_Shakspeare_ your _Wincot_ ale hath much renowned, That fox'd a Beggar so (by chance was found Sleeping) that there needed not many a word To make him to believe he was a Lord.

In the succeeding lines the writer promises to visit 'Wincot' (_i.e._ Wilnecote) to drink

Such ale as _Shakspeare_ fancies Did put Kit Sly into such lordly trances.

It is therefore probable that Shakespeare consciously invested the home of Kit Sly and of Kit's hostess with characteristics of Wilnecote as well as of the hamlet near Stratford.

Wilmcote, the native place of Shakespeare's mother, is also said to have been popularly p.r.o.nounced 'Wincot.' A tradition which was first recorded by Capell as late as 1780 in his notes to the 'Taming of The Shrew' (p.

26) is to the effect that Shakespeare often visited an inn at 'Wincot' to enjoy the society of a 'fool who belonged to a neighbouring mill,' and the Wincot of this story is, we are told, locally a.s.sociated with the village of Wilmcote. But the links that connect Shakespeare's tinker with Wilmcote are far slighter than those which connect him with Wincot and Wilnecote.

The mention of Kit Sly's tavern comrades--

Stephen Sly and old John Naps of Greece, And Peter Turf and Henry Pimpernell--

was in all likelihood a reminiscence of contemporary Warwickshire life as literal as the name of the hamlet where the drunkard dwelt. There was a genuine Stephen Sly who was in the dramatist's day a self-a.s.sertive citizen of Stratford; and 'Greece,' whence 'old John Naps' derived his cognomen, is an obvious misreading of Greet, a hamlet by Winchcombe in Gloucestershire, not far removed from Shakespeare's native town.

'Henry IV.'

In 1597 Shakespeare turned once more to English history. From Holinshed's 'Chronicle,' and from a valueless but very popular piece, 'The Famous Victories of Henry V,' which was repeatedly acted between 1588 and 1595, {167} he worked up with splendid energy two plays on the reign of Henry IV. They form one continuous whole, but are known respectively as parts i. and ii. of 'Henry IV.' The 'Second Part of Henry IV' is almost as rich as the Induction to 'The Taming of The Shrew'

in direct references to persons and districts familiar to Shakespeare.

Two amusing scenes pa.s.s at the house of Justice Shallow in Gloucestershire, a county which touched the boundaries of Stratford (III.

ii. and V. i.) When, in the second of these scenes, the justice's factotum, Davy, asked his master 'to countenance William Visor of Woncot {168a} against Clement Perkes of the Hill,' the local references are unmistakable. Woodmancote, where the family of Visor or Vizard has flourished since the sixteenth century, is still p.r.o.nounced Woncot. The adjoining Stinchcombe Hill (still familiarly known to natives as 'The Hill') was in the sixteenth century the home of the family of Perkes.

Very precise too are the allusions to the region of the Cotswold Hills, which were easily accessible from Stratford. 'Will Squele, a Cotswold man,' is noticed as one of Shallow's friends in youth (III. ii. 23); and when Shallow's servant Davy receives his master's instructions to sow 'the headland' 'with red wheat,' in the early autumn, there is an obvious reference to the custom almost peculiar to the Cotswolds of sowing 'red lammas' wheat at an unusually early season of the agricultural year.

{168b}

The kingly hero of the two plays of 'Henry IV' had figured as a spirited young man in 'Richard II;' he was now represented as weighed down by care and age. With him are contrasted (in part i.) his impetuous and ambitious subject Hotspur and (in both parts) his son and heir Prince Hal, whose boisterous disposition drives him from Court to seek adventures among the haunters of taverns. Hotspur is a vivid and fascinating portrait of a hot-headed soldier, courageous to the point of rashness, and sacrificing his life to his impetuous sense of honour.

Prince Hal, despite his vagaries, is endowed by the dramatist with far more self-control and common sense.

Falstaff.

