THE COMEDY OF ERRORS

This comedy is taken very much from the Menaechmi of Plautus, and is not an improvement on it. Shakespeare appears to have bestowed no great pains on it, and there are but a few passages which bear the decided stamp of his genius. He seems to have relied on his author, and on the interest arising out of the intricacy of the plot. The curiosity excited is certainly very considerable, though not of the most pleasing kind. We are teased as with a riddle, which notwithstanding we try to solve. In reading the play, from the sameness of the names of the two Antipholises and the two Dromios, as well from their being constantly taken for each other by those who see them, it is difficult, without a painful effort of attention, to keep the characters distinct in the mind. And again, on the stage, either the complete similarity of their persons and dress must produce the same perplexity whenever they first enter, or the identity of appearance which the story supposes will be destroyed. We still, however, having a clue to the difficulty, can tell which is which, merely from the practical contradictions which arise, as soon as the different parties begin to speak; and we are indemnified for the perplexity and blunders into which we are thrown by seeing others thrown into greater and almost inextricable ones.— This play (among other considerations) leads us not to feel much regret that Shakespeare was not what is called a classical scholar. We do not think his forte would ever have lain in imitating or improving on what others invented, so much as in inventing for himself, and perfecting what he invented,—not perhaps by the omission of faults, but by the addition of the highest excellences. His own genius was strong enough to bear him up, and he soared longest and best on unborrowed plumes.—The only passage of a very Shakespearian cast in this comedy is the one in which the Abbess, with admirable characteristic artifice, makes Adriana confess her own misconduct in driving her husband mad.

Abbess. How long hath this possession held the man?

Adriana. This week he hath been heavy, sour, sad, And much, much different from the man he was; But, till this afternoon, his passion Ne'er brake into extremity of rage.

Abbess. Hath he not lost much wealth by wreck at sea? Bury'd some dear friend? Hath not else his eye Stray'd his affection in unlawful love? A sin prevailing much in youthful men, Who give their eyes the liberty of gazing. Which of these sorrows is he subject to?

Adriana. To none of these, except it be the last: Namely, some love, that drew him oft from home.

Abbess. You should for that have reprehended him.

Adriana. Why, so I did.

Abbess. But not rough enough.

Adriana. As roughly as my modesty would let me.

Abbess. Haply, in private.

Adriana. And in assemblies too.

Abbess. Aye, but not enough.

Adriana. It was the copy of our conference: In bed, he slept not for my urging it; At board, he fed not for my urging it; Alone it was the subject of my theme; In company, I often glanc'd at it; Still did I tell him it was vile and bad.

Abbess. And therefore came it that the man was mad: The venom'd clamours of a jealous woman Poison more deadly than a mad dog's tooth. It seems, his sleeps were hinder'd by thy railing: And therefore comes it that his head is light. Thou say'st his meat was sauc'd with thy upbraidings: Unquiet meals make ill digestions, Therefore the raging fire of fever bred; And what's a fever but a fit of madness? Thou say'st his sports were hinder'd by thy brawls; Sweet recreation barr'd, what doth ensue, But moody and dull melancholy, Kinsman to grim and comfortless despair; And, at her heels, a huge infectious troop Of pale distemperatures, and foes to life? In food, in sport, and life-preserving rest To be disturb'd, would mad or man or beast; The consequence is then, thy jealous fits Have scar'd thy husband from the use of wits.

Luciana. She never reprehended him but mildly, When he demeaned himself rough, rude, and wildly.— Why bear you these rebukes, and answer not?

Adriana. She did betray me to my own reproof.

Pinch the conjurer is also an excrescence not to be found in Plautus. He is indeed a very formidable anachronism.

They brought one Pinch, a hungry lean-fac'd villain, A meer anatomy, a mountebank, A thread-bare juggler and a fortune-teller, A needy, hollow-ey'd, sharp-looking wretch, A living dead man.

This is exactly like some of the Puritanical portraits to be met with in Hogarth.



DOUBTFUL PLAYS OF SHAKESPEARE

We shall give for the satisfaction of the reader what the celebrated German critic, Schlegel, says on this subject, and then add a very few remarks of our own.

'All the editors, with the exception of Capell, are unanimous in rejecting TITUS ANDRONICUS as unworthy of Shakespeare, though they always allow it to be printed with the other pieces, as the scapegoat, as it were, of their abusive criticism. The correct method in such an investigation is first to examine into the external grounds, evidences, &c., and to weigh their worth; and then to adduce the internal reasons derived from the quality of the work. The critics of Shakespeare follow a course directly the reverse of this; they set out with a preconceived opinion against a piece, and seek, in justification of this opinion, to render the historical grounds suspicious, and to set them aside. TITUS ANDRONICUS is to be found in the first folio edition of Shakespeare's works, which it was known was conducted by Heminge and Condell, for many years his friends and fellow-managers of the same theatre. Is it possible to persuade ourselves that they would not have known if a piece in their repertory did or did not actually belong to Shakespeare? And are we to lay to the charge of these honourable men a designed fraud in this single case, when we know that they did not show themselves so very desirous of scraping everything together which went by the name of Shakespeare, but, as it appears, merely gave those plays of which they had manuscripts in hand? Yet the following circumstance is still stronger: George Meres, a contemporary and admirer of Shakespeare, mentions TITUS ANDRONICUS in an enumeration of his works, in the year 1598. Meres was personally acquainted with the poet, and so very intimately, that the latter read over to him his Sonnets before they were printed. I cannot conceive that all the critical scepticism in the world would be sufficient to get over such a testimony.

This tragedy, it is true, is framed according to a false idea of the tragic, which by an accumulation of cruelties and enormities degenerates into the horrible, and yet leaves no deep impression behind: the story of Tereus and Philomela is heightened and overcharged under other names, and mixed up with the repast of Atreus and Thyestes, and many other incidents. In detail there is no want of beautiful lines, bold images, nay, even features which betray the peculiar conception of Shakespeare. Among these we may reckon the joy of the treacherous Moor at the blackness and ugliness of his child begot in adultery; and in the compassion of Titus Andronicus, grown childish through grief, for a fly which had been struck dead, and his rage afterwards when he imagines he discovers in it his black enemy; we recognize the future poet of LEAR. Are the critics afraid that Shakespeare's fame would be injured, were it established that in his early youth he ushered into the world a feeble and immature work? Was Rome the less the conqueror of the world because Remus could leap over its first walls? Let any one place himself in Shakespeare's situation at the commencement of his career. He found only a few indifferent models, and yet these met with the most favourable reception, because men are never difficult to please in the novelty of an art before their taste has become fastidious from choice and abundance. Must not this situation have had its influence on him before he learned to make higher demands on himself, and by digging deeper in his own mind, discovered the richest veins of a noble metal? It is even highly probable that he must have made several failures before getting into the right path. Genius is in a certain sense infallible, and has nothing to learn; but art is to be learned, and must be acquired by practice and experience. In Shakespeare's acknowledged works we find hardly any traces of his apprenticeship, and yet an apprenticeship he certainly had. This every artist must have, and especially in a period where he has not before him the example of a school already formed. I consider it as extremely probable, that Shakespeare began to write for the theatre at a much earlier period than the one which is generally stated, namely, not till after the year 1590. It appears that, as early as the year 1584, when only twenty years of age, he had left his paternal home and repaired to London. Can we imagine that such an active head would remain idle for six whole years without making any attempt to emerge by his talents from an uncongenial situation? That in the dedication of the poem of Venus and Adonis he calls it "the first heir of his invention", proves nothing against the supposition. It was the first which he printed; he might have composed it at an earlier period; perhaps, also, he did not include theatrical labours, as they then possessed but little literary dignity. The earlier Shakespeare began to compose for the theatre, the less are we enabled to consider the immaturity and imperfection of a work as a proof of its spuriousness in opposition to historical evidence, if we only find in it prominent features of his mind. Several of the works rejected as spurious may still have been produced in the period betwixt TITUS ANDRONICUS and the earliest of the acknowledged pieces.

