CONTENTS
　　PrefaceHowthePlaycametobeWrittenThomasTylerFrankHarrisHarris"durchMitleidwissend"
　　"Sidney’sSister：Pembroke’sMother"
　　Shakespear’sSocialStandingThisSideIdolatryShakespear’sPessimismGaietyofGeniusJupiterandSemeleTheIdoloftheBardolatersShakespear’sallegedSycophancyandPerversionShakespearandDemocracyShakespearandtheBritishPublicTheDarkLadyoftheSonnetsTHEDARKLADYOFTHESONNETS
　　1910
　　PREFACETOTHEDARKLADYOFTHESONNETS
　　HowthePlaycametobeWrittenIhadbetterexplainwhy，inthislittle_pieced’occasion_，writtenforaperformanceinaidofthefundsoftheprojectforestablishingaNationalTheatreasamemorialtoShakespear，IhaveidentifiedtheDarkLadywithMistressMaryFitton。First，letmesaythatIdonotcontendthattheDarkLadywasMaryFitton，becausewhenthecaseinMary’sfavor（oragainsther，ifyoupleasetoconsiderthattheDarkLadywasnobetterthansheoughttohavebeen）wascomplete，aportraitofMarycametolightandturnedouttobethatofafairlady，notofadarkone。Thatsettlesthequestion，iftheportraitisauthentic，whichIseenoreasontodoubt，andthelady’shairundyed，whichisperhapslesscertain。Shakespearrubbedinthelady’scomplexioninhissonnetsmercilessly；forinhisdayblackhairwasasunpopularasredhairwasintheearlydaysofQueenVictoria。AnytingelighterthanravenblackmustbeheldfataltothestrongestclaimtobetheDarkLady。Andso，unlessitcanbeshewnthatShakespear’ssonnetsexasperatedMaryFittonintodyeingherhairandgettingpaintedinfalsecolors，Imustgiveupallpretencethatmyplayishistorical。ThelatersuggestionofMrAchesonthattheDarkLady，farfrombeingamaidofhonor，keptataverninOxfordandwasthemotherofDavenantthepoet，istheoneI
　　shouldhaveadoptedhadIwishedtobeuptodate。Why，then，didI
　　introducetheDarkLadyasMistressFitton？
　　Well，Ihadtworeasons。Theplaywasnottohavebeenwrittenbymeatall，butbyMrsAlfredLyttelton；anditwasshewhosuggestedasceneofjealousybetweenQueenElizabethandtheDarkLadyattheexpenseoftheunfortunateBard。Nowthis，iftheDarkLadywasamaidofhonor，wasquiteeasy。Ifshewereatavernlandlady，itwouldhavestrainedallprobability。SoIstucktoMaryFitton。ButIhadanotherandmorepersonalreason。Iwas，inamanner，presentatthebirthoftheFittontheory。ItsparentandIhadbecomeacquainted；andheusedtoconsultmeonobscurepassagesinthesonnets，onwhich，asfarasIcanremember，Ineversucceededinthrowingthefaintestlight，atatimewhennobodyelsethoughtmyopinion，onthatoranyothersubject，oftheslightestimportance。I
　　thoughtitwouldbefriendlytoimmortalizehim，asthesillyliterarysayingis，muchasShakespearimmortalizedMrW。H。，ashesaidhewould，simplybywritingabouthim。
　　Letmetellthestoryformally。
　　ThomasTylerThroughouttheeightiesatleast，andprobablyforsomeyearsbefore，theBritishMuseumreadingroomwasuseddailybyagentlemanofsuchastonishingandcrushinguglinessthatnoonewhohadonceseenhimcouldeverthereafterforgethim。Hewasoffaircomplexion，rathergoldenredthansandy；agedbetweenforty-fiveandsixty；anddressedinfrockcoatandtallhatofpresentablebutnevernewappearance。
　　Hisfigurewasrectangular，waistless，neckless，ankleless，ofmiddleheight，lookingshortishbecause，thoughhewasnotparticularlystout，therewasnothingslenderabouthim。Hisuglinesswasnotunamiable；itwasaccidental，external，excrescential。Attachedtohisfacefromthelefteartothepointofhischinwasamonstrousgoitre，whichhungdowntohiscollarbone，andwasveryinadequatelybalancedbyasmalleroneonhisrighteyelid。Nature’smalicewassooverdoneinhiscasethatitsomehowfailedtoproducetheeffectofrepulsionitseemedtohaveaimedat。WhenyoufirstmetThomasTyleryoucouldthinkofnothingelsebutwhethersurgerycouldreallydonothingforhim。Butafteraverybriefacquaintanceyouneverthoughtofhisdisfigurementsatall，andtalkedtohimasyoumighttoRomeoorLovelace；only，somanypeople，especiallywomen，wouldnotriskthepreliminaryordeal，thatheremainedamanapartandabachelorallhisdays。Iamnottobefrightenedorprejudicedbyatumor；andIstruckupacordialacquaintancewithhim，inthecourseofwhichhekeptmeprettycloselyonthetrackofhisworkattheMuseum，inwhichIwasthen，likehimself，adailyreader。
　　Hewasbyprofessionamanoflettersofanuncommercialkind。Hewasaspecialistinpessimism；hadmadeatranslationofEcclesiastesofwhicheightcopiesayearweresold；andfollowedupthepessimismofShakespearandSwiftwithkeeninterest。Hedelightedinahideousconceptionwhichhecalledthetheoryofthecycles，accordingtowhichthehistoryofmankindandtheuniversekeepseternallyrepeatingitselfwithouttheslightestvariationthroughoutalleternity；sothathehadlivedanddiedandhadhisgoitrebeforeandwouldliveanddieandhaveitagainandagainandagain。Helikedtobelievethatnothingthathappenedtohimwascompletelynovel：hewaspersuadedthatheoftenhadsomerecollectionofitspreviousoccurrenceinthelastcycle。Hehuntedoutallusionstothisfavoritetheoryinhisthreefavoritepessimists。Hetriedhishandoccasionallyatdecipheringancientinscriptions，readingthemaspeopleseemtoreadthestars，bydiscoveringbearsandbullsandswordsandgoatswhere，asitseemstome，nosanehumanbeingcanseeanythingbutstarshiggledy-piggledy。NexttothetranslationofEcclesiastes，his_magnumopus_washisworkonShakespear’sSonnets，inwhichheacceptedapreviousidentificationofMrW。H。，the"onliebegetter"ofthesonnets，withtheEarlofPembroke（WilliamHerbert），andpromulgatedhisownidentificationofMistressMaryFittonwiththeDarkLady。WhetherhewasrightorwrongabouttheDarkLadydidnotmatterurgentlytome：shemighthavebeenMariaTompkinsforallIcared。ButTylerwouldhaveitthatshewasMaryFitton；andhetrackedMarydownfromthefirstofhermarriagesinherteenstohertombinCheshire，whitherhemadeapilgrimageandwhencereturnedintriumphwithapictureofherstatue，andthenewsthathewasconvincedshewasadarkladybytracesofpaintstilldiscernible。
