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diff --git a/39285-h/39285-h.htm b/39285-h/39285-h.htm new file mode 100644 index 0000000..646a75f --- /dev/null +++ b/39285-h/39285-h.htm @@ -0,0 +1,1880 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>William Shakespere, of Stratford-on-Avon, by Scott Surtees</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.gutsumm { margin-left: 5%;} + P.poetry {margin-left: 3%; } + .GutSmall { font-size: 0.7em; } + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4, H5 { + text-align: center; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + table { border-collapse: collapse; } +table {margin-left:auto; margin-right:auto;} + td { vertical-align: top; border: 1px solid black;} + td p { margin: 0.2em; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-weight: normal; + color: gray; + } + img { border: none; } + img.dc { float: left; width: 50px; height: 50px; } + div.gapspace { height: 0.8em; } + div.gapline { height: 0.8em; width: 100%; border-top: 1px solid;} + div.gapmediumline { height: 0.3em; width: 40%; margin-left:30%; + border-top: 1px solid; } + div.gapshortdoubleline { height: 0.3em; width: 20%; + margin-left: 40%; border-top: 1px solid; + border-bottom: 1px solid; } + div.gapdoubleline { height: 0.3em; width: 50%; + margin-left: 25%; border-top: 1px solid; + border-bottom: 1px solid;} + div.gapshortline { height: 0.3em; width: 20%; margin-left:40%; + border-top: 1px solid; } + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + img.floatleft { float: left; + margin-right: 1em; + margin-top: 0.5em; margin-bottom: 0.5em; } + img.floatright { float: right; + margin-left: 1em; margin-top: 0.5em; + margin-bottom: 0.5em; } + img.clearcenter {display: block; + margin-left: auto; + margin-right: auto; margin-top: 0.5em; + margin-bottom: 0.5em} + --> + /* XML end ]]>*/ + </style> +</head> +<body> +<pre> + +The Project Gutenberg eBook, William Shakespere, of Stratford-on-Avon, by +Scott Surtees + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: William Shakespere, of Stratford-on-Avon + His Epitaph Unearthed, and the Author of the Plays run to Ground + + +Author: Scott Surtees + + + +Release Date: March 28, 2012 [eBook #39285] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK WILLIAM SHAKESPERE, OF +STRATFORD-ON-AVON*** +</pre> +<p>Transcribed from the 1888 Henry Gray edition by David Price, +email ccx074@pglaf.org</p> +<h1>WILLIAM SHAKESPERE,<br /> +<span class="GutSmall">OF</span><br /> +<span class="GutSmall">STRATFORD-ON-AVON.</span></h1> +<div class="gapshortline"> </div> +<p style="text-align: center">His Epitaph Unearthed,<br /> +<span class="GutSmall">AND THE</span><br /> +Author of the Plays run to Ground.</p> +<div class="gapshortline"> </div> +<p style="text-align: center">WITH SUPPLEMENT.</p> +<div class="gapshortline"> </div> +<p style="text-align: center"><span class="GutSmall">BY</span><br +/> +SCOTT SURTEES.</p> +<div class="gapspace"> </div> +<p style="text-align: center"><span +class="GutSmall">LONDON:</span><br /> +<span class="GutSmall">HENRY GRAY, 47, LEICESTER +SQUARE.</span></p> +<p style="text-align: center"><span +class="GutSmall">1888.</span></p> +<div class="gapshortline"> </div> +<p style="text-align: center">Price in Cloth, 2s. By Post, +2s. 2d.</p> +<div class="gapspace"> </div> +<p style="text-align: center"><a name="page3"></a><span +class="pagenum">p. 3</span><span class="smcap">Shakespere’s +Epitaph</span>.</p> +<p style="text-align: center"><span +class="smcap">Shakespere’s Early Home</span>.</p> +<p style="text-align: center"><span +class="smcap">Shakespere’s Chairs</span>.</p> +<p style="text-align: center"><span class="smcap">Strange Form of +Marriage Licence</span>.</p> +<p style="text-align: center"><span +class="smcap">Shakespere’s Later Home at New +Place</span>.</p> +<p style="text-align: center"><span class="smcap">Who Wrote +Shakespeare’s Plays</span>? <span class="smcap">A +Guess at the Truth</span>.</p> +<p style="text-align: center"><span class="smcap">Mr. Donnelly +and the Cryptogram, with Supplement and Notes on Various +Subjects</span>.</p> +<p style="text-align: center"><span class="GutSmall">BY</span><br +/> +REV. SCOTT SURTEES,</p> +<p style="text-align: center"><span +class="GutSmall">OF</span></p> +<p style="text-align: center">Dinsdale-on-Tees.</p> +<h2><a name="page5"></a><span class="pagenum">p. 5</span>CHAPTER +I.<br /> +<span class="smcap">William Shakespere’s Epitaphs and +Chairs at Stratford-on-Avon</span>.</h2> +<p>There is one point above all others which bears strongly +against the theory that William Shakspere, of Stratford-on-Avon, +was the author of the so-called Shakespeare’s Plays, and +that is the audacious doggerel which has been fathered on his +memory. William Shakspere, after a disreputable youth, +marrying at 17 or 18 a woman many years older than himself, whose +child was soon after born, the son of a father who could not +write his name, and in debt and difficulty, and who himself +(père) had been within the clutches of the law, found his +native place too hot to hold him, and if the universal tradition +on the subject is worth anything, having a warrant out against +him for poaching, “flitted” to London, became a +stage-player, went in for speculation in building a theatre, laid +out his modest earnings judiciously, bought a house in his native +place, another in London “within the precinct of the late +Black Fryers,” retired to New Place, died, and was buried +in the church of that dirty town, in <a name="page6"></a><span +class="pagenum">p. 6</span>1616, in the chancel, and his epitaph +inscribed at his request upon his tomb. He appears to have +been in the habit of writing or quoting such, and got the credit +for this sort of poetry from his companions. It is plain +from the evidence I produce (p. 7) that in and about those years +it was the custom in London churches to put verses of +questionable merit on monuments and tombs, that it was usual to +“crib” or copy them from some one else, and use them +as their own. The instances I give (and their name is +legion) shows this clearly to have been an every-day +practice. The play-actor, with a memory sharpened “by +learning his parts,” had no doubt seen them on the walls of +churches during his residence in London, and was in the habit of +repeating and passing off as his own these doggerel rhymes for +the edification and amusement of his companions and select +friends; but when asked to give them an <i>extempore</i> one +(evidently there was a leetle doubt as to his powers of +composition), knocked off one or two much inferior to those his +memory had retained (p. 11). What a specimen of their high +literary taste and also of his own, requesting to have such +rubbish inscribed upon his grave! No doubt there were many +other such-like epitaphs in churches in London which have been +destroyed or effaced by lapse of time, but these are a sufficient +specimen to show how little variation there is in them, and that +mainly in the spelling. The epitaph on the stone over +Shakspere’s grave has been pressed into the service by a +believer in his writings to prove—first, that he +“curst those who should move his bones,” because that +he was fearful that when his renown was acknowledged, his bones +would be moved from their last resting-place in the Stratford +that he loved, <a name="page7"></a><span class="pagenum">p. +7</span>to find a grave (they have a monument) in Westminster +Abbey! and secondly, by a non-believer, that when the imposture +was found out, they would be exhumed and cast out to the four +winds of heaven! But how about poor “Virginea +<i>optima vita</i> El. 21,” whose Covent Garden grave had +on its surface the same curse “for he that moves my +bones”? Did her people fear that some after-scandal +might occur to show that she was no better than Ann Hathway or +Jane Shore, and her ashes be scattered in the swollen flood of +the Fleet stream! or that an unknown princess or poetess +unrecognised, cared not for a niche in Poet’s Corner or a +sepulchre amongst the great ones of the land, should her real +self and character ever be found out! In searching for +epitaphs of a similar style I found the following, which I give +as illustrative of what I have mentioned above. They are +extracted from an ancient folio, 1736 <span +class="GutSmall">A.D.</span>, The History of London, by William +Maitland, F.R.S., which gives an account of the several parishes +and churches.</p> +<blockquote><p style="text-align: center"><span +class="smcap">Sarah Williams</span>, ob. September, 1680.</p> +<p>Reader, stand still and spend a tear<br /> +Upon the dust that slumbers here;<br /> +And when thou readest, instead of me,<br /> +Think on the Glass that runs for thee.</p> +<p style="text-align: right"><i>St. Paul’s</i>, +<i>Shadwell</i>.</p> +<p style="text-align: center"><span class="smcap">John +Jordan</span>, 14th March, 1700.</p> +<p>Stand, Reader, and spend a tear,<br /> +And think on me who now lye here;<br /> +And whilest you read the state of me,<br /> +Think on the glass that runs for thee.</p> +<p style="text-align: right"><i>St. Mary</i>, +<i>Whitechapel</i>.