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decide dogmatically upon a point where they do not and cannot possess any, save negative, evidence. Yet this inclination to believe in the marvellous gradually becomes weaker. Men cannot but remark that (since the scriptural miracles have ceased) the belief in prodigies and supernatural events has gradually declined in proportion to the advancement of human knowledge; and that since the age has become enlightened, the occurrence of tolerably well-attested anecdotes of the supernatural character are so few, as to render it more probable that the witnesses have laboured under some strange and temporary delusion, rather than that the laws of nature have been altered or suspended. At this period of human knowledge, the marvellous is so much identified with fabulous, as to be considered generally as belonging to the same class.

It is not so in early history, which is full of supernatural incidents ; and although we now use the word romance as synonymous with fictitious composition, yet as it originally only meant a poem, or prose work contained in the Romaunce language, there is little doubt that the doughty chivalry who listened to the songs of the minstrel, “ held each strange tale devoutly true,” and that the feats of knighthood which he recounted, mingled with tales of magic and supernatural interference, were esteemed as veracious as the legends of the monks, to which they bore a strong resemblance. This period of society, however, must have long past before the Romancer began to select and arrange with care, the nature of the materials out of which he constructed his story. It was not when society, however differing in degree and station, was levelled and confounded by one dark cloud of ignorance, involving the noble as well as the mean, that it need be scrupulously considered to what class of persons the author addressed himself, or with what species of decoration he ornamented his story. “ Homo was then a common name for all men," and all were equally pleased with the same style of composition. This, however, was gradually altered. As the knowledge to which we have before alluded made more general progress, it became impossible to detain the attention of the better instructed class by the simple and gross fables to which the present generation would only listen in childhood, though they had been held in honour by their fathers during youth, manhood, and

old age.

It was also discovered that the supernatural in fictitious composition requires to be managed with considerable delicacy, as criticism begins to be more on the alert. The interest which it excites is indeed a powerful spring ; but it is one which is peculiarly subject to be exhausted by coarse handling and repeated pressure. It is also of a character which it is extremely difficult to sustain, and of which a very small proportion may be said to be better than the whole. The marvellous, more than any other attribute of fictitious narrative, loses its effect by being brought much into view. The imagination of the reader is to be excited if possible,

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without being gratified. If once, like Macbeth,

sup full with horrors,” our taste for the banquet is ended, and the thrill of terror with which we hear or read of a night-slıriek, becomes lost in that sated indifference with which the tyrant came at length to listen to the most deep catastrophes that could affect his house. The incidents of a supernatural character are usually those of a dark and undefinable nature, such as arise in the mind of the Lady in the Masque of Comus,—incidents to which our fears attach more consequence, as we cannot exactly tell what it is we behold, or what is to be apprehended from it:

“ A thousand fantasies
Begin to throng into my memory,
Of calling shapes and beck’ning shadows dire,
And airy tongues that syllable men's names

On sands, and shores, and desert wildernesses." Burke observes upon obscurity, that it is necessary to make any thing terrible, and notices, “how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings.” He represents also, that no person better to have understood the secret of heightening, or of setting terrible things in their strongest light, by the force of a judicious obscurity, than Milton. His description of Death, in the second book, is admirably studied; it is astonishing with what a gloomy pomp, with what a significant and expressive uncertainty of strokes and colouring, he has finished the portrait of the King of Terrors.


• The other shape,
If shape it might be called, which shape had none
Distinguishable in member, joint, or limb :
Or substance might be called that shadow seemed,
For each seemed either; black he stood as night;
Fierce as ten furies; terrible as hell;
And shook a deadly dart. What seemed his head

The likeness of a kingly crown had on.' In this description all is dark, uncertain, confused, terrible, and sublime to the last degree.”

The only quotation worthy to be mentioned along with the passage we have just taken down, is the well-known apparition introduced with circumstances of terrific obscurity in the book of Job:

“Now a thing was secretly brought to me, and mine ears received a little thereof. In thoughts from the visions of the night, when deep sleep falleth on men, fear came upon me, and trembling which made all my bones to shake.

Then a spirit passed before my face : the hair of my flesh stood up. It stood still, but I could not discern the form thereof; an image was before mine eyes ; there was silence, and I heard a voice."

From these sublime and decisive authorities, it is evident that the exhibition of supernatural appearances in fictitious narrative ought to be rare, brief, indistinct, and such as may become a being to us so incomprehensible, and so different from ourselves, of whom we cannot justly conjecture whence he comes, or for what purpose, and of whose attributes we can have no regular or distinct perception. Hence it usually happens, that the first touch of the supernatural is always the most effective, and is rather weakened and defaced, than strengthened, by the subsequent recurrence of similar incidents. Even in Hamlet, the second entrance of the ghost is not nearly so impressive as the first; and in many romances to which we could refer, the supernatural being forfeits all claim both to our terror and veneration, by condescending to appear too often ; to mingle too much in the events of the story, and above all, to become loquacious, or, as it is familiarly called, chatty. We have, indeed, great doubts whether an author acts wisely in permitting his goblin to speak at all, if at the same time he renders him subject to human sight. Shakspeare, indeed, has contrived to put such language in the mouth of the buried majesty of Denmark as befits a supernatural being, and is by the style distinctly different from that of the living persons

in the drama. In another passage he has had the boldness to intimate, by two expressions of similar force, in what manner, and with what tone supernatural beings would find utterance:

" And the sheeted dead
Did squeak and gibber in the Roman streets.”

But the attempt in which the genius of Shakspeare has succeeded would probably have been ridiculous in any meaner hand; and hence it is, that in many of our modern tales of terror, our feelings of fear have, long before the conclusion, given way under the influence of that familiarity which begets contempt.

A sense that the effect of the supernatural in its more obvious application is easily exhausted, has occasioned the efforts of modern authors to cut new walks and avenues through the enchanted,

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