A Study of Shakespeare Part 3

Lear, Oth.e.l.lo, Macbeth, Coriola.n.u.s, Antony, Timon, these are names indeed of something more than tragic purport. Only in the sunnier distance beyond, where the sunset of Shakespeare's imagination seems to melt or flow back into the sunrise, do we discern Prospero beside Miranda, Florizel by Perdita, Palamon with Arcite, the same knightly and kindly Duke Theseus as of old; and above them all, and all others of his divine and human children, the crowning and final and ineffable figure of Imogen.

Of all Shakespeare's plays, _King Lear_ is unquestionably that in which he has come nearest to the height and to the likeness of the one tragic poet on any side greater than himself whom the world in all its ages has ever seen born of time. It is by far the most AEschylean of his works; the most elemental and primaeval, the most oceanic and t.i.tanic in conception. He deals here with no subtleties as in _Hamlet_, with no conventions as in _Oth.e.l.lo_: there is no question of "a divided duty" or a problem half insoluble, a matter of country and connection, of family or of race; we look upward and downward, and in vain, into the deepest things of nature, into the highest things of providence; to the roots of life, and to the stars; from the roots that no G.o.d waters to the stars which give no man light; over a world full of death and life without resting-place or guidance.

But in one main point it differs radically from the work and the spirit of AEschylus. Its fatalism is of a darker and harder nature. To Prometheus the fetters of the lord and enemy of mankind were bitter; upon Orestes the hand of heaven was laid too heavily to bear; yet in the not utterly infinite or everlasting distance we see beyond them the promise of the morning on which mystery and justice shall be made one; when righteousness and omnipotence at last shall kiss each other. But on the horizon of Shakespeare's tragic fatalism we see no such twilight of atonement, such pledge of reconciliation as this. Requital, redemption, amends, equity, explanation, pity and mercy, are words without a meaning here.

As flies to wanton boys are we to the G.o.ds; They kill us for their sport.

Here is no need of the Eumenides, children of Night everlasting; for here is very Night herself.

The words just cited are not casual or episodical; they strike the keynote of the whole poem, lay the keystone of the whole arch of thought.

There is no contest of conflicting forces, no judgment so much as by casting of lots: far less is there any light of heavenly harmony or of heavenly wisdom, of Apollo or Athene from above. We have heard much and often from theologians of the light of revelation: and some such thing indeed we find in AEschylus: but the darkness of revelation is here.

For in this the most terrible work of human genius it is with the very springs and sources of nature that her student has set himself to deal.

The veil of the temple of our humanity is rent in twain. Nature herself, we might say, is revealed--and revealed as unnatural. In face of such a world as this a man might be forgiven who should pray that chaos might come again. Nowhere else in Shakespeare's work or in the universe of jarring lives are the lines of character and event so broadly drawn or so sharply cut. Only the supreme self-command of this one poet could so mould and handle such types as to restrain and prevent their pa.s.sing from the abnormal into the monstrous: yet even as much as this, at least in all cases but one, it surely has accomplished. In Regan alone would it be, I think, impossible to find a touch or trace of anything less vile than it was devilish. Even Goneril has her one splendid hour, her fire- flaught of h.e.l.lish glory; when she treads under foot the half-hearted goodness, the wordy and windy though sincere abhorrence, which is all that the mild and impotent revolt of Albany can bring to bear against her imperious and dauntless devilhood; when she flaunts before the eyes of her "milk-livered" and "moral fool" the coming banners of France about the "plumed helm" of his slayer.

On the other side, Kent is the exception which answers to Regan on this.

Cordelia, the brotherless Antigone of our stage, has one pa.s.sing touch of intolerance for what her sister was afterwards to brand as indiscretion and dotage in their father, which redeems her from the charge of perfection. Like Imogen, she is not too inhumanly divine for the sense of divine irritation. G.o.dlike though they be, their very G.o.dhead is human and feminine; and only therefore credible, and only therefore adorable. Cloten and Regan, Goneril and Iachimo, have power to stir and embitter the sweetness of their blood. But for the contrast and even the contact of antagonists as abominable as these, the gold of their spirit would be too refined, the lily of their holiness too radiant, the violet of their virtue too sweet. As it is, Shakespeare has gone down perforce among the blackest and the basest things of nature to find anything so equally exceptional in evil as properly to counterbalance and make bearable the excellence and extremity of their goodness. No otherwise could either angel have escaped the blame implied in the very attribute and epithet of blameless. But where the possible depth of human h.e.l.l is so foul and unfathomable as it appears in the spirits which serve as foils to these, we may endure that in them the inner height of heaven should be no less immaculate and immeasurable.

