Shakspere and Montaigne Part 10

Even the kind of death by which Shakspere makes Hamlet lose his life, looks like a satire against Montaigne. The latter, always a coward in regard to death, and continually pondering over it, says: [57]--'I would rather have chosen to drink the potion of Sokrates than wound myself as Cato did.' Their 'virtuous deeds' he calls [58] 'vain and fruitless ones, because they were done from no love of, or obedience to, the true Creator of all things.'

Hamlet dies wounded and poisoned, as if Shakspere had intended expressing his abhorrence of so vacillating and weak-willed a character, who places the treacherous excesses of pa.s.sion above the power of that human reason in whose free service alone Greeks and Romans did their most exalted deeds of virtue. [59]

The subtlety of the best psychologists has endeavoured to fix the limits of Hamlet's madness, and to find the proper name for it. No agreement has been arrived at. We think we have solved the problem as to the nature of Hamlet's madness, and to have shown why thought and action, in him, cannot be brought into a satisfactory harmony. Every fibre in Shakspere's artistic mind would have rebelled against the idea of making a lunatic the chief figure of his greatest drama. He wished to warn his contemporaries that the attempt of reconciling two opposite circles of ideas--namely, on the one hand, the doctrine that we are to be guided by the laws of Nature; and on the other, the yielding ourselves up to superst.i.tious dogmas which declare human nature to be sinful--must inevitably produce deeds of madness.

The main traits of Montaigne's character Shakspere confers upon the Danish Prince, and places him before a difficult task of life. He is to avenge his father's death. (Montaigne was attached to his father with all his soul, and speaks of him almost in the same words as Hamlet does of his own.) He is to preserve the State whose legitimate sovereign he is. The materials for a satire are complete. And it is written in such a manner as to remain the n.o.blest, the most sublime poetical production as long as men shall live.

The two circles of ideas which in the century of the Reformation began a struggle that is not yet brought to an end, are, in that drama, represented on the stage. The poet shows, by making the gifted Prince perish, on which side every serious thinker ought to place himself. That these intentions of Shakspere were understood by his more intelligent contemporaries and friends, we shall prove when we come to the camp of his adversaries, at whose head a Roman Catholic stood, who launches out in very marked language against the derision of Montaigne as contained in the character of Hamlet.

The n.o.blemen who went to the theatre for the sake of the intellectual attractions (the fairer s.e.x being still excluded from acting on the stage and therefore not forming a point of attraction) were initiated into the innermost secret of what authors meant by their productions.

Dekker, in his 'Gulls Horn Book' (c. 6), reports that 'after the play was over, poets adjourned to supper with knights, where they, in private, unfolded the secret parts of their drama to them.'

As in no other of his plays, there is in Shakspere's 'Hamlet'--the drama richest in philosophy--a perfect wealth of life. Argument is pitted against argument; every turn of a phrase is a missile, sharp, and hitting the mark. In not a few cases, the aim and object is no longer recognisable. Here and there we believe we shall be able to shed the light of day upon some dark pa.s.sages of the past.

To the doughty friends of Shakspere, this French Knight of the Order of St. Michael, who says [60] that, if his freedom were in the least encroached upon, or 'if the laws under which he lives threatened merely the tip of his finger, he would at once betake himself to any other place to find better ones;' but who yet lets everything around him go out of joint without offering a helping hand for repair, because 'the maintenance of States is probably something beyond our powers of understanding' [61]--verily, to Shakspere's doughty friends, such a specimen of humanity as Montaigne must have been quite a new and strange phenomenon. They were children of an age which achieved great things because its n.o.bler natures willingly suffered death when the ideals of their life were to be realised. In them, the fire of enthusiasm of the first Reformation, of the glorious time of Elizabeth, was still glowing. They energetically championed the cause of Humanism.

The sublime conceptions of their epoch were not yet marred by that dark and gloomy set of men whose mischievous members were just beginning to hatch their hidden plans in the most remote manors of England.

