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“ The Tempest'has little action or progressive movement; the union of Ferdinand and Miranda is settled at their first interview, and Prospero merely throws apparent obstacles in their way; the shipwrecked band go leisurely about the island; the attempts of Sebastian and Antonio on the life of the King of Naples, and the plot of Caliban and the drunken sailors against Prospero, are nothing but a feint, for we foresee that they will be completely frustrated by the magical skill of the latter ; nothing remains therefore but the punishment of the guilty by dreadful sights which harrow up their consciences, and then the discovery and final reconciliation. Yet this want of movement is so admirably concealed by the most varied display of the fascinations of poetry, and the exhilaration of mirth, the details of the execution are so very attractive, that it requires no small degree of attention to perceive that the dénouement is, in some degree, anticipated in the exposition. The history of the loves of Ferdinand and Miranda, developed in a few short scenes, is enchantingly beautiful : an affecting unior of chivalrous magnanimity on the one part, and on the other of the virgin openness of a heart which, brought up far from the world on an uninhabited island, has never learned to disguise its innocent movements. The wisdom of the princely hermit Prospero has a magical and mysterious air ; the disagreeable impression left by the black falsehood of the two usurpers is softened by the honest gossiping of the old and faithful Gonzalo; Trinculo and Stephano, two good-for-nothing drunkards, find a worthy associate in Caliban ; and Ariel hovers sweetly over the whole as the personified genius of the wonderful fable.

“ Caliban has become a by-word as the strange creation of a poetical imagination. A mixture of gnome and savage, half demon, half brute, in his behaviour we perceive at once the traces of his native disposition, and the influence of Prospero's education. The latter could only unfold his understanding, without, in the slightest degree, taming his rooted malignity: it is as if the use of reason and human speech were communicated to an awkward ape. In inclination Caliban is malicious, cowardly, false, and base ; and yet he is essentially different from the vulgar knaves of a civilized world, as portrayed occasionally by Shakspeare. He is rude, but not vulgar; he never falls into the prosaic and low familiarity of his drunken associates, for he is, in his way, a poetical being; he always speaks in verse. He has picked up everything dissonant and thorny in language to compose out of it a vocabulary of his own; and of the whole variety of nature, the hateful, repulsive, and pettily deformed, have alone been impressed on his imagination. The magical world of spirits, which the staff of Prospero has assembled on the island, casts merely a faint reflection into his mind, as a ray of light which falls into a dark cave, incapable of communicating to it either heat or illumination, serves merely to set in motion the poisonous vapours. The delineation of this monster is throughout inconceivably consistent and profound, and, notwithstanding its hatefulness, by no means hurtful to our feelings, as the honour of human nature is left untouched.

“ In the zephyr-like Ariel, the image of air is not to be mistaken, his name even bears an allusion to it; as, on the other hand, Caliban signifies the heavy element of earth. Yet they are neither of them simple, allegorical personifications, but beings individually determined. In general we find in the • Midsummer Night's Dream,' in The Tempest,' in the magical part of Macbeth,' and wherever Shakspeare avails himself of the popular belief in the invisible presence of spirits, and the possibility of coming in contact with them, a profound view of the inward life of nature and her mysterious springs, which, it is true, can never be altogether unknown to the genuine poet, as poetry is altogether incompatible with mechanical physics, but which few have possessed in an equal degree with Dante and himself."-SCHLEGEL.

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KING L E A R.

Bayed before the kinetloster, and his sulleners. With the vnfor

The Stationers' Registers contain the following memorandum concerning this tragedy, under the date, November 26th, 1607; “ Na. Butler and Jo. Busby] Entered for their copie under ť hands of Sir Geo. Bucke, Kt. and the Wardens, a booke called Mr. Willm Shakespeare his Hystorye of Kinge Lear, as yt was played before the King's Majestie at Whitehall, upon St. Stephen's night at Christmas last, by his Majesties servants playing usually at the Globe on the Bank-side.” which proves that it was acted at court, on the 26th of December 1606. In 1608, no less than three editions of it in quarto were issued, all by the same stationer. One of these is intituled," Mr. William Shak-speare: His True Chronicle Historie of the life and death of King Lear and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humorr of Tom of Bedlam. As it was played before the kings Maiestie at Whitehall upon S. Stephens night in Christmas Hollidayes. By his Maiesties seruants playing vsually at the Gloabe, on the Bancke-side.--London, Printed for Nathaniel Butter, and are to be sold at his shop in Pauls Churchyard at the signe of the Pide Bull neere St. Austins Gate. 1608.

The two other impressions are described as,—“M. William Shake-speare, His True Chronicle History of the life and death of King Lear, and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam. As it was plaid before the Kings Maiesty at White-hall, vppon S. Stephens night, in Christmas Hollidaies. By his Maiesties Seruants, playing vsually at the Globe, on the Banck-side.—Printed for Nathaniel Butter. 1608.”

No other edition of “ King Lear” has been discovered, prior to that of the folio 1623, which differs materially from the text of the quartos, chiefly in the omission of large portions of matter found in the latter, in numberless minute verbal changes, and also by the addition of about fifty lines peculiar to itself. The omissions appear to have been made for the better adapting the piece to representation, and a careful comparison of the quarto and folio texts convinces us that, unlike that of Richard III., the text of Lear in the folio is taken from a later and revised copy of the play. Whether the curtailment is the work of the author, it is impossible now to determine; it is not always judicious, and some of the substitutions are inferior to the language they displace; yet, on the other hand, the additions which we meet with in the folio bear the undoubted mark of Shakespeare's mint, and while the metrical arrangement of the speeches in that edition has been carefully regarded, the text of the quartos is printed in parts without any observance of prosodial construction. With respect to the date of its composition, Steevens remarks, that King Lear, or at least the whole of it, could not have been

written till after the publication of Harsnet's Discovery of Popish Impostures, in 1603, because the names of the fiends mentioned by Edgar are borrowed from that work.

The story of King Lear and his daughters was so popular in Shakespeare's time, that he may have taken it from Geoffrey of Monmouth ; from the legend “How Queene Cordila in dispaire slew her selfe, The yeare before Christ 800,” in the “ Mirror for Magistrates ; " from Spenser's “ Fairie Queene,” b. ii. c. x.; or, from Holinshed. There was, indeed, an old anonymous play on the subject, an edition of which was put forth in 1605, under the title of The True Chronicle History of King Leir, and his Three Daughters, Gonorill, Ragan, and Cordella : " mainly in consequence it would seem of the great popularity of the present drama then “running" at the Globe theatre ; the publishers probably trusting to foist the elder production upon the public as Shakespeare's work; but from this piece he appears to have derived nothing, unless, perhaps, some hint for the character of Kent.

The episode of Gloucester and his two sons was probably founded on Book II. chap. x. of Sidney's Arcadia, The pitifull state and storie of the Paphlagonian unkinde king, and his kind sonne ;" &c. which together with the legend of “ Queene Cordila,from “ The Mirror for Magistrates," are reprinted in Mr. Collier's “ Shakespeare's Library,Vol. II.

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SCENE,-BRITAIN.

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