Oxford Lectures on Poetry Part 22

came from his heart. He perceived with extreme clearness the connection of acts with their consequences; but his belief that in this sense 'the G.o.ds are just' was accompanied by the strongest feeling that forgiveness ought to follow repentance, and (if I may so put it) his favourite pet.i.tion was the one that begins 'Forgive us our trespa.s.ses.' To conclude, I have fancied that he shows an unusual degree of disgust at slander and dislike of censoriousness; and where he speaks in the Sonnets of those who censured him he betrays an exceptionally decided feeling that a man's offences are his own affair and not the world's.[29]

Some of the vices which seem to have been particularly odious to Shakespeare have, we may notice, a special connection with prosperity and power. Men feign and creep and flatter to please the powerful and to win their own way to ease or power; and they envy and censure and slander their compet.i.tors in the race; and when they succeed, they are ungrateful to their friends and helpers and patrons; and they become hard and unmerciful, and despise and bully those who are now below them.

So, perhaps, Shakespeare said to himself in those years when, as we imagine, melancholy and embitterment often overclouded his sky, though they did not obscure his faith in goodness and much less his intellectual vision. And prosperity and power, he may have added, come less frequently by merit than by those base arts or by mere fortune. The divorce of goodness and power was, to Sh.e.l.ley, the 'woe of the world'; if we subst.i.tute for 'goodness' the wider word 'merit,' we may say that this divorce, with the evil bred by power, is to Shakespeare also the root of bitterness. This fact, presented in its extreme form of the appalling cruelty of the prosperous, and the heart-rending suffering of the defenceless, forms the problem of his most tremendous drama. We have no reason to surmise that his own sufferings were calamitous; and the period which seems to be marked by melancholy and embitterment was one of outward, or at least financial, prosperity; but nevertheless we can hardly doubt that he felt on the small scale of his own life the influence of that divorce of power and merit. His complaint against Fortune, who had so ill provided for his life, runs through the Sonnets.

Even if we could regard as purely conventional the declarations that his verses would make his friend immortal, it is totally impossible that he can have been unaware of the gulf between his own gifts and those of others, or can have failed to feel the disproportion between his position and his mind. Hamlet had never experienced

the spurns That patient merit of the unworthy takes,

and that make the patient soul weary of life; the man who had experienced them was the writer of Sonnet 66, who cried for death because he was tired with beholding

desert a beggar born, And needy nothing trimmed in jollity,

--a beggarly soul flaunting in brave array. Neither had Hamlet felt in his own person 'the insolence of office'; but the actor had doubtless felt it often enough, and we can hardly err in hearing his own voice in dramatic expressions of wonder and contempt at the stupid pride of mere authority and at men's slavish respect for it. Two examples will suffice. 'Thou hast seen a farmer's dog bark at a beggar, and the creature run from the cur? There thou mightst behold the great image of authority. A dog's obeyed in office': so says Lear, when madness has cleared his vision, and indignation makes the Timon-like verses that follow. The other example is almost too famous for quotation but I have a reason for quoting it:

man, proud man, Drest in a little brief authority, Most ignorant of what he's most a.s.sured, His gla.s.sy essence, like an angry ape, Plays such fantastic tricks before high heaven As makes the angels weep; who, with our spleens, Would all themselves laugh mortal.

It is Isabella who says that; but it is scarcely in character; Shakespeare himself is speaking.[30]

It is with great hesitation that I hazard a few words on Shakespeare's religion. Any attempt to penetrate his reserve on this subject may appear a crowning impertinence; and, since his dramas are almost exclusively secular, any impressions we may form must here be even more speculative than usual. Yet it is scarcely possible to read him much without such speculations; and there are at least some theories which may confidently be dismissed. It cannot be called absolutely impossible that Shakespeare was indifferent to music and to the beauty of Nature, and yet the idea is absurd; and in the same way it is barely possible, and yet it is preposterous, to suppose that he was an ardent and devoted atheist or Brownist or Roman Catholic, and that all the indications to the contrary are due to his artfulness and determination not to get into trouble. There is no absurdity, on the other hand, nor of necessity anything hopeless, in the question whether there are signs that he belonged to this or that church, and was inclined to one mode of thought within it rather than to another. Only the question is scarcely worth asking for our present purpose, unless there is some reason to believe that he took a keen interest in these matters. Suppose, for example, that we had ground to accept a tradition that he 'died a papist,' this would not tell us much about him unless we had also ground to think that he lived a papist, and that his faith went far into his personality. But in fact we receive from his writings, it appears to me, a rather strong impression that he concerned himself little, if at all, with differences of doctrine or church government.[31] And we may go further. Have we not reason to surmise that he was not, in the distinctive sense of the word, a religious man--a man, that is to say, whose feelings and actions are constantly and strongly influenced by thoughts of his relation to an object of wors.h.i.+p? If Shakespeare had been such a man, is it credible that we should find nothing in tradition or in his works to indicate the fact; and is it likely that we should find in his works some things that we do find there?[32]

Venturing with much doubt a little farther I will put together certain facts and impressions without at once drawing any conclusion from them.

