Part 14 (2/2)

”Soul of the Age!

The applause! delight! the wonder of our Stage!

My Shakespear rise: I will not lodge thee by Chaucer, or Spenser, or bid Beaumont lie A little further, to make thee a room: Thou art a monument, without a tomb, And art alive still, while thy book doth live, And we have wits to read, and praise to give.”

Beaumont, by the way, died in the same year as Shakespeare, 1616, and, while Ben here names him with Chaucer, Spenser, and Shakespeare, his contemporaries have left no anecdotes, no biographical hints. In the panegyric follow the lines:

”And though thou hadst small Latin and less Greek, From thence to honour thee I would not seek For names, but call forth thund'ring AEschylus,”

and the other glories of the Roman and Attic stage, to see and hear how Shakespeare bore comparison with all that the cla.s.sic dramatists did, or that ”did from their ashes come.”

Jonson means, ”despite your lack of Greek and Latin I would not shrink from challenging the greatest Greek and Roman tragedians to see how you bear comparison with themselves”?

Mr. Greenwood and the Baconians believe that the author of the plays abounded in Latin and Greek. In my opinion his cla.s.sical scholars.h.i.+p must have seemed slight indeed to Ben, so learned and so vain of his learning: but this is part of a vexed question, already examined.

So far, Ben's verses have brought not a hint to suggest that he does not identify the actor, his Beloved, with the author. Nothing is gained when Ben, in commendatory verses, praises ”Thy Art,” whereas, speaking to Drummond of Hawthornden (1619), he said that Shakespeare ”wanted art.” Ben is not now growling to Drummond of Hawthornden: he is writing a panegyric, and applauds Shakespeare's ”well-turned and true-filed lines,” adding that, ”to write a living line” a man ”must sweat,” and ”strike the second heat upon the Muses' anvil.”

To produce such lines requires labour, requires conscious ”art.” So Shakespeare HAD ”art,” after all, despite what Ben had said to Drummond: ”Shakespeare lacked art.” There is no more in the matter; the ”inconsistency” is that of Ben's humours on two perfectly different occasions, now grumbling to Drummond; and now writing hyperbolically in commendatory verses. But the contrast makes Mr.

Greenwood exclaim, ”Can anything be more astonis.h.i.+ng and at the same time more unsatisfactory than this?” {249a}

Can anything be more like Ben Jonson?

Did he know the secret of the authors.h.i.+p in 1619? If so, why did he say nothing about the plays of the Great Unknown (whom he called Shakespeare), save what Drummond reports, ”want of art,” ignorance of Bohemian geography. Or did Ben NOT know the secret till, say, 1623, and then heap on the very works which he had previously scouted praise for the very quality which he had said they lacked? If so, Ben was as absolutely inconsistent, as before. There is no way out of this dilemma. On neither choice are Ben's utterances ”easy to reconcile one with the other,” except on the ground that Ben was-- Ben, and his comments varied with his varying humours and occasions.

I believe that, in the commendatory verses, Ben allowed his Muse to carry him up to heights of hyperbolical praise which he never came near in cold blood. He was warmed with the heat of poetic composition and wound up to heights of eulogy, though even NOW he could not forget the small Latin and less Greek!

We now turn to Mr. Greenwood's views about the commendatory verses.

On mature consideration I say nothing of his remarks on Ben's couplets about the bad engraved portrait. {250a} They are concerned with the supposed ”ORIGINAL bust,” as represented in Dugdale's engraving of 1656. What the Baconians hope to make out of ”the ORIGINAL bust” I am quite unable to understand. {250b} Again, I leave untouched some witticisms {250c} on Jonson's lines about Spenser, Chaucer, and Beaumont in their tombs--lines either suggested by, or suggestive of others by an uncertain W. Ba.s.se, ”but the evidence of authors.h.i.+p seems somewhat doubtful. How the date is determined I do not know . . . ” {251a} As Mr. Greenwood knows so little, and as the discussion merely adds dust to the dust, and fog to the mist of his attempt to disable Ben's evidence, I glance and pa.s.s by.

”Then follow these memorable words, which I have already discussed:

”'And though thou hadst small Latin and less Greek . . . '” {251b}

In ”these memorable words,” every non-Baconian sees Ben's opinion about his friend's lack of scholars.h.i.+p. According to his own excellent Index, Mr. Greenwood has already adverted often to ”these memorable words.”

(1) P. 40. ” . . . if this testimony is to be explained away as not seriously written, then are we justified in applying the same methods of interpretation to Jonson's other utterances as published in the Folio of 1623. But I shall have more to say as to that further on.”

(2) P. 88. Nothing of importance.

(3) P. 220. Quotation from Dr. Johnson. Ben, ”who had no imaginable temptation to falsehood,” wrote the memorable words. But Mr. Greenwood has to imagine a ”temptation to falsehood,”--and he does.

(4) P. 222. ”And we have recognised that Jonson's 'small Latin and less Greek' must be explained away” (a quotation from somebody).

(5) P. 225. Allusion to anecdote of ”Latin (latten) spoons.”

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