CHILDRENS’ COMPANIES
PARASITASTER,
OR
THE FAWNE,
AS
IT HATH BENE DIVERS
times presented at the blacke Friars,
by the Children of the Queenes
Maiesties Reuels.
Written
BY IOHN MARSTON.
AT LONDON
❧ Printed by T. P. for W. C.
1606.
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During the Shakesperean era the custom of maintaining a company of children actors was continued. The custom was inaugurated by Henry the Eighth. Several of these juvenile companies existed, the chief of which were attached to the Court. The best known amongst them were the Children of the Chapel Royal, the Windsor Chapel Choir, and the celebrated Children of St. Paul’s Choir, the Children of Westminster School, and several others.
The inner history of these companies is only known in a very fragmentary state. A somewhat detailed account is given of the boys of the Chapel Royal, and that is owing to the indefatigable labours of Professor and Mrs. Wallace. Even in this study many details are lacking which further research may amend.
The famous passage of “Hamlet,” where Shakespeare alludes to these children players, is responsible for many details in connexion with these small actors. For a time they played an important part in the theatrical annals of the period, otherwise Shakespeare’s outburst against them would have little point.
This passage in “Hamlet” proves they were a thorn in the sides of the adult players, and for a brief period carried all before them. Many well-known dramatists wrote plays especially for these young actors. No record exists of their appearance at a public theatre. The boys acted chiefly at the private house known as the Blackfriars Theatre. The company of the Chapel Royal, and that of the St. Paul’s Choir, can only be regarded as of a good all-round amateur ability comparable with societies of our own times.
The dumbe Knight.
A pleasant Comedy, acted sundry times
by the children of his Maiesties
Reuels.
Written by Iaruis Markham.
LONDON,
Printed by Nicholas Okes, for Iohn Bache, and are to be sold
at his shop in Popes-head Palace, neere to
the Royall Exchange. 1608.
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CHAPTER V
SHAKESPEARE AS AN ACTOR
Nearly a quarter of a century of Shakespeare’s life was passed in the theatrical world. Under these circumstances we should naturally expect to find scattered through his works many allusions in connexion with the stage. On this point we shall not be disappointed; with the exception of “Titus Andronicus,” which many critics discredit the Shakesperean authorship, every play contains references to the contemporary stage.
By carefully reading through all the plays of Shakespeare, and assisted materially by Bartlett’s concordance, I have extracted all such allusions and have appended notes, which I hope will be found useful and instructive.
Shakespeare played many parts in connexion with the theatre, one of the most important being that of an actor; chiefly in that capacity he acquired a great advantage over his fellow dramatists. By adopting this career, he gained a thorough knowledge of stage-craft in all its minute ramifications, which in a great measure assisted him most materially in his vocation as a practical playwright: and his rapid and marvellous progress as a dramatist must in some degree be due to his having studied the requirements of the stage in all its branches.
Molière, the great French dramatist, who wrote in the middle of the seventeenth century, is another instance of a successful dramatist, being also an actor.
When we enquire how far Shakespeare succeeded in his profession, or with what parts his name is associated, we are again baffled, and that mystery which enshrouds the entire life of this mighty genius again defies us. The First Folio of Shakespeare’s works was published in the year 1623. In one of the preliminary pages is a list of actors’ names who took part in the several plays; at the head of this list is the name of Shakespeare, but this by no means qualifies him as ranking first in the order of merit. Richard Burbage, whose name stands second, was the greatest actor of his time, and in this capacity is highly praised by his contemporaries, whereas the name of Shakespeare is rarely mentioned as an actor. There is a tradition that he acted the part of Adam in “As You Like It,” which the following passage, written by Oldys about the year 1650, corroborates. This author wrote many notes on the life of Shakespeare, which were used by Reed, an editor of Shakespeare’s works:
“One of Shakespeare’s younger brothers, who lived to a good old age, even some years as I compute, after the Restoration of Charles the Second, would in his younger days come to London to visit his brother Will, as he called him, and be a spectator of him as an actor in some of his own plays. This custom, as his brother’s fame enlarged, and his dramatic entertainments grew the greatest support of our principal, if not of all our theatres, he continued, it seems, so long after his brother’s death, as even to the latter end of his own life. But when questioned, it seems he was so stricken in years and infirmities, which might make him the easier pass for a man of weak intellect, that he could but give them very little light into their enquiries; and all that he recollected of his brother Will in that station was the faint, general and almost lost ideas he had of having once seen him act a part in one of his own comedies, wherein, having to personate a decrepit old man, he wore a long beard, and appeared so weak and drooping and unable to walk that he was forced to be supported and carried by another person to a table, at which he was seated among some company, who were eating, and one of them giving a song.”
