Appreciations, with an Essay on Style Part 6

"Tom, his duty. He is begging books and reading of them." "The players are at the Red Lion hard by; and Tom goes sometimes to see a play."

And then one day he stirs old memories--

The fairings were welcome to Tom. He finds about the house divers things that were your brother's (the late Edward's), and Betty sometimes tells him stories about him, so that he was importunate with her to write his life in a quarter of a sheet of paper, and read it unto him, and will have still more added.

Just as I am writing (learnedly about a comet, 7th January 1680-81) Tom comes and tells me the blazing star is in the yard, and calls me to see it. It was but dim, and the sky not clear.... I am very sensible of this sharp weather.+

He seems to have come to no good end, riding forth one stormy night.

Requiescat in pace!

Of this long, leisurely existence the chief events were Browne's rare literary publications; some of his writings indeed having been left unprinted till after his death; while in the circ.u.mstances of the issue of every one of them there is something accidental, as if the world might have missed it altogether. Even the Discourse of Vulgar Errors, the longest and most elaborate of his works, is entirely discursive and occasional, coming to an end with no natural conclusion, but only because the writer chose to leave off just there; and few probably have been the readers of the book as a consecutive whole. At times indeed we seem to have in it observations only, or notes, preliminary to some more orderly composition. Dip into it: read, for [145] instance, the chapter "Of the Ring-finger," or the chapters "Of the Long Life of the Deer," and on the "Pictures of Mermaids, Unicorns, and some Others,"

and the part will certainly seem more than the whole. Try to read it through, and you will soon feel cloyed;--miss very likely, its real worth to the fancy, the literary fancy (which finds its pleasure in inventive word and phrase) and become dull to the really vivid beauties of a book so lengthy, but with no real evolution. Though there are words, phrases, constructions innumerable, which remind one how much the work initiated in France by Madame de Rambouillet--work, done for England, we may think perhaps imperfectly, in the next century by Johnson and others--was really needed; yet the capacities of Browne's manner of writing, coming as it did so directly from the man, are felt even in his treatment of matters of science. As with Buffon, his full, ardent, sympathetic vocabulary, the poetry of his language, a poetry inherent in its elementary particles--the word, the epithet--helps to keep his eye, and the eye of the reader, on the object before it, and conduces directly to the purpose of the naturalist, the observer. But, only one half observation, its other half consisting of very out-of-the-way book-lore, this work displays Browne still in the character of the antiquary, as that age understood him. He is a kind of Elias Ashmole, but dealing with natural objects; which are for him, in the first [146] place, and apart from the remote religious hints and intimations they carry with them, curiosities. He seems to have no true sense of natural law, as Bacon understood it; nor even of that immanent reason in the natural world, which the Platonic tradition supposes. "Things are really true," he says, "as they correspond unto G.o.d's conception; and have so much verity as they hold of conformity unto that intellect, in whose idea they had their first determinations." But, actually, what he is busy in the record of, are matters more or less of the nature of caprices; as if things, after all, were significant of their higher verity only at random, and in a sort of surprises, like music in old instruments suddenly touched into sound by a wandering finger, among the lumber of people's houses.

Nature, "the art of G.o.d," as he says, varying a little a phrase used also by Hobbes, in a work printed later--Nature, he seems to protest, is only a little less magical, its processes only a little less in the way of alchemy, than you had supposed. We feel that, as with that disturbed age in England generally (and it is here that he, with it, is so interesting, curious, old-world, and unlike ourselves) his supposed experience might at any moment be broken in upon by a hundred forms of a natural magic, only not quite so marvellous as that older sort of magic, or alchemy, he is at so much pains to expose; and the large promises of which, its large words too, he still regretfully enjoys.

