Sartor Resartus, and · Thomas Carlyle
THE HERO AS POET. DANTE; SHAKSPEARE.
Curious enough how, as it were by mere accident, this man came to us. I think always, so great, quiet, complete and self-sufficing is this Shakspeare, had the Warwickshire Squire not prosecuted him for deer-stealing, we had perhaps never heard of him as a Poet! The woods and skies, the rustic Life of Man in Stratford there, had been enough for this man! But indeed that strange outbudding of our whole English Existence, which we call the Elizabethan Era, did not it too come as of its own accord? The 'Tree Igdrasil' buds and withers by its own laws,--too deep for our scanning. Yet it does bud and wither, and every bough and leaf of it is there, by fixed eternal laws; not a Sir Thomas Lucy but comes at the hour fit for him. Curious, I say, and not sufficiently considered: how everything does coöperate with all; not a leaf rotting on the highway but is indissoluble portion of solar and stellar systems; no thought, word or act of man but has sprung withal out of all men, and works sooner or later, recognisably or irrecognisably, on all men! It is all a Tree: circulation of sap and influences, mutual communication of every minutest leaf with the lowest talon of a root, with every other greatest and minutest portion of the whole. The Tree Igdrasil, that has its roots down in the Kingdoms of Hela and Death, and whose boughs overspread the highest Heaven!--
In some sense it may be said that this glorious Elizabethan Era with its Shakspeare, as the outcome and flowerage of all which had preceded it, is itself attributable to the Catholicism of the Middle Ages. The Christian Faith, which was the theme of Dante's Song, had produced this Practical Life which Shakspeare was to sing. For Religion then, as it now and always is, was the soul of Practice; the primary vital fact in men's life. And remark here, as rather curious, that Middle-Age Catholicism was abolished, so far as Acts of Parliament could abolish it, before Shakspeare, the noblest product of it, made his appearance. He did make his appearance nevertheless. Nature at her own time, with Catholicism or what else might be necessary, sent him forth; taking small thought of Acts of Parliament. King-Henrys, Queen-Elizabeths go their way; and Nature too goes hers. Acts of Parliament, on the whole, are small, notwithstanding the noise they make. What Act of Parliament, debate at St. Stephen's, on the hustings or elsewhere, was it that brought this Shakspeare into being? No dining at Freemasons' Tavern, opening subscription-lists, selling of shares, and infinite other jangling and true or false endeavouring! This Elizabethan Era, and all its nobleness and blessedness, came without proclamation, preparation of ours. Priceless Shakspeare was the free gift of Nature; given altogether silently;--received altogether silently, as if it had been a thing of little account. And yet, very literally, it is a priceless thing. One should look at that side of matters too.
Of this Shakspeare of ours, perhaps the opinion one sometimes hears a little idolatrously expressed is, in fact, the right one; I think the best judgment not of this country only, but of Europe at large, is slowly pointing to the conclusion, That Shakspeare is the chief of all Poets hitherto; the greatest intellect who, in our recorded world, has left record of himself in the way of Literature. On the whole, I know not such a power of vision, such a faculty of thought, if we take all the characters of it, in any other man. Such a calmness of depth; placid joyous strength; all things imaged in that great soul of his so true and clear, as in a tranquil unfathomable sea! It has been said, that in the constructing of Shakspeare's Dramas there is, apart from all other 'faculties' as they are called, an understanding manifested, equal to that in Bacon's _Novum Organum_. That is true; and it is not a truth that strikes every one. It would become more apparent if we tried, any of us for himself, how, out of Shakspeare's dramatic materials, _we_ could fashion such a result!
