Biographical Essays.

by Thomas de Quincey.

SHAKSPEARE.

[Endnote: 1]

William Shakspeare, the protagonist on the great arena of modern poetry, and the glory of the human intellect, was born at Stratford-upon-Avon, in the county of Warwick, in the year 1564, and upon some day, not precisely ascertained, in the month of April. It is certain that he was baptized on the 25th; and from that fact, combined with some shadow of a tradition, Malone has inferred that he was born on the 23d. There is doubtless, on the one hand, no absolute necessity deducible from law or custom, as either operated in those times, which obliges us to adopt such a conclusion; for children might be baptized, and were baptized, at various distances from their birth: yet, on the other hand, the 23d is as likely to have been the day as any other; and more likely than any earlier day, upon two arguments. First, because there was probably a tradition floating in the seventeenth century, that Shakspeare died upon his birthday: now it is beyond a doubt that he died upon the 23d of April.

Secondly, because it is a reasonable presumption, that no parents, living in a simple community, tenderly alive to the pieties of household duty, and in an age still clinging reverentially to the ceremonial ordinances of religion, would much delay the adoption of their child into the great family of Christ. Considering the extreme frailty of an infant's life during its two earliest years, to delay would often be to disinherit the child of its Christian privileges; privileges not the less eloquent to the feelings from being profoundly mysterious, and, in the English church, forced not only upon the attention, but even upon the eye of the most thoughtless. According to the discipline of the English church, the unbaptized are buried with "maimed rites," shorn of their obsequies, and sternly denied that "sweet and solemn farewell," by which otherwise the church expresses her final charity with all men; and not only so, but they are even _locally_ separated and sequestrated. Ground the most hallowed, and populous with Christian burials of households,

"That died in peace with one another.

Father, sister, son, and brother,"

opens to receive the vilest malefactor; by which the church symbolically expresses her maternal willingness to gather back into her fold those even of her flock who have strayed from her by the most memorable aberrations; and yet, with all this indulgence, she banishes to unhallowed ground the innocent bodies of the unbaptized. To them and to suicides she turns a face of wrath. With this gloomy fact offered to the very external senses, it is difficult to suppose that any parents would risk their own reproaches, by putting the fulfilment of so grave a duty on the hazard of a convulsion fit. The case of royal children is different; their baptisms, it is true, were often delayed for weeks but the household chaplains of the palace were always at hand, night and day, to baptize them in the very agonies of death.

[Endnote: 3] We must presume, therefore, that William Shakspeare was born on some day very little anterior to that of his baptism; and the more so because the season of the year was lovely and genial, the 23d of April in 1564, corresponding in fact with what we now call the 3d of May, so that, whether the child was to be carried abroad, or the clergyman to be summoned, no hindrance would arise from the weather. One only argument has sometimes struck us for supposing that the 22d might be the day, and not the 23d; which is, that Shakspeare's sole granddaughter, Lady Barnard, was married on the 22d of April, 1626, ten years exactly from the poet's death; and the reason for choosing this day _might_ have had a reference to her ill.u.s.trious grandfather's birthday, which, there is good reason for thinking, would be celebrated as a festival in the family for generations. Still this choice _may_ have been an accident, or governed merely by reason of convenience. And, on the whole, it is as well perhaps to acquiesce in the old belief, that Shakspeare was born and died on the 23d of April. We cannot do wrong if we drink to his memory on both 22d and 23d.

On a first review of the circ.u.mstances, we have reason to feel no little perplexity in finding the materials for a life of this transcendent writer so meagre and so few; and amongst them the larger part of doubtful authority. All the energy of curiosity directed upon this subject, through a period of one hundred and fifty years, (for so long it is since Betterton the actor began to make researches,) has availed us little or nothing. Neither the local traditions of his provincial birthplace, though sharing with London through half a century the honor of his familiar presence, nor the recollections of that brilliant literary circle with whom he lived in the metropolis, have yielded much more than such an outline of his history, as is oftentimes to be gathered from the penurious records of a grave-stone. That he lived, and that he died, and that he was "a little lower than the angels;"--these make up pretty nearly the amount of our undisputed report. It may be doubted, indeed, whether at this day we arc as accurately acquainted with the life of Shakspeare as with that of Chaucer, though divided from each other by an interval of two centuries, and (what should have been more effectual towards oblivion) by the wars of the two roses. And yet the traditional memory of a rural and a sylvan region, such as Warwickshire at that time was, is usually exact as well as tenacious; and, with respect to Shakspeare in particular, we may presume it to have been full and circ.u.mstantial through the generation succeeding to his own, not only from the curiosity, and perhaps something of a scandalous interest, which would pursue the motions of one living so large a part of his life at a distance from his wife, but also from the final reverence and honor which would settle upon the memory of a poet so predominently successful; of one who, in a s.p.a.ce of five and twenty years, after running a bright career in the capital city of his native land, and challenging notice from the throne, had retired with an ample fortune, created by his personal efforts, and by labors purely intellectual.

How are we to account, then, for that deluge, as if from Lethe, which has swept away so entirely the traditional memorials of one so ill.u.s.trious? Such is the fatality of error which overclouds every question connected with Shakspeare, that two of his princ.i.p.al critics, Steevens and Malone, have endeavored to solve the difficulty by cutting it with a falsehood. They deny in effect that he _was_ ill.u.s.trious in the century succeeding to his own, however much he has since become so. We shall first produce their statements in their own words, and we shall then briefly review them.

