"Such an act
That blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love,
And sets a blister there, makes marriage-vows
As false as dicers' oaths: O, such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words: Heaven's face doth glow;
Yea, this solidity and compound mass,
With tristful visage, as against the doom,
Is thought-sick at the act."[632]
It is the style of frenzy. Yet I have not given all. The metaphors are all exaggerated, the ideas all verge on the absurd. All is transformed and disfigured by the whirlwind of passion. The contagion of the crime, which he denounces, has marred all nature. He no longer sees anything in the world but corruption and lying. To vilify the virtuous were little; he vilifies virtue herself. Inanimate things are sucked into this whirlpool of grief. The sky's red tint at sunset, the pallid darkness spread by night over the landscape, become the blush and the pallor of shame, and the wretched man who speaks and weeps sees the whole world totter with him in the dimness of despair.
Hamlet, it will be said, is half-mad; this explains the vehemence of his expressions. The truth is that Hamlet, here, is Shakespeare. Be the situation terrible or peaceful, whether he is engaged on an invective or a conversation, the style is excessive throughout. Shakespeare never sees things tranquilly. All the powers of his mind are concentrated in the present image or idea. He is buried and absorbed in it. With such a genius, we are on the brink of an abyss; the eddying water dashes in headlong, swallowing up whatever objects it meets, and only bringing them to light transformed and mutilated. We pause stupefied before these convulsive metaphors, which might have been written by a fevered hand in a night's delirium, which gather a pageful of ideas and pictures in half a sentence, which scorch the eyes they would enlighten. Words lose their meaning; constructions are put out of joint; paradoxes of style, apparently false expressions, which a man might occasionally venture upon with diffidence in the transport of his rapture, become the ordinary language. Shakespeare dazzles, repels, terrifies, disgusts, oppresses; his verses are a piercing and sublime song, pitched in too high a key, above the reach of our organs, which offends our ears, of which our mind alone can divine the justice and beauty.
Yet this is little; for that singular force of concentration is redoubled by the suddenness of the dash which calls it into existence. In Shakespeare there is no preparation, no adaptation, no development, no care to make himself understood. Like a too fiery and powerful horse, he bounds, but cannot run. He bridges in a couple of words an enormous interval; is at the two poles in a single instant. The reader vainly looks for the intermediate track; dazed by these prodigious leaps, he wonders by what miracle the poet has entered upon a new idea the very moment when he quitted the last, seeing perhaps between the two images a long scale of transitions, which we mount with difficulty step by step, but which he has spanned in a stride. Shakespeare flies, we creep. Hence comes a style made up of conceits, bold images, shattered in an instant by others still bolder, barely indicated ideas completed by others far removed, no visible connection, but a visible incoherence; at every step we halt, the track failing; and there, far above us, lo, stands the poet, and we find that we have ventured in his footsteps, through a craggy land, full of precipices, which he threads as if it were a straightforward road, but on which our greatest efforts barely carry us along.
What will you think, further, if we observe that these vehement expressions, so natural in their up-welling, instead of following one after the other, slowly and with effort, are hurled out by hundreds, with an impetuous ease and abundance, like the bubbling waves from a welling spring, which are heaped together, rise one above another, and find nowhere room enough to spread and exhaust themselves? You may find in "Romeo and Juliet" a score of examples of this inexhaustible inspiration. The two lovers pile up an infinite mass of metaphors, impassioned exaggerations, clenches, contorted phrases, amorous extravagances. Their language is like the trill of nightingales. Shakespeare's wits, Mercutio, Beatrice, Rosalind, his clowns, buffoons, sparkle with far-fetched jokes, which rattle out like a volley of musketry. There is none of them but provides enough play on words to stock a whole theatre. Lear's curses, or Queen Margaret's, would suffice for all the madmen in an asylum, or all the oppressed of the earth. The sonnets are a delirium of ideas and images, labored at with an obstinacy enough to make a man giddy. His first poem, "Venus and Adonis," is the sensual ecstasy of a Correggio, insatiable and excited. This exuberant fecundity intensifies qualities already in excess, and multiplies a hundred-fold the luxuriance of metaphor, the incoherence of style, and the unbridled vehemence of expression.[633]
All that I have said may be compressed into a few words. Objects were taken into his mind organized and complete; they pass into ours disjointed, decomposed, fragmentarily. He thought in the lump, we think piecemeal; hence his style and our style—two languages not to be reconciled. We, for our part, writers and reasoners, can note precisely by a word each isolated fraction of an idea, and represent the due order of its parts by the due order of our expressions. We advance gradually; we follow the filiations, refer continually to the roots, try and treat our words as numbers, our sentences as equations; we employ but general terms, which every mind can understand, and regular constructions, into which any mind can enter; we attain justness and clearness, not life. Shakespeare lets justness and clearness look out for themselves, and attains life. From amidst his' complex conception and his colored semi-vision, he grasps a fragment, a quivering fibre, and shows it; it is for you, from this fragment, to divine the rest. He, behind the word, has a whole picture, an attitude, a long argument abridged, a mass of swarming ideas; you know them, these abbreviative, condensive words: these are they which we launch out amidst the fire of invention, in a fit of passion—words of slang or of fashion, which appeal to local memory or individual experience;[634] little desultory and incorrect phrases, which, by their irregularity, express the suddenness and the breaks of the inner sensation; trivial words, exaggerated figures.[635] There is a gesture beneath each, a quick contraction of the brows, a curl of laughing lips, a clown's trick, an unhinging of the whole machine. None of them mark ideas, all suggest images; each is the extremity and issue of a complete mimic action; none is the expression and definition of a partial and limited idea. This is why Shakespeare is strange and powerful, obscure and creative, beyond all the poets of his or any other age; the most immoderate of all violators of language, the most marvellous of all creators of souls, the farthest removed from regular logic and classical reason, the one most capable of exciting in us a world of forms and of placing living beings before us.
[SECTION III.—Shakespeare's Language And Manners]
Let us reconstruct this world, so as to find in it the imprint of its creator. A poet does not copy at random the manners which surround him; he selects from this vast material, and involuntarily brings upon the stage the habits of the heart and conduct which best suit his talent. If he is a logician, a moralist, an orator, as, for instance, one of the French great tragic poets (Racine) of the seventeenth century, he will only represent noble manners; he will avoid low characters; he will have a horror of menials and the plebs; he will observe the greatest decorum amidst the strongest outbreaks of passion; he will reject as scandalous every low or indecent word; he will give us reason, loftiness, good taste throughout; he will suppress the familiarity, childishness, artlessness, gay banter of domestic life; he will blot out precise details, special traits, and will carry tragedy into a serene and sublime region, where his abstract personages, unencumbered by time and space, after an exchange of eloquent harangues and able dissertations, will kill each other becomingly, and as though they were merely concluding a ceremony. Shakespeare does just the contrary, because his genius is the exact opposite. His master faculty is an impassioned imagination, freed from the shackles of reason and morality. He abandons himself to it, and finds in man nothing that he would care to lop off. He accepts nature and finds it beautiful in its entirety. He paints it in its littlenesses, it deformities, its weaknesses, its excesses, its irregularities, and its rages; he exhibits man at his meals, in bed, at play, drunk, mad, sick; he adds that which ought not to be seen to that which passes on the stage. He does not dream of ennobling, but of copying human life, and aspires only to make his copy more energetic and more striking than the original.
Hence the morals of this drama; and first, the want of dignity. Dignity arises from self-command. A man selects the most noble of his acts and attitudes, and allows himself no other. Shakespeare's characters select none, but allow themselves all. His kings are men, and fathers of families. The terrible Leontes, who is about to order the death of his wife and his friend, plays like a child with his son: caresses him, gives him all the pretty pet names which mothers are wont to employ; he dares be trivial; he gabbles like a nurse; he has her language and fulfils her duties: