Jonson's elegy (a poem written to memorialize the dead), "To
the Memory of My Beloved, The Author, Master William Shakespeare, and What he
Hath Left Us," was
first published in 1623 as part of the preface to Shakespeare's First
Folio, a space traditionally reserved for commemorative verses from
the author's greatest friends and admirers, and amounts to the only extended
commentary on Shakespeare issued by one of his contemporaries.
Jonson moves through the
different reasons he might have for praising Shakespeare, but ultimately
dismisses all of them except for the old classic: genuine admiration. He talks
about how Shakespeare is a thousand times more awesome than Chaucer, Spenser, and all the other famous British
authors of the past. He throws in a pretty famous jab that Shakespeare had
"small Latin and less Greek", but then goes on to say that he doesn't
even need those fancy classical languages because Shakespeare leaves Euripides,
Sophocles, and all their cronies in the dust, anyway.
Then there's a shift and Jonson starts talking to the nation of Britain. He discusses the importance of bragging rights, and how the English should never let the world forget that Shakespeare came from Britain and that it was a Big Stinkin' Deal. This train of thought melts into a discussion of "nature." Not in the birds-and-trees sense, but in the natural, human, universal sense, a.k.a. the element of Shakespeare's writing that we're sure your English teachers have beaten in you since 9th grade.
The quintessential counterpart to nature, nurture, or "art" as it was often called in Jonson's time, then comes into play; according to Jonson, Shakespeare was both born with and worked for his poetic prowess. The poem concludes as all good memorials should, with Shakespeare being transformed into a star, watching over the stage as it mourns for the death of the dramatist.
SUMMARY
Jonson’s eighty-line tribute to
Shakespeare, “To the Memory of My Beloved Master William Shakespeare, and What
He Hath Left Us,” was written to accompany that dramatist’s plays in the famous
1623 edition prepared by Shakespeare’s friends and fellow actors, John Heminge
and Henry Condell. The poem is generous in its praise and argues that, despite
whatever private reservations he might have had, Jonson wanted to go on public
record as one of Shakespeare’s greatest admirers.
The eulogy starts by addressing
Shakespeare directly, in an apostrophe, but midway through the poem it shifts
to address the English nation. The country, personified as Britain, should
“triumph” in Shakespeare, a genius “not of an age, but for all time!” In this
middle section, Shakespeare is spoken of in the third person, but Jonson subtly
shifts once more to address his deceased friend before the poem’s conclusion.
In the first half, Jonson
surveys possible motives for his lavish praise and rejects “silliest
ignorance,” “blind affection,” and “crafty malice,” with the implication that
his motives are pure, based on sound critical judgment. He does make the rather
infamous statement that Shakespeare had “small Latin, and less Greek.” Out of
context, that observation may seem condemnatory, but Jonson’s implication is
that Shakespeare’s genius is of such an order that he exceeds the greatest
writers of “insolent Greece” and “haughty Rome” without being beholden to them
for his art—a remarkable admission from an avowed classicist.
A central theme of the poem,
one repeatedly used in Shakespeare’s own sonnets, is that art offers its
creator immortality. Shakespeare, claims Jonson, will live as long as “we have
wits to read, and praise to give.” The idea of art’s transcendent capability
leads to the finale of the poem, an apotheosis or poetic immortalizing, which,
in the elegiac tradition, transfixes the subject in the heavens as a
constellation, the “star of poets.” That is high public praise from a writer
whose natural bias lay against poetic excess. Jonson’s great skill gives it and
other lavish statements of praise a sincere ring, and the result is one of the
finest poetic eulogies in the English language.
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