Читать книгу Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth - Andrew Cecil Bradley - Страница 15

Before we come to-day to Hamlet, the first of our four tragedies, a few remarks must be made on their probable place in Shakespeare's literary career. But I shall say no more than seems necessary for our restricted purpose, and, therefore, for the most part shall merely be stating widely accepted results of investigation, without going into the evidence on which they rest.25

Shakespeare's tragedies fall into two distinct groups, and these groups are separated by a considerable interval. He wrote tragedy—pure, like Romeo and Juliet; historical, like Richard III.—in the early years of his career of authorship, when he was also writing such comedies as Love's Labour's Lost and the Midsummer-Night's Dream. Then came a time, lasting some half-dozen years, during which he composed the most mature and humorous of his English History plays (the plays with Falstaff in them), and the best of his romantic comedies (the plays with Beatrice and Jaques and Viola in them). There are no tragedies belonging to these half-dozen years, nor any dramas approaching tragedy. But now, from about 1601 to about 1608, comes tragedy after tragedy—Julius Caesar, Hamlet, Othello, King Lear, Timon of Athens, Macbeth, Antony and Cleopatra and Coriolanus; and their companions are plays which cannot indeed be called tragedies, but certainly are not comedies in the same sense as As You Like It or the Tempest. These seven years, accordingly, might, without much risk of misunderstanding, be called Shakespeare's tragic period.26 And after it he wrote no more tragedies, but chiefly romances more serious and less sunny than As You Like It, but not much less serene.

The existence of this distinct tragic period, of a time when the dramatist seems to have been occupied almost exclusively with deep and painful problems, has naturally helped to suggest the idea that the 'man' also, in these years of middle age, from thirty-seven to forty-four, was heavily burdened in spirit; that Shakespeare turned to tragedy not merely for change, or because he felt it to be the greatest form of drama and felt himself equal to it, but also because the world had come to look dark and terrible to him; and even that the railings of Thersites and the maledictions of Timon express his own contempt and hatred for mankind. Discussion of this large and difficult subject, however, is not necessary to the dramatic appreciation of any of his works, and I shall say nothing of it here, but shall pass on at once to draw attention to certain stages and changes which may be observed within the tragic period. For this purpose too it is needless to raise any question as to the respective chronological positions of Othello, King Lear and Macbeth. What is important is also generally admitted: that Julius Caesar and Hamlet precede these plays, and that Antony and Cleopatra and Coriolanus follow them.27

If we consider the tragedies first on the side of their substance, we find at once an obvious difference between the first two and the remainder. Both Brutus and Hamlet are highly intellectual by nature and reflective by habit. Both may even be called, in a popular sense, philosophic; Brutus may be called so in a stricter sense. Each, being also a 'good' man, shows accordingly, when placed in critical circumstances, a sensitive and almost painful anxiety to do right. And though they fail—of course in quite different ways—to deal successfully with these circumstances, the failure in each case is connected rather with their intellectual nature and reflective habit than with any yielding to passion. Hence the name 'tragedy of thought,' which Schlegel gave to Hamlet, may be given also, as in effect it has been by Professor Dowden, to Julius Caesar. The later heroes, on the other hand, Othello, Lear, Timon, Macbeth, Antony, Coriolanus, have, one and all, passionate natures, and, speaking roughly, we may attribute the tragic failure in each of these cases to passion. Partly for this reason, the later plays are wilder and stormier than the first two. We see a greater mass of human nature in commotion, and we see Shakespeare's own powers exhibited on a larger scale. Finally, examination would show that, in all these respects, the first tragedy, Julius Caesar, is further removed from the later type than is the second, Hamlet.

These two earlier works are both distinguished from most of the succeeding tragedies in another though a kindred respect. Moral evil is not so intently scrutinised or so fully displayed in them. In Julius Caesar, we may almost say, everybody means well. In Hamlet, though we have a villain, he is a small one. The murder which gives rise to the action lies outside the play, and the centre of attention within the play lies in the hero's efforts to do his duty. It seems clear that Shakespeare's interest, since the early days when under Marlowe's influence he wrote Richard III., has not been directed to the more extreme or terrible forms of evil. But in the tragedies that follow Hamlet the presence of this interest is equally clear. In Iago, in the 'bad' people of King Lear, even in Macbeth and Lady Macbeth, human nature assumes shapes which inspire not mere sadness or repulsion but horror and dismay. If in Timon no monstrous cruelty is done, we still watch ingratitude and selfishness so blank that they provoke a loathing we never felt for Claudius; and in this play and King Lear we can fancy that we hear at times the saeva indignatio, if not the despair, of Swift. This prevalence of abnormal or appalling forms of evil, side by side with vehement passion, is another reason why the convulsion depicted in these tragedies seems to come from a deeper source, and to be vaster in extent, than the conflict in the two earlier plays. And here again Julius Caesar is further removed than Hamlet from Othello, King Lear, and Macbeth.

But in regard to this second point of difference a reservation must be made, on which I will speak a little more fully, because, unlike the matter hitherto touched on, its necessity seems hardly to have been recognised. All of the later tragedies may be called tragedies of passion, but not all of them display these extreme forms of evil. Neither of the last two does so. Antony and Coriolanus are, from one point of view, victims of passion; but the passion that ruins Antony also exalts him, he touches the infinite in it; and the pride and self-will of Coriolanus, though terrible in bulk, are scarcely so in quality; there is nothing base in them, and the huge creature whom they destroy is a noble, even a lovable, being. Nor does either of these dramas, though the earlier depicts a corrupt civilisation, include even among the minor characters anyone who can be called villainous or horrible. Consider, finally, the impression left on us at the close of each. It is remarkable that this impression, though very strong, can scarcely be called purely tragic; or, if we call it so, at least the feeling of reconciliation which mingles with the obviously tragic emotions is here exceptionally well-marked. The death of Antony, it will be remembered, comes before the opening of the Fifth Act. The death of Cleopatra, which closes the play, is greeted by the reader with sympathy and admiration, even with exultation at the thought that she has foiled Octavius; and these feelings are heightened by the deaths of Charmian and Iras, heroically faithful to their mistress, as Emilia was to hers. In Coriolanus the feeling of reconciliation is even stronger. The whole interest towards the close has been concentrated on the question whether the hero will persist in his revengeful design of storming and burning his native city, or whether better feelings will at last overpower his resentment and pride. He stands on the edge of a crime beside which, at least in outward dreadfulness, the slaughter of an individual looks insignificant. And when, at the sound of his mother's voice and the sight of his wife and child, nature asserts itself and he gives way, although we know he will lose his life, we care little for that: he has saved his soul. Our relief, and our exultation in the power of goodness, are so great that the actual catastrophe which follows and mingles sadness with these feelings leaves them but little diminished, and as we close the book we feel, it seems to me, more as we do at the close of Cymbeline than as we do at the close of Othello. In saying this I do not in the least mean to criticise Coriolanus. It is a much nobler play as it stands than it would have been if Shakespeare had made the hero persist, and we had seen him amid the flaming ruins of Rome, awaking suddenly to the enormity of his deed and taking vengeance on himself; but that would surely have been an ending more strictly tragic than the close of Shakespeare's play. Whether this close was simply due to his unwillingness to contradict his historical authority on a point of such magnitude we need not ask. In any case Coriolanus is, in more than an outward sense, the end of his tragic period. It marks the transition to his latest works, in which the powers of repentance and forgiveness charm to rest the tempest raised by error and guilt.

