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Preface to Shakespeare

Автор Samuel Johnson

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Дата написания1970-01-01

Язык книгиen

Возрастное ограничение0+

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ACT III. SCENE viii. (III. v. 84.)

And, yet, no Man like he doth grieve my heart.

Juliet's equivocations are rather too artful for a mind disturbed by the loss of a new lover.

ACT IV. SCENE iii. (IV. iii. 2-3.)

Leave me to myself to-night; For I have need of many orisons.

Juliet plays most of her pranks under the appearance of religion: perhaps Shakespeare meant to punish her hypocrisy.

ACT V. SCENE i. (V. i. 3.)

My bosom's Lord sits lightly on this throne, &c.

These three lines are very gay and pleasing. But why does Shakespeare give Romeo this involuntary cheerfulness just before the extremity of unhappiness? Perhaps to shew the vanity of trusting to those uncertain and casual exaltations or depressions, which many consider as certain foretokens of good and evil.

ACT V. SCENE v. (v. iii. 229.)

FRIAR. I will be brief.

It is much to be lamented that the Poet did not conclude the dialogue with the action, and avoid a narrative of events which the audience already knew. This play is one of the most pleasing of our Author's performances. The scenes are busy and various, the incidents numerous and important, the catastrophe irresistably affecting and the process of the action carried on with such probability at least with such congruity to popular opinions, as tragedy requires.

Here is one of the few attempts of Shakespeare to exhibit the conversation of gentlemen, to represent the airy sprightliness of juvenile elegance. Mr. Dryden mentions a tradition which might easily reach his time, of a declaration made by Shakespeare, that he was obliged to kill Mercutio in the third act, lest he should have been killed by him. Yet he thinks him no such formidable person, but that he might have lived through the play, and died in his bed, without danger to a poet. Dryden well knew, had he been in quest of truth, that, in a pointed sentence, more regard is commonly had to the word than the thought, and that it is very seldom to be rigorously understood. Mercutio's wit, gaiety and courage, will always procure him friends that wish him a longer life; but his death is not precipitated, he has lived out the time allotted him in the construction of the play; nor do I doubt the ability of Shakespeare to have continued his existence, though some of his sallies are perhaps out of the reach of Dryden; whose genius was not very fertile of merriment, nor ductile to humour, but acute, argumentative, comprehensive, and sublime.

The Nurse is one of the characters in which the Authour delighted: he has, with great subtility of distinction, drawn her at once loquacious and secret, obsequious and insolent, trusty and dishonest.

His comick scenes are happily wrought, but his pathetick strains are always polluted with some unexpected depravations. His persons, however distressed, HAVE A CONCEIT LEFT THEM IN THEIR MISERY, A MISERABLE CONCEIT.

HAMLET

ACT II. SCENE ii. (II. i. 114-17.)

It is as proper to our age To cast beyond ourselves in our opinions, As it is common for the younger sort

To lack discretion. This is not the remark of a weak man. The vice of age is too much suspicion. Men long accustomed to the wiles of life "cast" commonly "beyond themselves", let their cunning go further than reason can attend it. This is always the fault of a little mind, made artful by long commerce with the world.

ACT II. SCENE iv. (II. ii.)

Polonius is a man bred in courts, exercised in business, stored with observation, confident of his knowledge, proud of his eloquence, and declining into dotage. His mode of oratory is truly represented as designed to ridicule the practice of those times, of prefaces that made no introduction, and of method that embarrassed rather than explained. This part of his character is accidental, the rest is natural. Such a man is positive and confident, because he knows that his mind was once strong, and knows not that it is become weak. Such a man excels in general principles, but fails in the particular application. He is knowing in retrospect, and ignorant in foresight. While he depends upon his memory, and can draw from his repositories of knowledge, he utters weighty sentences, and gives useful counsel; but as the mind in its enfeebled state cannot be kept long busy and intent, the old man is subject to sudden dereliction of his faculties, he loses the order of his ideas, and entangles himself in his own thoughts, till he recovers the leading principle, and falls again into his former train. This idea of dotage encroaching upon wisdom, will solve all the phenomena of the character of Polonius.

If the dramas of Shakespeare were to be characterised, each by the particular excellence which distinguishes it from the rest, we must allow to the tragedy of HAMLET the praise of variety. The incidents are so numerous, that the argument of the play would make a long tale. The scenes are interchangeably diversified with merriment and solemnity; with merriment that includes judicious and instructive observations, and solemnity, not strained by poetical violence above the natural sentiments of man. New characters appear from time to time in continual succession, exhibiting various forms of life and particular modes of conversation. The pretended madness of HAMLET causes much mirth, the mournful distraction of OPHELIA fills the heart with tenderness, and every personage produces the effect intended, from the apparition that in the first act chills the blood with horror, to the fop in the last that exposes affectation to just contempt.

The conduct is perhaps not wholly secure against objections. The action is indeed for the most part in continual progression, but there are some scenes which neither forward nor retard it. Of the feigned madness of Hamlet there appears no adequate cause, for he does nothing which he might not have done with the reputation of sanity. He plays the madman most, when he treats Ophelia with so much rudeness, which seems to be useless and wanton cruelty.

Hamlet is, through the whole play, rather an instrument than an agent. After he has, by the stratagem of the play, convicted the King, he makes no attempt to punish him, and his death is at last effected by an incident which Hamlet has no part in producing.

The catastrophe is not very happily produced; the exchange of weapons is rather an expedient of necessity, than a stroke of art. A scheme might easily have been formed, to kill Hamlet with the dagger, and Laertes with the bowl.

The poet is accused of having shewn little regard to poetical justice, and may be charged with equal neglect of poetical probability. The apparition left the regions of the dead to little purpose; the revenge which he demands is not obtained but by the death of him that was required to take it; and the gratification which would arise from the destruction of an usurper and a murderer, is abated by the untimely death of Ophelia, the young, the beautiful, the harmless, and the pious.

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