SHAKESPEARE AS AN ACTOR
Nearly a quarter of a century of Shakespeare’s life was passed in
the theatrical world. Under these circumstances we should naturally
expect to find scattered through his works many allusions in connexion
with the stage. On this point we shall not be disappointed; with
the exception of “Titus Andronicus,” which many critics discredit
the Shakesperean authorship, every play contains references to the
contemporary stage.
By carefully reading through all the plays of Shakespeare, and assisted
materially by Bartlett’s concordance, I have extracted all such
allusions and have appended notes, which I hope will be found useful
and instructive.
Shakespeare played many parts in connexion with the theatre, one of
the most important being that of an actor; chiefly in that capacity he
acquired a great advantage over his fellow dramatists. By adopting this
career, he gained a thorough knowledge of stage-craft in all its minute
ramifications, which in a great measure assisted him most materially in
his vocation as a practical playwright: and his rapid and marvellous
progress as a dramatist must in some degree be due to his having
studied the requirements of the stage in all its branches.
Molière, the great French dramatist, who wrote in the middle of the
seventeenth century, is another instance of a successful dramatist,
being also an actor.
When we enquire how far Shakespeare succeeded in his profession, or
with what parts his name is associated, we are again baffled, and that
mystery which enshrouds the entire life of this mighty genius again
defies us. The First Folio of Shakespeare’s works was published in the
year 1623. In one of the preliminary pages is a list of actors’ names
who took part in the several plays; at the head of this list is the
name of Shakespeare, but this by no means qualifies him as ranking
first in the order of merit. Richard Burbage, whose name stands second,
was the greatest actor of his time, and in this capacity is highly
praised by his contemporaries, whereas the name of Shakespeare is
rarely mentioned as an actor. There is a tradition that he acted the
part of Adam in “As You Like It,” which the following passage, written
by Oldys about the year 1650, corroborates. This author wrote many
notes on the life of Shakespeare, which were used by Reed, an editor of
Shakespeare’s works:
“One of Shakespeare’s younger brothers, who lived to a good old age,
even some years as I compute, after the Restoration of Charles the
Second, would in his younger days come to London to visit his brother
Will, as he called him, and be a spectator of him as an actor in some
of his own plays. This custom, as his brother’s fame enlarged, and his
dramatic entertainments grew the greatest support of our principal,
if not of all our theatres, he continued, it seems, so long after his
brother’s death, as even to the latter end of his own life. But when
questioned, it seems he was so stricken in years and infirmities, which
might make him the easier pass for a man of weak intellect, that he
could but give them very little light into their enquiries; and all
that he recollected of his brother Will in that station was the faint,
general and almost lost ideas he had of having once seen him act a part
in one of his own comedies, wherein, having to personate a decrepit old
man, he wore a long beard, and appeared so weak and drooping and unable
to walk that he was forced to be supported and carried by another
person to a table, at which he was seated among some company, who were
eating, and one of them giving a song.”
Another well known tradition is that Shakespeare played the part of
the Ghost in his own play _Hamlet_. Rowe, the first real editor of
Shakespeare, mentions this almost as a fact; he further adds that this
part was the top of his performance, although he gives no authority for
either statement. John Davies, poet and epigrammatist, in a few lines,
circa 1611, addressed “To our English Terence Mr. Will Shakespeare,”
mentions that he enacted Kingly parts, but gives no further
particulars. The same writer had previously alluded to Shakespeare as
a player in a work entitled, “Microcosmus,” dated 1603. Sir Richard
Baker, in his chronicle history of the reign of Queen Elizabeth,
published in 1643, mentions Shakespeare in the double capacity of poet
and player. As the reference is rather interesting, I append it in full:
“Men of Note in her times (Elizabeth) (Statesmen, Writers and
Divines). After such men it might be thought ridiculous to speak of
stage-players, but seeing excellence in the meanest things desires
remembering, as Roscius, the Comedian, is recorded in History with such
commendation, it may be allowed us to do the same, with some of our
Nation. Richard Burbage and Edward Allen, two such actors as no age
must ever look to see the like, and to make their comedies complete,
Richard Tarleton, who for the Part called the Clown’s Part never had
his match, never will have. For writers of Plays, and such as had
been players themselves, William Shakespeare and Benjamin Jonson have
specially left their names recommended to posterity.”
