THE SHAKESPEREAN SCHOOL OF ETHICS.

If a man were to be confined to the reading of only three books, those books should be the Bible, Shakespeare and the Dictionary. The Bible because of it Divine characteristics, as well as its pre-eminent literary excellence; Shakespeare for reasons to be made more apparent before I conclude; and the Dictionary for it is key to all language, written and spoken.

Any attempt to eulogize the writings of Shakespeare is like unto an attempt "To gild refined gold, to paint the lily."To dwell with praise and admiration upon his wonderful fund and great breadth of information; his keen and accurate conception of, and insight into, the many phases of human passion, feelings and sympathy; and his masterful control of language, as is attempt "to throw a perfume on the violet, or add another hue to the rainbow."

We accept the bounties and blessings of heaven, not with feelings of encomium and applause, but with sentiments of gratitude and thanksgiving. So colossal a figure in English literature is the Bard of Avon, that we kneel at his feet with outpourings of benediction, that so great a benefactor has lived. It seems paradoxical, but Shakespeare impoverished the language, only to make it rich in beauty, strength and wisdom.

Shakespeare may be variously considered. It may be regarded as an historical compendium, giving very accurate accounts of things political, commercial, scientific and agricultural, as well as excellent pictures of the manners and customs of peoples. Shakespeare may be studied as a most perfect model of rhetoric and eloquence. The wit, humor, and sarcasm of the great work affords a profitable and entertaining field for contemplation. It is notably true that Shakespeare is possible the greatest single and prolific source of English quotations, hundreds of which have become so common-place, that, quotation marks were long since dropped. Shakespeare is especially of interest to students of etymology and syntax, for it is wonderfully unique in being the greatest monosyllabic production in the English, and perhaps in any language. And finally these works will hold first place for dramatic power and a wonderful versatility of poetic genius, and gifts, as long as the English tongue shall be spoken.

But our present purpose is to consider Shakespeare from an ethical standpoint; to examine his views and teachings on that most important subject of thought, the philosophy of human life. The trend of the arguments 00044, the objective and subjective teachings, the ideals, the influence of literary productions differ. It is true that an infidel may possible be able to write a very correct work on Christian theology. But in the vast majority of instances, writers develop individual ideas, opinions, and theories. Regardless of personal views or characteristics of authors, very literary production is a positive, a living force and power, and will exert influence among men for good or ill. The cultivation of sentiments leading men to love God, home, country, our fellow men, depends almost solely upon literature. No literary work, therefore, is truly great; no work deserves a permanent place in the literature of a language that does not teach the love of God, home, country, and fellow men. Does Shakespeare meet the requirements of this high standard? I do not hesitate to say that no code of ethics can be found outside of the Bible, that deserves to be compared with that of Shakespeare. After the Biblical school of ethics, ranks the ethical school of Shakespeare.

It is proper first to comprehend a definition of fundamental and essential terms. What do we mean by the term "ethics"?

Ethics is the science of human duty; the science of right and of right character and conduct; it treats of the nature of the moral agent, as an intelligent and free being possessed of a conscience; of the nature of virtue; of the right, in conduct, actions, and aims, embracing the considerations of the supreme good or end, the supreme rule, and the ultimate ground of obligation. Practical ethics makes application of these principles in directing man to the attainment of the ideal character and life. You may call Shakespeare an actor, a playwright, but I challenge any one to say that a faithful study and steadfast practice, of the principles of right conduct, action and aims, so copiously, so bountifully taught in the writings of Shakespeare, will not develop ideal character and life; perfect manhood and womanhood so for as human causes and agencies tend to perfect humanity. The nobility and loftiness of sentiment; the portrayal of human character; his incisive and merciless dissection of evil character; his denunciation of lying, hypocrisy, treason; his beautiful delineation of filial and connubial affection; are all unsurpassed in any secular writing, in any language, in any age. Shakespeare often seems to leave the atmosphere of earth. He often writes as if the divine fire of inspiration burned upon the altar of his soul.

The Bible says "A good name is rather to be chosen than great riches." Listen to the Bard: "Good name in man or woman, dear my lord,Is the immediate jewels of their souls;Who steals my purse, steals trash; 'tis something, nothing; 'Twas mine, 'tis his; and has been slave to thousands.but he that filches from me my good name,Robs me of that which not enriches him,And makes me poor indeed."00055Thus does the Shakespearean code of ethics estimate the value of a good name, in beautiful, earnest, vigorous language. A good name is the greatest and most precious possession while living and the richest heritage that can be transmitted to posterity. The marble shaft and medal of gold may yield to the effects of time, and nature. But a great name, an honored name, a good name shines with increased refulgence as onward moves the rolling centuries. Volumes may be written replete with argument, learning and rhetoric, and yet when 'tis said, that "Good name is the immediate jewel of the soul," all is said.

