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same persons; any other persons might just as well be put through the same course of action. This merely outward and formal connection between the incidents and characters holds generally in the old tales from which Shakespeare borrowed his plots; while in his workmanship the connection becomes inherent and essential; there being indeed no difference in this respect, whether he first conceives the characters, and then draws out their actions, or whether he first plans a course of action, and then shapes the characte from which it is to proceed.
Much Ado about Nothing has a large variety of interest, now running into grotesque drollery, now bordering upon the sphere of tragic elevation, now revelling in the most sparkling brilliancy. The play indeed is rightly named: we have several nothings, each in its turn occasioning a deal of stir and perturbation : yet there is so much of real flavour and spirit stirred out into effect, that the littleness of the occasions is scarcely felt or observed; the thoughts being far more drawn to the persons who make the much ado than to the nothing about which the much ado is made. The excellences, however, both of plot and character, are rather of the striking sort, involving little of the hidden or retiring beauty which shows just enough on the surface to invite a diligent search, and then enriches the seeker with generous returns. Accordingly the play has always been very effective on the stage; the points and situations being so shaped and ordered that, with fair acting, they tell at once upon an average audience; while at the same time there is enough of solid substance beneath to justify and support the first impression; so that the stage-effect is withal legitimate and sound as well as quick and taking.
The characters of Hero and Claudio, though reasonably engaging in their simplicity and uprightness, offer no very salient points, and are indeed nowise extraordinary. It cannot quite be said that one “ sees no more in them than in the ordinary of Nature's sale-work”; nevertheless they
derive their interest mainly from the events that befall them; the reverse of which is generally true in Shakespeare's delineations. Perhaps we may justly say that, had the course of love run smooth with them, its voice, even if audible, had been hardly worth the hearing.
Hero is indeed kind, amiable, and discreet in her behaviour and temper: she has just that air, nay, rather just that soul of bland and modest quietness which makes the unobtrusive but enduring charm of home, such as I have seen in many a priestess of the domestic shrine; and this fitly marks her out as the centre of silent or unemphatic interest in her father's household. She is always thoughtful, never voluble; and when she speaks, there is no sting or sharpness in her tongue: she is even proud of her brilliant cousin, yet not at all emulous of her brilliancy; keenly relishes her popping and sometimes caustic wit, but covets no such gift for herself, and even shrinks from the laughing attention it wins. As Hero is altogether gentle and womanly in her ways, so she offers a sweet and inviting nestling-place for the fireside affections. The soft down of her disposition makes an admirable contrast to the bristling and emphatic yet genuine plumage of Beatrice; and there is something very pathetic and touching in her situation when she is stricken down in mute agony by the tongue of slander; while the “ blushing apparitions” in her face, and the lightning in her eyes, tell us that her stillness of tongue proceeds from any thing but weakness of nature, or want of spirit. Her well-governed intelligence is aptly displayed in the part she bears in the stratagem for taming
Beatrice to the gentler pace of love, and in the considerate forbearance which abstains from teasing words after the stratagem has done its work.
Claudio is both a lighter-timbered and a looser-built vessel than Hero; rather credulous, unstable, inconstant, and very much the sport of slight and trivial occasions. A very small matter suffices to upset him, though, to be sure, he is apt enough to be set right again. All this, no
HERO AND CLAUDIO.
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321 ãoubt, is partly owing to his youth and inexpérience; but
; in truth his character is mainly that of a brave and clever upstart, somewhat intoxicated with sudden success, and not a little puffed with vanity of the Prince's favour. Not
Notwithstanding John's ingrained, habitual, and well-known malice, he is ready to go it blind whenever John sees fit to try his art upon him; and even after he has been duped into one strain of petulant folly by his trick, and has found sometimes out the falsehood of it, he is still just as open to a second and worse duping. All this may indeed pass as indicating no more in his case than the levity of a rather pampered de and over-sensitive self-love. In his unreflective and headlong techiness, he fires up at the least hint that but seems to touch his honour, without pausing, or deigning to observe the plainest conditions of a fair and prudent judgment.
