A Dish of Orts Part 6

The remarks we have made on "Hamlet" by way of ill.u.s.tration, lead us to point out how Shakspere prepares, in some of his plays, a stage suitable for all the representation. In "A Midsummer Night's Dream" the place which gives tone to the whole is a midnight wood in the first flush and youthful delight of summer. In "As You Like it" it is a daylight wood in spring, full of morning freshness, with a cold wind now and then blowing through the half-clothed boughs. In "The Tempest" it is a solitary island, circled by the mysterious sea-horizon, over which what may come who can tell?--a place where the magician may work his will, and have all nature at the beck of his superior knowledge.

The only writer who would have had a chance of rivalling Shakspere in his own walk, if he had been born in the same period of English history, is Chaucer. He has the same gift of individualizing the general, and idealizing the portrait. But the best of the dramatic writers of Shakspere's time, in their desire of dramatic individualization, forget the modifying multiformity belonging to individual humanity. In their anxiety to present a _character_, they take, as it were, a human mould, label it with a certain peculiarity, and then fill in speeches and forms according to the label. Thus the indications of character, of peculiarity, so predominate, the whole is so much of one colour, that the result resembles one of those allegorical personifications in which, as much as possible, everything human is eliminated except what belongs to the peculiarity, the personification. How different is it with Shakspere's representations! He knows that no human being ever was like that. He makes his most peculiar characters speak very much like other people; and it is only over the whole that their peculiarities manifest themselves with indubitable plainness. The one apparent exception is _Jaques_, in "As You Like it." But there we must remember that Shakspere is representing a man who so chooses to represent himself. He is a man _in his humour_, or his own peculiar and chosen affectation. _Jaques_ is the writer of his own part; for with him "all the world's a stage, and all the men and women," himself first, "merely players." We have his own presentation of himself, not, first of all, as he is, but as he chooses to be taken. Of course his real self does come out in it, for no man can seem altogether other than he is; and besides, the _Duke_, who sees quite through him, rebukes him in the manner already referred to; but it is his affectation that gives him the unnatural peculiarity of his modes and speeches. He wishes them to be such.

There is, then, for every one of Shakspere's characters the firm ground of humanity, upon which the weeds, as well as the flowers, glorious or fantastic, as the case may be, show themselves. His more heroic persons are the most profoundly human. Nor are his villains unhuman, although inhuman enough. Compared with Marlowe's Jew, _Shylock_ is a terrible _man_ beside a dreary _monster_, and, as far as logic and the _lex talionis_ go, has the best of the argument. It is the strength of human nature itself that makes crime strong. Wickedness could have no power of itself: it lives by the perverted powers of good. And so great is Shakspere's sympathy with _Shylock_ even, in the hard and unjust doom that overtakes him, that he dismisses him with some of the spare sympathies of the more tender-hearted of his spectators. Nowhere is the justice of genius more plain than in Shakspere's utter freedom from party-spirit, even with regard to his own creations. Each character shall set itself forth from its own point of view, and only in the choice and scope of the whole shall the judgment of the poet be beheld.

He never allows his opinion to come out to the damaging of the individual's own self-presentation. He knows well that for the worst something can be said, and that a feeling of justice and his own right will be strong in the mind of a man who is yet swayed by perfect selfishness. Therefore the false man is not discoverable in his speech, not merely because the villain will talk as like a true man as he may, but because seldom is the villainy clear to the villain's own mind. It is impossible for us to determine whether, in their fierce bandying of the lie, _Bolingbroke_ or _Norfolk_ spoke the truth. Doubtless each believed the other to be the villain that he called him. And Shakspere has no desire or need to act the historian in the decision of that question. He leaves his reader in full sympathy with the perplexity of _Richard_; as puzzled, in fact, as if he had been present at the interrupted combat.

If every writer could write up to his own best, we should have far less to marvel at in Shakspere. It is in great measure the wealth of Shakspere's suggestions, giving him abundance of the best to choose from, that lifts him so high above those who, having felt the inspiration of a good idea, are forced to go on writing, constructing, carpentering, with dreary handicraft, before the exhausted faculty has recovered sufficiently to generate another. And then comes in the unerring choice of the best of those suggestions. Yet if any one wishes to see what variety of the same kind of thoughts he could produce, let him examine the treatment of the same business in different plays; as, for instance, the way in which instigation to a crime is managed in "Macbeth," where _Macbeth_ tempts the two murderers to kill _Banquo_; in "King John," when _the King_ tempts _Hubert_ to kill _Arthur_; in "The Tempest," when _Antonio_ tempts _Sebastian_ to kill _Alonzo_; in "As You Like it," when _Oliver_ instigates _Charles_ to kill _Orlando_; and in "Hamlet," where _Claudius_ urges _Laertes_ to the murder of _Hamlet_.

