A Chronicle History of the Life and Work of William Shakespeare. Fleay Frederick Gard
Devil in 1612. Webster couples the retired Shakespeare with Dekker and Heywood: but Jonson's works he speaks of as "laboured and understanding," Beaumont's and Fletcher's as "no less worthy composures." This higher praise is given to the writers who like himself were then contributing to the Globe repertory. He mentions no one else but Chapman of "full and heightened style." Are we to attribute to this mention of him the tradition that Chapman wrote The Second Maiden's Tragedy? On 11th September 1611 Shakespeare's name occurs "in the margin, as if a later insertion" (says Mr. Halliwell) of a list of Stratford donors "towards the charge of prosecuting the bill in Parliament for the better repair of the highways." In 1612 Lane, Greene, and Shakespeare filed a bill before Lord Ellesmere complaining that some of the lessees of the Stratford tithes refused to contribute their proper shares of a reserved rent. It appears from this document that Shakespeare's income from this source was £60. In the same year Heywood, in his Apology for Actors, complained of W. Jaggard's having printed in The Passionate Pilgrim, 3d edition, two love epistles taken from his Troia Britannica, as by W. Shakespeare, "which might put the world in opinion I might steal them from him;" he adds that he knows the author was much offended for Jaggard's presuming to make bold with his name. The name was in consequence withdrawn altogether from the title-page. Notwithstanding this, many modern editors print The Passionate Pilgrim as Shakespeare's. On 4th February 1613 Richard Shakespeare was buried at Stratford; whether the Gilbert Shakespeare, "adolescens," who was buried 3d February 1612, was also a brother of William's, is doubtful, but likely. On l0th March 1613 Shakespeare bought of Henry Walker a house and yard near Blackfriars Theatre for £140, of which £60 remained on mortgage (one of the trustees being in 1618 John Heming, Shakespeare's fellow-actor): he leased the house to John Robinson for ten years. On 29th June the Globe was burned down. It caught fire during the performance of All is True (Henry VIII.) This was not the play as we have it – which is a later version by Massinger and Fletcher, written for the Blackfriars Theatre, and containing only three scenes that can be attributed to Shakespeare – but a play in which there was a fool's part. Wotton describes it as "the play of Henry VIII.," but Lorkin says it was a new play called All is True, representing some principal pieces of Henry VIII. Whether new play or not it was probably by Shakespeare, written c. 1609, and portions of it remain imbedded in that now extant by Fletcher and Massinger c. 1617, the original MS. having perished in the fire. Just at the same time one Lane had been maligning Mrs. Hall, Shakespeare's daughter, in connection with Ralph Smith. Lane was summoned before the Ecclesiastical Court at Worcester on 15th July and excommunicated on the 27th. There were only seven plays performed at Court by the King's men in the winter 1613-14, all their principal writers – Fletcher, Beaumont, Jonson, Webster – having left them after the Globe fire. Surely this is not consistent with the statement of C. Burbadge that they had taken the Blackfriars building to their own use. No new play can be traced to them till 1615, when the Globe had been2 rebuilt, and the Prince Charles' men had gone to the Curtain. Then they certainly did take the Blackfriars to themselves, and with an excellent staff of writers – Jonson, Fletcher, Massinger, and Field – they occupied it as well as the new Globe. A letter of John Chamberlain's to Sir Dudley Carleton, 5th January 1615, says of the stage in general: "Of five new plays there is not one that pleases, and therefore they are driven to furbish over their old." Yet Jonson's Bartholomew Fair was one of these 1614 plays acted at Court. I suspect that Lady Elizabeth's players were not so well liked as the King's, and that Shakespeare and Beaumont were greatly missed. Fletcher and Massinger were not yet able to replace them even at Court.