It should be a truism wellnigh as musty as Hamlet's half cited proverb, to enlarge upon the evidence given in _King Lear_ of a sympathy with the ma.s.s of social misery more wide and deep and direct and bitter and tender than Shakespeare has shown elsewhere. But as even to this day and even in respectable quarters the murmur is not quite duly extinct which would charge on Shakespeare a certain share of divine indifference to suffering, of G.o.dlike satisfaction and a less than compa.s.sionate content, it is not yet perhaps utterly superfluous to insist on the utter fallacy and falsity of their creed who whether in praise or in blame would rank him to his credit or discredit among such poets as on this side at least may be cla.s.sed rather with Goethe than with Sh.e.l.ley and with Gautier than with Hugo. A poet of revolution he is not, as none of his country in that generation could have been: but as surely as the author of _Julius Caesar_ has approved himself in the best and highest sense of the word at least potentially a republican, so surely has the author of _King Lear_ avowed himself in the only good and rational sense of the words a spiritual if not a political democrat and socialist.

It is only, I think, in this most tragic of tragedies that the sovereign lord and incarnate G.o.d of pity and terror can be said to have struck with all his strength a chord of which the resonance could excite such angry agony and heartbreak of wrath as that of the brother kings when they smote their staffs against the ground in fierce imperious anguish of agonised and rebellious compa.s.sion, at the oracular cry of Calchas for the innocent blood of Iphigenia. The doom even of Desdemona seems as much less morally intolerable as it is more logically inevitable than the doom of Cordelia. But doubtless the fatalism of _Oth.e.l.lo_ is as much darker and harder than that of any third among the plays of Shakespeare, as it is less dark and hard than the fatalism of _King Lear_. For upon the head of the very n.o.blest man whom even omnipotence or Shakespeare could ever call to life he has laid a burden in one sense yet heavier than the burden of Lear, insomuch as the sufferer can with somewhat less confidence of universal appeal proclaim himself a man more sinned against than sinning.

And yet, if ever man after Lear might lift up his voice in that protest, it would a.s.suredly be none other than Oth.e.l.lo. He is in all the prosperous days of his labour and his triumph so utterly and wholly n.o.bler than the self-centred and wayward king, that the capture of his soul and body in the unimaginable snare of Iago seems a yet blinder and more unrighteous blow

Struck by the envious wrath of man or G.o.d

than ever fell on the old white head of that child-changed father. But at least he is destroyed by the stroke of a mightier hand than theirs who struck down Lear. As surely as Oth.e.l.lo is the n.o.blest man of man's making, Iago is the most perfect evildoer, the most potent demi-devil. It is of course the merest commonplace to say as much, and would be no less a waste of speech to add the half comfortable reflection that it is in any case no shame to fall by such a hand. But this subtlest and strangest work of Shakespeare's admits and requires some closer than common scrutiny. Coleridge has admirably described the first great soliloquy which opens to us the pit of h.e.l.l within as "the motive-hunting of a motiveless malignity." But subtle and profound and just as is this definitive appreciation, there is more in the matter yet than even this.

It is not only that Iago, so to speak, half tries to make himself half believe that Oth.e.l.lo has wronged him, and that the thought of it gnaws him inly like a poisonous mineral: though this also be true, it is not half the truth--nor half that half again. Malignant as he is, the very subtlest and strongest component of his complex nature is not even malignity. It is the instinct of what Mr. Carlyle would call an inarticulate poet. In his immortal study on the affair of the diamond necklace, the most profound and potent humourist of his country in his century has unwittingly touched on the mainspring of Iago's character--"the very pulse of the machine." He describes his Circe de la Mothe-Valois as a practical dramatic poet or playwright at least in lieu of play-writer: while indicating how and wherefore, with all her constructive skill and rhythmic art in action, such genius as hers so differs from the genius of Shakespeare that she undeniably could not have written a _Hamlet_. Neither could Iago have written an _Oth.e.l.lo_. (From this theorem, by the way, a reasoner or a casuist benighted enough to prefer articulate poets to inarticulate, Shakespeare to Cromwell, a fair Vittoria Colonna to a "foul Circe-Megaera," and even such a strategist as Homer to such a strategist as Frederic-William, would not illogically draw such conclusions or infer such corollaries as might result in opinions hardly consonant with the Teutonic-t.i.tanic evangel of the preacher who supplied him with his thesis.) "But what he can do, that he will": and if it be better to make a tragedy than to write one, to act a poem than to sing it, we must allow to Iago a station in the hierarchy of poets very far in advance of his creator's. None of the great inarticulate may more justly claim place and precedence. With all his poetic gift, he has no poetic weakness. Almost any creator but his would have given him some grain of spite or some spark of l.u.s.t after Desdemona.

To Shakespeare's Iago she is no more than is a rhyme to another and articulate poet. {179} His stanza must at any rate and at all costs be polished: to borrow the metaphor used by Mr. Carlyle in apologetic ill.u.s.tration of a royal hero's peculiar system of levying recruits for his colossal brigade. He has within him a sense or conscience of power incomparable: and this power shall not be left, in Hamlet's phrase, "to fust in him unused." A genuine and thorough capacity for human l.u.s.t or hate would diminish and degrade the supremacy of his evil. He is almost as far above or beyond vice as he is beneath or beyond virtue. And this it is that makes him impregnable and invulnerable. When once he has said it, we know as well as he that thenceforth he never will speak word. We could smile almost as we can see him to have smiled at Gratiano's most ignorant and empty threat, being well a.s.sured that torments will in no wise ope his lips: that as surely and as truthfully as ever did the tortured philosopher before him, he might have told his tormentors that they did but bruise the coating, batter the crust, or break the sh.e.l.l of Iago. Could we imagine a far other lost spirit than Farinata degli Uberti's endowed with Farinata's might of will, and transferred from the sepulchres of fire to the d.y.k.es of Malebolge, we might conceive something of Iago's att.i.tude in h.e.l.l--of his unalterable and indomitable posture for all eternity. As though it were possible and necessary that in some one point the extremities of all conceivable good and of all imaginable evil should meet and mix together in a new "marriage of heaven and h.e.l.l,"

