On 20th May the Sonnets were entered on S. R., and published with dedication to Mr. W. H., who, in my opinion, was some one connected with Lord Southampton, who had obtained a copy from him or his, and possibly may have given Shakespeare the hint to write them in the first instance, at the time (1594) when his friends were anxious for him to marry. Such a person was Sir William Hervey, the third husband of Southampton's mother: she died in 1607, and I conjecture that the delay in publishing the Sonnets was due to the fact that she wished them to remain in MS. at any rate during her lifetime. The copy used may have been found among her papers.
On 20th May 1608 had been entered Pericles, and Antony and Cleopatra, which were not published by Blount, who made the entry. Pericles, however, was printed surreptitiously in 1609 for another firm as we have it in the Quarto. This play was probably then continued on the stage, as we find another edition required by 1611.
Cymbeline was probably produced in the autumn. This year being a plague year there was little dramatic activity; even Jonson did not produce his Epicene for the King's men, but had it acted by the Chapel (or Revels) children. For the same reason there were no stage performances at Court at Christmas.
1610.
On 4th January a patent was granted to R. Daborne, P. Rossiter, J. Tarbook, R. Jones, and R. Browne, to set up a new Children's company in Whitefriars. Their success was no doubt the cause that determined the Burbadges to take the Blackfriars into their own hands.[10] Accordingly they arranged to purchase at Lady Day the remainder of Evans' lease of the Blackfriars (they had already taken the boys, "now growing up to be men," Underwood,[11] Ostler, &c., to "strengthen the King's service"), and to place men players—Hemings, Condell, Shakespeare, &c., therein. Before the end of the year we accordingly find the boys alluded to acting as members of the King's company in Jonson's Alchemist. The chief players were Burbadge, Hemings, Lowin, Ostler, Condell, Underwood, Cooke, Tooley, Armin, and Egglestone. Of these Tooley and Cooke had been boy actors in the Chamberlain's company, Underwood and Ostler in the Revels children. Shakespeare's name does not occur; nor do I find any evidence except Mr. Halliwell's unsupported assertion (Outlines, p. 111), that he continued to act at this date. It is noticeable that there are ten actors mentioned; this is very unusual in these play lists, and suggests that the number of sharers may have been increased from eight to ten. There are certainly about this time allusions to ten shares scattered about in contemporary plays. If this be the case, Shakespeare would no longer be a shareholder: the whole question of his shares is involved in difficulty, and this conjecture is only thrown out to call attention to any allusions in writings of this date that may throw light on the matter.
The King's men performed fifteen plays at Court this Christmas.
In this year, in my opinion, Shakespeare having produced The Winters Tale and The Tempest, retired from theatrical work. Malone's hypothesis that Sir W. Herbert's mention of Sir G. Buck's "allowing" the former play implies a date subsequent to August 1610, is worthless; Buck had the "allowing" of plays in his hands from 1607 onwards. There is direct evidence that the Blackfriars Theatre was occupied even after 1611 by other companies. Field's Amends for Ladies was acted there by the Prince's and the Lady Elizabeth's men; and Charles could not be called Prince till after the death of Henry, 6th November 1612. The production of Field's play was probably in the spring 1613. By careful comparison of the dry documents concerning shareholders in 1635, with those of the Blackfriars property in 1596, we ascertain that J. Burbadge bought that property 4th February 1596; that in November the establishment of a theatre there was petitioned against, but carried out soon after; that a lease of twenty-one years was granted to Evans, either at Christmas 1596 or Lady Day 1597, most probably the latter; that at the end of thirteen years the Burbadges bought the remaining eight years of the lease, probably at Lady Day 1610, and took possession of the building;—but that they at the same time took the boys into the King's company or set up Hemings, Shakespeare, &c., in the Blackfriars is mere rhetoric of Cuthbert's. Underwood and Ostler had both left the Revels children before the performance of Jonson's Epicene in 1609, and Field did not join the King's men till 1618-19.
In June Shakespeare purchased twenty acres of pasture land from the Combes.
At Christmas the King's men performed fifteen plays at Court.
1611.