Shakspere and Montaigne | Page 2

foremost noblemen and protectors of literature in this country.
From many hints in contemporary dramas, and from some clear passages in 'Hamlet' itself, it follows at the same time that the polemics carried on by Shakspere in 'Hamlet' are in most intimate connection with a controversy in which the public took a great interest, and which, in the first years of the seventeenth century, was fought out with much bitterness on the stage. The remarkable controversy is known, in the literature of that age, under the designation of the dispute between Ben Jonson and Dekker. A thorough examination of the dramas referring to it shows that Shakspere was even more implicated in this theatrical warfare than Dekker himself.
The latter wrote a satire entitled 'Satiromastix,' in which he replies to Ben Jonson's coarse personal invectives with yet coarser abuse. 'Hamlet' was Shakspere's answer to the nagging hostilities of the quarrelsome adversary, Ben Jonson, who belonged to the party which had brought the philosophical work in question into publicity. And the evident tendency of the innovations in the second quarto of 'Hamlet,' we make bold to say, convinces us that it must have been far more Shakspere's object to oppose, in that masterly production of his, the pernicious influence which the philosophy of the work alluded to threatened to exercise on the better minds of his nation, than to defend himself against the personal attacks of Ben Jonson.
The controversy itself is mentioned in 'Hamlet.' It is a disclosure of the poet, which sheds a little ray of light into the darkness in which his earthly walk is enveloped. The master, who otherwise is so sparing with allusions as to his sphere of action, speaks [2] bitter words against an 'aery of children' who were then 'in fashion,' and were 'most tyrannically clapped for it.' We are further told that these little eyases cry out on the top of the question and so berattle the common stages (so they call them), that many, wearing rapiers, are afraid of goose-quills, and dare scarce come thither.' The 'goose-quills' are, of course, the writers of the dramas played by the 'little eyases.' We then learn 'that there was for a while no money bid for argument' (Shakspere, we see, was not ashamed of honest gain) 'unless the poet and the player went to cuffs in the question.' Lastly, the reproach is made to the nation that it 'holds it no sin to tarre them (the children) to controversy.' This satire is undoubtedly--all commentators agree upon this point--directed against the performances of the children who at that time flourished. The most popular of these juvenile actors were the Children of Paul's, the Children of the Revels, the Children of the Chapel Royal.
Shakspere's remarks, directed against these forward youngsters, may appear to us to-day as of very secondary importance in the great drama. To the poet, no doubt, it was not so. The words by which he alludes to this episode in his life come from his very heart, and were written for the purpose of reproving the conduct of the public in regard to himself.
'Hamlet' was composed in the atmosphere of this literary feud, from which we draw confirmatory proof that our theory stands on the solid ground of historical fact.
Even should our endeavour to finally solve the great problem of 'Hamlet' be made in vain, we believe we shall at least have pointed out a way on which others might be more successful. In contradistinction to the manner hitherto in use of drawing conclusions from impressions only, our own matter-of-fact attempt will have this advantage, that the time spent in it will not be wholly wasted; for, in looking round on the scene of that eventful century, we shall become more intimate with its literature and the characters of Shakspere's contemporaries.
Before entering upon the theme itself, it is necessary to cast a rapid glance at the condition of the dramatic art of that period.
1. 'Enlarged to almost as much-againe as it was.'
2. Act ii. sc. 2.
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.
Long before Shakspere, perhaps with fardel on his back, travelled to London, the stage, not only in the capital, but in the whole country, had begun to exercise its attractive power upon the people's imagination.
In the year 1586, a Protestant zealot, a soldier, [1] writes:--'When the belles tole to the Lectorer, the trumpetts sound to the Stages, whareat the wicked faction of Rome lawgeth for joy, while the godly weepe for sorrowe. Woe is me! the play houses are pestered when the churches are naked. At the one it is not possible to gett a place; at the other voyde seates are plentie.... Yt is a wofull sight to see two hundred proude players jett