Complete Plays, The (60 page)

Stratford Affairs and Shakespeare's Return
.—While William Shakespeare was thus employed in London in building up name and fortune for himself, his father was in financial straits. As early as January, 1586, John Shakespeare had no property on which a creditor could place a lien. In September of the same year, he was deprived of his alderman's gown for lack of attention to town business. During the next year he was sued for debt, and had to produce a writ of
habeas corpus
to keep himself out of jail. In 1899 he tried to recover his wife's mortgaged property of Ashbies from the mortgagee's heir, John Lambert, but the suit was not tried till eight years later. Soon after this the son must have begun to send to Stratford substantial support. In 1592 John Shakespeare was made an appraiser of the property of Henry Field, a fellow-townsman. Henry Field's son Richard published
Venus and Adonis
for Shakespeare in 1593, from his shop in St. Paul's Churchyard. From this time John Shakespeare seems to have lived in comfort. His ambition to secure the grant of a coat of arms was almost successful at his first application for one in October, 1596; three years later the grant was made, and his son and he were now "Gentlemen."

In May, 1597, William Shakespeare bought New Place, a handsome house in the heart of Stratford, and at once became an influential citizen. From that time to his death he is continually mentioned in the town records. His purchases included 107 acres in  Old Stratford (May 1, 1602), for £320; the right to farm the Stratford tithes (July 24, 1605), for £440; an estate of the Combe family (April 13, 1610), and minor properties. In all his dealings, so far as we can tell, he seems to have been shrewd and business-like.

Little is known of Shakespeare's children during these years. Hamnet, his only son, was buried August 11, 1596. Susanna, the eldest daughter, married a physician, Dr. John Hall, of Stratford, June 5, 1607; Judith married Thomas Quiney, son of an old Stratford friend of Shakespeare's, February 10, 1616, two months before her father's death. Shakespeare's father had died long before this, in September, 1601.

Shakespeare's retirement from London to his native town is thought to have taken place about 1611, though there is no real evidence for this belief, except that his play writing probably ceased about this date. In 1614 a Puritan preacher stopped at New Place and was entertained there by the poet's family. It is certain that Shakespeare visited London from time to time after 1611. One such visit is recorded in the diary of his lawyer, Thomas Greene, of Stratford. As late as March 24, 1613, there occurs an entry in the accounts of the Earl of Rutland of a payment to Shakespeare and Richard Burbage of 44 shillings each in gold for getting up a dramatic entertainment for the Earl of Rutland.

In 1616 Shakespeare's health failed. On January 25, a copy of his will was drawn, which was executed March 25. On April 23, 1616, he died, and two days later was buried in the chancel of Stratford church.

Shakespeare's Portraits, Tomb, and Descendants
.—Two portraits, the "Ely Palace" and the "Flower" portraits, so called from former possessors, are thought to have better claims to authenticity than others. New discoveries are announced, periodically, of Shakespeare's portrait; but these turn out usually to be forgeries. The engraving by Martin Droeshout prefixed to the First and later Folios, though to us it seems unanimated and unnatural, is still the only likeness vouched for by contemporaries. It is thought by many to be a copy of the "Flower" portrait, which bears the date 1609, and which it certainly very closely resembles. If the Stratford bust which was placed in a niche above Shakespeare's tomb in Stratford church before 1623 was accurately reproduced in Dugdale's
Warwickshire
, then the present bust is a later substitution, since it shows differences in detail from that sketch. It is coming to be believed that the eighteenth-century restoration so altered the bust as to make it quite unlike its former appearance.

Shakespeare's grave is in the chancel of Stratford church. A dark, flat tombstone bears the inscription, which early tradition ascribes to the poet:—

"Good frend, for Iesvs sake forbeare
To digg the dvst enclosed heare:
Bleste be y
e
man y
t
spares thes stones,
And curst be he y
t
moves my bones."

The monument to Shakespeare, with the bust on the north wall, is facing the tomb.

