Blackwood's Edinburgh Magazine - Volume 57, No. 352, February 1845. Various
to alter, found 'em such,
He shook, and thought it sacrilege to touch.
Now, where are the successors to my name?
What bring they to fill out a poet's fame?
Weak, short-lived issues of a feeble age;
Scarce living to be christen'd on the stage!
For humour farce, for love they rhyme dispense,
That tolls the knell for their departed sense.
Dulness, that in a playhouse meets disgrace,
Might meet with reverence in its proper place.
The fulsome clench that nauseates the town,
Would from a judge or alderman go down —
Such virtue is there in a robe and gown!
And that insipid stuff which here you hate,
Might somewhere else be call'd a grave debate:
Dulness is decent in the church and state.
But I forget that still 'tis understood
Bad plays are best decried by showing good.
Sit silent, then, that my pleased soul may see
A judging audience once, and worthy me.
My faithful scene from true records shall tell,
How Trojan valour did the Greek excel;
Your great forefathers shall their fame regain,
And Homer's angry ghost repine in vain."
The best hand of any man that ever lived, at prologue and epilogue, was Dryden. And here he showed himself to be the boldest too; and above fear of ghosts. For though it was but a make-believe, it must have required courage in Shakspeare's murderer to look on its mealy face. The ghost speaks well — nobly — for six lines — though more like Dryden's than Shakspeare's. That was not his style when alive. The seventh line would have choked him, had he been a mere light-and-shadow ghost. But in death never would he thus have given the lie to his life. "Untaught," he might have truly said — for he had no master. "Unpractised!" Nay, "Troilus and Cressida" sprang from a brain that had teemed with many a birth. "A barbarous age!" Read — "Great Eliza's golden time," when the sun of England's genius was at meridian. "Sacrilege to touch!" Prologue had not read Preface. Little did the "injured ghost" suspect the spectacle that was to ensue. Much of what follows is, in worse degree, Drydenish all over. Sweetest Shakspeare scoffed not so!
Suppose Shakspeare's ghost to have slipped quietly into the manager's box to witness the performance. Poets after death do not lose all memory of their own earthly visions. Thoughts of the fairest are with them in Paradise. At first sight of Dorinda he would have bolted.
Dryden says, that "he knew not to distinguish the blown puffy style from true sublimity." He would then have done so, and no mistake. "The fury of his fancy often transported him beyond the bounds of judgment, either in coining of new words and phrases, or racking words which were in use, into the violence of catachresis." His ears would have been jarred by Prospero's "polite conversation," so unlike what he, who had not "kept the best society," was confined to "in a barbarous age." Yet Dryden confessed that he "understood the nature of the passions," and "made his characters distinct;" so that "his failings were not so much in the passions themselves, as in his manner of expression." Unfortunately, his vocabulary was neither choice nor extensive, and he "often obscured his meaning by his words, and sometimes made it unintelligible."
"To speak justly of this whole matter: it is neither height of thought that is discommended, nor pathetic vehemence, nor any nobleness of expression in its proper place; but it is a false measure of all these, something which is like them, and is not them; it is the Bristol stone, which appears like a diamond; it is an extravagant thought instead of a sublime one; it is a roaring madness instead of vehemence; a sound of words instead of sense. If Shakspeare were stripped of all the bombasts in his passions, and dressed in the most vulgar words, we should find the beauties of his thoughts remaining; if his embroideries were burnt down, there would still be silver at the bottom of the melting-pot, but I fear (at least let me fear it for myself) that we, who ape his sounding words, have nothing of his thought, but are all outside; there is not so much as dwarf within our giant's clothes. Therefore, let not Shakspeare suffer for our sakes; it is our fault, who succeed him in an age that is more refined, if we imitate him so ill that we copy his failings only, and make a virtue of that in our writings which in his was an imperfection.
"For what remains, the excellency of that poet was, as I have said, in the more manly passions; Fletcher's in the softer. Shakspeare writ better betwixt man and man; Fletcher betwixt man and woman: consequently the one described friendship better — the other love. Yet Shakspeare taught Fletcher to write love; and Juliet and Desdemona are originals. It is true, the scholar had the softer soul, but the master had the kinder. Friendship is both a virtue and a passion essentially; love is passion only in its nature, and is not a virtue but by accident: good-nature makes friendship, but effeminacy love. Shakspeare had an universal mind, which comprehended all characters and passions; Fletcher, a more confined and limited: for though he treated love in perfection, yet honour, ambition, revenge, and generally all the stronger passions, he either touched not, or not masterly. To conclude all he was a limb of Shakspeare."
THE TOWER OF LONDON. — A POEM
Part I
Proud Julian towers! ye whose grey turrets rise
In hoary grandeur, mingling with the skies —
Whose name — thought — image — every spot are rife
With startling legends — themes of death in life!
Recall the voices of wrong'd spirits fled —
Echoes of life that long survived their dead;
And let them tell the history of thy crimes,
The present teach, and warn all future times.
Time's veil withdrawn, what tragedies of woe
Loom in the distance, fill the ghastly show!
Oh, tell what hearts, torn from light's cheering ray,
Within thy death-shades bled their lives away;
What anxious hopes, strifes, agonies, and fears,
In thy dread walls have linger'd years on years —
Still mock'd the patient prisoner as he pray'd
That death would shroud his woes — too long delay'd!
Could the great Norman, with prophetic eye,
Have scann'd the vista of futurity,
And seen the cell-worn phantoms, one by one,
Rise and descend — the father to the son —
Whose purest blood, by treachery and guilt,
On thy polluted scaffolds has been spilt,
Methinks Ambition, with his subtle art,
Had fired his hero to a nobler part.
Yes! curst Ambition — spoiler of mankind —
That with thy trophies lur'st the dazzled mind,
That 'neath the gorgeous veil