the action in pa.s.sion of the most devilish among all the human d.a.m.ned could hardly be other than that of the most G.o.dlike among all divine saviours--the figure of Iago than a reflection by h.e.l.l-fire of the figure of Prometheus.

Between Iago and Oth.e.l.lo the position of Desdemona is precisely that defined with such quaint sublimity of fancy in the old English byword--"between the devil and the deep sea." Deep and pure and strong and adorable always and terrible and pitiless on occasion as the sea is the great soul of the glorious hero to whom she has given herself; and what likeness of man's enemy from Satan down to Mephistopheles could be matched for danger and for dread against the good bluff soldierly trustworthy figure of honest Iago? The rough license of his tongue at once takes warrant from his good soldiership and again gives warrant for his honesty: so that in a double sense it does him yeoman's service, and that twice told. It is pitifully ludicrous to see him staged to the show like a member--and a very inefficient member--of the secret police. But it would seem impossible for actors to understand that he is not a would- be detective, an aspirant for the honours of a Vidocq, a candidate for the laurels of a Vautrin: that he is no less than Lepidus, or than Antony's horse, "a tried and valiant soldier." It is perhaps natural that the two deepest and subtlest of all Shakespeare's intellectual studies in good and evil should be the two most painfully misused and misunderstood alike by his commentators and his fellows of the stage: it is certainly undeniable that no third figure of his creation has ever been on both sides as persistently misconceived and misrepresented with such desperate pertinacity as Hamlet and Iago.

And it is only when Iago is justly appreciated that we can justly appreciate either Oth.e.l.lo or Desdemona. This again should surely be no more than the truism that it sounds; but practically it would seem to be no less than an adventurous and audacious paradox. Remove or deform or diminish or modify the dominant features of the destroyer, and we have but the eternal and vulgar figures of jealousy and innocence, newly vamped and veneered and padded and patched up for the stalest purposes of puppetry. As it is, when Coleridge asks "which do we pity the most" at the fall of the curtain, we can surely answer, Oth.e.l.lo. n.o.ble as are the "most blessed conditions" of "the gentle Desdemona," he is yet the n.o.bler of the two; and has suffered more in one single pang than she could suffer in life or in death.

But if _Oth.e.l.lo_ be the most pathetic, _King Lear_ the most terrible, _Hamlet_ the subtlest and deepest work of Shakespeare, the highest in abrupt and steep simplicity of epic tragedy is _Macbeth_. There needs no ghost come from the grave, any reader may too probably remark, to tell us this. But in the present generation such novelties have been unearthed regarding Shakespeare that the rea.s.sertion of an old truth may seem to have upon it some glittering reflection from the brazen brightness of a brand-new lie. Have not certain wise men of the east of England--Cantabrigian Magi, led by the star of their G.o.ddess Mathesis ("mad Mathesis," as a daring poet was once ill-advised enough to dub her doubtful deity in defiance of scansion rather than of truth)--have they not detected in the very heart of this tragedy the "paddling palms and pinching fingers" of Thomas Middleton?

To the simpler eyes of less learned Thebans than these--Thebes, by the way, was Dryden's irreverent name for Cambridge, the nursing mother of "his green unknowing youth," when that "renegade" was recreant enough to compliment Oxford at her expense as the chosen Athens of "his riper age"--the likelihood is only too evident that the sole text we possess of _Macbeth_ has not been interpolated but mutilated. In their version of _Oth.e.l.lo_, remarkably enough, the "player-editors," contrary to their wont, have added to the treasure-house of their text one of the most precious jewels that ever the prodigal afterthought of a great poet bestowed upon the rapture of his readers. Some of these, by way of thanksgiving, have complained with a touch of petulance that it was out of place and superfluous in the setting: nay, that it was incongruous with all the circ.u.mstances--out of tone and out of harmony and out of keeping with character and tune and time. In other lips indeed than Oth.e.l.lo's, at the crowning minute of culminant agony, the rush of imaginative reminiscence which brings back upon his eyes and ears the lightning foam and tideless thunder of the Pontic sea might seem a thing less natural than sublime. But Oth.e.l.lo has the pa.s.sion of a poet closed in as it were and shut up behind the pa.s.sion of a hero. For all his practical readiness of martial eye and ruling hand in action, he is also in his season "of imagination all compact." Therefore it is that in the face and teeth of all devils akin to Iago that h.e.l.l could send forth to hiss at her election, we feel and recognise the spotless exaltation, the sublime and sun-bright purity, of Desdemona's inevitable and invulnerable love. When once we likewise have seen Oth.e.l.lo's visage in his mind, we see too how much more of greatness is in this mind than in another hero's. For such an one, even a boy may well think how thankfully and joyfully he would lay down his life. Other friends we have of Shakespeare's giving whom we love deeply and well, if hardly with such love as could weep for him all the tears of the body and all the blood of the heart: but there is none we love like Oth.e.l.lo.

