A Study of Shakespeare | Page 2

words they had built in honour of
Shakespeare was "dark as hell," seeing "it had bay-windows transparent
as barricadoes, and the clear-stories towards the south-north were as
lustrous as ebony." These are not the most besetting dangers of more
modern steersmen: what we have to guard against now is neither a

repetition of the pedantries of Steevens nor a recrudescence of the
moralities of Ulrici. Fresh follies spring up in new paths of criticism,
and fresh labourers in a fruitless field are at hand to gather them and to
garner. A discovery of some importance has recently been proclaimed
as with blare of vociferous trumpets and flutter of triumphal flags; no
less a discovery than this--that a singer must be tested by his song. Well,
it is something that criticism should at length be awake to that wholly
indisputable fact; that learned and laborious men who can hear only
with their fingers should open their eyes to admit such a novelty, their
minds to accept such a paradox, as that a painter should be studied in
his pictures and a poet in his verse. To the common herd of students
and lovers of either art this may perhaps appear no great discovery; but
that it should at length have dawned even upon the race of
commentators is a sign which in itself might be taken as a presage of
new light to come in an epoch of miracle yet to be. Unhappily it is as
yet but a partial revelation that has been vouchsafed to them. To the
recognition of the apocalyptic fact that a workman can only be known
by his work, and that without examination of his method and material
that work can hardly be studied to much purpose, they have yet to add
the knowledge of a further truth no less recondite and abstruse than this;
that as the technical work of a painter appeals to the eye, so the
technical work of a poet appeals to the ear. It follows that men who
have none are as likely to arrive at any profitable end by the application
of metrical tests to the work of Shakespeare as a blind man by the
application of his theory of colours to the work of Titian.
It is certainly no news to other than professional critics that no means
of study can be more precious or more necessary to a student of
Shakespeare than this of tracing the course of his work by the growth
and development, through various modes and changes, of his metre.
But the faculty of using such means of study is not to be had for the
asking; it is not to be earned by the most assiduous toil, it is not to be
secured by the learning of years, it is not to be attained by the devotion
of a life. No proficiency in grammar and arithmetic, no science of
numeration and no scheme of prosody, will be here of the least avail.
Though the pedagogue were Briareus himself who would thus bring
Shakespeare under the rule of his rod or Shelley within the limit of his

line, he would lack fingers on which to count the syllables that make up
their music, the infinite varieties of measure that complete the changes
and the chimes of perfect verse. It is but lost labour that they rise up so
early, and so late take rest; not a Scaliger or Salmasius of them all will
sooner solve the riddle of the simplest than of the subtlest melody.
Least of all will the method of a scholiast be likely to serve him as a
clue to the hidden things of Shakespeare. For all the counting up of
numbers and casting up of figures that a whole university--nay, a whole
universe of pedants could accomplish, no teacher and no learner will
ever be a whit the nearer to the haven where they would be. In spite of
all tabulated statements and regulated summaries of research, the music
which will not be dissected or defined, the "spirit of sense" which is
one and indivisible from the body or the raiment of speech that clothes
it, keeps safe the secret of its sound. Yet it is no less a task than this
that the scholiasts have girt themselves to achieve: they will pluck out
the heart not of Hamlet's but of Shakespeare's mystery by the means of
a metrical test; and this test is to be applied by a purely arithmetical
process. It is useless to pretend or to protest that they work by any rule
but the rule of thumb and finger: that they have no ear to work by,
whatever outward show they may make of unmistakable ears, the very
nature of their project gives full and damning proof. Properly
understood,