SHAKESPEARE – ACCORDING TO LEACOCK.

Shannon News, 15 April 1925, Page 2

SHAKESPEARE - ACCORDING TO LEACOCK.

In this dissertation, Stephen Leacock takes off the common or garden biographical preface to a set of Shakespeare's works. , We do not know when Shakespeare was born. But he is dead. From internal evidence taken off hia words after his death we know that he followed for a time the profession of a lawyer, a sailor and a scrivener, and he was also actor, a bartender and a hostler. His wide experience of men and manners "was probably gained while a bartender. (Compare Htfnry V., Act V, Scene 2; "Say now gentlemen, what shall yours be?") But the .technical knowledge which is evident upon every page shows, also, the intellectual training of a lawyer. (Compare Macbeth, Act VI., Scene 4: "What is there in it for me?") At the same time we are reminded by many passages of Shakesper's intimate knowledge of the sea. (Romeo and Juliet. Act VIII Scene 14: "How is her head now, nurse?") We know, from his use of English that Shagsper had no college education. As an actor Shicksper, according to the current legend, was of no great talent. He is said to have acted the part of the ghost and lie also probably took such parts as: Enter a citizen, a tucket sounds, a dog barks, or a bell is heard within. (Note: We ourselves also have bee'u a tucket, a bell, a dog and so forth in our college

dramatic days.—Ed.). v In regard to the personality of Shakespere, or what we might call in the language of the day Shakespere the Man, we cannot do better than to quote the following excellent analysis done, we think, by PrOfesor Gilbert Murray, (hough we believe that Brander Matthews helped him a, little on the side.

"Shakespere was probably a geuial man who probably liked his friends, and probably spent a good deal of time in probable social intercourse. He was probably good tempered and easy goi'-.ig, with very likery a bad temper. We know that he drank, (Compaie Titus Andronicus. Act' T Scene I. What is there to drink?"), but most likely not to excess. (Compxre King Lear. Act 11, Scene 1. 'Stop!' and see also Macbeth, Act X, Sc< no 20. ('Hold, enough!) Shakespeare was probably fond of children, and most likely dogs, but Ave don't know how he stood on porcupines. !

"We imagine Shakespeare sitting among his cronies i"n Mitre Tavern, joining in the chorus of their probable songs, and draining a probable glass of ale, or at times falling into reverie i:i which the majestic pageant of Julius Caesar passed across his brooding mind." To this excellent analysis we will only add. We can also imagine him sitting anywhere else we like—that in fact is the Chief Charm of Shakesperian criticism. The one certain thing which we know about Shakespere" is that in his will he left his second best bed to his wife.

Since the death of S. his native town—either Stratford upon Avon or somewhere else, —has become a hallowed spot for the educated tourist. It is strange to stand to-day in the quiet street of the little town and to think that here Shakespeare actually lived—either here or elsewhere—and thait England's nohlest bard once mused among these willows or others

Our first mention must be of the Sonnets, f written probably, according\o Professor Matthews, during Shakesbur's life, and not after his death. There is a haunting beauty about these sonnets which prevents us from remembering what "they are about. But for the busy man of today it is enough to mention, Drink to me only with thine eyes, Rock Me to Sleep Mother, Hark, Hark the dogs do Bark. Oh, yes, quite enough. It will ge.t past him every time.

Among the greatest of Shakespeare's achievements are his historical' plays Henry I, Henry 11, Henry 111, Henry IV, Henry V, Henry VI, Henry VII, and Henry VIII. It is thought that Shakespeare was engaged on a play dealing with Henry IX, when he died. It is said to have bee":i his opinion that having struck a< good thing he had better stay with it. There is doubt as to authorship of part, or all, of some of these historical plays. In the case of Henry V, for example, it is held by the best critics that the opening scene (100 lines) was done by Ben Jonson. Then Shakespeare wrote 200 lines (all but half a liue in the middle) which undoubtedly is Marlowe's.

Then Jonson, with a little >help from Fletcher, wrote 100 lines. After that Shakespear, Massinger and Mari loue put in 10 lines each, But from this point the authorship is confused, each sticking in what he could. But we, ourselves, are under no misapprehension as to what is Shakespeare's and what is not. There is a touch which we recognise every time. When we see the real Shakespare we know it. Thus, whenever, it says "A Tucket Sounds. Enter Gloucester with Ho Boes," we know that Shakespeare, and only Shakespeare could have thought of that, in fact, Shakespeare could bring in things that wore all his own, such as: "Enter Cambridge followed by An Axe." "Enter Oxford followed by a link." His lesser collaborators could never get the same niccness of touch. Thus, ' when we read, "Enter the Earl of Richmond followed by a pup," we realise that it is poor work.

I Another way In which we are able to test whether or not a historical play is from Shakespeare's own pen is by the mode of address used by the characters. They are made to call one another by place designations instead of by their real names. "What says our brother Prance?" or, "Well, Belgium, how lodks it to you ?" "Speak : on, good Burgundy, our oars are '

yours." We ourselves have tried to imitate this, but could never quite get it; our attempt to call our friends, "Apartment B, The Grosvenor," and to say, "Go to it, the Marlborough, Top Floor No. 6" has practically ended in' failure.

Every educated person should carry in his mind an outline idea of the greatest of Shakespeare's tragedies. This outline when reduced to what is actually remembered by playgoers a'nd students is not difficult to acquire. Sample:

HAMLET (not to be confused with Omelette, which was written by Voltaire). Hamlet, Prince of Denmark, lived among priceless scenery, and was all dressed in black velvet. He was deeply melancholy. Either because he was mad, or because he waa not. Hamlet killed his uncle and destroyed various other people whose names one does not recall. '

The shock of this drove Ophelia to drown herself, but oddly enough when she threw herself in the water she floated, and went down the river singing and shouting. In the end Hamlet killed Laertes and himself, and others leaped into his grave until it was quite full when the play ends People who possess this accurate recollection rightly consider themselves superior to others.

Modern scholarship has added greatly to the interset in Shakespeare's work by investigating the resources from which he took his plays. It appears that in practically all cases they were old stuff already. Hamlet quite evidently can be traced to an old Babylonian play called HUMLID, , and this itself is, perhaps, only a version of a Hindoo tragedy. The Life of William Johnson. The play of Lear was very likely taken by S. from the old Chinese drama of Li-Po, while Macbeth, u'uder the skilled investigation of modern scholars, shows distinct traces to a Scotch origin. In effect, Shakespeare, instead of sitting down afnd making up a play out of his head, appears to have rummaged among sagas, myths, legends, archives and folk lore, much of which must have taken him years to find.

In person Shakespeare is generally represented as having a pointed beard and bobbed hair, with a bald forehead large, wild eyes, a salient nose, a retreating chin, and a general expression of vacuity, verging on imbecility. The following characteristics of Shakespeare's work should be memorised—majesty, sublimity, grace, harmony, altitude, also scope , range; reach, together with grasp, comprehension, force and light, heat and power.

Conclusion: Shakespeare was u very geod writer.