Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616Green, Henry
History
Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616
Green, Henry
Emblem books, English -- History; Emblems -- England -- History; Emblems in literature; Shakespeare, William, 1564-1616 -- Sources
SIMILITUDES and, in cases not a few, identities have often been detected
between the popular tales of widely distant nations, intimating either a
common origin, or a common inventive power to work out like results.
Fables have ever been a floating literature,—borne hither and thither on
the current of Time,—used by any one, and properly belonging to no one.
How they have circulated from land to land, and from age to age, we
cannot tell; whence they first arose it is impossible to divine. There
exist, we are told, fables collected by Bidpai in Sanscrit, by Lokman in
Arabic, by Æsop in Greek, and by Phædrus in Latin; and they seem to have
been interchanged and borrowed one from the other as if they were the
property of the world,—handed down from the ancestorial times of a
remote antiquity.
Shakespeare’s general estimation of fables, and of those of Æsop in
particular, may be gathered from certain expressions in two of the
plays,—in the _Midsummer Night’s Dream_ (act v. sc. 1, l. 1, vol. ii. p.
258) and in _3 Henry VI_. (act v. sc. 5, l. 25, vol. v. p. 329). In the
_former_ the speakers are Hippolyta and Theseus,—
“_Hip._ ’Tis strange, my Theseus, that these lovers speak of.
_The._ More strange than true: I never may believe
These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.”
In the _latter_ Queen Margaret’s son in reproof of Gloucester,
declares,—
“Let Æsop fable in a winter’s night;
His currish riddles sort not with this place.”
The year of Shakespeare’s birth, 1564, saw the publication, at Rome, of
the Latin Fables of Gabriel Faerni; they had been written at the request
of Pope Pius IV., and possess a high degree of excellence, both for
their correct Latinity and for the power of invention which they
display. Roscoe, in his _Life of Leo X._ (Bohn’s ed. ii. p. 172), even
avers that they “are written with such classical purity, as to have
given rise to an opinion that he had discovered and fraudulently availed
himself of some of the unpublished works of Phædrus.” This opinion,
however, is without any foundation.
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