Emerson's Essays, Ralph Waldo Emerson [best english novels for beginners .txt] 📗

Our English Bible[581] is a wonderful specimen of the strength and music of the English language. But it was not made by one man, or at one time; but centuries and churches brought it to perfection. There never was a time when there was not some translation existing. The Liturgy,[582] admired for its energy and pathos, is an anthology of the piety of ages and nations, a translation of the prayers and forms of the Catholic church,—these collected, too, in long periods, from the prayers and meditations of every saint and sacred writer all over the world. Grotius[583] makes the like remark in respect to the Lord's Prayer, that the single clauses of which it is composed were already in use, in the time of Christ, in the rabbinical forms.[584] He picked out the grains of gold. The nervous language of the Common Law,[585] the impressive forms of our courts, and the precision and substantial truth of the legal distinctions, are the contribution of all the sharp-sighted, strong-minded men who have lived in the countries where these laws govern. The translation of Plutarch gets its excellence by being translation on translation. There never was a time when there was none. All the truly idiomatic and national phrases are kept, and all others successively picked out, and thrown away. Something like the same process had gone on, long before, with the originals of these books. The world takes liberties with world-books. Vedas,[586] Æsop's Fables,[587] Pilpay,[588] Arabian Nights,[589] Cid,[590] Iliad,[591] Robin Hood,[592] Scottish Minstrelsy,[593] are not the work of single men. In the composition of such works, the time thinks, the market thinks, the mason, the carpenter, the merchant, the farmer, the fop, all think for us. Every book supplies its time with one good word; every municipal law, every trade, every folly of the day, and the generic catholic genius who is not afraid or ashamed to owe his originality to the originality of all, stands with the next age as the recorder and embodiment of his own.

10. We have to thank the researches of antiquaries, and the Shakspeare Society,[594] for ascertaining the steps of the English drama, from the Mysteries[595] celebrated in churches and by churchmen, and the final detachment from the church, and the completion of secular plays, from Ferrex and Porrex,[596] and Gammer Gurton's Needle,[597] down to the possession of the stage by the very pieces which Shakspeare altered, remodelled, and finally made his own. Elated with success, and piqued by the growing interest of the problem, they have left no book-stall unsearched, no chest in a garret unopened, no file of old yellow accounts to decompose in damp and worms, so keen was the hope to discover whether the boy Shakspeare poached[598] or not, whether he held horses at the theater-door, whether he kept school, and why he left in his will only his second-best bed to Ann Hathaway, his wife.

11. There is somewhat touching in the madness with which the passing age mischooses the object on which all candles shine, and all eyes are turned; the care with which it registers every trifle touching Queen Elizabeth,[599] and King James,[600] and the Essexes,[601] Leicesters,[602] Burleighs,[603] and Buckinghams[604]; and lets pass without a single valuable note the founder of another dynasty, which alone will cause the Tudor dynasty[605] to be remembered,—the man who carries the Saxon race in him by the inspiration which feeds him, and on whose thoughts the foremost people of the world are now for some ages to be nourished, and minds to receive this and not another bias. A popular player,—nobody suspected he was the poet of the human race; and the secret was kept as faithfully from poets and intellectual men, as from courtiers and frivolous people. Bacon,[606] who took the inventory of the human understanding for his times, never mentioned his name. Ben Jonson,[607] though we have strained his few words of regard and panegyric, had no suspicion of the elastic fame whose first vibrations he was attempting. He no doubt thought the praise he has conceded to him generous, and esteemed himself, out of all question, the better poet of the two.

12. If it need wit to know wit, according to the proverb, Shakspeare's time should be capable of recognizing it. Sir Henry Wotton[608] was born four years after Shakspeare, and died twenty-three years after him; and I find, among his correspondents and acquaintances, the following persons:[609] Theodore Beza, Isaac Casaubon, Sir Philip Sidney, Earl of Essex, Lord Bacon, Sir Walter Raleigh, John Milton, Sir Henry Vane, Isaac Walton, Dr. Donne, Abraham Cowley, Berlarmine, Charles Cotton, John Pym, John Hales, Kepler, Vieta, Albericus Gentilis, Paul Sarpi, Arminius; with all of whom exists some token of his having communicated, without enumerating many others, whom doubtless[610] he saw,—Shakspeare, Spenser, Jonson, Beaumont, Massinger, two Herberts, Marlow, Chapman and the rest. Since the constellation of great men who appeared in Greece in the time of Pericles,[611] there was never any such society;—yet their genius failed them to find out the best head in the universe. Our poet's mask was impenetrable. You cannot see the mountain near. It took a century to make it suspected; and not until two centuries had passed, after his death, did any criticism which we think adequate begin to appear. It was not possible to write the history of Shakspeare till now; for he is the father of German literature: it was on the introduction of Shakspeare into German, by Lessing,[612] and the translation of his works by Wieland[613] and Schlegel,[614] that the rapid burst of German literature was most intimately connected. It was not until the nineteenth century, whose speculative genius is a sort of living Hamlet,[615] that the tragedy of Hamlet could find such wondering readers. Now, literature, philosophy, and thought, are Shakspearized. His mind is the horizon beyond which, at present, we do not see. Our ears are educated to music by his rhythm. Coleridge[616] and Goethe[617] are the only critics who have expressed our convictions with any adequate fidelity; but there is in all cultivated minds a silent appreciation of his superlative power and beauty, which, like Christianity, qualifies the period.