</p> +<p style="text-align: center"><a name="page8"></a><span +class="pagenum">p. 8</span><span class="smcap">Mary +Perkins</span>, Died <span class="GutSmall">A.D.</span> 1703.</p> +<p>Reader, stand still and spend a tear<br /> +Upon the dust that slumbers here;<br /> +And when thou readest, instead of me,<br /> +Think on the glass that runs for thee.</p> +<p style="text-align: right"><i>St. Giles-in-the-Fields</i>.</p> +</blockquote> +<p style="text-align: center">Another similar. No +Name. <i>St. Martins-in-the-Fields</i>.</p> +<blockquote><p style="text-align: center"><span +class="smcap">Mrs. Mary Morley</span>. Another +similar. <i>Ratcliff</i>, 1700 <span +class="GutSmall">A.D.</span></p> +<p>Good friend, for Jesus’ sake forbear,<br /> +To dig the dust enclosed here;<br /> +Blest be the man that spares these stones,<br /> +And curst be he that moves my bones.</p> +<p style="text-align: center">Virginea Optima Vita El., aged 21, +ob. 1700 <span class="GutSmall">A.D.</span> <i>St. +Paul’s</i>, <i>Covent Garden</i>.</p> +<p>When God was pleased (the world unwilling yet),<br /> +Helias James, to nature paid his debt;<br /> +And here reposes; as he lived he died,<br /> +The saying strongly in him verified—<br /> +Such life, such death, then a known truth to tell,<br /> +He lived a godly life, and died as well.</p> +</blockquote> +<p style="text-align: center"><i>St. Andrew +Wardrobe</i>—<i>St. Anne’s</i>, <i>Blackfriers</i>, +annexed thereto after the fire.</p> +<p style="text-align: center"><span class="smcap">Joyce +Rich</span>, 1679, E. daughter of —</p> +<blockquote><p>We two within this grave do lye,<br /> +Where we do rest together,<br /> +Until the Lord doth us awake,<br /> +And from the goats us sever.</p> +<p style="text-align: right"><i>Ratcliff Hamlet</i>.</p> +</blockquote> +<p style="text-align: center">Here lyes the body of <span +class="smcap">William Wheatley</span>, ob. 10th Nov. 1683.</p> +<blockquote><p>Whoever treadeth on this stone,<br /> + I pray you tread most neatly;<br /> +For underneath the same doth lye,<br /> + Your honest friend, William Wheatley.</p> +<p style="text-align: right"><i>Ratcliff Hamlet</i>.</p> +<p style="text-align: center"><a name="page9"></a><span +class="pagenum">p. 9</span><span class="smcap">George +Clark</span>, <span class="GutSmall">A.D.</span> 1668.</p> +<p>If any desire to be me nigh,<br /> +Pray let my bones in quiet ly,<br /> +Till Christ shall come in cloudy sky,<br /> +Who will us all both judge and try.</p> +<p style="text-align: center"><span class="smcap">Edward +Norrys</span>.</p> +<p>O ye, our friends, yat here pas by,<br /> +We beseech you to have us in memory;<br /> +Somtym we were as now ye be,<br /> +In tym to come ye shall be as we.</p> +<p style="text-align: center"><span class="smcap">Nathaniel +Spencer</span>, 1695.</p> +<p>Pray think on me as you pass by,<br /> +As you are now so once was I.</p> +<p style="text-align: right"><i>St. James</i>, +<i>Clerkenwell</i>.</p> +</blockquote> +<p>I have in my possession a Tour through England, by the Rev. R. +Warner, in 1801; he gives an account which I have never seen +alluded to, of a visit to Stratford-on-Avon. The mention of +“cupboard, chair, and tobacco-stopper” is +delightful. Vol. II. p. 272, Topographical Works of Rev. R. +Warner, 1802. “On inquiring for the birth-place of +our great poet, we were not a little surprised to be carried +through a small butcher’s shop into a dirty back room; +which, together with a miserable apartment above stairs, +constituted the greater part of the house of his father, Mr. John +Shakespeare, a wool-stapler, in the sixteenth century, where +William was born April 23, 1564. Here are piously preserved +the chair in which he sat, and the cupboard in which he kept his +books. A tobacco-stopper also was shown us, said to be that +which he had been accustomed to use for some years; but as we +found this inestimable relic might have been purchased for +1<i>s.</i> 6<i>d.</i>, and that parts of the chair and cupboard +<a name="page10"></a><span class="pagenum">p. 10</span>might be +procured upon similar reasonable terms, we were as much inclined +to give credit to their genuineness, as we had felt ourselves +willing to believe the traditions of Guy Earl of Warwick, his +shield, sword, and porridge-pot. Homely as the tenement +was, however, we had much gratification in recollecting that it +had been the birth-place of our great poet, and the scene where +the first dawning of his gigantic intellect was +displayed.”</p> +<p>“Shakespeare, you know, had quietly settled himself in +his father’s trade of a wool-dealer, and to insure greater +steadiness in his pursuit of business, had taken unto himself a +wife, the daughter of one Hathaway, in the neighbourhood of +Stratford. Good-nature or incaution, however, led him into +the society of some idle youths, who committed occasional +depredations in the parks of the surrounding gentry. Being +detected in a nocturnal adventure of this kind upon the property +of Sir Thomas Lucy, of Chalcot, near Stratford, he was prosecuted +for the offence; and irritating the prosecutor to a still greater +degree of violence, by an abusive ballad, he was under a +necessity of avoiding the effects of the criminal process, by +quitting his business and family at Stratford, and hiding himself +in the Metropolis. Some instances of his poetical sarcasms +are upon record, but local tradition confirms the assertion now +made of their just application. They are written on John +Coombe and his brother Tom, both notorious for penury and +usury. The former, in a party at which Shakespeare was +present, had sportively observed, that he apprehended the poet +meant to write his epitaph in case he outlived him, but as he +should lose the benefit of the composition if it were deferred +till his <a name="page11"></a><span class="pagenum">p. +11</span>death, he begged it might be done whilst he lived, that +he might admire the tribute, and thank the writer; Shakespeare +immediately presented him with the following lines:—</p> +<blockquote><p>Ten in the hundred lies here engrav’d,<br /> +Tis a hundred to ten his soul is not sav’d;<br /> +If any man ask, ‘Who lies in this tomb?’<br /> +Oh! Oh! quoth the Devil, ’tis my John a Coomb.</p> +</blockquote> +<p>“The epitaph upon the brother, whether called for or +not, I cannot say, is of a similar spirit:</p> +<blockquote><p>Thin in beard, and thick in purse,<br /> +Never man beloved worse;<br /> +He went to the grave with many a curse;<br /> +The devil and he had both one nurse.</p> +</blockquote> +<p>“A flat stone, lying on the pavement over the place of +his interment, has this inscription, said to have been written by +Shakespeare for his own monument:</p> +<blockquote><p>Good friend, for Jesus’ sake forbeare<br /> +To digg the dust encloased heare;<br /> +Blest be the man that spares these stones,<br /> +And curst be he that moves my bones.”</p> +</blockquote> +<p>There is another also ascribed to him quoted in +“Shakspere’s Poetry,” No. 6, Bacon Society +Journal, p. 245, which, with the Goliath, makes up the number to +five.</p> +<blockquote><p style="text-align: center">Epitaph on <span +class="smcap">Elias James</span>. [Mark the lost H.]</p> +<p>When God was pleased, the world unwilling yet,<br /> +Elias James to nature paid his debt,<br /> +And here reposeth, as he lived he died,<br /> +The saying in him strongly verified,<br /> +Such life, such death: then the known truth to tell,<br /> +He lived a godly lyfe and dyed as well.</p> +</blockquote> +<p><a name="page12"></a><span class="pagenum">p. 12</span>The +other account of a visit paid, and chair and relics bought, is +taken from Samuel Ireland, London, 1795, a handsome volume of +well-executed picturesque views of the Avon, and buildings +connected with Shakesperian localities, which are generally made +use of without acknowledgment.</p> +<p>“As such we shall conduct them to the humble cottage in +which he first drew breath, on the 23rd of April, 1564.</p> +<p>“The annexed sketch of it was made in October, +1792. Part of these premises which belonged to Shakspeare +are still occupied by a descendant of Joan Harte, sister to our +Poet, who pursues the humble occupation of a butcher. His +father Thomas Harte died about a year ago at the age of +sixty-seven. The kitchen of this house has an appearance +sufficiently interesting to command a place in this work, +abstracted from its claim to notice as a relative to the +bard. It is a subject very similar to those that so +frequently employed the rare talents of Ostade, and therefore +cannot be deemed unworthy of the pencil of an inferior +artist. In the corner of the chimney stood an old oak +chair, which had for a number of years received nearly as many +adorers as the celebrated shrine of the Lady of Loretto. +This relic was purchased in July, 1790, by the Princess +Czartoryska, who made a journey to this place in order to obtain +intelligence relative to Shakspeare; and being told he had often +sat in this chair, she placed herself in it, and expressed an +ardent wish to become a purchaser; but being informed that it was +not to be sold at any price, she left a handsome gratuity to old +Mrs. Harte, and left the place with apparent regret. About +four months after, the anxiety of the Princess could no longer be +withheld, and her secretary was despatched express, as the fit <a +name="page13"></a><span class="pagenum">p. 13</span>agent, to +purchase this treasure at any rate; the sum of twenty guineas was +the price fixed on, and the secretary and chair, with a proper +certificate of its authenticity on stamped paper, set off in a +chaise for London.” . . .