Almost all the speeches that can be called p.r.o.nouncedly religious and Christian in phraseology and spirit are placed in the mouths of persons to whom they are obviously appropriate, either from their position (_e.g._ bishops, friars, nuns), or from what Shakespeare found in histories (_e.g._ Henry IV., V., and VI.), or for some other plain reason. We cannot build, therefore, on these speeches in the least. On the other hand (except, of course, where they are hypocritical or politic), we perceive in Shakespeare's tone in regard to them not the faintest trace of dislike or contempt; nor can we find a trace anywhere of such feelings, or of irreverence, towards Christian ideas, inst.i.tutions, or customs (mere humorous irreverence is not relevant here); and in the case of 'sympathetic' characters, living in Christian times but not in any decided sense religious, no disposition is visible to suppress or ignore their belief in, and use of, religious ideas. Some characters, again, Christian or heathen, who appear to be drawn with rather marked sympathy, have strong, if simple, religious convictions (e.g. Horatio, Edgar, Hermione); and in others, of whom so much can hardly be said, but who strike many readers, rightly or wrongly, as having a good deal of Shakespeare in them (_e.g._ Romeo and Hamlet), we observe a quiet but deep sense that they and other men are neither their own masters nor responsible only to themselves and other men, but are in the hands of 'Providence' or guiding powers 'above.'[33]

To this I will add two remarks. To every one, I suppose, certain speeches sound peculiarly personal. Perhaps others may share my feeling about Hamlet's words:

There's a divinity that shapes our ends, Rough-hew them how we will;

and about those other words of his:

There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy;

and about the speech of Prospero ending, 'We are such stuff as dreams are made on.'[34] On the other hand, we observe that Hamlet seems to have arrived at that conviction as to the 'divinity' after reflection, and that, while he usually speaks as one who accepts the received Christian ideas, yet, when meditating profoundly, he appears to ignore them.[35] In the same way the Duke in _Measure for Measure_ is for the most part, and necessarily, a Christian; yet n.o.body would guess it from the great speech, 'Be absolute for death,' addressed by a supposed friar to a youth under sentence to die, yet containing not a syllable about a future life.[36]

Without adducing more of the endless but baffling material for a conclusion, I will offer the result left on my mind, and, merely for the sake of brevity, will state it with hardly any of the qualifications it doubtless needs. Shakespeare, I imagine, was not, in the sense a.s.signed to the word some minutes ago, a religious man. Nor was it natural to him to regard good and evil, better and worse, habitually from a theological point of view. But (this appears certain) he had a lively and serious sense of 'conscience,' of the pain of self-reproach and self-condemnation, and of the torment to which this pain might rise.[37]

He was not in the least disposed to regard conscience as somehow illusory or a human invention, but on the contrary thought of it (I use the most non-committal phrase I can find) as connected with the power that rules the world and is not escapable by man. He realised very fully and felt very keenly, after his youth was past and at certain times of stress, the sufferings and wrongs of men, the strength of evil, the hideousness of certain forms of it, and its apparent incurability in certain cases. And he must sometimes have felt all this as a terrible problem. But, however he may have been tempted, and may have yielded, to exasperation and even despair, he never doubted that it is best to be good; felt more and more that one must be patient and must forgive;[38]

and probably maintained unbroken a conviction, practical if not formulated, that to be good is to be at peace with that unescapable power. But it is unlikely that he attempted to theorise further on the nature of the power. All was for him, in the end, mystery; and, while we have no reason whatever to attribute to him a belief in the ghosts and oracles he used in his dramas, he had no inclination to play the spy on G.o.d or to limit his power by our notions of it. That he had dreams and ponderings about the mystery such as he never put into the mouths of actors I do not doubt; but I imagine they were no more than dreams and ponderings and movings about in worlds unrealised.

Whether to this 'religion' he joined a more or less conventional acceptance of some or all of the usual Christian ideas, it is impossible to tell. There is no great improbability to me in the idea that he did not, but it is more probable to me that he did,--that, in fact, though he was never so tormented as Hamlet, his position in this matter was, at least in middle life (and he never reached old age), much like Hamlet's.