Another well known tradition is that Shakespeare played the part of the Ghost in his own play Hamlet. Rowe, the first real editor of Shakespeare, mentions this almost as a fact; he further adds that this part was the top of his performance, although he gives no authority for either statement. John Davies, poet and epigrammatist, in a few lines, circa 1611, addressed “To our English Terence Mr. Will Shakespeare,” mentions that he enacted Kingly parts, but gives no further particulars. The same writer had previously alluded to Shakespeare as a player in a work entitled, “Microcosmus,” dated 1603. Sir Richard Baker, in his chronicle history of the reign of Queen Elizabeth, published in 1643, mentions Shakespeare in the double capacity of poet and player. As the reference is rather interesting, I append it in full:
“Men of Note in her times (Elizabeth) (Statesmen, Writers and Divines). After such men it might be thought ridiculous to speak of stage-players, but seeing excellence in the meanest things desires remembering, as Roscius, the Comedian, is recorded in History with such commendation, it may be allowed us to do the same, with some of our Nation. Richard Burbage and Edward Allen, two such actors as no age must ever look to see the like, and to make their comedies complete, Richard Tarleton, who for the Part called the Clown’s Part never had his match, never will have. For writers of Plays, and such as had been players themselves, William Shakespeare and Benjamin Jonson have specially left their names recommended to posterity.”
In the last passage I presume the writer praises these two authors in their capacity as men of letters rather than players. This author again refers to Shakespeare but only as a poet.
A curious reference to Shakespeare as an actor will be found in a tract entitled, “Ratseis’ Ghost,” published anonymously circa 1605. Only one copy of this pamphlet is extant, which was formerly in the Library of the Earl Spencer, known as the Althorp Library. Ratseis was a highwayman who, after paying certain actors to play before him, overtook and robbed them, and as an act of consolation for their loss, gave the chief actor the following piece of advice:
“Get thee to London, for if one man were dead, they will have much need as such a one as thou art. There would be none in my opinion fitter than thyself to play his parts; my conceipt of such of thee that I durst venture of all my money in my purse on thy head to play ‘Hamlet’ with him for a wager. There thou shalt learn to be frugal, for Players were never so thrifty as they are now about London, and to feed upon all men, to let none feed upon thee, to make thy hand a stranger to thy pocket, thy heart slow to perform thy tongue’s promise, and when thou feelest thy purse well lined, buy thee some place or Lordship in the Country that, growing weary of playing, thy money may bring thee to dignity and reputation. Sir, I thank you, quoth the player for thy counsell, I promise you I will make use of it, for I have heard indeed of some that have gone to London very meanly and have come in time to be exceedingly wealthy.”
The only two well known actors in these times who had acquired fortunes and invested their money in landed estates in the country were Edward Alleyn and William Shakespeare. As the former was born in London, his birth being recorded in the parish register of St. Botolph’s, Bishopsgate, he could not have been the poor player who hailed from the country, so we can take it as reasonably proved the writer is referring to Shakespeare, who was born in Stratford-on-Avon. There is abundant proof that Shakespeare acted in at least two of Ben Jonson’s plays, namely, “Every man in his Humour” and “Sejanus.” The former was produced in 1598, the printed edition first appearing in 1600; prefixed to the play is a list of Actors, in which the name of Shakespeare stands first. “Sejanus” was acted in 1603, the play being printed two years later, in 1605. A list of actors’ names, prefixed to this edition, is arranged in two columns; Burbage’s name heads the first column, Shakespeare’s the second. The individual parts assumed by the actors are not given.
James Wright, in a rare little tract entitled, “Historica Histrionica,” 1699, encourages the view that Shakespeare, at his best, was but a mediocre actor in a “Dialogue of Plays and Players.”
Lovewit (one of the characters in the Dialogue):
“Pray, Sir, what Master Parts can you remember the old Blackfriars men to Act, in Jonson, Shakespeare and Fletcher’s plays?”
Truman (another character in the Dialogue):
“What I can at present recollect I’ll tell you. Shakespeare, who, as I have heard, was a much better poet than player. Burbage, Hemmings and others of the old sort were dead before I knew the town.”
An early reference to Shakespeare as an actor is to be found in a volume of poetry, entitled, “Willobie His Avisa, or The true Picture of a modest maid and of a chast and constant wife.”
