CYMBELINE is one of the most delightful of Shakespeare's historical plays. It may be considered as a dramatic romance, in which the most striking parts of the story are thrown into the form of a dialogue, and the intermediate circumstances are explained by the different speakers, as occasion renders it necessary. The action is less concentrated in consequence; but the interest becomes more aerial and refined from the principle of perspective introduced into the subject by the imaginary changes of scene as well as by the length of time it occupies. The reading of this play is like going [on?] a journey with some uncertain object at the end of it, and in which the suspense is kept up and heightened by the long intervals between each action. Though the events are scattered over such an extent of surface, and relate to such a variety of characters, yet the links which bind the different interests of the story together are never entirely broken. The most straggling and seemingly casual incidents are contrived in such a manner as to lead at last to the most complete development of the catastrophe. The ease and conscious unconcern with which this is effected only makes the skill more wonderful. The business of the plot evidently thickens in the last act; the story moves forward with increasing rapidity at every step; its various ramifications are drawn from the most distant points to the same centre; the principal characters are brought together, and placed in very critical situations; and the fate of almost every person in the drama is made to depend on the solution of a single circumstance—the answer of Iachimo to the question of Imogen respecting the obtaining of the ring from Posthumus. Dr. Johnson is of opinion that Shakespeare was generally inattentive to the winding up of his plots. We think the contrary is true; and we might cite in proof of this remark not only the present play, but the conclusion of LEAR, of ROMEO AND JULIET, of MACBETH, of OTHELLO, even of HAMLET, and of other plays of less moment, in which the last act is crowded with decisive events brought about by natural and striking means.
The pathos in CYMBELINE is not violent or tragical, but of the most pleasing and amiable kind. A certain tender gloom o'erspreads the whole. Posthumus is the ostensible hero of the piece, but its greatest charm is the character of Imogen. Posthumus is only interesting from the interest she takes in him, and she is only interesting herself from her tenderness and constancy to her husband. It is the peculiar characteristic of Shakespeare's heroines, that they seem to exist only in their attachment to others. They are pure abstractions of the affections. We think as little of their persons as they do themselves, because we are let into the secrets of their hearts, which are more important. We are too much interested in their affairs to stop to look at their faces, except by stealth and at intervals. No one ever hit the true perfection of the female character, the sense of weakness leaning on the strength of its affections for support, so well as Shakespeare—no one ever so well painted natural tenderness free from affectation and disguise—no one else ever so well showed how delicacy and timidity, when driven to extremity, grow romantic and extravagant; for the romance of his heroines (in which they abound) is only an excess of the habitual prejudices of their sex, scrupulous of being false to their vows, truant to their affections, and taught by the force of feeling when to forgo the forms of propriety for the essence of it. His women were in this respect exquisite logicians; for there is nothing so logical as passion. They knew their own minds exactly; and only followed up a favourite idea, which they had sworn to with their tongues, and which was engraven on their hearts, into its untoward consequences. They were the prettiest little set of martyrs and confessors on record. Cibber, in speaking of the early English stage, accounts for the want of prominence and theatrical display in Shakespeare's female characters from the circumstance, that women in those days were not allowed to play the parts of women, which made it necessary to keep them a good deal in the background. Does not this state of manners itself, which prevented their exhibiting themselves in public, and confined them to the relations and charities of domestic life, afford a truer explanation of the matter? His women are certainly very unlike stage-heroines; the reverse of tragedy-queens.
We have almost as great an affection for Imogen as she had for Posthumus; and she deserves it better. Of all Shakespeare's women she is perhaps the most tender and the most artless. Her incredulity in the opening scene with Iachimo, as to her husband's infidelity, is much the same as Desdemona's backwardness to believe Othello's jealousy. Her answer to the most distressing part of the picture is only, 'My lord, I fear, has forgot Britain.' Her readiness to pardon Iachimo's false imputations and his designs against herself, is a good lesson to prudes; and may show that where there is a real attachment to virtue, it has no need to bolster itself up with an outrageous or affected antipathy to vice. The scene in which Pisanio gives Imogen his master's letter, accusing her of incontinency on the treacherous suggestions of Iachimo, is as touch-ing as it is possible for any thing to be:
Pisanio. What cheer, Madam?
Imogen. False to his bed! What is it to be false?To lie in watch there, and to think on him?To weep 'twixt clock and clock? If sleep charge nature,To break it with a fearful dream of him,And cry myself awake?That's false to's bed, is it?
Pisanio. Alas, good lady!
Imogen. I false? thy conscience witness, Iachimo,Thou didst accuse him of incontinency,Thou then look'dst like a villain: now methinks,Thy favour's good enough. Some jay of Italy,Whose mother was her painting, hath betrayed him:Poor I am stale, a garment out of fashion,And for I am richer than to hang by th' walls,I must be ript; to pieces with me. Oh,Men's vows are women's traitors. All good seeming,By thy revolt, oh husband, shall be thoughtPut on for villany: not born where't grows,But worn a bait for ladies.
