by Shakespeare
In this year, too, there were third editions of no fewer than three of his plays-Titus Andronicus, Hamlet and Pericles. These were plays from all the stages of Shakespeare’s career, from the very early Titus to the very late Pericles. He was now being recognised and measured by his total achievement. He could delight the royal family, please the audiences of Oxford, and entertain the great crowds at the Globe. It seems clear, in retrospect at least, that he had reached the very pinnacle of his career. And now he was on everyone’s lips. One author, writing upon the standards of “true writing,” refers to Shakespeare as one from whom “wee gather the most warrantable English.”4 In a letter of 1613 Leonard Digges, the stepson of Shakespeare’s executor, wrote of a “Booke of Sonets which with Spaniards here is accounted of their lope de Vega as in Englande wee sholde our Will Shakespeare.”5 Note that here he is “our” Shakespeare, already treated as a representative of the national literature.
For the winter season in late 1611 he returned to court with two new plays. In the revels accounts there are references, on 5 November, to “A play Called ye winters nightes Tale.” Four days before, “Hallomas nyght was presented att Whithall before ye kinges Maiestie a play Called the Tempest.”6 No significance can be read into the date of All Hallows, 1 November, when the poor would sing for soul-cakes. Yet there remains an air of enchantment, not unmixed with melancholy, about Shakespeare’s last completed play. He would collaborate with other dramatists in future productions, lending his skills and experience to the work of others, but The Tempest has the distinction of being the final work he wrote alone.
As in Pericles and The Winter’s Tale there are large elements of masque and music in The Tempest. It seems very likely that he wrote the play for production in the indoors playhouse of Blackfriars. It is very specifically designed for intervals between the acts, particularly that between the fourth and fifth act, when music would be played. Ariel and Prospero leave the stage together at the end of the fourth act, and then enter together at the beginning of the fifth. This would not have been possible at the Globe, where action was continuous and uninterrupted.
Shakespeare’s imagination was always roused by the sea. It is no accident, therefore, that he was drawn to the recently published accounts of colonial voyages. Two years previously, some colonists on their way to Jamestown, in Virginia, were blown by a severe storm onto the Bermudas. Shakespeare had read their adventures. He had also read a book entitled A True and Sincere declaration of the purpose and ends of the Plantation begun in Virginia as well as Silvester Jourdain’s A Discovery of the Bermudas, otherwise called the Ile of Divels, both published in 1610. He was already acquainted with some of the principal members of the Virginia Company, such as the Earl of Pembroke, and he had ready access to first-hand accounts of mutiny and insubordination among some of the colonists. He read Montaigne’s essay, “Of the Canniballes,” in Florio’s translation. He remembered Marlowe’s Faustus, and his schoolboy reading of Ovid and of the storm in Virgil’s Aeneid. There was a riding-master in London called Prospero. So all these things came together, stirred by the report of a great storm.
The Tempest begins with a great shipwreck with its “tempestuous noise of Thunder and Lightning” and the entrance of the mariners “wet.” From this first scene onward, Shakespeare explores in a wholly practical sense all the possibilities of the indoors stage. It is a play of almost continuous spectacle. There are songs with “solemne and strange Musicke” in a drama that is accompanied by music composed once more by Robert Johnson. The late plays could easily be identified as works “by Shakespeare and Johnson.” The elaborate effects of magic and the supernatural are also accompanied by instruments, as, for example, in the scene where the spirits enter “in seuerall strange shapes, bringing in a Table and a Banket; and dance about it with gentle actions of salutations.” And there was of course now the almost obligatory inclusion of the masque, heralded once more by music and by the goddess Juno’s descent upon the stage. Then enter “certaine Reapers (properly habited:) they ioyne with the Nimphes, in a gracefull dance” until they are dismissed by Prospero with the utterance of some of the most famous lines in all of Shakespeare (1612-14):
… we are such stuffe
As dreames are made on; and our little life
Is rounded with a sleepe.
Shakespeare has created the most artificial of all plays that becomes a meditation upon artifice itself. The Tempest also has the distinction of using a classical form, with the unities of time and place, for the purpose of conveying completely non-classical, which is to say magical, effects. It is as if he were, like Prospero, writing a lesson in theatrical enchantment. It is sometimes concluded that Prospero is an image of Shakespeare himself, renouncing his “potent art” at the close of a successful theatrical career. But that seems an unwarranted supposition. There is no reason to believe that Shakespeare deemed his theatrical career to be at an end. The model for Prospero might in any case have been Doctor John Dee, the magus of Mortlake (where Shakespeare once stayed) who declared that he had burned his books of magic.
It is also sometimes suggested that at this late date Shakespeare was becoming disengaged from, or disenchanted with, the theatre; but the careful crafting of The Tempest suggests that he was still closely involved in all aspects of the drama. There is no sense of an ending.
CHAPTER 86. When Men Were fond, I Smild, and Wondred How
Shakespeare returned to Stratford in the early months of 1612 to bury his brother, Gilbert, in the old church. Gilbert Shakespeare was two and half years younger; he had never married, living with his sister and her husband in the family home of Henley Street where he may have continued his father’s trade as glover. He was literate, and well enough acquainted with business to act on his brother’s behalf in the purchase of Stratford land. There was now one surviving brother, Richard Shakespeare, who also continued to live as a bachelor in Henley Street; but he, too, would die before Shakespeare himself. It would be a strange man who, under these circumstances, did not consider the limits of his own mortality. It was a shrinking family, emphasised by the fact that Shakespeare had no male descendants direct or indirect.
He was back in London three months later, when he was asked to testify in a case concerning the Mountjoy family of Silver Street with whom he had lodged. The case had been brought by one of Mountjoy’s apprentices, Stephen Belott, who had married Mary Mountjoy but had still not received from Mountjoy himself the dowry that he had been promised. So he called William Shakespeare to testify on his behalf. The case was heard at the Court of Requests, at Westminster, on 11 May. Shakespeare was described as “of Stratford-upon-Avon,” which suggests that he had no residence in London during this period. He had been called as a witness because, as it transpired, he had acted as an intermediary between Belott and the Mountjoys in the matter of the marriage and the dowry.
A maidservant, Joan Johnson, declared the Mountjoys had encouraged “the shewe of goodwill betweene the plaintiff [Belott] and defendants daughter Marye.” She also recalled Shakespeare’s role in the affair. “And as she Remembreth the defendant [Mountjoy] did send and perswade one mr Shakespeare that laye in the house to perswade the plaintiff to the same marriadge.” It would seem, then, that Shakespeare had some skill as a “persuader” in affairs of the heart. A friend of the family, Daniel Nicholas, then amplified the picture of Shakespeare with his testimony that
Shakespeare told this deponent [Nicholas] that the defendant told him that yf the plaintiff would Marrye the said Marye his daughter he would geve him the plaintiff A some of money with her for A porcion in Marriadge with her. And that yf he the plaintiff did not marry with her the said Marye and shee with the plaintiff shee should never coste him the defendant her ffather A groate, Whereuppon And in Regard Mr. Shakespeare hadd tould them that they should have A some of money for A porcion from the father they Weare made suer by mr Shakespeare by gevinge there Consent, and agreed to marrye.
It is not clear if these are
the exact words that Shakespeare used to Nicholas on this occasion; given the interval of eight years, it is unlikely. But it is clear that he played an intimate part in all the arrangements for the marriage portion, and in fact took upon himself the task of match-making. To be “made sure” was to perform a troth plight, pledging marriage one to another.
The testimony of Shakespeare himself, as transcribed in the court, is non-committal. This must have been a peculiarly sensitive moment, assuming that Shakespeare still retained the trust of Mountjoy himself. He was in practice being asked to testify against him. So there is a measure of caution in his reported testimony. It is most interesting, however, as the only recorded transcript of Shakespeare’s voice. The dramatist stated that “he knoweth the parties plaintiff and deffendant and hath known them bothe as he now remembrethe for the space of tenne yeres or thereabouts.” Stephen Belott “did well and honestly behave himselfe” and was a “very good and industrious servant in the said service,” although Shakespeare had never heard him state that he “had gott any great profitt and comodytye by the service.” Perhaps this was in answer to a question about Belott’s recompense from Mountjoy. Mrs. Mountjoy had been the one to solicit Shakespeare’s help in the marriage when she did “entreat” him “to move and perswade” Stephen Belott. He testified that she and her husband did “sundrye tymes saye and reporte that the said complainant was a very honest fellow.”