In the last passage I presume the writer praises these two authors in
their capacity as men of letters rather than players. This author again
refers to Shakespeare but only as a poet.
A curious reference to Shakespeare as an actor will be found in a
tract entitled, “Ratseis’ Ghost,” published anonymously circa 1605.
Only one copy of this pamphlet is extant, which was formerly in the
Library of the Earl Spencer, known as the Althorp Library. Ratseis
was a highwayman who, after paying certain actors to play before him,
overtook and robbed them, and as an act of consolation for their loss,
gave the chief actor the following piece of advice:
“Get thee to London, for if one man were dead, they will have much
need as such a one as thou art. There would be none in my opinion
fitter than thyself to play his parts; my conceipt of such of thee
that I durst venture of all my money in my purse on thy head to
play ‘Hamlet’ with him for a wager. There thou shalt learn to be
frugal, for Players were never so thrifty as they are now about
London, and to feed upon all men, to let none feed upon thee, to
make thy hand a stranger to thy pocket, thy heart slow to perform
thy tongue’s promise, and when thou feelest thy purse well lined,
buy thee some place or Lordship in the Country that, growing weary
of playing, thy money may bring thee to dignity and reputation.
Sir, I thank you, quoth the player for thy counsell, I promise you
I will make use of it, for I have heard indeed of some that have
gone to London very meanly and have come in time to be exceedingly
wealthy.”
The only two well known actors in these times who had acquired fortunes
and invested their money in landed estates in the country were Edward
Alleyn and William Shakespeare. As the former was born in London,
his birth being recorded in the parish register of St. Botolph’s,
Bishopsgate, he could not have been the poor player who hailed from
the country, so we can take it as reasonably proved the writer is
referring to Shakespeare, who was born in Stratford-on-Avon. There is
abundant proof that Shakespeare acted in at least two of Ben Jonson’s
plays, namely, “Every man in his Humour” and “Sejanus.” The former was
produced in 1598, the printed edition first appearing in 1600; prefixed
to the play is a list of Actors, in which the name of Shakespeare
stands first. “Sejanus” was acted in 1603, the play being printed
two years later, in 1605. A list of actors’ names, prefixed to this
edition, is arranged in two columns; Burbage’s name heads the first
column, Shakespeare’s the second. The individual parts assumed by the
actors are not given.
James Wright, in a rare little tract entitled, “Historica Histrionica,”
1699, encourages the view that Shakespeare, at his best, was but a
mediocre actor in a “Dialogue of Plays and Players.”
Lovewit (one of the characters in the Dialogue):
“Pray, Sir, what Master Parts can you remember the old Blackfriars
men to Act, in Jonson, Shakespeare and Fletcher’s plays?”
Truman (another character in the Dialogue):
“What I can at present recollect I’ll tell you. Shakespeare, who,
as I have heard, was a much better poet than player. Burbage,
Hemmings and others of the old sort were dead before I knew the
town.”
An early reference to Shakespeare as an actor is to be found in a
volume of poetry, entitled, “Willobie His Avisa, or The true Picture of
a modest maid and of a chast and constant wife.”
Imprinted at London by
John Windet.
1594.
The poem in which the reference occurs is in the form of a dialogue
between H. W. and W. S. The first initials probably stand for Henry
Wriothesley, Earl of Southampton, to whom Shakespeare dedicated his two
poems of “Venus and Adonis” and “Lucrece”; the W. S. plainly indicates
William Shakespeare. The 44th canto opens with a preface, in which H.
W. is infected with a passion for Avisa: not being able to endure the
secret of his fervent desire, he confides his wish to W. S., who had
likewise “tried the curtesie of the like passion.” Thus this miserable
comforter comforting his friend with an impossibility, either that he
would now secretly laugh at his friend’s folly that had given occasion
not long before unto others to laugh at his own, or because he would
see whether another could play his part better than himself, and, in
viewing afar off the course of this loving comedy, he determined to see
whether it would sort to a happier end for this new actor than it did
for the old player. But at length this Comedy had like to have grown a
Tragedy by the weak and feeble estate that H. W. was brought unto.
In some verses attached to this poem is one
In praise of Willobie his Avisa
Hexametron to the Author.
In the second verse--there are six--is found recorded one of the
earliest allusions to Shakespeare:
“Though Collatine have deerly bought
To high renowne a lasting life,
And found that most in vaine have sought
To have a Faire and Constant wife,
Yet Tarquine pluckt his glistering grape
And Shake-speare, paints poore Lucrece rape.”
The above lines certainly strengthen the theory that the initials W. S.
stand for a real actor. The reader will also notice the words Actor,
Player, Comedy and Tragedy, all of which help to identify the person
designated.
[Illustration:
GREENES,
GROATS-VVORTH
of witte, bought with a
million of Repentance.
Describing the follie of youth, the falshood of makeshifte
flatterers, the miserie of the negligent,
and mischiefes of deceiuing
Courtezans.
Written before his death and published at his dyeing request.
Fælicem fuiße infaustum.
[Illustration]
LONDON
Imprinted for William Wright.
1592.
]
[Illustration:
Greenes
~Sweet boy, might I aduise thee, be aduisde, and get not many enemies
by bitter wordes: inueigh against vaine men, for thou canst do it, no
man better, no man so well: thou hast a libertie to reprooue all, and
name none; for one being spoken to, all are offended; none being blamed
no man is iniured. Stop shallow water still running, it will rage, or
tread on a worme and it will turne: then blame not Schollers vexed with
sharpe lines, if they reproue thy too much liberty of reproofe.~
~And thou no lesse deseruing than the other two, in some things rarer,
in nothing inferiour; driuen (as my selfe) to extreme shifts, a litle
haue I to say to thee: and were it not an idolatrous oth, I would
sweare by sweet S. George, thou art vnworthy better hap, sith thou
dependest on so meane a stay. Base minded men all three of you, if by
my miserie you be not warnd: for vnto none of you (like mee) sought
those burres to cleaue: those Puppets (I meane) that spake from our
mouths, those Anticks garnisht in our colours. Is it not strange, that
I, to whom they all haue beene beholding: is it not like that you, to
whome they all haue beene beholding, shall (were yee in that case as I
am now) bee both at once of them forsaken: Destrust them not: for there
is an vpstart Crow, beautified with our feathers, that with his~ Tygers
hart wrapt in a Players hyde, ~supposes he is as well able to bombast
out a blanke verse as the best of you: and beeing an absolute ~Iohannes
fac totum, ~is in his owne conceit the onely Shake-scene in a countrey.
O that I might intreat your rare wits to be imploied in more profitable
courses: & let those Apes imitate your past excellence, and neuer more
acquaint them with your admired inuentions. I knowe the best husband of
you]
The first literary notice of Shakespeare is to be read in a pamphlet
styled “Greene’s Groats-worth of Wit.” Greene died in September,
1592, and his book was issued in the same year. The first edition of
Greene’s pamphlet remained unknown for many generations, and was only
discovered during the last few years, and is now safely deposited in
the British Museum. To the best of my belief the accompanying facsimile
is published for the first time. Chettle refers to Shakespeare in his
introductory letter to “Kind Harts Dream,” styled “To the Gentlemen
Readers.” Chettle Greene’s friend, in a tract, entitled, “Kind Harts
Dream,” entered at Stationers’ Hall, 8th December, 1592, published
shortly afterwards by W. Wright without date. Greene’s pamphlet was
registered on September 20th, 1592.
A copy of this book in the Huth collection, dated 1596, when sold
fetched £200. The 1617 edition sold for £25 and the 1637 edition for
£17. All three editions came from the same library. The full title of
the 1596 edition is as follows:
“Greene’s Groats-worth of Wit, bought With a Million of Repentance.
Describing the follie of Youth, the falshoode of makeshift flatterers,
the miserie of the negligent and mischiefes of deceiving Courtesans.
Written before (_sic_) his death, and published at his dying request.”
“Printed by Thomas Creede for Richard Olive, dwelling in long-long
(_sic_) Lane, and are there to be solde, 1596.”
“Black letter, cut on title (last leaf backed and 3 pages scribbled on
margins of 2.U. slightly mended, otherwise good, blind stamp russia
A-F.2 in fours).”
