will,like Nero, play on the lute, beholding the towns ...... eben so viel,als nothig ist,
um bewegliche und falsche. Hoflinge zu verachten und spottischmit ihnen zu.
W i nch este r
¢o i ieg e S hakspe re S o ci e ty
.
I! I
O
o
O
C
a
NOCTB S SHAKSPERIANAE I
SER ES
A B Y
LA TE
OF
P RE SE N T
A ND
E DI T E D
R EV
.
C H A R LE S
fi
b
h i t t i ng
H AW K I N S,
H A LFO R D
MA .
.
.
Su
the
M E M B E RS
BY
P re si de n t
nh li s c h
P zfl l E R S ’
san
of
the
S o ci e ty
.
W i nc heste r : W A RRE N
SO N
.
P R I N T ER
S
PU B LI
S H E RS
,
HIGH
S T R EET
F L E ET
S T RE E T
.
I o nb o n : C A ST L E
8:
LA M B
.
1 33 .
SA LI
S B U R Y SQ U A R E
M DC C C LX X X V U
.
,
.
TH E
LAT E OF
THE
AN D
P R ES ENT H EA DM A STE R S
W I NC H ES TE R CO LL EG E
R I G H T R EV E R EN D
THE
,
LO RD B I S H O P O F S O UT H W E LL AND
TH E
T
R EV E R EN D W I LL I A M AN DR EW ES F EA R O N
,
D D .
.
H I S F I R ST UN ITED L I TE RA RY E FFO RT O F FO RM E R P U P I LS IS
A FF ECT I O NATE LY I N S CR I B E D TH E
E D I TO R
92 1 3 22
.
BY
C O N
T E
N
T S
.
PAG E
I NT R O D UCT I O N
P R E FACE
v ii
T H E ESSA YS
TO
xi
S H AKESP EA R E S L I B R A RY ’
T H E C LA SS I CA L ATTA I N M ENTS
S H AK SP ER E
0F
S H AKESP EAR E S P UN S ’
S
H A KESP EA R E
S H AKSP E R E
69
GO ET H E
AN D
T H E S TA G E C RA FT T H E F OO LS
OF
G H O S T LAN D
AN D
AN D
0F
I7I
FA I RYLAN D
S H AKESP EA R E S V I EW AN D I N FLUENCE
S
12 1
S H AK SP E R E
’
T H E EN D I N GS
I 09
S H AKSP E R E
OF
-
S H AK SP E R E
95
A H I STO R I AN
As
OF ON
1 93
WO M EN S R E LAT I O N S W I T H M EN OF MAR K ’
H I S T I M ES
S H AKE SP EA R E S P LAY S
R
SP EC I M EN P A P E R
’
O LL
0F
:
— M EM B ERS W
K I N G R I C H A RD III .
C
.
s s .
225
255
C H OO L S H AKSP E R E SOC I ET I ES
A
45
.
2 65
2 77
2 9I
2 97
I N T R O D UC T I O N
.
a
is su rely fair to suppose that this little work w i ll I shortly be in the hands o f th e majority o f th e Old m e mbe rs O f the Society und e r whose auspices it is issued and that a brie f account o f the li fe and progress o f the C lub to its pre sent maturi ty O f a quarter O f a c e ntury will no t fail to be acc e ptabl e and to recall pl e asant m e mories o f a phase o f Sch ool e xpe ri e nce at W inche ste r In th e winter o f 1 86 2 whe n I h ad not long e nte re d o n my mast e rship it occurred to m e that th e re was littl e o r n o e ncouragem e nt fo r t h e study O f English a n d that the most agre eable m e thod o f re ading the re pre sentativ e classic o f our literature would probably b e th e most e ffective tow ard s awake ni n g an intere st in others Shakspe re Societies were not so common in 1 86 2 as they are in I 8 8 7 ; in d ee d th e first School Society o f th e kind h ad bee n started originally by Bishop C otton a t M arlborough and on th e mod e l o f this our o wn was framed Its constitution was simple its rules were as they are still limited to two : the first twe lve S e niors in the ord e r o f the R oll were ex ofi c zo membe rs and the meetings were hel d o n every Satu rd ay evening fro m O ctober to Easter in my little ro om in College Stree t T
,
.
,
,
,
.
,
.
,
,
,
'
-
,
.
v
iii
I n tr o d uc tio n
.
I n th e follo w ing ye ar the scheme was heartily take n up by John D e sborough W al ford (whose name must a lways awake a ffe ctionat e r e grets in the Ol d er generations O f W yk e hamists ) an d to his ampler pre mises th e week ly c o n fe re nce s were tra ns fe rre d O ne O f my own chi e f biblical tre asure s is th e E d ition from which he always re ad ; a n d th e re linge rs still in th e pages o f his H a mle t 3 note ” R est re st perturbed spirit on the li n e iro n ically ,
.
.
,
,
,
,
appropriate to himsel f in th e r dte O f the G host whose only answer to his exorciser o n a m e morabl e occ asion was an airy but aud ible snore Still fo r many ye ars the principle O f membership rem ain e d th e sam e ; eve n the names we re unchronicl e d a s rious loss to us now a n d m e e tings w e re e e h t ); ( ou d ed in a halo O f mystery visitors o n no account shr be ing ad mitte d e xce pt o n one o r two occasions when they gathere d such fragmen ts O f Shaksperian lore as t h e y might from the seclusion O f d arkn e ss and an a djoining passage D uring this pe riod no special training or pre paration w as att e mpted though now and again singular e xce llenc e w as attain e d an d th e accents O f W ilkinson and S t re a tfie ld O f Cosser and D e ring O f H ill a n d G atty still haunt my ,
,
,
.
,
,
,
.
,
,
,
,
,
as I write F rom t h e Shaksp e rian circle however issued most O f the leading actors in th e remarkabl e series O f W inche ster Plays give n during th e autu m ns O f th e years 1 86 5 to
e ar
.
,
,
1 86 8
in C ommon e r
M ugging H all
” ,
and terminating with
I n tro d u cti o n
ix
.
highest e ffort K i ng Le a r th e appre ciation O f which by many competent witnesses artistic and amateur is an abiding satisfaction to those wh o directe d and took part in it “ In 1 869 th e So ciety moved to th e ir present local habitation in Sou thgate H ouse and its purpose an d bord e rs enlarged with the gen e ral broad e ni n g o f scholastic i d eals The mystic number O f tw elve was no longe r insiste d o n members were se le c te d from the range o f Pre fects and Sixth Book and a fe w School v isitors from Soon a choir som e th e higher forms were admitt e d times O f equal sometim e s O f mixed vo ices was ad d e d ; open nights and elaborated pe rformanc e s were attempte d th e
,
,
,
,
.
,
.
,
,
.
,
,
,
from
time to time : finally by care ful preparation o f some O f th e characte rs fo r ord inary n ights and O f all fo r extraord inary suitable d ram atic expression an d th e “ e l e m e nts O f elocution were includ e d in its Obj e cts o f ” study A bout fifteen ye ars ago a new feature o f popularity L adies w e re ad mitte d as re gu lar auditors was introduced by the earn est re qu e st O f some who w e re anxious fo r e rsonal cultur The circle O f the initiate d w as how e v e r e p j e alously limited ; but it is impossibl e to say how much in the opinion Of Old m e mbe rs th e e njoyment O f th e “ Saturday eve ni n gs was the reby enhanced fo r two hours in the wee k a fe w O f the Seniors were practically re move d ” into an entirely new atmosphere and memories o f hom e circles revived I t is a pleasant treat to look forward ,
,
,
.
.
.
,
,
.
,
I n tr o du ctio n
x
.
and back to O f course by th e assista nce o f auditors On t h e standard O f r e ading a n d d e lin e ation w as raised the other han d the re arose a danger O f the literary purpose being merged in a quasi t he atrical e ffe ct M any atte mpts to counte ract this possibility we re D iscussion w as t he re fore from time to time e ssay e d atte mpted but usually d e gene rate d into monologu e and was vote d a bore A L iterary sub se ction was add e d to Papers we re th e Soci e ty but i ts vita li ty was pre carious written and re ad and be ing o fte n original an d vigoro us were succe ss ful and are still customary o n alte rnate n ights V arious subj e cts fo r Obs e rvation we re assign e d to di ffe ren t m e mbe rs and the results recorded T h e bold e st atte mpt o f all has finally re s u lted i n the publication O f the pre se nt volume .
.
-
.
.
,
,
-
.
.
,
,
,
,
,
.
.
.
C
.
H
.
H A W K I NS , P r esi de n t
O CTO B E R
,
1 887 .
W
.
C S 5 .
.
.
P R E FA C E
W
H EN ,
TO
ESS A Y S
THE
.
in 1 88 3 the Society attained its majority it s e e med d e sirabl e that som e permanent record o f i ts litera ry aspi rations shoul d be attempted Th e follow i n g subjects fo r care ful enquiry w e re there fore proposed d uring s e veral successive seasons : R e al o r appare n t i nac c u rac i e s as to th e fac ts Of G e o g raph y 1 H i sto ry an d th e lik e 2 A llusi o ns to co n te m po rary e ve nts c usto ms to pic s and th e li k e w n i o n s ch aracte r n r l f n i h i i s H t t o a s t e o a t as t e o f d s d e 3 p Sh akspe re h i m se lf K no w l n m n f f a o f s t e m a n t e c t s e e e e a d e a d 4 g g g n L rary attai n me nts l n a e r c l ic c i i T a s f ass a u a t o t d e e d O C 5 6 A ct ual qu o tati o ns i nclud i ng B i b lic al W h t h r h m l m n e T n f u r na u r a l a c i e e o e O s e t e e s e t 7 p y p g r m l o t e n u n e f d i i b e b e e p p y g It was the int e ntion to place th e results Obtained in t h e hands o f comp e tent w riters to b e there after embodied i n narrati ve an d essay form A goodly number o f pas t and pres e nt m e mbers under t o o k the collation o f the plays and th e fo llowing amongs t o thers devote d spe cial tim e and indu str o th o se which t y ,
,
.
.
,
.
,
.
,
,
.
.
,
,
,
.
.
.
.
.
.
,
.
.
.
,
.
,
,
x
ii
P r ef ace to tire E ssay s
.
— M essrs L e a th e s, R itchi e ,
they s e lecte d Blackbu rn Trace y W illiams Booke r Ingram Norr is M aclagan C larke and l de Burgh T h e promoters o f the pre s e nt more mature d sch e m e avail themse l v es O f this Opport u ni ty to thank all those who e nthusiastically forward e d th e former impracticabl e e ffort ; but ind e ed when th e ha rve st O f their labours was garn e red it was found that by no possibility could it b e thre sh e d into profitable substance Note s oftentimes excelle nt and suggestive were amorphous an d unsuitabl e fo r editorial purpose s A fte r tw o years O f hunting o n a false sc e nt th e quarry was r u n to ground by a fe w only O f t h e many who start e d on the quest It will b e s e en that O f the subjects pre viously propose d three only a re now includ e d in this volume They a re the work O f m e mbe rs commission e d to formulate the inve stigations O f ot h e rs ; b ut whateve r may be val u abl e in their e nquiri e s is now d u e to themselves alone The two first Essays are unquestionably th e expression O f genui n e res e arch and a re th e re fore put in the fore front o f th e work ; and th e third in pre sent order tak e s pre c e d e n c e o f the third survival o f th e original scheme by A s to the rest c laim o f originali ty and care ful study I am sure that I may expre ss fo r th e other w riters as fo r mysel f that we arrogate no claim to originality o r .
,
,
,
,
,
,
,
,
.
,
,
,
.
.
.
.
.
,
.
,
,
,
,
Essay s were a lso c o n tri u to rs, as we ll I wish to lay s e c ial e m h asis as man y o th e r Sc h o o l me m e rs fro m 1 8 83 to 1 886 re c i se y th is wh i c h h a s o n th e g en er a l wo rk u n d e rtak e n b y th e S o c ie ty , as i t is ar e n tly wi th o u t rec o rd e e n mo st valuab le a th o ug h a T h e wr i te rs
b
of
th e
l
p
re se n t
b
S e r ie s
b
of
.
pp
p
.
l
p
p
P
f
re ace
xiii
to tire E ssay s
.
rudition ; we have don e w hat we coul d und e r pre ssure O f constant occupation tutorial o r scholastic leaving li tt le l e isure fo r e n qi i i ry O r composition Two clai ms o n th e W yke hamical an d L ite rary world w e how e ver venture to urge T h e idea and e nterprise is e ntir e ly W yke h amical and entir e ly nov e l a n d bold F rom W ykehamists we e xpe ct kindlin e ss and indulge nce ; from a n y others who do us th e honour to run th e ir e e over y o u r lucubrations a m e rci ful remembrance o f th e circum s tanc e s O f th e v e nture a n d its authors I f w e h e re by initiate something o n w hich oth e r School L iterary Soci e ties may improv e w e shall have amply f ulfilled our purpose The vete ran among the Public Schools o f E n glan d challe nges all others to the fi e ld O f This is o u r gage : L ette rs
e
,
,
,
.
.
.
,
,
,
,
.
,
.
.
“
A po o r,
an
i ll fa vo u re d th -
i ng si ,
rs,
b ut
o ur o wn
” .
I n conclusion we pray all re aders sympathetic o r aliens c ritical fe llow Schoolmen ,
,
,
,
,
B B
e e
or
to o u r to o ur
faults
me ri ts
a
i
i
l ttle b l n d ;
v e ry
k i nd
”
.
C
.
H
.
H
.
am requested by the writer O f the se cond Essay to acknowledge his Obligations to the writer O f the fi rst fo r allowing him to use his m aterials I
.
as has been possible di ffe rent generations o f the Society from the e arliest to th e prese nt have bee n represe nted in the cycle O f Essayists A s far
,
,
.
It is scarc e ly n ecessa ry to apologise fo r pe rmitting the sam e variety in th e sp e lling O f th e nam e o f o u r A uthor as h e and his conte mporari e s pe rmitted to them se lv e s I t was agreed that foot notes shoul d as much as -
,
.
possible be exclud e d from all contributions first two ,
e
xcept the
.
C
.
H
.
H
.
"
K no wi ng I lo ve d my b o o ks. h e furn ish e d me Fro m mi ne 1
pi
o wn
r ze ab o ve
li
b
rary
vo lu mes
wi th
my d uk e d o m
that
"
.
Te mpest, Ac t I , Sc ii . ll .
.
1 66
L I B RA RY
’
S HAK E SPEARE S
.
E have been reading a good deal late ly abo u t th e C hoic e o f Books and it is to be presumed that all w h o po ssess tend e r consci e nces are now lea rning to esche w ” and have under th e garbage o f the circulating library ta ken a course o f the best hundred authors under the guid a nce o f Sir John L ubbock o r M iss Braddon or some othe r A controversy which has sent O f the best hundr e d j udges even o ne grovelling soul back to his Ody ssey cannot be counted a barren inci d ent in the stri fe O f tongues and But i f we may d eserves the gratitude o f th e right min d ed d isti n guish degrees in o u r thankfulness to the censors o f o u r litera ry manners we shall be inclined t o admit that we o we most to those who have told us n o t so much W hat we o ught to read as what they read themselves Example is bette r than precept A s a play o r a novel is more popular t han an essay in morals and there fore more generall y e ffecti ve— fo r a boat is O f no u se on d ry land — so it is more interesting and profitable to learn upo n w hat literary diet men actually have thriven than to have prescribe d an ideal regim e n o f abstract excellence In a pleasa nt corner O f that visionary library o f the b oo ks that are waiti n g to be written stands a delightful little o ctavo brimming with su ggestiveness u po n th e “ F avourite Books o f G reat M e n W hen this li ber desi de ratus has found its way into th e P u b lzlr/ee rs Ci rcula r ,
,
,
,
.
,
-
.
,
.
.
,
,
.
,
,
.
’
,
it will d o more to destroy the taste fo r garbage th an all ” the dy a y a B éh e a o f our far darting C omtist Fo r books as o ne has been reminded so Ofte n have a kind O f pe rsonal existe nce and human n ature cannot take to books any more than it can make friends from conscientio u s motives A man w h o should try to mod e l his friendships upon th e academic e ssays O f A ristotle and C icero would be as we all fe el an intol e rable prig ; and w e cannot think that a healthy nature would remain unimpaired after an imposed cours e o f any authors b e th e y nev er so fa r th e be st It is as t ru e O f a good book as o f any oth e r good thing that -
.
,
,
,
,
.
,
.
,
,
,
.
,
,
Yo u m ust lo v e i t,
e re to
o u y
i o f y o u lo e But i f we have any hero worship in o u r souls w e cannot help being drawn towards those books which o u r pa rticular heroe s have love d and ch e rished just as we are attracted by the very corporeal mould o f any volume which the y once han d led W e k now a lover O f books an d o f C harles La mb w h o holds in pe culiar reverence a slim volum e bound in boards containing some album ve rses o f Elia fo r no better comprises this legend reason than because the fl y le af written in L amb s fi n e handwriti n g I t w ll se e m w o rth y
r
v
”
.
-
,
,
,
.
,
,
-
,
,
,
’
,
FR OM C H A RLE S LA M B , Y L U , J
12
H
.
N
.
1 830 .
CO LE R I DG E
.
the bare fo rm a n d substance o f boo ks conne cted with great and honoured men have this sentimental charm “ surely we must feel a more solid a ffection fo r the insides o f th e ir favourite volumes It would doubtl e ss be a good thi n g to po ssess that Copy o f F lo rio s tra nslation o f M ontaigne wh ich contai n s Shakespeare s autograph o r th e If
,
.
’
’
,
S ha kespea re s Li b ra ry ’
5
.
d uplicate
copy in th e British M useum which belonged to r are Ben Jonson and no wonder M r A ndrew L ang is proud to o w n a M ontaigne which bears upon i ts titl e h e O f age name and evice rummond haunted t o f D d p ” H aw thornden yet after all the inte re sting and suggestive oint about these trea ur s consists in their testimony that e s p D ru mmond and Jonson and Shak e sp e are used to re ad th e wise and witty G ascon I f t h e consideration o f this fact d oes n o t instil an a ffection fo r M o n taigne into the breasts o f the indi ffe rent what will e nnobl e them ? A las ! not all the ink o f all th e Barlows ! Fo r those who fail to a ppreciate th e suggestiven e ss o f this thought will never a ppre ciate M ontaigne B ut apart from such rare r e lics O f a great man s library it is not always easy to discover what books he re ad and — loved W hat were Shakespe are s favourite books to com e at once to the heart Of th e matte r and to th e subject O f this e ssay Th e o nly book which we know from direct evid e nce to have been in Shakespeare s han ds is that same copy O f F lorio s M o n taigne which contains his autograph and e v e n i n this solitary case there is a doubt as to the genuin e ness o f th e signature I f we wish to re constr u ct as far as po ssibl e th e poet s library we must re ly almost entire ly upo n C ircumstantial proo f M oreover as there is little or no e xternal testimony Shakespeare we are c oncern ing the litera ry likings o f c ompe ll e d to look fo r this circumstantial proo f in his own works Quotations and all usions scattered here and there t hroughout t h e plays “ ri ” a to ra nan te s in gu rg i te these are almost the only guid e s which can help us and th e evidence which they O ffer is un fortunately most i n c o n c lu si v e and fragmentary .
,
,
,
.
,
.
’
,
,
’
.
.
’
,
’
,
-
,
.
’
,
,
.
,
,
,
.
,
v
s
,
,
-
.
6
N o c tes S na ksp en a ne '
.
I t wo ul d be absurd to deduce any po sitive and dogmati c conclusions from these sparse hints and si d e lights upo n Sha ke spe are s rea ding Neve rthel e ss it see med at leas t a pleasant so rt Of id l e ness to a ttempt a prov ision al re con struction O f the library o f o u r gr eate st poet W e canno t o f cours e r e fill th e booksh e lves at New Place fo r we hav e no m e a n s Of knowing what boo ks Shakespe are actually possessed we can only hope to re fu m ish that id e al library which is afte r all th e only genuin e o n e containing the b oo ks which h e made h is o w n n o t by buying but by l re ading t hem The ran g e O f Shakespeare s literary acquirem e n ts may ap pear but narrow to the patrons O f o u r proli fic publishi n g establishm e nts The terribly rapid increase in th e po pu lation o f o u r bo okstalls makes it di ffi cult fo r us to re alise h o w rare books were in the golden ag e O f English lite rature A n d o f th e comparativ e ly fe w b ooks which existe d in Eng land thre e c e nturies ago Shak e speare certainly did not read a large proportion W e may take fo r grante d his love o f lite rature a nd assume that he re ad eve rything he could which h e though t worth reading : but he w as limite d by two principal draw — backs th e di ffi cul ty o f Obtaining books an d his ignorance The former hindranc e chi e fly a ffe c ted O f for e ign languages the early years o f his li fe at Stratfo rd when he could n o t have had many oppo rtunities o f readi ng anything except school books and books o f d e votion -
’
,
.
.
,
,
,
,
,
,
,
.
’
.
.
,
.
,
,
.
,
.
b
b
Fro m th e a se nc e o f all re fe re nc e to o o k s i n th e W ill o f 1 6 1 6 i t may b e o e t h i mse lf was no t th e o wne r o f man y su c h luxuri es safe ly i n fe rre d tha t th e Any th ing i k e a ri va te li rary e ve n o f th e smallest d ime n sio ns was th e n o f th e re e ve r o wn e d o n e a t a ny ti me o f h is life is rare st o c c u rre nc e an d th a t S h ak e s " —J O all i we ll-P hi i s, L if e of S ha kespe a re vo l i e xc e e d i ng y im ro a le “
p
p
l
,
.
b
,
.
ll pp p bb p g p ti W ill th t w m d b y M H ll f w h b f h di d I l h ild h i k t dy f b A th N h th h b d f h i Th m h lg t h dly b t d bt th t id Sh k p H l w y p gb y h l t S t f d A w i l d d l m th t h d b m d th t th It m y l p h p b w t dy t N w t i th i b — m t i t I oi d l i f t h d g m t Pl i ti t g .
l
2
.
.
,
r.
n a n unc u a o
ve
e
s
e
s
ac e
n
as
a
ve
as
e
,
'
a e s e are s res
ere
es
vo u
n
.
.
.
a
a
ues
e
.
e o
een
as
us an
a
e a e es ,
in
t e
a so
e
re a
er a s
ra
a
e
s
"
.
a
r.
s On
o
o sse sse
a
e
c
s
.
.
o urs
s u
o
e
rat o r -o n -
e
.
e
ar
e re can
at e r a t
assu
a
a
oc
.
c
ere
.
e o re
s.
oo
a
vo n
ou
e re
as a s u
e
e
’
s
a
.
e
an
nc u
e
a
e
S lra k espea re s L i b ra ry ’
7
.
L illy s G rammar
and a fe w classical works chained to th e desks Of th e F ree School we re probably the only volumes o f th e kind t o be found at Stratford O u A von Exclusive O f Bibles C hurch Services Psalters and Educa tion M anuals there were certainly not more than t wo o r thre e dozen books if so many in th e whole town The C opy O f the black letter English H istory so O ften depicte d as well thumbed by Shakespe are in his father s parlour 1 never existed out o f the imagination The grammar and d i le c tus from which Shak e speare “ gathere d his small L atin were the above mention e d grammar the sy n tax o f which was written by Erasmus and the S e n te n ti ae P ue r ile s The other school bo oks o f Shake speare are n o t known There is a very doubtful allusion to the A rithmetic or A lgebra published by R o b e rt R ecord in I 5 5 7 under the title The W he tstone o f W it a book int e r e sting as the first which contains the ( now universal sign O f equality ) but there is n o proof that SI it had been studied by S h ak e spe are ” “ W e may assume that the gentle W ill also received due instruction from som e o f those books fo r good ” a manners to which h e re fers in A s Yo u L ike I t T h e treatise Of Erasmus D e Ci o ili ta te M o ru m P ue r ili u m had been translated and printed in the yea r 1 5 5 4 under the title A lytle Booke o f good M anners fo r C h y ld re n with ” i n te rp ri ta tio n into the vulgare E ng ly ssh e tongue and Shakespeare may thus have learnt his manners as well as his L atin Syntax from th e great Erasmus O r he may have been ta ught o u t O f anothe r book publish e d without date in black letter in the reign o f Edward the Sixth by The Booke o f N u rture or H ugh R h o des and called ’
,
,
-
,
-
.
,
,
,
.
,
,
-
,
’
-
,
”
.
”
-
,
,
.
.
.
”
,
.
.
,
,
,
,
,
,
.
,
,
,
J
.
,
O H alli we ll-P h illi .
A s Yo u Li ke I t, 1, ii . 5 1
pp
.
s.
Life
4
S ha ke spe a re
.
vo L
i,
Id
.
,
p
.
2 5
.
V . i v, 83
.
N oc tes S /zaé spe r ia nce
8
.
Schoole o f Go o d M anners fo r M e n Servants and C hildren ” with Sta ns pue r ad me nsa m ” Perhaps the card or ca lendar o f gentry to which O sric compares Laertes refers to th e title o f another 3 manual o f the same kind W e have said that Shakespeare s reading was restricted by his ignorance O f fore i g n languages But the fact is Some G erman critics have formed an Opinion d ispute d that the common notion which credits the great D ramatist with little o r no knowledge beyond that o f his n ative to n gu e is nothing less than a deliberate insul t to L earni n g which has been promulgated by English students fo r the sole purpose o f exalting the ir national hero But it would seem that the academic spe ctac l e s O f these profe ssors have magnifi e d the evidence fo r Shakespeare s learning There a re fe w S h ak e spe ri a n scholars we think who would sub scribe to the Opinion expressed by K arl Simrock w h o says Shakespeare knew L atin currently ; was n o t wholly t hat unacquainted with G re e k ; and was fully vers e d in Italian s at e court O f Queen Elizabe th this w as u n av o i d ab le ) ; and t h ( o f his kno wledge o f F re nch which was then a rarity n o o ne can doubt wh o has read his H en ry V W e do not know h o w it was with Spanish but it is probable that he under ”4 stood this language also L i fe is to o sho rt fo r a r e capitulation o f the evid e nce in a case which has b een already tried and we need only add ” “ that the English notion o f Shakespeare s ignorance which ” “ Simrock and other critics have been com pelled to g ive up ,
,
,
,
.
,
.
’
.
.
.
,
.
’
.
,
,
,
,
,
.
,
.
,
’
,
" u sa m
p
S ta n: pace r ad m is a o e m b y Jo h n Ly wh ic h inculcates. wi th nai ve i m artialit ta le the e ti qu e tte . as wi tness the fo llo wing d e lic i o u s c o u et z
b
I
p
.
py .
te o n
e e me n ts o f
N e vy r a t me t b e warre g y nne no stry ve Th i te th also ne ik e no t wi th th i
p
9
.
p
S hak es
1 1 4.
S ha ke spe a r e S oc i ety P aye r s, 6
p : .
H a mle t, V . i i,
1 85 0 .
p
.
1 9.
g oo d
eare
man ne rs
mo rali ty
at
and
.
was
no
t a c o urtier
So to o Gen i u ses (Eng
.
.
1 883 .
N o c tes S ha b spe r i a na
10
' .
debarred from that sacred eart h O r does the ever varying flow o f the A ristophanic humour carry you upon waves O f boiste rous laughter into a fai ry have n Think that the make r o f Falsta ff an d Bottom and A ri e l n e ver “ read the C loud s or the Birds ! V erily there is scant poetic ” j ustice in the fate s O f m e n ! A n d yet there a re compensations Shakespeare possessed doubtl e ss in this sphere th e blessing which has bee n bestowed W ith an u n divided ard our h e O h th e man o f one book knew and love d his P lu ta rc/z Th e extent and nature o f his familiarity with this trea sure house O f ancient mann e rs will be consid e re d in t h e fo llowing essay in which the C lassical attainments Of Shake spe are are more fully d iscusse d W ith L atin lite rature Shake speare was som e what more familiar than wit h G re e k P erhaps the favourite C lassic songster O f th e E lizabe than ag e was that most capricious ” poe t O vi d and i f w e were to judge from frequ e ncy o f quotation an d allusion we should conclude that h e was also Shake spe are s favourite But o u r conclusion woul d pro bably It se e ms improbabl e in th e nature o f things b e wrong that one o f the sturdiest O f English souls should have se t so high a valu e upon th e twitt e rings o f any cage bird a nd we have a piece o f dire ct evidence on th e poi n t which is perhaps worth consi d eration O vid is the favourite po e t O f the pe d ant H olo fe rn e s O i di N o w th e ma d wh y N aso b ut fo sm e lli g o ut d o i f o s fl we s o f fa c y th e j e ks o f i n e ti n th e F rom which w e might gath e r that Shakespeare thought with many other peopl e that O vi d is a v e ry goo d sort o f — poet fo r a H olofe rn e s H owe ver this may b e it i s certai n that Shakespe are was well acquainted with the M e ta mo rp/zose s The Ep i stle s and the A rt of L o ve fu rnish him with o ne o r two quotation s but the great majori ty o f w as
.
.
.
.
-
,
.
.
,
,
,
’
.
.
,
,
,
-
.
,
v
o
r
us
er u
as
o
as
n
r
n
an
,
r
,
v n
n
r
o
,
,
.
,
.
,
'
A s Yo u L i ke I t,
I II
.
ii i , 67
’ .
Lo ue
’
s
Lab o u r
’
s
Lost, I V
,
ii ,
1 20.
S hake spe are s L i b ra ry ’
11
.
O vidian allusions re fer to those myt hological fai ry tales which chiefly attract the fancy The po pular ve rsion O f the M e ta mo rpho ses by A rthur G olding commended by ”1 “ Puttenh am fo r its learn ed and well corrected verse w as published in Shake speare s twe l fth year and probably came into his hands soon after his arrival in London W e may imagine what a delightful meal it provided fo r the hung ry imagination O f the count ry genius A n d here we may recollect that during the first five o r six ye ars O f his L ondon li fe Shakespe are disappe ars from the historian s vi e w These years were we may assume his season o f incubation that sojourn in th e wildern e ss which awaits all m e n o f p rO ph e tic rank ; whe n h e would “ summon up to th e se ssions O f sweet silent thought n o t the ways O f destiny alone but also the v arious proj e ctions o f t h e human mind It was within these years before his period O f produ ction as we may not unre asonably conclude when he was comparatively free from other responsibiliti e s and after the world o f men and books had becom e acces sible that he laid th e foundations o f his many — sided knowl e d ge A nother classical work which may hav e h e lpe d at this time with G oldi n g s Ov id to enlarge his inte ll e ctual vie w was P h ae r s translation o f the £ue i d R efe re nces have also bee n found in th e plays o f Shakespeare to passages in Ci ce ro H o ra ce L uc re ti u s Sta ti us S e ne ca and P e rsi us ; but i n most cases only the ingenuity o f a commentator would discover the m and ce rtainly they would not justi fy us in naming an y O f these classics among th e poet s books But a translation O f the F irst Book Of P /zar salia by h is
,
.
,
-
,
’
,
.
.
,
’
.
,
,
,
”
,
,
,
.
,
,
,
,
.
’
,
’
.
,
,
,
,
,
,
’
.
b
p
p
a i n h r i n P u t n a m s t i c i s m s r e er i n A s re t t e c r i t e s t n er P i r o es z e 77 g f b e cause , c o mi ng in th e i nfanc y o f th e Ga Sc ie n c e . th e y ro b a y re fl ec t wi th so me fai th fulne ss th e c o mmo n o in io ns o f his y I
A r te
‘
o
.
.
p
'
'
.
p
.
bl
N octe s
12
Sleak s/ e r rand
.
M arlowe was
C hristopher
published in the year 1 600 t hrough which as we may sa fe ly in fer from some passages l in H a mle t and ju li us Ca sa r Shakespeare made th e a cquaintance o f L ucan A n d he may have read some Plautus L ast but n o t least in the list o f L atin writers know n t o Shak e speare we may place the name O f Pliny w i th w hom h e was acquainte d through th e translation o f H olland T h u k o w st th e fi rst t i m e th at we sm e ll th e ai r ,
,
'
,
.
.
,
,
,
,
.
o
We
h
’
w a w l an d
says L e ar making use o f a word wh ich d o es n o t occur ” e lsewh e re in Shak e spe are N o w in th e Proem to the S e ve nth Book o f H olland s P li ny is the following passage : M h e lo d u n t w i a l l k e o a o r h h t h l a d e c t e t a p p ba th l m t f o h i b i th d a y t w w l e se d y p y ” the h th at h e i b o i t th e wo ld y This coincidence is almost su ffici e nt to establish by itsel f t h e fact O f Shak e spe are s ac q uaintanc e with H olland and t h e re a re other passages in the plays which confirm the S uspicion S u ch th e n was the scanty parade o f ve tera ns wh o re pre se nted to Shakespe are th e classic compani e s o f G reece a n d R ome A poor hand ful O f translations th e S e n te n ti ce P u e r i le s and L ily s G rammar ; th e se O ffe re d but a rude i ntroduction to th e tre asures O f anci e nt literature Nor can Shakespeare b e sai d to h ave been much more f ami liar with the modern write rs O f the Contin e nt W e have remarked already that he was a re ader o f M ontaigne s E ssay s in the version o f F lorio which w as publishe d in the year I 60 3 G onzalo s description O f his ideal Commonwealth in th e Te mpest is a reminiscence O f this translation more literal than we are accustomed to find ,
.
’
an
re e a r ve r
a
ne ,
r
e ve n o n
,
s
o ure
n ,
r
s
,
rn
o
cr
n o
o
n
a
ur
an
r
ra
e
n
r
r
.
’
,
.
,
,
.
,
’
.
.
’
’
.
H a mle t, I , i ,
I ra- 1 1 5 .
ju ti us Ca sa r I I , ii ,
,
15 ,
m
.
K i ng Lea r . I V .
vi , 1 83.
Shahespe are s ’
Li b ra ry
13
.
in Shakespeare and this i n stance o f his accurate re c o lle c tion coupl e d wi th his known possession o f the book make s o n e inclined to think that M onta i g ne was a favourite It would be pleasant to share M r Swinburne s Opinion that h e loved also that othe r great Frenchman whose genius howe ve r it may have been warpe d by circum stance was yet intrinsically so S h ak e spe rian but probability will hardly allow us to suppose that Shakespe are had read the authentic R abelais There are t wo al lusi o ns in the plays to G argantua and the nam e o f the pedant H olo ferne s may have bee n borrowed from M aster Tubal H olo fernes who taught th e giant to say his A B C backwards ; but the se allusions were in all likelihood pick e d up from an English adaptation o f the H i sto ry of G a rg a n tu a wh ich “ — f f contained only the popular bu oonery the g r o s r i r e 3 Th e re is nothing which l e ads us to th ink To u r a ng e a u that Shake spe are had acquaintance with th e wisdom o f Pantagru e l or with the perennial mystery o f the D ive Bo uteille It h as be e n thought from a consideration O f th e plots that Shak e speare had read O f n o t less than four plays B e lle fo rest s H isto i re s Tr ag ique s e xtr a i te s des a u r re s d u B a n de l publishe d at Lyons in 1 5 94 e ither in the original o r thro u gh some translation the re membrance O f which has perished with it It was apparently from this source that the po et too k the story o f H ero s feigned death in M u ch A do a b o u t N o th i ng The plots O f H a mle t Twelfth N igh t and the Tw o Ge ntle me n of Ve ro na are also to be found in B e lle fo re st s adaptation o f Bandello s novels : but in these l
,
,
,
.
’
.
,
,
,
,
.
,
,
,
”
.
,
.
,
,
’
’
'
,
,
,
,
.
’
.
,
,
,
’
’
Temp est,
II
,
i,
14 7 , sqq.
p
M r Swi nburne in h is S tu di es of S ha kespe ar e ( " admira ti o n and e ve n im i tatio n o f Ra be la is .
.
12 1
) speak s O f
Shakes
p
’
e are s
.
b
p
A H i sto ry 4 Ga rg a n tu a was e nte re d o n th e o o k s o f th e S tatio ne rs C o m a ny in 1 5 94 . b ut th e re a ea r to have b ee n man y re vi o us ve rsio ns Th e re was o ne in C a tai n C o x s li ra ry —S h a he spe a re S oc i e ty P aper s (I 849), 28 3
p
’
b
pp .
p
'
p
.
.
.
N oc te s S ha hspe ma na '
14
.
thre e cases English versions o f the stories are known which were most likely the immediate parents O f the Sh a k e spe rian dramas Perhaps there was also an English version O f the M u ch A do story to which B e lle fo re st had n o exclusive patent I nd e ed these popular tales O f Bandello Which were extant in th e year 1 5 5 4 led a most cosmopoli tan existence an d t ravell e d from country to country with mar vellon s rapidity The story Of the Two Ge ntle me n of Ve ro na c ame to Shakespeare from Italy by way o f Spain through the D i a na O f M onte mayor which is the one solitary example o f Spanish lite rature that can be claim e d fo r his library This book belonged also to the library o f D o n Quixote de la M ancha and was one O f the fe w volumes that escaped the prie st s ordeal o f fire W h t h ll b e d e sa id th e b arb e wi th th e se sm ll b o o k t h at e m i ? Th e i d th e p i e st a e p o b ab ly o t b o o ks o f Ch i al y b ut f po e t y T h n o pe i ng o ne h e fo u d i t was th e D i n o f G o ge d e M o nt m y a d c o n c lud i g th a t all th e o th e s we e O f th e same k i d h e ai d T h e e do o t de se e to b e b urn t li ke th re st fo th e y m i s h i e f th at th o se o f c h i al y h a e do e ; th e y a re th ca n t d w o k s f g n i s a d f c y a d d o i j u y to o e M y pi i o n i s th at i t h ld o t b e b urn t b u t th at all th at pa t sh o u ld b e e pu ge d f th e sage Fe li c i a an d o f th e nc h a te d fo wh i h t e t ta i n an d le a i g h im i n G o d s nam e th e p o se al o m t f th l n ge r po e ms th e h o o u o f b e i ng th e fi st i n th at k i n d o f wri ti n g a d al T h e D i a na was translated into English by Bartholomew Y oung b u t his work w as not published until the year 1 5 98 w h e n th e Tw o Ge n tle me n of Ve r o na was already on the stage This se ems to have been the only printe d version but there w e re earlier manuscript translations by Thomas W ilson Edward Paston and Sir Philip Sydney which Shake spe are may have se en Such is the unce rtain link .
.
,
,
,
,
.
,
,
.
,
’
.
‘
a
s
’
os
a
s
,
o
n
o
os
r
,
,
,
n
s
an
r
,
n
n
r
,
o
n
n
r
,
o
un
,
n
n
,
’
v n
r
x
n
e
r
n
v
r
r
e
e
,
e
a
r
rv
n
r ,
v
a
v
n
u
n
n
c
n
so
a
n
s
ou
o
r ,
,
r a s o
c
n
n
e
s
s
o r,
e
‘
n
,
,
o
r
r,
,
r
e
.
e
n
sa
,
’
r
o
‘
’
a n
r
on
a
’
r
,
,
’
r
.
,
,
.
,
,
,
.
first
i n time , b ut in me ri t H i s wo rk is an i mi ta tio n O f th e A r c a di a o f th e I ta lian S ana zzaro , wh ic h was so p o u la r th at i t asse d th ro ug h Th e D i a n a was i mita te d b y C e rva n te s h imse lf six ty e d t io ns i n th e r oth c e n tu ry " H e ha d n o t i n th e rs t frui ts o f h is o o r g e ni us, the ro se asto ral o f Ga latea D on u x o t i e t h e h ea rt e ve n i n c tio n . to co mmi t h is o wn c hild to th e fl a mes . Q [ B o o k 1, C ha ter vi ]
M o n te ma y o r was
i
fi
.
p
fi
p
.
no t
.
.
p
p
p
p
.
.
S hak espe a re s L i b r a ry ’
I
.
5
which con ne cts S h a ke spe are s reading with th e literatu re O f Spa in Th ere is more to be sa id about his acquaintance with Italian writers It has be e n in fe rre d from c e rta in passage s i n his plays that Shakespeare had vi s ited Italy so exac t is l Such a h is po rt rayal O f Ita lian manners and customs visit is to say the least ext remely improbabl e A t th e same time it se ems that he was more familiar with Ita lian H e was c o nve rsant t han with a n y o th e r foreign language w ith the I talia n D ictionary and pe rhaps with th e person o f John F lorio the translator Of M on taigne wh o was a p ro teg e? o f L ord Southampton : and there is at least a presumption that h e had read some Italian works in their native tongue For example the H e ca to rn rn i th i Of G io G i rald i C i nth i o published in th e ye ar 1 5 6 5 may have supplied the frame work O f M e a su re f o r M e asu re and almost certainly fu rnished th e plot o f Othe llo ; and as no English trans lation O f C i nth io s nove ls is known to hav e be en e x ta n t in Shakespeare s time o ne may naturally suppose that h e read them in the I talian But those who are impressed wi th the knowledge O f French shown in H e n ry V may prefer to think that he was indebted to a F rench version published in Paris by G abriel C h ap uy s in I 5 84 A gain the bond sto ry in the M e r ch a n t of Ve n ice bears s o close a resemblance to the first tale o f the fourth day in th e P e co ro ne O f S e r Giovanni Fiorentino written in 1 37 8 a n d fi rst printed at M ilan in 1 5 5 0 tha t it is supposed to ” have been immediately borrowed from this source It is also thought wi th good nea son that an I talian comedy ’
.
.
,
.
.
,
,
.
,
,
,
,
,
.
,
,
,
,
’
’
,
.
.
,
,
,
.
,
,
Se e 1 83
flt h
M r A rmi tag e B ro wn S ha kespe a r e
e spec ia lly
,
.
'
s
A u tob i og r aph i c a l P oe ms
p
'
.
b e e n c o nje c ture d h o we ve r fro m th e re fe re n c e made b y S te h e n G o sso n i n the S c hoo l of A b u se (1 5 7 9) to t h e o st lay o f Th e 7 c m wh ic h se t fo rth as h e " o o d y mi n ds o f usu re rs says o th th e g re e d i ne ss o f wo rld ly c h o o se rs and th e e e n u n i te d e fo re th e th a t th e o nd sto ry and t he sto ry o f t h e th re e c ask e ts h a d Ah rc lum t of Ven i c e A n d S h ak e s e a re may h ave fo u n d all th e de tails o f th e I talian n o ve l i n th e o ld lay .
b
as
,
.
b
p
p
.
.
l
p
bl
,
b
.
b
,
6
I
N o ctes
Shah spe r i ana
.
called I ! S acr ifici o suggested to Shakespeare the serious plot and e ve n the title o f Tw elfth N ig h t The P eco ro ne and I l S a m fi c i o may h ave bee n re prod uced in English before Shak e spe are s plays were written but no English v e rsions have be e n d iscove red H i s acquaintance with Bandello s stori e s has bee n alre ady mentioned I t is also probabl e that h e had read in one form or another some Of Boccaccio s novels Th e story O f the three cas kets in the M e r ch a n t of Ve n i ce might have been taken from the D e ca ru e r o n where it makes th e first story o f the te nth day ; but it is more probabl e that Shake spe are took the tal e from the English G e sta R o ma n o r u m fo r there are no distinctive fe atures that mark the D eca rn e ro n story as Shakespeare s original But the ninth nove l o f th e second day is the most likely source O f the general plan O f Cy m b eli ne It has bee n “ po inted out by M alone that the incid e nt O f th e mole cinque spotte d upon I moge n s left breast must have been taken dire ctly from Boccaccio s novel sinc e it does no t We stw a r d f o r S me lts o ccur in the imitation pri nted in l which was long suppo sed to be the immed iat e model Such a resemblance o f d e tail certainly goes far to S how tha t S h akespeare had re ad either the original novel or som e lost translation which was more literal than the ” adaptation in Westw a rd f o r Smelts O f the Italian poets A riosto is the only o n e o f whom there is any evid e nce that he o ccupied the mind o f Shakespeare It was G eorge G ascoign e s translation supposi t i which suppli e d the episode O f o f the com e dy I 3 L ucentio and Bianca s love in the Ta mi ng of the S h re w ,
.
,
’
,
.
’
.
,
,
’
.
,
,
’
.
.
’
-
’
,
'
,
.
,
.
,
’
.
'
.
'
Cy mb e li n e , I I ii 37 lac k - e tte r ta e ca lle d Fr eder i c k of Ge n e wh ic h was T h e re was an Old u lish e d i n 1 5 1 8 , an d w h ic h is sa id to b e a ve rs o n O f th e D ec a rn e r o n sto ry A c o y was i n C a ta in C o x s i ra ry —S h a ke q e a r e S oc i e ty P apers V o l I V (1 849) .
pb p p .
b
p
l
'
l
lb
was
p
.
o c c ur
.
.
,
.
Th is e piso d e do e s no t add e d b y S hak es eare
i
.
as 3
.
.
i n th e
a i rlie r
pl y a
.
The Ta mi ng
.
f
I
a
.
S h r e w . b ut
1
N o c tes S ha h spe r rkrna
8
' .
S hakespeare
copied the narratives o f H olinshed by quoting many instance s in which h e adopted th e blunders and H e was ind e e d more careful i naccuracies O f th e chronicler to pre serve the soul o f history t han th e details Of fact fo r he respecte d th e law O f inward i n the words o f G e rv i n us truth and n o t that O f chronology The Ch r o n icle s O f H all Stow and perhaps L ord Berners translation o f a nd FrO i ssa rt also furnished him with the raw material o f history Perhaps to o he re ad C avendish s L if e of Wo lsey fo r manuscript copi e s o f this work we re made use o f by the chronicl e rs and had a private circulation long before it was printed in 164 1 A curious parall e l h as bee n adduced by a member O f th e Shakespeare S o cie ty be tween a passage in Cavendish s account o f Wo lse y s embassy to F rance a nd 1 the scene betwe en H enry th e F i fth and K atherine But t his is probably a mere coincidence ,
.
,
,
,
,
,
”
,
.
,
’
,
,
,
,
’
,
.
,
,
,
.
’
’
.
.
There are a fe w books o f travel which we may conjee t u ra lly place in Shakespe are s L ibrary It is di ffi cult to imagine that any other ag e than the ” spacious times o f great Elizabeth could have produced the Te mpest which is the very quintessence o f all travellers tal e s A ccounts o f Sir G e orge Somers shipwreck o n the Bermudas in 1 609 such as the pamphlet appearing in the next year with the title The D i scove ry of the B e r mu da s o r D ev il s I sla n ds Eden s H isto n e of Tr a vay le and many a nother story O f adv e nture may hav e gon e to its making Perhaps th e noises O f th e enchanted isle we re caught from the trav e ls o f M arco Polo who says that in the gre at dese rt “ near the town O f Lo p you shall he ar in the aire th e sound O f tabers and other instruments to put t h e trav e llers in fear ” by e v i ll spirits that make th ese sounds p 75 S i ty P p Sh k p ’
.
’
,
’
.
,
,
,
'
’
’
,
,
.
,
,
.
'
a e s ea re
oc e
a
er s
.
1
.
A th o usand twang li ng i nstr u me n ts C Te mpe“ I I I ii f M arco P o o s tra ve s we re tra n sla te d b y Jo h n e tc wo u ld I c o u ld se e th is ta b or e r B u t the se u nea rth y so un ds are c o mmo n i n a ll F ram to n an d u i sh e d in I 5 7 9 “
s
,
,
.
,
‘
p
p bl
.
,
.
l
'
l
l
.
I
Shah espea re s
L i b r a ry
’
We may assume
19
.
that S hakespeare had read H ac k lu y t s Voy ag e rs Ta les and particularly the narrative o f Sir W alter R aleigh s sailing to those golden shores O f G uiana in 1 5 95 where in are ma rvellous stories concerning th e c a n i b a l th a t e ac h o th e e at ’
to o ,
,
’
,
’
,
n
s
T h e A n th ro po ph agi ,
r
,
me n wh o se h e a d s
an d
g o w b e e ath th e i sh o lde s H e may also hav e read L i n sc h o te n s D i sco u rs of Voy ag e s an English translation O f which appe ared in the f w M h ear aria s description alvolio does 8 O M o 1 59 y s mile his face into more lines than are in the new map ” w ith the augmentation o f th e Indi e s probably alludes to a map engraved in this work which is said to be multilinea l i n the extreme and to be the first in which the Easte rn l I slands a re included DO
r
n
r
u
r
”
.
’
,
’
.
,
,
,
,
.
W hen we leave the se romances
real li fe and enter t h e domain O f pure fiction we find there a number O f nov e ls a n d popular tales which were undoubtedly welcom e d by Shakespeare The best novel that was ever writte n was give n to th e world in Shake spe are s forty second ye ar wh e n the first part o f D o n Qu ix o te saw th e light This part was translated i nto English in the year 1 6 1 2 but there is no evidenc e w hich will allow us to place it in our poe t s library In th e latte r hal f O f the sixtee nth century the old romances o f chivalry which re ceive d in D o n Qu ix o te SO impe rishable a monument appear to have passe d their m e ridian O f popularity Y e t they e njoye d a c e rtain vogue P a lme r i n of i n England among the Elizabethan wits E ng la nd w as translated into English in the ye ar 1 5 80 and It is not ve ry probable that A m ad is of G au l in 1 5 92 Shakespeare read the se romances : but he though t that a o
f
,
,
.
’
-
,
.
,
’
.
,
,
.
.
,
.
M r D y c e h o we ve r, th o ug h t th at Twe l th N i gh t, I I I , ii . 8 5 map , no t o ng i ng to a o o k , was i nte n de d
b
.
.
,
.
so me
se
p
ara te
N o ctes S hah spe ri a nce
20
.
like D o n A rmado in Love s La bou r s Lo st wo u ld t h e m at h i s finge rs e nd T h i s c h i ld O f fanc y th at A rmado h i gh t F o i n te ri m to o r stud i e s sh all re late I n h i gh b o rn wo rds th e wo rth o f man y a kn i gh t ” F ro m tawny Spa i lo st in th e wo rld s de b ate man
’
’
h ave
’
,
,
u
r
,
,
,
,
’
n,
)
Shakespeare felt perh aps that there was n o place fo r these windy extravagancies in his own e arnes t and sti rrin g centu ry The phantom deeds O f the knight e rrant h ad ” “ becom e lost in the world s debate as the play is forgotte n wh e n the theatre is o n fire There w as ano ther kind o f romance howe ver which h ad a firmer hold upon the tas te o f the Elizabethan age W hile we cannot trace any plays O f Shakespeare to th e romances o f chivalry the m e ntion o f the pas toral romance calls to mind at once the stories o f the Tw o Ge ntle men of Ve ro n a the Wi n te r s Ta le and A s Yo u L ike I t W e have seen that Shakespeare was acquainted with the D i a na I na rnorada o f M ontemayor which though no t t h e original source was still the chie f model in this schoo l o f writing and was very popular i n England during th e latter years o f the sixteenth century The pastoral romanc e “ which is best known and which sti ll retai ns a pe rfume i n ” is the A r cad i a O f Sir Philip Sidn e y and it i s th e m e ntion pleasant to know that Shakespeare had walked in this Old garden o f prose and verse I n the second book o f th e The P itifull State and S to rie A r ca d i a is a chapter called ” o f the P ap lag o n i an u n k i n d e K ing and his kinde Sonne and the re is no doubt that tO S h ak e spe are s recollection o f this chapte r we owe the e pisode O f G loucester and his two sons in K i ng L ea r A n d the scene at the begi n ning o f the fi fth A c t o f ,
,
.
’
,
.
,
,
.
,
’
,
,
.
,
,
,
,
.
,
,
.
,
'
.
’
.
Falstaff i n Lo v e s La b o u r s Lo st. 1, i , 1 7 2 Voy ag e of the suspe c te d o f a n allusi o n to th e C ath e nay tra n slated i nto E ng ish c i r c 1 600 I
’
'
.
.
l
.
.
H e n ry I V, I , i i 1 6. h as b e e n Wa n de r i ng K n ig ht, b y J e an d e 1
.
S ha k espeare s L i b ra ry '
21
whi ch wo n th e a dmi rati o n o f D r Johnson by i ts finished represe n tatio n o f colloqu i al ” excelle n c e is a lso suppo sed to b e i mitated fro m a passage i n S i d ne y s A rca d i a But the Spa ni sh and Po rtuge se rom ance s h ad no t n e a r ly so s trong nor so pe rmanent an influence u po n Engl is h fic tion as the Italia n novel o f man ners fro m w hic h as we have seen Shakespe a re too k so many o f his plots A nd as Sir Philip Sidne y gave an added touch o f po e try to the pastora l so Sir Thom as M o re in his Utop ia a n d L ily i n his E uph ue s ballasted the light vessel o f th e no ve l la with philosophy and religion There does no t a ppea r to b e any actu al evidence that Shakespea re had rea d the Utopi a but the book was accessible to him in English and he is not likely to have pa ssed it by A nd h e must have been acquainted with Li ly though perhaps P rofessor G e rvi nus g oes to o far i n his Opinion that from no other O f his predec essors had S h akes pe a re es pecially as rega rds the dexterous play O f word s in the m e rry parts o f his come dies and dramas lea rned and Obtained so much as ” fro m Lyly Tales more o r less Euphuistic i n style he had certa i n ly H e knew the R o saly nde o f Thom as L odge wh ich read 1 w as a professe d imita tion o f L ily ; and which no w shines with reflected glo ry as pa re n t to the sweetest o f English ” A nd he bo rrowed th e Wi nte r s Tale from a c om edie s L ove s L a b our ’
’
s
L ost,
.
,
’
.
,
,
,
.
,
,
,
.
,
,
.
,
'
,
,
.
.
,
‘
.
p
Th e se c o nd title i s Eu h ues G o lden Le g ac y , fo un d afte r h is d ea th i n his c e ll a t S ile x d ra B e que ath ed to P hila u tus so nnes nurse d u p wi th th e ir Fathe r i n E ng a nd
l
'
'
.
.
p
p
A lo ng list o f ara lle l assag es mig h t b e drawn A s You Li ke I t i mita ti o n o f th e so ng s is no te wo rth y T h us T o uc hsto ne s ve ry fal se lo o ks lik e a urle sq ue o f suc h li nes as, ve rses '
.
b
T he
so ng ,
'
.
W he n
as
I talke
I t was a lo ve r an d h is lass “
A
bli th
e
and
H e ig h ho , Sate sig hin g
" ,
of
.
M
T he ap o f
Ro se li nd
was
bo bo
up
p
ro b a b ly sugg e ste d
nn y c o un try
nny
o n the
b y C o ry do n s
lass
lass, " te nde r g rass,
‘
e tc .
so ng ,
N o cte s S hah spe r i a na
22
.
mi pastoral story O f the Euphuist Robert G reen whic h was published in 1 5 88 under the title O f P a ndo sto the Tri u mph of Ti me alt e red in t h e later editions to Th e P le asa n t H i sto ry of D o ra stu s a nd F a u n i a It is probab le indee d that he saw most O f G re ene s tracts including h is last novel A G ro a tsw o r th of Wi t B o ug h t w i th a M i lli o n of R epe n ta nce which contains in an appe nded address th e cel e b rated refe rence to the only Shake scene in a ”1 country Two othe r popular English stories known to Shakespea re were Barnaby R iche s F a r e well to the M i li ta ry P r of e ssio n and W illiam Paynter s P alace of P le asu re Th e se were b oth translated or adapted from the Italian novels o f Band e llo and Boccaccio The nove l originates in the ch ap book and most o f th e Italian storie s which have exercised so large an influence upon En glish literature may b e found existing in an earlier and less orn ate garb It is very probable t hat Shakespeare lea rnt more than is generally suspecte d from these popular story books I n the Gesta R o ma no rum he might have found t h e original hints fo r the story O f L e a r and fo r that Of th e Three Caskets in the M e rcha nt of Ve n i ce The epi sod e o f Bottom s translation may have been suggested by the histo ry O f D r Fau stu s who upon A sh W ednesday made that e ve ryone had anass s head on with great lon g ” A n d the black le tter Hy sto r ie of H a mb le t a n ears adaptation o f B e lle fo re st is most likely th e immediate source o f th e play O th e r popular story books to which Shakespea re had se
-
,
,
,
,
.
’
,
,
,
-
.
’
’
.
.
-
.
-
.
,
.
’
.
,
,
,
’
-
.
,
,
.
-
p
b
assag e s i n N as h s P i erce P e n n i le sse wh i c h ma y h a ve T h e re are e e n in C f A s Yo u Li he I t , S hak e s e a re s m i n d w h e n h e was wri ti ng A s You Li ke I t I I I , i i 1 1 9 and I I v, 1 5 . wi th th e fo llo win g '
p
,
’
'
,
.
.
,
,
l
"
h h h f ag g e d ve rse s o h r a t r o u t e res t i s o l l c e t g g p f “ — 28 C f A s Yo u L i h e I t 111, i ii 6 an d P i er c e P en n i lesse , Ovi d mig h t as we ll C f also H a m let I I I have re ad h i s ve rse s to th e Ge tes tha t u nd e rsto o d h i m n o t l M ac h I i 67 an d P i er ce P en n i le sse , e a n d sqq , and P i e r ce b e t co , , v, ( y ) P en n i lesse, 78
I wo u d tro t
.
,
a
a lse ,
,
p
.
.
.
,
’
,
,
p
.
p
.
.
.
.
.
,
.
,
Shahespea re s
L i b ra ry
’
23
.
urce were The R e cuy ell of the H isto ry es of Troy e trans ” l lated and printed by Caxton R ey n a rd the F ox and The 3 It is possible that he h ad seen We stw a rd N i ne Wo r th ie s e r m t s l which although it cannot have b en the onl o e S f y source o f the Cy m b eli ne fabl e may have helped to sugge st it “ and which may also have led Sh akespeare to place the local ” habitation O f his M e r ry Wi ves at VI in dso r It is idle to speculate wh at tale O f Tereus was re ad by Imogen but i f Shak e spe are did not re fe r to G ower 0 r O vid he may have been thinking O f a book o f tal e s containing the sto ry Progn e barbarously e ntitl e d A P e tite o f T e reus and ” Palace O f Pettie his pl e asure A mongst th e j e st books o f his day Shakespeare re fers re so
,
,
,
.
,
,
,
,
'
.
,
,
,
.
-
M e ry
The H u nd re d
to
F a n c i e s,
Wi ts
‘
,
i t W f
A P e n ny w o r th
F i ts
,
Ta ly s
,
a nd
F a n c i es
“ The
o
8
H u mo u r oo t
Th e B
,
F o r ty
f
o
7 R i ddles ,
f
o
3 .
most interesting books in Shake spe are s library is a volum e publishe d anonymously in th e year I t was we ll 1 5 89 and called The A r te of E ng lish P oe si e known to Shake speare who may have used it to some extent as a guide to the tech n iqu e O f his art and w h o This tre atise since re memb e re d some O f its quotations the year 160 5 has been ge neral ly ascribed to th e pe n o f G eorge Puttenham one o f Elizabeth s gentlem e n p e nsio n e rs I ts history w hich has a certain inte rest O f its o w n may b e ” A nother con found in D israeli s A me n i tie s of L i te r a tu r e Of
O ne
th e
’
.
,
,
,
.
,
,
’
,
.
,
,
’
.
.
Tr o i lu s ’
and
R orneo
Lo ve
’
s
and
7
V
C r es i i da u li e t , '
La b o u r
s
II
,
i v,
Lo st V ,
,
A lso lla c b e th , 111 i 6 8
v,
,
.
i i , 5 63
,
H e n ry I V I I I , ii i 60
1
19
.
,
an d
5 80
.
,
.
.
.
l
A n o ld c o l e c tio n o f fo o li sh a ne c d o tes tak e n fro m Le : Cen t N o u v e lles I t was i n th e rary N o u ve lles , r n te d b y Raste ll a n d ag a in b y W alle y i n 1 5 5 8 S h a hespe a re S oc i e ty P ape r s o f C a ta n C o x — 33 t
i
p
pi
p
.
Ta rn i ng q/ the S h r e w I I I i i 7 0 “Love s La b o u r s Lo st I I I i 2 8 A book lic e nsed to Jo h n Sam so n in 1 5 6 1 ,
,
p
,
,
,
.
.
.
,
'
’
.
e n ti tle d
A P e nynoo r th
.
p
.
27 8
(Ed n
t W t y f
o
.
H e n ry V , I I , iii , V o l ii ,
l ib
.
.
Se e
also th e
20
I n tro d uc tio n to Arb e r s '
.
re
pi
r n t.
wa s
N oc tes S hak spe ri an
24
.
temporary book w h i c h Shakes pe are had read is th e Treati se of H o no u r a n d H o no u r a b l e Qua r r els by V i nc e n t i o S a vi o la I t is burle squed by Touc hstone in a well kn o wn passage i n
.
,
-
A s Yo u L i he I t
’
.
The A r te of R he to r ique by Thomas W ilson fi rst printe d i n 1 5 5 3 may have be en o ne o f Shakespeare s books ; fo r W h o stea l s th e well known passage in Othe llo beginning ” resembles a passage in W il so n my purse steals trash a lmost to o closely to admi t the supposition o f coincide nce Perhaps to o som e o f the dark words and inkhorn terms It o f L ov e s L a b o u r s L o st were picked up from this sou rce is thought that S ha ke speare was also acquainte d with The Ora to r O f A le x ander S i lvay n translate d by M unday and published in 1 5 96 as th e N i ne ty fifth D eclamation in this “ work o f a Jew who would fo r his debt have a po und O f ” flesh o f a C hristian contains what migh t we ll be th e germ s O f Shylock s arg uments be fore the S e nat e in the M e rc ha n t ,
,
’
-
,
.
,
,
’
’
.
,
,
-
,
,
,
’
The theological reading O f Shakespeare does not appea r Some li nes in Tr o i lus a nd Cressida to have be en exte nsive a re said by the commentators to be deri ved from a pas sa g e in the judicious H ooker whose E ccle si asti ca l P o li ty was published in th e last d ecade O f th e sixte e nth ce n tu ry ; but the resemblance is no t a su fficient proof that h e h ad studie d the grea test product O f the English Church I ndeed the only theological bo ok wh ich h e can b e sa id with any certainty to h ave known is H arsne t s D e cla r a tio n though we might p e rhaps add P op i sh I mpo stu r e s of Bayle s A ctes of E ng lish Vo ta r ie s and R eynold s God s ” It is e vident from the use to R eve ng e ag a i nst A d u lte ry .
,
.
,
’
,
,
’
’
.
I
’
,
A : Yo u Li he I t, V , i v, 83 . sqq
.
p
b
lo o ki n g o ve r th e ro o f sh e e ts o f this E ssa y a way fro m me tha t it is a mista ke to d e sc ri e Re y no ld s o o k as th e o lo g ic aL re c o llec t. a me re c o lle c t i o n o f sto rie s 'I n
b
’
.
b
.
o o k s,
it
I t is
,
so
o c c urs to
far
as
I
26
N o ctes S h ak spe r ia ne
.
conte m pora ry o f F ranci s Bacon a n d may hav e note d th e first stre ak s th at h e ralde d th e d awn o f m od e rn re se a rch I nd e e d th e p a rall e l p assage s which h av e be e n so l abo rio u sly co m pil e d by th e S oci e ty fo r maintaining th e id e ntity o f S h a k e s pe a re th e poe t a n d B acon th e philo soph e r prove at l e ast thi s m u ch— th at S h ake spe a re was acqu ainte d wit h l so me o f B acon s work s A tte m pt s h ave ind e e d be e n m ad e to prove th a t S h ak e spe a re w as in so m e points in ad va n c e o f th e sci e ntific knowl e dge o f h is d ay Fo r inst ance th e re i s a m a ni fe st a ll us i on to th e circ u l a ti o n o f th e blood (which was first pu blicly e n u nci ate d by H arve y in th e ye ar 1 6 16) in th e be au ti ful lin e s o f jnli ns Ce sa r (I I i ) Th o u art my o w true wi fe A s de to m e as a e th e ddy dro p ” Th t i i t m y d h e t H a rve y re tu rn e d fro m I t a ly in 160 3 a n d so th e id e a m ight h ave got abro ad be fore it w as anno u nc e d i n h is l e ctu re s a s P rofe ssor o f A n ato m y to th e L ondon C oll e ge o f P hysici a n s B u t in a n y c ase S ha k e sp e are m ight h ave obt a in e d h i s knowl e dge fro m th e Clzr zsti a n zsm i R estztn ti o o f S e rve tu s who a t l e ast kn e w how th e blood p asse s fro m o ne ve ntricl e he a rt to anothe r I n thi s as in oth e r points o f th e S h a k e spe a re shows th at h e w as fu lly abre ast with th e tid e o f inte ll e ct u a l progre ss I t m ay b e re m ark e d that a fe w facts an d e xp re ssion s in S hak e spe are have be e n trace d to B a tm an s Co m me n ta ry F ro m thi s so u rce o n B a r tno lo me de P rop r i e ta ti b ns R e m m th e in san e roo t th a t ta k e s th e h e i s sa id to h ave t ak e n re ason pri son e r b u t it i s more probabl e th at thi s w as pick e d u p from P l u ta rch s L ife of A n to ny ,
.
,
,
’
.
.
,
n
ar
r
v s
a
s
ru
ar
sa
,
.
,
.
,
,
'
'
'
'
,
,
.
,
.
’
.
’
.
"
"
r a t t w o R e son : a l e re f T h i i l z a e S Se e D i d F r a nc i s B a c o n y p 16 13 no W H u est a n d C o , 1 884 e g tha t li e d i d .
3
Co m
p
are
.
.
w r i te
G
Co r i o la n u s
I
.
.
,
I i .
1 39 :
h
i
i t t h ro ug th e r to th e c o u rt . t he
se n d
Eve n
,
.
.
pp
.
ve rs o f
heart
.
"
—
.
p
.
th e b lo o d .
.
f o r B e li evi ng
S ha kespea re
W he n
L i b r a ry
’
s
27
.
tu rn to th e poe tic al sh e lve s o f o u r i m agin ary bo okcase we n atu rally find a long row o f dra m atic work s S om e o f th e se a re th e dram ati st s pro fe ssion a l stock i n trad e a nd we re u se in h t e co m po sition o f h i s pl ay s : oth e rs are d q u ote d only in th e u n flatte ring shape o f bu rl e squ e and parody : m any conte m po ra ry pl aywrights who se works S hak e spe are m ust h ave known a re n e v e r all u d e d to ; o n e only is fam ili a rly an d e ve n lovingly qu ote d T h e dra m as o f which it is c e rt a in th at S h a k e sp e a re m ad e profe ssion a l u se are all o f u nknown au thorship T h e y we
.
