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Love's eye be true That is so vexed with watching and with tears." |
Perhaps self-portraiture might be even detected in his plays. Goethe's comprehension of the incomprehensible Hamlet, (viz. That with a great and philosophic mind he was too shrinking and sensitive for the execution of his high resolves—in a word, that like a porcelain jar attempting to enfold the roots of an oak, until shattered in the attempt, his shrinking nature tottered under the pressure of a purpose too mighty,) may have been a picture of Shakspeare's self: violent ambition acting upon the poet's fine nature, as other passions did upon that of Hamlet.
I have occupied so much space with that part of Shakspeare's history little known, that it has given me an excuse for shunning the beaten track altogether. I will however quote Dryden's eulogy, as it is short and famous for its pith.12
"He was the man who of all modern and perhaps all ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously but luckily: when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there. I cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat, insipid; his comic wit degenerating into clinches, his serious swelling into bombast. But he is always great, when some great occasion is presented to him: no man can say he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets,
'Quantum lenta solent inter viberna cupressi.'"
12 Dryden lauds the "commixture of comedy and tragedy," of which Shakspeare has been so often guilty. This always seemed to me unhappy. The "tragi-comic feeling" is at best an April day matter—a fit of the hystericks—neither downright weeping, nor hearty laughter. Or, yielding that sorrow is deeply impressed on the mind by the melancholy pictures of the one portion, will a sudden transition to merriment wipe it away? Dryden says, "why should we imagine the soul of man more heavy than his senses? Does not the eye pass from an unpleasant object to a pleasant in a very moment?" Receiving this sophistry as genuine wisdom, it follows of course, that all actual grief is transient. I would it were so. There would then be no need for the fountain of Lethe or the poppies of Ennor. One does not forget the fall of the sod when his eye turns from the newly covered grave to the glitter and glare of life.
The mixture certainly is unhappy. Perhaps, as Coleridge has surmised, it was the fruit of a proud carelesness. The poet, in the hour of composition, feels that he has just written successfully. He is elated and runs riot for awhile heedless, or, it may be, scarcely conscious of what he writes. On this principle we may account for a prodigious deal of extravagance, otherwise unaccountable.
VII. Of Ben Jonson I will hardly say much. His "learning and heavy-headedness" would scarcely render him the 'rare Ben' that he once was, in this age of learned professors and profound scholars.
His learning gave him an undue admiration of Aristotle, and in his plays he has followed the Grecian model too closely. Unity of time and place is particularly inculcated in the rules of the Grecian schools; and in France this had long been strictly observed. It was made matter of minute inquiry in tragedy, whether such and such transactions could be gone through while a talkative hero ranted so many verses. Or, in comedy, whether an unfortunate shepherdess could go through the Juno Lucina fer opem ceremony, while a lewd city clerk stood by, and made so many studied surmises—sotto voce. Unless unity of time and place was observed in a drama, these 'line and rule Greekling Franks' damned it. The consequence was that one plot—one method—Aristotle's [Greek: go êythos]—was worked upon by successive dramatists, too timid to 'blanch the beaten track,' until it was threadbare. These fetters which Shakspeare snapped, Jonson hugged.
Old Ben, as he was called, was once young, but the history of his youth is rather cloudy. It seems probable, however, that the accounts delivered us by his contemporaries, are true, notwithstanding Mr. Gifford's sweeping denial. Following them, we learn, that Ben's step-father was a bricklayer; that Ben himself "served at the trade," until he left it from weariness, and joined a company of strolling players: that he enlisted and went with the English army into Flanders, where he "killed his man, and bore off the spoils." His prime and after life were spent in literary pursuits.