1

We may begin, however, by referring to two pa.s.sages which have often been criticised with injustice. The first is that where the blinded Gloster, believing that he is going to leap down Dover cliff, does in fact fall flat on the ground at his feet, and then is persuaded that he _has_ leaped down Dover cliff but has been miraculously preserved.

Imagine this incident transferred to _Oth.e.l.lo_, and you realise how completely the two tragedies differ in dramatic atmosphere. In _Oth.e.l.lo_ it would be a shocking or a ludicrous dissonance, but it is in harmony with the spirit of _King Lear_. And not only is this so, but, contrary to expectation, it is not, if properly acted, in the least absurd on the stage. The imagination and the feelings have been worked upon with such effect by the description of the cliff, and by the portrayal of the old man's despair and his son's courageous and loving wisdom, that we are unconscious of the grotesqueness of the incident for common sense.

The second pa.s.sage is more important, for it deals with the origin of the whole conflict. The oft-repeated judgment that the first scene of _King Lear_ is absurdly improbable, and that no sane man would think of dividing his kingdom among his daughters in proportion to the strength of their several protestations of love, is much too harsh and is based upon a strange misunderstanding. This scene acts effectively, and to imagination the story is not at all incredible. It is merely strange, like so many of the stories on which our romantic dramas are based.

Shakespeare, besides, has done a good deal to soften the improbability of the legend, and he has done much more than the casual reader perceives. The very first words of the drama, as Coleridge pointed out, tell us that the division of the kingdom is already settled in all its details, so that only the public announcement of it remains.[126] Later we find that the lines of division have already been drawn on the map of Britain (l. 38), and again that Cordelia's share, which is her dowry, is perfectly well known to Burgundy, if not to France (ll. 197, 245). That then which is censured as absurd, the dependence of the division on the speeches of the daughters, was in Lear's intention a mere form, devised as a childish scheme to gratify his love of absolute power and his hunger for a.s.surances of devotion. And this scheme is perfectly in character. We may even say that the main cause of its failure was not that Goneril and Regan were exceptionally hypocritical, but that Cordelia was exceptionally sincere and unbending. And it is essential to observe that its failure, and the consequent necessity of publicly reversing his whole well-known intention, is one source of Lear's extreme anger. He loved Cordelia most and knew that she loved him best, and the supreme moment to which he looked forward was that in which she should outdo her sisters in expressions of affection, and should be rewarded by that 'third' of the kingdom which was the most 'opulent.'

And then--so it naturally seemed to him--she put him to open shame.

There is a further point, which seems to have escaped the attention of Coleridge and others. Part of the absurdity of Lear's plan is taken to be his idea of living with his three daughters in turn. But he never meant to do this. He meant to live with Cordelia, and with her alone.[127] The scheme of his alternate monthly stay with Goneril and Regan is forced on him at the moment by what he thinks the undutifulness of his favourite child. In fact his whole original plan, though foolish and rash, was not a 'hideous rashness'[128] or incredible folly. If carried out it would have had no such consequences as followed its alteration. It would probably have led quickly to war,[129] but not to the agony which culminated in the storm upon the heath. The first scene, therefore, is not absurd, though it must be p.r.o.nounced dramatically faulty in so far as it discloses the true position of affairs only to an attention more alert than can be expected in a theatrical audience or has been found in many critics of the play.

Let us turn next to two pa.s.sages of another kind, the two which are mainly responsible for the accusation of excessive painfulness, and so for the distaste of many readers and the long theatrical eclipse of _King Lear_. The first of these is much the less important; it is the scene of the blinding of Gloster. The blinding of Gloster on the stage has been condemned almost universally; and surely with justice, because the mere physical horror of such a spectacle would in the theatre be a sensation so violent as to overpower the purely tragic emotions, and therefore the spectacle would seem revolting or shocking. But it is otherwise in reading. For mere imagination the physical horror, though not lost, is so far deadened that it can do its duty as a stimulus to pity, and to that appalled dismay at the extremity of human cruelty which it is of the essence of the tragedy to excite. Thus the blinding of Gloster belongs rightly to _King Lear_ in its proper world of imagination; it is a blot upon _King Lear_ as a stage-play.

