diff options
Diffstat (limited to '8533-h')
| -rw-r--r-- | 8533-h/8533-h.htm | 14864 |
1 files changed, 14864 insertions, 0 deletions
diff --git a/8533-h/8533-h.htm b/8533-h/8533-h.htm new file mode 100644 index 0000000..4d8f45c --- /dev/null +++ b/8533-h/8533-h.htm @@ -0,0 +1,14864 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta content="pg2html (binary v0.17)" name="linkgenerator" /> + <title> + The Literary Remains, by Coleridge + </title> + <style type="text/css" xml:space="preserve"> + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 5%; margin-right: 5%; text-align: justify; font-size: 80%; font-style: italic;} + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + .xx-small {font-size: 60%;} + .x-small {font-size: 75%;} + .small {font-size: 85%;} + .large {font-size: 115%;} + .x-large {font-size: 130%;} + .indent5 { margin-left: 5%;} + .indent10 { margin-left: 10%;} + .indent15 { margin-left: 15%;} + .indent20 { margin-left: 20%;} + .indent25 { margin-left: 25%;} + .indent30 { margin-left: 30%;} + .indent35 { margin-left: 35%;} + .indent40 { margin-left: 40%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {position: absolute; right: 1%; font-size: 0.6em; + font-variant: normal; font-style: normal; + text-align: right; background-color: #FFFACD; + border: 1px solid; padding: 0.3em;text-indent: 0em;} + .side { float: left; font-size: 75%; width: 15%; padding-left: 0.8em; + border-left: dashed thin; text-align: left; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + .head { float: left; font-size: 90%; width: 98%; padding-left: 0.8em; + border-left: dashed thin; text-align: center; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + p.pfirst, p.noindent {text-indent: 0} + span.dropcap { float: left; margin: 0 0.1em 0 0; line-height: 0.8 } + pre { font-size: 100%; margin-left: 10%;} +</style> + </head> + <body> + <pre> + +The Project Gutenberg EBook of The Literary Remains of Samuel Taylor +Coleridge, Vol. 2, by Samuel Taylor Coleridge + +This eBook is for the use of anyone anywhere in the United States and most +other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms of +the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you'll have +to check the laws of the country where you are located before using this ebook. + +Title: The Literary Remains of Samuel Taylor Coleridge, Vol. 2 (of 4) + +Author: Samuel Taylor Coleridge + +Editor: Henry Nelson Coleridge + +Release Date: July, 2005 [EBook #8533] +First Posted: July 20, 2003 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LITERARY REMAINS OF COLERIDGE, VOL 2 *** + + + + +Etext Produced by Jonathan Ingram, Clytie Siddall and the Online +Distributed Proofreading Team + +HTML file produced by David Widger + + + + + +</pre> + + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + THE LITERARY REMAINS + </h1> + <h2> + OF SAMUEL TAYLOR COLERIDGE + </h2> + <h3> + COLLECTED AND EDITED BY + </h3> + <h3> + HENRY NELSON COLERIDGE, ESQ. M.A. + </h3> + <h4> + VOLUME THE SECOND (of 4) + </h4> + <hr /> + <p> + <b>CONTENTS</b> + </p> + <p class="toc"> + <a href="#link2H_TOC"> CONTENTS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0001"> LITERARY REMAINS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> LITERARY REMAINS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> SHAKSPEARE, WITH INTRODUCTORY MATTER ON POETRY, + THE DRAMA, AND THE STAGE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> DEFINITION OF POETRY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> GREEK DRAMA. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> PROGRESS OF THE DRAMA. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> THE DRAMA GENERALLY, AND PUBLIC TASTE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0008"> SHAKSPEARE, A POET GENERALLY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0009"> SHAKSPEARE'S JUDGMENT EQUAL TO HIS GENIUS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0010"> RECAPITULATION, AND SUMMARY OF THE + CHARACTERISTICS OF SHAKSPEARE's DRAMAS. {1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0011"> ORDER OF SHAKSPEARE'S PLAYS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0012"> CLASSIFICATION ATTEMPTED, 1802. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0013"> CLASSIFICATION ATTEMPTED, 1810. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0014"> CLASSIFICATION ATTEMPTED, 1819. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0015"> NOTES ON THE TEMPEST. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0016"> LOVE'S LABOUR'S LOST. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0017"> MIDSUMMER NIGHT'S DREAM. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0018"> COMEDY OF ERRORS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0019"> AS YOU LIKE IT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0020"> TWELFTH NIGHT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0021"> ALL'S WELL THAT ENDS WELL. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0022"> MERRY WIVES OF WINDSOR. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0023"> MEASURE FOR MEASURE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0024"> CYMBELINE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0025"> TITUS ANDRONICUS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0026"> TROILUS AND CRESSIDA. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0027"> CORIOLANUS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0028"> JULIUS CÆSAR. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0029"> ANTONY AND CLEOPATRA. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0030"> TIMON OF ATHENS, </a> + </p> + <p class="toc"> + <a href="#link2H_4_0031"> ROMEO AND JULIET. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0032"> SHAKSPEARE'S ENGLISH HISTORICAL PLAYS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0033"> KING JOHN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0034"> RICHARD II. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0035"> HENRY IV. PART I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0036"> HENRY IV. PART II. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0037"> HENRY V. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0038"> HENRY VI. PART I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0039"> RICHARD III. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0040"> LEAR. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0041"> HAMLET. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0042"> NOTES ON MACBETH. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0043"> NOTES ON THE WINTER'S TALE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0044"> NOTES ON OTHELLO </a> + </p> + <p class="toc"> + <a href="#link2H_4_0045"> NOTES ON BEN JONSON. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0046"> WHALLEY'S PREFACE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0047"> WHALLEY'S LIFE OF JONSON. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0048"> EVERY MAN OUT OF HIS HUMOUR. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0050"> POETASTER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0052"> FALL OF SEJANUS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0053"> VOLPONE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0054"> EPICÆNE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0055"> THE ALCHEMIST. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0056"> CATILINE'S CONSPIRACY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0057"> BARTHOLOMEW FAIR. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0058"> THE DEVIL IS AN ASS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0059"> THE STAPLE OF NEWS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0060"> THE NEW INN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0061"> NOTES ON BEAUMONT AND FLETCHER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0062"> HARRIS'S COMMENDATORY POEM ON FLETCHER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0063"> LIFE OF FLETCHER IN STOCKDALE'S EDITION. 1811. + </a> + </p> + <p class="toc"> + <a href="#link2H_4_0064"> MAID'S TRAGEDY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0065"> A KING AND NO KING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0066"> THE SCORNFUL LADY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0067"> THE CUSTOM OF THE COUNTRY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0068"> THE ELDER BROTHER </a> + </p> + <p class="toc"> + <a href="#link2H_4_0069"> THE SPANISH CURATE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0070"> WIT WITHOUT MONEY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0071"> THE HUMOROUS LIEUTENANT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0072"> THE MAD LOVER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0073"> THE LOYAL SUBJECT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0074"> RULE A WIFE AND HAVE A WIFE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0075"> THE LAWS OF CANDY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0076"> THE LITTLE FRENCH LAWYER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0077"> VALENTINIAN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0078"> THE WILD GOOSE CHASE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0079"> A WIFE FOR A MONTH. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0080"> THE PILGRIM. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0081"> THE NOBLE GENTLEMAN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0082"> THE CORONATION. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0083"> WIT AT SEVERAL WEAPONS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0084"> THE FAIR MAID OF THE INN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0085"> THE TWO NOBLE KINSMEN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0086"> THE WOMAN HATER. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0087"> ON THE PROMETHEUS OF ÆSCHYLUS: </a> + </p> + <p class="toc"> + <a href="#link2H_4_0088"> NOTE ON CHALMERS'S LIFE OF DANIEL. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0089"> BISHOP CORBET. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0090"> NOTE ON THEOLOGICAL LECTURES OF BENJAMIN + WHEELER, D. D. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0091"> NOTE ON A SERMON ON THE PREVALENCE OF INFIDELITY + AND ENTHUSIASM, BY WALTER BIRCH, B. D. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0092"> FÉNÉLON ON CHARITY.{1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0093"> CHANGE OF THE CLIMATES. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0094"> WONDERFULNESS OF PROSE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0095"> NOTES ON TOM JONES. {1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0096"> JONATHAN WILD. {1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0097"> BARRY CORNWALL.{1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0098"> FULLER'S HOLY STATE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0099"> FULLER'S PROFANE STATE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0100"> FULLER'S APPEAL OF INJURED INNOCENCE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0102"> FULLER'S CHURCH HISTORY. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0103"> ASGILL'S ARGUMENT. </a> + </p> + <p class="toc"> + <a href="#link2H_INTR2"> INTRODUCTION TO ASGILL'S DEFENCE UPON HIS + EXPULSION FROM THE HOUSE OF COMMONS. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0105"> NOTES ON SIR THOMAS BROWN'S RELIGIO MEDICI, MADE + DURING A SECOND PERUSAL. 1808. {1} </a> + </p> + <p class="toc"> + <a href="#link2H_4_0108"> NOTES ON SIR THOMAS BROWNE'S GARDEN OF CYRUS, + </a> + </p> + <p class="toc"> + <a href="#link2H_4_0109"> NOTES ON SIR THOMAS BROWNE'S VULGAR ERRORS. </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_TOC" id="link2H_TOC"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CONTENTS VOL. II. + </h2> + + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /> + </div> + <h2> + LITERARY REMAINS. + </h2> + <p> + Extract from a Letter written by Mr. Coleridge, in February, 1818, to a + Gentleman who attended the Course of Lectures given in the Spring of that + Year. + </p> + <p> + Extract from a Letter to J. Britton, Esq. + </p> + <h3> + SHAKSPEARE, WITH INTRODUCTORY MATTER ON POETRY, THE DRAMA, AND THE STAGE + </h3> +<pre xml:space="preserve"> + Definition of Poetry + Greek Drama + Progress of the Drama + The Drama generally, and Public Taste + Shakspeare, a Poet generally + Shakspeare's Judgment equal to his Genius + Recapitulation, and Summary of the Characteristics of Shakspeare's Dramas + Order of Shakspeare's Plays + Notes on the Tempest + Love's Labour's Lost + Midsummer Night's Dream + Comedy of Errors + As You Like It + Twelfth Night + All's Well that Ends Well + Merry Wives of Windsor + Measure for Measure + Cymbeline + Titus Andronicus + Troilus and Cressida + Coriolanus + Julius Cæsar + Antony and Cleopatra + Timon of Athens + Romeo and Juliet + Shakspeare's English Historical Plays + King John + Richard II. + Henry IV. Part I. + Henry IV. Part II. + Henry V. + Henry VI. Part I. + Richard III. + Lear + Hamlet + Notes on Macbeth + Notes on the Winter's Tale + Notes on Othello +</pre> + <h3> + NOTES ON BEN JONSON + </h3> +<pre xml:space="preserve"> + Whalley's Preface + Whalley's Life of Jonson + Every Man out of His Humour + Poetaster + Fall of Sejanus + Volpone + Epicène + The Alchemist + Catiline's Conspiracy + Bartholomew Fair + The Devil is an Ass + The Staple of News + The New Inn +</pre> + <h3> + NOTES ON BEAUMONT AND FLETCHER + </h3> +<pre xml:space="preserve"> + Harris's Commendatory Poem on Fletcher + Life of Fletcher in Stockdale's Edition. 1811 + Maid's Tragedy + A King and no King + The Scornful Lady + The Custom of the Country + The Elder Brother + The Spanish Curate + Wit Without Money + The Humorous Lieutenant + The Mad Lover + The Loyal Subject + Rule a Wife and have a Wife + The Laws of Candy + The Little French Lawyer + Valentinian + Rollo + The Wildgoose Chase + A Wife for a Month + The Pilgrim + The Queen of Corinth + The Noble Gentleman + The Coronation + Wit at Several Weapons + The Fair Maid of the Inn + The Two Noble Kinsmen + The Woman Hater + + On the 'Prometheus' of Æschylus + + Note on Chalmers's 'Life of Daniel' + + Bishop Corbet Notes on Selden's 'Table Talk' + + Note on Theological Lectures of Benjamin Wheeler, D.D. + + Note on a Sermon on the Prevalence of Infidelity and Enthusiasm, by + Walter Birch, B. D. + + Fénélon on Charity + + Change of the Climates + + Wonderfulness of Prose + + Notes on Tom Jones + + Jonathan Wild + + Barry Cornwall + + The Primitive Christian's Address to the Cross + + Fuller's Holy State + + Fuller's Profane State + + Fuller's Appeal of Injured Innocence + + Fuller's Church History + + Asgill's Argument + + Introduction to Asgill's Defence upon his Expulsion from the House of + Commons. + + Notes on Sir Thomas Browne's 'Religio Medici' + + Notes on Sir Thomas Browne's Garden of Cyrus + + Notes on Sir Thomas Browne's Vulgar Errors +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LITERARY REMAINS + </h2> + <p> + Extract from a Letter written by Mr. Coleridge, in February, 1818, to a + gentleman who attended the course of Lectures given in the spring of that + year. + </p> + <p> + See the 'Canterbury Magazine', September, 1834. Ed. + </p> + <p> + My next Friday's lecture will, if I do not grossly flatter-blind myself, + be interesting, and the points of view not only original, but new to the + audience. I make this distinction, because sixteen or rather seventeen + years ago, I delivered eighteen lectures on Shakspeare, at the Royal + Institution; three-fourths of which appeared at that time startling + paradoxes, although they have since been adopted even by men, who then + made use of them as proofs of my flighty and paradoxical turn of mind; all + tending to prove that Shakspeare's judgment was, if possible, still more + wonderful than his genius; or rather, that the contradistinction itself + between judgment and genius rested on an utterly false theory. This, and + its proofs and grounds have been—I should not have said adopted, but + produced as their own legitimate children by some, and by others the merit + of them attributed to a foreign writer, whose lectures were not given + orally till two years after mine, rather than to their countryman; though + I dare appeal to the most adequate judges, as Sir George Beaumont, the + Bishop of Durham, Mr. Sotheby, and afterwards to Mr. Rogers and Lord + Byron, whether there is one single principle in Schlegel's work (which is + not an admitted drawback from its merits), that was not established and + applied in detail by me. Plutarch tells us, that egotism is a venial fault + in the unfortunate, and justifiable in the calumniated, &c. ... + </p> + <p> + Extract from a Letter to J. Britton, Esq. + </p> + <p> + 28th Feb., 1819, Highgate. + </p> + <p> + Dear Sir, + </p> + <p> + —First permit me to remove a very natural, indeed almost inevitable, + mistake, relative to my lectures; namely, that I 'have' them, or that the + lectures of one place or season are in any way repeated in another. So far + from it, that on any point that I had ever studied (and on no other should + I dare discourse—I mean, that I would not lecture on any subject for + which I had to 'acquire' the main knowledge, even though a month's or + three months' previous time were allowed me; on no subject that had not + employed my thoughts for a large portion of my life since earliest + manhood, free of all outward and particular purpose)—on any point + within my habit of thought, I should greatly prefer a subject I had never + lectured on, to one which I had repeatedly given; and those who have + attended me for any two seasons successively will bear witness, that the + lecture given at the London Philosophical Society, on the 'Romeo and + Juliet', for instance, was as different from that given at the Crown and + Anchor, as if they had been by two individuals who, without any + communication with each other, had only mastered the same principles of + philosophic criticism. This was most strikingly evidenced in the + coincidence between my lectures and those of Schlegel; such, and so close, + that it was fortunate for my moral reputation that I had not only from + five to seven hundred ear witnesses that the passages had been given by me + at the Royal Institution two years before Schlegel commenced his lectures + at Vienna, but that notes had been taken of these by several men and + ladies of high rank. The fact is this; during a course of lectures, I + faithfully employ all the intervening days in collecting and digesting the + materials, whether I have or have not lectured on the same subject before, + making no difference. The day of the lecture, till the hour of + commencement, I devote to the consideration, what of the mass before me is + best fitted to answer the purposes of a lecture, that is, to keep the + audience awake and interested during the delivery, and to leave a sting + behind, that is, a disposition to study the subject anew, under the light + of a new principle. Several times, however, partly from apprehension + respecting my health and animal spirits, partly from the wish to possess + copies that might afterwards be marketable among the publishers, I have + previously written the lecture; but before I had proceeded twenty minutes, + I have been obliged to push the MS. away, and give the subject a new turn. + Nay, this was so notorious, that many of my auditors used to threaten me, + when they saw any number of written papers on my desk, to steal them away; + declaring they never felt so secure of a good lecture as when they + perceived that I had not a single scrap of writing before me. I take far, + far more pains than would go to the set composition of a lecture, both by + varied reading and by meditation; but for the words, illustrations, &c., + I know almost as little as any one of the audience (that is, those of + anything like the same education with myself) what they will be five + minutes before the lecture begins. Such is my way, for such is my nature; + and in attempting any other, I should only torment myself in order to + disappoint my auditors—torment myself during the delivery, I mean; + for in all other respects it would be a much shorter and easier task to + deliver them from writing. I am anxious to preclude any semblance of + affectation; and have therefore troubled you with this lengthy preface + before I have the hardihood to assure you, that you might as well ask me + what my dreams were in the year 1814, as what my course of lectures was at + the Surrey Institution. + </p> + <p> + 'Fuimus Troes.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SHAKSPEARE, WITH INTRODUCTORY MATTER ON POETRY, THE DRAMA, AND THE STAGE. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0004" id="link2H_4_0004"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + DEFINITION OF POETRY. + </h2> + <p> + Poetry is not the proper antithesis to prose, but to science. Poetry is + opposed to science, and prose to metre. The proper and immediate object of + science is the acquirement, or communication, of truth; the proper and + immediate object of poetry is the communication of immediate pleasure. + This definition is useful; but as it would include novels and other works + of fiction, which yet we do not call poems, there must be some additional + character by which poetry is not only divided from opposites, but likewise + distinguished from disparate, though similar, modes of composition. Now + how is this to be effected? In animated prose, the beauties of nature, and + the passions and accidents of human nature, are often expressed in that + natural language which the contemplation of them would suggest to a pure + and benevolent mind; yet still neither we nor the writers call such a work + a poem, though no work could deserve that name which did not include all + this, together with something else. What is this? It is that pleasurable + emotion, that peculiar state and degree of excitement, which arises in the + poet himself in the act of composition;—and in order to understand + this, we must combine a more than ordinary sympathy with the objects, + emotions, or incidents contemplated by the poet, consequent on a more than + common sensibility, with a more than ordinary activity of the mind in + respect of the fancy and the imagination. Hence is produced a more vivid + reflection of the truths of nature and of the human heart, united with a + constant activity modifying and correcting these truths by that sort of + pleasurable emotion, which the exertion of all our faculties gives in a + certain degree; but which can only be felt in perfection under the full + play of those powers of mind, which are spontaneous rather than voluntary, + and in which the effort required bears no proportion to the activity + enjoyed. This is the state which permits the production of a highly + pleasurable whole, of which each part shall also communicate for itself a + distinct and conscious pleasure; and hence arises the definition, which I + trust is now intelligible, that poetry, or rather a poem, is a species of + composition, opposed to science, as having intellectual pleasure for its + object, and as attaining its end by the use of language natural to us in a + state of excitement,—but distinguished from other species of + composition, not excluded by the former criterion, by permitting a + pleasure from the whole consistent with a consciousness of pleasure from + the component parts;—and the perfection of which is, to communicate + from each part the greatest immediate pleasure compatible with the largest + sum of pleasure on the whole. This, of course, will vary with the + different modes of poetry;—and that splendour of particular lines, + which would be worthy of admiration in an impassioned elegy, or a short + indignant satire, would be a blemish and proof of vile taste in a tragedy + or an epic poem. + </p> + <p> + It is remarkable, by the way, that Milton in three incidental words has + implied all which for the purposes of more distinct apprehension, which at + first must be slow-paced in order to be distinct, I have endeavoured to + develope in a precise and strictly adequate definition. Speaking of + poetry, he says, as in a parenthesis, "which is simple, sensuous, + passionate." How awful is the power of words!—fearful often in their + consequences when merely felt, not understood; but most awful when both + felt and understood!—Had these three words only been properly + understood by, and present in the minds of, general readers, not only + almost a library of false poetry would have been either precluded or + still-born, but, what is of more consequence, works truly excellent and + capable of enlarging the understanding, warming and purifying the heart, + and placing in the centre of the whole being the germs of noble and + manlike actions, would have been the common diet of the intellect instead. + For the first condition, simplicity,—while, on the one hand, it + distinguishes poetry from the arduous processes of science, labouring + towards an end not yet arrived at, and supposes a smooth and finished + road, on which the reader is to walk onward easily, with streams murmuring + by his side, and trees and flowers and human dwellings to make his journey + as delightful as the object of it is desirable, instead of having to toil, + with the pioneers and painfully make the road on which others are to + travel,—precludes, on the other hand, every affectation and morbid + peculiarity;—the second condition, sensuousness, insures that + framework of objectivity, that definiteness and articulation of imagery, + and that modification of the images themselves, without which poetry + becomes flattened into mere didactics of practice, or evaporated into a + hazy, unthoughtful, daydreaming; and the third condition, passion, + provides that neither thought nor imagery shall be simply objective, but + that the <i>passio vera</i> of humanity shall warm and animate both. + </p> + <p> + To return, however, to the previous definition, this most general and + distinctive character of a poem originates in the poetic genius itself; + and though it comprises whatever can with any propriety be called a poem, + (unless that word be a mere lazy synonyme for a composition in metre,) it + yet becomes a just, and not merely discriminative, but full and adequate, + definition of poetry in its highest and most peculiar sense, only so far + as the distinction still results from the poetic genius, which sustains + and modifies the emotions, thoughts, and vivid representations of the poem + by the energy without effort of the poet's own mind,—by the + spontaneous activity of his imagination and fancy, and by whatever else + with these reveals itself in the balancing and reconciling of opposite or + discordant qualities, sameness with difference, a sense of novelty and + freshness with old or customary objects, a more than usual state of + emotion with more than usual order, self-possession and judgment with + enthusiasm and vehement feeling,—and which, while it blends and + harmonizes the natural and the artificial, still subordinates art to + nature, the manner to the matter, and our admiration of the poet to our + sympathy with the images, passions, characters, and incidents of the poem:— + </p> +<pre xml:space="preserve"> + Doubtless, this could not be, but that she turns + Bodies to <i>spirit</i> by sublimation strange, + As fire converts to fire the things it burns— + As we our food into our nature change! + + From their gross matter she abstracts <i>their</i> forms, + And draws a kind of quintessence from things, + Which to her proper nature she transforms + To bear them light on her celestial wings! + + <i>Thus</i> doth she, when from <i>individual states</i> + She doth abstract the universal kinds, + <i>Which then reclothed in diverse names and fates + Steal access thro' our senses to our minds.</i> {1} +</pre> + <p> + {Footnote 1: Sir John Davies on the Immortality of the Soul, sect. iv. The + words and lines in italics (<i>between</i>) are substituted to apply these + verses to the poetic genius. The greater part of this latter paragraph may + be found adopted, with some alterations, in the 'Biographia Literaria', + vol. ii. c. 14; but I have thought it better in this instance and some + others, to run the chance of bringing a few passages twice over to the + recollection of the reader, than to weaken the force of the original + argument by breaking the connection. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + GREEK DRAMA. + </h2> + <p> + It is truly singular that Plato,—whose philosophy and religion were + but exotic at home, and a mere opposition to the finite in all things, + genuine prophet and anticipator as he was of the Protestant Christian + aera,—should have given in his Dialogue of the Banquet, a + justification of our Shakspeare. For he relates that, when all the other + guests had either dispersed or fallen asleep, Socrates only, together with + Aristophanes and Agathon, remained awake, and that, while he continued to + drink with them out of a large goblet, he compelled them, though most + reluctantly, to admit that it was the business of one and the same genius + to excel in tragic and comic poetry, or that the tragic poet ought, at the + same time, to contain within himself the powers of comedy. {1} Now, as + this was directly repugnant to the entire theory of the ancient critics, + and contrary to all their experience, it is evident that Plato must have + fixed the eye of his contemplation on the innermost essentials of the + drama, abstracted from the forms of age or country. In another passage he + even adds the reason, namely, that opposites illustrate each other's + nature, and in their struggle draw forth the strength of the combatants, + and display the conqueror as sovereign even on the territories of the + rival power. + </p> + <p> + Nothing can more forcibly exemplify the separative spirit of the Greek + arts than their comedy as opposed to their tragedy. But as the immediate + struggle of contraries supposes an arena common to both, so both were + alike ideal; that is, the comedy of Aristophanes rose to as great a + distance above the ludicrous of real life, as the tragedy of Sophocles + above its tragic events and passions;—and it is in this one point, + of absolute ideality, that the comedy of Shakspeare and the old comedy of + Athens coincide. In this also alone did the Greek tragedy and comedy + unite; in every thing else they were exactly opposed to each other. + Tragedy is poetry in its deepest earnest; comedy is poetry in unlimited + jest. Earnestness consists in the direction and convergence of all the + powers of the soul to one aim, and in the voluntary restraint of its + activity in consequence; the opposite, therefore, lies in the apparent + abandonment of all definite aim or end, and in the removal of all bounds + in the exercise of the mind,—attaining its real end, as an entire + contrast, most perfectly, the greater the display is of intellectual + wealth squandered in the wantonness of sport without an object, and the + more abundant the life and vivacity in the creations of the arbitrary + will. + </p> + <p> + The later comedy, even where it was really comic, was doubtless likewise + more comic, the more free it appeared from any fixed aim. + Misunderstandings of intention, fruitless struggles of absurd passion, + contradictions of temper, and laughable situations there were; but still + the form of the representation itself was serious; it proceeded as much + according to settled laws, and used as much the same means of art, though + to a different purpose, as the regular tragedy itself. But in the old + comedy the very form itself is whimsical; the whole work is one great + jest, comprehending a world of jests within it, among which each maintains + its own place without seeming to concern itself as to the relation in + which it may stand to its fellows. In short, in Sophocles, the + constitution of tragedy is monarchical, but such as it existed in elder + Greece, limited by laws, and therefore the more venerable,—all the + parts adapting and submitting themselves to the majesty of the heroic + sceptre:—in Aristophanes, comedy, on the contrary, is poetry in its + most democratic form, and it is a fundamental principle with it, rather to + risk all the confusion of anarchy, than to destroy the independence and + privileges of its individual constituents,—place, verse, characters, + even single thoughts, conceits, and allusions, each turning on the pivot + of its own free will. + </p> + <p> + The tragic poet idealizes his characters by giving to the spiritual part + of our nature a more decided preponderance over the animal cravings and + impulses, than is met with in real life: the comic poet idealizes his + characters by making the animal the governing power, and the intellectual + the mere instrument. But as tragedy is not a collection of virtues and + perfections, but takes care only that the vices and imperfections shall + spring from the passions, errors, and prejudices which arise out of the + soul;—so neither is comedy a mere crowd of vices and follies, but + whatever qualities it represents, even though they are in a certain sense + amiable, it still displays them as having their origin in some dependence + on our lower nature, accompanied with a defect in true freedom of spirit + and self-subsistence, and subject to that unconnection by contradictions + of the inward being, to which all folly is owing. + </p> + <p> + The ideal of earnest poetry consists in the union and harmonious melting + down, and fusion of the sensual into the spiritual,—of man as an + animal into man as a power of reason and self-government. And this we have + represented to us most clearly in the plastic art, or statuary; where the + perfection of outward form is a symbol of the perfection of an inward + idea; where the body is wholly penetrated by the soul, and spiritualized + even to a state of glory, and like a transparent substance, the matter, in + its own nature darkness, becomes altogether a vehicle and fixure of light, + a mean of developing its beauties, and unfolding its wealth of various + colors without disturbing its unity, or causing a division of the parts. + The sportive ideal, on the contrary, consists in the perfect harmony and + concord of the higher nature with the animal, as with its ruling principle + and its acknowledged regent. The understanding and practical reason are + represented as the willing slaves of the senses and appetites, and of the + passions arising out of them. Hence we may admit the appropriateness to + the old comedy, as a work of defined art, of allusions and descriptions, + which morality can never justify, and, only with reference to the author + himself, and only as being the effect or rather the cause of the + circumstances in which he wrote, can consent even to palliate. + </p> + <p> + The old comedy rose to its perfection in Aristophanes, and in him also it + died with the freedom of Greece. Then arose a species of drama, more fitly + called, dramatic entertainment than comedy, but of which, nevertheless, + our modern comedy (Shakspeare's altogether excepted) is the genuine + descendant. Euripides had already brought tragedy lower down and by many + steps nearer to the real world than his predecessors had ever done, and + the passionate admiration which Menander and Philemon expressed for him, + and their open avowals that he was their great master, entitle us to + consider their dramas as of a middle species, between tragedy and comedy,—not + the tragi-comedy, or thing of heterogeneous parts, but a complete whole, + founded on principles of its own. Throughout we find the drama of Menander + distinguishing itself from tragedy, but not, as the genuine old comedy, + contrasting with, and opposing, it. Tragedy, indeed, carried the thoughts + into the mythologic world, in order to raise the emotions, the fears, and + the hopes, which convince the inmost heart that their final cause is not + to be discovered in the limits of mere mortal life, and force us into a + presentiment, however dim, of a state in which those struggles of inward + free will with outward necessity, which form the true subject of the + tragedian, shall be reconciled and solved;—the entertainment or new + comedy, on the other hand, remained within the circle of experience. + Instead of the tragic destiny, it introduced the power of chance; even in + the few fragments of Menander and Philemon now remaining to us, we find + many exclamations and reflections concerning chance and fortune, as in the + tragic poets concerning destiny. In tragedy, the moral law, either as + obeyed or violated, above all consequences—its own maintenance or + violation constituting the most important of all consequences—forms + the ground; the new comedy, and our modern comedy in general, (Shakspeare + excepted as before) lies in prudence or imprudence, enlightened or misled + self-love. The whole moral system of the entertainment exactly like that + of fable, consists in rules of prudence, with an exquisite conciseness, + and at the same time an exhaustive fulness of sense. An old critic said + that tragedy was the flight or elevation of life, comedy (that of + Menander) its arrangement or ordonnance. + </p> + <p> + Add to these features a portrait-like truth of character,—not so far + indeed as that a 'bona fide' individual should be described or imagined, + but yet so that the features which give interest and permanence to the + class should be individualized. The old tragedy moved in an ideal world,—the + old comedy in a fantastic world. As the entertainment, or new comedy, + restrained the creative activity both of the fancy and the imagination, it + indemnified the understanding in appealing to the judgment for the + probability of the scenes represented. The ancients themselves + acknowledged the new comedy as an exact copy of real life. The grammarian, + Aristophanes, somewhat affectedly exclaimed:—"O Life and Menander! + which of you two imitated the other?" In short the form of this species of + drama was poetry; the stuff or matter was prose. It was prose rendered + delightful by the blandishments and measured motions of the muse. Yet even + this was not universal. The mimes of Sophron, so passionately admired by + Plato, were written in prose, and were scenes out of real life conducted + in dialogue. The exquisite Feast of Adonis ({Greek (transliterated): + Surakousiai ae Ad'oniazousai}) in Theocritus, we are told, with some + others of his eclogues, were close imitations of certain mimes of Sophron—free + translations of the prose into hexameters. + </p> + <p> + It will not be improper, in this place, to make a few remarks on the + remarkable character and functions of the chorus in the Greek tragic + drama. + </p> + <p> + The chorus entered from below, close by the orchestra, and there, pacing + to and fro during the choral odes, performed their solemn measured dance. + In the centre of the 'orchestra', directly over against the middle of the + 'scene', there stood an elevation with steps in the shape of a large + altar, as high as the boards of the 'logeion' or moveable stage. This + elevation was named the 'thymele', ({Greek (transliterated): thumelae}) + and served to recall the origin and original purpose of the chorus, as an + altar-song in honour of the presiding deity. Here, and on these steps, the + persons of the chorus sate collectively, when they were not singing; + attending to the dialogue as spectators, and acting as (what in truth they + were) the ideal representatives of the real audience, and of the poet + himself in his own character, assuming the supposed impressions made by + the drama, in order to direct and rule them. But when the chorus itself + formed part of the dialogue, then the leader of the band, the foreman or + 'coryphaeus', ascended, as some think, the level summit of the 'thymele' + in order to command the stage, or, perhaps, the whole chorus advanced to + the front of the orchestra, and thus put themselves in ideal connection, + as it were, with the 'dramatis personæ' there acting. This 'thymele' was + in the centre of the whole edifice, all the measurements were calculated, + and the semi-circle of the amphitheatre was drawn, from this point. It had + a double use, a twofold purpose; it constantly reminded the spectators of + the origin of tragedy as a religious service, and declared itself as the + ideal representative of the audience by having its place exactly in the + point, to which all the radii from the different seats or benches + converged. In this double character, as constituent parts, and yet at the + same time as spectators, of the drama, the chorus could not but tend to + enforce the unity of place;—not on the score of any supposed + improbability, which the understanding or common sense might detect in a + change of place;—but because the senses themselves put it out of the + power of any imagination to conceive a place coming to, and going away + from the persons, instead of the persons changing their place. Yet there + are instances, in which, during the silence of the chorus, the poets have + hazarded this by a change in that part of the scenery which represented + the more distant objects to the eye of the spectator—a demonstrative + proof, that this alternately extolled and ridiculed unity (as ignorantly + ridiculed as extolled) was grounded on no essential principle of reason, + but arose out of circumstances which the poet could not remove, and + therefore took up into the form of the drama, and co-organized it with all + the other parts into a living whole. + </p> + <p> + The Greek tragedy may rather be compared to our serious opera than to the + tragedies of Shakspeare; nevertheless, the difference is far greater than + the likeness. In the opera all is subordinated to the music, the dresses + and the scenery;—the poetry is a mere vehicle for articulation, and + as little pleasure is lost by ignorance of the Italian language, so is + little gained by the knowledge of it. But in the Greek drama all was but + as instruments and accessaries to the poetry; and hence we should form a + better notion of the choral music from the solemn hymns and psalms of + austere church music than from any species of theatrical singing. A single + flute or pipe was the ordinary accompaniment; and it is not to be + supposed, that any display of musical power was allowed to obscure the + distinct hearing of the words. On the contrary, the evident purpose was to + render the words more audible, and to secure by the elevations and pauses + greater facility of understanding the poetry. For the choral songs are, + and ever must have been, the most difficult part of the tragedy; there + occur in them the most involved verbal compounds, the newest expressions, + the boldest images, the most recondite allusions. Is it credible that the + poets would, one and all, have been thus prodigal of the stores of art and + genius, if they had known that in the representation the whole must have + been lost to the audience,—at a time too, when the means of after + publication were so difficult, and expensive, and the copies of their + works so slowly and narrowly circulated? + </p> + <p> + The masks also must be considered—their vast variety and admirable + workmanship. Of this we retain proof by the marble masks which represented + them; but to this in the real mask we must add the thinness of the + substance and the exquisite fitting on to the head of the actor; so that + not only were the very eyes painted with a single opening left for the + pupil of the actor's eye, but in some instances, even the iris itself was + painted, when the colour was a known characteristic of the divine or + heroic personage represented. + </p> + <p> + Finally, I will note down those fundamental characteristics which + contradistinguish the ancient literature from the modern generally, but + which more especially appear in prominence in the tragic drama. The + ancient was allied to statuary, the modern refers to painting. In the + first there is a predominance of rhythm and melody, in the second of + harmony and counterpoint. The Greeks idolized the finite, and therefore + were the masters of all grace, elegance, proportion, fancy, dignity, + majesty—of whatever, in short, is capable of being definitely + conveyed by defined forms or thoughts: the moderns revere the infinite, + and affect the indefinite as a vehicle of the infinite;—hence their + passions, their obscure hopes and fears, their wandering through the + unknown, their grander moral feelings, their more august conception of man + as man, their future rather than their past—in a word, their + sublimity. + </p> + <p> + {Footnote 1: Greek (transliterated): exegromenos de idein tous men allous + katheudontas kai oichomenous, Agath'ona de kai Aristophanaen kai S'okratae + eti monous egraegorenai, kai pinein ek phialaes megalaes epidexia ton oun + S'okratae autois dialegesthai kai ta men alla ho Aristodaemos ouk ephae + memnaesthai ton logon (oute gar ex archaes paragenesthai, uponustazein te) + to mentoi kethalaion ethae, prosanagkazein ton S'okratae omologein autous + tou autou andros einai k'om'odian kai trag'odian epistasthai poiein, kai + ton technae trag'odopoion onta, kai k'om'odopoion einai. Symp. sub fine.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PROGRESS OF THE DRAMA. + </h2> + <p> + Let two persons join in the same scheme to ridicule a third, and either + take advantage of, or invent, some story for that purpose, and mimicry + will have already produced a sort of rude comedy. It becomes an inviting + treat to the populace, and gains an additional zest and burlesque by + following the already established plan of tragedy; and the first man of + genius who seizes the idea, and reduces it into form,—into a work of + art,—by metre and music, is the Aristophanes of the country. + </p> + <p> + How just this account is will appear from the fact that in the first or + old comedy of the Athenians, most of the 'dramatis personæ' were living + characters introduced under their own names; and no doubt, their ordinary + dress, manner, person and voice were closely mimicked. In less favourable + states of society, as that of England in the middle ages, the beginnings + of comedy would be constantly taking place from the mimics and satirical + minstrels; but from want of fixed abode, popular government, and the + successive attendance of the same auditors, it would still remain in + embryo. I shall, perhaps, have occasion to observe that this remark is not + without importance in explaining the essential differences of the modern + and ancient theatres. + </p> + <p> + Phænomena, similar to those which accompanied the origin of tragedy and + comedy among the Greeks, would take place among the Romans much more + slowly, and the drama would, in any case, have much longer remained in its + first irregular form from the character of the people, their continual + engagements in wars of conquest, the nature of their government, and their + rapidly increasing empire. But, however this might have been, the conquest + of Greece precluded both the process and the necessity of it; and the + Roman stage at once presented imitations or translations of the Greek + drama. This continued till the perfect establishment of Christianity. Some + attempts, indeed, were made to adapt the persons of Scriptural or + ecclesiastical history to the drama; and sacred plays, it is probable, + were not unknown in Constantinople under the emperors of the East. The + first of the kind is, I believe, the only one preserved,—namely, the + {Greek (transliterated): Christos Paschon}, or "Christ in his sufferings," + by Gregory Nazianzen,—possibly written in consequence of the + prohibition of profane literature to the Christians by the apostate + Julian. {1} In the West, however, the enslaved and debauched Roman world + became too barbarous for any theatrical exhibitions more refined than + those of pageants and chariot-races; while the spirit of Christianity, + which in its most corrupt form still breathed general humanity, whenever + controversies of faith were not concerned, had done away the cruel combats + of the gladiators, and the loss of the distant provinces prevented the + possibility of exhibiting the engagements of wild beasts. + </p> + <p> + I pass, therefore, at once to the feudal ages which soon succeeded, + confining my observation to this country; though, indeed, the same remark + with very few alterations will apply to all the other states, into which + the great empire was broken. Ages of darkness succeeded;—not, + indeed, the darkness of Russia or of the barbarous lands unconquered by + Rome; for from the time of Honorius to the destruction of Constantinople + and the consequent introduction of ancient literature into Europe, there + was a continued succession of individual intellects;—the golden + chain was never wholly broken, though the connecting links were often of + baser metal. A dark cloud, like another sky, covered the entire cope of + heaven,—but in this place it thinned away, and white stains of light + showed a half eclipsed star behind it,—in that place it was rent + asunder, and a star passed across the opening in all its brightness, and + then vanished. Such stars exhibited themselves only; surrounding objects + did not partake of their light. There were deep wells of knowledge, but no + fertilizing rills and rivulets. For the drama, society was altogether a + state of chaos, out of which it was, for a while at least, to proceed + anew, as if there had been none before it. + </p> + <p> + And yet it is not undelightful to contemplate the eduction of good from + evil. The ignorance of the great mass of our countrymen, was the efficient + cause of the reproduction of the drama; and the preceding darkness and the + returning light were alike necessary in order to the creation of a + Shakspeare. + </p> + <p> + The drama re-commenced in England, as it first began in Greece, in + religion. The people were not able to read,—the priesthood were + unwilling that they should read; and yet their own interest compelled them + not to leave the people wholly ignorant of the great events of sacred + history. They did that, therefore, by scenic representations, which in + after ages it has been attempted to do in Roman Catholic countries by + pictures. They presented Mysteries, and often at great expense; and + reliques of this system still remain in the south of Europe, and indeed + throughout Italy, where at Christmas the convents and the great nobles + rival each other in the scenic representation of the birth of Christ and + its circumstances. I heard two instances mentioned to me at different + times, one in Sicily and the other in Rome, of noble devotees, the ruin of + whose fortunes was said to have commenced in the extravagant expense which + had been incurred in presenting the 'præsepe' or manger. But these + Mysteries, in order to answer their design, must not only be instructive, + but entertaining; and as, when they became so, the people began to take + pleasure in acting them themselves—in interloping,—(against + which the priests seem to have fought hard and yet in vain) the most + ludicrous images were mixed with the most awful personations; and whatever + the subject might be, however sublime, however pathetic, yet the Vice and + the Devil, who are the genuine antecessors of Harlequin and the Clown, + were necessary component parts. I have myself a piece of this kind, which + I transcribed a few years ago at Helmstadt, in Germany, on the education + of Eve's children, in which after the fall and repentance of Adam, the + offended Maker, as in proof of his reconciliation, condescends to visit + them, and to catechise the children,—who with a noble contempt of + chronology are all brought together from Abel to Noah. The good children + say the ten Commandments, the Belief and the Lord's Prayer; but Cain and + his rout, after he had received a box on the ear for not taking off his + hat, and afterwards offering his left hand, is prompted by the devil so to + blunder in the Lord's Prayer as to reverse the petitions and say it + backward! {2} + </p> + <p> + Unaffectedly I declare I feel pain at repetitions like these, however + innocent. As historical documents they are valuable; but I am sensible + that what I can read with my eye with perfect innocence, I cannot without + inward fear and misgivings pronounce with my tongue. + </p> + <p> + Let me, however, be acquitted of presumption if I say that I cannot agree + with Mr. Malone, that our ancestors did not perceive the ludicrous in + these things, or that they paid no separate attention to the serious and + comic parts. Indeed his own statement contradicts it. For what purpose + should the Vice leap upon the Devil's back and belabour him, but to + produce this separate attention? The people laughed heartily, no doubt. + Nor can I conceive any meaning attached to the words "separate attention," + that is not fully answered by one part of an exhibition exciting + seriousness or pity, and the other raising mirth and loud laughter. That + they felt no impiety in the affair is most true. For it is the very + essence of that system of Christian polytheism, which in all its + essentials is now fully as gross in Spain, in Sicily and the south of + Italy, as it ever was in England in the days of Henry VI.—(nay, more + so; for a Wicliffe had then not appeared only, but scattered the good seed + widely,) it is an essential part, I say, of that system to draw the mind + wholly from its own inward whispers and quiet discriminations, and to + habituate the conscience to pronounce sentence in every case according to + the established verdicts of the church and the casuists. I have looked + through volume after volume of the most approved casuists,—and still + I find disquisitions whether this or that act is right, and under what + circumstances, to a minuteness that makes reasoning ridiculous, and of a + callous and unnatural immodesty, to which none but a monk could harden + himself, who has been stripped of all the tender charities of life, yet is + goaded on to make war against them by the unsubdued hauntings of our + meaner nature, even as dogs are said to get the 'hydrophobia' from + excessive thirst. I fully believe that our ancestors laughed as heartily, + as their posterity do at Grimaldi;—and not having been told that + they would be punished for laughing, they thought it very innocent;—and + if their priests had left out murder in the catalogue of their + prohibitions (as indeed they did under certain circumstances of heresy,) + the greater part of them,—the moral instincts common to all men + having been smothered and kept from development,—would have thought + as little of murder. However this may be, the necessity of at once + instructing and gratifying the people produced the great distinction + between the Greek and the English theatres;—for to this we must + attribute the origin of tragi-comedy, or a representation of human events + more lively, nearer the truth, and permitting a larger field of moral + instruction, a more ample exhibition of the recesses of the human heart, + under all the trials and circumstances that most concern us, than was + known or guessed at by Æschylus, Sophocles, or Euripides;—and at the + same time we learn to account for, and—relatively to the author—perceive + the necessity of, the Fool or Clown or both, as the substitutes of the + Vice and the Devil, which our ancestors had been so accustomed to see in + every exhibition of the stage, that they could not feel any performance + perfect without them. Even to this day in Italy, every opera—(even + Metastasio obeyed the claim throughout)—must have six characters, + generally two pairs of cross lovers, a tyrant and a confidant, or a father + and two confidants, themselves lovers;—and when a new opera appears, + it is the universal fashion to ask—which is the tyrant, which the + lover? &c. + </p> + <p> + It is the especial honour of Christianity, that in its worst and most + corrupted form it cannot wholly separate itself from morality;—whereas + the other religions in their best form (I do not include Mohammedanism, + which is only an anomalous corruption of Christianity, like + Swedenborgianism,) have no connection with it. The very impersonation of + moral evil under the name of Vice, facilitated all other impersonations; + and hence we see that the Mysteries were succeeded by Moralities, or + dialogues and plots of allegorical personages. Again, some character in + real history had become so famous, so proverbial, as Nero for instance, + that they were introduced instead of the moral quality, for which they + were so noted;—and in this manner the stage was moving on to the + absolute production of heroic and comic real characters, when the + restoration of literature, followed by the ever-blessed Reformation, let + in upon the kingdom not only new knowledge, but new motive. A useful + rivalry commenced between the metropolis on the one hand, the residence, + independently of the court and nobles, of the most active and stirring + spirits who had not been regularly educated, or who, from mischance or + otherwise, had forsaken the beaten track of preferment,—and the + universities on the other. The latter prided themselves on their closer + approximation to the ancient rules and ancient regularity—taking the + theatre of Greece, or rather its dim reflection, the rhetorical tragedies + of the poet Seneca, as a perfect ideal, without any critical collation of + the times, origin, or circumstances;—whilst, in the mean time, the + popular writers, who could not and would not abandon what they had found + to delight their countrymen sincerely, and not merely from inquiries first + put to the recollection of rules, and answered in the affirmative, as if + it had been an arithmetical sum, did yet borrow from the scholars whatever + they advantageously could, consistently with their own peculiar means of + pleasing. + </p> + <p> + And here let me pause for a moment's contemplation of this interesting + subject. + </p> + <p> + We call, for we see and feel, the swan and the dove both transcendantly + beautiful. As absurd as it would be to institute a comparison between + their separate claims to beauty from any abstract rule common to both, + without reference to the life and being of the animals themselves,—or + as if, having first seen the dove, we abstracted its outlines, gave them a + false generalization, called them the principles or ideal of bird-beauty, + and then proceeded to criticise the swan or the eagle;—not less + absurd is it to pass judgment on the works of a poet on the mere ground + that they have been called by the same class-name with the works of other + poets in other times and circumstances, or on any ground, indeed, save + that of their inappropriateness to their own end and being, their want of + significance, as symbols or physiognomy. + </p> + <p> + O! few have there been among critics, who have followed with the eye of + the imagination the imperishable yet ever wandering spirit of poetry + through its various metempsychoses, and consequent metamorphoses;—or + who have rejoiced in the light of clear perception at beholding with each + new birth, with each rare 'avatar', the human race frame to itself a new + body, by assimilating materials of nourishment out of its new + circumstances, and work for itself new organs of power appropriate to the + new sphere of its motion and activity! + </p> + <p> + I have before spoken of the Romance, or the language formed out of the + decayed Roman and the Northern tongues; and comparing it with the Latin, + we find it less perfect in simplicity and relation—the privileges of + a language formed by the mere attraction of homogeneous parts;—but + yet more rich, more expressive and various, as one formed by more obscure + affinities out of a chaos of apparently heterogeneous atoms. As more than + a metaphor,—as an analogy of this, I have named the true genuine + modern poetry the romantic; and the works of Shakspeare are romantic + poetry revealing itself in the drama. If the tragedies of Sophocles are in + the strict sense of the word tragedies, and the comedies of Aristophanes + comedies, we must emancipate ourselves from a false association arising + from misapplied names, and find a new word for the plays of Shakspeare. + For they are, in the ancient sense, neither tragedies nor comedies, nor + both in one,—but a different 'genus', diverse in kind, and not + merely different in degree. They may be called romantic dramas, or + dramatic romances. + </p> + <p> + A deviation from the simple forms and unities of the ancient stage is an + essential principle, and, of course, an appropriate excellence, of the + romantic drama. For these unities were to a great extent the natural form + of that which in its elements was homogeneous, and the representation of + which was addressed pre-eminently to the outward senses;—and though + the fable, the language and the characters appealed to the reason rather + than to the mere understanding, inasmuch as they supposed an ideal state + rather than referred to an existing reality,—yet it was a reason + which was obliged to accommodate itself to the senses, and so far became a + sort of more elevated understanding. On the other hand, the romantic + poetry—the Shakspearian drama—appealed to the imagination + rather than to the senses, and to the reason as contemplating our inward + nature, and the workings of the passions in their most retired recesses. + But the reason, as reason, is independent of time and space; it has + nothing to do with them; and hence the certainties of reason have been + called eternal truths. As for example—the endless properties of the + circle:—what connection have they with this or that age, with this + or that country?—The reason is aloof from time and space;—the + imagination is an arbitrary controller over both;—and if only the + poet have such power of exciting our internal emotions as to make us + present to the scene in imagination chiefly, he acquires the right and + privilege of using time and space as they exist in imagination, and + obedient only to the laws by which the imagination itself acts. These laws + it will be my object and aim to point out as the examples occur, which + illustrate them. But here let me remark what can never be too often + reflected on by all who would intelligently study the works either of the + Athenian dramatists, or of Shakspeare, that the very essence of the former + consists in the sternest separation of the diverse in kind and the + disparate in the degree, whilst the latter delights in interlacing by a + rainbow-like transfusion of hues the one with the other. + </p> + <p> + And here it will be necessary to say a few words on the stage and on + stage-illusion. + </p> + <p> + A theatre, in the widest sense of the word, is the general term for all + places of amusement through the ear or eye, in which men assemble in order + to be amused by some entertainment presented to all at the same time and + in common. Thus, an old Puritan divine says:—"Those who attend + public worship and sermons only to amuse themselves, make a theatre of the + church, and turn God's house into the devil's. 'Theatra ædes + diabololatricæ'." The most important and dignified species of this genus + is, doubtless, the stage, ('res theatralis histrionica'), which, in + addition to the generic definition above given, may be characterized in + its idea, or according to what it does, or ought to, aim at, as a + combination of several or of all the fine arts in an harmonious whole, + having a distinct end of its own, to which the peculiar end of each of the + component arts, taken separately, is made subordinate and subservient,—that, + namely, of imitating reality—whether external things, actions, or + passions—under a semblance of reality. Thus, Claude imitates a + landscape at sunset, but only as a picture; while a forest-scene is not + presented to the spectators as a picture, but as a forest; and though, in + the full sense of the word, we are no more deceived by the one than by the + other, yet are our feelings very differently affected; and the pleasure + derived from the one is not composed of the same elements as that afforded + by the other, even on the supposition that the 'quantum' of both were + equal. In the former, a picture, it is a condition of all genuine delight + that we should not be deceived; in the latter, stage-scenery, (inasmuch as + its principal end is not in or for itself, as is the case in a picture, + but to be an assistance and means to an end out of itself) its very + purpose is to produce as much illusion as its nature permits. These, and + all other stage presentations, are to produce a sort of temporary + half-faith, which the spectator encourages in himself and supports by a + voluntary contribution on his own part, because he knows that it is at all + times in his power to see the thing as it really is. I have often observed + that little children are actually deceived by stage-scenery, never by + pictures; though even these produce an effect on their impressible minds, + which they do not on the minds of adults. The child, if strongly + impressed, does not indeed positively think the picture to be the reality; + but yet he does not think the contrary. As Sir George Beaumont was shewing + me a very fine engraving from Rubens, representing a storm at sea without + any vessel or boat introduced, my litte boy, then about five years old, + came dancing and singing into the room, and all at once (if I may so say) + 'tumbled in' upon the print. He instantly started, stood silent and + motionless, with the strongest expression, first of wonder and then of + grief in his eyes and countenance, and at length said, "And where is the + ship? But that is sunk, and the men are all drowned!" still keeping his + eyes fixed on the print. Now what pictures are to little children, + stage-illusion is to men, provided they retain any part of the child's + sensibility; except, that in the latter instance, the suspension of the + act of comparison, which permits this sort of negative belief, is somewhat + more assisted by the will, than in that of a child respecting a picture. + </p> + <p> + The true stage-illusion in this and in all other things consists—not + in the mind's judging it to be a forest, but, in its remission of the + judgment that it is not a forest. And this subject of stage-illusion is so + important, and so many practical errors and false criticisms may arise, + and indeed have arisen, either from reasoning on it as actual delusion, + (the strange notion, on which the French critics built up their theory, + and on which the French poets justify the construction of their + tragedies), or from denying it altogether, (which seems the end of Dr. + Johnson's reasoning, and which, as extremes meet, would lead to the very + same consequences, by excluding whatever would not be judged probable by + us in our coolest state of feeling, with all our faculties in even + balance), that these few remarks will, I hope, be pardoned, if they should + serve either to explain or to illustrate the point. For not only are we + never absolutely deluded—or any thing like it, but the attempt to + cause the highest delusion possible to beings in their senses sitting in a + theatre, is a gross fault, incident only to low minds, which, feeling that + they cannot affect the heart or head permanently, endeavour to call forth + the momentary affections. There ought never to be more pain than is + compatible with co-existing pleasure, and to be amply repaid by thought. + </p> + <p> + Shakspeare found the infant stage demanding an intermixture of ludicrous + character as imperiously as that of Greece did the chorus, and high + language accordant. And there are many advantages in this;—a greater + assimilation to nature, a greater scope of power, more truths, and more + feelings;-the effects of contrast, as in Lear and the Fool; and especially + this, that the true language of passion becomes sufficiently elevated by + your having previously heard, in the same piece, the lighter conversation + of men under no strong emotion. The very nakedness of the stage, too, was + advantageous,—for the drama thence became something between + recitation and a re-presentation; and the absence or paucity of scenes + allowed a freedom from the laws of unity of place and unity of time, the + observance of which must either confine the drama to as few subjects as + may be counted on the fingers, or involve gross improbabilities, far more + striking than the violation would have caused. Thence, also, was precluded + the danger of a false ideal,—of aiming at more than what is possible + on the whole. What play of the ancients, with reference to their ideal, + does not hold out more glaring absurdities than any in Shakspeare? On the + Greek plan a man could more easily be a poet than a dramatist; upon our + plan more easily a dramatist than a poet. + </p> + <p> + {Footnote 1: A. D. 363. But I believe the prevailing opinion amongst + scholars now is, that the {Greek: Christos Paschon} is not genuine. Ed.} + </p> + <p> + {Footnote 2: See vol. i. p. 76, where this is told more at length and + attributed to Hans Sachs. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0007" id="link2H_4_0007"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE DRAMA GENERALLY, AND PUBLIC TASTE. + </h2> + <p> + Unaccustomed to address such an audience, and having lost by a long + interval of confinement the advantages of my former short schooling, I had + miscalculated in my last Lecture the proportion of my matter to my time, + and by bad economy and unskilful management, the several heads of my + discourse failed in making the entire performance correspond with the + promise publicly circulated in the weekly annunciation of the subjects, to + be treated. It would indeed have been wiser in me, and perhaps better on + the whole, if I had caused my Lectures to be announced only as + continuations of the main subject. But if I be, as perforce I must be, + gratified by the recollection of whatever has appeared to give you + pleasure, I am conscious of something better, though less flattering, a + sense of unfeigned gratitude for your forbearance with my defects. Like + affectionate guardians, you see without disgust the awkwardness, and + witness with sympathy the growing pains, of a youthful endeavour, and look + forward with a hope, which is its own reward, to the contingent results of + practice—to its intellectual maturity. + </p> + <p> + In my last address I defined poetry to be the art, or whatever better term + our language may afford, of representing external nature and human + thoughts, both relatively to human affections, so as to cause the + production of as great immediate pleasure in each part, as is compatible + with the largest possible sum of pleasure on the whole. Now this + definition applies equally to painting and music as to poetry; and in + truth the term poetry is alike applicable to all three. The vehicle alone + constitutes the difference; and the term 'poetry' is rightly applied by + eminence to measured words, only because the sphere of their action is far + wider, the power of giving permanence to them much more certain, and + incomparably greater the facility, by which men, not defective by nature + or disease, may be enabled to derive habitual pleasure and instruction + from them. On my mentioning these considerations to a painter of great + genius, who had been, from a most honourable enthusiasm, extolling his own + art, he was so struck with their truth, that he exclaimed, "I want no + other arguments;—poetry, that is, verbal poetry, must be the + greatest; all that proves final causes in the world, proves this; it would + be shocking to think otherwise!"—And in truth, deeply, O! far more + than words can express, as I venerate the Last Judgment and the Prophets + of Michel Angelo Buonaroti,—yet the very pain which I repeatedly + felt as I lost myself in gazing upon them, the painful consideration that + their having been painted in 'fresco' was the sole cause that they had not + been abandoned to all the accidents of a dangerous transportation to a + distant capital, and that the same caprice, which made the Neapolitan + soldiery destroy all the exquisite master-pieces on the walls of the + church of the 'Trinitado Monte', after the retreat of their antagonist + barbarians, might as easily have made vanish the rooms and open gallery of + Raffael, and the yet more unapproachable wonders of the sublime Florentine + in the Sixtine Chapel, forced upon my mind the reflection; How grateful + the human race ought to be that the works of Euclid, Newton, Plato, + Milton, Shakspeare, are not subjected to similar contingencies,—that + they and their fellows, and the great, though inferior, peerage of undying + intellect, are secured;—secured even from a second irruption of + Goths and Vandals, in addition to many other safeguards, by the vast + empire of English language, laws, and religion founded in America, through + the overflow of the power and the virtue of my country;-and that now the + great and certain works of genuine fame can only cease to act for mankind, + when men themselves cease to be men, or when the planet on which they + exist, shall have altered its relations, or have ceased to be. Lord Bacon, + in the language of the gods, if I may use an Homeric phrase, has expressed + a similar thought:— + </p> + <p> + Lastly, leaving the vulgar arguments, that by learning man excelleth man + in that wherein man excelleth beasts; that by learning man ascendeth to + the heavens and their motions, where in body he cannot come, and the like; + let us conclude with the dignity and excellency of knowledge and learning + in that whereunto man's nature doth most aspire, which is, immortality or + continuance: for to this tendeth generation, and raising of houses and + families; to this tend buildings, foundations, and monuments; to this + tendeth the desire of memory, fame, and celebration, and in effect the + strength of all other human desires. We see then how far the monuments of + wit and learning are more durable than the monuments of power, or of the + hands. For have not the verses of Homer continued twenty-five hundred + years, or more, without the loss of a syllable or letter; during which + time infinite palaces, temples, castles, cities, have been decayed and + demolished? It is not possible to have the true pictures or statues of + Cyrus, Alexander, Caesar; no, nor of the kings or great personages of much + later years; for the originals cannot last, and the copies cannot but lose + of the life and truth. But the images of men's wits and knowledges remain + in books, exempted from the wrong of time, and capable of perpetual + renovation. Neither are they fitly to be called images, because they + generate still, and cast their seeds in the minds of others, provoking and + causing infinite actions and opinions in succeeding ages: so that, if the + invention of the ship was thought so noble, which carrieth riches and + commodities from place to place, and consociateth the most remote regions + in participation of their fruits; how much more are letters to be + magnified, which, as ships pass through the vast seas of time, and make + ages so distant to participate of the wisdom, illuminations, and + inventions, the one of the other? {1} + </p> + <p> + But let us now consider what the drama should be. And first, it is not a + copy, but an imitation, of nature. This is the universal principle of the + fine arts. In all well laid out grounds what delight do we feel from that + balance and antithesis of feelings and thoughts! How natural! we say;—but + the very wonder that caused the exclamation, implies that we perceived art + at the same moment. We catch the hint from nature itself. Whenever in + mountains or cataracts we discover a likeness to any thing artificial + which yet we know is not artificial—what pleasure! And so it is in + appearances known to be artificial, which appear to be natural. This + applies in due degrees, regulated by steady good sense, from a clump of + trees to the Paradise Lost or Othello. It would be easy to apply it to + painting and even, though with greater abstraction of thought, and by more + subtle yet equally just analogies—to music. But this belongs to + others;—suffice it that one great principle is common to all the + fine arts,—a principle which probably is the condition of all + consciousness, without which we should feel and imagine only by + discontinuous moments, and be plants or brute animals instead of men;—I + mean that ever-varying balance, or balancing, of images, notions, or + feelings, conceived as in opposition to each other;—in short, the + perception of identity and contrariety; the least degree of which + constitutes likeness, the greatest absolute difference; but the infinite + gradations between these two form all the play and all the interest of our + intellectual and moral being, till it leads us to a feeling and an object + more awful than it seems to me compatible with even the present subject to + utter aloud, though I am most desirous to suggest it. For there alone are + all things at once different and the same; there alone, as the principle + of all things, does distinction exist unaided by division; there are will + and reason, succession of time and unmoving eternity, infinite change and + ineffable rest!— + </p> +<pre xml:space="preserve"> + Return Alpheus! the dread voice is past + Which shrunk thy streams!—Thou honour'd flood, + Smooth-'flowing' Avon, crown'd with vocal reeds, + That strain I heard, was of a higher mood!