It seems that at some point Belott had then asked Daniel Nicholas to get some specific answer from Shakespeare about “how muche and what” Mountjoy was promising him on marriage to Mary. Shakespeare then replied, according to Nicholas, “that he promised yf the plaintiff would marrye with Marye … he the defendant [Mountjoy] would by his promise as he Remembered geve the plaintiff with her in marriadge about the some of ffyftye poundes in money and Certayn houshould stuffe.” But in subsequent questioning Shakespeare was extremely vague. He recalled that a dowry of some kind had been promised but, in contrast to Nicholas, he could not remember the sum “nor when to be payed.” Nor could he remember any occasion when Mountjoy “promised the plaintiff twoe hundered poundes with his daughter Marye at the tyme of his decease.” Nor could Shakespeare describe “what implementes and necessaries of houshold stuff”1 Mountjoy gave with his daughter. In fact Belott and his new wife had received only the sum of £10, and some old furniture. It seems that Mrs. Mountjoy had urged her husband to be more generous, but she had died in 1606. From Belott’s point of view, it was all very unsatisfactory. And Shakespeare had not been of any help. He could not remember any details of any conversations. It might even be concluded that he was being deliberately vague or forgetful, for the sake of his old friendship with Mountjoy.
A second hearing took place on 19 June, when Shakespeare’s memory would have been further put to the test, but Shakespeare did not appear on that occasion. Like many such cases it grumbled on without any definite conclusion. It was referred to arbitration, and Belott was awarded a little over £6, but no payment by Mountjoy is recorded. The details of this ancient case are no longer of any consequence, except in so far as they help to illuminate Shakespeare’s life in the ordinary world. He seems to have been willing to act as a “go-between” in delicate marital negotiations, no doubt because he had a reputation for finesse in such matters. He was clearly not a forbidding or unapproachable man; quite the contrary. But when called to account for his actions he becomes non-committal or impartial, maintaining a studied neutrality. He withdraws; he becomes almost invisible.
CHAPTER 87. Let Time Shape, and There an End
There is a curious mention of a play performed at Whitehall on 8 June 1612, in front of the Ambassador of the Duke of Savoy. It was entitled Cardenna. It was then performed again at court in the following year, under the title of Cardenno. It is curious because, at a later date, a play was registered for publication under the title of “The History of Cardenio by Mr. Fletcher amp; Shakespeare.” It is well known that in this period Shakespeare and Fletcher were indeed collaborating upon dramas for the King’s Men. The fruits of their joint endeavours were to include All Is True and The Two Noble Kinsmen. It may be that Shakespeare had entered semi-retirement and that Fletcher had in fact taken over from Shakespeare as the company’s principal dramatist. Cardenio would then have as much claim to authenticity as the two other plays which have now formally entered the Shakespearian canon. But Cardenio has not survived. It is a lost play. It may have been derived from the first part of Cervantes’s Don Quixote, in which the character of Cardenio emerges, and in 1758 Lewis Theobald, a distinguished editor of Shakespeare’s works, published a play on the story of Cardenio which he claimed to be “revised and adapted” from a manuscript in his possession “written originally by W. Shakespeare.” No trace of the manuscript has been found.
If Shakespeare did indeed play a part in writing Cardenio in 1612, it is the only drama of that year with which he can be associated. All subsequent plays would also be collaborative works. So there is clear evidence of a diminution of activity, the reasons for which are unclear. It may have been encroaching ill-health; it may have been the pleasures of Stratford and of retirement; it may simply have been the loss or lack of inspiration. He may have done as much as he had ever wanted to do. It is not an unusual scene in the last years or months of a writer’s life. He did not necessarily “know” that he would be dead within three years; when his imagination dimmed, death may have intervened naturally.
