On Mrs. Kemble's Readings from Shakespeare by Henry Wadsworth Longfellow

Fanny Kemble was a British actress and performer who gained fame in the mid-1800s for her captivating solo readings of Shakespeare's works. Longfellow attended her readings in Boston and penned this sonnet as a heartfelt tribute to the experience. She was a major celebrity of her time, and Longfellow was just one of many who were captivated by her talent.

Kemble's voice revives dead writers. Shakespeare has been absent for more than two centuries, yet when Kemble passionately reads his words, he "speaks" once more. This line illustrates the essence of great performance: it bridges the divide between a deceased author and a living audience.

The Sibyls were prophetesses in ancient Roman religion who inscribed their oracles on leaves. When Longfellow refers to Shakespeare's pages as "Sibylline," he suggests they hold the same significance as sacred prophecy — not merely excellent writing, but rather insights that reveal profound truths about human existence throughout all time.

It's a Petrarchan (Italian) sonnet, which consists of fourteen lines divided into an eight-line octave and a six-line sestet. The form is significant because the octave captures the audience's shared experience, while the sestet shifts to address Kemble first and then Shakespeare directly. This transition is inherent in the structure of the form itself.

He suggests that Shakespeare was ahead of his time—so much so that his work remains relevant across the centuries. When he says "Anticipating all that shall be said," Longfellow argues that Shakespeare anticipated ideas and insights that later writers would take centuries to express.

It's a clever and somewhat funny line. Shakespeare has passed away, so he's not affected by negative reviews. Longfellow is lightly mocking the literary criticism world — and maybe even his own experiences with reviews — while also making a valid point: Shakespeare's reputation is so solid that critics can't impact it anymore.

It conveys a deeper truth. The main point is that performance is about interpretation rather than mere delivery — Kemble doesn’t simply read the lines; she brings them to life through her tone and emotions. The poem also presents a sincere assertion about Shakespeare's universal appeal, concluding with the notion that a great performer fulfills what a writer initiates. This is a significant aesthetic stance, not just empty flattery.

It shifts the flow of gratitude. The poem starts with the audience feeling thankful to Kemble, but it concludes with Shakespeare expressing gratitude to her. This turn of events elevates Kemble's contribution to match Shakespeare's own — she isn't merely supporting his genius; she is completing it. It’s a thoughtful and impactful way to finish.