translation of the whole is ready for the press. Separate plays have appeared in Welsh, Portuguese, Friesic, Flemish, Servian, Roumanian, Maltese, Ukrainian, Wallachian, Croatian, modern Greek, Latin, Hebrew, and Japanese; while a few have been rendered into Bengali, Hindustani, Marathi, Gujarati, Urdu, Kanarese, and other languages of India, and have been acted in native theatres. XIX GENERAL ESTIMATE No estimate of Shakespeare's genius can be adequate. In General knowledge of human character, in wealth of humour, in estimate. depth of passion, in fertility of fancy, and in soundness of judgment, he has no rival. It is true of him, as of no other writer, that his language and versification adapt themselves to every phase of sentiment, and sound every note in the scale of felicity. Some defects are to be acknowledged, but they sink into insignificance when measured by the magnitude of his achievement. Sudden transitions, elliptical expressions, mixed metaphors, indefensible verbal quibbles, and fantastic conceits at times create an atmosphere of obscurity. The student is perplexed, too, by obsolete words and by some hopelessly corrupt readings. But when the whole of Shakespeare's vast work is scrutinised with due attention, the glow of his imagination is seen to leave few passages wholly unillumined. Some of his plots are hastily constructed and inconsistently developed, but the intensity of the interest with which he contrives to invest the personality of his heroes and heroines triumphs over halting or digressive treatment of the story in which they have their being. Although he was versed in the technicalities of stagecraft, he occasionally disregarded its elementary conditions. But the success of his presentments of human life and character depended little on his manipulation of theatrical machinery. His unassailable supremacy springs from the versatile working of his insight and intellect, by virtue of which his pen limned with unerring precision almost every gradation of thought and emotion that animates the living stage of the world. Shakespeare's mind, as Hazlitt suggested, contained within itself the germs of all faculty and feeling. He knew intuitively how every faculty and feeling would develop in Men and women any conceivable change of fortune. good or bad, old or young, wise or foolish, merry or sad, rich or poor-yielded their secrets to him, and his genius enabled him to give being in his pages to all the shapes of humanity that present themselves on the highway of life. Each of his characters gives voice to thought or passion with an individuality and a naturalness that rouse in the intelligent playgoer and reader the illusion that they are Character overhearing men and women speak unpremeditatingly among themselves, rather than that they are reading written speeches or hearing written speeches recited. The more closely the words are studied, the completer the illusion grows. Creatures of the imagination- fairies, ghosts, witches are delineated with a like potency, and the reader or spectator feels instinctively that these supernatural entities could not speak, feel, or act otherwise than Shakespeare represents them. The creative power of poetry was never manifested to such effect as in the corporeal semblances in which Shakespeare clad the spirits of the air. of Shakespeare's achievement. Its universal recognition. So mighty a faculty sets at nought the common limitations of nationality, and in every quarter of the globe to which civilised life has penetrated Shakespeare's power is recognised. All the world over, language is applied to his creations that ordinarily applies to beings of flesh and blood. Hamlet and Othello, Lear and Macbeth, Falstaff and Shylock, Brutus and Romeo, Ariel and Caliban, are studied in almost every civilised tongue as if they were historic personalities, and the chief of the impressive phrases that fall from their lips are rooted in the speech of civilised humanity. To Shakespeare the intellect of the world, speaking in divers accents, applies with one accord his own words: 'How noble in reason! how infinite in faculty! in apprehension how like a god!' APPENDIX I THE STUDY OF SHAKESPEARE'S LIFE AND WORK abundant. THE scantiness of contemporary records of Shakespeare's career Contemhas been much exaggerated. An investigation extending over porary two centuries has brought together a mass of detail which far records exceeds that accessible in the case of any other contemporary professional