I must part from his presence again for a season, and return to my topic in the text of _Macbeth_. That it is piteously rent and ragged and clipped and garbled in some of its earlier scenes, the rough construction and the poltfoot metre, lame sense and limping verse, each maimed and mangled subject of players' and printers' most treasonable tyranny, contending as it were to seem harsher than the other, combine in this contention to bear indisputable and intolerable witness. Only where the witches are, and one more potent and more terrible than all witches and all devils at their beck, can we be sure that such traitors have not robbed us of one touch from Shakespeare's hand. The second scene of the play at least bears marks of such handling as the brutal Shakespearean Hector's of the "mangled Myrmidons"; it is too visibly "noseless, handless, hacked and chipped" as it comes to us, crying on Hemings and Condell. And it is in this unlucky scene that unkindly criticism has not unsuccessfully sought for the gravest faults of language and manner to be found in Shakespeare. For certainly it cannot be cleared from the charge of a style stiffened and swollen with clumsy braid and crabbed bombast.

But against the weird sisters, and her who sits above them and apart, more awful than Hecate's very self, no mangling hand has been stretched forth; no blight of mistranslation by perversion has fallen upon the words which interpret and expound the hidden things of their evil will.

To one tragedy as to one comedy of Shakespeare's, the casual or the natural union of especial popularity with especial simplicity in selection and in treatment of character makes it as superfluous as it would be difficult to attempt any application of a.n.a.lytical criticism.

There is nothing in them of a nature so compound or so complex as to call for solution or resolution into its primal elements. Here there is some genuine ground for the generally baseless and delusive opinion of self- complacent sciolism that he who runs may read Shakespeare. These two plays it is hardly worth while to point out by name: all probable readers will know them at once for _Macbeth_ and _As You Like It_. There can hardly be a single point of incident or of character on which the youngest reader will not find himself at one with the oldest, the dullest with the brightest among the scholars of Shakespeare. It would be an equal waste of working hours or of playtime if any of these should devote any part of either a whole-schoolday or a holiday to remark or to rhapsody on the character of Macbeth or of Orlando, of Rosalind or of Lady Macbeth. He that runs, let him read: and he that has ears, let him hear.

I cannot but think that enough at least of time has been spent if not wasted by able and even by eminent men on examination of _Coriola.n.u.s_ with regard to its political aspect or bearing upon social questions. It is from first to last, for all its turmoil of battle and clamour of contentious factions, rather a private and domestic than a public or historical tragedy. As in _Julius Caesar_ the family had been so wholly subordinated to the state, and all personal interests so utterly dominated by the preponderance of national duties, that even the sweet and sublime figure of Portia pa.s.sing in her "awful loveliness" was but as a profile half caught in the background of an episode, so here on the contrary the whole force of the final impression is not that of a conflict between patrician and plebeian, but solely that of a match of pa.s.sions played out for life and death between a mother and a son. The partisans of oligarchic or democratic systems may wrangle at their will over the supposed evidences of Shakespeare's prejudice against this creed and prepossession in favour of that: a third bystander may rejoice in the proof thus established of his impartial indifference towards either: it is all nothing to the real point in hand. The subject of the whole play is not the exile's revolt, the rebel's repentance, or the traitor's reward, but above all it is the son's tragedy. The inscription on the plinth of this tragic statue is simply to Volumnia Victrix.

A loftier or a more perfect piece of man's work was never done in all the world than this tragedy of _Coriola.n.u.s_: the one fit and crowning epithet for its companion or successor is that bestowed by Coleridge--"the most wonderful." It would seem a sign or birthmark of only the greatest among poets that they should be sure to rise instantly for awhile above the very highest of their native height at the touch of a thought of Cleopatra. So was it, as we all know, with William Shakespeare: so is it, as we all see, with Victor Hugo. As we feel in the marvellous and matchless verses of _Zim-Zizimi_ all the splendour and fragrance and miracle of her mere bodily presence, so from her first imperial dawn on the stage of Shakespeare to the setting of that eastern star behind a pall of undissolving cloud we feel the charm and the terror and the mystery of her absolute and royal soul. Byron wrote once to Moore, with how much truth or sincerity those may guess who would care to know, that his friend's first "confounded book" of thin prurient jingle ("we call it a mellisonant tingle-tangle," as Randolph's mock Oberon says of a stolen sheep-bell) had been the first cause of all his erratic or erotic frailties: it is not impossible that spirits of another sort may remember that to their own innocent infantine perceptions the first obscure electric revelation of what Blake calls "the Eternal Female" was given through a blind wondering thrill of childish rapture by a lightning on the baby dawn of their senses and their soul from the sunrise of Shakespeare's Cleopatra.

