Characters of Shakespeare's Plays Part 3

The Tempest is a finer play than the Midsummer Night's Dream, which has sometimes been compared with it; but it is not so fine a poem. There are a greater number of beautiful pa.s.sages in the latter. Two of the most striking in The Tempest are spoken by Prospero. The one is that admirable one when the vision which he has conjured up disappears, beginning, 'The cloud-capp'd towers, the gorgeous palaces,' &c., which has so often been quoted that every schoolboy knows it by heart; the other is that which Prospero makes in abjuring his art: Ye elves of hills, brooks, standing lakes, and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him When he comes back; you demi-puppets, that By moons.h.i.+ne do the green sour ringlets make, Whereof the ewe not bites; and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew, by whose aid (Weak masters tho' ye be) I have be-dimm'd The noon-tide sun, call'd forth the mutinous winds, And 'twixt the green sea and the azur'd vault Set roaring war; to the dread rattling thunder Have I giv'n fire, and rifted Jove's stout oak With his own bolt; the strong-bas'd promontory Have I made shake, and by the spurs pluck'd up The pine and cedar: graves at my command Have wak'd their sleepers; op'd, and let 'em forth By my so potent art. But this rough magic I here abjure; and when I have requir'd Some heav'nly music, which ev'n now I do, (To work mine end upon their senses that This airy charm is for) I'll break my staff, Bury it certain fadoms in the earth, And deeper than did ever plummet sound, I'll drown my book.

We must not forget to mention among other things in this play, that Shakespeare has antic.i.p.ated nearly all the arguments on the Utopian schemes of modern philosophy: Gonzalo. Had I the plantation of this isle, my lord--Antonio. He'd sow't with nettle-seed. Sebastian. Or docks or mallows. Gonzalo. And were the king on't, what would I do? Sebastian. 'Scape being drunk, for want of wine. Gonzalo. I' th' commonwealth I would by contraries Execute all things: for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; wealth, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation, all men idle, all, And women too; but innocent and pure: No sov'reignty. Sebastian. And yet he would be king on't. Antonio. The latter end of his commonwealth forgets the beginning. Gonzalo. All things in common nature should produce Without sweat or endeavour. Treason, felony, Sword, pike, knife, gun, or need of any engine Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance To feed my innocent people! Sebastian. No marrying 'mong his subjects? Antonio. None, man; all idle; wh.o.r.es and knaves. Gonzalo. I would with such perfection govern, sir, T' excel the golden age. Sebastian. Save his majesty!

THE MIDSUMMER NIGHT'S DREAM.

Bottom the Weaver is a character that has not had justice done him. He is the most romantic of mechanics. And what a list of companions he has--Quince the Carpenter, Snug the Joiner, Flute the Bellows- mender, Snout the Tinker, Starveling the Tailor; and then again, what a group of fairy attendants, Puck, Peaseblossom, Cobweb, Moth, and Mustard-seed! It has been observed that Shakespeare's characters are constructed upon deep physiological principles; and there is something in this play which looks very like it. Bottom the Weaver, who takes the lead of This crew of patches, rude mechanicals, That work for bread upon Athenian stalls, follows a sedentary trade, and he is accordingly represented as conceited, serious, and fantastical. He is ready to undertake anything and everything, as if it was as much a matter of course as the motion of his loom and shuttle. He is for playing the tyrant, the lover, the lady, the lion. 'He will roar that it shall do any man's heart good to hear him'; and this being objected to as improper, he still has a resource in his good opinion of himself, and 'will roar you an 'twere any nightingale'. Snug the Joiner is the moral man of the piece, who proceeds by measurement and discretion in all things. You see him with his rule and compa.s.ses in his hand. 'Have you the lion's part written? Pray you, if it be, give it me, for I am slow of study.'--'You may do it extempore,' says Quince, 'for it is nothing but roaring.' Starveling the Tailor keeps the peace, and objects to the lion and the drawn sword. 'I believe we must leave the killing out when all's done.' Starveling, however, does not start the objections himself, but seconds them when made by others, as if he had not spirit to express his fears without encouragement. It is too much to suppose all this intentional; but it very luckily falls out so. Nature includes all that is implied in the most subtle a.n.a.lytical distinctions; and the same distinctions will be found in Shakespeare. Bottom, who is not only chief actor, but stage-manager for the occasion, has a device to obviate the danger of frightening the ladies: 'Write me a prologue, and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed; and for better a.s.surance, tell them that I, Pyramus, am not Pyramus, but Bottom the Weaver; this will put them out of fear.' Bottom seems to have understood the subject of dramatic illusion at least as well as any modern essayist. If our holiday mechanic rules the roast among his fellows, he is no less at home in his new character of an a.s.s, 'with amiable cheeks, and fair large ears'. He instinctively acquires a most learned taste, and grows fastidious in the choice of dried peas and bottled hay. He is quite familiar with his new attendants, and a.s.signs them their parts with all due gravity. 'Monsieur Cobweb, good Monsieur, get your weapon in your hand, and kill me a red-hipt humble-bee on the top of a thistle, and, good Monsieur, bring me the honey-bag.' What an exact knowledge is here shown of natural history!

