The Works of Charles and Mary Lamb Part 8

Mr. Reflector,--I was born under the shadow of St. Dunstan's steeple, just where the conflux of the eastern and western inhabitants of this twofold city meet and justle in friendly opposition at Temple-bar. The same day which gave me to the world, saw London happy in the celebration of her great annual feast. This I cannot help looking upon as a lively omen of the future great good will which I was destined to bear toward the city, resembling in kind that solicitude which every Chief Magistrate is supposed to feel for whatever concerns her interests and well being. Indeed I consider myself in some sort a speculative Lord Mayor of London: for though circ.u.mstances unhappily preclude me from the hope of ever arriving at the dignity of a gold chain and Spital Sermon, yet thus much will I say of myself in truth, that Whittington with his Cat (just emblem of vigilance and a furred gown) never went beyond me in affection, which I bear to the citizens.

I was born, as you have heard, in a crowd. This has begot in me an entire affection for that way of life, amounting to an almost insurmountable aversion from solitude and rural scenes. This aversion was never interrupted or suspended, except for a few years in the younger part of my life, during a period in which I had set my affections upon a charming young woman. Every man while the pa.s.sion is upon him, is for a time at least addicted to groves and meadows and purling streams. During this short period of my existence, I contracted just familiarity enough with rural objects to understand tolerably well ever after the _poets_, when they declaim in such pa.s.sionate terms in favor of a country life.

For my own part, now the fit is past, I have no hesitation in declaring, that a mob of happy faces crowding up at the pit door of Drury-lane Theatre, just at the hour of six, gives me ten thousand sincerer pleasures, than I could ever receive from all the flocks of silly sheep that ever whitened the plains of Arcadia or Epsom Downs.

This pa.s.sion for crowds is no where feasted so full as in London. The man must have a rare _recipe_ for melancholy, who can be dull in Fleet-street. I am naturally inclined to hypochondria, but in London it vanishes, like all other ills. Often, when I have felt a weariness or distaste at home, have I rushed out into her crowded Strand, and fed my humour, till tears have wetted my cheek for unutterable sympathies with the mult.i.tudinous moving picture, which she never fails to present at all hours, like the scenes of a shifting pantomime.

The very deformities of London, which give distaste to others, from habit do not displease me. The endless succession of shops where _Fancy miscalled Folly_ is supplied with perpetual gauds and toys, excite in me no puritanical aversion. I gladly behold every appet.i.te supplied with its proper food. The obliging customer, and the obliged tradesman--things which live by bowing, and things which exist but for homage--do not affect me with disgust; from habit I perceive nothing but urbanity, where other men, more refined, discover meaness: I love the very smoke of London, because it has been the medium most familiar to my vision. I see grand principles of honor at work in the dirty ring which encompa.s.ses two combatants with fists, and principles of no less eternal justice in the detection of a pickpocket. The salutary astonishment with which an execution is surveyed, convinces me more forcibly than a hundred volumes of abstract polity, that the universal instinct of man in all ages has leaned to order and good government.

Thus an art of extracting morality from the commonest incidents of a town life, is attained by the same well-natured alchymy, with which the Foresters of Arden, in a beautiful country,

Found tongues in trees, books in the running brooks, Sermons in stones, and good in every thing.

Where has spleen her food but in London? Humour, Interest, Curiosity, suck at her measureless b.r.e.a.s.t.s without a possibility of being satiated.

Nursed amid her noise, her crowds, her beloved smoke, what have I been doing all my life, if I have not lent out my heart with usury to such scenes!

I am, Sir, your faithful servant,

A LONDONER.

CHARACTERS OF DRAMATIC WRITERS, CONTEMPORARY WITH SHAKSPEARE.

(1808. TEXT OF 1818)

When I selected for publication, in 1808, Specimens of English Dramatic Poets who lived about the time of Shakspeare, the kind of extracts which I was anxious to give were, not so much pa.s.sages of wit and humour, though the old plays are rich in such, as scenes of pa.s.sion, sometimes of the deepest quality, interesting situations, serious descriptions, that which is more nearly allied to poetry than to wit, and to tragic rather than to comic poetry. The plays which I made choice of were, with few exceptions, such as treat of human life and manners, rather than masques and Arcadian pastorals, with their train of abstractions, unimpa.s.sioned deities, pa.s.sionate mortals--Claius, and Medorus, and Amintas, and Amarillis. My leading design was, to ill.u.s.trate what may be called the moral sense of our ancestors. To shew in what manner they felt, when they placed themselves by the power of imagination in trying circ.u.mstances, in the conflicts of duty and pa.s.sion, or the strife of contending duties; what sort of loves and enmities theirs were; how their griefs were tempered, and their full-swoln joys abated: how much of Shakspeare shines in the great men his contemporaries, and how far in his divine mind and manners he surpa.s.sed them and all mankind. I was also desirous to bring together some of the most admired scenes of Fletcher and Ma.s.singer, in the estimation of the world the only dramatic poets of that age ent.i.tled to be considered after Shakspeare, and, by exhibiting them in the same volume with the more impressive scenes of old Marlowe, Heywood, Tourneur, Webster, Ford, and others, to shew what we had slighted, while beyond all proportion we had been crying up one or two favourite names. From the desultory criticisms which accompanied that publication, I have selected a few which I thought would best stand by themselves, as requiring least immediate reference to the play or pa.s.sage by which they were suggested.

CHRISTOPHER MARLOWE

_l.u.s.t's Dominion, or the Lascivious Queen._--This tragedy is in King Cambyses' vein; rape, and murder, and superlatives; "huffing braggart puft lines," such as the play-writers anterior to Shakspeare are full of, and Pistol but coldly imitates.

_Tamburlaine the Great, or the Scythian Shepherd._--The lunes of Tamburlaine are perfect midsummer madness. Nebuchadnazar's are mere modest pretensions compared with the thundering vaunts of this Scythian Shepherd. He comes in, drawn by conquered kings, and reproaches these _pampered jades of Asia_ that they can _draw but twenty miles a day_.

Till I saw this pa.s.sage with my own eyes, I never believed that it was any thing more than a pleasant burlesque of mine ancient's. But I can a.s.sure my readers that it is soberly set down in a play, which their ancestors took to be serious.

_Edward the Second._--In a very different style from mighty Tamburlaine is the tragedy of Edward the Second. The reluctant pangs of abdicating royalty in Edward furnished hints, which Shakspeare scarcely improved in his Richard the Second; and the death-scene of Marlowe's king moves pity and terror beyond any scene antient or modern with which I am acquainted.

_The Rich Jew of Malta._--Marlowe's Jew does not approach so near to Shakspeare's, as his Edward the Second does to Richard the Second.

Barabas is a mere monster brought in with a large painted nose to please the rabble. He kills in sport, poisons whole nunneries, invents infernal machines. He is just such an exhibition as a century or two earlier might have been played before the Londoners "by the royal command," when a general pillage and ma.s.sacre of the Hebrews had been previously resolved on in the cabinet. It is curious to see a superst.i.tion wearing out. The idea of a Jew, which our pious ancestors contemplated with so much horror, has nothing in it now revolting. We have tamed the claws of the beast, and pared its nails, and now we take it to our arms, fondle it, write plays to flatter it; it is visited by princes, affects a taste, patronizes the arts, and is the only liberal and gentlemanlike thing in Christendom.

_Doctor Faustus._--The growing horrors of Faustus's last scene are awfully marked by the hours and half hours as they expire, and bring him nearer and nearer to the exactment of his dire compact. It is indeed an agony and a fearful colluctation. Marlowe is said to have been tainted with atheistical positions, to have denied G.o.d and the Trinity. To such a genius the history of Faustus must have been delectable food: to wander in fields where curiosity is forbidden to go, to approach the dark gulf near enough to look in, to be busied in speculations which are the rottenest part of the core of the fruit that fell from the tree of knowledge.[2] Barabas the Jew, and Faustus the conjurer, are offsprings of a mind which at least delighted to dally with interdicted subjects.

They both talk a language which a believer would have been tender of putting into the mouth of a character though but in fiction. But the holiest minds have sometimes not thought it reprehensible to counterfeit impiety in the person of another, to bring Vice upon the stage speaking her own dialect; and, themselves being armed with an unction of self-confident impunity, have not scrupled to handle and touch that familiarly, which would be death to others. Milton in the person of Satan has started speculations hardier than any which the feeble armoury of the atheist ever furnished; and the precise, strait-laced Richardson has strengthened Vice, from the mouth of Lovelace, with entangling sophistries and abstruse pleas against her adversary Virtue, which Sedley, Villiers, and Rochester, wanted depth of libertinism enough to have invented.

[2] Error, entering into the world with Sin among us poor Adamites may be said to spring from the tree of knowledge itself, and from the rotten kernels of that fatal apple.--_Howell's Letters._

THOMAS DECKER

_Old Fortunatus._--The humour of a frantic lover, in the scene where Orleans to his friend Galloway defends the pa.s.sion with which himself, being a prisoner in the English king's court, is enamoured to frenzy of the king's daughter Agripyna, is done to the life. Orleans is as pa.s.sionate an inamorato as any which Shakspeare ever drew. He is just such another adept in Love's reasons. The sober people of the world are with him

----A swarm of fools Crowding together to be counted wise.

He talks "pure Biron and Romeo," he is almost as poetical as they, quite as philosophical, only a little madder. After all, Love's sectaries are a reason unto themselves. We have gone retrograde to the n.o.ble heresy, since the days when Sidney proselyted our nation to this mixed health and disease; the kindliest symptom, yet the most alarming crisis in the ticklish state of youth; the nourisher and the destroyer of hopeful wits; the mother of twin births, wisdom and folly, valour and weakness; the servitude above freedom; the gentle mind's religion; the liberal superst.i.tion.

_The Honest Wh.o.r.e._--There is in the second part of this play, where Bellafront, a reclaimed harlot, recounts some of the miseries of her profession, a simple picture of honour and shame, contrasted without violence, and expressed without immodesty, which is worth all the _strong lines_ against the harlot's profession, with which both parts of this play are offensively crowded. A satirist is always to be suspected, who, to make vice odious, dwells upon all its acts and minutest circ.u.mstances with a sort of relish and retrospective fondness. But so near are the boundaries of panegyric and invective, that a worn-out sinner is sometimes found to make the best declaimer against sin. The same high-seasoned descriptions, which in his unregenerate state served but to inflame his appet.i.tes, in his new province of a moralist will serve him, a little turned, to expose the enormity of those appet.i.tes in other men. When Cervantes with such proficiency of fondness dwells upon the Don's library, who sees not that he has been a great reader of books of knight-errantry--perhaps was at some time of his life in danger of falling into those very extravagancies which he ridiculed so happily in his hero?

JOHN MARSTON

_Antonio and Mellida._--The situation of Andrugio and Lucio, in the first part of this tragedy, where Andrugio Duke of Genoa banished his country, with the loss of a son supposed drowned, is cast upon the territory of his mortal enemy the Duke of Venice, with no attendants but Lucio an old n.o.bleman, and a page--resembles that of Lear and Kent in that king's distresses. Andrugio, like Lear, manifests a kinglike impatience, a turbulent greatness, an affected resignation. The enemies which he enters lists to combat, "Despair and mighty Grief and sharp Impatience," and the forces which he brings to vanquish them, "cornets of horse," &c. are in the boldest style of allegory. They are such a "race of mourners" as the "infection of sorrows loud" in the intellect might beget on some "pregnant cloud" in the imagination. The prologue to the second part, for its pa.s.sionate earnestness, and for the tragic note of preparation which it sounds, might have preceded one of those old tales of Thebes or Pelops' line, which Milton has so highly commended, as free from the common error of the poets in his day, of "intermixing comic stuff with tragic sadness and gravity, brought in without discretion corruptly to gratify the people." It is as solemn a preparative as the "warning voice which he who saw the Apocalypse heard cry."

_What you Will.--O I shall ne'er forget how he went cloath'd._ Act I.

Scene 1.--To judge of the liberality of these notions of dress, we must advert to the days of Gresham, and the consternation which a phenomenon habited like the merchant here described would have excited among the flat round caps and cloth stockings upon 'Change, when those "original arguments or tokens of a citizen's vocation were in fashion, not more for thrift and usefulness than for distinction and grace." The blank uniformity to which all professional distinctions in apparel have been long hastening, is one instance of the decay of symbols among us, which, whether it has contributed or not to make us a more intellectual, has certainly made us a less imaginative people. Shakspeare knew the force of signs: a "malignant and a turban'd Turk." This "meal-cap miller,"

says the author of G.o.d's Revenge against Murder, to express his indignation at an atrocious outrage committed by the miller Pierot upon the person of the fair Marieta.

AUTHOR UNKNOWN

_The Merry Devil of Edmonton._--The scene in this delightful comedy, in which Jerningham, "with the true feeling of a zealous friend," touches the griefs of Mounchensey, seems written to make the reader happy. Few of our dramatists or novelists have attended enough to this. They torture and wound us abundantly. They are economists only in delight.

Nothing can be finer, more gentlemanlike, and n.o.bler, than the conversation and compliments of these young men. How delicious is Raymond Mounchensey's forgetting, in his fears, that Jerningham has a "Saint in Ess.e.x;" and how sweetly his friend reminds him! I wish it could be ascertained, which there is some grounds for believing, that Michael Drayton was the author of this piece. It would add a worthy appendage to the renown of that Panegyrist of my native Earth; who has gone over her soil, in his Polyolbion, with the fidelity of a herald, and the painful love of a son; who has not left a rivulet, so narrow that it may be stept over, without honorable mention; and has animated hills and streams with life and pa.s.sion beyond the dreams of old mythology.

THOMAS HEYWOOD

_A Woman Killed with Kindness._--Heywood is a sort of _prose_ Shakspeare. His scenes are to the full as natural and affecting. But we miss _the poet_, that which in Shakspeare always appears out and above the surface of _the nature_. Heywood's characters in this play, for instance, his country gentlemen, &c. are exactly what we see, but of the best kind of what we see, in life. Shakspeare makes us believe, while we are among his lovely creations, that they are nothing but what we are familiar with, as in dreams new things seem old; but we awake, and sigh for the difference.

_The English Traveller._--Heywood's preface to this play is interesting, as it shews the heroic indifference about the opinion of posterity, which some of these great writers seem to have felt. There is magnanimity in authorship as in every thing else. His ambition seems to have been confined to the pleasure of hearing the players speak his lines while he lived. It does not appear that he ever contemplated the possibility of being read by after ages. What a slender pittance of fame was motive sufficient to the production of such plays as the English Traveller, the Challenge for Beauty, and the Woman Killed with Kindness!

Posterity is bound to take care that a writer loses nothing by such a n.o.ble modesty.

THOMAS MIDDLETON AND WILLIAM ROWLEY

_A Fair Quarrel._--The insipid levelling morality to which the modern stage is tied down, would not admit of such admirable pa.s.sions as these scenes are filled with. A puritanical obtuseness of sentiment, a stupid infantile goodness, is creeping among us, instead of the vigorous pa.s.sions, and virtues clad in flesh and blood, with which the old dramatists present us. Those n.o.ble and liberal casuists could discern in the differences, the quarrels, the animosities of men, a beauty and truth of moral feeling, no less than in the everlastingly inculcated duties of forgiveness and atonement. With us, all is hypocritical meekness. A reconciliation-scene, be the occasion never so absurd, never fails of applause. Our audiences come to the theatre to be complimented on their goodness. They compare notes with the amiable characters in the play, and find a wonderful sympathy of disposition between them. We have a common stock of dramatic morality, out of which a writer may be supplied without the trouble of copying it from originals within his own breast. To know the boundaries of honour, to be judiciously valiant, to have a temperance which shall beget a smoothness in the angry swellings of youth, to esteem life as nothing when the sacred reputation of a parent is to be defended, yet to shake and tremble under a pious cowardice when that ark of an honest confidence is found to be frail and tottering, to feel the true blows of a real disgrace blunting that sword which the imaginary strokes of a supposed false imputation had put so keen an edge upon but lately: to do, or to imagine this done in a feigned story, asks something more of a moral sense, somewhat a greater delicacy of perception in questions of right and wrong, than goes to the writing of two or three hackneyed sentences about the laws of honour as opposed to the laws of the land, or a common-place against duelling. Yet such things would stand a writer now-a-days in far better stead than Captain Agar and his conscientious honour; and he would be considered as a far better teacher of morality than old Rowley or Middleton, if they were living.

WILLIAM ROWLEY

_A New Wonder; a Woman Never Vext._--The old play-writers are distinguished by an honest boldness of exhibition, they shew every thing without being ashamed. If a reverse in fortune is to be exhibited, they fairly bring us to the prison-grate and the almsbasket. A poor man on our stage is always a gentleman, he may be known by a peculiar neatness of apparel, and by wearing black. Our delicacy in fact forbids the dramatizing of distress at all. It is never shewn in its essential properties; it appears but as the adjunct of some virtue, as something which is to be relieved, from the approbation of which relief the spectators are to derive a certain soothing of self-referred satisfaction. We turn away from the real essences of things to hunt after their relative shadows, moral duties; whereas, if the truth of things were fairly represented, the relative duties might be safely trusted to themselves, and moral philosophy lose the name of a science.

THOMAS MIDDLETON

_The Witch._--Though some resemblance may be traced between the charms in Macbeth, and the incantations in this play, which is supposed to have preceded it, this coincidence will not detract much from the originality of Shakspeare. His witches are distinguished from the witches of Middleton by essential differences. These are creatures to whom man or woman, plotting some dire mischief, might resort for occasional consultation. Those originate deeds of blood, and begin bad impulses to men. From the moment that their eyes first meet with Macbeth's, he is spell-bound. That meeting sways his destiny. He can never break the fascination. These witches can hurt the body, those have power over the soul. Hecate in Middleton has a son, a low buffoon: the hags of Shakspeare have neither child of their own, nor seem to be descended from any parent. They are foul anomalies, of whom we know not whence they are sprung, nor whether they have beginning or ending. As they are without human pa.s.sions, so they seem to be without human relations. They come with thunder and lightning, and vanish to airy music. This is all we know of them. Except Hecate, they have no _names_; which heightens their mysteriousness. The names, and some of the properties, which the other author has given to his hags, excite smiles. The Weird Sisters are serious things. Their presence cannot co-exist with mirth. But, in a lesser degree, the witches of Middleton are fine creations. Their power too is, in some measure, over the mind. They raise jars, jealousies, strifes, "like a thick scurf" over life.