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The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3403]

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his father died, being buried on September 8. He apparently left no will, and the poet, as the eldest son, inherited the houses in Henley Street, the only portion of the property of the elder Shakespeare or of his wife which had not been alienated to creditors. Shakespeare permitted his mother to reside in one of the Henley Street houses till her death (she was buried September 9, 1608), and he derived a modest rent from the other. On May 1, 1602, he purchased for £320 of the rich landowners William and John Combe of Stratford 107 acres of arable land near the town. The conveyance was delivered, in the poet’s absence, to his brother Gilbert, ‘to the use of the within named William Shakespere.’ A third purchase quickly followed. On September 28, 1602, at a court baron of the manor of Rowington, one Walter Getley transferred to the poet a cottage and garden which were situated at Chapel Lane, opposite the lower grounds of New Place. They were held practically in fee-simple at the annual rental of 2s. 6d. It appears from the roll that Shakespeare did not attend the manorial court held on the day fixed for the transfer of the property at Rowington, and it was consequently stipulated then that the estate should remain in the hands of the lady of the manor until he completed the purchase in person. At a later period he was admitted to the copyhold, and he settled the remainder on his two daughters in fee. In April 1610 he purchased from the Combes 20 acres of pasture land, to add to the 107 of arable land that he had acquired of the same owners in 1602.

The Stratford tithes.

As early as 1598 Abraham Sturley had suggested that Shakespeare should purchase the tithes of Stratford. Seven years later, on July 24, 1605, he bought for £440 of Ralph Huband an unexpired term of thirty-one years of a ninety-two years’ lease of a moiety of the tithes of Stratford, Old Stratford, Bishopton, and Welcombe. The moiety was subject to a rent of £17 to the corporation, who were the reversionary owners on the lease’s expiration, and of £5 to John Barker, the heir of a former proprietor. The investment brought Shakespeare, under the most favourable circumstances, no more than an annuity of £38, and the refusal of persons who claimed an interest in the other moiety to acknowledge the full extent of their liability to the corporation led that body to demand from the poet payments justly due from others. After 1609 he joined with two interested persons, Richard Lane of Awston and Thomas Greene, the town clerk of Stratford, in a suit in Chancery to determine the exact responsibilities of all the tithe-owners, and in 1612 they presented a bill of complaint to Lord-chancellor Ellesmere, with what result is unknown. His acquisition of a part-ownership in the tithes was fruitful in legal embarrassments.

Recovery of small debts.

Shakespeare inherited his father’s love of litigation, and stood rigorously by his rights in all his business relations. In March 1600 he recovered in London a debt of £7 from one John Clayton. In July 1604, in the local court at Stratford, he sued one Philip Rogers, to whom he had supplied since the preceding March malt to the value of £1 19s. 10d, and had on June 25 lent 2s. in cash. Rogers paid back 6s., and Shakespeare sought the balance of the account, £1 15s. 10d. During 1608 and 1609 he was at law with another fellow-townsman, John Addenbroke. On February 15, 1609, Shakespeare, who was apparently represented by his solicitor and kinsman Thomas Greene, obtained judgment from a jury against Addenbroke for the payment of £6, and £1 5s. costs, but Addenbroke left the town, and the triumph proved barren. Shakespeare avenged himself by proceeding against one Thomas Horneby, who had acted as the absconding debtor’s bail.

XIII—MATURITY OF GENIUS

Literary work in 1599.

With an inconsistency that is more apparent than real, the astute business transactions of these years (1597-1611) synchronise with the production of Shakespeare’s noblest literary work—of his most sustained and serious efforts in comedy, tragedy, and romance.

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