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

John Baliol, the Scottish King, is as follows:

"Shine with thy golden head,
_Shake_ thy _speare_, in honour of his name,
Under whose royalty thou wear'st the same."

Against the assumption that Shakespeare acted with Lord Strange's company under Alleyn and Henslowe for two years, there is some positive, and much inferential, evidence, the strongest of the latter being that between the end of 1590 and the middle of 1594, at about which latter date the Lord Chamberlain's company parted from Henslowe, Shakespeare produced,--as I shall later demonstrate,--in addition to _Venus and Adonis_, _Lucrece_, and nearly half of the whole body of his _Sonnets_, at least seven new plays, not one of which was performed at the Rose by Lord Strange's company. The remainder of the evidence against this assumption shall develop in this history.

We may infer that Henslowe in entering into business relations with Lord Strange's company would make quite as binding a contract with them as we find him making a few years later with the Lord Admiral's men. In those contracts he binds the players to play at the Rose and "at no other house publicly about London"; further stipulating that should the London theatres be closed by the authorities for any reason "then to go for the time into the country, then to return again to London."

The fact that his manager, and son-in-law, Edward Alleyn, accompanied Lord Strange's men upon their provincial tour in 1593, when, owing to the plague, the London theatres were closed by order of the Council, implies a similar understanding with this company.

The words "in any other house publicly about London" in Henslowe's contracts with players apparently infer that they retained the right of giving private and Court performances upon their own account and for their own profit. The money they received for Court performances appears to have belonged exclusively to the players, as the total amount collected by them is at times turned over to Henslowe in part payment of their corporate indebtedness to him, and credited to them in full. Had Henslowe shared in these payments his portion would have been deducted from the credits. It is evident that he was merely the financial backer of, and not a sharer in, this company.

In the apparently comprehensive list of the members of Lord Strange's company--as it existed early in 1592--which was owned by Edward Alleyn and is now preserved at Dulwich College, while Pope and Bryan, who came from Leicester's company, and Richard Burbage and others, no doubt, who came from Lord Hunsdon's company are mentioned, Shakespeare's name does not appear. There is no reason why he should not have been mentioned in this list had he been a member of the company at that time. About three years later, when Strange's men had separated from Henslowe and the Admiral's men, and returned to Burbage, Shakespeare is mentioned, with William Kempe and Richard Burbage, in the Court records as receiving payment for Court performances, from which we may infer that he was regarded as one of the leading members of, and was also a sharer in, the company at this time.

Where, then, was Shakespeare during the period of Henslowe's management? What company of players performed in the plays he produced between about the end of 1590 and the middle of 1594, which are--_The Comedy of Errors_, _Love's Labour's Lost_, _Love's Labour's Won_, _The Two Gentlemen of Verona_, _King John_, _Richard II._, _Richard III._, and _Midsummer Night's Dream_? Later on I shall advance conclusive evidence to prove that all of these plays were written in this interval, though most of them were materially revised in later years.

In order to answer these questions it will be advisable to revert to a consideration of the drastic changes which took place between the end of 1588 and the beginning of 1592, in the comparative standing, as well as in the personnel, of several of the most prominent companies of players. I have shown that early in 1589 a union took place between the leading members of Lord Strange's tumblers, the Lord Admiral's, the Lord Chamberlain's, and the Earl of Leicester's men. If an average of only three men were taken from each of these companies--forming a company of twelve players, which was then regarded as a large company--it would necessarily leave a considerable number of men free to make new connections, as three of the companies involved in the changes disappear from the records at that time. Thereafter we hear no more of Lord Strange's tumblers, nor of Lord Leicester's, nor Lord Hunsdon's players. It is not unlikely, then, that while some of the players discarded from the three companies that had gone out of existence would drift into different existing companies, that some of them would unite to form a new company. The disruption of the Queen's company in 1590-91 would also leave some men at large. As most of these men had been previously connected with well-known companies, which performed principally in London, it is likely that they would endeavour to continue as London performers instead of forming a provincial company.

That such a company for London performances was actually formed some time in 1591 is evident in the appearance of a company--hitherto unheard of for sixteen years--under the patronage of the Earl of Pembroke. Between the years 1576 and 1592 there is no mention of a company acting under this nobleman's licence in either the provincial or Court records, nor is there any mention of, or reference to, such a company in any London records.

All we know about this new company is that record of it appeared for the first time in December 1592, when it played twice before the Court; that it returned to London in the early autumn of 1593 after a disastrous tour in the provinces, being compelled to pawn a portion of its properties to pay expenses; that Marlowe wrote _Edward II._ for it in about 1593; that _The True Tragedy of the Duke of York_ was one of its properties, and that Shakespeare was connected with either the revision or the theatrical presentation of this play at the period that it belonged to Pembroke's company, _i.e._ in 1592, as he is attacked by Greene on that score at this time.

