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

a proper understanding of the chronological order in which the plays were produced, and their consequent inability to synchronise the characters or action of the plays, with circumstances of Shakespeare's life, or with matters of contemporary interest, as well as to the masterly objective skill by which he disguised his intentions, in order to protect himself and his company from the stringent statutes then in force, prohibiting the presentation of matters concerning Church or State upon the stage.


CHAPTER VII

THE INCEPTION OF THE FRIENDSHIP BETWEEN SHAKESPEARE AND THE EARL OF SOUTHAMPTON

1591-1594

A few months after the publication of Greene's _A Groatsworth of Wit_, Henry Chettle issued a book entitled _Kinde Heartes Dreame_, to which he prefaced an apology for publishing Greene's attack upon Shakespeare. He writes: "I am as sorry as if the original fault had been my fault, because myselfe have seene his demeanour no lesse civill than he exelent in the qualitie he professes, besides divers of worship have reported his uprightnes of dealing, which argues his honesty, and his facetious grace in writing that approoves his art." When critically examined, these references to Shakespeare take on a somewhat greater biographical value than has usually been claimed for them. Agreeing with the assumption that Shakespeare left Stratford between 1586 and 1587,--that is, at between the ages of twenty-two and twenty-three years,--we are informed by these allusions, that by the time he had reached his twenty-eighth year he had attained such social recognition as to have enlisted in his behalf the active sympathies of "divers of worship,"--that is, men of assured social prestige and distinction,--whose protest against Greene's attack evidently induced Chettle's amends. Chettle's book was published in December 1592; just four months later, in April 1593, _Venus and Adonis_ was licensed for publication, and shortly afterwards was issued with the well-known dedication to Henry Wriothesley, Earl of Southampton. It is reasonable to assume that this poem and its dedication had been submitted in MS. to Southampton and held some time previous to the date of the application for licence to publish, and that his favour was well assured before the poem was finally let go to press. The few months intervening between Greene's attack and Chettle's apology, and the application for licence to publish, may then easily be bridged by the reading in MS. form of _Venus and Adonis_ by Southampton's friends. It is likely also that Greene's public attack upon Shakespeare led this generous and high-spirited nobleman to acquiesce in the use of his name as sponsor for the publication. The nearness of these dates and incidents gives us good grounds for believing that the Earl of Southampton was included in the number referred to by Chettle as "divers of worship." In using the expression "the qualitie he professes," Chettle plainly referred to Shakespeare's profession as an actor-manager, and of his excellence in this respect bears his own record: "myselfe," he writes, "_have seene_ his demeanour no lesse civill than he exelent in the qualitie he professes." Of Shakespeare's literary merits, however, he expresses no personal knowledge, but tells us that "divers of worship have reported his uprightnes of dealing, which argues his honesty, and his facetious grace in writing that approoves his art." Had Chettle referred to any of Shakespeare's known dramatic work he could have passed his own judgment, as in fact he does upon his civility as manager and his excellence as an actor. Having seen Shakespeare act he would also, no doubt, have heard his lines declaimed had our poet at that period produced upon the _public boards_ any of his original dramas. The term "facetious grace" might well be applied to the manner and matter of Shakespeare's lighter comedies had any of them been _publicly acted_, but would be somewhat inapt if applied to the rather stilted staginess of his early historical work. Much argument has been advanced in various attempts to prove that Shakespeare produced _Love's Labour's Lost_, _The Two Gentlemen of Verona_, _Romeo and Juliet_, and _Midsummer Nights Dream_ previous to the year 1591-92, but no particle of evidence, either external or internal, has yet been advanced in support of these assumptions; much, however, has been advanced against them. If we may accept Shakespeare's own subscribed statement as evidence, and that evidence is truthful, _Venus and Adonis_ was his first acknowledged original literary effort. In the dedication to Southampton he distinctly names it "the first heir of my invention." It is probable, then, that the "facetious grace" in writing, of which "divers of worship" had reported, referred to this poem, which had been held then for several months (as were his Sonnets for years) in MS. "among his private friends."

At the time that Chettle published his _Kinde Heartes Dreame_ Shakespeare had already produced _The Comedy of Errors_ and _King John_, and had evidently had a hand with Marlowe in the revision of _The True Tragedie of the Duke of York_. It is unlikely, however, that Chettle had witnessed a performance of _The Comedy of Errors_, which was produced primarily for private presentation. _The True Tragedie of the Duke of York_ and _The Troublesome Raigne of King John_ were both old plays by other hands, and it was for publishing Greene's attack upon Shakespeare for his share in the revision of the former, that Chettle now apologised. He would therefore not regard his revision of _The Troublesome Raigne_, if he knew of it, as original work. It is evident, then, Shakespeare's "facetious grace in writing," of which Chettle had heard, referred either to _Venus and Adonis_, or _The Comedy of Errors_, or both, neither of which were known to the public at this time.

