Doubtless, it would have been more in accordance with the old poetic notions, if this poor king had maintained his ground without any misgiving at all; but it is a poet of a new order, and not the old heroic one, who has the conducting of this experiment; and though his verse is not without certain sublimities of its own, they have to consist with the report of the fact as it is, to its most honest and unpoetic, unheroic detail.
And notwithstanding all the poetry of that passionate defiance, it is the physical storm that triumphs in the end. The contest between that little world of man and the great outdoor world of nature was too unequal. Compelled at last to succumb, yielding to 'the tyranny of the open night, that is too rough for nature to endure—the night that frightens the very wanderers of the dark, and makes them keep their caves, while it reaches, with its poetic combination of horrors, that border line of the human conception which great Nature's pencil, in this Poet's hand, is always reaching and completing,—
'Man's nature cannot carry The affliction nor the fear.'
—Unable to contend any longer with 'the fretful element'—unable to 'outscorn' any longer 'the to and fro conflicting wind and rain'—weary of struggling with 'the impetuous blasts,' that in their 'eyeless rage' and 'fury' care no more for age and reverence than his daughters do—that seize his white hairs, and make nothing of them—'exposed to feel what wretches feel'—he finds at last, with surprise, that art—the wretch's art—that can make vile things precious. No longer clamoring for 'the additions of a king,' but thankful for the basest means of shelter from the elements, glad to avail himself of the rudest structure with which art 'accommodates' man to nature, (for that is the word of this philosophy, where it is first proposed)—glad to divide with his meanest subject that shelter which the outcast seeks on such a night—ready to creep with him, under it, side by side—'fain to hovel with swine and rogues forlorn, in short and musty straw'—surely we have reached a point at last where the action of the piece itself—the mere 'dumb show' of it—becomes luminous, and hardly needs the player's eloquence to tell us what it means.
Surely this is a little like 'the language' of Periander's message, when he bid the messenger observe and report what he saw him do. It is very important to note that ideas may be conveyed in this way as well as by words, the author of the Advancement of Learning remarks, in speaking of the tradition of the principal and supreme sciences. He takes pains to notice, also, that a representation, by means of these 'transient hieroglyphics,' is much more moving to the sensibilities, and leaves a more vivid and durable impression on the memory, than the most eloquent statement in mere words. 'What is sensible always strikes the memory more strongly, and sooner impresses itself, than what is intellectual. Thus the memory of brutes is excited by sensible, but not by intellectual things;' and thus, also, he proposes to impress that class which Coriolanus speaks of, 'whose eyes are more learned than their ears,' to whom 'action is eloquence.' Here we have the advantage of the combination, for there is no part of the dumb show, but has its word of scientific comment and interpretation.
'Art cold [to the Fool]?
I am cold myself. Where is this STRAW, my fellow?
The art of our necessities is strange,
That can make vile things precious. Come, your hovel.
Come, bring us to this hovel.'
For this is what that wild tragic poetic resistance and defiance comes to—this is what the 'unaccommodated man' comes to, though it is the highest person in the state, stripped of his ceremonies and artificial appliances, on whom the experiment is tried.
'Where is this straw, my fellow? Art cold? I am cold myself.
Come, your hovel. Come, bring us to this hovel.'
When that royal edict is obeyed,—when the wonders of the magician's art are put in requisition to fulfil it,—when the road from the palace to the hovel is laid open,—when the hovel, where Tom o' Bedlam is nestling in the straw, is produced on the stage, and THE KING—THE KING—stoops, before all men's eyes, to creep into its mouth,—surely we do not need 'a chorus to interpret for us'—we do not need to wait for the Poet's own deferred exposition to seize the more obvious meanings. Surely, one catches enough in passing, in the dialogues and tableaux here, to perceive that there is something going on in this play which is not all play,—something that will be earnest, perhaps, ere all is done,—something which 'the groundlings' were not expected to get, perhaps, in 'their sixe-penn'orth' of it at the first performance,—something which that witty and splendid company, who made up the Christmas party at Whitehall, on the occasion of its first exhibition there, who sat there 'rustling in silk,' breathing perfumes, glittering in wealth that the alchemy of the storm had not tried, were not, perhaps, all informed of; though there might have been one among them, 'a gentleman of blood and breeding,' who could have told them what it meant.
'We construct,' says the person who describes this method of philosophic instruction, speaking of the subtle prepared history which forces the inductions—'we construct tables and combinations of instances, upon such a plan, and in such order, that the understanding may be enabled to act upon them.'