’
-
-
,
,
,
.
.
h e F h e T ru r t h e t e n T H if , f y h i s Th ree D a ug h te r s The a nd
Th e F a mo us Vi ctor i es
ar e
Ch ro n i cle
f
o
K i ng
Tr o u b le so me R e ig n
Le i r
f
o
o
,
K i ng
oh n ,
an d
j
The Ta m i ng
f
o
a
old pl ay o f H e n ry the F ifth se e m s to h ave be e n writte n origin ally in prose although so me parts h ave be e n choppe d appare ntly throu gh th e m ist ake n ki n dn ess o f t h e p ub li sh e r int o a v e ry bl a nk spe ci e s o f v e rse I t fu rn ish e d S h a k e spe a re w ith littl e m ore th a n a fe w hints fo r th e two parts o f H e n ry I V a n d h is own H e n ry V ; an d th e m o st inte re sting point conn e cte d with it is th e appe a rance am on g t h e co m p anion s o f P rinc e H a lo f a c e rt a in fat knight n ame d S i r John O ldc astl e who a ft e rwa rd s be c a m e known to lite ratu re as S i r John F al st aff T he re is no dou bt how e v e r th at S h a k e sp e a re re t a in e d i n th e first in st anc e th e n ame o f O ldc astl e and alte re d i t only a s it is re ason ably conj e ctu re d in d e fe re nce to th e m e m ory o f S i r John O ldc astle th e P rote stant m artyr H e n c e th e apology contain e d in th e e pilogue to H e n ry I V Pa rt I I O ldcastl e ” di e d a m a rtyr an d thi s i s not th e m an S ha k e spe a re w as som e wh at m ore ind e bte d fo r h i s K i ng Le a r to th e old pl ay on th e sa me su bj e ct b u t in thi s c ase h e a dopte d only th e ba re st ou tlin e s an d m ad e con sid e rabl e c ha nge s in th e d e v e lop m e nt o f th e plot T h e m ost vit al Th e
,
,
.
,
,
.
,
,
,
,
,
.
,
,
,
.
'
,
.
N octes S hak spe r ia na
28
.
.
lte ra tion li e s in th e conclu sion Th e old play actu ally h as ” that co m monpl ace happy e ndi n g o f Le ar s re stit ution a n d C ord e li a s se ttl e me nt in li fe to which S ha ke spe are s “ trag e dy was cond e mn e d whe n T ate pu t h is hook i nto th e nostril s o f thi s l e viathan fo r G arrick an d h is followe rs th e ” s how m e n o f th e sce n e to dra w it a bo u t m ore e asily an d which a rou se d th e critical indign ati o n o f C h arl e s La mb S c a rce ly l e ss notice abl e a m ong th e i mprove m e n ts o f th e m aste r h a nd are th e introd uction o f th e F ool th e e pi sod e o f G lo u c e st e r a n d h i s t wo son s an d t h e madn e ss o f L e a r B e twe e n th e spirit and diction o f th e tw o Le a rs the re i s a gre at gu l f fix e d I t i s e vid e nt th at S ha ke spe a re whe n h e wrote h is K i ng oh n was ac q u a int e d with The Tro u b le so rn e R e ig n of h n o j j K i ng of E ng la nd which was pri nt e d in 1 5 9 1 b u t as th e e a rli e r pl aywright followe d th e sa m e C hronicle s as S ha k e sp e a re th e e xte nt o f th e l atte r s ind e bte dn e ss to th e old pl ay c annot fu lly b e asce rtain e d T h e ma nne r o f A rth u r s d e ath i s o ne o f th e incid e nts take n dire ctly fro m The Tr o u b leso me R e ig n in which pl ay th e d e ad body i s c o m pa re d to w i th e re d fl o we r Wh i h i l i fe sh i ne d l ike th e mo rn i ng s b l ush ” C ast o t f d o o M r C olli e r h as re m arke d tha t i f S h ake spe are h ad be e n a c o m m on pl agi a ri st h e m ight ha v e borrow e d th e se be au ti fu l lin e s in pre fe re nce to th e u se o f h i s own m e ta phor A n e mpty c aske t wh e re th e je we l o f l i fe ” B y so me damne d h and was o bbe d an d ta e n away a
.
’
’
’
,
,
,
,
,
.
,
.
,
.
,
,
,
,
,
’
,
.
’
,
,
o
s
n
u
’
,
r.
o
.
,
,
’
r
B ut S hake sp e a re h ad th at b
orrows o n ly to i m prove T h e P leasa nt
v e in
.
o
f
lite ra ry honou r
w hich
.
co nce i te d
H zsto r ie
ca l led
Th e Ta rn i ng
f
o
a
publishe d in th e ye ar 1 5 94 I t ha th mad e a ” n umbe r o f u s so pe rfe ct wrote H arington i n I 5 96 that — s o u r u r hre w in co n t y save h e n o w e ve ryo ne c an ru l e a S h re w was
.
,
,
S ha ke spe a re s L i b ra ry ’
29
.
”
th at hath h e r T h e pi e c e w as a cte d by th e E a rl o f Pe mbroke s se rvants a nd was th us fam ilia r to S hake spe are who re wrote it afte r th e fashion o f h i s d ay with so me wh a t l e ss th a n h i s usu al alte ration o f pe rson s an d di alogu e T h e vast su pe riority o f th e S h ak e spe ria n drama may b e gathe re d fro m a co m p ari son o f th e two I n d uc tio n s I t is a v e ry singu l ar fact th at a C hri stoph e r S ly w as living a t S tr a tford u pon A von in S h ak e spe a re s li fe ti me an d th a t th e n a me occu rs in th e old pl ay as we ll as in S hake spe are s dram a whe re th e W arwick shire vill age s o f W i lne c o tte a nd B u rton a ll u d e d to P e rhaps th e n am e w as o n th e H e a th a re su gg e st e d by S h a k e s pe a re i f ind e e d h i s own pre ntic e h a nd h ad not a ctu ally h e lpe d to con stru ct th e b ald origin al o f " 3 h i s m at u re co me dy Th e plot o f M e asu r e f o r M e asu r e was probably to so me e xte nt s u gge ste d by t h e P ro m o s a nd Ca ssa nd r a o f G e org e .
’
,
,
,
,
.
l
.
’
-
,
’
,
-
-
.
’
,
.
i
k
l
p
i
b i i
re h as c u t o u t a to g e th e r th e st lte d a ssag e Fo r n stan ce Sh a e s e g nn n g " " N o w th a t th e g lo o m ie s a d o w e tc T h e th re e ne s C u pple u p the h o u n ds e twee n th e Lo rd a nd na tu ra c o n ve rsa t o n e tc , are e x a nd e d n to th e d e l g tful ra s ng h is fa vo ur te h o u n d s In th e H un tsman a o u t th e me r ts o f th e d o g s e ac " “ a t i ts m e r d a n la n i s n tro d u c e d S h a e s e are n d uc t o n th e L o rd s th e o ld ” “ o f th e d ea as i t fo rms i n h is allo ws us to se e th e first dawn , th e earl stre ak mmd H o w l e a sw ne h e l e s I O m o n stro us e ast r m d ea th ho w fo u l a nd lo a th so me i s t h n e mag e ! S rs w l ra c t se o n th s d run e n man " W a t t n y o u, if h e we re c o n ve e d to b e d e tc I
.
p
.
b
i
I
i
i h ly i p i .
,
'
Gi i I il p h hi k i t h d t il
l
y ik
i
,
s
s r
er
n
o n
o
k
e s e ar
es
r
e
.
’
a re s,
s
n
u
on
na
a
or
re
y
i
’
e
’
n
uc
o ur ,
i
i i
k p .
,
i i
y
.
,
ip y
mult l
T h e sec o n d la is c th e
p y
as
sc en e
k
i t ta es a d ua lly was wh o ] a d d e d th e L o rd b u t i n
y
ho se by n
,
.
i
I
.
i
i
,
.
o w an d
s
u
i
i
Fro m th i t e e a o f th e plo t g r h p t o g d po n th Lo d im g i ti b Shak p e I n th i g inal I d ti o wi th m o h m by Sly S pe
i b
.
hp ii
,
b
,
li
i i y l
i ilip
T h e h sto r o f th e n du c t o n may b e no te d as fu rn sh ng a g o o d nsta nc e o f a I t was fo u n de d u o n a sto r to d o f P h ood S hak e sp e ria n sto r h u n t th e D u e o f B urg u nd . w c is to b e fo u n d i n B u rt o n s A n a to my 0 M e la n c ho ly w e re la d o n th e su jec t i t i s ro fe sse dly ta e n fro m M arc o P o o : P e rc also has a I n th e S ha es e are So c e t wh ic is a la are n t a e rs o f a te r da te th an th e ci r c th e sto r is g i ve n as a frag me n ta r tale The Wa h i ng M a n s D r e a m ( wh c is c o nje c tu re d to b e fro m a re ri n t o f R c h a rd E d wa rd s sto r - o o o f r 5 7 0 T h e sto r is to d o ula rt th e first E n g l s tra n sla ti o n o f wh o m a ea re d i n 1 607 H e ro a l fo lo we d H e u te rus (d e Re us B u rg u n d i is) w h o h a d i t fro m a e tte r o f L ud o v cu s V ve s wh o i n turn sta tes t a t h e h ea rd i t fro m a n o ld o ffic e r a t th e D u e s c o u rt u st a t th s n t , w e n we rea l se e m to h a ve ru n t h e sto r t o o J we a re c arr e d aw e a rth w e re th e sto of n to re m o te fie ds o f l te ra ture C r sto h e r S ly st l fl o u ri sh es—to th e T h o usand a nd O ne N g ts th e sto r 0 th e S le e e r A wa e ne d th e sto r o f X ai lu n th e B as fu l i n th e T h o u san d a n d O ne D a s to the H sto r o f t h e K ng d o m o f th e A ssass ns an d th e sto r o f D o n sus an d y D a n o c le s. wh e nc e S te e ve n s mag ne d t a t S ha es eare to o h is I nd uc tro n fro m C c ero (Tm en /a n D i sp n ta ti o n s V , , I )
y y hi h k ly l
p
.
k
pp
l
p y
'
y
G h b i yp p .
y y ih p i y l by G ih p b by l b i i h k i pi h ly i yi l i hi p il p k y h i y i i i i h k p i ii
k p
.
'
'
yb k pp
.
'
.
.
.
a
y
‘
,
,
.
h
ih y .
k
.
l
'
.
,
.
.
,
.
y
,
i
y
.
3
N o c te s S ha h spe r i a nce
0
W he ts ton e
.
pl ay which w as n e ve r pe rforme d b u t which h a d be e n printe d as e a rly as I t is probabl e that th e Co me dy of E r ro rs a n d Tro ilus a nd Cr e ssid a we re a l so p a rtly su gge ste d by old e r pl ays an d t h e lost pl ay o f The f e w to which G osson a ll u d e s m ay h av e be e n th e chi e f sou rc e o f th e M e rcha nt of Ve n ice T h e re w as a l so a dr am a on th e su bj e ct o f R icha rd I I I w hich pre c e d e d th at o f S h a k e s pe are a nd k e pt th e sta g e “ u ntil th e re ign o f C h a rl e s th e F irst N o copy o f thi s says H alliwe ll P hillipp s o ld e r pl ay is known to e xi st b ut o ne bri e f spe e ch a n d th e two following lin e s h av e be e n a ccid e ntly pre se rv e d M y l i e ge th e D ke o f B c ki ngh am i s ta e n A nd B ani ste i c me fo r h is re ward ,
a
,
,
,
,
.
.
”
-
,
,
,
u
u
,
s
r
’
,
’
o
,
f ro m
which it is cl e ar th a t th e ne w d ram ati st did not h e sitate to adopt an occasion a l lin e from h is pre d e ce ssor ” a ltho u gh h e e ntire ly o m itte d t h e ch a racte r o f B a ni ste r I t i s a l so su spe cte d th a t dra mas on th e su bj e ct o f H a m l e t R ich ard I I a n d A nthony and C l e opatra h ad a ppe a re d be fore tho se o f S h ak e sp e a re A n inte re sting po i nt is ra i se d by th e obvio us s i m il a riti e s be twe e n th e su pe rn atu ral sce ne s in M ac beth a nd M iddl e ton s t h h e whol e it app e a rs m o st lik e ly t Th e W i c U l y pon a p that M iddle ton copi e d S hak e spe a re b ut th e re is goo d “ e vid e nc e to S u pport th e contra ry vi e w ,
.
,
,
.
’
.
,
,
.
W h e tsto ne
p
u
bli h
s ed
in
y h wh i h
sa s t a t i t
r5 8 2 ,
c
was
n e ve r
i
co n ta ns a
i
p
p
re se nte d u
i
o n sta g e ,
ro se re nd e r ng o f
hk p
h
p
C in thio
i i i h
" ’
i n th e H epta nre ron , s n o ve l .
i
ll
Th e e v d e n c e to sh o w t at S a es ea re m ta te d M d dle to n has b e e n c o e c te d b y M alo ne an d S tee ve ns, an d may b e su m mar se d t us M dd le to n ro b ab l d e d so o n afte r th e y w 1 626 . and th e r e c es u ls e d d u ri ng h is l fe t me rang e i n da te fro m 1 602 to 1 606 : th e firs t d ra ma t c ec e in ’ w h c h h e h a d a a nd (The Old La w ) was ac t e d in 1 5 99 Th e i tc h was n o t a f t e r h is d ea t M e d t l l m an ea rs ac h a s b e t o t r l n u w s n t 1 t e d 62 3 ; a n d , ; p as th e re is n o d e c is ve e vi de n c e to fi x th e da te o f t e r c o m o s t o n , i t is q u te a n la was wr tte n first o e n q ue st o n wh c " ” T h e so ng s e g i n n ng a C o m e aw e tc , and B lac s r ts e tc , a re to b e fo u n d i n The Wi tc h , w le th e two fi rst wo rds o nl i n e a c c ase a re r nte d in M ac b et h , l e fa milia r re fe re nc e s l I m l a t S re s u n i a v o l i e t h a es o d a e n ts fro m M d d le to n i s t re e e t a k 3 .
.
i
i i
i bl i h
p
i
i
.
ik
.
p
y i
h
yy
i i hp y b i
hi
k
hi
.
a
.
k y h
.
h
i
pi
p
y
.
h
.
y
h
"
pi il p ii k pi i h
h
.
p bi h i pi i
pi i .
S ha ke spe a re
’
L i b r a ry
s
3
.
1
que stion o f th e sa me kind is ra i se d by th e re se mbl ance s be twe e n o u r poe t s juli us Ce sa r and th e dram a o f th e same n ame p ublishe d by W illi a m A l e xa nd e r afte rwa rd s E arl o f T h e d ate o f S h a k e sp e a re s ju li us Ce sa r S te rlin e in 1 5 0 7 i s u nce rt ain b u t the re i s so m e re ason to su ppo se th a t h e h ad re ad S te rli n e s trage dy be fore writing h is own A nd h e h ad probably be fore writing t h e Te mpest re ad t h e sa m e write r s D a r i u s which w as printe d in 1 60 3 u nl e ss we a ttrib u t e to coincid e nc e t h e striking lik e n e ss b e tw e e n a p assage in D a r i us and th e lin e s be ginning ” Th e c lo ud ca pp d to we rs th e go ge o us pal ac e s A
’
,
’
.
,
’
.
,
,
,
’
,
’
-
r
,
.
I n th e co m e dy ca ll e d I Vi ly B eg u iled the re a re so me T h e n u rse se e m s to u n m i sta k e ably S h a k e spe ria n to u ch e s h ave ste pt o ut o f R o me o a nd ju lie t ; W ill C ricke t s wo oing o f P e g i s a se cond e dition o f T ou ch s ton e s cou rtship an d t he re a re al so ve rba l si m il a riti e s v e rging in o n e in st a n c e on pl agi a ri sm B u t in thi s case i t i s a ll b u t ce rtain that th e m ore obscu re write r w as th e i m ita tor A mongst th e pl ays which are b u rl e sq u e d by S h a ke spe a re a re t h e je r o n i n o a n d Spa n i sh Trag e dy o f t h e sporting who se e ms to have be e n con sid e re d fa ir ga m e by Kyd a ll h i s conte m pora ri e s P e c le s B a ttle of A lcaz a r i s a l so ss known prod u ction s h e raving rodi d with oth r l e T a e e p o f Z abin a in M a rlowe s Ta m b u r la i ne i s in o n e pl ac e e choe d by Ophe li a a n d p assage s in th e same play are twice ad apte d to th e braggart ve in o f P i stol /
.
’
’
,
.
.
”
,
’
.
.
,
’
,
.
h
i p y
i
M dd le to n sh o uld h ave ve n ture d n to la o f M ac be th ve ry pop u la r rr d w i n h i h d r a m as b o o e l M d d e t o n s o t e r 4 t a n th a t
.
i
i
.
l
u nac q ua n te d , o r, a t e ast . un c o nne c te d .
i i lb i
i
w th S ha
i
a re g o n alre ad
li ttl a k p ar
nd a
e,
es e
pp
y
occu
e ars to
pi
ed
b y th e
h ave
b
ee n
e.
k
I n th e d e d ca t o n th e au th o r o f The Wi tc h re mar s t h at h e rec o ve re d “ h se f ro m l a o u t h e re su ma l ) n o t w th o u t t h s g n o ra n t i ll fa te d a o ur o f h is ( W tc h e s a re ipso fac to m u c d ffic ult la w c o nd e m ne d a n d th a t o n l th n , " T h s d e d ca t o n was ro a h a th ma d e h e r li e so lo ng n a n i mprrso n e d o b sc u r t a d d e d so o n a fte r 1 60 3 , wh e n th e A c t o f K ng Ja me s ag a nst w tc h e s wa s as se d ; a n d Th e Wi tc h was th us , i n all ro a il t , o n e o f M d dle to n s ea r est e c es
i i
h i
y
.
.
p y p by iy i i i p b b iy i T mp t I V i 5 qq
“
,
i
,
,
.
e
es
,
,
,
1 0, s
.
by i y I ik i i p b bly i p li p i
’
.
3
N o c te s S hah spe r ia na
2
' .
O the r pl ays qu ote d or re fe rre d to b y S hake spe are must l b e me ntion e d i n a foot note M a rlowe i s th e only o n e o f S h a ke spe are s conte m po ra rie s ’ who m h e quote s as on e q ua l te rm s with any fre que ncy K i g Ed w d I I I R m d / li t II ii 5 8 (t) h m Li F l Th L g th th Ki g L III i 6 f A lph C mi l H i H m l t III ii 65 (b l q ) h m t Th T k i h d Hi th F i G k P l) H ) y I V II i 9 (b l A d i R Ed w d l i N h t q i D m d Py t ) ( g 9 (b l q ) d P I i 44 (b l q ) d Ki g j h S li m t H I V P II K i g C mb i ) y ( y T mp t III ii Al m m 5 Tw G tl m d T k (i ) A h i ti II iii V 4 f h l y lVi 1 ii G p S i G il l m E m t d A l l l V I t h E i i III D t l t V k l l l i ) ( J — t li ti f V th M Tw l N i h t ii t Rf h I g f g 34 II i M II i 8 d H M 499 ; qq ; y I V 11 i I R i h d I A t I III ii III i 8 d Cl p t II ii i ; V H ; ; y 34 3 y d III ii H ml t III i 98 6 ly t mp y wh m h q t with d i t ll i t h i M l w i th il f h i d h d h t th i ty w f m ig h t w I fi d th y D d S h ph d — fi h h l d i A Y Li h I t III d l 8 H g f h W h f t h l i h k T h i p t t S g j ti ly b S ti d m i d St D kk t h i m ti h j w hy h f C h pl y id i l d by Sh k p i h g h t th t P l i i d d l m N i h t D m I b V w i d i i d I 0 V H g y d y d i g h i lif b lly B t m T h h h h l i p E li m b h w t f h i f i l d l f t P y £ g g p g d f hi bf h ll ti g i th t g d y f D i d C m di p i g hi i m d b f l F hi g b id g i 5 64 Th ll i ip h T t h h w S I I d ti i 88 h i y d y i t f g in Pl d d Fl t h d th m ll i t g i M f i k th li p w y T k O h B l dy B th ll IV i b w i by h i m C h p m R g f H d m y h f Fl h I i id l m l i I ii 34 T h d h m f gg M t m ph A Si J h H i g t L L l b f f ( o j g i m y b f p d i wi h A t f th i d i L t V ii ) l ii p 37 d t B l A M l w All i d C id II 8 T il F .
.
’
,
I
ar
n
on er
e
a r
“
o
a
e ar ,
"
re e
e
a
an
e
e
a
.
.
2
ar
.
e rse
an an
en r
es
“
a
u
“
.
r
’
ru
enr
or
er
s
a
c
as
t ou
ee t
n te n
as
.
"
ut n
a r
us o n
ea sn r e ,
o
e tc
se e
s to
,
,
I
“
,
,
’
e oe s
e ste
a ve su
r
n ac c o u n
.
vo
o es
us o n s to
ar o
.
ers
n r '
on s
2
o
ou
t u
e a se
i
a
ea su r e
e a ro
uc
n
'
H e ro
an d
ra c e u
an
o at
n
S x
.
.
.
a
e nc e a
t e re
n
s an
e a su r e
or
ro
er
oo
e ve n
.
ax
e
or
e
1
,
o ve s
.
.
o no u r
e re
.
'
e x tra c ts.
t
re ss
a.
a
u,
,
e
2
ou r s
a
o un
.
.
,
I I b II % p III i II i III iii 387 III iii 44 5 .
,
,
.
ii
n on
"
Le a n d e r
Othe llo
"
.
,
,
.
.
.
200.
,
.
.
.
.
.
.
,
I i
r r8 H a m le t , R orneo a n d J u li e t, V , ,
.
.
A s Yo u L i he I t I I I v 80 Two Gen tle men of Vero na ,
y
.
.
.
i
,
8
.
.
.
I i .
,
2 o . : 99
111. m
a re ’
.
,
.
i
2
,
.
.
n
et
n t e
an s
uc t o n .
us a n
es
'
o ses
or
on
e asu r e ,
.
.
o
e so n
a
or
e
.
ea re
es
e
o r o ne t
o c c urs
.
re a
2
v,
e e ve n s
.
e n te e
an
.
.
,
II
s
es o
ers
s
ra
.
,
”
s
s
e
re
r tte n
.
o
fi le I Vi v es I V , v 7 1 0 the lo I V xv , 64 V , v 68 H a m let i llerry l‘i ve s iii . 9 u rlesqu e i v, 1 7 ( a ro d ) 2 H en ry I V H a m le t 79
u rla ne
;
22
,
.
a
ur n
o st
s a
'
.
Ed ward " D do Lu st s Do m
1
,
,
cu e
a
n
e
e
e n t o ne
rn er
e nc e a
orne n
ou
e
r
a
n
ro
b
.
e are
austus
T am
.
a us o n
e n ra n
on
su
.
o se
ne s
,
v
v.
.
a ra ,
rec
a
"
ne ,
ne e
x
o
s c ur o us
o
.
eo
s
e n t ac
s
s
’
ar n
n
o
t
o ur
e
,
en r
an
.
a r o n ac c o un
a
ee n
t
e
o st S x
e
ta e
e.
so
n
s e xc e
e c
a ve
a
e r , an
ne c
a
.
a so re e re n c e s to os
at
o n t an
u
o
us
e
,
.
1
’
ses . a
a rn
or o
to
,
.
rst s
r orna s
e sa t r ze
n t
e a r.
20 a
s no
o
no t a t
to
us o n
e a
.
sa
a
o
e
s
n
uo es
e
re e re n c e o
20
.
,
e
n on
2
.
,
e at
s
‘
e au t
er on a ,
.
.
.
.
a
,
2
o
o ra r
er s
.
u r e s ue
en o
i t. s
.
,
,
n
e r, a n
e o re
e
2 0
.
.
a te r
e ns o n o
re s o n a
e
e
o to
u
a ve
r
re sto n . t
.
.
r ea rn ,
.
i
.
e
s
,
1
,
as t e
e
o
,
a
en r
a
"
e
an
t a t o ve
u e c o n e c ure
a va
uc
a
.
v,
.
v es .
ue n t. e
ar
no
.
o ve
e n e ve r
1,
co n e
no t u n t
e
ea
1
,
.
e on
t a
an
.
,
an
n te r u
2
.
.
en
'
es a re
ora
c
.
s
e
"
en
,
v,
.
.
ar o
r
ue
.
,
.
en
e
.
o
"
e a su r e .
.
e
a
ur
o
or
eas u r e
s
.
ur a
s
.
es
'
n e r ta n
s
e er e nc es
s
ur es ue
v. 1
.
n,
en r
e
o o sec a
es
ac
1
'
r
o
n
re s o n
r s an turn e
au
.
1
,
su rn rne r
"
a
"
se s
a
n
2
2
,
re n
ee e
o n an
o
"
v
,
ur e s ue
“
.
.
,
'
a
“
.
oo
on
o
s
ur
o re
e
n
sto
ca
e
ve st t
ou
.
eo a n
o
"
o u art
o
,
.
n
N oc te s S hah spe r za na
34
.
pl ays th at S ha k e spe are was fam ili ar with a gre at d e a l o f th e E ngli sh poe t ry e xi sting in h i s d ay I t c an hardly b e dou bte d th at h e h ad dru nk d e e p a t C h au c e r s we ll a n d w as be hold e n to th e fa the r o f E nglish s ong fo r mu ch poe tic lor e T h e T h e se u s an d H ippolyta o f t h e M id su m me r N zgh t s D r ea m re c a ll th e K n igh t s Ta le as t h e lov e s o f T roil u s a n d C re ssid a are a re m ini sc e nce o f I n th e be ginning o f th e fi fth A c t o f th e C h au c e r s p o e m M e r ch an t of Ve n ice v ario us stori e s in th e Leg e nd of G o o d ” “ “ I t is pl e asant sa id H az litt to Wo me n are all ud e d to ” s e e o u r gr e a t poe t so fu ll o f h i s pre d e c e ssor S h ak e spe a re m ak e s so m e di sti n ct re fe re nc e s to o to th e Co nf e ssio A m au ti s o f C hau c e r s conte mpora ry poe t John W he n th e dramati st wrote th e lin e s G o we r I su h a ig h t M e d e a gath a d th e e c h a te d h e b s ” Th at d i d re e w o ld lEso n h e was thinking m o st probably o f G owe r s lov e ly d e scription T h e w o ld w sti ll o e e y i de W ith o pe he ad a d fo o t all bare H e h i to o p e ad h e g an to fare ; U po h e r c lo th e s gi rt h e w s h is
,
.
’
,
.
’
’
,
’
.
'
.
,
,
.
,
,
’
,
.
n
’
r
n
c
n
n
n
r
,
’
as
r
n
n
s
,
r
Sh e
s
a
h
fo rt
an a as ,
,
grass
spe e c h e le ss, upo n th e
g l o de
.
’
s
,
n
And
s
n
a r,
r
v r
dde r do th
”
.
it m ay h ave be e n G owe r s Tale of Te re us w hich I m oge n re ad be fore h e r sl e e p A m ore d e finite all us ion is i n th e Ta m i ng of the S h re w (I ii 69) ” B e she as fo ul as was Flo e ti s lo ve T h e story o f F lore nti ns or F lore nt is in th e first book o f th e Co nf e ss i o A ma u tis th e knight be i ng th e re in co m p e ll e d in orde r to obtain th e an swe r to a riddl e whe re h is li fe i s th e forfe it to m a rry a d e forme d h ag As o ld as S ib y l an d a c urst an d h e wd ’
A nd
.
,
,
r n
u
’
.
,
,
,
,
,
,
s
A s So c rate s X an ti ppe , ’
T h e re is
littl e dou bt th at
s
or a
th e
wo rse au
r
”
.
thor
of
Tr o i lus
a nd
S hakespe a re
Cressi da wa s
a
f
Dy stru ccy o n
o
c qu ainte d with Tr oy e
’
s
L i b r a ry
Ly d g a t e
H isto ry e , S eg e , a nd shown tha t A rth u r
’
s
A n d M a lon e h as
.
35
.
Brooke s poe m on The Trag ic al H i sto ry of R o me us a nd u te d to th e S h a k e spe rian dram a contrib l i e t u j S h ake s pe a re w as o f co u rse fam ili a r with th e poe m s o f S pe n se r T h e fa iry song in th e M i dsu m me r N ig h t s D r e a m e n a re m ini sc e nc e o f th e sixth bo ok e e m a I I i h v b a 2 y ) ( whe re th e lin e occ u rs o f th e F ae r i e Que e ne (c a nto ” Th ro gh h i ll and dal e s th ro ugh bushe s and th ro b e e s ’
.
’
.
,
,
,
’
s
u
“
,
m ac e
.
in th e soliloquy o f B rutus (juli us Ce sa r I V iii 2 67 ) i s a nothe r S pe n se ri a n hr h se borrowe d fro m th e F ae r i e Que e ne T e re is a l so a p t hou ght to b e a n all u sion to S pe n se r s Tea r s of the M use s i n th e lin e s T h e T h ri c e Th re e M use s m o urn i ng fo r the d e ath ” O f Le arn i ng l ate d e c e ase d in be g g ry T he se ve rse s h ave e v e n be e n su spe cte d o f a re fe re nc e to S pe n se r s d e a th th e d ate o f which i s not known b u t a s it c e rta inly occ u rre d a fte r th e ye a r I 5 98 a n d the re fore a l m o st c e rta inly afte r th e d a te o f th e M i d su m mer N ig h t s D re a m t h e su spicion n e e d not b e e nt e rt ain e d W e m ay confid e ntly assign a pl ac e in S hak e spe a re s libra ry to m u c h o f th e poe t ry o f h is conte m pora ri e s a lthou gh we sho u ld not e xpe ct to find it qu ote d o fte n i n T h e re are a fe w a ll u sion s howe ve r which h is dra mas h i s knowl e dge o f c onte m porary v e rse s u gge st T hus F a l st aff qu ote s th e first lin e o f th e se cond song in S idn e y s A n d th e
l e ad e n
”
r r
,
of
,
S l um b e r
,
.
’
,
a
,
.
’
,
,
’
,
.
’
,
.
,
,
.
’
A str oph e l and S te lla H ave I
gh t my heave n ly je we l ?
c au
”
I t h as be e n thought tha t S h ak e spe are mad e th e ac qu aint a nc e o f D a ni e l s Co mpla i n t of R o sa m u nd i m me di a te ly u pon t h e a ppe ara nc e o f th a t poe m in 1 5 92 a nd h ad so me o f i ts ’
,
'
llid ru rn rne r N ig ht s D r e a m, V ,
r
'
i
,
2 5 .
6 3
N o c te s S ha hspe r i a n e
.
thou ghts a n d e xpre ssion s in h is m ind wh e n writing th e l solilo q u y o f R o m e o ov e r J u li e t s body M r M acrae s re ce nt di scov e ry o f th e lo st pl ay The R e tu rn f ro m P a r nassu s doe s not throw m u ch light u pon thi s point althou gh th at pl ay contain s a di stinct re fe re nce to thi s pl agi a ri sm A fte r G u llio h as be e n q uoting R o meo a nd ju li e t I nge nio so ’ re m a rk s : M ark ! R o me o a n d juli e t O m on strou s the ft ! I think h e will ru n through a whol e book o f S am u e l ” “ ” D a ni e l s T hi s se e m s to me an sa ys P rofe ssor H al e s th at D a ni e l h ad he lpe d hi m se l f so libe rally fro m th e store s o f S h a k e sp e a re th a t to ru n throu gh o n e o f h is book s w as O r wha t as good as going to S h a k e sp e a re s own p age s ” doe s it m e a n ? U n fort u n a te ly it m ay h ave j u st th e — th at to qu ote R o me o a nd julie t w as as O ppos ite m e a ning good as q u oting The Co mpla i n t of R osa m u nd be c au se S h a k e sp e a re h ad h e lpe d hi mse l f so libe ra lly fro m th e store s T h e l atte r inte rpre ta tion i s p e rha p s t h e m o st o f D a ni e l obviou s o ne tho u gh th at o f P rofe ssor H a l e s is su pporte d by anoth e r p assage in th e pl ay w h e re D an ie l i s dire ctly acc u se d o f pl agi a ri stic h abit s O ly l t h im m r i g l y k a m a e p w it O f th d e hi w th e m o e Th t w ll m ay c o rn base i m i tati o I t i s probabl e that whe n S h a ke spe are wrote th e spe e c h o f A ntony a t t h e close o f ju li u s Ce sa r e nd i ng th e le m t h m th at N t e m igh t sta d u p 8 m ed ll th e wo ld Th i s w a A d ay t ma h e h ad in m ind a p assage in D ray t o n s B a r o n s IVa r s p bli sh e d i n u ( e th e e l me ts all la I wh m i p y S mi e d h i mo d e ll fi st b e ga T h t t e m d wh e n h e I n h im i t h o w e d pe fe c ti o n i a ma hi P i P il p bli h d i th m y N h i m i i d Th p y p i y f wi h w i i g q f g h p m R m d h t h d d f y d i ll m D ll ti d i g m J l m i ll M g i M y 887 p 6 ’
’
.
.
,
,
,
.
,
.
”
’
,
,
.
,
’
.
,
.
,
,
e
n
o e s
’
o
e rs
a
an
,
r n
us
e us
s o
n
r
s
e
n
,
,
”
.
,
e
,
en s
o
rx
0
n
ia
r
a ur
,
o a
s
n
‘
r
s a
,
n
’
n
o
o
x
’
a
n
e ac
e
s e
e
r
s
as
e re
ra re se r
oes
oe
as
o ns
s
e r ce
s
n
.
o re e xs
o sa
oo
un
n
av e n
,
enn
u s te
t an
a
o a
s
r
n
e sse .
u
re
n
ur t
o
e
sa
t to
o
e
ac
t e
se r
'
an s
a
az ne,
a
.
1
,
sa vs '
u nst c a
o ur
ea r
.
’
n,
n
s e
ne s a n un
’
.
2.
r t n
o ns.
o
o ne
u ns
su c
ca
S hak e spe a re s L i b r a ry ’
37
.
co u rse howe v e r i f juli u s Ce sa r w as acte d be fore th e s e s n a r 1 6 0 which i q u it e po s ibl e a e v e n prob a bl e d 3 y D rayton was th e i m ita tor I n con sid e ri ng th e re l ation s o f S ha ke spe a re to th e lite ra tu re o f th e G re e k s we inte ntion ally o m itt e d to e n q u ire i nto h is knowl e dge o f H o me r a ltho u gh i t i s all b u t ce rta in a n d we did so be c au se t h at h e h ad re ad C h ap m an s I li ad i n thi s in sta nc e h i s d e bt to th e origin a l i s l e ss re m a rk abl e H o w c an we e xpl a in th e t ha n h i s d e bt to th e tra n sl a tion H o me ric p arody in Tr o i lus a n d Cressi da e xc e pt u pon th e h ypoth e si s th a t it is not re ally H o m e r b u t C h ap m an who m S ha k e sp e a re kn e w a n d pa rodi e d ? I n th e sa m e w ay m any whe n it was a l e sse r m a n bu rl e sq u e d th e I li a d o f P ope P ope s tu rn to b e co m e an a rtifici a l H o me r A good si ze d vol u m e h a s be e n writt e n to show th e e xt e nt o f S h a k e sp e a re s ac q u a int a nc e with t h e E m bl e m l I t will pe rh aps b e e nou gh fo r u s L ite ratu re o f h i s d ay t o say th a t h e shows m o st fam il i ari ty with VVh i tne y s E mb le ms a book which w as p u bli she d in th e y e a r I 5 8 6 A n d h e w as e vid e ntly a t ho m e with H e ywood s Epigr a ms o n Th r e e H u nd re d P r o ve r b s a n d with R ay s coll e ction ” “ P robably th e book o f songs an d so n ne tts fo r which M aste r S l e nd e r sigh e d w as T o tte ls M isc e lla ny containing o s writte n by t h e E a rl o f S u rre y a n d oth e rs which was e m p fi rst printe d in I 5 5 7 an d i s th e e a rli e st G old e n T re asu ry o f T h e grav e digg e r in H a mle t sings with E ngli sh v e rse i m pe rfe ct m e m o ry two stan zas fro m a ball ad cont a in e d in ]isce lla ny T h e popu l a rity o f T o tte ls 1V t h e sa me coll e ction which ran throu gh e ight e dition s in thirty ye ars pro mpte d t h e pu blic atio n o f oth e r fl o r i leg ia o f which th e P ar adi se of Of
,
,
,
,
.
,
,
’
.
,
,
,
,
’
.
-
’
,
.
,
’
.
,
’
’
e
.
,
’
,
,
,
,
,
.
,
’
.
,
,
,
S
I
o
hak pe a e d th h p i E t d re ss g
f T ho u
A D
r
es
an
an
x
e
p
on
y G re e n
b y H e nr
.
i by
,
p ii bl
.
i
.
.
.
III i ii
V v, t 1 I i 6 n qf Ve r o n a , w o G en l e m e T . ; 3 g 8 ; I I I iv 91 M ea su r e or Aleasu r e V . , 1 7 8 Wi ves . Le a r , V I t s lVe ll th a t E n ds We 1, 11, , 1 7 , 315 3 e
,
ii
.
.
,
I iii
.
,
.
,
,
'
,
.
i i ii
E mb le m W r te rs an Ex o s t o n o f th e ir S m la r t es e m L i te ra tu re . d o wn to a V e w o f Em re c e d e d 1 87 0 M A T rh b ne r and C o .
,
.
i
21
;
V
i
h i cr ry s La b o u r s Lo st,
. '
III .
,
Lo ve vi . 20
.
,
12
.
’
N o c te s S h ah spe r i a ne
8 3
.
D a i n ty D e v i ces, e dite d
by R ich ard E dward e s in 1 5 7 6 pro ve d O n e o f E dwa rd e s o w n songs th e re t h e m o st su cce ssfu l printe d is m e ntion e d by P e te r in R o me o a nd julie t : Wh e n gri pi g gri e f th e he art do th wo un d A n d d o l e fu l d um ps th e m i n d o ppre ss The n M usi k w i th h e i l e r so un d W h y i l e so un d wh y musi c k wi th h e si l e r so un d ? W hat say ,
’
.
n
,
,
c
s
u o , y I
r s
v
‘
v r
r
S i mo n C atl i n g ?
’
v
— M u s M a rry , si r, b e c ause si l ve r
h ath a swe e t so un d H ug h R e b e c k ?
.
— P re tty Wh at say y o u P — — J si lve r so un d 2 M us I say be c ause musi c i an s so un d — er t P re tty to o What say y o u, Jame s So und po st ? Pe — us M F a i t h I k n o w no t wh at to say 3 e ter
,
.
’
,
il
s ve r
.
,
.
.
,
— O, I
.
y
c ry y o u m e rc P e te r m usi c k wi t h e r si ve r I t is fo r so un i n g o m go se .
fo r
ld
h
ld
l
d
o u a r e y
so un
i g
I wi
th e s n e r
d be c ause ’ ,
suc
.
ll say fo
r
o u y
h fe llo ws as y o u ha
.
ve
.
The n M usi c k w i th h e si l e so un d ” W i th spe d y h e lp d o th le d e d e s 1 A no the r o f the se a nthologi e s e dite d by T ho m as P rocto r an d p ubli sh e d in 1 5 7 8 fu rni sh e s P i stol with so m e t e rrifi c diction I h ate th i s l o ath s m e l i fe O A t o po s d w n i e U n twi t th e th e d o f mo rtall stri fe ” S e n d d e ath an d le t me d i e r
v r
e
n
,
r
r s
.
,
,
o
,
r
,
s
ra
,
r
,
,
We
.
hou ld ca rry away a ve ry i mpe rfe ct notion o f th e id e al L ibrary o f S h ake spe are i f we confine d o u r vi e w to t h e lite rary work s which h e m ay b e suppo se d to h ave re a d T h e se cre t o f h is c u lt u re e sc ape s o u r m e agre an a ly si s o f h is re ading Book s we re not th e only factors in h is lite ra ry I t m ight b e m ainta ine d th at the y we re am ong e xp e ri e nc e I n th e th e l e as t powe rfu l in fl u e nc e s o f h is inte ll e ctu al li fe conve rsation o f th e ou te r world in the atre an d tave rn am i d th e m u ltitu dinou s ru m ou r o f th e gre a t ci ty S h ak e spe a re s e ar wou ld d e te ct m a n y a m u rmu r fro m th e gre a t tid e s o f A n d h e h ad a w a rm h e a rt we m ay b e su re fo r thou ght s
.
.
.
,
,
’
,
,
.
“
A
G
o rg e o us
G
aller
,
y o f Gallant I nve n tio ns
.
S hake spea r e s L i b r ary ’
39
.
olk songs and fl oating ball ad s o f th e co u ntry sid e W e n e e d sc a rc e ly se e k highe r au thority fo r h i s fu nd o f le ge nd a nd fa i ry lore th a n t h e or ac u l a r cron e s o f S tr at ford I f he shows so m e ac q u a inta nc e with th e A rth u ri a n cycl e it i s not n e c e ssary to assu m e th a t h e h ad re ad La M o r t d A r th u r A nd wh e n h e qu ote s two lin e s fro m th e old m e tric a l roma nce o f S i r B ary s R at an d m i c e a d uc h mall dea ” H ad be e h is fo o d th i s se e n l o ng ye ar we may b e conte nt to think that h e was probably re pe ating a wa nd e ri n g q u ota tion which h ad l o dge d in h i s m e m ory A nd th e sa m e re m a rk m ay b e a ppli e d to m o st o f h i s u t a s m s n e tion f ro pop l r ong c tch c tt r d u a s d a e s e o a S a q t h ro u gho u t th e pl ays a re a ll usion s to a nd scra ps an d frag me nts o f a goodly n u m be r o f old songs an d ba ll ad s Of the se only o ne o f two are qu ote d m ore tha n once Th e ” bu rd e n Fo r oh ! Fo r oh ! th e hobby horse is forgot occ u rs twice an d th e re are two a ll u sion s to th e ba ll ad o f K ing S te ph e n T h e ba ll ad o f K i n g C oph e tu a an d th e Be ggar M aid is howe v e r re fe rre d to o n five occ asion s an d th e ma nn e r still more th a n th e co m p ara tiv e fre que ncy o f the se re fe re nc e s se e m s to show th at it was a favou rite story with S hak e spe are T he re a re al so at l e ast fou r all usion s to th e 1 o ld ba ll ad s o f R obin H ood th e f
.
.
,
’
.
s
n
s
s
r
v
n
,
.
.
,
.
.
-
,
,
,
.
,
,
,
,
,
.
.
() a
1
Co
B a llad s
ph
an d so ng s
t d u o e q
Lo ve
e tua
s
La bo u r
I ii i iii II i
'
Last 1 14 I V . 6 5 : 99 80 K i ng R i c h a r d I I , V R o me o a n d u li e t 14 V 2 H en ry I 1 06 H a m le t 1 47 Love s Lab o u r s Lo st, , , 30 Te mpest I V . 2 2 1 2 Othe llo 9 H a m le t I I 4 2 2 sqq A s Yo u L i ke I t 80 Ta mi n g of the S h r e w . I V 1. 1 04 2 H e n ry I V V 37 64 M e r ry Wi ves R o me o a n d 7 n li e t v, 3 4 1 87 K i ng Le a r , , iv I V , vi , 88 ’
s
.
.
.
.
iii
,
2
3
Th e H o b b
y h o rse -
K i ng S te p h e n
.
'
I e p h tha
5 6
O
7 8
9 10 11
li
.
Fi
G y
O rde rs re T is M e rry i n H all re e n Sle e ve s Th e H un t s u p C h ld e R o w a nd Ch e v C ase r ar o f
’
G
'
i
y h
l
.
.
III i
.
.
.
,
,
'
.
III
,
iii
.
,
.
,
II i
.
,
III iii .
.
,
.
.
,
,
,
ver
,
.
.
,
'
,
4
III ii i II iii ii
,
.
.
,
.
.
.
.
,
,
,
III
.
.
.
.
.
,
.
N o cte s S hah spe r ia n e
0 4
S u ch i s
.
i mpe rfe ct atte m pt to bu ild up so me shadowy se m bl a nc e o f S h a ke spe a re s library T h e e vid e nc e which w e ha ve coll e cte d te nd s to show that S ha ke spe are in lite ratu re as in othe r matte rs w as o f th e tru e catholic ord e r A ll lite r at u re th at c am e fre sh fro m th e he art was we lco me to h i m H e love d th e ge nia l p age H e to o k d e light in th e pe rson al a na o f P l u t arch th e ga rru lity o f P liny th e polishe d conve rsa tion o f M ontaigne W h a t h e se e ms to have e nj oye d m o st o f a ll e ith e r in prose or ve rse w as a good story a type or tra n script o f h um an li fe H e lik e d th e G esta R o ma no ru m with its store o f qua int tal e s th e fai ry storie s o f O vid s M e ta mo rph o se s th e shadowy re c ord s o f H olin sh e d th e old nove l s an d ro mance s which had trave lle d into o u r lite ratu re o ur
’
.
,
.
,
.
.
,
,
.
,
,
,
.
’
,
,
,
12 13 14
15 16 17 18 19
T wo Lo ve rs n T h e Dau T h e W h a e e tc H ie d ld o d ll S i r La nc e lo t T h e B o y a n d th e M an tle S o n g a ttr u te d to A nne B o le Sa min g o H e y Ro n P e g a Ra mse T h re e M e rr M e n M a n in B a on T we lft Day o f De c e m e r E ld e rto n so ng T h e l fe tha t late le d B arb ara s So ng Ro n H o o d
ph i l i i
.
21
22 23 24
25 26
27 28
29
30 1 3
32 33 34 35 6 3 37 38
i
'
'
i
.
,
II II II
y
n
.
,
,
.
,
,
.
,
.
,
.
.
.
.
iii
11,
.
b
by I
.
.
.
,
41
bi
We
’
y
y b yl
h
II
.
.
.
ib bi
a li et I V , v , 1 0 5 R o me o a n d 1 03 K i ng Le a r , iv Wi n te r s Ta le I V i v 262 (b u rlesque ) I V , iv 1 8 1 sqq 2 H e n ry I V, iv 38 2 . iv 5 iv 2 1 1 V , i ii
i
Two Ge n tleme n 0 A s Yo u L i ke I t . 2 H e n ry I V, V
M e r ry
y
Wi ves
Ver ona , I V .
i
.
i
,
36
.
1 22 .
iii 7 I i 78 S h w II i III iii 69 ,
.
.
,
,
10
,
1
.
.
re w ll b e marr e d 0 S un da Ta m i n g o the , 32 6 . l I o rtune th y Fo e .I ler r e es y W as th s fa r fac e th e ca use ? A ll s We ll th a t E n ds lVe ll. 1, iii , 7 4 vi 2 7 C o me o e r th e b o urn B e ss Le a r , , S le e p st o r wak st th o u , j o ll S e p e rd . vi , 4 3 " — fro m T h e Go ] are we ll, d ear H ea rt " Twe l 1 10 d e n a rla n d o f Pr nc e l De g h ts f th N ig ht, 11. Ho th y ea c e (m tc h 68 , iii ca tc h ) re ! re Ta m i ng (y the S h r e w , I V 40 sqq c b o y ! i 0 b o y I (ro u nd ) IV , 42 ig h t o f Lo ve (danc e ) Two Ge n t le me n f Ve r o n a , , o M u c h A do , I I I , tv, 4 3
F
i
’
i
'
,
’
y
.
’
’
F
h
III I II
y h
o
G ly p F i Fi ( Jak ,
y
i
.
.
li
.
,
.
.
,
.
.
II
iii
.
.
,
.
,
.
i i
I ii
.
use d
bi
.
.
.
l B a l b ads ()
.
,
i n th e
ii
c o m po s t o n o f
R o n G o o d fe llo w G e rn u tus
pl y
a s
lvlrds u m me r N ig ht '
r
’
s
D r ea m
.
S H A KS PE RE
OF
.
xte nt o f S hakspe re s classica l attain me nt s h a s T be e n like all othe r subj e cts which be ar on o u r gre at d ramati st worke d o u t at m u ch l e ngth I n th e e ighte e nth ce ntu ry in spite o f th e e fl o rt s o f a fe w critic s lik e C ol m an an d Upton th e c u rre nt o f opinion ran strongly a ga in s t su pposing S ha k sp e re to hav e h ad m u ch l e a rning an d thi s vi e w was e mbo die d in D r Fa rme r s we ll known e ssay with m u ch h u m ou r an d forc e I n th e nin e te e nth c e ntu ry th e re Le t h as be e n pe rh ap s in so m e q u arte rs a s light re action u s a lway s b e on o ur g ua rd a ga in st ov e r st ra in e d an d fa l se inte rpre tation M a lon e and S te e ve n s more pa rtic u l a rly t h e for m e r give u s from ti me to ti m e in th e ir note s e x am pl e s o f su btl e ty which a re wort hy o f o u r wa r m e s t re cognition and prai se S till it i s a bold thing to co m e fo rward a n d u nd e rt ak e to fatho m th e m ind o f S h a k sp e re H o w dive rse m ust hav e be e n t he so u rc e s whe nc e h e dre w how pe r m u te d m u st th e re su lts have be e n h is in spi ra tion by h is rich and i m pe ri a l i magin ation W e may faste n on so m e pi e c e o f mytholog y which i s re condit e a n d assu me that S ha k spe re got h is knowle dge o f it fi rst h a nd B u t i f we pause a mo m e nt fo r re fl e ction we c a nnot fa il to se e that S hak spe re cou ld h ave got tha t pi e ce o f knowl e dge in co u ntle ss way s : to se t all book s E ngli sh or fore ign o n HE
’
e
,
,
.
'
,
,
,
’
-
.
.
,
.
,
,
-
.
,
,
,
,
.
.
-
.
,
,
N o ctes S h ahspe r i a n e
6 4
h ave got it fro m some chan ce conve rsation ” “ with B e n Jon son at th e M e rma id ; fro m so me se rmo n o f th a t pro fu se l e a rning the n in fas hion ; or so m e you ng schol ar fre sh fro m th e U niv e rsity se nt down it m a b e y withou t taking h is d e gre e e age r to j oin th e Boh e m ian wits an d e xpe nd h i s C oll e ge l e a rning in th e se rvic e o f th e M u se s : or a ga in S ha kspe re m ay h ave me t many a grave a nd re ve re nd signior at th e D ave n ants whe n h e st aye d in O xford on h is w ay to an d from S tratford Be cau se th e re are things in Sh akspe re which we ca nnot trace at th e pre se nt d ay we m u st not a t once fl y to th e h ypoth e si s th at h e posse sse d a good working knowl e dge o f T h e re are things w e sh a ll n e v e r La tin or G r e e k origin al s b e abl e to se ttl e things that only cou ld hav e be e n told us b y so me m agic phonogra ph pre se rving th e v e ry conv e rsa tion s o f that m e rry an d stirring ag e or by som e o f those little bo oks re cove re d from th e mu sty c ase s an d ra re d e c aying l u m be r roo m s o f anti qu ity which fl u tt e r th e bre ast o f o u r D i b d in s Le t us si ft wh a t e vid e nc e o f S h ak spe re s cl assic a l h ave an d see i f we c a n a rri ve at any atta in me nts w e c oncl u sion s Th e su bj e ct c a n b e divid e d into thre e h e ad s th e use o f m ythology th e u se o f L a tin a n d G re e k word s a n d th e actua l diction o f t h e poe t W ith re gard to th e u se o f Latin an d G re e k word s S hak spe re m ay h ave pick e d the m u p in boyhoo d at s chool or fro m th e re ading o f m a tu re li fe Wh at is th e t e sti mony o f h is conte m porari e s or su cce ssors to h is c l assica l knowl e dge ? T hi s we c a n g e t mo st o f it fro m t h a t ad m ira bl e book o f M r H alliwe ll P hillipps Outli ne s of the L ifl : of S hak spe re an d a l so fro m M alon e s e l a bora te li fe o f th e poe t I t wou ld b e o u t o f pl ace to qu ote th e passage s he re : it is pl a in fro m the m tha t v a riou s S hak spe re s own ge n e ration and th e i mme dia te ly su c o ne s
id e
.
,
h e m ay
,
,
,
’
,
.
,
.
,
-
,
.
’
.
.
,
.
,
.
,
-
,
’
,
.
’
.
Classical A tta i n me n ts of S ha hspe re
47
.
not much be lie f in h is cl assical atta i nme nts I t is howe ve r worth notice th at th e we ll known qu otation fro m B e n Jon son occ u rs in a poe m e xpre ssiv e o f wa rm a fl e c ti o n T h e two lin e s in qu e stion are th e only one s which hav e any bl ame in the m a n d fro m su ch a gre at schol ar as B e n Jon son the y m e a n so me th ing di ffe re nt to w hat t he y wou ld me a n in an ordin a ry p e rson s m ou th T h e following are probably th e book s S ha k spe re re ad — at S chool L ily s G ram m ar P u e ril e s th e M ora l D i stich s o f C a to t h e E clogu e s o f B apti st a M a n tu an u s portion s o f ” O vid N ichol as Ud all s F lou re s fo r La tin sp e aking T h e only t hing i n th e pl ays lik e t he M o r a lia o f Cato i s A ll s We ll V iii 39 ” Le t s tak e th e i stan t by th e fo ward to p w ith which co mpa re M o ra lia Book I I “ e m tibi ua m n o sc i s a tam d im itte e n o l i p q ” fro n te c api llata e st po sth ae c o c c asi o c al a c ee d i n g o n e
h ad
,
.
-
,
'
.
,
’
.
’
,
,
,
,
’
,
.
’
,
,
,
’
n
r
,
,
r
r
v
,
W illi am
L ily s G ramma r
.
ppe ars to have be e n th e sta n d ard o n e in E ngl and till long into th e e ighte e nth c e ntu ry I have con su lte d two copi e s e ithe r o f which Shake spe are m ight have use d : th e e dition s o f 1 5 4 9 and 1 5 7 4 We g e t a c e rta in a m o u nt fo r th e ca t e che tic a l sce n e in th e M e r ry Wi ves (I V i ) Th e first que stion which S i r H ugh E van s ” “ a sk s W illi am is how many n u mbe rs i s in nou ns ? A nd p 2 o f th e 1 5 7 4 G ram mar state s th e facts abou t th e ” n u m be rs o f no u n e s La pi s is t h e first e x a mpl e o f th e “ T h e word s at lin e 4 1 o f th e sc e n e a rticl e s t hird d e cl e n sion a re borrow e d o f th e prono u n and b e th u s d e clin e d si ng u ” la r i te r no m i nati vo h ic hae c h o c occ u r on p 3 o f th e I n line 7 6 E va ns says show m e so m e de c le n G ramm ar ” 1 sion s o f you r pronou n s on p 0 we find th e he a ding ; ’
a
.
,
.
.
,
,
.
.
.
,
.
,
.
,
,
.
T h e d e c le n so n s
( ) si c
of
,
r n o u n e s o p
”
.
“
I n Lo ve s La b o u r s Lost V i 8 1 C ost ard says : Go to ” t hou h ast it at d u nghill at th e finge rs e nd s as the y say ’
’
,
,
,
,
’
,
,
,
N octes S h ah speri a n e
6 4
’
.
O I sme ll false Latin du nghill fo r ” u ng u e m T hi s m ay b e a re m ini sc e nc e o f th e ca r me n de ” mo r ib us which i s printe d a t th e e n d o f th e con stru ction ” o f t h e e ight p arts o f s pe e ch whe re among th e othe r i nju nc tions we find th e lin e ” e t quae c n que m i h i t e dd i s di sc a tu ad ung ue n Th e pl ay u pon word s m ay h av e be e n a schoolbo y s like ” “ d ru nk hi mse l f o ut o f h is five se nte nce s in M e rry Wi ves I i 1 80 I n th e Ta m i ng of the S h re w I i 167 occu rs th e lin e “ e d i m e te c a ” m m i i t a m u e m a s o p q q T hi s co me s fro m th e E u n uch us o f Te r e nce b u t in a d i fl e re n t for m S h a k spe re got i t not fro m Te re n ce b u t fro m th e G ra mm a r whe re in its a lte re d form it i s give n as a n in st anc e o f th e a bl a tiv e o f p ric e withou t a su b stantiv e I n Tw elf th N ig h t (I I iii 2 ) we find th e word s diluculo su rg e re T hi s as M a lon e point e d o u t i s to b e fo u nd in “ th e 1 5 4 9 e dition on p 5 1 u nd e r th e h e ad o f th e F irst ” C oncord e p ut s S ch m idt in h is v al uabl e S h ak e spe are l e xicon u nd e r th e fou rth h e ad t e L a tin phrase s d u e to th e 1 no m h o mi ne m ta n qu a m te au th or s inve ntion : B u t in th e 1 5 4 9 G ram m a r t h e phrase i s to b e fo u nd u nd e r th e “ he ad o f qua si e tc am ong adve rbs I m ay al so add tha t which t h e phrase c u m pr i v i leg i o ad i mpr i me n d u m so lu m S ch m idt p u ts u nd e r th e t hird he ad (pop u l ar an d prove rbi a l phrase s) occu rs on th e titl e page o f th e 1 5 49 e dition an d may we ll hav e be e n se e n by S h a k e spe are in hi s e arli e st stu d ie s L ast o f a ll in Ti tus A nd ro n i cus (I V ii 20) we fi nd qu ote d th e lin e s o f H orace : to whom
H olo fe rn e s
:
.
,
,
u
n
r
t
.
’
,
,
,
,
.
,
r
u
,
,
,
,
u
n
.
'
,
,
.
,
,
,
”
.
,
,
.
,
.
”
-
.
,
.
,
”
'
’
.
”
.
,
.
,
,
”
,
-
,
,
.
,
,
“i n
g
i
te e r v tae sc e le ri sque
no n e
ge t M auri
Love
’
s
La b o u r
i ac uli s '
s
uru s p
n e que arc u
Lo st, V , i ,
.
1 0.
.
5
N o ctes S hah spe r i a ne
0
.
O phe lia s n a me i f it b e th e G re e k drdreh la b u t we do not k now wh e the r S h ak spe re m e a n t thi s a ny m ore th an w e know whe the r h e conne cte d D e sd e mon a wi th 8w 8a rp aw as M r H al e s su gge sts in h is N o te s and E ssay s o n S hakspe r e M r H a l e s e ssay on th e subj e ct cont ain s se ve ra l i n te r e sting s u gge stion s b u t nothing ve ry t a ngibl e H e ask s w h e the r S ycora x i s fo r Sy o c o rax (ifs napo f) an d co mp a re s A wi c ke d de w as e e r m y mo th e b ush d ” W i th rave n s fe athe with P rospe ro s word s ” Th e so th at sh e d i d l i tte h e e A pe m a nt us i s fou nd i n th e nove l in P a inte r s P alace of P le a su re an d in N orth s tran sl ation o f P l u ta rch s L ife of A n to ny P hilostrate co me s from th e K n ig h t s Tale whe re it is th e di sgu i se d A rcite s n am e A s to t h e G re e k n ame s i n th e Wi n te r s Ta le A ntigon us C le o m e ne s A rc h id a mu s D ion A u tolyc u s D orc as L e onte s all e xc e pt th e l ast two a re fo u nd in P l u ta rch s liv e s S hak spe re u se d thi s book l arge ly e l se whe re fo r h is plots : in th e Wi n te r s Ta le h e disc ard e d th e n a m e s o f th e origin al story b u t probably took th e ne w one s o ut o f P l u tarch D orc as o f cou rse i s biblica l : and Le onte s may co me fro m some nove l o f th e pe riod M r H ale s think s th e re fe re nc e to A utolyc us m ay co me fro m C h ap m an s Ody ssey xix 392 8 B u t will th e d a te o f that tran sl ation ad m it o f such a re fe re nce ? I t is t ru e th at S h a kspe re m ay h ave se e n it in m a n uscript j u st as h e may “ h ave se e n W W s M e n e ch mi I t i s m ore probabl e that S ha kspe re is thinking o f th e M e ta mo rphose s o f O vid ; xi 3 I 2 ’
1
’
,
.
.
’
.
,
.
'
,
’
s
’
’
r
r
r
’
,
n
r
r
.
’
’
’
,
’
.
,
’
.
’
,
,
,
,
,
,
,
,
’
.
’
,
.
.
.
’
,
-
,
.
,
’
.
.
.
.
,
alipe di s n asc i tur
i u q c an
p
de i ve rsu ta p ro pago furtum ing e n io su s a d o mne st rpe
Auto lyc us
fac e re
i
assu e rat
n a r e n t a o p
de g
r
’
e na
e na
on
ro
a r
e
e
on
n
e
i
e n e r art s
d i da de n ig i s e t de c ande n tib us t a m O ph li i th d th ld f pl y h 8 Ad i I d i 5 7 p l i f m B ll f Hi t i t T g iq
H e pro b ab ly fo un h is re face to G re e n s th e trans at H arn b le t I
i
de
1
a
t
.
’
e o re s s
re e rre d to b “ o e s n o t o c c ur n T he
e o
n
er
s o r es
a
.
ra
ucs ,
i
h in
N as
i
y
sto r
o
f
wh c h d esc e n ds
Class i c al A tta i n me n ts of S h ahspe re
D id th e
l ast line
gge st Wi n te r s Ta le I V iv Lawn wh i te as i e s o w ; ” C yp s b lac k as e e w c ow ’
su
,
’
ru
S h a k s p e re
ys in
r
,
2 20
1
.
n
r v n
as
W he n
,
5
.
as
r
.
that “ u nfit to h e a r m ora l philo A ri stotl e sa y s yo u ng m e n a re ” s ophy h e i s m aking th e sam e m i st ak e as B ac on in th e 2 A d va n ce me n t of L e a r n i ng T h a t work appe a re d in 1 60 5 T h e in fe re nc e i s th at S ha k spe re re ad Tr o i lu s in 1 60 9 B ac on not th a t B acon wrote S h ak sp e re “ I n Ti mo n I V iii 5 3 I a m m isan th rb po s a n d h ate ” m a nkind th e word co m e s fro m a m a rgin al note in th e old P l u tarch : A ntony Th e scan sion shows th at S ha k spe re M ore stra nge i s k n e w no distin c tion o f short a n d long 0 T o th e su cc e ssion o f ne w d ay s thi s Ti m o n 11 ii 2 0 : ” which look s like a re minisce nce o f t h e G re e k m onth particu l a rly as i t in conn e ctio n with d e bts n o vp nm a S te e ve ns note a t th e be ginning o f t h e pl ay m e ntion s a ” “ M S pl ay in t h e po sse ssion o f M r S tr utt th e e ngrave r w hich S h a k spe re m ay h ave u se d fo r h is pl ay Th e pi e ce itse l f (thou gh it appe a rs to b e th e work o f an ” I f a n ac ad e m i c k wrot e A c a d e m ic k ) i s a wre tch e d o ne i t thi s wo u ld p e rh ap s acco u nt fo r th e a ll u sion B u t thi s we c an ha rdly se ttl e witho u t u n e a rthing th e M S pl ay O the r G re e k word s whose hi story m i g ht b e inve stigate d Cressi da
a nd
Tr o i lus
sa
1
,
.
,
.
.
,
,
,
,
,
,
.
.
,
,
,
,
'
,
.
’
.
.
,
.
.
.
,
.
are :
pe r iapts
3
th r e ne
.
ph a n tasma
;
5
I li o n ,
which occu rs e ight ti m e s in S h ak spe re to lli u m s fiv e an d 6 T h e se two l a tte r A c tio n fo r A c ti u m in th e firs t folio word s howe ve r a re probably d ue to th e printe r an d shou ld not b e pre sse d to m e a n m uch Th e ge n e ra l in fe re nc e is th at S hakspe re did not know G re e k appre ci ably ’
,
.
,
,
,
.
.
Tr o i lu s 3
H e nry VI , p t
.
B ac o n 1,
V,
’
iii
s ,
a nd
Cr essi da ,
A dva n c e me n t 2
.
A n to ny
P he a nd
n
.
f
o
and
II ii ,
,
1 66-1 67
Le a r n i ng ,
II
Tu r tle . 4 9
Cle opa tr a ,
,
xx ‘
.
III
,
vii ,
52
.
ii
,
13
.
J u li us C e .
sa r ,
II i ,
.
65
.
5
N o ctes S ha h spe r i a n e
2
.
re tu rn to L atin : on looking throu gh th e li st o f L atin word s coll e cte d by D r S ch m idt it at onc e strik e s th e re ad e r th a t m ost o f th e m co m e fro m th e ordin a ry l angu age o f th e ti m e ; su ch word s fo r in stance as : alia s To
.
,
,
mig e r o , ve r b a ti m
ar
v i de li ce t,
,
f
b r e v is
u ro r
i mpr i m i s, i te m ,
e rg o ,
e st
an d
l
,
m a o n d a s o l us , , g
uas i , q
,
qu otation fro m u nid e ntifi e d phr ase
H ora c e ,
th e
An
.
pa uca
,
in
is
i ra
L ov e
’
s ”
ii 8 2 : Vi r sapi t qu i pa uca lo qu i tu r which re ad s as i f it ou ght to occ u r in so m e littl e bo ok o f in H e n ry VI Ge lid us ti mo r o c cupa t a r tu s se n te n ti a e pt 2 I V i 1 1 7 is not fro m V e rgil b u t ve ry like wh a t h e h as i n fi ne i d vii 44 6 T h e c u rre nt the olo gy will fo r a ve b e ne di c i te d i ve s m e d i ce te zpsu m i n ac c o u n t M e dicin e a c co u nts li m b o pa tr um no n n o b i s te D e u m L abo u r
’
L ost, I V ,
s
,
,
”
.
,
,
.
,
,
,
,
,
.
,
,
,
,
m u n i re , and
passi o
.
a nd
m a te r ; law fo r p r a c ; astrono m y fo r u rsa m a io r
i a p
c usto s r o tu lo r u rn , e tc
.
he ra ldry
phrase s
as
,
,
hy ste r i c a
fo r
,
fo r th e m otto e s " i n vi ti s n u b i b us
in
sa ti s
,
I I ii
P e r i cle s,
,
an d
,
i cit fi
uo d q
su
3
su c
se m
p
,
h
er
P age a n ts o f whi c h th at c e l e bra te d in G e orge P e e le s P o ly hy rn n i a in I 5 90 i s a type m ay h a v e L a tin to a n obse rv a nt scr a p s o f e as i ly su gge s t e d odd I t i s notic e abl e th at ove r a fou rth o f th e singl e s pe ct ator word s qu ote d by S ch m idt occ u r in L o ve s L a b o u r s Lost a n d m o st o f the m i n th e m ou th o f H olo fe rn e s who i s o f co u rse pe d a nt o f th e a c a r e fu l ch a r a c t e r sk e tch fro m th e vill a ge i de m ,
s u u m c u i que
.
