Shakespeare's Lost Years in London, 1586-1592 Part 5

The person indicated as Roscius by Nashe in his Address to Greene's _Menaphon_ in 1589, and in Greene's _Never Too Late_ in 1590, was the leading actor of a new company that was then gaining great reputation, which, however, was largely due--according to Nashe--to the pre-eminent excellence of this Roscius' acting. The pride and conceit of this actor had risen to such a pitch, Nashe informs us in his _Anatomy of Absurdity_ (1589), that he had the "temerity to encounter with those on whose shoulders all arts do lean." This last is a plain reference to George Peele, whom he had recently described in his _Menaphon_ "Address"

as "The Atlas of Poetry." In the following year Greene refers to the same encounter in the first part of his _Never Too Late_. Pretending to describe theatrical conditions in Rome, he again attacks the London players and brings in Roscius--_who without doubt was Edward Alleyn_--as contending with Tully, who is Peele. "Among whom," he writes, "in the days of Tully, one Roscius grew to be of such exquisite perfection in his faculty that _he offered to contend with the orators of that time in gesture as they did in eloquence, boasting that he would express a pa.s.sion in as many sundry actions as Tully could discourse it in a variety of phrases_. Yet so proud he grew by the daily applause of the people that he looked for honour or reverence to be done him in the streets, which conceit when Tully entered into with a piercing insight, he quipped it in this manner:

"It chanced that Roscius and he met at dinner both guests unto Archias, the poet, when the proud comedian dared to make comparison with Tully.

Why Roscius art thou proud with aesop's crow, being prankt with the glory of others' feathers? Of thyself thou canst say nothing and if the cobbler hath taught thee to say _Ave Caesar_ disdain not thy tutor because thou pratest in a King's chamber. What sentence thou utterest on the stage flows from the censure of our wits, and what sentence or conceit the people applaud for excellence, that comes from the secrets of our knowledge. I grant your acting, though it be a kind of mechanical labour, yet well done, 'tis worthy of praise, but you worthless if for so small a toy you wax proud."

Here again Tully is Peele, and Greene is merely describing more fully the alleged encounter between Alleyn and Peele, mentioned by Nashe the year before in _The Anatomy of Absurdity_.

Though it has never been noticed before, in this connection, we possess in Edward Alleyn's own papers preserved at Dulwich College a remarkable confirmation of this emulation, which, however, Greene and Nashe distort to the prejudice of Alleyn, who, as shall be shown, was innocent in the affair. The whole thing arose from admirers of Alleyn's among the theatre-frequenting gentry offering wagers to friends who championed Peele in order to provide after-dinner entertainment for themselves, by putting the poet and the player on their mettle in "expressing a pa.s.sion"--the one in action and the other in phrases. Alleyn refused the contest "for fear of hurting Peele's credit," but gossip of the proposed wager got abroad and was distorted by the scholars, who affected to be insulted by the idea of one of their ilk contending with a player.

Failing to bring about this match, Alleyn's backers, not to be beaten, and in order, w.i.l.l.y-nilly, to make a wager on their champion, evidently tried to get Alleyn to display his powers before friends who professed to admire Bentley and Knell[22]--actors of a slightly earlier date, who were now either retired from the stage or dead. The following letter and poem were evidently written in 1589, as Nashe's reference to the "encounter," which is the first notice of it, was published in this year:

"Your answer the other nighte, so well pleased the Gentlemen, as I was satisfied therewith, though to the hazarde of ye wager; and yet my meaninge was not to prejudice Peele's credit; neither wolde it, though it pleased you so to excuse it, but beinge now growen farther into question, the partie affected to Bentley (scornynge to wynne the wager by your deniall), hath now given you libertie to make choice of any one playe, that either Bentley or Knell plaide, and least this advantage, agree not with your minde, he is contented, both the plaie, and the time, shall be referred to the gentlemen here present.

