The Slaying of the Shrew (2 page)

"True," said Smythe, folding his arms behind his head as he lay upon the bed, staring at the ceiling. Times were hard in England. People were flocking to London from all over the country, desperate to find work. It was difficult enough just finding lodging in a city where small rooms such as their own were often occupied by entire groups of unrelated people, sleeping on the floor and making do as best they could. As if in afterthought, he added, "I should be thankful, I suppose."

Shakespeare stared at him for a moment and then shook his head. "That is not the end of it, methinks. There is something else that troubles you, quite aside from your apprehensions about your standing with the company. The very air around you is oppressive with your melancholy. What disturbs you, truly?"

Smythe grimaced. "Nothing, really. Except… well… I was thinking of Ned Alleyn."

Shakespeare frowned.
"Alleyn?
Why, Alleyn's gone now. What has he to do with aught?"

"Well…'twas more in the way he went."

Shakespeare frowned. "He went because he could not improve his fortunes further here and had an opportunity to do so elsewhere. He was a shareholder in the company, but then he could rise no further. He knew full well that Dick Burbage stands to inherit the Theatre from his father, while Philip Henslowe has no son to take over the Rose, only a daughter who…
Ahhh! Now
I see it! You still have your mind upon that dewy girl, Elizabeth! You think that if Ned Alleyn can succeed in marrying a theatre owner's daughter, why then, perhaps you might do the same with the daughter of a wealthy merchant who owns a part of ours."

"Well—"

"Well, nothing. I advise you to put that thought straight out of your mind, my friend. You have about as much chance of taking Elizabeth Darcie to wife as I have of gaining immortality."

"But what of Alleyn, Will? Was not his situation much the same as mine in most respects?"

" 'Twas nothing like," said Shakespeare, with a snort. "For one thing, Ned Alleyn, for all of his insufferable pomposity, happens to be the greatest and most celebrated actor of our time. While you, you great buff…" Shakespeare stopped, cleared his throat, and then continued. "Well, you are my friend, Tuck, but we have already dispensed with our discussion of your dubious abilities upon the stage. Philip Henslowe knows full well that Alleyn will draw audiences to the Rose, much to our disadvantage, and it only stands to
his
advantage to seal Ned to the Rose through marriage to his daughter. For his part, Ned Alleyn stands to gain, as well. Henslowe's daughter, from what I hear, is a buxom, young and pretty lass with a most amiable disposition, but the main attraction is, of course, the Rose, which Alleyn would then stand to inherit through the marriage."

"Aye," said Smythe, "which was precisely why I thought that a player and the wealthy owner of a playhouse and other diverse ventures could, perhaps, despite differences in class—"

"Henslowe is a wealthy man, I'll grant you," Shakespeare interrupted, "or at least he seems wealthy to the likes of us, but remember he is not a gentleman and has no real ambitions to rise above his class. He is the owner of a brothel, for God's sake. Henry Darcie, on the other hand, is
truly
wealthy, one of the most successful merchants in the city, and he longs to improve his lot in life with all his heart and soul. Already, he stands well above you, and through his daughter, hopes to rise still higher. Having her become involved with a mere player would work contrary to those hopes, regardless of how skilled or popular that player might become. And in your case… well, the less said of that, the better. In any event, Henslowe's interests are not the same as Darcie's. Were you to bring in audiences ten times as large as Ned Alleyn might attract, 'twould still make no difference in the end. Through hard work and diligence, and perhaps a minor miracle or two, there may yet be some small hope for you as a player, Tuck, but as a suitor for Liz Darcie, you have none. None whatever. You may as well give it up, my lad. The girl may have graced you with a smile or two, but she is unattainable, believe me."

Smythe was moved to argue, but he checked himself. On the face of it, there was nothing Will had said that he could logically dispute. And yet, despite that, he was certain that Elizabeth had feelings for him. That day when they first met at the theatre, there had been a spark between them, he felt certain of it. And then later, when she had found herself caught up in a web of intrigue, a devilish plot designed to turn even her own family against her, she had come to him in desperation, seeking help, and once more, Smythe had been convinced that something quite significant had passed between them.

