Miscellaneous Writings and Speeches - Volume 2 - Thomas Babington Macaulay (black books to read .TXT) 📗

are rated at no more than their proper value. Pleasing and ingenious imitations of the manner of the great masters appear. Poetry has a partial revival, a Saint Martin's Summer, which, after a period of dreariness and decay, agreeably reminds us of the splendour of its June. A second harvest is gathered in; though, growing on a spent soil, it has not the heart of the former. Thus, in the present age, Monti has successfully imitated the style of Dante; and something of the Elizabethan inspiration has been caught by several eminent countrymen of our own. But never will Italy produce another Inferno, or England another Hamlet. We look on the beauties of the modern imaginations with feelings similar to those with which we see flowers disposed in vases, to ornament the drawing-rooms of a capital. We doubtless regard them with pleasure, with greater pleasure, perhaps, because, in the midst of a place ungenial to them, they remind us of the distant spots on which they flourish in spontaneous exuberance. But we miss the sap, the freshness, and the bloom. Or, if we may borrow another illustration from Queen Scheherezade, we would compare the writers of this school to the jewellers who were employed to complete the unfinished window of the palace of Aladdin. Whatever skill or cost could do was done. Palace and bazaar were ransacked for precious stones. Yet the artists, with all their dexterity, with all their assiduity, and with all their vast means, were unable to produce anything comparable to the wonders which a spirit of a higher order had wrought in a single night.

The history of every literature with which we are acquainted confirms, we think, the principles which we have laid down. In Greece we see the imaginative school of poetry gradually fading into the critical. Aeschylus and Pindar were succeeded by Sophocles, Sophocles by Euripides, Euripides by the Alexandrian versifiers. Of these last, Theocritus alone has left compositions which deserve to be read. The splendour and grotesque fairyland of the Old Comedy, rich with such gorgeous hues, peopled with such fantastic shapes, and vocal alternately with the sweetest peals of music and the loudest bursts of elvish laughter, disappeared forever. The master-pieces of the New Comedy are known to us by Latin translations of extraordinary merit. From these translations, and from the expressions of the ancient critics, it is clear that the original compositions were distinguished by grace and sweetness, that they sparkled with wit, and abounded with pleasing sentiment; but that the creative power was gone. Julius Caesar called Terence a half Menander,-a sure proof that Menander was not a quarter Aristophanes.

The literature of the Romans was merely a continuation of the literature of the Greeks. The pupils started from the point at which their masters had, in the course of many generations arrived. They thus almost wholly missed the period of original invention. The only Latin poets whose writings exhibit much vigour of imagination are Lucretius and Catullus. The Augustan age produced nothing equal to their finer passages.

In France that licensed jester, whose jingling cap and motley coat concealed more genius than ever mustered in the saloon of Ninon or of Madame Geoffrin, was succeeded by writers as decorous and as tiresome as gentlemen ushers.

The poetry of Italy and of Spain has undergone the same change. But nowhere has the revolution been more complete and violent than in England. The same person who, when a boy, had clapped his thrilling hands at the first representation of the Tempest might, without attaining to a marvellous longevity, have lived to read the earlier works of Prior and Addison. The change, we believe, must, sooner or later, have taken place. But its progress was accelerated, and its character modified, by the political occurrences of the times, and particularly by two events, the closing of the theatres under the Commonwealth, and the restoration of the House of Stuart.

We have said that the critical and poetical faculties are not only distinct, but almost incompatible. The state of our literature during the reigns of Elizabeth and James the First is a strong confirmation of this remark. The greatest works of imagination that the world has ever seen were produced at that period. The national taste, in the meantime, was to the last degree detestable. Alliterations, puns, antithetical forms of expression lavishly employed where no corresponding opposition existed between the thoughts expressed, strained allegories, pedantic allusions, everything, in short, quaint and affected, in matter and manner, made up what was then considered as fine writing. The eloquence of the bar, the pulpit, and the council- board, was deformed by conceits which would have disgraced the rhyming shepherds of an Italian academy. The king quibbled on the throne. We might, indeed, console ourselves by reflecting that his majesty was a fool. But the chancellor quibbled in concert from the wool-sack: and the chancellor was Francis Bacon. It is needless to mention Sidney and the whole tribe of Euphuists; for Shakspeare himself, the greatest poet that ever lived, falls into the same fault whenever he means to be particularly fine. While he abandons himself to the impulse of his imagination, his compositions are not only the sweetest and the most sublime, but also the most faultless, that the world has ever seen. But, as soon as his critical powers come into play, he sinks to the level of Cowley; or rather he does ill what Cowley did well. All that is bad in his works is bad elaborately, and of malice aforethought. The only thing wanting to make them perfect was, that he should never have troubled himself with thinking whether they were good or not. Like the angels in Milton, he sinks "with compulsion and laborious flight." His natural tendency is upwards. That he may soar, it is only necessary that he should not struggle to fall. He resembles an American Cacique, who, possessing in unmeasured abundance the metals which in polished societies are esteemed the most precious, was utterly unconscious of their value, and gave up treasures more valuable than the imperial crowns of other countries, to secure some gaudy and far-fetched but worthless bauble, a plated button, or a necklace of coloured glass.