Steevens delivers _his_ opinion in the following terms: "How little Shakspeare was once read, may be understood from Tate, who, in his dedication to the altered play of King Lear, speaks of the original as an obscure piece, recommended to his notice by a friend; and the author of the Tatler, having occasion to quote a few lines out of Macbeth, was content to receive them from Davenant's alteration of that celebrated drama, in which almost every original beauty is either awkwardly disguised or arbitrarily omitted." Another critic, who cites this pa.s.sage from Steevens, pursues the hypothesis as follows: "In fifty years after his death, Dryden mentions that he was then become _a little obsolete_.

In the beginning of the last century, Lord Shaftesbury complains of his _rude unpolished style, and his antiquated phrase and wit_. It is certain that, for nearly a hundred years after his death, partly owing to the immediate revolution and rebellion, and partly to the licentious taste encouraged in Charles II's time, and perhaps partly to the incorrect state of his works, he was ALMOST ENTIRELY NEGLECTED." This critic then goes on to quote with approbation the opinion of Malone,--"that if he had been read, admired, studied, and imitated, in the same degree as he is now, the enthusiasm of some one or other of his admirers in the last age would have induced him to make some inquiries concerning the history of his theatrical career, and the anecdotes of his private life." After which this enlightened writer re-affirms and clenches the judgment he has quoted, by saying,--"His admirers, however, _if he had admirers in that age_, possessed no portion of such enthusiasm."

It may, perhaps, be an instructive lesson to young readers, if we now show them, by a short sifting of these confident dogmatists, how easy it is for a careless or a half-read man to circulate the most absolute falsehoods under the semblance of truth; falsehoods which impose upon himself as much as they do upon others. We believe that not one word or ill.u.s.tration is uttered in the sentences cited from these three critics, which is not _virtually_ in the very teeth of the truth.

To begin with Mr. Nahum Tate. This poor grub of literature, if he did really speak of Lear as "an _obscure_ piece, recommended to his notice by a friend," of which we must be allowed to doubt, was then uttering a conscious falsehood. It happens that Lear was one of the few Shakspearian dramas which had kept the stage unaltered. But it is easy to see a mercenary motive in such an artifice as this. Mr. Nahum Tate is not of a cla.s.s of whom it can be safe to say that they are "well known:" they and their desperate tricks are essentially obscure, and good reason he has to exult in the felicity of such obscurity; for else this same vilest of travesties, Mr. Nahum's Lear, would consecrate his name to everlasting scorn. For himself, he belonged to the age of Dryden rather than of Pope: he "flourished," if we can use such a phrase of one who was always withering, about the era of the Revolution; and his Lear, we believe, was arranged in the year 1682. But the family to which he belongs is abundantly recorded in the Dunciad, and his own name will be found amongst its catalogues of heroes.

With respect to _the author of the Tatler_, a very different explanation is requisite. Steevens means the reader to understand Addison; but it does not follow that the particular paper in question was from his pen. Nothing, however, could be more natural than to quote from the common form of the play as then in possession of the stage. It was _there_, beyond a doubt, that a fine gentleman living upon town, and not professing any deep scholastic knowledge of literature, (a light in which we are always to regard the writers of the Spectator, Guardian, &c.,) would be likely to have learned anything he quoted from Macbeth. This we say generally of the writers in those periodical papers; but, with reference to Addison in particular, it is time to correct the popular notion of his literary character, or at least to mark it by severer lines of distinction. It is already pretty well known, that Addison had no very intimate acquaintance with the literature of his own country. It is known, also, that he did not think such an acquaintance any ways essential to the character of an elegant scholar and _litterateur_. Quite enough he found it, and more than enough for the time he had to spare, if he could maintain a tolerable familiarity with the foremost Latin poets, and a very slender one indeed with the Grecian. _How_ slender, we can see in his "Travels." Of modern authors, none as yet had been published with notes, commentaries, or critical collations of the text; and, accordingly, Addison looked upon all of them, except those few who professed themselves followers in the retinue and equipage of the ancients, as creatures of a lower race. Boileau, as a mere imitator and propagator of Horace, he read, and probably little else amongst the French cla.s.sics. Hence it arose that he took upon himself to speak sneeringly of Ta.s.so. To this, which was a bold act for his timid mind, he was emboldened by the countenance of Boileau. Of the elder Italian authors, such as Ariosto, and, _a fortiori_, Dante, be knew absolutely nothing. Pa.s.sing to our own literature, it is certain that Addison was profoundly ignorant of Chaucer and of Spenser. Milton only,--and why? simply because he was a brilliant scholar, and stands like a bridge between the Christian literature and the Pagan,--Addison had read and esteemed. There was also in the very const.i.tution of Milton's mind, in the majestic regularity and planetary solemnity of its _epic_ movements, something which he could understand and appreciate. As to the meteoric and incalculable eccentricities of the _dramatic_ mind, as it displayed itself in the heroic age of our drama, amongst the t.i.tans of 1590-1630, they confounded and overwhelmed him.

