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testator's part towards his wife. And on this has hung the main argument that the union was not a happy one. We owe to Mr. Knight an explanation of the matter; which is so simple and decisive, that we can only wonder it was not hit upon before. Shakespeare's property was mostly free hold; and in all this the widow had what is called right of dower fully secured to her by the ordinary operation of Eng. lish law. As for “the second best bed," it was doubtless the very thing which a loving and beloved wife would be sure to prize above any other article of furniture in the es tablishment
In some verses by Leonard Digges, prefixed to the folio of 1623, allusion is made to Shakespeare's “Stratford mon ument;” which shows that the monument had been placed in the church before that date. It represents the Poet with a cushion before him, a pen in his right hand, and his left resting on a scroll. “The bust," says Wivell, “is fixed umder an arch, between two Corinthian columns of black marble, with gilded bases and capitals, supporting the entablature ; above which, and surmounted by a death's-head, are carved his arms; on each side is a small figure in a sitting posture ; one holding in his left hand a spade, and the other, whose eyes are closed, with an inverted torch in his left hand, the right resting upon a skull, as symbols of mortality.” As originally coloured, the eyes were a light hazel, the hair auburn, the dress a scarlet doublet, and a loose black gown without sleeves thrown over it. In 1748, the colours were: carefully restored; but in 1793, Malone, with strange taste, had the whole painted white by a common house-painter. Dugdale informs us that the monument was the work of Gerard Johnson, an eminent sculptor of that period. It was doubtless done at the instance and cost of Dr. Hall and his wife. A tablet below the bust has the following in scription:
« Judicio Pylum, genio Socratem, arte Maronem,
Terra tegit, populus mæret, Olympus habet.
Slay, Passenger, why goest thou by so fast ?
“ Obiit Anno Domini 1616,
Ætatis 53, die 23 April.' As to the lines which tradition ascribes to the Poet az written for his own tomb-stone, there is very little likelihood that he had any thing to do with them. The earliest that we hear of them is in the letter, quoted in Chapter ü., note 14, written by Dowdall in 1693: “Near the wall where his monument is erected lieth a plain freestone, underneath which his body is buried, with this epitaph, made by himself a little before his death :
"Good friend, for Jesus' sake forbear
To dig the dust inclosed here:
And curs'd be he that moves my bones !'” The writer adds, —“Not one, for fear of the curse abovesaid, dare touch his grave-stone, though his wife and daughters did earnestly desire to be laid in the same grave with him.” Such is indeed the inscription on a flat stone covering the spot where the Poet's remains are supposed to lie; but there is no name, nor any thing whatever to identify the lines as written either by Shakespeare or for him.
The mortal remains of Anne Shakespeare were laid be side those of her husband, August 8th, 1623. A worthy memorial covers the spot, whereon we trace the fitting language of a daughter's love, paying a warm tribute to the religious character of her who was gone, and clearly inferring that she had “as much of virtue as could die." It is a brass plate set in a stone and inscribed as follows:
“Here lieth interred the body of Anne, wife of Williamı Shakespeare, who departed this life the 6th day of August, 1623, being of the age of 67 years.
“Ubera tu, maler, tu lac, vitamque dedisti,
Væ mihi! pro tanto munere saxa dabo.
Clausa licet tumulo mater, et astra petit.” Another precious inscription in the chancel of Stratford church was partly erased many years ago to make room for one to Richard Watts, who died in 1707. Fortunately the lines had been preserved by Dugdale. Through the taste and liberality of the Rev. W. Harness, the original inscription has been recently restored, thus :
“Here lieth the body of Susanna, Wife to John Hall, Gent., the daughter of William Shakespeare, Gent. She deceased the 11th of July, Anno 1649, aged 66.
Witty above her sex, but that's not all;
Wholly of Him with whom she's now in bliss.
To weep with her that wept for all ?
When thou hast ne'er a tear to shed.” 5 The first-born of Thomas and Judith Quiney was christened Shakespeare Quiney on the 23d of November, just
6 Close beside ibis inscription is one to her husband, as follows: " Fleere lyeth the body of John Hall, Gent. He married Susanna the daughter and coheire of Will. Shakespeare, Gent. He dereased November 25, Anno 1635, aged 60.
“ Hallius hic situs est, medica celeberrimus arte,
Expectans regni gaudia læta Dei.
In terris omnes, sed rapit æqua dies.
Et vitæ comitem nunc quoque mortis habet." Tha parish register has the following entry of burial : « 1636. Nov 26. Johannes Hall, medicus peritissimus."
peven months after the death of his grandfather. He was bund May 8th, 1617. He was followed by two other children : Richard, baptized February 9th, 1618, and buried February 26th, 1639; and Thomas, baptized January 23d, 1620, and buried January 28th, 1639. Their mother was buried the 9th of February, 1662, having lived to the age of 77 years. The time of her husband's death is not known.
The Poet's grand-daughter, Elizabeth Hall, was married to Mr. Thomas Nash on the 26th of April, 1626, who died April 4th, 1647. On the 5th of June, 1649, she was married again to Mr. John Barnard, who was knighted after the Restoration. Lady Barnard died childless in 1670, and was buried at Abingdon with the family of Sir John. After her decease, the nearest relatives of the Poet living were the riescendants of his sister, Joan Hart. At the time of her brother's death, Mrs. Hart was living in one of his Stratford houses, which, with the appurtenances, was by his will secured to her use for life at a nominal rent of 12d. Her descendants, bearing the name of Hart, have continued down to our own time, but, it is said, “not in a position we can contemplate with satisfaction.”
Much discussion has been had of late as to the right way of spelling the Poet's name. The few autographs of his that are extant do not enable us to decide precisely how he wrote his name, or rather they show that he had no one constant way of writing it. But the Venus and Adonis and The Rape of Lucrece were unquestionably published by his authority and under his superintendence, and in the dedications
6 The inscription to him, also in the Stratford church, is as follows: “ Heere resteth the Body of Thomas Nashe, Esq. He married Elizabeth, the daughter and heire of John Halle, Gent. Ha died Aprill 4, Anno 1647, aged 53.
“ Fata manent omnes hunc non virtute carentem,
Ut neque divitiis abstulit atra dies;
Si peritura paras, per male parta peris'
of both these poems the name is printed "Shakespeare." The same is the case in all the quarto issues of his plays, where the author's name is given, with the single exception of Love's Labour's Lost, which has it “Shakespere ;” and also in the original folio. And in much the greater number of these instances the name is printed with a hyphen, thus, “Shake-speare," as if on purpose that there might be no mistaking it. All which, surely, is, or ought to be, decisive as to how the Poet willed his name to be spelt in print. And so we have uniformly printed it throughout this edition, except where we made a point to quote with literal exactness.
We have now presented all the matter there is at hand, which seems to illustrate in any way the character and temper of Shakespeare as a man moving among his fellow-med Scanty as are the materials, enough, we think, has been given, to show that in all the common dealings of life he was eminently gentle, candid, upright, and judicious; open-hearted, genial, and sweet in his social intercourses; among his companions and friends, full of playful wit and sprightly grace; kind to the faults of others, severe to his own; quick to discern and acknowledge merit in another, modest and slow of finding it in himself: while, in the smooth and happy marriage, which he seems to have realized, of the highest poetry and art with systematic and successful prudence in business affairs, we have an example of compact and wellrounded practical manhood, such as may justly engage our perpetual admiration.
This is not the place to enter into a formal review or criticism of the Poet's works. The foregoing pages will show that his marvellous gifts were not so little appreciated in his own time as hath been commonly supposed. Kings, princes, lords, gentlemen, and, what perhaps was still better, com