Some Remarks on the Tragedy of Hamlet, Prince of Denmark, Written by Mr. William Shakespeare | Page 2

[1946], 697). And Stoll, who has obviously read the book with care, has found in one of its statements the very "beginning of historical criticism" (PQ 24 [1945], 291; Shakespeare Studies, 212n.), and has elsewhere seen much to commend in it.
Reasons for such attention are not difficult to find; for the Remarks is both intrinsically and historically an important piece of criticism. It is still worth reading for more than one passage of discerning analysis and apt comment on scene, speech, or character, and for certain not unfruitful excursions into the field of general aesthetics; while historically it is a sort of landmark in Shakespearian literature. Standing chronologically almost midway between Dryden and Johnson, Kames, and Richardson, the Remarks shows decisively the direction in which criticism, under the steadily mounting pressure of liberal, empirical thought, is traveling. This little unpretentious book gathers into itself, either in faint adumbration or in fairly advanced form, the tendencies in method and ideas that are to remake criticism in the eighteenth century. There are reflected here the growing distrust of the "Rules" and the deepening faith in mind as the measure and in imagination as the instrument. There is also added recognition of the integrity of effects as a factor in judging literature.
Anonymous is an earlier member of the School of Taste. He is none-the-less concerned with firm principles by which to justify his acceptances and rejections. His announced over-all rule is conformity to "Reason and Nature"--old words that he uses in the newer way. But he is also handily equipped with a stock of stubbornly conservative principles, reaching at times the status of bias, that serve to hold his taste in balance and effectively check unrestrained admiration.
This conservative side of Anonymous must not pass unnoticed, for it is the part of him that most closely identifies him with his forebears and so throws his more original, independent side into stronger relief. Our author is, not unexpectedly, an invariable moralist; is throughout a stickler for dignity; is sensitive to absurdities, improprieties, and slips in decorum; will have no truck with tragi-comedy in any of its forms. He hates puns and bombast, demands refinement in speech and restraint in manners. He regards Hamlet's speeches to Ophelia in the Player scene as a violation of propriety, is shocked by the lack of decency in the representation of Ophelia's madness, finds Hamlet's frequent levity and the buffoonery of Polonius alike regrettable --Shakespeare's favorite foible, he feels, is "that of raising a laugh." The introduction of Fortinbras and his army on the stage is "an Absurdity"; the grave-diggers' scene is "very unbecoming to tragedy"; the satire on the "Children of the Chapel" is not allowable in this kind of piece.
In all these things Anonymous is an upholder of the tradition of true, restrained wit. But unlike some of his contemporaries, he has a formula for discounting faults. "But we should be very cautious in finding Fault with Men of such exalted Genius as our Author certainly was, lest we should blame them when in reality the Fault lies in our own slow Conceptions ..." This is the language of tolerance, a tolerance that can overlook faults for the sake of greater beauties--one of the distinct marks of the new criticism to which the Remarks belongs.
The essay starts out in a boldly challenging tone. Criticism, says the author, has been badly abused: it has been regarded as an excuse for the ill-natured to find fault or for the better-natured to eulogize. But true criticism has for its end "to set in the best light all Beauties, and to touch upon Defects no more than is necessary." Beyond this it seeks to set up a right taste for the age. His own purpose is to examine a great tragedy "according to the Rules of Reason and Nature, without having any regard to those Rules established by arbitrary Dogmatizing Critics ..." More specifically, he proposes to show the why of our pleasure in this piece: "And as to those things which charm by a certain secret Force, and strike us we know not how, or why; I believe it will not be disagreeable, if I shew to everyone the Reason why they are pleas'd ..." This, it need hardly be observed, is all pretty much in the vein of Addison, whom the author extols and whose papers on Paradise Lost, he tells us, have furnished a model for the present undertaking. Throughout his criticism Addison had deprecated mere fault-finding and had urged the positive approach of emphasis on beauties. In the last twelve essays on Milton's poem he had shown a new way in critical writing, the way of particular as opposed to general criticism, with the selection of specific details for praise and explication; in his essay on the Imagination