,
’
,
.
’
’
,
,
-
thor o f Ti tus A nd r o n i cus m u st h av e known th e cl assic s we ll to j u dge by h is fre qu e nt q u otation s e g Th e
au
,
i n teg e r
d a tu s
”6
.
,
v i ta e ,
”
e tc
A g a in ,
mag n i do m i na to r
.
chol a r alon e cou ld c oin
a s
Ti mo n 2
H e n r y VI
,
pt
.
po li
2,
Ti tus A n dro n i c us, I V ,
I V,
ii
,
i
.
20
3
99
.
5
.
‘
Id
ii
A th en s, 1,
f
o
.
,
Id
.
I i ,
IV
,
,
Love ,
1 85
i .
.
28
.
'
s
81
.
su
“
”
ca n d i
ch phrase s a s
.
La b o ur
'
s
.
Lo st V ,
,
i
c H i o ! S e n e a ( pp ”
,
1
ii
.
,
Class ic al A tta i n me n ts of S ha hspe r e ad
ma ne s f r a tr u m ” -3
si t
f
“
f
as a u t ne as
53
.
p
er
S ty g a pe r
ind e ed the se b e not ra the r hithe rto “ u nid e ntifi e d q u ota tion s : aga in stup ru m i s u se d in I V i 98 a word not occ u rring in th e voc abu l a ry o f L ily s 1 5 7 4 W he the r S ha k spe re wrote thi s pl ay or not is a G ra m m a r s a b u h oint o t id r ng thi p p r pl inly r tio u h e a e o f e a t e a t s e t ; p o f cl ass ic a l a ll usion s a n d q uota tion s in th e pl ay to t h e sam e thi ngs whe re the y occ u r in u ndou bte dly ge n u in e pl ays i s no m e a n factor in t h e probl e m I t i s e nou gh to point o u t he re th at a pl ay fu ll to re pl e tion o f cl assica l i m age ry a nd scraps o f La ti n i s m u ch wh a t we m ight e xpe ct fro m a yo u th fre sh fro m th e gra m m ar school o f th e provinc e s I t m ay b e a dd e d th at th e fa l se q u a ntity o f A ndron i c u s i s j u s t wh at a n in e x act schol ar who kn e w lik e S ha kspe re a fa i r a m o u nt o f L atin wo u ld b e ap t to write Fo r a n a logy in L atin i s — tc u s all in favou r o f I t will b e said : W h y shou ld not Sh ak spe re h ave I nstanc e s o f such c ontin u e d h is stu di e s in afte r li fe ? d e votion to th e C l assics are a l most too n u m e ro u s to b e notabl e H e re o u r data are sc a nty we do not know wh a t h ad ; it m ay b e th at lik e so rt o f a libra ry S h a k sp e re L a ndor h e n e v e r h ad m ore th a n a do ze n book s in th e hou se at a ti me A ga in books we re o f cou rse far d e a re r in h is d ay th a n now W e only po sse ss thre e books with h is au tograph or su ppo se d au togra ph T h e fi r st i s a s m a ll folio c opy o f F lo rio s tra n sl a tion o f M o n ta ig ne s 1 00 E ssay s pu rch ase d by th e Briti sh M u se u m fo r £ The s e cond i s a n A ldin e e dition o f O vid s M e ta m o rph o se s now i n t h e Bod l e i a n T h e third i s a copy o f th e 1 6 1 2 e dition ‘ N o rth s P lu ta r ch now at G re e nock of T h e re is no re fe re nc e to book s in th e poe t s will an d a ny thing lik e library in h is d ays was a gre at ra rity We a priva te m a n es
veho r
if
,
,
,
’
,
.
.
.
,
,
.
,
.
.
,
,
.
,
,
,
.
.
,
’
’
,
.
’
,
.
’
.
,
’
,
.
Ti tus A n d ro n i c u s,
Fo r wh
ih c
I i ,
cf
.
,
98
.
3
Id
.
,
II i .
,
Id
1 32 .
Gr een oc h A dve r ti ser , N o v 5 , .
.
,
II i
1 87 0.
,
,
1 35 .
N o cte s S hah ve r i a ne
54
.
know th at h e mu st h ave u se d th e 1 5 86 folio o f R aph ae l H olin sh e d an d M r H a lliwe ll P hillipp s h as pointe d o u t i n conn e xion wi th Co r i ola n us I V v 86 90 th at h e probably u se d th e 1 5 95 e dition o f P lu ta r ch b u t the y n e e d o f co u rse no t have be e n h is own copie s T h e 1 5 95 P lu ta r ch w a s brou ght o u t by h is fe llow town sm a n R icha rd Fi e ld who p u bli she d Ve n us a n d A do n i s fo r h im in 1 5 93 T h e sa m e R ich ard Fi e ld p u bli sh e d a n e dition o f th e M e ta mo rph o se s in 1 5 89 H e w as pre sum ably a c qu ai nte d with th e C l assi c s or h ad in h is e mploy a cl e rk so ac q uainte d who m ay have su ppli e d to S hak spe re th e m otto fo r Ve n u s a n d A do n i s w hich co m e s fro m th e A m o re s i 1 5 3 5 So it i s not n e c e ssa ry to su p po se with M r H a l e s that S ha k spe re re ad th e A mo res whil e in town be twe e n 1 5 87 an d 1 5 92 thou gh the re is no do u bt that Ve n u s a nd A do n is i s satu rate d w i th Ov id i an ism T hi s at a n y r a te is a re a son abl e hypoth e si s th at t h e two fe llow town sme n sa w a good d e a l o f o n e anothe r in London A s w e po sse ss a copy o f t h e M e ta mo rpho ses w i th S h a k spe re s n a m e in it th e q u e stion n a tu ra lly sugge sts itse l f : Can w e trace a nything in S h ak spe re to th at po e m ” Te r ras A str ae a r eliq ui t i s q u ot e d fro m i 1 5 0 in Ti tu s A nd r o n i c us I V iii 4 O vid s M e ta mo rph oses is th e book ” “ which L avini a to sse th so T itu s ta k e s th e book a nd tu rn s to th e sto ry o f P hilo m e l a in th e sixth book (I F o e d i th e ruthl e ss ast and gl o o m y wo o d re c all s a lin e in t h e origin a l “ “ i n tab l a al ta t h i t si l i s o b c u et ti s P rogne i s m e ntion e d in Ti tus A ndro n i c us V ii 196 I s it too mu ch to su ppose tha t S ha k spe re was st udying th e M e ta mo rpho ses in 1 5 92 whil e writing or re w riting o r h e lpi n g to write Ti tus A nd ro n i cu s ,
-
.
-
,
,
,
,
,
.
-
,
.
,
.
,
,
,
,
.
.
,
,
,
,
,
,
.
,
,
.
’
,
,
,
’
,
,
.
1
.
rc
v
n
s
ra
u
s
s
v
ra v
us
.
,
,
.
,
-
,
,
,
,
Ti tus A n d ron i c n s. I V Cf
.
also
,
i
.
Aleta mo rphoses,
42 .
Ti tu s A n dro n i c us,
II iii ,
,
43 ;
II
.
i v,
26
.
vi ,
8 3 43
521 .
.
Classi ca l A tta i n me n ts of S ha hspe r e
55
.
I t is at any ra te notice abl e that S e m iram is is only l m e ntion e d in thi s play o f all h i s writings Sh e is m e ntion e d in M e ta mo rph o ses iv 5 8 ; v 8 T h e story o f ’ A cta e on i s fou nd in M e ta mo rph o se s iii 2 30 and foll I n V ii 20 4 we re ad Thi b a q e t wh i c h I wi sh may p o e ” M o e ste rn an d b l o o dy th an t h e C e tau s fe ast C o m pare M e ta m o rpho se s xii 2 20 a n d following e spe c i a lly 11 24 1 2 4 3 I n I I iii 2 3 1 we have a re fe re nce to P yra m u s story T hi s story is only m e ntion e d e l se wh e re in S h a k spe re in th e M i dsu m me r N igh t s D r ea m and co me s from M e ta mo rph oses Book iv W e m ay e v e n co m pa re with th e p a l e “ m oon th e que m pr acu l a d lu na e ra d i o s o f O vid iv 98 thou gh th e passa ge is not spe aking o f P yram us b u t o f T hi sbe F in a lly th e n a m e o f C hiron T am o ra s so n m ay have be e n su gge ste d by M e ta mo rpho ses vi 1 26 I n th e M e rcha n t of Ve n i ce I I I ii 5 5 re fe re nc e is m ad e to th e l e ge nd o f you ng A lcid e s (M e ta mo rph ose s xi 2 1 3) red e e mi ng th e virgin d a ughte r o f L ao me don fro m th e se a mon st e r se nt by th e d e c e ive d N e pt u n e A n d in K i ng 2 n V vii 2 o h 5 7 j ,
,
.
,
,
,
,
,
,
,
.
,
,
s
n
u
v
r
,
r
’
n
,
,
r
.
,
,
’
-
.
,
.
,
,
.
’
,
.
,
,
,
,
,
’
.
,
,
,
,
,
,
,
,
.
,
,
,
.
-
.
,
-
,
,
,
To
F o r y o u are b o rn se t a fo r m upo n t at i n
Wh i h h c
M e ta mo rph ose s
d e scribe d
i
,
i s 7
h
e
h ath
d ige st sh ape l e ss an d
le ft so
so ru
l rly re fe rre d to whe re
c ea
de
” .
C h ao s is
,
as
d i i dig e staq e mo l e s C e rt a in re fe re nc e s to O vid s oth e r work s occu r in R o meo I I I i 28 a nd ju lie t I I ii 92 a n d Ta m i ng of th e S h r e w Th e for m e r p assag e is A t l o e s pe ju i e ” The y say Jo e l augh T hi s co me s fro m th e A rs A ma nd i i 6 33 ru
n
s
”
u
.
’
,
,
,
,
,
’
v r
v
J i
l
.
,
e r i r i u a r i d n e t a m a t u m p
u p te r
Ti tus A n d r on i c u s,
s
r
s
,
“
r
II i .
,
22
.
,
iii
,
1 1 8.
3
” .
Id
.
II iii ,
,
63
.
,
.
6 5
N o ctes S ha h spe r i ane
.
I n th e l atte r th e e pi stl e o f P e n e lope to U lysse s i s actually q u ote d H ic i h at S i m i : h i c e st S ig e i a te ll us ; ” h i c ste te rat P ri am i e gi a c e l sa se i s A n d in 3 H e n ry VI I iii 4 8 H e ro ld ii 66 i s qu oted ” d i fac i a t la d i s s mm a si t i ta t ne I t i s probabl e the re fore that S ha k spe re kn e w h is O vi d fairly we ll G e rv i nu s h as notice d th a t i f aske d wha t h e re ga rd e d as dramatic m od e l s S hakspe re wou ld hav e m e n t io n e d P l au t us an d S e n e c a : a n d w e m u st not b e shock e d to concl ud e that h e h ad no first h and acq ua intanc e with V e rgil H o m e r o f cou rse is o u t o f th e q u e s tion H e re w e m ay notic e th a t S hak spe re u ndo u bt e dly ow e d I n th e Te mpest (V i 3 3) P rospe ro m u ch to tra n sl a tion s says : ” Ye e l e s o f h i ll s b o o k sta n d i ng l ke a d g ro e s W a rbu rton says thi s co me s fro m O vid s lin e s a bou t M e d e a (M e ta mo rpho se s vii S o it did b u t thro u gh t h e m e di u m o f tr a n sl ation A rth u r G olding tra n sl a te d th e whol e o f th e M e ta m o rpho se s in 1 5 7 5 a n d in h i s book w e re a d f h i ll d wi ds ; y e l e f b o ke s o f wo o d al o e Ye ay ” d i g l ke s d f th e ight app he y e of t h c o ne y S ta nding l a ke s is good t e sti m ony to S h ak spe re s h aving u se d th i s tr a n sl ation S i m il a rly M e rcha n t of Ve n i ce I V i 7 5 i s lik e G olding Book X V p 1 96 S h o i se s p i e tre e s m ke wh a t ti m th e h ddy e aste m e ” w i n d d o th w h i am g th e m ’ O n Wi n te r s Tale I V iv 1 1 5 S te e ve n s q uote s O vid R i tson m ore wi se ly th e tra n sl a tion “W h i l e i th i e P ne was t ki g h e d i i as t m e p p g i le t b l ue o l i ll i e w h i te l i me I ga th i g e th e D i spi d h e T h l d y wi th a w i l i g o i e afrigh t d i d o fte all m o the H ga me t w o uld h a e e n t A d as h f o m th e p p rt h B y c h an c e sh e le t h e r p sl i p do w a d t h e fl o we rs we n t Q t d by S t ,
'
o s
n
r
,
,
,
n
.
,
,
.
,
u
n
.
s
u
.
,
.
,
-
,
.
,
.
v
,
,
s,
r
,
a
s,
n
v
.
’
,
,
,
.
,
n
re s an
a
n
s an
e
an
,
,
s o
v
o
s, o
n
o
r
ro c
,
s
,
e ve r
n
,
.
’
.
,
.
,
a
n
s
n
er n
e
s
e
ar
r
l
on
,
,
n
ro se r
r v o
s
ea
.
,
,
,
a
r
n
r
s
as
r
a
a
n
v
11
er
c
n c
r
er
n
,
e
zz
n
,
.
a
n
uc
,
s
e
r
a
'
uo e
a
er
n,
ee ve ns
.
r
n
n
ou
v
r
r
, .
Wo otes
8 5
S hak spe r i anw
.
Me asu re f o r Mea su re I I ii I 14 has b e e n compared with Pe rseus ii 2 4 ; and H a mle t V i 2 62 with P e r szus i 39 T h e re was n o translation as fa r as w e know o f P e rsius in Shakspere s time Both he and L ucretius are too hard fo r us to suppose in default o f stronger evid e nce that Shakspere h ad re ad th e originals T h e same remarks a pply to Statius whom S te e ve ns q uote s (Tin a x 7 0 5 ) on K zng L ea r I I iv 1 93 I n six passages Shakspe re refers to th e N a tu r al Hi sto ry of P li ny which h e n o do u bt re ad in the folio translation o f Philemon H olland which appeared at London in 1 60 1 T mpest I I I iii 2 3 iii c p 4 re fe s to B o o k K i ng L r I V i 1 83 i i p owmi m ,
,
,
,
'
,
,
.
,
,
,
,
,
,
,
,
’
.
,
,
.
,
'
,
,
,
,
,
.
,
,
e
,
,
,
ea
,
,
iii
Olli e llo , I I I ,
,
,
v
x
r
,
v
,
ii
4 5 3,
a
,
.
.
u
r
,
.
se n te n c e
n n
A to y
an d
Cle opa tra
n
i u l j us Ce sa r
a:
,
11,
i
,
,
11,
ii
I I:
V ii ) 2 0 :
,
1 8 3 ,
.
to
x xx v , c a p
.
.
"9
V : c al
n
n
last
97 ,
c ap
,
.
2 32
v
iii
,
°
c ap
.
8
.
question o f Shakspere s relation to Plutarch h as bee n most fully gone into th e places wh e re he varies fro m N o rth s translation have all been investigate d as well as those where he follows his author in misprints or e rro rs : but none has eve r d a re d to as se rt th at th e variations in Shakspere are d ue to th e original G reek The two best instances o f his following North whe re h e is wrong are : “ A n tony a nd Cleopa tr a I I I vi 10 lower Syria Cypru s L ydi a l i r L a e a where ydi should be ibya j u us C a s L ( ); ” “ I I I ii 2 5 4 o n this side Ti b er (o f C ae sar s gardens contra ry to th e G re e k te xt) W e must be care ful not to assume that Shakspere read Pla u tus merely because in th e Co me dy of E rro r s we get th e plot o f th e M e na e cfi m z with a scene ins e rted from the wh e re A n tiph o lu s o f Eph e sus and his A mp/zztr u o D ro m io are shut o u t o f their house Previous English writers often supply th e clue to a puzzle ; thus som e Th e
’
’
,
.
,
,
,
,
,
,
,
’
,
,
,
,
.
'
,
'
,
.
Classi cal A tta zn me n ts of Sha kspe re ’
59
.
“
supposed th at Te mpe st I V i 10 2 I know her by h e r ” gait Juno was d ue to V ergil s A st d zo um znee do ” reg i na but S te ve e n s q uote s from l e A r r a zlg ne me n t o f ” Pa r i s I 5 84 F irst state lie Juno with h e r port and grac e and C hapman (I liad ii ) the god d ess o f e state A gain it is pe rfectly justifiable to q uote I lia d vi 4 8 3 Sa xpvo e v y e l do a a a o n R i cha r d I I I I I ii 1 0 as a parall e l passage but as nothing more Shakspere write s ” So we e p i n g sm i li g gre e t I th e m y e a th ,
,
,
,
’
,
'
'
,
'
,
,
,
,
”
,
.
,
,
,
,
,
'
'
,
,
,
,
,
.
e,
n
r
.
“
The apostrophe to innoc e nt sl e e p in M a eb e tlz I I ii like Me ta morph oses xi 6 24 5 a lso an apostrophe ,
is
h im
,
to
,
,
,
,
6 3 ,
r u i c o d a q
d i um i s
fe ssa mi n i ste rii s m ulc e t
”
.
But an appe al to sl e ep is surely a thing which can hav e ‘ O n Te mpe st I I I i ii o ccurre d ind e pend e ntly to two po e ts S te e v e n s q uot e s P h ae r s A Zne za iii m e re ly be cause A riel comes in as a H arpy But the re is no striking re semblance in th e language used W e may conclude that Shakspe re kn e w a fair amount o f L atin on l e aving school and i f he read any Classics in later li fe re ad O vid and O vid only A n d this choice n e e d n o t surpri se us To begin with O vi d is an e asy and But in the s e con d place O vid is in a ttractive write r many ways j ust the poet w h o suits th e ge nius o f the Elizabe than age best W ith all th e vigour and youth w hich marked that illustrious ep och is subtly and u n c e asi n g ly commingl e d a dee p vein o f sympathy with t h e ” conceit The Elizabe than writers are alone in combining the characteristics o f the golden and th e silver ages Wh o will say that Shakspere s taste is always faultl e ss ? W h o fai ls after reading Ve nus a nd A a o n zs and Lucr e ce to se e th at their unpru ned luxuriance is exactly what would have .
’
‘
,
,
,
'
,
,
.
.
,
.
,
.
,
.
,
.
.
!
.
’
’
S e nora , H er c u les F u r en s.
1 065 and
'
fo llo wing , is j u st
p
suc h a no th e r a o stro
ph
e.
N o cte s S lza k spe r ia ne
60
O vid had that
d istinguished
“
a ma to r
.
su i
i ng e n i
”
w ritten
in English ? Le t us turn to the position o f mythology and It will n o t detain us c las sical allusion in Shaksp e re long I t is as a rul e fairly obvious but n o t always W e can see by a cursory inspection o f th e a ccurate “ literature o f th e period that mythology was very much in ” The F ae r i e Que e ne alon e would prove this ; th e t h e air mythology o f that poem is not al ways either discreet o r pre cise O ur be st plan will b e to coll e ct instances in plays In the first d ating from various perio d s o f th e po e t s li fe part o f He n ry VI I i 5 6 H en ry V is compare d to J ulius “ an C ae sar ; I ii 10 4 the M a id o f O rleans is said to b e ” ” “ and in 1 44 the bright star o f V enus In A mazon 1 iv 95 Talbot says h e will lik e Nero play on the lute In I vi 2 1 occur the lines b eholding the to w ns burn m h l i o e I l A sta te li t e y p ” M e mph i e ve was R h o do pe s Th I n I vi 2 5 allusion is mad e to th e rich je we lld co ffe r o f ” In I I iii 6 Scythian Tomyris is mentioned ; D arius 11 i ii 1 9 2 0 H e rcul e s a n d H e ctor ; I I I ii 64 H e cate ; I V vi 5 4 an d vii I 6 Icarus an d D ae d alus V i ii 1 8 8 th e L abyrinth and M inotaur Compare also I V vii 60 I V vii 7 8 N e m e sis ; V i i i 3 5 C irc e ; V v 1 0 4 A lcides Paris T h e evid e nc e o f all this as to wh e ther Shakspe re kne w L atin is very littl e when we remembe r what good Ti tus A ndr on i c us u se John K e ats mad e o f L empri ere t e e ms with mythology : to give a fe w exampl e s w e have in I i 80 Priam s sons 88 S tyx I 36 H e cuba ; 1 7 7 Solon s parad ox ; 2 26 Titan s rays ; 3 1 6 Phoe be ; 3 2 5 H ym e nae us ; i 1 : jax s burial I I Prometh us aucasus e A o n C 7 37 9 ; I I i i i 2 3 A en e as and D ido 1 0 8 L ucre ce 2 2 Semiramis 6 3 A ctaeo n an d D iana ; 2 3 1 Pyramus I I I i 24 2 A etna : I I I ii 2 7 A e n e as : I V i 5 2 P hilomela : I V ii i 6 8 .
.
,
,
,
.
'
.
.
’
.
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
”
.
,
ra
er
s
’
an
,
r
,
’
r ar
’
or
s
r
.
’
-
,
,
,
,
.
,
-
,
,
,
,
,
,
,
,
,
,
,
,
,
,
.
.
,
,
,
,
,
,
,
,
,
,
,
,
,
.
,
.
,
'
,
,
,
,
’
,
,
’
,
,
,
’
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
Classical A tta i nme nts of C oriolanus
S li ak spe re
Priam and Sino n H ere again th e re is nothing recondite ; th e allusions are what must have bee n familiar to all who h ad cultu re In A s You L ike I t to take a play o f another period th e classical allusions are fe w a n d far between I n I i w e “ 1 i i i 7 7 Juno s swans ; 1 2 7 have th e gol d en world G anym e d e : I I I ii 1 8 7 Pythagoras time ; 2 5 0 Jove s tre e o a k : 1 ii 1 h Jove in a thatch d house O vi t e 11 i 1 e d a n d ( ) among th e G oths : I V i 4 8 C upid ; 95 Troilus and Le ander ; 2 10 C upid again : V ii 34 Cae sar s thrasonical ” b rag : V iv H ymen and Juno as goddess o f marriage H e re the only thing o u t o f th e way is the reference to Philemon and Baucis : this may be d u e to M e ta mo rp/zo se s :
V,
2 , 204 ,
C e ntaur s feas t
6r
.
’
V , i i i , 84 ,
:
.
.
,
,
,
.
,
’
,
,
,
,
’
,
,
,
,
,
,
,
’
,
,
,
,
,
’
,
,
,
,
,
,
.
,
,
vi i i ,
Take the Te mpest as an insta n ce o f Shakspere s lat e st mann e r : w e find but fe w allusions and those ordinary on e s W e have in I ii 20 1 Jove s lightnings and 20 4 ” “ Neptun e s trident ; I I 1 widow D i d o ; I I I 2 A riel e nte ring like a H arpy : I V i 30 P h aab u s ste ed s I ris Cere s a n d Juno ; 89 dusky D i s and th e story o f Proserpine ; 93 Paphos 1 2 8 Naiads : V i 4 5 Jove s oak A ll is trit e here and does not involve m uch knowl e d ge We nee d not attach much weight to th e o f th e clas sics mistake s mad e by Shakspe re fo r it was an inaccurate age H ere are a fe w specimens : “ ” A Y Li k I t I I I ii 7 7 J o s wans sh o ld b e ” d Cle opatr IV A n t ny ii do an d h e A e ne as sh o ld b e Di ” ’
,
’
,
,
.
,
,
,
’
,
,
,
,
’
,
,
,
.
,
,
,
,
’
,
,
,
.
,
,
.
,
s
e
o u
,
an
o
,
,
a,
.
un
,
x ,
’
s
u
,
r
,
,
S i c h ae us “ ‘ ” H e ry V, V , ii , 467 , tr e s ek er , an d th u s i n Lat n ra d ar : d 1 5 7 7, Cf (T h s m sta e starts in H o l n sh e d 2 0 1 7: P Tr o i l s an d Cr essi da , V , ii, 1 5 1, Adm ts n o o r fe x fo r a po nt as sub tle ’ ” A s Ari ac h n e s b ro e n wo o f to e nte r
u
.
n
i
i k
u
C o n fu s
i
i
i
on of
i
i
k
.
.
i
.
th e n ame s Arac h n e an d A ri ad n e
C f M uc h A do .
ab o u t
.
N o t/li ng , I I , i ,
.
t oo
.
vo l .
2,
62
N oc te s S /za kspe r i a n ce
.
There is far more use o f classica l allusion i n the mo re f e e h outh ul and doubt ul plays but there is quit noug f : y scatte red up and d own th e ge nuine plays to allow o f our m aking this conclusion : that by itsel f o u r author s po we r o f classical allusion do e s n o t lead us to suppose he obtained it fo r himse l f but rather that h e utilized th e floating e d uca tion o f the day But a third more intricate q u e stion re mains be hind which w e can d o little more than adumbrate he re A n a uthor s re a d ing and studies a ffect the words and phrase s h e uses wh e n h e is at l e ast conscious o f the fact Ca n we asce rtain from a study o f the d iction o f Shakspe re whether h e was a clas sical scholar ? The knowled ge o f his works a n d o f contemporary write rs re q uired fo r e mbarking o n such a tas k as this woul d o f nece ssi ty be immense T h e labour o f such an und e rtaking would li e chi e fly in finding wheth e r Shakspe re used many words foun d in no previous a uthor which are dir e ctly and correctly form e d from L atin D r M urray s colossal dictionary o f th e English language A llow w il l b e o f cardinal value in s e ttling this q u e stion ance woul d have to b e made fo r th e b e Latinize d condition o f th e language at the time ; how much only th e most T h e sort o f word s and e min e nt scholars could settle expressions which th e student shoul d inve stigate may be e essed rom ra om instances h re subjoined u f f d a e w n g l m l a e t i Ti tu A nd ni c u I i 1 82 a p 2 H nry I V V ii I i 27 c i te d ( ” wh c ed 11 i 120 sac e d w i t E i d iii 5 7 cc e d as i ” u i cr f m I 1 iii 2 3 5 e c e pta le “ ” f t h e a l m e 1 iii 3 1 o d i o o 1 H n y VI t p 2 H nr y V] I i 3 o c r o a t p c f b li i o sus V iii 4 3 M c b th o b li i o us a t i d te ( ’
,
.
,
.
’
.
,
.
,
.
,
’
.
.
-
.
ro
s
s
,
e
,
r
,
a
e
r
e
a
e
,
,
,
,
r
r
,
,
,
n z
a
sa
r
,
e re
,
c
,
,
, ,
r ,
,
,
urs
a
7’
.
a c
,
,
,
n
,
,
,
sa r
ne
,
,
,
es
a
.
.
r
r
u
.
r
.
n
v
o
.
o
v
i n H o r Ode s, I I , v i i, o ne th e w se st p r nc e ’ V e r ls i u stzssi m u s .
H
e
nry VIII
I I , i v , 4 8,
gi
i
i
cf
(
unu
.
s
.
”
Classical A tta i nme nts of Shakspe re i
I I,
i
b as s ad m re d M
1 20,
,
I I I , i , 37 , I V , , 1 8,
i
i
V,
,
.
i
an d
us
a nd
P ro l ii
Cressi da
.
mo re
n
9:
I,
iii iii iii
I,
iii
1,
I,
1,
iii iii
1,
iii
1,
iii
I,
I I, I I,
I I I,
,
r ve e s s t p
,
87 ,
,
10 5 ,
,
1 1 1,
,
12 7 ,
,
6 35 ,
i i
,
1 2 1,
,
1 33,
.
u
ne
n an
e
on
r c r
u
e
c
ro
e ns o n
n
aus v
.
v , 2 7 2 , c o n v ve .
i
We ll th at E nd s We ll
n Le r T mi ng of th S h w d Cle pat A nto ny a
re
e
o
mo n of A the ns
ra
,
.
,
,
0,
,
1 40 , ,
2 3,
1 1 9, 2,
,
7,
.
r n
ra u a e
e
n
a n tre
ed
.
.
.
n po t s) e
s
e
.
.
I ll watc h h i m ta me ’
mure
(
n o te ob
!
i
no t
b o un d)
1 2 1,
r e c u r s e p
I,
1 5 4,
e x t rav a
.
g
an t .
M eas ur e
i
i g
( (Othe llo I iii o r M as u r e e f an d e rr n ,
,
s
i i t ) p
,
,
s f e r o o us e t 4 , p , 3 I I I , i v, 69, pe n d u lo us I I I , i , 50, pe da sc u le (sh am Lat
I V,
.
.
a r e d u l e r b p
,
u)
a r e c enso r i s r i t
l ge d
i
.
.
I , i,
iii
.
.
i
ex
r
0,
ve
.
con
,
,
i
.
i
,
,
.
i i
IV,
i
.
un c o
i
I V , iv,
e
.
v
v,
v i,
.
e
IV,
11,
.
v
v,
iii
.
ve .
I V,
I V,
s sso ci ab zli s)
a
v,
V , i v, 5 7 ,
Ti
.
m pre h e ns 12 4, c o mm x t o n 1 2 9, m ult po te n t 1 4 2 , m rab le 2 5 0 , pre no m n ate
iii
ml t
an
v
un r
iii
.
in i t d i i d b le Opp g c y g l c ti d i e ti tt i b t i e e sp c ti e d je t i p p u pl i e s s ure
7 1,
I , iii , 111,
r
a
i
I V,
,
n y IV
A Ki g
ve .
v,
,
Othe llo
Ha
i
I V,
,
R i c h ar d I I I
He
,
2 1,
,
e ve r
u lo us
,
a
was
: f
r t v o ra t e c p
8 5 ,
i ne ss
b us
o
c
ii 1 7 3 st i g V ii 1 5 1 o i f IV i 1 g t lt I i 11 e ph w
’9
2
nd u t
2 0,
,
is
th a n n atu re
9,
, 4 3, I I I , iii , 1 98,
V,
i s i n th
,
ii ii ii
11,
,
.
.
to rt
ii
I I,
g
or
i randa
th e re
co
Tr oi l
i
aspe rs o n
244,
63
.
r
.
34 3 I ll,
.
.
I I,
v,
11,
v , 1 1,
1,
i
,
5
1 1,
1,
r e e c d e n c e p
u d e n c p y
i
( j) ad
.
i g
vo c at ve
wh at
.
c o n t n ua te
in
)
.
o es
N o c te s S ha h spe r i a n a
64
.
M any
more instance s could easily be found by going through th e Shakspe re l e xicons I t is o f co urse not asse rted th at all th e words allud e d to are dire ctly formed W ith many th is is n o t from corre spon d ing L atin word s the case but wh e re w e find Shakspe re first employe d a word (and in som e case s he e mploye d them last as well as first ) it is asserte d that probably ac q uaintance with L atin le d h i m to coin the words at any ra te from L atin roots though the terminations may not always b e accurat e ly ” “ It is not conte n d e d that cont raction in form ed ” Ha mle t I I I iv 4 6 fo r marriage contract is so use d b ecause o f any L atin u se o f co u tr a c ti o ; but that only a “ scholar would have v e nture d on using contraction instead ” ” “ “ “ contract Similarly with p ro li r i o us fo r pr olix in of Me asu re f o r Me a su re I I iv 16 2 I n som e cas e s the problem to inve stigate would b e o dd use s o f ord inary — t h e English word s such as are in above list sacre d oblivious n e phews not e oblige d pre ce de nce It is tim e to bring this discussion to a clos e I ts conclusions are n e ithe r st a rtling nor d e finite ; t h e facts whenc e they are d rawn a re n o t clear cut e nough to admit The subj e ct is howeve r o n e o f gre at o f th e ir being so inte re st both in itse lf a n d as re gards its collat e ral points T h e classical allusio n s o f Shakspere may h e lp us i n deciding th e date o f all th e plays and th e ge nuin e ness o f some They throw a si d e light o n the culture and scholar ship o f th e Elizabe than ag e Th e y suggest compariso n b etwee n Shakspe re a n d h is dra matic rivals such as B e n Jonso n o n the o ne side : an d o n th e oth e r with the gre at poets o f all ti me such as M ilton Could M ilton have writt en Pa ra di se Lost h ad h e neve r read Ve rgi l or Home r ? W ould Shaksp e re have dare d to write Ha mle t Othello o r Le a r i f he h ad known the great plays o f anci e nt G re e ce ? F inally a comparison o f the Shaksperian critics o f this ag e .
.
,
,
,
,
.
-
,
,
,
,
”
.
,
,
.
,
,
,
,
,
,
,
.
.
-
.
.
,
-
.
.
,
,
,
.
,
,
,
,
,
,
THE
P UN S A
1 N ro '
TH E
D I GEST
RATI
O N A LE
OF OF
S H A K E S P EARE
AN
AN D
I
:
NV EST I G AT I O N
F R EQUE N CY
OF
TH EI R
USE
.
P UN S
THE
OF
S HAK ES PEARE
.
“
replied the eminent lexicographer th e man that will m ake a pun will pick a pocke t A ” “ says the yclop e dia is a verbal quibble used in n C u p ” place o f wit by those destitute o f sense W hether o r no the morals o f the Elizabethan dramatists were be tte r than t hose o f the G eorgian pickpocket is a matter o f opinion but that common sense humour and brilliant wit we re characteristics that distingu ished th e m among writers o f all H o w the n a ges is a statement fe w would care to d ispute a re we to account fo r the anomalous fact th a t (with t h e doubtful exception o f th e late H J Byron and h i s followers ) they were also the greate st punsters that ever W hen ideas utterly distinct are brought by li ve d som e bond into connection w e d e rive enjoyment The d epth o f o u r pleasure varies with th e strengt h o f the bond Language a ffords men a means o f thus associating d i fferent ideas either by th e similarity o f th e words that e xpress t hose idea s o r by the di fferent meanings that may b e at ta ched to one word So soon as men obtained a mastery o ver languag e they began to pleas e their audience in thi s manner Even A ristotle and C icero praise the use o f the e rgil it is sublimed into poet ry V while by But u n h e t p test o f a true pi e c e o f wit is translatio n into anothe r langu age I f th e wit b e in the thought it remains i f mer ely IR
,
,
,
,
.
,
,
.
,
,
.
.
.
.
,
,
.
.
.
,
.
,
N o c tes S h ah spe r i a na
o 7
.
”
in the words it vanishe s a pun is w e: e t prae te re a n ih il T his was recogn ised by Quintilian and L onginus a nd lat e r writers acqui e sced in th e ir distinction But with th e revival o f l e tters c a m e the re viv a l o f false w i t : Englishmen d i s c overed what a wonde rful instru ment their langu age w as a n d they delighted to play on it ; what w onder if th e y occasionally played with it ! Late r critics again showed how superficial was th e humour o f the pun and once mo re it d isappe ars from all literary productions The Com m e n ta to rs o n Shakespeare almost witho u t exceptio n fall foul o f th e pun but n o amount o f censure can prevent o u r recognitio n o f it as a pervading element in Elizabetha n lite rature a n d as an important factor in th e method o f o u r e arly dramatists The development o f the individual re pe ats i n li ttle th e development o f th e race Just as th e pun fo r reason s a bove mentioned fell into disuse among dramatists so it may b e expected to show a gradu al decline in th e works o f him who more than any other is the representative o f That this is largely the case has been those dramatists principle by those w h o study recognised as a gene ral Shakespeare s plays from a c hronological stand point Thus D owden wri tes : Shakespe are s early conceits pu ns freq uent classical allusions occasional over wro ught rh e to r ic all gradually disappe ar or subside but these changes reall y ” belong to the growth o f Shake speare s taste and j udgm e nt Still no one has hitherto attempted the scientific method o f bri nging this theo ry to th e bar o f fact O n th e con tra ry say with D owd en These are things that all wo u ld c a nnot b e precisely weigh e d and measured although th e y ” clearly felt F leay fo r instance says o f h is c an b e metrical test that in it and i n it only can quan ti tati ve re sults be obt ained The prese nt e ssay attempts to sho w h o w the s tatistic al .
,
.
,
,
.
,
,
,
.
.
,
,
,
,
,
.
’
-
.
’
,
,
-
,
,
’
.
.
,
.
,
.
,
,
,
.
,
,
Puns of Shakespea r e
1 7
'
.
ientific method may be applied to o ne o f the points mention ed by D owden preliminary res ults arising from a complete study o f Shakespeare s verbal jests and quibbles are here laid before th e re ader D i d no more result from the investigati o n than a confirmation o f o u r a p r i o r i hypothesis it would still be o f value as l e nding support to purely aesthetic criticism A n d th is support is nee ded fo r the e sth e tic se nse alone is often deceived Fo r instance D owden exempli fying the contrast o f characters in The Tw o Ge n tle me n of Ve r ona write s : Th e b r igh t and c le ve r Sylvia is se t over against th e te nder and ard e nt Julia the clown Speed notable as a ve r bal w i t and qu i bble r is set ” ove r against the humorous Laun ce A fter reading t h e words I h ave italicis e d we are a little surprised to l e arn that whereas Julia quibbles e l e ven times Sylvia only uibbles once The contrast may e xist but it do s n e o t q lie in the quality o f w i t A s re gards Speed and Launc e D owden has m ore right o n h is side fo r Sp e ed mak e s — twe nty puns and Launc e make s but nineteen T o the fin e aesth e tic s e nse o f Pro fessor D owden this doubtl e ss A nother a sth e tic critic appe ars great opposition M rs M ontag u is thus quoted by Bish op W ordsworth : A s F alsta ff whom the author certainly intend e d to be perfectly witty is less addicted to quibble and play on words than any o f his comic characters I think we may fairly conclud e he was sensible it was but a fals e kind o f wit which he practise d from th e hard n e ce ssity o f the tim e s W hat a re the facts ? I n 1 K i ng He n ry I V there are forty seven puns ; o f these F alsta ff makes twe nty o n e Prince H al ten H otspur e ight : in 2 K i ng He n ry I V the re Falsta ff leads with tw e nty s e ven Prince are fi fty two puns H al is again a bad second with six : in the Me r ry Wi ve s Wi ndsor there are thirty nine puns o f which e l e ven are of c re dited to Falsta ff this being twice as many as are made and sc
’
.
,
.
,
.
,
,
,
,
,
.
,
,
,
.
,
.
,
.
.
,
,
.
,
,
,
,
”
.
-
-
,
,
-
-
,
-
,
,
N o ctes S hak spe r ia na
2 7
.
by anyone else in th e comedy N o characte r in the whole o f Shakespeare s plays o r in thos e o f any conte m orary p dramatist with which I am acquainted exceeds Falsta ff i n quibbling W ere Sir John alive to read the above quoted remark o f M rs M ontagu h e would sure ly once more ej aculate Lord L ord how this world is given to ” M any such errors could be cited but I do lying ! not wish to make a reputation as did the V a rioru m C omm e ntators by vili fying criti c s o f supe rior j udgm e nt enough has be en said to show reason fo r the existence o f this essay W hatever be the exact orde r in which Shakespeare wrot e his plays we can ascribe th e m with probability to four main periods Th e se doubtl e ss correspond with events and stages in the author s li fe and are : I the p e riod o f apprentice ship ; I I a pe riod o f manly vigour ; I I I a gloom pe riod ; I V period o f final calm A ccording to the theory a gradual d e crease o f puns is to b e e xpected in successive periods The following are th e proportions — actually found I II I I I 49 ; I V 4 8 Thes e numbers a re calculate d from tho se pl ays alone which are undoubte dly by Shake speare ; see the Table on page 7 4 O r to give an example o f two comedies fro m e ach pe riod L v L bou L t I Tw G n tl m n f V A Yo L i k I t h A d A ho u t N th i ng 11 M ' l l t h t E 6 1 Al M u nd W ll I I I A ll W 74 f 18 T l Cy mb li n Wi nt 26 IV .
’
,
,
-
.
.
,
,
,
,
,
,
,
.
,
.
’
,
,
,
-
,
.
,
,
.
,
,
.
.
o
r s
o
uc ’
s
os
o
s
o
s
a
e
e
.
’
a
e s
,
,
.
.
,
.
’
.
e
.
e
u
e asu r e ’
e
.
er s
e
e
o
er o na
e
or
eas
re
a e
.
.
I t is necessary to e xplain how these numbers a re calculated The play is re a d with extrem e care e very j e st that d e pends o n words alone every doubl e m e aning and every qu ibbl e is note d M any puns escape notice but these are usually detected afterwards by a nalogous undoubted puns in other plays either by Shakespe a re or by conte m pora ry .
,
.
,
,
,
,
sp e rza n ce
74
TA B LE A C CO R D I N G
to
.
N UM B E R
TO
3
2
12
3 4
5 a 5
1 5a
a
o
’
o
e
r s
o
o
an
a
o
e
r
9 13
10
M uch A (to
14
11
A s Yo u
Li h e I t
zo b
1 1a
Tr o i lus
an d
17
12
24
13
15
14
6
15
to
16
16
17
M e asur e f o r M e asure
17 a
2
n n
Ki g He Ki g He
n y IV n y IV b ut N o thi ng r r
a o
Cr essi da
Tw e l h N h t t f ig
n mn
n
[ z o e [ 6 a [
17b
18
18
20
19
13a
1 9a
y
[
lgb
11
20
K i g H e ry VI ’ Ali d mm mer N ig h t s D r ea
22
21
Co r i o la n us
2 5a
2 1a
He
19
22
Othe llo
14 a
[
a 4
[
[
1 ye
K i g H e ry VI Ti o of A th e s Ri c h a r d [ H
rcli u s
n
1
Cce sa r
n
ny
m
I
VI ]
r
25
23
Wi nter s
2 1a
2 3a
P e r i c le s
21
"
23
25
Cy mb e li n e
[ a [3
2 5a
Ti t
2 5b
i K H e 3 g
[
37
n
2 2a
20a
0a
.
rs
9
[
2 14
M e r c ha nt qf Ven i ce 2
’
Ta le
4
P lay s
.
u
s
n
n es .
39 7
r
6 1
of
e
5 7 8
7 8
.
li
too
o
o
e
.
o. of
Lo ve s L b u L st ” Tw G n tl me n q Ver o na M e r ry Wi ves f Wi ndso Co m dy f E r r o R meo d juli t T mi ng f the S h ew ’
PUNS
No
.
1
4
,
OF
N
P uns
1
2
[
P LAYS
ac c o rdi ng
C h ro no o gy
l
OF
.
n
n u
A dr o i c
nry
s
VI
T o tal
1 062
I
a r Sh k e s ea e f p
’
u ns o
fo r D owden
75
.
dates it 1 60 3 while both he and Fl e ay fix i ts final revision at 1 60 7 The number o f puns favou rs Fle ay s idea that it wa s writte n at di fferent periods be ginning in 1 5 94 : if this be tru e it is here found in its right place The Te mpe st (1 6 1 0) has a la rge pro po rtion o f puns ; but we must n o t b e surprised to find th at some o f the plays writte n in the last pe riod should show a reaction from th e gloom o f those that come o u t o f ” R eferring to pag e 7 2 it will be seen th at the the depths ra te o f decreas e is l e ss fo r the las t pe riod : the pun curve whi c h h as on the w hole descended with an even gradient n o w lessens and even show s a tendency to ri se This was R i cha r d I] must have be en written to be e xpected b e fore He n ry I V ; M alon e and F leay date it 1 5 93 D owden 1 5 94 : R ic ha r d I I I w as prob ably writt e n be fore R i cha r d I ] These two plays were howe ve r written under the v e ry strong influence o f M arlowe ; readers o f that poe t wi ll u ndersta nd w h y th e y shoul d there fore be free from puns But th e Euripidean dialogu e in Richa r d III and th e gen e ral inaptness o f the puns in R icha r d H are a Mi dsumme r se t o fl against their numerica l w eakn e ss N ig ht s D r ea m co m e s twenty fourth on my list ; yet all critics except C halmers give it a ve ry e arly d ate 1 5 92 4 The play is however very d i fl e re n t in character from any o ther play o f Shakespeare s It is more in the style o f a masque ; it is a poem and written in rhyme fo r the most part The rhymes can be n o argument fo r a very early date In any case the play is so anomalous that w e need not regard it as upsetting any o f o u r results Those results so fa r as the present i nve stigation has gon e I take to be that puns a fford a valuable ch e ck on o r confirmation and that they constitute im o f pure ly aesthetic criticism po rtant inte rnal evidence as to the chronology o f the plays ,
.
’
,
.
.
-
,
,.
.
.
.
,
,
.
.
,
,
'
-
.
’
-
-
,
,
,
'
’
.
,
.
.
.
,
,
,
,
.
6 7
N o ctes S ha k spe n ance
.
So fa r howe ver the examination is merely in its ” “ H reliminary stag e ath e matics writ Pro f e ssor uxley M e s p are like a mill what comes o u t depe nds o n what you put ” in Puns a re o f such varied characte r and are so di ffe r e ntly e mployed that fo r a true estimate a classification is nece ssary There are two modes o f cl assi fying things n amely I P H YSI OLOG I C A L according to function I I M O R P H OLOG I C A L according to st ructure By method I we consider whether th e pun has a dramatic u se o r n o ; by method I I we d e termine wh e the r a pun is i n itsel f good or bad I t is a trite p aradox that the worst i s uns are the b e st H ence the physiological method p more important in litera ry as oppose d to grammat ical c ritici s m The following ske tch i s intended to show the lines that should b e followed in a m ore thorough i nve stigation I P H YS I OLOG I C A L C LA SS I F I CA T I O N A rrangement o f Puns accordi n g to th e ir D ramatic Purpose — A Puns W I T H D r a ma ti c use — B Puns W I T H O UT D r a ma tic u se This primary se pa ra tion d e mands great care Th e re a re so many ways in which a pun can be use d with e fl e c t t hat o ne hesitate s to stig m atise any as entirely purpose less T urn fo r e xampl e to K i ng john I I i 5 3 3 where the D auphin L ewis is being betroth e d to Blanch : — P K hi l p I t li k we ll y g p i c e l se y o h a d A u t i a —A d y li p t o fo I am w ll as ed T h a t I did so w h e I was fi st u ed ” “ ” “ A ssured h ad t h e m e aning o f a fli a n c e d as we lea rn from Come dy of E r r or s ,
,
,
.
.
,
,
,
.
,
.
.
,
.
.
,
.
.
,
.
.
-
.
.
.
.
.
.
.
'
,
.
,
,
i
.
s r
,
e s us
n
o ur
o un
s
o
,
r n
r
n
,
s, c o
e
r
,
ass
ur
n
s
.
su r
r
.
,
C alle d me D ro m io ,
swo re
I was
assu re d to
he r
”
.
Bishop W ordsworth is excite d by thi s pun to a long note : “ The intelligent re a d e r it is believed wo u ld gladly par t ,
,
e e Sh a k s a re f p
F a ns
o
77
.
ch quibbles as this which here and else where ” d isfig u re th e pre sent play etc W alke r to o takes such exception to this pun that h e wo uld correc t the se cond “ assu re d Y e t the pun is n o t wholly o u t o f to pl ace in th e m o u th o f A ustria ; it is not th e only bad pun he make s he is the butt o f The Bastard an d he is certainly t rying to b e funny T h e same pun occurs in Ta m i ng of the Sh re w I V iv 9 1 and Ha m le t V i 1 2 5 — A Puns W I T H D ra ma ti c use are furthe r divided according to (1 ) C haracter and (2 ) I nciden t with
su
,
.
,
,
,
,
,
.
,
,
,
,
,
,
.
,
.
.
— 1 Pun s
of
.
Ch aracte r
— a L ight Comedy
Punste rs a re n o t rare e ve n i n modern li fe ; and in Shake spe are s d ay th e fine ge ntl e ma n that cou ld n o t turn his words inside o u t like a ch e veri l glove was e ste emed but a poor fe llow H e re come Biro n a n d R osalin e B e n e dick and B e atric e and M e rcutio — L o w Com e dy : b u t th e se must b e mad e by g e n b ui u c humorists such as L auncelot L a unce and Spe e d There is an id e a that the Fool as fully deve lope d by Shake spe are trusts less to puns than to re al humour L aunc e make s nin e t e e n puns L aunc e lot te n and Touchston e s e ve n ; further th e puns mad e by Touchston e a re far supe rior to those o f Launce an d Launce lot D e crease in quantity and incre ase in quali ty was howe v e r to b e expected on oth er grounds Still it is th e case that th e proportion relative to puns made by othe r characte rs diminishes in the ra tio o f 10 3 8 3 7 The id e a has th e re fore a small basis o f fact Puns o f a D ise ase d Brain A s a rul e th e characte r c se izes o n som e pro m in e nt word o r ru n s o ff at a tangent along a secondary line o f thought th e reby sugge sted ” “ Those pe lic a n daughte rs W hen Le ar cri e s o u t on .
.
,
’
.
,
.
,
.
,
,
,
.
,
,
.
,
,
,
.
,
,
.
.
,
‘
.
,
-
.
.
,
.
,
b
l
T o o ta i n c o rre c t re su ts i t wa s n ec essa ry to c o u n t S Fo o l and to ro c e e d b y Rule o f T h re e ac c o rd ing y ,
p
l
.
p
e e d an d
Lau nc e
as o ne
N at te s S ha k spe r i a n a
8 7
' .
”
Pillicock sat on Pillicock hill sings Edgar in the pe rson So to o H a m let wh e n he would seem mad o f M ad Tom mistake s Polonius F requently howe ver the se pu n s are “ — most appropriate ahappiness that often madness hits o n which reason and sanity co u ld not so pro spe rou sly be — liv red such fo r th e most p art are the pu n s o f the of de e really mad F ool in K i ng L e a r d — Puns o f a W eak M ind : a ve ry interesting class more appare nt in th e later plays o f u e u m i Showing poverty tr h o r in the person that u () mak e s them Thus i n th e Te mpe st the wit o f A nto n io a n d Sebastian is o f t h e lowest grad e the j okes never rise a bov e puns nor the laughter above sarcasm This is in true harmony with th e characte rs o f those dull villains A ntonio s wit is solely directed to re nder the good ridi c u lo u s and to make th e d e scent to wickedn e ss e asy fo r C ompare the weak quibbles o f S ebastian (C ol e ridge ) M orocco in AI e r ch a n t of Ve n ic e I I vii o e f e ii Show ng d ficiency int ll ct or e ucation Such i e d () most notably a re all those o f H oste ss Quickly who con t i n u a lly mistak e s word s and many o f Costard s in Love s L a bou r s Lost ,
.
,
,
,
.
,
,
,
,
,
.
.
,
.
.
,
,
,
.
.
’
,
.
’
,
,
.
.
,
’
’
,
’
.
2
.
— P un s
I n c i de n t
of
— A rt a
.
ve rsus Nature Puns and conceits are like rhy me o ften introduce d in opposition to earnest se nte nc e s Th e y c o ntrast the false with th e t rue In Much A do B e n e dick is a punste r Claudio rarely puns ; but in V i whe re B en e dick comes in earn e st to chall e nge Claudio it is th e latter alon e that jests and quibbles W hat a pretty thing man is wh e n h e goe s in his doubl e t and hose a n d ” leave s o ff his wit ! — A s converse o f th e a bov e the T h e Pun P assionate b very fi e rce st fe e lings o f o u r nature may provoke punning T his is the p u n o f scorn and anger and th e pun clos e ly .
.
,
,
.
.
,
,
,
,
,
.
,
.
.
,
.
,
,
Puns of Shakespe a re
79
.
lli e d o f contempt Perh aps th e mo st interesting o f all to the psychologist (fo r man is n e ve r so natural as when in a rage) th e Pun o f P assion has be e n so fully discussed in the Shakespeare K e y that further co m me nt is n e e dless Und e r this h e ad fall many o f H otspur s puns : those o f G ratiano in the Trial Scen e and puns re ferring to W ols e y in He n ry VIII — c The Pun Pathetic This also is dwelt upon in the ” Shak e spe are K e y its u se may b e defended o n two groun d s : (i ) it is a contrast to th e m e lancholy o f th e sce ne a f ii punning is a n t u r a l sa ety v lv ling a e o f f e e () ” M i se ry make s sp t to m c k i tse lf and H w ft wh e n me n a e t th p i t f de ath H e th e y b e e me ry w h i h th i k e e pe s c all ” A li gh t i g b e fo e d ath I
a
.
,
,
.
’
-
,
.
.
.
,
.
a
or
o
o
n
n n
Shakespe are M e rcutio s
a
r
av
h as
r
r
o
e
o n
o
e r
c
,
,
r
e
writte n
fe w
lin e s
o
f
greater pathos than
’
,
“
A sk fo r me to m o rro w
an d
— Ro m eo
— Puns d .
o
with which a Ma c be th I I ii 5 5 ,
,
and
a
.
r a g
u l i j
f C ontrast,
forc e
,
me
l o u s h a l find y
v
e t,
e
m an
i
I I I,
,
” .
10 1
.
pure and simple To see th e pun can b e use d one h as only to turn to .
,
“
u h e d 0 b lc c d
I llg i ld th e fac e s o f th e F o r i t must se e m t e i r g ’
h
g m ” ui lt ro o
s
i
w th al
.
sudd e n introduction o f a j e st ami d th e we ird te rrors o f t h e scen e startles us : it is a gleam o f ghastly sunshin e that sudd e nly strikes across a stormy lan d scape — Puns W I T H O UT dr a ma ti c use B M any o f th e puns in Love s L a bou r s Lost and Tw o Ge n tle me n of Ve rona would b e classe d h e re Fo r practical purposes it might also be advisable to place all puns used in e xce ss on this sid e o f the lin e ; e g Juli e t s string o f p u n s o n th at bare vowel I (Ro meo a nd juli e t I I I ii Th e
.
.
’
’
.
’
.
.
,
,
,
,
N o cte s S ha kspe r i a na
80
.
e r possible to regard t h is instance as an it is how v e 43 exa mpl e o f e ip wve ia fo r Juliet is be moaning th e death o f the living R om e o tru e tragedy wou ld have been inartistic Undramatic puns obviou sly admit o f n o physiological sub division — — I I M O R P H OLOG I C A L C LA SSI F I CA TI O N A rrangement o f Puns according to method o f punning The lite rary valu e o f this method though less than that o f M ethod I is e nhanced by its deali n g with matters that admit o f more exact measurement — A ccord ing to th e S i mple Stru c tu r e of the Pun A itsel f .
,
.
-
.
.
.
,
,
.
.
.
— 1 Re pe ti ti o n .
in
d i ffe re n t
a a
.
th e wo rd
of
se n se
Th
on
th y
k
ma
ou
sale ,
e st
th y
k i fe ke e n
An d if
er so n ,
ua
o n e sh o uld
be
i nte n de d b y th e fi rst a
.
.
,
n
.
ul h ,
h Je w
ar s
”
,
.
p
i h i th o Lb u L
i e r e w c d h , p
Lv
— Re c e i vi n g th e wo rd i n —
wo rd
i
1 23
.
,
er s -o ne
-
.
si milar
— M e r c h a n t of Ve ni ce , I V ,
inan e repetition — q si M aste p r
eg
o n th y so
b ut
— An b .
v e ry
a
.
W ith some meaning and wit Not
2
or
spe ak e r ,
o
’
e s
a
c
e
s
’
a o
r s
di ffe r e n t
r e plying
at
ne
?
o st,
”
I V,
se n se
ii
,
85
.
to th at
cro ss purpose s
.
Intentiona lly — m a A m o st fin e do Ar .
fi
u r e g
.
— T o pro ve y o u a c y ph e r M o th — L o ve s La b o ur ’s L ost, I , .
ii
’
— Through b
,
8 5
.
simplici ty
.
— T h e c o un c i l sh all h ea r i t i t i s a ri o t S h a llo w — I t i s n o t me e t th e c o un c i l h e ar a r i o t v a n E s — M e r ry Wi ve s of Wi ndso r I , .
.
.
.
i 35 I n this case the spe ake r can hard ly be credit e d with any h u m ou r often indee d may be a simple ass — u M m l Using a word in its natural D an l h o b e e e 3 g sense but with i m pli e d allusion to anothe r meaning which ,
,
.
'‘
.
.
,
,
,
.
N o c tes S ha k spe r ia na
.
dvantage o f th e Elizabethans ; it is to modern librettists th at so me would apply the word s o f D ryden I si pi d j ste l a d e asan f o o l t p ” A c o p o ati n f d ll p i g d o lls
a
e
n
rs,
r
r
o
n
o
un
s
u
unn n
r
.
— 2 l h e pun may b e palpab ly le d up to , d u ce d mo st ar ti fi c i ally ; sti ll th e re i s art
an d
'‘
.
i ntro
The key w ord o f the pun or the phrase introducing it is unusual So in Much A do I i 5 7 a n d evid e ntly dragged in — S t j ed w i th all h o no ab l e i tue s eng M — It i o i d ed h e i s o le ss th an a st ffe d man ; b u t B atr i — fo th e stufli g we ll we a e ll m o tal A stu ffed man was a cuckold Cf this pl ay I I I iv 64 .
,
.
er
e ss
e
u
.
n
r
v r
ur
s s
ce
,
,
,
n
e
a
r
,
.
u
n
r
,
,
.
.
— m un w r l h a e o 3 p y g — Cur i e W ill y o u g o '‘
.
,
natu r ally o u t o f
.
,
th e di alo gu e
:
h u nt, m y lo rd ?
W h at C u i o ? r
— Cur i o Th e h a r t — W h y so I d o , th e D uk e .
.
h at I
n o b le st t
h a ve
.
I h N h t 1 t i Tw e l g , , , f
r6
.
By constructing such schemes o f classification as the t w o here given we a re e nabl e d to analyse th e puns o f a h e t wo m e thods must iven play with more certain y T t g b e appli e d se parately and the mean o f their results taken Broadly speaking plays in which th e puns a re subordinated to dramatic e ffe ct o f th e high e st kind in which the y a re pointed an d artistically worked u p to are presumed to be o f later date than tho se in which the puns are m e re ly to raise a laugh from th e groundlings a n d are introduced without litera ry o r dra matic skill Such analyse s are ra re ly found t o run cou nte r to o u r previous calculations : wh e n they do it is always in the dire ction o f wh a t o n othe r grounds is seen to be th e t ruth To my readers I comm e nd the intere sting tas k o f analysing the plays a n d constru cting fresh tables but it is cl e ar that this m e thod should only b e u se d as a se condary det e rminant t e st ; fo r a e sthetic pre j udic e can not but a ffect th e re sult and the re is a pe rsonal equa tion fo r each critic ,
.
,
.
,
,
,
,
.
,
,
.
,
,
.
,
Pu us of Shake spe a re
83
.
work h as been done that cannot be set forth he re but much more remains to be done W hen Shakespe a re h as been worked through it will be advantageous if n o t nec e ssary to com pare him with contem porary dramatists I ndeed a knowledge o f them is esse n tial to an understand In sci e ntific phraseology i ng o f Shak e spe are s own puns t hat must appear pedantic to many I h a ve discussed th e Physiology M orphology and Emb ryology o f the Pun T h e stu dy o f living creatures under these three as pects le d by a similar stu dy o f puns we t o the theory o f Evolution have traced th e development o f o ne side o f Shake speare s e s possible by comparative st u di e s nius it is sometim e a n d g Just as ce rtain t o follow the e volution o f pa rticul a r puns c atchwords o f mod ern plays n e ve r fail to raise a laugh so known to th e t h e merest hint at a j e st already well E lizabethan audience wou ld su ffi ce to re call their for m e r A prolific an d popu l a r writer wo u ld no more a musement think o f e laborating e ach time a common pun than we should think o f compl e ting a trite quotation o r hackneyed prov e rb Shakespeare seems hardly eve r to use th e word horn without a sly allusion to a subj e ct pe rfectly familiar to all his hearers H is modern reade rs who have no t ” “ pe rh aps that extensive a nd pe cu li a r knowl e dge o f old stage literature and old e r ballads posse ssed by ha bi tues o f the G lobe may be excused fo r sometimes missing the point H e re is a si m pl e case in L e a r 1 ii o f a do u bl e meaning M uch
,
.
,
,
.
,
,
’
.
,
,
,
.
’
,
.
,
.
,
.
.
,
'
,
,
.
I
49
,
,
,
,
3
— E dm und O th e se fa,
i
do po rte n d th e se d mi
e c l pse s
so l,
la,
i i si v
o ns
!
.
O v e r this the co m mentators quarrel without sei z ing th e i oint I t is s mply a pun like that in R om o j u e a n d l i t e p I I I v 29 S o me s y th e la k m ake s we e t di vi si o n ” T h i s do th n o t so fo r sh e di vi de th u s .
,
,
,
a
r
,
s
.
N oc te s S hakspe r ia noe
84
.
W ith this compare M iddleton Yo u h ave m o re
,
c a u se to
An d play th e g ro u nd s o f fr ” T h an rash ly run di i si o
Galla n ts
Yo u r F i ve
i e ndsh ip
j o in mo n
’
V, i
,
gst y o urse l e s v
,
v n The grounds an air on which var iations and divisions ” “ we re to be made A division a number o f quick n o te s sung to o ne syllabl e and o f thi s Edmun d gives a spec imen in four n otes Is n o t th e second the se a copyist s o r compositor s e rror I t is probabl e tha t th e audience at A s Yo u L ike I t found a pu n in Jaques simpl e answer to O rl ando (I I vii 98) — l H e d i e s th at t u h e s any f th i f i t O e an w e e d d m y aff i rs T i ll I — I i d h m w e w t o u t d e i i n b e e w l l n o t a s A u y f q .
.
.
.
,
’
'
.
’
’
,
r
,
o
.
a
an
a
.
n
c
s
ar
n
o
s
o
r
ru .
r e as
r
,
s
.
W e have already see n that
reason was pronounce d ” rason Staunton there fore conj e ctures reasons supposing that th e fruit was raisins N o o n e wh o analys e s the p u n s o f Shakespeare will fail to se e h o w at l e ast in h i s m a t u r e plays h e suits the m e th o d o f punning to th e character Thus th e puns o f Touchstone are good b u t artificial strongly contrasted with th e pe rversely b ad puns made by Jaques the wrath ful pu n s o f O rlan do natural merry puns o f R osalind Th e re a n d th e a re forty verba l j ests in Ha mle t twenty four b e ing pl a i n and e vi d e nt puns th e vast majority a re us e d with d ramati c The subjective tend e ncy o f H aml e t s o w n m ind is e ffe ct marke d by his making three fou rths o f th e total nu m ber and ma n y o f the se are u sed ironically with great force The puns o f th e grave digger a re suited to his lo w comed y character and to this leve l H amlet approximates in the churchyard scen e The jests o f Polonius are we ak a nd in e ffective as o f a man whose thoughts are superficial I may here draw attention to th e fact th at in this play o f Ha mle t regarded by all as most typic al o f Shakespeare s ”
,
.
.
,
,
.
,
,
,
,
.
-
,
’
.
-
,
.
-
,
.
,
.
’
,
N o cte s S hak spe r ia na
86
A
r aw
e
wo rd s mo r
A
PPEN
as to
th e T ab l
I
D
e
on
X
.
.
p 74 .
ch ro no lo g ical
T he
.
'
be tte r to ado pt so me c e rtairr u d ice an d th at o f Fle ay se e ms o rder to avo i d th e charg e o f prej we llc o n sid e re d B y rang i n g th e fi g u re s o f ti me an d pu n o rd e r i n n i a r l l l c u m n n fi n l a s h c a r i a a a n o l m i m d ce e t e n t a o o so s e C g p p g atte n ti o n to t h e twe n ty five u n do ub te d ly g e n u i n e play s we se e th at fi ve f g ure s c o i n ci de se ve n are b ut o n e plac e o ut th re e are two place s o u t wh i le o n ly fo u r are far re mo ve d Of th e twe lve l a l h au h r h r a t f as u s t t h i f w h ic n w l r t d u i i e o s o s h o e o o b p y p p many as six are i n very d i ffe re nt po si tio ns i n th e two o rde rs So me may tak e th i s as an ad d i ti o nal arg ume n t ag ai nst t h e i r Sh ak e spe ari an o ri g i n O f co urse o n e o ug h t to se parate o ut fro m th e play s o f m i x e d auth o rsh i p th e po rti o n s ascri b e d to Sh and c o n fi n e th e analy si s to them T h i s wo u ld h ave le d me to o far into the de se rt o f co n tro ve rsy ; an d I pre fe r to po i nt o ut th e se W H azli tt wh ich are u nd o ub te dly sug g e sti ve si m ple fac ts so m e wh e re say s t h at S h was to o fo n d o f punn i n g fo r so g re at a man ; b u t I re g ard i t as a ve ry si g n o f h i s g re atn e ss th at h e was n o t afrai d o f th i s two e dg e d we apo n an d th at h e wi e ld e d it wi th R ely i ng o n pe rcepti o n s wi th o ut an aly sis I sho u ld such vig o u r say th at o th e r E lizab e th an d ramati sts d id n o t m ak e n e arly so I t i s ve ry lik e ly th at I h ave n o t much u se o f th e pun as d i d Sh re ck o n e d all Sh s pu n s : wh i le t h i s pape r was pri n ti ng I fo un d t e y twe n ty mo re n o w ad de d to th e tab le b u t sinc e th e o rd e r alread y drawn u p was n o t th e re b y affe cte d i t i s safe to pre d ict that n o fre sh d i sc o ve ri e s wi ll g re atly alte r it o rde r
fo llo we d i s th at
Fle ay
of
i t is
:
,
-
.
.
,
.
.
-
,
i
,
,
,
.
,
.
'
.
‘
.
,
.
,
.
.
.
-
,
:
,
.
,
.
’
.
,
,
,
.
T h e fo llo wi ng and
() 1
in divid ua l pu ns wi ll i llu strate th e
n o te s o n
may th ro w fre sh lig h t
.
.
o ur y ” e nd
gi
en e rn
.
of
a
u n p
th o se
by
ac
‘
h e re
i mpli e d
o nly
s
,
.
s
no
s
D e kk e r s S ati r ogM asti x , pu b a s tau h t th e r parro ts to
g
u
a
’
W g
i
th e mse lve s
,
b ut
e as
i ly
qu i n te d wi th B c h a s pamph le t “ Ld Li dd i ngt o n wh i c h e n d w i th R pi c fin m spi wn T h at th i j e t was k n th e tage i o e d b p y
appre h e n d e d a a n st ”
.
ik
E xample
.
fl
a sa s e s g p
r I v s n V i D o E M s t r e s s r e e e m c i e c r e s 44 , , , , p fi p t ’ e n d, o r r ath e r th e pro ph e c y l e th e parro t, b e wa re th e ro pe s
Co m E r r .
o n so me o f th e
e ssay ,
i
.
