A Chronicle History of the Life and Work of William Shakespeare. Fleay Frederick Gard
the version not required for future stage purposes to be issued to the public in print. Many instances of this custom are brought to light in the present treatise. On October 7, Cyril Tourneur's (?) Revenger's Tragedy was entered S. R. The date of production on the stage is uncertain. It had "been sundry times acted by the King's players." Nor am I aware of the grounds on which the authorship is assigned to Tourneur. It was published anonymously. On 25th June, Susanna, Shakespeare's daughter, married John Hall, M.A., physician at Stratford. There were thirteen performances this winter at Court by the King's men. In 1608 Shakespeare probably produced Coriolanus. On 21st February Elizabeth Hall was baptized, within eight months from her parents' marriage. The prospect of a continuation of his family, though not of his family name, was some alleviation for Shakespeare of the loss of his youngest brother Edmund, "a player," buried at St. Saviour's, Southwark, 31st December 1607, "with a forenoon knell of the great bell," ætatis 27. Of Edmund's career in London we know nothing; but surely he must have belonged to the Globe company. His absence from the actors' lists offers no obstacle to this supposition; they are, after that of The Seven Deadly Sins in 1594, confined to names of shareholders and principal actors. And if player for the Globe, why not author? May he not, for instance, have written The Yorkshire Tragedy under his brother's superintendence, and may not this account for its being published as William Shakespeare's? All attempts to assign it to any known author have egregiously failed. However this may be, and however poignantly William felt the loss of the Benjamin of the family, a severer bereavement awaited him in the death of his mother, buried at Stratford 9th September 1608. It has always been a favourite hypothesis with me that Volumnia was drawn from her as a model of matronly virtue, and it is certain that at this date a final change took place in Shakespeare's manner of writing. His plays since the accession of James had been, with scarcely an exception, tragedies; from this time they are really, under whatever head they may have hitherto been classed, tragi-comedies, and all turn, as I pointed out many years ago, on the reuniting of separated members of families. The first of this final group is Marina, the part of Pericles which replaced Wilkins' work, and which was written in this winter and hurriedly printed in 1609 as a practical answer to Wilkins' prose version, published in 1608, in which he claimed the story as an "infant of his brain." Shakespeare's version must, I think, be placed after his return to London from Stratford, where he remained after his mother's funeral till 16th October, when he stood godfather for William Walker. The Court performances this winter were twelve. On 28th January 1609, Troylus and Cressida was entered S. R., not for Roberts, whose intended publication in 1603 had been stayed, but for Bonian and Whalley, who issued it with a preface stating that it had never been "staled with the stage." This false statement was withdrawn in their subsequent re-issue during the same year, but it proves that the period during which the play had been performed in 1602 must have been a very short one; such a statement could not have otherwise been put forward with any plausibility. On 20th May the Sonnets were published, with a dedication to their "only begetter," Mr. W. H. I think that these initials designate Sir William Hervey, to whom Lord Southampton's mother left at her death in November 1607 the greatest part "of her stuff." He was her third husband, and may have been the original suggester to Shakespeare, as a friend to Lord Southampton, that he should write a series of Sonnets to him recommending marriage in 1594, when Southampton had not yet become devoted to "the fair Mrs. Vernon," and was entangled in the affair of the frail Avisa. In 1609 he was busily occupied with the Virginian company, and promoting voyages for American discovery, an allusion to which underlies the Dedication "wisheth the well-wishing adventurer in setting forth," adventurer being the current phrase for explorer of unknown regions. On 7th June Shakespeare's cousin, Thomas Green, then residing at New Place, Stratford, issued a final precept in his behalf against one Hornby, who had become bail for John Addenbroke, in a matter of debt for £6. This litigation had begun in August 1608: juries had been summoned on 21st December and 15th February, and then Addenbroke absconded, leaving Hornby to be answerable. The plague being prevalent this year, there were no Christmas performances at Court, and not many on the public stage. Cymbeline was Shakespeare's only production. In its present state it has evidently been subjected to revision and to alteration for some revival after Shakespeare's death, when the doggerel in the vision in iv. 4 was inserted; originally, no doubt, the ghosts appeared in dumb show to music. The Globe players received £30 as a compensation for being restrained from playing in London during six weeks, i. e., during August and September, when the bills of mortality show the plague to have been at its height.
In January 1610 the Revels children left the Blackfriars Theatre, and set up with a new organisation under Rossiter at Whitefriars the new private stage. It appears from the statement of C. Burbadge, in the 1635 documents discovered by Mr. Halliwell, that that family then bought up the remainder of the lease from Evans, and took some of the Revels boys, now grown up, to strengthen the Globe company. Among these were Underwood and Ostler; but as C. Burbadge also names Field, who did not join the King's men till 1615 or 1616, his subsequent statement that they set up men-players, Shakespeare, Hemings, Condell, &c., in Blackfriars at that date, is not to be taken as necessarily exact. The King's men undoubtedly took possession of Blackfriars for their own performances in 1614 or 1615, after the Globe had been burned and rebuilt; but there is not a trace of them until then in connection with this private house except this ex parte statement of C. Burbadge, made for a special purpose, in a plea which is studiously ambiguous. But there is evidence that other companies acted there. Field's Amends for Ladies was performed there by the Lady Elizabeth's company and the Duke of York's (afterwards Prince Charles'). This performance must have taken place during a temporary union between the Prince's men and the Lady Elizabeth's, to which latter the play and its author were properly attached; but that the Duke of York's acted continuously at Blackfriars from 1610 to 1615, is very probable. It is not likely that a company under such patronage, and admitted to Court performances every Christmas, should have been merely a strolling company, and there was no other theatre for them to perform in. The King's men held the Globe, Prince Henry's (afterwards the Palgrave's) the Fortune, the Queen's the Bull and the Curtain, the Queen's Revels' boys Whitefriars, and Lady Elizabeth's at first the Swan till 1612, and after its abandonment the newly renovated Hope in 1614, and then the rebuilt Cockpit or Phœnix. There is no proof that Shakespeare ever acted at Blackfriars; there is strong presumption to the contrary as to his supposed shares in that theatre: it was the "private inheritance" of the Burbadges, and that the King's men had shares in it at this time rests on the evidence of forged documents and mischievously fertile imaginations, to which the purchase of twenty acres of land at Stratford by Shakespeare from the Combes in June seems to require access of capital to make this new acquisition feasible. Winter's Tale was certainly produced early this year, before Jonson's Alchemist, which was acted and entered S. R., October 3, but was, however, "stayed" for the usual reasons, and did not get published till 1612. The Address to the Reader (no doubt dating 1610) contains one of Jonson's numerous allusions to the "dance of antics" in Winters Tale. Jonson, who had produced Epicene for the Chapel children in 1609, had returned to the King's men when the boys left Blackfriars. Shakespeare's last play this year, and final finished contribution to the stage, was The Tempest, produced about November, after the news that the ships of Sir T. Gates at the Bermudas had not been destroyed. This play as we have it has unfortunately been abridged for Court performances, probably by Beaumont in 1612 or 1613, to whom the insertion of the Masque may confidently be attributed. There were fifteen winter performances at Court in 1610-11.
The loss of Shakespeare was repaired as well as circumstances would permit by the accession of Beaumont and Fletcher to the King's company in 1611. In that year they produced their masterpieces Philaster, a King and no King and The Maid's Tragedy: in 1612 The Woman's Prize (by Fletcher alone), the play of Cardenas (probably the original form of Love's Pilgrimage), and The Captain. Jonson contributed Catiline in 1611, and Webster The Duchess of Malfi in 1612. The Second Maiden's Tragedy (by the author of The Revenger's Tragedy, I think) was also produced in 1611. At Court the unusual number of twenty-two plays was acted in the 1611 winter and twenty-eight in 1612. These must have included nearly every play they possessed; and the fact that the whole, or nearly so, of Shakespeare's plays were revived at Court in these two years makes his retirement in 1610 to my mind nearly a certainty, and accounts for the not very felicitous praise of his "copious industry" by Webster in