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 peare or his assistants. Extending his business, this favored servant of the public hired boys to wait under his inspection, who, when Will Shakspeare was summoned, were immediately to present themselves, as they were certain to be preferred when they declared themselves ‘‘Shakspeare’s boys”—a title which, it is said, was long retained by the waiters that held horses at the doors of the theatres.

Such is the anecdote related by Johnson, who had it, he said, from Pope, to whom it was communicated by Rowe. Nevertheless, Rowe, Shakspeare’s first biographer, has not mentioned it in his own narrative, and Johnson’s authority is supported only by Cibber’s “Lives of the Poets,” a work to which Cibber contributed nothing but his name, and of which one of Johnson’s own amanuenses was almost the sole author.

Another tradition, which had been preserved among the actors of the time, represents Shakspeare to us as filling at first the lowest position in the theatrical hierarchy, namely, that of call-boy, whose duty it was to summon the actors, when their time came to appear upon the stage. Such, in fact, would have been the gradual promotion by which the horse-holder might have raised himself to the honor of admission behind the scenes. But, when turning his idea to the theatre, is it likely that Shakspeare would have stopped short at the door? At the time of his arrival in London, in the year 1584 or 1585, he had a natural protector at the Blackfriars’ Theatre; for Greene, his townsman, and probably his relative, figured there as an actor of some reputation, and also as the author of several comedies. According to Aubrey, it was with a positive intention to devote himself to the stage that Shakspeare came to London; and, even if Greene’s influence