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William Shakespeare
William Shakespeare

born April 26, 1564, Stratford-upon-Avon, Warwickshire, England
died April 23, 1616, Stratford-upon-Avon


William Shakespeare, detail of an oil painting attributed to John
Courtesy of The National Portrait Gallery, London
Shakespeare also spelled Shakespeare, byname Bard of Avon or Swan of Avon English poet, dramatist, and actor, often called the English national poet and considered by many to be the greatest dramatist Shakespeare occupies a position unique in world literature.


Shakespeare the man > Life
Although the amount of factual knowledge available about Shakespeare is surprisingly large for one of his station in life, many find it a little disappointing, for it is mostly gleaned from documents of an official character. Dates of baptisms, marriages, deaths, and burials; wills, conveyances, legal processes, and payments by the courtthese are the dusty details.
Shakespeare the man > Life > Early life in Stratford

Birthplace of William Shakespeare, Stratford-upon-Avon, Warwickshire, England.
Archive Photos/Albert Rose
The parish register of Holy Trinity Church in Stratford-upon-Avon, Warwickshire, shows that he was baptized there on April 26, 1564; his birthday is traditionally celebrated on April 23. His father, John Shakespeare, was a burgess of the borough, who in 1565 was chosen an alderman and in 1568 bailiff (the position corresponding to mayor, before the grant of a further charter to Stratford
Shakespeare the man > Life > Career in the theatre
The first reference to Shakespeare in the literary world of London comes in 1592, when a fellow dramatist, Robert Greene, declared in a pamphlet written on his deathbed:
There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide supposes he is as well able to bombast out a blank verse as the best of you; and, being an absolute Johannes
Shakespeare the man > Life > Private life

William Shakespeare's house, Stratford-upon-Avon, Warwickshire, England.
Bettmann/Corbis

Shakespeare had little contact with officialdom, apart from walkingdressed in the royal livery as a member of the King's Menat the coronation of King James I in 1604. He continued to look after his financial interests. He bought properties in London and in Stratford. In 1605 he purchased a share (about one-fifth) of the Stratford tithesa fact that explains why he was eventually

Shakespeare the man > Early posthumous documentation
Shakespeare's family or friends, however, were not content with a simple gravestone, and, within a few years, a monument was erected on the chancel wall. It seems to have existed by 1623. Its epitaph, written in Latin and inscribed immediately below the bust, attributes to Shakespeare the worldly wisdom of Nestor, the genius of Socrates, and the poetic art of Virgil.
Shakespeare the man > Early posthumous documentation > The tributes of his colleagues
The memory of Shakespeare survived long in theatrical circles, for his plays remained a major part of the repertory of the King's Men until the closing of the theatres in 1642. The greatest of Shakespeare's great contemporaries in the theatre, Ben Jonson, had a good deal to say about him. To William Drummond of Hawthornden in 1619 he said that Shakespeare wanted art.
Shakespeare the man > Early posthumous documentation > Anecdotes and documents
Seventeenth-century antiquaries began to collect anecdotes about Shakespeare, but no serious life was written until 1709, when Nicholas Rowe tried to assemble information from all available sources with the aim of producing a connected narrative. There were local traditions at Stratford: witticisms and lampoons of local characters; scandalous stories of drunkenness
Shakespeare the poet and dramatist > The intellectual background
Shakespeare lived at a time when ideas and social structures established in the Middle Ages still informed human thought and behaviour. Queen Elizabeth I was God's deputy on earth, and lords and commoners had their due places in society under her, with responsibilities up through her to God and down to those of more humble rank. The order of things, however, did not go

Shakespeare the poet and dramatist > Poetic conventions and dramatic traditions
The Latin comedies of Plautus and Terence were familiar in Elizabethan schools and universities, and English translations or adaptations of them were occasionally performed by students. Seneca's rhetorical and sensational tragedies, too, had been translated and often imitated. But there was also a strong native dramatic tradition deriving from the medieval
Shakespeare the poet and dramatist > Poetic conventions and dramatic traditions > Changes in language
The English language at this time was changing and extending its range. The poet Edmund Spenser led with the restoration of old words, and schoolmasters, poets, sophisticated courtiers, and travelers all brought further contributions from France, Italy, and the Roman classics, as well as from farther afield.
Shakespeare the poet and dramatist > Poetic conventions and dramatic traditions > Shakespeare's literary debts
Shakespeare's most obvious debt was to Raphael Holinshed, whose Chronicles (the second edition, published in 1587) furnished story material for several plays, including Macbeth and King Lear. In Shakespeare's earlier works other debts stand out clearly: to Plautus for the structure of The Comedy of Errors; to the poet Ovid and to Seneca for rhetoric and incident in Titus
Shakespeare the poet and dramatist > Theatrical conditions

London theatres (c. 1600).
Encyclopædia Britannica, Inc.
The Globe and its predecessor, the Theatre, were public playhouses run by the Chamberlain's Men, a leading theatre company of which Shakespeare was a member. Almost all classes of citizens, excepting many Puritans and like-minded Reformers, came to them for afternoon entertainment. The players were also summoned to court, to perform before the monarch and assembled
Shakespeare the poet and dramatist > The chronology of Shakespeare's plays
Despite much scholarly argument, it is often impossible to date a given play precisely. But there is a general consensus, especially for plays written in 15881601, in 160507, and from 1609 onward. The following list of dates of composition is based on external and internal evidence, on general stylistic and thematic considerations, and on the observation that an output of no more than two

