Shakespeare's Lost Years in London, Arthur Acheson [bookreader .txt] 📗

not in a prosperous financial condition in 1591. It is apparent also that some Queen's men joined Strange's, and Pembroke's men at this time bringing some of these plays with them as properties.

In building the Theatre, in 1576, Burbage had taken his brother-in-law, one John Brayne, into partnership, agreeing to give him a half-interest upon certain terms which Brayne apparently failed to meet. Brayne, however, claimed a moiety and engaged in a lawsuit with Burbage which dragged along until his death, when his heirs continued the litigation. Giles Allen, the landlord from whom Burbage leased the land on which he had built the Theatre, evidently a somewhat sharp and grasping individual, failed to live up to the terms of his lease which he had agreed to extend, provided that Burbage expended a certain amount of money upon improvements. There was constant bickering between Allen and Burbage regarding this matter, which also eventuated in a lawsuit that was carried on by Cuthbert and Richard Burbage after their father's death in 1597. Added to these numerous irritations, came further trouble from a most unlooked-for source. In 1581, Edmund Peckham, son of Sir George Peckham, on the most shadowy and far-fetched grounds, questioned the validity of Giles Allen's title to the land he had leased to Burbage, and not only entered a legal claim upon it, but found a jury to agree with him. This suit also continued for years.

In _Burbage and Shakespeare's Stage_, which is the best account yet written of Burbage and his affairs, Mrs. Stopes evidently gives all available details regarding his legal embarrassments. Mrs. Stopes' account makes it clear that by the year 1591, James Burbage could not have amassed much wealth in the practice of his profession, though we may infer that he had enriched a number of lawyers. In the legal records examined by Mrs. Stopes, I learn that upon 10th January 1591 an attachment on the Theatre was awarded against Burbage for contempt of court on the plea of one Robert Miles, and though several attempts were made in the meantime to have the matter adjudicated, that the attachment was still in force in November 1591; there is apparently no record as to when and how the matter was finally settled and the attachment lifted. It evidently held three months later when Lord Strange's company commenced to perform under Henslowe at the Rose, or at least as late as December and January 1591-92, in which months Henslowe repaired and enlarged the Rose in anticipation of the coming of Strange's company. I have reason to believe that some settlement was made regarding the attachment upon Burbage's Theatre early in 1592, and that the Earl of Pembroke's company played there when in London from that time until we lose sight of them late in 1593. In the spring of 1594 their membership and properties were absorbed by the Lord Admiral's company and Lord Strange's company, most of the properties they had in the way of plays going to the latter.

The Rose Theatre was first erected in 1587. By the year 1592, when Lord Strange's players commenced to appear there, it evidently needed to be repaired and enlarged. Between the 7th of March and the end of April 1592, Henslowe paid out over L100 for these repairs; the work paid for having been done in the few months preceding 19th February 1592, when Lord Strange's company commenced to perform there.

Henslowe was much too careful a business man to invest the large sum of money in the enlargement and repair of the Rose Theatre, which he did at this time, without the assurance of a profitable return. When his other business transactions, as shown in his _Diary_, are considered it becomes apparent that in undertaking this expenditure he would stipulate for the use of his house by Lord Strange's men for a settled period, probably of, at least, two years, and that Edward Alleyn, who was the manager of Lord Strange's men at this time, and continued to be their manager for the next two years,--though still remaining the Lord Admiral's man,--was Henslowe's business representative in the company. Alleyn married Henslowe's stepdaughter in October, this year, and continued to be his business associate until Henslowe's death, when, through his wife, he became his heir. Lord Strange's company, under this and the later title of the Lord Chamberlain's men, continued to perform at theatres owned or operated by Henslowe, and probably also under Alleyn's management, until the spring of 1594, when it appears that they returned to Burbage and resumed performances, as in 1589-91, at the Theatre in Shoreditch in summer, and at the Crosskeys in winter.

The assumption that Shakespeare was a member of Lord Strange's company while it was with Henslowe, is based upon three things: first, the undoubted fact that his close friend and coadjutor, Richard Burbage, was one of the leading members of the company at that time; secondly, that _The First Part of Henry VI._, in an early form, was presented as a revised play by Lord Strange's men at the Rose, upon 3rd March 1592, and upon several subsequent occasions while they were with Henslowe; thirdly, an alleged reference to Shakespeare's name in Peele's _Edward I._, which was owned by the Lord Admiral's players after 1594, and presumably written for them when Shakespeare acted with the company before 1592. Let us examine these things in order.

At first sight it is a plausible inference, in view of Shakespeare's earlier, and later, connection with the Burbages, that he should continue to be associated with Richard Burbage during these two years. When the reason for the formation of Lord Strange's company is remembered, however, it becomes clear that Richard Burbage would be a member for the very reason that Shakespeare would not. The intention in the formation of this company being to secure an organisation of the best actors for the services of the Court, it is evident that Richard Burbage--who even at this early date was one of the leading actors in London--would be chosen. Shakespeare never at any time attained distinction as an actor.