If we turn now from the substance of the tragedies to their style and versification, we find on the whole a corresponding difference between the earlier and the later. The usual assignment of Julius Caesar, and even of Hamlet, to the end of Shakespeare's Second Period—the period of Henry V.—is based mainly, we saw, on considerations of form. The general style of the serious parts of the last plays from English history is one of full, noble and comparatively equable eloquence. The 'honey-tongued' sweetness and beauty of Shakespeare's early writing, as seen in Romeo and Juliet or the Midsummer-Night's Dream, remain; the ease and lucidity remain; but there is an accession of force and weight. We find no great change from this style when we come to Julius Caesar,28 which may be taken to mark its culmination. At this point in Shakespeare's literary development he reaches, if the phrase may be pardoned, a limited perfection. Neither thought on the one side, nor expression on the other, seems to have any tendency to outrun or contend with its fellow. We receive an impression of easy mastery and complete harmony, but not so strong an impression of inner power bursting into outer life. Shakespeare's style is perhaps nowhere else so free from defects, and yet almost every one of his subsequent plays contains writing which is greater. To speak familiarly, we feel in Julius Caesar that, although not even Shakespeare could better the style he has chosen, he has not let himself go.

In reading Hamlet we have no such feeling, and in many parts (for there is in the writing of Hamlet an unusual variety29) we are conscious of a decided change. The style in these parts is more rapid and vehement, less equable and less simple; and there is a change of the same kind in the versification. But on the whole the type is the same as in Julius Caesar, and the resemblance of the two plays is decidedly more marked than the difference. If Hamlet's soliloquies, considered simply as compositions, show a great change from Jaques's speech, 'All the world's a stage,' and even from the soliloquies of Brutus, yet Hamlet (for instance in the hero's interview with his mother) is like Julius Caesar, and unlike the later tragedies, in the fulness of its eloquence, and passages like the following belong quite definitely to the style of the Second Period:

This bewitching music is heard again in Hamlet's farewell to Horatio:

But after Hamlet this music is heard no more. It is followed by a music vaster and deeper, but not the same.

The changes observable in Hamlet are afterwards, and gradually, so greatly developed that Shakespeare's style and versification at last become almost new things. It is extremely difficult to illustrate this briefly in a manner to which no just exception can be taken, for it is almost impossible to find in two plays passages bearing a sufficiently close resemblance to one another in occasion and sentiment. But I will venture to put by the first of those quotations from Hamlet this from Macbeth:

and by the second quotation from Hamlet this from Antony and Cleopatra:

It would be almost an impertinence to point out in detail how greatly these two passages, and especially the second, differ in effect from those in Hamlet, written perhaps five or six years earlier. The versification, by the time we reach Antony and Cleopatra, has assumed a new type; and although this change would appear comparatively slight in a typical passage from Othello or even from King Lear, its approach through these plays to Timon and Macbeth can easily be traced. It is accompanied by a similar change in diction and construction. After Hamlet the style, in the more emotional passages, is heightened. It becomes grander, sometimes wilder, sometimes more swelling, even tumid. It is also more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical. It is, therefore, not so easy and lucid, and in the more ordinary dialogue it is sometimes involved and obscure, and from these and other causes deficient in charm.30 On the other hand, it is always full of life and movement, and in great passages produces sudden, strange, electrifying effects which are rarely found in earlier plays, and not so often even in Hamlet. The more pervading effect of beauty gives place to what may almost be called explosions of sublimity or pathos.

There is room for differences of taste and preference as regards the style and versification of the end of Shakespeare's Second Period, and those of the later tragedies and last romances. But readers who miss in the latter the peculiar enchantment of the earlier will not deny that the changes in form are in entire harmony with the inward changes. If they object to passages where, to exaggerate a little, the sense has rather to be discerned beyond the words than found in them, and if they do not wholly enjoy the movement of so typical a speech as this,

they will admit that, in traversing the impatient throng of thoughts not always completely embodied, their minds move through an astonishing variety of ideas and experiences, and that a style less generally poetic than that of Hamlet is also a style more invariably dramatic. It may be that, for the purposes of tragedy, the highest point was reached during the progress of these changes, in the most critical passages of Othello, King Lear and Macbeth.31