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Other: John Hill Burton

A LETTER

+The Two Noble Kinsmen;+

AND ON THE CHARACTERISTICS OF SHAKSPERE'S STYLE AND THE SECRET OF HIS SUPREMACY.

BY THE LATE

WILLIAM SPALDING, M.A.,

+New Edition, with a Life of the Author,+

JOHN HILL BURTON, LL.D.,

PUBLISHT FOR

+The New Shakspere Society+

BY N. TR?BNER & CO., 57, 59, LUDGATE HILL, LONDON, E.C., 1876.

JOHN CHILDS AND SON, PRINTERS.

FOREWORDS

Arcite may win me, And yet may Palamon wound Arcite to The spoyling of his figure. O what pitty Enough for such a chance!

I say, is it possible to believe that Shakspere turnd a noble lady, a frank gallant nature, whose character he had rightly seizd at first, into a goose of this kind, whom one would like to shake, or box her ears well? The thing is surely impossible. Again, is it likely--and again, I say, at the end of his career, with all his experience behind him, that Shakspere would make his hero Palamon publicly urge on Venus in his prayer to her, that she was bound to protect him because he'd believd a wanton young wife's word that her old incapable husband was the father of her child? Is this the kind of thing that the Shakspere of Imogen, of Desdemona, of Queen Catherine, would put forward as the crown of his life and work? Again I say, it can hardly be.

"In measuring the height of Beaumont and Fletcher, we cannot take a better scale than to put them alongside Shakespeare, and compare them with him. In this manner, an imaginary supposition may assist us in determining the nature of their excellence, and almost enable us to fix its degree. Suppose there were to be discovered, in the library of the Earl of Ellesmere, or in that of the Duke of Devonshire, two dramas not known before, and of doubtful authorship, the one being 'Hamlet,' and the other 'The Winter's Tale.' We should be at no loss, we think, to assign the former to Shakespeare: the judgment would be warranted alike by the consideration of the whole, and by a scrutiny of particular parts. But with regard to the other play, hesitation would not be at all unreasonable. Beaumont and Fletcher might be believed to have written all its serious parts, more especially the scenes of the jealousy of Leontes, and those beautiful ones which describe the rustic festival. Strange to say, a case of this kind has actually arisen. And the uncertainty which still hangs over it, agrees entirely with the hesitation which we have ventured to imagine as arising in the case we have supposed.

"In 1634, eighteen years after Beaumont's death, and nine after Fletcher's, there was printed, for the first time, the play called 'The Two Noble Kinsmen.' The bookseller in his title-page declared it to have been 'written by the memorable worthies of their time, Mr John Fletcher and Mr William Shakespeare, gentlemen.' On the faith of this assertion, and on the evidence afforded by the character of the work, it has been assumed universally, that Fletcher had a share in the authorship. Shakespeare's part in it has been denied; though there is, perhaps, a preponderance of authority for the affirmative. Those who maintain the joint authorship, commonly suppose the two poets to have written together: but Mr Dyce questions this, and gives us an ingenious theory of his own, which assumes Fletcher to have taken up and altered the work long after Shakespeare's labour on it had been closed.

"Be the authorship whose it may, 'The Two Noble Kinsmen' is undoubtedly one of the finest dramas in the volumes before us. It contains passages which, in dramatic vigour and passion, yield hardly to anything--perhaps to nothing--in the whole collection; while for gorgeousness of imagery, for delicacy of poetic feeling, and for grace, animation, and strength of language, we doubt whether there exists, under the names of our authors, any drama that comes near to it. Never has any theme enjoyed the honours which have befallen the semi-classical legend of Palamon and Arcite. Chosen as the foundation of chivalrous narrative by Boccaccio, Chaucer, and Dryden, it has furnished one of the fairest of the flowers that compose the dramatic crown of Fletcher, while from that flower, perhaps, leaves might be plucked to decorate another brow which needs them not.

