Shakespeare, Ben Jonson, Beaumont and Fletcher. Samuel Taylor Coleridge

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СКАЧАТЬ the age, the place, and the existing manners. The error he will expose, lies in reversing this, and holding up the mere circumstances as perpetual to the utter neglect of the power which can alone animate them. For art cannot exist without, or apart from nature; and what has man [pg 053] of his own to give to his fellow man, but his own thoughts and feelings, and his observations, so far as they are modified by his own thoughts or feelings?

      Let me, then, once more submit this question to minds emancipated alike from national, or party, or sectarian prejudice:—Are the plays of Shakespeare works of rude uncultivated genius, in which the splendour of the parts compensates, if aught can compensate, for the barbarous shapelessness and irregularity of the whole?—Or is the form equally admirable with the matter, and the judgment of the great poet not less deserving our wonder than his genius?—Or, again, to repeat the question in other words:—is Shakespeare a great dramatic poet on account only of those beauties and excellences which he possesses in common with the ancients, but with diminished claims to our love and honour to the full extent of his differences from them?—Or are these very differences additional proofs of poetic wisdom, at once results and symbols of living power as contrasted with lifeless mechanism—of free and rival originality as contradistinguished from servile imitation, or, more accurately, a blind copying of effects, instead of a true imitation of the essential principles?—Imagine not that I am about to oppose genius to rules. No! the comparative value of these rules is the very cause to be tried. The spirit of poetry, like all other living powers, must of necessity circumscribe itself by rules, were it only to unite power with beauty. It must embody in order to reveal itself; but a living body is of necessity an organized one; and what is organization but the connection of parts in and for a whole, so that [pg 054] each part is at once end and means?—This is no discovery of criticism;—it is a necessity of the human mind; and all nations have felt and obeyed it, in the invention of metre, and measured sounds, as the vehicle and involucrum of poetry—itself a fellow-growth from the same life—even as the bark is to the tree!

      No work of true genius dares want its appropriate form, neither indeed is there any danger of this. As it must not, so genius cannot, be lawless; for it is even this that constitutes it genius—the power of acting creatively under laws of its own origination. How then comes it that not only single Zoili, but whole nations have combined in unhesitating condemnation of our great dramatist, as a sort of African nature, rich in beautiful monsters—as a wild heath where islands of fertility look the greener from the surrounding waste, where the loveliest plants now shine out among unsightly weeds, and now are choked by their parasitic growth, so intertwined that we cannot disentangle the weed without snapping the flower?—In this statement I have had no reference to the vulgar abuse of Voltaire, save as far as his charges are coincident with the decisions of Shakespeare's own commentators and (so they would tell you) almost idolatrous admirers. The true ground of the mistake lies in the confounding mechanical regularity with organic form. The form is mechanic, when on any given material we impress a pre-determined form, not necessarily arising out of the properties of the material;—as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand is innate; it [pg 055] shapes, as it developes, itself from within, and the fulness of its development is one and the same with the perfection of its outward form. Such as the life is, such is the form. Nature, the prime genial artist, inexhaustible in diverse powers, is equally inexhaustible in forms;—each exterior is the physiognomy of the being within—its true image reflected and thrown out from the concave mirror;—and even such is the appropriate excellence of her chosen poet, of our own Shakespeare—himself a nature humanized, a genial understanding directing self-consciously a power and an implicit wisdom deeper even than our consciousness.

      I greatly dislike beauties and selections in general; but as proof positive of his unrivalled excellence, I should like to try Shakespeare by this criterion. Make out your amplest catalogue of all the human faculties, as reason or the moral law, the will, the feeling of the coincidence of the two (a feeling sui generis et demonstratio demonstrationum) called the conscience, the understanding or prudence, wit, fancy, imagination, judgment—and then of the objects on which these are to be employed, as the beauties, the terrors, and the seeming caprices of nature, the realities and the capabilities, that is, the actual and the ideal, of the human mind, conceived as an individual or as a social being, as in innocence or in guilt, in a play-paradise, or in a war-field of temptation;—and then compare with Shakespeare under each of these heads all or any of the writers in prose and verse that have ever lived! Who, that is competent to judge, doubts the result?—And ask your own hearts—ask your own common-sense—to [pg 056] conceive the possibility of this man being—I say not, the drunken savage of that wretched sciolist, whom Frenchmen, to their shame, have honoured before their elder and better worthies—but the anomalous, the wild, the irregular, genius of our daily criticism! What! are we to have miracles in sport?—Or, I speak reverently, does God choose idiots by whom to convey divine truths to man?

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Recapitulation, And Summary Of the Characteristics of Shakespeare's Dramas.

       Table of Contents

      In lectures, of which amusement forms a large part of the object, there are some peculiar difficulties. The architect places his foundation out of sight, and the musician tunes his instrument before he makes his appearance; but the lecturer has to try his chords in the presence of the assembly; an operation not likely, indeed, to produce much pleasure, but yet indispensably necessary to a right understanding of the subject to be developed.

      Poetry in essence is as familiar to barbarous as to civilized nations. The Laplander and the savage Indian are cheered by it as well as the inhabitants of London and Paris;—its spirit takes up and incorporates surrounding materials, as a plant clothes itself with soil and climate, whilst it exhibits the working of a vital principle within independent of all accidental circumstances. And to judge with fairness of an author's works, we ought to distinguish what is inward and essential from what is outward and circumstantial. It is essential to poetry that it be simple, and appeal to the elements and primary laws of our nature; that it be sensuous, and by its imagery elicit truth at a flash; that it be impassioned, and be able to [pg 058] move our feelings and awaken our affections. In comparing different poets with each other, we should inquire which have brought into the fullest play our imagination and our reason, or have created the greatest excitement and produced the completest harmony. If we consider great exquisiteness of language and sweetness of metre alone, it is impossible to deny to Pope the character of a delightful writer; but whether he be a poet, must depend upon our definition of the word; and, doubtless, if everything that pleases be poetry, Pope's satires and epistles must be poetry. This, I must say, that poetry, as distinguished from other modes of composition, does not rest in metre, and that it is not poetry, if it make no appeal to our passions or our imagination. One character belongs to all true poets, that they write from a principle within, not originating in any thing without; and that the true poet's work in its form, its shapings, and its modifications, is distinguished from all other works that assume to belong to the class of poetry, as a natural from an artificial flower, or as the mimic garden of a child from an enamelled meadow. In the former the flowers are broken from their stems and stuck into the ground; they are beautiful to the eye and fragrant to the sense, but their colours soon fade, and their odour is transient as the smile of the planter;—while the meadow may be visited again and again with renewed delight; its beauty is innate in the soil, and its bloom is of the freshness of nature.

      The next ground of critical judgment, and point of comparison, will be as to how far a given poet has been influenced by accidental circumstances. As a living poet must surely write, not for the [pg 059] ages past, but for that in which he lives, and those which are to follow, it is on the one hand natural that he should not violate, and on the other necessary that he should not depend on, the mere manners and modes of his day. See how little does Shakespeare leave us to regret that he was born in his particular age! The great æra in modern times was what is called the Restoration СКАЧАТЬ