If this were so it might naturally happen that, as he grew older and wearier of labour, and perhaps of the tumult of pleasure and thought and pain, his more personal religion, the natural piety which seems to gain in weight and serenity in the latest plays, came to be more closely joined with Christian ideas. But I can find no clear indications that this did happen; and though some have believed that they discovered these ideas displayed in full, though not explicitly, in the _Tempest_, I am not able to hear there more than the stream of Shakespeare's own 'religion' moving with its fullest volume and making its deepest and most harmonious music.[39]

This lecture must end, though its subject is endless, and I will touch on only one point more,--one that may to some extent recall and connect the scattered suggestions I have offered.

If we were obliged to answer the question which of Shakespeare's plays contains, not indeed the fullest picture of his mind, but the truest expression of his nature and habitual temper, unaffected by special causes of exhilaration or gloom, I should be disposed to choose _As You Like It_. It wants, to go no further, the addition of a touch of Sir Toby or Falstaff, and the ejection of its miraculous conversions of ill-disposed characters. But the misbehaviour of Fortune, and the hardness and ingrat.i.tude of men, form the basis of its plot, and are a frequent topic of complaint. And, on the other hand, he who is reading it has a smooth brow and smiling lips, and a heart that murmurs,

Happy is your grace, That can translate the stubbornness of fortune Into so quiet and so sweet a style.

And it is full not only of sweetness, but of romance, fun, humour of various kinds, delight in the oddities of human nature, love of modesty and fidelity and high spirit and patience, dislike of scandal and censure, contemplative curiosity, the feeling that in the end we are all merely players, together with a touch of the feeling that

Then is there mirth in heaven When earthly things made even Atone together.

And, finally, it breathes the serene holiday mood of escape from the toil, compet.i.tion, and corruption of city and court into the sun and shadow and peace of the country, where one can be idle and dream and meditate and sing, and pursue or watch the deer as the fancy takes one, and make love or smile at lovers according to one's age.[40]

If, again, the question were put to us, which of Shakespeare's characters reveals most of his personality, the majority of those who consented to give an answer would answer 'Hamlet.' This impression may be fanciful, but it is difficult to think it wholly so, and, speaking for those who share it, I will try to trace some of its sources. There is a good deal of Shakespeare that is not in Hamlet. But Hamlet, we think, is the only character in Shakespeare who could possibly have composed his plays (though it appears unlikely, from his verses to Ophelia, that he could have written the best songs). Into Hamlet's mouth are put what are evidently Shakespeare's own views on drama and acting.

Hamlet alone, among the great serious characters, can be called a humorist. When in some trait of another character we seem to touch Shakespeare's personality, we are frequently reminded of Hamlet.[41]

When in a profound reflective speech we hear Shakespeare's voice, we usually hear Hamlet's too, and his peculiar humour and turns of phrase appear unexpectedly in persons otherwise unlike him and unlike one another. The most melancholy group of Sonnets (71-74) recalls Hamlet at once, here and there recalls even his words; and he and the writer of Sonnet 66 both recount in a list the ills that make men long for death.

And then Hamlet 'was indeed honest and of an open and free nature'; sweet-tempered and modest, yet not slow to resent calumny or injury; of a serious but not a melancholy disposition; and the lover of his friend.

And, with these traits, we remember his poet ecstasy at the glory of earth and sky and the marvellous endowments of man; his eager affectionate response to everything n.o.ble or sweet in human nature; his tendency to dream and to live in the world of his own mind; his liability to sudden vehement emotion, and his admiration for men whose blood and judgment are better commingled; the overwhelming effect of disillusionment upon him; his sadness, fierceness, bitterness and cynicism. All this, and more: his sensitiveness to the call of duty; his longing to answer to it, and his anguish over his strange delay; the conviction gathering in his tortured soul that man's purposes and failures are divinely shaped to ends beyond his vision; his incessant meditation, and his sense that there are mysteries which no meditation can fathom; nay, even little traits like his recourse to music to calm his excitement, or his feeling on the one hand that the peasant should not tread on the courtier's heels, and on the other that the mere courtier is s.p.a.cious in the possession of dirt--all this, I say, corresponds with our impression of Shakespeare, or rather of characteristic traits in Shakespeare, probably here and there a good deal heightened, and mingled with others not characteristic of Shakespeare at all. And if this is more than fancy, it may explain to us why Hamlet is the most fascinating character, and the most inexhaustible, in all imaginative literature. What else should he be, if the world's greatest poet, who was able to give almost the reality of nature to creations totally unlike himself, put his own soul straight into this creation, and when he wrote Hamlet's speeches wrote down his own heart?[42]

1904.

FOOTNOTES:

[1] Unquestionably it holds in a considerable degree of Browning, who in _At the Mermaid_ and _House_ wrote as though he imagined that neither his own work nor Shakespeare's betrayed anything of the inner man. But if we are to criticise those two poems as arguments, we must say that they involve two hopelessly false a.s.sumptions, that we have to choose between a self-revelation like Byron's and no self-revelation at all, and that the relation between a poet and his work is like that between the inside and the outside of a house.