But, after all the allowance that can be made on this score, it is still no little impeachment of his temper, or his understanding, that he should lend his ear to the poisonous breathings of one whose spirits are so well known to “ toil in frame of villainies.” As to his rash and overwrought scheme of revenge for Hero's imputed sin, his best excuse therein is, that the light-minded Prince, who is indeed such another, goes along with him; while it is somewhat doubtful whether the patron or the favourite is more at fault in thus suffering artful malice to “pull the wool over his eyes.” Claudio's finical and foppish attention to dress, so amusingly ridiculed by Benedick, is a well-conceived trait of his character; as it naturally hints that his quest of the lady grows more from his seeing the advantage of the
st match than from any deep heart-interest in her person. And his being sprung into such an unreasonable fit of jealousy towards the Prince at the masquerade is another good instance of the Poet's skill and care in small matters. It makes an apt preparation for the far more serious blunder upon which the main part of the action turns. A piece of conduct which the circumstances do not explain is at once explained by thus disclosing a certain irritable levity in the
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easily caught him, brings out the true staple of his characin ter. When he is made to feel that on himself alone falls
the blame and the guilt which he had been so eager to revenge on others, then his sense of honour acts in a right noble style, prompting him to avenge sternly on himself the wrong and the injury he has done to the gentle Hero and her kindred.
Critics have unnecessarily found fault with the Poet for the character of John, as if it lay without the proper circumference of truth and nature. They would prefer, apparently, the more commonplace character of a disappointed rival in love, whose guilt might be explained away into a pressure of violent motives. But Shakespeare saw deeper into human nature. And perhaps his wisest departure from the old story is in making John a morose, sullen, ill-conditioned rascal, whose innate malice renders the joy of others a pain, and the pain of others a joy, to him. The wanton and unprovoked doing of mischief is the natural luxury and pastime of such envious spirits as he is. To be sure, he assigrs as his reason for plotting to blast Claudio's happiness, that the “ young start-up hath all the glory of my overthrow”; but then he also adds, “If I can
' him any way, I bless myself every way"; which shows his true motive-spring to be a kind of envy-sickness. For this carise, any thing that will serve as a platform “to build
mischief on " is grateful to him. He thus exemplifies in a small figure the same spontaneous malice which towers to such a stupendous height of wickedness in Iago. We may well reluct to believe in the reality of such characters; but, unhappily, human life discovers too many plots and doings that cannot be otherwise accounted for; nor need we go far to learn that men may “spin motives out of their own bowels.” In pursuance of this idea, the Poet takes care to let us know that, in John's account, the having his sour and spiteful temper tied up under a pledge of fair and kindly behaviour is to be “trusted with a muzzle, and enfranchised with a clog”; that is, he thinks himself robbed of freedom when he is not allowed to bite.
Ulrici, regarding the play as setting forth the contrast between life as it is in itself and as it seems to those engaged in its struggles, tooks upon Dogberry as embodying the whole idea of the piece. And, sure enough, the impressive insignificance of this man's action to the lookers-on is only equalled by its stuffed importance to himself: when he is really most absurd and ridiculous, then it is precisely that he feels most confident and grand; the irony that is rarefied into wit and poetry in others being thus condensed into broad humour and drollery in him. The German critic is not quite right however in thinking that his blundering garrulity brings to light the infernal plot; as it rather operates to keep that plot in the dark : he is too fond of 5 hearing himself talk to make known what he has to say, in time to prevent the evil; and amidst his tumblings of conceit the truth leaks out at last rather in spite of him than ; in consequence of any thing he does. Dogberry and his “ neighbour Verges” are caricatures; but such caricatures as Shakespeare alone of English writers has had a heart to conceive and a hand to delineate; though perhaps Sir Walter comes near enough to him in that line to be named in the same sentence. And how bland, hoy berignant, how genial, how human-hearted, these caricatures are ! as