From jigging veins of rhyming mother-wits, And such conceits as clownage keeps in pay, We'll lead you to the stately tent of war, Where you shall hear the Scythian Tamburlaine Threatening the world with high-astounding terms, And scourging kingdoms with his conquering sword.

The "jigging" refers to the doggerel verse of the earlier drama, and "clownage" to the crude horseplay intended to amuse the crowd. For the doggerel is subst.i.tuted blank verse, "Marlowe's mighty line" as it has ever since been called, since he was the first to use it with power; and for the "clownage" he promises a play of human interest revolving around a man whose sole ambition is for world power,--such ambition as stirred the English nation when it called halt to the encroachments of Spain, and announced that henceforth it must be reckoned with in the councils of the Continent. Though _Tamburlaine_ is largely rant and bombast, there is something in it which fascinates us like the sight of a wild bull on a rampage; for such was Timur, the hero of the first play to which we confidently give the name Elizabethan. In the latter part of the play the action grows more intense; there is a sense of tragedy, of impending doom, in the vain attempt of the hero to oppose fate. He can conquer a world but not his own griefs; he ends his triumphant career with a pathetic admission of failure: "And Tamburlaine, the Scourge of G.o.d, must die."

[Sidenote: MARLOWE'S DRAMAS]

The succeeding plays of Marlowe are all built on the same model; that is, they are one-man plays, and the man is dominated by a pa.s.sion for power.

_Doctor Faustus_, the most poetical of Marlowe's works, is a play representing a scholar who hungers for more knowledge, especially the knowledge of magic. In order to obtain it he makes a bargain with the devil, selling his soul for twenty-four years of unlimited power and pleasure. [Footnote: The story is the same as that of Goethe's _Faust_. It was a favorite story, or rather collection of stories, of the Middle Ages, and was first printed as the _History of Johann Faust_ in Frankfort, in 1587. Marlowe's play was written, probably, in the same year.] _The Jew of Malta_ deals with the l.u.s.t for such power as wealth gives, and the hero is the money-lender Barabas, a monster of avarice and hate, who probably suggested to Shakespeare the character of Shylock in _The Merchant of Venice_. The last play written by Marlowe was _Edward II_, which dealt with a man who might have been powerful, since he was a king, but who furnished a terrible example of weakness and petty tyranny that ended miserably in a dungeon.

After writing these four plays with their extraordinary promise, Marlowe, who led a wretched life, was stabbed in a tavern brawl. The splendid work which he only began (for he died under thirty years of age) was immediately taken up by the greatest of all dramatists, Shakespeare.

WILLIAM SHAKESPEARE (1564-1616)

"The name of Shakespeare is the greatest in all literature. No man ever came near to him in the creative power of the mind; no man ever had such strength and such variety of imagination." (Hallam)

"Shakespeare's mind is the horizon beyond which, at present, we do not see." (Emerson)

"I do not believe that any book or person or event in my life ever made so great an impression on me as the plays of Shakespeare. They appear to be the work of some heavenly genius." (Goethe)

Shakespeare's name has become a signal for enthusiasm. The tributes quoted above are doubtless extravagant, but they were written by men of mark in three different countries, and they serve to indicate the tremendous impression which Shakespeare has left upon the world. He wrote in his day some thirty-seven plays and a few poems; since then as many hundred volumes have been written in praise of his accomplishment. He died three centuries ago, without caring enough for his own work to print it. At the present time unnumbered critics, historians, scholars, are still explaining the mind and the art displayed in that same neglected work. Most of these eulogists begin or end their volumes with the remark that Shakespeare is so great as to be above praise or criticism. As Taine writes, before plunging into his own a.n.a.lysis, "Lofty words, eulogies are all used in vain; Shakespeare needs not praise but comprehension merely."

