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FORD-FAULTS AND MERITS.
are exactly the sort of faults which every one acquainted with the drama of that age reckons upon finding. Nobody doubts of the existence of such faults: But there are many who doubt of the existence of any counterbalancing beauties; and therefore it seemed worth while to say a word or two in their explanation. There is a great treasure of poetry, we think, still to be brought to light in the neglected writers of the age to which this author belongs; and poetry of a kind which, if purified and improved, as the happier specimens show that it is capable of being, would be far more delightful to the generality of English readers than any other species of poetry. We shall readily be excused for our tediousness by those who are of this opinion; and should not have been forgiven, even if we had not been tedious, by those who look upon it as a heresy.
HAZLITT'S CHARACTERS OF SHAKESPEARE.
Characters of Shakespeare's Plays. By WILLIAM Hazlitt.
8vo. pp. 352. London: 1817.*
This is not a book of black-letter learning, or historical elucidation ;-neither is it a metaphysical dissertation, full of wise perplexities and elaborate reconcilements. It is, in truth, rather an encomium on Shakespeare, than a commentary or critique on him—and is written, more to show extraordinary love, than extraordinary knowledge, of his productions. Nevertheless, it is a very pleasing book —and, we do not hesitate to say, a book of very considerable originality and genius. The author is not merely an admirer of our great dramatist, but an Idolater of him; and openly professes his idolatry. We have ourselves too great a leaning to the same superstition, to blame him very much for his error: and though we think, of course, that our own admiration is, on the whole, more discriminating and judicious, there are not many points on which, especially after reading his eloquent exposition of them, we should be much inclined to disagree with him.
The book, as we have already intimated, is written less to tell the reader what Mr. H. knows about Shakespeare or his writings, than to explain to them what he feels about them—and why he feels so—and thinks that all who profess to love poetry should feel so likewise.
* It may be thought that enough had been said of our early dramatists, in the immediately preceding article; and it probably is so. But I could not resist the temptation of thus renewing, in my own name, that vow of allegiance, which I had so often taken anonymously, to the only true and lawful King of our English Poetry! and now venture, therefore, fondly to replace this slight and perishable wreath on his august and undecaying shrine : with no farther apology than that it presumes to direct attention but to one, and that, as I think, a comparatively neglected, aspect of his universal genius.
HAZLITT-HIS ENTHUSIASM FOR SHAKESPEARE.
What we chiefly look for in such a work, accordingly, is a fine sense of the beauties of the author, and an eloquent exposition of them; and all this, and more, we think, may be found in the volume before us. There is nothing niggardly in Mr. H.'s praises, and nothing affected in his raptures. He seems animated throughout with a full and hearty sympathy with the delight which his author should inspire, and pours himself gladly out in explanation of it, with a fluency and ardour, obviously much more akin to enthusiasm than affectation. He seems pretty generally, indeed, in a state of happy intoxication — and has borrowed from his great original, not indeed the force or brilliancy of his fancy, but something of its playfulness, and a large share of his apparent joyousness and self-indulgence in its exercise. It is evidently a great pleasure to him to be fully possessed with the beauties of his author, and to follow the impulse of his unrestrained eagerness to impress them upon his readers.
When we have said that his observations are generally right, we have said, in substance, that they are not generally original; for the beauties of Shakespeare are not of so dim or equivocal a nature as to be visible only to learned eyes — and undoubtedly his finest passages are those which please all classes of readers, and are admired for the same qualities by judges from every school of criticism. Even with regard to those passages, however, a skilful commentator will find something worth hearing to tell. Many persons are very sensible of the effect of fine poetry on their feelings, who do not well know how to refer these feelings to their causes; and it is always a delightful thing to be made to see clearly the sources from which our delight has proceeded — and to trace back the mingled stream that has flowed upon our hearts, to the remoter fountains from which it has been gathered. And when this is done with warmth as well as precision, and embodied in an eloquent description of the beauty which is explained, it forms one of the most attractive, and not the least instructive, of literary exercises. In all works of merit, however, and
especially in all works of original genius, there are a thousand retiring and less obtrusive graces, which escape hasty and superficial observers, and only give out their beauties to fond and patient contemplation;- a thousand slight and harmonising touches, the merit and the effect of which are equally imperceptible to vulgar eyes; and a thousand indications of the continual presence of that poetical spirit, which can only be recognised by those who are in some measure under its influence, or have prepared themselves to receive it, by worshipping meekly at the shrines which it inhabits.
In the exposition of these, there is room enough for originality, and more room than Mr. H. has yet filled. In many points, however, he has acquitted himself excellently ;- partly in the development of the principal characters with which Shakespeare has peopled the fancies of all English readers — but principally, we think, in the delicate sensibility with which he has traced, and the natural eloquence with which he has pointed out that fond familiarity with beautiful forms and images — that eternal recurrence to what is sweet or majestic in the simple aspects of nature — that indestructible love of flowers and odours, and dews and clear waters, and soft airs and sounds, and bright skies, and woodland solitudes, and moonlight bowers, which are the Material elements of Poetry — and that fine sense of their undefinable relation to mental emotion, which is its essence and vivifying Soul — and which, in the midst of Shakespeare's most busy and atrocious scenes, falls like gleams of sunshine on rocks and ruins — contrasting with all that is rugged and repulsive, and reminding us of the existence of purer and brighter elements ! — which he ALONE has poured out from the richness of his own mind, without effort or restraint; and contrived to intermingle with the play of all the passions, and the vulgar course of this world's affairs, without deserting for an instant the proper business of the scene, or appearing to pause or digress, from love of ornament or need of repose!HE ALONE, who, when the object requires it, is always keen and worldly and practical -- and who yet, without
HE ALONS, From love of ornamen, or appearing
changing his hand, or stopping his course, scatters around him, as he goes, all sounds and shapes of sweetness—and conjures up landscapes of immortal fragrance and freshness, and peoples them with Spirits of glorious aspect and attractive grace — and is a thousand times more full of fancy and imagery, and splendour, than those who, in pursuit of such enchantments, have shrunk back from the delineation of character or passion, and declined the discussion of human duties and cares. More full of wisdom and ridicule and sagacity, than all the moralists and satirists that ever existed— he is more wild, airy, and inventive, and more pathetic and fantastic, than all the poets of all regions and ages of the world : — and has all those elements so happily mixed up in him, and bears his high faculties so temperately, that the most severe reader cannot complain of him for want of strength or of reason — nor the most sensitive for defect of ornament or ingenuity. Every thing in him is in unmeasured abundance, and unequalled perfection—but every thing so balanced and kept in subordination, as not to jostle or disturb or take the place of another. The most exquisite poetical conceptions, images, and descriptions, are given with such brevity, and introduced with such skill, as merely to adorn, without loading the sense they accompany. Although his sails are purple and perfumed, and his prow of beaten gold, they waft him on his voyage, not less, but more rapidly and directly than if they had been composed of baser materials. All his excellences, like those of Nature herself, are thrown out together; and instead of interfering with, support and recommend each other. His flowers are not tied up in garlands, nor his fruits crushed into baskets—but spring living from the soil, in all the dew and freshness of youth; while the graceful foliage in which they lurk, and the ample branches, the rough and vigorous stem, and the wide-spreading roots on which they depend, are present along with them, and share, in their places, the equal care of their Creator.
What other poet has put all the charm of a Moonlight landscape into a single line? — and that by an image so