A Life of William Shakespeare Part 29

To the same effect are some twenty poems which were published in 1624, just after Southampton's death, in a volume ent.i.tled 'Teares of the Isle of Wight, shed on the Tombe of their most n.o.ble valorous and loving Captaine and Governour, the right honorable Henrie, Earl of Southampton.'

The keynote is struck in the opening stanza of the first poem by one Francis Beale:

Ye famous poets of the southern isle, Strain forth the raptures of your tragic muse, And with your Laureate pens come and compile The praises due to this great Lord: peruse His globe of worth, and eke his virtues brave, Like learned Maroes at Mecaenas' grave.

V.--THE TRUE HISTORY OF THOMAS THORPE AND 'MR. W. H.'

The publication of the sonnets in 1609.

In 1598 Francis Meres enumerated among Shakespeare's best known works his 'sugar'd sonnets among his private friends.' None of Shakespeare's sonnets are known to have been in print when Meres wrote, but they were doubtless in circulation in ma.n.u.script. In 1599 two of them were printed for the first time by the piratical publisher, William Jaggard, in the opening pages of the first edition of 'The Pa.s.sionate Pilgrim.' On January 3, 1599-1600, Eleazar Edgar, a publisher of small account, obtained a license for the publication of a work bearing the t.i.tle, 'A Booke called Amours by J. D., with certein other Sonnetes by W. S.' No book answering this description is extant. In any case it is doubtful if Edgar's venture concerned Shakespeare's 'Sonnets.' It is more probable that his 'W. S.' was William Smith, who had published a collection of sonnets ent.i.tled 'Chloris' in 1596. {390} On May 20, 1609, a license for the publication of Shakespeare's 'Sonnets' was granted by the Stationers'

Company to a publisher named Thomas Thorpe, and shortly afterwards the complete collection as they have reached us was published by Thorpe for the first time. To the volume Thorpe prefixed a dedication in the following terms:

TO THE ONLIE BEGETTER OF THESE INSUING SONNETS MR. W. H., ALL HAPPINESSE AND THAT ETERNITIE PROMISED BY OUR EVER-LIVING POET WISHETH THE WELL-WIs.h.i.+NG ADVENTURER IN SETTING FORTH

T. T.

The words are fantastically arranged. In ordinary grammatical order they would run: 'The well-wis.h.i.+ng adventurer in setting forth [_i.e._ the publisher] T[homas] T[horpe] wisheth Mr. W. H., the only begetter of these ensuing sonnets, all happiness and that eternity promised by our ever-living poet.'

Publishers' dedication.

Few books of the sixteenth or seventeenth century were ushered into the world without a dedication. In most cases it was the work of the author, but numerous volumes, besides Shakespeare's 'Sonnets,' are extant in which the publisher (and not the author) fills the role of dedicator.

The cause of the subst.i.tution is not far to seek. The signing of the dedication was an a.s.sertion of full and responsible owners.h.i.+p in the publication, and the publisher in Shakespeare's lifetime was the full and responsible owner of a publication quite as often as the author. The modern conception of copyright had not yet been evolved. Whoever in the sixteenth or early seventeenth century was in actual possession of a ma.n.u.script was for practical purposes its full and responsible owner.

Literary work largely circulated in ma.n.u.script. {391} Scriveners made a precarious livelihood by multiplying written copies, and an enterprising publisher had many opportunities of becoming the owner of a popular book without the author's sanction or knowledge. When a volume in the reign of Elizabeth or James I was published independently of the author, the publisher exercised unchallenged all the owner's rights, not the least valued of which was that of choosing the patron of the enterprise, and of penning the dedicatory compliment above his signature. Occasionally circ.u.mstances might speciously justify the publisher's appearance in the guise of a dedicator. In the case of a posthumous book it sometimes happened that the author's friends renounced owners.h.i.+p or neglected to a.s.sert it. In other instances, the absence of an author from London while his work was pa.s.sing through the press might throw on the publisher the task of supplying the dedication without exposing him to any charge of sharp practice. But as a rule one of only two inferences is possible when a publisher's name figured at the foot of a dedicatory epistle: either the author was ignorant of the publisher's design, or he had refused to countenance it, and was openly defied. In the case of Shakespeare's 'Sonnets' it may safely be a.s.sumed that Shakespeare received no notice of Thorpe's intention of publis.h.i.+ng the work, and that it was owing to the author's ignorance of the design that the dedication was composed and signed by the 'well-wis.h.i.+ng adventurer in setting forth.'

But whether author or publisher chose the patron of his wares, the choice was determined by much the same considerations. Self-interest was the principle underlying transactions between literary patron and _protege_.