</p> +<p>“In a lower room of the public-house, which is part of +the premises wherein Shakspeare was born, is a curious ancient +ornament over the chimney, relieved in plaster, which, from the +date 1606, that was originally marked on it, was probably put up +at the time, and possibly by the poet himself; although a rude +attempt at historic representation, I have yet thought it worth +copying. In 1759 it was repaired and painted in a variety +of colours by the old Mr. Thomas Harte before mentioned, who +assured me the motto then round it had been in the old +black-letter, and dated 1606. The motto runs thus:</p> +<blockquote><p>Golith comes with sword and spear,<br /> +And David with a sling;<br /> +Although Golith rage and sweare,<br /> +Down David doth him bring.</p> +</blockquote> +<p>“Mr. Harte, of Stratford, before mentioned, told me +there was an old oak chair, that had always in his remembrance +been called Shakspeare’s courting chair, with a purse that +had been likewise his, and handed down from him to his +grand-daughter Lady Barnard, and from her through the Hathaway +family to those of the present day. From the best +information I was able to collect at the time, I was induced to +consider this account as authentic, and from a wish to obtain the +smallest trifle appertaining to our Shakspeare, I became a +purchaser of these relics. Of the chair I have here given a +sketch; it is of a <a name="page14"></a><span class="pagenum">p. +14</span>date sufficiently ancient to justify the credibility of +its history; and as to farther proof, it must rest on the +traditional opinion and the character of this poor +family.”</p> +<h2>CHAPTER II.<br /> +<span class="smcap">Shakspere’s After-Residence at +Stratford-on-Avon</span>.</h2> +<p>The nearest <i>reliable</i> authority we have for any story +connected with William Shakspere is the Vicar of +Stratford-on-Avon, a man of literary tastes, who kept a +voluminous journal, and it is he who gives us the account of +“as I have heard, Shakespeare, Drayton, and Ben Jonson had +a merrie meeting, and it seems drank too hard, for Shakespeare +died of a feavour there contracted” (was it at the house in +Blackfriars? they are hardly all likely to have been at +Stratford). Also in his Diary, “Remember to peruse +Shakespeare’s plays and bee much versed in them, that I may +not be ignorant in that matter. . . . Whether Dr. Heylin +does well in reckoning up the dramatick poets which have been +famous in England to omit Shakespeare?” Note here +that Mr. Ward, although Vicar of the parish, and a man of high +education, was not acquainted with the works of Shakespeare +simply because he had not before realized the point that his +parishioner, whose descendants and relatives lived in humble +guise, was really the illustrious Shakespeare, whose praise was +in all mouths, and that therefore it was not necessary he should +be “up in them,” as they were not the subject of +conversation in the town of his birth and youth and burial, +clearly the pressure upon him to <a name="page15"></a><span +class="pagenum">p. 15</span>get them up came later on from +without. He was not appointed to the Vicarage until +1662.</p> +<p>Diary of Rev. John Ward, from 1648 to 1679: “I <i>have +heard</i> that Mr. Shakespeare was a natural wit, without any art +at all,” and that is pretty well all the Vicar of his +native place heard tell of him as a writer of these plays. +He has nearly as much to say of “Edmund Alline, a +stage-player, who founded the College of Dulwich.” +“I have heard that Mr. Shakespeare was a natural wit +without any art at all: hee frequented the plays all his younger +time, but in his elder days lived at Stratford, and supplied the +stage with two plays every year and for itt had an allowance so +large that he spent at the rate of £1000 a year as I have +heard.”—From Diary of Rev. John Ward. How came +Shakespeare’s brother stage-player to be worth thousands, +whilst the other’s income saved was only about £200 +or at most £300 a year? Was he the trusted middle +man, or Kemp, or both, in the secret?</p> +<h3>Shakespeare’s Plays—Who Wrote them?</h3> +<p>There is a quaint story printed by the Camden +Society—Kemp’s “Nine Daies’ +Wonder,” published 1600. Kemp was one of the leading +performers in that company in which Shakespere had subordinate +parts assigned him, and Edward Alleyne was chief manager. +Nash was a friend of his, and his tract, “An Almond for a +Parrot,” is dedicated to him, “Monsieur du +Kempe.” He talks of another great journey, and +signifies that he keeps it dark whether “Rome, Jerusalem, +Venice, or any other place at your idle appoint” (p. +20). One of his letters begins, “My notable +Shakerags,” mentions “a penny poet, whose first +making <a name="page16"></a><span class="pagenum">p. 16</span>was +the miserable stolne story of Macdoel, or Macdobeth, or +Macsomewhat.” In the Returne from +Parnassus—dialogue, “<i>Phil.</i> What, M. +Kempe, how doth the Emperour of Germany? +<i>Student</i>. God save you, M. Kempe: Welcome from +dancing the morrice ‘over the Alpes.’ +<i>Kempe</i>. Is it not better to <i>make a foole of the +world as I have done</i> than to be fooled of the world as you +schollers are.” There is also that well-known +allusion to “our fellow Shakespeare putting them all down, +I and Ben Jonson too, and giving him a purge that made him beray +his credit” (whatever that may mean). Also p. xiv, +“The Travailes of the Three English Brothers, Sir Anthony, +Sir Thomas, and Sir Robert Shirley, as it is now play’d by +Her Majesties Servants,” the following scene is supposed to +take place at Venice:—“<i>Servant</i>. An +Englishman desires accesse to you. <i>Sir +Anthony</i>. What is his name? <i>Servant</i>. +He calls himself Kempe. <i>Sir. Ant.</i> Bid him come +in; Welcome, honest Will, and what good new plays have +you?” etc. Nash also speaks of Kemp as being at +Bergamo, and an Englishman from Venice meeting him there and +having a conversation on the “order and maner of our +plays.” These allusions, whether feigned or +otherwise, show there were communications going on between her +Majesties players and foreign parts, which were understood to be +connected with “new plays” and “plays of +note.”</p> +<p>Was there any distant connection between Will Kempe and Sir A. +Sherley? His mother’s name was Anne, daughter of Sir +Thomas Kempe, and had three sons—Thomas, Anthony, and +Robert. “No three persons of one family ever +experienced adventures at the same time so uncommon or so +interesting” (from a book “The Sherley +Brothers,” by one of the same house, <a +name="page17"></a><span class="pagenum">p. 17</span>for Roxburghe +Club, Evelyn Philip Shirley). Sir Anthony married a first +cousin of the Earl of Essex, “who had oftentimes to +befriend him.” He was sent on embassies to every +quarter of the known world. Was ofttimes in communication +with Burleigh. We hear of him most in Italy, “sent by +Emperor of Germany as ambassador to Morocco”; “hired +horses to pass the Alpes” (see Kemp, p. 16); writes to +Anthony Bacon, a friend of Essex (p. 22). It appears that +he wrote many letters at this period to his patron Earl of Essex, +Mr. Anthony Bacon, and Mr. Secretary Cecil. He is found +everywhere, sometimes employed as ambassador, sometimes on +special missions, sometimes in questionable ventures. +Milan, Venice, where at one time he seems to have resided for +several years, Rome, Persia, Cyprus, Antioch, Syracuse, Prague, +Arabia, Tripoli, Aleppo, Bagdad, Constantinople, Portugal, +Spain. Sir Anthony appears (Annals of the Shirley Family) +with his brother Sir Robert to have always been in debt and +difficulty, “sometimes like to starve for want of +bread,” profuse and extravagant when money was to be had, +utterly careless how it was obtained. Mention is made of +“Henry Sherley, kinsman of Mr. James Sherley, the +<i>play-wright</i>, and who did also excel him in that +faculty.” Henry Sherley was the author of the +following plays never printed: Spanish Duke of Lerna, Duke of +Guise, Gasaldo the country lover (p. 270, Annals of Shirley +Family). Sir Anthony was ever aiming to get reinstated at +Court, and if he had been known to have been mixed up with these +plays, it would have been fatal to his chance with +Elizabeth. Clearly he had something to do with Will Kempe, +a member of Alleyn’s company, who acted the prominent parts +in Two Gentlemen of Verona, Merchant of Venice, etc. Was +not “Will Kempe” the go-between <a +name="page18"></a><span class="pagenum">p. 18</span>the manager +and the author? Was