In particular, with regard to Shakspeare, we shall now proclaim a discovery which we made some twenty years ago. We, like others, from seeing frequent references to Shakspeare in the Spectator, had acquiesced in the common belief, that although Addison was no doubt profoundly unlearned in Shakspeare's language, and thoroughly unable to do him justice, (and this we might well a.s.sume, since his great rival Pope, who had expressly studied Shakspeare, was, after all, so memorably deficient in the appropriate knowledge,)--yet, that of course he had a vague popular knowledge of the mighty poet's cardinal dramas. Accident only led us into a discovery of our mistake. Twice or thrice we had observed, that if Shakspeare were quoted, that paper turned out not to be Addison's; and at length, by express examination, we ascertained the curious fact, that Addison has never in one instance quoted or made any reference to Shakspeare. But was this, as Steevens most disingenuously pretends, to be taken as an exponent of the public feeling towards Shakspeare? Was Addison's neglect representative of a general neglect? If so, whence came Rowe's edition, Pope's, Theobald's, Sir Thomas Hanmer's, Bishop Warburton's, all upon the heels of one another? With such facts staring him in the face, how shameless must be that critic who could, in support of such a thesis, refer to " _the author of the Tatler_" contemporary with all these editors. The truth is, Addison was well aware of Shakspeare's hold on the popular mind; too well aware of it. The feeble const.i.tution of the poetic faculty, as existing in himself, forbade his sympathizing with Shakspeare; the proportions were too colossal for his delicate vision; and yet, as one who sought popularity himself, he durst not shock what perhaps he viewed as a national prejudice.

Those who have happened, like ourselves, to see the effect of pa.s.sionate music and "deep-inwoven harmonics" upon the feeling of an idiot, we may conceive what we mean. Such music does not utterly revolt the idiot; on the contrary, it has a strange but a horrid fascination for him; it alarms, irritates, disturbs, makes him profoundly unhappy; and chiefly by unlocking imperfect glimpses of thoughts and slumbering instincts, which it is for his peace to have entirely obscured, because for him they can be revealed only partially, and with the sad effect of throwing a baleful gleam upon his blighted condition. Do we mean, then, to compare Addison with an idiot? Not generally, by any means. n.o.body can more sincerely admire him where he was a man of real genius, viz., in his delineations of character and manners, or in the exquisite delicacies of his humor. But a.s.suredly Addison, as a poet, was amongst the sons of the feeble; and between the authors of Cato and of King Lear there was a gulf never to be bridged over. [Endnote: 4]

But Dryden, we are told, p.r.o.nounced Shakspeare already in his day _"a little obsolete."_ Here now we have wilful, deliberate falsehood. _Obsolete_, in Dryden's meaning, does not imply that he was so with regard to his popularity, (the question then at issue,) but with regard to his diction and choice of words. To cite Dryden as a witness for any purpose against Shakspeare,--Dryden, who of all men had the most ransacked wit and exhausted language in celebrating the supremacy of Shakspeare's genius, does indeed require as much shamelessness in feeling as mendacity in principle.

But then Lord Shaftesbury, who may be taken as half way between Dryden and Pope, (Dryden died in 1700, Pope was then twelve years old, and Lord S. wrote chiefly, we believe, between 1700 and 1710,) "complains," it seems, "of his rude unpolished style, and his antiquated phrase and wit." What if he does? Let the whole truth be told, and then we shall see how much stress is to be laid upon such a judgment. The second Lord Shaftesbury, the author of the Characteristics, was the grandson of that famous political agitator, the Chancellor Shaftesbury, who pa.s.sed his whole life in storms of his own creation. The second Lord Shaftesbury was a man of crazy const.i.tution, querulous from ill health, and had received an eccentric education from his eccentric grandfather. He was practised daily in _talking_ Latin, to which afterwards he added a competent study of the Greek; and finally he became unusually learned for his rank, but the most absolute and undistinguishing pedant that perhaps literature has to show. He sneers continually at the regular built academic pedant; but he himself, though no academic, was essentially the very impersonation of pedantry. No thought however beautiful, no image however magnificent, could conciliate his praise as long as it was clothed in English; but present him with the most trivial common-places in Greek, and he unaffectedly fancied them divine; mistaking the pleasurable sense of his own power in a difficult and rare accomplishment for some peculiar force or beauty in the pa.s.sage.

Such was the outline of his literary taste. And was it upon Shakspeare only, or upon him chiefly, that he lavished his pedantry? Far from it. He attacked Milton with no less fervor; he attacked Dryden with a thousand times more. Jeremy Taylor he quoted only to ridicule; and even Locke, the confidential friend of his grandfather, he never alludes to without a sneer. As to Shakspeare, so far from Lord Shaftesbury's censures arguing his deficient reputation, the very fact of his noticing him at all proves his enormous popularity; for upon system he noticed those only who ruled the public taste. The insipidity of his objections to Shakspeare may be judged from this, that he comments in a spirit of absolute puerility upon the name _Desdemona_, as though intentionally formed from the Greek word for _superst.i.tion_.

In fact, he had evidently read little beyond the list of names in Shakspeare; yet there is proof enough that the irresistible beauty of what little he _had_ read was too much for all his pedantry, and startled him exceedingly; for ever afterwards he speaks of Shakspeare as one who, with a little aid from Grecian sources, really had something great and promising about him. As to modern authors, neither this Lord Shaftesbury nor Addison read any thing for the latter years of their lives but Bayle's Dictionary.

