第44章

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 valor: "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 splendor 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 recognized 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 Playhouse: 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.

Whoever looks intelligently at this Shakspeare may recognize that he too was a _Prophet_, in his way; of an insight analogous to the Prophetic, though he took it up in another strain. Nature seemed to this man also divine; unspeakable, deep as Tophet, high as Heaven; "We are such stuff as Dreams are made of!" That scroll in Westminster Abbey, which few read with understanding, is of the depth of any seer. But the man sang; did not preach, except musically. We called Dante the melodious Priest of Middle-Age Catholicism. May we not call Shakspeare the still more melodious Priest of a _true_ Catholicism, the "Universal Church" of the Future and of all times? No narrow superstition, harsh asceticism, intolerance, fanatical fierceness or perversion: a Revelation, so far as it goes, that such a thousand-fold hidden beauty and divineness dwells in all Nature; which let all men worship as they can! We may say without offence, that there rises a kind of universal Psalm out of this Shakspeare too; not unfit to make itself heard among the still more sacred Psalms.

Not in disharmony with these, if we understood them, but in harmony!--Icannot call this Shakspeare a "Sceptic," as some do; his indifference to the creeds and theological quarrels of his time misleading them. No:

neither unpatriotic, though he says little about his Patriotism; nor sceptic, though he says little about his Faith. Such "indifference" was the fruit of his greatness withal: his whole heart was in his own grand sphere of worship (we may call it such); these other controversies, vitally important to other men, were not vital to him.