while the Queen of France has just said:
"For thee, oppressed king, am I cast down,
Myself could else outfrown false fortune's frown."
In these two lines the magnanimity of Shakespeare is pure, unveiled, as he gives us the last words of his favourite heroine: we must read them backwards and forwards to catch the portrait they enclose. We see the unconscious elevation of Cordelia's mind, not so much superior as invulnerable to mortal ills; we see this dignity and lovely pride cast down by pity and love, and then in answer to Lear's troubled and anxious look we hear in measured and steadfast tones the reassurance of perfect peace.
Remark too Shakespeare's habit of looking upon the world as a masque or pageant, not to be treated with too much respectful anxiety as if it were as real as ourselves. He who can give so perfectly the texture of common life, the solidities of common sense, likes to wave his wand over the domain of sturdy prose and incontrovertible custom, and to show how plastic it is, and how easily pierced, and how readily transformed. He has a malicious pleasure in confusing the boundaries of nature and fancy, and mocking the purblind understanding. In the "Midsummer Night's Dream" we have an ambiguous and bewildering light, with the horizon always shifting, and the boundaries of fact and fable confused with an inseparable mingling of forms; both outwardly, as when Theseus enters the forest on the skirts of the fairy crew; and inwardly in the memories of the lovers. And we are expressly told after the enchantment of the "Tempest" that this summary dealing with the solid world was not merely by way of entertainment but was a presentation of truth. And Macbeth, after grasping all that life could offer of tangible reward or palpable power, pronounces it
"such stuff as dreams are made of."
No doubt something will be said on the other side, of Shakespeare's broad and indulgent humanity, and of his toleration even of vice itself when it is convivial and amusing. It should be remembered, however, that his comedies while more realistic are not so real as his tragedies. They are, as he himself insists, entertainments; to which jovial sensuality, witty falsehood, and even hypocrisy when it is not morose are admitted, as diverting in their very aberration from the mean rule of life. So that a touch of rascality is a genuine element in comedy, as a touch of danger in sport, and the provocation of the moral sense is part of the fun. But they are all under guard. The moment they pass a certain boundary and break into reality, the moment that intemperance leads to disorder, and vice to suffering, as in real life, then suddenly Harry turns upon Falstaff, or Olivia on Sir Toby, and vice is called by its right name.
And as life awakens and reality enters, either the grace or the sentiment or the passion of unworldliness is more and more distinctly present. And in the tragedies even the pleasant vices are seen as part of a world-wide corruption that wrongs, debases, and betrays. Shakespeare has painted every phase of antagonism to the world, from the pensive aloofness of Antonio to the impassioned misanthropy of Timon. Every excited feeling emits light into the dark places of the earth, and every suffering is a revelation of more than its own injury. It is as if the soul, fully aroused, became aware by its own light of the oppression and injustice abroad upon the earth.
But there is a more vague and general disaffection to the world than is the outcome of any particular experience. It may be called a spiritual discontent which few have felt as a passion, but many have known as a mood: when that average goodness of human nature which we have found so companionable, and to which we have so pleasantly adapted ourselves, becomes "very tolerable and not to be endured;" when the world seems to be made of our vices, and our virtues seem to be looking on, or if they enter into the fray are too tame and conventional for the selfish fire and unscrupulous industry of their rivals; and when to our excited sensibility there is a taint in the moral atmosphere, and we long to escape if only to breathe more freely. This is more than a mood with Shakespeare, and is present in those slight but distinctive touches that mark the unconscious intrusion of character in an artist's work; and is frankly confessed in one of his Sonnets:—-
"Tired with all these; for restful death I cry;
As to behold desert a beggar born,
And needy nothing drest in jollity,
And purest faith unhappily forsworn.....
Tired with all these, from, these would I be gone."
We find, then, scattered through the dramas of Shakespeare a disaffection to the world as deep-grained as it is comprehensive; and we find the various elements of it—the contempt of fortune, the ideal virtue, the disinterested passion, the mysticism, the fellowship with the oppressed, the distaste of the world's enjoyment and the weariness of its burden—concentrated in Hamlet for full and exhaustive study; thus presenting what I have called the interior or fundamental drama of the soul and the world.