He shows no anxiety about being original. When a man is full of his work he forgets himself. In his desire to produce a good play he lays hold upon any material that offers itself. He will even take a bad play and make a good one of it. One of the most remarkable discoveries to the student of Shakspere is the hide-bound poverty of some of the stories, which, informed by his life-power; become forms of strength, richness, and grace. He does what the _Spirit_ in "Comus" says the music he heard might do,--

"create a soul Under the ribs of death;"

and then death is straightway "clothed upon." And nowhere is the refining operation of his genius more evident than in the purification of these stories. Characters and incidents which would have been honey and nuts to Beaumont and Fletcher are, notwithstanding their dramatic recommendations, entirely remodelled by him. The fair _Ophelia_ is, in the old tale, a common woman, and _Hamlet's_ mistress; while the policy of the _Lady of Belmont_, who in the old story occupies the place for which he invented the lovely _Portia_, upon which policy the whole story turns, is such that it is as unfit to set forth in our pages as it was unfit for Shakspere's purposes of art. His n.o.ble art refuses to work upon base matter. He sees at once the capabilities of a tale, but he will not use it except he may do with it what he pleases.

If we might here offer some a.s.sistance to the young student who wants to help himself, we would suggest that to follow, in a measure, Plutarch's fas.h.i.+on of comparison, will be the most helpful guide to the understanding of the poet. Let the reader take any two characters, and putting them side by side, look first for differences, and then for resemblances between them, with the causes of each; or let him make a wider attempt, and setting two plays one over against the other, compare or contrast them, and see what will be the result. Let him, for instance, take the two characters _Hamlet_ and _Brutus_, and compare their beginnings and endings, the resemblances in their characters, the differences in their conduct, the likeness and unlikeness of what was required of them, the circ.u.mstances in which action was demanded of each, the helps or hindrances each had to the working out of the problem of his life, the way in which each encounters the supernatural, or any other question that may suggest itself in reading either of the plays, ending off with the main lesson taught in each; and he will be astonished to find, if he has not already discovered it, what a rich mine of intellectual and spiritual wealth is laid open to his delighted eyes. Perhaps not the least valuable end to be so gained is, that the young Englishman, who wants to be delivered from any temptation to think himself the centre around which the universe revolves, will be aided in his endeavours after honourable humility by looking up to the man who towers, like Saul, head and shoulders above his brethren, and seeing that he is humble, may learn to leave it to the pismire to be angry, to the earwig to be conceited, and to the spider to insist on his own importance.

But to return to the main course of our observations. The dramas of Shakspere are so natural, that this, the greatest praise that can be given them, is the ground of one of the difficulties felt by the young student in estimating them. The very simplicity of Shakspere's art seems to throw him out of any known groove of judgment. When he hears one say, "_Look at this, and admire_," he feels inclined to rejoin, "Why, he only says in the simplest way what the thing must have been. It is as plain as daylight." Yes, to the reader; and because Shakspere wrote it. But there were a thousand wrong ways of doing it: Shakspere took the one right way. It is he who has made it plain in art, whatever it was before in nature; and most likely the very simplicity of it in nature was scarcely observed before he saw it and represented it. And is it not the glory of art to attain this simplicity? for simplicity is the end of all things--all manners, all morals, all religion. To say that the thing could not have been done otherwise, is just to say that you forget the art in beholding its object, that you forget the mirror because you see nature reflected in the mirror. Any one can see the moon in Lord Rosse's telescope; but who made the reflector? And let the student try to express anything in prose or in verse, in painting or in modelling, just as it is. No man knows till he has made many attempts, how hard to reach is this simplicity of art. And the greater the success, the fewer are the signs of the labour expended. Simplicity is art's perfection.

