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minority of five thousand years in a dozing state, and that it first began to wake out of sleep, to rouse itself, and look about it, startled by the light of our unexpected discoveries, and the noise we made about them. Strange error of our infatuated self-love. Because the clothes we remember to have seen worn when we were children are now out of fashion, and our grandmothers were then old women, we conceive, with magnanimous continuity of reasoning, that it must have been much worse three hundred years before, and that grace, youth, and beauty are things of modern date—as if nature had ever been old, or the sun had first shone on our folly and presumption. Because, in a word, the last generation, when tottering off the stage, were not so active, so sprightly, and so promising as we were, we begin to imagine that people formerly must have crawled about in a feeble, torpid state, like flies in winter, in a sort of dim twilight of the understanding; “nor can we think what thoughts they could conceive,” in the absence of all those topics that so ag 'eeably enliven and diversify our conversation and literature, mi taking the imperfection of our knowledge for the defect of their organs, as if it was necessary for us to have a register and certificate of their thoughts, or as if, because they did not see with our eyes, hear with our cars, and understand with our understandings, they could hear, see, and understand nothing. A falser inference could not be drawn, nor one more contrary to the maxims and cautions of a wise humanity. “Think,” says Shakspeare, the prompter of good and true feelings, 6 there's livers out of Britain." So there have been thinkers, and great and sound ones, before our time. They had the same capacities that we have, sometimes greater motives for their exertion, and for the most part, the same subject. matter to work

upon.

What we learn from nature, we may hope to do as well as they ; what we learn from them we may in

gen. eral expect to do worse.- What is, I think, as likely as anything to cure us of this overweening admiration of he present, and unmingled contempt for past times, is the looking at the finest old pictures; at Raphael's heads, at Titian's faces, at Claude's landscapes.

We have there the evidence of the senses, without the alterations of opinion or disguise of language. We there see the blood circulate through the veins (long before it was known that

it did so), the same red and white “ by nature's own sweet and cunning hand laid on,” the same thoughts passing through the mind and seated on the lips, the same blue sky, and glittering sunny vales, “ where Pan, knit with the Graces and the Ilours in dance, leads on the eternal spring.” And we begin to feel that nature and the mind of man are not a thing of yesterday, as we had been led to suppose ; and that “there are more things between heaven and earth than were ever dreamt of in our philosophy.”—Or grant that we improve, in some respects, in a uniformly progressive ratio, and build, Babel-high, on the foundation of other men's knowledge, as in matters of science and speculative inquiry, where, by going often over the same general ground, certain general conclusions have been arrived at, and in the number of persons reasoning on a given subject, truth has at last been hit upon, and long-established error exploded; yet this does not apply to cases of individual power and knowledge, to a million of things besides, in which we are still to seek as much as ever, and in which we can only hope to find, by going to the fountainhead of thought and experience. We are quite wrong in supposing (as we are apt to do), that we can plead an exclusive title to wit and wisdom, to taste and genius, as the net produce and clear reversion of the age we live in, and that all we have to do to be great is to despise those who have gone before us as nothing.

Or even if we admit a saving clause in this sweeping proscription, and do not make the rule absolute, the very nature of the exception shows the spirit in which they are made. We single out one or two striking instances, say Shakspeare or Lord Bacon, which we would fain treat as prodigies, and as a marked contrast to the rudeness and barbarism that surrounded them. These we delight to dwell upon and magnify; the praise and wonder we heap upon their shrines are at the expense of the time in which they lived, and would leave it poor indeed. We make them out something more than human, “matchless, divine, what we will,” so to make them no rule for their age, and no infringement of the abstract claim to superiority which we set up. Instead of letting them reflect any lustre, or add any credit to the period of history to which they rightfully belong,

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we only make use of their example to insult and degrade it still more beneath our own level.

It is the present fashion to speak with veneration of old English literature; but the homage we pay to it is more akin to the rites of superstition than to the worship of true religion. Our faith is doubtful; our love cold; our knowledge little or none. We now and then repeat the names of some of the old writers by rote, but we are shy of looking into their works. Though we seem disposed to think highly of them, and to give them every credit for a masculine and original vein of thought, as a matter of literary courtesy and enlargement of taste, we are afraid of coming to the proof, as too great a trial of our candour and patience. We regard the enthusiastic admiration of these obsolete authors, or a desire to make proselytes to a belief in their extraordinary merits, as an amiable weakness, a pleasing delusion; and prepare to listen to some favourite passage, that

may ferred to in support of this singular taste, with an incredulous smile; and are in no small pain for the result of the hazardous experiment; feeling much the same awkward condescending disposition to patronize these first crude attempts at poetry and lispings of the Muse, as when a fond parent brings forward a bashful child to make a display of its wit or learning. We hope the best, put a good face on the matter, but are sadly afraid the thing cannot answer.—Dr. Johnson said of these writers generally, that "they were sought after because they were scarce, and would not have been scarce had they been much esteemed.” His decision is neither true history nor sound criticism. They were esteemed, and they deserved to be so.