The built house seems all so fit,--everyway as it should be, as if it came there by its own law and the nature of things,--we forget the rude disorderly quarry it was shaped from. The very perfection of the house, as if Nature herself had made it, hides the builder's merit. Perfect, more perfect than any other man, we may call Shakspeare in this: he discerns, knows as by instinct, what condition he works under, what his materials are, what his own force and its relation to them is. It is not a transitory glance of insight that will suffice; it is deliberate illumination of the whole matter; it is a calmly _seeing_ eye; a great intellect, in short. How a man, of some wide thing that he has witnessed, will construct a narrative, what kind of picture and delineation he will give of it,--is the best measure you could get of what intellect is in the man. Which circumstance is vital and shall stand prominent; which unessential, fit to be suppressed; where is the true _beginning_, the true sequence and ending? To find out this, you task the whole force of insight that is in the man. He must _understand_ the thing; according to the depth of his understanding, will the fitness of his answer be. You will try him so. Does like join itself to like; does the spirit of method stir in that confusion, so that its embroilment becomes order? Can the man say, _Fiat lux_, Let there be light; and out of chaos make a world? Precisely as there is _light_ in himself, will he accomplish this.
Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakspeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakspeare. The thing he looks at reveals not this or that face of it, but its inmost heart, and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this too but _seeing_ the thing sufficiently? The _word_ that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakspeare's _morality_, his valour, candour, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world! No _twisted_, poor convex-concave mirror, reflecting all objects with its own convexities and concavities; a perfectly _level_ mirror;--that is to say withal, if we will understand it, a man justly related to all things and men, a good man. It is truly a lordly spectacle how this great soul takes-in all kinds of men and objects, a Falstaff, an Othello, a Juliet, a Coriolanus; sets them all forth to us in their round completeness; loving, just, the equal brother of all. _Novum Organum_, and all the intellect you will find in Bacon, is of a quite secondary order; earthly, material, poor in comparison with this. Among modern men, one finds, in strictness, almost nothing of the same rank. Goethe alone, since the days of Shakspeare, reminds me of it. Of him too you say that he _saw_ the object; you may say what he himself says of Shakspeare: 'His characters are like watches with dial-plates of transparent crystal; they show you the hour like others, and the inward mechanism also is all visible.'
The seeing eye! It is this that discloses the inner harmony of things; what Nature meant, what musical idea Nature has wrapped-up in these often rough embodiments. Something she did mean. To the seeing eye that something were discernible. Are they base, miserable things? You can laugh over them, you can weep over them; you can in some way or other genially relate yourself to them;--you can, at lowest, hold your peace about them, turn away your own and others' face from them, till the hour come for practically exterminating and extinguishing them! At bottom, it is the Poet's first gift, as it is all men's, that he have intellect enough. He will be a Poet if he have: a Poet in word; or failing that, perhaps still better, a Poet in act. Whether he write at all; and if so, whether in prose or in verse, will depend on accidents: who knows on what extremely trivial accidents,--perhaps on his having had a singing-master, on his being taught to sing in his boyhood!
But the faculty which enables him to discern the inner heart of things, and the harmony that dwells there (for whatsoever exists has a harmony in the heart of it, or it would not hold together and exist), is not the result of habits or accidents, but the gift of Nature herself; the primary outfit for a Heroic Man in what sort soever. To the Poet, as to every other, we say first of all, _See_. If you cannot do that, it is of no use to keep stringing rhymes together, jingling sensibilities against each other, and _name_ yourself a Poet; there is no hope for you. If you can, there is, in prose or verse, in action or speculation, all manner of hope. The crabbed old Schoolmaster used to ask, when they brought him a new pupil, "But are ye sure he's _not a dunce_?" Why, really one might ask the same thing in regard to every man proposed for whatsoever function; and consider it as the one inquiry needful: Are ye sure he's not a dunce? There is, in this world, no other entirely fatal person.
