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They also introduce Kempe, the low comedy man of Shakespeare's company, speaking to Burbage, the chief tragic actor, of Shakespeare as a member of their company, who, AS AN AUTHOR OF PLAYS, "puts down" the University wits "and Ben Jonson too." The date is not earlier than that of Ben's satiric play on the poets, The Poetaster , to which reference is made.
Creighton's The Age of Elizabeth; Hall's Society in the Elizabethan Age; Winter's Shakespeare's England; Goadby's The England of Shakespeare; Lee's Stratford on Avon; Harrison's Elizabethan England.
"While novelists and dramatists are constantly making mistakes as to the laws of marriage, of wills, of inheritance, to Shakespeare's law, lavishly as he expounds it, there can neither be demurrer, nor bill of exceptions, nor writ of error."
Then, lest the temperance cause lack the support of great names, Longfellow causes the title character of Michael Angelo to inform us that he "loves not wine," while, more recently, E. A. Robinson pictures Shakespeare's inability to effervesce with his comrades, because, Ben Jonson confides to us,
Among the many smaller articles I wrote, one with the title of The Infinitely Small and the Infinitely Great in Poetry, starting with a representment of Shakespeare's Harry Percy, contained a criticism of the hitherto recognised tendency of Danish dramatic poetry and pointed out into the future.
'My dear Erskine, I said, getting up from my seat, 'you are entirely wrong about the whole matter. It is the only perfect key to Shakespeare's Sonnets that has ever been made. It is complete in every detail. I believe in Willie Hughes. 'Don't say that, said Erskine gravely; 'I believe there is something fatal about the idea, and intellectually there is nothing to be said for it.
From the poets of all ages and from the depths of their souls this tremendous vision of the flowing away of life like water has wrung bitter cries from Pindar's "dream of a shadow," skias onar, to Calderón's "life is a dream" and Shakespeare's "we are such stuff as dreams are made on," this last a yet more tragic sentence than Calderón's, for whereas the Castilian only declares that our life is a dream, but not that we ourselves are the dreamers of it, the Englishman makes us ourselves a dream, a dream that dreams.
'It is of course evident that there must have been in Shakespeare's company some wonderful boy-actor of great beauty, to whom he intrusted the presentation of his noble heroines; for Shakespeare was a practical theatrical manager as well as an imaginative poet, and Cyril Graham had actually discovered the boy-actor's name. He was Will, or, as he preferred to call him, Willie Hughes.
Of course the aesthetic value of Shakespeare's plays does not, in the slightest degree, depend on their facts, but on their Truth, and Truth is independent of facts always, inventing or selecting them at pleasure. But still Shakespeare's use of facts is a most interesting part of his method of work, and shows us his attitude towards the stage, and his relations to the great art of illusion.
Your rude Shakespeare's Julius Caesar even his Troilus and Cressida have the ancient spirit, precisely as they are imitations of nothing ancient. But our Frenchmen copied the giant images of old just as the school-girl copies a drawing, by holding it up to the window, and tracing the lines on silver paper." "But your new writers De Stael Chateaubriand?"*
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