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approbation to the judgment of Shakspeare, will easily, if they consider the condition of his life, make some allowance for his ignorance.

Every man's performances, to be rightly estimated, must be compared with the state of the age in which he lived, and with his own particular opportunities ; and though to a reader a book be not worse or better for the circumstances of the author, yet as there is always a silent reference of human works to human abilities, and as the inquiry, how far man may extend his designs, or how highly he may rate his native force, is of far greater dignity than in what rank we shals place any particular performance, curiosity is always busy to discover the instruments, as well as to survey the workmanship; to know how much is to be ascribed to original powers, and how much to casual and adventitious help. The palaces of Peru or Mexico were certainly mean and incommodious habitations, if compared to the houses of European monarchs ; yet who could forbear to view them with astonishment, who remembered that they were built without the use of iron ?

The English nation, in the time of Shakspeare, was yet struggling to emerge from barbarity. The philology of Italy had been transplanted hither in the reign of Henry the Eighth; and the learned languages had been successfully cultivated by Lilly, Linacre, and More; by Pole, Cheke, and Gardiner; and afterwards by Smith, Clerk, Haddon, and Ascham. Greek was now taught to boys in the principal schools; and those who united elegance with learning, read, with great diligence, the Italian and Spanish poets. But literature was yet confined to professed scholars, or to men and women of high rank. The public was gross and dark; and to be able to read and write, was an accomplishment still valued for its rarity.

Nations, like individuals, have their infancy. A people newly awakened to literary curiosity, being yet unacquainted with the true state of things, knows not how to judge of that which is proposed as its resemblance. Whatever is remote from common appearances is always welcome to vulgar as to childish credulity; and of a country unenlightened by learning, the whole people is the vulgar. The study of those who then aspired to plebeian learning was laid out on adventures, giants, dragons, and enchantments. • The Death of Arthur' was the favorite volume.

The mind which has feasted on the luxurious wonders of fiction has no taste of the insipidity of truth. A play, which imitated only the common occurrences of the world, would, on the admirers of Palmerin' and 'Guy of Warwick,' have made little impression; he that wrote for such an audience was under the necessity of looking round for strange events and fabulous transactions; and that incredibility, by which inaturer knowlege is offended, was the chief recommendation of writings, to unskilful curiosity.

Our author's plots are generally borrowed from novels; and it is reasonable to suppose, that he chose the most popular, such as were read by many, and related by more; for his audience could not have followed him through the intricacies of the drama, had they not held the thread of the story in their hands.

The stories, which we now find only in remoter authors, were in his time accessible and familiar. The fable of As You Like It,' which is supposed to be copied from Chaucer's • Gamelyn,' was a little pamphlet of those times; and old Mr. Cibber remembered the tale of · Hamlet' in plain English prose, which the critics have now to seek in Saxo Grammaticus.

His English histories he took from English chronicles and English ballads; and as the ancient writers were made known to his countrymen by versions, they supplied him with new subjects; he dilated some of Plutarch's Lives into plays, when they had been translated by North.

His plots, whether historical or fabulous, are always crowded with incidents, by which the attention of a rude people was more easily caught than by sentiment or argumentation; and such is the power of the marvellous, even over those who despise it, that every man finds his mind more strongly seised by the tragedies of Shakspeare than of any other writer : others please us by particular speeches; but he always makes us anxious for the event, and has perhaps excelled all but Homer in securing the first purpose of a writer, by exciting restless and unquenchable curiosity, and compelling him that reads his work to read it through.

The shows and bustle with which his plays abound have the same original. As knowlege advances, pleasure passes from the eye to the ear; but returns, as it declines, from the ear to the eye. Those to whom our author's labors were exhibited had more skill in pomps or processions than in poetical language, and perhaps wanted some visible and discriminated events, as comments on the dialogue. He knew how he should most please; and whether his practice is more agreeable to nature, or whether his example has prejudiced the nation, we still find that on our stage something must be dono as well as said, and inactive declamation is very coldly heard, bowever musical or elegant, passionate or sublime.

Voltaire expresses his wonder that our author's extravagances are endured by a nation which has seen the tragedy of

Cato.' Let him be answered, that Addison speaks the language of poets, and Sbakspeare of men. We find in Cato' innumerable beauties which enamour us of its author, but we see nothing that acquaints us with human sentiments or buman actions : we place it with the fairest and the noblest progeny which judgment propagates by conjunction with learning; but “Othello ’ is the vigorous and vivacious offspring of observation impregnated by genius. •Cato'affords a splendid exhibition of artificial and fictitious manners, and delivers just and noble sentiments, in diction easy, elerated, and harmonious; but its hopes and fears communicate no

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vibration to the heart; the composition refers us only to the writer : we pronounce the name of Cato, but we think on Addison.

The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers; the composition of Shakspeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses ; filling the eye with awful pomp, and gratifying the mind with end. less diversity. Other poets display cabinets of precious rarities, minutely finished, wrought into shape, and polished into brightness : Shakspeare opens a mine which contains gold and diamonds in inexhaustible plenty, though clouded by incrustations, debased by impurities, and mingled with a mass of meaner minerals.

It has been much disputed, whether Shakspeare owed his excellence to his own native force, or whether he had the common helps of scholastic education, the precepts of critical science, and the examples of ancient authors.

There has always prevailed a tradition, that Shakspeare wanted learning, that he had no regular education, nor much skill in the dead languages. Jonson, his friend, affirms, that • he had small Latin, and less Greek ;' who, besides that he had no imaginable temptation to falshood, wrote at a time when the character and acquisitions of Shakspeare were known to multitudes. His evidence ought therefore to decide the controversy, unless some testimony of equal force could be opposed.

Some have imagined that they have discovered deep learning in many imitations of old writers; but the examples which I have known urged were drawn from books translated in his tinie; or were such easy coincidences of thought, as will happen to all who consider the same subjects; or such remarks on life or axioms of morality as float in conversation, and are transmitted through the world in proverbial sentences.

I have found it remarked, that, in this important sentence, Go before, I'll follow,' we read a translation of, I præ, sequar. I have been told, that when Caliban, after a pleasing dream, says, “I cried to sleep again,' the author imitates Anacreon, who had, like every other man, the same wish on the same occasion.

There are a few passages which may pass for imitations, but so few, that the exception only confirms the rule : he obtained them from accidental quotations, or by oral communication ; and as he used what he had, would have used more if he had obtained it.

The Comedy of Errors' is confessedly taken from the • Menæchmi' of Plautus; from the only play of Plautus which was then in English. What can be more probable, than that he who copied that, would have copied more; hut that those which were not translated were inaccessible?

Whether he knew the modern languages is uncertain. That his plays have some French scenes proves but little ; he might easily procure them to be written, and probably, even though he had known the language in the common degree, he could not have written it without assistance. In the story of • Romeo and Juliet,' he is observed to have followed the English translation, where it deviates from the Italian; but this on the other hand proves nothing against his knowlege of the original. He was to copy, not what he knew himself, but what was known to his audience.

It is most likely that he had learned Latin sufficiently to make him acquainted with construction, but that he never advanced to an easy perusal of the Roman authors. Con. cerning his skill in modern languages, I can find no sufficient ground of determination; but as no imitations of French or Italian authors have been discovered, though the Italian poetry was then in high esteem, I am inclined to believe that

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