IV. HAMLET and Macbeth, an Intended Contrast V. THE SCOTTISH AND ENGLISH MACBETH. XI. CAPTAIN Cox's BOOKE OF FORTUNE XII. THE ITALIAN AND ENGLISH BOOKS OF FORTUNE XX. THE PARADISE OF DAINTY DEVICES XXI. THE METRICAL PSALMS AND THE COURT OF VENUS. XXII. THE OLD AND NEWE COURT OF VENUS S PREFACE. HAKESPEAREAN writers are wont to make apologies for the books they add to the pile, pending the passing of the proposed Bill that the Censor should be given powers to stay for nine years at the printers, all Shakespeare books which have not taken nine years at least in the writing. My apology is this, that for more than nine years I had been collecting materials for a book which I meant to appear in Shakespeare's Commemoration year. Fate has made it impossible to finish it in time (perhaps impossible to finish it at all). But in defiance I said to myself that a book there should be, and I have brought together a series of papers, new and old, all bearing to some extent upon our great Poet. I have always tried to specialise in studies relating to his personal character, so that I may as much as possible understand the man. For this purpose I had brought out a twin volume in 1914, called (for lack of a better title) Shakespeare's Environment.' This present one sticks more closely to its title of Shakespeare's Industry.' It was difficult for myself or my fellow-students to bring together my various papers, scattered in many periodicals, and it is the general idea which one requires to follow. Every one of the papers, at the time of publication, contained something new. These little new points are of scme importance taken together, even to those who only borrow their work, for they may be used, fragments as they are, to design a beautiful mosaic. But to those who do all their work for themselves, these little points are found to be living seeds, which may be planted and bear fruit. The introduction of some of the articles under the title may be criticised. I acknowledge this. The first part of my Macbeth paper, for instance, has no bearing on Shakespeare, but on Macbeth. But the second part of the paper, on the contrary, discusses Shakespeare and his Industry, and his conception of Macbeth. I have included fragments from the lost 'Book of Fortune,' and though the Metrical vi Psalms were not likely to have appealed to his ear, he must have heard them, for attendance at the Parish Church was then compulsory. And they did profoundly affect his contemporaries. I have sought the author of most of the poems in the preserved fragment of The New Court of Venus'because Shakespeare must have read these. So my last three articles dwell on my discovery that Sir Thomas Wyat was the chief author of The New Court of Venus.' Shakespeare is associated with Sir Thomas in his sonnets, he trained himself upon his pioneer's models, and he gave a copy of 'Songs and Sonets' to Slender, to help him to express the inexpressible (M.W.W.I. i.). The "Introduction to Queen Elizabeth" is only imaginary as regards the one situation. The facts and characters are, however, real. I trust that those of my readers who take the trouble to finish, may feel that they are a little more intimate with Shakespeare through considering some of his attributes, and dwelling leisurely over some of his labours, even though my papers are not associated with the higher textual criticism. Yet I have not rushed into print to express in superlative adjectives my wonder and delight at a first reading of Shakespeare (as too many have done). My studies, though always under difficulties, have been life-long. I called for Shakespeare before I was able to pronounce his name. There was an edition accessible, a four-volumed illustrated folio; and through it, by pictures and afterwards by the text, I formed strong views about Prince Arthur and his wicked Uncle John; I have worked in and around Shakespeare all my life since. If this prove my last effort in the field, I do it full of the desire to help to keep Shakespeare's flag flying during the Commemoration year, while so many of my fellowstudents are torn away from their studies, to defend "This blessed spot, this earth, this realm, this England." In their name and my own I dedicate my work to Shakespeare. CHARLOTTE CARMICHAEL STOPES. 1st January, 1916 DEDICATION. TO SHAKESPEARE. O FOUNT of Poesy perennial, Thy Torrent of the rapturous Joy of Life, Ocean of Dreams reaching from shore to shore, Thou dost pervade us. Haunted by memories of thee, records The Metropolis Thy mighty makings, rendered by fit friends. Where thy bright soul chose earth by Avon-side To nurse its growth to ripe humanity. Thy footsteps walk with ours through Stratford glades, Ariel, thine own immortal, guiding them That are akin to thee. Through perfume speech Our flowers can trace their pedigree to thine, Thy music echoes in the nightingales, Who, whispering to each other through the years, All who live Within this isle, set in the silver sea," 66 I all alone beweep my outcast state," Then, acquiescent in the after peace, "There's a divinity that shapes our ends, Rough-hew them how we will." For thou hadst learned Rebuffs of Fortune, disappointed hopes Were tools for " shaping. Then the Shaper bade Thee walk the proud earth in despised weeds, Until thou gav'st them honour, bidding thee Drink deep the cup of discontent divine Till thou becam'st content to do the work, And shape Thy End, to show men to themselves! |