But what are we to say of the second and far more important pa.s.sage, the conclusion of the tragedy, the 'unhappy ending,' as it is called, though the word 'unhappy' sounds almost ironical in its weakness? Is this too a blot upon _King Lear_ as a stage-play? The question is not so easily answered as might appear. Doubtless we are right when we turn with disgust from Tate's sentimental alterations, from his marriage of Edgar and Cordelia, and from that cheap moral which every one of Shakespeare's tragedies contradicts, 'that Truth and Virtue shall at last succeed.'

But are we so sure that we are right when we unreservedly condemn the feeling which prompted these alterations, or at all events the feeling which beyond question comes naturally to many readers of _King Lear_ who would like Tate as little as we? What they wish, though they have not always the courage to confess it even to themselves, is that the deaths of Edmund, Goneril, Regan and Gloster should be followed by the escape of Lear and Cordelia from death, and that we should be allowed to imagine the poor old King pa.s.sing quietly in the home of his beloved child to the end which cannot be far off. Now, I do not dream of saying that we ought to wish this, so long as we regard _King Lear_ simply as a work of poetic imagination. But if _King Lear_ is to be considered strictly as a drama, or simply as we consider _Oth.e.l.lo_, it is not so clear that the wish is unjustified. In fact I will take my courage in both hands and say boldly that I share it, and also that I believe Shakespeare would have ended his play thus had he taken the subject in hand a few years later, in the days of _Cymbeline_ and the _Winter's Tale_. If I read _King Lear_ simply as a drama, I find that my feelings call for this 'happy ending.' I do not mean the human, the philanthropic, feelings, but the dramatic sense. The former wish Hamlet and Oth.e.l.lo to escape their doom; the latter does not; but it does wish Lear and Cordelia to be saved. Surely, it says, the tragic emotions have been sufficiently stirred already. Surely the tragic outcome of Lear's error and his daughters' ingrat.i.tude has been made clear enough and moving enough. And, still more surely, such a tragic catastrophe as this should seem _inevitable_. But this catastrophe, unlike those of all the other mature tragedies, does not seem at all inevitable. It is not even satisfactorily motived.[130] In fact it seems expressly designed to fall suddenly like a bolt from a sky cleared by the vanished storm. And although from a wider point of view one may fully recognise the value of this effect, and may even reject with horror the wish for a 'happy ending,' this wider point of view, I must maintain, is not strictly dramatic or tragic.

Of course this is a heresy and all the best authority is against it. But then the best authority, it seems to me, is either influenced unconsciously by disgust at Tate's sentimentalism or unconsciously takes that wider point of view. When Lamb--there is no higher authority--writes, 'A happy ending!--as if the living martyrdom that Lear had gone through, the flaying of his feelings alive, did not make a fair dismissal from the stage of life the only decorous thing for him,'

I answer, first, that it is precisely this _fair_ dismissal which we desire for him instead of renewed anguish; and, secondly, that what we desire for him during the brief remainder of his days is not 'the childish pleasure of getting his gilt robes and sceptre again,' not what Tate gives him, but what Shakespeare himself might have given him--peace and happiness by Cordelia's fireside. And if I am told that he has suffered too much for this, how can I possibly believe it with these words ringing in my ears:

Come, let's away to prison: We two alone will sing like birds i' the cage.

When thou dost ask me blessing, I'll kneel down, And ask of thee forgiveness: so we'll live, And pray, and sing, and tell old tales, and laugh At gilded b.u.t.terflies?