Puck, or Robin Goodfellow, is the leader of the fairy band. He is the Ariel of the MIDSUMMER'S NIGHT DREAM; and yet as unlike as can be to the Ariel in THE TEMPEST. No other poet could have made two such different characters out of the same fanciful materials and situations. Ariel is a minister of retribution, who is touched with a sense of pity at the woes he inflicts. Puck is a mad-cap sprite, full of wantonness and mischief, who laughs at those whom he misleads--'Lord, what fools these mortals be!' Ariel cleaves the air, and executes his mission with the zeal of a winged messenger; Puck is borne along on his fairy errand like the light and glittering gossamer before the breeze. He is, indeed, a most Epicurean little gentleman, dealing in quaint devices and faring in dainty delights. Prospero and his world of spirits are a set of moralists; but with Oberon and his fairies we are launched at once into the empire of the b.u.t.terflies. How beautifully is this race of beings contrasted with the men and women actors in the scene, by a single epithet which t.i.tania gives to the latter, 'the human mortals'! It is astonis.h.i.+ng that Shakespeare should be considered, not only by foreigners, but by many of our own critics, as a gloomy and heavy writer, who painted nothing but 'gorgons and hydras, and chimeras dire'. His subtlety exceeds that of all other dramatic writers, insomuch that a celebrated person of the present day said that he regarded him rather as a metaphysician than a poet. His delicacy and sportive gaiety are infinite. In the MIDSUMMER'S NIGHT DREAM alone, we should imagine, there is more sweetness and beauty of description than in the whole range of French poetry put together. What we mean is this, that we will produce out of that single play ten pa.s.sages, to which we do not think any ten pa.s.sages in the works of the French poets can be opposed, displaying equal fancy and imagery. Shall we mention the remonstrance of Helena to Hermia, or t.i.tania's description of her fairy train, or her disputes with Oberon about the Indian boy, or Puck's account of himself and his employments, or the Fairy Queen's exhortation to the elves to pay due attendance upon her favourite, Bottom; or Hippolita's description of a chace, or Theseus's answer? The two last are as heroical and spirited as the others are full of luscious tenderness. The reading of this play is like wandering in a grove by moonlight: the descriptions breathe a sweetness like odours thrown from beds of flowers.

t.i.tania's exhortation to the fairies to wait upon Bottom, which is remarkable for a certain cloying sweetness in the repet.i.tion of the rhymes, is as follows: Be kind and courteous to this gentleman. Hop in his walks, and gambol in his eyes, Feed him with apric.o.c.ks and dewberries, With purple grapes, green figs and mulberries; The honey-bags steal from the humble bees, And for night tapers crop their waxen thighs, And light them at the fiery glow-worm's eyes, To have my love to bed, and to arise: And pluck the wings from painted b.u.t.terflies, To fan the moon-beams from his sleeping eyes; Nod to him, elves, and do him courtesies.

The sounds of the lute and of the trumpet are not more distinct than the poetry of the foregoing pa.s.sage, and of the conversation between Theseus and Hippolita: Theseus. Go, one of you, find out the forester, For now our observation is perform'd; And since we have the vaward of the day, My love shall hear the music of my hounds. Uncouple in the western valley, go, Dispatch, I say, and find the forester. We will, fair Queen, up to the mountain's top, And mark the musical confusion Of hounds and echo in conjunction.

Hippolita. I was with Hercules and Cadmus once, When in a wood of Crete they bay'd the bear With hounds of Sparta; never did I hear Such gallant chiding. For besides the groves, The skies, the fountains, every region near Seena'd all one mutual cry. I never heard So musical a discord, such sweet thunder.

Theseus. My hounds are bred out of the Spartan kind, So flew'd, so sanded, and their heads are hung With ears that sweep away the morning dew; Crook-knee'd and dew-lap'd, like Thessalian bulls, Slow in pursuit, but matched in mouth like bells, Each under each. A cry more tuneable Was never halloo'd to, nor cheer'd with hom, In Crete, in Sparta, nor in Thessaly: Judge when you hear.

Even t.i.tian never made a hunting-piece of a gusto so fresh and l.u.s.ty, and so near the first ages of the world as this.

It had been suggested to us, that the MIDSUMMER'S NIGHT DREAM would do admirably to get up as a Christmas after-piece; and our prompter proposed that Mr. Kean should play the part of Bottom, as worthy of his great talents. He might, in the discharge of his duty, offer to play the lady like any of our actresses that he pleased, the lover or the tyrant like any of our actors that he pleased, and the lion like 'the most fearful wild-fowl living'. The carpenter, the tailor, and joiner, it was thought, would hit the galleries. The young ladies in love would interest the side-boxes; and Robin Goodfellow and his companions excite a lively fellow-feeling in the children from school. There would be two courts, an empire within an empire, the Athenian and the Fairy King and Queen, with their attendants, and with all their finery. What an opportunity for processions, for the sound of trumpets and glittering of spears! What a fluttering of urchins' painted wings; what a delightful profusion of gauze clouds and airy spirits floating on them!

Alas, the experiment has been tried, and has failed; not through the fault of Mr. Kean, who did not play the part of Bottom, nor of Mr. Liston, who did, and who played it well, but from the nature of things. The Midsummer Night's Dream, when acted, is converted from a delightful fiction into a dull pantomime. All that is finest in the play is lost in the representation. The spectacle was grand; but the spirit was evaporated, the genius was fled.--Poetry and the stage do not agree well together. The attempt to reconcile them in this instance fails not only of effect, but of decorum. The IDEAL can have no place upon the stage, which is a picture without perspective; everything there is in the foreground. That which was merely an airy shape, a dream, a pa.s.sing thought, immediately becomes an unmanageable reality. Where all is left to the imagination (as is the case in reading) every circ.u.mstance, near or remote, has an equal chance of being kept in mind, and tells according to the mixed impression of all that has been suggested. But the imagination cannot sufficiently qualify the actual impressions of the senses. Any offence given to the eye is not to be got rid of by explanation. Thus Bottom's head in the play is a fantastic illusion, produced by magic spells: on the stage, it is an a.s.s's head, and nothing more; certainly a very strange costume for a gentleman to appear in. Fancy cannot be embodied any more than a simile can be painted; and it is as idle to attempt it as to personate Wall or Moons.h.i.+ne. Fairies are not incredible, but fairies six feet high are so. Monsters are not shocking, if they are seen at a proper distance. When ghosts appear at midday, when apparitions stalk along Cheapside, then may the MIDSUMMER'S NIGHT DREAM be represented without injury at Covent Garden or at Drury Lane. The boards of a theatre and the regions of fancy are not the same thing.

