Oxford Lectures on Poetry

164

The suggested inference, of course, is that this speech, thus out of character, and Hamlet’s ‘To be or not to be’ (though that is in character), show us Shakespeare’s own mind. It has force, I think, but not compulsory force. The topics of these speeches are, in the old sense of the word, commonplaces. Shakespeare may have felt, Here is my chance to show what I can do with certain feelings and thoughts of supreme interest to men of all times and places and modes of belief. It would not follow from this that they are not ‘personal,’ but any inference to a non-acceptance of received religious ideas would be much weakened. (‘All the world’s a stage’ is a patent example of the suggested elaboration of a commonplace.)

165

What actions in particular his conscience approved and disapproved is another question and one not relevant here.

166

This does not at all imply to Shakespeare, so far as we see, that evil is never to be forcibly resisted.

167

I do not mean to reject the idea that in some passages in the Tempest Shakespeare, while he wrote them with a dramatic purpose, also thought of himself. It seems to me likely. And if so, there may have been such a thought in the words,

And thence retire me to my Milan, whereEvery third thought shall be my grave;

and also in those lines about prayer and pardon which close the Epilogue, and to my ear come with a sudden effect of great seriousness, contrasting most strangely with their context. If they had a grave and personal under-meaning it cannot have been intended for the audience, which would take the prayer as addressed to itself.

168

It may be added that As You Like It, though idyllic, is not so falsely idyllic as some critics would make it. It is based, we may roughly say, on a contrast between court and country; but those who inhale virtue from the woodland are courtiers who bring virtue with them, and the country has its churlish masters and unkind or uncouth maidens.

169

This has been strongly urged and fully illustrated by Mr. Harris.

170

It may be suggested that, in the catalogue above, I should have mentioned that imaginative ‘unreality’ in love referred to on p. 326. But I do not see in Hamlet either this, or any sign that he took Ophelia for an Imogen or even a Juliet, though naturally he was less clearly aware of her deficiencies than Shakespeare.

I may add, however, another item to the catalogue. We do not feel that the problems presented to most of the tragic heroes could have been fatal to Shakespeare himself. The immense breadth and clearness of his intellect would have saved him from the fate of Othello, Troilus, or Antony. But we do feel, I think, and he himself may have felt, that he could not have coped with Hamlet’s problem; and there is no improbability in the idea that he may have experienced in some degree the melancholia of his hero.

171

This, one may suspect, was also the position of Webster, who praises Shakespeare, but groups him with Dekker and Heywood, and mentions him after Chapman, Jonson, and Beaumont and Fletcher (Preface to the White Devil).

172

I am obliged to speak summarily. Some of these things declined in popularity as time went on.

173

The examples just cited show his method at its best, and it would be easy to mention others far less satisfactory. Nor do I doubt that his plays would be much more free from blemishes of various kinds if his audience had added to their virtues greater cultivation. On the other hand the question whether, or how far, he knowingly ‘wrote down to’ his audience, in the sense of giving it what he despised, seems to me very difficult, if not impossible, to answer: and I may mention some causes of this difficulty.

(1) There is no general presumption against interpolations in an Elizabethan drama published piratically or after the author’s death. We have, further, positive grounds of the strongest kind for believing that ‘Shakespeare’s plays’ contain a good deal that Shakespeare never wrote. We cannot therefore simply take it for granted that he wrote every silly or offensive thing that we find in the volume; and least of all should we do this when the passage is more or less irrelevant and particularly easy to excise. I do not say that these considerations have great importance here, but they have some; and readers of Shakespeare, and even some scholars, constantly tend to forget them, and to regard the texts as if they had been published by himself, or by scrupulously careful men of letters immediately after his death.

(2) We must never take for granted that what seems to us feeble or bad seemed so to Shakespeare. Evidently he was amused by puns and quips and verbal ingenuities in which most of us find little entertainment. Gross jokes, scarcely redeemed in our eyes by their humour, may have diverted him. He sometimes writes, and clearly in good faith, what seems to us bombastic or ‘conceited.’ So far as this was the case he was not writing down to his audience. He shared its tastes, or the tastes of some section of it. So it may have been, again, with such a blot as the blinding of Gloucester on the open stage.

(3) Jonson defied his audience, yet he wrote a good deal that we think bad. In the same way certain of Shakespeare’s faults cannot be due to condescension to his audience: e. g. the obscurities and distortions of language not infrequent in his later plays. And this may be so with some faults which have the appearance of arising from that condescension.

(4) Other defects again he might have deliberately defended; e. g. the highly improbable conclusions and the distressing mis-marriages of some of the comedies. ‘It is of the essence of romantic comedy,’ he might have said, ‘to treat such things with indifference. There is a convention that you should take the characters with some degree of seriousness while they are in difficulties, and should cease to do so when they are to be delivered from them.’ Do not we ourselves adopt this point of view to some extent when we go to the theatre now?

I added this note after reading Mr. Bridges’s very interesting and original contribution to the Stratford Town edition of Shakespeare (vol x.). I disagree with some of Mr. Bridges’s remarks, and am not always repelled by things that he dislikes. But this brief note is not, of course, meant for an answer to his paper; it merely suggests reasons for at least diminishing the proportion of defect attributable to a conscious sacrifice of art to the tastes of the audience.

174

To us their first appearance is of interest chiefly because it introduces the soliloquy ‘How all occasions.’ But, it is amusing to notice, the Folio, which probably represents the acting version in 1623, omits the soliloquy but retains the marching soldiers.

175

I do not refer to the Globe.

176

The latter, no doubt, accompanied by the band, except when the clown played the tabor while he danced alone.

