ENGL 4165-4166: WILLIAM SHAKESPEARE
Literary criticism in the modern sense of the word really gets underway only in the eighteenth century. Before then, comments on poetry were usually written in poetry, often in the form of epigrams like these: short, pity statements in verse about writers' moral and literary character.
Epigrams often alluded to earlier epigrams, the later poet trying to over-go his predecessors, which is what is going on here. These were all famous poems, memorials to Shakespeare that were themselves memorialized by being reprinted in Shakespeare's works, where everybody saw and pondered them.
These poets' object was thus to gain fame by giving fame (to Shakespeare), writing a better, or at least a different poem than one's predecessors. Competition is one theme in the epgirams; character is another. As the rival poets draw Shakespeare's character, they also, by implication, reveal their own.
The first poem, by William Basse, originally circulated in manuscript, which is how Ben Jonson first read it. Perhaps we are to imagine Basse's words written over Shakespeare's tomb in Westminster Abbey. Ben Jonson's poem appeared with Basse's in the first folio of Shakespeare's works; Milton's in the second folio edition. Milton's sonnet was, for all practical purposes, his first appearance before the public—an important moment in his career.
On Mr. Wm. Shakespeare.
WILLIAM BASSE
Renowned Spencer lye a thought more nye
Edmund Spenser (1552ca.-1599) the era's most renowned poet, author of the Faerie Queene; Geoffrey Chaucer (1343ca.-1400) the elder statesman of English poetry; Francis Beaumont (1584-1616) most popular English playwright. To learned Chaucer, and rare Beaumond lye
A little neerer Spenser, to make roome
For Shakespeare in your threefold, fowerfold Tombe.
To lodge all fowre in one bed make a shift
Untill Doomesdaye, for hardly will a sift
Betwixt this day and that by Fate by slayne,
For whom your Curtaines may be drawn againe.
If your precedency in death doth barre
10 A fourth place in your sacred sepulcher,
Under this carved marble of thine owne,
Sleepe, rare Tragedian, Shakespeare sleep alone;
Thy unmolested peace, unshared Cave,
Possesse as Lord, not Tenant, of the Grave,
That unto us and others it may be
Honor hereafter to be layde by thee.
From the Lansdowne MSS. (1620 ca.)
To the memory of my beloved,
The AUTHOR
Mr. WILLIAM SHAKESPEARE:
AND
what he hath left us.
BEN JONSON
To draw no envy (Shakespeare) on thy name,
Am I thus ample to thy Booke, and Fame:
While I confesse thy writings to be such,
As neither Man, nor Muse, can praise too much.
'Tis true, and all mens suffrage. But these wayes
Were not the paths I meant unto thy praise:
For seeliest Ignorance on these may light,
Which, when it sounds at best, but eccho's right;
Or blinde Affection, which doth ne're advance
10 The truth, but gropes, and urgeth all by chance;
Or crafty Malice, might pretend this praise,
And thinke to ruine, where it seem'd to raise.
These are, as some infamous Baud, or Whore,
Should praise a Matron. What could hurt her more?
But thou art proofe against them, and indeed
Above th' ill fortune of them, or the need.
I, therefore will begin. Soule of the Age!
The applause! delight! the wonder of our Stage!
My Shakespeare, rise; I will not lodge thee by
20 Chaucer, or Spenser, or bid Beaumont lye
A little further, to make thee a roome:
Thou art a Moniment, without a tombe,
And art alive still, while thy Booke doth live,
And we have wits to read, and praise to give.
That I not mixe thee so, my braine excuses;
I meane with great, but disproportion'd Muses:
For, if I thought my judgement were of yeeres,
John Lyly (1554ca.-1606); Thomas Kyd (1558-94); Christopher Marlowe (1564-93); three Elizabethan playwrights. I should commit thee surely with thy peeres,
And tell, how farre thou didst our Lily out-shine,
30 Or sporting Kid, or Marlowes mighty line.
And though thou hadst small Latine, and lesse Greeke,
From thence to honour thee, I would not seeke
Three Greek tragic poets. For names; but call forth thund'ring Aeschilus,
Euripides, and Sophocles to us,
Three Roman tragic poets ("him of Cordova" is Seneca). Paccunius, Accius, him of Cordova dead,
To life againe, to heare thy Buskin tread,
And shake a Stage: Or, when thy Sockes were on,
Leave thee alone, for the comparison
Of all, that insolent Greece, or haughtie Rome
40 Sent forth, or since did from their ashes come.
Triumph, my Britaine, thou hast one to showe,
To whom all Scenes of Europe homage owe.
He was not of an age, but for all time!
And all the Muses still were in their prime,
When like Apollo he came forth to warme
Our eares, or like a Mercury to charme!
Nature her selfe was proud of his designes,
And joy'd to weare the dressing of his lines!
Which were so richly spun, and woven so fit,
50 As, since, she will vouchsafe no other Wit.
Three comic playwrights (Aristophanes is Greek, Terence and Plautus, Roman). The merry Greeke, tart Aristophanes,
Neat Terence, witty Plautus, now not please;
But antiquated, and deserted lye
As they were not of Natures family.
Yet must I not give Nature all: Thy Art,
My gentle Shakespeare, must enjoy a part.
For though the Poets matter, Nature be,
His Art doth give the fashion. And, that he,
Who casts to write a living line, must sweat,
60 (Such as thine are) and strike the second heat
Upon the Muses anvile: turne the same,
(And himselfe with it) that he thinkes to frame;
Or for the lawrell, he may gaine a scorne,
For a good Poet's made, as well as borne.
And such wert thou. Looke how the fathers face
Lives in his issue, even so, the race
Of Shakespeares minde, and manners brightly shines
In his well turned, and true-filed lines:
In each of which, he seemes to shake a Lance,
70 As brandish't at the eyes of Ignorance.
Sweet Swan of Avon! what a sight it were
To see thee in our waters yet appeare,
And make those flights upon the bankes of Thames,
That so did take Eliza, and our James!
But stay, I see thee in the Hemisphere
Advanc'd, and made a Constellation there!
Shine forth, thou Starre of Poets, and with rage,
Or influence, chide, or cheere the drooping Stage;
Which, since thy flight from hence, hath mourn'd like night,
80 And despaires day, but for thy Volumes light.
From Shakespeare, First Folio (1623) Sig. A6-A6v
An Epitaph on the admirable Dramaticke Poet, W. Shakespeare.
JOHN MILTON
What needs my Shakespear for his honour'd Bones,
The labour of an age in piled Stones,
Or that his hallow'd reliques should be hid
Under a sky-pointing Pyramid?
Dear son of memory, great heir of Fame
What need'st thou such weak witnes of thy name?
Thou in our wonder and astonishment
Hast built thy self a live-long Monument.
For whilst to th' shame of slow-endeavouring art,
10 They easie numbers flow, and that each heart
Hath from the leaves of thy unvalu'd Book,
Those Delphick lines with deep impression took,
Then thou our fancy of itself bereaving,
Dost make us Marble with too much conceiving,
And so Sepulcher'd in such pomp dost lie,
That Kings for such a Tomb would wish to die.
Shakespeare, Second Folio (1632), written 1630.