When Shakespeare became a member of the company it was doubtless performing at The Theatre, the playhouse in Sh.o.r.editch which James Burbage, the father of the great actor, Richard Burbage, had constructed in 1576; it ab.u.t.ted on the Finsbury Fields, and stood outside the City's boundaries. The only other London playhouse then in existence--the Curtain in Moorfields--was near at hand; its name survives in Curtain Road, Sh.o.r.editch. But at an early date in his acting career Shakespeare's company sought and found new quarters. While known as Lord Strange's men, they opened on February 19, 1592, a third London theatre, called the Rose, which Philip Henslowe, the speculative theatrical manager, had erected on the Bankside, Southwark. At the date of the inauguration of the Rose Theatre Shakespeare's company was temporarily allied with another company, the Admiral's men, who numbered the great actor Edward Alleyn among them. Alleyn for a few months undertook the direction of the amalgamated companies, but they quickly parted, and no further opportunity was offered Shakespeare of enjoying professional relations with Alleyn. The Rose Theatre was doubtless the earliest scene of Shakespeare's p.r.o.nounced successes alike as actor and dramatist.

Subsequently for a short time in 1594 he frequented the stage of another new theatre at Newington b.u.t.ts, and between 1595 and 1599 the older stages of the Curtain and of The Theatre in Sh.o.r.editch. The Curtain remained open till the Civil Wars, although its vogue after 1600 was eclipsed by that of younger rivals. In 1599 Richard Burbage and his brother Cuthbert demolished the old building of The Theatre and built, mainly out of the materials of the dismantled fabric, the famous theatre called the Globe on the Bankside. It was octagonal in shape, and built of wood, and doubtless Shakespeare described it (rather than the Curtain) as 'this wooden O' in the opening chorus of 'Henry V' (1. 13). After 1599 the Globe was mainly occupied by Shakespeare's company, and in its profits he acquired an important share. From the date of its inauguration until the poet's retirement, the Globe--which quickly won the first place among London theatres--seems to have been the sole playhouse with which Shakespeare was professionally a.s.sociated. The equally familiar Blackfriars Theatre, which was created out of a dwelling-house by James Burbage, the actor's father, at the end of 1596, was for many years afterwards leased out to the company of boy-actors known as 'the Queen's Children of the Chapel;' it was not occupied by Shakespeare's company until December 1609 or January 1610, when his acting days were nearing their end. {38a}

Place of residence in London.

In London Shakespeare resided near the theatres. According to a memorandum by Alleyn (which Malone quoted), he lodged in 1596 near 'the Bear Garden in Southwark.' In 1598 one William Shakespeare, who was a.s.sessed by the collectors of a subsidy in the sum of 13s. 4d. upon goods valued at 5 pounds, was a resident in St. Helen's parish, Bishopsgate, but it is not certain that this taxpayer was the dramatist. {38b}

Shakespeare's alleged travels. In Scotland.

The chief differences between the methods of theatrical representation in Shakespeare's day and our own lay in the fact that neither scenery nor scenic costume nor women-actors were known to the Elizabethan stage. All female _roles_ were, until the Restoration in 1660, a.s.sumed in the public theatres by men or boys. {38c} Consequently the skill needed to rouse in the audience the requisite illusions was far greater then than at later periods. But the professional customs of Elizabethan actors approximated in other respects more closely to those of their modern successors than is usually recognised. The practice of touring in the provinces was followed with even greater regularity then than now. Few companies remained in London during the summer or early autumn, and every country town with two thousand or more inhabitants could reckon on at least one visit from travelling actors between May and October. A rapid examination of the extant archives of some seventy munic.i.p.alities selected at random shows that Shakespeare's company between 1594 and 1614 frequently performed in such towns as Barnstaple, Bath, Bristol, Coventry, Dover, Faversham, Folkestone, Hythe, Leicester, Maidstone, Marlborough, New Romney, Oxford, Rye in Suss.e.x, Saffron Walden, and Shrewsbury. {40a} Shakespeare may be credited with faithfully fulfilling all his professional functions, and some of the references to travel in his sonnets were doubtless reminiscences of early acting tours. It has been repeatedly urged, moreover, that Shakespeare's company visited Scotland, and that he went with it. {40b} In November 1599 English actors arrived in Scotland under the leadership of Lawrence Fletcher and one Martin, and were welcomed with enthusiasm by the king. {41a} Fletcher was a colleague of Shakespeare in 1603, but is not known to have been one earlier. Shakespeare's company never included an actor named Martin. Fletcher repeated the visit in October 1601. {41b} There is nothing to indicate that any of his companions belonged to Shakespeare's company. In like manner, Shakespeare's accurate reference in 'Macbeth'