For, in fact, I say the degree of vision that dwells in a man is a correct measure of the man. If called to define Shakspeare's faculty, I should say superiority of Intellect, and think I had included all under that. What indeed are faculties? We talk of faculties as if they were distinct, things separable; as if a man had intellect, imagination, fancy, &c, as he has hands, feet and arms. That is a capital error. Then again, we hear of a man's 'intellectual nature,' and of his 'moral nature,' as if these again were divisible, and existed apart. Necessities of language do perhaps prescribe such forms of utterance; we must speak, I am aware, in that way, if we are to speak at all. But words ought not to harden into things for us. It seems to me, our apprehension of this matter is, for the most part, radically falsified thereby. We ought to know withal, and to keep for ever in mind, that these divisions are at bottom but _names_; that man's spiritual nature, the vital Force which dwells in him, is essentially one and indivisible; that what we call imagination, fancy, understanding, and so forth, are but different figures of the same Power of Insight, all indissolubly connected with each other, physiognomically related; that if we knew one of them, we might know all of them. Morality itself, what we call the moral quality of a man, what is this but another _side_ of the one vital Force whereby he is and works? All that a man does is physiognomical of him. You may see how a man would fight, by the way in which he sings; his courage, or want of courage, is visible in the word he utters, in the opinion he has formed, no less than in the stroke he strikes. He is _one_; and preaches the same Self abroad in all these ways.
Without hands a man might have feet, and could still walk: but, consider it,--without morality, intellect were impossible for him; a thoroughly immoral _man_ could not know anything at all! To know a thing, what we can call knowing, a man must first _love_ the thing, sympathise with it: that is, be _virtuously_ related to it. If he have not the justice to put down his own selfishness at every turn, the courage to stand by the dangerous-true at every turn, how shall he know? His virtues, all of them, will lie recorded in his knowledge. Nature, with her truth, remains to the bad, to the selfish and the pusillanimous forever a sealed book: what such can know of Nature is mean, superficial, small; for the uses of the day merely.--But does not the very Fox know something of Nature? Exactly so: it knows where the geese lodge! The human Reynard, very frequent everywhere in the world, what more does he know but this and the like of this? Nay, it should be considered, too, that if the Fox had not a certain vulpine _morality_, he could not even know where the geese were, or get at the geese! If he spent his time in splenetic atrabiliar reflections on his own misery, his ill usage by Nature, Fortune and other Foxes, and so forth; and had not courage, promptitude, practicality, and other suitable vulpine gifts and graces, he would catch no geese. We may say of the Fox too, that his morality and insight are of the same dimensions; different faces of the same internal unity of vulpine life!--These things are worth stating; for the contrary of them acts with manifold very baleful perversion, in this time: what limitations, modifications they require, your own candour will supply.
If I say, therefore, that Shakspeare is the greatest of Intellects, I have said all concerning him. But there is more in Shakspeare's intellect than we have yet seen. It is what I call an unconscious intellect; there is more virtue in it than he himself is aware of. Novalis beautifully remarks of him, that those Dramas of his are Products of Nature too, deep as Nature herself. I find a great truth in this saying. Shakspeare's Art is not Artifice; the noblest worth of it is not there by plan or precontrivance. It grows-up from the deeps of Nature, through this noble sincere soul, who is a voice of Nature. The latest generations of men will find new meanings in Shakspeare, new elucidations of their own human being; 'new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man.' This well deserves meditating. It is Nature's highest reward to a true simple great soul, that he get thus to be a _part of herself_. Such a man's works, whatsoever he with utmost conscious exertion and forethought shall accomplish, grow up withal unconsciously, from the unknown deeps in him;--as the oak-tree grows from the Earth's bosom, as the mountains and waters shape themselves; with a symmetry grounded on Nature's own laws, conformable to all Truth whatsoever. How much in Shakspeare lies hid; his sorrows, his silent struggles known to himself; much that was not known at all, not speakable at all; like _roots_, like sap and forces working underground! Speech is great; but Silence is greater.
