The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3529]
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. Assuming 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 Shoreditch Theatre. In attacking theatrical managers he writes in, what he calls, "mystical speeches," and transfigures the persons he attacks under fictitious 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 Shoreditch Theatre as the "theatre in Rome." In his Penelope's Web he writes: