n. His acquisition
of a part-ownership in the tithes was fruitful in legal embarrassments.

Recovery of small debts.

Shakespeare inherited his father's love of litigation, and stood
rigorously by his rights in all his business relations. In March 1600 he
recovered in London a debt of 7 pounds from one John Clayton. In July
1604, in the local court at Stratford, he sued one Philip Rogers, to whom
he had supplied since the preceding March malt to the value of 1 pound
19s. 10d, and had on June 25 lent 2s. in cash. Rogers paid back 6s., and
Shakespeare sought the balance of the account, 1 pound 15s. 10d. During
1608 and 1609 he was at law with another fellow-townsman, John
Addenbroke. On February 15, 1609, Shakespeare, who was apparently
represented by his solicitor and kinsman Thomas Greene, {206a} obtained
judgment from a jury against Addenbroke for the payment of 6 pounds, and
1 pound 5s. costs, but Addenbroke left the town, and the triumph proved
barren. Shakespeare avenged himself by proceeding against one Thomas
Horneby, who had acted as the absconding debtor's bail. {206b}

XIII--MATURITY OF GENIUS

Literary work in 1599.

With an inconsistency that is more apparent than real, the astute
business transactions of these years (1597-1611) synchronise with the
production of Shakespeare's noblest literary work--of his most sustained
and serious efforts in comedy, tragedy, and romance. In 1599, after
abandoning English history with 'Henry V,' he addressed himself to the
composition of his three most perfect essays in comedy--'Much Ado about
Nothing,' 'As You Like It,' and 'Twelfth Night.' Their good-humoured
tone seems to reveal their author in his happiest frame of mind; in each
the gaiety and tenderness of youthful womanhood are exhibited in
fascinating union; while Shakespeare's lyric gift bred no sweeter
melodies than the songs with which the three plays are interspersed. At
the same time each comedy enshrines such penetrating reflections on
mysterious problems of life as mark the stage of maturity in the growth
of the author's intellect. The first two of the three plays were entered
on the 'Stationers' Registers' before August 4, 1600, on which day a
prohibition was set on their publication, as well as on the publication
of 'Henry V' and of Ben Jonson's 'Every Man in his Humour.' This was one
of the many efforts of the acting company to stop the publication of
plays in the belief that