Bacon Delia Salter
The Philosophy of the Plays of Shakspere Unfolded
'When tyrants' crests, and tombs of brass are spent.'
That is the one fact, the indestructible fact, which this book is to demonstrate.
PART I.
LEAR'S PHILOSOPHER
'Thou'dst shun a bear;
But if thy way lay towards the raging sea,
Thou'dst meet the bear i' the mouth.'
CHAPTER I
PHILOSOPHY IN THE PALACE
'I think the king is but a man, as I am.' —King Henry.
'They told me I was everything.' —Lear.
OF course, it was not possible that the prerogative should be openly dealt with at such a time, questioned, discussed, scientifically examined, in the very presence of royalty itself, except by persons endowed with extraordinary privileges and immunities, persons, indeed, of quite irresponsible authority, whose right to do and say what they pleased, Elizabeth herself, though they should enter upon a critical analysis of the divine rights of kings to her face, and deliberately lay bare the defects in that title which she was then attempting to maintain, must needs notwithstanding, concede and respect.
And such persons, as it happened, were not wanting in the retinue of that sovereignty which was working in disguise here then, and laying the foundations of that throne in the thoughts of men, which would replace old principalities and powers, and not political dominions merely. To the creative genius which waited on the philosophic mind of that age, making up in the splendour of its gifts for the poverty of its exterior conditions, such persons, – persons of any amount or variety of capacity which the necessary question of its play might require, were not wanting: – 'came with a thought.'
Of course, poor Bolingbroke, fevered with the weight of his ill-got crown, and passing a sleepless night in spite of its supposed exemptions, unable to command on his state-bed, with all his royal means and appliances, the luxury that the wet sea boy in the storm enjoys, – and the poet appears, to have had some experience of this mortal ill, which inclines him to put it down among those which ought to be excluded from a state of supreme earthly felicity, – the poor guilty disgusted usurper, discovering that this so blessed 'invention' was not included in the prerogative he had seized, under the exasperation of the circumstances, might surely be allowed to mutter to himself, in the solitude of his own bed-chamber, a few general reflections on the subject, and, indeed, disable his own position to any extent, without expecting to be called to an account for it, by any future son or daughter of his usurping lineage. That extraordinary, but when one came to look at it, quite incontestable fact, that nature in her sovereignty, imperial still, refused to recognize this artificial difference in men, but still went on her way in all things, as if 'the golden standard' were not there, classing the monarch with his 'poorest subject;' – the fact that this charmed 'round of sovereignty,' did not after all secure the least exemption from the common individual human frailty, and helplessness, – this would, of course, strike the usurper who had purchased the crown at such an expense, as a fact in natural history worth communicating, if it were only for the benefit of future princes, who might be disposed to embark in a similar undertaking. Here, of course, the moral was proper, and obvious enough; or close at hand, and ready to be produced, in case any serious inquiry should be made for it; though the poet might seem, perhaps, to a severely critical mind, disposed to pursue his philosophical inquiry a little too curiously into the awful secrets of majesty, retired within itself, and pondering its own position; – openly searching what Lord Bacon reverently tells us, the Scriptures pronounce to be inscrutable, namely, the hearts of kings, and audaciously laying bare those private passages, those confessions, and misgivings, and frailties, for which policy and reverence prescribe concealment, and which are supposed in the play, indeed, to be shrouded from the profane and vulgar eye, a circumstance which, of course, was expected to modify the impression.
So, too, that profoundly philosophical suspicion, that a rose, or a violet, did actually smell, to a person occupying this sublime position, very much as it did to another; a suspicion which, in the mouth of a common man, would have been literally sufficient to 'make a star-chamber matter of'; and all that thorough-going analysis of the trick and pageant of majesty which follows it, would, of course, come only as a graceful concession, from the mouth of that genuine piece of royalty, who contrives to hide so much of the poet's own 'sovereignty of nature,' under the mantle of his free and princely humours, the brave and gentle hero of Agincourt.
'Though I speak it to you,' he says, talking in the disguise of a 'private,' 'I think the King is but a man as I am, the violet smells to him as it doth to me; all his senses, have but human conditions. His ceremonies laid by, in his nakedness, he appears but a man; and though his affections are higher mounted than ours, yet, when they stoop, they stoop with the like wing. When he sees reason of fears, as we do, his fears, out of doubt, be of the same relish as ours are'; and in the same scene, thus the royal philosopher versifies, and soliloquises on the same delicate question.
'And what have kings that "privates" have not, too, save ceremony, – save general ceremony? And what art thou, thou idol ceremony?—What is thy soul of adoration?'
A grave question, for a man of an inquiring habit of mind, in those times: let us see how a Poet can answer it.
'Art thou aught else but place, degree and form,
Creating awe and fear in other men?
Wherein, thou art less happy, being feared,
Than they in fearing?
[Again and again this man has told us, and on his oath, that he cherished no evil intentions, no thought of harm to the king; and those who know what criticisms on the state, as it was then, he had authorised, and what changes in it he was certainly meditating and preparing the way for, have charged him with falsehood and perjury on that account; but this is what he means. He thinks that wretched victim of that most irrational and monstrous state of things, on whose head the crown of an arbitrary rule is placed, with all its responsibilities, in his infinite unfitness for them, is, in fact, the one whose case most of all requires relief. He is the one, in this theory, who suffers from this unnatural state of things, not less, but more, than his meanest subject. 'Thou art less happy being feared, than they in fearing.']
What drink'st thou oft instead of homage sweet
But poison'd flattery? O! be sick, great greatness,
And bid thy ceremony give thee cure.
Thinkest thou the fiery fever will go out
With titles blown from adulation?
Will it give place to flexure and low bending?
Interesting physiological questions! And though the author, for reasons of his own, has seen fit to put them in blank verse here, it is not because he does not understand, as we shall see elsewhere, that they are questions of a truly scientific character, which require to be put in prose in his time – questions of vital consequence to all men. The effect of 'poisoned flattery,' and 'titles blown from adulation' on the minds, of those to whose single will and caprice the whole welfare of the state, and all the gravest questions for this life and the next, were then entrusted, naturally appeared to the philosophical mind, perseveringly addicted to inquiries, in which the practical interests of men were involved, a question of gravest moment.
But here it is the physical difference which accompanies this so immense human distinction, which he appears to be in quest of; it is the control over nature with which these 'farcical titles' invest their possessor, that he appears to be now pertinaciously bent upon ascertaining. For we shall find, as we pursue the subject, that this is not an accidental point here, a casual incident of the character, or of the plot, a thing which belongs to the play, and not to the author; but that this is a poet who is somehow perpetually haunted with the impression that those who assume a divine right to control, and dispose of their fellow-men, ought to exhibit some sign of their authority; some superior abilities; some magical control; some light and power that other men have not. How he came by any such notions, the critic of his works is, of course, not bound to show; but that which meets him at the first reading is the fact, the incontestable fact, that the Poet of Shakspere's stage, be he who he may, is a poet whose mind is in some way deeply occupied with this question; that it is a poet who is infected, and, indeed, perfectly possessed, with the idea, that the true human leadership ought to consist in the ability to extend the empire of man over nature, – in the ability to unite and control men, and lead them in battalions against those common evils which infest the human conditions, – not fevers only but 'worser' evils, and harder to be cured, and to the conquest of those supernal blessings which the human race have always been vainly crying for. 'I am a king that find thee,' he says.
And having this inveterate notion of a true human regality to begin with, he is naturally the more curious and prying in regard to the claims of the one which he finds in possession; and when by the mystery of his profession and art, he contrives to get the cloak of that factitious royalty about him, he asks questions under its cover which another man would not think of putting.