to the 'nimble' but 'sweet' climate of Inverness, {41c} and the vivid impression he conveys of the aspects of wild Highland heaths, have been judged to be the certain fruits of a personal experience; but the pa.s.sages in question, into which a more definite significance has possibly been read than Shakespeare intended, can be satisfactorily accounted for by his inevitable intercourse with Scotsmen in London and the theatres after James I's accession.

In Italy.

A few English actors in Shakespeare's day occasionally combined to make professional tours through foreign lands, where Court society invariably gave them a hospitable reception. In Denmark, Germany, Austria, Holland, and France, many dramatic performances were given before royal audiences by English actors between 1580 and 1630. {42a} That Shakespeare joined any of these expeditions is highly improbable. Actors of small account at home mainly took part in them, and Shakespeare's name appears in no extant list of those who paid professional visits abroad. It is, in fact, unlikely that Shakespeare ever set foot on the continent of Europe in either a private or professional capacity. He repeatedly ridicules the craze for foreign travel. {42b} To Italy, it is true, and especially to cities of Northern Italy, like Venice, Padua, Verona, Mantua, and Milan, he makes frequent and familiar reference, and he supplied many a realistic portrayal of Italian life and sentiment. But the fact that he represents Valentine in the 'Two Gentlemen of Verona' (I. i. 71) as travelling from Verona to Milan by sea, and Prospero in 'The Tempest' as embarking on a ship at the gates of Milan (I. ii. 129-44), renders it almost impossible that he could have gathered his knowledge of Northern Italy from personal observation. {43a} He doubtless owed all to the verbal reports of travelled friends or to books, the contents of which he had a rare power of a.s.similating and vitalising.

Shakespeare's roles.

The publisher Chettle wrote in 1592 that Shakespeare was 'exelent in the qualitie {43b} he professes,' and the old actor William Beeston a.s.serted in the next century that Shakespeare 'did act exceedingly well.' {43c} But the _roles_ in which he distinguished himself are imperfectly recorded. Few surviving doc.u.ments refer directly to performances by him.

At Christmas 1594 he joined the popular actors William Kemp, the chief comedian of the day, and Richard Burbage, the greatest tragic actor, in 'two several comedies or interludes' which were acted on St. Stephen's Day and on Innocents' Day (December 27 and 28) at Greenwich Palace before the Queen. The players received 'xiii_li_. vj_s_. viii_d_. and by waye of her Majesties rewarde vi_li_. xiii_s_. iiij_d_., in all xx_li_. {44a} Neither plays nor parts are named. Shakespeare's name stands first on the list of those who took part in the original performances of Ben Jonson's 'Every Man in his Humour' (1598). In the original edition of Jonson's 'Seja.n.u.s' (1603) the actors' names are arranged in two columns, and Shakespeare's name heads the second column, standing parallel with Burbage's, which heads the first. But here again the character allotted to each actor is not stated. Rowe identified only one of Shakespeare's parts, 'the Ghost in his own "Hamlet,"' and Rowe a.s.serted his a.s.sumption of that character to be 'the top of his performance.' John Davies of Hereford noted that he 'played some kingly parts in sport.' {44b} One of Shakespeare's younger brothers, presumably Gilbert, often came, wrote Oldys, to London in his younger days to see his brother act in his own plays; and in his old age, when his memory was failing, he recalled his brother's performance of Adam in 'As you like it.' In the 1623 folio edition of Shakespeare's 'Works' his name heads the prefatory list 'of the princ.i.p.all actors in all these playes.'

Alleged scorn of an actor's calling.

That Shakespeare chafed under some of the conditions of the actor's calling is commonly inferred from the 'Sonnets.' There he reproaches himself with becoming 'a motley to the view' (cx. 2), and chides fortune for having provided for his livelihood nothing better than 'public means that public manners breed,' whence his name received a brand (cxi. 4-5).