Pisanio. Good madam, hear me—
Imogen. Talk thy tongue weary, speak:I have heard I am a strumpet, and mine ear,Therein false struck, can take no greater wound,Nor tent to bottom that.—
When Pisanio, who had been charged to kill his mistress, puts her in a way to live, she says:
Why, good fellow,What shall I do the while? Where bide? How live?Or in my life what comfort, when I amDead to my husband?
Yet when he advises her to disguise herself in boy's clothes, and suggests 'a course pretty and full in view', by which she may 'happily be near the residence of Posthumus', she exclaims:
Oh, for such means,Though peril to my modesty, not death on't,I would adventure.
And when Pisanio, enlarging on the consequences, tells her she must change
—Fear and niceness,The handmaids of all women, or more truly,Woman its pretty self, into a waggish courage,Ready in gibes, quick answer'd, saucy, andAs quarrellous as the weasel—
she interrupts him hastily;
Nay, be brief;I see into thy end, and am almostA man already.
In her journey thus disguised to Milford Haven, she loses her guide and her way; and unbosoming her complaints, says beautifully:
—My dear Lord,Thou art one of the false ones; now I think on thee,My hunger's gone; but even before, I wasAt point to sink for food.
She afterwards finds, as she thinks, the dead body of Posthumus, and engages herself as a foot-boy to serve a Roman officer, when she has done all due obsequies to him whom she calls her former master:
—And whenWith wild wood-leaves and weeds I ha' strew'd his grave,And on it said a century of pray'rs,Such as I can, twice o'er, I'll weep and sigh,And leaving so his service, follow you,So please you entertain me.
Now this is the very religion of love. She all along relies little on her personal charms, which she fears may have been eclipsed by some painted jay of Italy; she relies on her merit, and her merit is in the depth of her love, her truth and constancy. Our admiration of her beauty is excited with as little consciousness as possible on her part. There are two delicious descriptions given of her, one when she is asleep, and one when she is supposed dead. Arviragus thus addresses her:
—With fairest flowers,While summer lasts, and I live here, Fidele,I'll sweeten thy sad grave; thou shalt not lackThe flow'r that's like thy face, pale primrose, norThe azur'd hare-bell, like thy veins, no, norThe leaf of eglantine, which not to slander,Out-sweeten'd not thy breath.
The yellow Iachimo gives another thus, when he steals into her bed-chamber:
—Cytherea,How bravely thou becom'st thy bed! Fresh lily,And whiter than the sheets I That I might touch—But kiss, one kiss—Tis her breathing thatPerfumes the chamber thus: the flame o' th' taperBows toward her, and would under-peep her lids,To see th' enclosed lights now canopiedUnder the windows, white and azure, lacedWith blue of Heav'ns own tinct—on her left breastA mole cinque-spotted, like the crimson dropsI' the bottom of a cowslip.
There is a moral sense in the proud beauty of this last image, a rich surfeit of the fancy,—as that well—known passage beginning, 'Me of my lawful pleasure she restrained, and prayed me oft forbearance,' sets a keener edge upon it by the inimitable picture of modesty and self-denial.
The character of Cloten, the conceited, booby lord, and rejected lover of Imogen, though not very agreeable in itself, and at present obsolete, is drawn with great humour and knowledge of character. The description which Imogen gives of his unwelcome addresses to her—'Whose love-suit hath been to me as fearful as a siege'—is enough to cure the most ridiculous lover of his folly. It is remarkable that though Cloten makes so poor a figure in love, he is described as assuming an air of consequence as the Queen's son in a council of state, and with all the absurdity of his person and manners, is not without shrewdness in his observations. So true is it that folly is as often owing to a want of proper sentiments as to a want of under-standing! The exclamation of the ancient critic, 'O Menander and Nature, which of you copied from the other?' would not be misapplied to Shakespeare.
The other characters in this play are represented with great truth and accuracy, and as it happens in most of the author's works, there is not only the utmost keeping in each separate character; but in the casting of the different parts, and their relation to one another, there is an affinity and harmony, like what we may observe in the gradations of colour in a picture. The striking and powerful contrasts in which Shakespeare abounds could not escape observation; but the use he makes of the principle of analogy to reconcile the greatest diversities of character and to maintain a continuity of feeling throughout, has not been sufficiently attended to. In Cymbeline, for instance, the principal interest arises out of the unalterable fidelity of Imogen to her husband under the most trying circumstances. Now the other parts of the picture are filled up with subordinate examples of the same feeling, variously modified by different situations, and applied to the purposes of virtue or vice. The plot is aided by the amorous importunities of Cloten, by the tragical determination of Iachimo to conceal the defeat of his project by a daring imposture: the faithful attachment of Pisanio to his mistress is an affecting accompaniment to the whole; the obstinate adherence to his purpose in Bellarius, who keeps the fate of the young princes so long a secret in resentment for the ungrateful return to his former services, the incorrigible wickedness of the Queen, and even the blind uxorious confidence of Cymbeline, are all so many lines of the same story, tending to the same point. The effect of this coincidence is rather felt than observed; and as the impression exists unconsciously in the mind of the reader, so it probably arose in the same manner in the mind of the author, not from design, but from the force of natural association, a particular train of feeling suggesting different inflections of the same predominant principle, melting into, and strengthening one another, like chords in music.
The characters of Bellarius, Guiderius, and Arviragus, and the romantic scenes in which they appear, are a fine relief to the intrigues and artificial refinements of the court from which they are banished. Nothing can surpass the wildness and simplicity of the descriptions of the mountain life they lead. They follow the business of huntsmen, not of shepherds; and this is in keeping with the spirit of adventure and uncertainty in the rest of the story, and with the scenes in which they are afterwards called on to act. How admirably the youthful fire and impatience to emerge from their obscurity in the young princes is opposed to the cooler calculations and prudent resignation of their more experienced counsellor! How well the disadvantages of knowledge and of ignorance, of solitude and society, are placed against each other!
Guiderius. Out of your proof you speak: we poor unfledg'dHave never wing'd from view o' th' nest; nor know notWhat air's from home. Haply this life is best,If quiet life is best; sweeter to youThat have a sharper known; well correspondingWith your stiff age: but unto us it isA cell of ignorance; travelling a-bed,A prison for a debtor, that not daresTo stride a limit.
Arviragus. What should we speak ofWhen we are old as you? When we shall hearThe rain and wind beat dark December! How,In this our pinching cave, shall we discourseThe freezing hours away? We have seen nothing.We are beastly; subtle as the fox for prey,Like warlike as the wolf for what we eat:Our valour is to chase what flies; our cageWe make a quire, as doth the prison'd bird,And sing our bondage freely.
The answer of Bellarius to this expostulation is hardly satisfactory; for nothing can be an answer to hope, or the passion of the mind for unknown good, but experience.—The forest of Arden in As You Like It can alone compare with the mountain scenes in Cymbeline: yet how different the contemplative quiet of the one from the enterprising boldness and precarious mode of subsistence in the other! Shakespeare not only lets us into the minds of his characters, but gives a tone and colour to the scenes he describes from the feelings of their imaginary inhabitants. He at the same time preserves the utmost propriety of action and passion, and gives all their local accompaniments. If he was equal to the greatest things, he was not above an attention to the smallest. Thus the gallant sportsmen in Cymbeline have to encounter the abrupt declivities of hill and valley: Touchstone and Audrey jog along a level path. The deer in Cymbeline are only regarded as objects of prey, 'The game's a-foot', &c.—with Jaques they are fine subjects to moralize upon at leisure, 'under the shade of melancholy boughs'.
We cannot take leave of this play, which is a favourite with us, without noticing some occasional touches of natural piety and morality. We may allude here to the opening of the scene in which Bellarius instructs the young princes to pay their orisons to heaven:
—See, Boys! this gateInstructs you how t' adore the Heav'ns; and bows youTo morning's holy office.
Guiderius. Hail, Heav'n!
Arviragus. Hail, Heav'n!
Bellarius. Now for our mountain-sport, up to yon hill.
What a grace and unaffected spirit of piety breathes in this passage! In like manner, one of the brothers says to the other, when about to perform the funeral rites to Fidele:
Nay, Cadwall, we must lay his head to the east;My Father hath a reason for't.
Shakespeare's morality is introduced in the same simple, unobtrusive manner. Imogen will not let her companions stay away from the chase to attend her when sick, and gives her reason for it:
Stick to your journal course; THE BREACH OF CUSTOMIS BREACH OF ALL!
When the Queen attempts to disguise her motives for procuring the poison from Cornelius, by saying she means to try its effects on 'creatures not worth the hanging', his answer conveys at once a tacit reproof of her hypocrisy, and a useful lesson of humanity:
—Your HighnessShall from this practice but make hard your heart.
The poet's eye in a fine frenzy rollingDoth glance from heaven to earth, from earth to heaven;And as imagination bodies forthThe forms of things unknown, the poet's penTurns them to shape, and gives to airy nothingA local habitation and a name.
MACBETH and Lear, Othello and Hamlet, are usually reckoned Shakespeare's four principal tragedies. Lear stands first for the profound intensity of the passion; Macbeth for the wildness of the imagination and the rapidity of the action; Othello for the progressive interest and powerful alternations of feeling; Hamlet for the refined development of thought and sentiment. If the force of genius shown in each of these works is astonishing, their variety is not less so. They are like different creations of the same mind, not one of which has the slightest reference to the rest. This distinctness and originality is indeed the necessary consequence of truth and nature. Shakespeare's genius alone appeared to possess the resources of nature. He is 'your only tragedy-maker'. His plays have the force of things upon the mind. What he represents is brought home to the bosom as a part of our experience, implanted in the memory as if we had known the places, persons, and things of which he treats. Macbeth is like a record of a preternatural and tragical event. It has the rugged severity of an old chronicle with all that the imagination of the poet can engraft upon traditional belief. The castle of Macbeth, round which 'the air smells wooingly', and where 'the temple-haunting martlet builds', has a real subsistence in the mind; the Weird Sisters meet us in person on 'the blasted heath'; the 'air-drawn dagger' moves slowly before our eyes; the 'gracious Duncan', the 'blood-boltered Banquo' stand before us; all that passed through the mind of Macbeth passes, without the loss of a tittle, through ours. All that could actually take place, and all that is only pos-sible to be conceived, what was said and what was done, the workings of passion, the spells of magic, are brought before us with the same absolute truth and vividness.—Shakespeare excelled in the openings of his plays: that of Macbeth is the most striking of any. The wildness of the scenery, the sudden shifting of the situations and characters, the bustle, the expectations excited, are equally extraordinary. From the first entrance of the Witches and the description of them when they meet Macbeth:
—What are theseSo wither'd and so wild in their attire,That look not like the inhabitants of th' earthAnd yet are on't?
the mind is prepared for all that follows.
This tragedy is alike distinguished for the lofty imagination it displays, and for the tumultuous vehemence of the action; and the one is made the moving principle of the other. The overwhelming pressure of preternatural agency urges on the tide of human passion with redoubled force. Macbeth himself appears driven along by the violence of his fate like a vessel drifting before a storm: he reels to and fro like a drunken man; he staggers under the weight of his own purposes and the suggestions of others; he stands at bay with his situation; and from the superstitious awe and breathless suspense into which the communications of the Weird Sisters throw him, is hurried on with daring impatience to verify their predictions, and with impious and bloody hand to tear aside the veil which hides the uncertainty of the future. He is not equal to the struggle with fate and conscience. He now 'bends up each corporal instrument to the terrible feat'; at other times his heart misgives him, and he is cowed and abashed by his success. 'The deed, no less than the attempt, confounds him.' His mind is assailed by the stings of remorse, and full of 'preternatural solicitings'. His speeches and soliloquies are dark riddles on human life, baffling solution, and entangling him in their labyrinths. In thought he is absent and perplexed, sudden and desperate in act, from a distrust of his own resolution. His energy springs from the anxiety and agitation of his mind. His blindly rushing forward on the objects of his ambition and revenge, or his recoiling from them, equally betrays the harassed state of his feelings.—This part of his character is admirably set off by being brought in connexion with that of Lady Macbeth, whose obdurate strength of will and masculine firmness give her the ascendancy over her husband's faltering virtue. She at once seizes on the opportunity that offers for the accomplishment of all their wished-for greatness, and never flinches from her object till all is over. The magnitude of her resolution almost covers the magnitude of her guilt. She is a great bad woman, whom we hate, but whom we fear more than we hate. She does not excite our loathing and abhorrence like Regan and Goneril. She is only wicked to gain a great end; and is perhaps more distinguished by her commanding presence of mind and inexorable self-will, which do not suffer her to be diverted from a bad purpose, when once formed, by weak and womanly regrets, than by the hardness of her heart or want of natural affections. The impression which her lofty determination of character makes on the mind of Macbeth is well described where he exclaims:
—Bring forth men children only;For thy undaunted mettle should composeNothing but males!
Nor do the pains she is at to 'screw his courage to the sticking-place', the reproach to him, not to be 'lost so poorly in himself', the assurance that 'a little water clears them of this deed', show anything but her greater consistency in depravity. Her strong-nerved ambition furnishes ribs of steel to 'the sides of his intent'; and she is herself wound up to the execution of her baneful project with the same unshrinking fortitude in crime, that in other circumstances she would probably have shown patience in suffering. The deliberate sacrifice of all other considerations to the gaining 'for their future days and nights sole sovereign sway and masterdom', by the murder of Duncan, is gorgeously expressed in her invocation on hearing of 'his fatal entrance under her battlements':
—Come all you spiritsThat tend on mortal thoughts, unsex me here:And fill me, from the crown to th' toe, top-fullOf direst cruelty; make thick my blood,Stop up the access and passage of remorse,That no compunctious visitings of natureShake my fell purpose, nor keep peace betweenThe effect and it. Come to my woman's breasts,And take my milk for gall, you murthering ministers,Wherever in your sightless substancesYou wait on nature's mischief. Come, thick night!And pall thee in the dunnest smoke of hell,That my keen knife see not the wound it makes,Nor heav'n peep through the blanket of the dark,To cry, hold, hold!—
When she first hears that 'Duncan comes there to sleep' she is so overcome by the news, which is beyond her utmost expectations, that she answers the messenger, 'Thou'rt mad to say it': and on receiving her husband's account of the predictions of the Witches, conscious of his instability of purpose, and that her presence is necessary to goad him on to the consummation of his promised greatness, she exclaims:
—Hie thee hither,That I may pour my spirits in thine ear,And chastise with me valour of my tongueAll that impedes thee from the golden round,Which fate and metaphysical aid doth seemTo have thee crowned withal.
This swelling exultation and keen spirit of triumph, this uncontrollable eagerness of anticipation, which seems to dilate her form and take possession of all her faculties, this solid, substantial flesh-and-blood display of passion, exhibit a striking contrast to the cold, abstracted, gratuitous, servile malignity of the Witches, who are equally instrumental in urging Macbeth to his fate for the mere love of mischief, and from a disinterested delight in deformity and cruelty. They are hags of mischief, obscene panders to iniquity, malicious from their impotence of enjoyment, enamoured of destruction, because they are themselves unreal, abortive, half-existences, and who become sublime from their exemption from all human sympathies and contempt for all human affairs, as Lady Macbeth does by the force of passion! Her fault seems to have been an excess of that strong principle of self-interest and family aggrandizement, not amenable to the common feelings of compassion and justice, which is so marked a feature in barbarous nations and times. A passing reflection of this kind, on the resemblance of the sleeping king to her father, alone prevents her from slaying Duncan with her own hand.
