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Updated: June 20, 2025
Bacon, too, may have had a memory rich in all the tags of song, ballad, story, and DICTON. But so may Shakespeare. That Shakspere, whether "scholar" or not, had a very wide and deep knowledge both of Roman literature and, still more, of the whole field of the tragic literature of Athens, is a theory which Mr. Greenwood seems to admire in that "violent Stratfordian," Mr.
For the same reason the Blackfriars, belonging to the company that owned the Globe the company in which Shakspere was a stockholder was built, about 1596, within the "liberties" of the dissolved monastery of the Blackfriars. These early theaters were of the rudest construction. The six-penny spectators, or "groundlings," stood in the yard or pit, which had neither floor nor roof.
Great as was his love for Shakspere, we can hardly fancy him delighting in Falstaff. In minds of a less cultured order, this moral tension ended, no doubt, in a hard unsocial sternness of life. The ordinary Puritan "loved all that were godly, much misliking the wicked and profane." His bond to other men was not the sense of a common manhood, but the recognition of a brotherhood among the elect.
The banished duke is seeking to bring his courtiers to regard their exile as a part of their moral training. I am aware that I point the passage differently, while I revert to the old text. The line Here feel we not the penalty of Adam? has given rise to much perplexity. The expounders of Shakspere do not believe he can mean that the uses of adversity are really sweet.
26: The y, in Pygmalion, seems to us not without cause to be changed by Marston into an i. 27: The number of metaphors used by Shakspere in 'Venus and Adonis, which Marston travesties, is strikingly large. 28: A few instances may here be given of the coarseness with which Dekker pays back Jonson for his personal allusions.
Greenwood honestly believes it to be an argument, otherwise he would not use it: much less would he repeat it with frequent iteration. The more a man was notorious, as was Will Shakspere the actor, the less the need for any critic to tell his public "who Shakespeare was." As Mr.
Lafarge has ventured to acclaim him; and just as Shakspere is unsurpassed as a poet and also as a playwright, just as Cicero takes a foremost place as an orator and also as a writer of prose, so Michelangelo is mighty as a sculptor, as an architect, and as a painter. As a painter he has more rivals than as a sculptor.
It is impossible for us to determine whether, in their fierce bandying of the lie, Bolingbroke or Norfolk spoke the truth. Doubtless each believed the other to be the villain that he called him. And Shakspere has no desire or need to act the historian in the decision of that question.
As already remarked, the lectures of Schlegel were sufficiently urbane in tone and gave no foretaste of that bitterness with which he subsequently attacked Schiller in some of his poems. What is here important to observe is that Schlegel, and the other Romanticists who took their cue from him, set the vogue of judging Goethe and Schiller according to their imagined resemblance to Shakspere.
"He had no great liking, he said, for arranging the poets in a hierarchy. He found so much that surpassed him in different ways in all the great ones; but he thought that Homer, Æschylus, Sophocles, Virgil, Dante, Shakspere, and Goethe, these seven, were the greatest of the great, up to the year 1800.
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