Lectures on Dramatic Art - and Literature
by August Wilhelm Schlegel trans John Black
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As You Like It is a piece of an entirely different description. It would be difficult to bring the contents within the compass of an ordinary narrative; nothing takes place, or rather what is done is not so essential as what is said; even what may be called the dnouement is brought about pretty arbitrarily. Whoever can perceive nothing but what can as it were be counted on the fingers, will hardly be disposed to allow that it has any plan at all. Banishment and flight have assembled together, in the forest of Arden, a strange band: a Duke dethroned by his brother, who, with the faithful companions of his misfortune, lives in the wilds on the produce of the chase; two disguised Princesses, who love each other with a sisterly affection; a witty court fool; lastly, the native inhabitants of the forest, ideal and natural shepherds and shepherdesses. These lightly- sketched figures form a motley and diversified train; we see always the shady dark-green landscape in the background, and breathe in imagination the fresh air of the forest. The hours are here measured by no clocks, no regulated recurrence of duty or of toil: they flow on unnumbered by voluntary occupation or fanciful idleness, to which, according to his humour or disposition, every one yields himself, and this unrestrained freedom compensates them all for the lost conveniences of life. One throws himself down in solitary meditation under a tree, and indulges in melancholy reflections on the changes of fortune, the falsehood of the world, and the self-inflicted torments of social life; others make the woods resound with social and festive songs, to the accompaniment of their hunting-horns. Selfishness, envy, and ambition, have been left behind in the city; of all the human passions, love alone has found an entrance into this wilderness, where it dictates the same language alike to the simple shepherd and the chivalrous youth, who hangs his love-ditty to a tree. A prudish shepherdess falls at first sight in love with Rosalind, disguised in men's apparel; the latter sharply reproaches her with her severity to her poor lover, and the pain of refusal, which she feels from experience in her own case, disposes her at length to compassion and requital. The fool carries his philosophical contempt of external show, and his raillery of the illusion of love so far, that he purposely seeks out the ugliest and simplest country wench for a mistress. Throughout the whole picture, it seems to be the poet's design to show that to call forth the poetry which has its indwelling in nature and the human mind, nothing is wanted but to throw off all artificial constraint, and restore both to mind and nature their original liberty. In the very progress of the piece, the dreamy carelessness of such an existence is sensibly expressed: it is even alluded to by Shakspeare in the title. Whoever affects to be displeased, if in this romantic forest the ceremonial of dramatic art is not duly observed, ought in justice to be delivered over to the wise fool, to be led gently out of it to some prosaical region.

The Twelfth Night, or What you Will, unites the entertainment of an intrigue, contrived with great ingenuity, to a rich fund of comic characters and situations, and the beauteous colours of an ethereal poetry. In most of his plays, Shakspeare treats love more as an affair of the imagination than the heart; but here he has taken particular care to remind us that, in his language, the same word, fancy, signified both fancy and love. The love of the music-enraptured Duke for Olivia is not merely a fancy, but an imagination; Viola appears at first to fall arbitrarily in love with the Duke, whom she serves as a page, although she afterwards touches the tenderest strings of feeling; the proud Olivia is captivated by the modest and insinuating messenger of the Duke, in whom she is far from suspecting a disguised rival, and at last, by a second deception, takes the brother for the sister. To these, which I might call ideal follies, a contrast is formed by the naked absurdities to which the entertaining tricks of the ludicrous persons of the piece give rise, under the pretext also of love: the silly and profligate Knight's awkward courtship of Olivia, and her declaration of love to Viola; the imagination of the pedantic steward Malvolio, that his mistress is secretly in love with him, which carries him so far that he is at last shut up as a lunatic, and visited by the clown in the dress of a priest. These scenes are admirably conceived, and as significant as they are laughable. If this were really, as is asserted, Shakspeare's latest work, he must have enjoyed to the last the same youthful elasticity of mind, and have carried with him to the grave the undiminished fulness of his talents.

The Merry Wives of Windsor, though properly a comedy in the usual acceptation of the word, we shall pass over at present, till we come to speak of Henry the Fourth, that we may give our opinion of the character of Falstaff in connexion.

The Midsummer Night's Dream and The Tempest, may be in so far compared together that in both the influence of a wonderful world of spirits is interwoven with the turmoil of human passions and with the farcical adventures of folly. The Midsummer Night's Dream is certainly an earlier production; but The Tempest, according to all appearance, was written in Shakspeare's later days: hence most critics, on the supposition that the poet must have continued to improve with increasing maturity of mind, have honoured the last piece with a marked preference. I cannot, however, altogether concur with them: the internal merit of these two works are, in my opinion, pretty nearly balanced, and a predilection for the one or the other can only be governed by personal taste. In profound and original characterization the superiority of The Tempest is obvious: as a whole we must always admire the masterly skill which he has here displayed in the economy of his means, and the dexterity with which he has disguised his preparations,—the scaffoldings for the wonderful arial structure. In The Midsummer Night's Dream, on the other hand, there flows a luxuriant vein of the boldest and most fantastical invention; the most extraordinary combination of the most dissimilar ingredients seems to have been brought about without effort by some ingenious and lucky accident, and the colours are of such clear transparency that we think the whole of the variegated fabric may be blown away with a breath. The fairy world here described resembles those elegant pieces of arabesque, where little genii with butterfly wings rise, half embodied, above the flower-cups. Twilight, moonshine, dew, and spring perfumes, are the element of these tender spirits; they assist nature in embroidering her carpet with green leaves, many-coloured flowers, and glittering insects; in the human world they do but make sport childishly and waywardly with their beneficent or noxious influences. Their most violent rage dissolves in good-natured raillery; their passions, stripped of all earthly matter, are merely an ideal dream. To correspond with this, the loves of mortals are painted as a poetical enchantment, which, by a contrary enchantment, may be immediately suspended, and then renewed again. The different parts of the plot; the wedding of Theseus and Hippolyta, Oberon and Titania's quarrel, the flight of the two pair of lovers, and the theatrical manoeuvres of the mechanics, are so lightly and happily interwoven that they seem necessary to each other for the formation, of a whole. Oberon is desirous of relieving the lovers from their perplexities, but greatly adds to them through the mistakes of his minister, till he at last comes really to the aid of their fruitless amorous pain, their inconstancy and jealousy, and restores fidelity to its old rights. The extremes of fanciful and vulgar are united when the enchanted Titania awakes and falls in love with a coarse mechanic with an ass's head, who represents, or rather disfigures, the part of a tragical lover. The droll wonder of Bottom's transformation is merely the translation of a metaphor in its literal sense; but in his behaviour during the tender homage of the Fairy Queen we have an amusing proof how much the consciousness of such a head-dress heightens the effect of his usual folly. Theseus and Hippolyta are, as it were, a splendid frame for the picture; they take no part in the action, but surround it with a stately pomp. The discourse of the hero and his Amazon, as they course through the forest with their noisy hunting-train, works upon the imagination like the fresh breath of morning, before which the shapes of night disappear. Pyramus and Thisbe is not unmeaningly chosen as the grotesque play within the play; it is exactly like the pathetic part of the piece, a secret meeting of two lovers in the forest, and their separation by an unfortunate accident, and closes the whole with the most amusing parody.

The Tempest has little action or progressive movement; the union of Ferdinand and Miranda is settled at their first interview, and Prospero merely throws apparent obstacles in their way; the shipwrecked band go leisurely about the island; the attempts of Sebastian and Antonio on the life of the King of Naples, and the plot of Caliban and the drunken sailors against Prospero, are nothing but a feint, for we foresee that they will be completely frustrated by the magical skill of the latter; nothing remains therefore but the punishment of the guilty by dreadful sights which harrow up their consciences, and then the discovery and final reconciliation. Yet this want of movement is so admirably concealed by the most varied display of the fascinations of poetry, and the exhilaration of mirth, the details of the execution are so very attractive, that it requires no small degree of attention to perceive that the dnouement is, in some degree, anticipated in the exposition. The history of the loves of Ferdinand and Miranda, developed in a few short scenes, is enchantingly beautiful: an affecting union of chivalrous magnanimity on the one part, and on the other of the virgin openness of a heart which, brought up far from the world on an uninhabited island, has never learned to disguise its innocent movements. The wisdom of the princely hermit Prospero has a magical and mysterious air; the disagreeable impression left by the black falsehood of the two usurpers is softened by the honest gossipping of the old and faithful Gonzalo; Trinculo and Stephano, two good-for-nothing drunkards, find a worthy associate in Caliban; and Ariel hovers sweetly over the whole as the personified genius of the wonderful fable.

Caliban has become a by-word as the strange creation of a poetical imagination. A mixture of gnome and savage, half daemon, half brute, in his behaviour we perceive at once the traces of his native disposition, and the influence of Prospero's education. The latter could only unfold his understanding, without, in the slightest degree, taming his rooted malignity: it is as if the use of reason and human speech were communicated to an awkward ape. In inclination Caliban is maliciously cowardly, false, and base; and yet he is essentially different from the vulgar knaves of a civilized world, as portrayed occasionally by Shakspeare. He is rude, but not vulgar; he never falls into the prosaic and low familiarity of his drunken associates, for he is, in his way, a poetical being; he always speaks in verse. He has picked up every thing dissonant and thorny in language to compose out of it a vocabulary of his own; and of the whole variety of nature, the hateful, repulsive, and pettily deformed, have alone been impressed on his imagination. The magical world of spirits, which the staff of Prospero has assembled on the island, casts merely a faint reflection into his mind, as a ray of light which falls into a dark cave, incapable of communicating to it either heat or illumination, serves merely to set in motion the poisonous vapours. The delineation of this monster is throughout inconceivably consistent and profound, and, notwithstanding its hatefulness, by no means hurtful to our feelings, as the honour of human nature is left untouched.

In the zephyr-like Ariel the image of air is not to be mistaken, his name even bears an allusion to it; as, on the other hand Caliban signifies the heavy element of earth. Yet they are neither of them simple, allegorical personifications but beings individually determined. In general we find in The Midsummer Night's Dream, in The Tempest, in the magical part of Macbeth, and wherever Shakspeare avails himself of the popular belief in the invisible presence of spirits, and the possibility of coming in contact with them, a profound view of the inward life of nature and her mysterious springs, which, it is true, can never be altogether unknown to the genuine poet, as poetry is altogether incompatible with mechanical physics, but which few have possessed in an equal degree with Dante and himself.

The Winter's Tale is as appropriately named as The Midsummer Night's Dream. It is one of those tales which are peculiarly calculated to beguile the dreary leisure of a long winter evening, and are even attractive and intelligible to childhood, while animated by fervent truth in the delineation of character and passion, and invested with the embellishments of poetry lowering itself, as it were, to the simplicity of the subject, they transport even manhood back to the golden age of imagination. The calculation of probabilities has nothing to do with such wonderful and fleeting adventures, when all end at last in universal joy; and, accordingly, Shakspeare has here taken the greatest license of anachronisms and geographical errors; not to mention other incongruities, he opens a free navigation between Sicily and Bohemia, makes Giulio Romano the contemporary of the Delphic oracle. The piece divides itself in some degree into two plays. Leontes becomes suddenly jealous of his royal bosom-friend Polyxenes, who is on a visit to his court; makes an attempt on his life, from which Polyxenes only saves himself by a clandestine flight;—Hermione, suspected of infidelity, is thrown into prison, and the daughter which she there brings into the world is exposed on a remote coast;—the accused Queen, declared innocent by the oracle, on learning that her infant son has pined to death on her account, falls down in a swoon, and is mourned as dead by her husband, who becomes sensible, when too late, of his error: all this makes up the three first acts. The last two are separated from these by a chasm of sixteen years; but the foregoing tragical catastrophe was only apparent, and this serves to connect the two parts. The Princess, who has been exposed on the coast of Polyxenes's kingdom, grows up among low shepherds; but her tender beauty, her noble manners, and elevation of sentiment, bespeak her descent; the Crown Prince Florizel, in the course of his hawking, falls in with her, becomes enamoured, and courts her in the disguise of a shepherd; at a rural entertainment Polyxenes discovers their attachment, and breaks out into a violent rage; the two lovers seek refuge from his persecutions at the court of Leontes in Sicily, where the discovery and general reconciliation take place. Lastly, when Leontes beholds, as he imagines, the statue of his lost wife, it descends from the niche: it is she herself, the still living Hermione, who has kept herself so long concealed; and the piece ends with universal rejoicing. The jealousy of Leontes is not, like that of Othello, developed through all its causes, symptoms and variations; it is brought forward at once full grown and mature, and is portrayed as a distempered frenzy. It is a passion whose effects the spectator is more concerned with than with its origin, and which does not produce the catastrophe, but merely ties the knot of the piece. In fact, the poet might perhaps have wished slightly to indicate that Hermione, though virtuous, was too warm in her efforts to please Polyxenes; and it appears as if this germ of inclination first attained its proper maturity in their children. Nothing can be more fresh and youthful, nothing at once so ideally pastoral and princely as the love of Florizel and Perdita; of the prince, whom love converts into a voluntary shepherd; and the princess, who betrays her exalted origin without knowing it, and in whose hands nosegays become crowns. Shakspeare has never hesitated to place ideal poetry side by side of the most vulgar prose: and in the world of reality also this is generally the case. Perdita's foster- father and his son are both made simple boors, that we may the more distinctly see how all that ennobles her belongs only to herself. Autolycus, the merry pedlar and pickpocket, so inimitably portrayed, is necessary to complete the rustic feast, which Perdita on her part seems to render meet for an assemblage of gods in disguise.

Cymbeline is also one of Shakspeare's most wonderful compositions. He has here combined a novel of Boccacio's with traditionary tales of the ancient Britons reaching back to the times of the first Roman Emperors, and he has contrived, by the most gentle transitions, to blend together into one harmonious whole the social manners of the newest times with olden heroic deeds, and even with appearances of the gods.

In the character of Imogen no one feature of female excellence is omitted: her chaste tenderness, her softness, and her virgin pride, her boundless resignation, and her magnanimity towards her mistaken husband, by whom she is unjustly persecuted, her adventures in disguise, her apparent death, and her recovery, form altogether a picture equally tender and affecting. The two Princes, Guiderius and Arviragus, both educated in the wilds, form a noble contrast to Miranda and Perdita. Shakspeare is fond of showing the superiority of the natural over the artificial. Over the art which enriches nature, he somewhere says, there is a higher art created by nature herself. [Footnote: The passage in Shakspeare here quoted, taken with the context, will not bear the construction of the author. The whole runs thus:— Yet nature is made better by no mean, But nature makes that mean: so, o'er that art Which you say adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock; And make conceive a bark of baser kind By bud of nobler race: this is an art Which does mend nature, change it rather; but The art itself is nature. Winter's Tale, Act iv. sc. 3. Shakspeare does not here mean to institute a comparison between the relative excellency of that which is innate and that which we owe to instruction; but merely says, that the instruction or art is itself a part of nature. The speech is addressed by Polyxenes to Perdita, to persuade her that the changes effected in the appearance of flowers by the art of the gardener are not to be accounted unnatural; and the expression of making conceive a bark of baser kind by bud of nobler race (i.e., engrafting), would rather lead to the inference, that the mind derived its chief value from the influence of culture.—TRANS.] As Miranda's unconscious and unstudied sweetness is more pleasing than those charms which endeavour to captivate us by the brilliant embellishments of a refined cultivation, so in these two youths, to whom the chase has given vigour and hardihood, but who are ignorant of their high destination, and have been brought up apart from human society, we are equally enchanted by a nave heroism which leads them to anticipate and to dream of deeds of valour, till an occasion is offered which they are irresistibly compelled to embrace. When Imogen comes in disguise to their cave; when, with all the innocence of childhood, Guiderius and Arviragus form an impassioned friendship for the tender boy, in whom they neither suspect a female nor their own sister; when, on their return from the chase, they find her dead, then "sing her to the ground," and cover the grave with flowers:—these scenes might give to the most deadened imagination a new life for poetry. If a tragical event is only apparent, in such case, whether the spectators are already aware of it or ought merely to suspect it, Shakspeare always knows how to mitigate the impression without weakening it: he makes the mourning musical, that it may gain in solemnity what it loses in seriousness. With respect to the other parts, the wise and vigorous Belarius, who after long living as a hermit again becomes a hero, is a venerable figure; the Italian Iachimo's ready dissimulation and quick presence of mind is quite suitable to the bold treachery which he plays; Cymbeline, the father of Imogen, and even her husband Posthumus, during the first half of the piece, are somewhat sacrificed, but this could not be otherwise; the false and wicked Queen is merely an instrument of the plot; she and her stupid son Cloton (the only comic part in the piece) whose rude arrogance is portrayed with much humour, are, before the conclusion, got rid of by merited punishment. As for the heroical part of the fable, the war between the Romans and Britons, which brings on the dnouement, the poet in the extent of his plan had so little room to spare, that he merely endeavours to represent it as a mute procession. But to the last scene, where all the numerous threads of the knot are untied, he has again given its full development, that he might collect together into one focus the scattered impressions of the whole. This example and many others are a sufficient refutation of Johnson's assertion, that Shakspeare usually hurries over the conclusion of his pieces. Rather does he, from a desire to satisfy the feelings, introduce a great deal which, so far as the understanding of the dnouement requires, might in a strict sense be justly spared: our modern spectators are much more impatient to see the curtain drop, when there is nothing more to be determined, than those of his day could have been.


Criticisms on Shakspeare's Tragedies.

Romeo and Juliet, and Othello, differ from most of the pieces which we have hitherto examined, neither in the ingredients of the composition, nor in the manner of treating them: it is merely the direction of the whole that gives them the stamp of Tragedy. Romeo and Juliet is a picture of love and its pitiable fate, in a world whose atmosphere is too sharp for this the tenderest blossom of human life. Two beings created for each other feel mutual love at the first glance; every consideration disappears before the irresistible impulse to live in one another; under circumstances hostile in the highest degree to their union, they unite themselves by a secret marriage, relying simply on the protection of an invisible power. Untoward incidents following in rapid succession, their heroic constancy is within a few days put to the proof, till, forcibly separated from each other, by a voluntary death they are united in the grave to meet again in another world. All this is to be found in the beautiful story which Shakspeare has not invented, and which, however simply told, will always excite a tender sympathy: but it was reserved for Shakspeare to join in one ideal picture purity of heart with warmth of imagination; sweetness and dignity of manners with passionate intensity of feeling. Under his handling, it has become a glorious song of praise on that inexpressible feeling which ennobles the soul and gives to it its highest sublimity, and which elevates even the senses into soul, while at the same time it is a melancholy elegy on its inherent and imparted frailty; it is at once the apotheosis and the obsequies of love. It appears here a heavenly spark, that, as it descends to the earth, is converted into the lightning flash, which almost in the same moment sets on fire and consumes the mortal being on whom it lights. All that is most intoxicating in the odour of a southern spring,—all that is languishing in the song of the nightingale, or voluptuous in the first opening of the rose, all alike breathe forth from this poem. But even more rapidly than the earliest blossoms of youth and beauty decay, does it from the first timidly-bold declaration and modest return of love hurry on to the most unlimited passion, to an irrevocable union; and then hastens, amidst alternating storms of rapture and despair, to the fate of the two lovers, who yet appear enviable in their hard lot, for their love survives them, and by their death they have obtained an endless triumph over every separating power. The sweetest and the bitterest love and hatred, festive rejoicings and dark forebodings, tender embraces and sepulchral horrors, the fulness of life and self-annihilation, are here all brought close to each other; and yet these contrasts are so blended into a unity of impression, that the echo which the whole leaves behind in the mind resembles a single but endless sigh.

The excellent dramatic arrangement, the significance of every character in its place, the judicious selection of all the circumstances, even the most minute, have already been dwelt upon in detail. I shall only request attention to a trait which may serve for an example of the distance to which Shakspeare goes back to lay the preparatory foundation. The most striking and perhaps incredible circumstance in the whole story is the liquor given by the Monk to Julia, by which she for a number of hours not merely sleeps, but fully resembles a corpse, without however receiving the least injury. How does the poet dispose us to believe that Father Lorenzo possesses such a secret?—At his first appearance he exhibits him in a garden, where he is collecting herbs and descanting on their wonderful virtues. The discourse of the pious old man is full of deep meaning: he sees everywhere in nature emblems of the moral world; the same wisdom with which he looks through her has also made him master of the human heart. In this manner a circumstance of an ungrateful appearance, has become the source of a great beauty.

If Romeo and Juliet shines with the colours of the dawn of morning, but a dawn whose purple clouds already announce the thunder of a sultry day, Othello is, on the other hand, a strongly shaded picture: we might call it a tragical Rembrandt. What a fortunate mistake that the Moor (under which name in the original novel, a baptized Saracen of the Northern coast of Africa was unquestionably meant), has been made by Shakspeare in every respect a negro! We recognize in Othello the wild nature of that glowing zone which generates the most ravenous beasts of prey and the most deadly poisons, tamed only in appearance by the desire of fame, by foreign laws of honour, and by nobler and milder manners. His jealousy is not the jealousy of the heart, which is compatible with the tenderest feeling and adoration of the beloved object; it is of that sensual kind which, in burning climes, has given birth to the disgraceful confinement of women and many other unnatural usages. A drop of this poison flows in his veins, and sets his whole blood in the wildest ferment. The Moor seems noble, frank, confiding, grateful for the love shown him; and he is all this, and, moreover, a hero who spurns at danger, a worthy leader of an army, a faithful servant of the state; but the mere physical force of passion puts to flight in one moment all his acquired and mere habitual virtues, and gives the upper hand to the savage over the moral man. This tyranny of the blood over the will betrays itself even in the expression of his desire of revenge upon Cassio. In his repentance, a genuine tenderness for his murdered wife, and in the presence of the damning evidence of his deed, the painful feeling of annihilated honour at last bursts forth; and in the midst of these painful emotions he assails himself with the rage wherewith a despot punishes a runaway slave. He suffers as a double man; at once in the higher and the lower sphere into which his being was divided.—While the Moor bears the nightly colour of suspicion and deceit only on his visage, Iago is black within. He haunts Othello like his evil genius, and with his light (and therefore the more dangerous,) insinuations, he leaves him no rest; it is as if by means of an unfortunate affinity, founded however in nature, this influence was by necessity more powerful over him than the voice of his good angel Desdemona. A more artful villain than this Iago was never portrayed; he spreads his nets with a skill which nothing can escape. The repugnance inspired by his aims becomes tolerable from the attention of the spectators being directed to his means: these furnish endless employment to the understanding. Cool, discontented, and morose, arrogant where he dare be so, but humble and insinuating when it suits his purposes, he is a complete master in the art of dissimulation; accessible only to selfish emotions, he is thoroughly skilled in rousing the passions of others, and of availing himself of every opening which they give him: he is as excellent an observer of men as any one can be who is unacquainted with higher motives of action from his own experience; there is always some truth in his malicious observations on them. He does not merely pretend an obdurate incredulity as to the virtue of women, he actually entertains it; and this, too, falls in with his whole way of thinking, and makes him the more fit for the execution of his purpose. As in every thing he sees merely the hateful side, he dissolves in the rudest manner the charm which the imagination casts over the relation between the two sexes: he does so for the purpose of revolting Othello's senses, whose heart otherwise might easily have convinced him of Desdemona's innocence. This must serve as an excuse for the numerous expressions in the speeches of Iago from which modesty shrinks. If Shakespeare had written in our days he would not perhaps have dared to hazard them; and yet this must certainly have greatly injured the truth of his picture. Desdemona is a sacrifice without blemish. She is not, it is true, a high ideal representation of sweetness and enthusiastic passion like Juliet; full of simplicity, softness, and humility, and so innocent, that she can hardly form to herself an idea of the possibility of infidelity, she seems calculated to make the most yielding and tenderest of wives. The female propensity wholly to resign itself to a foreign destiny has led her into the only fault of her life, that of marrying without her father's consent. Her choice seems wrong; and yet she has been gained over to Othello by that which induces the female to honour in man her protector and guide,— admiration of his determined heroism, and compassion for the sufferings which he had undergone. With great art it is so contrived, that from the very circumstance that the possibility of a suspicion of her own purity of motive never once enters her mind, she is the less reserved in her solicitations for Cassio, and thereby does but heighten more and more the jealousy of Othello. To throw out still more clearly the angelic purity of Desdemona, Shakspeare has in Emilia associated with her a companion of doubtful virtue. From the sinful levity of this woman it is also conceivable that she should not confess the abstraction of the handkerchief when Othello violently demands it back: this would otherwise be the circumstance in the whole piece the most difficult to justify. Cassio is portrayed exactly as he ought to be to excite suspicion without actual guilt,—amiable and nobly disposed, but easily seduced. The public events of the first two acts show us Othello in his most glorious aspect, as the support of Venice and the terror of the Turks: they serve to withdraw the story from the mere domestic circle, just as this is done in Romeo and Juliet by the dissensions between the houses of Montague and Capulet. No eloquence is capable of painting the overwhelming force of the catastrophe in Othello,—the pressure of feelings which measure out in a moment the abysses of eternity.

Hamlet is singular in its kind: a tragedy of thought inspired by continual and never-satisfied meditation on human destiny and the dark perplexity of the events of this world, and calculated to call forth the very same meditation in the minds of the spectators. This enigmatical work resembles those irrational equations in which a fraction of unknown magnitude always remains, that will in no way admit of solution. Much has been said, much written, on this piece, and yet no thinking head who anew expresses himself on it, will (in his view of the connexion and the signification of all the parts) entirely coincide with his predecessors. What naturally most astonishes us, is the fact that with such hidden purposes, with a foundation laid in such unfathomable depth, the whole should, at a first view, exhibit an extremely popular appearance. The dread appearance of the Ghost takes possession of the mind and the imagination almost at the very commencement; then the play within the play, in which, as in a glass, we see reflected the crime, whose fruitlessly attempted punishment constitutes the subject-matter of the piece; the alarm with which it fills the King; Hamlet's pretended and Ophelia's real madness; her death and burial; the meeting of Hamlet and Laertes at her grave; their combat, and the grand determination; lastly, the appearance of the young hero Fortinbras, who, with warlike pomp, pays the last honours to an extinct family of kings; the interspersion of comic characteristic scenes with Polonius, the courtiers, and the grave-diggers, which have all of them their signification,—all this fills the stage with an animated and varied movement. The only circumstance from which this piece might be judged to be less theatrical than other tragedies of Shakspeare is, that in the last scenes the main action either stands still or appears to retrograde. This, however, was inevitable, and lay in the nature of the subject. The whole is intended to show that a calculating consideration, which exhausts all the relations and possible consequences of a deed, must cripple the power of acting; as Hamlet himself expresses it:—

And thus the native hue of resolution Is sicklied o'er with the pale cast of thought; And enterprises of great pith and moment, With this regard, their currents turn awry, And lose the name of action.

With respect to Hamlet's character: I cannot, as I understand the poet's views, pronounce altogether so favourable a sentence upon it as Goethe does. He is, it is true, of a highly cultivated mind, a prince of royal manners, endowed with the finest sense of propriety, susceptible of noble ambition, and open in the highest degree to an enthusiastic admiration of that excellence in others of which he himself is deficient. He acts the part of madness with unrivalled power, convincing the persons who are sent to examine into his supposed loss of reason, merely by telling them unwelcome truths, and rallying them with the most caustic wit. But in the resolutions which he so often embraces and always leaves unexecuted, his weakness is too apparent: he does himself only justice when he implies that there is no greater dissimilarity than between himself and Hercules. He is not solely impelled by necessity to artifice and dissimulation, he has a natural inclination for crooked ways; he is a hypocrite towards himself; his far-fetched scruples are often mere pretexts to cover his want of determination: thoughts, as he says on a different occasion, which have

——but one part wisdom And ever three parts coward.——-

He has been chiefly condemned both for his harshness in repulsing the love of Ophelia, which he himself had cherished, and for his insensibility at her death. But he is too much overwhelmed with his own sorrow to have any compassion to spare for others; besides his outward indifference gives us by no means the measure of his internal perturbation. On the other hand, we evidently perceive in him a malicious joy, when he has succeeded in getting rid of his enemies, more through necessity and accident, which alone are able to impel him to quick and decisive measures, than by the merit of his own courage, as he himself confesses after the murder of Polonius, and with respect to Rosencrantz and Guildenstern. Hamlet has no firm belief either in himself or in anything else: from expressions of religious confidence he passes over to sceptical doubts; he believes in the Ghost of his father as long as he sees it, but as soon as it has disappeared, it appears to him almost in the light of a deception. [Footnote: It has been censured as a contradiction, that Hamlet in the soliloquy on self-murder should say, The undiscover'd country, from whose bourn No traveller returns——- For was not the Ghost a returned traveller? Shakspeare, however, purposely wished to show, that Hamlet could not fix himself in any conviction of any kind whatever.] He has even gone so far as to say, "there is nothing either good or bad, but thinking makes it so;" with him the poet loses himself here in labyrinths of thought, in which neither end nor beginning is discoverable. The stars themselves, from the course of events, afford no answer to the question so urgently proposed to them. A voice from another world, commissioned it would appear, by heaven, demands vengeance for a monstrous enormity, and the demand remains without effect; the criminals are at last punished, but, as it were, by an accidental blow, and not in the solemn way requisite to convey to the world a warning example of justice; irresolute foresight, cunning treachery, and impetuous rage, hurry on to a common destruction; the less guilty and the innocent are equally involved in the general ruin. The destiny of humanity is there exhibited as a gigantic Sphinx, which threatens to precipitate into the abyss of scepticism all who are unable to solve her dreadful enigmas.

As one example of the many niceties of Shakspeare which have never been understood, I may allude to the style in which the player's speech about Hecuba is conceived. It has been the subject of much controversy among the commentators, whether this was borrowed by Shakspeare from himself or from another, and whether, in the praise of the piece of which it is supposed to be a part, he was speaking seriously, or merely meant to ridicule the tragical bombast of his contemporaries. It seems never to have occurred to them that this speech must not be judged of by itself, but in connexion with the place where it is introduced. To distinguish it in the play itself as dramatic poetry, it was necessary that it should rise above the dignified poetry of the former in the same proportion that generally theatrical elevation soars above simple nature. Hence Shakspeare has composed the play in Hamlet altogether in sententious rhymes full of antitheses. But this solemn and measured tone did not suit a speech in which violent emotion ought to prevail, and the poet had no other expedient than the one of which he made choice: overcharging the pathos. The language of the speech in question is certainly falsely emphatical; but yet this fault is so mixed up with true grandeur, that a player practised in artificially calling forth in himself the emotion he is imitating, may certainly be carried away by it. Besides, it will hardly be believed that Shakspeare knew so little of his art, as not to be aware that a tragedy in which Aeneas had to make a lengthy epic relation of a transaction that happened so long before as the destruction of Troy, could neither be dramatical nor theatrical.

Of Macbeth I have already spoken once in passing, and who could exhaust the praises of this sublime work? Since The Eumenides of Aeschylus, nothing so grand and terrible has ever been written. The witches are not, it is true, divine Eumenides, and are not intended to be: they are ignoble and vulgar instruments of hell. A German poet, therefore, very ill understood their meaning, when he transformed them into mongrel beings, a mixture of fates, furies, and enchantresses, and clothed them with tragic dignity. Let no man venture to lay hand on Shakspeare's works thinking to improve anything essential: he will be sure to punish himself. The bad is radically odious, and to endeavour in any manner to ennoble it, is to violate the laws of propriety. Hence, in my opinion, Dante, and even Tasso, have been much more successful in their portraiture of daemons than Milton. Whether the age of Shakspeare still believed in ghosts and witches, is a matter of perfect indifference for the justification of the use which in Hamlet and Macbeth he has made of pre-existing traditions.

No superstition can be widely diffused without having a foundation in human nature: on this the poet builds; he calls up from their hidden abysses that dread of the unknown, that presage of a dark side of nature, and a world of spirits, which philosophy now imagines it has altogether exploded. In this manner he is in some degree both the portrayer and the philosopher of superstition; that is, not the philosopher who denies and turns it into ridicule, but, what is still more difficult, who distinctly exhibits its origin in apparently irrational and yet natural opinions. But when he ventures to make arbitrary changes in these popular traditions, he altogether forfeits his right to them, and merely holds up his own idle fancies to our ridicule. Shakspeare's picture of the witches is truly magical: in the short scenes where they enter, he has created for them a peculiar language, which, although composed of the usual elements, still seems to be a collection of formulae of incantation. The sound of the words, the accumulation of rhymes, and the rhythmus of the verse, form, as it were, the hollow music of a dreary witch-dance. He has been abused for using the names of disgusting objects; but he who fancies the kettle of the witches can be made effective with agreeable aromatics, is as wise as those who desire that hell should sincerely and honestly give good advice. These repulsive things, from which the imagination shrinks, are here emblems of the hostile powers which operate in nature; and the repugnance of our senses is outweighed by the mental horror. With one another the witches discourse like women of the very lowest class; for this was the class to which witches were ordinarily supposed to belong: when, however, they address Macbeth they assume a loftier tone: their predictions, which they either themselves pronounce, or allow their apparitions to deliver, have all the obscure brevity, the majestic solemnity of oracles.

We here see that the witches are merely instruments; they are governed by an invisible spirit, or the operation of such great and dreadful events would be above their sphere. With what intent did Shakspeare assign the same place to them in his play, which they occupy in the history of Macbeth as related in the old chronicles? A monstrous crime is committed: Duncan, a venerable old man, and the best of kings, is, in defenceless sleep, under the hospitable roof, murdered by his subject, whom he has loaded with honours and rewards. Natural motives alone seem inadequate, or the perpetrator must have been portrayed as a hardened villain. Shakspeare wished to exhibit a more sublime picture: an ambitious but noble hero, yielding to a deep-laid hellish temptation; and in whom all the crimes to which, in order to secure the fruits of his first crime, he is impelled by necessity, cannot altogether eradicate the stamp of native heroism. He has, therefore, given a threefold division to the guilt of that crime. The first idea comes from that being whose whole activity is guided by a lust of wickedness. The weird sisters surprise Macbeth in the moment of intoxication of victory, when his love of glory has been gratified; they cheat his eyes by exhibiting to him as the work of fate what in reality can only be accomplished by his own deed, and gain credence for all their words by the immediate fulfilment of the first prediction. The opportunity of murdering the King immediately offers; the wife of Macbeth conjures him not to let it slip; she urges him on with a fiery eloquence, which has at command all those sophisms that serve to throw a false splendour over crime. Little more than the mere execution falls to the share of Macbeth; he is driven into it, as it were, in a tumult of fascination. Repentance immediately follows, nay, even precedes the deed, and the stings of conscience leave him rest neither night nor day. But he is now fairly entangled in the snares of hell; truly frightful is it to behold that same Macbeth, who once as a warrior could spurn at death, now that he dreads the prospect of the life to come [Footnote: We'd jump the life to come.], clinging with growing anxiety to his earthly existence the more miserable it becomes, and pitilessly removing out of the way whatever to his dark and suspicious mind seems to threaten danger. However much we may abhor his actions, we cannot altogether refuse to compassionate the state of his mind; we lament the ruin of so many noble qualities, and even in his last defence we are compelled to admire the struggle of a brave will with a cowardly conscience. We might believe that we witness in this tragedy the over-ruling destiny of the ancients represented in perfect accordance with their ideas: the whole originates in a supernatural influence, to which the subsequent events seem inevitably linked. Moreover, we even find here the same ambiguous oracles which, by their literal fulfilment, deceive those who confide in them. Yet it may be easily shown that the poet has, in his work, displayed more enlightened views. He wishes to show that the conflict of good and evil in this world can only take place by the permission of Providence, which converts the curse that individual mortals draw down on their heads into a blessing to others. An accurate scale is followed in the retaliation. Lady Macbeth, who of all the human participators in the king's murder is the most guilty, is thrown by the terrors of her conscience into a state of incurable bodily and mental disease; she dies, unlamented by her husband, with all the symptoms of reprobation. Macbeth is still found worthy to die the death of a hero on the field of battle. The noble Macduff is allowed the satisfaction of saving his country by punishing with his own hand the tyrant who had murdered his wife and children. Banquo, by an early death, atones for the ambitious curiosity which prompted the wish to know his glorious descendants, as he thereby has roused Macbeth's jealousy; but he preserved his mind pure from the evil suggestions of the witches: his name is blessed in his race, destined to enjoy for a long succession of ages that royal dignity which Macbeth could only hold for his own life. In the progress of the action, this piece is altogether the reverse of Hamlet: it strides forward with amazing rapidity, from the first catastrophe (for Duncan's murder may be called a catastrophe) to the last. "Thought, and done!" is the general motto; for as Macbeth says,

The flighty purpose never is o'ertook, Unless the deed go with it.

In every feature we see an energetic heroic age, in the hardy North which steels every nerve. The precise duration of the action cannot be ascertained,—years perhaps, according to the story; but we know that to the imagination the most crowded time appears always the shortest. Here we can hardly conceive how so very much could ever have been compressed into so narrow a space; not merely external events,—the very inmost recesses in the minds of the dramatic personages are laid open to us. It is as if the drags were taken from the wheels of time, and they rolled along without interruption in their descent. Nothing can equal this picture in its power to excite terror. We need only allude to the circumstances attending the murder of Duncan, the dagger that hovers before the eyes of Macbeth, the vision of Banquo at the feast, the madness of Lady Macbeth; what can possibly be said on the subject that will not rather weaken the impression they naturally leave? Such scenes stand alone, and are to be found only in this poet; otherwise the tragic muse might exchange her mask for the head of Medusa.

I wish merely to point out as a secondary circumstance the prudent dexterity of Shakspeare, who could still contrive to flatter a king by a work in every part of whose plan nevertheless the poetical views are evident. James the First drew his lineage from Banquo; he was the first who united the threefold sceptre of England, Scotland, and Ireland: this is foreshown in the magical vision, when a long series of glorious successors is promised to Banquo. Even the gift of the English kings to heal certain maladies by the touch, which James pretended to have inherited from Edward [Footnote: The naming of Edward the Confessor gives us at the same time the epoch in which these historically accredited transactions are made to take place. The ruins of Macbeth's palace are yet standing at Inverness; the present Earls of Fife are the descendants of the valiant Macduff, and down to the union of Scotland with England they were in the enjoyment of peculiar privileges for their services to the crown.] the Confessor, and on which he set a great value, is brought in very naturally.—With such occasional matters we may well allow ourselves to be pleased without fearing from them any danger to poetry: by similar allusions Aeschylus endeavoured to recommend the Areopagus to his fellow- citizens, and Sophocles to celebrate the glory of Athens.

As in Macbeth terror reaches its utmost height, in King Lear the science of compassion is exhausted. The principal characters here are not those who act, but those who suffer. We have not in this, as in most tragedies, the picture of a calamity in which the sudden blows of fate seem still to honour the head which they strike, and where the loss is always accompanied by some flattering consolation in the memory of the former possession; but a fall from the highest elevation into the deepest abyss of misery, where humanity is stripped of all external and internal advantages, and given up a prey to naked helplessness. The threefold dignity of a king, an old man, and a father, is dishonoured by the cruel ingratitude of his unnatural daughters; the old Lear, who out of a foolish tenderness has given away every thing, is driven out to the world a wandering beggar; the childish imbecility to which he was fast advancing changes into the wildest insanity, and when he is rescued from the disgraceful destitution to which he was abandoned, it is too late: the kind consolations of filial care and attention and of true friendship are now lost on him; his bodily and mental powers are destroyed beyond all hope of recovery, and all that now remains to him of life is the capability of loving and suffering beyond measure. What a picture we have in the meeting of Lear and Edgar in a tempestuous night and in a wretched hovel! The youthful Edgar has, by the wicked arts of his brother, and through his father's blindness, fallen, as the old Lear, from the rank to which his birth entitled him; and, as the only means of escaping further persecution, is reduced to assume the disguise of a beggar tormented by evil spirits. The King's fool, notwithstanding the voluntary degradation which is implied in his situation, is, after Kent, Lear's most faithful associate, his wisest counsellor. This good-hearted fool clothes reason with the livery of his motley garb; the high-born beggar acts the part of insanity; and both, were they even in reality what they seem, would still be enviable in comparison with the King, who feels that the violence of his grief threatens to overpower his reason. The meeting of Edgar with the blinded Gloster is equally heart-rending; nothing can be more affecting than to see the ejected son become the father's guide, and the good angel, who under the disguise of insanity, saves him by an ingenious and pious fraud from the horror and despair of self-murder. But who can possibly enumerate all the different combinations and situations by which our minds are here as it were stormed by the poet? Respecting the structure of the whole I will only make one observation. The story of Lear and his daughters was left by Shakspeare exactly as he found it in a fabulous tradition, with all the features characteristical of the simplicity of old times. But in that tradition there is not the slightest trace of the story of Gloster and his sons, which was derived by Shakspeare from another source. The incorporation of the two stories has been censured as destructive of the unity of action. But whatever contributes to the intrigue or the dnouement must always possess unity. And with what ingenuity and skill are the two main parts of the composition dovetailed into one another! The pity felt by Gloster for the fate of Lear becomes the means which enables his son Edmund to effect his complete destruction, and affords the outcast Edgar an opportunity of being the saviour of his father. On the other hand, Edmund is active in the cause of Regan and Gonerill, and the criminal passion which they both entertain for him induces them to execute justice on each other and on themselves. The laws of the drama have therefore been sufficiently complied with; but that is the least: it is the very combination which constitutes the sublime beauty of the work. The two cases resembles each other in the main: an infatuated father is blind towards his well-disposed child, and the unnatural children, whom he prefers, requite him by the ruin of all his happiness. But all the circumstances are so different, that these stories, while they each make a correspondent impression on the heart, form a complete contrast for the imagination. Were Lear alone to suffer from his daughters, the impression would be limited to the powerful compassion felt by us for his private misfortune. But two such unheard-of examples taking place at the same time have the appearance of a great commotion in the moral world: the picture becomes gigantic, and fills us with such alarm as we should entertain at the idea that the heavenly bodies might one day fall from their appointed orbits. To save in some degree the honour of human nature, Shakspeare never wishes his spectators to forget that the story takes place in a dreary and barbarous age: he lays particular stress on the circumstance that the Britons of that day were still heathens, although he has not made all the remaining circumstances to coincide learnedly with the time which he has chosen. From this point of view we must judge of many coarsenesses in expression and manners; for instance, the immodest manner in which Gloster acknowledges his bastard, Kent's quarrel with the Steward, and more especially the cruelty personally inflicted on Gloster by the Duke of Cornwall. Even the virtue of the honest Kent bears the stamp of an iron age, in which the good and the bad display the same uncontrollable energy. Great qualities have not been superfluously assigned to the King; the poet could command our sympathy for his situation, without concealing what he had done to bring himself into it. Lear is choleric, overbearing, and almost childish from age, when he drives out his youngest daughter because she will not join in the hypocritical exaggerations of her sisters. But he has a warm and affectionate heart, which is susceptible of the most fervent gratitude; and even rays of a high and kingly disposition burst forth from the eclipse of his understanding. Of Cordelia's heavenly beauty of soul, painted in so few words, I will not venture to speak; she can only be named in the same breath with Antigone. Her death has been thought too cruel; and in England the piece is in acting so far altered that she remains victorious and happy. I must own, I cannot conceive what ideas of art and dramatic connexion those persons have who suppose that we can at pleasure tack a double conclusion to a tragedy; a melancholy one for hard- hearted spectators, and a happy one for souls of a softer mould. After surviving so many sufferings, Lear can only die; and what more truly tragic end for him than to die from grief for the death of Cordelia? and if he is also to be saved and to pass the remainder of his days in happiness, the whole loses its signification. According to Shakspeare's plan the guilty, it is true, are all punished, for wickedness destroys itself; but the virtues that would bring help and succour are everywhere too late, or overmatched by the cunning activity of malice. The persons of this drama have only such a faint belief in Providence as heathens may be supposed to have; and the poet here wishes to show us that this belief requires a wider range than the dark pilgrimage on earth to be established in full extent.


Criticisms on Shakspeare's Historical Dramas.

The five tragedies of which I have just spoken are deservedly the most celebrated of all the works of Shakspeare. In the three last, more especially, we have a display of a loftiness of genius which may almost be said to surpass the powers of human nature: the mind is as much lost in the contemplation of all the heights and depths of these works as our feelings are overpowered by the first impression which they produce. Of his historical plays, however, some possess a high degree of tragical perfection, and all are distinguished by peculiar excellencies.

In the three Roman pieces, Coriolanus, Julius Caesar, and Antony and Cleopatra, the moderation with which Shakspeare excludes foreign appendages and arbitrary suppositions, and yet fully satisfies the wants of the stage, is particularly deserving of admiration. These plays are the very thing itself; and under the apparent artlessness of adhering closely to history as he found it, an uncommon degree of art is concealed. Of every historical transaction Shakspeare knows how to seize the true poetical point of view, and to give unity and rounding to a series of events detached from the immeasurable extent of history without in any degree changing them. The public life of ancient Rome is called up from its grave, and exhibited before our eyes with the utmost grandeur and freedom of the dramatic form, and the heroes of Plutarch are ennobled by the most eloquent poetry.

In Coriolanus we have more comic intermixtures than in the others, as the many-headed multitude plays here a considerable part; and when Shakspeare portrays the blind movements of the people in a mass, he almost always gives himself up to his merry humour. To the plebeians, whose folly is certainly sufficiently conspicuous already, the original old satirist Menenius is added by way of abundance. Droll scenes arise of a description altogether peculiar, and which are compatible only with such a political drama; for instance, when Coriolanus, to obtain the consulate, must solicit the lower order of citizens whom he holds in contempt for their cowardice in war, but cannot so far master his haughty disposition as to assume the customary humility, and yet extorts from them their votes.

I have already shown [Footnote: Page 240.] that the piece of Julius Caesar, to complete the action, requires to be continued to the fall of Brutus and Cassius. Caesar is not the hero of the piece, but Brutus. The amiable beauty of this character, his feeling and patriotic heroism, are portrayed with peculiar care. Yet the poet has pointed out with great nicety the superiority of Cassius over Brutus in independent volition and discernment in judging of human affairs; that the latter from the purity of his mind and his conscientious love of justice, is unfit to be the head of a party in a state entirely corrupted; and that these very faults give an unfortunate turn to the cause of the conspirators. In the part of Caesar several ostentatious speeches have been censured as unsuitable. But as he never appears in action, we have no other measure of his greatness than the impression which he makes upon the rest of the characters, and his peculiar confidence in himself. In this Caesar was by no means deficient, as we learn from history and his own writings; but he displayed it more in the easy ridicule of his enemies than in pompous discourses. The theatrical effect of this play is injured by a partial falling off of the last two acts compared with the preceding in external splendour and rapidity. The first appearance of Caesar in festal robes, when the music stops, and all are silent whenever he opens his mouth, and when the few words which he utters are received as oracles, is truly magnificent; the conspiracy is a true conspiracy, which in stolen interviews and in the dead of night prepares the blow which is to be struck in open day, and which is to change the constitution of the world;—the confused thronging before the murder of Caesar, the general agitation even of the perpetrators after the deed, are all portrayed with most masterly skill; with the funeral procession and the speech of Antony the effect reaches its utmost height. Caesar's shade is more powerful to avenge his fall than he himself was to guard against it. After the overthrow of the external splendour and greatness of the conqueror and ruler of the world, the intrinsic grandeur of character of Brutus and Cassius is all that remain to fill the stage and occupy the minds of the spectators: suitably to their name, as the last of the Romans, they stand there, in some degree alone; and the forming a great and hazardous determination is more powerfully calculated to excite our expectation, than the supporting the consequences of the deed with heroic firmness.

Antony and Cleopatra may, in some measure, be considered as a continuation of Julius Caesar: the two principal characters of Antony and Augustus are equally sustained in both pieces. Antony and Cleopatra, is a play of great extent; the progress is less simple than in Julius Caesar. The fulness and variety of political and warlike events, to which the union of the three divisions of the Roman world under one master necessarily gave rise, were perhaps too great to admit of being clearly exhibited in one dramatic picture. In this consists the great difficulty of the historical drama:—it must be a crowded extract, and a living development of history;—the difficulty, however, has generally been successfully overcome by Shakspeare. But now many things, which are transacted in the background, are here merely alluded to, in a manner which supposes an intimate acquaintance with the history; but a work of art should contain, within itself, every thing necessary for its being fully understood. Many persons of historical importance are merely introduced in passing; the preparatory and concurring circumstances are not sufficiently collected into masses to avoid distracting our attention. The principal personages, however, are most emphatically distinguished by lineament and colouring, and powerfully arrest the imagination. In Antony we observe a mixture of great qualities, weaknesses, and vices; violent ambition and ebullitions of magnanimity; we see him now sinking into luxurious enjoyment and then nobly ashamed of his own aberrations,—manning himself to resolutions not unworthy of himself, which are always shipwrecked against the seductions of an artful woman. It is Hercules in the chains of Omphale, drawn from the fabulous heroic ages into history, and invested with the Roman costume. The seductive arts of Cleopatra are in no respect veiled over; she is an ambiguous being made up of royal pride, female vanity, luxury, inconstancy, and true attachment. Although the mutual passion of herself and Antony is without moral dignity, it still excites our sympathy as an insurmountable fascination:— they seem formed for each other, and Cleopatra is as remarkable for her seductive charms as Antony for the splendour of his deeds. As they die for each other, we forgive them for having lived for each other. The open and lavish character of Antony is admirably contrasted with the heartless littleness of Octavius, whom Shakspeare seems to have completely seen through, without allowing himself to be led astray by the fortune and the fame of Augustus.

Timon of Athens, and Troilus and Cressida, are not historical plays; but we cannot properly call them either tragedies or comedies. By the selection of the materials from antiquity they have some affinity to the Roman pieces, and hence I have hitherto abstained from mentioning them.

Timon of Athens, of all the works of Shakspeare, possesses most the character of satire:—a laughing satire in the picture of the parasites and flatterers, and Juvenalian in the bitterness of Timon's imprecations on the ingratitude of a false world. The story is very simply treated, and is definitely divided into large masses:—in the first act the joyous life of Timon, his noble and hospitable extravagance, and around him the throng of suitors of every description; in the second and third acts his embarrassment, and the trial which he is thereby reduced to make of his supposed friends, who all desert him in the hour of need;—in the fourth and fifth acts, Timon's flight to the woods, his misanthropical melancholy, and his death. The only thing which may be called an episode is the banishment of Alcibiades, and his return by force of arms. However, they are both examples of ingratitude,—the one of a state towards its defender, and the other of private friends to their benefactor. As the merits of the General towards his fellow-citizens suppose more strength of character than those of the generous prodigal, their respective behaviours are not less different; Timon frets himself to death, Alcibiades regains his lost dignity by force. If the poet very properly sides with Timon against the common practice of the world, he is, on the other hand, by no means disposed to spare Timon. Timon was a fool in his generosity; in his discontent he is a madman: he is every where wanting in the wisdom which enables a man in all things to observe the due measure. Although the truth of his extravagant feelings is proved by his death, and though when he digs up a treasure he spurns the wealth which seems to tempt him, we yet see distinctly enough that the vanity of wishing to be singular, in both the parts that he plays, had some share in his liberal self-forgetfulness, as well as in his anchoritical seclusion. This is particularly evident in the incomparable scene where the cynic Apemantus visits Timon in the wilderness. They have a sort of competition with each other in their trade of misanthropy: the Cynic reproaches the impoverished Timon with having been merely driven by necessity to take to the way of living which he himself had long been following of his free choice, and Timon cannot bear the thought of being merely an imitator of the Cynic. In such a subject as this the due effect could only be produced by an accumulation of similar features, still, in the variety of the shades, an amazing degree of understanding has been displayed by Shakspeare. What a powerfully diversified concert of flatteries and of empty testimonies of devotedness! It is highly amusing to see the suitors, whom the ruined circumstances of their patron had dispersed, immediately flock to him again when they learn that he has been revisited by fortune. On the other hand, in the speeches of Timon, after he is undeceived, all hostile figures of speech are exhausted,—it is a dictionary of eloquent imprecations.

Troilus and Cressida is the only play of Shakspeare which he allowed to be printed without being previously represented. It seems as if he here for once wished, without caring for theatrical effect, to satisfy the nicety of his peculiar wit, and the inclination to a certain guile, if I may say so, in the characterization. The whole is one continued irony of that crown of all heroic tales, the tale of Troy. The contemptible nature of the origin of the Trojan war, the laziness and discord with which it was carried on, so that the siege was made to last ten years, are only placed in clearer light by the noble descriptions, the sage and ingenious maxims with which the work overflows, and the high ideas which the heroes entertain of themselves and each other. Agamemnon's stately behaviour, Menelaus' irritation, Nestor's experience, Ulysses' cunning, are all productive of no effect; when they have at last arranged a single combat between the coarse braggart Ajax and Hector, the latter will not fight in good earnest, as Ajax is his cousin. Achilles is treated worst: after having long stretched himself out in arrogant idleness, and passed his time in the company of Thersites the buffoon, he falls upon Hector at a moment when he is defenceless, and kills him by means of his myrmidons. In all this let no man conceive that any indignity was intended to the venerable Homer. Shakspeare had not the Iliad before him, but the chivalrous romances of the Trojan war derived from Dares Phrygius. From this source also he took the love-intrigue of Troilus and Cressida, a story at one time so popular in England, that the name of Troilus had become proverbial for faithful and ill-requited love, and Cressida for female falsehood. The name of the agent between them, Pandarus, has even been adopted into the English language to signify those personages (panders) who dedicate themselves to similar services for inexperienced persons of both sexes. The endless contrivances of the courteous Pandarus to bring the two lovers together, who do not stand in need of him, as Cressida requires no seduction, are comic in the extreme. The manner in which this treacherous beauty excites while she refuses, and converts the virgin modesty which she pretends, into a means of seductive allurement, is portrayed in colours extremely elegant, though certainly somewhat voluptuous. Troilus, the pattern of lovers, looks patiently on, while his mistress enters into an intrigue with Diomed. No doubt, he swears that he will be revenged; but notwithstanding his violence in the fight next day, he does no harm to any one, and ends with only high-sounding threats. In a word, in this heroic comedy, where, from traditional fame, and the pomp of poetry, every thing seems to lay claim to admiration, Shakspeare did not wish that any room should be left, except, perhaps, in the character of Hector, for esteem and sympathy; but in this double meaning of the picture, he has afforded us the most choice entertainment.

The dramas derived from the English history, ten in number, form one of the most valuable of Shakspeare's works, and partly the fruit of his maturest age. I say advisedly one of his works, for the poet evidently intended them to form one great whole. It is, as it were, an historical heroic poem in the dramatic form, of which the separate plays constitute the rhapsodies. The principal features of the events are exhibited with such fidelity; their causes, and even their secret springs, are placed in such a clear light, that we may attain from them a knowledge of history in all its truth, while the living picture makes an impression on the imagination which can never be effaced. But this series of dramas is intended as the vehicle of a much higher and much more general instruction; it furnishes examples of the political course of the world, applicable to all times. This mirror of kings should be the manual of young princes; from it they may learn the intrinsic dignity of their hereditary vocation, but they will also learn from it the difficulties of their situation, the dangers of usurpation, the inevitable fall of tyranny, which buries itself under its attempts to obtain a firmer foundation; lastly, the ruinous consequences of the weaknesses, errors, and crimes of kings, for whole nations, and many subsequent generations. Eight of these plays, from Richard the Second to Richard the Third, are linked together in an uninterrupted succession, and embrace a most eventful period of nearly a century of English history. The events portrayed in them not only follow one another, but they are linked together in the closest and most exact connexion; and the cycle of revolts, parties, civil and foreign wars, which began with the deposition of Richard II., first ends with the accession of Henry VII. to the throne. The careless rule of the first of these monarchs, and his injudicious treatment of his own relations, drew upon him the rebellion of Bolingbroke; his dethronement, however, was, in point of form, altogether unjust, and in no case could Bolingbroke be considered the rightful heir to the crown. This shrewd founder of the House of Lancaster never as Henry IV. enjoyed in peace the fruits of his usurpation: his turbulent Barons, the same who aided him in ascending the throne, allowed him not a moment's repose upon it. On the other hand, he was jealous of the brilliant qualities of his son, and this distrust, more than any really low inclination, induced the Prince, that he might avoid every appearance of ambition, to give himself up to dissolute society. These two circumstances form the subject-matter of the two parts of Henry the Fourth; the enterprises of the discontented make up the serious, and the wild youthful frolics of the heir-apparent supply the comic scenes. When this warlike Prince ascended the throne under the name of Henry V., he was determined to assert his ambiguous title; he considered foreign conquests as the best means of guarding against internal disturbances, and this gave rise to the glorious, but more ruinous than profitable, war with France, which Shakspeare has celebrated in the drama of Henry the Fifth. The early death of this king, the long legal minority of Henry VI., and his perpetual minority in the art of government, brought the greatest troubles on England. The dissensions of the Regents, and the consequently wretched administration, occasioned the loss of the French conquests and there arose a bold candidate for the crown, whose title was indisputable, if the prescription of three governments may not be assumed to confer legitimacy on usurpation. Such was the origin of the wars between the Houses of York and Lancaster, which desolated the kingdom for a number of years, and ended with the victory of the House of York. All this Shakspeare has represented in the three parts of Henry the Sixth. Edward IV. shortened his life by excesses, and did not long enjoy the throne purchased at the expense of so many cruel deeds. His brother Richard, who had a great share in the elevation of the House of York, was not contented with the regency, and his ambition paved himself a way to the throne through treachery and violence; but his gloomy tyranny made him the object of the people's hatred, and at length drew on him the destruction which he merited. He was conquered by a descendant of the royal house unstained by the guilt of the civil wars, and what might seem defective in his title was made good by the merit of freeing his country from a monster. With the accession of Henry VII. to the throne, a new epoch of English history begins: the curse seemed at length to be expiated, and the long series of usurpations, revolts, and civil wars, occasioned by the levity with which the Second Richard sported away his crown, was now brought to a termination.

Such is the evident connexion of these eight plays with each other, but they were not, however, composed in chronological order. According to all appearance, the four last were first written; this is certain, indeed, with respect to the three parts of Henry the Sixth; and Richard the Third is not only from its subject a continuation of these, but is also composed in the same style. Shakspeare then went back to Richard the Second, and with the most careful art connected the second series with the first. The trilogies of the ancients have already given us an example of the possibility of forming a perfect dramatic whole, which shall yet contain allusions to something which goes before, and follows it. In like manner the most of these plays end with a very definite division in the history: Richard the Second, with the murder of that King; the Second Part of Henry the Fourth, with the accession of his son to the throne; Henry the Fifth, with the conclusion of peace with France; the First Part of Henry the Sixth, also, with a treaty of Peace; the third, with the murder of Henry, and Edward's elevation to the throne; Richard the Third, with his overthrow and death. The First Part of Henry the Fourth, and the Second of Henry the Sixth, are rounded off in a less satisfactory manner. The revolt of the nobles was only half quelled by the overthrow of Percy, and it is therefore continued through the following part of the piece. The victory of York at St. Alban's could as little be considered a decisive event, in the war of the two houses. Shakspeare has fallen into this dramatic imperfection, if we may so call it, for the sake of advantages of much more importance. The picture of the civil war was too great and too rich in dreadful events for a single drama, and yet the uninterrupted series of events offered no more convenient resting-place. The government of Henry IV. might certainly have been comprehended in one piece, but it possesses too little tragical interest, and too little historical splendour, to be attractive, if handled in a serious manner throughout: hence Shakspeare has given to the comic characters belonging to the retinue of Prince Henry, the freest development, and the half of the space is occupied by this constant interlude between the political events.

The two other historical plays taken from the English history are chronologically separate from this series: King John reigned nearly two centuries before Richard II., and between Richard III. and Henry VIII. comes the long reign of Henry VII., which Shakspeare justly passed over as unsusceptible of dramatic interest. However, these two plays may in some measure be considered as the Prologue and the Epilogue to the other eight. In King John, all the political and national motives which play so great a part in the following pieces are already indicated: wars and treaties with France; a usurpation, and the tyrannical actions which it draws after it; the influence of the clergy, the factions of the nobles. Henry the Eighth again shows us the transition to another age; the policy of modern Europe, a refined court-life under a voluptuous monarch, the dangerous situation of favourites, who, after having assisted in effecting the fall of others, are themselves precipitated from power; in a word, despotism under a milder form, but not less unjust and cruel. By the prophecies on the birth of Elizabeth, Shakspeare has in some degree brought his great poem on English history down to his own time, as far at least as such recent events could be yet handled with security. He composed probably the two plays of King John [Footnote: I mean the piece with this title in the collection of his works. There is an older King John, in two parts, of which the former is a re-cast:—perhaps a juvenile work of Shakspeare, though not hitherto acknowledged as such by the English critics. See the disquisition appended to this Lecture.] and Henry the Eighth at a later period, as an addition to the others.

In King John the political and warlike events are dressed out with solemn pomp, for the very reason that they possess but little of true grandeur. The falsehood and selfishness of the monarch speak in the style of a manifesto. Conventional dignity is most indispensable where personal dignity is wanting. The bastard Faulconbridge is the witty interpreter of this language: he ridicules the secret springs of politics, without disapproving of them, for he owns that he is endeavouring to make his fortune by similar means, and wishes rather to belong to the deceivers than the deceived, for in his view of the world there is no other choice. His litigation with his brother respecting the succession of his pretended father, by which he effects his acknowledgment at court as natural son of the most chivalrous king of England, Richard Coeur de Lion, forms a very entertaining and original prelude in the play itself. When, amidst so many disguises of real sentiments, and so much insincerity of expression, the poet shows us human nature without a veil, and allows us to take deep views of the inmost recesses of the mind, the impression produced is only the more deep and powerful. The short scene in which John urges Hubert to put out of the way Arthur, his young rival for the possession of the throne, is superlatively masterly: the cautious criminal hardly ventures to say to himself what he wishes the other to do. The young and amiable prince becomes a sacrifice of unprincipled ambition: his fate excites the warmest sympathy. When Hubert, about to put out his eyes with the hot iron, is softened by his prayers, our compassion would be almost overwhelming, were it not sweetened by the winning innocence of Arthur's childish speeches. Constance's maternal despair on her son's imprisonment is also of the highest beauty; and even the last moments of John—an unjust and feeble prince, whom we can neither respect nor admire—are yet so portrayed as to extinguish our displeasure with him, and fill us with serious considerations on the arbitrary deeds and the inevitable fate of mortals.

In Richard the Second, Shakspeare exhibits a noble kingly nature, at first obscured by levity and the errors of an unbridled youth, and afterwards purified by misfortune, and rendered by it more highly and splendidly illustrious. When he has lost the love and reverence of his subjects, and is on the point of losing also his throne, he then feels with a bitter enthusiasm the high vocation of the kingly dignity and its transcendental rights, independent of personal merit or changeable institutions. When the earthly crown is fallen from his head, he first appears a king whose innate nobility no humiliation can annihilate. This is felt by a poor groom: he is shocked that his master's favourite horse should have carried the proud Bolingbroke to his coronation; he visits the captive king in prison, and shames the desertion of the great. The political incident of the deposition is sketched with extraordinary knowledge of the world;—the ebb of fortune, on the one hand, and on the other, the swelling tide, which carries every thing along with it. While Bolingbroke acts as a king, and his adherents behave towards him as if he really were so, he still continues to give out that he has come with an armed band merely to demand his birthright and the removal of abuses. The usurpation has been long completed, before the word is pronounced and the thing publicly avowed. The old John of Gaunt is a model of chivalrous honour: he stands there like a pillar of the olden time which he has outlived. His son, Henry IV., was altogether unlike him: his character is admirably sustained throughout the three pieces in which he appears. We see in it that mixture of hardness, moderation, and prudence, which, in fact, enabled him to secure the possession of the throne which he had violently usurped; but without openness, without true cordiality, and incapable of noble ebullitions, he was so little able to render his government beloved, that the deposed Richard was even wished back again.

The first part of Henry the Fourth is particularly brilliant in the serious scenes, from the contrast between two young heroes, Prince Henry and Percy (with the characteristical name of Hotspur.) All the amiability and attractiveness is certainly on the side of the prince: however familiar he makes himself with bad company, we can never mistake him for one of them: the ignoble does indeed touch, but it does not contaminate him; and his wildest freaks appear merely as witty tricks, by which his restless mind sought to burst through the inactivity to which he was constrained, for on the first occasion which wakes him out of his unruly levity he distinguishes himself without effort in the most chivalrous guise. Percy's boisterous valour is not without a mixture of rude manners, arrogance, and boyish obstinacy; but these errors, which prepare for him an early death, cannot disfigure the majestic image of his noble youth; we are carried away by his fiery spirit at the very moment we would most censure it. Shakspeare has admirably shown why so formidable a revolt against an unpopular and really an illegitimate prince was not attended with success: Glendower's superstitious fancies respecting himself, the effeminacy of the young Mortimer, the ungovernable disposition of Percy, who will listen to no prudent counsel, the irresolution of his older friends, the want of unity of plan and motive, are all characterized by delicate but unmistakable traits. After Percy has departed from the scene, the splendour of the enterprise is, it is true, at an end; there remain none but the subordinate participators in the revolts, who are reduced by Henry IV., more by policy than by warlike achievements. To overcome this dearth of matter, Shakspeare was in the second part obliged to employ great art, as he never allowed himself to adorn history with more arbitrary embellishments than the dramatic form rendered indispensable. The piece is opened by confused rumours from the field of battle; the powerful impression produced by Percy's fall, whose name and reputation were peculiarly adapted to be the watchword of a bold enterprise, make him in some degree an acting personage after his death. The last acts are occupied with the dying king's remorse of conscience, his uneasiness at the behaviour of the prince, and lastly, the clearing up of the misunderstanding between father and son, which make up several most affecting scenes. All this, however, would still be inadequate to fill the stage, if the serious events were not interrupted by a comedy which runs through both parts of the play, which is enriched from time to time with new figures, and which first comes to its catastrophe at the conclusion of the whole, namely, when Henry V., immediately after ascending the throne, banishes to a proper distance the companions of his youthful excesses, who had promised to themselves a rich harvest from his kingly favour.

Falstaff is the crown of Shakspeare's comic invention. He has, without exhausting himself, continued this character throughout three plays, and exhibited him in every variety of situation; the figure is drawn so definitely and individually, that even to the mere reader it conveys the clear impression of personal acquaintance. Falstaff is the most agreeable and entertaining knave that ever was portrayed. His contemptible qualities are not disguised: old, lecherous, and dissolute; corpulent beyond measure, and always intent upon cherishing his body with eating, drinking, and sleeping; constantly in debt, and anything but conscientious in his choice of means by which money is to be raised; a cowardly soldier, and a lying braggart; a flatterer of his friends before their face, and a satirist behind their backs; and yet we are never disgusted with him. We see that his tender care of himself is without any mixture of malice towards others; he will only not be disturbed in the pleasant repose of his sensuality, and this he obtains through the activity of his understanding. Always on the alert, and good-humoured, ever ready to crack jokes on others, and to enter into those of which he is himself the subject, so that he justly boasts he is not only witty himself, but the cause of wit in others, he is an admirable companion for youthful idleness and levity. Under a helpless exterior, he conceals an extremely acute mind; he has always at command some dexterous turn whenever any of his free jokes begin to give displeasure; he is shrewd in his distinctions, between those whose favour he has to win and those over whom he may assume a familiar authority. He is so convinced that the part which he plays can only pass under the cloak of wit, that even when alone he is never altogether serious, but gives the drollest colouring to his love- intrigues, his intercourse with others, and to his own sensual philosophy. Witness his inimitable soliloquies on honour, on the influence of wine on bravery, his descriptions of the beggarly vagabonds whom he enlisted, of Justice Shallow, &c. Falstaff has about him a whole court of amusing caricatures, who by turns make their appearance, without ever throwing him into the shade. The adventure in which the Prince, under the disguise of a robber, compels him to give up the spoil which he had just taken; the scene where the two act the part of the King and the Prince; Falstaff's behaviour in the field, his mode of raising recruits, his patronage of Justice Shallow, which afterwards takes such an unfortunate turn:—all this forms a series of characteristic scenes of the most original description, full of pleasantry, and replete with nice and ingenious observation, such as could only find a place in a historical play like the present.

Several of the comic parts of Henry the Fourth, are continued in The Merry Wives of Windsor. This piece is said to have been composed by Shakspeare, in compliance with the request of Queen Elizabeth, [Footnote: We know with certainty, that it was acted before the Queen. Many local descriptions of Windsor and its neighbourhood, and an allusion in which the Order of the Garter is very poetically celebrated, make it credible that the play was destined to be first represented on the occasion of some festival of the Order at the palace of Windsor, where the Knights of the Garter have their hall of meeting.] who admired the character of Falstaff, and wished to see him exhibited once more, and in love. In love, properly speaking, Falstaff could not be; but for other purposes he could pretend to be so, and at all events imagine that he was the object of love. In the present piece accordingly he pays his court, as a favoured Knight, to two married ladies, who lay their heads together and agree to listen apparently to his addresses, for the sake of making him the butt of their just ridicule. The whole plan of the intrigue is therefore derived from the ordinary circle of Comedy, but yet richly and artificially interwoven with another love affair. The circumstance which has been so much admired in Molire's School of Women, that a jealous individual should be made the constant confidant of his rival's progress, had previously been introduced into this play, and certainly with much more probability. I would not, however, be understood as maintaining that it was the original invention of Shakspeare: it is one of those circumstances which must almost be considered as part of the common stock of Comedy, and everything depends on the delicacy and humour with which it is used. That Falstaff should fall so repeatedly into the snare gives us a less favourable opinion of his shrewdness than the foregoing pieces had led us to form; still it will not be thought improbable, if once we admit the probability of the first infatuation on which the whole piece is founded, namely, that he can believe himself qualified to inspire a passion. This leads him, notwithstanding his age, his corpulency, and his dislike of personal inconveniences and dangers, to venture on an enterprise which requires the boldness and activity of youth; and the situations occasioned by this infatuation are droll beyond all description. Of all Shakspeare's pieces, this approaches the nearest to the species of pure Comedy: it is exclusively confined to the English manners of the day, and to the domestic relations; the characters are almost all comic, and the dialogue, with the exception of a couple of short love scenes, is written in prose. But we see that it was a point of principle with Shakspeare to make none of his compositions a mere imitation of the prosaic world, and to strip them of all poetical decoration: accordingly he has elevated the conclusion of the comedy by a wonderful intermixture, which suited the place where it was probably first represented. A popular superstition is made the means of a fanciful mystification [Footnote: This word is French; but it has lately been adopted by some English writers.—TRANS.] of Falstaff; disguised as the Ghost of a Hunter who, with ragged horns, wanders about in the woods of Windsor, he is to wait for his frolicsome mistress; in this plight he is surprised by a chorus of boys and girls disguised like fairies, who, agreeably to the popular belief, are holding their midnight dances, and who sing a merry song as they pinch and torture him. This is the last affront put upon poor Falstaff; and with this contrivance the conclusion of the second love affair is made in a most ingenious manner to depend.

King Henry the Fifth is manifestly Shakspeare's favourite hero in English history: he paints him as endowed with every chivalrous and kingly virtue; open, sincere, affable, yet, as a sort of reminiscence of his youth, still disposed to innocent raillery, in the intervals between his perilous but glorious achievements. However, to represent on the stage his whole history subsequent to his accession to the throne, was attended with great difficulty. The conquests in France were the only distinguished event of his reign; and war is an epic rather than a dramatic object. For wherever men act in masses against each other, the appearance of chance can never wholly be avoided; whereas it is the business of the drama to exhibit to us those determinations which, with a certain necessity, issue from the reciprocal relations of different individuals, their characters and passions. In several of the Greek tragedies, it is true, combats and battles are exhibited, that is, the preparations for them and their results; and in historical plays war, as the ultima ratio regum, cannot altogether be excluded. Still, if we would have dramatic interest, war must only be the means by which something else is accomplished, and not the last aim and substance of the whole. For instance, in Macbeth, the battles which are announced at the very beginning merely serve to heighten the glory of Macbeth and to fire his ambition; and the combats which take place towards the conclusion, before the eyes of the spectator, bring on the destruction of the tyrant. It is the very same in the Roman pieces, in the most of those taken from English history, and, in short, wherever Shakspeare has introduced war in a dramatic combination. With great insight into the essence of his art, he never paints the fortune of war as a blind deity who sometimes favours one and sometimes another; without going into the details of the art of war, (though sometimes he even ventures on this), he allows us to anticipate the result from the qualities of the general, and their influence on the minds of the soldiers; sometimes, without claiming our belief for miracles, he yet exhibits the issue in the light of a higher volition: the consciousness of a just cause and reliance on the protection of Heaven give courage to the one party, while the presage of a curse hanging over their undertaking weighs down the other. [Footnote: Aeschylus, with equal wisdom, in the uniformly warlike tragedy of the Seven before Thebes, has given to the Theban chiefs foresight, determination, and presence of mind; to their adversaries, arrogant audacity. Hence all the combats, excepting that between Eteocles and Polynices, turn out in favour of the former. The paternal curse, and the blindness to which it gives rise, carry headlong the two brothers to the unnatural strife in which they both fall by the hands of each other.—See page 91.] In Henry the Fifth, no opportunity was afforded Shakspeare of adopting the last-mentioned course, namely, rendering the issue of the war dramatic; but he has skilfully availed himself of the first.—Before the battle of Agincourt he paints in the most lively colours the light-minded impatience of the French leaders for the moment of battle, which to them seemed infallibly the moment of victory; on the other hand, he paints the uneasiness of the English King and his army in their desperate situation, coupled with their firm determination, if they must fall, at least to fall with honour. He applies this as a general contrast between the French and English national characters; a contrast which betrays a partiality for his own nation, certainly excusable in a poet, especially when he is backed with such a glorious document as that of the memorable battle in question. He has surrounded the general events of the war with a fulness of individual, characteristic, and even sometimes comic features. A heavy Scotchman, a hot Irishman, a well-meaning, honourable, but pedantic Welchman, all speaking in their peculiar dialects, are intended to show us that the warlike genius of Henry did not merely carry the English with him, but also the other natives of the two islands, who were either not yet fully united or in no degree subject to him. Several good-for-nothing associates of Falstaff among the dregs of the army either afford an opportunity for proving Henry's strictness of discipline, or are sent home in disgrace. But all this variety still seemed to the poet insufficient to animate a play of which the subject was a conquest, and nothing but a conquest. He has, therefore, tacked a prologue (in the technical language of that day a chorus) to the beginning of each act. These prologues, which unite epic pomp and solemnity with lyrical sublimity, and among which the description of the two camps before the battle of Agincourt forms a most admirable night-piece, are intended to keep the spectators constantly in mind, that the peculiar grandeur of the actions described cannot be developed on a narrow stage, and that they must, therefore, supply, from their own imaginations, the deficiencies of the representation. As the matter was not properly dramatic, Shakspeare chose to wander in the form also beyond the bounds of the species, and to sing, as a poetical herald, what he could not represent to the eye, rather than to cripple the progress of the action by putting long descriptions in the mouths of the dramatic personages. The confession of the poet that "four or five most vile and ragged foils, right ill disposed, can only disgrace the name of Agincourt," (a scruple which he has overlooked in the occasion of many other great battles, and among others of that of Philippi,) brings us here naturally to the question how far, generally speaking, it may be suitable and advisable to represent wars and battles on the stage. The Greeks have uniformly renounced them: as in the whole of their theatrical system they proceeded on ideas of grandeur and dignity, a feeble and petty imitation of the unattainable would have appeared insupportable in their eyes. With them, consequently, all fighting was merely recounted. The principle of the romantic dramatists was altogether different: their wonderful pictures were infinitely larger than their theatrical means of visible execution; they were every where obliged to count on the willing imagination of the spectators, and consequently they also relied on them in this point. It is certainly laughable enough that a handful of awkward warriors in mock armour, by means of two or three swords, with which we clearly see they take especial care not to do the slightest injury to one another, should decide the fate of mighty kingdoms. But the opposite extreme is still much worse. If we in reality succeed in exhibiting the tumult of a great battle, the storming of a fort, and the like, in a manner any way calculated to deceive the eye, the power of these sensible impressions is so great that they render the spectator incapable of bestowing that attention which a poetical work of art demands; and thus the essential is sacrificed to the accessory. We have learned from experience, that whenever cavalry combats are introduced the men soon become secondary personages beside the four-footed players [Footnote: The Greeks, it is true, brought horses on the tragic stage, but only in solemn processions, not in the wild disorder of a fight. Agamemnon and Pallas, in Aeschylus, make their appearance drawn in a chariot with four horses. But their theatres were built on a scale very different from ours.]. Fortunately, in Shakspeare's time, the art of converting the yielding boards of the theatre into a riding course had not yet been invented. He tells the spectators in the first prologue in Henry the Fifth:—

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