Lectures on the English Poets Part 5

_Act. II. Scene 1_.

How after this airy, fantastic idea of irregular grace and bewildered melancholy any one can play Hamlet, as we have seen it played, with strut, and stare, and antic right-angled sharp-pointed gestures, it is difficult to say, unless it be that Hamlet is not bound, by the prompter's cue, to study the part of Ophelia. The account of Ophelia's death begins thus:

"There is a willow hanging o'er a brook, That shows its h.o.a.ry leaves in the gla.s.sy stream."--

Now this is an instance of the same unconscious power of mind which is as true to nature as itself. The leaves of the willow are, in fact, white underneath, and it is this part of them which would appear "h.o.a.ry"

in the reflection in the brook. The same sort of intuitive power, the same faculty of bringing every object in nature, whether present or absent, before the mind's eye, is observable in the speech of Cleopatra, when conjecturing what were the employments of Antony in his absence:-- "He's speaking now, or murmuring, where's my serpent of old Nile?" How fine to make Cleopatra have this consciousness of her own character, and to make her feel that it is this for which Antony is in love with her!

She says, after the battle of Actium, when Antony has resolved to risk another fight, "It is my birth-day; I had thought to have held it poor: but since my lord is Antony again, I will be Cleopatra." What other poet would have thought of such a casual resource of the imagination, or would have dared to avail himself of it? The thing happens in the play as it might have happened in fact.--That which, perhaps, more than any thing else distinguishes the dramatic productions of Shakspeare from all others, is this wonderful truth and individuality of conception. Each of his characters is as much itself, and as absolutely independent of the rest, as well as of the author, as if they were living persons, not fictions of the mind. The poet may be said, for the time, to identify himself with the character he wishes to represent, and to pa.s.s from one to another, like the same soul successively animating different bodies.

By an art like that of the ventriloquist, he throws his imagination out of himself, and makes every word appear to proceed from the mouth of the person in whose name it is given. His plays alone are properly expressions of the pa.s.sions, not descriptions of them. His characters are real beings of flesh and blood; they speak like men, not like authors. One might suppose that he had stood by at the time, and overheard what pa.s.sed. As in our dreams we hold conversations with ourselves, make remarks, or communicate intelligence, and have no idea of the answer which we shall receive, and which we ourselves make, till we hear it: so the dialogues in Shakspeare are carried on without any consciousness of what is to follow, without any appearance of preparation or premeditation. The gusts of pa.s.sion come and go like sounds of music borne on the wind. Nothing is made out by formal inference and a.n.a.logy, by climax and ant.i.thesis: all comes, or seems to come, immediately from nature. Each object and circ.u.mstance exists in his mind, as it would have existed in reality: each several train of thought and feeling goes on of itself, without confusion or effort. In the world of his imagination, every thing has a life, a place, and being of its own!

Chaucer's characters are sufficiently distinct from one another, but they are too little varied in themselves, too much like identical propositions. They are consistent, but uniform; we get no new idea of them from first to last; they are not placed in different lights, nor are their subordinate _traits_ brought out in new situations; they are like portraits or physiognomical studies, with the distinguis.h.i.+ng features marked with inconceivable truth and precision, but that preserve the same unaltered air and att.i.tude. Shakspeare's are historical figures, equally true and correct, but put into action, where every nerve and muscle is displayed in the struggle with others, with all the effect of collision and contrast, with every variety of light and shade. Chaucer's characters are narrative, Shakspeare's dramatic, Milton's epic. That is, Chaucer told only as much of his story as he pleased, as was required for a particular purpose. He answered for his characters himself. In Shakspeare they are introduced upon the stage, are liable to be asked all sorts of questions, and are forced to answer for themselves. In Chaucer we perceive a fixed essence of character. In Shakspeare there is a continual composition and decomposition of its elements, a fermentation of every particle in the whole ma.s.s, by its alternate affinity or antipathy to other principles which are brought in contact with it. Till the experiment is tried, we do not know the result, the turn which the character will take in its new circ.u.mstances.