　　InduecoursehepublishedhiseditionoftheSonnets，withtheevidencehehadcollected。Helentmeacopyofthebook，whichI
　　neverreturned。ButIrevieweditinthePallMallGazetteonthe7thofJanuary1886，andtherebyletloosetheFittontheoryinawidercircleofreadersthanthebookcouldreach。ThenTylerdied，sinkingunnotedlikeastoneinthesea。IobservedthatMrAcheson，MrsDavenant’schampion，callshimReverend。ItmayverywellbethathegothisknowledgeofHebrewinreadingfortheChurch；andtherewasalwayssomethingoftheclergymanortheschoolmasterinhisdressandair。Possiblyhemayactuallyhavebeenordained。Buthenevertoldmethatoranythingelseabouthisaffairs；andhisblackpessimismwouldhaveshothimviolentlyoutofanychurchatpresentestablishedintheWest。Wenevertalkedaboutaffairs：wetalkedaboutShakespear，andtheDarkLady，andSwift，andKoheleth，andthecycles，andthemysteriousmomentswhenafeelingcameoverusthatthishadhappenedtousbefore，andabouttheforgeriesofthePentateuchwhichwereofferedforsaletotheBritishMuseum，andaboutliteratureandthingsofthespiritgenerally。HealwayscametomydeskattheMuseumandspoketomeaboutsomethingorother，nodoubtfindingthatpeoplewhowerekeenonthissortofconversationwereratherscarce。Heremainsavividspotofmemoryinthevoidofmyforgetfulness，aquiteconsiderableanddignifiedsoulinagrotesquelydisfiguredbody。
　　FrankHarrisTothereviewinthePallMallGazetteIattribute，rightlyorwrongly，theintroductionofMaryFittontoMrFrankHarris。MyreasonforthisisthatMrHarriswroteaplayaboutShakespearandMaryFitton；andwhenI，asapiousdutytoTyler’sghost，remindedtheworldthatitwastoTylerweowedtheFittontheory，FrankHarris，whoclearlyhadnotanotionofwhathadfirstputMaryintohishead，believed，Ithink，thatIhadinventedTylerexpresslyforhisdiscomfiture；forthestressIlaidonTyler’sclaimsmusthaveseemedunaccountableandperhapsmaliciousontheassumptionthathewastomeamerenameamongthethousandsofnamesintheBritishMuseumcatalogue。ThereforeImakeitclearthatIhadandhavepersonalreasonsforrememberingTyler，andforregardingmyselfasinsomesortchargedwiththedutyofremindingtheworldofhiswork。I
　　amsorryforhissakethatMary’sportraitisfair，andthatMrW。H。
　　hasveeredroundagainfromPembroketoSouthampton；butevensohisworkwasnotwasted：itisbyexhaustingallthehypothesesthatwereachtheverifiableone；andafterall，thewrongroadalwaysleadssomewhere。
　　FrankHarris’splaywaswrittenlongbeforemine。IreaditinmanuscriptbeforetheShakespearMemorialNationalTheatrewasmooted；
　　andifthereisanythingexcepttheFittontheory（whichisTyler’sproperty）inmyplaywhichisalsoinMrHarris’sitwasIwhoannexeditfromhimandnothefromme。Itdoesnotmatteranyhow，becausethisplayofmineisabrieftrifle，andfullofmanifestimpossibilitiesatthat；whilstMrHarris’splayisseriousbothinsize，intention，andquality。Buttherecouldnotinthenatureofthingsbemuchresemblance，becauseFrankconceivesShakespeartohavebeenabroken-hearted，melancholy，enormouslysentimentalperson，whereasIamconvincedthathewasverylikemyself：infact，ifI
　　hadbeenbornin1556insteadofin1856，IshouldhavetakentoblankverseandgivenShakespearaharderrunforhismoneythanalltheotherElizabethansputtogether。YetthesuccessofFrankHarris’sbookonShakespeargavemegreatdelight。
　　TothosewhoknowtheliteraryworldofLondontherewasasharpstrokeofironiccomedyintheirresistibleverdictinitsfavor。Incriticalliteraturethereisoneprizethatisalwaysopentocompetition，oneblueribbonthatalwayscarriesthehighestcriticalrankwithit。Towin，youmustwritethebestbookofyourgenerationonShakespear。Itisfeltonallsidesthattodothisacertainfastidiousrefinement，adelicacyoftaste，acorrectnessofmannerandtone，andhighacademicdistinctioninadditiontotheindispensablescholarshipandliteraryreputation，areneeded；andmenwhopretendtothesequalificationsareconstantlylookedtowithagentleexpectationthatpresentlytheywillachievethegreatfeat。
　　Nowifthereisamanonearthwhoistheuttercontraryofeverythingthatthisdescriptionimplies；whoseveryexistenceisaninsulttotheidealitrealizes；whoseeyedisparages，whoseresonantvoicedenounces，whosecoldshoulderjostleseverydecency，everydelicacy，everyamenity，everydignity，everysweetusageofthatquietlifeofmutualadmirationinwhichperfectShakespearianappreciationisexpectedtoarise，thatmanisFrankHarris。Hereisonewhoisextraordinarilyqualified，byarangeofsympathyandunderstandingthatextendsfromtheribaldryofabuccaneertotheshyesttendernessesofthemostsensitivepoetry，tobeallthingstoallmen，yetwhoseproudhumoritistobetoeveryman，providedthemaniseminentandpretentious，thechampionofhisenemies。TotheArchbishopheisanatheist，totheatheistaCatholicmystic，totheBismarckianImperialistanAnacharsisKlootz，toAnacharsisKlootzaWashington，toMrsProudieaDonJuan，toAspasiaaJohnKnox：inshort，toeveryonehiscomplementratherthanhiscounterpart，hisantagonistratherthanhisfellow-creature。Alwaysprovided，however，thatthepersonsthusconfrontedarerespectablepersons。SophiePerovskaia，whoperishedonthescaffoldforblowingAlexanderIItofragments，mayperhapshaveechoedHamlet’sOhGod，Horatio，whatawoundedname——
