The mechanical imagination produces Shakespeare's fool-characters: a
quick, venturesome, dazzling, unquiet imagination, produces his men of
wit. Of wit there are many kinds. One, altogether French, which is but
reason, a foe to paradox, scorner of folly, a sort of incisive
common-sense, having no occupation but to render truth amusing and
evident, the most effective weapon with an intelligent and vain people:
such was the wit of Voltaire and the drawing-rooms. The other, that of
improvisators and artists, is a mere inventive rapture, paradoxical,
unshackled, exuberant, a sort of self-entertainment, a phantasmagoria of
images, flashes of wit, strange ideas, dazing and intoxicating, like the
movement and illumination in a ball-room. Such is the wit of Mercutio,
of the clowns, of Beatrice, Rosalind, and Benedick. They laugh, not from
a sense of the ridiculous, but from the desire to laugh. You must look
elsewhere for the campaigns with aggressive reason makes against human
folly. Here folly is in its full bloom. Our folk think of amusement, and
nothing more. They are good-humored; they let their wit prance gayly
over the possible and the impossible. They play upon words, contort
their sense, draw absurd and laughable inferences, send them back to one
another, and without intermission, as if with shuttlecocks, and vie with
each other in singularity and invention. They dress all their ideas in
strange or sparkling metaphors. The taste of the time was for
masquerades; their conversation is a masquerade of ideas. They say
nothing in a simple style; they only seek to heap together subtle
things, far-fetched, difficult to invent and to understand; all their
expressions are over-refined, unexpected, extraordinary; they strain
their thought, and change it into a caricature. "Alas, poor Romeo!" says
Mercutio, "he is already dead; stabbed with a white wench's black eye;
shot through the ear with a love-song, the very pin of his heart cleft
with the blind bow-boy's butt-shaft."[658] Benedick relates a
conversation he has just held with his mistress: "O, she misused me past
the endurance of a block! an oak, but with one green leaf on it would
have answered her; my very visor began to assume life, and scold with
her."[659] These gay and perpetual extravagances show the bearing of the
speakers. They do not remain quietly seated in their chairs, like the
Marquesses in the "Misanthrope"; they whirl round, leap, paint their
faces, gesticulate boldly their ideas; their wit-rockets end with a
song. Young folk, soldiers and artists, they let off their fireworks of
phrases, and gambol round about. "There was a star danced, and under
that was I born."[660] This expression of Beatrice's aptly describes the
kind of poetical, sparkling, unreasoning, charming wit, more akin to
music than to literature, a sort of dream, which is spoken out aloud,
and whilst wide awake, not unlike that described by Mercutio:
"O, then, I see Queen Mab hath been with you.
She is the fairies' midwife; and she comes
In shape no bigger than an agate-stone
On the fore-finger of an alderman,
Drawn with a team of little atomies
Athwart men's noses as they lie asleep;
Her wagon-spokes made of long spinners' legs,
The cover of the wings of grasshoppers,
The traces of the smallest spider's web,
The collars of the moonshine's watery beams,
Her whip of cricket's bone, the lash of film,
Her wagoner a small gray-coated gnat,
Not half so big as a round little worm
Prick'd from the lazy finger of a maid;
Her chariot is an empty hazel-nut,
Made by the joiner squirrel or old grub,
Time out o' mind the fairies' coachmakers.
And in this state she gallops night by night
Through lovers' brains, and then they dream of love;
O'er courtiers' knees, that dream on court'sies straight,
O'er lawyers' fingers, who straight dream on fees,
O'er ladies' lips, who straight on kisses dream....
Sometime she gallops o'er a courtier's nose,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig's tail
Tickling a person's nose as a' lies asleep,
Then dreams he of another benefice:
Sometime she driveth o'er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five-fathom deep: and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted swears a prayer or two
And sleeps again. This is that very Mab
That plats the manes of horses in the night,
And bakes the elf-locks in foul sluttish hairs,
Which once untangled much misfortune bodes...
This is she."[661]
[Illustration: CHOICE EXAMPLES OF BOOK ILLUMINATION.
Fac-similes from Illuminated Manuscripts and Illustrated Books
of Early Date.