I see not, how you canne any waie hurte your credit by this action; for if you excell them, you will then be famous, if equall them; you wynne both the wager and credit, if short of them; we must and will saie Ned Allen still.--Your frend to his power,

W.P.

Deny me not sweete Nedd, the wager's downe, and twice as muche, commande of me and myne: And if you wynne I sweare the half is thyne; and for an overplus, an English Crowne.

Appoint the tyme, and stint it as you pleas, Your labor's gaine; and that will prove it ease."

(addressed) "To Edward Allen."

This letter to Edward Alleyn from his friend "W.P." is finely written in an English, and the verses in an Italian, hand. The words, "Ned Allen,"

"sweete Nedd," and "English Crowne" are in gilt letters.[23] The occasion and its instigation must have been of interest to Alleyn for him to have preserved the letter for so many years; his reason for doing so evidently being to enable him to refute Greene's published and widely circulated misconstruction of it. It is evident that both the letter and poem were written while Alleyn was still young, when he already had ardent admirers, and his reputation was growing but not generally admitted, and at about the time that Peele had commenced to write for his company. Alleyn was twenty-four years old in 1589, and already regarded by many as the best actor in London. George Peele, who had written for the Queen's company in the past, at about, or shortly after, this date, began to write for Strange's company. His _Edward I._, which was published in 1593, was undoubtedly written between 1589-91, when Shakespeare was still connected with Strange's men.

The "cobbler" who taught Roscius to say "Ave Caesar" was Christopher Marlowe, whose father was a shoemaker. Marlowe was the princ.i.p.al writer for Burbage at this period, and continued so until his death in 1593.

"Ave Caesar" and "a King's chamber" are references to the play of _Edward III._, which I shall demonstrate later was written by Marlowe, though revised by Shakespeare after Marlowe's death. It is the only known play of this period in which the expression "Ave Caesar" occurs.

In many of Greene's romances the central figure has been recognised as a more or less fanciful autobiographical sketch. In his last work, _A Groatsworth of Wit_, in the introduction to which he makes his well-known attack upon Shakespeare, the adventures of Roberto, the protagonist of the story, tally approximately with known circ.u.mstances of Greene's life. In the opening of the story, Roberto's marriage, his desertion of his wife, his attachment to another woman who deserts him when he falls into poverty, all coincide with the facts in his own career. From this we may infer that what follows has also a substratum of truth regarding a temporary connection of Greene with Alleyn's company as playwright, though it is evident that he describes Alleyn's theatrical conditions as they were between 1589 and 1592 and after Alleyn had acquired the theatrical properties of the old Admiral's company from Richard Jones, Robert Browne, and his brother, John Alleyn, in 1589. Greene's account of Roscius' own attempts at dramatic composition need not be taken very seriously, though it is not at all improbable that Alleyn, who was very ambitious, at some time tentatively essayed dramatic composition or revision. It was certainly a very inexperienced playwright, yet one who had some idea of the style of phrase that caught the ear of the ma.s.ses, who interpolated the tame and prosy lines of the old _Taming of a Shrew_ so freely with selections from Marlowe's most inflated grandiloquence, and one, also, who had access to Marlowe's ma.n.u.scripts. The plays from which these selections were taken were all Burbage properties in 1588-89, as was also _The Taming of a Shrew_. It was this kind of dramatic stage-carpenter work that left an opening for Nashe's strictures in 1589 in his _Menaphon_ "Address." Several of the later covert references to Alleyn as Roscius, by Greene and Nashe, indicate that he had tried his hand upon the composition and revision of dramatic work, in which he had the a.s.sistance of a "theological poet." While they undoubtedly refer to Shakespeare as one of the "idiot art-masters" they use the plural and include others in authority in Burbage's company.

Greene, representing himself as Roberto after his mistress had deserted him, describes himself as sitting under a hedge as an outcast and bemoaning his fate.

"On the other side of the hedge sat one that heard his sorrow, who, getting over, came ... and saluted Roberto.... 'If you vouchsafe such simple comfort as my ability will yield, a.s.sure yourself that I will endeavour to do the best that ... may procure your profit ... the rather, for that I suppose you are a scholar; and pity it is men of learning should live in lack.' Roberto ... uttered his present grief, beseeching his advice how he might be employed. 'Why, easily,' quoth he, 'and greatly to your benefit; for men of my profession get by scholars their whole living.' 'What is your profession?' said Roberto. 'Truly, sir,' said he, 'I am a player.' 'A player!' quoth Roberto; 'I took you rather for a gentleman of great living; for if by outward habit men should be censured, I tell you you would be taken for a substantial man.' 'So am I, where I dwell,' quoth the player, 'reputed able at my proper cost to build a windmill. What though the world once went hard with me, when I was fain to carry my fardel a foot-back? _Tempora mutantur_--I know you know the meaning of it better than I, but I thus construe it--_It is otherwise now_; for my very share in playing apparel will not be sold for two hundred pounds.' 'Truly,' said Roberto, 'it is strange that you should so prosper in that vain practice, for that it seems to me your voice is nothing gracious.' 'Nay, then,' said the player, 'I mislike your judgement; why, I am as famous for _Delphrygus_ and _The King of Fairies_ as ever was any of my time; _The Twelve Labours of Hercules_ have I thundered on the stage, and played three scenes of the Devil in _The Highway to Heaven_.' 'Have ye so?' said Roberto; 'then I pray you pardon me.' 'Nay, more,' quoth the player, 'I can serve to make a pretty speech, for I was a country author, pa.s.sing at a moral; for it was I that penned _The Moral of Man's Wit_, _The Dialogue of Dives_, and for seven years' s.p.a.ce was absolute interpreter of the puppets.

But now my almanac is out of date:

'"The people make no estimation Of morals, teaching education----"

Was this not pretty for a rhyme extempore? If ye will ye shall have more.' 'Nay, it is enough,' said Roberto; 'but how mean ye to use me?' 'Why, sir, in making plays,' said the other, 'for which you shall be well paid, if you will take the pains.' Roberto, perceiving no remedy, thought it best to respect his present necessity, (and,) to try his wit, went with him willingly; who lodged him at the town's end in a house of retail ... there by conversing with bad company, he grew _a malo in pegus_, falling from one vice to another.... But Roberto, now famoused for an arch-playmaking poet, his purse, like the sea, sometime swelled, anon, like the same sea, fell to a low ebb; yet seldom he wanted, his labours were so well esteemed. Marry this rule he kept, whatever he fingered beforehand, was the certain means to unbind a bargain; and being asked why he so slightly dealt with them that did him good, 'It becomes me,' saith he, 'to be contrary to the world. For commonly when vulgar men receive earnest, they do perform. When I am paid anything aforehand, I break my promise.'"

The player described here is the same person indicated by Nashe three years before in his _Menaphon_ "Address." Both are represented as being famous for their performance of _Delphrygus_ and _The King of the Fairies_, but the events narrated connecting Greene with Alleyn, and the opulent condition of the latter, refer to a more recent stage of Greene's and Alleyn's affairs than Nashe's reference. Both Nashe's and Greene's descriptions point to a company of players that between 1589-91 had won a leading place in London theatrical affairs; that performed at the Theatre; that played _Hamlet_, _The Taming of a Shrew_, _Edward III._, and _Fair Em_: the leader of which personally owned theatrical properties valued at two hundred pounds, and who was regarded by them as an actor of unusual ability. Seven years before 1592 this company performed mostly in the provinces, carrying their "fardels on their backs." It is very apparent then that it is Alleyn's old and new companies, the Worcester-Admiral-Strange development, to which the allusions refer.

While the "idiot art-masters" indicated by Nashe and Greene as those who chose, purchased, and reconstructed the plays used by Strange's company, included others beside Shakespeare in their satirical intention, this phase of their attacks upon the Theatre and its leading figures became centred upon Shakespeare as his importance in the conduct of its business increased, and his dramatic ability developed.