In speaking of the character of Lady Macbeth, we ought not to pass over Mrs. Siddons's manner of acting that part. We can conceive of nothing grander. It was something above nature. It seemed almost as if a being of a superior order had dropped from a higher sphere to awe the world with the majesty of her appearance. Power was seated on her brow, passion emanated from her breast as from a shrine; she was tragedy personified. In coming on in the sleeping-scene, her eyes were open, but their sense was shut. She was like a person bewildered and unconscious of what she did. Her lips moved involuntarily—all her gestures were involuntary and mechanical. She glided on and off the stage like an apparition. To have seen her in that character was an event in every one's life, not to be forgotten.
The dramatic beauty of the character of Duncan, which excites the respect and pity even of his murderers, has been often pointed out. It forms a picture of itself. An instance of the author's power of giving a striking effect to a common reflection, by the manner of introducing it, occurs in a speech of Duncan, complaining of his having been deceived in his opinion of the Thane of Cawdor, at the very moment that he is expressing the most unbounded confidence in the loyalty and services of Macbeth.
There is no artTo find the mind's construction in the face:He was a gentleman, on whom I builtAn absolute trust.O worthiest cousin, [addressing himself to Macbeth]The sin of my ingratitude e'en nowWas great upon me, &c.
Another passage to show that Shakespeare lost sight of nothing that could in anyway give relief or heightening to his subject, is the conversation which takes place between Banquo and Fleance immediately before the murder-scene of Duncan.
Banquo. How goes the night, boy?
Fleance. The moon is down: I have not heard the clock.
Banquo. And she goes down at twelve.
Fleance. I take't, tis later, Sir.
Banquo. Hold, take my sword. There's husbandry in heav'n,Their candles are all out.—A heavy summons lies like lead upon me,And yet I would not sleep: Merciful Powers,Restrain in me the cursed thoughts that natureGives way to in repose.
In like manner, a fine idea is given of the gloomy coming on of evening, just as Banquo is going to be assassinated.
Light thickens and the crowMakes wing to the rooky wood.. . . . .Now spurs the lated traveller apaceTo gain the timely inn.
Macbeth (generally speaking) is done upon a stronger and more systematic principle of contrast than any other of Shakespeare's plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespeare's genius here took its full swing, and trod upon the furthest bounds of nature and passion. This circumstance will account for the abruptness and violent antitheses of the style, the throes and labour which run through the expression, and from defects will turn them into beauties. 'So fair and foul a day I have not seen,' &c. 'Such welcome and unwelcome news together.' 'Men's lives are like the flowers in their caps, dying or ere they sicken.' 'Look like the innocent flower, but be the serpent under it.' The scene before the castle-gate follows the appearance of the Witches on the heath, and is followed by a midnight murder. Duncan is cut off betimes by treason leagued with witchcraft, and Macduff is ripped untimely from his mother's womb to avenge his death. Macbeth, after the death of Banquo, wishes for his presence in extravagant terms, 'To him and all we thirst,' and when his ghost appears, cries out, 'Avaunt and quit my sight,' and being gone, he is 'himself again'. Macbeth resolves to get rid of Macduff, that 'he may sleep in spite of thunder'; and cheers his wife on the doubtful intelligence of Banquo's taking-off with the encouragement—'Then be thou jocund: ere the bat has flown his cloistered flight; ere to black Hecate's summons the shard-born beetle has rung night's yawning peal, there shall be done—a deed of dreadful note.' In Lady Macbeth's speech, 'Had he not resembled my father as he slept, I had done't,' there is murder and filial piety together, and in urging him to fulfil his vengeance against the defenceless king, her thoughts spare the blood neither of infants nor old age. The description of the Witches is full of the same contradictory principle; they 'rejoice when good kings bleed'; they are neither of the earth nor the air, but both; 'they should be women, but their beards forbid it'; they take all the pains possible to lead Macbeth on to the height of his ambition, only to betray him in deeper consequence, and after showing him all the pomp of their art, discover their malignant delight in his disappointed hopes, by that bitter taunt, 'Why stands Macbeth thus amazedly?' We might multiply such instances everywhere.
