"Shakespeare," writes this French worshipper, "is a friend whom Heaven has given to the unhappy of every age and every country." The writer warns us that he offers no eulogy of Shakespeare; that is to be found in the poet's works, which the Frenchman for his own part prefers to read and read again rather than waste time in praising them. "The features of Alexander ought only to be preserved by Apelles." Nodier merely collects some of Shakespeare's thoughts on great moral truths which he thinks to be useful to the conduct of life. But such extracts, he admonishes his reader, supply no true knowledge of Shakespeare. "From Shakespeare's works one can draw forth a philosophy, but from no systems of philosophy could one construct one page of Shakespeare." Nodier concludes his "Observations" thus:-- "I advise those who do not know Shakespeare to study him in himself. I advise those who know him already to read him again.... I know him, but I must needs declare my admiration for him. I have reviewed my powers, and am content to cast a flower on his grave since I am not able to raise a monument to his memory." Language like this admits no questioning of its sincerity. Nodier's modest tribute handsomely atones for his countrymen's misapprehensions of Shakespeare's tragic conceptions. None has phrased more delicately or more simply the sense of personal devotion, which is roused by close study of his work. XI THE COMMEMORATION OF SHAKESPEARE IN LONDON[44] [Footnote 44: This paper was first printed in _The Nineteenth Century and After_, April 1905.] I The public memory is short. At the instant the suggestion that Shakespeare should receive the tribute of a great national monument in London is attracting general attention. In the ears of the vast majority of those who are taking part in the discussion the proposal appears to strike a new note. Few seem aware that a national memorial of Shakespeare has been urged on Londoners many times before. Thrice, at least, during the past eighty-five years has it exercised the public mind. At the extreme end of the year 1820, the well-known actor Charles Mathews set on foot a movement for the erection of "a national monument to the immortal memory of Shakespeare." He pledged himself to enlist the support of the new King, George the Fourth, of members of the royal family, of "every man of rank and talent, every poet, artist, and sculptor." Mathews's endeavour achieved only a specious success. George the Fourth, readily gave his "high sanction" to a London memorial. Sir Walter Scott, Samuel Taylor Coleridge, Tom Moore, and Washington Irving were among the men of letters; Sir Thomas Lawrence, [Sir] Francis Chantrey, and John Nash, the architect, were among the artists, who approved the general conception. For three or four years ink was spilt and breath was spent in the advocacy of the scheme. But nothing came of all the letters and speeches.