SHAKESPEARE'S CONTEMPORARIES.
Touching the general state of the Drama a few years before Shakespeare took hold of it, our information is full and clear, not only in the specimens that have survived, but in the criticisms of contemporary writers. A good deal of the criticism, however, is so mixed up with personal and polemical invective, as to be unworthy of much credit. George Whetstone, in the dedication of his Promos and Cassandra, published in 1578, tells us: "The Englishman in this quality is most vain, indiscreet, and out of order. He first grounds his work on impossibilities; then in three hours he runs through the world, marries, makes children men, men to conquer kingdoms, murder monsters, and bringeth gods from Heaven, and fetcheth devils from Hell. And, that which is worst, many times, to make mirth, they make a clown companion with a king; in their grave counsels they allow the advice of Fools; yea, they use one order of speech for all persons,—a gross indecorum."—In 1581, Stephen Gosson published a tract in which he says: "Sometimes you shall see nothing but the adventures of an amorous knight, passing from country to country for the love of his lady, encountering many a terrible monster made of brown paper; and at his return so wonderfully changed, that he cannot be known but by some posy in his tablet, or by a broken ring, or a handkerchief, or a piece of cockle-shell." And in another part of the same tract he tells us that "The Palace of Pleasure, The Ethiopian History, Amadis of France, and The Round Table, comedies in Latin, French, Italian, and Spanish, have been thoroughly ransacked, to furnish the play-houses in London." Which shows very clearly what direction the public taste was then taking. The matter and method of the old dramas, and all "such musty fopperies of antiquity," would no longer do: there was an eager though ignorant demand for something wherein the people might find or fancy themselves touched by the real currents of nature. And, as prescription was thus set aside, and art still ungrown, the materials of history and romance, foreign tales and plays, any thing that could furnish incidents and a plot, were blindly pressed into the service.
Whatever discredit may attach to the foregoing extracts on the score of prejudice or passion, nothing of the sort can hold in the case of Sir Philip Sidney, whose Defence of Poesy, though not printed till 1595, must have been written before 1586, in which year the author died. "Our tragedies and comedies," says he, "are not without cause cried out against, observing rules neither of honest civility nor skilful poetry. You shall have Asia of the one side, and Afric of the other, and so many other under-kingdoms, that the player, when he comes in, must ever begin with telling where he is, or else the tale will not be conceived. Now you shall have three ladies walk to gather flowers, and then we must-believe the stage to be a garden: by-and-by we hear news of a shipwreck in the same place; then we are to blame if we accept it not for a rock. Upon the back of that, comes out a hideous monster with fire and smoke, and then the miserable beholders are bound to take it for a cave; while in the mean time two armies fly in, represented with four swords and bucklers, and then what hard heart will not receive it for a pitched field? Now, of time they are much more liberal; for ordinary it is, that two young princes fall in love; after many traverses she is delivered of a fair boy; he is lost, groweth a man, falleth in love, and all this in two hours' space: which how absurd it is in sense, even sense may imagine, and art hath taught, and all ancient examples justified. But, besides these gross absurdities, all their plays be neither right tragedies nor right comedies, mingling kings and clowns, not because the matter so carrieth it, but thrust in the clown by head and shoulders, to play a part in majestical matters with neither decency nor discretion."
From all which it is evident enough that very little if any heed was then paid to dramatic propriety and decorum. It was not merely that the unities of place and time were set at nought, but that events and persons were thrown together without any order or law; unconnected with each other save to the senses, while at the same time according to sense they were far asunder. It is also manifest that the principles of the Gothic Drama in respect of general structure and composition, in disregard of the minor unities, and in the free blending and interchange of the comic and tragic elements, were thoroughly established; though not yet moulded up with sufficient art to shield them from the just censure and ridicule of sober judgment and good taste. Here was a great work to be done; greater than any art then known was sufficient for. Without this, any thing like an original or national drama was impossible. Sir Philip saw the chaos about him; but he did not see, and none could foresee, the creation that was to issue from it. He would have spoken very differently, no doubt, had he lived to see the intrinsic relations of character and passion, the vital sequence of mental and moral development, set forth in such clearness and strength, the whole fabric resting on such solid grounds, of philosophy, and charged with such cunning efficacies of poetry, that breaches of local and chronological succession either pass without notice, or are noticed only for the gain of truth and nature that is made through them. For the laws of sense hold only as the thoughts are absorbed in what is sensuous and definite; and the very point was, to lift the mind above this by working on its imaginative forces, and penetrating it with the light of relations more inward and essential.
At all events, it was by going ahead, and not by retreating, that modern thought was to find its proper dramatic expression. The foundation of principles was settled, and stood ready to be built upon whenever the right workman should come. Moreover public taste was sharp for something warm with life, so much so indeed as to keep running hither and thither after the shabbiest semblances of it, but still unable to rest with them. The national mind, in discarding, or rather outgrowing the older species of drama, had worked itself into contact with Nature. And it was the uncritical, popular, living, practical mind that was to give the law in this business: nothing was to be achieved either by the word or the work of those learned folk who would not be pleased unless they could parse their pleasure by the rules of ancient grammar. But to reproduce nature in mental forms requires great power of art, much greater, perhaps, than minds educated amidst works of art can well conceive.
Which brings me to the matter of Shakespeare's SENIOR CONTEMPORARIES. For here, again, the process was gradual. Neither may we affirm that nothing had yet been done towards organizing the collected materials. But the methods and faculties of art were scattered here and there; different parts of the thing had been worked out severally; and it yet remained to draw and knit them all up together. It is difficult, perhaps impossible, to determine exactly by whom the first steps were taken in this work. But all that was done of much consequence, Shakespeare apart, may be found in connection with the three names of George Peele, Robert Greene, and Christopher Marlowe.
