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In saying that Shakespeare's mind was commonplace, I meant to tender him the highest praise. In his commonplaceness lies his sanity. He is so greatly usual that he can understand all men and sympathise with them. He is above novelty. His wisdom is greater than the wisdom of the few; he is the heir of all the ages, and draws his wisdom from the general mind of man.
In these days of "nature study" writers familiar with toads and frogs and kindred beasts have puzzled over Shakespeare's words, and suggested that he was really referring to the beautiful eyes of the toad, which are like gems in colour and brilliance. This, however, is not the case.
Tennyson dies at eighty-three with the full moonlight streaming through the oriel window upon his bed, and with his fingers clasping Shakespeare's Cymbeline. With most of us commonplace persons, however, a reaction from the romantic is almost inevitable. The romantic temperament cannot long keep the pitch. Poe could indeed do it, although he hovered at times near the border of insanity.
This was so successful that in this manner Mary related the stories of most of Shakespeare's plays; of Byron's Bride of Abydos, and Corsair; of Keats's Lamia; of Tennyson's Idylls; and of a heterogenous collection of poetry and romance, in all of which stories the old man took a vivid interest. 'You are better to me than the sunshine, he told Mary one day when she was leaving him.
In the mouth of Will Kempe, who acted Dogberry in Shakespeare's company, and was in favour, says Heywood, with Queen Elizabeth, the Cambridge authors put this brag: "For Londoners, who of more report than Dick Burbage and Will Kempe? He is not counted a gentleman that knows not Dick Burbage and Will Kempe."
The student who takes up Shakespeare's plays for the purpose of either amusement or cultivation, I would recommend to throw aside the whole load of commentary, and speculation, and disquisition, and devote himself to trying to find out first what was the London and the England of Shakespeare's day, what were the usages of all classes of society, what were the manners and the character of the people who crowded to hear his plays, or who denounced them as the works of the devil and the allies of sin.
The thing has been achieved once at least admirably in Shakespeare's Julius Cæsar, and something like it, though from a more one-sided and romantic stand-point, has been done excellently in L'Aiglon. But the difficulties of such a play are obvious on the face of the matter. In a political play the principal characters are not merely men.
"How is it, dear Cesare that we live in such good friendship, but that in the art of painting we show no deference to each other?" he asked of Cesare da Sesto, who was Da Vinci's greatest pupil. In discussing the great ones of the earth, Herman Grimm, son of the collector of fairy tales, says: "Can we mention a violent act of Raphael's, Goethe's or Shakespeare's?
The sonorous accumulation of emphatic epithets as in the magnificent first verse of this passage is indeed at least as much a note of the young Shakespeare's style as of his master's; but even were this one verse less in the manner of the elder than the younger poet and this we can hardly say that it is no single verse detached from its context can weigh a feather against the full and flawless evidence of the whole speech.
Ever since I had received in my girlhood, from my best friend, the works of Elizabeth Barrett Browning, in five volumes in blue and gold, I had read and re-read the pages, till I knew scores by heart. I had longed to see the face and home of her whom the English call "Shakespeare's daughter," and whom Edmund Clarence Stedman names "the passion-flower of the century."
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