Frederick Fleay - A Chronicle History of the Life and Work of William Shakespeare

In January 1598-9 James Burbadge brought his dispute with Giles Alleyn about the Theater to a practical conclusion by removing the materials of that structure from Shoreditch to the Bankside, and erecting the Globe with them. This "round" was opened in the spring, and in it all the plays of Shakespeare not hitherto noticed were originally produced. Before quitting the Curtain, however, A Warning for Fair Women was there acted by the Chamberlain's men. This was in my opinion Lodge's last play. Another play of the same date was Shakespeare's Henry V. , reproduced, with additions and alterations, at the Globe in the autumn of the same year. Other Globe plays of this year were As You Like It , and Jonson's Every Man out of his Humour . This latter was the first of his comical satires, in which he introduces on the stage Marston, Dekker, Monday, the Globe players, &c. Only this one was acted by Shakespeare's company, and it is specially remarkable that Shakespeare did not take a part in it, although he had acted in Every Man in his Humour in 1598. It is pretty clear that he disliked Jonson's personalities, and it is certain that Jonson had to remove them from the Globe Theatre to the Blackfriars, where the Children of the Revels acted under Evans The Case is Altered (1599), Cynthia's Revels (1600), and The Poetaster (1601). Chapman supported Johnson with Sir Giles Goosecap (1601). The Paul's Children retaliated with Marston's Jack Drum's Entertainment (1600), and Antonio and Mellida (1600); the Admiral's at the Rose with Marston's Histriomastix , and Patient Grissel by Dekker, Haughton, and Chettle (December 1599); and the Chamberlain's with Dekker's Satiromastix (1601). All these plays, and the list is not exhaustive, are filled with personal allusions. The quarrel was known as the "War of the theatres." The prevalent dislike to regard Shakespeare as less than angelic has prevented due attention being given to the direct statement in The Return from Parnassus (acted 1602-3) that he had put down all the playwrights of the University press and administered a purge to Jonson in return for the emetic which he administers to Marston in The Poetaster . Shakespeare certainly did take part in this controversy, and it is in the plays dating 1599-1602 that we must look for his contributions to it. One thing, however, is certain, that he did not act as a violent partisan. If he purged Jonson he did not spare Dekker, who had written for his own company in this quarrel; "when rank Thersites opes his Mastick jaws" ( Troylus , i. 3) identifies him clearly enough. In fact, when the Globe company wanted a thorough party advocate in this matter it was not to Shakespeare that they applied. They took the very unusual course of hiring a poet from a rival company, and hence Dekker's Satiromastix was written for them. I venture to add that this would not have been allowed by Shakespeare had he been in London at the time, and that it had to be transferred to the sole use of the Paul's children, probably at his instance. Recurring to Every Man out of his Humour , the beginning of all this strife, a comparison of the actor list with that of Jonson's preceding play shows that Kempe, Beeston, and others had left the Chamberlain's company on the opening of the Globe. They no doubt remained at the Curtain, where a company called Lord Derby's soon began to act. This secession did not injure the Globe men, who became very popular. In October, for instance, we hear of Lord Southampton going to plays every day, of course at his old player protégé's house. But that some serious quarrel had taken place is, I think, evident from the exclusion of so important a name as Beeston's from the list of chief actors in the first Folio edition of Shakespeare. Duke, Pallant, &c., who seceded at the same time with Beeston, are equally excluded, so that the omission is not accidental.

In this year a perfect edition of Romeo and Juliet was published, probably on leaving the Curtain; and The Passionate Pilgrim was impudently issued by W. Jaggard as by William Shakespeare. Beyond two sonnets and a few lines from Love's Labour's Lost , published in 1598, there is nothing in this book that can be shown to be Shakespeare's, but much that cannot. Somewhere about this date an unsuccessful application was made to impale the arms of Shakespeare with those of Arden. The Chamberlain's men performed three plays at Court during the Christmas festivities, viz.: on 26th December, probably As You Like It ; 5th January, probably Henry V. ; and another play on 4th February. I think this was the occasion for which The Merry Wives of Windsor was written, or rather rewritten on the foundation of The Jealous Comedy of 1592. The Queen, whose admiration for the character of Falstaff is well known, was sorely disappointed that Shakespeare had not fulfilled his promise made in the Epilogue to 2 Henry IV. , that he would again introduce him on the stage; and there is no reason to doubt the tradition that, wishing to see him under new conditions, she ordered Shakespeare to represent him in love, which order he obeyed by writing The Merry Wives within a fortnight. The dates all suit this hypothesis, and in any case there can be no doubt that this comedy stands apart from the Henry V. histories, and was last in point of time. Another play of this year was Julius Cæsar . There is no evidence of any other writer than Shakespeare for the company this year, in which the 2 and 3 Henry VI. (alluded to as recast in Jonson's Prologue to his revised version of Every Man in his Humour , acted by the Chapel children early in 1601) were revised and partly rewritten by him. As usual in such cases, the old abridged acting copies of the plays in their earlier shape were reprinted. But there is more interesting matter connected with the publishers in the 1600 entries. On August 4, As You Like It, enry V. , Much Ado about Nothing , and Every Man in his Humour , all Chamberlain's plays, were ordered to be "stayed;" they were probably suspected of being libellous, and reserved for further examination. Since the "war of the theatres" was at its height, they may have been restrained as not having obtained the consent of the Chamberlain, on behalf of his company, to their publication. Subsequently, Every Man in his Humour was licensed on 14th August, but not printed till 1601. Much Ado was also licensed 23d August, and printed; As You Like It was not allowed to appear, the company probably objecting that it had only been on the stage for one year, but Henry V. was printed surreptitiously by T. Millington and T. Busby before 14th August, on which date it appears in S. R. as the property of T. Pavier, who reprinted it in 1602. The peculiarity of this Quarto issue is, that it contains no matter which does not also appear in the complete Folio version, whereas, in the somewhat similar cases of Romeo and Juliet , The Merry Wives , and Hamlet , there is in every instance some portion of the Quarto which is palpably by another hand. This agrees with my view that these three plays, as in the Folio, were founded on earlier plays, in which Shakespeare was at most a coadjutor, while the Folio Henry V. is a revision of his own play, produced not long before. Another entry in S. R. is interesting. On October 28, The Merchant of Venice was entered to T. Hayes, with Pavier's consent; Roberts had already entered it 22d July 1598, but it had not been allowed to appear, probably because, like those mentioned above, it had then been only one year on the stage. On October 8, Midsummer Night's Dream was also entered. Of the editions of these two plays published in this year information will be found in another part of this book. On 11th August the two plays on Sir John Oldcastle , of which only one has reached us, were entered. They had been acted in 1599 at the Rose by the Admiral's men, and were directed against the presumed scandal thrown on the "martyr" in Shakespeare's Henry V. series. It should be especially noted that the principal author of these plays was Drayton, formerly fellow-worker with Shakespeare for the Chamberlain's men, and introducer of Sir John Oldcastle as a profligate parson in The Merry Devil of Edmonton . Of Shakespeare's personal movements during this year we merely know that he was in London in April recovering a debt of £7 of one Clayton, and no doubt acting in the three plays performed at Court in the winter.