THOMAS FULLER, c. 1661 HE was an eminent instance of the truth of that rule, Poeta non fit sed nascitur; one is not made, but born a poet. Indeed, his learning was very little, so that, as Cornish diamonds are not polished by any lapidary, but are pointed and smoothed even as they are taken out of the earth, so nature itself was all the art which was used upon him. Many were the wit-combats betwixt him and Ben Jonson; which two I behold like a Spanish great galleon and an English man of war: Master Jonson (like the former) was built far higher in learning; solid, but slow in his performances. Shakespeare, with the English man of war, lesser in bulk, but lighter in sailing, could turn with all tides, tack about, and take advantage of all winds, by the quickness of his wit and invention. The History of the Worthies of England: Warwickshire. 1662, p. 126. SAMUEL PEPYS, 1662-1667 (1633-1703) 1661-1662. March 1st. My wife and I by coach, first to see my little picture that is a-drawing, and thence to the Opera, and there saw "Romeo and Juliet," the first time it was ever acted, but it is a play of itself the worst that ever I heard, and the worst acts that ever I saw these people do, and I am resolved to go no more to see the first time of acting, for they were all of them out more or less. 1662. September 29th. To the King's Theatre, where we saw "Midsummer Night's Dream," which I had never seen before, nor ever shall again, for it is the most insipid, ridiculous play that ever I saw in my life. 1666. December 28th. To the Duke's House, and there saw "Macbeth" most excellently acted, and a most excellent play for variety. I had sent my wife to meet me there, who did come: so I did go to White Hall, and got my Lord Bellassis to get me into the playhouse; and there, after all staying above an hour for the players, the King and all waiting, which was absurd, saw "Henry the Fifth" well done by the Duke's people, and in most excellent habit, all new vests, being put on but this night. But I sat so high and far off, that I missed most of the words, and sat with a wind coming into my back and neck, which did much trouble me. The play continued till twelve at night; and then up, and a most horrid cold night it was, and frosty, and moonshine. 1666–67. January 7th. To the Duke's House, and saw "Macbeth," which, though I saw it lately, yet appears a most excellent play in all respects, but especially in divertisement, though it be a deep tragedy; which is a strange perfection in a tragedy, it being most proper here, and suitable. 1667. October 16th. To the Duke of York's House; and I was vexed to see Young, who is but a bad actor at best, act Macbeth, in the room of Betterton, who, poor man! is sick: but, Lord! what a prejudice it wrought in me against the whole play, and everybody else agreed in disliking this fellow. Thence home, and there find my wife gone home; because of this fellow's acting of the part, she went out of the house again. Diary and Correspondence of Samuel Pepys, with a Life and Notes, by Richard, Lord Braybrooke. 1888. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE, 1664 I WONDER how that person you mention in your letter could either have the conscience, or confidence to dispraise Shakespeare's plays, as to say they were made up only with clowns, fools, watchmen, and the like; but to answer that person, though Shakespeare's wit will answer for himself, I say, that it seems by his judging, or censuring, he understands not plays, or wit; for to express properly, rightly, usually, and naturally, a clown's, or fool's humour, expressions, phrases, garbs, manners, actions, words, and course of life, is as witty, wise, judicious, ingenious, and observing, as to write and express the expressions, phrases, garbs, manners, actions, words, and course of life, of kings and princes; and to express naturally, to the life, a mean country wench, as a great lady; a courtesan, as a chaste woman; a mad man, as a man in his right reason and senses; a drunkard, as a sober man; a knave, as an honest man; and so a clown, as a well-bred man; and a fool, as a wise man; nay, it expresses and declares a greater wit, to express, and deliver to posterity, the extravagances of madness, the subtlety of knaves, the ignorance of clowns, and the simplicity of naturals, or the craft of feigned fools, than to express regularities, plain honesty, courtly garbs, or sensible discourses, for 'tis harder to express nonsense than sense, and ordinary conversations, than that which is unusual; and 'tis harder, and requires more wit to express a jester, than a grave statesman; yet Shakespeare did not want wit to express to the life all sorts of persons, of what quality, profession, degree, breeding, or birth soever; nor did he want wit to express the divers and different humours, or natures or several passions in mankind; and so well he hath expressed in his plays all sorts of persons, as one would think he had been transformed into every one of those persons he hath described. . . Who could not swear he had been a noble lover, that could woo so well? and there is not any person he had described in his book, but his readers might think they were well acquainted with them; indeed, Shakespeare had a clear judgment, a quick wit, a spreading fancy, a subtle observation, a deep apprehension, and a most eloquent elocution; truly he was a natural orator, as well as a natural poet, and he was not an orator to speak well only on some subjects, as lawyers, who can make eloquent orations at the bar, and plead subtly and wittily in law-cases, or divines, that can preach eloquent sermons, or dispute subtly and wittily in theology, but take them from that, and put them to other subjects, and they will be to seek; but Shakespeare's wit and eloquence was general, for and upon all subjects, he rather wanted subjects for his wit and eloquence to work for which he was forced to take some of his plots out of history, where he only took the bare designs, the wit and language being all his own. on, CCXI Sociable Letters written by the Lady Marchioness of Newcastle. 1664. Letter CXXIII. |