And again when Schlegel declares that, if Lear were saved, 'the whole'

would 'lose its significance,' because it would no longer show us that the belief in Providence 'requires a wider range than the dark pilgrimage on earth to be established in its whole extent,' I answer that, if the drama does show us that, it takes us beyond the strictly tragic point of view.[131]

A dramatic mistake in regard to the catastrophe, however, even supposing it to exist, would not seriously affect the whole play. The princ.i.p.al structural weakness of _King Lear_ lies elsewhere. It is felt to some extent in the earlier Acts, but still more (as from our study of Shakespeare's technique we have learnt to expect) in the Fourth and the first part of the Fifth. And it arises chiefly from the double action, which is a peculiarity of _King Lear_ among the tragedies. By the side of Lear, his daughters, Kent, and the Fool, who are the princ.i.p.al figures in the main plot, stand Gloster and his two sons, the chief persons of the secondary plot. Now by means of this double action Shakespeare secured certain results highly advantageous even from the strictly dramatic point of view, and easy to perceive. But the disadvantages were dramatically greater. The number of essential characters is so large, their actions and movements are so complicated, and events towards the close crowd on one another so thickly, that the reader's attention,[132] rapidly transferred from one centre of interest to another, is overstrained. He becomes, if not intellectually confused, at least emotionally fatigued. The battle, on which everything turns, scarcely affects him. The deaths of Edmund, Goneril, Regan and Gloster seem 'but trifles here'; and anything short of the incomparable pathos of the close would leave him cold. There is something almost ludicrous in the insignificance of this battle, when it is compared with the corresponding battles in _Julius Caesar_ and _Macbeth_; and though there may have been further reasons for its insignificance, the main one is simply that there was no room to give it its due effect among such a host of competing interests.[133]

A comparison of the last two Acts of _Oth.e.l.lo_ with the last two Acts of _King Lear_ would show how unfavourable to dramatic clearness is a multiplicity of figures. But that this multiplicity is not in itself a fatal obstacle is evident from the last two Acts of _Hamlet_, and especially from the final scene. This is in all respects one of Shakespeare's triumphs, yet the stage is crowded with characters. Only they are not _leading_ characters. The plot is single; Hamlet and the King are the 'mighty opposites'; and Ophelia, the only other person in whom we are obliged to take a vivid interest, has already disappeared.

It is therefore natural and right that the deaths of Laertes and the Queen should affect us comparatively little. But in _King Lear_, because the plot is double, we have present in the last scene no less than five persons who are technically of the first importance--Lear, his three daughters and Edmund; not to speak of Kent and Edgar, of whom the latter at any rate is technically quite as important as Laertes. And again, owing to the pressure of persons and events, and owing to the concentration of our anxiety on Lear and Cordelia, the combat of Edgar and Edmund, which occupies so considerable a s.p.a.ce, fails to excite a t.i.the of the interest of the fencing-match in _Hamlet_. The truth is that all through these Acts Shakespeare has too vast a material to use with complete dramatic effectiveness, however essential this very vastness was for effects of another kind.

Added to these defects there are others, which suggest that in _King Lear_ Shakespeare was less concerned than usual with dramatic fitness: improbabilities, inconsistencies, sayings and doings which suggest questions only to be answered by conjecture. The improbabilities in _King Lear_ surely far surpa.s.s those of the other great tragedies in number and in grossness. And they are particularly noticeable in the secondary plot. For example, no sort of reason is given why Edgar, who lives in the same house with Edmund, should write a letter to him instead of speaking; and this is a letter absolutely d.a.m.ning to his character. Gloster was very foolish, but surely not so foolish as to pa.s.s unnoticed this improbability; or, if so foolish, what need for Edmund to forge a letter rather than a conversation, especially as Gloster appears to be unacquainted with his son's handwriting?[134] Is it in character that Edgar should be persuaded without the slightest demur to avoid his father instead of confronting him and asking him the cause of his anger? Why in the world should Gloster, when expelled from his castle, wander painfully all the way to Dover simply in order to destroy himself (IV. i. 80)? And is it not extraordinary that, after Gloster's attempted suicide, Edgar should first talk to him in the language of a gentleman, then to Oswald in his presence in broad peasant dialect, then again to Gloster in gentle language, and yet that Gloster should not manifest the least surprise?

