Shakspere and Montaigne Part 2

There is a most characteristic fact which shows how greatly the drama had risen in universal esteem after Shakspere had devoted to it twelve years of his life. It is this. The Corporation of the City of London, once so hostile to all theatrical representations, and which had used every possible chicanery against the stage, had become so friendly to it towards the year 1600, that, when it was asked from governmental quarters to enforce a certain decree which had been launched against the theatre, it refused to comply with the request. On the contrary, the Lord Mayor, as well as the other magistrates, held it to be an injustice towards the actors that the Privy Council gave a hearing to the charges brought forward by the Puritans. Truly, the feelings of this conservative Corporation, as well of a large number of those who once looked down upon the stage with the greatest contempt, must, in the meanwhile, have undergone a great change.

Unquestionably the Company of the Lord Chamberlain--which in summer gave its masterly representations in the Globe Theatre, beyond the Thames, and in winter in Black-Friars--had been the chief agency in working that change. The first n.o.blemen, the Queen herself, greatly enjoyed the pieces which Shakspere, in fact, wrote for that society; but the public at large were not less delighted with them.

When, the day after such a representation, conversation arose in the family circle as to the three happy hours pa.s.sed in the theatre, an opportunity was given for discussing the most important events of the past and the present. The people's history had not yet been written then. Solitary events only had been loosely marked down in dry folios.

The stage now brought telling historical facts in vivid colours before the eye. The powerful speeches of high and mighty lords, of learned bishops, and of kings were heard--of exalted persons, all different in character, but all moved, like other mortals, by various pa.s.sions, and driven by a series of circ.u.mstances to definite actions. It was felt that they, too, were subject to a certain spirit of the time, the tendency of which, if the poet was attentively listened to, could be plainly gathered. In this way conclusions might be drawn which shed light even upon the events of the present.

True, it was forbidden to bring questions of the State and of religion upon the stage. But has Shakspere really avoided treating upon them?

Richard Simpson has successfully shown that Shakspere, in his historical plays, carried on a political discussion easily understood by his contemporaries. [16] The maxims thus enunciated by the poet have been ascertained by that penetrating critic in such a manner that the results obtained can scarcely be subjected to doubt any more.

On comparing the older plays and chronicles of which the poet made use for his historical dramas, with the creations that arose on this basis under his powerful hand, one sees that he suppresses certain tendencies of the subject-matter before him, placing others in their stead.

Taking fully into account all the artistic technicalities calculated to produce a strong dramatic effect, we still find that he has evidently made a number of changes with the clear and most persistent intention of touching upon political questions of his time.

If, for instance, Shakspere's 'King John' is compared with the old play, 'The Troublesome Raigne,' and with the chronicles from which (but more especially from the former piece) the poet has drawn the plan of his dramatic action, it will be seen that very definite political tendencies of what he had before him were suppressed. New ones are put in their place. Shakspere makes his 'King John' go through two different, wholly unhistorical struggles: _one against a foe at home, who contests the King's legitimate right; the other against Romanists who think it a sacred duty to overthrow the heretic_.

These were not the feuds with which the King John of history had to contend.

But the daughter from the unhappy marriage of Henry VIII. and the faithless Anne Boleyn--Queen Elizabeth--had, during her whole lifetime, to contend against rebels who held Mary Stuart to be the legitimate successor; and it was Queen Elizabeth who had always to remain armed against a confederacy of enemies who, encouraged by the Pope, made war upon the 'heretic' on the throne of England.

Thus, in the Globe Theatre, questions of the State were discussed; and politics had their distinct place there. Yet who would enforce the rules of censorship upon such language as this:--

This England never did, and never shall, Lie at the proud feet of a Conqueror But when it first did help to wound itself.

... Nought shall make us rue If England to herself do rest but true?

Such thoughts were not taken from any old chronicle, but came from the very soul of the age that had gained the great victory over the Armada.

They emphasized a newly-acquired independent position, which could only be maintained by united strength against a foreign foe.

Even as 'King John,' so all the other historical plays contain a clearly provable political tendency. Not everything done by the great queen met with applause among the people. Dissatisfaction was felt at the prominence of personal favourites, who made much abuse of commercial monopolies granted to them. The burdens of taxation had become heavier than in former times. In 'Richard the Second' a king is produced, who by his misgovernment and by his maintenance of selfish favourites loses his crown.

Shakspere's sympathies are with a prince whom Nature has formed into a strong ruler; and such an aristocrat of the intellect is depicted in his 'Henry the Fifth.' In this ideal of a king, all the good national qualities attain their apotheosis. This hero combines strength of character with justice and bravery. With great severity he examines his own conscience before proceeding to any action, however small.

War he makes with all possible humanity, and only for the furtherance of civilisation. Nothing is more hated by Shakspere than a government of weak hands. From such an unfortunate cause came the Wars of the Two Roses. It seems that, in order to bring this fact home to the understanding of the people, Shakspere put the sanguinary struggles between the Houses of York and Lancaster on the stage. (See Epilogue of 'King Henry the Fifth.')

More strongly even than in his plays referring to English history, the deep aversion he felt to divided dominion pierces through his Roman tragedies; for in Shakspere the aristocratic vein was not less developed than in Goethe. To him, too, the mult.i.tude--

...This common body, Like to a vagabond flag upon the stream, Goes to, and back, lackeying the varying tide To rot itself with motion. [17]

As in politics, so also in the domain of religion (of all things the most important to his contemporaries), Shakspere has made his profession of faith. For its elucidation we believe we possess a means not less sure than that which Richard Simpson has made use of for fixing the political maxims of the great master.

'Hamlet' first appeared in a quarto edition of the year 1603. The little book thus announces itself:--

'The Tragicall Historie of Hamlet Prince of Denmarke, By William Shakespeare. As it hath been diverse times acted by his Highnesse servants in the Cittie of London: as also in the two Vniversities of Cambridge & Oxford, and elsewhere.'

This drama is different, in most essential traits, from the piece we now possess, which came out a year later (1604), also in quarto edition.

The t.i.tle of the latter is:--

'The Tragicall Historie of Hamlet, Prince of Denmark. By William Shakespeare, Newly imprinted and enlarged to almost as much-againe as it was, according to the true & perfect coppie.'

The most diverse hypotheses have been started as to the relation between the older 'Hamlet' and the later one. [18] We share the view of those who maintain that the first quarto edition was a rough-draught, advanced to a certain degree, and for which the poet, as is the case with so many of his other plays, had used an older play as a kind of model. A 'rough-draught advanced to a certain degree' may be explained as a piece already produced on the stage. The public, always eager to see novelties, allowed the dramatists little time for fully working out their conceptions. The plays matured, as it were, on the stage itself; there they received their final shape and completion. As mentioned before, that which had displeased was struck out, whilst the pa.s.sages that had obtained applause were often augmented, in order to confer upon the play the attraction of novelty. 'Enlarged to almost as much-againe as it was' is an expression which shows that 'Hamlet' had drawn from the very beginning. The poet, thereby encouraged, then worked out this drama into the powerful, comprehensive tragedy which we now possess.

Now, in closely examining the changes and additions made in the second 'Hamlet,' we find that most of the freshly added philosophical thoughts, and many characteristic peculiarities, have clear reference to the philosophy of a certain book and the character of its author--namely, to Michel Montaigne and his 'Essais.' This work first appeared in an English translation in 1603, after it had already been entered at Stationers' Hall for publication in 1599. The cause which may have induced Shakspere to confer upon his 'Hamlet' the thoughts and the peculiarities of Montaigne, and to give that play the shape in which we now have it, will become apparent when we have to explain the controversy between Jonson and Dekker. We have thus the advantage over Simpson's method, that our theory will be confirmed from other sources.

Montaigne's 'Essais' were a work which made a strong mark, and created a deep sensation, in his own country. There, it had already gone through twelve editions before it was introduced in England--eleven years after the death of its author--by means of a translation. Here it found its first admirers among the highest aristocracy and the patrons of literature and art. Under such august auspices it penetrated into the English public at large. The translator was a well-known teacher of the Italian language, John Florio.

From the preface of the first book of the 'Essais' we learn that, at the request of Sir Edward Wotton, Florio had first Englished one chapter, doing it in the house of Lady Bedford, a great lover of art.

In that preface, Florio, in most extravagant and euphuistic style, describes how this n.o.blewoman, after having 'dayned to read it (the first chapter) without pitty of my fasting, my fainting, my laboring, my langishing, my gasping for some breath ... yet commaunded me on'--namely, to turn the whole work into English. It was a heavy task for the poor schoolmaster. He says:--'I sweat, I wept, and I went on sea-tosst, weather-beaten ... shippe-wrackt--almost drowned.'

'I say not,' the polite maestro adds, 'you took pleasure at sh.o.r.e'

(as those in this author, iii. 1). No; my lady was 'unmercifull, but not so cruell;' she ever and anon upheld his courage, bringing 'to my succour the forces of two deare friends.' One of them was Theodore Diodati, tutor of Lady Bedford's brother, the eldest son of Lady Harrington whose husband also was a poet.

The grateful Florio calls this worthy colleague, 'Diodati as in name, so indeed G.o.d's gift to me,' and a 'guide-fish' who in this 'rockie-rough ocean' helped him to capture the 'Whale'--that is, Montaigne. He also compares him to a 'bonus genius sent to me, as the good angel to Raimond in "Ta.s.so," for my a.s.sistant to combat this great Argante.'

The other welcome fellow-worker was 'Maister Doctor Guinne;' according to Florio, 'in this perilous, crook't pa.s.sage a monster-quelling Theseus or Herkules;' aye, in his eyes the best orator, poet, philosopher, and medical man (_non so se meglior oratore e poeta, o philosopho e medico_), and well versed in Greek, Latin, Italian, and French poetry. It was he who succeeded in tracing the many pa.s.sages from cla.s.sic and modern writers which are strewn all over Montaigne's Essays to the divers authors, and the several places where they occur, so as to properly cla.s.sify them.

Samuel Daniel, a well-known and much respected poet of that time, and a brother-in-law of Florio, also made his contribution. He opens this powerful, highly important work with a eulogistic poem. Florio, in his bombastic style, says:--'I, in this, serve but as Vulcan to hatchet this Minerva from that Jupiter's bigge braine.' He calls himself 'a fondling foster-father, having transported it from France to England, put it in English clothes, taught it to talke our tongue, though many times with a jerke of French jargon.'

The 'Essais' consist of three different books. Each of them is dedicated to two n.o.blewomen, the foremost of this country. The first book isdedicated to Lucy, Countess of Bedford, and her mother, Lady Anne Harrington. The second to Elizabeth, Countess of Rutland, daughter of the famous poet Sir Philip Sidney, therefore a near relation of Shakspere's youthful friend, William Herbert, the later Earl of Pembroke ('the only begetter' of the 'Sonnets'), whose mother also was a daughter of that much-admired poet.

The second book is dedicated to the renowned as well as evilly notorious Lady Penelope Rich, sister of the unfortunate Earl of Ess.e.x. She shone by her extraordinary beauty as well as by her intellectual gifts. Of her Sir Philip Sidney was madly enamoured, but she married a Croesus, Lord Rich. This union was a most unhappy one. Her husband, a man far below her in strength of mind, did not know how to value the jewel that had come into his possession. A crowd of admirers flocked around her, among whom was William Herbert, much younger in years than herself.

It is suspected that Shakspere's last sonnets (127-152) touch upon this connection, with the object of warning the friend against the true character of that sinful woman.

The last book is dedicated to Lady Elizabeth Grey, the wife of Henry Grey, daughter of the Earl of Shrewsbury, and to Lady Mary Nevill, the latter being the daughter of the Chancellor of the Exchequer, and wife of Sir Henry Nevill of Abergavenny.

Each of the n.o.blewomen mentioned is praised in a sonnet. No book of that period had such a number of aristocratic sponsors. Yet it was of foreign origin, and for the first time a French philosopher had appeared in an English version on this side of the Channel. His easy, chatty tone must have created no small sensation. The welcome given to him by a great number of men is proved by the fact of the 'Essais'

soon reaching their third edition, a rare occurrence with a book so expensive as this. [19]

We will endeavour to sketch the character of Michel Montaigne and his writings. His individuality, owing to the minute descriptions he gives of his own self in the Essays, comes out with rare distinctness from the dark environs of his time--more clearly so than the personality of any other author, even of that seventeenth century which is so much nearer to us.

This French n.o.bleman devoted the last thirty years of his life to philosophical speculations, if that expression is allowable; for fanciful inclination and changing sentiment, far more than strict logic and sound common sense, decided the direction of his thoughts.

The book in which he tries to render his ideas is meant to be the flesh and blood of his own self. The work and the author--so he says--are to be one. 'He who touches one of them, attacks both.'

In the words of Florio's translation, he observes:--'Authors communicate themselves unto the world by some speciall and strange marke, I the first by my generall disposition as Michael Montaigne; not as a Grammarian, or a Poet, or a Lawyer.'

Few writers have been considered from such different points of view as Montaigne. The most pa.s.sionate controversies have arisen about him.

Theologians have endeavoured to make him one of their own; but the more far seeing ones soon perceived that there was too much scepticism in his work. Some sceptics would fain attach him to their own ranks; but the more consistent among them declined the companionship of one who was too bigoted for them. The great ma.s.s of men, as usual, plucked, according to each one's taste and fancy, some blossom or leaf from his 'nosegay of strange flowers,' [20] and then cla.s.sified him from that casual selection.

Montaigne, a friend of truth, admonishes posterity, if it would judge him, to do so truthfully and justly. With gladsome heart, he says, he would come back from the other world in order to give the lie to those who describe him different from what he is, 'even if it were done to his honour.'

We shall strive to comply with his wish by drawing the picture of this most interesting, and in his intellectual features thoroughly modern, man, from the contours furnished by his own hand. We shall exert ourselves to lay stress on those characteristics by which he must have created most surprise among his logically more consistent contemporaries on the other side of the Channel.

In taking up Montaigne's 'Essais' for perusal we are presently under the spell of a feeling as though we were listening to the words of a most versatile man of the world, in whom we become more and more interested. We find in him not only an amiable representative of the upper cla.s.ses, but also a man who has deeply entered into the spirit of cla.s.sic antiquity. Soon he convinces us that he is honestly searching after truth; that he pursues the n.o.ble aim of placing himself in harmony with G.o.d and the world. Does he succeed in this?

Does he arrive at a clear conclusion? What are the fruits of his thoughts? what his teachings? In what relation did he stand to his century?

As in no other epoch, men had, especially those who came out into the fierce light of publicity, to take sides in party warfare during the much-agitated time of the Reformation. To which party did Montaigne belong? Was he one of the Humanists, who, averse to all antiquated dogmas, preached a new doctrine, which was to bring mankind once more into unison with the long despised laws of Nature?

We hope to show successfully that Shakspere wrote his 'Hamlet' for the great and n.o.ble object of warning his contemporaries against the disturbing inconsistencies of the philosophy of Montaigne who preached the rights of Nature, whilst yet clinging to dogmatic tenets which cannot be reconciled with those rights.

We hope to prove that Shakspere who made it his task 'to hold the mirror up to Nature,' and who, like none before him, caught up her innermost secrets, rendering them with the chastest expression; that Shakspere, who denied in few but impressive words the vitality of any art or culture which uses means not consistent with the intentions of Nature:

Yet Nature is made better by no mean, But Nature makes that mean; so o'er that art Which, you say, adds to Nature, is an art That Nature makes; [21]--

we hope to prove successfully that Shakspere, this true apostle of Nature, held it to be sufficient, ay, most G.o.dly, to be a champion of 'natural things;' that he advocated a true and simple obedience to her laws, and a renunciation of all transcendental dogmas, miscalled 'holy and reverent,' which domineer over human nature, and hinder the free development of its n.o.bler faculties.