Hazlitt on English Literature Part 10

One of the most characteristic descriptions of Sir John is that which Mrs.

Quickly gives of him when he asks her "What is the gross sum that I owe thee?"

"_Hostess._ Marry, if thou wert an honest man, thyself, and the money too. Thou didst swear to me upon a parcel-gilt goblet, sitting in my Dolphin-chamber, at the round table, by a sea-coal fire on Wednesday in Whitsun-week, when the Prince broke thy head for likening his father to a singing man of Windsor; thou didst swear to me then, as I was washing thy wound, to marry me, and make me my lady thy wife.

Canst thou deny it? Did not goodwife Keech, the butcher's wife, come in then, and call me gossip Quickly? coming in to borrow a mess of vinegar; telling us, she had a good dish of prawns; whereby thou didst desire to eat some; whereby I told thee they were ill for a green wound? And didst thou not, when she was gone down stairs, desire me to be no more so familiarity with such poor people; saying, that ere long they should call me madam? And didst thou not kiss me, and bid me fetch thee thirty shillings? I put thee now to thy book-oath; deny it, if thou canst."

This scene is to us the most convincing proof of Falstaff's power of gaining over the good will of those he was familiar with, except indeed Bardolph's somewhat profane exclamation on hearing the account of his death, "Would I were with him, wheresoe'er he is, whether in heaven or h.e.l.l."

One of the topics of exulting superiority over others most common in Sir John's mouth is his corpulence and the exterior marks of good living which he carries about him, thus "turning his vices into commodity." He accounts for the friendship between the Prince and Poins, from "their legs being both of a bigness;" and compares Justice Shallow to "a man made after supper of a cheese-paring." There cannot be a more striking gradation of character than that between Falstaff and Shallow, and Shallow and Silence.

It seems difficult at first to fall lower than the squire; but this fool, great as he is, finds an admirer and humble foil in his cousin Silence.

Vain of his acquaintance with Sir John, who makes a b.u.t.t of him, he exclaims, "Would, cousin Silence, that thou had'st seen that which this knight and I have seen!"--"Aye, Master Shallow, we have heard the chimes at midnight," says Sir John. To Falstaff's observation, "I did not think Master Silence had been a man of this mettle," Silence answers, "Who, I? I have been merry twice and once ere now." What an idea is here conveyed of a prodigality of living? What good husbandry and economical self-denial in his pleasures? What a stock of lively recollections? It is curious that Shakspeare has ridiculed in Justice Shallow, who was "in some authority under the king," that disposition to unmeaning tautology which is the regal infirmity of later times, and which, it may be supposed, he acquired from talking to his cousin Silence, and receiving no answers.

"_Falstaff._ You have here a goodly dwelling, and a rich.

_Shallow._ Barren, barren, barren; beggars all, beggars all, Sir John: marry, good air. Spread Davy, spread Davy. Well said, Davy.

_Falstaff._ This Davy serves you for good uses.

_Shallow._ A good varlet, a good varlet, a very good varlet. By the ma.s.s, I have drunk too much sack at supper. A good varlet. Now sit down, now sit down. Come, cousin."

The true spirit of humanity, the thorough knowledge of the stuff we are made of, the practical wisdom with the seeming fooleries in the whole of the garden-scene at Shallow's country-seat, and just before in the exquisite dialogue between him and Silence on the death of old Double, have no parallel anywhere else. In one point of view, they are laughable in the extreme; in another they are equally affecting, if it is affecting to shew _what a little thing is human life_, what a poor forked creature man is!