_TITLE-PAGE OF THE HYPNEROTOMACHIA._
The present frontispiece belongs to a French translation of the work of
Poliphilo, the only book with decorated borders and insertions ever
published by the Venetian Aldi. They printed the Hypnerotomachia in
1499, and it was reproduced in a French translation, with the present
title-page by the Parisian printer, Jacques Kerver, in 1546. All the
profuse embellishments of the Aldine edition were retained, but the
title-page here reproduced is from a design of the famous French
sculptor, Jean Goujon.]
Romeo interrupts him, or he would never end. Let the reader compare with
the dialogue of the French theatre this little poem
"Child of an idle brain,
Begot of nothing but vain fantasy,"[662]
introduced without incongruity in the midst of a conversation of the
sixteenth century, and he will understand the difference between the wit
which devotes itself to reasoning, or to record a subject for laughter,
and that imagination which is self-amused with its own act.
Falstaff has the passions of an animal, and the imagination of a man of
wit. There is no character which better exemplifies the fire and
immorality of Shakespeare. Falstaff is a great supporter of disreputable
places, swearer, gamester, idler, wine-bibber, as low as he well can be.
He has a big belly, bloodshot eyes, bloated face, shaking legs; he
spends his life with his elbows among the tavern-jugs, or asleep on the
ground behind the arras; he only wakes to curse, lie, brag, and steal.
He is as big a swindler as Panurge, who had sixty-three ways of making
money, "of which the honestest was by sly theft." And what is worse, he
is an old man, a knight, a courtier, and well educated. Must he not be
odious and repulsive? By no means; we cannot help liking him. At bottom,
like his brother Panurge, he is "the best fellow in the world." He has
no malice in his composition; no other wish than to laugh and be amused.
When insulted, he bawls out louder than his attackers, and pays them
back with interest in coarse words and insults; but he owes them no
grudge for it. The next minute he is sitting down with them in a low
tavern, drinking their health like a brother and comrade. If he has
vices, he exposes them so frankly that we are obliged to forgive him
them. He seems to say to us, "Well, so I am, what then? I like drinking:
isn't the wine good? I take to my heels when hard hitting begins; don't
blows hurt? I get into debt, and do fools out their money; isn't it nice
to have money in your pocket? I brag; isn't it natural to want to be
well thought of?"--"Dost thou hear, Hal? thou knowest, in the state of
innocency, Adam fell; and what should poor Jack Falstaff do in the days
of villainy? Thou seest I have more flesh than another man, and
therefore more frailty."[663] Falstaff is so frankly immoral, that he
ceases to be so. Conscience ends at a certain point; nature assumes its
place, and man rushes upon what he desires, without more thought of
being just or unjust than an animal in the neighboring wood. Falstaff,
engaged in recruiting, has sold exemptions to all the rich people, and
only enrolled starved and half-naked wretches. There's but a shirt and a
half in all his company: that does not trouble him. Bah: "they'll find
linen enough on every hedge." The prince, who has seen them, says, "I
did never see such pitiful rascals. Tut, tut," answers Falstaff, "good
enough to toss; food for powder; they'll fill a pit as well as better;
tush, man, mortal men, mortal men."[664] His second excuse is his
unfailing spirit. If ever there was a man who could jabber, it is he.
Insults and oaths, curses, jobations, protests, flow from him as from an
open barrel. He is never at a loss; he devises a shift for every
difficulty. Lies sprout out of him, fructify, increase, beget one
another, like mushrooms on a rich and rotten bed of earth. He lies still
more from his imagination and nature than from interest and necessity.
It is evident from the manner in which he strains his fictions. He says
he has fought alone against two men. The next moment it is four.
Presently we have seven, then eleven, then fourteen. He is stopped in
time, or he would soon be talking of a whole army. When unmasked, he
does not lose his temper, and is the first to laugh at his boastings.
"Gallants, lads, boys, hearts of gold.... What, shall we be merry? shall
we have a play extempore?"[665] He does the scolding part of King Henry
with so much truth that we might take him for a king, or an actor. This
big potbellied fellow, a coward, a cynic, a brawler, a drunkard, a lewd
rascal, a pothouse poet, is one of Shakespeare's favorites. The reason
is, that his morals are those of pure nature, and Shakespeare's mind is
congenial with his own.