If such self-pity is to be literally interpreted, it only reflected an evanescent mood. His interest in all that touched the efficiency of his profession was permanently active. He was a keen critic of actors'

elocution, and in 'Hamlet' shrewdly denounced their common failings, but clearly and hopefully pointed out the road to improvement. His highest ambitions lay, it is true, elsewhere than in acting, and at an early period of his theatrical career he undertook, with triumphant success, the labours of a playwright. But he pursued the profession of an actor loyally and uninterruptedly until he resigned all connection with the theatre within a few years of his death.

V.--EARLY DRAMATIC EFFORTS

Dramatic work.

The whole of Shakespeare's dramatic work was probably begun and ended within two decades (1591-1611), between his twenty-seventh and forty-seventh year. If the works traditionally a.s.signed to him include some contributions from other pens, he was perhaps responsible, on the other hand, for portions of a few plays that are traditionally claimed for others. When the account is balanced, Shakespeare must be credited with the production, during these twenty years, of a yearly average of two plays, nearly all of which belong to the supreme rank of literature.

Three volumes of poems must be added to the total. Ben Jonson was often told by the players that 'whatsoever he penned he never blotted out (_i.e._ erased) a line.' The editors of the First Folio attested that 'what he thought he uttered with that easinesse that we have scarce received from him a blot in his papers.' Signs of hasty workmanship are not lacking, but they are few when it is considered how rapidly his numerous compositions came from his pen, and they are in the aggregate unimportant.

His borrowed plots.

By borrowing his plots he to some extent economised his energy, but he transformed most of them, and it was not probably with the object of conserving his strength that he systematically levied loans on popular current literature like Holinshed's 'Chronicles,' North's translation of 'Plutarch,' widely read romances, and successful plays. In this regard he betrayed something of the practical temperament which is traceable in the conduct of the affairs of his later life. It was doubtless with the calculated aim of ministering to the public taste that he unceasingly adapted, as his genius dictated, themes which had already, in the hands of inferior writers or dramatists, proved capable of arresting public attention.

The revision of plays.

The professional playwrights sold their plays outright to one or other of the acting companies, and they retained no legal interest in them after the ma.n.u.script had pa.s.sed into the hands of the theatrical manager. {47} It was not unusual for the manager to invite extensive revision of a play at the hands of others than its author before it was produced on the stage, and again whenever it was revived. Shakespeare gained his earliest experience as a dramatist by revising or rewriting behind the scenes plays that had become the property of his manager. It is possible that some of his labours in this direction remain unidentified. In a few cases his alterations were slight, but as a rule his fund of originality was too abundant to restrict him, when working as an adapter, to mere recension, and the results of most of his labours in that capacity are ent.i.tled to rank among original compositions.

Chronology of the plays. Metrical tests.

The determination of the exact order in which Shakespeare's plays were written depends largely on conjecture. External evidence is accessible in only a few cases, and, although always worthy of the utmost consideration, is not invariably conclusive. The date of publication rarely indicates the date of composition. Only sixteen of the thirty-seven plays commonly a.s.signed to Shakespeare were published in his lifetime, and it is questionable whether any were published under his supervision. {48} But subject-matter and metre both afford rough clues to the period in his career to which each play may be referred. In his early plays the spirit of comedy or tragedy appears in its simplicity; as his powers gradually matured he depicted life in its most complex involutions, and portrayed with masterly insight the subtle gradations of human sentiment and the mysterious workings of human pa.s.sion. Comedy and tragedy are gradually blended; and his work finally developed a pathos such as could only come of ripe experience. Similarly the metre undergoes emanc.i.p.ation from the hampering restraints of fixed rule and becomes flexible enough to respond to every phase of human feeling. In the blank verse of the early plays a pause is strictly observed at the close of each line, and rhyming couplets are frequent. Gradually the poet overrides such artificial restrictions; rhyme largely disappears; recourse is more frequently made to prose; the pause is varied indefinitely; extra syllables are, contrary to strict metrical law, introduced at the end of lines, and at times in the middle; the last word of the line is often a weak and unemphatic conjunction or preposition.

