English Literary Criticism by Charles Edwyn Vaughan (smart ebook reader TXT) 📕

will read him, and read him with attentive studious painfulness. Which constant desire, whosoever hath in him, hath already passed half the hardness of the way, and therefore is beholding to the philosopher but for the other half. Nay truly, learned men have learnedly thought, that where once reason hath so much overmastered passion, as that the mind hath a free desire to do well, the inward light each mind hath in itself is as good as a philosopher's book; seeing in nature we know it is well to do well, and what is well, and what is evil, although not in the words of art, which philosophers bestow upon us. For out of natural conceit, the philosophers drew it; but to be moved to do that which we know, or to be moved with desire to know, Hoc opus, hic labor est.

Now therein of all sciences (I speak still of human, and according to the human conceits), is our poet the Monarch. For he doth not only show the way, but giveth so sweet a prospect into the way, as will entice any man to enter into it. Nay, he doth as if your journey should lie through a fair vineyard, at the first give you a cluster of grapes: that, full of that taste, you may long to pass further. He beginneth not with obscure definitions, which must blur the margent with interpretations, and load the memory with doubtfulness: but he cometh to you with words sent in delightful proportion, either accompanied with, or prepared for the well enchanting skill of music; and with a tale forsooth he cometh unto you: with a tale which holdeth children from play, and old men from the chimney corner. And pretending no more, doth intend the winning of the mind from wickedness to virtue: even as the child is often brought to take most wholesome things, by hiding them in such other as have a pleasant taste: which, if one should begin to tell them the nature of Aloes or Rhubarb they should receive, would sooner take their physic at their ears than at their mouth. So it is in men (most of which are childish in the best things, till they be cradled in their graves), glad they will be to hear the tales of Hercules, Achilles, Cyrus, and Aneas; and hearing them, must needs hear the right description of wisdom, valour, and justice; which, if they had been barely, that is to say philosophically, set out, they would swear they be brought to school again.

That imitation, whereof poetry is, hath the most conveniency to Nature of all other, insomuch, that as Aristotle saith, those things which in themselves are horrible, as cruel battles, unnatural monsters, are made in poetical imitation delightful. Truly I have known men that, even with reading Amadis de Gaule (which God knoweth wanteth much of a perfect poesy), have found their hearts moved to the exercise of courtesy, liberality, and especially courage.

Who readeth Aneas carrying old Anchises on his back, that wisheth not it were his fortune to perform so excellent an act? Whom do not the words of Turnus move? (the tale of Turnus having planted his image in the imagination)—

Fugientem hoec terra videbit; Usque adeone mori miserum est?

Where the philosophers, as they scorn to delight, so must they be content little to move: saving wrangling, whether virtue be the chief, or the only good: whether the contemplative, or the active life do excel: which Plato and Boethius well knew, and therefore made Mistress Philosophy very often borrow the masking raiment of poesy. For even those hard-hearted evil men, who think virtue a school name, and know no other good but indulgere genio, and therefore despise the austere admonitions of the philosopher, and feel not the inward reason they stand upon, yet will be content to be delighted: which is all the good fellow poet seemeth to promise: and so steal to see the form of goodness (which seen they cannot but love) ere themselves be aware, as if they took a medicine of cherries. Infinite proofs of the strange effects of this poetical invention might be alleged; only two shall serve, which are so often remembered, as I think all men know them.

The one of Menenius Agrippa, who when the whole people of Rome had resolutely divided themselves from the Senate, with apparent show of utter ruin: though he were (for that time) an excellent orator, came not among them upon trust of figurative speeches, or cunning insinuations: and much less, with far-fetched maxims of philosophy, which (especially if they were Platonic [Footnote: Alluding to the inscription over the door of Plato's Academy: No entrance here without Geometry.)], they must have learned geometry before they could well have conceived: but forsooth he behaves himself, like a homely, and familiar poet. He telleth them a tale, that there was a time, when all the parts of the body made a mutinous conspiracy against the belly, which they thought devoured the fruits of each other's labour; they concluded they would let so unprofitable a spender starve. In the end, to be short (for the tale is notorious, and as notorious that it was a tale), with punishing the belly, they plagued themselves. This, applied by him, wrought such effect in the people, as I never read that ever words brought forth but then, so sudden and so good an alteration; for upon reasonable conditions, a perfect reconcilement ensued. The other is of Nathan the prophet, who when the holy David had so far forsaken God, as to confirm adultery with murder: when he was to do the tenderest office of a friend, in laying his own shame before his eyes, sent by God to call again so chosen a servant: how doth he it but by telling of a man, whose beloved lamb was ungratefully taken from his bosom? the application most divinely true, but the discourse itself feigned: which made David (I speak of the second and instrumental cause), as in a glass, to see his own filthiness, as that heavenly psalm of mercy well testifieth.

By these therefore examples and reasons, I think it may be manifest, that the poet, with that same hand of delight, doth draw the mind more effectually than any other art doth; and so a conclusion not unfitly ensueth: that, as virtue is the most excellent resting-place for all worldly learning to make his end of, so poetry, being the most familiar to teach it, and most princely to move towards it, in the most excellent work is the most excellent workman. But I am content not only to decipher him by his works (although works in commendation or dispraise must ever hold an high authority), but more narrowly will examine his parts: so that (as in a man) though altogether he may carry a presence full of majesty and beauty, perchance in some one defectious piece we may find a blemish: now in his parts, kinds, or species (as you list to term them), it is to be noted, that some poesies have coupled together two or three kinds, as tragical and comical, whereupon is risen the tragi-comical. Some in the like manner have mingled prose and verse, as Sanazzar and Boethius. Some have mingled matters heroical and pastoral. But that cometh all to one in this question; for if severed they be good, the conjunction cannot be hurtful. Therefore perchance forgetting some, and leaving some as needless to be remembered, it shall not be amiss in a word to cite the special kinds, to see what faults may be found in the right use of them.

Is it then the pastoral poem which is misliked? for perchance, where the hedge is lowest, they will soonest leap over. Is the poor pipe disdained, which sometime out of Melibeus's mouth, can show the misery of people under hard lords, or ravening soldiers? And again, by Tityrus, what blessedness is derived to them that lie lowest from the goodness of them that sit highest? Sometimes, under the pretty tales of wolves and sheep, it can include the whole considerations of wrong-doing and patience. Sometimes show, that contention for trifles can get but a trifling victory. Where perchance a man may see that even Alexander and Darius, when they strave who should be cock of this world's dunghill, the benefit they got, was that the after-livers may say,

Hac memini et victum frustra contendere Thyrsin; Ex illo Corydon, Corydon est tempore nobis. [Footnote: All these instances are taken from Virgil's Eclogues.]

Or is it the lamenting Elegiac, which in a kind heart would move rather pity than blame, who bewails with the great philosopher Heraclitus the weakness of mankind, and the wretchedness of the world: who surely is to be praised, either for compassionate accompanying just causes of lamentation, or for rightly painting out how weak be the passions of woefulness. Is it the bitter, but wholesome Iambic [Footnote: Originally used by the Greeks for satire], which rubs the galled mind, in making shame the trumpet of villany, with bold and open crying out against naughtiness; or the satirist, who

Omne vafer vitium ridenti tangit amico?

Who sportingly never leaveth, until he make a man laugh at folly, and at length ashamed, to laugh at himself: which he cannot avoid, without avoiding the folly. Who while

Circum pracordia ludit,

giveth us to feel, how many headaches a passionate life bringeth us to. How when all is done,

Est Ulubris, animus si nos non deficit aquus [Footnote: i.e. The wise can find happiness even in a village.]?

No perchance it is the comic, whom naughty play-makers and stage- keepers have justly made odious. To the argument of abuse [Footnote: To the argument that, because comedy is liable to abuse, it should therefore be prohibited altogether.], I will answer after. Only thus much now is to be said, that the comedy is an imitation of the common errors of our life, which he representeth in the most ridiculous and scornful sort that may be. So as it is impossible that any beholder can be content to be such a one.

Now, as in geometry, the oblique must be known as well as the right: and in arithmetic, the odd as well as the even, so in the actions of our life, who seeth not the filthiness of evil, wanteth a great foil to perceive the beauty of virtue. This doth the comedy handle so in our private and domestical matters, as with hearing it we get as it were an experience, what is to be looked for of a niggardly Demea: of a crafty Davus: of a flattering Gnatho: of a vainglorious Thraso [Footnote: All characters in the Plays of Terence.]: and not only to know what effects are to be expected, but to know who be such, by the signifying badge given them by the comedian. And little reason hath any man to say that men learn evil by seeing it so set out: sith, as I said before, there is no man living but, by the force truth hath in nature, no sooner seeth these men play their parts, but wisheth them in Pistrinum [Footnote: the tread-mill.]: although perchance the sack of his own faults lie so behind his back, that he seeth not himself dance the same measure: whereto yet nothing can more open his eyes, than to find his own actions contemptibly set forth. So that the right use of comedy will (I think) by nobody be blamed, and much less of the high and excellent tragedy, that openeth the greatest wounds, and showeth forth the vicers [Footnote: sinners.], that are covered with tissue: that maketh kings fear to be tyrants, and tyrants manifest their tyrannical humours: that, with stirring the effects of admiration and commiseration, teacheth the uncertainty of this world, and upon how weak foundations golden roofs are builded. That maketh us know,

Qui sceptra scevus duro imperio regit, Timet timentes, metus in auctorem redit.

But how much it can move, Plutarch yieldeth a notable testimony, of the abominable tyrant, Alexander Pheraus; from whose eyes, a tragedy well made and represented drew abundance of tears: who, without all pity, had murdered infinite numbers, and some of his own blood. So as he, that was not ashamed to make matters for tragedies, yet could not resist the sweet violence of a tragedy.

And if it wrought no further good in him, it was, that he in despite of himself withdrew himself from hearkening to that, which might mollify his hardened heart. But it is not the tragedy they do mislike: for it were too absurd to cast out so excellent a representation