[147] And yet the Discourse of Vulgar Errors, seeming, as it often does, to be a serious refutation of fairy tales--arguing, for instance, against the literal truth of the poetic statement that "The pigeon hath no gall," and such questions as "Whether men weigh heavier dead than alive?" being characteristic questions--is designed, with much ambition, under its pedantic Greek t.i.tle Pseudodoxia Epidemica, as a criticism, a cathartic, an instrument for the clarifying of the intellect. He begins from "that first error in Paradise," wondering much at "man's deceivability in his perfection,"--"at such gross deceit." He enters in this connexion, with a kind of poetry of scholasticism which may interest the student of Paradise Lost, into what we may call the intellectual and moral by-play of the situation of the first man and woman in Paradise, with strange queries about it.

Did Adam, for instance, already know of the fall of the Angels? Did he really believe in death, till Abel died? It is from Julius Scaliger that he takes his motto, to the effect that the true knowledge of things must be had from things themselves, not from books; and he seems as seriously concerned as Bacon to dissipate the crude impressions of a false "common sense," of false science, and a fict.i.tious authority.

Inverting, oddly, Plato's theory that all learning is but reminiscence, he reflects with a sigh how much of oblivion must needs be involved in the getting of any true knowledge. "Men that [148] adore times past, consider not that those times were once present (that is, as our own are) and ourselves unto those to come, as they unto us at present."

That, surely, coming from one both by temperament and habit so great an antiquary, has the touch of something like an influence in the atmosphere of the time. That there was any actual connexion between Browne's work and Bacon's is but a surmise. Yet we almost seem to hear Bacon when Browne discourses on the "use of doubts, and the advantages which might be derived from drawing up a calendar of doubts, falsehoods, and popular errors;" and, as from Bacon, one gets the impression that men really have been very much the prisoners of their own crude or pedantic terms, notions, a.s.sociations; that they have been very indolent in testing very simple matters--with a wonderful kind of "supinity," as he calls it. In Browne's chapter on the "Sources of Error," again, we may trace much resemblance to Bacon's striking doctrine of the Idola, the "shams" men fall down and worship. Taking source respectively, from the "common infirmity of human nature," from the "erroneous disposition of the people," from "confident adherence to authority," the errors which Browne chooses to deal with may be registered as identical with Bacon's Idola Tribus, Fori, Theatri; the idols of our common human nature; of the vulgar, when they get together; and of the learned, when they get together.

[149] But of the fourth species of error noted by Bacon, the Idola Specus, the Idols of the Cave, that whole tribe of illusions, which are "bred amongst the weeds and tares of one's own brain," Browne tells us nothing by way of criticism; was himself, rather, a lively example of their operation. Throw those illusions, those "idols," into concrete or personal form, suppose them introduced among the other forces of an active intellect, and you have Sir Thomas Browne himself. The sceptical inquirer who rises from his cathartic, his purging of error, a believer in the supernatural character of pagan oracles, and a cruel judge of supposed witches, must still need as much as ever that elementary conception of the right method and the just limitations of knowledge, by power of which he should not just strain out a single error here or there, but make a final precipitate of fallacy.

And yet if the temperament had been deducted from Browne's work--that inherent and strongly marked way of deciding things, which has guided with so surprising effect the musings of the Letter to a Friend, and the Urn-Burial--we should probably have remembered him little. Pity!

some may think, for himself at least, that he had not lived earlier, and still believed in the mandrake, for instance; its fondness for places of execution, and its human cries "on eradication, with hazard of life to them that pull it up." "In philosophy," he observes, meaning to contrast [150] his free-thinking in that department with his orthodoxy in religion--in philosophy, "where truth seems double-faced, there is no man more paradoxical than myself:" which is true, we may think, in a further sense than he meant, and that it was the "paradoxical" that he actually preferred. Happy, at all events, he still remained--undisturbed and happy--in a hundred native prepossessions, some certainly valueless, some of them perhaps invaluable. And while one feels that no real logic of fallacies has been achieved by him, one feels still more how little the construction of that branch of logical inquiry really helps men's minds; fallacy, like truth itself, being a matter so dependent on innate gift of apprehension, so extra-logical and personal; the original perception counting for almost everything, the mere inference for so little! Yes!

"A man may be in as just possession of truth as of a city, and yet be forced to surrender," even in controversies not necessarily maladroit.

