probably unconscious of literary ability or dramatic genius, but with a capacity for hard work; grown somewhat old for his years through responsibility, and with a slightly embittered and mildly cynical pose of mind in regard to life.

An early autobiographical note seems to be sounded in Falconbridge's soliloquy in _King John_, Act II. Scene ii., as follows:

"And why rail I on this commodity?
But for because he hath not woo'd me yet;
Not that I have the power to clutch my hand,
When his fair angels would salute my palm;
But for my hand, as unattempted yet,
Like a poor beggar, raileth on the rich.
Well, whiles I am a beggar, I will rail
And say there is no sin but to be rich;
And being rich, my virtue then shall be
To say there is no vice but beggary.
Since kings break faith upon commodity,
Gain, be my lord, for I will worship thee."

I have new evidence to show that this play was composed by Shakespeare in 1591, and though it was revised in about 1596, the passage quoted above, which exhibits the affected cynicism of youth, pertains to the earlier period. Aside from the leading of the natural bent of his genius it is evident that the greater pecuniary reward to be attained from the writing rather than from the acting of plays would be quickly apparent to a youth who in this spirit has left home to make London his oyster.

As research and criticism advance and we are enabled, little by little, more intimately to apprehend the personality of Shakespeare and to construct a more definite chronology of his doings, the shifting lights of evidence in the form of tradition and legend, which in the past have dazed, or misled, searchers, either disappear or take on new values. When we remember that Shakespeare, when he went to London, was about twenty-three years old, the father of a family, and the son of an ex-bailiff of the not unimportant town of Stratford, we may dismiss as a fanciful distortion the story of his holding horses at the theatre doors for stray pennies; and in the added embellishment of the story which describes this Orpheon, yet thrifty street Arab, as organising for this purpose a band of his mates who, to prove their honesty when soliciting the care of a horse, would claim to be "Shakespeare's boys," we may find a clue to the actual facts of the case. We have hitherto had no definite record of, nor recognised allusion to, Shakespeare between the year 1587, when his name is mentioned with his father's in a legal document, and the year 1592, when we have the well-known allusions of Robert Greene. Greene's references in this latter year reveal Shakespeare as having already entered upon his literary career, and at the same time, in the phrases "upstart crow beautified with our feathers" and "the onlie Shake-scene in the country," seem to point to him as an actor; the expression "_Johannes factotum_" seems still further to widen the scope of his activities and to indicate the fact that Shakespeare wrought in several capacities for his masters during his earlier theatrical career. Part of his first work for his employers, it is possible, consisted in taking charge of the stabling arrangements for the horses of the gentlemen and noblemen who frequented the Theatre. The expression "rude groome," which Greene uses in his attack upon Shakespeare, is evidently used as pointing at his work in this capacity. The story of the youths who introduced themselves as "Shakespeare's boys" seems to indicate that he was the recognised representative of the theatrical proprietors who provided accommodations for this purpose. It is to be assumed then that Shakespeare, having charge of this work, would upon occasions come personally in contact with the noblemen and gentry who frequented Burbage's Theatre, which was situated in the parish of Shoreditch, then regarded as the outskirts of the City.

Of the several records concerning this alleged incident in Shakespeare's early London experience, that which is simplest and latest in date seems to bear the greatest evidence of truth when considered in connection with established facts and coincident circumstantial evidence. Traditions preserved in the poet's own family would in essentials be likely to be closer to the truth than the bibulous gossip of Sir William Davenant, from which source all the other records of this story are derived. In the monthly magazine of February 1818 the story is told as follows: "Mr. J.M. Smith said he had often heard his mother state that Shakespeare owed his rise in life and his introduction to the theatre to his accidentally holding the horse of a gentleman at the door of the theatre on his first arriving in London; his appearance led to inquiry and subsequent patronage." The "J.M. Smith" mentioned here was the son of Mary Hart, a lineal descendant of Joan Hart, Shakespeare's sister. While it is clearly impossible that Shakespeare owed his introduction to the theatre to Southampton, there can be little doubt, in the light of data to follow, that his rise in life was much enhanced by his friendship and patronage. What truth there may be in this story is evidently a distorted reflection of Shakespeare's earlier work in the Theatre at Shoreditch and of his later acquaintance with the Earl of Southampton. We have no record, hint, or suggestion of his personal acquaintance or business connection with any noblemen or gentlemen other than Southampton, and possibly Sir Thomas Heneage, at this early period. It shall later be shown that Southampton first became identified with London and Court life in October 1590. I am led by good evidence to the belief that Shakespeare's acquaintance with this nobleman had its inception very soon after this date, and that he, and the theatrical company to which he was attached at that time, attended the Earl of Southampton at Cowdray House and at Tichfield House in August and September 1591, upon the occasion of the Queen's progress to, and sojourn at, these places.