it not necessary, in order to keep the +secret, that the MSS. should not pass from hand to hand, or be +entrusted even to the ambassador’s bag? Lansdowne +MSS. 1608, Milan, Sir Anthony Sherley to his sister, Lady Tracy, +“you will say, I should have written; it is true, but there +are such intercepting of my poor papers that before God I dare +commit nothing to paper, and now less than ever.” The +extraordinary capacity and knowledge of languages and familiarity +with places and scenery by Sir Anthony Sherley, especially in +Italy, were clearly unequalled. What share had he in what +may be a joint-stock company for the production of these +plays? It is now acknowledged that many of the plays are +translated from Italian plays and other novels. Did he +bring this grist to the mill, find novels and stories, translate +them, and forward them by his trusted kinsman Kempe to others to +ship-shape them and fit them for the stage? May not the +name of Sherley have oozed out amongst “the +playwrights,” and thence “<i>Henry</i> Sherley, who +excelled in that faculty,” been spoken of as the man who +wrote them. Sir Anthony keeps up his friendship with +Anthony Bacon, whom no doubt he knew in earlier days at +Court. How fond they all were of the name of Anthony. +A greater knowledge of men and manners and languages and the +leading men and courtiers of the day or such a master of travel +existed not in his time. Strange also is it that “The +Travailes of the three English Brothers, Sir Thomas, Sir Anthony, +and Mr. Robert Sherley,” should be presented on the stage +by this same company of which Kempe was a member. How were +they acquainted with them?</p> +<p>These are all singular coincidences, and as I write I have +been <a name="page19"></a><span class="pagenum">p. +19</span>perusing Donnelly, and I find nothing to contradict, but +much to back up my theories. His chapter ix. vol. i. p. +171, also x. and others passim, might fit Sherley as well as +Bacon. (Shylock, p. 224.) Sherley borrows money +wherever he could get credit and at other times spends it +freely.</p> +<blockquote><p>He lends out money gratis, and brings down<br /> +The rate of usance here with us in Venice.<br /> +Signior Antonio, many a time and oft<br /> +In the Rialto you have rated me<br /> +About my monies and my usances.</p> +</blockquote> +<p>Sir Anthony, has he not often “sat on the Rialto”? +has he not often watched the Argosies come “to +road”? Has he not had ventures everywhere? Read +over The Merchant of Venice, and say if it could possibly have +been written but by one resident there and half Italian in his +knowledge and familiarity with people and scenes in Italy +itself. What is Antonio everywhere but Anthony “writ +new”? See Sonnets, lxxvi.:</p> +<blockquote><p>Why write I still all <i>one</i>, ever the +same,<br /> +And keep invention in a noted weed,<br /> +That every word doth almost tell my name,<br /> +Showing their birth and where they did proceed?</p> +</blockquote> +<p>See also Sonnets passim illustrating and explaining “my +papers yellowed with their age,” “my muse,” +“my verse.”</p> +<p>What are the names of places mentioned? Tripolis, +Mexico, England, Lisbon, Barbary, India, “where his +argosies with portly sail,” “the pageants of the +sea.” What in Othello? Cyprus on the brow of +the sea “stand ranks of people and they cry a +sail.” May—nay, must have witnessed it in +person.</p> +<p>The leading qualifications for the author of +Shakespeare’s Plays to possess are summed up on the +medallion of Sir Anthony <a name="page20"></a><span +class="pagenum">p. 20</span>Sherley’s picture, Antonius +Sherleyus Anglus Eques aurati (Annals of the Shirley Family, +second edition, p. 297, “Multorum mores hominum qui vidit +et urbes”), and it was his and his alone to fulfil them to +the letter. He must have a familiarity with sylvan life, +its beauties, its copses, and its ferns and flowers; must have +mixed in youthful sports, hawked, <i>hunted the hare</i>, and +chased the roe and conies in his father’s park at Wiston +(there is an ancient picture of the Lord of the Manor there, +issuing forth on a sporting expedition, p. 264). He no +doubt visited Chartley (Erdeswick’s Staffordshire). +“The park is very large and hath therein red deer, fallow +deer, wild beasts, and swine,” passed on to Tamworth, the +ancient seat of Ferrers family (see Shirley Annals, p. +183). “In the principal chamber is a very noble +chimney piece of dark oak, reaching to the ceiling, carved with +the story of Venus and Adonis, and the arms of Ferrers and the +motto, <a name="citation20"></a><a href="#footnote20" +class="citation">[20]</a> ‘<i>only +one</i>.’” May be the young Southampton was +with him there. His education must have been +liberal—Oxford, Hart and All Souls’ Colleges—he +was at them both. He must have studied at the bar and had +great legal knowledge—“Inns of Court” gave him +that. English court life, its pageants, its courtiers, he +knew them well. Camps he had commanded at Zutphen. +His friends and kinsmen were Essex, Lord Southampton, the latter +to whom he dedicated his Venus and Adonis, had like himself +married a sister Vernon, a cousin of Lord Essex. The +fickleness of sovereigns he had felt, he had in some way offended +Elizabeth, and that spiteful woman never him forgave; she cut off +his kinsman Essex’s head and stole his books. +“Two Gentlemen of Verona,” <i>Val</i> to +<i>Duke</i>:</p> +<blockquote><p><a name="page21"></a><span class="pagenum">p. +21</span>“These banished men that I have kept withal,<br /> +Are men endued with worthy qualities,<br /> +Forgive them what they have committed here,<br /> +And let them be recalled from their exile:<br /> +They are reformed, civil, full of good,<br /> +And fit for great employment.”</p> +</blockquote> +<p>Sherley Brothers, p. 27, to Sir Cecill, “his whole +object being if possible to conciliate the Queen, and to obtain +leave to return to England. Elizabeth however remained +inexorable.”—<span class="GutSmall">A.D.</span> +1600.</p> +<p>P. 34. Venice, “which city remained his head +quarters for some years.”—1601.</p> +<p>P. 50. <span class="GutSmall">A.D.</span> +1605.—“Four months abode in Saphia, kept open house . +. .; to supply his own turn for money he got credit of Jews to +take up money, and pay them in moriscos, but at an excessive +rate, almost fifty for an hundred.”</p> +<p>All foreign courts, even the Czar of Muscovy, the great Sophi, +King of Morocco, of Persia; well, he had had missions to them, +and been of them and amongst them. A thorough knowledge of +a sailor’s life, their own peculiar phrases and ship-shape +ways are his to speak of as a sailor would; perils by sea and +land, he had gone through them all. Languages, most of them +on his mouth-tips dwell (Alls Well that Ends Well, “If +there be here German or Dane, low Dutch, Italian, or French, let +him speak to me”). The habits and the ways, the +customs, dresses, manners, laws of almost every known nation +then, he had witnessed, thought on, and had both an eye-sight and +head knowledge of them. Horses, he knew their points; +nightingales (passim), he had listened to their song.</p> +<p>Among the papers relating to the Low Countries in the S.P.O. +is the following in illustration of Shakespeare’s +well-known line, <a name="page22"></a><span class="pagenum">p. +22</span>“Saddle white Surrey to the field,” +etc. “A note of all the horses of old store, which +Thomas Underwood acknowledgeth himself to have received since his +coming to your honor’s (Sir H. Sidney) service, June 2, +1589, <i>e.g.</i>:</p> +<p> </p> +<table> +<tr> +<td><p> </p> +</td> +<td><p style="text-align: center">Charge.</p> +</td> +<td><p style="text-align: center">Discharge.</p> +</td> +</tr> +<tr> +<td><p>Graie</p> +</td> +<td><p>Stanhope</p> +</td> +<td><p>given to Sir Roger Williams.</p> +</td> +</tr> +<tr> +<td><p>Baie</p> +</td> +<td><p><b>SHURLIE</b></p> +</td> +<td><p>,, Mr. Ralph Love.</p> +</td> +</tr> +<tr> +<td><p>Baie</p> +</td> +<td><p>Skipworth</p> +</td> +<td><p>,, The Grooms.</p> +</td> +</tr> +<tr> +<td><p>Graie</p> +</td> +<td><p>Essex</p> +</td> +<td><p>,, Mr. St. Barbe.</p> +</td> +</tr> +<tr> +<td><p>Graie</p> +</td> +<td><p>Bingham</p> +</td> +<td><p>,, Sir Philip Sidney.</p> +</td> +</tr> +<tr> +<td><p>Pied</p> +</td> +<td><p>Markham</p> +</td> +<td><p>,, The French Ambassador.</p> +</td> +</tr> +<tr> +<td><p>Dun</p> +</td> +<td><p>Sidney</p> +</td> +<td><p>,, Bonham.</p> +</td> +</tr> +<tr> +<td><p>Sorrel</p> +</td> +<td><p>Bingham</p> +</td> +<td><p>,, Sir Richard Bingham.</p> +</td> +</tr> +<tr> +<td><p>Black</p> +</td> +<td><p>Stanhope</p> +</td> +<td><p>,, To the cart at Fulham.”</p> +</td> +</tr> +</table> +<p>“Anthony Sherley had a command in the Low Countries +among the English when Sir Philip Sidney was killed” +(Wood). “This was before Zutphen in +1586.”—From Sherley Brothers (p. 4).</p> +<p>“Dispatched with title of Colonel into Brittany under +Essex,” 1591 (p. 5).</p> +<p>Might he not even have heard Essex or Sir Philip Sidney give +orders to saddle his gray charger to the field to-morrow.</p> +<p>Anthony Sherley and no other was he who wrote these plays.