It would be difficult to find greater wisdom, or a more beautiful fare farewell talk from a father to a son about to leave the family circle, than the words of Polonius to Laertes: "There; my blessings with thee;And these few precepts in thy memorySee thou character. Give thy thoughts no tongue,Nor any unproportioned thought his act.Be thou familiar but by no means vulgar.Those friends thou hast and their adoption tried,Grapple them to thy soul with hoops of steel;But do not dull thy palm with entertainment of eachnew-hatched, unfledged comrade.Beware of entrance to a quarrel, but being in,Bear't that the opposed may beware of thee.Give every man thy ear, but few thy voice;Take each man's counsel but reserve thy judgment.Costly thy habit as thy purse can buy,But not expressed in fancy; rich, not gaudy,For the apparel oft proclaims the man.Neither a borrower nor a lender be;For loan oft loses both itself and friendAnd borrowing dulls the edge of husbandry.This above all; to thine own self be true.And it must follow as the night the day,Thou cans't not then be false to any man."What more magnificent chart than this could a young man or woman ask, by which to steer a course in life. These wonderful lines are proverbs. They are lumps of iron-clad logic. They are the essence of successful human experience doubly distilled. They are as true as mathematical axioms. "Give thy thoughts no tongue, nor any unproportioned thought his act." This is a golden text. "Grapple tried friends to thy soul with hoops of steel." What other pen ever so depicted true friendship? Neither a borrower nor a lender be; the loan may lose itself and friend; borrowing dulls the edge of husbandry." Chapters in political economy could not teach more important lessons of life than these four lines. And as the climax of these words that fall from the lips of a loving father upon the ears of a dutiful son, we have one of the most sublime sentiments ever breathed by poet or philospher: "To thine own self be true and it must follow as the night the day thou cans't not then be false to any man." This entire passage meets the requirements of the most exacting definition of ethics. If ethics comprehends such right conduct, actions, and aims as will develop ideal character, Shakespeare has here given us an ethical treatise in a nutshell. If a young man or woman, reads, understands, and cherishes the injunctions of Polonius, he will not fail to develop character, strong and noble. A grand highway, and royal 00066road is opened up to doubting, timid souls. These words ring like clarion notes o'er a field of battle. They are like a midnight cry to arms. Young persons standing on the threshold of life, oft times are alarmed by the clashings and mighty conflicts of life. "Under which King, Besonian?" is the cry. But let the path outlined for Laertes be trod, for it leads to the standards of victory, over which wave the ample folds of the banner of honor, and the Heavens will resound with the applause of good men. And this is the reward of the man who, true to himself, is true to humanity.

Cassio, Lieutenant under Othello, gets drunk and disgraces himself and his position, wherefore Othello dismisses him from office. Then Cassio laments:

"O God! that men should put an enemy in their mouths to steal away their brains; that we should, with joy, pleasure, revel and applause, transform ourselves into beasts." These few words comprise a magnificent temperance address. The eloquence of a Gough does not more vividly describe the wretched remorse of the drunken sot. No young man who reads Shakespeare's recital of the disgrace brought upon Cassio as a result of his inebriate condition can fail to be profited. Drunkenness may accompany greatness and fame. But if an eminent man is a drunkard, he does not want you to tell him so. The Cassio of Shakespeare is a warning to every man to have care that he "Lives not like a drunken sailor on a mast,Ready, with every nod, to tumble downInto the fatal bowels of the deep."We are given two rare and beautiful pictures of filial love and conjugal duty. The gentle, unfortunate Desdamona says: "My noble father,I do perceive here a divided duty;To you I am bound for life and education;My life and education both do learn meHow to respect you; you are the lord of duty;I am hitherto your daughter; but here's my husband,And so much duty as my mother showedTo you, preferring you before her father,So much I challenge that I may professDue to the Moor my lord."After her sisters had professed in fulsome, hypocritical words, their excess of affection for Lear, the true-hearted Cordelia says: "I return those duties back as are right fit,Obey you, love you, and most honor you;But why have my sisters husbands, if they sayThey love you all? Haply, when I shall wed,That lord whose hand must take my plight shall carryHalf my love with him, half my care and duty;Sure I shall never marry like my sistersTo love my father all."Subsequently, the cruel daughters, Regan and Goneril, turn the old king from their doors into the storm. He laments "How sharper than a serpent's tooth it isTo have a thankless child."Amid his insane wandering the honest-hearted Cordelia finds Lear and nurses him back to health of mind and body. The most tender, 00077the most sacred relations of human life, are those of parent and child, husband and wife. Shakespeare awards each the dignity due it. He draws with lavish hand upon the great resources of his genius, and surrounding these sacred ties with a mellow light almost divine, he clearly portrays in what consists perfect loyalty, true fidelity.