But so natural are all his plays, and the great tragedies to which we would now refer in particular, amongst the rest, that it may appear to some, at first sight, that Shakspere could not have constructed them after any moral plan, could have had no lesson of his own to teach in them, seeing they bear no marks of individual intent, in that they depart nowhere from, nature, the construction of the play itself going straight on like a history. The directness of his plays springs in part from the fact that it is humanity and not circ.u.mstance that Shakspere respects. Circ.u.mstance he uses only for the setting forth of humanity; and for the plot of circ.u.mstance, so much in favour with Ben Jonson, and others of his contemporaries, he cares nothing. As to their looking too natural to have any design in them, we are not of those who believe that it is unlike nature to have a design and a result. If the proof of a high aim is to be what the critics used to call _poetic justice_, a kind of justice that one would gladly find more of in grocers' and linen-drapers' shops, but can as well spare from a poem, then we must say that he has not always a high end: the wicked man is not tortured, nor is the good man smothered in bank-notes and rose-leaves. Even when he shows the outward ruin and death that comes upon Macbeth at last, it is only as an unavoidable little consequence, following in the wake of the mighty vengeance of nature, even of G.o.d, that Macbeth cannot say _Amen_; that Macbeth can sleep no more; that Macbeth is "cabined cribbed, confined, bound in to saucy doubts and fears;" that his very brain is a charnel-house, whence arise the ghosts of his own murders, till he envies the very dead the rest to which his hand has sent them.

That immediate and eternal vengeance upon crime, and that inner reward of well-doing, never fail in nature or in Shakspere, appear as such a matter of course that they hardly look like design either in nature or in the mirror which he holds up to her. The secret is that, in the ideal, habit and design are one.

Most authors seem anxious to round off and finish everything in full sight. Most of Shakspere's tragedies compel our thoughts to follow their _persons_ across the bourn. They need, as Jean Paul says, a piece of the next world painted in to complete the picture, And this is surely nature: but it need not therefore be no design. What could be done with Hamlet, but send him into a region where he has some chance of finding his difficulties solved; where he will know that his reverence for G.o.d, which was the sole stay left him in the flood of human worthlessness, has not been in vain; that the skies are not "a foul and pestilent congregation of vapours;" that there are n.o.ble women, though his mother was false and Ophelia weak; and that there are n.o.ble men, although his uncle and Laertes were villains and his old companions traitors? If Hamlet is not to die, the whole of the play must perish under the accusation that the hero of it is left at last with only a superadded misery, a fresh demand for action, namely, to rule a worthless people, as they seem to him, when action has for him become impossible; that he has to live on, forsaken even of death, which will not come though the cup of misery is at the brim.

But a high end may be gained in this world, and the vision into the world beyond so justified, as in King Lear. The pa.s.sionate, impulsive, unreasoning old king certainly must have given his wicked daughters occasion enough of making the charges to which their avarice urged them.

He had learned very little by his life of kings.h.i.+p. He was but a boy with grey hair. He had had no inner experiences. And so all the development of manhood and age has to be crowded into the few remaining weeks of his life. His own folly and blindness supply the occasion. And before the few weeks are gone, he has pa.s.sed through all the stages of a fever of indignation and wrath, ending in a madness from which love redeems him; he has learned that a king is nothing if the man is nothing; that a king ought to care for those who cannot help themselves; that love has not its origin or grounds in favours flowing from royal resource and munificence, and yet that love is the one thing worth living for, which gained, it is time to die. And now that he has the experience that life can give, has become a child in simplicity of heart and judgment, he cannot lose his daughter again; who, likewise, has learned the one thing she needed, as far as her father was concerned, a little more excusing tenderness. In the same play it cannot be by chance that at its commencement Gloucester speaks with the utmost carelessness and _off-hand_ wit about the parentage of his natural son Edmund, but finds at last that this son is his ruin.

Edgar, the true son, says to Edmund, after having righteously dealt him his death-wound,--

"The G.o.ds are just, and of our pleasant vices Make instruments to scourge us: The dark and vicious place where thee he got Cost him his eyes."

To which the dying and convicted villain replies,--

"Thou hast spoken right; 'tis true: The wheel is come full circle; I am here."

Could anything be put more plainly than the moral lesson in this?

It would be easy to produce examples of fine design from his comedies as well; as for instance, from "Much Ado about Nothing:" the two who are made to fall in love with each other, by being each severally a.s.sured of possessing the love of the other, Beatrice and Bened.i.c.k, are shown beforehand to have a strong inclination towards each other, manifested in their continual squabbling after a good-humoured fas.h.i.+on; but not all this is sufficient to make them heartily in love, until they find out the n.o.bility of each other's character in their behaviour about the calumniated Hero; and the author takes care they shall not be married without a previous acquaintance with the trick that has been played upon them. Indeed we think the remark, that Shakspere never leaves any of his characters the same at the end of a play as he took them up at the beginning, will be found to be true. They are better or worse, wiser or more irretrievably foolish. The historical plays would ill.u.s.trate the remark as well as any.