Shakespeare the poet and dramatist > Publication
Acting companies in London during the Renaissance were perennially in search of new plays. They usually paid on a piecework basis, to freelance writers. Shakespeare was an important exception; as a member of Lord Chamberlain's Men and then the King's Men, he wrote for his company as a sharer in their capitalist enterprise.
The companies were not eager to sell their plays
Shakespeare's plays and poems > The early plays
Shakespeare arrived in London probably sometime in the late 1580s. He was in his mid-20s. It is not known how he got started in the theatre or for what acting companies he wrote his early plays, which are not easy to date. Indicating a time of apprenticeship, these plays show a more direct debt to London dramatists of the 1580s and to Classical examples than do his later works. He learned
Shakespeare's plays and poems > The early plays > Titus Andronicus
Titus Andronicus (c. 158992) is a case in point. As Shakespeare's first full-length tragedy, it owes much of its theme, structure, and language to Thomas Kyd's The Spanish Tragedy, which was a huge success in the late 1580s. Kyd had hit on the formula of adopting the dramaturgy of Seneca (the younger), the great Stoic philosopher and statesman, to the needs of a burgeoning new London theatre.
Shakespeare's plays and poems > The early plays > The early romantic comedies
Other than Titus Andronicus, Shakespeare did not experiment with formal tragedy in his early years. (Though his English history plays from this period portrayed tragic events, their theme was focused elsewhere.) The young playwright was drawn more quickly into comedy, and with more immediate success.
Shakespeare's plays and poems > The early plays > The early histories
In Shakespeare's explorations of English history, as in romantic comedy, he put his distinctive mark on a genre and made it his. The genre was, moreover, an unusual one. There was as yet no definition of an English history play, and there were no aesthetic rules regarding its shaping. The ancient Classical world had recognized two broad categories of genre, comedy and tragedy.
Shakespeare's plays and poems > The poems
Shakespeare seems to have wanted to be a poet as much as he sought to succeed in the theatre. His plays are wonderfully and poetically written, often in blank verse. And when he experienced a pause in his theatrical career about 159294, the plague having closed down much theatrical activity, he wrote poems. Venus and Adonis (1593) and The Rape of Lucrece (1594) are the only works that Shakespeare
Shakespeare's plays and poems > Plays of the middle and late years > Romantic comedies
In the second half of the 1590s, Shakespeare brought to perfection the genre of romantic comedy that he had helped to invent. A Midsummer Night's Dream (c. 159596), one of the most successful of all his plays, displays the kind of multiple plotting he had practiced in The Taming of the Shrew and other earlier comedies. The overarching plot is of Duke Theseus of Athens and his impending
Shakespeare's plays and poems > Plays of the middle and late years > Completion of the histories
Concurrent with his writing of these fine romantic comedies, Shakespeare also brought to completion (for the time being, at least) his project of writing 15th-century English history. After having finished in 158994 the tetralogy about Henry VI, Edward IV, and Richard III, bringing the story down to 1485, and then a play about King John (c. 159496) that deals with a chronological period (the 13th
Shakespeare's plays and poems > Plays of the middle and late years > Romantic comedies
In the second half of the 1590s, Shakespeare brought to perfection the genre of romantic comedy that he had helped to invent. A Midsummer Night's Dream (c. 159596), one of the most successful of all his plays, displays the kind of multiple plotting he had practiced in The Taming of the Shrew and other earlier comedies. The overarching plot is of Duke Theseus of Athens and his impending
Shakespeare's plays and poems > Plays of the middle and late years > Completion of the histories
Concurrent with his writing of these fine romantic comedies, Shakespeare also brought to completion (for the time being, at least) his project of writing 15th-century English history. After having finished in 158994 the tetralogy about Henry VI, Edward IV, and Richard III, bringing the story down to 1485, and then a play about King John (c. 159496) that deals with a chronological period (the 13th
Shakespeare's plays and poems > Plays of the middle and late years > Romeo and Juliet
Apart from the early Titus Andronicus, the only other play that Shakespeare wrote prior to 1599 that is classified as a tragedy is Romeo and Juliet (159496), which is quite untypical of the tragedies that are to follow. Written more or less at the time when Shakespeare was writing A Midsummer Night's Dream, Romeo and Juliet shares many of the characteristics of romantic comedy.
Shakespeare's plays and poems > Plays of the middle and late years > The problem plays
Whatever his reasons, about 15991600 Shakespeare turned with unsparing intensity to the exploration of darker issues such as revenge, sexual jealousy, aging, midlife crisis, and death. Perhaps he saw that his own life was moving into a new phase of more complex and vexing experiences. Perhaps he felt, or sensed, that he had worked through the romantic comedy and history play
Shakespeare's plays and poems > Plays of the middle and late years > Julius Caesar
Written in 1599 (the same year as Henry V) or 1600, probably for the opening of the Globe Theatre on the south bank of the Thames, Julius Caesar illustrates similarly the transition in Shakespeare's writing toward darker themes and tragedy. It, too, is a history play in a sense, dealing with a non-Christian civilization existing 16 centuries before Shakespeare wrote his plays.
Shakespeare's plays and poems > Plays of the middle and late years > The tragedies
Hamlet (c. 15991601), on the other hand, chooses a tragic model closer to that of Titus Andronicus and Kyd's The Spanish Tragedy. In form, Hamlet is a revenge tragedy. It features characteristics found in Titus as well: a protagonist charged with the responsibility of avenging a heinous crime against the protagonist's family, a cunning antagonist, the appearance of the ghost of the
Shakespeare's plays and poems > Plays of the middle and late years > The romances
Concurrently, nonetheless, and then in the years that followed, Shakespeare turned again to the writing of comedy. The late comedies are usually called romances or tragicomedies because they tell stories of wandering and separation leading eventually to tearful and joyous reunion. They are suffused with a bittersweet mood that seems eloquently appropriate

