Shakspere was the greatest delver into the mysterious mind of man and Nature, and sunk his intellectual plummet deeper into the ocean of thought than any mortal that ever lived, before or after his glorious advent upon the earth. He was a universal ocean of knowledge, and the ebb and flow of his thoughts pulsated on the shores of every human passion.

He was a mountain range of ideals, and has been a quarry of love, logic and liberty for all writers and actors since his day and age, out of which they have built fabrics of fame.

No matter how often and numerous have been the "blasts" set off in his rocky foundations, the driller, stone mason and builder of books have failed to lessen his mammoth resources, and every succeeding age has borrowed rough ashlers, blocks of logic and pillars of philosophy from the inexhaustible mine of his divine understanding.

He was an exemplification and consolidation of his own definition of greatness:

The poet finds in Shakspere a blooming garden of perennial roses, the painter finds colors of heavenly hues, the musician finds seraphic songs and celestial aspirations, the sculptor finds models of beauty and truth, the doctor finds pills and powders of Providence, the lawyer finds suits and briefs of right and reason, the preacher finds prophecies superior to Isaiah or Jeremiah, the historian finds lofty romance more interesting than facts and the actor "struts and frets" in the Shaksperian looking-glass of to-day, in the mad whirl of the mimic stage, with all the pomp and glory of departed warriors, statesmen, fools, princes and kings.

Shakspere was grand master of history, poetry and philosophy—tripartite principles of memory, imagination and reason. He is credited with composing thirty-seven plays, comedies, tragedies and histories, as well as Venus and Adonis, The Rape of Lucrece, The Lovers' Complaint, The Passionate Pilgrim and one hundred and fifty-four classical sonnets, all poems of unrivaled elegance.

What a royal troop of various and universal characters leaped from the portals of his burning brain, to stalk forever down the center of the stage of life, exemplifying every human passion!

Shakspere never composed a play or poem without a purpose, to satirize an evil, correct a wrong or elevate the human soul into the lofty atmosphere of the good and great. His villains and heroes are of royal mold, and while he lashes with whips of scorn the sin of cupidity, hypocrisy and ingratitude, he never forgets to glorify love, truth and patriotism.

Virtue and vice are exhibited in daily, homespun dress, and stalking abroad through the centuries, the generous and brave nobility of King Lear, CÆsar, Othello, and Hamlet, will be seen in marked contrast to Shylock, Brutus, Cassius, Iago, Gloster and Macbeth. His fools and wits were philosophers, while many of his kings, queens, dukes, lords and ladies were sneaks, frauds and murderers.

Vice in velvet, gold and diamonds, suffered under the X-rays of his divine phrases, while virtue was winged with celestial plumes, soaring away into the heaven of peace and bliss. He was the matchless champion of stern morality, and the interpreter of universal reason.

Shakspere was a multifarious man, and every glinting passion of his soul found rapid and eloquent expression in words that beam and burn with eternal light. The stream of time washes away the fabrics of other poets, but leaves the adamantine structure of Shakspere erect and uninjured.

Being surcharged, for three hundred and forty years, with the spirit and imagination of Shakspere, I shall tell the world about his personal and literary life, and although some curious and unreasonable people may not entirely believe everything I relate in this volume, I can only excuse and pity their judgment, for they must know that the Ideal is the Real!

The intellectual pyramids of his thought still rise out of the desert wastes of literary scavengers and loom above the horizon of all the great writers and philosophers that preceded his advent on the globe.

The blunt, licentious Saxon words and sentences in the first text of Shakspere, have been ruthlessly expurgated by his editorial commentators, adding, no doubt, to the beauty and decency of the plays, but sadly detracting from their original strength.

Pope, Jonson, Steevens and even Malone have made so many minute, technical changes in the Folio Plays of 1623, printed seven years after the death of Shakspere, that their presumptive elucidation often drivels into obscurity.

Editorial critics, with the best intention, have frequently edited the blood, bone and sinews of the original thought out of the works of the greatest authors. While attempting to simplify the text for common, rough readers, they mystify the matter by their egotistical explanation, and while showing their superior research and classical learning, they eliminate the chunk logic force of the real author.

For thirty years Shakspere studied the variegated book of London life, with all the human oddities, and when spring and summer covered the earth with primroses, flowers and hawthorn blossoms, he rambled over domestic and foreign lands, through fields, forests, mountains and stormy seas.

With the fun of Falstaff, the firmness of CÆsar, the generosity of King Lear and the imagination of Hamlet, Shakspere also possessed the love-lit delicacy of Ophelia, Portia and Juliet, reveling familiarly with the spirits of water, earth and air, in his kingdom of living ghosts. He borrowed words and ideas from all the ancient philosophers, poets and story tellers, and shoveling them, pell-mell, into the furnace fires of his mammoth brain, fused their crude ore, by the forced draught of his fancy, into the laminated steel of enduring form and household utility.

The rough and uncouth corn of others passed through the hoppers of Shakspere's brain and came out fine flour, ready for use by the theatrical bakers. With the pen of pleasure and brush of fancy he painted human life in everlasting colors, that will not fade or tarnish with age or wither with the winds of adversity. The celestial sunlight of his genius permeated every object he touched and lifted even the vulgar vices of earth into the realms of virtue and beauty.

Shakspere was an intellectual atmosphere that permeated and enlivened the world of thought. His genius was as universal as the air, where zephyr and storm moved at the imperial will of this Grand Master of human passions.

Principles, not people, absorbed the mammoth mind of Shakspere, who paid little attention to the princes and philosophers of his day. Schools, universities, monks, priests and popes were rungs in the ladder of his mind, and only noticed to scar and satirize their hypocrisy, bigotry and tyranny with his javelins of matchless wit. The flower and fruit of thought sprang spontaneously from his seraphic soul.

He flung his phrases into the intellectual ocean of thought, and they still shine and shower down the ages like meteors in a midnight sky. Like the busy bee, he banqueted on all the blossoms of the globe and stored the honey of his genius in the lofty crags of Parnassus.

Shakspere and Nature were confidential friends, and, while she gave a few sheaves of knowledge to her other children, the old Dame bestowed upon the "Divine" William the harvest of all the ages.

Shakspere's equipoise of mind, placidity of conduct and control of passion rendered him invulnerable to the shafts of envy, malice and tyranny, making him always master of the human midgets or vultures that circled about his pathway.

One touch from the brush of his imagination on the rudest dramatic canvas illuminated the murky scene and flashed on the eye of the beholder the rainbow colors of his matchless genius.

Ben Jonson, Greene, Marlowe, Fletcher and Burbage gazed with astonishment at the versatility of his poetic and dramatic creations, and while pangs of jealousy shot athwart their envious souls, they knew that the Divine Bard was soaring above the alpine crags of thought, leaving them at the foothills of dramatic venture.

He played the rÔle of policy before peasant, lord and king, and used the applause and brain of each for his personal advancement, and yet he never sacrificed principle for pelf or bedraggled the skirts of virtue in the gutter of vice.

The Divine William knew more about everything than any other man knew about anything! He had a carnivorous and omnivorous mind, with a judicial soul, and controlled his temper with the same inflexible rule that Nature uses when murmuring in zephyrs or shrieking in storms, receding or advancing in dramatic thought, as peace or passion demanded.

He seemed at times to be a medley of contradictions, and while playing virtue against vice, the reader and beholder are often left in doubt as to the guilt or glory of the contending actors. He puts words of wisdom in the mouth of a fool, and foolish phrases in the mouth of the wise, and shuttlecocked integrity in the loom of imagination.

William was the only poet who ever had any money sense, and understood the real value of copper, silver, gold, jewels and land. His early trials and poverty at Stratford, with the example of his bankrupt father was always in view, convincing him early in life that ready money was all-powerful, purchasing rank, comfort and even so-called love.

Yet he only valued riches as a means of doing good, puncturing the bladder of bloated wealth with this pin of thought:

He noticed wherever he traveled that successful stupidity, although secretly despised, was often the master of the people, while a genius with the wisdom of the ages, starved at the castle gate, and like Mozart and Otway, found rest in the Potter's field.

No Indian juggler could mystify the ear and eye and mind of an audience like Shakspere, for, over the crude thoughts of other dramatic writers he threw the glamour of his divine imagination, making the shrubs, vines and briers of life bloom into perpetual flowers of pleasure and beauty.

No one mind ever comprehended Shakspere, and even all the authors and readers that sauntered over his wonderful garden of literary flowers and fruits have but barely clipped at the hedge-rows of his philosophy, culling a few fragmentary mementos from his immortal productions.

