Томас Бабингтон Маколей - Miscellaneous Writings and Speeches — Volume 2

The excellence of these works is in a great measure the result of two peculiarities, which the critics of the French school consider as defects,—from the mixture of tragedy and comedy, and from the length and extent of the action. The former is necessary to render the drama a just representation of a world in which the laughers and weepers are perpetually jostling each other,—in which every event has its serious and ludicrous side. The latter enables us to form an intimate acquaintance with characters with which we could not possibly become familiar during the few hours to which the unities restrict the poet. In this respect, the works of Shakspeare, in particular, are miracles of art. In a piece, which may be read aloud in three hours, we see a character gradually unfold all its recesses to us. We see it change with the change of circumstances. The petulant youth rises into the politic and warlike sovereign. The profuse and courteous philanthropist sours into a hater and scorner of his kind. The tyrant is altered, by the chastening of affliction, into a pensive moralist. The veteran general, distinguished by coolness, sagacity, and self-command, sinks under a conflict between love strong as death, and jealousy cruel as the grave. The brave and loyal subject passes, step by step, to the extremities of human depravity. We trace his progress, from the first dawnings of unlawful ambition to the cynical melancholy of his impenitent remorse. Yet, in these pieces, there are no unnatural transitions. Nothing is omitted: nothing is crowded. Great as are the changes, narrow as is the compass within which they are exhibited, they shock us as little as the gradual alterations of those familiar faces which we see every evening and every morning. The magical skill of the poet resembles that of the Dervise in the Spectator, who condensed all the events of seven years into the single moment during which the king held his head under the water.

It is deserving of remark, that, at the time of which we speak, the plays even of men not eminently distinguished by genius,—such, for example, as Jonson,—were far superior to the best works of imagination in other departments. Therefore, though we conceive that, from causes which we have already investigated, our poetry must necessarily have declined, we think that, unless its fate had been accelerated by external attacks, it might have enjoyed an euthanasia, that genius might have been kept alive by the drama till its place could, in some degree, be supplied by taste,—that there would have been scarcely any interval between the age of sublime invention and that of agreeable imitation. The works of Shakspeare, which were not appreciated with any degree of justice before the middle of the eighteenth century, might then have been the recognised standards of excellence during the latter part of the seventeenth; and he and the great Elizabethan writers might have been almost immediately succeeded by a generation of poets similar to those who adorn our own times.

But the Puritans drove imagination from its last asylum. They prohibited theatrical representations, and stigmatised the whole race of dramatists as enemies of morality and religion. Much that is objectionable may be found in the writers whom they reprobated; but whether they took the best measures for stopping the evil appears to us very doubtful, and must, we think, have appeared doubtful to themselves, when, after the lapse of a few years, they saw the unclean spirit whom they had cast out return to his old haunts, with seven others fouler than himself.

By the extinction of the drama, the fashionable school of poetry,—a school without truth of sentiment or harmony of versification,—without the powers of an earlier, or the correctness of a later age,—was left to enjoy undisputed ascendency. A vicious ingenuity, a morbid quickness to perceive resemblances and analogies between things apparently heterogeneous, constituted almost its only claim to admiration. Suckling was dead. Milton was absorbed in political and theological controversy. If Waller differed from the Cowleian sect of writers, he differed for the worse. He had as little poetry as they, and much less wit; nor is the languor of his verses less offensive than the ruggedness of theirs. In Denham alone the faint dawn of a better manner was discernible.

But, low as was the state of our poetry during the civil war and the Protectorate, a still deeper fall was at hand. Hitherto our literature had been idiomatic. In mind as in situation we had been islanders. The revolutions in our taste, like the revolutions in our government, had been settled without the interference of strangers. Had this state of things continued, the same just principles of reasoning which, about this time, were applied with unprecedented success to every part of philosophy would soon have conducted our ancestors to a sounder code of criticism. There were already strong signs of improvement. Our prose had at length worked itself clear from those quaint conceits which still deformed almost every metrical composition. The parliamentary debates, and the diplomatic correspondence of that eventful period, had contributed much to this reform. In such bustling times, it was absolutely necessary to speak and write to the purpose. The absurdities of Puritanism had, perhaps, done more. At the time when that odious style, which deforms the writings of Hall and of Lord Bacon, was almost universal, had appeared that stupendous work, the English Bible,—a book which, if everything else in our language should perish, would alone suffice to show the whole extent of its beauty and power. The respect which the translators felt for the original prevented them from adding any of the hideous decorations then in fashion. The groundwork of the version, indeed, was of an earlier age. The familiarity with which the Puritans, on almost every occasion, used the Scriptural phrases was no doubt very ridiculous; but it produced good effects. It was a cant; but it drove out a cant far more offensive.

The highest kind of poetry is, in a great measure, independent of those circumstances which regulate the style of composition in prose. But with that inferior species of poetry which succeeds to it the case is widely different. In a few years, the good sense and good taste which had weeded out affectation from moral and political treatises would, in the natural course of things, have effected a similar reform in the sonnet and the ode. The rigour of the victorious sectaries had relaxed. A dominant religion is never ascetic. The Government connived at theatrical representations. The influence of Shakspeare was once more felt. But darker days were approaching. A foreign yoke was to be imposed on our literature. Charles, surrounded by the companions of his long exile, returned to govern a nation which ought never to have cast him out or never to have received him back. Every year which he had passed among strangers had rendered him more unfit to rule his countrymen. In France he had seen the refractory magistracy humbled, and royal prerogative, though exercised by a foreign priest in the name of a child, victorious over all opposition. This spectacle naturally gratified a prince to whose family the opposition of Parliaments had been so fatal. Politeness was his solitary good quality. The insults which he had suffered in Scotland had taught him to prize it. The effeminacy and apathy of his disposition fitted him to excel in it. The elegance and vivacity of the French manners fascinated him. With the political maxims and the social habits of his favourite people, he adopted their taste in composition, and, when seated on the throne, soon rendered it fashionable, partly by direct patronage, but still more by that contemptible policy, which, for a time, made England the last of the nations, and raised Louis the Fourteenth to a height of power and fame, such as no French sovereign had ever before attained.