A Study of Shakespeare | Page 6

or suspect an inequality or an incongruity which may be wholly imperceptible to eyes uninured to the use of their spectacles, they assume at once the presence of another workman, the intrusion of a stranger's hand. This supposition of a double authorship is naturally as impossible to refute as to establish by other than internal evidence and appeal to the private judgment or perception of the reader. But it is no better than the last resource of an empiric, the last refuge of a sciolist; a refuge which the soundest of scholars will be slowest to seek, a resource which the most competent of critics will be least ready to adopt. Once admitted as a principle of general application, there are no lengths to which it may not carry, there are none to which it has not carried, the audacious fatuity and the arrogant incompetence of tamperers with the authentic text. Recent editors who have taken on themselves the high office of guiding English youth in its first study of Shakespeare have proposed to excise or to obelise whole passages which the delight and wonder of youth and age alike, of the rawest as of the ripest among students, have agreed to consecrate as examples of his genius at its highest. In the last trumpet-notes of Macbeth's defiance and despair, in the last rallying cry of the hero reawakened in the tyrant at his utmost hour of need, there have been men and scholars, Englishmen and editors, who have detected the alien voice of a pretender, the false ring of a foreign blast that was not blown by Shakespeare; words that for centuries past have touched with fire the hearts of thousands in each age since they were first inspired--words with the whole sound in them of battle or a breaking sea, with the whole soul of pity and terror mingled and melted into each other in the fierce last speech of a spirit grown "aweary of the sun," have been calmly transferred from the account of Shakespeare to the score of Middleton. And this, forsooth, the student of the future is to accept on the authority of men who bring to the support of their decision the unanswerable plea of years spent in the collation and examination of texts never hitherto explored and compared with such energy of learned labour. If this be the issue of learning and of industry, the most indolent and ignorant of readers who retains his natural capacity to be moved and mastered by the natural delight of contact with heavenly things is better off by far than the most studious and strenuous of all scholiasts who ever claimed acquiescence or challenged dissent on the strength of his lifelong labours and hard-earned knowledge of the letter of the text. Such an one is indeed "in a parlous state"; and any boy whose heart first begins to burn within him, who feels his blood kindle and his spirit dilate, his pulse leap and his eyes lighten, over a first study of Shakespeare, may say to such a teacher with better reason than Touchstone said to Corin, "Truly, thou art damned; like an ill-roasted egg, all on one side." Nor could charity itself hope much profit for him from the moving appeal and the pious prayer which temper that severity of sentence--"Wilt thou rest damned? God help thee, shallow man! God make incision in thee! Thou art raw." And raw he is like to remain for all his learning, and for all incisions that can be made in the horny hide of a self-conceit to be pierced by the puncture of no man's pen. It was bad enough while theorists of this breed confined themselves to the suggestion of a possible partnership with Fletcher, a possible interpolation by Jonson; but in the descent from these to the alleged adulteration of the text by Middleton and Rowley we have surely sounded the very lowest depth of folly attainable by the utmost alacrity in sinking which may yet be possible to the bastard brood of Scriblerus. For my part, I shall not be surprised though the next discoverer should assure us that half at least of Hamlet is evidently due to the collaboration of Heywood, while the greater part of Othello is as clearly assignable to the hand of Shirley.
Akin to this form of folly, but less pernicious though not more profitable, is the fancy of inventing some share for Shakespeare in the composition of plays which the veriest insanity of conjecture or caprice could not venture to lay wholly to his charge. This fancy, comparatively harmless as it is, requires no ground of proof to go upon, no prop of likelihood to support it; without so much help as may be borrowed from the faintest and most fitful