When he spoke to Will about it, the poet had done his best to dissuade him, arguing that Elizabeth Darcie had felt threatened and so had instinctively resorted to the age-old tricks inherent in her gender, using her seductiveness and vulnerability to gain a strong protector. And, Shakespeare had argued, it had worked.

"She drew you into it, despite your better judgement," he had said, "and before the thing was ended, the entire company was placed at risk and I was very nearly murdered!"

Smythe did not need to be reminded of how assassins had attacked them in the middle of a production at the theatre. He would not soon forget that! But at the same time, Elizabeth was not to blame. She had been an innocent, a mere pawn in a complex foreign plot with implications that had reached to the very highest levels of the government. The role that they had played in helping to defeat that plot had gained them a powerful friend at court in the person of Sir William Worley, the master of the celebrated Sea Hawks and the right hand man of Sir Francis Walsingham, one of the queen's chief ministers and the head of Her Royal Majesty's most secret service. Smythe knew that Shakespeare did not truly hold Elizabeth to blame for that devilish affair or the attempt upon his life, but he also knew that Will was not without some rancor when it came to the fair sex.

He did not know why, precisely. Shakepeare was rather close-mouthed on the subject, save when he was in his cups, and even then, he revealed very little. Smythe only knew that Will had left a family behind in Stratford when he came to London, a wife and children whom he never visited, but to whom he sent a good portion of everything he earned, for which reason, despite a very frugal disposition, he never had any money and was always struggling to earn more. Hence, his "strumpet sonneteering," as he called it, writing verse in praise of various courtiers who collected such fawning scribblings, paid for them, and often had them bound into small volumes which they then passed amongst themselves and exhibited in their homes like treasured trophies taken in some hunt. Smythe found it all quite comical and even childish, yet foolish as it seemed, in such trying times, it could provide some much needed income and, to a fortunate few, even a decent livelihood if their reputations grew and printers sought their work to offer for sale in the book stalls at St. Paul's.

The true prize for an ambitious poet lay in securing the patronage of an aristocrat, as some of the university men had done. Many noblemen had their own pet poets, as Smythe thought of them, and in return for their support, these well-educated men of letters wrote paens of praise for their well-heeled patrons, likening them in fulsome, cadenced terms to gods or heroes from Greek mythology or ancient history. Smythe had read several such slim volumes that Shakespeare had brought home. He had been amazed that men would pay good money for such drivel and had said so.

"Drivel it may be," Shakespeare had replied, "but if 'twill help to pay our rent and put food into our empty, growling bellies, then to drivel shall I fix my compass and grandly sail forth."

And so he did, often working late into the night by candlelight, writing at his desk, a small, crudely made trestle table now covered with candle wax and ink stains. He was often writing when Smythe fell asleep, and sometimes was still to be found writing come the morning. To date, he had not yet managed to find a wealthy patron, but he had sold some sonnets to a few well-born young gentlemen, thanks to an admiring word or two dropped casually by Sir William at court, and his name was beginning to become known as a rising young poet. He was yet a far cry from being a rival to the likes of Robert Greene or Thomas Lodge, but then he was still new in London and did not have the advantage of a university degree to buttress his ambitions. However, he did not let that deter him, not when it came to writing sonnets, nor when it came to writing plays.

Thus far, he had yet to write a complete play of his own, though he had made extensive notes on various ideas. Shakespeare's first opportunity to show the company what he could do came when Alleyn left them in the midst of a production that had not been working to begin with. It was unclear who was the original author of the play, for companies frequently performed plays that were rewritten from earlier versions, which were often rewritten from earlier versions still, which in turn often came from other sources. The original author was often impossible to pinpoint, though as Smythe recalled, this particular production had all the stamp of Robert Greene upon it.

Though he could not say that it was Greene for certain, the play had a pomposity and a pretentiousness, a smug condecension in its mocking attitude towards the rising middle class that had all the earmarks of the university men—Greene, in particular—who seemed to despise the very audience for whom they wrote. Or perhaps, as Shakespeare had put it, for whom the companies performed the plays, for Will believed that the university men actually wrote less for the playhouse audiences than for one another. Therein, he insisted, lay their true failing.