In July 1614 John Combe left a legacy of £5 to Shakespeare; this fact disposes of the silly story of Shakespeare having satirised him in infantile doggerel. In the autumn William Combe, the squire of Wilcombe, originated a proposal to enclose common fields in the neighbourhood; he was supported by Shakespeare, who had been guaranteed against prospective loss by Replingham, Combe's agent. The corporation, through his cousin Greene, the town-clerk, remonstrated with him in November when he was in London, and again in December wrote to him representing the inconveniences and loss that would be caused. The matter dragged on to September 1615, and then fell through. This is the last notice of Shakespeare's action in any public matter. On l0th February 1616 his daughter Judith was married to Thomas Quiney, vintner, four years her junior, without licence, whence a fine and threat of excommunication at the Worcester Ecclesiastical Court: and on 25th April Shakespeare was buried. His will had been executed on 25th March. It was not regularly engrossed, but a corrected draft, originally prepared for copying and completion on 25th January, but evidently neglected until the sudden emergency of Shakespeare's illness. It appears from this document that Judith's marriage portion was to have been £100, on condition of her husband's settling on her £150 in land; if this condition was fulfilled within three years he was left £150 to his own use, if not it was strictly settled on her and her children. This £150 is independent of £100 in discharge of her marriage portion, and £50 conditional on her surrendering her interest in the Rowington manor to Susanna Hall. To Joan Hart, his sister, whose husband had been buried on 17th April, was left wearing apparel, £20, a life-interest in Henley Street, and £5 each to her sons. To Susanna Hall he left all his real estate settled in tail male, with the usual remainders over. To Elizabeth Hall all his plate except the broad silver-gilt bowl, which went to Judith Quiney. To his fellows, Hemings, Burbadge, and Condell, £1, 6s. 8d. each for rings; the usual legacies to the executors, poor, &c.; and to his wife his second best bed. Of course she was fully provided for by freebench in the Rowington copyhold, and dower on the rest of the property; nevertheless, it is strange that she does not appear as executrix, that she had no life-interest left her in house or furniture, and that in the draft of the will, as made in January, her name does not appear to have been mentioned at all. It is only in the subsequent interlineations that her bequest appears.
SECTION II.
THE PERSONAL CONNECTIONS OF SHAKESPEARE WITH OTHER POETS
One of the objects of the present treatise is to bring into clearer light the relations of Shakespeare with contemporary dramatists. Strangely enough this has scarcely been attempted in earlier biographies. His dealings in malt have been carefully chronicled: his connections with poets have been slurred over. It will be useful, therefore, to gather up the scattered notices of personal contact between him and his fellows in dramatic production. Mere allusions to his works, whether complimentary or otherwise, will not come under this category. Such will be found collected, and well collected, in Dr. Ingleby's Century of Praise; but they consist almost entirely of slight references to his published works, and have no bearing of importance on his career. Nor, indeed, have we any extended material of any kind to aid us in this investigation; one source of information, which is abundant for most of his contemporaries, being in his case entirely absent. Neither as addressed to him by others, nor by him to others, do any commendatory verses exist in connection with any of his or other men's works published in his lifetime – a notable fact, in whatever way it may be explained. Nor can he be traced in any personal contact beyond a very limited circle, although the fanciful might-have-beens so largely indulged in by his biographers might at first lead us to an opposite conclusion.
With John Lyly, the founder of English Comedy, he seems to have had no personal intercourse, although the reproduction by him of many of Lyly's puns and conceits, and some few of his dramatic situations, distinctly prove that he had carefully examined his published plays. Nor does the solitary reference to Shakespeare in Greene's Groatsworth of Wit, however it may display strong personal feeling, lead us to suppose that there had been any personal relations between these dramatists; in fact, the very wording of the passage properly understood distinctly disproves the existence of such relations. Of all the dramatists who had preceded him on the London stage the only two with whom he can be even conjecturally brought in personal contact before the opening of the Rose Theatre in 1592 are Robert Wilson and George Peele. It is unlikely that he should have begun his career as a novice and journeyman independent of tutor or coadjutor, and a minute examination of the careers of these two dramatists leads me to infer that they were connected with the same company as Shakespeare in 1590-1. In any case, they were his immediate models in his early work in several respects. It is from Wilson that his liking for doggerel rhymes and alternately rhyming stanzas was derived: it is from Peele that his love tragedy of Romeo and Juliet– his only early
It had been reopened in June 1614.