Shakespeare's plays and poems > Plays of the middle and late years > Collaborations and spurious attributions
The Two Noble Kinsmen (c. 161214) brought Shakespeare into collaboration with John Fletcher, his successor as chief playwright for the King's Men. (Fletcher is sometimes thought also to have helped Shakespeare with Henry VIII.) The story, taken out of Chaucer's Knight's Tale, is essentially another romance, in which two young gallants compete for the hand of Emilia and in which
Shakespeare's sources
With a few exceptions, Shakespeare did not invent the plots of his plays. Sometimes he used old stories (Hamlet, Pericles). Sometimes he worked from the stories of comparatively recent Italian writers, such as Giovanni Boccacciousing both well-known stories (Romeo and Juliet, Much Ado About Nothing) and little-known ones (Othello).
Understanding Shakespeare > Questions of authorship
Readers and playgoers in Shakespeare's own lifetime, and indeed until the late 18th century, never questioned Shakespeare's authorship of his plays. He was a well-known actor from Stratford who performed in London's premier acting company, among the great actors of his day. He was widely known by the leading writers of his time as well, including Ben Jonson and John
Understanding Shakespeare > Linguistic, historical, textual, and editorial problems
Since the days of Shakespeare, the English language has changed, and so have audiences, theatres, actors, and customary patterns of thought and feeling. Time has placed an ever-increasing cloud before the mirror he held up to life, and it is here that scholarship can help.
Problems are most obvious in single words. In the 21st century, presently, for instance, does not mean
Understanding Shakespeare > Literary criticism
During his own lifetime and shortly afterward, Shakespeare enjoyed fame and considerable critical attention. The English writer Francis Meres, in 1598, declared him to be England's greatest writer in comedy and tragedy. Writer and poet John Weever lauded honey-tongued Shakespeare. Ben Jonson, Shakespeare's contemporary and a literary critic in his own right, granted
Understanding Shakespeare > Literary criticism > Seventeenth century
Jonson's Neoclassical perspective on Shakespeare was to govern the literary criticism of the later 17th century as well. John Dryden, in his essay Of Dramatick Poesie (1668) and other essays, condemned the improbabilities of Shakespeare's late romances. Shakespeare lacked decorum, in Dryden's view, largely because he had written for an ignorant age and poorly educated audiences.
Understanding Shakespeare > Literary criticism > Eighteenth century
This critical view persisted into the 18th century as well. Alexander Pope undertook to edit Shakespeare in 1725, expurgating his language and correcting supposedly infelicitous phrases. Samuel Johnson also edited Shakespeare's works (1765), defending his author as one who holds up to his readers a faithful mirror of manners and of life; but, though he pronounced Shakespeare
Understanding Shakespeare > Literary criticism > Romantic critics
For Romantic critics such as Samuel Taylor Coleridge in the early 19th century, Shakespeare deserved to be appreciated most of all for his creative genius and his spontaneity. For Goethe in Germany as well, Shakespeare was a bard, a mystical seer. Most of all, Shakespeare was considered supreme as a creator of character. Maurice Morgann wrote such character-based analyses
Understanding Shakespeare > Questions of authorship
Readers and playgoers in Shakespeare's own lifetime, and indeed until the late 18th century, never questioned Shakespeare's authorship of his plays. He was a well-known actor from Stratford who performed in London's premier acting company, among the great actors of his day. He was widely known by the leading writers of his time as well, including Ben Jonson and John
Understanding Shakespeare > Linguistic, historical, textual, and editorial problems
Since the days of Shakespeare, the English language has changed, and so have audiences, theatres, actors, and customary patterns of thought and feeling. Time has placed an ever-increasing cloud before the mirror he held up to life, and it is here that scholarship can help.
Problems are most obvious in single words. In the 21st century, presently, for instance, does not mean
Understanding Shakespeare > Literary criticism
During his own lifetime and shortly afterward, Shakespeare enjoyed fame and considerable critical attention. The English writer Francis Meres, in 1598, declared him to be England's greatest writer in comedy and tragedy. Writer and poet John Weever lauded honey-tongued Shakespeare. Ben Jonson, Shakespeare's contemporary and a literary critic in his own right, granted
Understanding Shakespeare > Literary criticism > Seventeenth century
Jonson's Neoclassical perspective on Shakespeare was to govern the literary criticism of the later 17th century as well. John Dryden, in his essay Of Dramatick Poesie (1668) and other essays, condemned the improbabilities of Shakespeare's late romances. Shakespeare lacked decorum, in Dryden's view, largely because he had written for an ignorant age and poorly educated audiences.
Understanding Shakespeare > Literary criticism > Eighteenth century
This critical view persisted into the 18th century as well. Alexander Pope undertook to edit Shakespeare in 1725, expurgating his language and correcting supposedly infelicitous phrases. Samuel Johnson also edited Shakespeare's works (1765), defending his author as one who holds up to his readers a faithful mirror of manners and of life; but, though he pronounced Shakespeare
Understanding Shakespeare > Literary criticism > Romantic critics
For Romantic critics such as Samuel Taylor Coleridge in the early 19th century, Shakespeare deserved to be appreciated most of all for his creative genius and his spontaneity. For Goethe in Germany as well, Shakespeare was a bard, a mystical seer. Most of all, Shakespeare was considered supreme as a creator of character. Maurice Morgann wrote such character-based analyses
Understanding Shakespeare > Literary criticism > Twentieth century and beyond > Increasing importance of scholarship
The late 19th and early 20th centuries saw major increases in the systematic and scholarly exploration of Shakespeare's life and works. Philological research established a more reliable chronology of the work than had been hitherto available. Edward Dowden, in his Shakspere: A Critical Study of His Mind and Art (1875), analyzed the shape of Shakespeare's career in a way that Understanding
Shakespeare > Literary criticism > Twentieth century and beyond > New Criticism
As valuable as it is, historical criticism has not been without its opponents. A major critical movement of the 1930s and '40s was the so-called New Criticism of F.R. Leavis, L.C. Knights, Derek Traversi, Robert Heilman, and many others, urging a more formalist approach to the poetry. Close reading became the mantra of this movement. At its most extreme, it urged the ignoring of historical
Understanding Shakespeare > Literary criticism > Twentieth century and beyond > Historical criticism
Increasingly in the 20th century, scholarship furthered an understanding of Shakespeare's social, political, economic, and theatrical milieu. Shakespeare's sources came under new and intense scrutiny. Elmer Edgar Stoll, in Art and Artifice in Shakespeare (1933), stressed the ways in which the plays could be seen as constructs intimately connected with their historical

Some Acount of the Life &c. of
Mr. William Shakespear (note 1)

[1]
IT seems to be a kind of Respect due to the Memory of Excellent Men, especially of those whom their Wit and Learning have made Famous, to deliver some Account of themselves, as well as their Works, to Posterity. For this Reason, how fond do we see some People of discovering any little Personal Story of the great Men of Antiquity, their Families, the common Accidents of their Lives, and even their Shape, Make and Features have been the Subject of critical Enquiries. How trifling soever this Curiosity may seem to be, it is certainly very Natural; and we are hardly satisfy'd with an Account of any remarkable Person, 'till we have heard him describ'd even to the very Cloaths he wears. As for what relates to Men of Letters, the knowledge of an Author may sometimes conduce to the better understanding his Book: And tho' the Works of Mr. Shakespear may seem to many not to want a Comment, yet I fancy some little Account of the Man himself may not be thought improper to go along with them.

[2]
He was the Son of Mr. John Shakespear, and was Born at Stratford upon Avon, in Warwickshire, in April 1564. His Family, as appears by the Register and Publick Writings relating to that Town, were of good Figure and Fashion there, and are mention'd as Gentlemen. His Father, who was a considerable Dealer in Wool, had so large a Family, ten Children in all (note 2), that tho' he was his eldest Son, he could give him no better Education than his own Employment. He had bred him, 'tis true, for some time at a Free-School, where 'tis probable he aquir'd that little Latin he was Master of: But the narrowness of his Circumstances, and the want of his assistance at Home, forc'd his Father to withdraw him from thence, and unhappily prevented his further Proficiency in that Language. It is without Controversie, that he had no knowledge of the Writings of the Antient Poets, not only from this Reason, but from his Works themselves, where we find no traces of any thing that looks like an Imitation of 'em; the Delicacy of his Taste, and the natural Bent of his own Great Genius, equal, if not superior to some of the best of theirs, would certainly have led him to Read and Study 'em with so much Pleasure, that some of their fine Images would naturally have insinuated themselves into, and been mix'd with his own Writings; so that his not copying at least something from them, may be an Argument of his never having read 'em. Whether his Ignorance of the Antients were a disadvantage to him or no, may admit of a Dispute: For tho' the knowledge of 'em might have made him more Correct, yet it is not improbable but that the Regularity and Deference for them, which would have attended that Correctness, might have restrain'd some of that Fire, Impetuosity, and even beautiful Extravagance which we admire in Shakespear: And I believe we are better pleas'd with those Thoughts, altogether New and Uncommon, which his own Imagination supply'd him so abundantly with, than if he had given us the most beautiful Passages out of the Greek and Latin Poets, and that in the most agreeable manner that it was possible for a Master of the English Language to deliver 'em. (note 3) Some Latin without question he did know, and one may see up and down in his Plays how far his Reading that way went: In Love's Labour lost, the Pedant comes out with a Verse of Mantuan; and in Titus Andronicus, one of the Gothick Princes, upon reading