But of all the terrible plays we are inclined to think "Timon" the most terrible, and to doubt whether justice has been done to the finish and completeness of it. At the same time we are inclined to think that it was printed (first in the first folio, 1623, seven years after Shakspere's death) from a copy, corrected by the author, but not _written fair_, and containing consequent mistakes. The same account might belong to others of the plays, but more evidently perhaps belongs to the "Timon." The idea of making the generous spendthrift, whose old idolaters had forsaken him because the idol had no more to give, into the high-priest of the Temple of Mammon, dispensing the gold which he hated and despised, that it might be a curse to the race which he had learned to hate and despise as well; and the way in which Shakspere discloses the depths of Timon's wound, by bringing him into comparison with one who hates men by profession and humour--are as powerful as anything to be found even in Shakspere.

We are very willing to believe that "Julius Caesar" was one of his latest plays; for certainly it is the play in which he has represented a hero in the high and true sense. _Brutus_ is this hero, of course; a hero because he will do what he sees to be right, independently of personal feeling or personal advantage. Nor does his attempt fail from any overweening or blindness, in himself. Had he known that the various papers thrown in his way, were the concoctions of _Ca.s.sius_, he would not have made the mistake of supposing that the Romans longed for freedom, and therefore would be ready to defend it. As it was, he attempted to liberate a people which did not feel its slavery. He failed for others, but not for himself; for his truth was such that everybody was true to him. Unlike Jaques with his seven acts of the burlesque of human life, Brutus says at the last,--

"Countrymen, My heart doth joy, that yet, in all my life, I found no man but he was true to me."

Of course all this is in Plutarch. But it is easy to see with what relish Shakspere takes it up, setting forth all the aids in himself and in others which Brutus had to being a hero, and thus making the representation as credible as possible.

We must heartily confess that no amount of genius alone will make a man a good man; that genius only shows the right way--drives no man to walk in it. But there is surely some moral scent in us to let us know whether a man only cares for good from an artistic point of view, or whether he admires and loves good. This admiration and love cannot be _prominently_ set forth by any dramatist true to his art; but it must come out over the whole. His predilections must show themselves in the scope of his artistic life, in the things and subjects he chooses, and the way in which he represents them. Notwithstanding Uncle Toby and Maria, who will venture to say that Sterne was n.o.ble or virtuous, when he looks over the whole that he has written? But in Shakspere there is no suspicion of a cloven foot. Everywhere he is on the side of virtue and of truth. Many small arguments, with great c.u.mulative force, might be adduced to this effect.

For ourselves we cannot easily believe that the calmness of his art could be so unvarying except he exercised it with a good conscience; that he could have kept looking out upon the world around him with the untroubled regard necessary for seeing all things as they are, except there had been peace in his house at home; that he could have known all men as he did, and failed to know himself. We can understand the co-existence of any degree of partial or excited genius with evil ways, but we cannot understand the existence of such calm and universal genius, wrought out in his works, except in a.s.sociation with all that is n.o.blest in human nature. Nor is it other than on the side of the argument for his rect.i.tude that he never forces rect.i.tude upon the attention of others. The strong impression left upon our minds is, that however Shakspere may have strayed in the early portion of his life in London, he was not only an upright and n.o.ble man for the main part, but a repentant man, and a man whose life was influenced by the truths of Christianity.

Much is now said about a memorial to Shakspere. The best and only true memorial is no doubt that described in Milton's poem on this very subject: the living and ever-changing monument of human admiration, expressed in the faces and forms of those absorbed in the reading of his works. But if the external monument might be such as to foster the constant reproduction of the inward monument of love and admiration, then, indeed, it might be well to raise one; and with this object in view let us venture to propose one mode which we think would favour the attainment of it.

