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to hesitate respecting the duty imposed upon every man that lives, to do all he can to preserve the precious gift which God has given him.
The single and peculiar life is bound,
To keep itself from ’noyance. Hamlet, Act iii. Sc., 3. And there is nothing in which he is more emphatic than in representing the act of suicide as a direct violation of the Divine law; first, in that same play
O! that the Everlasting had not fix'd
Act i. Sc. 2. Again in Cymbeline :
Act iii. Sc. 4. I am not aware that such a prohibition is to be found * in Holy Scripture ; and in the latter of these plays any reference to Revelation would have been out of place. The 'canon,' therefore, to which our poet refers must be one of natural religion; and this is confirmed by a similar sentiment being attributed to Gloster in King Lear, and to Brutus in Julius Cæsar, though, in the latter case, with something of subsequent appearance of contradiction in word, and still more of inconsistency in deed. That such an one as Cleopatra is represented should first cal in question the law, and then pronounce it noble to
* Unless it be in the Sixth Commandment.
+ See below, Sect. 13.
disobey it, is in perfect harmony with her bold bad character :
Is it sin
What's brave, what's noble,
Ant. and Cleop. Act iv. Sc. 13. and again :
It is great
To do that thing that ends all other deeds,
Ibid. Act v.
I must not omit to add that great and various as are the merits of Romeo and Juliet, the pleasure and admiration excited by that play, and the interest felt in the hero and heroine, are all marred in some degree by the suicide which they both commit, * being Christians, and shortly after they had been united in holy matrimony.
Sect. 5. Of Sin and Repentance. We have already spoken of the cause of sin, and of its existence, both original and actual, as universal. It follows to trace it in its operation, and then to speak of its necessary corrective-so far as the correction of it lies within our own power and agency, viz. repentance. And so the wicked King Richard exclaims :
* I am surprised that this should have been overlooked by so acute and sound a critic as Schlegel, who speaks of them as still appearing enviable’ in their deaths.
The subtlety of the Tempter, and the craft with which he adapts his temptations, so that he may bring evil out of good, and that virtue itself may be made to minister to sin, for the overthrow of those who could not otherwise be assailed, is very forcibly expressed in Measure for Measure :
O! cunning enemy, that to catch a saint,
Act ii. Sc. 3.
In like manner we are warned of the danger of entering upon evil courses from the insecurity which attends them, from the distraction and instability which they introduce into the counsels of the heart, and from the inevitable tendency which the doing of one wrong action has to beget another :
Alack! when once our grace we have forgot,
Measure for Measure, Act iv. Sc. 4.
I am in
King Rich. III. Act iv. Sc. 2. And the virtuous Pericles, Prince of Tyre, testifies to the same effect:
One sin I know another doth provoke ;
Act i. Sc. I. It is remarkable that the same holds good of that which is more or less directly the consequence of sin, viz. sorrow, which, according to the proverb, never comes single.
One sorrow never comes, but brings an heir,
Ibid. Sc.4. The course by which sin makes us feel, first naked, like Adam and Eve after their fall, then suspicious, then cowardly, is traced by our poet with remarkable accuracy and Scriptural truth; and on the other hand, he has not failed to catch the image by which S. Paul speaks of the armour of God'the armour of righteousness on the right hand and on the left '—as the defence of all who walk uprightly.
There is no terror, Cassius, in your threats,
Julius Cæsar, Act iv. Sc. 3.
What stronger breastplate, than a heart untainted?
King Hen. VI. 2nd Part, Act ü. Sc. 2.
King Hen. VI. 3rd Part, Act v. Sc. 6. The poetical image in this last line will remind the classical reader of Juvenal, Sat. X. 21:
Motæ ad lunam trepidabis arundinis umbram:while the reader of the Bible will recall the fears and suspicions of Herod Antipas, the murderer of John the Baptist, in illustration of the general sentiment.
That the righteous is bold as a lion,' that he “will not be afraid of any evil tidings, and, on the other hand, that the ungodly are brought into great fear even where no fear is,' and that they 'flee when no man pursueth'—these, and such like truths of Holy Scripture, are set forth again and again, in the pages of Shakspeare, with a vividness proportioned to their moral weight. Thus in King Henry VI. 2nd Part:
The trust I have is in mine innocence,
And therefore am I bold and resolute. Act iv. Sc.
Where I could not be honest,
Act v. Sc. I. And again we are taught, if we would be truly