rebel leaders sought
the dramatist's countenance. They paid 40s. to Augustine Phillips, a
leading member of Shakespeare's company, to induce him to revive at the
Globe Theatre 'Richard II' (beyond doubt Shakespeare's play), in the hope
that its scene of the killing of a king might encourage a popular
outbreak. Phillips subsequently deposed that he prudently told the
conspirators who bespoke the piece that 'that play of Kyng Richard' was
'so old and so long out of use as that they should have small or no
company at it.' None the less the performance took place on Saturday
(February 7, 1601), the day preceding that fixed by Essex for the rising.
The Queen, in a later conversation with William Lambarde (on August 4,
1601), complained that 'this tragedie' of 'Richard II,' which she had
always viewed with suspicion, was played at the period with seditious
intent 'forty times in open streets and houses.' {175} At the trial of
Essex and his friends, Phillips gave evidence of the circumstances under
which the tragedy was revived at the Globe Theatre. Essex was executed
and Southampton was imprisoned until the Queen's death. No proceedings
were taken against the players, {176a} but Shakespeare wisely abstained,
for the time, from any public reference to the fate either of Essex or of
his patron Southampton.

Shakespeare's popularity and influence.

Such incidents served to accentuate Shakespeare's growing reputation.
For several years his genius as dramatist and poet had been acknowledged
by critics and playgoers alike, and his social and professional position
had become considerable. Inside the theatre his influence was supreme.
When, in 1598, the manager of the company rejected Ben Jonson's first
comedy--his 'Every Man in his Humour'--Shakespeare intervened, according
to a credible tradition (reported by Rowe but denounced by Gifford), and
procured a reversal of the decision in the interest of the unknown
dramatist who was his junior by nine years. He took a part when the
piece was performed. Jonson was of a difficult and jealous temper, and
subsequently he gave vent to an occasional expression of scorn at
Shakespeare's expense, but, despite passing manifestations of his
unconquerable surliness, there can be no doubt that Jonson cherished
genuine esteem and affection for Shakespeare till death. {176b} Within a
very few years of Shakespeare's death Sir Nicholas L'Estrange, an
industrious collector of anecdotes,