Integer vit? scelerisque purus
Non eget Mauri jaculis nec arcu-


says, 'Tis a Verse in Horace, but he remembers it out of his Grammar: Which, I suppose, was the Author's Case. (note 4) Whatever Latin he had, 'tis certain he undrstood French, as may be observ'd from many Words and Sentences scatter'd up and down his Plays in that Language; and especially from one Scene in Henry the Fifth written wholly in it. Upon his leaving School, he seems to have given intirely into that way of Living which his Father propos'd to him; and in order to settle in the World after a Family manner, he thought fit to marry while he was yet very Young. His Wife was the Daughter of one Hathaway, said to have been a substantial Yeoman in the Neighbourhood of Stratford. In this kind of Settlement he continu'd for some time, 'till an Extravagance that he was guilty of, forc'd him both out of his Country and that way of Living which he had taken up; and tho' it seem'd at first to be a Blemish upon his good Manners, and a Misfortune to him, yet it afterwards happily prov'd the occasion of exerting one of the greatest Genius's that ever was known in Dramatick Poetry. He had, by a Mistortune common enough to young Fellows, fallen into ill Company; and amongst them, some that made a frequent practice of Deer-stealing, engag'd him with them more than once in robbing a Park that belong'd to Sir Thomas Lucy of Cherlecot, near Stratford. For this he was prosecuted by that Gentleman, as he thought, somewhat too severely; and in order to revenge that ill Usage, he made a Ballad upon him. And tho' this, probably the first Essay of his Poetry, be lost, yet it is said to have been so very bitter, that it redoubled the Prosecution against him to that degree, that he was oblig'd to leave his Business and Family in Warwickshire, for some time, and shelter himself in London.

[3]
It is at this Time, and upon this Accident, that he is said to have made his first Acquaintance in the Play-house. He was receiv'd into the Company then in being, at first in a very mean Rank; But his admirable Wit, and the natural Turn of it to the Stage, soon distinguished him, if not as an extraodinary Actor, yet as an excellent Writer. His Name is Printed, as the Custom was in those Times, amongst those of the other Players, before some old Plays, but without any particular Account of what sort of Parts he us'd to play; and tho' I have inquir'd, I could never meet with any further Account of him this way, than that the top of his Performance was the Ghost in his own Hamlet. I should have been much more pleas'd, to have learn'd from some certain Authority, which was the first Play he wrote; it would be without doubt a pleasure to any Man, curious in Things of this Kind, to see and know what was the first Essay of a Fancy like Shakespear's. Perhaps we are not to look for his Beginnings, like those of other Authors, among their least perfect Writings; Art had so little, and Nature so large a Share in what he did, that, for ought I know, the Performances of his Youth, as they were the most vigorous, and had the most fire and strength of Imagination in 'em, were the best. I would not be thought by this to mean, that his Fancy was so loose and extravagant, as to be Independent on the Rule and Government of Judgment; but that what he thought, was commonly so Great, so justly and rightly Conceiv'd in it self, that it wanted little or no Correction, and was immediately approv'd by an impartial Judgment at the first sight. Mr. Dryden seems to think that Pericles is one of his first Plays; but there is no judgment to be form'd on that, since there is good Reason to believe that the greatest part of that Play was not written by him; tho' it is own'd, some part of it certainly was, particularly the last Act. But tho' the order of Time in which the several Pieces were written be generally uncertain, yet there are Passages in some few of them which seem to fix their Dates. So the Chorus in the beginning of the fifth Act of Henry V. by a Compliment very handsomly turn'd to the Earl of Essex, shews the Play to have been written when that Lord was General for the Queen in Ireland: And his Elogy upon Q. Elizabeth, and her Successor K. James, in the latter end of his Henry VIII, is a Proof of that Play's being written after the Accession of the latter of those two Princes to the Crown of England. Whatever the particular Times of his Writing were, the People of his Age, who began to grow wonderfully fond of Diversions of this kind, could not but be highly pleas'd to see a Genius arise amonst 'em of so pleasurable, so rich a Vein, and so plentifully capable of furnishing their favourite Entertainments. Besides the advantages of his Wit, he was in himself a good-natur'd Man, of great sweetness in his Manners, and a most agreeable Companion; so that it is no wonder if with so many good Qualities he made himself acquainted with the best Conversations of those Times. Queen Elizabeth had several of his Plays Acted before her, and without doubt gave him many gracious Marks of her Favour: It is that Maiden Princess plainly, whom he intends by

-A fair Vestal, Throned by the West.


Midsummer Night's Dream, Vol. 2. p. 480. (note 5)


And that whole Passage is a Compliment very properly brought in, and very handsomly apply'd to her. She was so well pleas'd with that admirable Character of Falstaff, in the two Parts of Henry the Fourth, that she commanded him to continue it for one Play more, and to shew him in Love. This is said to be the Occasion of his Writing The Merry Wives of Windsor. How well she was obey'd, the Play it self is an admirable Proof. Upon this Occasion it may not be improper to observe, that this Part of Falstaff is said to have been written originally under the Name of Oldcastle; some of that Family being then remaining, the Queen was pleas'd to command him to alter it; upon which he made use of Falstaff. The present Offence was indeed avoided; but I don't know whether the Author may not have been somewhat to blame in his second Choice, since it is certain that Sir John Falstaff, who was a Knight of the Garter, and a Lieutenant-General, was a Name of distinguish'd Merit in the Wars in France in Henry the fifth's and Henry the Sixth's Times. What Grace soever the Queen confer'd upon him, it was not to her only he ow'd the Fortune which the Reputation of his Wit made. He had the Honour to meet with many great and uncommon Marks of Favour and Friendship from the Earl of Southampton, famous in the Histories of that Time for his Friendship to the unfortunate Earl of Essex. It was to that Noble Lord that he Dedicated his Venus and Adonis, the only Piece of his Poetry which he ever publish'd himself, tho' many of his Plays were surrepticiously and lamely Printed in his Life-time. (note 6) There is one Instance so singular in the Magnificence of this Patron of Shakespear's, that if I had not been assur'd that the Story was handed down by Sir William D'Avenant, who was probably very well acquainted with his Affairs, I should not have ventur'd to have inserted, that my Lord Southampton, at one time, gave him a thousand Pounds, to enable him to go through with a Purchase which he heard he had a mind to. A Bounty very great, and very rare at any time, and almost equal to that profuse Generosity the present Age has shewn to French Dancers and italian Eunuchs. (note 7)


[4]
What particular Habitude or Friendship he contracted with private Men, I have not been able to learn, more than that every one who had a true Taste of Merit, and could distinguish Men, had generally a just Value and Esteem for him. His exceeding Candor and good Nature must certainly have inclin'd all the gentler Part of the World to love him, as the power of his Wit oblig'd the Men of the most delicate Knowledge and polite Learning to admire him. Amongst these was the incomparable Mr. Edmond Spencer, who speaks of him in his Tears of the Muses, not only with the Praises due to a good Poet, but even lamenting his Absence with the tenderness of a Friend. The Passage is in Thalia's Complaint for the Decay of Dramatick Poetry, and the Contempt the Stage then lay under, amongst his Miscellaneous Works, p. 147.


