English Literature: Its History and Significance for the Life of the English-Speaking World - William J. Long (book club books .TXT) 📗

and dramatic construction, it is by far the best of Marlowe's plays, and is a worthy predecessor of Shakespeare's historical drama.

Marlowe and ShakespeareMarlowe is the only dramatist of the time who is ever compared with Shakespeare.[143] When we remember that he died at twenty-nine, probably before Shakespeare had produced a single great play, we must wonder what he might have done had he outlived his wretched youth and become a man. Here and there his work is remarkable for its splendid imagination, for the stateliness of its verse, and for its rare bits of poetic beauty; but in dramatic instinct, in wide knowledge of human life, in humor, in delineation of woman's character, in the delicate fancy which presents an Ariel as perfectly as a Macbeth,--in a word, in all that makes a dramatic genius, Shakespeare stands alone. Marlowe simply prepared the way for the master who was to follow.

Variety of the Early Drama. The thirty years between our first regular English plays and Shakespeare's first comedy[144] witnessed a development of the drama which astonishes us both by its rapidity and variety. We shall better appreciate Shakespeare's work if we glance for a moment at the plays that preceded him, and note how he covers the whole field and writes almost every form and variety of the drama known to his age.

Types of DramaFirst in importance, or at least in popular interest, are the new Chronicle plays, founded upon historical events and characters. They show the strong national spirit of the Elizabethan Age, and their popularity was due largely to the fact that audiences came to the theaters partly to gratify their awakened national spirit and to get their first knowledge of national history. Some of the Moralities, like Bayle's King Johan (1538), are crude Chronicle plays, and the early Robin Hood plays and the first tragedy, Gorboduc, show the same awakened popular interest in English history. During the reign of Elizabeth the popular Chronicle plays increased till we have the record of over two hundred and twenty, half of which are still extant, dealing with almost every important character, real or legendary, in English history. Of Shakespeare's thirty-seven dramas, ten are true Chronicle plays of English kings; three are from the legendary annals of Britain; and three more are from the history of other nations.

Other types of the early drama are less clearly defined, but we may sum them up under a few general heads: (1) The Domestic Drama began with crude home scenes introduced into the Miracles and developed in a score of different ways, from the coarse humor of Gammer Gurton's Needle to the Comedy of Manners of Jonson and the later dramatists. Shakespeare's Taming of the Shrew and Merry Wives of Windsor belong to this class. (2) The so-called Court Comedy is the opposite of the former in that it represented a different kind of life and was intended for a different audience. It was marked by elaborate dialogue, by jests, retorts, and endless plays on words, rather than by action. It was made popular by Lyly's success, and was imitated in Shakespeare's first or "Lylian" comedies, such as Love's Labour's Lost, and the complicated Two Gentlemen of Verona. (3) Romantic Comedy and Romantic Tragedy suggest the most artistic and finished types of the drama, which were experimented upon by Peele, Greene, and Marlowe, and were brought to perfection in The Merchant of Venice, Romeo and Juliet, and The Tempest. (4) In addition to the above types were several others,--the Classical Plays, modeled upon Seneca and favored by cultivated audiences; the Melodrama, favorite of the groundlings, which depended not on plot or characters but upon a variety of striking scenes and incidents; and the Tragedy of Blood, always more or less melodramatic, like Kyd's Spanish Tragedy, which grew more blood-and-thundery in Marlowe and reached a climax of horrors in Shakespeare's Titus Andronicus. It is noteworthy that Hamlet, Lear, and Macbeth all belong to this class, but the developed genius of the author raised them to a height such as the Tragedy of Blood had never known before.

These varied types are quite enough to show with what doubtful and unguided experiments our first dramatists were engaged, like men first setting out in rafts and dugouts on an unknown sea. They are the more interesting when we remember that Shakespeare tried them all; that he is the only dramatist whose plays cover the whole range of the drama from its beginning to its decline. From the stage spectacle he developed the drama of human life; and instead of the doggerel and bombast of our first plays he gives us the poetry of Romeo and Juliet and Midsummer Night's Dream. In a word, Shakespeare brought order out of dramatic chaos. In a few short years he raised the drama from a blundering experiment to a perfection of form and expression which has never since been rivaled.

IV. SHAKESPEARE

The Wonder of ShakespeareOne who reads a few of Shakespeare's great plays and then the meager story of his life is generally filled with a vague wonder. Here is an unknown country boy, poor and poorly educated according to the standards of his age, who arrives at the great city of London and goes to work at odd jobs in a theater. In a year or two he is associated with scholars and dramatists, the masters of their age, writing plays of kings and clowns, of gentlemen and heroes and noble women, all of whose lives he seems to know by intimate association. In a few years more he leads all that brilliant group of poets and dramatists who have given undying glory to the Age of Elizabeth. Play after play runs from his pen, mighty dramas of human life and character following one another so rapidly that good work seems impossible; yet they stand the test of time, and their poetry is still unrivaled in any language. For all this great work the author apparently cares little, since he makes no attempt to collect or preserve his writings. A thousand scholars have ever since been busy collecting, identifying, classifying the works which this magnificent workman tossed aside so carelessly when he abandoned the drama and retired to his native village. He has a marvelously imaginative and creative mind; but he invents few, if any, new plots or stories. He simply takes an old play or an old poem, makes it over quickly, and lo! this old familiar material glows with the deepest thoughts and the tenderest feelings that ennoble our humanity; and each new generation of men finds it more wonderful than the last. How did he do it? That is still an unanswered question and the source of our wonder.