Again, to take three instances of another kind; (_a_) only a fortnight seems to have elapsed between the first scene and the breach with Goneril; yet already there are rumours not only of war between Goneril and Regan but of the coming of a French army; and this, Kent says, is perhaps connected with the harshness of _both_ the sisters to their father, although Regan has apparently had no opportunity of showing any harshness till the day before. (_b_) In the quarrel with Goneril Lear speaks of his having to dismiss fifty of his followers at a clap, yet she has neither mentioned any number nor had any opportunity of mentioning it off the stage. (_c_) Lear and Goneril, intending to hurry to Regan, both send off messengers to her, and both tell the messengers to bring back an answer. But it does not appear either how the messengers _could_ return or what answer could be required, as their superiors are following them with the greatest speed.

Once more, (_a_) why does Edgar not reveal himself to his blind father, as he truly says he ought to have done? The answer is left to mere conjecture. (_b_) Why does Kent so carefully preserve his incognito till the last scene? He says he does it for an important purpose, but what the purpose is we have to guess. (_c_) Why Burgundy rather than France should have first choice of Cordelia's hand is a question we cannot help asking, but there is no hint of any answer.[135] (_d_) I have referred already to the strange obscurity regarding Edmund's delay in trying to save his victims, and I will not extend this list of examples. No one of such defects is surprising when considered by itself, but their number is surely significant. Taken in conjunction with other symptoms it means that Shakespeare, set upon the dramatic effect of the great scenes and upon certain effects not wholly dramatic, was exceptionally careless of probability, clearness and consistency in smaller matters, introducing what was convenient or striking for a momentary purpose without troubling himself about anything more than the moment. In presence of these signs it seems doubtful whether his failure to give information about the fate of the Fool was due to anything more than carelessness or an impatient desire to reduce his overloaded material.[136]

Before I turn to the other side of the subject I will refer to one more characteristic of this play which is dramatically disadvantageous. In Shakespeare's dramas, owing to the absence of scenery from the Elizabethan stage, the question, so vexatious to editors, of the exact locality of a particular scene is usually unimportant and often unanswerable; but, as a rule, we know, broadly speaking, where the persons live and what their journeys are. The text makes this plain, for example, almost throughout _Hamlet_, _Oth.e.l.lo_ and _Macbeth_; and the imagination is therefore untroubled. But in _King Lear_ the indications are so scanty that the reader's mind is left not seldom both vague and bewildered. Nothing enables us to imagine whereabouts in Britain Lear's palace lies, or where the Duke of Albany lives. In referring to the dividing-lines on the map, Lear tells us of shadowy forests and plenteous rivers, but, unlike Hotspur and his companions, he studiously avoids proper names. The Duke of Cornwall, we presume in the absence of information, is likely to live in Cornwall; but we suddenly find, from the introduction of a place-name which all readers take at first for a surname, that he lives at Gloster (I. v. 1).[137] This seems likely to be also the home of the Earl of Gloster, to whom Cornwall is patron. But no: it is a night's journey from Cornwall's 'house' to Gloster's, and Gloster's is in the middle of an uninhabited heath.[138] Here, for the purpose of the crisis, nearly all the persons a.s.semble, but they do so in a manner which no casual spectator or reader could follow. Afterwards they all drift towards Dover for the purpose of the catastrophe; but again the localities and movements are unusually indefinite. And this indefiniteness is found in smaller matters. One cannot help asking, for example, and yet one feels one had better not ask, where that 'lodging'

of Edmund's can be, in which he hides Edgar from his father, and whether Edgar is mad that he should return from his hollow tree (in a district where 'for many miles about there's scarce a bush') to his father's castle in order to soliloquise (II. iii.):--for the favourite stage-direction, 'a wood' (which is more than 'a bush'), however convenient to imagination, is scarcely compatible with the presence of Kent asleep in the stocks.[139] Something of the confusion which bewilders the reader's mind in _King Lear_ recurs in _Antony and Cleopatra_, the most faultily constructed of all the tragedies; but there it is due not so much to the absence or vagueness of the indications as to the necessity of taking frequent and fatiguing journeys over thousands of miles. Shakespeare could not help himself in the Roman play: in _King Lear_ he did not choose to help himself, perhaps deliberately chose to be vague.

