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      Notes to Shakespeare, Volume III: The Tragedies

      Introduction on Tragedies

      Dr. Johnson's reaction to Shakespeare's tragedies is a curious one, compounded as it is of deep emotional involvement in a few scenes in some plays and a strange dispassionateness toward most of the others. I suspect that his emotional involvement took root when he read Shakespeare as a boy—one remembers the terror he experienced in reading of the Ghost in Hamlet, and it was probably also as a boy that he suffered that shock of horrified outrage and grief at the death of Cordelia that prevented him from rereading the scene until be came to edit the play. Johnson's deepest feelings and convictions, Professor Clifford has recently reminded us, can be traced back to his childhood and adolescence. But it is surprising to learn, as one does from his commentary, that other scenes in these very plays (Hamlet and King Lear, and in Macbeth, too) leave him unmoved, if one can so interpret the absence of any but an explanatory note on, say, Lear's speech beginning "Pray, do not mock me;/I am a very foolish fond old man." Besides this negative evidence there is also the positive evidence of many notes which display the dispassionate editorial mind at work where one might expect from Johnson an outburst of personal feeling. There are enough of these outbursts to warrant our expecting others, but we are too frequently disappointed. Perhaps Johnson thought of most of Shakespeare's tragedies as "imperial tragedies" and that is why he could maintain a stance of aloofness; conversely, "the play of Timon is a domestick Tragedy, and therefore strongly fastens on the attention of the reader." But the "tragedy" of Timon does not capture the attention of the modern reader, and perhaps all attempts to fix Johnson's likes and dislikes, and the reasons for them, in the canon of Shakespeare's plays must circle endlessly without ever getting to their destination.

      TRAGEDIES

      Vol. IV

      MACBETH

      (392) Most of the notes which the present editor has subjoined to this play were published by him in a small pamphlet in 1745.

      I.i (393,*) Enter three Witches] In order to make a true estimate of the abilities and merit of a writer, it it always necessary to examine the genius of his age, and the opinions of his contemporaries. A poet who should now make the whole action of his tragedy depend upon enchantment, and produce the chief events by the assistance of supernatural agents, would be censured as transgressing the bounds of probability, be banished from the theatre to the nursery, and condemned to write fairy tales instead of tragedies; but a survey of the notions that prevailed at the time when this play was written, will prove that Shakespeare was in no danger of such censures, since he only turned the system that was then universally admitted, to his advantage, and was far from overburthening the credulity of his audience.

      The reality of witchcraft or enchantment, which, though not strictly the same, are confounded in this play, has in all ages and countries been credited by the common people, and in most, by the learned themselves. These phantoms have indeed appeared more frequently, in proportion as the darkness of ignorance has been more gross; but it cannot be shown, that the brightest gleams of knowledge have at any time been sufficient to drive them out of the world. The time in which this kind of credulity was at its height, seems to have been that of the holy war, in which the Christians imputed all their defeats to enchantments or diabolical opposition, as they ascribed their success to the assistance of their military saints; and the learned Dr. Warburton appears to believe (Suppl. to the Introduction to Don Quixote) that the first accounts of enchantments were brought into this part of the world by those who returned from their eastern expeditions. But there is always some distance between the birth and maturity of folly as of wickedness: this opinion had long existed, though perhaps the application of it had in no foregoing age been so frequent, nor the reception so general. Olympiodorus, in Photius's extracts, tells us of one Libanius, who practised this kind of military magic, and having promised [Greek: choris opliton kata barbaron energein] to perform great things against the Barbarians without soldiers, was, at the instances of the empress Placidia, put to death, when he was about to have given proofs of his abilities. The empress shewed some kindness in her anger by cutting him off at a time so convenient for his reputation.

      But a more remarkable proof of the antiquity of this notion may be found in St. Chrysostom's book de Sacerdotia, which exhibits a scene of enchantments not exceeded by any romance of the middle age: he supposes a spectator overlooking a field of battle attended by one that points out all the various objects of horror, the engines of destruction, and the arts of slaughter. [Greek: Deichnuto de eti para tois enantiois kai petomenous hippous dia tinos magganeias, kai oplitas di' aeros pheromenous, kai pasaen goaeteias dunomin kai idean.] Let him then proceed to shew him in the opposite armies horses flying by enchantment, armed men transported through the air, and every power and form of magic. Whether St. Chrysostom believed that such performances were really to be seen in a day of battle, or only endeavoured to enliven his description, by adopting the notions of the vulgar, it is equally certain, that such nations were in his time received, and that therefore they were not imported from the Saracens in a later age; the wars with the Saracens however gave occasion to their propagation, not only as bigotry naturally discovers prodigies, but as the scene of action was removed to a great distance.

      The Reformation did not immediately arrive at its meridian, and though day was gradually encreasing upon us, the goblins of witchcraft still continued to hover in the twilight. In the time of queen Elizabeth was the remarkable trial of the witches of Warbois, whose conviction is still commemorated in an annual sermon at Huntingdon. But in the reign of king James, in which this tragedy was written, many circumstances concurred to propagate and confirm this opinion. The king, who was much celebrated for his knowledge, had, before his arrival in England, not only examined in person a woman accused of witchcraft, but had given a very formal account of the practices and illusions of evil spirits, the compacts of witches, the ceremonies used by them, the manner of detecting them, and the justice of punishing them, in his dialogues of Daemonologie, written in the Scottish dialect, and published at Edinburgh. This book was, soon after his accession, reprinted at London, and as the ready way to gain king James's favour was to flatter his speculations, the system of Daemonologie was immediately adopted by all who desired either to gain preferment or not to lose it. Thus the doctrine of witchcraft was very powerfully inculcated; and as the greatest part of mankind have no other reason for their opinions than that they are in fashion, it cannot be doubted but this persuasion made a rapid progress, since vanity and credulity co-operated in its favour. The infection soon reached the parliament, who, in the first year of king James, made a law, by which it was enacted, chap. xii. "That if any person shall use any invocation or conjuration of any evil or wicked spirit; 2. or shall consult, covenant with, entertain, employ, feed or reward any evil or cursed spirit to or for any intent or purpose; 3. or take up any dead man, woman or child out of the grave,—or the skin, bone, or any part of the dead person, to be employed or used in any manner of witchcraft, sorcery, charm, or enchantment; 4. or shall use, practise or exercise any sort of witchcraft, sorcery, charm, or enchantment; 5. whereby any person shall be destroyed, killed, wasted, consumed, pined, or lamed in any part of the body; 6. That every such person being convicted shall suffer death." This law was repealed in our own time.

      Thus, in the time of Shakespeare, was the doctrine of witchcraft at once established by law and by the fashion, and it became not only unpolite, but criminal, to doubt it; and as prodigies are always seen in proportion as they are expected, witches were every day discovered, and multiplied as fast in some places, that bishop Hall mentions a village in Lancashire, where their number was greater than that of the houses. The jesuits and sectaries took advantage of this universal error, and endeavoured to promote the interest of their parties by pretended cures of persons afflicted by evil spirits; but they were detected and exposed by the clergy of the established church.

      Upon this general infatuation Shakespeare might be easily allowed to found a play, especially since he has followed with great exactness such histories as were then thought true; nor can it be doubted that the scenes of enchantment, however they may now be ridiculed, were both by himself and his audience thought awful and affecting.

      I.i.10 (396,5) Fair is foul, and foul is fair] I believe the meaning is, that to us, perverse and malignant as we are, fair

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