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Chapter Six. Years of Fame, 1596-1603
NOT FROM ALL PERSPECTIVES were Elizabeth ’s closing years a golden age. The historian Joyce Youings calls the belief in an Elizabethan ecstasy “part of the folklore of the English-speaking peoples,” and adds that “few people alive in the 1590s in an England racked by poverty, unemployment and commercial depression would have said that theirs was a better world or that human inventiveness had restored a good and just society.”
Plague had left many families headless and without support, and wars and other foreign adventures had created an indigent subclass of cripples and hobbling wounded, all virtually unpensioned. It was not an age in which much consideration was given to the weak. At just the time that he was making a fortune in London, Sir Thomas Gresham was also systematically evicting nearly all the tenants from his country estates in County Durham, condemning them to the very real prospect of starvation, so that he could convert the land from arable to grazing and enjoy a slightly improved return on his investment. By such means did he become the wealthiest commoner in Britain.
Nature was a great culprit, too. Bad harvests created shortages that sent prices soaring. Food riots broke out in London, and troops had to be called in to restore order. “Probably for the first time in Tudor England, large numbers of people in certain areas died of starvation,” writes Youings. Malnutrition grew chronic. By 1597 the average wage was less than a third (in real terms) of what it had been a century before. Most of the staple foods of the poor-beans, peas, cereals of all types-had doubled in price from four years earlier. A loaf of bread still cost a pe
It is a wonder that any working person could afford a trip to the theater, yet nearly all relevant contemporary accounts make clear that the theater was robustly popular with the laboring classes throughout the depressed years. Quite how they managed it, even when employed, is a mystery because in sixteenth-century London working people really worked-from 6 a.m. to 6 p.m. in winter and till 8 p.m. in summer. Since plays were performed in the middle of that working day, it wouldn’t seem self-evidently easy for working people to get away. Somehow they did.
For Shakespeare there was a personal dimension to the gloom of the decade. In August 1596 his son, Hamnet, aged eleven, died in Stratford of causes unknown. We have no idea how Shakespeare bore this loss, but if ever there was a moment when we can glimpse Shakespeare the man in his plays, surely it is in these lines, written for King John probably in that year:
Grief fills the room up of my absent child,
Lies in his bed, walks up and down with me,
Puts on his pretty looks, repeats his words,
Remembers me of all his gracious parts,
Stuffs out his vacant garments with his form.
But then it is also the case, as the theater historian Sir Edmund Chambers long ago noted, that “in the three or four years following his loss Shakespeare wrote his happiest work: he created Falstaff, Prince Hal, King Henry V, Beatrice and Benedick, Rosalind and Orlando. Then came Viola, Sir Toby Belch and Lady Belch.” It is a seemingly irreconcilable contradiction.
Whatever his mood, for Shakespeare this was a period of increasing fame and professional good fortune. By 1598 his name had begun to appear on the title pages of the quarto editions of his plays-a sure sign of its commercial value. This was also the year in which Francis Meres remarked upon him in admiring terms in Palladis Tamia. In 1599 a volume of poetry called The Passionate Pilgrim was published with Shakespeare’s name on the title page even though he contributed (probably involuntarily) only a pair of so
The first nontheatrical reference to Shakespeare in London comes during this period, too, and is entirely puzzling. In 1596 he and three others-Francis Langley, Dorothy Soer, and A
Wayte, it is known, was an unsavory character-he was described in another case as a “loose person of no reckoning or value”-but what exactly his complaint was is impossible to say. The one thing all the parties had in common was that they lived in the same neighborhood, so it may be, as Schoenbaum suggests, that Shakespeare was simply an i
A separate question is why Shakespeare moved in this period to Bankside, a not particularly salubrious neighborhood, when his theatrical co
Nine months after Hamnet’s death, in May 1597, Shakespeare bought a grand but mildly dilapidated house in Stratford, on the corner of Chapel Street and Chapel Lane. New Place was the second biggest dwelling in town. Built of timber and brick, it had ten fireplaces, five handsome gables, and grounds large enough to incorporate two barns and an orchard. Its exact appearance in Shakespeare’s time is uncertain because the only likeness we have of it is a sketch done almost a century and a half later, from memory, by one George Vertue, but it was certainly an imposing structure. Because the house was slightly decrepit Shakespeare got it for the very reasonable price of £60-though Schoenbaum cautions that such figures were often a fiction, designed to evade duties, and an additional undeclared cash payment may also have been involved.
In only a little over a decade, William Shakespeare had clearly become a man of substance-a position he underscored by securing (in his father’s name and at no small cost to himself) a coat of arms, allowing father and son and all their heirs in perpetuity to style themselves gentlemen-even though the death of Hamnet meant that there would be no male heirs now. Seeking a coat of arms might seem from our perspective a rather shallow, arriviste gesture, and perhaps it was, but it was a common enough desire among theatrical types. John Heminges, Richard Burbage, Augustine Phillips, and Thomas Pope all also sought and were granted coats of arms and the entitlement to respect that went with them. We should perhaps remember that these were men whose careers were founded on the fringes of respectability at a time when respectability meant a good deal.