　　Thingsstandingthusunknown——Ileavebehind！
　　butFrankHarris，inhisSonia，hasrescuedherfromthatinjustice，andenshrinedheramongthesaints。HehasliftedtheChicagoanarchistsoutoftheirinfamy，andshewnthat，comparedwiththeCapitalismthatkilledthem，theywereheroesandmartyrs。Hehasdonethiswiththemostunusualpowerofconviction。Thestory，ashetellsit，inevitablyandirresistiblydisplacesallthevulgar，mean，purblind，spitefulversions。Thereisapreciserealismandanunsmiling，measured，determinedsinceritywhichgivesastrangedignitytotheworkofonewhosefixedpracticeandungovernableimpulseitistokickconventionaldignitywheneverheseesit。
　　Harris"durchMitleidwissend"
　　FrankHarrisiseverythingexceptahumorist，not，apparently，fromstupidity，butbecausescornovercomeshumorinhim。NobodyeverdreamtofreproachingMilton’sLuciferfornotseeingthecomicsideofhisfall；andnobodywhohasreadMrHarris’sstoriesdesirestohavethemlightenedbychaptersfromthehandofArtemusWard。Yetheknowsthetasteandthevalueofhumor。HewasoneofthefewmenofletterswhoreallyappreciatedOscarWilde，thoughhedidnotrallyfiercelytoWilde’ssideuntiltheworlddesertedOscarinhisruin。
　　Imyselfwaspresentatacuriousmeetingbetweenthetwo，whenHarris，ontheeveoftheQueensberrytrial，prophesiedtoWildewithmiraculousprecisionexactlywhatimmediatelyafterwardshappenedtohim，andwarnedhimtoleavethecountry。Itwasthefirsttimewithinmyknowledgethatsuchaforecastprovedtrue。Wilde，thoughundernoillusionastothefollyofthequiteunselfishsuit-at-lawhehadbeenpersuadedtobegin，neverthelesssomiscalculatedtheforceofthesocialvengeancehewasunloosingonhimselfthathefancieditcouldbestayedbyputtinguptheeditorofTheSaturdayReview（asMrHarristhenwas）todeclarethatheconsideredDorianGreyahighlymoralbook，whichitcertainlyis。WhenHarrisforetoldhimthetruth，Wildedenouncedhimasafaintheartedfriendwhowasfailinghiminhishourofneed，andlefttheroominanger。Harris’sidiosyncraticpowerofpitysavedhimfromfeelingorshewingthesmallestresentment；andeventspresentlyprovedtoWildehowinsanelyhehadbeenadvisedintakingtheaction，andhowaccuratelyHarrishadgaugedthesituation。
　　ThesamecapacityforpitygovernsHarris’sstudyofShakespear，whom，asIhavesaid，hepitiestoomuch；butthatheisnotinsensibletohumorisshewnnotonlybyhisappreciationofWilde，butbythefactthatthegroupofcontributorswhomadehiseditorshipofTheSaturdayReviewsoremarkable，andofwhomIspeaknonethelesshighlybecauseIhappenedtobeoneofthemmyself，wereall，intheirvariousways，humorists。
　　"Sidney’sSister：Pembroke’sMother"
　　AndnowtoreturntoShakespear。ThoughMrHarrisfollowedTylerinidentifyingMaryFittonastheDarkLady，andtheEarlofPembrokeastheaddresseeoftheothersonnetsandthemanwhomadelovesuccessfullytoShakespear’smistress，heverycharacteristicallyrefusestofollowTylerononepoint，thoughforthelifeofmeI
　　cannotrememberwhetheritwasoneofthesurmiseswhichTylerpublished，oronlyonewhichhesubmittedtometoseewhatIwouldsayaboutit，justasheusedtosubmitdifficultlinesfromthesonnets。
　　Thissurmisewasthat"Sidney’ssister：Pembroke’smother"setShakespearontopersuadePembroketomarry，andthatthiswastheexplanationofthoseearliersonnetswhichsopersistentlyandunnaturallyurgedmatrimonyonMrW。H。ItakethistobeoneofthebrightestofTyler’sideas，becausethepersuasionsinthesonnetsareunaccountableandoutofcharacterunlesstheywereofferedtopleasesomebodywhomShakespeardesiredtoplease，andwhotookamotherlyinterestinPembroke。Thereisafurthertemptationinthetheoryforme。ThemostcharmingofallShakespear’soldwomen，indeedthemostcharmingofallhiswomen，youngorold，istheCountessofRousilloninAll’sWellThatEndsWell。Ithasacertainindividualityamongthemwhichsuggestsaportrait。MrHarriswillhaveitthatallShakespear’sniceoldwomenaredrawnfromhisbelovedmother；butI
　　seenoevidencewhateverthatShakespear’smotherwasaparticularlynicewomanorthathewasparticularlyfondofher。ThatshewasasimpleincarnationofextravagantmaternalpridelikethemotherofCoriolanusinPlutarch，asMrHarrisasserts，Icannotbelieve：sheisquiteaslikelytohavebornehersonagrudgeforbecoming"oneoftheseharlotryplayers"anddisgracingtheArdens。Anyhow，asaconjecturalmodelfortheCountessofRousillon，IpreferthatoneofwhomJonsonwroteSidney’ssister：Pembroke’smother：
　　Death：erethouhasslainanother，Learndandfairandgoodasshe，Timeshallthrowadartatthee。
　　ButFrankwillnothaveheratanyprice，becausehisidealShakespearisratherlikeasailorinamelodrama；andasailorinamelodramamustadorehismother。Idonotatallbelittlesuchsailors。Theyaretheemblemsofhumangenerosity；butShakespearwasnotanemblem：
　　hewasamanandtheauthorofHamlet，whohadnoillusionsabouthismother。Inweakmomentsonealmostwisheshehad。
