of him. 29 We know nearly as much about the most insignificant writer of the period as we know of him, but fifty times more about most of his contemporaries. It is senseless to try to account for this otherwise than by recognising that the man was not the author.”
Mr. Crouch-Batchelor is too innocent. He sees the sixteenth century in the colours of the twentieth. We know nothing, except a few dates of birth, death, entrance at school, College, the Inns of Court, and so forth, concerning several of Shakespeare’s illustrious contemporaries and successors in the art of dramatic poetry. The Baconians do not quite understand, or, at least, keep steadily before their minds, one immense difference between the Elizabethan age and later times. In 1590–1630, there was no public excitement about the characters, personalities, and anecdotage of merely literary men, poets, and playwrights, who held no position in public affairs, as Spenser did; or in Court, Society, and War, as Sidney did; who did not write about their own feuds and friendships, like Greene and Nash; who did not expand into prefaces and reminiscences, and satires, like Ben Jonson; who never killed anybody, as Ben did; nor were killed, like Marlowe; nor were involved, like him, in charges of atheism, and so forth; nor imprisoned with every chance of having their ears and noses slit, like Marston. Consequently, silence and night obscure the lives and personalities of Kyd, Chapman, Beaumont, Fletcher, Dekker, Webster, and several others, as night and silence hide Shakespeare from our view.
He was popular on the stage; some of his plays were circulated separately in cheap and very perishable quartos. No collected edition of his plays appeared during his life; without that he could not be studied, and recognised in his greatness. He withdrew to the country and died. There was no enthusiastic curiosity about him; nobody Boswellised any playwright of his time. The Folio of 1623 gave the first opportunity of studying him as alone he can be studied. The Civil Wars and the Reign of the Saints distracted men’s minds and depressed or destroyed the Stage.
Sir William Davenant, a boy when Shakespeare died, used to see the actor at his father’s inn at Oxford, was interested in him, and cherished the embers of the drama, which were fading before the theatres were closed. Davenant collected what he could in the way of information from old people of the stage; he told Shakespearean anecdotes in conversation; a few reached the late day when uncritical inquiries began, say 1680–90 at earliest. The memories of ancient people of the theatre and clerks and sextons at Stratford were ransacked, to very little purpose.
As these things were so, how can we expect biographical materials about Shakespeare? As to the man, as to how his character impressed contemporaries, we have but the current epithets: “friendly,” “gentle,” and “sweet,” the praise of his worth by two of the actors in his company (published in 1623), and the brief prose note of Ben Jonson, – this is more than we have for the then so widely admired Beaumont, Ben Jonson’s friend, or Chapman, or the adored Fletcher. “Into the dark go one and all,” Shakespeare and the others. To be puzzled by and found theories on the silence about Shakespeare is to show an innocence very odd in learned disputants.
The Baconians, as usual, make a puzzle and a mystery out of their own misappreciation of the literary and social conditions of Shakespeare’s time. That world could not possibly appreciate his works as we do; the world, till 1623, possessed only a portion of his plays in cheap pamphlets, in several of these his text was mangled and in places unintelligible. And in not a single instance were anecdotes and biographical traits of playwrights recorded, except when the men published matter about themselves, or when they became notorious in some way unconnected with their literary works. Drummond, in Scotland, made brief notes of Ben Jonson’s talk; Shakespeare he never met.
That age was not widely and enthusiastically appreciative of literary merit in playwrights who were merely dramatists, and in no other way notorious or eminent. Mr. Greenwood justly says “the contemporary eulogies of the poet afford proof that there were some cultured critics of that day of sufficient taste and acumen to recognise, or partly recognise, his excellence.. ” 30 (Here I omit some words, presently to be restored to the text.) From such critics the poet received such applause as has reached us. We also know that the plays were popular; but the audiences have not rushed to pen and ink to record their satisfaction. With them, as with all audiences, the actors and the spectacle, much more than the “cackle,” were the attractions. When Dr. Ingleby says that “the bard of our admiration was unknown to the men of that age,” he uses hyperbole, and means, I presume, that he was unknown, as all authors are, to the great majority; and that those who knew him in part made no modern fuss about him. 31
The second puzzle is, – Why did Shakespeare, conscious of his great powers, never secure for his collected plays the permanence of print and publication? We cannot be sure that he and his company, in fact, did not provide publishers with the copy for the better Quartos or pamphlets of separate plays, as Mr. Pollard argues on good grounds that they sometimes did. 32 For the rest, no dramatic author edited a complete edition of his works before Ben Jonson, a scholarly man, set the example in the year of Shakespeare’s, and of Beaumont’s death (1616). Neither Beaumont nor Fletcher collected and published their works for the Stage. The idea was unheard of before Jonson set the example, and much of his work lay unprinted till years after his death. We must remember the conditions of play-writing in Shakespeare’s time.
There were then many poets of no mean merit, all capable of admirable verse on occasion; and in various degrees possessed of the lofty, vigorous, and vivid style of that great age. The theatre, and writing for the theatre, afforded to many men of talent a means of livelihood analogous to that offered by journalism among ourselves. They were apt to work collectively, several hands hurrying out a single play; and in twos or threes, or fours or fives, they often collaborated.
As a general rule a play when finished was sold by the author or authors to a company of players, or to a speculator like the notorious Philip Henslowe, and the new owners, “the grand possessors,” were usually averse to the publication of the work, lest other companies might act it. The plays were primarily written to be acted. The company in possession could have the play altered as they pleased by a literary man in their employment.
To follow Mr. Greenwood’s summary of the situation “it would seem that an author could restrain any person from publishing his manuscript, or could bring an action against him for so doing, so long as he had not disposed of his right to it; and that the publisher could prevent any other publisher from issuing the work. At the same time it is clear that the law was frequently violated.. whether because of the difficulty of enforcing it, or through the supineness of authors; and that in consequence authors were frequently defrauded by surreptitious copies of their works being issued by piratical publishers.” 33
It may appear that to “authors” we should, in the case of plays, add “owners,” such as theatrical companies, for no case is cited in which such a company brings an action against the publisher of a play which they own. The two players of Shakespeare’s company who sign the preface to the first edition of his collected plays (1623, “The First Folio”) complain that “divers stolen and surreptitious copies” of single plays have been put forth, “maimed and deformed by the frauds and stealths of injurious impostors.” They speak as if they were unable to prevent, or had not the energy to prevent, these frauds. In the accounts of the aforesaid Henslowe, we find him paying forty shillings to a printer to stop or “stay” the printing of a play, Patient Grizel, by three of his hacks.
We perhaps come across an effort of the company to prevent or delay the publication of The Merchant of Venice, on July 17, 1598, in the Stationers’ Register. James Robertes, and all other printers, are forbidden to print the book without previous permission from the Lord Chamberlain, the protector of Will Shakespeare’s company. Two years passed before Robertes issued the book. 34 As is well known, Heywood, a most
In the passage which I quoted, with notes of omission, from Mr. Greenwood (p. 333), he went on to say that the eulogies of the poet by “some cultured critics of that day,” “afford no proof that the author who published under the name of Shakespeare was in reality Shakspere the Stratford player.” That position I later contest.
See chap. XI,
Furness,