Let a Gothic hall of the fourteenth century be built; such a hall as would be more in the imagination of Shakspere than any of the architecture of his own time. Let all the copies that can be procured of every early edition of his works, singly or collectively, be stored in this hall. Let a copy of every other edition ever printed be procured and deposited. Let every book or treatise that can be found, good, bad, or indifferent, written about Shakspere or any of his works, be likewise collected for the Shakspere library. Let a special place be allotted to the shameless corruptions of his plays that have been produced as improvements upon them, some of which, to the disgrace of England, still partially occupy the stage instead of what Shakspere wrote. Let one department contain every work of whatever sort that tends to direct elucidation of his meaning, chiefly those of the dramatic writers who preceded him and closely followed him. Let the windows be filled with stained gla.s.s, representing the popular sports of his own time and the times of his English histories. Let a small museum be attached, containing all procurable antiquities that are referred to in his plays, along with first editions, if possible, of the best books that came out in his time, and were probably read by him. Let the whole thus as much as possible represent his time. Let a marble statue in the midst do the best that English art can accomplish for the representation of the vanished man; and let copies, if not the originals, of the several portraits be safely shrined for the occasional beholding of the mult.i.tude. Let the perpetuity of care necessary for this monument be secured by endowment; and let it be for the use of the public, by means of a reading-room fitted for the comfort of all who choose to avail themselves of these facilities for a true acquaintance with our greatest artist. Let there likewise be a simple and moderately-sized theatre attached, not for regular, but occasional use; to be employed for the representation of Shakspere's plays _only_, and allowed free of expense for amateur or other representations of them for charitable purposes.

But within a certain cycle of years--if, indeed, it would be too much to expect that out of the London play-goers a sufficient number would be found to justify the representation of all the plays of Shakspere once in the season--let the whole of Shakspere's plays be acted in the best manner possible to the managers for the time being.

The very existence of such a theatre would be a n.o.ble protest of the highest kind against the sort of play, chiefly translated and adapted from the French, which infests our boards, the low tone of which, even where it is not decidedly immoral, does more harm than any amount of the rough, honest plain-spokenness of Shakspere, as judged by our more fastidious, if not always purer manners. The representation of such plays forms the real ground of objection to theatre-going. We believe that other objections, which may be equally urged against large a.s.semblies of any sort, are not really grounded upon such an amount of objectionable fact as good people often suppose. At all events it is not against the drama itself, but its concomitants, its avoidable concomitants, that such objections are, or ought to be, felt and directed. The dramatic impulse, as well as all other impulses of our nature, are from the Maker.

A monument like this would help to change a blind enthusiasm and a _dilettante_-talk into knowledge, reverence, and study; and surely this would be the true way to honour the memory of the man who appeals to posterity by no mighty deeds of worldly prowess, but has left behind him food for heart, brain, and conscience, on which the generations will feed till the end of time. It would be the one true and natural mode of perpetuating his fame in kind; helping him to do more of that for which he was born, and because of which we humbly desire to do him honour, as the years flow farther away from the time when, at the age of fifty-two, he left the world a richer legacy of the results of intellectual labour than any other labourer in literature has ever done. It would be to raise a monument to his mind more than to his person.

But to honour Shakspere in the best way we must not gaze upon some grand memorial of his fame, we must not talk largely of his wonderful doings, we must not even behold the representation of his works on the stage, invaluable aid as that is to the right understanding of what he has written; but we must, by close, silent, patient study, enter into an understanding with the spirit of the departed poet-sage, and thus let his own words be the necromantic spell that raises the dead, and brings us into communion with that man who knew what was in men more than any other mere man ever did. Well was it for Shakspere that he was humble; else on what a desolate pinnacle of companionless solitude must he have stood! Where was he to find his peers? To most thoughtful minds it is a terrible fancy to suppose that there were no greater human being than themselves. From the terror of such a _truth_ Shakspere's love for men preserved him. He did not think about himself so much as he thought about them. Had he been a self-student alone, or chiefly, could he ever have written those dramas? We close with the repet.i.tion of this truth: that the love of our kind is the one key to the knowledge of humanity and of ourselves. And have we not sacred authority for concluding that he who loves his brother is the more able and the more likely to love Him who made him and his brother also, and then told them that love is the fulfilling of the law?

THE ART OF SHAKSPERE, AS REVEALED BY HIMSELF.

[Footnote: 1863.]

Who taught you this?

I learn'd it out of women's faces.

_Winter's Tale_, Act ii. scene 1.

One occasionally hears the remark, that the commentators upon Shakspere find far more in Shakspere than Shakspere ever intended to express.

Taking this a.s.sertion as it stands, it may be freely granted, not only of Shakspere, but of every writer of genius. But if it be intended by it, that nothing can _exist_ in any work of art beyond what the writer was conscious of while in the act of producing it, so much of its scope is false.