The presentation of _Henry VI., Part I._, by Lord Strange's players, as a reason for Shakespeare's membership, infers that he was the author of this play, or, at least, its reviser in 1592, and that the Talbot scenes are his. This, consequently, implies that Nashe's commendatory references to these scenes were complimentary to work of Shakespeare's in 1592. It is evident that the play of _Henry VI._, acted by Lord Strange's men in March 1592, and commended by Nashe, was much the same play as _Henry VI., Part I._, included in all editions of Shakespeare. Textual criticism has long since proved, however, that this was not a new play in 1592--though marked "ne" by Henslowe--but merely a revision. Three hands are distinctly traceable in it; the unknown original author who wrote the opening lines:

"Hung be the heavens with black, yield day to night!
Comets, importing change of times and states,
Brandish your crystal tresses in the sky,
And with them scourge the bad revolting stars
That have consented unto Henry's death!"

Whoever wrote these lines, it is very palpable that Shakespeare did not. The second hand in the play was the reviser of 1592 who introduced the Talbot passages. There cannot be the slightest doubt that this was George Peele, who in 1592, and for some time before and later, was the principal producer and reviser of plays for the Lord Admiral's company. The classical allusions in the Talbot scenes, and the manner in which they are always lugged in by the ear, as though for adornment, plainly proclaim the hand of Peele, and as plainly disassociate Shakespeare from their composition. The third hand is clearly Shakespeare's. The "Temple Garden" scene has been accepted by practically all critics as unquestionably his work; it is not the work, either, of his "pupil pen." His revision was evidently not made until 1594, when the Lord Chamberlain's company brought the MS. with them as a portion of their properties, upon their return to Burbage. The references to red and white roses, as the badges of Lancaster and York, were evidently then introduced by Shakespeare in order to link together, and give dramatic continuity to, the whole historical series connected with the Wars of the Roses, upon which he had already worked, or was then working for his company. There is not a single classical allusion in the "Temple Garden" scene, while there are twenty-seven classical allusions in the whole play: eight of them being in the Talbot passages. In Shakespeare's _Richard II._--which I shall give good evidence was written within about a year of the time that _Henry VI._ was presented as a new play--there are two classical allusions. In any authentic play by Marlowe, Greene, or Peele of an equal length there will be found from forty to eighty classical allusions, besides, as a rule, a number of Latin quotations. In revising the first part of _Henry VI._ in, or after, 1594, it is evident that Shakespeare eliminated many classical allusions, and that in the early work which he did upon _The Contention_, and also in his final revision of _The Contention_, into the second and third parts of _Henry VI._, he eliminated classical allusions, reducing the average in these plays to from thirty to thirty-five. In his own acknowledged historical plays, _Richard II._, _King John_, _Richard III._, _Henry IV._, and _Henry V._, _there is not an average of six classical allusions_.

When the settled animus which Nashe, in conjunction with Greene, between 1589-92, displays against Shakespeare is better understood, the utter improbability of his referring to Shakespeare's work in a laudatory manner in the latter year shall readily be seen. When, also, the high praise which Nashe bestows upon Peele in the same publications in which he attacks Shakespeare is noted, it becomes evident that he again intends to commend Peele in his complimentary allusion to the Talbot scenes. Peele was the principal writer and reviser for Henslowe at this period, while not one of Shakespeare's plays is mentioned in his whole _Diary_.

While I believe that the reference to Shakespeare's name in _Edward I._--which was first noticed by Mr. Fleay--was actually intended by Peele, the passage in which it occurs pertains to an early form of the play, which was old when it was published in 1593. It was written by Peele for the Lord Admiral's company before their conjunction with Strange's men under Henslowe, and at the time when they acted with Lord Hunsdon's company at the Theatre in Shoreditch in summer, and at the Crosskeys in the winter. It is significant that this play was not acted by Lord Strange's men during their tenure of the Rose Theatre, and that in 1595, after they had separated from Henslowe, it was revised and presented as a new play by the Lord Admiral's company. It is quite likely that it was the property of Pembroke's company in 1592-93. The allusion to Shakespeare in this play is probably the first evidence we possess of the well-authenticated fact that as an actor he usually appeared in kingly parts. It is recorded of him that he played the part of the ghost in _Hamlet_, and his friend, John Davies, the poet, writes in 1603:

"Some say, good Will, which I in sport do sing,
Hadst thou not played some kingly parts in sport,
Thou hadst been a companion for a King."

The reference to his name by Peele in _Edward I._, in which play Shakespeare evidently took the part of