Imprinted at London by
John Windet.
1594.
The poem in which the reference occurs is in the form of a dialogue between H. W. and W. S. The first initials probably stand for Henry Wriothesley, Earl of Southampton, to whom Shakespeare dedicated his two poems of “Venus and Adonis” and “Lucrece”; the W. S. plainly indicates William Shakespeare. The 44th canto opens with a preface, in which H. W. is infected with a passion for Avisa: not being able to endure the secret of his fervent desire, he confides his wish to W. S., who had likewise “tried the curtesie of the like passion.” Thus this miserable comforter comforting his friend with an impossibility, either that he would now secretly laugh at his friend’s folly that had given occasion not long before unto others to laugh at his own, or because he would see whether another could play his part better than himself, and, in viewing afar off the course of this loving comedy, he determined to see whether it would sort to a happier end for this new actor than it did for the old player. But at length this Comedy had like to have grown a Tragedy by the weak and feeble estate that H. W. was brought unto.
In some verses attached to this poem is one
In praise of Willobie his Avisa
Hexametron to the Author.
GREENES,
GROATS-VVORTH
of witte, bought with a
million of Repentance.
Describing the follie of youth, the falshood of makeshifte flatterers, the miserie of the negligent, and mischiefes of deceiuing Courtezans.
Written before his death and published at his dyeing request.
Fælicem fuiße infaustum.
LONDON
Imprinted for William Wright.
1592.
(Original Image)
Greenes
Sweet boy, might I aduise thee, be aduisde, and get not many enemies by bitter wordes: inueigh against vaine men, for thou canst do it, no man better, no man so well: thou hast a libertie to reprooue all, and name none; for one being spoken to, all are offended; none being blamed no man is iniured. Stop shallow water still running, it will rage, or tread on a worme and it will turne: then blame not Schollers vexed with sharpe lines, if they reproue thy too much liberty of reproofe.
And thou no lesse deseruing than the other two, in some things rarer, in nothing inferiour; driuen (as my selfe) to extreme shifts, a litle haue I to say to thee: and were it not an idolatrous oth, I would sweare by sweet S. George, thou art vnworthy better hap, sith thou dependest on so meane a stay. Base minded men all three of you, if by my miserie you be not warnd: for vnto none of you (like mee) sought those burres to cleaue: those Puppets (I meane) that spake from our mouths, those Anticks garnisht in our colours. Is it not strange, that I, to whom they all haue beene beholding: is it not like that you, to whome they all haue beene beholding, shall (were yee in that case as I am now) bee both at once of them forsaken: Destrust them not: for there is an vpstart Crow, beautified with our feathers, that with his Tygers hart wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and beeing an absolute Iohannes fac totum, is in his owne conceit the onely Shake-scene in a countrey. O that I might intreat your rare wits to be imploied in more profitable courses: & let those Apes imitate your past excellence, and neuer more acquaint them with your admired inuentions. I knowe the best husband of
you
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In the second verse—there are six—is found recorded one of the earliest allusions to Shakespeare:
“Though Collatine have deerly bought
To high renowne a lasting life,
And found that most in vaine have sought
To have a Faire and Constant wife,
Yet Tarquine pluckt his glistering grape
And Shake-speare, paints poore Lucrece rape.”
The above lines certainly strengthen the theory that the initials W. S. stand for a real actor. The reader will also notice the words Actor, Player, Comedy and Tragedy, all of which help to identify the person designated.
The first literary notice of Shakespeare is to be read in a pamphlet styled “Greene’s Groats-worth of Wit.” Greene died in September, 1592, and his book was issued in the same year. The first edition of Greene’s pamphlet remained unknown for many generations, and was only discovered during the last few years, and is now safely deposited in the British Museum. To the best of my belief the accompanying facsimile is published for the first time. Chettle refers to Shakespeare in his introductory letter to “Kind Harts Dream,” styled “To the Gentlemen Readers.” Chettle Greene’s friend, in a tract, entitled, “Kind Harts Dream,” entered at Stationers’ Hall, 8th December, 1592, published shortly afterwards by W. Wright without date. Greene’s pamphlet was registered on September 20th, 1592.
A copy of this book in the Huth collection, dated 1596, when sold fetched £200. The 1617 edition sold for £25 and the 1637 edition for £17. All three editions came from the same library. The full title of the 1596 edition is as follows:
“Greene’s Groats-worth of Wit, bought With a Million of Repentance. Describing the follie of Youth, the falshoode of makeshift flatterers, the miserie of the negligent and mischiefes of deceiving Courtesans. Written before (sic) his death, and published at his dying request.”