ROMEO AND JULIET.

ROMEO AND JULIET is the only tragedy which Shakespeare has written entirely on a love-story. It is supposed to have been his first play, and it deserves to stand in that proud rank. There is the buoyant spirit of youth in every line, in the rapturous intoxication of hope, and in the bitterness of despair. It has been said of ROMEO AND JULIET by a great critic, that 'whatever is most intoxicating in the odour of a southern spring, languis.h.i.+ng in the song of the nightingale, or voluptuous in the first opening of the rose, is to be found in this poem'. The description is true; and yet it does not answer to our idea of the play. For if it has the sweetness of the rose, it has its freshness too; if it has the languor of the nightingale's song, it has also its giddy transport; if it has the softness of a southern spring, it is as glowing and as bright. There is nothing of a sickly and sentimental cast. Romeo and Juliet are in love, but they are not love-sick. Everything speaks the very soul of pleasure, the high and healthy pulse of the pa.s.sions: the heart beats, the blood circulates and mantles throughout. Their courts.h.i.+p is not an insipid interchange of sentiments lip-deep, learnt at second-hand from poems and plays,--made up of beauties of the most shadowy kind, of 'fancies wan that hang the pensive head', of evanescent smiles and sighs that breathe not, of delicacy that shrinks from the touch and feebleness that scarce supports itself, an elaborate vacuity of thought, and an artificial dearth of sense, spirit, truth, and nature!--It is the reverse of all this. It is Shakespeare all over, and Shakespeare when he was young.

We have heard it objected to ROMEO AND JULIET that it is founded on an idle pa.s.sion between a boy and a girl, who have scarcely seen and can have but little sympathy or rational esteem for one another, who have had no experience of the good or ills of life, and whose raptures or despair must be therefore equally groundless and fantastical. Whoever objects to the youth of the parties in this play as 'too unripe and crude' to pluck the sweets of love, and wishes to see a first-love carried on into a good old age, and the pa.s.sions taken at the rebound, when their force is spent, may find all this done in the Stranger and in other German plays, where they do things by contraries, and transpose nature to inspire sentiment and create philosophy. Shakespeare proceeded in a more straightforward and, we think, effectual way. He did not endeavour to extract beauty from wrinkles, or the wild throb of pa.s.sion from the last expiring sigh of indifference. He did not 'gather grapes of thorns nor figs of thistles'. It was not his way. But he has given a picture of human life, such as it is in the order of nature. He has founded the pa.s.sion of the two lovers not on the pleasures they had experienced, but on all the pleasures they had NOT experienced. All that was to come of life was theirs. At that untried source of promised happiness they slaked their thirst, and the first eager draught made them drunk with love and joy. They were in full possession of their senses and their affections. Their hopes were of air, their desires of fire. Youth is the season of love, because the heart is then first melted in tenderness from the touch of novelty, and kindled to rapture, for it knows no end of its enjoyments or its wishes. Desire has no limit but itself. Pa.s.sion, the love and expectation of pleasure, is infinite, extravagant, inexhaustible, till experience comes to check and kill it. Juliet exclaims on her first interview with Romeo: My bounty is as boundless as the sea, My love as deep.

And why should it not? What was to hinder the thrilling tide of pleasure, which had just gushed from her heart, from flowing on without stint or measure, but experience which she was yet without? What was to abate the transport of the first sweet sense of pleasure, which her heart and her senses had just tasted, but indifference which she was yet a stranger to? What was there to check the ardour of hope, of faith, of constancy, just rising in her breast, but disappointment which she had not yet felt? As are the desires and the hopes of youthful pa.s.sion, such is the keenness of its disappointments, and their baleful effect. Such is the transition in this play from the highest bliss to the lowest despair, from the nuptial couch to an untimely grave. The only evil that even in apprehension befalls the two lovers is the loss of the greatest possible felicity; yet this loss is fatal to both, for they had rather part with life than bear the thought of surviving all that had made life dear to them. In all this, Shakespeare has but followed nature, which existed in his time, as well as now. The modern philosophy, which reduces the whole theory of the mind to habitual impressions, and leaves the natural impulses of pa.s.sion and imagination out of the account, had not then been discovered; or if it had, would have been little calculated for the uses of poetry.

It is the inadequacy of the same false system of philosophy to account for the strength of our earliest attachments, which has led Mr. Wordsworth to indulge in the mystical visions of Platonism in his Ode on the Progress of Life. He has very admirably described the vividness of our impressions in youth and childhood, and how 'they fade by degrees into the light of common day', and he ascribes the change to the supposition of a pre-existent state, as if our early thoughts were nearer heaven, reflections of former trails of glory, shadows of our past being. This is idle. It is not from the knowledge of the past that the first impressions of things derive their gloss and splendour, but from our ignorance of the future, which fills the void to come with the warmth of our desires, with our gayest hopes, and brightest fancies. It is the obscurity spread before it that colours the prospect of life with hope, as it is the cloud which reflects the rainbow. There is no occasion to resort to any mystical union and transmission of feeling through different states of being to account for the romantic enthusiasm of youth; nor to plant the root of hope in the grave, nor to derive it from the skies. Its root is in the heart of man: it lifts its head above the stars. Desire and imagination are inmates of the human breast. The heaven 'that lies about us in our infancy' is only a new world, of which we know nothing but what we wish it to be, and believe all that we wish. In youth and boyhood, the world we live in is the world of desire, and of fancy: it is experience that brings us down to the world of reality. What is it that in youth sheds a dewy light round the evening star? That makes the daisy look so bright? That perfumes the hyacinth? That embalms the first kiss of love? It is the delight of novelty, and the seeing no end to the pleasure that we fondly believe is still in store for us. The heart revels in the luxury of its own thoughts, and is unable to sustain the weight of hope and love that presses upon it.--The effects of the pa.s.sion of love alone might have dissipated Mr. Wordsworth's theory, if he means anything more by it than an ingenious and poetical allegory. THAT at least is not a link in the chain let down from other worlds; 'the purple light of love' is not a dim reflection of the smiles of celestial bliss. It does not appear till the middle of life, and then seems like 'another morn risen on midday'. In this respect the soul comes into the world 'in utter nakedness'. Love waits for the ripening of the youthful blood. The sense of pleasure precedes the love of pleasure, but with the sense of pleasure, as soon as it is felt, come thronging infinite desires and hopes of pleasure, and love is mature as soon as born. It withers and it dies almost as soon!