The really stirring poetry of science is not in guesses, or facile divinations about it, but in its larger ascertained truths--the order of infinite s.p.a.ce, the slow method and vast results of infinite time.

For Browne, however, the sense of poetry which so overmasters his scientific procedure, depends chiefly on its vaguer possibilities; the empirical philosophy, even after Bacon, being still dominated by a temper, resultant from the general unsettlement of men's [151] minds at the Reformation, which may be summed up in the famous question of Montaigne--Que scais-je? The cold-blooded method of observation and experiment was creeping but slowly over the domain of science; and such unreclaimed portions of it as the phenomena of magnetism had an immense fascination for men like Browne and Digby. Here, in those parts of natural philosophy "but yet in discovery," "the America and untravelled parts of truth," lay for them the true prospect of science, like the new world itself to a geographical discoverer such as Raleigh. And welcome as one of the minute hints of that country far ahead of them, the strange bird, or floating fragment of unfamiliar vegetation, which met those early navigators, there was a certain fantastic experiment, in which, as was alleged, Paracelsus had been lucky. For Browne and others it became the crucial type of the kind of agency in nature which, as they conceived, it was the proper function of science to reveal in larger operation. "The subject of my last letter," says Dr.

Henry Power, then a student, writing to Browne in 1648, the last year of Charles the First, "being so high and n.o.ble a piece of chemistry, invites me once more to request an experimental eviction of it from yourself; and I hope you will not chide my importunity in this pet.i.tion, or be angry at my so frequent knockings at your door to obtain a grant of so great and admirable a [152] mystery." What the enthusiastic young student expected from Browne, so high and n.o.ble a piece of chemistry, was the "re-individualling of an incinerated plant"--a violet, turning to freshness, and smelling sweet again, out of its ashes, under some genially fitted conditions of the chemic art.

Palingenesis, resurrection, effected by orderly prescription--the "re-individualling" of an "incinerated organism"--is a subject which affords us a natural transition to the little book of the Hydriotaphia, or Treatise of Urn-Burial--about fifty or sixty pages--which, together with a very singular letter not printed till after Browne's death, is perhaps, after all, the best justification of Browne's literary reputation, as it were his own curiously figured urn, and treasure-place of immortal memory.

In its first presentation to the public this letter was connected with Browne's Christian Morals; but its proper and sympathetic collocation would be rather with the Urn-Burial, of which it is a kind of prelude, or strikes the keynote. He is writing in a very complex situation--to a friend, upon occasion of the death of a common friend. The deceased apparently had been little known to Browne himself till his recent visits, while the intimate friend to whom he is writing had been absent at the time; and the leading motive of Browne's letter is the deep impression he has received during those visits, of a sort of [153]

physical beauty in the coming of death, with which he still surprises and moves his reader. There had been, in this case, a tardiness and reluctancy in the circ.u.mstances of dissolution, which had permitted him, in the character of a physician, as it were to a.s.sist at the spiritualising of the bodily frame by natural process; a wonderful new type of a kind of mortified grace being evolved by the way. The spiritual body had antic.i.p.ated the formal moment of death; the alert soul, in that tardy decay, changing its vesture gradually, and as if piece by piece. The infinite future had invaded this life perceptibly to the senses, like the ocean felt far inland up a tidal river.

Nowhere, perhaps, is the att.i.tude of questioning awe on the threshold of another life displayed with the expressiveness of this unique morsel of literature; though there is something of the same kind, in another than the literary medium, in the delicate monumental sculpture of the early Tuscan School, as also in many of the designs of William Blake, often, though unconsciously, much in sympathy with those unsophisticated Italian workmen. With him, as with them, and with the writer of the Letter to a Friend upon the occasion of the death of his intimate Friend,--so strangely! the visible function of death is but to refine, to detach from aught that is vulgar. And this elfin letter, really an impromptu epistle to a friend, affords the best possible light on the general temper of the man [154] who could be moved by the accidental discovery of those old urns at Walsingham--funeral relics of "Romans, or Britons Romanised which had learned Roman customs"--to the composition of that wonderful book the Hydriotaphia. He had drawn up a short account of the circ.u.mstance at the moment; but it was after ten years' brooding that he put forth the finished treatise, dedicated to an eminent collector of ancient coins and other rarities, with congratulations that he "can daily command the view of so many imperial faces," and (by way of frontispiece) with one of the urns, "drawn with a coal taken out of it and found among the burnt bones." The discovery had resuscitated for him a whole world of latent observation, from life, from out-of-the-way reading, from the natural world, and fused into a composition, which with all its quaintness we may well p.r.o.nounce cla.s.sical, all the heterogeneous elements of that singular mind. The desire to "record these risen ashes and not to let them be buried twice among us," had set free, in his manner of conceiving things, something not wholly a.n.a.lysable, something that may be properly called genius, which shapes his use of common words to stronger and deeper senses, in a way unusual in prose writing. Let the reader, for instance, trace his peculiarly sensitive use of the epithets thin and dark, both here and in the Letter to a Friend.

Upon what a grand note he can begin and end [155] chapter or paragraph!

"When the funeral pyre was out, and the last valediction over:" "And a large part of the earth is still in the urn unto us." Dealing with a very vague range of feelings, it is his skill to a.s.sociate them to very definite objects. Like the Soul, in Blake's design, "exploring the recesses of the tomb," he carries a light, the light of the poetic faith which he cannot put off him, into those dark places, "the abode of worms and pismires," peering round with a boundless curiosity and no fear; noting the various casuistical considerations of men's last form of self-love; all those whims of humanity as a "student of perpetuity,"

the mortuary customs of all nations, which, from their very closeness to our human nature, arouse in most minds only a strong feeling of distaste. There is something congruous with the impa.s.sive piety of the man in his waiting on accident from without to take start for the work, which, of all his work, is most truly touched by the "divine spark."

Delightsome as its eloquence is actually found to be, that eloquence is attained out of a certain difficulty and halting crabbedness of expression; the wretched punctuation of the piece being not the only cause of its impressing the reader with the notion that he is but dealing with a collection of notes for a more finished composition, and of a different kind; perhaps a purely erudite treatise on its subject, with detachment of all personal colour now adhering [156] to it. Out of an atmosphere of all-pervading oddity and quaintness--the quaintness of mind which reflects that this disclosing of the urns of the ancients hath "left unto our view some parts which they never beheld themselves"--arises a work really ample and grand, nay! cla.s.sical, as I said, by virtue of the effectiveness with which it fixes a type in literature; as, indeed, at its best, romantic literature (and Browne is genuinely romantic) in every period attains cla.s.sical quality, giving true measure of the very limited value of those well-worn critical distinctions. And though the Urn-Burial certainly has much of the character of a poem, yet one is never allowed to forget that it was designed, candidly, as a scientific treatise on one department of ancient "culture" (as much so as Guichard's curious old French book on Divers Manners of Burial) and was the fruit of much labour, in the way especially of industrious selection from remote and difficult writers; there being then few or no handbooks, or anything like our modern shortcuts to varied knowledge. Quite unaffectedly, a curious learning saturates, with a kind of grey and aged colour most apt and congruous with the subject-matter, all the thoughts that arise in him. His great store of reading, so freely displayed, he uses almost as poetically as Milton; like him, profiting often by the mere sonorous effect of some heroic or ancient name, which he can adapt to that same sort of learned sweetness of [157] cadence with which so many of his single sentences are made to fall upon the ear.

Pope Gregory, that great religious poet, requested by certain eminent persons to send them some of those relics he sought for so devoutly in all the lurking-places of old Rome, took up, it is said, a portion of common earth, and delivered it to the messengers; and, on their expressing surprise at such a gift, pressed the earth together in his hand, whereupon the sacred blood of the Martyrs was beheld flowing out between his fingers. The veneration of relics became a part of Christian (as some may think it a part of natural) religion. All over Rome we may count how much devotion in fine art is owing to it; and, through all ugliness or superst.i.tion, its intention still speaks clearly to serious minds. The poor dead bones, ghastly and forbidding:--we know what Shakespeare would have felt about them.--"Beat not the bones of the buried: when he breathed, he was a man!" And it is with something of a similar feeling that Browne is full, on the common and general ground of humanity; an awe-stricken sympathy with those, whose bones "lie at the mercies of the living,"

strong enough to unite all his various chords of feeling into a single strain of impressive and genuine poetry. His real interest is in what may be called the curiosities of our common humanity. As another might be moved at the sight of Alexander's bones, or Saint Edmund's, or Saint Cecilia's, [158] so he is full of a fine poetical excitement at such lowly relics as the earth hides almost everywhere beneath our feet.

But it is hardly fair to take our leave amid these grievous images of so happy a writer as Sir Thomas Browne; so great a lover of the open air, under which much of his life was pa.s.sed. His work, late one night, draws to a natural close:--"To keep our eyes open longer," he bethinks himself suddenly, "were but to act our Antipodes. The huntsmen are up in America!"

What a fund of open-air cheerfulness, there! in turning to sleep.

Still, even when we are dealing with a writer in whom mere style counts for so much as with Browne, it is impossible to ignore his matter; and it is with religion he is really occupied from first to last, hardly less than Richard Hooker. And his religion, too, after all, was a religion of cheerfulness: he has no great consciousness of evil in things, and is no fighter. His religion, if one may say so, was all profit to him; among other ways, in securing an absolute staidness and placidity of temper, for the intellectual work which was the proper business of his life. His contributions to "evidence," in the Religio Medici, for instance, hardly tell, because he writes out of view of a really philosophical criticism. What does tell in him, in this direction, is the witness he brings to men's instinct of survival--the "intimations of immortality," as Wordsworth terms them, which [159]

were natural with him in surprising force. As was said of Jean Paul, his special subject was the immortality of the soul; with an a.s.surance as personal, as fresh and original, as it was, on the one hand, in those old half-civilised people who had deposited the urns; on the other hand, in the cynical French poet of the nineteenth century, who did not think, but knew, that his soul was imperishable. He lived in an age in which that philosophy made a great stride which ends with Hume; and his lesson, if we may be pardoned for taking away a "lesson"

from so ethical a writer, is the force of men's temperaments in the management of opinion, their own or that of others;--that it is not merely different degrees of bare intellectual power which cause men to approach in different degrees to this or that intellectual programme.

Could he have foreseen the mature result of that mechanical a.n.a.lysis which Bacon had applied to nature, and Hobbes to the mind of man, there is no reason to think that he would have surrendered his own chosen hypothesis concerning them. He represents, in an age, the intellectual powers of which tend strongly to agnosticism, that cla.s.s of minds to which the supernatural view of things is still credible. The non-mechanical theory of nature has had its grave adherents since: to the non-mechanical theory of man--that he is in contact with a moral order on a different plane from the [160] mechanical order--thousands, of the most various types and degrees of intellectual power, always adhere; a fact worth the consideration of all ingenuous thinkers, if (as is certainly the case with colour, music, number, for instance) there may be whole regions of fact, the recognition of which belongs to one and not to another, which people may possess in various degrees; for the knowledge of which, therefore, one person is dependent upon another; and in relation to which the appropriate means of cognition must lie among the elements of what we call individual temperament, so that what looks like a pre-judgment may be really a legitimate apprehension. "Men are what they are," and are not wholly at the mercy of formal conclusions from their formally limited premises. Browne pa.s.ses his whole life in observation and inquiry: he is a genuine investigator, with every opportunity: the mind of the age all around him seems pa.s.sively yielding to an almost foregone intellectual result, to a philosophy of disillusion. But he thinks all that a prejudice; and not from any want of intellectual power certainly, but from some inward consideration, some afterthought, from the antecedent gravitation of his own general character--or, will you say? from that unprecipitated infusion of fallacy in him--he fails to draw, unlike almost all the rest of the world, the conclusion ready to hand.

1886.

NOTES

144. +In the original, this quotation, like several above it, is not indented; it is in smaller type. Return.

"LOVE'S LABOURS LOST"

[161] Love's Labours Lost is one of the earliest of Shakespeare's dramas, and has many of the peculiarities of his poems, which are also the work of his earlier life. The opening speech of the king on the immortality of fame--on the triumph of fame over death--and the n.o.bler parts of Biron, display something of the monumental style of Shakespeare's Sonnets, and are not without their concerts of thought and expression. This connexion of Love's Labours Lost with Shakespeare's poems is further enforced by the actual insertion in it of three sonnets and a faultless song; which, in accordance with his practice in other plays, are inwoven into the argument of the piece and, like the golden ornaments of a fair woman, give it a peculiar air of distinction. There is merriment in it also, with choice ill.u.s.trations of both wit and humour; a laughter, often exquisite, ringing, if faintly, yet as genuine laughter still, though sometimes sinking into mere burlesque, which has not lasted quite so well. And Shakespeare [162] brings a serious effect out of the trifling of his characters. A dainty love-making is interchanged with the more c.u.mbrous play: below the many artifices of Biron's amorous speeches we may trace sometimes the "unutterable longing;" and the lines in which Katherine describes the blighting through love of her younger sister are one of the most touching things in older literature.* Again, how many echoes seem awakened by those strange words, actually said in jest! "The sweet war-man (Hector of Troy) is dead and rotten; sweet chucks, beat not the bones of the buried: when he breathed, he was a man!"--words which may remind us of Shakespeare's own epitaph. In the last scene, an ingenious turn is given to the action, so that the piece does not conclude after the manner of other comedies.--

Our wooing doth not end like an old play; Jack hath not Jill:

and Shakespeare strikes a pa.s.sionate note across it at last, in the entrance of the messenger, who announces to the princess that the king her father is suddenly dead.

The merely dramatic interest of the piece is slight enough; only just sufficient, indeed, to form the vehicle of its wit and poetry. The scene--a park of the King of Navarre--is unaltered throughout; and the unity of the [163] play is not so much the unity of a drama as that of a series of pictorial groups, in which the same figures reappear, in different combinations but on the same background. It is as if Shakespeare had intended to bind together, by some inventive conceit, the devices of an ancient tapestry, and give voices to its figures. On one side, a fair palace; on the other, the tents of the Princess of France, who has come on an emba.s.sy from her father to the King of Navarre; in the midst, a wide s.p.a.ce of smooth gra.s.s.

The same personages are combined over and over again into a series of gallant scenes--the princess, the three masked ladies, the quaint, pedantic king; one of those amiable kings men have never loved enough, whose serious occupation with the things of the mind seems, by contrast with the more usual forms of kingship, like frivolity or play. Some of the figures are grotesque merely, and all the male ones at least, a little fantastic. Certain objects reappearing from scene to scene--love-letters crammed with verses to the margin, and lovers'

toys--hint obscurely at some story of intrigue. Between these groups, on a smaller scale, come the slighter and more homely episodes, with Sir Nathaniel the curate, the country-maid Jaquenetta, Moth or Mote the elfin-page, with Hiems and Ver, who recite "the dialogue that the two learned men have compiled in praise of the owl and the cuckoo." The ladies are [164] lodged in tents, because the king, like the princess of the modern poet's fancy, has taken a vow

to make his court a little Academe,

and for three years' s.p.a.ce no woman may come within a mile of it; and the play shows how this artificial attempt was broken through. For the king and his three fellow-scholars are of course soon forsworn, and turn to writing sonnets, each to his chosen lady. These fellow-scholars of the king--"quaint votaries of science" at first, afterwards "affection's men-at-arms"--three youthful knights, gallant, amorous, chivalrous, but also a little affected, sporting always a curious foppery of language, are, throughout, the leading figures in the foreground; one of them, in particular, being more carefully depicted than the others, and in himself very noticeable--a portrait with somewhat puzzling manner and expression, which at once catches the eye irresistibly and keeps it fixed.

