Shakspere and Montaigne

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Title: Shakspere And Montaigne
Author: Jacob Feis
Release Date: May, 2005 [EBook #8139]?[This file was first posted on June 18, 2003]
Edition: 10
Language: English
Character set encoding: ISO-8859-1
? START OF THE PROJECT GUTENBERG EBOOK, SHAKSPERE AND MONTAIGNE ***
E-text prepared by Bill Boerst, Juliet Sutherland, and Tonya Allen
Editorial note: "Shakspere" is the spelling used by the author and
therefore was not changed
SHAKSPERE AND MONTAIGNE
An Endeavour to Explain the Tendency of 'Hamlet'?from Allusions in Contemporary Works
BY JACOB FEIS
CONTENTS.
I.
INTRODUCTION
II.
THE BEGINNINGS OF THE ENGLISH DRAMA
THE STAGE A MEDIUM FOR POLITICAL AND RELIGIOUS CONTROVERSIES
SHAKSPERE'S POLITICAL CREED
FLORIO'S TRANSLATION OF MONTAIGNE'S ESSAYS
III.
MONTAIGNE
IV.
HAMLET
V.
THE CONTROVERSY BETWEEN BEN JONSON AND DEKKER
MENTION OF A DISPUTE BETWEEN BEN JONSON AND SHAKSPERE?IN 'THE RETURN FROM PARNASSUS'
CHARACTERISTIC OF BEN JONSON
BEN JONSON'S HOSTILE ATTITUDE TOWARDS SHAKSPERE
DRAMATIC SKIRMISH BETWEEN BEN JONSON AND SHAKSPERE
BEN JONSON'S 'POETASTER'
DEKKER'S 'SATIROMASTIX'
VI.
'VOLPONE,' BY BEN JONSON
'EASTWARD HOE,' BY CHAPMAN, BEN JONSON, AND MARSTON
'THE MALCONTENT,' BY JOHN MARSTON
I.
INTRODUCTION.
It has always been a daring venture to attempt finding out Shakspere's individuality, and the range of his philosophical and political ideas, from his poetical productions. We come nearest to his feelings in his 'Sonnets;' but only a few heavy sighs, as it were, from a time of languish in his life can be heard therefrom. All the rest of those lyrical effusions, in spite of the zealous exertions of commentators full of delicate sentiment and of deep thought, remain an unsolved secret.
In his historical dramas, a political creed has been pointed out, which, with some degree of certainty, may be held to have been his. From his other dramas, the most varied evidence has been drawn. A perfect maze of contradictions has been read out of them; so much so that, on this ground, we might almost despair of trustworthy results from further inquiry.
The wildest and most incongruous theories have been founded upon 'Hamlet' --the drama richest in philosophical contents. Over and over again men have hoped to be able to ascertain, from this tragedy, the great master's ideas about religion. It is well-nigh impossible to say how often such attempts have been made, but the reward of the exertions has always remained unsatisfactory. On the feelings which this masterwork of dramatic art still excites to-day--nearly three hundred years after its conception--thousands have based the most different conclusions; every one being convinced of the correctness of his own impressions. There is a special literature, composed of such rendering of personal impressions which that most enigmatical of all dramas has made upon men of various disposition. Every hypothesis finds its adherents among a small group, whilst those who feel differently smile at the infatuation of their antagonists. Nothing that could give true and final satisfaction has yet been reached in this direction.
It is our intention to regard 'Hamlet' from a new point of view, which seems to promise more success than the critical endeavours hitherto made. We propose to enter upon a close investigation of a series of circumstances, events, and personal relations of the poet, as well as of certain indications contained in other dramatic works--all of the period in which 'Hamlet' was written and brought into publicity. This valuable material, properly arranged and put in its true connection, will, we believe, furnish us with such firm and solid stepping-stones as to allow us, on a perfectly trustworthy path, to approach the real intentions of this philosophical tragedy. It has long ago been felt that, in it, Shakspere has laid down his religious views. By the means alluded to we will now explain that credo.
We believe we can successfully show that the tendency of 'Hamlet' is of a controversial nature. In closely examining the innovations by which the augmented second quarto edition [1](1604) distinguishes itself from the first quarto, published the year before (1603), we find that almost every one of these innovations is directed against the principles of a new philosophical work--The Essays of Michel Montaigne--which had appeared at that time in England, and which was brought out under the high auspices of the