LIFE. It is probably because so very little is known about Shakespeare that so many bulky biographies have been written of him. Not a solitary letter of his is known to exist; not a play comes down to us as he wrote it. A few doc.u.ments written by other men, and sometimes ending in a sprawling signature by Shakespeare, which looks as if made by a hand accustomed to almost any labor except that of the pen,--these are all we have to build upon. One record, in dribbling Latin, relates to the christening of "Gulielmus filius Johannes Shakspere"; a second, unreliable as a village gossip, tells an anecdote of the same person's boyhood; a third refers to Shakespeare as "one of his Majesty's poor players"; a fourth records the burial of the poet's son Hamnet; a fifth speaks of "Willi. Shakspere, gentleman"; a sixth is a bit of wretched doggerel inscribed on the poet's tombstone; a seventh tells us that in 1622, only six years after the poet's death, the public had so little regard for his art that the council of his native Stratford bribed his old company of players to go away from the town without giving a performance.

It is from such dry and doubtful records that we must construct a biography, supplementing the meager facts by liberal use of our imagination.

[Sidenote: EARLY DAYS]

In the beautiful Warwickshire village of Stratford our poet was born, probably in the month of April, in 1564. His mother, Mary Arden, was a farmer's daughter; his father was a butcher and small tradesman, who at one time held the office of high bailiff of the village. There was a small grammar school in Stratford, and Shakespeare may have attended it for a few years. When he was about fourteen years old his father, who was often in lawsuits, was imprisoned for debt, and the boy probably left school and went to work. At eighteen he married Anne Hathaway, a peasant's daughter eight years older than himself; at twenty-three, with his father still in debt and his own family of three children to provide for, Shakespeare took the footpath that led to the world beyond his native village. [Footnote: Such is the prevalent opinion of Shakespeare's early days; but we are dealing here with surmises, not with established facts. There are scholars who allege that Shakespeare's poverty is a myth; that his father was prosperous to the end of his days; that he probably took the full course in Latin and Greek at the Stratford school. Almost everything connected with the poet's youth is still a matter of dispute.]

[Sidenote: IN LONDON]

From Stratford he went to London, from solitude to crowds, from beautiful rural scenes to dirty streets, from natural country people to seekers after the bubble of fame or fortune. Why he went is largely a matter of speculation. That he was looking for work; that he followed a company of actors, as a boy follows a circus; that he was driven out of Stratford after poaching on the game preserves of Sir Thomas Lucy, whom he ridiculed in the plays of _Henry VI_ and _Merry Wives_,--these and other theories are still debated. The most probable explanation of his departure is that the stage lured him away, as the printing press called the young Franklin from whatever else he undertook; for he seems to have headed straight for the theater, and to have found his place not by chance or calculation but by unerring instinct. England was then, as we have noted, in danger of going stage mad, and Shakespeare appeared to put method into the madness.

[Sidenote: ACTOR AND PLAYWRIGHT]

Beginning, undoubtedly, as an actor of small parts, he soon learned the tricks of the stage and the humors of his audience. His first dramatic work was to revise old plays, giving them some new twist or setting to please the fickle public. Then he worked with other playwrights, with Lyly and Peele perhaps, and the horrors of his _t.i.tus Andronicus_ are sufficient evidence of his collaboration with Marlowe. Finally he walked alone, having learned his steps, and _Romeo and Juliet_ and _Midsummer Nights Dream_ announced that a great poet and dramatist had suddenly appeared in England.

[Ill.u.s.tration: THE LIBRARY, STRATFORD GRAMMAR SCHOOL ATTENDED BY SHAKESPEARE]

[Sidenote: PERIOD OF GLOOM]

This experimental period of Shakespeare's life in London was apparently a time of health, of joyousness, of enthusiasm which comes with the successful use of one's powers. It was followed by a period of gloom and sorrow, to which something of bitterness was added. What occasioned the change is again a matter of speculation.

The first conjecture is that Shakespeare was a man to whom the low ideals of the Elizabethan stage were intolerable, and this opinion is strengthened after reading certain of Shakespeare's sonnets, which reflect a loathing for the theaters and the mannerless crowds that filled them. Another conjectural cause of his gloom was the fate of certain n.o.blemen with whom he was apparently on terms of friendship, to whom he dedicated his poems, and from whom he received substantial gifts of money. Of these powerful friends, the Earl of Ess.e.x was beheaded for treason, Pembroke was banished, and Southampton had gone to that grave of so many high hopes, the Tower of London. Shakespeare may have shared the sorrow of these men, as once he had shared their joy, and there are critics who a.s.sume that he was personally implicated in the crazy attempt of Ess.e.x at rebellion.