CHAPTER III

SHAKESPEARE, THE BURBAGES, AND EDWARD ALLEYN

As we have well-attested evidence that Shakespeare was connected with the interests of James Burbage and his sons from 1594 until the end of his London career, it is usually, and reasonably, assumed that his early years in London were also spent with the Burbages; but as nothing is definitely known regarding Burbage's company affiliations between 1575, when we have record that he was still manager of Leicester's company, and 1594, when the Lord Chamberlain's company left Henslowe and Alleyn and returned to Burbage and the Theatre, knowledge of Shakespeare's company affiliations during these years is equally nebulous. Only by throwing light upon Burbage's activities during these years can we hope for light upon Shakespeare during the same period. Much of the ambiguity regarding Burbage's affairs during these years arises from the fact that critics persist in regarding him as an actor and an active member of a regular theatrical company after 1576, instead of recognising the palpable fact that he was now also a theatrical manager with a large amount of borrowed money invested in a theatre upon which it would take all of his energies to pay interest and make a profit. After 1576 Burbage's relations with companies of actors were necessarily much the same as those of Henslowe's with the companies that acted at his theatres, though it is probable that Burbage acted at times for a few years after this date. He was now growing old, and his business responsibility increasing, it is unlikely that he continued to act long after 1584, when his son Richard entered upon his histrionic career.[10]

When Shakespeare came to London in 1586-87, there were only two regular theatres,--the Theatre and the Curtain,--though there were usually several companies playing also at innyards within and about the City. The Theatre at Shoreditch, owned by James Burbage, was built by him in 1576, and was the first building designed in modern England specially for theatrical purposes. Though he had many troubles in later years with his brother-in-law and partner, John Brayne, and with his grasping landlord, Giles Allen, he retained his ownership of the Theatre until his death in 1597, and he, or his sons, maintained its management until the expiration of their lease in the same year.

In 1571 an Act of Parliament was passed making it necessary for a company of players who wished to exercise their profession without unnecessary interference from petty officials and municipal authorities, to secure a licence as the players, or servants, of a nobleman; lacking such licences members of their calling were classed before the law, and liable to be treated, as "vagabonds and sturdy beggars." Such a licence once issued to a company was regarded as a valuable corporate asset by its sharers. At times a company possessing a licence would diminish by attrition until the ownership of the licence became vested in the hands of a few of the original sharers, who, lacking either the means or ability to continue to maintain themselves as an effective independent organisation, would form a connection with a similarly depleted company and perform as one company, each of them preserving their licensed identity. In travelling in the provinces such a dual company would at times be recorded under one title, and again under the other, in the accounts of the Wardens, Chamberlains, and Mayors of the towns they visited. Occasionally, however, the names of both companies would be recorded under one payment, and when their functions differed, they seem at times to have secured separate payments though evidently working together--one company supplying the musicians and the other the actors.

If we find for a number of years in the provincial and Court records the names of two companies recorded separately, who from time to time act together as one company, and that these companies act together as one company at the same London theatre, we may infer that the dual company may be represented also at times where only the name of one of them is given in provincial or Court records. It is likely that the full numbers of such a dual company would not make prolonged provincial tours except under stress of circumstances, such as the enforced closing of the theatres in London on account of the plague; and that while the entire combination might perform at Coventry and other points within a short distance of London, they would probably divide their forces and act as separate companies upon the occasions of their regular provincial travels.

Such a combination as this between two companies in some instances lasted for years. The provincial, and even the Court records, will make mention of one company, and at times of the other, in instances where two companies had merged their activities while preserving their respective titles.[11] A lack of knowledge of this fact is responsible for most of the misapprehension that exists at present regarding Shakespeare's early theatrical affiliations.

Under whatever varying licences and titles the organisation of players to which Shakespeare attached himself upon his arrival in London may have performed in later years, all tradition, inference, and evidence point to a connection from the beginning with the interests of James Burbage and his sons.

Though other companies played at intervals at Burbage's Theatre at, and shortly following,