— + But now my 'voice' proceeds. +</pre> + <p> + We may divide a dramatic poet's characteristics before we enter into the + component merits of any one work, and with reference only to those things + which are to be the materials of all, into language, passion, and + character; always bearing in mind that these must act and react on each + other,—the language inspired by the passion, and the language and + the passion modified and differenced by the character. To the production + of the highest excellencies in these three, there are requisite in the + mind of the author;—good sense; talent; sensibility; imagination;—and + to the perfection of a work we should add two faculties of lesser + importance, yet necessary for the ornaments and foliage of the column and + the roof—fancy and a quick sense of beauty. + </p> + <p> + As to language;—it cannot be supposed that the poet should make his + characters say all that they would, or that, his whole drama considered, + each scene, or paragraph should be such as, on cool examination, we can + conceive it likely that men in such situations would say, in that order, + or with that perfection. And yet, according to my feelings, it is a very + inferior kind of poetry, in which, as in the French tragedies, men are + made to talk in a style which few indeed even of the wittiest can be + supposed to converse in, and which both is, and on a moment's reflection + appears to be, the natural produce of the hot-bed of vanity, namely, the + closet of an author, who is actuated originally by a desire to excite + surprise and wonderment at his own superiority to other men,—instead + of having felt so deeply on certain subjects, or in consequence of certain + imaginations, as to make it almost a necessity of his nature to seek for + sympathy,—no doubt, with that honorable desire of permanent action + which distinguishes genius.—Where then is the difference?—In + this that each part should be proportionate, though the whole may be + perhaps impossible. At all events, it should be compatible with sound + sense and logic in the mind of the poet himself. + </p> + <p> + It is to be lamented that we judge of books by books, instead of referring + what we read to our own experience. One great use of books is to make + their contents a motive for observation. The German tragedies have in some + respects been justly ridiculed. In them the dramatist often becomes a + novelist in his directions to the actors, and thus degrades tragedy into + pantomime. Yet still the consciousness of the poet's mind must be diffused + over that of the reader or spectator; but he himself, according to his + genius, elevates us, and by being always in keeping, prevents us from + perceiving any strangeness, though we feel great exultation. Many + different kinds of style may be admirable, both in different men, and in + different parts of the same poem. + </p> + <p> + See the different language which strong feelings may justify in Shylock, + and learn from Shakspeare's conduct of that character the terrible force + of very plain and calm diction, when known to proceed from a resolved and + impassioned man. + </p> + <p> + It is especially with reference to the drama, and its characteristics in + any given nation, or at any particular period, that the dependence of + genius on the public taste becomes a matter of the deepest importance. I + do not mean that taste which springs merely from caprice or fashionable + imitation, and which, in fact, genius can, and by degrees will, create for + itself; but that which arises out of wide-grasping and heart-enrooted + causes, which is epidemic, and in the very air that all breathe. This it + is which kills, or withers, or corrupts. Socrates, indeed, might walk arm + and arm with Hygeia, whilst pestilence, with a thousand furies running to + and fro, and clashing against each other in a complexity and agglomeration + of horrors, was shooting her darts of fire and venom all around him. Even + such was Milton; yea, and such, in spite of all that has been babbled by + his critics in pretended excuse for his damning, because for them too + profound, excellencies,—such was Shakspeare. But alas! the + exceptions prove the rule. For who will dare to force his way out of the + crowd,—not of the mere vulgar,—but of the vain and banded + aristocracy of intellect, and presume to join the almost supernatural + beings that stand by themselves aloof? + </p> + <p> + Of this diseased epidemic influence there are two forms especially + preclusive of tragic worth. The first is the necessary growth of a sense + and love of the ludicrous, and a morbid sensibility of the assimilative + power,—an inflammation produced by cold and weakness,—which in + the boldest bursts of passion will lie in wait for a jeer at any phrase, + that may have an accidental coincidence in the mere words with something + base or trivial. For instance,—to express woods, not on a plain, but + clothing a hill, which overlooks a valley, or dell, or river, or the sea,—the + trees rising one above another, as the spectators in an ancient theatre,—I + know no other word in our language, (bookish and pedantic terms out of the + question,) but 'hanging' woods, the 'sylvæ superimpendentes' of Catullus + {2}; yet let some wit call out in a slang tone,—"the gallows!" and a + peal of laughter would damn the play. Hence it is that so many dull pieces + have had a decent run, only because nothing unusual above, or absurd + below, mediocrity furnished an occasion,—a spark for the explosive + materials collected behind the orchestra. But it would take a volume of no + ordinary size, however laconically the sense were expressed, if it were + meant to instance the effects, and unfold all the causes, of this + disposition upon the moral, intellectual, and even physical character of a + people, with its influences on domestic life and individual deportment. A + good document upon this subject would be the history of Paris society and + of French, that is, Parisian, literature from the commencement of the + latter half of the reign of Louis XIV. to that of Buonaparte, compared + with the preceding philosophy and poetry even of Frenchmen themselves. + </p> + <p> + The second form, or more properly, perhaps, another distinct cause, of + this diseased disposition is matter of exultation to the philanthropist + and philosopher, and of regret to the poet, the painter, and the statuary + alone, and to them only as poets, painters, and statuaries;—namely, + the security, the comparative equability, and ever increasing sameness of + human life. Men are now so seldom thrown into wild circumstances, and + violences of excitement, that the language of such states, the laws of + association of feeling with thought, the starts and strange far-flights of + the assimilative power on the slightest and least obvious likeness + presented by thoughts, words, or objects,—these are all judged of by + authority, not by actual experience,—by what men have been + accustomed to regard as symbols of these states, and not the natural + symbols, or self-manifestations of them. + </p> + <p> + Even so it is in the language of man, and in that of nature. The sound + 'sun', or the figures 's', 'u', 'n', are purely arbitrary modes of + recalling the object, and for visual mere objects they are not only + sufficient, but have infinite advantages from their very nothingness 'per + se'. But the language of nature is a subordinate 'Logos', that was in the + beginning, and was with the thing it represented, and was the thing it + represented. + </p> + <p> + Now the language of Shakspeare, in his Lear for instance, is a something + intermediate between these two; or rather it is the former blended with + the latter,—the arbitrary, not merely recalling the cold notion of + the thing, but expressing the reality of it, and, as arbitrary language is + an heir-loom of the human race, being itself a part of that which it + manifests. What shall I deduce from the preceding positions? Even this,—the + appropriate, the never to be too much valued advantage of the theatre, if + only the actors were what we know they have been,—a delightful, yet + most effectual, remedy for this dead palsy of the public mind. What would + appear mad or ludicrous in a book, when presented to the senses under the + form of reality, and with the truth of nature, supplies a species of + actual experience. This is indeed the special privilege of a great actor + over a great poet. No part was ever played in perfection, but nature + justified herself in the hearts of all her children, in what state soever + they were, short of absolute moral exhaustion, or downright stupidity. + There is no time given to ask questions or to pass judgments; we are taken + by storm, and, though in the histrionic art many a clumsy counterfeit, by + caricature of one or two features, may gain applause as a fine likeness, + yet never was the very thing rejected as a counterfeit. O! when I think of + the inexhaustible mine of virgin treasure in our Shakspeare, that I have + been almost daily reading him since I was ten years old,—that the + thirty intervening years have been unintermittingly and not fruitlessly + employed in the study of the Greek, Latin, English, Italian, Spanish and + German 'belle lettrists', and the last fifteen years in addition, far more + intensely in the analysis of the laws of life and reason as they exist in + man,—and that upon every step I have made forward in taste, in + acquisition of facts from history or my own observation, and in knowledge + of the different laws of being and their apparent exceptions, from + accidental collision of disturbing forces,—that at every new + accession of information, after every successful exercise of meditation, + and every fresh presentation of experience, I have unfailingly discovered + a proportionate increase of wisdom and intuition in Shakspeare;—when + I know this, and know too, that by a conceivable and possible, though + hardly to be expected, arrangement of the British theatres, not all, + indeed, but a large, a very large, proportion of this indefinite all—(round + which no comprehension has yet drawn the line of circumscription, so as to + say to itself, 'I have seen the whole')—might be sent into the heads + and hearts—into the very souls of the mass of mankind, to whom, + except by this living comment and interpretation, it must remain for ever + a sealed volume, a deep well without a wheel or a windlass;—it seems + to me a pardonable enthusiasm to steal away from sober likelihood, and + share in so rich a feast in the faery world of possibility! Yet even in + the grave cheerfulness of a circumspect hope, much, very much, might be + done; enough, assuredly, to furnish a kind and strenuous nature with ample + motives for the attempt to effect what may be effected. + </p> + <p> + {Footnote: 'Advancement of Learning, book 1. 'sub fine.'} + </p> + <p> + {Footnote 2: Confestim Peneos adest, viridantia Tempe, Tempe, quae cingunt + sylvae superimpendentes. 'Epith. Pel. et. Th.' 286.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0008" id="link2H_4_0008"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SHAKSPEARE, A POET GENERALLY. + </h2> + <p> + Clothed in radiant armour, and authorized by titles sure and manifold, as + a poet, Shakspeare came forward to demand the throne of fame, as the + dramatic poet of England. His excellencies compelled even his + contemporaries to seat him on that throne, although there were giants in + those days contending for the same honor. Hereafter I would fain endeavour + to make out the title of the English drama as created by, and existing in, + Shakspeare, and its right to the supremacy of dramatic excellence in + general. But he had shown himself a poet, previously to his appearance as + a dramatic poet; and had no Lear, no Othello, no Henry IV., no Twelfth + Night ever appeared, we must have admitted that Shakspeare possessed the + chief, if not every, requisite of a poet,—deep feeling and exquisite + sense of beauty, both as exhibited to the eye in the combinations of form, + and to the ear in sweet and appropriate melody; that these feelings were + under the command of his own will; that in his very first productions he + projected his mind out of his own particular being, and felt, and made + others feel, on subjects no way connected with himself, except by force of + contemplation and that sublime faculty by which a great mind becomes that, + on which it meditates. To this must be added that affectionate love of + nature and natural objects, without which no man could have observed so + steadily, or painted so truly and passionately, the very minutest beauties + of the external world:— + </p> +<pre xml:space="preserve"> + When them hast on foot the purblind hare, + Mark the poor wretch; to overshoot his troubles, + How he outruns the wind, and with what care, + He cranks and crosses with a thousand doubles; + The many musits through the which he goes + Are like a labyrinth to amaze his foes. + + Sometimes he runs among the flock of sheep, + To make the cunning hounds mistake their smell; + And sometime where earth-delving conies keep, + To stop the loud pursuers in their yell; + And sometime sorteth with a herd of deer: + Danger deviseth shifts, wit waits on fear. + + For there his smell with others' being mingled, + The hot scent-snuffing hounds are driven to doubt, + Ceasing their clamorous cry, till they have singled, + With much ado, the cold fault cleanly out, + Then do they spend their mouths; echo replies, + As if another chase were in the skies. + + By this poor Wat far off, upon a hill, + Stands on his hinder legs with listening ear, + To hearken if his foes pursue him still: + Anon their loud alarums he doth hear, + And now his grief may be compared well + To one sore-sick, that hears the passing bell. + + Then shalt thou see the dew-bedabbled wretch + Turn, and return, indenting with the way: + Each envious briar his weary legs doth scratch. + Each shadow makes him stop, each murmur stay. + For misery is trodden on by many, + And being low, never relieved by any. + + 'Venus and Adonis'. +</pre> + <p> + And the preceding description:— + </p> +<pre xml:space="preserve"> + But, lo! from forth a copse that neighbours by, + A breeding jennet, lusty, young and proud, &c. +</pre> + <p> + is much more admirable, but in parts less fitted for quotation. + </p> + <p> + Moreover Shakspeare had shown that he possessed fancy, considered as the + faculty of bringing together images dissimilar in the main by some one + point or more of likeness, as in such a passage as this:— + </p> +<pre xml:space="preserve"> + Full gently now she takes him by the hand, + A lily prisoned in a jail of snow, + Or ivory in an alabaster band: + So white a friend ingirts so white a foe! +</pre> + <p> + 'Ib.' + </p> + <p> + And still mounting the intellectual ladder, he had as unequivocally proved + the indwelling in his mind of imagination, or the power by which one image + or feeling is made to modify many others, and by a sort of fusion to force + many into one;—that which afterwards showed itself in such might and + energy in Lear, where the deep anguish of a father spreads the feeling of + ingratitude and cruelty over the very elements of heaven;—and which, + combining many circumstances into one moment of consciousness, tends to + produce that ultimate end of all human thought and human feeling, unity, + and thereby the reduction of the spirit to its principle and fountain, who + is alone truly one. Various are the workings of this the greatest faculty + of the human mind, both passionate and tranquil. In its tranquil and + purely pleasurable operation, it acts chiefly by creating out of many + things, as they would have appeared in the description of an ordinary + mind, detailed in unimpassioned succession, a oneness, even as nature, the + greatest of poets, acts upon us, when we open our eyes upon an extended + prospect. Thus the flight of Adonis in the dusk of the evening:— + </p> +<pre xml:space="preserve"> + Look! how a bright star shooteth from the sky; + So glides he in the night from Venus' eye! +</pre> + <p> + How many images and feelings are here brought together without effort and + without discord, in the beauty of Adonis, the rapidity of his flight, the + yearning, yet hopelessness, of the enamored gazer, while a shadowy ideal + character is thrown over the whole! Or this power acts by impressing the + stamp of humanity, and of human feelings, on inanimate or mere natural + objects:— + </p> +<pre xml:space="preserve"> + Lo! here the gentle lark, weary of rest, + From his moist cabinet mounts up on high, + And wakes the morning, from whose silver breast + The sun ariseth in his majesty, + Who doth the world so gloriously behold, + The cedar-tops and hills seem burnish'd gold. +</pre> + <p> + Or again, it acts by so carrying on the eye of the reader as to make him + almost lose the consciousness of words,—to make him see every thing + flashed, as Wordsworth has grandly and appropriately said,— + </p> +<pre xml:space="preserve"> + <i>Flashed</i> upon that inward eye Which is the bliss of solitude;— +</pre> + <p> + and this without exciting any painful or laborious attention, without any + anatomy of description, (a fault not uncommon in descriptive poetry)-but + with the sweetness and easy movement of nature. This energy is an absolute + essential of poetry, and of itself would constitute a poet, though not one + of the highest class;—it is, however, a most hopeful symptom, and + the Venus and Adonis is one continued specimen of it. + </p> + <p> + In this beautiful poem there is an endless activity of thought in all the + possible associations of thought with thought, thought with feeling, or + with words, of feelings with feelings, and of words with words. + </p> +<pre xml:space="preserve"> + Even as the sun, with purple-colour'd face, + Had ta'en his last leave of the weeping morn, + Rose-cheek'd Adonis hied him to the chase: + Hunting he loved, but love he laughed to scorn. + Sick-thoughted Venus makes amain unto him, + And like a bold-faced suitor 'gins to woo him. +</pre> + <p> + Remark the humanizing imagery and circumstances of the first two lines, + and the activity of thought in the play of words in the fourth line. The + whole stanza presents at once the time, the appearance of the morning, and + the two persons distinctly characterized, and in six simple verses puts + the reader in possession of the whole argument of the poem. + </p> +<pre xml:space="preserve"> + Over one arm the lusty courser's rein, + Under the other was the tender boy, + Who blush'd and pouted in a dull disdain, + With leaden appetite, unapt to toy, + She red and hot, as coals of glowing fire, + He red for shame, but frosty to desire:— +</pre> + <p> + This stanza and the two following afford good instances of that poetic + power, which I mentioned above, of making every thing present to the + imagination—both the forms, and the passions which modify those + forms, either actually, as in the representations of love, or anger, or + other human affections; or imaginatively, by the different manner in which + inanimate objects, or objects unimpassioned themselves, are caused to be + seen by the mind in moments of strong excitement, and according to the + kind of the excitement,—whether of jealousy, or rage, or love, in + the only appropriate sense of the word, or of the lower impulses of our + nature, or finally of the poetic feeling itself. It is, perhaps, chiefly + in the power of producing and reproducing the latter that the poet stands + distinct. + </p> + <p> + The subject of the Venus and Adonis is unpleasing; but the poem itself is + for that very reason the more illustrative of Shakspeare. There are men + who can write passages of deepest pathos and even sublimity on + circumstances personal to themselves and stimulative of their own + passions; but they are not, therefore, on this account poets. Read that + magnificent burst of woman's patriotism and exultation, Deborah's song of + victory; it is glorious, but nature is the poet there. It is quite another + matter to become all things and yet remain the same,—to make the + changeful god be felt in the river, the lion and the flame;—this it + is, that is the true imagination. Shakspeare writes in this poem, as if he + were of another planet, charming you to gaze on the movements of Venus and + Adonis, as you would on the twinkling dances of two vernal butterflies. + </p> + <p> + Finally, in this poem and the Rape of Lucrece, Shakspeare gave ample proof + of his possession of a most profound, energetic, and philosophical mind, + without which he might have pleased, but could not have been a great + dramatic poet. Chance and the necessity of his genius combined to lead him + to the drama his proper province; in his conquest of which we should + consider both the difficulties which opposed him, and the advantages by + which he was assisted. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0009" id="link2H_4_0009"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SHAKSPEARE'S JUDGMENT EQUAL TO HIS GENIUS. + </h2> + <p> + Thus then Shakspeare appears, from his Venus and Adonis and Rape of + Lucrece alone, apart from all his great works, to have possessed all the + conditions of the true poet. Let me now proceed to destroy, as far as may + be in my power, the popular notion that he was a great dramatist by mere + instinct, that he grew immortal in his own despite, and sank below men of + second or third-rate power, when he attempted aught beside the drama—even + as bees construct their cells and manufacture their honey to admirable + perfection; but would in vain attempt to build a nest. Now this mode of + reconciling a compelled sense of inferiority with a feeling of pride, + began in a few pedants, who having read that Sophocles was the great model + of tragedy, and Aristotle the infallible dictator of its rules, and + finding that the Lear, Hamlet, Othello and other master-pieces were + neither in imitation of Sophocles, nor in obedience to Aristotle,—and + not having (with one or two exceptions) the courage to affirm, that the + delight which their country received from generation to generation, in + defiance of the alterations of circumstances and habits, was wholly + groundless,—took upon them, as a happy medium and refuge, to talk of + Shakspeare as a sort of beautiful 'lusus naturæ', a delightful monster,—wild, + indeed, and without taste or judgment, but like the inspired idiots so + much venerated in the East, uttering, amid the strangest follies, the + sublimest truths. In nine places out of ten in which I find his awful name + mentioned, it is with some epithet of 'wild', 'irregular,' 'pure child of + nature,' &c. If all this be true, we must submit to it; though to a + thinking mind it cannot but be painful to find any excellence, merely + human, thrown out of all human analogy, and thereby leaving us neither + rules for imitation, nor motives to imitate;—but if false, it is a + dangerous falsehood;—for it affords a refuge to secret self-conceit,—enables + a vain man at once to escape his reader's indignation by general swoln + panegyrics, and merely by his 'ipse dixit' to treat, as contemptible, what + he has not intellect enough to comprehend, or soul to feel, without + assigning any reason, or referring his opinion to any demonstrative + principle;—thus leaving Shakspeare as a sort of grand Lama, adored + indeed, arid his very excrements prized as relics, but with no authority + or real influence. I grieve that every late voluminous edition of his + works would enable me to substantiate the present charge with a variety of + facts one tenth of which would of themselves exhaust the time allotted to + me. Every critic, who has or has not made a collection of black letter + books—in itself a useful and respectable amusement,—puts on + the seven-league boots of self-opinion, and strides at once from an + illustrator into a supreme judge, and blind and deaf, fills his + three-ounce phial at the waters of Niagara; and determines positively the + greatness of the cataract to be neither more nor less than his three-ounce + phial has been able to receive. + </p> + <p> + I think this a very serious subject. It is my earnest desire—my + passionate endeavour,—to enforce at various times and by various + arguments and instances the close and reciprocal connexion of just taste + with pure morality. Without that acquaintance with the heart of man, or + that docility and childlike gladness to be made acquainted with it, which + those only can have, who dare look at their own hearts—and that with + a steadiness which religion only has the power of reconciling with sincere + humility;—without this, and the modesty produced by it, I am deeply + convinced that no man, however wide his erudition, however patient his + antiquarian researches, can possibly understand, or be worthy of + understanding, the writings of Shakspeare. + </p> + <p> + Assuredly that criticism of Shakspeare will alone be genial which is + reverential. The Englishman, who without reverence, a proud and + affectionate reverence, can utter the name of William Shakspeare, stands + disqualified for the office of critic. He wants one at least of the very + senses, the language of which he is to employ, and will discourse at best, + but as a blind man, while the whole harmonious creation of light and shade + with all its subtle interchange of deepening and dissolving colours rises + in silence to the silent 'fiat' of the uprising Apollo. However inferior + in ability I may be to some who have followed me, I own I am proud that I + was the first in time who publicly demonstrated to the full extent of the + position, that the supposed irregularity and extravagancies of Shakspeare + were the mere dreams of a pedantry that arraigned the eagle because it had + not the dimensions of the swan. In all the successive courses of lectures + delivered by me, since my first attempt at the Royal Institution, it has + been, and it still remains, my object, to prove that in all points from + the most important to the most minute, the judgment of Shakspeare is + commensurate with his genius,—nay, that his genius reveals itself in + his judgment, as in its most exalted form. And the more gladly do I recur + to this subject from the clear conviction, that to judge aright, and with + distinct consciousness of the grounds of our judgment, concerning the + works of Shakspeare, implies the power and the means of judging rightly of + all other works of intellect, those of abstract science alone excepted. + </p> + <p> + It is a painful truth that not only individuals, but even whole nations, + are ofttimes so enslaved to the habits of their education and immediate + circumstances, as not to judge disinterestedly even on those subjects, the + very pleasure arising from which consists in its disinterestedness, + namely, on subjects of taste and polite literature. Instead of deciding + concerning their own modes and customs by any rule of reason, nothing + appears rational, becoming, or beautiful to them, but what coincides with + the peculiarities of their education. In this narrow circle, individuals + may attain to exquisite discrimination, as the French critics have done in + their own literature; but a true critic can no more be such without + placing himself on some central point, from which he may command the + whole, that is, some general rule, which, founded in reason, or the + faculties common to all men, must therefore apply to each,—than an + astronomer can explain the movements of the solar system without taking + his stand in the sun. And let me remark, that this will not tend to + produce despotism, but, on the contrary, true tolerance, in the critic. He + will, indeed, require, as the spirit and substance of a work, something + true in human nature itself, and independent of all circumstances; but in + the mode of applying it, he will estimate genius and judgment according to + the felicity with which the imperishable soul of intellect shall have + adapted itself to the age, the place, and the existing manners. The error + he will expose, lies in reversing this, and holding up the mere + circumstances as perpetual to the utter neglect of the power which can + alone animate them. For art cannot exist without, or apart from, nature; + and what has man of his own to give to his fellow-man, but his own + thoughts and feelings, and his observations so far as they are modified by + his own thoughts or feelings? + </p> + <p> + Let me, then, once more submit this question to minds emancipated alike + from national, or party, or sectarian prejudice:—Are the plays of + Shakspeare works of rude uncultivated genius, in which the splendour of + the parts compensates, if aught can compensate, for the barbarous + shapelessness and irregularity of the whole?—Or is the form equally + admirable with the matter, and the judgment of the great poet, not less + deserving our wonder than his genius?—Or, again, to repeat the + question in other words:—Is Shakspeare a great dramatic poet on + account only of those beauties and excellencies which he possesses in + common with the ancients, but with diminished claims to our love and + honour to the full extent of his differences from them?—Or are these + very differences additional proofs of poetic wisdom, at once results and + symbols of living power as contrasted with lifeless mechanism—of + free and rival originality as contradistinguished from servile imitation, + or, more accurately, a blind copying of effects, instead of a true + imitation of the essential principles?—Imagine not that I am about + to oppose genius to rules. No! the comparative value of these rules is the + very cause to be tried. The spirit of poetry, like all other living + powers, must of necessity circumscribe itself by rules, were it only to + unite power with beauty. It must embody in order to reveal itself; but a + living body is of necessity an organized one; and what is organization but + the connection of parts in and for a whole, so that each part is at once + end and means?—This is no discovery of criticism;—it is a + necessity of the human mind; and all nations have felt and obeyed it, in + the invention of metre, and measured sounds, as the vehicle and + 'involucrum' of poetry—itself a fellow-growth from the same life,—even + as the bark is to the tree! + </p> + <p> + No work of true genius dares want its appropriate form, neither indeed is + there any danger of this. As it must not, so genius cannot, be lawless; + for it is even this that constitutes it genius—the power of acting + creatively under laws of its own origination. How then comes it that not + only single 'Zoili', but whole nations have combined in unhesitating + condemnation of our great dramatist, as a sort of African nature, rich in + beautiful monsters,—as a wild heath where islands of fertility look + the greener from the surrounding waste, where the loveliest plants now + shine out among unsightly weeds, and now are choked by their parasitic + growth, so intertwined that we cannot disentangle the weed without + snapping the flower?—In this statement. I have had no reference to + the vulgar abuse of Voltaire {1}, save as far as his charges are + coincident with the decisions of Shakspeare's own commentators and (so + they would tell you) almost idolatrous admirers. The true ground of the + mistake lies in the confounding mechanical regularity with organic form. + The form is mechanic, when on any given material we impress a + pre-determined form, not necessarily arising out of the properties of the + material;—as when to a mass of wet clay we give whatever shape we + wish it to retain when hardened. The organic form, on the other hand, is + innate; it shapes, as it developes, itself from within, and the fulness of + its development is one and the same with the perfection of its outward + form. Such as the life is, such is the form. Nature, the prime genial + artist, inexhaustible in diverse powers, is equally inexhaustible in + forms;—each exterior is the physiognomy of the being within,—its + true image reflected and thrown out from the concave mirror;—and + even such is the appropriate excellence of her chosen poet, of our own + Shakspeare,—himself a nature humanized, a genial understanding + directing self-consciously a power and an implicit wisdom deeper even than + our consciousness. + </p> + <p> + I greatly dislike beauties and selections in general; but as proof + positive of his unrivalled excellence, I should like to try Shakspeare by + this criterion. Make out your amplest catalogue of all the human + faculties, as reason or the moral law, the will, the feeling of the + coincidence of the two (a feeling 'sui generis et demonstratio + clemontrationum') called the conscience, the understanding or prudence, + wit, fancy, imagination, judgment,—and then of the objects on which + these are to be employed, as the beauties, the terrors, and the seeming + caprices of nature, the realities and the capabilities, that is, the + actual and the ideal, of the human mind, conceived as an individual or as + a social being, as in innocence or in guilt, in a play-paradise, or in a + war-field of temptation;—and then compare with Shakspeare under each + of these heads all or any of the writers in prose and verse that have ever + lived! Who, that is competent to judge, doubts the result?—And ask + your own hearts,—ask your own common-sense—to conceive the + possibility of this man being—I say not, the drunken savage of that + wretched sciolist, whom Frenchmen, to their shame, have honoured before + their elder and better worthies,—but the anomalous, the wild, the + irregular, genius of our daily criticism! What! are we to have miracles in + sport?—Or, I speak reverently, does God choose idiots by whom to + convey divine truths to man? + </p> + <p> + {Footnote 1: Take a slight specimen of it. + </p> +<pre xml:space="preserve"> + Je suis bien loin assurément de justifier en tout la tragédie + d'Hamlet; <i>c'est une pièce grossière et barbare, qui ne serait pas + supportée par la plus vile populace de la France et de l'Italie.</i> + Hamlet y devient fou au second acte, et sa maîtresse folle au + troisième; le prince tue le père de sa maîtresse, feignant de tuer un + rat, et I'heröine se jette dans la rivière. On fait sa fosse sur le + théâtre; des fossoyeurs disent des <i>quolibets</i> dignes d'eux, en tenant + dans leurs mains des têtes de morts; le prince Hamlet répond à leurs + 'grossièretés abominables par des folies non moins dégoûtantes. + Pendant ce temps-là, un des acteurs fait la conquête de la Pologne. + <i>Hamlet, sa mère, et son beau-père boivent ensemble sur le théâtre; on + chante à table, on s'y querelle, on se bat, on se tue: on croirait que + cet ouvrage est le fruit de I'imagination d'un sauvage ivre.</i> +</pre> + <p> + (Dissertation before Semiramis.) This is not, perhaps, very like Hamlet; + but nothing can be more like Voltaire. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0010" id="link2H_4_0010"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + RECAPITULATION, AND SUMMARY OF THE CHARACTERISTICS OF SHAKSPEARE's DRAMAS. + {1} + </h2> + <p> + In lectures, of which amusement forms a large part of the object, there + are some peculiar difficulties. The architect places his foundation out of + sight, and the musician tunes his instrument before he makes his + appearance; but the lecturer has to try his chords in the presence of the + assembly; an operation not likely, indeed, to produce much pleasure, but + yet indispensably necessary to a right understanding of the subject to be + developed. + </p> + <p> + Poetry in essence is as familiar to barbarous as to civilized nations. The + Laplander and the savage Indian are cheered by it as well as the + inhabitants of London and Paris;—its spirit takes up and + incorporates surrounding materials, as a plant clothes itself with soil + and climate, whilst it exhibits the working of a vital principle within + independent of all accidental circumstances. And to judge with fairness of + an author's works, we ought to distinguish what is inward and essential + from what is outward and circumstantial. It is essential to poetry that it + be "simple" and appeal to the elements and primary laws of our nature; + that it be "sensuous" and by its imagery elicit truth at a flash; that it + be "impassioned," and be able to move our feelings and awaken our + affections. In comparing different poets with each other, we should + inquire which have brought into the fullest play our imagination and our + reason, or have created the greatest excitement and produced the + completest harmony. If we consider great exquisiteness of language and + sweetness of metre alone, it is impossible to deny to Pope the character + of a delightful writer; but whether he be a poet, must depend upon our + definition of the word; and, doubtless, if every thing that pleases be + poetry, Pope's satires and epistles must be poetry. This, I must say, that + poetry, as distinguished from other modes of composition, does not rest in + metre, and that it is not poetry, if it make no appeal to our passions or + our imagination. One character belongs to all true poets, that they write + from a principle within, not originating in any thing without; and that + the true poet's work in its form, its shapings, and its modifications, is + distinguished from all other works that assume to belong to the class of + poetry, as a natural from an artificial flower, or as the mimic garden of + a child from an enamelled meadow. In the former the flowers are broken + from their stems and stuck into the ground; they are beautiful to the eye + and fragrant to the sense, but their colours soon fade, and their odour is + transient as the smile of the planter;—while the meadow may be + visited again and again with renewed delight, its beauty is innate in the + soil, and its bloom is of the freshness of nature. + </p> + <p> + The next ground of critical judgment, and point of comparison, will be as + to how far a given poet has been influenced by accidental circumstances. + As a living poet must surely write, not for the ages past, but for that in + which he lives, and those which are to follow, it is, on the one hand, + natural that he should not violate, and on the other, necessary that he + should not depend on, the mere manners and modes of his day. See how + little does Shakspeare leave us to regret that he was born in his + particular age! The great aera in modern times was what is called the + Restoration of Letters;-the ages preceding it are called the dark ages; + but it would be more wise, perhaps, to call them the ages in which we were + in the dark. It is usually overlooked that the supposed dark period was + not universal, but partial and successive, or alternate; that the dark age + of England was not the dark age of Italy, but that one country was in its + light and vigour, whilst another was in its gloom and bondage. But no + sooner had the Reformation sounded through Europe like the blast of an + archangel's trumpet, than from king to peasant there arose an enthusiasm + for knowledge; the discovery of a manuscript became the subject of an + embassy; Erasmus read by moonlight, because he could not afford a torch, + and begged a penny, not for the love of charity, but for the love of + learning. The three great points of attention were religion, morals, and + taste; men of genius as well as men of learning, who in this age need to + be so widely distinguished, then alike became copyists of the ancients; + and this, indeed, was the only way by which the taste of mankind could be + improved, or their understandings informed. Whilst Dante imagined himself + a humble follower of Virgil, and Ariosto of Homer, they were both + unconscious of that greater power working within them, which in many + points carried them beyond their supposed originals. All great discoveries + bear the stamp of the age in which they are made;—hence we perceive + the effects of the purer religion of the moderns, visible for the most + part in their lives; and in reading their works we should not content + ourselves with the mere narratives of events long since passed, but should + learn to apply their maxims and conduct to ourselves. + </p> + <p> + Having intimated that times and manners lend their form and pressure to + genius, let me once more draw a slight parallel between the ancient and + modern stage, the stages of Greece and of England. The Greeks were + polytheists; their religion was local; almost the only object of all their + knowledge, art and taste, was their gods; and, accordingly, their + productions were, if the expression may be allowed, statuesque, whilst + those of the moderns are picturesque. The Greeks reared a structure, which + in its parts, and as a whole, fitted the mind with the calm and elevated + impression of perfect beauty and symmetrical proportion. The moderns also + produced a whole, a more striking whole; but it was by blending materials + and fusing the parts together. And as the Pantheon is to York Minster or + Westminster Abbey, so is Sophocles compared with Shakspeare; in the one a + completeness, a satisfaction, an excellence, on which the mind rests with + complacency; in the other a multitude of interlaced materials, great and + little, magnificent and mean, accompanied, indeed, with the sense of a + falling short of perfection, and yet, at the same time, so promising of + our social and individual progression, that we would not, if we could, + exchange it for that repose of the mind which dwells on the forms of + symmetry in the acquiescent admiration of grace. + </p> + <p> + This general characteristic of the ancient and modern drama might be + illustrated by a parallel of the ancient and modern music;—the one + consisting of melody arising from a succession only of pleasing sounds,—the + modern embracing harmony also, the result of combination and the effect of + a whole. + </p> + <p> + I have said, and I say it again, that great as was the genius of + Shakspeare, his judgment was at least equal to it. Of this any one will be + convinced, who attentively considers those points in which the dramas of + Greece and England differ, from the dissimilitude of circumstances by + which each was modified and influenced. The Greek stage had its origin in + the ceremonies of a sacrifice, such as of the goat to Bacchus, whom we + most erroneously regard as merely the jolly god of wine;—for among + the ancients he was venerable, as the symbol of that power which acts + without our consciousness in the vital energies of nature,—the + 'vinum mundi',—as Apollo was that of the conscious agency of our + intellectual being. The heroes of old under the influence of this Bacchic + enthusiasm performed more than human actions;—hence tales of the + favorite champions soon passed into dialogue. On the Greek stage the + chorus was always before the audience; the curtain was never dropped, as + we should say; and change of place being therefore, in general, + impossible, the absurd notion of condemning it merely as improbable in + itself was never entertained by any one. If we can believe ourselves at + Thebes in one act, we may believe ourselves at Athens in the next. If a + story lasts twenty-four hours or twenty-four years, it is equally + improbable. There seems to be no just boundary but what the feelings + prescribe. But on the Greek stage where the same persons were perpetually + before the audience, great judgment was necessary in venturing on any such + change. The poets never, therefore, attempted to impose on the senses by + bringing places to men, but they did bring men to places, as in the well + known instance in the 'Eumenides', where during an evident retirement of + the chorus from the orchestra, the scene is changed to Athens, and Orestes + is first introduced in the temple of Minerva, and the chorus of Furies + come in afterwards in pursuit of him. {2} + </p> + <p> + In the Greek drama there were no formal divisions into scenes and acts; + there were no means, therefore, of allowing for the necessary lapse of + time between one part of the dialogue and another, and unity of time in a + strict sense was, of course, impossible. To overcome that difficulty of + accounting for time, which is effected on the modern stage by dropping a + curtain, the judgment and great genius of the ancients supplied music and + measured motion, and with the lyric ode filled up the vacuity. In the + story of the Agamemnon of Æschylus, the capture of Troy is supposed to be + announced by a fire lighted on the Asiatic shore, and the transmission of + the signal by successive beacons to Mycené. The signal is first seen at + the 2lst line, and the herald from Troy itself enters at the 486th, and + Agamemnon himself at the 783rd line. But the practical absurdity of this + was not felt by the audience, who, in imagination stretched minutes into + hours, while they listened to the lofty narrative odes of the chorus which + almost entirely fill up the interspace. Another fact deserves attention + here, namely, that regularly on the Greek stage a drama, or acted story, + consisted in reality of three dramas, called together a trilogy, and + performed consecutively in the course of one day. Now you may conceive a + tragedy of Shakspeare's as a trilogy connected in one single + representation. Divide Lear into three parts, and each would be a play + with the ancients; or take the three Æschylean dramas of Agamemnon, and + divide them into, or call them, as many acts, and they together would be + one play. The first act would comprise the usurpation of Ægisthus, and the + murder of Agamemnon; the second, the revenge of Orestes, and the murder of + his mother; and the third, the penance and absolution of Orestes;—occupying + a period of twenty-two years. + </p> + <p> + The stage in Shakspeare's time was a naked room with a blanket for a + curtain; but he made it a field for monarchs. That law of unity, which has + its foundations, not in the factitious necessity of custom, but in nature + itself, the unity of feeling, is every where and at all times observed by + Shakspeare in his plays. Read 'Romeo and Juliet';—all is youth and + spring;—youth with its follies, its virtues, its precipitancies;—spring + with its odours, its flowers, and its transiency; it is one and the same + feeling that commences, goes through, and ends the play. The old men, the + Capulets and the Montagues, are not common old men; they have an + eagerness, a heartiness, a vehemence, the effect of spring; with Romeo, + his change of passion, his sudden marriage, and his rash death, are all + the effects of youth;—whilst in Juliet love has all that is tender + and melancholy in the nightingale, all that is voluptuous in the rose, + with whatever is sweet in the freshness of spring; but it ends with a long + deep sigh like the last breeze of the Italian evening. This unity of + feeling and character pervades every drama of Shakspeare. + </p> + <p> + It seems to me that his plays are distinguished from those of all other + dramatic poets by the following characteristics: + </p> + <p> + 1. Expectation in preference to surprise. It is like the true reading of + the passage;—'God said, Let there be light, and there was <i>light</i>;'—not + there <i>was</i> light. As the feeling with which we startle at a shooting + star, compared with that of watching the sunrise at the pre-established + moment, such and so low is surprise compared with expectation. + </p> + <p> + 2. Signal adherence to the great law of nature, that all opposites tend to + attract and temper each other. Passion in Shakspeare generally displays + libertinism, but involves morality; and if there are exceptions to this, + they are, independently of their intrinsic value, all of them indicative + of individual character, and, like the farewell admonitions of a parent, + have an end beyond the parental relation. Thus the Countess's beautiful + precepts to Bertram, by elevating her character, raise that of Helena her + favorite, and soften down the point in her which Shakspeare does not mean + us not to see, but to see and to forgive, and at length to justify. And so + it is in Polonius, who is the personified memory of wisdom no longer + actually possessed. This admirable character is always misrepresented on + the stage. Shakspeare never intended to exhibit him as a buffoon; for + although it was natural that Hamlet,—a young man of fire and genius, + detesting formality, and disliking Polonius on political grounds, as + imagining that he had assisted his uncle in his usurpation,—should + express himself satirically,—yet this must not be taken as exactly + the poet's conception of him. In Polonius a certain induration of + character had arisen from long habits of business; but take his advice to + Laertes, and Ophelia's reverence for his memory, and we shall see that he + was meant to be represented as a statesman somewhat past his faculties,—his + recollections of life all full of wisdom, and showing a knowledge of human + nature, whilst what immediately takes place before him, and escapes from + him, is indicative of weakness. + </p> + <p> + But as in Homer all the deities are in armour, even Venus; so in + Shakspeare all the characters are strong. Hence real folly and dullness + are made by him the vehicles of wisdom. There is no difficulty for one + being a fool to imitate a fool; but to be, remain, and speak like a wise + man and a great wit, and yet so as to give a vivid representation of a + veritable fool,—'hic labor, hoc opus est'. A drunken constable is + not uncommon, nor hard to draw; but see and examine what goes to make up a + Dogberry. + </p> + <p> + 3. Keeping at all times in the high road of life. Shakspeare has no + innocent adulteries, no interesting incests, no virtuous vice;—he + never renders that amiable which religion and reason alike teach us to + detest, or clothes impurity in the garb of virtue, like Beaumont and + Fletcher, the Kotzebues of the day. Shakspeare's fathers are roused by + ingratitude, his husbands stung by unfaithfulness; in him, in short, the + affections are wounded in those points in which all may, nay, must, feel. + Let the morality of Shakspeare be contrasted with that of the writers of + his own, or the succeeding, age, or of those of the present day, who boast + their superiority in this respect. No one can dispute that the result of + such a comparison is altogether in favour of Shakspeare;—even the + letters of women of high rank in his age were often coarser than his + writings. If he occasionally disgusts a keen sense of delicacy, he never + injures the mind; he neither excites, nor flatters, passion, in order to + degrade the subject of it; he does not use the faulty thing for a faulty + purpose, nor carries on warfare against virtue, by causing wickedness to + appear as no wickedness, through the medium of a morbid sympathy with the + unfortunate. In Shakspeare vice never walks as in twilight; nothing is + purposely out of its place;—he inverts not the order of nature and + propriety,—does not make every magistrate a drunkard or glutton, nor + every poor man meek, humane, and temperate; he has no benevolent butchers, + nor any sentimental rat-catchers. + </p> + <p> + 4. Independence of the dramatic interest on the plot. The interest in the + plot is always in fact on account of the characters, not 'vice versa', as + in almost all other writers; the plot is a mere canvass and no more. Hence + arises the true justification of the same stratagem being used in regard + to Benedict and Beatrice,—the vanity in each being alike. Take away + from the Much Ado About Nothing all that which is not indispensable to the + plot, either as having little to do with it, or, at best, like Dogberry + and his comrades, forced into the service, when any other less ingeniously + absurd watchmen and night-constables would have answered the mere + necessities of the action;—take away Benedict, Beatrice, Dogberry, + and the reaction of the former on the character of Hero,—and what + will remain? In other writers the main agent of the plot is always the + prominent character; in Shakspeare it is so, or is not so, as the + character is in itself calculated, or not calculated, to form the plot. + Don John is the main-spring of the plot of this play; but he is merely + shown and then withdrawn. + </p> + <p> + 5. Independence of the interest on the story as the ground-work of the + plot. Hence Shakspeare never took the trouble of inventing stories. It was + enough for him to select from those that had been already invented or + recorded such as had one or other, or both, of two recommendations, + namely, suitableness to his particular purpose, and their being parts of + popular tradition,—names of which we had often heard, and of their + fortunes, and as to which all we wanted was, to see the man himself. So it + is just the man himself, the Lear, the Shylock, the Richard, that + Shakspeare makes us for the first time acquainted with. Omit the first + scene in Lear, and yet every thing will remain; so the first and second + scenes in the Merchant of Venice. Indeed it is universally true. + </p> + <p> + 6. Interfusion of the lyrical—that which in its very essence is + poetical—not only with the dramatic, as in the plays of Metastasio, + where at the end of the scene comes the 'aria' as the 'exit' speech of the + character, but also in and through the dramatic. Songs in Shakspeare are + introduced as songs only, just as songs are in real life, beautifully as + some of them are characteristic of the person who has sung or called for + them, as Desdemona's 'Willow,' and Ophelia's wild snatches, and the sweet + carollings in As You Like It. But the whole of the Midsummer Night's Dream + is one continued specimen of the dramatized lyrical. And observe how + exquisitely the dramatic of Hotspur;— + </p> +<pre xml:space="preserve"> + Marry, and I'm glad on't with all my heart; + I had rather be a kitten and cry—mew, &c. +</pre> + <p> + melts away into the lyric of Mortimer;— + </p> +<pre xml:space="preserve"> + I understand thy looks: that pretty Welsh + Which thou pourest down from these swelling heavens, + I am too perfect in, &c. + + Henry IV. part i. act iii. sc. i. +</pre> + <p> + 7. The characters of the 'dramatis personæ', like those in real life, are + to be inferred by the reader;—they are not told to him. And it is + well worth remarking that Shakspeare's characters, like those in real + life, are very commonly misunderstood, and almost always understood by + different persons in different ways. The causes are the same in either + case. If you take only what the friends of the character say, you may be + deceived, and still more so, if that which his enemies say; nay, even the + character himself sees himself through the medium of his character, and + not exactly as he is. Take all together, not omitting a shrewd hint from + the clown or the fool, and perhaps your impression will be right; and you + may know whether you have in fact discovered the poet's own idea, by all + the speeches receiving light from it, and attesting its reality by + reflecting it. + </p> + <p> + Lastly, in Shakspeare the heterogeneous is united, as it is in nature. You + must not suppose a pressure or passion always acting on or in the + character;—passion in Shakspeare is that by which the individual is + distinguished from others, not that which makes a different kind of him. + Shakspeare followed the main march of the human affections. He entered + into no analysis of the passions or faiths of men, but assured himself + that such and such passions and faiths were grounded in our common nature, + and not in the mere accidents of ignorance or disease. This is an + important consideration, and constitutes our Shakspeare the morning star, + the guide and the pioneer, of true philosophy. + </p> + <p> + {Footnote 1: For the most part communicated by Mr. Justice Coleridge. Ed.} + </p> + <p> + {Footnote 2: Æsch. Eumen. v. 230-239. 'Notandum est, scenam jam Athenas + translatam sic institui, ut primo Orestes solus conspiciatur in templo + Minerva: supplex ejus simulacrum venerans; paulo post autem eum + consequantur Eumenides, &c.' Schiitz's note. The recessions of the + chorus were termed 'peravaoraneu'. There is another instance in the Ajax, + v. 814. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0011" id="link2H_4_0011"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ORDER OF SHAKSPEARE'S PLAYS. + </h2> + <p> + Various attempts have been made to arrange the plays of Shakspeare, each + according to its priority in time, by proofs derived from external + documents. How unsuccessful these attempts have been might easily be + shown, not only from the widely different results arrived at by men, all + deeply versed in the black-letter books, old plays, pamphlets, manuscript + records and catalogues of that age, but also from the fallacious and + unsatisfactory nature of the facts and assumptions on which the evidence + rests. In that age, when the press was chiefly occupied with controversial + or practical divinity,—when the law, the church and the state + engrossed all honour and respectability,—when a degree of disgrace, + 'levior quædam infamiæ macula', was attached to the publication of poetry, + and even to have sported with the Muse, as a private relaxation, was + supposed to be—a venial fault, indeed, yet—something beneath + the gravity of a wise man,—when the professed poets were so poor, + that the very expenses of the press demanded the liberality of some + wealthy individual, so that two thirds of Spenser's poetic works, and + those most highly praised by his learned admirers and friends, remained + for many years in manuscript, and in manuscript perished,—when the + amateurs of the stage were comparatively few, and therefore for the + greater part more or less known to each other,—when we know that the + plays of Shakspeare, both during and after his life, were the property of + the stage, and published by the players, doubtless according to their + notions of acceptability with the visitants of the theatre,—in such + an age, and under such circumstances, can an allusion or reference to any + drama or poem in the publication of a contemporary be received as + conclusive evidence, that such drama or poem had at that time been + published? Or, further, can the priority of publication itself prove any + thing in favour of actually prior composition. + </p> + <p> + We are tolerably certain, indeed, that the Venus and Adonis, and the Rape + of Lucrece, were his two earliest poems, and though not printed until + 1593, in the twenty ninth year of his age, yet there can be little doubt + that they had remained by him in manuscript many years. For Mr. Malone has + made it highly probable, that he had commenced a writer for the stage in + 1591, when he was twenty seven years old, and Shakspeare himself assures + us that the Venus and Adonis was the first heir of his invention.{1} + </p> + <p> + Baffled, then, in the attempt to derive any satisfaction from outward + documents, we may easily stand excused if we turn our researches towards + the internal evidences furnished by the writings themselves, with no other + positive 'data' than the known facts, that the Venus and Adonis was + printed in 1593, the Rape of Lucrece in 1594, and that the Romeo and + Juliet had appeared in 1595,—and with no other presumptions than + that the poems, his very first productions, were written many years + earlier,—(for who can believe that Shakspeare could have remained to + his twenty-ninth or thirtieth year without attempting poetic composition + of any kind?)—and that between these and Romeo and Juliet there had + intervened one or two other dramas, or the chief materials, at least, of + them, although they may very possibly have appeared after the success of + the Romeo and Juliet and some other circumstances had given the poet an + authority with the proprietors, and created a prepossession in his favour + with the theatrical audiences. + </p> + <p> + {Footnote 1: But if the first heir of my invention prove deformed, I shall + be sorry it had so noble a godfather, &c. + </p> + <p> + Dedication of the V. and A. to Lord Southampton.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0012" id="link2H_4_0012"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CLASSIFICATION ATTEMPTED, 1802. + </h2> + <p> + First Epoch. + </p> +<pre xml:space="preserve"> + The London Prodigal. + Cromwell. + Henry VI., three parts, first edition. + The old King John. + Edward III. + The old Taming of the Shrew. + Pericles. +</pre> + <p> + All these are transition-works, 'Uebergangs-werke'; not his, yet of him. + </p> + <p> + Second Epoch. + </p> +<pre xml:space="preserve"> + All's Well That Ends Well;—but afterwards worked up afresh, + (umgearbeitet) especially Parolles. + The Two Gentlemen of Verona; a sketch. + Romeo and Juliet; first draft of it. +</pre> + <p> + Third Epoch + </p> + <p> + rises into the full, although youthful, Shakspeare; it was the negative + period of his perfection. + </p> +<pre xml:space="preserve"> + Love's Labour's Lost. + Twelfth Night. + As You Like It. + Midsummer Night's Dream. + Richard II. + Henry IV. and V. + Henry VIII.; 'Gelegenheitsgedicht'. + Romeo and Juliet, as at present. + Merchant of Venice. +</pre> + <p> + Fourth Epoch. + </p> +<pre xml:space="preserve"> + Much Ado About Nothing. + Merry Wives of Windsor; first edition. + Henry VI.; 'rifacimento'. +</pre> + <p> + Fifth Epoch. + </p> + <p> + The period of beauty was now past; and that of {GREEK (transliterated): + deinotaes} and grandeur succeeds. + </p> +<pre xml:space="preserve"> + Lear. + Macbeth. + Hamlet. + Timon of Athens; an after vibration of Hamlet. + Troilus and Cressida; 'Uebergang in die Ironie'. + The Roman Plays. + King John, as at present. + Merry Wives of Windsor. }'umgearbeitet' + Taming of the Shrew. } + Measure for Measure. + Othello. + Tempest. + Winter's Tale. + Cymbeline. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0013" id="link2H_4_0013"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CLASSIFICATION ATTEMPTED, 1810. + </h2> + <p> + Shakspeare's earliest dramas I take to be, + </p> +<pre xml:space="preserve"> + Love's Labour's Lost. + All's Well That Ends Well. + Comedy of Errors. + Romeo and Juliet. +</pre> + <p> + In the second class I reckon + </p> +<pre xml:space="preserve"> + Midsummer Night's Dream. + As You Like It. + Tempest. + Twelfth Night. +</pre> + <p> + In the third, as indicating a greater energy—not merely of poetry, + but—of all the world of thought, yet still with some of the growing + pains, and the awkwardness of growth, I place + </p> +<pre xml:space="preserve"> + Troilus and Cressida. + Cymbeline. + Merchant of Venice. + Much Ado About Nothing. + Taming of the Shrew. +</pre> + <p> + In the fourth, I place the plays containing the greatest characters; + </p> +<pre xml:space="preserve"> + Macbeth. + Lear. + Hamlet. + Othello. +</pre> + <p> + And lastly, the historic dramas, in order to be able to show my reasons + for rejecting some whole plays, and very many scenes in others. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0014" id="link2H_4_0014"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CLASSIFICATION ATTEMPTED, 1819. + </h2> + <p> + I think Shakspeare's earliest dramatic attempt—perhaps even prior in + conception to the Venus and Adonis, and planned before he left Stratford—was + Love's Labour's Lost. Shortly afterwards I suppose Pericles and certain + scenes in Jeronymo to have been produced; and in the same epoch, I place + the Winter's Tale and Cymbeline, differing from the Pericles by the entire + 'rifacimento' of it, when Shakspeare's celebrity as poet, and his + interest, no less than his influence as manager, enabled him to bring + forward the laid-by labours of his youth. The example of Titus Andronicus, + which, as well as Jeronymo, was most popular in Shakspeare's first epoch, + had led the young dramatist to the lawless mixture of dates and manners. + In this same epoch I should place the Comedy of Errors, remarkable as + being the only specimen of poetical farce in our language, that is, + intentionally such; so that all the distinct kinds of drama, which might + be educed 'a priori', have their representatives in Shakspeare's works. I + say intentionally such; for many of Beaumont and Fletcher's plays, and the + greater part of Ben Jonson's comedies are farce-plots. I add All's Well + that Ends Well, originally intended as the counterpart of Love's Labour's + Lost, Taming of the Shrew, Midsummer Night's Dream, Much Ado About + Nothing, and Romeo and Juliet. + </p> + <p> + Second Epoch. + </p> +<pre xml:space="preserve"> + Richard II. + King John. + Henry VI.,—'rifacimento' only. + Richard III. +</pre> + <p> + Third Epoch. + </p> +<pre xml:space="preserve"> + Henry IV. + Henry V. + Merry Wives of Windsor. + Henry VIII.,—a sort of historical masque, or show play. +</pre> + <p> + Fourth Epoch + </p> + <p> + gives all the graces and facilities of a genius in full possession and + habitual exercise of power, and peculiarly of the feminine, the <i>lady's</i> + character. + </p> +<pre xml:space="preserve"> + Tempest. + As You Like It. + Merchant of Venice. + Twelfth Night. +</pre> + <p> + and, finally, at its very point of culmination,— + </p> +<pre xml:space="preserve"> + Lear. + Hamlet. + Macbeth. + Othello. +</pre> + <p> + Last Epoch, + </p> + <p> + when the energies of intellect in the cycle of genius were, though in a + rich and more potentiated form, becoming predominant over passion and + creative self-manifestation. + </p> +<pre xml:space="preserve"> + Measure for Measure. + Timon of Athens. + Coriolanus. + Julius Cæsar. + Antony and Cleopatra. + Troilus and Cressida. +</pre> + <p> + Merciful, wonder-making Heaven! what a man was this Shakspeare! + Myriad-minded, indeed, he was. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0015" id="link2H_4_0015"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON THE TEMPEST. + </h2> + <p> + There is a sort of improbability with which we are shocked in dramatic + representation, not less than in a narrative of real life. Consequently, + there must be rules respecting it; and as rules are nothing but means to + an end previously ascertained—(inattention to which simple truth has + been the occasion of all the pedantry of the French school),—we must + first determine what the immediate end or object of the drama is. And + here, as I have previously remarked, I find two extremes of critical + decision;—the French, which evidently presupposes that a perfect + delusion is to be aimed at,—an opinion which needs no fresh + confutation; and the exact opposite to it, brought forward by Dr. Johnson, + who supposes the auditors throughout in the full reflective knowledge of + the contrary. In evincing the impossibility of delusion, he makes no + sufficient allowance for an intermediate state, which I have before + distinguished by the term, illusion, and have attempted to illustrate its + quality and character by reference to our mental state, when dreaming. In + both cases we simply do not judge the imagery to be unreal; there is a + negative reality, and no more. Whatever, therefore, tends to prevent the + mind from placing itself, or being placed, gradually in that state in + which the images have such negative reality for the auditor, destroys this + illusion, and is dramatically improbable. + </p> + <p> + Now the production of this effect—a sense of improbability—will + depend on the degree of excitement in which the mind is supposed to be. + Many things would be intolerable in the first scene of a play, that would + not at all interrupt our enjoyment in the height of the interest, when the + narrow cockpit may be made to hold + </p> +<pre xml:space="preserve"> + The vasty field of France, or we may cram + Within its wooden O, the very casques, + That did affright the air at Agincourt. +</pre> + <p> + Again, on the other hand, many obvious improbabilities will be endured, as + belonging to the ground-work of the story rather than to the drama itself, + in the first scenes, which would disturb or disentrance us from all + illusion in the acme of our excitement; as for instance, Lear's division + of his kingdom, and the banishment of Cordelia. + </p> + <p> + But, although the other excellencies of the drama besides this dramatic + probability, as unity of interest, with distinctness and subordination of + the characters, and appropriateness of style, are all, so far as they tend + to increase the inward excitement, means towards accomplishing the chief + end, that of producing and supporting this willing illusion,—yet + they do not on that account cease to be ends themselves; and we must + remember that, as such, they carry their own justification with them, as + long as they do not contravene or interrupt the total illusion. It is not + even always, or of necessity, an objection to them, that they prevent the + illusion from rising to as great a height as it might otherwise have + attained;—it is enough that they are simply compatible with as high + a degree of it as is requisite for the purpose. Nay, upon particular + occasions, a palpable improbability may be hazarded by a great genius for + the express purpose of keeping down the interest of a merely instrumental + scene, which would otherwise make too great an impression for the harmony + of the entire illusion. Had the panorama been invented in the time of Pope + Leo X., Raffael would still, I doubt not, have smiled in contempt at the + regret, that the broom-twigs and scrubby bushes at the back of some of his + grand pictures were not as probable trees as those in the exhibition. + </p> + <p> + The Tempest is a specimen of the purely romantic drama, in which the + interest is not historical, or dependent upon fidelity of portraiture, or + the natural connexion of events,—but is a birth of the imagination, + and rests only on the coaptation and union of the elements granted to, or + assumed by, the poet. It is a species of drama which owes no allegiance to + time or space, and in which, therefore, errors of chronology and geography—no + mortal sins in any species—are venial faults, and count for nothing. + It addresses itself entirely to the imaginative faculty; and although the + illusion may be assisted by the effect on the senses of the complicated + scenery and decorations of modern times, yet this sort of assistance is + dangerous. For the principal and only genuine excitement ought to come + from within,—from the moved and sympathetic imagination; whereas, + where so much is addressed to the mere external senses of seeing and + hearing, the spiritual vision is apt to languish, and the attraction from + without will withdraw the mind from the proper and only legitimate + interest which is intended to spring from within. + </p> + <p> + The romance opens with a busy scene admirably appropriate to the kind of + drama, and giving, as it were, the key-note to the whole harmony. It + prepares and initiates the excitement required for the entire piece, and + yet does not demand any thing from the spectators, which their previous + habits had not fitted them to understand. It is the bustle of a tempest, + from which the real horrors are abstracted;—therefore it is + poetical, though not in strictness natural—(the distinction to which + I have so often alluded)—and is purposely restrained from + concentering the interest on itself, but used merely as an induction or + tuning for what is to follow. + </p> + <p> + In the second scene, Prospero's speeches, till the entrance of Ariel, + contain the finest example, I remember, of retrospective narration for the + purpose of exciting immediate interest, and putting the audience in + possession of all the information necessary for the understanding of the + plot.{1} Observe, too, the perfect probability of the moment chosen by + Prospero (the very Shakspeare himself, as it were, of the tempest) to open + out the truth to his daughter, his own romantic bearing, and how + completely any thing that might have been disagreeable to us in the + magician, is reconciled and shaded in the humanity and natural feelings of + the father. In the very first speech of Miranda the simplicity and + tenderness of her character are at once laid open;—it would have + been lost in direct contact with the agitation of the first scene. The + opinion once prevailed, but, happily, is now abandoned, that Fletcher + alone wrote for women;—the truth is, that with very few, and those + partial, exceptions, the female characters in the plays of Beaumont and + Fletcher are, when of the light kind, not decent; when heroic, complete + viragos. But in Shakspeare all the elements of womanhood are holy, and + there is the sweet, yet dignified feeling of all that 'continuates' + society, as sense of ancestry and of sex, with a purity unassailable by + sophistry, because it rests not in the analytic processes, but in that + sane equipoise of the faculties, during which the feelings are + representative of all past experience,—not of the individual only, + but of all those by whom she has been educated, and their predecessors + even up to the first mother that lived. Shakspeare saw that the want of + prominence, which Pope notices for sarcasm, was the blessed beauty of the + woman's character, and knew that it arose not from any deficiency, but + from the more exquisite harmony of all the parts of the moral being + constituting one living total of head and heart. He has drawn it, indeed, + in all its distinctive energies of faith, patience, constancy, fortitude,—shown + in all of them as following the heart, which gives its results by a nice + tact and happy intuition, without the intervention of the discursive + faculty,—sees all things in and by the light of the affections, and + errs, if it ever err, in the exaggerations of love alone. In all the + Shakspearian women there is essentially the same foundation and principle; + the distinct individuality and variety are merely the result of the + modification of circumstances, whether in Miranda the maiden, in Imogen + the wife, or in Katharine the queen. + </p> + <p> + But to return. The appearance and characters of the super- or + ultra-natural servants are finely contrasted. Ariel has in every thing the + airy tint which gives the name; and it is worthy of remark that Miranda is + never directly brought into comparison with Ariel, lest the natural and + human of the one and the supernatural of the other should tend to + neutralize each other; Caliban, on the other hand, is all earth, all + condensed and gross in feelings and images; he has the dawnings of + understanding without reason or the moral sense, and in him, as in some + brute animals, this advance to the intellectual faculties, without the + moral sense, is marked by the appearance of vice. For it is in the primacy + of the moral being only that man is truly human; in his intellectual + powers he is certainly approached by the brutes, and, man's whole system + duly considered, those powers cannot be considered other than means to an + end, that is, to morality. + </p> + <p> + In this scene, as it proceeds, is displayed the impression made by + Ferdinand and Miranda on each other; it is love at first sight;— + </p> +<pre xml:space="preserve"> + at the first sight They have chang'd eyes:— +</pre> + <p> + and it appears to me, that in all cases of real love, it is at one moment + that it takes place. That moment may have been prepared by previous + esteem, admiration, or even affection,—yet love seems to require a + momentary act of volition, by which a tacit bond of devotion is imposed,—a + bond not to be thereafter broken without violating what should be sacred + in our nature. How finely is the true Shakspearian scene contrasted with + Dryden's vulgar alteration of it, in which a mere ludicrous psychological + experiment, as it were, is tried—displaying nothing but indelicacy + without passion. Prospero's interruption of the courtship has often seemed + to me to have no sufficient motive; still his alleged reason— + </p> +<pre xml:space="preserve"> + lest too light winning Make the prize light— +</pre> + <p> + is enough for the ethereal connexions of the romantic imagination, + although it would not be so for the historical. {2} The whole courting + scene, indeed, in the beginning of the third act, between the lovers is a + masterpiece; and the first dawn of disobedience in the mind of Miranda to + the command of her father is very finely drawn, so as to seem the working + of the Scriptural command, 'Thou shall leave father and mother', &c. + O! with what exquisite purity this scene is conceived and executed! + Shakspeare may sometimes be gross, but I boldly say that he is always + moral and modest. Alas! in this our day decency of manners is preserved at + the expense of morality of heart, and delicacies for vice are allowed, + whilst grossness against it is hypocritically, or at least morbidly, + condemned. + </p> + <p> + In this play are admirably sketched the vices generally accompanying a low + degree of civilization; and in the first scene of the second act + Shakspeare has, as in many other places, shown the tendency in bad men to + indulge in scorn and contemptuous expressions, as a mode of getting rid of + their own uneasy feelings of inferiority to the good, and also, by making + the good ridiculous, of rendering the transition of others to wickedness + easy. Shakspeare never puts habitual scorn into the mouths of other than + bad men, as here in the instances of Antonio and Sebastian. The scene of + the intended assassination of Alonzo and Gonzalo is an exact counterpart + of the scene between Macbeth and his lady, only pitched in a lower key + throughout, as designed to be frustrated and concealed, and exhibiting the + same profound management in the manner of familiarizing a mind, not + immediately recipient, to the suggestion of guilt, by associating the + proposed crime with something ludicrous or out of place,—something + not habitually matter of reverence. By this kind of sophistry the + imagination and fancy are first bribed to contemplate the suggested act, + and at length to become acquainted with it. Observe how the effect of this + scene is heightened by contrast with another counterpart of it in low + life,—that between the conspirators Stephano, Caliban, and Trinculo + in the second scene of the third act, in which there are the same + essential characteristics. + </p> + <p> + In this play and in this scene of it are also shown the springs of the + vulgar in politics,—of that kind of politics which is inwoven with + human nature. In his treatment of this subject, wherever it occurs, + Shakspeare is quite peculiar. In other writers we find the particular + opinions of the individual; in Massinger it is rank republicanism; in + Beaumont and Fletcher even 'jure divino' principles are carried to excess;—but + Shakspeare never promulgates any party tenets. He is always the + philosopher and the moralist, but at the same time with a profound + veneration for all the established institutions of society, and for those + classes which form the permanent elements of the state—especially + never introducing a professional character, as such, otherwise than as + respectable. If he must have any name, he should be styled a philosophical + aristocrat, delighting in those hereditary institutions which have a + tendency to bind one age to another, and in that distinction of ranks, of + which, although few may be in possession, all enjoy the advantages. Hence, + again, you will observe the good nature with which he seems always to make + sport with the passions and follies of a mob, as with an irrational + animal. He is never angry with it, but hugely content with holding up its + absurdities to its face; and sometimes you may trace a tone of almost + affectionate superiority, something like that in which a father speaks of + the rogueries of a child. See the good-humoured way in which he describes + Stephano passing from the most licentious freedom to absolute despotism + over Trinculo and Caliban. The truth is, Shakspeare's characters are all + 'genera' intensely individualized; the results of meditation, of which + observation supplied the drapery and the colors necessary to combine them + with each other. He had virtually surveyed all the great component powers + and impulses of human nature,—had seen that their different + combinations and subordinations were in fact the individualizers of men, + and showed how their harmony was produced by reciprocal disproportions of + excess or deficiency. The language in which these truths are expressed was + not drawn from any set fashion, but from the profoundest depths of his + moral being, and is therefore for all ages. + </p> + <p> + {Footnote 1: + </p> +<pre xml:space="preserve"> + 'Pro'. Mark his condition, and th' event; then tell me, If this might + be a brother. + + 'Mira'. I should sin, To think but nobly of my grandmother; Good wombs + have bore bad sons. + + 'Pro'. Now the condition, &c. +</pre> + <p> + Theobald has a note upon this passage, and suggests that Shakspeare placed + it thus:— + </p> +<pre xml:space="preserve"> + 'Pro'. Good wombs have bore bad sons,—Now the condition. +</pre> + <p> + Mr. Coleridge writes in the margin: 'I cannot but believe that Theobald is + quite right.'