This play presents a beautiful coup d'oeil of the progress of human life. In thought it occupies years, and embraces the circle of the affections from childhood to old age. Juliet has become a great girl, a young woman since we first remember her a little thing in the idle prattle of the nurse. Lady Capulet was about her age when she became a mother, and old Capulet somewhat impatiently tells his younger visitors: --I've seen the day, That I have worn a visor, and could tell A whispering tale in a fair lady's ear, Such as would please: 'tis gone, 'tis gone, 'tis gone.

Thus one period of life makes way for the following, and one generation pushes another off the stage. One of the most striking pa.s.sages to show the intense feeling of youth in this play is Capulet's invitation to Paris to visit his entertainment.

At my poor house, look to behold this night Earth-treading stars that make dark heav'n light; Such comfort as do l.u.s.ty young men feel When well-apparel'd April on the heel Of limping winter treads, even such delight Among fresh female-buds shall you this night Inherit at my house.

The feelings of youth and of the spring are here blended together like the breath of opening flowers. Images of vernal beauty appear to have floated before the author's mind, in writing this poem, in profusion. Here is another of exquisite beauty, brought in more by accident than by necessity. Montague declares of his son smit with a hopeless pa.s.sion, which he will not reveal: But he, his own affection's counsellor, Is to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun.

This casual description is as full of pa.s.sionate beauty as when Romeo dwells in frantic fondness on 'the white wonder of his Juliet's hand'. The reader may, if he pleases, contrast the exquisite pastoral simplicity of the above lines with the gorgeous description of Juliet when Romeo first sees her at her father's house, surrounded by company and artificial splendour.

What lady's that which doth enrich the hand Of yonder knight? O she doth teach the torches to burn bright; Her beauty hangs upon the cheek of night, Like a rich jewel in an Aethiop's ear.

It would be hard to say which of the two garden scenes is the finest, that where he first converses with his love, or takes leave of her the morning after their marriage. Both are like a heaven upon earth: the blissful bowers of Paradise let down upon this lower world. We will give only one pa.s.sage of these well-known scenes to show the perfect refinement and delicacy of Shakespeare's conception of the female character. It is wonderful how Collins, who was a critic and a poet of great sensibility, should have encouraged the common error on this subject by saying--'But stronger Shakespeare felt for man alone'.

The pa.s.sage we mean is Juliet's apology for her maiden boldness.

Thou know'st the mask of night is on my face; Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night. Fain would I dwell on form, fain, fain deny What I have spoke--but farewell compliment: Dost thou love me? I know thou wilt say, aye, And I will take thee at thy word--Yet if thou swear'st, Thou may'st prove false; at lovers' perjuries They say Jove laughs. Oh gentle Romeo, If thou dost love, p.r.o.nounce it faithfully; Or if thou think I am too quickly won, I'll frown and be perverse, and say thee nay, So thou wilt woo: but else not for the world. In truth, fair Montague, I am too fond; And therefore thou may'st think my 'haviour light; But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou over-heard'st, ere I was ware, My true love's pa.s.sion; therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discovered.

In this and all the rest her heart, fluttering between pleasure, hope, and fear, seems to have dictated to her tongue, and 'calls true love spoken simple modesty'. Of the same sort, but bolder in virgin innocence, is her soliloquy after her marriage with Romeo.

Gallop apace, you fiery-footed steeds, Towards Phoebus' mansion; such a wagoner As Phaeton would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night; That run-aways' eyes may wink; and Romeo Leap to these arms, untalked of, and unseen!--- Lovers can see to do their amorous rites By their own beauties: or if love be blind, It best agrees with night.--Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood bating in my cheeks, With thy black mantle; till strange love, grown bold, Thinks true love acted, simple modesty. Come night!--Come, Romeo! come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven's back.--- Come, gentle night; come, loving, black-brow'd night, Give me my Romeo; and when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine, That all the world shall be in love with night, And pay no wors.h.i.+p to the garish sun.--- O, I have bought the mansion of a love, But not possess'd it; and though I am sold, Not yet enjoy'd: so tedious is this day, As is the night before some festival To an impatient child, that hath new robes, And may not wear them.

We the rather insert this pa.s.sage here, inasmuch as we have no doubt it has been expunged from the Family Shakespeare. Such critics do not perceive that the feelings of the heart sanctify, without disguising, the impulses of nature. Without refinement themselves, they confound modesty with hypocrisy. Not so the German critic, Schlegel. Speaking of Romeo and Juliet, he says, 'It was reserved for Shakespeare to unite purity of heart and the glow of imagination, sweetness and dignity of manners and pa.s.sionate violence, in one ideal picture.' The character is indeed one of perfect truth and sweetness. It has nothing forward, nothing coy, nothing affected or coquettish about it;--it is a pure effusion of nature. It is as frank as it is modest, for it has no thought that it wishes to conceal. It reposes in conscious innocence on the strength of its affections. Its delicacy does not consist in coldness and reserve, but in combining warmth of imagination and tenderness of heart with the most voluptuous sensibility. Love is a gentle flame that rarefies and expands her whole being. What an idea of trembling haste and airy grace, borne upon the thoughts of love, does the Friar's exclamation give of her, as she approaches his cell to be married: Here comes the lady. Oh, so light of foot Will ne'er wear out the everlasting flint: A lover may bestride the gossamer, That idles in the wanton summer air, And yet not fall, so light is vanity.

