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By Root 19976 0

noblemen who frequented the Theatre. The expression "rude groome," which Greene uses in his attack upon Shakespeare, is evidently used as pointing at his work in this capacity. The story of the youths who introduced themselves as "Shakespeare's boys" seems to indicate that he was the recognised representative of the theatrical proprietors who provided accommodations for this purpose. It is to be assumed then that Shakespeare, having charge of this work, would upon occasions come personally in contact with the noblemen and gentry who frequented Burbage's Theatre, which was situated in the parish of Shoreditch, then regarded as the outskirts of the City.

Of the several records concerning this alleged incident in Shakespeare's early London experience, that which is simplest and latest in date seems to bear the greatest evidence of truth when considered in connection with established facts and coincident circumstantial evidence. Traditions preserved in the poet's own family would in essentials be likely to be closer to the truth than the bibulous gossip of Sir William Davenant, from which source all the other records of this story are derived. In the monthly magazine of February 1818 the story is told as follows: "Mr. J.M. Smith said he had often heard his mother state that Shakespeare owed his rise in life and his introduction to the theatre to his accidentally holding the horse of a gentleman at the door of the theatre on his first arriving in London; his appearance led to inquiry and subsequent patronage." The "J.M. Smith" mentioned here was the son of Mary Hart, a lineal descendant of Joan Hart, Shakespeare's sister. While it is clearly impossible that Shakespeare owed his introduction to the theatre to Southampton, there can be little doubt, in the light of data to follow, that his rise in life was much enhanced by his friendship and patronage. What truth there may be in this story is evidently a distorted reflection of Shakespeare's earlier work in the Theatre at Shoreditch and of his later acquaintance with the Earl of Southampton. We have no record, hint, or suggestion of his personal acquaintance or business connection with any noblemen or gentlemen other than Southampton, and possibly Sir Thomas Heneage, at this early period. It shall later be shown that Southampton first became identified with London and Court life in October 1590. I am led by good evidence to the belief that Shakespeare's acquaintance with this nobleman had its inception very soon after this date, and that he, and the theatrical company to which he was attached at that time, attended the Earl of Southampton at Cowdray House and at Tichfield House in August and September 1591, upon the occasion of the Queen's progress to, and sojourn at, these places.

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CHAPTER III

SHAKESPEARE, THE BURBAGES, AND EDWARD ALLEYN

As we have well-attested evidence that Shakespeare was connected with the interests of James Burbage and his sons from 1594 until the end of his London career, it is usually, and reasonably, assumed that his early years in London were also spent with the Burbages; but as nothing is definitely known regarding Burbage's company affiliations between 1575, when we have record that he was still manager of Leicester's company, and 1594, when the Lord Chamberlain's company left Henslowe and Alleyn and returned to Burbage and the Theatre, knowledge of Shakespeare's company affiliations during these years is equally nebulous. Only by throwing light upon Burbage's activities during these years can we hope for light upon Shakespeare during the same period. Much of the ambiguity regarding Burbage's affairs during these years arises from the fact that critics persist in regarding him as an actor and an active member of a regular theatrical company after 1576, instead of recognising the palpable fact that he was now also a theatrical manager with a large amount of borrowed money invested in a theatre upon which it would take all of his energies to pay interest and make a profit. After 1576 Burbage's relations with companies of actors were