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

the sake of exhibiting the more essential beauty of the figure; on the stage they would endeavour, from an opposite principle, to clothe as much as they could well do, both from a regard to decency, and because the actual forms of the body would not correspond sufficiently with the beauty of the countenance. They would also exhibit their divinities, which in sculpture we always observe either entirely naked, or only half covered, in a complete dress. They had recourse to a number of means for giving a suitable strength to the forms of the limbs, and thus restoring proportion to the increased height of the player.

The great breadth of the theatre in proportion to its depth must have given to the grouping of the figures the simple and distinct order of the bas-relief. We moderns prefer on the stage, as elsewhere, groups of a picturesque description, with figures more closely crowded together, and partly concealing one another, and partly retiring into the distance; but the ancients were so little fond of foreshortening, that even in their painting they generally avoided it. Their movement kept time with the rhythmus of the declamation, and in this accompaniment the utmost grace and beauty were aimed at. The poetical conception required a certain degree of repose in the action, and the keeping together certain masses, so as to exhibit a succession of statuesque situations, and it is not improbable that the player remained for some time motionless in one attitude. But we are not to suppose from this, that the Greeks were contented with a cold and feeble representation of the passions. How could we reconcile such a supposition with the fact, that whole lines of their tragedies are frequently dedicated to inarticulate exclamations of pain, with which we have nothing to correspond in any of our modern languages?

It has been often conjectured that the delivery of their dialogue resembled the modern recitative. For such a conjecture there is no other foundation than the fact that the Greek, like almost all southern languages, was pronounced with a greater musical inflexion than ours of the North. In other respects their tragic declamation must, I conceive, have been altogether unlike recitative, being both much more measured, and also far removed from its studied and artificial modulation.

So, again, the ancient tragedy, because it was accompanied with music and dancing, [Footnote: Even Barthélemy falls into this error in a note to the 70th Chapter of Anacharsis .] has also been frequently compared with the opera. But this comparison betrays an utter ignorance of the spirit of classical antiquity. Their dancing and music had nothing but the name in common with ours. In tragedy the primary object was the poetry, and everything else was strictly and truly subordinate to it. But in the opera the poetry is merely an accessory, the means of connecting the different parts together; and it is almost lost amidst its many and more favoured accompaniments. The best prescription for the composition of an opera is, take a rapid poetical sketch and then fill up and colour the outlines by the other arts. This anarchy of the arts, where music, dancing, and decoration are seeking to outvie each other by the profuse display of their most dazzling charms, constitutes the very essence of the opera. What sort of opera-music would it be, which should set the words to a mere rhythmical accompaniment of the simplest modulations? The fantastic magic of the opera consists altogether in the revelry of emulation between the different means, and in the medley of their profusion. This charm would at once be destroyed by any approximation to the severity of the ancient taste in any one point, even in that of the costume; for the contrast would render the variety in all the other departments even the more insupportable. Gay, tinselled, spangled draperies suit best to the opera; and hence many things which have been censured as unnatural, such as exhibiting heroes warbling and trilling in the excess of despondency, are perfectly justifiable. This fairy world is not peopled by real men, but by a singular kind of singing creatures. Neither is it any disadvantage that the opera is brought before us in a language which we do not generally understand; the words are altogether lost in the music, and the language which is most harmonious and musical, and contains the greatest number of open vowels for the airs, and distinct accents for recitative, is therefore the best. It would be as incongruous to attempt to give to the opera the simplicity of the Grecian Tragedy, as it is absurd to think of comparing them together.

In the syllabic composition, which then at least prevailed universally in Grecian music, the solemn choral song, of which we may form to ourselves some idea from our artless national airs, and more especially from our church-tunes, had no other instrumental accompaniment than a single flute, which was such as not in the slightest degree to impair the distinctness of the words. Otherwise it must hare increased the difficulty of the choruses and lyrical songs, which, in general, are the part which
we find it the hardest to understand of the ancient tragedy, and as it must also have been for contemporary auditors. They abound in the most involved constructions, the most unusual expressions, and the boldest images and recondite allusions. Why then should the poets have lavished such labour and art upon them, if it were all to be lost in the delivery? Such a display of ornament without an object would have been very unlike Grecian ways of thinking.

In the syllabic measures of their tragedies, there generally prevails a highly finished regularity, but by no means a stiff symmetrical uniformity. Besides the infinite variety of the lyrical strophes, which the poet invented for each occasion, they have also a measure to suit the transition in the tone of mind from the dialogue to the lyric, the anapest; and two for the dialogue itself, one of which, by far the most usual, the iambic trimeter, denoted the regular progress of the action, and the other, the trochaic tetrameter, was expressive of the impetuousness of passion. It would lead us too far into the depths of metrical science, were we to venture at present on a more minute account of the structure and significance of these measures. I merely wished to make this remark, as so much has been said of the simplicity of the ancient tragedy, which, no doubt, exists in the general plan, at least in the two oldest poets; whereas in the execution and details the richest variety of poetical ornament is employed. Of course it must be evident that the utmost accuracy in the delivery of the different modes of versification was expected from the player, as the delicacy of the Grecian ear would not excuse, even in an orator, the false quantity of a single syllable.


LECTURE V.

Essence of the Greek Tragedies - Ideality of the Representation - Idea of Fate - Source of the Pleasure derived from Tragical Representations - Import of the Chorus - The materials of Greek Tragedy derived from Mythology - Comparison with the Plastic Arts.


We come now to the essence of Greek tragedy. That in conception it was ideal, is universally allowed; this, however, must not be understood as implying that all its characters were depicted as morally perfect. In such a case what room could there be for that contrast and collision which the very plot of a drama requires? - They have their weaknesses, errors, and even crimes, but the manners are always elevated above reality, and every person is invested with as high a portion of dignity as was compatible with his part in the action. But this is not all. The ideality of the representation chiefly consisted in the elevation of every thing in it to a higher sphere. Tragic poetry wished to separate the image of humanity which it presented to us, from the level of nature to which man is in reality chained down, like a slave of the soil. How was this to be accomplished? By exhibiting to us an image hovering in the air? But this would have been incompatible with the law of gravitation and with the earthly materials of which our bodies are framed. Frequently, what is praised in art as ideal is really nothing more. But this would give us nothing more than airy evanescent shadows incapable of making any durable impression on the mind. The Greeks, however, in their artistic creations, succeeded most perfectly, in combining the ideal with the real, or, to drop school terms, an elevation more than human with all the truth of life, and in investing the manifestation of an idea with energetic corporeity. They did not allow their figures to flit about without consistency in empty space, but they fixed the statue of humanity on the eternal and immovable basis of moral liberty; and that it might stand there unshaken, formed it of stone or brass, or some more massive substance than the bodies of living men, making an impression by its very weight, and from its very elevation and magnificence only the more completely subject to the laws of gravity.

Inward liberty and external necessity are the two poles of the tragic world. It is only by contrast with its opposite that each of these ideas is brought into full manifestation. As the feeling of an internal power of self-determination elevates the man above the unlimited dominion of impulse and the instincts of nature; in a word, absolves him from nature's guardianship, so the necessity, which alongside of her he must recognize, is no mere natural necessity, but one lying beyond the world of sense in the abyss of infinitude; consequently it exhibits itself as the unfathomable power of Destiny. Hence this power extends also to the world of gods: for the Grecian gods are mere powers of nature; and although immeasurably higher than mortal man, yet, compared with infinitude, they are on an equal footing with himself. In Homer and in the tragedians, the gods are introduced in a manner altogether different. In the former their appearance is arbitrary and accidental, and communicate to the epic poem no higher interest than the charm of the wonderful. But in Tragedy the gods either come forward as the servants of destiny, and mediate executors of its decrees; or else approve themselves godlike only by asserting their liberty of action, and entering upon the same struggles with fate which man himself has to encounter.

This is the essence of the tragical in the sense of the ancients. We are accustomed to give to all terrible or sorrowful events the appellation of tragic, and it is certain that such events are selected in preference by Tragedy, though a melancholy conclusion is by no means indispensably necessary; and several ancient tragedies, viz., the Eumenides ,
Philoctetes , and in some degree also the Oedipus Coloneus , without mentioning many of the pieces of Euripides, have a happy and cheerful termination.

But why does Tragedy select subjects so awfully repugnant to the wishes and the wants of our sensuous nature? This question has often been asked, and seldom satisfactorily answered. Some have said that the pleasure of such representations arises from the comparison we make between the calmness and tranquillity of our own situation, and the storms and perplexities to which the victims of passion are exposed. But when we take a warm interest in the persons of a tragedy, we cease to think of ourselves; and when this is not the case, it is the best of all proofs that we take but a feeble interest in the exhibited story, and that the tragedy has failed in its effect. Others again