The above is a description of the Huth copy. The only other copy of
this edition on record was Archdeacon Wrangham’s, which wanted nearly
a leaf. The present copy is from the libraries of Joly and Corser:
“To those Gentlemen his quondam acquaintance that spend their wits in
making Plaies R. G. wisheth a better exercise and wisdome to prevent
his extremities. If woeful experience may move you Gentlemen to beware,
or unheard-of wretchedness entreat you to take heed, I doubt not but
you will looke backe with sorrow on your time past, and endeavour with
repentance to spend that which is to come. Wonder not for with thee
will I first begin, thou famous gracer of Tragedians, that Greene, who
hath said with thee like the fool in his heart, ‘There is no God,’
should now give glory unto his greatness, for penetrating in his
power his hand is heavy upon me, he hath spoken to me with a voice
of thunder, and I have felt he is a God that can punish enemies. Why
should thy excellent wit, his gift be so blinded that thou shouldst
give no glory to the giver? Is it pestilent Machiavellian folly that
thou hast studied? With thee I join young Juvenal that biting satirist
that lastly with me writ a comedy. Sweet boy might I advise thee, be
advised and get not many enemies by bitter words. Tread on a worm and
it will turn, then blame not scholars vexed with sharp lines if they
reprove thy too much liberty of reproof. And thou no less deserving
than the other two in some things rarer in nothing inferior, driven
as myself to extreme shifts a little have I to say to thee, and were
it not an idolatrous oath I would swear by Sweet S. George thou art
unworthy better hap, seth thou dependest on so meane a stay.
“Base minded men all three of you fly, my misery ye be not warned;
for unto none of you like me sought these burns to cleave: these
Puppets I meane that speak from our mouths these Anticks garnished
in our colours. Is it not strange that I, to whom they all have
been beholding, is it not like that you, to whom they all have been
beholding, shall were ye in that case that I am now be both at once of
them forsaken?
“Yes, trust them not, for there is an upstart crow, beautiful with
our feathers, that with his Tiger’s heart wrapped in a player’s hide
supposes he is as well able to bumbast out blank verse as the best of
you: And being an absolute Johannes factotum is in his own conceit the
only Shake-scene in a country.”
The three writers who spend their time in making plays are Marlowe,
Nash, and George Peele. There can be no question about Marlowe: he
was an avowed atheist, and the foremost dramatist of his time; he was
killed in a tavern brawl in a quarrel over some woman down Deptford way
in 1593.
Young Juvenal is doubtful, but in all probability it applies to
Thomas Nash, the greatest satirist of his time. When Greene writes in
connexion with young Juvenal, “blame not scholars,” he must surely
refer to the long outstanding quarrel between Nash and Gabriel Harvey,
one of the foremost scholars of his age. The acrimonious literary duel
lasted many years, and was carried on in a most vicious and unseemly
manner, personalities of every description being brought in on both
sides. The quarrel lasted long after Greene’s death.
The third person alluded to is George Peele, the Sweet S. George making
the personality obvious. Greene is especially angry with Shakespeare;
this tirade arising chiefly from jealousy. It is generally agreed that
Shakespeare revised the three parts of “Henry the Sixth” from earlier
plays, in which Greene had a great share.
[Illustration:
KIND-HARTS
DREAME.
Conteining fiue Apparitions, vvith their
Inuectiues against abuses raigning.
_Deliuered by seuerall Ghosts vnto him to
be publisht, after ~Piers Penilesse~ Post
had refused the carriage._
_Inuita Inuidiæ._
by H. C.
[Illustration: IL VOSTRO MALIGNARE NON GIOVA NVLLA]
Imprinted at London for William Wright.
]
Shakespeare’s adaptation or revisal of this play was a great success,
and this must have incensed Greene, who was of a jealous nature to a
state of livid envy. The line “that with his Tiger’s heart wrapt in a
Player’s hide,” is a parody of a line from “The True Tragedy,” also in
“Henry VI., I., IV. 137.”
“O tiger’s heart wrapped in a woman’s hide.”
