Robert Green Ingersoll

“ When men are prosperous, they are in love with life. Nature grows beautiful, the arts begin to flourish, there is work for painter and sculptor, the poet is born, the stage is erected—and this life with which men are in love, is represented in a thousand forms.
Nature, or Fate, or Chance prepared a stage for Shakespeare, and Shakespeare prepared a stage for Nature.
Famine and faith go together. In disaster and want the gaze of man is fixed upon another world. He that eats a crust has a creed. Hunger falls upon its knees, and heaven, looked for through tears, is the mirage of misery. ”

“ The mother of Shakespeare was, without doubt, one of the greatest of women. She dowered her son with passion and imagination and the higher qualities of the soul, beyond all other men. It has been said that a man of genius should select his ancestors with great care—and yet there does not seem to be as much in heredity as most people think. The children of the great are often small. Pigmies are born in palaces, while over the children of genius is the roof of straw. Most of the great are like mountains, with the valley of ancestors on one side and the depression of posterity on the other. ”

“ He did not—like most writers of our time—take refuge in the real, hiding a lack of genius behind a pretended love of truth. All realities are not poetic, or dramatic, or even worth knowing. The real sustains the same relation to the ideal that a stone does to a statue—or that paint does to a painting. Realism degrades and impoverishes. In no event can a realist be more than an imitator and copyist. According to the realist's philosophy, the wax that receives and retains an image is an artist.
Shakespeare did not rely on the stage-carpenter, or the scenic painter. ”

“ In the alembic of Shakespeare's brain the baser metals were turned to gold—passions became virtues—weeds became exotics, from some diviner land—and common mortals made of ordinary clay outranked the Olympian Gods. In his brain there was the touch of chaos that suggests the infinite—that belongs to genius. Talent is measured and mathematical—dominated by prudence and the thought of use. Genius is tropical. The creative instinct runs riot, delights in extravagance and waste, and overwhelms the mental beggars of the world with uncounted gold and unnumbered gems. ”

“ The dramatist speaks and acts through others—his personality is lost. The poet lives in the world of thought and feeling, and to this the dramatist adds the world of action. He creates characters that seem to act in accordance with their own natures and independently of him. He compresses lives into hours, tells us the secrets of the heart, shows us the springs of action—how desire bribes the judgment and corrupts the will—how weak the reason is when passion pleads, and how grand it is to stand for right against the world. ”

“ All art is of the same parentage. The poet uses words—makes pictures and statues of sounds. The sculptor expresses harmony, proportion, passion, in marble; the composer, in music; the painter in form and color. The dramatist expresses himself not only in words, not only paints these pictures, but he expresses his thought in action.
Shakespeare was not only a poet, but a dramatist, and expressed the ideal, the poetic, not only in words, but in action. There are the wit, the humor, the pathos, the tragedy of situation, of relation. ”

“ Nature is filled with tendencies and obstructions. Extremes beget limitations, even as a river by its own swiftness creates obstructions for itself.
Possibly, many generations of culture breed a desire for the rude joys of savagery, and possibly generations of ignorance breed such a longing for knowledge, that of this desire, of this hunger of the brain, Genius is born. It may be that the mind, by lying fallow, by remaining idle for generations, gathers strength.
Shakespeare's father seems to have been an ordinary man of his time and class. ”

“ And in the midst of tragedies and tears, of love and laughter and crime, we hear the voice of the good friar, who declares that in every human heart, as in the smallest flower, there are encamped the opposed hosts of good and evil—and our philosophy is interrupted by the garrulous old nurse, whose talk is as busily useless as the babble of a stream that hurries by a ruined mill. ”

“ Production enriched his brain. Nothing exhausted him. The moment his attention was called to any subject—comparisons, definitions, metaphors and generalizations filled his mind and begged for utterance. His thoughts like bees robbed every blossom in the world, and then with "merry march" brought the rich booty home "to the tent royal of their emperor."
Shakespeare was the confidant of Nature. To him she opened her "infinite book of secrecy," and in his brain were "the hatch and brood of time." ”

“ Shakespeare seems to give the generalization—the result—without the process of thought. He seems always to be at the conclusion—standing where all truths meet.
In one of the Sonnets is this fragment of a line that contains the highest possible truth:
"Conscience is born of love."
If man were incapable of suffering, the words right and wrong never could have been spoken. If man were destitute of imagination, the flower of pity never could have blossomed in his heart.
We suffer—we cause others to suffer—those that we love—and of this fact conscience is born. ”

“ Read one play, and you are impressed with the idea that the wealth of the brain of a god has been exhausted—that there are no more comparisons, no more passions to be expressed, no more definitions, no more philosophy, beauty, or sublimity to be put in words—and yet, the next play opens as fresh as the dewy gates of another day. ”

“ Of course Shakespeare made use of the work of others—and, we might almost say, of all others. Every writer must use the work of others. The only question is, how the accomplishments of other minds are used, whether as a foundation to build higher, or whether stolen to the end that the thief may make a reputation for himself, without adding to the great structure of literature.
Thousands of people have stolen stones from the Coliseum to make huts for themselves. So thousands of writers have taken the thoughts of others with which to adorn themselves. ”

“ He lived all lives, and through his blood and brain there crept the shadow and the chill of every death, and his soul, like Mazeppa, was lashed naked to the wild horse of every fear and love and hate. ”

“ We differ About Hamlet as we do about Cæsar, or about Shakespeare himself.
Hamlet saw the ghost of his father and heard again his father's voice, and yet, afterwards, he speaks of
"the undiscovered country from whose bourne no traveller returns."
In this there is no contradiction. The reason outweighs the senses. If we should see a dead man rise from his grave, we would not, the next day, believe that we did. No one can credit a miracle until it becomes so common that it ceases to be miraculous.
Types are puppets—controlled from without—characters act from within. ”

“ No matter whether Shakespeare delineated clown or king, warrior or maiden—no matter whether his characters are taken from the gutter or the throne—each is a work of consummate art, and when he is unnatural, he is so splendid that the defect is forgotten. ”

“ We have the right to compare what Bacon wrote with what it is claimed Shakespeare produced. I call attention to one thing—to Bacon's opinion of human love. It is this:
"The stage is more beholding to love than the life of man. As to the stage, love is ever matter of comedies and now and then of tragedies, but in life it doth much mischief—sometimes like a siren, sometimes like a fury. Amongst all the great and worthy persons there is not one that hath been transported to the mad degree of love, which shows that great spirits and great business do keep out this weak passion." ”

“ He had the observant eyes that really see, the ears that really hear, the brain that retains all pictures, all thoughts, logic as unerring as light, the imagination that supplies defects and builds the perfect from a fragment. ”

“ Shakespeare is too great a theme. I feel as though endeavoring to grasp a globe so large that the hand obtains no hold. He who would worthily speak of the great dramatist should be inspired by "a muse of fire that should ascend the brightest heaven of invention"—he should have "a kingdom for a stage, and monarchs to behold the swelling scene." ”

“ Shakespeare was great enough to know that every human being prefers happiness to misery, and that crimes are but mistakes. Looking in pity upon the human race, upon the pain and poverty, the crimes and cruelties, the limping travelers on the thorny paths, he was great and good enough to say:
"There is no darkness but ignorance." ”

“ Shakespeare speaks through his characters, and we must not mistake what the characters say, for the opinion of Shakespeare. No one can believe that Shakespeare regarded life as "a tale told by an idiot, full of sound and fury, signifying nothing." That was the opinion of a murderer, surrounded by avengers, and whose wife—partner in his crimes—troubled with thick-coming fancies—had gone down to her death.
Most actors and writers seem to suppose that the lines called "The Seven Ages" contain Shakespeare's view of human life. Nothing could be farther from the truth. ”

“ Now the whole civilized world believes in the theatre—asks for some great dramatist—is hungry for a play worthy of the century, is anxious to give gold and fame to any one who can worthily put our age upon the stage—and yet no great play has been written since Shakespeare died. ”

“ Shakespeare is filled with the strange contrasts of grief and laughter. While poor Hero is supposed to be dead—wrapped in the shroud of dishonor—Dogberry and Verges unconsciously put again the wedding wreath upon her pure brow. ”

“ In the delineation of character Shakespeare has no rivals. He creates no monsters. His characters do not act without reason, without motive.
Iago had his reasons. In Caliban, nature was not destroyed—and Lady Macbeth certifies that the woman still was in her heart, by saying:
"Had he not resembled my father as he slept, I had done it."
Shakespeare's characters act from within. They are centres of energy. They are not pushed by unseen hands, or pulled by unseen strings. They have objects, desires. They are persons—real, living beings. ”

“ I know I love in vain, strive against hope— Yet in this captious and intenable sieve I still pour in the waters of my love, And lack not to lose still, Thus, Indian-like, Religious in mine error, I adore The sun that looks upon his worshipper, But knows of him no more. ”

“ Take from our world what they have given, and all the niches would be empty, all the walls naked—meaning and connection would fall from words of poetry and fiction, music would go back to common air, and all the forms of subtle and enchanting Art would lose proportion and become the unmeaning waste and shattered spoil of thoughtless Chance. ”

“ In most plays and in most novels the characters are so shadowy that we have to piece them out with the imagination.
One waking in the morning sometimes sees at the foot of his bed a strange figure—it may be of an ancient lady with cap and ruffles and with the expression of garrulous and fussy old age—but when the light gets stronger, the figure gradually changes and he sees a few clothes on a chair. ”

“ It is true that we know but little of Shakespeare, and consequently do not positively know that he did not have the ability to write the Plays—but we do know Bacon, and we know that he could not have written these Plays—consequently, they must have been written by a comparatively unknown man—that is to say, by a man who was known by no other writings. The fact that we do not know Shakespeare, except through the Plays and Sonnets, makes it possible for us to believe that he was the author. ”

“ It may be that in the greatest utterances of the greatest characters in the supreme moments, we have the real thoughts, opinions and convictions of Shakespeare.
Of all writers Shakespeare is the most impersonal.. He speaks through others, and the others seem to speak for themselves. The didactic is lost in the dramatic. He does not use the stage as a pulpit to enforce some maxim. He is as reticent as Nature. ”

“ Injurious time now with a robber's haste Crams his rich thievery up, he knows not how; As many farewells as be stars in heaven, With distinct breath and consigned kisses to them, He fumbles up into a loose adieu, And scants us with a single famished kiss, Distasted with the salt of broken tears. ”