taken into the company as an actor, and was soon spoken of as a ‘Johannes Factotum.’ His rapid accumulation of wealth speaks volumes for the constancy and activity of his services. One fails to see when there could be a break in the current of his life at this period of it, giving room or opportunity for legal or indeed any other employment. ‘In 1589,’ says Knight, ‘we have undeniable evidence that he had not only a casual engagement, was not only a salaried servant, as many players were, but was a shareholder in the company of the Queen’s players with other shareholders below him on the list.’ This (1589) would be within two years after his arrival in London, which is placed by White and Halliwell- Phillipps about the year 1587. The difficulty in supposing that, starting with a state of ignorance in 1587, when he is supposed to have come to London, he was induced to enter upon a course of most extended study and mental culture, is almost insuperable. Still it was physically possible, provided always that he could have had access to the needful books. But this legal training seems to me to stand on a different footing. It is not only unaccountable and incredible, but it is actually negatived by the known facts of his career.” Lord Penzance then refers to the fact that “by 1592 (according to the best authority, Mr. Grant White) several of the plays had been written. ‘The Comedy of Errors’ in 1589, ‘Love’s Labour’s Lost’ in 1589, ‘Two Gentlemen of Verona’ in 1589 or 1590,” and so forth, and then asks, “with this catalogue of dramatic work on hand... was it possible that he could have taken a leading part in the management and conduct of two theaters, and if Mr. Phillipps is to be relied upon, taken his share in the performances of the provincial tours of his company—and at the same time devoted himself to the study of the law in all its branches so efficiently as to make himself complete master of its principles and practice, and saturate his mind with all its most technical terms?”