And he the Man, whom Nature's self had made
To mock her self, and Truth to imitate
With kindly Counter under mimick Shade,
Our pleasant Willy, ah! is dead of late:
With whom all Joy and jolly Merriment
Is also deaded, and in Dolour drent.
Instead thereof, scoffing Scurrility
And scorning Folly with Contempt is crept,
Rolling in Rhimes of shameless Ribaudry,
Without Regard or due Decorum kept;
Each idle Wit at will presumes to make,
And doth the Learned's Task upon him take.
But that same gentle Spirit, from whose Pen
Large Streams of Honey and sweet Nectar flow,
Scorning the Boldness of such base-born Men,
Which dare their Follies forth so rashly throw;
Doth rather choose to sit in idle Cell,
Than so himself to Mockery to sell. (note 8)

[5]
I know some People have been of the Opinion, that Shakespear is not meant by Willy in the first Stanza of these Verses, because Spencer's Death happen'd twenty Years before Shakespear's. But, besides that the Character is not applicable to any Man of that time but himself, it is plain by the last Stanza that Mr. Spencer does not mean that he was then really Dead, but only that he had with-drawn himself from the Publick, or at least with-held his Hand from Writing, out of a disgust he had taken at the then ill taste of the Town, and the mean Condition of the Stage. Mr. Dryden was always of Opinion these Verses were meant of Shakespear; and 'tis highly probable they were so, since he was three and thirty Years old at Spencer's Death; and his Reputation in Poetry must have been great enough before that Time to have deserv'd what is here said of him. His Acquaintance with Ben Johnson began with a remarkable piece of Humanity and good Nature; Mr. Johnson, who was at that Time altogether unknown to the World, had offer'd one of his Plays to the Players, in order to have it Acted; and the Persons into whose Hands it was put, after having turn'd it carelessly and superciliously over, were just upon returning it to him with an ill-natur'd Answer, that it would be of no service to their Company, when Shakespear luckily cast his Eye upon it, and found something so well in it as to engage him first to read it through, and afterwards to recommend Mr. Johnson and his Writings to the Publick. After this they were profess'd Friends; tho' I don't know whether the other ever made him an equal return of Gentleness and Sincerity. Ben was naturally Proud and Insolent, and in the Days of his Reputation did so far take upon him the Supremacy in Wit, that he could not but look with an evil Eye upon any one that seem'd to stand in Competition with him. And if at times he has affected to commend him, it has always been with some Reserve, insinuating his Uncorrectness, a careless manner of Writing, and want of Judgment; the Praise of seldom altering or blotting out what he writ, which was given him by the Players who were the first Publishers of his Works after his Death, was what Johnson could not bear; he thought it impossible, perhaps, for another Man to strike out the greatest Thoughts in the finest Expression, and to reach those Excellencies of Poetry with the Ease of a first Imagination, which himself with infinite Labour and Study could but hardly attain to. Johnson was certainly a very good Scholar, and in that had the advantage of Shakespear; tho' at the same time I believe it must be allow'd, that what Nature gave the latter, was more than a Ballance for what Books had given the former; and Judgment of a great Man upon this occasion was, I think, very just and proper. In a Conversation between Sir John Suckling, Sir William D'Avenant, Endymion Porter, Mr. Hales of Eaton, and Ben Johnson; Sir John Suckling, who was a profess'd Admirer of Shakespear had undertaken his Defence against Ben Johnson with some warmth; Mr. Hales, who had sat still for some time, hearing Ben frequently reproaching him with the want of Learning, and Ignorance of the Antients, told him at last, That if Mr. Shakespear had not read the Antients, he had likewise not stollen any thing from 'em; (a Fault the other made no Conscience of) and that if he would produce any one Topick finely treated by any of them, he would undertake to shew something upon the same Subject at least as well written by Shakespear. (note 9) Johnson did indeed take a large liberty, even to the transcribing and translating of whole Scenes together; and sometimes, with all Deference to so great a Name as his, not altogether for the advantage of the Authors of whom he borrow'd. And if Augustus and Virgil were really what he has made 'em in a Scene of his Poetaster, they are as odd an Emperor and a Poet as ever met. Shakespear, on the other Hand, was beholding to no body farther than the Foundation of the Tale, the Incidents were often his own, and the Writing intirely so, there is one Play of his, indeed, The Comedy of Errors, in a great measure taken from the Men?chmi of Plautus. How that happen'd, I cannot easily Divine, since, as I hinted before, I do not take him to have been Master of Latin enough to read it in the Original, and I know of no Translation of Plautus so Old as his Time. (note 10)

[6]
As I have not propos'd to my self to enter into a Large and Compleat Criticism upon Mr. Shakespear's Works, so I suppose it will neither be expected that I should take notice of the severe Remarks that have been formerly made upon him by Mr. Rhymer (note 11). I must confess, I can't very well see what could be the Reason of his animadverting with so much Sharpness, upon the Faults of a Man Excellent on most Occasions, and whom all the World ever was and will be inclin'd to have an Esteen and Veneration for. If it was to shew his own Knowledge in the Art of Poetry, besides that there is a Vanity in making that only his Design, I question if there be not many Imperfections as well in those Schemes and Precepts he has given for the Direction of others, as well as in that Sample of Tragedy which he has written to shew the Excellency of his own Genius. If he had a Pique against the Man, and wrote on purpose to ruin a Reputation so well establish'd, he has had the Mortification to fail altogether in his Attempt, and to see the World at least as fond of Shakespear as of his Critique. But I won't believe a Gentleman, and a good natur'd Man, capable of the last Intention. Whatever may have been his Meaning, finding fault is certainly the easiest Task of Knowledge, and commonly those Men of good Judgment, who are likewise of good and gentle Dispositions, abandon this ungrateful Province to the Tyranny of Pedants. If one would enter into the Beauties of Shakespear, there is a much larger, as well as a more delightful Field; but as I won't prescribe to the Tastes of other People, so I will only take the liberty, with all due Submissions to the Judgment of others, to observe some of those Things I have been pleas'd with in looking him over.

