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in my opinion not without a show of probability—from the frequent occurrence of law-terms in his dramas, and his correct appreciation of their meaning, that he may have been for some time in the office of an attorney in Stratford. This, however, is all uncertainty; but at all events, judging from the turn of his mind, I should be inclined to say that, beside his accurate observation of men and manners, he read all the books he could obtain in his native town.

      In the registry of the diocese of Worcester is preserved a document bearing date November 28, 1582, securing the Bishop against injury in the case of his licensing certain persons to be married with once asking of the banns. These persons are William Shakespeare, then in his nineteenth year, and Anne Hathaway, then apparently aged twenty-six years; for she died in 1623 at the age of sixty-seven years: she was therefore about eight years her husband's senior. When their marriage was celebrated we are unable to learn; but the baptism of Susanna, their first child, took place on the 26th of May, 1583, just six months after the date of the document quoted above. The natural inference is obvious. Shakespeare, like Burns, knew his wife before the law had made her his; and, like him, he acted honourably towards her.

      This, perhaps the only imprudent act of Shakespeare's life, has been variously judged. Nothing, we know, is more common than for young men to fall in love with women older than themselves; and among the class of society to which both parties belonged, instances were, and are, not uncommon of the rules of prudence being transgressed in moments of weakness, while the moral principle remains untainted. We know that Burns's "Bonnie Jean" proved a most exemplary wife; and one of the most truly virtuous and unaffectedly modest women I ever knew was one who had acted thus imprudently. The bride of the future poet was Anne, daughter of Richard Hathaway, a husbandman, or substantial yeoman, of Shottery, a hamlet about a mile from Stratford, an intimate friend, it would appear, of John Shakespeare's; and hence we may presume that an intimacy prevailed also between the two families, and the not unlikely result was what has been stated.

      We now have Shakespeare, at the commencement of his twentieth year, a married man, and the father of a child. On the 2nd of February, 1584–85, before he had completed his twenty-first year, were baptized Hamnet and Judith, twins. We hear of no more children of William and Anne Shakespeare; and soon after—most probably in 1586—Shakespeare left Stratford, and set out to seek his fortune in the metropolis. According to Rowe, he fled to escape from the persecution of Sir Thomas Lucy, of Charlecote-park, near Stratford, from whose park he and some other young men had stolen deer—a not unusual, and not very discreditable practice in those days. The knight, we are told, was indignant and vindictive, and the transgressor took his revenge by writing and affixing to the gate of Charlecote-park a satirical ballad, of which the first stanza has been preserved, and which, if genuine, is mere doggrel and utterly unworthy of Shakespeare. He may, however, have so written it on purpose. This is said to have added oil to the fire of the knight's rage, and to escape from it the author fled to London. His biographers in general are of opinion that his resentment against his persecutor did not die out, and that after his death and the lapse of many years he ridiculed him in the character of Justice Shallow in The Merry Wives of Windsor. But this was little in the character of "gentle" Shakespeare; and the whole theory is refuted by the fact that the allusion to "the dozen white luces" in the Justice's coat-armour, on which it is founded, does not occur in the original form of that play. It may have been made afterwards by way of joke, and without any malignity.

      There is certainly no inherent improbability in this narrative; and it may have had its effect in determining Shakespeare to quit Stratford. But that it should have been the sole cause of his doing so is what I am disposed to question. We must recollect that Shakespeare was a man endowed with genius of the very highest order, and that he must have aspired to a wider field for its exercise than his native town could afford, that he had a family, and that his circumstances were very slender, while those of his father, as we have sufficient evidence, had been greatly reduced. Nor does it appear that he—who, as has been already observed, except in the case of his marriage, was always prudent—set out for London without having a definite object in view.

      Now various companies of players, as we learn, were in the habit of visiting Stratford, like other country towns, and performing there in the Guildhall. It can be hardly doubted that Shakespeare, in whom dramatic genius was inborn, must have been excited by these performances, however low the merit of the pieces—perhaps even have felt that he was capable of producing something superior to them of the same kind. He probably then made the acquaintance of the players, one of whom, Burbage, was, it is supposed, a native of the town, and some others, natives of the county, and proposed embracing their profession. He was young, handsome, of animated and even brilliant conversation. There can be little doubt, then, that he met with encouragement, and was readily received among them. This was, it is most likely, in the year 1586, when he was two-and-twenty. Rowe says "he was received into the company at first in a very mean rank;" and in 1693 the parish-clerk of Stratford, a man eighty years of age, told a person named Dowdall, that he "was received into the playhouse as a serviture." Of course, like almost every other actor, he began at the bottom, having as it were to serve his apprenticeship. This, then, seems to be all true enough; not so another tradition, related by Johnson as coming from Pope and Rowe, namely, that his first occupation in London was holding gentlemen's horses at the door of the playhouse, in which business he succeeded so well that he hired boys to act under him. How little like Shakespeare this is need hardly be said.

      A question which cannot be answered very satisfactorily is, What did Shakespeare at this time do with his wife and children? The probability would seem to be, that he left them at Stratford, and, as is most likely, at his father's, till he should see what success he was likely to meet with in London.

      It would seem that for the first few years he was merely an actor; and if the Ellesmere Papers, published by Mr. Collier, be genuine, he had in 1589 become a sharer in the Blackfriars Theatre. Before this date he may have begun to try his hand at making additions and alterations in the plays of others. Of these we seem to have examples in the Second and Third Parts of King Henry VI.; and there is a manifest allusion to this practice of his in the following passage of Green's Groat's Worth of Wit, bought with a Million of Repentance, published after his death in 1592. Green is addressing his fellow dramatists Marlow, Peele, and others; and he says, "There is an upstart crow, beautified with our feathers, that with his Tygre's heart wrapt in a player's hyde, supposes he is as well able to bombast out a blank verse as the best of you; and, being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country." Here the allusion to Shakespeare's name is quite plain, and the line in italics is a parody on one in one of the plays which he appears to have thus treated. As this allusion seems to have caused just offence, Chettle, who had given Green's work to the world, took occasion shortly after in a work of his own, his Kind-hart's Dream, to make an apology, in which he says of Shakespeare, "Myself have seen his demeanour, no less civil than he excellent in the quality he professes. Besides, divers of worship have reported his uprightness of dealing, which argues his honesty, and his facetious grace in writing that approves his art." We thus see that Shakespeare was regarded as an excellent player (for quality then answered to profession at the present time), as an elegant writer (facetious being employed in its classic sense), and as an upright and honourable man, and further, perhaps, as moving in what we should term good society.

      Moreover this work of Chettle's, published at the end of 1592 or beginning of 1593, furnishes what I regard as a proof that Shakespeare had not at that time brought an original piece on the stage; for speaking of Green he says, "He was of singular pleasance, the very supporter, and—to no man's disgrace be this intended—the only comedian of a vulgar writer in this country;" of which last words the plain meaning is, that Green had as yet been the only tolerable writer of English comedy. Now we have sufficient means for judging of Green's comic powers; and surely no man in his senses would have ventured to write these words, had he been ever so prejudiced, if Shakespeare had already produced the Comedy of Errors or The Two Gentlemen of Verona. We may therefore venture to assert that neither of these plays was acted earlier than 1593.

      We may here, by the way, notice some curious coincidences between Shakespeare and the great comic poet of France, Molière. There is some reason to suppose that both of them were originally connected with the law; they both went

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