Withal the joyful tranquillity of this man is notable. I will not blame Dante for his misery: it is as battle without victory; but true battle,--the first, indispensable thing. Yet I call Shakspeare greater than Dante, in that he fought truly, and did conquer. Doubt it not, he had his own sorrows: those _Sonnets_ of his will even testify expressly in what deep waters he had waded, and swum struggling for his life;--as what man like him ever failed to have to do? It seems to me a heedless notion, our common one, that he sat like a bird on the bough; and sang forth, free and offhand, never knowing the troubles of other men. Not so; with no man is it so. How could a man travel forward from rustic deer-poaching to such tragedy-writing, and not fall-in with sorrows by the way? Or, still better, how could a man delineate a Hamlet, a Coriolanus, a Macbeth, so many suffering heroic hearts, if his own heroic heart had never suffered?--And now, in contrast with all this, observe his mirthfulness, his genuine overflowing love of laughter! You would say, in no point does he _exaggerate_ but only in laughter.
We have no room to speak of Shakspeare's individual works; though perhaps there is much still waiting to be said on that head. Had we, for instance, all his plays reviewed as _Hamlet_, in _Wilhelm Meister_, is! A thing which might, one day, be done. August Wilhelm Schlegel has a remark on his Historical Plays, _Henry Fifth_ and the others, which is worth remembering. He calls them a kind of National Epic. Marlborough, you recollect, said, he knew no English History but what he had learned from Shakspeare. There are really, if we look to it, few as memorable Histories. The great salient points are admirably seized; all rounds itself off, into a kind of rhythmic coherence; it is, as Schlegel says, _epic_;--as indeed all delineation by a great thinker will be. There are right beautiful things in those Pieces, which indeed together form one beautiful thing. That battle of Agincourt strikes me as one of the most perfect things, in its sort, we anywhere have of Shakspeare's. The description of the two hosts: the worn-out, jaded English; the dread hour, big with destiny, when the battle shall begin; and then that deathless valour: "Ye good yeomen, whose limbs were made in England!" There is a noble Patriotism in it,--far other than the 'indifference' you sometimes hear ascribed to Shakspeare. A true English heart breathes, calm and strong, through the whole business; not boisterous, protrusive; all the better for that. There is a sound in it like the ring of steel. This man too had a right stroke in him, had it come to that!
But I will say, of Shakspeare's works generally, that we have no full impress of him there; even as full as we have of many men. His works are so many windows, through which we see a glimpse of the world that was in him. All his works seem, comparatively speaking, cursory, imperfect, written under cramping circumstances; giving only here and there a note of the full utterance of the man. Passages there are that come upon you like splendour out of Heaven; bursts of radiance, illuminating the very heart of the thing: you say, "That is _true_, spoken once and forever; wheresoever and whensoever there is an open human soul, that will be recognised as true!" Such bursts, however, make us feel that the surrounding matter is not radiant; that it is, in part, temporary, conventional. Alas, Shakspeare had to write for the Globe Play-house: his great soul had to crush itself, as it could, into that and no other mould. It was with him, then, as it is with us all. No man works save under conditions. The sculptor cannot set his own free Thought before us; but his Thought as he could translate it into the stone that was given, with the tools that were given. _Disjecta membra_ are all that we find of any Poet, or of any man.
But call it worship, call it what you will, is it not a right glorious thing, and set of things, this that Shakspeare has brought us? For myself, I feel that there is actually a kind of sacredness in the fact of such a man being sent into this Earth. Is he not an eye to us all; a blessed heaven-sent Bringer of Light?--And, at bottom, was it not perhaps far better that this Shakspeare, everyway an unconscious man, was _conscious_ of no Heavenly message? He did not feel, like Mahomet, because he saw into those internal Splendours, that he specially was the 'Prophet of God:' and was he not greater than Mahomet in that? Greater; and also, if we compute strictly, as we did in Dante's case, more successful. It was intrinsically an error that notion of Mahomet's, of his supreme Prophethood: and has come down to us inextricably involved in error to this day; dragging along with it such a coil of fables, impurities, intolerances, as makes it a questionable step for me here and now to say, as I have done, that Mahomet was a true Speaker at all, and not rather an ambitious charlatan, perversity and simulacrum; no Speaker, but a Babbler! Even in Arabia, as I compute, Mahomet will have exhausted himself and become obsolete, while this Shakspeare, this Dante may still be young;--while this Shakspeare may still pretend to be a Priest of Mankind, of Arabia as of other places, for unlimited periods to come!