I
60 2 ,
allud e
,
an
es
s
o
B
ut
to a
c o me
ro pe o r
n
’
e
e
s
r e ,
r
v
i ce p
f
h an i n
,
r es
ce
g g
u ne m
”
.
as th e
Puns of Shake spea re
”
Ke y ,
go o
c h e ste r
() Y
ul
2
th e te rm
a ro se
ii
Ca s , 1,
.
I
se ,
.
”
add re sse d th e m :
wh o
e n d o f th o se
b b l e a ro p
‘
ro pe ry
c ry , a ro pe
,
Cf
’
nry
u p
h e nc e ,
VI , 1,
“ d Sh
a
iii
53
,
.
“
W in
,
a ro pe
i
ward l ps d id fro m th e
co
.
“
He
1
.
.
“ — Cassi us H is
122 ,
87
.
i
h
i
ir
fly A pla n man wo uld a ve sa d, th e c o lo ur ’ fl e d fro m h i s l ps B ut th e false e xpre ss o n wa s fo r th e u b b le allud n sa e o f as false a p e c e o f w i t : a po o r to a ” w r h i l r o r n h s S a u n f r o m s c o o u b t o o f a l r c o ward s e n e l t , y y c o lo ur
.
i
k
i
fl i g
gai e d b y th i s pa ssage V i 49 To uch
in
.
i
th s
.
,
,
am
,
he
”
k i
u n p
i
.
w th o ut th e
n to x c a t o n o f
i
“
Y L .
.
n
i
,
de ar
” .
V,
,
ks
,
i
is h e
se
8d
)
w e re b
e
.
no w
:
o u are y
82 , p
’
,
i
.
ki g
no t
107
i
)
u
Wi i
g
A ud re y s lo ve T h e n art ch ’
.
.
th o u
.
.
i
”
.
.
6 7 , Gr o o
v,
n o b le
e r e p
m
i
y
i
ro y a l
H a l,
.
i
.
.
ik
.
c h e ap e st o
Th e
;
J
.
.
f
r nc e. p
”
Ri ch
g
.
i s te n ro a ts to o m o re th an a N o b le
us
A R o y al (10s ) i s te n gr o ats “ ” R c h a rd pro b ab ly m e a ns h mse lf b y th e c h e ape st ; ro a ts le ss de ar to h i s e n e m e s, t e , a m e re n o b le , h e te n .
.
i ts pro
Co r d am ne d T ru ly , th o u art da m ne d l e an ill ” A Ell s sa s th at th e o n e s de ’ ‘ d arn m e d , i e , we dg e d
36, To To uch
,
d am n e d
R a II i r h c d (5 ) ”
i
all o n
e gg
se c o n d
“Th an
ii
I I I,
N ay , I h o pe
ro aste d
i
in th e S h a e spe are S o c e ty fo r m a n a sl p ” n o t t psy T h s pun c ar ri e s o n th e c o m pari so n o f l o an o th e r : r f r o m n e s s l l a m e d o a t i w u s no o p
i k
.
i
Wy ke h a m i st (N o ve mb e r
Th e
.
A ud re y to d r A 4 ()
i
o f e x pre ss o n , and
p
:
.
c e n su re s a re ad e r o v e r th e
m o de
i g
.
A Y L , (3) i pse , fo r I .
n
q i
W
.
to se e th e fo rc e r i e t y p
i
.
‘
i
i
g
i iii
i
.
.
b e i n pr so n H h w h V I 2 a d e a t m s o r t e r e f o r C H e I V v d b 6 2 re o e r 4 , y , , , () y h te th ro u h Lo n d o n g ate s, th a t y o u sh o uld le a ve m e at th e o r d sw o rth h as a n o te Play o n H art i n S o u th war w o rds (h e a rt) e se rt m e l e c o wa r s se e H e ry V, 111, , wo uld
no t
n g
i ng i —
re aso n s
re a d : a
“
b se n c e
,
I n H alls
()
’
a
Th e
ik
b u t I h ave
e n o us
i
c apta n
c am e
fi
k W i
.
k D
.
V e ry
.
rst
i
W
no t r
Ch r o ni c le
n to
d e ck n
,
o
on
n
i
i
e d th s as a
wh
i g
i c h th i
s
i
u n p
fo r th e se
l a i p y s b a se d , we
n e d v e r t s e o f h e a C ad e ] b d t , So u th wark , an d th e re lo d e d
g
k i ng s ’
at
th e
Th e wo rd s are th e re fo re n a tu ral fo r Cade to u se ; to suppo se a pun i s un n e c e ssa ry (b ) Th e re fe re n c e to ” H e ry V i s to th e wo rd wh te -l ve re d Ven , I I I , as a so M e r i h I h i v i V t s s n o a r m e u n t A b e tt e r r l l a a l e , , and R c , p i s Mac b 11, , 64, M y h an d s are o f y o u r c o lo ur, b u t I sh a m e to ” we ar a h e a rt so wh te ; h e re th e re are spe c al re aso n s fo r th e .
n
ii
.
.
.
i
e p th e t
III ii
as a
i
i
l
g
.
.
.
i
i
i h r e i s a s t p
i
i
i
n o t e lse
W
wh e re
use d
b y Sh
.
wh y
i
sh o uld
i t m pl e d h e re ? o rd swo rth d o ub tle ss re l e d o n th e ‘ fre ue n c y o f th e pun h e art an d h art an d i f th e re b e an y truth i n h i s su e st o n , th s is a g ran d e xa mple o f a h h ly -de ve lo pe d we
sup po se
q
do ub le
gg i i m e a i g (se e p n n
ig
.
88
N o ctes
Shakspe r ia n a
ii
“ — Clo w n A
as r as I M e o M e f , , (7 ) .
h im
.
E lli s
” .
i
u n m a de , ru n e d :
id
Farme r
sa
“
:
.
k
is
suc h
w
o
he
r
o l n e ss t p
ra t
Wh e n
f
no
no
i
we m
to lo o k fo r
are u sually
Sh we
k
i
i
w th o ut
so
.
i
in
e x pre ss o n
T h e fo llo wi ng
”
wo rd s
i
S t ll
i m pli e d j e st
me
h arsh
a
u po n
b e li e ved to
i
th e wo rds.
of
use
ee t wi th
a l p y
a
i
wo man w th ma d b y ‘ ’ wi th ma de th e wo rd
.
say s th s a llude s to
b ut I
re m ar
th e C lo wn s ’
94 ,
,
.
.
co ntain puns h i the rto un n o tice d which e xpl ai n o r at least add fo rce to th e m e an in g I I 1 m w s m t I 2 0 H W l i c r a f t l i n H h e i ne t o 8 n e () ” I f as M i l s s pp e s H am l t h d pla e d d i e tly m e e t h i m h e may b e h e e all d i g u te sh i p sh uld e th a t th e p i to i t i th e tw m e a i gs o f c aft “ ” I I I i 2 T F L k m i B 8 l e f t I 0 a d a C n 5 (9) p I iii 4 2 I bi d 1 i 4 Th e Ch n c I I e h e r C I ii 8 P n W d b t g i s 1 i l d o d a n 0 T 5 p y ( )
re a s a s e sa g p
,
,
,
,
e
a
,
v,
,
r c
a
,
.
o
o
ea r ,
,
r es
.
.
r
,
,
,
,
,
e
v
,
n
es
,
,
.
,
.
.
,
.
a
,
u
.
,
,
r
,
.
.
,
nn
a
e
’
.
,
o
os
u
e
r sc
n n
,
e s,
a
ro
v
e
,
ra
n
n
.
s
r
o
s,
e
v
d e e d s ; b u t sh e ll b e re ave y o u o f th e d e e d s to o , if sh e c all y o u r ” h at, b ll n u e st o n a a n ! P an darus ac t v ty i n u se s m u c h le al ph ra se o lo y i n t h s sc e n e , an d i t i s n o t h ard to ” ” fin d s m lar allu s o n s in d e e d s an d b ll n ’
i i
q
i i
M ( ) I I
A do , I ,
.
i
g
iii
W
.
g
i
70, D
,
i i g gi i i i g
n o h 7 :
.
“ .
If I
.
c ro ss
c an
h im
an y
“
”
way , I ”
P ro b ab ly a pun c ro ss to b le ss m y se lf e v e ry way ’ ’ th w a rt , b ut to c ro ss o ne se lf i s th e sa me as to b le ss o n e se lf .
.
( ) 12
i
i
”
w w o m r e s l t h h f f e o ns C e e t a c t t , , y “ ” R o s — O , th e y ta e th e pa rt o f a b e tte r w re stle r th a n m y se lf e re i s a d o ub le e u vo ue i n th s we m a y pa raph rase — re stle w th th at wh c h a ffe c ts m s h Ce l d a e a o u n t us , y ” n h R m e l a c o l os w a H r o e h o m I a ff e c re u r e s b e t t e u t y y
A
Y L .
.
1, i i i ,
.
.
k
.
Th
Ce l
20 ,
.
i
W
.
.
q i q
i
i
q i
.
.
k
D k
a m t o o ve rc o me
u e s h i m, fo r h e h as b e ate n th e “ ” w re stle r, a n d a a n M y a fl e c ti o n s d e s w th a b e tte r wre stle r ” T h a t C e l a pe rc e ve s th e e st i s th an I am : I lo v e O rlan d o sh o wn b y h e r ne x t re m ark
w re stle r t h an I
g i
i
'
i
i
.
i
’
j
.
T h e fo llo wi ng b e g e ts
(
I
a H 3) Ff
m
le t,
I I I,
b ut
ii
,
2 2 7,
1 re a ds
a
h o rrib l e
i
susp ic o n
M arry h o w ? T ro pi c ally
Th e M o use trap -
T ra pi c ally
”
If
i
o b ta n e d
b Q y re po rt n , o r fro m th e a c to rs, i t m a y b e th a t th e a c to r o f H am le t n tro d uc e d th s d wa r Does f Aly buu o r fo r th e sa e o f a p un th i s sh o w th at n o t all th e pun s are d ue to S h ? A s m lar m is ’ fo r th e e st s sa e o c c urs i n 2 H e ry VI , I V , , 1 7 0 , spe ll n ” D i ck fo r se ll n Co de t h e d u e d o m o f M ai e th e re b y i s E n la n d b u t i s u n k n o wn “ ” to m e e lse wh e re C f also M e r Ve n , I I , ii , 1 3 1 , spic i fy fo r ’ ‘ “ ’ ” spe c fy, an d 1 4 1, frut fy fo r fruc t fy .
i g
i
Q
.
i
1
was
k
.
i i
.
i g
j
.
g
.
i
k i g
.
n
k
.
i
.
i
.
n
.
ii
.
N o c tes S ha kspe r i a ne
90
.
E lli s
was pro no un c e d a (see pp 8 1 , b ut, as sarc a sm wo uld h av e b e e n lo st if th e tw o w o rd s
ea
.
th e re fo re
h
m ust
oi
h ad mo re
a ve
iii 3 T u h A ud ey Yo
o f an
i
so un
d
say s,
th e
i ke
so un de d al
;
c f.
i
h m d o t m l e s f e a t u re c o n , , , y p te n t y o u r u r fe ature s I Lo rd warran t us w h at ” ’ fe atu re s ? W h y th s th usn e ss o n A udre y s part ? T h e so ft an d h ard so un d s o f th e c o nso n an ts fo llo we d b y u we re i n a state o f fl ux ( u o te c o te , ualm c alm , su to r sh o o te r, e tc ) “ “ ” ” H e n c e we must pro n o un c e fe ature s fa to u rs, m e an ng as ‘ ’ ’ i ll-d o e rs : th s e x pla n s A ud re y s e ac ulat o n C f Ri ch , ” I , 1 9, C h e ate d o f fe ature b y d sse m b l n n ature
A 4 ) (
Y L
.
.
I I I,
.
o
c
.
.
q
(5 )
n
Tw o Ge ts
b ut
.
,
”
one
L
.
i
th e
n to
L
.
‘ ‘
rust c s sa y
i
I I,
r o n u o n c e d p
i
q
i
i
i
,
L
.
on
’
o n st
.
.
,
i ke
fo r
‘
d ro wsy ra c e “ t i s an d o ne
Ve n
.
ul
”
i
IV,
,
.
8 5,
,
‘
o wn ,
i g
rs e p
-o
”
n
i
i
.
.
i III
.
.
v e s a re o n
th e
’
Th i
Spe e d
.
(p
o
n
so u
o
.
.
,
,
v
s
”
er
,
No t
Gr a t
.
on
ou
,
re n c e
r
n
n
th y
on
”
as
,
,
,
e re
is
s
O ne
.
n
’
n
12 3,
,
“
j
.
i i ti al w n d o m i tte d “ o ce C f y h n I I I iii 39 S nd ” f i gh t i e y li ttle d i ffe th wh i c h C o lli un to a d K i gh t re ad
l
or ’
ii
IV,
i
i M y glo
Val
2,
be t w e e n h 6 r ( H e ()
i
.
so le
b ut
th y
on
i
”
th s S o ul pro b ab ly p ro no u nc e d so wl wo uld o b v a te th e d i fli c ulty o f d st n g u sh n th e w o rd s : b ut a c f Ro m I w h r h s 1 1 u t m e C 1 u l v an d a e i 4 , , , 3, J , , , , j “ ‘ “ ” ” “ so u le s Po ss b ly so le was pro no unc e d so o l fo r so le s
so
e tc
,
.
i
.
i i
.
.
.
i
.
se e n e xt n o te
T h e l l w f o o 7 () ‘ 00 in fo o d
i i g i
F
.
.
i gp n
g
—ju l Cce s , I ,
g 6 ( ) h ad th e so un d o f w i s i t R o me i d e e d an d
th e lo n
ve th at r o p
assa e s
“
u
ii 1 5 6 N oom e gh I b i d I I I i 2 89 N R me [ o o m] f safe ty “ w m h fo O t i I I 1 o t n i i h I h o t 8 0 Th t I y j ” “ “ ” in Ro m do m to c a wh i l R me h y m s w i th ” L ucr ec 7 1 5 d 1 8 5 1 and w i th g m I b d 1 644 C f h m l 1 638 h a R p of L u He yw d o s a l y y ” ” i nde e d I 1 H ry VI I I I i 5 1 R me i s o o m my R m i i t m de W by n i i a m th gh t t h u c t n p ” ” “ R am th i th e th e n ; an d R m W h ll e m dy th i ag ai S h ke pe a i n i s ad d c e d arg um e n t th i t th B t c f R m j l 11 i 89 a th rsh i p f th e pl y g se p o e s th e e fa dd d t d w i de a b ro ad b o ad n c i e tl y spe ll d go se i b o de b o ad b o o d go e i d d B e n J o nso n w i h e d h d th e sam e o u d as b d th e
r
’
.
.
e
e
r
’
s
e
o
e
s
o
a
”
,
.
e
,
-
r
n o u nc e d ;
h ad th e
u
r
,
’
,
a
o
.
.
n
‘
o ne
i
v,
,
‘
r
r
ee
s
was d o ub tle ss
was p ro n o un c e d
le ast
.
r a
s
a
,
,
e
e,
n
:
an
r
ro
b ro ad at
e
u
.
and
in
o
r
v
’
o
,
o
n
n
ve
,
,
.
.
,
ro n
.
so
so un d ao
,
ns
’
os
s
b ut th e re fo re
rn
o
ar
.
oo
r
,
an
‘
o
s
.
a
o
u
e n
s
as
e
.
a ve
e
a
to spe ll i t
ou
o
r
av e
,
n
o
e
ro o
.
r
.
a
r
o
.
sc
o
,
,
cr ece ,
o
r
o
,
,
n
,
r
a
,
”
e
u
’
,
,
e
ou
s
n
o
.
e
a
o
so
o
”
,
an
,
u
,
u rse
e,
‘
.
c av u s
oo
o
”
no u
r
,
.
n sta n c e
.
so
ro p
b ro o d ; th at i s, ‘ T h e re fo re r o am
‘
’
n
i
m ay h av e b e e n pro no u nc e d ro o m ; an d in 1 H e ry VI , I 11, , 5 1, ” th e re fo re th e passa ge R o me m ay ave b e e n so un de d ro o m is no a rgum e n t aga n st th e Sk ak e spe ari an au th o rsh p o f th e pla y O th e r S h ake spe ar an n stan c e s o f th s so un d o f lo n g o are M e r ‘
h
i
i
i
’
i
i
.
.
Puns of Sha kespe a re
1 9
.
“
h a n M h M h l e m o r t u h h a t e o o r s o u d b e c t t 4 5 , — VI , I V , i , 7 0 , S uf i P o le ! Cap —Po o l rea so n 2 H e ry l l m l e n f a s are o n rv i v e a n d h ro u o s t n a m c s e t s nc a n a t t ( , p y “ o b ta n s) ; R o m 7 u l , I I I , i v, 8, Th e se t me s o f wo e afio rd no Ven
t
..
i me
I I I,
v,
i i
n
.
to
wo o
.
i
.
”
Th
.
is
n t h r e se e n t u as e r t c p y,
so un d o f
i lo ng
i i
'
‘
r e v a p
0
i g ane c do te sh o w i c h th e P ri nc e ss
fo llo w n h o use , in wh
g
i
s :
i le d ti ll th e
use d
Th e re
b e ne ar B o n o r a C h arlo tte h ad ‘ ’ l ve d, c alle d th e D o me H o use b e c ause i t h ad a do m e o n it ” th s h o u se wo uld n e ve r le t N o wo n de r, sa d th e o ld fo l , “ ” fo r i t i s a do o e d h o use ! I h ave th s o n th e au t o ri t
to
i
i
.
m
i
f m y u nc le , Arth ur B lo mfie ld, E sq fri e n d s I h e re re nde r my b e st th an s o
.
k
T o h im
i
h
an d o th e r
h e lpful
.
F A .
.
k y
B
.
S H A K ES PEARE
GOET H E
AN D
.
triumph d e a re st to the heart o f a poet could h e T choose his o wn triu m ph would pe rha ps be a co n t i n u e d and increasing maste ry over the m ind s o f h i s ” “ “ countrymen H e re we c a n fancy h i m saying where I first drew th e vital a i r first re ad in the book o f nature and was quickened by youth into song ; he re be it mine s till to survive in the spirit u al sense still to kin d le hearts as mine onc e w as kindled and thro u gh no alien language to speak to my o wn pe o pl e word s that lik e th e soul from ” which they we re born cannot grow o ld A ll other t riumph w e c an w e ll imagin e might seem S hadowy a n d u nrea l co m p a re d with this natural human instinct hard ly c o n c e ives o f fame as obtainable by singing t h e L ord s song i n a strange land Y e t o n the oth e r h a nd the highest fame never co m e s by observation n o r exactly as h e who wins it might have d e sire d it The immort al n ame s in poetry are fo r th e most part those o f men w h o cou ld h a rdly have conce ived o f universal o r cosm opolitan renown A n I oni a n festival woul d have su fficed to Homer a n A thenian o r Sicili an audience ’ D ante turned albeit not without a touch o f to r Esc h y lu s ” “ sel f reproach from the universal langu age Latin to h is ” own — to the tongue o f the fair land where m e n say S i A t Shakespeare s pe rson a l mood we c an b u t guess ; may HE
,
,
.
,
,
,
,
,
,
.
,
,
,
’
.
,
,
,
.
.
,
-
,
,
,
.
’
6 9
N o c te s S h a k spe r i a n a
' .
we not fan cy him if urge d to aim at Europea n fame or to adapt his genius to F rench o r S pa ni sh o r G e rman likings saying with the fin e scorn that u nd e rli e s serenity N o t all th d k e s o f wate ri h B g dy ” C n b uy th i s u pri e d pre c i o s m ai d o f me A nd what they wo u ld not hav e sought by any sacrifice they hav e fou n d through that very o f their tru e selves in d epe ndence o f so ul th at se l f imposed limitation in abun d ant measure M ore than seven citi e s contend fo r H omer n o w ; [ Esc h y lu s pres e nt aud ienc e could no more sit round the D ionysiac theatre tha n D ante s could crowd ” “ into his b e l San G iovanni ; an d o f Shakespeare it h as been said not without truth by the gre atest and most generous o f his successors : S h a k spe a re ist v o n d e n D eutschen mehr als v o n allen and e ren Natione n ja vielleicht mehr als von se ine r e ige n e r erkannt W i r haben i h m all e G e rechtigkeit W illigkeit und Schonung die wir ” uns unte r einan d e r selbst versage n reichlich zugewend e t M ore by the G e rmans than by the rest o f th e world more it may b e than by h is own cou ntryme n— h as Shake T o him have we devote d in S peare been acknowl e d ge d ample me asu re that e quity o f judgment that fairn ess and ” oethe G : forbe arance that w e refuse to o ne another ( Wah rhe i t n nd D i ch tung Part 111 Book xi ) T hi s it must be rem e mbe red is a re miniscence o f gratitu d e to W ieland not a pe rsona l boast as will pre sen tly a nd Esch e nburg appear It is easy to ove rrate or to underrate very h ard to w e igh with pre cision th e importance o f a poet s victory over th e intellect o f a foreign nation Som e t imes it has fore shadowed th e v e rdi c t o f poste rity ; sometim e s it has rem ained an appa re ntly inexplicable caprice To t ake instances o f th e most fam ili ar kin d there is no dou bt that foreign opinion has nearly contin u ed in Byron s case th e ,
,
,
,
,
,
e
s
u
a
n
z
un
ur
u
.
,
-
,
,
.
’
’
.
,
,
,
.
,
,
.
,
,
.
,
,
,
.
,
,
.
,
,
,
,
,
.
,
’
,
.
.
,
’
,
,
N o c tes S ha k spe r i a na
8 9
.
manner gave us a Faust that was and y e t was not himse l f a W ilhelm that h a d all his we akness e s hal f o f his quick sympathies but nothing o f his strength o f r e cipi e nt purpose or se re nity while outwardly he w as th e gayest o f the gay at W eimar o r living h i s golden ye a r a student I f to the form e r it w as given to a mong artists at R ome witn e ss a nd to feel his country s most m e morabl e e poch o f i nt e llectual and political e xp a n s ion a n d to se e (why did he not commemorate ? ) the shatte re d fl e e t o f Spain borne a way by the wind to its d oo m ami d th e billows and on the rocks w hil e the l atte r only saw his cou ntry crushe d and d evastate d by Napoleon an d when that tyra n ny was ov e r ast only p Lo k d o E o pe s d y i g h u ” i h p we Of fi tful d e m a d fe ,
,
,
,
,
,
,
,
,
.
,
’
,
,
,
,
,
e
o
’
ur
n
r a
n
n
o
ve r s
r
o
r,
us rememb r his vast counterpoising a vantage e d ; y a s poet as playwright he had Shakesp e ar e to g uid e him T h e re is this too o f especial inte rest in the relation o f these two mi n ds that the dominion o f th e e a rli e r o ver th e late r poe t was no t always unquestioned In G oe the s Strasburg pe riod the d ay s o f Stu r m u nd D r a ng when with Le nz as his hi e roph a nt he loved the mysteries o f Shake s pe a re not wisely nor too well but with a d e votio n too noisy to b e quite u nafl e c te d it is evident that the main attraction o f the young enthusiasts w as Shak e speare s magnific e nt variety his u n fe ttered an d appa re ntly lavish profusion o f imaginative we alth h is e mancipation from th e rul e s under — — which so the y thought French t as te h ad form a l ise d th e literature o f France and was strangling at its birth th e literature o f G ermany But all extravagance e ven that o f generous enthus ias m pays a pe nalty : in this case the penal ty was that with the ebb o f th e tide o f youth there e bbed a wa y fo r a time fro m G o ethe not only his fervour but something also o f th e re al e ffe ct o f Shakespeare u po n et
le t
.
,
,
,
,
,
’
.
,
,
,
,
,
,
'
,
’
,
,
.
,
,
,
,
,
,
,
Shakespeare
Goe the
a nd
99
.
re ga in e d it ; yet o ne feels that in the interval he d e v eloped a te mpe r th at is the very antith e sis to Shakes — peare s a d isposition to watch h is o wn se l f deve lopment ” sickly potte ring as M r H utton well calls it a bou t the a ” “ pyramid o f his o w n existe nce H e misse d the fin e st — m e l f utterly in e f lity f Shak sp e ar e that o losing hi s a o u q r t and ennobling creations he missed too that quality : e a g — so easy to r e co g nis e so h ard to d e fin e — that makes Shakespeare the least d idactic o f poets the m ost e l e vating G oethe possesse d like Shak e s a nd forti fying o f influ e nces peare that impartial interest in hero and fo p saint and sage an d fool that is essential to the high e st v illain d ramatic succ e ss ; both alike draw hu m an beings not both perhaps might have said as M r Lewes a bstractions thinks that in drama qu i vi tia odi l ho m i ne s adi t But w hen th e lists are fairly set there is in Shak e spe are a n i nnate nob i lity o f tone about virtue and vic e to which H e c an be grand ge nerous high G oethe never attained m inded sympathetic but he has n o t that inward shudder a t the infinite ch a ra cte r o f wrong doing which Shakespeare h as a lways though d e ep hidden in reserve G oethe n e ve r h e a rd o f any cri m e which h e might n o t have co m m itte d t here spe aks th e e quable se re n e a rti stic spirit that can m ov e d ivinely like A rtemis in heaven and on e a rth and in h ell C ontrast with thi s S uch a wailing cry de pr qfu nd i s as S hakespeare s T h e e pe se o f spi ri t i a waste o f sh ame I l t i cti o d p o e d a e y wo e A b li s i pro f B e fo e a j y p o po se d b h i nd a d e m A ll th i s th e wo ld we ll k o ws y e t n e k o w we ll ” T o sh th e h e a e n th at le ads me to th i s h e ll h im
He
.
’
-
,
.
,
,
.
'
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
.
.
,
,
,
,
,
,
,
.
,
,
-
-
.
,
,
,
,
,
.
’
s
n.
n a
us
s
r
n
n
x
,
o
n
o
,
an
,
r v
e
r
r a
,
n
r
un
,
v r
on
n
v
.
n
s
.
word s ever came from the heart and conscience these d i d so ; an d it is j ust because this shudder o f repentance is i n th e highest sense na tu r al a part o f the ph e no me n a o f If
,
,
N o c tes S ha kspe r i ana
'
1 00
.
t t ood evil which compose the dr am a o f li fe ha a n d g Shakespeare s drama is more powerfully natural tha n Shake speare has the feeling G oethe c an sketch G oethe s “ it sympathetically as he c an the C on fe ssions o f a Beauti fu l ” Soul in Wi lhe lm Me i ste r Boo k vi but he does no t kn ow it in th e inw a rd s e ns e It must ; howe ver be re membered that G oethe fa r from d ee ming himsel f Shakespeare s rival in thi s or any othe r matte r speaks o f him with an unhesitating ven e ra tion F rom the d ays o f Stu r m u nd D r a ng at St rasburg ” when (in the c u rio u s O ration o n Shakespe are prese rved “ fo r us by O tto Jahn a nd M r L ewes) he cries : Th e first page o f Shake spe are that I read made me his fo r li fe I stood like o n e a n d when I h ad finishe d a single play born blin d on whom a m ira cu lou s hand bestow s sight in a ” — mom e nt through the pe riod in which he wrote Wilhe lm Me i ste r an d pronounce d thro u gh the mouth o f h is h e ro Ich e rinnere m ich nicht d ass ein Buch e i n M ensch od e r irge nd e in e Bege be nh e it des L ebe n s so grosse W irkunge n a u f mich h e rv o rgebracht h atte als d ie k o stlic h e n S tii c k e S ie sch e i n en e in W erk ein e s himmlischen G enius z u se y n d e r sich den M ensch e n n ah e rt u m sie m i t sich s e lbs t ” a u f d i e g e li n d e ste W eise bekannt z u mach e n —down to the l ast d ays when in conversing with Eckermann he prod uced some English illustrations o f Shakespeare saying “ It is even te r r ifyi ng to look throu gh this book I t make s me fe e l the i n finite wealth an d grand e u r o f Shakespeare The r e is n oth i ng i n huma n life to w h i ch he ha s n o t g i ve n i r a n d ce a l o m vo and with what and re om l e ase f e d ! ; f But it is in vain to talk about Shakespeare ; we c a n neve r ” — from the dawn o f his li fe to i ts say an ything adequate lingering sunset he be ars th e same heart fe lt witness N o r m u st w e forge t t h e curious pi e c e o f silent hom age paid by h i m to the au thor o f ju li us Ce sa r H e read it and i n ,
’
’
.
,
,
.
,
,
’
,
,
,
.
.
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
.
.
,
,
.
.
,
,
N o c te s S h akspe r i a nce
1 02
.
Shake speare it is accentuated by the conte xt which exhibits G oe th e as fully conscious o f h is o wn claims against those o f lesse r men Tie ck is a man o f gre at talents and nobody can be more sensible than mysel f o f his really ext raordinary merit ; only when they tri e d to raise him above his prope r place and spea k o f him as my equal they mad e a great mistake I d o n o t hesitate to spe ak I did not make mysel f what I am o f mys e l f as I am ; B u t I m ig h t w i th a s much p r opr ie ty c ompa r e myself w i th Shakespea r e who also is a s he w as ma de a be i ng of a h ighe r or de r tha n myself to w hom I must look up a nd pay ” 1 Such was th e final attit ud e toward s d u e r e ve r e nce Shak e speare o f the author o f Fa ust th e o n e play which m ight compet e with Ha mle t in i ts e ffe ct u pon th e mi n d o f “ Europe ; o f him who in Emerson s judgment flung into literature in h is M ephistopheles the first organic figure th at has be e n add e d fo r some ages a nd which wil l remain ” as long as th e Pr ome the us ; o f him who gave to us in M ignon th e e mbo di e d i ma ge o f Se hnsu cht a form worthy o f Shakespeare s own hand and showed in gentl e r patho s what D ante showe d in th e ste m e st bittern e ss the du r a o ne find th e to m b o f M ignon l u g m a a Could ae n o e f wou ld like to write upon it the record o f o ne o f Shake speare s most deep d rawn sighs ly sl w h o u s sh all o t de te m i ate Th ” T h d ate le s li m i t o f th y de a e i le ,
,
,
.
,
,
.
.
,
,
,
,
,
,
.
,
’
,
,
,
,
,
,
’
,
,
.
,
’
-
e s
o
n
r
r
s
e
r
x
n
.
O ver this mind w e repeat and through the medium o f a language e arly acquired it is tru e but known mainly through i ts literature did Shakespe are e xercise th e i nflue n c e and w e av e the spell we have tried to d e scribe — o in outli n e The e fl e c t is general n t particular that is t o say the greater work s o f G oethe bear little o r n o ,
,
,
,
,
,
'
,
.
,
G o e th e to Ec ke rmann M arc h 30 , .
1 8 24.
Sha ke spea re
Goe the
a nd
I O3
.
idence o f having been directly m odelle d u pon Shake s pea re ; he was too good an a rtist to forget that i m itation is but a s e co n d rate homage compared to a prolonge d and exhaustive stu dy o f th e ton e o f thought a stead y gaze upon that a dmipa «[ vxfis a b yo e csis that luminous sph e re which shone around Shakespeare and o f imagination n ever more bright ly and serenely than in the last years be fore his li fe was roun d ed with a sleep Eve n an outline o f the re l ation o f the se two m e morable minds would be incomple te were we to forget how d e e ply G o eth e concerned hims e l f with that cr i ti c i sm o f Shak e s pe are with which in m ore rec e nt days his count rymen have so large ly and som e tim e s so bewil d e ringly occu pi e d th e mse lv e s It is scarce ly worth whil e to record the blund e r c u riously popular fo r the tim e co m m i tte d by G oe th e in recasting Rome o a nd ju li e t fo r th e W eima r stage This was one o f those fears o f th e brave and folli e s o f the wise which may be le ft to the te nd e r mercies L if e of Goe the Book V I ch v) with thi s o f M r Le w e s ( reflection that probab ly G oe the u nd e rstood the som e what factitious an d immature tas te o f his W ei m ar audi e n c e and dealt with Rome o a nd juli e t rather in his c a pacity o f stage director than as a dramatist T h e lette r quote d by M r Le wes in which he d e fe n ds his treatm e nt o f the play seems to us d istinctly written from the manager s po int o f view Fa r more inte re sting is it to re alise his actual opinion s o n the maste r pieces o f Shakespeare from the pages o f Wilhe lm Me iste r and elsewhere Ecke rman n rec o rds fo r us a judgment o f his with which it is hard Ma c be th is Shakespeare s best acting t o agre e wholly : play th e o n e in which h e shows most un d e rstanding o f stage e ffect B u t w ould y o u see h is i n te lle c t unf e tte r e d re a d Troilus and C re ssida a nd se e ho w he use s the ma te r i a ls of ” Now the b u rle squ e i ng o f the I li a d i n h is o w n f a sh i on ev
-
,
‘
r
v
r
,
,
,
.
,
,
,
,
‘
.
,
,
.
.
.
,
,
,
,
.
,
.
,
,
’
.
-
.
,
’
,
.
,
,
.
N oc te s S ha k spe r i a na
1 04
.
is certain ly no t th e mo st ad m irable thing in Tro ilus a nd Cr essida itsel f far less is it o n e o f Shakespea re s be st e fforts M ore solid and more valuable by far is the cele b rate d stu dy o f Ha mle t i n Wilhe lm Me i ster It is how e ver extre m e ly hard to approach this piece o f criticism from the correct point o f view It is ma inly placed in th e mouth o f W ilhe lm himsel f ; and W ilhelm though h e be in the main G oethe s cou n terpart is yet th e counte rpart o f G oethe s weaker sel f d ra m atic ally conceived he sees with the e y e o f true imagination when he contemplates H amlet him sel f ; th e veil o f hal f se nsual senti mentality obstructs his vision whe n he contemplates O phelia A n instance or tw o will S how what we mean H ere is the sketch o f H amlet bef o r e the strai n o f actio n cam e u pon him W enn in seiner zarten S e ele der H ass auf keimen konnte so war e s nur eben so vi e l um bewegliche und als n Oth i g ist falsche H 6 fl i n g e z u verachte n u n d spo ttisc h mit ihn e n z u s pielen Ein akademisch e r H inschle u d e rn schien e r auch Er besas s mehr Fr0h lic h k e i t d e r b e i H o fe fortzusetz e n L aune als d e s H e rzens w ar ein guter G ese llschafter n achgi e big besch e iden be sorgt und konnte eine B e le i di g u ng ve rgeben und vergessen ; abe r ni e mals ko n nte e r sich mit dem vereinigen d e r die G ran ze n d e s R e chten des G ute n des A nsta n d ig e n ii b e rsc h ritt I f in his ge n tle soul hatred could deve lop itse l f at all it was on ly in such measure as to e nable him to despise in a fitting manner th e change abl e and insincere C ourt butterflies and to spo rt with th e m in a mocking spirit H e seem e d to continue at a Cou rt the saunte ring Universi ty m od e o f li fe Such merriment as he possessed w as o f humour rather than o f h e art ; he was companionabl e facile d iscre et courteo us and could forgive and forget an injury while h e could at no time associate with anyone who transgresse d the limits o f the ” right the honourable a n d the becoming H omer
’
,
.
.
,
,
.
,
,
’
,
,
’
,
-
.
.
,
,
,
.
.
,
,
,
,
,
,
,
,
,
,
.
.
,
,
,
,
,
,
,
.
N o c tes S ha kspe r i a nce
1 06
.
Shakespeare knew howeve r h e acquired th e knowled ge the ph e nomena o f insanity as fe w have known them : the sad d est o f those phenomena he wou ld not spare us even in O phelia s case : he would have us see in h e r own word s so on so pite ously true o f hersel f “ d mo st so e re i gn re aso n th t o b le d h h Li ke sw t b ll j an gle d o ut o f tu e T h t n m tc h e d fo m a d fe atu re o f b l w y uth ” B laste d w i th e c stac y But i f anything may be safely pre dicate d o f Shakespeare s mind he did no t m e an us to see as G oe th e do e s in the loose ravings o f O ph e lia the hithe rto silent thoughts o f her secre t soul — So fails at one point or another moral intellectual — practical the ve ry gre at e st m ind that aspires to se e o ne o f Shak e spe are s characte rs as Shakespeare saw it Le t it be remembe red that the gre at m ind o f G oe the fu lly felt and W e ha ve se e n in what terms frank ly a llowe d its fa i lure o f pas sionat e gratitu d e this gre atest inte ll e ct o f G ermany spoke o f Shake speare L e t us d o to o ne and the oth e r o f the m th e simple justice o f recognising in the ir relation the most striking and cogent proof that genius transcends all barrie rs o f race or place an d abho rs all j e alousy ,
,
,
’
,
,
,
ee
a
u
a
n
e
s
an
v
n
,
r
a
n
an
ars
o
n
,
o
.
’
,
,
,
,
,
.
,
,
,
’
.
,
.
,
,
.
,
,
,
,
.
,
E
.
D
.
A
.
M O R S H EA D
.
S H A KS P E RE
AS
A
H I STO R I A N
.
N o ctes S ha kspe ri a ne
1 10
.
authorities and chart e rs pique themselves o n their pro e i m p u tation h t i to actual f act O hers c t at these t as i n t u y p q ” D ryasdusts and wi th a spl e ndid scorn o f b e ing m e rely o f small details aim at a re sult in which will be presented the striking outlines o f an e poch th e greatness o f th e character o f a h e ro th e struggl e s and th e victories o f a nation The instances which will re adily occur o f such vivid portraiture are F ro u d e s study o f H enry V I I I K ingsley s description o f the reign o f Elizabe th M acaulay s d e lin e a tion o f W illiam I I I and C arlyl e s li fe o f O liver C romwel l But the mention o f these concrete instan ces immediate ly will evoke the suggesti o n that in some i f not all o f them the problem is p ractically solve d th e contend ing elements are reconciled and with a rigid adherence to facts has been blended the colouring o f l arge imagi n ative genius Suc h is the line o f defence : and it is precisely o n this ground that the defende rs o f C arlyl e place him in the he presents th e y contend just tha t c o mb in front rank ation o f accuracy in detail and o f imaginative genius which are the two factors that duly compose d constitute the ideal historian I t is not to th e pu rpo se he re to enter into a particular controversy : it is enough to recogn ise th at eve n with regard to C arlyle the doubt has arisen in many min d s whether the fine historical imag i nation has not in some cases le d him to dispose facts i n an arran gement which i s mislead ing to n e gl e ct others which are inharmonious with his design an d to heighten the colouring i n ord e r to produce a more startling e ffe ct Thus th e primary c o n tro ve rsy invariably p asse s fro m th e abstract to th e concrete an d those w h o are e nga ge d i n i t whil e they g rant th a t a d ue proportion must be observed betwe e n these two factors inevitably join i ssue as to particula r h istorians Enough h as be en said to draw attention to a re al and important distinction in the cha racter o f modern historical ,
.
,
,
,
,
,
,
,
.
’
,
,
’
’
,
’
,
.
,
,
,
,
.
,
,
,
,
.
,
,
.
,
,
.
,
.
Shakspe re
Hi sto r ia n
as a
I I I
.
ork : th e same probl e m h as been raise d with regard to L ivy with r e gard to Thucydi d es with re gard to T acit u s the se in turn have been accused o f sacrificing matter to form o f neglecting o r distorting facts in ord e r th at the picture which th e y present may n o t be embarrassed by Thus mod e rn critici sm has pres e nted i ncongruous details a Cl e on or a Tiberius in quite a d i fferent a H annibal light ; and thus it is in e vitabl e that in vario u s hi stori an s a n d und e r changing gu is e s t h e controversy awake s a s soon a s e v e r a th e ory o f historical m e thod is test e d by actual i nstan c e s an d it can n e ver b e laid to re st so long as the d ispu ta nts confine th e a re a o f discussion to the domain o f histo ry But as soon as e ver th e kindred province o f t h e dramatist is e ntered the antago n ists gr ad u a lly grow c a lmer th e stri fe lulls a n d the d i ffi culti e s vanish I n that the chains e nchanted grou n d the atmosph e re h as alte red o f actual fact no longer cling rou nd th e soaring imagination a n d the po e t w a lks free from the restraints which mu s t e v e r fett e r th e historian I n what important point then does th e provi n ce o f the histori an di ffe r from tha t o f the d ramatist ? It h as been Shakspe re is gui d ed w ell said by L ord M acaulay that b y a mod e l which exists in his imagination Tacitus by a ” Th e dramatist is required m odel furnish e d from without to bring his characters into harmony with human nature w hile the h istorian is limited to the sph e re o f actual fact But th e p re c ise point at which th e two approach most c losely is when th e drama ti st tak e s some portion o f history Th e tend e ncy o f mod e rn a s the b ackgro u nd o f t h e piece c riticism is to d e ma n d that in such a cas e he should ad h e re rigi d ly to all de tails o f manne rs an d customs as well as to a ll the lines o f character and conduct which the hi story o f the epoch dete rmines Such a spirit is the re sult o f that A lexandrine influence which watched over th e decli n ing w
,
,
,
.
,
,
,
,
,
,
,
.
,
.
,
,
.
,
,
.
,
.
.
,
,
.
N o c tes S ha ksper ia n a
1 12
’ .
ye ars o f G reek literature ; accu racy o f detail rigid adherence to a c tu al fact may be the sc a fl o ld ing by which the building o f histo ry m ay and indeed must b e e rected but as soon as th e y become the test a nd canon by which d ramatic work is m e asure d poetry is strangled at th e moment o f its bi rth the dramatist is in danger o f sinkin g No o n e w ishes to d is to th e l e vel o f a prosaic annalist parage the m e rits o f a veracious chronicl e r nor to u nd e r the y have thei r rate the s e rvices o f a t ruth ful anti q uarian work but it is n o t th e work o f th e dramatist and it is fo r this reason that Shakspere te ach e s by his attitude to history so fruit ful a l e sson to all who study him It i s not nece ssary to point o u t that he is master o f eve ry mood o f m e n and wom e n ; that no passion or pathos is foreign that it is just be cause he is tru e to human nature to him that he lays all who h e ar him u nd e r a spell but on th e other hand it is in this conn e ction important to observe how unscru pulous he is in th e nic e ti e s o f historic detai l To realise this fact once fo r all is to learn that the purpose d ramatist i s to teach ge n e ra l l e ssons o f abiding o f th e intere st wheth e r the m e dium through which he pre se nts th e m be an e ntire ly imagi n ary sce n e or o ne take n from history It is th e re fore shallow criticism to convict Shakspe re o f sm a ll lapses and tiny o ffe nces against historical fact by chronicling th e cases in which he h as t rans ferre d the customs o f o n e ag e to another W he n such ” “ e xpre ssions occ u r as C u t my lace C harmian A n tony a nd ” “ Cleopa tr a 1 i ii 7 1 To billiards C harmian I I v 3 ; ” She has packe d ca rd s with C ae sar I V xiv 1 9 ; H is ” cocks d o w in th e battle I I iii 36 ; D oublets tha t ” hangm e n bury with those that wore them Cor i ola nus ” I v 7 ; Th e n th e re s my glove Ti mon of A the ns ” “ V iv 5 4 ; Ente r fo ol I I ii 4 7 ; whe n Shakspere ” “ “ brings Switzers into Ha mle t o r make s him pl ay at ,
'
,
,
,
,
,
,
.
,
,
,
,
,
.
,
,
.
,
.
,
,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
’
,
,
,
,
,
,
,
,
,
,
N o c tes S hak spe r i a ne
1 14
“ Yo u
.
k o w i t i th e fe ast o f L pe c al I i 7 2 T h e t i mph e ally to o k p lac e in O c t 4 5 th e fe ast o f L pe c al b e i g o Fe b 1 5 4 4 ” B e f e th e C pi to l I I I i C e sar was e ally murde e d i n Po m pe y s c u ia ; c f th s m m i stak e H ml t I I I ii 1 0 9 ” “ O c ta i us is al e ady c o me to R o m e I I I ii 2 67 A t th e ti me o f mu de O c t i u was at A po ll n i a Ce ” “ T h at d y h e o e c ame th e N e i i I I I ii 1 7 4 A n t y did no t j o in C e a ti ll 5 4 B C th e e ye ars afte th e e duc ti o n o f th e N e ii ” H e re o at th e C api to l I V i I 1 Th e me e t i n g e ally t o k pl c i sla d n e B o no n i a n th e R h e n o a I I I ii 2 4 Sh ak pe re make s th e last n d Cl p t a A nto ny I m e e ti g o f C e sar an d A n to ny a t R o me ; P luta c h plac e i t at u
s
n
r
.
or
a
’
,
e
’
r
sar s
rv
s r
.
.
,
n
,
n
n
ar
,
eo
a
n
,
.
,
on
.
rv
r
o
a e
.
,
,
,
,
s
r
s
I .
k spe
xi.
I I I,
.
us
n
T are n tum
.
,
.
r
o
a r
,
.
,
,
.
r
,
,
r
r
n
.
,
r
,
,
o
s
v r
a
e
a
,
,
av
r
n
r
r
v
r u
.
r
.
e
a
,
,
,
u
,
r
r
,
,
”
Sh a
m ake s th
re
is
sc e n e
i a ; Pl t
Ale x andr
at
u arc h
at
T ae n arus
.
O r again in the English hi storica l plays it is not di ffi cult to find deviations from historical fact Thus i n ,
,
.
“
gu ge I h a e le arn t th e se fo ty y e ars I iii 1 5 9 T h e ke c o uld t h a e b e e n mo e th a th i ty th e e i 1 398 ” n ati o n to o k plac e o n O W e d n e sd y n e t I V i 3 19 T h e c Th e lan
s pe a
a
In “
does
2
in
I I I , i,
-
r
n
.
.
o ro
.
,
r
,
.
He n ry se e m
B e auc h amp
,
,
,
13
Yo u , C o u s no t
x ,
a
.
n
r
v
n
M o nday , O c t
r
v
no
r
”
to
I V
i
N e v l,
I may
as
re
”
me mb e r, an d
h ave b e e n pre se n t,
I I I,
wa s
i
,
no t a
65
.
W a wi c k i l b ut r
Nev
,
a
.
10 3
.
G le n do we
r
d id
no t
i
di e t ll a fte r H e nry I V
.
the representation o f the Prince o f W al e s as wasting his time an d substa n ce with Falsta ff i s d i fli c u lt to reconcil e with the fact that he was fighting from his boyhoo d on the bord e r in W a l e s and also in Englan d ; his duel with Percy in 1 He n ry I V v 3 is at variance with th e fact that P e rcy w as kil le d by an a rrow whi le the di spa ri ty o f twe nty ye ars in th e ir ages gives way to a dramatic propriety re q u iring them to b e alike yo u ng Such m in u te discre pancies are in some cases copied ; in othe rs they a re justified by the ad ditional force giv e n by A gain
,
,
,
,
,
,
,
.
Cf Ab b o tt .
'
s
P luta r c h
.
S ha k spe r e
H i sto r i a n
as a
1 15
.
his me an s to the l e ssons which th e dramatist t e ach e s Th e se instance s wi ll su ffice to show the position in which S hakspere is in this matt e r ; and a more particular e xamination o f t h e play o f K i ng will e nable us to o l m j se e how he distorts the facts as by a prism in ord er that th e single rays may b e mani fe st and the particular purposes o f the poet may b e subs e rv e d “ M acau lay d e scribe s H e rodotus style as follows : A porter tells th e sto ry as if h e h ad be e n hid behind th e c urtains o f the royal b e d at W indsor 8 0 L ord G od e rich s ays I cannot manage this busin e ss I must g o out So th e king says says he W ell the n I must s e nd fo r the D uke o f W e llington — that s all Thus it is the father o f histo ry re pre s e nts th e past as vividly be fore us ; but Shaks pe re s re pre sentation o f a past time as present is not so much by th e graphic realization o f the facts as by their id e alization as containing abiding l e ssons and laws Thus a serie s o f dive rge nce s from history com e into promin e nce in K i ng jo l m in order that the events recorded may be mad e subservi e nt to th e principles they a re take n to i llustrate T h e action o f the play ranges ove r sixte e n years (1 1 99 th e s e ye ars are compre sse d that the eve nts should pass rapidly b e fore th e mind th e two o ccas ions o f the war with F rance (springing o u t o f the osition o f Philip as rthur s guardian and o u o f t e A t h p d eposition o f John by Innocent I I I ) are repr e s e nte d as c lo se ly consequent wh e n they were as a matt e r o f fact se parated by ma n y y e ars O r again how has Shakspere transmuted th e historical characters ? “ K ing John who is d e scribe d in histo ry as weak he ad e d ” and bloody handed a faithless son a r otte n h e arted ” tre ache rous brother an ungrate ful master is prese nted by Shakspere with som e o f his blackn e ss purge d H is cring ing doubling nature com e s out indee d in the interviews
t
.
,
.
’
.
’
‘
,
.
‘
,
,
,
,
’
’
.
’
.
,
.
’
,
,
,
.
,
,
,
-
,
-
,
-
,
,
,
,
.
,
.
,
N o c tes S /za kspe r zkm e
1 16
.
with H ubert ; but his crimes with the exception o f the death o f A rthur are decently veiled and he stands before us as a K ing with considerable military ability and c o m manding influ e nce so that when Salisbury retu rns to h is allegiance he says W e wi ll an d calm ly n o i o b di e nc e ” E e to o u o c e an to o u g e t K i n g J o h n ,
,
,
,
,
,
ru
,
r
v n
n
K ing
e
r a
r
,
n
.
John is dre ssed like a king ev e n i f his plumes are borrowed But if Shakspere has tried to cover up the blackness o f John h e has also prese nted A rthur in a light untrue to histo ry but eminently suitable to the purposes o f the play This pre tty b o y whom H ube rt cannot be ar to touch wh o take s a sh ip b o y s semblance whom his mother bewails in such te nd e r accents ” G i f fi lls th e o o m p o f my ab e nt c h i ld ,
.
,
.
,
,
,
’
,
r
r e
u
s
,
around whom the sympathy o f the hearers naturally ce ntre s was sevente en years o ld wh e n h e d ied and headed an e xpe dition in 1 20 2 A rthur s position is thus trans fig u re d and his ag e k e pt in the background fo r poetic just as th e life o f C onstance is prolonged fo r re asons l fi ve y e ars Shakspere following the o ld play unites A gain V id o ma r V iscount o f L imoges n e ar whose castle o f C h alu z R ichard I w as wounded with L eopold o f A ustria w h o had shut R ichard I up in D u rre n ste i n and calls the ” latte r Ly m o g e s as th e o ld play calls Ly mo g e s the ” A u st ri c k D uke I t was doubtless with a vi e w to poeti c justice that R ichard s bastard son Falconbridge kills thi s “ conglomerate personag e near A ngiers (I I I ii A ustria s ” he ad li e s there ; after having tripped up his lan guage
an d
,
,
’
.
,
.
,
,
,
,
,
,
,
,
,
.
,
’
’
,
Ag e o f R ic h ard I I s se c o n d wife is in cre ase d ; Jo an o f Arc (in H en ry VI ) mad e to tak e ar t in a e ac e c o n c lu de d in 1 435 ; M arg are t o f A njo u o ug h t no t to ear afte r 1 47 1 i n E ng lan d I
is a
,
pp
Cf
.
'
p
p
.
H
8
N oc tes S ha kspe n a ne '
.
excell e nt foil in th e boastful vanity o f A ustria ; dignified aristocracy is pre sented in Sali sbury and Pembroke just as popu lar loyalty to th e crown is shown in H ube rt A ll thes e e lements are combin e d a n d fused in the play th e factors o f society the C rown th e R oman C atholi c syste m th e barons th e pe ople are h e re embod ied in represe ntative types by the skill o f the d ramatist A n examination o f K ing John th e n teaches the sam e lesson as can be gathe re d from th e instance s already given some o f the d e viatio n s from historical fact are th e result o f the influ e n ce o f the C hronicl e rs o n Shakspe re ; o th e rs and some o f th e most important are th e r e sult o f the dramati c purpose which dominate s the work o f the poet H istory is fo r him subse rvi e nt to po e try : h e gains nati onal sympathy and stirs national enthusiasm by appe aling to E nglish history ; he invests his plays with inte re st and dignity by taking som e subj e cts from R oman H istory ; but in n e ither case doe s he allow rigid adherence to historical fact to ove r rid e th e claims o f his art to inte rfe re with th e poe ti c purpose s o f his dramas— th e y are tru e to li fe in gen e ral an d a re not confined within th e sph e re o f actual fact The anti q uarian may cavil at anachronisms th e artisan historian may take credit fo r havin g pointe d o u t violations o f history ; but a n yon e imbued wi th artistic spirit can n ot but fe el that fo r such n e gl e ct o f historical d e tail ampl e compe nsation is obtain e d Such historica l circumstance s give a warmth and colour to th e scen e s ; but th e characters in their developm e nt by Shakspe re be lon g not m e re ly to th e phase o f a particular tim e but to the pe rman e nt fabric o f human nature ,
.
,
,
,
,
,
,
.
,
,
,
,
.
-
,
.
-
.
,
,
,
.
H
.
J
.
H A R DY
.
THE
S TAG E AN AN D
-
C RA F T
O N
A CC U T
R EM A R K S
OF
0N
OF I TS
I TS
S H A K S P E RE N
A CC EPTA C E,
C H A R ACT ER I STI CS
.
.
N o c te s S ha kspe manan
1 22
These us in th e M idsu m me r N igh t s D r e a m is to b e pre c i se ly maintain e d in substanc e but precis e ly reversed i n ord e r ; if indeed he we re himsel f wise in C hoice o f form and expon e nt or is it a fter all true o f Shakspe re as later o f a Byron and a Shelley that it was only b y nec e ssity a n d circumstanc e that th e pe rsonality o f his ge nius was clothed in dramatic garb ? or that as many another w hom it were impe rtin e nt to m e ntion the stage craving last i n firmity o f nobl e inte llects pre vailed over the instinct o f th e poe t and ” “ tramm e lled with m e an e r accidents a spirit which other ” ways woul d have stru ck fi e ry o ff ind e e d It has so long be e n th e custom to deplore the absence o f in formation about t h e man Shakspere and his influ e nce o n and e stimat e by th e ge neration in which h e liv e d that it has come to b e acce pte d as an axiom that we know nothing at all True his li fe in detail must re main ever a myste ry : his was not th e ag e o f biography or autobiography : but o f the acci d e nts and surroundings it is only surprising that we can gath e r so many suggestive hints T h e inquisi tive persiste nce o f soci e ti e s a nd e nthusiasts hav e made contempora ry drama satire corre spond e nce an d lampoon ay e and serious d ocum e nts to yi e ld th e ir quota more or l e ss ampl e to an e nquiry which was assum e d to be supe r fl u o u s t h e votaries o f a monstrous craz e have compe ll e d so “ — grave an au th ority as Bacon to give in e vid e nce non e the l e ss valuabl e be cause un d e sign e d I n th e audi e nce o f th e C urtain o r th e G lobe w e scarc e ly e xp e ct th e ope n pre s e nce o f state sman o r philosoph e r : and though the th e atrical appetite o f E lizabe than E ngland was share d by high an d lo w alike maste rpi e c e s that an d t h e acknowl e d ged fe d it we re produce d b e fore royal o r nobl e audienc e s — halls o f th e inn or th e unive rsity still the o r in t h e reproach o f th e loath e d stage a n d th e e quivocal associa tions o f Shored itch and G ol d en Lane s e e m e d to stamp the ’
,
,
,
,
,
,
,
,
,
,
.
,
,
,
.
,
,
.
,
,
,
,
,
,
,
,
.
,
,
,
S tag
t f
S kak spe r e
f
e cra
o
1 23
.
best utte rance o f the theatre with unimportance The spontan e ous notes and jottings o f a Bacon are therefore worth volum e s o f pan e gyric Fo r th e rest it may truly b e sai d that there is scarcely a conte mporary writer o f what we may term the b e lle s le ttr es who does not contribute testimony willing or unwilling to the unique position o f o u r author So from the inge nuous teaching o f som e five hun d red mostly unprepared allusions an d from the maze o f innu e ndo repartee a n d illustration in which th e conte m ra ry o e drama ab unds we can build up a very lik ly o p state m e nt o f the mate rials with which Shakspere work e d an d th e r e sults and e stimate o f his work in the bustlin g world i n w /zi c/i lze h i mself li ved an d thereby mount th e first ste p o f our e nqui ry O n e fe ature o f the human fac e is alike in li fe and a fte r death unerri n gly te ll tal e o f characte r H owe v e r t h e fe ature s o f the Stratford bust (which an artist has assure d us to be mod e lled from th e death mask) may fail in oth e r respects to re pre se nt th e l iving po e t in the firm cast o f th e mouth we may re ad still th e d e cision o f the original th e tenacity which mak e s the wayw ard n e ss o f th e boy to work toward s the purpose o f th e man W h e n th e count ry lad with th e fre shn e ss o f his W arwick shire lan e s still blooming o n his C he e ks and th e m e mory ” “ o f its A rca d ian customs court e si e s and courtships in ” “ his h e art picks up th e unconsidere d trifle from the m u d o u tsi de t h e Th e atre in Finsbu ry F i e lds conte nt to re ign ” king ove r Shakspere s link boys is it not with se t purpose to rule however it may be i nside ? W h e n h e gains h i s ” first footing as call within th e pre cincts is it not ce rtain that as K e an and R obson and many anoth e r afte r him he will pass o n from lower to high e r cons id e ration till he to o is a l e ading actor o r a manager in his turn ? D oes n o t the V icar o f Stratford (a youth when Shakspere dispensed .
.
,
,
.
,
,
,
,
,
,
,
.
,
-
,
.
-
,
,
.
,
,
,
,
,
”
,
’
-
,
,
,
,
,
,
,
,
N octes S /zakspe rza na
1 24
.
hospitality to poet player and preacher in N e w Place) s pe ak with authority o f the innate ambition o f the acto r which posted him first L ondon ways n o t to failure as is th e usual lot o f the victims o f the passing s ta ge sickness but sure o f success and cert ain o f his vocation P The same d ecision o f character marks the sequel o f th e fe verish hou rs o i youth a n d manhood ; when in form e d with a wisdom — abo ve all o f his o wn o r after t ime a wisdom l e arned no t from books but by obs e rvation and study o f mann e rs and in the school o f adve rsity and vicissitude scorning th e ” base d e gre es by which he climbed once fo r all he ” “ turns his back o n the ladd e r and acquires as yeoman ” “ rich in land and beeve s the o ld home a n d g e ntleman ” “ ne w mansion which patience o f his boyhood and the a n d p e rse v e ranc e had achi e ved R eject there fore the envious calumny which implies failure in th e profe ssion o f purpose chose n by so typical an Englishman as W illiam Shakspe re because without the aid o f lette rs o r patronage it could alon e bring him in ” “ contact wi t h all sorts a n d conditions o f me n B e sure that the y a re inve ntions o f the same pro fe ssional envy “ which n e ve r w e aried o f taunting him with his lit tle ” L atin and n o G re e k W e lcome rath e r the hints which sugge st as wid e a range o f art in the mime as in the dramatist ; a re pertoire inclu d ing in th e r ole o f a king which h e chi e fly love d n o t only his o w n fa vourite cre at i on o f H e n ry o f E ngland but mayhap also th e most impre ssive o f all kingly shad ows L e ar ; a nd among minor — C haracte r parts so re alistic that they linge red in the memory o f th e spe ctators when the e fforts o f gre at — e e trag dians w re forgotte n th e G host in H a m le t and th e A d am o f A s Yo u L ike I t and in pure ly comic impe rsona tions that o f D ogbe rry (stu d ied doubtl e ss from th e li fe at Stratford ) o f Feste Costard an d Spe ed R emember that ,
,
.
-
,
,
-
,
-
,
,
,
,
,
,
,
,
.
,
,
,
,
,
.
.
,
”
,
,
,
,
,
,
.
N o c te s S hak spe r ia n e
1 26
.
La x ind e e d was th e law o f literary only bege tte r morali ty an d dramatic copyright in the reign fe rtil e abo v e a ll oth e r in pro fus ion o f d ramatic we alth ; we can e xcuse som e girdi ng at our Shakspere fo r rustling in youth in a hand ful o f feathers n o t e ntirely his own though a play w as common chatte l scarc e ly prope rty at all not re cognised as pe rsonal certainly wh e n accepted by a manage r an d liable un d e r th e constant strain fo r novelty to b e prod uc e d ” “ again a n d again enlarged and amended up to date A nyhow no better training fo r the play wright can be rant e d than an appre ntic e ship in t e cas ting clumsy or g a rchaic mater i al and an intimate knowledge o f the existing drama good bad o r i n d i fl e re n t The mod e o f trans mutation th e alch e my which poure d l e ad into th e crucibl e o f the laboratory an d evolved gol d is not to o u r purpose ” though much might b e sai d o f it To th e training in Stage cra ft o f the actor th e poet the adaptor and the cre ator early tradition and con tempora ry re fe re nce has ad d e d another phase o f e xperi e nce A ll sel f culture is quicke n e d t o the Ulysses o f L iterature by instructing othe rs H aml e t s advice to the players as it we re by personal te stimony the common c onfirms i mpre ssion that the nam e o f W illiam Shaksp e re may we ll h e ad the nam e s o f a company o f which the said W illiam S hakspe re was maste r and i nstru c to r A famous player has said that nothing showe d to him more cl e arly the points and propri e ty o f a C haracter o r scene than training a novice in th e r e n d e ring o f it T o mention only two proo fs o f Shakspere s C onstant habit it is re marked by John D owne in his revi e w o f the Stage from 1 66 3 to 1 690 (a ) that wh e n the D avenant C ompany prod uced H a mle t the title r é le w as tak e n by M r “ Betterton C oached by Sir W illiam D ave nant w h o saw M r Taylor o f the Black Friars act it from th e pe rsona l ’
a nd
.
4 ‘
,
,
,
.
,
-
,
-
,
'
,
,
.
,
,
,
,
.
-
,
,
,
-
.
’
.
,
,
,
.
.
’
,
,
,
.
,
.
,
,
,
S tag e
t f
-
f
cr a
o
S lzakspe r e
127
.
author M r S ha é sepe a r (si c when b () H e n ry VI ]! was essayed under th e sam e management the part o f th e king was also given to M r Bette rton train e d by Sir W illiam D avenant who had it from M r L ower that ” h ad his instructions from M r S h a k espe a r himse l f Thus to his other qualifications as a practical dramatist this many sid e d man added also that which would be st fit him to be critic as well as e xpon e nt o f his works So when h is salad days were past when with ripe training an d free h and h e wrote not fo r the stud e nt but fo r th e Stage is it possible that Shakspere coul d hav e produced matte r suit Th e re have a ble fo r th e student and not fo r th e Stage ? bee n many we ll qualified to instruct in e v e ry ge n e ration w h o have so instru cted us W e may d ismiss the obj e ctors o f his own a g e with a singl e sent e nce The re were two s chools o f dramatic intention in t h e E lizabethan era : t h e s chool o f t h e pedant and t h e school o f th e natu ralist— the s chool o f which Jonson was prim e doctor and th e school o f w hich Shakspere was high pri e st ; between thes e two a fierce and n e cessary rivalry Take Sejanus as th e tragic R ead beneath type o f th e one and H aml e t o f th e other the lin e s o f hal f th e com e d i e s o f th e two schools and you may d e te ct sti ll the marks o f thru st and parry o f innu e ndo a n d r e parte e o f th e pupils o f o ne and oth e r ad d ing s ig n i fi c anc e to many a now unmeaning dialogue and untranslate allusion The C ho rus o f lite rary subtrac tors was a bl e disqualified by partisan ship ; w hat then was th e verd ict o f T h e sch e m e o f our light e r essays S hakspe re s public forbids a parade o f authoriti e s to substantiate as might be wish e d th e conclusions arrive d at under this he ad 1) that it would be d i fl i c u lt to parallel the co nte mpo ra ry po pu lar i ty o f Shakspere s plays (2 ) that allusions to the ir stage success turn up so unexpe cte dly that it is evi d ent that th e y e x e rcise d a kind o f spell on t h e imagination o f the public i nstruction
o
f th e
.
,
,
'
,
.
.
,
,
.
.
,
,
-
.
,
,
,
.
.
.
.
,
,
,
,
.
’
,
,
‘
’
N o c te s S h akspe ri ane
1 28
.
e t that though it was usual print ven the mos n o o t t 3) popular drama (ind e e d th e theatrical manage rs we re ve ry j ealous o f th e ir e xclusive rights) those o f Shakspe re we re persistently pirate d and an authorized though grossly incorre ct e dition o f the most famous produced d uring h is o wn li fe tim e ; ( his name was attached to many which 4) his hand scarc e ly touche d i f at all to satisfy a d e mand which was evid e ntly urgent To support th e se asse rtions extracts would have to be multipli e d beyond all re asonable limits I shall venture th e re fore once fo r all to re fer to two works out o f many — f which are quite ready o acce ss (a ) th e Ce n tu r i e of P r a i se an d its sequel publish e d by t h e N e w Shakspere Society ; (5 ) the uniqu e an d marve llously Cheap synopsis o f scholarship an d e ru d ition H alli w e ll s Ou tli ne s F rom the form e r the laborious re ad e r will string t ogeth e r a curious C hapl e t o f extracts from the e n d o f th e sixte e nth to th e end o f the seventee nth ce ntury from und e sign e d allusions in prose and poe try in pamphl e t and broad sid e in l e tter and pan e gy ric by fri e nd an d fo e ; h e w i ll se e his favourite passage s burlesqued as are the gem s o f t o day in tribute to th e ir populari ty ; he will in fe r t h e gossip o f the playgoer an d th e conclusions o f the critic Eve ry d ay adds to the tal e o f these jottings ; e g th e fortuitous discovery o f an old b o x in the L ampo rt L ibra ry u nearths not only a first edition o f Ve n u s a n d A do n i s but ” i n te r a li a th e lucubrations o f an o ld buck whose tast e in plays and playgoing was more omnivorous than d isc ri m in ating but wh o clearly indicates that Shakspere w as th e ” vog ue F rom the second source o f re fe rence we may note h o w th e plays pass e d from the theatrical to the read ing public or more accurately h o w the Shaksperian taste was stimulated by a perusal o f what had been o r might ,
,
,
,
,
.
,
,
.
,
,
,
,
,
,
-
’
.
,
,
,
,
,
,
,
-
,
.
.
.
