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

also asserted that "the Rose Theatre was the first scene of Shakespeare's successes alike as an actor and a dramatist," and that he "helped in the authorship of _The First Part of Henry VI._, with which Lord Strange's company scored a triumphant success in 1592."[4]

These assumptions, which were advanced tentatively by former scholars and merely as working hypotheses, have now, by repetition and the dogmatic dicta of biographical compilers, come to be accepted by the uncritical as ascertained facts.

While it is now generally accepted that Greene's "Shake-scene" alludes to Shakespeare, and that his parody of a line from _The True Tragedie_:

"O Tyger's heart wrapt in a Player's hide"

denotes some connection of Shakespeare's with either _The True Tragedie of the Duke of York_, or with _The Third Part of Henry VI._ before September 1592, when Greene died, and while the title-page of the first issue of _The True Tragedie of the Duke of York_ informs us that this play was acted by the Earl of Pembroke's company, and no mention of the play appears in the records of Henslowe, under whose financial management Shakespeare is supposed to have been working with Strange's company in 1592, _nothing has ever been done to elucidate Shakespeare's evident connection with this play or with the Earl of Pembroke's company at this period_.

In the same year--1592--Nashe refers to the performance by Lord Strange's company under Henslowe of _The First Part of Henry VI._, and praises the work of the dramatist who had recently incorporated the Talbot scenes, which are plainly the work of a different hand from the bulk of the remainder of the play. This also is generally accepted as a reference to Shakespeare and as indicating his connection with Henslowe as a writer for the stage. It is erroneously inferred from this supposed evidence, and from the fact that Richard Burbage was with Strange's company in 1592, that Shakespeare also acted with and wrote for this company under Henslowe.

No explanation has ever been given for the palpable fact that not one of the plays written by Shakespeare--the composition of which all competent text critics impute to the years 1591 to 1594--is mentioned in Henslowe's Diary as having been presented upon his boards. It is generally agreed that _The Comedy of Errors, King John, Richard II., Love's Labour's Lost, Love's Labour's Won, The Two Gentlemen of Verona, Richard III._, and _Midsummer Night's Dream_, were all produced before the end of 1594, yet there is no record nor mention of any one of these plays in Henslowe's _Diary_, which gives a very full list of the performances at the Rose and the plays presented between 1592 and 1594.

During the same years in which records of Shakespeare are lacking[5] they are also very limited regarding Edward Alleyn, whose reputation as an actor and whose leadership in his profession were won during these years--1586-92. Nothing is at present known concerning him between 1584, when he is mentioned in the Leicester records as a member of the Earl of Worcester's company, and 3rd January 1589, when he bought Richard Jones' share of theatrical properties, owned conjointly by Edward Alleyn, John Alleyn, Robert Browne, and Richard Jones. As Edward Alleyn, Robert Browne, and Richard Jones were all members of Worcester's company in 1584, it is erroneously assumed that they were still Worcester's men in 1589, and that it was Jones' share in the Worcester properties that Alleyn bought at this time to take with him to the Admiral's company, which he is consequently supposed to have joined some time between 1589 and 1592. The next record we have of Alleyn is his marriage to Joan Woodward, Henslowe's stepdaughter, in October 1592. In the following May we find him managing Lord Strange's company in the provinces, though styling himself a Lord Admiral's man. _Where, then, was Edward Alleyn between 1585 and 1589; where between 1589 and 1593; and when did he become a Lord Admiral's man?_

Worcester's company, with which Alleyn was connected in 1584, is last mentioned in the records as appearing at Barnstaple in 1585;[6] it then disappears from view for five years, and is next mentioned in the provincial records as appearing at Coventry in 1590.[7] Between 1590 and 1603 it is mentioned regularly in the provincial records. _Where was Worcester's company between 1585 and 1590?_