Milton took only a few simple principles of character, and raised them to the utmost conceivable grandeur, and refined them from every base alloy. His imagination, "nigh sphered in Heaven," claimed kindred only with what he saw from that height, and could raise to the same elevation with itself. He sat retired and kept his state alone, "playing with wisdom"; while Shakspeare mingled with the crowd, and played the host, "to make society the sweeter welcome."

The pa.s.sion in Shakspeare is of the same nature as his delineation of character. It is not some one habitual feeling or sentiment preying upon itself, growing out of itself, and moulding every thing to itself; it is pa.s.sion modified by pa.s.sion, by all the other feelings to which the individual is liable, and to which others are liable with him; subject to all the fluctuations of caprice and accident; calling into play all the resources of the understanding and all the energies of the will; irritated by obstacles or yielding to them; rising from small beginnings to its utmost height; now drunk with hope, now stung to madness, now sunk in despair, now blown to air with a breath, now raging like a torrent. The human soul is made the sport of fortune, the prey of adversity: it is stretched on the wheel of destiny, in restless ecstacy.

The pa.s.sions are in a state of projection. Years are melted down to moments, and every instant teems with fate. We know the results, we see the process. Thus after Iago has been boasting to himself of the effect of his poisonous suggestions on the mind of Oth.e.l.lo, "which, with a little act upon the blood, will work like mines of sulphur," he adds--

"Look where he comes! not poppy, nor mandragora, Nor all the drowsy syrups of the East, Shall ever medicine thee to that sweet sleep Which thou ow'dst yesterday."--

And he enters at this moment, like the crested serpent, crowned with his wrongs and raging for revenge! The whole depends upon the turn of a thought. A word, a look, blows the spark of jealousy into a flame; and the explosion is immediate and terrible as a volcano. The dialogues in Lear, in Macbeth, that between Brutus and Ca.s.sius, and nearly all those in Shakspeare, where the interest is wrought up to its highest pitch, afford examples of this dramatic fluctuation of pa.s.sion. The interest in Chaucer is quite different; it is like the course of a river, strong, and full, and increasing. In Shakspeare, on the contrary, it is like the sea, agitated this way and that, and loud-lashed by furious storms; while in the still pauses of the blast, we distinguish only the cries of despair, or the silence of death! Milton, on the other hand, takes the imaginative part of pa.s.sion--that which remains after the event, which the mind reposes on when all is over, which looks upon circ.u.mstances from the remotest elevation of thought and fancy, and abstracts them from the world of action to that of contemplation. The objects of dramatic poetry affect us by sympathy, by their nearness to ourselves, as they take us by surprise, or force us upon action, "while rage with rage doth sympathise"; the objects of epic poetry affect us through the medium of the imagination, by magnitude and distance, by their permanence and universality. The one fill us with terror and pity, the other with admiration and delight. There are certain objects that strike the imagination, and inspire awe in the very idea of them, independently of any dramatic interest, that is, of any connection with the vicissitudes of human life. For instance, we cannot think of the pyramids of Egypt, of a Gothic ruin, or an old Roman encampment, without a certain emotion, a sense of power and sublimity coming over the mind.

The heavenly bodies that hang over our heads wherever we go, and "in their untroubled element shall s.h.i.+ne when we are laid in dust, and all our cares forgotten," affect us in the same way. Thus Satan's address to the Sun has an epic, not a dramatic interest; for though the second person in the dialogue makes no answer and feels no concern, yet the eye of that vast luminary is upon him, like the eye of heaven, and seems conscious of what he says, like an universal presence. Dramatic poetry and epic, in their perfection, indeed, approximate to and strengthen one another. Dramatic poetry borrows aid from the dignity of persons and things, as the heroic does from human pa.s.sion, but in theory they are distinct.--When Richard II. calls for the looking-gla.s.s to contemplate his faded majesty in it, and bursts into that affecting exclamation: "Oh, that I were a mockery-king of snow, to melt away before the sun of Bolingbroke," we have here the utmost force of human pa.s.sion, combined with the ideas of regal splendour and fallen power. When Milton says of Satan:

"------His form had not yet lost All her original brightness, nor appear'd Less than archangel ruin'd, and th' excess Of glory obscur'd;"--

the mixture of beauty, of grandeur, and pathos, from the sense of irreparable loss, of never-ending, unavailing regret, is perfect.

