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of his own country was familiar to him even in detail. Fortunately for him, it had not yet been treated in a diplomatic and pragmatical, but merely in the chronicle style; that is, it had not yet assumed the appearance of dry investigations respecting the developement of political relations, diplomatical transactions, finances, &c. but exhibited a visible image of the living and moving of an age full of distinguished deeds. Shakspeare was an attentive observer of nature; he knew the technical language of mechanics and artisans; he seems to have been well travelled in the interior of England, and to have been a diligent inquirer of navigators respecting other countries; and he was most accurately acquainted with all the popular usages, opinions, and traditions, which could be of use in poetry.

The proofs of his ignorance, on which the greatest stress is laid, are a few geographical blunders and anachronisms. Because in a comedy founded on a tale, he makes ships land in Bohemia, he has been the subject of laughter. But I conceive that we should be very unjust towards him, were we to conclude that he did not, as well as ourselves, possess the valuable but by no means difficult knowledge that Bohemia is no where bounded by the sea. He could never, in that case, have looked into a map of Germany, whereas he describes the maps of both Indies with the discoveries of the latest navigators.* In such matters Shakspeare is

* Twelfth Night, or What You Will—Act 3. Sc. 2.

only faithful in the historical subjects of his own country. In the novels on which he worked, he avoided disturbing his audience to whom they were known, by the correction of errors in secondary things. The more wonderful the story, the more it ranged in a purely poetical region, which he transfers at will to an indefinite distance. These plays, whatever names they bear, take place in the true land of romance, and in the century of wonderful love stories. He knew well that in the forest of Ardennes there were neither the lions and serpents of the Torrid Zone, nor the shepherdesses of Arcadia ; but he transferred both to it, because the design and import of his picture required them. Here he considered himself entitled to the greatest liberties. He had not to do with a petty hypercritical age like ours, which is always seeking in poetry for something else than poetry; his audience entered the theatre, not to learn true chronology, geography, and natural history, but to witness a vivid exhibition. I undertake to prove that Shakspeare's anachronisms are, for the most part, committed purposely, and after great consideration. It was frequently of importance to him to bring the subject exhibited, from the back ground of time quite near to us. Hence, in Hamlet, though avowedly an old northern story, there prevails the tone of modish society, and in every respect the costume of the most recent period. Without those circumstantialities, it would not have been allowable to make a philosophical rance. Between the one and the other of these classes of poetry, we may find things analogous to the wild and desperate toys of Salvator Rosa, and to the boors of Teniers, but nothing that should remind us of the grace of Guido, or

of Guido, or of the soft and simple repose of Claude Lorraine.

The Decamerone of Boccaccio seems to be the first work of modern times which was written entirely on the principle of a style, simple, unaffected, and pure. Chaucer, who wrote precisely at the same period, was the fellow-labourer of Boccaccio. He has declared open war against the romance manner in his Rime of Sire Thopas. His Canterbury Tales are written with an almost perpetual homage to nature. The Troilus and Creseide, though a tale of ancient times, treats almost solely of the simple and genuine emotions of the human heart.

Boccaccio and Chaucer, it might be supposed, would have succeeded in banishing the swelling and romantic style from the realms of poetry. We might have imagined that, as knowledge and civilisation grew, the empire of nature would have continually become more firmly established. But this was not the case. These eminent writers rose too high beyond their contemporaries, and reached to refinements that their successors could not understand. Pulci and Boiardo took the romantic style under their protection in the following century; and, by the splendour of their talents, and the treasures of their fancy, bestowed upon it

No. IX.

ON THE NATURAL STYLE OF SHAKSPEARE AS

CONTRASTED WITH THE ROMANTIC AND BURLESQUE.

There are three principal schools in the poetry of modern European nations, the romantic, the burlesque, and the natural. On the first revival of poetry, the minds of men perhaps universally took a bent towards the former: we had nothing but Rowlands and Arthurs, Sir Guys, and Sir Tristram, and Paynim and Christian knights. There was danger that nature would be altogether shut out from the courts of Apollo. The senses of barbarians are rude, and require a strong and forcible impulse to put them in motion. The first authors of the humorous and burlesque tales of modern times were perhaps sensible of this error in the romance writers, and desirous to remedy it. But they frequently fell into an opposite extreme, and that from the same cause. They deliver us, indeed, from the monotony produced by the perpetual rattling of armour, the formality of processions, and tapestry, and cloth of gold, and the eternal straining after supernatural adventures. But they lead us into squalid scenes, the coarse buffoonery of the ale-house, and the offensive manners engendered by dishonesty and intemperance. Between the one and the other of these classes of poetry, we may find things analogous to the wild and desperate toys of Salvator Rosa, and to the boors of Teniers, but nothing that should remind us of the grace of Guido, or of the soft and simple repose of Claude Lorraine.

The Decamerone of Boccaccio seems to be the first work of modern times which was written entirely on the principle of a style, simple, unaffected, and pure. Chaucer, who wrote precisely at the same period, was the fellow-labourer of Boccaccio. He has declared open war against the romance manner in his Rime of Sire Thopas. His Canterbury Tales are written with an almost perpetual homage to nature. The Troilus and Creseide, though a tale of ancient times, treats almost solely of the simple and genuine emotions of the human heart.

Boccaccio and Chaucer, it might be supposed, would have succeeded in banishing the swelling and romantic style from the realms of poetry. We might have imagined that, as knowledge and civilisation grew, the empire of nature would have continually become more firmly established. But this was not the case. These eminent writers rose too high beyond their contemporaries, and reached to refinements that their successors could not understand. Pulci and Boiardo took the romantic style under their protection in the following century; and, by the splendour of their talents, and the treasures of their fancy, bestowed upon

it

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