Читать книгу Notes and Queries, Number 206, October 8, 1853 - Various - Страница 6

The Meteorology of Shakspeare.—A treatise might be written on meteorology, and might be illustrated entirely by passages taken from the writings of "the world's greatest poet." "N. & Q." may not be the fitting medium for a lengthened treatise, but it is the most proper depository of a few loose Notes on the subject. Those who study Shakspeare should, to understand him, thoroughly study Nature at the same time: but to our meteorology. Recent observers have classified clouds as under:

There are composite forms of cloud, varieties of the above, which need not be noticed here. The Cumulus is the parent cloud, and produces every other form of cloud known, or which can exist. Mountain ranges and currents of air of unequal temperatures may produce visible vapour, but not true cloud.

Cumulus. This cloud is always formed at "the dew point." The vapour of the lower atmosphere, at this elevation, is condensed, or rendered visible. In fog the dew point is at the surface of the earth; in summer it may be several thousands of feet above. The Cumulus cloud forms from below. The invisible vapour of the lower atmosphere is condensed, parts with its thousand degrees of latent heat, which rush upwards, forcing the vapour into the vast hemispherical heaps of snowy, glittering clouds, which, seen in midday, appear huge mountains of clouds; the "cloud-land" of the poet, floating in liquid air. The Cumulus cloud is ever changing in form. Cumulating from a level base, the top is mounting higher and higher, until the excessive moisture is precipitated in heavy rain, hail, or thunder showers.

The tops of the Cumulus, carried away by the upper equatorial currents, form the Cirrus clouds, which clouds must be frozen vapour, as they are generally from twenty to thirty thousand feet above the level of the sea. The base of the Cumulus is probably never more, in England, than five thousand feet high, rarely this. The Nimbus is the Cumulus shedding its vapour in rain; and the Stratus is the partially exhausted and fading Nimbus.

Poets in all ages have watched the clouds with interest; and Shakspeare has not only correctly described them, but has, in metaphor, used them in some of his sublimest passages. Ariel will "ride on the curled clouds" to Prospero's "strong bidding task" that is, ride on the highest Cirrus cloud, in regions impassable to man. How admirably the raining Cumulus (Nimbus cloud) is described in the same play:

"Trinculo. Here's neither bush4 nor shrub, to bear off any weather at all, and another storm brewing. I hear it sing i' the wind: yond' same black cloud, yond' huge one, looks like a foul5 bumbard that would shed his liquor …

… Yond' same cloud cannot choose but fall by pailfuls."

Hamlet points to a changing Cumulus cloud, when he says to Polonius, "Do you see that cloud, that almost in shape like a camel?"

But the finest cloud passage in the whole range of literature is contained in Antony and Cleopatra, painting, as it does, the fallen and wasting state of the emperor (Act IV. Sc. 12.):

Those who wish to understand this sublime passage must watch a bank of Cumulus clouds at the western sky on a summer's evening. The tops of the clouds must not be more than five or ten degrees above the apparent horizon. There must also be a clear space upwards, and the sun fairly set to the last stages of twilight. It will then be comprehended as to what is meant by "black vesper's pageants," and Warton and Knight will no more mislead by their note. It is only at "black vespers" that such a pageant can be seen, when the liberated heat of the Cumulus cloud is forcing the vapour into the grand or fantastic shapes indicated to the poet's eye and mind.

How truly does Antony read his own condition in the changing and perishable clouds. Shakspeare names or alludes to the clouds in more than one hundred passages, and the form of cloud is ever correctly indicated. Who does not remember the passages in Romeo and Juliet? Much more might be written on this subject.

Robert Rawlinson.

At the Hull meeting of the British Association, Mr. Russell, farmer, Kilwhiss, Fife, read a paper on "The Action of the Winds which veer from the South-west to West, and North-west to North." This he wound up by a reference to Shakspeare, which may be worthy of noting:

"In concluding, I cannot help remarking that this circuit of the wind from SW. by W. to NW. or N., from our insular position, imparts to our climate its fickleness and inconstancy. How often will our brightest sky become suffused by the blackest vapours on the slightest breach of SW. wind, and the clouds will then disappear as speedily as they formed, when the NW. upper current forces their stratum of moist air to rise and mingle with the dryer current above. I do not know who first noticed and recorded this change of the wind from SW. to NW., but the regularity of the phenomenon must teach us that the law which it obeys is part of a grand system, and invites us to trace its action. I do not think it will be out of place to point out the fact that the great English poet seems to have been quite familiar with this feature of our weather, not only in its most striking manifestations in the autumn and winter months, to which he especially refers, but even in its more pleasant aspects of summer. Shakspeare likens the wind in this shifting to an individual who pays his addresses in succession to two fair ones—first he wooes the North, but in courting that frigid beauty a difference takes place, whereupon he turns his back upon her and courts the fair South. You will observe the lines are specially applied to the winter season—

'And more inconstant than the wind, who wooes

Even now the frozen bosom of the north,

And, being anger'd, puffs away from thence,

Turning this face to the dew-dropping south.'

—I am not aware that the philosophic truth contained in these lines has ever before been pointed out. The beautiful lines which the poet, in his prodigality, put into the mouth of one of his gay frolicsome characters, the meaning of them he no doubt thought might have been understood by every one; but his commentators do not seem to have done so. In some editions turning his side has been put for face, which is feeble and unmeaning. And I do not think the recent emendation by Mr. Collier on the text is any improvement, where tide is substituted for face, which impairs both the beauty and harmony of the metaphor."

Anon.

A Word for "the Old Corrector."—Allow me, as an avowed enemy to "the Old Corrector's" novelties, render "the Great Unknown" one act of justice. I am convinced there are but two practically possible hypotheses, on which to account for the MS. emendations: either the emendations were for the most part made from some authoritative document, or they are parts of a modern fabrication. No third supposition can be reasonably maintained. Mr. Knight's view, for example, gives no account of the immense number of coincidences with the conjectural emendations of the commentators. Whichever of the two hypotheses be the true one, I need hardly say that Mr. Collier's name is a sufficient guarantee for all honorable dealing, so far as he is connected with the MS. corrections.

Permit me farther to do an act of justice to Mr. Collier himself. In my note on a passage in The Tempest, I stated that Mr. Collier had overlooked a parallel passage in Richard II. It was I who had overlooked Mr. Collier's supplemental note. However, I must add, that how Mr. Collier could persuade himself to print heat for "cheek," in his "monovolume edition," after he had seen the passage in Richard II., is utterly beyond my power of comprehension.

C. Mansfield Ingleby.

Birmingham.