—Ed.} + </p> + <p> + {Footnote 2: + </p> +<pre xml:space="preserve"> + 'Fer'. Yes, faith, and all his Lords, the duke of Milan, And his brave + son, being twain. +</pre> + <p> + Theobald remarks that no body was lost in the wreck; and yet that no such + character is introduced in the fable, as the Duke of Milan's son. Mr. C. + notes: 'Must not Ferdinand have believed he was lost in the fleet that the + tempest scattered?—Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0016" id="link2H_4_0016"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LOVE'S LABOUR'S LOST. + </h2> + <p> + The characters in this play are either impersonated out of Shakspeare's + own multiformity by imaginative self-position, or out of such as a country + town and a schoolboy's observation might supply,—the curate, the + schoolmaster, the Armado, (who even in my time was not extinct in the + cheaper inns of North Wales) and so on. The satire is chiefly on follies + of words. Biron and Rosaline are evidently the pre-existent state of + Benedict and Beatrice, and so, perhaps, is Boyet of Lafeu, and Costard of + the Tapster in Measure for Measure; and the frequency of the rhymes, the + sweetness as well as the smoothness of the metre, and the number of acute + and fancifully illustrated aphorisms, are all as they ought to be in a + poet's youth. True genius begins by generalizing and condensing; it ends + in realizing and expanding. It first collects the seeds. + </p> + <p> + Yet if this juvenile drama had been the only one extant of our Shakspeare, + and we possessed the tradition only of his riper works, or accounts of + them in writers who had not even mentioned this play,—how many of + Shakspeare's characteristic features might we not still have discovered in + Love's Labour's Lost, though as in a portrait taken of him in his boyhood. + </p> + <p> + I can never sufficiently admire the wonderful activity of thought + throughout the whole of the first scene of the play, rendered natural, as + it is, by the choice of the characters, and the whimsical determination on + which the drama is founded. A whimsical determination certainly;—yet + not altogether so very improbable to those who are conversant in the + history of the middle ages, with their Courts of Love, and all that + lighter drapery of chivalry, which engaged even mighty kings with a sort + of serio-comic interest, and may well be supposed to have occupied more + completely the smaller princes, at a time when the noble's or prince's + court contained the only theatre of the domain or principality. This sort + of story, too, was admirably suited to Shakspeare's times, when the + English court was still the foster-mother of the state and the muses; and + when, in consequence, the courtiers, and men of rank and fashion, affected + a display of wit, point, and sententious observation, that would be deemed + intolerable at present,—but in which a hundred years of controversy, + involving every great political, and every dear domestic, interest, had + trained all but the lowest classes to participate. Add to this the very + style of the sermons of the time, and the eagerness of the Protestants to + distinguish themselves by long and frequent preaching, and it will be + found that, from the reign of Henry VIII. to the abdication of James II. + no country ever received such a national education as England. + </p> + <p> + Hence the comic matter chosen in the first instance is a ridiculous + imitation or apery of this constant striving after logical precision, and + subtle opposition of thoughts, together with a making the most of every + conception or image, by expressing it under the least expected property + belonging to it, and this, again, rendered specially absurd by being + applied to the most current subjects and occurrences. The phrases and + modes of combination in argument were caught by the most ignorant from the + custom of the age, and their ridiculous misapplication of them is most + amusingly exhibited in Costard; whilst examples suited only to the gravest + propositions and impersonations, or apostrophes to abstract thoughts + impersonated, which are in fact the natural language only of the most + vehement agitations of the mind, are adopted by the coxcombry of Armado as + mere artifices of ornament. + </p> + <p> + The same kind of intellectual action is exhibited in a more serious and + elevated strain in many other parts of this play. Biron's speech at the + end of the fourth act is an excellent specimen of it. It is logic clothed + in rhetoric;—but observe how Shakspeare, in his two-fold being of + poet and philosopher, avails himself of it to convey profound truths in + the most lively images,—the whole remaining faithful to the + character supposed to utter the lines, and the expressions themselves + constituting a further developement of that character:— + </p> + <p> + Other slow arts entirely keep the brain: And therefore finding barren + practisers, Scarce shew a harvest of their heavy toil: But love, first + learned in a lady's eyes, Lives not alone immured in the brain; But, with + the motion of all elements, Courses as swift as thought in every power; + And gives to every power a double power, Above their functions and their + offices. It adds a precious seeing to the eye, A lover's eyes will gaze an + eagle blind; A lover's ear will hear the lowest sound, When the suspicious + tread of theft is stopp'd: Love's feeling is more soft and sensible, Than + are the tender horns of cockled snails; Love's tongue proves dainty + Bacchus gross in taste; For valour, is not love a Hercules, Still climbing + trees in the Hesperides? Subtle as Sphinx; as sweet and musical, As bright + Apollo's lute, strung with his hair; And when love speaks, the voice of + all the gods Makes heaven drowsy with the harmony. Never durst poet touch + a pen to write, Until his ink were temper'd with love's sighs; O, then his + lines would ravish savage ears, And plant in tyrants mild humility. From + women's eyes this doctrine I derive: They sparkle still the right + Promethean fire; They are the books, the arts, the academes, That shew, + contain, and nourish all the world; Else, none at all in aught proves + excellent; Then fools you were these women to forswear; Or, keeping what + is sworn, you will prove fools. For wisdom's sake, a word that all men + love; Or for love's sake, a word that loves all men; Or for men's sake, + the authors of these women; Or women's sake, by whom we men are men; Let + us once lose our oaths, to find ourselves, Or else we lose ourselves to + keep our oaths: It is religion, to be thus forsworn: For charity itself + fulfills the law: And who can sever love from charity?— + </p> + <p> + This is quite a study;—sometimes you see this youthful god of poetry + connecting disparate thoughts purely by means of resemblances in the words + expressing them,—a thing in character in lighter comedy, especially + of that kind in which Shakspeare delights, namely, the purposed display of + wit, though sometimes, too, disfiguring his graver scenes;—but more + often you may see him doubling the natural connection or order of logical + consequence in the thoughts by the introduction of an artificial and + sought for resemblance in the words, as, for instance, in the third line + of the play,— + </p> +<pre xml:space="preserve"> + And then grace us in the disgrace of death;— +</pre> + <p> + this being a figure often having its force and propriety, as justified by + the law of passion, which, inducing in the mind an unusual activity, seeks + for means to waste its superfluity,—when in the highest degree—in + lyric repetitions and sublime tautology—'(at her feet he bowed, he + fell, he lay down; at her feet he bowed, he fell; where he bowed, there he + fell down dead)',—and, in lower degrees, in making the words + themselves the subjects and materials of that surplus action, and for the + same cause that agitates our limbs, and forces our very gestures into a + tempest in states of high excitement. + </p> + <p> + The mere style of narration in Love's Labour's Lost, like that of Ægeon in + the first scene of the Comedy of Errors, and of the Captain in the second + scene of Macbeth, seems imitated with its defects and its beauties from + Sir Philip Sidney; whose Arcadia, though not then published, was already + well known in manuscript copies, and could hardly have escaped the notice + and admiration of Shakspeare as the friend and client of the Earl of + Southampton. The chief defect consists in the parentheses and parenthetic + thoughts and descriptions, suited neither to the passion of the speaker, + nor the purpose of the person to whom the information is to be given, but + manifestly betraying the author himself,—not by way of continuous + undersong, but—palpably, and so as to show themselves addressed to + the general reader. However, it is not unimportant to notice how strong a + presumption the diction and allusions of this play afford, that, though + Shakspeare's acquirements in the dead languages might not be such as we + suppose in a learned education, his habits had, nevertheless, been + scholastic, and those of a student. For a young author's first work almost + always bespeaks his recent pursuits, and his first observations of life + are either drawn from the immediate employments of his youth, and from the + characters and images most deeply impressed on his mind in the situations + in which those employments had placed him;—or else they are fixed on + such objects and occurrences in the world, as are easily connected with, + and seem to bear upon, his studies and the hitherto exclusive subjects of + his meditation. Just as Ben Jonson, who applied himself to the drama after + having served in Flanders, fills his earliest plays with true or pretended + soldiers, the wrongs and neglects of the former, and the absurd boasts and + knavery of their counterfeits. So Lessing's first comedies are placed in + the universities, and consist of events and characters conceivable in an + academic life. + </p> + <p> + I will only further remark the sweet and tempered gravity, with which + Shakspeare in the end draws the only fitting moral which such a drama + afforded. Here Rosaline rises up to the full height of Beatrice:— + </p> + <p> + 'Ros'. Oft have I heard of you, my lord Biron, Before I saw you, and the + world's large tongue Proclaims you for a man replete with mocks; Full of + comparisons, and wounding flouts, Which you on all estates will execute + That lie within the mercy of your wit: To weed this wormwood from your + fruitful brain, And therewithal, to win me, if you please, (Without the + which I am not to be won,) You shall this twelvemonth term from day to day + Visit the speechless sick, and still converse With groaning wretches; and + your talk shall be, With all the fierce endeavour of your wit, To enforce + the pained impotent to smile. + </p> +<pre xml:space="preserve"> + 'Biron'. To move wild laughter in the throat of death? + It cannot be; it is impossible; + Mirth cannot move a soul in agony. + + 'Ros'. Why, that's the way to choke a gibing spirit, + Whose influence is begot of that loose grace, + Which shallow laughing hearers give to fools: + A jest's prosperity lies in the ear + Of him that hears it, never in the tongue + Of him that makes it: then, if sickly ears, + Deaf'd with the clamors of their own dear groans, + Will hear your idle scorns, continue then, + And I will have you, and that fault withal; + But, if they will not, throw away that spirit, + And I shall find you empty of that fault, + Right joyful of your reformation. +</pre> + <p> + Act v. sc. 2. In Biron's speech to the Princess: + </p> +<pre xml:space="preserve"> + —and, therefore, like the eye, + Full of <i>straying</i> shapes, of habits, and of forms. +</pre> + <p> + Either read <i>stray</i>, which I prefer; or throw <i>full</i> back to the + preceding lines,— + </p> +<pre xml:space="preserve"> + like the eye, full + Of straying shapes, &c. +</pre> + <p> + In the same scene: + </p> +<pre xml:space="preserve"> + 'Biron'. And what to me, my love? and what to me? + + 'Ros'. You must be purged too, your sins are rank; + You are attaint with fault and perjury: + Therefore, if you my favour mean to get, + A twelvemonth shall you spend, and never rest, + But seek the weary beds of people sick. +</pre> + <p> + There can be no doubt, indeed, about the propriety of expunging this + speech of Rosaline's; it soils the very page that retains it. But I do not + agree with Warburton and others in striking out the preceding line also. + It is quite in Biron's character; and Rosaline not answering it + immediately, Dumain takes up the question for him, and, after he and + Longaville are answered, Biron, with evident propriety, says;— + </p> +<pre xml:space="preserve"> + <i>Studies</i> my mistress? &c. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0017" id="link2H_4_0017"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + MIDSUMMER NIGHT'S DREAM. + </h2> + <h3> + Act i. sc. 1. + </h3> +<pre xml:space="preserve"> + 'Her'. O cross! too high to be enthrall'd to low— + + 'Lys'. Or else misgraffed, in respect of years; + + 'Her'. O spite! too old to be engag'd to young— + + 'Lys'. Or else it stood upon the choice of friends; + + 'Her'. O hell! to chuse love by another's eye! +</pre> + <p> + There is no authority for any alteration;—but I never can help + feeling how great an improvement it would be, if the two former of + Hermia's exclamations were omitted;—the third and only appropriate + one would then become a beauty, and most natural. + </p> + <p> + 'Ib.' Helena's speech:— + </p> +<pre xml:space="preserve"> + I wilt go tell him of fair Hermia's flight, &c. +</pre> + <p> + I am convinced that Shakspeare availed himself of the title of this play + in his own mind, and worked upon it as a dream throughout, but especially, + and, perhaps, unpleasingly, in this broad determination of ungrateful + treachery in Helena, so undisguisedly avowed to herself, and this, too, + after the witty cool philosophizing that precedes. The act itself is + natural, and the resolve so to act is, I fear, likewise too true a picture + of the lax hold which principles have on a woman's heart, when opposed to, + or even separated from, passion and inclination. For women are less + hypocrites to their own minds than men are, because in general they feel + less proportionate abhorrence of moral evil in and for itself, and more of + its outward consequences, as detection, and loss of character than men,—their + natures being almost wholly extroitive. Still, however just in itself, the + representation of this is not poetical; we shrink from it, and cannot + harmonize it with the ideal. + </p> + <p> + Act ii. sc. 1. Theobald's edition. + </p> +<pre xml:space="preserve"> + <i>Through</i> bush, <i>through</i> briar—... <i>Through</i> flood, <i>through</i> fire— +</pre> + <p> + What a noble pair of ears this worthy Theobald must have had! The eight + amphimacers or cretics,— + </p> +<pre xml:space="preserve"> + Ovër hîll, ôvër dâle, + Thôrö' bûsh, thôrö' brîar, + Ovër pârk, ôvër pâle, + Thôrö' flôôd, thôrö' fîre— +</pre> + <p> + have a delightful effect on the ear in their sweet transition to the + trochaic,— + </p> +<pre xml:space="preserve"> + Î dô wândër êv'ry whêrë + Swîftër thân thë môônës sphêrë, &c.— +</pre> + <p> + The last words as sustaining the rhyme, must be considered, as in fact + they are, trochees in time. + </p> + <p> + It may be worth while to give some correct examples in English of the + principal metrical feet:— + </p> +<pre xml:space="preserve"> + Pyrrhic or Dibrach, u u =<i>body, spirit</i>. + Tribrach, u u u =<i>nobody</i>, (hastily pronounced). + Iambus u ' =<i>deli'ght</i>. + Trochee, ' u =<i>li'ghtly</i>. + Spondee, ' ' =<i>Go'd spa'ke</i>. +</pre> + <p> + The paucity of spondees in single words in English and, indeed, in the + modern languages in general, makes, perhaps, the greatest distinction, + metrically considered, between them and the Greek and Latin. + </p> +<pre xml:space="preserve"> + Dactyl, ' u u = <i>me'rrily.</i> + Anapæst, u u ' = <i>a propo's,</i> or the first three syllables + of <i>ceremo'ny</i>. + Amphibrachys, u ' u = <i>deli'ghtful</i>. + Amphimacer, ' u ' = <i>o'ver hi'll</i>. + Antibacchius, u ' ' = <i>the Lo'rd Go'd</i>. + Bacchius, ' ' u = <i>He'lve'llyn</i>. + Molossus, ' ' ' = <i>Jo'hn Ja'mes Jo'nes.</i> +</pre> + <p> + These simple feet may suffice for understanding the metres of Shakspeare, + for the greater part at least;—but Milton cannot be made + harmoniously intelligible without the composite feet, the Ionics, Pæons, + and Epitrites. + </p> + <p> + 'Ib.' sc. 2. Titania's speech:—(Theobald adopting Warburton's + reading.) + </p> +<pre xml:space="preserve"> + Which she, with pretty and with swimming gate + <i>Follying</i> (her womb then rich with my young squire) + Would imitate, &c. +</pre> + <p> + Oh! oh! Heaven have mercy on poor Shakspeare, and also on Mr. Warburton's + mind's eye! + </p> + <p> + Act v. sc. 1. Theseus' speech:—(Theobald.) + </p> +<pre xml:space="preserve"> + And what poor {<i>willing</i>} duty cannot do, + Noble respect takes it in might, not merit. +</pre> + <p> + To my ears it would read far more Shakspearian thus:— + </p> +<pre xml:space="preserve"> + And what poor duty cannot do, <i>yet would</i>, Noble respect, &c. +</pre> + <p> + 'Ib.' sc. 2. + </p> +<pre xml:space="preserve"> + 'Puck.' Now the hungry lion roars, + And the wolf behowls the moon; + Whilst the heavy ploughman snores + All with weary task foredone, &c. +</pre> + <p> + Very Anacreon in perfectness, proportion, grace, and spontaneity! So far + it is Greek;—but then add, O! what wealth, what wild ranging, and + yet what compression and condensation of, English fancy! In truth, there + is nothing in Anacreon more perfect than these thirty lines, or half so + rich and imaginative. They form a speckless diamond. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0018" id="link2H_4_0018"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + COMEDY OF ERRORS. + </h2> + <p> + The myriad-minded man, our, and all men's, Shakspeare, has in this piece + presented us with a legitimate farce in exactest consonance with the + philosophical principles and character of farce, as distinguished from + comedy and from entertainments. A proper farce is mainly distinguished + from comedy by the license allowed, and even required, in the fable, in + order to produce strange and laughable situations. The story need not be + probable, it is enough that it is possible. A comedy would scarcely allow + even the two Antipholises; because, although there have been instances of + almost indistinguishable likeness in two persons, yet these are mere + individual accidents, 'casus ludentis naturæ', and the 'verum' will not + excuse the 'inverisimile'. But farce dares add the two Dromios, and is + justified in so doing by the laws of its end and constitution. In a word, + farces commence in a postulate, which must be granted. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0019" id="link2H_4_0019"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + AS YOU LIKE IT. + </h2> + <h3> + Act I. sc. 1. + </h3> +<pre xml:space="preserve"> + 'Oli'. What, boy! + + 'Orla'. Come, come, elder brother, you are too young in this. + + 'Oli'. Wilt thou lay hands on me, villain? +</pre> + <p> + There is a beauty here. The word 'boy' naturally provokes and awakens in + Orlando the sense of his manly powers; and with the retort of 'elder + brother,' he grasps him with firm hands, and makes him feel he is no boy. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Oli'. Farewell, good Charles.—Now will I stir this gamester: I + hope, I shall see an end of him; for my soul, yet I know not why, + hates nothing more than him. Yet he's gentle; never school'd, and yet + learn'd; full of noble device; of all sorts enchantingly beloved! and, + indeed, so much in the heart of the world, and especially of my own + people, who best know him, that I am altogether misprized: but it + shall not be so long; this wrestler shall clear all. +</pre> + <p> + This has always appeared to me one of the most un-Shakspearian speeches in + all the genuine works of our poet; yet I should be nothing surprized, and + greatly pleased, to find it hereafter a fresh beauty, as has so often + happened to me with other supposed defects of great men. (1810). + </p> + <p> + It is too venturous to charge a passage in Shakspeare with want of truth + to nature; and yet at first sight this speech of Oliver's expresses + truths, which it seems almost impossible that any mind should so + distinctly, so livelily, and so voluntarily, have presented to itself, in + connection with feelings and intentions so malignant, and so contrary to + those which the qualities expressed would naturally have called forth. But + I dare not say that this seeming unnaturalness is not in the nature of an + abused wilfulness, when united with a strong intellect. In such characters + there is sometimes a gloomy self-gratification in making the absoluteness + of the will ('sit pro ratione voluntas!') evident to themselves by setting + the reason and the conscience in full array against it. (1818). + </p> + <p> + Ib. sc. 2. + </p> +<pre xml:space="preserve"> + 'Celia'. If you saw yourself with <i>your</i> eyes, or knew yourself with + <i>your</i> judgment, the fear of your adventure would counsel you to a + more equal enterprise. +</pre> + <p> + Surely it should be '<i>our</i> eyes' and '<i>our</i> judgment.' + </p> + <p> + 'Ib.' sc. 3. + </p> +<pre xml:space="preserve"> + 'Cel'. But is all this for your father? + + 'Ros'. No, some of it is for <i>my child's father</i>. +</pre> + <p> + Theobald restores this as the reading of the older editions. It may be so; + but who can doubt that it is a mistake for 'my father's child,' meaning + herself? According to Theobald's note, a most indelicate anticipation is + put into the mouth of Rosalind without reason;—and besides, what a + strange thought, and how out of place, and unintelligible! + </p> + <p> + Act iv. sc. 2. + </p> +<pre xml:space="preserve"> + Take thou no scorn + To wear the horn, the lusty horn; + It was a crest ere thou wast born. +</pre> + <p> + I question whether there exists a parallel instance of a phrase, that like + this of 'horns' is universal in all languages, and yet for which no one + has discovered even a plausible origin. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0020" id="link2H_4_0020"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + TWELFTH NIGHT. + </h2> + <h3> + Act I. sc. 1. Duke's speech:— + </h3> +<pre xml:space="preserve"> + —so full of shapes <i>is</i> fancy, That it alone is high fantastical. +</pre> + <p> + Warburton's alteration of <i>is</i> into <i>in</i> is needless. 'Fancy' + may very well be interpreted 'exclusive affection,' or 'passionate + preference.' Thus, bird-fanciers, gentlemen of the fancy, that is, + amateurs of boxing, &c. The play of assimilation,—the meaning + one sense chiefly, and yet keeping both senses in view, is perfectly + Shakspearian. + </p> + <p> + Act ii. sc. 3. Sir Andrew's speech:— + </p> + <p> + An explanatory note on <i>Pigrogromilus</i> would have been more + acceptable than Theobald's grand discovery that 'lemon' ought to be + 'leman.' + </p> + <p> + Ib. Sir Toby's speech: (Warburton's note on the Peripatetic philosophy.) + </p> +<pre xml:space="preserve"> + Shall we rouse the night-owl in a catch, that will draw three souls + out of one weaver? +</pre> + <p> + O genuine, and inimitable (at least I hope so) Warburton! This note of + thine, if but one in five millions, would be half a one too much. + </p> + <p> + 'Ib.' sc. 4. + </p> +<pre xml:space="preserve"> + 'Duke'. My life upon't, young though thou art, thine eye + Hath stay'd upon some favour that it loves; + Hath it not, boy? + + 'Vio'. A little, by your favour. + + 'Duke'. What kind of woman is't? +</pre> + <p> + And yet Viola was to have been presented to Orsino as a eunuch!—Act + i. sc. 2. Viola's speech. Either she forgot this, or else she had altered + her plan. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Vio'. A blank, my lord: she never told her love!— + But let concealment, &c. +</pre> + <p> + After the first line, (of which the last five words should be spoken with, + and drop down in, a deep sigh) the actress ought to make a pause; and then + start afresh, from the activity of thought, born of suppressed feelings, + and which thought had accumulated during the brief interval, as vital heat + under the skin during a dip in cold water. + </p> + <p> + Ib. sc. 5. + </p> +<pre xml:space="preserve"> + 'Fabian'. Though our silence be drawn from us by <i>cars</i>, yet peace. +</pre> + <p> + Perhaps, 'cables.' + </p> + <p> + Act iii. sc. 1. + </p> +<pre xml:space="preserve"> + 'Clown'. A sentence is but a <i>cheveril</i> glove to a good wit. +</pre> + <p> + (Theobald's note.) + </p> + <p> + Theobald's etymology of 'cheveril' is, of course quite right;—but he + is mistaken in supposing that there were no such things as gloves of + chicken-skin. They were at one time a main article in chirocosmetics. + </p> + <p> + Act v. sc. 1. Clown's speech:— + </p> +<pre xml:space="preserve"> + So that, <i>conclusions to be as kisses</i>, if your four negatives make + your two affirmatives, why, then, the worse for my friends, and the + better for my foes. +</pre> + <p> + (Warburton reads 'conclusion to be asked, is.') + </p> + <p> + Surely Warburton could never have wooed by kisses and won, or he would not + have flounder-flatted so just and humorous, nor less pleasing than + humorous, an image into so profound a nihility. In the name of love and + wonder, do not four kisses make a double affirmative? The humour lies in + the whispered 'No!' and the inviting 'Don't!' with which the maiden's + kisses are accompanied, and thence compared to negatives, which by + repetition constitute an affirmative. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0021" id="link2H_4_0021"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ALL'S WELL THAT ENDS WELL. + </h2> + <p> + Act I. sc. 1. + </p> +<pre xml:space="preserve"> + 'Count'. If the living be enemy to the grief, the excess makes it soon + mortal. + + 'Bert'. Madam, I desire your holy wishes—. + + 'Laf'. How understand we that—? +</pre> + <p> + Bertram and Lafeu, I imagine, both speak together,—Lafeu referring + to the Countess's rather obscure remark. + </p> + <p> + Act. ii. sc. 1. (Warburton's note.) + </p> +<pre xml:space="preserve"> + 'King'. —let <i>higher</i> Italy + (Those <i>'bated</i>, that inherit but the fall + Of the last monarchy) see, that you come + Not to woo honor, but to wed it. +</pre> + <p> + It would be, I own, an audacious and unjustifiable change of the text; but + yet, as a mere conjecture, I venture to suggest 'bastards,' for ''bated.' + As it stands, in spite of Warburton's note I can make little or nothing of + it. Why should the king except the then most illustrious states, which, as + being republics, were the more truly inheritors of the Roman grandeur?—With + my conjecture, the sense would be;—'let higher, or the more northern + part of Italy—(unless 'higher' be a corruption for 'hir'd,'—the + metre seeming to demand a monosyllable) (those bastards that inherit the + infamy only of their fathers) see, &c.' The following 'woo' and 'wed' + are so far confirmative as they indicate Shakspeare's manner of connexion + by unmarked influences of association from some preceding metaphor. This + it is which makes his style so peculiarly vital and organic. Likewise + 'those girls of Italy' strengthen the guess. The absurdity of Warburton's + gloss, which represents the king calling Italy superior, and then + excepting the only part the lords were going to visit, must strike every + one. + </p> + <p> + Ib. sc. 3. + </p> +<pre xml:space="preserve"> + 'Laf'. They say, miracles are past; and we have our philosophical + persons to make modern and familiar, things supernatural and + <i>causeless</i>. +</pre> + <p> + Shakspeare, inspired, as it might seem, with all knowledge, here uses the + word 'causeless' in its strict philosophical sense;—cause being + truly predicable only of 'phenomena', that is, things natural, and not of + 'noumena', or things supernatural. + </p> + <p> + Act iii. sc. 5. + </p> +<pre xml:space="preserve"> + 'Dia'. The Count Rousillon:—know you such a one? + + 'Hel'. But by the ear that hears most nobly of him; + His face I know not. +</pre> + <p> + Shall we say here, that Shakspeare has unnecessarily made his loveliest + character utter a lie?—Or shall we dare think that, where to deceive + was necessary, he thought a pretended verbal verity a double crime, + equally with the other a lie to the hearer, and at the same time an + attempt to lie to one's own conscience? + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0022" id="link2H_4_0022"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + MERRY WIVES OF WINDSOR. + </h2> + <p> + Act I. sc. 1. + </p> +<pre xml:space="preserve"> + 'Shal'. The luce is the fresh fish, the salt fish is an old coat. +</pre> + <p> + I cannot understand this. Perhaps there is a corruption both of words and + speakers. Shallow no sooner corrects one mistake of Sir Hugh's, namely, + 'louse' for 'luce,' a pike, but the honest Welchman falls into another, + namely, 'cod' ('baccalà') 'Cambrice' 'cot' for coat. + </p> +<pre xml:space="preserve"> + 'Shal'. The luce is the fresh fish— + + 'Evans'. The salt fish is an old cot. +</pre> + <p> + 'Luce is a fresh fish, and not a louse;' says Shallow. 'Aye, aye,' quoth + Sir Hugh; 'the <i>fresh</i> fish is the luce; it is an old cod that is the + salt fish.' At all events, as the text stands, there is no sense at all in + the words. + </p> + <p> + 'Ib.' sc. 3. + </p> +<pre xml:space="preserve"> + 'Fal'. Now, the report goes, she has all the rule of her husband's + purse; she hath a legion of angels. + + 'Pist'. As many devils entertain; and 'To her, boy', say I. +</pre> + <p> + Perhaps it is— + </p> +<pre xml:space="preserve"> + As many devils enter (or enter'd) swine; and <i>to her, boy</i>, say I:— +</pre> + <p> + a somewhat profane, but not un-Shakspearian, allusion to the 'legion' in + St. Luke's 'gospel.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0023" id="link2H_4_0023"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + MEASURE FOR MEASURE. + </h2> + <p> + This play, which is Shakspeare's throughout, is to me the most painful—say + rather, the only painful—part of his genuine works. The comic and + tragic parts equally border on the {Greek (transliterated): misaeteon},—the + one being disgusting, the other horrible; and the pardon and marriage of + Angelo not merely baffles the strong indignant claim of justice—(for + cruelty, with lust and damnable baseness, cannot be forgiven, because we + cannot conceive them as being morally repented of;) but it is likewise + degrading to the character of woman. Beaumont and Fletcher, who can follow + Shakspeare in his errors only, have presented a still worse, because more + loathsome and contradictory, instance of the same kind in the + Night-Walker, in the marriage of Alathe to Algripe. Of the + counterbalancing beauties of Measure for Measure, I need say nothing; for + I have already remarked that the play is Shakspeare's throughout. + </p> + <p> + Act iii. sc. 1. + </p> +<pre xml:space="preserve"> + Ay, but to die, and go we know not where, &c. +</pre> + <p> + This natural fear of Claudio, from the antipathy we have to death, seems + very little varied from that infamous wish of Mæcenas, recorded in the + 101st epistle of Seneca: + </p> +<pre xml:space="preserve"> + <i>Debilem facito manu, Debilem pede, coxa, &c.</i> +</pre> + <p> + Warburton's note. + </p> + <p> + I cannot but think this rather an heroic resolve, than an infamous wish. + It appears to me to be the grandest symptom of an immortal spirit, when + even that bedimmed and overwhelmed spirit recked not of its own + immortality, still to seek to be,—to be a mind, a will. + </p> + <p> + As fame is to reputation, so heaven is to an estate, or immediate + advantage. The difference is, that the self-love of the former cannot + exist but by a complete suppression and habitual supplantation of + immediate selfishness. In one point of view, the miser is more estimable + than the spendthrift;—only that the miser's present feelings are as + much of the present as the spendthrift's. But 'caeteris paribus', that is, + upon the supposition that whatever is good or lovely in the one coexists + equally in the other, then, doubtless, the master of the present is less a + selfish being, an animal, than he who lives for the moment with no + inheritance in the future. Whatever can degrade man, is supposed in the + latter case, whatever can elevate him, in the former. And as to self;—strange + and generous self! that can only be such a self by a complete divestment + of all that men call self,—of all that can make it either + practically to others, or consciously to the individual himself, different + from the human race in its ideal. Such self is but a perpetual religion, + an inalienable acknowledgment of God, the sole basis and ground of being. + In this sense, how can I love God, and not love myself, as far as it is of + God? + </p> + <p> + 'Ib.' sc. 2. + </p> +<pre xml:space="preserve"> + Pattern in himself to know, Grace to stand, and virtue go. +</pre> + <p> + Worse metre, indeed, but better English would be,— + </p> +<pre xml:space="preserve"> + Grace to stand, virtue to go. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0024" id="link2H_4_0024"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CYMBELINE. + </h2> + <p> + Act I. sc. 1. + </p> +<pre xml:space="preserve"> + You do not meet a man, but frowns: our bloods + No more obey the heavens, than our courtiers' + Still seem, as does the king's. +</pre> + <p> + There can be little doubt of Mr. Tyrwhitt's emendations of 'courtiers' and + 'king,' as to the sense;—only it is not impossible that Shakspeare's + dramatic language may allow of the word, 'brows' or 'faces' being + understood after the word 'courtiers',' which might then remain in the + genitive case plural. But the nominative plural makes excellent sense, and + is sufficiently elegant, and sounds to my ear Shakspearian. What, however, + is meant by 'our bloods no more obey the heavens?'—Dr. Johnson's + assertion that 'bloods' signify 'countenances,' is, I think, mistaken both + in the thought conveyed—(for it was never a popular belief that the + stars governed men's countenances,) and in the usage, which requires an + antithesis of the blood,—or the temperament of the four humours, + choler, melancholy, phlegm, and the red globules, or the sanguine portion, + which was supposed not to be in our own power, but, to be dependent on the + influences of the heavenly bodies,—and the countenances which are in + our power really, though from flattery we bring them into a no less + apparent dependence on the sovereign, than the former are in actual + dependence on the constellations. + </p> + <p> + I have sometimes thought that the word 'courtiers' was a misprint for + 'countenances,' arising from an anticipation, by foreglance of the + compositor's eye, of the word 'courtier' a few lines below. The written + 'r' is easily and often confounded with the written 'n'. The compositor + read the first syllable 'court', and—his eye at the same time + catching the word 'courtier' lower down—he completed the word + without reconsulting the copy. It is not unlikely that Shakspeare intended + first to express, generally the same thought, which a little afterwards he + repeats with a particular application to the persons meant;—a common + usage of the pronominal 'our,' where the speaker does not really mean to + include himself; and the word 'you' is an additional confirmation of the + 'our' being used in this place, for men generally and indefinitely, just + as 'you do not meet,' is the same as, 'one does not meet.' + </p> + <p> + Act i. sc. 2. Imogen's speech:— + </p> +<pre xml:space="preserve"> + —My dearest husband, + I something fear my father's wrath; but nothing + (Always reserv'd my holy duty) what + His rage can do on me. +</pre> + <p> + Place the emphasis on 'me;' for 'rage' is a mere repetition of 'wrath.' + </p> +<pre xml:space="preserve"> + 'Cym'. O disloyal thing, + That should'st repair my youth, thou heapest + A year's age on me. +</pre> + <p> + How is it that the commentators take no notice of the un-Shakspearian + defect in the metre of the second line, and what in Shakspeare is the + same, in the harmony with the sense and feeling? Some word or words must + have slipped out after 'youth,'—possibly 'and see':— + </p> +<pre xml:space="preserve"> + That should'st repair my youth!—and see, thou heap'st, &c. +</pre> + <p> + 'Ib.' sc. 4. Pisanio's speech:— + </p> +<pre xml:space="preserve"> + —For so long + As he could make me with <i>this</i> eye or ear + Distinguish him from others, &c. +</pre> + <p> + But '<i>this</i> eye,' in spite of the supposition of its being used + {Greek (transliterated): deiktik<i>os</i>}, is very awkward. I should + think that either 'or'—or 'the' was Shakspeare's word;— + </p> +<pre xml:space="preserve"> + As he could make me or with eye or ear. +</pre> + <p> + 'Ib.' sc. 7. Iachimo's speech:— + </p> +<pre xml:space="preserve"> + Hath nature given them eyes + To see this vaulted arch, and the rich crop + Of sea and land, which can distinguish 'twixt + The fiery orbs above, and the twinn'd stones + Upon the number'd beach. +</pre> + <p> + I would suggest 'cope' for 'crop.' As to 'twinn'd stones'—may it not + be a bold <i>catachresis</i> for muscles, cockles, and other empty shells + with hinges, which are truly twinned? I would take Dr. Farmer's 'umber'd,' + which I had proposed before I ever heard of its having been already + offered by him: but I do not adopt his interpretation of the word, which I + think is not derived from <i>umbra</i>, a shade, but from <i>umber</i>, a + dingy yellow-brown soil, which most commonly forms the mass of the sludge + on the sea shore, and on the banks of tide-rivers at low water. One other + possible interpretation of this sentence has occurred to me, just barely + worth mentioning;—that the 'twinn'd stones' are the <i>augrim</i> + stones upon the number'd beech, that is, the astronomical tables of + beech-wood. + </p> + <p> + Act v. sc. 5. + </p> +<pre xml:space="preserve"> + 'Sooth'. When as a lion's whelp, &c. +</pre> + <p> + It is not easy to conjecture why Shakspeare should have introduced this + ludicrous scroll, which answers no one purpose, either propulsive, or + explicatory, unless as a joke on etymology. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0025" id="link2H_4_0025"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + TITUS ANDRONICUS. + </h2> + <p> + Act I. sc. 1. Theobald's note: + </p> + <p> + I never heard it so much as intimated, that he (Shakspeare) had turned his + genius to stage-writing, before he associated with the players, and became + one of their body. + </p> + <p> + That Shakspeare never 'turned his genius to stage writing,' as Theobald + most 'Theobaldice' phrases it, before he became an actor, is an assertion + of about as much authority, as the precious story that he left Stratford + for deerstealing, and that he lived by holding gentlemen's horses at the + doors of the theatre, and other trash of that arch-gossip, old Aubrey. The + metre is an argument against Titus Andronicus being Shakspeare's, worth a + score such chronological surmises. Yet I incline to think that both in + this play and in Jeronymo, Shakspeare wrote some passages, and that they + are the earliest of his compositions. + </p> + <p> + Act v. sc. 2. + </p> + <p> + I think it not improbable that the lines from— + </p> +<pre xml:space="preserve"> + I am not mad; I know thee well enough;— + ... + So thou destroy Rapine, and + Murder there. +</pre> + <p> + were written by Shakspeare in his earliest period. But instead of the text— + </p> +<pre xml:space="preserve"> + Revenge, <i>which makes the foul offender quake. + + 'Tit.' Art thou</i> Revenge? and art thou sent to me?— +</pre> + <p> + the words in italics {between underscores} ought to be omitted. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0026" id="link2H_4_0026"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + TROILUS AND CRESSIDA. + </h2> + <p> + Mr. Pope (after Dryden) informs us, that the story of Troilus and Cressida + was originally the work of one Lollius, a Lombard: but Dryden goes yet + further; he declares it to have been written in Latin verse, and that + Chaucer translated it.—<i>Lollius was a historiographer of Urbino in + Italy</i>. (Note in Stockdale's edition, 1807.) + </p> + <p> + 'Lollius was a historiographer of Urbino in Italy.' So affirms the notary, + to whom the Sieur Stockdale committed the <i>disfacimento</i> of + Ayscough's excellent edition of Shakspeare. Pity that the researchful + notary has not either told us in what century, and of what history, he was + a writer, or been simply content to depose, that Lollius, if a writer of + that name existed at all, was a somewhat somewhere. The notary speaks of + the <i>Troy Boke</i> or Lydgate, printed in 1513. I have never seen it; + but I deeply regret that Chalmers did not substitute the whole of + Lydgate's works from the MSS. extant, for the almost worthless Gower. + </p> + <p> + The Troilus and Cressida of Shakspeare can scarcely be classed with his + dramas of Greek and Roman history; but it forms an intermediate link + between the fictitious Greek and Roman histories, which we may call + legendary dramas, and the proper ancient histories; that is, between the + Pericles or Titus Andronicus, and the Coriolanus, or Julius Caesar. + Cymbeline is a <i>congener</i> with Pericles, and distinguished from Lear + by not having any declared prominent object. But where shall we class the + Timon of Athens? Perhaps immediately below Lear. It is a Lear of the + satirical drama; a Lear of domestic or ordinary life;—a local eddy + of passion on the high road of society, while all around is the week-day + goings on of wind and weather; a Lear, therefore, without its + soul-searching flashes, its ear-cleaving thunderclaps, its meteoric + splendors,—without the contagion and the fearful sympathies of + nature, the fates, the furies, the frenzied elements, dancing in and out, + now breaking through, and scattering,—now hand in hand with,—the + fierce or fantastic group of human passions, crimes, and anguishes, + reeling on the unsteady ground, in a wild harmony to the shock and the + swell of an earthquake. But my present subject was Troilus and Cressida; + and I suppose that, scarcely knowing what to say of it, I by a cunning of + instinct ran off to subjects on which I should find it difficult not to + say too much, though certain after all that I should still leave the + better part unsaid, and the gleaning for others richer than my own + harvest. + </p> + <p> + Indeed, there is no one of Shakspeare's plays harder to characterize. The + name and the remembrances connected with it, prepare us for the + representation of attachment no less faithful than fervent on the side of + the youth, and of sudden and shameless inconstancy on the part of the + lady. And this is, indeed, as the gold thread on which the scenes are + strung, though often kept out of sight and out of mind by gems of greater + value than itself. But as Shakspeare calls forth nothing from the + mausoleum of history, or the catacombs of tradition, without giving, or + eliciting, some permanent and general interest, and brings forward no + subject which he does not moralize or intellectualize,—so here he + has drawn in Cressida the portrait of a vehement passion, that, having its + true origin and proper cause in warmth of temperament, fastens on, rather + than fixes to, some one object by liking and temporary preference. + </p> +<pre xml:space="preserve"> + There's language in her eye, her cheek, her lip, + Nay, her foot speaks; her wanton spirits look out + At every joint and motive of her body. +</pre> + <p> + This Shakspeare has contrasted with the profound affection represented in + Troilus, and alone worthy the name of love;—affection, passionate + indeed,—swoln with the confluence of youthful instincts and youthful + fancy, and growing in the radiance of hope newly risen, in short enlarged + by the collective sympathies of nature;—but still having a depth of + calmer element in a will stronger than desire, more entire than choice, + and which gives permanence to its own act by converting it into faith and + duty. Hence with excellent judgment, and with an excellence higher than + mere judgment can give, at the close of the play, when Cressida has sunk + into infamy below retrieval and beneath hope, the same will, which had + been the substance and the basis of his love, while the restless pleasures + and passionate longings, like sea-waves, had tossed but on its surface,—this + same moral energy is represented as snatching him aloof from all + neighbourhood with her dishonour, from all lingering fondness and + languishing regrets, whilst it rushes with him into other and nobler + duties, and deepens the channel, which his heroic brother's death had left + empty for its collected flood. Yet another secondary and subordinate + purpose Shakspeare has inwoven with his delineation of these two + characters,—that of opposing the inferior civilization, but purer + morals, of the Trojans to the refinements, deep policy, but duplicity and + sensual corruptions, of the Greeks. + </p> + <p> + To all this, however, so little comparative projection is given,—nay, + the masterly group of Agamemnon, Nestor, and Ulysses, and, still more in + advance, that of Achilles, Ajax, and Thersites, so manifestly occupy the + foreground, that the subservience and vassalage of strength and animal + courage to intellect and policy seems to be the lesson most often in our + poet's view, and which he has taken little pains to connect with the + former more interesting moral impersonated in the titular hero and heroine + of the drama. But I am half inclined to believe, that Shakspeare's main + object, or shall I rather say, his ruling impulse, was to translate the + poetic heroes of paganism into the not less rude, but more intellectually + vigorous, and more <i>featurely</i>, warriors of Christian chivalry,—and + to substantiate the distinct and graceful profiles or outlines of the + Homeric epic into the flesh and blood of the romantic drama,—in + short, to give a grand history-piece in the robust style of Albert Durer. + </p> + <p> + The character of Thersites, in particular, well deserves a more careful + examination, as the Caliban of demagogic life;—the admirable + portrait of intellectual power deserted by all grace, all moral principle, + all not momentary impulse;—just wise enough to detect the weak head, + and fool enough to provoke the armed fist of his betters;—one whom + malcontent Achilles can inveigle from malcontent Ajax, under the one + condition, that he shall be called on to do nothing but abuse and slander, + and that he shall be allowed to abuse as much and as purulently as he + likes, that is, as he can;—in short, a mule,—quarrelsome by + the original discord of his nature,—a slave by tenure of his own + baseness,—made to bray and be brayed at, to despise and be + despicable. 'Aye, Sir, but say what you will, he is a very clever fellow, + though the best friends will fall out. There was a time when Ajax thought + he deserved to have a statue of gold erected to him, and handsome + Achilles, at the head of the Myrmidons, gave no little credit to his <i>friend + Thersites</i>!' + </p> + <p> + Act iv. sc. 5. Speech of Ulysses:— + </p> +<pre xml:space="preserve"> + O, these encounterers, so glib of tongue, + That give a <i>coasting</i> welcome ere it comes— +</pre> + <p> + Should it be 'accosting?' 'Accost her, knight, accost!' in the Twelfth + Night. Yet there sounds a something so Shakspearian in the phrase—'give + a coasting welcome,' ('coasting' being taken as the epithet and adjective + of 'welcome,') that had the following words been, 'ere <i>they land</i>,' + instead of 'ere it comes,' I should have preferred the interpretation. The + sense now is, 'that give welcome to a salute ere it comes.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0027" id="link2H_4_0027"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CORIOLANUS. + </h2> + <p> + This play illustrates the wonderfully philosophic impartiality of + Shakspeare's politics. His own country's history furnished him with no + matter, but what was too recent to be devoted to patriotism. Besides, he + knew that the instruction of ancient history would seem more + dispassionate. In Coriolanus and Julius Caesar, you see Shakspeare's + good-natured laugh at mobs. Compare this with Sir Thomas Brown's + aristocracy of spirit. + </p> + <p> + Act i. sc. 1. Coriolanus' speech:— + </p> +<pre xml:space="preserve"> + He that depends Upon your favours, swims with fins of lead, + And hews down oaks with rushes. Hang ye! Trust ye? +</pre> + <p> + I suspect that Shakspeare wrote it transposed; + </p> +<pre xml:space="preserve"> + Trust ye? Hang ye! +</pre> + <p> + Ib. sc. 10. Speech of Aufidius:— + </p> +<pre xml:space="preserve"> + Mine emulation + Hath not that honor in't, it had; for where + I thought to crush him in an equal force, + True sword to sword; I'll potch at him some way, + Or wrath, or craft may get him.—My valor (poison'd + With only suffering stain by him) for him + Shall fly out of itself: not sleep, nor sanctuary, + Being naked, sick, nor fane, nor capitol, + The prayers of priests, nor times of sacrifices, + Embankments all of fury, shall lift up + Their rotten privilege and custom 'gainst + My hate to Marcius. +</pre> + <p> + I have such deep faith in Shakspeare's heart-lore, that I take for granted + that this is in nature, and not as a mere anomaly; although I cannot in + myself discover any germ of possible feeling, which could wax and unfold + itself into such sentiment as this. However, I perceive that in this + speech is meant to be contained a prevention of shock at the after-change + in Aufidius' character. + </p> + <p> + Act ii. sc, 1. Speech of Menenius:— + </p> +<pre xml:space="preserve"> + The most sovereign prescription in <i>Galen</i>, &c. +</pre> + <p> + Was it without, or in contempt of, historical information that Shakspeare + made the contemporaries of Coriolanus quote Cato and Galen? I cannot + decide to my own satisfaction. + </p> + <p> + Ib. sc. 3. Speech of Coriolanus:— + </p> +<pre xml:space="preserve"> + Why in this wolvish gown should I stand here— +</pre> + <p> + That the gown of the candidate was of whitened wool, we know. Does + 'wolvish' or 'woolvish' mean 'made of wool?' If it means 'wolfish,' what + is the sense? + </p> + <p> + Act iv. sc. 7. Speech of Aufidius:— + </p> +<pre xml:space="preserve"> + All places yield to him ere he sits down, &c. +</pre> + <p> + I have always thought this in itself so beautiful speech, the least + explicable from the mood and full intention of the speaker, of any in the + whole works of Shakspeare. I cherish the hope that I am mistaken, and + that, becoming wiser, I shall discover some profound excellence in that, + in which I now appear to detect an imperfection. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0028" id="link2H_4_0028"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + JULIUS CÆSAR. + </h2> + <p> + Act I. sc. 1. + </p> +<pre xml:space="preserve"> + 'Mar.' What meanest <i>thou</i> by that? Mend me, thou saucy fellow! +</pre> + <p> + The speeches of Flavius and Marullus are in blank verse. Wherever regular + metre can be rendered truly imitative of character, passion, or personal + rank, Shakspeare seldom, if ever, neglects it. Hence this line should be + read:— + </p> +<pre xml:space="preserve"> + What mean'st by that? mend me, thou saucy fellow! +</pre> + <p> + I say regular metre: for even the prose has in the highest and lowest + dramatic personage, a Cobbler or a Hamlet, a rhythm so felicitous and so + severally appropriate, as to be a virtual metre. + </p> + <p> + Ib. sc. 2. + </p> +<pre xml:space="preserve"> + 'Bru.' A soothsayer bids you beware the Ides of March. +</pre> + <p> + If my ear does not deceive me, the metre of this line was meant to express + that sort of mild philosophic contempt, characterizing Brutus even in his + first casual speech. The line is a trimeter,—each <i>dipodia</i> + containing two accented and two unaccented syllables, but variously + arranged, as thus;— + </p> +<pre xml:space="preserve"> + ^ — — ^ | — ^ ^ — | ^ — ^ — + A soothsayer | bids you beware | the Ides of March. +</pre> + <p> + Ib. Speech of Brutus: + </p> +<pre xml:space="preserve"> + Set honor in one eye, and death i' the other, + And I will look on <i>both</i> indifferently. +</pre> + <p> + Warburton would read 'death' for 'both;' but I prefer the old text. There + are here three things, the public good, the individual Brutus' honor, and + his death. The latter two so balanced each other, that he could decide for + the first by equipoise; nay—the thought growing—that honor had + more weight than death. That Cassius understood it as Warburton, is the + beauty of Cassius as contrasted with Brutus. + </p> + <p> + Ib. Caesar's speech:— + </p> +<pre xml:space="preserve"> + He loves no plays, + As thou dost, Antony; he hears no music, &c. +</pre> + <p> + This is not a trivial observation, nor does our poet mean barely by it, + that Cassius was not a merry, sprightly man; but that he had not a due + temperament of harmony in his disposition. (Theobald's Note). + </p> + <p> + O Theobald! what a commentator wast thou, when thou would'st affect to + understand Shakspeare, instead of contenting thyself with collating the + text! The meaning here is too deep for a line ten-fold the length of thine + to fathom. + </p> + <p> + Ib. sc. 3. Caesar's speech:— + </p> +<pre xml:space="preserve"> + Be <i>factious</i> for redress of all these griefs; + And I will set this foot of mine as far, + As who goes farthest. +</pre> + <p> + I understand it thus: 'You have spoken as a conspirator; be so in <i>fact</i>, + and I will join you. Act on your principles, and realize them in a fact.' + </p> + <p> + Act ii. sc. 1. Speech of Brutus:— + </p> +<pre xml:space="preserve"> + It must be by his death; and, for my part, + I know no personal cause to spurn at him, + But for the general. He would be crown'd:— + How that might change his nature, there's the question. + —And, to speak truth of Cæsar, + I have not known when his affections sway'd + More than his reason.—So Cæsar may; + Then, lest he may, prevent. +</pre> + <p> + This speech is singular;—at least, I do not at present see into + Shakspeare's motive, his <i>rationale</i>, or in what point of view he + meant Brutus' character to appear. For surely—(this I mean is what I + say to myself, with my present <i>quantum</i> of insight, only modified by + my experience in how many instances I have ripened into a perception of + beauties, where I had before descried faults;) surely, nothing can seem + more discordant with our historical preconceptions of Brutus, or more + lowering to the intellect of the Stoico-Platonic tyrannicide, than the + tenets here attributed to him—to him, the stern Roman republican; + namely,—that he would have no objection to a king, or to Cæsar, a + monarch in Rome, would Cæsar but be as good a monarch as he now seems + disposed to be! How, too, could Brutus say that he found no personal cause—none + in Cæsar's past conduct as a man? Had he not passed the Rubicon? Had he + not entered Rome as a conqueror? Had he not placed his Gauls in the + Senate?—Shakspeare, it may be said, has not brought these things + forwards.—True;—and this is just the ground of my perplexity. + What character did Shakspeare mean his Brutus to be? + </p> + <p> + Ib. Speech of Brutus:— + </p> +<pre xml:space="preserve"> + For if thou <i>path</i>, thy native semblance on— +</pre> + <p> + Surely, there need be no scruple in treating this 'path' as a mere + misprint or mis-script for 'put.' In what place does Shakspeare,—where + does any other writer of the same age—use 'path' as a verb for + 'walk?' + </p> + <p> + Ib. sc. 2. Caesar's speech:— + </p> +<pre xml:space="preserve"> + She dreamt last night, she saw my <i>statue</i>— +</pre> + <p> + No doubt, it should be <i>statua</i>, as in the same age, they more often + pronounced 'heroes' as a trisyllable than dissyllable. A modern tragic + poet would have written,— + </p> +<pre xml:space="preserve"> + Last night she dreamt, that she my statue saw— +</pre> + <p> + But Shakspeare never avails himself of the supposed license of + transposition, merely for the metre. There is always some logic either of + thought or passion to justify it. + </p> + <p> + Act iii. sc. 1. Antony's speech:— + </p> +<pre xml:space="preserve"> + Pardon me, Julius—here wast thou bay'd, brave hart; + Here didst thou fall, and here thy hunters stand + Sign'd in thy spoil, and crimson'd in thy death. + <i>O world! thou wast the forest to this hart, + And this, indeed, O world! the heart of thee.</i> +</pre> + <p> + I doubt the genuineness of the last two lines;—not because they are + vile; but first, on account of the rhythm, which is not Shakspearian, but + just the very tune of some old play, from which the actor might have + interpolated them;—and secondly, because they interrupt, not only + the sense and connection, but likewise the flow both of the passion, and, + (what is with me still more decisive) of the Shakspearian link of + association. As with many another parenthesis or gloss slipt into the + text, we have only to read the passage without it, to see that it never + was in it. I venture to say there is no instance in Shakspeare fairly like + this. Conceits he has; but they not only rise out of some word in the + lines before, but also lead to the thought in the lines following. Here + the conceit is a mere alien: Antony forgets an image, when he is even + touching it, and then recollects it, when the thought last in his mind + must have led him away from it. + </p> + <p> + Act iv. sc. 3. Speech of Brutus:— + </p> +<pre xml:space="preserve"> + ——What, shall one of us, + That struck the foremost man of all this world, + But for <i>supporting robbers</i>. +</pre> + <p> + This seemingly strange assertion of Brutus is unhappily verified in the + present day. What is an immense army, in which the lust of plunder has + quenched all the duties of the citizen, other than a horde of robbers, or + differenced only as fiends are from ordinarily reprobate men? Caesar + supported, and was supported by, such as these;—and even so + Buonaparte in our days. + </p> + <p> + I know no part of Shakspeare that more impresses on me the belief of his + genius being superhuman, than this scene between Brutus and Cassius. In + the Gnostic heresy, it might have been credited with less absurdity than + most of their dogmas, that the Supreme had employed him to create, + previously to his function of representing, characters. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0029" id="link2H_4_0029"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ANTONY AND CLEOPATRA. + </h2> + <p> + Shakspeare can be complimented only by comparison with himself: all other + eulogies are either heterogeneous, as when they are in reference to + Spenser or Milton; or they are flat truisms, as when he is gravely + preferred to Corneille, Racine, or even his own immediate successors, + Beaumont and Fletcher, Massinger and the rest. The highest praise, or + rather form of praise, of this play, which I can offer in my own mind, is + the doubt which the perusal always occasions in me, whether the Antony and + Cleopatra is not, in all exhibitions of a giant power in its strength and + vigour of maturity, a formidable rival of Macbeth, Lear, Hamlet, and + Othello. 'Feliciter audax' is the motto for its style comparatively with + that of Shakspeare's other works, even as it is the general motto of all + his works compared with those of other poets. Be it remembered, too, that + this happy valiancy of style is but the representative and result of all + the material excellencies so expressed. + </p> + <p> + This play should be perused in mental contrast with Romeo and Juliet;—as + the love of passion and appetite opposed to the love of affection and + instinct. But the art displayed in the character of Cleopatra is profound; + in this, especially, that the sense of criminality in her passion is + lessened by our insight into its depth and energy, at the very moment that + we cannot but perceive that the passion itself springs out of the habitual + craving of a licentious nature, and that it is supported and reinforced by + voluntary stimulus and sought-for associations, instead of blossoming out + of spontaneous emotion. + </p> + <p> + Of all Shakspeare's historical plays, Antony and Cleopatra is by far the + most wonderful. There is not one in which he has followed history so + minutely, and yet there are few in which he impresses the notion of + angelic strength so much;—perhaps none in which he impresses it more + strongly. This is greatly owing to the manner in which the fiery force is + sustained throughout, and to the numerous momentary flashes of nature + counteracting the historic abstraction. As a wonderful specimen of the way + in which Shakspeare lives up to the very end of this play, read the last + part of the concluding scene. And if you would feel the judgment as well + as the genius of Shakspeare in your heart's core, compare this astonishing + drama with Dryden's All For Love. + </p> + <p> + Act i. sc. 1. Philo's speech:— + </p> +<pre xml:space="preserve"> + His captain's heart, + Which in the scuffles of great fights hath burst + The buckles on his breast, <i>reneges</i> all temper— +</pre> + <p> + It should be 'reneagues,' or 'reniegues,' as 'fatigues,' &c. + </p> + <p> + 'Ib.' + </p> +<pre xml:space="preserve"> + Take but good note, and you shall see in him + The triple pillar of the world transform'd + Into a strumpet's <i>fool</i>. +</pre> + <p> + Warburton's conjecture of 'stool' is ingenious, and would be a probable + reading, if the scene opening had discovered Antony with Cleopatra on his + lap. But, represented as he is walking and jesting with her, 'fool' must + be the word. Warburton's objection is shallow, and implies that he + confounded the dramatic with the epic style. The 'pillar' of a state is so + common a metaphor as to have lost the image in the thing meant to be + imaged. + </p> + <p> + Ib. sc. 2. + </p> +<pre xml:space="preserve"> + Much is breeding; + Which, like the courser's hair, hath yet but life, + And not a serpent's poison. +</pre> + <p> + This is so far true to appearance, that a horse-hair, 'laid,' as + Hollinshed says, 'in a pail of water' will become the supporter of + seemingly one worm, though probably of an immense number of small slimy + water-lice. The hair will twirl round a finger, and sensibly compress it. + It is a common experiment with school boys in Cumberland and Westmorland. + </p> + <p> + Act ii. sc. 2. Speech of Enobarbus:— + </p> +<pre xml:space="preserve"> + Her gentlewomen, like the Nereids, + So many <i>mermaids</i>, tended her i' th' eyes, + And made their bends adornings. At the helm + A seeming mermaid steers. +</pre> + <p> + I have the greatest difficulty in believing that Shakspeare wrote the + first 'mermaids.' He never, I think, would have so weakened by useless + anticipation the fine image immediately following. The epithet 'seeming' + becomes so extremely improper after the whole number had been positively + called 'so many mermaids.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0030" id="link2H_4_0030"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + TIMON OF ATHENS, + </h2> + <h3> + Act I. sc. 1. + </h3> +<pre xml:space="preserve"> + 'Tim'. <i>The man is honest. + + 'Old Ath.' Therefore he will be</i>, Timon. His honesty rewards him in + itself.— +</pre> + <p> + Warburton's comment—'If the man be honest, for that reason he will + be so in this, and not endeavour at the injustice of gaining my daughter + without my consent'—is, like almost all his comments, ingenious in + blunder: he can never see any other writer's thoughts for the mist-working + swarm of his own. The meaning of the first line the poet himself explains, + or rather unfolds, in the second. 'The man is honest!'—'True;—and + for that very cause, and with no additional or extrinsic motive, he will + be so. No man can be justly called honest, who is not so for honesty's + sake, itself including its own reward.' Note, that 'honesty' in + Shakspeare's age retained much of its old dignity, and that + contradistinction of the 'honestum' from the 'utile', in which its very + essence and definition consist. If it be 'honestum', it cannot depend on + the 'utile'. + </p> + <p> + 'Ib.' Speech of Apemantus, printed as prose in Theobald's edition:— + </p> +<pre xml:space="preserve"> + So, so! aches contract, and starve your supple joints! +</pre> + <p> + I may remark here the fineness of Shakspeare's sense of musical period, + which would almost by itself have suggested (if the hundred positive + proofs had not been extant,) that the word 'aches' was then 'ad libitum', + a dissyllable—'aitches'. For read it, 'aches,' in this sentence, and + I would challenge you to find any period in Shakspeare's writings with the + same musical or, rather dissonant, notation. Try the one, and then the + other, by your ear, reading the sentence aloud, first with the word as a + dissyllable and then as a monosyllable, and you will feel what I mean. {1} + </p> + <p> + Ib. sc. 2. Cupid's speech: Warburton's correction of— + </p> +<pre xml:space="preserve"> + There taste, touch, all pleas'd from thy table rise— +</pre> + <p> + into + </p> +<pre xml:space="preserve"> + Th' ear, taste, touch, smell, etc. +</pre> + <p> + This is indeed an excellent emendation. + </p> + <p> + Act ii. sc. 1. Senator's speech:— + </p> +<pre xml:space="preserve"> + —nor then silenc'd with + 'Commend me to your master'—and the cap + Plays in the right hand, thus:— +</pre> + <p> + Either, methinks, 'plays' should be 'play'd,' or 'and' should be changed + to 'while.' I can certainly understand it as a parenthesis, an + interadditive of scorn; but it does not sound to my ear as in Shakspeare's + manner. + </p> + <p> + Ib. sc. 2. Timon's speech: (Theobald.) + </p> +<pre xml:space="preserve"> + And that unaptness made <i>you</i> minister, + Thus to excuse yourself. +</pre> + <p> + Read 'your';—at least I cannot otherwise understand the line. You + made my chance indisposition and occasional unaptness your minister—that + is, the ground on which you now excuse yourself. Or, perhaps, no + correction is necessary, if we construe 'made you' as 'did you make;' 'and + that unaptness did you make help you thus to excuse yourself.' But the + former seems more in Shakspeare's manner, and is less liable to be + misunderstood. {2} + </p> + <p> + Act iii. sc. 3. Servant's speech:— + </p> +<pre xml:space="preserve"> + How fairly this lord strives to appear foul!—takes virtuous copies to + be wicked; <i>like those that under hot, ardent, zeal would set whole + realms on fire. Of such a nature is his politic love.</i> +</pre> + <p> + This latter clause I grievously suspect to have been an addition of the + players, which had hit, and, being constantly applauded, procured a + settled occupancy in the prompter's copy. Not that Shakspeare does not + elsewhere sneer at the Puritans; but here it is introduced so <i>nolenter + volenter</i> (excuse the phrase) by the head and shoulders!—and is + besides so much more likely to have been conceived in the age of Charles + I. + </p> + <p> + Act iv. sc. 2. Timon's speech:— + </p> +<pre xml:space="preserve"> + Raise me this beggar, and <i>deny't</i> that lord.— +</pre> + <p> + Warburton reads 'denude.' + </p> + <p> + I cannot see the necessity of this alteration. The editors and + commentators are, all of them, ready enough to cry out against + Shakspeare's laxities and licenses of style, forgetting that he is not + merely a poet, but a dramatic poet; that, when the head and the heart are + swelling with fullness, a man does not ask himself whether he has + grammatically arranged, but only whether (the context taken in) he has + conveyed, his meaning. 'Deny' is here clearly equal to 'withhold;' and the + 'it,' quite in the genius of vehement conversation, which a syntaxist + explains by ellipses and <i>subauditurs</i> in a Greek or Latin classic, + yet triumphs over as ignorances in a contemporary, refers to accidental + and artificial rank or elevation, implied in the verb 'raise.' Besides, + does the word 'denude' occur in any writer before, or of, Shakspeare's + age? + </p> + <p> + {Footnote 1: It is, of course, a verse,— + </p> +<pre xml:space="preserve"> + Achès contract, and starve your supple joints,— +</pre> + <p> + and is so printed in all later editions. But Mr. C. was reading it in + prose in Theobald; and it is curious to see how his ear detected the + rhythmical necessity for pronouncing 'aches' as a dissyllable, although + the metrical necessity seems for the moment to have escaped him. Ed.} + </p> + <p> + {Footnote 2: 'Your' is the received reading now. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0031" id="link2H_4_0031"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ROMEO AND JULIET. + </h2> + <p> + I have previously had occasion to speak at large on the subject of the + three unities of time, place, and action, as applied to the drama in the + abstract, and to the particular stage for which Shakspeare wrote, as far + as he can be said to have written for any stage but that of the universal + mind. I hope I have in some measure succeeded in demonstrating that the + former two, instead of being rules, were mere inconveniences attached to + the local peculiarities of the Athenian drama; that the last alone + deserved the name of a principle, and that in the preservation of this + unity Shakspeare stood preeminent. Yet, instead of unity of action, I + should greatly prefer the more appropriate, though scholastic and uncouth, + words homogeneity, proportionateness, and totality of interest,—expressions, + which involve the distinction, or rather the essential difference, betwixt + the shaping skill of mechanical talent, and the creative, productive, + life-power of inspired genius. In the former each part is separately + conceived, and then by a succeeding act put together;—not as watches + are made for wholesale,—(for there each part supposes a + pre-conception of the whole in some mind)—but more like pictures on + a motley screen. Whence arises the harmony that strikes us in the wildest + natural landscapes,—in the relative shapes of rocks, the harmony of + colours in the heaths, ferns, and lichens, the leaves of the beech and the + oak, the stems and rich brown branches of the birch and other mountain + trees, varying from verging autumn to returning spring,—compared + with the visual effect from the greater number of artificial plantations?—From + this, that the natural landscape is effected, as it were, by a single + energy modified 'ab intra' in each component part. And as this is the + particular excellence of the Shakspearian drama generally, so is it + especially characteristic of the Romeo and Juliet. + </p> + <p> + The groundwork of the tale is altogether in family life, and the events of + the play have their first origin in family feuds. Filmy as are the eyes of + party-spirit, at once dim and truculent, still there is commonly some real + or supposed object in view, or principle to be maintained; and though but + the twisted wires on the plate of rosin in the preparation for electrical + pictures, it is still a guide in some degree, an assimilation to an + outline. But in family quarrels, which have proved scarcely less injurious + to states, wilfulness, and precipitancy, and passion from mere habit and + custom, can alone be expected. With his accustomed judgment, Shakspeare + has begun by placing before us a lively picture of all the impulses of the + play; and, as nature ever presents two sides, one for Heraclitus, and one + for Democritus, he has, by way of prelude, shown the laughable absurdity + of the evil by the contagion of it reaching the servants, who have so + little to do with it, but who are under the necessity of letting the + superfluity of sensoreal power fly off through the escape-valve of + wit-combats, and of quarrelling with weapons of sharper edge, all in + humble imitation of their masters. Yet there is a sort of unhired + fidelity, an 'ourishness' about all this that makes it rest pleasant on + one's feelings. All the first scene, down to the conclusion of the + Prince's speech, is a motley dance of all ranks and ages to one tune, as + if the horn of Huon had been playing behind the scenes. + </p> + <p> + Benvolio's speech— + </p> +<pre xml:space="preserve"> + Madam, an hour before the worshipp'd sun + Peer'd forth the golden window of the east— +</pre> + <p> + and, far more strikingly, the following speech of old Montague— + </p> +<pre xml:space="preserve"> + Many a morning hath he there been seen + With tears augmenting the fresh morning dew— +</pre> + <p> + prove that Shakspeare meant the Romeo and Juliet to approach to a poem, + which, and indeed its early date, may be also inferred from the multitude + of rhyming couplets throughout. And if we are right, from the internal + evidence, in pronouncing this one of Shakspeare's early dramas, it affords + a strong instance of the fineness of his insight into the nature of the + passions, that Romeo is introduced already love-bewildered. The necessity + of loving creates an object for itself in man and woman; and yet there is + a difference in this respect between the sexes, though only to be known by + a perception of it. It would have displeased us if Juliet had been + represented as already in love, or as fancying herself so;—but no + one, I believe, ever experiences any shock at Romeo's forgetting his + Rosaline, who had been a mere name for the yearning of his youthful + imagination, and rushing into his passion for Juliet. Rosaline was a mere + creation of his fancy; and we should remark the boastful positiveness of + Romeo in a love of his own making, which is never shown where love is + really near the heart. + </p> +<pre xml:space="preserve"> + When the devout religion of mine eye + Maintains such falsehood, then turn tears to fires! + ... + One fairer than my love! the all-seeing sun + Ne'er saw her match, since first the world begun. +</pre> + <p> + The character of the Nurse is the nearest of any thing in Shakspeare to a + direct borrowing from mere observation; and the reason is, that as in + infancy and childhood the individual in nature is a representative of a + class, just as in describing one larch tree, you generalize a grove of + them,—so it is nearly as much so in old age. The generalization is + done to the poet's hand. Here you have the garrulity of age strengthened + by the feelings of a long-trusted servant, whose sympathy with the + mother's affections gives her privileges and rank in the household; and + observe the mode of connection by accidents of time and place, and the + childlike fondness of repetition in a second childhood, and also that + happy, humble, ducking under, yet constant resurgence against, the check + of her superiors!— + </p> +<pre xml:space="preserve"> + Yes, madam!