A Chronicle History of the Life and Work of William Shakespeare. Fleay Frederick Gard
and was therefore produced, in all probability, in the later half of 1602. In this play the Prologue, the love story of Troylus, and all the scenes after v. 4, are taken from the old play of c. 1593, in which Shakespeare only wrote as a coadjutor. The Prologue and the later scenes – v. 5-10 – are manifestly by the second pen in the main, and printed by mistake, the end of the revised version being shown by the repetition of the lines "Why, but hear you," &c., at the end of v. 3. That the 1602 version of the play was intended to refer to the theatrical quarrel of 1599-1602 is clear from the line "Rank Thersites with his mastick tooth," who is evidently Dekker, of whom Jonson says in the Poetaster (iii. 1), "He has one of the most overflowing rank wits in Rome; he will slander any man that breathes if he disgust him." Dekker had produced the SatiroMASTIX shortly before Troylus was acted; and it has been noted that he was not one of the contributors to Chester's Martyr. I believe the Troylus play to have been the one in which Shakespeare put down all the University men, and purged Ben Jonson's pride, as we learn that he did from the University play of The Return from Parnassus, acted in January 1602-3; the character of Ajax, "Slow as the elephant, into whom nature hath so crowded humours," &c. (i. 2), hits off Jonson exactly, and is a good-humoured reply to Jonson's self-estimate as Crites in Cynthia's Revels (ii. 1), "A creature of a most divine temper, one in whom the elements and humours are peaceably met," &c.
In May 1602 Gilbert Shakespeare (his brother being probably in London) concluded the purchase on his behalf of 107 acres of land in Old Stratford, bought of the Coombes for £320, and on 28th September Walter Getley transferred to him (not in person), at a Court Baron of the Manor of Rowington, a cottage and garden in Chapel Lane. The lady of the manor retained possession until personal completion of the purchase. The Chamberlain's company were re-admitted to act at Court in the winter, not having performed there in 1601-2, probably on account of the Richard II. affair. They acted, however, only two plays. In the following March, 1603, Shakespeare remodelled The Taming of the Shrew by the rewriting of the Katherine and Petruchio scene. The play before he altered it was one written, I think, by Lodge about 1596, and founded on the old Kyd play of 1589 acted by Pembroke's men. On March 29 Queen Elizabeth died, and whether it be due to the different requirements of the new Court, or to a natural development of Shakespeare's mind, there can be no doubt that a marked change of style and method took place at this epoch in his work. It should not be forgotten that the primary object for which theatres were established was that stage-players "might be the better enabled and prepared to show such plays to her [or his] Majesty as they shall be required," and that the "honest recreation" of the citizens was a secondary matter. For proof of this see the Privy Council documents quoted by Collier in his Annals, passim, and specially in i. 309. Hence the succession of a new sovereign had greater influence on the tone of the drama than we can well realise. In Shakespeare's case it inaugurated a period in which Tragedy was predominant in place of Comedy and History. All his greatest tragedies were produced during the next four years 1603-6.
Before quitting the reign of Elizabeth, I call attention to the significant fact that the Chamberlain's company performed at Court before the accession of James exactly twenty-eight plays, and that the number of Shakespeare's plays known to have been produced during the same period by that company is twenty, and of other men's eight. I do not press this exact agreement as showing absolute identity between the two lists; one or two of the Court plays may have been merely revivals, one or two of the stage plays may not have been brought before her Majesty at all, but I think the following inferences justifiable. The Queen, evidently as a general rule, only allowed new plays, or plays so largely reconstructed as to be reckoned as new, to be presented to her. So far as the Chamberlain's company were concerned, these plays consisted on an average of two of Shakespeare's and one of another author's – these numbers, however, being rather exceeded in the earlier years, and diminished in the later. Shakespeare consequently was to this company in the same position as Greene to the Queen's men before his time, purveying to their use "more than four other," which explains his rapid advance in popularity and accumulation of property. And finally, the number of plays supposed to have been lost has been grossly exaggerated by modern critics, who have based their calculations on the Diary of Henslowe, whose policy was quantity rather than quality, and who was continually deceived by his hack-writers presenting to his illiterate ignorance old plays new vamped as if they were completely new.
