The labor was one of love, and a lover naturally forgets himself for the beloved one. Furness tried not to show the ardor of his sentiments; but it now and then appears, usually in small details when he would, more naturally, be off his guard. Shakespeare calls Cæsar's Ambassador Thidias, and not Thyreus, as the later-day editors do, under pretense that it was the real name. They are wrong: "Shakespeare in his nomenclature was, as in all things, exquisite.... For certain reasons (did he ever do anything without reason?) he chose the name of Thidias...."
In the privacy of intimate correspondence Furness would be more outspoken, being not restrained by the thought that he would be imposing his own views upon the mass of readers. On Cleopatra, about whom I had risked opinions somewhat different from his, he wrote me—it seems it was yesterday: "Of course, Shakespeare's Cleopatra is not history. But who cares for history? Of this be assured, that, if you had lived with her as I have for two years, you would adore her as deeply as I do."
The truth is that, as he said, he actually lived with the personages of the plays, and he rapturously listened to those far-off voices, which came clearer to his infirm ears than to those of any one of us, meant only for commonplace uses. He had a better right than any to form an opinion, but was ever afraid to seem to force it on others. Of his edition itself he had written: "I do not flatter myself that this is an enjoyable edition of Shakespeare. I regard it rather as a necessary evil."[251] On another occasion, having been criticised about a certain statement of his, he wrote: "I now wish to state that my critic was entirely right and I entirely wrong." His work was a work of love, but it was also a work of reason, as befits a philosopher. He leaned throughout toward conservative methods, which have doubtless the fault of attracting less tumultuous attention to the worker: a great fault in the eyes of the many, a great quality in Furness's own.
His shrewd good sense, seconded by a no less enjoyable good humor, never failed him. When he began, one important question had first to be decided: would he admit in his work only textual and philological criticisms or also æsthetic criticism, mere poetry, sheer literature? To many the temptation would have been great to exclude the latter, the fashion being among the most haughty, if not the most learned, of the learned to doubt the seriousness, laboriousness, usefulness of any who can enjoy, in a play of Shakespeare's, something else than doubtful readings and misprints. This school is less new than is generally believed, and in his Temple du Goût Voltaire had already represented the superb critics of the matter-of-fact school answering those who asked them whether they would not visit the temple:
"Nous, Messieurs, point du tout.
Ce n'est pas là, grâce à Dieu, notre étude;
Le goût n'est rien, nous avons l'habitude
De rédiger au long, de point en point,
Ce qu'on pensa, mais nous ne pensons point."
The fact is that, as Furness well perceived from the first, the two elements should no more be separated than soul from body. Without accuracy, literary criticism is mere trumpery; without a sense of the beautiful, mere accuracy is deathlike. Much so-called æsthetic criticism, wrote Furness, "is flat, stale, unprofitable.... But shall we ignore the possible existence of a keener insight than our own?... Are we not to listen eagerly and reverently when Coleridge or Goethe talks about Shakespeare?"
With such a rule in mind he made his selections, pruning what he deemed should be pruned: "rejectiones et exclusiones debitas," as Bacon would have said. But one more kind of thing he excluded, and this is an eminently characteristic trait of his. His gentleness (not a weak, but a manly one) rebelled at others' acerbity, and when he saw appear that unwelcome and somewhat abundant element in modern criticism, he simply left it out: no admittance for any such thing within the covers of a gentleman-scholar's gentlemanly and scholarly work. True it is that, while Shakespeare is the author most read—after the Bible, it is also the one about which the most furious and unchristian disputes have been waged—after the Bible. The Philadelphia scholar wanted all the critics admitted within his fold to keep the peace there, and he adopted the following rule: "First, all unfavorable criticism of fellow critics is excluded as much as possible.... To confound Goethe, Schlegel, or Tieck is one thing, to elucidate Shakespeare is another." He went even further, and since he could not quote whole books and had to select, "the endeavor," he said, "in all honesty has been to select from every author the passages wherein he appears to best advantage." What critic, then, can be imagined so blind to the service rendered, so much in love with his own harshness, that would not feel toward Furness as Queen Katharine toward Griffith:
After my death I wish no other herald,
No other speaker of my living actions,
To keep mine honor from corruption,
But such an honest chronicler as—Furness.
His friendly appreciation of French critics (who, with all they lacked in early days, were, after all, the first to form, outside of England, an opinion on Shakespeare, the oldest one being of about 1680) cannot but touch a French heart. "It has given me especial pleasure," he said in the Introduction to his first volume, "to lay before the English reader the extracts from the French; it is but little known, in this country at least, outside the ranks of Shakespeare students, how great is the influence which Shakespeare at this hour is exerting on French literature, and how many and how ardent are his admirers in this nation." He had even, at a later date, a good word for poor Ducis and his Hamlet, a Hamlet truly Ducis's own.
Nor shall I ever forget in what tones, amidst friendly applause, the great scholar spoke of France in his own city of Philadelphia, at the memorable gathering of April 20, 1906, when, in accordance with the will of the nation as expressed by Congress, a medal was offered to my country to commemorate her reception of Franklin at the hour when the fate of the States was still weighing in the balance.
In the early years of manhood one sees, far ahead on the road, those great thinkers, scientists, master men, tall, powerful, visible from a distance, ready to help the passer-by, like great oaks offering their shade. They seem so strong, so far above the common that the thought never occurs that we of the frailer sort may see the day when they will be no more. Who was ever present at the death of an oak? Whoever thought that he could see the day when he would accompany Robert Browning's remains to Westminster or mourn for the disappearance of Taine or Gaston Paris? The feeling I had for them I had for Furness, too. Was it possible to think that this solid oak would fall?
He himself, however, had misgivings, and it seemed, of late years, as if the dear ones who had gone before were beckoning to him. "Do you remember," he wrote me in 1909, "my sister, Mrs. Wister, to whom I had the pleasure of introducing you at the Franklin celebration? I am now living under the black and heavy shadow of her loss. She left me last November, solitary and alone, aching for the 'sound of a voice that is silent.'" And at a more recent date: "I have been so shattered by the blows of fate that I doubt you'll ever again receive a printed forget-me-not from me."