The leading features in the character of Macbeth are striking enough, and they form what may be thought at first only a bold, rude, Gothic outline. By comparing it with other characters of the same author we shall perceive the absolute truth and identity which is observed in the midst of the giddy whirl and rapid career of events. Macbeth in Shakespeare no more loses his identity of character in the fluctuations of fortune or the storm of passion, than Macbeth in himself would have lost the identity of his person. Thus he is as distinct a being from Richard III as it is possible to imagine, though these two characters in common hands, and indeed in the hands of any other poet, would have been a repetition of the same general idea, more or less exaggerated. For both are tyrants, usurpers, murderers, both aspiring and ambitious, both courageous, cruel, treacherous. But Richard is cruel from nature and constitution. Macbeth becomes so from accidental circumstances. Richard is from his birth deformed in body and mind, and naturally incapable of good. Macbeth is full of 'the milk of human kindness, is frank, sociable, generous. He is tempted to the commission of guilt by golden opportunities, by the instigations of his wife, and by prophetic warnings. Fate and metaphysical aid conspire against his virtue and his loyalty. Richard, on the contrary, needs no prompter, but wades through a series of crimes to the height of his ambition from the ungovernable violence of his temper and a reckless love of mischief. He is never gay but in the prospect or in the success of his villanies; Macbeth is full of horror at the thoughts of the murder of Duncan, which he is with difficulty prevailed on to commit, and of remorse after its perpetration. Richard has no mixture of common humanity in his composition, no regard to kindred or posterity, he owns no fellowship with others, he is 'himself alone'. Macbeth is not destitute of feelings of sympathy, is accessible to pity, is even made in some measure the dupe of his uxoriousness, ranks the loss of friends, of the cordial love of his followers, and of his good name, among the causes which have made him weary of life, and regrets that he has ever seized the crown by unjust means, since he cannot transmit it to his own posterity:
For Banquo's issue have I 'fil'd my mind—For them the gracious Duncan have I murther'd,To make them kings, the seed of Banquo kings.
In the agitation of his thoughts, he envies those whom he has sent to peace. 'Duncan is in his grave; after life's fitful fever he sleeps well.' It is true, he becomes more callous as he plunges deeper in guilt, 'direness is thus rendered familiar to his slaughterous thoughts', and he in the end anticipates his wife in the boldness and bloodiness of his enterprises, while she, for want of the same stimulus of action, is 'troubled with thick-coming fancies that rob her of her rest', goes mad and dies.
Macbeth endeavours to escape from reflection on his crimes by repelling their consequences, and banishes remorse for the past by the meditation of future mischief. This is not the principle of Richard's cruelty, which resembles the wanton malice of a fiend as much as the frailty of human passion. Macbeth is goaded on to acts of violence and retaliation by necessity; to Richard, blood is a pastime.—There are other decisive differences inherent in the two characters. Richard may be regarded as a man of the world, a plotting, hardened knave, wholly regardless of everything but his own ends, and the means to secure them.—Not so Macbeth. The superstitions of the age, the rude state of society, the local scenery and customs, all give a wildness and imaginary grandeur to his character. From the strangeness of the events that surround him, he is full of amazement and fear; and stands in doubt between the world of reality and the world of fancy. He sees sights not shown to mortal eye, and hears unearthly music. All is tumult and disorder within and without his mind; his purposes recoil upon himself, are broken and disjointed; he is the double thrall of his passions and his evil destiny. Richard is not a character either of imagination or pathos, but of pure self-will. There is no conflict of opposite feelings in his breast. The apparitions which he sees only haunt him in his sleep; nor does he live like Macbeth in a waking dream. Macbeth has considerable energy and manliness of character; but then he is 'subject to all the skyey influences'. He is sure of nothing but the present moment. Richard in the busy turbulence of his projects never loses his self-possession, and makes use of every circumstance that happens as an instrument of his long-reaching designs. In his last extremity we can only regard him as a wild beast taken in the toils: we never entirely lose our concern for Macbeth; and he calls back all our sympathy by that fine close of thoughtful melancholy:
My way of life is fallen into the sear,The yellow leaf; and that which should accompany old age,As honour, troops of friends, I must not look to have;But in their stead, curses not loud but deep,Mouth-honour, breath, which the poor heartWould fain deny and dare not.
We can conceive a common actor to play Richard tolerably well; we can conceive no one to play Macbeth properly, or to look like a man that had encountered the Weird Sisters. All the actors that we have ever seen, appear as if they had encountered them on the boards of Covent Garden or Drury Lane, but not on the heath at Fores, and as if they did not believe what they had seen. The Witches of Macbeth indeed are ridiculous on the modern stage, and we doubt if the furies of Aeschylus would be more respected. The progress of manners and knowledge has an influence on the stage, and will in time perhaps destroy both tragedy and comedy. Filch's picking pockets, in the Beggars' Opera, is not so good a jest as it used to be: by the force of the police and of philosophy, Lillo's murders and the ghosts in Shakespeare will become obsolete. At last there will be nothing left, good nor bad, to be desired or dreaded, on the theatre or in real life. A question has been started with respect to the originality of Shakespeare's Witches, which has been well answered by Mr. Lamb in his notes to the Specimens of Early Dramatic Poetry:
"Though some resemblance may be traced between the charms in Macbeth and the incantations in this play (the Witch of Middleton), which is supposed to have preceded it, this coincidence will not detract much from the originality of Shakespeare. His Witches are distinguished from the Witches of Middleton by essential differences. These are creatures to whom man or woman plotting some dire mischief might resort for occasional consultation. Those originate deeds of blood, and begin bad impulses to men. From the moment that their eyes first meet with Macbeth's, he is spellbound. That meeting sways his destiny. He can never break the fascination. These Witches can hurt the body; those have power over the soul.—Hecate in Middleton has a son, a low buffoon: the hags of Shakespeare have neither child of their own, nor seem to be descended from any parent. They are foul anomalies, of whom we know not whence they are sprung, nor whether they have beginning or ending. As they are without human passions, so they seem to be without human relations. They come with thunder and lightning, and vanish to airy music. This is all we know of them.—Except Hecate, they have no names, which heightens their mysteriousness. The names, and some of the properties which Middleton has given to his hags, excite smiles. The Weird Sisters are serious things. Their presence cannot co-exist with mirth. But, in a lesser degree, the Witches of Middleton are fine creations. Their power too is, in some measure, over the mind. They raise jars, jealousies, strifes, 'LIKE A THICK SCURF O'ER LIFE.'"