</p> +<h2><a name="page23"></a><span class="pagenum">p. +23</span>CHAPTER III.<br /> +<span class="smcap">Mr. Donnelly’s Cryptogram</span>.</h2> +<p>I have waited until I had Mr. Donnelly’s book before +me. The marvellous industry, research and intelligence +displayed is simply astounding. I dare not express an +opinion on the subject. But why or wherefore should Bacon +take such an interest in and spend so much ingenuity on Anne +Hathaway and her marriage? It is a strange tale. I +have myself been Commissary for Bishops and held Courts for them; +have been for years a Surrogate for Bishops and Archbishops, and +have had now and then to refuse a license; but I never had or +heard of such a case as this, and should certainly have refused +to grant a license to allow “<i>once</i>” publishing +the banns to stand for “<i>thrice</i>” and to slur +over “consent of parents.” It most probably +happened that the banns were published the first time more or +less surreptitiously, and taking the parents by surprise were not +objected to; but if it proceeded to a second +“asking,” they would be forbidden; it is clear there +was an objection known to be hanging up. Turn the +bull’s-eye light of common sense unto what was too common +in parishes of old. Who, why, and wherefore did Farmers +Sandells and Rychardson appear upon the scene? They, it may +be, held office in the parish, and had caught hold of a lad who, +to save the parish a burden or one of themselves a scandal, would +for a consideration make an “honest woman of Ann +Hathaway.” <a name="page24"></a><span +class="pagenum">p. 24</span>I myself recollect having a similar +case to deal with on all-fours—a farming lad of 19 or 20 +and a woman of 29 or 30 near her confinement, when I felt so +strongly on the subject, that before the marriage ceremony, I +asked the intended bridegroom to come into the vestry to question +him as to his being in his sober senses, and if he understood +what was the position he was about to make for himself.</p> +<p>One error Mr. Donnelly has fallen into when he uses strong +language against William Shakespere for allowing “one quart +of sack” (p. 51) to be sent to his guest. It was a +common compliment to send such gifts, and the omission would have +been thought an insult. In Ambrose Barnes’ Memoirs +(p. 244) published by the Surtees Society, Appendix, +1592:—“The Corporation of Newcastle-on-Tyne paid for +20 lb. of sugar in two loaves at 18<i>d.</i> a lb., 6 bottles of +sack, 10 pottles of white wine, 9 pottles of claret wine, sent as +a present to my Lord of Durham as he came travelling to this +town.” Again (p. 427), 1684:—“6<i>d.</i> +for one pint of sack when Mr. Shakespeare preached!” +Also in Longstaff’s Darlington (p. 239), +Churchwardens’ accounts, 1643:—“One quart off +wine when Mr. Doughty preached, 10<i>d.</i>; one quart wine and +one pinte sack when another gentleman preached, which lay att +George Stevenson’s, 1<i>s.</i> 8<i>d.</i>;” 1650, +“six quarts of sacke to the minister that preached when we +had not a minister, 9<i>s.</i>;” 1666, “one quart of +sack bestowed on Mr. Jellett when he preached, 2<i>s.</i> +4<i>d.</i>; more bestowed on him at Ralph Collings’, when +Mr. Bell was there, 1<i>s.</i> 8<i>d.</i>”</p> +<p>I know that my friends the public have a strong idea that this +subject has been thoroughly threshed out, and are apt to say and +think—</p> +<blockquote><p><a name="page25"></a><span class="pagenum">p. +25</span>Shakespere and Bacon are vexation,<br /> + Donnelly is as bad,<br /> +His Cryptogram it puzzles me,<br /> + His Cipher drives me mad.</p> +</blockquote> +<p>Nevertheless, I have an opinion that I have been able to fling +a few novel hints upon the question, and so cast it upon the +waters to sink or swim.</p> +<p style="text-align: right"><span class="smcap">Scott +Surtees</span>.</p> +<p><span class="smcap">Dinsdale-on-Tees</span>,<br /> + <i>May</i> 14, 1888.</p> +<h2><a name="page26"></a><span class="pagenum">p. +26</span>APPENDIX.</h2> +<h3>Banns.</h3> +<p>Cripp’s Laws of the Church, p. 634.—“Before +the time of Pope Innocent III. there was no solemnization of +marriage in the Church: but the man came to the woman’s +house and led her home to his own house, which was all the +ceremony then used. By the customs of the Anglo-Saxons the +marriage ceremony was commonly performed at the house of the +bridegroom, to which the bride had been previously taken.” +(p. 638) “It was formerly the law of this country +that marriages celebrated by licence, when either of the parties +was under the age of twenty-one years (not being a widow or +widower), without the consent of the father, or if he were not +living, of the mother or guardians, should be absolutely +void.” They must proceed either by publication of +banns or by license. The word banns is of Saxon origin, and +signifies publication or proclamation (Rogers, E. L. 509). +This publication for three several Sundays or holidays, unless a +license or faculty had been obtained, was enjoined by Canon Law +and by the rubric “in the time of divine service” (p. +650). . . . For the avoiding of all fraud and collusion, +before such license shall be granted it shall appear to the judge +by the oaths of two sufficient witnesses . . . that the express +consent of the parents or parent is thereunto had and obtained +(Canon 103).” It is singular we find <a +name="page27"></a><span class="pagenum">p. 27</span>in Francis +Bacon’s life, that he tried to break off the match with Sir +John Villiers and Lady Hatton’s only daughter and heiress, +because the mother opposed it, “he strongly advises that +the match be not proceeded in without the consent of both parents +required by religion and the law of God” (Campbell’s +Life of Lord Bacon, p. 138).</p> +<p>“Spurrings” they are still called in the North of +England, where old customs and our fore-elders’ language +linger long. I myself in a parish in Wensleydale, where +they until recently “raced for the garter,” heard the +Clerk, to my astonishment, after I had finished the +“spurring” for the last time of asking, stand up and +in broad accent and loud voice sing out, “God speed them +well!” and all the people answered, Amen! It was not +any way ludicrous, but really sounded solemn and a beautiful +benediction from their fellow-parishioners.—(See +Atkinson’s Glossary of Cleveland Dialect, “Spurrings, +sb. The publication of banns of marriage: the being +‘asked’ at Church, an immediate derivative from +speer, speir, even if not directly from Old Norse +spyria.”)</p> +<p>The name of Shakespeare, Laborer, in the neighbourhood of +Stratford is spelt as above in George I.</p> +<p>“Walter Shakespeare, of Tachbrooke, in the county of +Warwicke, laborer, aged forty yeares or thereabouts, being sworne +and examined, deposeth as follows:</p> +<p>“To the fourth interrogatory this deponent saith that +the cure of the parish has been neglected by the complainant, and +in particular this deponent’s wife was put by being +churched, there being no Divine Service at Tachbrooke one Sunday +since the complainant’s institucion and induction; and this +<a name="page28"></a><span class="pagenum">p. 28</span>deponent +further says that notice was given that his wife was to be +churched that Sunday, and that this deponent was then and now is +an inhabitant of the parish of Tachbrooke.”—Record +Office, 41st Report, p. 555, 7 George I. Warwick and +Stafford Exchequer.</p> +<h2><a name="page29"></a><span class="pagenum">p. +29</span>SUPPLEMENT.</h2> +<p>See p. 22.—Ante “Anthony Sherley and no other was +he who wrote these plays.”</p> +<p>Since I wrote the first portion of this pamphlet so much +matter has turned up, showing beyond reasonable doubt that I am +right in my conjecture as to Anthony Sherley, that I am +encouraged to bring it also before the public. “Magna +est veritas,” and in due time the leaven will work its +way.</p> +<p>I had called attention (p. 20) to the Sonnets 135, 136, +105.</p> +<blockquote><p style="text-align: center"><span +class="smcap">Sonnet</span> CV.</p> +<p>Let not my love be called idolatry,<br /> +Nor my beloved as an idle show,<br /> +Since all alike my songs and praises be<br /> +To <i>one</i>, of <i>one</i>, still such and ever so.<br /> +Kind is my love to-day, to-morrow kind,<br /> +Still constant in a wondrous excellence;<br /> +Therefore my verse to constancy confin’d,<br /> +<i>One</i> thing expressing, leaves out difference.<br /> +Fair, kind, and true, varying to other words;<br /> +And in this change is my invention spent,<br /> +Three themes in <i>one</i>, which wondrous scope affords.<br /> + Fair, kind, and true, have often liv’d +alone<br /> + Which three, till now, never kept seat in +<i>one</i>.</p> +<p style="text-align: center">CXXXV.</p> +<p>Whoever hath her wish, thou hast thy <i>will</i>,<br /> +And <i>will</i> to boot, and <i>will</i> in over-plus;<br /> +More than enough am I that vex thee still,<br /> +To thy sweet <i>will</i> making addition thus.<br /> +<a name="page30"></a><span class="pagenum">p. 30</span>Wilt thou, +whose <i>will</i> is large and spacious,<br /> +Not once vouchsafe to hide my <i>will</i> in thine?