The history of these plays, the three parts of “Henry VI,” all appeared
in the First Folio. The first part of the “Contention betwixt the Two
Famous Houses of York and Lancaster” forms the second part of “Henry
VI.” “The True Tragedy,” another play, is the origin of the third part.
The first part is only known in the Folio version. These plays remain
one of the great unsolved puzzles of Shakesperean criticism.
There is no early foundation play of the first part although no doubt
one did exist.
Of course, in this attack Greene’s spite against Shakespeare was as a
writer of plays, although the context rather points out that he took
exception against him as an actor; if that were so, the paragraph would
be pointless. No doubt Greene refers to Shakespeare as an actor, but
that is not his grievance; ‘supposes he is as well able to bumbast out
blank verse’ means that he can wield an able pen and beat them at their
own game and not only speak their lines. Greene meant to give a double
thrust at Shakespeare, but his antagonist came through the ordeal quite
scathless.
When Henry Chettle published Greene’s _Groats-worth of Wit_, he wrote a
preface containing the following passage:
“About three months since died Robert Greene, leaving many papers in
sundry booksellers’ hands; among others, his _Groats-worth of Wit_, in
which a letter written to diverse play-makers is offensively by one or
two of them taken, and because on the dead they cannot be avenged,
they wilfully forge in their concertes a living author, and after
tossing it to and fro, no remedy, but it must light on me. How I have
all the time of my conversing in printing hindered the better inveying
against scholars, it has been very well known, and how in that I dealt,
I can sufficiently prove. With neither of them that take offence was I
acquainted, and with one of them I care not if I never be. The other,
whom at that time I did not so much spare as since I wish I had, for
that as I have moderated the heat of living writers and might have used
my own discretion, especially in such a case the Author being dead that
I did not, I am as sorry as if the original fault had been my fault,
because myself have seen his demeanour no less civil, than be excellent
in the quality he professes. Besides divers of worship have reported
his uprightness of dealing which argues his honesty, and his facetious
grace in writing that approves his art.”
This passage clearly demonstrates that both Marlowe and Shakespeare
had complained to Chettle, considering the paragraph a libel. Of
Marlowe’s complaint he takes no notice, but writes an ample apology to
Shakespeare, at the same time praising him in his dual capacity as an
actor and playwright.
To the Gentlemen Readers.
_the other, he that offendes being forst, is more excusable than the
wilfull faultie, though both be guilty, there is difference in the
guilt. To obserue custome, and auoid as I may cauill, opposing your
fauors against my feare, ~I~le shew reason for my present writing, and
after proceed to sue for pardon. About three moneths since died M.
~Robert Greene~, leauing many papers in sundry Booke sellers hands,
among other his Groats-worth of wit, in which a letter written to
diuers play-makers, is offensiuely by one or two of them taken, and
because on the dead they cannot be auenged, they wilfully forge in
their conceites a liuing Author: and after tossing it two and fro,
no remedy, but it must light on me. How I haue all the time of my
conuersing in printing hindred the bitter inueying against schollers,
it hath been very well knowne, and how in that ~I~ dealt I can
sufficiently prooue. With neither of them that take offence was I
acquainted, and with one of them ~I~ care not if ~I~ neuer be: The
other, whome at that time I did not so much spare, as since I wish
I had, for that as ~I~ haue moderated the heate of liuing writers,
and might haue vsde my owne discretion (especially in such a case)
the Author beeing dead, that ~I~ did not, ~I~ am as sory, as if the
originall fault had beene my fault, because my selfe haue seene his
demeanor no lesse ciuill than he exelent in the qualitie he professes:
Besides, diuers of worship haue reported, his vprightnes of dealing,
which argues his honesty, and his facetious grace in writting, that
aprooues his Art. For the first, whose learning I reuerence, and at
the perusing of ~Greenes~ Booke, stroke out what then in conscience
I thought he in some displeasure writ: or had it beene true, yet to
publish it, was intollerable: him I would wish to vse me no worse than
I deserue. I had onely in the copy this share, it was il written, as
sometime ~Greenes~ hand was none of the best, licensd it must be, ere
it could bee printed which could neuer be if it might not be read. To
be breife ~I~ writ it ouer, and as neare as ~I~ could, followed the
copy, onely in that letter ~I~ put something out, but in the whole
booke not a worde in, for I protest it was all ~Greenes~, not mine nor
Maister ~Nashes~, as some vniustly haue affirmed. Neither was he the
writer of an Epistle to the second part of Gerileon, though by the
workemans error T. N. were set to the end: that I confesse to be mine,
and repent it not._
Shakespeare’s sonnets were first published in their entirety in 1609.