Illustration: WILLIAM SHAKESPEARE
WILLIAM SHAKESPEARE

Genius or TrainingThere are, in general, two theories to account for Shakespeare. The romantic school of writers have always held that in him "all came from within"; that his genius was his sufficient guide; and that to the overmastering power of his genius alone we owe all his great works. Practical, unimaginative men, on the other hand, assert that in Shakespeare "all came from without," and that we must study his environment rather than his genius, if we are to understand him. He lived in a play-loving age; he studied the crowds, gave them what they wanted, and simply reflected their own thoughts and feelings. In reflecting the English crowd about him he unconsciously reflected all crowds, which are alike in all ages; hence his continued popularity. And in being guided by public sentiment he was not singular, but followed the plain path that every good dramatist has always followed to success.

Probably the truth of the matter is to be found somewhere between these two extremes. Of his great genius there can be no question; but there are other things to consider. As we have already noticed, Shakespeare was trained, like his fellow workmen, first as an actor, second as a reviser of old plays, and last as an independent dramatist. He worked with other playwrights and learned their secret. Like them, he studied and followed the public taste, and his work indicates at least three stages, from his first somewhat crude experiments to his finished masterpieces. So it would seem that in Shakespeare we have the result of hard work and of orderly human development, quite as much as of transcendent genius.

Life (1564-1616). Two outward influences were powerful in developing the genius of Shakespeare,--the little village of Stratford, center of the most beautiful and romantic district in rural England, and the great city of London, the center of the world's political activity. In one he learned to know the natural man in his natural environment; in the other, the social, the artificial man in the most unnatural of surroundings.

From the register of the little parish church at Stratford-on-Avon we learn that William Shakespeare was baptized there on the twenty-sixth of April, 1564 (old style). As it was customary to baptize children on the third day after birth, the twenty-third of April (May 3, according to our present calendar) is generally accepted as the poet's birthday.

His father, John Shakespeare, was a farmer's son from the neighboring village of Snitterfield, who came to Stratford about 1551, and began to prosper as a trader in corn, meat, leather, and other agricultural products. His mother, Mary Arden, was the daughter of a prosperous farmer, descended from an old Warwickshire family of mixed Anglo-Saxon and Norman blood. In 1559 this married couple sold a piece of land, and the document is signed, "The marke + of John Shacksper. The marke + of Mary Shacksper"; and from this it has been generally inferred that, like the vast majority of their countrymen, neither of the poet's parents could read or write. This was probably true of his mother; but the evidence from Stratford documents now indicates that his father could write, and that he also audited the town accounts; though in attesting documents he sometimes made a mark, leaving his name to be filled in by the one who drew up the document.

Of Shakespeare's education we know little, except that for a few years he probably attended the endowed grammar school at Stratford, where he picked up the "small Latin and less Greek" to which his learned friend Ben Jonson refers. His real teachers, meanwhile, were the men and women and the natural influences which surrounded him. Stratford is a charming little village in beautiful Warwickshire, and near at hand were the Forest of Arden, the old castles of Warwick and Kenilworth, and the old Roman camps and military roads, to appeal powerfully to the boy's lively imagination. Every phase of the natural beauty of this exquisite region is reflected in Shakespeare's poetry; just as his characters reflect the nobility and the littleness, the gossip, vices, emotions, prejudices, and traditions of the people about him.

I saw a smith stand with his hammer, thus,
The whilst his iron did on the anvil cool,
With open mouth swallowing a tailor's news;
Who, with his shears and measure in his hand,
Standing on slippers, which his nimble haste
Had falsely thrust upon contrary feet,
Told of a many thousand warlike French
That were embattailed and ranked in Kent.[145]

Such passages suggest not only genius but also a keen, sympathetic observer, whose eyes see every significant detail. So with the nurse in Romeo and Juliet, whose endless gossip and vulgarity cannot quite hide a kind heart. She is simply the reflection of some forgotten nurse with whom Shakespeare had talked by the wayside.

Not only the gossip but also the dreams, the unconscious poetry that sleeps in the heart of the common people, appeal tremendously to Shakespeare's imagination and are reflected in his greatest plays. Othello tries to tell a curt soldier's story of his love; but the account is like a bit of Mandeville's famous travels, teeming with the fancies that filled men's heads when the great round