“Printed by Thomas Creede for Richard Olive, dwelling in long-long (sic) Lane, and are there to be solde, 1596.”
“Black letter, cut on title (last leaf backed and 3 pages scribbled on margins of 2.U. slightly mended, otherwise good, blind stamp russia A-F.2 in fours).”
The above is a description of the Huth copy. The only other copy of this edition on record was Archdeacon Wrangham’s, which wanted nearly a leaf. The present copy is from the libraries of Joly and Corser: “To those Gentlemen his quondam acquaintance that spend their wits in making Plaies R. G. wisheth a better exercise and wisdome to prevent his extremities. If woeful experience may move you Gentlemen to beware, or unheard-of wretchedness entreat you to take heed, I doubt not but you will looke backe with sorrow on your time past, and endeavour with repentance to spend that which is to come. Wonder not for with thee will I first begin, thou famous gracer of Tragedians, that Greene, who hath said with thee like the fool in his heart, ‘There is no God,’ should now give glory unto his greatness, for penetrating in his power his hand is heavy upon me, he hath spoken to me with a voice of thunder, and I have felt he is a God that can punish enemies. Why should thy excellent wit, his gift be so blinded that thou shouldst give no glory to the giver? Is it pestilent Machiavellian folly that thou hast studied? With thee I join young Juvenal that biting satirist that lastly with me writ a comedy. Sweet boy might I advise thee, be advised and get not many enemies by bitter words. Tread on a worm and it will turn, then blame not scholars vexed with sharp lines if they reprove thy too much liberty of reproof. And thou no less deserving than the other two in some things rarer in nothing inferior, driven as myself to extreme shifts a little have I to say to thee, and were it not an idolatrous oath I would swear by Sweet S. George thou art unworthy better hap, seth thou dependest on so meane a stay.
“Base minded men all three of you fly, my misery ye be not warned; for unto none of you like me sought these burns to cleave: these Puppets I meane that speak from our mouths these Anticks garnished in our colours. Is it not strange that I, to whom they all have been beholding, is it not like that you, to whom they all have been beholding, shall were ye in that case that I am now be both at once of them forsaken?
“Yes, trust them not, for there is an upstart crow, beautiful with our feathers, that with his Tiger’s heart wrapped in a player’s hide supposes he is as well able to bumbast out blank verse as the best of you: And being an absolute Johannes factotum is in his own conceit the only Shake-scene in a country.”
The three writers who spend their time in making plays are Marlowe, Nash, and George Peele. There can be no question about Marlowe: he was an avowed atheist, and the foremost dramatist of his time; he was killed in a tavern brawl in a quarrel over some woman down Deptford way in 1593.
Young Juvenal is doubtful, but in all probability it applies to Thomas Nash, the greatest satirist of his time. When Greene writes in connexion with young Juvenal, “blame not scholars,” he must surely refer to the long outstanding quarrel between Nash and Gabriel Harvey, one of the foremost scholars of his age. The acrimonious literary duel lasted many years, and was carried on in a most vicious and unseemly manner, personalities of every description being brought in on both sides. The quarrel lasted long after Greene’s death.
The third person alluded to is George Peele, the Sweet S. George making the personality obvious. Greene is especially angry with Shakespeare; this tirade arising chiefly from jealousy. It is generally agreed that Shakespeare revised the three parts of “Henry the Sixth” from earlier plays, in which Greene had a great share.
KIND-HARTS
DREAME.
Conteining fiue Apparitions, vvith their
Inuectiues against abuses raigning.
Deliuered by seuerall Ghosts vnto him to
be publisht, after Piers Penilesse Post
had refused the carriage.
Inuita Inuidiæ.
by H. C.
Imprinted at London for William Wright.
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Shakespeare’s adaptation or revisal of this play was a great success, and this must have incensed Greene, who was of a jealous nature to a state of livid envy. The line “that with his Tiger’s heart wrapt in a Player’s hide,” is a parody of a line from “The True Tragedy,” also in “Henry VI., I., IV. 137.”
“O tiger’s heart wrapped in a woman’s hide.”
The history of these plays, the three parts of “Henry VI,” all appeared in the First Folio. The first part of the “Contention betwixt the Two Famous Houses of York and Lancaster” forms the second part of “Henry VI.” “The True Tragedy,” another play, is the origin of the third part. The first part is only known in the Folio version. These plays remain one of the great unsolved puzzles of Shakesperean criticism.
