the preceding philosophy and poetry even of Frenchmen themselves.
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.
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.
Now the language of Shakespeare, 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 [pg 040] 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 Shakespeare, 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, [pg 041] 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 Shakespeare;—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.
[pg 043]
Shakespeare, A Poet Generally.
Clothed in radiant armour, and authorized by titles sure and manifold, as a poet, Shakespeare came forward to demand the throne of fame, as the dramatic poet of England. His excellences compelled even his contemporaries to seat him on that throne, although there were giants in those days contending for the same honour. Hereafter I would fain endeavour to make out the title of the English drama as created by, and existing in, Shakespeare, 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 Shakespeare 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 [pg 044] objects, without which no man could have observed so steadily, or painted so truly and passionately, the very minutest beauties of the external world:—
“And when thou 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 the 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 harken 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.
And the preceding description:—
“But lo! from forth a copse that neighbours by,
A breeding jennet, lusty, young and proud,” &c.
is much more admirable, but in parts less fitted for quotation.