　　Shakespear’sSocialStandingOnthevexedquestionofShakespear’ssocialstandingMrHarrissaysthatShakespear"hadnothadtheadvantageofamiddle-classtraining。"IsuggestthatShakespearmissedthisquestionableadvantage，notbecausehewassociallytoolowtohaveattainedtoit，butbecauseheconceivedhimselfasbelongingtotheupperclassfromwhichourpublicschoolboysarenowdrawn。LetMrHarrissurveyforamomentthefieldofcontemporaryjournalism。HewillseetheresomemenwhohavetheverycharacteristicsfromwhichheinfersthatShakespearwasatasocialdisadvantagethroughhislackofmiddle-classtraining。Theyarerowdy，ill-mannered，abusive，mischievous，fondofquotingobsceneschoolboyanecdotes，adeptsinthatsortofblackmailwhichconsistsinmercilesslylibellingandinsultingeverywriterwhoseopinionsaresufficientlyheterodoxtomakeitalmostimpossibleforhimtoriskperhapsfiveyearsofaslenderincomebyanappealtoaprejudicedorthodoxjury；andtheyseenothinginallthiscruelblackguardismbutanuproariouslyjollyrag，althoughtheyarebynomeanswithoutgenuineliteraryability，aloveofletters，andevensomeartisticconscience。Buthewillfindnotoneofthemodelsofhistype（Isaynothingofmereimitatorsofit）belowtherankthatlooksatthemiddleclass，nothumblyandenviouslyfrombelow，butinsolentlyfromabove。MrHarrishimselfnotesShakespear’scontemptforthetradesmanandmechanic，andhisincorrigibleaddictiontosmuttyjokes。HedoesusthepublicserviceofsweepingawaythefamiliarpleaoftheBardolatrousignoramus，thatShakespear’scoarsenesswaspartofthemannersofhistime，puttinghispenwithprecisionontheonename，Spenser，thatisnecessarytoexposesuchalibelonElizabethandecency。TherewasnothingwhatevertopreventShakespearfrombeingasdecentasMorewasbeforehim，orBunyanafterhim，andasself-respectingasRaleighorSidney，exceptthetraditionofhisclass，inwhicheducationorstatesmanshipmaynodoubtbeacquiredbythosewhohaveaturnforthem，butinwhichinsolence，derision，profligacy，obscenejesting，debtcontracting，androwdymischievousness，givecontinualscandaltothepious，serious，industrious，solventbourgeois。Nootherclassisinfatuatedenoughtobelievethatgentlemenarebornandnotmadebyaveryelaborateprocessofculture。Evenkingsaretaughtandcoachedanddrilledfromtheirearliestboyhoodtoplaytheirpart。Butthemanoffamily（IamconvincedthatShakespeartookthatviewofhimself）willplungeintosocietywithoutalessonintablemanners，intopoliticswithoutalessoninhistory，intothecitywithoutalessoninbusiness，andintothearmywithoutalessoninhonor。
　　Ithasbeensaid，withtheobjectofprovingShakespearalaborer，thathecouldhardlywritehisname。Why？Becausehe"hadnottheadvantageofamiddle-classtraining。"Shakespearhimselftellsus，throughHamlet，thatgentlemenpurposelywrotebadlylesttheyshouldbemistakenforscriveners；butmostofthem，thenasnow，wrotebadlybecausetheycouldnotwriteanybetter。Inshort，thewholerangeofShakespear’sfoibles：thesnobbishness，thenaughtiness，thecontemptfortradesmenandmechanics，theassumptionthatwittyconversationcanonlymeansmuttyconversation，theflunkeyismtowardssocialsuperiorsandinsolencetowardssocialinferiors，theeasywayswithservantswhichisseennotonlybetweenTheTwoGentlemenofVeronaandtheirvalets，butintheaffectionandrespectinspiredbyagreatservantlikeAdam：allthesearethecharacteristicsofEtonandHarrow，notofthepublicelementaryorprivateadventureschool。
　　Theyprove，aseverythingweknowaboutShakespearsuggests，thathethoughtoftheShakespearsandArdensasfamiliesofconsequence，andregardedhimselfasagentlemanunderacloudthroughhisfather’sillluckinbusiness，andneverforamomentasamanofthepeople。Thisisatoncetheexplanationofandexcuseforhissnobbery。Hewasnotaparvenutryingtocoverhishumbleoriginwithapurchasedcoatofarms：hewasagentlemanresumingwhatheconceivedtobehisnaturalpositionassoonashegainedthemeanstokeepitup。
　　ThisSideIdolatryThereisanothermatterwhichIthinkMrHarrisshouldponder。HesaysthatShakespearwasbut"littleesteemedbyhisowngeneration。"
　　HeevendescribesJonson’sdescriptionofhis"littleLatinandlessGreek"asasneer，whereasitoccursinanunmistakablysincereeulogyofShakespear，writtenafterhisdeath，andisclearlymeanttoheightentheimpressionofShakespear’sprodigiousnaturalendowmentsbypointingoutthattheywerenotduetoscholasticacquirements。
　　NowthereisasenseinwhichitistrueenoughthatShakespearwastoolittleesteemedbyhisowngeneration，or，forthematterofthat，byanysubsequentgeneration。ThebargeesontheRegent’sCanaldonotchantShakespear’sversesasthegondoliersinVenicearesaidtochanttheversesofTasso（apracticewhichwassuspendedforsomereasonduringmystayinVenice：atleastnogondoliereverdiditinmyhearing）。ShakespearisnomoreapopularauthorthanRodinisapopularsculptororRichardStraussapopularcomposer。ButShakespearwascertainlynotsuchafoolastoexpecttheToms，Dicks，andHarrysofhistimetobeanymoreinterestedindramaticpoetrythanNewton，lateron，expectedthemtobeinterestedinfluxions。
　　AndwhenwecometothequestionwhetherShakespearmissedthatassurancewhichallgreatmenhavehadfromthemorecapableandsusceptiblemembersoftheirgenerationthattheyweregreatmen，BenJonson’sevidencedisposesofsoimprobableanotionatonceandforever。"Ilovedtheman，"saysBen，"thissideidolatry，aswellasany。"Nowwhyinthenameofcommonsenseshouldhehavemadethatqualificationunlesstherehadbeen，notonlyidolatry，butidolatryfulsomeenoughtoirritateJonsonintoanexpressdisavowalofit？
　　Jonson，thebricklayer，musthavefeltsoresometimeswhenShakespearspokeandwroteofbricklayersashisinferiors。Hemusthavefeltitalittlehardthatbeingabetterscholar，andperhapsabraverandtoughermanphysicallythanShakespear，hewasnotsosuccessfulorsowellliked。ButinspiteofthishepraisedShakespeartotheutmoststretchofhispowersofeulogy：infact，notwithstandinghisdisclaimer，hedidnotstop"thissideidolatry。"If，therefore，evenJonsonfelthimselfforcedtoclearhimselfofextravaganceandabsurdityinhisappreciationofShakespear，theremusthavebeenmanypeopleaboutwhoidolizedShakespearasAmericanladiesidolizePaderewski，andwhocarriedBardolatry，evenintheBard’sowntime，toanextentthatthreatenedtomakehisreasonableadmirersridiculous。
　　Shakespear’sPessimismIsubmittoMrHarristhatbyrulingoutthisidolatry，anditspossibleeffectinmakingShakespearthinkthathispublicwouldstandanythingfromhim，hehasruledoutafarmoreplausibleexplanationofthefaultsofsuchaplayasTimonofAthensthanhistheorythatShakespear’spassionfortheDarkLady"cankeredandtookonproudfleshinhim，andtorturedhimtonervousbreakdownandmadness。"InTimontheintellectualbankruptcyisobviousenough：Shakespeartriedoncetoooftentomakeaplayoutofthecheappessimismwhichisthrownintodespairbyacomparisonofactualhumannaturewiththeoreticalmorality，actuallawandadministrationwithabstractjustice，andsoforth。ButShakespear’sperceptionofthefactthatallmen，judgedbythemoralstandardwhichtheyapplytoothersandbywhichtheyjustifytheirpunishmentofothers，arefoolsandscoundrels，doesnotdatefromtheDarkLadycomplication：heseemstohavebeenbornwithit。IfinTheComedyofErrorsandAMidsummerNight’sDreamthepersonsofthedramaarenotquitesoreadyfortreacheryandmurderasLaertesandevenHamlethimself（nottomentiontheprocessionofruffianswhopassthroughthelatestplays）
　　itiscertainlynotbecausetheyhaveanymoreregardforlaworreligion。ThereisonlyoneplaceinShakespear’splayswherethesenseofshameisusedasahumanattribute；andthatiswhereHamletisashamed，notofanythinghehimselfhasdone，butofhismother’srelationswithhisuncle。Thissceneisanunnaturalone：theson’sreproachestohismother，eventhefactofhisbeingabletodiscussthesubjectwithher，ismorerepulsivethanherrelationswithherdeceasedhusband’sbrother。
　　Here，too，ShakespearbetraysforoncehisreligioussensebymakingHamlet，inhisagonyofshame，declarethathismother’sconductmakes"sweetreligionarhapsodyofwords。"ButforthatpassagewemightalmostsupposethatthefeelingofSundaymorninginthecountrywhichOrlandodescribessoperfectlyinAsYouLikeItwasthebeginningandendofShakespear’snotionofreligion。Isayalmost，becauseIsabellainMeasureforMeasurehasreligiouscharm，inspiteoftheconventionaltheatricalassumptionthatfemalereligionmeansaninhumanlyferociouschastity。ButforthemostpartShakespeardifferentiateshisheroesfromhisvillainsmuchmorebywhattheydothanbywhattheyare。DonJohninMuchAdoisatruevillain：amanwithamaliciouswill；butheistoodulladuffertobeofanyuseinaleadingpart；andwhenwecometothegreatvillainslikeMacbeth，wefind，asMrHarrispointsout，thattheyarepreciselyidenticalwiththeheroes：MacbethisonlyHamletincongruouslycommittingmurdersandengaginginhand-to-handcombats。AndHamlet，whodoesnotdreamofapologizingforthethreemurdershecommits，isalwaysapologizingbecausehehasnotyetcommittedafourth，andfinds，tohisgreatbewilderment，thathedoesnotwanttocommitit。"Itcannotbe，"hesays，"butIampigeon-livered，andlackgalltomakeoppressionbitter；else，erethis，Ishouldhavefattedalltheregionkiteswiththisslave’soffal。"ReallyoneistemptedtosuspectthatwhenShylockasks"Hatesanymanthethinghewouldnotkill？"heisexpressingthenaturalandpropersentimentsofthehumanraceasShakespearunderstoodthem，andnotthevindictivenessofastageJew。
　　GaietyofGeniusInviewofthesefacts，itisdangeroustociteShakespear’spessimismasevidenceofthedespairofaheartbrokenbytheDarkLady。Thereisanirrepressiblegaietyofgeniuswhichenablesittobearthewholeweightoftheworld’smiserywithoutblenching。Thereisalaughalwaysreadytoavengeitstearsofdiscouragement。InthelineswhichMrHarrisquotesonlytodeclarethathecanmakenothingofthem，andtocondemnthemasoutofcharacter，RichardIII，immediatelyafterpityinghimselfbecauseThereisnocreaturelovesmeAndifIdienosoulwillpityme，adds，withagrin，Nay，whereforeshouldthey，sincethatImyselfFindinmyselfnopityformyself？
　　LetmeagainremindMrHarrisofOscarWilde。WealldreadedtoreadDeProfundis：ourinstinctwastostopourears，orrunawayfromthewailofabroken，thoughbynomeanscontrite，heart。Butwewerethrowingawayourpity。DeProfundiswasdeprofundisindeed：Wildewastoogoodadramatisttothrowawaysopowerfulaneffect；butnonethelessitwasdeprofundisinexcelsis。Therewasmorelaughterbetweenthelinesofthatbookthaninathousandfarcesbymenofnogenius。Wilde，likeRichardandShakespear，foundinhimselfnopityforhimself。Thereisnothingthatmarkstheborndramatistmoreunmistakablythanthisdiscoveryofcomedyinhisownmisfortunesalmostinproportiontothepathoswithwhichtheordinarymanannouncestheirtragedy。IcannotforthelifeofmeseethebrokenheartinShakespear’slatestworks。"Hark，hark！thelarkatheaven’sgatesings"isnotthelyricofabrokenman；norisCloten’scommentthatifImogendoesnotappreciateit，"itisaviceinherearswhichhorsehairs，andcats’guts，andthevoiceofunpavedeunuchtoboot，canneveramend，"thesallyofasaddenedone。IsitnotclearthattothelasttherewasinShakespearanincorrigibledivinelevity，aninexhaustiblejoythatderidedsorrow？ThinkofthepoorDarkLadyhavingtostanduptothisunbearablepowerofextractingagrimfunfromeverything。MrHarriswritesasifShakespeardidallthesufferingandtheDarkLadyallthecruelty。ButwhydoeshenotputhimselfintheDarkLady’splaceforamomentashehasputhimselfsosuccessfullyinShakespear’s？Imagineherreadingthehundredandthirtiethsonnet！