The great fault of a modern school of poetry is, that it is an experiment to reduce poetry to a mere effusion of natural sensibility; or what is worse, to divest it both of imaginary splendour and human pa.s.sion, to surround the meanest objects with the morbid feelings and devouring egotism of the writers' own minds. Milton and Shakspeare did not so understand poetry. They gave a more liberal interpretation both to nature and art. They did not do all they could to get rid of the one and the other, to fill up the dreary void with the Moods of their own Minds. They owe their power over the human mind to their having had a deeper sense than others of what was grand in the objects of nature, or affecting in the events of human life. But to the men I speak of there is nothing interesting, nothing heroical, but themselves. To them the fall of G.o.ds or of great men is the same. They do not enter into the feeling. They cannot understand the terms. They are even debarred from the last poor, paltry consolation of an unmanly triumph over fallen greatness; for their minds reject, with a convulsive effort and intolerable loathing, the very idea that there ever was, or was thought to be, any thing superior to themselves. All that has ever excited the attention or admiration of the world, they look upon with the most perfect indifference; and they are surprised to find that the world repays their indifference with scorn. "With what measure they mete, it has been meted to them again."--

Shakespeare's imagination is of the same plastic kind as his conception of character or pa.s.sion. "It glances from heaven to earth, from earth to heaven." Its movement is rapid and devious. It unites the most opposite extremes; or, as Puck says, in boasting of his own feats, "puts a girdle round about the earth in forty minutes." He seems always hurrying from his subject, even while describing it; but the stroke, like the lightning's, is sure as it is sudden. He takes the widest possible range, but from that very range he has his choice of the greatest variety and apt.i.tude of materials. He brings together images the most alike, but placed at the greatest distance from each other; that is, found in circ.u.mstances of the greatest dissimilitude. From the remoteness of his combinations, and the celerity with which they are effected, they coalesce the more indissolubly together. The more the thoughts are strangers to each other, and the longer they have been kept asunder, the more intimate does their union seem to become. Their felicity is equal to their force. Their likeness is made more dazzling by their novelty. They startle, and take the fancy prisoner in the same instant. I will mention one or two which are very striking, and not much known, out of Troilus and Cressida. AEneas says to Agamemnon,

"I ask that I may waken reverence, And on the cheek be ready with a blush Modest as morning, when she coldly eyes The youthful Phoebus."

Ulysses urging Achilles to shew himself in the field, says--

"No man is the lord of any thing, Till he communicate his parts to others: Nor doth he of himself know them for aught, Till he behold them formed in the applause, Where they're extended! which like an arch reverberates The voice again, or like a gate of steel, Fronting the sun, receives and renders back Its figure and its heat."

Patroclus gives the indolent warrior the same advice.

"Rouse yourself; and the weak wanton Cupid Shall from your neck unloose his amorous fold, And like a dew-drop from the lion's mane Be shook to air."

Shakspeare's language and versification are like the rest of him. He has a magic power over words: they come winged at his bidding; and seem to know their places. They are struck out at a heat, on the spur of the occasion, and have all the truth and vividness which arise from an actual impression of the objects. His epithets and single phrases are like sparkles, thrown off from an imagination, fired by the whirling rapidity of its own motion. His language is hieroglypnical. It translates thoughts into visible images. It abounds in sudden transitions and elliptical expressions. This is the source of his mixed metaphors, which are only abbreviated forms of speech. These, however, give no pain from long custom. They have, in fact, become idioms in the language. They are the building, and not the scaffolding to thought. We take the meaning and effect of a well-known pa.s.sage entire, and no more stop to scan and spell out the particular words and phrases, than the syllables of which they are composed. In trying to recollect any other author, one sometimes stumbles, in case of failure, on a word as good.