PEELE took his first degree at Oxford in 1577, and became Master of Arts in 1579. Soon after this, he is supposed to have gone to London as a literary adventurer. Dissipation and debauchery were especially rife at that time among the authors by profession, who hung in large numbers upon the metropolis, haunting its taverns and ordinaries; and it is but too certain that Peele plunged deeply into the vices of his class.
His first dramatic work, The Arraignment of Paris, was printed in 1584, the title-page stating that it had been played before the Queen by the children of her chapel. The piece is vastly superior to any thing known to have preceded it. It is avowedly a pastoral drama, and sets forth a whole troop of gods and goddesses; with nothing that can properly be called delineation of character. The plot is simply this: Juno, Pallas, and Venus get at strife who shall have the apple of discord which Até has thrown among them, with directions that it be given to the fairest. As each thinks herself the fairest, they agree to refer the question to Paris, the Trojan shepherd, who, after mature deliberation, awards the golden ball to Venus. An appeal is taken: he is arraigned before Jupiter in a synod of the gods for having rendered a partial and unjust sentence; but defends himself so well, that their godships are at a loss what to do. At last, by Apollo's advice, the matter is referred to Diana, who, as she wants no lovers, cares little for beauty. Diana sets aside all their claims, and awards the apple to Queen Elizabeth; which verdict gives perfect satisfaction all round.
The piece displays fair gifts of poetry; it abounds in natural and well-proportioned sentiment; thoughts and images seem to rise up fresh from the writer's observation, and not merely gathered at second hand; a considerable portion is in blank-verse, but the author uses various measures, in all which his versification is graceful and flowing.
The Battle of Alcazar, written as early as 1589, but not printed till 1594, is a strange performance, and nearly as worthless as strange; full of tearing rant and fustian; while the action, if such it may be called, goes it with prodigious license, jumping to and fro between Portugal and Africa without remorse. I have some difficulty in believing the piece to be Peele's: certainly it is not in his vein, nor, as to that matter, in anybody's else; for it betrays at every step an ambitions imitation of Marlowe, wherein, as usually happens, the faults of the model are exaggerated, and the virtues not reached. Peele could hardly have been cast into such an ecstasy of disorder, but from a wild attempt to rival the author of Tamburlaine, which is several times referred to in the piece.
King Edward the First, printed in 1593, and probably written later than the preceding, is much better every way. But its chief claim to notice is as an early attempt in the Historical Drama, which Shakespeare brought to such perfection. The character of Edward is portrayed with considerable spirit and truth to history, and is perhaps Peele's best effort in that line. On the other hand, Queen Elinor of Castile is shockingly disfigured, and this, not only in contempt of history, which might be borne with if it really enriched the scene, but to the total disorganizing of the part itself; the purpose being, no doubt, to gratify the bitter national antipathy to the Spaniards. Peele seems to have been incapable of the proper grace and delectation of comedy: nevertheless the part of Prince Lluellen, of Wales, and his adherents, who figure pretty largely, and sometimes in the disguise of Robin Hood and his merry men, shows something of comic talent, and adds to the entertainment of the piece. The other comic portions have nothing to recommend them.
The Old Wives' Tale, printed in 1595, is little worth mention save as having probably contributed somewhat to one of the noblest and sweetest poems ever written.—Two brothers are wandering in quest of their sister, whom Sacrapant, an enchanter, has imprisoned: they call her name, and Echo replies; whereupon Sacrapant gives her a potion that induces self-oblivion. His magical powers depend on a wreath which encircles his head, and on a light enclosed in glass which he keeps hidden under the turf. The brothers afterwards meet with an old man, also skilled in magic, who enables them to recover their sister. A Spirit in the likeness of a young page comes to Sacrapant, tears off his wreath, and kills him. Still the sister remains enchanted, and cannot be released till the glass is broken and the light extinguished; which can only be done by a Lady who is neither maid, wife, nor widow. The Spirit blows a magical horn, and the Lady appears, breaks the glass, and puts out the light. A curtain being then withdrawn discovers the sister asleep; she is disenchanted, joins her brothers, and the Spirit vanishes.—The resemblance to Milton's Comus need not be pointed out. The difference of the two pieces in all points of execution is literally immense; Peele's work in this case being all steeped in meanness and vulgarity, without a touch of truth, poetry, or wit.
The Love of King David and Fair Bethseba is commonly regarded as Peele's masterpiece. And here, again, we breathe the genuine air of nature and simplicity. The piece is all in blank-verse, which, though wanting in variety, is replete with melody; and it has passages of tenderness and pathos such as to invest it with an almost sacred charm. There is perhaps a somewhat too literal adherence to the Scripture narrative, and very little art used in the ordering and disposing of the materials, for Peele was neither strong nor happy in the gift of invention; but the characters generally are seized in their most peculiar traits, and presented with a good degree of vigour and discrimination; while at the same time their more prominent features are not worked into disproportion with the other parts.
Peele's contributions to the Drama were mainly in the single article of poetry: here his example was so marked, that it was bound to be respected and emulated by all who undertook to work in the same field. In the development of character, and in the high art of dramatic composition and organization, he added very little; his genius being far unequal to this high task, and his judgment still more so. And his efforts were probably rendered fitful and unsteady by vicious habits; which may explain why it was that he who could do so well sometimes did so meanly. Often, no doubt, when reduced to extreme shifts, he patched up his matter loosely and trundled it off in haste, to replenish his wasted means, and start him on a fresh course of riot and debauchery.
GREENE, inferior to Peele as a whole, surpassed him however in fertility and aptness of invention, in quickness and luxuriousness of fancy, and in the right seizing and placing of character, especially for comic effect. In his day he was vastly notorious both as a writer and a man;—a cheap counterfeit of fame which he achieved with remarkable ease, and seems not to have coveted any thing better. He took his first degree at Cambridge in 1578, proceeded Master of Arts in 1583, and was incorporated at Oxford in 1588; after which he was rather fond of styling himself "Master of Arts in both Universities." Soon after 1585, if not before, he betook himself to London, where he speedily sank into the worst type of a literary adventurer. Thenceforth his life seems to have been one continual spasm, plunging hither and thither in transports of wild profligacy and repentance. He died in 1592, eaten up with diseases purchased by sin.
