When thou hearest men say, "This is as far as God advances,—do not ask more of him; he starts from here, and stops there. In Homer, in Aristotle, in Newton, he has given you all that he had; leave him at rest now,—he is empty. God does not begin again; he could do that once, he cannot do it twice; he has spent himself altogether in this man,—enough of God does not remain to make a similar man;"—when thou hearest them say such things, if thou wast a man like them, thou wouldst smile in thy terrible depth; but thou art not in a terrible depth, and being goodness, thou hast no smile. The smile is but a passing wrinkle, unknown to the absolute.
Thou struck by a powerless chill; thou to leave off; thou to break down; thou to say "Halt!" Never. Thou shouldst be compelled to take breath after having created a man! No; whoever that man may be, thou art God. If this weak swarm of living beings, in presence of the unknown, must feel wonder and fear at something, it is not at the possibility of seeing the germ-seed dry up and the power of procreation become sterile; it is, O God, at the eternal unleashing of miracles. The hurricane of miracles blows perpetually. Day and night the phenomena surge around us on all sides, and, not less marvellous, without disturbing the majestic tranquillity of the Being. This tumult is harmony.
The huge concentric waves of universal life are boundless. The starry sky that we study is but a partial apparition. We steal from the network of the Being but some links. The complication of the phenomenon, of which a glimpse can be caught, beyond our senses, only by contemplation and ecstasy, makes the mind giddy. The thinker who reaches so far, is, for other men, only a visionary. The necessary entanglement of the perceptible and of the imperceptible strikes the philosopher with stupor. This plenitude is required by thy all-powerfulness, which does not admit any blank. The permeation of universes into universes makes part of thy infinitude. Here we extend the word universe to an order of facts that no astronomer can reach. In the Cosmos that the vision spies, and which escapes our organs of flesh, the spheres enter into the spheres without deforming each other, the density of creations being different; so that, according to every appearance, with our world is amalgamated, in some inexplicable way, another world invisible to us, as we are invisible to it.
And thou, centre and place of all things, as though thou, the Being, couldst be exhausted! that the absolute serenities could, at certain moments, fear the want of means on the part of the Infinite! that there would come an hour when thou couldst no longer supply humanity with the lights which it requires! that mechanically unwearied, thou couldst be worn out in the intellectual and moral order! that it would be proper to say, "God is extinguished on this side!" No! no! no! O Father!
Phidias created does not stop you from making Michael Angelo. Michael Angelo completed, there still remains to thee the material for Rembrandt. A Dante does not tire thee. Thou art no more exhausted by a Homer than by a star. The auroras by the side of auroras, the indefinite renewing of meteors, the worlds above the worlds, the wonderful passage of these incandescent stars called comets, the geniuses and again the geniuses, Orpheus, then Moses, then Isaiah, then Æschylus, then Lucretius, then Tacitus, then Juvenal, then Cervantes and Rabelais, then Shakespeare, then Molière, then Voltaire, those who have been and those who will be,—that does not weary thee. Swarm of constellations! there is room in thy immensity.
[PART II.-BOOK I.]
SHAKESPEARE.—HIS GENIUS.
CHAPTER I.
"Shakespeare," says Forbes, "had neither the tragic talent nor the comic talent. His tragedy is artificial, and his comedy is but instinctive." Johnson confirms the verdict: "His tragedy is the result of industry, and his comedy the result of instinct." After Forbes and Johnson had contested his claim to drama, Green contested his claim to originality. Shakespeare is "a plagiarist;" Shakespeare is "a copyist;" Shakespeare "has invented nothing;" he is "a crow adorned with the plumes of others;" he pilfers Æschylus, Boccaccio, Bandello, Holinshed, Belleforest, Benoist de St. Maur; he pilfers Layamon, Robert of Gloucester, Robert of Wace, Peter of Langtoft, Robert Manning, John de Mandeville, Sackville, Spenser; he steals the "Arcadia" of Sidney; he steals the anonymous work called the "True Chronicle of King Leir;" he steals from Rowley in "The Troublesome Reign of King John" (1591), the character of the bastard Faulconbridge. Shakespeare pilfers Thomas Greene; Shakespeare pilfers Dekker and Chettle. Hamlet is not his;—Othello is not his; Timon of Athens is not his, nothing is his. As for Green, Shakespeare is for him not only "a blower of blank verses," a "shakescene," a Johannes factotum (allusion to his former position as call-boy and supernumerary); Shakespeare is a wild beast. Crow no longer suffices; Shakespeare is promoted to a tiger. Here is the text: "Tyger's heart wrapt in a player's hyde."[1]