A French writer so able and so thoroughly skilled as M. Taine, is at home in persiflage, and throughout his work he freely indulges in it at the expense of “those excellent English.” From the moment the Norman sets his foot in England, he is the Englishman’s superior. With the Norman came in education and intelligence. These poor Anglo-Saxons appear to have been their inferiors. Wherever opportunity occurs, English models suffer in comparison with French throughout the work, which closes with an extravagant rhapsody on Alfred de Musset, and this line: “I prefer Alfred de Musset to Tennyson.”
Many scholars of high acquirements, admirers of Shakespeare, having exhausted with praise the catalogue of Shakespeare’s serious and solid qualities, find that his pre-eminent superiority lies in wit and humor—the wit bright and sparkling, the humor kindly and genial, more akin to wisdom than to wit, and, indeed, in itself a particular form of wisdom, so that it might almost be said that his fools give us more wisdom than the philosophers of ordinary dramatists. M. Taine is of a diametrically opposite opinion. Here it is: “The mechanical imagination produces Shakespeare’s fool-characters: a quick, venturesome, dazzling, unquiet imagination produces his men of wit.”
Would you know what is true wit? You may learn from page 320, vol. i.:
“Of wit, there are many kinds. One, altogether French, which is but reason, a foe to paradox, scorner of folly, a sort of incisive common sense, having no occupation but to render truth amusing and evident, the most effective weapon with an intelligent and vain people: such was the wit of Voltaire and the drawing-rooms.”
The conclusion is thus forced upon us that this is by no means the wit of Shakespeare. M. Taine falls into a mistake common to many persons who understand Shakespeare but imperfectly. It is that of attributing to him a certain style: “Let us, then, look for the man, and in his style. The style explains the work.” Ordinary writers have a style easily recognizable after slight study, but Shakespeare has fifty styles, certainly at least one for every character of marked individualism. This is not M. Taine’s view, for he says: “Shakespeare’s style is a compound of furious expressions. No man has submitted words to such a contortion. Mingled contrasts, raving exaggerations, apostrophes, exclamations, the whole fury of the ode, inversion of ideas, accumulation of images, the horrible and the divine jumbled into the same line; it seems, to my fancy, as though he never writes a word without shouting it” (p. 308).
If there is one peculiarity or merit of Shakespeare which, more than another, has received the general assent of critics and scholars, it is his eminently objective power. It is looked upon as a striking proof of the great dramatist’s deep, clear insight into the depths of the human heart, that he never thrusts his individuality into his conception of characters. He never mistakes the operations of his own mind for those of others, and never confounds his personality with that of any of his dramatic personages. Every page of Milton’s writings, it is said, exhibits a full-length portrait of the author. Byron’s heroes, Lara, Conrad, Manfred, and the rest, might interchange reflections and speeches, and not seriously interfere with each other’s identity, and the sentimental rubbish and trashy sophistry poured out from the mouths of any of Bulwer’s men and women might answer for all of them. But nothing that Romeo says could by possibility enter the mind of Hamlet, and King Lear has not a line which would be fitting in the mouth of Othello.
But M. Taine is not of this way of thinking. His theory is diametrically opposed to this, and he finds Shakespeare eminently subjective. He is always Shakespeare. “These characters are all of the same family. Good or bad, gross or delicate, refined or awkward, Shakespeare gives them all the same kind of spirit which is his own” (p. 317). Hamlet is Shakespeare, the melancholy Jaques[10] is Shakespeare, Othello is Shakespeare, and—Falstaff is Shakespeare!
No, we do not exaggerate. Here are M. Taine’s words: “Hamlet, it will be said, is half-mad; this explains his vehemence of expression. The truth is that Hamlet here is Shakespeare” (p. 308). “Hamlet is Shakespeare, and, at the close of this gallery of portraits, which have all some features of his own, Shakespeare has painted himself in the most striking of all” (p. 340).
Things equal to the same are equal to each other. Lara being George Gordon Noel Byron, and Conrad also being the same George, we see at once why there exists a striking resemblance between them; but when we are told that Hamlet and Falstaff, morally as far apart as the poles, are yet painted from the same model, we find that too much is asked of our credulity. Of Falstaff M. Taine says: “This big, pot-bellied fellow, a coward, a jester, a brawler, a drunkard, a lewd rascal, a pot-house poet, is one of Shakespeare’s favorites. The reason is that his manners are those of pure nature, and Shakespeare’s mind is congenial with his own” (p. 323). Wherein this “drunkard and lewd rascal” resembles Prince Hamlet, and wherein Shakespeare resembles either or both of them, is beyond the range of any Anglo-Saxon or Teutonic mind to comprehend. Perhaps M. Taine may be able to explain it. His book totally fails to do so.
No one can read this long chapter of fifty-five octavo pages on Shakespeare without being struck by the skill with which the author avoids mention of or reference to the dramatist’s most admirable passages, and also by his elaborate and painstaking exposition of the defects of Shakespeare’s inferior characters. Of the beauties of Romeo and Juliet—the Queen Mab description alone excepted—we hear nothing, but are regaled with two pages concerning “the most complete of all these characters—the nurse,” and a long and severe commentary on her “never-ending gossip’s babble.”[11] The same remark may be made of Hamlet, a play of which M. Taine evidently has no comprehension, if Coleridge, Hazlitt, Lamb, Ulrici, Tieck, Goethe, and Schlegel at all understand it. Concerning Othello, many paragraphs are frittered away in small criticism on the characters of Iago and Cassio. Of the grand features of Othello the reader obtains no glimpse, while a scandalous industry is exercised in bringing out from under the cover of obscure texts shocking pruriencies that are not perceived by the average reader of Shakespeare.