,
,
,
,
,
.
,
,
,
,
,
N o c tes S lza é spe r i a n w
13 0
v
.
assign e d most o f th e plays which we re comparatively hasty in contrivanc e and he avy in construction ; to the latter many at l e ast o f those on all hands acknowled ge d to be sce nically e ffe ctive A gain th e re w e re ye ars o f d e li b e rat e workmanship when th e po e t was no longe r young no lo n ge r pe rsonally connecte d with th e th e atre i th o u g h still inte re ste d in th e fort un e s o f his own prope rty and pl e dge d to supply it with mate rial ; and to this pe riod may probably b e re fe rre d plays rich with th e ripe st product o f thought and obse rva tion but l e ngthy in action an d no longe r C h e ck e d by manage rial and tutorial tact I hazard as exampl e s Co r i o la n us a n d the Wi n te r s Ta le I I A consi d e rabl e port ion o f th e plays soon lost their living touch by re ason o f the ir v e ry close n e ss to con ” “ te mporary li fe ; fo r Shakspe re playe d o ft e n to th e gall e ry and h e k e pt inte re st alive by si d e glanc e s at th e gossip and the rivalri e s and th e passing topics o f th e day W h o re al i ze s now that much o f th e e ffe ctive n e ss o f the com e dy in Lo ve s L a b o u r s L ost lie s in its running satire on th e jea lousi e s o f t wo l e ading poets ? and that its very plot h ad e v e ry fe atu re o f a polit ical extravaganza In I 5 9 1 “ the M any English voluntee rs joined Navarre in F ranc e h e ro is the re fore nam e d Navarre an d his associate s christe n e d a fte r Navarre s chi e f ge n e rals ; th e re is allusion also to th e atte mpt o f E lizabe th s G ov e rnment to come to d iplomatic terms with R ussia and to th e odd fancy o f acade my o f t h e Czar to marry E lizab e th ; finally the lette rs o f which a burlesqu e sch e m e is e volve d in the play had a re al e xiste nc e at the time at l e ast in th e minds o f ”1 English statesmen and write rs O r to C ite a more se rious e xampl e : it is probably not “ known to many inte lligent read e rs now that in th e tru e
,
.
,
,
,
,
,
.
’
.
.
,
.
’
’
,
’
’
,
‘
,
’
,
,
,
,
.
I
Cf
.
a
Pa
p
er
b y M r S id ne y L ee , .
re ad
b e fo re th e N S S o c i e ty .
.
on
Oc t
.
22 n d . 1 886
.
S tag e ”
h istorie
t f
-
cra
f
13 1
.
I I I the trial o f Essex by which men s min d s were stirred at the date o f its production is verbally t e produc e d i n that o f Buckingham I n fact it may b e said that th e re is n o e ntire play an d in som e plays no sc e n e which had not its appe al to the mom e ntary intere sts o f his q uick pulse d audienc e A ll all a d e ad l e tter eve n to th e n e xt gen e ration of
H en ry V
S h akspe r e
o
’
,
,
,
-
.
,
,
,
-
.
,
.
,
I I I H is q uick n u lse d au d ience ! yes w e must take that into account A th e nian audi e nc e s a re a myst e ry ; E lizabe than audi e nces more myste rious still W as it the e e ran ur in which th y liv d or h might e o f t h e a e t e d f o g g ” “ merri e h e art which t h e a le which th e y qua ffe d ? or the h as long ceas e d to b e a symbol fo r E ngland W hat was i t which fire d th e ir brains with intellige nce a n d ma d e th e m a ppre ciat e d rama whos e pow e r is a ft e r all lit e rary though h uman not conv e ye d through inci d e nt o r situations the most exacting dr a ma which th e worl d has see n o f which ” “ in d e e d Shakspe re is but as a Jupiter in a sph e re o f plan e ts ; drama appe aling to intellect and n o t to curiosity -
,
.
.
.
,
,
,
,
,
,
,
,
.
It must be eve r borne in mind that th e whol e — f f alaxy male portraiture the great creations a y o e o f L d g M acbe th and C l e opatra o f Imogen and Portia a n d B e atrice a n d R osalind w e re conc e iv e d a n d painted fo r b oy s a n d n o t w o me n to e mbody on t h e stage ! Th e first woman actress was introduce d by K illigre w w ith much apology in 1 660 ; t h e famous e nactor o f fe mal e — — parts K ynaston continu e d to play till Janu a ry 1 66 1 It is scarce ly nece ssa ry to cite passage s from Shaksp e re in f f f : e e h e roo this act to quot amiliar ba inage o f t d o f g p H aml e t with the player troupe “ W h at my y o ng l dy a d m i t e s th y fac e i ali t m e st th o to b d me i D e m k P y h e a e th y o i c e li ke a pi e e f ” c u e n t g ld b e o t c a k e d w i th i th e i g IV
.
,
,
,
,
,
-
,
,
.
.
.
,
-
‘
u
,
ear
u
un
rr
o
n
,
n
a
n
r
n
ar
c
s r s
.
ra
s v
,
v
n
n
r n
v
.
an
,
co
c
o
N o c tes S h a b spe r ia n a
'
13 2
O r the poet s lam e nt in the pe rson
of
’
“
.
his supreme heroine :
sh all se e
I
g e at e s A n d this would s e em to imply a consciousn e s s on the part o f the play wright o f disabilities under which thi s exige nce o f the sixtee n th century had placed him ; and e ally so f e it is in the main doubt ul wh ther this was r e t y wh e ther boys care fully train e d by th e master himse l f apprentice d e arly as the y were in classes o f four to som e distinguished actor d id no t in fact realise more faith fully The nam e s o f R ichard th e m e re inte ntion o f the author R obinson and R obe rt G o u g h e are mention e d in the F olio —A nge l Nok e s and W illiam B e tterton were famous fo r “ — H w as h r ull al f a centu Stephen amerton a most noted f y ” and beauti ful woman actor O f K ynaston th e most versatile o f all Pepys write s in 1 660 that he had see n him act the D uke s Sister in th e L oy al S u bje c t at the C ockpit and that h e mad e the love liest lady that e ve r h e saw in ” his li fe ; and G en e st adds from conte mporary criticism “ that it was disputed among the judicious wheth e r any woman that succe eded him touch e d the audience as vividly ” as he h a d d one A n actor h as re marked to me that th e se l r i e i n u n n c a t o f n e ce ssa ry fo r romantic d e lin e ation is only possibl e fo r boys o r th e g r e a test a r ti sts and I n e ed not insist on the rarity o f a r ti sts as such I n young b oys at all e vents the factor o f personal vanity is abse nt docility and faith ful imitation o f proposed mod els inherent and boys may b e t rain e d when the mimeti c tal e nt is conspicuous to any d e gree o f accurat e copy ; as old membe rs o f our o w n Society may remember from suc c e ssiv e ge nerations o f powe rful b o y heroines But besides these possibilities which admit o f dispute it is pate nt that the most common artifice o f Shakspe rian S o me
squ ea ki ng
C le o pa tra b oy my
r
n
”
s
.
,
,
,
,
,
,
,
.
,
,
.
,
,
’
,
,
,
.
-
,
.
,
,
,
,
-
.
'
,
,
,
N o c tes S ha b spe r i a n ce
'
13 4
.
characte r analysis It was be tter in every way fo r h i m and fo r them O n the unite d comp e t e nce and indivi d ual ability o f his actors h e cou ld re ly and we may fee l sure that th e acting o f th e Shaksperian company train e d by Shakspe re himse l f and by a repe r to i re as various as the spe ctators we re invariabl e fu rnish e d an e nse mb le o f surprisi n g completeness It is q uite clear that his plays mean e st part a re exacting in this resp e ct a n d that th e demands almost as artistic a re n d e ring as th e gre at e st a n d it is possible th at i f this e ss e ntial excell e nc e could b e attain e d managers might still d ispe ns e with e xtravagance But h o w was th e passion o f a R ichard o r o f mounting the madn e ss o f a L ear or th e philosophy o f a H amlet maintained within the close circl e o f privil e ge d spe ctators W e cannot solve th e probl e ms o f the o n t h e stage its e l f ? E lizab e than stage any more than o f the Elizabe than au d i e nce s M e n se e m to b e cast in a d i ffe re nt mould from ours e lv e s : artistically I think that th e y w e re : j u st as we fin d in play going c e ntres o f G ermany at th e prese nt day wh e re th e theatre is an elem e nt o f common li fe a strange toleranc e o f impe rfe ct realism and a vivid susc e ptibility o f id e al suggestiveness ; an d thus th e v e ry rapid change o f scen e e g which ofte n banishes from th e mod ern stage such maste rpi e ce s a s A n to ny a nd Cle opa tr a or Co r i o la nus was almost an aid to the Elizabe than spe ctator ; his imagi n ation was k e pt alive by be ing sudd e nly w hirled from A thens to E gypt or from Britai n to R om e ; much as that o f the mod e rn nov e l re ad e r wh e n he turn s a page and fi n d s in chapter xxi that h e has l e ft his Engl a nd and English mechanics o f chapter xx and is resuming his mimic li fe with a new C ircle o f acquaintance in some island o f the Pacific O n the oth e r hand in th e absence o f e ntirely trustworthy in formation it may be e rmitted to doubt wh e th e r in some plays the c o m p -
.
.
,
,
,
,
.
,
,
,
,
.
,
.
-
,
,
,
.
.
,
,
,
-
,
.
,
,
S tag e
t f
-
cra
f
o
S lza b spe re
13 5
.
rigid adherence to unity o f scen e doe s not suggest a gre ater pro fusion o f sce nic appliances at least when originally produce d amid noble and wealthy sur roundings It is ce rtain that d uring o u r au thor s li fe time the mounting o f court masques and pageants h ad attained a high stan d ard o f l u xu ry and taste and that within hal f a c e ntu ry o f his d e ath his own dramas we re staged with ” “ much o f fin e ry c lo a th s scenes and machines as fo r “ exa mpl e L e a r ( exactly as M r Sh a k spe a r wrote r a i a t ve l p y
,
’
.
,
,
,
.
,
M a c b e t/t
,
,
,
th e
Te mpe st,
th e [ Mi dsu m m e r N ig h t
and
’
s
D r ea m
.
The maste rpi e c e s o f I ta lia n fiction proved as will here afte r be pointe d out the fore ign emporium o f the dramatists plots ; I ta lia n literature was in the original or through translations the favourite re source o f th e l e is u red I ta li an customs we re imitat e d I ta lia n vice s corrupte d the sim i i i l f I a l n c English mann rs why should not t art t o e : a y p have be e n a ppli e d to raise the stan d ard o f th e English stage d e coration Th e re is extant a valuabl e treatise o f one S e bastiano S e rlio published in V e nic e in 1 5 84 giving particular d ire ctions from his own o b se r va t i o n and knowl e dge as an archite ct fo r th e construction o f a playhou se a n d its appro a e e apparatus work is illustrat d by plan r i T h e n t a d p picture and there is appen d e d to this pape r a sketch o f his ” conc e ption o f a Tragic Sce ne (S ce na Tr aji ca ) Those which h e d e scribe s in his work as contrived by himse l f or re prod u ce d from his expe rience at V icenza where sce nic luxury s e e ms to hav e attained its acme are so fa r c o n v e n — i n t o a l as w e re ind e e d th e simple exped ients o f the — e Elizab than th e atre that all th e n e ce ssary mounting o f an entire d rama is combined in a S ingl e sce n e But in it much refin e m e nt o f pe rspe ctive and careful illumination was attained ; and it is constructe d with all vr a ise m b la nce o f solidity and practicability T h e scene fo r e xtravaganza ,
’
,
,
,
,
,
.
,
.
,
,
.
,
,
.
N o c tes S hakspe r i a ne
13 6
.
is a fanci ful landscape with foreground o f rocks and much intermingling o f tree and shrub ; fo r a a stre e t o f modest pretension s ; fo r a tragedy c om e dy the sugge stive but barbarous ad mixtu re o f architectural e l e m e nts which are faith fully C opied in o u r woodcut It will be observe d that som e o f the action suppose d to pass within court or arcad e re quire no furth e r change but that he contemplate s th e addition o f painte d cloths o r d rop sce ne s M any quaint sug to suppl e ment the exterior by interiors gestions are hazarde d in the description which accompanies th ese illust rations e g apr opo s o f the e xampl e L a Scena T rajic a sa ri a p e r rapprese ntare T raje d ia hi casam e nti d essa v o g lio ne esse re di grandi pe rso n a z zi pe rc h io c h e g li c e na t S S a r i ca ( y )
,
,
,
,
.
,
,
-
.
.
,
.
,
,
,
’
a cc e de n d i
a mo r o s i
i nop i ta n i m o r ti
e t casi
v io le n ti
e
c r ud ili
ra e d i e se leggi nelle antichi ancho nelle t e t j ( moderne) sono se mpre intervenuti de tr o la casa di Signori ” D uchi o gran Principi It se e ms to m e probable that at the more sumptuous prese ntations o n royal or private stages or whe n A lleyn s company was trans fe rre d to th e play house spe cially built with a vi e w to the greate r com fo rt o f audi e nce and ” actors som e hints in th e direction o f be tte r mounting may have bee n borrow e d as the groundwork o f the plays ” “ th emselve s was borrowed from the Nursery o f the A rts Two o f Shakspere s fanci ful dramas at all e vents— th e — / z i m r N z t s D re and h e s t s e e m to m e d s m e a m t T e m e u M g p to b e unpre sentable u nd e r a ny c i r cu msta nces without an appe al to the e y e as well as to the imagination though both were probably produced und e r favourable condition s and as pag e an ts de lu xe Neve rth el e ss I am strongly o f opinion th at the growth o f scenic realism and e xtravagance beyond c e rtain limits e cisel y to define ) h as a pre j udicial influence o n di cult pr f fi ( th e eth ic and poe tic d rama which should and must rely
nti e u a r p q
,
.
,
’
,
-
,
,
,
.
’
,
’
,
.
,
,
,
t a e S g c raf t
m ainly
h r k e e a s S f p
o
the ability o f the actors imagination o f the au d i e nce
an d
on
13
.
7
the spontaneou s
.
O ne more observat ion has to b e made under the present se ction o f my subject be fore what may b e t e rmed the narrative o f th e e n qui ry is re su med an d it must take the form o f su gge stion as space will no longe r permit discussion It will b e found th e n in th e t e chnically — finished plays plays i e which a re clearly the work o f a m aste r a n d n o t o f a pre ntic e hand pro d uc e d as I shall maintain whilst Shakspere was still in close connection w ith th e Stage — that there is a subtl e command o f minut e t/ze a tr i c a l e ffect F o r exampl e : I h r In e t e xt still ling r hints o f e many i fi c e s by t e t h t a () which it is c e rtain that in th e original stage copies Shakspe re as manager had illustrat e d th e work o f — Shakspe re as poe t th e opportun e shouts o f th e populace in ju li us Ca sa r ; th e clock striking ; the alarm be ll ringing ; th e music inte rve ning 2 i f f The classical which is an ess ntial eature e o r n o () y Shakspe rian Stage cra ft is interwove n with th e very te xture o f th e material T h e f e e e vice is r ly mployed as in f n s t e d o co t ra (3) I a c b e t/z I vi I vii ; I V i and I V ii : in L e a r I I ii lV and I I iii and throughout th e play I h ad purpose d to review in d e tail two plays : one o f stage d ramas t h e mi dd le s e ri e s o f care fu lly contrast e d — h o t e gre atest f all Oth e llo : and o ne o f th e final s e ri e s “ — the most mature o f cha racte r dramas A n to ny and I be li e ve that I could hav e she wn conclusive ly how ke e nly in the o n e type th e poet is conscious o f the mesm e ric i nflu e nc e o f an audi e nce and adapts to stage req uire m e nts th e developm e nt o f the plot and th e evolution and arre st and how in the other th e e xigencies o f o f t h e action ; V II
.
,
,
.
,
,
.
,
.
,
’
,
,
,
.
.
,
-
,
.
,
,
,
,
,
,
,
.
,
-
-
,
,
,
13
N o c te s S lzab spe r i a n a
8
' .
repre sen tation are quite subord inate d to th e instincts o f the dramatic artist whose obj e ct is to trace the course o f mutual action a n d re action o f t h e C haracters o n which the history d e pe nds and to paint as it we re in autumnal tints th e idyllic love o f which R omeo a n d Juli e t had be e n the spring study wh e re by issu e d so complete and varied a portraiture o f wayward and impe rious woman that it was “ ind e ed abhorre nt to his imagination that some sq ueak ” “ ing child o f th e re ve ls should boy th e greatness o f Cleopatra To the kin d inte llige nce o f th e re ad e r is l e ft the expansion o f these hints ; and now to resum e th e o ffice W e may fo r th e purpose s o f this essay o f historian r egard the p e riod w hich Shaksp e re hims e l f his e d itors and his actors initiate d as e xtending be yon d his d e ath to t he closing o f th e th e atres in th e tim e o f th e C ommonw e alth The temper o f th e au d i e nce s will not gre atly have altere d the impetus toward s more re fin e d d e coration which is certainly a gre at d e te rminant o f taste had only be gun the trad itions o f th e actors and th e e stimate o f plays and playing were practically th e sam e In th e blank pe riod alas ! how great th e loss ; o f most o f the living m e mori e s o f Shaksp e re and prop e r conceptions o f all the o f his charact e rs and mo d e o f re pr e s e nting th e m original stage copi e s and traditional d ire ctions o f many o f th e tried actors who had playe d with the po e t a n d b e e n taught by his lips ! T h e C lassical Stage live s o n its unbroken e ntail o f stage prope rty ; so that whe n th e playhouses we re C lose d the re interve ned a vast g ul f o f ” time with no inte rpre ting chorus to span it A n d yet a curious proo f o f th e popularity o f c e rtain Shakspe rian scenes may b e cite d from the contempora ry account o f the ” “ o f h e interlud e s r f arces which oun d th e ir way D rolls t ( r iskily into ent e rtainm e nts w hilst plays as such wer e ,
.
-
,
,
,
,
”
.
.
,
,
,
,
.
,
,
.
,
.
,
,
,
1
N o cte s S ha kspe ri a n e
0 4
.
”
would b e a source o f dange r fo r we live in a re fin e d age W hat can we say o f th e taste which paraphras e d the id e as a n d lan g u age o f th e Te mpe st by filthy suggestion and bawdy d oggrel an d which put into th e mouth o f A riel such amazing twad d l e as this H is l t d lm t t li f ll b a e d o A d k d h i e i g li ke b y s p i e s B k a d l th t te m pt th e c ld ai r b u t I to k .
,
,
so u
n
an
Her
na
s oo
e
,
n
os
a
s
v
a
’
e s o
r n
a n d sto p
u
r
on a r v
o
o
o
r, a
o
’
r
o
,
d h e r in
’
what o f an ag e whose e stimate o f Othe llo can be surmise d from the following criticism D esd e mona says : 0 good Iago what shall I do to win my lord again ? N o woman b red out o f a pig stye could talk so There is in th is play som e burl e sk some ramble o f wit some s h ow some m i m ic k ry but it is plain ly none oth e r than a bloo dy ”1 farce without salt o r savour But th e fluctuations in moral and literary instinct may during th e reign o f the late r Stua rts almost be gauged by the frequ e ncy and mod e o f representation o f Shaks pere complete garbled or travestied Now an d again — and it is easy to suggest re asons “ plays are introduc e d with much flourish o f trumpe ts as ” M r Shaksp e re wrot e them M ore commonly the famili ar title appears attached to the plagiarisms o f som e other hand o r un d e r a new name (as Sir W m D avenant s highly popular L a w ag a i nst L o ve r s mainly built upo n M e asu r e f o r M e a su re ) will be found an ingenious com bination o f more than one play ; o r lastly the original is r e c tifie d an d transmuted as the tas t e o f the public mig h t d emand from trage d y into comedy or from comedy into farce or it may b e into monstrous hybrid o f all types by the introduction o f musical interludes and costly A n d so the d ownward career is h as tened m achinery ‘
,
’
,
-
.
,
,
,
.
,
,
,
,
.
,
.
.
’
.
,
-
,
,
,
,
,
,
,
,
,
.
T h e Trag e d ie s
,
o f the
las t Ag e .
c o nsi d ere d
b y Th o mas Rymer,
of
G ray
'
s
I nn
.
S tag
t f
e cr a
f
o
S ha h spe r e
1 41
.
within a ge n e ration we have desc e nded to th e e m asc u late d adaptation o f N ahum Tate ; to the expe rience d but quite unprincipl e d conglomerate o f D ry d e n ; and to the gen e ral predatory habit o f minor poetaste rs D ryden gives us a valuable m e asure o f th e acc e ptance 1 668 whe n comparing o f Shaksp e r e s plays under date th e m with those o f Beaumont and F l e tch e r : Th e ir plots Beaumont and F l e tcher) were ge nerall y more regular ; their plays we re the most pleasant and fre quen t ent e rtain m e nt o f th e Stage two o f theirs be i n g acte d through the ” ye ar fo r o n e o f Shakspere s o r Jonson s I n justice howe v e r to D ryd en w e should ad d that his adhe rence to th e Th e atre intro d uce s som e smack o f a more discriminating taste though from th e all pe rvadi n g pollution n o writer or man age r could escap e C ertainly not the trans ” “ lator o f H orac e s Satires and author o f the ju d icious (P) re nd e rings into modern E nglish o f the most d ubious o f the tal e s o f C h auce r ; at all e ve nts it is not cre ditabl e to a recognise d master in lite rature that un d er his dire ct auspice s th e lo w water mark o f Shaksperian stage presentation i s reach e d I n many passages ami d st a cloud o f indiscrimi n ate censure and pan e gyric D ryde n points o u t care fully enou gh wherein consisted the i n ac c e ptab i li ty o f Shakspe re on th e Stage o f th e R e storation T w o notabl e phrase s may be ” “ “ cite d su pe rfl u i ty and waste o f wit incongruity and want ” in plot : fo r it is probabl e that the o f originality au d ienc e s in th e rei g n o f C harl e s I I and Jam e s might well b e intol e rant o f any su pe rfl u i ty o f wit whic h demanded thought ; o f equivocal sparkle th e re was an ab un d ant home supply and the ge niu s fo r contrivance and incident was n e ver so gre at in E ngland as at the end being in fact not strictly English o f the 1 7 th ce ntu ry e ith e r by birth or complexion ; and the comparison cited abov e bet ween Shakspere and Jonson on the o ne hand an d
.
’
,
’
’
.
,
,
,
-
,
,
’
.
,
-
.
,
,
.
,
,
-
,
,
,
,
,
1
N o c te s S h ak spe r i a n e
2 4
.
and Beaumont a n d Fl e tch e r on th e oth e r is full o f sig n i fi c a nc e fo r out o f t h e w h ol e sph e re o f Elizabethan d ramatists (with all th e ir abun d ant share o f gross an d suggestive e xpre ssion ) th e re are non e who so n e arly a nticipate th e unb lushing e ffrontery o f Wych e rly Congre ve a n d A phra B e hn as th e associate d poets B e aumont a n d F l e tch e r C e rtainly whilst to o u r infinite profit Sh a kspe re is altoge th e r innoce nt o f suggestive inc e ntive to immorality he lacks also the cunning spi d e r hand which s e e ms eve r i ts subtlest w e b round th e dark corn e rs o f to weav e intrigu e I t is to this pe riod n e verthel e ss that w e re fer fo r th e first tim e a d istinct growth o f lite rary popularity : ” “ in spite o f th e d unghill from which th e y sprang it is cl e ar that as gre at a purist as M ilton is familiar with th e agai n many C haracte rs a n d thoughts o f the dramatist ; allusions in d icate th e proc e ss o f the ir assimil a ti o n into t h e common stock o f i d e as ; nay w e can ev e n quot e an “ instance o f his works be ing inclu d ed in the obj e cts o f ” “ which woul d supply to a ge ntleman o f quality s tu d y ” “ all that is re quisite a n d substantial Noting th e n this a lmo st n e w fe ature o f claim to b e re a d as well as to b e a c te d A re a n d asking ours e lv e s without at pres e nt d iscu ssing ” and i f so in what way ? t hese claims quite compatible ? ” we pass on by l e aps and boun d s ove r the centu ry and a hal f which lies be fore us ; fo r a care ful chronicle wo uld r equire a volume but any th e atrical memo ry wi ll suggest th e landmarks which guide us now Certain facts however shoul d be born e in min d though t hey are d e duc e d from succ e ed ing as well as preced ing s e ctions o f our en q uiry o f Shaksp e re on th e stage is sure to occu r The r vival e I () with th e phenomenon o f a really great actor e or spurious and l e ss or more o f the It will be genuin 2 ( ) ,
,
'
,
.
,
,
,
,
-
,
.
,
,
,
,
.
,
,
,
,
,
,
,
,
.
,
,
,
.
.
,
N o c te s S hah spe ri a n ce
1 44
.
pages o f Steel e and Boswell A ddison and G oldsmi th have familiarised th e stu d ent o f literature The impuls e o f the actor and o f th e actor alon e d irected them to th e greate st source o f an actor s possibilities as it has impe ll e d in l ate r ti mes oth e rs more o u t o f sympathy by virtu e o f n ationality than G arrick was by pre dilection e as R istori Sarah Bernhardt M ounet Sully s uch ; g audiences meanwhile d e manding a type o f acting which th e age o f th e R e storation was to o indolent to appre ciate Before C arrick s star actually ros e th e re was the re fore in th e middl e o f th e eight e e nth century a v e ry striking re vival o f th e Shaksperian D rama o n th e English Stage ; o n e incident o f which is spe cially inte resting to ourselve s from 1 7 37 to 1 7 39 there e xisted a veritabl e Shakspere Society ” “ among th e lad i e s o f q uality and th e ir influ e nce in par t ic u la r was su ffici e nt to cause the reappe aranc e o f many plays which h ad be e n consigned to the the atrical pigeon hole To oblige th e se fair enthusiasts th e manage r o f C ovent G ard e n r e vive d K i ng jo h n P e r i cle s and Pa rt I o f H e n ry I V R i c h a r d I I and H e n ry V fo r the first tim e in fo rty years ; H e n ry I V Part I I and H e n ry VI fo r th e first time in fi fty : almost simultaneously at D rury L ane we re given A s Yo u L ih e I t and Tw e lf th N ig h t fo r th e first tim e in twe n ty years and th e M e r ch a n t of Ve n i ce with the Shaksperian conce ption o f Shylock fo r the first time since th e R estoration : at G oo d man s F i e lds the Wi n te r s Ta le fo r the first time fo r a ce n tury and A ll s We ll tha t E nds Extant We ll fo r th e first tim e since it was wr i tte n playbills re cord this striking analysis from the year 1 7 38 to — H a mle t K i ng Le a r M u ch A do K i ng jo h n 1 7 4 0 alone ,
,
.
,
,
’
,
,
,
.
.
,
,
,
.
’
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
’
’
’
,
’
.
,
,
Cy m b e li ne A a to ny ,
a nd
,
Cle opa tr a , M a c b e th ,
Othe llo , R i ch a r d I I I , H e nry
VI I I , M e r ry
,
u li us
j Wi ves
,
Ce sa r
,
Te mpes t,
h e o in addition more memorabl e t t f prod uctions enum e rate d abov e making a repe r to i r e o f
Co me dy
o
E r ro rs ,
,
a S t g e cr a
f
t f
o
S ha kspe r e
1
.
45
twenty six Shakspere dramas in all a record w ithout parall e l till w e reach the famous tenure o f Sadlers W ells by Phe lps Simultan e ous with the histrionic we note a literary revival as we ll The age o f G arrick was also the ag e o f Johnson But the instincts o f G arrick and his stage con temporaries we re mimetic not lite rary and o f Johnson and H e nce the revival o f h is school formal not romantic Shakspe re in th e book world an d the Theatre was partial and unsympath e tic ” T h e critic finds a lack o f fe licity and o f finish in th e “ high e st flights o f the Shakspe rian M use a loose n e ss o f ” ” plot a coldness and weakn e ss in th e soliloquies an ” “ imp e rfe ction in the incide nt and th e like The climax of national appre ciation is probably touched by th e familiar saying o f Pope that as Shakspere has probably writte n be tt e r so perhaps he has writte n worse than any man The man age r on the other hand still de als with R o me o u li e t as a tragi comedy and expunge s the catastroph e a nd f from L e a r mangl e s th e play o f H a mle t re write s th e [ Mi d su mme r N ig h t s D re a m and the Te mp est and perp e tuate s the alte rations and am e ndm e nts o f D ryd e n and D ave nant T h e age o f the sch o la r o f Tate L ansdown e and C ibbe r was not y e t n o r did th e critic insist o n faith ful a c tor adh e re nc e to th e spiri t o f Elizabethan art A well known episode o f the th e atrical annals wil l illustrate fitly th e incidental pe rve rsion o f taste W h e n — M acklin was re h e arsing th e M e r cha n t of Ve n i ce with a view to re storing to the Stag e the play as written by its author and th e part o f Shylock into harmony with his — id e a h e did not allow any pe rson not even the actors to se e how he int e nded to act his part he merely repe ated t h e lin e s o f the character and did not so much as by o n e -
,
.
,
.
.
,
,
.
-
,
.
,
,
,
.
,
,
3)
.
,
,
-
,
-
,
,
’
,
,
.
,
,
.
-
.
,
,
,
,
1 46
N o c tes S ha h spe r i a na
.
single look tone ge sture or attitu d e disclose the manner in which he m e ant to perform it Quin said h e would be hisse d fo r his pre sumption and (M anage r) F l e e twood implore d him to abandon th e id e a O n th e first night the th e atre was crowd e d W hen Shylock and Bassanio e ntere d th e re was an aw ful silence a pin might have bee n heard to drop but when Shylock finished th e spee c h in which h e declare s his antipathy to A ntonio th e aud i e nce burst into a thun d e r o f applause which continu e d lou d e r ” T h e wond e r is tha t a n d lou d e r to th e end o f the play th e succ e ss o f this essay did not e ncourage manage rs to e mulat e t h e example o f the actor and that Tate s L e ar C ib b e r s R ichard e t ho c g e n us o m ne w e re n o t consign e d to th e sam e limbo o f forget fulness as L ord L ans d owne s ” “ Jew o f V e n ic e B e fore w e resum e th e threa d o f this hasty narrative we must notice a blank inte rval o f some ye ars both in the history o f th e Shaksperian Stage and significantly e nough — f E i nglish l terature as well That which we have ve ry o loose ly te rm e d th e age o f the K e mb le s and M acread y m ay b e said to op e n with th e first managerial e ffort o f the h e ad o f th e former family in 1 7 88 a n d to C lose with the re tirem e nt o f M acready in 1 8 5 1 T h e S hort succ e e d ing e ra o f Ph e lps and Charl e s K ean is in fact a s e q uel to th e caree r o f M acre ady hims e l f and might hav e be e n inclu d e d in it a nd this prope rly e nds with th e aban d on m e nt o f th e l e ssee ship o f Sadl e rs W e lls by Ph e lps in 1 86 2 Both date s are m e morabl e in social a n d impe rial record s fo r ve ry d i ffe rent reasons which will occur to anyone now o f mi d d le age Thus in lite rature th e e ntire pe riod is conte rm inous v e ry approximat e ly with th e birth and pro re ss to maturity g o f the romantic school in po e t ry and pros e W ithin i ts limits th e student may trace the gradual ,
,
,
.
,
.
.
,
.
,
.
’
,
,
’
,
,
’
.
,
,
,
,
.
,
.
,
,
,
,
.
,
.
.
N o c tes S ha hspe r i a nw
1 48
.
is the date o f th e lost Le c tu r es of Co le r i dg e (which mark th e t ru e passage o f the R ubicon criticism ) and 1 84 2 o f th e e dition o f o f Shaksp e rian C ollier ; and h e nceforward each ye ar only sw e lls t h e flood ec l e ctic technical philosophical and anti o f eulog istic i n ff u r a e ort a q W ith such compe lli n g circumstance from within and without a n e w re lation betwe e n the Stage and its re pre s e n t a t iv e poet is a thing o f cours e T h e stu d y o f th e charact e rs o f Shakspere fro m th e t e xt “ improv e d o f Shaksp e re himsel f and n o t from garbl e d o r ed itions is only what might b e e xpecte d from artists so re fin e d as th e K e m b le s John an d C harles F an n y K e mble and M rs Si dd ons T h e restoration o f th e tru e text in i ts original a n d compl e te form to the board s is an accid e ntal more gra d ual proc e ss ; its illustration by accurate or costum e scenery and d ecoration is depe ndent also o n A t first only th e gro w th an d progre ss o f th e kin d re d arts th e stro n g an d irre sistibl e dramas such as Othe llo M a c b e th an d H a mle t a re giv e n as Shaksp e r e wrot e th e m un d e r the el d e r K e m b le s first manage ment at D ru ry Lan e from 1 7 88 to 1 7 90 ; th e se are followe d by l e ss familiar plays com bining characte r and spectacl e as the actor s study e x I and I I V n d e d a n d sc e nic luxury developed by H e n ry a p and th e choic e o f the last H e n ry V and Co r i o la n us named is d ue more to th e insti n ct o f th e actor than t h e manage r fo r e ve n to th e prese nt d ay its pe rsistent C hange o f sc e n e rend e rs Co r i o la n u s v e ry d i fli c u lt o f r e pr e s e ntation the greatest living authority th e D uke o f M e ininge n — cannot se e his way to playing it as it is arranged but Co r i o la n u s furnished to John K emble the greate st o f his parts a nd his o w n most familiar so b r i qu e t K e m b le s second manage ment restored K i ng joh n Cy mb eli n e and the Wi n te r s Ta le in n e arly their original form and revived Ch a r a c te r s
o
f H azlitt ,
18 1 1
,
,
,
,
,
.
,
.
,
,
,
,
.
.
,
,
.
,
,
,
,
’
,
’
,
,
-
,
,
’
.
,
,
,
’
,
S tag e
S ha k spe r e
f
t f
-
o
cr a
— Tate s still
K i ng L e a r , th ough
1 49
.
— Tate s which
it was held the Stage fo r th e prese nt T h e supre m e fitn e ss o f M iss O N e i l and F anny K emble c omp e lled th e r e storation O f the R o me o a nd ju li e t w hich th e poet himsel f designed But in th e sam e period it is still a fact that an actor so s tup e ndous as Edmund K ean fo r e xample is satisfi e d with the L ear o f Tate an d th e R ichard O f C ibbe r a nd that the moral and lit e rary atmosph e re o f the Stage i s still so u nsatis factory that a vigilance committ e e o f its wo rthi e st membe rs is conven e d to d e vise a remedy and that as far a s th e truth ful illu str a ti o n O f the Shaksp e rian d rama is conce rn e d th e re forms O f K e mbl e had in substance touched n othing but costume ; so w e must wait fo r th e a d vent O f a n actor and manage r with th e re cognis e d training O f an English ge ntl e man before th e incongruous hybrid o f po e t a n d playhouse to which the th e atrical instinct had by an d pre j udice inure d its votari e s was fi n ally c ustom banishe d from th e Stage It must grati fy ours e lv e s who are still re joicing in the V ictorian Jubilee to rem e mber that it was in th e y e ar 1 8 37 the ye ar o f the Qu e e n s acc e ssio n that Cove nt G ard en O pe ned un d e r th e manage m e nt O f M acre a d y with Shaks p e re s Wi n te r s Ta le and Opened with this truly artistic “ promise nam e ly T O pre se nt th e works O f our d ramatic e a n d e h e f o ts chiefly Shaksper with truth illustration o f t o p which the y merit The trage di e s O f Co r i o la n us and K i ng L e a r fo r e xampl e hav e be e n stripp e d O f th e barbaric e a re o b e e h arl and gold and n to giv n in r de e w u t p ” s implici ty O f th e ir re spective perio d s W ith the resto r a ti o n of th e tex t the m e aning o f ” S hakspere has been rendered palpable O pe n e d also in a spirit which will amaze ind e ed those who associate with an actor s pro fe ssion n o purp ose which ’
’
.
’
.
,
,
,
,
,
,
,
.
,
’
,
,
,
’
’
-
,
,
,
,
,
.
,
,
,
.
.
’
N o c tes S hah spe r ia ne
1j o
can
.
nobl e o r elevating but which w e may sure ly c o n c e i ve to have brought a blessing upon manager and a u d ience although unhappily not the pecunia ry success which co uld alone make such an enterprise permanent Extract from diary O f S e ptembe r 3o th 1 8 37 Co e t G d B f i g w I o m Th e at s c d a d p p y f o m m y h e t t A lm i gh ty G o d i m pl ri g H i m e c y po m e i th e wi th an day b e g i e ff t w h i h th i an d e te e d th e th at ” f G o d b le i g up i ati o me be
,
,
,
,
.
,
n
v
ar
r
or
n vo c
en
ar
re
o
en
o
c
o
,
ns
s
’
ss n
s
n O
e o re
.
n
r
s
n
on
n
o
n
u
n
e
r
r
e
n
re
.
I n Tabl e B will be found a list O f the Shaksperian revivals consummated with patie nt fidelity during th e memorabl e lesse e ships O f C ovent G arde n and D rury Lan e by M acread y But as at C ovent G arden so also at D rury L ane it was impossibl e that without State subsidy or external help a theatre so conducted coul d thrive ; and h e nce forward M acready w h o is to my min d th e repre s e ntative example O f actor and manager combined was compell e d to re sign the o fl ic e O f manage r and confine himse l f to h is pro fe ssion as actor In 1 8 5 1 h e appeared at the H aymarket in H amlet R ichard I I L e ar Ben e d ick Shylock W olse y B rutus C assius Iago O thello and M acb e th and le ft th e Stage once and fo r all o n the 2 6 th O f Feb ruary A remarkable gathering assembled at a farewe ll banquet and includ e d most O f the notabiliti e s O f society lit e rature a n d a rt T h e following extracts from the speech e s delivered on that occasion by M r M acready an d M r Fo x will find a proper plac e h e re as illustrati n g th e theories o f this e ssay “ a n d j usti fyi n g the exten si on o f t h e title T h e A g e O f ” M acready to tw o o th e r notable ente rprises still to be noticed L ate r on it will be conve nient to quote fro m the sugge stive speech O f C hevali e r B unsen delivered o n the sam e occasion .
,
,
,
,
,
,
‘
.
,
,
,
,
,
,
,
,
,
,
.
,
,
,
.
.
,
.
.
.
,
N o c te s S ha kspe r i a ne
15 2
.
”
and Tr o ilus This singular page O f Shaks pe rian history was turn e d wh e n h e took his final ben e fit in u li us Ce sa r on Nov e mbe r 6 th 1 86 2 I n all the r vivals e j ” O f Ph e lps th e text o f Shakspe re was faith fully follow e d e with the e nterpris e O f Ph e lps and P ara ll e l fo r a ti m supplying fo r a fe w years a t th e W e st End O f L ondon the vacancy l e ft by th e retirem e nt O f M acre ady anoth e r brilliant ca m paign wa s carri e d on in O x ford Stre e t I n Nove mbe r 1 8 5 1 th e famous se ries O f Shakspe rian R e vivals at th e O ld Princ e ss The atre was ope n e d with th e M e r ry Wi ves and continued as d e taile d in Tabl e C I n the se with th e e xception O f R i ch a r d I I I th e t e xt was Shaksp e rian and the popularity phenomenal th e ave rage run b e ing about 8 5 nights o f I li ia su m m e r N ig h t s D r e a m and [ Ma c b e th about 1 20 But I a m inclined to think that th o ugh in e vitabl e in a fashionabl e q uarter and under th e mo d e rn con d itions O f the Stage such prolonged re petitions o f a singl e play and O f t h e same characte rs were e minently d e structive O f art a n d su fficient to account fo r the almost complet e e xtinction shortly a fte r wards O f th e school O f Shakspe rian actors w hich had continu e d with more or le ss O f brilliancy during th e who le combin e d p e rio d which w e h a ve thus shortly consid e re d a n d that from th e experi e nce O f later atte mpts to e mulate the luxury o f th e se re pre sentations and to supply by th e sc e nic painte r a n d machinist o nly th e lack Of an e ve n ca ste and a train e d company arose th e cuckoo cry ” “ that Shakspere spells ruin M eanwhile audi e nces had be e n alread y train e d to a lust fo r spe ctacular e ffe cts which w as soon to b e sat e d only by sensationa l drama and e fl e m i n ate burlesqu e It is not surprising there fore that fo r many succeed ing ears the story Shaksp rian ent rpris in e o f n i n u o us e e o c t y L ondon is a bl a nk Nor is it without significance that whilst an artistic Court was at hand to encourage dramatic R i cha r d I I ,
.
.
,
.
,
,
.
,
,
’
,
.
,
,
,
,
’
’
,
.
,
,
,
,
,
,
,
,
,
.
,
'
.
,
.
,
S
ta
g
t f
e -c ra
f
o
S ha kspe re
15 3
.
dramatic art e xiste d an d was popular It is in all probability a m e re coincide nce but th e coincid e nce is sugge stive that th e first managem ent O f M acre ady sy n c h ro n a te d with the acc e ssion O f Queen V ictoria and tha t the syst e matize d pro duction O f Shakspe re s pl ays and that the last tradition O f th e golden ag e O f Shakspe rian actors close d un d e r t h e C loud which settled o n throne and nation with th e d eath O f the Prince C onsort It must b e conc e d e d that a fa r greate r concourse O f legitimat e playe rs was possibl e during the ag e O f th e K e m b le s than in the z e nith O f M acready but I am o f opinion n e ve rth e l e ss that in aim and intentio n in just a pprec i ation O f th e t e xt in a d e q uate though not e xcessive il lustration o f pure poe try by th e se rvice O f all kin d re d a rts Shakspere s St age craft was th e high e st re a li sa tion o f re ach e d in England wh e n th e prospe ctu s O f 1 8 38 (alre ady quote d ) was a ffi xed to the walls O f Cove nt G ard e n A n d n o w fo r nearly twe nty years t h e Shakspe rian D rama is m e re ly an occasiona l incid e nt O f managem e nt doom e d o fte n t i m e to failure becaus e e sse ntial conditions O f success a re n e gl e cte d and entire re lianc e pl ac e d eith e r on a ” “ “ singl e star o r on a gorge ous but unchaste ned m ise e n ” s ce ne I t is not to o u r purpose to tak e much acco u nt O f the e pisod e O f F e c h te r s app e arance or o f the r e vivals at D rury L an e und e r the r eg i me o f M e ssrs F alconer and Chatte rt on ; or e ve n O f th e more nota bl e pre se ntations O f M i d su m me r N ig h t s D r e a m an d H e n ry I V und e r P h e lps and C ol e man fo r th e re is in fact no a b id i ng hom e fo r Shakspere in the metropolis till M r I rving once more establishes his claim as b o th ac to r a nd m a nag e r ; ind e ed i f w e look fo r any el e ment O f perm a n e nc e during the inte rval we shall find it not in London but in th e provinces a n d should h ave to chronicle the revi vals o f M r C al ve rt terminating (as so many eras seem to terminate) with t ha t
a r t,
.
,
,
,
’
,
,
.
,
,
,
,
,
,
,
’
”
-
.
,
.
’
,
.
’
,
.
,
,
.
,
15
N o c te s S h ahspe r za na
4
' .
but und e r mod e rn conditions e ven more tha n O f O ld i f there b e a national theatre at all it must be in the m e tropolis fo r to th e metropolis the playgoer hurries by th e h e lp O f th e magic gird l e which the nineteenth century Puck h a s se t round the entire world This proc e ss O f centralisation is at once an aid and a dange r to th e Shaksperi an D rama H al f a c e ntury ago th e great actors mad e th e ir first appe aranc e s l e arned th e ir business a n d a fte r wards gath e re d in compani e s more or l e ss e fl ic ie n t some o f th e ir gre enest laure ls on the provincial boards A n O ld play go e r can re m e mbe r s e e ing in th e u n p re tention s theatre at W inch e ster (d e stroyed only a fe w years ag o ) no l e ss a galaxy than E d mund K ean Y ou n g Cook a n d M iss O N e i l in the same play The tim e s are C h ange d in de e d Y e t I am not sure that if our living W yk e hamical en thusiast can only find l e isure to extend the limits o f h is “ th e o w n art an d can only attract the dramatic tale n t O f ” classes to his manage m e nt and can only remain faith ful un der te mptation to his own theories h e may not as a c to r a nd ma n ag e r te ach more with h i s travelling company and o n precarious provincial stage s O f true Shaksperian St age c ra ft than g e o rg e o u s re vi vals in spl e n d id th e atrical palaces “ to which th e classe s flock and where a singl e play may run haply fo r a C oupl e O f years ” “ lo n g runs ruin the classical Fo r in th e long ru n drama : actor critic a n d play goer are equally e fl ac e d But though my inte ntion had be en oth e rways time and mature r consi d eration d e te rmine now that the re view O f th e prese nt conditions O f the Shakspe rian Stage should be l e ft to th e compe te nce o f the re ader O ne mo re e ffort O f narrative the re fore alon e re main s before endeavouring to d raw to a focus some O f th e light Of
H e n ry
V;
,
,
,
.
.
,
,
,
‘
,
.
-
,
,
,
’
.
.
,
,
,
,
,
.
,
,
-
,
.
,
,
.
6 5
1
N o c te s S ha h spe r i a na
'
i
c o m p re h e n s ve
w h e n th e
— b o th
i
i
i
S c h lle r
k
Sh a
wa s
i g
fe e l n “
g
fo llo we rs
th e
,
Ob j e c t
,
ke
an d
sm
ig
wh o w as th e h e ro i n
i
d o wn th e do ls n sp re d b o th
i
i
r o m an ti c sc h o o l
th e
in
h i s d e l h tful v e
o pe n e d
h e ro wh o
of
i ti c i
Of c o n
G th e W i lli m
b ut
oe
a
nam e o
f Sh a
k
i
le ss th a n th e
or
fash
th e n , wa s n o t th e
sp e re ,
th e
of
e xp re ss o n
io n
it o n al
o f an ag e :
d e e pe st
n at
i
.
g d a O f E gl l e t i c ti
m
Th e A n lo -S ax o n
i
e n us
“
wa s th e
cr
h i s t h e a t re
m o re
no
ig i k
L ud w T ec — fo r th e sam e c al n d,
Who
?
an d
s pe re a n d
The
ie i ti
i i
w h o se h o n o u r th e y b ro
an d to
ry o e t p
i
l o e t c a an d r a s t t c p
Of
fr
c re a t ve an d c r
v e n tio na l
a nd
c o m mo n
r
n ame
wh o se
sy ste m
.
I ns
k
ve
n
n am e ,
o u l a r p p
wor s “‘
an
n
am o n
h e ro
i i
G m i gh t
Of
i
i
t c al
gr t k i d e d e f th e G e m a i c m de S h k p e th m o t i e lly e ad p ti al st
mo
er
th e
ea
a
a
r ac
un v r sa
.
e
er
s
r
n
n
r
o
h as
h i s d ram as th e
an d
g
o e p
ad m rat o n
an d
i
h a le d
re v e re n tly
nd
th e
s
ov
i
s
oe
r
c
an s
.
i g
k
S h a spe re i s lo ve W e e rman s lo v e S h a spe re W e do n o t lo ve h i m fo r th s o r th at, — b u t fo r b e n w h a t h e i s th e n O f all d ram a t c w r te rs o f th e w o rld T o re pre se n t h im i n a c t o n i s th e d v n e p r v le e O f d ram a t c T h e fo un d a t
G
k
i g
g
.
i
.
ki g i
.
i
of
u n d e rstan d n
o n Of a r
i i i i g
i i
i
e n us
.
“
‘
Sh a
i
I
k
b e e n a b le to u n de rsta n d h o w an y o n e c an lo ve ’ h l w f h f e l e m o s l v e n t e r e s o r t e l a s o u t e n t h t t t y p y
h a ve
n e ve r
’
spe re s
i wh i c h
n a t o n a l t h e a tre o n re
ga d f
o r th e
r
g
i g
i
h i s d ram as
i
th e h
a re re pre se n te d , an d
igh
e st
re a t a c to r
.
q t i w h th w T h q e st i t ha ly i wh th th ti l th t ot th e t d t d b y li b tt m k e s d m h i l i t b m w h th g g l t d b y fi t at it i t b ti le m m d m al ge Th que ti i w h th r b th f i t ll t we l d l w h ll ll w i t t b di g f f sh i d i t d wh th e it i t b e h h l l m m t l i g i e l c t h d a t p l h l Th l g G m li t t e d ati o h m I h d i d d th t q e t l d y m ti d th t L i g alli e d I l b at d G m f h i ti m h i m e lf w i th S h Od th to t d g t p t O f h i l ng l b i d m e w y G th d th lf d d m i t i i g ti n l th t d so te d li f t ti g ” d i d L d wi g T i c k f m y y t D e de a d B e li “
o
I n th e ve
ag e
a na
a re
s
e n,
s
en
sc
o ra
ec
a
a
use
a
e
,
oo a
-
s
r
oe
a
e
er
an
ave a re a
.
e r,
u
e
ce e
e vo e
e vo
e
o c re a
n
u
e
or
an
r
a
an
e
re a
a
a
e
s a ve
n
e ra u r
an
ar
r s
s
a na
n
n
o
s
a
,
an
on
e
n
.
o r o u s, an
e a re , a n
a
r
ua
e ss n
r o
o
e
o
ave
n
a
ac
an
e
n
o ne
en
er
an
e
e
s
on
a
o
or
-r
rs
on
s
e
an c a
u a e
re
er
e
ec
s a
e
a n a n n
e a rs a
e
e a re
er
s,
an
r
.
n o
o
e
u s ion
c o u ra
e
on on
o
s
ra c e
s
.
c
e sa
or
e
e
er
o-
on
ue s
u
e
.
e
an
ec
n o t th e
re
or
o
or
or n
uc e
e r s,
o
s
se
n e
o
i
we l ve i t i s
e a re
con
e
an a
o
ic h
o na
o
e r c an
in w h
n
.
W e must howe ver bear in min d that Bunsen speaks
a e riod in th e history O f G e rman literature w hich is as truly p r o ma n ti c as th e corresponding o n e in o ur o w n without this ” s pirit O f romanticism th e re would have be e n no impulse t owards claiming Shakspere either as poet or play e r T h e work O f criticism and o f editing and O f r eprese n ti ng .
Of
S tag e -c r af t
S h ah spe r e
f
o
15
.
7
Shakspere thus initiated has continued unceasingly i n G e rmany ev e r since ; and though marred in th e critical d epartm e nt by a characte ristic fault O f G erman taste she i s stil l ahead O f E ngland in th e se o fl ic e s con sidered togeth e r : in compl e t e re ndering O f the poet o n the stage sh e is still as fa r in advance as sh e has be e n during the whole O f th e pre sent C entury except du ring that bri e f and palmy period wh e n the eras O f K e mble an d M acre ady m e t and took hands and a galaxy O f histrionic tal e nt was coll e cte d on t h e boards O f t h e great L ondon theatre s O f which it i s c e rtain that we shall neve r see th e like agai n A nd at no tim e since G oethe Schl e ge l and Ti e ck united in giving to G e rman literature an ad e q uate translat i on aye and more than adeq uate fo r in point and fidelity it is truly marve llous ” “ has any improve d o r garbl e d ve rsion be en permitte d on Shakspere has bee n give n to th e G e rman p e opl e h e r stage ” “ in action j ust as h e is A n d furth e r O f all national poe ts (fo r G ermany C laims a n d has a right in som e s e ns e to claim Shakspe re as her own ) Shakspere is th e most popular o n the stage O n o ne occasion I aske d the manage r O f th e M e i n inge n Th e atre what dramatist (fo r the M ei n i n ger are equally at home in the masterpieces O f all nationalitie s) his e xperie n ce had found to be the most e ffe ctive fo r stage purposes ? ” “ ” “ Shakspe re O f course was his re ply W hat single play ? “ Oth e llo is the most p e rfe ct piece O f stage craft Othe llo extant and incid e ntally this te stimon y allowing fo r G e rman bias and education is not without its be aring o n For th e practical question which re mains to b e discuss e d t h e M e ininge n Stage with its incomparabl e patron and i ts singularly vigorous actor man ager has done as much as any O f late ye ars to support th e re putation O f G e rmany in repre sentation Of Shakspere There are but fe w O f his plays which have not bee n essayed by the M eininge r ,
,
,
,
‘
,
,
,
.
,
,
,
,
,
,
.
,
,
,
,
.
,
.
,
-
.
,
,
.
,
-
,
.
,
1
N o c tes S h a hspe r i a nw
8 5
.
hough not all with th e compl e ten e ss Of mountin g and rese arch fo r which their productions a re famous throughout Europe ; som e plays have hitherto proved too costly and others have d e fi e d arrange ment fo r historical illustration O f th e lists which I have Obtain e d from other theatrical wh e re in by a glance th e curi ous c e n t re s I appen d thre e r e ad e r will be able to compare the Shaksperian tale fo r Berlin V i e nna and D re sd e n 0 f the last th r ee years— at the Schauspiel H ause O f th e two form e r capitals and the N O comm e n t ne e d be n e w O pe ra H ouse o f D resd e n a d d e d e xce pt the sig nificant remark O f th e I n te ndant o f “ Be rlin that th e popularity O f th e di fferent plays depe nds ” e ntire ly on the a d e quacy O f the a c ti ng W ith this te xt ringing in our ears let us pass on at once e f b ore it is fitting to the consid ration O essential f n e o t ) ( C haract e ristics o f Shaksp e rian art with r e spect to its adapt ability fo r the stage and to the gathering up O f th e lessons which our pre vious in ve stig ations have sugge sted I t will be rem e mbere d that on some a cc ide nta l pe culiar iti e s o f his Stage craft comm e nt has already bee n made in e g this paper (p I 2 9 e t on th e t e chnical d i ffi culty which a manage r must fe e l in fitting to plays n e ve r intend e d to b e sce nically tre ated th e mani fol d a ppliance s consid e re d no w to b e esse ntial I venture to add that th e ri ght to alte r the order o f sc e n e s and the divisions O f th e acts must be and that by re ve rent treatment th e purely c onced e d the a tr i ca l as d istinguish e d from th e artistically d r a ma ti c e ffe ct may c e rtainly be e n hanc e d minded cri i s t c A g ain e xce ption is tak e n b y th ea tr i c a ll y f u it is n e e d l again t o e mphasis e the disti n ction to h e s o t ( ) call e d weakness o f Shakspe re s plots In th e first plac e it m ust be noted as a quality o f the A nglo Saxon litera ry instinct from the first that to it the faculty O f weaving an intricate web O f incident and o f t
,
.
v
,
,
,
,
.
,
.
,
.
-
.
.
.
,
,
,
.
,
,
,
.
-
,
’
.
,
-
,
,
N o c te s S ha kspe r i a n e
1 60
.
judge d by the standard o f the a tr ic a l a r t his plots ” “ may b e prope rly call e d thin ; whereas judge d by a highe r stan d ard O f d r a ma ti c and in d uctive criticism we shall probably b e surprise d to find how complete ly delusive is th e traditional e stimate fo r as Shaksperian plot d e pends entire ly on charact e r study its method is o f necessity di ffe re nt from that O f th e mod e rn m e lodrama with which — i the critic is unconsciously comparing t i t is also sub A gain t h e ethos O f th e Shakspe rian D rama is sid i a ry “ romance ; it aros e in an age which we d e e m romantic and it flourishes as we have s e en in pe riods which we — again characte ris e as romantic and when we spe ak O f ” an age or period as romantic there is n o great n e cessity fo r defining a phras e which carri e s with it its o w n e sse n ti a l explanation But there is be si d e a ve r b a l meaning O f gre at importance The E lizabethan D rama is r o ma n ti c also “ be cause it uses the sto ries O f romance and histori e s treated as story books as the sourc e s from which th e R omances are th e raw matter o f th e play is take n mate rials Shakspe re and his contemporaries start in their art o f dramatising fro m story which is alre ad y a ” form O f art I shoul d wish to re fer the reader to the book fro m which I have quoted the above sugge stive sentence and which dispose s ve ry compl e tely O f th e fallaci e s which have the Old id e a (fo r it is th e invention o f the e ncouraged l eighteenth century) that Shakspere s plots are de fective I t would be easy to show in particular case s with r e fe re n ce to the various tales which are e mployed in the plays O f the M e r cha nt of Ve n i ce o r L ea r o r Cy mb eli ne that they could not be more cunningly wel d ed fo r th e purpose O f deve loping th e action O f th e characte rs th an they are ; a nd furthe r that to displac e th e ord er Of th e SO
,
,
,
,
,
-
,
.
,
,
,
”
,
,
,
,
,
,
.
,
,
.
,
-
,
.
.
,
,
.
,
:
’
.
,
,
,
l
,
M o u l to n s S h akspere ’
as a
D r a ma ti c A r ti st
.
t a e S g cr af t of
S ha h spe re
1 61
.
scenes though it might improve the plays the a tr i cally would mar them d ra ma ti cally I t is indee d a lowe r form not O f art but O f pi e ce work which issues in the e laborate woof O f intricate spid e rs webs and by all expe rience it implies as its raw mate ri al much employment Of criminal o r immo ral intrigu e and much stu d y O f th e police o r the divorce court O f course the vulgar play goer will cry o ut fo r the latter and d e cry the former but t h e judicious and cultivated inte llect will know better how to weigh the claims “ O f thes e divers e schools may th e approval O f which o n e ” well outwe igh a whole theatre O f the other There a re many d evices o f th e Shaksperian plot how ever w hich cannot appe al to any but a highly re fin e d s e nse These I must enum e rate without discussion 1 I r n producing action n cata trophe o a d s y () u a 2 s i ne d t r as t f charact r necessitati n g com e t co n o S ; () — bination Of contraste d stories light wi th dark se ve re — r h a with trivial etc leading n O f ten m o e t n o t o o ne (3) ,
,
,
.
,
,
’
,
,
-
.
,
,
,
.
,
.
,
.
,
,
,
W hat 4 ()
.
write r from whom I have quote d te rms “ e nve lop i ng a c ti o n Whe n and d e fines as follows th e personages a n d inci d ents which make up the essential interest o f a play are more or less loosely involved with sOme interest more wide reaching t h an ” ” “ their o w n C ompa re the enveloping action O f L ea r i e th e Fre nch W a r ; and O f A s Yo u L ih e I t i e the fortunes O f t h e banished duke The a tr i cally such devices t e nd to con fuse d r a ma ti c a lly to interest It is tim e therefore to introd uce this distinction which so far h as been only emphasis e d in type Shakspere s Stage cra ft is d r a ma ti c rather than th ea tr i ca l This is i ts essential characteristic and it directly limits the scope O f i ts appeals th e
”
,
-
.
.
.
,
,
,
.
.
,
.
,
,
.
,
,
,
,
.
’
-
.
,
.
,
1
N o cte s S ha kspe r ia ne
62
.
I can scarcely believe that th e re ever could have been a tim e when th e popula r tas te was spon ta neously attracte d to th e r o ma n ti c drama any more than to high class music o r to high class art in any form the se n se fo r a r t is a train e d se nse in one age the re is more o f gen e ral training and in anoth e r l e ss : granted therefore th e conditions O f the Elizabe than aud iences o r O f the G erman protecte d theatre o r o f D ru ry L ane in 1 8 5 8 and Shakspe re will again be in — — o d a England as it is in G ermany t popular in the y wid e st sense M r I rving writes to m e that he has found that Shakspere is more re mun e rative than any othe r ” ente rtainm e nt Un fortunately M r I rving appe als to a limited audie nce and from the circumsta nc e s O f th e Stage although his revivals are illustrated by u n parall e l e d mag n i fic e n c e and u n ique manage rial instinct and a re t e xtually faith ful to th e original they still lack to my ju d gm e nt the — o d f e in d ispensable a junct an ad quate caste suppli e d as — d b y a company train e d b y tim e o nly it can be supplie A ll honour b e to th e pre sent tradition and variety master O f the classical d rama fo r what h e has given ; it is impossible to give that which is d e pen de nt o n an unbroke n h e ritage from the past The fact is that ou r high e st d ramatic literature is e xacting and I call atte ntio n t o a phrase which drops as it w e re m e chanically from the ” pen : it is literary dramatic n o t stag e d r a ma ti c : it re quires there fore a t rain e d audience a train e d company and a theatre in som e way by State or private patronage e c d f e rom the fluctuations popular taste ro t t O f p W h y fo r exampl e had M acready to abandon his purpose und e rtaken with high aims an d pe rse ve re d in — e against d traction and opposition n o t be cause he lacke d the support O f the public b u t because th e de man d s o n him from the tenure o f his the atre mad e th e e ntire di ffe rence be twee n success and failure H ad h e h e ld i t -
,
-
,
,
,
,
,
,
-
.
.
,
.
.
,
,
,
,
,
,
,
.
,
.
,
,
,
,
‘
-
-
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
.
N oc tes S ha kspe r i a ne
1 64
.
work Thoroughness training dev otion protecti on a re nee ded fo r the one and the othe r I n every art th e re is at the present hour a craving fo r the archaic an d th e romantic in eve ry artistic tempe rament a desire fo r a sp ace to escape from th e dull monotony Of modern re alism But is it a fter all a fact t hat Shakspere is a poet fo r the clos e t an d n o t a dramatist fo r the stage I con fe ss that I commenc e d this paper with a convictio n in the former d ire ction I close it with a conviction in t h e latter Th e books which I hav e re ad and the te stimonie s which I have gathe red have pe rsuad e d me that th e b e st critical and ae sthetic interpreters have derived much mature inspiration from the living i llustration O f th e Stage T h e gre at actor is th e re al h y po th e te s O f the proph e t ” “ A ll th e arts are and th e best interpreter o f his meaning linked together and when d ramatic poe try is conn e cte d with painting sculpture archite cture and music it a fford s ” the most e nnobling ple asure which the mind can e njoy A ll and each O f th e se arts is n e e d e d to e lucidate the Stage craft O f Shakspere G rante d this grante d there fore high purpose in th e pro fessors ; protection from the State or by patrons a trained public a company secure d ” “ by privil e ge from the monotony O f long runs ; and an actor m anage r in touch wi th literature refined by a libe ral ed ucation e ncouraged by th e brilliant howe ve r e phem e ral — recognition O f his art and England may yet again b e as in days gon e by n o t only th e tomb O f the prophet but his — shrin e also so th at inste ad O f the E nglish enthusiast se eking illustration o f his fanci e s in G e r man capitals the G e rman rather shall claim h is free dom O f th e poe t by a v isit to the land which gave birth to and inspired him ,
,
.
,
,
.
,
.
,
,
.
.
.
,
,
,
,
,
.
-
.
,
,
-
,
,
,
,
,
,
,
,
,
,
,
,
.
C
.
H
.
H A W K I NS
.
S ha h spe re
t o f f
S tag
e cr a
PP EN
A
I
D
TA B L E
A
X
.
.
P LA YS G I V E N DU R I N G O F TH E R E ST O RAT I O N
S H A KS PE R E
1 65
.
PE R I O D
THE .
1 660 1
H e n ry I V
.
M i d su m m e r N ig h t 1 66 1
1 663
s
D r eam
.
g i
io n
N O play a n e d m o re m o n e y o r re putat an d 7 u li e t ( alte re d b y am e s H o war d)
H a m le t R o meo
’
.
J
”
)
.
Tw el h t N i h t f g H e n ry VI I I
1 664
.
H e n ry V
.
Ta mi ng
1 66 7
th e S h r e w
f a d a ( pte d
o
Te mpest
i
mo nste r a wo m an
s ste r
se e n as
by
la te
(
D
b y Lac y )
.
i
“
th e
D
and
ry d e n
a ve nan t
H i ppo li to ,
C al b an
to
-
alte re d
”
salve ,
we a p o n
a
m an
i n i t Sy c o rax, wh o h as ne ve r
i
re ta n e d
b y Ke m b le
as
M e r ry Wi v e s qf Wi nd so r
.
H e n ry I V
.
1 669 1 67 2
M ac b e th (as
1 67 3
Te mpe st
H a m le t “
1 67 8
Ti m o n
.
( w h s o n i i i m s s t o ( as an
All fo r Lo ve ,
(k
pe ra l) o pe ra, b y S h ad we ll)
an o
.
an d
D yd g ti ll d
”
A th e n s
i
’
a te o f
a lte re d
b y S h ad w e ll)
1 67 9
( Ti tus A n dr o n i c u s (a lte re d b y Tr o i lus a n d Cr e ssi da (alte re d
1 68 1
R i ch ar d [ I 1
f
o
H e n ry
VI
N O rE
D ry d
Cle opatr a
.
.
S h a d we ll) by
an d
.
en
)
.
.
K i ng Le a r (T ate
’
s,
i
i
i i
i g
sc e n e s, c o m c e n d n
w th lo ve
m o re o r le ss t ll t m e Co r i o lan us (T ate )
1 68 2
K e m b le )
.
A n to ny
e n s ad apta t o n O f
r
th e sta e
e pt
ii
tran spo s t o n s)
of
M a c r e a dy )
s, e tc
.
i
e n r d t a e ,
.
.
'
.
—I t is qui te
fi
as sig n i c a n t to no te
wha t
pl y
a s are
o mi tte d as
wha t
are
g ive n
.
1 66
N octes S ha hspe r i ana
TA B L E
P LAY S P R O DU C E D
C
OVE NT
B
.
MR
BY
.
M A C R EA D Y
.
.
G AR D EN
1 83 7
Oth e llo
.
K i ng L e a r of
fi di n g a n
all re spe c ts
w e re d
R o meo
i id
a nd
v
j
was
s
i
all
i
k
i
ed
i
d ffe re n tly
.
F
)
u li et
.
— R o i n d H e l e n sa l (
A s Yo u Li h e I t 1 8 38
i
b ut w th d r aw n fro m th e d ffi c ulty re pre se n tat ve o f th e i t wa s ac te d in ool a s S h a spe re w ro te i t , e x c e pt t h at th e ac ts
(Th
.
Ri c h a r d I I I
F au c i t)
.
.
i
i
fi
i
i
h l h an h f r r m n c e t h e z a b e t a e E T s o t e s t t e s ( , g , w i v l h r n h v n e r re e s S a s e r e w t e i t a d t e e c o c o c s a , y y p p I t was c e O i sta n , m ac h n e ry , a n d sc e n e ry ab le a rt
Te mpest
.
i
k
ifi
n r o u c e d o d p
M i ss
i
P
.
gi g
O c to b e r 1 3th
H o rto n
as
Ar
i
e l,
i
i
i
.
w e n i h H F t e l u c t a ,
H a rle y
as
Tr
i nc
as
u lo ,
M i ran da,
Be n ne t
as
i
C a l b an , M a c re a d y as P ro spe ro , i n wh o se d a ry th e O c to b e r fo llo w n e n try re c o rd s th e m pre ss o n m a de 1 4 th C o uld n o t re c o ve r m y se lf fr o m th e e xc te m e n t O f
i g
i
i
i
.
last
n
i gh t
th e sc e n e s Of th e
i
a n d th e e n th u s a sm o f th e
i g to
r n
D R UR Y 1 84 1
LA N E
M e r ch a n t of Ve ni ce
.
