Characters of Shakespeare's Plays, Lectures on the English Poets and Three Other Books E-Book

William Hazlitt

• Herausgeber: Seltzer Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 2122

Beschreibung

This collection includes: Characters of Shakespeare's Plays, Lectures on the English Poets, Liber Amoris, The Spirit of the Age, and Table-Talk. According to Wikipedia: "William Hazlitt (10 April 1778 – 18 September 1830) was an English writer, remembered for his humanistic essays and literary criticism, and as a grammarian and philosopher. He is now considered one of the great critics and essayists of the English language,] placed in the company of Samuel Johnson and George Orwell, but his work is currently little-read and mostly out of print. During his lifetime he befriended many people who are now part of the 19th-century literary canon, including Charles and Mary Lamb, Stendhal, Samuel Taylor Coleridge and William Wordsworth."

Leseprobe

CHARACTERS OF SHAKESPEARE'S PLAYS, LECTURES ON THE ENGLISH POETS AND THREE OTHER BOOKS BY WILLIAM HAZLITT

_____________

Published by Seltzer Books. seltzerbooks.com

established in 1974, as B&R Samizdat Express

offering over 14,000 books

feedback welcome: [email protected]

________________

Characters of Shakespeare's Plays

Lectures on the English Poets

Liber Amoris or The New Pygmalion

The Spirit of the Age

Table-Talk: Essays on Men and Manners

___________________________

CHARACTERS OF SHAKESPEARE'S PLAYS

By WILLIAM HAZLITT

TO CHARLES LAMB, ESQ.

THIS VOLUME IS INSCBIBED AS A MARK OF OLD FRIENDSHIP AND LASTING ESTEEM

BY THE AUTHOR

CONTENTS

PREFACE

  CYMBELINE

  MACBETH

  JULIUS CAESAR

  OTHELLO

  TIMON OF ATHENS

  CORIOLANUS

  TROILUS AND CRESSIDA

  ANTONY AND CLEOPATRA

  HAMLET

  THE TEMPEST

  THE MIDSUMMER NIGHT'S DREAM

  ROMEO AND JULIET

  LEAR

  RICHARD II

  HENRY IV IN TWO PARTS

  HENRY V HENRY VI IN THREE PARTS

  RICHARD III

  HENRY VIII

  KING JOHN

  TWELFTH NIGHT; OR, WHAT YOU WILL

  THE TWO GENTLEMEN OF VERONA

  THE MERCHANT OF VENICE

  THE WINTER'S TALE

  ALL'S WELL THAT ENDS WELL

  LOVE'S LABOUR'S LOST

  MUCH ADO ABOUT NOTHING

  AS YOU LIKE IT

  THE TAMING OF THE SHREW

  MEASURE FOR MEASURE

  THE MERRY WIVES OF WINDSOR

  THE COMEDY OF ERRORS

  DOUBTFUL PLAYS OF SHAKESPEARE

  POEMS AND SONNETS

PREFACE

It is observed by Mr. Pope, that 'If ever any author deserved the name of an ORIGINAL, it was Shakespeare. Homer himself drew not his art so immediately from the fountains of nature; it proceeded through AEgyptian strainers and channels, and came to him not without some tincture of the learning, or some cast of the models, of those before him. The poetry of Shakespeare was inspiration: indeed, he is not so much an imitator, as an instrument of nature; and it is not so just to say that he speaks from her, as that she speaks through him.

His CHARACTERS are so much nature herself, that it is a sort of injury to call them by so distant a name as copies of her. Those of other poets have a constant resemblance, which shows that they received them from one another, and were but multipliers of the same image: each picture, like a mock-rainbow, is but the reflection of a reflection. But every single character in Shakespeare, is as much an individual, as those in life itself; it is as impossible to find any two alike; and such, as from their relation or affinity in any respect appear most to be twins, will, upon comparison, be found remarkably distinct. To this life and variety of character, we must add the wonderful preservation of it; which is such throughout his plays, that had all the speeches been printed without the very names of the persons, I believe one might have applied them with certainty to every speaker.'

The object of the volume here offered to the public, is to illustrate these remarks in a more particular manner by a reference to each play. A gentleman of the name of Mason, [Footnote: Hazlitt is here mistaken. The work to which he alludes, 'Remarks on some of the Characters of Shakespeare, by the Author of Observations on Modern Gardening', was by Thomas Whately, Under-Secretary of State under Lord North. Whately died in 1772, and the Essay was published posthumously in 1785 [2nd edition, 1808; 3rd edition, with a preface by Archbishop Whately, the author's nephew, 1839]. Hazlitt confused T. Whately's Observations on Modern Gardening with George Mason's Essay on Design in Gardening, and the one error led to the other.] the author of a Treatise on Ornamental Gardening (not Mason the poet), began a work of a similar kind about forty years ago, but he only lived to finish a parallel between the characters of Macbeth and Richard III which is an exceedingly ingenious piece of analytical criticism. Richardson's Essays include but a few of Shakespeare's principal characters. The only work which seemed to supersede the necessity of an attempt like the present was Schlegel's very admirable Lectures on the Drama, which give by far the best account of the plays of Shakespeare that has hitherto appeared. The only circumstances in which it was thought not impossible to improve on the manner in which the German critic has executed this part of his design, were in avoiding an appearance of mysticism in his style, not very attractive to the English reader, and in bringing illustrations from particular passages of the plays themselves, of which Schlegel's work, from the extensiveness of his plan, did not admit. We will at the same time confess, that some little jealousy of the character of the national understanding was not without its share in producing the following undertaking, for 'we were piqued' that it should be reserved for a foreign critic to give 'reasons for the faith which we English have in Shakespeare'. Certainly, no writer among ourselves has shown either the same enthusiastic admiration of his genius, or the same philosophical acuteness in pointing out his characteristic excellences. As we have pretty well exhausted all we had to say upon this subject in the body of the work, we shall here transcribe Schlegel's general account of Shakespeare, which is in the following words:

'Never, perhaps, was there so comprehensive a talent for the delineation of character as Shakespeare's. It not only grasps the diversities of rank, sex, and age, down to the dawnings of infancy; not only do the king and the beggar, the hero and the pickpocket, the sage and the idiot, speak and act with equal truth; not only does he transport himself to distant ages and foreign nations, and pourtray in the most accurate manner, with only a few apparent violations of costume, the spirit of the ancient Romans, of the French in their wars with the English, of the English themselves during a great part of their history, of the Southern Europeans (in the serious part of many comedies) the cultivated society of that time, and the former rude and barbarous state of the North; his human characters have not only such depth and precision that they cannot be arranged under classes, and are inexhaustible, even in conception:--no--this Prometheus not merely forms men, he opens the gates of the magical world of spirits; calls up the midnight ghost; exhibits before us his witches amidst their unhallowed mysteries; peoples the air with sportive fairies and sylphs:--and these beings, existing only in imagination, possess such truth and consistency, that even when deformed monsters like Caliban, he extorts the conviction, that if there should be such beings, they would so conduct themselves. In a word, as he carries with him the most fruitful and daring fancy into the kingdom of nature,--on the other hand, he carries nature into the regions of fancy, lying beyond the confines of reality. We are lost in astonishment at seeing the extraordinary, the wonderful, and the unheard of, in such intimate nearness.

'If Shakespeare deserves our admiration for his characters, he is equally deserving of it for his exhibition of passion, taking this word in its widest signification, as including every mental condition, every tone from indifference or familiar mirth to the wildest rage and despair. He gives us the history of minds; he lays open to us, in a single word, a whole series of preceding conditions. His passions do not at first stand displayed to us in all their height, as is the case with so many tragic poets, who, in the language of Lessing, are thorough masters of the legal style of love. He paints, in a most inimitable manner, the gradual progress from the first origin. "He gives", as Lessing says, "a living picture of all the most minute and secret artifices by which a feeling steals into our souls; of all the imperceptible advantages which it there gains; of all the stratagems by which every other passion is made subservient to it, till it becomes the sole tyrant of our desires and our aversions." Of all poets, perhaps, he alone has pourtrayed the mental diseases,--melancholy, delirium, lunacy,-- with such inexpressible, and, in every respect, definite truth, that the physician may enrich his observations from them in the same manner as from real cases.

'And yet Johnson has objected to Shakespeare, that his pathos is not always natural and free from affectation. There are, it is true, passages, though, comparatively speaking, very few, where his poetry exceeds the bounds of true dialogue, where a too soaring imagination, a too luxuriant wit, rendered the complete dramatic forgetfulness of himself impossible. With this exception, the censure originates only in a fanciless way of thinking, to which everything appears unnatural that does not suit its own tame insipidity. Hence, an idea has been formed of simple and natural pathos, which consists in exclamations destitute of imagery, and nowise elevated above every-day life. But energetical passions electrify the whole of the mental powers, and will, consequently, in highly favoured natures, express themselves in an ingenious and figurative manner. It has been often remarked, that indignation gives wit; and, as despair occasionally breaks out into laughter, it may sometimes also give vent to itself in antithetical comparisons.

'Besides, the rights of the poetical form have not been duly weighed. Shakespeare, who was always sure of his object, to move in a sufficiently powerful manner when he wished to do so, has occasionally, by indulging in a freer play, purposely moderated the impressions when too painful, and immediately introduced a musical alleviation of our sympathy. He had not those rude ideas of his art which many moderns seem to have, as if the poet, like the clown in the proverb, must strike twice on the same place. An ancient rhetorician delivered a caution against dwelling too long on the excitation of pity; for nothing, he said, dries so soon as tears; and Shakespeare acted conformably to this ingenious maxim, without knowing it.

"The objection, that Shakespeare wounds our feelings by the open display of the most disgusting moral odiousness, harrows up the mind unmercifully, and tortures even our senses by the exhibition of the most insupportable and hateful spectacles, is one of much greater importance. He has never, in fact, varnished over wild and blood- thirsty passions with a pleasing exterior,--never clothed crime and want of principle with a false show of greatness of soul; and in that respect he is every way deserving of praise. Twice he has pourtrayed downright villains; and the masterly way in which he has contrived to elude impressions of too painful a nature, may be seen in Iago and Richard the Third. The constant reference to a petty and puny race must cripple the boldness of the poet. Fortunately for his art, Shakespeare lived in an age extremely susceptible of noble and tender impressions, but which had still enough of the firmness inherited from a vigorous olden time not to shrink back with dismay from every strong and violent picture. We have lived to see tragedies of which the catastrophe consists in the swoon of an enamoured princess. If Shakespeare falls occasionally into the opposite extreme, it is a noble error, originating in the fulness of a gigantic strength: and yet this tragical Titan, who storms the heavens, and threatens to tear the world from off its hinges; who, more terrible than AEschylus, makes our hair stand on end, and congeals our blood with horror, possessed, at the same time, the insinuating loveliness of the sweetest poetry. He plays with love like a child; and his songs are breathed out like melting sighs. He unites in his genius the utmost elevation and the utmost depth; and the most foreign, and even apparently irreconcilable properties subsist in him peaceably together. The world of spirits and nature have laid all their treasures at his feet. In strength a demi-god, in profundity of view a prophet, in all-seeing wisdom a protecting spirit of a higher order, he lowers himself to mortals, as if unconscious of his superiority: and is as open and unassuming as a child.

'Shakespeare's comic talent is equally wonderful with that which he has shown in the pathetic and tragic: it stands on an equal elevation, and possesses equal extent and profundity. All that I before wished was, not to admit that the former preponderated. He is highly inventive in comic situations and motives. It will be hardly possible to show whence he has taken any of them; whereas, in the serious part of his drama, he has generally laid hold of something already known. His comic characters are equally true, various, and profound, with his serious. So little is he disposed to caricature, that we may rather say many of his traits are almost too nice and delicate for the stage, that they can only be properly seized by a great actor, and fully understood by a very acute audience. Not only has he delineated many kinds of folly; he has also contrived to exhibit mere stupidity in a most diverting and entertaining manner.' Vol. ii, p. 145.

We have the rather availed ourselves of this testimony of a foreign critic in behalf of Shakespeare, because our own countryman, Dr. Johnson, has not been so favourable to him. It may be said of Shakespeare, that 'those who are not for him are against him': for indifference is here the height of injustice. We may sometimes, in order 'to do a great right, do a little wrong'. An over-strained enthusiasm is more pardonable with respect to Shakespeare than the want of it; for our admiration cannot easily surpass his genius. We have a high respect for Dr. Johnson's character and understanding, mixed with something like personal attachment: but he was neither a poet nor a judge of poetry. He might in one sense be a judge of poetry as it falls within the limits and rules of prose, but not as it is poetry. Least of all was he qualified to be a judge of Shakespeare, who 'alone is high fantastical'. Let those who have a prejudice against Johnson read Boswell's Life of him: as those whom he has prejudiced against Shakespeare should read his Irene. We do not say that a man to be a critic must necessarily be a poet: but to be a good critic, he ought not to be a bad poet. Such poetry as a man deliberately writes, such, and such only will he like. Dr. Johnson's Preface to his edition of Shakespeare looks like a laborious attempt to bury the characteristic merits of his author under a load of cumbrous phraseology, and to weigh his excellences and defects in equal scales, stuffed full of 'swelling figures and sonorous epithets'. Nor could it well be otherwise; Dr. Johnson's general powers of reasoning overlaid his critical susceptibility. All his ideas were cast in a given mould, in a set form: they were made out by rule and system, by climax, inference, and antithesis:-- Shakespeare's were the reverse. Johnson's understanding dealt only in round numbers: the fractions were lost upon him. He reduced everything to the common standard of conventional propriety; and the most exquisite refinement or sublimity produced an effect on his mind, only as they could be translated into the language of measured prose. To him an excess of beauty was a fault; for it appeared to him like an excrescence; and his imagination was dazzled by the blaze of light. His writings neither shone with the beams of native genius, nor reflected them. The shifting shapes of fancy, the rainbow hues of things, made no impression on him: he seized only on the permanent and tangible. He had no idea of natural objects but 'such as he could measure with a two-fool rule, or tell upon ten fingers': he judged of human nature in the same way, by mood and figure: he saw only the definite, the positive, and the practical, the average forms of things, not their striking differences--their classes, not their degrees. He was a man of strong common sense and practical wisdom, rather than of genius or feeling. He retained the regular, habitual impressions of actual objects, but he could not follow the rapid flights of fancy, or the strong movements of passion. That is, he was to the poet what the painter of still life is to the painter of history. Common sense sympathizes with the impressions of things on ordinary minds in ordinary circumstances: genius catches the glancing combinations presented to the eye of fancy, under the influence of passion. It is the province of the didactic reasoner to take cognizance of those results of human nature which are constantly repeated and always the same, which follow one another in regular succession, which are acted upon by large classes of men, and embodied in received customs, laws, language, and institutions; and it was in arranging, comparing, and arguing on these kind of general results, that Johnson's excellence lay. But he could not quit his hold of the commonplace and mechanical, and apply the general rule to the particular exception, or show how the nature of man was modified by the workings of passion, or the infinite fluctuations of thought and accident. Hence he could judge neither of the heights nor depths of poetry. Nor is this all; for being conscious of great powers in himself, and those powers of an adverse tendency to those of his author, he would be for setting up a foreign jurisdiction over poetry, and making criticism a kind of Procrustes' bed of genius, where he might cut down imagination to matter-of-fact, regulate the passions according to reason, and translate the whole into logical diagrams and rhetorical declamation. Thus he says of Shakespeare's characters, in contradiction to what Pope had observed, and to what every one else feels, that each character is a species, instead of being an individual. He in fact found the general species or DIDACTIC form in Shakespeare's characters, which was all he sought or cared for; he did not find the individual traits, or the DRAMATIC distinctions which Shakespeare has engrafted on this general nature, because he felt no interest in them. Shakespeare's bold and happy flights of imagination were equally thrown away upon our author. He was not only without any particular fineness of organic sensibility, alive to all the 'mighty world of ear and eye', which is necessary to the painter or musician, but without that intenseness of passion, which, seeking to exaggerate whatever excites the feelings of pleasure or power in the mind, and moulding the impressions of natural objects according to the impulses of imagination, produces a genius and a taste for poetry. According to Dr. Johnson, a mountain is sublime, or a rose is beautiful; for that their name and definition imply. But he would no more be able to give the description of Dover cliff in Lear, or the description of flowers in The Winter's Tale, than to describe the objects of a sixth sense; nor do we think he would have any very profound feeling of the beauty of the passages here referred to. A stately common-place, such as Congreve's description of a ruin in The Mourning Bride, would have answered Johnson's purpose just as well, or better than the first; and an indiscriminate profusion of scents and hues would have interfered less with the ordinary routine of his imagination than Perdita's lines, which seem enamoured of their own sweetness--

              Daffodils     That come before the swallow dares, and take     The winds of March with beauty; violets dim,     But sweeter than the lids of Juno's eyes,

     Or Cytherea's breath.--

No one who does not feel the passion which these objects inspire can go along with the imagination which seeks to express that passion and the uneasy sense of delight accompanying it by something still more beautiful, and no one can feel this passionate love of nature without quick natural sensibility. To a mere literal and formal apprehension, the inimitably characteristic epithet, 'violets DIM', must seem to imply a defect, rather than a beauty; and to any one, not feeling the full force of that epithet, which suggests an image like 'the sleepy eye of love', the allusion to 'the lids of Juno's eyes' must appear extravagant and unmeaning. Shakespeare's fancy lent words and images to the most refined sensibility to nature, struggling for expression: his descriptions are identical with the things themselves, seen through the fine medium of passion: strip them of that connexion, and try them by ordinary conceptions and ordinary rules, and they are as grotesque and barbarous as you please!--By thus lowering Shakespeare's genius to the standard of common-place invention, it was easy to show that his faults were as great as his beauties; for the excellence, which consists merely in a conformity to rules, is counterbalanced by the technical violation of them. Another circumstance which led to Dr. Johnson's indiscriminate praise or censure of Shakespeare, is the very structure of his style. Johnson wrote a kind of rhyming prose, in which he was as much compelled to finish the different clauses of his sentences, and to balance one period against another, as the writer of heroic verse is to keep to lines of ten syllables with similar terminations. He no sooner acknowledges the merits of his author in one line than the periodical revolution in his style carries the weight of his opinion completely over to the side of objection, thus keeping up a perpetual alternation of perfections and absurdities.

We do not otherwise know how to account for such assertions as the following: 'In his tragic scenes, there is always something wanting, but his comedy often surpasses expectation or desire. His comedy pleases by the thoughts and the language, and his tragedy, for the greater part, by incident and action. His tragedy seems to be skill, his comedy to be instinct.' Yet after saying that 'his tragedy was skill', he affirms in the next page, 'His declamations or set speeches are commonly cold and weak, for his power was the power of nature: when he endeavoured, like other tragic writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to show how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader.' Poor Shakespeare! Between the charges here brought against him, of want of nature in the first instance, and of want of skill in the second, he could hardly escape being condemned. And again, 'But the admirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, or mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. What he does best, he soon ceases to do. He no sooner begins to move than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.' In all this, our critic seems more bent on maintaining the equilibrium of his style than the consistency or truth of his opinions.--If Dr. Johnson's opinion was right, the following observations on Shakespeare's plays must be greatly exaggerated, if not ridiculous. If he was wrong, what has been said may perhaps account for his being so, without detracting from his ability and judgement in other things.

It is proper to add, that the account of the MIDSUMMER NIGHT'S DREAM has appeared in another work.

April 15, 1817

 CYMBELINE

CYMBELINE is one of the most delightful of Shakespeare's historical plays. It may be considered as a dramatic romance, in which the most striking parts of the story are thrown into the form of a dialogue, and the intermediate circumstances are explained by the different speakers, as occasion renders it necessary. The action is less concentrated in consequence; but the interest becomes more aerial and refined from the principle of perspective introduced into the subject by the imaginary changes of scene as well as by the length of time it occupies. The reading of this play is like going [on?] a journey with some uncertain object at the end of it, and in which the suspense is kept up and heightened by the long intervals between each action. Though the events are scattered over such an extent of surface, and relate to such a variety of characters, yet the links which bind the different interests of the story together are never entirely broken. The most straggling and seemingly casual incidents are contrived in such a manner as to lead at last to the most complete development of the catastrophe. The ease and conscious unconcern with which this is effected only makes the skill more wonderful. The business of the plot evidently thickens in the last act; the story moves forward with increasing rapidity at every step; its various ramifications are drawn from the most distant points to the same centre; the principal characters are brought together, and placed in very critical situations; and the fate of almost every person in the drama is made to depend on the solution of a single circumstance--the answer of Iachimo to the question of Imogen respecting the obtaining of the ring from Posthumus. Dr. Johnson is of opinion that Shakespeare was generally inattentive to the winding up of his plots. We think the contrary is true; and we might cite in proof of this remark not only the present play, but the conclusion of LEAR, of ROMEO AND JULIET, of MACBETH, of OTHELLO, even of HAMLET, and of other plays of less moment, in which the last act is crowded with decisive events brought about by natural and striking means.

The pathos in CYMBELINE is not violent or tragical, but of the most pleasing and amiable kind. A certain tender gloom o'erspreads the whole. Posthumus is the ostensible hero of the piece, but its greatest charm is the character of Imogen. Posthumus is only interesting from the interest she takes in him, and she is only interesting herself from her tenderness and constancy to her husband. It is the peculiar characteristic of Shakespeare's heroines, that they seem to exist only in their attachment to others. They are pure abstractions of the affections. We think as little of their persons as they do themselves, because we are let into the secrets of their hearts, which are more important. We are too much interested in their affairs to stop to look at their faces, except by stealth and at intervals. No one ever hit the true perfection of the female character, the sense of weakness leaning on the strength of its affections for support, so well as Shakespeare-- no one ever so well painted natural tenderness free from affectation and disguise--no one else ever so well showed how delicacy and timidity, when driven to extremity, grow romantic and extravagant; for the romance of his heroines (in which they abound) is only an excess of the habitual prejudices of their sex, scrupulous of being false to their vows, truant to their affections, and taught by the force of feeling when to forgo the forms of propriety for the essence of it. His women were in this respect exquisite logicians; for there is nothing so logical as passion. They knew their own minds exactly; and only followed up a favourite idea, which they had sworn to with their tongues, and which was engraven on their hearts, into its untoward consequences. They were the prettiest little set of martyrs and confessors on record. Cibber, in speaking of the early English stage, accounts for the want of prominence and theatrical display in Shakespeare's female characters from the circumstance, that women in those days were not allowed to play the parts of women, which made it necessary to keep them a good deal in the background. Does not this state of manners itself, which prevented their exhibiting themselves in public, and confined them to the relations and charities of domestic life, afford a truer explanation of the matter? His women are certainly very unlike stage-heroines; the reverse of tragedy-queens.

We have almost as great an affection for Imogen as she had for Posthumus; and she deserves it better. Of all Shakespeare's women she is perhaps the most tender and the most artless. Her incredulity in the opening scene with Iachimo, as to her husband's infidelity, is much the same as Desdemona's backwardness to believe Othello's jealousy. Her answer to the most distressing part of the picture is only, 'My lord, I fear, has forgot Britain.' Her readiness to pardon Iachimo's false imputations and his designs against herself, is a good lesson to prudes; and may show that where there is a real attachment to virtue, it has no need to bolster itself up with an outrageous or affected antipathy to vice. The scene in which Pisanio gives Imogen his master's letter, accusing her of incontinency on the treacherous suggestions of Iachimo, is as touch-ing as it is possible for any thing to be:

Pisanio. What cheer, Madam? Imogen. False to his bed! What is it to be false? To lie in watch there, and to think on him? To weep 'twixt clock and clock? If sleep charge nature, To break it with a fearful dream of him, And cry myself awake? That's false to's bed, is it? Pisanio. Alas, good lady! Imogen. I false? thy conscience witness, Iachimo, Thou didst accuse him of incontinency, Thou then look'dst like a villain: now methinks, Thy favour's good enough. Some jay of Italy, Whose mother was her painting, hath betrayed him: Poor I am stale, a garment out of fashion, And for I am richer than to hang by th' walls, I must be ript; to pieces with me. Oh, Men's vows are women's traitors. All good seeming, By thy revolt, oh husband, shall be thought Put on for villany: not born where't grows, But worn a bait for ladies. Pisanio. Good madam, hear me--Imogen. Talk thy tongue weary, speak: I have heard I am a strumpet, and mine ear, Therein false struck, can take no greater wound, Nor tent to bottom that.--

When Pisanio, who had been charged to kill his mistress, puts her in a way to live, she says:

             Why, good fellow,    What shall I do the while? Where bide? How live?    Or in my life what comfort, when I am    Dead to my husband?

Yet when he advises her to disguise herself in boy's clothes, and suggests 'a course pretty and full in view', by which she may 'happily be near the residence of Posthumus', she exclaims:

             Oh, for such means,    Though peril to my modesty, not death on't,    I would adventure.

And when Pisanio, enlarging on the consequences, tells her she must change

          --Fear and niceness,    The handmaids of all women, or more truly,    Woman its pretty self, into a waggish courage,    Ready in gibes, quick answer'd, saucy, and    As quarrellous as the weasel--

she interrupts him hastily;

            Nay, be brief;    I see into thy end, and am almost    A man already.

In her journey thus disguised to Milford Haven, she loses her guide and her way; and unbosoming her complaints, says beautifully:

          --My dear Lord,    Thou art one of the false ones; now I think on thee,    My hunger's gone; but even before, I was    At point to sink for food.

She afterwards finds, as she thinks, the dead body of Posthumus, and engages herself as a foot-boy to serve a Roman officer, when she has done all due obsequies to him whom she calls her former master:

            --And when    With wild wood-leaves and weeds I ha' strew'd his grave,    And on it said a century of pray'rs,    Such as I can, twice o'er, I'll weep and sigh,    And leaving so his service, follow you,    So please you entertain me.

Now this is the very religion of love. She all along relies little on her personal charms, which she fears may have been eclipsed by some painted jay of Italy; she relies on her merit, and her merit is in the depth of her love, her truth and constancy. Our admiration of her beauty is excited with as little consciousness as possible on her part. There are two delicious descriptions given of her, one when she is asleep, and one when she is supposed dead. Arviragus thus addresses her:

            --With fairest flowers,    While summer lasts, and I live here, Fidele,    I'll sweeten thy sad grave; thou shalt not lack    The flow'r that's like thy face, pale primrose, nor    The azur'd hare-bell, like thy veins, no, nor    The leaf of eglantine, which not to slander,    Out-sweeten'd not thy breath.

The yellow Iachimo gives another thus, when he steals into her bed- chamber:

            --Cytherea,    How bravely thou becom'st thy bed! Fresh lily,    And whiter than the sheets I That I might touch--    But kiss, one kiss--Tis her breathing that    Perfumes the chamber thus: the flame o' th' taper    Bows toward her, and would under-peep her lids,    To see th' enclosed lights now canopied    Under the windows, white and azure, laced    With blue of Heav'ns own tinct--on her left breast    A mole cinque-spotted, like the crimson drops    I' the bottom of a cowslip.

There is a moral sense in the proud beauty of this last image, a rich surfeit of the fancy,--as that well--known passage beginning, 'Me of my lawful pleasure she restrained, and prayed me oft forbearance,' sets a keener edge upon it by the inimitable picture of modesty and self-denial.

The character of Cloten, the conceited, booby lord, and rejected lover of Imogen, though not very agreeable in itself, and at present obsolete, is drawn with great humour and knowledge of character. The description which Imogen gives of his unwelcome addresses to her-- 'Whose love-suit hath been to me as fearful as a siege'--is enough to cure the most ridiculous lover of his folly. It is remarkable that though Cloten makes so poor a figure in love, he is described as assuming an air of consequence as the Queen's son in a council of state, and with all the absurdity of his person and manners, is not without shrewdness in his observations. So true is it that folly is as often owing to a want of proper sentiments as to a want of under- standing! The exclamation of the ancient critic, 'O Menander and Nature, which of you copied from the other?' would not be misapplied to Shakespeare.

The other characters in this play are represented with great truth and accuracy, and as it happens in most of the author's works, there is not only the utmost keeping in each separate character; but in the casting of the different parts, and their relation to one another, there is an affinity and harmony, like what we may observe in the gradations of colour in a picture. The striking and powerful contrasts in which Shakespeare abounds could not escape observation; but the use he makes of the principle of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling throughout, has not been sufficiently attended to. In Cymbeline, for instance, the principal interest arises out of the unalterable fidelity of Imogen to her husband under the most trying circumstances. Now the other parts of the picture are filled up with subordinate examples of the same feeling, variously modified by different situations, and applied to the purposes of virtue or vice. The plot is aided by the amorous importunities of Cloten, by the tragical determination of Iachimo to conceal the defeat of his project by a daring imposture: the faithful attachment of Pisanio to his mistress is an affecting accompaniment to the whole; the obstinate adherence to his purpose in Bellarius, who keeps the fate of the young princes so long a secret in resentment for the ungrateful return to his former services, the incorrigible wickedness of the Queen, and even the blind uxorious confidence of Cymbeline, are all so many lines of the same story, tending to the same point. The effect of this coincidence is rather felt than observed; and as the impression exists unconsciously in the mind of the reader, so it probably arose in the same manner in the mind of the author, not from design, but from the force of natural association, a particular train of feeling suggesting different inflections of the same predominant principle, melting into, and strengthening one another, like chords in music.

The characters of Bellarius, Guiderius, and Arviragus, and the romantic scenes in which they appear, are a fine relief to the intrigues and artificial refinements of the court from which they are banished. Nothing can surpass the wildness and simplicity of the descriptions of the mountain life they lead. They follow the business of huntsmen, not of shepherds; and this is in keeping with the spirit of adventure and uncertainty in the rest of the story, and with the scenes in which they are afterwards called on to act. How admirably the youthful fire and impatience to emerge from their obscurity in the young princes is opposed to the cooler calculations and prudent resignation of their more experienced counsellor! How well the disadvantages of knowledge and of ignorance, of solitude and society, are placed against each other!

   Guiderius. Out of your proof you speak: we poor unfledg'd      Have never wing'd from view o' th' nest; nor know not      What air's from home. Haply this life is best,      If quiet life is best; sweeter to you      That have a sharper known; well corresponding      With your stiff age: but unto us it is      A cell of ignorance; travelling a-bed,      A prison for a debtor, that not dares      To stride a limit.

   Arviragus. What should we speak of      When we are old as you? When we shall hear      The rain and wind beat dark December! How,      In this our pinching cave, shall we discourse      The freezing hours away? We have seen nothing.      We are beastly; subtle as the fox for prey,      Like warlike as the wolf for what we eat:      Our valour is to chase what flies; our cage      We make a quire, as doth the prison'd bird,      And sing our bondage freely.

The answer of Bellarius to this expostulation is hardly satisfactory; for nothing can be an answer to hope, or the passion of the mind for unknown good, but experience.--The forest of Arden in As You Like It can alone compare with the mountain scenes in Cymbeline: yet how different the contemplative quiet of the one from the enterprising boldness and precarious mode of subsistence in the other! Shakespeare not only lets us into the minds of his characters, but gives a tone and colour to the scenes he describes from the feelings of their imaginary inhabitants. He at the same time preserves the utmost propriety of action and passion, and gives all their local accompaniments. If he was equal to the greatest things, he was not above an attention to the smallest. Thus the gallant sportsmen in Cymbeline have to encounter the abrupt declivities of hill and valley: Touchstone and Audrey jog along a level path. The deer in Cymbeline are only regarded as objects of prey, 'The game's a-foot', &c.--with Jaques they are fine subjects to moralize upon at leisure, 'under the shade of melancholy boughs'.

We cannot take leave of this play, which is a favourite with us, without noticing some occasional touches of natural piety and morality. We may allude here to the opening of the scene in which Bellarius instructs the young princes to pay their orisons to heaven:

                  --See, Boys! this gate    Instructs you how t' adore the Heav'ns; and bows you    To morning's holy office.

   Guiderius. Hail, Heav'n!

   Arviragus. Hail, Heav'n!

   Bellarius. Now for our mountain-sport, up to yon hill.

What a grace and unaffected spirit of piety breathes in this passage! In like manner, one of the brothers says to the other, when about to perform the funeral rites to Fidele:

   Nay, Cadwall, we must lay his head to the east;      My Father hath a reason for't.

Shakespeare's morality is introduced in the same simple, unobtrusive manner. Imogen will not let her companions stay away from the chase to attend her when sick, and gives her reason for it:

  Stick to your journal course; THE BREACH OF CUSTOM     IS BREACH OF ALL!

When the Queen attempts to disguise her motives for procuring the poison from Cornelius, by saying she means to try its effects on 'creatures not worth the hanging', his answer conveys at once a tacit reproof of her hypocrisy, and a useful lesson of humanity:

                 --Your Highness    Shall from this practice but make hard your heart.

 MACBETH

     The poet's eye in a fine frenzy rolling      Doth glance from heaven to earth, from earth to heaven;      And as imagination bodies forth      The forms of things unknown, the poet's pen      Turns them to shape, and gives to airy nothing      A local habitation and a name.

MACBETH and Lear, Othello and Hamlet, are usually reckoned Shakespeare's four principal tragedies. Lear stands first for the profound intensity of the passion; Macbeth for the wildness of the imagination and the rapidity of the action; Othello for the progressive interest and powerful alternations of feeling; Hamlet for the refined development of thought and sentiment. If the force of genius shown in each of these works is astonishing, their variety is not less so. They are like different creations of the same mind, not one of which has the slightest reference to the rest. This distinctness and originality is indeed the necessary consequence of truth and nature. Shakespeare's genius alone appeared to possess the resources of nature. He is 'your only tragedy-maker'. His plays have the force of things upon the mind. What he represents is brought home to the bosom as a part of our experience, implanted in the memory as if we had known the places, persons, and things of which he treats. Macbeth is like a record of a preternatural and tragical event. It has the rugged severity of an old chronicle with all that the imagination of the poet can engraft upon traditional belief. The castle of Macbeth, round which 'the air smells wooingly', and where 'the temple-haunting martlet builds', has a real subsistence in the mind; the Weird Sisters meet us in person on 'the blasted heath'; the 'air-drawn dagger' moves slowly before our eyes; the 'gracious Duncan', the 'blood-boltered Banquo' stand before us; all that passed through the mind of Macbeth passes, without the loss of a tittle, through ours. All that could actually take place, and all that is only pos-sible to be conceived, what was said and what was done, the workings of passion, the spells of magic, are brought before us with the same absolute truth and vividness.-Shakespeare excelled in the openings of his plays: that of Macbeth is the most striking of any. The wildness of the scenery, the sudden shifting of the situations and characters, the bustle, the expectations excited, are equally extraordinary. From the first entrance of the Witches and the description of them when they meet Macbeth:

           --What are these      So wither'd and so wild in their attire,      That look not like the inhabitants of th' earth      And yet are on't?

the mind is prepared for all that follows.

This tragedy is alike distinguished for the lofty imagination it displays, and for the tumultuous vehemence of the action; and the one is made the moving principle of the other. The overwhelming pressure of preternatural agency urges on the tide of human passion with redoubled force. Macbeth himself appears driven along by the violence of his fate like a vessel drifting before a storm: he reels to and fro like a drunken man; he staggers under the weight of his own purposes and the suggestions of others; he stands at bay with his situation; and from the superstitious awe and breathless suspense into which the communications of the Weird Sisters throw him, is hurried on with daring impatience to verify their predictions, and with impious and bloody hand to tear aside the veil which hides the uncertainty of the future. He is not equal to the struggle with fate and conscience. He now 'bends up each corporal instrument to the terrible feat'; at other times his heart misgives him, and he is cowed and abashed by his success. 'The deed, no less than the attempt, confounds him.' His mind is assailed by the stings of remorse, and full of 'preternatural solicitings'. His speeches and soliloquies are dark riddles on human life, baffling solution, and entangling him in their labyrinths. In thought he is absent and perplexed, sudden and desperate in act, from a distrust of his own resolution. His energy springs from the anxiety and agitation of his mind. His blindly rushing forward on the objects of his ambition and revenge, or his recoiling from them, equally betrays the harassed state of his feelings.--This part of his character is admirably set off by being brought in connexion with that of Lady Macbeth, whose obdurate strength of will and masculine firmness give her the ascendancy over her husband's faltering virtue. She at once seizes on the opportunity that offers for the accomplishment of all their wished-for greatness, and never flinches from her object till all is over. The magnitude of her resolution almost covers the magnitude of her guilt. She is a great bad woman, whom we hate, but whom we fear more than we hate. She does not excite our loathing and abhorrence like Regan and Goneril. She is only wicked to gain a great end; and is perhaps more distinguished by her commanding presence of mind and inexorable self-will, which do not suffer her to be diverted from a bad purpose, when once formed, by weak and womanly regrets, than by the hardness of her heart or want of natural affections. The impression which her lofty determination of character makes on the mind of Macbeth is well described where he exclaims:

           --Bring forth men children only;      For thy undaunted mettle should compose      Nothing but males!

Nor do the pains she is at to 'screw his courage to the sticking- place', the reproach to him, not to be 'lost so poorly in himself', the assurance that 'a little water clears them of this deed', show anything but her greater consistency in depravity. Her strong-nerved ambition furnishes ribs of steel to 'the sides of his intent'; and she is herself wound up to the execution of her baneful project with the same unshrinking fortitude in crime, that in other circumstances she would probably have shown patience in suffering. The deliberate sacrifice of all other considerations to the gaining 'for their future days and nights sole sovereign sway and masterdom', by the murder of Duncan, is gorgeously expressed in her invocation on hearing of 'his fatal entrance under her battlements':

          --Come all you spirits      That tend on mortal thoughts, unsex me here:      And fill me, from the crown to th' toe, top-full      Of direst cruelty; make thick my blood,      Stop up the access and passage of remorse,      That no compunctious visitings of nature      Shake my fell purpose, nor keep peace between      The effect and it. Come to my woman's breasts,      And take my milk for gall, you murthering ministers,      Wherever in your sightless substances      You wait on nature's mischief. Come, thick night!      And pall thee in the dunnest smoke of hell,      That my keen knife see not the wound it makes,      Nor heav'n peep through the blanket of the dark,      To cry, hold, hold!--

When she first hears that 'Duncan comes there to sleep' she is so overcome by the news, which is beyond her utmost expectations, that she answers the messenger, 'Thou'rt mad to say it': and on receiving her husband's account of the predictions of the Witches, conscious of his instability of purpose, and that her presence is necessary to goad him on to the consummation of his promised greatness, she exclaims:

         --Hie thee hither,      That I may pour my spirits in thine ear,      And chastise with me valour of my tongue      All that impedes thee from the golden round,      Which fate and metaphysical aid doth seem      To have thee crowned withal.

This swelling exultation and keen spirit of triumph, this uncontrollable eagerness of anticipation, which seems to dilate her form and take possession of all her faculties, this solid, substantial flesh-and-blood display of passion, exhibit a striking contrast to the cold, abstracted, gratuitous, servile malignity of the Witches, who are equally instrumental in urging Macbeth to his fate for the mere love of mischief, and from a disinterested delight in deformity and cruelty. They are hags of mischief, obscene panders to iniquity, malicious from their impotence of enjoyment, enamoured of destruction, because they are themselves unreal, abortive, half- existences, and who become sublime from their exemption from all human sympathies and contempt for all human affairs, as Lady Macbeth does by the force of passion! Her fault seems to have been an excess of that strong principle of self-interest and family aggrandizement, not amenable to the common feelings of compassion and justice, which is so marked a feature in barbarous nations and times. A passing reflection of this kind, on the resemblance of the sleeping king to her father, alone prevents her from slaying Duncan with her own hand.

In speaking of the character of Lady Macbeth, we ought not to pass over Mrs. Siddons's manner of acting that part. We can conceive of nothing grander. It was something above nature. It seemed almost as if a being of a superior order had dropped from a higher sphere to awe the world with the majesty of her appearance. Power was seated on her brow, passion emanated from her breast as from a shrine; she was tragedy personified. In coming on in the sleeping-scene, her eyes were open, but their sense was shut. She was like a person bewildered and unconscious of what she did. Her lips moved involuntarily--all her gestures were involuntary and mechanical. She glided on and off the stage like an apparition. To have seen her in that character was an event in every one's life, not to be forgotten.

The dramatic beauty of the character of Duncan, which excites the respect and pity even of his murderers, has been often pointed out. It forms a picture of itself. An instance of the author's power of giving a striking effect to a common reflection, by the manner of introducing it, occurs in a speech of Duncan, complaining of his having been deceived in his opinion of the Thane of Cawdor, at the very moment that he is expressing the most unbounded confidence in the loyalty and services of Macbeth.

     There is no art      To find the mind's construction in the face:      He was a gentleman, on whom I built      An absolute trust.      O worthiest cousin, [addressing himself to Macbeth]      The sin of my ingratitude e'en now      Was great upon me, &c.

Another passage to show that Shakespeare lost sight of nothing that could in anyway give relief or heightening to his subject, is the conversation which takes place between Banquo and Fleance immediately before the murder-scene of Duncan.

   Banquo. How goes the night, boy?

   Fleance. The moon is down: I have not heard the clock.

   Banquo. And she goes down at twelve.

   Fleance. I take't, tis later, Sir.

   Banquo. Hold, take my sword. There's husbandry in heav'n,      Their candles are all out.--      A heavy summons lies like lead upon me,      And yet I would not sleep: Merciful Powers,      Restrain in me the cursed thoughts that nature      Gives way to in repose.

In like manner, a fine idea is given of the gloomy coming on of evening, just as Banquo is going to be assassinated.

    Light thickens and the crow     Makes wing to the rooky wood.        .     .     .     .     .     Now spurs the lated traveller apace     To gain the timely inn.

Macbeth (generally speaking) is done upon a stronger and more systematic principle of contrast than any other of Shakespeare's plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespeare's genius here took its full swing, and trod upon the furthest bounds of nature and passion. This circumstance will account tor the abruptness and violent antitheses of the style, the throes and labour which run through the expression, and from defects will turn them into beauties. 'So fair and foul a day I have not seen,' &c. 'Such welcome and unwelcome news together.' 'Men's lives are like the flowers in their caps, dying or ere they sicken.' 'Look like the innocent flower, but be the serpent under it.' The scene before the castle-gate follows the appearance of the Witches on the heath, and is followed by a midnight murder. Duncan is cut off betimes by treason leagued with witchcraft, and Macduff is ripped untimely from his mother's womb to avenge his death. Macbeth, after the death of Banquo, wishes for his presence in extravagant terms, 'To him and all we thirst,' and when his ghost appears, cries out, 'Avaunt and quit my sight,' and being gone, he is 'himself again'. Macbeth resolves to get rid of Macduff, that 'he may sleep in spite of thunder'; and cheers his wife on the doubtful intelligence of Banquo's taking-off with the encouragement--'Then be thou jocund: ere the bat has flown his cloistered flight; ere to black Hecate's summons the shard-born beetle has rung night's yawning peal, there shall be done--a deed of dreadful note.' In Lady Macbeth's speech, 'Had he not resembled my father as he slept, I had done't,' there is murder and filial piety together, and in urging him to fulfil his vengeance against the defenceless king, her thoughts spare the blood neither of infants nor old age. The description of the Witches is full of the same contradictory principle; they 'rejoice when good kings bleed'; they are neither of the earth nor the air, but both; 'they should be women, but their beards forbid it'; they take all the pains possible to lead Macbeth on to the height of his ambition, only to betray him in deeper consequence, and after showing him all the pomp of their art, discover their malignant delight in his disappointed hopes, by that bitter taunt, 'Why stands Macbeth thus amazedly?' We might multiply such instances everywhere.

The leading features in the character of Macbeth are striking enough, and they form what may be thought at first only a bold, rude, Gothic outline. By comparing it with other characters of the same author we shall perceive the absolute truth and identity which is observed in the midst of the giddy whirl and rapid career of events. Macbeth in Shakespeare no more loses his identity of character in the fluctuations of fortune or the storm of passion, than Macbeth in himself would have lost the identity of his person. Thus he is as distinct a being from Richard III as it is possible to imagine, though these two characters in common hands, and indeed in the hands of any other poet, would have been a repetition of the same general idea, more or less exaggerated. For both are tyrants, usurpers, murderers, both aspiring and ambitious, both courageous, cruel, treacherous. But Richard is cruel from nature and constitution. Macbeth becomes so from accidental circumstances. Richard is from his birth deformed in body and mind, and naturally incapable of good. Macbeth is full of 'the milk of human kindness, is frank, sociable, generous. He is tempted to the commission of guilt by golden opportunities, by the instigations of his wife, and by prophetic warnings. Fate and metaphysical aid conspire against his virtue and his loyalty. Richard, on the contrary, needs no prompter, but wades through a series of crimes to the height of his ambition from the ungovernable violence of his temper and a reckless love of mischief. He is never gay but in the prospect or in the success of his villanies; Macbeth is full of horror at the thoughts of the murder of Duncan, which he is with difficulty prevailed on to commit, and of remorse after its perpetration. Richard has no mixture of common humanity in his composition, no regard to kindred or posterity, he owns no fellowship with others, he is 'himself alone'. Macbeth is not destitute of feelings of sympathy, is accessible to pity, is even made in some measure the dupe of his uxoriousness, ranks the loss of friends, of the cordial love of his followers, and of his good name, among the causes which have made him weary of life, and regrets that he has ever seized the crown by unjust means, since he cannot transmit it to his own posterity:

     For Banquo's issue have I 'fil'd my mind--      For them the gracious Duncan have I murther'd,      To make them kings, the seed of Banquo kings.

In the agitation of his thoughts, he envies those whom he has sent to peace. 'Duncan is in his grave; after life's fitful fever he sleeps well.' It is true, he becomes more callous as he plunges deeper in guilt, 'direness is thus rendered familiar to his slaughterous thoughts', and he in the end anticipates his wife in the boldness and bloodiness of his enterprises, while she, for want of the same stimulus of action, is 'troubled with thick-coming fancies that rob her of her rest', goes mad and dies.

Macbeth endeavours to escape from reflection on his crimes by repelling their consequences, and banishes remorse for the past by the meditation of future mischief. This is not the principle of Richard's cruelty, which resembles the wanton malice of a fiend as much as the frailty of human passion. Macbeth is goaded on to acts of violence and retaliation by necessity; to Richard, blood is a pastime.--There are other decisive differences inherent in the two characters. Richard may be regarded as a man of the world, a plotting, hardened knave, wholly regardless of everything but his own ends, and the means to secure them.--Not so Macbeth. The superstitions of the age, the rude state of society, the local scenery and customs, all give a wildness and imaginary grandeur to his character. From the strangeness of the events that surround him, he is full of amazement and fear; and stands in doubt between the world of reality and the world of fancy. He sees sights not shown to mortal eye, and hears unearthly music. All is tumult and disorder within and without his mind; his purposes recoil upon himself, are broken and disjointed; he is the double thrall of his passions and his evil destiny. Richard is not a character either of imagination or pathos, but of pure self-will. There is no conflict of opposite feelings in his breast. The apparitions which he sees only haunt him in his sleep; nor does he live like Macbeth in a waking dream. Macbeth has considerable energy and manliness of character; but then he is 'subject to all the skyey influences'. He is sure of nothing but the present moment. Richard in the busy turbulence of his projects never loses his self-possession, and makes use of every circumstance that happens as an instrument of his long-reaching designs. In his last extremity we can only regard him as a wild beast taken in the toils: we never entirely lose our concern for Macbeth; and he calls back all our sympathy by that fine close of thoughtful melancholy:

     My way of life is fallen into the sear,      The yellow leaf; and that which should accompany old age,      As honour, troops of friends, I must not look to have;      But in their stead, curses not loud but deep,      Mouth-honour, breath, which the poor heart      Would fain deny and dare not.