<br /> +Shall <i>will</i> in others seem right gracious,<br /> +And in my <i>will</i> no fair acceptance shine?<br /> +The sea, all water, yet receives rain still,<br /> +And in abundance addeth to his store;<br /> +So thou, being rich in <i>will</i>, add to thy <i>will</i><br /> +One <i>will</i> of mine, to make thy large <i>will</i> more!<br +/> + Let no unkind, no fair beseechers kill.<br /> + Think all but <i>one</i>, and me in that <i>one +Will</i>.</p> +</blockquote> +<p>and the enigmatical allusions in them to Sherley’s motto +“only one.” He could not write “only +one,” as it would have betrayed the author of the plays, +but he shaves as near the wind as he dare, and as he says, Sonnet +lxxvi., which I mentioned (p. 19):</p> +<blockquote><p>Why write I still all one, ever the same,<br /> +And keep invention in a noted weed,<br /> +That every word doth almost tell my name,<br /> +Showing their birth and where they did proceed?</p> +</blockquote> +<p>And so it does, when we look behind the scenes. They +were written in the hope that some one like myself would arise, a +light in a dark place, to give honour to whom honour was due, and +pluck the jay’s false feathers from off the crow. The +instant you begin to look for it, you will observe how strangely +any-how and oft, in all times and places, in season and out of +season, this word “<i>one</i>” is wrought into the +text of the plays, sometimes in connection with +“<i>all’s one</i>”; (he would not write +“only one” straight off, else it would have led, as I +said before, to detection, and so he uses the plural +“all” instead of singular “only,” see +Sonnet lxxvi.), and in a much more important position boldly puts +it forward (in Quarto 1608, with the name of Shakespeare) +“<i>All’s one</i> or <i>one</i> of the four plaies in +<i>one</i>,” called “A Yorkshire +Tragedy.” Now this play with Anthony Sherley’s +motto is nothing <a name="page31"></a><span class="pagenum">p. +31</span>more nor less than the story of the ruin of his house; +it is hardly disguised under the flimsy title of “A +Yorkshire Tragedy.” It is important to note that of +all the plays this has no <i>stage names</i> to it, simply +“Husband and wife.” Strange! passing +strange! Why should Shakespeare care to represent on the +stage the history of the Sherley family and ruin? This same +company, mark, had played it under the name openly of “The +Three English Brothers,” prologue, “Clothing our +truth within an argument, fitting the stage and your attention, +yet not so hid but that she may appear to be herself, even +Truth.” This would also fit the “Yorkshire +Tragedy.” What is the substance of the play? It +tells the story in blank verse, which we have almost word for +word in prose in “The Sherley Brothers,” viz. that of +Sir Thomas Sherley the elder gambling away his extensive +property. “Elizabeth had seized and sold everything +belonging to him except (Wiston), his wife’s +dowry.” “<i>Wife</i>: If you suspect a plot in +me to keep my dowry . . . you are a gentleman of many bloods; +think on the state of these <i>three</i> lovely boys (the leash +of brothers old Fuller calls them) . . . Your lands +mortgaged, yourself wound into +debts.”—“<i>Wife</i>: I see how ruin with a +palsy hand begins to shake this ancient seat to dust . . . +beggary of the soul and of the body, as if some vexed spirit had +got his form upon him.” His wife had interest enough +to get him the offer of a place at Court, etc.</p> +<p>But the writer of Shakespeare’s plays was not content +with this, an exact account, even to <i>minute</i> particulars, +of the history of the three Sherley brothers; just compare that +history and this “Yorkshire Tragedy” play, and then +read the same story (Richard II. Act 2, scene 3).</p> +<blockquote><p style="text-align: center"><a +name="page32"></a><span class="pagenum">p. 32</span><span +class="smcap">King Richard II. Act 2, Scene</span> 3.</p> + +<p> “O, +then, my father,<br /> +Will you permit that I shall stand condemn’d,<br /> +A wand’ring vagabond; my rights and royalties<br /> +Pluck’d from my arms perforce, and given away<br /> +To upstart unthrifts? Wherefore was I born?</p> +<p style="text-align: center">* * * * *</p> +<p>I am deny’d to sue my livery here,<br /> +And yet my letters-patent give me leave:<br /> +My father’s goods are <i>all distrained</i> and sold;<br /> +And these, and <i>all</i>, are <i>all</i> amiss +employ’d.<br /> +What would you have me do? I am a subject<br /> +And challenge law: Attornies are deny’d me,<br /> +And therefore personally I lay my claim<br /> +To my inheritance of free descent.</p> +<p style="text-align: center"><span class="smcap">Act 3, Scene +1</span>.</p> +<p><i>Boling</i>. “Myself, a prince by fortune of my +birth;<br /> +Near to the king in blood; and near in love,<br /> +Till you did make him misinterpret me,<br /> +Have stoop’d my neck under your injuries,<br /> +And sigh’d my English breath in foreign clouds,<br /> +Eating the bitter bread of banishment:<br /> +Whilst you have fed upon my signories,<br /> +Dis<i>park’d</i> my parks, and fell’d my forest +woods;<br /> +From my own windows torn my household coat,<br /> +Raz’d out my <i>impress</i>, <a name="citation32"></a><a +href="#footnote32" class="citation">[32]</a> leaving me no +sign,<br /> +Save men’s opinions and my living blood,<br /> +To shew the world I am a gentleman.<br /> +This, and much more, much more than twice all this,<br /> +Condemns you to the death. See them deliver’d over<br +/> +To execution and the hand of death.”</p> +<p style="text-align: center"><span class="smcap">Act 1, Scene +3</span>.</p> +<p><i>Boling</i>. Your will be done: this must my comfort +be,<br /> +That sun, that warms you here, shall shine on me;<br /> +And those his golden beams, to you here lent,<br /> +Shall point on me, and gild my banishment.</p> +<p><i>North</i>. A dearer merit, not so deep a maim<br /> +<a name="page33"></a><span class="pagenum">p. 33</span>As to be +cast forth in the common air,<br /> +Have I deserved at your highness’ hand.<br /> +The language I have learn’d these forty years,<br /> +My native English, now I must forego, etc., etc.<br /> +What is my sentence then, but speechless death,<br /> +Which robs my native tongue from breathing native breath?</p> +</blockquote> +<p>Does not every thoughtful reader pause over it and say to +himself, why does he bring forward Busby and Green and rate them +and sentence them to death? What for? treason? rebellion? +murder? sedition? some rash crime? No; but for having +“disparked” his parks and pulled down “his +impress” (<i>only one</i>!), and his “household +coat,” and tells us what he would like to have done to his +enemies at Court if he had had the chance, as they had done when +they cut off his patron and his kinsman Essex’s head. +Now to return to the reason why he should have written a play to +unfold the reasons of his family decay. To Cecil from +Anthony Sherley, “The worst sort of the world have taken +advantage to lay upon <i>me</i> all sorts of defamation” +(p. 37), and again, and therefore to clear himself, he shows how +it came to pass, and that his father was not in his right senses +who incurred “this great debt” (p. 37, Sherley +Brothers). Elizabeth had actually +“<i>distrained</i>” upon his father’s goods, +had carried off even his blankets and sheets, chairs and arras +hangings, feather beds, and silver spoons, and left his mother +scanty and beggarly supply for her dowry house, not sufficient +for the necessities of everyday life. She had seized and +sold the vast lands and possessions of his ancestors. +(Stemmata Shirleana, Roxburgh Club, p. 251.) “A +description of the Manors sold, all save Wiston +dowry.” “In 1578 Sir T. Sherley served the +office of Sheriff for the counties of Surrey and Sussex. He +afterwards became Treasurer at War <a name="page34"></a><span +class="pagenum">p. 34</span>in the Low Countries, and having +fallen under the displeasure of Queen Elizabeth, and become +indebted to the Crown, his estates and personal effects, with the +exception of the Manor of Wiston, settled on his wife, were +seized.” See Lansdowne MSS. Goods seized at Wiston by +Sheriff, 1588. Here again I earnestly request comparison +with the story in the “Yorkshire Tragedy.” +Rowland Whyte, “he owed the Queen more than he was worth; +his own doings have undone him.”</p> +<blockquote><p style="text-align: center">SCENE +IV.—HUSBAND—YORKSHIRE TRAGEDY.</p> +<p>“What is there in three dice to make a man draw thrice +three thousand acres into the compass of a little round table, +and with the gentleman’s palsy in the hand shake out his +posterity thieves or beggars? ’Tis done; I have don +’t i’ faith; terrible, horrible misery!—How +well was I left! Very well, very well. My lands +show’d like a full moon about me; but now the moon’s +in the quarter—waning, waning; and I am mad to think that +moon was mine; mine and my father’s, and my +fore-fathers’; generations, generations.—Down goes +the house of us; down, down it sinks. Now is the name a +beggar’s; begs in me. That name, which hundreds of +years has made this shire famous in me and my posterity, runs +out.”