It is now generally agreed by critics that Shakespeare cannot have left Stratford for London before 1585, and probably not before 1586-87, and the likelihood has been shown that he then entered the service of James Burbage as a hired servant, or servitor, for a term of years. When Henslowe, in 1598, bound Richard Alleyn as a hired servant, he did so for a period of two years, which, we may judge, was then the customary term of such service. a.s.suming that Shakespeare bound himself to Burbage in 1586-87, his term of service would have expired in 1588-89. Though we possess no evidence that Shakespeare had produced any original plays at this time, the strictures of Nashe and Greene make it apparent that he had by then attained to the position of what might be called dramatic critic for the Burbage interests. In this capacity he helped to choose the plays purchased by his employers for the use of the companies in which they were interested.

Greene had come at odds with theatrical managers several years before Shakespeare could have attained to the position of reader for the Burbages. Even some of Greene's earlier reflections, however, seem to be directed against the management of the Sh.o.r.editch Theatre. In attacking theatrical managers he writes in, what he calls, "mystical speeches,"

and transfigures the persons he attacks under fict.i.tious characters and names. In his _Planetomachia_, published in 1585, he caricatures one actor-manager under the name of Valdracko, who is an actor in _Venus'

Tragedy_, one of the tales of the book. Valdracko is described as an old and experienced actor, "stricken in age, melancholick, ruling after the crabbed forwardness of his doting will, impartial, for he loved none but himself, politic because experienced, familiar with none except for his profit, skillful in dissembling, trusting no one, silent, covetous, counting all things honest that were profitable." This characterisation cannot possibly have referred to Shakespeare in the year 1585. When it is noticed, however, that nearly all of Greene's later attacks are directed against the Theatre and its fellows, it is probable that the stubborn, wilful, and aged James Burbage is also here scurrilously indicated. In writing of London and the actors in his "dark speeches,"

Greene refers to London as Rome and to the Sh.o.r.editch Theatre as the "theatre in Rome." In his _Penelope's Web_ he writes: "They which smiled at the theatre in Rome might as soon scoff at the rudeness of the scene as give a plaudite at the perfection of the acting." While it is Burbage's Theatre that is here referred to, it is evident that his quarrel was not now with the actors--whom both he and Nashe praise in their quality--but with the plays, their authors, and the theatrical managers who patronised them.

It is evident that Shakespeare had something to do with the acceptance by the Burbages of plays by Marlowe and Kyd, and that Greene believed his own lack of patronage by the companies playing at the Theatre was due to Shakespeare's adverse influence. Knowing Shakespeare to be _the son of a Stratford butcher, educated at a grammar school and recently a bonded servitor to Burbage_, this "Master of Arts in Cambridge"

questions the literary and dramatic judgment of the grammar school youth, and late serving-man, and employs his fellow university scholar, Thomas Nashe, to ridicule him and his critical pretensions.

Nashe returned to England in 1589, after a two years' absence upon the Continent, and cannot have acquired at first hand the knowledge he shows of dramatic affairs in London during the preceding year. It is evident that this knowledge was gained from Greene for that purpose. Mr. Fleay has demonstrated that Nashe, in his preface to Greene's _Menaphon_, alludes satirically to Thomas Kyd as the author of _The Taming of a Shrew_, and of the old _Hamlet_. Both of these plays were owned by Lord Strange's (now the Lord Chamberlain's) company in 1594, when, as I have suggested, they had recently taken them over from Pembroke's company, which was undoubtedly a Burbage company--using some of the Burbage properties and plays while under Shakespeare's management in 1591-94.

