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Patriot, Metaphysician, and Critic. This latter class of seekers is rapidly increasing, as copies of the old editions disappear and the name of their author comes brighter and brighter out of the “ foul fog" in which contemporary jealousy and political prejudice hoped effectually to hide its lustre. The minds on which, in spite of every disadvantage, he made a deep impression during his lifetime, were the minds of younger men than himself, and these are now reacting on others more youthful than themselves. Many who are promoting the best interests of the world, in wide or narrow circles, in the press or the lecture-room, the literary association or mechanics' institute, owe much of the immediate spring and impulse of the power which is now so happily producing power, to the force and life of Hazlitt's writings. No author in our language ex. ceeds him in the great art of setting his readers thinking. Where his own thoughts, whether from carelessness or caprice, fall short of the point of truth always aimed at, they nevertheless serve as guides and monitors to the un. derstanding and imagination of the reader. This seems especially the case with the work now submitted to the public. These views of the “Characters of Shakspeare's Plays" remind one of Kean's acting in some of the tragedies here criticized. They are incomplete and faulty in some respects—speculative and doubtful in others; but wonderfully full of thought, and always brilliant in expression. Right or wrong, they cannot be read with indifference: for whatever may have been his faults, Hazlitt never wrote a dull sentence.
It is observed by Mr. Pope, that “ If ever any author deserved the name of an original, it was Shakspeare. Homer himself drew not his art so immediately from the fountains of nature; it proceeded through Egyptian 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 Shakspeare 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 have 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 Shakspeare 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, 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 Shakspeare'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 gave by far the best account of the plays of Shakspeare that have 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 piqurd" that it should be reserved for a foreign critic to give ** reasons for the faith which we English have in Shakspearo." 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 excellence. 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 Shakspeare, which is in the following words :
“Never, perhaps, was there so comprehensive a talent for the delineation of character as Shakspeare'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 portray 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 parts 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 sature, 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 Shakspeare 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 fimiliar 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 aversions.' Of all poets, perhaps, he alone has portrayed 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 Shakspeare, that his pathos is not always matural 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