Lectures on Dramatic Art and Literature, August Wilhelm Schlegel [best electronic book reader TXT] 📗

new poetical animation to his age; as to form, he was indifferent about it, though, for the most part, he preferred the dramatic. At the same time he was a warm friend of the theatre, and sometimes condescended even to comply with its demands as settled by custom and the existing taste; as, for instance, in his
Clavigo , a familiar tragedy in Lessing's manner. Besides other defects of this piece, the fifth act does not correspond with the rest. In the four first acts Goethe adhered pretty closely to the story of Beaumarchais, but he invented the catastrophe; and when we observe that it strongly reminds the reader of Ophelia's burial, and the meeting of Hamlet and Laertes at her grave, we have said enough to convey an idea how strong a contrast it forms to the tone and colouring of the rest. In Stella Goethe has taken nearly the same liberty with the story of Count von Gleichen which Lessing did with that of Virginia , but his labours were still more unsuccessful; the trait of the times of the Crusades on which he founded his play is affecting, true-hearted, and even edifying; but
Stella can only flatter the sentimentality of superficial feeling.

At a later period he endeavoured to effect a reconciliation between his own views of art and the common dramatic forms, even the very lowest, in all of which almost he has made at least a single attempt. In Iphigenia , he attempted to express the spirit of Ancient Tragedy, according to his conceptions of it, with regard especially to repose, perspicuity, and ideality. With the same simplicity, flexibility, and noble elegance, he composed his Tasso , in which he has availed himself of an historical anecdote to embody in a general significance the contrast between a court and a poet's life. Egmont again is a romantic and historical drama, the style of which steers a middle course between his first manner in Götz , and the form of Shakspeare. Erwin und Elmire and Claudine von Villabella , if I may say so, are ideal operettes, which breathe so lightly and airily that, with the accompaniments of music and acting, they would be in danger of becoming heavy and prosaic; in these pieces the noble and sustained style of the dialogue in Tasso is diversified with the most tender songs. Jery und Bätely is a charming natural picture of Swiss manners, and in the spirit and form of the best French operettes;
Scherz List und Bache again is a true opera buffa , full of Italian
Lazzi . Die Mitschuldigen is a comedy of common life in rhyme, and after the French rules. Goethe carried his condescension so far that he even wrote a continuation of an after-piece of Florian's; and his taste was so impartial that he even translated several of Voltaire's tragedies for the German stage. Goethe's words and rhythm no doubt have always golden resonance, but still we cannot praise these pieces as successful translations; and indeed it would be matter of regret if that had succeeded which ought never to have been attempted. To banish these unprofitable productions from the German soil, it is not necessary to call in the aid of Lessing's Dramaturgie ; Goethe's own masterly parody on French Tragedy in some scenes of Esther , will do this much more amusingly and effectually.

Der Triumph der Empfindsamkeit (The Triumph of Sensibility) is a highly ingenious satire of Goethe's own imitators, and inclines to the arbitrary comic, and the fancifully symbolical of Aristophanes, but a modest Aristophanes in good company and at court. At a much earlier period Goethe had, in some of his merry tales and carnival plays, completely appropriated the manner of our honest Hans Sachs.

In all these transformations we distinctly recognize the same free and powerful poetical spirit, to which we may safely apply the Homeric lines on Proteus:

All' aetoi protista leon genet' aeugeneios -
Pineto d' aegron aedor, kai dendreon uphipertaelon.
Odyss. lib. iv

A lion now, he curls a surgy mane;
Here from our strict embrace a stream he glides,
And last, sublime his stately growth he rears,
A tree, and well-dissembled foliage wears. - POPE. [Footnote: I have here quoted the translation of Pope, though nothing can well be more vapid and more unlike the original, which is literally, "First, he became a lion with a huge mane - and then flowing water; and a tree with lofty foliage." - It would not, perhaps, be advisable to recur to our earliest mode of classical translation, line for line, and nearly word for word; but when German Literature shall be better known in England, it will be seen from the masterly versions of Voss and Schlegel, that without diluting by idle epithets one line into three, as in the above example, it is still possible to combine fidelity with spirit. The German translation quoted by Mr. Schlegel runs,
Erstlich ward er ein Leu mit fürchterlich rollender Mähne,
Floss dann als Wasser dahin, und rauscht' als Baum in den Wolken.
- TRANS.]

To the youthful epoch belongs his Faust , a work which was early planned, though not published till a late period, and which even in its latest shape is still a fragment, and from its very nature perhaps must always remain so. It is hard to say whether we are here more lost in astonishment at the heights which the poet frequently reaches, or seized with giddiness at the depths which he lays open to our sight. But this is not the place to express the whole of our admiration of this labyrinthine and boundless work, the peculiar creation of Goethe; we hare merely to consider it in a dramatic point of view. The marvellous popular story of Faustus is a subject peculiarly adapted for the stage; and the Marionette play, from which Goethe, after Lessing [Footnote: Lessing has borrowed the only scene of his sketch which he has published, (Faustus summoning the evil spirits in order to select the nimblest for his servant,) from the old piece which bears the showy title: Infelix Prudentia, or Doctor Joannes Faustus . In England Marlow had long ago written a Faustus , but unfortunately it is not printed in Dodsley's Collection.], took the first idea of a drama, satisfies our expectation even in the meagre scenes and sorry words of ignorant puppet-showmen. Goethe's work, which in some points adheres closely to the tradition, but leaves it entirely in others, purposely runs out in all directions beyond the dimensions of the theatre. In many scenes the action stands quite still, and they consist wholly of long soliloquies, or conversations, delineating Faustus' internal conditions and dispositions, and the development of his reflections on the insufficiency of human knowledge, and the unsatisfactory lot of human nature; other scenes, though in themselves extremely ingenious and significant, nevertheless, in regard to the progress of the action, possess an accidental appearance; many again, while they are in the conception theatrically effective, are but slightly sketched, - rhapsodical fragments without beginning or end, in which the poet opens for a moment a surprising prospect, and then immediately drops the curtain again: whereas in the truly dramatic poem, intended to carry the spectators along with it, the separate parts must be fashioned after the figure of the whole, so that we may say, each scene may have its exposition, its intrigue, and winding up. Some scenes, full of the highest energy and overpowering pathos, for example, the murder of Valentine, and Margaret and Faustus in the dungeon, prove that the poet was a complete master of stage effect, and that he merely sacrificed it for the sake of more comprehensive views. He makes frequent demands on the imagination of his readers; nay, he compels them, by way of background for his flying groups, to supply immense moveable pictures, and such as no theatrical art is capable of bringing before the eye. To represent the Faustus of Goethe, we must possess Faustus' magic staff, and his formulas of conjuration. And yet with all this unsuitableness for outward representation, very much may be learned from this wonderful work, with regard both to plan and execution. In a prologue, which was probably composed at a later period, the poet explains how, if true to his genius, he could not accommodate himself to the demands of a mixed multitude of spectators, and writes in some measure a farewell letter to the theatre.

All must allow that Goethe possesses dramatic talent in a very high degree, but not indeed much theatrical talent. He is much more anxious to effect his object by tender development than by rapid external motion; even the mild grace of his harmonious mind prevented him from aiming at strong demagogic effect. Iphigenia in Taurus possesses, it is true, more affinity to the Greek spirit than perhaps any other work of the moderns composed before Goethe's; but is not so much an ancient tragedy as a reflected image of one, a musical echo: the violent catastrophes of the latter appear here in the distance only as recollections, and all is softly dissolved within the mind. The deepest and most moving pathos is to be found in Egmont , but in the conclusion this tragedy also is removed from the external world into the domain of an ideal soul-music.

That with this direction of his poetical career to the purest expression of his inspired imagining, without regard to any other object, and with the universality of his artistic studies, Goethe should not have had that decided influence on the shape of our theatre which, if he had chosen to dedicate himself exclusively and immediately to it, he might have exercised, is easily conceivable.

In the mean time, shortly after Goethe's first appearance, the attempt had been made to bring Shakspeare on our stage. The effort was a great and extraordinary one. Actors still alive acquired their first laurels in this wholly novel kind of exhibition, and Schröder, perhaps, in some of the most celebrated tragic and comic parts, attained to the same perfection for which Garrick had been idolized. As a whole, however, no one piece appeared in a very perfect shape; most of them were in heavy prose translations, and frequently mere extracts, with disfiguring alterations, were exhibited. The separate characters and situations had been hit to a certain degree of success, but the sense of his composition was often missed.

In this state of things Schiller made his appearance, a man endowed with all the qualifications necessary to produce at once a strong effect on the multitude, and on nobler minds. He composed his earliest works while very young, and unacquainted with that world which he attempted to paint; and although a genius independent and boldly daring, he was nevertheless influenced in various ways by the models which he saw in the already mentioned pieces of Lessing, by the earlier labours of Goethe, and in Shakspeare, so far as he could understand him without an acquaintance with the original.

In this way were produced the works of his youth: - Die Raüber , Cabale und Liebe , and Fiesco . The first, wild and horrible as it was, produced so powerful an effect as even to turn the heads of youthful