Various - The Contemporary Review, January 1883 стр 11.

Such a change as I propose would doubtless lessen the numbers of the constituency. Possibly it would not lessen them quite so much as might seem at first sight. A high standard, but a standard attainable with effort, would surely make many qualify themselves who at present do not. Still it would lessen the numbers very considerably, and it would be meant to do so. Yet it would not be a restrictive measure in the same sense in which confining the franchise to Congregation would be a restrictive measure. It would not take away the votes of any class. The franchise would still be the same, exercised by the same body; only that body would be purified and brought back to the character which it was originally meant to bear. The purifying would be gradual. The doctrine of vested interests, that doctrine so dear to the British mind, would of course secure every elector in the possession of his vote as long as he lives and keeps his name on the books. But the ranks of the unqualified would no longer be yearly reinforced. In course of time we should have a competent body. And the great advantage of this kind of remedy is that it is so distinctly an academical remedy. It would not come as a mere clause in a parliamentary reform bill. It would affect the parliamentary constituency; but it would affect it only as one thing among others. It would be a general improvement in the character of the Great Council of the University, which would make it better qualified to discharge all its duties, that of choosing members of Parliament among them. In the purely political look-out, we may believe that one result of the change would be to make the election of Liberal members for the Universities much more likely. But neither this nor any other purely political result would be the sole and direct object of the change. Even if it did not accomplish this object, it would do good in other ways. If the Universities, under such a system, still chose Conservative members, we should have no right to complain. We should feel that we had been fairly and honourably beaten by adversaries who had a right to speak. It would be an unpleasant result if the real Universities should be proved to be inveterately Tory. But it would be a result less provoking than the present state of things, in which Tory members are chosen for the Universities by men who have no call to speak in the name of the Universities at all.

HAMLET: A NEW READING

There is a sense in which the stage alone can give the full significance to a dramatic poem, just as a lyric finds its full interpretation in music; but we prefer that a song of Goethe or Shelley should wait for its music, and in the meantime suggest its own aërial accompaniment, rather than be vulgarized in the setting. And even when set for the voice by a master, although there is a gain in as far as the charm is brought home to the senses, yet there is a loss in proportion to the beauty of the song; for if it is delicate the finer spiritual grace departs, and if it is ardent the passion is liable to scream, and, above all, there is a vague but appreciable loss of identity; so that on the whole we please ourselves best with the literary form. There is the same balance of gain and loss in the relation of the drama to the stage. The gain is in proportion to the excellence of the acting, and the loss in proportion to the beauty o£ the play. It is well then that, as the lyric poem no longer demands the lyre, the poetical drama has become, though more recently, independent of the stage. Each has its own perspective of life, its own idea of Nature, its own brilliancy, its own dulness, and finally its own public; and notwithstanding the objections of some critics, it will soon be admitted that a work may be strictly and intrinsically dramatic, and yet only fit for the studythat is, for ideal representation. For there is a theatre in every imagination, where we produce the old masterpiece in its simplicity and dignity, and where the new work appears and is followed in plot and action, and conflict of feeling, and play of character, and rhythm of part with part, if not with as keen an excitement, at least with as fair a judgment, as if we were criticizing the actors, not the piece. And were all theatres closed, the dramawhether as the free and spontaneous outflow of observation, fancy, and humour, or as the intense reflection of the movement of life in its animation of joy and painwould remain one of the most natural and captivating forms in which the creative impulse of the poet can work. When we look at its variety and flexibility of structurefrom the lyrical tragedy of Æschylus to a "Proverbe" of De Musset; at its diversity of spiritfrom the exuberance of a comedy of Aristophanes and the caprice of an Elizabethan mask to the serenity of "Comus" and Tasso, and the terror of "Agamemnon" and "Macbeth;" at its range of expressionfrom, the full-toned Greek and English Iambic to the plain but sparkling prose of Molière, and from that again to the intricate harmonies of Calderon, Goethe, and Shelley; with its use of all voices, from vociferous mob to melodious daughters of Ocean, and its command of all colour, from the gloom of Medea to the splendour of Marlowe's Helen,it is a small matter to remember the connection of work or author with the stagehow long they held it, how soon they were dispossessed, how and at what intervals and with what uncertain footing they returned. We do not accept them because they were popular in their day, and we do not reject them because they are not suitable to ours. They have lost no vivacity or strength or grace by their exclusion from the stage and their exile to literatureto that permanent theatre for which the poet, freely using any and every form of dramatic expression, should now work.

The relevancy of these remarks, as an introduction to a study of one of Shakespeare's plays, will presently appear.

I

Shakespeare, although a master of theatrical effect, is often found working rather away from it than toward it, and at a meaning and beauty beyond the limits of stage expression. This is because he is more dramatist than playwright, and will always produce and complete his work in its ideal integrity, even if, in so doing, he outruns the sympathy of his audience. This disposition may be traced not only in the plays it has banished from the stage, including such a masterpiece as "Antony and Cleopatra," but in those that are universally popular, such as "The Merchant of Venice," where the fifth Act, although it closes and harmonizes the drama as a work of art with perfect grace, is but a tame conclusion to the theatrical piece; and in the scenes that furnish us with the delicate and finished study of Antonio, we find the audience intent on the situation and the poet on the character; for we no more expect to see the true Antonio on the stage than to see the true moonlight shimmering on the trees in Belmont Park. But sometimes the play will transcend the limits of stage expression by being too purely and perfectly dramatic, as in "Lear." For not only is it, as Lamb points out,3 impossible for the actor to give the convulsions of the father's grief, and yet preserve the dignity of the king, but the sustained intensity of passion fatigues both voice and ear when they should be most impressive and impressed. Had Shakespeare written with a view to stage effect, he would not in the first two acts have stretched the voice through all the tones and intervals of passion, and then demand more thrilling intonations and louder outcries to meet and match the tumult of the storm. This greatest of all tragedies is written beyond the compass of the human voice, and can only be fully represented on that ideal stage, where, instead of hoarse lament and husky indignation, we hear each of us the tones that most impress and affect us, and can command the true degrees of feeling in their illimitable scale.