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POEMS AND SONNETS
OUR idolatry of Shakspeare (not to say our admiration) ceases
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 excellences, 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 shows the greatest ingenuity in him to find out. The whole is labored, uphill 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 acrostics and anagrams. Everything is spun out into allegory; and a digres sion 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 dialectics. 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 stanza expresses all our objections to this kind of poetry :—
"Oh! idle words, servants to shallow fools;
The description of the horse in Venus and Adonis has been particularly admired, and not without reason ;
"Round hoof'd, short jointed, fetlocks shag and long,
Now this inventory of perfections shows 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 equivocal; 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 favor with their stars,
Great princes' favorites their fair leaves spread,
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,
For thy sweet love remember'd, such wealth brings,
"My love is strengthen'd, though more weak in seeming :
I love not less, though less the show appear:
Not that the summer is less pleasant now
And sweets grown common lose their dear delight.
"That time of year thou mayst in me behold
This thou perceiv'st, which makes thy love more strong,
In all these, as well as in many others, there is a mild tone of sentiment, deep, mellow, and sustained, very different from the crudeness of his earlier poems.