TWELFTH NIGHT; OR, WHAT YOU WILL

This is justly considered as one of the most delightful of Shakspeare's comedies. It is full of sweetness and pleasantry. It is perhaps too good-natured for comedy. It has little satire, and no spleen. It aims at the ludicrous rather than the ridiculous. It makes us laugh at the follies of mankind, not despise them, and still less bear any ill-will towards them. Shakspeare's comic genius resembles the bee rather in its power of extracting sweets from weeds or poisons, than in leaving a sting behind it. He gives the most amusing exaggeration of the prevailing foibles of his characters, but in a way that they themselves, instead of being offended at, would almost join in to humour; he rather contrives opportunities for them to shew themselves off in the happiest lights, than renders them contemptible in the perverse construction of the wit or malice of others.--There is a certain stage of society in which people become conscious of their peculiarities and absurdities, affect to disguise what they are, and set up pretensions to what they are not. This gives rise to a corresponding style of comedy, the object of which is to detect the disguises of self-love, and to make reprisals on these preposterous a.s.sumptions of vanity, by marking the contrast between the real and the affected character as severely as possible, and denying to those, who would impose on us for what they are not, even the merit which they have. This is the comedy of artificial life, of wit and satire, such as we see it in Congreve, Wycherley, Vanburgh, etc. To this succeeds a state of society from which the same sort of affectation and pretence are banished by a greater knowledge of the world or by their successful exposure on the stage; and which by neutralising the materials of comic character, both natural and artificial, leaves no comedy at all--but _the sentimental_. Such is our modern comedy. There is a period in the progress of manners anterior to both these, in which the foibles and follies of individuals are of nature's planting, not the growth of art or study; in which they are therefore unconscious of them themselves, or care not who knows them, if they can but have their whim out; and in which, as there is no attempt at imposition, the spectators rather receive pleasure from humouring the inclinations of the persons they laugh at, than wish to give them pain by exposing their absurdity. This may be called the comedy of nature, and it is the comedy which we generally find in Shakspeare.--Whether the a.n.a.lysis here given be just or not, the spirit of his comedies is evidently quite distinct from that of the authors above mentioned, as it is in its essence the same with that of Cervantes, and also very frequently of Moliere, though he was more systematic in his extravagance than Shakspeare. Shakspeare's comedy is of a pastoral and poetical cast. Folly is indigenous to the soil, and shoots out with native, happy, unchecked luxuriance. Absurdity has every encouragement afforded it; and nonsense has room to flourish in. Nothing is stunted by the churlish, icy hand of indifference or severity. The poet runs riot in a conceit, and idolises a quibble. His whole object is to turn the meanest or rudest objects to a pleasurable account. The relish which he has of a pun, or of the quaint humour of a low character, does not interfere with the delight with which he describes a beautiful image, or the most refined love. The Clown's forced jests do not spoil the sweetness of the character of Viola; the same house is big enough to hold Malvolio, the Countess, Maria, Sir Toby, and Sir Andrew Ague-cheek. For instance, nothing can fall much lower than this last character in intellect or morals: yet how are his weaknesses nursed and dandled by Sir Toby into something "high fantastical," when on Sir Andrew's commendation of himself for dancing and fencing, Sir Toby answers--"Wherefore are these things hid? Wherefore have these gifts a curtain before them? Are they like to take dust like mistress Moll's picture? Why dost thou not go to church in a galliard, and come home in a coranto? My very walk should be a jig! I would not so much as make water but in a cinque-pace. What dost thou mean? Is this a world to hide virtues in? I did think by the excellent const.i.tution of thy leg, it was framed under the star of a galliard!"--How Sir Toby, Sir Andrew, and the Clown afterwards _chirp over their cups_, how they "rouse the night-owl in a catch, able to draw three souls out of one weaver!" What can be better than Sir Toby's unanswerable answer to Malvolio, "Dost thou think because thou art virtuous, there shall be no more cakes and ale?"--In a word, the best turn is given to everything, instead of the worst. There is a constant infusion of the romantic and enthusiastic, in proportion as the characters are natural and sincere: whereas, in the more artificial style of comedy, everything gives way to ridicule and indifference, there being nothing left but affectation on one side, and incredulity on the other.--Much as we like Shakspeare's comedies, we cannot agree with Dr. Johnson that they are better than his tragedies; nor do we like them half so well. If his inclination to comedy sometimes led him to trifle with the seriousness of tragedy, the poetical and impa.s.sioned pa.s.sages are the best parts of his comedies. The great and secret charm of TWELFTH NIGHT is the character of Viola. Much as we like catches and cakes and ale, there is something that we like better. We have a friendship for Sir Toby; we patronise Sir Andrew; we have an understanding with the Clown, a sneaking kindness for Maria and her rogueries; we feel a regard for Malvolio, and sympathise with his gravity, his smiles, his cross garters, his yellow stockings, and imprisonment in the stocks. But there is something that excites in us a stronger feeling than all this--it is Viola's confession of her love.

"_Duke._ What's her history?

_Viola._ _A blank, my lord, she never told her love:_ She let concealment, like a worm i' th' bud.

Feed on her damask cheek: she pin'd in thought, And with a green and yellow melancholy, She sat like Patience on a monument, Smiling at grief. _Was not this love indeed?_ We men may say more, swear more, but indeed, Our shews are more than will; for still we prove Much in our vows, but little in our love.

_Duke._ But died thy sister of her love, my boy?

_Viola._ I am all the daughters of my father's house, And all the brothers too;--and yet I know not."--

Shakspeare alone could describe the effect of his own poetry.

"Oh, it came o'er the ear like the sweet south That breathes upon a bank of violets, Stealing and giving odour."

What we so much admire here is not the image of Patience on a monument, which has been generally quoted, but the lines before and after it. "They give a very echo to the seat where love is throned." How long ago it is since we first learnt to repeat them; and still, still they vibrate on the heart, like the sounds which the pa.s.sing wind draws from the trembling strings of a harp left on some desert sh.o.r.e! There are other pa.s.sages of not less impa.s.sioned sweetness. Such is Olivia's address to Sebastian, whom she supposes to have already deceived her in a promise of marriage.

"Blame not this haste of mine: if you mean well, Now go with me and with this holy man Into the chantry by: there before him, And underneath that consecrated roof, Plight me the full a.s.surance of your faith, _That my most jealous and too doubtful soul_ _May live at peace_."

V

MILTON

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 hath 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 Shakspeare, 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 all 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 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 worship 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, etc. 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:"