: The Atlantic Monthly Volume 08 No. 47 September 1861 A Magazine of Literature Art and Politics by Various - American periodicals The Atlantic Monthly

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THE ATLANTIC MONTHLY.

A MAGAZINE OF LITERATURE, ART, AND POLITICS.

THE SHAKESPEARE MYSTERY.

In 1853 there went up a jubilant cry from many voices upon the publication of Mr. Collier's "Notes and Emendations to the Text of Shakespeare's Plays from Early Manuscript Corrections," etc. "Now," it was said, "doubt and controversy are at an end. The text is settled by the weight of authority, and in accordance with common sense. We shall enjoy our Shakespeare in peace and quiet." Hopeless ignorance of Shakespeare-loving nature! The shout of rejoicing had hardly been uttered before there arose a counter cry of warning and defiance from a few resolute lips, which, swelling, mouth by mouth, as attention was aroused and conviction strengthened, has overwhelmed the other, now sunk into a feeble apologetic plea. The dispute upon the marginal readings in this notorious volume, as to their intrinsic value and their pretence to authority upon internal evidence, has ended in the rejection of nearly all of the few which are known to be peculiar to it, and the conclusion against any semblance of such authority. The investigation of the external evidence of their genuineness, though it has not been quite so satisfactory upon all points, has brought to light so many suspicious circumstances connected with Mr. Collier's production of them before the public, that they must be regarded as unsupported by the moral weight of good faith in the only person who is responsible for them.

Since our previous article upon this subject, nothing has appeared upon it in this country; but several important publications have been made in London concerning it; and, in fact, this department of Shakespearian literature threatens to usurp a special shelf in the dramatic library. The British Museum has fairly entered the field, not only in the persons of Mr. Hamilton and Mr. Maskelyne, but in that of Sir Frederic Madden himself, the head of its Manuscript Department, and one of the very first paleographers of the age; Mr. Collier has made a formal reply; the Department of Public Records has spoken through Mr. Duffus Hardy; the "Edinburgh Review" has taken up the controversy on one side and "Fraser's Magazine" on the other; the London "Critic" has kept up a galling fire on Mr. Collier, his folio, and his friends, to which the "Athenaeum" has replied by an occasional shot, red-hot; the author of "Literary Cookery," a well-read, ingenious, caustic, and remorseless writer, whose first book was suppressed as libellous, has returned to the charge, and not less effectively because more temperately; and finally an LL.D., Mansfield Ingleby, of Trinity College, Cambridge, comes forward with a "Complete View of the Controversy," which is manifestly meant for a complete extinction of Mr. Collier. Dr. Ingleby's book is quite a good one of its kind, and those who seek to know the history and see the grounds of this famous and bitter controversy will find it very serviceable. It gives, what it professes to give, a complete view of the whole subject from the beginning, and treats most of the prominent points of it with care, and generally with candor. Its view, however, is from the stand-point of uncompromising hostility to Mr. Collier, and its spirit not unlike that with which a man might set out to exterminate vermin.

And here we pause a moment to consider the temper in which this question has been discussed among the British critics and editors. From the very beginning, eight years ago, there have been manifestations of personal animosity, indications of an eagerness to seize the opportunity of venting long secreted venom. This has appeared as well in books as in more ephemeral publications, and upon both sides, and even between writers on the same side. On every hand there has been a most deplorable impeachment of motive, accompanied by a detraction of character by imputation which is quite shocking. Petty personal slights have been insinuated as the ultimate cause of an expression of opinion upon an important literary question, and testimony has been impeached and judgment disparaged by covert allegations of disgraceful antecedent conduct on the part of witnesses or critics. Indeed, at times there has seemed reason to believe the London "Literary Gazette" right in attributing this whole controversy to a quarrel which has long existed in London, and which, having its origin in the alleged abstraction of manuscripts from a Cambridge library by a Shakespearian scholar, has made most of the British students of this department of English letters more or less partisans on one side or the other. Certainly the "Saturday Review" is correct, when it says that in this controversy "a mere literary question and a grave question of personal character are being awkwardly mixed together, and neither question is being conducted in a style at all satisfactory or creditable to literary men."