There is no early foundation play of the first part although no doubt one did exist.
Of course, in this attack Greene’s spite against Shakespeare was as a writer of plays, although the context rather points out that he took exception against him as an actor; if that were so, the paragraph would be pointless. No doubt Greene refers to Shakespeare as an actor, but that is not his grievance; ‘supposes he is as well able to bumbast out blank verse’ means that he can wield an able pen and beat them at their own game and not only speak their lines. Greene meant to give a double thrust at Shakespeare, but his antagonist came through the ordeal quite scathless.
When Henry Chettle published Greene’s Groats-worth of Wit, he wrote a preface containing the following passage:
“About three months since died Robert Greene, leaving many papers in sundry booksellers’ hands; among others, his Groats-worth of Wit, in which a letter written to diverse play-makers is offensively by one or two of them taken, and because on the dead they cannot be avenged, they wilfully forge in their concertes a living author, and after tossing it to and fro, no remedy, but it must light on me. How I have all the time of my conversing in printing hindered the better inveying against scholars, it has been very well known, and how in that I dealt, I can sufficiently prove. With neither of them that take offence was I acquainted, and with one of them I care not if I never be. The other, whom at that time I did not so much spare as since I wish I had, for that as I have moderated the heat of living writers and might have used my own discretion, especially in such a case the Author being dead that I did not, I am as sorry as if the original fault had been my fault, because myself have seen his demeanour no less civil, than be excellent in the quality he professes. Besides divers of worship have reported his uprightness of dealing which argues his honesty, and his facetious grace in writing that approves his art.”
This passage clearly demonstrates that both Marlowe and Shakespeare had complained to Chettle, considering the paragraph a libel. Of Marlowe’s complaint he takes no notice, but writes an ample apology to Shakespeare, at the same time praising him in his dual capacity as an actor and playwright.
To the Gentlemen Readers.
the other, he that offendes being forst, is more excusable than the wilfull faultie, though both be guilty, there is difference in the guilt. To obserue custome, and auoid as I may cauill, opposing your fauors against my feare, Ile shew reason for my present writing, and after proceed to sue for pardon. About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groats-worth of wit, in which a letter written to diuers play-makers, is offensiuely by one or two of them taken, and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindred the bitter inueying against schollers, it hath been very well knowne, and how in that I dealt I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other, whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory, as if the originall fault had beene my fault, because my selfe haue seene his demeanor no lesse ciuill than he exelent in the qualitie he professes: Besides, diuers of worship haue reported, his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art. For the first, whose learning I reuerence, and at the perusing of Greenes Booke, stroke out what then in conscience I thought he in some displeasure writ: or had it beene true, yet to publish it, was intollerable: him I would wish to vse me no worse than I deserue. I had onely in the copy this share, it was il written, as sometime Greenes hand was none of the best, licensd it must be, ere it could bee printed which could neuer be if it might not be read. To be breife I writ it ouer, and as neare as I could, followed the copy, onely in that letter I put something out, but in the whole booke not a worde in, for I protest it was all Greenes , not mine nor Maister Nashes, as some vniustly haue affirmed. Neither was he the writer of an Epistle to the second part of Gerileon, though by the workemans error T. N. were set to the end: that I confesse to be mine, and repent it not.
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Shakespeare’s sonnets were first published in their entirety in 1609. Two of this collection having been printed in a piratical volume of poetry, dated 1599, attributed to Shakespeare, although he was only responsible for five numbers out of the twenty published. The great question which divides Shakesperean critics into two camps is whether the sonnets are autobiographical or poems of the imagination. A discussion on this point, and others connected with the dedication and order of sequence, would fill volumes. If they are to be accepted as episodes in the life of Shakespeare, sonnet 111 clearly has reference to his own life as an actor:
“O! for my sake do you with fortune chide
The guilty goddess of my harmful deeds
That did not better for my life provide
Than public means which public manners breeds.
Thence comes it that my name receives a brand,
And almost thence my nature is subdued
To what it works in, like the dyer’s hand.
Pity me then, and wish I were renew’d
Whilst like a willing patient I will drink
Potions of eysell, ’gainst my strong infection:
No bitterness that I will bitter think,
Not double penance to correct correction.
Pity me, then, dear friend, and I assure ye
Even that your pity is enough to cure me.”
Another sonnet, in a similar strain, is numbered 110; the first two lines unmistakably refer to his profession as an actor:
“Alas ’tis true I have gone here and there,
And made myself a motley to the view.”
