Chapter V: The Letter (1)

Mary returned to the quietude of her room. The red of twilight had faded, and the silver moon, round and fair, was rising behind the thick boughs of the apple-trees. She sat down in the window, thoughtful and sad, and listened to the crickets, whose ignorant jollity often sounds as mournfully to us mortals as ours may to superior beings. There the little hoarse, black wretches were scraping and creaking, as if life and death were invented solely for their pleasure, and the world were created only to give them a good time in it. Now and then a little wind shivered among the boughs, and brought down a shower of white petals which shimmered in the slant beams of the moonlight; and now a ray touched some tall head of grass, and forthwith it blossomed into silver, and stirred itself with a quiet joy, like a new-born saint just awaking in paradise. And ever and anon came on the still air the soft eternal pulsations of the distant sea, sound mournfulest, most mysterious, of all the harpings of Nature. It was the sea,--the deep, eternal sea,--the treacherous, soft, dreadful, inexplicable sea; and _he_ was perhaps at this moment being borne away on it,--away, away,--to what sorrows, to what temptations, to what dangers, she knew not. She looked along the old, familiar, beaten path by which he came, by which he went, and thought, "What if he never should come back?" There was a little path through the orchard out to a small elevation in the pasture-lot behind, whence the sea was distinctly visible, and Mary had often used her low-silled window as a door when she wanted to pass out thither; so now she stepped out, and, gathering her skirts back from the dewy grass, walked thoughtfully along the path and gained the hill. Newport harbor lay stretched out in the distance, with the rising moon casting a long, wavering track of silver upon it; and vessels, like silver-winged moths, were turning and shifting slowly to and fro upon it, and one stately ship in full sail passing fairly out under her white canvas, graceful as some grand, snowy bird. Mary's beating heart told her that _there_ was passing away from her one who carried a portion of her existence with him. She sat down under a lonely tree that stood there, and, resting her elbow on her knee, followed the ship with silent prayers, as it passed, like a graceful, cloudy dream, out of her sight.

Then she thoughtfully retraced her way to her chamber; and as she was entering, observed in the now clearer moonlight what she had not seen before,--something white, like a letter, lying on the floor. Immediately she struck a light, and there, sure enough, it was,--a letter in James's handsome, dashing hand; and the little puss, before she knew what she was about, actually kissed it, with a fervor which would much have astonished the writer, could he at that moment have been clairvoyant. But Mary felt as one who finds, in the emptiness after a friend's death, an unexpected message or memento; and all alone in the white, calm stillness of her little room her heart took sudden possession of her. She opened the letter with trembling hands, and read what of course we shall let you read. We got it out of a bundle of old, smoky, yellow letters, years after all the parties concerned were gone on the eternal journey beyond earth.

"MY DEAR MARY,--

"I cannot leave you so. I have about two hundred things to say to you, and it's a shame I could not have had longer to see you; but blessed be ink and paper! I am writing and seeing to fifty things besides; so you mustn't wonder if my letter has rather a confused appearance.

"I have been thinking that perhaps I gave you a wrong impression of myself, this afternoon. I am going to speak to you from my heart, as if I were confessing on my death-bed. Well, then, I do not confess to being what is commonly called a bad young man. I should be willing that men of the world generally, even strict ones, should look my life through and know all about it. It is only in your presence, Mary, that I feel that I am bad and low and shallow and mean, because you represent to me a sphere higher and holier than any in which I have ever moved, and stir up a sort of sighing and longing in my heart to come towards it. In all countries, in all temptations, Mary, your image has stood between me and low, gross vice. When I have been with fellows roaring drunken, beastly songs,--suddenly I have seemed to see you as you used to sit beside me in the singing-school, and your voice has been like an angel's in my ear, and I have got up and gone out sick and disgusted. Your face has risen up calm and white and still, between the faces of poor lost creatures who know no better way of life than to tempt us to sin. And sometimes, Mary, when I have seen girls that, had they been cared for by good pious mothers, might have been like you, I have felt as if I could cry for them. Poor women are abused all the world over; and it's no wonder they turn round and revenge themselves on us.

"No, I have not been bad, Mary, as the world calls badness. I have been kept by you. But do you remember you told me once, that, when the snow first fell and lay so dazzling and pure and soft, all about, you always felt as if the spreads and window-curtains that seemed white before were dirty? Well, it's just like that with me. Your presence makes me feel that I am not pure,--that I am low and unworthy,--not worthy to touch the hem of your garment. Your good Dr. H. spent a whole half-day, the other Sunday, trying to tell us about the beauty of holiness; and he cut, and pared, and peeled, and sliced, and told us what it wasn't, and what was _like_ it, and wasn't; and then he built up an exact definition, and fortified and bricked it up all round; and I thought to myself that he'd better tell 'em to look at Mary Scudder, and they'd understand all about it. That was what I was thinking when you talked to me for looking at you in church instead of looking towards the pulpit. It really made me laugh in myself to see what a good little ignorant, unconscious way you had of looking up at the Doctor, as if he knew more about that than you did.