[7]
His Plays are properly to be distinguish'd only into Comedies and Tragedies. Those which are called Histories, and even some of his Comedies, are really Tragedies, with a run or mixture of Comedy amongst 'em. That way of Trage-Comedy was the common Mistake of that Age, and is indeed become so agreeable to the English Tast, that tho' the severer Critiques among us cannot bear it, yet the generality of our Audiences seem to be better pleas'd with it than with an exact Tragedy. The Merry Wives of Windsor, The Comedy of Errors, and The Taming of the Shrew are all pure Comedy; the rest, however they are call'd have something of both Kinds. 'Tis not very easie to determine which way of Writing he was most Excellent in. There is certainly a great deal of Entertainment in his Comical Humours; and tho' they did not then strike at all Ranks of People, as the Satyr of the present Age has taken the Liberty to do, yet there is a pleasing and a well-distinguish'd Variety in those Characters which he thought fit to meddle with. Falstaff is allow'd by every body to be a Master-piece; the Character is always well-sustain'd, tho' drawn out into the length of three Plays; and even the Account of his Death, given by his Old Landlady Mrs. Quickly, in the first Act of Henry V. tho' it be extremely Natural, is yet as diverting as any Part of his Life. If there be any Fault in the Draught he has made of this lewd old Fellow, it is, that tho' he has made him a Thief, Lying, Cowardly, Vain-glorious, and in short every way Vicious, yet he has given him so much Wit as to make him almost too agreeable; and I don't know whether some People have not, in remembrance of the Diversion he had formerly afforded 'em, been sorry to see his Friend Hal use him so scurvily, when he comes to the Crown in the End of the Second Part of Henry the Fourth. Amongst other Extravagances, in The Merry Wives of Windsor, he has made him a Deer-stealer, that he might at the same time remember his Warwickshire Prosecutor, under the Name of Justice Shallow; he has given him very near the same Coat of Arms which Dugdale, in his Antiquities of that County (note 12), describes for a Family there, and makes the Welsh Parson descant very pleasantly upon 'em. That whole Play is admirable; the Humours are various and well oppos'd; the main Design, which is to cure Ford of his unreasonable Jealousie, is extremely well conducted. Falstaff's Billet-doux, and Master Slender's

Ah! Sweet Ann Page!


are very good Expressions of Love in their Way. In Twelfth-Night there is something singularly Ridiculous and Pleasant in the fantastical Steward Malvolio. The Parasite and the Vain-glorious in Parolles, in All's Well that ends Well, is as good as any thing of that Kind in Plautus or Terence. Petruchio, in The Taming of the Shrew, is an uncommon Piece of Humour. The Conversation of Benedick and Beatrice, in Much ado about Nothing, and of Rosalind in As you like it, have much Wit and Sprightliness all along. His Clowns, without which Character there was hardly any Play writ in that Time, are all very entertaining: And, I believe, Thersites in Troilus and Cressida, and Apemantus in Timon, will be allow'd to be Master-Pieces of ill Nature, and satyrical Snarling. To these I might add, that incomparable Character of Shylock the Jew, in The Merchant of Venice; but tho' we have seen that Play Receiv'd and Acted as a Comedy, and the Part of the Jew perform'd by an Excellent Comedian, yet I cannot but think it was design'd Tragically by the Author. There appears in it such a deadly Spirit of Revenge, such a savage Fierceness and Fellness, and such a bloody designation of Cruelty and Mischief, as cannot agree either with the Stile or Characters of Comedy. The Play it self, take it all together, seems to me to be one of the most finish'd of any Shakespear's. The Tale indeed, in that Part relating to the Caskets, and the extravagant and unusual kind of Bond given by Antonio, is a little too much remov'd from the Rules of Probability: But taking the Fact for granted, we must allow it to be very beautifully written. There is something in the Friendship of Antonio and Bassanio very Great, Generous and Tender. The whole fourth Act, supposing, as I said, the Fact to be probable, is extremely Fine. But there are two Passages that deserve a particular Notice. The first is, what Portia says in praise of Mercy, pag. 577; and the other on the Power of Musick, pag. 587. The Melancholy of Jaques, in As you like it, is as singular and odd as it is diverting. And if what Horace says Difficile est proprie communia Dicere, (note 13) 'Twill be be a hard Task for any one to go beyond him in the Description of the several Degrees and Ages of Man's Life, tho' the Thought be old, and common enough.


[8]

--All the World's a Stage;
And all the Men and Women meerly Players;
They have their Exits and their Entrances,
And one Man in his time plays many Parts,
His Acts being seven Ages. At first the Infant
Mewling and puking in the Nurse's Arms:
And then, the whining School-boy with his Satchel,
and shining Morning-face, creeping like Snail
Unwillingly to School. And then the Lover
Sighing like Furnace, with a woful Ballad
Made to his Mistress' Eye-brow. Then a Soldier
Full of strange Oaths, and bearded like the Pard,
Jealous in Honour, sudden and quick in Quarrel,
Seeking the bubble Reputation
Ev'n in the Cannon's Mouth. And then the Justice
In fair round Belly, with good Capon lin'd,
With Eyes severe, and Beard of formal Cut,
Full of wise Saws and modern Instances;
And so he plays his Part. The sixth Age shifts
Into the lean and slipper'd Pantaloon,
With Spectacles on Nose, and Pouch on Side;
His youthful Hose, well sav'd, a world too wide
For his shrunk Shank; and his big manly Voice
Turning again tow'rd childish treble Pipes,
And Whistles in his Sound. Last Scene of all,
That ends this strange eventful History,
Is second Childishness and meer Oblivion,
Sans Teeth, sans Eyes, sans Tast, sans ev'ry thing.
p.625(note 14)

[9]
His Images are indeed ev'ry where so lively, that the Thing he would represent stands full before you, and you possess ev'ry Part of it. I will venture to point out one more, which is, I think, as strong and as uncommon as any thing I ever saw; 'tis an Image of Patience. Speaking of a Maid in Love, he says,


--She never told her Love,
But let Concealment, like a Worm i'th' Bud
Feed on her Damask Cheek: She pin'd in Thought,
And sate like Patience on a Monument,
Smiling at Grief (note 15)

What an Image is here given! and what a Task would it have been for the greatest Masters of Greece and Rome to have express'd the Passions design'd by this Sketch of Statuary? The Stile of his Comedy is, in general, Natural to the Characters, and easie in it self; and the Wit most commonly sprightly and pleasing, except in those places where he runs into Dogrel Rhymes, as in The Comedy of Errors, and a Passage or two in some other Plays. As for his Jingling sometimes, and playing upon Words, it was the common Vice of the Age he liv'd in: And if we find it in the Pulpit, made use of as an Ornament to the Sermons of some of the Gravest Divines of those Times; perhaps it may not be thought too light for the Stage.

[10]
But certainly the greatness of this Author's Genius do's no where so much appear, as where he gives his Imagination an entire Loose, and raises his Fancy to a flight above Mankind and the Limits of the visible World. Such are his Attempts in The Tempest, Midsummer-Night's Dream, Macbeth and Hamlet. Of these, The Tempest, however it comes to be palc'd the first by the former Publishers of his Works, can never have been the first written by him: It seems to me as perfect in its Kind, as almost any thing we have of his. One may observe, that the Unities are kept here with an Exactness uncommon to the Liberties of his Writing: Tho' that was what, I suppose, he valu'd himself least upon, since his Excellencies were all of another Kind. I am very sensible that he do's, in this Play, depart too much from that likeness to Truth which ought to be observ'd in these sort of Writings; yet he do's it so very finely, that one is easily drawn in to have more Faith for his sake, than Reason does well allow of. His Magick has something in it very Solimn and very Poetical: And that extravagant Character of Caliban is mighty well sustain'd, shews a wonderful Invention in the Author, who could strike out such a particular wild Image, and is certainly one of the finest and most uncommon Grotesques that was ever seen. The Observation, which I have been inform'd (note 16) three very great Men concurr'd in making upon this Part, was extremely just. That Shakespear had not only found out a new Character in his Caliban but had also devis'd and adapted a new manner of Language for that Character. Among the particular Beauties of this Piece, I think one may be allow'd to point out the Tale of Prospero in the First Act; his Speech to Ferdinand in the Fourth, upon the breaking up the Masque of Juno and Ceres; and that in the Fifth, where he dissolves his Charms, and resolves to break his Magick Rod. This Play has been alter'd by Sir William D'avenant and Mr. Dryden; and tho' I won't Arraign the Judgment of those two great Men, yet I think I may be allow'd to say, that there are some things left out by them, that might, and even ought to have been kept in. Mr. Dryden was an Admirer of our Author, and, indeed, he owed him a great deal, as those who have read them both may very easily observe. And, I think, in Justice to 'em both, I should not on this Occasion omit what Mr. Dryden has said of him.