The tragic part of this character is of a piece with the rest. It is the heroic founded on tenderness and delicacy. Of this kind are her resolution to follow the Friar's advice, and the conflict in her bosom between apprehension and love when she comes to take the sleeping poison. Shakespeare is blamed for the mixture of low characters. If this is a deformity, it is the source of a thousand beauties. One instance is the contrast between the guileless simplicity of Juliet's attachment to her first love, and the convenient policy of the nurse in advising her to marry Paris, which excites such indignation in her mistress. 'Ancient d.a.m.nation! oh most wicked fiend', &c.

Romeo is Hamlet in love. There is the same rich exuberance of pa.s.sion and sentiment in the one, that there is of thought and sentiment in the other. Both are absent and self-involved, both live out of themselves in a world of imagination. Hamlet is abstracted from everything; Romeo is abstracted from everything but his love, and lost in it. His 'frail thoughts dally with faint surmise', and are fas.h.i.+oned out of the suggestions of hope, 'the flatteries of sleep'. He is himself only in his Juliet; she is his only reality, his heart's true home and idol. The rest of the world is to him a pa.s.sing dream. How finely is this character portrayed where he recollects himself on seeing Paris slain at the tomb of Juliet!

What said my man when my betossed soul Did not attend him as we rode? I think He told me Paris should have married Juliet.

And again, just before he hears the sudden tidings of her death: If I may trust the flattery of sleep, My dreams presage some joyful news at hand; My bosom's lord sits lightly on his throne, And all this day an unaccustom'd spirit Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead, (Strange dream! that gives a dead man leave to think) And breath'd such life with kisses on my lips, That I reviv'd and was an emperor. Ah me! how sweet is love itself possessed, When but love's shadows are so rich in joy!

Romeo's pa.s.sion for Juliet is not a first love: it succeeds and drives out his pa.s.sion for another mistress, Rosaline, as the sun hides the stars. This is perhaps an artifice (not absolutely necessary) to give us a higher opinion of the lady, while the first absolute surrender of her heart to him enhances the richness of the prize. The commencement, progress, and ending of his second pa.s.sion are however complete in themselves, not injured, if they are not bettered by the first. The outline of the play is taken from an Italian novel; but the dramatic arrangement of the different scenes between the lovers, the more than dramatic interest in the progress of the story, the development of the characters with time and circ.u.mstances, just according to the degree and kind of interest excited, are not inferior to the expression of pa.s.sion and nature. It has been ingeniously remarked among other proofs of skill in the contrivance of the fable, that the improbability of the main incident in the piece, the administering of the sleeping-potion, is softened and obviated from the beginning by the introduction of the Friar on his first appearance culling simples and descanting on their virtues. Of the pa.s.sionate scenes in this tragedy, that between the Friar and Romeo when he is told of his sentence of banishment, that between Juliet and the Nurse when she hears of it, and of the death of her cousin Tybalt (which bear no proportion in her mind, when pa.s.sion after the first shock of surprise throws its weight into the scale of her affections), and the last scene at the tomb, are among the most natural and overpowering. In all of these it is not merely the force of any one pa.s.sion that is given, but the slightest and most unlooked-for transitions from one to another, the mingling currents of every different feeling rising up and prevailing in turn, swayed by the master-mind of the poet, as the waves undulate beneath the gliding storm. Thus when Juliet has by her complaints encouraged the Nurse to say, 'Shame come to Romeo', she instantly repels the wish, which she had herself occasioned, by answering: Blister'd be thy tongue For such a wish, he was not born to shame. Upon his brow shame is ashamed to sit, For 'tis a throne where honour may be crown'd Sole monarch of the universal earth! O, what a beast was I to chide him so!

Nurse. Will you speak well of him that kill'd your cousin?

Juliet. Shall I speak ill of him that is my husband? Ah my poor lord, what tongue shall smooth thy name, When I, thy three-hours' wife, have mangled it?

And then follows on the neck of her remorse and returning fondness, that wish treading almost on the brink of impiety, but still held back by the strength of her devotion to her lord, that 'father, mother, nay, or both were dead', rather than Romeo banished. If she requires any other excuse, it is in the manner in which Romeo echoes her frantic grief and disappointment in the next scene at being banished from her.--Perhaps one of the finest pieces of acting that ever was witnessed on the stage, is Mr. Kean's manner of doing this scene and his repet.i.tion of the word, BANISHED. He treads close indeed upon the genius of his author.

A pa.s.sage which this celebrated actor and able commentator on Shakespeare (actors are the best commentators on the poets) did not give with equal truth or force of feeling was the one which Romeo makes at the tomb of Juliet, before he drinks the poison.

--Let me peruse this face-- Mercutio's kinsman! n.o.ble county Paris! What said my man, when my betossed soul Did not attend him as we rode! I think, He told me, Paris should have married Juliet! Said he not so? or did I dream it so? Or am I mad, hearing him talk of Juliet, To think it was so?--O, give me thy hand, One writ with me in sour misfortune's book! I'll bury thee in a triumphant grave-- For here lies Juliet.

--O, my love! my wife! Death that hath suck'd the honey of thy breath, Hath had no power yet upon thy beauty: Thou art not conquer'd; beauty's ensign yet Is crimson in thy lips, and in thy cheeks, And Death's pale flag is not advanced there.-- Tybalt, ly'st thou there in thy b.l.o.o.d.y sheet? O, what more favour can I do to thee, Than with that hand that cut thy youth in twain, To sunder his that was thine enemy? Forgive me, cousin! Ah, dear Juliet, Why art thou yet so fair! I will believe That unsubstantial death is amorous; And that the lean abhorred monster keeps Thee here in dark to be his paramour. For fear of that, I will stay still with thee; And never from this palace of dim night Depart again: here, here will I remain With worms that are thy chamber-maids; O, here Will I set up my everlasting rest; And shake the yoke of inauspicious stars From this world-wearied flesh.--Eyes, look your last! Arms, take your last embrace! and lips, O you The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death!-- Come, bitter conduct, come unsavoury guide! Thou desperate pilot, now at once run on The das.h.i.+ng rocks my sea-sick weary bark! Here's to my love!--[Drinks.] O, true apothecary! Thy drugs are quick.--Thus with a kiss I die.

