the aspects of wild Highland heaths, have been judged to be the certain fruits of a personal experience; but the passages in question, into which a more definite significance has possibly been read than Shakespeare intended, can be satisfactorily accounted for by his inevitable intercourse with Scotsmen in London and the theatres after James I’s accession.
In Italy.
A few English actors in Shakespeare’s day occasionally combined to make professional tours through foreign lands, where Court society invariably gave them a hospitable reception. In Denmark, Germany, Austria, Holland, and France, many dramatic performances were given before royal audiences by English actors between 1580 and 1630. [42a] That Shakespeare joined any of these expeditions is highly improbable. Actors of small account at home mainly took part in them, and Shakespeare’s name appears in no extant list of those who paid professional visits abroad. It is, in fact, unlikely that Shakespeare ever set foot on the continent of Europe in either a private or professional capacity. He repeatedly ridicules the craze for foreign travel. [42b] To Italy, it is true, and especially to cities of Northern Italy, like Venice, Padua, Verona, Mantua, and Milan, he makes frequent and familiar reference, and
he supplied many a realistic portrayal of Italian life and sentiment. But the fact that he represents Valentine in the ‘Two Gentlemen of Verona’ (I. i. 71) as travelling from Verona to Milan by sea, and Prospero in ‘The Tempest’ as embarking on a ship at the gates of Milan (I. ii. 129-44), renders it almost impossible that he could have gathered his knowledge of Northern Italy from personal observation. [43a] He doubtless owed all to the verbal reports of travelled friends or to books, the contents of which he had a rare power of assimilating and vitalising.
Shakespeare’s rôles.
The publisher Chettle wrote in 1592 that Shakespeare was ‘exelent in the qualitie [43b] he professes,’ and the old actor William Beeston asserted in the next century that Shakespeare ‘did act exceedingly well.’ [43c] But the rôles in which he distinguished himself are imperfectly recorded. Few surviving documents refer directly to performances by him. At Christmas 1594 he joined the popular actors William Kemp, the chief comedian of the day, and Richard Burbage, the greatest tragic actor, in ‘two several comedies or interludes’ which were acted on St. Stephen’s Day and on Innocents’ Day (December 27 and 28) at Greenwich Palace before the Queen. The players received ‘xiiili. vjs. viiid. and by waye of her Majesties
rewarde vili. xiiis. iiijd., in all xxli. [44a] Neither plays nor parts are named. Shakespeare’s name stands first on the list of those who took part in the original performances of Ben Jonson’s ‘Every Man in his Humour’ (1598). In the original edition of Jonson’s ‘Sejanus’ (1603) the actors’ names are arranged in two columns, and Shakespeare’s name heads the second column, standing parallel with Burbage’s, which heads the first. But here again the character allotted to each actor is not stated. Rowe identified only one of Shakespeare’s parts, ‘the Ghost in his own “Hamlet,”’ and Rowe asserted his assumption of that character to be ‘the top of his performance.’ John Davies of Hereford noted that he ‘played some kingly parts in sport.’ [44b] One of Shakespeare’s younger brothers, presumably Gilbert, often came, wrote Oldys, to London in his younger days to see his brother act in his own plays; and in his old age, when his memory was failing, he recalled his brother’s performance of Adam in ‘As you like it.’ In the 1623 folio edition of Shakespeare’s ‘Works’ his name heads the prefatory list ‘of the principall actors in all these playes.’
Alleged scorn of an actor’s calling.
That Shakespeare chafed under some of the conditions of the actor’s calling is commonly inferred from the ‘Sonnets.’ There he reproaches himself with becoming ‘a motley to the view’ (cx. 2), and chides fortune for having provided for his livelihood nothing better than ‘public
means that public manners breed,’ whence his name received a brand (cxi. 4-5). If such self-pity is to be literally interpreted, it only reflected an evanescent mood. His interest in all that touched the efficiency of his profession was permanently active. He was a keen critic of actors’ elocution, and in ‘Hamlet’ shrewdly denounced their common failings, but clearly and hopefully pointed out the road to improvement. His highest ambitions lay, it is true, elsewhere than in acting, and at an early period of his theatrical career he undertook, with triumphant success, the labours of a playwright. But he pursued the profession of an actor loyally and uninterruptedly until he resigned all connection with the theatre within a few years of his death.