[Footnote 2: Beacon Lights of History: European Leaders.]

Macaulay was not much moved by the fall of the ministry to which he belonged, and gladly resumed his literary labors,--the first fruits of his leisure being an essay on Warren Hastings, a companion piece to the one on Clive.

These East Indian essays const.i.tute the most picturesque and graphic account of British conquests in that ancient land that has been given to the public. Macaulay's intimate knowledge of the ground, and his literary resources, enabled him to picture the dazzling successes of Clive and Hastings; so that the careers of those superb military chieftains and commercial robber-statesmen, in securing for their country the control of a distant province larger than France, and in enriching the British Empire and themselves beyond all precedent in conquest, stand splendidly portrayed forever.

Macaulay had now taken apartments in The Albany, on the second floor, to which he removed his large library, and in which he comfortably lived for fifteen years. His article on Warren Hastings was followed by that on Frederic the Great. His numerous articles in the Edinburgh Review had now become so popular that there was a great demand for them in a separate form. Curiously enough, as in the case of Carlyle, it was in America that the public appreciation of these essays first took the form of book publication; and Macaulay's "Miscellanies" were published in Boston in 1840, and in Philadelphia in 1842. As these volumes began to go to England, for Macaulay's own protection they were republished by Longman, revised by the author, in 1843, and obtained an immediate and immense sale,--reaching one hundred and twenty thousand copies in England,--which added to the fame and income of Macaulay. But he was never satisfied with the finish of his own productions; the only thing which seemed to comfort him was that the last essays were better than the first. In addition to his labors for the Edinburgh, was the publication of a volume of his poems in 1842, which was also enthusiastically received by his admirers. His last notable essays were a chivalrous article on Madame D'Arblay (January, 1843); an entirely charming account of Addison and the wits of Queen Anne's reign (July, 1843); an interesting review of the Memoirs of Barere, the French revolutionist and writer (April, 1844); and finally a second article on Lord Chatham (October, 1844), which is considered finer than the first one written twenty years earlier. More and more, however, the project of writing a History of England had taken possession of him, and he began now to forego all other literary occupation, and to devote all his leisure time to that great work.

During much of the time that Macaulay had continued writing his reviews, at the rate of about two in a year, he was an active member of Parliament, frequently addressing the House of Commons, and earning the grat.i.tude of the country by his liberal and enlightened views,--especially those in reference to the right of Unitarians to their chapels, to the enlarged money-grant given to the Irish Roman Catholic Maynooth College, and to the extension of copyrights. He rarely spoke without careful preparation. His speeches were forcible and fine. In the higher field of debate, however, as we have already intimated, he was not successful. In 1845 Sir Robert Peel retired, the Whigs again coming into power; and in 1846 Macaulay accepted the office of Paymaster of the Forces, because its duties were comparatively light and would not much interfere with his literary labors, while it added 2000 a year to his income. During the session of 1846 and 1847, while still in Parliament, he spoke only five times, although the House was ever ready to listen to him.

In the year 1847 the disruption of the Scotch Church was effected, and in the bitterness engendered by that movement Macaulay lost his popularity with his Edinburgh const.i.tuents. He seemed indifferent to their affairs; he answered their letters irregularly and with almost contemptuous brevity. He had no sympathy with the radicals who at that time controlled a large number of votes, and he refused to contribute towards electioneering expenses. Above all, he was absorbed in his History, and had lost much of his interest in politics. In consequence he failed to be re-elected, and not unwillingly retired to private life.

Macaulay now concentrated all his energies on the History, which occupied his thoughts, his studies, and his pen for the most part during the remainder of his life. The first two volumes were published in the latter part of 1848; and the sale was immense, surpa.s.sing that of any historical work in the history of literature, and coming near to the sale of the novels of Sir Walter Scott. The popularity of the work was not confined to scholars and statesmen and critics, but it was equally admired by ordinary readers; and not in England and Scotland alone, but in the United States, in France, in Holland, in Germany, and other countries.

The labor expended on these books was prodigious. The author visited in person nearly all the localities in England and Ireland where the events he narrated took place. He ransacked the archives of most of the governments of Europe, and all the libraries to which he could gain access, public and private. He worked twelve hours a day, and yet produced on an average only two printed pages daily,--so careful was he in verifying his facts and in arranging his materials, writing and rewriting until no further improvement could be made.

This book was not merely the result of his researches for the last fifteen years of his life, but of his general reading for nearly fifty years, when everything he read he remembered. Says Thackeray, "He reads twenty books to write a sentence; he travels one hundred miles to make a line of description." The extent and exactness of his knowledge were not only marvellous, but almost incredible. Mr. Buckle declared that Macaulay was perfectly accurate in all the facts which Buckle had himself investigated to write his "History of Civilization;" and so particular was he in the selection of words that he never allowed a sentence to pa.s.s muster until it was as good as he could make it. "He thought little of reconstructing a paragraph," says his biographer, "for the sake of one happy ill.u.s.tration." He submitted to the most tiresome mechanical drudgery in the correction of his proof-sheets. The clearness of his thought amid the profusion of his knowledge was represented in his writing by a remarkable conciseness of expression. His short, vigorous sentences are compact with details of fact, yet rich with color. His terseness has been compared to that of Tacitus. His power of condensation, aptness of phrase and epithet, and indomitable industry made him a master of rhetorical effect, in the use of his multifarious learning for the ill.u.s.tration of his themes.

As soon as his last proof-sheet had been despatched to the printers, Macaulay at once fell to reading a series of historians from Herodotus downward, to measure his writings with theirs. Thucydides especially utterly destroyed all the conceit which naturally would arise from his unbounded popularity, as expressed in every social and literary circle, as well as in the Reviews. Like Michael Angelo, this Englishman was never satisfied with his own productions; and the only comfort he took in the impossibility of realizing his ideal was in the comparison he made of his own works with similar ones by contemporary authors. Then he was content; and then only appeared in his letters and diary that good-natured, self-satisfied feeling which arose from the consciousness that he was one of the most fortunate authors who had ever lived. There was nothing cynical in his sense of superiority, but an amiable self-a.s.sertion and self-confidence that only made men smile,--as when Lord Palmerston remarked that "he wished he was as certain of any one thing as Tom Macaulay was of everything." This self-confidence rarely provoked opposition, except when he was positive as to things outside his sphere. He wrote and talked sensibly and luminously on financial and social questions, on art, on poetry and the drama, on philosophy and theology; but on these subjects he was not an authority with specialists. In other words, he did not, so to speak, know everything profoundly, but only superficially; yet in history, especially English history, he was profound in a.n.a.lysis as well as brilliant in the narration of facts, even when there was disagreement between himself and others as to inductions he drew from those facts,--inductions colored by his strong prejudices and aristocratic surroundings.

Macaulay was not always consistent with his own theories, however. For instance, he was a firm believer in the progress of society and of civilization. He saw the enormous gulf between the ninth and the nineteenth centuries, and the unmistakable advance which, since the times of Hildebrand, the world had made in knowledge, in the arts, in liberty, and in the comforts of life, although the tide of progress had its ebb and flow in different ages and countries. Yet when he cast his eye on America, where perhaps the greatest progress had been made in the world's history within fifty years, he saw nothing but melancholy signs of anarchy and decay,--signs portending the collapse of liberty and the triumph of ignorance and crime. Thus he writes in 1857 to an American correspondent:--

"As long as you have a boundless extent of fertile and unoccupied land, your laboring population will be far more at ease than the laboring population of the Old World; but the time will come when wages will be as low, and will fluctuate as much, with you as with us. Then your inst.i.tutions will fairly be brought to the test. Distress everywhere makes the laborer mutinous and discontented, and inclines him to listen with eagerness to agitators who tell him that it is a monstrous iniquity that one man should have a million, while another cannot get a full meal. In bad years there is plenty of grumbling here, and sometimes a little rioting; but it matters little, for here the sufferers are not the rulers. The supreme power is in the hands of a cla.s.s deeply interested in the security of property and the maintenance of order; accordingly the malcontents are restrained. But with you the majority is the government, and has the rich, who are always in a minority, absolutely at its mercy. The day will come when the mult.i.tude of people, none of whom has had more than a half a breakfast, or expects to have more than a half a dinner, will choose a legislature. Is it possible to doubt what sort of legislature will be chosen? On the one side is a statesman preaching patience, respect for vested rights, strict observance of the public faith; and on the other a demagogue ranting about the tyranny of capitalists and usurers, and asking why anybody should be permitted to drink champagne and ride in a carriage, while thousands of honest folks are in want of necessaries: which of the two candidates is likely to be preferred by a working-man who hears his children cry for more bread? There will be, I fear, spoliation. The spoliation will increase the distress; the distress will produce fresh spoliation. There is nothing to stop you; your Const.i.tution is all sail and no anchor. Either civilization or liberty will perish. Either some Caesar or Napoleon will seize the reins of government with a strong hand, or your republic will be as fearfully plundered and laid waste by barbarians in the twentieth century as the Roman Empire was in the fifth."

I do not deny that there is great force in Macaulay's reasoning and prophecy. History points to decline and ruin when public virtue has fled and government is in the hands of demagogues; for their reign has ever been succeeded by military usurpers who have preserved civilization indeed, but at the expense of liberty. Yet this reasoning applies not only to America but to England as well,--especially since, by the Reform Bill and subsequent enactments of Parliament, she has opened the gates to an increase of suffrage, which now threatens to become universal. The enfranchis.e.m.e.nt of the people--the enlarged powers of the individual under the protection and control of the commonwealth--is the Anglo-Saxon contribution to progress. It is dangerous. So is all power until its use is learned. But there is no backward step possible; the tremendous experiment must go forward, for England and America alike.