</p> +</blockquote> +<p>To the Rt. Hon. Sir R. Cecil, Knight, from Anthony +Sherley:</p> +<blockquote><p style="text-align: right">“Arkangell, 1600, +June 10.</p> +<p>“Either the unfairness of the ways or messengers have +kept my letters from you. You have not vouchsafed me <i>one +only</i> answer . . . your honour knoweth the fortunes of my +house, and from how great expectations our sins or disasters +brought it both in estate and in disgrace . . . my purpose was to +satisfy the world <a name="page35"></a><span class="pagenum">p. +35</span>in myself that I was too worthy to have the decay of +myself laid on me.”—The Sherley Brothers, p. +28. S. P. O. From Sir R. Cecil, 1600. +“Her Majesty has increased her former displeasure towards +him so far in respect of this presumption as by no means she will +suffer him to come into the kingdome; but wholly rejected any +such offer” (p. 31).</p> +</blockquote> +<p>The truth is, Elizabeth had been stung in her sorest +point. Sherley the elder was paymaster to the forces in the +Low Countries, and his accounts were deficient. That was +never to be passed over. She, who exercised her ingenuity +and talents in cheese-paring, who, whilst waiting for the coming +of the Armada, spent her time in trying whether, if she gave her +sailors fish and oil instead of salt beef, it would not save her +a penny or two a day from each separate mess; who never would +victual her ships or refit them, or give them shot or powder more +than enough for the day. It was owing to the pluck of the +half-starved, half-victualled British sailor in non-repaired +ships, and in spite of every disadvantage, that the victory was +won; not with her help, not with her providence, but in spite of +it. Well was it expressed, “Her maddened grasp of +passionate avarice.” Give the devil his due, as we +say in the proverb, but don’t give one iota of credit to +that stingiest, and vainest of womenkind. Ray’s +Glossary of words—“Stingy, pinching, sordid, narrow +spirited.” Read all these quotations from +Shakespeare’s plays, and compare them line with line and +the lives of Sherley’s brothers, and conviction must +follow. I might just notice that Anthony Sherley’s +knowledge of the localities and people where most scenes of the +plays are fixed was unequalled. He told that which he had +seen; he spoke of what he knew. Whateley on Shakespeare, +“The characters which he has drawn are masterly copies from +nature.”</p> +<p><a name="page36"></a><span class="pagenum">p. 36</span>Now to +return to Sonnet 105, which has always been a stumbling block to +commentators, as it clearly was intended to explain some mystery +or enigma connected with the author of the plays. I have +never yet noticed any reasonably satisfactory explanation of this +Sonnet. Why even the person who wrote on the religion of +Shakespeare claims it as a sort of William Shakespeare’s +Athanasian creed, and meant to express a belief in the Trinity, +“three in one!” “<i>All’s +one</i>” I noticed may be met with often; but as for +“<i>one</i>,” it crops up everywhere. In a +single scene in a single page you may count in places six +“<i>ones</i>” (“Henry V.” passim), in +many cases “lugged” in where the sense and context +show it would be far better otherwise, and commentators take +trouble to emend it. This is the key to his broad hint +(Sonnet lxxvi.), “Why write I still all +‘<i>one</i>,’ ever the same . . . that every word +doth almost tell my name.” But, conjoined with his +impress “<i>one</i>,” there is also a play upon his +“armories,” the Sherley Trinity of virtues. I +find in Lansdowne MSS., No. 49, leaf 28, which I have verified, +“That armories were antiently introduced to distinguish +noble and illustrious families. The house of Shirley of +great estimation, ‘Noble light,’ ‘Gold,’ +it cannot be corrupted, or the value diminished by earth, water, +air, or fire. Gold and sunbeams signifies in virtues, +alluding to the Shirley family in particular, ‘Field of +gold,’ faith, charitie, wisdom, and fidelitie, and many +others, all of which their arms are the true +emblems.” There are several pages of this sort in +MSS. of British Museum relating to the Shirley family. May +not this be the Trinity of virtues mentioned in that puzzling +Sonnet 105, “Three themes in <i>one</i>”? <a +name="citation36"></a><a href="#footnote36" +class="citation">[36]</a></p> +<p><a name="page37"></a><span class="pagenum">p. 37</span>If +Anthony Sherley did not write the plays and sonnets, why does the +writer chronicle his every movement? (<i>passim.</i>) Why +does he give an exact account of his family history (Yorkshire +Tragedy), their ruin and his own banishment? Why again in +Richard II. Act ii. sc. 3, transforming it to himself in a +figure, give an account of their harsh treatment by +Elizabeth? Why does that same company act the Brothers +Sherley on the stage as well as the Yorkshire Tragedy (quarto W. +Shakespeare)? Why in all other plays but that alone are +there <i>stage</i> names, but in this play when acted (as he +wishes it not so to be), a Sherley had interest enough to get his +way? Why are all the scenes of the plays laid at places +where Anthony Sherley tarries?</p> +<p>Why does Kemp (with “good new plaies”), one of +this <i>same</i> company, go to meet him at places where he is +then known to be, “over the Alpes,” +“Venice,” “Emperor of Germany” (Nine +Daies’ Wonder).</p> +<p>Why is it that Shakesperians have been so sure that their +claimant must have had a classical education, that they have +searched the records of Oxford and find no entry? Why do I +find “Aula Cervina” Antonius Sherlye, +1579—<i>equitis aurati</i> fil. 14 ann. Hart Hall is +thus described by a contemporary, 1st Elizabeth: “By the +advantage of the most famous and learnedest of tutors he acquired +a knowledge not common of the Greek and Latin tongues, <a +name="page38"></a><span class="pagenum">p. 38</span>of +philosophy, of history, of politicks and other liberal +sciences.”—Would not Shakesperians have been +delighted if they could have this said of the tutors W. +Shakespere studied under!!</p> +<p>Why, as Clement’s Inn is mentioned, are they sure he +must have had a legal training, but can find no mention? +Why, when I go to the Library of the Inner Temple, do I find at +once the name and record I want, covering just the very date I +need for my theory? “1583, November, admitted Inner +Temple Sir Anthony Shirley, Wiston, Sussex, the second of the +celebrated brothers, died 1630.” Extract from +“Members admitted to the Inner Temple +1547–1660.” Why is it the writer is so familiar +with the ins and outs, and changes, and intricate governments, +and of Italian states and cities, and their laws and ways? +Why does he mention what puzzles so many commentators, viz. that +Bohemia had a sea-board? <a name="citation38"></a><a +href="#footnote38" class="citation">[38]</a> Why in +everyday talk does he bring in Venetian proverbs and ways of +speech. “Fico,” Heylin, p. 124, “When +they intend to scoff a man, are wont to put their thumb between +two of their fingers, saying, ‘Ecco le +Fico.’” This would answer to our “taking +a sight.” Must not the familiar use of this and +similar proverbs point to residence? “Basta,” +what a useful word one finds in it when dwelling in Italy. +“A Bergomask dance” (Midsummer Night’s +Dream). Who could know, unless resident, that the Venetians +looked down on them as coarse and vulgar? Notice also all +sorts of trifling incidents which prove the writer was a dweller +at Venice, and moved about among the Italian States. Why is +he always harping upon ancient families being ruined, and the +hardship of banishment? Why <a name="page39"></a><span +class="pagenum">p. 39</span>are all his provincialisms Sussex and +south country? “The many musits through which he +goes” (Venus and Adonis). “A hare wee found +musing on her meaze” (Return from Pernassus). Surrey +Provincialisms, G. Leveson Gower, “Meuse, a hole in the +hedge made by a fox, hare, or rabbit, alias a run.” +Musit occurs in Two Noble Kinsmen, III. i. 97. Halliwell +has muse and muset. “Maund, a basket” +(Ray’s South Country Glossary). Why does he so +accurately, in smallest details, describe the horrors of a +battle-field, the sacking of a town, the horrible scenes and +impossibility of keeping in hand the soldiers? How, if he +had not been present, could he have imagined the meeting in +conclave and settling over night the lines of to-morrow’s +battle? What did either Shakespere or Bacon know of that +phase of camp life, of battle in retreat and advance, the field +before and after, prisoners and their ransom, all true to the +letter, of one who had been with Philip Sidney and knighted on +the very field of battle in Brittany by the King of France, and +sent to the Fleet by Elizabeth’s jealousy because he was so +knighted?</p> +<blockquote><p>“Have I not heard in my time lions roar?<br +/> +Have I not heard the sea puffed up with winds<br /> +Rage like an angry boar, chafed with sweat?