In Shakspeare, any other word but the true one, is sure to be wrong. If any body, for instance, could not recollect the words of the following description,

"------Light thickens, And the crow makes wing to the rooky wood,"

he would be greatly at a loss to subst.i.tute others for them equally expressive of the feeling. These remarks, however, are strictly applicable only to the impa.s.sioned parts of Shakspeare's language, which flowed from the warmth and originality of his imagination, and were his own. The language used for prose conversation and ordinary business is sometimes technical, and involved in the affectation of the time.

Compare, for example, Oth.e.l.lo's apology to the senate, relating "his whole course of love," with some of the preceding parts relating to his appointment, and the official dispatches from Cyprus. In this respect, "the business of the state does him offence."--His versification is no less powerful, sweet, and varied. It has every occasional excellence, of sullen intricacy, crabbed and perplexed, or of the smoothest and loftiest expansion--from the ease and familiarity of measured conversation to the lyrical sounds

"------Of ditties highly penned, Sung by a fair queen in a summer's bower, With ravis.h.i.+ng division to her lute."

It is the only blank verse in the language, except Milton's, that for itself is readable. It is not stately and uniformly swelling like his, but varied and broken by the inequalities of the ground it has to pa.s.s over in its uncertain course,

"And so by many winding nooks it strays, With willing sport to the wild ocean."

It remains to speak of the faults of Shakspeare. They are not so many or so great as they have been represented; what there are, are chiefly owing to the following causes:--The universality of his genius was, perhaps, a disadvantage to his single works; the variety of his resources, sometimes diverting him from applying them to the most effectual purposes. He might be said to combine the powers of AEschylus and Aristophanes, of Dante and Rabelais, in his own mind. If he had been only half what he was, he would perhaps have appeared greater. The natural ease and indifference of his temper made him sometimes less scrupulous than he might have been. He is relaxed and careless in critical places; he is in earnest throughout only in Timon, Macbeth, and Lear. Again, he had no models of acknowledged excellence constantly in view to stimulate his efforts, and by all that appears, no love of fame.

He wrote for the "great vulgar and the small," in his time, not for posterity. If Queen Elizabeth and the maids of honour laughed heartily at his worst jokes, and the catcalls in the gallery were silent at his best pa.s.sages, he went home satisfied, and slept the next night well. He did not trouble himself about Voltaire's criticisms. He was willing to take advantage of the ignorance of the age in many things; and if his plays pleased others, not to quarrel with them himself. His very facility of production would make him set less value on his own excellences, and not care to distinguish nicely between what he did well or ill. His blunders in chronology and geography do not amount to above half a dozen, and they are offences against chronology and geography, not against poetry. As to the unities, he was right in setting them at defiance. He was fonder of puns than became so great a man. His barbarisms were those of his age. His genius was his own. He had no objection to float down with the stream of common taste and opinion: he rose above it by his own buoyancy, and an impulse which he could not keep under, in spite of himself or others, and "his delights did shew most dolphin-like."

He had an equal genius for comedy and tragedy; and his tragedies are better than his comedies, because tragedy is better than comedy. His female characters, which have been found fault with as insipid, are the finest in the world. Lastly, Shakspeare was the least of a c.o.xcomb of any one that ever lived, and much of a gentleman.

Shakspeare discovers in his writings little religious enthusiasm, and an indifference to personal reputation; he had none of the bigotry of his age, and his political prejudices were not very strong. In these respects, as well as in every other, he formed a direct contrast to Milton. Milton's works are a perpetual invocation to the Muses; a hymn to Fame. He had his thoughts constantly fixed on the contemplation of the Hebrew theocracy, and of a perfect commonwealth; and he seized the pen with a hand just warm from the touch of the ark of faith. His religious zeal infused its character into his imagination; so that he devotes himself with the same sense of duty to the cultivation of his genius, as he did to the exercise of virtue, or the good of his country.

