Shakespeare's Lost Years in London - Arthur Acheson (fiction book recommendations .txt) 📗

account for the fact that no plays written by Shakespeare were presented by this company while they performed at the Rose Theatre, though it is very evident, and admitted by all critics, that he composed several original plays during this interval.

As it is probable that James Burbage, through his son Richard, retained some interest in Lord Strange's company during the period that it acted under Henslowe's and Alleyn's management, the question naturally arises, Why should Lord Strange's company, which was composed largely of members of Leicester's and Hunsdon's company, both of which, affiliated with the Admiral's men, had been previously associated with the Burbage interests--why should this company, having Richard Burbage in its membership, enter into business relations with Henslowe and perform for two years at the Rose Theatre instead of playing under James Burbage at the Theatre in Shoreditch in summer, and at the Crosskeys in winter, where they formerly played?

A consideration of the business affairs of James Burbage will show that the temporary severance of his business relations with Strange's men was due to legal and financial difficulties in which he became involved at this time, when strong financial backing became necessary to establish and maintain this new company, which, I have indicated, had been formed specially for Court performances. It also appears evident that he again incurred the disfavour of Lord Burghley and the authorities at this time.

In the following chapter I analyse the reasons for the separation of Strange's company from Burbage at this time and give inceptive evidence that Shakespeare did not accompany Strange's men to Henslowe and the Rose, but that he remained with Burbage as the manager and principal writer for the Earl of Pembroke's company--a fact regarding his history which has not hitherto been suspected.


FOOTNOTES:

[Footnote 10: This interesting fact, hitherto unknown, has recently been pointed out by Mrs. C.C. Stopes, _Burbage and Shakespeare's Stage_, London, 1913.]

[Footnote 11: A critical examination of the records of the _English Dramatic Companies_, 1558-1642, collected by Mr. John Tucker Murray, convinces me that such affiliations as those mentioned above existed between Lord Hunsdon's company and the Earl of Leicester's company from 1582-83 until 1585, and between the remnant of Leicester's company,--which remained in England when their fellows went to the Continent in 1585,--the Lord Admiral's company, and the Lord Chamberlain's company from 1585 until 1589, and following a reorganisation in that year--when the Lord Chamberlain's and Leicester's companies merged with Lord Strange's company--between this new Lord Strange's company and the Lord Admiral's company until 1591, when a further reorganisation took place, the majority of Strange's and the Admiral's men going to Henslowe and the Rose, and a portion, including Shakespeare, remaining with Burbage and reorganising in this year with accretions from the now disrupting Queen's company, including Gabriel Spencer and Humphrey Jeffes, as the Earl of Pembroke's company; John Sinkler, and possibly others from the Queen's company, evidently joined the Strange-Admiral's men at the same time. The mention of the names of these three men--two of them Pembroke's men and one a Strange's man after 1592--in the stage directions of _The True Tragedy of the Duke of York_, can be accounted for only by the probable fact that all three were members of the company that originally owned the play, and that this was the Queen's company is generally conceded by critics.

In order to restore their own acting strength the depleted Queen's company appears now to have formed similar affiliations with the Earl of Sussex's company, continuing the connection until 1594. In this year Strange's men (now the Lord Chamberlain's men) returned to Burbage while the Admiral's portion of the combination stayed with Henslowe as the Lord Admiral's company. These two companies now restored their full numbers by taking on men from the Earl of Pembroke's and the Earl of Sussex's companies; both of which now cease to work as independent companies, though the portion of Pembroke's men that returned to Henslowe, including Spencer and Jeffes, appear to have retained their own licensed identity until 1597, when several of them definitely joined Henslowe as Admiral men. Some Pembroke's and Sussex's men, not taken by Burbage or Henslowe in 1594, evidently joined the Queen's company at that time. Henslowe financed his brother Francis Henslowe in the purchase of a share in the Queen's company at about this time.]

[Footnote 12: _Queen Elizabeth and Her Times_, by Thomas Wright, 1838.]

[Footnote 13: Sir Sidney Lee, who as a rule follows Halliwell-Phillipps implicitly, in _A Life of William Shakespeare_, p. 59, writes: "James Burbage, in spite of pecuniary embarrassments, remained manager and owner of the Theatre for twenty-one years"; but in a footnote on p. 52, writes: "During 1584 an unnamed person, vaguely described as 'the owner of the Theatre,' claimed that he was under Lord Hunsdon's protection; the reference is probably to one John Hyde, to whom the Theatre was mortgaged." There is surely nothing vague in the expression "owner of the Theatre," especially when we remember that it was used by an important legal functionary in one of his weekly reports to Lord Treasurer Burghley. Recorder Fleetwood was a very exact and legal-minded official, and in using the term "the owner" he undoubtedly meant the owner and, it may be implied from the context, also the manager. Burbage was clearly manager and owner of the Theatre at this period.]

