THE ANACHRONISMS OF SHAKSPEARE.
Poets, in the proper exercise of their art, may claim greater license of invention and speech, and far greater liberty of illustration and embellishment, than is allowed to the sober writer of history; but historical truth or chronological accuracy should not be entirely sacrificed to dramatic effect, especially when the poem is founded upon history, or designed generally to represent historical truth. In the matchless works of Shakspeare we look instinctively for exactness in the details of time, place, and circumstance; and it is therefore with no little surprise that we find he has misplaced, in such instances as the following, the chronological order of events, of the true state of which it can hardly be supposed he was ignorant.
In the play of Coriolanus, Titus Lartius is made to say, addressing C. Marcius,—
Thou wast a soldier even to Cato’s wish.
It is a little curious how Marcius could have been a soldier to “Cato’s wish,” for Marcius, surnamed Coriolanus, was banished from Rome and died more than two hundred years before Cato’s eyes first saw the light. In the same play Menenius says of Marcius, “He sits in his state as a thing made for Alexander,” or like Alexander. The anachronism made in this case is almost as bad as that just given, for Coriolanus was banished from Rome and died not far from B.C. 490, and Alexander was not born until almost one hundred and fifty years after. And the poet in the same play makes still another error in the words which he puts in the mouth of Menenius:—“The most sovereign prescription in Galen is but empiricutic.” Now, as the renowned “father of medicine” was not born until A.D. 130, of which fact it seems hardly probable that Shakspeare could have been ignorant, he has overleaped more than six hundred years to introduce Galen to his readers.
In the tragedy of Julius Cæsar occurs a historical inaccuracy which cannot be excused on the ground of dramatic effect. It must be imputed to downright carelessness. It is in the following lines:—
Brutus. Peace! count the clock.
Cassius. The clock has stricken three.
Cassius and Brutus both must have been endowed with the vision of a prophet, for the first striking clock was not introduced into Europe until more than eight hundred years after they had been laid in their graves. And in the tragedy of King Lear there is an inaccuracy, in regard to spectacles, as great as that in Julius Cæsar respecting clocks. King Lear was king of Britain in the early Anglo-Saxon period of English history; yet Gloster, commanding his son to show him a letter which he holds in his hands, says, “Come, let’s see: if it be nothing, I shall not want spectacles.” It is generally admitted that spectacles were not worn in Europe until the end of the thirteenth or the commencement of the fourteenth century.
Shakspeare also anticipates in at least two plays, and by many years, the important event of the first use of cannon in battle or siege. In his great tragedy of Macbeth, he speaks of cannon “overcharged with double cracks;” and King John says,—
Be thou as lightning in the eyes of France,
For ere thou canst report, I will be there;
The thunder of my cannon shall be heard.
Cannon, it will be recollected, were first used at Cressy, in 1346, whereas Macbeth was killed in 1054, and John did not begin to reign until 1199. In the Comedy of Errors, the scene of which is laid in the ancient city of Ephesus, mention is made of modern denominations of money, as guilders and ducats; also of a striking clock, and a nunnery.