Macaulay himself was one of the most prominent of English statesmen and orators, in 1830, 1831, and 1832, to advocate the extension of the right of suffrage and the increase of popular liberties. All his writings are on the side of liberty in England; and all are in opposition to the Toryism which was so triumphant during the reign of George III. Why did he have faith in the English people of England, and yet show so little in the English people of America? He believed in political and social progress for his own countrymen; why should he doubt the utility of the same in other countries? If vandalism is to be the fate of America, where education, the only truly conservative element, is more diffused than in England, why should it not equally triumph in that country when the ma.s.ses have gained political power, as they surely will at some time, and even speedily, if the policy inaugurated by Gladstone is to triumph? For England Macaulay had unbounded hope, because he believed in progress,--in liberty, in education, in the civilizing influence of machinery, in the increasing comforts of life through the constant increase of wealth among the middle cla.s.ses, and especially through the power of Christianity, in spite of the dissensions of sects, the attacks of crude philosophers, socialists, anarchists, scientists, and atheists, from one end of Christendom to the other. Why should he not have equal faith in American civilization, which, in spite of wars and strikes and commercial distresses and political corruption, has yet made a marked progress from the time of Jefferson, the apostle of equality, down to our day,--as seen especially in the multiplication of schools and colleges, in an untrammelled and watchful press, and in the active benevolence of the rich in the foundation of every kind of inst.i.tution to relieve misery and want? The truth is that he, in common with most educated Englishmen of his day,--and of too many even of our own day,--cherished a silent contempt for Americans, for their literature and their inst.i.tutions; and hence he was not only inconsistent in the principles which he advocated, but showed that he was not emanc.i.p.ated, with all his learning, from prejudices of which he ought to have been ashamed.

As time made inroads on Macaulay's strong const.i.tution, he gave up both politics and society in the absorbing interest which he took in his History, confining himself to his library, and sometimes allowing months to pa.s.s without accepting any invitation whatever to a social gathering.

No man was ever more disenchanted with society. He begrudged his time even when tempted by the calls of friendship. When visitors penetrated to his den, he bowed them out with ironical politeness. He had no favors to ask from friends or foes, for he declined political office, and was as independent as wealth or fame could make him. In 1849 he was made Lord Rector of the University of Glasgow, and the acclamations following his address were prodigious. Lord John Russell gave to Macaulay's brother John a living worth 1100. Macaulay himself was offered the professorship of History at Cambridge. In one year he received for the first edition of his third and fourth volumes of the History, published in 1855, 20,000 in a single check from Longman. At the age of forty-nine, he writes in his diary: "I have no cause for complaint,--tolerable health, competence, liberty, leisure, dear relatives and friends, and a very great literary reputation."

With all this prosperity, Macaulay now naturally set up his carriage. He dined often with the Queen, and was a great man, according to English notions, more even from his wealth and social position than from his success in letters. Lord John Russell pressed him to accept a seat in his cabinet, but "I told him," Macaulay writes, "that I should be of no use,--that I was not a debater; that it was too late to become one; that my temper, taste, and literary habits alike prevented." He was, however, induced to become again a member of Parliament, and in 1852 was elected once more for Edinburgh, which had repented of its rejection of him in 1847. But he insisted on perfect independence to vote as he pleased. He regarded this re-entrance into public life as a great personal sacrifice, since it might postpone the appearance of his next two volumes of the History. His election, however, was received with great acclamation. Even Professor Wilson, the most conservative of Scotch Tories, voted for him. It was not a party victory, but purely a personal triumph.

A serious illness now follows,--a weakness of the heart, from the effects of which Macaulay died a few years afterwards. He retires to Clifton, and gives himself up to getting well, visiting Barley Wood, and driving in his private carriage among the most interesting scenery in the west of England. But he was never perfectly well again, although he continued to work on his History. His intimate friends saw the change in him with sadness, but he himself was serene and uncomplaining. Although he suffered from an oppression of the chest, he still on great occasions addressed the House. His mind was clear, but his voice was faint. The last speech he made was in behalf of the independence of the Scottish Church. The strain of the House of Commons proved to be too great for his now enfeebled const.i.tution. "Nor could he conceal from himself and his friends," says Trevelyan, "that it was a grievous waste, while the reign of Anne still remained unwritten, for him to consume his scanty stock of vigor in the tedious and exhaustive routine of political existence; waiting whole evenings for the vote, and then ... trudging home at three in the morning through the slush of a February thaw." He therefore spared himself as a member of Parliament, and carefully husbanded his powers in order to work upon his book. He gave himself more time for his annual vacation, yet would write when he could on the subjects which engrossed his life. His labors were too severe for his strength, but he worked on, and even harder and harder.

At length on the 25th of November, 1855, Macaulay sent to the printer the last twenty pages of his History, and an edition of twenty-five thousand was ordered. Within a generation one hundred and forty thousand copies of the work were sold in the United Kingdom alone. Six rival translators were engaged in turning it into German; and it was published in the Polish, the Danish, the Swedish, the Italian, the French, the Dutch, the Spanish, the Hungarian, the Russian, and the Bohemian languages, to say nothing of its immense circulation in the United States. Such extraordinary literary popularity was accompanied by great honors. In 1857 Macaulay was created a British Peer and elected Lord High Steward of the borough of Cambridge. The academies of Utrecht, Munich, and Turin elected him to honorary membership. The King of Prussia made him a member of the Order of Merit. Oxford conferred on him the degree of Doctor of Civil Law, and he was elected president of the Philosophical Inst.i.tution of Edinburgh. He could have little more in the way of academic and governmental honors.