　　Mymistress’eyesarenothinglikethesun；
　　Coralisfarmoreredthanherlips’red；
　　Ifsnowbewhite，whythenherbreastsaredun；
　　Ifhairsbewire，blackwiresgrowonherhead；
　　Ihaveseenrosesdamasked，redandwhite，ButnosuchrosesseeIinhercheeks；
　　AndinsomeperfumesistheremoredelightThaninthebreaththatfrommymistressreeks。
　　Ilovetohearherspeak；yetwellIknowThatmusichathafarmorepleasingsound。
　　IgrantIneversawagoddessgo：
　　Mymistress，whenshewalks，treadsontheground。
　　Andyet，byheaven，IthinkmyloveasrareAsanyshebeliedwithfalsecompare。
　　TakethisasasampleofthesortofcomplimentfromwhichshewasneverforamomentsafewithShakespear。Bearinmindthatshewasnotacomedian；thattheElizabethanfashionoftreatingbrunettesasuglywomanmusthavemadeherrathersoreonthesubjectofhercomplexion；thatnohumanbeing，maleorfemale，canconceivablyenjoybeingchaffedonthatpointinthefourthcoupletabouttheperfumes；
　　thatShakespear’srevulsions，asthesonnetimmediatelyprecedingshews，wereasviolentashisardors，andwereexpressedwiththerealisticpowerandhorrorthatmakesHamletsaythattheheavensgotsickwhentheysawthequeen’sconduct；andthenaskMrHarriswhetheranywomancouldhavestooditforlong，orhavethoughtthe"sugred"
　　complimentworththecruelwounds，thecleavingoftheheartintwain，thatseemedtoShakespearasnaturalandamusingareactionastheburlesquingofhisheroicsbyPistol，hissermonsbyFalstaff，andhispoemsbyClotenandTouchstone。
　　JupiterandSemeleThisdoesnotmeanthatShakespearwascruel：evidentlyhewasnot；
　　butitwasnotcrueltythatmadeJupiterreduceSemeletoashes：itwasthefactthathecouldnothelpbeingagodnorshehelpbeingamortal。TheonethingShakespear’spassionfortheDarkLadywasnot，waswhatMrHarrisinonepassagecallsit：idolatrous。Ifithadbeen，shemighthavebeenabletostandit。Themanwho"dotesyetdoubts，suspects，yetstronglyloves，"istolerableevenbyaspoiltandtyrannicalmistress；butwhatwomancouldpossiblyendureamanwhodoteswithoutdoubting；who_knows_，andwhoishugelyamusedattheabsurdityofhisinfatuationforawomanofwhosemortalimperfectionsnotoneescapeshim：amanalwaysexchanginggrinswithYorick’sskull，andinviting"mylady"tolaughatthesepulchralhumorofthefactthatthoughshepaintaninchthick（whichtheDarkLadymayhavedone），toYorick’sfavorshemustcomeatlast。TotheDarkLadyhemustsometimeshaveseemedcruelbeyonddescription：anintellectualCaliban。True，aCalibanwhocouldsayBenotafeard：theisleisfullofnoisesSoundsandsweetairsthatgivedelightandhurtnot。
　　SometimesathousandtwanglinginstrumentsWillhumaboutmineears；andsometimesvoices，That，ifIthenhadwakedafterlongsleepWillmakemesleepagain；andthen，indreaming，Theclouds，methought，wouldopenandshewrichesReadytodroponme：thatwhenIwak’dIcriedtodreamagain。
　　whichisverylovely；buttheDarkLadymayhavehadthatviceinherearswhichClotendreaded：shemaynothaveseenthebeautyofit，whereastherecanbenodoubtatallthatof"Mymistress’eyesarenothinglikethesun，"&c。，notawordwaslostonher。
　　AndisittobesupposedthatShakespearwastoostupidortoomodestnottoseeatlastthatitwasacaseofJupiterandSemele？
　　Shakespearwasmostcertainlynotmodestinthatsense。Thetimidcoughoftheminorpoetwasneverheardfromhim。
　　Notmarble，northegildedmonumentsOfprinces，shalloutlivethispowerfulrhymeisonlyoneoutofadozenpassagesinwhichhe（possiblywithakeensenseofthefunofscandalizingthemodestcoughers）proclaimedhisplaceandhispowerin"thewideworlddreamingofthingstocome。"
　　TheDarkLadymostlikelythoughtthissideofhiminsufferablyconceited；forthereisnoreasontosupposethatshelikedhisplaysanybetterthanMinnaWagnerlikedRichard’smusicdramas：aslikelyasnot，shethoughtTheSpanishTragedyworthsixHamlets。Hewasnotstupideither：ifhisclasslimitationsandaprofessionthatcuthimofffromactualparticipationingreataffairsofStatehadnotconfinedhisopportunitiesofintellectualandpoliticaltrainingtoprivateconversationandtotheMermaidTavern，hewouldprobablyhavebecomeoneoftheablestmenofhistimeinsteadofbeingmerelyitsablestplaywright。OnemightsurmisethatShakespearfoundoutthattheDarkLady’sbrainscouldnomorekeeppacewithhisthanAnneHathaway’s，iftherewereanyevidencethattheirfriendshipceasedwhenhestoppedwritingsonnetstoher。Asamatteroffacttheconsolidationofapassionintoanenduringintimacygenerallyputsanendtosonnets。
　　ThattheDarkLadybrokeShakespear’sheart，asMrHarriswillhaveitshedid，isanextremelyunShakespearianhypothesis。"Menhavediedfromtimetotime，andwormshaveeatenthem；butnotforlove，"saysRosalind。RichardofGloster，intowhomShakespearputallhisownimpishsuperioritytovulgarsentiment，exclaimsAndthisword"love，"whichgreybeardscalldivine，BeresidentinmenlikeoneanotherAndnotinme：Iammyselfalone。