Owing to the prevalence of the plague in London in 1593, and early in 1594, the public performance of plays was prohibited. The Earl of Pembroke's company, which had failed to make its expenses travelling, and which was not allowed to play in London on account of the plague, evidently disrupted in the spring or summer of 1594; and as some of its members joined Henslowe at this time and some of the properties came to the Burbage organisation, we may infer that they were brought as properties by men who came from Pembroke's company to Burbage.

Edward Alleyn, who toured the provinces in the summer of 1593 with Lord Strange's company, and for the same reason that Pembroke's toured at this time, _i.e._ owing to the plague in London, wrote to Henslowe in September 1593, from the country, inquiring as to the whereabouts of Pembroke's company, and was told by Henslowe that they had returned to London five or six weeks before, as they could not make their charges travelling. He further informed him that he had heard that they were compelled to pawn their apparel. The fact that the fortunes of Pembroke's company should be a matter of interest to Alleyn and Henslowe appears to imply that it was a new theatrical venture of some importance, and that it probably had in its membership some of the Admiral's, Strange's, or Queen's company's old players. That a new company should play twice before the Court, in what was evidently the first or second year of its existence, speaks well for the influence of its management and for the quality of its plays and performances. After this mention of Pembroke's company in Henslowe's letter to Alleyn in September 1593, we hear nothing further concerning it as an independent company until 1597. At that time Gabriel Spencer and Humphrey Jeffes, who were evidently Pembroke's men in 1592-93, became members of, and sharers in, the Lord Admiral's company, with which they had evidently worked--though under Pembroke's licence--between 1594 and 1597.

It is now agreed by critics that the Admiral's and Chamberlain's men, who had been united under Alleyn for the past two years, divided their forces and fortunes in June 1594, or earlier. It is evident that some of Pembroke's company's plays were absorbed by the Lord Chamberlain's company, and that a few of the Pembroke men joined the Lord Admiral's company at this time. As evidence of the absorption of the plays of Pembroke's men by Lord Strange's players is the fact that between 3rd and 13th June 1594, when Strange's players acted under Henslowe for the last time, three of the seven plays they then presented,--_Hamlet_, _Andronicus_, and _The Taming of a Shrew_,--while all old plays, were new to the repertory of Strange's company presented upon Henslowe's stages, and furthermore, that all three of these plays were rewritten--or alleged to have been rewritten--by Shakespeare. At about the same time that Pembroke's company ceased to exist the Earl of Sussex's company, which had recently played for Henslowe, was also disrupted. It is evident that some of these men joined the Lord Admiral's and the Lord Chamberlain's companies also, and that in this manner the Lord Chamberlain's company secured _Andronicus_, which had lately been played by the Earl of Sussex's men as well as by Pembroke's men.

Humphrey Jeffes and Gabriel Spencer, whose names are mentioned in _The True Tragedy of the Duke of York_, which was played by Pembroke's company in 1592-93, and who, we may therefore infer, were members of Pembroke's company in those years, or else were members of the company that previously owned this play, are mentioned as playing with the Lord Admiral's company as Pembroke's men in 1597. The name of John Sinkler, who is mentioned as one of Lord Strange's men in Edward Alleyn's list, which evidently represents the company as it appeared in the first performance of _Four Plays in One_ at the Rose Theatre upon 6th March 1592, also appears with that of Gabriel Spencer and Humphrey Jeffes in _The True Tragedy of the Duke of York_. From this we may infer either that Sinkler left Strange's company and joined Pembroke's men after this date, or else that he, Spencer, and Jeffes, before 1592, were members of the company that originally owned the play. It is very evident that the originals of the three parts of _Henry VI._ were old plays composed at about the time of the Spanish Armada, and, it is generally agreed, for the Queen's company. As _The True Tragedy of the Duke of York_--in common with _Hamlet_ and _The Taming of a Shrew_--was also later revised or rewritten by Shakespeare, into the play now known as _Henry VI., Part III._, it evidently came from Pembroke's company to Lord Strange's company, along with _Hamlet_ and _The Taming of a Shrew_ in 1594. Later on I shall adduce evidence showing that _The Taming of a Shrew_ and _Hamlet_ were owned and acted by a company, or companies, associated with the Burbage interests previous to the amalgamation of 1589, and that _The True Tragedy of the Duke of York_, which was an old play in 1592, probably originally written by Greene, was revised in that year by Marlowe and Shakespeare for Pembroke's company, and that its final change into the play now known as _Henry VI., Part III._, was made by Shakespeare in, or after, 1594, when he rejoined the Lord Chamberlain's company.

Within a year of the time that Marlowe,