177

This may possibly be one of the signs that Macbeth was altered after Shakespeare’s retirement or death.

178

Surely every company that plays Shakespeare should include a boy. There would then be no excuse for giving to a woman such parts as Ariel and Brutus’s boy Lucius.

179

This question will not be answered by the citation of one famous speech of Cleopatra’s – a speech, too, which is strictly in character. But, as to this matter and the other considerations put forward above, I must add that, while my impression is that what has been said of Shakespeare holds of most of the contemporary dramatists, I have not verified it by a research. A student looking for a subject for his thesis might well undertake such a research.

180

When the lecture was given (in 1902) I went more fully into details, having arrived at certain conclusions mainly by an examination of Elizabethan dramas. I suppress them here because I have been unable to study all that has since been written on the Elizabethan stage. The reader who is interested in the subject should refer in the first instance to an excellent article by Mr. Archer in the Quarterly Review for April, 1908.

181

This is a description of a public theatre. A private one, it will be remembered, had seats in the area (there called the pit), was completely roofed, and could be darkened.

182

‘The doors are open, and the surfeited grooms Do mock their charge with snores,’ says Lady Macbeth on the stage below; and no doubt the tiring-house doors were open.

183

This view, into the grounds of which I cannot go, implies that Juliet’s bedroom was, in one scene, the upper stage, and, in another, the back stage; but the Elizabethans, I believe, would make no difficulty about that.

184

Perhaps. It seems necessary to suppose that the sides of the backstage, as well as its front, could be open; otherwise many of the spectators could not have seen what took place there. But it is not necessary, so far as I remember, to suppose that the sides could be closed by curtains. The Elizabethans probably would not have been troubled by seeing dead bodies get up and go into the tiring-house when a play or even a scene was over.

185

Where this contrivance was used at all it probably only announced the general place of the action throughout the play: e. g. Denmark, or, a little more fully, Verona, Mantua.

186

It is possibly significant that Macbeth and the Tempest, plays containing more ‘shews’ than most, are exceptionally short.

187

It suffices for this rough experiment to read a column in an edition like the Globe, and then to multiply the time taken by the number of columns in the play.

188

I do not know whether the average size of our theatres differs much from that of the Elizabethan. The diameter of the area at the Fortune and the Globe seems to have been fifty feet.

189

I mean by a scene a section of a play before and after which the stage is unoccupied. Most editions of Shakespeare are faulty in the division of scenes (see Shakespearean Tragedy, p. 451).

190

So it very nearly does in some Restoration comedies. In the Way of the World the scenery is changed only twice in the five acts, though there are more than five scenes.

191

The ‘back’ stage, which had curtains, must, I suppose, have been too small to accommodate the number of persons commonly present, alive or dead, at the close of a tragedy. I do not know if any recent writer has raised and discussed the questions how often the back stage is used in the last scene of an Elizabethan play, and, again, whether it is often employed at all in order to produce, by the closing of the curtains, the kind of effect referred to in the paragraph above. Perhaps the fact that the curtains had to be closed by an actor, within them or without, made this effect impossible. Or perhaps it was not desired. In Shakespeare’s tragedies, if my memory serves me, the only sudden or startling appeals of an outward kind (apart, of course, from actions) are those produced by supernatural appearances and disappearances, as in Hamlet and Macbeth. These, we have seen, were usually managed by means of the trap-door, which, it would seem from some passages, must have been rather large. These matters deserve investigation if they have not already received it.

192

I do not refer to such deliberate and sustained effort as a reader may sometimes make. It is not commonly realised that continuous attention to any imaginative or intellectual matter, however enjoyable, involves considerable strain. If at a lecture or sermon a careless person makes himself observable in arriving late or leaving early, the eyes of half the audience will turn to him and follow him. And the reason is not always that the speaker bores them; it is that involuntarily they seek relief from this strain. The same thing may be seen in the concert-room or theatre, but very much less at a panorama, because the mere use of the eyes, even when continuous, is comparatively easy.

193

I am not referring here, or elsewhere, to such a moderate use of scenery in Shakespearean performances as most of our actor-managers (e. g. Mr. Benson) now adopt. I regret it in so far as it involves a curtailing of the play; but I do not think it withdraws from the play any attention that is of value, and for some of the audience it probably heightens the dramatic effect. Still, in my belief, it would be desirable to decrease it, because the less there is of it, the more is good acting necessary, and the more of the play itself can be acted. Some use of scenery, with its consequences to the play, must unquestionably be accepted as the rule, but I would add that it ought always to be possible for us to see performances, such as we owed to Mr. Poel, nearer to those of Shakespeare’s time.

194

When, in the time of Malone and Steevens, the question was debated whether Shakespeare’s stage had scenery, it was argued that it must have had it, because otherwise the contrast between the words and the visible stage in the passage referred to would have been hopelessly ludicrous.

195

‘Enter invisible’ (a common stage-direction) means ‘Enter in the dress which means to the audience that you are invisible.’

196

Probably he never needed to think of the audience, but wrote what pleased his own imagination, which, like theirs, was not only dramatic but, in the best sense, theatrical.

197

Their abundance in Hamlet results partly from the character of the hero. They helped, however, to make that play too long; and the omission of ‘How all occasions’ from the Folio doubtless means that the company cut this soliloquy (whether they did so in the author’s life-time we cannot tell). It may be noticed that, where a play shows clear signs of revision by Shakespeare himself, we rarely find a disposition to shorten long poetical speeches.

198

As the order of the lectures has been changed for the purposes of publication, I have been obliged to move these concluding sentences from their original place at the end of the lecture on The Long Poem in the Age of Wordsworth.