—Yet I cannot choose but laugh, &c. +</pre> + <p> + In the fourth scene we have Mercutio introduced to us. O! how shall I + describe that exquisite ebullience and overflow of youthful life, wafted + on over the laughing waves of pleasure and prosperity, as a wanton beauty + that distorts the face on which she knows her lover is gazing enraptured, + and wrinkles her forehead in the triumph of its smoothness! Wit ever + wakeful, fancy busy and procreative as an insect, courage, an easy mind + that, without cares of its own, is at once disposed to laugh away those of + others, and yet to be interested in them,—these and all congenial + qualities, melting into the common 'copula' of them all, the man of rank + and the gentleman, with all its excellencies and all its weaknesses, + constitute the character of Mercutio! + </p> + <p> + Act i. sc. 5. + </p> +<pre xml:space="preserve"> + 'Tyb'. It fits when such a villain is a guest; I'll not endure him. + + 'Cap'. He shall be endur'd. + What, goodman boy!—I say, he shall:—Go to;— + Am I the master here, or you?—Go to. + You'll not endure him!—God shall mend my soul— + You'll make a mutiny among my guests! + You will set cock-a-hoop! you'll be the man! + + 'Tyb'. Why, uncle, 'tis a shame. + + 'Cap'. Go to, go to, You are a saucy boy! &c.— +</pre> + <p> + How admirable is the old man's impetuosity at once contrasting, yet + harmonized, with young Tybalt's quarrelsome violence! But it would be + endless to repeat observations of this sort. Every leaf is different on an + oak tree; but still we can only say—our tongues defrauding our eyes—'This + is another oak-leaf!' + </p> + <p> + Act ii. sc. 2. The garden scene: + </p> + <p> + Take notice in this enchanting scene of the contrast of Romeo's love with + his former fancy; and weigh the skill shown in justifying him from his + inconstancy by making us feel the difference of his passion. Yet this, + too, is a love in, although not merely of, the imagination. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Jul'. Well, do not swear; although I joy in thee, + I have no joy in this contract to-night: + It is too rash, too unadvis'd, too sudden, &c. +</pre> + <p> + With love, pure love, there is always an anxiety for the safety of the + object, a disinterestedness, by which it is distinguished from the + counterfeits of its name. Compare this scene with Act iii. sc. 1. of the + Tempest. I do not know a more wonderful instance of Shakspeare's mastery + in playing a distinctly rememberable variety on the same remembered air, + than in the transporting love-confessions of Romeo and Juliet and + Ferdinand and Miranda. There seems more passion in the one, and more + dignity in the other; yet you feel that the sweet girlish lingering and + busy movement of Juliet, and the calmer and more maidenly fondness of + Miranda, might easily pass into each other. + </p> + <p> + 'Ib.' sc. 3. The Friar's speech:— + </p> + <p> + The reverend character of the Friar, like all Shakspeare's representations + of the great professions, is very delightful and tranquillizing, yet it is + no digression, but immediately necessary to the carrying on of the plot. + </p> + <p> + 'Ib.' sc. 4. + </p> +<pre xml:space="preserve"> + 'Rom.' Good morrow to you both. What counterfeit did I give you? &c.— +</pre> + <p> + Compare again, Romeo's half-exerted, and half real, ease of mind with his + first manner when in love with Rosaline! His will had come to the + clenching point. + </p> + <p> + 'Ib.' sc. 6. + </p> +<pre xml:space="preserve"> + 'Rom.' Do thou but close our hands with holy words, + Then love-devouring death do what he dare, + It is enough I may but call her mine. +</pre> + <p> + The precipitancy, which is the character of the play, is well marked in + this short scene of waiting for Juliet's arrival. + </p> + <p> + Act iii. sc. 1. + </p> +<pre xml:space="preserve"> + 'Mer.' No, 'tis not so deep as a well, nor so wide as a church door; + but 'tis enough: 'twill serve: ask for me to-morrow, and you shall + find me a grave man, &c. +</pre> + <p> + How fine an effect the wit and raillery habitual to Mercutio, even + struggling with his pain, give to Romeo's following speech, and at the + same time so completely justifying his passionate revenge on Tybalt! + </p> + <p> + 'Ib.' Benvolio's speech: + </p> +<pre xml:space="preserve"> + But that he tilts + With piercing steel at bold Mercutio's breast.— +</pre> + <p> + This small portion of untruth in Benvolio's narrative is finely conceived. + </p> + <p> + 'Ib.' sc. 2. Juliet's speech: + </p> +<pre xml:space="preserve"> + For thou wilt lie upon the wings of night + Whiter than new snow on a raven's back.— +</pre> + <p> + Indeed the whole of this speech is imagination strained to the highest; + and observe the blessed effect on the purity of the mind. What would + Dryden have made of it?— + </p> + <p> + 'Ib.' + </p> +<pre xml:space="preserve"> + 'Nurse'. Shame come to Romeo. + + 'Jul'. Blister'd be thy tongue For such a wish! +</pre> + <p> + NOTE the Nurse's mistake of the mind's audible struggles with itself for + its decision 'in toto'. + </p> + <p> + 'Ib.' sc. 3. Romeo's speech:— + </p> +<pre xml:space="preserve"> + 'Tis torture, and not mercy: heaven's here, + Where Juliet lives, &c. +</pre> + <p> + All deep passions are a sort of atheists, that believe no future. + </p> + <p> + 'Ib.' sc. 5. + </p> +<pre xml:space="preserve"> + 'Cap'. Soft, take me with you, take me with you, wife— + How! will she none? &c. +</pre> + <p> + A noble scene! Don't I see it with my own eyes?—Yes! but not with + Juliet's. And observe in Capulet's last speech in this scene his mistake, + as if love's causes were capable of being generalized. + </p> + <p> + Act iv. sc. 3. Juliet's speech:— + </p> +<pre xml:space="preserve"> + O, look! methinks I see my cousin's ghost + Seeking out Romeo, that did spit his body + Upon a rapier's point:—Stay, Tybalt, stay!— + Romeo, I come! this do I drink to thee. +</pre> + <p> + Shakspeare provides for the finest decencies. It would have been too bold + a thing for a girl of fifteen;—but she swallows the draught in a fit + of fright. + </p> + <p> + Ib. sc. 5. + </p> + <p> + As the audience know that Juliet is not dead, this scene is, perhaps, + excusable. But it is a strong warning to minor dramatists not to introduce + at one time many separate characters agitated by one and the same + circumstance. It is difficult to understand what effect, whether that of + pity or of laughter, Shakspeare meant to produce;—the occasion and + the characteristic speeches are so little in harmony! For example, what + the Nurse says is excellently suited to the Nurse's character, but + grotesquely unsuited to the occasion. + </p> + <p> + Act. v. sc. 1. Romeo's speech:— + </p> +<pre xml:space="preserve"> + O mischief! thou are swift + To enter in the thoughts of desperate men! + I do remember an apothecary, &c. +</pre> + <p> + This famous passage is so beautiful as to be self-justified; yet, in + addition, what a fine preparation it is for the tomb scene! + </p> + <p> + 'Ib.' sc. 3. Romeo's speech:— + </p> +<pre xml:space="preserve"> + Good gentle youth, tempt not a desperate man, + Fly hence and leave me. +</pre> + <p> + The gentleness of Romeo was shown before, as softened by love; and now it + is doubled by love and sorrow and awe of the place where he is. + </p> + <p> + 'Ib.' Romeo's speech:— + </p> +<pre xml:space="preserve"> + How oft when men are at the point of death + Have they been merry! which their keepers call + A lightning before death. O, how may I + Call this a lightning?—O, my love, my wife! &c. +</pre> + <p> + Here, here, is the master example how beauty can at once increase and + modify passion! + </p> + <p> + 'Ib.' Last scene. + </p> + <p> + How beautiful is the close! The spring and the winter meet;—winter + assumes the character of spring, and spring the sadness of winter. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0032" id="link2H_4_0032"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + SHAKSPEARE'S ENGLISH HISTORICAL PLAYS. + </h2> + <p> + The first form of poetry is the epic, the essence of which may be stated + as the successive in events and characters. This must be distinguished + from narration, in which there must always be a narrator, from whom the + objects represented receive a coloring and a manner;—whereas in the + epic, as in the so called poems of Homer, the whole is completely + objective, and the representation is a pure reflection. The next form into + which poetry passed was the dramatic;—both forms having a common + basis with a certain difference, and that difference not consisting in the + dialogue alone. Both are founded on the relation of providence to the + human will; and this relation is the universal element, expressed under + different points of view according to the difference of religions, and the + moral and intellectual cultivation of different nations. In the epic poem + fate is represented as overruling the will, and making it instrumental to + the accomplishment of its designs:— + </p> +<pre xml:space="preserve"> + {Greek (transliterated):————Dios de teleieto boulae.} +</pre> + <p> + In the drama, the will is exhibited as struggling with fate, a great and + beautiful instance and illustration of which is the Prometheus of + Æschylus; and the deepest effect is produced, when the fate is represented + as a higher and intelligent will, and the opposition of the individual as + springing from a defect. + </p> + <p> + In order that a drama may be properly historical, it is necessary that it + should be the history of the people to whom it is addressed. In the + composition, care must be taken that there appear no dramatic + improbability, as the reality is taken for granted. It must, likewise, be + poetical;—that only, I mean, must be taken which is the permanent in + our nature, which is common, and therefore deeply interesting to all ages. + The events themselves are immaterial, otherwise than as the clothing and + manifestation of the spirit that is working within. In this mode, the + unity resulting from succession is destroyed, but is supplied by a unity + of a higher order, which connects the events by reference to the workers, + gives a reason for them in the motives, and presents men in their + causative character. It takes, therefore, that part of real history which + is the least known, and infuses a principle of life and organization into + the naked facts, and makes them all the framework of an animated whole. + </p> + <p> + In my happier days, while I had yet hope and onward-looking thoughts, I + planned an historical drama of King Stephen, in the manner of Shakspeare. + Indeed it would be desirable that some man of dramatic genius should + dramatize all those omitted by Shakspeare, as far down as Henry VII. + Perkin Warbeck would make a most interesting drama. A few scenes of + Marlow's Edward II. might be preserved. After Henry VIII., the events are + too well and distinctly known, to be, without plump inverisimilitude, + crowded together in one night's exhibition. Whereas, the history of our + ancient kings—the events of their reigns, I mean,—are like + stars in the sky;—whatever the real interspaces may be, and however + great, they seem close to each other. The stars—the events—strike + us and remain in our eye, little modified by the difference of dates. An + historic drama is, therefore, a collection of events borrowed from + history, but connected together in respect of cause and time, poetically + and by dramatic fiction. It would be a fine national custom to act such a + series of dramatic histories in orderly succession, in the yearly + Christmas holidays, and could not but tend to counteract that mock + cosmopolitism, which under a positive term really implies nothing but a + negation of, or indifference to, the particular love of our country. By + its nationality must every nation retain its independence;—I mean a + nationality 'quoad' the nation. Better thus;—nationality in each + individual, 'quoad' his country, is equal to the sense of individuality + 'quoad' himself; but himself as subsensuous, and central. Patriotism is + equal to the sense of individuality reflected from every other individual. + There may come a higher virtue in both—just cosmopolitism. But this + latter is not possible but by antecedence of the former. + </p> + <p> + Shakspeare has included the most important part of nine reigns in his + historical dramas—namely—King John, Richard II.—Henry + IV. (two)—Henry V.—Henry VI. (three) including Edward V. and + Henry VIII., in all ten plays. There remain, therefore, to be done, with + exception of a single scene or two that should be adopted from Marlow—eleven + reigns—of which the first two appear the only unpromising subjects;—and + those two dramas must be formed wholly or mainly of invented private + stories, which, however, could not have happened except in consequence of + the events and measures of these reigns, and which should furnish + opportunity both of exhibiting the manners and oppressions of the times, + and of narrating dramatically the great events;—if possible—the + death of the two sovereigns, at least of the latter, should be made to + have some influence on the finale of the story. All the rest are glorious + subjects; especially Henry 1st. (being the struggle between the men of + arms and of letters, in the persons of Henry and Becket,) Stephen, Richard + I., Edward II., and Henry VII. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0033" id="link2H_4_0033"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + KING JOHN. + </h2> + <h3> + Act. I. sc. 1. + </h3> +<pre xml:space="preserve"> + 'Bast'. James Gurney, wilt thou give us leave awhile? + + 'Gur'. Good leave, good Philip. + + 'Bast'. Philip? <i>sparrow</i>! James, &c. +</pre> + <p> + Theobald adopts Warburton's conjecture of '<i>spare me</i>.' + </p> + <p> + O true Warburton! and the 'sancta simplicitas' of honest dull Theobald's + faith in him! Nothing can be more lively or characteristic than 'Philip! + Sparrow!' Had Warburton read old Skelton's 'Philip Sparrow,' an exquisite + and original poem, and, no doubt, popular in Shakspeare's time, even + Warburton would scarcely have made so deep a plunge into the <i>bathetic</i> + as to have deathified 'sparrow' into 'spare me!' + </p> + <p> + Act iii. sc. 2. Speech of Faulconbridge:— + </p> +<pre xml:space="preserve"> + Now, by my life, this day grows wondrous hot; + Some <i>airy</i> devil hovers in the sky, &c. +</pre> + <p> + Theobald adopts Warburton's conjecture of 'fiery.' + </p> + <p> + I prefer the old text; the word 'devil' implies 'fiery.' You need only + read the line, laying a full and strong emphasis on 'devil,' to perceive + the uselessness and tastelessness of Warburton's alteration. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0034" id="link2H_4_0034"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + RICHARD II. + </h2> + <p> + I have stated that the transitional link between the epic poem and the + drama is the historic drama; that in the epic poem a pre-announced fate + gradually adjusts and employs the will and the events as its instruments, + whilst the drama, on the other hand, places fate and will in opposition to + each other, and is then most perfect, when the victory of fate is obtained + in consequence of imperfections in the opposing will, so as to leave a + final impression that the fate itself is but a higher and a more + intelligent will. + </p> + <p> + From the length of the speeches, and the circumstance that, with one + exception, the events are all historical, and presented in their results, + not produced by acts seen by, or taking place before, the audience, this + tragedy is ill suited to our present large theatres. But in itself, and + for the closet, I feel no hesitation in placing it as the first and most + admirable of all Shakspeare's purely historical plays. For the two parts + of Henry IV. form a species of themselves, which may be named the mixed + drama. The distinction does not depend on the mere quantity of historical + events in the play compared with the fictions; for there is as much + history in Macbeth as in Richard, but in the relation of the history to + the plot. + </p> + <p> + In the purely historical plays, the history forms the plot; in the mixed, + it directs it; in the rest, as Macbeth, Hamlet, Cymbeline, Lear, it + subserves it. But, however unsuited to the stage this drama may be, God + forbid that even there it should fall dead on the hearts of Jacobinized + Englishmen! Then, indeed, we might say—'præteriit gloria mundi'! For + the spirit of patriotic reminiscence is the all-permeating soul of this + noble work. It is, perhaps, the most purely historical of Shakspeare's + dramas. There are not in it, as in the others, characters introduced + merely for the purpose of giving a greater individuality and realness, as + in the comic parts of Henry IV., by presenting, as it were, our very + selves. Shakspeare avails himself of every opportunity to effect the great + object of the historic drama, that, namely, of familiarizing the people to + the great names of their country, and thereby of exciting a steady + patriotism, a love of just liberty, and a respect for all those + fundamental institutions of social life, which bind men together:— + </p> +<pre xml:space="preserve"> + This royal throne of kings, this scepter'd isle, + This earth of majesty, this seat of Mars, + This other Eden, demi-paradise; + This fortress, built by nature for herself, + Against infection, and the hand of war; + This happy breed of men, this little world; + This precious stone set in the silver sea, + Which serves it in the office of a wall, + Or as a moat defensive to a home, + Against the envy of less happier lands; + This blessed plot, this earth, this realm, this England, + This nurse, this teeming womb of royal kings, + Fear'd by their breed, and famous by their birth, &c. +</pre> + <p> + Add the famous passage in King John:— + </p> +<pre xml:space="preserve"> + This England never did, nor ever shall, + Lie at the proud foot of a conqueror, + But when it first did help to wound itself. + Now these her princes are come home again, + Come the three corners of the world in arms, + And we shall shock them: nought shall make us rue, + If England to itself do rest but true. +</pre> + <p> + And it certainly seems that Shakspeare's historic dramas produced a very + deep effect on the minds of the English people, and in earlier times they + were familiar even to the least informed of all ranks, according to the + relation of Bishop Corbett. Marlborough, we know, was not ashamed to + confess that his principal acquaintance with English history was derived + from them; and I believe that a large part of the information as to our + old names and achievements even now abroad is due, directly or indirectly, + to Shakspeare. + </p> + <p> + Admirable is the judgment with which Shakspeare always in the first scenes + prepares, yet how naturally, and with what concealment of art, for the + catastrophe. Observe how he here presents the germ of all the after events + in Richard's insincerity, partiality, arbitrariness, and favoritism, and + in the proud, tempestuous, temperament of his barons. In the very + beginning, also, is displayed that feature in Richard's character, which + is never forgotten throughout the play—his attention to decorum, and + high feeling of the kingly dignity. These anticipations show with what + judgment Shakspeare wrote, and illustrate his care to connect the past and + future, and unify them with the present by forecast and reminiscence. + </p> + <p> + It is interesting to a critical ear to compare the six opening lines of + the play— + </p> +<pre xml:space="preserve"> + Old John of Gaunt, time-honor'd Lancaster, + Hast thou, according to thy oath and band, &c. +</pre> + <p> + each closing at the tenth syllable, with the rhythmless metre of the verse + in Henry VI. and Titus Andronicus, in order that the difference, indeed, + the heterogeneity, of the two may be felt 'etiam in simillimis prima + superficie'. Here the weight of the single words supplies all the relief + afforded by intercurrent verse, while the whole represents the mood. And + compare the apparently defective metre of Bolingbroke's first line,— + </p> +<pre xml:space="preserve"> + Many years of happy days befall— +</pre> + <p> + with Prospero's, + </p> +<pre xml:space="preserve"> + Twelve years since, Miranda! twelve years since— +</pre> + <p> + The actor should supply the time by emphasis, and pause on the first + syllable of each of these verses. + </p> + <p> + Act i. sc. 1. Bolingbroke's speech:— + </p> +<pre xml:space="preserve"> + First, (heaven be the record to my speech!) + In the devotion of a subject's love, &c. +</pre> + <p> + I remember in the Sophoclean drama no more striking example of the {Greek + (transliterated): To prepon kai semnon} than this speech; and the rhymes + in the last six lines well express the preconcertedness of Bolingbroke's + scheme so beautifully contrasted with the vehemence and sincere irritation + of Mowbray. + </p> + <p> + 'Ib.' Bolingbroke's speech:— + </p> +<pre xml:space="preserve"> + Which blood, like sacrificing Abel's, cries, + Even from the tongueless caverns of the earth, + To <i>me</i>, for justice and rough chastisement. +</pre> + <p> + NOTE the {Greek (transliterated): deinhon} of this 'to me,' which is + evidently felt by Richard:— + </p> +<pre xml:space="preserve"> + How high a pitch his resolution soars! +</pre> + <p> + and the affected depreciation afterwards;— + </p> +<pre xml:space="preserve"> + As he is but my father's brother's son. +</pre> + <p> + 'Ib.' Mowbray's speech:— + </p> +<pre xml:space="preserve"> + In haste whereof, most heartily I pray + Your highness to assign our trial day. +</pre> + <p> + The occasional interspersion of rhymes, and the more frequent winding up + of a speech therewith—what purpose was this designed to answer? In + the earnest drama, I mean. Deliberateness? An attempt, as in Mowbray, to + collect himself and be cool at the close?—I can see that in the + following speeches the rhyme answers the end of the Greek chorus, and + distinguishes the general truths from the passions of the dialogue; but + this does not exactly justify the practice, which is unfrequent in + proportion to the excellence of Shakspeare's plays. One thing, however, is + to be observed,—that the speakers are historical, known, and so far + formal, characters, and their reality is already a fact. This should be + borne in mind. The whole of this scene of the quarrel between Mowbray and + Bolingbroke seems introduced for the purpose of showing by anticipation + the characters of Richard and Bolingbroke. In the latter there is + observable a decorous and courtly checking of his anger in subservience to + a predetermined plan, especially in his calm speech after receiving + sentence of banishment compared with Mowbray's unaffected lamentation. In + the one, all is ambitious hope of something yet to come; in the other it + is desolation and a looking backward of the heart. + </p> + <p> + 'Ib.' sc. 2. + </p> +<pre xml:space="preserve"> + 'Gaunt'. Heaven's is the quarrel; for heaven's substitute, + His deputy anointed in his right, + Hath caus'd his death: the which, if wrongfully, + Let heaven revenge; for I may never lift + An angry arm against his minister. +</pre> + <p> + Without the hollow extravagance of Beaumont and Fletcher's ultra-royalism, + how carefully does Shakspeare acknowledge and reverence the eternal + distinction between the mere individual, and the symbolic or + representative, on which all genial law, no less than patriotism, depends. + The whole of this second scene commences, and is anticipative of, the tone + and character of the play at large. + </p> + <p> + 'Ib.' sc. 3. In none of Shakspeare's fictitious dramas, or in those + founded on a history as unknown to his auditors generally as fiction, is + this violent rupture of the succession of time found:—a proof, I + think, that the pure historic drama, like Richard II. and King John, had + its own laws. + </p> + <p> + 'Ib.' Mowbray's speech:— + </p> +<pre xml:space="preserve"> + A dearer <i>merit</i> Have I deserved at your highness' hand. +</pre> + <p> + O, the instinctive propriety of Shakspeare in the choice of words! + </p> + <p> + 'Ib.' Richard's speech: + </p> +<pre xml:space="preserve"> + Nor never by advised purpose meet, + To plot, contrive, or complot any ill, + 'Gainst us, our state, our subjects, or our land. +</pre> + <p> + Already the selfish weakness of Richard's character opens. Nothing will + such minds so readily embrace, as indirect ways softened down to their + 'quasi'-consciences by policy, expedience, &c. + </p> + <p> + 'Ib.' Mowbray's speech:— + </p> +<pre xml:space="preserve"> + ...All the world's my way. + 'The world was all before him.'—'Milt'. +</pre> + <p> + 'Ib.' + </p> +<pre xml:space="preserve"> + 'Boling'. How long a time lies in one little word! + Four lagging winters, and four wanton springs, + End in a word: such is the breath of kings. +</pre> + <p> + Admirable anticipation! + </p> + <p> + 'Ib.' sc. 4. This is a striking conclusion of a first act,—letting + the reader into the secret;—having before impressed us with the + dignified and kingly manners of Richard, yet by well managed anticipations + leading us on to the full gratification of pleasure in our own + penetration. In this scene a new light is thrown on Richard's character. + Until now he has appeared in all the beauty of royalty; but here, as soon + as he is left to himself, the inherent weakness of his character is + immediately shown. It is a weakness, however, of a peculiar kind, not + arising from want of personal courage, or any specific defect of faculty, + but rather an intellectual feminineness, which feels a necessity of ever + leaning on the breast of others, and of reclining on those who are all the + while known to be inferiors. To this must be attributed as its + consequences all Richard's vices, his tendency to concealment, and his + cunning, the whole operation of which is directed to the getting rid of + present difficulties. Richard is not meant to be a debauchee; but we see + in him that sophistry which is common to man, by which we can deceive our + own hearts, and at one and the same time apologize for, and yet commit, + the error. Shakspeare has represented this character in a very peculiar + manner. He has not made him amiable with counterbalancing faults; but has + openly and broadly drawn those faults without reserve, relying on + Richard's disproportionate sufferings and gradually emergent good + qualities for our sympathy; and this was possible, because his faults are + not positive vices, but spring entirely from defect of character. + </p> + <p> + Act. ii. sc. 1. + </p> +<pre xml:space="preserve"> + 'K. Rich'. Can sick men play so nicely with their names? +</pre> + <p> + Yes! on a death-bed there is a feeling which may make all things appear + but as puns and equivocations. And a passion there is that carries off its + own excess by plays on words as naturally, and, therefore, as + appropriately to drama, as by gesticulations, looks, or tones. This + belongs to human nature as such, independently of associations and habits + from any particular rank of life or mode of employment; and in this + consist Shakspeare's vulgarisms, as in Macbeth's— + </p> +<pre xml:space="preserve"> + The devil damn thee black, thou cream-fac'd loon! &c. +</pre> + <p> + This is (to equivocate on Dante's words) in truth the <i>nobile volgare + eloquenza</i>. Indeed it is profoundly true that there is a natural, an + almost irresistible, tendency in the mind, when immersed in one strong + feeling, to connect that feeling with every sight and object around it; + especially if there be opposition, and the words addressed to it are in + any way repugnant to the feeling itself, as here in the instance of + Richard's unkind language: + </p> +<pre xml:space="preserve"> + Misery makes sport to mock itself. +</pre> + <p> + No doubt, something of Shakspeare's punning must be attributed to his age, + in which direct and formal combats of wit were a favourite pastime of the + courtly and accomplished. It was an age more favourable, upon the whole, + to vigour of intellect than the present, in which a dread of being thought + pedantic dispirits and flattens the energies of original minds. But + independently of this, I have no hesitation in saying that a pun, if it be + congruous with the feeling of the scene, is not only allowable in the + dramatic dialogue, but oftentimes one of the most effectual intensives of + passion. + </p> + <p> + 'Ib.' + </p> +<pre xml:space="preserve"> + 'K. Rich'. Right; you say true: as Hereford's love, so his; + As theirs, so mine; and all be as it is. +</pre> + <p> + The depth of this compared with the first scene;— + </p> +<pre xml:space="preserve"> + How high a pitch, &c. +</pre> + <p> + There is scarcely anything in Shakspeare in its degree, more admirably + drawn than York's character;—his religious loyalty struggling with a + deep grief and indignation at the king's follies; his adherence to his + word and faith, once given in spite of all, even the most natural, + feelings. You see in him the weakness of old age, and the overwhelmingness + of circumstances, for a time surmounting his sense of duty,—the + junction of both exhibited in his boldness in words and feebleness in + immediate act; and then again his effort to retrieve himself in abstract + loyalty, even at the heavy price of the loss of his son. This species of + accidental and adventitious weakness is brought into parallel with + Richard's continually increasing energy of thought, and as constantly + diminishing power of acting;—and thus it is Richard that breathes a + harmony and a relation into all the characters of the play. + </p> + <p> + 'Ib.' sc. 2. + </p> +<pre xml:space="preserve"> + 'Queen'. To please the king I did; to please myself + I cannot do it; yet I know no cause + Why I should welcome such a guest as grief, + Save bidding farewell to so sweet a guest + As my sweet Richard: yet again, methinks, + Some unborn sorrow, ripe in sorrow's womb, + Is coming toward me; and my inward soul + With nothing trembles: at something it grieves, + More than with parting from my lord the king. +</pre> + <p> + It is clear that Shakspeare never meant to represent Richard as a vulgar + debauchee, but a man with a wantonness of spirit in external show, a + feminine <i>friendism</i>, an intensity of woman-like love of those + immediately about him, and a mistaking of the delight of being loved by + him for a love of him. And mark in this scene Shakspeare's gentleness in + touching the tender superstitions, the 'terræ incognitæ' of presentiments, + in the human mind; and how sharp a line of distinction he commonly draws + between these obscure forecastings of general experience in each + individual, and the vulgar errors of mere tradition. Indeed, it may be + taken once for all as the truth, that Shakspeare, in the absolute + universality of his genius, always reverences whatever arises out of our + moral nature; he never profanes his muse with a contemptuous reasoning + away of the genuine and general, however unaccountable, feelings of + mankind. + </p> + <p> + The amiable part of Richard's character is brought full upon us by his + queen's few words— + </p> +<pre xml:space="preserve"> + ... so sweet a guest + As my sweet Richard;— +</pre> + <p> + and Shakspeare has carefully shown in him an intense love of his country, + well-knowing how that feeling would, in a pure historic drama, redeem him + in the hearts of the audience. Yet even in this love there is something + feminine and personal:— + </p> +<pre xml:space="preserve"> + Dear earth, I do salute thee with my hand, + —As a long parted mother with her child + Plays fondly with her tears, and smiles in meeting; + So weeping, smiling, greet I thee, my earth, + And do thee favour with my royal hands. +</pre> + <p> + With this is combined a constant overflow of emotions from a total + incapability of controlling them, and thence a waste of that energy, which + should have been reserved for actions, in the passion and effort of mere + resolves and menaces. The consequence is moral exhaustion, and rapid + alternations of unmanly despair and ungrounded hope,—every feeling + being abandoned for its direct opposite upon the pressure of external + accident. And yet when Richard's inward weakness appears to seek refuge in + his despair, and his exhaustion counterfeits repose, the old habit of + kingliness, the effect of flatterers from his infancy, is ever and anon + producing in him a sort of wordy courage which only serves to betray more + clearly his internal impotence. The second and third scenes of the third + act combine and illustrate all this:— + </p> +<pre xml:space="preserve"> + 'Aumerle'. He means, my lord, that we are too remiss; + Whilst Bolingbroke, through our security, + Grows strong and great, in substance, and in friends. + + 'K. Rich'. Discomfortable cousin! know'st thou not, + That when the searching eye of heaven is hid + Behind the globe, and lights the lower world, + Then thieves and robbers range abroad unseen, + In murders and in outrage, bloody here; + But when, from under this terrestrial ball, + He fires the proud tops of the eastern pines, + And darts his light through every guilty hole, + Then murders, treasons, and detested sins, + The cloke of night being pluckt from off their backs, + Stand bare and naked, trembling at themselves? + So when this thief, this traitor, Bolingbroke, &c. ... + + 'Aumerle'. Where is the Duke my father with his power? + + 'K. Rich'. No matter where; of comfort no man speak: + Let's talk of graves, of worms, and epitaphs, + Make dust our paper, and with rainy eyes + Write sorrow on the bosom of the earth, &c. + + ... + + 'Aumerle'. My father hath a power, enquire of him; + And learn to make a body of a limb. + + 'K. Rich'. Thou chid'st me well: proud Bolingbroke, I come + To change blows with thee for our day of doom. + This ague-fit of fear is over-blown; + An easy task it is to win our own. + + ... + + 'Scroop'. Your uncle York hath join'd with Bolingbroke.— + + ... + + 'K. Rich'. Thou hast said enough, + Beshrew thee, cousin, which didst lead me forth + Of that sweet way I was in to despair! + What say you now? what comfort have we now? + By heaven, I'll hate him everlastingly, + That bids me be of comfort any more. ... +</pre> + <p> + Act iii. sc. 3. Bolingbroke's speech:— + </p> +<pre xml:space="preserve"> + Noble lord, + Go to the rude ribs of that ancient castle, &c. +</pre> + <p> + Observe the fine struggle of a haughty sense of power and ambition in + Bolingbroke with the necessity for dissimulation. + </p> + <p> + 'Ib.' sc. 4. See here the skill and judgment of our poet in giving reality + and individual life, by the introduction of accidents in his historic + plays, and thereby making them dramas, and not histories. How beautiful an + islet of repose—a melancholy repose, indeed—is this scene with + the Gardener and his Servant. And how truly affecting and realizing is the + incident of the very horse Barbary, in the scene with the Groom in the + last act!— + </p> +<pre xml:space="preserve"> + 'Groom'. I was a poor groom of thy stable, King, + When thou wert King; who, travelling towards York, + With much ado, at length have gotten leave + To look upon my sometime master's face. + O, how it yearn'd my heart, when I beheld, + In London streets, that coronation day, + When Bolingbroke rode on roan Barbary! + That horse, that thou so often hast bestrid; + That horse, that I so carefully have dress'd! + + 'K. Rich'. Rode he on Barbary? +</pre> + <p> + Bolingbroke's character, in general, is an instance how Shakspeare makes + one play introductory to another; for it is evidently a preparation for + Henry IV., as Gloster in the third part of Henry VI. is for Richard III. + </p> + <p> + I would once more remark upon the exalted idea of the only true loyalty + developed in this noble and impressive play. We have neither the rants of + Beaumont and Fletcher, nor the sneers of Massinger;—the vast + importance of the personal character of the sovereign is distinctly + enounced, whilst, at the same time, the genuine sanctity which surrounds + him is attributed to, and grounded on, the position in which he stands as + the convergence and exponent of the life and power of the state. + </p> + <p> + The great end of the body politic appears to be to humanize, and assist in + the progressiveness of, the animal man;—but the problem is so + complicated with contingencies as to render it nearly impossible to lay + down rules for the formation of a state. And should we be able to form a + system of government, which should so balance its different powers as to + form a check upon each, and so continually remedy and correct itself, it + would, nevertheless, defeat its own aim;—for man is destined to be + guided by higher principles, by universal views, which can never be + fulfilled in this state of existence,—by a spirit of progressiveness + which can never be accomplished, for then it would cease to be. Plato's + Republic is like Bunyan's Town of Man-Soul,—a description of an + individual, all of whose faculties are in their proper subordination and + inter-dependence; and this it is assumed may be the prototype of the state + as one great individual. But there is this sophism in it, that it is + forgotten that the human faculties, indeed, are parts and not separate + things; but that you could never get chiefs who were wholly reason, + ministers who were wholly understanding, soldiers all wrath, labourers all + concupiscence, and so on through the rest. Each of these partakes of, and + interferes with, all the others. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0035" id="link2H_4_0035"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HENRY IV. PART I. + </h2> + <p> + Act I. sc. 1. King Henry's speech: + </p> +<pre xml:space="preserve"> + No more the thirsty entrance of this soil + Shall daub her lips with her own children's blood. +</pre> + <p> + A most obscure passage: but I think Theobalds' interpretation right, + namely, that 'thirsty entrance' means the dry penetrability, or bibulous + drought, of the soil. The obscurity of this passage is of the Shakspearian + sort. + </p> + <p> + 'Ib.' sc. 2. In this, the first introduction of Falstaff, observe the + consciousness and the intentionality of his wit, so that when it does not + flow of its own accord, its absence is felt, and an effort visibly made to + recall it. Note also throughout how Falstaff's pride is gratified in the + power of influencing a prince of the blood, the heir apparent, by means of + it. Hence his dislike to Prince John of Lancaster, and his mortification + when he finds his wit fail on him:— + </p> +<pre xml:space="preserve"> + 'P. John.' Fare you well, Falstaff: I, in my condition, + Shall better speak of you than you deserve. + + 'Fal.' I would you had but the wit; 'twere better than your + dukedom.—Good faith, this same young sober-blooded boy doth not love + me;—nor a man cannot make him laugh. +</pre> + <p> + Act ii. sc. 1. Second Carrier's speech:— + </p> +<pre xml:space="preserve"> + ... breeds fleas like a <i>loach</i>. +</pre> + <p> + Perhaps it is a misprint, or a provincial pronunciation, for 'leach,' that + is, blood-suckers. Had it been gnats, instead of fleas, there might have + been some sense, though small probability, in Warburton's suggestion of + the Scottish 'loch.' Possibly 'loach,' or 'lutch,' may be some lost word + for dovecote, or poultry-lodge, notorious for breeding fleas. In Stevens's + or my reading, it should properly be 'loaches,' or 'leeches,' in the + plural; except that I think I have heard anglers speak of trouts like <i>a</i> + salmon. + </p> + <p> + Act iii. sc. 1. + </p> +<pre xml:space="preserve"> + 'Glend.' Nay, if you melt, then will she run mad. +</pre> + <p> + This 'nay' so to be dwelt on in speaking, as to be equivalent to a + dissyllable—{Symbol: written as a U-shape, below the line}, is + characteristic of the solemn Glendower: but the imperfect line + </p> +<pre xml:space="preserve"> + <i>She bids you</i> Upon the wanton rushes lay you down, &c. +</pre> + <p> + is one of those fine hair-strokes of exquisite judgment peculiar to + Shakspeare;—thus detaching the Lady's speech, and giving it the + individuality and entireness of a little poem, while he draws attention to + it. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0036" id="link2H_4_0036"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HENRY IV. PART II. + </h2> + <p> + Act ii. sc. 2. + </p> +<pre xml:space="preserve"> + 'P. Hen'. Sup any women with him? + + 'Page'. None, my lord, but old mistress Quickly, and mistress Doll + Tear-sheet. + + 'P. Hen'. This Doll Tear-sheet should be some road. +</pre> + <p> + I am sometimes disposed to think that this respectable young lady's name + is a very old corruption for Tear-street—street-walker, 'terere + stratum (viam.)' Does not the Prince's question rather show this?— + </p> +<pre xml:space="preserve"> + 'This Doll Tear-street should be some road?' +</pre> + <p> + Act iii. sc. 1. King Henry's speech: + </p> +<pre xml:space="preserve"> + ...Then, <i>happy low, lie down</i>; + Uneasy lies the head that wears a crown. +</pre> + <p> + I know no argument by which to persuade any one to be of my opinion, or + rather of my feeling; but yet I cannot help feeling that 'Happy + low-lie-down!' is either a proverbial expression, or the burthen of some + old song, and means, 'Happy the man, who lays himself down on his straw + bed or chaff pallet on the ground or floor!' + </p> + <p> + 'Ib.' sc. 2. Shallow's speech:— + </p> +<pre xml:space="preserve"> + <i>Rah, tah, tah</i>, would 'a say; <i>bounce</i>, would 'a say, &c +</pre> + <p> + That Beaumont and Fletcher have more than once been guilty of sneering at + their great master, cannot, I fear, be denied; but the passage quoted by + Theobald from the Knight of the Burning Pestle is an imitation. If it be + chargeable with any fault, it is with plagiarism, not with sarcasm. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0037" id="link2H_4_0037"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HENRY V. + </h2> + <p> + Act I. sc. 2. Westmoreland's speech:— + </p> +<pre xml:space="preserve"> + They know your <i>grace</i> hath cause, and means, and might; + So hath your <i>highness</i>; never King of England + Had nobles richer, &c. +</pre> + <p> + Does 'grace' mean the king's own peculiar domains and legal revenue, and + 'highness' his feudal rights in the military service of his nobles?—I + have sometimes thought it possible that the words 'grace' and 'cause' may + have been transposed in the copying or printing;— + </p> +<pre xml:space="preserve"> + They know your cause hath grace, &c. +</pre> + <p> + What Theobald meant, I cannot guess. To me his pointing makes the passage + still more obscure. Perhaps the lines ought to be recited dramatically + thus:— + </p> +<pre xml:space="preserve"> + They know your Grace hath cause, and means, and might:— + So <i>hath</i> your Highness—never King of England + <i>Had</i> nobles richer, &c. +</pre> + <p> + He breaks off from the grammar and natural order from earnestness, and in + order to give the meaning more passionately. + </p> + <p> + 'Ib.' Exeter's speech:— + </p> +<pre xml:space="preserve"> + Yet that is but a <i>crush'd</i> necessity. +</pre> + <p> + Perhaps it may be 'crash' for 'crass' from 'crassus', clumsy; or it may be + 'curt,' defective, imperfect: anything would be better than Warburton's + ''scus'd,' which honest Theobald, of course, adopts. By the by, it seems + clear to me that this speech of Exeter's properly belongs to Canterbury, + and was altered by the actors for convenience. + </p> + <p> + Act iv. sc. 3. K. Henry's speech:— + </p> +<pre xml:space="preserve"> + We would not <i>die</i> in that man's company + That fears his fellowship to die with us. +</pre> + <p> + Should it not be 'live' in the first line? + </p> + <p> + 'Ib.' sc. 5. + </p> +<pre xml:space="preserve"> + 'Const.' O diable! + + 'Orl.' O seigneur! le jour est perdu, tout est perdu! + + 'Dan.' <i>Mort de ma vie!</i> all is confounded, all! + Reproach and everlasting shame + Sit mocking in our plumes!—'O meschante fortune!' + Do not run away! +</pre> + <p> + Ludicrous as these introductory scraps of French appear, so instantly + followed by good, nervous mother-English, yet they are judicious, and + produce the impression which Shakspeare intended,—a sudden feeling + struck at once on the ears, as well as the eyes, of the audience, that + 'here come the French, the baffled French braggards!'—And this will + appear still more judicious, when we reflect on the scanty apparatus of + distinguishing dresses in Shakspeare's tyring-room. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0038" id="link2H_4_0038"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HENRY VI. PART I. + </h2> + <p> + Act I. sc. 1. Bedford's speech:— + </p> +<pre xml:space="preserve"> + Hung be the heavens with black, yield day to night! + Comets, importing change of times and states, + Brandish your crystal tresses in the sky; + And with them scourge the bad revolting stars + That have consented unto Henry's death! + Henry the fifth, too famous to live long! + England ne'er lost a king of so much worth. +</pre> + <p> + Read aloud any two or three passages in blank verse even from Shakspeare's + earliest dramas, as Love's Labour's Lost, or Romeo and Juliet; and then + read in the same way this speech, with especial attention to the metre; + and if you do not feel the impossibility of the latter having been written + by Shakspeare, all I dare suggest is, that you may have ears,—for so + has another animal,—but an ear you cannot have, 'me judice'. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0039" id="link2H_4_0039"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + RICHARD III. + </h2> + <p> + This play should be contrasted with Richard II. Pride of intellect is the + characteristic of Richard, carried to the extent of even boasting to his + own mind of his villany, whilst others are present to feed his pride of + superiority; as in his first speech, act II. sc. 1. Shakspeare here, as in + all his great parts, developes in a tone of sublime morality the dreadful + consequences of placing the moral, in subordination to the mere + intellectual, being. In Richard there is a predominance of irony, + accompanied with apparently blunt manners to those immediately about him, + but formalized into a more set hypocrisy towards the people as represented + by their magistrates. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0040" id="link2H_4_0040"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LEAR. + </h2> + <p> + Of all Shakspeare's plays Macbeth is the most rapid, Hamlet the slowest, + in movement. Lear combines length with rapidity,—like the hurricane + and the whirlpool, absorbing while it advances. It begins as a stormy day + in summer, with brightness; but that brightness is lurid, and anticipates + the tempest. + </p> + <p> + It was not without forethought, nor is it without its due significance, + that the division of Lear's kingdom is in the first six lines of the play + stated as a thing already determined in all its particulars, previously to + the trial of professions, as the relative rewards of which the daughters + were to be made to consider their several portions. The strange, yet by no + means unnatural, mixture of selfishness, sensibility, and habit of feeling + derived from, and fostered by, the particular rank and usages of the + individual;—the intense desire of being intensely beloved,—selfish, + and yet characteristic of the selfishness of a loving and kindly nature + alone;—the self-supportless leaning for all pleasure on another's + breast;—the craving after sympathy with a prodigal + disinterestedness, frustrated by its own ostentation, and the mode and + nature of its claims;—the anxiety, the distrust, the jealousy, which + more or less accompany all selfish affections, and are amongst the surest + contradistinctions of mere fondness from true love, and which originate + Lear's eager wish to enjoy his daughter's violent professions, whilst the + inveterate habits of sovereignty convert the wish into claim and positive + right, and an incompliance with it into crime and treason;—these + facts, these passions, these moral verities, on which the whole tragedy is + founded, are all prepared for, and will to the retrospect be found + implied, in these first four or five lines of the play. They let us know + that the trial is but a trick; and that the grossness of the old king's + rage is in part the natural result of a silly trick suddenly and most + unexpectedly baffled and disappointed. + </p> + <p> + It may here be worthy of notice, that Lear is the only serious performance + of Shakspeare, the interest and situations of which are derived from the + assumption of a gross improbability; whereas Beaumont and Fletcher's + tragedies are, almost all of them, founded on some out of the way accident + or exception to the general experience of mankind. But observe the + matchless judgment of our Shakspeare. First, improbable as the conduct of + Lear is in the first scene, yet it was an old story rooted in the popular + faith,—a thing taken for granted already, and consequently without + any of the effects of improbability. Secondly, it is merely the canvass + for the characters and passions,—a mere occasion for,—and not, + in the manner of Beaumont and Fletcher, perpetually recurring as the + cause, and 'sine qua non' of,—the incidents and emotions. Let the + first scene of this play have been lost, and let it only be understood + that a fond father had been duped by hypocritical professions of love and + duty on the part of two daughters to disinherit the third, previously, and + deservedly, more dear to him;—and all the rest of the tragedy would + retain its interest undiminished, and be perfectly intelligible. The + accidental is nowhere the groundwork of the passions, but that which is + catholic, which in all ages has been, and ever will be, close and native + to the heart of man,—parental anguish from filial ingratitude, the + genuineness of worth, though coffined in bluntness, and the execrable + vileness of a smooth iniquity. Perhaps I ought to have added the Merchant + of Venice; but here too the same remarks apply. It was an old tale; and + substitute any other danger than that of the pound of flesh (the + circumstance in which the improbability lies), yet all the situations and + the emotions appertaining to them remain equally excellent and + appropriate. Whereas take away from the Mad Lover of Beaumont and Fletcher + the fantastic hypothesis of his engagement to cut out his own heart, and + have it presented to his mistress, and all the main scenes must go with + it. + </p> + <p> + Kotzebue is the German Beaumont and Fletcher, without their poetic powers, + and without their 'vis comica'. But, like them, he always deduces his + situations and passions from marvellous accidents, and the trick of + bringing one part of our moral nature to counteract another; as our pity + for misfortune and admiration of generosity and courage to combat our + condemnation of guilt, as in adultery, robbery, and other heinous crimes;—and, + like them too, he excels in his mode of telling a story clearly and + interestingly, in a series of dramatic dialogues. Only the trick of making + tragedy-heroes and heroines out of shopkeepers and barmaids was too low + for the age, and too unpoetic for the genius, of Beaumont and Fletcher, + inferior in every respect as they are to their great predecessor and + contemporary. How inferior would they have appeared, had not Shakspeare + existed for them to imitate;—which in every play, more or less, they + do, and in their tragedies most glaringly:—and yet—(O shame! + shame!)—they miss no opportunity of sneering at the divine man, and + sub-detracting from his merits! + </p> + <p> + To return to Lear. Having thus in the fewest words, and in a natural reply + to as natural a question,—which yet answers the secondary purpose of + attracting our attention to the difference or diversity between the + characters of Cornwall and Albany,—provided the premisses and + 'data', as it were, for our after insight into the mind and mood of the + person, whose character, passions, and sufferings are the main + subject-matter of the play;—from Lear, the 'persona patiens' of his + drama, Shakspeare passes without delay to the second in importance, the + chief agent and prime mover, and introduces Edmund to our acquaintance, + preparing us with the same felicity of judgment, and in the same easy and + natural way, for his character in the seemingly casual communication of + its origin and occasion. From the first drawing up of the curtain Edmund + has stood before us in the united strength and beauty of earliest manhood. + Our eyes have been questioning him. Gifted as he is with high advantages + of person, and further endowed by nature with a powerful intellect and a + strong energetic will, even without any concurrence of circumstances and + accident, pride will necessarily be the sin that most easily besets him. + But Edmund is also the known and acknowledged son of the princely Gloster: + he, therefore, has both the germ of pride, and the conditions best fitted + to evolve and ripen it into a predominant feeling. Yet hitherto no reason + appears why it should be other than the not unusual pride of person, + talent, and birth,—a pride auxiliary, if not akin, to many virtues, + and the natural ally of honorable impulses. But alas! in his own presence + his own father takes shame to himself for the frank avowal that he is his + father,—he has 'blushed so often to acknowledge him that he is now + brazed to it!' Edmund hears the circumstances of his birth spoken of with + a most degrading and licentious levity,—his mother described as a + wanton by her own paramour, and the remembrance of the animal sting, the + low criminal gratifications connected with her wantonness and prostituted + beauty, assigned as the reason, why 'the whoreson must be acknowledged!' + This, and the consciousness of its notoriety; the gnawing conviction that + every show of respect is an effort of courtesy, which recalls, while it + represses, a contrary feeling;—this is the ever trickling flow of + wormwood and gall into the wounds of pride,—the corrosive 'virus' + which inoculates pride with a venom not its own, with envy, hatred, and a + lust for that power which in its blaze of radiance would hide the dark + spots on his disc,—with pangs of shame personally undeserved, and + therefore felt as wrongs, and with a blind ferment of vindictive working + towards the occasions and causes, especially towards a brother, whose + stainless birth and lawful honours were the constant remembrancers of his + own debasement, and were ever in the way to prevent all chance of its + being unknown, or overlooked and forgotten. Add to this, that with + excellent judgment, and provident for the claims of the moral sense,—for + that which, relatively to the drama, is called poetic justice, and as the + fittest means for reconciling the feelings of the spectators to the + horrors of Gloster's after sufferings,—at least, of rendering them + somewhat less unendurable; —(for I will not disguise my conviction, + that in this one point the tragic in this play has been urged beyond the + outermost mark and 'ne plus ultra' of the dramatic)—Shakspeare has + precluded all excuse and palliation of the guilt incurred by both the + parents of the base-born Edmund, by Gloster's confession that he was at + the time a married man, and already blest with a lawful heir of his + fortunes. The mournful alienation of brotherly love, occasioned by the law + of primogeniture in noble families, or rather by the unnecessary + distinctions engrafted thereon, and this in children of the same stock, is + still almost proverbial on the continent,—especially, as I know from + my own observation, in the south of Europe,—and appears to have been + scarcely less common in our own island before the Revolution of 1688, if + we may judge from the characters and sentiments so frequent in our elder + comedies. There is the younger brother, for instance, in Beaumont and + Fletcher's play of the Scornful Lady, on the one side, and Oliver in + Shakspeare's As You Like It, on the other. Need it be said how heavy an + aggravation, in such a case, the stain of bastardy must have been, were it + only that the younger brother was liable to hear his own dishonour and his + mother's infamy related by his father with an excusing shrug of the + shoulders, and in a tone betwixt waggery and shame! + </p> + <p> + By the circumstances here enumerated as so many predisposing causes, + Edmund's character might well be deemed already sufficiently explained; + and our minds prepared for it. But in this tragedy the story or fable + constrained Shakspeare to introduce wickedness in an outrageous form in + the persons of Regan and Goneril. He had read nature too heedfully not to + know, that courage, intellect, and strength of character, are the most + impressive forms of power, and that to power in itself, without reference + to any moral end, an inevitable admiration and complacency appertains, + whether it be displayed in the conquests of a Buonaparte or Tamerlane, or + in the foam and the thunder of a cataract. But in the exhibition of such a + character it was of the highest importance to prevent the guilt from + passing into utter monstrosity,—which again depends on the presence + or absence of causes and temptations sufficient to account for the + wickedness, without the necessity of recurring to a thorough fiendishness + of nature for its origination. For such are the appointed relations of + intellectual power to truth, and of truth to goodness, that it becomes + both morally and poetically unsafe to present what is admirable,—what + our nature compels us to admire—in the mind, and what is most + detestable in the heart, as co-existing in the same individual without any + apparent connection, or any modification of the one by the other. That + Shakspeare has in one instance, that of Iago, approached to this, and that + he has done it successfully, is, perhaps, the most astonishing proof of + his genius, and the opulence of its resources. But in the present tragedy, + in which he was compelled to present a Goneril and a Regan, it was most + carefully to be avoided;—and therefore the only one conceivable + addition to the inauspicious influences on the preformation of Edmund's + character is given, in the information that all the kindly counteractions + to the mischievous feelings of shame, which might have been derived from + co-domestication with Edgar and their common father, had been cut off by + his absence from home, and foreign education from boyhood to the present + time, and a prospect of its continuance, as if to preclude all risk of his + interference with the father's views for the elder and legitimate son:— + </p> + <p> + He hath been out nine years, and away he shall again. + </p> + <p> + Act i. sc. 1. + </p> +<pre xml:space="preserve"> + 'Cor.' Nothing, my lord. + + 'Lear.' Nothing? + + 'Cor.' Nothing. + + 'Lear.' Nothing can come of nothing: speak again. + + 'Cor.' Unhappy that I am, I cannot heave + My heart into my mouth: I love your majesty + According to my bond; nor more, nor less. +</pre> + <p> + There is something of disgust at the ruthless hypocrisy of her sisters, + and some little faulty admixture of pride and sullenness in Cordelia's + 'Nothing;' and her tone is well contrived, indeed, to lessen the glaring + absurdity of Lear's conduct, but answers the yet more important purpose of + forcing away the attention from the nursery-tale, the moment it has served + its end, that of supplying the canvass for the picture. This is also + materially furthered by Kent's opposition, which displays Lear's moral + incapability of resigning the sovereign power in the very act of disposing + of it. Kent is, perhaps, the nearest to perfect goodness in all + Shakspeare's characters, and yet the most individualized. There is an + extraordinary charm in his bluntness, which is that only of a nobleman + arising from a contempt of overstrained courtesy; and combined with easy + placability where goodness of heart is apparent. His passionate affection + for, and fidelity to, Lear act on our feelings in Lear's own favour: + virtue itself seems to be in company with him. + </p> + <p> + 'Ib.' sc. 2. Edmund's speech:— + </p> +<pre xml:space="preserve"> + Who, in the lusty stealth of nature, take + More composition and fierce quality + Than doth, &c. +</pre> + <p> + Warburton's note upon a quotation from Vanini. + </p> + <p> + Poor Vanini!—Any one but Warburton would have thought this precious + passage more characteristic of Mr. Shandy than of atheism. If the fact + really were so, (which it is not, but almost the contrary,) I do not see + why the most confirmed theist might not very naturally utter the same + wish. But it is proverbial that the youngest son in a large family is + commonly the man of the greatest talents in it; and as good an authority + as Vanini has said—'incalescere in venerem ardentius, spei sobolis + injuriosum esse'. + </p> + <p> + In this speech of Edmund you see, as soon as a man cannot reconcile + himself to reason, how his conscience flies off by way of appeal to + nature, who is sure upon such occasions never to find fault, and also how + shame sharpens a predisposition in the heart to evil. For it is a profound + moral, that shame will naturally generate guilt; the oppressed will be + vindictive, like Shylock, and in the anguish of undeserved ignominy the + delusion secretly springs up, of getting over the moral quality of an + action by fixing the mind on the mere physical act alone. + </p> + <p> + 'Ib.' Edmund's speech:— + </p> +<pre xml:space="preserve"> + This is the excellent foppery of the world! that, when we are sick in + fortune, (often the surfeit of our own behaviour,) we make guilty of + our disasters, the sun, the moon, and the stars, &c. +</pre> + <p> + Thus scorn and misanthropy are often the anticipations and mouth-pieces of + wisdom in the detection of superstitions. Both individuals and nations may + be free from such prejudices by being below them, as well as by rising + above them. + </p> + <p> + 'Ib.' sc. 3. The Steward should be placed in exact antithesis to Kent, as + the only character of utter irredeemable baseness in Shakspeare. Even in + this the judgment and invention of the poet are very observable;—for + what else could the willing tool of a Goneril be? Not a vice but this of + baseness was left open to him. + </p> + <p> + 'Ib.' sc. 4. In Lear old age is itself a character,—its natural + imperfections being increased by life-long habits of receiving a prompt + obedience. Any addition of individuality would have been unnecessary and + painful; for the relations of others to him, of wondrous fidelity and of + frightful ingratitude, alone sufficiently distinguish him. Thus Lear + becomes the open and ample play-room of nature's passions. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Knight'. Since my young lady's going into France, Sir; the fool hath + much pin'd away. +</pre> + <p> + The Fool is no comic buffoon to make the groundlings laugh,—no + forced condescension of Shakspeare's genius to the taste of his audience. + Accordingly the poet prepares for his introduction, which he never does + with any of his common clowns and fools, by bringing him into living + connection with the pathos of the play. He is as wonderful a creation as + Caliban;—his wild babblings, and inspired idiocy, articulate and + gauge the horrors of the scene. + </p> + <p> + The monster Goneril prepares what is necessary, while the character of + Albany renders a still more maddening grievance possible, namely, Regan + and Cornwall in perfect sympathy of monstrosity. Not a sentiment, not an + image, which can give pleasure on its own account, is admitted; whenever + these creatures are introduced, and they are brought forward as little as + possible, pure horror reigns throughout. In this scene and in all the + early speeches of Lear, the one general sentiment of filial ingratitude + prevails as the main spring of the feelings;—in this early stage the + outward object causing the pressure on the mind, which is not yet + sufficiently familiarized with the anguish for the imagination to work + upon it. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Gon.' Do you mark that, my lord? + + 'Alb.' I cannot be so partial, Goneril, + To the great love I bear you. + + 'Gon'. Pray you content, &c. +</pre> + <p> + Observe the baffled endeavour of Goneril to act on the fears of Albany, + and yet his passiveness, his 'inertia'; he is not convinced, and yet he is + afraid of looking into the thing. Such characters always yield to those + who will take the trouble of governing them, or for them. Perhaps, the + influence of a princess, whose choice of him had royalized his state, may + be some little excuse for Albany's weakness. 'Ib.' sc. 5. + </p> +<pre xml:space="preserve"> + 'Lear'. O let me not be mad, not mad, sweet heaven! + Keep me in temper! I would not be mad!— +</pre> + <p> + The mind's own anticipation of madness! The deepest tragic notes are often + struck by a half sense of an impending blow. The Fool's conclusion of this + act by a grotesque prattling seems to indicate the dislocation of feeling + that has begun and is to be continued. Act ii. sc. 1. Edmund's speech:— + </p> +<pre xml:space="preserve"> + He replied, Thou unpossessing bastard! &c. +</pre> + <p> + Thus the secret poison in Edmund's own heart steals forth; and then + observe poor Gloster's— + </p> +<pre xml:space="preserve"> + Loyal and <i>natural</i> boy! +</pre> + <p> + as if praising the crime of Edmund's birth! + </p> + <p> + 'Ib.' Compare Regan's— + </p> +<pre xml:space="preserve"> + What, did <i>my father's</i> godson seek your life? + He whom <i>my father</i> named? +</pre> + <p> + with the unfeminine violence of her— + </p> +<pre xml:space="preserve"> + All vengeance comes too short, &c. +</pre> + <p> + and yet no reference to the guilt, but only to the accident, which she + uses as an occasion for sneering at her father. Regan is not, in fact, a + greater monster than Goneril, but she has the power of casting more venom. + 'Ib.' sc. 2. Cornwall's speech:— + </p> +<pre xml:space="preserve"> + This is some fellow, + Who, having been praised for bluntness, doth affect + A saucy roughness, &c. +</pre> + <p> + In thus placing these profound general truths in the mouths of such men as + Cornwall, Edmund, Iago, &c. Shakspeare at once gives them utterance, + and yet shews how indefinite their application is. + </p> + <p> + 'Ib.' sc. 3. Edgar's assumed madness serves the great purpose of taking + off part of the shock which would otherwise be caused by the true madness + of Lear, and further displays the profound difference between the two. In + every attempt at representing madness throughout the whole range of + dramatic literature, with the single exception of Lear, it is mere + light-headedness, as especially in Otway. In Edgar's ravings Shakspeare + all the while lets you see a fixed purpose, a practical end in view;— + </p> + <p> + in Lear's, there is only the brooding of the one anguish, an eddy without + progression. 'Ib.' sc. 4. Lear's speech:— + </p> +<pre xml:space="preserve"> + The king would speak with Cornwall; the dear father + Would with his daughter speak, &c. + + ... + + No, but not yet: may be he is not well, &c. +</pre> + <p> + The strong interest now felt by Lear to try to find excuses for his + daughter is most pathetic. 'Ib.' Lear's speech:— + </p> +<pre xml:space="preserve"> + —Beloved Regan, + Thy sister's naught;—O Regan, she hath tied + Sharp-tooth'd unkindness, like a vulture, here. + I can scarce speak to thee;—thou'lt not believe + Of how deprav'd a quality—O Regan! + + 'Reg'. I pray you, Sir, take patience; I have hope, + You less know how to value her desert, + Than she to scant her duty. + + 'Lear' Say, how is that? +</pre> + <p> + Nothing is so heart-cutting as a cold unexpected defence or palliation of + a cruelty passionately complained of, or so expressive of thorough + hard-heartedness. And feel the excessive horror of Regan's 'O, Sir, you + are old!'—and then her drawing from that universal object of + reverence and indulgence the very reason for her frightful conclusion— + </p> +<pre xml:space="preserve"> + Say, you have wrong'd her! +</pre> + <p> + All Lear's faults increase our pity for him. We refuse to know them + otherwise than as means of his sufferings, and aggravations of his + daughters' ingratitude. + </p> + <p> + 'Ib.' Lear's speech:— + </p> +<pre xml:space="preserve"> + O, reason not the need: our basest beggars + Are in the poorest thing superfluous, &c. +</pre> + <p> + Observe that the tranquillity which follows the first stunning of the blow + permits Lear to reason. + </p> + <p> + Act iii. sc. 4. O, what a world's convention of agonies is here! All + external nature in a storm, all moral nature convulsed,—the real + madness of Lear, the feigned madness of Edgar, the babbling of the Fool, + the desperate fidelity of Kent—surely such a scene was never + conceived before or since! Take it but as a picture for the eye only, it + is more terrific than any which a Michel Angelo, inspired by a Dante, + could have conceived, and which none but a Michel Angelo could have + executed. Or let it have been uttered to the blind, the howlings of nature + would seem converted into the voice of conscious humanity. This scene ends + with the first symptoms of positive derangement; and the intervention of + the fifth scene is particularly judicious,—the interruption allowing + an interval for Lear to appear in full madness in the sixth scene. + </p> + <p> + 'Ib.' sc. 7. Gloster's blinding:— + </p> + <p> + What can I say of this scene?—There is my reluctance to think + Shakspeare wrong, and yet— + </p> + <p> + Act iv. sc. 6. Lear's speech:— + </p> +<pre xml:space="preserve"> + Ha! Goneril!—with a white beard!—They flattered me like a dog; and + told me, I had white hairs in my beard, ere the black ones were there. + To say <i>Ay</i> and <i>No</i> to every thing I said!—Ay and No too was no good + divinity. When the rain came to wet me once, &c. +</pre> + <p> + The thunder recurs, but still at a greater distance from our feelings. + </p> + <p> + 'Ib.' sc. 7. Lear's speech:— + </p> +<pre xml:space="preserve"> + Where have I been? Where am I?—Fair daylight?— + I am mightily abused.—I should even die with pity + To see another thus, &c. +</pre> + <p> + How beautifully the affecting return of Lear to reason, and the mild + pathos of these speeches prepare the mind for the last sad, yet sweet, + consolation of the aged sufferer's death! + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0041" id="link2H_4_0041"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HAMLET. + </h2> + <p> + Hamlet was the play, or rather Hamlet himself was the character, in the + intuition and exposition of which I first made my turn for philosophical + criticism, and especially for insight into the genius of Shakspeare, + noticed. This happened first amongst my acquaintances, as Sir George + Beaumont will bear witness; and subsequently, long before Schlegel had + delivered at Vienna the lectures on Shakspeare, which he afterwards + published, I had given on the same subject eighteen lectures substantially + the same, proceeding from the very same point of view, and deducing the + same conclusions, so far as I either then agreed, or now agree, with him. + I gave these lectures at the Royal Institution, before six or seven + hundred auditors of rank and eminence, in the spring of the same year, in + which Sir Humphry Davy, a fellow-lecturer, made his great revolutionary + discoveries in chemistry. Even in detail the coincidence of Schlegel with + my lectures was so extraordinary, that all who at a later period heard the + same words, taken by me from my notes of the lectures at the Royal + Institution, concluded a borrowing on my part from Schlegel. Mr. Hazlitt, + whose hatred of me is in such an inverse ratio to my zealous kindness + towards him, as to be defended by his warmest admirer, Charles Lamb—(who, + God bless him! besides his characteristic obstinacy of adherence to old + friends, as long at least as they are at all down in the world, is linked + as by a charm to Hazlitt's conversation)—only as 'frantic;'—Mr. + Hazlitt, I say, himself replied to an assertion of my plagiarism from + Schlegel in these words;—"That is a lie; for I myself heard the very + same character of Hamlet from Coleridge before he went to Germany, and + when he had neither read nor could read a page of German!" Now Hazlitt was + on a visit to me at my cottage at Nether Stowey, Somerset, in the summer + of the year 1798, in the September of which year I first was out of sight + of the shores of Great Britain. Recorded by me, S. T. Coleridge, 7th + January, 1819. + </p> + <p> + The seeming inconsistencies in the conduct and character of Hamlet have + long exercised the conjectural ingenuity of critics; and, as we are always + both to suppose that the cause of defective apprehension is in ourselves, + the mystery has been too commonly explained by the very easy process of + setting it down as in fact inexplicable, and by resolving the phenomenon + into a misgrowth or 'lusus' of the capricious and irregular genius of + Shakspeare. The shallow and stupid arrogance of these vulgar and indolent + decisions I would fain do my best to expose. I believe the character of + Hamlet may be traced to Shakspeare's deep and accurate science in mental + philosophy. Indeed, that this character must have some connection with the + common fundamental laws of our nature may be assumed from the fact, that + Hamlet has been the darling of every country in which the literature of + England has been fostered. In order to understand him, it is essential + that we should reflect on the constitution of our own minds. Man is + distinguished from the brute animals in proportion as thought prevails + over sense: but in the healthy processes of the mind, a balance is + constantly maintained between the impressions from outward objects and the + inward operations of the intellect;—for if there be an overbalance + in the contemplative faculty, man thereby becomes the creature of mere + meditation, and loses his natural power of action. Now one of Shakspeare's + modes of creating characters is, to conceive any one intellectual or moral + faculty in morbid excess, and then to place himself, Shakspeare, thus + mutilated or diseased, under given circumstances. In Hamlet he seems to + have wished to exemplify the moral necessity of a due balance between our + attention to the objects of our senses, and our meditation on the workings + of our minds,—an 'equilibrium' between the real and the imaginary + worlds. In Hamlet this balance is disturbed: his thoughts, and the images + of his fancy, are far more vivid than his actual perceptions, and his very + perceptions, instantly passing through the 'medium' of his contemplations, + acquire, as they pass, a form and a colour not naturally their own. Hence + we see a great, an almost enormous, intellectual activity, and a + proportionate aversion to real action consequent upon it, with all its + symptoms and accompanying qualities. This character Shakspeare places in + circumstances, under which it is obliged to act on the spur of the moment:—Hamlet + is brave and careless of death; but he vacillates from sensibility, and + procrastinates from thought, and loses the power of action in the energy + of resolve. Thus it is that this tragedy presents a direct contrast to + that of Macbeth; the one proceeds with the utmost slowness, the other with + a crowded and breathless rapidity. + </p> + <p> + The effect of this overbalance of the imaginative power is beautifully + illustrated in the everlasting broodings and superfluous activities of + Hamlet's mind, which, unseated from its healthy relation, is constantly + occupied with the world within, and abstracted from the world without,—giving + substance to shadows, and throwing a mist over all common-place + actualities. It is the nature of thought to be indefinite;—definiteness + belongs to external imagery alone. Hence it is that the sense of sublimity + arises, not from the sight of an outward object, but from the beholder's + reflection upon it;—not from the sensuous impression, but from the + imaginative reflex. Few have seen a celebrated waterfall without feeling + something akin to disappointment: it is only subsequently that the image + comes back full into the mind, and brings with it a train of grand or + beautiful associations. Hamlet feels this; his senses are in a state of + trance, and he looks upon external things as hieroglyphics. His soliloquy— + </p> +<pre xml:space="preserve"> + O! that this too too solid flesh would melt, &c. +</pre> + <p> + springs from that craving after the indefinite—for that which is not—which + most easily besets men of genius; and the self-delusion common to this + temper of mind is finely exemplified in the character which Hamlet gives + of himself:— + </p> +<pre xml:space="preserve"> + —It cannot be + But I am pigeon-livered, and lack gall + To make oppression bitter. +</pre> + <p> + He mistakes the seeing his chains for the breaking them, delays action + till action is of no use, and dies the victim of mere circumstance and + accident. + </p> + <p> + There is a great significancy in the names of Shakspeare's plays. In the + Twelfth Night, Midsummer Night's Dream, As You Like It, and Winter's Tale, + the total effect is produced by a co-ordination of the characters as in a + wreath of flowers. But in Coriolanus, Lear, Romeo and Juliet, Hamlet, + Othello, &c. the effect arises from the subordination of all to one, + either as the prominent person, or the principal object. Cymbeline is the + only exception; and even that has its advantages in preparing the audience + for the chaos of time, place, and costume, by throwing the date back into + a fabulous king's reign. + </p> + <p> + But as of more importance, so more striking, is the judgment displayed by + our truly dramatic poet, as well as poet of the drama, in the management + of his first scenes. With the single exception of Cymbeline, they either + place before us at one glance both the past and the future in some effect, + which implies the continuance and full agency of its cause, as in the + feuds and party-spirit of the servants of the two houses in the first + scene of Romeo and Juliet; or in the degrading passion for shews and + public spectacles, and the overwhelming attachment for the newest + successful war-chief in the Roman people, already become a populace, + contrasted with the jealousy of the nobles in Julius Caesar;—or they + at once commence the action so as to excite a curiosity for the + explanation in the following scenes, as in the storm of wind and waves, + and the boatswain in the Tempest, instead of anticipating our curiosity, + as in most other first scenes, and in too many other first acts;—or + they act, by contrast of diction suited to the characters, at once to + heighten the effect, and yet to give a naturalness to the language and + rhythm of the principal personages, either as that of Prospero and Miranda + by the appropriate lowness of the style,—or as in King John, by the + equally appropriate stateliness of official harangues or narratives, so + that the after blank verse seems to belong to the rank and quality of the + speakers, and not to the poet;—or they strike at once the key-note, + and give the predominant spirit of the play, as in the Twelfth Night and + in Macbeth;—or finally, the first scene comprises all these + advantages at once, as in Hamlet. + </p> + <p> + Compare the easy language of common life, in which this drama commences, + with the direful music and wild wayward rhythm and abrupt lyrics of the + opening of Macbeth. The tone is quite familiar;—there is no poetic + description of night, no elaborate information conveyed by one speaker to + another of what both had immediately before their senses—(such as + the first distich in Addison's Cato, which is a translation into poetry of + 'Past four o'clock and a dark morning!');—and yet nothing bordering + on the comic on the one hand, nor any striving of the intellect on the + other. It is precisely the language of sensation among men who feared no + charge of effeminacy for feeling, what they had no want of resolution to + bear. Yet the armour, the dead silence, the watchfulness that first + interrupts it, the welcome relief of the guard, the cold, the broken + expressions of compelled attention to bodily feelings still under control—all + excellently accord with, and prepare for, the after gradual rise into + tragedy;—but, above all, into a tragedy, the interest of which is as + eminently 'ad et apud infra', as that of Macbeth is directly 'ad extra'. + </p> + <p> + In all the best attested stories of ghosts and visions, as in that of + Brutus, of Archbishop Cranmer, that of Benvenuto Cellini recorded by + himself, and the vision of Galileo communicated by him to his favourite + pupil Torricelli, the ghost-seers were in a state of cold or chilling damp + from without, and of anxiety inwardly. It has been with all of them as + with Francisco on his guard,—alone, in the depth and silence of the + night;—''twas bitter cold, and they were sick at heart, and <i>not a + mouse stirring</i>.' The attention to minute sounds,—naturally + associated with the recollection of minute objects, and the more familiar + and trifling, the more impressive from the unusualness of their producing + any impression at all—gives a philosophic pertinency to this last + image; but it has likewise its dramatic use and purpose. For its + commonness in ordinary conversation tends to produce the sense of reality, + and at once hides the poet, and yet approximates the reader or spectator + to that state in which the highest poetry will appear, and in its + component parts, though not in the whole composition, really is, the + language of nature. If I should not speak it, I feel that I should be + thinking it;—the voice only is the poet's,—the words are my + own. That Shakspeare meant to put an effect in the actor's power in the + very first words—"Who's there?"