Representative Men: Seven Lectures Part 6

Shakspeare, in common with his comrades, esteemed the ma.s.s of old plays, waste stock, in which any experiment could be freely tried. Had the _prestige_ which hedges about a modern tragedy existed, nothing could have been done. The rude warm blood of the living England circulated in the play, as in street-ballads, and gave body which he wanted to his airy and majestic fancy. The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination. In short, the poet owes to his legend what sculpture owed to the temple. Sculpture in Egypt, and in Greece, grew up in subordination to architecture. It was the ornament of the temple wall: at first, a rude relief carved on pediments, then the relief became bolder, and a head or arm was projected from the wall, the groups being still arrayed with reference to the building, which serves also as a frame to hold the figures; and when, at last, the greatest freedom of style and treatment was reached, the prevailing genius of architecture still enforced a certain calmness and continence in the statue. As soon as the statue was begun for itself, and with no reference to the temple or palace, the art began to decline: freak, extravagance, and exhibition, took the place of the old temperance. This balance-wheel, which the sculptor found in architecture, the perilous irritability of poetic talent found in the acc.u.mulated dramatic materials to which the people were already wonted, and which had a certain excellence which no single genius, however extraordinary, could hope to create.

In point of fact, it appears that Shakspeare did owe debts in all directions, and was able to use whatever he found; and the amount of indebtedness may be inferred from Malone's laborious computations in regard to the First, Second, and Third parts of Henry VI., in which, "out of 6043 lines, 1771 were written by some author preceding Shakspeare; 2373 by him, on the foundation laid by his predecessors; and 1899 were entirely his own." And the preceding investigation hardly leaves a single drama of his absolute invention. Malone's sentence is an important piece of external history. In Henry VIII., I think I see plainly the cropping out of the original rock on which his own finer stratum was laid. The first play was written by a superior, thoughtful man, with a vicious ear. I can mark his lines, and know well their cadence. See Wolsey's soliloquy, and the following scene with Cromwell, where,--instead of the metre of Shakspeare, whose secret is, that the thought constructs the tune, so that reading for the sense will best bring out the rhythm,--here the lines are constructed on a given tune, and the verse has even a trace of pulpit eloquence. But the play contains, through all its length, unmistakable traits of Shakspeare's hand, and some pa.s.sages, as the account of the coronation, are like autographs. What is odd, the compliment to Queen Elizabeth is in the bad rhythm.

Shakspeare knew that tradition supplies a better fable that any invention can. If he lost any credit of design, he augmented his resources; and, at that day our petulant demand for originality was not so much pressed. There was no literature for the million. The universal reading, the cheap press, were unknown. A great poet, who appears in illiterate times, absorbs into his sphere all the light which is anywhere radiating. Every intellectual jewel, every flower of sentiment, it is his fine office to bring to his people; and he comes to value his memory equally with his invention. He is therefore little solicitous whence his thoughts have been derived; whether through translation, whether through tradition, whether by travel in distant countries, whether by inspiration; from whatever source, they are equally welcome to his uncritical audience. Nay, he borrows very near home. Other men say wise things as well as he; only they say a good many foolish things, and do not know when they have spoken wisely. He knows the sparkle of the true stone, and puts it in high place, wherever he finds it. Such is the happy position of Homer, perhaps; of Chaucer, of Saadi. They felt that all wit was their wit. And they are librarians and historiographers, as well as poets. Each romancer was heir and dispenser of all the hundred tales of the world,--

"Presenting Thebes' and Pelops' line And the tale of Troy divine."

The influence of Chaucer is conspicuous in all our early literature; and, more recently, not only Pope and Dryden have been beholden to him, but, in the whole society of English writers, a large unacknowledged debt is easily traced. One is charmed with the opulence which feeds so many pensioners. But Chaucer is a huge borrower. Chaucer, it seems, drew continually, through Lydgate and Caxton, from Guido di Colonna, whose Latin romance of the Trojan war was in turn a compilation from Dares Phrygius, Ovid, and Statius. Then Petrarch, Boccaccio, and the Provencal poets, are his benefactors: the Romaunt of the Rose is only judicious translation from William of Lorris and John of Meun: Troilus and Creseide, from Lollius of Urbino: The c.o.c.k and the Fox, from the _Lais_ of Marie: The House of Fame, from the French or Italian: and poor Gower he uses as if he were only a brick-kiln or stone-quarry out of which to build his house. He steals by this apology,--that what he takes has no worth where he finds it, and the greatest where he leaves it. It has come to be practically a sort of rule in literature, that a man, having once shown himself capable of original writing, is ent.i.tled thenceforth to steal from the writings of others at discretion. Thought is the property of him who can entertain it; and of him who can adequately place it. A certain awkwardness marks the use of borrowed thoughts; but, as soon as we have learned what to do with them, they become our own.

Thus, all originality is relative. Every thinker is retrospective. The learned member of the legislature, at Westminster, or at Washington, speaks and votes for thousands. Show us the const.i.tuency, and the now invisible channels by which the senator is made aware of their wishes, the crowd of practical and knowing men, who, by correspondence or conversation, are feeding him with evidence, anecdotes, and estimates, and it will bereave his fine att.i.tude and resistance of something of their impressiveness. As Sir Robert Peel and Mr. Webster vote, so Locke and Rousseau think for thousands; and so there were fountains all around Homer, Menu, Saadi, or Milton, from which they drew; friends, lovers, books, traditions, proverbs,--all perished,--which, if seen, would go to reduce the wonder. Did the bard speak with authority? Did he feel himself, overmatched by any companion? The appeal is to the consciousness of the writer. Is there at last in his breast a Delhi whereof to ask concerning any thought or thing, whether it be verily so, yea or nay? and to have answer, and to rely on that? All the debt which such a man could contract to other wit, would never disturb his consciousness of originality: for the ministrations of books, and of other minds, are a whiff of smoke to that most private reality with which he has conversed.

It is easy to see that what is best written or done by genius, in the world, was no man's work, but came by wide social labor, when a thousand wrought like one, sharing the same impulse. Our English Bible is a wonderful specimen of the strength and music of the English language.

But it was not made by one man, or at one time; but centuries and churches brought it to perfection. There never was a time when there was not some translation existing. The Liturgy, admired for its energy and pathos, is an anthology of the piety of ages and nations, a translation of the prayers and forms of the Catholic church,--these collected, too, in long periods, from the prayers and meditations of every saint and sacred writer, all over the world. Grotius makes the like remark in respect to the Lord's Prayer, that the single clauses of which it is composed were already in use, in the time of Christ, in the rabbinical forms. He picked out the grains of gold. The nervous language of the Common Law, the impressive forms of our courts, and the precision and substantial truth of the legal distinctions, are the contribution of all the sharp-sighted, strong-minded men who have lived in the countries where these laws govern. The translation of Plutarch gets its excellence by being translation on translation. There never was a time when there was none. All the truly diomatic and national phrases are kept, and all others successively picked out and thrown away. Something like the same process had gone on, long before, with the originals of these books. The world takes liberties with world-books. Vedas, Aesop's Fables, Pilpay, Arabian Nights, Cid, Iliad, Robin Hood, Scottish Minstrelsy, are not the work of single men. In the composition of such works, the time thinks, the market thinks, the mason, the carpenter, the merchant, the farmer, the fop, all think for us. Every book supplies its time with one good word; every munic.i.p.al law, every trade, every folly of the day, and the generic catholic genius who is not afraid or ashamed to owe his originality to the originality of all, stands with the next age as the recorder and embodiment of his own.

We have to thank the researches of antiquaries, and the Shakspeare Society, for ascertaining the steps of the English drama, from the Mysteries celebrated in churches and by churchmen, and the final detachment from the church, and the completion of secular plays, from Ferrex and Porrex, and Gammer Gurton's Needle, down to the possession of the stage by the very pieces which Shakspeare altered, remodelled, and finally made his own. Elated with success, and piqued by the growing interest of the problem, they have left no book-stall unsearched, no chest in a garret unopened, no file of old yellow accounts to decompose in damp and worms, so keen was the hope to discover whether the boy Shakspeare poached or not, whether he held horses at the theater door, whether he kept school, and why he left in his will only his second-best bed to Ann Hathaway, his wife.

There is somewhat touching in the madness with which the pa.s.sing age mischooses the object on which all candles shine, and all eyes are turned; the care with which it registers every trifle touching Queen Elizabeth, and King James, and the Ess.e.xes, Leicesters, Burleighs, and Buckinghams; and let pa.s.s without a single valuable note the founder of another dynasty, which alone will cause the Tudor dynasty to be remembered,--the man who carries the Saxon race in him by the inspiration which feeds him, and on whose thoughts the foremost people of the world are now for some ages to be nourished, and minds to receive this and not another bias. A popular player,--n.o.body suspected he was the poet of the human race; and the secret was kept as faithfully from poets and intellectual men, as from courtiers and frivolous people.

Bacon, who took the inventory of the human understanding for his times, never mentioned his name. Ben Jonson, though we have strained his few words of regard and panegyric, had no suspicion of the elastic fame whose first vibrations he was attempting. He no doubt thought the praise he has conceded to him generous, and esteemed himself, out of all question, the better poet of the two.

If it need wit to know wit, according to the proverb, Shakspeare's time should be capable of recognizing it. Sir Henry Wotton was born four years after Shakspeare, and died twenty-three years after him; and I find among his correspondents and acquaintances, the following persons: Theodore Beza, Isaac Casaubon, Sir Philip Sidney, Earl of Ess.e.x, Lord Bacon, Sir Walter Raleigh, John Milton, Sir Henry Vane, Isaac Walton, Dr. Donne, Abraham Cowley, Bellarmine, Charles Cotton, John Pym, John Hales, Kepler, Vieta, Albericus Gentilis, Paul Sarpi, Ariminius; with all of whom exist some token of his having communicated, without enumerating many others, whom doubtless he saw,--Shakspeare, Spenser, Jonson, Beaumont, Ma.s.singer, two Herberts, Marlow, Chapman, and the rest. Since the constellation of great men who appeared in Greece in the time of Pericles, there was never any such society;--yet their genius failed them to find out the best head in the universe.

Our poet's mask was impenetrable. You cannot see the mountain near.

It took a century to make it suspected; and not until two centuries had pa.s.sed, after his death, did any criticism which we think adequate begin to appear. It was not possible to write the history of Shakspeare till now; for he is the father of German literature: it was on the introduction of Shakspeare into German by Lessing, and the translation of his works by Wieland and Schlegel, that the rapid burst of German literature was most intimately connected. It was not until the nineteenth century, whose speculative genius is a sort of living Hamlet, that the tragedy of Hamlet should find such wondering readers. Now, literature, philosophy, and thought are Shakspearized. His mind is the horizon beyond which, at present, we do not see. Our ears are educated to music by his rhythm. Coleridge and Goethe are the only critics who have expressed our convictions with any adequate fidelity: but there is in all cultivated minds a silent appreciation of his superlative power and beauty, which, like Christianity, qualifies the period.

The Shakspeare Society have inquired in all directions, advertised the missing facts, offered money for any information that will lead to proof; and with what results? Beside some important ill.u.s.tration of the history of the English stage, to which I have adverted, they have gleaned a few facts touching the property, and dealings in regard to property, of the poet. It appears that, from year to year, he owned a larger share in the Blackfriars' Theater: its wardrobe and other appurtenances were his: that he bought an estate in his native village, with his earnings, as writer and shareholder; that he lived in the best house in Stratford; was intrusted by his neighbors with their commissions in London, as of borrowing money, and the like; that he was a veritable farmer. About the time when he was writing Macbeth, he sues Philip Rogers, in the borough-court of Stratford, for thirty-five shillings ten pence, for corn delivered to him at different times; and, in all respects, appears as a good husband, with no reputation for eccentricity or excess. He was a good-natured sort of man, an actor and shareholder in the theater, not in any striking manner distinguished from other actors and managers. I admit the importance of this information. It was well worth the pains that have been taken to procure it.

But whatever sc.r.a.ps of information concerning his condition these researches may have rescued, they can shed no light upon that infinite invention which is the concealed magnet of his attraction for us. We are very clumsy writers of history. We tell the chronicle of parentage, birth, birthplace, schooling, schoolmates, earning of money, marriage, publication of books, celebrity, death; and when we have come to an end of this gossip, no ray of relation appears between it and the G.o.ddess-born; and it seems as if, had we dipped at random into the "Modern Plutarch," and read any other life there, it would have fitted the poems as well, It is the essence of poetry to spring, like the rainbow daughter of Wonder, from the invisible, to abolish the past, and refuse all history. Malone, Warburton, Dyce, and Collier, have wasted their oil. The famed theaters, Covent Garden, Drury Lane, the Park, and Tremont, have vainly a.s.sisted. Betterton, Garrick, Kemble, Kean, and Macready, dedicate their lives to this genius; him they crown, elucidate, obey, and express. The genius knows them not. The recitation begins; one golden word leaps out immortal from all this painted pedantry, and sweetly torments us with invitations to its own inaccessible homes. I remember, I went once to see the Hamlet of a famed performer, the pride of the English stage; and all I then heard, and all I now remember, of the tragedian, was that in which the tragedian had no part; simply, Hamlet's question to the ghost,--

"What may this mean, That thou, dead corse, again in complete steel Revisit'st thus the glimpses of the moon?"

That imagination which dilates the closet he writes into the world's dimension, crowds it with agents in rank and order, as quickly reduces the big reality to be the glimpses of the moon. These tricks of his magic spoil for us the illusions of the green-room. Can any biography shed light on the localities into which the Midsummer Night's Dream admits me? Did Shakspeare confide to any notary or parish recorder, sacristan, or surrogate, in Stratford, the genesis of that delicate creation? The forest of Arden, the nimble air of Scone Castle, the moonlight of Portia's villa, "the antres vast and desarts idle," of Oth.e.l.lo's captivity,--where is the third cousin, or grand-nephew, the chancellor's file of accounts, or private letter, that has kept one word of those transcendent secrets. In fine, in this drama, as in all great works of art,--in the Cyclopaean architecture of Egypt and India; in the Phidian sculpture; the Gothic minsters; the Italian painting; the Ballads of Spain and Scotland,--the Genius draws up the ladder after him, when the creative age goes up to heaven, and gives way to a new, who see the works, and ask in vain for a history.

