the Death of the good King Henrie the Sixt, and then (with "womans" substituted for "serpents"), in the third part of King Henry VI., founded on the True Tragedie, and attributed to Shakespeare. It is preposterous to interpret this passage as an attack upon Shakespeare in his quality as an actor; Greene's words, beyond all doubt, convey an accusation of literary dishonesty. Everything points to the belief that Greene and Marlowe had collaborated in the older play, and that the former saw with disgust the success achieved by Shakespeare's adaptation of their text.
But that Shakespeare was already highly respected, and that the attack aroused general indignation, is proved by the apology put forth in December 1592 by Henry Chettle, who had published Greene's pamphlet. In the preface to his Kind-harts Dreame he expressly deplores his indiscretion with regard to Shakespeare:—
"I am as sory as if the originall fault had beene my fault, because my selfe haue seene his demeanor no lesse ciuill than he exelent in the qualitie he professes. Besides, diuers of worship haue reported his vprightnes of dealing, which argues his honesty, and his facetious grace in writing, that aprooues his Art."
We see, then, that the company to which Shakespeare had attached himself, and in which he had already attracted notice as a promising poet, employed him to revise and furbish up the older pieces of their repertory. The theatrical announcements of the period would show us, even if we had no other evidence, that it was a constant practice to recast old plays, in order to heighten their powers of attraction. It is announced, for instance, that such-and-such a play will be acted as it was last presented before her Majesty, or before this or that nobleman. Poets sold their works outright to the theatre for such sums as five or ten pounds, or for a share in the receipts. As the interests of the theatre demanded that plays should not be printed, in order that rival companies might not obtain possession of them, they remained in manuscript (unless pirated), and the players could accordingly do what they pleased with the text.
None the less, of course, was the older poet apt to resent the re-touches made by the younger, as we see from this outburst of Greene's, and probably, too, from Ben Jonson's epigram, On Poet-Ape, even though this cannot, with any show of reason, be applied to Shakespeare.
In the view of the time, theatrical productions as a whole were not classed as literature. It was regarded as dishonourable for a man to sell his work first to a theatre and then to a book-seller, and Thomas Hey wood declares, as late as 1630 (in the preface to his Lucretia), that he has never been guilty of this misdemeanour. We know, too, how much ridicule Ben Jonson incurred when, first among English poets, he in 1616 published his plays in a folio volume.
On the other hand, we see that not only Shakespeare's genius, but his personal amiability, the loftiness and charm of his nature, disarmed even those who, for one reason or another, had spoken disparagingly of his activity. As Chettle, after printing Greene's attack, hastened to make public apology, so also Ben Jonson, to whose ill-will and cutting allusions Shakespeare made no retort,[1] became, in spite of an unconquerable jealousy, his true friend and admirer, and after his death spoke of him warmly in prose, and with enthusiasm in verse, in the noble eulogy prefixed to the First Folio. His prose remarks upon Shakespeare's character are introduced by a critical observation:—
"I remember the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been, Would he had blotted a thousand. Which they thought a malevolent speech. I had not told posterity this but for their ignorance, who chose that circumstance to commend their friend by, wherein he most faulted; and to justify mine own candour: for I loved the man, and do honour his memory, on this side idolatry, as much as any. He was (indeed) honest, and of an open and full nature; had an excellent phantasy, brave notions, and gentle expressions; wherein he flowed with that facility, that sometimes it was necessary he should be stopped: Sufflaminandus erat, as Augustus said of Haterius."
[1] He is said to have procured the production of Jonson's first play.
VII
THE "HENRY VI." TRILOGY
One might expect that it would be with the early plays in which Shakespeare only collaborated as with those Italian pictures of the best period of the Renaissance, in which the connoisseur identifies (for example) an angel's head by Leonardo in a Crucifixion of Andrea del Verrocchio's. The work of the pupil stands out sharp and clear, with pure contours, a picture within the picture, quite at odds with its style and spirit, but impressing us as a promise for the future. As a matter of fact, however, there is no analogy between the two cases.
A mystery hangs over the Henry VI. trilogy which neither Greene's venomous attack nor Chettle's apology enables us to clear up.
Of all the works attributed to Shakespeare, this is certainly the one whose origin affords most food for speculation. The inclusion of the three plays in the First Folio shows clearly that his comrades, who had full knowledge of the facts, regarded them as his literary property. That the two earlier plays which are preserved, the First Part of the Contention and the True Tragedie (answering to the second and third parts of Henry VI.), cannot be entirely Shakespeare's work is evidenced both by the imprint of the anonymous quartos and by the company which is stated to have produced them; for none of Shakespeare's genuine plays was published by this publisher or played by this company. It is proved quite clearly, too, by internal evidence, by the free and unrhymed versification of these plays. At the period from which they date, Shakespeare was still extremely addicted to the use of rhyme in his dramatic writing.
Nevertheless, the great majority of German Shakespeare students, and some English as well, are of opinion that the older plays are entirely Shakespeare's, either his first drafts or, as is more commonly maintained, stolen texts carelessly noted down.
Some English scholars, such as Malone and Dyce, go to the opposite extreme, and regard the second and third parts of Henry VI. as the work of another poet. The majority of English students look upon these plays as the result of Shakespeare's retouching of another man's, or rather other men's, work.
The affair is so complicated that none of these hypotheses is quite satisfactory.
Though there are doubtless in the older plays portions unworthy of Shakespeare, and more like the handiwork of Greene, while others strongly suggest Marlowe, both in matter, style, and versification, there are also passages in them which cannot be by any one else than Shakespeare. And while most of the alterations and additions which are found in the second and third parts of Henry VI. bear the mark of unmistakable superiority, and are Shakespearian in spirit no less than in style and versification, there are at the same time others which are decidedly un-Shakespearian and can almost certainly be attributed to Marlowe. He must, then, have collaborated with Shakespeare in the adaptation, unless we suppose that his original text was carelessly printed in the earlier quartos, and that it here reappears, in the Shakespearian Henry VI, corrected and completed in accordance with his manuscript.
I agree with Miss Lee, the writer of the leading treatise[1] on these plays, and with the commentator in the Irving Edition, in holding that Shakespeare was not responsible for all the alterations in the definitive text. There are several which I cannot possibly believe to be his.
In the old quartos there appears not a line in any foreign language. But in the Shakespearian plays we find lines and exclamations in Latin scattered here and there, along with one in French.[2] If the early quartos are founded on a text taken down by ear, we can readily understand that the foreign expressions, not being understood, should be omitted. Such foreign sentences are extremely frequent in Marlowe, as in Kyd and the other older dramatists; they appear in season and out of season, but always in irreconcilable conflict with the sounder taste of our time. Marlowe would even suffer a dying man to break out in a French or Latin phrase as he gave up the ghost, and this