|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 12
The poem has sometimes been attributed to Edmund Falconer (1814-1879),
an actor and dramatist, born in Dublin, and whose real name was Edmund
O'Rourke. However, his poem entitled "Anne Hathaway, A Traditionary
Ballad sung to a Day Dreamer by the Mummers of Shottery Brook",[15]
falls far below the lines we have quoted in poetic quality, as may be
seen from the opening stanza (the best), which runs as follows:
No beard on thy chin, but a fire in thine eye,
With lustiest Manhood's in passion to vie,
A stripling in form, with a tongue that can make
The oldest folks listen, maids sweethearts forsake,
Hie over the fields at the first blush of May,
And give thy boy's heart unto Anne Hathaway.
[Footnote 15: Edmund Falconer, "Memories, the Bequest of my Boyhood",
London, 1863, pp. 14-22.]
In none of the allusions to precious stones made by Shakespeare is
there any indication that he had in mind any of the Biblical passages
treating of gems. The most notable of these are the enumeration of the
twelve stones in Aaron's breast-plate (Exodus xxviii, 17-20; xxxix,
10-13), the list of the foundation stones and gates of the New
Jerusalem given by John in Revelation (xxi, 19-21), and the
description of the Tyrian king's "covering" in Ezekiel (xxviii, 130).
Had the poet given any particular attention to these texts we could
scarcely fail to note the fact. Other Bible mentions, such as those
elsewhere made by Ezekiel (xxvii, 16, 22), regarding the trade of
Tyre, the agates (and coral) from Syria, and the precious stones
brought by the Arabian or Syrian merchants of Sheba and Raamah, are
too much generalized to invite any special notice. The same may be
said of most of the remaining brief allusions. We might rather expect
that where the color or brilliancy of a precious stone is used as a
simile this might strike a poet's fancy and perhaps find direct
expression in his own words. The light of the New Jerusalem is likened
to "a jasper stone, clear as crystal" (Rev. xxi, 11), and in Exodus
(xxiv, 10) the sapphire stone is said to be "as it were the body of
heaven in its clearness". However, that Shakespeare wrote of "the
heaven-hued sapphire" ("Lover's Complaint", l. 215) has no necessary
connection with this, as the celestial hue of the beautiful sapphire
is spoken of time and again by many of the older writers.
FIVE OF THE SIX AUTHENTIC SHAKESPEARE SIGNATURES
[Illustration: Signature on the purchase deed of Shakespeare's house in
Blackfriars dated March 10, 1613. In the Guildhall, London]
[Illustration: Signatures on the three pages of
Shakespeare's will executed March 25, 1616. Original in Somerset
House, London]
[Illustration: Signature attached to the deed mortgaging the house
in Blackfriars, dated March 11, 1613. In the British Museum]
It should be borne in mind that the great English translation of the
Bible, popularly called "King James' Bible", was published only after
Shakespeare had completed his last play in 1611. Before that time,
dating from Tyndale's version of 1525, and in great measure based on
it, a number of English translations had appeared, the most
authoritative in Shakspeare's time being perhaps the "Bishops' Bible",
printed under the patronage of Queen Elizabeth in 1568, and edited by
the Archbishop of Canterbury.
The Geneva Bible of 1560, the first entire Bible in English in which
the division into chapters and verses was carried out, had, however,
the widest dissemination in Shakespeare's time, and a careful study of
passages in his works referable to Biblical texts appears to prove
that this version was the one with which he was most familiar. His
plays testify to his close knowledge of the Scriptures, although no
writer is less fettered by purely doctrinal considerations. The
Geneva Bible went through no less than sixty editions in Queen
Elizabeth's reign, and even after the issue of the "Authorized
Version" in 1611 it competed successfully with this for a time.
That Shakespeare may have seen Philemon Holland's (1552-1637)
excellent translation of Pliny is nowise unlikely. A notable passage
in his _Othello_ seems in any case to indicate that it was suggested
by Pliny's words (Bk. II, chap. 97, in Holland's version):
Previous Page
| Next Page
|
|