Shakspeare is the only biographer of Shakspeare; and even he can tell nothing, except to the Shakspeare in us; that is, to our most apprehensive and sympathetic hour. He cannot step from off his tripod, and give us anecdotes of his inspirations. Read the antique doc.u.ments extricated, a.n.a.lyzed, and compared, by the a.s.siduous Dyce and Collier; and now read one of those skyey sentences,--aerolites,--which seem to have fallen out of heaven, and which, not your experience, but the man within the breast, has accepted as words of fate; and tell me if they match; if the former account in any manner for the latter; or, which gives the most historical insight into the man.

Hence, though our external history is so meager, yet, with Shakspeare for biographer, instead of Aubrey and Rowe, we have really the information which is material, that which describes character and fortune; that which, if we were about to meet the man and deal with him, would most import us to know. We have his recorded convictions on those questions which knock for answer at every heart,--on life and death, on love, on wealth and poverty, on the prizes of life, and the ways whereby we may come at them; on the characters of men, and the influences, occult and open, which affect their fortunes: and on those mysterious and demoniacal powers which defy our science, and which yet interweave their malice and their gift in our brightest hours. Who ever read the volume of Sonnets, without finding that the poet had there revealed, under masks that are no masks to the intelligent, the lore of friendship and of love; the confusion of sentiments in the most susceptible, and, at the same time, the most intellectual of men?

What trait of his private mind has he hidden in his dramas? One can discern, in his ample pictures of the gentleman and the king, what forms and humanities pleased him; his delight in troops of friends, in large hospitality, in cheerful giving. Let Timon, let Warwick, let Antonio the merchant, answer for his great heart. So far from Shakspeare being the least known, he is the one person, in all modern history, known to us. What point of morals, of manners, of economy, of philosophy, of religion, of taste, of the conduct of life, has he not settled? What mystery has he not signified his knowledge of? What office or function, or district of man's work, has he not remembered?

What king has he not taught state, as Talma taught Napoleon? What maiden has not found him finer than her delicacy? What lover has he not outloved? What sage has he not outseen? What gentleman has he not instructed in the rudeness of his behavior?

Some able and appreciating critics think no criticism on Shakspeare valuable, that does not rest purely on the dramatic merit; that he is falsely judged as poet and philosopher. I think as highly as these critics of his dramatic merit, but still think it secondary. He was a full man, who liked to talk; a brain exhaling thoughts and images, which, seeking vent, found the drama next at hand. Had he been less, we should have had to consider how well he filled his place, how good a dramatist he was,--and he is the best in the world. But it turns out; that what he has to say is of that weight, as to withdraw some attention from the vehicle; and he is like some saint whose history is to be rendered into all languages, into verse and prose, into songs and pictures, and cut up into proverbs; so that the occasions which gave the saint's meaning the form of a conversation, or of a prayer, or of a code of laws, is immaterial compared with the universality of its application. So it fares with the wise Shakspeare and his book of life. He wrote the airs for all our modern music: he wrote the text of modern life; the text of manners: he drew the man of England and Europe; the father of the man in America: he drew the man and described the day, and what is done in it: he read the hearts of men and women, their probity, and their second thought, and wiles; the wiles of innocence, and the transitions by which virtues and vices slide into their contraries: he could divide the mother's part from the father's part in the face of the child, or draw the fine demarcations of freedom and fate: he knew the laws of repression which make the police of nature: and all the sweets and all the terrors of human lot lay in his mind as truly but as softly as the landscape lies on the eye. And the importance of this wisdom of life sinks the form, as of Drama or Epic, out of notice. 'Tis like making a question concerning the paper on which a king's message is written.

Shakspeare is as much out of the category of eminent authors, as he is out of the crowd. He is inconceivably wise; the others, conceivably.

A good reader can, in a sort, nestle into Plato's brain, and think from thence; but not into Shakspeare's. We are still out of doors. For executive faculty, for creation, Shakspeare is unique. No man can imagine it better. He was the farthest reach of subtlety compatible with an individual self,--the subtilest of authors, and only just within the possibility of authorship. With this wisdom of life, is the equal endowment of imaginative and of lyric power. He clothed the creatures of his legend with form and sentiments, as if they were people who had lived under his roof; and few real men have left such distinct characters as these fictions. And they spoke in language as sweet as it was fit. Yet his talents never seduced him into an ostentation, nor did he harp on one string. An omnipresent humanity co-ordinates all his faculties. Give a man of talents a story to tell, and his partiality will presently appear. He has certain observations, opinions, topics, which have some accidental prominence, and which he disposes all to exhibit. He crams this part, and starves that other part, consulting not the fitness of the thing, but his fitness and strength. But Shakspeare has no peculiarity, no importunate topic; but all is duly given; no veins, no curiosities: no cow-painter, no bird-fancier, no mannerist is he: he has no discoverable egotism: the great he tells greatly; the small subordinately. He is wise without emphasis or a.s.sertion; he is strong, as nature is strong, who lifts the land into mountain slopes without effort, and by the same rule as she floats a bubble in the air, and likes as well to do the one as the other. This makes that equality of power in farce, tragedy, narrative, and love-songs; a merit so incessant, that each reader is incredulous of the perception of other readers.