'Canst thou,' he continues, walking up and down the stage in King Hal's mantle, inquiring narrowly into its virtues and taking advantage of that occasion to ascertain the limits of the prerogative – that very dubious question then, —
'Canst thou when thou command'st the beggar's knee, Command the health of it?' —
No? what mockery of power is it then? But, this in connection with the preceding inquiry in regard to the effect of titles on the progress of a fever, or the amenability of its paroxysm, to flexure and low bending, might have seemed perhaps in the mouth of a subject to savour somewhat of irony; it might have sounded too much like a taunt upon the royal helplessness under cover of a serious philosophical inquiry, or it might have betrayed in such an one a disposition to pursue scientific inquiries farther than was perhaps expedient. But thus it is, that THE KING can dare to pursue the subject, answering his own questions.
'No, thou proud dream That playst so subtly with a king's repose; I am a king that find thee; and I know 'Tis not the THE BALM, THE SCEPTRE, and THE BALL, THE SWORD, THE MACE, THE CROWN IMPERIAL, The inter-tissued ROBE of gold and pearl, The FARCED TITLE —
What is that? – Mark it: – the farced TITLE! – A bold word, one would say, even with a king to authorise it.
'The farced TITLE running 'fore the king,
THE THRONE he sits on, nor the tide of POMP
That beats upon the high shore of this world,
No, not all these, thrice gorgeous CEREMONY,
Not all these laid in BED MAJESTICAL,
Can sleep so soundly as the wretched slave
Who, with a body filled, and vacant mind,
Gets him to rest crammed with distressful bread,
Never sees horrid night, the child of hell,
But like a lackey from the rise to set
Sweats in the eye of Phoebus; and all night
Sleeps in Elysium.
Yes, there we have him, at last. There he is exactly. That is the scientific picture of him, 'poor man,' as this poet calls him elsewhere. What malice could a philosophic poet bear him? That is the monarchy that men were 'sanctifying themselves with,' and 'turning up the white of the eye to,' then. That is the figure that it makes when it comes to be laid in its state-bed, upon the scientific table of review, not in the formal manner of 'the second part' of this philosophy, but in that other manner which the author of the Novum Organum, speaks of so frequently, as the one to be used in applying it to subjects of this nature. That is the anatomy of him, which 'our method of inquiry and investigation,' brings out without much trouble 'when we come to particulars.' 'Truly we were in good hands,' as the other one says, who finds it more convenient, for his part, to discourse on these points, from a distance.
That is the figure the usurping monarch's pretensions make at the first blush, in the collections from which 'the vintage' of the true sovereignty, and the scientific principles of governments are to be expressed, when the true monarchy, the legitimate, 'one only man power,' is the thing inquired for. This one goes to 'the negative' side apparently. A wretched fellow that cannot so much as 'sleep o' nights,' that lies there on the stage in the play of Henry the Fourth, in the sight of all the people, with THE CROWN on his very pillow, by way 'facilitating the demonstration,' pining for the 'Elysium' at his meanest subject, – that the poor slave, 'crammed with distressful bread,' commands; crying for the luxury that the wet seaboy, on his high and giddy couch enjoys; – and from whose note-book came that image, dashed with the ocean spray, – who saw that seaboy sleeping in that storm?
But, as for this KING, it is the king which the scientific history brings out; whereas, in the other sort of history that was in use then, lie is hardly distinguishable at all from those Mexican kings who undertook to keep the heavenly bodies in their places, and, at the same time, to cause all things to be borne by the earth which were requisite for the comfort and convenience of man; a peculiarity of those sovereigns, of which the Man on the Mountains, whose study is so well situated for observations of that sort, makes such a pleasant note.