The lines in this speech describing the loveliness of Juliet, who is supposed to be dead, have been compared to those in which it is said of Cleopatra after her death, that she looked 'as she would take another Antony in her strong toil of grace;' and a question has been started which is the finest, that we do not pretend to decide. We can more easily decide between Shakespeare and any other author, than between him and himself.--Shall we quote any more pa.s.sages to show his genius or the beauty of ROMEO AND JULIET? At that rate, we might quote the whole. The late Mr. Sheridan, on being shown a volume of the Beauties of Shakespeare, very properly asked--'But where are the other eleven?' The character of Mercutio in this play is one of the most mercurial and spirited of the productions of Shakespeare's comic muse.

LEAR.

We wish that we could pa.s.s this play over, and say nothing about it. All that we can say must fall far short of the subject; or even of what we ourselves conceive of it. To attempt to give a description of the play itself or of its effect upon the mind, is mere impertinence: yet we must say something.--It is then the best of all Shakespeare's plays, for it is the one in which he was the most in earnest. He was here fairly caught in the web of his own imagination. The pa.s.sion which he has taken as his subject is that which strikes its root deepest into the human heart; of which the bond is the hardest to be unloosed; and the cancelling and tearing to pieces of which gives the greatest revulsion to the frame. This depth of nature, this force of pa.s.sion, this tug and war of the elements of our being, this firm faith in filial piety, and the giddy anarchy and whirling tumult of the thoughts at finding this prop failing it, the contrast between the fixed, immoveable basis of natural affection, and the rapid, irregular starts of imagination, suddenly wrenched from all its accustomed holds and resting-places in the soul, this is what Shakespeare has given, and what n.o.body else but he could give. So we believe.--The mind of Lear staggering between the weight of attachment and the hurried movements of pa.s.sion is like a tall s.h.i.+p driven about by the winds, buffeted by the furious waves, but that still rides above the storm, having its anchor fixed in the bottom of the sea; or it is like the sharp rock circled by the eddying whirlpool that foams and beats against it, or like the solid promontory pushed from its basis by the force of an earthquake.

The character of Lear itself is very finely conceived for the purpose. It is the only ground on which such a story could be built with the greatest truth and effect. It is his rash haste, his violent impetuosity, his blindness to everything but the dictates of his pa.s.sions or affections, that produces all his misfortunes, that aggravates his impatience of them, that enforces our pity for him. The part which Cordelia bears in the scene is extremely beautiful: the story is almost told in the first words she utters. We see at once the precipice on which the poor old king stands from his own extravagant and credulous importunity, the indiscreet simplicity of her love (which, to be sure, has a little of her father's obstinacy in it) and the hollowness of her sisters' pretensions. Almost the first burst of that n.o.ble tide of pa.s.sion, which runs through the play, is in the remonstrance of Kent to his royal master on the injustice of his sentence against his youngest daughter--'Be Kent unmannerly, when Lear is mad!' This manly plainness which draws down on him the displeasure of the unadvised king is worthy of the fidelity with which he adheres to his fallen fortunes. The true character of the two eldest daughters, Regan and Gonerill (they are so thoroughly hateful that we do not even like to repeat their names) breaks out in their answer to Cordelia who desires them to treat their father well--'Prescribe not us our duties'--their hatred of advice being in proportion to their determination to do wrong, and to their hypocritical pretensions to do right. Their deliberate hypocrisy adds the last finis.h.i.+ng to the odiousness of their characters. It is the absence of this detestable quality that is the only relief in the character of Edmund the b.a.s.t.a.r.d, and that at times reconciles us to him. We are not tempted to exaggerate the guilt of his conduct, when he himself gives it up as a bad business, and writes himself down 'plain villain'. Nothing more can be said about it. His religious honesty in this respect is admirable. One speech of his is worth a million. His father, Gloster, whom he has just deluded with a forged story of his brother Edgar's designs against his life, accounts for his unnatural behaviour and the strange depravity of the times from the late eclipses in the sun and moon. Edmund, who is in the secret, says when he is gone: 'This is the excellent foppery of the world, that when we are sick in fortune (often the surfeits of our own behaviour) we make guilty of our disasters the sun, the moon, and stars: as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treacherous by spherical predominance; drunkards, liars, and adulterers by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on. An admirable evasion of wh.o.r.emaster man, to lay his goatish disposition on the charge of a star! My father compounded with my mother under the Dragon's tale, and my nativity was under Ursa Major: so that it follows, I am rough and lecherous. I should have been what I am, had the maidenliest star in the firmament twinkled on my b.a.s.t.a.r.dizing.'--The whole character, its careless, light-hearted villany, contrasted with the sullen, rancorous malignity of Regan and Gonerill, its connexion with the conduct of the under-plot, in which Gloster's persecution of one of his sons and the ingrat.i.tude of another, form a counterpart to the mistakes and misfortunes of Lear--his double amour with the two sisters, and the share which he has in bringing about the fatal catastrophe, are all managed with an uncommon degree of skill and power.