Whatever the cause of his grief, Shakespeare shows in his works that he no longer looks on the world with the clear eyes of youth.

The great tragedies of this period, _Lear_, _Macbeth_, _Hamlet_, _Oth.e.l.lo_ and _Caesar_, all portray man not as a being of purpose and high destiny, but as the sport of chance, the helpless victim who cries out, as in _Henry IV_, for a sight of the Book of Fate, wherein is shown

how chances mock, And changes fill the cup of alteration With divers liquors! O, if this were seen, The happiest youth, viewing his progress through, What perils past, what crosses to ensue, Would shut the book, and sit him down and die.

[Sidenote: RETURN TO STRATFORD]

For such a terrible mood London offered no remedy. For a time Shakespeare seems to have gloried in the city; then he wearied of it, grew disgusted with the stage, and finally, after some twenty-four years (_cir_. 1587-1611), sold his interest in the theaters, shook the dust of London from his feet, and followed his heart back to Stratford. There he adopted the ways of a country gentleman, and there peace and serenity returned to him. He wrote comparatively little after his retirement; but the few plays of this last period, such as _Cymbeline_, _Winter's Tale_ and _The Tempest_, are the mellowest of all his works.

[Sidenote: SHAKESPEARE THE MAN]

After a brief period of leisure, Shakespeare died at his prime in 1616, and was buried in the parish church of Stratford. Of his great works, now the admiration of the world, he thought so little that he never collected or printed them. From these works many attempts are made to determine the poet's character, beliefs, philosophy,--a difficult matter, since the works portray many types of character and philosophy equally well. The testimony of a few contemporaries is more to the point, and from these we hear that our poet was "very good company," "of such civil demeanor," "of such happy industry," "of such excellent fancy and brave notions,"

that he won in a somewhat brutal age the characteristic t.i.tle of "the gentle Shakespeare."

THE DRAMAS OF SHAKESPEARE. In Shakespeare's day playwrights were producing various types of drama: the chronicle play, representing the glories of English history; the domestic drama, portraying homely scenes and common people; the court comedy (called also Lylian comedy, after the dramatist who developed it), abounding in wit and repartee for the delight of the upper cla.s.ses; the melodrama, made up of sensational elements thrown together without much plot; the tragedy of blood, centering in one character who struggles amidst woes and horrors; romantic comedy and romantic tragedy, in which men and women were more or less idealized, and in which the elements of love, poetry, romance, youthful imagination and enthusiasm predominated.

[Ill.u.s.tration: ANNE HATHAWAY'S COTTAGE]

It is interesting to note that Shakespeare essayed all these types--the chronicle play in _Henry IV_, the domestic drama in _Merry Wives_, the court comedy in _Loves Labor's Lost_, the melodrama in _Richard III_, the tragedy of blood in _King Lear_, romantic tragedy in _Romeo and Juliet_, romantic comedy in _As You Like It_--and that in each he showed such a mastery as to raise him far above all his contemporaries.

[Sidenote: EARLY DRAMAS]

In his experimental period of work (_cir_. 1590-1595) Shakespeare began by revising old plays in conjunction with other actors. _Henry VI_ is supposed to be an example of such tinkering work. The first part of this play (performed by Shakespeare's company in 1592) was in all probability an older work made over by Shakespeare and some unknown dramatist. From the fact that Joan of Arc appears in the play in two entirely different characters, and is even made to do battle at Rouen several years after her death, it is almost certain that _Henry VI_ in its present form was composed at different times and by different authors.

