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The singing was beautiful. Six of the most cultivated glee singers of London sang, among other things, "Spring's delights are now returning," and "Where the bee sucks there lurk I." The duchess said," These glees are peculiarly English." It was indeed delightful to hear Shakspeare's aerial words made vocal within the walls of this fairy palace.
The brother and sister were sitting alone over a blazing Christmas fire, and Jemima held an old newspaper in her hand to shield her face from the hot light. They were talking of family events, when, during a pause, Jemima's eye caught the name of a great actor, who had lately given prominence and life to a character in one of Shakspeare's plays.
One can discern, in his ample pictures of the gentleman and the king, what forms and humanities pleased him; his delight in troops of friends, in large hospitality, in cheerful giving. Let Timon, let Warwick, let Antonio the merchant, answer for his great heart. So far from Shakspeare's being the least known, he is the one person, in all modern history, known to us.
And, in reality, Shakspeare's fame was in some degree eclipsed by them in the generation which immediately succeeded, and in the time of Charles II. they still enjoyed greater popularity: the progress of time, however, has restored all three to their due places.
Can Posthumus have got this tablet with the prophecy by dreaming? But these gentlemen do not descend to this objection. The verses which the apparitions deliver do not appear to them good enough to be Shakspeare's. I imagine I can discover why the poet has not given them more of the splendour of diction.
The extraordinary success of this play in Shakspeare's own day, and even since in England, is, however, to be ascribed more particularly to the parts of Benedict and Beatrice, two humoursome beings, who incessantly attack each other with all the resources of raillery.
I spare you the rest of my task, and I earnestly hope, my dear reader, that these citations may have a better effect upon you than they had upon me. With shame I confess, that even with the addition of Shakspeare's eloquent "To-morrow, and to-morrow, and to-morrow," &c. which I learnt by heart gratis, not a bit the better was I for all this poetical morality.
'Having placed himself by her, he with great good-humour entered upon a consideration of the English drama; and, among other inquiries, particularly asked her which of Shakspeare's characters she was most pleased with. Mrs.
"Love-matches." Self-oblivion indicates true love. Proofs of one's being affected by this sentiment. Shakspeare's description of a lover. Jealousy and Timidity indicate love. Overtures. Unrequited love. Rejection of Addresses. I use the expression at the head of this chapter, because of the importance I attach, not only to the sentiment in general, but especially to its earliest developement.
Through Lord Southampton, as a surviving friend of Lord Essex, who was viewed as the martyr to his Scottish politics, there can be no doubt that Shakspeare had acquired the favor of James I.; and accordingly, on the 29th of May, 1603, about two months after the king's accession to the throne of England, a patent was granted to the company of players who possessed the Globe theatre; in which patent Shakspeare's name stands second.
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