On the first, as on every subsequent, production of 'Henry IV' the main public interest was concentrated neither on the King nor on his son, nor on Hotspur, but on the chief of Prince Hal's riotous companions. At the outset the propriety of that great creation was questioned on a political or historical ground of doubtful relevance. Shakespeare in both parts of 'Henry IV' originally named the chief of the prince's a.s.sociates after Sir John Oldcastle, a character in the old play. But Henry Brooke, eighth lord Cobham, who succeeded to the t.i.tle early in 1597, and claimed descent from the historical Sir John Oldcastle, the Lollard leader, raised objection; and when the first part of the play was printed by the acting-company's authority in 1598 ('newly corrected' in 1599), Shakespeare bestowed on Prince Hal's tun-bellied follower the new and deathless name of Falstaff. A trustworthy edition of the second part of 'Henry IV' also appeared with Falstaff's name subst.i.tuted for that of Oldcastle in 1600. There the epilogue expressly denied that Falstaff had any characteristic in common with the martyr Oldcastle. Oldcastle died a martyr, and this is not the man. But the subst.i.tution of the name 'Falstaff' did not pa.s.s without protest. It hazily recalled Sir John Fastolf, an historical warrior who had already figured in 'Henry VI' and was owner at one time of the Boar's Head Tavern in Southwark; according to traditional stage directions, {170} the prince and his companions in 'Henry IV' frequent the Boar's Head, Eastcheap. Fuller in his 'Worthies,' first published in 1662, while expressing satisfaction that Shakespeare had 'put out' of the play Sir John Oldcastle, was eloquent in his avowal of regret that 'Sir John Fastolf' was 'put in,' on the ground that it was making overbold with a great warrior's memory to make him a 'Thrasonical puff and emblem of mock-valour.'

The offending introduction and withdrawal of Oldcastle's name left a curious mark on literary history. Humbler dramatists (Munday, Wilson, Drayton, and Hathaway), seeking to profit by the attention drawn by Shakespeare to the historical Oldcastle, produced a poor dramatic version of Oldcastle's genuine history; and of two editions of 'Sir John Oldcastle' published in 1600, one printed for T[homas] P[avier] was impudently described on the t.i.tle-page as by Shakespeare.

But it is not the historical traditions which are connected with Falstaff that give him his perennial attraction. It is the personality that owes nothing to history with which Shakespeare's imaginative power clothed him. The knight's unfettered indulgence in sensual pleasures, his exuberant mendacity, and his love of his own ease are purged of offence by his colossal wit and jollity, while the contrast between his old age and his unreverend way of life supplies that tinge of melancholy which is inseparable from the highest manifestations of humour. The Elizabethan public recognised the triumphant success of the effort, and many of Falstaff's telling phrases, with the names of his foils, Justice Shallow and Silence, at once took root in popular speech. Shakespeare's purely comic power culminated in Falstaff; he may be claimed as the most humorous figure in literature.

'Merry Wives of Windsor.'

In all probability 'The Merry Wives of Windsor,' a comedy inclining to farce, and unqualified by any pathetic interest, followed close upon 'Henry IV.' In the epilogue to the 'Second Part of Henry IV' Shakespeare had written: 'If you be not too much cloyed with fat meat, our humble author will continue the story with Sir John in it . . . where for anything I know Falstaff shall die of a sweat, unless already a' be killed with your hard opinions.' Rowe a.s.serts that 'Queen Elizabeth was so well pleased with that admirable character of Falstaff in the two parts of "Henry IV" that she commanded him to continue it for one play more, and to show him in love.' Dennis, in the dedication of 'The Comical Gallant' (1702), noted that the 'Merry Wives' was written at the Queen's 'command and by her direction; and she was so eager to see it acted that she commanded it to be finished in fourteen days, and was afterwards, as tradition tells us, very well pleased with the representation.' In his 'Letters' (1721, p. 232) Dennis reduces the period of composition to ten days--'a prodigious thing,' added Gildon, {172a} 'where all is so well contrived and carried on without the least confusion.' The localisation of the scene at Windsor, and the complimentary references to Windsor Castle, corroborate the tradition that the comedy was prepared to meet a royal command. An imperfect draft of the play was printed by Thomas Creede in 1602; {172b} the folio of 1623 first supplied a complete version. The plot was probably suggested by an Italian novel. A tale from Straparola's 'Notti' (iv. 4), of which an adaptation figured in the miscellany of novels called Tarleton's 'Newes out of Purgatorie' (1590), another Italian tale from the 'Pecorone' of Ser Giovanni Fiorentino (i. 2), and a third romance, the Fishwife's tale of Brainford in the collection of stories called 'Westward for Smelts,' {172c} supply incidents distantly resembling episodes in the play. Nowhere has Shakespeare so vividly reflected the bluff temper of contemporary middle-cla.s.s society. The presentment of the buoyant domestic life of an Elizabethan country town bears distinct impress of Shakespeare's own experience. Again, there are literal references to the neighbourhood of Stratford. Justice Shallow, whose coat-of-arms is described as consisting of 'luces,' is thereby openly identified with Shakespeare's early foe, Sir Thomas Lucy of Charlecote.

