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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.
--
William Basse, On Shakespeare

 

William Shakespeare

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The characteristic of Chaucer is intensity; of Spenser, remoteness; of Milton, elevation; of Shakespeare, every thing.

 

William Hazlitt

 

The church itself has got to go outside of its own borders and carry the gospel to ev'ry creature, or it is no church of Christ; and any mutual improvement club which thinks that by reading its Shakspearo, or by acting its pretty tableaux, or by having. this or that little reading from Spenser and from Chaucer, it is going to lift itself up into any higher order of culture or life, is wholly mistaken, unless as an essential part of its duty, it goes out into the world, finds those that are falling down, and lifts them up to the majesty of freemen, who are sons of God.

 

Edward Everett Hale

 

Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare's characters. His language does not "make sense," especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare's main influence. Shakespeare's words have "aura." This he got from Spenser, not Marlowe.

 

William Shakespeare

 

The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.” This he got from Spenser, not Marlowe.

 

Camille Paglia

 

Nearer my Father's house,
Where the many mansions be,
Nearer the great white throne,
Nearer the crystal sea.

Nearer the bound of life,
Where we lay our burdens down,
Nearer leaving the cross,
Nearer gaining the crown.

 

Phoebe Cary