The friends of Shakspere well understood the true meaning of Hamlet's words: [62]--'What should such fellows as I do crawling between earth and heaven?' [63] They easily seized the gist and point of the answer given to the King's question: [64]--'How fares our cousin Hamlet?'

when Hamlet replies:--

Excellent, i' faith; of the chameleon's dis.h.!.+

Surely, some of them had read the Essay 'On the Inconsistency of our Actions,' and had smiled at the pa.s.sage:--

'Our ordinary manner is, to follow the inclination of our appet.i.te--this way, that way; upwards, downwards; even as the wind of the occasion drives us. We never think of what _we would have_, but at the moment we _would have it_; and _we change like that animal_ (the chameleon) of which it is said that it takes the colour of the place where it is laid down.' [65]

Shakspere's teaching is, that if the n.o.bler-gifted man who stands at the head of the commonwealth, allows himself to be driven about by every wind of the occasion, instead of furthering his better aims with all his strength and energy of will, the wicked, on their part, will all the more easily carry out their own ends. He therefore makes the King say: [66]--

That we would do, We should do when we would; for this 'would' changes...

Shakspere's friends understood the allusion contained in the first act, after the apparition of the Ghost, when Hamlet calls for his 'tablets.'

They knew that the much-scribbling Montaigne was meant, who, as he avows, had so bad a memory that he could not receive any commission without writing it down in his 'tablets' (_tablettes_). This defect of his, Montaigne mentions over and over again, and may have been the cause of his many most ludicrous contradictions. [67]

After Hamlet has written down the important fact that 'one may smile, and smile, and be a villain--at least, I am sure it may be so in Denmark,' he exclaims:--'Now to my word!' That 'word' undoubtedly consists of the admonition addressed to him by the Ghost, that Hamlet, after having heard his duty, also should fulfil it--that is:--

'So art thou to revenge, when thou shalt hear.'

But he only recollects the last words of the Ghost; and Hamlet's parole, therefore, is only this:--

Adieu, adieu, adieu! Remember me!

The value of Montaigne's book is harshly treated in the second scene of the second act. To the question of Polonius as to what he is reading, Hamlet replies:--'Words, words, words!' Indeed, Shakspere did not think it fair that 'the satirical rogue' should fill the paper with such remarks (whole Essays of Montaigne consist of similar useless prattle) as 'that old men have grey beards; that their faces are wrinkled; their eyes purging thick amber and plum-tree gum; and that they have a plentiful lack of wit, together with most weak hams.' [68]

The ideas of Shakspere as to the duties of a writer were different, indeed, from the contents of the book which Hamlet characterises by his exclamation.

As to Polonius' answer: 'Though this be madness, yet there's method in it,' the public had no difficulty in finding out what was meant by that 'madness,' and to whom it applied.

What may the great master have thought of an author who, as Montaigne does, jots down everything in kaleidoscopic manner, just as changeful accident brings it into his head? In Essay III. (2) we read:--

'I cannot get a fixed hold of my object. It moves and reels as if with a natural drunkenness. I just seize it at some point, such as I find it at the moment, when I amuse myself with it. I do not describe its essence, but its volatile pa.s.sage ... from one minute to the other.'

Elsewhere he prides himself on his method of being able to write as long as there is paper and ink.

Hamlet says to the players: 'We'll e'en to it like French falconers: fly at anything we see.' Montaigne's manner of spying out and pouncing upon things cannot be better depicted than by comparing it with a French falconer's manner. In the first act already, Hamlet, after the ghost-scene, answers the friends who approach, with the holla-call of a falconer:--

Hillo, ho, ho, boy; come, bird, come!

Furthermore, Hamlet says in act ii. sc. 2:--'I am but mad north-north-west. When the wind is southerly, I know a hawk from a handshaw (heronshaw!).' Now, the north-west wind would drive Montaigne back into his native province, Perigord, where, very likely according to Shakspere's view, he ought to have remained with his sham logic.

The south wind, on the contrary, brings the able falconer to England.

The latter possesses such a penetrating glance for the nature of things as to be able to distinguish the bird (the heronshaw) that is to be pursued from the hawk that has been unhooded and cast.

In the second scene of the fifth act, between Hamlet and Horatio (to the weak-minded Osrick the words spoken there are incomprehensible), the excellent qualities of Laertes are apparently judged. [69] This whole discussion is meant against Montaigne; and in the first quarto the chief points are wanting. Florio calls Montaigne's Essays 'Moral, Political, and Military Discourses.' [70] Osrick praises the qualities of the cavalier who has returned from France; and Hamlet replies that 'to divide him inventorily would dizzy the arithmetic of memory.'

