Shakespeare and the Modern Stage / with Other Essays

Yet there are occasions, when, without detracting from the omnipotence of Shakespeare's dramatic instinct, one may tentatively infer that Shakespeare gave voice through his created personages to sentiments which were his own. The Shakespearean drama must incorporate somewhere within its vast limits the personal thoughts and passions of its creator, even although they are for the most part absorbed past recognition in the mighty mass, and no critical chemistry can with confidence disentangle them. At any rate, there are in the plays many utterances?ethical utterances, or observations conceived in the spirit of "a natural philosopher"?which are repeated to much the same effect at different periods of the poet's career. These reiterated opinions frequently touch the conditions of well-being or calamity in civilised society; they often deal with man in civic or social relation with his neighbour; they define the capabilities of his will. It is unlikely that observations of this nature would be repeated if the sentiments they embody were out of harmony with the author's private conviction. Often we shall not strain a point or do our critical sense much violence if we assume that these recurring thoughts are Shakespeare's own. I purpose to call attention to a few of those which bear on large questions of government and citizenship and human volition. Involuntarily, they form the framework of a political and moral philosophy which for clear-eyed sanity is without rival.

III

Shakespeare's political philosophy is instinct with the loftiest moral sense. Directly or indirectly, he defines many times the essential virtues and the inevitable temptations which attach to persons exercising legalised authority over their fellow-men. The topic always seems to stir in Shakespeare his most serious tone of thought and word. No one, in fact, has conceived a higher standard of public virtue and public duty than Shakespeare. His intuition rendered him tolerant of human imperfection. He is always in kindly sympathy with failure, with suffering, with the oppressed. Consequently he brings at the outset into clearer relief than professed political philosophers, the saving quality of mercy in rulers of men. Twice Shakespeare pleads in almost identical terms, through the mouths of created characters, for generosity on the part of governors of states towards those who sin against law. In both cases he places his argument, with significant delicacy, on the lips of women. At a comparatively early period in his career as dramatist, in The Merchant of Venice, Portia first gave voice to the political virtue of compassion. At a much later period Shakespeare set the same plea in the mouth of Isabella in Measure for Measure. The passages are too familiar to justify quotation. Very brief extracts will bring out clearly the identity of sentiment which finds definition in the two passages.

These are Portia's views of mercy on the throne (Merchant of Venice, IV., i., 189 seq.):?

Here are Isabella's words in Measure for Measure (II., ii., 59 seq.):?