The failing health of Macaulay now compelled him to resign his seat in the House of Commons. It was also thought desirable for him to vacate his apartments at The Albany, which he had occupied for fifteen years, that he might be more retired and perhaps more comfortable. His friends, at the suggestion of Dean Milman, selected a house in Kensington, the rooms of which were small, except the library, which opened upon a beautiful lawn, adorned with flowers and shrubs; it was called Holly Lodge, and was very secluded and attractive. Here his latter days were spent, in the society of his nieces and a few devoted friends, and in dispensing simple hospitalities. His favorite form of entertainment was the breakfast, at which his guests would linger till twelve, enchanted by his conversation, for his mind showed no signs of decay.

From this charming retreat Lord Macaulay very seldom appeared in London society. Years pa.s.sed without his even accepting invitations. An occasional night at a friend's house in the country, one or two nights at Windsor Castle, and one or two visits to Lord Stanhope's seat in Kent in order to consult his magnificent library, were the only visits which Macaulay made in the course of the year. He always had a dislike of visiting in private houses, much preferring hotels, where he could be free from conventional life.

Macaulay was always careful in his expenditures, wasting nothing that he might enjoy the pleasure of charity,--for he gave liberally, especially to needy and unfortunate men of letters. Once he gave 100 to a total stranger who implored his aid. In his household he was revered, for he was the kindest and most considerate of masters, while his relatives absolutely worshipped him. At home he made no claim to the privileges of genius; he had few eccentricities; he never interfered with the pleasures of others; he never obtruded his advice, or demanded that his own views or tastes should be consulted; he was especially careful not to wound the feelings of those with whom he lived. Children were his delight and solace. Over them he seemed to have unbounded influence. He would spend the half of a busy day in playing with them, and in inventing new games for their diversion. One of his pleasures was to take them to see the sights of London. His sympathies were quick and generous; although apparently so cynical in his opinions of books, he was always affected at any touches of pathos, even to tears.

It was hard for Macaulay to realize that the time had come when he must leave untold that portion of English history with which he was more familiar than any other living man; but he submitted to the inevitable without repining. He had done what he could. Even when he was compelled to give up his daily task, his love of reading remained; a book was his solace to the last. He had no extensive acquaintance with the works of some of the best writers of his own generation, preferring the cla.s.sic authors of antiquity, and of England in the time of Anne. He did not relish Coleridge or Carlyle or Buckle or Ruskin, or indeed any writer who seemed to strain after originality of style, in defiance of the old and conservative canons. He preferred Miss Austen to d.i.c.kens. He felt that he owed a great debt to the master-minds of by-gone ages, who reached perfection of style, so far as it can be attained. Even the English writers of the reign of Anne, to his mind, have never been surpa.s.sed. His admiration for Addison was unbounded. Dryden and Pope to him were greater poets than any who have succeeded them. Such a poet as Tennyson or Wordsworth he pretended he did not understand. He wanted transparent clearness of expression. Browning would have been to him an abomination. He despised the poetry of his own age, with its involved sentences, its obscurity, and its strange metres. His own poetry was as direct as Homer, as simple as Chaucer, and as graphic as Scott.

In 1859, Macaulay contrived to visit once more the English lakes and the western highlands, where he was received with great veneration, being recognized everywhere on steamers and railway stations. But his cheerfulness had now departed, although he made an effort to be agreeable. In December of this year he ceased writing in his diary. The physicians pretended to think that he was better, but fainting fits set in. On Christmas he said but little, and was constantly dropping to sleep. His relatives did not seem to think that he was in immediate danger, but the end was near. He died without pain, and was buried in Westminster Abbey on the 9th of January, 1860, having for pall-bearers the most ill.u.s.trious men in England. He rests in the Poet's Corner, amid the tombs of Johnson and Garrick, Handel and Goldsmith, Gay and Addison, leaving behind him an immortal fame.