But whatever other view we may take of it, this, it must be conceded, is a tolerably comprehensive exhibition, in the general, of the mere pageant of royalty, and a pretty free mode of handling it; but it is at the same time a privileged and entirely safe one. For the liberty of this great Prince to repeat to himself, in the course of a solitary stroll through his own camp at midnight, when nobody is supposed to be within hearing, certain philosophical conclusions which he was understood to have arrived at in the course of his own regal experience, could hardly be called in question. And as to that most extraordinary conversation in which, by means of his disguise on this occasion, he becomes a participator, if the Prince himself were too generous to avail himself of it to the harm of the speakers, it would ill become any one else to take exceptions at it.
And yet it is a conversation in which a party of common soldiers are permitted to 'speak their minds freely' for once, though 'the blank verse has to halt for it,' on questions which would be considered at present questions of 'gravity.' It is a dialogue in which these men are allowed to discuss one of the most important institutions of their time from an ethical point of view, in a tone as free as the president of a Peace Society could use to-day in discussing the same topic, intermingling their remarks with criticisms on the government, and personal allusions to the king himself, which would seem to be more in accordance with the manners of the nineteenth century, than with those of the Poet's time.
But then these wicked and treasonous grumblings being fortunately encountered on the spot, and corrected by the king himself in his own august person, would only serve for edification in the end; if, indeed, that appeal to the national pride which would conclude the matter, and the glory of that great day which was even then breaking in the East, should leave room for any reflections upon it. For it was none other than the field of Agincourt that was subjected to this philosophic inquiry. It was the lustre of that immortal victory which was to England then, what Waterloo and the victories of Nelson are now, that was thus chemically treated beforehand. Under the cover of that renowned triumph, it was, that these soldiers could venture to search so deeply the question of war in general; it was in the person of its imperial hero, that the statesman could venture to touch so boldly, an institution which gave to one man, by his own confession no better or wiser than his neighbours, the power to involve nations in such horrors.
But let us join the king in his stroll, and hear for ourselves, what it is that these soldiers are discussing, by the camp-fires of Agincourt; – what it is that this first voice from the ranks has to say for itself. The king has just encountered by the way a poetical sentinel, who, not satisfied with the watchword – 'a friend,' – requests the disguised prince 'to discuss to him, and answer, whether he is an officer, or base, common, and popular,' when the king lights on this little group, and the discussion which Pistol had solicited, apparently on his own behalf, actually takes place, for the benefit of the Poet's audience, and the answer to these inquiries comes out in due order.
Court. Brother John Bates, is not that the morning which breaks yonder?
Bates. I think it be, but we have no great cause to desire the approach of day.
Will. We see yonder the beginning of the day, but I think we shall never see the end of it. Who goes there?
King Henry. A friend.
Will. Under what captain serve you?
King. Under Sir Thomas Erpingham.
Will. A good old commander, and a most kind gentleman: I pray you, what thinks he of our estate?
King. Even as men wrecked upon a sand, that look to be washed off the next tide.
Bates. He hath not told his thought to the king?
King. No; nor it is not meet that he should; for though I speak it to you, I think the king is but a man as I am.
And it is here that he proceeds to make that important disclosure above quoted, that all his senses have but human conditions, and that all his affections, though higher mounted, stoop with the like wing; and therefore no man should in reason possess him with any appearance of fear, lest he, by showing it, 'should dishearten his army.'
Bates. He may show what outward courage he will; but, I believe, as cold a night as 'tis, he could wish himself in the Thames, up to the neck; and so I would he were, and I by him, at all adventures, so we were quit here.
King. By my troth, I will speak my conscience of the king. I think he would not wish himself anywhere but where he is.
Bates. Then would he were here alone; so should he be sure to be ransomed, and a many poor men's lives saved.
King. I dare say you love him not so ill as to wish him here alone; howsoever you speak this to feel other men's minds; Methinks I could not die anywhere so contented as in the king's company; his cause being just, and his quarrel honorable.
Will. That's more than we know.
Bates. Ay, or more than we should seek after; for we know enough, if we know we are the king's subjects; if his cause be wrong, our obedience to the king wipes the crime of it out of us.