"And now as to your Doctor that you think so much of, I like him for certain things, in certain ways. He is a great, grand, large pattern of a man,--a man who isn't afraid to think, and to speak anything he does think; but then I do believe, if he would take a voyage round the world in the forecastle of a whaler, he would know more about what to say to people than he does now; it would certainly give him several new points to be considered. Much of his preaching about men is as like live men as Chinese pictures of trees and rocks and gardens,--no nearer the reality than that. All I can say is, 'It isn't so; and you'd know it, Sir, if you knew men.' He has got what they call a _system_--just so many bricks put together just so; but it is too narrow to take in all I see in my wanderings round this world of ours. Nobody that has a soul, and goes round the world as I do, can help feeling it at times, and thinking, as he sees all the races of men and their ways, who made them, and what they were made for. To doubt the existence of a God seems to me like a want of common sense. There is a Maker and a Ruler, doubtless; but then, Mary, all this invisible world of religion is unreal to me. I can see we must be good, somehow,--that if we are not, we shall not be happy here or hereafter. As to all the metaphysics of your good Doctor, you can't tell how they tire me. I'm not the sort of person that they can touch. I must have real things,--real people; abstractions are nothing to me. Then I think that he systematically contradicts on one Sunday what he preaches on another. One Sunday he tells us that God is the immediate efficient Author of every act of will; the next he tells us that we are entire free agents. I see no sense in it, and can't take the trouble to put it together. But then he and you have something in you that I call religion,--something that makes you _good_. When I see a man working away on an entirely honest, unworldly, disinterested pattern, as he does, and when I see you, Mary, as I said before, I should like at least to _be_ as you are, whether I could believe as you do or not.

"How could you so care for me, and waste on one so unworthy of you such love? Oh, Mary, some better man must win you; I never shall and never can;--but then you must not quite forget me; you must be my friend, my saint. If, through your prayers, your Bible, your friendship, you can bring me to your state, I am willing to be brought there,--nay, desirous. God has put the key of my soul into your hands.

"So, dear Mary, good-bye! Pray still for your naughty, loving

"COUSIN JAMES."

Mary read this letter, and re-read it, with more pain than pleasure. To feel the immortality of a beloved soul hanging upon us, to feel that its only communications with Heaven must be through us, is the most solemn and touching thought that can pervade a mind. It was without one particle of gratified vanity, with even a throb of pain, that she read such exalted praises of herself from one blind to the glories of a far higher loveliness.

Yet was she at that moment, unknown to herself, one of the great company scattered through earth who are priests unto God,--ministering between the Divine One, who has unveiled himself unto them, and those who as yet stand in the outer courts of the great sanctuary of truth and holiness. Many a heart, wrung, pierced, bleeding with the sins and sorrows of earth, longing to depart, stands in this mournful and beautiful ministry, but stands unconscious of the glory of the work in which it waits and suffers. God's kings and priests are crowned with thorns, walking the earth with bleeding feet, and comprehending not the work they are performing.

Mary took from a drawer a small pocket-book, from which dropped a lock of black hair,--a glossy curl, which seemed to have a sort of wicked, wilful life in every shining ring, just as she had often seen it shake naughtily on the owner's head. She felt a strange tenderness towards the little wilful thing, and, as she leaned over it, made in her heart a thousand fond apologies for every fault and error.

She was standing thus when Mrs. Scudder entered the room to see if her daughter had yet retired.

"What are you doing there, Mary?" she said, as her eye fell on the letter. "What is it you are reading?"

Mary felt herself grow pale; it was the first time in her whole life that her mother had asked her a question that she was not from the heart ready to answer. Her loyalty to her only parent had gone on even-handed with that she gave to her God; she felt, somehow, that the revelations of that afternoon had opened a gulf between them, and the consciousness overpowered her.

Mrs. Scudder was astonished at her evident embarrassment, her trembling, and paleness. She was a woman of prompt, imperative temperament, and the slightest hesitation in rendering to her a full, outspoken confidence had never before occurred in their intercourse. Her child was the core of her heart, the apple of her eye, and intense love is always near neighbor to anger; there was, therefore, an involuntary flash from her eye and a heightening of her color, as she said,--"Mary, are you concealing anything from your mother?"

In that moment, Mary had grown calm again. The wonted serene, balanced nature had found its habitual poise, and she looked up innocently, though with tears in her large, blue eyes, and said,--"No, mother,--I have nothing that I do not mean to tell you fully. This letter came from James Marvyn; he came here to see me this afternoon."

"Here?--when? I did not see him."

"After dinner. I was sitting here in the window, and suddenly he came up behind me through the orchard-path."

Mrs. Katy sat down with a flushed cheek and a discomposed air; but Mary seemed actually to bear her down by the candid clearness of the large, blue eye which she turned on her, as she stood perfectly collected, with her deadly pale face and a brilliant spot burning on each cheek.

"James came to say good-bye. He complained that he had not had a chance to see me alone since he came home."

"And what should he want to see you alone for?" said Mrs. Scudder, in a dry, disturbed tone.

"Mother,--everybody has things at times which they would like to say to some one person alone," said Mary.

"Well, tell me what he said."

"I will try. In the first place, he said that he always had been free, all his life, to run in and out of our house, and to wait on me like a brother."

"Hum!" said Mrs. Scudder; "but he isn't your brother, for all that."

"Well, then, he wanted to know why you were so cold to him, and why you never let him walk with me from meetings or see me alone, as we often used to. And I told him why,--that we were not children now, and that you thought it was not best; and then I talked with him about religion, and tried to persuade him to attend to the concerns of his soul; and I never felt so much hope for him as I do now."

Aunt Katy looked skeptical, and remarked,--"If he really felt a disposition for religious instruction, Dr. H. could guide him much better than you could."

"Yes,--so I told him, and I tried to persuade him to talk with Dr. H.; but he was very unwilling. He said, I could have more influence over him than anybody else,--that nobody could do him any good but me."

"Yes, yes,--I understand all that," said Aunt Katy,--"I have heard young men say _that_ before, and I know just what it amounts to."

"But, mother, I do think James was moved very much, this afternoon. I never heard him speak so seriously; he seemed really in earnest, and he asked me to give him my Bible."

"Couldn't he read any Bible but yours?"

"Why, naturally, you know, mother, he would like my Bible better, because it would put him in mind of me. He promised faithfully to read it all through."

"And then, it seems, he wrote you a letter."

"Yes, mother."

Mary shrank from showing this letter, from the natural sense of honor which makes us feel it indelicate to expose to an unsympathizing eye the confidential outpourings of another heart; and then she felt quite sure that there was no such intercessor for James in her mother's heart as in her own. But over all this reluctance rose the determined force of duty; and she handed the letter in silence to her mother.

Mrs. Scudder took it, laid it deliberately in her lap, and then began searching in the pocket of her chintz petticoat for her spectacles. These being found, she wiped them, accurately adjusted them, opened the letter and spread it on her lap, brushing out its folds and straightening it, that she might read with the greater ease. After this she read it carefully and deliberately; and all this while there was such a stillness, that the sound of the tall varnished clock in the best room could be heard through the half-opened door.

After reading it with the most tiresome, torturing slowness, she rose, and laying it on the table under Mary's eye, and pressing down her finger on two lines in the letter, said, "Mary, have you told James that you loved him?"

"Yes, mother, always. I always loved him, and he always knew it."

"But, Mary, this that he speaks of is something different. What has passed between"--

"Why, mother, he was saying that we who were Christians drew to ourselves and did not care for the salvation of our friends; and then I told him how I had always prayed for him, and how I should be willing even to give up my hopes in heaven, if he might be saved."

"Child,--what do you mean?"

"I mean, if only one of us two could go to heaven, I had rather it should be him than me," said Mary.

"Oh, child! child!" said Mrs. Scudder, with a sort of groan,--"has it gone with you so far as this? Poor child!--after all my care, you _are_ in love with this boy,--your heart is set on him."

"Mother, I am not. I never expect to see him much,--never expect to marry him or anybody else;--only he seems to me to have so much more life and soul and spirit than most people,--I think him so noble and grand,--that is, that he _could_ be, if he were all he ought to be,--that, somehow, I never think of myself in thinking of him, and his salvation seems worth more than mine;--men can do so much more!--they can live such splendid lives!--oh, a real noble man is so glorious!"

"And you would like to see him well married, would you not?" said Mrs. Scudder, sending, with a true woman's aim, this keen arrow into the midst of the cloud of enthusiasm which enveloped her daughter. "I think," she added, "that Jane Spencer would make him an excellent wife."

Mary was astonished at a strange, new pain that shot through her at these words. She drew in her breath and turned herself uneasily, as one who had literally felt a keen dividing blade piercing between soul and spirit. Till this moment, she had never been conscious of herself; but the shaft had torn the veil. She covered her face with her hands; the hot blood flushed scarlet over neck and brow; at last, with a beseeching look, she threw herself into her mother's arms.

"Oh, mother, mother, I am selfish, after all!"

Mrs. Scudder folded her silently to her heart, and said, "My daughter, this is not at all what I wished it to be; I see how it is;--but then you have been a good child; I don't blame you. We can't always help ourselves. We don't always really know how we do feel. I didn't know, for a long while, that I loved your father. I thought I was only curious about him, because he had a strange way of treating me, different from other men; but, one day, I remember, Julian Simons told me that it was reported that his mother was making a match for him with Susan Emery, and I was astonished to find how I felt. I saw him that evening, and the moment he looked at me I saw it wasn't true; all at once I knew something I never knew before,--and that was, that I should be very unhappy, if he loved any one else better than me. But then, my child, your father was a different man from James;--he was as much better than I was as you are than James. I was a foolish, thoughtless young thing then. I never should have been anything at all, but for him. Somehow, when I loved him, I grew more serious, and then he always guided and led me. Mary, your father was a wonderful man; he was one of the sort that the world knows not of;--sometime I must show you his letters. I always hoped, my daughter, that you would marry such a man."

"Don't speak of marrying, mother. I never shall marry."

"You certainly should not, unless you can marry in the Lord. Remember the words, 'Be ye not unequally yoked together with unbelievers. For what fellowship hath righteousness with unrighteousness? and what communion hath light with darkness? and what concord hath Christ with Belial? or what part hath he that believeth with an infidel?'"

"Mother, James is not an infidel."

"He certainly is an _unbeliever_, Mary, by his own confession;--but then God is a Sovereign and hath mercy on whom He will. You do right to pray for him; but if he does not come out on the Lord's side, you must not let your heart mislead you. He is going to be gone three years, and you must try to think as little of him as possible;--put your mind upon your duties, like a good girl, and God will bless you. Don't believe too much in your power over him;--young men, when they in love, will promise anything, and really think they mean it; but nothing is a saving change, except what is wrought in them by sovereign grace."

"But, mother, does not God use the love we have to each other as a means of doing us good? Did you not say that it was by your love to father that you first were led to think seriously?"

"That is true, my child," said Mrs. Scudder, who, like many of the rest of the world, was surprised to meet her own words walking out on a track where she had not expected them, but was yet too true of soul to cut their acquaintance because they were not going the way of her wishes. "Yes, all that is true; but yet, Mary, when one has but one little ewe lamb in the world, one is jealous of it. I would give all the world, if you had never seen James. It is dreadful enough for a woman to love anybody as you can, but it is more to love a man of unsettled character and no religion. But then the Lord appoints all our goings; it is not in man that walketh to direct his steps;--I leave you, my child, in His hands." And, with one solemn and long embrace, the mother and daughter parted for the night.

It is impossible to write a story of New England life and manners for a thoughtless, shallow-minded person. If we represent things as they are, their intensity, their depth, their unworldly gravity and earnestness, must inevitably repel lighter spirits, as the reverse pole of the magnet drives off sticks and straws.

In no other country were the soul and the spiritual life ever such intense realities, and everything contemplated so much (to use a current New England phrase) "in reference to eternity." Mrs. Scudder was a strong, clear-headed, practical woman. No one had a clearer estimate of the material and outward life, or could more minutely manage its smallest item; but then a tremendous, eternal future had so weighed down and compacted the fibres of her very soul, that all earthly things were but as dust in comparison to it. That her child should be one elected to walk in white, to reign with Christ when earth was a forgotten dream, was her one absorbing wish; and she looked on all the events of life only with reference to this. The way of life was narrow, the chances in favor of any child of Adam infinitely small; the best, the most seemingly pure and fair, was by nature a child of wrath, and could be saved only by a sovereign decree, by which it should be plucked as a brand from the burning. Therefore it was, that, weighing all things in one balance, there was the sincerity of her whole being in the dread which she felt at the thought of her daughter's marriage with an unbeliever.

Mrs. Scudder, after retiring to her room, took her Bible, in preparation for her habitual nightly exercise of devotion, before going to rest. She read and reread a chapter, scarce thinking what she was reading,--aroused herself,--and then sat with the book in her hand in deep thought. James Marvyn was her cousin's son, and she had a strong feeling of respect and family attachment for his father. She had, too, a real kindness for the young man, whom she regarded as a well-meaning, wilful youngster; but that _he_ should touch her saint, her Mary, that he should take from her the daughter who was her all, really embittered her heart towards him.

"After all," she said to herself, "there are three years,--three years in which there will be no letters, or perhaps only one or two,--and a great deal may be done in three years, if one is wise";--and she felt within herself an arousing of all the shrewd womanly and motherly tact of her nature to meet this new emergency.

[To be continued.]

* * * * *

WHITE'S SHAKSPEARE[1]

(FIRST NOTICE.)

It may be doubted whether any language be rich enough to maintain more than one truly great poet,--and whether there be more than one period, and that very short, in the life of a language, when such a phenomenon as a great poet is possible. It may be reckoned one of the rarest pieces of good-luck that ever fell to the share of a race, that (as was true of Shakspeare) its most rhythmic genius, its acutest intellect, its profoundest imagination, and its healthiest understanding should have been combined in one man, and that he should have arrived at the full development of his powers at the moment when the material in which he was to work--that wonderful composite called English, the best result of the confusion of tongues--was in its freshest perfection. The English-speaking nations should build a monument to the misguided enthusiasts of the Plain of Shinar; for, as the mixture of many bloods seems to have made them the most vigorous of modern races, so has the mingling of divers speeches given them a language which is perhaps the noblest vehicle of poetic thought that ever existed.

Had Shakspeare been born fifty years earlier, he would have been cramped by a book-language, not yet flexible enough for the demands of rhythmic emotion, not yet sufficiently popularized for the natural and familiar expression of supreme thought, not yet so rich in metaphysical phrase as to render possible that ideal representation of the great passions which is the aim and end of Art, not yet subdued by practice and general consent to a definiteness of accentuation essential to ease and congruity of metrical arrangement. Had he been born fifty years later, his ripened manhood would have found itself in an England absorbed and angry with the solution of political and religious problems, from which his whole nature was averse, instead of in that Elizabethan social system, ordered and planetary in its functions and degrees as the angelic hierarchy of the Areopagite, where his contemplative eye could crowd itself with various and brilliant pictures, and whence his impartial brain--one lobe of which seems to have been Normanly refined and the other Saxonly sagacious--could draw its morals of courtly and worldly wisdom, its lessons of prudence and magnanimity. In estimating Shakspeare, it should never be forgotten, that, like Goethe, he was essentially observer and artist, and incapable of partisanship. The passions, actions, sentiments, whose character and results he delighted to watch and to reproduce, are those of man in society as it existed; and it no more occurred to him to question the right of that society to exist than to criticize the divine ordination of the seasons. His business was with men as they were, not with man as he ought to be,--with the human soul as it is shaped or twisted into character by the complex experience of life, not in its abstract essence, as something to be saved or lost. During the first half of the seventeenth century, the centre of intellectual interest was rather in the other world than in this, rather in the region of thought and principle and conscience than in actual life. It was a generation in which the poet was, and felt himself, out of place. Sir Thomas Browne, our most imaginative mind since Shakspeare, found breathing-room, for a time, among the "_O altitudines!_" of religious speculation, but soon descended to occupy himself with the exactitudes of science. Jeremy Taylor, who half a century earlier would have been Fletcher's rival, compels his clipped fancy to the conventional discipline of prose, (Maid Marian turned nun,) and waters his poetic wine with doctrinal eloquence. Milton is saved from making total shipwreck of his large-utteranced genius on the desolate Noman's Land of a religious epic only by the lucky help of Satan and his colleagues, with whom, as foiled rebels and republicans, he cannot conceal his sympathy. As purely poet, Shakspeare would have come too late, had his lot fallen in that generation. In mind and temperament too exoteric for a mystic, his imagination could not have at once illustrated the influence of his epoch and escaped from it, like that of Browne; the equilibrium of his judgment, essential to him as an artist, but equally removed from propagandism, whether as enthusiast or logician, would have unfitted him for the pulpit; and his intellectual being was too sensitive to the wonder and beauty of outward life and Nature to have found satisfaction, as Milton's could, (and perhaps only by reason of his blindness,) in a world peopled by purely imaginary figures. We might fancy his becoming a great statesman, but he lacked the social position which could have opened that career to him. What we mean, when we say Shakspeare, is something inconceivable either during the reign of Henry the Eighth or the Commonwealth, and which would have been impossible after the Restoration.

All favorable stars seem to have been in conjunction at his nativity. The Reformation had passed the period of its vinous fermentation, and its clarified results remained as an element of intellectual impulse and exhilaration; there were signs yet of the acetous and putrefactive stages which were to follow in the victory and decline of Puritanism. Old forms of belief and worship still lingered, all the more touching to Fancy, perhaps, that they were homeless and attainted: the light of skeptic day was baffled by depths of forest where superstitious shapes still cowered, creatures of immemorial wonder, the raw material of Imagination. The invention of printing, without yet vulgarizing letters, had made the thought and history of the entire past contemporaneous; while a crowd of translators put every man who could read in inspiring contact with the select souls of all the centuries. A new world was thus opened to intellectual adventure at the very time when the keel of Columbus had turned the first daring furrow of discovery in that unmeasured ocean which still girt the known earth with a beckoning horizon of hope and conjecture, which was still fed by rivers that flowed down out of primeval silences, and which still washed the shores of Dreamland. Under a wise, cultivated, and firm-handed monarch also, the national feeling of England grew rapidly more homogeneous and intense, the rather as the womanhood of the sovereign stimulated a more chivalric loyalty,--while the new religion, of which she was the defender, helped to make England morally, as it was geographically, insular to the continent of Europe.

If circumstances could ever make a great national poet, here were all the elements mingled at melting-heat in the alembic, and the lucky moment of projection was clearly come. If a great national poet could ever avail himself of circumstances, this was the occasion,--and, fortunately, Shakspeare was equal to it. Above all, we esteem it lucky that he found words ready to his use, original and untarnished,--types of thought whose sharp edges were unworn by repeated impressions. In reading Hakluyt's Voyages, we are almost startled now and then to find that even common sailors could not tell the story of their wanderings without rising to an almost Odyssean strain, and habitually used a diction that we should be glad to buy back from desuetude at any cost. Those who look upon language only as anatomists of its structure, or who regard it as only a means of conveying abstract truth from mind to mind, as if it were so many algebraic formulae, are apt to overlook the fact that its being alive is all that gives it poetic value. We do not mean what is technically called a living language,--the contrivance, hollow as a speaking-trumpet, by which breathing and moving bipeds, even now, sailing o'er life's solemn main, are enabled to hail each other and make known their mutual shortness of mental stores,--but one that is still hot from the hearts and brains of a people, not hardened yet, but moltenly ductile to new shapes of sharp and clear relief in the moulds of new thought. So soon as a language has become literary, so soon as there is a gap between the speech of books and that of life, the language becomes, so far as poetry is concerned, almost as dead as Latin, and (as in writing Latin verses) a mind in itself essentially original becomes in the use of such a medium of utterance unconsciously reminiscential and reflective, lunar and not solar, in expression and even in thought. For words and thoughts have a much more intimate and genetic relation, one with the other, than most men have any notion of; and it is one thing to use our mother-tongue as if it belonged to us, and another to be the puppets of an overmastering vocabulary. "Ye know not," says Ascham, "what hurt ye do to Learning, that care not for Words, but for Matter, and so make a Divorce betwixt the Tongue and the Heart." _Lingua Toscana in bocca Romana_ is the Italian proverb; and that of poets should be, _The tongue of the people in the mouth of the scholar_. We intend here no assent to the early theory, or, at any rate, practice, of Wordsworth, who confounded plebeian modes of thought with rustic forms of phrase, and then atoned for his blunder by absconding into a diction more Latinized than that of any poet of his century.

Shakspeare was doubly fortunate. Saxon by the father and Norman by the mother, he was a representative Englishman. A country-boy, he learned first the rough and ready English of his rustic mates, who knew how to make nice verbs and adjectives curtsy to their needs. Going up to London, he acquired the _lingua aulica_ precisely at the happiest moment, just as it was becoming, in the strictest sense of the word, _modern_,--just as it had recruited itself, by fresh impressments from the Latin and Latinized languages, with new words to express the new ideas of an enlarging intelligence which printing and translation were fast making cosmopolitan, words which, in proportion to their novelty, and to the fact that the mother-tongue and the foreign had not yet wholly mingled, must have been used with a more exact appreciation of their meaning.[2] It was in London, and chiefly by means of the stage, that a thorough amalgamation of the Saxon, Norman, and scholarly elements of English was brought about. Already, Puttenham, in his "Arte of English Poesy," declares that the practice of the capital and the country within sixty miles of it was the standard of correct diction, the _jus et norma loquendi_. Already Spenser had almost recreated English poetry,--and it is interesting to observe, that, scholar as he was, the archaic words which he was at first over-fond of introducing are often provincialisms of purely English original. Already Marlowe had brought the English unrhymed pentameter (which had hitherto justified but half its name, by being always blank and never verse) to a perfection of melody, harmony, and variety which has never been surpassed. Shakspeare, then, found a language already to a certain extent _established_, but not yet fetlocked by dictionary- and grammar-mongers,--a versification harmonized, but which had not yet exhausted all its modulations, or been set in the stocks by critics who deal judgment on refractory feet, that will dance to Orphean measures of which their judges are insensible. That the language was established is proved by its comparative uniformity as used by the dramatists, who wrote for mixed audiences, as well as by Ben Jonson's satire upon Marston's neologisms; that it at the same time admitted foreign words to the rights of citizenship on easier terms than now is in good measure equally true. What was of greater import, no arbitrary line had been drawn between high words and low; vulgar then meant simply what was common; poetry had not been aliened from the people by the establishment of an Upper House of vocables, alone entitled to move in the stately ceremonials of verse, and privileged from arrest while they forever keep the promise of meaning to the ear and break it to the sense. The hot conception of the poet had no time to cool while he was debating the comparative respectability of this phrase or that; but he snatched what word his instinct prompted, and saw no indiscretion in making a king speak as his country-nurse might have taught him.[3] It was Waller who first learned in France that to talk in rhyme alone comported with the state of royalty. In the time of Shakspeare, the living tongue resembled that tree which Father Hue saw in Tartary, whose leaves were languaged,--and every hidden root of thought, every subtilest fibre of feeling, was mated by new shoots and leafage of expression, fed from those unseen sources in the common earth of human nature.

The Cabalists had a notion, that whoever found out the mystic word for anything attained to absolute mastery over that thing. The reverse of this is certainly true of poetic expression; for he who is thoroughly possessed of his thought, who imaginatively conceives an idea or image, becomes master of the word that shall most amply and fitly utter it. Heminge and Condell tell us, accordingly, that there was scarce a blot in the manuscripts they received from Shakspeare; and this is the natural corollary from the fact that such an imagination as his is as unparalleled as the force, variety, and beauty of the phrase in which it embodied itself.[4] We believe that Shakspeare, like all other great poets, instinctively used the dialect which he found current, and that his words are not more wrested from their ordinary meaning than followed necessarily from the unwonted weight of thought or stress of passion they were called on to support. He needed not to mask familiar thoughts in the weeds of unfamiliar phraseology; for the life that was in his mind could transfuse the language of every day with an intelligent vivacity, that makes it seem lambent with fiery purpose, and at each new reading a new creation. He could say with Dante, that "no word had ever forced him to say what he would not, though he had forced many a word to say what _it_ would not,"--but only in the sense, that the mighty magic of his imagination had conjured out of it its uttermost secret of power or pathos. He himself says, in one of his sonnets,--

"Why is my verse so barren of new pride,
So far from alteration and quick change?
Why, with the time, do I not glance aside
To new-found methods and to compounds strange?
Why write I still all one, ever the same,
And keep invention in a noted weed
That every word doth almost tell my name?"

When we say that Shakspeare used the current language of his day, we mean only that he habitually employed such language as was universally comprehensible,--that he was not run away with by the hobby of any theory as to the fitness of this or that component of English for expressing certain thoughts or feelings. That the artistic value of a choice and noble diction was quite as well understood in his day as in ours is evident from the praises bestowed by his contemporaries on Drayton, and by the epithet "well-languaged" applied to Daniel, whose poetic style is as modern as that of Tennyson; but the endless absurdities about the comparative merits of Saxon and Norman-French, vented by persons incapable of distinguishing one tongue from the other, were as yet unheard of. The influence of the Normans in Romanizing our language has been vastly overrated. We find a principle of _caste_ established in certain cases by the relation of producer and consumer,--in others by the superior social standing of the conquering race. Thus, _ox_, _sheep_, _calf_, _swine_, indicate the thing produced; _beef_, _mutton_, _veal_, _pork_, the thing consumed.[5] It is the same with the names of the various grains, and the product of the cheaper kinds when ground,--as _oat-meal_, _barley-meal_, _rye-meal_; while the generic term for the crop becomes _grain_, and the meal of the variety used by the higher classes is turned into _flour_. To _bury_ remains Saxon, because both high and low must be hidden under ground at last; but as only the rich and noble could afford any pomp in that sad office, we get the word _funeral_ from the Norman. So also the serf went into a Saxon _grave_, the lord into a Norman _tomb_. All the parts of armor are naturally named from the French; the weapons of the people, as _sword_, _bow_, and the like, continued Saxon. So _feather_ is Saxon; but as soon as it changes into a _plume_ for the knight, it turns Norman,--and Latin when it is cut into a _pen_ for the _clerk_. _Book_ is Saxon; but a number of books collected together, as could be done only by the rich, makes a _library_. _Darling_ would be murmured over many a _cradle_ in Saxon _huts_; but _minion_ came into the language down the back stairs of the Norman _palace_. In the same way, terms of law are Norman, and of the Church, Latin. These are familiar examples. But hasty generalizers are apt to overlook the fact, that the Saxon was never, to any great extent, a literary language. Accordingly, it held its own very well in the names of common things, but failed to answer the demands of complex ideas derived from them. The author of "Piers Ploughman" wrote for the people, Chaucer for the court. We open at random and count the Latin[6] words in ten verses of the "Vision" and ten of Chaucer's "Romaunt of the Rose," (a translation from the French,) and find the proportion to be seven in the former and five in the latter.

The organs of the Saxon have always been unwilling and stiff in learning languages. He acquired only about as many British words as we have Indian ones, and we believe that more French and Latin was introduced through the pen and the eye than through the tongue and the ear. For obvious reasons, the question is one that must be settled by reference to prose-writers, and not poets; and it is, we think, pretty well settled that more words of Latin original were brought into the language in the century between 1550 and 1650 than in the whole period before or since,--and for the simple reason, that they were absolutely needful to express new modes and combinations of thought.[7] The language has gained immensely by the infusion, in richness of synonyme and in the power of expressing nice shades of thought and feeling, but more than all in light-footed polysyllables that trip singing to the music of verse. There are certain cases, it is true, where the vulgar Saxon word is refined, and the refined Latin vulgar, in poetry,--as in _sweat_ and _perspiration_; but there are vastly more in which the Latin bears the bell. Perhaps there might be a question between the old English _again-rising_ and _resurrection_; but there can be no doubt that _conscience_ is better than _inwit_, and _remorse_ than _again-bite_. Should we translate the title of Wordsworth's famous ode, "Intimations of Immortality," into "Hints of Deathlessness," it would hiss like an angry gander. If, instead of Shakspeare's

"Age cannot wither her,
Nor custom stale her infinite variety,"

we should say, "her boundless manifoldness," the sentiment would suffer in exact proportion with the music. What homebred English could ape the high Roman fashion of such togated words as

"The multitudinous sea incarnadine,"--

where the huddling epithet implies the tempest-tossed soul of the speaker, and at the same time pictures the wallowing waste of ocean more vividly than the famous phrase of AEschylus does its rippling sunshine? Again, _sailor_ is less poetical than _mariner_, as Campbell felt, when he wrote,

"Ye mariners of England,"

and Coleridge, when he preferred

"It was an ancient mariner"

to

"It was an elderly seaman";

for it is as much the charm of poetry that it suggest a certain remoteness and strangeness as familiarity; and it is essential not only that we feel at once the meaning of the words in themselves, but also their melodic meaning in relation to each other, and to the sympathetic variety of the verse. A word once vulgarized can never be rehabilitated. We might say now a _buxom_ lass, or that a chambermaid was _buxom_, but we could not use the term, as Milton did, in its original sense of _bowsome_,--that is, _lithe, gracefully bending_.[8]

But the secret of force in writing lies not in the pedigree of nouns and adjectives and verbs, but in having something that you believe in to say, and making the parts of speech vividly conscious of it. It is when expression becomes an act of memory, instead of an unconscious necessity, that diction takes the place of warm and hearty speech. It is not safe to attribute special virtues (as Bosworth, for example, does to the Saxon) to words of whatever derivation, at least in poetry. Because Lear's "oak-cleaving thunderbolts," and "the all-dreaded thunder-stone" in "Cymbeline" are so fine, we would not give up Wilton's Virgilian "fulmined over Greece," where the verb in English conveys at once the idea of flash and reverberation, but avoids that of riving and shattering. In the experiments made for casting the great bell for the Westminster Tower, it was found that the superstition which attributed the remarkable sweetness and purity of tone in certain old bells to the larger mixture of silver in their composition had no foundation in fact. It was the cunning proportion in which the ordinary metals were balanced against each other, the perfection of form, and the nice gradations of thickness, that wrought the miracle. And it is precisely so with the language of poetry. The genius of the poet will tell him what word to use (else what use in his being poet at all?); and even then, unless the proportion and form, whether of parts or whole, be all that Art requires and the most sensitive taste finds satisfaction in, he will have failed to make what shall vibrate through all its parts with a silvery unison,--in other words, a poem.

We think the component parts of English were in the latter years of Elizabeth thus exquisitely proportioned one to the other. Yet Bacon had no faith in his mother-tongue, translating the works on which his fame was to rest into what he called "the universal language," and affirming that "English would bankrupt all our books." He was deemed a master of it, nevertheless; and it is curious that Ben Jonson applies to him in prose the same commendation which he gave Shakspeare in verse, saying, that he "performed that in our tongue which may be compared or preferred either to _insolent Greece or haughty Rome_"; and he adds this pregnant sentence:--"In short, within his view and about his time were all the wits born that could honor a language or help study. Now things daily fall: wits grow downwards, eloquence grows backwards." Ben had good reason for what he said of the wits. Not to speak of science, of Galileo and Kepler, the sixteenth century was a spendthrift of literary genius. An attack of immortality in a family might have been looked for then as scarlet-fever would be now. Montaigne, Tasso, and Cervantes were born within the same fourteen years; and in England, while Spenser was still delving over the _propria que maribus_, and Raleigh launching paper navies, Shakspeare was stretching his baby hands for the moon, and the little Bacon, chewing on his coral, had discovered that impenetrability was one quality of matter. It almost takes one's breath away to think that "Hamlet" and the "Novum Organon" were at the risk of teething and measles at the same time. But Ben was right also in thinking that eloquence had grown backwards. He lived long enough to see the language of verse become in a measure traditionary and conventional. It was becoming so, partly from the necessary order of events, partly because the most natural and intense expression of feeling had been in so many ways satisfied and exhausted,--but chiefly because there was no man left to whom, as to Shakspeare, perfect conception gave perfection of phrase. Dante, among modern poets, his only rival in condensed force, says, "Optimis conceptionibus optima loquela conveniet; sed optimae conceptiones non possunt esse nisi ubi scientia et ingenium est;... et sic non omnibus versificantibus optima loquela convenit, cum plerique sine scientia et ingenio versificantur."[9]

Shakspeare must have been quite as well aware of the provincialism of English as Bacon was; but he knew that great poetry, being universal in its appeal to human nature, can make any language classic, and that the men whose appreciation is immortality will mine through any dialect to get at an original soul. He had as much confidence in his homebred speech as Bacon had want of it, and exclaims,--

"Not marble nor the gilded monuments
Of princes shall outlive this powerful rhyme."

He must have been perfectly conscious of his genius, and of the great trust which he imposed upon his native tongue as embodier and perpetuator of it. As he has avoided obscurities in his sonnets, he would do so _a fortiori_ in his plays, both for the purpose of immediate effect on the stage and of future appreciation. Clear thinking makes clear writing, and he who has shown himself so eminently capable of it in one case is not to be supposed to abdicate intentionally in others. The difficult passages in the plays, then, are to be regarded either as corruptions, or else as phenomena in the natural history of Imagination, whose study will enable us to arrive at a clearer theory and better understanding of it.

While we believe that our language had two periods of culmination in poetic beauty,--one of nature, simplicity, and truth, in the ballads, which deal only with narrative and feeling,--another of Art, (or Nature as it is ideally reproduced through the imagination,) of stately amplitude, of passionate intensity and elevation, in Spenser and the greater dramatists,--and that Shakspeare made use of the latter as he found it, we by no means intend to say that he did not enrich it, or that any inferior man could have dipped the same words out of the great poet's inkstand. But he enriched it only by the natural expansion and exhilaration of which it was conscious, in yielding to the mastery of a genius that could turn and wind it like a fiery Pegasus, making it feel its life in every limb. He enriched it through that exquisite sense of music, (never approached but by Marlowe,) to which it seemed to be eagerly obedient, as if every word said to him,

"_Bid me_ discourse, I will enchant thine ear,"--

as if every latent harmony revealed itself to him as the gold to Brahma, when he walked over the earth where it was hidden, crying, "Here am I, Lord! do with me what thou wilt!" That he used language with that intimate possession of its meaning possible only to the most vivid thought is doubtless true; but that he wantonly strained it from its ordinary sense, that he found it too poor for his necessities, and accordingly coined new phrases, or that, from haste or carelessness, he violated any of its received proprieties, we do not believe. We have said that it was fortunate for him that he came upon an age when our language was at its best; but it was fortunate also for us, because our costliest poetic phrase is put beyond reach of decay in the gleaming precipitate in which it united itself with his thought.