resolved at last." "I pr'ythee, what?" says he. “I' faith, Ben, I'll e'en give him a dozen good Lattin spoons, and thou shalt translate them." Lattin, as everybody knows, was a mixed metal resembling brass: the play upon words and sly fun poked at Jonson's scholarship are in Shakespeare's best manner. The story must be regarded as Shakespeare's answer to Jonson's sneer that he had "little Latine and lesse Greeke."

Through the mist of tradition and more or less uncertain references in his poetry, one sees that he had come, probably through Southampton, to admire Essex, and the fall and execution of Essex had an immense effect upon him. It is certain, I think, that the noble speech on mercy put into Portia's mouth in "The Merchant of Venice," was primarily an appeal to Elizabeth for Essex or for Southampton. It is plainly addressed to the Queen, and not to a Jew pariah:

The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,

Wherein doth sit the dread and fear of kings;
But mercy is above this scepter'd sway,

It is enthroned in the heart of kings.

It is an attribute of God Himself,

And earthly power doth then show likest God's,
When Mercy seasons Justice.'

All this must have seemed the veriest irony when addressed to an outcast Jew. It was clearly intended as an appeal to Elizabeth, and shows how far gentle Shakespeare would venture in defence of a friend. Like a woman, he gained a certain courage through his affections.

I feel convinced that he resented the condemnation of Essex and the imprisonment of Southampton very bitterly, for though he had praised Elizabeth in his salad days again and again, talked about her in "A Midsummer Night's Dream " as a "fair vestal throned by the west "; walking in "maiden meditation, fancy-free"; yet, when she died, he could not be induced to write one word about her. His silence was noticed, and Chettle challenged him to write in praise of the dead sovereign, because she had been kind to him; but he would not: he had come to dislike the harsh nature of Elizabeth, and he detested her ruthless cruelties. Like a woman, he found it difficult to forgive one who had injured those he loved.

Now that I have discussed at some length Shakespeare's character, its powers and its weaknesses, let us for a moment consider his intellect. All sorts and conditions of men talk of it in superlatives; but that does not help us much. It is as easy to sit in Shakespeare's brain and think from there, as it is from Balzac's. If we have read Shakespeare rightly, his intelligence was peculiarly self-centred; he was wise mainly through self-knowledge, and not, as is commonly supposed, through knowledge of others and observation; he was assuredly anything but worldly-wise. Take one little point. In nearly every play he discovers an intense love of music and of flowers; but he never tells you anything about the music he loves, and he only mentions a dozen flowers in all his works. True, he finds exquisite phrases for his favourites; but he only seems to have noticed or known the commonest. His knowledge of birds and beasts is similarly limited. But when Bacon praises flowers he shows at once the naturalist's gift of observation; he men

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tions hundreds of different kinds, enumerating them month by month; in April alone he names as many as Shakespeare has mentioned in all his writings. He used his eyes to study things outside himself, and memory to recall them; but Shakespeare's eyes were turned inward; he knew little of the world outside himself.

Shakespeare's knowledge of men and women has been overrated. With all his sensuality he only knew one woman, Mary Fitton, though he knew her in every mood, and only one man, himself, profoundly apprehended in every accident and moment. of growth.

He could not construct plays or invent stories, though he selected good ones with considerable certainty. He often enriched the characters, seldom or never the incidents; even the characters he creates are usually sides of himself, or humorous masks without a soul. He must have heard of the statesman Burleigh often enough; but nowhere does he portray him; no hint in his works of Drake, or Raleigh, or Elizabeth, or Sidney. He has no care either for novelties; he never mentions forks or even tobacco or potatoes. A student by nature if ever there was one, all intent, as he tells us, on bettering his mind, he passes through Oxford a hundred times and never even mentions the schools: Oxford men had disgusted him with their alma mater.

The utmost reach of this self-student is extraordinary; the main puzzle of life is hidden from us as from him; but his word on it is deeper than most of ours, though we have had three centuries in which to climb above him.

"Men must abide.

Their going hence even as their coming hither.
Ripeness is all."

And if it be said that the men of the Renaissance occupied themselves more with such questions than we do, and therefore show better in relation to them, let us take another phrase which has always seemed to me of extraordinary insight. Antony has beaten Caesar, and returns to Cleopatra, who greets him with the astounding words:

"Lord of lords,

O, infinite virtue, com'st thou smiling from
The world's great snare uncaught?"

This is all more or less appropriate in the mouth of Cleopatra; but it is to me Shakespeare's own comment on life; he is conscious of his failure; he has said to himself: "if I, Shakespeare, have failed, it is because every one fails; life's handicap searches out every weakness; to go through life as a conqueror would require 'infinite virtue."" This is per haps the furthest throw of Shakespeare's thought.

But his worldly wisdom is to seek. After he had been betrayed by Lord Herbert he raves of man's ingratitude, in play after play. Of course men are ungrateful; it is only the rarest and noblest natures who can feel thankful for help without any injury to vanity. The majority of men love their inferiors, those whom they help; to give flatters self-esteem: but they hate their superiors, and lend to the word "patron" an intolerable smirk of condescension. Shakespeare should have understood that at thirty

When his vanity was injured, his blindness was almost inconceivable. He should have seen Mary Fitton as she was and given us a deathless-true portrait of her; but the noble side of her, the soulside a lover should have cherished, is not even sug gested. He deserves to lose her, seeking only the

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common, careless of the "silent, silver lights she could have shown him. He was just as blind with his wife; she had been unwillingly the ladder to his advancement; he should have forgiven her on that ground, if not on a higher.

He was inordinately vain and self-centred. He talked incontinently, as he himself assures us, and as Ben Jonson complains. He was exceedingly quick and witty and impatient. His language shows his speed of thought; again and again the images tumble over each other, and the mere music of his verse is breathlessly rapid, just as the movement of Tennyson's verse is extremely slow.

More than once in his works I have shown how, at the crisis of fate, he jumps to conclusions like a woman. He seems often to have felt the faults of his own haste. His Othello says:

"How poor are they that have not patience."

With this speed of thought and wealth of language and of wit, he naturally loved to show off in conversation; but as he wished to get on and make a figure in the world, he should have talked less and encouraged his patrons to show off. Poor heedless, witty, charming Shakespeare! One threat which he used again and again, discovers all his worldblindness to me. Gravely, in sonnet 140, he warns Mary Fitton that she had better not provoke him or he will write the truth about her-just as if the maid of honour who could bear bastard after bastard, while living at court, cared one straw what poor Shakespeare might say or write or sing of her. And Hamlet runs to the same weapon: he praises the players to Polonius as

"Brief chronicles of the time; after your death you