Never has he given such proof of his incomparable instinct for abstinence from the wrong thing as well as achievement of the right. He has utterly rejected and disdained all occasion of setting her off by means of any lesser foil than all the glory of the world with all its empires. And we need not Antony's example to show us that these are less than straws in the balance.

Entre elle et l'univers qui s'offraient a la fois Il hesita, lachant le monde dans son choix.

Even as that Roman grasp relaxed and let fall the world, so has Shakespeare's self let go for awhile his greater world of imagination, with all its all but infinite variety of life and thought and action, for love of that more infinite variety which custom could not stale. Himself a second and a yet more fortunate Antony, he has once more laid a world, and a world more wonderful than ever, at her feet. He has put aside for her sake all other forms and figures of womanhood; he, father or creator of Rosalind, of Cordelia, of Desdemona, and of Imogen, he too, like the sun-G.o.d and sender of all song, has anch.o.r.ed his eyes on her whom "Phoebus' amorous pinches" could not leave "black," nor "wrinkled deep in time"; on that incarnate and imperishable "spirit of sense," to whom at the very last

The stroke of death is as a lover's pinch, That hurts, and is desired.

To him, as to the dying husband of Octavia, this creature of his own hand might have boasted herself that the loveliest and purest among all her sisters of his begetting,

with her modest eyes And still conclusion, shall acquire no honour, Demurring upon me.

To sum up, Shakespeare has elsewhere given us in ideal incarnation the perfect mother, the perfect wife, the perfect daughter, the perfect mistress, or the perfect maiden: here only once for all he has given us the perfect and the everlasting woman.

And what a world of great men and great things, "high actions and high pa.s.sions," is this that he has spread under her for a footcloth or hung behind her for a curtain! The descendant of that other his ancestral Alcides, late offshoot of the G.o.d whom he loved and who so long was loth to leave him, is here as in history the visible one man revealed who could grapple for a second with very Rome and seem to throw it, more lightly than he could cope with Cleopatra. And not the Roman Landor himself could see or make us see more clearly than has his fellow provincial of Warwickshire that first imperial nephew of her great first paramour, who was to his actual uncle even such a foil and counterfeit and perverse and prosperous parody as the son of Hortense Beauharnais of Saint-Leu to the son of Letizia Buonaparte of Ajaccio. For Shakespeare too, like Landor, had watched his "sweet Octavius" smilingly and frowningly "draw under nose the knuckle of forefinger" as he looked out upon the trail of innocent blood after the bright receding figure of his brave young kinsman. The fair-faced false "present G.o.d" of his poetic parasites, the smooth triumphant patron and preserver with the heart of ice and iron, smiles before us to the very life. It is of no account now to remember that

he at Philippi kept His sword even like a dancer:

for the sword of Antony that struck for him is in the renegade hand of Dercetas.

I have said nothing of En.o.barbus or of Eros, the fugitive once ruined by his flight and again redeemed by the death-agony of his dark and doomed repentance, or the freedman transfigured by a death more fair than freedom through the glory of the greatness of his faith: for who can speak of all things or of half that are in Shakespeare? And who can speak worthily of any?

I am come now to that strange part of a task too high for me, where I must needs speak not only (as may indeed well be) unworthily, but also (as may well seem) unlovingly, of some certain portions in the mature and authentic work of Shakespeare. "Though it be honest, it is never good"

to do so: yet here I cannot choose but speak plainly after my own poor conscience, and risk all chances of chastis.e.m.e.nt as fearful as any once threatened for her too faithful messenger by the heart-stricken wrath of Cleopatra.

In the greater part of this third period, taking a swift and general view of it for contrast or comparison of qualities with the second, we constantly find beauty and melody, transfigured into harmony and sublimity; an exchange unquestionably for the better: but in certain stages, or only perhaps in a single stage of it, we frequently find humour and reality supplanted by realism and obscenity; an exchange undeniably for the worse. The note of his earliest comic style was often a boyish or a birdlike wantonness, very capable of such liberties and levities as those of Lesbia's sparrow with the lip or bosom of his mistress; as notably in the parts of Boyet and Mercutio: and indeed there is a bright vein of mere wordy wilfulness running throughout the golden youth of the two plays which connects _Love's Labour's Lost_ with _Romeo and Juliet_ as by a thread of floss silk not always "most excellently ravelled," nor often unspotted or unentangled. In the second period this gaiety was replaced by the utmost frankness and fullness of humour, as a boy's merry madness by the witty wisdom of a man: but now for a time it would seem as if the good comic qualities of either period were displaced and ousted by mere coa.r.s.eness and crudity like that of a hard harsh photograph. This ultra-Circean transformation of spirit and brutification of speech we do not find in the lighter interludes of great and perfect tragedy: for the porter in _Macbeth_ makes hardly an exception worth naming. It is when we come upon the singular little group of two or three plays not accurately definable at all but roughly describable as tragi-comedies, or more properly in two cases at least as tragedies docked of their natural end, curtailed of the due catastrophe--it is then that we find for the swift sad bright lightnings of laughter from the lips of the sweet and bitter fool whose timeless disappearance from the stage of _King Lear_ seems for once a sure sign of inexplicable weariness or forgetfulness on Shakespeare's part, so nauseous and so sorry a subst.i.tute as the fetid fun and rancid ribaldry of Pandarus and Thersites. I must have leave to say that the coincidence of these two in the scheme of a single play is a thing hardly bearable by men who object to too strong a savour of those too truly "Eternal Cesspools" over which the first of living humourists holds as it were for ever an everlasting nose--or rather, in one sense, does not hold but expand it for the fuller inhalation of their too congenial fumes with an apparent relish which will always seem the most deplorable to those who the most gratefully and reasonably admire that high heroic genius, for love of which the wiser sort of men must finally forgive all the noisy aberrations of his misanthropy and philobulgary, anti-Gallican and Russolatrous insanities of perverse and morbid eloquence.