[Ill.u.s.tration: THE MAIN ROOM, ANNE HATHAWAY'S COTTAGE]

_Love's Labor's Lost_ is an example of the poet's first independent work. In this play such characters as Holofernes the schoolmaster, Costard the clown and Adriano the fantastic Spaniard are all plainly of the "stock"

variety; various rimes and meters are used experimentally; blank verse is not mastered; and some of the songs, such as "On a Day," are more or less artificial. Other plays of this early experimental period are _Two Gentlemen of Verona_ and _Richard III_, the latter of which shows the influence and, possibly, the collaboration of Marlowe.

[Sidenote: SECOND PERIOD]

In the second period (_cir_. 1595-1600) Shakespeare constructed his plots with better skill, showed a greater mastery of blank verse, created some original characters, and especially did he give free rein to his romantic imagination. All doubt and experiment vanished in the confident enthusiasm of this period, as if Shakespeare felt within himself the coming of the sunrise in _Romeo and Juliet_:

Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops.

Though some of his later plays are more carefully finished, in none of them are we so completely under the sway of poetry and romance as in these early works, written when Shakespeare first felt the thrill of mastery in his art.

In _Midsummer Nights Dream_, for example, the practical affairs of life seem to smother its poetic dreams; but note how the dream abides with us after the play is over. The spell of the enchanted forest is broken when the crowd invades its solitude; the witchery of moonlight fades into the light of common day; and then comes Theseus with his dogs to drive not the foxes but the fairies out of the landscape. As Chesterton points out, this masterful man, who has seen no fairies, proceeds to arrange matters in a practical way, with a wedding, a feast and a pantomime, as if these were the chief things of life. So, he thinks, the drama is ended; but after he and his noisy followers have departed to slumber, lo! enter once more Puck, Oberon, t.i.tania and the whole train of fairies, to repeople the ancient world and dance to the music of Mendelssohn:

Hand in hand, with fairy grace, While we sing, and bless this place.

So in _The Merchant of Venice_ with its tragic figure of Shylock, who is hurried off the stage to make place for a final scene of love, moonlight and music; so in every other play of this period, the poetic dream of life triumphs over its practical realities.

[Sidenote: THIRD PERIOD]

During the third period, of maturity of power (_cir._ 1600-1610), Shakespeare was overshadowed by some personal grief or disappointment. He wrote his "farewell to mirth" in _Twelfth Night_, and seems to have reflected his own perturbed state in the lines which he attributes to Achilles in _Troilus and Cressida_:

My mind is troubled, like a fountain stirr'd, And I myself see not the bottom of it.

His great tragedies belong to this period, tragedies which reveal increased dramatic power in Shakespeare, but also his loss of hope, his horrible conviction that man is not a free being but a puppet blown about by every wind of fate or circ.u.mstance. In _Hamlet_ great purposes wait upon a feeble will, and the strongest purpose may be either wrecked or consummated by a trifle. The whole conception of humanity in this play suggests a clock, of which, if but one small wheel is touched, all the rest are thrown into confusion. In _Macbeth_ a man of courage and vaulting ambition turns coward or traitor at the appearance of a ghost, at the gibber of witches, at the whisper of conscience, at the taunts of his wife. In _King Lear_ a monarch of high disposition drags himself and others down to destruction, not at the stern command of fate, but at the mere suggestion of foolishness. In _Oth.e.l.lo_ love, faith, duty, the fidelity of a brave man, the loyalty of a pure woman,--all are blasted, wrecked, dishonored by a mere breath of suspicion blown by a villain.

[Sidenote: LAST DRAMAS]

In his final period, of leisurely experiment (_cir._ 1610-1616), Shakespeare seems to have recovered in Stratford the cheerfulness that he had lost in London. He did little work during this period, but that little is of rare charm and sweetness. He no longer portrayed human life as a comedy of errors or a tragedy of weakness but as a glowing romance, as if the mellow autumn of his own life had tinged all the world with its own golden hues. With the exception of _As You Like It_ (written in the second period), in which brotherhood is pictured as the end of life, and love as its unfailing guide, it is doubtful if any of the earlier plays leaves such a wholesome impression as _The Winter's Tale_ or _The Tempest_, which were probably the last of the poet's works.