And what is this fame? It is not that of a philosophical historian like Guizot, for his History is not marked by profound generalizations, or even thoughtful reflections. He was not a judicial historian like Hallam, seeking to present the truth alone; for he was a partisan, full of party prejudices. Nor was he an historian like Ranke, raking out the hidden facts of a remote period, and unveiling the astute diplomacy of past ages. Macaulay was a great historical painter of the realistic school, whose pictures have never been surpa.s.sed, or even equalled, for vividness and interest. In this cla.s.s of historians he stands out alone and peerless, the most exciting and the most interesting of all the historians who have depicted the manners, the events, and the characters of a former age,--never by any accident dull, but fatiguing, if at all, only by his wealth of ill.u.s.tration and the over-brilliancy of his coloring. He is the t.i.tian of word-painting, and as such will live like that immortal colorist. Critics may say what they please about his rhetoric, about his partial statements, about his want of insight into deep philosophical questions; but as a painter who made his figures stand out on the historical canvas with unique vividness, Macaulay cannot fail to be regarded, as long as the English language is spoken or written, as one of the great masters of literary composition. This was the verdict p.r.o.nounced by the English nation at large; and its great political and literary leaders expressed and confirmed it, when they gave him fortune and fame, elevated him to the peerage, bestowed on him stars and t.i.tles, and buried him with august solemnity among those ill.u.s.trious men who gave to England its power and glory.

SHAKSPEARE; OR, THE POET.[3]

1564-1616.

BY RALPH WALDO EMERSON.

Great men are more distinguished by range and extent than by originality. If we require the originality which consists in weaving, like a spider, their web from their own bowels; in finding clay and making bricks and building the house; no great men are original. Nor does valuable originality consist in unlikeness to other men. The hero is in the press of knights and the thick of events; and seeing what men want and sharing their desire, he adds the needful length of sight and of arm to come at the desired point. The greatest genius is the most indebted man. A poet is no rattle-brain, saying what comes uppermost, and, because he says everything, saying at last something good; but a heart in unison with his time and country. There is nothing whimsical and fantastic in his production, but sweet and sad earnest, freighted with the weightiest convictions and pointed with the most determined aim which any man or cla.s.s knows of in his times.

[Footnote 3: Reprinted from "Representative Men," by permission of Messrs. HOUGHTON, MIFFLIN, AND CO., publishers of Emerson's works.]

The Genius of our life is jealous of individuals, and will not have any individual great, except through the general. There is no choice to genius. A great man does not wake up on some fine morning and say, 'I am full of life, I will go to sea and find an Antarctic continent: to-day I will square the circle: I will ransack botany and find a new food for man: I have a new architecture in my mind: I foresee a new mechanic power:' no, but he finds himself in the river of the thoughts and events, forced onward by the ideas and necessities of his contemporaries. He stands where all the eyes of men look one way, and their hands all point in the direction in which he should go. The Church has reared him amidst rites and pomps, and he carries out the advice which her music gave him, and builds a cathedral needed by her chants and processions. He finds a war raging: it educates him, by trumpet, in barracks, and he betters the instruction. He finds two counties groping to bring coal, or flour, or fish, from the place of production to the place of consumption, and he hits on a railroad. Every master has found his materials collected, and his power lay in his sympathy with his people and in his love of the materials he wrought in. What an economy of power! and what a compensation for the shortness of life! All is done to his hand. The world has brought him thus far on his way. The human race has gone out before him, sunk the hills, filled the hollows, and bridged the rivers. Men, nations, poets, artisans, women, all have worked for him, and he enters into their labors. Choose any other thing, out of the line of tendency, out of the national feeling and history, and he would have all to do for himself: his powers would be expended in the first preparations. Great genial power, one would almost say, consists in not being original at all; in being altogether receptive, in letting the world do all, and suffering the spirit of the hour to pa.s.s un.o.bstructed through the mind.

Shakspeare's youth fell in a time when the English people were importunate for dramatic entertainments. The court took offence easily at political allusions and attempted to suppress them. The Puritans, a growing and energetic party, and the religious among the Anglican church, would suppress them. But the people wanted them. Inn-yards, houses without roofs, and extemporaneous enclosures at country fairs were the ready theatres of strolling players. The people had tasted this new joy; and, as we could not hope to suppress newspapers now,--no, not by the strongest party,--neither then could king, prelate, or puritan, alone or united, suppress an organ which was ballad, epic, newspaper, caucus, lecture, Punch and library, at the same time. Probably king, prelate, and puritan all found their own account in it. It had become, by all causes, a national interest,--by no means conspicuous, so that some great scholar would have thought of treating it in an English history,--but not a whit less considerable because it was cheap and of no account, like a baker's-shop. The best proof of its vitality is the crowd of writers which suddenly broke into this field: Kyd, Marlow, Greene, Jonson, Chapman, Dekker, Webster, Heywood, Middleton, Peele, Ford, Ma.s.singer, Beaumont and Fletcher.

The secure possession, by the stage, of the public mind, is of the first importance to the poet who works for it. He loses no time in idle experiments. Here is audience and expectation prepared. In the case of Shakspeare there is much more. At the time when he left Stratford and went up to London, a great body of stage-plays of all dates and writers existed in ma.n.u.script and were in turn produced on the boards. Here is the Tale of Troy, which the audience will bear hearing some part of, every week; the Death of Julius Caesar, and other stories out of Plutarch, which they never tire of; a shelf full of English history, from the chronicles of Brut and Arthur down to the royal Henries, which men hear eagerly; and a string of doleful tragedies, merry Italian tales, and Spanish voyages, which all the London 'prentices know. All the ma.s.s has been treated, with more or less skill, by every playwright, and the prompter has the soiled and tattered ma.n.u.scripts. It is now no longer possible to say who wrote them first. They have been the property of the Theatre so long, and so many rising geniuses have enlarged or altered them, inserting a speech or a whole scene, or adding a song, that no man can any longer claim copyright in this work of numbers.

