Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616Green, Henry
History
Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616
Green, Henry
Emblem books, English -- History; Emblems -- England -- History; Emblems in literature; Shakespeare, William, 1564-1616 -- Sources
ALTHOUGH many persons may maintain that the last two or three examples
from the Naturalist’s division of our subject ought to be reserved as
Emblems to illustrate Poetic Ideas, the animals themselves may be
inventions of the imagination, but the properties assigned to them
appear less poetic than in the instances which are now to follow. The
question, however, is of no great importance, as this is not a work on
Natural History, and a strictly scientific arrangement is not possible
when poets’ fancies are the guiding powers.
How finely and often how splendidly Shakespeare makes use of the
symbolical imagery of his art, a thousand instances might be brought to
show. Three or four only are required to make plain our meaning. One,
from _All’s Well that Ends Well_ (act i. sc. 1, l. 76, vol. iii. p.
112), is Helena’s avowal to herself of her absorbing love for Bertram,—
“My imagination
Carries no favour in’t but Bertram’s.
I am undone: there is no living, none,
If Bertram be away. ’Twere all one
That I should love a bright particular star
And think to wed it, he is so above me:
In his bright radiance and collateral light
Might I be comforted, not in his sphere.
The ambition in my love thus plagues itself:
The hind that would be mated by the lion
Must die of love. ’Twas pretty, though a plague,
To see him every hour; to sit and draw
His arched brows, his hawking eye, his curls,
In our heart’s table; heart too capable
Of every line and trick of his sweet favour:
But now he’s gone, and my idolatrous fancy
Must sanctify his reliques.”
Another instance shall be from _Troilus and Cressida_ (act iii. sc. 3,
l. 145, vol. vi. p. 198). Neglected by his allies, Achilles demands,
“What, are my deeds forgot?” and Ulysses pours forth upon him the great
argument, that to preserve fame and honour active exertion is
continually demanded,—
“Time hath, my lord, a wallet at his back
Wherein he puts alms for oblivion,
A great-sized monster of ingratitudes:
Those scraps are good deeds past, which are devour’d
As fast as they are made, forgot as soon
As done: perseverance, dear my lord,
Keeps honour bright: to have done, is to hang
Quite out of fashion, like a rusty mail
In monumental mockery.”
And so on, with inimitable force and beauty, until the crowning thoughts
come (l. 165),—
Public-domain text, read in full here on John Shaqi.
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