In view of these and other qualities it has become almost a fashion to speak of the "perfection" of Shakespeare's art; but in truth no word could be more out of place in such a connection. As Ben Jonson wrote in his Timber:
"I remember the players have often mentioned it as an honor to Shakespeare that in his writing, whatever he penned, he never blotted out a line. My answer hath been, 'Would he had blotted a thousand.'"
Even in his best work Shakespeare has more faults than any other poet of England. He is in turn careless, extravagant, profuse, tedious, sensational; his wit grows stale or coarse; his patriotism turns to bombast; he mars even such pathetic scenes as the burial of Ophelia by buffoonery and brawling; and all to please a public that was given to bull-baiting.
These certainly are imperfections; yet the astonishing thing is that they pass almost unnoticed in Shakespeare. He reflected his age, the evil and the good of it, just as it appeared to him; and the splendor of his representation is such that even his faults have their proper place, like shadows in a sunlit landscape.
[Sidenote: HIS VIEW OF LIFE]
Of Shakespeare's philosophy we may say that it reflected equally well the views of his hearers and of the hundred characters whom he created for their pleasure. Of his personal views it is impossible to say more than this, with truth: that he seems to have been in full sympathy with the older writers whose stories he used as the sources of his drama. [Footnote: The chief sources of Shakespeare's plays are: (1) Older plays, from which he made half of his dramas, such as Richard III, Hamlet, King John. (2) Holinshed's Chronicles, from which he obtained material for his English historical plays. (3) Plutarch's Lives, translated by North, which furnished him material for Caesar, Coriolanus, Antony and Cleopatra. (4) French, Italian and Spanish romances, in translations, from which he obtained the stories of The Merchant of Venice, Othello, Twelfth Night and As You Like It.] Now these stories commonly reflected three things besides the main narrative: a problem, its solution, and the consequent moral or lesson. The problem was a form of evil; its solution depended on goodness in some form; the moral was that goodness triumphs finally and inevitably over evil.
Many such stories were cherished by the Elizabethans, the old tale of "Gammelyn" for example (from which came As You Like It); and just as in our own day popular novels are dramatized, so three centuries ago audiences demanded to see familiar stories in vigorous action. That is why Shakespeare held to the old tales, and pleased his audience, instead of inventing new plots. But however much he changed the characters or the action of the story, he remained always true to the old moral:
That goodness is the rule of life,
And its glory and its triumph.
Shakespeare's women are his finest characters, and he often portrays the love of a noble woman as triumphing over the sin or weakness of men. He has little regard for abnormal or degenerate types, such as appear in the later Elizabethan drama; he prefers vigorous men and pure women, precisely as the old story-tellers did; and if Richard or some other villain overruns his stage for an hour, such men are finally overwhelmed by the very evil which they had planned for others. If they drag the innocent down to a common destruction, these pure characters never seem to us to perish; they live forever in our thought as the true emblems of humanity.
[Sidenote: MORAL EMPHASIS]