writer. Nevertheless, some important links are missing, and at some critical points appeal to conjecture is inevitable. But the fully ascertained facts are numerous enough to define sharply the general direction that Shakespeare's career followed. Although the clues are in some places faint, the trail never altogether eludes the patient investigator. Fuller, in his 'Worthies' (1662), attempted the first biogra- First phical notice of Shakespeare, with poor results. Aubrey, in his efforts in gossiping 'Lives of Eminent Men,' based his ampler information biography. on reports communicated to him by William Beeston (d. 1682), an aged actor, whom Dryden called 'the chronicle of the stage,' and who was doubtless in the main a trustworthy witness. A few additional details were recorded in the seventeenth century by the Rev. John Ward (1629-81), vicar of Stratford-on-Avon from 1662 to 1668, in a diary and memorandum-book written between 1661 and 1663 (ed. Č. A. Severn, 1839); by the Rev. William Fulman, whose manuscripts are at Corpus Christi College, Oxford (with valuable interpolations made before 1708 by the Rev. Richard Davies, vicar of Saperton, Gloucestershire); by John Dowdall, who recorded his experiences of travel through Warwickshire in 1693 (London, 1838); and by William Hall, who described a visit to Stratford in 1694 (London, 1884, from Hall's letter among the Bodleian MSS.). Phillips in his 'Theatrum Poetarum' (1675), and Langbaine in his English Dramatick Poets' (1691), confined themselves to elementary criticism. In 1709 Nicholas Rowe prefixed to his edition of the plays a more ambitious memoir than had yet been attempted, and Biogra- embodied some hitherto unrecorded Stratford and London traditions with which the actor Thomas Betterton supplied him. A little fresh gossip was collected by William Oldys, and was printed from his manuscript 'Adversaria' (now in the British Museum) as an appendix to Yeowell's 'Memoir of Oldys,' 1862. Pope, Johnson, and Steevens, in the biographical prefaces to their editions, mainly repeated the narratives of their predecessor, Rowe. 6 In the Prolegomena to the Variorum editions of 1803, 1813, and especially in that of 1821, there was embodied a mass of fresh information derived by Edmund Malone from systematic researches among the parochial records of Stratford, the manuscripts accumulated by the actor Alleyn at Dulwich, and official papers of state preserved in the public offices in London (now collected in the Public Record Office). The available knowledge of Elizabethan stage history, as well as of Shakespeare's biography, was thus greatly extended. John Payne Collier in his History of English Dramatic Poetry' (1831), in his 'New Facts' about Shakespeare (1835), his 'New Particulars' (1836), and his 'Further Particulars (1839), and in his editions of Henslowe's 'Diary' and the Alleyn Papers' for the Shakespeare Society, while occasionally throwing some further light on obscure places, foisted on Shakespeare's biography a series of ingeniously forged documents, against which the student is warned. Joseph Hunter in 'New Illustrations of Shakespeare' (1845) and George Russell French's Shakspeareana Genealogica (1869) occasionally supplemented Malone's researches. James Orchard Halliwell (afterwards Halliwell-Phillipps) printed separately, between 1850 and 1884, in various privately issued publications, all the Stratford archives and extant legal documents bearing on Shakespeare's career, many of them for the first time. In 1881 Halliwell-Phillipps began the collective publication of materials for a full biography in his 'Outlines of the Life of Shakespeare'; this work was generously enlarged in successive editions until it acquired massive proportions; in the seventh edition of 1887, which embodied the author's final corrections and additions, it reached near 1000 pages. (There have been three subsequent editions the tenth and last being dated 1898-which reprint the seventh edition without change.) Mr. Frederick Gard Fleay, in his 'Shakespeare Manual' (1876), in his 'Life of Shakespeare' (1886), in his 'History of the Stage' (1890), and his 'Biographical Chronicle of the English Drama' (1891), adds much useful information respecting stage history and Shakespeare's relations with his fellow-dramatists, mainly derived from a study of the original editions of the plays of Shakespeare and of his contemporaries; but unfortunately many of Mr. Fleay's statements and conjectures are un |