We have attempted to show that, as knowledge is extended and as the reason develops itself, the imitative arts decay. We should, therefore, expect that the corruption of poetry would commence in the educated classes of society. And this, in fact, is almost constantly the case. The few great works of imagination which appear in a critical age are, almost without exception, the works of uneducated men. Thus, at a time when persons of quality translated French romances, and when the universities celebrated royal deaths in verses about tritons and fauns, a preaching tinker produced the Pilgrim's Progress. And thus a ploughman startled a generation which had thought Hayley and Beattie great poets, with the adventures of Tam O'Shanter. Even in the latter part of the reign of Elizabeth the fashionable poetry had degenerated. It retained few vestiges of the imagination of earlier times. It had not yet been subjected to the rules of good taste. Affectation had completely tainted madrigals and sonnets. The grotesque conceits and the tuneless numbers of Donne were, in the time of James, the favourite models of composition at Whitehall and at the Temple. But, though the literature of the Court was in its decay, the literature of the people was in its perfection. The Muses had taken sanctuary in the theatres, the haunts of a class whose taste was not better than that of the Right Honourables and singular good Lords who admired metaphysical love-verses, but whose imagination retained all its freshness and vigour; whose censure and approbation might be erroneously bestowed, but whose tears and laughter was never in the wrong. The infection which had tainted lyric and didactic poetry had but slightly and partially touched the drama. While the noble and the learned were comparing eyes to burning-glasses, and tears to terrestrial globes, coyness to an enthymeme, absence to a pair of compasses, and an unrequited passion to the fortieth remainder-man in an entail, Juliet leaning from the balcony, and Miranda smiling over the chess-board, sent home many spectators, as kind and simple-hearted as the master and mistress of Fletcher's Ralpho, to cry themselves to sleep.

No species of fiction is so delightful to us as the old English drama. Even its inferior productions possess a charm not to be found in any other kind of poetry. It is the most lucid mirror that ever was held up to nature. The creations of the great dramatists of Athens produce the effect of magnificent sculptures, conceived by a mighty imagination, polished with the utmost delicacy, embodying ideas of ineffable majesty and beauty, but cold, pale, and rigid, with no bloom on the cheek, and no speculation in the eye. In all the draperies, the figures, and the faces, in the lovers and the tyrants, the Bacchanals and the Furies, there is the same marble chillness and deadness. Most of the characters of the French stage resemble the waxen gentlemen and ladies in the window of a perfumer, rouged, curled, and bedizened, but fixed in such stiff attitudes, and staring with eyes expressive of such utter unmeaningness, that they cannot produce an illusion for a single moment. In the English plays alone is to be found the warmth, the mellowness, and the reality of painting. We know the minds of men and women, as we know the faces of the men and women of Vandyke.

The excellence of these works is in a great measure the result of two peculiarities, which the critics of the French school consider as defects,-from the mixture of tragedy and comedy, and from the length and extent of the action. The former is necessary to render the drama a just representation of a world in which the laughers and weepers are perpetually jostling each other,-in which every event has its serious and ludicrous side. The latter enables us to form an intimate acquaintance with characters with which we could not possibly become familiar during the few hours to which the unities restrict the poet. In this respect, the works of Shakspeare, in particular, are miracles of art. In a piece, which may be read aloud in three hours, we see a character gradually unfold all its recesses to us. We see it change with the change of circumstances. The petulant youth rises into the politic and warlike sovereign. The profuse and courteous philanthropist sours into a hater and scorner of his kind. The tyrant is altered, by the chastening of affliction, into a pensive moralist. The veteran general, distinguished by coolness, sagacity, and self-command, sinks under a conflict between love strong as death, and jealousy cruel as the grave. The brave and loyal subject passes, step by step, to the extremities of human depravity. We trace his progress, from the first dawnings of unlawful ambition to the cynical melancholy of his impenitent remorse. Yet, in these pieces, there are no unnatural transitions. Nothing is omitted: nothing is crowded. Great as are the changes, narrow as is the compass within which they are exhibited, they shock us as little as the gradual alterations of those familiar faces which we see every evening and every morning. The magical skill of the poet resembles that of the Dervise in the Spectator, who condensed all the