Much of Greene's notoriety during his lifetime grew from his prose writings, which, in the form of tracts, were rapidly thrown off, and were well adapted both in matter and style to catch a loud but transient popularity. One of them had the honour of being laid under contribution for The Winter's Tale. In these pieces, generally, the most striking features are a constant affecting of the euphuistic style which John Lily had rendered popular, and a certain incontinence of metaphors and classical allusions, the issue of a full and ready memory unrestrained by taste or judgment; the writer galloping on from page to page with unflagging volubility, himself evidently captivated with the rolling sound of his own sentences. Still, his descriptions often have a warmth and height of colouring that could not fail to take prodigiously in an age when severity or delicacy of taste was none of the commonest. Several of his prose pieces are liberally interspersed with passages of poetry, in which he uses a variety of measures, and most of them with an easy, natural skill, while his cast of thought and imagery shows him by no means a stranger to the springs of poetic sweetness and grace, though he never rises to any thing like grandeur.
The History of Orlando Furioso was acted as early as 1591, and probably written some time before. The plot was partly founded on Ariosto's romance, partly invented by Greene himself. The action, or what stands for such, is conducted with the wildest license, and shows no sense or idea of dramatic truth, but only a prodigious straining after stage effect; the writer trying, apparently, how many men of different nations, European, African, and Asiatic, he could huddle in together, and how much love, rivalry, and fighting he could put them through in the compass of five Acts. As for the fury of Orlando, it is as far from the method of madness as from the logic of reason; being none other than the incoherent jargon of one endeavouring to talk stark nonsense.
Alphonsus, King of Arragon, belongs, by internal marks, to about the same period as the preceding, but is not known to have been printed till 1597. Each Act opens with a chorus by Venus. Medea, also, is employed to work enchantments, and raises Homer's Calchas, who comes forth "clad in a white surplice and a cardinal's mitre." This play, too, is crammed from first to last brimful of tumult and battle; the scene changing between Italy and Turkey with admirable lawlessness; and Christians of divers nations, Turks, and a band of Amazonian warriors, bestriding the stage with their monstrous din.
Both of these pieces are mainly in blank-verse, with a frequent interspersing of couplets. In the latter piece, allusion is made to "the mighty Tamburlaine," thus indicating the height which Greene was striving to reach, if not surpass. In fact, both pieces have plenty of Marlowe's thunder, but none of his lightning. Even the blank-verse reads like that of one accustomed to rhyme, and unable to get out of his wonted rut. And the versification runs, throughout, in a stilted monotony, the style being made thick and turgid with high-sounding epithets; while we have a perfect flux of learned impertinence. As for truth, nature, character, poetry, we look for them in vain; though there is much, in the stage noise and parade, that might keep the multitude from perceiving the want of them.
In The Scottish History of James the Fourth, probably written some time after the two preceding, the author seems to have got convinced that imitation of Marlowe was not his line, and that he could do best by working his own native vein: accordingly, considerable portions of it are in prose and rhyme; while the style throughout is disciplined into a tolerable degree of sobriety and simplicity. Though purporting to be a history, it has scarce any thing of historical matter. It opens with a comic scene betwixt Oberon, King of Fairies, and Bohan, an old Scottish lord, who, disgusted with the vices of Court, city, and country, has withdrawn from the world with his two sons, Slipper and Nano, turned Stoic, lives in a tomb, and talks broad Scotch. King Oberon has nothing in common with the fairy king of A Midsummer Night's Dream, except the name. The main plot of the drama is as follows:
King James marries Dorothea, the daughter of Arius, King of England. Before the wedding is fairly over, he falls in love with Ida, the Countess of Arran's daughter, makes suit to her, and is rejected with horror. He then sets himself to work to get rid of his Queen, turns away from his old counsellors, and gives his ear to an unscrupulous parasite named Ateukin. Through his influence, the King forms a scheme for assassinating the Queen; who gets information of the plot, disguises herself in male attire, and escapes, with Nano in her company. The parasite's agent overtakes her, finds out who she is, fights with her, and leaves her for dead. During the fight, Nano runs for help, and soon returns with Sir Cuthbert Anderson, who takes her to his house, where her wounds are healed, both Sir Cuthbert and his wife supposing her all the while to be a man. Meanwhile Ida gives herself in marriage to Lord Eustace, with whom she has suddenly fallen in love upon his asking her hand. The King now begins to be devoured by compunctions on account of the Queen, believing her to be dead. The King of England also gets intelligence how his daughter has been treated, and makes war on her husband. When they are on the eve of a decisive battle, Dorothea makes her appearance, to the astonishment of all the parties: she pleads tenderly for her repentant husband, and a general reconciliation takes place; Ateukin and his abettors being delivered over to their deserts.
This play has something of what may not unworthily be called character. The parts of Ida and the Queen are not without delicacy and pathos, showing that the author was not far from some right ideas of what womanhood is. Ateukin's part, too, is very well conceived and sustained, though the qualities of a parasite are made rather too naked and bald, as would naturally result from the writer's ambition being stronger than his love of nature and truth. The comic portions are much beyond any thing we have met with in that line, since Ralph Roister Doister and Misogonus. The versification is endurably free from gas, and the style in many parts may be pronounced rather tight and sinewy.