No artist can have such a claim to the high t.i.tle of _creator_, as that he invents for himself the forms, by means of which he produces his new result; and all the forms of man and nature which he modifies and combines to make a new region in his world of art, have their own original life and meaning. The laws likewise of their various combinations are natural laws, harmonious with each other. While, therefore, the artist employs many or few of their original aspects for his immediate purpose, he does not and cannot thereby deprive them of the many more which are essential to their vitality, and the vitality likewise of his presentation of them, although they form only the background from which his peculiar use of them stands out. The objects presented must therefore fall, to the eye of the observant reader, into many different combinations and harmonies of operation and result, which are indubitably there, whether the writer saw them or not. These latent combinations and relations will be numerous and true, in proportion to the scope and the truth of the representation; and the greater the number of meanings, harmonious with each other, which any work of art presents, the greater claim it has to be considered a work of genius. It must, therefore, be granted, and that joyfully, that there may be meanings in Shakspere's writings which Shakspere himself did not see, and to which therefore his art, as art, does not point.

But the probability, notwithstanding, must surely be allowed as well, that, in great artists, the amount of conscious art will bear some proportion to the amount of unconscious truth: the visible volcanic light will bear a true relation to the hidden fire of the globe; so that it will not seem likely that, in such a writer as Shakspere, we should find many indications of present and operative _art_, of which he was himself unaware. Some truths may be revealed through him, which he himself knew only potentially; but it is not likely that marks of work, bearing upon the results of the play, should be fortuitous, or that the work thus indicated should be unconscious work. A stroke of the mallet may be more effective than the sculptor had hoped; but it was intended.

In the drama it is easier to discover individual marks of the chisel, than in the marble whence all signs of such are removed: in the drama the lines themselves fall into the general finish, without necessary obliteration as lines: Still, the reader cannot help being fearful, lest, not as regards truth only, but as regards art as well, he be sometimes clothing the idol of his intellect with the weavings of his fancy. My conviction is, that it is the very consummateness of Shakspere's art, that exposes his work to the doubt that springs from loving anxiety for his honour; the dramatist, like the sculptor, avoiding every avoidable hint of the process, in order to render the result a vital whole. But, fortunately, we are not left to argue entirely from probabilities. He has himself given us a peep into his studio--let me call it _workshop_, as more comprehensive.

It is not, of course, in the shape of _literary_ criticism, that we should expect to meet such a revelation; for to use art even consciously, and to regard it as an object of contemplation, or to theorize about it, are two very different mental operations. The productive and critical faculties are rarely found in equal combination; and even where they are, they cannot operate equally in regard to the same object. There is a perfect satisfaction in producing, which does not demand a re-presentation to the critical faculty. In other words, the criticism which a great writer brings to bear upon his own work, is from within, regarding it upon the hidden side, namely, in relation to his own idea; whereas criticism, commonly understood, has reference to the side turned to the public gaze. Neither could we expect one so prolific as Shakspere to find time for the criticism of the works of other men, except in such moments of relaxation as those in which the friends at the Mermaid Tavern sat silent beneath the flow of his wisdom and humour, or made the street ring with the overflow of their own enjoyment.

But if the artist proceed to speculate upon the nature or productions of another art than his own, we may then expect the principles upon which he operates in his own, to take outward and visible form--a form modified by the difference of the art to which he now applies them. In one of Shakspere's poems, we have the description of an imagined production of a sister-art--that of Painting--a description so brilliant that the light reflected from the poet-picture illumines the art of the Poet himself, revealing the principles which he held with regard to representative art generally, and suggesting many thoughts with regard to detail and harmony, finish, pregnancy, and scope. This description is found in "The Rape of Lucrece." Apology will hardly be necessary for making a long quotation, seeing that, besides the convenience it will afford of easy reference to the ground of my argument, one of the greatest helps which even the artist can give to us, is to isolate peculiar beauties, and so compel us to perceive them.

Lucrece has sent a messenger to beg the immediate presence of her husband. Awaiting his return, and worn out with weeping, she looks about for some variation of her misery.

1.

At last she calls to mind where hangs a piece Of skilful painting, made for Priam's Troy; Before the which is drawn the power of Greece, For Helen's rape the city to destroy, Threatening cloud-kissing Ilion with annoy; Which the conceited painter drew so proud, As heaven, it seemed, to kiss the turrets, bowed.

2.

A thousand lamentable objects there, In scorn of Nature, Art gave lifeless life: Many a dry drop seemed a weeping tear, Shed for the slaughtered husband by the wife; The red blood reeked, to show the painter's strife.

And dying eyes gleamed forth their ashy lights, Like dying coals burnt out in tedious nights.