Being Burbage properties, these plays were acted by Lord Strange's company between 1589 and 1591. Besides satirically indicating these plays and their author, Nashe goes on to criticise the "idiot art-masters" who make choice of such plays for the actors. "This affectation of actors and audience," writes Nashe--meaning this suiting of plays to the crude taste of the actors and the cruder taste of the public--"is all traceable to their idiot art-masters that intrude themselves as the alchemists of eloquence, who (mounted on the stage of arrogance) think to outbrave better pens with the swelling bombast of bragging blank verse, indeed it may be the ingrafted overflow of some killcow conceit, etc. Among this kind of men that repose eternity in the mouth of a player I can but engross some _deep read school men or grammarians, who have no more learning in their skull than will serve to take up a commodity, nor art in their brains than was nourished in a serving man's idleness_, will take upon them to be ironical censurers of all when G.o.d and poetry doth know they are the simplest of all."

This attack of Nashe's upon Shakespeare was recognised by all of the scholastic clique, and certain of its phrases are re-echoed in later attacks upon him by other scholars for several years afterwards; in fact, Nashe's diatribe proved to be a cue for Shakespeare's future detractors. In the expression "killcow," Nashe alludes to Shakespeare's father's trade. A few years later--1594--Chapman refers to Shakespeare as "judgements butcher," and later still, in 1598, Florio in his dedication of the _Worlde of Wordes_, and, in 1600, Ben Jonson in _Every Man out of his Humour_, also refer satirically to the supposed fact that Shakespeare's father was a butcher. In 1593 Chapman, in attacking Shakespeare in the early _Histriomastix_, re-echoes the term "idiot art-master." The phrase "ingrafted overflow of a killcow conceit" refers to Shakespeare's additions to, or revisions of, plays owned by his company that were originally written by such scholars as Greene. "Deep read school men or grammarians" is a reference to Shakespeare's grammar school education. "No more learning than will serve to take up a commodity" refers to Shakespeare's business management of Burbage's affairs, and "a serving man's idleness" to his recently ended term of service with Burbage in that capacity.

It shall be shown that in later years when Chapman, Roydon, Florio, Marston, and Jonson attacked Shakespeare in published or acted plays that he invariably answers them in kind. We have only inferential evidence that he answered Greene's and Nashe's reflections at this time by writing a ballad against them. Ralph Sidley, in verses prefixed to Greene's _Never Too Late_, published in the following year (1590), defends Greene from the attack of a ballad or jig maker, whom he calls a clown.

"The more it works, the quicker is the wit; The more it writes, the better to be 'steemed.

By labour ought men's wills and wits be deem'd, Though dreaming dunces do inveigh against it.

But write thou on, though Momus sit and frown; A Carter's jig is fittest for a clown.

_Bonum quo communius eo melius._"

At the end of Greene's _Never Too Late_ in the host's tale a ballad maker and player is attacked under the name of Mullidor; he is described as follows: "He is said to be a fellow that was of honest parents, but very poor: and his person was as if he had been cast in aesop's mould; his back like a lute, and his face like Thersites', his eyes broad and tawny, his hair harsh and curled like a horse-mane, his lips were of the largest size in folio.... The only good part that he had to grace his visage was his nose, and that was conqueror-like, as beaked as an eagle.... Into his great head (Nature) put little wit, that he knew rather his sheep by the number, for he was never no good arithmetician, and yet he was a proper scholar, and well seen in ditties."

When we discount the caricature and spiteful animus of this description it closely matches the presentments of Shakespeare given by the most authoritative portraits which have come down to us. His parents, as we know, were undoubtedly poor, otherwise he would not have been in London as a servitor to Burbage. His eyes are invariably shown as hazel in colour and widely set apart; his hair heavy, curled, and falling to his shoulders; his lips very full, his nose large and "beaked," and his brow, or "great head," of unusual height and breadth. It is apparent, then, that this is a spiteful and distorted, but recognisable, description of Shakespeare, who, I infer from many indications in his opponents' plays, wore his hair in a peculiar manner, was not very tall, and was also somewhat thin-legged. The Chandos portrait which shows his shoulders, suggests that they were slightly sloping and somewhat round rather than square. On the whole, a physical type not calculated to inspire fear in a bully. Greene, on the other hand, is described by Chettle as a handsome-faced and well-proportioned man, and we may judge of a rather swash-buckling deportment.