JULIUS CAESAR was one of three principal plays by different authors, pitched upon by the celebrated Earl of Halifax to be brought out in a splendid manner by subscription, in the year 1707. The other two were the King and No King of Fletcher, and Dryden's Maiden Queen. There perhaps might be political reasons for this selection, as far as regards our author. Otherwise, Shakespeare's Julius Caesar is not equal, as a whole, to either of his other plays taken from the Roman history. It is inferior in interest to Coriolanus, and both in interest and power to Antony and Cleopatra. It, however, abounds in admirable and affecting passages, and is remarkable for the profound knowledge of character, in which Shakespeare could scarcely fail. If there is any exception to this remark, it is in the hero of the piece himself. We do not much admire the representation here given of Julius Caesar, nor do we think it answers to the portrait given of him in his Commentaries. He makes several vapouring and rather pedantic speeches, and does nothing. Indeed, he has nothing to do. So far, the fault of the character might be the fault of the plot.
The spirit with which the poet has entered at once into the manners of the common people, and the jealousies and heartburnings of the different factions, is shown in the first scene, when Flavius and Marullus, tribunes of the people, and some citizens of Rome, appear upon the stage.
Flavius. Thou art a cobbler, art thou?
Cobbler. Truly, Sir, ALL that I live by, is the AWL: I meddle with no tradesman's matters, nor woman's matters, but with-al, I am indeed, Sir, a surgeon to old shoes; when they are in great danger, I recover them.
Flavius. But wherefore art not in thy shop to-day? Why dost thou lead these men about the streets?
Cobbler. Truly, Sir, to wear out their shoes, to get myselfinto more work. But indeed. Sir, we make holiday to seeCaesar, and rejoice in his triumph.
To this specimen of quaint low humour immediately follows that unexpected and animated burst of indignant eloquence, put into the mouth of one of the angry tribunes.
Marullus. Wherefore rejoice!—What conquest brings he home?What tributaries follow him to Rome,To grace in captive-bonds his chariot-wheels?Oh you hard hearts, you cruel men of Rome!Knew you not Pompey? Many a time and oftHave you climb'd up to walls and battlements,To towers and windows, yea, to chimney-tops,Your infants in your arms, and there have satThe live-long day with patient expectation,To see great Pompey pass the streets of Rome:And when you saw his chariot but appear,Have you not made an universal shout,That Tiber trembled underneath his banksTo hear the replication of your sounds,Made in his concave shores?And do you now put on your best attire?And do you now cull out an holiday?And do you now strew flowers in his wayThat comes in triumph over Pompey's blood?Begone—Run to your houses, fall upon your knees,Pray to the Gods to intermit the plague,That needs must light on this ingratitude.
The well-known dialogue between Brutus and Cassius, in which the latter breaks the design of the conspiracy to the former, and partly gains him over to it, is a noble piece of high-minded declamation. Cassius's insisting on the pretended effeminacy of Caesar's character, and his description of their swimming across the Tiber together, 'once upon a raw and gusty day', are among the finest strokes in it. But perhaps the whole is not equal to the short scene which follows when Caesar enters with his train.
Brutus. The games are done, and Caesar is returning.
Cassius. As they pass by, pluck Casca by the sleeve,And he will, after his sour fashion, tell youWhat has proceeded worthy note to-day.
Brutus. I will do so; but look you, Cassius—The angry spot doth glow on Caesar's brow,And all the rest look like a chidden train.Calphurnia's cheek is pale; and CiceroLooks with such ferret and such fiery eyes,As we have seen him in the Capitol,Being crost in conference by some senators.
Cassius. Casca will tell us what the matter is.
Caesar. Antonius—
Antony. Caesar?
Caesar. Let me have men about me that are fat,Sleek-headed men, and such as sleep a-nights:Yond Cassius has a lean and hungry look,He thinks too much; such men are dangerous.
Antony. Fear him not, Caesar, he's not dangerous;He is a noble Roman, and well given.
Caesar. Would he were fatter; but I fear him not:Yet if my name were liable to fear,I do not know the man I should avoidSo soon as that spare Cassius. He reads much;He is a great observer; and he looksQuite through the deeds of men. He loves no plays,As thou dost, Antony; he hears no music;Seldom he smiles, and smiles in such a sort,As if he mock'd himself, and scorn'd his spirit,That could be mov'd to smile at any thing.Such men as he be never at heart's ease,Whilst they behold a greater than themselves;And therefore are they very dangerous.I rather tell thee what is to be fear'dThan what I fear; for always I am Caesar.Come on my right hand, for this ear is deaf,And tell me truly what thou think'st of him.