[11]

Shakespear, who, taught by none, did first impart
To Fletcher Wit, to lab'ring Johnson Art.
He, Monarch-like, gave those his Subjects Law,
And is that Nature which they Paint and Draw.
Fletcher reach'd that which on his heights did grow,
Whilst Johnson crept and gather'd all below:
This did his Love, and this his Mirth digest,
One imitates him most, the other best.
If they have since out-writ all other Men,
'Tis with the Drops which fell from Shakespear's Pen.
The Storm which vanish'd on the neighb'ring Shoar,
Was taught by Shakespear's Tempest first to roar.
That Innocence and Beauty which did smile
In Fletcher, grew on this Enchanted Isle.
But Shakespear's Magick could not copied be,
Within that Circle none durst walk but he.
I must confess 'twas bold, nor would you now
That Liberty to vulgar Wits allow,
Which works by Magick supernatural things:
But Shakespear's Pow'r is Sacred as a King's.
Prologue to The Tempest, as it is alter'd by Mr. Dryden

[12]
It is the same Magick that raises the Fairies in Midsummer Night's Dream, the Witches in Macbeth, and the Ghost in Hamlet, with Thoughts and Language so proper to the Parts they sustain, and so peculiar to the Talent of this Writer. But of the two last of these Plays I shall have occasion to take notice, among the Tragedies of Mr. Shakespear. If one undertook to examine the greatest part of these by those Rules which are establish'd by Aristotle, and taken from the Model of the Grecian Stage, it would be no very hard Task to find a great many Faults: But as Shakespear liv'd under a kind of mere Light of Nature, and had never been made acquainted with the Regularity of those written Precepts, so it would be hard to judge him by a Law he knew nothing of. We are to consider him as a Man that liv'd in a State of almost universal License and Ignorance: There was no establish'd Judge, but every one took the liberty to Write according to the Dictates of his own Fancy. When one considers, that there is not one Play before him of a Reputation good enough to entitle it to an Appearance on the present Stage, it cannot but be a Matter of great Wonder that he should advance Dramatick Poetry so far as he did. The Fable is what is generally plac'd the first, among those that are reckon'd the constituent Parts of a Tragick or Heroick Poem; not, perhaps, as it is the most Difficult or Beautiful, but as it is the first properly to be thought of in the Contrivance and Course of the whole; and with the Fable ought to be consider'd, the fit Disposition, Order and Conduct of its several Parts. As it is not in this Province of the Drama that the Strength and Mastery of Shakespear lay, so I shall not undertake the tedious and ill-natur'd Trouble to point out the several Faults he was guilty of in it. His Tales were seldom invented, but rather taken either from true History, or Novels and Romances: And he commonly made use of 'em in that Order, with those Incidents, and that extent of Time in which he found 'em in the Authors from whence he borrow'd them. So The Winter's Tale, which is taken from an old Book, call'd, The Delectable History of Dorastus and Faunia,(note 17) contains the space of sixteen or seventeen Years, and the Scene is sometimes laid in Bohemia, and sometimes in Sicily, according to the original Order of the Story. Almost all his Historical Plays comprehend a great length of Time, and very different and distinct Places: And in his Antony and Cleopatra, the Scene travels over the greatest Part of the Roman Empire. But in Recompence for his Carelessness in this Point, when he comes to another Part of the Drama, The Manners of his Characters, in Acting or Speaking what is proper for them, and fit to be shown by the Poet, he may be generally justify'd, and in very many places greatly commended. For those Plays which he has taken from the English or Roman History, let any Man compare 'em, and he will find the Character as exact in the Poet as the Historian. He seems indeed so far from proposing to himself any one Action for a Subject, that the Title very often tells you, 'tis The Life of King John, King Richard, &c. What can be more agreeable to the Idea our Historians give of Henry the Sixth, than the Picture Shakespear has drawn of him! His Manners are every where exactly the same with the Story; one finds him still describ'd with Simplicity, passive Sanctity, want of Courage, weakness of Mind, and easie Submission to the Governance of an imperious Wife, or prevailing Faction: Tho' at the same time the Poet do's Justice to his good Qualities, and moves the Pity of his Audience for him, by showing him Pious, Disinterested, a Contemner of Things of this World, and wholly resign'd to the severest Dispensations of God's Providence. There is a short Scene in the Second Part of Henry VI Vol. III pag. 1504. which I cannot but think admirable in its Kind. Cardinal Beaufort, who had murder'd the Duke of Gloucester, is shewn in the last Agonies on his Death-Bed, with the good King praying over him. There is so much Terror in one, so much Tenderness and moving Piety in the other, as must touch any one who is capable either of Fear or Pity. In his Henry VIII. that Prince is drawn with that Greatness of Mind, and all those good Qualities which are attributed to him in any Account of his Reign. If his Faults are not shewn in an equal degree, and the Shades in this Picture do not bear a just Proportion to the Lights, it is not that the Artist wanted either Colours or Skill in the Disposition of 'em; but the truth, I believe, might be, that he forbore doing it out of regard to Queen Elizabeth, since it could have been no very great Respect to the Memory of his Mistress, to have expos'd some certain Parts of her Father's Life upon the Stage. He has dealt much more freely with the Minister of that Great King, and certainly nothing was ever more justly written, than the Character of Cardinal Wolsey. He has shewn him Tyrannical, Cruel, and Insolent in his Prosperity; and yet, by a wonderful Address, he makes his Fall and Ruin the Subject of general Compassion. The whole Man, with his Vices and Virtues, is finely and exactly describ'd in the second Scene of the fourth Act. The Distresses likewise of Queen Katherine, in this Play, are very movingly touch'd; and tho' the Art of the Poet has skreen'd King Henry from any gross Imputation of Injustice, yet one is inclin'd to wish, the Queen had met with a Fortune more worthy of her Birth and Virtue. Nor are the Manners, proper to the Persons represented, less justly observ'd, in those Characters taken from the Roman History; and of this, the Fierceness and Impatience of Coriolanus, his Courage and Disdain of the common People, the Virtue and Philosophical Temper of Brutus, the irregular Greatness of Mind in M. Antony, are beautiful Proofs. For the two last especially, you find 'em exactly as they are describ'd by Plutarch, from whom certainly Shakespear copy'd 'em. He has indeed follow'd his Original pretty close, and taken in several little Incidents that might have been spar'd in a Play. But, as I hinted before, his Design seems most commonly rather to describe those great Men in the several Fortunes and Accidents of their Lives, than to take any single great Action, and form his Work simply upon that. However, there are some of his Pieces, where the fable is founded upon one Action only. Such are more especially, Romeo and Juliet, Hamlet, and Othello. The Design in Romeo and Juliet, is plainly the Punishment of their two Families, for the unreasonable Feuds and Animosities that had been so long kept up between 'em, and occasion'd the Effusion of so much Blood. In the management of this Story, he has shewn something wonderfully Tender and Passionate in the Love-part, and very Pitiful in the Distress. Hamlet is founded on much the same Tale with the Electra of Sophocles (note 18). In each of 'em a young Prince is engag'd to Revenge the Death of his Father, their Mothers are equally Guilty, are both concern'd in the Murder of their Husbands, and are afterwards married to the Murderers. There is in the first Part of the Greek Trajedy, something very moving in the Grief of Electra; but as Mr. D'Acier (note 19) has observ'd, there is something very unnatural and shocking in the Manners he has given that Princess and Orestes in the latter Part. Orestes embrues his Hands in the Blood of his own Mother; and that barbarous Action is perfom'd, tho' not immediately upon the Stage, yet so near, that the Audience hear Clytemnestra crying out to Aeghystus for Help, and to her Son for Mercy: While Electra, her Daughter, and a Princess, both of them Characters that ought to have appear'd with more Decency, stands upon the Stage and encourages her Brother in the Parracide. What Horror does this not raise! Clytemnestra was a wicked Woman, and had deserv'd to Die; nay, in the truth of the Story, she was kill'd by her own Son; but to represent an Action of this Kind on the Stage, is certainly an Offence against those Rules of Manners proper to the Persons that ought to be observ'd there. On the contrary, let us only look a little on the Conduct of Shakespear. Hamlet is represented with the same Piety towards his Father, and Resolution to Revenge his Death, as Orestes; he has the same Abhorrence for his Mother's Guilt, which, to provoke him the more, is heighten'd by Incest: But 'tis with wonderful Art and Justness of Judgment, that the Poet restrains him from doing Violence to his Mother. To prevent anything of that Kind, he makes his Father's Ghost forbid that part of his Vengeance.