Play is often that about which people are most serious; and the humourist may observe how, under all love of playthings, there is almost always hidden an appreciation of something really engaging and delightful. This is true always of the toys of children: it is often true of the playthings of grown-up people, their vanities, their fopperies even, their lighter loves; the cynic would add their pursuit of fame. Certainly, this is true without exception [165] of the playthings of a past age, which to those who succeed it are always full of a pensive interest--old manners, old dresses, old houses. For what is called fashion in these matters occupies, in each age, much of the care of many of the most discerning people, furnishing them with a kind of mirror of their real inward refinements, and their capacity for selection. Such modes or fashions are, at their best, an example of the artistic predominance of form over matter; of the manner of the doing of it over the thing done; and have a beauty of their own. It is so with that old euphuism of the Elizabethan age--that pride of dainty language and curious expression, which it is very easy to ridicule, which often made itself ridiculous, but which had below it a real sense of fitness and nicety; and which, as we see in this very play, and still more clearly in the Sonnets, had some fascination for the young Shakespeare himself. It is this foppery of delicate language, this fashionable plaything of his time, with which Shakespeare is occupied in Love's Labours Lost. He shows us the manner in all its stages; pa.s.sing from the grotesque and vulgar pedantry of Holofernes, through the extravagant but polished caricature of Armado, to become the peculiar characteristic of a real though still quaint poetry in Biron himself, who is still chargeable even at his best with just a little affectation. As Shakespeare laughs broadly at it in Holofernes or Armado, so he [166] is the a.n.a.lyst of its curious charm in Biron; and this a.n.a.lysis involves a delicate raillery by Shakespeare himself at his own chosen manner.

This "foppery" of Shakespeare's day had, then, its really delightful side, a quality in no sense "affected," by which it satisfies a real instinct in our minds--the fancy so many of us have for an exquisite and curious skill in the use of words. Biron is the perfect flower of this manner:

A man of fire-new words, fashion's own knight:

--as he describes Armado, in terms which are really applicable to himself. In him this manner blends with a true gallantry of nature, and an affectionate complaisance and grace. He has at times some of its extravagance or caricature also, but the shades of expression by which he pa.s.ses from this to the "golden cadence" of Shakespeare's own most characteristic verse, are so fine, that it is sometimes difficult to trace them. What is a vulgarity in Holofernes, and a caricature in Armado, refines itself with him into the expression of a nature truly and inwardly bent upon a form of delicate perfection, and is accompanied by a real insight into the laws which determine what is exquisite in language, and their root in the nature of things. He can appreciate quite the opposite style--

In russet yeas, and honest kersey noes;

he knows the first law of pathos, that

Honest plain words best suit the ear of grief.

[167] He delights in his own rapidity of intuition; and, in harmony with the half-sensuous philosophy of the Sonnets, exalts, a little scornfully, in many memorable expressions, the judgment of the senses, above all slower, more toilsome means of knowledge, scorning some who fail to see things only because they are so clear:

So here you find where light in darkness lies, Your light grows dark by losing of your eyes:--

as with some German commentators on Shakespeare. Appealing always to actual sensation from men's affected theories, he might seem to despise learning; as, indeed, he has taken up his deep studies partly in sport, and demands always the profit of learning in renewed enjoyment. Yet he surprises us from time to time by intuitions which could come only from a deep experience and power of observation; and men listen to him, old and young, in spite of themselves. He is quickly impressible to the slightest clouding of the spirits in social intercourse, and has his moments of extreme seriousness: his trial-task may well be, as Rosaline puts it--

To enforce the pained impotent to smile.

But still, through all, he is true to his chosen manner: that gloss of dainty language is a second nature with him: even at his best he is not without a certain artifice: the trick of playing on words never deserts him; and [168] Shakespeare, in whose own genius there is an element of this very quality, shows us in this graceful, and, as it seems, studied, portrait, his enjoyment of it.