It has been said, and we think justly, that the third act of OTh.e.l.lO, and the three first acts of LEAR, are Shakespeare's great masterpieces in the logic of pa.s.sion: that they contain the highest examples not only of the force of individual pa.s.sion, but of its dramatic vicissitudes and striking effects arising from the different circ.u.mstances and characters of the persons speaking. We see the ebb and flow of the feeling, its pauses and feverish starts, its impatience of opposition, its acc.u.mulating force when it has time to recollect itself, the manner in which it avails itself of every pa.s.sing word or gesture, its haste to repel insinuation, the alternate contraction and dilatation of the soul, and all 'the dazzling fence of controversy' in this mortal combat with poisoned weapons, aimed at the heart, where each wound is fatal. We have seen in OTh.e.l.lO, how the unsuspecting frankness and impetuous pa.s.sions of the Moor are played upon and exasperated by the artful dexterity of Iago. In the present play, that which aggravates the sense of sympathy in the reader, and of uncontrollable anguish in the swollen heart of Lear, is the petrifying indifference, the cold, calculating, obdurate selfishness of his daughters. His keen pa.s.sions seem whetted on their stony hearts. The contrast would be too painful, the shock too great, but for the intervention of the Fool, whose well-timed levity comes in to break the continuity of feeling when it can no longer be borne, and to bring into play again the fibres of the heart just as they are growing rigid from over- strained excitement. The imagination is glad to take refuge in the half-comic, half-serious comments of the Fool, just as the mind under the extreme anguish of a surgical operation vents itself in sallies of wit. The character was also a grotesque ornament of the barbarous times, in which alone the tragic ground-work of the story could be laid. In another point of view it is indispensable, inasmuch as while it is a diversion to the too great intensity of our disgust, it carries the pathos to the highest pitch of which it is capable, by showing the pitiable weakness of the old king's conduct and its irretrievable consequences in the most familiar point of view. Lear may well 'beat at the gate which let his folly in', after, as the Fool says, 'he has made his daughters his mothers'. The character is dropped in the third act to make room for the entrance of Edgar as Mad Tom, which well accords with the increasing bustle and wildness of the incidents; and nothing can be more complete than the distinction between Lear's real and Edgar's a.s.sumed madness, while the resemblance in the cause of their distresses, from the severing of the nearest ties of natural affection, keeps up a unity of interest. Shakespeare's mastery over his subject, if it was not art, was owing to a knowledge of the connecting links of the pa.s.sions, and their effect upon the mind, still more wonderful than any systematic adherence to rules, and that antic.i.p.ated and outdid all the efforts of the most refined art, not inspired and rendered instinctive by genius.

One of the most perfect displays of dramatic power is the first interview between Lear and his daughter, after the designed affronts upon him, which till one of his knights reminds him of them, his sanguine temperament had led him to overlook. He returns with his train from hunting, and his usual impatience breaks out in his first words, 'Let me not stay a jot for dinner; go, get it ready.' He then encounters the faithful Kent in disguise, and retains him in his service; and the first trial of his honest duty is to trip up the heels of the officious Steward who makes so prominent and despicable a figure through the piece. On the entrance of Gonerill the following dialogue takes place: Lear. How now, daughter? what makes that frontlet on? Methinks, you are too much of late i' the frown.

Fool. Thou wast a pretty fellow, when thou had'st no need to care for her frowning; now thou art an O without a figure: I am better than thou art now; I am a fool, thou art nothing.--Yes, forsooth, I will hold my tongue; [To Gonerill.] so your face bids me, though you say nothing. Mum, mum.

He that keeps nor crust nor crum, Weary of all, shall want some-- That's a sheal'd peascod! [Pointing to Lear.]

Gonerill. Not only, sir, this your all-licens'd fool, But other of your insolent retinue Do hourly carp and quarrel; breaking forth In rank and not-to-be-endured riots. I had thought, by making this well known unto you, To have found a safe redress; but now grow fearful, By what yourself too late have spoke and done, That you protect this course, and put it on By your allowance; which if you should, the fault Would not 'scape censure, nor the redresses sleep, Which in the tender of a wholesome weal, Might in their working do you that offence, (Which else were shame) that then necessity Would call discreet proceeding.

Fool. For you trow, nuncle, The hedge sparrow fed the cuckoo so long, That it had its head bit off by its young. So out went the candle, and we were left darkling.

Lear. Are you our daughter?

Gonerill. Come, sir, I would, you would make use of that good wisdom Whereof I know you are fraught; and put away These dispositions, which of late transform you From what you rightly are.

Fool. May not an a.s.s know when the cart draws the horse?--Whoop, Jug, I love thee.

Lear. Does any here know me?--Why, this is not Lear: Does Lear walk thus? speak thus?--Where are his eyes? Either his notion weakens, or his discernings Are lethargy'd--Ha! waking?--'Tis not so.-- Who is it that can tell me who I am?--Lear's shadow? I would learn that: for by the marks Of sov'reignty, of knowledge, and of reason, I should be false persuaded I had daughters.-- Your name, fair gentlewoman?

Gonerill. Come, sir: This admiration is much o' the favour Of other your new pranks. I do beseech you To understand my purposes aright: As you are old and reverend, you should be wise: Here do you keep a hundred knights and squires; Men so disorder'd, so debauch'd, and bold, That this our court, infected with their manners, Shows like a riotous inn: epicurism and l.u.s.t Make it more like a tavern, or a brothel, Than a grac'd palace. The shame itself doth speak For instant remedy: be then desir'd By her, that else will take the thing she begs, A little to disquant.i.ty your train; And the remainder, that shall still depend, To be such men as may besort your age, And know themselves and you.

Lear. Darkness and devils! Saddle my horses; call my train together.-- Degenerate b.a.s.t.a.r.d! I'll not trouble thee; Yet have I left a daughter.

Gonerill. You strike my people, and your disorder'd rabble Make servants of their betters.

Enter Albany.

Lear. Woe, that too late repents--O, sir, are you come? Is it your will? speak, sir.--Prepare my horses.-- [To Albany.] Ingrat.i.tude! thou marble-hearted fiend, More hideous, when thou show'st thee in a child, Than the sea-monster!