But howsoever thou pursu'st this Act,
Taint not thy Mind; nor let thy Soul contrive
Against thy Mother ought; leave her to Heav'n,
And to those Thorns that in her Bosom lodge,
To prick and sting her.
Vol. V. p. 2386. (note 20)

This is to distinguish rightly between Horror and Terror. The latter is a proper Passion of Tragedy, but the former ought always to be carefully avoided. And certainly no Dramatick Writer ever succeeded better in raising Terror in the Minds of an Audience than Shakespear has done. The whole Tragedy of Macbeth, but more especially the Scene where the King is murder'd, in the second Act, as well as this Play, is noble Proof of that manly Spirit with which he writ; and both shew how powerful he was, in giving the strongest Motions to our Souls that they are capable of. I cannot leave Hamlet, without taking notice of the Advantage with which we have seen this Masterpiece of Shakespear distinguish it self upon the Stage, by Mr. Betterton's fine Performance of that Part. A Man, who tho' he had no other good Qualities, as he has a great many, must have made his way into the Esteem of all Men of Letters, by this only Excellency. No Man is better acquainted with Shaespear's Manner of Expression, and indeed he has study'd him so well, and is so much a Master of him, that whatever Part of his he performs, he does it as if it had been written on purpose for him, and that the Author had exactly conceiv'd it as he plays it. I must own a particular Obligation to him, for the most considerable part of the Passages relating to his Life, which I have here transmitted to the Publick; his Veneration for the Memory of Shaespear having engag'd him to make a Journey into Warwickshire, on purpose to gather up what Remains he could of a Name for which he had so great a Value. Since I had at first resolv'd not to enter into any Critical Controversie, I won't pretend to enquire into the Justness of Mr. Rhymer's Remarks on Othello; he has certainly pointed out some Faults very judiciously; and indeed they are such as most People will agree, with him, to be Faults: But I wish he would likewise have observ'd some of the Beauties too; as I think it became an Exact and Equal Critique to do. It seems strange that he should allow nothing Good in the whole: If the Fable and Incidents are not to his Taste, yet the Thoughts are almost every where very Noble, and the Diction manly and proper. These last, indeed, are Parts of Shakespear's Praise, which it would be very hard to Dispute with him. His Sentiments and Images of Things are Great and Natural; and his Expression (tho' perhaps in some Instances a little Irregular) just, and rais'd in Proportion to his Subject and Occasion. It would be even endless to mention the particular Instances that might be given of this Kind: But his Book is in the Possession of the Publick, and 'twill be hard to dip into any Part of it, without finding what I have said of him made good.

[13]
The latter Part of his Life was spent, as all Men of good Sense will wish theirs may be, in Ease, Retirement, and the Conversation of his Friends. He had the good Fortune to gather an Estate equal to his Occasion, and, in that, to his Wish; and is said to have spent some Years before his Death at his native Stratford. His pleasurable Wit, and good Nature, engag'd him in the Acquaintance, and entitled him to the Friendship of the Gentlemen of the Neighbourhood. Amongst them, it is a Story almost still remember'd in that Country, that he had a particular Intimacy with Mr. Combe, an old Gentleman noted thereabouts for his Wealth and Usury: It happen'd, that in a pleasant Conversation amongst their common Friends, Mr. Combe told Shakespear in a laughing manner, that he fancy'd, he intended to write his Epitaph, if he happen'd to out-live him; and since he could not know what might be said of him when he was dead, he desir'd it might be done immediately: Upon which Shakespear gave him these four Verses.


Ten in the Hundred lies here ingrav'd,
'Tis a Hundred to Ten, his Soul is not sav'd:
If any Man ask, Who lies in this Tomb?
Oh! ho! quoth the Devil, 'tis my John-a-Combe.


But the Sharpness of the Satyr is said to have stung the Man so severely, that he never forgave it. (note 21)


[14]
He Dy'd in the 53d Year of his Age, and was bury'd on the North side of the Chancel, in the Great Church at Stratford, where a Monument, as engrav'd in the Plate, is plac'd in the Wall. On his Grave-Stone underneath is,

Good Friend, for Jesus sake, forbear
To dig the Dust inclosed here.
Blest be the Man that spares these Stones,
And Curst be he that moves my Bones.


He had three Daughters (note 22), of which two liv'd to be marry'd; Judith, the Elder, to one Mr. Thomas Quiney, by whom she had three Sons, who all dy'd without Children; and Susannah, who was his Favour
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