The Facts About Shakespeare | Page 4

coaches became so common as to excite much animadversion and complaint. If some poets spent much time in the debtors' prison, others lived well, and some actors gained large fortunes.
[Page Heading: Commercial Prosperity]
The industrious apprentice who refused the allurements of pageants, theaters, tailors, and taverns, was sure to have his reward. It was a time of commercial expansion, such as the last generation has witnessed in Germany and the United States. Bankers, brokers, and merchants gained great fortunes and managed to protect them. Industry, thrift, and shrewdness were likely to win enough to buy a knighthood. The trade of the old East and the new West came to the London wharves, and every one was ready to take a risk. The merchants of London had furnished support to the policies of Henry VIII and were rich enough to fit out the expedition against Flanders and to pay for a third of the fleet that met the Armada. It was a time, too, for great enterprises and benefactions to charity. Sir Thomas Gresham built the Exchange, Sir Hugh Middleton paid for the New River water supply, and there were many gifts to hospitals. With all this increase in wealth, the various professions prospered, especially that of law. The inns of court were crowded with students, not a few of whom forsook the courts for the drama. The age of chivalry was over, that of commerce begun. No one gained much glory by a military career in the days of Elizabeth. The church, the law, banking, commerce, even politics and literature, offered better roads to wealth or fame.
The importance of the court in Elizabethan London is not easy to realize to-day. It dominated the life of the small city. Its nobles and their retainers, its courtiers and hangers-on, made up a considerable portion of the population; its shows supplied the entertainment, its gossip the politics of the hour. It was the seat of pageantry, the mirror of manners, the patron or the oppressor of every one. No one could be so humble as to escape coming somehow within its sway, and some of the greatest wrecked their lives in efforts to secure its approval. It is no wonder that the plays of Shakespeare deal so largely with kings, queens, and their courts. Under the Tudors, and still more under the Stuarts, the court aimed at increasing the central authority so as to bring every affair of its subjects under its direct control. In London, however, this effort at centralization met with strong opposition. The government was in the hands of the guilds representative of the wealth of the city, and was coming face to face with many of the problems of modern municipalities. The corporation was in constant clash with the court; and in the end the city, which had supported Henry VIII and Elizabeth against powerful nobles, became the Puritan London that aided in ousting the Stuarts.
[Page Heading: The City and the Court]
This conflict between city and court is illustrated in the regulation of the theaters and companies of actors. The actors had a legal status only as the license of some nobleman enrolled them as his servants, and they relied on the protection of their patron and the court against the opposition of the city authorities. The fact that they were employed to give plays before the Queen was, indeed, about the only argument that won any consideration from the corporation. This opposition was based in part on moral or puritan grounds, but was determined still more by the fear of three menaces, fire, sedition, and the plague. Wooden buildings were already discouraged by statute, and the danger of fire from the wooden theaters is shown by the burning of the Globe and the Fortune. The gathering of crowds was feared by every property holder, and the theaters were frequently the scenes of outbreaks of the apprentices. The danger of the plague from the crowd at plays was the greatest of all. London was hardly ever free from it, and suffered terrible devastation in the years 1593 and 1603. For these reasons the theaters were forbidden within the city's jurisdiction, and were driven into the outskirts. The best companies appeared frequently at court, and on the accession of James I they were licensed directly as servants of various members of the royal family. The actors were thereafter under the immediate control of the court, and certain "private" theaters were established within the city. But this triumph of the court over the long opposition of the city was not an unmixed blessing for the drama.
The theaters in 1590 represented the public on which they depended for support; by 1616 they were far less representative of the nation or London, and more dependent on the court and its following. The Blackfriars theater,