ease, simplicity, and naturalness. "The good they do, in doing it, pays itself; if they do you a kindness, they are not at all solicitous to have you know and remember it; if sufferings and hardships overtake them, if wounds and bruises be their portion, they never grumble or repine at it." And the women, to quote Hudson further, "are strong, tender, and sweet, yet never without a sufficient infusion of brisk natural acid and piquancy to keep their sweetness from palling on the taste; they are full of fresh, healthy sentiment, but never at all touched with sentimentality." 125. Incomparable Style. As his mode of expression was always suited to his changing characters, he exemplified every quality of style in turn. His faculties and taste were so exquisitely adjusted, that his manner was always in keeping with his matter. He drew with equal facility on the Saxon and the Latin elements of our language, and attained with both the same incomparable results. He had a prodigious faculty for language, surpassing in copiousness every other English writer. The only term that adequately describes his manner of writing is Shakespearian-a term that comprehends a great deal. It includes vividness of imagination, depth of thought, delicacy of feeling, carefulness of observation, discernment of hidden relations, and whatever else may be necessary to clothe thought in expressions of supreme fitness and beauty. 126. A Storehouse of Riches.- Far above every other writer of ancient or modern times Shakespeare voices, in its manifold life, the human soul. This fact makes his works a storehouse of riches, to which we constantly turn. Are we oppressed at times with a morbid feeling of the emptiness of life? How perfectly Shakespeare voices our sentiment: "Life's but a walking shadow, a poor player That struts and frets his hour upon the stage, Or again: "We are such stuff As dreams are made of, and our little life Is rounded with a sleep." If we recognize the fact that somehow there is a mysterious power controlling our lives, we are told "There's a divinity that shapes our ends, Rough-hew them how we will." What beautiful expression he gives to the trite observation that contentment is better than riches! "Tis better to be lowly born, And range with humble livers in content, And wear a golden sorrow." What clear expression he gives to the indistinct feeling of beauty that sometimes comes to us in the presence of some object in nature! He surprises its secret, and embodies it in an imperishable word: "How sweet the moonlight sleeps upon this bank!" But why multiply illustrations, when they are found on almost every page of his works? 127. His Influence.- And what shall be said of Shakespeare's influence? He so entirely eclipsed his contemporary dramatists that their works are scarcely read. There are passages in his works that we could wish omitted — panderings to the corrupt taste of the time. But they are exceptional, and at heart the poet's sympathy, as in the case of every truly great man, is on the side of virtue. His writings, as a whole, carry with them the uplifting power of high thought, noble feeling, and worthy deeds. Many of his thoughts and characters pass into the intellectual life of each succeeding generation. "Hamlet," "The Merchant of Venice," and "Romeo and Juliet" are read by nearly every young student; and to have read any one of Shakespeare's masterpieces intelligently marks an epoch in the intellectual life of youth. But his dramas give pleasure not alone to the young. With minds enriched by experience and study, we turn, in the midst of active life, to his works for recreation and instruction. He but appears greater with our enlarged capacity to appreciate him. If he gathered about him a circle of cultivated friends and admirers in his life, he has shown himself still stronger in death. The circle has widened until it comprehends many lands. 128. Imperishable Interest.—There is no abatement of interest in his works. Societies are organized for their systematic study, and periodicals are devoted to their illustration. There is no likelihood that he will ever be superseded; as he wrote in the proud presentiment of genius, "Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme." Future ages will turn to his works as a mirror of nature, and find in them the most perfect expression of their deepest and most precious experience. It is safe to say that his productions are as imperishable as the English language or the English race. 66 FOR FURTHER READING AND STUDY. 66 Hudson's or Rolfe's Shakespeare," Dowden, Shakespeare, His Mind and Art," Hudson, "His Life, Art, and Characters" (2 vols.), Mrs. Jameson, "Characteristics of Women," Lewes, "Women of Shakespeare (translated from the German), Mabie, “Life of Shakespeare,” Lee, “Life of William Shakespeare,” Corson, "Introduction to the Study of Shakespeare," Lowell, "My Study Windows,” Moulton, “Shakespeare, the Man and His Works' (Sibley & Co.) " The structure of the drama, Freytag, "Technique of the Drama,” Ch. 2. How to study a drama, Painter, "Elementary Guide to Literary Criticism,” pp. 148–155 (particularly questions in note, p. 154). The times of Shakespeare, Green, "History of the English People," vol. II., Lewes, "The Women of Shakespeare," Ch 1, 66 Jenks, "In the Days of Shakespeare." The moral spirit of Shakespeare, Hudson, 'Shakespeare, His Life, Art, and Characters," vol. I., pp. 238-258. An estimate of the "Merchant of Venice," Hudson, vol. I., pp. 277-279, Moulton, "Shakespeare, the Man and his Works," pp. 105-112. The story of the play, Hudson, vol. I., p. 279, Lewes, “Women of Shakespeare," pp. 181-201, Lamb, “Tales from Shakespeare." Character Studies of Antonio, Shylock, and Portia, Hudson (vol. I.), Lewes. The episode of Lorenzo and Jessica. "The Merchant of Venice" is given among the selections of Part II. "Julius Cæsar," "As You Like It," "Hamlet" and "Macbeth" are recommended for similar study. PRINCIPAL WRITERS. PROSE. Jeremy Taylor (1613-1667). Theologian and preacher. Author of "Liberty of Prophesying" (1647), "Holy Living and Dying" (1651), etc. Edward Hyde, Earl of Clarendon (1608-1674). Statesman and author of The History of the Rebellion" (1702). Richard Baxter (1615-1691). Theologian and preacher. Author of "The Saints' Everlasting Rest" (1649), "A Call to the Unconverted" (1657), "The Reformed Pastor," and a hundred and fifty other works. 66 Izaak Walton (1593-1683). Author of The Complete Angler," and several excellent biographies, including that of Hooker. (See Text.) Sir Thomas Browne (1605-1682). Author of "Religio Medici" (1643), "Vulgar Errors (1646), and "Urn Burial" (1658). POETRY. Edmund Waller (1605-1687). metaphysical or artificial poets. (See Text.) One of the principal Abraham Cowley (1618-1667). The most popular poet of his time. Author of "The Mistress," a collection of love verses, 'Davideis," an epic on David, The Late Civil War," etc. (See Text.) 66 Francis Quarles (1592-1644). Author of "Divine Emblems" (1635), moral and religious poems, very popular in his day. "Milton was forced to wait," said Walpole, “till the world had done admiring Quarles." George Herbert (1593-1632). Anglican clergyman, who wrote The Temple" (1633), a collection of ecclesiastical poems, some of which are still held in favor. Robert Herrick (1591-1674). Anglican clergyman, who wrote Anacreontic poems hardly in keeping with his profession. GREAT REPRESENTATIVE WRITER. JOHN MILTON. |