[2] Almost all Shakespearean criticism, of course, contains something bearing on our subject; but I have a practical reason for mentioning in particular Mr. Frank Harris's articles in the _Sat.u.r.day Review_ for 1898. A good many of Mr. Harris's views I cannot share, and I had arrived at almost all the ideas expressed in the lecture (except some on the Sonnets question) before reading his papers. But I found in them also valuable ideas which were quite new to me and would probably be so to many readers. It is a great pity that the articles are not collected and published in a book. [Mr. Harris has published, in _The Man Shakespeare_, the substance of the articles, and also matter which, in my judgment, has much less value.]

[3] He is apologising for an attack made on Shakespeare in a pamphlet of which he was the publisher and Greene the writer.

[4] It was said of him, indeed, in his lifetime that, had he not played some kingly parts in sport (_i.e._ on the stage), he would have been a companion for a king.

[5] Nor, _vice versa_, does the possession of these latter qualities at all imply, as some writers seem to a.s.sume, the absence of the former or of gentleness.

[6] Fuller may be handing down a tradition, but it is not safe to a.s.sume this. His comparison, on the other hand, of Shakespeare and Jonson, in their wit combats, to an English man-of-war and a Spanish great galleon, reads as if his own happy fancy were operating on the reports, direct or indirect, of eye-witnesses.

[7] See, for example, Act IV. Sc. v., to which I know no parallel in the later tragedies.

[8] I allude to Sonnet 110, Mr. Beeching's note on which seems to be unquestionably right: 'There is no reference to the poet's profession of player. The sonnet gives the confession of a favourite of society.' This applies, I think, to the whole group of sonnets (it begins with 107) in which the poet excuses his neglect of his friend, though there are _also_ references to his profession and its effect on his nature and his reputation. (By a slip Mr. Beeching makes the neglect last for three years.)

[9] It is perhaps most especially in his rendering of the shock and the effects of _disillusionment_ in open natures that we seem to feel Shakespeare's personality. The nature of this shock is expressed in Henry's words to Lord Scroop:

I will weep for thee; For this revolt of thine, methinks, is like Another fall of man.

[10] There is nothing of this semi-reality, of course, in the _pa.s.sion_ of love as portrayed, for example, in men so different as Orlando, Oth.e.l.lo, Antony, Troilus, whose love for Cressida resembles that of Romeo for Juliet. What I have said of Romeo's 'love' for Rosaline corresponds roughly with Coleridge's view; and, without subscribing to all of Coleridge's remarks, I believe he was right in finding an intentional contrast between this feeling and the pa.s.sion that displaces it (though it does not follow that the feeling would not have become a genuine pa.s.sion if Rosaline had been kind). Nor do I understand the notion that Coleridge's view is refuted and even rendered ridiculous by the mere fact that Shakespeare found the Rosaline story in Brooke (Halliwell-Phillipps, _Outlines_, 7th ed., ill.u.s.trative note 2). Was he compelled then to use whatever he found?

Was it his practice to do so? The question is always _why_ he used what he found, and _how_. Coleridge's view of this matter, it need hardly be said, is far from indisputable; but it must be judged by our knowledge of Shakespeare's mind and not of his material alone. I may add, as I have referred to Halliwell-Phillipps, that Shakespeare made changes in the story he found; that it is arbitrary to a.s.sume (not that it matters) that Coleridge, who read Steevens, was unaware of Shakespeare's use of Brooke; and that Brooke was by no means a 'wretched poetaster.'

[11] _Hamlet_, _Measure for Measure_, _Oth.e.l.lo_, _Troilus and Cressida_, _King Lear_, _Timon of Athens_. See _Shakespearean Tragedy_, pp. 79-85, 275-6. I should like to insist on the view there taken that the tragedies subsequent to _Lear_ and _Timon_ do not show the pressure of painful feelings.

[12] It is not implied that these scenes are certainly Shakespeare's; but I see no sufficient ground for decisively rejecting them.

[13] That experience, certainly in part and probably wholly, belongs to an earlier time, since sonnets 138 and 144 were printed in the _Pa.s.sionate Pilgrim_. But I see no difficulty in that. What bears little fruit in a normal condition of spirits may bear abundant fruit later, in moods of discouragement and exasperation induced largely by other causes.

[14] _The Sonnets of Shakespeare with an Introduction and Notes._ Ginn & Co., 1904.

[15] I find that Mr. Beeching, in the Stratford Town edition of Shakespeare (1907), has also urged these considerations.

[16] I do not mean to imply that Meres necessarily refers to the sonnets we possess, or that all of these are likely to have been written by 1598.

[17] A fact to be remembered in regard to references to the social position of the friend.