—is evident from the impatience + expressed by the startled Francisco in the words that follow—"Nay, + answer me: stand and unfold yourself." A brave man is never so peremptory, + as when he fears that he is afraid. Observe the gradual transition from + the silence and the still recent habit of listening in Francisco's—"I + think I hear them"—to the more cheerful call out, which a good actor + would observe, in the—"Stand ho! Who is there?" Bernardo's inquiry + after Horatio, and the repetition of his name and in his own presence + indicate a respect or an eagerness that implies him as one of the persons + who are in the foreground; and the scepticism attributed to him,— + </p> + <p> + Horatio says,'tis but our fantasy; And will not let belief take hold of + him— + </p> + <p> + prepares us for Hamlet's after eulogy on him as one whose blood and + judgment were happily commingled. The actor should also be careful to + distinguish the expectation and gladness of Bernardo's 'Welcome, Horatio!' + from the mere courtesy of his 'Welcome, good Marcellus!' + </p> + <p> + Now observe the admirable indefiniteness of the first opening out of the + occasion of all this anxiety. The preparation informative of the audience + is just as much as was precisely necessary, and no more;—it begins + with the uncertainty appertaining to a question:— + </p> +<pre xml:space="preserve"> + 'Mar'. What, has <i>this thing</i> appear'd again to-night?— +</pre> + <p> + Even the word 'again' has its 'credibilizing' effect. Then Horatio, the + representative of the ignorance of the audience, not himself, but by + Marcellus to Bernardo, anticipates the common solution—''tis but our + fantasy!' upon which Marcellus rises into + </p> +<pre xml:space="preserve"> + This dreaded sight, twice seen of us— +</pre> + <p> + which immediately afterwards becomes 'this apparition,' and that, too, an + intelligent spirit, that is, to be spoken to! Then comes the confirmation + of Horatio's disbelief;— + </p> +<pre xml:space="preserve"> + Tush! tush! 'twill not appear!— +</pre> + <p> + and the silence, with which the scene opened, is again restored in the + shivering feeling of Horatio sitting down, at such a time, and with the + two eye-witnesses, to hear a story of a ghost, and that, too, of a ghost + which had appeared twice before at the very same hour. In the deep feeling + which Bernardo has of the solemn nature of what he is about to relate, he + makes an effort to master his own imaginative terrors by an elevation of + style,—itself a continuation of the effort,—and by turning off + from the apparition, as from something which would force him too deeply + into himself, to the outward objects, the realities of nature, which had + accompanied it:— + </p> +<pre xml:space="preserve"> + 'Ber'. Last night of all, + When yon same star, that's westward from the pole, + Had made his course to illume that part of heaven + Where now it burns, Marcellus and myself, + The bell then beating one— +</pre> + <p> + This passage seems to contradict the critical law that what is told, makes + a faint impression compared with what is beholden; for it does indeed + convey to the mind more than the eye can see; whilst the interruption of + the narrative at the very moment, when we are most intensely listening for + the sequel, and have our thoughts diverted from the dreaded sight in + expectation of the desired, yet almost dreaded, tale—this gives all + the suddenness and surprise of the original appearance;— + </p> +<pre xml:space="preserve"> + 'Mar'. Peace, break thee off; look, where it comes again!— +</pre> + <p> + NOTE the judgment displayed in having the two persons present, who, as + having seen the Ghost before, are naturally eager in confirming their + former opinions,—whilst the sceptic is silent, and after having been + twice addressed by his friends, answers with two hasty syllables—'Most + like,'—and a confession of horror: + </p> +<pre xml:space="preserve"> + —It harrows me with fear and wonder. +</pre> + <p> + O heaven! words are wasted on those who feel, and to those who do not feel + the exquisite judgment of Shakspeare in this scene, what can be said?—Hume + himself could not but have had faith in this Ghost dramatically, let his + anti-ghostism have been as strong as Samson against other ghosts less + powerfully raised. + </p> + <p> + Act i. sc. I. + </p> +<pre xml:space="preserve"> + 'Mar'. Good now, sit down, and tell me, he that knows, + Why this same strict and most observant watch, &c. +</pre> + <p> + How delightfully natural is the transition to the retrospective narrative! + And observe, upon the Ghost's reappearance, how much Horatio's courage is + increased by having translated the late individual spectator into general + thought and past experience,—and the sympathy of Marcellus and + Bernardo with his patriotic surmises in daring to strike at the Ghost; + whilst in a moment, upon its vanishing, the former solemn awe-stricken + feeling returns upon them:— + </p> +<pre xml:space="preserve"> + We do it wrong, being so majestical, + To offer it the show of violence.— +</pre> + <p> + 'Ib.' Horatio's speech:— + </p> +<pre xml:space="preserve"> + I have heard, + The cock, that is the trumpet to the morn, + Doth with his lofty and shrill-sounding throat + Awake the god of day, &c. +</pre> + <p> + No Addison could be more careful to be poetical in diction than Shakspeare + in providing the grounds and sources of its propriety. But how to elevate + a thing almost mean by its familiarity, young poets may learn in this + treatment of the cock-crow. + </p> + <p> + 'Ib.' Horatio's speech:— + </p> +<pre xml:space="preserve"> + And, by my advice, + Let us impart what we have seen to-night + Unto young Hamlet; for, upon my life, + The spirit, dumb to us, will speak to him. +</pre> + <p> + NOTE the inobtrusive and yet fully adequate mode of introducing the main + character, 'young Hamlet,' upon whom is transferred all the interest + excited for the acts and concerns of the king his father. + </p> + <p> + 'Ib.' sc. 2. The audience are now relieved by a change of scene to the + royal court, in order that Hamlet may not have to take up the leavings of + exhaustion. In the king's speech, observe the set and pedantically + antithetic form of the sentences when touching that which galled the heels + of conscience,—the strain of undignified rhetoric,—and yet in + what follows concerning the public weal, a certain appropriate majesty. + Indeed was he not a royal brother?— + </p> + <p> + 'Ib.' King's speech:— + </p> +<pre xml:space="preserve"> + And now, Laertes, what's the news with you? &c. +</pre> + <p> + Thus with great art Shakspeare introduces a most important, but still + subordinate character first, Laertes, who is yet thus graciously treated + in consequence of the assistance given to the election of the late king's + brother instead of his son by Polonius. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. A little more than kin, and less than kind. + + 'King'. How is it that the clouds still hang on you? + + 'Ham'. Not so, my lord, I am too much i' the sun. +</pre> + <p> + Hamlet opens his mouth with a playing on words, the complete absence of + which throughout characterizes Macbeth. This playing on words may be + attributed to many causes or motives, as either to an exuberant activity + of mind, as in the higher comedy of Shakspeare generally;—or to an + imitation of it as a mere fashion, as if it were said—'Is not this + better than groaning?'—or to a contemptuous exultation in minds + vulgarized and overset by their success, as in the poetic instance of + Milton's Devils in the battle;—or it is the language of resentment, + as is familiar to every one who has witnessed the quarrels of the lower + orders, where there is invariably a profusion of punning invective, + whence, perhaps, nicknames have in a considerable degree sprung up;—or + it is the language of suppressed passion, and especially of a hardly + smothered personal dislike. The first, and last of these combine in + Hamlet's case; and I have little doubt that Farmer is right in supposing + the equivocation carried on in the expression 'too much i' the sun,' or + son. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. Ay, madam, it is common. +</pre> + <p> + Here observe Hamlet's delicacy to his mother, and how the suppression + prepares him for the overflow in the next speech, in which his character + is more developed by bringing forward his aversion to externals, and which + betrays his habit of brooding over the world within him, coupled with a + prodigality of beautiful words, which are the half embodyings of thought, + and are more than thought, and have an outness, a reality 'sui generis', + and yet retain their correspondence and shadowy affinity to the images and + movements within. Note also Hamlet's silence to the long speech of the + king which follows, and his respectful, but general, answer to his mother. + </p> + <p> + 'Ib.' Hamlet's first soliloquy:— + </p> +<pre xml:space="preserve"> + O, that this too too solid flesh would melt, + Thaw, and resolve itself into a dew! &c. +</pre> + <p> + This 'tædium vitæ'; is a common oppression on minds cast in the Hamlet + mould, and is caused by disproportionate mental exertion, which + necessitates exhaustion of bodily feeling. Where there is a just + coincidence of external and internal action, pleasure is always the + result; but where the former is deficient, and the mind's appetency of the + ideal is unchecked, realities will seem cold and unmoving. In such cases, + passion combines itself with the indefinite alone. In this mood of his + mind the relation of the appearance of his father's spirit in arms is made + all at once to Hamlet:—it is—Horatio's speech, in particular—a + perfect model of the true style of dramatic narrative;—the purest + poetry, and yet in the most natural language, equally remote from the + ink-horn and the plough. + </p> + <p> + 'Ib.' sc. 3. This scene must be regarded as one of Shakspeare's lyric + movements in the play, and the skill with which it is interwoven with the + dramatic parts is peculiarly an excellence of our poet. You experience the + sensation of a pause without the sense of a stop. You will observe in + Ophelia's short and general answer to the long speech of Laertes the + natural carelessness of innocence, which cannot think such a code of + cautions and prudences necessary to its own preservation. + </p> + <p> + 'Ib.' Speech of Polonius:—(in Stockdale's edition.) + </p> +<pre xml:space="preserve"> + Or (not to crack the wind of the poor phrase,) + Wronging it thus, you'll tender me a fool. +</pre> + <p> + I suspect this 'wronging' is here used much in the same sense as + 'wringing' or 'wrenching;' and that the parenthesis should be extended to + 'thus.' {1} + </p> + <p> + 'Ib.' Speech of Polonius:— + </p> +<pre xml:space="preserve"> + —How prodigal the soul + Lends the tongue vows:—these blazes, daughter, &c. +</pre> + <p> + A spondee has, I doubt not, dropped out of the text. Either insert 'Go to' + after 'vows;'— + </p> +<pre xml:space="preserve"> + Lends the tongue vows:—Go to, these blazes, daughter— +</pre> + <p> + or read + </p> +<pre xml:space="preserve"> + Lends the tongue vows:—These blazes, daughter, mark you— +</pre> + <p> + Shakspeare never introduces a catalectic line without intending an + equivalent to the foot omitted in the pauses, or the dwelling emphasis, or + the diffused retardation. I do not, however, deny that a good actor might + by employing the last mentioned means, namely, the retardation, or solemn + knowing drawl, supply the missing spondee with good effect. But I do not + believe that in this or any other of the foregoing speeches of Polonius, + Shakspeare meant to bring out the senility or weakness of that personage's + mind. In the great ever-recurring dangers and duties of life, where to + distinguish the fit objects for the application of the maxims collected by + the experience of a long life, requires no fineness of tact, as in the + admonitions to his son and daughter, Polonius is uniformly made + respectable. But if an actor were even capable of catching these shades in + the character, the pit and the gallery would be malcontent at their + exhibition. It is to Hamlet that Polonius is, and is meant to be, + contemptible, because in inwardness and uncontrollable activity of + movement, Hamlet's mind is the logical contrary to that of Polonius, and + besides, as I have observed before, Hamlet dislikes the man as false to + his true allegiance in the matter of the succession to the crown. + </p> + <p> + 'Ib.' sc. 4. The unimportant conversation with which this scene opens is a + proof of Shakspeare's minute knowledge of human nature. It is a well + established fact, that on the brink of any serious enterprise, or event of + moment, men almost invariably endeavour to elude the pressure of their own + thoughts by turning aside to trivial objects and familiar circumstances: + thus this dialogue on the platform begins with remarks on the coldness of + the air, and inquiries, obliquely connected, indeed, with the expected + hour of the visitation, but thrown out in a seeming vacuity of topics, as + to the striking of the clock and so forth. The same desire to escape from + the impending thought is carried on in Hamlet's account of, and moralizing + on, the Danish custom of wassailing: he runs off from the particular to + the universal, and, in his repugnance to personal and individual concerns, + escapes, as it were, from himself in generalizations, and smothers the + impatience and uneasy feelings of the moment in abstract reasoning. + Besides this, another purpose is answered;—for by thus entangling + the attention of the audience in the nice distinctions and parenthetical + sentences of this speech of Hamlet's, Shakspeare takes them completely by + surprise on the appearance of the Ghost, which comes upon them in all the + suddenness of its visionary character. Indeed, no modern writer would have + dared, like Shakspeare, to have preceded this last visitation by two + distinct appearances,—or could have contrived that the third should + rise upon the former two in impressiveness and solemnity of interest. + </p> + <p> + But in addition to all the other excellencies of Hamlet's speech + concerning the wassel-music—so finely revealing the predominant + idealism, the ratiocinative meditativeness, of his character—it has + the advantage of giving nature and probability to the impassioned + continuity of the speech instantly directed to the Ghost. The 'momentum' + had been given to his mental activity; the full current of the thoughts + and words had set in, and the very forgetfulness, in the fervour of his + argumentation, of the purpose for which he was there, aided in preventing + the appearance from benumbing the mind. Consequently, it acted as a new + impulse,—a sudden stroke which increased the velocity of the body + already in motion, whilst it altered the direction. The co-presence of + Horatio, Marcellus, and Bernardo is most judiciously contrived; for it + renders the courage of Hamlet and his impetuous eloquence perfectly + intelligible. The knowledge,—the unthought of consciousness,—the + sensation,—of human auditors,—of flesh and blood sympathists—acts + as a support and a stimulation 'a tergo', while the front of the mind, the + whole consciousness of the speaker, is filled, yea, absorbed, by the + apparition. Add too, that the apparition itself has by its previous + appearances been brought nearer to a thing of this world. This accrescence + of objectivity in a Ghost that yet retains all its ghostly attributes and + fearful subjectivity, is truly wonderful. + </p> + <p> + 'Ib.' sc. 5. Hamlet's speech:— + </p> +<pre xml:space="preserve"> + O all you host of heaven! O earth! What else? + And shall I couple hell?— +</pre> + <p> + I remember nothing equal to this burst unless it be the first speech of + Prometheus in the Greek drama, after the exit of Vulcan and the two + Afrites. But Shakspeare alone could have produced the vow of Hamlet to + make his memory a blank of all maxims and generalized truths, that + 'observation had copied there,'—followed immediately by the speaker + noting down the generalized fact, + </p> +<pre xml:space="preserve"> + That one may smile, and smile, and be a villain! +</pre> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Mar'. Hillo, ho, ho, my lord! + + 'Ham'. Hillo, ho, ho, boy! come bird, come, &c. +</pre> + <p> + This part of the scene after Hamlet's interview with the Ghost has been + charged with an improbable eccentricity. But the truth is, that after the + mind has been stretched beyond its usual pitch and tone, it must either + sink into exhaustion and inanity, or seek relief by change. It is thus, + well known that persons conversant in deeds of cruelty, contrive to escape + from conscience, by connecting something of the ludicrous with them, and + by inventing grotesque terms and a certain technical phraseology to + disguise the horror of their practices. Indeed, paradoxical as it may + appear, the terrible by a law of the human mind always touches on the + verge of the ludicrous. Both arise from the perception of something out of + the common order of things—something, in fact, out of its place; and + if from this we can abstract danger, the uncommonness will alone remain, + and the sense of the ridiculous be excited. The close alliance of these + opposites—they are not contraries—appears from the + circumstance, that laughter is equally the expression of extreme anguish + and horror as of joy: as there are tears of sorrow and tears of joy, so is + there a laugh of terror and a laugh of merriment. These complex causes + will naturally have produced in Hamlet the disposition to escape from his + own feelings of the overwhelming and supernatural by a wild transition to + the ludicrous,—a sort of cunning bravado, bordering on the flights + of delirium. For you may, perhaps, observe that Hamlet's wildness is but + half false; he plays that subtle trick of pretending to act only when he + is very near really being what he acts. + </p> + <p> + The subterraneous speeches of the Ghost are hardly defensible:—but I + would call your attention to the characteristic difference between this + Ghost, as a superstition connected with the most mysterious truths of + revealed religion,—and Shakspeare's consequent reverence in his + treatment of it,—and the foul earthly witcheries and wild language + in Macbeth. + </p> + <p> + Act ii. sc. 1. Polonius and Reynaldo. + </p> + <p> + In all things dependent on, or rather made up of, fine address, the manner + is no more or otherwise rememberable than the light motions, steps, and + gestures of youth and health. But this is almost every thing:—no + wonder, therefore, if that which can be put down by rule in the memory + should appear to us as mere poring, maudlin, cunning,—slyness + blinking through the watery eye of superannuation. So in this admirable + scene, Polonius, who is throughout the skeleton of his own former skill + and statecraft, hunts the trail of policy at a dead scent, supplied by the + weak fever-smell in his own nostrils. + </p> + <p> + 'Ib.' sc. 2. Speech of Polonius:— + </p> +<pre xml:space="preserve"> + My liege, and madam, to expostulate, &c. +</pre> + <p> + Warburton's note: + </p> +<pre xml:space="preserve"> + Then as to the jingles, and play on words, let us but look into the + sermons of Dr. Donne, (the wittiest man of that age) and we shall find + them full of this vein. +</pre> + <p> + I have, and that most carefully, read Dr. Donne's sermons, and find none + of these jingles. The great art of an orator—to make whatever he + talks of appear of importance—this, indeed, Donne has effected with + consummate skill. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. Excellent well; You are a fishmonger. +</pre> + <p> + That is, you are sent to fish out this secret. This is Hamlet's own + meaning. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. For if the sun breeds maggots in a dead dog, + Being a god, kissing carrion— +</pre> + <p> + These purposely obscure lines, I rather think, refer to some thought in + Hamlet's mind, contrasting the lovely daughter with such a tedious old + fool, her father, as he, Hamlet, represents Polonius to himself:—'Why, + fool as he is, he is some degrees in rank above a dead dog's carcase; and + if the sun, being a god that kisses carrion, can raise life out of a dead + dog,—why may not good fortune, that favours fools, have raised a + lovely girl out of this dead-alive old fool?' Warburton is often led + astray, in his interpretations, by his attention to general positions + without the due Shakspearian reference to what is probably passing in the + mind of his speaker, characteristic, and expository of his particular + character and present mood. The subsequent passage,— + </p> +<pre xml:space="preserve"> + O Jephtha, judge of Israel! what a treasure hadst thou! +</pre> + <p> + is confirmatory of my view of these lines. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. You cannot, Sir, take from me any thing that I will more + willingly part withal; except my life, except my life, except my life. +</pre> + <p> + This repetition strikes me as most admirable. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. Then are our beggars, bodies; and our monarchs, and + out-stretched heroes, the beggars' shadows. +</pre> + <p> + I do not understand this; and Shakspeare seems to have intended the + meaning not to be more than snatched at:—'By my fay, I cannot + reason!' + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + The rugged Pyrrhus—he whose sable arms, &c. +</pre> + <p> + This admirable substitution of the epic for the dramatic, giving such a + reality to the impassioned dramatic diction of Shakspeare's own dialogue, + and authorized, too, by the actual style of the tragedies before his time + (Porrex and Ferrex, Titus Andronicus, &c.)—is well worthy of + notice. The fancy, that a burlesque was intended, sinks below criticism: + the lines, as epic narrative, are superb. + </p> + <p> + In the thoughts, and even in the separate parts of the diction, this + description is highly poetical: in truth, taken by itself, this is its + fault that it is too poetical!—the language of lyric vehemence and + epic pomp, and not of the drama. But if Shakspeare had made the diction + truly dramatic, where would have been the contrast between Hamlet and the + play in Hamlet? + </p> + <p> + Ib. + </p> + <p> + —had seen the <i>mobled</i> queen, &c. + </p> + <p> + A mob-cap is still a word in common use for a morning cap, which conceals + the whole head of hair, and passes under the chin. It is nearly the same + as the night-cap, that is, it is an imitation of it, so as to answer the + purpose ('I am not drest for company'), and yet reconciling it with + neatness and perfect purity. + </p> + <p> + 'Ib.' Hamlet's soliloquy: + </p> +<pre xml:space="preserve"> + O, what a rogue and peasant slave am I! &c. +</pre> + <p> + This is Shakspeare's own attestation to the truth of the idea of Hamlet + which I have before put forth. + </p> + <p> + Ib. + </p> + <p> + The spirit that I have seen, May be a devil: and the devil hath power To + assume a pleasing shape; yea, and, perhaps Out of my weakness, and my + melancholy, (As he is very potent with such spirits) Abuses me to damn me. + </p> + <p> + See Sir Thomas Brown: + </p> +<pre xml:space="preserve"> + I believe——that those apparitions and ghosts of departed persons are + not the wandering souls of men, but the unquiet walks of devils, + prompting and suggesting us unto mischief, blood and villany, + instilling and stealing into our hearts, that the blessed spirits are + not at rest in their graves, but wander solicitous of the affairs of + the world. + 'Relig. Med'. Pt. I. Sect. 37. +</pre> + <p> + Act iii. sc. 1. Hamlet's soliloquy: + </p> +<pre xml:space="preserve"> + To be, or not to be, that is the question, &c. +</pre> + <p> + This speech is of absolutely universal interest,—and yet to which of + all Shakspeare's characters could it have been appropriately given but to + Hamlet? For Jaques it would have been too deep, and for Iago too habitual + a communion with the heart; which in every man belongs, or ought to + belong, to all mankind. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + That undiscover'd country, from whose bourne + No traveller returns.— +</pre> + <p> + Theobald's note in defence of the supposed contradiction of this in the + apparition of the Ghost. + </p> + <p> + O miserable defender! If it be necessary to remove the apparent + contradiction,—if it be not rather a great beauty,—surely, it + were easy to say, that no traveller returns to this world, as to his home, + or abiding-place. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. Ha, ha! are you honest? + + 'Oph'. My lord? + + 'Ham'. Are you fair? +</pre> + <p> + Here it is evident that the penetrating Hamlet perceives, from the strange + and forced manner of Ophelia, that the sweet girl was not acting a part of + her own, but was a decoy; and his after speeches are not so much directed + to her as to the listeners and spies. Such a discovery in a mood so + anxious and irritable accounts for a certain harshness in him;—and + yet a wild up-working of love, sporting with opposites in a wilful + self-tormenting strain of irony, is perceptible throughout. 'I did love + you once:'—'I lov'd you not:'—and particularly in his + enumeration of the faults of the sex from which Ophelia is so free, that + the mere freedom therefrom constitutes her character. Note Shakspeare's + charm of composing the female character by the absence of characters, that + is, marks and out-juttings. + </p> + <p> + 'Ib.' Hamlet's speech:— + </p> +<pre xml:space="preserve"> + I say, we will have no more marriages: those that are married already, + all but one, shall live: the rest shall keep as they are. +</pre> + <p> + Observe this dallying with the inward purpose, characteristic of one who + had not brought his mind to the steady acting point. He would fain sting + the uncle's mind;—but to stab his body!—The soliloquy of + Ophelia, which follows, is the perfection of love—so exquisitely + unselfish! + </p> + <p> + 'Ib.' sc. 2. This dialogue of Hamlet with the players is one of the + happiest instances of Shakspeare's power of diversifying the scene while + he is carrying on the plot. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ham'. My lord, you play'd once i' the university, you say? + (<i>To Polonius</i>.) +</pre> + <p> + To have kept Hamlet's love for Ophelia before the audience in any direct + form, would have made a breach in the unity of the interest;—but yet + to the thoughtful reader it is suggested by his spite to poor Polonius, + whom he cannot let rest. + </p> + <p> + 'Ib.' The style of the interlude here is distinguished from the real + dialogue by rhyme, as in the first interview with the players by epic + verse. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Ros'. My lord, you once did love me. + + 'Ham'. So I do still, by these pickers and stealers. +</pre> + <p> + I never heard an actor give this word 'so' its proper emphasis. + Shakspeare's meaning is—'lov'd you? Hum!—<i>so</i> I do still, + &c.' There has been no change in my opinion:—I think as ill of + you as I did. Else Hamlet tells an ignoble falsehood, and a useless one, + as the last speech to Guildenstern—'Why, look you now,' &c.—proves. + </p> + <p> + 'Ib.' Hamlet's soliloquy:— + </p> +<pre xml:space="preserve"> + Now could I drink hot blood, + And do such business as the bitter day + Would quake to look on. +</pre> + <p> + The utmost at which Hamlet arrives, is a disposition, a mood, to do + something:—but what to do, is still left undecided, while every word + he utters tends to betray his disguise. Yet observe how perfectly equal to + any call of the moment is Hamlet, let it only not be for the future. + </p> + <p> + 'Ib.' sc. 4. Speech of Polonius. Polonius's volunteer obtrusion of himself + into this business, while it is appropriate to his character, still + itching after former importance, removes all likelihood that Hamlet should + suspect his presence, and prevents us from making his death injure Hamlet + in our opinion. + </p> + <p> + 'Ib.' The king's speech:— + </p> +<pre xml:space="preserve"> + O, my offence is rank, it smells to heaven, &c. +</pre> + <p> + This speech well marks the difference between crime and guilt of habit. + The conscience here is still admitted to audience. Nay, even as an audible + soliloquy, it is far less improbable than is supposed by such as have + watched men only in the beaten road of their feelings. But the final—'all + may be well!' is remarkable;—the degree of merit attributed by the + self-flattering soul to its own struggle, though baffled, and to the + indefinite half-promise, half-command, to persevere in religious duties. + The solution is in the divine 'medium' of the Christian doctrine of + expiation:—not what you have done, but what you are, must determine. + </p> + <p> + 'Ib.' Hamlet's speech:— + </p> +<pre xml:space="preserve"> + Now might I do it, pat, now he is praying: + And now I'll do it:—And so he goes to heaven: + And so am I revenged? That would be scann'd, &c. +</pre> + <p> + Dr. Johnson's mistaking of the marks of reluctance and procrastination for + impetuous, horror-striking, fiendishness!—Of such importance is it + to understand the germ of a character. But the interval taken by Hamlet's + speech is truly awful! And then— + </p> +<pre xml:space="preserve"> + My words fly up, my thoughts remain below: + Words, without thoughts, never to heaven go,— +</pre> + <p> + O what a lesson concerning the essential difference between wishing and + willing, and the folly of all motive-mongering, while the individual self + remains! + </p> + <p> + 'Ib.' sc. 4. + </p> +<pre xml:space="preserve"> + 'Ham'. A bloody deed;—almost as bad, good mother, + As kill a king, and marry with his brother. + + 'Queen'. As kill a king? +</pre> + <p> + I confess that Shakspeare has left the character of the Queen in an + unpleasant perplexity. Was she, or was she not, conscious of the + fratricide? + </p> + <p> + Act iv. sc. 2. + </p> +<pre xml:space="preserve"> + 'Ros'. Take you me for a spunge, my lord? + + 'Ham'. Ay, Sir; that soaks up the King's countenance, his rewards, his + authorities, &c. +</pre> + <p> + Hamlet's madness is made to consist in the free utterance of all the + thoughts that had passed through his mind before;—in fact, in + telling home-truths. + </p> + <p> + Act. iv. sc. 5. Ophelia's singing. O, note the conjunction here of these + two thoughts that had never subsisted in disjunction, the love for Hamlet, + and her filial love, with the guileless floating on the surface of her + pure imagination of the cautions so lately expressed, and the fears not + too delicately avowed, by her father and brother concerning the dangers to + which her honour lay exposed. Thought, affliction, passion, murder itself—she + turns to favour and prettiness. This play of association is instanced in + the close:— + </p> +<pre xml:space="preserve"> + My brother shall know of it, and I thank you for your good counsel. +</pre> + <p> + 'Ib.' Gentleman's speech:— + </p> +<pre xml:space="preserve"> + And as the world were now but to begin, + Antiquity forgot, custom not known, + The ratifiers and props of every ward— + They cry, &c. +</pre> + <p> + Fearful and self-suspicious as I always feel, when I seem to see an error + of judgment in Shakspeare, yet I cannot reconcile the cool, and, as + Warburton calls it, 'rational and consequential,' reflection in these + lines with the anonymousness, or the alarm, of this Gentleman or + Messenger, as he is called in other editions. + </p> + <p> + 'Ib.' King's speech:— + </p> +<pre xml:space="preserve"> + There's such divinity doth hedge a king, + That treason can but peep to what it would, + Acts little of his will. +</pre> + <p> + Proof, as indeed all else is, that Shakspeare never intended us to see the + King with Hamlet's eyes; though, I suspect, the managers have long done + so. + </p> + <p> + 'Ib.' Speech of Laertes:— + </p> +<pre xml:space="preserve"> + To hell, allegiance! vows, to the blackest devil! + + Laertes is a 'good' character, but, &c. (WARBURTON.) +</pre> + <p> + Mercy on Warburton's notion of goodness! Please to refer to the seventh + scene of this act;— + </p> +<pre xml:space="preserve"> + I will do it; + And for this purpose I'll anoint my sword, &c. +</pre> + <p> + uttered by Laertes after the King's description of Hamlet;— + </p> +<pre xml:space="preserve"> + He being remiss, + Most generous, and free from all contriving, + Will not peruse the foils. +</pre> + <p> + Yet I acknowledge that Shakspeare evidently wishes, as much as possible, + to spare the character of Laertes,—to break the extreme turpitude of + his consent to become an agent and accomplice of the King's treachery;—and + to this end he re-introduces Ophelia at the close of this scene to afford + a probable stimulus of passion in her brother. + </p> + <p> + 'Ib.' sc. 6. Hamlet's capture by the pirates. This is almost the only play + of Shakspeare, in which mere accidents, independent of all will, form an + essential part of the plot;—but here how judiciously in keeping with + the character of the over-meditative Hamlet, ever at last determined by + accident or by a fit of passion! + </p> + <p> + 'Ib.' sc. 7. Note how the King first awakens Laertes's vanity by praising + the reporter, and then gratifies it by the report itself, and finally + points it by— + </p> +<pre xml:space="preserve"> + Sir, this report of his + Did Hamlet so envenom with his envy!— +</pre> + <p> + 'Ib.' King's speech: + </p> +<pre xml:space="preserve"> + For goodness, growing to a <i>pleurisy</i>, + Dies in his own too much. +</pre> + <p> + Theobald's note from Warburton, who conjectures 'plethory.' + </p> + <p> + I rather think that Shakspeare meant 'pleurisy,' but involved in it the + thought of <i>plethora</i>, as supposing pleurisy to arise from too much + blood; otherwise I cannot explain the following line— + </p> +<pre xml:space="preserve"> + And then this <i>should</i> is like a spendthrift sigh, + That hurts by easing. +</pre> + <p> + In a stitch in the side every one must have heaved a sigh that 'hurt by + easing.' + </p> + <p> + Since writing the above I feel confirmed that 'pleurisy' is the right + word; for I find that in the old medical dictionaries the pleurisy is + often called the 'plethory.' + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Queen'. Your sister's drown'd, Laertes. + + 'Laer'. Drown'd! O, where? +</pre> + <p> + That Laertes might be excused in some degree for not cooling, the Act + concludes with the affecting death of Ophelia,—who in the beginning + lay like a little projection of land into a lake or stream, covered with + spray-flowers quietly reflected in the quiet waters, but at length is + undermined or loosened, and becomes a faery isle, and after a brief + vagrancy sinks almost without an eddy! + </p> + <p> + Act v. sc. 1. O, the rich contrast between the Clowns and Hamlet, as two + extremes! You see in the former the mockery of logic, and a traditional + wit valued, like truth, for its antiquity, and treasured up, like a tune, + for use. + </p> + <p> + 'Ib.' sc. 1 and 2. Shakspeare seems to mean all Hamlet's character to be + brought together before his final disappearance from the scene;—his + meditative excess in the grave-digging, his yielding to passion with + Laertes, his love for Ophelia blazing out, his tendency to generalize on + all occasions in the dialogue with Horatio, his fine gentlemanly manners + with Osrick, and his and Shakspeare's own fondness for presentiment: + </p> +<pre xml:space="preserve"> + But thou would'st not think, how ill all's here about my heart: but it + is no matter. +</pre> + <p> + {Footnote 1: It is so pointed in the modern editions.—Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0042" id="link2H_4_0042"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON MACBETH. + </h2> + <p> + Macbeth stands in contrast throughout with Hamlet; in the manner of + opening more especially. In the latter, there is a gradual ascent from the + simplest forms of conversation to the language of impassioned intellect,—yet + the intellect still remaining the seat of passion: in the former, the + invocation is at once made to the imagination and the emotions connected + therewith. Hence the movement throughout is the most rapid of all + Shakspeare's plays; and hence also, with the exception of the disgusting + passage of the Porter (Act ii. sc. 3.), which I dare pledge myself to + demonstrate to be an interpolation of the actors, there is not, to the + best of my remembrance, a single pun or play on words in the whole drama. + I have previously given an answer to the thousand times repeated charge + against Shakspeare upon the subject of his punning, and I here merely + mention the fact of the absence of any puns in Macbeth, as justifying a + candid doubt at least, whether even in these figures of speech and + fanciful modifications of language, Shakspeare may not have followed rules + and principles that merit and would stand the test of philosophic + examination. And hence, also, there is an entire absence of comedy, nay, + even of irony and philosophic contemplation in Macbeth,—the play + being wholly and purely tragic. For the same cause, there are no + reasonings of equivocal morality, which would have required a more + leisurely state and a consequently greater activity of mind;—no + sophistry of self-delusion,—except only that previously to the + dreadful act, Macbeth mistranslates the recoilings and ominous whispers of + conscience into prudential and selfish reasonings, and, after the deed + done, the terrors of remorse into fear from external dangers,—like + delirious men who run away from the phantoms of their own brains, or, + raised by terror to rage, stab the real object that is within their reach:—whilst + Lady Macbeth merely endeavours to reconcile his and her own sinkings of + heart by anticipations of the worst, and an affected bravado in + confronting them. In all the rest, Macbeth's language is the grave + utterance of the very heart, conscience-sick, even to the last faintings + of moral death. It is the same in all the other characters. The variety + arises from rage, caused ever and anon by disruption of anxious thought, + and the quick transition of fear into it. + </p> + <p> + In Hamlet and Macbeth the scene opens with superstition; but, in each it + is not merely different, but opposite. In the first it is connected with + the best and holiest feelings; in the second with the shadowy, turbulent, + and unsanctified cravings of the individual will. Nor is the purpose the + same; in the one the object is to excite, whilst in the other it is to + mark a mind already excited. Superstition, of one sort or another, is + natural to victorious generals; the instances are too notorious to need + mentioning. There is so much of chance in warfare, and such vast events + are connected with the acts of a single individual,—the + representative, in truth, of the efforts of myriads, and yet to the public + and, doubtless, to his own feelings, the aggregate of all,—that the + proper temperament for generating or receiving superstitious impressions + is naturally produced. Hope, the master element of a commanding genius, + meeting with an active and combining intellect, and an imagination of just + that degree of vividness which disquiets and impels the soul to try to + realize its images, greatly increases the creative power of the mind; and + hence the images become a satisfying world of themselves, as is the case + in every poet and original philosopher:—but hope fully gratified, + and yet the elementary basis of the passion remaining, becomes fear; and, + indeed, the general, who must often feel, even though he may hide it from + his own consciousness, how large a share chance had in his successes, may + very naturally be irresolute in a new scene, where he knows that all will + depend on his own act and election. + </p> + <p> + The Wierd Sisters are as true a creation of Shakspeare's, as his Ariel and + Caliban,—fates, furies, and materializing witches being the + elements. They are wholly different from any representation of witches in + the contemporary writers, and yet presented a sufficient external + resemblance to the creatures of vulgar prejudice to act immediately on the + audience. Their character consists in the imaginative disconnected from + the good; they are the shadowy obscure and fearfully anomalous of physical + nature, the lawless of human nature,—elemental avengers without sex + or kin: + </p> +<pre xml:space="preserve"> + Fair is foul, and foul is fair; Hover thro' the fog and filthy air. +</pre> + <p> + How much it were to be wished in playing Macbeth, that an attempt should + be made to introduce the flexile character-mask of the ancient pantomime;—that + Flaxman would contribute his genius to the embodying and making sensuously + perceptible that of Shakspeare! + </p> + <p> + The style and rhythm of the Captain's speeches in the second scene should + be illustrated by reference to the interlude in Hamlet, in which the epic + is substituted for the tragic, in order to make the latter be felt as the + real-life diction. In Macbeth, the poet's object was to raise the mind at + once to the high tragic tone, that the audience might be ready for the + precipitate consummation of guilt in the early part of the play. The true + reason for the first appearance of the Witches is to strike the key-note + of the character of the whole drama, as is proved by their re-appearance + in the third scene, after such an order of the king's as establishes their + supernatural power of information. I say information,—for so it only + is as to Glamis and Cawdor; the 'king hereafter' was still contingent,—still + in Macbeth's moral will; although, if he should yield to the temptation, + and thus forfeit his free agency, the link of cause and effect 'more + physico' would then commence. I need not say, that the general idea is all + that can be required from the poet,—not a scholastic logical + consistency in all the parts so as to meet metaphysical objectors. But O! + how truly Shakspearian is the opening of Macbeth's character given in the + 'unpossessedness' of Banquo's mind, wholly present to the present object,—an + unsullied, unscarified mirror!—And how strictly true to nature it + is, that Banquo, and not Macbeth himself, directs our notice to the effect + produced on Macbeth's mind, rendered temptible by previous dalliance of + the fancy with ambitious thoughts: + </p> +<pre xml:space="preserve"> + Good Sir, why do you start; and seem to fear + Things that do sound so fair? +</pre> + <p> + And then, again, still unintroitive, addresses the Witches:— + </p> +<pre xml:space="preserve"> + I' the name of truth, + Are ye fantastical, or that indeed + Which outwardly ye show? +</pre> + <p> + Banquo's questions are those of natural curiosity,—such as a girl + would put after hearing a gipsy tell her schoolfellow's fortune;—all + perfectly general, or rather planless. But Macbeth, lost in thought, + raises himself to speech only by the Witches being about to depart:— + </p> +<pre xml:space="preserve"> + Stay, you imperfect speakers, tell me more:— +</pre> + <p> + and all that follows is reasoning on a problem already discussed in his + mind,—on a hope which he welcomes, and the doubts concerning the + attainment of which he wishes to have cleared up. Compare his eagerness,—the + keen eye with which he has pursued the Witches' evanishing— + </p> +<pre xml:space="preserve"> + Speak, I charge you! +</pre> + <p> + with the easily satisfied mind of the self-uninterested Banquo:— + </p> +<pre xml:space="preserve"> + The air hath bubbles, as the water has, + And these are of them:—Whither are they vanish'd? +</pre> + <p> + and then Macbeth's earnest reply,— + </p> +<pre xml:space="preserve"> + Into the air; and what seem'd corporal, melted + As breath into the wind.—<i>'Would they had staid!</i> +</pre> + <p> + Is it too minute to notice the appropriateness of the simile 'as breath,' + &c. in a cold climate? + </p> + <p> + Still again Banquo goes on wondering like any common spectator: + </p> +<pre xml:space="preserve"> + Were such things here as we do speak about? +</pre> + <p> + whilst Macbeth persists in recurring to the self-concerning:— + </p> +<pre xml:space="preserve"> + Your children shall be kings. + + 'Ban'. You shall be king. + + 'Macb'. And thane of Cawdor too: went it not so? +</pre> + <p> + So surely is the guilt in its germ anterior to the supposed cause, and + immediate temptation! Before he can cool, the confirmation of the tempting + half of the prophecy arrives, and the concatenating tendency of the + imagination is fostered by the sudden coincidence:— + </p> +<pre xml:space="preserve"> + Glamis, and thane of Cawdor: The greatest is behind. +</pre> + <p> + Oppose this to Banquo's simple surprise:— + </p> +<pre xml:space="preserve"> + What, can the devil speak true? +</pre> + <p> + 'Ib.' Banquo's speech:— + </p> +<pre xml:space="preserve"> + That, trusted home, + Might yet enkindle you unto the crown, + Besides the thane of Cawdor. +</pre> + <p> + I doubt whether 'enkindle' has not another sense than that of + 'stimulating;' I mean of 'kind' and 'kin,' as when rabbits are said to + 'kindle.' However Macbeth no longer hears any thing 'ab extra':— + </p> +<pre xml:space="preserve"> + Two truths are told, + As happy prologues to the swelling act + Of the imperial theme. +</pre> + <p> + Then in the necessity of recollecting himself— + </p> +<pre xml:space="preserve"> + I thank you, gentlemen. +</pre> + <p> + Then he relapses into himself again, and every word of his soliloquy shows + the early birthdate of his guilt. He is all-powerful without strength; he + wishes the end, but is irresolute as to the means; conscience distinctly + warns him, and he lulls it imperfectly:— + </p> +<pre xml:space="preserve"> + If chance will have me king, why, chance may crown me + Without my stir. +</pre> + <p> + Lost in the prospective of his guilt, he turns round alarmed lest others + may suspect what is passing in his own mind, and instantly vents the lie + of ambition: + </p> +<pre xml:space="preserve"> + My dull brain was wrought + With things <i>forgotten</i>;— +</pre> + <p> + And immediately after pours forth the promising courtesies of a usurper in + intention:— + </p> +<pre xml:space="preserve"> + Kind gentlemen, your pains + Are register'd where every day I turn + The leaf to read them. +</pre> + <p> + 'Ib.' Macbeth's speech: + </p> +<pre xml:space="preserve"> + Presents <i>fears</i> Are less than horrible imaginings. +</pre> + <p> + Warburton's note, and substitution of 'feats' for 'fears.' + </p> + <p> + Mercy on this most wilful ingenuity of blundering, which, nevertheless, + was the very Warburton of Warburton—his inmost being! 'Fears,' here, + are present fear-striking objects, 'terribilia adstantia'. + </p> + <p> + 'Ib.' sc. 4. O! the affecting beauty of the death of Cawdor, and the + presentimental speech of the king: + </p> +<pre xml:space="preserve"> + There's no art + To find the mind's construction in the face: + He was a gentleman on whom I built + An absolute trust— +</pre> + <p> + Interrupted by— + </p> +<pre xml:space="preserve"> + O worthiest cousin! +</pre> + <p> + on the entrance of the deeper traitor for whom Cawdor had made way! And + here in contrast with Duncan's 'plenteous joys,' Macbeth has nothing but + the common-places of loyalty, in which he hides himself with 'our duties.' + Note the exceeding effort of Macbeth's addresses to the king, his + reasoning on his allegiance, and then especially when a new difficulty, + the designation of a successor, suggests a new crime. This, however, seems + the first distinct notion, as to the plan of realizing his wishes; and + here, therefore, with great propriety, Macbeth's cowardice of his own + conscience discloses itself. I always think there is something especially + Shakspearian in Duncan's speeches throughout this scene, such pourings + forth, such abandonments, compared with the language of vulgar dramatists, + whose characters seem to have made their speeches as the actors learn + them. + </p> + <p> + 'Ib.' Duncan's speech:— + </p> +<pre xml:space="preserve"> + Sons, kinsmen, thanes, + And you whose places are the nearest, know, + We will establish our estate upon + Our eldest Malcolm, whom we name hereafter + The Prince of Cumberland: which honour must + Not unaccompanied, invest him only; + But signs of nobleness, like stars, shall shine + On all deservers. +</pre> + <p> + It is a fancy;—but I can never read this and the following speeches + of Macbeth, without involuntarily thinking of the Miltonic Messiah and + Satan. + </p> + <p> + 'Ib.' sc. 5. Macbeth is described by Lady Macbeth so as at the same time + to reveal her own character. Could he have everything he wanted, he would + rather have it innocently;—ignorant, as alas! how many of us are, + that he who wishes a temporal end for itself, does in truth will the + means; and hence the danger of indulging fancies. Lady Macbeth, like all + in Shakspeare, is a class individualized:—of high rank, left much + alone, and feeding herself with day-dreams of ambition, she mistakes the + courage of fantasy for the power of bearing the consequences of the + realities of guilt. Hers is the mock fortitude of a mind deluded by + ambition; she shames her husband with a superhuman audacity of fancy which + she cannot support, but sinks in the season of remorse, and dies in + suicidal agony. Her speech: + </p> +<pre xml:space="preserve"> + Come, all you spirits That tend on mortal thoughts, unsex me here, &c. +</pre> + <p> + is that of one who had habitually familiarized her imagination to dreadful + conceptions, and was trying to do so still more. Her invocations and + requisitions are all the false efforts of a mind accustomed only hitherto + to the shadows of the imagination, vivid enough to throw the every-day + substances of life into shadow, but never as yet brought into direct + contact with their own correspondent realities. She evinces no womanly + life, no wifely joy, at the return of her husband, no pleased terror at + the thought of his past dangers; whilst Macbeth bursts forth naturally— + </p> +<pre xml:space="preserve"> + My dearest love— +</pre> + <p> + and shrinks from the boldness with which she presents his own thoughts to + him. With consummate art she at first uses as incentives the very + circumstances, Duncan's coming to their house, &c. which Macbeth's + conscience would most probably have adduced to her as motives of + abhorrence or repulsion. Yet Macbeth is not prepared: + </p> +<pre xml:space="preserve"> + We will speak further. +</pre> + <p> + 'Ib.' sc. 6. The lyrical movement with which this scene opens, and the + free and unengaged mind of Banquo, loving nature, and rewarded in the love + itself, form a highly dramatic contrast with the laboured rhythm and + hypocritical over-much of Lady Macbeth's welcome, in which you cannot + detect a ray of personal feeling, but all is thrown upon the 'dignities,' + the general duty. + </p> + <p> + 'Ib.' sc. 7. Macbeth's speech: + </p> +<pre xml:space="preserve"> + We will proceed no further in this business: + He hath honor'd me of late; and I have bought + Golden opinions from all sorts of people, + Which would be worn now in their newest gloss, + Not cast aside so soon. +</pre> + <p> + NOTE the inward pangs and warnings of conscience interpreted into + prudential reasonings. + </p> + <p> + Act ii. sc. 1. Banquo's speech: + </p> +<pre xml:space="preserve"> + A heavy summons lies like lead upon me, + And yet I would not sleep. Merciful powers! + Restrain in me the cursed thoughts, that nature + Gives way to in repose. +</pre> + <p> + The disturbance of an innocent soul by painful suspicions of another's + guilty intentions and wishes, and fear of the cursed thoughts of sensual + nature. + </p> + <p> + 'Ib.' sc. 2. Now that the deed is done or doing—now that the first + reality commences, Lady Macbeth shrinks. The most simple sound strikes + terror, the most natural consequences are horrible, whilst previously + every thing, however awful, appeared a mere trifle; conscience, which + before had been hidden to Macbeth in selfish and prudential fears, now + rushes in upon him in her own veritable person: + </p> +<pre xml:space="preserve"> + Methought I heard a voice cry— + Sleep no more! I could not say Amen, + When they did say, God bless us! +</pre> + <p> + And see the novelty given to the most familiar images by a new state of + feeling. + </p> + <p> + 'Ib.' sc. 3. This low soliloquy of the Porter and his few speeches + afterwards, I believe to have been written for the mob by some other hand, + perhaps with Shakspeare's consent; and that finding it take, he with the + remaining ink of a pen otherwise employed, just interpolated the words— + </p> +<pre xml:space="preserve"> + I'll devil-porter it no further: I had thought to have let in some of + all professions, that go the primrose way to th' everlasting bonfire. +</pre> + <p> + Of the rest not one syllable has the ever-present being of Shakspeare. + </p> + <p> + Act iii. sc. 1. Compare Macbeth's mode of working on the murderers in this + place with Schiller's mistaken scene between Butler, Devereux, and + Macdonald in Wallenstein. (Part II. act iv. sc. 2.) The comic was wholly + out of season. Shakspeare never introduces it, but when it may react on + the tragedy by harmonious contrast. + </p> + <p> + 'Ib.' sc. 2. Macbeth's speech: + </p> +<pre xml:space="preserve"> + But let the frame of things disjoint, both the worlds suffer, + Ere we will eat our meal in fear, and sleep + In the affliction of these terrible dreams + That shake us nightly. +</pre> + <p> + Ever and ever mistaking the anguish of conscience for fears of + selfishness, and thus as a punishment of that selfishness, plunging still + deeper in guilt and ruin. + </p> + <p> + 'Ib.' Macbeth's speech: + </p> +<pre xml:space="preserve"> + Be innocent of the knowledge, dearest chuck, + Till thou applaud the deed. +</pre> + <p> + This is Macbeth's sympathy with his own feelings, and his mistaking his + wife's opposite state. + </p> + <p> + 'Ib.' sc. 4. + </p> +<pre xml:space="preserve"> + 'Macb'. It will have blood, they say; blood will have blood: + Stones have been known to move, and trees to speak; + Augurs, and understood relations, have + By magot-pies, and choughs, and rooks, brought forth + The secret'st man of blood. +</pre> + <p> + The deed is done; but Macbeth receives no comfort,—no additional + security. He has by guilt torn himself live-asunder from nature, and is, + therefore, himself in a preter-natural state: no wonder, then, that he is + inclined to superstition, and faith in the unknown of signs and tokens, + and super-human agencies. + </p> + <p> + Act iv. sc. 1. + </p> +<pre xml:space="preserve"> + 'Len'. 'Tis two or three, my lord, that bring you word, + Macduff is fled to England. + + 'Macb'. Fled to England? +</pre> + <p> + The acme of the avenging conscience. + </p> + <p> + 'Ib.' sc. 2. This scene, dreadful as it is, is still a relief, because a + variety, because domestic, and therefore soothing, as associated with the + only real pleasures of life. The conversation between Lady Macduff and her + child heightens the pathos, and is preparatory for the deep tragedy of + their assassination. Shakspeare's fondness for children is every where + shown;—in Prince Arthur, in King John; in the sweet scene in the + Winter's Tale between Hermione and her son; nay, even in honest Evans's + examination of Mrs. Page's schoolboy. To the objection that Shakspeare + wounds the moral sense by the unsubdued, undisguised description of the + most hateful atrocity—that he tears the feelings without mercy, and + even outrages the eye itself with scenes of insupportable horror—I, + omitting Titus Andronicus, as not genuine, and excepting the scene of + Gloster's blinding in Lear, answer boldly in the name of Shakspeare, not + guilty. + </p> + <p> + 'Ib.' sc. 3. Malcolm's speech: + </p> +<pre xml:space="preserve"> + Better Macbeth, + Than such a one to reign. +</pre> + <p> + The moral is—the dreadful effects even on the best minds of the soul—sickening + sense of insecurity. + </p> + <p> + 'Ib.' How admirably Macduff's grief is in harmony with the whole play! It + rends, not dissolves, the heart. 'The tune of it goes manly.' Thus is + Shakspeare always master of himself and of his subject,—a genuine + Proteus:—we see all things in him, as images in a calm lake, most + distinct, most accurate,—only more splendid, more glorified. This is + correctness in the only philosophical sense. But he requires your sympathy + and your submission; you must have that recipiency of moral impression + without which the purposes and ends of the drama would be frustrated, and + the absence of which demonstrates an utter want of all imagination, a + deadness to that necessary pleasure of being innocently—shall I say, + deluded?—or rather, drawn away from ourselves to the music of + noblest thought in harmonious sounds. Happy he, who not only in the public + theatre, but in the labours of a profession, and round the light of his + own hearth, still carries a heart so pleasure-fraught! + </p> + <p> + Alas for Macbeth! Now all is inward with him; he has no more prudential + prospective reasonings. His wife, the only being who could have had any + seat in his affections, dies; he puts on despondency, the final + heart-armour of the wretched, and would fain think every thing shadowy and + unsubstantial, as indeed all things are to those who cannot regard them as + symbols of goodness:— + </p> +<pre xml:space="preserve"> + Out, out, brief candle! + Life's but a walking shadow; a poor player, + That struts and frets his hour upon the stage, + And then is heard no more: it is a tale + Told by an idiot, full of sound and fury, + Signifying nothing. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0043" id="link2H_4_0043"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON THE WINTER'S TALE. + </h2> + <p> + Although, on the whole, this play is exquisitely respondent to its title, + and even in the fault I am about to mention, still a winter's tale; yet it + seems a mere indolence of the great bard not to have provided in the + oracular response (Act ii. sc. 2.) some ground for Hermione's seeming + death and fifteen years voluntary concealment. This might have been easily + effected by some obscure sentence of the oracle, as for example:— + </p> +<pre xml:space="preserve"> + 'Nor shall he ever recover an heir, if he have a wife before that + recovery.' +</pre> + <p> + The idea of this delightful drama is a genuine jealousy of disposition, + and it should be immediately followed by the perusal of Othello, which is + the direct contrast of it in every particular. For jealousy is a vice of + the mind, a culpable tendency of the temper, having certain well known and + well defined effects and concomitants, all of which are visible in + Leontes, and, I boldly say, not one of which marks its presence in + Othello;—such as, first, an excitability by the most inadequate + causes, and an eagerness to snatch at proofs; secondly, a grossness of + conception, and a disposition to degrade the object of the passion by + sensual fancies and images; thirdly, a sense of shame of his own feelings + exhibited in a solitary moodiness of humour, and yet from the violence of + the passion forced to utter itself, and therefore catching occasions to + ease the mind by ambiguities, equivoques, by talking to those who cannot, + and who are known not to be able to, understand what is said to them,—in + short, by soliloquy in the form of dialogue, and hence a confused, broken, + and fragmentary, manner; fourthly, a dread of vulgar ridicule, as distinct + from a high sense of honour, or a mistaken sense of duty; and lastly, and + immediately, consequent on this, a spirit of selfish vindictiveness. + </p> + <p> + Act i. sc. 1—2. + </p> + <p> + Observe the easy style of chitchat between Camillo and Archidamus as + contrasted with the elevated diction on the introduction of the kings and + Hermione in the second scene: and how admirably Polixenes' obstinate + refusal to Leontes to stay— + </p> +<pre xml:space="preserve"> + There is no tongue that moves; none, none i' the world + So soon as yours, could win me;— +</pre> + <p> + prepares for the effect produced by his afterwards yielding to Hermione;—which + is, nevertheless, perfectly natural from mere courtesy of sex, and the + exhaustion of the will by former efforts of denial, and well calculated to + set in nascent action the jealousy of Leontes. This, when once excited, is + unconsciously increased by Hermione:— + </p> +<pre xml:space="preserve"> + Yet, good deed, Leontes, I love thee not a jar o' the clock behind + What lady she her lord;— +</pre> + <p> + accompanied, as a good actress ought to represent it, by an expression and + recoil of apprehension that she had gone too far. + </p> +<pre xml:space="preserve"> + At my request, he would not:— +</pre> + <p> + The first working of the jealous fit;— + </p> +<pre xml:space="preserve"> + Too hot, too hot:— +</pre> + <p> + The morbid tendency of Leontes to lay hold of the merest trifles, and his + grossness immediately afterwards— + </p> +<pre xml:space="preserve"> + Padling palms and pinching fingers:— +</pre> + <p> + followed by his strange loss of self-control in his dialogue with the + little boy. + </p> + <p> + Act iii. sc. 2. Paulina's speech: + </p> +<pre xml:space="preserve"> + That thou betray'dst Polixenes,'twas nothing; + That did but show thee, of a <i>fool</i>, inconstant, + And damnable ingrateful.— +</pre> + <p> + Theobald reads 'soul.' + </p> + <p> + I think the original word is Shakspeare's. + </p> + <p> + 1. My ear feels it to be Shakspearian; + </p> + <p> + 2. The involved grammar is Shakspearian;—'show thee, being a fool + naturally, to have improved thy folly by inconstancy;' + </p> + <p> + 3. The alteration is most flat, and un-Shakspearian. As to the grossness + of the abuse—she calls him 'gross and foolish' a few lines below. + </p> + <p> + Act iv. sc. 2. Speech of Autolycus:— + </p> +<pre xml:space="preserve"> + For the life to come, I sleep out the thought of it. +</pre> + <p> + Fine as this is, and delicately characteristic of one who had lived and + been reared in the best society, and had been precipitated from it by dice + and drabbing; yet still it strikes against my feelings as a note out of + tune, and as not coalescing with that pastoral tint which gives such a + charm to this act. It is too Macbeth-like in the 'snapper up of + unconsidered trifles.' + </p> + <p> + 'Ib.' sc. 3. Perdita's speech:— + </p> +<pre xml:space="preserve"> + From Dis's waggon! daffodils. +</pre> + <p> + An epithet is wanted here, not merely or chiefly for the metre, but for + the balance, for the aesthetic logic. Perhaps, 'golden' was the word which + would set off the 'violets dim.' + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Pale primroses + That die unmarried.— +</pre> + <p> + Milton's— + </p> +<pre xml:space="preserve"> + And the rathe primrose that forsaken dies. +</pre> + <p> + 'Ib.' Perdita's speech:— + </p> +<pre xml:space="preserve"> + Even here undone: + I was not much afraid; for once or twice + I was about to speak, and tell him plainly, + The self-same sun, that shines upon his court, + Hides not his visage from our cottage, but + Looks on alike. Wilt please you, Sir, be gone! + (<i>To Florizel.</i>) + I told you, what would come of this. Beseech you, + Of your own state take care: this dream of mine, + Being awake, I'll queen it no inch farther, + But milk my ewes, and weep. +</pre> + <p> + O how more than exquisite is this whole speech!—And that profound + nature of noble pride and grief venting themselves in a momentary + peevishness of resentment toward Florizel:— + </p> +<pre xml:space="preserve"> + —Wilt please you, Sir, be gone! +</pre> + <p> + 'Ib.' Speech of Autolycus:— + </p> +<pre xml:space="preserve"> + Let me have no lying; it becomes none but tradesmen, and they often + give us soldiers the lie; but we pay them for it in stamped coin, not + stabbing steel;—therefore they do not <i>give</i> us the lie. +</pre> + <p> + As we <i>pay</i> them, they, therefore, do not <i>give</i> it us. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0044" id="link2H_4_0044"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON OTHELLO + </h2> + <p> + Act I. sc. 1. Admirable is the preparation, so truly and peculiarly + Shakspearian, in the introduction of Roderigo, as the dupe on whom Iago + shall first exercise his art, and in so doing display his own character. + Roderigo, without any fixed principle, but not without the moral notions + and sympathies with honor, which his rank and connections had hung upon + him, is already well fitted and predisposed for the purpose; for very want + of character and strength of passion, like wind loudest in an empty house, + constitute his character. The first three lines happily state the nature + and foundation of the friendship between him and Iago,—the purse,—as + also the contrast of Roderigo's intemperance of mind with Iago's coolness,—the + coolness of a preconceiving experimenter. The mere language of + protestation— + </p> +<pre xml:space="preserve"> + If ever I did dream of such a matter, abhor me,— +</pre> + <p> + which falling in with the associative link, determines Roderigo's + continuation of complaint— + </p> +<pre xml:space="preserve"> + Thou told'st me, thou didst hold him in thy hate— +</pre> + <p> + elicits at length a true feeling of Iago's mind, the dread of contempt + habitual to those, who encourage in themselves, and have their keenest + pleasure in, the expression of contempt for others. Observe Iago's high + self-opinion, and the moral, that a wicked man will employ real feelings, + as well as assume those most alien from his own, as instruments of his + purposes:— + </p> +<pre xml:space="preserve"> + —And, by the faith of man, I know my place, + I am worth no worse a place. +</pre> + <p> + I think Tyrwhitt's reading of 'life' for 'wife'— + </p> +<pre xml:space="preserve"> + A fellow almost damn'd in a fair <i>wife</i>— +</pre> + <p> + the true one, as fitting to Iago's contempt for whatever did not display + power, and that intellectual power. In what follows, let the reader feel + how by and through the glass of two passions, disappointed vanity and + envy, the very vices of which he is complaining, are made to act upon him + as if they were so many excellences, and the more appropriately, because + cunning is always admired and wished for by minds conscious of inward + weakness;—but they act only by half, like music on an inattentive + auditor, swelling the thoughts which prevent him from listening to it. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Rod'. What a full fortune does the 'thick-lips' owe, + If he can carry't thus. +</pre> + <p> + Roderigo turns off to Othello; and here comes one, if not the only, + seeming justification of our blackamoor or negro Othello. Even if we + supposed this an uninterrupted tradition of the theatre, and that + Shakspeare himself, from want of scenes, and the experience that nothing + could be made too marked for the senses of his audience, had practically + sanctioned it,—would this prove aught concerning his own intention + as a poet for all ages? Can we imagine him so utterly ignorant as to make + a barbarous negro plead royal birth,—at a time, too, when negros + were not known except as slaves?—As for Iago's language to + Brabantio, it implies merely that Othello was a Moor, that is, black. + Though I think the rivalry of Roderigo sufficient to account for his + wilful confusion of Moor and Negro,—yet, even if compelled to give + this up, I should think it only adapted for the acting of the day, and + should complain of an enormity built on a single word, in direct + contradiction to Iago's 'Barbary horse.' Besides, if we could in good + earnest believe Shakspeare ignorant of the distinction, still why should + we adopt one disagreeable possibility instead of a ten times greater and + more pleasing probability? It is a common error to mistake the epithets + applied by the 'dramatis personae' to each other, as truly descriptive of + what the audience ought to see or know. No doubt Desdemona saw Othello's + visage in his mind; yet, as we are constituted, and most surely as an + English audience was disposed in the beginning of the seventeenth century, + it would be something monstrous to conceive this beautiful Venetian girl + falling in love with a veritable negro. It would argue a + disproportionateness, a want of balance, in Desdemona, which Shakspeare + does not appear to have in the least contemplated. + </p> + <p> + 'Ib.' Brabantio's speech:— + </p> +<pre xml:space="preserve"> + This accident is not unlike my dream:— +</pre> + <p> + The old careful senator, being caught careless, transfers his caution to + his dreaming power at least. + </p> + <p> + 'Ib.' Iago's speech:— + </p> +<pre xml:space="preserve"> + —For their souls, + Another of his fathom they have not, + To lead their business:— +</pre> + <p> + The forced praise of Othello followed by the bitter hatred of him in this + speech! And observe how Brabantio's dream prepares for his recurrence to + the notion of philtres, and how both prepare for carrying on the plot of + the arraignment of Othello on this ground. + </p> + <p> + 'Ib.' sc. 2. + </p> +<pre xml:space="preserve"> + 'Oth'. 'Tis better as it is. +</pre> + <p> + How well these few words impress at the outset the truth of Othello's own + character of himself at the end—'that he was not easily wrought!' + His self-government contradistinguishes him throughout from Leontes. + </p> + <p> + 'Ib.' Othello's speech:— + </p> +<pre xml:space="preserve"> + —And my demerits + May speak, <i>unbonnetted</i>— +</pre> + <p> + The argument in Theobald's note, where 'and bonnetted' is suggested, goes + on the assumption that Shakspeare could not use the same word differently + in different places; whereas I should conclude, that as in the passage in + Lear the word is employed in its direct meaning, so here it is used + metaphorically; and this is confirmed by what has escaped the editors, + that it is not 'I,' but 'my demerits' that may speak unbonnetted,—without + the symbol of a petitioning inferior. + </p> + <p> + 'Ib.' Othello's speech:— + </p> +<pre xml:space="preserve"> + Please your grace, my ancient; + A man he is of honesty and trust: + To his conveyance I assign my wife. +</pre> + <p> + Compare this with the behaviour of Leontes to his true friend Camillo. + </p> + <p> + 'Ib.' sc. 3. + </p> +<pre xml:space="preserve"> + 'Bra'. Look to her, Moor; have a quick eye to see; + She has deceiv'd her father, and may thee. + + 'Oth'. My life upon her faith. +</pre> + <p> + In real life, how do we look back to little speeches as presentimental of, + or contrasted with, an affecting event! Even so, Shakspeare, as secure of + being read over and over, of becoming a family friend, provides this + passage for his readers, and leaves it to them. + </p> + <p> + 'Ib.' Iago's speech:— + </p> +<pre xml:space="preserve"> + Virtue? a fig! 