This power of expression, or of transferring the inmost truth of things into music and verse, makes him the type of the poet, and has added a new problem to metaphysics. This is that which throws him into natural history, as a main production of the globe, and as announcing new eras and ameliorations. Things were mirrored in his poetry without loss or blur: he could paint the fine with precision, the great with compa.s.s; the tragic and comic indifferently, and without any distortion or favor. He carried his powerful execution into minute details, to a hair point; finishes an eyelash or a dimple as firmly as he draws a mountain; and yet these like nature's, will bear the scrutiny of the solar microscope.

In short, he is the chief example to prove that more or less of production, more or fewer pictures, is a thing indifferent. He had the power to make one picture. Daguerre learned how to let one flower etch its image on his plate of iodine; and then proceeds at leisure to etch a million. There are always objects; but there was never representation.

Here is perfect representation, at last; and now let the world of figures sit for their portraits. No recipe can be given for the making of a Shakspeare; but the possibility of the translation of things into song is demonstrated.

His lyric power lies in the genius of the piece. The sonnets, though their excellence is lost in the splendor of the dramas, are as inimitable as they: and it is not a merit of lines, but a total merit of the piece; like the tone of voice of some incomparable person, so is this a speech of poetic beings, and any clause as unproducible now as a whole poem.

Though the speeches in the plays, and single lines, have a beauty which tempts the ear to pause on them for their euphuism, yet the sentence is so loaded with meaning, and so linked with its foregoers and followers, that the logician is satisfied. His means are as admirable as his ends; every subordinate invention, by which he helps himself to connect some irreconcilable opposites, is a poem too. He is not reduced to dismount and walk, because his horses are running off with him in some distant direction: he always rides.

The finest poetry was first experience: but the thought has suffered a transformation since it was an experience. Cultivated men often attain a good degree of skill in writing verses; but it is easy to read, through their poems, their personal history; any one acquainted with parties can name every figure: this is Andrew, and that is Rachel.

The sense thus remains prosaic. It is a caterpillar with wings, and not yet a b.u.t.terfly. In the poet's mind, the fact has gone quite over into the new element of thought, and has lost all that is exuvial.

This generosity abides with Shakspeare. We say, from the truth and closeness of his pictures, that he knows the lesson by heart. Yet there is not a trace of egotism.

One more royal trait properly belongs to the poet. I mean his cheerfulness, without which no man can be a poet,--for beauty is his aim. He loves virtue, not for its obligation, but for its grace: he delights in the world, in man, in woman, for the lovely light that sparkles from them. Beauty, the spirit of joy and hilarity, he sheds over the universe. Epicurus relates, that poetry hath such charms that a lover might forsake his mistress to partake of them. And the true bards have been noted for their firm and cheerful temper. Homer lies in sunshine; Chaucer is glad and erect; and Saadi says, "It was rumored abroad that I was penitent; but what had I to do with repentance?" Not less sovereign and cheerful,--much more sovereign and cheerful is the tone of Shakspeare. His name suggests joy and emanc.i.p.ation to the heart of men. If he should appear in any company of human souls, who would not march in his troop? He touches nothing that does not borrow health and longevity from his festive style.

And now, how stands the account of man with this bard and benefactor, when in solitude, shutting our ears to the reverberations of his fame, we seek to strike the balance? Solitude has austere lessons; it can teach us to spare both heroes and poets; and it weighs Shakspeare also, and finds him to share the halfness and imperfections of humanity.

Shakspeare, Homer, Dante, Chaucer, saw the splendor of meaning that plays over the visible world; knew that a tree had another use than for apples, and corn another than for meal, and the ball of the earth, than for tillage and roads: that these things bore a second and finer harvest to the mind, being emblems of its thoughts, and conveying in all their natural history a certain mute commentary on human life.

Shakspeare employed them as colors to compose his picture. He rested in their beauty; and never took the step which seemed inevitable to such genius, namely, to explore the virtue which resides in these symbols, and imparts this power,--what is that which they themselves say? He converted the elements, which waited on his command, into entertainments. He was master of the revels to mankind. Is it not as if one should have, through majestic powers of science, the comets given into his hand, or the planets and their moons, and should draw them from their orbits to glare with the munic.i.p.al fireworks on a holiday night, and advertise in all towns, "very superior pyrotechny this evening!" Are the agents of nature, and the power to understand them, worth no more than a street serenade, or the breath of a cigar?