And most of the little scintillations of erudition, which may be found in the notes to the Characteristics, and in the Essays of Addison, are derived, almost without exception, and uniformly without acknowledgment, from Bayle. [Endnote: 5]

Finally, with regard to the sweeping a.s.sertion, that "for nearly a hundred years after his death Shakspeare was almost entirely neglected," we shall meet this scandalous falsehood, by a rapid view of his fortunes during the century in question. The tradition has always been, that Shakspeare was honored by the especial notice of Queen Elizabeth, as well as by that of James I. At one time we were disposed to question the truth of this tradition; but that was for want of having read attentively the lines of Ben Jonson to the memory of Shakspeare, those generous lines which have so absurdly been taxed with faint praise. Jonson could make no mistake on this point; he, as one of Shakspeare's familiar companions, must have witnessed at the very time, and accompanied with friendly sympathy, every motion of royal favor towards Shakspeare. Now he, in words which leave no room for doubt, exclaims,

"Sweet swan of Avon, what a sight it were To see thee in our waters yet appear; And make those flights upon the banks of Thames, _That so did take Eliza and our James."_

These princes, then, _were_ taken, were fascinated, with some of Shakspeare's dramas. In Elizabeth the approbation would probably be sincere. In James we can readily suppose it to have been a.s.sumed; for he was a pedant in a different sense from Lord Shaftesbury; not from undervaluing modern poetry, but from caring little or nothing for any poetry, although he wrote about its mechanic rules. Still the royal _imprimatur_ would be influential and serviceable no less when offered hypocritically than in full sincerity. Next let us consider, at the very moment of Shakspeare's death, who were the leaders of the British youth, the _principes juventutis_, in the two fields, equally important to a great poet's fame, of rank and of genius. The Prince of Wales and John Milton; the first being then about sixteen years old, the other about eight. Now these two great powers, as we may call them, these presiding stars over all that was English in thought and action, were both impa.s.sioned admirers of Shakspeare. Each of them counts for many thousands. The Prince of Wales [Endnote: 6] had learned to appreciate Shakspeare, not originally from reading him, but from witnessing the court representations of his plays at Whitehall. Afterwards we know that he made Shakspeare his closet companion, for he was reproached with doing so by Milton. And we know also, from the just criticism p.r.o.nounced upon the character and diction of Caliban by one of Charles's confidential counsellors, Lord Falkland, that the king's admiration of Shakspeare had impressed a determination upon the court reading. As to Milton, by double prejudices, puritanical and cla.s.sical, his mind had been preoccupied against the full impressions of Shakspeare. And we know that there is such a thing as keeping the sympathies of love and admiration in a dormant state, or state of abeyance; an effort of self-conquest realized in more cases than one by the ancient fathers, both Greek and Latin, with regard to the profane cla.s.sics. Intellectually they admired, and would not belie their admiration; but they did not give their hearts cordially, they did not abandon themselves to their natural impulses. They averted their eyes and weaned their attention from the dazzling object. Such, probably, was Milton's state of feeling towards Shakspeare after 1642, when the theatres were suppressed, and the fanatical fervor in its noontide heat. Yet even then he did not belie his reverence intellectually for Shakspeare; and in his younger days we know that he had spoken more enthusiastically of Shakspeare, than he ever did again of any uninspired author. Not only did he address a sonnet to his memory, in which he declares that kings would wish to die, if by dying they could obtain such a monument in the hearts of men; but he also speaks of him in his _Il Penseroso_, as the tutelary genius of the English stage.

In this transmission of the torch (greek: lampadophoria) Dryden succeeds to Milton; he was born nearly thirty years later; about thirty years they were contemporaries; and by thirty years, or nearly, Dryden survived his great leader. Dryden, in fact, lived out the seventeenth century. And we have now arrived within nine years of the era, when the critical editions started in hot succession to one another. The names we have mentioned were the great influential names of the century. But of inferior homage there was no end. How came Betterton the actor, how came Davenant, how came Rowe, or Pope, by their intense (if not always sound) admiration for Shakspeare, unless they had found it fuming upwards like incense to the Pagan deities in ancient times, from altars erected at every turning upon all the paths of men?

But it is objected that inferior dramatists were sometimes preferred to Shakspeare; and again, that vile travesties of Shakspeare were preferred to the authentic dramas. As to the first argument, let it be remembered, that if the saints of the chapel are always in the same honor, because _there_ men are simply discharging a duty, which once due will be due for ever; the saints of the theatre, on the other hand, must bend to the local genius, and to the very reasons for having a theatre at all. Men go thither for amus.e.m.e.nt. This is the paramount purpose, and even acknowledged merit or absolute superiority must give way to it. Does a man at Paris expect to see Moliere reproduced in proportion to his admitted precedency in the French drama? On the contrary, that very precedency argues such a familiarization with his works, that those who are in quest of relaxation will reasonably prefer any recent drama to that which, having lost all its novelty, has lost much of its excitement. We speak of ordinary minds; but in cases of _public_ entertainments, deriving part of their power from scenery and stage pomp, novelty is for all minds an essential condition of attraction. Moreover, in some departments of the comic, Beaumont and Fletcher, when writing in combination, really had a freedom and breadth of manner which excels the comedy of Shakspeare. As to the altered Shakspeare as taking precedency of the genuine Shakspeare, no argument can be so frivolous. The public were never allowed a choice; the great majority of an audience even now cannot be expected to carry the real Shakspeare in their mind, so as to pursue a comparison between that and the alteration. Their comparisons must be exclusively amongst what they have opportunities of seeing; that is, between the various pieces presented to them by the managers of theatres. Further than this, it is impossible for them to extend their office of judging and collating; and the degenerate taste which subst.i.tuted the caprices of Davenant, the rants of Dryden, or the filth of Tate, for the jewellery of Shakspeare, cannot with any justice be charged upon the public, not one in a thousand of whom was furnished with any means of comparing, but exclusively upon those (viz., theatrical managers,) who had the very amplest. Yet even in excuse for _them_ much may be said. The very length of some plays compelled them to make alterations. The best of Shakspeare's dramas, King Lear, is the least fitted for representation; and, even for the vilest alteration, it ought in candor to be considered that possession is nine points of the law. He who would not have introduced, was often obliged to retain.

