APPENDIX.TABLES.
APPENDIX.
TABLES.
InTable I. I give the dates of the Stationers' Registers entries of Shakespeare's plays as collected in 1623, the printers and publishers of the earliest extant edition of each, and the dates of all known subsequent editions anterior to the 1623 Folio. A. appended to a date means Anonymous,i.e.published without the author's name; F. means that the edition was used by the Folio editors as copy to print from. The relative popularity of the plays will be in some measure seen by a glance at this table. The most popular wereRichard III.(six editions in sixteen years);I Henry IV.(six editions);Edward III.(five editions in twenty years);Richard II.(four editions in nineteen years);Henry V.(three editions in nine years). All these were Histories. Next to the Histories rank the TragediesHamlet,Romeo and Juliet, andPericles: the other great tragedies,Lear,Othello, and the Comedies being decidedly less to the popular taste than the Histories. The entries of change of copyright will be found in their places in Table V.
Table II. gives similar information for every known extant play not of Shakespeare's authorship in which hemay have been an actor or reviser.Edward III.appears in both these tables. The extreme popularity ofMucedorusis very noticeable.
Table III. gives the number of Court performances in each year for such companies as are known to have been playing in London. From this table it is evident that up to 1591 the Queen's men were the most important of all; in other words, that Greene was the chief Court stage poet, and held the position formerly occupied by Lyly, who wrote for the Chapel children before the public theatrical companies had obtained the prominent place. His chief rival was Marlowe of the Admiral's company. But after 1591 Lord Strange's company takes the lead and keeps it, which means that Shakespeare was the principal Court stage writer till 1611. This throws new light on the relations of Greene, Shakespeare, and their respective companies. But this table comprises, in fact, a compendium of the whole stage history of the time; and as the current versions of this history by Collier, Halliwell, and others are replete with blunders, it may be well to give a very short summary of the results of my investigations—proofs, where lengthy, of some minor details being necessarily reserved for a future publication. Column i. concerns one company only: as Lord Leicester's it was acting in London in 1585; in 1586 it was acting on the Continent; in 1587-8 it was travelling about England; after Leicester's death it began in 1589 to act in London, and was patronised by Lord Strange, who became Earl of Derby in 1593: after his death in 1594, Henry Carey, Lord Hunsdon, the Lord Chamberlain, became itspatron, who died in 1596; they then passed to his heir, George Carey: in 1603 they were patented as the King's men, and retained that title till the closing of the theatres.
Column ii. The Admiral's men were abroad from 1591 to 1594; in 1603 they were assigned to Prince Henry, and after his death in 1612 to the Palsgrave. The Earl of Hertford's men, who appear once in this column, were not a regular London company, but probably invited to play this once at Court while the Admiral's were abroad, in consequence of the Queen having been entertained by Hertford in the preceding year's progress.
Column iii. Queen Elizabeth's company, formed 1583, took the lead till 1591: they only reappear in conjunction with Sussex in 1593-4, when both companies vanish from the London stage. About 1599 Derby's company appears in London: it became Worcester's in 1602, and was assigned to Queen Anne in 1603.
Column iv. The Earl of Oxford's "boys" were in London in 1586; they travelled in the plague year, and are almost certainly the same company who reappear in London in 1589 as Pembroke's. By Marlowe's aid they prospered a year or two, but after his death became insignificant, and are only dimly traceable to 1600.
In 1597 the Chapel children are stated to have occupied Blackfriars, but till 1600 no play is traceable to them. In 1603-4 they were reorganised as the Children of the Revels, and again in 1610 as a new company under the same name: in 1612 they were again reorganised as the second Lady Elizabeth's company, the first of that name, set up in 1611, having broken up.
Column v. The Paul's boys were inhibited c. 1590, re-established 1600, finally put down 1607.
The Duke of York's men were established 1610, and at Prince Henry's death in 1612 took the name of the Prince of Wales' men.
The reader will observe that never more than five companies existed contemporaneously; and scarcely ever more than two of considerable importance. The statements of Collier and Halliwell are grossly exaggerated.
In Table IV. every entry of a play that I can find in the Stationers' Registers is extracted with all necessary fulness. The only point requiring explanation is that the capital letters after the publishers' names indicate the names of the licensers:—T.=Tylney; B.=Sir G. Buck; S.=Segar, his deputy; A.=Sir John Astley; H.=Sir Henry Herbert; T.=Thomas Herbert, his deputy; Bl.=Blagrave, also his deputy. Where the Master of the Revels or his deputy was not the licenser, the insertion of the Wardens' names, &c., would have needlessly encumbered the tables. The spelling has been modernised, except in proper names, &c., where it is of advantage to retain the old forms. These tables afford for the first time complete means of estimating Shakespeare's influence, in I. on the reading public positively; in II. as compared with his co-workers; in III. at Court; in IV. as compared with writers for other companies.
Table V., of transfers of copyright, is, I fear, in spite of much labour, incomplete. Notifications of omission will be welcome and duly acknowledged with gratitude.
TABLES.