The Philosophy of the Plays of Shakspere Unfolded. Bacon Delia Salter
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СКАЧАТЬ Nor stony tower, nor walls of beaten brass, Nor airless dungeon, nor strong links of iron, Can be retentive to the strength of spirit; If I know this, know all the world beside, That part of tyranny that I do bear, I can shake off at pleasure.

      And why should Caesar be a tyrant then? Poor Man! I know he would not be a wolf, But that he sees the Romans are but sheep: He were no lion, were not Romans hinds.

      But I, perhaps, speak this

       Before a willing bondman.

       Hamlet. My lord, – you played once in the university, you say?

       Polonius. That did I, my lord; and was accounted a good actor.

       Hamlet. And what did you enact?

       Polonius. I did enact Julius Caesar. I was killed i'the Capitol;

      Brutus killed me.

       Hamlet. It was a brute part of him to kill so capital a calf

      there. – Be the players ready?

      Seneca cannot be too heavy, nor Plautus too light. For the law of writ, and the liberty. These are the only men.

       Hamlet. Why do you go about to recover the wind of me, as if you

      would drive me into a toil?

       Guild. O my lord, if my duty be too bold, my love is too

      unmannerly.

       Hamlet. I do not well understand that. Will you play upon this pipe?

       Guild. My lord, I cannot.

       Hamlet. I pray you.

       Guild. Believe me, I cannot.

       Hamlet. I do beseech you.

       Guild. I know no touch of it, my lord.

       Hamlet. 'Tis as easy as lying. Govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops.

       Guild. But these cannot I command to any utterance of harmony: I have not the SKILL.

       Hamlet. Why, look you now, how unworthy a thing you make of ME? You would play upon ME; you would seem to know my stops; you would pluck out the heart of MY MYSTERY; you would sound me from my lowest note to the top of my key; and there is much music, excellent voice in this little organ, yet cannot you make it speak. 'Sblood! do you think I AM EASIER TO BE PLAYED ON THAN A PIPE? Call me what instrument you will, though you can fret me, you cannot PLAY upon me.

       Hamlet. Why did you laugh when I said, Man delights not me?

       Guild. To think, my lord, if you delight not in man, what lenten entertainment THE PLAYERS shall receive from you. We coted them on the way, and thither are they coming to offer you – SERVICE.

      BOOK I.

      THE ELIZABETHAN ART OF DELIVERY AND TRADITION

      PART I.

      MICHAEL DE MONTAIGNE'S 'PRIVATE AND RETIRED ARTS.'

      And thus do we of wisdom and of reach,

      With windlaces and with assays of bias,

        By indirections, find directions out;

        So by my former lecture and advice,

        Shall you, my son. —Hamlet.

      CHAPTER I

ASCENT FROM PARTICULARS TO THE 'HIGHEST PARTS OF SCIENCES,' BY THE ENIGMATIC METHOD ILLUSTRATED

      Single, I'll resolve you. —Tempest.

      Observe his inclination in yourself. —Hamlet.

      For ciphers, they are commonly in letters, but may be in words. Advancement of Learning.

      The fact that a Science of Practice, not limited to Physics and the Arts based on the knowledge of physical laws, but covering the whole ground of the human activity, and limited only by the want and faculty of man, required, in the reigns of Elizabeth and James the First, some special and profoundly artistic methods of 'delivery and tradition,' would not appear to need much demonstration to one acquainted with the peculiar features of that particular crisis in the history of the English nation.

      And certainly any one at all informed in regard to the condition of the world at the time in which this science, – which is the new practical science of the modern ages, – makes its first appearance in history, – any one who knows what kind of a public opinion, what amount of intelligence in the common mind the very fact of the first appearance of such a science on the stage of the human affairs presupposes, – any one who will stop to consider what kind of a public it was to which such a science had need as yet to address itself, when that engine for the diffusion of knowledge, which has been battering the ignorance and stupidity of the masses of men ever since, was as yet a novel invention, when all the learning of the world was still the learning of the cell and the cloister, when the practice of the world was still in all departments, unscientific, – any one at least who will stop to consider the nature of the 'preconceptions' which a science that is none other than the universal science of practice, must needs encounter in its principal and nobler fields, will hardly need to be told that if produced at all under such conditions, it must needs be produced covertly. Who does not know, beforehand, that such a science would have to concede virtually, for a time, the whole ground of its nobler fields to the preoccupations it found on them, as the inevitable condition of its entrance upon the stage of the human affairs in any capacity, as the basis of any toleration of its claim to dictate to the men of practice in any department of their proceedings.

      That that little 'courtly company' of Elizabethan scholars, in which this great enterprise for the relief of man's estate was supposed in their own time to have had its origin, was composed of wits and men of learning who were known, in their own time, to have concealed their connection with the works on which their literary fame chiefly depended – that that 'glorious Willy,' who finds these forbidden fields of science all open to his pastime, was secretly claimed by this company – that a style of 'delivery' elaborately enigmatical, borrowed in part from the invention of the ancients, and the more recent use of the middle ages, but largely modified and expressly adapted to this exigency, was employed in the compositions of this school, both in prose and verse, a style capable of conveying not merely a double, but a triple significance; a style so capacious in its concealments, so large in its 'cryptic,' as to admit without limitation the whole scope of this argument, and so involved as to conceal in its involutions, all that was then forbidden to appear, – this has been proved in that part of the work which contains the historical key to this delivery.

      We have also incontestable historical evidence of the fact, that the man who was at the head of this new conjunction in speculation and practice in its more immediate historical developments, – the scholar who was most openly concerned in his own time in the introduction of those great changes in the condition of the world, which date their beginning from this time, was himself primarily concerned in the invention of this art. СКАЧАТЬ