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

it is very probable that he worked in the capacity of assistant to his father. That these were years of introspection and remorse to one of his spirit, however, there can be little doubt; there can be still less doubt that they were also years of formative growth, and that in this interval the irresponsible youth, who had given hostages to fortune by marrying at the age of eighteen, steadied by the responsibility of a growing family, quickly developed into some promise of the man to be.

No biographer has yet taken into consideration the effect which the circumstances of Shakespeare's life during these four or five formative years must necessarily have had in the development of his character. That this exquisite poet, this builder of dreams, should in the common affairs of life have displayed such an effectively practical bent, has always appeared an anomaly; a partial explanation is to be found in the incentive given to his energies by the conditions of his life, and of his father's affairs, at this formative period. To the habitually poor, poverty is a familiar; to the patrician who has had reverses, it may be a foil to his spirit: he still has his pride of family and caste. To the burgher class, in which Shakespeare moved in Stratford, the loss of money was the loss of caste. To provide for the future of his children and to restore the declining fortunes and prestige of his family became now his most immediate concern, if we may form any judgment from his subsequent activities. The history of literature has given us so many instances of poetic genius being unaccompanied by ordinary worldly wisdom, and so few instances of a combination of business aptitude with poetic genius, that some so-called biographers, enamoured of the conventional idea of a poet, seem almost to resent our great poet's practical common sense when displayed in his everyday life, and to impute to him as a derogation, or fault, the sound judgment in worldly matters, without which he never could have evolved the sane and unimpassioned philosophy of life, which, like a firm and even warp, runs veiled through the multicoloured weft of incident and accident in his dramas.

All Shakespearean biographers now agree in dating his hegira from Stratford not later than the year 1587. Early in 1585 his twin children, Judith and Hamnet, were born. The fact that no children were born to him later is usually advanced in favour of the assumption that he left Stratford shortly after this date. In the next eleven years we have but one mention of him in the Stratford records. Towards the end of 1587 his name, in conjunction with his father's, appears upon a legal form relating to the proposed cancellation of a mortgage upon some property in which he held a contingent interest. This, however, does not necessarily indicate his presence in Stratford at that time.

At the present time the most generally accepted hypothesis regarding the beginning of Shakespeare's theatrical career is that he joined the Earl of Leicester's company of players upon the occasion of their visit to Stratford-upon-Avon, either in the year 1586 or 1587. Upon the death of the Earl of Leicester in 1588, when this company was disrupted, it is thought probable that in company with Will Kempe, George Bryan, and Thomas Pope (actors with whom he was afterwards affiliated for years), he joined Lord Strange's players, with which company under its various later titles he continued to be connected during the remainder of his theatrical career. I shall prove this theory to be erroneous and adduce evidence to show that of whatever company, or companies, he may later have been an active member, his theatrical experience had its inception in a connection as theatrical assistant with the interests of the Burbages; with whose fortunes he thereafter continued to be connected till the end of his London career.

In judging of the youthful Shakespeare, of whom we can only conjecture, we may reasonably draw inferences from the character of the man we find revealed in his life's work. I am convinced that Shakespeare's departure from Stratford was deliberate, and that when he went to London he did so with a definite purpose in view. Had Shakespeare's father been a prosperous man of business, in all probability the world would never have heard of his son; though the local traditions of Stratford might have been enriched by the proverbial wit and wisdom of a certain anonymous sixteenth-century tradesman.

Unconfirmed legend, originating nearly a hundred years after the alleged event, is the sole basis for the report that Shakespeare was forced to leave his native town on account of his participation in a poaching adventure. It is possible that Shakespeare in his youth may have indulged in such a natural transgression of the law, but supposing it to be a fact that he did so, it does not necessarily brand him as a scapegrace. A ne'er-do-well in the country would probably remain the same in the city, and would be likely to accentuate his characteristics there, especially if his life was cast, as was Shakespeare's, in Bohemian surroundings. Instead of this, what are the facts? Assuming that Shakespeare left Stratford in 1586 or 1587, and became, as tradition reports, a servitor in the theatre at that period, let us look ten years ahead and see how he has fared.