The three detached or miscla.s.sified plays of Shakespeare in which alone a reverent and reasonable critic might perhaps find something rationally and really exceptionable have also this far other quality in common, that in them as in his topmost tragedies of the same period either the exaltation of his eloquence touches the very highest point of expressible poetry, or his power of speculation alternately sounds the gulfs and scales the summits of all imaginable thought. In all three of them the power of pa.s.sionate and imaginative eloquence is not only equal in spirit or essence but identical in figure or in form: in those two of them which deal almost as much with speculative intelligence as with poetic action and pa.s.sion, the tones and methods, types and objects of thought, are also not equal only but identical. An all but absolute brotherhood in thought and style and tone and feeling unites the quasi-tragedy of _Troilus and Cressida_ with what in the lamentable default of as apt a phrase in English I must call by its proper designation in French the _tragedie manquee_ of _Measure for Measure_. In the simply romantic fragment of the Shakespearean _Pericles_, where there was no call and no place for the poetry of speculative or philosophic intelligence, there is the same positive and unmistakable ident.i.ty of imaginative and pa.s.sionate style.

I cannot but conjecture that the habitual students of Shakespeare's printed plays must have felt startled as by something of a shock when the same year exposed for the expenditure of their sixpences two reasonably correct editions of a play unknown to the boards in the likeness of _Troilus and Cressida_, side by side or cheek by jowl with a most unreasonably and unconscionably incorrect issue of a much older stage favourite, now newly beautified and fortified, in _Pericles Prince of Tyre_. Hitherto, ever since the appearance of his first poem, and its instant acceptance by all cla.s.ses from courtiers to courtesans under a somewhat dubious and two-headed form of popular success,--'vrai succes de scandale s'il en fut'--even the potent influence and unequivocal example of Rabelais had never once even in pa.s.sing or in seeming affected or infected the progressive and triumphal genius of Shakespeare with a taint or touch of anything offensive to healthier and cleanlier organs of perception than such as may belong to a genuine or a pretending Puritan.

But on taking in his hand that one of these two new dramatic pamphlets which might first attract him either by its double novelty as a never acted play or by a t.i.tle of yet more poetic and romantic a.s.sociations than its fellow's, such a purchaser as I have supposed, with his mind full of the sweet rich fresh humour which he would feel a right to expect from Shakespeare, could hardly have undergone less than a qualm or a pang of strong disrelish and distaste on finding one of the two leading comic figures of the play break in upon it at his entrance not even with "a fool-born jest," but with full-mouthed and foul-mouthed effusion of such rank and rancorous personalities as might properly pollute the lips even of some emulous descendant or antiquarian reincarnation of Thersites, on application or even apprehension of a whip cracked in pa.s.sing over the a.s.sembled heads of a pseudocritical and mock-historic society. In either case we moderns at least might haply desire the intervention of a beadle's hand as heavy and a sceptral cudgel as knotty as ever the son of Laertes applied to the shoulders of the first of the type or the tribe of Thersites. For this brutal and brutish buffoon--I am speaking of Shakespeare's Thersites--has no touch of humour in all his currish composition: Shakespeare had none as nature has none to spare for such dirty dogs as those of his kind or generation. There is not even what Coleridge with such exquisite happiness defined as being the quintessential property of Swift--"_anima Rabelaesii habitans in sicco_--the soul of Rabelais dwelling in a dry place." It is the fallen soul of Swift himself at its lowest, dwelling in a place yet drier: the familiar spirit or less than Socratic daemon of the Dean informing the genius of Shakespeare. And thus for awhile infected and possessed, the divine genius had not power to re-inform and re-create the daemonic spirit by virtue of its own clear essence. This wonderful play, one of the most admirable among all the works of Shakespeare's immeasurable and unfathomable intelligence, as it must always hold its natural high place among the most admired, will always in all probability be also, and as naturally, the least beloved of all. It would be as easy and as profitable a problem to solve the Rabelaisian riddle of the bombinating chimaera with its potential or hypothetical faculty of deriving sustenance from a course of diet on second intentions, as to read the riddle of Shakespeare's design in the procreation of this yet more mysterious and magnificent monster of a play. That on its production in print it was formally announced as "a new play never staled with the stage, never clapper-clawed with the palms of the vulgar," we know; must we infer or may we suppose that therefore it was not originally written for the stage? Not all plays were which even at that date appeared in print: yet it would seem something more than strange that one such play, written simply for the study, should have been the extra-professional work of Shakespeare: and yet again it would seem stranger that he should have designed this prodigious nondescript or portent of supreme genius for the public stage: and strangest of all, if so, that he should have so designed it in vain. Perhaps after all a better than any German or Germanising commentary on the subject would be the simple and summary e.j.a.c.u.l.a.t.i.o.n of Celia--"O wonderful, wonderful, and most wonderful wonderful, and yet again wonderful, and after that out of all whooping!"

