The Essential Works of Robert G. Ingersoll. Robert Green Ingersoll
To digg the dust enclosed heare:
Blest be ye man yt spares thes stones,
And curst be he yt moves my bones."
Certainly Shakespeare could have had no fear that his tomb would be violated. How could it have entered his mind to have put a warning, a threat and a blessing, upon his grave? But the ignorant people of that day were no doubt convinced that the epitaph was the voice of the dead, and so feeling they feared to invade the tomb. In this way the dust was left in peace.
This epitaph gave me great trouble for years. It puzzled me to explain why he, who erected the intellectual pyramids—great ranges of mountains—should put such a pebble at his tomb. But when I stood beside the grave and read the ignorant words, the explanation I have given flashed upon me.
II.
IT has been said that Shakespeare was hardly mentioned by his contemporaries, and that he was substantially unknown. This is a mistake. In 1600 a book was published called England's Parnassus, and it contained ninety extracts from Shakespeare. In the same year was published the Garden of the Muses, containing several pieces from Shakespeare, Chapman, Marston and Ben Jonson. England's Helicon was printed in the same year, and contained poems from Spenser, Greene, Harvey and Shakespeare.
In 1600 a play was acted at Cambridge, in which Shakespeare was alluded to as follows: "Why, here's our fellow Shakespeare who puts them all down." John Weaver published a book of poems in 1595, in which there was a sonnet to Shakespeare. In 1598 Richard Bamfield wrote a poem to Shakespeare. Francis Meres, "clergyman, master of arts in both universities, compiler of school books," was the author of the Wits Treasury. In this he compares the ancient and modern tragic poets, and mentions Marlowe, Peele, Kyd and Shakespeare. So he compares the writers of comedies, and mentions Lilly, Lodge, Greene and Shakespeare. He speaks of elegiac poets, and names Surrey, Wyatt, Sidney, Raleigh and Shakespeare. He compares the lyric poets, and names Spenser, Drayton, Shakespeare and others. This same writer, speaking of Horace, says that England has Sidney, Shakespeare and others, and that "as the soul of Euphorbus was thought to live in Pythagoras, so the sweet-wittie soul of Ovid lives in the mellifluous and honey-tongued Shakespeare." He also says: "If the Muses could speak English, they would speak in Shakespeare's phrase." This was in 1598. In 1607, John Davies alludes in a poem to Shakespeare.
Of course we are all familiar with what rare Ben Jonson wrote. Henry Chettle took Shakespeare to task because he wrote nothing on the death of Queen Elizabeth.
It may be wonderful that he was not better known. But is it not wonderful that he gained the reputation that he did in so short a time, and that twelve years after he began to write he stood at least with the first?
III.
BUT there is a wonderful fact connected with the writings of Shakespeare: In the Plays there is no direct mention of any of his contemporaries. We do not know of any poet, author, soldier, sailor, statesman, priest, nobleman, king, or queen, that Shakespeare directly mentioned.
Is it not marvelous that he, living in an age of great deeds, of adventures in far-off lands and unknown seas—in a time of religious wars—in the days of the Armada—the massacre of St. Bartholomew—the Edict of Nantes—the assassination of Henry III.—the victory of Lepanto—the execution of Marie Stuart—did not mention the name of any man or woman of his time? Some have insisted that the paragraph ending with the lines: "The imperial votress passed on in maiden meditation fancy-free," referred to Queen Elizabeth; but it is impossible for me to believe that the daubed and wrinkled face, the small black eyes, the cruel nose, the thin lips, the bad teeth, and the red wig of Queen Elizabeth could by any possibility have inspired these marvelous lines.
It is perfectly apparent from Shakespeare's writings that he knew but little of the nobility, little of kings and queens. He gives to these supposed great people great thoughts, and puts great words in their mouths and makes them speak—not as they really did—but as Shakespeare thought such people should. This demonstrates that he did not know them personally.
Some have insisted that Shakespeare mentions Queen Elizabeth in the last scene of Henry VIII. The answer to this is that Shakespeare did not write the last scene in that Play. The probability is that Fletcher was the author.
Shakespeare lived during the great awakening of the world, when Europe emerged from the darkness of the Middle Ages, when the discovery of America had made England, that blossom of the Gulf-Stream, the centre of commerce, and during a period when some of the greatest writers, thinkers, soldiers and discoverers were produced.
Cervantes was born in 1547, dying on the same day that Shakespeare died. He was undoubtedly the greatest writer that Spain has produced. Rubens was born in 1577. Camoens, the Portuguese, the author of the Lusiad, died in 1597. Giordano Bruno—greatest of martyrs—was born in 1548—visited London in Shakespeare's time—delivered lectures at Oxford, and called that institution "the widow of learning." Drake circled the globe in 1580. Galileo was born in 1564—the same year with Shakespeare. Michael Angelo died in 1563. Kepler—he of the Three Laws—born in 1571. Calderon, the Spanish dramatist, born in 1601. Corneille, the French poet, in 1606. Rembrandt, greatest of painters, 1607. Shakespeare was born in 1564. In that year John Calvin died. What a glorious exchange!
Seventy-two years after the discovery of America Shakespeare was born, and England was filled with the voyages and discoveries written by Hakluyt, and the wonders that had been seen by Raleigh, by Drake, by Frobisher and Hawkins. London had become the centre of the world, and representatives from all known countries were in the new metropolis. The world had been doubled. The imagination had been touched and kindled by discovery. In the far horizon were unknown lands, strange shores beyond untraversed seas. Toward every part of the world were turned the prows of adventure. All these things fanned the imagination into flame, and this had its effect upon the literary and dramatic world. And yet Shakespeare—the master spirit of mankind—in the midst of these discoveries, of these adventures, mentioned no navigator, no general, no discoverer, no philosopher.
Galileo was reading the open volume of the sky, but Shakespeare did not mention him. This to me is the most marvelous thing connected with this most marvelous man.
At that time England was prosperous—was then laying the foundation of her future greatness and power.
When men are prosperous, they are in love with life. Nature grows beautiful, the arts begin to flourish, there is work for painter and sculptor, the poet is born, the stage is erected—and this life with which men are in love, is represented in a thousand forms.
Nature, or Fate, or Chance prepared a stage for Shakespeare, and Shakespeare prepared a stage for Nature.
Famine and faith go together. In disaster and want the gaze of man is fixed upon another world. He that eats a crust has a creed. Hunger falls upon its knees, and heaven, looked for through tears, is the mirage of misery. But prosperity brings joy and wealth and leisure—and the beautiful is born.
One of the effects of the world's awakening was Shakespeare. We account for this man as we do for the highest mountain, the greatest river, the most perfect gem. We can only say: He was.
"It hath been taught us from the primal state
That he which is was wished until he were."
IV.
IN Shakespeare's time the actor was a vagabond, the dramatist a disreputable person—and yet the greatest dramas were then written. In spite of law, and