One cause that might be pointed out here, as having contri. buted to the long-continued neglect of our earlier writers, lies in the very nature of our academic institutions, which unavoid. ably neutralizes a taste for the productions of native genius, estranges the mind from the history of our own literature, and makes it in each successive age like a book sealed. The Greek and Roman classics are a sort of privileged text-books, the standing order of the day, in a University education, and leave little leisure for a competent acquaintance with, or due admiration of, a whole host of able writers of our own, who are suffered to

moulder in obscurity on the shelves of our libraries, with a de. cent reservation of one or two top-names, that are cried up for form's sake, and to save the national character. Thus we keep a few of these always ready in capitals, and strike off the rest to prevent the tendency to a superfluous population in the republic of letters; in other words, to prevent the writers from becoming more numerous than the readers. The ancients are be. come effete in this respect, they no longer increase and multiply; or if they have imitators among us, no one is expected to read, and still less to admire them. It is not possible that the learned professors and the reading public should clash in this way, or necessary for them to use any precautions against each other. But it is not the same with the living languages, where there is danger of being overwhelmed by the crowd of competitors, and pedantry has combined with ignorance to cancel their unsatisfied claims.

We affect to wonder at Shakspeare, and one or two more of that period, as solitary instances upon record; whereas it is our own dearth of information that makes the waste ; for there is no time more populous of intellect, or more prolific of intellectual wealth, than the one we are speaking of. Shakspeare did not look upon himself in this light, as a sort of monster of poetical genius, or on his contemporaries as “less than smallest dwarfs," when he speaks with true, not false modesty, of himself and them, and of his wayward thoughts, "desiring this man's art, and that man's scope.” We fancy that there were no such men, that could either add to or take anything away from him, but such there were. He indeed overlooks and commands the admi. ration of posterity, but he does it from the table-land of the age in which he lived. He towered above his fellows, “in shape and gesture proudly eminent," but he was one of a race of giants, the tallest, the strongest, the most graceful, and beautiful of them; but it was a common and a noble brood. He was not something sacred and aloof from the vulgar herd of men, but shook hands with nature and the circumstances of the time, and is distinguished from his immediate contemporaries, not in kind, but in degree and greater variety of excellence. He did not form a class or species by himself, but belonged to a class or

one.

species. His age was necessary to him; nor could he have been wrenched from his place in the edifice of which he was so conspicuous a part, without equal injury to himself and it. Mr. Wordsworth says of Milton, that “his soul was like a star, and dwelt apart." This cannot be said with any propriety of Shakspeare, who certainly moved in a constellation of bright luminaries, and “ drew after him a third part of the heavens.” If we allow, for argument's sake (or for truth's, which is better), that he was in himself equal to all his competitors put together; yet there was more dramatic excellence in that age than in the whole of the period that has elapsed since. If his contemporaries, with their united strength, would hardly make one Shakspeare, certain it is that all his successors would not make half a

With the exception of a single writer, Otway, and of a single play of his (* Venice Preserved'), there is nobody in tragedy and dramatic poetry (I do not here speak of comedy), to be compared to the great men of the age of Shakspeare, and immediately after. They are a mighty phalanx of kindred spirits closing him round, moving in the same orbit, and impelled by the same causes in their whirling and eccentric career. They had the same faults and the same excellences; the same strength, and depth, and richness, the same truth of character, passion, imagination, thought and language, thrown, heaped, massed to. gether without careful polishing or exact method, but poured out in unconcerned profusion from the lap of nature and genius in boundless and unrivalled magnificence. The sweetness of Decker, the thought of Marston, the gravity of Chapman, the grace of Fletcher and his young-eyed wit, Jonson's learned sock, the flowing vein of Middleton, Heywood's case, the pathos of Webster, and Marlowe's deep designs, add a double lustre to the swectness, thought, gravity, grace, wit, artless nature, copiousness, ease, pathos, and sublime conceptions of Shakspeare's Muse. They are indeed the scale by which we can best ascend to the true knowledge and love of him. Our admiration of them does not lessen our relish for him: but, on the contrary, increases and confirms it. For such an extraordinary combination and development of fancy and genius many causes may be assigned, and we seek for the chief of them in religion, in politics, in the

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