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possesses in a more eminent degree than Shakespeare, the power of imitating the passions. All of them seem familiar to him; the boisterous no less than the gentle; the benign no less than the malignant. There are several writers, as there are many players, who are successful in imitating some particular passions, but who appear stiff, aukward, and unnatural, in the expression of others. Some are capable of exhibiting very striking representations of resolute and intrepid natures, but cannot so easily bend themselves to those that are softer and more complacent. Others, again, seem full of amiable affection and tenderness, but cannot exalt themselves to the boldness of the hero, or magnanimity of the patriot. The genius of Shakespeare is unlimited. Possessing extreme sensibility, and uncommonly susceptible, he is the Proteus of the drama; he changes himself into every character, and enters easily into every condition of human nature.

O youths and virgins! O declining eld!
O pale misfortune's slaves! O ye who dwell
Unknown with humble quiet! Ye who wait
In courts, and fill the golden seat of kings:

O sons of sport and pleasure! O thou wretch
That weep'st for jealous love, and the sore wound
Of conscious guilt, or death's rapacious hand,
That left the void of hope! O ye who mourn

In exile! Ye who thro' th' embattled field

Seek bright renown; or who for nobler palms
Contend, the leaders of a public cause!
Hath not his faithful tongue

Told

you the fashion of your own estate, The secrets of your bosom * ?

Many dramatic writers of different ages are capable, occasionally, of breaking out with great fervour of genius in the natural language of strong emotion. No writer of antiquity is more distinguished for abilities of this kind than Euripides. His whole heart and soul seem torn and agitated by the force of the passion he imitates. He ceases to be Euripides; he is Medea; he is Orestes. Shakespeare, however, is most eminently distinguished, not only by these occasional sallies, but by imitating the passion in all its aspects, by pursuing it through all its windings and labyrinths, by moderating or accelerating its impetuosity according to the influence of other principles and of ex

* Akenside.

ternal events, and finally by combining it in a judicious manner with other passions and propensities, or by setting it aptly in opposition. He thus unites the two essential powers of dramatic invention, that of forming characters; and that of imitating, in their natural expressions, the passions and affections of which they are composed. It is, therefore, my intention to examine some of his remarkable characters, and to analyze their component parts. An exercise no less adapted to improve the heart, than to inform the understanding. My intention is to make poetry subservient to philosophy, and to employ it in tracing the principles. of human conduct. The design surely is laudable: of the execution, I have no right to determine.

D

ESSAY I.

ON THE CHARACTER OF MACBETH.

THE human mind, in different situations and circumstances, undergoes many extraordinary changes, and assumes a variety of different aspects. Men of gaiety and cheerfulness become reserved and unsocial: the beneficent temper, losing its kindness and complacency, becomes morose and uncomplying the indolent man leaves his retirement: the man of business becomes inactive: and men of gentle and kind affections acquire habits of cruelty and revenge. As these changes affect the temper, and not the faculties of the mind, they are produced by irregular and outrageous passions. In order, therefore, to explain any unusual alteration of temper or character, we must consider

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