'tis in ourselves, that we are thus, or thus, &c. +</pre> + <p> + This speech comprises the passionless character of Iago. It is all will in + intellect; and therefore he is here a bold partizan of a truth, but yet of + a truth converted into a falsehood by the absence of all the necessary + modifications caused by the frail nature of man. And then comes the last + sentiment,— + </p> +<pre xml:space="preserve"> + Our raging motions, our carnal stings, our unbitted lusts, whereof I + take this, that you call—love, to be a sect or scion! +</pre> + <p> + Here is the true Iagoism of, alas! how many! Note Iago's pride of mastery + in the repetition of 'Go, make money!' to his anticipated dupe, even + stronger than his love of lucre: and when Roderigo is completely won— + </p> +<pre xml:space="preserve"> + I am chang'd. I'll go sell all my land— +</pre> + <p> + when the effect has been fully produced, the repetition of triumph— + </p> +<pre xml:space="preserve"> + Go to; farewell; put money enough in your purse! +</pre> + <p> + The remainder—Iago's soliloquy—the motive-hunting of a + motiveless malignity—how awful it is! Yea, whilst he is still + allowed to bear the divine image, it is too fiendish for his own steady + view,—for the lonely gaze of a being next to devil, and only not + quite devil,—and yet a character which Shakspeare has attempted and + executed, without disgust and without scandal! + </p> + <p> + Dr. Johnson has remarked that little or nothing is wanting to render the + Othello a regular tragedy, but to have opened the play with the arrival of + Othello in Cyprus, and to have thrown the preceding act into the form of + narration. Here then is the place to determine, whether such a change + would or would not be an improvement;—nay, (to throw down the glove + with a full challenge) whether the tragedy would or not by such an + arrangement become more regular,—that is, more consonant with the + rules dictated by universal reason, on the true common-sense of mankind, + in its application to the particular case. For in all acts of judgment, it + can never be too often recollected, and scarcely too often repeated, that + rules are means to ends, and, consequently, that the end must be + determined and understood before it can be known what the rules are or + ought to be. Now, from a certain species of drama, proposing to itself the + accomplishment of certain ends,—these partly arising from the idea + of the species itself, but in part, likewise, forced upon the dramatist by + accidental circumstances beyond his power to remove or control,—three + rules have been abstracted;—in other words, the means most conducive + to the attainment of the proposed ends have been generalized, and + prescribed under the names of the three unities,—the unity of time, + the unity of place, and the unity of action,—which last would, + perhaps, have been as appropriately, as well as more intelligibly, + entitled the unity of interest. With this last the present question has no + immediate concern: in fact, its conjunction with the former two is a mere + delusion of words. It is not properly a rule, but in itself the great end + not only of the drama, but of the epic poem, the lyric ode, of all poetry, + down to the candle-flame cone of an epigram,—nay of poesy in + general, as the proper generic term inclusive of all the fine arts as its + species. But of the unities of time and place, which alone are entitled to + the name of rules, the history of their origin will be their best + criterion. You might take the Greek chorus to a place, but you could not + bring a place to them without as palpable an equivoque as bringing Birnam + wood to Macbeth at Dunsinane. It was the same, though in a less degree, + with regard to the unity of time:—the positive fact, not for a + moment removed from the senses, the presence, I mean, of the same + identical chorus, was a continued measure of time;—and although the + imagination may supersede perception, yet it must be granted to be an + imperfection—however easily tolerated—to place the two in + broad contradiction to each other. In truth, it is a mere accident of + terms; for the Trilogy of the Greek theatre was a drama in three acts, and + notwithstanding this, what strange contrivances as to place there are in + the Aristophanic Frogs. Besides, if the law of mere actual perception is + once violated—as it repeatedly is even in the Greek tragedies—why + is it more difficult to imagine three hours to be three years than to be a + whole day and night? Observe in how many ways Othello is made, first, our + acquaintance, then our friend, then the object of our anxiety, before the + deeper interest is to be approached! + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Mont'. But, good lieutenant, is your general wiv'd? + + 'Cas'. Most fortunately: he hath achiev'd a maid + That paragons description, and wild fame; + One that excels the quirks of blazoning pens, + And, in the essential vesture of creation, + Does bear all excellency. +</pre> + <p> + Here is Cassio's warm-hearted, yet perfectly disengaged, praise of + Desdemona, and sympathy with the 'most fortunately' wived Othello;—and + yet Cassio is an enthusiastic admirer, almost a worshipper, of Desdemona. + O, that detestable code that excellence cannot be loved in any form that + is female, but it must needs be selfish! Observe Othello's 'honest,' and + Cassio's 'bold' Iago, and Cassio's full guileless-hearted wishes for the + safety and love-raptures of Othello and 'the divine Desdemona.' And also + note the exquisite circumstance of Cassio's kissing Iago's wife, as if it + ought to be impossible that the dullest auditor should not feel Cassio's + religious love of Desdemona's purity. Iago's answers are the sneers which + a proud bad intellect feels towards woman, and expresses to a wife. Surely + it ought to be considered a very exalted compliment to women, that all the + sarcasms on them in Shakspeare are put in the mouths of villains. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Des'. I am not merry; but I do beguile, &c. +</pre> + <p> + The struggle of courtesy in Desdemona to abstract her attention. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + ('Iago aside'). He takes her by the palm: Ay, well said, whisper; with + as little a web as this, will I ensnare as great a fly as Cassio. Ay, + smile upon her, do, &c. +</pre> + <p> + The importance given to trifles, and made fertile by the villainy of the + observer. + </p> + <p> + 'Ib.' Iago's dialogue with Roderigo: + </p> + <p> + This is the rehearsal on the dupe of the traitor's intentions on Othello. + </p> + <p> + 'Ib.' Iago's soliloquy: + </p> +<pre xml:space="preserve"> + But partly led to diet my revenge, + For that I do suspect the lusty Moor + Hath leap'd into my seat. +</pre> + <p> + This thought, originally by Iago's own confession a mere suspicion, is now + ripening, and gnaws his base nature as his own 'poisonous mineral' is + about to gnaw the noble heart of his general. + </p> + <p> + 'Ib.' sc. 3. Othello's speech: + </p> +<pre xml:space="preserve"> + I know, Iago, + Thy honesty and love doth mince this matter, + Making it light to Cassio. +</pre> + <p> + Honesty and love! Ay, and who but the reader of the play could think + otherwise? + </p> + <p> + 'Ib.' Iago's soliloquy: + </p> +<pre xml:space="preserve"> + And what's he then that says—I play the villain? + When this advice is free I give, and honest, + Probable to thinking, and, indeed, the course + To win the Moor again. +</pre> + <p> + He is not, you see, an absolute fiend; or, at least, he wishes to think + himself not so. + </p> + <p> + Act iii. sc. 3. + </p> +<pre xml:space="preserve"> + 'Des.' Before Æmilia here, I give thee warrant of this place. +</pre> + <p> + The over-zeal of innocence in Desdemona. + </p> + <p> + Ib. + </p> + <p> + 'Enter Desdemona and Æmilia.' + </p> +<pre xml:space="preserve"> + 'Oth.' If she be false, O, then, heaven mocks itself! + I'll not believe it. +</pre> + <p> + Divine! The effect of innocence and the better genius! + </p> + <p> + Act iv. sc. 3. + </p> +<pre xml:space="preserve"> + 'Æmil.' Why, the wrong is but a wrong i' the world; and having the + world for your labour,'tis a wrong in your own world, and you might + quickly make it right. +</pre> +<pre xml:space="preserve"> + Warburton's note. +</pre> + <p> + What any other man, who had learning enough, might have quoted as a + playful and witty illustration of his remarks against the Calvinistic + 'thesis', Warburton gravely attributes to Shakspeare as intentional; and + this, too, in the mouth of a lady's woman! + </p> + <p> + Act v. last scene. Othello's speech:— + </p> +<pre xml:space="preserve"> + —Of one, whose hand, + Like the base <i>Indian</i>, threw a pearl away + Richer than all his tribe, &c. +</pre> + <p> + Theobald's note from Warburton. + </p> + <p> + Thus it is for no-poets to comment on the greatest of poets! To make + Othello say that he, who had killed his wife, was like Herod who killed + Mariamne!—O, how many beauties, in this one line, were impenetrable + to the ever thought-swarming, but idealess, Warburton! Othello wishes to + excuse himself on the score of ignorance, and yet not to excuse himself,—to + excuse himself by accusing. This struggle of feeling is finely conveyed in + the word 'base,' which is applied to the rude Indian, not in his own + character, but as the momentary representative of Othello's. 'Indian'—for + I retain the old reading—means American, a savage 'in genere'. + </p> + <p> + Finally, let me repeat that Othello does not kill Desdemona in jealousy, + but in a conviction forced upon him by the almost superhuman art of Iago, + such a conviction as any man would and must have entertained who had + believed Iago's honesty as Othello did. We, the audience, know that Iago + is a villain from the beginning; but in considering the essence of the + Shakspearian Othello, we must perseveringly place ourselves in his + situation, and under his circumstances. Then we shall immediately feel the + fundamental difference between the solemn agony of the noble Moor, and the + wretched fishing jealousies of Leontes, and the morbid suspiciousness of + Leonatus, who is, in other respects, a fine character. + </p> + <p> + Othello had no life but in Desdemona:—the belief that she, his + angel, had fallen from the heaven of her native innocence, wrought a civil + war in his heart. She is his counterpart; and, like him, is almost + sanctified in our eyes by her absolute unsuspiciousness, and holy + entireness of love. As the curtain drops, which do we pity the most? + </p> + <h3> + ... + </h3> + <p> + 'Extremum hunc'—.There are three powers:— + </p> + <p> + Wit, which discovers partial likeness hidden in general diversity; + </p> + <p> + subtlety, which discovers the diversity concealed in general apparent + sameness;— + </p> + <p> + and profundity, which discovers an essential unity under all the + semblances of difference. + </p> + <p> + Give to a subtle man fancy, and he is a wit; to a deep man imagination, + and he is a philosopher. Add, again, pleasurable sensibility in the + threefold form of sympathy with the interesting in morals, the impressive + in form, and the harmonious in sound,—and you have the poet. + </p> + <p> + But combine all,—wit, subtlety, and fancy, with profundity, + imagination, and moral and physical susceptibility of the pleasurable,— + and let the object of action be man universal; and we shall have—O, + rash prophecy! say, rather, we have—a SHAKSPEARE! + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0045" id="link2H_4_0045"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON BEN JONSON. + </h2> + <p> + It would be amusing to collect out of our dramatists from Elizabeth to + Charles I proofs of the manners of the times. One striking symptom of + general coarseness of manners, which may co-exist with great refinement of + morals, as, alas! 'vice versa', is to be seen in the very frequent + allusions to the olfactories with their most disgusting stimulants, and + these, too, in the conversation of virtuous ladies. This would not appear + so strange to one who had been on terms of familiarity with Sicilian and + Italian women of rank; and bad as they may, too many of them, actually be, + yet I doubt not that the extreme grossness of their language has impressed + many an Englishman of the present era with far darker notions than the + same language would have produced in the mind of one of Elizabeth's, or + James's courtiers. Those who have read Shakspeare only, complain of + occasional grossness in his plays; but compare him with his + contemporaries, and the inevitable conviction is, that of the exquisite + purity of his imagination. + </p> + <p> + The observation I have prefixed to the Volpone is the key to the faint + interest which these noble efforts of intellectual power excite, with the + exception of the fragment of the Sad Shepherd; because in that piece only + is there any character with whom you can morally sympathize. On the other + hand, Measure for Measure is the only play of Shakspeare's in which there + are not some one or more characters, generally many, whom you follow with + affectionate feeling. For I confess that Isabella, of all Shakspeare's + female characters, pleases me the least; and Measure for Measure is, + indeed, the only one of his genuine works, which is painful to me. + </p> + <p> + Let me not conclude this remark, however, without a thankful + acknowledgment to the 'manes' of Ben Jonson, that the more I study his + writings, I the more admire them; and the more my study of him resembles + that of an ancient classic, in the 'minutiæ' of his rhythm, metre, choice + of words, forms of connection, and so forth, the more numerous have the + points of my admiration become. I may add, too, that both the study and + the admiration cannot but be disinterested, for to expect therefrom any + advantage to the present drama would be ignorance. The latter is utterly + heterogeneous from the drama of the Shakspearian age, with a diverse + object and contrary principle. The one was to present a model by imitation + of real life, taking from real life all that in it which it ought to be, + and supplying the rest;—the other is to copy what is, and as it is,—at + best a tolerable, but most frequently a blundering, copy. In the former + the difference was an essential element; in the latter an involuntary + defect. We should think it strange, if a tale in dance were announced, and + the actors did not dance at all;—and yet such is modern comedy. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0046" id="link2H_4_0046"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + WHALLEY'S PREFACE. + </h2> + <p> + But Jonson was soon sensible, how inconsistent this medley of names and + manners was in reason and nature; and with how little propriety it could + ever have a place in a legitimate and just picture of real life. + </p> + <p> + But did Jonson reflect that the very essence of a play, the very language + in which it is written, is a fiction to which all the parts must conform? + Surely, Greek manners in English should be a still grosser improbability + than a Greek name transferred to English manners. Ben's 'personæ' are too + often not characters, but derangements;—the hopeless patients of a + mad-doctor rather,—exhibitions of folly betraying itself in spite of + existing reason and prudence. He not poetically, but painfully exaggerates + every trait; that is, not by the drollery of the circumstance, but by the + excess of the originating feeling. + </p> + <p> + But to this we might reply, that far from being thought to build his + characters upon abstract ideas, he was really accused of representing + particular persons then existing; and that even those characters which + appear to be the most exaggerated, are said to have had their respective + archetypes in nature and life. + </p> + <p> + This degrades Jonson into a libeller, instead of justifying him as a + dramatic poet. 'Non quod verum est, sed quod verisimile', is the + dramatist's rule. At all events, the poet who chooses transitory manners, + ought to content himself with transitory praise. If his object be + reputation, he ought not to expect fame. The utmost he can look forwards + to, is to be quoted by, and to enliven the writings of, an antiquarian. + Pistol, Nym and 'id genus omne', do not please us as characters, but are + endured as fantastic creations, foils to the native wit of Falstaff.—I + say wit emphatically; for this character so often extolled as the + masterpiece of humor, neither contains, nor was meant to contain, any + humor at all. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0047" id="link2H_4_0047"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + WHALLEY'S LIFE OF JONSON. + </h2> + <p> + It is to the honor of Jonson's judgment, that 'the greatest poet of our + nation' had the same opinion of Donne's genius and wit; and hath preserved + part of him from perishing, by putting his thoughts and satire into modern + verse. + </p> + <p> + 'Videlicet' Pope! + </p> + <p> + He said further to Drummond, Shakspeare wanted art, and sometimes sense; + for in one of his plays he brought in a number of men, saying they had + suffered shipwreck in Bohemia, where is no sea near by a hundred miles. + </p> + <p> + I have often thought Shakspeare justified in this seeming anachronism. In + Pagan times a single name of a German kingdom might well be supposed to + comprise a hundred miles more than at present. The truth is, these NOTEs + of Drummond's are more disgraceful to himself than to Jonson. It would be + easy to conjecture how grossly Jonson must have been misunderstood, and + what he had said in jest, as of Hippocrates, interpreted in earnest. But + this is characteristic of a Scotchman; he has no notion of a jest, unless + you tell him—'This is a joke!'—and still less of that finer + shade of feeling, the half-and-half, in which Englishmen naturally + delight. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0048" id="link2H_4_0048"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + EVERY MAN OUT OF HIS HUMOUR. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_EPIL" id="link2H_EPIL"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + Epilogue. + </h2> +<pre xml:space="preserve"> + The throat of war be stopt within her land, + And <i>turtle-footed</i> peace dance fairie rings + About her court. +</pre> + <p> + 'Turtle-footed' is a pretty word, a very pretty word: pray, what does it + mean? Doves, I presume, are not dancers; and the other sort of turtle, + land or sea, green-fat or hawksbill, would, I should suppose, succeed + better in slow minuets than in the brisk rondillo. In one sense, to be + sure, pigeons and ring-doves could not dance but with 'eclat'—'a + claw?' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0050" id="link2H_4_0050"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + POETASTER. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_INTR" id="link2H_INTR"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + Introduction. + </h2> +<pre xml:space="preserve"> + Light! I salute thee, but with wounded nerves, + Wishing thy golden splendor pitchy darkness. +</pre> + <p> + There is no reason to suppose Satan's address to the sun in the Paradise + Lost, more than a mere coincidence with these lines; but were it + otherwise, it would be a fine instance, what usurious interest a great + genius pays in borrowing. It would not be difficult to give a detailed + psychological proof from these constant outbursts of anxious + self-assertion, that Jonson was not a genius, a creative power. Subtract + that one thing, and you may safely accumulate on his name all other + excellencies of a capacious, vigorous, agile, and richly-stored intellect. + </p> + <p> + Act i. sc. 1. + </p> +<pre xml:space="preserve"> + 'Ovid'. While slaves be false, fathers hard, and bawds be whorish— +</pre> + <p> + The roughness noticed by Theobald and Whalley, may be cured by a simple + transposition:— + </p> +<pre xml:space="preserve"> + While fathers hard, slaves false, and bawds be whorish. +</pre> + <p> + Act iv. sc. 3. + </p> +<pre xml:space="preserve"> + 'Crisp'. O—oblatrant—furibund—fatuate—strenuous. O—conscious. +</pre> + <p> + It would form an interesting essay, or rather series of essays, in a + periodical work, were all the attempts to ridicule new phrases brought + together, the proportion observed of words ridiculed which have been + adopted, and are now common, such as 'strenuous', 'conscious', &c., + and a trial made how far any grounds can be detected, so that one might + determine beforehand whether a word was invented under the conditions of + assimilability to our language or not. Thus much is certain, that the + ridiculers were as often wrong as right; and Shakspeare himself could not + prevent the naturalization of 'accommodation', 'remuneration', &c.; or + Swift the gross abuse even of the word 'idea'. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0052" id="link2H_4_0052"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FALL OF SEJANUS. + </h2> + <p> + Act I. + </p> +<pre xml:space="preserve"> + 'Arruntius'. The name Tiberius, I hope, will keep, howe'er he hath + foregone The dignity and power. + + 'Silius'. Sure, while he lives. + + 'Arr'. And dead, it comes to Drusus. Should he fail, + To the brave issue of Germanicus; + And they are three: too many (ha?) for him + To have a plot upon? + + 'Sil'. I do not know + The heart of his designs; but, sure, their face + Looks farther than the present. + + 'Arr'. By the gods, + If I could guess he had but such a thought, + My sword should cleave him down, &c. +</pre> + <p> + The anachronic mixture in this Arruntius of the Roman republican, to whom + Tiberius must have appeared as much a tyrant as Sejanus, with his + James-and-Charles-the-First zeal for legitimacy of descent in this + passage, is amusing. Of our great names Milton was, I think, the first who + could properly be called a republican. My recollections of Buchanan's + works are too faint to enable me to judge whether the historian is not a + fair exception. + </p> + <p> + Act ii. Speech of Sejanus:— + </p> +<pre xml:space="preserve"> + Adultery! it is the lightest ill + I will commit. A race of wicked acts + Shall flow out of my anger, and o'erspread + The world's wide face, which no posterity + Shall e'er approve, nor yet keep silent, &c. +</pre> + <p> + The more we reflect and examine, examine and reflect, the more astonished + shall we be at the immense superiority of Shakspeare over his + contemporaries:—and yet what contemporaries!—giant minds + indeed! Think of Jonson's erudition, and the force of learned authority in + that age; and yet in no genuine part of Shakspeare's works is there to be + found such an absurd rant and ventriloquism as this, and too, too many + other passages ferruminated by Jonson from Seneca's tragedies and the + writings of the later Romans. I call it ventriloquism, because Sejanus is + a puppet, out of which the poet makes his own voice appear to come. + </p> + <p> + Act v. Scene of the sacrifice to Fortune. This scene is unspeakably + irrational. To believe, and yet to scoff at, a present miracle is little + less than impossible. Sejanus should have been made to suspect priestcraft + and a secret conspiracy against him. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0053" id="link2H_4_0053"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + VOLPONE. + </h2> + <p> + This admirable, indeed, but yet more wonderful than admirable, play is + from the fertility and vigour of invention, character, language, and + sentiment the strongest proof, how impossible it is to keep up any + pleasurable interest in a tale, in which there is no goodness of heart in + any of the prominent characters. After the third act, this play becomes + not a dead, but a painful, weight on the feelings. Zeluco is an instance + of the same truth. Bonario and Celia should have been made in some way or + other principals in the plot; which they might have been, and the objects + of interest, without having been made characters. In novels, the person, + in whose fate you are most interested, is often the least marked character + of the whole. If it were possible to lessen the paramountcy of Volpone + himself, a most delightful comedy might be produced, by making Celia the + ward or niece of Corvino, instead of his wife, and Bonario her lover. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0054" id="link2H_4_0054"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + EPICÆNE. + </h2> + <p> + This is to my feelings the most entertaining of old Ben's comedies, and, + more than any other, would admit of being brought out anew, if under the + management of a judicious and stage-understanding playwright; and an + actor, who had studied Morose, might make his fortune. + </p> + <p> + Act i. sc. 1. Clerimont's speech:— + </p> +<pre xml:space="preserve"> + He would have hanged a pewterer's 'prentice once on a Shrove Tuesday's + riot, for being 'o that trade, when the rest were <i>quiet</i>. + + The old copies read 'quit', i. e. discharged from working, and gone to + divert themselves. (Whalley's note.) +</pre> + <p> + It should be 'quit', no doubt; but not meaning 'discharged from working,' + &c.—but quit, that is, acquitted. The pewterer was at his + holiday diversion as well as the other apprentices, and they as forward in + the riot as he. But he alone was punished under pretext of the riot, but + in fact for his trade. + </p> + <p> + Act ii. sc. 1. + </p> +<pre xml:space="preserve"> + 'Morose'. Cannot I, yet, find out a more compendious method, than by + this <i>trunk</i>, to save my servants the labour of speech, and mine ears + the discord of sounds? +</pre> + <p> + What does 'trunk' mean here and in the 1st scene of the 1st act? Is it a + large ear-trumpet?—or rather a tube, such as passes from parlour to + kitchen, instead of a bell? + </p> + <p> + Whalley's note at the end. + </p> + <p> + Some critics of the last age imagined the character of Morose to be wholly + out of nature. But to vindicate our poet, Mr. Dryden tells us from + tradition, and we may venture to take his word, that Jonson was really + acquainted with a person of this whimsical turn of mind: and as humor is a + personal quality, the poet is acquitted from the charge of exhibiting a + monster, or an extravagant unnatural caricatura. + </p> + <p> + If Dryden had not made all additional proof superfluous by his own plays, + this very vindication would evince that he had formed a false and vulgar + conception of the nature and conditions of the drama and dramatic + personation. Ben Jonson would himself have rejected such a plea:— + </p> +<pre xml:space="preserve"> + For he knew, poet never credit gain'd + By writing <i>truths</i>, but things, like truths, well feign'd. +</pre> + <p> + By 'truths' he means 'facts.' Caricatures are not less so, because they + are found existing in real life. Comedy demands characters, and leaves + caricatures to farce. The safest and truest defence of old Ben would be to + call the Epicæne the best of farces. The defect in Morose, as in other of + Jonson's 'dramatis personæ', lies in this;—that the accident is not + a prominence growing out of, and nourished by, the character which still + circulates in it, but that the character, such as it is, rises out of, or, + rather, consists in, the accident. Shakspeare's comic personages have + exquisitely characteristic features; however awry, disproportionate, and + laughable they may be, still, like Bardolph's nose, they are features. But + Jonson's are either a man with a huge wen, having a circulation of its + own, and which we might conceive amputated, and the patient thereby losing + all his character; or they are mere wens themselves instead of men,—wens + personified, or with eyes, nose, and mouth cut out, mandrake-fashion. + </p> + <p> + 'Nota bene'. All the above, and much more, will have been justly said, if, + and whenever, the drama of Jonson is brought into comparisons of rivalry + with the Shakspearian. But this should not be. Let its inferiority to the + Shakspearian be at once fairly owned,—but at the same time as the + inferiority of an altogether different 'genus' of the drama. On this + ground, old Ben would still maintain his proud height. He, no less than + Shakspeare, stands on the summit of his hill, and looks round him like a + master,—though his be Lattrig and Shakspeare's Skiddaw. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0055" id="link2H_4_0055"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ALCHEMIST. + </h2> + <p> + Act I. sc. 2. Face's speech:— + </p> +<pre xml:space="preserve"> + Will take his oath o' the Greek <i>Xenophon</i>, + If need be, in his pocket. +</pre> + <p> + Another reading is 'Testament.' Probably, the meaning is,—that + intending to give false evidence, he carried a Greek Xenophon to pass it + off for a Greek Testament, and so avoid perjury—as the Irish do, by + contriving to kiss their thumb-nails instead of the book. + </p> + <p> + Act ii. sc. 2. Mammon's speech:— + </p> +<pre xml:space="preserve"> + I will have all my beds blown up; not stuft: + Down is too hard. +</pre> + <p> + Thus the air-cushions, though perhaps only lately brought into use, were + invented in idea in the seventeenth century! + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0056" id="link2H_4_0056"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CATILINE'S CONSPIRACY. + </h2> + <p> + A fondness for judging one work by comparison with others, perhaps + altogether of a different class, argues a vulgar taste. Yet it is chiefly + on this principle that the Catiline has been rated so low. Take it and + Sejanus, as compositions of a particular kind, namely, as a mode of + relating great historical events in the liveliest and most interesting + manner, and I cannot help wishing that we had whole volumes of such plays. + We might as rationally expect the excitement of the Vicar of Wakefield + from Goldsmith's History of England, as that of Lear, Othello, &c. + from the Sejanus or Catiline. + </p> + <p> + Act i. sc. 4. + </p> +<pre xml:space="preserve"> + 'Cat'. Sirrah, what ail you? + + ('He spies one of his boys not answer'.) + + 'Pag'. Nothing. + + 'Best'. Somewhat modest. + + 'Cat'. Slave, I will strike your soul out with my foot, &c. +</pre> + <p> + This is either an unintelligible, or, in every sense, a most unnatural, + passage,—improbable, if not impossible, at the moment of signing and + swearing such a conspiracy, to the most libidinous satyr. The very + presence of the boys is an outrage to probability. I suspect that these + lines down to the words 'throat opens,' should be removed back so as to + follow the words 'on this part of the house,' in the speech of Catiline + soon after the entry of the conspirators. A total erasure, however, would + be the best, or, rather, the only possible, amendment. + </p> + <p> + Act ii. sc. 2. Sempronia's speech:— + </p> +<pre xml:space="preserve"> + —He is but a new fellow, + An <i>inmate</i> here in Rome, as Catiline calls him— +</pre> + <p> + A 'lodger' would have been a happier imitation of the 'inquilinus' of + Sallust. + </p> + <p> + Act iv. sc. 6. Speech of Cethegus:— + </p> +<pre xml:space="preserve"> + Can these or such be any aids to us, &c. +</pre> + <p> + What a strange notion Ben must have formed of a determined, remorseless, + all-daring, fool-hardiness, to have represented it in such a mouthing + Tamburlane, and bombastic tongue-bully as this Cethegus of his! + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0057" id="link2H_4_0057"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + BARTHOLOMEW FAIR. + </h2> + <p> + Induction. Scrivener's speech:— + </p> +<pre xml:space="preserve"> + If there be never a <i>servant-monster</i> i' the Fair, who can help it, he + says, nor a nest of antiques? +</pre> + <p> + The best excuse that can be made for Jonson, and in a somewhat less degree + for Beaumont and Fletcher, in respect of these base and silly sneers at + Shakspeare, is, that his plays were present to men's minds chiefly as + acted. They had not a neat edition of them, as we have, so as, by + comparing the one with the other, to form a just notion of the mighty mind + that produced the whole. At all events, and in every point of view, Jonson + stands far higher in a moral light than Beaumont and Fletcher. He was a + fair contemporary, and in his way, and as far as Shakspeare is concerned, + an original. But Beaumont and Fletcher were always imitators of, and often + borrowers from, him, and yet sneer at him with a spite far more malignant + than Jonson, who, besides, has made noble compensation by his praises. + </p> + <p> + Act ii. sc. 3. + </p> +<pre xml:space="preserve"> + 'Just'. I mean a child of the horn-thumb, a babe <i>of booty</i>, boy, a + cutpurse. +</pre> + <p> + Does not this confirm, what the passage itself cannot but suggest, the + propriety of substituting 'booty' for 'beauty' in Falstaff's speech, Henry + IV. Pt. I. act i. sc. 2. 'Let not us, &c.?' + </p> + <p> + It is not often that old Ben condescends to imitate a modern author; but + master Dan. Knockhum Jordan and his vapours are manifest reflexes of Nym + and Pistol. + </p> + <p> + Ib. sc. 5. + </p> +<pre xml:space="preserve"> + 'Quarl'. She'll make excellent geer for the coachmakers here in + Smithfield, to anoint wheels and axletrees with. +</pre> + <p> + Good! but yet it falls short of the speech of a Mr. Johnes, M. P., in the + Common Council, on the invasion intended by Buonaparte: 'Houses plundered—then + burnt;—sons conscribed—wives and daughters ravished, &c. + &c.—"But as for you, you luxurious Aldermen! with your fat will + he grease the wheels of his triumphal chariot!" + </p> + <p> + Ib. sc. 6. + </p> +<pre xml:space="preserve"> + 'Cok'. Avoid i' your satin doublet, Numps. +</pre> + <p> + This reminds me of Shakspeare's 'Aroint thee, witch!' I find in several + books of that age the words <i>aloigne</i> and <i>eloigne</i>—that + is,—'keep your distance!' or 'off with you!' Perhaps 'aroint' was a + corruption of 'aloigne' by the vulgar. The common etymology from <i>ronger</i> + to gnaw seems unsatisfactory. + </p> + <p> + Act iii. sc. 4. + </p> +<pre xml:space="preserve"> + 'Quarl', How now, Numps! almost tired i' your protectorship? + overparted, overparted? +</pre> + <p> + An odd sort of prophetic ality in this Numps and old Noll! + </p> + <p> + Ib. sc. 6. Knockhum's speech:— + </p> +<pre xml:space="preserve"> + He eats with his eyes, as well as his teeth. +</pre> + <p> + A good motto for the Parson in Hogarth's Election Dinner,—who shows + how easily he might be reconciled to the Church of Rome, for he worships + what he eats. + </p> + <p> + Act v. sc. 5. + </p> +<pre xml:space="preserve"> + 'Pup. Di'. It is not prophane. + + 'Lan'. It is not prophane, he says. + + 'Boy'. It is prophane. + + 'Pup'. It is not prophane. + + 'Boy'. It is prophane. + + 'Pup'. It is not prophane. + + 'Lan'. Well said, confute him with Not, still. +</pre> + <p> + An imitation of the quarrel between Bacchus and the Frogs in Aristophanes:— + </p> + <p> + {Greek (transliterated): + </p> +<pre xml:space="preserve"> + Choros. alla maen kekraxomestha g', hoposon hae pharugx an aem<i>on + chandanae, di' aemeras, brekekekex, koax, koax. + + Dionusos. touto gar ou nikaesete. + + Choros. oude maen haemas su pant</i>os. + + Dionusos. oude maen humeis ge dae m' oudepote.} +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0058" id="link2H_4_0058"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE DEVIL IS AN ASS. + </h2> + <p> + Act I. sc. 1. + </p> +<pre xml:space="preserve"> + 'Pug'. Why any: Fraud, Or Covetousness, or lady Vanity, + Or old Iniquity, <i>I'll call him hither</i>. + + The words in italics {between undescores} should probably be given to + the master-devil, Satan. (Whalley's note.) +</pre> + <p> + That is, against all probability, and with a (for Jonson) impossible + violation of character. The words plainly belong to Pug, and mark at once + his simpleness and his impatience. + </p> + <p> + Ib. sc. 4. Fitz-dottrel's soliloquy:- + </p> + <p> + Compare this exquisite piece of sense, satire, and sound philosophy in + 1616 with Sir M. Hale's speech from the bench in a trial of a witch many + years afterwards. {1} + </p> + <p> + Act ii. sc. 1. Meercraft's speech:— + </p> +<pre xml:space="preserve"> + Sir, money's a whore, a bawd, a drudge.— +</pre> + <p> + I doubt not that 'money' was the first word of the line, and has dropped + out:— + </p> +<pre xml:space="preserve"> + Money! Sir, money's a, &c. +</pre> + <p> + {Footnote 1: In 1664, at Bury St. Edmonds on the trial of Rose Cullender + and Amy Duny. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0059" id="link2H_4_0059"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE STAPLE OF NEWS. + </h2> + <p> + Act IV. sc. 3. Pecunia's speech:— + </p> +<pre xml:space="preserve"> + No, he would ha' done, + That lay not in his power: he had the use + Of your bodies, Band and Wax, and sometimes Statute's. +</pre> + <p> + Read (1815), + </p> +<pre xml:space="preserve"> + —he had the use of + Your bodies, &c. +</pre> + <p> + Now, however, I doubt the legitimacy of my transposition of the 'of' from + the beginning of this latter line to the end of the one preceding;—for + though it facilitates the metre and reading of the latter line, and is + frequent in Massinger, this disjunction of the preposition from its case + seems to have been disallowed by Jonson. Perhaps the better reading is— + </p> +<pre xml:space="preserve"> + O' your bodies, &c.— +</pre> + <p> + the two syllables being slurred into one, or rather snatched, or sucked, + up into the emphasized 'your.' In all points of view, therefore, Ben's + judgment is just; for in this way, the line cannot be read, as metre, + without that strong and quick emphasis on 'your' which the sense requires;—and + had not the sense required an emphasis on 'your,' the <i>tmesis</i> of the + sign of its cases 'of,' 'to,' &c. would destroy almost all boundary + between the dramatic verse and prose in comedy:—a lesson not to be + rash in conjectural amendments. 1818. + </p> + <p> + Ib. sc. 4. + </p> +<pre xml:space="preserve"> + 'P. jun.' I love all men of virtue, <i>frommy</i> Princess.— +</pre> + <p> + 'Frommy,' 'fromme', pious, dutiful, &c. + </p> + <p> + Act v. sc. 4. Penny-boy sen. and Porter:— + </p> + <p> + I dare not, will not, think that honest Ben had Lear in his mind in this + mock mad scene. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0060" id="link2H_4_0060"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE NEW INN. + </h2> + <p> + Act I. sc. 1. Host's speech:— + </p> +<pre xml:space="preserve"> + A heavy purse, and then two turtles, <i>makes</i>.— +</pre> + <p> + 'Makes', frequent in old books, and even now used in some counties for + mates, or pairs. + </p> + <p> + Ib. sc. 3. Host's speech:— + </p> +<pre xml:space="preserve"> + —And for a leap + O' the vaulting horse, to <i>play</i> the vaulting <i>house</i>.— +</pre> + <p> + Instead of reading with Whalley 'ply' for 'play,' I would suggest 'horse' + for 'house.' The meaning would then be obvious and pertinent. The punlet, + or pun-maggot, or pun intentional, 'horse and house,' is below Jonson. The + 'jeu-de-mots' just below— + </p> +<pre xml:space="preserve"> + Read a lecture + Upon <i>Aquinas</i> at St. Thomas à <i>Water</i>ings— +</pre> + <p> + had a learned smack in it to season its insipidity. + </p> + <p> + Ib. sc. 6. Lovel's speech:— + </p> +<pre xml:space="preserve"> + Then shower'd his bounties on me, like the Hours, + That open-handed sit upon the clouds, + And press the liberality of heaven + Down to the laps of thankful men! +</pre> + <p> + Like many other similar passages in Jonson, this is {Greek + (transliterated): eidos chalepon idein}—a sight which it is + difficult to make one's self see,—a picture my fancy cannot copy + detached from the words. + </p> + <p> + Act ii. sc. 5. Though it was hard upon old Ben, yet Felton, it must be + confessed, was in the right in considering the Fly, Tipto, Bat Burst, + &c. of this play mere dotages. Such a scene as this was enough to damn + a new play; and Nick Stuff is worse still,—most abominable stuff + indeed! + </p> + <p> + Act in. sc. 2. Lovel's speech:— + </p> +<pre xml:space="preserve"> + So knowledge first begets benevolence, + Benevolence breeds friendship, friendship love.— +</pre> + <p> + Jonson has elsewhere proceeded thus far; but the part most difficult and + delicate, yet, perhaps, not the least capable of being both morally and + poetically treated, is the union itself, and what, even in this life, it + can be. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0061" id="link2H_4_0061"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON BEAUMONT AND FLETCHER. + </h2> + <p> + Seward's Preface. 1750. + </p> + <p> + The King And No King, too, is extremely spirited in all its characters; + Arbaces holds up a mirror to all men of virtuous principles but violent + passions. Hence he is, as it were, at once magnanimity and pride, patience + and fury, gentleness and rigor, chastity and incest, and is one of the + finest mixtures of virtues and vices that any poet has drawn, &c. + </p> + <p> + These are among the endless instances of the abject state to which + psychology had sunk from the reign of Charles I. to the middle of the + present reign of George III.; and even now it is but just awaking. + </p> + <p> + Ib. Seward's comparison of Julia's speech in the Two Gentlemen of Verona, + act iv. last scene— + </p> +<pre xml:space="preserve"> + Madam, 'twas Ariadne passioning, &c.— +</pre> + <p> + with Aspatia's speech in the Maid's Tragedy— + </p> +<pre xml:space="preserve"> + I stand upon the sea-beach now, &c. (Act ii.) +</pre> + <p> + and preference of the latter. + </p> + <p> + It is strange to take an incidental passage of one writer, intended only + for a subordinate part, and compare it with the same thought in another + writer, who had chosen it for a prominent and principal figure. + </p> + <p> + Ib. Seward's preference of Alphonso's poisoning in A Wife for a Month, act + i. sc. 1, to the passage in King John, act v. sc. 7,— + </p> +<pre xml:space="preserve"> + Poison'd, ill fare! dead, forsook, cast off! +</pre> + <p> + Mr. Seward! Mr. Seward! you may be, and I trust you are, an angel; but you + were an ass. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Every reader of <i>taste</i> will see how superior this is to the quotation + from Shakspeare. +</pre> + <p> + Of what taste? + </p> + <p> + Ib. Seward's classification of the Plays:— + </p> + <p> + Surely Monsieur Thomas, The Chances, Beggar's Bush, and the Pilgrim, + should have been placed in the very first class! But the whole attempt + ends in a woeful failure. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0062" id="link2H_4_0062"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + HARRIS'S COMMENDATORY POEM ON FLETCHER. + </h2> +<pre xml:space="preserve"> + I'd have a state of wit convok'd, which hath + A <i>power</i> to take up on common faith:— +</pre> + <p> + This is an instance of that modifying of quantity by emphasis, without + which our elder poets cannot be scanned. 'Power,' here, instead of being + one long syllable—pow'r—must be sounded, not indeed as a + spondee, nor yet as a trochee; but as—{Symbol: u-shape beneath + line};—the first syllable is 1 1/4. + </p> +<pre xml:space="preserve"> +We can, indeed, never expect an authentic edition of our elder dramatic +poets (for in those times a drama was a poem), until some man undertakes +the work, who has studied the philosophy of metre. This has been found +the main torch of sound restoration in the Greek dramatists by Bentley, +Porson, and their followers;—how much more, then, in writers in our own +language! It is true that quantity, an almost iron law with the Greek, +is in English rather a subject for a peculiarly fine ear, than any law +or even rule; but, then, instead of it, we have, first, accent; +secondly, emphasis; and lastly, retardation, and acceleration of the +times of syllables according to the meaning of the words, the passion +that accompanies them, and even the character of the person that uses +them. With due attention to these,—above all, to that, which requires +the most attention and the finest taste, the character, Massinger, for +example, might be reduced to a rich and yet regular metre. But then the +'regulæ' must be first known;—though I will venture to say, that he who +does not find a line (not corrupted) of Massinger's flow to the time +total of a trimeter catalectic iambic verse, has not read it aright. But +by virtue of the last principle—the retardation or acceleration of +time—we have the proceleusmatic foot * * * *, and the 'dispondaeus' — + — — —, not to mention the 'choriambus', the ionics, paeons, and +epitrites. Since Dryden, the metre of our poets leads to the sense: in +our elder and more genuine bards, the sense, including the passion, +leads to the metre. Read even Donne's satires as he meant them to be +read, and as the sense and passion demand, and you will find in the +lines a manly harmony. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0063" id="link2H_4_0063"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LIFE OF FLETCHER IN STOCKDALE'S EDITION. 1811. + </h2> + <p> + In general their plots are more regular than Shakspeare's.— + </p> + <p> + This is true, if true at all, only before a court of criticism, which + judges one scheme by the laws of another and a diverse one. Shakspeare's + plots have their own laws or regulæ, and according to these they are + regular. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0064" id="link2H_4_0064"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + MAID'S TRAGEDY. + </h2> + <p> + Act I. The metrical arrangement is most slovenly throughout. + </p> +<pre xml:space="preserve"> + 'Strat'. As well as masque can be, &c. +</pre> + <p> + and all that follows to 'who is return'd'—is plainly blank verse, + and falls easily into it. + </p> + <p> + Ib. Speech of Melantius:— + </p> +<pre xml:space="preserve"> + These soft and silken wars are not for me: + The music must be shrill, and all confus'd, + That stirs my blood; and then I dance with arms. +</pre> + <p> + What strange self-trumpeters and tongue-bullies all the brave soldiers of + Beaumont and Fletcher are! Yet I am inclined to think it was the fashion + of the age from the Soldier's speech in the Counter Scuffle; and deeper + than the fashion B. and F. did not fathom. + </p> + <p> + Ib. Speech of Lysippus:— + </p> +<pre xml:space="preserve"> + Yes, but this lady + Walks discontented, with her wat'ry eyes + Bent on the earth, &c. +</pre> + <p> + Opulent as Shakspeare was, and of his opulence prodigal, he yet would not + have put this exquisite piece of poetry in the mouth of a no-character, or + as addressed to a Melantius. I wish that B. and F. had written poems + instead of tragedies. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Mel'. I might run fiercely, not more hastily, Upon my foe. +</pre> + <p> + Read + </p> +<pre xml:space="preserve"> + I might run more fiercely, not more hastily.— +</pre> + <p> + Ib. Speech of Calianax:— + </p> +<pre xml:space="preserve"> + Office! I would I could put it off! I am sure I sweat quite through my + office! +</pre> + <p> + The syllable <i>off</i> reminds the testy statesman of his robe, and he + carries on the image. + </p> + <p> + Ib. Speech of Melantius:— + </p> +<pre xml:space="preserve"> + —Would that blood, + That sea of blood, that I have lost in fight, &c. +</pre> + <p> + All B. and F.'s generals are pugilists, or cudgel-fighters, that boast of + their bottom and of the <i>claret</i> they have shed. + </p> + <p> + Ib. The Masque;—Cinthia's speech:— + </p> +<pre xml:space="preserve"> + But I will give a greater state and glory, + And raise to time a <i>noble</i> memory + Of what these lovers are. +</pre> + <p> + I suspect that 'nobler,' pronounced as 'nobiler'—{Symbol (metrical): + U-=shape below the line}—, was the poet's word, and that the accent + is to be placed on the penultimate of 'memory.' As to the passage— + </p> +<pre xml:space="preserve"> + Yet, while our reign lasts, let us stretch our power, &c. +</pre> + <p> + removed from the text of Cinthia's speech by these foolish editors as + unworthy of B. and F.—the first eight lines are not worse, and the + last couplet incomparably better, than the stanza retained. + </p> + <p> + Act ii. Amintor's speech:— + </p> +<pre xml:space="preserve"> + Oh, thou hast nam'd a word, that wipes away + All thoughts revengeful! In that sacred name, + 'The king,' there lies a terror. +</pre> + <p> + It is worth noticing that of the three greatest tragedians, Massinger was + a democrat, Beaumont and Fletcher the most servile <i>jure divino</i> + royalist, and Shakspeare a philosopher;—if aught personal, an + aristocrat. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0065" id="link2H_4_0065"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + A KING AND NO KING. + </h2> + <p> + Act IV. Speech of Tigranes:— + </p> +<pre xml:space="preserve"> + She, that forgat the greatness of her grief + And miseries, that must follow such mad passions, + Endless and wild <i>as</i> women! &c. +</pre> + <p> + Seward's note and suggestion of 'in.' + </p> + <p> + It would be amusing to learn from some existing friend of Mr. Seward what + he meant, or rather dreamed, in this note. It is certainly a difficult + passage, of which there are two solutions;—one, that the writer was + somewhat more injudicious than usual;—the other, that he was very, + very much more profound and Shakspearian than usual. Seward's emendation, + at all events, is right and obvious. Were it a passage of Shakspeare, I + should not hesitate to interpret it as characteristic of Tigranes' state + of mind,—disliking the very virtues, and therefore half-consciously + representing them as mere products of the violence, of the sex in general + in all their whims, and yet forced to admire, and to feel and to express + gratitude for, the exertion in his own instance. The inconsistency of the + passage would be the consistency of the author. But this is above Beaumont + and Fletcher. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0066" id="link2H_4_0066"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE SCORNFUL LADY. + </h2> + <p> + Act II. Sir Roger's speech:— + </p> +<pre xml:space="preserve"> + Did I for this consume my <i>quarters</i> in meditations, vows, and woo'd + her in heroical epistles? Did I expound the Owl, and undertake, with + labor and expense, the recollection of those thousand pieces, consum'd + in cellars and tobacco-shops, of that our honor'd Englishman, Nic. + Broughton? &c. +</pre> + <p> + Strange, that neither Mr. Theobald, nor Mr. Seward, should have seen that + this mock heroic speech is in full-mouthed blank verse! Had they seen + this, they would have seen that 'quarters' is a substitution of the + players for 'quires' or 'squares,' (that is) of paper:— + </p> +<pre xml:space="preserve"> + Consume my quires in meditations, vows, + And woo'd her in heroical epistles. +</pre> + <p> + They ought, likewise, to have seen that the abbreviated 'Ni. Br.' of the + text was properly 'Mi. Dr.'—and that Michael Drayton, not Nicholas + Broughton, is here ridiculed for his poem The Owl and his Heroical + Epistles. + </p> + <p> + Ib. Speech of Younger Loveless:— + </p> +<pre xml:space="preserve"> + Fill him some wine. Thou dost not see me mov'd, &c. +</pre> + <p> + These Editors ought to have learnt, that scarce an instance occurs in B. + and F. of a long speech not in metre. This is plain staring blank verse. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0067" id="link2H_4_0067"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE CUSTOM OF THE COUNTRY. + </h2> + <p> + I cannot but think that in a country conquered by a nobler race than the + natives, and in which the latter became villeins and bondsmen, this + custom, 'lex merchetae', may have been introduced for wise purposes,—as + of improving the breed, lessening the antipathy of different races, and + producing a new bond of relationship between the lord and the tenant, who, + as the eldest born, would, at least, have a chance of being, and a + probability of being thought, the lord's child. In the West Indies it + cannot have these effects, because the mulatto is marked by nature + different from the father, and because there is no bond, no law, no + custom, but of mere debauchery. 1815. + </p> + <p> + Act i. sc. 1. Rutilio's speech:— + </p> +<pre xml:space="preserve"> + Yet if you play not fair play, &c. +</pre> + <p> + Evidently to be transposed and read thus:— + </p> +<pre xml:space="preserve"> + Yet if you play not fair, above-board too, I'll tell you what—I've a + foolish engine here:—I say no more—But if your Honor's guts are not + enchanted— +</pre> + <p> + Licentious as the comic metre of B. and F. is,—a far more lawless, + and yet far less happy, imitation of the rhythm of animated talk in real + life than Massinger's—still it is made worse than it really is by + ignorance of the halves, thirds, and two-thirds of a line which B. and F. + adopted from the Italian and Spanish dramatists. Thus in Rutilio's speech:— + </p> +<pre xml:space="preserve"> + Though I confess + Any man would desire to have her, and by any means, &c. +</pre> + <p> + Correct the whole passage— + </p> +<pre xml:space="preserve"> + Though I confess + Any man would Desire to have her, and by any means, + At any rate too, yet this common hangman + That hath whipt off a /THOUsand maids' HEADS/ already— + That he should glean the harvest, sticks in my stomach! +</pre> + <p> + {Between the two /, upper-case syllables have the stress, written as a + horizontal line above them in the original text, and lower-case syllables + are unstressed, written as a u-shape (the u-symbol previously described) + above them. text Ed.} + </p> + <p> + In all comic metres the gulping of short syllables, and the abbreviation + of syllables ordinarily long by the rapid pronunciation of eagerness and + vehemence, are not so much a license, as a law,—a faithful copy of + nature, and let them be read characteristically, the times will be found + nearly equal. Thus the three words marked above make a 'choriambus'—u + u —, or perhaps a 'paeon primus'—u u u; a dactyl, by virtue of + comic rapidity, being only equal to an iambus when distinctly pronounced. + I have no doubt that all B. and F.'s works might be safely corrected by + attention to this rule, and that the editor is entitled to transpositions + of all kinds, and to not a few omissions. For the rule of the metre once + lost—what was to restrain the actors from interpolation? + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0068" id="link2H_4_0068"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ELDER BROTHER + </h2> + <p> + Act I. sc. 2. Charles's speech:— + </p> +<pre xml:space="preserve"> + —For what concerns tillage, + Who better can deliver it than Virgil + In his Georgicks? and to cure your herds, + His Bucolicks is a master-piece. +</pre> + <p> + Fletcher was too good a scholar to fall into so gross a blunder, as + Messrs. Sympson and Colman suppose. I read the passage thus:— + </p> +<pre xml:space="preserve"> + —For what concerns tillage, + Who better can deliver it than Virgil, + In his /GeORGicks/, <i>or</i> to cure your herds; + (His Bucolicks are a master-piece.) + But when, &c. +</pre> + <p> + Jealous of Virgil's honor, he is afraid lest, by referring to the Georgics + alone, he might be understood as undervaluing the preceding work. 'Not + that I do not admire the Bucolics, too, in their way:—But when, + &c.' + </p> + <p> + Act iii. sc. 3. Charles's speech:— + </p> +<pre xml:space="preserve"> + —She has a face looks like a <i>story</i>; + The <i>story</i> of the heavens looks very like her. +</pre> + <p> + Seward reads 'glory;' and Theobald quotes from Philaster— + </p> +<pre xml:space="preserve"> + That reads the story of a woman's face.— +</pre> + <p> + I can make sense of this passage as little as Mr. Seward;—the + passage from Philaster is nothing to the purpose. Instead of 'a story,' I + have sometimes thought of proposing 'Astræa.' + </p> + <p> + Ib. Angellina's speech:— + </p> +<pre xml:space="preserve"> + —You're old and dim, Sir, + And the shadow of the earth eclips'd your judgment. +</pre> + <p> + Inappropriate to Angellina, but one of the finest lines in our language. + </p> + <p> + Act iv. sc. 3. Charles's speech:— + </p> +<pre xml:space="preserve"> + And lets the serious part of life run by + As thin neglected sand, whiteness of name. + You must be mine, &c. +</pre> + <p> + Seward's note, and reading— + </p> +<pre xml:space="preserve"> + —Whiteness of name, + You must be mine! +</pre> + <p> + Nonsense! 'Whiteness of name,' is in apposition to 'the serious part of + life,' and means a deservedly pure reputation. The following line—'You + <i>must</i> be mine!' means—'Though I do not enjoy you to-day, I + shall hereafter, and without reproach.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0069" id="link2H_4_0069"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE SPANISH CURATE. + </h2> + <p> + Act IV. sc. 7. Amaranta's speech:— + </p> +<pre xml:space="preserve"> + And still I push'd him on, as he had been <i>coming</i>. +</pre> + <p> + Perhaps the true word is 'conning,' that is, learning, or reading, and + therefore inattentive. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0070" id="link2H_4_0070"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + WIT WITHOUT MONEY. + </h2> + <p> + Act I. Valentine's speech:— + </p> +<pre xml:space="preserve"> + One without substance, &c. +</pre> + <p> + The present text, and that proposed by Seward, are equally vile. I have + endeavoured to make the lines sense, though the whole is, I suspect, + incurable except by bold conjectural reformation. I would read thus:— + </p> +<pre xml:space="preserve"> + One without substance of herself, that's woman; + Without the pleasure of her life, that's wanton; + Tho' she be young, forgetting it; tho' fair, + Making her glass the eyes of honest men, + Not her own admiration. +</pre> + <p> + 'That's wanton,' or, 'that is to say, wantonness.' + </p> + <p> + Act ii. Valentine's speech:— + </p> +<pre xml:space="preserve"> + Of half-a-crown a week for pins and puppets— + + As there is a syllable wanting in the measure here. (Seward.) +</pre> + <p> + A syllable wanting! Had this Seward neither ears nor fingers? The line is + a more than usually regular iambic hendecasyllable. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + With one man satisfied, with one rein guided; + With one faith, one content, one bed; + <i>Aged</i>, she makes the wife, preserves the fame and issue; + A widow is, &c. +</pre> + <p> + Is 'apaid'—contented—too obsolete for B. and F.? If not, we + might read it thus:— + </p> +<pre xml:space="preserve"> + Content with one faith, with one bed apaid, + She makes the wife, preserves the fame and issue;— +</pre> + <p> + Or it may be— + </p> +<pre xml:space="preserve"> + —with one breed apaid— +</pre> + <p> + that is, satisfied with one set of children, in opposition to— + </p> +<pre xml:space="preserve"> + A widow is a Christmas-box, &c. +</pre> + <p> + Colman's note on Seward's attempt to put this play into metre. + </p> + <p> + The editors, and their contemporaries in general, were ignorant of any but + the regular iambic verse. A study of the Aristophanic and Plautine metres + would have enabled them to reduce B. and F. throughout into metre, except + where prose is really intended. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0071" id="link2H_4_0071"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE HUMOROUS LIEUTENANT. + </h2> + <p> + Act I. sc. 1. Second Ambassador's speech:— + </p> +<pre xml:space="preserve"> + —When your angers, <i>Like</i> so many brother billows, rose together, + And, curling up <i>your</i> foaming crests, defied, &c. +</pre> + <p> + This worse than superfluous 'like' is very like an interpolation of some + matter of fact critic—all 'pus, prose atque venenum'. The 'your' in + the next line, instead of 'their,' is likewise yours, Mr. Critic! + </p> + <p> + Act ii: sc. 1. Timon's speech:— + </p> +<pre xml:space="preserve"> + Another of a new <i>way</i> will be look'd at.— +</pre> + <p> + We much suspect the poets wrote, 'of a new <i>day</i>.' So, immediately + after, + </p> +<pre xml:space="preserve"> + —Time may For all his wisdom, yet give us a day. + + (SEWARD'S NOTE.) +</pre> + <p> + For this very reason I more than suspect the contrary. + </p> + <p> + Ib. sc. 3. Speech of Leucippe:— + </p> +<pre xml:space="preserve"> + I'll put her into action for a <i>wastcoat</i>.— +</pre> + <p> + What we call a riding-habit,—some mannish dress. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0072" id="link2H_4_0072"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE MAD LOVER. + </h2> + <p> + Act IV. Masque of beasts:— + </p> +<pre xml:space="preserve"> + —This goodly tree, + An usher that still grew before his lady, + Wither'd at root: this, for he could not wooe, + A grumbling lawyer: &c. +</pre> + <p> + Here must have been omitted a line rhyming to 'tree;' and the words of the + next line have been transposed:— + </p> +<pre xml:space="preserve"> + —This goodly tree, + <i>Which leafless, and obscur'd with moss you see</i>, + An usher this, that 'fore his lady grew, + Wither'd at root: this, for he could not wooe, &c. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0073" id="link2H_4_0073"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE LOYAL SUBJECT. + </h2> + <p> + It is well worthy of notice, and yet has not been, I believe, noticed + hitherto, what a marked difference there exists in the dramatic writers of + the Elizabetho-Jacobæan age—(Mercy on me! what a phrase for 'the + writers during the reigns of Elizabeth and James I.!')—in respect of + their political opinions. Shakspeare, in this as in all other things, + himself and alone, gives the permanent politics of human nature, and the + only predilection, which appears, shews itself in his contempt of mobs and + the populacy. Massinger is a decided Whig;—Beaumont and Fletcher + high-flying, passive-obedience, Tories. The Spanish dramatists furnished + them with this, as with many other ingredients. By the by, an accurate and + familiar acquaintance with all the productions of the Spanish stage + previously to 1620, is an indispensable qualification for an editor of B. + and F.;—and with this qualification a most interesting and + instructive edition might be given. This edition of Colman's Stockdale, + (1811,) is below criticism. + </p> + <p> + In metre, B. and F. are inferior to Shakspeare, on the one hand, as + expressing the poetic part of the drama, and to Massinger, on the other, + in the art of reconciling metre with the natural rhythm of conversation,—in + which, indeed, Massinger is unrivalled. Read him aright, and measure by + time, not syllables, and no lines can be more legitimate,—none in + which the substitution of equipollent feet, and the modifications by + emphasis, are managed with such exquisite judgment. B. and F. are fond of + the twelve syllable (not Alexandrine) line, as— + </p> +<pre xml:space="preserve"> + Too many fears' tis thought too: and to nourish those— +</pre> + <p> + This has, often, a good effect, and is one of the varieties most common in + Shakspeare. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0074" id="link2H_4_0074"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + RULE A WIFE AND HAVE A WIFE. + </h2> + <p> + Act III. Old Woman's speech:— + </p> +<pre xml:space="preserve"> + —I fear he will knock my Brains out for lying. +</pre> + <p> + Mr. Seward discards the words 'for lying', because 'most of the things + spoke of Estifania are true, with only a little exaggeration, and because + they destroy all appearance of measure.' (Colman's note.) + </p> + <p> + Mr. Seward had his brains out. The humor lies in Estifania's having + ordered the Old Woman to tell these tales of her; for though an intriguer, + she is not represented as other than chaste; and as to the metre, it is + perfectly correct. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Marg'. As you love me, give way. + + 'Leon'. It shall be better, I will give none, madam, &c. +</pre> + <p> + The meaning is: 'It shall be a better way, first;—as it is, I will + not give it, or any that you in your present mood would wish.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0075" id="link2H_4_0075"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE LAWS OF CANDY. + </h2> + <p> + Act I. Speech of Melitus:— + </p> +<pre xml:space="preserve"> + Whose insolence and never yet match'd pride + Can by no character be well express'd, + But in her only name, the proud Erota. +</pre> + <p> + Colman's note. + </p> + <p> + The poet intended no allusion to the word 'Erota' itself; but says that + her very name, 'the proud Erota,' became a character and adage; as we say, + a Quixote or a Brutus: so to say an 'Erota,' expressed female pride and + insolence of beauty. + </p> + <p> + Ib. Speech of Antinous:— + </p> +<pre xml:space="preserve"> + Of my peculiar honors, not deriv'd + From 'successary', but purchas'd with my blood.— +</pre> + <p> + The poet doubtless wrote 'successry,' which, though not adopted in our + language, would be, on many occasions, as here, a much more significant + phrase than ancestry. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0076" id="link2H_4_0076"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE LITTLE FRENCH LAWYER. + </h2> + <p> + Act I. sc. 1. Dinant's speech:— + </p> +<pre xml:space="preserve"> + Are you become a patron too? 'Tis a new one, + No more on't, &c. +</pre> + <p> + Seward reads:— + </p> +<pre xml:space="preserve"> + Are you become a patron too? + <i>How long Have you been conning this speech?</i> 'Tis a new one, &c. +</pre> + <p> + If conjectural emendation, like this, be allowed, we might venture to + read:— + </p> +<pre xml:space="preserve"> + Are you become a patron <i>to a new tune</i>? +</pre> + <p> + or, + </p> +<pre xml:space="preserve"> + Are you become a patron? 'Tis a new <i>tune</i>. +</pre> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Din'. Thou wouldst not willingly Live a protested coward, or be call'd + one? + + 'Cler'. Words are but words. + + 'Din'. Nor wouldst thou take a blow? +</pre> + <p> + Seward's note. + </p> + <p> + O miserable! Dinant sees through Cleremont's gravity, and the actor is to + explain it. 'Words are but words,' is the last struggle of affected + morality. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0077" id="link2H_4_0077"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + VALENTINIAN. + </h2> + <p> + Act I. sc. 3. It is a real trial of charity to read this scene with + tolerable temper towards Fletcher. So very slavish—so reptile—are + the feelings and sentiments represented as duties. And yet remember he was + a bishop's son, and the duty to God was the supposed basis. + </p> + <p> + Personals, including body, house, home, and religion;—property, + subordination, and inter-community;—these are the fundamentals of + society. I mean here, religion negatively taken,—so that the person + be not compelled to do or utter, in relation of the soul to God, what + would be, in that person, a lie;—such as to force a man to go to + church, or to swear that he believes what he does not believe. Religion, + positively taken, may be a great and useful privilege, but cannot be a + right,—were it for this only that it cannot be pre-defined. The + ground of this distinction between negative and positive religion, as a + social right, is plain. No one of my fellow-citizens is encroached on by + my not declaring to him what I believe respecting the super-sensual; but + should every man be entitled to preach against the preacher, who could + hear any preacher? Now it is different in respect of loyalty. There we + have positive rights, but not negative rights;—for every pretended + negative would be in effect a positive;—as if a soldier had a right + to keep to himself, whether he would, or would not, fight. Now, no one of + these fundamentals can be rightfully attacked, except when the guardian of + it has abused it to subvert one or more of the rest. The reason is, that + the guardian, as a fluent, is less than the permanent which he is to + guard. He is the temporary and mutable mean, and derives his whole value + from the end. In short, as robbery is not high treason, so neither is + every unjust act of a king the converse. All must be attacked and + endangered. Why? Because the king, as 'a' to A., is a mean to A. or + subordination, in a far higher sense than a proprietor, as 'b'. to B. is a + mean to B. or property. + </p> + <p> + Act ii. sc. 2. Claudia's speech:— + </p> +<pre xml:space="preserve"> + Chimney-pieces! &c. +</pre> + <p> + The whole of this speech seems corrupt; and if accurately printed,—that + is, if the same in all the prior editions, irremediable but by bold + conjecture. ''Till' my tackle,' should be, I think, 'while,' &c. + </p> + <p> + Act iii. sc. 1. B. and F. always write as if virtue or goodness were a + sort of talisman, or strange something, that might be lost without the + least fault on the part of the owner. In short, their chaste ladies value + their chastity as a material thing—not as an act or state of being; + and this mere thing being imaginary, no wonder that all their women are + represented with the minds of strumpets, except a few irrational + humorists, far less capable of exciting our sympathy than a Hindoo, who + has had a bason of cow-broth thrown over him;—for this, though a + debasing superstition, is still real, and we might pity the poor wretch, + though we cannot help despising him. But B. and F.'s Lucinas are clumsy + fictions. It is too plain that the authors had no one idea of chastity as + a virtue, but only such a conception as a blind man might have of the + power of seeing, by handling an ox's eye. In The Queen of Corinth, indeed, + they talk differently; but it is all talk, and nothing is real in it but + the dread of losing a reputation. Hence the frightful contrast between + their women (even those who are meant for virtuous) and Shakspeare's. So, + for instance, The Maid in the Mill:—a woman must not merely have + grown old in brothels, but have chuckled over every abomination committed + in them with a rampant sympathy of imagination, to have had her fancy so + drunk with the 'minutiæ' of lechery as this icy chaste virgin evinces hers + to have been. + </p> + <p> + It would be worth while to note how many of these plays are founded on + rapes,—how many on incestuous passions, and how many on mere + lunacies. Then their virtuous women are either crazy superstitions of a + merely bodily negation of having been acted on, or strumpets in their + imaginations and wishes, or, as in this Maid in the Mill, both at the same + time. In the men, the love is merely lust in one direction,—exclusive + preference of one object. The tyrant's speeches are mostly taken from the + mouths of indignant denouncers of the tyrant's character, with the + substitution of 'I' for 'he,' and the omission of the prefatory 'he acts + as if he thought' so and so. The only feelings they can possibly excite + are disgust at the Aeciuses, if regarded as sane loyalists, or compassion, + if considered as Bedlamites. So much for their tragedies. But even their + comedies are, most of them, disturbed by the fantasticalness, or gross + caricature, of the persons or incidents. There are few characters that you + can really like,—(even though you should have had erased from your + mind all the filth, which bespatters the most likeable of them, as Piniero + in The Island Princess for instance,)—scarcely one whom you can + love. How different this from Shakspeare, who makes one have a sort of + sneaking affection even for his Barnardines;—whose very Iagos and + Richards are awful, and, by the counteracting power of profound + intellects, rendered fearful rather than hateful;—and even the + exceptions, as Goneril and Regan, are proofs of superlative judgment and + the finest moral tact, in being left utter monsters, 'nulla virtute + redemptæ,' and in being kept out of sight as much as possible,—they + being, indeed, only means for the excitement and deepening of noblest + emotions towards the Lear, Cordelia, &c. and employed with the + severest economy! But even Shakspeare's grossness—that which is + really so, independently of the increase in modern times of vicious + associations with things indifferent,—(for there is a state of + manners conceivable so pure, that the language of Hamlet at Ophelia's feet + might be a harmless rallying, or playful teazing, of a shame that would + exist in Paradise)—at the worst, how diverse in kind is it from + Beaumont and Fletcher's! In Shakspeare it is the mere generalities of sex, + mere words for the most part, seldom or never distinct images, all + head-work, and fancy-drolleries; there is no sensation supposed in the + speaker. I need not proceed to contrast this with B. and F. + </p> + <h3> + ROLLO. + </h3> + <p> + This is, perhaps, the most energetic of Fletcher's tragedies. He evidently + aimed at a new Richard III. in Rollo;—but as in all his other + imitations of Shakspeare, he was not philosopher enough to bottom his + original. Thus, in Rollo, he has produced a mere personification of + outrageous wickedness, with no fundamental characteristic impulses to make + either the tyrant's words or actions philosophically intelligible. Hence, + the most pathetic situations border on the horrible, and what he meant for + the terrible, is either hateful, {Greek (transliterated): to misaeton}, or + ludicrous. The scene of Baldwin's sentence in the third act is probably + the grandest working of passion in all B. and F.'s dramas;—but the + very magnificence of filial affection given to Edith, in this noble scene, + renders the after scene—(in imitation of one of the least + Shakspearian of all Shakspeare's works, if it be his, the scene between + Richard and Lady Anne,)—in which Edith is yielding to a few words + and tears, not only unnatural, but disgusting. In Shakspeare, Lady Anne is + described as a weak, vain, very woman throughout. + </p> + <p> + Act i. sc. I. + </p> +<pre xml:space="preserve"> + 'Gis'. He is indeed the perfect character + Of a good man, and so his actions speak him. +</pre> + <p> + This character of Aubrey, and the whole spirit of this and several other + plays of the same authors, are interesting as traits of the morals which + it was fashionable to teach in the reigns of James I. and his successor, + who died a martyr to them. Stage, pulpit, law, fashion,—all + conspired to enslave the realm. Massinger's plays breathe the opposite + spirit; Shakspeare's the spirit of wisdom which is for all ages. By the + by, the Spanish dramatists—Calderon, in particular,—had some + influence in this respect, of romantic loyalty to the greatest monsters, + as well as in the busy intrigues of B. and F.'s plays. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0078" id="link2H_4_0078"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE WILD GOOSE CHASE. + </h2> + <p> + Act II. sc. 1. Belleur's speech:— + </p> +<pre xml:space="preserve"> + —that wench, methinks, + If I were but well set on, for she is <i>a fable</i>, + If I were but hounded right, and one to teach me. +</pre> + <p> + Sympson reads 'affable,' which Colman rejects, and says, 'the next line + seems to enforce' the reading in the text. + </p> + <p> + Pity, that the editor did not explain wherein the sense, 'seemingly + enforced by the next line,' consists. May the true word be 'a sable,' that + is, a black fox, hunted for its precious fur? Or 'at-able,'—as we + now say,—'she is come-at-able?' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0079" id="link2H_4_0079"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + A WIFE FOR A MONTH. + </h2> + <p> + Act IV. sc. 1. Alphonso's speech:— + </p> +<pre xml:space="preserve"> + Betwixt the cold bear and the raging lion + Lies my safe way. +</pre> + <p> + Seward's note and alteration to— + </p> +<pre xml:space="preserve"> + 'Twixt the cold bears, far from the raging lion— +</pre> + <p> + This Mr. Seward is a blockhead of the provoking species. In his itch for + correction, he forgot the words—'lies my safe way!' The Bear is the + extreme pole, and thither he would travel over the space contained between + it and 'the raging lion.' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0080" id="link2H_4_0080"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE PILGRIM. + </h2> + <p> + Act IV. sc. 2. Alinda's interview with her father is lively, and happily + hit off; but this scene with Roderigo is truly excellent. Altogether, + indeed, this play holds the first place in B. and F.'s romantic + entertainments, 'Lustspiele', which collectively are their happiest + performances, and are only inferior to the romance of Shakspeare in the As + you Like It, Twelfth Night, &c. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + 'Alin'. To-day you shall wed Sorrow, + And Repentance will come to-morrow. +</pre> + <p> + Read 'Penitence,' or else— + </p> +<pre xml:space="preserve"> + Repentance, she will come to-morrow. +</pre> + <h3> + THE QUEEN OF CORINTH. + </h3> + <p> + Act II. sc. 1. Merione's speech. Had the scene of this tragi-comedy been + laid in Hindostan instead of Corinth, and the gods here addressed been the + Veeshnoo and Co. of the Indian Pantheon, this rant would not have been + much amiss. + </p> + <p> + In respect of style and versification, this play and the following of + Bonduca may be taken as the best, and yet as characteristic, specimens of + Beaumont and Fletcher's dramas. I particularly instance the first scene of + the Bonduca. Take Shakspeare's Richard II., and having selected some one + scene of about the same number of lines, and consisting mostly of long + speeches, compare it with the first scene in Bonduca,—not for the + idle purpose of finding out which is the better, but in order to see and + understand the difference. The latter, that of B. and F., you will find a + Avell arranged bed of flowers, each having its separate root, and its + position determined aforehand by the will of the gardener,—each + fresh plant a fresh volition. In the former you see an Indian fig-tree, as + described by Milton;—all is growth, evolution, {Greek + (transliterated): genesis};—each line, each word almost, begets the + following, and the will of the writer is an interfusion, a continuous + agency, and not a series of separate acts. Shakspeare is the height, + breadth, and depth of genius: Beaumont and Fletcher the excellent + mechanism, in juxta-position and succession, of talent. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0081" id="link2H_4_0081"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE NOBLE GENTLEMAN. + </h2> + <p> + Why have the dramatists of the times of Elizabeth, James I. and the first + Charles become almost obsolete, with the exception of Shakspeare? Why do + they no longer belong to the English, being once so popular? And why is + Shakspeare an exception?—One thing, among fifty, necessary to the + full solution is, that they all employed poetry and poetic diction on + unpoetic subjects, both characters and situations, especially in their + comedy. Now Shakspeare is all, all ideal,—of no time, and therefore + for all times. Read, for instance, Marine's panegyric in the first scene + of this play:— + </p> +<pre xml:space="preserve"> + Know The eminent court, to them that can be wise, + And fasten on her blessings, is a sun, &c. +</pre> + <p> + What can be more unnatural and inappropriate—(not only is, but must + be felt as such)—than such poetry in the mouth of a silly dupe? In + short, the scenes are mock dialogues, in which the poet <i>solus</i> plays + the ventriloquist, but cannot keep down his own way of expressing himself. + Heavy complaints have been made respecting the transprosing of the old + plays by Cibber; but it never occurred to these critics to ask, how it + came that no one ever attempted to transprose a comedy of Shakspeare's. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0082" id="link2H_4_0082"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE CORONATION. + </h2> + <p> + Act I. Speech of Seleucus:— + </p> +<pre xml:space="preserve"> + Altho' he be my enemy, should any + Of the gay flies that buz about the court, + <i>Sit</i> to catch trouts i' the summer, tell me so, + I durst, &c. +</pre> +<pre xml:space="preserve"> + Colman's note. +</pre> + <p> + Pshaw! 'Sit' is either a misprint for 'set,' or the old and still + provincial word for 'set,' as the participle passive of 'seat' or 'set.' I + have heard an old Somersetshire gardener say:—"Look, Sir! I set + these plants here; those yonder I 'sit' yesterday." + </p> + <p> + Act ii. Speech of Arcadius:— + </p> +<pre xml:space="preserve"> + Nay, some will swear they love their mistress, + Would hazard lives and fortunes, &c. +</pre> + <p> + Read thus:— + </p> +<pre xml:space="preserve"> + Nay, some will swear they love their mistress so, + They would hazard lives and fortunes to preserve + One of her hairs brighter than Berenice's, + Or young Apollo's; and yet, after this, &c. +</pre> + <p> + '/They would HAzard/' {1}—furnishes an anapæst for an 'iambus'. 'And + yet,' which must be read, /'ANyet'/, is an instance of the enclitic force + in an accented monosyllable. /'And YET'/ is a complete 'iambus'; but + 'anyet' is, like 'spirit', a dibrach u u, trocheized, however, by the + 'arsis' or first accent damping, though not extinguishing, the second. + </p> + <p> + {Footnote 1: As noted earlier in this text, the words between / marks are + pronounced with stress on the upper-case syllables, and none on the + lower-case syllables. In the original text, stress is indicated by a + horizontal line over the syllable, and lack of stress by a u-shape, as the + u u later in this paragraph. text Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0083" id="link2H_4_0083"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + WIT AT SEVERAL WEAPONS. + </h2> + <p> + Act I. Oldcraft's speech: + </p> +<pre xml:space="preserve"> + I'm arm'd at all points, &c. +</pre> + <p> + It would be very easy to restore all this passage to metre, by supplying a + sentence of four syllables, which the reasoning almost demands, and by + correcting the grammar. Read thus:— + </p> +<pre xml:space="preserve"> + Arm'd at all points 'gainst treachery, I hold + My humor firm. If, living, I can see thee + Thrive by thy wits, I shall have the more courage, + Dying, to trust thee with my lands. If not, + The best wit, I can hear of, carries them. + For since so many in my time and knowledge, + Rich children of the city, have concluded + <i>For lack of wit</i> in beggary, I'd rather + Make a wise stranger my executor, + Than a fool son my heir, and have my lands call'd + After my wit than name: and that's my nature! +</pre> + <p> + Ib. Oldcraft's speech:— + </p> +<pre xml:space="preserve"> + To prevent which I have sought out a match for her.— +</pre> + <p> + Read + </p> +<pre xml:space="preserve"> + Which to prevent I've sought a match out for her. +</pre> + <p> + Ib. Sir Gregory's speech:— + </p> +<pre xml:space="preserve"> + —Do you think I'll have any of the wits hang upon me after I am + married once? +</pre> + <p> + Read it thus:— + </p> +<pre xml:space="preserve"> + Do you think + That I'll have any of the wits to hang + Upon me after I am married once? +</pre> + <p> + and afterwards— + </p> +<pre xml:space="preserve"> + Is it a fashion in London, + To marry a woman, and to never see her? +</pre> + <p> + The superfluous 'to' gives it the Sir Andrew Ague-cheek character. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0084" id="link2H_4_0084"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE FAIR MAID OF THE INN. + </h2> + <p> + Act II. Speech of Albertus:— + </p> +<pre xml:space="preserve"> + But, Sir, + By my life, I vow to take assurance from you, + That right-hand never more shall strike my son, + ... + Chop his hand off! +</pre> + <p> + In this (as, indeed, in all other respects; but most in this) it is that + Shakspeare is so incomparably superior to Fletcher and his friend,—in + judgment! What can be conceived more unnatural and motiveless than this + brutal resolve? How is it possible to feel the least interest in Albertus + afterwards? or in Cesario after his conduct? + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0085" id="link2H_4_0085"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE TWO NOBLE KINSMEN. + </h2> + <p> + On comparing the prison scene of Palamon and Arcite, Act ii. sc. 2, with + the dialogue between the same speakers, Act i. sc. 2, I can scarcely + retain a doubt as to the first act's having been written by Shakspeare. + Assuredly it was not written by B. and F. I hold Jonson more probable than + either of these two. + </p> + <p> + The main presumption, however, for Shakspeare's share in this play rests + on a point, to which the sturdy critics of this edition (and indeed all + before them) were blind,—that is, the construction of the blank + verse, which proves beyond all doubt an intentional imitation, if not the + proper hand, of Shakspeare. Now, whatever improbability there is in the + former, (which supposes Fletcher conscious of the inferiority, the too + poematic <i>minus</i>-dramatic nature, of his versification, and of which + there is neither proof, nor likelihood,) adds so much to the probability + of the latter. On the other hand, the harshness of many of these very + passages, a harshness unrelieved by any lyrical inter-breathings, and + still more the want of profundity in the thoughts, keep me from an + absolute decision. + </p> + <p> + Act i. sc. 3. Emilia's speech:— + </p> +<pre xml:space="preserve"> + —Since his depart, his <i>sports</i>, + Tho' craving seriousness and skill, &c. +</pre> + <p> + I conjecture 'imports,' that is, duties or offices of importance. The flow + of the versification in this speech seems to demand the trochaic ending—/u/; + while the text blends jingle and <i>hisses</i> to the annoyance of less + sensitive ears than Fletcher's—not to say, Shakspeare's. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0086" id="link2H_4_0086"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE WOMAN HATER. + </h2> + <p> + Act. I. sc. 2. This scene from the beginning is prose printed as blank + verse, down to the line— + </p> +<pre xml:space="preserve"> + E'en all the valiant stomachs in the court— +</pre> + <p> + where the verse recommences. This transition from the prose to the verse + enhances, and indeed forms, the comic effect. Lazarillo concludes his + soliloquy with a hymn to the goddess of plenty. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0087" id="link2H_4_0087"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ON THE PROMETHEUS OF ÆSCHYLUS: + </h2> + <p> + An Essay, preparatory to a series of disquisitions respecting the + Egyptian, in connection with the sacerdotal, theology, and in contrast + with the mysteries of ancient Greece. Read at the Royal Society of + Literature, May 18, 1825. + </p> + <p> + The French 'savans' who went to Egypt in the train of Buonaparte, Denon, + Fourrier, and Dupuis, (it has been asserted), triumphantly vindicated the + chronology of Herodotus, on the authority of documents that cannot lie;—namely, + the inscriptions and sculptures on those enormous masses of architecture, + that might seem to have been built in the wish of rivalling the mountains, + and at some unknown future to answer the same purpose, that is, to stand + the gigantic tombstones of an elder world. It is decided, say the critics, + whose words I have before cited, that the present division of the zodiac + had been already arranged by the Egyptians fifteen thousand years before + the Christian era, and according to an inscription 'which cannot lie' the + temple of Esne is of eight thousand years standing. + </p> + <p> + Now, in the first place, among a people who had placed their national + pride in their antiquity, I do not see the impossibility of an inscription + lying; and, secondly, as little can I see the improbability of a modern + interpreter misunderstanding it; and lastly, the incredibility of a French + infidel's partaking of both defects, is still less evident to my + understanding. The inscriptions may be, and in some instances, very + probably are, of later date than the temples themselves,—the + offspring of vanity or priestly rivalry, or of certain astrological + theories; or the temples themselves may have been built in the place of + former and ruder structures, of an earlier and ruder period, and not + impossibly under a different scheme of hieroglyphic or significant + characters; and these may have been intentionally, or ignorantly, + miscopied or mistranslated. + </p> + <p> + But more than all the preceding,—I cannot but persuade myself, that + for a man of sound judgment and enlightened common sense—a man with + whom the demonstrable laws of the human mind, and the rules generalized + from the great mass of facts respecting human nature, weigh more than any + two or three detached documents or narrations, of whatever authority the + narrator may be, and however difficult it may be to bring positive proofs + against the antiquity of the documents—I cannot but persuade myself, + I say, that for such a man, the relation preserved in the first book of + the Pentateuch,—and which, in perfect accordance with all analogous + experience, with all the facts of history, and all that the principles of + political economy would lead us to anticipate, conveys to us the rapid + progress in civilization and splendour from Abraham and Abimelech to + Joseph and Pharaoh,—will be worth a whole library of such + inferences. + </p> + <p> + I am aware that it is almost universal to speak of the gross idolatry of + Egypt; nay, that arguments have been grounded on this assumption in proof + of the divine origin of the Mosaic monotheism. But first, if by this we + are to understand that the great doctrine of the one Supreme Being was + first revealed to the Hebrew legislator, his own inspired writings supply + abundant and direct confutation of the position. Of certain astrological + superstitions,—of certain talismans connected with star-magic,—plates + and images constructed in supposed harmony with the movements and + influences of celestial bodies,—there doubtless exist hints, if not + direct proofs, both in the Mosaic writings, and those next to these in + antiquity. But of plain idolatry in Egypt, or the existence of a + polytheistic religion, represented by various idols, each signifying a + several deity, I can find no decisive proof in the Pentateuch; and when I + collate these with the books of the prophets, and the other inspired + writings subsequent to the Mosaic, I cannot but regard the absence of any + such proof in the latter, compared with the numerous and powerful + assertions, or evident implications, of Egyptian idolatry in the former, + both as an argument of incomparably greater value in support of the age + and authenticity of the Pentateuch; and as a strong presumption in favour + of the hypothesis on which I shall in part ground the theory which will + pervade this series of disquisitions;—namely, that the sacerdotal + religion of Egypt had, during the interval from Abimelech to Moses, + degenerated from the patriarchal monotheism into a pantheism, cosmotheism, + or worship of the world as God. + </p> + <p> + The reason, or pretext, assigned by the Hebrew legislator to Pharaoh for + leading his countrymen into the wilderness to join with their brethren, + the tribes who still sojourned in the nomadic state, namely, that their + sacrifices would be an abomination to the Egyptians, may be urged as + inconsistent with, nay, as confuting this hypothesis. But to this I reply, + first, that the worship of the ox and cow was not, in and of itself, and + necessarily, a contravention of the first commandment, though a very gross + breach of the second;—for it is most certain that the ten tribes + worshipped the Jehovah, the God of Abraham, Isaac, and Jacob, under the + same or similar symbols:—secondly, that the cow, or Isis, and the Io + of the Greeks, truly represented, in the first instance, the earth or + productive nature, and afterwards the mundane religion grounded on the + worship of nature, or the {Greek (transliterated): to pan}, as God. In + after times, the ox or bull was added, representing the sun, or generative + force of nature, according to the habit of male and female deities, which + spread almost over the whole world,—the positive and negative forces + in the science of superstition;—for the pantheism of the sage + necessarily engenders polytheism as the popular creed. But lastly, a very + sufficient reason may, I think, be assigned for the choice of the ox or + cow, as representing the very life of nature, by the first legislators of + Egypt, and for the similar sacred character in the Brachmanic tribes of + Hindostan. The progress from savagery to civilization is evidently first + from the hunting to the pastoral state, a process which even now is going + on, within our own times, among the South American Indians in the vast + tracts between Buenos Ayres and the Andes: but the second and the most + important step, is from the pastoral, or wandering, to the agricultural, + or fixed, state. Now, if even for men born and reared under European + civilization, the charms of a wandering life have been found so great a + temptation, that few who have taken to it have been induced to return, + (see the confession in the preamble to the statute respecting the + gipsies); {1}—how much greater must have been the danger of relapse + in the first formation of fixed states with a condensed population? And + what stronger prevention could the ingenuity of the priestly kings—(for + the priestly is ever the first form of government)—devise, than to + have made the ox or cow the representatives of the divine principle in the + world, and, as such, an object of adoration, the wilful destruction of + which was sacrilege?—For this rendered a return to the pastoral + state impossible; in which the flesh of these animals and the milk formed + almost the exclusive food of mankind; while, in the meantime, by once + compelling and habituating men to the use of a vegetable diet, it enforced + the laborious cultivation of the soil, and both produced and permitted a + vast and condensed population. In the process and continued subdivisions + of polytheism, this great sacred Word,—for so the consecrated + animals were called, {Greek (transliterated): ieroi logoi,}—became + multiplied, till almost every power and supposed attribute of nature had + its symbol in some consecrated animal from the beetle to the hawk. + Wherever the powers of nature had found a cycle for themselves, in which + the powers still produced the same phenomenon during a given period, + whether in the motions of the heavenly orbs, or in the smallest living + organic body, there the Egyptian sages predicated life and mind. Time, + cyclical time, was their abstraction of the deity, and their holidays were + their gods. + </p> + <p> + The diversity between theism and pantheism may be most simply and + generally expressed in the following 'formula', in which the material + universe is expressed by W, and the deity by G. + </p> +<pre xml:space="preserve"> + W-G=O; +</pre> + <p> + or the World without God is an impossible conception. This position is + common to theist and pantheist. But the pantheist adds the converse— + </p> +<pre xml:space="preserve"> + G-W=O; +</pre> + <p> + for which the theist substitutes— + </p> +<pre xml:space="preserve"> + G-W=G; +</pre> + <p> + or that— + </p> +<pre xml:space="preserve"> + G=G, anterior and irrelative to the existence of the world, is equal to + G+W. {2} +</pre> + <p> + 'Before the mountains were, Thou art.'—I am not about to lead the + society beyond the bounds of my subject into divinity or theology in the + professional sense. But without a precise definition of pantheism, without + a clear insight into the essential distinction between it and the theism + of the Scriptures, it appears to me impossible to understand either the + import or the history of the polytheism of the great historical nations. I + beg leave, therefore, to repeat, and to carry on my former position, that + the religion of Egypt, at the time of the Exodus of the Hebrews, was a + pantheism, on the point of passing into that polytheism, of which it + afterwards afforded a specimen, gross and distasteful even to polytheists + themselves of other nations. + </p> + <p> + The objects which, on my appointment as Royal Associate of the Royal + Society of Literature, I proposed to myself were, + </p> + <p> + 1st. The elucidation of the purpose of the Greek drama, and the relations + in which it stood to the mysteries on the one hand, and to the state or + sacerdotal religion on the other:— + </p> + <p> + 2nd. The connection of the Greek tragic poets with philosophy as the + peculiar offspring of Greek genius:— + </p> + <p> + 3rd. The connection of the Homeric and cyclical poets with the popular + religion of the Greeks: and, + </p> + <p> + lastly from all these,—namely, the mysteries, the sacerdotal + religion, their philosophy before and after Socrates, the stage, the + Homeric poetry and the legendary belief of the people, and from the + sources and productive causes in the derivation and confluence of the + tribes that finally shaped themselves into a nation of Greeks—to + give a juster and more distinct view of this singular people, and of the + place which they occupied in the history of the world, and the great + scheme of divine providence, than I have hitherto seen,—or rather + let me say, than it appears to me possible to give by any other process. + </p> + <p> + The present Essay, however, I devote to the purpose of removing, or at + least invalidating, one objection that I may reasonably anticipate, and + which may be conveyed in the following question:—What proof have you + of the fact of any connection between the Greek drama, and either the + mysteries, or the philosophy, of Greece? What proof that it was the office + of the tragic poet, under a disguise of the sacerdotal religion, mixed + with the legendary or popular belief, to reveal as much of the mysteries + interpreted by philosophy, as would counteract the demoralizing effects of + the state religion, without compromising the tranquillity of the state + itself, or weakening that paramount reverence, without which a republic, + (such I mean, as the republics of ancient Greece were) could not exist? + </p> + <p> + I know no better way in which I can reply to this objection, than by + giving, as my proof and instance, the Prometheus of Æschylus, accompanied + with an exposition of what I believe to be the intention of the poet, and + the mythic import of the work; of which it may be truly said, that it is + more properly tragedy itself in the plenitude of the idea, than a + particular tragic poem; and as a preface to this exposition, and for the + twin purpose of rendering it intelligible, and of explaining its connexion + with the whole scheme of my Essays, I entreat permission to insert a + quotation from a work of my own, which has indeed been in print for many + years, but which few of my auditors will probably have heard of, and still + fewer, if any, have read. + </p> +<pre xml:space="preserve"> + "As the representative of the youth and approaching manhood of the + human intellect we have ancient Greece, from Orpheus, Linus, Musaeus, + and the other mythological bards, or, perhaps, the brotherhoods + impersonated under those names, to the time when the republics lost + their independence, and their learned men sank into copyists of, and + commentators on, the works of their forefathers. That we include these + as educated under a distinct providential, though not miraculous, + dispensation, will surprise no one, who reflects, that in whatever has + a permanent operation on the destinies and intellectual condition of + mankind at large,—that in all which has been manifestly employed as a + co-agent in the mightiest revolution of the moral world, the + propagation of the Gospel, and in the intellectual progress of mankind + in the restoration of philosophy, science, and the ingenuous arts—it + were irreligion not to acknowledge the hand of divine providence. The + periods, too, join on to each other. The earliest Greeks took up the + religious and lyrical poetry of the Hebrews; and the schools of the + prophets were, however partially and imperfectly, represented by the + mysteries derived through the corrupt channel of the Phoenicians. With + these secret schools of physiological theology, the mythical poets + were doubtless in connexion, and it was these schools which prevented + polytheism from producing all its natural barbarizing effects. The + mysteries and the mythical hymns and pæans shaped themselves gradually + into epic poetry and history on the one hand, and into the ethical + tragedy and philosophy on the other. Under their protection, and that + of a youthful liberty, secretly controlled by a species of internal + theocracy, the sciences, and the sterner kinds of the fine arts, that + is, architecture and statuary, grew up together, followed, indeed, by + painting, but a statuesque, and austerely idealized, painting, which + did not degenerate into mere copies of the sense, till the process for + which Greece existed had been completed."{3} +</pre> + <p> + The Greeks alone brought forth philosophy in the proper and + contra-distinguishable sense of the term, which we may compare to the + coronation medal with its symbolic characters, as contrasted with the + coins, issued under the same sovereign, current in the market. In the + primary sense, philosophy had for its aim and proper subject the {Greek + (transliterated): ta peri arch<i>on</i>}, 'de originibus rerum', as far as + man proposes to discover the same in and by the pure reason alone. This, I + say, was the offspring of Greece, and elsewhere adopted only. The + predisposition appears in their earliest poetry. + </p> + <p> + The first object, (or subject matter) of Greek philosophizing was in some + measure philosophy itself;—not, indeed, as the product, but as the + producing power—the productivity. Great minds turned inward on the + fact of the diversity between man and beast; a superiority of kind in + addition to that of degree; the latter, that is, the difference in degree + comprehending the more enlarged sphere and the multifold application of + faculties common to man and brute animals;—even this being in great + measure a transfusion from the former, namely, from the superiority in + kind;—for only by its co-existence with reason, free will, + self-consciousness, the contra-distinguishing attributes of man, does the + instinctive intelligence manifested in the ant, the dog, the elephant, + &c. become human understanding. It is a truth with which Heraclitus, + the senior, but yet contemporary, of Æschylus, appears, from the few + genuine fragments of his writings that are yet extant, to have been deeply + impressed,—that the mere understanding in man, considered as the + power of adapting means to immediate purposes, differs, indeed, from the + intelligence displayed by other animals, and not in degree only; but yet + does not differ by any excellence which it derives from itself, or by any + inherent diversity, but solely in consequence of a combination with far + higher powers of a diverse kind in one and the same subject. + </p> + <p> + Long before the entire separation of metaphysics from poetry, that is, + while yet poesy, in all its several species of verse, music, statuary, + &c. continued mythic;—while yet poetry remained the union of the + sensuous and the philosophic mind;—the efficient presence of the + latter in the 'synthesis' of the two, had manifested itself in the sublime + 'mythus peri geneseos tou nou en anthropois' concerning the 'genesis', or + birth of the 'nous' or reason in man. This the most venerable, and perhaps + the most ancient, of Grecian 'myth', is a philosopheme, the very same in + subject matter with the earliest record of the Hebrews, but most + characteristically different in tone and conception;—for the + patriarchal religion, as the antithesis of pantheism, was necessarily + personal; and the doctrines of a faith, the first ground of which and the + primary enunciation, is the eternal I AM, must be in part historic and + must assume the historic form. Hence the Hebrew record is a narrative, and + the first instance of the fact is given as the origin of the fact. + </p> + <p> + That a profound truth—a truth that is, indeed, the grand and + indispensable condition of all moral responsibility—is involved in + this characteristic of the sacred narrative, I am not alone persuaded, but + distinctly aware. This, hovever, does not preclude us from seeing, nay, as + an additional mark of the wisdom that inspired the sacred historian, it + rather supplies a motive to us, impels and authorizes us, to see, in the + form of the vehicle of the truth, an accommodation to the then childhood + of the human race. Under this impression we may, I trust, safely consider + the narration,—introduced, as it is here introduced, for the purpose + of explaining a mere work of the unaided mind of man by comparison,—as + an {Greek (transliterated): eros hierogluphikon},—and as such + (apparently, I mean, not actually) a 'synthesis' of poesy and philosophy, + characteristic of the childhood of nations. + </p> + <p> + In the Greek we see already the dawn of approaching manhood. The + substance, the stuff, is philosophy; the form only is poetry. The + Prometheus is a <i>philosophema</i> {Greek (transliterated): + tautaegorikon}, —the tree of knowledge of good and evil,—an + allegory, a {Greek (transliterated): propaideuma}, though the noblest and + the most pregnant of its kind. + </p> + <p> + The generation of the {Greek (transliterated): nous}, or pure reason in + man. + </p> + <p> + 1. It was superadded or infused, 'a supra' to mark that it was no mere + evolution of the animal basis;—that it could not have grown out of + the other faculties of man, his life, sense, understanding, as the flower + grows out of the stem, having pre-existed potentially in the seed: + </p> + <p> + 2. The {Greek: nous}, or fire, was 'stolen,'—to mark its 'helero'—or + rather its 'allo'-geneity, that is, its diversity, its difference in kind, + from the faculties which are common to man with the nobler animals: + </p> + <p> + 3. And stolen 'from Heaven,'—to mark its superiority in kind, as + well as its essential diversity: + </p> + <p> + 4. And it was a 'spark,'—to mark that it is not subject to any + modifying reaction from that on which it immediately acts; that it suffers + no change, and receives no accession, from the inferior, but multiplies + it-self by conversion, without being alloyed by, or amalgamated with, that + which it potentiates, ennobles, and transmutes: + </p> + <p> + 5. And lastly, (in order to imply the homogeneity of the donor and of the + gift) it was stolen by a 'god,' and a god of the race before the dynasty + of Jove,—Jove the binder of reluctant powers, the coercer arid + entrancer of free spirits under the fetters of shape, and mass, and + passive mobility; but likewise by a god of the same race and essence with + Jove, and linked of yore in closest and friendliest intimacy with him. + This, to mark the pre-existence, in order of thought, of the 'nous', as + spiritual, both to the objects of sense, and to their products, formed as + it were, by the precipitation, or, if I may dare adopt the bold language + of Leibnitz, by a coagulation of spirit. In other words this derivation of + the spark from above, and from a god anterior to the Jovial dynasty—(that + is, to the submersion of spirits in material forms),—was intended to + mark the transcendancy of the 'nous', the contra-distinctive faculty of + man, as timeless, {Greek (transliterated): achronon ti,} and, in this + negative sense, eternal. It signified, I say, its superiority to, and its + diversity from, all things that subsist in space and time, nay, even those + which, though spaceless, yet partake of time, namely, souls or + understandings. For the soul, or understanding, if it be defined + physiologically as the principle of sensibility, irritability, and growth, + together with the functions of the organs, which are at once the + representatives and the instruments of these, must be considered 'in + genere', though not in degree or dignity, common to man and the inferior + animals. It was the spirit, the 'nous', which man alone possessed. And I + must be permitted to suggest that this notion deserves some respect, were + it only that it can shew a semblance, at least, of sanction from a far + higher authority. + </p> + <p> + The Greeks agreed with the cosmogonies of the East in deriving all + sensible forms from the indistinguishable. The latter we find designated + as the {Greek: to amorphon}, the {Greek: hudor prokosmikon}, the {Greek: + chaos}, as the essentially unintelligible, yet necessarily presumed, basis + or sub-position of all positions. That it is, scientifically considered, + an indispensable idea for the human mind, just as the mathematical point, + &c. for the geometrician;—of this the various systems of our + geologists and cosmogonists, from Burnet to La Place, afford strong + presumption. As an idea, it must be interpreted as a striving of the mind + to distinguish being from existence,—or potential being, the ground + of being containing the possibility of existence, from being actualized. + In the language of the mysteries, it was the 'esurience', the {Greek: + pothos} or 'desideratum', the unfuelled fire, the Ceres, the ever-seeking + maternal goddess, the origin and interpretation of whose name is found in + the Hebrew root signifying hunger, and thence capacity. It was, in short, + an effort to represent the universal ground of all differences distinct or + opposite, but in relation to which all 'antithesis' as well as all + 'antitheta', existed only potentially. This was the container and + withholder, (such is the primitive sense of the Hebrew word rendered + darkness (Gen. 1. 2.)) out of which light, that is, the 'lux lucifica', as + distinguished from 'lumen seu lux phænomenalis', was produced;—say, + rather, that which, producing itself into light as the one pole or + antagonist power, remained in the other pole as darkness, that is, + gravity, or the principle of mass, or wholeness without distinction of + parts. + </p> + <p> + And here the peculiar, the philosophic, genius of Greece began its f¦tal + throb. Here it individualized itself in contra-distinction from the Hebrew + archology, on the one side, and from the Ph¦nician, on the other. The + Ph¦nician confounded the indistinguishable with the absolute, the 'Alpha' + and 'Omega', the ineffable 'causa sui'. It confounded, I say, the multeity + below intellect, that is, unintelligible from defect of the subject, with + the absolute identity above all intellect, that is, transcending + comprehension by the plenitude of its excellence. With the Phoenician + sages the cosmogony was their theogony and 'vice versa'. Hence, too, + flowed their theurgic rites, their magic, their worship ('cultus et + apotheosis') of the plastic forces, chemical and vital, and these, or + their notions respecting these, formed the hidden meaning, the soul, as it + were, of which the popular and civil worship was the body with its + drapery. + </p> + <p> + The Hebrew wisdom imperatively asserts an unbeginning creative One, who + neither became the world; nor is the world eternally; nor made the world + out of himself by emanation, or evolution;—but who willed it, and it + was! {Greek: Ta athea egeneto, kai egeneto chaos,}—and this chaos, + the eternal will, by the spirit and the word, or express 'fiat',—again + acting as the impregnant, distinctive, and ordonnant power,—enabled + to become a world—{Greek: kosmeisthai.} So must it be when a + religion, that shall preclude superstition on the one hand, and brute + indifference on the other, is to be true for the meditative sage, yet + intelligible, or at least apprehensible, for all but the fools in heart. + </p> + <p> + The Greek philosopheme, preserved for us in the Æschylean Prometheus, + stands midway betwixt both, yet is distinct in kind from either. With the + Hebrew or purer Semitic, it assumes an X Y Z,—(I take these letters + in their algebraic application)—an indeterminate 'Elohim', + antecedent to the matter of the world, {Greek: hulae akosmos}—no + less than to the {Greek: hulae kekosmaemenae.} In this point, likewise, + the Greek accorded with the Semitic, and differed from the Phoenician—that + it held the antecedent X Y Z to be super-sensuous and divine. But on the + other hand, it coincides with the Ph¦nician in considering this antecedent + ground of corporeal matter,—{Greek: t<i>on s</i>omat<i>on kai tou s</i>omatikou,}—not + so properly the cause of the latter, as the occasion and the still + continuing substance. 'Maleria substat adliuc'. The corporeal was supposed + co-essential with the antecedent of its corporeity. Matter, as + distinguished from body, was a 'non ens', a simple apparition, 'id quod + mere videtur'; but to body the elder physico-theology of the Greeks + allowed a participation in entity. It was 'spiritus ipse, oppressus, + dormiens, et diversis modis somnians'. In short, body was the productive + power suspended, and as it were, quenched in the product. This may be + rendered plainer by reflecting, that, in the pure Semitic scheme there are + four terms introduced in the solution of the problem, + </p> + <p> + 1. the beginning, self-sufficing, and immutable Creator; + </p> + <p> + 2. the antecedent night as the identity, or including germ, of the light + and darkness, that is, gravity; + </p> + <p> + 3. the chaos; and + </p> + <p> + 4. the material world resulting from the powers communicated by the divine + 'fiat'. In the Phoenician scheme there are in fact but two—a + self-organizing chaos, and the omniforrn nature as the result. In the + Greek scheme we have three terms, 1. the 'hyle', {Greek: hulae}, which + holds the place of the chaos, or the waters, in the true system; 2. + {Greek: ta s<i>omata</i>}, answering to the Mosaic heaven and earth; and + 3. the Saturnian {Greek: chronoi huperchonioi},—which answer to the + antecedent darkness of the Mosaic scheme, but to which the elder + physico-theologists attributed a self-polarizing power—a 'natura + gemina quæ fit et facit, agit et patitur'. In other words, the 'Elohim' of + the Greeks were still but a 'natura deorum', {Greek: to theion}, in which + a vague plurality adhered; or if any unity was imagined, it was not + personal—not a unity of excellence, but simply an expression of the + negative—that which was to pass, but which had not yet passed, into + distinct form. + </p> + <p> + All this will seem strange and obscure at first reading,—perhaps + fantastic. But it will only seem so. Dry and prolix, indeed, it is to me + in the writing, full as much as it can be to others in the attempt to + understand it. But I know that, once mastered, the idea will be the key to + the whole cypher of the Æschylean mythology. The sum stated in the terms + of philosophic logic is this: First, what Moses appropriated to the chaos + itself: what Moses made passive and a 'materia subjecta et lucis et + tenebrarum', the containing {Greek: prothemenon} of the 'thesis' and + 'antithesis';—this the Greek placed anterior to the chaos;—the + chaos itself being the struggle between the 'hyperchronia', the {Greek: + ideai pronomoi}, as the unevolved, unproduced, 'prothesis', of which + {Greek: idea kai nomos}—(idea and law)—are the 'thesis' and + 'antithesis'. (I use the word 'produced' in the mathematical sense, as a + point elongating itself to a bipolar line.) Secondly, what Moses + establishes, not merely as a transcendant 'Monas', but as an individual + {Greek: Henas} likewise;—this the Greek took as a harmony, {Greek: + Theoi hathanatoi, to theion}, as distinguished from {Greek: o Theos}—or, + to adopt the more expressive language of the Pythagoreans and cabalists + 'numen numerantis'; and these are to be contemplated as the identity. + </p> + <p> + Now according to the Greek philosopheme or 'mythus', in these, or in this + identity, there arose a war, schism, or division, that is, a polarization + into thesis and antithesis. In consequence of this schism in the {Greek: + to theion}, the 'thesis' becomes 'nomos', or law, and the 'antithesis' + becomes 'idea', but so that the 'nomos' is 'nomos', because, and only + because, the 'idea' is 'idea': the 'nomos' is not idea, only because the + idea has not become 'nomos'. And this 'not' must be heedfully borne in + mind through the whole interpretation of this most profound and pregnant + philosopheme. The 'nomos' is essentially idea, but existentially it is + idea 'substans', that is, 'id quod stat subtus', understanding 'sensu + generalissimo'. The 'idea', which now is no longer idea, has substantiated + itself, become real as opposed to idea, and is henceforward, therefore, + 'substans in substantiato'. The first product of its energy is the thing + itself: 'ipsa se posuit et jam facta est ens positum'. Still, however, its + productive energy is not exhausted in this product, but overflows, or is + effluent, as the specific forces, properties, faculties, of the product. + It reappears, in short, in the body, as the function of the body. As a + sufficient illustration, though it cannot be offered as a perfect + instance, take the following. + </p> +<pre xml:space="preserve"> + 'In the world we see every where evidences of a unity, which the + component parts are so far from explaining, that they necessarily + presuppose it as the cause and condition of their existing as those + parts, or even of their existing at all. This antecedent unity, or + cause and principle of each union, it has since the time of Bacon and + Kepler, been customary to call a law. This crocus, for instance, or + any flower the reader may have in sight or choose to bring before his + fancy;—that the root, stem, leaves, petals, &c. cohere as one plant, + is owing to an antecedent power or principle in the seed, which + existed before a single particle of the matters that constitute the + size and visibility of the crocus had been attracted from the + surrounding soil, air, and moisture. Shall we turn to the seed? Here + too the same necessity meets us, an antecedent unity (I speak not of + the parent plant, but of an agency antecedent in order of operance, + yet remaining present as the conservative and reproductive power,) + must here too be supposed. Analyze the seed with the finest tools, and + let the solar microscope come in aid of your senses,—what do you + find?—means and instruments, a wondrous fairy-tale of nature, + magazines of food, stores of various sorts, pipes, spiracles, + defences,—a house of many chambers, and the owner and inhabitant + invisible.'{4} +</pre> + <p> + Now, compare a plant, thus contemplated, with an animal. In the former, + the productive energy exhausts itself, and as it were, sleeps in the + product or 'organismus'—in its root, stem, foliage, blossoms, seed. + Its balsams, gums, resins, 'aromata', and all other bases of its sensible + qualities, are, it is well known, mere excretions from the vegetable, + eliminated, as lifeless, from the actual plant. The qualities are not its + properties, but the properties, or far rather, the dispersion and + volatilization of these extruded and rejected bases. But in the animal it + is otherwise. Here the antecedent unity—the productive and + self-realizing idea—strives, with partial success to re-emancipate + itself from its product, and seeks once again to become 'idea': vainly + indeed: for in order to this, it must be retrogressive, and it hath + subjected itself to the fates, the evolvers of the endless thread—to + the stern necessity of progression. 'Idea' itself it cannot become, but it + may in long and graduated process, become an image, an ANALOGON, an + anti-type of IDEA. And this {Greek: eid<i>olon</i>} may approximate to a + perfect likeness. 'Quod est simile, nequit esse idem'. Thus, in the lower + animals, we see this process of emancipation commence with the + intermediate link, or that which forms the transition from properties to + faculties, namely, with sensation. Then the faculties of sense, + locomotion, construction, as, for instance, webs, hives, nests, &c. + Then the functions; as of instinct, memory, fancy, instinctive + intelligence, or understanding, as it exists in the most intelligent + animals. Thus the idea (henceforward no more idea, but irrecoverable by + its own fatal act) commences the process of its own transmutation, as + 'substans in substantiato', as the 'enteleche', or the 'vis formatrix', + and it finishes the process as 'substans e substantiato', that is, as the + understanding. + </p> + <p> + If, for the purpose of elucidating this process, I might be allowed to + imitate the symbolic language of the algebraists, and thus to regard the + successive steps of the process as so many powers and dignities of the + 'nomos' or law, the scheme would be represented thus {N^1 represents N + superscript 1, i.e. N to the power of 1. text Ed.}:— + </p> +<pre xml:space="preserve"> + Nomos^1 = Product: + N^2 = Property: + N^3 = Faculty: + N^4 = Function: + N^5 = Understanding;— +</pre> + <p> + which is, indeed, in one sense, itself a 'nomos', inasmuch as it is the + index of the 'nomos', as well as its highest function; but, like the hand + of a watch, it is likewise a 'nomizomenon'. It is a verb, but still a verb + passive. + </p> + <p> + On the other hand, idea is so far co-essential with 'nomos', that by its + co-existence—(not confluence)—with the 'nomos' {Greek: hen + nomizomenois} (with the 'organismus' and its faculties and functions in + the man,) it becomes itself a 'nomos'. But, observe, a 'nomos autonomos', + or containing its law in itself likewise;—even as the 'nomos' + produces for its highest product the understanding, so the idea, in its + opposition and, of course, its correspondence to the 'nomos', begets in + itself an 'analogon' to product; and this is self-consciousness. But as + the product can never become idea, so neither can the idea (if it is to + remain idea) become or generate a distinct product. This 'analogon' of + product is to be itself; but were it indeed and substantially a product, + it would cease to be self. It would be an object for a subject, not (as it + is and must be) an object that is its own subject, and 'vice versa'; a + conception which, if the uncombining and infusile genius of our language + allowed it, might be expressed by the term subject-object. Now, idea, + taken in indissoluble connection with this 'analogon' of product is mind, + that which knows itself, and the existence of which may be inferred, but + cannot appear or become a 'phænomenon'. + </p> + <p> + By the benignity of Providence, the truths of most importance in + themselves, and which it most concerns us to know, are familiar to us, + even from childhood. Well for us if we do not abuse this privilege, and + mistake the familiarity of words which convey these truths for a clear + understanding of the truths themselves! If the preceding disquisition, + with all its subtlety and all its obscurity, should answer no other + purpose, it will still have been neither purposeless, nor devoid of + utility, should it only lead us to sympathize with the strivings of the + human intellect, awakened to the infinite importance of the inward oracle + {Greek: gn<i>othi</i> seauton}—and almost instinctively shaping its + course of search in conformity with the Platonic intimation:—{Greek: + psuchaes phusin haxi<i>os</i> logou katanoaesai oiei dunaton einai, haneu + aes tou holou phuse<i>os</i>}; but be this as it may, the ground work of + the Æschylean 'mythus' is laid in the definition of idea and law, as + correlatives that mutually interpret each the other;—an idea, with + the adequate power of realizing itself being a law, and a law considered + abstractedly from, or in the absence of, the power of manifesting itself + in its appropriate product being an idea. Whether this be true philosophy, + is not the question. The school of Aristotle would, of course, deny, the + Platonic affirm it; for in this consists the difference of the two + schools. Both acknowledge ideas as distinct from the mere generalizations + from objects of sense: both would define an idea as an 'ens rationale', to + which there can be no adequate correspondent in sensible experience. But, + according to Aristotle, ideas are regulative only, and exist only as + functions of the mind:—according to Plato, they are constitutive + likewise, and one in essence with the power and life of nature;—{Greek: + hen log'o z'oae aen, kai hae z'oae haen to ph'os t'on anthr'op'on}. And + this I assert, was the philosophy of the mythic poets, who, like Æschylus, + adapted the secret doctrines of the mysteries as the (not always safely + disguised) antidote to the debasing influences of the religion of the + state. + </p> + <p> + But to return and conclude this preliminary explanation. We have only to + substitute the term will, and the term constitutive power, for <i>nomos</i> + or law, and the process is the same. Permit me to represent the identity + or 'prothesis' by the letter Z and the 'thesis' and 'antithesis' by X and + Y respectively. Then I say X by not being Y, but in consequence of being + the correlative opposite of Y, is will; and Y, by not being X, but the + correlative and opposite of X, is nature,—'natura naturans', {Greek: + no<i>mos physiko</i>s}. Hence we may see the necessity of contemplating + the idea now as identical with the reason, and now as one with the will, + and now as both in one, in which last case I shall, for convenience sake, + employ the term 'Nous', the rational will, the practical reason. + </p> + <p> + We are now out of the holy jungle of transcendental mataphysics; if + indeed, the reader's patience shall have had strength and persistency + enough to allow me to exclaim— + </p> +<pre xml:space="preserve"> + Ivimus ambo + Per densas umbras: at tenet umbra Deum. +</pre> + <p> + Not that I regard the foregoing as articles of faith, or as all true;—I + have implied the contrary by contrasting it with, at least, by shewing its + disparateness from, the Mosaic, which, 'bona fide', I do regard as the + truth. But I believe there is much, and profound, truth in it, 'supra + captum {Greek: psilosoph'on}, qui non agnoscunt divinum, ideoque nec + naturam, nisi nomine, agnoscunt; sed res cunctas ex sensuali corporeo + cogitant, quibus hac ex causa interiora clausa manent, et simul cum illis + exteriora quæ proxima interioribus sunt'! And with no less confidence do I + believe that the positions above given, true or false, are contained in + the Promethean 'mythus'. + </p> + <p> + In this 'mythus', Jove is the impersonated representation or symbol of the + 'nomos'—'Jupiter est quodcunque vides'. He is the 'mens agitans + molem', but at the same time, the 'molem corpoream ponens et constituens'. + And so far the Greek philosopheme does not differ essentially from the + cosmotheism, or identification of God with the universe, in which + consisted the first apostacy of mankind after the flood, when they + combined to raise a temple to the heavens, and which is still the favored + religion of the Chinese. Prometheus, in like manner, is the impersonated + representative of Idea, or of the same power as Jove, but contemplated as + independent and not immersed in the product,—as law 'minus' the + productive energy. As such it is next to be seen what the several + significances of each must or may be according to the philosophic + conception; and of which significances, therefore, should we find in the + philosopheme a correspondent to each, we shall be entitled to assert that + such are the meanings of the fable. And first of Jove:— + </p> + <p> + Jove represents + </p> + <p> + 1. 'Nomos' generally, as opposed to Idea or 'Nous': + </p> + <p> + 2. 'Nomos archinomos', now as the father, now as the sovereign, and now as + the includer and representative of the 'nomoi ouoanioi kosmikoi', or 'dii + majores', who, had joined or come over to Jove in the first schism: + </p> + <p> + 3. 'Nomos damnaetaes'—the subjugator of the spirits, of the {Greek: + ideai pronomoi}, who, thus subjugated, became '{Greek: nomoi huponomioi + hupospondoi}, Titanes pacati, dii minores', that is, the elements + considered as powers reduced to obedience under yet higher powers than + themselves: + </p> + <p> + 4. 'Nomos {Greek: politikos}', law in the Pauline sense, '{Greek: nomos + allotrionomos}' in antithesis to '{Greek: nomos autonomos}'. + </p> + <p> + {Footnote 1: The Act meant is probably the 5. Eliz. c. 20, enforcing the + two previous Acts of Henry VIII. and Philip and Mary, and reciting that + natural born Englishmen had 'become of the fellowship of the said + vagabonds, by transforming or disguising themselves in their apparel,' + &c.—Ed.} + </p> + <p> + {Footnote 2: Mr. Coleridge was in the constant habit of expressing himself + on paper by the algebraic symbols. They have an uncouth look in the text + of an ordinary essay, and I have sometimes ventured to render them by the + equivalent words. But most of the readers of these volumes will know that—means + 'less by', or,' without'; + 'more by', or,' in addition to'; = 'equal to', + or, 'the same as'.—Ed}. + </p> + <p> + {Footnote 3: Friend, III. Essay, 9.} + </p> + <p> + {Footnote 4: Aids to Reflection. Moral and Religious Aphorisms. Aphorism + VI. Ed.} + </p> + <h3> + COROLLARY. + </h3> + <p> + It is in this sense that Jove's jealous, ever-quarrelsome, spouse + represents the political sacerdotal 'cultus', the church, in short, of + republican paganism;—a church by law established for the mere + purposes of the particular state, unennobled by the consciousness of + instrumentality to higher purposes;—at once unenlightened and + unchecked by revelation. Most gratefully ought we to acknowledge that + since the completion of our constitution in 1688, we may, with + unflattering truth, elucidate the spirit and character of such a church by + the contrast of the institution, to which England owes the larger portion + of its superiority in that, in which alone superiority is an unmixed + blessing,—the diffused cultivation of its inhabitants. But + previously to this period, I shall offend no enlightened man if I say + without distinction of parties—'intra muros peccatur et extra';—that + the history of Christendom presents us with too many illustrations of this + Junonian jealousy, this factious harrassing of the sovereign power as soon + as the latter betrayed any symptoms of a disposition to its true policy, + namely, to privilege and perpetuate that which is best,—to tolerate + the tolerable,—and to restrain none but those who would restrain + all, and subjugate even the state itself. But while truth extorts this + confession, it, at the same time, requires that it should be accompanied + by an avowal of the fact, that the spirit is a relic of Paganism; and with + a bitter smile would an Æschylus or a Plato in the shades, listen to a + Gibbon or a Hume vaunting the mild and tolerant spirit of the state + religions of ancient Greece or Rome. Here we have the sense of Jove's + intrigues with Europa, Io, &c. whom the god, in his own nature a + general lover, had successively taken under his protection. And here, too, + see the full appropriateness of this part of the 'mythus', in which symbol + fades away into allegory, but yet in reference to the working cause, as + grounded in humanity, and always existing either actually or potentially, + and thus never ceases wholly to be a symbol or tautegory. + </p> + <p> + Prometheus represents, + </p> + <p> + 1. 'sensu generali', Idea {Greek: pronomos,} and in this sense he is a + {Greek: 'theos homophulos'}, a fellow-tribesman both of the 'dii majores', + with Jove at their head, and of the Titans or 'dii pacati': + </p> + <p> + 2. He represents Idea {Greek: 'philonomos, nomodeiktaes';} and in this + sense the former friend and counsellor of Jove or 'Nous uranius': + </p> + <p> + 3. {Greek: 'Logos philanthr'opos',} the divine humanity, the humane God, + who retained unseen, kept back, or (in the 'catachresis' characteristic of + the Phoenicio-Grecian mythology) stole, a portion or 'ignicula from the + living spirit of law, which remained with the celestial gods unexpended + {Greek: en t<i>o</i> nomizesthai.} He gave that which, according to the + whole analogy of things, should have existed either as pure divinity, the + sole property and birth-right of the 'Dii Joviales', the 'Uranions', or + was conceded to inferior beings as a 'substans in substantiato'. This + spark divine Prometheus gave to an elect, a favored animal, not as a + 'substans' or understanding, commensurate with, and confined by, the + constitution and conditions of this particular organism, but as 'aliquid + superstans, liberum, non subactum, invictum, impacatum, {Greek: mae + nouizomenon.} This gift, by which we are to understand reason theoretical + and practical, was therefore a {Greek: 'nomos autonomus'}—unapproachable + and unmodifiable by the animal basis—that is, by the pre-existing + 'substans' with its products, the animal 'organismus' with its faculties + and functions; but yet endowed with the power of potentiating, ennobling, + and prescribing to, the substance; and hence, therefore, a {Greek: nomos + nomopeithaes,} lex legisuada': + </p> + <p> + 4. By a transition, ordinary even in allegory, and appropriate to mythic + symbol, but especially significant in the present case—the + transition, I mean, from the giver to the gift—the giver, in very + truth, being the gift, 'whence the soul receives reason; and reason is her + being,' says our Milton. Reason is from God, and God is reason, 'mens + ipsissima'. + </p> + <p> + 5. Prometheus represents, {Greek: nous en anthr'op'o—nous + ag'onistaes}'. Thus contemplated, the 'Nous' is of necessity, powerless; + for, all power, that is, productivity, or productive energy, is in Law, + that is, {Greek: nomos allotrionomos}:{1} still, however, the Idea in the + Law, the 'numerus numerans' become {Greek: nomos}, is the principle of the + Law; and if with Law dwells power, so with the knowledge or the Idea + 'scientialis' of the Law, dwells prophecy and foresight. A perfect + astronomical time-piece in relation to the motions of the heavenly bodies, + or the magnet in the mariner's compass in relation to the magnetism of the + earth, is a sufficient illustration. + </p> + <p> + 6. Both {Greek: nomos} and Idea (or 'Nous') are the 'verbum'; but, as in + the former, it is 'verbum fiat' 'the Word of the Lord,'—in the + latter it must be the 'verbum fiet', or, 'the Word of the Lord in the + mouth of the prophet.' 'Pari argumento', as the knowledge is therefore not + power, the power is not knowledge. The {Greek: nomos}, the {Greek: Zeus + pantokrat'or}, seeks to learn, and, as it were, to wrest the secret, the + hateful secret, of his own fate, namely, the transitoriness adherent to + all antithesis; for the identity or the absolute is alone eternal. This + secret Jove would extort from the 'Nous', or Prometheus, which is the + sixth representment of Prometheus. + </p> + <p> + 7. Introduce but the least of real as opposed to 'ideal', the least speck + of positive existence, even though it were but the mote in a sun beam, + into the sciential 'contemplamen' or theorem, and it ceases to be science. + 'Ratio desinit esse pura ratio et fit discursus, stat subter et fit + {Greek: hypothetikon}:—non superstat'. The 'Nous' is bound to a + rock, the immovable firmness of which is indissolubly connected with its + barrenness, its non-productivity. Were it productive it would be 'Nomos'; + but it is 'Nous', because it is not 'Nomos'. + </p> + <p> + 8. Solitary {Greek: abat<i>o</i> en eraemia}. Now I say that the 'Nous', + notwithstanding its diversity from the 'Nomizomeni', is yet, relatively to + their supposed original essence, {Greek: pasi tois nomizomenois + tantogenaes}, of the same race or 'radix': though in another sense, + namely, in relation to the {Greek: pan theion}—the pantheistic + 'Elohim', it is conceived anterior to the schism, and to the conquest and + enthronization of Jove who succeeded. Hence the Prometheus of the great + tragedian is {Greek: theos suggenaes}. The kindred deities come to him, + some to soothe, to condole; others to give weak, yet friendly, counsels of + submission; others to tempt, or insult. The most prominent of the latter, + and the most odious to the imprisoned and insulated 'Nous', is Hermes, the + impersonation of interest with the entrancing and serpentine 'Caduceus', + and, as interest or motives intervening between the reason and its + immediate self-determinations, with the antipathies to the {Greek: nomos + autonomos}. The Hermes impersonates the eloquence of cupidity, the + cajolement of power regnant; and in a larger sense, custom, the irrational + in language, {Greek: rhaemata ta rhaetorika}, the fluent, from {Greek: + rheo}—the rhetorical in opposition to {Greek: logoi, ta noaeta}. + But, primarily, the Hermes is the symbol of interest. He is the messenger, + the inter-nuncio, in the low but expressive phrase, the go-between, to + beguile or insult. And for the other visitors of Prometheus, the + elementary powers, or spirits of the elements, 'Titanes pacati', {Greek: + theoi huponomioi}, vassal potentates, and their solicitations, the noblest + interpretation will be given, if I repeat the lines of our great + contemporary poet:— + </p> +<pre xml:space="preserve"> + Earth fills her lap with pleasures of her own: + Yearnings she hath in her own natural kind, + And e'en with something of a mother's mind, + And no unworthy aim, The homely nurse doth all she can + To make her foster-child, her inmate, Man + Forget the glories he hath known + And that imperial palace whence he came:— + + WORDSWORTH. +</pre> + <p> + which exquisite passage is prefigured in coarser clay, indeed, and with a + less lofty spirit, but yet excellently in their kind, and even more + fortunately for the illustration and ornament of the present commentary, + in the fifth, sixth, and seventh stanzas of Dr. Henry More's poem on the + Pre-existence of the Soul:— + </p> +<pre xml:space="preserve"> + Thus groping after our own center's near + And proper substance, we grew dark, contract, + Swallow'd up of earthly life! Ne what we were + Of old, thro' ignorance can we detect. + Like noble babe, by fate or friends' neglect + Left to the care of sorry salvage wight, + Grown up to manly years cannot conject + His own true parentage, nor read aright + What father him begot, what womb him brought to light. + + So we, as stranger infants elsewhere born, + Cannot divine from what spring we did flow; + Ne dare these base alliances to scorn, + Nor lift ourselves a whit from hence below; + Ne strive our parentage again to know, + Ne dream we once of any other stock, + Since foster'd upon Rhea's {1} knees we grow, + In Satyrs' arms with many a mow and mock + Oft danced; and hairy Pan our cradle oft hath rock'd! + + But Pan nor Rhea be our parentage! + We been the offspring of the all seeing Nous, &c. +</pre> + <p> + To express the supersensual character of the reason, its abstraction from + sensation, we find the Prometheus {Greek: aterpae}—while in the + yearnings accompanied with the remorse incident to, and only possible in + consequence of the Nous being, the rational, self-conscious, and therefore + responsible will, he is {Greek: gupi diaknaiomenos} + </p> + <p> + If to these contemplations we add the control and despotism exercised on + the free reason by Jupiter in his symbolical character, as {Greek: nomos + politikos};—by custom (Hermes); by necessity, {Greek: bia kai + kratos};—by the mechanic arts and powers, {Greek: suggeneis t<i>o</i> + No<i>o</i>} though they are, and which are symbolized in Hephaistos,—we + shall see at once the propriety of the title, Prometheus, {Greek: + desmotaes}. + </p> + <p> + 9. Nature, or 'Zeus' as the {Greek: nomos en nomizomenois}, knows herself + only, can only come to a knowledge of herself, in man! And even in man, + only as man is supernatural, above nature, noetic. But this knowledge man + refuses to communicate; that is, the human understanding alone is at once + self-conscious and conscious of nature. And this high prerogative it owes + exclusively to its being an assessor of the reason. Yet even the human + understanding in its height of place seeks vainly to appropriate the ideas + of the pure reason, which it can only represent by 'idola'. Here, then, + the 'Nous' stands as Prometheus {Greek: antipalos}, 'renuens'—in + hostile opposition to Jupitor 'Inquisitor'. + </p> + <p> + 10. Yet finally, against the obstacles and even under the fostering + influences of the 'Nomos', {Greek: tou nomimou}, a son of Jove himself, + but a descendant from Io, the mundane religion, as contra-distinguished + from the sacerdotal 'cultus', or religion of the state, an Alcides + 'Liberator' will arise, and the 'Nous', or divine principle in man, will + be Prometheus {Greek: heleutheromenos}. + </p> + <p> + Did my limits or time permit me to trace the persecutions, wanderings, and + migrations of the Io, the mundane religion, through the whole map marked + out by the tragic poet, the coincidences would bring the truth, the + unarbitrariness, of the preceding exposition as near to demonstration as + can rationally be required on a question of history, that must, for the + greater part, be answered by combination of scattered facts. But this part + of my subject, together with a particular exemplification of the light + which my theory throws both on the sense and the beauty of numerous + passages of this stupendous poem, I must reserve for a future + communication. + </p> + <h3> + NOTES. {3} + </h3> + <p> + v. 15. {Greek: pharaggi}:—'in a coomb, or combe.' v. 17. {Greek: + ex'oriazein gar patros logous baru}. {Greek: euoriazein}, as the editor + confesses, is a word introduced into the text against the authority of all + editions and manuscripts. I should prefer {Greek: ex'oriazein}, + notwithstanding its being a {Greek: hapax legomenon}. The {Greek: eu}—seems + to my tact too free and easy a word;—and yet our 'to trifle with' + appears the exact meaning. + </p> + <p> + {Footnote 1: I scarcely need say, that I use the word {Greek: + allotrionomos} as a participle active, as exercising law on another, not + as receiving law from another, though the latter is the classical force (I + suppose) of the word.} + </p> + <p> + {Footnote 2: Rhea (from {Greek: rheo}, 'fluo'), that is, the earth as the + transitory, the ever-flowing nature, the flux and sum of 'phenomena', or + objects of the outward sense, in contradistinction from the earth as + Vesta, as the firmamental law that sustains and disposes the apparent + world! The Satyrs represent the sports and appetences of the sensuous + nature ({Greek: phronaema sarkos})—Pan, or the total life of the + earth, the presence of all in each, the universal 'organismus' of bodies + and bodily energy.} + </p> + <p> + {Footnote 3: Written in Bp. Blomfield's edition, and communicated by Mr. + Cary. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0088" id="link2H_4_0088"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE ON CHALMERS'S LIFE OF DANIEL. + </h2> +<pre xml:space="preserve"> + The justice of these remarks cannot be disputed, though some of them + are rather too figurative for sober criticism. +</pre> + <p> + Most genuine! A figurative remark! If this strange writer had any meaning, + it must be:—Headly's criticism is just throughout, but conveyed in a + style too figurative for prose composition. Chalmers's own remarks are + wholly mistaken;—too silly for any criticism, drunk or sober, and in + language too flat for any thing. In Daniel's Sonnets there is scarcely one + good line; while his Hymen's Triumph, of which Chalmers says not one word, + exhibits a continued series of first-rate beauties in thought, passion, + and imagery, and in language and metre is so faultless, that the style of + that poem may without extravagance be declared to be imperishable English. + </p> + <h3> + 1820. + </h3> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0089" id="link2H_4_0089"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + BISHOP CORBET. + </h2> + <p> + I almost wonder that the inimitable humour, and the rich sound and + propulsive movement of the verse, have not rendered Corbet a popular poet. + I am convinced that a reprint of his poems, with illustrative and + chit-chat biographical notes, and cuts by Cruikshank, would take with the + public uncommonly well. September, 1823. + </p> + <h3> + NOTES ON SELDEN'S TABLE TALK. {1} + </h3> + <p> + There is more weighty bullion sense in this book, than I ever found in the + same number of pages of any uninspired writer. + </p> +<pre xml:space="preserve"> + OPINION. + + Opinion and affection extremely differ. I may affect a woman best, but + it does not follow I must think her the handsomest woman in the world. + ... Opinion is something wherein I go about to give reason why all the + world should think as I think. Affection is a thing wherein I look + after the pleasing of myself. +</pre> + <p> + Good! This is the true difference betwixt the beautiful and the agreeable, + which Knight and the rest of that {Greek: plaethos atheon} have so + beneficially confounded, 'meretricibus scilicet et Plutoni'. + </p> + <p> + O what an insight the whole of this article gives into a wise man's heart, + who has been compelled to act with the many, as one of the many! It + explains Sir Thomas More's zealous Romanism, &c. + </p> +<pre xml:space="preserve"> + PARLIAMENT. +</pre> + <p> + Excellent! O! to have been with Selden over his glass of wine, making + every accident an outlet and a vehicle of wisdom! + </p> +<pre xml:space="preserve"> + POETRY. + + The old poets had no other reason but this, their verse was, sung to + music; otherwise it had been a senseless thing to have fettered up + themselves. +</pre> + <p> + No one man can know all things: even Selden here talks ignorantly. Verse + is in itself a music, and the natural symbol of that union of passion with + thought and pleasure, which constitutes the essence of all poetry, as + contradistinguished from science, and distinguished from history civil or + natural. To Pope's Essay on Man,—in short, to whatever is mere + metrical good sense and wit, the remark applies. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Verse proves nothing but the quantity of syllables; they are not meant + for logic. +</pre> + <p> + True; they, that is, verses, are not logic; but they are, or ought to be, + the envoys and representatives of that vital passion, which is the + practical cement of logic; and without which logic must remain inert. + </p> + <p> + {Footnote 1: These remarks on Selden, Wheeler, and Birch, were + communicated by Mr. Gary. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0090" id="link2H_4_0090"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE ON THEOLOGICAL LECTURES OF BENJAMIN WHEELER, D. D. + </h2> +<pre xml:space="preserve"> + (Vol. I. p. 77.) + + A miracle, usually so termed, is the exertion of a supernatural power + in some act, and contrary to the regular course of nature, &c. +</pre> + <p> + Where is the proof of this as drawn from Scripture, from fact recorded, or + from doctrine affirmed? Where the proof of its logical possibility,—that + is, that the word has any representable sense? Contrary to 2x2=4 is 2x2=5, + or that the same fire acting at the same moment on the same subject should + burn it and not burn it. + </p> + <p> + The course of nature is either one with, or a reverential synonyme of, the + ever present divine agency; or it is a self-subsisting derivative from, + and dependent on, the divine will. In either case this author's assertion + would amount to a charge of self-contradiction on the Author of all + things. Before the spread of Grotianism, or the Old Bailey 'nolens volens' + Christianity, such language was unexampled. A miracle is either 'super + naturam', or it is simply 'praeter experientiam.' If nature be a + collective term for the sum total of the mechanic powers,—that is, + of the act first manifested to the senses in the conductor A, arriving at + Z by the sensible chain of intermediate conductors, B, C, D, &c.;—then + every motion of my arm is 'super naturam'. If this be not the sense, then + nature is but a wilful synonyme of experience, and then the first noticed + aerolithes, Sulzer's first observation of the galvanic arch, &c. must + have been miracles. + </p> + <p> + As erroneous as the author's assertions are logically, so false are they + historically, in the effect, which the miracles in and by themselves did + produce on those, who, rejecting the doctrine, were eye-witnesses of the + miracles;—and psychologically, in the effect which miracles, as + miracles, are calculated to produce on the human mind. Is it possible that + the author can have attentively studied the first two or three chapters of + St. John's gospel? + </p> + <p> + There is but one possible tenable definition of a miracle,—namely, + an immediate consequent from a heterogeneous antecedent. This is its + essence. Add the words, 'praeter experientiam adhuc', or 'id temporis', + and you have the full and popular or practical sense of the term miracle. + {1} + </p> + <p> + {Footnote A: See The Friend, Vol. III. Essay 2. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0091" id="link2H_4_0091"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE ON A SERMON ON THE PREVALENCE OF INFIDELITY AND ENTHUSIASM, BY WALTER + BIRCH, B. D. + </h2> + <p> + In the description of enthusiasm, the author has plainly had in view + individual characters, and those too in a light, in which they appeared to + him; not clear and discriminate ideas. Hence a mixture of truth and error, + of appropriate and inappropriate terms, which it is scarcely possible to + disentangle. Part applies to fanaticism; part to enthusiasm; and no small + portion of this latter to enthusiasm not pure, but as it exists in + particular men, modified by their imperfections—and bad because not + wholly enthusiasm. I regret this, because it is evidently the discourse of + a very powerful mind;—and because I am convinced that the disease of + the age is want of enthusiasm, and a tending to fanaticism. You may very + naturally object that the senses, in which I use the two terms, fanaticism + and enthusiasm, are private interpretations equally as, if not more than, + Mr. Birch's. They are so; but the difference between us is, that without + reference to either term, I have attempted to ascertain the existence and + diversity of two states of moral being; and then having found in our + language two words of very fluctuating and indeterminate use, indeed, but + the one word more frequently bordering on the one state, the other on the + other, I try to fix each to that state exclusively. And herein I follow + the practice of all scientific men, whether naturalists or metaphysicians, + and the dictate of common sense, that one word ought to have but one + meaning. Thus by Hobbes and others of the materialists, compulsion and + obligation were used indiscriminately; but the distinction of the two + senses is the condition of all moral responsibility. Now the effect of Mr. + Birch's use of the words is to continue the confusion. Remember we could + not reason at all, if our conceptions and terms were not more single and + definite than the things designated. Enthusiasm is the absorption of the + individual in the object contemplated from the vividness or intensity of + his conceptions and convictions: fanaticism is heat, or accumulation and + direction, of feeling acquired by contagion, and relying on the sympathy + of sect or confederacy; intense sensation with confused or dim + conceptions. Hence the fanatic can exist only in a crowd, from inward + weakness anxious for outward confirmation; and, therefore, an eager + proselyter and intolerant. The enthusiast, on the contrary, is a solitary, + who lives in a world of his own peopling, and for that cause is + disinclined to outward action. Lastly, enthusiasm is susceptible of many + degrees, (according to the proportionateness of the objects contemplated,) + from the highest grandeur of moral and intellectual being, even to + madness; but fanaticism is one and the same, and appears different only + from the manners and original temperament of the individual. There is a + white and a red heat; a sullen glow as well as a crackling flame; + cold-blooded as well as hot-blooded fanaticism. Enthusiasts, {Greek: + enthousiastai} from {Greek: entheos, ois ho theos enesi}, or possibly from + {Greek: en thusiais}, those who, in sacrifice to, or at, the altar of + truth or falsehood, are possessed by a spirit or influence mightier than + their own individuality. 'Fanatici-qui circum fana favorem mutuo + contrahunt el afflant'—those who in the same conventicle, or before + the same shrine, relique or image, heat and ferment by co-acervation. + </p> + <p> + I am fully aware that the words are used by the best writers + indifferently, but such must be the case in very many words in a composite + language, such as the English, before they are desynonymized. Thus + imagination and fancy; chronical and temporal, and many others. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0092" id="link2H_4_0092"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FÉNÉLON ON CHARITY.{1} + </h2> + <p> + NOTE to pages 196,197. + </p> + <p> + This chapter is plausible, shewy, insinuating, and (as indeed is the + character of the whole work) 'makes the amiable.' To many,—to myself + formerly,—it has appeared a mere dispute about words: but it is by + no means of so harmless a character, for it tends to give a false + direction to our thoughts, by diverting the conscience from the ruined and + corrupted state, in which we are without Christ. Sin is the disease. What + is the remedy? What is the antidote?—Charity?—Pshaw! Charity + in the large apostolic sense of the term is the health, the state to be + obtained by the use of the remedy, not the sovereign balm itself,—faith + of grace,—faith in the God-manhood, the cross, the mediation, and + perfected righteousness, of Jesus, to the utter rejection and abjuration + of all righteousness of our own! Faith alone is the restorative. The + Romish scheme is preposterous;—it puts the rill before the spring. + Faith is the source,—charity, that is, the whole Christian life, is + the stream from it. It is quite childish to talk of faith being imperfect + without charity. As wisely might you say that a fire, however bright and + strong, was imperfect without heat, or that the sun, however cloudless, + was imperfect without beams. The true answer would be:—it is not + faith,—but utter reprobate faithlessness, which may indeed very + possibly coexist with a mere acquiescence of the understanding in certain + facts recorded by the Evangelists. But did John, or Paul, or Martin + Luther, ever flatter this barren belief with the name of saving faith? No. + Little ones! Be not deceived. Wear at your bosoms that precious amulet + against all the spells of antichrist, the 20th verse of the 2nd chapter of + Paul's Epistle to the Galatians:—'I am crucified with Christ, + nevertheless, I live; yet not I, but Christ liveth in me: and the life, + which I now live in the flesh, I live by the faith of the Son of God, who + loved me and gave himself for me'. + </p> + <p> + Thus we see even our faith is not ours in its origin: but is the faith of + the Son of God graciously communicated to us. Beware, therefore, that you + do not frustrate the grace of God: for if righteousness come by the Law, + then Christ is dead in vain. If, therefore, we are saved by charity, we + are saved by the keeping of the Law, which doctrine St. Paul declared to + be an apostacy from Christ, and a bewitching of the soul from the truth. + But, you will perhaps say, can a man be saved without charity?—The + answer is, a man without charity cannot be saved: the faith of the Son of + God is not in him. + </p> + <p> + {Footnote 1: Communicated by Mr. Gillman. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0093" id="link2H_4_0093"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHANGE OF THE CLIMATES. + </h2> + <p> + The character and circumstances of the animal and vegetable remains + discovered in the northern zone, in Siberia and other parts of Russia,—all + with scarcely an exception belonging to 'genera' that are now only found + in, and require, a tropical climate,—are such as receive no adequate + solution from the hypothesis of their having been casually floated + thither, and deposited, by the waters of a deluge, still less of the + Noachian deluge, as related and described by the great Hebrew historian + and legislator. In order to a full solution of this problem, two 'data' + are requisite: + </p> + <p> + 1. A total change of climate: + </p> + <p> + 2. That this change shall have been, not gradual, but sudden, + instantaneous, and incompatible with the life and subsistency of the + animals and vegetables in these high latitudes, at that period, and + previously, existing. + </p> + <p> + Now these 'data' or conditions will be afforded, if we assume a total + submersion of the surface of this planet, even of its highest mountains + then and now existing, by a sudden contemporaneous mass of waters, and + that the evaporation of these waters was aided by a steady wind, + especially adapted to this purpose in a peculiarly dry atmosphere, and was + (as it must of necessity have been) most rapid and intense at the equator + and within the tropics proportionally. For—as it has been + demonstrated by Dr. Wollaston's experiment, in which the evaporation, + occasioned by boiling water at the mid point of a line of water, froze the + fluid at the two ends, that is, at a given distance from the greatest + intensity of the evaporative process,—the effect of an evaporation + of the supposed power and rapidity would be to produce at certain + distances from the 'maximum' point, north and south, a vast barrier of + ice,—such as having once taken place, and being of such mass and + magnitude as to be only in a small degree diminishable by the ensuing + summer, must have become permanent, and beyond the power of all the known + and ordinary dissolving agents of nature. That the situation of the + magnetic poles of the earth, and the almost certain connection of + magnetism with cold, no less than with metallic cohesion, co-operated in + determining the distance of the barriers, or two poles, of evaporation, + from its centre or the 'maximum' of its activity, is highly probable, and + receives a strong confirmation from the open sea and diminished cold, both + at the north and south zones, on the ulterior of the barrier, and towards + the true or physical poles of the earth. + </p> + <p> + Now the action of a powerful co-agent in the evaporative process, such as + is assumed in this hypothesis, is a fact of history. 