Tw o Ge n tle men of Ve r o n a
M a c b e th
.
.
S to rm , th e
h o u se , we re
fl i gh t
s o
f Ar
i
e l,
c o n stan tly re c u r
1
68
N octe s S hah spe r ia na
'
TA B L E
U M BE R O F
N
S H A K S PE R I A N
.
OF
R EP R E S E N TA T I O N S
P LAYS
R EP R E S E N TAT I V E
D
.
HO
DU R I N G
THE
Y EA R S
U S E O N LY O F EA C H
B E R LI
N
.
VI E
NNA
.
1 884
-
C I TY
.
DR E SD E
T ime s
.
9
M i dsu mm er N ig h t
M u ch A do R o meo
ab o u t
’
s
D r e am
N o thi ng
7 N i ght
an d
‘
u li et
_
t Tw e l h f
R i ch a r d I I 1
H e n ry I V
2
H e n ry I V
Wi n ter
4
5
4
0
7 8
4
0 0
9
3
2
1
1
0
4
4
2
5
5
20
7 0
Co ri o la n us Ta mi ng
A n to ny
f
(
th e
an d
H en ry V 1
H en ry VI
2
H e nry VI
4
1
3
Ta le
s
5 6
4
M e r ch a n t of Ven i ce ’
9
7
S h r ew
Cle opatr a
6
0
3
5
3
2
2
4
6
6
5
4 2 .
86
N
.
THE
FOO LS
OF
S HAKS PE RE
.
1
N o c te s S ha hspe r ia na
2 7
.
”
bitte r fool O f L ear they troop past in the M asque o f M errim e nt to the jangling o f swee t bells ; Touchsto n e from th e Forest o f A rden L e bou ffon Touchston e e t la ” laughs G autier ; Costard from the faery o r n atve A udrey e lf land O f N av ai re ; he O f th e Counte ss O f R oussillon ” “ ind eed but a shrewd knave n o great N e buchadnezz a r an d an unhappy an d to close the proc e ssion o f Folly w ith H olin e ss Sir Topas d emure ly re ad ing R abelais from ” “ Infinite riche s in a little room are t h e land o f Illyria here ; a med le y o f v irtu e s and peccadilloe s malice and There lurks d e vote dness jocund j e sting a n d piti fuln e ss i n this company o f kin d ly cynics and flouting clowns n o fool O f th e vulgar sort n o hire ling whose humour rin g s false o r vile ; none such as vex e d th e austere pu re soul O f D ante at V e rona wh e re w j ste a f l l t Th e W h m th C t l d f g ac e le s rts h li a t f th b ti l p t Sw h i b ald m o th to h o t Of p I F lly h y ty mpa m m k th w i m d mb S h th i g ” M h l d h im D t l th e d The fri e n d ly fools O f Shakspe re s making were sworn to t h e s e rvic e o f ge ntl e la d ies a n d court e ous lords and an love in their folly pre vails ove r th e d e fi le o utcast k i ng : m e nts that clog an o ve rfl o w n spirit o f R ab e lais and bring d issonanc e into d e lig h tso m c n e ss L e a r s fool alo n e su ffe rs to b e d rawn at l e ng th H is b re thre n fo r a ll th e ir grace or int e rest a re too slight fo r more than th e m e re st sk e tching in outline The promin “ ence g ive n to th e swe e t a nd bitte r fool is his cl e ar d u e a s an actor in t h e most d re ad ful a n d holy d rama O f t h e a trage dy wh e re th e high e st wil d e st a n d lowe st w orl d passi o ns o f h e ave nly and e arthly and h e llish spirits are “ cre ate d in substance O f fl e sh and blood making the ac t a n d agony o f te ars to be felt in soul a n d se ns e s a nd
,
,
,
-
,
,
,
,
,
,
,
.
,
.
,
,
,
,
re
as a
e
o
o rn sc
s
n
uc
uc
o ve
e
O
o ve
,
r
s
es
a
ar s
s
a
u
nu
o rn
s as
or
u
a r
’
o
n
s
o
ou
ou
r,
o ur
eec
s
e
a
e
e
an e
an
se
oa
u
.
.
’
,
.
’
.
,
,
.
”
,
,
,
,
.
F oo ls
S ha hspe re
f
o
1
.
73
Before the Fool s coming into vie w and au d i e nce an a ffe ction o f good will welcom e s him : L ear sel f discrowned but d ishonoured past possible conce ption by unnatu ral fallings away from filial love and duty calls in th e growing whirlwind O f r ighteous wra th fo r th e Fool and thrice : ” W he re s my fool ? I have not se en him this two days — f d is answer e d by a knight o his gru ged troop not in He all likelihood a kee n note r o f cause an d e ffe ct in shi fting humours but here fo r on ce in fallible Since my young lady s going away into Fran ce sir th e fool hath much ” pi n e d away This matte r o f fact mode o f spe ech in its d ire ctness and simplicity e stablishes t h e unseen fool in all h e arts ; n o t least in th e hunge ring an d an ge re d heart o f L ear N O more O f that ; I hav e not e d it w e ll Th e broken king h as brood e d an d linge re d ove r th e mise rie s O f his love which a re th e re solve s O f his pr id e Cord e lia is gon e But h e r fathe r strong in each warri n g passion h as n ot e d w e ll the e v e r re curring change s o f h e r abs e nce : the F ool s sorrow at t h e loss o f Le ar s outcast d aught e r has bound th e two mourners in the bond o f a s h are d de solation Through th e e arlie r sc e n e s e mbitt e ri n g pre lud e s to th e full storm o f passions the F0 0 1 i s constant with his bitin g sallies strengt hening fo r all he b e but a fool in his folly t h e soul O f a ruined fath e r and despite fully e ntreated king Each riddle upon ri dd l e each fable upon fabl e cleaves to th e heart o f t h e matte r ; a n d the homely grotesques o f ” phrase possible to an all license d fool are so many e fforts to bear up the shake n sel f trust o f his lord and fri e n d “ W ell writes C ol e ridge that Shakspere brings him into ” A n d L e ar living conn e ction with th e pathos o f the play — with an impressive ness that is heart bre aking re spon d s to the humours o f folly in pity s guise H is M y pre tty N O lad t e ach knave ! how dost th ou W h y my b o y ” me t hese ge ntl e and simple words caught up amid the ’
-
,
,
,
,
,
,
’
.
,
,
,
,
,
’
,
,
.
,
,
”
.
.
.
,
,
.
,
-
’
’
.
,
,
,
,
,
.
,
,
-
,
,
-
.
“
.
,
,
’
.
,
,
-
,
,
,
1
N o c tes S h ah spe r ia nce
74
.
rrors o f a speech that d oes w e ll to b e angry are strange ly moving Staunch K e nt a n d d e vilish G on e ril agree to d isc e rn a som e thing not altoge the r th e spirit o f j e sting in “ and this j e ste r : This is not altoge th e r fool my lor ” A nd Y o u sir more knav e than foo l a ft e r your m aste r with a sublim e foolishn e ss which is i n de e d something more than witl e ss folly h e goe s with th e appe al Nuncl e Le ar Nuncl e L ear tar ry an d take th e fool with the e l Soon th e first flash is struck out O f the d arkness be fore th e mi d night O f horror R e g a n re j e cts him G on e ril h a s re j e cte d him L ear in t h e o utburst op e ning with t h e word s O h ! re ason n e e d c los e s th e holy d e nunciation with words n o t th e “ more dread ful t h an all e lse : 0 F 0 0 1 I shal l go mad ! H e turns to th e m e r ry fe llow o f his constant companion ship t h e m a n O f s h re w d wit a n d pl e as a ntries t h e jolly fool ; a n d to him L e a r con fe ss e s that h e must pre se nt ly — be com e o n e O f th e foo lish not a s a fon d and faith ful fool but by th e ago n isi ng co m pulsion O f d istraught nature “ thrust with blin d e d soul to th e oute r darkn e ss : 0 Fool I shall go mad ! H ard upon th e pathos o f this conscious cry com e s that re ve l a tion o f aw e in t h e high e st no more e ven by Lamb to b e e xt o ll e d than by Salvini to b e e nact e d wh e n Sh a kspe re “ in th e gre at word s o f H ugo Pre n d la d é menc e qu i l partage e n trois e t i l m e t e n pré se n c e trois fo us le bou ffon d u C i e l fo u par m é ti e r E d gar d e G loc e st e r fo u par pru d e nce le roi fo u par mis ere M is e ry incarnate in the fath e r spurn e d th e king se t at naught baring his he art to th e “ night and winte r win d s not so unk ind as man s i n ” gratitu d e an d wa ite d upon by F olly who labours to out ” i h s e e e st h art struck injuri s it savour not pre I f o f j sumption o n e woul d say that in these supre me pl a c e s Shakspe re has re ach e d a highe r iambic m usic to cloth e where with a high e r imagination than elsewhere at all in his te
,
.
,
,
,
.
,
,
,
,
,
”
,
.
.
,
”
,
”
,
,
,
,
,
,
,
”
,
,
,
’
,
,
,
,
,
,
,
,
”
.
,
,
,
,
’
,
,
,
-
.
,
1
N o c te s S ha hspe r ia ne
6 7
.
— forest fie rc e hau nted
e t shrewdly laughing dow n the y pastoral—O f A rd e n : that A rd e n o f W arwickshire lions n otw i thst a nding which had W illi am o f W yk e ham once to W ard e n H e too follows into e xile ; and this is th e e ngaging manner o f his outs e t R li n d —Wh t i f we a ay e d t ste al T h c lo w i h f o l fath c u t t fy e l? W ld h o t b c mf t to t — C li H ll g l g o th wi ld w o ld wi th me ,
,
,
.
,
,
o sa
a
e
n s
ou e
e
Le ave m e
But further ,
,
e a
e n
a
ou
o
’
o
ss
o
o
o ur
’
er
wo o h im
a lo n e to
ers
o ur
or
o a on
’
o
r
rav
r
e
.
.
a contrast with that bitte r e xile
fo r
i
T o l b e rty ,
an d n o t
to
N o w g o w e in b an sh me n t
i
c o n te n t,
.
Touchstone is th e spirit o f laughter at crosses where sulkiness is the common display ; a man who j e sts wi th Fortun e in h e r humours with d ry jolli ty Far from being a M ark Tapley that Odd creation o f the B e n Jonson o f nove lists h e would succumb to th e passions o f L ear ; but his is th e lighter task to be gu ile a we ary way and a venture some romance and n o t to assuage heart woun d s with quips a n d cranks Som e thing o f th e soul o f H e ine coarsened an d d ull e d and embrut e d to fit the mould O f a ” “ roynish clown is in Touchston e H i s grotesqu e s con clu d ing a flight O f fancy his merry irrevere nces a n d h i s fan tast ic trick o f cross allusion and application bring to min d th e yet incommunicabl e te ars and laughte r o f th e dear poet T o uchston e s trans forming view O f things which is his wit— his alte rn ating e pigram and se nte ntious — n ess make him a rare feast fo r the dainty and mature d m e lancholy O f Jacques th e embitte re d and humane cynic the j e ster s well bre d counte rpart T h e contrast o f these t b fi a o i w o ne o f th e uncounte d contras ts O f te mperament and — t e circums anc in which Shakspere lux u riat e s gives occasion to an anatomy o f m e lancholy in all its ph ases most wonder fu l under th e greenwood tree The m e eting o f moralist and ,
.
,
,
,
,
-
,
.
,
,
.
,
,
,
,
’
.
,
,
’
,
-
.
l
a
/
.
F oo ls
S ha h spe re
f
o
1
.
77
m e rry man is conce ive d in well m e aning m alic e th e we alth o f Shakspere s human i ty obse rvant a n d piercing has spe n t itse l f upon th is e nchanting chance which make s o f th e m e rrim e nt moralising o f th e moralising m e rrim e nt T o th e cy n ic whos e cynicism is o n e hal f a conscious p re disposition to ward s e pigram a n d thin g s sardonic th e d iscovery o f a fool i th e fore st a fool by pro fe ssion is matte r fo r rich e st paradox F rom th e va ntage o f th e jest e r s lice nse Jacq u e s w ould with biting words re generate — h Stylite s a snarl So wil d ly can th e t e in fe cte d worl d b o u rg e o i s Touchston e work upon th e fore st philosoph e r In and out among th e sc e n e s o f th e woo d land Jac q u e s st e al s with complace nt chuckling over the humours o f th e littl e world H e will go so fa r as M aste r W hat y e c allt as give a way a wi fe to his tre asured motl e y fool fo r is not Touch ston e a right good mat e rialist in m arriage e thics an d a casuist o f th e best wh e n C orin the she pherd o r fore st e r “ W illiam b e th e d i sputant ? G oo d my lord lik e thi s fe llow is J ac q u e s formul a o f introd uction to th e D uk e fo r Touchston e To this co n no isse u r in hu m an kind motl e y ” “ a rare spe cim e n ve ry swi ft and sente ntious an d gi fte d ” “ with many a d ulce t disease o f folly invaluabl e to th e stud e nt o f humours H e has knowl e dge o f th e S e v e n Paths o f Quarre l and in his brain “ g pl s m m e d t W i th o b ti e ts t h wh i h h -
-
’
,
,
,
.
,
,
,
’
,
,
.
’
,
-
.
.
-
.
’
-
,
,
,
,
,
”
’
,
.
,
,
.
,
e
s ran
se r v a
ac e
o n,
I n m an g le d fo rm
e
c ra
e v n
c
”
.
“
In Jacqu e s phrase be val e d iction to this motley m in d e d ” “ ge ntl e man a n d faith ful fool Is n o t this a rare fe llow ” my lord ? he s as go od as anything and y e t a fool Sha k spe re s distinct ion be twe e n fool and clown be com e s cl e ar wh e n Costard follo ws Touchston e H is adj e ctive is ” “ T h e clown is th e rural rath e r blunt than g entle — humo u rist rough a nd ready ho nest an d perverse He ’
-
.
,
’
,
.
’
.
.
,
.
1
N o c tes S h a hspe r i a n cc
8 7
.
has none o f that s we et unre asonabl e ness which mak e s the j e ste r ; h e is a log ical fallacy incarnate In Navarre that inimitabl e land o f bragga rts pedants pe asant we nches — courtly lad i e s rustic dignitari e s a n d prince ly love rs a med l e y o f m e n an d wom e n o n e and all a little m ad Shakspe re s young ge n ius wantons and runs riot in rim e T h e artl e ss play is one laugh broad e r o r more d e licate as it marks th e min d o f fair lady or rud e clown Costard w ith his frankn e ss and n a i ve te his au d acity and lightn e ss has charms pe culiarly h is own S e t o ff against his m other w it are D ull and H olo fe rn e s— D r G oldsmith a n d D r — o e e hnson as grac l ss r b Str t onc call d th m no G u e e e e e J un fa miliar face s yet an d the chivalrous hidalgo roist e ring D o n A d ri a no d e A rmad o D o n Quixote d e ge n e rate in “ t h e third d e gree M oth Swe et ounc e o f man s fl e sh ” incony Je w ! promises to gro w to th e spiritual stature “ o f Touchsto n e be ing alre ady a most acute juv e nal Slight a n d occasional as the se characte rs may se em it is y e t in the se that Shakspe re d isplays the d is c rimination o f knowl e d ge which mak e s his work i n th e “ h ig h phrase o f K e ats a thing real such as e xiste nce s o f ” s u n m oon and stars a n d passag e s o f Shakspe re ! G ra d ations o f humour distinctions o f folly shad e s o f od d ity H e knows th e village wag a re with him s e parat e and re a l from th e village natural H of na r r a n d va le t bumpkin and wit live e ach afte r his kin d A n d this play o f L o ve s L a b o u r s L ost has this amongst its ch a rms that it shows s o cl e arly a t th e outs e t th e young pow e r o f th e d ra matist to re alise li fe in the right way image th e parts the n ” e x e cut e t h e whol e T h e fool whose wit in A ll s IVe ll th a t E n d s We ll fl o u ts braggad oci o o f Paroll e s though a n d contrasts with t h e hard ly so omnipre se n t as oth e rs o f his tribe contrive s to “ sugge st a d e finite persona lity Shre wd and unhappy is .
,
,
,
,
,
,
,
’
.
,
,
.
,
'
,
,
.
.
.
,
,
,
,
’
.
,
,
”
.
,
,
,
,
,
,
,
,
,
,
,
.
,
’
.
,
’
,
,
.
’
,
,
”
.
N oc tes S ha h spe r i a n d
1 80
.
“
”
clown takes pl e asure in singing A rt fo r art i s his chose n pre ce pt h e te nds and cultivates his follies O f sages Pythagoras is his e l e ct and the foe s who set h i m down an ass h e pre fe rs to th e fri e nds who make o f him an ass with praise fo r h e woul d fain profit by se l f knowl e dge I n the art furthe r o f persuad ing oth e rs into d oubl e d ealin g he e xc e ls The hearty flavour o f fu n pe rvad e s his nature impu d e nt fe arless an d quick I n him a re we ll shown t h e re lations o f wise men a n d th e d e clare d fools ; b y aban d on i ng th e conv e ntions o f thought which d o duty fo r original wisd o m h e returns to his mothe r wit an d thrive s th e re on M e agre as is this adumbration o f Shaksp e re s live ly fools it still may s e rv e to bi n d in one cluste r a rare soci e ty R are fo r m any re asons : o f which t h e palmary may b e t h e pe rfe ct pe culiarity an d d ist i nction which mark the society o f Shaksp e rian fools T h e conc e pti o n o f singu lar pe rsons whose sin g u l a rity is at once th e ir bran d a n d privil e ge i s un ive rsa l M e xican M onte zuma and M ace d onian Phili p h ad e ach his fool i f N e ro n ia n lad i e s plum e d th e ms e lv e s o n mon strou s d w arfs ladi e s o f Qu e en A nn e re v e ll e d in black amoor page s no l e ss It would se e m to b e i n bred in m e n that the y shoul d d e light to witn e ss som e thing re mov e d from the common l e v e l o f mankin d ; that an occasi o nal glimpse into th e quaint e r ways an d fre aks o f nature shoul d e xcit e their curious int e r e st O f which int e re st th e form and fashion m ust v a ry betwe e n higher a n d lower impulse s be twe e n th e impuls e o f human sympathy a n d th e impulse T h e history o f fools at large s h o w s o f human curiosity the latte r an d l e sse r in the ascen d ant A s to a coll e c tor a smu d g e a blot a d isfigu rement invests so me ch e rished R e mbran d t etching with a gre ater valu e than a re ctifi e d afte r —copy can posse ss ; in this way th e san e safe souls o f t h e majority tak e p le asure in witnessing ecc e ntric humour s fo r th e
.
.
,
,
-
.
-
,
,
.
,
,
.
,
-
,
.
’
.
,
,
.
,
,
.
,
.
.
.
.
,
,
,
Foo ls
S ha h spe r e
f
o
1 81
.
misshape n bod i e s T h e brilliant gibe o r biting sally issuing from the lips o f w ry face d folly achieves an electrical success G rave compani e s and corporations have i n dulge d the laughing taste t h e Catholic Church had h e r parod ist b o y bishop W incheste r h e r junior s terminal license to abuse his pre fe ct O x ford h e r racy silvern L ati n ist the Te r r e F i li us F a n tastic a li ty is th e fi rst uncouthn e ss th e second re q uisite : but e ve rywh e re an d w h e n th e d e sire has bee n to rouse and titillate work a day s ouls with a t aste o f Y orick s quality A n d most useful is the stu d y o f fools well taken in ”1 “ han d fo r in this world the re a re more fools than men A n d G e orge M e redith our wisest is at o n e with H e ine in th e se word s O u r sympathi e s o ne may fancy will be broad e r o u r critical acum e n shre wd er i f w e acce pt the ” thing fantastical as a part o f us and worthy o f stud y T h e murmure d comments o f th e impe rial crowd in F a ust e xpre ss t h e sam e burd e n “ — Z w i S c h e lm i d ic h h t h
o r
,
.
-
,
.
’
-
,
,
.
,
,
-
-
’
.
.
,
,
,
,
,
,
,
,
’
‘
.
e
e s n
’
s
ve r s e
— N a rr u n d P h a n tast so E i n m a tt e su n e n — alt
na h
sc
n s
on
d e m T h ro n
h d t G i g g ” — D d We i p i c h t Th o b la t i T h e fool being thus e stablished on th e basis o f m e diocre minds d eman d ing him his handling by Shakspe re should b e o f singular m e rit : as is th e cas e indee d That his fool cre ature s a re ali v e and capabl e has bee n s e en by the s ketching o f th e m ; it re mains to make clear th e ir d i st i n c tion from th e fools o f oth e rs T h e tradit i on o f the E lizabe than stage preserved s omething as the I talia n stage pres e rv e s Pulcin e llo from — tim e s ante rior to R om e the figure o f d e mon or de vil from th e o ld moraliti e s A s V ic e or B e lzebub or A pollyon th e bu ffoon ranted and roared to th e accompanim e nt o f The spirit o f spe ctacular e njoyment that b roadest farc e er
r
e n
s
e
c
se s
er
r
.
,
.
,
.
,
.
,
.
Vi de S c h u
pp
,
Wor ds of Wi sdo m
,
p
.
1 121.
,
1 82
N o c tes S ha h spe r i a na
.
in th e M i d d l e A g e broke loose in th e Fe ast o f Fools and the F e ast o f th e A ss found its fo rmal channel in th e I n the se th e high M iracl e Plays an d th e M oralitie s dogmas a n d histories o f th e faith we re t raves tied now b y burl e squ e now by would b e solemn pe rfo rmance Thei r inte re st fo r our purpose is centre d in th e com e dian profe sse d A strange confirmation o f th e Sa tyr sid e o f human nature is given by th e fact that in the Power o f Evil obsce n e riotous grote sque hon e st English men an d wom e n foun d th e ir yearly source an d well spring o f laughte r Not that d e liberate evil l e nt a horror to n o bl e rev olt n o r that pruri e ncy was an e l e m e nt o f pl e asure but whilst n e ith e r M ilton n o r P e tronius woul d have sympa th ise d th e re re mains a convuls e d i d e a o f moral oblit e ratio n in natu re s thus re ve lling in sce n e s from th e Wa lp u rg i sna ch t I n th e e xtre m e only is this tru e : but te nd e n ci e s are only i n extre mes to b e e stimate d H aving th e n this comic powe r ready to han d t h e Elizabe than d ramatist cast about him fo r its application to li fe Th e stage was no longe r a sc e n e fo r all e go ry ; the fre sh bre a th o f th e tim e cl e are d o ff the mists a n d ve ils o f ” economic re pre se ntations and l e ft it fre e fo r the actin g o f m e n and wom e n s liv e s crossing a n d e ntangling stru g gling a n d w o rking out some e n d In com e dy a n d trage d y alike vr a ise m b la n ce was th e i d e al F rom th e Powe r o f Evil coarse a n d ru d e sprang th e Fool T h e application o f that e arli e r fo r m to the facts o f li fe re sulte d in t h e fin d ing o f — nature s cracke d workmanship i n man u n accountabl e mal ig n t e n d e r or sid e splitting Th e Fool cam e to ligh t once more I n his ad mirabl e stu d y o f th e fools a n d clown s M r D ouc e has hard ly insist e d upon th e o f Shaksp e r e peculi a r turn so giv e n to their charact e r H e treats th e fool to o much as a stage puppe t a n d wi thou t re gard fo r h i s c onc e ption in t h e poe t s brain ,
.
,
-
.
,
,
,
.
,
,
,
,
,
-
.
,
,
,
.
.
,
,
,
.
,
’
,
,
.
.
,
.
,
’
,
-
,
.
,
.
,
.
.
,
’
.
N o cte s S ha h spe r uznce
1 84
.
G alli in th e first born o f M r Swinbu rn e ; Tribo ul e t in th e dread ful work o f H ugo L e R o i s a m u se ; D ag o n e t in L ord Tennyson s I dy lls ; A rch ie in Sh e l ley s strong frag m e nt o f K i ng Ch a r les the F ool in M ichae l F iel d s Elizabe than trage d y out o f due time Loy a lty o r Lo ve A change h as how melancholy how pite o us a re all th e se passe d over th e ple asu re s and instinctive joys o f England which gives to wit th e d irge inst e ad o f th e d itty I n that singular an d unapprehe nd e d book D ag o ne t the je ste r th e change is tol d in strong strange E n glish : h o w the sap o f t h e m e r ry gree nwoo d and th e li fe stre am o f Englan d s wanton re velry froz e a nd d i e d with th e d e ath o f D ag o n e t an imagin e d last linge ring j e st e r o f th e ancient kind w y d y e g e th N ld d g y A d th i h t b i d ll A d th i m i U de th e d w t d d p ll -
.
,
,
’
,
,
’
’
,
’
,
,
,
,
.
,
,
,
’
,
a
o se
o
n
e r
n
e r
o u rs are o nu e s
r
n
a j e ste r s
O
ra
j
To u
Q
g
ua n d
d u m o n de
R e to mb e r
Ne
Q
O
s ur c e c
i
v o u lo r, n e
i
e
ra
i
i
J
,
a
en
a
”
j e ste rs :
q
t
i
é tre d ffo rm e ’ ve lle o u u o n d o rm e ,
ra g e
i
’
uon
i
e su s
o o uv r e n , p
fa t le to u r,
b o u ffo n d e
de vo
i
r e
t
q
i
e n ré va n t v o us a v e z ‘
,
.
O
e e ns e p
o u rs, c e t t e
a
m an y y e a rs
of
é tre b o u ffo n
e
ur e
ray a l o f o u r t p
’
a
an
n - ro
o
O f th e le ave s
H e ar
on
s ar
c o ur
fa
ne
i
re
ue r re vre a u p
fo u d e
O r hear C romwell i h l t Q
’
c e st un
c o ur
h o m me
to u t
a pre s
practical humourist : J q d W h i t H all C f m d i dé l d l i t t 11 é t Il d t O i l i j i d ib e t t t l t p p d d Il a an l m e d l s fi b e p q il t h Sa p it l t d b e i t é Et q d i 1 t te i d l t m i t ut hé e ’
c re ’
n a
,
e u re u x,
es
u
C arlyle s ’
e
a u o ur
n a
ou
u
s
s
e e
us
un
o n
e su e s,
o n
’
ou
e
ue
on
e
r
uan
a
so n
ru
u
n
ra
a
er
ne
’
Ne
se ra
u u n q
es
h o c h e t po ur
e u re u x
es
c e ve
o
se
i ll
r
r
x s e n c e uh
e o l
,
a
e
C e tte faux d e la m o rt, d o n t m a l n e ’
e
o u o u re u e
ur
u
a ro e e s
ans
’
r ve
s ac
.
v
d é fe n d ,
a rd e n fan t
.
”
,
F o o ls
S ha hspe r e
f
o
hear A rthur s dour the other fors worn : S w i e ? I h e wallo w e d — w I h I fl e h n d sh ad Th d i ty u e E p i
Or
fool answer A rthur
’
1 85
.
’
— knight th e
s
o ne
,
av
n
n
e
r
n
rs ,
,
av e
o
a
s
I h a ve wash e d— th e wo rld
x
e r e nc e ,
— ah I H a th fo u le d m e
h a d m y d ay in h e r nd
.
ki
wa llo we d, t h e n I w ash e d
i i g
i
I h ave h a d m y d ay an d m y ph lo so ph e s ” ’ A n d th an th e Lo rd I a m K n A rt h ur s fo o l
k
But
L aunc e lot
is recreant and the worl d bitte r and ,
,
am
I
And I
sh a ll n e ve r
R e ali ty ,
.
ke
th y fo o l,
i
th e e sm le
ma
l
a
g i
a n
” .
the n and h u m ai l ty are th e note s o f Shakspe re s “ Th e y live a nd are not outsi d e th e kindly race o f fools ” men A poe t than whom non e living is truer seems t o put into words th e ir fashioning in th e d eep mind o f Shakspe re ’
‘
,
,
.
,
.
,
R a m p, tram p,
F
an c y
i
w th
sta
mp,
— fac t, th e
a n d c o n fo un d
lo st
se c re t
i s fo un d
” .
Common li fe conse crated stirs in th e world o f Shaks pere and to the fools it is giv en to lay bare som e thing o f the springs o f pity and com fort som e thing o f th e se cret o f laughte r and che e rfuln e ss A n d they do this not by ran t o r vu lgarity but by h e arts pr ompting tongu e s in w e al or woe The y are part o f that which H ugo d e spite M r M orley s disgust rightly calls le sourire id é al th e j oy o f the whole e arth Triboul e t and D ag o n e t fail us ; Cromwe ll was wrong ; only th e j e sters o f Shakspere se rve our more jad e d and dust ie r day In their quaint voice s pl e ad s th e voic e o f that M e rry Eng land which is more than myth N o t the England alone o f morrice dance and M ay pole but an England wh e re since ri ty o f manners and fre shn e ss o f thought amid all the frolics as old as th e worl d cre ate d H on e sty courage a belie f in the value o f simple li fe ,
,
,
,
.
,
,
,
.
.
,
’
-
,
.
’
.
,
.
-
-
,
,
,
.
,
,
1
N o c tes S hak spe r i a n e
86
fri e ndlin e ss ,
.
we re the old worl d virtu e s o f the inspirers o f that ge n e rous a g e fill e d with the gr avi ty be fitting citizens som e m e n went their ways like Plutarch s o f the world men but with th e ge ntl e r grace s o f th e ir faith and highe r reve re nc e The re was n e ve r in t ruth an ag e so mind e d in its entire ty ; but som e thing there has bee n in the past an unnamed i n flu e nc e which the prese nt misses ; and were Sir Topas o f I llyria o n e arth again h e might be lo th to e xchange Pythago ras a n d his foolishn e ss fo r th e subtler wisd om o f e laborate d e spair an d melancholy born o f culture Fo r we re Sir Topas o n earth again th e se birthmarks he would fin d upon his succe ssors plain to vi e w upon a whole class o f worke rs in lite rature a n d philosophe rs in soci e ty A n d had he assum e d o r assimilate d to himse l f the spirit o f his ne w ag e he might amuse his l e arn e d l e isure by tracing o u t t h e p e digree o f modern melancho ly from the shr e wd n e ss o f M ontaign e an d the wise laughte r o f R abe lais to the t e mpe re d causticity o f M r A rn o ld a nd th e chaste n e d gravity o f M r Pate r H e would fin d th e d e ge n e racy o f his E lizabe than fellows trailing through t h e myste rious ag e o f th e Stuarts as wit turned to fa r fetching and humour to conc e it and a habit o f min d g ain e d ground t ha t acce pted the se W he re once R alegh wrote th e H isto ry of the Wo r ld fee ling pow e r and light fo r t h e labour since he had worn his m anhood upon th e N e w W orld se as and th e court o f In his G loriana n o w Burton anatomiz e s M e lancholy i m pe rfect sight m e l a ncholy is a province o f human nature justly asking as care ful a consi de ration as th e E ccle siasti c a l P o li ty its e l f It is th e ag e o f H obbes and H e rbe rt D on n e and Crashaw Norris Fe rrar an d M ore ; o f men whose n ames and d ate s m a e f earl ssly be mingl d the str n o n e e t h y g o f their common bo n d That bond is an extravagance o f mental habit ; a wand e ring whether to Ch ristian Ta l m u d -
’
,
,
,
,
.
,
,
,
.
,
,
.
,
,
.
.
.
.
-
,
,
.
,
,
.
,
,
.
,
,
,
,
,
.
,
.
N oc tes S hah spe r i a na
1 88
' .
betwe e n a land where O livias were mistresses and Sir Toby a n d Sir Topas and Sir A ndre w were roisterers a n d a land whe re “ fl d Ch a le S aty s turnali a w o f Le l) m h i g g M g l d h e o o t y p p W y i ld u b e ti e f e e ly ; g ld mo go ld
.
,
are
’
e
n
r
o
r
an
au
n
san
or
o
re
r
s
sa
r
s
s,
e
’
,
ve n ge ntl e he art e d L amb s apology c a n s wee te n all t h e wit o f Farquhar a n d Congreve Eth e rege a n d R ochest e r D ry d en and V anbrugh It is rotte n wit with nothing o f H elicon o r C asta ly in it unredeemed by any pastoral s avour o f Sicilian grossn e ss To this wit o f reckl e ssn e ss s ucce eds as the nation s e ttl e s down to stabl e growth the st e rling worth and wit o f th e S e c ta to r f h e i i z o o t e n t C f p t he Wo r ld o f To m jo ne s and R o de r i ch R a n do m succe e d to o the bitter and be stial genius o f Swi ft th e wi l ful and blin d er humour o f Ste rne A nd to these succeed in d ue “ c ours e the be st belove d L amb and Scott Byron with A nd D o n ju a n Thackeray th e historian o f humourists to the se latter d e ad l e gion succe eds with fl ipp an t nove ls ingenious e ssays quaint vers e and unive rsal supe riority o f mann e rs : and with be auty and anguish walking hand i n han d o n e ve ry si d e o f lite rature O nly by straying thus fa r from the fools o f Shakspere c an th e ir s e re n e supre macy b e e stablish e d without demur The spirit that conce iv e d the m appears on a highe r ground with wid e r vision than th e spirits o f after craftsmen I f as Col e rid ge and Sch le ge l said the fools play th e part o f a G re ek chorus th e y a re th e cho rus to every form o f trage d y and comedy ; meeting li fe at all turns with a ns w e rs as t e rs e ly convincing as th e se n te n t i ae o f H orace a n d S e n e ca and by a gre at deal wise r Their collective wisd om is not a re ckless laugh nor a curious fancy nor a plain man s mediocre j e st ; it is deeper than A ddison s tronger than G oldsmith gentler mannere d tha n Byron No t
e
’
-
,
,
.
,
,
.
,
,
,
,
,
,
,
.
-
,
.
,
,
,
,
,
-
.
.
,
.
,
,
,
,
.
,
,
,
’
,
,
-
,
F oo ls
f
o
S h ah spe r e
1
.
89
less spiritual at h e art though less in expression than Thacke ray The y lack a store o f sonn e ts and subtiltie s but their remedi e s against th e e vils o f a swee t and bitter li fe are to laugh wi th love to b e sorrow ful with smil e s and to seem ignorant o f formal philosophy and th e fashions o f an exacting world no
t
,
,
.
,
,
.
L
.
P
.
J O H N SO N
.
G H OST LA N D
F A I RY L A N D
AN D
.
is in n o way the object o f this paper to attempt I an historical account o f those phe nomena which are commonly classed under the nam e o f supernatural Th e history o f the belief in G hosts and F airies can only be adequate ly traced by one w h o is acquainte d at least with o u r o w n folk lore and is obviously beyon d the scope o f a pape r lik e this o r a Society such as ours Nor again does it approach the subject from the poin t Psychical o f vie w o f an m q u nre r i nto the marv e llous research was not I take it among the aims o f o u r founder s T
.
,
,
.
,
.
,
— v ide r i n t
,
i e n t i o re s p
sa
.
thirdly attractive as the inqui ry might be is i t i ntended to try and elicit Shakspere s p e rsonal vie ws upon the supern atural o r at l e ast any that are n o t purely negative The results o f all such inve stigations as that must to a certain exte nt be fanci ful and must entire ly d e pe nd upon the way in which and the atti tude with which e ach separate reader or stude nt approach e s his author A n d with the dramatist in general and Shakspe re i n particular there is always the dange r o f forge tting th e circumstances o f the writer ; o f looking fo r logical e x ac ti t ud e in a work whose primary object at leas t was dramatic an d which was w r itten fo r th e contempora ry stage The real in terest o f the subject fo r us is twofol d W e c an try to see h o w the poet literary and dramatic No r
,
,
’
,
.
,
,
,
.
,
,
,
.
.
0
1
N o c tes S ha h spe r ia na
94
' .
akes and tre ats the curre n t popular superstitions h o w h e transmutes the m by th e magic o f his genius ; and how b y — — the ir aid weak masters though they b e h e gives visibl e form and substance to his o w n id e as and bodi e s forth h i s thoughts upo n gre at subj e c ts which from th e beginning have be e n bound up with th e li fe o f men Strictly spe aking there are three divisions o f th e subj e ct corre sponding to th e three fold nature o f th e mysterious be ings pre se nte d to us The re are th e ghosts and th e fairie s a n d o r spirits o f mortal men d e parte d spirits immortal Both o f th e se I be lie ve Shakspe re use s to symbolize actual though almost inscrutable realiti e s Bet wee n them in varying d e gre e s o f re lationship stand th e wonderful mortals o f th e Te mpest and M ac b e th w h o unlike i n many respects y e t have as th e ir e sse nc e supe rnatura l powe r ex e rcise d by human agents— descendants in th e I t is d ire ct lin e o f t h e pro fe ssors o f necromancy o f old w ith t h e first two o f th e se thre e divisions that this pape r is m e ant spe cially to deal B e it re membe re d again that n o probl e m is solve d n o philosophical explanation attempte d o nly the poet s imagination cloth e s his ideas in mystic dre s s L e t us th e n tak e the golden bough and enter G hostland t
,
.
,
,
.
,
.
.
,
,
,
,
.
.
,
’
.
.
I S u nt
a li
.
u id q
M a ne s
.
popular ideas about G hosts in the Elizabe th a n age as the poet incidentally l e ts the m fall do n o t appear to have di ffere d mate rially from those contained in latter day legend H oratio has fears that th e G host h m : n n e blast ninetee th c ntury nov lists make dogs a e g y i and even human beings struck dead by th e ir powe r Be rn ardo and M arce llus urge H oratio as a scholar to u se the exorcism o f the C hurch : John We sley is said Th e
,
,
-
.
,
.
,
,
1 96
N o ctes S haksperi a n e
W here much
.
m isty and doubtful o ne thing stand s o u t — i n absolute clearn ess The three G hosts in Sh akspe re fo r t hose in R i c ha r d I I I and Cy mb e li ne as w i ll be shown a r e n o t properly included in the category— c ome a fter and as the result o f crime N o t ordin ary or commonplace crime that the dead H amlet makes plain beyond the shadow o f a doubt is
,
.
_
,
,
!
,
.
M urde r m o st fo ul, as i n th e b e st i t i s ” B ut th i s m o st fo u l, strange , an d un n atu ra l .
The man who fo r the kingship murde rs his brother e v e n i n t h e b lossom o f his sins an d marri e s with his bro ther s wi fe th e king who with the very words o f welcome o n h i s lips devises death to his own familiar friend ; th e patri o t “ and philosopher wh o in a general hon e st thought a n d ” kills e ve n the man to whose heart h e c ommon good to all these are they to whom o r fo r whom s uc h i s n e are st — me n who have eith e r su n k into th e ab yss v isitations come o f sin o r who hav e striv e n with t h e utmost sel f to rture to exalt th e ir crime into a virtue M ark furthe r in the first case th e a of The murd e red king appears imm e d iately a fte r th e vision, the marriage the mom e nt his brother s sin is ripe in all i ts fuln e ss ; th e ghost o f Banquo comes hard o n the h e els o f t h e murd e rer who with the blood marks o n his face brings the ti d ings o f the d e e d e ven so after his vengeance d o e s O reste s brain reel as th e F uries o f the dead rise up a nd pursu e him till the guilt is purged away A gain whatever th e cause o f their coming and whatever its limitations they have absolute free will to d e termine to whom th e y will appe ar o f whom they shall b e see n o r h eard W here it is essential that the se cret should be kept r thos e in h i s t h e y app e ar to none but th e principal ag e nt O confidence where they hau nt a cri m i nal they come abo ut his path and about h is b e d ; they come to h i m alone b ut ’
,
,
,
,
-
,
.
m
,
,
’
,
,
,
,
,
,
’
.
,
,
,
,
.
,
,
Gho stla nd
a nd
F a i ry la nd
1 97
.
heir e ffec t may be seen by all L ady M acbeth and G e rtrude know no thing and see nothing o f the vision s w hich appal th e husband and th e so n to them th e evident horror is th e very painting o f fe ar th e coinage o f the brain t h e creation o f ecstasy just as th e slave maidens se e O re st e s gaze and start and fl e e though the black robed pursu e rs 1 a re hidd e n from their e y e s Th e re are three objects with which th e ghosts com e c orresponding to th e thre e fold r e sult o f crime which the poet wishes to illustrate ; tak e n together th e y almost amount to a compl e te analysis T h e S pe ctre s appear e ither to stimulate to re v e nge to in fatuate and drive to further o r to warn o f coming doom : c rim e al ways to punish : 5' never like P rote silaus to rew ard a long fi de li ty neve r to bl e ss with promises o f prospe rity or peace Th e se thre e OB J CCtS are be st illustrat e d by a bri e f separate study o f the lays conc e r n d e p t
.
,
,
,
-
,
.
,
-
,
.
,
'
,
,
,
.
.
There are five appe arance s o f th e G host o f the murd e re d H aml e t : two be fore the play Ope ns to M ar c e ll u and B e rnardo ; thre e during th e action o f th e play s its e l f It is inte re sting to notice th e way in which and the e to whom th e vision comes to obs e rve th e ir di ffer e nt e opl p a ttitud e s to it and its b e haviour to each o f th e m A s an ave nger it com e s only to th e innoc e n t and to its inst rum e nts : not to th e g uilty K in g or Qu e e n nor i n the r st i n sta nc e h e e e n by in t a lac e wher v n not s e i f e e fi p the m th e obvious effe c t wo uld b e to put them o n the ir e atn e ss o f the v e nge a n ce : but outside uard and mar the gr g o n th e p l atform to fri e nds o f th e young H aml e t to me n — A n d though a wh o can pres e rve an absolute secre cy ,
.
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
.
‘
3
Cf
.
W o rdswo rth s La oda rn i a
also
'
Ay to un
’
s
H er mo ti mus
.
z
fi
sc h .
Cho eph
,
1 0 5 1 -2 .
I am n o t se n t to sca re th e e o r d e c e ive ; " B u t i n reward o f th y d e li ty
fi
.
1
N octe s S ha h spe r i a n d
8 9
.
minor point ce rt ainly yet as illustrating the care be stowed — e by Shaksp re upon minutiae notice h o vv th e p lace a n d mann e r o f its co mi ng are typi ca l o f its Obje ct I t co m es s o n th e f a orm o it comes to warrior 1 f t l a c e ; } p l p t as a warrior arm e d in comp l e te ste e l from head to foot to d o battle again st t h e murd e re r : with eye s intent a n d fixed as though it would S how even w ithout a word h o w unalt e rable and u n be n d i ng is its p urpose — eve ry d e tail in harmony w ith the main id e a pre pari n g th e way fo r what is to foll o w A gain n o t w i th th e sam e atti tu d e to all To M arce llus and B e rnardo it d oe s not o ffe r to speak ; (the y fo r th e ir part n e ither suspe ct that it port e nds anything nor atte mpt to question it ; th e y simply fe ar an d doubt ” W h e n H oratio appe ars it would be spoke to and though o n his first cha ll e ng e d isappe a ring it is about to spe ak wh e n th e cock crows H oratio on his part C hal le n ge s it at onc e a n d s e e s that it must com e with an obj e ct B u t he fail s to hit its tru e S i gnificance he thinks it bo d e s som e — stran ge e rupti o n to th e State that it is som e how conn e cte d wi th th e Norw e gian troubl e s o f which th e late K ing h a d Y e t h e and th e oth e rs are so e e n th e ce ntre and focus b fa r right that th e y a re pe rsuad e d it will sp e ak to t h e youn g H a m l e t : a n d to H aml e t it be cko n s a n d spe aks at once whil e h e e ve n be fore h e se es it at th e m e re sto ry suspe cts the truth my f th i t a m i i All i o t w e ll p ,
_
_
.
,
,
,
,
,
.
,
.
fl
,
,
.
,
,
.
,
,
.
,
,
.
,
,
’
er s s
a
s n
I d o ub t
,
so
m e fo u l p la y
r
n
r
s
”
.
th e rs a re a frai d it w ill lure him to d e stru ction h e i s absolute ly un shak e n th e only thing which move s h i m i s eage rn e ss to kno w all A s an av e n ge r again it is t h e practical mainsprin g o f the a c ti o n o f th e tra e dy : it se ts all th e machin e ry a t work I ts obj e ct is to stir th e at pre se nt unsuspe ctin g — H aml e t to revenge : to awake his spirit which other w i se Th e
o
.
,
,
g
.
N o c tes S hah spe r ia ne
2 00
.
the very brink o f madn e ss The i dea and th e manner o f p resenting it were n e ither o f them n e w ; dra matically both w e re at least as o ld as the days o f the A thenian stage and th e A th e nian poe ts h a d lavished o n th e thought all th e riches o f their imaginati on N o w it is the shade o f th e dead C lyte mn e stra stirring up th e sl e eping Furies to thei r l work and heaping scorn upon th e vengeance that slu m b e rs Now the re are the fe arful form s o f th e Erinyes the mse lve s sometim e s like sl e uth hounds sce nting the blood and taking up th e trail sometim e s like a mighty army pouring fro m th e ir ambush with the tramp o f many fe e t to e xe cute — th e ir wrath always embodim e nts o f th e nam e l e ss haunting ” which cannot be laid to re st till the g uilt is purged away But in the ce ntral point th e G re ek tre atment and th e — e English are th e sam th e id e a o f th e eve r wake ful spiri t o f the d e ad t h e spirit that n e v e r forge ts e v e n where a ll things a re forgotte n th e v e nge ful exec m p crying aloud fo r retribution o n th e murd e re rs A n d though it was c o n s i d e re d matt e r fo r doubt h o w fa r e a rthly a ffairs touch e d o r conce rn e d th e souls o f th e d e parte d yet the G re e ks h ad n o h e sitation in picturing th e spirits o f the murd ere d as impati e nt fo r th e gre at day o f the ir venge ance as invok e d by an d giving aid to those who we re th e true h e irs o f 3 their quarre l I t was so e v e n whe re as in the Choe phori th e murdered man is by no means drawn as a stainless h e ro but as an e rring mortal though himse l f more — grievously sinned against exactly as Shakspe re d e picts .
,
,
.
.
,
,
-
,
,
.
-
,
,
.
,
,
,
,
,
.
,
,
zE sc h B .
u rn
,
94
-11
6
:
0
w 3
or :
an
,
m y,
re a r x a
9w bo va wr ’
T
i
fo r th e i mag e ry o f h o u n ds th e e n d o f th e Ch oeph o r i a n d th e early E u me n i de s o f ( E sc h y lu s ; fo r tha t o f th e army , S op /1 E lec tr a , 4 89 : 99
Co m
o f th e
,
p
a re
.
iii "
xa
woAti wo m;
i
'
'
n
n
x
'
u ro l
cfl tn
C o mpare , i nter
m Aox m;
i wo v ;
a li a ,
na
'
E
I
i woz hx u g
”
p
Choeph
u vg .
.
4 5 6 sqq
.
’
ar .
bu ro f; ’
.
p
art
G h o stland
a nd
F a i ry la nd
2 01
.
the murd ered H a m let In a pape r o f such limited scope and to a Society such as ours detailed illustration would be superfluous but o n e instance may be tak e n where the G reek and th e Shaksperian treatment o f the idea most n e arly approach o n e another It is whe re the ghost o f C lyt e mn e stra rises to urge o n th e minist e rs o f its ven e n a c e the uries who are slum b e ring unmind ul F f o f g ” the ir cause whe n th e y should b e up and d oing I v e nture to quote from a translation known to all W ykehamists W h at d y l e p i g h e ? B ot o e m w i th t i l l p bd d B h dl f my w g U p th i ll y h rt — W i t h th e j u t c h i d i g f m y t g h w ds A fi m l u a t e y p p p Und e r such image ry d o two d ramatists se parate d by a gul f o f two thousand y e ars re pres e nt the voice within that pr ompts and spurs to action till th e tim e o f re tribution come .
,
,
,
.
,
.
,
o
’
e n e
ee
rc o
o
e
e ss o
ro n
s
re
s a s
,
ur
n
s o
r
os
o
e, s e
n
n o r, s e e
re
-su
ue
r
.
on
,
o ur
su c
ue
ea
or
r
,
,
.
W h e n we turn from the supernatural in
to the G host scen e i n M a cb e th I think th e first thing that must strike e ve n th e most supe rficial obs e rv e r is th e magnificence h e banqu e t is pr e par e d and the o f t h e act e d e i w ue ta T p welcom e giv e n wh e n th e murd e re r com e s to th e d oor with Thus re assured o f his th e victim s b lood o n his face fears th e K ing S pe aks H a m le t
-
,
’
.
,
’
-
.
,
H e re h ad w e
W
e re
n o w o u r c o u n t ry s
t h e g r ac e d
W h o may
I
h o n o ur
’
rs o n o e p
f
o ur
g
e
r at h e r c h a lle n
B an q uo
fo r
un
ki
r o o fe d ,
p re se n t
n d n e ss
i i ch c But e ve n with his first words th e G host o f Banquo ente rs and sits in M acbeth s place Y e t the K ing does not se e him fo r the prese nt and goe s o n with th e fe ig ne d words o f longin g and love fo r th e livi n g whil e th e spe ctre o f the dead is th e re in his o w n s e at waiting fo r him to tur n E p i d A t M h d H 4 33 99 qf T h an p ty fo r m
s
e
an
”
.
’
.
,
,
,
o rs ea
.
ouse
r e us,
.
1
2
.
u rn en
es, 1
:
.
N o c tes S h ah spe r ia n a
2 02
' .
and se e the ghastly form o f the man he knows h e h as murd e red from whom h e thinks himsel f free d and whose pre sence h e fe igns to miss The suspe nse and horror i n th e story o f O e d ipus and Jocasta is but child s play to thi s N o r is this all Th e G host d e parts and th e K ing is himse l f once more he d rinks to all pre se nt d t u de fi d B q o wh m we m i s ,
,
.
’
.
.
n
o o
ar
r
an
r en
u
,
)
o
s
ld h e w e re h e r e
and as the pl e dge is d r unk the spectre comes again as a visible answe r to th e lying w ish— th e d e ad man s S pirit taking th e murd ere r at his word A gain nothing in truth o r fiction in tra e d or r e al li fe can e qual th e aw u l irony : g y f t e rribl e as A e schylus o fte n is h e has nothing so te rribl e this H ere as be fo re th e workmanship is p e r fe ct to th e minute st d e tail No p ng g g m mm m fo r this is a punishing g h o st a n d no ne the r e but M acbe th w as privy to the crim e : e v e n from L ad y M acbe th it is hi d d e n sh e was to b e innoc e nt o f th e knowl e d ge till sh e shoul d — applaud th e d e e d O nc e more eve n to M acbe th t h e G hos t say o t h i g nor d o its looks sp e ak fo r it : it only glare s Ln p with e ye s that hav e no spe culation in them and shake s i ts gory locks Th e puni shm e n t was g re a te st as it was spe e c h coul d do no more but rathe r l e ss 1 t h e sil e nce o f the spe ctre haunte d M acbe th more than a nx word s : had it spoke n i t woul d hav e bee n a positive reli e f This th e n is a ghost with a mission d i ffe rent to that which w e have se e n i n the case o f H a m leff e re th e fi natu ral ave n ge r was con fronted at once with th e crime and with the spirit that calls fo r re tribution h e re the murd e rer is brought face to face with the vision o f th e murd ered ) a e man and is fill e d with haunting t rror This is the first part o f the G host s work T h e criminal is un manne d a n d un n erve d ; he forge ts all caution ; his words are forced ,
’
.
,
,
3
,
.
,
,
.
e
.
,
,
.
,
’
.
,
,
‘
'
-
,
,
,
’
.
_
N o c te s S hahspe ri a nd
2 04
.
han d a whole household is to be give n over to dest ruction fo r the fe ar o f one The deed he ho pes will stay further hauntings : fro m th e m he shrinks still But n o m o re ” sights H ere then we have the seco nd stage o f the sam e — dise ase w e n oticed be fore N o t h e murd e rer has got r i d o f th e haunting m e mories which convu ls e d and para lyse d his nature h e has cas t out th e evil S pirit which came a n d tore him But th e d we lling ca nnot remain empty ; though the e vil spirit b e gone it wi ll return with se v e n fold force and pow e r ; it will n o w not m e re ly haunt the mind — but drive it violen tly on to de struction the last state wi ll b e worse than th e first This id e a again o f o n e sin be g e ttin g —a no t h e g a nL th e line stre tching out to the crack o f doom was familiar to the — e e m i G r k in d n t h e w o rd i m th e goading powe r that d rives — S man to his own d e tru Ctio n an d is as t ruly e xe mp lifi e d in M a c b e th as eve r in H om e r A e schylus o r Sophoc les But there is one esse ntial d i ffere nce Thorou ghly as th e y gras pe d th e i d e a the G ree k poe ts n e ver g o t be yond th e stage o f personifying A te i n w o rds El d es t d aughte r o f Z eus is A te w h o blind e th all a pow e r o f ban e : d e licate a re h e r fe e t fo r n o t u pon e arth S h e goe th b u t wa lk e th ov e r th e h e ad s o f m e n making m e n to fall ; ”1 “ She is swi ft and strong a n d e ntangl e th this o ne or that ”9 “ I nsolence wh e n A gain a n d goe th ov e r t h e whol e earth o ld is wont to be ar a youth ful insolenc e th e young unwarred o n e ge nd e rs arroganc e and that u n combated ”3 unholy fi e nd A u d acity H e re the thought stands out a s clearly— pe rhaps more so be cause less disguised in image ry — as in Shaksp e re But the late r poe t goe s furthe r ; h e n o t b u t he actual ly o nly make s concrete the abstract idea .
.
,
,
'
“
.
.
-
,
,
.
,
,
,
r
,
.
,
.
,
.
,
,
,
,
,
.
,
.
,
,
,
,
.
,
M rs t r a n s l a t i o n 1 : e It ) 9 99 ( y d i se /t Ag a me mno n 7 63 : 94 (D r K e nne d y ,
i x 5 0 5 -6
’
xi x ,
.
.
.
,
.
.
,
’
s transla ti o n
)
.
.
F a i ry la nd
a nd
Gho stla nd
2 05
.
pre se nts it to the eye The (i n ; as well as th e &)t é a r wp come be fore us on the very stage an d fill us with an awe and horror which no mere abstraction could produc e I am anxious particularly to insist o n this be cause it might othe rwise be suppo s e d that a comparison o f the Ban q uo G host with th e G reek A te is a grievous error losing sight altogether o f the special power o f this m arvel o f Shakspe re s creative genius I he B an s fi h n s t i n u : g — l f M a c o us no mere f n of ac s no alse creatio Qb e t h b y y ig f ny th e brain like the air d rawn dagge r be fore th e murd e r any more than the H aml e t G host is an ecstasy It is coupled wi th and prece ded by te rribl e dreams which rack and torture the criminal nightly as a fitting pre paration But it is emphatically fo r the more aw ful horrors to e ns u e not a vision as o f the delirious drunkard which goad s him to crime it is not the re sult o f ove r wro u an outward and sensible mani fe stat i just be e n reassure d as to Banquo he is calm and sel f posse sse d he carr i e s o u t the deception at th e opening o f th e sce n e unshake n The entire irony o f the situation is lost i f he i s only suppo se d to see th e spe ctre an d the contrast be tween his vacillation before and his recklessness after the crime th e tw o extremes o f d p e la — is lost as well h e G hos t ) is not se e n by Lady M acbe th w h o has n e ver wave re d an d who woul d not have wavere d re moval it appe ars only to the man on whom it can work wh o can be spurre d o n by this m e ans to fresh crime I f th e n the G host o f Banquo partak e s o f th e very esse nce o f th e A te in its outward and visible form it is as real as the F uries whom the R oman spectator saw as they drove the matricide across the stage A rmatam fac ib us matre m e t se rpe ntib us atri s ” c m fu g i t as real to M acbe th as th e Erinyes to O restes wh e n he cries .
,
.
,
,
’
‘
.
’
-
.
,
,
.
,
-
-
.
‘
.
,
,
,
,
.
,
,
,
u
,
Vi rg
.
( E n.
i v, 47 2
.
.
2 06
N o c te s S ha hspe r ia ne
.
“
Th e se a re no visions born o f my torm e nts ; nay without doubt the y are the sleuth hou nds o f my moth e r s v e n ,
-
,
e a n c e g
’
” 1 .
I hope I hav e shown how in both these plays th e supe r natural is the very spring and centre o f th e dramatic action Th e re is n o m e re de us ex m ac h i na d e sce n d i n g at th e e n d to disentangl e t h e hop e l e ss knots a n d surpris e th e au d i e nce with a succe ss ful fi na le ; n o m e re spe ctacular apparitions I n both case s th e re is so mething far d e e pe r — than that which appe ars on th e surface th e prese ntation o f myste rious id e as with which the in te rest o f th e trag e d y is indissolubly conn e cte d a nd from which one might almost say its main action springs It is oth e rwise with t h e drama which we now re ach In ju li us Ce sa r the re is no s pirit s purring to r e v e nge or luring to a d e e pe r ab ss o f crim e y w e hav e inste ad that o f comin g do o m which in th ings o f minor importance a n d in a l e sse r d e gre e is matte r o f common e xpe ri e nc e O nly as before it is th e poe t s art to repre s e nt it o bj e ctively by an outward mani fe sta tio n in a visibl e shape T h e G host o f C ae sar com e s to Bru tus twice : onc e at Sardis afte r th e q uarre l with Cassius whe n the be ginning o f th e e n d is coming in sight ; again at Phi lippi th e night be fore th e battl e The re is no ange r n o r te rror in his — coming be yo n d th e natural aw e which th e id e a i h e supern atura l e xcite s nothing in his appearance like blood boltere d Banquo with his gory locks ; nothi n g like the horrible story o f the murd e re d H aml e t A n d so Brutus in his turn though at first with natu ral fe ar his blood is C hill e d an d his hair star e s is only appall e d fo r a mom e nt I ll p i i t I w o ld h o ld m o e talk w i th th e a n d wh e n th e G h o st a rs t h e se co n d fi mg h e x e m g ni se s a e pp .
,
.
,
,
.
,
.
,
.
,
,
’
,
.
,
,
,
,
,
.
“
,
.
,
,
s
r
,
e
r
u
d i sc /t Ch oeph .
.
1 05 3
.
2 08
N oc tes S ha h ve r ia n a
.
vexed and exercise d the minds o f poets and thinkers o f all time W hat we do claim fo r Shaksp ere i s that h e carri e d the dramatic e mbodiment o f them to a p oint which had — not be e n reac h e d b e fore that b y usin g machin e r; with which the pop u lar mind w as familiar he p re se nted fli e m in su ch a form as to appeal to the peopl e and n o t only to the philosopher Ye t howev e r he popularises and re shapes — the thoughts su ffe r no loss o f vigour o r sharpn e ss nay rath e r their powe r is incre ase d .
-
,
,
.
“
-
g
I
,
,
,
.
,
N
is
OT E —T h
n e c e ssary
G h o sts i n R i c ha r d I I I
e
th e
to
as
re aso ns
Cy mb e li n e —A wo rd o f e x la na ti o n vi si o n s i n th e se two lay s h a ve een
an d
wh y th e
p
p
b
As to t h e ir g e n u i n e n e ss I say n o th ing , th o u g h ve ry ik e y a s tro ng ca se mi g h t b e mad e o u t ag a i n s t th e m b o th — n m l di as i t o f t an n is e a e n i s d o th e g e n e ral o n th e g e n e ra l e vid e n c e o f sty e g
l
fro m th e
e x c ude d
l
p
di s
fo ist i n
o si ti o n to
p pl y
p p
rese n t
p
l
p p
g h o sts
er
ro
l—
.
,
ma tte r fo r
se nsa ti o nal
i
i
stag e
I n th e
th ng s
o i n t o u t tw o
to
u r o se
of
ca te g o ry
.
e ffec
fi
rs t
I t is
t
.
pl
s are
.
i
b
een a
bi
h is h a ex
p
u ng e d
lig h te st
s
re s t
p
i
a re g ran ds re " t as h e l ve d ,
i
.
fro m th e
d e g re e
i n tha t
,
rs
a rt th e y are
m irac u lo us
no
p p ur
pl
ay
d iffe re n t fro m
And
se c o n d
i
w th o u t
B e y o n d t h is
.
fi tly
ve ry
.
.
th e y are
g h o sts ,
pl
ly
,
ot or
th e
g h o sts to b u t si m y
pl
As I live
b
o th
in
,
I
sa w
h im
case s th e i r a
in te re st o r d rama ti c
S
pp i
”
le e p
th
th e
t h o u h a st
M y fa th e r i n
,
,
e a ra n c e s
m ig h t b e
ac t o n su ffe ri n g
i ll
o
i
i n th e
Cy mb e li ne g h o sts e sse n t a y d ffe r fro m t h e al c h e e r no t to a wh e se c o n d y i n la rg e ,
an a da
pt
il
pp
a tio n o
f th e
p
l
,
ag a n
.
my th o lo g y fo r
o se s
.
II We A s d r e a ms
Is
"
b
M e th o u g h t
’
’
"
fo r th e
th e g h o sts i n
ac e ,
R c hard s d rea m s ; th e y h a ve n o wak ng e x iste nc e ” P o sth umus so u ls o f all th a t I h a d m ur d e re d ca m e to m y te n t, a
su fli c ie n t
.
a r e su ch stu
fl
ma de o n , a nd ” r o u n de d w i th a sle ep a re
o ur
'
li ttle life
.
all Shakspere s cre ations non e be tter ill u stra te h is fre shn e ss and charm than his F airi e s The three ghos t plays are eviden ce o f his d e e per and more mature d thought the fairy play is either a prod uct or a reflection o f th e freshn e ss o f his youth a reminisc e nce o f th e time be fore h e came to th e great ci ty H ere as be fore we cannot wi t h absolute ce rtainty distinguish those id e as which Shaks pere receiv e d as a common t ra dition and those which ar e a Of
’
,
.
-
,
.
,
,
Gho stla nd
F a i ry la nd
a nd
2 09
.
— Nor except
so fa r as his creations creation o f his own — are a symbolism o f h is thoughts d oe s it practically very much matte r H owever much he e nlarged upon o r refined t h e po pular t radition he still acce pte d it as one o f the most e ffe ctive ways o f appealing to th e people In e ither case the ideas are a reflex o f th e a g e and i ts ways o f thinking a nd as such Shakspe re re produces o r cre ates them W hat to man y will be th e gre at charm o f the Fairies is th e way th e y live and move and have the ir being in the country H o w long it wa s after Shaksp e re came to L ondon that h e wrote his fai ry story fo r us is I imagine impossible to discove r ; fo r the date o f pu blication tells us nothing But we cannot doubt that as he wrote he felt the bre ath o f the W arwickshire lanes and h e ard the babble o f its C l e ar stre ams and re m e mbered th e cou n t ry he had kno wn as a — boy th e country which wh e n th e pre se nt write r first went to school could S how many a m e e ting place fo r O be ron and Titania e ven wi thin two mil e s o f a manu facturing town A n d so in the play th e re com e s out before every thing a n intens e love o f th e country o f its hills and d ale s its pav e d founta in and its rushy brook and with the love a kn owl e dge o f its beauti e s and an appreciation o f its lege n d s coupl e d with a longing fo r them again O b i c am pi .
.
,
.
,
.
.
,
,
.
,
,
-
,
.
,
,
,
,
u
S pe r c h e usque ,
H ere,
e t v i rg i n i b u s
b ac c h ata Lac ae n i s
the n is the fai ries hom e The y roam th e fore sts ; their m e e ting places are m e ads a n d woods they slee p o n banks o f e glantine and dan ce th e ir mazes upon th e gre e n sward th e dewdrops are th e ir j e we ls their food the hon e y th e lights fo r their revels th e wax e n thighs o f bees kin d l e d at the glow worm s eyes their d e ad ly foemen are th e bats ’
.
,
-
,
’
,
V irg
.
Georg
.
ii , 486
.
N o c tes S ha h spe r i a n ce
210
.
and the y commit flat burglary upon the squ irre l s hoard To illustrate this in d e ta il wo ul d be to te ll th e whol e fai ry story fo r it com e s out e ve ry whe re It is in C lose co n nectio n with this cardinal characte ristic t hat th e ir age ncy is s e e n in th e powers a n d ph e nom e na o f Nature T h e win d s pipe to th e m but they have qu a rre lled and th e re a re bro ils wh e re the re shoul d b e sport ; the y will H e nce comes a ll t h e e vil n o t d anc e to th e wi n ds piping t hat a ffront e d Nature can s e nd : fogs an d flood s blight and murrain change o f se asons summ e r frosts and bu d s be fore the ir tim e ; th e fai ry quarre ls have cause d it all Some tim e s again th e ir age ncy is more d ire ct lik e th e chi ld re n ”1 “ d e al with th e wind a n d t h e w e a th e r o f th e C lou d th e y Puck ove rcasts th e night a nd blots out th e stars with the fo g just as A ri e l rais e s and q u e lls t h e storm a n d runs i n t h e ig n i s f a tu u s ov e r th e masts a n d spars o f th e wre ck e d ve sse l — — S e con d ly what at first se e ms a minor point th e ir littl e n e ss The ir ve ry nam e s a re P e ase b lo sso m Cobwe b Th e ir qu e e n is a ll glorious i n M oth and M ustard see d h e r fa n is a b u tte rfl y s wing t o c lothing o f a snak e s skin re li e v e the glare o f th e mi d night moon b e am H e r s e rvants a re little e lve s whos e coats a re o f bats wings a n d th e ir hi d ing place s th e acorn cups The y war with cank e rs an d take the ir we apons to slay the b e e yet with th e aw ful p eril Their en e m i e s t o d o o f be ing ov e rwh e lm e d in his hon e y the m harm a re t h e h e d ge hog t h e owl and th e n e wt th e spid e r th e be e tl e and th e worm ; th e most ve ntu re som e t h e c h ev a li e r s sa ns pe u r t h e b r a ve s des b ra ve s sto r m th e squirre ls tre asure house E ve ry d e tail o f this is fill e d i n in the picture o f Qu e e n M ab H e rse l f n o bigger than t h e ’
.
.
,
,
.
’
.
,
,
,
,
.
,
,
.
,
,
.