The spirit of the poet, the patriot, and the prophet, vied with each other in his breast. His mind appears to have held equal communion with the inspired writers, and with the bards and sages of ancient Greece and Rome;--

"Blind Thamyris, and blind Maeonides, And Tiresias, and Phineus, prophets old."

He had a high standard, with which he was always comparing himself, nothing short of which could satisfy his jealous ambition. He thought of n.o.bler forms and n.o.bler things than those he found about him. He lived apart, in the solitude of his own thoughts, carefully excluding from his mind whatever might distract its purposes or alloy its purity, or damp its zeal. "With darkness and with dangers compa.s.sed round," he had the mighty models of antiquity always present to his thoughts, and determined to raise a monument of equal height and glory, "piling up every stone of l.u.s.tre from the brook," for the delight and wonder of posterity. He had girded himself up, and as it were, sanctified his genius to this service from his youth. "For after," he says, "I had from my first years, by the ceaseless diligence and care of my father, been exercised to the tongues, and some sciences as my age could suffer, by sundry masters and teachers, it was found that whether aught was imposed upon me by them, or betaken to of my own choice, the style by certain vital signs it had, was likely to live; but much latelier, in the private academies of Italy, perceiving that some trifles which I had in memory, composed at under twenty or thereabout, met with acceptance above what was looked for; I began thus far to a.s.sent both to them and divers of my friends here at home, and not less to an inward prompting which now grew daily upon me, that by labour and intense study (which I take to be my portion in this life), joined with the strong propensity of nature, I might perhaps leave something so written to after-times as they should not willingly let it die. The accomplishment of these intentions, which have lived within me ever since I could conceive myself anything worth to my country, lies not but in a power above man's to promise; but that none hath by more studious ways endeavoured, and with more unwearied spirit that none shall, that I dare almost aver of myself, as far as life and free leisure will extend. Neither do I think it shame to covenant with any knowing reader, that for some few years yet, I may go on trust with him toward the payment of what I am now indebted, as being a work not to be raised from the heat of youth or the vapours of wine; like that which flows at waste from the pen of some vulgar amourist, or the trencher fury of a rhyming parasite, nor to be obtained by the invocation of Dame Memory and her Siren daughters, but by devout prayer to that eternal spirit who can enrich with all utterance and knowledge, and sends out his Seraphim with the hallowed fire of his altar, to touch and purify the lips of whom he pleases: to this must be added industrious and select reading, steady observation, and insight into all seemly and generous arts and affairs. Although it nothing content me to have disclosed thus much beforehand; but that I trust hereby to make it manifest with what small willingness I endure to interrupt the pursuit of no less hopes than these, and leave a calm and pleasing solitariness, fed with cheerful and confident thoughts, to embark in a troubled sea of noises and hoa.r.s.e disputes, from beholding the bright countenance of truth in the quiet and still air of delightful studies."

So that of Spenser:

"The n.o.ble heart that harbours virtuous thought, And is with child of glorious great intent, Can never rest until it forth have brought The eternal brood of glory excellent."

Milton, therefore, did not write from casual impulse, but after a severe examination of his own strength, and with a resolution to leave nothing undone which it was in his power to do. He always labours, and almost always succeeds. He strives hard to say the finest things in the world, and he does say them. He adorns and dignifies his subject to the utmost: he surrounds it with every possible a.s.sociation of beauty or grandeur, whether moral, intellectual, or physical. He refines on his descriptions of beauty; loading sweets on sweets, till the sense aches at them; and raises his images of terror to a gigantic elevation, that "makes Ossa like a wart." In Milton, there is always an appearance of effort: in Shakespeare, scarcely any.

Milton has borrowed more than any other writer, and exhausted every source of imitation, sacred or profane; yet he is perfectly distinct from every other writer. He is a writer of centos, and yet in originality scarcely inferior to Homer. The power of his mind is stamped on every line. The fervour of his imagination melts down and renders malleable, as in a furnace, the most contradictory materials. In reading his works, we feel ourselves under the influence of a mighty intellect, that the nearer it approaches to others, becomes more distinct from them. The quant.i.ty of art in him shews the strength of his genius: the weight of his intellectual obligations would have oppressed any other writer. Milton's learning has the effect of intuition. He describes objects, of which he could only have read in books, with the vividness of actual observation. His imagination has the force of nature. He makes words tell as pictures.