We know hardly any passage more expressive of the genius of Shakespeare than this. It is as if he had been actually present, had known the different characters and what they thought of one another, and had taken down what he heard and saw, their looks, words, and gestures, just as they happened.
The character of Mark Antony is further speculated upon where the conspirators deliberate whether he shall fall with Caesar. Brutus is against it:
And for Mark Antony, think not of him:For "he can do no more than Caesar's arm,When Caesar's head is off."
Cassius. Yet do I fear him:For in th' ingrafted love he bears to Caesar—
Brutus. Alas, good Cassius, do not think of him:If he love Caesar, all that he can doIs to himself, take thought, and die for Caesar:And that were much, he should; for he is giv'nTo sports, to wildness, and much company.
Trebonius. There is no fear in him; let him not die.For he will live, and laugh at this hereafter.
They were in the wrong; and Cassius was right.
The honest manliness of Brutus is, however, sufficient to find out the unfitness of Cicero to be included in their enterprise, from his affected egotism and literary vanity.
O, name him not: let us not break with him;For he will never follow any thing,That other men begin.
His scepticism as to prodigies and his moralizing on the weather—"This disturbed sky is not to walk in"—are in the same spirit of refined imbecility.
Shakespeare has in this play and elsewhere shown the same penetration into political character and the springs of public events as into those of everyday life. For instance, the whole design to liberate their country fails from the generous temper and overweening confidence of Brutus in the goodness of their cause and the assistance of others. Thus it has always been. Those who mean well themselves think well of others, and fall a prey to their security. That humanity and sincerity which dispose men to resist injustice and tyranny render them unfit to cope with the cunning and power of those who are opposed to them. The friends of liberty trust to the professions of others because they are themselves sincere, and endeavour to secure the public good with the least possible hurt to its enemies, who have no regard to anything but their own unprincipled ends, and stick at nothing to accomplish them. Cassius was better cut out for a conspirator. His heart prompted his head. His habitual jealousy made him fear the worst that might happen, and his irritability of temper added to his inveteracy of purpose, and sharpened his patriotism. The mixed nature of his motives made him fitter to contend with bad men. The vices are never so well employed as in combating one another. Tyranny and servility are to be dealt with after their own fashion: otherwise, they will triumph over those who spare them, and finally pronounce their funeral panegyric, as Antony did that of Brutus. All the conspirators, save only he,
Did that they did in envy of great Caesar:He only in a general honest thoughtAnd common good to all, made one of them.
The quarrel between Brutus and Cassius is managed in a masterly way. The dramatic fluctuation of passion, the calmness of Brutus, the heat of Cassius, are admirably described; and the exclamation of Cassius on hearing of the death of Portia, which he does not learn till after the reconciliation, 'How 'scap'd I killing when I crost you so?' gives double force to all that has gone before. The scene between Brutus and Portia, where she endeavours to extort the secret of the conspiracy from him, is conceived in the most heroical spirit, and the burst of tenderness in Brutus:
You are my true and honourable wife;As dear to me as are the ruddy dropsThat visit my sad heart—
is justified by her whole behaviour. Portia's breathless impatience to learn the event of the conspiracy, in the dialogue with Lucius, is full of passion. The interest which Portia takes in Brutus and that which Calphurnia takes in the fate of Caesar are discriminated with the nicest precision. Mark Antony's speech over the dead body of Caesar has been justly admired for the mixture of pathos and artifice in it: that of Brutus certainly is not so good.
The entrance of the conspirators to the house of Brutus at midnight is rendered very impressive. In the midst of this scene we meet with one of those careless and natural digressions which occur so frequently and beautifully in Shakespeare. After Cassius has introduced his friends one by one, Brutus says:
They are all welcome.What watchful cares do interpose themselvesBetwixt your eyes and night?
Cassius. Shall I entreat a word? [They whisper.]
Decius. Here lies the east: doth not the day break here?
Casca. No.
Cinna. O pardon, Sir, it doth; and yon grey lines,That fret the clouds, are messengers of day.
Casca. You shall confess, that you are both deceiv'd:Here, as I point my sword, the sun arises,Which is a great way growing on the south,Weighing the youthful, season of the year.Some two months hence, up higher toward the northHe first presents his fire, and the high eastStands as the Capitol, directly here.
We cannot help thinking this graceful familiarity better than all the formality in the world. The truth of history in Julius Caesar is very ably worked up with dramatic effect. The councils of generals, the doubtful turns of battles, are represented to the life. The death of Brutus is worthy of him—it has the dignity of the Roman senator with the firmness of the Stoic philosopher. But what is perhaps better than either, is the little incident of his boy, Lucius, falling asleep over his instrument, as he is playing to his master in his tent, the night before the battle. Nature had played him the same forgetful trick once before on the night of the conspiracy. The humanity of Brutus is the same on both occasions.
—It is no matter;Enjoy the honey-heavy dew of slumber.Thou hast no figures nor no fantasies,Which busy care draws in the brains of men.Therefore thou sleep'st so sound.