Happily, no man wishes to. They are not yet desired in that way. We have few readers, many spectators and hearers. They had best lie where they are.

Shakspeare, in common with his comrades, esteemed the ma.s.s of old plays waste stock, in which any experiment could be freely tried. Had the _prestige_ which hedges about a modern tragedy existed, nothing could have been done. The rude warm blood of the living England circulated in the play, as in street-ballads, and gave body which he wanted to his airy and majestic fancy. The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice, and in furnishing so much work done to his hand, leaves him at leisure and in full strength for the audacities of his imagination. In short, the poet owes to his legend what sculpture owed to the temple.

Sculpture in Egypt and in Greece grew up in subordination to architecture. It was the ornament of the temple wall: at first a rude relief carved on pediments, then the relief became bolder and a head or arm was projected from the wall; the groups being still arranged with reference to the building, which serves also as a frame to hold the figures; and when at last the greatest freedom of style and treatment was reached, the prevailing genius of architecture still enforced a certain calmness and continence in the statue. As soon as the statue was begun for itself, and with no reference to the temple or palace, the art began to decline: freak, extravagance, and exhibition took the place of the old temperance. This balance-wheel, which the sculptor found in architecture, the perilous irritability of poetic talent found in the acc.u.mulated dramatic materials to which the people were already wonted, and which had a certain excellence which no single genius, however extraordinary, could hope to create.

In point of fact it appears that Shakspeare did owe debts in all directions, and was able to use whatever he found, and the amount of indebtedness may be inferred from Malone's laborious computations in regard to the First, Second, and Third parts of Henry VI., in which, "out of 6,043 lines, 1,771 were written by some author preceding Shakspeare, 2,373 by him, on the foundations laid by his predecessors, and 1,899 were entirely his own." And the proceeding investigation hardly leaves a single drama of his absolute invention. Malone's sentence is an important piece of external history. In Henry VIII. I think I see plainly the cropping out of the original rock on which his own finer stratum was laid. The first play was written by a superior, thoughtful man, with a vicious ear. I can mark his lines, and know well their cadence. See Wolsey's soliloquy, and the following scene with Cromwell, where, instead of the metre of Shakspeare, whose secret is that the thought constructs the tune, so that reading for the sense will best bring out the rhythm,--here the lines are constructed on a given tune, and the verse has even a trace of pulpit eloquence. But the play contains through all its length unmistakable traits of Shakspeare's hand, and some pa.s.sages, as the account of the coronation, are like autographs. What is odd, the compliment to Queen Elizabeth is in the bad rhythm.

Shakespeare knew that tradition supplies a better fable than any invention can. If he lost any credit of design, he augmented his resources; and, at that day, our petulant demand for originality was not so much pressed. There was no literature for the million. The universal reading, the cheap press, were unknown. A great poet who appears in illiterate times, absorbs into his sphere all the light which is anywhere radiating. Every intellectual jewel, every flower of sentiment it is his fine office to bring to his people; and he comes to value his memory equally with his invention. He is therefore little solicitous whence his thoughts have been derived; whether through translation, whether through tradition, whether by travel in distant countries, whether by inspiration; from whatever source, they are equally welcome to his uncritical audience. Nay, he borrows very near home. Other men say wise things as well as he; only they say a good many foolish things, and do not know when they have spoken wisely. He knows the sparkle of the true stone, and puts it in high place, wherever he finds it. Such is the happy position of Homer perhaps; of Chaucer, of Saadi. They felt that all wit was their wit. And they are librarians and historiographers, as well as poets. Each romancer was heir and dispenser of all the hundred tales of the world,--

"Presenting Thebes' and Pelops' line And the tale of Troy divine."

The influence of Chaucer is conspicuous in all our early literature; and more recently not only Pope and Dryden have been beholden to him, but, in the whole society of English writers, a large unacknowledged debt is easily traced. One is charmed with the opulence which feeds so many pensioners. But Chaucer is a huge borrower. Chaucer, it seems, drew continually, through Lydgate and Caxton, from Guido di Colonna, whose Latin romance of the Trojan war was in turn a compilation from Bares Phrygius, Ovid and Statius. Then Petrarch, Boccaccio, and the Provencal poets are his benefactors; the Romaunt of the Rose is only judicious translation from William of Lorris and John of Meung; Troilus and Creseide, from Lollius of Urbino; The c.o.c.k and the Fox, from the _Lais_ of Marie; The House of Fame, from the French or Italian; and poor Gower he uses as if he were only a brick-kiln or stone-quarry out of which to build his house. He steals by this apology,--that what he takes has no worth where he finds it and the greatest where he leaves it. It has come to be practically a sort of rule in literature, that a man having once shown himself capable of original writing, is ent.i.tled thenceforth to steal from the writings of others at discretion. Thought is the property of him who can entertain it and of him who can adequately place it. A certain awkwardness marks the use of borrowed thoughts; but as soon as we have learned what to do with them they become our own.