<br /> +Have I not heard great ordnance in the field,<br /> +And heavens artillery thunder in the skies?<br /> +Have I not in a pitched battle heard<br /> +Loud ’larums, neighing steeds, and trumpets +clang?”</p> +<p style="text-align: right">(Taming of the Shrew.)</p> +</blockquote> +<p>All this had Anthony Sherley heard and seen. Had +Bacon? Had John Bull’s Stratford pet? Then, as +for field sports, hunting in every form or fashion, he describes +as none but he and Jorrocks could. (R. S. Surtees, of +Hamsterley, I know, drew all his pictures from <a +name="page40"></a><span class="pagenum">p. 40</span>originals, +and that is why they hold their own.) The dying hare, +“Venus and Adonis,” was there ever anything more +touching? The same repeated, “As You Like It,” +Act II. i. the dying deer, and Jacques weeping over it.</p> +<p>Unless at home he had had an early introduction to stable and +kennel management, that sort of learning could not be acquired in +after-life; his love for his “crop-eared roan,” the +descriptions in so many places of his devotion to horses and +hounds, he knows them all by name. “Taming of the +Shrew,” scene 1, “Huntsman, tender well my +hounds;” see also Henry VI. scene 2. His description +of deer and deer hunts shows that he had watched their habits, +couchant and in chase. What a fund of similar knowledge is +there in the Return from Pernassus, <i>not</i> Parnassus, +distinguishing between the names at different seasons of their +life, and also the same of “Roa-bucke,” “rode +on a roan gelding,” “the buck broke gallantly,” +and then comes a similar touching description to that of the +death of the hare in the Sonnets, “the hounds seized upon +him, he groaned, and wept, and dyed, in good faith it made me +weep too.” The truth is, when you compare the words +and sentiments and expressions with those in Shakespeare’s +plays, <a name="citation40"></a><a href="#footnote40" +class="citation">[40]</a> you feel that one and the same writer +was author of them both. Recollect that the modern +Pernassus was in the neighbourhood of Bergamo, from whence Kemp +had just returned from his visit to Anthony Sherley (see An +Almond for a Parrot), and, as Heylyn tells us, +“Crema,” the inhabitants of, on the destruction +“of Parnassus, a town of Lombardy, where before they lived, +were permitted to build here.” Then it is evident +that whoever wrote these plays was a <a name="page41"></a><span +class="pagenum">p. 41</span>Romanist, he sneers at Churchmen and +Puritans alike, whilst with regard to Friars and Romanists, he +mostly speaks of them with respect. Well, in S. P. O. there +is a letter from one Phillipp employed by Cecil “to +intercept letters and spy out secrets,” dated Rome, 1601: +“He (Anthony Sherley) denyeth himself to have been a +Protestant ever since his first being at Venice, and here also he +hath used to frequent confession every seven or eight days, and +upon Easter Eve he did communicate here; upon Easter Day he dined +here in the English Colledge.”</p> +<p>This will account for the attack on Sir John Oldcastle, egged +on by his Jesuit friends, and his dropping the subject when he +found that the wave of public opinion ran high against him. +Last, but not least, we have a few landmarks of localities. +“Burton” and “Wincot” stand out in +eminence. Far and near have they been sought after by +Shakesperians, but from Dan to Beersheba it is all barren; they +locate poor Christopher Sly here, there, and everywhere, or else +declare there must be mis-spelling; as follows is what one of the +best and shrewdest of the commentators is driven to: Steevens: +“I suspect we should read Barton Heath. Barton and +Woodmancot, or as it is vulgarly pronounced, Woncot, are both of +them in Gloucestershire, near the residence of +Shakespeare’s old enemy Justice Shallow. Very +probably also this fat ale wife might be a real +character.” Dr. Samuel Ireland, 1795: “From the +similarity of the name and the consideration that no such place +as Barton Heath has been by any inquiry of mine discovered in the +neighbourhood, I am led to conceive that Barton Heath, which lies +in this county about 18 miles from Stratford, must have been the +spot to which Shakespeare refers. It is worth hazarding a +conjecture to have even a chance of tracing him in any one of his +haunts.” Well, I <a name="page42"></a><span +class="pagenum">p. 42</span>need not such subterfuges, but go +down to Stanford’s and buy an Ordnance Map of Sussex, and +find <i>both</i> places within an easy reach of Wiston. +Names thereabouts seem to be strangely contracted, +Wystoneston=Wiston, St. Botulph’s Bridge=Bootle Bridge, so +also Woodmancote and Edburton; but if that will not please for +Christopher Sly’s residence (when at home?), there is +<i>another Burton proper</i>, within a few miles of Wiston; +Woodmancote and Edburton are next parish to Wiston, aye, and +joining on “Nightingale” Hill, how fond he was of +them, he gives us even their notes; his father’s woods were +as full of them as his park of deer. There is no question, +it appears to me, I cannot answer, no puzzled point I cannot +explain, no stumbling-block to commentators I cannot take out of +their way. Why then not believe me? “All the +world against nothing,” Romeo, III. 5. Although I +have run a dark horse, he has run straight and true, and +distanced Bacon, whilst Shakespere has alike dropped out of both +betting and running. <a name="citation42"></a><a +href="#footnote42" class="citation">[42]</a> Shakesperians +have left their Dagon on the ground and hardly lift the feather +of a quill to raise him up. Their last resource in argument +is (fact) inspiration! in opposition ridicule! As to their +other candidate, that weakly youth never could have been +physically equal to have taken his share in youthful +sports. Campbell’s Life of Bacon: “Francis was +sickly and unable to join in the rough sports suited for boys of +robust constitution,” if so he could not have described +them so vividly and true; his poetry, such specimens as we have, +is hardly-third rate, his prose on stilts, his history +discredited. Preface to Bacon’s Essays, 1814: +“His History of Henry VII. is in these days only consulted +by a few.” <a name="page43"></a><span +class="pagenum">p. 43</span>Can this be said of his +contemporary’s Historical plays? Whilst I have known +those who have taken Bacon up and laid him down, I have hardly +ever known one who after he had put Shakepeare down with +reluctance, but longed for the time to take him up +again,—the one interested and enchanted, the other +bored. Never both the product of the same brain, or +writings of the same man. I have told my tale and run my +(paper) chase, and now leave it to my umpires, the British and +American readers, to decide whether, as Stratford has been pulled +up and Bacon distanced, I may not claim from every unprejudiced +mind that Sherley has been well ridden and won in a canter. +“De l’audace, de l’audace et encore de +l’audace!”</p> +<p style="text-align: right">THE AUTHOR,<br /> +<span class="smcap">Dinsdale-on-Tees</span>,<br /> +<span class="smcap">Darlington</span>.</p> +<p><i>August</i> 13<i>th</i>, 1888.</p> +<div class="gapspace"> </div> +<div class="gapshortline"> </div> +<p style="text-align: center"><span class="GutSmall">STEPHEN +AUSTIN AND SONS, PRINTERS, HERTFORD.</span></p> +<h2>Footnotes</h2> +<p><a name="footnote20"></a><a href="#citation20" +class="footnote">[20]</a> See Sonnets, 135, 136, 105.</p> +<p><a name="footnote32"></a><a href="#citation32" +class="footnote">[32]</a> Motto, “<i>only +one</i>.”</p> +<p><a name="footnote36"></a><a href="#citation36" +class="footnote">[36]</a> There is some meaning unknown in +the play everywhere on the word “<i>Will</i>,” also +on frequent mention of <i>Sun</i>, <i>Sunbeams</i>, etc. +See Malone, vol. i. p. 271. In an Eclogue made long since +on the death of Sir Philip Sidney (Davidson’s Poetical +Rhapsody, 1602), we find that celebrated writer lamented in +almost every stanza by the name of Willy! “Willy is +dead,” “of Willie’s pipe,” etc., etc., A. +Sherley’s friend and fellow in command at Zutphen = +Suid-fen = South fen, or it may be his brother-in-law, Lord +Southampton, to whom he dedicated his early works.</p> +<p><a name="footnote38"></a><a href="#citation38" +class="footnote">[38]</a> Freeman’s Geography of +Europe—“Ottokar King of Bohemia, the power of that +King for a moment reached the Baltic as well as the +Adriatic.”—Vol. i. p. 319. See also Peter +Heylin, 1682, Italy, p. 103.</p> +<p><a name="footnote40"></a><a href="#citation40" +class="footnote">[40]</a> Love’s Labour Lost, scene +2, names of deer given same as in Pernassus—death of the +deer.</p> +<p><a name="footnote42"></a><a href="#citation42" +class="footnote">[42]</a> See W. Howitt’s Visit to +Remarkable Places, 1840, p. 84.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK WILLIAM SHAKESPERE, OF +STRATFORD-ON-AVON***</p> +<pre> + + +***** This file should be named 39285-h.htm or 39285-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/9/2/8/39285 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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