The perplexities of the whole matter seem literally to crowd and thicken upon us at every step. What ailed the man or any man to write such a manner of dramatic poem at all? and having written, to keep it beside him or let it out of his hands into stranger and more slippery keeping, unacted and unprinted? A German will rush in with an answer where an Englishman (_non angelus sed Anglus_) will naturally fear to tread.

Alike in its most palpable perplexities and in its most patent splendours, this political and philosophic and poetic problem, this hybrid and hundred-faced and hydra-headed prodigy, at once defies and derides all definitive comment. This however we may surely and confidently say of it, that of all Shakespeare's offspring it is the one whose best things lose least by extraction and separation from their context. That some cynic had lately bitten him by the brain--and possibly a cynic himself in a nearly rabid stage of anthropophobia--we might conclude as reasonably from consideration of the whole as from examination of the parts more especially and virulently affected: yet how much is here also of hyper-Platonic subtlety and sublimity, of golden and Hyblaean eloquence above the reach and beyond the snap of any cynic's tooth! Shakespeare, as under the guidance at once for good and for evil of his alternately Socratic and Swiftian familiar, has set himself as if prepensely and on purpose to brutalise the type of Achilles and spiritualise the type of Ulysses. The former is an enterprise never to be utterly forgiven by any one who ever loved from the very birth of his boyhood the very name of the son of the sea-G.o.ddess in the glorious words of Mr. Browning's young first-born poem,

Who stood beside the naked Swift-footed, And bound [his] forehead with Proserpine's hair.

It is true, if that be any little compensation, that Hector and Andromache fare here hardly better than he: while of the momentary presentation of Helen on the dirtier boards of a stage more miry than the tub of Diogenes I would not if I could and I must not though I would say so much as one single proper word. The hysterics of the eponymous hero and the harlotries of the eponymous heroine remove both alike beyond the outer pale of all rational and manly sympathy; though Shakespeare's self may never have exceeded or equalled for subtle and accurate and bitter fidelity the study here given of an utterly light woman, shallow and loose and dissolute in the most literal sense, rather than perverse or unkindly or unclean; and though Keats alone in his most perfect mood of lyric pa.s.sion and burning vision as full of fragrance as of flame could have matched and all but overmatched those pa.s.sages in which the rapture of Troilus makes pale and humble by comparison the keenest raptures of Romeo.

The relative disfavour in which the play of _Measure for Measure_ has doubtless been at all times generally held is not in my opinion simply explicable on the theory which of late years has been so powerfully and plausibly advanced and advocated on the highest poetic or judicial authority in France or in the world, that in the land of many-coloured cant and many-coated hypocrisy the type of Angelo is something too much a prototype or an autotype of the huge national vice of England. This comment is in itself as surely just and true as it is incisive and direct: but it will not cover by any manner of means the whole question.

The strong and radical objection distinctly brought forward against this play, and strenuously supported by the wisest and the warmest devotee among all the worshippers of Shakespeare, is not exactly this, that the Puritan Angelo is exposed: it is that the Puritan Angelo is unpunished.

In the very words of Coleridge, it is that by his pardon and his marriage "the strong indignant claim of justice" is "baffled." The expression is absolutely correct and apt: justice is not merely evaded or ignored or even defied: she is both in the older and the newer sense of the word directly and deliberately baffled; buffeted, outraged, insulted, struck in the face. We are left hungry and thirsty after having been made to thirst and hunger for some wholesome single grain at least of righteous and too long r.e.t.a.r.ded retribution: we are tricked out of our dole, defeated of our due, lured and led on to look for some equitable and satisfying upshot, defrauded and derided and sent empty away.

That this play is in its very inmost essence a tragedy, and that no sleight of hand or force of hand could give it even a tolerable show of coherence or consistency when clipped and docked of its proper and rightful end, the mere tone of style prevalent throughout all its better parts to the absolute exclusion of any other would of itself most amply suffice to show. Almost all that is here worthy of Shakespeare at any time is worthy of Shakespeare at his highest: and of this every touch, every line, every incident, every syllable, belongs to pure and simple tragedy. The evasion of a tragic end by the invention and intromission of Mariana has deserved and received high praise for its ingenuity but ingenious evasion of a natural and proper end is usually the distinctive quality which denotes a workman of a very much lower school than the school of Shakespeare. In short and in fact, the whole elaborate machinery by which the complete and completely unsatisfactory result of the whole plot is attained is so thoroughly worthy of such a contriver as "the old fantastical duke of dark corners" as to be in a moral sense, if I dare say what I think, very far from thoroughly worthy of the wisest and mightiest mind that ever was informed with the spirit or genius of creative poetry.

