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Updated: May 12, 2025
But even he could not persuade me to anything more than a dim respect for 'Paradise Lost. Some of Shakespeare's plays entranced me; particularly 'The Tempest, 'Romeo and Juliet, and 'As You Like It; but there were others which made no real impression upon my wayward mind. Dryden and Pope and Cowper I tried in vain to appreciate; the best that I could attain to was a respectful admiration.
Its chief effect has been in the way many of its expressions and phrases have passed into everyday use, so that people often use Biblical phrases without even knowing that they are doing so, just as we saw was the case with many phrases taken from Shakespeare's works.
Even now, in England at least, it would be perhaps impossible to find one special and professed student of Elizabethan literature, and of the classical and European literatures, who does not hold by the ancient belief, the belief of Shakespeare's contemporaries and intimates, the belief that he was, in the sense explained above, the author of the plays.
All was 'barbare, dépourvu de bienséances, d'ordre, de vraisemblance'; in the hurly-burly he was dimly aware of a figured and elevated style, and of some few 'lueurs étonnantes'; but to the true significance of Shakespeare's genius he remained utterly blind.
Still, it is only in despotic states, which are not founded on right, but force, that the king can say, L'etat, c'est moi, I am the state; and Shakespeare's usage of calling the king of France simply France, and the king of England simply England, smacks of feudalism, under which monarchy is an estate, property, not a public trust.
Rousseau had none of it; Shakespeare had it in excess; but what difference would it make in our judgment of Hamlet or Othello if a manuscript of Shakespeare's memoirs should turn up, and we should find out that he had been a pitiful fellow? None in the world; for he is not a professed moralist, and his life does not give the warrant to his words.
Greenwood must argue in proof of the view that "goods" are necessarily exclusive of books, for Mr. Elton takes it as a quite natural fact that Shakespeare's books passed, with his other goods, to Mr. Hall, and thence to a Mr. Nash, to whom Mr. I only give this as a lawyer's opinion. Lawyers appear to differ as to this inference: both Mr. Elton and Mr.
Indeed, to put any play of Shakespeare's on the stage, absolutely as he himself wished it to be done, requires the services of a good property-man, a clever wig-maker, a costumier with a sense of colour and a knowledge of textures, a master of the methods of making-up, a fencing-master, a dancing- master, and an artist to direct personally the whole production.
The partisans of oligarchic or democratic systems may wrangle at their will over the supposed evidences of Shakespeare's prejudice against this creed and prepossession in favour of that: a third bystander may rejoice in the proof thus established of his impartial indifference towards either: it is all nothing to the real point in hand.
It looked as though its author had imagined Shakespeare's dramas and Dante's epic were produced by a kind of artistic commingling of pathetic with symbolic elements, and as though he wished to call attention to the danger of reversing the correct proportions, for instance, by the symbolic obtaining the preponderance in tragedy, or pathos in the epopee, or to the danger of exaggerating these proportions, until there was too much tragic pathos, or too much epic symbolism.
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