{49} To the latest plays fantastic and punning conceits which abound in early work are rarely accorded admission. But, while Shakespeare's achievement from the beginning to the end of his career offers clearer evidence than that of any other writer of genius of the steady and orderly growth of his poetic faculty, some allowance must be made for ebb and flow in the current of his artistic progress. Early work occasionally antic.i.p.ates features that become habitual to late work, and late work at times embodies traits that are mainly identified with early work. No exclusive reliance in determining the precise chronology can be placed on the merely mechanical tests afforded by tables of metrical statistics. The chronological order can only be deduced with any confidence from a consideration of all the internal characteristics as well as the known external history of each play. The premisses are often vague and conflicting, and no chronology hitherto suggested receives at all points universal a.s.sent.

'Love's Labour's Lost.'

There is no external evidence to prove that any piece in which Shakespeare had a hand was produced before the spring of 1592. No play by him was published before 1597, and none bore his name on the t.i.tle-page till 1598. But his first essays have been with confidence allotted to 1591. To 'Love's Labour's Lost' may reasonably be a.s.signed priority in point of time of all Shakespeare's dramatic productions.

Internal evidence alone indicates the date of composition, and proves that it was an early effort; but the subject-matter suggests that its author had already enjoyed extended opportunities of surveying London life and manners, such as were hardly open to him in the very first years of his settlement in the metropolis. 'Love's Labour's Lost' embodies keen observation of contemporary life in many ranks of society, both in town and country, while the speeches of the hero Biron clothe much sound philosophy in masterly rhetoric. Its slender plot stands almost alone among Shakespeare's plots in that it is not known to have been borrowed, and stands quite alone in openly travestying known traits and incidents of current social and political life. The names of the chief characters are drawn from the leaders in the civil war in France, which was in progress between 1589 and 1594, and was anxiously watched by the English public. {51} Contemporary projects of academies for disciplining young men; fashions of speech and dress current in fashionable circles; recent attempts on the part of Elizabeth's government to negotiate with the Tsar of Russia; the inefficiency of rural constables and the pedantry of village schoolmasters and curates are all satirised with good humour.

The play was revised in 1597, probably for a performance at Court. It was first published next year, and on the t.i.tle-page, which described the piece as 'newly corrected and augmented,' Shakespeare's name first appeared in print as that of author of a play.

'Two Gentlemen of Verona.'

Less gaiety characterised another comedy of the same date, 'The Two Gentlemen of Verona,' which dramatises a romantic story of love and friendship. There is every likelihood that it was an adaptation--amounting to a reformation--of a lost 'History of Felix and Philomena,' which had been acted at Court in 1584. The story is the same as that of 'The Shepardess Felismena' in the Spanish pastoral romance of 'Diana' by George de Montemayor, which long enjoyed popularity in England. No complete English translation of 'Diana' was published before that of Bartholomew Yonge in 1598, but a ma.n.u.script version by Thomas Wilson, which was dedicated to the Earl of Southampton in 1596, was possibly circulated far earlier. Some verses from 'Diana' were translated by Sir Philip Sidney and were printed with his poems as early as 1591. Barnabe Rich's story of 'Apollonius and Silla' (from Cinthio's 'Hecatommithi'), which Shakespeare employed again in 'Twelfth Night,'

also gave him some hints. Trifling and irritating conceits abound in the 'Two Gentlemen,' but pa.s.sages of high poetic spirit are not wanting, and the speeches of the clowns, Launce and Speed--the precursors of a long line of whimsical serving-men--overflow with farcical drollery. The 'Two Gentlemen' was not published in Shakespeare's lifetime; it first appeared in the folio of 1623, after having, in all probability, undergone some revision. {53}

'Comedy of Errors.'

Shakespeare next tried his hand, in the 'Comedy of Errors' (commonly known at the time as 'Errors'), at boisterous farce. It also was first published in 1623. Again, as in 'Love's Labour's Lost,' allusion was made to the civil war in France. France was described as 'making war against her heir' (III. ii. 125). Shakespeare's farcical comedy, which is by far the shortest of all his dramas, may have been founded on a play, no longer extant, called 'The Historie of Error,' which was acted in 1576 at Hampton Court. In subject-matter it resembles the 'Menaechmi'