William Shakespeare - Cover

William Shakespeare

Copyright© 2025 by Victor Hugo

Chapter 1

The production of souls is the secret of the unfathomable depth. The innate, what a shadow! What is that concentration of the unknown which takes place in the darkness, and whence abruptly bursts forth that light, a genius? What is the law of these events, O Love? The human heart does its work on earth, and that moves the great deep. What is that incomprehensible meeting of material sublimation and moral sublimation in the atom, indivisible if looked at from life, incorruptible if looked at from death? The atom, what a marvel! No dimension, no extent, nor height, nor width, nor thickness, independent of every possible measure, and yet, everything in this nothing! For algebra, the geometrical point. For philosophy, a soul. As a geometrical point, the basis of science; as a soul, the basis of faith. Such is the atom. Two urns, the sexes, imbibe life from the infinite; and the spilling of one into the other produces the being. This is the normal condition of all, animal as well as man. But the man more than man, whence comes he?

The Supreme Intelligence, which here below is the great man, what is the power which invokes it, incorporates it, and reduces it to a human state? What part do the flesh and the blood take in this prodigy? Why do certain terrestrial sparks seek certain celestial molecules? Where do they plunge, those sparks? Where do they go? How do they manage? What is this gift of man to set fire to the unknown? This mine, the infinite, this extraction, a genius, what more wonderful! Whence does that spring up? Why, at a given moment, this one and not that one? Here, as everywhere, the incalculable law of affinities appears and escapes. One gets a glimpse, but sees not. O forger of the unfathomable, where art thou?

Qualities the most diverse, the most complex, the most opposed in appearance, enter into the composition of souls. The contraries do not exclude each other, —far from that; they complete each other. More than one prophet contains a scholiast; more than one magian is a philologist. Inspiration knows its own trade. Every poet is a critic: witness that excellent piece of criticism on the theatre that Shakespeare puts in the mouth of Hamlet. A visionary mind may be at the same time precise, —like Dante, who writes a book on rhetoric, and a grammar. A precise mind may be at the same time visionary, —like Newton, who comments on the Apocalypse; like Leibnitz, who demonstrates, nova inventa logica, the Holy Trinity. Dante knows the distinction between the three sorts of words, parola piana, parola sdrucciola, parola tronca; he knows that the piana gives a trochee, the sdrucciola a dactyl, and the tronca an iambus. Newton is perfectly sure that the Pope is the Antichrist. Dante combines and calculates; Newton dreams.

No law is to be grasped in that obscurity. No system is possible. The currents of adhesions and of cohesions cross each other pell-mell. At times one imagines that he detects the phenomenon of the transmission of the idea, and fancies that he distinctly sees a hand taking the light from him who is departing, to give it to him who arrives. 1642, for example, is a strange year. Galileo dies, Newton is born, in that year. Good. It is a thread; try and tie it, it breaks at once. Here is a disappearance: on the 23d of April, 1616, on the same day, almost at the same minute, Shakespeare and Cervantes die. Why are these two flames extinguished at the same moment? No apparent logic. A whirlwind in the night.

Enigmas constantly. Why does Commodus proceed from Marcus Aurelius?

These problems beset in the desert Jerome, that man of the caves, that Isaiah of the New Testament He interrupted his deep thoughts on eternity, and his attention to the trumpet of the archangel, in order to meditate on the soul of some Pagan in whom he felt interested. He calculated the age of Persius, connecting that research with some obscure chance of possible salvation for that poet, dear to the cenobite on account of his strictness; and nothing is so surprising as to see this wild thinker, half naked on his straw, like Job, dispute on this question, so frivolous in appearance, of the birth of a man, with Rufinus and Theophilus of Alexandria, —Rufinus observing to him that he is mistaken in his calculations, and that Persius having been born in December under the consulship of Fabius Persicus and Vitellius, and having died in November, under the consulship of Publius Marius and Asinius Gallus, these periods do not correspond rigorously with the year II. of the two hundred and third Olympiad, and the year II. of the two hundred and tenth, the dates fixed by Jerome. The mystery thus attracts deep thinkers.

These calculations, almost wild, of Jerome, or other similar ones, are made by more than one dreamer. Never to find a stop, to pass from one spiral to another like Archimedes, and from one zone to another like Alighieri, to fall, while fluttering about in the circular well, is the eternal lot of the dreamer. He strikes against the hard wall on which the pale ray glides. Sometimes certainty comes to him as an obstacle, and sometimes clearness as a fear. He keeps on his way. He is the bird under the vault. It is terrible. No matter, the dreamer goes on.

To dream is to think here and there, —passim. What means the birth of Euripides during that battle of Salamis where Sophocles, a youth, prays, and where Æschylus, in his manhood, fights? What means the birth of Alexander in the night which saw the burning of the temple of Ephesus? What tie between that temple and that man? Is it the conquering and radiant spirit of Europe which, destroyed under the form of the chef-d’œuvre, revives under the form of the hero? For do not forget that Ctesiphon is the Greek architect of the temple of Ephesus. We have mentioned just now the simultaneous disappearance of Shakespeare and Cervantes. Here is another case not less surprising. The day when Diogenes died at Corinth, Alexander died at Babylon. These two cynics, the one of the tub, the other of the sword, depart together; and Diogenes, longing to enjoy the immense unknown radiance, will again say to Alexander: “Stand out of my sunlight!”

What is the meaning of certain harmonies in the myths represented by divine men? What is this analogy between Hercules and Jesus which struck the Fathers of the Church, which made Sorel indignant, but edified Duperron, and which makes Alcides a kind of material mirror of Christ? Is there not a community of souls, and, unknown to them, a communication between the Greek legislator and the Hebrew legislator, creating at the same moment, without knowing each other, and without their suspecting the existence of each other, the first the Areopagus, the second the Sanhedrim? Strange resemblance between the jubilee of Moses and the jubilee of Lycurgus! What are these double paternities, —paternity of the body, paternity of the soul, like that of David for Solomon? Giddy heights, steeps, precipices.

He who looks too long into this sacred horror feels immensity racking his brain. What does the sounding-line give you when thrown into that mystery? What do you see? Conjectures quiver, doctrines shake, hypotheses float; all the human philosophy vacillates before the mournful blast rising from that chasm.

The expanse of the possible is, so to speak, under your eyes. The dream that you have in yourself, you discover it beyond yourself. All is indistinct. Confused white shadows are moving. Are they souls? One catches, in the depths below, a glimpse of vague archangels passing along; will they be men at some future day? Holding your head between your hands, you strive to see and to know. You are at the window looking into the unknown. On all sides the deep layers of effects and causes, heaped one behind the other, wrap you with mist. The man who meditates not lives in blindness; the man who meditates lives in darkness. The choice between darkness and darkness, that is all we have. In that darkness, which is up to the present time nearly all our science, experience gropes, observation lies in wait, supposition moves about If you gaze at it very often, you become vates. Vast religious meditation takes possession of you.

 
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