In 1603 the plague raged in London. In March before the Queen's death, the theatres were closed, and in the license of May 19, which adopted the Chamberlain's men as the King's Servants (a title already conferred on them in Scotland in 1601), a special clause was inserted allowing them to act "when the infection of the plague shall decrease." The infection did not decrease, yet the theatres were reopened, but probably only for a few days. Doubtless the authorities closed them on account of the continuance of the sickness. The plays acted at this reopening were probably The Miseries of Enforced Marriage, by George Wilkins, a new author, which was founded on contemporaneous events in Yorkshire, and certainly the perfected Hamlet as we now have it in the Folio. The older version, which had been entered S. R. on 26th July 1602, was now published, having probably been "stayed," as was frequently the case with plays printed by J. Roberts (for example The Merchant of Venice, Troylus and Cressida), but not till the copyright had been transferred to N. Ling and J. Trundell. In 1604 Ling issued the second Quarto, which in some instances supplies passages omitted in the Folio for stage purposes, and in others presents alternative versions and additions evidently made for the Court performance (one of nine) in the winter 1603-4. It was a common practice to utilise the altered copies of plays acted at Court by allowing their publication. Yet another play acted by the King's men this year was Jonson's Sejanus, for which he was accused of Popery and treason by Northampton. When he published it (2d November 1604, S. R.), he stated that "this book in all numbers is not the same with that which was acted on the public stage; wherein a second pen had good share: in place of which I have rather chosen to put weaker, and no doubt less pleasing of mine own, than to defraud so happy a genius of his right by my loathed usurpation." The only known writers for the King's men at this date were Wilkins, W. S. (? Sly), Shakespeare, and possibly Tourneur. Of these there can be no doubt that Shakespeare is the only one that could have been the second pen alluded to. Not that necessarily he was a coadjutor to Jonson in this play. It is more likely that as he acted one of the principal parts in it he inserted or altered scenes in which he himself appeared. It is clear that "the second pen," whoever he was, objected to his share in the play being published, and no wonder, seeing how its main author had been accused on account of it. This probably explains why the book was kept in the press six months, from November 1604 to April 1605. When it was issued Jonson's Volpone was just coming on the stage, and it is noticeable that Shakespeare did not act in that play, and that immediately after Jonson quitted the King's men and joined Chapman and Marston in writing Eastward Ho for the Revels children, in which Hamlet is ridiculed. All this seems to point to a quarrel between Jonson and Shakespeare, and certainly Jonson's behaviour in the Sejanus matter is not, as Gifford calls it, manly. To drag in unnecessarily an allusion to a friend whose personality must have been known to the public of that time, into an address prefixed to a work accused of Popery and sedition was unmanly; and, as his friend had objected to it, was discreditable. No intercourse can be shown between Shakespeare and Jonson after 1603.
On 30th January 1603-4, the new company of the Revels children replaced the Chapel boys at Blackfriars. They were, however, in the main composed of the same actors, and were not unfrequently mentioned under their old name. On March 15, we find that among the King's train, at his entry into London, were nine of the King's company, dressed in the scarlet cloth allowed for the occasion. As these nine are identical with those in the license of 19th May 1603, which is statedly incomplete, they must have been in some way distinguished from the rest of their fellows. They were, no doubt, shareholders in the Globe. Cooke and Lowin, who acted in Sejanus and Volpone, do not appear among them; nor do Tooley, Gough, and Sinkler, who were at this time members of the company. The nine were Shakespeare, Phillips, Fletcher, Hemings, Burbadge, Sly, Lowin, Condell, and Cowley. In July, Shakespeare was in Stratford, recovering in the local court some £2 odd for malt, &c., sold to one Rogers. In August he was summoned to London, the King's men having to attend at Somerset House to play at the reception of the Spanish ambassador. During this year he produced Othello and Measure