Finally, it is urged, that the small number of editions through which Shakspeare pa.s.sed in the seventeenth century, furnishes a separate argument, and a conclusive one against his popularity. We answer, that, considering the bulk of his plays collectively, the editions were _not_ few. Compared with any known case, the copies sold of Shakspeare were quite as many as could be expected under the circ.u.mstances. Ten or fifteen times as much consideration went to the purchase of one great folio like Shakspeare, as would attend the purchase of a little volume like Waller or Donne.

Without reviews, or newspapers, or advertis.e.m.e.nts, to diffuse the knowledge of books, the progress of literature was necessarily slow, and its expansion narrow. But this is a topic which has always been treated unfairly, not with regard to Shakspeare only, but to Milton, as well as many others. The truth is, we have not facts enough to guide us; for the number of editions often tells nothing accurately as to the number of copies. With respect to Shakspeare it is certain, that, had his masterpieces been gathered into small volumes, Shakspeare would have had a most extensive sale. As it was, there can be no doubt, that from his own generation, throughout the seventeenth century, and until the eighteenth began to accommodate, not any greater popularity in _him_, but a greater taste for reading in the public, his fame never ceased to be viewed as a national trophy of honor; and the most ill.u.s.trious men of the seventeenth century were no whit less fervent in their admiration than those of the eighteenth and the nineteenth, either as respected its strength and sincerity, or as respected its open profession. [Endnote: 7]

It is therefore a false notion, that the general sympathy with the merits of Shakspeare ever beat with a languid or intermitting pulse. Undoubtedly, in times when the functions of critical journals and of newspapers were not at hand to diffuse or to strengthen the impressions which emanated from the capital, all opinions must have travelled slowly into the provinces. But even then, whilst the perfect organs of communication were wanting, indirect subst.i.tutes were supplied by the necessities of the times, or by the instincts of political zeal. Two channels especially lay open between the great central organ of the national mind, and the remotest provinces. Parliaments were occasionally summoned, (for the judges' circuits were too brief to produce much effect,) and during their longest suspensions, the n.o.bility, with large retinues, continually resorted to the court. But an intercourse more constant and more comprehensive was maintained through the agency of the two universities. Already, in the time of James I., the growing importance of the gentry, and the consequent birth of a new interest in political questions, had begun to express itself at Oxford, and still more so at Cambridge. Academic persons stationed themselves as sentinels at London, for the purpose of watching the court and the course of public affairs. These persons wrote letters, like those of the celebrated Joseph Mede, which we find in Ellis's Historical Collections, reporting to their fellow-collegians all the novelties of public life as they arose, or personally carried down such reports, and thus conducted the general feelings at the centre into lesser centres, from which again they were diffused into the ten thousand parishes of England; for, (with a very few exceptions in favor of poor benefices, Welch or c.u.mbrian,) every parish priest must unavoidably have spent his three years at one or other of the English universities. And by this mode of diffusion it is, that we can explain the strength with which Shakspeare's thoughts and diction impressed themselves from a very early period upon the national literature, and even more generally upon the national thinking and conversation.[Endnote: 8]

The question, therefore, revolves upon us in threefold difficulty--How, having stepped thus prematurely into this inheritance of fame, leaping, as it were, thus abruptly into the favor alike of princes and the enemies of princes, had it become possible that in his native place, (honored still more in the final testimonies of his preference when founding a family mansion,) such a man's history, and the personal recollections which cling so affectionately to the great intellectual potentates who have recommended themselves by gracious manners, could so soon and so utterly have been obliterated?

Malone, with childish irreflection, ascribes the loss of such memorials to the want of enthusiasm in his admirers. Local researches into private history had not then commenced. Such a taste, often petty enough in its management, was the growth of after ages. Else how came Spenser's life and fortunes to be so utterly overwhelmed in oblivion? No poet of a high order could be more popular.

The answer we believe to be this: Twenty-six years after Shakspeare's death commenced the great parliamentary war. This it was, and the local feuds arising to divide family from family, brother from brother, upon which we must charge the extinction of traditions and memorials, doubtless abundant up to that era. The parliamentary contest, it will be said, did not last above three years; the king's standard having been first raised at Nottingham in August, 1642, and the battle of Naseby (which terminated the open warfare) having been fought in June, 1645. Or even if we extend its duration to the surrender of the last garrison, that war terminated in the spring of 1646. And the brief explosions of insurrection or of Scottish invasion, which occurred on subsequent occasions, were all locally confined, and none came near to Warwickshire, except the battle of Worcester, more than five years after. This is true; but a short war will do much to efface recent and merely personal memorials. And the following circ.u.mstances of the war were even more important than the general fact.

First of all, the very mansion founded by Shakspeare became the military headquarters for the queen in 1644, when marching from the eastern coast of England to join the king in Oxford; and one such special visitation would be likely to do more serious mischief in the way of extinction, than many years of general warfare.