Albany. Pray, sir, be patient.

Lear. Detested kite! thou liest. [To Gonerill.] My train are men of choice and rarest parts, That all particulars of duty know; And in the most exact regard support The wors.h.i.+ps of their name.--O most small fault, How ugly didst thou in Cordelia show! Which, like an engine, wrench'd my frame of nature From the fixt place; drew from my heart all love, And added to the gall. O Lear, Lear, Lear! Beat at the gate, that let thy folly in, [Striking his head.] And thy dear judgement out!--Go, go, my people!

Albany. My lord, I am guiltless, as I am ignorant Of what hath mov'd you.

Lear. It may be so, my lord-- Hear, nature, hear: dear G.o.ddess, hear! Suspend thy purpose, if thou didst intend To make this creature fruitful! Into her womb convey sterility; Dry up in her the organs of increase; And from her derogate body never spring A babe to honour her! If she must teem, Create her child of spleen: that it may live, To be a thwart disnatur'd torment to her! Let it stamp wrinkles in her brow of youth; With cadent tears fret channels in her cheeks; Turn all her mother's pains, and benefits, To laughter and contempt; that she may feel How sharper than a serpent's tooth it is To have a thankless child!--Away, away! [Exit.]

Albany. Now, G.o.ds, that we adore, whereof comes this?

Gonerill. Never afflict yourself to know the cause; But let his disposition have that scope That dotage gives it.

Re-enter Lear.

Lear. What, fifty of my followers at a clap! Within a fortnight!

Albany. What's the matter, sir?

Lear. I'll tell thee; life and death! I am asham'd That thou hast power to shake my manhood thus: [To Gonerill.] That these hot tears, which break from me perforce, Should make thee worth them.--Blasts and fogs upon thee! The untented woundings of a father's curse Pierce every sense about thee!--Old fond eyes, Beweep this cause again, I'll pluck you out; And cast you, with the waters that you lose, To temper clay.--Ha! is it come to this? Let it be so:--Yet have I left a daughter, Who, I am sure, is kind and comfortable; When she shall hear this of thee, with her nails She'll flay thy wolfish visage. Thou shalt find That I'll resume the shape, which thou dost think I have cast off forever.

[Exeunt Lear, Kent, and Attendants.]

This is certainly fine: no wonder that Lear says after it, 'O let me not be mad, not mad, sweet heavens,' feeling its effects by antic.i.p.ation: but fine as is this burst of rage and indignation at the first blow aimed at his hopes and expectations, it is nothing near so fine as what follows from his double disappointment, and his lingering efforts to see which of them he shall lean upon for support and find comfort in, when both his daughters turn against his age and weakness. It is with some difficulty that Lear gets to speak with his daughter Regan, and her husband, at Gloster's castle. In concert with Gonerill they have left their own home on purpose to avoid him. His apprehensions are fast alarmed by this circ.u.mstance, and when Gloster, whose guests they are, urges the fiery temper of the Duke of Cornwall as an excuse for not importuning him a second time, Lear breaks out: Vengeance! Plague! Death! Confusion! Fiery? What fiery quality? Why, Gloster, I'd speak with the Duke of Cornwall and his wife.

Afterwards, feeling perhaps not well himself, he is inclined to admit their excuse from illness, but then recollecting that they have set his messenger (Kent) in the stocks, all his suspicions are roused again, and he insists on seeing them.

Enter Cornwall, Regan, Gloster, and Servants.

Lear. Good-morrow to you both.

Cornwall. Hail to your grace!

[Kent is set at liberty.]

Regan. I am glad to see your highness.

Lear. Regan, I think you are; I know what reason I have to think so; if thou should'st not be glad, I would divorce me from thy mother's tomb, Sepulch'ring an adultress.--O, are you free? [To Kent.] Some other time for that.--Beloved Regan, Thy sister's naught: O Regan, she hath tied Sharp-tooth'd unkindness, like a vulture, here-- [Points to his heart.] I can scarce speak to thee; thou'lt not believe, Of how deprav'd a quality--o Regan!

Regan. 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?

Regan. I cannot think my sister in the least Would fail her obligation; if, sir, perchance, She have restrain'd the riots of your followers, 'Tis on such ground, and to such wholesome end, As clears her from all blame.

Lear. My curses on her!

Regan. O, sir, you are old; Nature in you stands on the very verge Of her confine: you should be rul'd, and led By some discretion, that discerns your state Better than you yourself: therefore, I pray you, That to our sister you do make return; Say, you have wrong'd her, sir.

Lear. Ask her forgiveness? Do you but mark how this becomes the use? Dear daughter, I confess that I am old; Age is unnecessary; on my knees I beg, That you'll vouchsafe me raiment, bed, and food.

Regan. Good sir, no more; these are unsightly tricks: Return you to my sister.

Lear. Never, Regan: She hath abated me of half my train; Look'd blank upon me; struck me with her tongue, Most serpent-like, upon the very heart:-- All the stor'd vengeances of heaven fall On her ungrateful top! Strike her young bones, You taking airs, with lameness!

Cornwall. Fie, sir, fie!

Lear: You nimble lightnings, dart your blinding flames Into her scornful eyes! Infect her beauty, You fen-suck'd fogs, drawn by the powerful sun, To fall, and blast her pride!

Regan. O the blest G.o.ds! So will you wish on me, when the rash mood is on.

Lear. No, Regan, thou shalt never have my curse; Thy tender-hefted nature shall not give Thee o'er to harshness; her eyes are fierce, but thine Do comfort, and not burn: 'Tis not in thee To grudge my pleasures, to cut off my train, To bandy hasty words, to scant my sizes, And, in conclusion, to oppose the bolt Against my coming in: thou better know'st The offices of nature, bond of childhood, Effects of courtesy, dues of grat.i.tude; Thy half o' the kingdom thou hast not forgot, Wherein I thee endow'd.