In the "Merchant of Venice," the following words are spoken by Gratiano, and affords us an inimitable pen-picture of a class of people Shakespeare desired to piece by his mighty shaft of ridicule. The picture is so true to life that we all may recognize it. Says Gratiano: "There are a sort of men whose visagesDo cream and mantle like a standing pond,And do a wilful stillness entertain,With purpose to be dressed in an opinionOf wisdom, gravity and profound conceit,As who should say, `I am Sir Oracle,And when I ope my lips let no dog bark.'O my Antonio, I do know of those,That therefore only are reputed wiseFor saying nothing."As in many other instances, Shakespeare teaches the lesson here intended to be imparted by a sarcastic description. He might have condemned in a direct phillipic that assumed bearing and mock air of profound learning so often seen. But the great master accomplishes his end by utilizing the forces of mirth an amusement. "The Devil can cite Scripture for his purpose;An evil soul producing holy witness,Is like a villian with a smiling cheek,A goodly apple rotten at the heart;O! what a goodly outside falsehood hath."It is hard to recall a more bitter and yet just denunciation of falsehood and hypocrisy. It sounds like a Biblical condemnation of wrongdoing. The figures of the "Devil citing Scripture," "A villain with a smiling cheek." "A beautiful apple outside, yet rotten at the core," all combine to form a loathsome, repulsive picture wonderfully appropriate to the poets purpose. It is impossible to find in any writing on ethics or morals, a more powerful, a more biting denunciation of the liar and hypocrite. No writer could ascend to more lofty heights of indignation. Shakespeare exiles liars and hypocrites to the company of villains, evil souls and devils.

The following lines are a gem in the way of philosophical contentment: "All places that the eye of heaven visits,Are to a wise man ports and happy havens,Teach thy necessity to reason thus;There is no virtue like necessity,For gnarling sorrow hath less power to biteThe man that mocks at it and sets it light."When Shakespeare penned these lines could he have been inspired by those ringing words, "I fear no evil, thy rod and thy staff they comfort me?" His purpose is to inspire men with sublime faith and courage, when troubles and afflictions overwhelm like mountainous billows. These lines alone entitle him to a place among ethical writers, who aim to inculcate lessons which tend to develop ideal character and life.

Much of our success in life depends upon those we have around us; those we trust. Shakespeare make Julius Caesar utter the following 00088words, that will repay study by those in public or private life, who are brought in contact with many different people: "Let me have men about me that are fat;Sleek-headed men and such as sleep o'nights.You Cassius has a lean and hungry look;He thinks too much; such men are dangerous.I fear him not.Yet, if my name were liable to fear,I do not know the man I should avoidSo soon as that spare Cassius. He reads much;He is a great observer, and he looksQuite through the deeds of men; he loves no playAs though dost, Anthony; he hears no music;Seldom he smiles, and smiles in such a sortAs if he mocked himself and scorned his spiritsThat could be moved to smile at anything.Such men as he, never be at hearts ease,Whilst they behold a greater than themselves,And therefore are they very dangerous."How prophetic were these words of Caesar concerning Cassius, the chie figure in the conspiracy that resulted in Caesar's death. They will repay careful study. They are fruitful of excellent lessons. "Our doubts are traitors,And make us lose the good we oft might win,By fearing to attempt."These eloquent lines are full of philosophy. It is a chunk of wisdom. One extreme is when "Fools rush in where angels feared to tread"--Shakespeare's allusion to traitorous doubts preventing men from wholesome attempt is the other. He would not have men act rashly. Neither would he have us paralyzed by doubts and fear to attempt. He would rather have us recognize the "tide in the affairs of men" that invites us to prosperity and success, launch our bark and sail to fortune.