The first line refers to acting at different places in the Metropolis, and also touring in the provinces, an event common to all theatrical companies of the period. Whether Shakespeare had really played the fool’s part can only be conjectural. It may be simply a synonym for an actor, who in various costumes acted different parts.
In an edition of Shakespeare’s poems, published by John Benson in 1640, there is an elegy addressed to Shakespeare, with the following heading: “An elegy on the death of that famous writer and actor, William Shakespeare.” The author eulogizes Shakespeare as a poet, but makes no reference to him as an actor, beyond merely stating in the heading that he was an actor.
The remarks that Shakespeare let fall from his pen, in connexion with his profession as an actor, need not surprise us if we consider the drastic measures imposed upon actors during the reign of Elizabeth, and the contempt with which certain sections of the public regarded the actors’ calling, together with the scanty recognition they received from the literary world. Under these circumstances, it is little to be wondered at that he half despised his own vocation, but in his secret heart he cherished a deep love for the stage, otherwise he would have retired years previously to his final farewell, which only took place at the close of his life, in reality about the year 1610, six years before his death. Anyone reading the interview with the players and the play-acting scene in “Hamlet” cannot doubt for a moment that Shakespeare derived intense satisfaction and happiness from his theatrical life; there is a ring of enthusiasm in all those scenes in which he alludes to the theatre, and revels in everything connected with the art of the theatre. Being an actor may have barred him from any great social success, and he may have written the lines in the sonnets when in a moody humour, or at some insult levelled against him at the common playhouse.
I should like to point out that with the exception of Davies’ epigram, in which he remarks that Shakespeare played “kingly parts,” there is no authentic notice of his having acted any particular character, and all accounts written about the parts he played are purely fictitious. Even Rowe, the earliest biographer of the poet, gives no authority for stating that the part of the Ghost in “Hamlet” was the top of his performance as an actor; all such statements are misleading, and writers on Shakesperean matters should be careful in stating whether their remarks are founded upon facts or are of an imaginary character.
Sir Richard Baker, in his chronicle history, refers to Shakespeare as being both player and poet. “For writers of Plays and such as had been Players themselves, William Shakespeare and Benjamin Johnson (sic) have specially left their names recommended to posterity.” Mr. Greenwood, in his latest book (1916), entitled Is there a Shakespeare Problem? states that Baker was not a contemporary of Shakespeare; this is a gross error, perhaps purposely perpetrated in order to maintain a foolish theory that the actor Shakespeare was not the author of the plays. Baker was born in the year 1568, and died in 1645.
CHAPTER VI
COURT PERFORMANCES
During the reigns of Elizabeth and James, Court performances were frequently given, especially during the religious holidays. All the well-known London companies appeared at Court nearly every year, and were liberally remunerated for their services. Documentary evidence is in existence stating the exact fees paid to the actors, and the names in some instances of the plays performed.
Shakespeare is known to have taken part in several of the Court functions; many of his own dramas were presented before the Queen, and although nowhere expressly stated, he, no doubt, acted in them before the royal audience. These performances were given at the different palaces where the Court happened to be assembled. The Royal residences were numerous, and contemporary records prove that dramatic entertainments were represented at each of them on several occasions. The enthusiasm which Elizabeth displayed towards the drama must, in a great measure, account for its continued success and development. Without the Court patronage, the City and Local Authorities, in their blind prejudice against all kinds of entertainment, would certainly have taken drastic measures to drive the actors out of the Metropolis: and in their idiotic rage against the theatre, might have gone so far as to prohibit the actors from following the profession.
M. William Shak-speare:
HIS
True Chronicle Historie of the life and
death of King LEAR and his three
Daughters.
With the vnfortunate life of Edgar, sonne
and heire to the Earle of Gloster, and his
sullen and assumed humor of
TOM of Bedlam:
As it was played before the Kings Maiestie at Whitehall vpon
S. Stephans night in Christmas Hollidayes.
By his Maiesties seruants playing vsually at the Gloabe
on the Bancke-side.
LONDON,
Printed for Nathaniel Butter, and are to be sold at his shop in Pauls
Church-yard at the signe of the Pide Bull neere
St. Austins Gate. 1608
(Original Image)
With kind permission of Messrs. Griggs, Hanover Street, Peckham.
The following is a list of Court palaces in which plays were presented before the reigning monarchs. Both Elizabeth and James were enthusiastic playgoers. In the latter’s reign court performances were given every day in the week, Sundays included, and although at times the plays produced were far from entertaining, the royal pair remained until the play was ended, in spite of being tired, as the rest of the audience often were.