'At last, Steevens published seven pieces ascribed to Shakespeare in two supplementary volumes. It is to be remarked, that they all appeared in print in Shakespeare's lifetime, with his name prefixed at full length. They are the following:

'1. LOCRINE. The proofs of the genuineness of this piece are not altogether unambiguous; the grounds for doubt, on the other hand, are entitled to attention. However, this question is immediately connected with that respecting TITUS ANDRONICUS, and must be at the same time resolved in the affirmative or negative.

'2. PERICLES, PRINCE OF TYRE. This piece was acknowledged by Dryden, but as a youthful work of Shakespeare. It is most undoubtedly his, and it has been admitted into several of the late editions. The supposed imperfections originate in the circumstance, that Shakespeare here handled a childish and extravagant romance of the old poet Gower, and was unwilling to drag the subject out of its proper sphere. Hence he even introduces Gower himself, and makes him deliver a prologue entirely in his antiquated language and versification. This power of assuming so foreign a manner is at least no proof of helplessness.

'3. THE LONDON PRODIGAL. If we are not mistaken, Lessing pronounced this piece to be Shakespeare's, and wished to bring it on the German stage.

'4. THE PURITAN; OR, THE WIDOW OF WATLING STREET. One of my literary friends, intimately acquainted with Shakespeare, was of opinion that the poet must have wished to write a play for once in the style of Ben Jonson, and that in this way we must account for the difference between the present piece and his usual manner. To follow out this idea, however, would lead to a very nice critical investigation.

'5. THOMAS, LORD CROMWELL.

'6. SIR JOHN OLDCASTLE—FIRST PART.

'7. A YORKSHIRE TRAGEDY.

'The three last pieces are not only unquestionably Shakespeare's, but in my opinion they deserve to be classed among his best and maturest works. Steevens admits at last, in some degree, that they are Shakespeare's, as well as the others, excepting LOCRINE, but he speaks of all of them with great contempt, as quite worthless productions. This condemnatory sentence is not, however, in the slightest degree convincing, nor is it supported by critical acumen. I should like to see how such a critic would, of his own natural suggestion, have decided on Shakespeare's acknowledged masterpieces, and what he would have thought of praising in them, had the public opinion imposed on him the duty of admiration. THOMAS, LORD CROMWELL, and SIR JOHN OLDCASTLE, are biographical dramas, and models in this species: the first is linked, from its subject, to HENRY THE EIGHTH, and the second to HENRY THE FIFTH. The second part of OLDCASTLE is wanting; I know not whether a copy of the old edition has been discovered in England, or whether it is lost. THE YORKSHIRE TRAGEDY is a tragedy in one act, a dramatized tale of murder: the tragical effect is overpowering, and it is extremely important to see how poetically Shakespeare could handle such a subject.

'There have been still farther ascribed to him: 1st. THE MERRY DEVIL OF EDMONTON, a comedy in one act, printed in Dodsley's old plays. This has certainly some appearances in its favour. It contains a merry landlord, who bears a great similarity to the one in the MERRY WIVES OF WINDSOR. However, at all events, though an ingenious, it is but a hasty sketch. 2nd. THE ACCUSATION OF PARIS. 3rd. THE BIRTH OF MERLIN. 4th. EDWARD THE THIRD. 5th. THE FAIR EMMA. 6th. MUCEDORUS. 7th. ARDEN OF FEVERSHAM. I have never seen any of these, and cannot therefore say anything respecting them. From the passages cited, I am led to conjecture that the subject of MUCEDORUS is the popular story of Valentine and Orson; a beautiful subject which Lope de Vega has also taken for a play. ARDEN OF FEVERSHAM is said to be a tragedy on the story of a man, from whom the poet was descended by the mother's side. If the quality of the piece is not too directly at variance with this claim, the circumstance would afford an additional probability in its favour. For such motives were not foreign to Shakespeare: he treated Henry the Seventh, who bestowed lands on his forefathers for services performed by them, with a visible partiality.