The great Bard has been very severe in his ideas of the lover and poet. "Lovers and madmen have such seething brains,Such shaping fantastics, that apprehendMore than cool reason ever comprehended.The lunatic, the lover and the poetAre of imagination all compact;One sees more devils than vast hell can hold;That is the madman; the lover, all as frantic,Sees Helen's beauty in a brow of Egypt;The poet's eye, in a fine frenzy rolling,Doth glance from Heaven to earth, from earth to Heaven,And as imagination bodies forthThe forms of things unknown, the poets pen,Turns them to shapes, and gives to airy nothingA local habitation and a name."When we recall much stuff that is called poetry, it is hard to decide who has greatest cause to object, when Shakespeare classes lovers, poets, and lunatics together. The poets idea may have been that the lunatic knows he is crazy, and does not care who knows it; the lover does not know that he is crazy; and the poet knows he is crazy, but does not want any one to think so. These remarks, of course, do not apply to any lovers, lunatics, or poets who may be present.

Our poet has given some excellent instruction concerning the inordinate love of gold. For instance, in the Merchant of Venice, pretty 00099Portia is besieged by many suitors. To determine who she shall wed three caskets are arranged. From external appearances one seems gold, the second silver, the third lead. Among the gallants flocking from far and near is Prince Morocco. The Prince after contemplating the three caskets, decides to risk his happiness upon the golden casket, hoping therein to find Portia's picture, and thus win the fair lady for his bride. But the golden casket did not contain the picture. As the Prince unlocks the casket, he falls back awe-stricken at what he beholds, exclaiming: "O! hell! What have we here!A figure of death within whose empty eyeThere is a written scroll! I'll read the writing:--All that glitters is not gold;Often have you heard that told;Many a man his life hath sold,But my outside to behold."Again in Romeo and Juliet, Romeo appeals to the apothecary to sell him a poison forbidden by law to be sold. The apothecary refuses, until Romeo offers him a golden bribe, which he accepts and says: "My poverty, but not my will, consents."To which Romeo replies:"I pay thy poverty, not thy will.There is thy gold, worse poison to men's souls,Doing more murders in this loathsome world,Than these poor compounds thou mayst not sell;I sell thee poison; thou hast sold me none"Both of these passages are satires. They are strong denunciations of a sordid love of money. That money-getting, money-seeking spirit, which subordinates everything else to this low ambition; that sentiment which remorselessly will place childhood, character, chastity and church upon that altar which is the shrine of the golden calf. How keen is the inimitable rapier like thrust, wherein he makes the poor apothecary say: "My poverty, but not my will, consents."This has been the apology of bribe-takers since the world began Says Brutus: "Let me tell you Cassius, you yourselfAre much condemned to have an itching palm;To sell and mart your offices for gold.Shall weContaminate our fingers with base bribes,And sell the mighty space of our large honorsFor so much trash as may be grasped thus?I had rather be a dog, and bay the moon,Than such a Roman."Thus does Shakespeare give us one side of the picture. He gives us the other in these words--noble words--precious words-- "Verily, I swear it is better to be lowly born,And range with humble livers in content,Than to be perked up in a glistering grief,And wear a golden crown."In Julius Caesar, the words of Brutus are wonderfully descriptive of ambitious men. Unbridled ambition has afforded history almost all the 001010tyrants and human friends of which we have any account. Says Brutus speaking of Caesar: "He would be crowned;How that might change his nature, there's the questionIt is the bright day that brings forth the adderCrown him?And then I grant we put a sting in him,That at his will he may do danger withThe abuse of greatness is, when it disjoins remorse from power, "Tis a common thing,That lowliness is young ambition's ladder,Whereto the climber upward turns his face,But when he once attains the upmost round,He then unto the ladder turns his back.Looks in the cloud scorning the base degreesby which he did ascend."In one place Shakespeare writes:"O! it is excellentTo have a giant's strength but tyrannousto use it like a giant."These lines convey the noble thought that the end does not justify the means; might does not make right. "Virtue is bold, goodness never fearful."and although right, truth and justice may temporarily succumb and be vanquished by the cohorts of wrong, yet "Their virtues will plead, like angels,trumpet-tongued againstThe deep-damnation of their taking off."In these days of evil and vile injustice, and wrong-doing in church and state; when heaven-born rights of life, liberty and property, are ruthlessly taken from men, by the tyrannous use of giant strength lodged in majorities and resulting from preponderance of wisdom and wealth, how refreshing, how inspiring is it to hear ringing in clearest tones, above the din of human strife, the soul-stirring words: "What stronger breast-plate than a heart untainted? Thrice is he armed that hath his quarrel just;And he but naked though locked up in steel,Whose conscience with injustice is corrupted.""Then shall the dust return to the dust as it was." "Vanity of vanities." saith the Preacher, "all is vanity," so speaks Holy writ. But Shakespeare furnishes us a number of passages, some of them of matchless grandeur of conception; of great philosophical insight and reflecting as in a mirror, human experience, and all telling us of the mutability of all things that concern this world and its mortal inhabitants. "Like the baseless fabric of this vision,The cloud-capped towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea, all which in inherits, shall dissolve,And like this insubstantial pageant faded,Leave not a rack behind."This eloquent word-painted picture is vivid and bold enough to be called a picture of judgment-day. It serves to impress us most powerfully 001111with the thought, that nothing that is the product of man's brain, genius or labor can forever survive. He himself is but a creature, yet. "Man, proud man,Dressed in a little brief authority,Most ignorant of what he most assured,Plays such fantastic tricks before high heavenAs make the angels weep.""When a piece of work is a man! how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! paragon of animals! And yet, what is this quintessence of dust?"

Hamlet teaches us a lesson on the change of human affairs. In the graveyard, as the sexton in digging a grave throws out a human skull, hamlet says to Horatio:

"There's another; why may not that be the skull of a lawyer? Where be his quiddities now, his quillets, has cases, his tenures and his tricks? Why does he suffer this rude knave now to knock him about the head with a dirty shovel, and will not tell him of his action of battery? "To what base uses may we return, Horatio?"Imperious Caesar, dead and turned to clay,Might stop a hole to keep the wind away;"O! that, that earth, which kept the world in awe,Should patch a wall to expel the winters flaw.""Why may not imagination trace the noble dust of Alexander till he find it stopping a bung-hope? As thus; Alexander died; Alexander was buried; Alexander returneth unto dust; the dust is earth; of earth we make loan; and why of that loan, whereto Alexander was converted, might they not stop a beer barrel?"

Most admirable is this satire. How hollow, fickle, and insubstantial seem the concerns, the victories, the glorious achievements of life. While the views of Hamlet are somewhat cynical, yet they are reasonable and in accord with human experience. The warriors, the statesmen, the public men, who in all ages tread the stage of human affairs eventually mingle their dust with slaves and paupers. The physical life of all men is the same. And if insatiate Alexanders, and imperious Caesars do not mould their careers so as to court and receive the favorable verdict of posterity, their death and the grave with them ends all.

We have in this country what is popularly called a "Race Problem," and some may not be aware that Shakespeare has epitomized in a most striking manner, the conditions and peculiar phases of this much mooted question. I refer to the passage in the "Merchant of Venice" where Shylock says, "I will buy with you, sell with you, talk with you, walk with you, but I will not eat with you, drink with you nor pray with you." The great problem cannot be more accurately stated, than has been done here by the illustrious Bard.

"The king is dead! Long live the king!" Such is life. man at his best is soon forgotten when dead. Nations kneel at the feet of great warriors and statesmen living; and all, save one here and there are soon forgotten when dead. Shakespeare has aptly expressed this phase of life where he says:

"If a man do not erect in this age his own tomb ere he dies, he shall live no longer in monument than the bell rings and the widow weeps." Men when living must erect their monuments. It may not be a 001212glistening shaft. It may not be a costly mausoleum. Said Wolsey to Cromwell: "Corruption wins not more than honesty;Be just and fear not;Let all the ends thou aim'st at be thyCountry's thy God's, and truth's."Such a course of action will give a man a monument to which posterity will point with pride and emulate.

It is a striking fact that in all ages of the world, there has universally prevailed among men the idea, that in all praiseworthy undertakings, some higher, unseen power renders aid. Even the Greeks and Romans, in the palmiest days of their civilization, yet under the influence of Paganism, with all of their learning and scholarship, shuddered and trembled when the gods seemed unpropitious, and in case of fire, lives would be jeopardized and sacrificed to rescue the household gods, or idols. Shakespeare gives utterance to the thought that, good men may boldly antagonize bad men: "That if angels fight, weak men must fail, for heaven still guards the rights."Sleep is so natural, so common-place, that we forget the important place that it holds in our lives and health, and hence in human affairs. Life itself, sleep and death, are a trinity of mysteries, which the finite mind of man can never fully fathom and explore. Sleeplessness leads to insanity. Healthful sleep is a source of energy and power, mental and physical. Every well-rounded life and character must sleep well. Our poet has paid a most beautiful tribute to sleep: "Macbeth doth murder sleep, the innocent sleep,Sleep that kints up the ravell'd sleave of care,The death of each day's life, sore labor's bath,Balm of hurt minds, great nature's second course,Chief nourisher in life's feast."We are studying Shakespeare from an ethical standpoint. The most important lessons of right conduct are expressed in maxims. We have the decalogue: "Thou shalt not lie," "Thou shalt not steal." These crisp injunctions are like rifle shots. The pages of Shakespeare are dotted with ethical maxims as numerous as the stars of night. The lessons taught are essential to success in life. "My cake is dough," tells the story of utter failure. "The fox barks not when he would steal the lamb," is a figurative description of the crafty man. "Uneasy lies the head that wears a crown," eloquently epitomizes the dangers, temptations and responsibilities that go hand in hand with honor and glory. "Suspicion always haunts the guilty mind,The thief doth fear each bush an officer;""Sweet mercy is nobility's true badge;""Things without all remedy, should be without regard;"and many more wise maxims could be given from the Bard.

Shakespeare's character pictures are photographic shows his crooked nose. Endowed with a wonderful comprehension of the may sides and phases of human nature, that only a philosopher could possess, and endowed with gifts enabling him to give us word pictures so vivid and true to life, that a great art-master might envy his work, the great Bard all through his productions photographs human nature and human character. I use the word photograph advisedly. Sleep is the image of death. A 001313photograph is the inanimate representation of life, with its beauties and defects; the most perfect counterfeit of form, size and color, yet devised by the genius of man. Therefore I can pay no higher tribute to Shakespeare than to call him not a master word-painter, but a great word-photographer. There is some instinct in our nature that makes us love the dramatic. The Bible itself, in many respects a drama. The perfect drama is an accurate picture of life; nothing is so life-like as life itself. Virtue, bravery, patriotism, filial love, portrayed by histrionic artists, leads to tumultuous applause by the most cultured audiences. And this is not marvellous, because "one touch of nature makes the whole world akin." Important lesson of life are taught by powerful dramatic writing. Indeed, I do not think I go too far to say that the greatest writing in the history of man have been either dramas in fact or moulded upon the essential plan of the drama. For instance, Milton is not called a dramatist, but it is hard to recall a more powerful dramatic poem than "Paradise Lost;" then I think the conclusion is just that dramatic writings, which elevate and ennoble virtue, and leave vice conquered and degraded, are properly classed with ethical writings. So long as lessons of right conduct, lofty aims and noble life, are taught, it matters not whether a tract, a sermon, the Bible, or a dramatic writing is the source of inspiration, for it is true that we may "Find tongues in trees, books in the running brooks, Sermons in stones, and good in everything."Method in teaching, persuasion and argument if of paramount importance. The gifted orator and skilled dramatist both understand this; for instance, appeals to pity, to ridicule, to love of country, are often more convincing than lucid argument and eloquent language. This is method. It succeeds because it appeals to men's nature. For the same reasons strong contrasts are used by writers with great effect. An exaggerate picture of wrong or vice; an overdrawn description of weak human nature, will cause right, virtue, and strong character to stand out in much brighter relief. To illustrate--in Richard III. Shakespeare depicts in the strongest possible manner, a fickle, weak, woman--Richard had killed Lady Anne's father and husband. He meets Anne at the head of the funeral train, going to bury her murdered husband. She calls him "foul-devil," whose "hell-governed arm hath butchered" her husband and spits at him. Then Richard begins that wonderful passage at arms with the queen, and by assuming an air of pious sorrow and contrition, by oily words and flattery, actually makes the woman, standing by the dead body of her murdered husband, consent to consider a proposal of marriage from the murderer, and to relinquish to him the sacred dust of her loved one to be buried.

When she has gone, Richard gloatingly breaks forth into that memorable soliloquy: "Was ever woman in this humor woo'd?Was ever woman in this humor won?.I'll have her; but I will not keep her long.What! I, that killed her husband and his father,To take her in her hearts extremest hate,With curses in her mouth, tears in her eyes,The bleeding witness of her hatred by;Having God, her conscience and these bars against me,And nothing to back my suit at all,But the plain devil and dissembled looks,And yet to win her, all the world to nothing."

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We are so disgusted, we so despise this obnoxious portrait of a fickle minded woman, that our mind, heart, soul, admiration and affection pour out their lavish resources in token of our regard for loving, constant, loyal woman-hood. And thus does the method of the master-mind, that gave us the unnatural picture of Lady Anne, by the powerful contrast presented, lead us to reverence good women.

In his ethical teaching Shakespeare has not forgotten the refining, subduing, soothing effects of music. He has told us that "The man that hath no music in himself,Nor is not moved with concord of sweet sounds,Is fit for treasons, stratagems and spoils;The motions of his spirit are dull as night,And his affections dark as Erebus;Let no such man be trusted."

One of the comments of Shakespeare possessing the greatest wisdom is that: "Reputation is an idle and most false imposition, oft got without merit and lost without deserving." The sentiment is severe and cynical. It pierces many armours and slays battalions. Only a courageous writer could have penned the lines. And yet who is prepared to deny the truth thereof. That other thought that, "Some men are born great; some achieve greatness; and some have greatness thrust upon them," is comprehensive in its scope and suggestiveness; unique for its brevity of expression; and an accurate estimate of men's ability, that could be given only by a master of thought, while the idea of some men having greatness thrust upon them affords us a bit of the most delicate and delightful irony.

The most religious soul cannot fail to commend Wolsey's sentiments after he is hurled from the heights of royal favor, prosperity and power, to the darkness of a dungeon cell. The fallen Cardinal, with a heart over whelmed with remorse; with his life achievements like Dead Sea apples to the taste; with his former colleagues in church and state pointing at him the finger of scorn; and his fidelity to his kingly master about to be rewarded by a prosecution for treason, in a spontaneous, agonizing burst of piety and devoutness, he exclaims, "My robe and my integrity to Heaven is all I dare now call mine own."

"O Cromwell! Cromwell! had I but served my God with half the zeal I served my king, He would not in mine age have left me naked to mine enemies." This language sounds like a Psalm of David. It deserves high rank in the category of christian ethics.

It is faith, creed, a prayer. It presents a lofty ideal. One of the proposed reforms of the day is to recognize God in our Constitution. Shakespeare in this tragedy here distinctly recognizes God, his love and power.

Throughout his writings Shakespeare freely condemns public evils--"The laws delay, the insolence of office." His caustic pen and keen sarcasm are ever ready to unmask wrongs in church, state and social life. Nothing could be more pointed, or nearer the truth, than these lines: "The jury passing on the prisoner's life,May in the sworn twelve have a thief or twoGuiltier than him they try."What knows the lawsThat thieves do pass on thieves?"

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We have here a striking commentary upon the corrupt and unjust administration of law. Through foul means, bad men secure the channels of the law, and with saint-like demeanor apply its rigors and penalties to men less guilty and deserving of punishment than themselves. The enforcement of law in most of the civilized nations of the age, leads to the conclusion, that in the spirit of the laws, there is one code for the rich and mighty, and another for the poor and weak. Until thieves cease to try thieves and murderers to pass upon the guilt of alleged murderers, these inequalities of the law will exist.

The following lines are a matchless comment upon the social life of men:

The sanctimonious pirate went to sea with the Ten Commandments, but scraped one out of the table. "Thou shalt not steal."

This is a deadly thrust at conspicuous targets. The conception of a pirate accepting all the commandments but "Thou shalt not steal" is a rare bit of humorous satire, difficult to equal. And Shakespeare means land pirates as well as water pirates. He intends to bring into contempt that disposition of mean to amend the moral code of laws to suit their own evil purposes. For instance, in some parts of the world, the injunction, "Thou shalt love thy neighbor as thyself" has been, by common consent and practice, so amended as to read "Thou shalt love thy white neighbor as thyself but thy black neighbor thou mayst lynch, shoot, hang and burn alive, at thy pleasure. Indeed christian individuals, communities and nations commit deeds, or condone them, so horrible that it would seem as if the tablets containing the moral laws had been smashed and pulverized. The sanctimonious pirates to which the poet refers are still abroad on land and sea.

The instability of the masses of people is proverbial. Neither tricky, ignorant demagogues nor statesmen of learning, ability and patriotism have yet discovered a certain method of leading and controlling them. Their cause espoused by them to-day with fanaticism, is to-morrow rank heresy. With most people everything is a nine-day's wonder. In matters of public policy, men are as uncertain as the wind.

Shakespeare with that incomparable photographic instinct so strongly developed in him, has given us the following graphic picture-a picture, that will repay careful study by all who aspire to public functions, profession or place. Says Marcius to the mob of Romans: "What would you have, you curs,That like not peace nor war? the one affrights you,The other makes you proud. He that trusts to youWhere he should find you lions, finds you hares;Where foxes, geese; you are no surer, no,Than is the coal of fire upon the ice,Or hailstone in the sun. Who deserves greatnessDeserves your hate. He that dependsUpon your favors swims with fins of lead,With every minute you do change a mind,And call him noble that was your hate,Him vile that was your garland."These lines are as beautiful as philosophical: "Angels are bright still, though the brightest fell; Though all things foul would wear the brows of grace,Yet grace must still look so"

We learn from this passage that although bright stars from the firmament of life, fall at our feet cold and dark, yet life must not become dark 001616and gloomy. Heaven did not part with its glory and beauty when rebellious angels went over the battlements. "Angels are bright still though the brightest fell."The following lines are common-place, but the point is that great learning cannot change man's nature: "I will be fresh and blood;For there was never yet philosopherThat could endure the tooth-ache patientlyHowever they have writ the style of gods."In other words a good old-fashioned tooth-ache, will make a hoary-headed philosopher dance a jig, as quickly as a brainless fop or dude.

While listening to the following lines, the ladies must not take offence. They must remember that it is but a picture taken by the camera of Shakespeare, the grat word-photographer. Says Valentine to the Duke: "Win her with gifts, if she respect not words:--Dumb jewels often in their silent kindMore than quick words do move a woman's mind."To which the Duke replied:"But she did scorn a present that I sent her."To which Valentine answers:"A woman sometimes scorns what best contents her.Send her another; never give her oe'r;For scorn at first makes after-love the more.If she do frown, 'tis not in hate of you,But rather to beget more love in you;If she do chide, 'tis not to have you gone,For they are mad if left alone;Take no repulse, whatever she doth say,For, 'Get you gone,' she doth not mean away;Flatter and praise, commend, extol their graces;Though ne'er so ugly, say they have angel's faces,That man that hath a tongue, I say, is no manIf with his tongue he cannot win a woman."

Woman may frown at these lines and shrug their shoulders, but can they say the poet is entirely wrong? Shall the man with a crooked nose complain if his photograph reveals it?

With great wisdom the Bard has summed up human existence in the following words: "The web of our life is of a mingled yarn, goodand ill together; our virtues would be proud, ifour faults whipped them not; and our crimeswould despair, if they were not cherished by our virtues."

We have sat this evening at the feet of Shakespeare the philosopher, the ethical teacher. We have the golden words of wisdom falling from his lips. We have had lustre shed upon the many perplexing questions of human existence. The true philosophy of life has been unrolled before us as a scroll. The great Bard has uniformly been regarded as the greatest English dramatist; he is one of the greatest poets. But as distinguished as he is in drama and poetry, he occupies no mean place in the arena of ethical lore. While it is true that expurgated editions of Shakespeare are in use; while many references may be readily admitted to be indelicate, yet this objection argues rather in favor than against the poet. 001717Just as the Bible is a history of times, men and events which we are not to emulate; so Shakespeare is a history of events, in that we have therein dramatic writing founded upon actual facts, events, times, and social conditions. The purpose of our study has been to show that Shakespeare has won the title of ethical teacher. No one can read his dramatic writings faithfully, without being impressed with the highest conception of life, its objects, its circumstances, and the path of success is made plain. He has shown the trend of his mighty mind; he has shown the woof and web of his moral nature; for he ever delights to dwell upon those virtues and traits that adorn, ennoble, and dignify, human character. The lessons he teaches, or seeks to teach, point men upward. His aim is to furnish lofty ideals; to teach us to love the good, the true, the beautiful the sublime. His withering denunciation and biting sarcasm and ridicule are like arrows of wrath hurled to pierce the heart of wrong with unerring aim; and his dramatic climaxes and culminations leaves vice vanquished and virtue triumphant.

He would have men strive for good names; and build their monuments while living; he would have us develop and round careers such that the world will be better for our having lived. "What is a man,If his chief good and market of his timeBe but to sleep and feed? A beast, no more.Sure, He that made us with such large discourse,Looking before and after, gave us notThat capability and god-like reasonTo fust in us unused."Poor humanity is so weak, so selfish, so unjust that "Men's evil manners live in brass; theirVirtues we write in water."Wherefore our ambition should aim for utter forgetfulness among men when we sleep in dull cold marble, rather than be remembered for evil.

Life is short, and its uncertainty makes it "Momentary as a sound,Swift as a shadow; short as any dream;Brief as the lightning in the blackened nights.""The noiseless, inaudible foot of time steals on us," and the final summons is sure to come, whether when the "iron-tongue of midnight hath told twelve," or when "The globe that lights the lower world,Fires the proud tops of the eastern pines."Then "after life's fitful fever," let it be said,"His life was gentle, and the elementsSo mixed in him that nature might stand upAnd say to all the world, "This was a man."He was a man, take him for all in all,We shall not look upon his like again."