[Footnote 14: This Browne was in all probability the notorious Ned Browne of whom Robert Greene wrote in 1592, _The Blacke Bookes Messenger_, "Laying open the life and death of Ned Browne one of the worst cutpurses, crosbiters, and conycatchers that ever lived in England. Herein he tells verie pleasantly in his owne person such strange pranks and monstrous villanies by him and his consorts performed as the like was yet never heard of in any of the former bookes of conycatching, etc. By R.G. Printed at London by John Danter for Thomas Nelson, dwelling in Silver Street, neere to the sign of the Red Crosse, 1592, Quarto." Fleetwood writes later of Browne: "This Browne is a common cousener, a thief and a horse stealer and colloureth all his doings here about this town with a sute that he hath in the lawe against a brother of his in Staffordshire. He resteth now in Newgate."]

[Footnote 15: _English Dramatic Companies_, by John Tucker Murray, vol. i. p. 201.]

[Footnote 16: That Tarleton was a member of the Queen's company in 1588 is shown by a reference in his will, which is dated in this year, to "my fellow, William Johnson."]

[Footnote 17: Previous to the affiliations between Strange's tumblers and the Lord Admiral's company they seem to have maintained intermittent relations with the Queen's company, and are sometimes mentioned as the Queen's tumblers.]

[Footnote 18: _English Dramatic Companies_, 1558-1642, p. 43, by John Tucker Murray.]


CHAPTER IV

SHAKESPEARE AND THE EARL OF PEMBROKE'S COMPANY

Almost from the time he first began to operate the Shoreditch Theatre in 1576, until his death in 1597, James Burbage had trouble from one source or another regarding his venture. Both the Theatre, and the Curtain at Shoreditch, seem to have been particularly obnoxious to the puritanical element among the local authorities, who made numerous attempts to have both theatres suppressed. There were long intervals during the term of Burbage's lease of the Theatre when, owing to various causes, both the Theatre and the Curtain were closed. Among the causes were--the prevalence of the plague, alleged rioting, and the performance of plays which infringed the law prohibiting the presentation of matters of Church and State upon the stage. Burbage's Theatre came into disfavour with the authorities in 1589 owing to the performance there of plays relating to the Martin Marprelate controversy; and that it was the combined Strange's and Admiral's company that was concerned in these performances, and not the Queen's, as is usually supposed, is evident from the fact that in November, when they moved to their winter quarters in the City at the Crosskeys, the Lord Mayor, John Hart, under instructions from Lord Burghley, issued orders prohibiting them from performing in the City. It is not unlikely that their connection with the Martin Marprelate affair earlier in the year at the Theatre, and their deliberate defiance of the Mayor's orders in performing at the Crosskeys on the afternoon of the day the prohibition was issued, delayed the full measure of Court favour presaged for them by their recent drastic--and evidently officially encouraged--reorganisation. When they performed at Court in the Christmas seasons of 1589-90 and 1590-91, they did so as the Lord Admiral's men; and in the latter instance, while the Acts of the Privy Council credit the performance to the Admiral's, the Pipe Rolls assign it to Strange's men.[19] Seeing that the Admiral's men had submitted dutifully to the Mayor's orders, and that Lord Strange's men--two of whom had been committed to the Counter for their contempt--were again called before the Mayor and forbidden to play, the company's reason for performing at Court at this period as the Lord Admiral's men is plainly apparent. It is not unlikely that their transfer to Henslowe's financial management became necessary because of Burbage's continued disfavour with Lord Burghley and the City authorities, as well as his financial inability adequately to provide for the needs of the new Court company, in 1591. In the defiance of Burghley's and the Mayor's orders by the Burbage portion of the company, and the subservience of the Alleyn element at this time, is foreshadowed their future political bias as independent companies. From the time of their separation in 1594 until the death of Elizabeth, the Lord Admiral's company represented the Cecil-Howard, and Burbage's company the Essex factional and political interests in their covert stage polemics. Shakespeare's friendship and intimacy with Essex's _fidus Achates_, the Earl of Southampton, between 1591 and 1601, served materially to accentuate the pro-Essex leanings of his company. This phase of Shakespeare's theatrical career has not been investigated by past critics, though Fleay, Simpson, and Feis recognise the critical and biographical importance of such an inquiry, while the compilers do not even suspect that such a phase existed.

While the Curtain seems to have escaped trouble arising from its lease and its ownership, the Theatre came in for more than its share. The comparative freedom of the Curtain from the interference and persecution of the local authorities in these years was evidently due to the fact that it was the recognised summer home of the Queen's company between 1584 and 1591. It is evident that during the winter months the Queen's company performed at the Rose between 1587--when this theatre was erected--and the end of 1590; it was superseded at Court by Lord Strange's company at the end of 1591, and was disrupted during this year--a portion of them continuing under the two Duttons, as the Queen's men. The Rose, being the most important, centrally located, theatre available for winter performances during these years, would naturally be used by the leading Court company. It is significant that Lord Strange's company commenced to play there when they finally supplanted the Queen's company at Court. It is probable that they played there also before it was reconstructed during 1591.

The large number of old plays formerly owned by the Queen's company, which came into the hands of the companies associated with Henslowe and Burbage at this time, suggests that they bought them from Henslowe, who had retained them, and probably other properties, in payment for money owed him by the Queen's company which, having been several years affiliated with him at the Rose, would be likely to have a similar financial experience to that of the Lord Admiral's men, who, as shown by the _Diary_, got deeply into his debt between 1594 and 1598. The Queen's company was plainly