In his will, Shakespeare provided that much the larger portion of his estate should go to his eldest daughter, Susanna Hall and John Hall, Gent., her husband, including New Place, Henley Street and Blackfriars houses, and his tithes in Stratford and near-by villages. This was in accordance with custom. To Judith, his younger daughter, the wife of Thomas Quiney, he left three hundred pounds, one hundred as a marriage portion, fifty more on her release of her right in a Stratford tenement, and the rest to be paid in three years, the principal to be invested, the interest paid to her, and the principal to be divided at her death.

Shakespeare left his sister, Joan Hart, £20 and his wearing apparel, and her house in Stratford rent-free till her death, at a shilling a year. His plate he divided between his daughters. The minor bequests, which include £10 to the Stratford poor, are chiefly notable for the bequest of money (26s. 8d.) for rings to "my fellowes, John Hemynges, Richard Burbage, and Henry Cundell." These were fellow-actors in the Lord Chamberlain's Company.

Within half a century Shakespeare's line was extinct. His wife died August 6, 1623. His daughter Susanna left one daughter, Elizabeth, who married, April 22, 1626, Thomas Nashe, who died April 4, 1647. On June 5, 1649, she married John Barnard of Abington, Northamptonshire, afterwards knighted. She left no children by either marriage. Her burial was recorded February 17, 1669-70. Shakespeare's daughter Judith had three sons,—Shakespeare, baptized November 23, 1616, buried May 8, 1617; Richard, baptized February 9, 1617-8, buried February 16, 1638-9; Thomas, baptized January 23, 1619-20, buried January 1638-9. Judith Shakespeare survived them all, and was buried February 9, 1661-2. Shakespeare's sister, Joan Hart, left descendants who owned the Henley Street House up to the time of its purchase, in 1847, by the nation.

[
1
] This reference was discovered among the Plume Mss. (1657-1663) of Maldon, Essex, by Dr. Andrew Clark, in October, 1904. Sir John Mennes was, however, not a contemporary of John Shakespeare, but doubtless merely passed on the description from some eyewitness.

[
2
] The dates between January 1 and March 25, previous to 1752, are always thus written. In 1752 England and its colonies decided to begin the year with January 1 instead of March 25, as formerly. Thus for periods before that date between January 1 and March 25, we give two figures to indicate that the people of that time called it one year and we call it a year later. Thus, Judith Shakespeare would have said she was baptized in 1584, while by our reckoning her baptism came in 1585.

[
3
] "O tiger's heart wrapped in a woman's hide." This line is also in the source of Shakespeare's play.

[
4
] Printed first in 1596, but written shortly before Greene's death in 1592.

[
5
] Registered Dec., 1592, but printed without date.

[
6
] These may be seen, as well as all others up to 1700, in the re-edited
Shakespeare Allusion Book
, ed. J. Munro, London, 1909.

[
7
] See Chapter III.

[
8
] See the
New York Times
for October 3, 1909.

CHAPTER II

ENGLISH DRAMA BEFORE SHAKESPEARE

The history of the drama includes two periods of supreme achievement, that of fifth-century Greece and that of Elizabethan England. Between these peaks lies a broad valley, the bottom of which is formed by the centuries from the fifth to the ninth after Christ. From its culmination in the tragedies of Æschylus, Sophocles, and Euripides, and in the comedies of Aristophanes, the classic drama declined through the brilliantly realistic comedies of Menander to the coldly rhetorical tragedies of the Roman Seneca. The decay of culture, the barbarian invasions, and the attacks of the Christian Church caused a yet greater decadence, a fall so complete that, although the old traditions were kept alive for some time at the Byzantine court, the drama, as a literary form, had practically disappeared from western Europe before the middle of the sixth century. For this reason the modern drama is commonly regarded as a new birth, as an independent creation entirely distinct from the art which had preceded it. A new birth and an independent growth there certainly was, but it must not be forgotten that the love of the dramatic did not disappear with the literary drama, that the entertainment of mediaeval  minstrels were not without dramatic elements, that dialogues continued to be written if not acted, and that the classical drama of Rome, eagerly studied by the enthusiasts of the Renaissance, had no slight influence upon the course which the modern drama took. If we make these qualifications, we may fairly say that the old drama died and that a new drama was born.