From these defects, or from some of them, follows one result which must be familiar to many readers of _King Lear_. It is far more difficult to retrace in memory the steps of the action in this tragedy than in _Hamlet_, _Oth.e.l.lo_, or _Macbeth_. The outline is of course quite clear; anyone could write an 'argument' of the play. But when an attempt is made to fill in the detail, it issues sooner or later in confusion even with readers whose dramatic memory is unusually strong.[140]

2

How is it, now, that this defective drama so overpowers us that we are either unconscious of its blemishes or regard them as almost irrelevant?

As soon as we turn to this question we recognise, not merely that _King Lear_ possesses purely dramatic qualities which far outweigh its defects, but that its greatness consists partly in imaginative effects of a wider kind. And, looking for the sources of these effects, we find among them some of those very things which appeared to us dramatically faulty or injurious. Thus, to take at once two of the simplest examples of this, that very vagueness in the sense of locality which we have just considered, and again that excess in the bulk of the material and the number of figures, events and movements, while they interfere with the clearness of vision, have at the same time a positive value for imagination. They give the feeling of vastness, the feeling not of a scene or particular place, but of a world; or, to speak more accurately, of a particular place which is also a world. This world is dim to us, partly from its immensity, and partly because it is filled with gloom; and in the gloom shapes approach and recede, whose half-seen faces and motions touch us with dread, horror, or the most painful pity,--sympathies and antipathies which we seem to be feeling not only for them but for the whole race. This world, we are told, is called Britain; but we should no more look for it in an atlas than for the place, called Caucasus, where Prometheus was chained by Strength and Force and comforted by the daughters of Ocean, or the place where Farinata stands erect in his glowing tomb, 'Come avesse lo Inferno in gran dispitto.'

Consider next the double action. It has certain strictly dramatic advantages, and may well have had its origin in purely dramatic considerations. To go no further, the secondary plot fills out a story which would by itself have been somewhat thin, and it provides a most effective contrast between its personages and those of the main plot, the tragic strength and stature of the latter being heightened by comparison with the slighter build of the former. But its chief value lies elsewhere, and is not merely dramatic. It lies in the fact--in Shakespeare without a parallel--that the sub-plot simply repeats the theme of the main story. Here, as there, we see an old man 'with a white beard.' He, like Lear, is affectionate, unsuspicious, foolish, and self-willed. He, too, wrongs deeply a child who loves him not less for the wrong. He, too, meets with monstrous ingrat.i.tude from the child whom he favours, and is tortured and driven to death. This repet.i.tion does not simply double the pain with which the tragedy is witnessed: it startles and terrifies by suggesting that the folly of Lear and the ingrat.i.tude of his daughters are no accidents or merely individual aberrations, but that in that dark cold world some fateful malignant influence is abroad, turning the hearts of the fathers against their children and of the children against their fathers, smiting the earth with a curse, so that the brother gives the brother to death and the father the son, blinding the eyes, maddening the brain, freezing the springs of pity, numbing all powers except the nerves of anguish and the dull l.u.s.t of life.[141]