Friendship may perhaps be too strong a term to apply to the relations that subsisted at this date between Southampton and Shakespeare, but we have good proof in Chettle's references to him late in 1592, in the dedication of _Venus and Adonis_ in 1593, and of _Lucrece_ in 1594, as well as the first _book_ of Sonnets,--which I shall later show belongs to the earlier period of their connection,--that the acquaintance between these two men, at whatever period it may have commenced, was at least in being towards the end of the year 1592. A brief outline and examination of the recorded incidents of Southampton's life in these early years may throw some new light upon the earliest stage of this acquaintance, especially when those incidents and conditions are considered _correlatively with the spirit and intention of the poems which Shakespeare wrote for him, and dedicated to him a little later_.

Thomas Wriothesley, second Earl of Southampton, and father of Shakespeare's patron, died on 4th October 1581. Henry, his only surviving son, thus became Earl of Southampton before he had attained his eighth birthday, and consequently became, and remained until his majority, a ward of the Crown. The Court of Chancery was at that period a much simpler institution than it is to-day, and Lord Burghley seems personally to have exercised the chief functions of that Court in its relation to wards in Chancery, and also to have monopolised its privileges. We may infer that this was a position by no means distasteful to that prudent minister's provident and nepotic spirit. Burghley was essentially of that type of statesmen who are better contented with actual power, and its accruing profits, than the appearance of power and the glory of its trappings. Leicester, Raleigh, and Essex might, in turn, pose their day as they willed upon the political stage so long as they confined themselves to subordinate or ornamental capacities; but whenever they attempted seriously to encroach upon the reins of power, he set himself to circumvent them with a patience and finesse that invariably wrought their undoing.

In this system of politics he had an apt pupil in his son, Sir Robert Cecil, who, viewed through the ages, while presenting a less solid figure than his father, displays a much more refined and Machiavellian craft.

The attention and care which Burghley bestowed from the beginning upon his young ward's affairs bespeak an interest within an interest when his prudent and calculating nature is borne in mind and the later incidents of his guardianship are considered.

Towards the end of 1585, at the age of twelve, Southampton became a student of St. John's College, Cambridge, from whence he graduated as M.A. about four years later, _i.e._ in June 1589. After leaving Cambridge in 1589, _he lived for over a year with his mother at Cowdray House in Sussex_. Early in this year, or possibly while Southampton was still at Cambridge, Burghley had opened negotiations with the Countess of Southampton with the object of uniting the interests and fortunes of her son with his own house, by consummating a marriage between this wealthy and promising young peer and his own granddaughter, Lady Elizabeth Vere, daughter of the Earl of Oxford. Burghley's extreme interest in the match is fully attested by a few letters that are still extant. In the Calendar State Papers we have an apologetic letter from Sir Thomas Stanhope (whose wife and daughter had recently visited Lady Southampton at Cowdray) to Lord Burghley, dated 15th July 1590, assuring him that he had never sought to procure the young Earl of Southampton in marriage for his daughter, as he knew Burghley intended marriage between him and the Lady Vere. That an actual engagement of marriage had already been entered into, we have proof in another letter dated 19th September 1590, from Anthony Brown, Viscount Montague (Southampton's maternal grandfather), to Lord Burghley. Regarding this engagement he writes, that Southampton "is not averse from it," and repeats further, that his daughter, Lady Southampton, is not aware of any alteration in her son's mind. The tone of this latter epistle does not seem to evince any great enthusiasm for the match upon the part of either Southampton or his mother; its rather diffident spirit was not lost upon Burghley, who, within a few days of its receipt, commanded the attendance of his young ward at Court. Upon 14th October 1590--that is, less than a month after Viscount Montague's letter to Burghley--we have a letter from Lady Southampton announcing her son's departure for London, and commending him to Burghley, but making no mention of the proposed marriage. _From the fact that she thanks Burghley for the "long time" he "had intrusted" her son with her, we may infer that his present departure for London was occasioned by Burghley's order, and also that the "long time"_ indicated by Lady Southampton's letter, was the interval between Southampton's leaving Cambridge in June 1589 and his present departure for London in October 1590. We are also assured by this data that Southampton had not travelled upon the Continent previous to his coming to Court. Between the time of his coming to London in October 1590 and August 1591, I find no dates in contemporary records referring to Southampton; but it appears evident that these nine months were spent at Court.

Some misgivings regarding the young Earl's desire for the match with his granddaughter seem to have arisen in Burghley's mind in March 1592, _at which time Southampton was with the English forces in France_. From this we may judge that Southampton's departure for the wars was undertaken at his own initiative and not at Burghley's suggestion. It appears likely that a lack of marital ardour inspired his martial ardour at this time, and that Burghley was conscious of his disinclination to the proposed marriage. In a letter dated 6th March 1592 (new style) Roger Manners writing to Burghley tells him he has been at North Hall with the Countess of Warwick, whom he reports as "very well inclined to the match between the Earl of Bedford and the Lady Vere." "She is desirous to know," he adds, "if your Lordship approves of it." While this letter shows that Burghley