Shakespeare has said the most beautiful words that have ever been uttered about sleep, and that because he knew what it was to seek for it in vain—
“Methought I heard a voice cry, ‘Sleep no more! Macbeth does murder sleep,’ the innocent sleep; Sleep, that knits up the ravell’d sleave of care, The death of each day’s life, sore labour’s bath, Balm of hurt minds, great Nature’s second course, Chief nourisher in life’s feast.”
And again, when the strenuous life of the great Bolingbroke has at last overtaxed his brain, and he can no more find rest and unconsciousness at night, Shakespeare makes him say—
“How many thousand of my poorest subjects Are at this hour asleep! O sleep, O gentle sleep, Nature’s soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down, And steep my senses in forgetfulness? Why rather, sleep, liest thou in smoky cribs, Upon uneasy pallets stretching thee, And hush’d with buzzing night-flies to thy slumber, Than in the perfum’d chambers of the great, Under the canopies of costly state, And lull’d with sound of sweetest melody?”
Poets have as a rule been too ready to make much of the likeness of sleep and death, whereas there is an absolute difference in their mere appearance. Sleep makes even those who are ill-favoured and coarse look beautiful, imparts to its subjects a graciousness of expression and of colour, and a gentle rhythmic movement, whilst suffusing them as it were with an “aura” of contented trustfulness. These things are far from the cold stillness of pallid death. And this depends upon the fact that in sleep, though many of the activities of the body and mind are checked, and even arrested, there are yet still present the never-ceasing pulse of the heart, the flow of the blood, the intake and output of the breath, and a certain subdued but still active tension of muscles, so that though the body and limbs are relaxed they never assume the aspect of complete mechanical collapse which we see in death. The pupils of the eyes are strongly contracted during sleep, not relaxed and expanded as are those of wide-awake people in the dark. There are some well-known works of art—both painting and sculpture—in which the dead are not truly represented, but are made to retain the resistfulness and pose of living men and women; others show true observation in presenting the startling and distinctive flaccidity of the newly dead, which is followed after a few hours by the equally characteristic rigor mortis, or stiffness of the dead. There are many fine studies of sleep by sculptors, but none which to my thinking so delicately and truthfully present its most beautiful and peculiar effects on the muscular “tone” as a work in the Luxembourg Gallery in Paris, called “Le Nid”—a baby of a year old and a little girl of three or four years, asleep side by side on the cushion of a capacious arm-chair. The pose and the details of muscular relaxation differ greatly and characteristically in the two children. One would like to see sleep at different ages and under various conditions of fatigue similarly portrayed, for there is a range and variety of expression in those who sleep, not perhaps as extensive, but as beautiful as that to be found in those who are awake.