Hence too, as well as from other sources, comes that feeling which haunts us in _King Lear_, as though we were witnessing something universal,--a conflict not so much of particular persons as of the powers of good and evil in the world. And the treatment of many of the characters confirms this feeling. Considered simply as psychological studies few of them, surely, are of the highest interest. Fine and subtle touches could not be absent from a work of Shakespeare's maturity; but, with the possible exception of Lear himself, no one of the characters strikes us as psychologically a _wonderful_ creation, like Hamlet or Iago or even Macbeth; one or two seem even to be somewhat faint and thin. And, what is more significant, it is not quite natural to us to regard them from this point of view at all. Rather we observe a most unusual circ.u.mstance. If Lear, Gloster and Albany are set apart, the rest fall into two distinct groups, which are strongly, even violently, contrasted: Cordelia, Kent, Edgar, the Fool on one side, Goneril, Regan, Edmund, Cornwall, Oswald on the other. These characters are in various degrees individualised, most of them completely so; but still in each group there is a quality common to all the members, or one spirit breathing through them all. Here we have unselfish and devoted love, there hard self-seeking. On both sides, further, the common quality takes an extreme form; the love is incapable of being chilled by injury, the selfishness of being softened by pity; and, it may be added, this tendency to extremes is found again in the characters of Lear and Gloster, and is the main source of the accusations of improbability directed against their conduct at certain points. Hence the members of each group tend to appear, at least in part, as varieties of one species; the radical differences of the two species are emphasized in broad hard strokes; and the two are set in conflict, almost as if Shakespeare, like Empedocles, were regarding Love and Hate as the two ultimate forces of the universe.

The presence in _King Lear_ of so large a number of characters in whom love or self-seeking is so extreme, has another effect. They do not merely inspire in us emotions of unusual strength, but they also stir the intellect to wonder and speculation. How can there be such men and women? we ask ourselves. How comes it that humanity can take such absolutely opposite forms? And, in particular, to what omission of elements which should be present in human nature, or, if there is no omission, to what distortion of these elements is it due that such beings as some of these come to exist? This is a question which Iago (and perhaps no previous creation of Shakespeare's) forces us to ask, but in _King Lear_ it is provoked again and again. And more, it seems to us that the author himself is asking this question. 'Then let them anatomise Regan, see what breeds about her heart. Is there any cause in nature that makes these hard hearts?'--the strain of thought which appears here seems to be present in some degree throughout the play. We seem to trace the tendency which, a few years later, produced Ariel and Caliban, the tendency of imagination to a.n.a.lyse and abstract, to decompose human nature into its const.i.tuent factors, and then to construct beings in whom one or more of these factors is absent or atrophied or only incipient. This, of course, is a tendency which produces symbols, allegories, personifications of qualities and abstract ideas; and we are accustomed to think it quite foreign to Shakespeare's genius, which was in the highest degree concrete. No doubt in the main we are right here; but it is hazardous to set limits to that genius. The Sonnets, if nothing else, may show us how easy it was to Shakespeare's mind to move in a world of 'Platonic' ideas;[142] and, while it would be going too far to suggest that he was employing conscious symbolism or allegory in _King Lear_, it does appear to disclose a mode of imagination not so very far removed from the mode with which, we must remember, Shakespeare was perfectly familiar in Morality plays and in the _Fairy Queen_.

This same tendency shows itself in _King Lear_ in other forms. To it is due the idea of monstrosity--of beings, actions, states of mind, which appear not only abnormal but absolutely contrary to nature; an idea, which, of course, is common enough in Shakespeare, but appears with unusual frequency in _King Lear_, for instance in the lines:

Ingrat.i.tude, thou marble-hearted fiend, More hideous when thou show'st thee in a child Than the sea-monster!

or in the exclamation,

Filial ingrat.i.tude!

Is it not as this mouth should tear this hand For lifting food to't?

It appears in another shape in that most vivid pa.s.sage where Albany, as he looks at the face which had bewitched him, now distorted with dreadful pa.s.sions, suddenly sees it in a new light and exclaims in horror:

Thou changed and self-cover'd thing, for shame.