　　HamlethasnotatearforOphelia：herdeathmoveshimtofiercedisgustforthesentimentalityofLaertesbyhergrave；andwhenhediscussesthescenewithHoratioimmediatelyafter，heutterlyforgetsher，thoughheissorryheforgothimself，andjumpsattheproposalofafencingmatchtofinishthedaywith。AsagainstthisviewMrHarrispleadsRomeo，Orsino，andevenAntonio；andhedoesitsopenetratinglythatheconvincesyouthatShakespeardidbetrayhimselfagainandagaininthesecharacters；butself-betrayalisonething；
　　andself-portrayal，asinHamletandMercutio，isanother。Shakespearnever"sawhimself，"asactorssay，inRomeoorOrsinoorAntonio。InMrHarris’sownplayShakespearispresentedwiththemostpathetictenderness。Heistragic，bitter，pitiable，wretchedandbrokenamongarobustcrowdofJonsonsandElizabeths；buttomeheisnotShakespearbecauseImisstheShakespearianironyandtheShakespeariangaiety。TaketheseawayandShakespearisnolongerShakespear：allthebite，theimpetus，thestrength，thegrimdelightinhisownpoweroflookingterriblefactsinthefacewithachuckle，isgone；andyouhavenothingleftbutthatmostdepressingofallthings：avictim。NowwhocanthinkofShakespearasamanwithagrievance？EveninthatmostthoroughgoingandinspiredofallShakespear’sloves：hisloveofmusic（whichMrHarrishasbeenthefirsttoappreciateatanythinglikeitsvalue），thereisadashofmockery。"Spitinthehole，man；andtuneagain。""Divineair！Nowishissoulravished。Isitnotstrangethatsheep’sgutsshouldhalethesoulsoutofmen’sbodies？""Anhehadbeenadogthatshouldhavehowledthus，theywouldhavehangedhim。"ThereisjustasmuchShakespearhereasintheinevitablequotationaboutthesweetsouthandthebankofviolets。
　　IlaystressonthisironyofShakespear’s，thisimpishrejoicinginpessimism，thisexultationinwhatbreakstheheartsofcommonmen，notonlybecauseitisdiagnosticofthatimmenseenergyoflifewhichwecallgenius，butbecauseitsomissionistheoneglaringdefectinMrHarris’sotherwiseextraordinarilypenetratingbook。Fortunately，itisanomissionthatdoesnotdisablethebookas（inmyjudgment）
　　itdisabledtheherooftheplay，becauseMrHarrislefthimselfoutofhisplay，whereashepervadeshisbook，mordant，deep-voiced，andwithanunconquerablestylewhichistheman。
　　TheIdoloftheBardolatersThereisevenanadvantageinhavingabookonShakespearwiththeShakespearianironyleftoutofaccount。Idonotsaythatthemissingchaptershouldnotbeaddedinthenextedition：thehiatusistoogreat：itleavesthereadertoouneasybeforethistouchingpictureofawrithingwormsubstitutedfortheinvulnerablegiant。
　　ButitisnonethelessprobablethatinnootherwaycouldMrHarrishavegotathismanashehas。For，afterall，whatisthesecretofthehopelessfailureoftheacademicBardolaterstogiveusacredibleoreveninterestingShakespear，andtheeasytriumphofMrHarrisingivingusboth？SimplythatMrHarrishasassumedthathewasdealingwithaman，whilsttheothershaveassumedthattheywerewritingaboutagod，andhavethereforerejectedeveryconsiderationoffact，tradition，orinterpretation，thatpointedtoanyhumanimperfectionintheirhero。TheythusleavethemselveswithsolittlematerialthattheyareforcedtobeginbysayingthatweknowverylittleaboutShakespear。Asamatteroffact，withtheplaysandsonnetsinourhands，weknowmuchmoreaboutShakespearthanweknowaboutDickensorThackeray：theonlydifficultyisthatwedeliberatelysuppressitbecauseitprovesthatShakespearwasnotonlyveryunliketheconceptionofagodcurrentinClapham，butwasnot，accordingtothesamereckoning，evenarespectableman。TheacademicviewstartswithaShakespearwhowasnotscurrilous；thereforetheversesabout"lousyLucy"cannothavebeenwrittenbyhim，andthecognatepassagesintheplaysareeitherstrokesofcharacter-drawingorgagsinterpolatedbytheactors。ThisidealShakespearwastoowellbehavedtogetdrunk；
　　thereforethetraditionthathisdeathwashastenedbyadrinkingboutwithJonsonandDraytonmustberejected，andtheremorseofCassiotreatedasathingobserved，notexperienced：nay，thedisgustofHamletatthedrinkingcustomsofDenmarkistakentoestablishShakespearasthesuperiorofAlexanderinself-control，andthegreatestofteetotallers。
　　Nowthissystemofinventingyourgreatmantostartwith，andthenrejectingallthematerialsthatdonotfithim，withtheridiculousresultthatyouhavetodeclarethattherearenomaterialsatall（withyourwaste-paperbasketfullofthem），endsinleavingShakespearwithamuchworsecharacterthanhedeserves。ForthoughitdoesnotgreatlymatterwhetherhewrotethelousyLucylinesornot，anddoesnotreallymatteratallwhetherhegotdrunkwhenhemadeanightofitwithJonsonandDrayton，thesonnetsraiseanunpleasantquestionwhichdoesmatteragooddeal；andtherefusaloftheacademicBardolaterstodiscussorevenmentionthisquestionhashadtheeffectofproducingasilentverdictagainstShakespear。MrHarristacklesthequestionopenly，andhasnodifficultywhateverinconvincingusthatShakespearwasamanofnormalconstitutionsexually，andwasnotthevictimofthatmostcruelandpitiableofallthefreaksofnature：thefreakwhichtransposesthenormalaimoftheaffections。Silenceonthispointmeanscondemnation；andthecondemnationhasbeengeneralthroughoutthepresentgeneration，thoughitonlyneededMrHarris’sfearlesshandlingofthemattertosweepawaywhatisnothingbutamorbidandverydisagreeablemodernfashion。Thereisalwayssomestockaccusationbroughtagainsteminentpersons。WhenIwasaboyeverywell-knownmanwasaccusedofbeatinghiswife。Lateron，forsomeunexplainedreason，hewasaccusedofpsychopathicderangement。Andthisfashionisretrospective。ThecasesofShakespearandMichelAngeloarecitedasprovingthateverygeniusofthefirstmagnitudewasasufferer；andbothhereandinGermanytherearecirclesinwhichsuchderangementisgrotesquelyreverencedaspartofthestigmataofheroicpowers。