I propose to demonstrate by new evidence and analysis that James Burbage ceased to be an active member of Leicester's company soon after he took on the responsibilities of the management of the Theatre; but continued his theatrical employees under Leicester's protection as Lord Leicester's musicians until 1582, when he began to work under the licence of Lord Hunsdon, his company being composed of his own employees and largely of musicians, to act as an adjunct to the companies to whom, from time to time, he let the use of the Theatre during the absence in the provinces of the companies, such as Leicester's and the Admiral's, with which I shall give evidence he held more permanent affiliations, and, seeing that he was owner and manager of the Theatre, that these affiliations were somewhat similar to those maintained by Henslowe--the owner of the Rose Theatre--with Lord Strange's company between 1592 and 1594, and with the Lord Admiral's, and other companies, at the several theatres he controlled in later years. I shall indicate that from the time Burbage built the Theatre in 1576 until early in 1585, he maintained such a connection with Leicester's company, and shall show that the disruption of this company in 1585 by the departure of seven of their principal members for the Continent--where they remained until July 1587--necessitated a similar connection with some other good company to take its place, and that he now secured Edward Alleyn and his fellows, who, ceasing to be Worcester's men at this time, and securing the licence of the Lord Admiral, affiliated themselves with the remnant of Leicester's men and joined Burbage and Lord Hunsdon's men at the Theatre. In this year the latter became the Lord Chamberlain's men through the elevation of Lord Hunsdon to that office. These companies, while retaining individual licences, continued to play when in London as one company until the end of 1588, or beginning of 1589, when another reorganisation took place, a number of the old men being eliminated and new blood being taken in from the restored Leicester company and Lord Strange's company of youthful acrobats, who had now become men. I shall give evidence that this organisation continued to work as one company for the next three years, though the Admiral's men still retained their own licence, and consequently that the company as a whole is at times mentioned in both Court and provincial records under one title and at times under the other. The principal reason that a number of companies, combining at a London theatre as one company, preserved their several licences was no doubt the greater protection afforded them by the patronage of several powerful noblemen against the hostility of puritanically inclined municipal authorities. Recorder Fleetwood, who was noted as an enemy of the players, in his weekly reports on civic affairs to Lord Burghley, frequently complains of the stoppage by Court influence of his prosecutions of alleged offenders. Upon one occasion he writes: "When the Court is farthest from London then is the best justice done in England."

Some time between the beginning of 1591 and the end of that year, James Burbage's disfavour with certain of the authorities, as well as legal and financial difficulties in which he became involved, made it necessary for the combined companies, which in December 1591 had attained to the position of the favourite Court company, to seek more convenient quarters and stronger financial backing than Burbage and the Theatre afforded. Under its various titles Strange's company continued to be the leading Court company for the next forty years. I shall indicate the probability that Strange's company in supplanting the Queen's company at Court at this time _also supplanted it at the Rose Theatre_, which was built by Henslowe in 1587 as a theatre.[8] Henslowe repaired and reconstructed it late in 1591 and early in 1592 for the uses of Strange's men. I will show the unlikelihood that this was Henslowe's first venture in theatrical affairs, and the probability that the Queen's players, under his financial management, occupied the Rose Theatre from the time it was built in 1587 until they were superseded by Strange's men in 1591.

I shall also give evidence that Shakespeare did not accompany Strange's men to Henslowe and the Rose, but that he remained with Burbage, who backed him in the formation of Pembroke's company, and that he and Marlowe wrote for this company until Marlowe was killed in 1593, and that Shakespeare was probably its sole provider of plays from the time of Marlowe's death until the company disrupted early in 1594. I shall show further that during the time Shakespeare and Marlowe wrote for Pembroke's company, and for some years later, George Peele revised old and wrote new plays for Henslowe and Alleyn, and that it was he that revised _Henry VI._ and introduced the Talbot scene in 1592, and consequently that it was to Peele, and not to Shakespeare, that Nashe's praises were given at this time. Evidence shall be given to show that Nashe was antagonistic to Shakespeare and co-operated with Greene against him at this period.

It shall be made clear that _Titus Andronicus_, which was acted as a new play by Sussex's company under Henslowe on 23rd January 1594, was also written by Peele, or rewritten from _Titus and Vespasian_, which is now lost, but which--being written for Strange's men in the previous year--we may assume was also Peele's, or else his first revision of a still older play.

Some time before the middle of 1594 a new reorganisation of companies took place, the Admiral's and the Lord Chamberlain's separating and absorbing men from Pembroke's and Sussex's companies, which ceased to exist as active entities at this time, though a portion of Pembroke's men--while working with the Admiral's men between 1594 and 1597--retained their own licence and attempted to operate separately in the latter year, but, failing, returned to Henslowe and became Admiral's men. A few of their members whom Langley, the manager of the Swan Theatre, had taken from them, struggled on as Pembroke's men for a year or two and finally disappeared from the records.

A consideration of the affairs of Lord Strange's men--now the Lord Chamberlain's men--while under Henslowe's financial management between 1592 and 1594, and of Pembroke's company's circumstances during the same period, with their enforced provincial tours owing to the plague in London, will show that these were lean years for both organisations, and for the men composing them; _yet in December 1594--as is shown by the Court records of March 1595--Shakespeare appears as a leading sharer in one of the most important theatrical companies in England_. I shall advance evidence to show that his position in this powerful company, and its apparent prosperity at this time, were due to financial assistance accorded him in 1594 by his patron, the Earl of Southampton, to whom in this year he dedicated _Lucrece_, and in the preceding year _Venus and Adonis_.

If these hypotheses be demonstrated it shall appear that though Shakespeare, as Burbage's employee in the conduct of the Theatre, had theatrical relations with the Earl of Leicester's company that he was not a member of that company, and that if he may be regarded as having become a member of any company in 1586-87, when he came to London, he was a member of the Lord Chamberlain's company,--which was owned by James Burbage,--_but as a bonded and hired servant or servitor to James Burbage for a term of years which ended