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The Great Events by Famous Historians [Volumes 1-14]

Электронная книга - «The Great Events by Famous Historians [Volumes 1-14]». Краткое содержание книги:

Антология содержит:
The Great Events by Famous Historians, Volume 01
The Great Events by Famous Historians, Volume 02 / (From the Rise of Greece to the Christian Era)
The Great Events by Famous Historians, Volume 03
The Great Events by Famous Historians, Volume 04
The Great Events by Famous Historians, Volume 05 / (From Charlemagne to Frederick Barbarossa)
The Great Events by Famous Historians, Volume 06 / (From Barbarossa to Dante)
The Great Events by Famous Historians, Volume 07
The Great Events by Famous Historians, Volume 08 / The Later Renaissance: from Gutenberg to the Reformation
The Great Events by Famous Historians, Volume 09
The Great Events by Famous Historians, Volume 10
The Great Events by Famous Historians, Volume 11
The Great Events by Famous Historians, Volume 12
The Great Events by Famous Historians, Volume 13
The Great Events by Famous Historians, Volume 14
The Great Events by Famous Historians, Volume 17
The Great Events by Famous Historians, Volume 21 / The Recent Days (1910-1914)
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Hamlet is wildly impetuous in moments of excitement, so that his utterances are not invariably to be accepted as evidences of his general nature. Much of the difficulty in the interpretation of the tragedy arises from the oversight of accepting his soliloquies as continuous illustrations of his character, instead of being, as they mostly are, transient emanations of his subtle irritability. Even in the midst of his impetuosity the current of violent thought was subject to a controlling interruption by a sudden reaction arising from the influence of reason; but it was natural on occasions that, stirred by his desire for revenge, he should doubt the validity of his reasons for delay. A wide distinction also must be drawn in the matter of time for vengeance, between action resulting from sudden and that from remoter provocation.

There seems to have been in Hamlet, so far as regards the commands of the apparition, an almost perpetual conflict between impulse and reason, each in its turn being predominant. The desire for revenge is at times so great that it is only by the strongest effort of will he resists precipitate action, then, losing no pretext to find causes for its exercise, overpowering the dictates of his penetrative genius. It is not rashness in Hamlet on one occasion and procrastination on another, but a power of instantaneous action that could be controlled by the very briefest period of reflection, the great feature in his intellect being a preternaturally rapid reflective power, and men of genius almost invariably do meditate before action.

Among the numerous unsupported conjectures respecting this tragedy may be mentioned that, when Shakespeare drew the characters of, 1. Hamlet; 2. Horatio; 3. Claudius; 4. The Queen, he had in his mind, 1. The Earl of Essex or Sir Phillip Sydney or himself; 2. Lord Southampton or Fulke Greville; 3. The Earl of Leicester; 4. Mary, Queen of Scots. Although some of these suggestions are ingeniously supported, there is not one of them which rests on any kind of real evidence or external probability.

Burbage was the first actor of Hamlet in Shakespeare's tragedy. His performance is spoken of in terms of high commendation, but there is no record of his treatment of the character, his delineation probably differing materially from that of modern actors. Stage tradition merely carries down the tricks of the profession, no actor entirely replacing another, and, in the case of Hamlet, hardly two of recent times, whose performances I have had the opportunity of witnessing, but who are or have been distinct in manner and expression, and even in idea. Few actors or readers can be found to agree respecting Shakespeare's conception of the character. This, however, may be safely asserted, that no criticism on Hamlet will ever be permanent which does not recognize the sublimity of his nature. Horatio understood Hamlet better than anyone, and his judgment of him doubtless expressed Shakespeare's own estimate:

"Now cracks a noble heart—good night, sweet prince;

And flights of angels sing thee to thy rest!"

A "noble heart" that ever shrank from an act that would have resulted in his own aggrandizement, for, although the monarchy was elective, not hereditary, the succession of Hamlet had been proclaimed by the King and tacitly accepted.