,
.
,
.
,
’
’
,
.
’
,
,
-
.
,
,
.
,
,
,
,
,
,
’
-
.
.
I
C f M o rri s S i g u r d the Vo ls u ng , I I I i ni t “ A n d n o w o f th e N ib lu ng e o le th e tale b e g i n ne th to te ll. " H o w th e y dm l wi th th e w i n d and th e wa th e r, e tc .
,
,
.
p p
.
N o ctes S ha h spe r i a nce
212
.
”
a mortal but translated brou ght into F airyland fo r awhile a n d be love d by its queen H e re th e n they d i ffe r in essence fro m ghosts Th e y a re spirits o f anoth e r so rt from the souls which have d w e lt in dull and mortal bodie s Th e mse lves they have n othing to d o with mortality : the ghosts at l e ast have had They deal with men unse en and unh e ard : the ghosts mani fe s t themse lve s to e ar and e y e Fairi e s are not like th e ghosts t h e wak e ful wan d e re rs o f th e night be caus e th e y are e xiled The night is o fte n Titania s o r sel f banish e d from the day time o f re st ; O b e ron has ofte n waite d to make spo rt with the morning s love and d alli e d in the grove s till th e sun has gone forth from his gate o f crimson and tu rned th e green ocean into gold Still though it be an acci d ent the darkn e ss as a r u le is th e ir se ason : fairy time a n d ghos t time are th e same : like th e ghosts th e y com e at dea d o f night and at th e first light they trip a fte r i ts shad e runnin g from the sun s presence and following d a rk n e s s like a d re am Furth e r they hav e magic a n d pow e rs flowing fro m th e ir spe cial characte ristics o f which the ghosts can kn o w Th e y have a wondrous h e rb th e ir L ove i n n othing idl e n e ss which like Comus cup can enthral th e soul an d bind it fa st in chains o f e rror and y e t ano ther which can as M oly or H ae mony shatter the enchantment a n d illusion 1 purg e away th e false an d wrong a nd l e ad o n to th e truth M ore th e ir pow e r is both fo r ill and good but i f it b e fo r ill it is on ly that good may com e and is but se ldom ex e rcise d G e n e rally spe aking th e y are the spirits o f blessing n o t o f cursi n g W he re the y dance th e ground rocks th e weary ,
,
.
.
,
,
.
.
.
,
,
’
-
.
’
,
.
,
,
,
,
’
.
,
,
-
.
,
’
,
,
,
,
,
,
,
.
,
,
,
,
.
,
,
.
,
M ilto n Cam us 636 ,
,
An d
co m
p
are
i
A n d y e t m o re m e d c n al is i t th a n th a t M o ly T h a t H e rme s o n c e to wise U ly sses g a ve . ” H e ca l e d i t H ae mo n y , e tc ’
l
Ody ssey
,
x.
.
30 5
.
Gho stla nd
a nd
F a i ry la nd
2 13
into slumber sweet and the house is blesse d to all pros ri ty e y give peace and safety fair issue and long day s th e p o f happiness Such then is the little world which Shakspe re creates L ike this work fo r us in the M id su m me r N ig h t s D r e a m it has inhabitants o f va rying ranks and a day world mani fold d e gre e s o f po we r There is O beron th e king and Titania th e quee n each with a train o f atte ndan t courtiers and a body guard o f warrior elves ; th e ki n g h as his chief age nt and minist e r th e qu e en h as th e daughters A s in an o f her peopl e to t e nd h e r a n d d o h e r s e rvic e ord e re d C ommonwe alth the y are se nt o u t in ban d s some oth e rs th e warriors to th e work e rs fo r food a n d clothing 1 ward o ff and con found th e enemy A n d as their ranks and busin e ss vary so also do the ir powers : som e have a higher art and magic than th e rest O beron C o u l d se e C u pid betwe e n moon and earth launch a sha ft from his b o w at the vestal o f the we st ; b u t th e sight was hi d d e n from Puck s d uller vision ; t h e e lves tre mbl e and fl e e fo r fe ar whe n O beron and Titania S how th e ir anger a n d join the fray I n this littl e world th e ce ntral figure and type o f the whole is Puck but h e is n eve rthe less marke d o ff from the othe rs by w e ll de fin e d characte ristics H is v e ry e ss e nce i s mischi e f ; he is the mad spirit ; he sk e tche s his o w n C haracter as o n e who d e lights in that above all things e m A d th th i g d o b e t pl ” W h i h b f ll p p te o ly ,
.
’
.
-
,
,
.
,
-
.
,
,
,
,
,
.
,
.
’
.
-
.
o se
n
c
n
s
re
e a
s
os
r us
e
e as .
Som e tim e s he is playing tricks among th e village ry \Vh e n h e is there t h e good wi fe toils in vain with h e r C hurn a n d bre w they neve r so wise ly th e drink will be ar no barm o r else by count e rfeiting a stool h e makes the age d cron e s .
,
,
,
,
,
1
p
Co m
a re
wi th this, i n te r
a li a ,
pi
th e d esc ri t o n o f th e
b es i e
n
H e n ry V. 1, ii,
1 9a
N at tes S ha h spe r i a n w
214
.
to S i t down u pon e mpty air Som e times h e misl e ad s those wh o journ e y by n ight and lau ghs at th e ir bootless wan d e ring h e le ads th e Qu ince company a dance through th e fore st through bush and bri e r moor and fe n in th e like n e ss o f be asts and strange monsters ; h e mocks the warlike D e m e trius a n d Lysand e r till they d rop fo r we ari ness at pursuing th e imagin e d fo e T h e success o f h i s t rick upon Bottom is a glorious d e light ; th e mistak e s o f H e l e na a n d Lysan d e r though th e fruit o f S h e e r mischanc e are won d ro u s sport I n true mode rn Parliamenta ry fashion while h e apologise s fo r his fault he glori e s in th e mischief it h as bre d fa am I glad i t d id t A d ” t m a po t A th i th i j a gli g I .
,
,
,
,
.
,
,
,
.
,
n
so
s
s
so r
so
r
n
e r
es ee
n
,
r
s
.
But in the mi d st o f the mischi e f the re is mirth It is no malicious wick e dn e ss no ill temp e re d practical joke ; ”1 “ with i t a ll the re is th e he ight o f G ood fe llowship an d laughte r hol d ing both his S i d e s A n d so Puck i s not o nly th e prim e minist e r but th e C ourt j e ste r o f F ai ryland a nd its monarchs H e is th e m e r ry wan d e rer o f th e night ; he j e sts to O be ron and makes him smil e ; h e misl e ad s his victims with a laugh ; and th e old wive s C ircl e which h e throws into con fusi o n is at the sam e mom e nt stirre d to a m o re boiste rous mirth A n d so it is with the joyousn e ss o f a boy that h e plays his tricks not with th e sull e nn e ss o f a misanthrope ; a n d lik e a boyish jok e the y d o no — enduring harm the y last but fo r a mom e nt and vanish away in laughte r I n th e se two re spe cts h e stan d s by himse l f as a separate figure in Fai rylan d Fo r th e re st h e is a fai ry o f the fairi e s with all th e ir qualiti e s an d a Pharisaic exclusiv e ness be sid e s .
-
,
-
.
,
.
’
.
,
,
.
.
,
,
Lo rd, wh a t fo o ls th e se m o rtals b e P uc k i s
b
o
th b y name an d na ture
b
R o in G o o dfe llo w
.
"
”
.
Cf M I V .
.
.
ii.
1 - 34.
N o c te s S hah spe r i a n ce
216
.
othe r than the fe w favoured one s is more gran ted than to h e ar a fa r o ff echo which has no mate rial e xiste nce o r po wer whethe r more than a very fe w find the re any rea lity o r consummation even as Bottom a n d Tita nia s vota ress alon e saw th e fairi e s face to face I t may be that thi s resemblan ce is not inte ntion al but it may b e t ru e n e ve r
to
-
’
,
.
th e le ss
.
That this is what th e fairies symbolise is obvious no t only from the title o f the Fai ry play but also fro m th e L ike dreams the Fairi e s dance w ords o f its charact e rs , atte n d an ce o n Night s vanishing car ; hardly e ve r d o the y push on into t h e d ay ; n e ve r d o t he y com e be fore d e ad midnight b u t as the chariot o f th e night ro lls o n toward s mornin g th e y follo w a lways in its track The y n e ve r tar ry till it has passe d far from any spot or till th e horse s o f A d d to this the i d e a already A urora come in its place — notice d that th e y a re S hadows— and w e can grasp the whole co n ce ption The y a re Sh a d ows d we lling in th e sh ad owy bord e rlan d be twe e n th e re alms o f Night a nd — t h e e d r am sl e e p o f m e n th e sl e e p that i s D ay ru ling ove r d e epe st be fore t h e awak e ning wh e n th e morning c o m e s a n d t h e sha d ows fl e e away unknown an d unre membe red ” on wings that follow th e ways o f slee p ,
,
.
’
.
,
,
.
.
,
-
,
,
,
,
r 7 e 1 é a r c b 6 96 0 6 0 1 1 v 1 m B B 1 4 d w r ep o ce o n a 80 19 m r vo v n e k e vfio cs 9
A
A
'
'
d
l
.
absolutely th e ir fu n ctions coinci d e with th e par t playe d by d reams in o u r li fe must b e obvious to eve ry dre am e r T h e spe e d th e imagination th e idealisation o f the F airi e s all have th e ir archetype in a d ream ; b u t more than a ll th e re se mbl a nce can b e trac e d in what may b e call e d th e ir m o m e nta ry C haracte r I a llu de to th e well known the ory born e out by so much e xperi e nce tha t Ho w
.
,
,
,
,
.
-
,
,
(
E sc h Ag a rn .
.
,
-6. 2 4 5
G ho stla nd
i n m o st
a nd
F a i ry la nd
217
cases dreams however long and involved they may — o e really come and go in an instant the s em to be d i nstant be fore awaken ing A ll the ir thoughts a n d feelings an d actions are in that instant impressed on the brain just as in a fraction o f a second we may get a picture with brightness and sh ad ow and d e tail by the flash o f light This is in e ssence the symbolism o f the t hrough a lens — — F a i ri e s their move m e nts quicker than th e moon their — a ttendance upon night as sh e vanishes into morning the forge tfulness o f those whom they visit as soon as they are pa ssed away ,
,
.
,
.
.
here we might leave Fai ryland but that it seems n e e d ful to say o n e word as to th e relation in which i ts “ — th e S pirits o f people stand to spirits o f anoth e r sort the Te mpest H ere we have a complete change o f scene W e are now in an e nchanted isle the kingdom o f a mortal m agician a bookworm an astrologe r a necromancer He holds sway over t h e spirits who d well there in they are his inst ruments to do h i s work and e xecute his v e ngeance T h e only human beings o n the island except himsel f are his daughter a nd a monster the son o f a wi tch ; and they a re so little acquainted with m e n o r any living thing but spirits that fo r spirits they ta ke the S hipwrecked crew from — Italy The place itsel f is full o f strange noises music t hat draws the listen e r as it cre e ps over th e lulled waters and has knowledge o f what save by supe rhuman means so u nds and s weet airs that give w oul d b e beyon d its ken delight and hurt not —voices that mock the spe ech o f — h rs voices again that charm into sleep wherein the ot e sleepe r has d reams o f riches and bless ings be yond all The sounds are d e nied to none ; all he ar them i magining alike— the good and bad the faithful friend and the traitor th e j e ster and the d runkard th e prince and the monster A nd
,
.
.
,
,
,
,
.
.
,
,
,
.
,
,
,
,
,
.
,
,
,
.
N octe s S ha h spe r i a ne
218
.
— sounds godde sse s
the e are wonde ul sights as well as nymphs and re ape rs banquets se rved by strange shape s h u nters and hounds dogs an d ha rpies Y e t the actors are s piri ts which vanish into thin air th e pageant is un su b stan t i al th e fabric o f th e vision bas eless There are m ysterious ag e ncies to o d e aling evils unseen but n o t — f un elt sudden agues con vulsions an d c ramps blows and pinches from invisible hands I t is a land o f S pells an d charms Those who are brought under their influence are ro oted to the ground whe re they stand their arms are unne rved ; they are cast into a tranc e from which th e re is no awake ning save by the aid o f th e se l f same magic I f we compare this with the fai ry play three things — must espe cially strik e us its imaginative ness its greater a rti fic i a li ty and depen d e nce upon stage e ffect It is l e ss n atural in i ts mode o f treatment l e ss connected with o r drawn from popular i d eas more elaborated more meta physical and introspective more complex an d more matu re d I t combin e s th e artistic elaboration o f a masque with the hal f attractive hal f repe ll e nt mystery o f the black art Its nymphs an d re apers would have d e lighted th e po lite world in the I nns o f Court its Prospero woul d have been cou rted by the learned and superstitious : but he would undoubtedly have be en immerse d in a horsepo nd by the vulgar mo b Its spirits are not nearly so much a part o f the common be li e f as are th e G hosts and th e F airies ; an d the point o f view from which it approaches the supernatural is by no m e ans that which might b e called popular In reality the refore it lies outside th e S cope o f this paper But it may help us pe rhaps to mark th e character o f the Fairi e s more clearly i f we enter into a very bri e f comparison and try to see in what re lation they s tand to the inhabitants o f the Enchant e d I sle O f the points o f resemblance first the most obviou s A nd
rf
r
,
,
,
,
,
.
,
,
.
,
,
,
,
,
.
.
-
.
,
,
.
,
,
,
,
,
,
.
,
,
.
.
.
,
,
.
,
,
,
.
,
,
N o c te s S ha h spe r ia na
2 20
.
Third ly like the Fairi e s the spirits o f the Te mpe st are ature and with n atural phe nom e n a c onn e cte d closely with n A riel will fly running on the sharp wind o f the north o r swim and tre ad th e ooze o f th e salt d ee p ; able alike to d ive into the fi re to ri d e o n the curl e d clou d s or d o the maste r s busin e ss in the ve ins o f the froze n earth By the same agency the te mpe st is raise d th e ig n i s f a tu u s plays o ve r the d oo m ed ship the v e ssel is fill e d with in e xpressible horror ; Fe rd inand cries alou d that h e ll is e mpty and all th e d evils a re there Such spirits are th e ministers o f whos e a id Prospe ro stan d s in n e e d to e xerci se his d ominio n o v e r natural forces ; by their m e ans the sun is d imm e d a t noonday th e win d s are call e d forth and th e e lemental war is set a raging ; th e earth quakes an d th e trees a re u p roote d nay e ven th e graves awake their sleepers and le t them o u t I t is here spe cially to b e re marked h o w inter depe n d en t are the se spirits a n d Pro spero They a re absolut e ly ne c e s s a ry to h i m fo r his d ominion ove r nature a n d his art t e l ls him h o w to gain th e ir a id but o f the ir o w n s e lve s unl e ss thus set in m otion by a maste r min d apparently th e y a re po we rl e ss A n d thus we are le d to our first point o f — contrast th e lack o f spontaneity in th e actions o f th e typical spirit as compare d with those o f the typical fai ry T h e e sse ntial charact e ristic o f th e s e spirits o f th e Te mpe s t is that th e ir powe rs a re controll e d and use d by a morta l — A ri e l is a n d has always be e n a servant no w o f Prospe ro form e rly o f th e witch Sycorax : and so w ith all o f the m enthralled so m e tim e s in strange shape s a n d with stran g e — to do th e ir m aste r s bid d ing instrum e nts o f s oun d s punishment a nd spirits o f reve nge F re e dom d oe s n o t com e till th e action o f th e play is ove r : and o f the spirits in th e ir fre e state w e are told nothing A n d so w e fi n d that in the play A ri e l never takes the initiative in anything ,
,
.
,
,
,
,
’
.
,
,
.
,
,
,
-
,
,
,
.
-
.
,
,
,
.
.
.
,
,
,
,
,
’
,
.
.
Ghostla nd
a nd
F a i ry lan d
221
.
the re is no spontanei ty o f action except to work out in an inimitably ai ry way Prospero s ge neral ord e r ; and all the ” spirits are ministers o f fate I t is only in keeping with this that in the Te mpe st the re should be a fuller use o f mate ri a l aid s and instruments T h e spirits who are und e r the pow e r o f a m ortal are so enthrall e d only because that mortal possesses a superio r and e xtraordinary kno wl e dge which finds at once its sym bolism a n d its means o f ope ration in such things as magic rods and mantles I n fact we have the whole traditional apparatus o f the necromance r — the solitary place th e charmed circl e the sta ff th e book the company 1 o f att e ndant and usually ob e d i e nt spirits A n d the se are absolute esse ntials T h e bo oks a re prized by Prospe ro abov e his d uke dom : he must to the m whenever business imp e nds : without them as e ven Caliban is aware he has not o n e spirit to command A nd in a third way th e y are more controlled than thei r — f e e llows the airi s I mean in point o f plac e True th e y f are abl e to g o anywhere to d o their master s bidding ; but the y do n o t wander at will as the fairies do a fter th e chariot o f night or trav e rse the globe be tween sunset and sunrise The y must be always at Prospero s be ck and call an d th e ir home is this d e s e rt islan d where first he found th e m H ere they are enthrall e d till such time as by his powe r h e lets the m go free to the e lements It would ind e e d se em that in this i d ea o f locality again Shakspe re ” h as promin e ntly be fore his mind th e black art o f n ecro mancy an d t hat the spirits a re introduced really as part and parce l o f the necromancer s stock in trade A riel and th e others hold a far more subordinate position and have far less influence o n plot and action than the F airies ’
.
.
,
.
,
,
,
,
.
.
,
,
.
.
,
’
,
,
,
’
.
,
,
.
.
,
,
,
’
-
-
.
p
Co m are fo r instanc e . th e ac c o u nt in 7 0h r: I ng lesa n t o f th e wiza rd in am e t h M a rsh es, o r o f M r B asta b le , i n B e san t and Ric e s Th i s S o n o u l c an V f
L b
.
'
.
.
.
.
N o c te s S h a hspe r i a n a
'
2 22
can more
.
asily imagine the Te mpe st without th e e l r o i t o A r n m s a f e i d m m i h e ri l than e M su e r N t s D a t h y p g without that o f Titania and O beron a n d Puck F inally the spirits hav e a characte ristic which is re fl e cte d — e e o mor or l ss through ut the play that o f se xl e ssness I t — o f a is worthy notice th t throughout th e Te mpe st I spe ak at the mom e nt from mem o ry— not only is n o m e ntio n mad e but no hint is so much as give n o f th e sex o f A rie l A n d to my min d this is fully born e out by t h e way in which th e whol e characte r is d rawn Th e re is a lack o f anythi n g d e cisive d e finite or vigorous w e fe el th e charm o f th e ai ry spirit w ithout be ing a bl e to say pre cise ly whe re in it consists with a consciousn e ss a t th e sam e tim e that th e charact e r howeve r grac e ful d oe s not appe al to — h a e e f human sympathi e s in t e s m way as th airi e s how e ve r — e r e amy th y i n t h e same way as th e lov e s a n d quarre ls d e b o f O be ron and Titania or t h e mischi e vous m e rrim e nt o f Puck A n d th e same i de a is fo rced u pon us at th e Ope ning o f the play— th e thought that th e o ld m agician a n d bo okwor m has hal f buri e d his human fe e lings in his art whil e in his d aught e r the y hav e not y e t be en awake n e d S h e kn o ws nothing but her fa ther C aliban a nd th e spirits a n d sh e thinks all e ls e must be as littl e human as th e y It is the awake ning o f th e s e feelings w hich gives the true inte re st to th e Te mpest ; fo r in tru th th e play is through o u t a conflict o f forc e s a n d n o t a fairy play at all ; and as the human in it prevails over the non human t h e supe rnatural el e m e nt which was first e mploye d as an instrum e nt finally vanish e s altoge th e r H o w unlike th e M i dsu m m e r N ig h t s D re a m wh e re th e Fairi e s reserv e th e ir full e st bl e ssings to th e end an d th e last soun d s that ring in o u r e ars are t h e e cho e s o f the voice o f Puck we
e
’
.
,
.
,
,
.
,
,
.
,
,
,
,
,
,
,
.
,
.
,
,
.
,
,
,
-
,
.
’
,
,
.
O
.
T
.
PE R K I N S
.
S H A K ESPE A R E S ’
V I EW
W O M EN S
OF
I N FLU E N C E
W IT H
R E LA T I O N S
’
ON
MEN
A ND
MA R K
OF
.
is a curious fact that in spite o f th e distinguish e d I positions which wom e n have from time to ti m e occupi e d on the worl d s stage n o certain or satis factory estimate o f their position has yet be en made The parts they hav e playe d in th e histo ry o f mankin d have bee n so conspicuous that it might have been suppose d that they would have attracte d th e atte ntion o f th e thought fu l to this point and have e nabl e d the m to come to a conclusion upon it A nd th e e ffe ct and it may b e the advantage o f this uncertainty has be e n an increased activi ty o f late in C ertain minds mal e and female in the effort o f settling certainly the doubt ful question Th e ir methods have be e n direct and they have avoi d e d th e d ifl i c u ltie s o f an exact and precise answe r by claiming th e perfect equality as o f worth so o f position o f T o deny so large an as sertion point m a n a n d woman blank would be worse than un fair it would be unchivalrous Nor d o w e wish to contest n o r doe s Shakespeare justi fy u s in contesting a very probabl e and a ve ry agreeabl e truth But equali ty in this conte xt woul d ce rtainly seem a word The be li e f in wom an s e qual full o f the rosiest promise w orth with man ought exactly to d ouble o u r confid e nce in th e chances o f th e victo ry o f truth and right : wh e re one T
,
’
,
.
.
,
,
,
,
,
.
‘
,
,
.
,
.
'
,
,
.
’
.
Q
N o c te s S ha hspe r i a nce
226
.
be fore has strive n two woul d th e n strive Fo r the m a chin e ry fo r this ad mirabl e e n d is re ad y at hand There is no need to ask h o w this be ing at l e ngth appre ciate d woul d have full scope fo r th e play o f h e r faculti e s a nd fo r the e x e rcise o f h e r influence within t h e fram e work o f civilization : th ere n e ed be n o fe ar that it would be impossible to work th is n e w pi e c e into th e mosaic wrought in a d arkness wh ich pre ve nted th e appre ciation o f its fitn e ss Since man and woman almost invariably unite C lose ly and pe rman e ntly i n fac e o f th e t a sks o f li fe e q uality w oul d m e an c o op e ration M a n woul d no longe r s e e k fo r a more o r l e ss ac q ui e sc e nt c o mpanion but fo r an e nlighte n e d c o ope rator a n d a d vi se r and th e close unions o f m e n an d wom e n woul d be mate ri ally a lt e r e d at once in th e ir natur e a n d th e ir e ffe cts H o w if w oman h e a cre ation as p re e minent m ora lly a n d int e l le c tu a lly as m a n can it b e but that t h e association wh ich be fore may have r e st e d and w as d e pe nden t upon perhaps n othing higher than satisfie d se ns e would now b e th e un ion form e d fo r th e nobl e ex e c ution o f nobl e sch e mes But d oes this happen ? A n d i f not why not ? D o w om e n ignore th e spl e n d id opportuniti e s which t h e various forms o f union wi th man pre s e nt to help gre at spiri ts to A nd i f so why so ? O r d o wom e n r enovate the worl d ? e x e rcis e fo r instance o n m e n o f mark — fo r we w ill so limit — an influence su ch as would b e t h e S cope o f o u r enqui ry looke d fo r from an equally g i fted creation ? D o th e y a ttempt to d o so ? It is a wise course in sear ching fo r an answer to any human probl e m to find o u t Shakespe are s view th e re on A s has be e n state d it d e man d s a n e xplanati o n i f on the o n e hand wom e n a re o n the whol e worthy t o tak e up th e burd e n which men on th e whole certainly support o f a li fe s work i n th e cause o f humanity ; and i f o n the o th e r the y d id n o t use the obvious means o f union wi th man fo r .
.
,
,
,
,
.
-
,
.
-
,
,
.
,
-
,
,
,
,
,
,
,
’
.
,
,
,
,
,
,
,
,
’
,
,
N o c te s S ha h spe ri a nd
228
.
genuin e and particular devotion at a woman s fe et which yet originate d unconsciously in and is pe rpe tuated alone by se ns e T h e fo rmer have not eve n ad vanced as far as the latte r I t is usual to call such m e n as A ntony we ak in contrast to those wh o look to wom e n fo r the satisfaction o f s e nse but d o not pe rmit th e m to spoil succe ss A n d this is t ru e i f an advance towards the light is weakn e ss A ntony w as not s e lfish e nough to treat th e G ipsy Queen mere ly as a m e ans o f re cre ation : he could n o t look upon h e r as som e thing altoge ther outsi d e o f his li fe s work neglect h e r whe n h e h ad to work and only se e k h e r when h e wish e d to sport H i s passion was too absorbing to le t him b e e ith er selfish o r in d ol e nt There was n o toil from which h e sh ran k which coul d pl e ase or grati fy th e passionate Qu e e n w h o had bewitch e d h i m Y e t it is ce rtain that this burning d evotion was d e pe n d e nt upon i f not m e rely th e physical charms o f C le o patra at l e ast t h e combin e d w itch e ry o f her ways a n d the com e lin e ss o f h e r pe rson T h e d i ffe re nce is small : with most pe ople t h e form is m e re ly th e mate rial e xpre ssion o f t h e mi n d but wh e n th e fo rm is pre emin e ntly beauti ful the proc e ss is re verse d th e min d be com e s its obedi e nt s e rvant a n d works only to throw its b e auty into gre at e r r e li e f to attract to it more num e rous slave s H o w shoul d A ntony suspe ct th e origin an d con d ition o f his d e votion H e h ad n ev e r ask e d himse l f what sort o f soul his mistr e ss h ad or wh e th e r wh e n h e r be a uty shoul d d e ca y and the mind lon g used to se rv e it shoul d slumbe r unuse d a n d without o c c u a i o n she woul still s e m the only being with whom to t d e p live mad e earth se e m heave n N e ve rth e less fo r the mom e nt whil e h e r be au ty en d ure d his love was as inte nse h is devotion as absolute as that o f two souls linke d e ternally in mutual agree ment T h e stu d y o f A ntony should make pe opl e talk a littl e le ss confi d e ntly o f t h e u n se lfish n e ss o f love o f the devotion ’
,
,
.
,
.
,
.
.
’
,
,
.
.
.
,
,
.
-
,
,
,
.
,
,
,
,
,
.
,
,
,
,
,
.
,
Wo me n s ’
I nflue nce
on
M e n of M a r h
.
2 29
which it inspires o f the surrend e r o f se l f which it e ntails L ove is o ne o f those wid e words behind which d e praved — e e f society is fon d o f shelt ring its l just as the ir more r espe ctabl e brethr e n hope to cov e r th e ir go d l e ssn e ss under a broad syste m o f religion It is not the l e ss a crime because it often entails a man s compl e te se l f aban d onment L e t us consider to whom A ntony was thus u n se lfish ly d evote d V e ry little good can b e said o f Cl e opatra who use s her powers o f witch e ry not as som e gre at ones have d one to spur h e r captive to d eed s worthy o f himsel f but with th e restl e ss e n e rgy o f an insatiabl e passion to discove r at each mom e nt som e new way to force him by word or action to d e clare his unaltere d an d unalte rable W oman s e van e sce nt charms a re meant d e votion to h e rsel f to try a toiling world o f spirits made to soar ; but e ve n the good which sometim e s com e s o ut o f th e evil o f surre nd e r to this trial e ven th e en e rgy o f ambition is not to b e foun d in this case C l e opatra knows that she is made to captivate a n d subd u e b u t s h e is so e ntire ly animal that sh e d o e s n o t turn h e r succe ss to ad vantage she will not use h e r d o minion — ov e r h e r captive fo r his good sh e has only trappe d him to satis fy h e r se nse a nd pri d e W he th e r h e lose popularity o r fa m e or R om e or t h e world it is all indi ffe rent to h e r ” so long as sh e can say H e is mine A n d what is the re sult ? A ntony s skill is d e te riorat e d and his e nergy is slack e ned by th e passion o f his li fe while C l e opatra having fo r h e r satis faction le t A ntony i d l e away at h e r sid e pre cious mom e nts cannot eve n b e faith ful in the hour o f d anger H ence com e re criminations an d A ntony see ms estranged a n d slipping from h e r grasp It doe s not want more to rouse C l e opatra to a d e spe rate e ffort to r e tri e ve dominion over th e wronged and ruine d man Carel e ss o f his su fferings sh e again plays upon his weak h eart ; she has h i m told that she is dead But she h as .
,
.
’
-
.
,
.
,
,
’
.
,
,
.
,
.
,
,
,
,
,
.
’
,
,
,
,
.
.
,
.
.
N o c tes S hah spe r i a nce
23 0
.
gon e too far O n A ntony wre cke d and desperate th e blo w falls to o hard ; habitu a l concession to se nse h as weake n e d his will and mad e a coward o f e ven a R om a n hero Th e n e ws that his god d ess who m in spite o f fa ul ts he cannot choose but ad ore has d i e d from sympathy with his gri e f make all th e former flood o f de votion w ell u p again an d choke his s e nse “I w ll i t k th e C le o p t nd .
,
,
.
,
,
,
.
’
o er a
e
e
a ra, a
,
\V e e p fo r m y p a rd o n
”
.
en d s his li fe This is th e first i n stance which Shakespeare puts be fore us o f a woman s influ e nce ove r a gre at man T h e n e xt instanc e is o f a d i fl e re n t kin d : h e re th e woman has n o t be e n sought fo r by him whose li fe wi ll b e large ly d e te rmin e d by h e r gre at influ e nce It is th e pic ture it will b e ad mitte d the re sponsibil ity o f a moth e r a n d so n o n th e son o f having such a m o th e r is v e ry sm a ll The story wi ll not b e th e l e ss inte re sting as a study o f a woman s i n flu e nce in d ire cting a gre at man through th e d i fficultie s which th e s e rvice o f th e stat e e ntail Coriolanus is a striking portrait o f a great he arte d soldi e r : h e is evi d e ntly above th e pe ttin e ss o f politician s who flatte r as th e ir rul e rs th e mob from among whom it i s th e ir chi e f honour to stan d out supe rior : o n the othe r han d h e is not o ne o f those ge n e rous state sm e n wh o se g re at a i m is to se rve th e stat e an d i f po ssibl e to se cure th e as se n t a n d applaus e o f t h e whol e peopl e in t h e fulfilm e nt o f th e i r task A n d as the play ope ns matte rs a re obviously approaching a crisis which wi ll t e st him sharply H i s id e as will prevent him from yi e l d ing so h e w ill have to fight out th e coming storm o f popular disfavour W h o a re th e pe rsons upon whos e counse l he re lies to in d icate a course o f action and to whos e sympathy h e looks to mitigate d e pressing failure ? W e a re soon introd uce d to them A nd h e
.
’
.
'
.
.
’
.
-
,
,
.
.
,
.
.
N o c tes S ha kspe r i a n e
23 2
W e can re ad ily imagin e that much
.
f C oriolanus
s u pe rb d isdain fulness arises from the constant nourishm e nt w hich his moth e r gave to his sense o f supe riority But sh e will soon have reason to regret this Even o n his re turn from C o rio li h ad she n o t be e n so en tire ly p re occupied with h e r pri d e in him sh e could not have fail e d to notice th e dark looks and d isconte nted mutte rings with which the re pr e se n ta t i ve s o f t h e p e ople gre e te d him A n d y e t th e mo m e nt was most opportun e fo r th e e x e rcise o f h e r influ e nce H o w use ful would it have be en fo r h e r son had sh e hinte d to h i m o n th e strength o f cool obs e rvations that i f h e we re to continu e l e ade r o f the state h e must u se d iplomacy in th e ex e rcise o f his power P e rhaps sh e alon e c o ul d have suc c e ssfu lly point e d out to him that i f his h e roic acts h ad be e n d o n e n o t fo r p e rsonal aggran d is e m e nt but fo r th e sa fe ty O f — h a n d a n y oth e r supposition would rob th e m o f t e state — the ir h e roi sm i t was incumbe nt on him to continu e t h ese patriotic e fforts in th e pe riod o f pe ace a n d from th e di s tin e a t d e e d s h a d won a n d ass u r e d pos i tion which his gr i h s u e d g But no V olumnia cl e ve r a n d shre wd as S h e wa s was c o n tent to incre ase rathe r than diminish his stupi d scorn o f th e pe opl e and to call th e m o
’
.
.
-
,
,
.
.
,
,
,
.
,
,
,
,
.
,
.
,
,
“
W
o o lle n v assals,
i g
i g
th n
s c re ate d
T o b u y a n d se ll w t h ro a ts, to sh o w b a re h e a d s I n c o n g re g at o n s, to y a w n , b e st ll a n d w o n de r,
i
Wh
e n o ne
To
spe a
k
o
b ut
o
f o ur
f p e ac e
i
i
o r d n an c e s to o d u p
an d
war
”
.
Naturally w ith such Opinions imbibe d a m a n howe ver h e roic can fi nd no place within the fra m e work o f a c o n st i tu t io n which h a d ad mitt e d to a larg e S hare in go v e rn m e nt th e low e r ord e rs C oriol a nus fe lt it beneath him to ask his fe llow citiz e ns fo r their approval o f his el e cti o n to high o ffi ce a n d c o m by custom o do so he had not concealed his opinio n t l l e d e p ,
,
,
,
-
.
,
,
.
Wo me n s ’
I nflu e nce
on
M e n of
i
lla r h
23 3
.
distu rbance e nsu e s : popular opinion is roused to shake o ff this intol e rable aristo crat a n d the storm thre ate ns to overwhelm th e hero o f Co rio li V o lumnia among th e first sees the d anger H e r feminine facility o f in fe renc e lead s her at once to conclud e that i f her son is to succe ed he m ust yield H e r ambition make s her now hol d o f very little mom e nt th e very doctrin e s which she h e rse l f has i nculcated W ith fe minine agility sh e be comes at once the most plausibl e opportunist But Coriolanus is too truly her s o n to b e apt to l e arn lessons S O contrary to h e r habitua l teaching h e d oe s ind e e d make an e ffort to conci liate but t h e un g ove rnabl e t e mpe r which his moth e r h ad so s e d ulously fostered prev e n ts th e attempt succ e e ding and h e is com l e l e e s e to l av ome bea t with many h a s butts e R h d d e t p ” him away A t th e mom e nt o f his e xile th e d e meanour o f th e two women whom fate has set to b e his consol e rs a n d coun V olumnia mad d e n e d by se llo rs is sugge stiv e ly fe minin e d e feated ambition hurls imprecations a t her city V e rg i li a “ more piously but with no more e ffe ct cri e s O he ave ns ! O heavens ! an d Coriolanus fin d ing no com fort or consola ” tion the re turns o n her with Nay I prithee woman “ Y e t h e o ught not to have C xpect e d that his gracious ” sil e nce woul d e ffe ctually he lp him through any o f li fe s crises A nd so his constancy unsupport e d by his wom e n almost imp e rill e d by th e ir plaints h e goe s forth— a gre at — man supporting grandly a gre at blow The wom e n fo r e v e n V e rg i li a has caught som e thing o f h e r moth e r i n law s — S pirit shri e k abus e o n the party who have drive n Corio — lanus away a proc e e ding not very dignified a nd e ntirely “ in e ffectual but as V olumnia says it unclogs th e h e a rt o f ” what lies h e avy o n it and to this fe minin e n e cessity she yi e lds H owe ver though a woman sh e is a g reat o n e h e r i nfluence over Coriolanus is immense and i f hithert o she A
,
.
,
,
.
.
.
.
,
,
,
,
.
.
,
.
,
,
,
,
”
,
,
,
,
.
’
.
,
,
,
.
-
’
-
°
,
,
,
.
,
,
,
N o cte s S ha hspe r ia n d
23 4
.
has no t always u sed it fo r the best i f till no w she h as let her woman ly pride warp her sound judgment a moment approache s when like a tru e woman she will se e cl e arly the point to be gain e d and to that end will e mploy a persuasion so maste rly that n o man can do otherwise than yield to it I t is the contest betwe en R ome and C oriolanus : th e latter has his C ity in his powe r and revenge promp ts h i m to crush her absolute ly T h e crisi s stirs V olumnia s whole being To see R ome conquere d her stre ets thronge d b y the succe ss ful soldi e ry o f an here d itary fo e an d that through t h e spl e n did achi e v e ments o f her o wn son : th e thought is too horribl e Coriolanus succe s s is worthl e ss in her eye s unl e ss it be that o f a R oman in the cause o f R o me C e rtain then o f th e dishonour which thre ate ns h e r as a R o man and a m o th e r she is rouse d to put forth all her powe rs to avert it Th e scene is dramatic : a mothe r implori n g h e r powe rful son to forgiv e a great wrong ; a wo man using to th e full all t h e persuasive n e ss o f her sex all the method s o f advocacy which h e r se nsitive i n stinct sugge sts I n truth no one but a woman coul d have done th e work so well I t is to his chi valry that sh e first appe als ; she wish e s to so fte n him in a way which h e co uld not re se nt or suspect to be we ak e ning to his re so lution : V e rg i lia and V olumnia kneel be fo re him Th e n his pity is sought to be awaken e d by a description o f his wi fe s and moth e r s w o e — they a re more un fortunate than all living wom e n they “ W e must wee p and shake with fe ar an d sorrow ” “ lose sh e cri e s our co untry our d e ar nurse or e lse thy ” pe rson o u r com fort in th e country Nor doe s sh e stop here : strong in the ce rtitude o f his love fo r th e m sh e declare s that i f he re solv e on R ome s ruin h e shall only enter th e city ove r h e r corpse H e r argum e nts have alre ady touched him ; he rise s and would wish to cut sho r t th e ,
,
,
,
,
.
,
’
.
.
,
’
.
,
.
,
,
,
.
,
.
,
.
.
’
’
”
,
,
,
,
,
.
,
,
’
.
,
23
N o cte s S ha h spe r ia m
6
furt heranc e
.
sam e ; h e re a re the d e fici e nci e s o f t h e o n e supplied by the q ualiti e s o f th e oth e r ; here the man s S kill in arms a n d in d iplom a tic ad d ress is supplem e nt e d b y t h e woman s ste rn re solute ness a n d h e r supe rb indi ffe re n c e to m e ans Posse ssed o f a gre at ambition M acbeth was n o t witho u t No r th e re solute n e ss n e cessary to carry o u t his sch e m e s in th e particular ambition o f posse ssing the crown d i d h e let an un e xplore d chasm lie be twe e n his d e sires a n d th ei r object It is plain from his l e tter to L ad y M acbe th th a t i m m e di a te d ly on h e aring th e witches proph e cy his min d “ s pann e d th e d ist a nc e by a foul d e e d : L ay it [this p re ” d icted gre atn e ss ] to thy heart he wrote to his wi fe ; a n d this dark hint is furthe r d e ve lop e d whe n in ans we r to his wi fe s qu e stion as to th e le ngth o f D uncan s stay be n e ath ” — f : th e ir roo h e says To morrow as h e purpose s A n d to S how C l e arly that th e thoughts o f both w e r e w orking in th e sam e d ire cti o n h e m e re ly mee ts La d y M ac b e th s outspoke n d e claration o f the n e c e ssity o f the murd e r b y W e will ” spe ak furthe r It is no t th e l e ast tru e to say that L ady M acbe th d rove an innoc e nt and we a k husban d to commit fo r h e r o wn ag gran d ise m e nt a horribl e crime ; that id e a an d th e stre ss laid upon it con fuse th e re ally impo rtant po int M acbe th m ust as uch as his wi f e ch e rish e s h thought mur r t e o f d e ; j only h e has scru pl e s ; h e fore se e s remors e a nd h e is a fraid h e fe e ls grate ful too to D uncan fo r his re c e nt o f it honours N e ithe r h e nor his wi fe hat e D uncan ; but th e y both se e that h e blocks th e way o f the ir succe ss a n d th e y bo th conclud e that murd e ring him woul d cl e ar it th e only d i ffe re nce is that with th e m a n th e re is so m e fe e ling o f re gre t at th e act not as be ing a crim e but as being shabby a nd ungrate ful and much imaginative picturing how i ts reminisce nce will be u npleasant The woman is o
f th e
’
’
.
,
.
.
.
’
,
,
’
’
-
.
,
’
,
.
,
,
,
.
,
,
,
,
.
,
,
,
,
.
Wo me n s
I nflu e nce
’
on
M e n of M a rh
23
.
7
above these consid e rations and argues her husband into her view The deed is done and M acbeth sick at an act so m e an re fuse s to take th e precautions which would misl e ad suspicion The wi fe is at hand an d suppli e s his lack o f n e rve The crime h as e ffected its obj e ct and th e two g o forth hand in hand to p e rform th e duties o f an exalte d station and in the exe rcise o f powe r to forge t the grim spectre s o f re morse and retribution which d o g th eir foot ste ps A nd th e really attractive elem e nt in this d ire association is the com pl e te sel f forge t fuln e ss o f L ady M acbeth Just as h e r C hi e f ambition h ad been to se e the crown on h e r hus band s brow so h e r chie f task is to assist him in supporti n g its burd e n This oblite ration o f se l f on the part o f a gre at wo man this sinking o f h e r personali ty in h e r husban d so that th e y two be com e o n e soul is magnificent : pe rhaps it is woman s highe st i d e al A lone the li fe would have be e n intolerabl e fo r as ev e r great crime l e ad s to anoth e r and t h e hands once o ne stained turn re adily to viol e nce as th e best way o f ov e r coming e very obstacl e But his wi fe stands faith fully b y M acbeth to her h e can re lieve his burdened soul by telling h e r all his thoughts : with her he can take counsel as to the n e cessity o f Banquo s d e ath : on h e r he can rely to obliterate th e e ffect on his gu e sts o f his access o f terror which the n e ws o f Banquo s d e ath causes : it is she who puts him tossed and tormented by the visions o f his victims to slee p But soon the careful ministrations on her husband in addition to her own re morse puts too sev ere a strain upon I t is a mome nt whe n h e r strength and she falls sick M acbeth can ill spare his loving counsellor fo r the storm be gins to growl over his palace A n d at the momen t when M alcol m and M acdu ff surround him wi th their armies ,
.
,
,
,
.
.
,
,
.
-
.
’
,
.
.
,
,
’
.
,
,
,
.
’
’
,
,
,
,
.
,
,
.
,
23
N o c tes S ha h spe r i a n ce
8
L ady M acbe th d i e s
.
W ithout
.
h e r, M acbe th ,
desperat e
a nd
doom e d goes out to m e e t his fate T h e e ffort has be en gre at husband and wi fe in pe rfe c t re liance upon e ach oth e r have laboured to grasp a covete d priz e : th e means by which th e y alon e succe ed ed ca rri e d with th e m the ir own re tribution A n d though it was b y the ir combination and c o ope ration that the crim e w as committe d t h e re sponsibility fo r it cannot b e S ha re d I n t h e e n d each must b e ar its full w e ight : w ha t ha s be e n d on e with anothe r must b e answe re d fo r alone W e have examined the three instances where wom e n e x e rcise a conspicuous influ e nc e ov e r men called to pe r for m gre at acts In each o f these case s intimate sympathy W hat influenc e h as a woman s pre sence o n t h e e xist e d li fe o f a man when as they d o not re ally know o n e another th e re is no sy m pathy be twe e n th e m ? I n the story o f Oth e llo w e S hall find some answer to this question The ir ignorance o f o ne another cuts short th e honey The beauty o f th e m oon O f O the llo and D e sd emona picture make s us wish to linger over the short pe riod o f happiness : it makes us fee l how cru e l though it cannot conceal how inevitabl e was the fate o f th e love rs D esde mona is charming a n d sh e is ofte n to b e met with S h e falls in love so unreserved ly wi th O thello be cause h e recounts to her his man ly e xploits It does not appe ar that his pe rson was attractive or that h e we nt o u t o f h is way to make himsel f agree able to h e r But she be ing a w oman fe lt th e charm o f som e thing strong pant e d to joi n h e rse lf in close conn e ction with th e strength an d resolved to b e th e d e vote d h e lpmate o f her he ro There is no thin g — o f Cleopatra here there is no personal passion o r i f the re b e it is e ntire ly unsuspe cte d and unavowe d ; th e re is n o prid e o f conqu e st a n d there is fixed purpose o f assisti n g ,
.
,
,
,
.
-
.
,
.
.
’
.
,
,
,
.
.
,
.
,
,
.
,
.
,
.
,
,
,
,
.
,
N o cte s S ha h spe r i a nce
2 40
.
said Shak e spe are te sts this re c kl e ss failure to appreciate th e only basis upon which a common li fe o f man and woman can b e sure ly happy and be n e ficial with much severi ty I n e arly hon e ymoon days com e s th e whisper to O th e llo s e ars that D e sd e mona is not faith ful : as he has nev e r known h e r min d a n d the re is no union h e re o f souls he has nothing whe re with to m e e t th e ru mour : pe rhaps — D esd e mon a is n atura lly faithl e ss h e h ad n e ve r th ought o f that : h e could un d e rstan d ve ry we ll anoth e r m an loving h e r— S h e is so love abl e but by h e avens ! it S houl d n o t b e : sh e be longed to him a n d to him alone and i f livin g he coul d n o t k e ep h e r Sh e should d ie J e alousy in short which is inconsistent with t rue sympathy an d communion o f th o ught takes posse ssion o f his soul H e e xc laims fm O i g ll th Th t w d li t c e t u rs A d i t t t th i pp ,
,
.
’
,
,
,
,
.
,
,
,
,
.
c u rse o
e c an c a
a
e ”
e se
e r a
no
n
a rr a
e
es
ca e
e,
r a u re s o
,
.
course thrice curse d i f marriage only means possession and not th e communion o f spirit which pre clud e s th e possibility o f illicit a fl e c tio n s Shake spe are points scorn fully in this trage d y at this wre tch e d e stimate o f marriage : N ay w e m t th i k m t g d h Ob e a e s N f th m l k f ” A s fi t th b i d l a gre at an d use ful li fe C u t sho rt ; T h e result is pitiabl e a nobl e min d twiste d into th e hi d e ous shape which th e unche cke d wrath o f a strong man giv e s it ; an d the fair prospe ct o f a d istinguish e d man h e lpe d advise d and che e red in his work by a devote d and beauti ful woman S poil e d and d ark e n e d C onsid e r the pathos o f the lin e s Of
,
'
.
,
or o
e
oo
e
r
e n are n o
n
us
a
o r su c
s rv
o
s,
nc
.
,
,
,
.
T h e re wh e re I h ave g a m e re d u p m y h e art, h e re e th e r I m ust l ve , o r b e a r n o l fe ,
i
W
T h e fo unta
Or
e lse
dr
i
i
n
ie s
to b e
i
m y fo un ta n runs ” d sc arde d th e re !
fro m th e wh up :
i
i
i
ch
Wo me n s
I nflue n ce
’
on
M e n of I V I a rh
2 41
.
his whol e being seem e d to find in her its motiv e o f action like flowing wate r from a spring S h e was th e source from which the cl e ar water fl o we d that re fre shed an d sti m u late d h i m but h e only kn e w that th e wat e r was limpi d and the issue c o pious h e had no knowl e d ge o f th e sourc e and wh e n h e was tol d it was poison e d h e beli e ve d it H e gave d e votion an d love but he d i d not know to whom ; a n d so h e take s h e r at I ago s d e sc r iption The histo ry which we have be e n consi d e ring shows how ill an influ e nc e o n a man s li fe th e sharing o f it with a woman has whose characte r h e d oe s not know In H aml e t s li fe w e fi n d this point e mphasise d H i s e xpe ri e nc e was no d oubt un fortunat e L ike O th e l lo h e was pre pare d to marry o n e who m h e d id n o t know a n d nothing but a spe cial call to d uty woul d have mad e him suspe ct h e r insu ffi ci e ncy Up to th e ir o ffe r o f marriage n e ith e r kn e w or a tte mpte d to kno w or e ve n consi d e re d i t n e ce ssary to know wh e ther his future wi fe was a D e sde mona or an O ph e lia or a V e rg i lia A spe cial circumstance mad e H aml e t un d e rstan d O phe l i a a n d that marriage w as pre v e nt e d non e such hin d ere d O the llo from the ste p which prove d so cru e lly fatal to him an d his bri d e alike H aml e t be liev e d himse l f to b e call e d up o n to play th e chie f part in a gre at drama o f re tributive justice The summons had an i m m e d iate c fl e c t ; h e graspe d at once th e full we ight o f th e burd e n o f d uty and the n e c e ssity o f taking it up But this is n o t the point with which we wish t o d e al I t is only n e c e ssary to re alis e that H aml e t was starting on an arduous a n d tragic journ e y in ord er to se ize t h e full significanc e o f his disdain ful re j e ction o f O phelia s co m pany upon it Fo r h e re as always a woman h a d mingl e d with th e gam e o f li fe we are told it is h e r privile ge a n d man s ad vantage that sh e S hould do so W ill she thwart o r aid his high purpose o f duty ?
Y e s,
,
,
.
,
’
.
’
’
.
.
.
,
,
.
,
,
,
,
.
,
,
.
.
.
.
,
’
.
,
,
’
.
N o c tes S ha h spe r i a n a
2 42
H amlet,
' .
se tting out in li fe h ad n o very definite notion i n what d ire ction his path woul d li e ; h e was aware tha t high functions in the Sta te woul d fall to his lo t a n d i n o rd e r to d ischarge them w e ll h e had wise couns e llors rou n d But his disposition was too a fl e c tio n a te a n d com h im m u n i c at i ve to b e s a tisfi e d with th e se d istant a n d puncti lious re lations H e had loved his fath e r with more than us u a l fe rvour a n d since his d e ath an d his m othe r s marri a ge — the S ham e o f which h ad raise d a barri e r be twe e n the m h e A t such a m o m e nt t hose h ad fe lt lon e ly a n d fri e n d l e ss w h o look fo r a r e generation o f mankin d by th e add itional wisd om a n d e n e rgy which a society working in coup le s a sort o f machin e ry o f compl e m e nt a n d comp e nsation m ust surely display woul d e xp e ct that this solitary thi n ker would se e k out som e woman who as his wi fe w oul d un d er Both H a ml e t a nd s tan d his soul and assist his purpose O n ly with ve ry t h e y turn th e ir e y e towards marriage H amlet fe e ls lon e ly a nd d i ffe rent e xpe ctations an d obj e c t sa d : h e forge ts it wh e n h e is d al lying with O ph e lia : th e proce ss o f sel f introspe ction which is curiously co ntinuous O phe li a o n i n his charact e r is mom e ntarily int e rrupte d t h e oth e r han d acc e pts implicitly H aml e t s vows a n d han d whilst she read ily conce d es to h e r fath e r a n d brothe r th e nece ssity o f cautio n Not that S h e o r th e y wish fo r tim e t o inve stigate his love : the ir o bj e ct is more comm e rcial tha n psychological — the y wish to b e assure d that h e re ally m e an s to marry h e r A t this mom e nt a re v e lation from the spiritu a l w orld awake s H aml e t Su d d e nly as it were across his path a vivi d light falls which re v e als to his astonishe d e ye s the nature o f th e groun d that li e s be hin d a n d be fore him a n d a flash lights up th e soul o f th e companion with whom h e had H igh soul e d and d e vot e d he fac e s at C hos e n to walk it once th e altere d circumstance s ; a nd faci n g th e m h e se es ,
,
.
.
’
,
.
,
,
,
.
.
.
-
,
.
,
,
’
,
,
.
.
.
,
,
,
,
-
,
.
,
,
N o c te s S h a hspe r i a n a
2 44
' .
from
such a myste rious sourc e more within h e r gra sp H o w d e e ply he lam e nted this which b e fore he h ad n o t suspe ct e d is shown in his strange d e m e a nour to h e r : " “ he falls to such perusal o f my face as he woul d draw it Y e s that pre tty face which irration a lly h e h ad wish e d to call his own to hav e e ve r by him h o w compl e te ly d i ffere nt it se em e d in th e n e w light o f his li fe ! Th e re w as not an expre ssion on it which insinuate d that she un d e rstood him No wo n d er i e d a i gh p i t h d p f d ll h i b lk A it d i d m t h tte ” d hi b i g A d .
,
,
.
,
,
,
.
s
e ra s
se e
s
n
en
s
o s
e n
e o u s an
so
a
r a
s
ro o u n
u
.
shall we pre se nt th e v e rd ict o f Shak e sp e are o n the influence which wom e n e x e rcise on me n o f mark so far as w e can d e t e ct it in th e s e pictures which w e hav e be e n stu d ying P It is curious in th e first plac e to obse rv e that the only i n stance w hich is given o f a woman having a gre a t infl ue nce — if i t e o n a gre a t m a n a n d e x e rcisi n g it to his goo d prov s — prove anything that to Shak e spe are s i de a P rovi de nce may gi ve a man a good mother not at all that man c an o r ge n e ral ly d o e s ch o ose a good wi fe V olumnia e sse ntially a woman e x e rcise d o n th e whol e a good influ e nce o n h e r d istinguish e d son wh e nc e we may gen e ralise and say that w om e n can be th e wise a d vise rs an d companions o f g r e at me n I n d e e d th e poe t goe s on to giv e s e v e ral instance s o f such a capacity : and not only d o es h e not d isput e it but he intimate s h o w frequ e nt are the opportuniti e s fo r its W e should then naturally in fer that women d isplay whose influ e nce can b e great a nd whose capacity can make it be n e fici a l will gen e rally be influ e nce s fo r good Y e t Shak e speare d o e s not confirm this conclusion h e d istinctly inti m at e s that facts by no m e ans t a lly with it A n d i n choo si n g th e re lations o f mother a nd son as his C hi e f How
,
,
,
’
,
.
,
,
.
,
.
,
,
.
.
Wo me n s ’
i nstanc e
I nflu e nce
on
M e n of M a rh
2 45
.
satis factory working o f wom e n s influence h e in d icate s th e caus e o f this A V olumnia was Coriolanus mother not his wi fe wi fe is ge ne rally C hos e n an d allows herse l f to b e chosen to b e a V e rg ili a a n d not a V o lum n ia o r i n a di ffe re nt ord e r o f souls to b e a Cl e opatra and not a L ad y M acbe th : a fact as Sh a k e sp e ar e points out which m e ans n o t only a subtracti o n from th e sum o f good which man mi g ht For unl e ss w ork but a caus e o f mise ry a n d su ffe ring a woman b e spe cially chose n fo r th e high purpose o f — furth e ring a gre at caus e t h e tas k o f a gre at man — the re c a n be no guarant e e that th e c o nn e ction will b e e ith e r happy or bl e ss e d I n d e e d th e state m e nt that wh e re women can aid conso l e counse l and e nnobl e th e y will d o so is a much too bro ad ge n e ralisatio n : the re a re Cl e o patras who d o n o t a i d th e r e a re L a d y M acbe ths who d o n o t e nnobl e the re a re Portias w h o cannot cou n s e l — a n d pl e nty o f th e m in th e worl d A n d not only so : e v e n grante d that the ge n e ra lisation b e accurate th e state m e nt woul d in any cas e c ontain a mis le ad ing pre suppositi o n that w om e n a re p rac t i c a lly at lib e rty To state that wom e n having th e capacity have the will to put it to th e be st se rvic e o f man kin d do e s not c o mpl e t e th e truth which is that m e n d o n o t re alise woman s S ph e re ho we v e r much sh e may d o so he rse l f They conti n u e to ris k the i r fo rtunes a n d happin e ss by c hoosing t h e companion o f th e ir li fe e ith e r to satis fy an ze st h e ti c whim or e nsure a not too critical ad miration That is the whol e histo ry o f O thello a n d D e sd e mona a n d o f Coriolanus a n d V e rg i lia : that is t h e fatal d a n g e r which H aml e t was allo we d light e nough to se e H owe ve r though me n are too apt to n e gl e ct the V olumnias o f t h e worl d th e analysis o f h e r influ e nce is — i nstructive It was as a woman be cause she was a f th e
o
’
,
.
’
.
,
,
,
,
,
.
,
,
.
,
,
,
,
,
,
,
.
,
.
,
,
,
’
.
,
,
.
,
.
,
,
.
N o c te s S ha hspe r i a nce
2 46
— woman th a t
.
mad e the mistake s a nd w o n th e victo ry in th e crisis w hich the y h ad not in d irectly cause d The d ramatic incid e nts o f the story bring o u t vivi d ly; in th e first plac e that a woman s influ e nce is e normousl y important at onc e because gre at me n re adily adopt th e vi e ws o f capabl e wom e n and be cause th e y are l e ss q uick i n Opportun e ly mod e rating th e m to suit special circumstance s in th e se con d place that th e re ason o f a woman s an d i n flu e nce is o ften the re ason o f the blindn e ss which make s h e r unabl e to coolly obse r ve a n d truth fully to ad vise : sh e is blin de d by th e d evotion which is the caus e o f her influence I nste ad o f wisdo m s d e libe rate ste p Shak e spe are seems to notice th e rush and riot o f [passion inste ad o f cool obse rvation pe rsonal prejudices inst e ad o f th e care ful c o n sid e ration o f cause and e ffe ct hasty in fe renc e But o n th e whol e V ol u mnia is a striking picture o f a wise h e lpmate to a great man h e r influ e nc e was pe culiarly a woman s arising out o f a d e voti o n a d e licate tact an d a pe rsistent e loqu e nc e which n o man h as ev e r shown h is fri e n d W e have dwelt thus long upon Shakesp e are s portrait o f woman as a wis e advis e r a n d loving companion but un fortunat e ly as we have s e e n wh e n man s choice is let to r th r is g nerally a compl t ilur appr ciat e e e e e e e a e e f f o o e t g the possibiliti e s O f a rational union — an unchival ro us blin d n e ss which wom e n s facil e surre n d e r d oe s much to p e r o e n o e asy to say which woul d F r instanc it is e u a e t t t p have be e n th e most to blam e h a d H aml e t an d O ph e lia marrie d A s fa r as conce rn s him his sud d e n perce ption that O ph e lia was incapabl e o f be ing his li fe s fri e n d an d co u nse l lor re v e al e d to him also that his proj e ct o f marrying h e r h ad be e n nothing but an irrational an d sham e ful obe d i en ce to se n se But to ignore her u n fi tne ss was n o t only unworthy o f him sel f it was cruel to her Fo r a woman i s sh e
.
’
,
,
’
,
,
’
.
,
,
.
,
,
’
,
,
,
,
.
’
,
’
,
,
,
’
.
,
.
,
’
.
.
,
N o c tes S ha kspe r i a n e
2 48
.
gitation afte r h e r husband has l e ft her to d eed is e xtre m e I p i th e b y t h s t th S e r
e
o
,
,
r un
o
e
na e
I w o u ld h a ve h ad th e e th e re ,
E re I
c an te ll t h e e
w h a t th o u
an d
ou e
h e re
sh o u ld st ’
the
do
a
r at e g
.
a
g i
a n,
t h e re
do
” .
I n d ee d th e se rvant h ad h e been on th e al e rt might easily h ave suspe cte d fro m h e r brok e n e xclamations th e plo t that I n sho rt th e position was intol e ra b l e : w as going forward n o one can fe e l confi d e nt O f t h e succ e ss o f a pol icy unl e ss and th e n e ws o f h e r e arly d e ath cause d t h e y un d e rstan d it by h e r grie f at A ntony s succe sse s com e s as a sh o ck but H o w we ak a thing a w o man s not as a surprise A y me heart is ! is w rung from h e r in an agony o f suspe nse In truth Brutus instinct not to te ll her his gre at sch e m e was in th e main right P ortia was obviously not capabl e o f h e lping him e ffe ctiv e ly in couns e l : a n d fo r a loving h e art n othing is mor e pain ful than to know t h e bare fa ct that a d e ar o n e i s e x e cuting an ard uous a n d pe rilous task without be ing abl e to g o along with him in spirit in th e e xe cution o f th e d e tail e d plans which had b e e n agre e d upon tog e th e r So a woman s influ e nc e is use l e ss i n intimate d iscussion a n d e v e n hin d e ring wh e n sh e cannot call h e r husband s T h e gre ater t h e influ e nc e th e more s chemes h e r o w n hind e ring fo r th e man : th e gre ate r th e l o v e th e more Fo r a man o fte n conc e d e s to a i ntol e rabl e fo r he rse l f woman s a ffe ctionate solicitud e th e aban d onm e nt o f gre a t s ch e m e s j ust becaus e h e susp e cts truly that i f h e att e mpt the m th e a n guish o f fe ar will bre ak h e r heart F rom such cru e lty H aml e t was spare d : h e awok e and s a w th e bas e n e ss o f men who to satis fy themse lves o ffe r a union to wom e n which as it cannot stan d upon th e ad e pti b i li ty o f t e mpe rs and th e sympathy o f i d e als a n d hope s is nothing but a n insulting in d ignity ,
,
.
,
,
’
,
,
’
.
”
.
’
.
,
,
’
.
’
.
,
,
.
’
,
.
,
,
,
,
.
I Vo me n s I nflue nce ’
on
M e n of M a r h
2 49
.
This was H aml e t s e xpe rience and it is worth consi d e r ing It sugge sts the cruelty not only o f th e strong actor o n li fe s stag e who mak e s a woman his w h o is incapabl e o f und e rstan d ing o r sugge sting his policy but also o f him who j oins himse l f to o n e whom h e d oe s not kn o w O the ll o woul d n e ver hav e torture d th e pure min d o f D e sde mona had h e appreh e n de d that i f she we re worthy o f th e de votio n h e o ffe re d h e r h e r mind and characte r assure d ly d e s e rv e d to b e known W h a t can in de ed b e more stupi d fo r a m a n t o give hims e l f ov e r to absolute d e votion o f a pe rson whom h e d oes n o t know ? W hat can b e t h e valu e o f t h e assur an e c s o f p e rman e nt d e votion to o n e whose o utward graces a n d p e rsonal C harms are t h e only q ualiti e s e xpl o re d M e n o f littl e soul may b e pardon e d fo r failing to ch e rish a high i d e a l but it is deplorabl e that gr e at a n d d istinguish e d m e n shou ld submit to be gov e rn e d by ba rbarous instincts It is inconsiste nt w ith their o th e r q ua liti e s : it works in ill wi th th e ir oth e r opinions E spr zts d c li te like H aml e t and O the llo cannot e n d ure not to k no w w h e re th e y h ave ” garnere d up th e ir he art : soon e r o r l a te r the y w e re ce rtain to re be l against t he lie o f the ir e x iste nce To H aml e t t h e re ve lation cam e i n tim e : to O th e l lo too late with th e d i sastrou s conse q u e nc e s fo r his fair care e r which That it sh o u ld not b e an in stinct i n bo th we know shows w i th what d i fficu lty e ve n th e gre at on e s shake o ff the fashi o ns aro und th e m Shake spe are doe s not howe ve r attri b ut e only to man t h e fault o f t h e broad fact that woman s influ e nc e on a gre at man s li fe is too O fte n baneful I f it b e tru e that me n choos e se lfish ly an d coarse ly it is no l e ss tru e that wo m e n acce pt blind ly Y e t in spite o f all this how e ve r little wom e n can look to m e n to tre at the m honourab ly in spite o f the be clou d ing e ffe ct o f fashion and o f id e as among which the y have grown up th e re spon s ibility o f asse nt li e s ’
,
,
.
’
,
.
,
.
.
,
.
’
‘
.
.
,
,
.
.
,
,
’
’
.
,
.
,
,
,
,
I Vo c tes S h ahspe r i a nw
25 0
.
ultimat e ly with them N e ither D esde mona no r O ph e lia checke d th e ir lovers in the ir probably genuine beli e f that their a ffe ctio n was n o s e lfish and sensuous sentiment but a we ll foun d e d and perman e nt love A n d Shak e spe are hints that until wom e n join wi th men o r i f that cannot b e until wom e n make an e fl o rt in re pu d iation o f a system which d e grad e s embitte rs impe rils sad d e ns th e ir common li fe the re is no t much hope fo r a change W h e th e r o n th e o n e hand m e n will ever put a bri dle on th e ir arrogant e gotism o r wh e the r on th e oth e r women will e ver resist th e a llurements o f a sooth e d se lf love may b e d oubtful to som e I n that c ase t h e in fe r e nc e would obviously be that in spite o f pe rfect equality th e be st S pirits will perform th e be st work alon e O f course the influ e nc e o n th e live s o f O th e llo o f Brutus and o f C orio lanus which the women h ad w h o were th e ir chos e n companions was b ad in the se nse that it m a rre d their care e r o r failed e ith e r to help t h e ir pu rpose s or e nnoble th e ir aims T h e wom e n were not bad the o n e was improperly appre ciate d which le d to distrust others we re incapabl e o f ad e quate ly advisin g — a n e gative evil to th e man but a positive gri e f to the mse lves But Shake sp e are also shows that th e existence o f sympathy and perfect k n owl e dge o fte n supply bad wom e n with th e m e ans to d e grad e a man or confirm him in his gui lt T h e C leopatras and L ad y M acbeths are an importa nt and by no m e ans small class T h e form e r are the most d e spicabl e fo r th e y unfit a man to do anything and d rag him down to th e utte r dishonour o f being the ir val e ts B u t the crim e o f th e latte r is not small nor is it lessen e d by th e world s ad miration fo r som e thing so d e vote d and skil ful fo r with a ke e nn e ss o f visi o n and an au th o ri ta tive i n fl u e nce th e y allow nay urge the ir great companion to go forward in dee d s o f guilt and sham e V ery d i ffe re nt .
,
-
.
'
,
,
,
,
,
,
,
.
,
,
,
,
,
-
,
.
,
.
,
,
,
,
.
,
.
.
.
,
.
’
,
,
,
,
.
2
5
N o c tes S ha k spe r i a ne
2
.
high souled women But in his usual method o f stating facts and leaving future generations to draw th e in fer e n c es it may be to discove r th e re medies he h as intimate d th e heavy responsibility that re sts o n woman who h as prov ed h e r e q uality with man to re cover their common li fe fro m t h e paro d y o f union which it to o O fte n pre s e nts Their failure to do so i f it can be no disproo f assure d ly is th e cause and j ustificatio n o f th e common disbe lief i n th e ir re al e quality and
-
.
,
,
,
,
,
.
,
,
.
BE R T R A M TA L B O T
.
S H A K S P E RE
AN D
H IS
T I M ES
.