When Shakespeare makes Master Slender repeat the report that Master Page's fallow greyhound was 'outrun on Cotsall' (I. i. 93), he testifies to his interest in the coursing matches for which the Cotswold district was famed.

'Henry V.'

The spirited character of Prince Hal was peculiarly congenial to its creator, and in 'Henry V' Shakespeare, during 1598, brought his career to its close. The play was performed early in 1599, probably in the newly built Globe Theatre. Again Thomas Creede printed, in 1600, an imperfect draft, which was thrice reissued before a complete version was supplied in the First Folio of 1623. The dramatic interest of 'Henry V' is slender. There is abundance of comic element, but death has removed Falstaff, whose last moments are described with the simple pathos that comes of a matchless art, and, though Falstaff's companions survive, they are thin shadows of his substantial figure. New comic characters are introduced in the persons of three soldiers respectively of Welsh, Scottish, and Irish nationality, whose racial traits are contrasted with telling effect. The irascible Irishman, Captain MacMorris, is the only representative of his nation who figures in the long list of Shakespeare's _dramatis personae_. The scene in which the pedantic but patriotic Welshman, Fluellen, avenges the sneers of the braggart Pistol at his nation's emblem, by forcing him to eat the leek, overflows in vivacious humour. The piece in its main current presents a series of loosely connected episodes in which the hero's manliness is displayed as soldier, ruler, and lover. The topic reached its climax in the victory of the English at Agincourt, which powerfully appealed to patriotic sentiment. Besides the 'Famous Victories,' {174} there was another lost piece on the subject, which Henslowe produced for the first time on November 28, 1595. 'Henry V' may be regarded as Shakespeare's final experiment in the dramatisation of English history, and it artistically rounds off the series of his 'histories' which form collectively a kind of national epic. For 'Henry VIII,' which was produced very late in his career, he was only in part responsible, and that 'history' consequently belongs to a different category.

Ess.e.x and the rebellion of 1601.

A glimpse of autobiography may be discerned in the direct mention by Shakespeare in 'Henry V' of an exciting episode in current history. In the prologue to act v. Shakespeare foretold for Robert Devereux, second earl of Ess.e.x, the close friend of his patron Southampton, an enthusiastic reception by the people of London when he should come home after 'broaching' rebellion in Ireland.

Were now the general of our gracious empress, As in good time he may, from Ireland coming, Bringing rebellion broached on his sword, How many would the peaceful city quit To welcome him!--(Act v. Chorus, ll. 30-4.)

Ess.e.x had set out on his disastrous mission as the would-be pacificator of Ireland on March 27, 1599. The fact that Southampton went with him probably accounts for Shakespeare's avowal of sympathy. But Ess.e.x's effort failed. He was charged, soon after 'Henry V' was produced, with treasonable neglect of duty, and he sought in 1601, again with the support of Southampton, to recover his position by stirring up rebellion in London. Then Shakespeare's reference to Ess.e.x's popularity with Londoners bore perilous fruit. The friends of the rebel leaders sought the dramatist's countenance. They paid 40s. to Augustine Phillips, a leading member of Shakespeare's company, to induce him to revive at the Globe Theatre 'Richard II' (beyond doubt Shakespeare's play), in the hope that its scene of the killing of a king might encourage a popular outbreak. Phillips subsequently deposed that he prudently told the conspirators who bespoke the piece that 'that play of Kyng Richard' was 'so old and so long out of use as that they should have small or no company at it.' None the less the performance took place on Sat.u.r.day (February 7, 1601), the day preceding that fixed by Ess.e.x for the rising.

The Queen, in a later conversation with William Lambarde (on August 4, 1601), complained that 'this tragedie' of 'Richard II,' which she had always viewed with suspicion, was played at the period with seditious intent 'forty times in open streets and houses.' {175} At the trial of Ess.e.x and his friends, Phillips gave evidence of the circ.u.mstances under which the tragedy was revived at the Globe Theatre. Ess.e.x was executed and Southampton was imprisoned until the Queen's death. No proceedings were taken against the players, {176a} but Shakespeare wisely abstained, for the time, from any public reference to the fate either of Ess.e.x or of his patron Southampton.