'And God remembered + Noah, and every living thing, and all the cattle that was with him in the + ark: and God made a wind to pass over the earth, and the waters assuaged'. + Gen. viii. 1. I do not recollect the Hebrew word rendered 'assuaged;' but + I will consult my learned friend Hyman Hurwitz on its radical, and its + primary sense. At all events, the note by Pyle in Drs. Mant and D'Oyly's + Bible is arbitrary, though excusable by the state of chemical science in + his time. + </p> + <p> + The problem of the multitude of 'genera' of animals, and their several + exclusive acclimatements at the present period may, likewise, I persuade + myself, receive a probable solution by an hypothesis legitimated by known + laws and fair analogies. But of this hereafter. + </p> + <h3> + 1823. + </h3> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0094" id="link2H_4_0094"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + WONDERFULNESS OF PROSE. + </h2> + <p> + It has just struck my feelings that the Pherecydean origin of prose being + granted, prose must have struck men with greater admiration than poetry. + In the latter, it was the language of passion and emotion: it is what they + themselves spoke and heard in moments of exultation, indignation, &c. + But to hear an evolving roll, or a succession of leaves, talk continually + the language of deliberate reason in a form of continued preconception, of + a 'Z' already possessed when 'A' was being uttered,—this must have + appeared godlike. I feel myself in the same state, when in the perusal of + a sober, yet elevated and harmonious, succession of sentences and periods, + I abstract my mind from the particular passage, and sympathize with the + wonder of the common people who say of an eloquent man:—'He talks + like a book!' + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0095" id="link2H_4_0095"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON TOM JONES. {1} + </h2> + <p> + Manners change from generation to generation, and with manners morals + appear to change,—actually change with some, but appear to change + with all but the abandoned. A young man of the present day who should act + as Tom Jones is supposed to act at Upton, with Lady Bellaston, &c. + would not be a Tom Jones; and a Tom Jones of the present day, without + perhaps being in the ground a better man, would have perished rather than + submit to be kept by a harridan of fortune. Therefore this novel is, and, + indeed, pretends to be, no exemplar of conduct. But, notwithstanding all + this, I do loathe the cant which can recommend Pamela and Clarissa Harlowe + as strictly moral, though they poison the imagination of the young with + continued doses of 'tinct. lyttae', while Tom Jones is prohibited as + loose. I do not speak of young women;—but a young man whose heart or + feelings can be injured, or even his passions excited, by aught in this + novel, is already thoroughly corrupt. There is a cheerful, sun-shiny, + breezy spirit that prevails everywhere, strongly contrasted with the + close, hot, day-dreamy continuity of Richardson. Every indiscretion, every + immoral act, of Tom Jones, (and it must be remembered that he is in every + one taken by surprise—his inward principles remaining firm—) + is so instantly punished by embarrassment and unanticipated evil + consequences of his folly, that the reader's mind is not left for a moment + to dwell or run riot on the criminal indulgence itself. In short, let the + requisite allowance be made for the increased refinement of our manners,—and + then I dare believe that no young man who consulted his heart and + conscience only, without adverting to what the world would say—could + rise from the perusal of Fielding's Tom Jones, Joseph Andrews, or Amelia, + without feeling himself a better man;—at least, without an intense + conviction that he could not be guilty of a base act. + </p> + <p> + If I want a servant or mechanic, I wish to know what he does:—but of + a friend, I must know what he is. And in no writer is this momentous + distinction so finely brought forward as by Fielding. We do not care what + Blifil does;—the deed, as separate from the agent, may be good or + ill;—but Blifil is a villain;—and we feel him to be so from + the very moment he, the boy Blifil, restores Sophia's poor captive bird to + its native and rightful liberty. + </p> + <p> + Book xiv. ch. 8. + </p> +<pre xml:space="preserve"> + Notwithstanding the sentiment of the Roman satirist, which denies the + divinity of fortune; and the opinion of Seneca to the same purpose; + Cicero, who was, I believe, a wiser man than either of them, expressly + holds the contrary; and certain it is there are some incidents in life + so very strange and unaccountable, that it seems to require more than + human skill and foresight in producing them. +</pre> + <p> + Surely Juvenal, Seneca, and Cicero, all meant the same thing, namely, that + there was no chance, but instead of it providence, either human or divine. + </p> + <p> + Book xv. ch. 9. + </p> +<pre xml:space="preserve"> + The rupture with Lady Bellaston. +</pre> + <p> + Even in the most questionable part of Tom Jones, I cannot but think, after + frequent reflection, that an additional paragraph, more fully and forcibly + unfolding Tom Jones's sense of self-degradation on the discovery of the + true character of the relation in which he had stood to Lady Bellaston, + and his awakened feeling of the dignity of manly chastity, would have + removed in great measure any just objections, at all events relatively to + Fielding himself, and with regard to the state of manners in his time. + </p> + <p> + Book xvi. ch. 5. + </p> +<pre xml:space="preserve"> + That refined degree of Platonic affection which is absolutely detached + from the flesh, and is indeed entirely and purely spiritual, is a gift + confined to the female part of the creation; many of whom I have heard + declare (and doubtless with great truth) that they would, with the + utmost readiness, resign a lover to a rival, when such resignation was + proved to be necessary for the temporal interest of such lover. +</pre> + <p> + I firmly believe that there are men capable of such a sacrifice, and this, + without pretending to, or even admiring or seeing any virtue in, this + absolute detachment from the flesh. + </p> + <p> + {Footnote 1: Communicated by Mr. Gillman, Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0096" id="link2H_4_0096"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + JONATHAN WILD. {1} + </h2> + <p> + Jonathan Wild is assuredly the best of all the fictions in which a villain + is throughout the prominent character. But how impossible it is by any + force of genius to create a sustained attractive interest for such a + groundwork, and how the mind wearies of, and shrinks from, the more than + painful interest, the {Greek: mis<i>eton</i>}, of utter depravity,—Fielding + himself felt and endeavoured to mitigate and remedy by the (on all other + principles) far too large a proportion, and too quick recurrence, of the + interposed chapters of moral reflection, like the chorus in the Greek + tragedy,—admirable specimens as these chapters are of profound irony + and philosophic satire. Chap. VI. Book 2, on Hats,{Footnote 1}—brief + as it is, exceeds any thing even in Swift's Lilliput, or Tale of the Tub. + How forcibly it applies to the Whigs, Tories, and Radicals of our own + times. + </p> + <p> + Whether the transposition of Fielding's scorching wit (as B. III. c. xiv.) + to the mouth of his hero be objectionable on the ground of incredulus + odi', or is to be admired as answering the author's purpose by unrealizing + the story, in order to give a deeper reality to the truths intended,—I + must leave doubtful, yet myself inclining to the latter judgment. 27th + Feb. 1832. + </p> + <p> + {Footnote 1: Communicated by Mr. Gillman. Ed.} + </p> + <p> + {Footnote 2: 'In which our hero makes a speech well worthy to be + celebrated; and the behaviour of one of the gang, perhaps more unnatural + than any other part of this history.'} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0097" id="link2H_4_0097"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + BARRY CORNWALL.{1} + </h2> + <p> + Barry Cornwall is a poet, 'me saltem judice'; and in that sense of the + term, in which I apply it to C. Lamb and W. Wordsworth. There are poems of + great merit, the authors of which I should yet not feel impelled so to + designate. + </p> + <p> + The faults of these poems are no less things of hope, than the beauties; + both are just what they ought to be,—that is, now. + </p> + <p> + If B.C. be faithful to his genius, it in due time will warn him, that as + poetry is the identity of all other knowledges, so a poet cannot be a + great poet, but as being likewise inclusively an historian and naturalist, + in the light, as well as the life, of philosophy: all other men's worlds + are his chaos. + </p> + <p> + Hints 'obiter' are:— + </p> +<pre xml:space="preserve"> + not to permit delicacy and exquisiteness to seduce into effeminacy. + + Not to permit beauties by repetition to become mannerisms. + + To be jealous of fragmentary composition,—as epicurism of genius, and + apple-pie made all of quinces. + + 'Item', that dramatic poetry must be poetry hid in thought and + passion,—not thought or passion disguised in the dress of poetry. + + Lastly, to be economic and withholding in similies, figures, &c. They + will all find their place, sooner or later, each as the luminary of a + sphere of its own. There can be no galaxy in poetry, because it is + language,—'ergo' processive,—'ergo' every the smallest star must be + seen singly. +</pre> + <p> + There are not five metrists in the kingdom, whose works are known by me, + to whom I could have held myself allowed to have spoken so plainly. But + B.C. is a man of genius, and it depends on himself—(competence + protecting him from gnawing or distracting cares)—to become a + rightful poet,—that is, a great man. + </p> + <p> + Oh! for such a man worldly prudence is transfigured into the highest + spiritual duty! How generous is self-interest in him, whose true self is + all that is good and hopeful in all ages, as far as the language of + Spenser, Shakspeare, and Milton shall become the mother-tongue! + </p> + <p> + A map of the road to Paradise, drawn in Purgatory, on the confines of + Hell, by S.T.C. July 30, 1819. + </p> + <p> + {Footnote 1: Written in Mr. Lamb's copy of the 'Dramatic Scenes'. Ed.} + </p> + <h3> + THE PRIMITIVE CHRISTIAN'S ADDRESS TO THE CROSS. {1} + </h3> +<pre xml:space="preserve"> + O! That it were as it was wont to be, + When thy old friends of fire, all full of thee, + Fought against frowns with smiles; gave glorius chace + To persecutions; and against the face + Of death and fiercest dangers durst with brave + And sober pace march on to meet a grave! + On their bold breast about the world they bore thee, + And to the teeth of hell stood up to teach thee, + In centre of their inmost souls they wore thee, + Where racks and torments strove in vain to reach thee! + Powers of my soul, be proud, And speak aloud + To the dear-bought nations this redeeming name, + And in the wealth of one rich word proclaim + New smiles to nature! May it be no wrong, + Blest heavens! to you and your superior song, + That we, dark sons of dust and sorrow, Awhile dare borrow + The name of your delights and your desires, + And fit it to so far inferior lyres!—Our lispings have their music too, + Ye mighty orbs! as well as you; Nor yields the noblest nest + Of warbling cherubs to the ear of love, A melody above + The low fond murmurs from the loyal breast + Of a poor panting turtle dove. + We mortals too + Have leave to do + The same bright business, ye third heavens with you. +</pre> + <p> + {Footnote 1: This poem was found in Mr. Coleridge's hand-writing on a + sheet of paper with other passages undoubtedly of his own composition. + There is something, however, in it which leads me to think it transcribed + or translated from some other writer, though I have been unable from + recollection or inquiry to ascertain the fact. It is published here, + therefore, expressly under caution. Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0098" id="link2H_4_0098"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FULLER'S HOLY STATE. + </h2> + <p> + B.I.c.9. Life of Eliezer. + </p> +<pre xml:space="preserve"> + He will not truant it now in the afternoon, but with convenient speed + returns to Abraham, who onely was worthy of such a servant, who onely + was worthy of such a master. +</pre> + <p> + On my word, Eliezer did his business in an orderly and sensible manner; + but what there is to call forth this hyper-encomiastic—'who only'—I + cannot see. + </p> + <p> + B.II.c.3. Life of Paracelsus. It is matter of regret with me, that Fuller, + (whose wit, alike in quantity, quality, and perpetuity, surpassing that of + the wittiest in a witty age, robbed him of the praise not less due to him + for an equal superiority in sound, shrewd, good sense, and freedom of + intellect,) had not looked through the two Latin folios of Paracelsus's + Works. It is not to be doubted that a rich and delightful article would + have been the result. For who like Fuller could have brought out and set + forth, this singular compound of true philosophic genius with the morals + of a quack and the manners of a king of the gypsies! Nevertheless, + Paracelsus belonged to his age—the dawn of experimental science: and + a well written critique on his life and writings would present, through + the magnifying glass of a caricature, the distinguishing features of the + Helmonts, Kirchers, &c. in short, of the host of naturalists of the + sixteenth century. The period might begin with Paracelsus and end with Sir + Kenelm Digby. + </p> + <p> + N. B. The potential, ({Greek: Logos theanthropos}) the ground of the + prophetic, directed the first thinkers, (the 'Mystæ') to the metallic + bodies, as the key of all natural science. The then actual blended with + this instinct all the fancies and fond desires, and false perspective of + the childhood of intellect. The essence was truth, the form was folly: and + this is the definition of alchemy. Nevertheless the very terms bear + witness to the veracity of the original instinct. The world of sensible + experience cannot be more luminously divided than into the modifying + powers, {Greek: to allo},—that which differences, makes this other + than that; and the {Greek: met allo}—that which is beyond, or deeper + than the modification. 'Metallon' is strictly the base of the mode; and + such have the metals been determined to be by modern chemistry. And what + are now the great problems of chemistry? The difference of the metals + themselves, their origin, the causes of their locations, of their + co-existence in the same ore—as, for instance, iridium, osmium, + palladium, rhodium, and iron with platinum. Were these problems solved, + the results who dare limit? In addition to the 'méchanique céleste', we + might have a new department of astronomy, the 'chymie céleste', that is, a + philosophic astrology. And to this I do not hesitate to refer the whole + connection between alchemy and astrology, the same divinity in the idea, + the same childishness in the attempt to realize it. Nay, the very + invocations of spirits were not without a ground of truth. The light was + for the greater part suffocated and the rest fantastically refracted, but + still it was light struggling in the darkness. And I am persuaded, that to + the full triumph of science, it will be necessary that nature should be + commanded more spiritually than hitherto, that is, more directly in the + power of the will. + </p> + <p> + B. IV. c. 19. The Prince. + </p> +<pre xml:space="preserve"> + He sympathizeth with him that by a proxy is corrected for his offence. +</pre> + <p> + See Sir W. Scott's Fortunes of Nigel. In an oriental despotism one would + not have been surprised at finding such a custom, but in a Christian + court, and under the light of Protestantism, it is marvellous. It would be + well to ascertain, if possible, the earliest date of this contrivance; + whether it existed under the Plantagenets, or whether first under the + Tudors, or lastly, whether it was a precious import from Scotland with + gentle King Jamie. + </p> + <p> + Ib. c. 21. The King. + </p> +<pre xml:space="preserve"> + He is a mortal god. +</pre> + <p> + Compare the fulsome flattery of these and other passages in this volume + (though modest to the common language of James's priestly courtiers) with + the loyal but free and manly tone of Fuller's later works, towards the + close of Charles the First's reign and under the Commonwealth and + Protectorate. And doubtless this was not peculiar to Fuller: but a great + and lasting change was effected in the mind of the country generally. The + bishops and other church dignitaries tried for a while to renew the old + king-godding 'mumpsimus'; but the second Charles laughed at them, and they + quarrelled with his successor, and hated the hero who delivered them from + him too thoroughly to have flattered him with any unction, even if + William's Dutch phlegm had not precluded the attempt by making its failure + certain. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0099" id="link2H_4_0099"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FULLER'S PROFANE STATE. + </h2> + <p> + B. V. c. 2. + </p> +<pre xml:space="preserve"> + God gave magistrates power to punish them, else they bear the sword in + vain. They may command people to serve God, who herein have no cause + to complain. +</pre> + <p> + And elsewhere. The only serious 'macula' in Fuller's mind is his uniform + support of the right and duty of the civil magistrate to punish errors in + belief. Fuller would, indeed, recommend moderation in the practice; but of + 'upas', 'woorara', and persecution, there are no moderate doses possible. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0100" id="link2H_4_0100"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FULLER'S APPEAL OF INJURED INNOCENCE. + </h2> + <p> + <br /><br /> + </p> + <hr /> + + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + Part I. c. 5. + </h2> +<pre xml:space="preserve"> + Yet there want not learned writers (whom I need not name) of the + opinion that even the instrumental penmen of the Scripture might + commit {Greek: hamartaemata mnaemonika}: though open that window to + profaneness, and it will be in vain to shut any dores; 'Let God be + true, and every man a lyer'. +</pre> + <p> + It has been matter of complaint with hundreds, yea, it is an old cuckoo + song of grim saints, that the Reformation came to its close long before it + came to its completion. But the cause of this imperfection has been fully + laid open by no party,—'scilicet', that in divines of both parties + of the Reformers, the Protestants and the Detestants, there was the same + relic of the Roman 'lues',—the habit of deciding for or against the + orthodoxy of a position, not according to its truth or falsehood, not on + grounds of reason or of history, but by the imagined consequences of the + position. The very same principles on which the pontifical polemics + vindicate the Papal infallibility, Fuller 'et centum alii' apply to the + (if possible) still more extravagant notion of the absolute truth and + divinity of every syllable of the text of the books of the Old and New + Testament as we have it. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Sure I am, that one of as much meekness, as some are of moroseness, + even upright Moses himself, in his service of the essential and + increated truth (of higher consequence than the historical truth + controverted betwixt us) had notwithstanding 'a respect to the + reward'. Heb. xi. 26. +</pre> + <p> + In religion the faith pre-supposed in the respect, and as its condition, + gives to the motive a purity and an elevation which of itself, and where + the recompense is looked for in temporal and carnal pleasures or profits, + it would not have. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0102" id="link2H_4_0102"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FULLER'S CHURCH HISTORY. + </h2> + <p> + B. I. cent. 5. + </p> +<pre xml:space="preserve"> + PELAGIUS:—Let no foreiner insult on the infelicity of our land in + bearing this monster. +</pre> + <p> + It raises, or ought to raise, our estimation of Fuller's good sense and + the general temperance of his mind, when we see the heavy weight of + prejudices, the universal code of his age, incumbent on his judgment, and + which nevertheless left sanity of opinion, the general character of his + writings: this remark was suggested by the term 'monster' attached to the + worthy Cambrian Pelagius—the teacher <i>Arminianismi ante Arminium</i>. + </p> + <p> + B. II. cent. 6. s. 8. + </p> +<pre xml:space="preserve"> + Whereas in Holy Writ, when the Apostles (and the Papists commonly call + Augustine the English apostle, how properly we shall see hereafter,) + went to a foreign nation, 'God gave them the language thereof, &c.' +</pre> + <p> + What a loss that Fuller has not made a reference to his authorities for + this assertion! I am sure he could have found none in the New Testament, + but facts that imply, and, in the absence of all such proof, prove the + contrary. + </p> + <p> + Ib. s. 6. + </p> +<pre xml:space="preserve"> + Thus we see the whole week bescattered with Saxon idols, whose pagan + gods were the godfathers of the days, and gave them their names. 'This + some zealot may behold as the object of a necessary reformation, + desiring to have the days of the week new dipt, and called after other + names'. Though indeed this supposed scandal will not offend the wise, + as beneath their notice, and cannot offend the ignorant, as above + their knowledge. +</pre> + <p> + A curious prediction fulfilled a few years after in the Quakers, and well + worthy of being extracted and addressed to the present Friends. + </p> + <p> + Memorandum.—It is the error of the Friends, but natural and common + to almost all sects,—the perversion of the wisdom of the first + establishers of their sect into their own folly, by not distinguishing + between the conditionally right and the permanently and essentially so. + For example: It was right conditionally in the Apostles to forbid black + puddings even to the Gentile Christians, and it was wisdom in them; but to + continue the prohibition would be folly and Judaism in us. The elder + church very sensibly distinguished episcopal from apostolic inspiration; + the episcopal spirit, that which dictated what was fit and profitable for + a particular community or church at a particular period,—from the + apostolic and catholic spirit which dictated truth and duties of permanent + and universal obligation. + </p> + <p> + Ib. cent. 7. + </p> + <p> + This Latin dedication is remarkably pleasing and elegant. Milton in his + classical youth, the aera of Lycidas, might have written it—only he + would have given it in Latin verse. + </p> + <p> + B. x. cent. 17. + </p> +<pre xml:space="preserve"> + Bp. of London. May your Majesty be pleased, that the ancient canon may + be remembered, 'Schismatici contra episcopos non sunt audiendi'. And + there is another decree of a very ancient council, that no man should + be admitted to speak against that whereunto he hath formerly + subscribed. + + And as for you, Doctor Reynolds, and your sociates, how much are you + bound to his Majestie's clemencye, permitting you contrary to the + statute 'primo Elizabethae', so freely to speak against the liturgie + and discipline established. Faine would I know the end you aime at, + and whether you be not of Mr. Cartwright's minde, who affirmed, that + we ought in ceremonies rather to conforme to the Turks than to the + Papists. I doubt you approve his position, because here appearing + before his Majesty in Turkey-gownes, not in your scholastic habits, + according to the order of the Universities. +</pre> + <p> + If any man, who like myself hath attentively read the Church history of + the reign of Elizabeth, and the conference before, and with, her pedant + successor, can shew me any essential difference between Whitgift and + Bancroft during their rule, and Bonner and Gardiner in the reign of Mary, + I will be thankful to him in my heart and for him in my prayers. One + difference I see, namely, that the former professing the New Testament to + be their rule and guide, and making the fallibility of all churches and + individuals an article of faith, were more inconsistent, and therefore + less excusable, than the Popish persecutors. 30 Aug. 1824. + </p> + <p> + N.B. The crimes, murderous as they were, were the vice and delusion of the + age, and it is ignorance to lack charity towards the persons, Papist or + Protestant; but the tone, the spirit, characterizes, and belongs to, the + individual: for example, the bursting spleen of this Bancroft, not so + satisfied with this precious arbitrator for having pre-condemned his + opponents, as fierce and surly with him for not hanging them up unheard. + </p> + <p> + At the end. Next to Shakspeare, I am not certain whether Thomas Fuller, + beyond all other writers, does not excite in me the sense and emotion of + the marvellous;—the degree in which any given faculty or combination + of faculties is possessed and manifested, so far surpassing what one would + have thought possible in a single mind, as to give one's admiration the + flavour and quality of wonder! Wit was the stuff and substance of Fuller's + intellect. It was the element, the earthen base, the material which he + worked in, and this very circumstance has defrauded him of his due praise + for the practical wisdom of the thoughts, for the beauty and variety of + the truths, into which he shaped the stuff. Fuller was incomparably the + most sensible, the least prejudiced, great man of an age that boasted a + galaxy of great men. He is a very voluminous writer, and yet in all his + numerous volumes on so many different subjects, it is scarcely too much to + say, that you will hardly find a page in which some one sentence out of + every three does not deserve to be quoted for itself—as motto or as + maxim. God bless thee, dear old man! may I meet with thee!—which is + tantamount to—may I go to heaven! + </p> + <p> + July, 1829. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0103" id="link2H_4_0103"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ASGILL'S ARGUMENT. + </h2> +<pre xml:space="preserve"> + 'That according to the covenant of eternal life revealed in the + Scriptures, man may be translated from hence into that eternal life, + without passing through death, although the human nature of Christ + himself could not be thus translated till he had passed through + death.' Edit. 1715. +</pre> + <p> + If I needed an illustrative example of the distinction between the reason + and the understanding, between spiritual sense and logic, this treatise of + Asgill's would supply it. Excuse the defect of all idea, or spiritual + intuition of God, and allow yourself to bring Him as plaintiff or + defendant into a common-law court,—and then I cannot conceive a + clearer or cleverer piece of special pleading than Asgill has here given. + The language is excellent—idiomatic, simple, perspicuous, at once + significant and lively, that is, expressive of the thought, and also of a + manly proportion of feeling appropriate to it. In short, it is the ablest + attempt to exhibit a scheme of religion without ideas, that the inherent + contradiction in the thought renders possible. + </p> + <p> + It is of minor importance how a man represents to himself his redemption + by the Word Incarnate,—within what scheme of his understanding he + concludes it, or by what supposed analogies (though actually no better + than metaphors) he tries to conceive it, provided he has a lively faith in + Christ, the Son of the living God, and his Redeemer. The faith may and + must be the same in all who are thereby saved; but every man, more or + less, construes it into an intelligible belief through the shaping and + coloring optical glass of his own individual understanding. Mr. Asgill has + given a very ingenious common-law scheme. 'Valeat quantum valere potest'! + It would make a figure before the Benchers of the Middle Temple. For + myself, I prefer the belief that man was made to know that a finite free + agent could not stand but by the coincidence, and independent harmony, of + a separate will with the will of God. For only by the will of God can he + obey God's will. Man fell as a soul to rise a spirit. The first Adam was a + living soul; the last a life-making spirit. + </p> + <p> + In the Word was life, and that life is the light of men. And as long as + the light abides within its own sphere, that is, appears as reason,—so + long it is commensurate with the life, and is its adequate representative. + But not so, when this light shines downward into the understanding; for + there it is always, more or less, refracted, and differently in every + different individual; and it must be re-converted into life to rectify + itself, and regain its universality, or 'all-commonness, Allgemeinheit', + as the German more expressively says. Hence in faith and charity the + church is catholic: so likewise in the fundamental articles of belief, + which constitute the right reason of faith. But in the minor 'dogmata', in + modes of exposition, and the vehicles of faith and reason to the + understandings, imaginations, and affections of men, the churches may + differ, and in this difference supply one object for charity to exercise + itself on by mutual forbearance. + </p> + <p> + O! there is a deep philosophy in the proverbial phrase,—'his heart + sets his head right!' In our commerce with heaven, we must cast our local + coins and tokens into the melting pot of love, to pass by weight and + bullion. And where the balance of trade is so immensely in our favour, we + have little right to complain, though they should not pass for half the + nominal value they go for in our own market. + </p> + <h3> + P. 46. + </h3> +<pre xml:space="preserve"> + And I am so far from thinking this covenant of eternal life to be an + allusion to the forms of title amongst men, that I rather adore it as + the precedent for them all, from which our imperfect forms are taken: + believing with that great Apostle, that 'the things on earth are but + the patterns of things in the heavens, where the originals are kept'. +</pre> + <p> + Aye! this, this is the pinch of the argument, which Asgill should have + proved, not merely asserted. Are these human laws, and these forms of law, + absolutely good and wise, or only conditionally so—the limited + powers and intellect, and the corrupt will of men being considered? + </p> + <h3> + P. 64. + </h3> +<pre xml:space="preserve"> + And hence, though the dead shall not arise with the same identity of + matter with which they died, yet being in the same form, they will not + know themselves from themselves, being the same to all uses, intents, + and purposes.... But then as God, in the resurrection, is not bound to + use the same matter, neither is he obliged to use a different matter. +</pre> + <p> + The great objection to this part of Asgill's scheme, which has had, and + still, I am told, has, many advocates among the chief dignitaries of our + church, is—that it either takes death as the utter extinction of + being,—or it supposes a continuance, or at least a renewal, of + consciousness after death. The former involves all the irrational, and all + the immoral, consequences of materialism. But if the latter be granted, + the proportionality, adhesion, and symmetry, of the whole scheme are gone, + and the infinite quantity,—that is, immortality under the curse of + estrangement from God,—is rendered a mere supplement tacked on to + the finite, and comparatively insignificant, if not doubtful, evil, + namely, the dissolution of the organic body. See what a poor hand Asgill + makes of it, p. 26:— + </p> +<pre xml:space="preserve"> + And therefore to signify the height of this resentment, God raises man + from the dead to demand further satisfaction of him. + + Death is a commitment to the prison of the grave till the judgment of + the great day; and then the grand 'Habeas corpus' will issue 'to the + earth and to the sea', to give up their dead; to remove the bodies, + with the cause of their commitment: and as these causes shall appear, + they shall either be released, or else sentenced to the common goal of + hell, there to remain until satisfaction. +</pre> + <h3> + P. 66. + </h3> +<pre xml:space="preserve"> + Thou wilt not leave my 'soul' in the grave.... + + And that it is translated 'soul', is an Anglicism, not understood in + other languages, which have no other word for 'soul' but the same + which is for life. +</pre> + <p> + How so? 'Seele', the soul, 'Leben', life, in German; {Greek: psychae} and + {Greek: zo<i>ae</i>}, in Greek, and so on. + </p> + <h3> + P. 67. + </h3> +<pre xml:space="preserve"> + Then to this figure God added 'life', by breathing it into him from + himself, whereby this inanimate body became a living one. +</pre> + <p> + And what was this life? Something, or nothing? And had not, first, the + Spirit, and next the Word, of God infused life into the earth, of which + man as an animal and all other animals were made,—and then, in + addition to this, breathed into man a living soul, which he did not + breathe into the other animals? + </p> + <p> + P. 75.-78-81. 'ad finem': + </p> +<pre xml:space="preserve"> + I have a great deal of business yet in this world, without doing of + which heaven itself would be uneasy to me. + + And therefore do depend, that I shall not be taken hence in the midst + of my days, before I have done all my heart's desire. + + But when that is done, I know no business I have with the dead, and + therefore do as much depend that I shall not go hence by 'returning to + the dust', which is the sentence of that law from which I claim a + discharge: but that I shall make my 'exit' by way of translation, + which I claim as a dignity belonging to that degree in the science of + eternal life, of which I profess myself a graduate, according to the + true intent and meaning of the covenant of eternal life revealed in + the Scriptures. +</pre> + <p> + A man so {Greek: kat exochaen} clear-headed, so remarkable for the + perspicuity of his sentences, and the luminous orderliness of his + arrangement,—in short, so consummate an artist in the statement of + his case, and in the inferences from his 'data', as John Asgill must be + allowed by all competent judges to have been,—was he in earnest or + in jest from p. 75 to the end of this treatise?—My belief is, that + he himself did not know. He was a thorough humorist: and so much of will, + with a spice of the wilful, goes to the making up of a humorist's creed, + that it is no easy matter to determine, how far such a man might not have + a pleasure in 'humming' his own mind, and believing, in order to enjoy a + dry laugh at himself for the belief. + </p> + <p> + But let us look at it in another way. That Asgill's belief, professed and + maintained in this tract, is unwise and odd, I can more readily grant, + than that it is altogether irrational and absurd. I am even strongly + inclined to conjecture, that so early as St. Paul's apostolate there were + persons (whether sufficiently numerous to form a sect or party, I cannot + say), who held the same tenet as Asgill's, and in a more intolerant and + exclusive sense; and that it is to such persons that St. Paul refers in + the justly admired fifteenth chapter of the first epistle to the + Corinthians; and that the inadvertence to this has led a numerous class of + divines to a misconception of the Apostle's reasoning, and a + misinterpretation of his words, in behoof of the Socinian notion, that the + resurrection of Christ is the only argument of proof for the belief of a + future state, and that this was the great end and purpose of this event. + Now this assumption is so destitute of support from the other writers of + the New Testament, and so discordant with the whole spirit and gist of St. + Paul's views and reasoning every where else, that it is 'a priori' + probable, that the apparent exception in this chapter is only apparent. + And this the hypothesis, I have here advanced, would enable one to shew, + and to exhibit the true bearing of the texts. Asgill contents himself with + maintaining that translation without death is one, and the best, mode of + passing to the heavenly state. 'Hinc itur ad astra'. But his earliest + predecessors contended that it was the only mode, and to this St. Paul + justly replies:'—If in this life only we have hope, we are of all + men most miserable.' + </p> + <h3> + 1827. + </h3> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_INTR2" id="link2H_INTR2"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + INTRODUCTION TO ASGILL'S DEFENCE UPON HIS EXPULSION FROM THE HOUSE OF + COMMONS. + </h2> + <h3> + EDIT. 1712. + </h3> + <h3> + P. 28. + </h3> +<pre xml:space="preserve"> + For as every faith, or credit, that a man hath attained to, is the + result of some knowledge or other; so that whoever hath attained that + knowledge, hath that faith, (for whatever a man knows, he cannot but + believe:) + + So this 'all faith' being the result of all knowledge,'tis easy to + conceive that whoever had once attained to all that knowledge, nothing + could be difficult to him. +</pre> + <p> + This whole discussion on faith is one of the very few instances, in which + Asgill has got out of his depth. According to all usage of words, science + and faith are incompatible in relation to the same object; while, + according to Asgill, faith is merely the power which science confers on + the will. Asgill says,—What we know, we must believe. I retort,—What + we only believe, we do not know. The 'minor' here is excluded by, not + included in, the 'major'. Minors by difference of quantity are included in + their majors; but minors by difference of quality are excluded by them, or + superseded. Apply this to belief and science, or certain knowledge. On the + confusion of the second, that is, minors by difference of quality, with + the first, or minors by difference of quantity, rests Asgill's erroneous + exposition of faith. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0105" id="link2H_4_0105"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON SIR THOMAS BROWN'S RELIGIO MEDICI, MADE DURING A SECOND PERUSAL. + 1808. {1} + </h2> + <p> + <br /><br /> + </p> + <hr /> + + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + Part I. S.1. + </h2> +<pre xml:space="preserve"> + For my religion, though there be several circumstances that might + perswade the world I have none at all, 'as the generall scandall of my + profession', &c. +</pre> + <p> + The historical origin of this scandal, which in nine cases out of ten is + the honour of the medical profession, may, perhaps, be found in the fact, + that Ænesidemus and Sextus Empiricus, the sceptics, were both physicians, + about the close of the second century. {2} A fragment from the writings of + the former has been preserved by Photius, and such as would leave a + painful regret for the loss of the work, had not the invaluable work of + Sextus Empiricus been still extant. + </p> + <h3> + S. 7. + </h3> +<pre xml:space="preserve"> + A third there is which I did never positively maintaine or practise, + but have often wished it had been consonant to truth, and not + offensive to my religion, and that is, the prayer for the dead, &c. +</pre> + <p> + Our church with her characteristic Christian prudence does not enjoin + prayer for the dead, but neither does she prohibit it. In its own nature + it belongs to a private aspiration; and being conditional, like all + religious acts not expressed in Scripture, and therefore not combinable + with a perfect faith, it is something between prayer and wish,—an + act of natural piety sublimed by Christian hope, that shares in the light, + and meets the diverging rays, of faith, though it be not contained in the + focus. + </p> + <h3> + S. 13. + </h3> +<pre xml:space="preserve"> + He holds no counsell, but that mysticall one of the Trinity, wherein, + though there be three persons, there is but one mind that decrees + without contradiction, &c. +</pre> + <p> + Sir T.B. is very amusing. He confesses his part heresies, which are mere + opinions, while his orthodoxy is full of heretical errors. His Trinity is + a mere trefoil, a 3=1, which is no mystery at all, but a common object of + the senses. The mystery is, that one is three, that is, each being the + whole God. + </p> + <h3> + S. 18. + </h3> +<pre xml:space="preserve"> + 'Tis not a ridiculous devotion to say a prayer before a game at + tables, &c. +</pre> + <p> + But a great profanation, methinks, and a no less absurdity. Would Sir T. + Brown, before weighing two pigs of lead, A. and B., pray to God that A. + might weigh the heavier? Yet if the result of the dice be at the time + equally believed to be a settled and predetermined effect, where lies the + difference? Would not this apply against all petitionary prayer?—St. + Paul's injunction involves the answer:—'Pray always'. + </p> + <h3> + S. 22. + </h3> +<pre xml:space="preserve"> + They who to salve this would make the deluge particular, proceed upon + a principle that I can no way grant, &c. +</pre> + <p> + But according to the Scripture, the deluge was so gentle as to leave + uncrushed the green leaves on the olive tree. If then it was universal, + and if (as with the longevity of the antediluvians it must have been) the + earth was fully peopled, is it not strange that no buildings remain in the + since then uninhabited parts—in America for instance? That no human + skeletons are found may be solved from the circumstance of the large + proportion of phosphoric acid in human bones. But cities and traces of + civilization?—I do not know what to think, unless we might be + allowed to consider Noah a 'homo repraesentativus', or the last and + nearest of a series taken for the whole. + </p> + <h3> + S. 33. + </h3> +<pre xml:space="preserve"> + They that to refute the invocation of saints, have denied that they + have any knowledge of our affairs below, have proceeded too farre, and + must pardon my opinion, till I can throughly answer that piece of + Scripture, 'At the conversion of a sinner the angels of Heaven + rejoyce'. +</pre> + <p> + Take any moral or religious book, and, instead of understanding each + sentence according to the main purpose and intention, interpret every + phrase in its literal sense as conveying, and designed to convey, a + metaphysical verity, or historical fact:—what a strange medley of + doctrines should we not educe? And yet this is the way in which we are + constantly in the habit of treating the books of the New Testament. + </p> + <h3> + S. 34. + </h3> +<pre xml:space="preserve"> + And, truely, for the first chapters of 'Genesis' I must confesse a + great deal of obscurity; though divines have to the power of humane + reason endeavored to make all go in a literall meaning, yet those + allegoricall interpretations are also probable, and perhaps, the + mysticall method of Moses bred up in the hieroglyphicall schooles of + the Egyptians. +</pre> + <p> + The second chapter of Genesis from v. 4, and the third chapter are to my + mind, as evidently symbolical, as the first chapter is literal. The first + chapter is manifestly by Moses himself; but the second and third seem to + me of far higher antiquity, and have the air of being translated into + words from graven stones. + </p> + <p> + S. 48. This section is a series of ingenious paralogisms. + </p> + <h3> + S. 49. + </h3> +<pre xml:space="preserve"> + Moses, that was bred up in all the learning of the Egyptians, + committed a grosse absurdity in philosophy, when with these eyes of + flesh he desired to see God, and petitioned his maker, that is, truth + itself, to a contradiction. +</pre> + <p> + Bear in mind the Jehovah 'Logos', the {Symbol: 'O "omega N} {Greek: en + kolp<i>o</i> patros}—the person 'ad extra',—and few passages + in the Old Testament are more instructive, or of profounder import. + Overlook this, or deny it,—and none so perplexing or so + irreconcilable with the known character of the inspired writer. + </p> + <h3> + S. 50. + </h3> +<pre xml:space="preserve"> + For that mysticall metall of gold, whose solary and celestiall nature + I admire, &c. +</pre> + <p> + Rather anti-solar and terrene nature! For gold, most of all metals, + repelleth light, and resisteth that power and portion of the common air, + which of all ponderable bodies is most akin to light, and its surrogate in + the realm of {Greek: antiph'os}; or gravity, namely, oxygen. Gold is + 'tellurian' {Greek: kat exochaen} and if solar, yet as in the solidity and + dark 'nucleus' of the sun. + </p> + <h3> + S. 52. + </h3> +<pre xml:space="preserve"> + I thank God that with joy I mention it, I was never afraid of hell, + nor never grew pale at the description of that place; I have so fixed + my contemplations on heaven, that I have almost forgot the idea of + hell, &c. +</pre> + <p> + Excellent throughout. The fear of hell may, indeed, in some desperate + cases, like the <i>moxa</i>, give the first rouse from a moral lethargy, + or like the green venom of copper, by evacuating poison or a dead load + from the inner man, prepare it for nobler ministrations and medicines from + the realm of light and life, that nourish while they stimulate. + </p> + <h3> + S. 54. + </h3> +<pre xml:space="preserve"> + There is no salvation to those that believe not in Christ, &c. +</pre> + <p> + This is plainly confined to such as have had Christ preached to them;—but + the doctrine, that salvation is in and by Christ only, is a most essential + verity, and an article of unspeakable grandeur and consolation. Name—<i>nomen</i>, + that is, {Greek: noumenon}, in its spiritual interpretation, is the same + as power, or intrinsic cause. What? Is it a few letters of the alphabet, + the hearing of which in a given succession, that saves? + </p> + <h3> + S. 59. + </h3> +<pre xml:space="preserve"> + 'Before Abraham was, I am,' is the saying of Christ; yet is it true in + some sense if I say it of myself, for I was not only before myself, + but Adam, that is, in the idea of God, and the decree of that synod + held from all eternity. And in this sense, I say, the world was before + the creation, and at an end before it had a beginning; and thus was I + dead before I was alive;—though my grave be England, my dying-place + was Paradise, and Eve miscarried of me before she conceived of Cain. +</pre> + <p> + Compare this with s. 11, and the judicious remark there on the mere + accommodation in the 'prae' of predestination. But the subject was too + tempting for the rhetorician. + </p> + <p> + <br /><br /> + </p> + <hr /> + + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + Part II. s. 1. + </h2> +<pre xml:space="preserve"> + But as in casting account, three or four men together come short in + account of one man placed by himself below them, &c. +</pre> + <p> + Thus 1,965. But why is the 1, said to be placed below the 965? + </p> + <h3> + S. 7. + </h3> +<pre xml:space="preserve"> + Let me be nothing, if within the compass of myself, I do not finde the + battaile of Lepanto, passion against reason, 'reason against faith', + faith against the devil, and my conscience against all. +</pre> + <p> + It may appear whimsical, but I really feel an impatient regret, that this + good man had so misconceived the nature both of faith and reason as to + affirm their contrariety to each other. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + For my originale sin, I hold it to bee washed away in my baptisme; for + my actual transgressions, I compute and reckon with God, but from my + last repentance, &c. +</pre> + <p> + This is most true as far as the imputation of the same is concerned. For + where the means of avoiding its consequences have been afforded, each + after transgression is actual, by a neglect of those means. + </p> + <h3> + S. 14. + </h3> +<pre xml:space="preserve"> + God, being all goodnesse, can love nothing but himself; he loves us + but for that part which is, as it were, himselfe, and the traduction + of his Holy Spirit. +</pre> + <p> + This recalls a sublime thought of Spinosa. Every true virtue is a part of + that love, with which God loveth himself. + </p> + <p> + {Footnote 1: Communicated by Mr. Wordsworth.—Ed.} + </p> + <p> + {Footnote 2: A mistake as to Ænesidemus, who lived in the age of Augustus—Ed.} + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0108" id="link2H_4_0108"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON SIR THOMAS BROWNE'S GARDEN OF CYRUS, + </h2> + <h3> + OR THE QUINCUNCIAL, ETC. PLANTATIONS OF THE ANCIENTS, ETC. + </h3> + <p> + Ch. III. + </p> +<pre xml:space="preserve"> + That bodies are first spirits, Paracelsus could affirm, &c. +</pre> + <p> + Effects purely relative from properties merely comparative, such as edge, + point, grater, &c. are not proper qualities: for they are + indifferently producible 'ab extra', by grinding, &c., and 'ab intra', + from growth. In the latter instance, they suppose qualities as their + antecedents. Now, therefore, since qualities cannot proceed from quantity, + but quantity from quality,—and as matter opposed to spirit is shape + by modification of extension, or pure quantity,—Paracelsus's + 'dictum' is defensible. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + The æquivocall production of things, under undiscerned principles, + makes a large part of generation, &c. +</pre> + <p> + Written before Harvey's 'ab ovo omnia'. Since his work, and Lewenhock's + 'Microscopium', the question is settled in physics; but whether in + metaphysics, is not quite so clear. + </p> + <p> + Ch. IV. + </p> +<pre xml:space="preserve"> + And mint growing in glasses of water, until it arriveth at the weight + of an ounce, in a shady place, will sometimes exhaust a pound of + water. +</pre> + <p> + How much did Brown allow for evaporation? + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Things entering upon the intellect by a pyramid from without, and + thence into the memory by another from within, the common decussation + being in the understanding, &c. +</pre> + <p> + This nearly resembles Kant's intellectual 'mechanique'. + </p> + <p> + The Platonists held three knowledges of God;—first, {Greek: + parousia}, his own incommunicable self-comprehension;—second, + {Greek: kata noaesin}—by pure mind, unmixed with the sensuous;—third, + {Greek: kat epistaemaen}—by discursive intelligential act. Thus a + Greek philosopher:—{Greek: tous epistaemonikous logous muthous + haegaesetai sunousa t'o patri kai sunesti'omenae hae psuchae en tae + alaetheia tou ontos, kai en augae kathara}.—Those notions of God + which we attain by processes of intellect, the soul will consider as + mythological allegories, when it exists in union with the Father, and is + feasting with him in the truth of very being, and in the pure, unmixed, + absolutely simple and elementary, splendor. Thus expound Exod. c. xxxiii. + v. 10. 'And he said, thou canst not see my face: for there shall no man + see me, and live'. By the 'face of God,' Moses meant the {Greek: idea + noaetikae} which God declared incompatible with human life, it implying + {Greek: epaphae tou noaetou}, or contact with the pure spirit. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0109" id="link2H_4_0109"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES ON SIR THOMAS BROWNE'S VULGAR ERRORS. + </h2> + <h3> + ADDRESS TO THE READER. + </h3> +<pre xml:space="preserve"> + Dr. Primrose, +</pre> + <p> + Is not this the same person as the physician mentioned by Mrs. Hutchinson + in her Memoirs of her husband? + </p> + <p> + Book I. c. 8. s. 1. The veracity and credibility of Herodotus have + increased and increase with the increase of our discoveries. Several of + his relations deemed fabulous, have been authenticated within the last + thirty years from this present 1808. + </p> + <p> + Ib. s. 2. + </p> +<pre xml:space="preserve"> + Sir John Mandevill left a book of travels:—herein he often attesteth + the fabulous relations of Ctesias. +</pre> + <p> + Many, if not most, of these Ctesian fables in Sir J. Mandevill were + monkish interpolations. + </p> + <p> + Ib. s. 13. + </p> +<pre xml:space="preserve"> + Cardanus—is of singular use unto a prudent reader; but unto him that + only desireth 'hoties', or to replenish his head with varieties,—he + may become no small occasion of error. +</pre> + <p> + 'Hoties'—{Greek: hoti s}—'whatevers,' that is, whatever is + written, no matter what, true or false,—'omniana'; 'all sorts of + varieties,' as a dear young lady once said to me. + </p> + <p> + Ib. c. ix. + </p> +<pre xml:space="preserve"> + If Heraclitus with his adherents will hold the sun is no bigger than + it appeareth. +</pre> + <p> + It is not improbable that Heraclitus meant merely to imply that we + perceive only our own sensations, and they of course are what they are;—that + the image of the sun is an appearance, or sensation in our eyes, and, of + course, an appearance can be neither more nor less than what it appears to + be;—that the notion of the true size of the sun is not an image, or + belonging either to the sense, or to the sensuous fancy, but is an + imageless truth of the understanding obtained by intellectual deductions. + He could not possibly mean what Sir T. B. supposes him to have meant; for + if he had believed the sun to be no more than a mile distant from us, + every tree and house must have shown its absurdity. + </p> + <h3> + ... + </h3> + <p> + In the following books I have endeavoured, wherever the author himself is + in a vulgar error, as far as my knowledge extends, to give in the margin, + either the demonstrated discoveries, or more probable opinions, of the + present natural philosophy;—so that, independently of the + entertainingness of the thoughts and tales, and the force and splendor of + Sir Thomas Browne's diction and manner, you may at once learn from him the + history of human fancies and superstitions, both when he detects them, and + when he himself falls into them,—and from my notes, the real truth + of things, or, at least, the highest degree of probability, at which human + research has hitherto arrived. + </p> + <h3> + ... + </h3> + <p> + Book II. c. i. Production of crystal. Cold is the attractive or astringent + power, comparatively uncounteracted by the dilative, the diminution of + which is the proportional increase of the contractive. Hence the + astringent, or power of negative magnetism, is the proper agent in cold, + and the contractive, or oxygen, an allied and consequential power. + 'Crystallum, non ex aqua, sed ex substantia metallorum communi + confrigeratum dico'. As the equator, or mid point of the equatorial + hemispherical line, is to the centre, so water is to gold. Hydrogen is to + the electrical azote, as azote to the magnetic hydrogen. + </p> + <p> + Ib. + </p> +<pre xml:space="preserve"> + Crystal—will strike fire—and upon collision with steel send forth + its sparks, not much inferiourly to a flint. +</pre> + <p> + It being, indeed, nothing else but pure flint. + </p> + <p> + C. iii. + </p> +<pre xml:space="preserve"> + And the magick thereof (the lodestone) is not safely to be believed, + which was delivered by Orpheus, that sprinkled with water it will upon + a question emit a voice not much unlike an infant. +</pre> + <p> + That is:—to the twin counterforces of the magnetic power, the + equilibrium of which is revealed in magnetic iron, as the substantial, add + the twin counterforces or positive and negative poles of the electrical + power, the indifference of which is realized in water, as the superficial—(whence + Orpheus employed the term 'sprinkled,' or rather affused or superfused)—and + you will hear the voice of infant nature;—that is, you will + understand the rudimental products and elementary powers and constructions + of the phenomenal world. An enigma this not unworthy of Orpheus, + 'quicunque fuit', and therefore not improbably ascribed to him. + </p> + <p> + N. B. Negative and positive magnetism are to attraction and repulsion, or + cohesion and dispersion, as negative and positive electricity are to + contraction and dilation. + </p> + <p> + C. vii. s. 4. + </p> +<pre xml:space="preserve"> + That camphire begets in men {Greek: taen anaphrodisian}, observation + will hardly confirm, &c. +</pre> + <p> + There is no doubt of the fact as to a temporary effect; and camphire is + therefore a strong and immediate antidote to an overdose of 'cantharides'. + Yet there are, doubtless, sorts and cases of {Greek: anaphrodisia}, which + camphire might relieve. Opium is occasionally an aphrodisiac, but far + oftener the contrary. The same is true of 'bang', or powdered hemp leaves, + and, I suppose, of the whole tribe of narcotic stimulants. + </p> + <p> + Ib. s. 8. + </p> +<pre xml:space="preserve"> + The yew and the berries thereof are harmless, we know. +</pre> + <p> + The berries are harmless, but the leaves of the yew are undoubtedly + poisonous. See Withering's British Plants. Taxus. + </p> + <p> + Book III. c. xiii. + </p> +<pre xml:space="preserve"> + For although lapidaries and 'questuary' enquirers affirm it, &c. +</pre> + <p> + 'Questuary'—having gain or money for their object. + </p> + <p> + B. VI. c. viii. + </p> +<pre xml:space="preserve"> + The river Gihon, a branch of Euphrates and river of Paradise. +</pre> + <p> + The rivers from Eden were, perhaps, meant to symbolize, or rather + expressed only, the great primary races of mankind. Sir T.B. was the very + man to have seen this; but the superstition of the letter was then + culminant. + </p> + <p> + Ib. c. x. + </p> +<pre xml:space="preserve"> + The chymists have laudably reduced their causes—(of colors)—unto + 'sal', 'sulphur', and 'mercury', &c. +</pre> + <p> + Even now, after all the brilliant discoveries from Scheele, Priestley, and + Cavendish, to Berzelius and Davy, no improvement has been made in this + division,—not of primary bodies (those idols of the modern atomic + chemistry), but of causes, as Sir T.B. rightly expresses them,—that + is, of elementary powers manifested in bodies. Let mercury stand for the + bi-polar metallic principle, best imaged as a line or 'axis' from north to + south,—the north or negative pole being the cohesive or coherentific + force, and the south or positive pole being the dispersive or + incoherentific force: the first is predominant in, and therefore + represented by, carbon,—the second by nitrogen; and the series of + metals are the primary and, hence, indecomponible 'syntheta' and + proportions of both. In like manner, sulphur represents the active and + passive principle of fire: the contractive force, or negative electricity—oxygen—produces + flame; and the dilative force, or positive electricity—hydrogen—produces + warmth. And lastly, salt is the equilibrium or compound of the two former. + So taken, salt, sulphur, and mercury are equivalent to the combustive, the + combustible, and the combust, under one or other of which all known + bodies, or ponderable substances, may be classed and distinguished. + </p> + <p> + The difference between a great mind's and a little mind's use of history + is this. The latter would consider, for instance, what Luther did, taught, + or sanctioned: the former, what Luther,—a Luther,—would now + do, teach, and sanction. This thought occurred to me at midnight, Tuesday, + the 16th of March, 1824, as I was stepping into bed,—my eye having + glanced on Luther's Table Talk. + </p> + <p> + If you would be well with a great mind, leave him with a favorable + impression of you;—if with a little mind, leave him with a favorable + opinion of himself. + </p> + <p> + It is not common to find a book of so early date as this (1658), at least + among those of equal neatness of printing, that contains so many gross + typographical errors;—with the exception of our earliest dramatic + writers, some of which appear to have been never corrected, but worked off + at once as the types were first arranged by the compositors. But the grave + and doctrinal works are, in general, exceedingly correct, and form a + striking contrast to modern publications, of which the late edition of + Bacon's Works would be paramount in the infamy of multiplied unnoticed + 'errata', were it not for the unrivalled slovenliness of Anderson's + British Poets, in which the blunders are, at least, as numerous as the + pages, and many of them perverting the sense, or killing the whole beauty, + and yet giving or affording a meaning, however low, instead. These are the + most execrable of all typographical errors. 1808. + </p> + <p> + {The volume from which the foregoing notes have been taken, is inscribed + in Mr. Lamb's writing— + </p> + <p> + 'C. Lamb, 9th March, 1804. Bought for S.T. Coleridge.' Under which in Mr. + Coleridge's hand is written— + </p> + <p> + 'N.B. It was on the 10th; on which day I dined and punched at Lamb's, and + exulted in the having procured the 'Hydriotaphia', and all the rest 'lucro + apposita'. S.T.C.' + </p> + <p> + That same night, the volume was devoted as a gift to a dear friend in the + following letter.-Ed.} + </p> + <p> + 10th, 1804, + </p> + <p> + Sat. night, 12 o'clock. + </p> + <p> + My dear—, + </p> + <p> + Sir Thomas Brown is among my first favorites, rich in various knowledge, + exuberant in conceptions and conceits, contemplative, imaginative; often + truly great and magnificent in his style and diction, though doubtless too + often big, stiff, and hyperlatinistic: thus I might without admixture of + falsehood, describe Sir T. Brown, and my description would have only this + fault, that it would be equally, or almost equally, applicable to half a + dozen other writers, from the beginning of the reign of Elizabeth to the + end of Charles II. He is indeed all this; and what he has more than all + this peculiar to himself, I seem to convey to my own mind in some measure + by saying,—that he is a quiet and sublime enthusiast with a strong + tinge of the fantast,—the humourist constantly mingling with, and + flashing across, the philosopher, as the darting colours in shot silk play + upon the main dye. In short, he has brains in his head which is all the + more interesting for a little twist in the brains. He sometimes reminds + the reader of Montaigne, but from no other than the general circumstances + of an egotism common to both; which in Montaigne is too often a mere + amusing gossip, a chit-chat story of whims and peculiarities that lead to + nothing,—but which in Sir Thomas Brown is always the result of a + feeling heart conjoined with a mind of active curiosity,—the natural + and becoming egotism of a man, who, loving other men as himself, gains the + habit, and the privilege of talking about himself as familiarly as about + other men. Fond of the curious, and a hunter of oddities and + strangenesses, while he conceived himself, with quaint and humourous + gravity a useful inquirer into physical truth and fundamental science,—he + loved to contemplate and discuss his own thoughts and feelings, because he + found by comparison with other men's, that they too were curiosities, and + so with a perfectly graceful and interesting ease he put them too into his + museum and cabinet of varieties. In very truth he was not mistaken:—so + completely does he see every thing in a light of his own, reading nature + neither by sun, moon, nor candle light, but by the light of the faery + glory around his own head; so that you might say that nature had granted + to him in perpetuity a patent and monopoly for all his thoughts. Read his + 'Hydriotaphia' above all:—and in addition to the peculiarity, the + exclusive Sir-Thomas-Brown-ness of all the fancies and modes of + illustration, wonder at and admire his entireness in every subject, which + is before him—he is 'totus in illo'; he follows it; he never wanders + from it,—and he has no occasion to wander;—for whatever + happens to be his subject, he metamorphoses all nature into it. In that + 'Hydriotaphia' or Treatise on some Urns dug up in Norfolk—how + earthy, how redolent of graves and sepulchres is every line! You have now + dark mould, now a thigh-bone, now a scull, then a bit of mouldered coffin! + a fragment of an old tombstone with moss in its 'hic jacet';—a ghost + or a winding-sheet—or the echo of a funeral psalm wafted on a + November wind! and the gayest thing you shall meet with shall be a silver + nail or gilt 'Anno Domini' from a perished coffin top. The very same + remark applies in the same force to the interesting, through the far less + interesting, Treatise on the Quincuncial Plantations of the Ancients. + There is the same attention to oddities, to the remotenesses and 'minutiæ' + of vegetable terms,—the same entireness of subject. You have + quincunxes in heaven above, quincunxes in earth below, and quincunxes in + the water beneath the earth; quincunxes in deity, quincunxes in the mind + of man, quincunxes in bones, in the optic nerves, in roots of trees, in + leaves, in petals, in every thing. In short, first turn to the last leaf + of this volume, and read out aloud to yourself the last seven paragraphs + of Chap. v. beginning with the words 'More considerables,' &c. But it + is time for me to be in bed, in the words of Sir Thomas, which will serve + you, my dear, as a fair specimen of his manner.—'But the quincunx of + heaven—(the Hyades or five stars about the horizon at midnight at + that time)—runs low, and 'tis time we close the five ports of + knowledge: we are unwilling to spin out our waking thoughts into the + phantasmes of sleep, which often continueth præcogitations,—making + tables of cobwebbes, and wildernesses of handsome groves. To keep our eyes + open longer were but to act our Antipodes. The huntsmen are up in America, + and they are already past their first sleep in Persia.' Think you, my dear + Friend, that there ever was such a reason given before for going to bed at + midnight;—to wit, that if we did not, we should be acting the part + of our Antipodes! And then 'the huntsmen are up in America.'—What + life, what fancy!—Does the whimsical knight give us thus a dish of + strong green tea, and call it an opiate! I trust that you are quietly + asleep— + </p> + <p> + And that all the stars hang bright above your dwelling, Silent as tho' + they watched the sleeping earth! + </p> + <h3> + S. T. COLERIDGE. + </h3> + <h3> + FINIS. + </h3> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> + <pre> + + + + +End of the Project Gutenberg EBook of The Literary Remains of Samuel Taylor +Coleridge, Vol. 2, by Samuel Taylor Coleridge + +*** END OF THIS PROJECT GUTENBERG EBOOK LITERARY REMAINS OF COLERIDGE, VOL 2 *** + +***** This file should be named 8533-h.htm or 8533-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/8/5/3/8533/ + +Etext produced by Jonathan Ingram, Clytie Siddall and the Online +Distributed Proofreading Team + +HTML file produced by David Widger + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. Special rules, set forth in the General Terms of Use part +of this license, apply to copying and distributing Project +Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm +concept and trademark. Project Gutenberg is a registered trademark, +and may not be used if you charge for the eBooks, unless you receive +specific permission. If you do not charge anything for copies of this +eBook, complying with the rules is very easy. You may use this eBook +for nearly any purpose such as creation of derivative works, reports, +performances and research. They may be modified and printed and given +away--you may do practically ANYTHING in the United States with eBooks +not protected by U.S. copyright law. Redistribution is subject to the +trademark license, especially commercial redistribution. + +START: FULL LICENSE + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full +Project Gutenberg-tm License available with this file or online at +www.gutenberg.org/license. + +Section 1. General Terms of Use and Redistributing Project +Gutenberg-tm electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or +destroy all copies of Project Gutenberg-tm electronic works in your +possession. If you paid a fee for obtaining a copy of or access to a +Project Gutenberg-tm electronic work and you do not agree to be bound +by the terms of this agreement, you may obtain a refund from the +person or entity to whom you paid the fee as set forth in paragraph +1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this +agreement and help preserve free future access to Project Gutenberg-tm +electronic works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the +Foundation" or PGLAF), owns a compilation copyright in the collection +of Project Gutenberg-tm electronic works. Nearly all the individual +works in the collection are in the public domain in the United +States. If an individual work is unprotected by copyright law in the +United States and you are located in the United States, we do not +claim a right to prevent you from copying, distributing, performing, +displaying or creating derivative works based on the work as long as +all references to Project Gutenberg are removed. Of course, we hope +that you will support the Project Gutenberg-tm mission of promoting +free access to electronic works by freely sharing Project Gutenberg-tm +works in compliance with the terms of this agreement for keeping the +Project Gutenberg-tm name associated with the work. You can easily +comply with the terms of this agreement by keeping this work in the +same format with its attached full Project Gutenberg-tm License when +you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are +in a constant state of change. If you are outside the United States, +check the laws of your country in addition to the terms of this +agreement before downloading, copying, displaying, performing, +distributing or creating derivative works based on this work or any +other Project Gutenberg-tm work. The Foundation makes no +representations concerning the copyright status of any work in any +country outside the United States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other +immediate access to, the full Project Gutenberg-tm License must appear +prominently whenever any copy of a Project Gutenberg-tm work (any work +on which the phrase "Project Gutenberg" appears, or with which the +phrase "Project Gutenberg" is associated) is accessed, displayed, +performed, viewed, copied or distributed: + + This eBook is for the use of anyone anywhere in the United States and + most other parts of the world at no cost and with almost no + restrictions whatsoever. You may copy it, give it away or re-use it + under the terms of the Project Gutenberg License included with this + eBook or online at www.gutenberg.org. If you are not located in the + United States, you'll have to check the laws of the country where you + are located before using this ebook. + +1.E.2. If an individual Project Gutenberg-tm electronic work is +derived from texts not protected by U.S. copyright law (does not +contain a notice indicating that it is posted with permission of the +copyright holder), the work can be copied and distributed to anyone in +the United States without paying any fees or charges. If you are +redistributing or providing access to a work with the phrase "Project +Gutenberg" associated with or appearing on the work, you must comply +either with the requirements of paragraphs 1.E.1 through 1.E.7 or +obtain permission for the use of the work and the Project Gutenberg-tm +trademark as set forth in paragraphs 1.E.8 or 1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any +additional terms imposed by the copyright holder. Additional terms +will be linked to the Project Gutenberg-tm License for all works +posted with the permission of the copyright holder found at the +beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including +any word processing or hypertext form. However, if you provide access +to or distribute copies of a Project Gutenberg-tm work in a format +other than "Plain Vanilla ASCII" or other format used in the official +version posted on the official Project Gutenberg-tm web site +(www.gutenberg.org), you must, at no additional cost, fee or expense +to the user, provide a copy, a means of exporting a copy, or a means +of obtaining a copy upon request, of the work in its original "Plain +Vanilla ASCII" or other form. Any alternate format must include the +full Project Gutenberg-tm License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works +provided that + +* You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is owed + to the owner of the Project Gutenberg-tm trademark, but he has + agreed to donate royalties under this paragraph to the Project + Gutenberg Literary Archive Foundation. Royalty payments must be paid + within 60 days following each date on which you prepare (or are + legally required to prepare) your periodic tax returns. Royalty + payments should be clearly marked as such and sent to the Project + Gutenberg Literary Archive Foundation at the address specified in + Section 4, "Information about donations to the Project Gutenberg + Literary Archive Foundation." + +* You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or destroy all + copies of the works possessed in a physical medium and discontinue + all use of and all access to other copies of Project Gutenberg-tm + works. + +* You provide, in accordance with paragraph 1.F.3, a full refund of + any money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days of + receipt of the work. + +* You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project +Gutenberg-tm electronic work or group of works on different terms than +are set forth in this agreement, you must obtain permission in writing +from both the Project Gutenberg Literary Archive Foundation and The +Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm +trademark. Contact the Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +works not protected by U.S. copyright law in creating the Project +Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm +electronic works, and the medium on which they may be stored, may +contain "Defects," such as, but not limited to, incomplete, inaccurate +or corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged disk or +other medium, a computer virus, or computer codes that damage or +cannot be read by your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium +with your written explanation. The person or entity that provided you +with the defective work may elect to provide a replacement copy in +lieu of a refund. If you received the work electronically, the person +or entity providing it to you may choose to give you a second +opportunity to receive the work electronically in lieu of a refund. If +the second copy is also defective, you may demand a refund in writing +without further opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO +OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of +damages. If any disclaimer or limitation set forth in this agreement +violates the law of the state applicable to this agreement, the +agreement shall be interpreted to make the maximum disclaimer or +limitation permitted by the applicable state law. The invalidity or +unenforceability of any provision of this agreement shall not void the +remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in +accordance with this agreement, and any volunteers associated with the +production, promotion and distribution of Project Gutenberg-tm +electronic works, harmless from all liability, costs and expenses, +including legal fees, that arise directly or indirectly from any of +the following which you do or cause to occur: (a) distribution of this +or any Project Gutenberg-tm work, (b) alteration, modification, or +additions or deletions to any Project Gutenberg-tm work, and (c) any +Defect you cause. + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of +computers including obsolete, old, middle-aged and new computers. It +exists because of the efforts of hundreds of volunteers and donations +from people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future +generations. To learn more about the Project Gutenberg Literary +Archive Foundation and how your efforts and donations can help, see +Sections 3 and 4 and the Foundation information page at +www.gutenberg.org Section 3. Information about the Project Gutenberg +Literary Archive Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg Literary +Archive Foundation are tax deductible to the full extent permitted by +U.S. federal laws and your state's laws. + +The Foundation's principal office is in Fairbanks, Alaska, with the +mailing address: PO Box 750175, Fairbanks, AK 99775, but its +volunteers and employees are scattered throughout numerous +locations. Its business office is located at 809 North 1500 West, Salt +Lake City, UT 84116, (801) 596-1887. Email contact links and up to +date contact information can be found at the Foundation's web site and +official page at www.gutenberg.org/contact + +For additional contact information: + + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To SEND +DONATIONS or determine the status of compliance for any particular +state visit www.gutenberg.org/donate + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. To +donate, please visit: www.gutenberg.org/donate + +Section 5. General Information About Project Gutenberg-tm electronic works. + +Professor Michael S. Hart was the originator of the Project +Gutenberg-tm concept of a library of electronic works that could be +freely shared with anyone. For forty years, he produced and +distributed Project Gutenberg-tm eBooks with only a loose network of +volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as not protected by copyright in +the U.S. unless a copyright notice is included. Thus, we do not +necessarily keep eBooks in compliance with any particular paper +edition. + +Most people start at our Web site which has the main PG search +facility: www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + + +</pre> + + </body> +</html> |