Third Gent. But 'tis so lately alter'd, that the old name I know it; Ever since the abortive Essex rebellion in February 1601, Shakespeare's patron and friend, the Earl of Southampton, had been a state prisoner in the Tower. The death of Queen Elizabeth on March 24, 1603, was the herald of hope for his liberation. Shakespeare's personal loyalty to Southampton probably outweighed his devotion to the memory of the Queen, for among all the poetic lamentations and mourning for the deceased sovereign he was silent. Yet he may have witnessed her funeral, either in the Abbey or in the streets of Westminster on the following 28th of April. The remains were conveyed by water from Richmond Palace. Here is Stow's contemporary description of what Shakespeare probably witnessed. "The city of Westminster was surcharged with multitudes of all sorts of people, in their streets, houses, windows, leads, and gutters, that came to see the obsequy; and when they beheld her statue or picture lying upon the coffin, set forth in royal robes, having a crown upon the head thereof, and a ball and sceptre in either hand, there was such a general sighing, groaning, and weeping, as the like has not been seen or known in the memory of man; neither doth any history mention any people, time, or state, to make like lamentation for the death of their sovereign." In the following month the association of players, hitherto known as the Lord Chamberlain's company, were constituted under royal letters patent "The Kings' Servants," and, as such, they took rank with the Grooms of the Chamber. Owing to the prevalence of the plague, the formal entry of the new sovereign into London was postponed till March 15, 1604, when Shakespeare and eight other members of the newly honoured company marched in the royal procession from the Tower to Westminster. This historic walk of Shakespeare's through London is one of the definitely recorded events of the poet's life. The aspect of the city may in some measure be derived from the famous Cowdray picture of the coronation procession of Edward VI., along the same route; but London had in many respects been greatly improved during the last two reigns, and this early picture must be construed like picturewriting, much as we may read history from the Bayeux tapestry. It was doubtless a brilliant cavalcade that surrounded James, and we can figure the King's players walking with the Grooms of the Chamber in their due place and order, in the attendant procession. And assuredly it was a goodly city of which James came to be the king. A city of medieval character and appearance, with all the novelty and variety of a great port. A city of merchants and traders, of wealth, of enterprise, and energy. Looking upon it all, as he walked in the train of the stranger, Shakespeare may have recalled the time of his own humble entry into the capital. When they passed Temple Bar and entered the region of Westminster, he may have wished that his new master could have made this part of the progress by water, and so have beheld the succession of palatial mansions, whose frontages were towards the river. The Strand was not very impressive, except at Charing Cross, and here the fine prospect of Whitehall burst into view. As the procession moved towards the Holbein Gate, Shakespeare and his fellows may very likely have looked in the direction of the royal theatre, recalling past cares, rewarded by triumphs which it was happiness to remember. If they had any misgiving for their position and calling in the new reign it was without cause, present or future. James showed great appreciation of the dramatic art, which had been brought to a high pitch of excellence under his predecessor. Besides the elevation of Shakespeare's company, another association of players became the "Queen's Servants," and yet another the "Prince's Servants." But the "King's Servants" retained their premiership in art as well as in rank, and the plays of Shakespeare found much favour with the new monarch. On certain occasions of state these were presented before the king and the court in the Banqueting House of the Palace; but after the destruction of that building by fire in 1619, it is probable that the Cockpit was invariably the royal theatre. Among the records which have survived are notices from the memoranda of the master of the Revels and extracts from the accounts of the Treasurer of the Chamber, and these suffice to show that the attraction of Shakespeare's plays tended to increase under the Stuart dynasty. After the Restoration the Cockpit resumed its position as the royal theatre, and became more than ever the home of the drama, in the palace of the sovereign. CHAPTER VII AN ITINERARY To save continual turning to the Index which would otherwise be necessary in following up the associations of the places visited in this Itinerary, references ante are inserted in the text within brackets. Route I In the vestibule of the British Museum stands the statue of Shakespeare, by L. F. Roubiliac, 1758, bequeathed by David Garrick, 1779. In the library of the institution are preserved many treasures relating to the poet, to the great period of English history which he represents, and to the London in which he gave the fruits of his genius and his labour to the world. There may be seen the folio in which his plays were first collectively printed. There, too, may be seen the original and unique picture 278 |