Thus all originality is relative. Every thinker is retrospective. The learned member of the legislature, at Westminster or at Washington, speaks and votes for thousands. Show us the const.i.tuency, and the now invisible channels by which the senator is made aware of their wishes; the crowd of practical and knowing men, who, by correspondence or conversation, are feeding him with evidence, anecdotes, and estimates, and it will bereave his fine att.i.tudes and resistance of something of their impressiveness. As Sir Robert Peel and Mr. Webster vote, so Locke and Rousseau think, for thousands; and so there were fountains all around Homer, Manu, Saadi, or Milton, from which they drew; friends, lovers, books, traditions, proverbs,--all perished--which, if seen, would go to reduce the wonder. Did the bard speak with authority? Did he feel himself overmatched by any companion? The appeal is to the consciousness of the writer. Is there at last in his breast a Delphi whereof to ask concerning any thought or thing, whether it be verily so, yea or nay? and to have answer, and to rely on that? All the debts which such a man could contract to other wit would never disturb his consciousness of originality; for the ministrations of books and of other minds are a whiff of smoke to that most private reality with which he has conversed.

It is easy to see that what is best written or done by genius in the world, was no man's work, but came by wide social labor, when a thousand wrought like one, sharing the same impulse. Our English Bible is a wonderful specimen of the strength and music of the English language.

But it was not made by one man, or at one time; but centuries and churches brought it to perfection. There never was a time when there was not some translation existing. The Liturgy, admired for its energy and pathos, is an anthology of the piety of ages and nations, a translation of the prayers and forms of the Catholic church,--these collected, too, in long periods, from the prayers and meditations of every saint and sacred writer all over the world. Grotius makes the like remark in respect to the Lord's Prayer, that the single clauses of which it is composed were already in use in the time of Christ, in the Rabbinical forms. He picked out the grains of gold. The nervous language of the Common Law, the impressive forms of our courts and the precision and substantial truth of the legal distinctions, are the contribution of all the sharp-sighted, strong-minded men who have lived in the countries where these laws govern. The translation of Plutarch gets its excellence by being translation on translation. There never was a time when there was none. All the truly idiomatic and national phrases are kept, and all others successively picked out and thrown away. Something like the same process had gone on, long before, with the originals of these books. The world takes liberties with world-books. Vedas, Aesop's Fables, Pilpay, Arabian Nights, Cid, Iliad, Robin Hood, Scottish Minstrelsy, are not the work of single men. In the composition of such works the time thinks, the market thinks, the mason, the carpenter, the merchant, the farmer, the fop, all think for us. Every book supplies its time with one good word; every munic.i.p.al law, every trade, every folly of the day; and the generic catholic genius who is not afraid or ashamed to owe his originality to the originality of all, stands with the next age as the recorder and embodiment of his own.

We have to thank the researches of antiquaries, and the Shakspeare Society, for ascertaining the steps of the English drama, from the Mysteries celebrated in churches and by churchmen, and the final detachment from the church, and the completion of secular plays, from Ferrex and Porrex, and Gammer Gurton's Needle, down to the possession of the stage by the very pieces which Shakspeare altered, remodelled, and finally made his own. Elated with success and piqued by the growing interest of the problem, they have left no bookstall unsearched, no chest in a garret unopened, no file of old yellow accounts to decompose in damp and worms, so keen was the hope to discover whether the boy Shakspeare poached or not, whether he held horses at the theatre door, whether he kept school, and why he left in his will only his second-best bed to Anne Hathaway, his wife.

There is something touching in the madness with which the pa.s.sing age mischooses the object on which all candles shine and all eyes are turned; the care with which it registers every trifle touching Queen Elizabeth and King James, and the Ess.e.xes, Leicesters, Burleighs, and Buckinghams; and lets pa.s.s without a single valuable note the founder of another dynasty, which alone will cause the Tudor dynasty to be remembered,--the man who carries the Saxon race in him by the inspiration which feeds him, and on whose thoughts the foremost people of the world are now for some ages to be nourished, and minds to receive this and not another bias. A popular player;--n.o.body suspected he was the poet of the human race; and the secret was kept as faithfully from poets and intellectual men as from courtiers and frivolous people.

Bacon, who took the inventory of the human understanding for his times, never mentioned his name. Ben Jonson, though we have strained his few words of regard and panegyric, had no suspicion of the elastic fame whose first vibrations he was attempting. He no doubt thought the praise he has conceded to him generous, and esteemed himself, out of all question, the better poet of the two.

If it need wit to know wit, according to the proverb, Shakspeare's time should be capable of recognizing it. Sir Henry Wotton was born four years after Shakspeare, and died twenty-three years after him; and I find, among his correspondents and acquaintances, the following persons: Theodore Beza, Isaac Casaubon, Sir Philip Sidney, the Earl of Ess.e.x, Lord Bacon, Sir Walter Raleigh, John Milton, Sir Henry Vane, Isaac Walton, Dr. Donne, Abraham Cowley, Bellarmine, Charles Cotton, John Pym, John Hales, Kepler, Vieta, Albericus Gentilis, Paul Sarpi, Arminius; with all of whom exists some token of his having communicated, without enumerating many others whom doubtless he saw,--Shakspeare, Spenser, Jonson, Beaumont, Ma.s.singer, the two Herberts, Marlow, Chapman and the rest. Since the constellation of great men who appeared in Greece in the time of Pericles, there was never any such society;--yet their genius failed them to find out the best head in the universe. Our poet's mask was impenetrable. You cannot see the mountain near. It took a century to make it suspected; and not until two centuries had pa.s.sed, after his death, did any criticism which we think adequate begin to appear. It was not possible to write the history of Shakspeare till now; for he is the father of German literature: it was with the introduction of Shakspeare into German, by Lessing, and the translation of his works by Wieland and Schlegel, that the rapid burst of German literature was most intimately connected. It was not until the nineteenth century, whose speculative genius is a sort of living Hamlet, that the tragedy of Hamlet could find such wondering readers. Now, literature, philosophy, and thought, are Shakspearized. His mind is the horizon beyond which, at present, we do not see. Our ears are educated to music by his rhythm.

Coleridge and Goethe are the only critics who have expressed our convictions with any adequate fidelity: but there is in all cultivated minds a silent appreciation of his superlative power and beauty, which, like Christianity, qualifies the period.

The Shakspeare Society have inquired in all directions, advertised the missing facts, offered money for any information that will lead to proof,--and with what result? Beside some important ill.u.s.tration of the history of the English stage, to which I have adverted, they have gleaned a few facts touching the property, and dealings in regard to property, of the poet. It appears that from year to year he owned a larger share in the Blackfriars' Theatre: its wardrobe and other appurtenances were his: that he bought an estate in his native village with his earnings as writer and shareholder; that he lived in the best house in Stratford; was intrusted by his neighbors with their commissions in London, as of borrowing money, and the like; that he was a veritable farmer. About the time when he was writing Macbeth, he sues Philip Rogers, in the Borough-court of Stratford, for thirty-five shillings, ten pence, for corn delivered to him at different times; and in all respects appears as a good husband, with no reputation for eccentricity or excess. He was a good-natured sort of man, an actor and shareholder in the theatre, not in any striking manner distinguished from other actors and managers. I admit the importance of this information. It was well worth the pains that have been taken to procure it.

But whatever sc.r.a.ps of information concerning his condition these researches may have rescued, they can shed no light upon that infinite invention which is the concealed magnet of his attraction for us. We are very clumsy writers of history. We tell the chronicle of parentage, birth, birthplace, schooling, schoolmates, earning of money, marriage, publication of books, celebrity, death; and when we have come to an end of this gossip no ray of relation appears between it and the G.o.ddess-born; and it seems as if, had we dipped at random into the "Modern Plutarch," and read any other life there, it would have fitted the poems as well. It is the essence of poetry to spring, like the rainbow daughter of Wonder, from the invisible, to abolish the past and refuse all history. Malone, Warburton, Dyce, and Collier, have wasted their oil. The famed theatres, Covent Garden, Drury Lane, the Park, and Tremont have vainly a.s.sisted. Betterton, Garrick, Kemble, Kean, and Macready dedicate their lives to this genius; him they crown, elucidate, obey, and express. The genius knows them not. The recitation begins; one golden word leaps out immortal from all this painted pedantry and sweetly torments us with invitations to its own inaccessible homes. I remember I went once to see the Hamlet of a famed performer, the pride of the English stage; and all I then heard and all I now remember of the tragedian was that in which the tragedian had no part; simply Hamlet's question to the ghost:--

"What may this mean, That thou, dead corse, again in complete steel Revisit'st thus the glimpses of the moon?"

That imagination which dilates the closet he writes in to the world's dimension, crowds it with agents in rank and order, as quickly reduces the big reality to be the glimpses of the moon. These tricks of his magic spoil for us the illusions of the green-room. Can any biography shed light on the localities into which the Midsummer Night's Dream admits me? Did Shakspeare confide to any notary or parish recorder, sacristan, or surrogate in Stratford, the genesis of that delicate creation? The forest of Arden, the nimble air of Scone Castle, the moonlight of Portia's villa, "the antres vast and desarts idle" of Oth.e.l.lo's captivity,--where is the third cousin, or grand-nephew, the chancellor's file of accounts, or private letter, that has kept one word of those transcendent secrets? In fine, in this drama, as in all great works of art,--in the Cyclopaean architecture of Egypt and India, in the Phidian sculpture, the Gothic minsters, the Italian painting, the Ballads of Spain and Scotland,--the Genius draws up the ladder after him, when the creative age goes up to heaven, and gives way to a new age, which sees the works and asks in vain for a history.