Two of this collection having been printed in a piratical volume of
poetry, dated 1599, attributed to Shakespeare, although he was only
responsible for five numbers out of the twenty published. The great
question which divides Shakesperean critics into two camps is whether
the sonnets are autobiographical or poems of the imagination. A
discussion on this point, and others connected with the dedication and
order of sequence, would fill volumes. If they are to be accepted as
episodes in the life of Shakespeare, sonnet 111 clearly has reference
to his own life as an actor:
“O! for my sake do you with fortune chide
The guilty goddess of my harmful deeds
That did not better for my life provide
Than public means which public manners breeds.
Thence comes it that my name receives a brand,
And almost thence my nature is subdued
To what it works in, like the dyer’s hand.
Pity me then, and wish I were renew’d
Whilst like a willing patient I will drink
Potions of eysell, ’gainst my strong infection:
No bitterness that I will bitter think,
Not double penance to correct correction.
Pity me, then, dear friend, and I assure ye
Even that your pity is enough to cure me.”
Another sonnet, in a similar strain, is numbered 110; the first two
lines unmistakably refer to his profession as an actor:
“Alas ’tis true I have gone here and there,
And made myself a motley to the view.”
The first line refers to acting at different places in the Metropolis,
and also touring in the provinces, an event common to all theatrical
companies of the period. Whether Shakespeare had really played the
fool’s part can only be conjectural. It may be simply a synonym for an
actor, who in various costumes acted different parts.
In an edition of Shakespeare’s poems, published by John Benson in 1640,
there is an elegy addressed to Shakespeare, with the following heading:
“An elegy on the death of that famous writer and actor, William
Shakespeare.” The author eulogizes Shakespeare as a poet, but makes no
reference to him as an actor, beyond merely stating in the heading that
he was an actor.
The remarks that Shakespeare let fall from his pen, in connexion with
his profession as an actor, need not surprise us if we consider the
drastic measures imposed upon actors during the reign of Elizabeth, and
the contempt with which certain sections of the public regarded the
actors’ calling, together with the scanty recognition they received
from the literary world. Under these circumstances, it is little to
be wondered at that he half despised his own vocation, but in his
secret heart he cherished a deep love for the stage, otherwise he
would have retired years previously to his final farewell, which only
took place at the close of his life, in reality about the year 1610,
six years before his death. Anyone reading the interview with the
players and the play-acting scene in “Hamlet” cannot doubt for a moment
that Shakespeare derived intense satisfaction and happiness from his
theatrical life; there is a ring of enthusiasm in all those scenes in
which he alludes to the theatre, and revels in everything connected
with the art of the theatre. Being an actor may have barred him from
any great social success, and he may have written the lines in the
sonnets when in a moody humour, or at some insult levelled against him
at the common playhouse.
I should like to point out that with the exception of Davies’ epigram,
in which he remarks that Shakespeare played “kingly parts,” there is
no authentic notice of his having acted any particular character, and
all accounts written about the parts he played are purely fictitious.
Even Rowe, the earliest biographer of the poet, gives no authority
for stating that the part of the Ghost in “Hamlet” was the top of
his performance as an actor; all such statements are misleading, and
writers on Shakesperean matters should be careful in stating whether
their remarks are founded upon facts or are of an imaginary character.
Sir Richard Baker, in his chronicle history, refers to Shakespeare
as being both player and poet. “For writers of Plays and such as had
been Players themselves, William Shakespeare and Benjamin Johnson
(_sic_) have specially left their names recommended to posterity.” Mr.
Greenwood, in his latest book (1916), entitled _Is there a Shakespeare
Problem?_ states that Baker was not a contemporary of Shakespeare; this
is a gross error, perhaps purposely perpetrated in order to maintain
a foolish theory that the actor Shakespeare was not the author of the
plays. Baker was born in the year 1568, and died in 1645.