Shakespeare is a human mind; he is also an English mind. He is very English,—too English. He is English so far as to weaken the horror surrounding the horrible kings whom he places on the stage, when they are kings of England; so far as to depreciate Philip Augustus in comparison with John Lackland; so far as expressly to make a scapegoat, Falstaff, in order to load him with the princely misdeeds of the young Henry V.; so far as to partake in a certain measure of the hypocrisies of a pretended national history. Lastly, he is English so far as to attempt to attenuate Henry VIII.; it is true that the eye of Elizabeth is fixed upon him. But at the same time, let us insist upon this,—for it is by it that he is great,—yes, this English poet is a human genius. Art, like religion, has its Ecce Homo. Shakespeare is one of those of whom we may utter this grand saying: He is Man.
England is egotistical. Egotism is an island. That which perhaps is needed by this Albion immersed in her own business, and at times looked upon with little favour by other nations, is disinterested greatness; of this Shakespeare gives her some portion. He throws that purple on the shoulders of his country. He is cosmopolite and universal by his fame. On every side he overflows island and egotism. Deprive England of Shakespeare and see how much the luminous reverberation of that nation would immediately decrease. Shakespeare modifies the English visage and makes it beautiful With him, England is no longer so much like Carthage.
Strange meaning of the apparition of men of genius! There is no great poet born in Sparta, no great poet born in Carthage. This condemns those two cities. Dig, and you shall find this: Sparta is but the city of logic; Carthage is but the city of matter; to one as to the other love is wanting. Carthage immolates her children by the sword, and Sparta sacrifices her virgins by nudity; here innocence is killed, and there modesty. Carthage knows only her bales and her cases; Sparta blends herself wholly with the law,—there is her true territory; it is for the laws that her men die at Thermopylæ. Carthage is hard. Sparta is cold. They are two republics based upon stone; therefore no books. The eternal sower, who is never mistaken, has not opened for those ungrateful lands his hand full of men of genius. Such wheat is not to be confided to the rock.
Heroism, however, is not refused to them; they will have, if necessary, either the martyr or the captain. Leonidas is possible for Sparta, Hannibal for Carthage; but neither Sparta nor Carthage is capable of Homer. Some indescribable tenderness in the sublime, which causes the poet to gush from the very entrails of a people, is wanting in them. That latent tenderness, that flebile nescio quid, England possesses; as a proof, Shakespeare. We may add also as a proof, Wilberforce.
England, mercantile like Carthage, legal like Sparta, is worth more than Sparta and Carthage. She is honoured by this august exception,—a poet. To have given birth to Shakespeare makes England great.
Shakespeare's place is among the most sublime in that élite of absolute men of genius which, from time to time increased by some splendid fresh arrival, crowns civilization and illumines with its immense radiancy the human race. Shakespeare is legion. Alone, he forms the counterpoise to our grand French seventeenth century, and almost to the eighteenth.
When one arrives in England, the first thing that he looks for is the statue of Shakespeare. He finds the statue of Wellington.
Wellington is a general who gained a battle, having chance for his partner.
If you insist on seeing Shakespeare's statue you are taken to a place called Westminster, where there are kings,—a crowd of kings: there is also a comer called "Poets' Corner." There, in the shade of four or five magnificent monuments where some royal nobodies shine in marble and bronze, is shown to you on a small pedestal a little figure, and under this little figure, the name, "WILLIAM SHAKESPEARE."
In addition to this, statues everywhere; if you wish for statues you may find as many as you can wish. Statue for Charles, statue for Edward, statue for William, statues for three or four Georges, of whom one was an idiot. Statue of the Duke of Richmond at Huntley; statue of Napier at Portsmouth; statue of Father Mathew at Cork; statue of Herbert Ingram, I don't know where. A man has well drilled the riflemen,—he gets a statue; a man has commanded a manœuvre of the Horse Guards,—he gets a statue. Another has been a supporter of the past, has squandered all the wealth of England in paying a coalition of kings against 1789, against democracy, against light, against the ascending movement of the human race,—quick! a pedestal for that; a statue to Mr. Pitt. Another has knowingly fought against truth, in the hope that it might be vanquished, and has found out one fine morning that truth is hard-lived, that it is strong, that it might be intrusted with forming a cabinet, and has then passed abruptly over to its side,—one more pedestal; a statue for Mr. Peel. Everywhere, in every street, in every square, at every step, gigantic notes of admiration in the shape of columns,—a column to the Duke of York, which should really take the form of points of interrogation; a column to Nelson, pointed at by the ghost of Caracciolo; a column to Wellington, already named: columns for everybody. It is sufficient to have played with a sword somewhere. At Guernsey, by the seaside, on a promontory, there is a high column, similar to a lighthouse,—almost a tower; this one is struck by lightning; Æschylus would have contented himself with it. For whom is this?—for General Doyle. Who is General Doyle?—a general. What has this general done?—he has constructed roads. At his own expense?—no, at the expense of the inhabitants. He has a column. Nothing for Shakespeare, nothing for Milton, nothing for Newton; the name of Byron is obscure. That is where England is,—an illustrious and powerful nation.