A Life of William Shakespeare with portraits and facsimiles. Sir Sidney Lee
which dealt with a topic distasteful to the Queen, was omitted from the early impressions. Prose is avoided throughout the play, a certain sign of early work. The piece was probably composed very early in 1593. Marlowe’s tempestuous vein is less apparent in ‘Richard II’ than in ‘Richard III.’ But if ‘Richard II’ be in style and treatment less deeply indebted to Marlowe than its predecessor, it was clearly suggested by Marlowe’s ‘Edward II.’ Throughout its exposition of the leading theme—the development and collapse of the weak king’s character—Shakespeare’s historical tragedy closely imitates Marlowe’s. Shakespeare drew the facts from Holinshed, but his embellishments are numerous, and include the magnificently eloquent eulogy of England which is set in the mouth of John of Gaunt.
Acknowledgments to Marlowe.
In ‘As you like it’ (III. v. 80) Shakespeare parenthetically commemorated his acquaintance with, and his general indebtedness to, the elder dramatist by apostrophising him in the lines:
Dead Shepherd! now I find thy saw of might:
‘Who ever loved that loved not at first sight?’
The second line is a quotation from Marlowe’s poem ‘Hero and Leander’ (line 76). In the ‘Merry Wives of Windsor’ (III. i. 17–21) Shakespeare places in the mouth of Sir Hugh Evans snatches of verse from Marlowe’s charming lyric, ‘Come live with me and be my love.’
Between February 1593 and the end of the year the London theatres were closed, owing to the prevalence of the plague, and Shakespeare doubtless travelled with his company in the country. But his pen was busily employed, and before the close of 1594 he gave marvellous proofs of his rapid powers of production.
‘Titus Andronicus.’
‘Titus Andronicus’ was in his own lifetime claimed for Shakespeare, but Edward Ravenscroft, who prepared a new version in 1678, wrote of it: ‘I have been told by some anciently conversant with the stage that it was not originally his, but brought by a private author to be acted, and he only gave some master-touches to one or two of the principal parts or characters.’ Ravenscroft’s assertion deserves acceptance. The tragedy, a sanguinary picture of the decadence of Imperial Rome, contains powerful lines and situations, but is far too repulsive in plot and treatment, and too ostentatious in classical allusions, to take rank with Shakespeare’s acknowledged work. Ben Jonson credits ‘Titus Andronicus’ with a popularity equalling Kyd’s ‘Spanish Tragedy,’ and internal evidence shows that Kyd was capable of writing much of ‘Titus.’ It was suggested by a piece called ‘Titus and Vespasian,’ which Lord Strange’s men played on April 11, 1592; [65] this is only extant in a German version acted by English players in Germany, and published in 1620. [66a] ‘Titus Andronicus’ was obviously taken in hand soon after the production of ‘Titus and Vespasian’ in order to exploit popular interest in the topic. It was acted by the Earl of Sussex’s men on January 23, 1593–4, when it was described as a new piece; but that it was also acted subsequently by Shakespeare’s company is shown by the title-page of the first extant edition of 1600, which describes it as having been performed by the Earl of Derby’s and the Lord Chamberlain’s servants (successive titles of Shakespeare’s company), as well as by those of the Earls of Pembroke and Sussex. It was entered on the ‘Stationers’ Register’ to John Danter on February 6, 1594. [66b] Langbaine claims to have seen an edition of this date, but none earlier than that of 1600 is now known.
‘Merchant of Venice.’
For part of the plot of ‘The Merchant of Venice,’ in which two romantic love stories are skilfully blended with a theme of tragic import, Shakespeare had recourse to ‘Il Pecorone,’ a fourteenth-century collection of Italian novels by Ser Giovanni Fiorentino. [66c] There a Jewish creditor demands a pound of flesh of a defaulting Christian debtor, and the latter is rescued through the advocacy of ‘the lady of Belmont,’ who is wife of the debtor’s friend. The management of the plot in the Italian novel is closely followed by Shakespeare. A similar story is slenderly outlined in the popular medieval collection of anecdotes called ‘Gesta Romanorum,’ while the tale of the caskets, which Shakespeare combined with it in the ‘Merchant,’ is told independently in another portion of the same work. But Shakespeare’s ‘Merchant’ owes much to other sources, including more than one old play. Stephen Gosson describes in his ‘Schoole of Abuse’ (1579) a lost play called ‘the Jew … showne at the Bull [inn] … representing the greedinesse of worldly chusers and bloody mindes of usurers.’ This description suggests that the two stories of the pound of flesh and the caskets had been combined before for purposes of dramatic representation. The scenes in Shakespeare’s play in which Antonio negotiates with Shylock are roughly anticipated, too, by dialogues between a Jewish creditor Gerontus and a Christian debtor in the extant play of ‘The Three Ladies of London,’ by R[obert] W[ilson], 1584. There the Jew opens the attack on his Christian debtor with the lines:
Signor Mercatore, why do you not pay me? Think you I will be mocked in this sort?
This three times you have flouted me—it seems you make thereat a sport.
Truly pay me my money, and that even now presently,
Or by mighty Mahomet, I swear I will forthwith arrest thee.
Subsequently, when the judge is passing judgment in favour of the debtor, the Jew interrupts:
Stay, there, most puissant judge. Signor Mercatore consider what you do.
Pay me the principal, as for the interest I forgive it you.
Shylock and Roderigo Lopez.
Above all is it of interest to note that Shakespeare in ‘The Merchant of Venice’ betrays the last definable traces of his discipleship to Marlowe. Although the delicate comedy which lightens the serious interest of Shakespeare’s play sets it in a wholly different category from that of Marlowe’s ‘Jew of Malta’, the humanised portrait of the Jew Shylock embodies distinct reminiscences of Marlowe’s caricature of the Jew Barabbas. But Shakespeare soon outpaced his master, and the inspiration that he drew from Marlowe in the ‘Merchant’ touches only the general conception of the central figure. Doubtless the popular interest aroused by the trial in February 1594 and the execution in June of the Queen’s Jewish physician, Roderigo Lopez, incited Shakespeare to a new and subtler study of Jewish character. [68] For Shylock (not the merchant Antonio) is the hero of the play, and the main interest culminates in the Jew’s trial and discomfiture. The bold transition from that solemn scene which trembles on the brink of tragedy to the gently poetic and humorous incidents of the concluding act attests a mastery of stagecraft; but the interest, although it is sustained to the end, is, after Shylock’s final exit, pitched in a lower key. The ‘Venesyon Comedy,’ which Henslowe, the manager, produced at the Rose on August 25, 1594, was probably the earliest version of ‘The Merchant of Venice,’ and it was revised later. It was not published till 1600, when two editions appeared, each printed from a different stage copy.
‘King John.’
To 1594 must also be assigned ‘King John,’ which, like the ‘Comedy of Errors’