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

and rigorously proscribed all liberal arts and literature, and during the reign of the Second Charles, when his works were either not acted at all, or if so, very much changed and disfigured, his fame was awhile obscured, only to shine forth again about the beginning of the last century with more than its original brightness; and since then it has but increased in lustre with the course of time; and for centuries to come, (I speak it with the greatest confidence,) it will, like an Alpine avalanche , continue to gather strength at every moment of its progress. Of the future extension of his fame, the enthusiasm with which he was naturalized in Germany, the moment that he was known, is a significant earnest. In the South of Europe, [Footnote: This difficulty extends also to France; for it must not be supposed that a literal translation can ever be a faithful one. Mrs. Montague has done enough to prove how wretchedly, even Voltaire, in his rhymeless Alexandrines, has translated a few passages from Hamlet and the first act of Julius Caesar .] his language, and the great difficulty of translating him with fidelity, will be, perhaps, an invincible obstacle to his general diffusion. In England, the greatest actors vie with each other in the impersonation of his characters; the printers in splendid editions of his works; and the painters in transferring his scenes to the canvas. Like Dante, Shakspeare has received the perhaps indispensable but still cumbersome honour of being treated like a classical author of antiquity. The oldest editions have been carefully collated, and where the readings seemed corrupt, many corrections have been suggested; and the whole literature of his age has been drawn forth from the oblivion to which it had been consigned, for the sole purpose of explaining the phrases, and illustrating the allusions of Shakspeare. Commentators have succeeded one another in such number, that their labours alone, with the critical controversies to which they have given rise, constitute of themselves no inconsiderable library. These labours deserve both our praise and gratitude; and more especially the historical investigations into the sources from which Shakspeare drew the materials of his plays, and also into the previous and contemporary state of the English stage, and other kindred subjects of inquiry. With respect, however, to their merely philological criticisms, I am frequently compelled to differ from the commentators; and where, too, considering him simply as a poet, they endeavour to enter into his views and to decide upon his merits, I must separate myself from them entirely. I have hardly ever found either truth or profundity in their remarks; and these critics seem to me to be but stammering interpreters of the general and almost idolatrous admiration of his countrymen. There may be people in England who entertain the same views of them with myself, at least it is a well- known fact that a satirical poet has represented Shakspeare, under the hands of his commentators, by Actaeon worried to death by his own dogs; and, following up the story of Ovid, designated a female writer on the great poet as the snarling Lycisca.

We shall endeavour, in the first place, to remove some of these false views, in order to clear the way for our own homage, that we may thereupon offer it the more freely without let or hindrance.

From all the accounts of Shakspeare which have come down to us, it is clear that his contemporaries knew well the treasure they possessed in him; and that they felt and understood him better than most of those who succeeded him. In those days a work was generally ushered into the world with Commendatory Verses; and one of these, prefixed to an early edition of Shakspeare, by an unknown author, contains some of the most beautiful and happy lines that ever were applied to any poet [Footnote: It begins with the words: A mind reflecting ages past , and is subscribed, I.M.S.]. An idea, however, soon became prevalent that Shakspeare was a rude and wild genius, who poured forth at random, and without aim or object, his unconnected compositions. Ben Jonson, a younger contemporary and rival of Shakspeare, who laboured in the sweat of his brow, but with no great success, to expel the romantic drama from the English stage, and to form it on the model of the ancients, gave it as his opinion that Shakspeare did not blot enough, and that as he did not possess much school-learning, he owed more to nature than to art. The learned, and sometimes rather pedantic Milton was also of this opinion, when he says,

Our sweetest Shakspeare, fancy's child,
Warbles his native wood-notes wild.