For the Queen's Men, the problem was, perhaps, less clearly defined, but nevertheless immediate. The play was a disaster and their featured player had summarily quit them for a rival company. Something needed to be done, and quickly. Seeing his opportunity, Will had stepped forth, volunteering to try his hand at doctoring the play. Dick Burbage had decided they had nothing to lose by letting him try. If the young ostler fancied himself a poet, Burbage had told the others, then why not see what he could do? So what if he was not a university-trained man of letters? Who was to say that he might not come up with an amusing verse or two that could add some much needed spirit to improve the play? It certainly could not, Burbage had admitted wryly, be made a great deal worse.

Shakespeare had not only improved the production by deleting a few lines here and adding a few there, rewriting the most troublesome scenes, but he had continued to rewrite in stages, after each performance, until an almost entirely new and much improved play had emerged. The company was so well pleased with the result that they gave him the opportunity of looking over the other plays in their repertoire, to see if they might be improved, as well.

For Shakespeare, this had brought about a change in fortune that had elevated him from the lowly post of ostler at the Burbage Theatre to book-holder and sometime actor. Both positions carried more prestige within the company and brought with them slightly better pay, but as book-holder especially, Will now had a great deal more responsibility. While not quite as important as the role of stage-manager who assembled the company, assigned all the parts, and saw to it that all the actors received their parts in manuscript sheets of paper pasted together to form rolls upon which were written each actor's cues and speeches, the book-holder worked closely with the stage-manager, assembling all the properties and keeping them in good order for every performance, as well as acting as a prompter and arranging for all the music, fanfares, alarums, stage thunder and other incidental noises, and keeping track of all the cues and entrances and exits during the performance.

Smythe, meanwhile, remained an ostler, though more and more, he found himself performing menial work around the theatre, sweeping and maintaining the stage, and making sure there were fresh rushes strewn across the yard for each performance. It was not quite the glamorous life he had envisioned for himself when he had embarked for London. Instead of basking in the warmth of audience applause, as he had so many times imagined in his daydreams, he often sweltered in the all too real stench of what they left behind after each performance.

From time to time, there was a small part for him to play, but the company had learned not to depend upon his ability to memorize his lines, nor upon his execrable sense of timing. Smythe was at a complete loss to explain these shortcomings. His memory never seemed to fail him save for when he stepped out upon the stage, at which point it inexplicably went blank and he could not recall even the simplest, briefest line. As a result, he was never sent out on stage alone. To make certain he did not miss his cue, Will was usually there to shove him out in the direction he needed to go, and whoever was already on stage always stood prepared to prompt him if the need arose, as it usually did. For Smythe, it was exasperating, but he seemed completely helpless to overcome the situation.

"Stage fright," Dick Burbage called it. " ‘Tis a thing to which most players fall victim at one time or another. To some, it means merely an unsettled stomach and a slight trembling of the hands or knees, a sort of giddy, momentary weakness overcome the moment they step out onto the stage and plunge into the role. For others, it is a nearly unbearable, oppressive pressure in the chest, the heart beating like a wild thing trying to claw its way free of the flesh, violent shaking and cold sweats, a paralyzing fear that becomes completely all consuming. And yet, for all that, it often goes away once they step out onto the stage and become caught up in the play. Most players get over it in time. Still, with a few… it never truly goes away."

"What do such people do?" Smythe asked him.

"Well, if they wish to remain actors, then they must
act
as if it does not bother them," Burbage had replied.

"And if they cannot?"

Burbage shrugged. "Then it must inevitably become evident to them that they might well become good ostlers, or perhaps masons, or smiths or carpenters or coopers, or else merchants, ironmongers, jewelers, butchers, saddle-makers, rivermen or scribes, but sadly, they never can be players. Lack of talent may be compensated for to some degree with industry and diligence, but nothing in the world may compensate for lack of courage. Mind you now, having courage does not mean having a lack of fear. It means having the ability to persevere in spite of it. The principle is the same, you see, whether one stands upon the stage or upon the field of battle. The soldier who faces enemy troops and quails before them is, in some respects, no different from the player who faces an audience and is struck with fear. The singular difference between them is that in the soldier's case, the fear might well cost him his life. And thus far, Tuck, I have never heard of an audience so hostile that they have actually killed a player. Still, there is always a first time, I suppose…"