Henry VIII. as we have it is not the play that was in action at the Globe when that theatre was burned on Tuesday, 29th June 1613. Howes (Stow, Chronicles, p. 1003) says, "By negligent discharging of a peal of ordnance, close to the South side thereof the Thatch took fire, and the wind suddenly disperst the flame round about, and in a very short space the whole building was quite consumed and no man hurt; the house being filled with people, to behold the play, viz., of Henry the Eight." A letter from Thomas Lorkin to Sir Thomas Puckering, 30th June 1613, and another from John Chamberlain to Sir Ralph Winwood, 8th July 1613 (Winwood's Memorials, iii. 469), give similar accounts. Sir Henry Wotton (Reliquiæ, p. 475), in a letter of 2d July 1613, says it was at "a new play acted by the King's players at the Bankside, called All is True, representing some principal pieces of the reign of Henry the Eighth." The title "All is True" is clearly alluded to in the Prologue, ll. 9, 18, 21; but the same Prologue shows that the extant play was performed as a new one at Blackfriars, for the price of entrance, a "shilling," l. 12, and the address to "the first and happiest hearers of the town," l. 24, are only applicable to the "private house" in Blackfriars; the entrance to the Globe was twopence, and the audience at this "public house" of a much lower class. This play is chiefly by Fletcher and Massinger, Shakespeare's share in it being only i. 2; ii. 3; ii. 4; while Massinger wrote i. 1; iii. 2. 1-193; v. 1. It was not, however, written by these authors in conjunction. Shakespeare appears to have left it unfinished; his part is more like The Winter's Tale than any other play, and was probably written just before that comedy in 1609, during the prevalence of the plague. I have before noted the disturbing effect of these plague times, with the concomitant closing of the theatres, &c., on Shakespeare's regular habits of composition. This play is founded on Holinshed's Chronicle and Fox's Christian Martyrs (1563). It is worth noting that its success called forth new editions of S. Rowley's When you see me you know me, and the Lord Cromwell of W. S. in this year; both plays on Henry the Eighth's times. On the authorship question see Mr. Spedding's Essay in The Gentleman's Magazine, August 1850, Mr. Boyle's Essay and my own letter in the Athenæum. That the 1613 play (probably finished by Fletcher, and destroyed in great part in the Globe fire) was not that now extant is certain, for in a contemporary ballad on the burning of the Globe we are told that the "riprobates prayed for the fool," and there is no fool in Henry VIII. The extant play was produced by Fletcher and Massinger in 1617.

1625.

The Two Noble Kinsmen was published in 1634, as written by Fletcher and Shakespeare. There is no other evidence that Shakespeare had any hand in it, except the opinions of Lamb, Coleridge, Spalding, Dyce, &c. These, on analysis, simply reiterate the old argument, "It is too good for any one else." Hazlitt and Hallam held, notwithstanding, the opposite opinion. I have myself shown in The Literary World, 10th February 1883 (Boston), that the play was first acted in 1625. It was printed from a playhouse MS., with stage directions, such as i. 3: "2 Hearses ready with Palamon and Arcite; the 3 Queens. Theseus and his Lords ready;" and in iii. 5: "Knock for Schoole." But in iv. 2, we find an actor named Curtis taking the part of Messenger. No actor of that name is known except Curtis Greville, who joined the King's men between 1622, when he belonged to the Palsgrave's, and October 1626, when he performed in Massinger's Roman Actor. Moreover, the Prologue tells us this was a new play performed in a time of losses, and in anticipation of leaving London. The company did leave London in 1624, after their trouble in August about Middleton's Game of Chess. On this occasion they travelled in the north, and performed at Skipton three times for £3; and again, in July 1625 they travelled, on account of the plague in London; where they ceased to perform in May, when the deaths from that disease exceeded forty per week. Greville probably joined the King's men on the breaking up of the Palsgrave's, of whom the last notice dates 3d November 1624. This gives Easter 1625 as the likeliest date for the play. But whether in 1624 or 1625 (and it must be one of these years) it was first acted, the advocates of Shakespeare's part-authorship are now reduced to the hypothesis that a play begun by Shakespeare was left unnoticed for some dozen years, although a similarly unfinished play had been finished and acted twelve seasons before, and a collected edition of Shakespeare's works had been issued in the interim, in which had been included every available portion of his writings.[14] I cannot believe this; nor can I think that if Shakespeare were really concerned in this play it would have been put forth in 1625 with so modest a Prologue. This might have suited while he lived, but nine years after his death, and two years after his collected works had been published, it is incredible. With the highest respect then for the eminent æsthetic critics who hold that Shakespeare did write part of this play, I must withdraw my adhesion, and state my present opinion that there is nothing in it above the reach of Massinger and Fletcher, but that some things in it (ii. 1a; iv. 3) are unworthy of either, and more likely to be by some inferior hand, W. Rowley for instance. The popular instinct has always been on this side; editions containing this play have not been sought after; and had it not been known not to have been Shakespeare's, it would surely have been gathered up with the W. S. plays in the Folio of 1663.

FOOTNOTES:

[12] This name occurs in Apollonius and Sylla, of which more hereafter.

[13] Compare with this Masque, that by Beaumont written for the Inner Temple, 1613.

[14] Pericles and Edward III. are no exceptions to this statement; the copyrights of both belonged to other publishers, and were retained by these after the Folio was issued.

SECTION V.