We know that he had already returned to Stratford in 1597 and purchased one of the most important residences in the town. From the fact that John Shakespeare's creditors from this time forward ceased to harass him, we may assume that he had also settled his father's affairs. We have record that in 1596 he had, through his father, applied for the confirmation of an old grant of arms, which was confirmed three years later, and that he thereafter was styled "William Shakespeare, Gentleman of Stratford-upon-Avon." At this period he had also produced more than one-third of his known literary work, and was acknowledged as the leading dramatist of the time. All of this he had attained working in the same environment in which other men of about his own age, but of greater education and larger opportunities, had found penury, disgrace, and death. Marlowe, his confrere, at the age of thirty, in 1593, was killed in a tavern brawl. A year earlier, Greene, also a university man, would have died a beggar on the street but for the charity of a cobbler's wife who housed him in his dying hours. Spenser, breathing a purer atmosphere, but lacking the business aptitude of Shakespeare, died broken-hearted in poverty in 1599. George Peele, another university man, at about the same date, and at the age of thirty-four, we are told by Meres, died from the results of an irregular life. And those of his literary contemporaries who lived as long as, or outlived, Shakespeare, what were their ends, and where are their memories? Unknown and in most cases forgotten except where they live in his reflected light. Matthew Roydon lived long and died in poverty, no one knows when or where. George Chapman outlived his great rival many years, and died as he had lived, a friendless misanthropist.

Though Shakespeare won to fame and fortune over the temptations and vicissitudes of the same life and environments to which so many of his fellows succumbed, we have proof that this was not due to any inherent asceticism or native coldness of blood.

No man in Shakespeare's circumstances could have attained and accomplished what he did during those early years living at haphazard or without a controlling purpose in life. Whatever may have been the immediate accident of fate that turned his face Londonwards, we may rest assured that he went there with the purpose of retrieving his good name in his own community and rehabilitating the fortunes of his family.

Shakespeare's literary history does not show in him any evidence of remarkable precocity. Keats was famous and already gathered to the immortals at an age at which Shakespeare was still in the chrysalid stage of the actual buskin and sock. It may reasonably be doubted that Shakespeare produced any of his known poems or plays previous to the years 1590-91. Though his genius blossomed late his common sense and business capacity developed early, forced into being, no doubt, by a realisation of his responsibilities, as well as by the deplorable condition into which his father's affairs had fallen. So, between the years 1583, when he was married, and 1591-92, when we first begin to get some hints of his literary activities, his Pegasus was in harness earning bread and butter and, incidentally, gleaning worldly wisdom. "Love's young dream" is over; the ecstatic quest of the "not impossible she," almost at its inception, has ended in the cold anticlimax of an enforced marriage.

We may dismiss the deer-stealing rumour as referring to this period. The patient industry, sound judgment, and unusual business capacity exhibited by Shakespeare from the time we begin to get actual glimpses of his doings until the end of his career, belie the stupid and belated rumour of his having been forced to leave Stratford as a fugitive from justice on account of his participation in a poaching adventure upon Sir Thomas Lucy's preserves. While it is apparent that this bucolic Justice of the Peace is caricatured as Justice Shallow in _Henry IV., Part II._, it is still more clear that this play was not written until the end of the year 1598. When Shakespeare's methods of work are better understood it will become evident that he did not in 1598 revenge an injury from ten to twelve years old. Whatever may have been his animus against Sir Thomas Lucy it undoubtedly pertained to conditions existent in the year 1598. In 1596 John Shakespeare's application for arms was made, but was not finally granted until late in 1598, or early in 1599. It was still under consideration by the College of Heralds, or had very recently been granted when Shakespeare wrote _Henry IV., Part II._, late in 1598. It is not likely that such a grant of arms would be made even by the most friendly disposed authorities without consultation with, or reference to, the local magistracy or gentry regarding the character and social standing of the applicant. It is quite likely then that the rustic squire resented--what such a character would undoubtedly have regarded as a tradesman's presumption, and that Shakespeare, becoming cognizant of his objections, answered them in kind by caricaturing the Lucy arms. The critical student of Shakespeare's works will find that wherever a reflection of a topical nature is palpable in his plays, that the thing, or incident, referred to is almost invariably a matter of comparatively recent experience. If it is a reflection of, or a reference to, another writer we may be assured that Shakespeare has recently come from a perusal of the writer in question. If the allusion is of a social or political nature it will refer to some recent happening or to something that is still of public interest. Should such an allusion be in any sense autobiographical and pertaining to his own personal interests or feelings, it is still more likely to refer to recent experience. Whatever may have been the reason for his caricature of Sir Thomas Lucy, its cause was evidently of a later date than his departure from Stratford. It was no shiftless runagate nor fugitive from justice who went to London in, or about, 1585-87; neither was it a wrathful Chatterton, eating out his heart in bitter pride while firing his imagination to

"Paw up against the light
And do strange deeds upon the clouds."

It was a very sane, clear-headed, and resourceful young man