Shakespeare's popularity and influence.

Such incidents served to accentuate Shakespeare's growing reputation.

For several years his genius as dramatist and poet had been acknowledged by critics and playgoers alike, and his social and professional position had become considerable. Inside the theatre his influence was supreme.

When, in 1598, the manager of the company rejected Ben Jonson's first comedy--his 'Every Man in his Humour'--Shakespeare intervened, according to a credible tradition (reported by Rowe but denounced by Gifford), and procured a reversal of the decision in the interest of the unknown dramatist who was his junior by nine years. He took a part when the piece was performed. Jonson was of a difficult and jealous temper, and subsequently he gave vent to an occasional expression of scorn at Shakespeare's expense, but, despite pa.s.sing manifestations of his unconquerable surliness, there can be no doubt that Jonson cherished genuine esteem and affection for Shakespeare till death. {176b} Within a very few years of Shakespeare's death Sir Nicholas L'Estrange, an industrious collector of anecdotes, put into writing an anecdote for which he made Dr. Donne responsible, attesting the amicable relations that habitually subsisted between Shakespeare and Jonson. 'Shakespeare,'

ran the story, 'was G.o.dfather to one of Ben Jonson's children, and after the christening, being in a deep study, Jonson came to cheer him up and asked him why he was so melancholy. "No, faith, Ben," says he, "not I, but I have been considering a great while what should be the fittest gift for me to bestow upon my G.o.dchild, and I have resolv'd at last." "I pr'ythee, what?" sayes he. "I' faith, Ben, I'll e'en give him a dozen good Lattin spoons, and thou shalt translate them."' {177}

The Mermaid meetings.

The creator of Falstaff could have been no stranger to tavern life, and he doubtless took part with zest in the convivialities of men of letters.

Tradition reports that Shakespeare joined, at the Mermaid Tavern in Bread Street, those meetings of Jonson and his a.s.sociates which Beaumont described in his poetical 'Letter' to Jonson:

'What things have we seen Done at the Mermaid? heard words that have been So nimble, and so full of subtle flame, As if that every one from whence they came Had meant to put his whole wit in a jest, And had resolved to live a fool the rest Of his dull life.'

'Many were the wit-combats,' wrote Fuller of Shakespeare in his 'Worthies' (1662), 'betwixt him and Ben Jonson, which two I behold like a Spanish great galleon and an English man of war; Master Jonson (like the former) was built far higher in learning, solid but slow in his performances. Shakespear, with the Englishman of war, lesser in bulk, but lighter in sailing, could turn with all tides, tack about, and take advantage of all winds by the quickness of his wit and invention.'

Mere's eulogy, 1598.

Of the many testimonies paid to Shakespeare's literary reputation at this period of his career, the most striking was that of Francis Meres. Meres was a learned graduate of Cambridge University, a divine and schoolmaster, who brought out in 1598 a collection of apophthegms on morals, religion, and literature which he ent.i.tled 'Palladis Tamia.' In the book he interpolated 'A comparative discourse of our English poets with the Greek, Latin, and Italian poets,' and there exhaustively surveyed contemporary literary effort in England. Shakespeare figured in Meres's pages as the greatest man of letters of the day. 'The Muses would speak Shakespeare's fine filed phrase,' Meres a.s.serted, 'if they could speak English.' 'Among the English,' he declared, 'he was the most excellent in both kinds for the stage' (_i.e._ tragedy and comedy). The t.i.tles of six comedies ('Two Gentlemen of Verona, 'Errors,' 'Love's Labour's Lost,' 'Love's Labour's Won,' 'Midsummer Night's Dream,' and 'Merchant of Venice') and of six tragedies ('Richard II,' 'Richard III,'

'Henry IV,' 'King John,' 't.i.tus,' and 'Romeo and Juliet') were set forth, and mention followed of his 'Venus and Adonis,' his 'Lucrece,' and his 'sugred {179} sonnets among his private friends.' These were cited as proof 'that the sweet witty soul of Ovid lives in mellifluous and honey-tongued Shakespeare.' In the same year a rival poet, Richard Barnfield, in 'Poems in divers Humors,' predicted immortality for Shakespeare with no less confidence.