"If the admirers of Fletcher could vindicate for him the fifth act of this play, they would entitle him to a still higher claim upon our gratitude, as the author of a series of scenes, as picturesquely conceived, and as poetically set forth, as any that our literature can boast. Dramatically considered, these scenes are very faulty: perhaps there are but two of them that have high dramatic merits--the interrupted execution of Palamon, and the preceding scene in which Emilia, left in the forest, hears the tumult of the battle, and receives successive reports of its changes and issue. But as a gallery of poetical pictures, as a cluster of images suggestive alike to the imagination and the feelings, as a cabinet of jewels whose lustre dazzles the eye and blinds it to the unskilful setting,--in this light there are few pieces comparable to the magnificent scene before the temples, where the lady and her lovers pray to the gods: and the pathetically solemn close of the drama, admirable in itself, loses only when we compare it with the death of Arcite in Chaucer's masterpiece, 'the Iliad of the middle ages.'"

The following scheme shows where Prof. Spalding and Mr Hickson agree, and where they differ:--

Mr Swinburne, when duly clothed and in his right mind, and not exposing himself in his April-Fool's cap and bells, will have something to say on the subject; and it will no doubt be matter of controversy to the end of time. Let every one study, and be fully convinct in his own mind.

F. J. FURNIVALL.

FOOTNOTES:

Unsure myself as to the form of oxlip root-leaves, and knowing nothing of the use of marigolds alluded to in the lines

"Oxlips in their cradles growing, Marigolds on death-beds blowing,"

"The writer did not know much about plants, or he would not have combined summer flowers, like the marigold and larkspur, with the primrose.

"I prefer the reading 'With hair-bells dimme'; for nobody would call the upright salver-shaped flower of the primrose a 'bell.' The poet probably means the blue-bell."

On the other hand, Mr Wm Whale of our Egham Nurseries writes: "The root-leaves of the Oxlip are cradle-shaped, but circular instead of long. The growth of the leaves would certainly give one an idea of the stem and Oxlip flowers being lodged in a cradle .

"I have seen the marygold in my boyish days frequently placed on coffins; and in a warm death-room they would certainly flower. The flowers named may be all called Spring-flowers, but of course some blowing rather later than others."

Surely the 'eminent living critic' made an awful mistake about this. Beaumont and Fletcher write Perdita's flowers, Florizel's description of her, Autolycus!

His Dublin 'Afternoon Lecture' of 1863, shows that he then knew all that I in 1873 was trying in vain to find a known Shaksperian editor or critic to tell me.

I name Beaumont because of his run-on lines, &c., and the power I find in some of the parts of his and Fletcher's joint dramas that I attribute to him.

I cannot get over Chaucer's daisies being calld "smelless but most quaint." The epithets seem to me not only poor, but pauper: implying entire absence of fancy and imagination.--F. "Chough hoar" is as bad though.--H. L.

Introduction. Name of the play . Historical evidence in favour of Shakspere's share in the play . Incorrectness of the first and second folios of his works . Internal evidence . Marked differences between Fletcher's and Shakspere's styles . Shakspere's versification ; abruptness ; mannerisms and repetitions ; conciseness tending to obscurity ; and rapid conception, opposed to Fletcher's deliberation and diffuseness ; his distinct, if crowded, imagery, to Fletcher's vague indefiniteness . Shakspere's metaphors , classical allusions , reflective turn of mind , conceits , personification , all differ from Fletcher's manner .

Points of likeness between Shakspere and contemporary dramatists . Impossibility of imitating him . Inferiority of the underplot . Reasons for supposing Shakspere chose the subject . His studies . Resemblance between classical and romantic poetry . Shakspere's plots contrasted with those of his contemporaries ; his treatment of passion ; unity of conception .

Poetical art compared with plastic . Greek plastic art aimed at expressing Beauty and affecting the senses ; poetry, at expressing and affecting the mind ; therefore poetry appeals to wider sympathies . Dramatic poetry the highest form of poetry .

Conclusion. Summary of the argument as to plot, scenic arrangements, and execution .

LIFE OF PROFESSOR W. SPALDING,

BY HIS SCHOOL-FELLOW AND FRIEND,

JOHN HILL BURTON, LL.D.,

William Spalding was born on the 22nd of May in the year 1809, at Aberdeen. His father was a practising lawyer as a member of the Society of Advocates in that town, and held office as Procurator Fiscal of the district, or local representative of the law officers of the crown, in the investigation of crimes and the prosecution of criminals. Spalding's mother, Frances Read, was well connected among the old and influential families of the city. When he went to school, Spalding was known to be the only son of a widow. He had one sister who died in early life. Whatever delicacy of constitution he inherited seems to have come from his father's side, for his mother lived to the year 1874, and died in the house of her son's widow among her grown-up grandchildren.