One remembers again the trumpet-text in the Koran--"The heavens and the earth, and all that is between them, think ye we have created them in jest?" As long as the question is of talent and mental power, the world of men has not his equal to show. But when the question is to life, and its materials, and its auxiliaries, how does he profit me?

What does it signify? It is but a Twelfth Night, or Midsummer-Night's Dream, or a Winter Evening's Tale: what signifies another picture more or less? The Egyptian verdict of the Shakspeare Societies comes to mind, that he was a jovial actor and manager. I cannot marry this fact to his verse. Other admirable men have led lives in some sort of keeping with their thought; but this man, in wide contrast. Had he been less, had he reached only the common measure of great authors, of Bacon, Milton, Ta.s.so, Cervantes, we might leave the fact in the twilight of human fate: but, that this man of men, he who gave to the science of mind a new and larger subject than had ever existed, and planted the standard of humanity some furlongs forward into Chaos,--that he should not be wise for himself,--it must even go into the world's history, that the best poet led an obscure and profane life, using his genius for the public amus.e.m.e.nt.

Well, other men, priest and prophet, Israelite, German, and Swede, beheld the same objects: they also saw through them that which was contained. And to what purpose? The beauty straightway vanishes; they read commandments, all-excluding mountainous duty; an obligation, a sadness, as of piled mountains, fell on them, and life became ghastly, joyless, a pilgrim's progress, a probation, beleaguered round with doleful histories of Adam's fall and curse, behind us; with doomsdays and purgatorial and penal fires before us; and the heart of the seer and the heart of the listener sank in them. It must be conceded that these are half-views of half-men. The world still wants its poet-priest, a reconciler, who shall not trifle with Shakspeare the player, nor shall grope in graves with Swedenborg the mourner; but who shall see, speak, and act, with equal inspiration. For knowledge will brighten the sunshine; right is more beautiful than private affection; and love is compatible with universal wisdom.

VI. NAPOLEON; OR, THE MAN OF THE WORLD.

Among the eminent persons of the nineteenth century, Bonaparte is far the best known, and the most powerful; and owes his predominance to the fidelity with which he expresses the tone of thought and belief, the aims of the ma.s.ses of active and cultivated men. It is Swedenborg's theory, that every organ is made up of h.o.m.ogeneous particles; or, as it is sometimes expressed, every whole is made of similars; that is, the lungs are composed of infinitely small lungs; the liver, of infinitely small livers; the kidney, of little kidneys, etc. Following this a.n.a.logy, if any man is found to carry with him the power and affections of vast numbers, if Napoleon is France, if Napoleon is Europe, it is because the people whom he sways are little Napoleons.

In our society, there is a standing antagonism between the conservative and the democratic cla.s.ses; between those who have made their fortunes, and the young and the poor who have fortunes to make; between the interests of dead labor,--that is, the labor of hands long ago still in the grave, which labor is now entombed in money stocks, or in land and buildings owned by idle capitalists,--and the interests of living labor, which seeks to possess itself of land, and buildings, and money stocks. The first cla.s.s is timid, selfish, illiberal, hating innovation, and continually losing numbers by death. The second cla.s.s is selfish also, encroaching, bold, self-relying, always outnumbering the other, and recruiting its numbers every hour by births. It desires to keep open every avenue to the compet.i.tion of all, and to multiply avenues;--the cla.s.s of business men in America, in England, in France, and throughout Europe; the cla.s.s of industry and skill. Napoleon is its representative. The instinct of active, brave, able men, throughout the middle cla.s.s everywhere, has pointed out Napoleon as the incarnate Democrat. He had their virtues, and their vices; above all, he had their spirit or aim. That tendency is material, pointing at a sensual success, and employing the richest and most various means to that end; conversant with mechanical powers, highly intellectual, widely and accurately learned and skilful, but subordinating all intellectual and spiritual forces into means to a material success. To be the rich man is the end. "G.o.d has granted" says the Koran, "to every people a prophet in its own tongue." Paris, and London, and New York, the spirit of commerce, of money, and material power, were also to have their prophet; and Bonaparte was qualified and sent.

Every one of the million readers of anecdotes, or memoirs, or lives of Napoleon, delights in the page, because he studies in it his own history. Napoleon is thoroughly modern, and, at the highest point of his fortunes, has the very spirit of the newspapers. He is no saint,--to use his own word, "no capuchin," and he is no hero, in the high sense.

The man in the street finds in him the qualities and powers of other men in the street. He finds him, like himself, by birth a citizen, who, by very intelligible merits, arrived at such a commanding position, that he could indulge all those tastes which the common man possesses, but is obliged to conceal and deny; good society, good books, fast traveling, dress, dinners, servants without number, personal weight, the execution of his ideas, the standing in the att.i.tude of a benefactor to all persons about him, the refined enjoyments of pictures, statues, music, palaces, and conventional honors,--precisely what is agreeable to the heart of every man in the nineteenth century,--this powerful man possessed.

It is true that a man of Napoleon's truth of adaptation to the mind of the ma.s.ses around him becomes not merely representative, but actually a monopolizer and usurper of other minds. Thus Mirabeau plagiarized every good thought, every good word, that was spoken in France. Dumont relates that he sat in the gallery of the Convention, and heard Mirabeau make a speech. It struck Dumont that he could fit it with a peroration, which he wrote in pencil immediately, and showed to Lord Elgin, who sat by him. Lord Elgin approved it, and Dumont, in the evening, showed it to Mirabeau. Mirabeau read it, p.r.o.nounced it admirable, and declared he would incorporate it into his harangue, to-morrow, to the a.s.sembly.

"It is impossible," said Dumont, "as, unfortunately, I have shown it to Lord Elgin." "If you have shown it to Lord Elgin, and to fifty persons beside, I shall still speak it to-morrow:" and he did speak it, with much effect, at the next day's session. For Mirabeau, with his overpowering personality, felt that these things, which his presence inspired, were as much his own, as if he had said them, and that his adoption of them gave them their weight. Much more absolute and centralizing was the successor to Mirabeau's popularity, and to much more than his predominance in France. Indeed, a man of Napoleon's stamp almost ceases to have a private speech and opinion. He is so largely receptive, and is so placed, that he comes to be a bureau for all the intelligence, wit, and power, of the age and country. He gains the battle; he makes the code; he makes the system of weights and measures; he levels the Alps; he builds the road. All distinguished engineers, savants, statists, report to him; so likewise do all good heads in every kind; he adopts the best measures, sets his stamp on them, and not these alone, but on every happy and memorable expression. Every sentence spoken by Napoleon, and every line of his writing, deserves reading, as it is the sense of France.

Bonaparte was the idol of common men, because he had in transcendent degree the qualities and powers of common men. There is a certain satisfaction in coming down to the lowest ground of politics, for we get rid of cant and hypocrisy. Bonaparte wrought, in common with that great cla.s.s he represented, for power and wealth,--but Bonaparte, specially, without any scruple as to the means. All the sentiments which embarra.s.s men's pursuit of these objects, he set aside. The sentiments were for women and children. Fontanes, in 1804, expressed Napoleon's own sense, when, in behalf of the Senate, he addressed him,--"Sire, the desire of perfection is the worst disease that ever afflicted the human mind." The advocates of liberty, and of progress, are "ideologists;"--a word of contempt often in his mouth;--"Necker is an ideologist:" "Lafayette is an ideologist."

An Italian proverb, too well known, declares that, "if you would succeed, you must not be too good." It is an advantage, within certain limits, to have renounced the dominion of the sentiments of piety, grat.i.tude, and generosity; since, what was an impa.s.sable bar to us, and still is to others, becomes a convenient weapon for our purposes; just as the river which was a formidable barrier, winter transforms into the smoothest of roads.

Napoleon renounced, once for all, sentiments and affections, and would help himself with his hands and his head. With him is no miracle, and no magic. He is a worker in bra.s.s, in iron, in wood, in earth, in roads, in buildings, in money, and in troops, and a very consistent and wise master-workman. He is never weak and literary, but acts with the solidity and the precision of natural agents. He has not lost his native sense and sympathy with things. Men give way before such a man as before natural events. To be sure, there are men enough who are immersed in things, as farmers, smiths, sailors, and mechanics generally; and we know how real and solid such men appear in the presence of scholars and grammarians; but these men ordinarily lack the power of arrangement, and are like hands without a head. But Bonaparte superadded to this mineral and animal force, insight and generalization, so that men saw in him combined the natural and the intellectual power, as if the sea and land had taken flesh and begun to cipher. Therefore the land and sea seem to presuppose him. He came unto his own, and they received him. This ciphering operative knows what he is working with, and what is the product. He knew the properties of gold and iron, of wheels and ships, of troops and diplomatists, and required that each should do after its kind.

The art of war was the game in which he exerted his arithmetic. It consisted, according to him, in having always more forces than the enemy, on the point where the enemy is attacked, or where he attacks: and his whole talent is strained by endless manoeuvre and evolution, to march always on the enemy at an angle, and destroy his forces in detail. It is obvious that a very small force, skilfully and rapidly manoeuvring, so as always to bring two men against one at the point of engagement, will be an overmatch for a much larger body of men.

The times, his const.i.tution, and his early circ.u.mstances, combined to develop this pattern democrat. He had the virtues of his cla.s.s, and the conditions for their activity. That common sense, which no sooner respects any end, than it finds the means to effect it; the delight in the use of means; in the choice, simplification, and combining of means; the directness and thoroughness of his work; the prudence with which all was seen, and the energy with which all was done, make him the natural organ and head of what I may almost call, from its extent, the modern party.

Nature must have far the greatest share in every success, and so in his. Such a man was wanted, and such a man was born; a man of stone and iron, capable of sitting on horseback sixteen or seventeen hours, of going many days together without rest or food, except by s.n.a.t.c.hes, and with the speed and spring of a tiger in action; a man not embarra.s.sed by any scruples; compact, instant, selfish, prudent, and of a perception which did not suffer itself to be balked or misled by any pretences of others, or any superst.i.tion, or any heat or haste of his own. "My hand of iron," he said, "was not at the extremity of my arm; it was immediately connected with my head." He respected the power of nature and fortune, and ascribed to it his superiority, instead of valuing himself, like inferior men, on his opinionativeness and waging war with nature. His favorite rhetoric lay in allusion to his star: and he pleased himself, as well as the people, when he styled himself the "Child of Destiny." "They charge me," he said, "with the commission of great crimes: men of my stamp do not commit crimes. Nothing has been more simple than my elevation: 'tis in vain to ascribe it to intrigue or crime: it was owing to the peculiarity of the times, and to my reputation of having fought well against the enemies of my country. I have always marched with the opinion of great ma.s.ses, and with events. Of what use, then, would crimes be to me?" Again he said, speaking of his son, "My son cannot replace me; I could not replace myself. I am the creature of circ.u.mstances." He had a directness of action never before combined with so much comprehension. He is a realist, terrific to all talkers, and confused truth-obscuring persons.

He sees where the matter hinges, throws himself on the precise point of resistance, and slights all other considerations. He is strong in the right manner, namely, by insight. He never blundered into victory, but won his battles in his head, before he won them on the field. His princ.i.p.al means are in himself. He asks counsel of no other. In 1796, he writes to the Directory: "I have conducted the campaign without consulting any one. I should have done no good, if I had been under the necessity of conforming to the notions of another person. I have gained some advantages over superior forces, and when totally dest.i.tute of everything, because, in the persuasion that your confidence was reposed in me, my actions were as prompt as my thoughts."

History is full, down to this day, of the imbecility of kings and governors. They are a cla.s.s of persons much to be pitied, for they know not what they should do. The weavers strike for bread; and the king and his ministers, not knowing what to do, meet them with bayonets.

But Napoleon understood his business. Here was a man who, in each moment and emergency, knew what to do next. It is an immense comfort and refreshment to the spirits, not only of kings, but of citizens.

Few men have any next; they live from hand to mouth, without plan, and are ever at the end of their line, and, after each action, wait for an impulse from abroad. Napoleon had been the first man of the world if his ends had been purely public. As he is, he inspires confidence and vigor by the extraordinary unity of his action. He is firm, sure, self-denying, self-postponing, sacrificing everything to his aim,--money, troops, generals, and his own safety also, to his aim; not misled, like common adventurers, by the splendor of his own means.

"Incidents ought not to govern policy," he said, "but policy, incidents." "To be hurried away by every event, is to have no political system at all. His victories were only so many doors, and he never for a moment lost sight of his way onward, in the dazzle and uproar of the present circ.u.mstance. He knew what to do, and he flew to his mark. He would shorten a straight line to come at his object. Horrible anecdotes may, no doubt, be collected from his history, of the price at which he bought his successes; but he must not therefore be set down as cruel; but only as one who knew no impediment to his will; not bloodthirsty, not cruel,--but woe to what thing or person stood in his way! Not bloodthirsty, but not sparing of blood,--and pitiless. He saw only the object: the obstacle must give way. "Sire, General Clarke cannot combine with General Junot, for the dreadful fire of the Austrian battery."--"Let him carry the battery."--"Sire, every regiment that approaches the heavy artillery is sacrified: Sire, what orders?"-- "Forward, forward!" Seruzier, a colonel of artillery, gives, in his "Military Memoirs," the following sketch of a scene after the battle of Austerlitz.--"At the moment in which the Russian army was making its retreat, painfully, but in good order, on the ice of the lake, the Emperor Napoleon came riding at full speed toward the artillery. 'You are losing time,' he cried; 'fire upon those ma.s.ses; they must be engulfed; fire upon the ice!' The order remained unexecuted for ten minutes. In vain several officers and myself were placed on the slope of a hill to produce the effect; their b.a.l.l.s and mine rolled upon the ice, without breaking it up. Seeing that, I tried a simple method of elevating light howitzers. The almost perpendicular fall of the heavy projectiles produced the desired effect. My method was immediately followed by the adjoining batteries, and in less than no time we buried 'some' [Footnote: As I quote at second-hand, and cannot procure Seruzier, I dare not adopt the high figure I find.] thousands of Russians and Austrians under the waters of the lake."