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POEMS AND SONNETS.
OUR idolatry of Shakspeare (not to say our admiration) ceases with his plays. In his other productions, he was a mere author, though not a common author. It was only by representing others, that he became himself. He could go out of himself, and express the soul of Cleopatra; but in his own person, he appeared to be always waiting for the prompter's cue. In expressing the thoughts of others, he seemed inspired; in expressing his own, he was a meohanick. The license of an assumed character was necessary to restore his genius to the privileges of nature, and to give him courage to break through the tyranny of fashion, the trammels of custom. In his plays, he was as broad and casing as the general air:" in his poems, on the contrary, he appears to be " cooped, and cabined in" by all the technicalities of art, by all the petty intricacies of thought and language, which poetry had learned from the controversial jargon of the schools, where words had been made a substitute for things. There was, if we mistake not, something of modesty, and a painful sense of personal propriety at the bottom
of this. Shakspeare's imagination, by identifying itself with the strongest characters in the most trying circumstances, grappled at once with nature, and trampled the littleness of art under his feet: the rapid changes of situation, the wide range of the universe, gave him life and spirit, and afforded full scope to his genius; but returned into his closet again, and having assumed the badge of his profession, he could only labour in his vocation, and conform himself to existing models. The thoughts, the passions, the words which the poet's pen, "glancing from heaven to earth, from earth to heaven," lent to others, shook off the fetters of pedantry and affectation; while his own thoughts and feelings, standing by themselves, were seized upon as lawful prey, and tortured to death according to the established rules and practice of the day. In a word, we do not like Shakspeare's poems, because we like his plays the one, in all their excellencies, are just the reverse of the other. It has been the fashion of late to cry up our author's poems, as equal to his plays this is the desperate cant of modern criticism. We would ask was there the slightest comparison between Shakspeare, and either Chaucer or Spenser, as mere poets? Not any. The two poems of Venus and Adonis and of Tarquin and Lucrece appear to us like a couple of ice-houses. They are about as hard, as glittering, and as cold. The author seems all the time to be thinking of his verses, and not of his subject,-not of what his characters would feel, but of what he shall say; and as it must happen in all such cases, he always puts into their mouths those things which they would be
the last to think of, and which it shews the greatest ingenuity in him to find out. The whole is laboured, up-hill work. The poet is perpetually singling out the difficulties of the art to make an exhibition of his strength and skill in wrestling with them. He is making perpetual trials of them as if his mastery over them were doubted. The images, which are often striking, are generally applied to things which they are the least like: so that they do not blend with the poem, but seem stuck upon it, like splendid patch-work, or remain quite distinct from it, like detached substances, painted and varnished over. A beautiful thought is sure to be lost in an endless commentary upon it. The speakers are like persons who have both leisure and inclination to make riddles on their own situation, and to twist and turn every object or incident into acrosticks and anagrams. Every thing is spun out into allegory; and a digression is always preferred to the main story. Sentiment is built up upon plays of words; the hero or heroine feels, not from the impulse of passion, but from the force of dialecticks. There is besides a strange attempt to substitute the language of painting for that of poetry, to make us see their feelings in the faces of the persons; and again, consistently with this, in the description of the picture in Tarquin and Lucrece, those circumstances are chiefly insisted on, which it would be impossible to convey except, by words. The invocation to Opportunity in the Tarquin and Lucrece, is full of thoughts and images, but at the same time it is over-loaded by them. The concluding stan
za expresses all our objections to this kind of poetry :
"Oh! idle words, servants to shallow fools;
For me I force not argument a straw,
Since that my case is past all help of law."
The description of the horse in Venus and Adonis has been particularly admired, and not without
"Round hoof'd, short jointed, fetlocks shag and long,
Now this inventory of perfections shews great knowledge of the horse; and is good matter of fact poetry. Let the reader but compare it with a speech in the Midsummer Night's Dream where Theseus describes his hounds
"And their heads are hung
With ears that sweep away the morning dew"
and he will perceive at once what we mean by the difference between Shakspeare's own poetry, and that of his plays. We prefer the Passionate Pilgrim very much to the Lover's Complaint. It has been doubted whether the latter poem is Shakspeare's.
Of the sonnets we do not well know what to say. The subject of them seems to be somewhat equivo
cal; but many of them are highly beautiful in themselves, and interesting as they relate to the state of the personal feelings of the author. The following are some of the most striking:
"Let those who are in favour with their stars,
Then happy I that love and am belov'd,
"When in disgrace with fortune and men's eyes, I all alone beweep my out cast state,
And trouble deaf heaven with my bootless cries,
"My love is strengthen'd, though more weak in seeming'; I love not less, though less the show appear :