From this episodical course of study he brought with him some valuable additions to the large stores of secular learning at his command. He had a powerful memory, and great facilities for mastering and simplifying sciences as well as languages. He seemed to say to himself, like Bacon, "I have taken all knowledge to be my province." With any of his friends who strayed into eccentric by-paths of inquiry he was sarcastic--almost intolerant, in denouncing their selection. Why abandon the great literature--the great sciences and the great arts--which the noblest and strongest intellects in all ages have combined to enrich and bring to perfection? Master all that has been done in these, in the first place, and then you may be permitted to take your devious course. In all the departments of study he seemed to pass over the intermediate agencies, to contemplate with something like worship the great leading spirits whose intellectual stature raised them far above the mob. So in literature, it was in Homer and Shakspeare that he delighted. In the sciences connected with the analysis and the uses of intellect, he looked to Aristotle, Hume, and Kant. In the exact sciences, to Galileo, Tycho Brache and Newton, and so on. In art, he could admit the merits of a Teniers, an Ostade, or a Morland, in accurately rendering nature, as he would admit the merit of an ingenious toy. He could not but wonder at the turbulent power of Rubens, but he was bitter on the purpose these gifts were put to, in developing unsightly masses of flesh, and motions and attitudes wanting alike in beauty and dignity. It was in Michel Angelo, Raphael, and Thorwaldsen, with a select group from those approaching near to these in their characteristic qualities, that the young student selected the gods of his idolatry.

This love of art was something new in Spalding's native district. There all forms of learning were revered, and many a striving rustic devoted the whole energies of his life to acquire the means of teaching his fellow-men from the pulpit or the printing press. But art was nought among them. Spalding was thoroughly attached to his native district, and could well have said, "I love my fathers' northern land, where the dark pine trees grow;" but when his thoughts ran on art, he would sometimes bitterly call the north of Scotland a modern Boeotia. This is not the place for inquiring how it came to pass, that neglect of art could keep company with an ardent love of letters, but it is remarkable that the district so destitute of the aesthetic, gave to the world some considerable artists. In the old days there was George Jameson; and in Spalding's own generation, Boeotia produced Dyce, Giles, Philips, and Cassy as painters, with Brodie as a sculptor. Spalding could not but see merit in these, for none of them gave themselves to vulgar or purely popular art. Still he panted after the higher altitudes, and it appeared to him at one time that in his friend David Scot he had found the practical master of his ideal field. Scot had, to be sure, grand conceptions, but he did not possess the gift that enabled the great masters to abstract them from the clay of the common world. He had the defect--and his friend seeing it, felt it almost as a personal calamity--of lapsing into the ungainly, and even the grotesque, in his most aspiring efforts.

In approaching the time when the book to which this notice is prefixed was published, one is tempted to offer a word or two of explanation on its writer not appearing before the world earlier; and when he did appear choosing so unobtrusive a fashion for his entry. About the time when his college education ended, there was something like a revival of literary ambition in Aberdeen, limited to young men who were Spalding's contemporaries. A few of them appealed for the loudest blasts of the trumpet of fame, in grand efforts in heroic and satirical poetry, and their works may be found in the libraries of collectors curious in specimens of forgotten provincial literature. These authors were generally clever young men; and like others of their kind, they found in after life that verse was not the only path to fame or fortune. One of them became a distinguished pulpit orator. If Paley noticed, as an "only defect" in a brother clergyman, that he was a popular preacher, Spalding was apt to take a harsher view of such a failing; nor would he palliate it on the representation of one who was the friend and admirer of both, who pleaded the trials that a person so gifted is subjected to, noting that there were certain eminences that the human head could not reach without becoming dizzy--as, for instance, being Emperor of Russia, Ambassador at an oriental court, Provost of a Scotch "Burgh toon"--or a popular preacher. Another contemporary who courted and obtained popularity, and still, to the joy of his friends, lives to enjoy it, was less distasteful to Spalding, though trespassing on his own field of ambition as a Greek scholar and Homeric critic. But he made the distinction, that in this instance he thought the homage to popularity was natural to the man, moving in irresistible impulses unregulated by a system for bringing popularity in aid of success.

The lookers-on, knowing that Spalding was ambitious, expected to hear him in the tuneful choir, but he was dumb. He was once or twice, by those nearest to him, heard in song, and literally heard only, for it is believed that he never allowed any manuscript testimony of such a weakness to leave his custody. One satirical performance got popularity by being committed to memory. It was called "The fire-balloon." In the year 1828 there was an arousing of public sympathy with the sufferers by a great conflagration at Merimachi in North America. A body of the students who had imbibed from the Professor of Natural Philosophy an enthusiasm about aerostation, proposed to raise money for the sufferers by making and exhibiting a huge fire balloon. The effort was embarrassed by many difficulties and adventures affording opportunity for the satirist. For instance, a trial trip was attempted, and one of "the committee," who was the son of a clergyman, got hold of the key of his father's church, and put its interior at the disposal of his colleagues. The balloon inflated and ascended. The problem of getting it down again, however, had not been solved. It got itself comfortably at rest in the roof of a cupola, and the young philosophers then had to wait until it became exhausted enough to descend.

The papers in the Aberdeen Magazine were not all of the sombre cumbrous kind. There was an infusion of fresh young blood, fired perhaps by the influence of Wilson and Lockhart in Blackwood's Magazine, but seeking original forms of its own. For the leader of this school, Spalding had both esteem and admiration, but it was for far other merits than those of the brisk unrestrained writer of fugitive literature. This was Joseph Robertson, afterwards distinguished as an archaeologist. He survived Spalding eight years. No lines of study could well be in more opposite directions than those of the two men who respected each other. While Spalding revelled in all that was brightest and best in literature and art, Robertson devoted himself to the development of our knowledge about the period when the higher arts--those of the painter and the sculptor--had been buried with the higher literature, and the classic languages had degenerated, in the hands of those who, as Du Cange, whose ample pages were often turned by Robertson, called them, were "Scriptores mediae et infimae Latinitatis." The source of Spalding's admiration was that Robertson's writing was perfect of its kind, and led to important and conclusive results. It was in this spirit that he wrote his own "Letter." It did not fulfil a high aspiration, but it must be perfect; and it was surely a moment of supreme happiness to him, when he found the unknown author sought for and praised by so cautious and reserved a critic as Hallam.

The "Letter" was published in 1833. It is characteristic of its author's distaste of loud applause, that whenever this, his first achievement in letters, saw the light, he fled, as it were, from the knowledge of what was said of it, and wandered for several months in Italy and Germany. This was an era in his life, for it gave him the opportunity of seeing face to face, and profoundly studying, the great works of art that had hitherto only been imaged in his dreams from copies and engravings. He at the same time studied--or rather enjoyed--nature. In his native north he had been accustomed to ramble among the Grampians at the head of the Dee, where the precipices are from 1500 to 2000 feet high, and snow lies all the year round. In these rambles he encountered hardships such as one would hardly have thought within the capacity of his delicate frame. He took the same method of enjoyable travelling in the Apennines--that of the Pedestrian.

He gave to the world a slight morsel descriptive of his experiences and enjoyments, in the Blackwood's Magazine of November, 1835. They were told in so fine a spirit, so free both from ungraceful levity and solemn pedantry, that the reader only regretted that they were too sparingly imparted. He thus announced his own enjoyment in his pilgrimage: "Among the ruined palaces and temples of Rome, and in the vineyards and orange-groves beside the blue sea of Naples, I had warmed my imagination with that inspiration which, once breathed upon the heart, never again grows cold. It did not desert me now as I entered this upper valley of the Apennines to seek a new colour and form of Italian landscape. Happy and elevating recollections thronged in upon me, and blended with the clear sunshine which slept on the green undulating hills." This fragment is the only morsel of autobiographic information left by its author, and therefore perhaps the following, taken from among many expressions of a genial spirit enjoying itself in freedom, may not be unacceptable. He has crossed the high-lying, bare plain of Rosetto, and reaches the village of Val san Giovanni, where "shelter was heartily welcome, the sun was set, snow-flakes were beginning to whirl in the air, and before we reached the village, a sharp snow-storm had set in." Here he is taking comfort to himself before a huge wood fire, when "a man entered of superior dress and appearance to the rest, and behind him bustled up a little wretch in the government indirect-tax livery, who, never saying by your leave, pushed a chair to the fire for his master. The gentleman popped down, and turning to me, 'I am the Podest?,' said he. I made my bow to the chief magistrate of the place. 'I am the Potest?,' said he again, and our little squinting spy repeated reproachfully, 'His excellency is the Podest?.'

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