Shakespeare's early literary work proves that while in the country he eagerly studied birds, flowers, and trees, and gained a detailed knowledge of horses and dogs. All his kinsfolk were farmers, and with them he doubtless as a youth practised many field sports. Sympathetic references to hawking, hunting, coursing, and angling abound in his early plays and poems. And his sporting experiences passed at times beyond orthodox limits. A poaching adventure, according to a credible tradition, was the immediate cause of his long severance from his native place. 'He had,' wrote Rowe in 1709, 'by a misfortune common enough to young fellows, fallen into ill company, and, among them, some, that made a frequent practice of deer-stealing, engaged him with them more than once in robbing a park that belonged to [a wealthy country gentleman] Sir Thomas Lucy of Charlecote [between four and five miles to the northeast of] Stratford. For this he was prosecuted by that gentleman, as he thought, somewhat too severely; and, in order to revenge that ill-usage, he made a ballad upon him, and though this, probably the first essay of his poetry, be lost, yet it is said to have been so very bitter that it redoubled the prosecution against him to that degree that he was obliged to leave his business and family in Warwickshire and shelter himself in London.' The independent testimony of Archdeacon Davies, who was vicar of Saperton, Gloucestershire, late in the seventeenth century, is to the effect that Shakespeare 'was much given to all unluckiness in stealing venison and rabbits, particularly from Sir Thomas Lucy, who had him oft whipt, and sometimes imprisoned, and at last made him fly his native county to his great advancement.' The law of Shakespeare's day (5 Eliz. cap. 21) punished deer-stealers with three months' imprisonment and the payment of thrice the amount of the damage done.

The tradition has been challenged on the ground that the Charlecote deer-park was of later date than the sixteenth century. But Sir Thomas Lucy was an extensive gamepreserver, and owned at Charlecote a warren in which a few harts or does doubtless found an occasional home. Samuel Ireland was informed in 1794 that Shakespeare stole the deer not from Charlecote, but from Fulbroke Park, a few miles off, and Ireland supplied in his 'Views on the Warwickshire Avon,' 1795, an engraving of an old farm

house in the hamlet of Fulbroke, where he asserted that Shakespeare was temporarily imprisoned after his arrest. An adjoining hovel was locally known for some years as Shakespeare's 'deer-barn,' but no portion of Fulbroke Park, which included the site of these buildings (now removed) was Lucy's property in Elizabeth's reign, and the amended legend, which was solemnly confided to Sir Walter Scott in 1828 by the owner of Charlecote, seems pure invention.

The ballad which Shakespeare is reported to have fastened on the park gates of Charlecote does not, as Rowe acknowledged, survive. No authenticity can be allowed the worthless lines beginning 'A parliament member, a justice of peace,' which were represented to be Shakespeare's on the authority of an old man who lived near Stratford and died in 1703. But such an incident as the tradition reveals has left a distinct impress on Shakesperean drama. Justice Shallow is beyond doubt a reminiscence Justice of the owner of Charlecote. According to Archdeacon Shallow. Davies of Saperton, Shakespeare's 'revenge was so great that' he caricatured Lucy as 'Justice Clodpate,' who was (Davies adds) represented on the stage as a great man,' and as bearing, in allusion to Lucy's name, 'three louses rampant for his arms.' Justice Shallow, Davies's 'Justice Clodpate,' came to birth in the 'Second Part of Henry IV' (1598), and he is represented in the opening scene of the 'Merry Wives of Windsor' as having come from Gloucestershire to Windsor to make a Star-Chamber matter of a poaching raid on his estate. The 'three luces hauriant argent' were the arms borne by the Charlecote Lucys, and the dramatist's prolonged reference in this scene to the 'dozen white luces' on Justice Shallow's 'old coat' fully establishes Shallow's identity with Lucy.

Stratford.

The poaching episode is best assigned to 1585, but it The flight may be questioned whether Shakespeare, on fleeing from from Lucy's persecution, at once sought an asylum in London. William Beeston, a seventeenth-century actor, remembered hearing that he had been for a time a country schoolmaster 'in his younger years,' and it seems possible that on first leaving Stratford he found some such employment in a neighbouring village. The suggestion that he joined, at the end of 1585, a band of youths of the district in serving in the Low Countries under the Earl of Leicester, whose

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castle of Kenilworth was within easy reach of Stratford, is based on an obvious confusion between him and others of his name. The knowledge of a soldier's life which Shakespeare exhibited in his plays is no greater and no less than that which he displayed of almost all other spheres of human activity, and to assume that he wrote of all or of any from practical experience, unless the evidence be conclusive, is to underrate his intuitive power of realising life under almost every aspect by force of his imagination.

IV

ON THE LONDON STAGE

London.

To London Shakespeare naturally drifted, doubtless trudging The jourthither on foot during 1586, by way of Oxford and High ney to Wycombe. Tradition points to that as Shakespeare's favoured route, rather than to the road by Banbury and Aylesbury. Aubrey asserts that at Grendon, near Oxford, 'he happened to take the humour of the constable in "Midsummer Night's Dream"'-by which he meant, we may suppose, 'Much Ado about Nothing' - but there were watchmen of the Dogberry type all over England, and probably at Stratford itself. The Crown Inn (formerly 3 Cornmarket Street) near Carfax, at Oxford, was long pointed out as one of his resting-places.

In London Shakespeare was among strangers. The common assumption that Richard Burbage, the great actor with whom he was subsequently associated, was a native of Stratford, is wholly erroneous. Richard was born in Shoreditch, and his father came from Hertfordshire. John Heming, another of Shakespeare's actor-friends who has also been claimed as a native of Stratford, was beyond reasonable doubt born at Droitwich in Worcestershire. Similarly Thomas Greene, a popular comic actor at the Red Bull Theatre early in the seventeenth century, is conjectured to have belonged to Stratford on no grounds that deserve attention; and Shakespeare was never associated with him. To only one resident in London is Shakespeare likely to have been known previously to his arrival in 1586. Richard Richard Field, a native of Stratford, and son of a friend of Shake- Field, his speare's father, had left Stratford in 1579 to serve an man. apprenticeship with Thomas Vautrollier, the London printer. Field was made free of the Stationers' Company in 1587, and resided for more than a quarter of a century afterwards at his printing-office in Blackfriars near Ludgate. He and

1596

towns

Theatrical employ

ment.

A playhouse servitor.

Shakespeare were soon associated as author and publisher; but the theory that Field found work in Vautrollier's printing-office for Shakespeare on his arrival in London is fanciful. No more can be said for the attempt to prove that he obtained employment as a lawyer's clerk. In view of his general quickness of apprehension, Shakespeare's accurate use of legal terms, which deserves all the attention that has been paid it, may be attributable in part to his observation of the many legal processes in which his father was involved, and in part to early intercourse with members of the Inns of Court.

Tradition and common-sense alike point to one of the only two theatres (The Theatre or The Curtain) that existed in London at the date of his arrival as an early scene of his regular occupation. The compiler of the 'Lives of the Poets, by Theophilus Cibber' (1753) was the first to relate the story that his original connection with the playhouse was as holder of the horses of visitors outside the doors. According to the same writer, the story was related by Sir William D'Avenant to the actor Betterton; but Rowe, to whom Betterton communicated it, made no use of it. The two regular theatres of the time were both reached on horseback by men of fashion, and the owner of The Theatre, James Burbage, kept a livery stable at Smithfield. There is no inherent improbability in the tale. Dr. Johnson's amplified version, in which Shakespeare was represented as organising a service of boys for the purpose of tending visitors' horses, sounds apocryphal.

There is every indication that Shakespeare was speedily offered employment inside the playhouse. In 1587 the two chief companies of actors, claiming respectively the nominal patronage of the Queen and Lord Leicester, returned to London from a provincial tour, during which they visited Stratford. Two subordinate companies, one of which claimed the patronage of the Earl of Essex and the other that of Lord Stafford, also performed in the town during the same year. Shakespeare's friends may have called the attention of the strolling players to the homeless youth, rumours of whose search for employment about the London theatres had doubtless reached Stratford. From such incidents seems to have sprung the opportunity which offered Shakespeare fame and fortune. According to Rowe's vague statement, 'he was received into the company