One cannot without feeling deep regret recognise that we have to turn to a foreigner to give "reasons for the faith which we English have in Shakespeare." It was a German, Schlegel, who discovered the great dramatist, and to-day we must turn to his "Lectures on the Drama" for the most penetrating description of his plays. The following is a translation of a passage which in describing the plays almost adopts the words Bacon uses in the foregoing passages as to the scope and object of the fourth part of his "Great Instauration."
"Never, perhaps, was there so comprehensive a talent for the delineation of character as Shakespeare's. It not only grasps the diversities of rank, sex, and age, down to the dawnings of infancy; not only do the king and the beggar, the hero and the pickpocket, the sage and the idiot speak and act with equal truth; not only does he transport himself to distant ages and foreign nations, and portray in the most accurate manner, with only a few apparent violations of costume, the spirit of the ancient Romans, of the French in their wars with the English, of the English themselves during a great part of their history, of the Southern Europeans (in the serious part of many comedies), the cultivated society of that time, and the former rude and barbarous state of the North; his human characters have not only such depth and precision that they cannot be arranged under classes, and are inexhaustible, even in conception; no, this Prometheus not merely forms men, he opens the gates of the magical world of spirits, calls up the midnight ghost, exhibits before us his witches amidst their unhallowed mysteries, peoples the air with sportive fairies and sylphs; and these beings, existing only in imagination, possess such truth and consistency that even when deformed monsters like Caliban, he extorts the conviction that if there should be such beings they would so conduct themselves. In a word, as he carries with him the most fruitful and daring fancy into the kingdom of nature; on the other hand, he carries nature into the regions of fancy, lying beyond the confines of reality. We are lost in astonishment at seeing the extraordinary, the wonderful, and the unheard of in such intimate nearness."
"If Shakespeare deserves our admiration for his characters he is equally deserving of it for his exhibition of passion, taking this word in its widest signification, as including every mental condition, every tone from indifference or familiar mirth to the wildest rage and despair. He gives us the history of minds, he lays open to us in a single word a whole series of preceding conditions. His passions do not at first stand displayed to us in all their height, as is the case with so many tragic poets who, in the language of Lessing, are thorough masters of the legal style of love. He paints, in a most inimitable manner, the gradual progress from the first origin. 'He gives,' as Lessing says, 'a living picture of all the most minute and secret artifices by which a feeling steals into our souls; of all the imperceptible advantages which it there gains, of all the stratagems by which every other passion is made subservient to it, till it becomes the sole tyrant of our desires and our aversions.' Of all poets, perhaps, he alone has portrayed the mental diseases—melancholy, delirium, lunacy—with such inexpressible, and in every respect definite truth, that the physician may enrich his observations from them in the same manner as from real cases."
Chapter XXV.
THE PHILOSOPHY OF BACON.
To attempt anything of the nature of a review of Bacon's acknowledged works is a task far too great for the scope of the present volume. To attempt a survey of the whole of his works would require years of diligent study, and would necessitate a perusal of nearly every book published in England between 1576 and 1630. Not that it is suggested that all the literature of this period was the product of his pen or was produced under his supervision, but each book published should be read and considered with attention to arrive at a selection.
There has been no abler judgment of the acknowledged works than that which will be found in William Hazlitt's "Lectures on the Literature of the Age of Elizabeth." Lecture VII. commences with an account of the "Character of Bacon's Works."
It may not, however, be out of place here to try and make plain in what sense Bacon was a philosopher.
In Chapter CXVI. of the "Novum Organum" he makes his position clear in the following words:—