Shakspere's chirography was almost as variable as his mind, and when he sat down to compose plays for the Globe and Blackfriars theatres, in his room adjacent to the Miter Tavern, he dashed off chunks of thought for pressing and waiting actors and managers, piecing them together like a cabinet joiner or machinist.

In all his compositions he used, designedly, a pale blue ink that evaporated in the course of a year, and the cunning actors and publishers, who knew his secret, copied and memorized and printed his immortal thoughts. He kept a small bottle of indelible ink for ideals on parchment for posterity.

I have often found his room littered and covered with numbered sheets of scenes and acts, ready for delivery to actors for recital, and many times the sunset over London would run its round to sunrise and find William at his desk in the rookery, hammering away on the anvil of thought, fusing into shape his divine masterpieces.

Shakspere's bohemian life was but an enlarged edition of his rural vagabond career through the fields and alehouses of Warwickshire. He only needed about four hours' sleep in twenty-four, but when composition on occasion demanded rapidity, he could work two days and rise from his labor as fresh as a lark from the flowery bank of Avon.

Most of the great writers of antiquity patterned after greater than themselves, but Shakspere evolved from the illuminated palace of his soul the songs and sentiments that move the ages and make him the colossal champion of beauty, mercy, charity, purity, courage, love and truth.

There are more numerous nuggets of thought in the works of Shakspere than in all the combined mass of ancient and modern literature.

The various bibles, composed and manufactured by man, cannot compare in variety, common sense and eloquence, with the productions of the Immortal Bard.

All the preachers, bishops, popes, kings, and emperors that have ever conjured up texts and creeds for dupes, devotees and designers to swallow without question, have never yet sunk the plummet of reason so deep in the human heart as the butcher boy of Stratford!

Shakspere was the most industrious literary prospector and miner of any land or time, throwing his searchlight of reason into the crude mass of Indian, Assyrian, Persian, Egyptian, Greek, Roman, Frank, German, Russian and Briton lore, and forthwith appropriated the golden beauties of each nation, leaving behind the dross of vice and vulgarity.

Marlowe, Burbage, Peele, Chapman, Greene and Jonson composed many fine physical and licentious dramas, pandering to the London groundlings, bloated wealth and accidental power; but Shakspere threw a spiritual radiance over their brutal, sordid phrases and elevated stage characters into the realm of romantic thought, pinioned with hope, love and truth. His sublime imagination soared away into the flowery uplands of Divinity, and plucked from the azure wings of angels brilliant feathers of fancy that shall shine and flutter down the ages.

He flung his javelin of wit through the buckler of ignorance, bigotry and tyranny, exposing their rotten bodies to the ridicule and hate of mankind.

In lordly language he swept over the harp strings of the heart with infinite expression and comprehension of words, leaving in his intellectual wake a multifarious heritage of brain jewels. He flew over the world like a swarm of bees, robbing all the fields of literature of their secret sweets, storing the rich booty of Nature in the honeycomb of his philosophic hive.

Through his brain the variegated paraphernalia of Nature, in field, forest, vale, mount, river, sea and sky were illuminated with a divine radiance that shall shine forever and grow greater as mankind grows wiser.

Shakspere has paid the greatest tribute of respect of any writer to women. While he gives us a few scolding, licentious, cruel, criminal women, like Dame Quickly, Katharina, Tamora, Gertrude and Lady Macbeth, he gives us the beautiful, faithful, loving characters of Isabella, Juliet, Desdemona, Perdita, Helena, Miranda, Imogen, Ophelia and Cordelia, whose love-lit words and phrases shine out in the firmament of purity and devotion like morning stars in tropic skies.

Shakspere studied all trades and professions he encountered in daily contact with mankind. He thought what he was and was what he thought! To him a sermon was a preacher, a writ a lawyer, a pill a doctor, a sail a sailor, a sword a soldier, a button a tailor, a nail a carpenter, a hammer a blacksmith, a trowel a stone mason, a pebble a geologist, a flower a botanist, a ray of light an astronomer, and even a word gave him ample suggestion to build up an empire of thought.

He sailed upon the tides and currents of the human heart, and steered through the cliffs and caverns of the brain with greater glory than those who sought the golden "fleece" among the enchanting waters of Ionian isles.

Shakspere conjured the characters of his plays from elemental principles, measures not men, breathing and acting in his divine atmosphere. It is strange and marvelous that he never wrote a line about the great men that lived and wrote in his day and age, although Cervantes, Rubens, Camoens, Bruno, Drake, Raleigh, Calderon, Corneille, Rembrandt, Kepler, Galileo, Montaigne, Beaumont and Fletcher, Sidney, Marlowe, Bacon and Ben Jonson were contemporaneous authors, poets, dramatists, navigators, soldiers, astronomers and philosophers.

Licentious phrases and actions were universal in Shakspere's time, and from the corrupt courts of King Henry the Eighth, Elizabeth and King James, to the cot of the peasant and trail of the tavern, morality hid her modest head and only flourished among the puritans and philosophers who kept alive the flame of love and liberty.

Dryden, Spenser, Sidney, Marlowe and Jonson infected literature with a species of eloquent vulgarity, and Shakspere, willing to please, readily infused into his various plays sensuous phrases to catch the rabble cheers and purpled applause. While he worshiped nature, he never failed to bend the knee for ready cash, and often paid fulsome tribute to lords and ladies, who flattered his vanity and ministered to his "itching palm."

Physical passion, mental license and social tyranny ruled in home, church and state, where Rome and Reformation struggled viciously for the mastery.

There are nuggets of golden thought still scattered through the plays of Shakspere that no author or actor has ever discovered, and although they have read and repeated his lines, for more than three hundred years, there has been no brain able and brilliant enough to delve into or explain the secret caves of Shaksperian wit. Human sparrows cannot know the eagle flights of divine philosophy.

The golden gilt of imagination decorated his phrases and the lambent light of his philosophy shone like the rosy dawn upon a field of variegated wild flowers. The hut and the cottage were transformed into lordly castles while the rocks and the hills became ranges of mountain, whose icy pinnacles reflected back the shimmering light of suns and stars.

Shakspere was a man of universal moods and like a chameleon took color and force from every object he touched. The draughts he took from the deep flowing wells of nature made no diminution in the volume of his thought, that rushed through his seething brain like an underground cataract filled from eternal springs.

Fresh from the mint of his mind fell the clinking, golden coin of universal value, bearing the glowing stamp of his genius, unrivaled in the annals of time. Since he wrote and acted, no man ever understood the depths of his wit and logic, or the height of his imagination and philosophy. The human mackerel cannot know the human whale.

Shallow, presumptive college bookworms, arrogant librarians and classical compilers, have attempted to explain his plays and sonnets, in footnotes, but they have only been entangled in the briers and flowers of his fancy, finding themselves suffocated at last, in the luxurious fields of his eloquent rhetoric and universal wisdom.

School-teachers, professors, priests, preachers, popes, and princes are brushed aside by the cutting phrases of Shakspere and go down to earth like grass before the scythe of this rustic reaper. They are dumfounded by his matchless mysterious logic. Religion, law and medicine are pitchforked about by the Divine William on the threshing floor of his literary granary, where he separates wheat from chaff, instanter, leaving the beholder mystified by the splendid result.

Viewing the great minds of the world from Homer to Humboldt, Shakspere never had an equal or superior, standing on the pinnacle of the pyramid of human renown, and lifting his mammoth mental form above the other philosophers of the earth as Mount St. Elias soars above its brother peaks.

Distance lends a wizard enchantment to his lofty form and down the rolling ages his glory will grow greater until the whole universe is luminous with the dazzling lights of his eternal fame.

Shakspere's mind was pinioned with celestial imagination, and his rushing flight circled the shores of omnipotence. He taught us that ignorance was a crime, a murky night without a single star to light the traveler on his weary way.

Those who have attempted to fathom the depths of the Shaksperian ocean of thought, have only rounded the rim or skimmed over the surface of its illimitable magnificence. Tossed about by the billows of Shakspere's brain, for three hundred and forty years mankind like a ship in a storm, still wonders and runs on the reefs of his understanding, to be wrecked in their vain calculation of his divine wisdom.

Leaving the beaten paths of oriental and middle age writers, he dashed deep into the forest of nature and surveyed for himself a new dominion of thought, that has never been occupied before or since his birth. Like a comet of universal light, he shines over the world with the warm glow of celestial knowledge.

With the tuning key of his matchless genius he struck the chords of sorrow to their inmost tone and played on the heart strings of joy with the tender vibrations of an Æolian harp, trembling with melodious echoes among the wild flowers of ecstatic passion.

And to clap the climax and fathom the logic of love, he eloquently exclaims:

"Love is not love that alters when it alteration finds!"

J.A.J.

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