The Beginnings of Modern Drama
.—When we search for the origin of the modern drama, we find it, strangely enough, in the very institution which had done so much to suppress it as an invention of the devil; for it made its first appearance in the services of the Church. From a very early period, the worship of the Church had possessed a certain dramatic character. The service of the Mass recalled and represented by symbols, which became more and more definite and elaborate, the great sacrifice of Christ. And this tendency manifested itself in other ways, such as the letting fall, on Good Friday, of the veil which had concealed the sanctuary since the first Sunday in Lent, thus recalling the veil of the Jewish temple rent in twain at the death of Christ. But all this was rather the soil in which the drama could grow than the beginning itself. The latter came in the ninth century, when an addition was made to the Mass which was slight in itself, but which was to have momentous consequences. Among the words fitted to certain newly introduced melodies were those of which the following is a translation:—

"Whom seek ye, O Christians, in the sepulcher?
Jesus of Nazareth, who was crucified, O ye dwellers in Heaven.
He is not here; he is risen as he foretold.
Go and carry the tidings that he is risen from the sepulcher."

At first these words were sung responsively by the choir, but before the end of the tenth century they were put into the mouths of monks or clergy representing the Maries and the angel. By this time the dialogue had been removed to the first services of Easter morning, and had been connected with the ceremonies of the Easter sepulcher. In many churches it was then customary on Good Friday to carry a crucifix to a representation of a sepulcher which had previously been prepared somewhere in the church, whence the crucifix was secretly removed before Easter morning. Then, at the first Easter service, the empty sepulcher was solemnly visited, and this dialogue was sung.[
1
] The participants wore ecclesiastical vestments, and the acting was of the simplest character, but the amount of dialogue increased as time went on, and new bits of action were added; so that before the end of the twelfth century some churches presented what may fairly be called a short one-act play. Meanwhile, around the services of Good Friday and the Christmas season, other dramatic ceremonies and short dialogues had been growing up, which gave rise to tiny plays dealing with the birth of Christ, the visits of the shepherds and the Wise Men, and the Old Testament prophecies of  Christ's coming. Although the elaboration of individual plays continued, the evolution of the drama as part of the Church's liturgy was practically complete by the middle of the thirteenth century.

The Earlier Miracle Plays
.—The next hundred years brought a number of important changes: the gradual substitution of English for Latin, the removal from the church to the churchyard or market-place, and the welding together of the single plays into great groups or cycles. The removal from the church was made possible by the growth of the plays in length and dramatic interest, which rendered them independent of the rest of the service; and it was made inevitable by the enormous popularity of the plays and by the more elaborate staging which the developed plays required. The formation of more or less unified cycles was the result of a natural tendency to supply the missing links between the plays already in existence, and to write new plays describing the events which led up to those already treated. Just as Wagner in our day after writing his drama on
The Death of Siegfried
felt himself compelled to write other plays dealing with his hero's birth and the events which led to this birth, so the unknown authors of the great English cycles were led to write play after play until they had covered the significant events of Biblical history from the creation of the world to the Last Judgment. This joining together of isolated plays necessitated taking them away from the particular festivals with which they had originally been connected and presenting them all together on a single day, or, in the case of the longer cycles, on successive days. After 1264,  when the festival of Corpus Christi was established in honor of the sacrament of Holy Communion, this day was the favorite time of presentation. Coming as it did in early summer on the Thursday after Trinity Sunday, it was well suited for out-of-door performances, besides being a festival which the Church especially delighted to honor.

The Great English Cycles
.—Of the great cycles of miracle plays, only four have come down to us: those given at York and at Chester, that in the Towneley collection (probably given at or near Wakefield), and the cycle called the Ludus Coventriae or Hegge plays, of which the place of presentation is uncertain. The surviving fragments of lost cycles, however, taken together with the records of performances, show that religious plays were given with more or less regularity in at least one hundred and twenty-five places in England. The cycle which has been most completely preserved is that of York, forty-eight plays of which still exist. It originally included fifty-seven plays, while the number of Biblical incidents known to have been treated in plays belonging to one cycle or another includes twenty-one based on the Old Testament or on legends, and sixty-eight based on the New Testament.