'Whoever takes from Shakespeare a play early ascribed to him, and confessedly belonging to his time, is unquestionably bound to answer, with some degree of probability, this question: who has then written it? Shakespeare's competitors in the dramatic walk are pretty well known, and if those of them who have even acquired a considerable name, a Lilly, a Marlow, a Heywood, are still so very far below him, we can hardly imagine that the author of a work, which rises so high beyond theirs, would have remained unknown'— LECTURES ON DRAMATIC LITERATURE, vol. ii, page 252.

We agree to the truth of this last observation, but not to the justice of its application to some of the plays here mentioned. It is true that Shakespeare's best works are very superior to those of Marlow, or Heywood, but it is not true that the best of the doubtful plays above enumerated are superior or even equal to the best of theirs. THE YORKSHIRE TRAGEDY, which Schlegel speaks of as an undoubted production of our author's, is much more in the manner of Heywood than of Shakespeare. The effect is indeed overpowering, but the mode of producing it is by no means poetical. The praise which Schlegel gives to THOMAS, LORD CROMWELL, and to SIR JOHN OLDCASTLE, is altogether exaggerated. They are very indifferent compositions, which have not the slightest pretensions to rank with HENRY V or HENRY VIII. We suspect that the German critic was not very well acquainted with the dramatic contemporaries of Shakespeare, or aware of their general merits; and that he accordingly mistakes a resemblance in style and manner for an equal degree of excellence. Shakespeare differed from the other writers of his age not in the mode of treating his subjects, but in the grace and power which he displayed in them. The reason assigned by a literary friend of Schlegel's for supposing THE PURITAN; OR, THE WIDOW OF WATLING STREET, to be Shakespeare's, viz. that it is in the style of Ben Jonson, that is to say, in a style just the reverse of his own, is not very satisfactory to a plain English understanding. LOCRINE, and THE LONDON PRODIGAL, if they were Shakespeare's at all, must have been among the sins of his youth. ARDEN OF FEVERSHAM contains several striking passages, but the passion which they express is rather that of a sanguine tem-perament than of a lofty imagination; and in this respect they approximate more nearly to the style of other writers of the time than to Shakespeare's. TITUS ANDRONICUS is certainly as unlike Shakespeare's usual style as it is possible. It is an accumulation of vulgar physical horrors, in which the power exercised by the poet bears no proportion to the repugnance excited by the subject. The character of Aaron the Moor is the only thing which shows any originality of conception; and the scene in which he expresses his joy 'at the blackness and ugliness of his child begot in adultery', the only one worthy of Shakespeare. Even this is worthy of him only in the display of power, for it gives no pleasure. Shakespeare managed these things differently. Nor do we think it a sufficient answer to say that this was an embryo or crude production of the author. In its kind it is full grown, and its features decided and overcharged. It is not like a first imperfect essay, but shows a confirmed habit, a systematic preference of violent effect to everything else. There are occasional detached images of great beauty and delicacy, but these were not beyond the powers of other writers then living. The circumstance which inclines us to reject the external evidence in favour of this play being Shakespeare's is, that the grammatical construction is constantly false and mixed up with vulgar abbreviations, a fault that never occurs in any of his genuine plays. A similar defect, and the halting measure of the verse are the chief objections to PERICLES OF TYRE, if we except the far-fetched and complicated absurdity of the story. The movement of the thoughts and passions has something in it not unlike Shakespeare, and several of the descriptions are either the original hints of passages which Shakespeare has engrafted on his other plays, or are imitations of them by some contemporary poet. The most memorable idea in it is in Marina's speech, where she compares the world to 'a lasting storm, hurrying her from her friends'.



POEMS AND SONNETS

Our idolatry of Shakespeare (not to say our admiration) ceases with his plays. In his other productions he was a mere author, though not a common author. It was only by representing others, that he became himself. He could go out of himself, and express the soul of Cleopatra; but in his own person, he appeared to be always waiting for the prompter's cue. In expressing the thoughts of others, he seemed inspired; in expressing his own, he was a mechanic. The licence of an assumed character was necessary to restore his genius to the privileges of nature, and to give him courage to break through the tyranny of fashion, the trammels of custom. In his plays, he was 'as broad and casing as the general air'; in his poems, on the contrary, he appears to be 'cooped, and cabined in' by all the technicalities of art, by all the petty intricacies of thought and language, which poetry had learned from the controversial jargon of the schools, where words had been made a substitute for things. There was, if we mistake not, something of modesty, and a painful sense of personal propriety at the bottom of this. Shakespeare's imagination, by identifying itself with the strongest characters in the most trying circumstances, grappled at once with nature, and trampled the littleness of art under his feet: the rapid changes of situation, the wide range of the universe, gave him life and spirit, and afforded full scope to his genius; but returned into his closet again, and having assumed the badge of his profession, he could only labour in his vocation, and conform himself to existing models. The thoughts, the passions, the words which the poet's pen, 'glancing from heaven to earth, from earth to heaven', lent to others, shook off the fetters 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 Shakespeare'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 Shakespeare, 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 laboured, up-hill 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 patchwork, 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 digression 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 overloaded by them. The concluding stanza expresses all our objections to this kind of poetry:

Oh! idle words, servants to shallow fools; Unprofitable sounds, weak arbitrators; Busy yourselves in skill-contending schools; Debate when leisure serves with dull debaters; To trembling clients be their mediators: For me I force not argument a straw, Since that my case is past all help of law.

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, Broad breast, full eyes, small head, and nostril wide, High crest, short ears, straight legs, and passing strong, Thin mane, thick tail, broad buttock, tender hide: Look, what a horse should have he did not lack, Save a proud rider on so proud a back.

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 Shakespeare'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 Shakespeare'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:

CONSTANCY

Let those who are in favour with their stars Of public honour and proud titles boast, Whilst I, whom fortune of such triumph bars, Unlook'd for joy in that I honour most. Great princes' favourites their fair leaves spread, But as the marigold in the sun's eye; And in themselves their pride lies buried, For at a frown they in their glory die. The painful warrior famous'd for fight, After a thousand victories once foil'd, Is from the book of honour razed quite, And all the rest forgot for which he toil'd: Then happy I, that love and am belov'd, Where I may not remove, nor be removed.

LOVE'S CONSOLATION

When in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd, Desiring this man's art, and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee,—and then my state (Like to the lark at break of day arising From sullen earth) sings hymns at heaven's gate; For thy sweet love remember'd, such wealth brings That then I scorn to change my state with kings.

NOVELTY

My love is strengthen'd, though more weak in seeming; I love not less, though less the show appear: That love is merchandiz'd, whose rich esteeming The owner's tongue doth publish every where. Our love was new, and then but in the spring, When I was wont to greet it with my lays; As Philomel in summer's front doth sing, And stops his pipe in growth of riper days: Not that the summer is less pleasant now Than when her mournful hymns did hush the night, But that wild music burthens every bough, And sweets grown common lose their dear delight. Therefore, like her, I sometime hold my tongue, Because I would not dull you with my song.

LIFE'S DECAY

That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day As after sunset fadeth in the west; Which by and by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire, That on the ashes of his youth doth lie, As the death-bed whereon it must expire Consum'd with that which it was nourish'd by. This thou perceiv'st, which makes thy love more strong, To love that well which thou must leave ere long.

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.

THE END