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To draw no envy, Shakespeare, on thy name,
Am I thus ample to thy book and fame,
While I confess thy writings to be such
As neither man nor Muse can praise too much.
. . . I therefore will begin. Soul of the age!
The applause! delight! the wonder of our stage!
My Shakespeare, rise; I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie
A little further to make thee a room*:
Thou art alive still while thy book doth live,
And we have wits to read and praise to give*.
That I not mix thee so, my brain excuses,
I mean with great, but disproportioned Muses;
For, if I thought my judgement were of years,
I should commit thee surely with thy peers,
And tell how far thou didst our Lyly outshine,
Or sporting Kyd, or Marlowe's mighty line.
And though thou hadst small Latin and less Greek*,
From thence to honour thee I would not seek,
For names, but call forth thund'ring Aeschylus,
Euripides, and Sophocles to us,
Pacuvius, Accius, him of Cordova dead*,
To life again, to hear thy buskin* tread,
And shake a stage; or, when thy socks were on,
Leave thee alone for the comparison
Of all that insolent Greece or haughty Rome
Sent forth, or since did from their ashes come*.
Triumph, my Britain; thou hast one to show
To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
And all the Muses still were in their prime
When like Apollo he came forth to warm
Our ears, or like a Mercury to charm.
Nature herself was proud of his designs,
And joyed to wear the dressing of his lines,
Which were so richly spun, and woven so fit,
As, since, she will vouchsafe no other wit:
The merry Greek, tart Aristophanes,
Neat Terence, witty Plautus now not please,
But antiquated and deserted lie,
As they were not of Nature's family.
Yet must I not give Nature all; thy Art,
My gentle Shakespeare, must enjoy a part.
For though the poet's matter Nature be,
His Art doth give the fashion; and that he
Who casts to write a living line must sweat
(Such as thine are) and strike the second heat
Upon the Muses' anvil; turn the same,
And himself with it, that he thinks to frame,
Or for the laurel he may gain a scorn;
For a good poet's made as well as born.
And such wert thou! Look how the father's face
Lives in his issue; even so the race
Of Shakespeare's mind and manners brightly shines
In his well-turned and true-filed lines,
In each of which he seems to shake a lance*,
As brandished at the eyes of ignorance.
Sweet swan of Avon, what a sight it were
To see thee in our waters yet appear,
And make those flights upon the banks of Thames
That so did take Eliza and our James!
But stay; I see thee in the hemisphere
Advanced and made a constellation there!
Shine forth, thou star of poets, and with rage
Or influence chide or cheer the drooping stage,
Which, since thy flight from hence, hath mourned like night,
And despairs day, but for thy volume's light.

Renowned Spenser, lie a thought more nigh
To learned Chaucer, and rare Beaumont lie
A little nearer Spenser to make room
For Shakespeare in your threefold fourfold tomb.

Jonson is looking beyond Shakespeare's English peers to find an adequate scale of comparison.

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Compare the final couplet of Shakespeare's Sonnet 18:

So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

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The notorious lines seized upon by those who want to claim that Shakespeare was illiterate.

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Jonson mentions various classical writers; "him of Cordova" is Seneca.

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The buskin was a platform shoe worn in Greek tragedies, to make the actor seem larger than life; the low shoe known as the sock was worn in more humble comedies.

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Italian Renaissance writers (Ariosto in particular) are probably in Jonson's mind.

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A pun on the name "Shake-speare."

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Footnotes

  1. Making room

    A contemporary of Shakespeare, William Basse, wrote a sonnet in which he used the conceit of the burial of Shakespeare in Westminster Abbey instead of Stratford:

    Renowned Spenser, lie a thought more nigh
    To learned Chaucer, and rare Beaumont lie
    A little nearer Spenser to make room
    For Shakespeare in your threefold fourfold tomb.

    Jonson is looking beyond Shakespeare's English peers to find an adequate scale of comparison.

  2. Praise to give

    Compare the final couplet of Shakespeare's Sonnet 18:

    So long as men can breathe or eyes can see,
    So long lives this, and this gives life to thee.

  3. Small Latin, less Greek?

    The notorious lines seized upon by those who want to claim that Shakespeare was illiterate.

  4. . . . dead

    Jonson mentions various classical writers; "him of Cordova" is Seneca.

  5. . . . buskin

    The buskin was a platform shoe worn in Greek tragedies, to make the actor seem larger than life; the low shoe known as the sock was worn in more humble comedies.

  6. ...from their ashes come

    Italian Renaissance writers (Ariosto in particular) are probably in Jonson's mind.

  7. ...lance

    A pun on the name "Shake-speare."