DOWNFALL OF IRISH LIBERTY

"FLIGHT OF THE EARLS"

A.D. 1603

JUSTIN McCARTHY

At the accession of Henry VIII to the English throne that portion of Ireland mainly colonized from England, the ruling country, was known as the English pale—that is, district. It comprised "the four shires" or counties of Dublin, Kildare, Meath, and Louth. Beyond this district the country was held by various Celtic clans ruled by their own chieftains. Early in Henry's reign the English lords began to show their independence of royal authority, and also to ally themselves with the native chieftains. Henry saw that the Irish, who had often before aimed at independence of England, were about to renew the struggle. He determined to forestall them, and sent one lord deputy after another to Ireland in charge of the royal interests.

Disputes between his own representatives, and their doubtful loyalty, caused the King much trouble, and Irish affairs were far from being composed when Thomas Fitzgerald, tenth earl of Kildare, renounced his allegiance to Henry and headed an unsuccessful rebellion. Fitzgerald was executed at Tyburn in 1537.

Matters were now further complicated by the introduction of the Reformation into Ireland. Most of the Irish people were stanch adherents of Catholicism, while some of the leading English Protestants in Ireland favored Irish nationality as strongly as did the Catholics. After the death of Henry VIII the religious troubles were intensified. Under Edward VI a severe policy was pursued against the Irish Catholics and Nationalists. After a brief reaction under Mary, the Catholic sovereign of England, the policy of suppression was renewed with still greater severity by Queen Elizabeth, and the condition of Ireland became one of chronic rebellion.

This time of trouble called forth some powerful champions of the Irish national cause. One of these, Shane O'Neil, has been celebrated in many a popular ballad. The head of the house to which he belonged had acknowledged allegiance to Henry VIII and received the title of Earl of Tyrone. The English title carried with it, according to English law, the principle of hereditary succession; but when the first earl died, the clan of O'Neil refused to adopt the English practice, and, according to the Irish principle of tanistry, chose as his successor the member of the house for whom they had the highest regard.

This was Shane O'Neil, who was a younger and not even a legitimate son of the Earl of Tyrone, but whose energy, courage, and strong national sentiments had already made him the hero of his sept. Shane O'Neil at once proclaimed himself the champion of Irish national independence. Queen Elizabeth, amid all her troubles with foreign states, had to pour large numbers of troops into Ireland, and these troops, as all historians admit, overran the country in the most reckless and merciless manner. Shane O'Neil, however, held his own, and began to prove himself a formidable opponent of English power.

The evidence of history leaves little or no doubt that Elizabeth connived at a plot for the removal of O'Neil by assassination. This project did not come to anything, and the Queen tried another policy. She was a woman not merely of high intellect but also of artistic feeling, and it would seem as if the picturesque figure of Shane O'Neil had aroused some interest in her. She proposed to enter into terms with the new "Lord of Ulster," as he now declared himself, and invited him to visit her court in England. O'Neil seems to have accepted with great good-will this opportunity of seeing a life hitherto unknown to him, and he soon appeared at court. We read that O'Neil and his retainers presented themselves in their saffron-colored shirts and shaggy mantles, bearing battle-axes as their weapons, amid the stately gentlemen, the contemporaries of Essex and Raleigh, who thronged the court of the great Queen. A meeting took place on January 6, 1562.

Froude tells us the effect produced upon the court by the appearance of O'Neil and his followers: "The council, the peers, the foreign ambassadors, bishops, aldermen, dignitaries of all kinds, were present in state, as if at the exhibition of some wild animal of the desert. O'Neil stalked in, his saffron mantle sweeping round and round him, his hair curling on his back and clipped short below the eyes, which gleamed from under it with a gray lustre, frowning, fierce, and cruel. Behind him followed his gallow-glasses, bareheaded and fair-haired, with shirts of mail which reached beneath their knees, a wolf's skin flung across their shoulders, and short, broad battle-axes in their hands." O'Neil made a formal act of submission to the Queen, and negotiations set in for a definite and lasting arrangement. Nothing came of it. O'Neil seems to have understood that he was acting under a promise of safe-conduct, and was to be confirmed in the ownership of his estates in return for his submission. But, whatever may have been the misunderstanding, it is certain that these terms were not carried out according to O'Neil's expectation. He was detained in London in qualified captivity, and was informed that he could only be restored to his lands when he had engaged to make war against his former allies the Scots, had pledged himself not to make war without the consent of the English government, and to set up no claim of supremacy over other chiefs in Ireland.

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