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think the two disadvantages which I have mentioned (to be obliged to please the lowest of the people, and to keep the worst of company) if the consideration be extended as far as it reasonably may, will appear sufficient to mislead and depress the greatest genius upon earth. Nay, the more modesty with which such a one is endued, the more he is in danger of submitting and conforming to others, against his own better judg
But as to his want of learning, it may be necessary to say something more: there is certainly a vast difference between learning and languages. How far he was ignorant of the latter, I cannot determine; but it is plain he had much reading at least, if they will not call it learning. Nor is it any great matter, if a man has knowledge, whether he has it from one language or from another. Nothing is more evident than that he had a taste of natural philosophy, mechanicks, ancient and modern history, poetical learning, and mythology: we find him very knowing in the customs, rites, and manners of antiquity. In Coriolanus and Julius Caesar, not only the spirit, but manners, of the Romans are exactly drawn; and still a nicer distinction is shown between the manners of the Romans in the time of the former, and of the latter. His reading in the ancient historians is no less conspicuous, in many references to particular passages and the speeches copied from Plutarch in Coriolanus may, I think, as well be made an instance of his learning, as those copied from Cicero in Catiline of Ben Jonson's. The manners of
These, as the reader will find in the notes on that play, -Shakspeare drew from Sir Thomas North's translation, 1579:
other nations in general, the Egyptians, Venetians, French, &c. are drawn with equal propriety. Whatever object of nature, or branch of science, he either speaks of or describes, it is always with competent, if not extensive knowledge: his descriptions are still exact; all his metaphors appropriated, and remarkably drawn from the true nature and inherent qualities of each subject. When he treats of ethick or politick, we may constantly observe a wonderful justness of distinction, as well as extent of comprehension. No one is master of the political story, or has more frequent allusions to the various parts of it: Mr. Waller (who has been celebrated for this last particular) has not shown more learning this way than Shakspeare. We have translations from Ovid published in his name,3 among among those poems which pass for his, and for some of which we have undoubted authority (being published by himself, and dedicated to his noble patron the Earl of Southampton): he appears also to have been conversant in Plautus, from whom he has taken the plot of one of his plays: he follows the Greek authors, and particularly Dares Phrygius, in another, (although I will not pretend to say in what language he read them). The modern Italian writers of novels he was manifestly acquainted with; and we may conclude him to be no less conversant with the ancients of his own country, from the use he has made of Chaucer in Troilus and Cressida, and in The Two Noble Kinsmen, if that play be his, as there goes a tradition it was (and indeed it has little resemblance of Fletcher, and more of our author than some of those which have been received as genuine).
They were written by Thomas Heywood. See [Mr. Malone's] Vol. X. p. 321, n. 1. MALONE.
I am inclined to think this opinion proceeded originally from the zeal of the partizans of our author and Ben Jonson; as they endeavoured to exalt the one at the expence of the other. It is ever the nature of parties to be in extremes; and nothing is so probable, as that because Ben Jonson had much the more learning, it was said on the one hand that Shakspeare had none at all; and because Shakspeare had much the most wit and fancy, it was retorted on the other, that Jonson wanted both. Because Shakspeare borrowed nothing, it was said that Ben Jonson borrowed every thing. Because Jonson did not write extempore, he was reproached with being a year about every piece; and because Shakspeare wrote with ease and rapidity, they cried, he never once made a blot. Nay, the spirit of opposition ran so high, that whatever those of the one side objected to the other, was taken at the rebound, and turned into praises; as injudiciously, as their antagonists before had made them objections.
Poets are always afraid of envy; but sure they have as much reason to be afraid of admiration. They are the Scylla and Charybdis of authors; those who escape one, often fall by the other. Pessimum genus inimicorum laudantes, says Tacitus; and Virgil desires to wear a charm against those who praise a poet without rule or reason:
si ultra placitum laudârit, baccare frontem "Cingite, ne vati noceat,"
But however this contention might be carried on by the partizans on either side, I cannot help thinking these two great poets were good friends, and lived on amicable terms, and in offices of society
with each other. It is an acknowledged fact, that Ben Jonson was introduced upon the stage, and his first works encouraged, by Shakspeare. And after his death, that author writes, To the memory of his beloved William Shakspeare, which shows as if the friendship had continued through life. I cannot for my own part find any thing invidious or sparing in those verses, but wonder Mr. Dryden was of that opinion. He exalts him not only above all his contemporaries, but above Chaucer and Spenser, whom he will not allow to be great enough to be ranked with him; and challenges the names of Sophocles, Euripides, and Æschylus, nay, all Greece and Rome at once, to equal him: and (which is very particular) expressly vindicates him from the imputation of wanting art, not enduring that all his excellencies should be attributed to nature. It is remarkable too, that the praise he gives him in his Discoveries seems to proceed from a personal kindness; he tells us, that he loved the man, as well as honoured his memory; celebrates the honesty, openness, and frankness of his temper; and only distinguishes, as he reasonably ought, between the real merit of the author, and the silly and derogatory applauses of the players. Ben Jonson might indeed be sparing in his commendations (though certainly he is not so in this instance) partly from his own nature, and partly from judgment. For men of judgment think they do any man more service in praising him justly, than lavishly. I say, I would fain believe they were friends, though the violence and ill-breeding of their followers and flatterers were enough to give rise to the contrary report. I hope that it may be with parties, both in wit and state, as with those monsters described by the poets; and that their heads at least may have
something human, though their bodies and tails are wild beasts and serpents.
As I believe that what I have mentioned gave rise to the opinion of Shakspeare's want of learning; so what has continued it down to us may have been the many blunders and illiteracies of the first publishers of his works. In these editions their ignorance shines in almost every page; nothing is more common than Actus tertia. Exit omnes. Enter three Witches solus. Their French is as bad as their Latin, both in construction and spelling: their very Welsh is false. Nothing is more likely than that those palpable blunders of Hector's quoting Aristotle, with others of that gross kind, sprung from the same root: it not being at all credible that these could be the errors of any man who had the least tincture of a school, or the least conversation with such as had. Ben Jonson (whom they will not think partial to him) allows him at least to have had some Latin; which is utterly inconsistent with mistakes like these. Nay, the constant blunders in proper names of persons and places, are such as must have proceeded from a man, who had not so much as read any history in any language: so could not be Shakspeare's.
I shall now lay before the reader some of those almost innumerable errors, which have risen from one source, the ignorance of the players, both as his actors, and as his editors. When the nature and kinds of these are enumerated and considered, I dare to say that not Shakspeare only, but Aristotle
Enter three Witches solus.] This blunder appears to be of Mr. Pope's own invention. It is not to be found in any one of the four folio copies of Macbeth, and there is no quarto edition of it extant. STEEVENS.