William Shakespeare. Виктор Мари Гюго
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those theatres was the Globe; the others, which were mostly closed play-rooms, lighted with lamps, were used at night. The most frequented was Blackfriars. The best actor of Lord Pembroke's troop was called Henslowe; the best actor at Blackfriars was Burbage. The Globe was situate on Bank Side. This is known by a document at Stationers' Hall, dated 26th November, 1607:—
"His Majesty's servants playing usually at the Globe on the Bank Side."
The scenery was simple. Two swords laid crosswise, sometimes two laths, signified a battle; a shirt over the coat signified a knight; the petticoat of one of the comedians' wives on a broom-handle, signified a palfrey caparisoned. A rich theatre, which made its inventory in 1598, possessed "the limbs of Moors, a dragon, a big horse with his legs, a cage, a rock, four Turks' heads, and that of the ancient Mahomet, a wheel for the siege of London, and a bouche d'enfer." Another had "a sun, a target, the three feathers of the Prince of Wales, with the device Ich Dien, besides six devils, and the Pope on his mule." An actor besmeared with plaster and immovable, signified a wall; if he spread his fingers, it meant that the wall had crevices. A man laden with a fagot, followed by a dog, and carrying a lantern, meant the moon; his lantern represented the moonshine. People may laugh at this mise en scène of moonlight, become famous by the "Midsummer Night's Dream," without imagining that there is in it a gloomy anticipation of Dante.[1] The robing-room of these theatres, where the comedians dressed themselves pell-mell, was a corner separated from the stage by a rag of some kind stretched on a cord. The robing-room at Blackfriars was shut off by an ancient piece of tapestry which had belonged to one of the guilds, and represented a blacksmith's workshop; through the holes in this partition, flying in rags and tatters, the public saw the actors redden their cheeks with brick-dust, or make their mustaches with a cork burned at a tallow-candle. From time to time, through an occasional opening of the curtain, you might see a face grinning in a mask, peeping to see if the time for going on the stage had arrived, or the smooth chin of a comedian, who was to play the part of a woman. "Glabri histriones," said Plautus. These theatres were frequented by noblemen, scholars, soldiers, and sailors. They acted there the tragedy of "Lord Buckhurst," "Gorbuduc," or "Ferrex and Porrex," "Mother Bombic," by Lilly, in which the phip-phip of sparrows was heard; "The Libertine," an imitation of the "Convivado de Piedra," which had a European fame; "Felix and Philomena," a fashionable comedy, performed for the first time at Greenwich, before "Queen Bess;" "Promos and Cassandra," a comedy dedicated by the author, George Whetstone, to William Fleetwood, recorder of London; "Tamerlane," and the "Jew of Malta," by Christopher Marlowe; farces and pieces by Robert Greene, George Peele, Thomas Lodge, and Thomas Kid; and lastly, mediæval comedies. For just as France has her "L'Avocat Pathelin," so England has her "Gossip Gurton's Needle." While the actors gesticulated and ranted, the noblemen and officers, with their plumes and band of gold lace, standing or squatting on the stage, turning their backs, haughty and easy in the midst of the constrained comedians, laughed, shouted, played at cards, threw them at each other's heads, or played at post and pair; and below in the shade, on the pavement, among pots of beer and pipes, you might see the "stinkards" (the mob). It was by that very theatre that Shakespeare entered on the drama. From being the guardian of horses, he became the shepherd of men.
