A Dish of Orts : Chiefly Papers on the Imagination, and on ShakespeareMacDonald, George
Philosophy
A Dish of Orts : Chiefly Papers on the Imagination, and on Shakespeare
MacDonald, George
Literature -- History and criticism; Shakespeare, William, 1564-1616 -- Criticism and interpretation
are represented by a few rapid touches that bring certain points of the
reality almost unpleasantly near. At length, unable to endure it longer,
he rushes out into the air. Objection may, probably, be made to the
mingling of the humorous, even the ridiculous, with the serious; at
least, in a work of art like this, where they must be brought into such
close proximity. But are not these things as closely connected in the
world as they can be in any representation of it? Surely there are few
who have never had occasion to attempt to reconcile the thought of the
two in their own minds. Nor can there be anything human that is not, in
some connexion or other, admissible into art. The widest idea of art
must comprehend all things. A work of this kind must, like God’s world,
in which he sends rain on the just and on the unjust, be taken as a
whole and in regard to its design. The requisition is, that everything
introduced have a relation to the adjacent parts and to the whole
suitable to the design. Here the thing is real, is true, is human; a
thing to be thought about. It has its place amongst other phenomena,
with which, however apparently incongruous, it is yet vitally connected
within.
A coolness and delight visit us, on turning over the page and commencing
to read the description of sky, and moon, and clouds, which greet him
outside the chapel. It is as a vision of the vision-bearing world
itself, in one of its fine, though not, at first, one of its rarest
moods. And here a short digression to notice like feelings in unlike
dresses, one thought differently expressed will, perhaps, be pardoned.
The moon is prevented from shining out by the “blocks” of cloud “built
up in the west:”--
“And the empty other half of the sky
Seemed in its silence as if it knew
What, any moment, might look through
A chance-gap in that fortress massy.”
Old Henry Vaughan says of the “Dawning:”--
“The whole Creation shakes off night,
And for thy shadow looks the Light;
Stars now vanish without number,
Sleepie Planets set and slumber,
The pursie Clouds disband and scatter,
_All expect some sudden matter_.”
Calmness settles down on his mind. He walks on, thinking of the scene he
had left, and the sermon he had heard. In the latter he sees the good
and the bad intimately mingled; and is convinced that the chief benefit
derived from it is a reproducing of former impressions. The thought
crosses him, in how many places and how many different forms the same
thing takes place, “a convincing” of the “convinced;” and he rejoices in
the contrast which his church presents to these; for in the church of
Nature his love to God, assurance of God’s love to him, and confidence
in the design of God regarding him, commenced. While exulting in God and
the knowledge of Him to be attained hereafter, he is favoured with a
sight of a glorious moon-rainbow, which elevates his worship to ecstasy.
During which--
Public-domain text, read in full here on John Shaqi.
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