The most reasonable anticipations fail us, antecedents the most apposite mislead us, because the conditions of human problems never repeat themselves. Some new feature alters every thing,—some element which we detect only in its after-operation.
But this, it may be said, is but a meagre outcome. Can the long records of humanity, with all its joys and sorrows, its sufferings and its conquests, teach us more than this? Let us approach the subject from another side.
If you were asked to point out the special features in which Shakespeare's plays are so transcendently excellent, you would mention perhaps, among others, this—that his stories are not put together, and his characters are not conceived, to illustrate any particular law or principle. They teach many lessons, but not any one prominent above another; and when we have drawn from them all the direct instruction which they contain, there remains still something unresolved,—something which the artist gives, and which the philosopher cannot give.
It is in this characteristic that we are accustomed to say Shakespeare's supreme truth lies. He represents real life. His drama teaches as life teaches,—neither less nor more. He builds his fabrics, as Nature does, on right and wrong; but he does not struggle to make Nature more systematic than she is. In the subtle interflow of good and evil; in the unmerited sufferings of innocence; in the disproportion of penalties to desert; in the seeming blindness with which justice, in attempting to assert itself, overwhelms innocent and guilty in a common ruin,—Shakespeare is true to real experience. The mystery of life he leaves as he finds it; and, in his most tremendous positions, he is addressing rather the intellectual emotions than the understanding,—knowing well that the understanding in such things is at fault, and the sage as ignorant as the child.
Only the highest order of genius can represent Nature thus. An inferior artist produces either something entirely immoral, where good and evil are names, and nobility of disposition is supposed to show itself in the absolute disregard of them, or else, if he is a better kind of man, he will force on Nature a didactic purpose; he composes what are called moral tales, which may edify the conscience, but only mislead the intellect.
The finest work of this kind produced in modern times is Lessing's play of "Nathan the Wise." The object of it is to teach religious toleration. The doctrine is admirable, the mode in which it is enforced is interesting; but it has the fatal fault that it is not true. Nature does not teach religious toleration by any such direct method; and the result is—no one knew it better than Lessing himself—that the play is not poetry, but only splendid manufacture. Shakespeare is eternal; Lessing's "Nathan" will pass away with the mode of thought which gave it birth. One is based on fact; the other, on human theory about fact. The theory seems at first sight to contain the most immediate instruction; but it is not really so.
Cibber and others, as you know, wanted to alter Shakespeare. The French king, in "Lear," was to be got rid of; Cordelia was to marry Edgar, and Lear himself was to be rewarded for his sufferings by a golden old age. They could not bear that Hamlet should suffer for the sins of Claudius. The wicked king was to die, and the wicked mother; and Hamlet and Ophelia were to make a match of it, and live happily ever after. A common novelist would have arranged it thus; and you would have had your comfortable moral that wickedness was fitly punished, and virtue had its due reward, and all would have been well. But Shakespeare would not have it so. Shakespeare knew that crime was not so simple in its consequences, or Providence so paternal. He was contented to take the truth from life; and the effect upon the mind of the most correct theory of what life ought to be, compared to the effect of the life itself, is infinitesimal in comparison.
Again, let us compare the popular historical treatment of remarkable incidents with Shakespeare's treatment of them. Look at "Macbeth." You may derive abundant instruction from it,—instruction of many kinds. There is a moral lesson of profound interest in the steps by which a noble nature glides to perdition. In more modern fashion you may speculate, if you like, on the political conditions represented there, and the temptation presented in absolute monarchies to unscrupulous ambition; you may say, like Doctor Slop, these things could not have happened under a constitutional government: or, again, you may take up your parable against superstition; you may dilate on the frightful consequences of a belief in witches, and reflect on the superior advantages of an age of schools and newspapers. If the bare facts of the story had come down to us from a chronicler, and an ordinary writer of the nineteenth century had undertaken to relate them, his account, we may depend upon it, would have been put together upon one or other of these principles. Yet, by the side of that unfolding of the secrets of the prison-house of the soul, what lean and shrivelled anatomies the best of such descriptions would seem!
Shakespeare himself, I suppose, could not have given us a theory of what he meant; he gave us the thing itself, on which we might make whatever theories we pleased.
Or, again, look at Homer.