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of Pembroke’s house at Wilton for a period of two months, owing to the prevalence of the plague in London. By order of the officers of the royal household, the King’s company of players, of which Shakespeare was a member, gave a performance before the King at Wilton House on December 2. The actors travelled from Mortlake for the purpose, and were paid in the ordinary manner by the treasurer of the royal household out of the public funds. There is no positive evidence that Shakespeare attended at Wilton with the company, but assuming, as is probable, that he did, the Earl of Pembroke can be held no more responsible for his presence than for his repeated presence under the same conditions at Whitehall. The visit of the King’s players to Wilton in 1603 has no bearing on the Earl of Pembroke’s alleged relations with Shakespeare.

The dedication of the First Folio.

The second instance of the association in the seventeenth century of Shakespeare’s name with Pembroke’s tells wholly against the conjectured intimacy. Seven years after the dramatist’s death, two of his friends and fellow-actors prepared the collective edition of his plays known as the First Folio, and they dedicated the volume, in the conventional language of eulogy, ‘To the most noble and incomparable paire of brethren, William Earl of Pembroke, &c., Lord Chamberlaine to the King’s most excellent Majesty, and Philip, Earl of Montgomery, &c., Gentleman of His Majesties Bedchamber. Both Knights of the most Noble Order of the Garter and our singular good Lords.’

The choice of such patrons, whom, as the dedication intimated, ‘no one came near but with a kind of religious address,’ proves no private sort of friendship between them and the dead author. To the two earls in partnership nearly every work of any literary pretension was dedicated at the period. Moreover, the third Earl of Pembroke was Lord Chamberlain in 1623, and exercised supreme authority in theatrical affairs. That his patronage should be sought for a collective edition of the works of the acknowledged master of the contemporary stage was a matter of course. It is only surprising that the editors should have yielded to the passing vogue of soliciting the patronage of the Lord Chamberlain’s brother in conjunction with the Lord Chamberlain.

The sole passage in the editors’ dedication that can be held to bear on the question of Shakespeare’s alleged intimacy with Pembroke is to be found in their remarks: ‘But since your lordships have beene pleas’d to thinke these trifles something, heretofore; and have prosequuted both them, and their Authour living, with so much favour: we hope that (they outliving him, and he not having the fate, common with some, to be exequutor to his owne writings) you will use the like indulgence toward them you have done unto their parent. There is a great difference, whether any Booke choose his Patrones, or find them: This hath done both. For, so much were your lordships’ likings of the severall parts, when they were acted, as, before they were published, the Volume ask’d to be yours.’ There is nothing whatever in these sentences that does more than justify the inference that the brothers shared the enthusiastic esteem which James I and all the noblemen of his Court extended to Shakespeare and his plays in the dramatist’s lifetime. Apart from his work as a dramatist, Shakespeare, in his capacity of one of ‘the King’s servants’ or company of players, was personally known to all the officers of the royal household who collectively controlled theatrical representations at Court. Throughout James I’s reign his plays were repeatedly performed in the royal presence, and when the dedicators of the First Folio, at the conclusion of their address to Lords Pembroke and Montgomery, describe the dramatist’s works as ‘these remaines of your Servant Shakespeare,’ they make it quite plain that it was in the capacity of ‘King’s servant’ or player that they knew him to have been the object of their noble patrons’ favour.

No suggestion in the sonnets of the youth’s identity with Pembroke.

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