Will. But if the cause be not good, the king himself hath a heavy reckoning to make; when all those legs and arms and heads chopped off in a battle shall join together at the latter day, and cry all – We died at such a place; some swearing, some crying for a surgeon, some upon their wives left poor behind them; some upon the debts they owe; some upon their children rawly left. I am afeared that few die well, that die in battle; for how can they charitably dispose of anything when blood is their argument? Now if these men do not die well, it will be a black matter for the king that led them to it; whom to disobey were against all proportion of subjection.
King. So, if a son that is by his father sent about merchandise, do sinfully miscarry upon the sea, the imputation of his wickedness, by your rule, should be imposed upon his father that sent him: or if a servant, under his master's command, transporting a sum of money, be assailed by robbers, and die in many irreconciled iniquities, you may call the business of the master the author of the servant's damnation. – But this is not so… There is no king, be his cause never so spotless, if it come to the arbitrament of swords, can try it out with all unspotted soldiers.
But the king pursues this question of the royal responsibility until he arrives at the conclusion that every subject's DUTY is THE KING'S, BUT EVERY SUBJECT'S SOUL IS HIS OWN, until he shows, indeed, that there is but one ultimate sovereignty; one to which the king and his subjects are alike amenable, which pursues them everywhere, with its demands and reckonings, – from whose violated laws there is no escape.
Will. 'Tis certain, every man that dies ill, the ill is upon his own head – [no unimportant point in the theology or ethics of that time] – THE KING is not to answer for it.
Bates. I do not desire the king should answer for me, and yet I determine to fight lustily for him.
King. I, myself, heard the king say, he would not be ransomed.
Will. Ay, he said so, to make us fight cheerfully; but when our throats are cut, he may be ransomed and we ne'er the wiser.
King. If I live to see it, I will never trust his word after.
Will. Mass, you'll pay him then! That's a perilous shot out of an elder gun, that a poor and private displeasure can do against a monarch. You may as well go about to turn the sun to ice, with fanning in his face with a peacock's feather.
And, indeed, thus and not any less absurd and monstrous, appeared the idea of subjecting the king to any effect from the subject's displeasure, or the idea of calling him to account – this one, helpless, frail, private man, as he has just been conceded by the king himself to be, for any amount of fraud or dishonesty to the nation, for any breach of trust or honour. For his relation to the mass and the source of this fearful irresponsible power was not understood then. The soldier states it well. One might, indeed, as well go about to turn the sun to ice, with fanning in his face with a peacock's feather.
'You'll never trust his word after,' the soldier continues.
'Come, 'tis a foolish saying.'
'Your reproof is something too round,' is the king's reply. It is indeed round. It is one of those round replies that this poet is so fond of, and the king himself becomes 'the private' of it, when once the centre of this play is found, and the sweep of its circumference is taken. For the sovereignty of law, the kingship of the universal law in whomsoever it speaks, awful with God's power, armed with his pains and penalties is the scientific sovereignty; and in the scientific diagrams the passions, 'the poor and private passions,' and the arbitrary will, in whomsoever they speak, no matter what symbols of sovereignty they have contrived to usurp, make no better figure in their struggles with that law, than that same which the poet's vivid imagination and intense perception of incompatibilities, has seized on here. The king struggles vainly against the might of the universal nature. It is but the shot out of an 'elder gun;' he might as well 'go about to turn the sun to ice with fanning in his face with a peacock's feather.' 'I should be angry with you,' continues the king, after noticing the roundness of that reply, 'I should be angry with you, if the time were convenient.'
But as to the poet who composes these dialogues, of course he does not know whether the time is convenient or not; – he has never reflected upon any of those grave questions which are here so seriously discussed. They are not questions in which he can be supposed to have taken any interest. Of course he does not know or care what it is that these men are talking about. It is only for the sake of an artistic effect, to pass away the night, and to deepen for his hero the gloom which was to serve as the foil and sullen ground of his great victory, that his interlocutors are permitted to go on in this manner.
It is easy to see, however, what extraordinary capabilities this particular form of writing offered to one who had any purpose, or to an author, who wished on any account, to 'infold' somewhat his meaning; – that was the term used then in reference to this style of writing. For certainly, many things dangerous in themselves could be shuffled in under cover of an artistic effect, which would not strike at the time, amid the agitations, and the skilful checks, and counteractions, of the scene, even the quick ear of despotism itself.
And thus King Lear – that impersonation of absolutism – the very embodiment of pure will and tyranny in their most frantic form, taken out all at once from that hot bath of flatteries to which he had been so long accustomed, that his whole self-consciousness had become saturated, tinctured in the grain with them, and he believed himself to be, within and without, indestructibly, essentially, – 'ay, every inch A KING;' with speeches on his supremacy copied, well nigh verbatim, from those which Elizabeth's courtiers habitually addressed to her, still ringing in his ears, hurled out into a single-handed contest with the elements, stripped of all his 'social and artificial lendings,' the poor, bare, unaccommodated, individual man, this living subject of the poet's artistic treatment, – this 'ruined Majesty' anatomized alive, taken to pieces literally before our eyes, pursued, hunted down scientifically, and robbed in detail of all 'the additions of a king' – must, of course, be expected to evince in some way his sense of it; 'for soul and body,' this poet tells us, 'rive not more in parting than greatness going off.'
Once conceive the possibility of presenting the action, the dumb show, of this piece upon the stage at that time, (there have been times since when it could not be done), and the dialogue, with its illimitable freedoms, follows without any difficulty. For the surprise of the monarch at the discoveries which this new state of things forces upon him, – the speeches he makes, with all the levelling of their philosophy, with all the unsurpassable boldness of their political criticism, are too natural and proper to the circumstances, to excite any surprise or question.
Indeed, a king, who, nurtured in the flatteries of the palace, was unlearned enough in the nature of things, to suppose that the name of a king was anything but a shadow when the power which had sustained its prerogative was withdrawn, – a king who thought that he could still be a king, and maintain 'his state' and 'his hundred knights,' and their prerogatives, and all his old arbitrary, despotic humours, with their inevitable encroachment on the will and humours, and on the welfare of others, merely on grounds of respect and affection, or on grounds of duty, when not merely the care of 'the state,' but the revenues and power of it had been devolved on others – such a one appeared, indeed, to the poet, to be engaging in an experiment very similar to the one which he found in progress in his time, in that old, decayed, riotous form of military government, which had chosen the moment of its utter dependence on the popular will and respect, as the fitting one for its final suppression of the national liberties. It was an experiment which was, of course, modified in the play by some diverting and strongly pronounced differences, or it would not have been possible to produce it then; but it was still the experiment of the unarmed prerogative, that the old popular tale of the ancient king of Britain offered to the poet's hands, and that was an experiment which he was willing to see traced to its natural conclusion on paper at least; while in the subsequent development of the plot, the presence of an insulted trampled outcast majesty on the stage, furnishes a cover of which the poet is continually availing himself, for putting the case of that other outraged sovereignty, whose cause under one form or another, under all disguises, he is always pleading. And in the poet's hands, the debased and outcast king, becomes the impersonation of a debased and violated state, that had given all to its daughters, – the victim of a tyranny not less absolute, the victim, too, of a blindness and fatuity on its own part, not less monstrous, but not, not —that is the poet's word —not yet irretrievable.
'Thou shalt find
I will resume that shape, which thou dost think
I have cast off for ever; thou shalt, I warrant thee.'
'Do you mark that, my lord?'
But the question of that prerogative, which has consumed, in the poet's time, all the faculties of government constitutes only a subordinate part of the action of that great play, into which it is here incorporated; a play which comprehends in its new philosophical reaches, in its new and before-unimagined subtilties of analysis, the most radical questions of a practical human science; questions which the practical reason of these modern ages at the moment of its awakening, found itself already compelled to grapple with, and master.