5. Such was the theatre in London about the year 1580, under "the great queen." It was not much less wretched, a century later, at Paris, under "the great king;" and Molière, at his debut, had, like Shakespeare, to make shift with rather miserable playhouses. There is in the archives of the Comédie Française an unpublished manuscript of four hundred pages, bound in parchment and tied with a band of white leather. It is the diary of Lagrange, a comrade of Molière. Lagrange describes also the theatre where Molière's company played by order of Mr. Rateban, superintendent of the king's buildings: "Three beams, the frames rotten and shored up, and half the room roofless and in ruins." In another place, by date Sunday, 15th March, 1671, he says, "The company have resolved to make a large ceiling over the whole room, which, up to the said date (15th) has not been covered, save by a large blue cloth suspended by cords." As for lighting and heating this room, particularly on the occasion of the extraordinary expenses necessary for the performance of "Psyche," which was by Molière and Corneille, we read: "Candles, thirty livres; door-keeper, for wood, three livres." This was the style of playhouse which "the great king" placed at the disposal of Molière. These bounties to literature did not impoverish Louis XIV. so much as to deprive him of the pleasure of giving, for example, at one and the same time, two hundred thousand livres to Lavardin, and the same to D'Epernon; two hundred thousand livres, besides the regiment of France, to the Count de Médavid; four hundred thousand livres to the Bishop of Noyon, because this bishop was Clermont-Tonnerre, a family that had two patents of count and peer of France,—one for Clermont and one for Tonnerre; five hundred thousand livres to the Duke of Vivonne; and seven hundred thousand livres to the Duke of Quintin-Lorges, besides eight hundred thousand livres to Monseigneur Clement de Bavière, Prince-Bishop of Liége. Let us add that he gave a thousand livres pension to Molière. We find in Lagrange's journal in the month of April, 1663, this remark:—
"About the same time, M. de Molière received, as a great wit, a pension from the king, and has been placed on the civil list for the sum of a thousand livres."
Later, when Molière was dead and interred at St. Joseph, "Chapel of ease to the parish of St. Eustache," the king pushed patronage so far as to permit his tomb to be "raised a foot out of the ground."
6. Shakespeare, as we see, remained as an outsider a long time on the threshold of theatrical life. At length he entered. He passed the door and got behind the scenes. He succeeded in becoming call-boy, vulgarly, a "barker." About 1586 Shakespeare was barking with Greene at Blackfriars. In 1587 he gained a step. In the piece called "The Giant Agrapardo, King of Nubia, worse than his late brother, Angulafer," Shakespeare was intrusted with carrying the turban to the giant. Then from a supernumerary he became actor, thanks to Burbage, to whom, by an interlineation in his will, he left thirty-six shillings, to buy a gold ring. He was the friend of Condell and Hemynge,—his comrades whilst alive, his publishers after his death. He was handsome; he had a high forehead, a brown beard, a mild countenance, a sweet mouth, a deep look. He took delight in reading Montaigne, translated by Florio. He frequented the Apollo tavern, where he would see and keep company with two habitués of his theatre,—Decker, author of the "Gull's Hornbook," in which a chapter is specially devoted to "the way a man of fashion ought to behave at the play," and Dr. Symon Forman, who has left a manuscript journal, containing reports of the first representations of the "Merchant of Venice," and "A Winter's Tale." He used to meet Sir Walter Raleigh at the Siren Club. Somewhere about that time, Maturin Régnier met Philippe de Béthune at la Pomme de Pin. The great lords and fine gentlemen of the day were rather prone to lend their names in order to start new taverns. At Paris the Viscount de Montauban, who was a Créqui, founded Le Tripot des Onze Mille Diables. At Madrid, the Duke of Medina Sidonia, the unfortunate admiral of the "Invincible," founded the Puño-en-rostro, and in London Sir Walter Raleigh founded the Siren. There you found drunkenness and wit.
7. In 1589, when James VI. of Scotland, looking to the throne of England, paid his respects to Elizabeth, who, two years before, on the 8th February, 1587, had beheaded Mary Stuart, mother of this James, Shakespeare composed his first drama, "Pericles." In 1591, while the Catholic king was dreaming, after a scheme of the Marquis d'Astorga, of a second Armada, more lucky than the first, inasmuch as it never put to sea, he composed "Henry VI." In 1593, when the Jesuits obtained from the Pope express permission to paint "the pains and torments of hell," on the walls of "the chamber of meditation" of Clermont College, where they often shut up a poor youth, who the year after, became famous under the name of Jean Châtel, he composed "Taming the Shrew." In 1594, when, looking daggers at each other and ready for battle, the King of Spain, the Queen of England, and even the King of France, all three said "my good city of Paris," he continued and completed "Henry VI." In 1595, while Clement VIII. at Rome was solemnly aiming a blow at Henry IV. by laying his crosier on the backs of Cardinals du Perron and d'Ossat, he wrote "Timon of Athens." In 1596, the year when Elizabeth published an edict against the long points of bucklers, and when Philip II. drove from his presence a woman who laughed when blowing her nose, he composed "Macbeth." In 1597, when this same Philip II. said to the Duke of Alba, "You deserve the axe," not because the Duke of Alba had put the Low