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

give to the whole an insupportable hardness. Criminal designs are portrayed with indifference, and the merriment is made to consist in the manner in which some accident or other invariably frustrates their consequences. We cannot here recognise the Tasso whose nice sense of love, chivalry, and honour speaks so delightfully in the Jerusalem Delivered , and on this ground it has even been doubted whether this work be really his. The richness of invention, if we may give this name to a rude accumulation of incidents, is so great, that the attention is painfully tortured in the endeavour to keep clear and disentangled the many and diversely crossing threads.

We have of this date a multitude of Italian comedies on a similar plan, only with less order and connexion, and whoso aim apparently is to delight by means of indecency. A parasite and procuress are standing characters in all. Among the comic poets of this class, Giambatista Porta deserves to be distinguished. His plots, it is true, are like the rest, imitations of Plautus and Terence, or dramatised tales; but, throughout the love- dialogues, on which he seems to have laboured with peculiar fondness, there breathes a tender feeling which rises even from the midst of the rudeness of the old Italian Comedy, and its generally uncongenial materials.

In the seventeenth century, when the Spanish theatre flourished in all its glory, the Italians seem to have borrowed frequently from it; but not without misemploying and disfiguring whatever they so acquired. The neglect of the regular stage increased with the all-absorbing passion for the opera, and with the growing taste of the multitude for improvisatory farces with standing masks. The latter are not in themselves to be despised: they serve to fix, as it were, so many central points of the national character in the comic exhibition, by the external peculiarities of speech, dress, &c. Their constant recurrence does not by any means preclude the greatest possible diversity in the plot of the pieces, even as in chess, with a small number of men, of which each has his fixed movement, an endless number of combinations is possible. But as to extemporary playing, it no doubt readily degenerates into insipidity; and this may have been the case even in Italy, notwithstanding the great fund of drollery and fantastic wit, and a peculiar felicity in farcical gesticulation, which the Italians possess.

About the middle of the last century, Goldoni appeared as the reformer of Italian Comedy, and his success was so great, that he remained almost exclusively in possession of the comic stage. He is certainly not deficient in theatrical skill; but, as the event has proved, he is wanting in that solidity, that depth of characterization, that novelty and richness of invention, which are necessary to ensure a lasting reputation. His pictures of manners are true, but not sufficiently elevated above the range of every-day life; he has exhausted the surface of life; and as there is little progression in his dramas, and every thing turns usually on the same point, this adds to the impression of shallowness and ennui, as characteristic of the existing state of society. Willingly would he have abolished masks altogether, but he could hardly have compensated for them out of his own resources; however, he retained only a few of them, as Harlequin, Brighella, and Pantaloon, and limited their parts. And yet he fell again into a great uniformity of character, which, indeed, he partly confesses in his repeated use of the same names: for instance, his Beatrice is always a lively, and his Rosaura a feeling young maiden; and as for any farther distinction, it is not to be found in him.

The excessive admiration of Goldoni, and the injury sustained thereby by the masked comedy, for which the company of Sacchi in Venice possessed the highest talents, gave rise to the dramas of Gozzi. They are fairy tales in a dramatic form, in which, however, along side of the wonderful, versified, and more serious part, he employed the whole of the masks, and allowed them full and unrestrained development of their peculiarities. They, if ever any were, are pieces for effect, of great boldness of plot, still more fantastic than romantic; even though Gozzi was the first among the comic poets of Italy to show any true feeling for honour and love. The execution does not betoken either care or skill, but is sketchily dashed off. With all his whimsical boldness he is still quite a popular writer; the principal motives are detailed with the most unambiguous perspicuity, all the touches are coarse and vigorous: he says, he knows well that his countrymen are fond of robust situations. After his imagination had revelled to satiety among Oriental tales, he took to re-modelling Spanish plays, and particularly those of Calderon; but here he is, in my opinion, less deserving of praise. By him the ethereal and delicately-tinted poetry of the Spaniard is uniformly vulgarised, and deepened with the most glaring colours; while the weight of his masks draws the aerial tissue to the ground, for the humorous introduction of the gracioso in the Spanish is of far finer texture. On the other hand, the wonderful extravagance of the masked parts serves as an admirable contrast to the wild marvels of fairy tale. Thus the character of these pieces was, in the serious part, as well as in the accompanying drollery, equally removed from natural truth. Here Gozzi had fallen almost accidentally on a fund of whose value he was not, perhaps, fully aware: his prosaical, and for the most part improvisatory, masks, forming altogether of themselves the irony on the poetical part. What I here mean by irony, I shall explain more fully when I come to the justification of the mixture of the tragic and comic in the romantic drama of Shakspeare and Calderon. At present I shall only observe, that it is a sort of confession interwoven into the representation itself, and more or less distinctly expressed, of its overcharged one-sidedness in matters of fancy and feeling, and by means of which the equipoise is again restored. The Italians were not, however, conscious of this, and Gozzi did not find any followers to carry his rude sketches to a higher degree of perfection. Instead of combining like him, only with greater refinement, the charms of wonderful poetry with exhilarating mirth; instead of comparing Gozzi with the foreign masters of the romantic drama, whom he resembles notwithstanding his great disparity, and from the unconscious affinity between them in spirit and plan, drawing the conclusion that the principle common to both was founded in nature; the Italians contented themselves with considering the pieces of Gozzi as the wild offspring of an extravagant imagination, and with banishing them from the stage. The comedy with masks is held in contempt by all who pretend to any degree of refinement, as if they were too wise for it, and is abandoned to the vulgar, in the Sunday representations at the theatres and in the puppet-shows. Although this contempt must have had an injurious influence on the masks, preventing, as it does, any actor of talent from devoting himself to them, so that there are no examples now of the spirit and wit with which they were formerly filled up, still the Commedia dell' Arte is the only one in Italy where we can meet with original and truly theatrical entertainment. [Footnote: A few years ago, I saw in Milan an excellent Truffaldin or Harlequin, and here and there in obscure theatres, and even in puppet-shows, admirable representations of the old traditional jokes of the country. [Unfortunately, on my last visit to Milan, my friend was no longer to be met with. Under the French rule, Harlequin's merry occupation had been proscribed in the Great Theatres, from a care, it was alleged, for the dignity of man. The Puppet-theatre of Gerolamo still flourishes, however but a stranger finds it difficult to follow the jokes of the Piedmontese and Milan Masks. - LAST EDITION.]]

In Tragedy the Italians generally imitate Alfieri, who, although it is the prevailing fashion to admire him, is too bold and manly a thinker to be tolerated on the stage. They have produced some single pieces of merit, but the principles of tragic art which Alfieri followed are altogether false, and in the bawling and heartless declamation of their actors, this tragic poetry, stripped with stoical severity of all the charms of grouping, of musical harmony, and of every tender emotion, is represented with the most deadening uniformity and monotony. As all the rich rewards are reserved for the singers, it is only natural that their players, who are only introduced as a sort of stop-gaps between singing and dancing, should, for the most part, not even possess the very elements of their art, viz., pure pronunciation, and practised memory. They seem to have no idea that their parts can be got by heart, and hence, in an Italian theatre, we hear every piece as it were twice over; the prompter speaking as loud as a good player elsewhere, and the actors in order to be distinguished from him bawling most insufferably. It is exceedingly amusing to see the prompter, when, from the general forgetfulness, a scene threatens to fall into confusion, labouring away, and stretching out his head like a serpent from his hole, hurrying through the dialogue before the different speakers. Of all the actors in the world, I conceive those of Paris to have their parts best by heart; in this, as well as in the knowledge of versification, the Germans are far inferior to them.

One of their living poets, Giovanni Pindemonti, has endeavoured to introduce greater extent, variety, and nature into his historical plays, but he has been severely handled by their critics for descending from the height of the cothurnus to attain that truth of circumstance without which it is impossible for this species of drama to exist; perhaps also for deviating from the strict observation of the traditional rules, so blindly worshipped by them. If the Italian verse be in fact so fastidious as not to consort with many historical peculiarities, modern names and titles for instance, let them write partly in prose, and call the production not a tragedy, but an historical drama. It seems in general to be assumed as an undoubted principle, that the verso sciolto , or rhymeless line, of eleven syllables, is alone fit for the drama, but this does not seem to me to be by any means proved. This verse, in variety and metrical signification, is greatly inferior to the English and German rhymeless iambic, from its uniform feminine termination, and from there being merely an accentuation in Italian, without any syllabic measure. Moreover, from the frequent transition of the sense from verse to verse, according to every possible division, the lines flow into one another without its being possible for the ear to separate them. Alfieri imagined that he had found out the genuine dramatic manner of treating this verse correspondent to the form of his own dialogue, which consists of simply detached periods, or rather of propositions entirely unperiodical and abruptly terminated. It is possible that he carried into his works a personal peculiarity, for he is said to have been extremely laconic; he was also, as he himself relates, influenced by the example of Seneca: but how different a lesson might he have learned from the Greeks! We do not, it is true, in conversation, connect our language so closely as in an oratorical harangue, but the opposite extreme is equally unnatural. Even in our common discourses, we observe a certain continuity, we give a development both to arguments and objections, and in an instant passion will animate us to fulness of expression, to a flow of eloquence, and even to lyrical sublimity. The ideal