25
N o c te s S h a h spe r ia nce
6
.
th e m but this familiarity is incre ase d by th e fact t hat d uring t h e la st thre e c e nturi e s E ngli sh pe opl e se e m to hav e change d ve ry littl e a n d many traits o f charact e r a n d habit comm o n to th e Englan d o f Shakspe re a n d to th e a re E nglan d o f to d ay A lre ad y th e lov e o f co unt ry l i fe which is p e culiarly an English taste was d e v e lope d a mongst T h e t o wn th e nobl e s th e g e ntl e folk a n d t h e sturd y yeom e n ” “ was fo r courti e rs an d trad e sm e n an d ru d e m e chanica ls whil e t h e E ngli h ge ntl e man was at hom e on his pate rn al acre s ami d th e farms a n d cottage s o f his te nant ry Shaks pe re s own co unt ry bre e d ing give s him an e spe cial sympathy — with this country li fe Unlike B e n Jonson wh o d e lights to give us th e rough com e d y o f th e stre e ts or th e humours o f Bartholom e w s F air — Shaksp e re wh e n h e l e ave s th e courts a n d camps o f trage d y is fo r passing out into q u i e t H e tak e s us into th e gre e n d e pths o f t h e a n d pur e air F ore st o f A rd e n or th e pl e asant arbour wh e re Justic e “ Shal low invite s us to e a t a last ye ar s pippin o f his o w n ” o that sh e e p S h e aring which P e r d ita s b e a ut ng or ffi t r a y g ” “ mad e as a m e e ting o f th e pe tty god s or to t h e state ly gard e ns wh e re O livia a n d B e atrice and Portia sun th e i r “ beauty Th e n w e have the thick p le ach e d a ll e y wh e re D o n P e dro d iscove re d his lov e fo r H e ro ; a n d t h e D u k e “ o f Y ork s ga rd e n with a bo wling gre e n and d angling apricocks which wante d bin d ing up Nor is Shakspe re only at hom e with th e flowe rs and fruits o f summ e r W hat a picture o f an E ngl i sh m id wint e r is th e song put i n to “ the mouth o f H olofe rn e s an d his clowns wh e n icicles ” hang by th e wall — e ve ry d e tail exactly what Shakspe re saw a hun d re d tim e s in th e lan e s a nd village o f Stra t ford an d we may se e to d ay Shakspe re s constant allusions to gard e ns are born e out by H arri son in his cote mpora ry D escr ipti o n of E ng la nd as it w as when th e poet was a boy H e points out that ,
,
,
.
,
,
.
,
,
s
.
,
’
.
,
’
,
,
,
.
,
’
’
-
,
,
”
-
.
’
,
”
.
,
.
-
,
,
,
-
.
’
,
.
S ha kspe re
a nd
h is Ti me s
25
.
7
from H e n ry I V
to H en ry V I I I vegetables were little use d ” “ “ in E nglan d where as in my time he says their use is n o t o n e li e r e sum e d among the poor commo n s but also fe d ” upon as de in tie di sh e s at the tabl e s o f delicate m e rchants A s soon as peace gave we alth and leisure to th e English gard e ns rapi d ly increased Nor is this surprising A pe ople who have always expe n d ed care a n d att e ntion o n th e more laborious S ide o f agric ulture naturally whe n the y are able se e k fo r re laxati o n in th e light d iversion o f ornam e ntal gard e ning Thus it was that Engl a n d in this age was well “ stocke d with gard e ns where d u b lin g and i n la rg i n g th e ” proportion o f fl o u re s was a favourite occupat ion among ” “ curious and cunning gard e n e rs O ne inte re sting th e fe ature appeared which is not to be fo und in mo d ern gard e ns W he re pro fe ssional d octors we re S carce eve ry rich man al lotte d a large space o f his gard e n to m e d icinal h e rbs a n d woul d e xpe rim e nt on his house hold with simpl e s importe d from every part o f th e globe a n d thus th e gard e n s o f Shakspe re s time had a re al d om e stic importance beyon d th e m e re gratification o f a tast e fo r out d oor work L ove o f sport naturally atten d s lov e o f count ry li fe and is an eq ually strong instinct in Englishmen but o f this in Shakspere we d o not find so much n otice M aste r Page s fallow gre yhound in d e e d w as beaten in a match o n C o tsa le ” b ear baiting was meat and drink to the valiant an d Sl e nder but with th e exce ption o f th e chase o f the d e e r and boar and a fe w allusions to hawking w e have not much spo rt d escribe d H arrison t e lls us that as e arly as “ his time foxes an d bad ge rs must have be come extinct so e a m e st li e a re the inhabitants be nt to root them out e xc e pt it h a d beene to be are thus with the re creations o f the i r ” supe riors H are hunting in his Opinion should be only a ladies pastime men should scorn th e chase o f any be as t that could not stand at bay and o ffer re sistance Philip ,
,
,
,
.
,
.
.
,
.
.
.
,
,
,
’
-
.
,
’
.
,
,
,
-
,
,
,
.
,
,
-
.
,
,
’
.
S
25
N o cte s S ha h spe r i a ne
8
.
in his A n a to my of the A b u ses of E ng la nd describe s th e fondness o f the English fo r pro fani n g the Sabbath day wi th be ar baiting o f which he says : It is a fi lth ie stinking ” and lothsom e game a n d to be plaine I th i n k e the D e vile ” i s th e M aiste r o f the gam e b e a re wa rd and all C ock fl ags and e nsigns hanged fig h ti ng also proclaim e d by ” diverted the pe ople from the ir prope r Sund ay o b se rv o ut an c e s Fo r all th e s e forms o f sport d ogs o f all d e scriptio n s were nece ssary and in Shakspere we find all kin d s me n t i o n e d— the sam e familiar bre e d s which w e have n o w “ T h e hounds d ewlapped like Th e ssalian bulls matche d “ i n mouth lik e be lls t h e E nglish masti ffs o f u n m a tc h e abl e courage o f whom thre e we re a match fo r a be ar and “ four fo r a lion ; the spite fu l lap dogs Tray Blanch an d ” S we ethe art who barked at th e discrown e d L ear ; and the ” “ th e soure st nature d d o g that lives immortal Crab “ T h e English troops at A gi n court stand lik e gre yhounds ” in th e slips straining against the start L aunc e s m istre ss ” “ “ has as many q ualitie s as a wate r spani e l There is no countri e that may as I take it compare with ours in ” number exce ll e ncy and d ive rsi tie o f dogs Such is th e H arrison a n d to support it he e numerates o pinion o f besid e s land an d water S paniels e ight kinds o f hou n ds use d in falconry W e may gather from Shakspe re th e fact (which we know from o th e r sources) that music was fa r more generally cultivate d in England in th e sixteenth an d se ve nte e n th centuri e s than in later times I nste a d o f be ing l e ft to pro fe ssionals and young lad ies fre sh from scho o l music the n was part o f th e ed ucation o f a ge ntleman and th e re we re fe w fashionabl e gallants who could not pe rform as ” “ w e ll as compos e a ballad to their mistress e ye brow A ccordingly we fi n d a constant flow o f song an d music i n the plays not only amongst lords and lad ies but in sce nes S tu b b e s,
,
-
,
,
,
,
,
,
,
.
,
,
.
,
.
,
,
”
,
”
,
,
-
,
,
,
,
”
-
,
.
’
,
.
,
,
,
,
.
,
,
,
.
.
,
,
,
’
,
,
.
,
2 6o
N o cte s S ha h spe r i a nd
.
This taste fo r music w as even su rpasse d by th e fondne ss o f e laborat e costume H aving escaped from the hard re gu lar confines o f plate armour Englishmen foun d n othing to fetter t he ir imagi native id e as o f dress a nd “ fashion ran to the most ridiculous lengt h s in costli ne s s ” ” a n d c u ri o s i t i e pompe and brave ri e a nd fic k le n e ss and ” folli e Tailors no doubt enjoye d flourishing trades but as H arri son te lls us th e ir trade was no e asy o n e to ke e p with the intricacies an d varie ti e s o f th e E lizabe than toil e t “ H o w h a rd li e can t h e ta ilor pl e as e th e m in making it fit fo r the ir bo d i e s H o w m a n ic times must it be se n t b acke ” to him who made it ? A lthough th e ge n e ral ag ai n e chara cte r o f the costum e s o f this pe riod is familiar to us the de tails a re d i fficult to grasp where fashio n changed so rapi d ly O f hats accord ing to Philip S tu b b e s the re we re “ all sorts a n d d e scriptions : nowe blacke now white n o w russe t now re d n o w gre e n e n o w y e llo we n o w this no w e that an d th e se too wo m with fe athe rs a n d afte r the ” “ o f t h e F r e nch without ban d s Then u n se e m li e fashion we hav e the most characte ristic part o f th e costum e gre ate ” a q uarte r o f a yard d e ep suppo rte d a n d monstrous ru ffe s “ by a c e rtaine kind e o f liquide matte r which th e y cal l “ starch a n d proppe d up by wire s whipped ove r eith e r with ” gol d thred S ilver or si lk ; y e t fo r all this as S tu b b e s “ ma liciously obse rve s re ad y to lye upon the ir shoul d e rs like a d ish c lo u te whe n wind or rain overtake th e weare rs D oubl e ts we re worn long an d sti ff be ing slashed jag ge d ” cut carve d pu nk e d and lace d ; and rich n e the r sto cks with q uirks an d clocks about the ancles we re th e acce pted A ll sorts o f foreign mod e s o f costum e were i m fashion port e d into Englan d as we may gath e r from the description a D utchman to day o f B e n e d ick s fantastical costumes ” “ a F re nchman to morrow and a G erman from th e waist downward all slops and a Spaniard from the hip upward .
,
,
,
,
.
.
,
,
,
,
.
,
.
,
,
,
,
,
,
,
,
,
”
,
,
,
.
,
,
,
,
,
”
,
,
,
,
,
.
,
,
,
-
,
,
,
.
,
’
-
,
-
,
,
,
,
S ha k spe r e ”
a nd
2 61
h is Ti me s
.
women s costu mes Shakspere gives us th e “ set with pearls with down D uchess o f M ilan s go wn s leeves side sleeves and skirts round un d e rborne with a ” bluish tinsel ; and th e ward robe pre pare d fo r poor K ath e rine doubtless in th e h e ight o f fashion comprising ” “ “ ru ffs cu ffs farthingal e s a sl e eve like a d e mi cannon ” and carv ed like an apple p ie and a cap moulded ” o n a porringer Paint and false hair were fre e ly worn by wom e n and Shakspere complai n s o f painting and ’ usurping hair in Lo ve s La b o u r s Lost I t is to be n oticed that the costume o f Shakspe re s time favoure d in an e spe cial mann e r an incid e nt o f w hich h e — and his conte mporaries are ve ry fond th e assuming o f m al e attire by th e heroin e A s w e se e th e se parts now — o n o u r sta e which is th e d re ss donned by actre ss e s ge nerally som e thing be twee n a kilt and a riding habit cut — s hort is so palpably d i ffe rent from th e d re ss worn b y the mal e players that there is an absurd ity in th e ir se e ming to b e d e c e ive d by such a thin d isguise But the d oubl e t and trunk hose o f th e tim e o f E lizabe th an d Jam e s I as we may se e from portraits o f th e tim e slash e d an d pad d e d gave such a conv e n tional outline to the figure that a woman provi de d only S h e we re like R osalind som e what ” “ more than C ommon tall coul d we ar mal e attire without any d i fficulty and many lad ies o f th e tim e wh e n in cir c u m st a n c e s o f d ange r— o r som e tim e s e v e n fo r no gre at e r risk than that o f a long journey— woul d we ar th e d re ss o f a cavali e r o r a page without any fe ar o f d iscove ry Th e re is litt l e re fle ction in Shakspe re o f th e e ccl e siastical H i s large and ge ntle humour disse nsions o f his tim e stands aloo f from stri fes o f creeds and ce re monie s and i f he sometim e s coupl e s Puritans and Papists toge ther with a s mile as unwise zealots he has no bitte rn e ss against the o ld C hurch or th e new sectari e s W e may notic e too that no
d o u b le t
‘
Of
.
’
’
,
,
-
,
,
,
,
-
,
,
,
-
,
.
,
’
.
’
.
g
,
-
,
.
,
,
,
,
,
,
,
,
,
,
.
.
,
,
,
.
,
,
2 62
N o c tes S ha hspe r i a na
'
“
.
”
the F riar who plays a part in man y o f his dramas is always a d ign ified and be n e vol e nt fi g ure T h e scurrility o f L angland an d th e broad jests o f Chauc e r against t h e priest and the monk fin d no place in Shakspe re To th e se cular cl e rgy as d istinguish e d from th e re gu lars he is n o t quite so re spect ful Sir H ugh Evans and Sir O liver M artext a re not re ve re nd figure s no r if Sir Topas th e ” C urate was ad e q uately impe rsonated by the C lown c a n we tak e him to have be e n a p e rson o f much d ignity o r sense But o n the whol e w e may see refl e cte d in Shak spe re a gol d en age when m e n s minds we re in the highe s t from supe rstition an d not yet se nse r e ligious se t fre e darke n e d by doubt o r embittere d by party stri fe T o o soon Popish plots on th e one hand an d Puritan factions o n th e other alarm e d and ange re d th e nation and forc e d the noblest minds into party an d sectarian bon d s But as y e t those h e avy clou d s hung only on th e horizon England ” was m e rry England then a n d h e r gre atest poe t w rote unhampe re d by anything to check his d aring thought o r his large charity ,
,
.
.
,
,
.
,
,
,
,
,
.
,
,
’
,
,
,
.
,
,
,
.
,
.
R
.
T W A R NE R .
.
THE
E N D I NGS
O F S H A K E S P E A R E S P LAYS ’
A M LET
.
has often be en revive d in E ngland but H manage rs always appear to take the he ro s last w ords as sanctioning sil e nce fo r th e re st o f th e play In the last forty lines on turning to our Shak e spe ares we find t h e story o f th e return o f Fortinbras from Pol a n d t h e d e ath a n d t h e claim o f the o f R os e ncrantz a n d G uil d e nstern young sol d ie r to th e succe ssion A ll this se e ms won d erful bathos a n d still more won d e rfu l d oe s it s e e m to d ay that th e curtain at t h e G lo b e should hav e fa ll e n at th e word s The se fa cts sugge st se veral G o b i d th e sol d i e rs S hoot I f not is th e re qu e stions A re such endings exce ptional any class o f plays to which th e y are pe culiar ? Then i f this shoul d appe ar to be the case c a n we assign any re ason fo r th e occurre nc e o f such en d ings in that class ? A n d generally what use c ustom or mann e r d id Shake spe are obse rv e in the te rmination o f his plays ? T h e pre sent pape r is an atte mpt to give som e so rt o f answe r to these qu e stions F irst howe ve r it must b e pre mise d that as th e illustratio n from H a mle t will h ave alre a d y sugge ste d there are two se parate points to be co n si d e re d— th e introduction at som e l e ngth o f comparatively u n inte re sting matter a fte r t h e C limax o f a play and th e act u al words with which t h e play C loses A s to th e first point an inspe ction o f th e pl ays rev e als a great di fl e re n c e be tw e en th e Tragedi e s a n d the Comedies ,
’
.
,
,
,
,
.
-
,
”
.
,
,
.
,
,
,
,
.
,
,
,
,
,
.
,
'
.
N o c tes S hahspe r i a nce
2 66
.
ind e ed this is natural The C l imax o f a C om e d y is always contrive d to induce in the au d ie n ce ge neral goo d tempe r and disinclination to grumbling ; and no o ne fee l s t h e l e ast cause fo r annoyanc e in th e recital o f the arrange ” m e nts fo r the inevitable lived happily ever afterwards A n d such re cital Shakespe are always mak e s with a pl e asan t spe e d i ne ss No one can complain eve n when the pe rson s fo r whom h e is arranging are not immediately concerned with th e main plot Nay it is a pl e asure to hear that A rmad o is capable o f anything so sensible as following the plough thre e ye ars fo r the sweet love o f Jacqu e netta whil e it would be impossible fo r anyone to leave the woods o f A rd en content e d ly in i g norance o f the fortunes o f the m e lancholy Jacqu e s Nor again will it now be urge d that the fi fth act o f th e M e r cha n t of Ve n i ce is an unn e ce ssary and wearisome anti climax Since th e tragical conception o f the charact e r o f Shylock has been restore d to th e stage it is abundantly cl e ar that that act is an e sse ntial part o f that most m e rry an d pl e asant com e dy In a word Shake speare is never ope n to th e C harge o f tam e ness in the termination o f a C om e dy But the case o f the Tragedi e s is far d i ffe re nt It is n e cessary to e xamine e ach singly R o me o a nd ju lie t how eve r must b e excluded from the e xamination be cause that play is not so much a tragedy as a beauti fu l tragic poe m comparable in motive in fe eling an d in diction with L u cr ece and the M id su m me r N ig h t s D re a m (which be long to th e sam e period ) and far remove d in those points from the Trage dies properly so called Three o f the se have endings v e ry similar to that o f H a mle t The last fo rty lin e s o f A nto ny a nd Cleopa tra seem eve n tamer with th e ir “ dull argum e nt about th e mann e r o f th e d e ath o f that lass ” u nparall e l e d and Cae sar s passionl e ss d ire ctions fo r her funeral A gain it is almost inevitable that the remarks A nd
.
-
-
-
.
.
.
,
,
.
,
-
,
.
”
,
.
.
.
.
,
,
,
,
,
,
,
,
’
,
.
.
,
’
.
,
.
2 68
N o c tes S h a k spe r i a n e
.
oracle I f it is fe lt that Timon s death is in any se nse a climax then there is an anti clim ax in th e subse q u e nt discussion which n e eds all the interest that can be foun d in the epitaph to make it tole rabl e ju li u s Ce sa r has be e n re se rve d as an e xample which throws th e stronge st light on th e q u e sti o n un d e r consi d erati on though its inte r re ta ti o n may s e e m to b e unc e rtain The uncer ain point t p is wh e re the climax shoul d b e fou n d Th e d e ath o f Brutus hol d s th e position in which it is natural to se ek it : but the titl e sugge sts that it shoul d b e sought in th e d e ath o f C e sar I f th e first solution is corre ct the play may be compare d to Co r io la n us ; but i f a s see ms more likely th e se cond then two entire acts follow th e climax which d e velop its historical conse quences and we must needs consi d e r the motive o f th e play to be epical and so compare it with th e H istories Now there is an anteced e nt proba b ili ty that points o f comparison should e xist betwe e n th e gre at Trage d ies and th e H istories The first original Tragic writing which Shake speare undertook w as the group o f H istori e s with which his first period C lose s 1 nam e ly th e two R i ch a r ds 2 an d 3 H e n ry VI and joh n Th e n h e forsook traged y fo r an interval o f six ye a rs o f ” — b e d It cannot won e red at inde ed it might c omic writing — rather b e e xpe cte d that on resuming Trage dy in 1 60 2 his work should show signs o f the school o f H istorical Trage dy in which he had rece ive d his early traini n g It woul d b e inte re sting to se ek fo r othe r signs o f this influ e nce and probably they might b e found e ve n in th e C om e di e s Fo r instance it is a fact that th e re is no Comedy e xce pt the Ta m i ng of th e S h r e w in which a duke o r king doe s n o t o ccur ; and those o fte n speak with a pompousness which c o u n try
me n
’
’
s
.
-
,
,
.
,
.
.
.
,
,
,
,
,
,
,
.
.
,
,
,
,
.
.
,
,
.
,
.
,
re
i
pi
p
It T o th is sta te me n t R o me o a n d J u li e t i s a n e n t re ly un i m o rtan t e xce t o n re se n ts, as sa d a o ve , a sty e o f T ra g i c wr ti ng wh c h h e n e ve r ag ai n a t te m te d
p
i
b
i
l
i
I t i s c le ar tha t o f th e H isto r e s, H e n ry I V wh ic h lean to wards C o me d y ra th e r th an T rag e d y ,
‘
.
i
an d
H e n ry V
are
p
rec ise
.
p
.
ly th o se
E n d i ng s
S ha h espe a re
f
o
’
P lay s
s
26
9
.
reminds us o f th e kings o f F rance lord mayors etc in th e H owever that may b e th e point which has H isto ri e s be e n notice d in th e en d ings o f Shake speare s Traged ies see ms an almost certain e xample o f such an influ e nce fo r t h e fu ll d ev e lopm e nt o f the story in all its cons e qu e nces to all th e characte rs is natural and proper in h i storical d rama Ind e e d it is precise ly on this groun d that such e n d ings as that o f K i ng jo h n are to b e justifi e d w hich from a d ramatic point o f vi e w se e m littl e short o f irkso m e I f it is allowe d that t h e origin o f the s e e n d i n gs is the re te ntion in Trag ed y o f a u se d e rive d from H istorical D ram a s it b e com e s n e c e s sary to e nquire w hat justification e xists fo r such a re te ntion T h e forc e o f habit can hardly be acce pte d fo r so gre at a man as Shake spe are unl e ss som e r e a l propri e ty can b e all e ged in justification o f it Such a proprie ty may pe rhaps b e d iscove re d if w e examine close ly the nature o f the appare nt Obj e ction to such e nd ings A fte r a Tragic C limax it is our d e sire to sound th e utmost d e pths o f its sorrow fuln e ss by med itating on t h e S ituation ov e r and over again without inte r ruption Th e re is a kin d o f pl e asure in re al i zing pai n S O too in th e actual worl d overpo we ring gri e fs pro d uce a similar e ffe ct on some o f th e ir victims making the m d e sire se clusion from e ve ryday busin e ss that th e y may mourn long and in solitu d e A n d just as that eve ryd ay business will unrel e nti ngly intrude upon th e ir mourning so Shakespe are here as ever the unconscious echo o f nature causes th e most commonplace an d trivial things to succee d close ly the gre at e st and most te rrible This view is strongly suppo rte d by the fact that th e two plays which e n d most quickly a fte r the climax are just t hose in which the he ro s d e ath excites least sorrow M a c b e th and Co r i o la n us Shak e sp e are nowhere aims at an artistic h e ightening o f Tragic e ffect : h e is content to follo w nature which is afte r all the truest aim o f art ,
,
.
.
,
,
’
.
,
.
,
.
,
.
.
.
.
,
.
,
,
,
.
’
.
,
,
,
.
N o c tes S hah spe r ia n e
2 70
.
F urther,
there may b e fou n d in every anti climax i f it b e re ad care fully interesting stu d i e s o f the e ffe c t o f tragical e v e nts upon certa in type s o f charact e r The hard practi ca l r ul e r stan d s unmoved be si d e th e li fe less body o f Cl e o patra T h e ambitious Fo rt i n b ra s is only fo r a moment awe s truck ” “ by the spe ctacle o f so many princes so sudd e n ly laid lo w ; whil e in th e sam e aw ful sce n e th e o fl ic i al re mai n s ” “ O ffi cial sti ll a nd can only say The sight is dismal an d ” “ enquire fo r his thanks O n the other hand A lbany is an instance o f a man unable to d o more than to spe ak a nd a c t m e chanically daz e d with drinking the cup o f m o urning t o the dre gs Such studi e s o f C haracte r a re no t unworthy surely o f th e gre a t Trag e d i e s which th e y close It has bee n sugge ste d that in this C lass o f plays Shake spe are e mploye d habitu ally unimpassion e d conclu s ions ; an d an att e mpt has be e n mad e to explain the origin o f this habit a nd to j usti fy i t Som e further illus t ra ti o n o f these points will b e found in the discussion o f t h e final lin e s and words o f the plays which will form the s econd d ivision o f this pape r A s to the form o f the final lin e s th e l e a d ing facts are as 1 follows O ut o f thi rty five p lays twenty fo u r e n d with t wo rhym e d lin e s fo u r with blank v e rse two with pros e four with an incompl e te portion o f a line following tw o rhym e d lines and Tw e lfth N ig h t with a song M u ch A do and A s Yo u L ih e I t we re intend e d to a b o u t N o th i ng terminate with a d ance There a re six epilogu e s two in prose an d four in verse (to w hich may be ad d e d Puck s spe ech at the e nd o f th e M idsu m me r N ig h t s D re a m) th e s e a re only attached to C om e dies and th e Comico H istorical Plays 2 H e n ry I V and H e nry V -
,
,
.
.
‘
,
'
,
.
,
.
,
.
,
,
.
,
-
-
-
.
,
,
,
.
,
.
,
’
’
.
-
,
.
i
p pp
i e , I n c lud ng 1 H en ry VI an d Ti tus A n d r on ic u s su ffi c ie n tly Sh ak e s e a ri an t o warra n t th e r use h e re , th o ug h n o t i n th e a er re c e d ng o rt o n o f th e Fo r th e fo rm o f P e r i c le s as we h a ve i t S h ak e s e a re i s i n no way ac c o u n ta le th a t la y is th e re fo re n o t nc lud e d , no r o f c o urse ca n H en ry V111 b e use d i n a di scussio n o f his e n d ng s .
p
i
.
i
i
.
,
,
p
p
i
,
p
i
b
.
N o c te s S h a h spe r i a n e
2 72
i g
.
S o b r n u s t o th e pa lac e wh e re we ll Sh o w ’ ’ h at s y e t b e h n d th at s m e e t y o u all sh o u ld
W
’
i
with som e thing more
A nd,
o
f
k
no w
dive rge nce those
o
,
” .
f A n to ny
Cle opa tra A s Yo u L i h e I t, M i dsu mm e r N ig h t s D r e a m It must b e re m e mbe re d that endings o f th is an d Oth e llo ’
a nd
,
,
.
class lost som e thing o f their abruptn e ss o n th e stage be cause the y we re a ccompani e d by mov e m e n ts o n th e part o f th e actors which app e al e d to the e ye s o f t h e spe ctators Such a re th e facts : a fe w re marks a re naturally sugge ste d by the m F irst a lthou g h blank ve rse occurs at the e n d o f a play in two case s w hich fal l und e r (b ) a n d those two o f th e — 1 H e n ry VI a n d Tw o G e n tle me n of Ve ro na e arli e st plays with th e se e xc e ptions no rhym e less e n d ings occur o utsi d e class (c ) which is o f c o urse th e l e ast formal o f all in sub stance The t wo pro se e n d ings may b e explain e d by th e fact th a t B e n e d ick on ly in two scen e s A rmad o only as H e ctor o f Troy speaks in ve rse but this is n o t concl u siv e as may b e se e n from th e M e rch a n t of Ve n i ce A c t I Sc ii whe re a prose sce n e en d s with a rhymed coupl e t A ll th e — four plays H a mle t Ti mo n Co r i o la n us and 2 H e n ry I V which e nd with an incompl e te lin e following two rhym e d ones fall un d er (c) A lso th e re maining tw o blank v e rse endings fall into this class those o f th e Te mpe st a n d th e Wi n te r s Ta le W h e n it is consid e re d that th e se two play s a re two o f Shak e sp e ar e s ve ry lat e st it s e e ms as i f his final judgm e nt was on the si d e o f these more in formal e n d ings fo r which through his thre e form e r pe riods h e S hows an 1 incre asing favour S e con d ly all th e mode s in which plays are end e d may be pa rallel e d from the e ndings o f scenes T h e play o f M a c b e th alone e xhibits instance s in sce n e e ndings o f all t h e play en d ings C lassifie d e xhaustively according to form and .
.
,
,
,
,
.
,
,
,
,
.
,
,
.
,
,
,
.
,
,
’
.
’
,
,
.
,
.
-
-
,
fi
p
I n th e rst e ri o d th e re are fo ur twe lve ; i n th e se c o n d , fo u r o u t o f te n i
pl
in
i
wi th e n d ng s c o un te d i n th e th rd se ve n o u t o f te n
ay s
i
,
.
c la ss
(c )
out o f
E n d i ng s
f
o
S ha he spea re
’
P lay s
s
2 73
.
substanc e e xce pt three o n e o f which is that o f prose e n d ings which is a nec e ssa ry e xception as th e re is no prose nea r th e e nd o f any sce n e i n M a c b e th O ne or tw o instances will su fli c e T h e e nding o f 2 H e n ry I V fin d s a parall e l in A c t I I I Sc iii “ Th m e ll t t my w d s b ut h o ld th e e ti ll T h i g b d b e gu m k t o g th m l e s b y i ll ” S i h w i m t h t g p T h e e n d ing o f th e M e r c h a n t of Ve n i ce finds a parall e l in A c t V Sc iii — We D ct d w I D i f d m l a y [ J ” P o fi t g i h ld h dly d w m h e It follows that the re is no more e ffort afte r e ffect in the e n d ings o f plays than in t h e en d ings o f sc e n e s Thirdly th e re is an importa nt point about the epigram m a tic e n d ings No trage d y e n d s with a sm a rt an d live ly epigram That in L ea r is sad that in Ti tu s A nd r o n i c u s is dull ; Tr o i /us ends with a co m ic spee ch ; hf a c b e th e nds more to our satis faction th a n our sorrow and th e re fo re appropriat e ly closes with a bright e pigram W h e re v e r th e e n d o f a play is calculat e d to e xcit e d e e p e motion the re is an i n sig n i fic a n c e in the final word s S imilar to tha t which has be e n noticed be fore i n th e final passages It i s as i f Shak e spe are S hared som e thing o f a fe e ling which a ve ry d i ffe re nt poe t e xhibite d wh e n at t h e e n d o f no commo n o d e h e re call e d th e thoughts o f his R oman read e rs from th e n obl e st d e ath in their histo ry to t h e pl e asant fi e lds o f th e ir Susse x an d th e warm se a bre e z e s o f th e ir Torquay “ li t r m ,
,
,
.
.
.
,
ou n
O,
,
’
arv
s
s
a
n
a
ee,
r
or
a
n
e s r
e
o
s
e
se v
.
.
.
'
o
or
a sz e
re
ro
a
r
ne a
un s n
a n s
ou
a
ra
ar
C e ar,
an
e
er
.
.
,
.
.
,
.
,
,
.
-
no n
d i m o vi t et
qu
am
o b st an te s
m o u l u p p
i
r o p
re d t us
si c lie n tu m
i
er
a
lo n
g
a
a
i m o u s p q m o ran te m , n e g o ti a
d i i ud ic a ta l te re lin qu e re t te n d e n s V e na frano s i n a ant
en
go r
s
Lac e d ae mo n i um T are n tu m
E
.
J
” .
PA LM E R
.
S C H OO L
S OC I E T I E S
S HAKSPE RE
.
must n e e ds apologize fo r writing on Shakspe re O The mass o f literature that ce ntres round him alread y fa r e xc e eds what any oth e r secular author can claim and criticism has always a ten d ency to re produce itsel f The prese nt write r however can truth fully state that h e has read ve ry littl e o f the comm e ntators ; his knowledge o f Shakspere is d u e almost e xclusive ly to th e W inch e ster Col le ge Shakspere Soci e ty and the object o f the follow ing essay is to notice some o f th e advanta ge s which such a school society a ffords and to suggest a fe w ge n e ral con siderations as to its purpose and conduct The re are c e rtain books which eve rybod y is supposed to hav e re ad R o b i nso n Cr usoe is o n e o f th e m ; but th e plays o f Shakspere stand at the head o f th e list F o r seve ral reasons boys do not readily read Shakspe re by themse lve s A play tak e s some tim e to g o through and th e knowledge o f this fact d ete rs th e m from beg inning it fo r it must be read as a whol e in ord er to be properly a ppreciat e d and r e quires C los e r attention tha n e pic or lyric poetry A t the sam e time there is no n e ce ssity fo r an A c e rtain numbe r o f a ccurate knowled ge o f Shakspe re popular notion s regarding him a re casually picke d up and confid e ntly re pe ated these with the commoner quotation s s u ffi ce fo r ordinary use and reputation NE
.
,
.
,
,
-
,
.
.
.
.
,
'
,
.
.
,
.
N o c te s S ha hsper ia ne
2 78
.
school soc iety provides a re medy fo r this ; and further it he lps to pre vent another similar e vil There is n o t to read a preval e nt te nd e ncy at the pres e nt tim e books but to re ad about them Fo r this un fortunate habit magazin e s are largely responsible the othe r main caus e is a C ertain cacoe the s lo que nd i which sets men chatte ring whe the r with tongu e o r pen on so many subjects and at such a pace that th e y can hard ly b e expe cte d to fin d tim e fo r reading what th e y ta lk about A n articl e o n th e sonnets o f Shak sp e re in a monthly review must be read be fore th e re view h as d e parted while th e sonnets themse lve s which a re always at hand may be d e fe rre d to a more conv e nient se ason and it happens som e tim e s that many articl e s o n a subj e ct are re ad as th e y appear and a specious Show o f knowl e dge is acquire d without th e least intimacy with th e work o n which th e d iscussion has been taking plac e N o w a school Shakspere Society exists to re ad its poet a nd if i t writes or talks abo ut him that is a work o f supe rerogation but in any cas e it can se e that the read ing comes first I t has also the advantage o f real d ra ma ti s pe r so n e among whom at a ny give n time there will probably b e o ne or two good re ad e rs It re ad s a play at a S itting or at most in two an d it obtains som e insight into that which constitutes n o little part o f Shakspere s great n e ss th e li fe an d action o f the play upon the stage It woul d o f course be feasible to re ad the plays o f any oth e r poe t in the same mann e r and many Shakspe re so cie ties a re ve ry un faith ful to their e ponymous he ro There is littl e to b e urged against admitting th e classic com e d i e s o f Sheridan and G oldsmith but th e lin e should be d rawn to e xclud e the works o f more rece n t authors The literary j udgments o f boys are generally narrow and o n e sid e d though liable to fre quen t alteration ; it is i m probabl e that any unanimity could b e attai ned i n adj us ting A
,
.
,
,
.
,
,
,
.
,
,
,
,
,
.
,
,
,
.
,
,
.
,
’
,
.
,
.
,
.
-
,
N o c te s S ha h spe r ia ne
2 80
.
from
the study o f a lite rature which can be e njoye d without th e m N 0 o n e w ill d e ny that nin e tee nth c e ntury English like so many conte mporary products has a taint o f B rum m a g e m but th e re me d y fo r this li e s rath e r in read ing o u r classics than in colle cting and comparing th e ir iinra f M y o ué va The e d itors o f th e plays o f Shakspe re which a re being issu e d by the Clare n d on Press have mad e a lam e ntabl e mistake ; note s such as the irs woul d b e te diou s o n a d e ad language : choking a living o n e th e y a re q uite un e n d urabl e T h e atte ntion o f Engl i shm e n S hould b e call e d not to archaisms but to barbarisms ; i f familiarity with th e language o f th e Elizabe th an period coul d ch e ck as ind e e d it c a n th e corruption o f the Quee n s English to d ay that alone woul d b e j ustification fo r a d oz e n S h akspe re Soci e ti e s Those who wish to se rv e th e cause o f lit e rature can d o SO in no b e tt e r way than by collecting a n d gibbe ting from n e wspape rs magazin e s a n d nove ls an i ndex expu rg a to r i u s o f word s and i d ioms T h e d e plorabl e apathy o f th e public consci e nce in this matte r may b e se e n most glaringly by the stu d y o f a dve rtis e m e nts ; but a ce rtain numbe r o f atrocious word s have late ly found the ir way into “ re ndition in o n e th e language o f art ; thre e o f th e se ” bra n ch photogravure an d ty p o g ravu re in another but e ach man s memory wi th an w il l s e rve as spe cim e ns h o r r e sco r ef e r e ns w ill sugge st to him from all si d es too many others I t is in d e e d anise and cummin to make eve n a lite ra ry study o f Shakspe re so long as the se vital matte rs are daily d isregard e d but i f anyone care s when he has mad e pe ac e with his mother tongu e to e xamin e h e r rich e s h e w ill find su ffi ci e nt opportunity a fford e d so far as Shakspe re is con ce rn e d w ithin th e system o f a society Th e Baconian qu e stion shoul d howe ver b e disre garded by all who do not intend to devote th e mselves to a thorough and u se ful .
,
,
,
.
,
,
,
.
,
’
,
,
.
,
,
,
,
.
,
”
,
,
’
,
,
.
,
,
-
,
,
,
.
,
,
,
S cho ol S hakspe r e S
2 81
o c i e ti e s
.
investigation O f it Seeing h o w slend e r a re th e foundations upo n which the great fabric o f the the ory rests the ord inary re ad e r may we ll be content fo r the present to acc e pt the orthodox be lie f ; fo r as sure ly as scepticism unsettles morals will S h akspe rian hete rod oxy unse ttl e Shak spe rian practice th e nose o f the Baconian scenting e vi d e nce e very wh e re d iverts his e yes from poe try to pre mi se s a n d where hith e rto he has se e n th e finge r o f th e poe t h e d e tects h e nce forth the finger o f a forger M r Pal e y in d e e d may think that h e appre ciate s th e be auty o f H om e r e ve ry whit as fully as M r G lad stone can y e t fe w besi d e s h imsel f (i f so be that h e thinks so ) coul d concur in th e Opinion W h at can be more d isturbing to th e H omeric attitu de o f min d t h an that o ne should b e constantly inte rrupte d by forms wh ich o ne beli e ve s to be A lexan d rin e ? or what more in H om e r s pre j u d ice than to se e with unwilling e y e s what e v e r facts conflict with one s most che rish e d th e ory In t h e sam e way t h e Baconian h e re sy jars upon th e a pp re c i a ” tion o f Shakspe re ; a nd its supporte rs fit th o ugh fe w may well b e cont e nt to compl e te their edifice o f proo f wi thout the fruitl e ss ad hesion o f m e re dabbl e rs in hypo the s e s ; fe e ling ln th e words o f th e author o f H e n ry V “ I t was t h e fe wer m e n the greate r share o f honour state d in th e pape rs not long ago that a G e rman has discovered Shaksp e re to have be e n th e author o f the N o v u m Org a n u m ; i f the stat e m e nt was corre ct r e d uctio a d a b su r d u rn has re ach e d its climax N e ve rth e le ss th e doctrine o f th e right o f privat e judg m e nt is so pre val e nt at the pre se nt day that fe w may be w illing to acknowl e d ge th e inutility o f plunging fo r on e sel f into the shallows o f Baconianism P assing th e re fo re to the ge n e ral question le t us consid e r in what othe r ways our Soci e ty may be st study its M aste r Shakspe re has b e en ” “ call e d all mankin d s e pitom e a n d fo r range and be auty .
,
‘
,
,
,
,
,
.
.
.
.
’
,
’
,
,
,
,
”
,
.
,
.
,
,
.
,
.
’
,
N o c tes S ha k spe r i a n e
2 82
.
has bee n compare d with nature herself But i f w e notic e what h as be en accomplished in the stu dy o f nature a n d mankin d we shall see that the re have be e n e mploye d tw o principal m e thods Fo r philoso ph e rs have eithe r looke d a t matte rs in a lump and catching sight o f ce rtain salien t feature s h ave reason e d vagu e ly and inconclusiv e ly by th e light o f these or th e y hav e pro ce e ded to certain re sults b y a care ful coll e ction an d examination o f fac ts T h e form e r m e thod as appli e d to Shakspe re has many attraction s req uiring fa r less knowle d ge and atte ntion ; on the on ly o ccasio n wh e n t h e writ e r took up a play fo r examinatio n he has no doubt that h e spoke o f C ord e lia in th e mos t unre strain e d and flowe ry te rms I n truth the re a re n o t many schoolboys who can write on som e Sh a kspe rian subj e ct an e thical e ssay that is n e ither pl a g ia rise d n o r worth le ss and howe ve r profit a ble an e xe rcise this may b e in th e u se o f th e ir language it is not profit a bl e (which is all w e a re n o w conce rne d with ) fo r th e stu d y o f Shaksp e re I n d e e d we h ave th e high authority o f M r John M orl e y fo r think i n g th at o u r a g e lays too much stre ss on essay writing a n d that a fte r all t h e culti v ation o f styl e is not so important ‘ as to e nrich th e mind H oweve r this m ay b e a r cha ufl ! o f comm e nt a tors is but a poor d ish an d without th e c o m m e n ta to rs an e thical e ssay by a boy is also likely to b e sorry stu ff I t se e ms there fore that w e shoul d proc e e d upon th e secon d m e thod I f th e m e mbe rs o f a soci e ty care to make essay writing part o f th e ir w ork the y shoul d d raw from in d e pe n d e nt obs e rvation o f th e poet rath e r than second hand thro u gh his int e rpre te rs ; n o t e nve lopin g a sl e nde r stock o f re fe re nce s with vag ue a n d soun d i n g ge n e ralities but se tting the m fort h whe the r fe w o r m any in cl e a r arran ge m e nt with a bri e f indication o f th e position which the y a re to e stablish and o f the ir applicab i lity to th e .
,
.
,
,
,
.
,
,
,
,
,
.
,
.
.
-
,
'
.
c
,
,
.
.
-
,
,
,
,
,
,
,
2
N o c te s S ha h spe r i a ne
84
.
that all th e pe rsons introduced u pon the stage are s tudied C haracte rs To work out th e truth o f this statem e nt by tracing e ach characte r as it d e clares itse l f n o t in spee ch only but in action is to many minds an attractive study ; and the training that it give s i f unde r compe te nt supe rvision may t e nd to produce a sanity o f ju d gm e nt in estimating d e tails o f e xpre ssion a n d shad e s o f m e aning which scholars and comm e ntators o f all ag e s se e m no t in fre q u e ntly to lack Th e re is a similar probability in th e comparison o f Shakspe re with his English succe ssors that by noticing and e stimating the d e bts o f the latte r a schola r may so train his lite rary instinct in the langu age that he can most e asily and sure ly grasp as to b e able to decid e with som e accuracy such q u e stions o f imita tion in anci e nt a uthors : many e d itors put fo rward parall e lisms which at first S ight appe ar fanci ful a nd arbitrary but m e nta l asso ci ation in the se matte rs is much more subtl e than woul d b e suppose d Nothi n g n e e d b e said to en force appreciation o f the ad vantage gain e d by practice in re ad ing aloud th e public is itse lf awa king to a re cognition O f it A s to th e cas te howe ve r o n e thing is cl e ar : th e be st re ad e rs shoul d always have th e be st parts Nobody care s to hear th e se marred by a b ad d e live ry nor to read what he is conscious is be yond him O n the othe r han d se cond and third rate parts may b e d istribute d among second and third rate re ad e rs with some atte mpt at compe nsation : it be ing always re m e mbe re d that the ord i n ary re ad e r cares re ally quite as much fo r q uantity in his part as quality A long with th e arrangem e nt o f th e caste aris e s a simil ar q u e stion as to choice o f pl ays I t is we ll to re ad Shaks pe re through as far as is possibl e and fo r this purpose a s oci e ty shoul d be willing to submit occas ionally to a r e ad i n g compa rative ly d ull But the great plays (particularly .
,
,
,
,
,
,
,
.
,
,
,
.
.
,
,
.
,
.
,
.
.
,
,
,
.
S cho o l S ha h spi r e S o c i e tie s
2 85
.
dese rve and repay more freq u e nt attention ; an d there a re also some which are obviously unsuitabl e : it is e nough if this class is not swollen by th e addition o f plays that are only unpopular : th e cycle that remains outsi d e it is large enough fo r th e nee d s o f a society which is constantly changing its members To sum up a S chool Shakspe re Society exists fo r two principal reasons th at its members may acquire a thorough knowledge o f th e po et s text a n d also a re ve re nt u se o f th e ir native lan g u age Essay writing should be re gard e d as subsidiary above all it should b e bas e d on d e finite and hon e st stu d y The enthusi as m o f th e Soci e ty is to be re se rved fo r the poet himsel f and i f thus d ire cte d there can be n o o ne who would wish to limit it H a mle t,
K i ng
Le a r ,
an d
M a c b e th )
.
,
’
,
-
.
,
.
,
,
.
H
.
13
.
J O SEP H
.
2
N o cte s
8o
N O TE
Sh
ah s e r i a ne
TO
p
ESS AY
S C H OO L S H A K S PE R E B Y
TH E
E DI TOR
.
ON
S OC I ETI ES
.
.
call ge ne ral atte ntio n to th e ab o ve Pape r wri tte n as i t is fro m th e stan d po i nt o f a P u b lic Scho ol b o y to P ub li c Sch o o l b o y s b e cause we may reaso n ab ly h o pe that th is V o lu me o f Pape rs m ay fall i nto th e hand s o f th e manag e rs o r me mbe rs o f si mi lar S o c ie ti e s to o ur o wn an d may po i nt o ut i n some re spe c ts at all i n so m e it may b e wh at to b e e ve n ts wh at i s to b e ai me d at a vo i d e d I am th ank fu l to b e lie e that o ur e xam ple ve ne rab le as i t n o w is fro m ag e and fro m trad i ti o n i s fo llo we d i n man y place s alre ad y an d o ur sy ste m re co g n ize d as o n e o n which o th e rs m ay b e mo d e lle d I n su mmari si ng it I sh all d o ub tle ss re pea t wh at h as b e e n n o tice d hi sto rically i n th e I n tro d uc ti o n to th i s vo lume ; b u t as m o st re ade rs o mi t an I n tro d uc ti o n o n pri n ci ple th e re pe ti t i o n may pass u n n o ti c e d I re g ard th e n as th e fi rst ne ce ssi ty o f e ve ry such So c ie ty th at i t sh o uld b e u n d e r th e ab so lute c o ntro l o f so me pe rmane n t P re side nt n e c e ssarily a M aste r wh o sh o uld h ave made o f th e A uth o r a spe ci al study a nd sh o uld if po ssi b le have a re al tale nt fo r d e lin eati ng characte r an d a spe c ial k n o wle dg e o f e lo cuti o n as I
AM
l a d t o g
,
-
,
,
,
,
,
,
v
.
,
,
,
,
.
,
.
,
,
,
,
,
an
art
.
i t m ay se e m i n state me n t, I re g ar d i t as ab so lute ly n e c e ssary th at h e sh o uld b e ab le to tak e th e o n u s o f th e pri nci pal — m l b y th i s fac t, any c h arac te r i n th e g re ate r play s at le as t hi se f Stran g e
i
as
n t r an m f a s a i n h e u i r o i s v o d d t e e e g y j th e c aste an d b y c o n stan t practise h e wi ll b e su re i n ti me to fu rn i sh a re aso nab ly g o o d m o de l to succe ssive g e ne rati o n s o f accurate an d sugg e sti ve re ad i n g ; th e pe rman e n t e le m e n t also i n In t h e So cie ty is amo ng scho olb o y s a m atte r o f fi rst im po rta n ce
th ng o f th e
natu re
of
e alo
,
.
N o c te s S /za kspe r za n e
2 88
'
.
udy o f th e Po et and o f E ng l i sh gi ing way to an i de a o f n a rso d i s a an f h v a a v f a n w e l p l c l ti i l e c i ic d t u t n f o t h h o o e o o p y g may p ro e a sn a e to th o se wh o h ave an i n n ate pre d i spo si t i o n to it T h e re fo re if p o ssi b le si de b y sid e wi th th e o ppo rtu n iti es n e ce s a ri l y ari si n g fo r th e c u l ti vat i o n o f o ice e p re ssi o n e lo c u ti o taste an d sty l e th ere sh o ul d be fo un d so me o u tl e t fo stu d y an d th o u g h t as we l l o u r Essay i st h as d i sc usse d th e ad an tag es an d th e dan g e rs o f wri tte n p ape rs b u t o n th e wh o le I th i n k th a t they are a desi ra b l e adjun c t Po i nts al so m ay be rai sed fo r d is c u ssio n i f i t c an o n l y be sec ure d t h a t th e d i sc u ssi o n be g e e a l — — ch arac te rs may be analy se d h i sto ry d e ve l o pe d th e ch ro n o l o gy — an d th e i r vari e d sty l e s co m p are d o f t h e p l ay s o pe n e d o ut I h ave al re ady n o tic e d i n th e P refac e to th e E ssay s va l u ab le wo rk u n d e rtak e n b y o u r M e m b ers wh ich can n o t b e sa i d to h ave h ad n o r e su l t because i t h as n o t le d to a n y pe rm an e n t T h e o ppo rt u n i ti e s i n deed fo r a l itera ry rec o rd w ith i n t h ese pag es It si d e to a S c h o o l S h ak spe re S o ci e ty are si m p l y i n n u m e rab l e ca nn o t b e e pe c ted th at they sh o u ld i n i ti ate anyth i ng abso l ute ly b u t th e resu l ts may b e o ri g i n al as far as th e stud e n t o rig i n al h i mse l f i s c o n c e rn ed and th a t is all th at matters I th i n k th at i t wi ll b e fo u n d th a t a S o ci e ty i n a P u bl ic Sc h o o l co n d ucte d so m e wh at o n th e l ine s wh ich I h a e suggested wi ll b e an i n valuab le add i ti o n i n d i e ctl h t v h n o t s h a p i i e c l e c i t e o s o t o y g O u r Essay i st h a s al re ady sugg e ste d wa n ts i n th e o rd i n ary c u r ric ulum wh i c h i t m ay su pply ; an d I b e l i eve th at th o se wh o a re o r wh o h ave be e n M em b e rs o f th e Wi n c h este r C o ll e g e S h ak spe re S o ci e ty wi ll be o nl y to o re ady to ackn o wl e dg e th e be nefits to th e ir sc h o larsh i p wh ic h th e y h a e de ri ed fro m it ; an d th at m an y wh o h ave e i th e r fro m th e i r o wn n e g lect o r want o f o ppo rt u n i ty bee n excl u ded are no w reg retti n g a l o ss wh ich in th i s special way it is to o la te to su ppl y o f th e st
v
,
r
v
.
,
,
s
x
v
n,
,
,
r
,
v
:
.
n r
,
.
,
.
.
x
,
.
,
,
v
,
r
.
,
v
v
,
,
,
.
C H H .
.
.
K ING P
RI C H A RD
III
A P E R R EA D B E FO R E T H E S OC I ETY F E B R UA RY
12,
1 887
.
N o c tes Sha kspe r ia ne
2 92
.
i mmed i a te ly su cceed ed T h e a u t h o r h a s no t as y e t r o n o r s i s u it e t ly ic tyl e e d e c h w f f t h e f h r e s s rs o o q p a n d n e a rly a h n h r c e t a n ci e t d r a m n e l me n t ti n s o o a s o a i a a t pp o f th e w o me n i n A ct 11 S e ii a n d A ct I V S c i a n d ag a i n i n th e re it e ra t ed c u rse s O f M a rg are t S ti ll th e c o n c e pti o n O f R ic /ca r d be l o n g i n g as it d o es to th e sec o n d p er i o d s ti n ct i m ro v e me n t o n a ll t h a t o f S h a k s e re s a s i l y s d i a p p p r d h o ry g o e s S h a k s e re s eem s e r s t h s e c e d it i t O f a a e S p p to h av e fo ll o w e d p re tty cl o se ly h i st o rica l t r u t h as h e k n e w it fro m th e c h ro n icl es o f H a l l a nd H o li n sh ed i f we e xc ept su c h d e t a il s a s th e c o m ress i o n i n to a fe w d ay s o f t h e s i x p y ears th a t e l ap se d be t ween th e d e at h o f H e n ry V I a n d th e a ssa ss i n ati o n o f C l a re n c e a n d o f th e li k e p e r i o d b e tw een t h e l a tte r ev e n t a n d th e d e a th O f Ed w a rd I V ; th e u n iti e s O f ti me a n d p l ac e h ad to g i v e w ay to d ra m a tic u n ity B u t t h o u g h fo ll o w i n g th e c h ro n icl es su fii c ie n tly cl o sely fact s th e a u t h o r d ev i a t e s p re tty a s re g ard s t h e a ct u a l sh a rp l y fro m h is a u t h o r iti e s i n t h e d e li n ea ti o n o f h i s c e n t ral fi gu re S h a kspe re h as b ee n acc used O f pai n ti n g th e c h a ra ct e r o f R ic h a rd P l a n tagen e t i n to o u n favo u ra bl e c o l o u rs b u t h o w att racti ve h e m ak es h i m i n c o m pari so n w it h th e m o n s t e r p re se n t e d by th e c h ro n icl e s c an b e see n b y th e m o s t c u rso ry e x a m i n a ti o n o f H o li n sh e d s d e sc ri p ti o n I n th e l a tt e r we se e n o t h i ng b u t th e b ru tal h y p o c ritic a l p l o tt e r w h o se v e ry n a t u re l e ad s h i m t o c o mm it th e c ri mes by w h ic h h e o bt ai n s h is po w e r ; t h e re i s n o h i n t O f th e re a ll y fi n e me n ta l q u a liti e s O f S h a k spe re s Fo r R ic h a rd w h ic h fa sci n at e u s a l m o s t a ga i n st o u r w ill h e re a s i n th e M e r clza n t of Ve n i ce a n d i n an ev e n m o re m a rk ed d eg ree it i s th e c h a ract e r wh ich m ay be d escribe d “ th at en li sts a ll o u r sy m pat h i e s th e v ill a i n o f th e p i e c e as w h il e th e rem a i n i n g fi g u re s a ro u se n o fee li n gs sav e t h o se o f n d e v e n i m p a ti e n c e r i n th e R ic h ard as d e li n ea t ed ity a F o p by S h ak spe re we fin d a v e ry d i ffe re n t p e rso n age to th e l a h y w ic h p
th e
.
,
.
,
.
,
,
.
’
,
.
,
,
,
.
,
.
,
’
,
.
,
’
.
,
.
,
,
,
,
,
.
III
K i ng R i ck a r d
2 93
.
t ty pe o f th e c h ro n icl e H ere w e h av e a m i nd t h a t u n d e r m o re fav o u ra bl e av e h h m y ic l c i g t o n d iti o n s h s a p ro d s r r r u c e d g e a t a it u l m i i t e an u l e b u t by h d a r n d a f n f ; p w h a t so me w o u l d c a ll a frea k o f n a t u re t h i s m i n d i s cl o gged by a bo dy th a t w a rps its eve ry be tt e r fee li n g a nd c ru sh e s ev e ry n o bl e t h o u gh t T h e m a n fee l s h i m se l f to b e d i ffe re n t to a ll t h o se a ro u n d h i m a n d p e rc e i v e s t h a t t h ey a re o n l y to o r e a d y to re c o g n i se t h e fact ; a n d so h e i s b rav e b u t u n d e r th e i n fl ue n c e o f th i s c o n v icti o n h is b rav e ry be c o mes me re b ru ta lity h e i s g i fted w it h a q u ic k a n d re a dy i n t e ll e ct b u t it d ege n e ra t es in t o h y p o c ritic a l c u n n i n g ; a n d t h e q u a liti e s w h ic h m i gh t h av e m a d e h i m a d i s ti n gu i sh e d w a rri o r a n d a su cc e ssfu l d i p l o m a ti st a re o n ly u se d to g ra ti fy h is rev e n ge a n d to a id in th e fu lfil me n t o f B u t d i st o rt e d t h o u gh it a ppea rs a n u n wo rt h y a m biti o n t h e re i s so me th i ng i n th e ch a ra ct e r o f R ic h a rd t h at c a n n o t W e re co g n i se th ro u g h o u t th a t c u n n i n g an d fa il to a tt ra ct Fee li n g h i m c rue lty a re n o pa r t o f th e m a n s t r ue n a t u re s e l f m o re g i ft e d t h a n a ll t h e se lfi sh p l o tt e rs by w h o m h e i s a n d y e t d e sp i se d a n d fi o u t e d by a ll h e se t s s u rro u n d e d be fo re h i m th e c ro w n as th e go a l O f h i s a m biti o n a nd d e te r m i n es t h a t n o th i n g sh a ll sta nd i n h is w ay t o w a rd s H i m se l f th e Obje ct o f n o t h e a tt a i n me n t O f t h a t go a l h um an a ffe cti o n h e fee l s n o n e a n d a ll i m pe d i me n ts a re b ro th e rs n e ph ew s w i fe ru t h l e ssly sac r ific e d to h i s d e s i g n fri e n d s w ith o u t a s i n g l e fee li n g O f c o m p u n cti o n h e sees th em a ll g o th a t h e m ay ga i n h is e n d A n d h o w a d apte d t h e m a n i s fo r t h e fu lfil me n t o f h is sc h eme s ! g i ft e d w it h k ee n m i n d a n d p i e rci n g c o n s umm a t e p o w e rs o f sp ee c h w i t a n d a t th e sa me ti me a b rav e a n d sk il fu l c o mm a n d e r I t i s a t fi rst a l m o s t i m po ssibl e to b e li ev e t h a t th e fi gu re rese n t e d a t th e e n d O f th e p l ay w h e n w e se e h i m ra v e n i n g p i n bl o o d c a n be th e sa me k ee n ad ro it m an w h o m w e sa w e a rli e r d e c e i v i n g C l a re n c e by h i s t e a rs A n n e by h i s fl a tt e ry o o r p
,
.
,
,
,
.
,
,
,
,
,
,
.
,
,
.
’
.
,
,
.
,
,
,
,
,
,
,
.
,
,
.
,
,
,
,
,
,
,
,
N oc te s S hak spe r i ane
4
29
.
B u c k i n gh a m a n d H as ti n gs by h is e x pressi o n s Of u n d y i n g a ffe cti o n a n d g ra tit u d e Bu t th e h y po c ri sy an d c u n n i n g fo rm n o t rue p a rt O f h is n a t u re h e o n ly co n se n ts to s to o p t h a t h e m ay att a i n th e c ro w n O f h is a m biti o n w h e n h e n ee d s to o p to n o n e T h u s w e are prese n ted w ith a n e xt ra o rd i n a ry m ixt u re O f g e n i u s a n d d i ss i mu l a ti o n O f su av i t y a n d r e c k l essn e ss R o u n d t h i s c e n t ra l fi g u re S h a k sp e re h as w o ve n a t ribe O f m i n o r fi gu res a ll c a lc u l a t ed to b ri ng o u t th e nd r n n n n a i c i a l c ct e i n t t ro n g e r e li e f h c u i g h ar a r o s r T e p p c raft O f R ic h ard a re c o n t rast ed w it h th e o pe n n ess a n d t ru stfu l n e ss O f h is b ro t h e rs Th e re l a ti v es O f th e Q uee n to o t h o u g h g reed y an d se lfi sh a re c o n fid i n g a n d u n su s pi c i o us T h e cli m a x O f m i sp l a c e d t ru st i s e x h ibit e d i n th e e rso n o f H as ti n g s : u n w a rn ed a li k e by t h e fe ars o f L o rd p S ta n l ey an d th e fa ll o f th e Q uee n s re l a ti v e s c o n fi d en t th a t ” “ l o v es h i m w e ll h e d eem s h i m se l f so fa r h is R ic h a rd t ru st ed fri en d t h at h e a ct u a lly spe ak s o n h i s b eh al f w h il e R ic h a rd i s p l an n i n g h is d e st ru cti o n B u t th e m o st e ffe cti v e fo il to R ic h a rd a m o n g th e m a l e c h aract e rs i s p e rh a p s fo u n d i n B u c k i n gh a m h is c u n n i n g a n d u n sc ru p u lo u s t o o l w h o i s a n i m a ge O f w h a t G l o st e r m i g h t h av e b ee n d e p r i v e d o f h i s g rea te r me n ta l po w e rs W e se e me rest c raft in th e p l a ce o f R ic h a rd s u ic k e c e ti i m l e a d ro it n e ss a n d se lfi sh r o n s q p p p g ree d i n pl a c e o f g reat a m biti o n T O c o m p l e te th e m a l e c h a ra cte rs o f th e p i ec e w e h av e th e po rt ra its o f th e yo u t h fu l e a r n s s w a ar i c e ic e e t c e t h h n a r s a ro a h o a r e h e t t p p pp i n t e re st to be fo u n d i n th e p l ay T h e a u th o r d e p icts t h em w it h t h e m o s t a ffe cti o n at e c a re c o n t ras ti n g t h e m o d e s ty a n d cl e a r s i g h t ed n e ss o f th e y o u t h fu l P ri n c e o f W a l e s w it h th e pe rt n e ss a n d re ady w i t O f th e littl e D u k e o f Y o rk N e v e rth e l e ss it w as o n th e w o me n o f th e d ra m a t h a t S h a k spe re c h i e fl y d e pe n d e d to em ph asi se h is c e n t ral c re a ti o n an d to A n n e E li z abe t h an d M a rg a re t w e mu st l o o k .
,
.
'
,
.
,
.
.
,
,
.
’
,
,
,
.
,
,
,
.
’
,
.
,
.
,
-
.
a
,
,
,
2 96
N o c te s S ka é spe r i a nw
.
c h a ract e rs i s st ro n g en o u gh to c o u n te rb a l an c e th e e xt rao rd i n a ry n a tu re o f th e h e ro i f w e m ay ca ll h i m so H e b ri ng s t h e re fo re be fo re u s a n e v e n m o re fo rcibl e an ti t h esi s I n M a rga re t o n ly w e h av e a c h ara ct e r po i n t by n t t h e c o m l eme n t to t h a t O f R ic h a rd s : h i s h o i c r i y o s p p yp t o h e r re ga rd l e ss o p e n n e ss o f sp ee c h ; to h i s b lo o d t h i rst i n e ss h e r c a re l e ssn e ss O f d e a t h ; t o h i s biti n g sa rc a s m h e r s a s i o n a t e c u r s e s e i e a i s b l d y c o n c e i e m k i g h o l v n T a d d o f p h e r w h o h ad fa ll e n u n d e r t h e c u rse O f Y o rk h e a p h e r c u rses i n t u rn u po n t h at h a t ed H o u se a nd se e sa ted to h e r pa ss i o n a te d esi re fo r r ev e n g e S h a k s p e re t h e fu ll h a s o ft e n b ee n c e n su re d fo r th e e x a gg e ra ti o n a n d re pe ti ti o n O f h e r c u rses a n d t h ey h a v e b ee n u n fav o u ra bl y c o n t ra st e d w it h th e c u rse o f th e aged D u c h ess o f Y o rk i n A ct I V S c iv B u t t h i s v e ry e x aggera ti o n an d repetiti o n h av e t h e i r p u r po se i n th e d ev e l o p me n t o f t h e po e t s i d e a H e w i s h e s t o b ri n g o u t th e fa ct t h a t th e m o re se c re t a re me n s c ri m e s th e m o re v i sibl e a n d n o t o ri o u s i s th e pu n i sh me n t th a t o v e rt a k e s t h em an d th e l o n ge r it i s d e layed th e m o re t e rribl e is t h e v e n ge a n c e T h u s w e se e th e Obje ct s O f M a rg are t s c u rs e s d e st ro y e d o n e b y o n e w h il e t h o s e t h a t a re l e ft li v e o n i n fa n ci e d se c u rity u n til t h e w o rs t an d m o s t h at e d O f t h em a ll i s l o st i n a st o rm O f i g n o m i n y a n d M a rga re t s d re ad fu l p ro ph e cy is fu lfill e d i n a ll i ts d i res t fo re b o d i n gs h is
,
.
,
,
.
’
,
,
.
,
,
,
,
.
,
.
,
.
’
.
’
,
.
’
,
,
,
’
.
E
TH E
EN D
.
.
D
.
B EW L E Y
.
wi mhzster
dialing:
RO LL
OF 1
C H H awk in s J T H D u B o ulay
Rev
.
.
.
.
.
Rev
Mr
.
.
.
F M o rsh e ad .
H H M l e an J y W t i K k a n s J E A A lth am M J D ru i tt H R Weh be W T R Price O T P erk i n s G St J M i l d may C B Th ri ng W W i ll i a m s J A O A cwo rth F A T P h i ll i ps G L H awk er F B P Wri g h t E R P Mo o n E M Black bu rn R P T h o m pso n E T Co o k R B A I ric hard F Watki n s F R B en so n V n n E i c t e J D S M argo lio uth .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
’
.
.
.
.
.
.
.
.
874
.
.
h a k s r t t g p
g
at ing
M EM B E RS 1
,
88%
A W C San ders C A B ray .
.
.
.
.
C J B illso n W H D avid .
.
.
.
F A Ke r E D S V i dal C H S mith H P Th o mpso n E Rall i A R S h arpe G A K i ng .
.
.
.
.
.
.
.
.
.
.
.
.
.
W B Cro ft T Y Pearso n A H T re vo r A M aude A Fo rt C H Turner H J H ardy k E B u c l e J A M R T h ac k we ll C B Lu cas E N Po well G J Tal bo t E W H u n ti ng fo rd r E e J y E D R i tch i e Mr
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
2
R o ll
8 9
C H G H .
.
.
.
M e m b e rs f
o
,
1 87 4
— 1 887
.
G riffi th T re me n he e re
E J T urner
Mr
.
.
.
C rr a J A H C ru icksh an k v C h e ll i r a e J H R K i ng do n M J Swab e y L A B igg e W M How C T T h ri n g F A H aydo n E C R e ad L l J M Be bb L T Th ri ng r T a c e J y C C Deven i sh W
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
A A E th e lsto n E D M ac lag an G S M S mi th .
.
.
.
.
.
.
R W H C o bb
G
.
.
.
C
M acph erso n
C
Mr
.
Mr
.
Ro b erts H J H ardy .
.
R Wate rfie ld W B usby R T A M o ney K yrle H E B i lbro ug h W G D e B urg h C D o dg so n rn n h o o T t G J H H D Beaum o nt M F Davies R Cri pps W u ll G J y H Ly o n E D B ewl ey -
.
.
.
.
.
.
.
B ag sh awe
B o wl e s Lan ce H
.
.
A J
.
.
Fo rt 1
.
.
B :
P H u mph ry F R S tai ner
.
.
.
.
.
.
.
.
.
.
.
.
.
L F M o rsh e ad .
.
N ote t o p ag e
f Me
The E d i tor i n N o ! i n th e
b
a se nc e o f
to
“
man
a
o
f th e
me la n c h o ly
y Obj
h o we ve r.
pp
o n th a t
h e im
a rt o f a
mine
“
mo re
g
p
erso na te d
”
.
The
c o n te m
g
e xc e
p
assa
man
pl
y
pt th
ge
pl
a tio ns o f
gi
ve n
th e re in s
T h ere is
.
sim
th at c o n te m o rarie s se e me d to h ave
by
.
wri te r has
Le ar,
e n tire
p
su nd ry
p
th e
to S hak s e re s ac ti n
p
K in
wr i te r
'
o wn , c o m o un de d o f
ind e e d th e
n o te wo rth y
g
usio ns
p
of
e c ts. an d
n o w an d a a in a
es
.
ll
on o f a
e su
r
h e was fo n d as
bo o ks an d re fe re nc e s
l re c o lle c ti gg ti su ppo t th
t o a fan c ifu
cor r ec t i on o
n o th in
e tra d itio n tha t
must b e
ac c e
es, e xtra c te d
my
l
pt d e
fro m
I t is.
tra ve s
.
me asure d S ha ks
th e stan da rd o f th e ac to r th an the
g
p
o e t,
an d
p
e re
wi th
ro val
C H .
.
H
.
