More Pages from a Journal Part 19

Apart from the quarrel between the Montagus and Capulets, we feel that the love between Romeo and Juliet could have no other than a tragic end. This world of ours conspires against such pa.s.sion.

I Henry IV. v. 4 -

'O Harry, thou hast robb'd me of my youth!

I better brook the loss of brittle life Than those proud t.i.tles thou hast won of me; They wound my thoughts worse than thy sword my flesh: But thought's the slave of life, and life time's fool; And time, that takes survey of all the world, Must have a stop.'

The last three lines are not melancholy philosophising. As such they would be out of place coming from Hotspur. They are consolation and joy. Death will extinguish for us the memory of certain things suffered and done. That is a gain which is not outweighed by the loss of any pleasure life can give.

Luders' essay three parts of a century ago showed conclusively that Holinshed's and Shakespeare's Prince of Wales, as we see him in the play of Henry IV., wild and dissolute with ign.o.ble companions, is a legend which is disproved by doc.u.mentary history, but Shakespeare's Prince is nevertheless dramatically true. Johnson says, 'He is great without effort, and brave without tumult. The trifler is roused into a hero, and the hero again reposes in the trifler. The character is great, original, and just.' Johnson's criticism is true. There is no interruption or strain in the pa.s.sage from one self to the other self: they are both in fact the same self. It is something of a shock that the King should cast off Falstaff, but if a man is appointed to command it is necessary that he should at once take up his proper position. I remember the promotion of a subordinate to a responsible post. His manner changed the next day.

He had the courage to ring his bell and give orders to his senior under whom he had been serving.

He became one of the most efficient administrators I ever knew. On the other hand, nearly at the same time another subordinate was promoted who was timid and continued his habits of familiarity with his colleagues. His department fell into disorder and he was dismissed.

As You Like It.--Lady Anne Blunt in her admirable books, A Pilgrimage to Nejd and The Bedouin Tribes of the Euphrates, notices that the true Arab sheykh of the desert, when a traveller seeks his hospitality, asks no questions until food and drink have been offered, and even then is in no hurry. So also the Duke:

'Welcome, fall to: I will not trouble you As yet, to question you about your fortunes.'

Curiosity about personal matters is ign.o.ble.

Rosalind's love for Orlando is born of pity. 'If I be foiled, there is but one shamed that was never gracious; if killed, but one dead that is willing to be so: I shall do my friends no wrong, for I have none to lament me; the world no injury, for in it I have nothing; only in the world I fill up a place, which may be better supplied when I have made it empty.'

It is a proof of Orlando's gentle breeding that he instantly yields to courtesy:

'Speak you so gently? Pardon me, I pray you.'

Orlando says to Jaques: 'I will chide no breather in the world, but myself, against whom I know most faults.' This is characteristic of Shakespeare, and is in the spirit of the Gospels.

The difficulty in this play is not Oliver's sudden love for Celia, although Shakespeare seems to have felt that it was a little too rapid, for Orlando asks Oliver, 'Is't possible that on so little acquaintance you should like her?' It is rather Celia's prompt response which takes us aback. It looks too much like 'any woman to any man.' It may be said in excuse that Celia had heard the piteous story of his conversion, how he had become 'a wretched ragged man o'ergrown with hair,' and what is more to the point, she had heard of Orlando's n.o.ble kindness to him. It is odd that Shakespeare does not adopt from Lodge's novel Oliver's rescue of Celia from a band of ruffians. Johnson says, 'To Celia much may be forgiven for the heroism of her friends.h.i.+p.' She forsook not only her father--she had reason not to care much about him--but she forsook the COURT for Rosalind.

Much Ado about Nothing.--Why should Don Pedro offer to take Claudio's place in the wooing of Hero and why should Claudio consent?

Borachio says, 'Hear me call Margaret, Hero; hear Margaret call me Claudio.'

When Borachio recounts to Conrad what he had done, he makes no mention of his personation of Claudio--'Know, that I have to-night wooed Margaret, the lady Hero's gentlewoman, by the name of Hero; she leans me out at her mistress's chamber-window, bids me a thousand times good night.'

Theobald remarks that if Claudio saw another man with the woman supposed to be Hero and heard her call him Claudio, Claudio would merely suppose that Hero was deceived. Theobald proposes to subst.i.tute 'Borachio' for 'Claudio' in the line just quoted.

Borachio had just asked Don John to tell Don Pedro and Claudio that Hero loved him, Borachio. But if Theobald's emendation be received, difficulties still remain. Margaret must have been persuaded to answer to the name of Hero. After Borachio's arrest he tells us that Margaret wore Hero's garments. But Shakespeare, deserting Spenser, from whom this mystification appears to be borrowed, gives no reason which induced Margaret to play this part.

Where was Hero on that night? Borachio promises Don John that 'he will so fas.h.i.+on the matter, that Hero shall be absent.' Claudio asks Hero

'What man was he talk'd with you yesternight Out at your window betwixt twelve and one?'

She does not reply, as we should think she would, that she was not sleeping in that room, although Bened.i.c.k asks Beatrice,

'Lady, were you her bedfellow last night?'

and Beatrice replies,

'No, truly not; although until last night, I have this twelvemonth been her bedfellow.'

Claudio is despicable, and his marriage with Hero is a foul, black spot in the play. Observe that in the first scene he asks Don Pedro,

'Hath Leonato any son, my lord?'

and Don Pedro, understanding the drift of the question, replies:

'No child but Hero, she's his only heir.'

What a mean, d.a.m.nable excuse he makes.

'Yet sinn'd I not, But in mistaking.'

Beatrice with sure eye discerns the scoundrel. 'Kill Claudio.' Not Don Pedro, not even Don John, although she had heard Bened.i.c.k denounce him as the author of the villainy.

Beatrice and the Friar never doubt Hero's innocence. The Friar declares that

'In her eye there hath appear'd a fire To burn the errors that these princes hold Against her maiden truth.'

What an amplitude there is in Beatrice! What a sweep it is to bring into what we already know of her such divine faith in her friend!

This light-hearted girl suddenly becomes sublime.

Hamlet.--Coleridge's remark that the two former appearances of the Ghost increase its objectivity when it appears to Hamlet is subtle and true. Observe that the Ghost is visible to Hamlet, Marcellus, Bernardo and Horatio, but not to the Queen.

There is in Coleridge an activity of intellect which is so fascinating that we do not stay to inquire whether the result is in accordance with the facts. He says that taedium vitae as in the case of Hamlet is due to 'unchecked appetency of the ideal.' Was the appetency of the ideal strong in Hamlet? The ideal exalts our interest in earthly things.

'Now might I do it pat, now he is praying.' Johnson says that this speech, in which Hamlet contrives d.a.m.nation for the man he would punish, is too horrible to be read or to be uttered; whereupon Coleridge remarks that Hamlet's postponement of revenge till it should bring d.a.m.nation to soul as well as body 'was merely the excuse Hamlet made to himself for not taking advantage of this particular and favourable moment for doing justice upon his guilty uncle, at the urgent instance of the spirit of his father.' I doubt if this is a complete explanation. Would it strike the audience as the motive? Men of Hamlet's mould not only speak but feel extravagantly. Incapacity for prompt action is accompanied with more intense emotion than that which is felt by him who acts at once. Hamlet meditates on revenge instead of executing it, and his desire, by brooding, becomes diabolic.