6. Interfusion of the lyrical—that which in its very essence is poetical—not only with the dramatic, as in the plays of Metastasio, where at the end of the scene comes the aria as the exit speech of the character—but also in and through the dramatic. Songs in Shakespeare are introduced as songs [pg 068] only, just as songs are in real life, beautifully as some of them are characteristic of the person who has sung or called for them, as Desdemona's “Willow,” and Ophelia's wild snatches, and the sweet carollings in As You Like It. But the whole of the Midsummer Night's Dream is one continued specimen of the dramatised lyrical. And observe how exquisitely the dramatic of Hotspur;—
“Marry, and I'm glad on't with all my heart;
I'd rather be a kitten and cry—mew.” &c.
melts away into the lyric of Mortimer;—
“I understand thy looks: that pretty Welsh
Which thou pourest down from these swelling heavens,
I am too perfect in,” &c.
Henry IV. part i. act iii, sc. 1.
7. The characters of the dramatis personæ, like those in real life, are to be inferred by the reader;—they are not told to him. And it is well worth remarking that Shakespeare's characters, like those in real life, are very commonly misunderstood, and almost always understood by different persons in different ways. The causes are the same in either case. If you take only what the friends of the character say, you may be deceived, and still more so, if that which his enemies say; nay, even the character himself sees himself through the medium of his character, and not exactly as he is. Take all together, not omitting a shrewd hint from the clown or the fool, and perhaps your impression will be right; and you may know whether you have in fact discovered the poet's own idea, by all the speeches receiving light from it, and attesting its reality by reflecting it.
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Lastly, in Shakespeare the heterogeneous is united, as it is in nature. You must not suppose a pressure or passion always acting on or in the character!—passion in Shakespeare is that by which the individual is distinguished from others, not that which makes a different kind of him. Shakespeare followed the main march of the human affections. He entered into no analysis of the passions or faiths of men, but assured himself that such and such passions and faiths were grounded in our common nature, and not in the mere accidents of ignorance or disease. This is an important consideration, and constitutes our Shakespeare the morning star, the guide and the pioneer, of true philosophy.
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Outline Of An Introductory Lecture Upon Shakespeare.
Of that species of writing termed tragi-comedy, much has been produced and doomed to the shelf. Shakespeare's comic are continually reacting upon his tragic characters. Lear, wandering amidst the tempest, has all his feelings of distress increased by the overflowings of the wild wit of the Fool, as vinegar poured upon wounds exacerbates their pain. Thus, even his comic humour tends to the development of tragic passion.
The next characteristic of Shakespeare is his keeping at all times in the high road of life, &c. Another evidence of his exquisite judgment is, that he seizes hold of popular tales; Lear and the Merchant of Venice were popular tales, but are so excellently managed, that both are the representations of men in all countries and of all times.
His dramas do not arise absolutely out of some one extraordinary circumstance, the scenes may stand independently of any such one connecting incident, as faithful representations of men and manners. In his mode of drawing characters there are no pompous descriptions of a man by himself; his character is to be drawn, as in real life, from the whole course of the play, or out of the mouths of his enemies or friends. This may [pg 072] be exemplified in Polonius, whose character has been often misrepresented. Shakespeare never intended him for a buffoon, &c.
Another excellence of Shakespeare, in which no writer equals him, is in the language of nature. So correct is it, that we can see ourselves in every page. The style and manner have also that felicity, that not a sentence can be read, without its being discovered if it is Shakespearian. In observation of living characters—of landlords and postilions—Fielding has great excellence; but in drawing from his own heart, and depicting that species of character, which no observation could teach, he failed in comparison with Richardson, who perpetually places himself, as it were, in a day-dream. Shakespeare excels in both. Witness the accuracy of character in Juliet's name; while for the great characters of Iago, Othello, Hamlet, Richard III., to which he could never have seen anything similar, he seems invariably to have asked himself—How should I act or speak in such circumstances? His comic characters are also peculiar. A drunken constable was not uncommon; but he makes folly a vehicle for wit, as in Dogberry: everything is a sub-stratum on which his genius can erect the mightiest superstructure.
To distinguish that which is legitimate in Shakespeare from what does not belong to him, we must observe his varied images symbolical of novel truth, thrusting by, and seeming to trip up each other, from an impetuosity of thought, producing a flowing metre, and seldom closing with the line. In Pericles, a play written fifty years before, but altered by Shakespeare, his additions may be recognised to half a line, from the metre, [pg 073] which has the same perfection in the flowing continuity of interchangeable metrical pauses in his earliest plays, as in Love's Labour's Lost.
Lastly, contrast his morality with the writers of his own or of the succeeding age, &c. If a man speak injuriously of our friend, our vindication of him is naturally warm. Shakespeare has been accused of profaneness. I for my part have acquired from perusal of him, a habit of looking into my own heart, and am confident that Shakespeare is an author of all others the most calculated to make his readers better as well as wiser.
* * * * *
Shakespeare, possessed of wit, humour, fancy, and imagination, built up an outward world from the stores within his mind, as the bee finds a hive from a thousand sweets gathered from a thousand flowers. He was not only a great poet but a great philosopher. Richard III., Iago, and Falstaff are men who reverse the order of things, who place intellect at the head, whereas it ought to follow, like Geometry, to prove and to confirm. No man, either hero or saint, ever acted from an unmixed motive; for let him do what he will rightly, still Conscience whispers “it is your duty.” Richard, laughing at conscience and sneering at religion, felt a confidence in his intellect, which urged him to commit the most horrid crimes, because he felt himself, although inferior in form and shape, superior to those around him; he felt he possessed a power which they had not. Iago, on the same principle, conscious of superior intellect, gave scope to his envy, and hesitated not to ruin a gallant, open, and generous friend in the moment [pg 074] of felicity, because he was not promoted as he expected. Othello was superior in place, but Iago felt him to be inferior in intellect, and, unrestrained by conscience, trampled upon him. Falstaff, not a degraded man of genius, like Burns, but a man of degraded genius, with the same consciousness of superiority to his companions, fastened himself on a young Prince, to prove how much his influence on an heir-apparent would exceed that of a statesman. With this view he hesitated not to adopt the most contemptible of all characters, that of an open and professed liar: even his sensuality was subservient to his intellect: for he appeared to drink sack, that he might have occasion to show off his wit. One thing, however, worthy of observation, is the perpetual contrast of labour in Falstaff to produce wit, with the ease with which Prince Henry parries his shafts; and the final contempt which such a character deserves and receives from the young king, when Falstaff exhibits the struggle of inward determination with an outward show of humility.
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Order Of Shakespeare's Plays.