The further, hitherto utterly unexplained, words ('and yet but yaw neither in respect of his quick sail') seem to have reference to the sonnet [71] by which the third book of the Essays is dedicated by Florio to Lady Grey. Montaigne is praised therein under the guise of Talbot's name, who, 'in peace or war, at sea or land, for princes'

service, countries' good, sweetly sails before the wind.' In act ii.

sc. 2, the north-north-west and the south wind were already alluded to, which are said to influence Hamlet's madness.

The translators and admirers of Montaigne are meant when Hamlet says that 'to make true diction of him, his semblable' must be 'his mirror; and, who else would trace him, his umbrage--nothing more.' That is, one must be Montaigne, or become his absolute admirer, 'his umbrage,'

'his semblable,' in order to do justice to him. The whole scene is full of allusions, easily explainable from the point of view we have indicated. So also, the reference to self-knowledge ('to know himself) --an art which Montaigne never learnt and the 'two weapons' with which he fights, are full of deep meaning.

It was probably no small number of men that took delight in the French essayist. No doubt, the jest of the gravedigger is directed against them, when he says that if the mad Hamlet does not recover his wits in England, it is no great matter there, because there the men are as mad as he.

Montaigne, especially in Essay III. (2) and III. (5), brings forward indecencies of the most shameless kind. We quite bear in mind what period it was when he wrote. Our manners and ideas are totally different from those of the sixteenth century. But what indignation must Shakspere have felt--he who had already created his n.o.blest female characters, Helena and Olivia; and who had sung his paean of love, 'Romeo and Juliet'--when he read the ideas of the French n.o.bleman about love and women! Nowhere, and on no occasion, does Shakspere in his dramas, in spite of phrases which to-day we qualify as obscene ones, lower the ideal of the womanly character--of the _ewig Weibliche_.

But let us read Montaigne's view: [72]--

'I find that love is nothing else than a thirst of enjoying a desired subject; nor that Venus is anything else but the pleasure of emptying one's seminary vessels, similar to the pleasure which Nature has given us in discharging other parts.'

Now, this significant quality also, of saying indecencies without shame, Hamlet has in common with Montaigne. No character in Shakspere's dramas uses such language as Hamlet; and in this case, let it be observed, it is not used between men, but towards the beloved one! We shall remark upon his relations with Ophelia later on.

The frivolous Montaigne speaks of love as one might do of a good dish to be enjoyed at every degree of age, according to taste and inclination.

In Essay III.(4) we learn how, in his youth, 'standing in need of a vehement diversion for the sake of distraction, he made himself amorous by art and study.' Elsewhere he tells what great things he was able, as a young man, to achieve in this line. [73] He, therefore, does not agree with the sage who praises age because it frees us from voluptuousness. [74]

He, on the contrary, says:--'I shall never take kindly to impotence, whatever good it may do me.'

Montaigne, the old and young lover, is lashed in act v. sc. I, in disfigured verses of a song sung by the grave-digger, which dates about from the year 1557, and at Shakspere's time probably was very popular.

In the original, where the image of death is meant to be represented, an old man looks back in repentance, and with great aversion, upon his youthful days when he found pleasure in love. The original verse stood thus:--

I lothe that I did love, In youth that I thought swete, As time requires for my behove, Methinks they are not mete.

Until now, no sense could be made of the first verse which the gravedigger sings. It runs thus:--

In youth, when I did love, did love, Methought it was very sweet, To contract, OH! the time, for, AH! my behove, O, methought, there was nothing meet.

Let it be observed what stress is laid on the 'Oh!'--the proper time, and the 'Ah!'--the delight felt at the moment of enjoyment. The meaning of the old verse is changed in such a manner as to show that old Montaigne looks back with pleasure upon the time of his dissolute youth, whilst the author of the original text shrinks back from it.

The second verse [75] is a further persiflage of the old song. Its reading, too, is changed. It is said there that age, with his stealing steps, as clawed the lover in his clutch [76] and s.h.i.+pped him into the land as if he 'never had been such.'