They teach many lessons, but not any one prominent above
another; and when we have drawn from them all the direct instruction
which they contain, there remains still something unresolved,--something
which the artist gives, and which the philosopher cannot give.
It is in this characteristic that we are accustomed to say Shakespeare's
supreme _truth_ lies. He represents real life. His drama teaches as life
teaches,--neither less nor more. He builds his fabrics, as Nature does,
on right and wrong; but he does not struggle to make Nature more
systematic than she is. In the subtle interflow of good and evil; in the
unmerited sufferings of innocence; in the disproportion of penalties to
desert; in the seeming blindness with which justice, in attempting to
assert itself, overwhelms innocent and guilty in a common
ruin,--Shakespeare is true to real experience. The mystery of
life he leaves as he finds it; and, in his most tremendous
positions, he is addressing rather the intellectual emotions than the
understanding,--knowing well that the understanding in such things is at
fault, and the sage as ignorant as the child.
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