Robert Greene died in September 1592. Shortly afterwards Henry Chettle published Greene's _Groatsworth of Wit_, which was his last literary effort, and appended a farewell letter of Greene's addressed "To those gentlemen, his quandam acquaintances, that spend their time in making plays, R.G. wisheth a better exercise and wisdom to prevent his extremities." In this epistle, addressing Marlowe, Nashe, and Peele, as well as two others at whose ident.i.ty we can only guess, he says:

"If wofull experience may move you, gentlemen, to beware, or unheard-of wretchedness intreat you to take heed, I doubt not but you will look backe with sorrow on your time past, and endevour with repentance to spend that which is to come. Wonder not (for with thee will I first beginne), thou famous gracer of tragedians, that Greene, who hath said with thee, like the foole in his heart, 'There is no G.o.d,' should now give glorie unto his greatnesse; for penetrating is his power, his hand lyes heavy upon me, he hath spoken unto me with a voyce of thunder, and I have felt he is a G.o.d that can punish enemies. Why should thy excellent wit, his gift, be so blinded that thou shouldest give no glory to the giver? Is it pestilent Machivilian policie that thou hast studied? O peevish follie! what are his rules but meere confused mockeries, able to extirpate in small time the generation of mankinde? for if _sic volo, sic iubeo_, holde in those that are able to command, and if it be lawfull _fas et nefas_, to doo any thing that is beneficiall, onely tyrants should possesse the earth, and they, striving to exceed in tiranny, should each to other be a slaughterman, till, the mightyest outliving all, one stroke were left for Death, that in one age mans life should end.... With thee I joyne young Juvenall, that byting satyrist, that lastly with mee together writ a comedie. Sweet boy, might I advise thee, be advised, and get not many enemies by bitter words; inveigh against vaine men, for thou canst doo it, no man better, no man so well; thou hast a libertie to reproove all and name none; for one being spoken to, all are offended--none being blamed, no man is injured. Stop shallow water still running, it will rage; tread on a worme, and it will turne; then blame not schollers who are vexed with sharpe and bitter lines, if they reproove thy too much liberty of reproofe.

"And thou no lesse deserving then the other two, in some things rarer, in nothing inferiour, driven, as myselfe, to extreame shifts, a little have I to say to thee; and, were it not an idolatrous oath, I would sweare by sweet S. George, thou art unworthy better hap, sith thou dependest on so mean a stay. Base-minded men all three of you, if by my misery yee bee not warned; for unto none of you, like me, sought those burs to cleave; those puppits, I meane, that speake from our mouths, those anticks garnisht in our colours. Is it not strange that I to whom they have been beholding, is it not like that you to whom they all have been beholding, shall, were yee in that case that I am now, be both of them at once forsaken? Yes, trust them not; for there is an upstart crow beautified with our feathers, that, with his _Tygres heart wrapt in a players hyde_, supposes hee is as well able to bombast out a blanke-verse as the best of you; and, beeing an absolute Johannes-fac-totum, is in his owne conceit the onely Shake-scene in a countrey. Oh, that I might intreat your rare wittes to bee imployed in more profitable courses, and let these apes imitate your past excellence, and never more acquaynte them with your admyred inventions! I knowe the best husband of you all will never proove an usurer, and the kindest of them all will never proove a kinde nurse; yet, whilst you may, seeke you better maisters; for it is pitty men of such rare wits should bee subject to the pleasures of such rude groomes.

"In this I might insert two more[24] that both have writte against these buckram gentlemen; but let their owne worke serve to witnesse against their owne wickednesse, if they persever to maintaine any more such peasants. For other new comers, I leave them to the mercie of those painted monsters, who, I doubt not, will drive the best-minded to despise them; for the rest, it skills not though they make a jeast at them...."

