seem to have menaced Shakspeare on all sides, and he had narrow escapes. As there is no mention of his name in the accounts of the Globe Theater in 1613, nor any in his will, it is pretty clear that he had retired from the proprietorship of the Globe before, and escaped that loss; but in the very year after it was burned down, there was a dreadful fire in Stratford, which consumed a good part of the town, and put his own house into extreme danger.
These were the scenes where Shakspeare acted, for which he wrote his dramas, and where, like a careful and thriving man as he was, he made a fortune before he was forty, calculated to be equal to £1000 a year at present. He had a brother, also, on the stage at the same time with himself, who died in 1607, and was buried in St. Savior's Church, Southwark, where his name is entered in the parish register as "Edmund Shakspeare, a player."
The place where he was accustomed particularly to resort for social recreation was the Mermaid Tavern, Friday street, Cheapside. This was the wits' house for a long period. There a club for beaux esprits was established by Sir Walter Raleigh, and here came, in their several days and times, Spenser, Shakspeare, Philip Sidney, Jonson, Beaumont and Fletcher, Massinger, Marlowe, Selden, Cotton, Carew, Martin, Donne, Wotton, and all the brave spirits of those ages. Here Jonson and Shakspeare used to shine out by the brilliancy of their powers, and in their "wit combats," in which Fuller describes Jonson as a Spanish great galleon, and Shakspeare as the English man-of-war. "Master Jonson, like the former, was built far higher in learning; solid, but slow in his performances. Shakspeare, with the English man-of-war, lesser in bulk, but lighter in sailing, could turn with all tides, tack about, and take advantage of all winds, by the quickness of his wit and his invention." Enough has been said of this celebrated club by a variety of writers. There can be no doubt that there wit and merriment abounded to that degree, that, as Beaumont has said in his epistle to Jonson, one of their meetings was enough to make up for all the stupidity of the city for three days past, and supply it for long to come; to make the worst companions right witty, and "downright fools more wise." There is as little doubt, however, that, with Jonson in the chair, drinking would be as pre-eminent as the wit. The verses which he had inscribed over the door of the Apollo room, at the Devil Tavern, another of their resorts, are, spite of all vindications by ingenious pens, too indicative of that.
"Welcome all who lead or follow
To the oracle of Apollo:
Here he speaks out of his pottle,
Or the tin-pot, his tower bottle:
All his answers are divine;
Truth itself doth flow like wine.
Hang up all the poor hop-drinkers,
Cries old Sam, the king of skinkers.
He the half of life abuses
That sits watering with the Muses,
Those dull gods no good can mean us:
Wine—it is the cream of Venus,
And the poet's horse accounted:
Ply it, and you all are mounted.
'Tis the true Phœbian liquor,
Cheers the brain, makes it the quicker;
Pays all debts, cures all diseases,
And at once the senses pleases.
Welcome all who lead or follow
To the oracle of Apollo."
There is not any reason to believe that Shakspeare, lover of wit and jollity as he was, was a practical upholder of this pernicious doctrine. He may often make his characters speak in this manner, but personally he retired as soon as he could from this bacchanal life to his own quiet hearth at Stratford; and if we are to believe his sonnets addressed to his wife, and they possess the tone of a deep and real sentiment, he seriously rued the orgies in which he had participated.
"O, for my sake do you with Fortune chide,
The guilty goddess of my harmful deeds,
That did not better for my life provide
Than public means which public manners breeds:
Hence comes it that my name receives a brand,
And almost thence my nature is subdued
To what it works in, like the dyer's hand;
Pity me, then, and wish I were renewed.
While, like a willing patient, I will drink
Potions of eysell,[1] 'gainst my strong infection. No bitterness that I will bitter think, No double penance to correct correction. Pity me, then, dear friend, and I assure ye Even that your pity is enough to cure me."
We can not read these and many other portions of his sonnets, we can not see Shakspeare retiring every year, and as soon as able, altogether from the bacchanalian and dissipated habits of the literary men of the day, to the peaceful place of his birth, and the purity of his wedded home, without respecting his moral character as much as we admire his genius. The praises and the practice of drunkenness by literary men, and poets especially, have entailed infinite mischief on themselves and on their followers. What woes and degradations are connected with the history of brilliant men about town, which have tended to stamp the general literary character with the brand of improvidence and disrespect—jails, deaths, picking out of gutters, sponging-houses, and domestic misery—how thickly do all these rise on our view as we look back through the history of men of genius, the direct result of the absurd rant about drinking and debauch! With what a beautiful purity do the names of the greatest geniuses of all rise above these details, like the calm spires of churches through the fogs and smokes of London! How cheering is it to see the number of these grow with the growth of years! Shakspeare, Spenser, Sidney, Milton, Cowper, Scott, Wordsworth, Southey, Shelley, have all been sober and domestic men; and the sanction which they have given by their practice to the proprieties of life, will confer on all future ages blessings as ample as the public truths of their teaching. The Mermaid Tavern, like the other haunts of Shakspeare, has disappeared. It was swept away by the fire. If any traces of his haunts remain, they must be in the houses of the great, where he was accustomed to visit, as those of the Lords Southampton, Leicester, Pembroke, Montgomery, and others. These are, however, now all either gone, or so cut up and metamorphosed that it were vain to look for them as abodes hallowed by the footsteps of Shakspeare. If it be true that he was commanded to read his play of Falstaff in love—the Merry Wives of Windsor—to Queen Elizabeth, it would probably be at Whitehall or St. James's, for Somerset House was comparatively little occupied by her.
The very places in London more particularly illustrated by his genius have too much followed the fate of those in which he lived. It is true, the Tower, Westminster Palace, and some other of those public buildings and old localities where the scenes of his national dramas are laid, still remain, spite of time and change; and the sites of others, though now covered with wildernesses of fresh houses, may be identified. But The Boar's Head in East Cheap is annihilated; it, too, fell in the great fire, and the modern improvements thereabout, the erection of new London Bridge, and the cutting of King William-street, have swept away nearly all remaining marks of the neighborhood. It is supposed that the present statue of William IV. stands not very far from the spot where Hal reveled and Sir John swaggered and drank sack.
Over London, and many a spot in and about it, as well as
