The short stout gentleman who is fond of making jokes, and not particular whom he confides them to, has heard another good story about Tarleton. This is the low comedian Kempe, who stepped into the shoes of flat-nosed, squinting Tarleton the other day, but never quite manages to fill them. He whispers the tale across Will's back to Cowley, before it is made common property; and little fancies, as he does so, that any immortality he and his friend may gain will be owing to their having played, before the end of the sixteenth century, the parts of Dogberry and Verges in a comedy by Shakespeare, whom they are at present rather in the habit of patronizing. The story is received with boisterous laughter, for it suits the time and place.
Peele is in the middle of a love-song when Kit stumbles across the room to say a kind word to Shakespeare. That is a sign that George is not yet so very tipsy; for he is a gallant and a squire of dames so long as he is sober. There is not a maid in any tavern in Fleet Street who does not think George Peele the properest man in London. And yet, Greene being absent, scouring the street with Cutting Ball—whose sister is mother of poor Fortunatus Greene—Peele is the most dissolute man in the Globe to-night. There is a sad little daughter sitting up for him at home, and she will have to sit wearily till morning. Marlowe's praises would sink deeper into Will's heart if the author of the "Jew of Malta" were less unsteady on his legs. And yet he takes Kit's words kindly, and is glad to hear that "Titus Andronicus," produced the other day, pleases the man whose praise is most worth having. Will Shakespeare looks up to Kit Marlowe, and "Titus Andronicus" is the work of a young playwright who has tried to write like Kit. Marlowe knows it, and he takes it as something of a compliment, though he does not believe in imitation himself. He would return now to his seat beside Ned Alleyn; but the floor of the room is becoming unsteady, and Ned seems a long way off. Besides, Shakespeare's cup would never require refilling if there were not some one there to help him drink.
The fun becomes fast and furious; and the landlord of the Globe puts in an appearance, ostensibly to do his guests honor by serving them himself. But he is fearful of how the rioting may end, and, if he dared, he would turn Nash into the street. Tom is the only man there
whom the landlord—if that man had only been a Boswell—personally dislikes; indeed, Nash is no great favorite even with his comrades. He has a bitter tongue, and his heart is not to be mellowed by wine. The table roars over his sallies, of which the landlord himself is dimly conscious that he is the butt, and Kempe and Cowley wince under his satire. Those excellent comedians fall out over a trifling difference of opinion; and handsome Nash—he tells us himself that he was handsome, so there can be no doubt about it—maintains that they should decide the dispute by fist-cuffs without further loss of time. While Kempe and Cowley threaten to break each other's heads—which, indeed, would be no great matter if they did it quietly—Burbage is reciting vehemently, with no one heeding him; and Marlowe insists on quarrelling with Armin about the existence of a Deity. For when Kit is drunk he is an infidel. Armin will not quarrel with anybody, and Marlowe is exasperated.
But where is Shakespeare all this time? He has retired to a side table with Alleyn, who has another historical play that requires altering. Their conversation is of comparatively little importance; what we are to note with bated breath is that Will is filling a pipe. His face is placid, for he does not know that the tobacco Ned is handing him is the Arcadia Mixture. I love Ned Alleyn, and like to think that Shakespeare got the Arcadia from him.
For a moment let us turn from Shakespeare at this crisis in his life. Alleyn has left him and is paying the score. Marlowe remains where he fell. Nash has forgotten where he lodges, and so sets off with Peele to an ale-house in Pye Corner, where George is only too well known. Kempe and Cowley are sent home in baskets.
Again we turn to the figure in the corner, and there is such a light on his face that we shade our eyes. He is smoking the Arcadia, and as he smokes the tragedy of Hamlet takes form in his brain.
This is the picture that Scrymgeour will never dare to paint. I know that there is no mention of tobacco in Shakespeare's plays, but those who smoke the Arcadia tell their secret to none, and of other mixtures they scorn to speak.