I have one more note to add in pa.s.sing which touches simply on a musical point in lyric verse; and from which I would therefore give any biped who believes that ears "should be long to measure Shakespeare" all timely warning to avert the length of his own. A very singular question, and one to me unaccountable except by a supposition which on charitable grounds I should be loth to entertain for a moment--namely, that such ears are commoner than I would fain believe on heads externally or ostensibly human,--has been raised with regard to the first immortal song of Mariana in the moated grange. This question is whether the second verse appended by Fletcher to that divine Shakespearean fragment may not haply have been written by the author of the first. The visible and audible evidence that it cannot is of a kind which must at once leap into sight of all human eyes and conviction of all human ears. The metre of Shakespeare's verse, as written by Shakespeare, is not the metre of Fletcher's. It can only seem the same to those who hear by finger and not by ear: a cla.s.s now at all events but too evidently numerous enough to refute Sir Hugh's antiquated objection to the once apparently tautologous phrase of Pistol. {205}

It is of course inexplicable, but it is equally of course undeniable, that the mention of Shakespeare's _Pericles_ would seem immediately and invariably to recall to a virtuous critical public of nice and nasty mind the prose portions of the fourth act, the whole of the prose portions of the fourth act, and nothing but the prose portions of the fourth act. To readers and writers of books who readily admit their ineligibility as members of a Society for the Suppression of Shakespeare or Rabelais, of Homer or the Bible, it will seem that the third and fifth acts of this ill-fated and ill-famed play, and with them the poetical parts of the fourth act, are composed of metal incomparably more attractive. But the virtuous critic, after the alleged nature of the vulturine kind, would appear to have eyes and ears and nose for nothing else. It is true that somewhat more of humour, touched once and again with subtler hints of deeper truth, is woven into the too realistic weft of these too lifelike scenes than into any of the corresponding parts in _Measure for Measure_ or in _Troilus and Cressida_; true also that in the hands of imitators, in hands so much weaker than Shakespeare's as were Heywood's or Davenport's (who transplanted this unlovely episode from _Pericles_ into a play of his own), these very scenes or such as they reappear unredeemed by any such relief in all the rank and rampant ugliness of their raw repulsive realism: true, again, that Fletcher has once equalled them in audacity, while stripping off the nakedness of his subject the last ragged and rude pretence at a moral purpose, and investing it instead with his very brightest robe of gay parti-coloured humour: but after all it remains equally true that to senses less susceptible of attraction by carrion than belong to the vultures of critical and professional virtue they must always remain as they have always been, something very considerably more than unattractive. I at least for one must confess myself insufficiently virtuous to have ever at any time for any moment felt towards them the very slightest touch of any feeling more attractive than repulsion. And herewith I hasten to wash my hands of the only unattractive matter in the only three of Shakespeare's plays which offer any such matter to the perceptions of any healthy-minded and reasonable human creature.

But what now shall I say that may not be too pitifully unworthy of the glories and the beauties, the unsurpa.s.sable pathos and sublimity inwoven with the imperial texture of this very play? the blood-red Tyrian purple of tragic maternal jealousy which might seem to array it in a worthy attire of its Tyrian name; the flower-soft loveliness of maiden lamentation over the flower-strewn seaside grave of Marina's old sea-tossed nurse, where I am unvirtuous enough (as virtue goes among moralists) to feel more at home and better at ease than in the atmosphere of her later lodging in Mitylene? What, above all, shall be said of that storm above all storms ever raised in poetry, which ushered into a world of such wonders and strange chances the daughter of the wave-worn and world-wandering prince of Tyre? Nothing but this perhaps, that it stands--or rather let me say that it blows and sounds and shines and rings and thunders and lightens as far ahead of all others as the burlesque sea-storm of Rabelais beyond all possible storms of comedy. The recent compiler of a most admirably skilful and most delicately invaluable compendium of Pantagruel or manual by way of guidebook to Rabelais has but too justly taken note of the irrefragable evidence there given that the one prose humourist who is to Aristophanes as the human twin-star Castor to Pollux the divine can never have practically weathered an actual gale; but if I may speak from a single experience of one which a witness long inured to Indian storm as well as Indian battle had never seen matched out of the tropics if ever overmatched within them, I should venture to say, were the poet in question any other mortal man than Shakespeare, to whom all things were better known by instinct than ever they can be to others by experience, that the painter of the storm in _Pericles_ must have shared the adventure and relished the rapture of such an hour. None other most a.s.suredly than himself alone could have mingled with the material pa.s.sion of the elements such human pa.s.sion of pathos as thrills in such tenderly sublime undertone of an agony so n.o.bly subdued through the lament of Pericles over Thaisa. As in his opening speech of this scene we heard all the clangour and resonance of warring wind and sea, so now we hear a sound of sacred and spiritual music as solemn as the central monochord of the inner main itself.