"Him followed Rimmon, whose delightful seat Was fair Damascus, on the fertile banks Of Abbana and Pharphar, lucid streams."

The word _lucid_ here gives to the idea all the sparkling effect of the most perfect landscape.

And again:

"As when a vulture on Imaus bred, Whose snowy ridge the roving Tartar bounds, Dislodging from a region scarce of prey, To gorge the flesh of lambs and yeanling kids On hills where flocks are fed, flies towards the springs Of Ganges or Hydaspes, Indian streams; But in his way lights on the barren plains Of Sericana, where Chineses [sic] drive With sails and wind their cany waggons light."

If Milton had taken a journey for the express purpose, he could not have described this scenery and mode of life better. Such pa.s.sages are like demonstrations of natural history. Instances might be multiplied without end.

We might be tempted to suppose that the vividness with which he describes visible objects, was owing to their having acquired an unusual degree of strength in his mind, after the privation of his sight; but we find the same palpableness and truth in the descriptions which occur in his early poems. In Lycidas he speaks of "the great vision of the guarded mount," with that preternatural weight of impression with which it would present itself suddenly to "the pilot of some small night-foundered skiff": and the lines in the Penseroso, describing "the wandering moon,"

"Riding near her highest noon, Like one that had been led astray Through the heaven's wide pathless way,"

are as if he had gazed himself blind in looking at her. There is also the same depth of impression in his descriptions of the objects of all the different senses, whether colours, or sounds, or smells--the same absorption of his mind in whatever engaged his attention at the time. It has been indeed objected to Milton, by a common perversity of criticism, that his ideas were musical rather than picturesque, as if because they were in the highest degree musical, they must be (to keep the sage critical balance even, and to allow no one man to possess two qualities at the same time) proportionably deficient in other respects. But Milton's poetry is not cast in any such narrow, common-place mould; it is not so barren of resources. His wors.h.i.+p of the Muse was not so simple or confined. A sound arises "like a steam of rich distilled perfumes"; we hear the pealing organ, but the incense on the altars is also there, and the statues of the G.o.ds are ranged around! The ear indeed predominates over the eye, because it is more immediately affected, and because the language of music blends more immediately with, and forms a more natural accompaniment to, the variable and indefinite a.s.sociations of ideas conveyed by words. But where the a.s.sociations of the imagination are not the princ.i.p.al thing, the individual object is given by Milton with equal force and beauty. The strongest and best proof of this, as a characteristic power of his mind, is, that the persons of Adam and Eve, of Satan, &c. are always accompanied, in our imagination, with the grandeur of the naked figure; they convey to us the ideas of sculpture. As an instance, take the following:

"------He soon Saw within ken a glorious Angel stand, The same whom John saw also in the sun: His back was turned, but not his brightness hid; Of beaming sunny rays a golden tiar Circled his head, nor less his locks behind Ill.u.s.trious on his shoulders fledge with wings Lay waving round; on some great charge employ'd He seem'd, or fix'd in cogitation deep.

Glad was the spirit impure, as now in hope To find who might direct his wand'ring flight To Paradise, the happy seat of man, His journey's end, and our beginning woe.

But first he casts to change his proper shape, Which else might work him danger or delay: And now a stripling cherub he appears, Not of the prime, yet such as in his face Youth smiled celestial, and to every limb Suitable grace diffus'd, so well he feign'd: Under a coronet his flowing hair In curls on either cheek play'd; wings he wore Of many a colour'd plume sprinkled with gold, His habit fit for speed succinct, and held Before his decent steps a silver wand."

The figures introduced here have all the elegance and precision of a Greek statue; glossy and impurpled, tinged with golden light, and musical as the strings of Memnon's harp!

Again, nothing can be more magnificent than the portrait of Beelzebub:

"With Atlantean shoulders fit to bear The weight of mightiest monarchies:"