It is now accepted by critics that these allusions of Greene's were directed against Shakespeare, and that the line "Tygres heart wrapt in a players hyde" refers to Shakespeare's revision of _The True Tragedy of Richard, Duke of York_, a play in the original composition of which Greene evidently had some hand. It has not before been suggested, however, that this play was performed by the Earl of Pembroke's company, under Shakespeare's management, in 1592. It was evidently the publicity given Marlowe's and Shakespeare's revision by the stage revival of the play by Pembroke's company at this time that called forth Greene's attack. This brings us to the end of the year 1592 in outlining chronologically the evidences of the antagonism of the scholars to Shakespeare.

In June 1593 George Peele shows animus against Shakespeare by echoing Greene's phrases in the introduction to _The Honour of the Garter_. In these verses, in complimenting several n.o.blemen and "gentlemen poets,"

such as Sidney, Spenser, Harrington, Fraunce, Campion, and others, he refers also to

"ordinary grooms, With trivial humours to pastime the world, That favour Pan and Phoebus both alike."

This appears to be a reflection of Greene's "rude groomes" of the previous September and a reference to Shakespeare's theatrical work and his _Venus and Adonis_, which, though only recently published, had no doubt been read in MS. form for some time before.

I shall now proceed to show that at the end of 1593, after Lord Pembroke's company had returned from their unprofitable provincial tour when they were compelled to "p.a.w.n their apparel for their charges,"

George Chapman wrote a play satirising Shakespeare and the disastrous fortunes of this company. This play was revised by Marston and Chapman in 1599, under the t.i.tle of _Histriomastix, or The Player Whipt_, as a counter-attack upon Shakespeare in order to revenge the satire which he, in conjunction with Dekker and Chettle, directed against Chapman and Marston in _Troilus and Cressida_, and in a play reconstructed from _Troilus and Cressida_ by Dekker and Chettle, called _Agamemnon_, in 1598-99. This latter phase of the matter shall be dealt with when I come to a consideration of the literary warfare of the later period.

It has never before been suggested that George Chapman had any hand in the composition of _Histriomastix_, though Mr. Richard Simpson shows clearly that it was an old play roughly revised in the form in which it was acted in 1599. Mr. Simpson suggests that it might have been written by Peele, in its original form, owing to certain verbal resemblances between portions of it and Peele's dedication to his _Honour of the Garter_. He dates its original composition in about 1590, but in doing so had evidently forgotten that he had already written: "The early Chrisoga.n.u.s (of this play) seems to be of the time when the Earl of Northumberland, Raleigh, and Harriot strove to set up an Academy in London, and the spirit of the play, and even its expressions, were quite in unison with Peele's dedication of his _Honour of the Garter_,1593."

All literary and historical references to the academical efforts of the Earl of Northumberland, Harriot, and others point to the years 1591-93 as the time in which this attempt to establish an Academy was made.

Chapman in his dedication of _The Shadow of Night_ to Roydon, in 1594, refers to the movement as then of comparatively recent date. "But I stay this spleen when I remember, my good Matthew, how joyfully oftentimes you reported unto me that most ingenious Derby, deep-searching Northumberland, and skill-embracing Earl of Hunsdon had most profitably entertained learning in themselves to the vital warmth of freezing Science," etc. Peele's allusions to the movement in his dedication to the _Honour of the Garter_, which is dated 26th June 1593, are as follows:

"Renowned Lord, Northumberland's fair flower, The Muses' love, patron and favourite, That artisans and scholars dost embrace.

And clothest Mathesis in rich ornaments, That admirable mathematic skill, Familiar with the stars and Zodiac, To whom the heaven lies open as her book; By whose directions undeceivable, Leaving our Schoolmen's vulgar trodden paths, And following the ancient reverent steps Of Trismegistus and Pythagoras, Through uncouth ways and unaccessible, Doth pa.s.s into the pleasant s.p.a.cious fields Of divine science and philosophy," etc.

Shakespeare evidently reflects knowledge of this academical attempt and pokes fun at the scholars in his reference to "a little academie" in _Love's Labour's Lost_:

"Navarre shall be the wonder of the world Our Court shall be a little academie Still and contemplative in living art."