Secondly, as a fact, perhaps, equally important, Birmingham, the chief town of Warwickshire, and the adjacent district, the seat of our hardware manufactures, was the very focus of disaffection towards the royal cause. Not only, therefore, would this whole region suffer more from internal and spontaneous agitation, but it would be the more frequently traversed vindictively from without, and hara.s.sed by flying parties from Oxford, or others of the king's garrisons. Thirdly, even apart from the political aspects of Warwickshire, this county happens to be the central one of England, as regards the roads between the north and south; and Birmingham has long been the great central axis, [Endnote: 9] in which all the radii from the four angles of England proper meet and intersect. Mere accident, therefore, of local position, much more when united with that avowed inveteracy of malignant feeling, which was bitter enough to rouse a re-action of bitterness in the mind of Lord Clarendon, would go far to account for the wreck of many memorials relating to Shakspeare, as well as for the subversion of that quiet and security for humble life, in which the traditional memory finds its best _nidus_. Thus we obtain one solution, and perhaps the main one, of the otherwise mysterious oblivion which had swept away all traces of the mighty poet, by the time when those quiet days revolved upon England, in which again the solitary agent of learned research might roam in security from house to house, gleaning those personal remembrances which, even in the fury of civil strife, might long have lingered by the chimney corner. But the fierce furnace of war had probably, by its _local_ ravages, scorched this field of natural tradition, and thinned the gleaner's inheritance by three parts out of four. This, we repeat, may be one part of the solution to this difficult problem.

And if another is still demanded, possibly it may be found in the fact, hostile to the perfect consecration of Shakspeare's memory, that after all he was a player. Many a coa.r.s.e-minded country gentleman, or village pastor, who would have held his town glorified by the distinction of having sent forth a great judge or an eminent bishop, might disdain to cherish the personal recollections which surrounded one whom custom regarded as little above a mountebank, and the illiberal law as a vagabond. The same degrading appreciation attached both to the actor in plays and to their author. The contemptuous appellation of "play-book," served as readily to degrade the mighty volume which contained Lear and Hamlet, as that of "play-actor," or "player-man," has always served with the illiberal or the fanatical to dishonor the persons of Roscius or of Garrick, of Talma or of Siddons. n.o.body, indeed, was better aware of this than the n.o.ble-minded Shakspeare; and feelingly he has breathed forth in his sonnets this conscious oppression under which he lay of public opinion, unfavorable by a double t.i.tle to his own pretensions; for, being both dramatic author and dramatic performer, he found himself heir to a twofold opprobrium, and at an era of English society when the weight of that opprobrium was heaviest. In reality, there was at this period a collision of forces acting in opposite directions upon the estimation of the stage and scenical art, and therefore of all the ministers in its equipage. Puritanism frowned upon these pursuits, as ruinous to public morals; on the other hand, loyalty could not but tolerate what was patronized by the sovereign; and it happened that Elizabeth, James, and Charles I., were _all_ alike lovers and promoters of theatrical amus.e.m.e.nts, which were indeed more indispensable to the relief of court ceremony, and the monotony of aulic pomp, than in any other region of life. This royal support, and the consciousness that any brilliant success in these arts implied an unusual share of natural endowments, did something in mitigation of a scorn which must else have been intolerable to all generous natures.

But whatever prejudice might thus operate against the perfect sanct.i.ty of Shakspeare's posthumous reputation, it is certain that the splendor of his worldly success must have done much to obliterate that effect; his admirable colloquial talents a good deal, and his gracious affability still more. The wonder, therefore, will still remain, that Betterton, in less than a century from his death, should have been able to glean so little.

And for the solution of this wonder, we must throw ourselves chiefly upon the explanations we have made as to the parliamentary war, and the local ravages of its progress in the very district, of the very town, and the very house.

If further arguments are still wanted to explain this mysterious abolition, we may refer the reader to the following succession of disastrous events, by which it should seem that a perfect malice of misfortune pursued the vestiges of the mighty poet's steps. In 1613, the Globe theatre, with which he had been so long connected, was burned to the ground. Soon afterwards a great fire occurred in Stratford; and next, (without counting upon the fire of London, just fifty years after his death, which, however, would consume many an important record from periods far more remote,) the house of Ben Jonson, in which probably, as Mr. Campbell suggests, might be parts of his correspondence, was also burned. Finally, there was an old tradition that Lady Barnard, the sole grand-daughter of Shakspeare, had carried off many of his papers from Stratford, and these papers have never since been traced.

In many of the elder lives it has been a.s.serted, that John Shakspeare, the father of the poet, was a butcher, and in others that he was a woolstapler. It is now settled beyond dispute that he was a glover. This was his professed occupation in Stratford, though it is certain that, with this leading trade, from which he took his denomination, he combined some collateral pursuits; and it is possible enough that, as openings offered, he may have meddled with many. In that age, and in a provincial town, nothing like the exquisite subdivision of labor was attempted which we now see realized in the great cities of Christendom. And one trade is often found to play into another with so much reciprocal advantage, that even in our own days we do not much wonder at an enterprising man, in country places, who combines several in his own person.

Accordingly, John Shakspeare is known to have united with his town calling the rural and miscellaneous occupations of a farmer.

Meantime his avowed business stood upon a very different footing from the same trade as it is exercised in modern times. Gloves were in that age an article of dress more costly by much, and more elaborately decorated, than in our own. They were a customary present from some cities to the judges of a.s.size, and to other official persons; a custom of ancient standing, and in some places, we believe, still subsisting; and in such cases it is reasonable to suppose, that the gloves must originally have been more valuable than the trivial modern article of the same name. So also, perhaps, in their origin, of the gloves given at funerals. In reality, whenever the simplicity of an age makes it difficult to renew the parts of a wardrobe, except in capital towns of difficult access, prudence suggests that such wares should be manufactured of more durable materials; and, being so, they become obviously susceptible of more lavish ornament. But it will not follow, from this essential difference in the gloves of Shakspeare's age, that the glover's occupation was more lucrative. Doubtless he sold more costly gloves, and upon each pair had a larger profit, but for that very reason he sold fewer. Two or three gentlemen "of worship" in the neighborhood might occasionally require a pair of gloves, but it is very doubtful whether any inhabitant of Stratford would ever call for so mere a luxury.

The practical result, at all events, of John Shakspeare's various pursuits, does not appear permanently to have met the demands of his establishment, and in his maturer years there are indications still surviving that he was under a cloud of embarra.s.sment. He certainly lost at one time his social position in the town of Stratford; but there is a strong presumption, in _our_ construction of the case, that he finally retrieved it; and for this retrieval of a station, which he had forfeited by personal misfortunes or neglect, he was altogether indebted to the filial piety of his immortal son.

Meantime the earlier years of the elder Shakspeare wore the aspect of rising prosperity, however unsound might be the basis on which it rested. There can be little doubt that William Shakspeare, from his birth up to his tenth or perhaps his eleventh year, lived in careless plenty, and saw nothing in his father's house but that style of liberal house-keeping, which has ever distinguished the upper yeomanry and the rural gentry of England. Probable enough it is, that the resources for meeting this liberality were not strictly commensurate with the family income, but were sometimes allowed to entrench, by means of loans or mortgages, upon capital funds. The stress upon the family finances was perhaps at times severe; and that it was borne at all, must be imputed to the large and even splendid portion which John Shakspeare received with his wife.

This lady, for such she really was in an eminent sense, by birth as well as by connections, bore the beautiful name of Mary Arden, a name derived from the ancient forest district [Endnote: 10] of the country; and doubtless she merits a more elaborate notice than our slender materials will furnish. To have been _the mother of Shakspeare, _--how august a t.i.tle to the reverence of infinite generations, and of centuries beyond the vision of prophecy. A plausible hypothesis has been started in modern times, that the facial structure, and that the intellectual conformation, may be deduced more frequently from the corresponding characteristics in the mother than in the father. It is certain that no very great man has ever existed, but that his greatness has been rehea.r.s.ed and predicted in one or other of his parents. And it cannot be denied, that in the most eminent men, where we have had the means of pursuing the investigation, the mother has more frequently been repeated and reproduced than the father. We have known cases where the mother has furnished all the intellect, and the father all the moral sensibility; upon which a.s.sumption, the wonder ceases that _Cicero,_ Lord Chesterfield, and other brilliant men, who took the utmost pains with their sons, should have failed so conspicuously; for possibly the mothers had been women of excessive and even exemplary stupidity. In the case of Shakspeare, each parent, if we had any means of recovering their characteristics, could not fail to furnish a study of the most profound interest; and with regard to his mother in particular, if the modern hypothesis be true, and if we are indeed to deduce from her the stupendous intellect of her son, in that case she must have been a benefactress to her husband's family, beyond the promises of fairy land or the dreams of romance; for it is certain that to her chiefly this family was also indebted for their worldly comfort.

Mary Arden was the youngest daughter and the heiress of Robert Arden, of Wilmecote, Esq., in the county of Warwick. The family of Arden was even then of great antiquity. About one century and a quarter before the birth of William Shakspeare, a person bearing the same name as his maternal grandfather had been returned by the commissioners in their list of the Warwickshire gentry; he was there styled Robert Arden, Esq., of Bromich. This was in 1433, or the 12th year of Henry VI. In Henry VII.'s reign, the Ardens received a grant of lands from the crown; and in 1568, four years after the birth of William Shakspeare, Edward Arden, of the same family, was sheriff of the county. Mary Arden was, therefore, a young lady of excellent descent and connections, and an heiress of considerable wealth. She brought to her husband, as her marriage portion, the landed estate of Asbies, which, upon any just valuation, must be considered as a handsome dowry for a woman of her station. As this point has been contested, and as it goes a great way towards determining the exact social position of the poet's parents, let us be excused for sifting it a little more narrowly than might else seem warranted by the proportions of our present life. Every question which it can be reasonable to raise at all, it must be reasonable to treat with at least so much of minute research, as may justify the conclusions which it is made to support.

The estate of Asbies contained fifty acres of arable land, six of meadow, and a right of commonage. What may we a.s.sume to have been the value of its fee-simple? Malone, who allows the total fortune of Mary Arden to have been 110L 13s 4d., is sure that the value of Asbies could not have been more than one hundred pounds. But why?

Because, says he, the "average" rent of land at that time was no more than three shillings per acre. This we deny; but upon that a.s.sumption, the total yearly rent of fifty-six acres would be exactly eight guineas. [Endnote: 11] And therefore, in a.s.signing the value of Asbies at one hundred pounds, it appears that Malone must have estimated the land at no more than twelve years'

purchase, which would carry the value to 100L. 16s. "Even at this estimate," as the latest annotator [Endnote: 12] on this subject _justly_ observes, "Mary Arden's portion was a larger one than was usually given to a landed gentleman's daughter." But this writer objects to Malone's principle of valuation. "We find," says he, "that John Shakspeare also farmed the meadow of Tugton, containing sixteen acres, at the rate of eleven shillings per acre.

Now what proof has Mr. Malone adduced, that the acres of Asbies were not as valuable as those of Tugton? And if they were so, the former estate must have been worth between three and four hundred pounds." In the main drift of his objections we concur with Mr.