Well: this is our poor Warwickshire Peasant, who rose to be Manager of a Playhouse, so that he could live without begging; whom the Earl of Southampton cast some kind glances on; whom Sir Thomas Lucy, many thanks to him, was for sending to the Treadmill! We did not account him a god, like Odin, while he dwelt with us;--on which point there were much to be said. But I will say rather, or repeat: In spite of the sad state Hero-worship now lies in, consider what this Shakspeare has actually become among us. Which Englishman we ever made, in this land of ours, which million of Englishmen, would we not give-up rather than the Stratford Peasant? There is no regiment of highest Dignitaries that we would sell him for. He is the grandest thing we have yet done. For our honour among foreign nations, as an ornament to our English Household, what item is there that we would not surrender rather than him? Consider now, if they asked us, Will you give-up your Indian Empire or your Shakspeare, you English; never have had any Indian Empire, or never have had any Shakspeare? Really it were a grave question. Official persons would answer doubtless in official language; but we, for our part too, should not we be forced to answer: Indian Empire, or no Indian Empire; we cannot do without Shakspeare! Indian Empire will go, at any rate, some day; but this Shakspeare does not go, he lasts forever with us; we cannot give-up our Shakspeare!
Nay, apart from spiritualities; and considering him merely as a real, marketable, tangibly-useful possession. England, before long, this Island of ours, will hold but a small fraction of the English: in America, in New Holland, east and west to the very Antipodes, there will be a Saxondom covering great spaces of the Globe. And now, what is it that can keep all these together into virtually one Nation, so that they do not fall-out and fight, but live at peace, in brotherlike intercourse, helping one another? This is justly regarded as the greatest practical problem, the thing all manner of sovereignties and governments are here to accomplish: what is it that will accomplish this? Acts of Parliament, administrative prime-ministers cannot. America is parted from us, so far as Parliament could part it. Call it not fantastic, for there is much reality in it: Here, I say, is an English King, whom no time or chance, Parliament or combination of Parliaments, can dethrone! This King Shakspeare, does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying-signs; indestructible; really more valuable in that point of view than any other means or appliance whatsoever? We can fancy him as radiant aloft over all the Nations of Englishmen, a thousand years hence. From Paramatta, from New York, wheresoever, under what sort of Parish-Constable soever, English men and women are, they will say to one another: "Yes, this Shakspeare is ours; we produced him, we speak and think by him; we are of one blood and kind with him." The most common-sense politician too, if he pleases, may think of that.
Yes, truly, it is a great thing for a Nation that it get an articulate voice; that it produce a man who will speak-forth melodiously what the heart of it means! Italy, for example, poor Italy lies dismembered, scattered asunder, not appearing in any protocol or treaty as a unity at all; yet the noble Italy is actually _one_: Italy produced its Dante; Italy can speak! The Czar of all the Russias, he is strong, with so many bayonets, Cossacks and cannons; and does a great feat in keeping such a tract of Earth politically together; but he cannot yet speak. Something great in him, but it is a dumb greatness. He has had no voice of genius, to be heard of all men and times. He must learn to speak. He is a great dumb monster hitherto. His cannons and Cossacks will all have rusted into nonentity, while that Dante's voice is still audible. The Nation that has a Dante is bound together as no dumb Russia can be.--We must here end what we had to say of the _Hero-Poet_.
Ideas discussed in this chapter
Text from Project Gutenberg, public domain in the United States.