　　Allofwhichisgrossnonsense。Unfortunately，inShakespear’scase，prudery，whichcannotpreventtheaccusationfrombeingwhispered，doespreventtherefutationfrombeingshouted。MrHarris，thedeep-voiced，refusestobesilenced。HedismisseswithpropercontemptthestupiditywhichplacesanoutrageousconstructiononShakespear’sapologiesinthesonnetsforneglectingthat"perfectceremony"oflovewhichconsistsinreturningcallsandmakingprotestationsandgivingpresentsandpayingthetrumperyattentionswhichmenofgeniusalwaysrefusetobotherabout，andtowhichtouchypeoplewhohavenogeniusattachsomuchimportance。Noleaderwhohadnotbeentamperedwithbythepsychopathicmonomaniacscouldeverputanyconstructionbuttheobviousandinnocentoneonthesepassages。ButthegeneralvocabularyofthesonnetstoPembroke（orwhoever"MrW。H。"reallywas）issooverchargedaccordingtomodernideasthatareplyonthegeneralcaseisnecessary。
　　Shakespear’sallegedSycophancyandPerversionThatreply，whichMrHarrisdoesnothesitatetogive，istwofold：
　　first，thatShakespearwas，inhisattitudetowardsearls，asycophant；and，second，thatthenormalityofShakespear’ssexualconstitutionisonlytoowellattestedbytheexcessivesusceptibilitytothenormalimpulseshewninthewholemassofhiswritings。Thislatteristhereallyconclusivereply。InthecaseofMichelAngelo，forinstance，onemustadmitthatifhisworksaresetbesidethoseofTitianorPaulVeronese，itisimpossiblenottobestruckbytheabsenceintheFlorentineofthatsusceptibilitytofemininecharmwhichpervadesthepicturesoftheVenetians。But，asMrHarrispointsout（thoughhedoesnotusethisparticularillustration）PaulVeroneseisananchoritecomparedtoShakespear。ThelanguageofthesonnetsaddressedtoPembroke，extravagantasitnowseems，isthelanguageofcomplimentandfashion，transfigurednodoubtbyShakespear’sverbalmagic，andhyperbolical，asShakespearalwaysseemstopeoplewhocannotconceivesovividlyashe，butstillunmistakableforanythingelsethantheexpressionofafriendshipdelicateenoughtobewounded，andamanlyloyaltydeepenoughtobeoutraged。ButthelanguageofthesonnetstotheDarkLadyisthelanguageofpassion：theircrueltyshewsit。ThereisnoevidencethatShakespearwascapableofbeingunkindincoldblood。Butinhisrevulsionsfromlove，hewasbitter，wounding，evenferocious；sparingneitherhimselfnortheunfortunatewomanwhoseonlyoffencewasthatshehadreducedthegreatmantothecommonhumandenominator。
　　InseizingonthesetwopointsMrHarrishasmadesosureastroke，andplacedhisevidencesofeatlythatthereisnothingleftformetodobuttopleadthatthesecondissounderthanthefirst，whichis，I
　　think，markedbytheprevalentmistakeastoShakespear’ssocialposition，or，ifyoupreferit，theconfusionbetweenhisactualsocialpositionasapennilesstradesman’ssontakingtothetheatreforalivelihood，andhisownconceptionofhimselfasagentlemanofgoodfamily。IampreparedtocontendthatthoughShakespearwasundoubtedlysentimentalinhisexpressionsofdevotiontoMrW。H。
　　eventoapointwhichnowadaysmakesbothridiculous，hewasnotsycophanticifMrW。H。wasreallyattractiveandpromising，andShakespeardeeplyattachedtohim。Asycophantdoesnottellhispatronthathisfamewillsurvive，notintherenownofhisownactions，butinthesonnetsofhissycophant。Asycophant，whenhispatroncutshimoutinaloveaffair，doesnottellhispatronexactlywhathethinksofhim。Aboveall，asycophantdoesnotwritetohispatronpreciselyashefeelsonalloccasions；andthisrarekindofsincerityisalloverthesonnets。Shakespear，wearetold，was"averycivilgentleman。"Thismustmeanthathisdesiretopleasepeopleandbelikedbythem，andhisreluctancetohurttheirfeelings，ledhimintoamiableflatteryevenwhenhisfeelingswerenotstronglystirred。IfthisbetakenintoaccountalongwiththefactthatShakespearconceivedandexpressedallhisemotionswithavehemencethatsometimescarriedhimintoludicrousextravagance，makingRichardofferhiskingdomforahorseandOthellodeclareofCassiothatHadallhishairsbeenlives，mygreatrevengeHadstomachforthemall，weshallseemorecivilityandhyperbolethansycophancyevenintheearlierandmorecoldbloodedsonnets。
　　ShakespearandDemocracyNowtakethegeneralcasepledagainstShakespearasanenemyofdemocracybyTolstoy，thelateErnestCrosbieandothers，andendorsedbyMrHarris。Willitreallystandfire？MrHarrisemphasizesthepassagesinwhichShakespearspokeofmechanicsandevenofsmallmastertradesmenasbasepersonswhoseclothesweregreasy，whosebreathwasrank，andwhosepoliticalimbecilityandcapricemovedCoriolanustosaytotheRomanRadicalwhodemandedatleast"goodwords"fromhimHethatwillgivegoodwordstotheewillflatterBeneathabhorring。
　　Butletusbehonest。Aspoliticalsentimentstheselinesareanabominationtoeverydemocrat。Butsupposetheyarenotpoliticalsentiments！Supposetheyaremerelyarecordofobservedfact。JohnStuartMilltoldourBritishworkmenthattheyweremostlyliars。