Yet it is highly honourable to Milton, that the sweetness of Shakspeare, the quality which of all others has been least allowed, was felt and acknowledged by him. The modern editors, both in their prefaces, which may be considered as so many rhetorical exercises in praise of the poet, and in their remarks on separate passages, go still farther. Judging them by principles which are not applicable to them, not only do they admit the irregularity of his pieces, but on occasions they accuse him of bombast, of a confused, ungrammatical, and conceited mode of writing, and even of the most contemptible buffoonery. Pope asserts that he wrote both better and worse than any other man. All the scenes and passages which did not square with the littleness of his own taste, he wished to place to the account of interpolating players; and he was in the right road, had his opinion been taken, of giving us a miserable dole of a mangled Shakspeare. It is, therefore, not to be wondered at if foreigners, with the exception of the Germans latterly, have, in their ignorance of him, even improved upon these opinions. [Footnote: Lessing was the first to speak of Shakspeare in a becoming tone; but he said unfortunately a great deal too little of him, as in the time when he wrote the Dramaturgie this poet had not yet appeared on our stage. Since that time he has been more particularly noticed by Herder in the Blütter von deutscher Art und Kunst ; Goethe, in Wilhelm Meister ; and Tieck, in Letters on Shakspeare ( Poetisches Journal , 1800), which break off, however, almost at the commencement.]. They speak in general of Shakspeare's plays as monstrous productions, which could only have been given to the world by a disordered imagination in a barbarous age; and Voltaire crowns the whole with more than usual assurance, when he observes that Hamlet , the profound master- piece of the philosophical poet, "seems the work of a drunken savage." That foreigners, and in particular Frenchmen, who ordinarily speak the most strange language of antiquity and the middle ages, as if cannibalism had only been put an end to in Europe by Louis XIV. should entertain this opinion of Shakspeare, might be pardonable; but that Englishmen should join in calumniating that glorious epoch of their history, [Footnote: The English work with which foreigners of every country are perhaps best acquainted is Hume's History ; and there we have a most unjustifiable account both of Shakspeare and his age. "Born in a rude age , and educated in the lowest manner, without any instruction either from the world or from books." How could a man of Hume's acuteness suppose for a moment that a poet, whose characters display such an intimate acquaintance with life, who, as an actor and manager of a theatre, must have come in contact with all descriptions of individuals, had no instruction from the world? But this is not the worst; he goes even so far as to say, "a reasonable propriety of thought he cannot for any time uphold." This is nearly as offensive as Voltaire's "drunken savage." - TRANS.] which laid the foundation of their national greatness, is incomprehensible. Shakspeare flourished and wrote in the last half of the reign of Queen Elizabeth and first half of that of James I.; and, consequently, under monarchs who were learned themselves, and held literature in honour. The policy of modern Europe, by which the relations of its different states have been so variously interwoven with each other, commenced a century before. The cause of the Protestants was decided by the accession of Elizabeth to the throne; and the attachment to the ancient belief cannot therefore be urged as a proof of the prevailing darkness. Such was the zeal for the study of the ancients, that even court ladies, and the queen herself, were acquainted with Latin and Greek, and taught even to speak the former; a degree of knowledge which we should in vain seek for in the courts of Europe at the present day. The trade and navigation which the English carried on with all the four quarters of the world, made them acquainted with the customs and mental productions of other nations; and it would appear that they were then more indulgent to foreign manners than they are in the present day. Italy had already produced all nearly that still distinguishes her literature, and in England translations in verse were diligently, and even successfully, executed from the Italian. Spanish literature also was not unknown, for it is certain that Don Quixote was read in England soon after its first appearance. Bacon, the founder of modern experimental philosophy, and of whom it may be said, that he carried in his pocket all that even in this eighteenth century merits the name of philosophy, was a contemporary of Shakspeare. His fame, as a writer, did not, indeed, break forth into its glory till after his death; but what a number of ideas must have been in circulation before such an author could arise! Many branches of human knowledge have, since that time, been more extensively cultivated, but such branches as are totally unproductive to poetry: chemistry, mechanics, manufactures, and rural and political economy, will never enable a man to become a poet. I have elsewhere [Footnote: In my Lectures on the Spirit of the Age .] examined into the pretensions of modern enlightenment, as it is called, which looks with such contempt on all preceding ages; I have shown that at bottom it is all little, superficial, and unsubstantial. The pride of what has been called the existing maturity of human intensity, has come to a miserable end; and the structures erected by those pedagogues of the human race have fallen to pieces like the baby-houses of children.

With regard to the tone of society in Shakspeare's day, it is necessary to remark that there is a wide difference between true mental cultivation and what is called polish. That artificial polish which puts an end to every thing like free original communication, and subjects all intercourse to the insipid uniformity of certain rules, was undoubtedly wholly unknown to the age of Shakspeare, as in a great measure it still is at the present day in England. It possessed, on the other hand, a fulness of healthy vigour, which showed itself always with boldness, and sometimes also with petulance. The spirit of chivalry was not yet wholly extinct, and a queen, who was far more jealous in exacting homage to her sex than to her throne, and who, with her determination, wisdom, and magnanimity, was in fact, well qualified to inspire the minds of her subjects with an ardent enthusiasm, inflamed that spirit to the noblest love of glory and renown. The feudal independence also still survived in some measure; the nobility vied with each other in splendour of dress and number of retinue, and every great lord had a sort of small court of his own. The distinction of ranks was as yet strongly marked: a state of things ardently to