Meliora. ART. I.-SHAKESPEARE ON WINE. N a previous number* we suggested that great benefit might be covering their thoughts on the effects produced upon man by the use of stimulants and corporeal means of excitement. We took the liberty of questioning whether wine was the highest source of poetic inspiration, and drew attention to the fact, that Milton, Wordsworth, and others, had referred bardic exaltation to a better origin. But as those poets were notoriously abstinent, their evidence might be looked upon with suspicion by certain persons; and we prefer, on this occasion, to consider the utterances of one who was not remarkable for extremes in any particular; one who has been termed the many-sided man,' and who was distinguished by that moderation which is characteristic of the highest genius. Our readers will easily understand that we refer to William Shakespeare, who, of all modern poets, most largely combined the spirit of modern civilization with the calm philosophy of the old Greek drama. In looking over his works, with a view to our present inquiry, the only difficulty was to choose from among the numerous passages which abound. As a matter of course, there are very many thoughts which might occur in other writers: as, 'It was excess of wine that set him on' (Hen. V. 2. 2) ; 'Give me a bowl of wine; I have not that alacrity of spirit, nor cheer of mind, that I was wont to have' (Rich. III. 5. 3). We might fill whole pages with quotations of this kind; but it will be necessary to adopt some principle of selection, and we make the following divisions: (1.) The effects of wine upon the human mind; (2.) The remorse of the drunkard; (3.) The introduction of stimulants among uncivilized tribes. I. The effects of wine upon the human mind.-Perhaps no passage gives a more powerful description of these effects, than the following from Macbeth, 1. 7:— Vol. 4.-No. 15. * No. 11, October, 1860. 0 'His His two chamberlains To Shakespeare, who never forgot the aboriginal dignity of man, 'How noble in reason, how infinite in faculties, in action how like an angel, in apprehension how like a god,' the falling off must have seemed vast indeed, when the guardian of the brain became a mere fume, and the receptacle of reason a distilling machine. The words which he employs throughout the passage keep up the same idea; drenched in swinish sleep, as in a death. Similar contempt is expressed by Portia (Merch. of Ven. 1. 2), who says of the young German, the Duke of Saxony's nephew, that she likes him very vilely in the morning when he is sober, and most vilely in the afternoon when he is drunk; when he is best he is little worse than a man, and when he is worst he is little better than a beast;' and she adds, lest he should choose the right casket and claim her in marriage, Therefore set a deep glass of Rhenish wine in the contrary casket; for if the devil be within, and that temptation without, I know he will choose it. I will do anything, Nerissa, ere I will be married to a spunge.' The French are very fond of asserting that the heaviness, which they are pleased to attribute to the English, results from the frequent use of beer and other malt liquors, tending to besot the brain; whereas their own vivacity is ascribed to the generous juice of the vine. Shakespeare has not omitted to notice this stroke of Gallic vanity; for in Hen. V., 3. 5, he makes the French Constable say Dieu de battailés! where have they this mettle? Is not their climate foggy, raw, and dull? On whom, as in despite, the sun looks pale, Killing their fruits with frowns? Can sodden water, A drench for sur-rein'd jades, their barley broth, By the contemptuous terms 'sodden water' and 'barley broth,' fit only for horses, he means ale or beer; and asks whether such a compound can fire the cold English blood, while the wine-inspirited French are not kindled to deeds of arms. It were well, perhaps, if the English did confine themselves to beer; but since Shakespeare's time, the use of ardent spirits has increased upon us to an amazing extent; and it is observed in France, that the English workmen employed in constructing railways are not content with wine; they mostly drink brandy, and that with a freedom which astonishes astonishes the French. We can hardly doubt that the kind of liquor consumed has a various influence upon mind as well as body; and there may be some truth in the statement that beer is a besotting beverage: but it is beyond all doubt that the increased consumption of ardent spirits has produced a train of nervous disorders, delirium, and other frightful maladies unknown to our forefathers. How many an old man, tottering on his peevish ways, would be glad to say with Adam, in As You Like It (2. 3)— Though I look old, yet I am strong and lusty : For in my youth I never did apply Hot and rebellious liquors in my blood; Nor did not with unbashful forehead woo The means of weakness and debility; Therefore mine age is as a lusty winter, Frosty, but kindly.' 6 The old English word 'lusty,' like the German lustig, originally signified 'pleasant' or 'cheerful.' Thus the German Swiss, in speaking of a road across the mountains, say, Der weg ist lustig, The way is lusty,' meaning that it is an agreeable road. So here, a lusty winter' signifies a cheerful, exhilarating winter, frosty, but genial. The hot and rebellious liquors are in keeping with many remarks in Shakespeare, upon the heating effects of wine: 'I'll heat his blood with Greekish wine to night' (Troilus, 5. 1); 'I had rather heat my liver with drinking' (Ant. and Cleop., 1. 2); Thou art going to Lord Timon's feast. to see meat fill knaves, and wine heat fools' (Timon, 1. 1). But the most elaborate description is given by Falstaff (2 Hen. IV., 4. 5), in that mock-philosophic style which so much enhances the humour of the old rogue. He is speaking about Prince John of Lancaster, and says: Good faith, this same young sober-blooded boy doth not love me, nor a man cannot make him laugh; but that's no marvel, he drinks no wine.' According to Falstaff's notion, none of these demure boys come to any proof; for thin drink doth so overcool their blood, that they are generally fools and cowards, which some of us should be too, but for inflammation.' Then he breaks out into praise of a good sherris-sack: it ascends to the brain, dries up the foolish vapours, and gives birth to excellent wit: next, it warms the blood, which before was cold, leaving the liver white and pale, the badge of cowardice; but the sherris warms it, and summons the vital commoners to their captain the heart, who, great and puffed up with this retinue, doth any deed of courage; and this valour comes of sherris. Hereof comes it,' he adds, that Prince Harry is valiant: for the cold blood he did naturally inherit of his fatlier, he hath, like lean, sterile, and bare land, manured, husbanded, and tilled with excellent endeavour of drinking good, and good store of fertile sherris; that he is become very hot and valiant. If I had a thousand sons, the first human principle 0 2 ciple I would teach them, should be-to forswear their potations, and addict themselves to sack.' This is only to be paralleled by his disquisition upon honour (1 Hen. IV. 5. 1). A character of deep wit, and shrewd observation, who knows the right but does the wrong, and exercises all his ingenuity to make the worse appear the better cause. In all real wit, there is an argument expressed or understood; hence ordinary minds, carried away by the brilliancy of the one, allow themselves unconsciously to be influenced by the other. And if any persons, desirous of investigating truth, begin to discuss the latent argument, the very effort produces such a revulsion of feeling in the minds of individuals, that the attempt is generally hopeless. And thus it is, that the pot-valiant Falstaff, though proved guilty of cowardice on numerous occasions, has been forgiven a thousand times over for all his faults, in consideration of his amusing qualities. II. The remorse of the drunkard.-The strongest instance in Shakspeare is the case of Cassio; but to understand the whole bearing of it, as indeed properly to appreciate the entire tragedy, it is necessary to examine the character of Iago, who is contrasted on the one hand with the generous, impulsive Othello, and on the other with the self-indulgent Cassio. We should remember that avaricious and ambitious men are rarely under the dominion of gross debauchery. It is not merely that self-indulgence would interfere with their schemes; but they are consumed by other passions, which, however injurious to their moral nature, have, at all events, the effect of preserving them from downright sensuality. The hawk has not the vices of the hog. Hence there is little merit in the abstinence of such men; they obey the necessity of their nature. Iago describes his own character (Othello, 1. 2) when speaking to Roderigo, who talks of drowning himself for love. He asserts that he never found a man that knew how to love himself:' for his own part, rather than drown himself for love of a guinea-hen, he would change his humanity with a baboon. The principle of cool, calculating self-interest pervades the whole man. His conviction is, that the reason and the will must rule the passions. Our bodies are our gardens; to the which, our wills are gardeners: so that if we will plant nettles, or sow lettuce. .. either to have it sterile with idleness, or manured with industry; why, the power and corrigible authority of this lies in our wills. If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous conclusions. But we have reason to cool our raging motions, our carnal stings, our unbitted lusts.' If Iago had been an honest man these principles would have ren dered dered him a noble character; but though he can rule his bodily passions he cannot control his avarice: for in the same breath he advises Roderigo to put money in his purse, that he himself may 'make the fool his purse.' To serve his own purposes (1. 3) Iago persuades Cassio to drink; the latter excuses himself on the ground that he has very poor and unhappy brains for drinking, and could well wish courtesy would invent some other custom of entertainment. Iago suggests but one cup; and the other rejoins, I have drunk but one cup to-night, and behold what innovation it makes here. I am unfortunate in the infirmity, and dare not task my weakness any more.' At length Iago prevails, and chuckles to himself— If I can fasten but one cup upon him, With that which he hath drunk to-night already, 6 The carousal begins; Iago leads the revel, and sings songs which he says he learned in England, where they are most potent in potting, being easily able to overthrow Danes, Germans, and Hollanders, who are nothing to your English.' In a short time Cassio begins to prove that he is not drunk, which is always one of the surest symptoms that a man distrusts his own sobriety. We have seen a man sit down in the open streets, and exclaim, Well, a man's a man, let him go where he will;' and there are a hundred stages of similar moral reflection before an individual is so far gone that he will crawl upon the door-steps, lie down, and thank God that he is in bed at last.' Cassio proceeds from the argumentative to the quarrelsome stage; a brawl ensues; weapons are drawn; Othello appears, receives a hypocritical account from Iago, and says to Cassio, Never more be officer of mine.' Then Cassio comes to his senses. 6 Drunk? and speak parrot? and squabble? swagger? swear? and discourse fustian with one's shadow? O thou invisible spirit of wine, if thou hast no other name to be known by, let us call thee-devil. O, that men should put an enemy in their mouths, to steal away their brains! that we should, with joy, revel, pleasure, and applause, transform ourselves into beasts! Iago says he wishes this had not befallen; but, since it is as it is, mend it for your own good.' 'I will ask him for my place again,' says Cassio: he shall tell me I am a drunkard! Had I as many mouths as Hydra, such an answer would stop them all. To be now a sensible man, by-and-by a fool, and presently a beast! O strange! Every inordinate cup is unbless'd, and the ingredient is a devil.' Iago replies that wine is a good familiar creature if it be well used; that we ought not to exclaim against it; and that the best plan is to importune Othello's wifeto use her influence for his restoration. From this point the plot. of |