Friar Bacon and Friar Bungay was printed in 1594, but acted as early as 1591. The hero is Edward, Prince of Wales, afterwards King Edward the First; the heroine, Margaret, a keeper's daughter, known as "the fair maid of Fressingfield." The Prince, who is out on a hunting excursion with Lacy and several other friends, and Ralph Simnel, the Court Fool, meets with Margaret, and his fancy is at once smitten with her, while she has no suspicion who he is. At Ralph's suggestion, he sends Lacy, in the disguise of a farmer's son, to court Margaret for him, and sets out on a visit to Friar Bacon at Oxford, to learn from the conjurer how his suit is going to speed. Lacy thinks the Prince's aim is not to wed the girl, but to entrap and beguile her; besides, his own heart is already interested; so he goes to courting her in good earnest for himself. Meanwhile the Prince with his company, all disguised, arrives at Friar Bacon's; and, through the conjurer's art, learns what Lacy is doing. Soon after, he comes upon Lacy, poniard in hand, meaning to kill him on the spot. Margaret, being present, intercedes for her lover, and takes all the blame of his course to herself. The Prince then lays siege to her in person, but she vows she will rather die with Lacy than divorce her heart from his, and finally reminds him of his own princely honour; whereupon he frankly resigns her to his rival's hand.
Among other entertainments of the scene, we have a trial of national skill between Bacon and Bungay on one side, and Vandermast, a noted conjurer from Germany, on the other. First, Bungay tries his art, and is thoroughly baffled by the German; then Bacon takes Vandermast in hand, and outconjures him all to nothing. Bacon has a servant named Miles, who, for his ignorant blundering in a weighty matter, is at last carried off by one of his master's devils. The last scene is concerned with the marriage of Prince Edward and Elinor of Castile, and is closed by Bacon with a grand prophecy touching Elizabeth.
Here, again, we have some fair lines of characterization, especially in the Prince, Lacy, Margaret, and Ralph. The heroine is altogether Greene's masterpiece in female character; she exhibits much strength, spirit, and sweetness of composition; in fact, she is not equalled by any woman of the English stage till we come to Shakespeare, whom no one has ever approached in that line. It scarce need be said that the play is quite guiltless of any thing worthy to be named dramatic composition. But it has a good deal of dramatic poetry, that would be almost charming, had not Shakespeare spoilt every thing of the kind that was done before he taught men how to do it.
The comedy of George a Greene, the Pinner of Wakefield, printed in 1599, is ascribed to Greene, but, it seems to me, not on very strong grounds. I can hardly believe it his; certainly the style and versification are much better than in any other of his plays; nor does it show any thing of that incontinence of learning which he seems to have been unable to restrain. The blank-verse, too, is far unlike Greene's anywhere else.
The story of the piece is quite entertaining in itself, and is set forth with a good deal of vivacity and spirit. Among the characters are King Edward of England, King James of Scotland, the Earl of Kendall, with other lords, and Robin Hood. George a Greene is the hero; who, what with his wit, and what with his strength, gets the better of all the other persons in turn. Withal he is full of high and solid manhood, and his character is drawn with more vigour and life than any hitherto noticed. The piece opens with the Earl of Kendall and his adherents in rebellion against the State. The Earl sends Sir Nicholas Mannering to Wakefield, to demand provision for his camp. Sir Nicholas enters the town, and shows his commission: the magistrates are at a loss what to do, till the hero comes amongst them, outfaces the messenger, tears up his commission, makes him eat the seals, and sends him back with an answer of defiance.
Greene was concerned, along with Thomas Lodge, in writing another extant play, entitled A Looking-Glass for London and England. This is little better than a piece of stage trash, being a mixture of comedy, tragedy, and Miracle-Play; an Angel, a Devil, and the Prophet Hosea taking part in the action. The verse parts are in Greene's puffiest style, the prose parts in his filthiest.
Greene probably wrote divers other plays, but none others have survived that are known to be his.
MARLOWE, the greatest of Shakespeare's senior contemporaries, was baptized in St. George's church, Canterbury, on the 26th of February, 1564, just two months before the baptism of Shakespeare. He took his first degree at Cambridge in 1583, became Master of Arts in 1587, and was soon after embarked among the worst literary adventurers in London, living by his wits, and rioting on the quick profits of his pen. His career was brief, but fruitful,—fruitful in more senses than one. He was slain by one Francis Archer in a brawl, on the 1st of June, 1593.
His first dramatic work was Tamburlaine the Great, in two parts; printed in 1590, but written before 1588. In this work, what Ben Jonson describes as "Marlowe's mighty line" is out in all its mightiness. The lines, to be sure, have a vast amount of strut and swell in them, but then they also have a good deal of real energy and force. Marlowe has had much praise, perhaps more than his due, as the introducer of blank-verse on the public stage; it being alleged that the previous use of it was only in what may be called private theatricals. Be that as it may, he undoubtedly did much towards fixing it as the habit of English dramatic poetry. Tamburlaine had a sudden, a great, and long-continued popularity. And its success may have been partly owing to its faults, inasmuch as the public ear, long used to rhyme, needed some compensation in the way of grandiloquent stuffing, which was here supplied in abundance.
The scene of these two plays, which are substantially one, takes in the whole period of time from the hero's first conquest till his death; so that the action ranges at large over divers kingdoms and empires. Except the hero, there is little really deserving the name of characterization, this being a point of art which Marlowe had not yet reached, and which he never attained but in a moderate degree, taking Shakespeare as the standard. But the hero is drawn with grand and striking proportions, and perhaps seems the larger, that the bones of his individuality stand out in undue prominence; the author lacking that balance of powers which is requisite, to produce the symmetry and roundness met with in the higher forms of Nature. And he knew not, apparently, how to express the hero's greatness in word, but by making him bethump the stage with tempestuous verbiage; which, to be sure, is not the style of greatness at all, but only of one trying to be great, and trying to be so, because he is not so. For to talk big is the instinct of ambitious littleness. But Tamburlaine is also represented in act as a most magnanimous prodigy: amidst his haughtiest strides of conquest, we have strains of gentleness mingling with his iron sternness; and he everywhere appears lifted high with generous passions and impulses: if he regards not others, he is equally ready to sacrifice himself, his ease, pleasure, and even life, in his prodigious lust of glory.
As to the rest, this drama consists rather of a long series of speeches than any genuine dialogue. And the persons all speak from one brain, the hero talking just like the others, only more so; as if the author had no way to discriminate character but by different degrees of the same thing: in which respect the work has often reminded me of divers more civilized stage preparations, such as Addison's Cato, Young's Revenge, et id genus omne. For the proper constituent of dramatic dialogue is, that the persons strike fire out of each other by their sharp collisions of thought, so that their words relish at once of the individual speaking and the individual spoken to. Moreover the several parts of this work are not moulded together in any thing like vital unity; the materials seem bundled up arbitrarily, and for stage effect, instead of being assorted on any principle of organic coherence; every thing thus going by the author's will, not by any law of reason or art. But this is a high region, from which there was in that age but one man big enough to be seen; so it's no use speaking of the rest. Therewithal the work affects us, throughout, as a dead-level of superlatives; everywhere we have nearly the same boisterous wind of tragical storm-and-stress: so that the effect is much like that of a picture all foreground, with no perspective, no proportionateness of light and shade, to give us distinct impressions.
The Jew of Malta shows very considerable advance towards a chaste and sober diction, but not much either in development of character or composition of parts. Barabas the Jew is a horrible monster of wickedness and cunning, yet not without strong lines of individuality. The author evidently sought to compass the effect of tragedy by accumulation of murders and other hellish deeds; which shows that he had no steady ideas as to wherein the true secret of tragic terror lies: he here strives to reach it by overfilling the senses; whereas its proper method stands in the joint working of the moral and imaginative powers, which are rather stifled than kindled by causing the senses to "sup full of horrors." The piece, however, abounds in quick and caustic wit; in some parts there is a good share of dialogue as distinguished from speech-making; and the versification is far more varied and compact than in Tamburlaine. Still the work, as a whole, shows little that can properly be called dramatic power as distinguished from the general powers of rhetoric and wit.
The Tragical History of Doctor Faustus, probably written before 1590, exhibits Marlowe in a higher vein of workmanship. I think it must be acknowledged that he here wields the right elements and processes of tragic effect with no ordinary subtlety and power. Faustus, the hero, is a mighty necromancer, who has studied himself into direct communion with preternatural beings, and beside whom Friar Bacon sinks into a tame forger of bugbears. A Good Angel and a Bad Angel figure in the piece, each trying to win Faustus to his several way. Lucifer is ambitious to possess "his glorious soul," and the hero craves Lucifer's aid, that he may work wonders on the Earth. At his summons, Mephistophilis, who acts as Lucifer's prime minister, visits him to negotiate an arrangement. I must quote a brief passage from their interview:
"Faust. Tell me, what is that Lucifer thy lord?
Meph. Arch-regent and commander of all spirits.
Faust. Was not that Lucifer an angel once?
Meph. Yes, Faustus, and most dearly lov'd of God.
Faust. How comes it, then, that he is Prince of Devils?
Meph. O, by aspiring pride and insolence!
For which God threw him from the face of Heaven.
Faust. And what are you that live with Lucifer?
Meph. Unhappy spirits that fell with Lucifer,
And are for ever damn'd with Lucifer.
Faust. Where are you damn'd?
Meph. In Hell.
Faust. How comes it, then, that thou art out of Hell?
Meph. Why, this is Hell, nor am I out of it:
Think'st thou that I, who saw the face of God,
And tasted the eternal joys of Heaven,
Am not tormented with ten thousand hells
In being depriv'd of everlasting bliss?
O Faustus, leave these frivolous demands,
Which strike a terror to my fainting soul.
Faust. What! is great Mephistophilis so passionate
For being deprivéd of the joys of Heaven?
Learn thou of Faustus manly fortitude,
And scorn those joys thou never shalt possess.
Go, bear these tidings to great Lucifer:
Seeing Faustus hath incurr'd eternal death,
Say, he surrenders up to him his soul,
So he will spare him four-and-twenty years,
Letting him live in all voluptuousness;
Having thee ever to attend on me,
To give me whatsoever I shall ask,
To tell me whatsoever I demand,
To slay mine enemies, and aid my friends,
And always be obedient to my will."
This passage, especially the hero's cool indifference in questioning about things which the fiend shudders to consider, has often struck me as not altogether unworthy to be thought of in connection with Milton.
The result of the interview is, that Faustus makes a compact with Lucifer, draws blood from his own arm, and with it writes out a deed of gift, assuring his soul and body to the fiend at the end of twenty-four years. Thenceforth he spends his time in exercising the mighty spells and incantations thus purchased: he has the power of making himself invisible, and entering whatsoever houses he lists; he passes from kingdom to kingdom with the speed of thought; wields the elements at will, and has the energies of Nature at his command; summons the Grecian Helen to his side for a companion; and holds the world in wonder at his acts. Meanwhile the knowledge which Hell has given him of Heaven haunts him; he cannot shake off the thought of what the awful compact binds him to; repentance carries on a desperate struggle in him with the necromantic fascination, and at one time fairly outwrestles it; but he soon recovers his purpose, renews his pledge to Lucifer, and finally performs it.
This feature of the representation suggests a great thought, perhaps I should say, principle of man's moral being, which Shakespeare has more than once worked upon with surpassing effect. For it is remarkable that, in Macbeth, the thinking of the Weird Sisters (and he cannot choose but think of them) fires the hero's moral and imaginative forces into convulsive action, and thus causes him to shrink back from the very deed to which the prophetic greetings stimulate him. So, again, in Hamlet, the intimations of the Ghost touching "the secrets of its prison-house" kindle the hero full of "thoughts beyond the reaches of his soul," which entrance him in meditation, unstring his resolution, and render him morally incapable of the office to which that same Ghost has called him.
The Jew of Malta, has divers passages in a far higher and richer style of versification than any part of Tamburlaine. The author's diction has grown more pliant and facile to his thought; consequently it is highly varied in pause and movement; showing that in his hand the noble instrument of dramatic blank-verse was fast growing into tune for a far mightier hand to discourse its harmonies upon. I must add that considerable portions both of this play and the preceding are meant to be comical. But the result only proves that Marlowe was incapable of comedy. No sooner does he attempt the comic vein than his whole style collapses into mere balderdash. In fact, though plentifully gifted with wit, there was not a particle of real humour in him; none of that subtle and perfusive essence out of which the true comic is spun; for these choice powers can hardly live but in the society of certain moral elements that seem to have been left out of his composition.
Edward the Second, probably the latest, certainly much the best, of Marlowe's dramas, was printed in 1598. Here, for the first time, we meet with a genuine specimen of the English Historical Drama. The scene covers a period of twenty years; the incidents pass with great rapidity, and, though sometimes crushed into indistinctness, are for the most part well used both for historic truth and dramatic effect; and the dialogue, generally, is nervous, animated, and clear. In the great article of character, too, this play has very considerable merit. The King's insane dotage of his favourites, the upstart vanity and insolence of Gaveston, the artful practice and doubtful virtue of Queen Isabella, the factious turbulence of the nobles, irascible, arrogant, regardless of others' liberty, jealous of their own, sudden of quarrel, eager in revenge, are all depicted with a goodly mixture of energy and temperance. Therewithal the versification moves, throughout, with a freedom and variety, such as may almost stand a comparison with Shakespeare in what may be called his earlier period; as when, for instance, King Richard the Second was written. It is probable, however, that by this time, if not before, Marlowe had begun to feel the power of that music which was to charm him, and all others of the time, out of audience and regard. For we have very good evidence, that before Marlowe's death Shakespeare had far surpassed all of that age who had ever been competent to teach him in any point of dramatic workmanship.
Marlowe is of consequence, mainly, as one of the first and greatest improvers of dramatic poetry in so far as relates to diction and metrical style; which is my reason for emphasizing his work so much in that regard. But, as this is a virtue much easier felt than described, I can best show what it is, by giving a taste of it; which however must be brief:
"Edw. What, Lord Arundel, dost thou come alone?
Arun. Yea, my good lord, for Gaveston is dead.
Edw. Ah, traitors! have they put my friend to death?
Tell me, Arundel, died he ere thou cam'st,
Or didst thou see my friend to take his death?
Arun. Neither, my lord; for, as he was surpris'd,
Begirt with weapons and with enemies round,
I did your Highness' message to them all,
Demanding him of them, entreating rather,
And said, upon the honour of my name,
That I would undertake to carry him
Unto your Highness, and to bring him back.
Edw. And, tell me, would the rebels deny me that?
Spen. Proud recreants!
Edw. Yea, Spenser, traitors all!
Arun. I found them at the first inexorable:
The Earl of Warwick would not bide the hearing;
Mortimer hardly; Pembroke and Lancaster
Spake least; and when they flatly had denied,
Refusing to receive me pledge for him,
The Earl of Pembroke mildly thus bespake:
'My lords, because our sovereign sends for him,
And promiseth he shall be safe return'd,
I will this undertake, to have him hence,
And see him redeliver'd to your hands.'
Edw. Well, and how fortunes it that he came not?
Spen. Some treason or some villainy was cause.
Arun. The Earl of Warwick seiz'd him on the way;
For, being deliver'd unto Pembroke's men,
Their lord rode home, thinking the prisoner safe;
But, ere he came, Warwick in ambush lay,
And bare him to his death, and in a trench
Strake off his head, and march'd unto the camp.
Spen. A bloody part, flatly 'gainst law of arms!
Edw. O, shall I speak, or shall I sigh, and die?
Spen. My lord, refer your vengeance to the sword
Upon these barons; hearten up your men;
Let them not unreveng'd murder your friends;
Advance your standard, Edward, in the field,
And march to fire them from their starting-holes.
Edw. I will have heads and lives for him as many
As I have manors, castles, towns, and towers!—
Treacherous Warwick! traitorous Mortimer!
If I be England's king, in lakes of gore
Your headless trunks, your bodies will I trail,
That you may drink your fill, and quaff in blood,
And stain my royal standard with the same;
You villains that have slain my Gaveston!—
And, in this place of honour and of trust,
Spenser, sweet Spenser, I adopt thee here;
And merely of our love we do create thee
Earl of Gloucester and Lord Chamberlain.
Spen. My lord, here is a messenger from the barons,
Desires access unto your Majesty.
Edw. Admit him.
Herald. Long live King Edward, England's lawful lord!
Edw. So wish not they, I wis, that sent thee hither."
This, to be sure, does not read much like, for instance, Hotspur's speech, beginning,
"O, then the earth shook to see the heavens on fire,"
nor is there any thing in Marlowe that does. In the passage quoted, however, (and there are many more like it,) we have the rhymeless ten-syllable iambic verse as the basis; but this is continually diversified, so as to relieve the ear and keep it awake, by occasional spondees, dibrachs, anapests, and amphibrachs, and by the frequent use of trochees in all parts of the verse, but especially at the beginning, and by a skilful shifting of the pause to any part of the line. It thus combines the natural ease and variety of prose with the general effect of metrical harmony, so that the hearing does not surfeit nor tire. As to the general poetic style of the performance, the kindling energy of thought and language that often beats and flashes along the sentences, there is much both in this and in Faustus to justify the fine enthusiasm of Drayton:
"Next, Marlowe, bathéd in the Thespian springs,
Had in him those brave translunary things
That the first poets had: his raptures were
All air and fire, which made his verses clear;
For that fine madness still he did retain
Which rightly should possess a poet's brain."
Before leaving the subject, I must notice a remark by Charles Lamb,—the dear, delightful Charley. "The reluctant pangs," says he, "of abdicating royalty in Edward furnished hints which Shakespeare scarce improved in his Richard the Second; and the death-scene of Marlowe's king moves pity and terror beyond any scene, ancient or modern, with which I am acquainted." Both the scenes in question have indeed great merit, but this praise seems to me far beyond the mark. Surely, there is more of genuine, pity-moving pathos in the single speech of York,—"As in a theatre the eyes of men," etc.,—than in all Marlowe's writings put together. And as to the moving of terror, there is, to my mind, nothing in Edward the Second that comes up to Faustus; and there are a dozen scenes in Macbeth, any one of which has more of the terrific than the whole body of Faustus. And in the death-scene of Edward, it can hardly be denied that the senses are somewhat overcrammed with images of physical suffering, so as to give the effect rather of the horrible than the terrible.
Others, again, have thought that Marlowe, if he had lived, would have made some good approach to Shakespeare in tragic power. A few years more would no doubt have lifted him to very noble things, that is, provided his powers could have been kept from the eatings and cripplings of debauchery; still, any approach to that great Divinity of the Drama was out of the question for him. For, judging from his life and works, the moral part of genius was constitutionally defective in him; and, with this so defective, the intellectual part cannot be truly itself; and his work must needs be comparatively weak in those points of our being which it touches, because it does not touch them all: for the whole must be moved at once, else there can be no great moving of any part. No, no! there was not, there could not have been in Marlowe, great as he was, a tithe of Shakespeare, for tragedy, nor any thing else. To go no further, he was, as we have seen, destitute of humour; the powers of comedy evidently had no place in him; and these powers are indispensable to the production of high tragedy: a position affirmed as long ago as the days of Plato; sound in the reason of the thing; and, above all, made good in the instance of Shakespeare; who was Shakespeare, mainly because he had all the powers of the human mind in harmonious order and action, and used them all, explicitly or implicitly, in every play he wrote.
Shakespeare had one or two other senior contemporaries of whom I must say a few words, though it is not likely that they contributed much, if any thing, towards preparing him. John Lily, born in 1554, and Master of Arts in 1576, has considerable wit, some poetry; withal a certain crisp, clever, conceited mannerism of style, which caused him to be spoken of as "eloquent and witty"; but nothing that can be properly termed dramatic talent. His persons all speak in precisely the same vein, being indeed but so many empty figures or puppets, reflecting or propagating the motions of the author himself. His dramatic pieces, of which we have nine, seven in prose, one in rhyme, and one in blank-verse, seem to have been designed for Court entertainments, but were used more or less on the public stage, chiefly by the juvenile companies. They are all replete with that laboured affectation of fine writing which was distinguished at the time as Euphuism. One of his main peculiarities stands in using, for images and illustrations, certain imaginary products of a sort of artificial nature, which he got up especially for that purpose; as if he could invent better materials for poetic imagery than ancient Nature had furnished! Still, it is not unlikely that we owe to him somewhat of the polish and flexibility of the Shakespearian dramatic diction: that he could have helped the Poet in any thing beyond mere diction it were absurd to suppose.
I have already spoken of Thomas Lodge as joint author with Greene of a good-for-nothing play. We have one Other play by him, entitled The Wounds of Civil War, and having for its subject "the true tragedies of Harms and Sylla," written before 1590, but not printed till 1594. It is in blank-verse; which however differs from the most regular rhyming ten-syllable verse in nothing but the lack of consonous endings.—Lodge is chiefly memorable in that one of his prose pieces was drawn upon for Shakespeare's As You Like It.
We have now reached the time when Shakespeare's hand had learnt its cunning, so far at least as any previous examples could teach it. Perhaps I ought to add, as showing the prodigious rush of life and thought towards the drama in that age, that, besides the authors I have mentioned, Henslowe's Diary supplies the names of thirty other dramatists, most of whom have propagated some part of their workmanship down to our time. In the same document, during the twelve years beginning in February, 1591, we have the titles recorded of no less than two hundred and seventy pieces, either as original compositions, or as revivals of older plays. As all these entries have reference only to Henslowe's management; and as, during that period, except for some short intervals, he was concerned with the affairs of but a single company; we may thence conceive how vastly fertile the age was in dramatic production.
After all, it is hardly possible for us to understand how important a part dramatic exhibitions played in the life of "merry England in the olden time." From a very early period, the interest in them was deep, general, and constant; it grew with the growth of civilization; it became complicated with all the mental, moral, and social habitudes of the people; and, in fact, whatever "seed-points of light" got planted in the popular mind had no way but to organize themselves into that shape. Those old plays, such as they were, with their rude, bold attempts to combine religion and mirth, instruction and sport, may almost be described as having been the nerves upon which the whole mental character of the nation formed itself. The spirit which began so early to work in them kept on asserting itself more and more strongly from age to age, till the Drama became emphatically a popular passion; as indeed must always be the case before any thing deserving the name of a National Drama can possibly arise. And it is quite surprising how long this spirit, so universal and so intense, was restrained from putting on so much of institutional form and expression as is implied in having buildings erected or adapted for its special use and service. For we have thus far heard of nothing in the character of temples provided for the liturgies of the Dramatic Art.
The spirit in question, however, did at last reach such a measure of strength, that it could no longer be restrained from issuing in a provision of that sort. The play-house known as the Blackfriars was established in 1576, and was owned and run by the company to which Shakespeare afterwards belonged. Two others, called The Theatre and The Curtain, were probably started about the same time, as we find them in operation in 1577. Before the end of the century, the city and suburbs of London had at least eight more in full blast. And there were, besides, ever so many strolling companies of players carrying the mysteries of their craft into nearly all parts of the kingdom. So that the Drama may well be judged to have been, in the Poet's time, decidedly a great institution. In fact, it was a sort of fourth estate of the realm; nearly as much so, indeed, as the Newspaper Press is in our time. Practically, the Government was vested in King, Lords, Commons, and Dramatists, including in the latter both writers and actors; the Poet thus having far more reason than now exists for making Hamlet say to the old statesman, "After your death you were better have a bad epitaph, than their ill report while you live."
The foregoing review, brief and inadequate as it is, may answer the purpose of imparting some just notion of the growth and progress of the English Drama till it reached the eve of its maturity. The allegorical drama had great influence, no doubt, in determining the scope and quality of the proper drama of comedy and tragedy; since, by its long discipline of the popular mind in abstract ideas, or in the generalized forms of ethical thought, it did much towards forming that public taste which required and prompted the drama to rise above a mere geography of facts into the empyrean of truth; and under the instructions of which Shakespeare learned to make his persons embodiments of general nature as well as of individual character. For the excellences of the Shakespearian Drama were probably owing as much to the mental preparation of the time as to the powers of the individual man. He was in demand before he came; and it was that pre-existing demand that taught and enabled him to do what he did. If it was the strength of his genius that lifted him to the top of the heap, it was also the greatness of the heap that enabled him to reach and maintain that elevation. For it is a great mistake to regard Shakespeare as standing alone, and working only in the powers of his individual mind. In fact, there never was any growth of literature or art that stood upon a wider basis of collective experience, or that drew its form and substance from a larger or more varied stock of historical preparation.[5]
Dryden, in one of his occasional pieces, represents the Poet's ghost as saying,
"Untaught, unpractis'd, in a barbarous age,
I found not, but created first, the stage";
and such has been the common belief. But the saying is far from true; and Shakespeare's ghost must have sipped large draughts of Lethe, to be capable of speaking thus. For, though the least that he did is worth more than all that was done before him, and though his poorest performances surpass the best of his models; it is nevertheless certain that his task was but to continue and perfect what was already begun. Not only were the three forms of comedy, history, and tragedy in use on the English stage, but the elements of these were to some extent blended in the freedom and variety of the Gothic Drama. The usage also of dramatic blank-verse stood up inviting his adoption; though no one before or since has come near him in the mastery of its capabilities; his genius being an inexhaustible spring of both mental and verbal modulation. Nor can all this be justly regarded as any alleviation of his task, or any abatement of his fame. For, to work thus with materials and upon models already prepared, without being drawn down to their level and subdued to their quality, requires, if possible, a higher order and exercise of power than to strike out in a way and with a stock entirely new. And so the absorbing, quickening, creative efficacy of Shakespeare's genius is best seen in this, that, taking the Drama as it came to his hand, a thing of unsouled forms and lack-lustre eyes, all brainless and meaningless, he at once put a spirit into it, tempered its elements in the proportions of truth, informed its shapes with grace and virtue, and made it all alive, a breathing, speaking, operative power. Thus his work naturally linked in with the whole past; and in his hands the collective thought and wisdom of ages were smelted out of the earth and dross wherein they lay imbedded, and wrought into figures of undecaying beauty.
It is indeed true that the Drama shot ahead with amazing rapidity as soon as it came to feel the virtue of Shakespeare's hand. We have nothing more dreary, dismal, and hopeless than the course of the English Drama down to his time. The people would have dramatic entertainments, and hundreds of minds, apparently, were ever busy furnishing them wooden things in dramatic form. And so, century after century, through change after change, the work of preparation went on, still scarce any progress, and no apparent result, nothing that could live, or was worth keeping alive. It seemed as if no rain would ever fall, no sun ever shine, to take away the sterility of the land. Yet all of a sudden the Drama blazed up with a splendor that was to illuminate and sweeten the ages, and be at once the delight and the despair of other nations and future times. All this, too, came to pass in Shakespeare! and, which is more, the process ended with him! It is indeed a singular phenomenon, and altogether the most astonishing that the human mind has produced.
Yet even here we should be careful of attributing too much to the genius of the individual man. It was rather the genius of the age and nation springing into flowerage through him,—a flowerage all the larger and more eloquent for the long delay, and the vast accumulation of force. For it is remarkable that when the Warwickshire peasant entered upon his work, with the single exception of Chaucer, not one good English book had been written. Yet he was far from being alone in thus beginning and perfecting the great workmanship which he took in hand. Before Hamlet, Othello, and The Tempest were written, Romantic Poetry had done its best in Spenser, Philosophical Divinity in Hooker, Civil and Moral Discourse in Bacon. All these alike are unapproached and unapproachable in their several kinds. We have nothing more tuneable and melodious than Spenser's verse; no higher and nobler eloquence than Hooker's prose; no practical wisdom of deeper reach or more attractive garb than Bacon's Essays. Yet they did not learn their cunning from Shakespeare, nor did Shakespeare learn his cunning from them. The language was then just ripe for the uses of such minds; it had the wealth of much learning incorporated with it, yet had not been cast into rigidity nor dressed into primness by a technical and bookish legislation; it had gone on for centuries gathering in and assimilating stores from Nature and from Religion; it was rich with the life of a nation of brave, free, honest, full-souled, and frank-hearted men; it was at once copious, limber, and sinewy, capable alike of expressing the largest and the subtlest thought, the deepest and strongest passion, the most tender and delicate feeling; wit could sport itself for ever, humour could trim its raciest issues, imagination could body forth its sweetest and awfullest visions, in the furnishings of the English tongue. And so these four great thinkers found it equal, apparently, to all their thoughts and powers. They were all, though each in a different sort, its masters, not its slaves. They used it, but they did not make it. And the thought which they found it capable of expressing must have pre-existed in some form, else the language could not have stood ready, as it did, for their use. The truth seems to be that, for reasons which we cannot fathom, and in ways past our finding out, the time had now come, the mental life of the nation was fully grown to a head, so as to express itself in several forms at the same time; and Shakespeare, wise, true, and mighty beyond his thought, became its organ of dramatic utterance; which utterance remains, and will remain, a treasury of everlasting sweetness and refreshment to mankind.