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BAMUEL JOANBON.* 1 Shakspeare is, above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life. His characters are cot modified by the customs of particular places, unpracticed by the rest of the world; by the peculiarities of studies or professions, which can operate but upon small numbers; or by the accidents of transient fashions or temporary opinions : they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find. His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion. In the writings of other poets, a character is too often an individual; in those of Shakspeare, it is commonly a species. It is from this wide extension of design, that so much instruction is derived. It is this which fills the plays of Shakspeare with practical axioms and domestic wisdom. It was said of Euripides,† that every verse was a prerept; and it may be said of Shakspeare, that from his works may be collected a system of civil and economical prudence. Yet his real power is not shown in the splendor of particular passages, but by the progress of his fable, and the tenor of his dialogue.

2. It will not easily be imagined how much Shakspeare excels in accommodating his sentiments to real life, but by comparing him with other authors. It was observed of the ancient schools of declamation, that the more diligently they were frequented, the more was the student disqualified for the world, because he found nothing there which he should ever meet in any other place. The same remark may be applied to every stage but

* For a sketch of Johnson, see Exercise CXVI.

+ A celebrated Greek dramatist who flourished about the year 450 B.C.

that of Shakspeare. The theater, when it is under any other direction, is peopled by such characters as were never seen, con. versing in a language which was never heard, upon topics which will never arise in the commerce of mankind. But the dialogue of this author is often so evidently determined by the incident which produces it, and is pursued with so much ease and simplicity, that it seems scarcely to claim the merit of fiction, but to have been gleaned by diligent selection out of common conversation, and common occurrences.

3. Upon every other stage the universal agent is love, by whose power all good and evil is distributed, and every action quickened or retarded. To bring a lover, a lady, and a rival into the fable; to entangle them in contradictory obligations, perplex them with oppositions of interest, and harass them with violence of desires inconsistent with each other; to make them meet in rapture, and part in agony; to fill their mouths with hyperbolical joy and outrageous sorrow; to distress them as nothing human ever was distressed ; to deliver them as nothing human ever was delivered, is the business of a modern dramatist.

4. For this, probability is violated, life is misrepresented, and language is depraved. But love is only one of many passions; and as it has no great influence upon the sum of life, it has little operation in the drama of a poet, who'caught his ideas from the living world, and exhibited only what he saw before him. He knew that any other passion, as it was regular or exorbitant, was a cause of happiness or calamity. Characters thus ample and general were not easily discriminated and preserved, yet, perhaps, no poet ever kept his personages more distinct from each other. I will not say with Pope, that every speech may be assigned to the proper speaker, because many speeches there are, which have nothing characteristical; but, perhaps, though some may be equally adapted to every person, it will be difficult to find that any can be properly transferred from the present possessor to another claimant. The choice is right when there is reason for choice.

5 Other dramatists can only gain attention by hyperbolical or aggravated characters, by fabulous and unexamp.ed excel. lence or depravity, as the writers of barbarous romances in. vigorated the reader by a giant and a dwarf; and he that should form his expectations of human affairs from the play or from the tale, would be equally deceived. Shakspeare has no heroes ; his scenes are occupied only by men, who act and speak as the reader thinks that he should himself have spoken or acted on the same occasion; even where the agency is supernatural, the dialogue is level with life.

6. Other writers disguise the most natural passions and most frequent incidents ; so that he who contemplates them in the book, will not know them in the world; Shakspeare approximates the reluvw, and familiarizes the wonderful; the event which he represents, will not happen, but, if it were possible, its effects would probably be such as he has assigned; and it may be said, that he has not only shown human nature as it acts in real exigencies, but as it would be found in trials to which it cannot be exposed.

7. This, therefore, is the praise of Shakspeare, that his drama is the mirror of life; that he who has mazed his imagination, in following the phantoms which other writers raise up before him, may here be cured of his delirious ecstacies, by reading human sentiments in human language, by scenes from which a hermit may estimate the transactions of the world, and a confessor predict the progress of the passivus.

8. Shakspeare's plays are not, in the rigorous and critical sense, either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination ; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveler is hasting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolio of another; and many mischiefs and many benefits are done and hindered without design.

9. The force of his comic scenes has suffered little diminution

from the changes made by a century and a half, in manners or in words. As his personages act upon principles arising from genuine passion, very little modified by particular forms, their pleasures and vexations are communicable to all times and to all places; they are natural, and, therefore, durable: the adventitious peculiarities of personal habits are only superficial dyes, bright and pleasing for a little while, yet soon fading to a dim tinct, without any remains of former luster; but the discrimi. Lations of true passion are the colors of nature: they pervade the whole mass, and can only perish with the body that exhibits them.

10. The accidental compositions of heterogeneous* modes are dissolved by the chance which combined them; but the uniform simplicity of primitive qualities neither admits increase, nor suffers decay. The sand heaped by one flood is scattered by another, but the rock always continues in its place. The stream of time, which is continually washing the dissoluble fabrics of other poets, passes without injury by the adamant of Shakspeare.

11. If there be, what I believe there is, in every nation, a style which never becomes obsolete, a certain mode of phraseology so consonant and congenial to the analogy and principles of its respective language, as to remain settled and unaltered, this style is probably to be sought in the common intercourse of life, among those who speak only to be understood, without ambition of elegance. The polite are always catching modish innovations, and the learned depart from established forms of speech, in hope of finding or making better; those who wish for distinction, forsake the vulgar, when the vulgar is right; but there is a conversation above grossness, and below refinement, where propriety resides, and where this poet seems to have gathered his comic dialogue. He is, therefore, more agree. able to the ears of the present age than any other author equally remote, and, among his other excellencies, deserves to be studied, as one of the original masters of our language.

* For the analysis of this word, see Sanders & McElligott's Analysis of English Words, page 210


WILLIAM HAZLITT was born in Maidstone, England, in 1778, and died in London, in 1830. Few English writers have been more remarkable for bold, vigorous, and discriminating thought, than Hazlitt. The following is from ki “Characters of Shakspeare's Plays."


WILLIAM HAZLITT. 1. Hamlet is a name : his speeches and sayings but the idle coinage of the poet's brain. But are they not real? They are as real as our own thoughts. Their reality is in the reader's mind. It is we who are Hamlet. This play is a prophetic truth, which is above that of history. Whoever has become thoughtful and melancholy through his own mishaps or those of others; whoever has borne about with him the clouded brow of reflection, and thought himself “ too much i’ th' sun;" whoever has seen the golden lamp of day dimmed by envious mists rising in his own breast, and could find in the world before him only a dull blank, with nothing left remarkable in it; whoever has known “the pangs of despised love, the insolence of office, or the spurns which patient merit of the unworthy takes ;" he who has felt his mind sink within him, and sadness cling to his heart like a malady; who has had his hopes blighted and his youth staggered by the apparitions of strange things; who cannot be well at ease, while he sees evil hovering near him like a specter; whose powers of action have been eaten up by thought; he to whom the universe seems infinite, and himself nothing; whose bitterness of soul makes him careless of consequences. This is the true Hamlet.

2. We have been so used to this tragedy, that we hardly know how to criticise it, any more than we should know how to describe our own faces. But we must make such observations as we can. It is the one of Shakspeare's plays, that we think of oflenest, because it abounds most in striking reflections on human life, and because the distresses of Hamlet are transferred, by the turn of his mind, to the general account of humanity

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