History of English Literature Volume 2 (of 3)

by Hippolyte Taine

"And what can we complain of the weakness of our strengths, or the pressures of diseases, when we see a poor soldier stand in a breach almost starved with cold and hunger, and his cold apt to be relieved only by the heats of anger, a fever, or a fired musket, and his hunger slacked by a greater pain and a huge fear? This man shall stand in his arms and wounds, patiens luminis atque solis, pale and faint, weary and watchful; and at night shall have a bullet pulled out of his flesh, and shivers from his bones, and endure his mouth to be sewed up from a violent rent to its own dimensions; and all this for a man whom he never saw, or, if he did, was not noted by him; but one that shall condemn him to the gallows if he runs away from all this misery."[49]

This is the advantage of a full imagination over ordinary reason. It produces in a lump twenty or thirty ideas, and as many images, exhausting the subject which the other only outlines and sketches. There are a thousand circumstances and shades in every event, and they are all grasped in living words like these:

"For so have I seen the little purls of a spring sweat through the bottom of a bank, and intenerate the stubborn pavement, till it hath made it fit for the impression of a child's foot; and it was despised, like the descending pearls of a misty morning, till it had opened its way and made a stream large enough to carry away the ruins of the undermined strand, and to invade the neighboring gardens; but then the despised drops were grown into an artificial river, and an intolerable mischief. So are the first entrances of sin, stopped with the antidotes of a hearty prayer, and checked into sobriety by the eye of a reverend man, or the counsels of a single sermon; but when such beginnings are neglected, and our religion hath not in it so much philosophy as to think anything evil as long as we can endure it, they grow up to ulcers and pestilential evils; they destroy the soul by their abode, who at their first entry might have been killed with the pressure of a little finger."[50]

All extremes meet in that imagination. The cavaliers who heard him, found, as in Ford, Beaumont and Fletcher, the crude copy of the most coarse and unclean truth, and the light music of the most graceful and airy fancies; the smell and horrors of a dissecting-room,[51] and all on a sudden the freshness and cheerfulness of smiling dawn; the hateful detail of leprosy, its white spots, its inner rottenness; and then this lovely picture of a lark, rising amid the early perfumes of the fields:

"For so have I seen a lark arising from his bed of grass, and soaring upwards, singing as he rises, and hopes to get to heaven, and climb above the clouds; but the poor bird was beaten back with the loud sighings of an eastern wind, and his motion made irregular and inconstant, descending more at every breath of the tempest, than it could recover by the vibration and frequent weighing of his wings, till the little creature was forced to sit down and pant, and stay till the storm was over; and then it made a prosperous flight, and did rise and sing, as if it had learned music and motion from an angel, as he passed sometimes through the air, about his ministries here below. So is the prayer of a good man."[52]

And he continues with the charm, sometimes with the very words, of Shakespeare. In the preacher, as well as in the poet, as well as in all the cavaliers and all the artists of the time, the imagination is so full, that it reaches the real, even to its filth, and the ideal as far as its heaven.

How could true religious sentiment thus accommodate itself to such a frank and worldly gait? This, however, is what is has done; and more—the latter has generated the former. With Taylor, as well as with the others, bold poetry leads to profound faith. If this alliance astonishes us to-day, it is because in this respect people have grown pedantic. We take a formal man for a religious man. We are content to see him stiff in his black coat, choked in a white neckerchief, with a prayer-book in his hand. We confound piety with decency, propriety, permanent and perfect regularity. We proscribe to a man of faith all candid speech, all bold gesture, all fire and dash in word or act; we are shocked by Luther's rude words, the bursts of laughter which shook his mighty paunch, his rages like a working-man, his plain free speaking, the audacious familiarity with which he treats Christ and the Deity.[53] We do not perceive that these freedoms and this recklessness are precisely signs of entire belief, that warm and immoderate conviction is too sure of itself to be tied down to an irreproachable style, that impulsive religion consists not of punctilios but of emotions. It is a poem, the greatest of all, a poem believed in; this is why these men found it at the end of their poesy: the way of looking at the world, adopted by Shakespeare and all the tragic poets, led to it; another step, and Jacques, Hamlet, would be there. That vast obscurity, that black unexplored ocean, "the unknown country," which they saw on the verge of our sad life, who knows whether it is not bounded by another shore? The troubled notion of the shadowy beyond is national, and this is why the national renaissance at this time became Christian. When Taylor speaks of death he only takes up and works out a thought which Shakespeare had already sketched:

"All the succession of time, all the changes in nature, all the varieties of light and darkness, the thousand thousands of accidents in the world, and every contingency to every man, and to every creature, doth preach our funeral sermon, and calls us to look and see how the old sexton Time throws up the earth, and digs a grave where we must lay our sins or our sorrows, and sow our bodies, till they rise again in a fair or in an intolerable eternity."

For beside this final death, which swallows us whole, there are partial deaths which devour us piecemeal:

"Every revolution which the sun makes about the world, divides between life and death; and death possesses both those portions by the next morrow; and we are dead to all those months which we have already lived, and we shall never live them over again: and still God makes little periods of our age. First we change our world, when we come from the womb to feel the warmth of the sun. Then we sleep and enter into the image of death, in which state we are unconcerned in all the changes of the world: and if our mothers or our nurses die, or a wild boar destroy our vineyards, or our king be sick, we regard it not, but during that state are as disinterest as if our eyes were closed with the clay that weeps in the bowels of the earth. At the end of seven years our teeth fall and die before us, representing a formal prologue to the tragedy; and still every seven years it is odds but we shall finish the last scene: and when nature, or chance, or vice, takes our body in pieces, weakening some parts and loosing others, we taste the grave and the solemnities of our own funerals, first in those parts that ministered to vice, and next in them that served for ornament, and in a short time even they that served for necessity become useless, and entangled like the wheels of a broken clock. Baldness is but a dressing to our funerals, the proper ornament of mourning, and of a person entered very far into the regions and possession of death: and we have many more of the same signification; gray hairs, rotten teeth, dim eyes, trembling joints, short breath, stiff limbs, wrinkled skin, short memory, decayed appetite. Every day's necessity calls for a reparation of that portion which death fed on all night, when we lay in his lap and slept in his outer chambers. The very spirits of a man prey upon the daily portion of bread and flesh, and every meal is a rescue from one death, and lays up for another; and while we think a thought, we die; and the clock strikes, and reckons on our portion of eternity: we form our words with the breath of our nostrils, we have the less to live upon for every word we speak."[54]