Be-monster not thy feature. Were't my fitness To let these hands obey my blood, They are apt enough to dislocate and tear Thy flesh and bones: howe'er thou art a fiend, A woman's shape doth shield thee.[143]

It appears once more in that exclamation of Kent's, as he listens to the description of Cordelia's grief:

It is the stars, The stars above us, govern our conditions; Else one self mate and mate could not beget Such different issues.

(This is not the only sign that Shakespeare had been musing over heredity, and wondering how it comes about that the composition of two strains of blood or two parent souls can produce such astonishingly different products.)

This mode of thought is responsible, lastly, for a very striking characteristic of _King Lear_--one in which it has no parallel except _Timon_--the incessant references to the lower animals[144] and man's likeness to them. These references are scattered broadcast through the whole play, as though Shakespeare's mind were so busy with the subject that he could hardly write a page without some allusion to it. The dog, the horse, the cow, the sheep, the hog, the lion, the bear, the wolf, the fox, the monkey, the pole-cat, the civet-cat, the pelican, the owl, the crow, the chough, the wren, the fly, the b.u.t.terfly, the rat, the mouse, the frog, the tadpole, the wall-newt, the water-newt, the worm--I am sure I cannot have completed the list, and some of them are mentioned again and again. Often, of course, and especially in the talk of Edgar as the Bedlam, they have no symbolical meaning; but not seldom, even in his talk, they are expressly referred to for their typical qualities--'hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey,' 'The fitchew nor the soiled horse goes to't With a more riotous appet.i.te.' Sometimes a person in the drama is compared, openly or implicitly, with one of them. Goneril is a kite: her ingrat.i.tude has a serpent's tooth: she has struck her father most serpent-like upon the very heart: her visage is wolvish: she has tied sharp-toothed unkindness like a vulture on her father's breast: for her husband she is a gilded serpent: to Gloster her cruelty seems to have the fangs of a boar. She and Regan are dog-hearted: they are tigers, not daughters: each is an adder to the other: the flesh of each is covered with the fell of a beast. Oswald is a mongrel, and the son and heir of a mongrel: ducking to everyone in power, he is a wag-tail: white with fear, he is a goose. Gloster, for Regan, is an ingrateful fox: Albany, for his wife, has a cowish spirit and is milk-liver'd: when Edgar as the Bedlam first appeared to Lear he made him think a man a worm. As we read, the souls of all the beasts in turn seem to us to have entered the bodies of these mortals; horrible in their venom, savagery, l.u.s.t, deceitfulness, sloth, cruelty, filthiness; miserable in their feebleness, nakedness, defencelessness, blindness; and man, 'consider him well,' is even what they are. Shakespeare, to whom the idea of the transmigration of souls was familiar and had once been material for jest,[145] seems to have been brooding on humanity in the light of it.

It is remarkable, and somewhat sad, that he seems to find none of man's better qualities in the world of the brutes (though he might well have found the prototype of the self-less love of Kent and Cordelia in the dog whom he so habitually maligns);[146] but he seems to have been asking himself whether that which he loathes in man may not be due to some strange wrenching of this frame of things, through which the lower animal souls have found a lodgment in human forms, and there found--to the horror and confusion of the thinking mind--brains to forge, tongues to speak, and hands to act, enormities which no mere brute can conceive or execute. He shows us in _King Lear_ these terrible forces bursting into monstrous life and flinging themselves upon those human beings who are weak and defenceless, partly from old age, but partly because they _are_ human and lack the dreadful undivided energy of the beast. And the only comfort he might seem to hold out to us is the prospect that at least this b.e.s.t.i.a.l race, strong only where it is vile, cannot endure: though stars and G.o.ds are powerless, or careless, or empty dreams, yet there must be an end of this horrible world:

It will come; Humanity must perforce prey on itself Like monsters of the deep.[147]

The influence of all this on imagination as we read _King Lear_ is very great; and it combines with other influences to convey to us, not in the form of distinct ideas but in the manner proper to poetry, the wider or universal significance of the spectacle presented to the inward eye. But the effect of theatrical exhibition is precisely the reverse. There the poetic atmosphere is dissipated; the meaning of the very words which create it pa.s.ses half-realised; in obedience to the tyranny of the eye we conceive the characters as mere particular men and women; and all that ma.s.s of vague suggestion, if it enters the mind at all, appears in the shape of an allegory which we immediately reject. A similar conflict between imagination and sense will be found if we consider the dramatic centre of the whole tragedy, the Storm-scenes. The temptation of Oth.e.l.lo and the scene of Duncan's murder may lose upon the stage, but they do not lose their essence, and they gain as well as lose. The Storm-scenes in _King Lear_ gain nothing and their very essence is destroyed. It is comparatively a small thing that the theatrical storm, not to drown the dialogue, must be silent whenever a human being wishes to speak, and is wretchedly inferior to many a storm we have witnessed. Nor is it simply that, as Lamb observed, the corporal presence of Lear, 'an old man tottering about the stage with a walking-stick,' disturbs and depresses that sense of the greatness of his mind which fills the imagination.

There is a further reason, which is not expressed, but still emerges, in these words of Lamb's: 'the explosions of his pa.s.sion are terrible as a volcano: they are storms turning up and disclosing to the bottom that sea, his mind, with all its vast riches.' Yes, 'they are _storms_.' For imagination, that is to say, the explosions of Lear's pa.s.sion, and the bursts of rain and thunder, are not, what for the senses they must be, two things, but manifestations of one thing. It is the powers of the tormented soul that we hear and see in the 'groans of roaring wind and rain' and the 'sheets of fire'; and they that, at intervals almost more overwhelming, sink back into darkness and silence. Nor yet is even this all; but, as those incessant references to wolf and tiger made us see humanity 'reeling back into the beast' and ravening against itself, so in the storm we seem to see Nature herself convulsed by the same horrible pa.s.sions; the 'common mother,'

Whose womb immeasurable and infinite breast Teems and feeds all,

turning on her children, to complete the ruin they have wrought upon themselves. Surely something not less, but much more, than these helpless words convey, is what comes to us in these astounding scenes; and if, translated thus into the language of prose, it becomes confused and inconsistent, the reason is simply that it itself is poetry, and such poetry as cannot be transferred to the s.p.a.ce behind the foot-lights, but has its being only in imagination. Here then is Shakespeare at his very greatest, but not the mere dramatist Shakespeare.[148]

And now we may say this also of the catastrophe, which we found questionable from the strictly dramatic point of view. Its purpose is not merely dramatic. This sudden blow out of the darkness, which seems so far from inevitable, and which strikes down our reviving hopes for the victims of so much cruelty, seems now only what we might have expected in a world so wild and monstrous. It is as if Shakespeare said to us: 'Did you think weakness and innocence have any chance here? Were you beginning to dream that? I will show you it is not so.'

I come to a last point. As we contemplate this world, the question presses on us, What can be the ultimate power that moves it, that excites this gigantic war and waste, or, perhaps, that suffers them and overrules them? And in _King Lear_ this question is not left to us to ask, it is raised by the characters themselves. References to religious or irreligious beliefs and feelings are more frequent than is usual in Shakespeare's tragedies, as frequent perhaps as in his final plays. He introduces characteristic differences in the language of the different persons about fortune or the stars or the G.o.ds, and shows how the question What rules the world? is forced upon their minds. They answer it in their turn: Kent, for instance:

It is the stars, The stars above us, govern our condition:

Edmund:

Thou, nature, art my G.o.ddess; to thy law My services are bound:

and again,

This is the excellent foppery of the world, that, when we are sick in fortune--often the surfeit of our own behaviour--we make guilty of our disasters the sun, the moon and the stars; as if we were villains by necessity, fools by heavenly compulsion, ... and all that we are evil in by a divine thrusting on:

Gloster: