Lecture III. On Shakespeare and Milton.

Lectures on the English Poets.

William Hazlitt

William Hazlitt begins his third lecture by comparing the disproportionate progresses in arts and sciences; he comments that "the four greatest names in English poetry are almost the four first we come to: Chaucer, Spenser, Shakspeare, and Milton." He then gives a brief character of each, with Spenser typified by "love of the marvellous."

Eaton Stannard Barrett: "We are not aware that it contains a single just observation, which has not been expressed by other writers more briefly, more perspicuously, and more elegantly. The passages which he has quoted are, with one or two exceptions, familiar to all who have the slightest acquaintance with English literature. His remarks on particular quotations are often injudicious; his general reasonings, for the most part, unintelligible" Quarterly Review 19 (July 1818) 424-25.

Monthly Magazine: "His faults are a diffuse and negligent style, abounding with false ornament and an overstrained attempt at originality. With all his imperfections, however, in these days of endless wire-wove imitation, Mr. Hazlitt is certainly entitled to the praise of comparative originality. He appears enthusiastically fond of our old writers, and is remarks upon them are the most valuable part of his volume"46 (September 1818) 158.

Mary Russell Mitford to Sir William Elford: "they are so exquisitely entertaining, so original, so free from every sort of critical shackle; the style is so delightfully piquant, so sparkling, so glittering, so tasteful, so condensed; the images and illustrations come in such rich and graceful profusion that one seems like Aladdin in the magic garden, where the leaves were emeralds, the flowers sapphires, and the fruit topazes and rubies. Do read some of the lectures. You will not agree with half Mr. Hazlitt's opinions, neither do I, but you will be very much entertained" 28 December 1819; in L'Estrange, Life of Mary Russell Mitford (1870) 1:321-22.

George Gilfillan: "The Surrey Lectures, when printed, were much abused and much read. They abound in fine and startling things, in eloquent dogmatism, in the impertinence of conscious power, in rude electric shocks to popular prejudice, in passages of sounding declamation.... Perhaps the best of his three series is that on the 'Elizabethan Period.' It is not easy to see the stars at noonday; but Lamb and Hazlitt possess a telescope which enables them to descry through the burning blaze of Shakspere, his eclipsed but brilliant contemporaries, — Marston the witty; Marlowe, with his mighty line, 'his lust of power,' 'his hunger and thirst after unrighteousness,' his passionate pictures of maidens, 'shadowing more beauty in their airy brows than have the white breasts of the Queen of Love,' and one of whom, 'Apollo courted for her hair, and offered as a dower his burning throne;' Ben Jonson, the learned and saturnine, with that slow, deep sneer sculptured upon his lip; Webster, prince of the trembling line which divides the region of the terrible from that of the horrific; Fletcher, the picturesque and romantic; the severe and masculine Massinger" Gallery of Literary Portraits (1845) 51-52.

Thomas Noon Talfourd: "Mr. Hazlitt delivered three courses of lectures at the Surrey Institution, on The English Poets; on The English Comic Writers; and on The Age of Elizabeth; which Lamb (under protest against lectures in general) regularly attended, an earnest admirer, amid crowds with whom the lecturer had 'an imperfect sympathy.' They consisted chiefly of Dissenters, who agreed with him in his hatred of Lord Castlereagh, and his love of religious freedom but who 'loved no plays'; of Quakers, who approved him as the earnest opponent of slavery and capital punishment, but who 'heard no music;' of citizens, devoted to the main chance, who had a hankering after 'the improvement of the mind'; but to whom his favorite doctrine of its natural disinterestedness was a riddle; of a few enemies who came to sneer; and a few friends, who were eager to learn, and to admire. The comparative insensibility of the bulk of his audience to his finest passages, sometimes provoked him to awaken their attention by points which broke the train of his discourse; after which, he could make himself amends by some abrupt paradox which might set their prejudices on edge, and make them fancy they were shocked" Literary Sketches and Letters ... of Charles Lamb (1849) 226.

In looking back to the great works of genius in former times, we are sometimes disposed to wonder at the little progress which has since been made in poetry, and in the arts of imitation in general. But this is perhaps a foolish wonder. Nothing can be more contrary to the fact, than the supposition that in what we understand by the fine arts, as painting and poetry, relative perfection is only the result of repeated efforts in successive periods, and that what has been once well done, constantly leads to something better. What is mechanical, reducible to rule or capable of demonstration, is progressive, and admits of gradual improvement: what is not mechanical, or definite, but depends on feeling, taste, and genius, very soon becomes stationary or retrograde, and loses more than it gains by transfusion. The contrary opinion is a vulgar error which has grown up, like many others, from transferring an analogy of one kind to something quite distinct, without taking into the account the difference in the nature of the things, or attending to the difference of the results. For most persons, finding what wonderful advances have been made in biblical criticism, in chemistry in mechanics, in geometry, astronomy, &c., i.e. in things depending on mere inquiry and experiment or on absolute demonstration, have been led hastily to conclude that there was a general tendency in the efforts of the human intellect to improve by repetition, and, in all other arts and institutions, to grow perfect and mature by time.

We look back upon the theological creed of our ancestors, and their discoveries in natural philosophy, with a smile of pity: science, and the arts connected with it, have all kind their infancy, their youth and manhood, and seem to contain in them no principle of limitation or decay: and, inquiring no further about the matter, we infer in the intoxication of our pride and the height of our self-congratulation, that the same progress has been made, and will continue to be made, in all other things which are the work of man. The fact, however, stares us so plainly in the face, that one would think the smallest reflection must suggest the truth, and overturn our sanguine theories. The greatest poets, the ablest orators, the best painters, and the finest sculptors that the world ever saw, appeared soon after the birth of these arts, and lived in a state of society which was, in other respects, comparatively barbarous. Those arts, which depend on individual genius and incommunicable power, have always leaped at once from infancy to manhood, from the first rude dawn of invention to their meridian height and dazzling lustre, and have in general declined ever after. This is the peculiar distinction and privilege of each, of science and of art: of the one, never to attain its utmost limit of perfection; and of the other, to arrive at it almost at once. Homer, Chaucer, Spenser, Shakspeare, Dante, and Ariosto (Milton alone was of a later age, and not the worse for it): Raphael, Titian, Michael Angelo, Correggio, Cervantes, and Boccaccio: the Greek sculptors and tragedians: all lived near the beginning of their arts, perfected, and all but created them. These giant-sons of genius stand indeed upon the earth, but they tower above their fellows; and the long line of their successors, in different ages, does not interpose any object to obstruct their view, or lessen their brightness. In strength and stature they are unrivalled; in grace and beauty they have not been surpassed. In after-ages and more refined periods (as they are called) great men have arisen, one by one, as it were by throes and at intervals; though in general the best of these cultivated and artificial minds were of an inferior order, as Tasso and Pope among poets: Guido and Van-dyke among painters. But in the earlier stages of the arts, as soon as the first mechanical difficulties had been got over, and the language was sufficiently acquired, they rose by clusters and in constellations, never so to rise again!

The arts of painting and poetry are conversant with the world of thought within us, and with the world of sense around us — with what we know, and see, and feel intimately. They flow from the sacred shrine of our own breasts, and are kindled at the living lamp of nature. But the pulse of the passions assuredly beat as high, the depths and soundings of the human heart were as well understood three thousand or three hundred years ago, as they are at present: the face of nature and "the human face divine" shone as bright then as they have over done. But it is their light, reflected by true genius on art, that marks out its path before it, and sheds a glory round the Muses' feet, like that which

Circled Una's angel face,
And made a sunshine in the shady place.

The four greatest names in English poetry are almost the four first we come to: Chaucer, Spenser, Shakspeare, and Milton. There are no others that can really be put in competition with these. The two last have had justice done them by the voice of common fame. Their names are blazoned in the very firmament of reputation; while the two first (though "the fault has been more in their stars than in themselves that they are underlings"), either never emerged far above the horizon, or were too soon involved in the obscurity of time. The three first of those are excluded from Dr. Johnson's Lives of the Poets (Shakspeare indeed is so from the dramatic form of his compositions): and the fourth, Milton, is admitted with a reluctant and churlish welcome.

In comparing these four writers together, it might be said that Chaucer excels as the poet of manners, or of real life; Spenser, as the poet of romance; Shakspeare as the poet of nature (in the largest use of the term); and Milton, as the poet of morality. Chaucer most frequently describes things as they are; Spenser, as we wish them to be; Shakspeare, as they would be; and Milton as they ought to be. As poets, and as great poets, imagination, that is, the power of feigning things according to nature, was common to them all: but the principle or moving power, to which this faculty was most subservient in Chaucer, was habit or inveterate prejudice; in Spenser, novelty, and the love of the marvellous; in Shakspeare, it was the force of passion, combined with every variety of possible circumstances; and in Milton, [combined] only with the highest. The characteristic of Chaucer is intensity; of Spenser, remoteness; of Milton, elevation; of Shakspeare, everything. It has been said by some critic, that Shakspeare was distinguished from the other dramatic writers of his day only by his wit; that they had all his other qualities but that; that one writer kind as much sense, another as much fancy, another as much knowledge of character, another the same depth of passion, and another as great a power of language. This statement is not true; nor is the inference from it well-founded, even if it were. This person does not seem to have been aware that, upon his own showing, the great distinction of Shakspeare's genius was its virtually including the genius of all the great men of his age, and not his differing from them in one accidental particular. But to have done with such minute and literal trifling. . . .

[ed. W. C. Hazlitt (1909) 58-61]