Publisher, like author, commonly chose as patron a man or woman of wealth and social influence who might be expected to acknowledge the compliment either by pecuniary reward or by friendly advertis.e.m.e.nt of the volume in their own social circle. At times the publisher, slightly extending the field of choice, selected a personal friend or mercantile acquaintance who had rendered him some service in trade or private life, and was likely to appreciate such general expressions of good will as were the accepted topic of dedications. Nothing that was fantastic or mysterious entered into the Elizabethan or the Jacobean publishers' shrewd schemes of business, and it may be a.s.serted with confidence that it was under the everyday prosaic conditions of current literary traffic that the publisher Thorpe selected 'Mr. W. H.' as the patron of the original edition of Shakespeare's 'Sonnets.'

Thorpe's early life.

A study of Thorpe's character and career clears the point of doubt.

Thorpe has been described as a native of Warwicks.h.i.+re, Shakespeare's county, and a man eminent in his profession. He was neither of these things. He was a native of Barnet in Middles.e.x, where his father kept an inn, and he himself through thirty years' experience of the book trade held his own with difficulty in its humblest ranks. He enjoyed the customary preliminary training. {393a} At midsummer 1584 he was apprenticed for nine years to a reputable printer and stationer, Richard Watkins. {393b} Nearly ten years later he took up the freedom of the Stationers' Company, and was thereby qualified to set up as a publisher on his own account. {393c} He was not dest.i.tute of a taste for literature; he knew sc.r.a.ps of Latin, and recognised a good ma.n.u.script when he saw one. But the ranks of London publishers were overcrowded, and such accomplishments as Thorpe possessed were poor compensation for a lack of capital or of family connections among those already established in the trade. {393d} For many years he contented himself with an obscure situation as a.s.sistant or clerk to a stationer more favourably placed.

His owners.h.i.+p of the ma.n.u.script of Marlowe's 'Lucan.' His dedicatory address to Edward Blount in 1600.

It was as the self-appointed procurer and owner of an unprinted ma.n.u.script--a recognised role for novices to fill in the book trade of the period--that Thorpe made his first distinguishable appearance on the stage of literary history. In 1600 there fell into his hands in an unexplained manner a written copy of Marlowe's unprinted translation of the first book of 'Lucan.' Thorpe confided his good fortune to Edward Blount, then a stationer's a.s.sistant like himself, but with better prospects. Blount had already achieved a modest success in the same capacity of procurer or picker-up of neglected 'copy.' {393e} In 1598 he became proprietor of Marlowe's unfinished and unpublished 'Hero and Leander,' and found among better-equipped friends in the trade both a printer and a publisher for his treasure-trove. Blount good-naturedly interested himself in Thorpe's 'find,' and it was through Blount's good offices that Peter Short undertook to print Thorpe's ma.n.u.script of Marlowe's 'Lucan,' and Walter Burre agreed to sell it at his shop in St.

Paul's Churchyard. As owner of the ma.n.u.script Thorpe exerted the right of choosing a patron for the venture and of supplying the dedicatory epistle. The patron of his choice was his friend Blount, and he made the dedication the vehicle of his grat.i.tude for the a.s.sistance he had just received. The style of the dedication was somewhat bombastic, but Thorpe showed a literary sense when he designated Marlowe 'that pure elemental wit,' and a good deal of dry humour in offering to 'his kind and true friend' Blount 'some few instructions' whereby he might accommodate himself to the unaccustomed _role_ of patron. {394a} For the conventional type of patron Thorpe disavowed respect. He preferred to place himself under the protection of a friend in the trade whose goodwill had already stood him in good stead, and was capable of benefiting him hereafter.

This venture laid the foundation of Thorpe's fortunes. Three years later he was able to place his own name on the t.i.tle-page of two humbler literary prizes--each an insignificant pamphlet on current events. {394b} Thenceforth for a dozen years his name reappeared annually on one, two, or three volumes. After 1614 his operations were few and far between, and they ceased altogether in 1624. He seems to have ended his days in poverty, and has been identified with the Thomas Thorpe who was granted an alms-room in the hospital of Ewelme, Oxfords.h.i.+re, on December 3, 1635.

{395a}

Character of his business.

Thorpe was a.s.sociated with the publication of twenty-nine volumes in all, {395b} including Marlowe's 'Lucan;' but in almost all his operations his personal energies were confined, as in his initial enterprise, to procuring the ma.n.u.script. For a short period in 1608 he occupied a shop, The Tiger's Head, in St. Paul's Churchyard, and the fact was duly announced on the t.i.tle-pages of three publications which he issued in that year. {395c} But his other undertakings were described on their t.i.tle-pages as printed for him by one stationer and sold for him by another; and when any address found mention at all, it was the shopkeeper's address, and not his own. He never enjoyed in permanence the profits or dignity of printing his 'copy' at a press of his own, or selling books on premises of his own, and he can claim the distinction of having pursued in this homeless fas.h.i.+on the well-defined profession of procurer of ma.n.u.scripts for a longer period than any other known member of the Stationers' Company. Though many others began their career in that capacity, all except Thorpe, as far as they can be traced, either developed into printers or booksellers, or, failing in that, betook themselves to other trades.

Very few of his wares does Thorpe appear to have procured direct from the authors. It is true that between 1605 and 1611 there were issued under his auspices some eight volumes of genuine literary value, including, besides Shakespeare's 'Sonnets,' three plays by Chapman, {395d} four works of Ben Jonson, and Coryat's 'Odcombian Banquet.' But the taint of mysterious origin attached to most of his literary properties. He doubtless owed them to the exchange of a few pence or s.h.i.+llings with a scrivener's hireling; and the transaction was not one of which the author had cognisance.

Shakespeare's sufferings at publishers' hands.

It is quite plain that no negotiation with the author preceded the formation of Thorpe's resolve to publish for the first time Shakespeare's 'Sonnets' in 1609. Had Shakespeare a.s.sociated himself with the enterprise, the world would fortunately have been spared Thorpe's dedication to 'Mr. W. H.' T. T.'s' place would have been filled by 'W.

S.' The whole transaction was in Thorpe's vein. Shakespeare's 'Sonnets'

had been already circulating in ma.n.u.script for eleven years; only two had as yet been printed, and those were issued by the pirate publisher, William Jaggard, in the fraudulently christened volume, 'The Pa.s.sionate Pilgrim, by William Shakespeare,' in 1599. Shakespeare, except in the case of his two narrative poems, showed utter indifference to all questions touching the publication of his works. Of the sixteen plays of his that were published in his lifetime, not one was printed with his sanction. He made no audible protest when seven contemptible dramas in which he had no hand were published with his name or initials on the t.i.tle-page while his fame was at its height. With only one publisher of his time, Richard Field, his fellow-townsman, who was responsible for the issue of 'Venus' and 'Lucrece,' is it likely that he came into personal relations, and there is nothing to show that he maintained relations with Field after the publication of 'Lucrece' in 1594.

In fitting accord with the circ.u.mstance that the publication of the 'Sonnets' was a tradesman's venture which ignored the author's feelings and rights, Thorpe in both the entry of the book in the 'Stationers'

Registers' and on its t.i.tle-page brusquely designated it 'Shakespeares Sonnets,' instead of following the more urbane collocation of words invariably adopted by living authors, viz. 'Sonnets by William Shakespeare.'

The use of initials in dedications of Elizabethan and Jacobean books.

In framing the dedication Thorpe followed established precedent.

Initials run riot over Elizabethan and Jacobean books. Printers and publishers, authors and contributors of prefatory commendations were all in the habit of masking themselves behind such symbols. Patrons figured under initials in dedications somewhat less frequently than other sharers in the book's production. But the conditions determining the employment of initials in that relation were well defined. The employment of initials in a dedication was a recognised mark of a close friends.h.i.+p or intimacy between patron and dedicator. It was a sign that the patron's fame was limited to a small circle, and that the revelation of his full name was not a matter of interest to a wide public. Such are the dominant notes of almost all the extant dedications in which the patron is addressed by his initials. In 1598 Samuel Rowlands addressed the dedication of his 'Betraying of Christ' to his 'deare affected _friend_ Maister H. W., gentleman.' An edition of Robert Southwell's 'Short Rule of Life' which appeared in the same year bore a dedication addressed 'to my deare affected _friend_ M. [_i.e._ Mr.] D. S., gentleman.' The poet Richard Barnfield also in the same year dedicated the opening sonnet in his 'Poems in divers Humours' to his '_friend_ Maister R. L.' In 1617 Dunstan Gale dedicated a poem, 'Pyramus and Thisbe,' to the 'wors.h.i.+pfull his verie _friend_ D. [_i.e._ Dr.] B. H. {397}

Frequency of wishes for 'happiness' and 'eternity' in dedicatory greetings.

There was nothing exceptional in the words of greeting which Thorpe addressed to his patron 'Mr. W. H.' They followed a widely adopted formula. Dedications of the time usually consisted of two distinct parts. There was a dedicatory epistle, which might touch at any length, in either verse or prose, on the subject of the book and the writer's relations with his patron. But there was usually, in addition, a preliminary salutation confined to such a single sentence as Thorpe displayed on the first page of his edition of Shakespeare's sonnets. In that preliminary sentence the dedicator habitually 'wisheth' his patron one or more of such blessings as health, long life, happiness, and eternity. 'Al perseverance with soules happiness' Thomas Powell 'wisheth' the Countess of Kildare on the first page of his 'Pa.s.sionate Poet' in 1601. 'All happines' is the greeting of Thomas Watson, the sonnetteer, to his patron, the Earl of Oxford, on the threshold of Watson's 'Pa.s.sionate Century of Love.' There is hardly a book published by Robert Greene between 1580 and 1592 that does not open with an adjuration before the dedicatory epistle in the form: 'To --- --- Robert Greene wisheth increase of honour with the full fruition of perfect felicity.'

Thorpe in Shakespeare's sonnets left the salutation to stand alone, and omitted the supplement of a dedicatory epistle; but this, too, was not unusual. There exists an abundance of contemporary examples of the dedicatory salutation without the sequel of the dedicatory epistle.

Edmund Spenser's dedication of the 'Faerie Queene' to Elizabeth consists solely of the salutation in the form of an a.s.surance that the writer 'consecrates these his labours to live with the eternitie of her fame.'

Michael Drayton both in his 'Idea, The Shepheard's Garland' (1593), and in his 'Poemes Lyrick and Pastorall' (1609), confined his address to his patron to a single sentence of salutation. {398} Richard Brathwaite in 1611 exclusively saluted the patron of his 'Golden Fleece' with 'the continuance of G.o.d's temporall blessings in this life, with the crowne of immortalitie in the world to come;' while in like manner he greeted the patron of his 'Sonnets and Madrigals' in the same year with 'the prosperitie of times successe in this life, with the reward of eternitie in the world to come.' It is 'happiness' and 'eternity,' or an equivalent paraphrase, that had the widest vogue among the good wishes with which the dedicator in the early years of the seventeenth century besought his patron's favour on the first page of his book. But Thorpe was too self-a.s.sertive to be a slavish imitator. His addiction to bombast and his elementary appreciation of literature recommended to him the practice of incorporating in his dedicatory salutation some high-sounding embellishments of the accepted formula suggested by his author's writing. {399a} In his dedication of the 'Sonnets' to 'Mr. W.

H.' he grafted on the common formula a reference to the immortality which Shakespeare, after the habit of contemporary sonnetteers, promised the hero of his sonnets in the pages that succeeded. With characteristic magniloquence, Thorpe added the decorative and supererogatory phrase, 'promised by our ever-living poet,' to the conventional dedicatory wish for his patron's 'all happiness' and 'eternitie.' {399b}

Five dedications by Thorpe.

Thorpe, as far as is known, penned only one dedication before that to Shakespeare's 'Sonnets.' His dedicatory experience was previously limited to the inscription of Marlowe's 'Lucan' in 1600 to Blount, his friend in the trade. Three dedications by Thorpe survive of a date subsequent to the issue of the 'Sonnets.' One of these is addressed to John Florio, and the other two to the Earl of Pembroke. {400a} But these three dedications all prefaced volumes of translations by one John Healey, whose ma.n.u.scripts had become Thorpe's prey after the author had emigrated to Virginia, where he died shortly after landing. Thorpe chose, he tells us, Florio and the Earl of Pembroke as patrons of Healey's unprinted ma.n.u.scripts because they had been patrons of Healey before his expatriation and death. There is evidence to prove that in choosing a patron for the 'Sonnets,' and penning a dedication for the second time, he pursued the exact procedure that he had followed--deliberately and for reasons that he fully stated--in his first and only preceding dedicatory venture. He chose his patron from the circle of his trade a.s.sociates, and it must have been because his patron was a personal friend that he addressed him by his initials, 'W. H.'

'W. H.' signs dedication of Southwell's poems in 1606.

Shakespeare's 'Sonnets' is not the only volume of the period in the introductory pages of which the initials 'W. H.' play a prominent part.

In 1606 one who concealed himself under the same letters performed for 'A Foure-fould Meditation' (a collection of pious poems which the Jesuit Robert Southwell left in ma.n.u.script at his death) the identical service that Thorpe performed for Marlowe's 'Lucan' in 1600, and for Shakespeare's 'Sonnets' in 1609. In 1606 Southwell's ma.n.u.script fell into the hands of this 'W. H.,' and he published it through the agency of the printer, George Eld, and of an insignificant bookseller, Francis Burton. {400b} 'W. H.,' in his capacity of owner, supplied the dedication with his own pen under his initials. Of the Jesuit's newly recovered poems 'W. H.' wrote, 'Long have they lien hidden in obscuritie, and haply had never scene the light, had not a meere accident conveyed them to my hands. But, having seriously perused them, loath I was that any who are religiously affected, should be deprived of so great a comfort, as the due consideration thereof may bring unto them.' 'W. H.'

chose as patron of his venture one Mathew Saunders, Esq., and to the dedicatory epistle prefixed a conventional salutation wis.h.i.+ng Saunders long life and prosperity. The greeting was printed in large and bold type thus:--