[Shakespeare] … could experiment so wildly with the language in his later plays. The earliest ones are strictly respectful of English syntax, and obedient with English grammar and vocabulary. The later ones break all the rules. Shakespeare knew he could hold an audience spellbound, whether they could follow his verbiage or not. He earned a freedom no subsequent poet in English till the twentieth century would dare to imitate; whenupon, those who tried, failed.
Yet he is a poet, a disciplined poet, and a thinker, too; and was a man of very broad if chaotic reading, as we are still discovering. His Latin was superb, and what he comprehended from the Roman poets, Ovid especially, was of a higher quality than dribbling academics can imagine. His thefts from Plutarch are always astute, but also from Livy. What he learnt from the ancient comedians, however, was nothing on what he could teach them.
To call him “the Bard” is to subscribe to the common, ignorant view that he was a “noble savage,” an untutored force of nature. The French, in their formality, are mostly responsible for this error of the Enlightenment; it was among the many things Voltaire got wrong, as the insidious depth of the master dramatist undermined his poppet classicism.
Shakespeare meditated deeply on English history, and on history at large. He went beyond presenting it in narrative form. Like a documentary filmmaker, he takes what he needs from the historical record, discards the rest, and changes anything that does not fit his programme. This is also his strategy in the Comedies and the Tragedies, never paying for a plot when he can steal one. For the world is full of plots, and one is like another. The world is full of mud and rock, but the master mason can shape and lay them. The master sculptor permits the stone to speak.
He did not have a theory of history, or a theory of anything else — a mediaeval mind does not think in “theories” — but a profound sense of how the world works, and of the contending spirits animating it. He summons spirits, and strange to say they come.
David Warren, “Four Centuries Later”, Essays in Idleness, 2016-04-23.
May 3, 2016
QotD: Shakespeare
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