Mr. Collier is told by Mr. Duffus Hardy that "he has no one to blame but himself" for "the tone which has been adopted by those who differ from him upon this matter," because he, by his answer in the "Times" to Mr. Hamilton, made it "a personal, rather than a literary question." But, we may ask, how is it possible for a man accused of palming off a forgery upon the public to regard the question as impersonal, even although it may not be alleged in specific terms that he is the forger? Mr. Collier is like the frog in the fable. This pelting with imputations of forgery may be very fine fun to the pelters, but it is death to him. To them, indeed, it may be a mere question of evidence and criticism; but to him it must, in any case, be one of vital personal concern. Yet we cannot find any sufficient excuse for the manner in which Mr. Collier has behaved in this affair from the very beginning. His cause is damaged almost as much by his own conduct, and by the tone of his defence, as by the attacks of his accusers. A very strong argument against his complicity in any fraudulent proceeding in relation to his folio might have been founded upon an untarnished reputation, and a frank and manly attitude on his part; but, on the contrary, his course has been such as to cast suspicion upon every transaction with which he has been connected.

It has also been discovered that Mr. Collier has misrepresented the contents of the postscript of a letter from Mistress Alleyn to her husband, Edward Alleyn, the eminent actor of Shakespeare's day. This letter was first published by Mr. Collier in his "Memoirs of Edward Alleyn" in 1841, where he represents the following broken passage as part of it:--

The paper on which this postscript is written is very much decayed, and has been broken and torn away by the accidents of time; but enough remains to show that the passage in question stands thus,--the letters in brackets being obliterated:--

"Aboute a weeke agoe ther e a youthe who said he was || Mr. Frauncis Chalos man ld have borrowd x's.--to || have bought things for s Mri..... st hym || Cominge wthout... token.... d ||I would have.... || f I bene sue ..... || and inquire after the fellow," etc.

The parallels || in the above paragraph indicate the divisions of the lines in the original manuscript; and a moment's examination will convince the reader that the existence of those words of Mr. Collier's version which we have printed in Italic letter in the place to which he assigns them is a physical impossibility, as Mr. Hamilton has clearly shown. And that the mention of Shakespeare, and what he said, was not on a part of the letter which has been broken away, is made certain by the fortunate preservation of enough of the lower margin to show that no such passage could have been written upon it.

The bad effect of what he does is increased by the manner in which he seeks to shield himself from the consequences of his acts. He should have said at once, "Let this matter be investigated, and here am I to aid in the investigation," Soon after this folio was brought into public notice, Mr. Charles Knight proposed that it should be submitted to a palaeographic examination by gentlemen of acknowledged competence; but so far was Mr. Collier from yielding to this suggestion, that we have good reason for saying that it was not until after the volume passed, in 1859, into the hands of Sir Frederic Madden of the British Museum, that the more eminent Shakespearian scholars in London had even an opportunity to look at it closely. The attacks upon the genuineness of the writing on its margins Mr. Collier was at once too ready to regard as impeachments of his personal integrity, and to shirk by making counter-insinuations against the integrity of his opponents and the correctness of their motives. He attributes to the pettiest personal spite or jealousy the steps which they have taken in discharge of a duty to the interests of literature and the literary guild, and at the risk of their professional reputations, and then slinks back from his charges with,--"I have been told this, but I don't believe it: this may be so, but yet it cannot be: I did something that Mr. So-and-so's father did not like, yet I wouldn't for a moment insinuate," etc., etc. Then, Mr. Collier, why do you insinuate? And what in any case do you gain? Suppose the men who deny the good faith of your marginalia are the small-souled creatures you would have us believe they are, they do not make this denial upon their personal responsibility merely; they produce facts. Meet those; and do not go about to make one right out of two wrongs. Cease, too, this crawling upon your belly before the images of dukes and carls and lord chief-justices; digest speedily the wine and biscuits which a gentleman has brought to you in his library, and let them pass away out of your memory. Let us have no more such sneaking sentences as, "I have always striven to make myself as unobjectionable as I could"; but stand up like a man and speak like a man, if you have aught to say that is worth saying; and your noble patrons, no less than the world at large, will have more faith in you, and more respect for you.

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