There was one unwanted and unwarranted publication, however, in this year. The printer William Jaggard brought out a third edition of The Passionate Pilgrim in which five of Shakespeare’s poems, purloined for the occasion, were added to much inferior stuff and the whole advertised as “by W. Shakespeare.” One of the authors whose work had been pirated for this collection, Thomas Heywood, then complained of the “manifest injury” done to him. He went on to claim that “the Author,” or Shakespeare himself, was “I know much offended with M. Jaggard (that altogether unknowne to him) presumed to make so bold with his name.”1 Shakespeare’s remonstrances must have had some effect, because a second title-page was added without any attribution to him. It is a trivial incident that displays the extent of Shakespeare’s literary fame.
In his preface to The White Devil, published this year, John Webster adverts to “the right happy and copious industry of M. Shake-speare, M. Decker amp; M. Heywood.”2 It may seem odd at this late date to include Shakespeare with such manifestly inferior writers, but the disparity would not have occurred to anyone at the time. Contemporaries lack the subtle discrimination of posterity. In this case the emphasis is being placed upon the three dramatists’ fluency and speed of production. Ben Jonson had said as much in the same year, with his address to the reader in The Alchemist in which he disparaged those dramatists who “to gain the opinion of copy”3 or facility, will not check or polish their invention. Jonson’s disguised complaint was that Shakespeare had written too much. It is not likely to have been a criticism upheld by the audiences of the period.
From Christmas 1612 through to 20 May 1613, the King’s Men played continually at court as well as Blackfriars and the Globe. Among the royal performances were those of Much Ado About Nothing, The Tempest, The Winter’s Tale, Othello and Cardenio. For the betrothal and marriage of King James’s daughter, Princess Elizabeth, the King’s Men played on no fewer than fourteen occasions. For these performances they received the large sum of £153 6s 8d.
Despite the evident fact that Shakespeare was writing less there is no indication that he was losing his interest in, or enthusiasm for, the theatre itself. In March 1613, for example, he completed negotiations to buy the gatehouse of Blackfriars. It was described as a “dwelling house or Tenement” partly built over “a great gate.” It was against the building known as the King’s Wardrobe on the west side, and on the east bordered a street that led down to Puddle Dock; the price also included a plot of ground and a wall. Part of it had once been a haberdasher’s shop. He was now very
close to the Blackfriars playhouse and, by means of a wherry from Puddle Dock, in easy reach of the Globe on the other side of the river. Shakespeare paid £140 for the property, of which £80 was in cash and the other £60 tied up with a kind of mortgage.
The purchase may have been purely an investment on Shakespeare’s part, but then why break the habit of a lifetime and invest in London rather than in Stratford property? It may have been the propinquity to the playhouses that steered his decision. Did he still think of himself as a man of the theatre? He was now collaborating with Fletcher, and could hardly have done so from Stratford. He may simply have grown tired of living in lodgings, and wanted some permanent home in the capital. He was still only in his forties and, despite the deaths of two of his brothers, he may have had little reason to doubt his longevity.
There were, as so frequently in seventeenth-century legal transactions, complications. Shakespeare brought in with him three co-purchasers or trustees to safeguard his interest. One of them was Heminges, his colleague from the King’s Men, and another was the landlord of the Mermaid Tavern, William Johnson. This suggests some familiarity on Shakespeare’s part with the famous drinking-place. The third trustee was John Jackson – also an habitué of the Mermaid – whose brother-in-law, Elias James, owned a brewery by Puddle Dock Hill. They were three local men of some repute, therefore, and represent precisely the kind of society to which Shakespeare had become accustomed. It has been suggested that Shakespeare chose these trustees so that a third of the property would not automatically be inherited by his wife, as her “dower” right, and there may have been some agreement (no longer extant) on its use after his death. In 1618, two years after his death, the trustees did in fact convey the gatehouse to John Greene of Clement’s Inn and to Matthew Morrys of Stratford “in performance of the confidence and trust in them reposed by William Shakespeare deceased, late of Stretford aforesaid, gent., … and according to the true intent and meaning of the last will and testament of the said William Shakespeare.”4