Campbell. But as they are liable to some criticism, let us clear the ground of all plausible cavils, and then see what will be the result. Malone, had he been alive, would probably have answered, that Tugton was a farm specially privileged by nature; and that if any man contended for so unusual a rent as eleven shillings an acre for land not known to him, the _onus probandi_ would lie upon _him_. Be it so; eleven shillings is certainly above the ordinary level of rent, but three shillings is below it. We contend, that for tolerably good land, situated advantageously, that is, with a ready access to good markets and good fairs, such as those of Coventry, Birmingham, Gloucester, Worcester, Shrewsbury,. &c., one n.o.ble might be a.s.sumed as the annual rent; and that in such situations twenty years' purchase was not a valuation, even in Elizabeth's reign, very unusual. Let us, however, a.s.sume the rent at only five shillings, and land at sixteen years' purchase. Upon this basis, the rent would be 14L, and the value of the fee simple 224L. Now, if it were required to equate that sum with its present value, a very operose [Endnote: 13] calculation might be requisite. But contenting ourselves with the gross method of making such equations between 1560 and the current century, that is, multiplying by five, we shall find the capital value of the estate to be eleven hundred and twenty pounds, whilst the annual rent would be exactly seventy. But if the estate had been sold, and the purchase-money lent upon mortgage, (the only safe mode of investing money at that time,) the annual interest would have reached 28L, equal to 140L of modern money; for mortgages in Elizabeth's age readily produced ten per cent.

A woman who should bring at this day an annual income of 140L to a provincial tradesman, living in a sort of _rus in urbe_, according to the simple fashions of rustic life, would a.s.suredly be considered as an excellent match. And there can be little doubt that Mary Arden's dowry it was which, for some ten or a dozen years succeeding to his marriage, raised her husband to so much social consideration in Stratford. In 1550 John Shakspeare is supposed to have first settled in Stratford, having migrated from some other part of Warwickshire. In 1557 he married Mary Arden; in 1565, the year subsequent to the birth of his son William, his third child, he was elected one of the aldermen; and in the year 1568 he became first magistrate of the town, by the t.i.tle of high bailiff. This year we may a.s.sume to have been that in which the prosperity of this family reached its zenith; for in this year it was, over and above the presumptions furnished by his civic honors, that he obtained a grant of arms from Clarencieux of the Heralds' College.

On this occasion he declared himself worth five hundred pounds derived from his ancestors. And we really cannot understand the right by which critics, living nearly three centuries from his time, undertake to know his affairs better than himself, and to tax him with either inaccuracy or falsehood. No man would be at leisure to court heraldic honors, when he knew himself to be embarra.s.sed, or apprehended that he soon might be so. A man whose anxieties had been fixed at all upon his daily livelihood would, by this chase after the armorial honors of heraldry, have made himself a b.u.t.t for ridicule, such as no fort.i.tude could enable him to sustain.

In 1568, therefore, when his son William would be moving through his fifth year, John Shakspeare, (now honored by the designation of _Master_,) would be found at times in the society of the neighboring gentry. Ten years in advance of this period he was already in difficulties. But there is no proof that these difficulties had then reached a point of degradation, or of memorable distress. The sole positive indications of his decaying condition are, that in 1578 he received an exemption from the small weekly a.s.sessment levied upon the aldermen of Stratford for the relief of the poor; and that in the following year, 1579, he is found enrolled amongst the defaulters in the payment of taxes. The latter fact undoubtedly goes to prove that, like every man who is falling back in the world, he was occasionally in arrears. Paying taxes is not like the honors awarded or the processions regulated by Clarencieux; no man is ambitious of precedency there; and if a laggard pace in that duty is to be received as evidence of pauperism, nine tenths of the English people might occasionally be cla.s.sed as paupers. With respect to his liberation from the weekly a.s.sessment, that may bear a construction different from the one which it has received. This payment, which could never have been regarded as a burthen, not amounting to five pounds annually of our present money, may have been held up as an exponent of wealth and consideration; and John Shakspeare may have been required to resign it as an honorable distinction, not suitable to the circ.u.mstances of an embarra.s.sed man. Finally, the fact of his being indebted to Robert Sadler, a baker, in the sum of five pounds, and his being under the necessity of bringing a friend as security for the payment, proves nothing at all. There is not a town in Europe, in which opulent men cannot be found that are backward in the payment of their debts. And the probability is, that Master Sadler acted like most people who, when they suppose a man to be going down in the world, feel their respect for him sensibly decaying, and think it wise to trample him under foot, provided only in that act of trampling they can squeeze out of him their own individual debt.

Like that terrific chorus in Spohr's oratorio of St. Paul, _"

Stone him to death "_ is the cry of the selfish and the illiberal amongst creditors, alike towards the just and the unjust amongst debtors.

It was the wise and beautiful prayer of Agar, "Give me neither poverty nor riches;" and, doubtless, for quiet, for peace, and the _latentis semita vita_, that is the happiest dispensation.

But, perhaps, with a view to a school of discipline and of moral fort.i.tude, it might be a more salutary prayer, "Give me riches _and_ poverty, and afterwards neither." For the transitional state between riches and poverty will teach a lesson both as to the baseness and the goodness of human nature, and will impress that lesson with a searching force, such as no borrowed experience ever can approach. Most probable it is that Shakspeare drew some of his powerful scenes in the Timon of Athens, those which exhibit the vileness of ingrat.i.tude and the impa.s.sioned frenzy of misanthropy, from his personal recollections connected with the case of his own father. Possibly, though a cloud of two hundred and seventy years now veils it, this very Master Sadler, who was so urgent for his five pounds, and who so little apprehended that he should be called over the coals for it in the Encyclopaedia Britannica, may have compensate for the portrait of that Lucullus who says of Timon: