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

the dead of night prepares the blow which is to be struck in open day, and which is to change the constitution of the world; - the confused thronging before the murder of Caesar, the general agitation even of the perpetrators after the deed, are all portrayed with most masterly skill; with the funeral procession and the speech of Antony the effect reaches its utmost height. Caesar's shade is more powerful to avenge his fall than he himself was to guard against it. After the overthrow of the external splendour and greatness of the conqueror and ruler of the world, the intrinsic grandeur of character of Brutus and Cassius is all that remain to fill the stage and occupy the minds of the spectators: suitably to their name, as the last of the Romans, they stand there, in some degree alone; and the forming a great and hazardous determination is more powerfully calculated to excite our expectation, than the supporting the consequences of the deed with heroic firmness.

Antony and Cleopatra may, in some measure, be considered as a continuation of Julius Caesar : the two principal characters of Antony and Augustus are equally sustained in both pieces. Antony and Cleopatra , is a play of great extent; the progress is less simple than in Julius Caesar . The fulness and variety of political and warlike events, to which the union of the three divisions of the Roman world under one master necessarily gave rise, were perhaps too great to admit of being clearly exhibited in one dramatic picture. In this consists the great difficulty of the historical drama: - it must be a crowded extract, and a living development of history; - the difficulty, however, has generally been successfully overcome by Shakspeare. But now many things, which are transacted in the background, are here merely alluded to, in a manner which supposes an intimate acquaintance with the history; but a work of art should contain, within itself, every thing necessary for its being fully understood. Many persons of historical importance are merely introduced in passing; the preparatory and concurring circumstances are not sufficiently collected into masses to avoid distracting our attention. The principal personages, however, are most emphatically distinguished by lineament and colouring, and powerfully arrest the imagination. In Antony we observe a mixture of great qualities, weaknesses, and vices; violent ambition and ebullitions of magnanimity; we see him now sinking into luxurious enjoyment and then nobly ashamed of his own aberrations, - manning himself to resolutions not unworthy of himself, which are always shipwrecked against the seductions of an artful woman. It is Hercules in the chains of Omphale, drawn from the fabulous heroic ages into history, and invested with the Roman costume. The seductive arts of Cleopatra are in no respect veiled over; she is an ambiguous being made up of royal pride, female vanity, luxury, inconstancy, and true attachment. Although the mutual passion of herself and Antony is without moral dignity, it still excites our sympathy as an insurmountable fascination: - they seem formed for each other, and Cleopatra is as remarkable for her seductive charms as Antony for the splendour of his deeds. As they die for each other, we forgive them for having lived for each other. The open and lavish character of Antony is admirably contrasted with the heartless littleness of Octavius, whom Shakspeare seems to have completely seen through, without allowing himself to be led astray by the fortune and the fame of Augustus.

Timon of Athens , and Troilus and Cressida , are not historical plays; but we cannot properly call them either tragedies or comedies. By the selection of the materials from antiquity they have some affinity to the Roman pieces, and hence I have hitherto abstained from mentioning them.

Timon of Athens , of all the works of Shakspeare, possesses most the character of satire: - a laughing satire in the picture of the parasites and flatterers, and Juvenalian in the bitterness of Timon's imprecations on the ingratitude of a false world. The story is very simply treated, and is definitely divided into large masses: - in the first act the joyous life of Timon, his noble and hospitable extravagance, and around him the throng of suitors of every description; in the second and third acts his embarrassment, and the trial which he is thereby reduced to make of his supposed friends, who all desert him in the hour of need; - in the fourth and fifth acts, Timon's flight to the woods, his misanthropical melancholy, and his death. The only thing which may be called an episode is the banishment of Alcibiades, and his return by force of arms. However, they are both examples of ingratitude, - the one of a state towards its defender, and the other of private friends to their benefactor. As the merits of the General towards his fellow-citizens suppose more strength of character than those of the generous prodigal, their respective behaviours are not less different; Timon frets himself to death, Alcibiades regains his lost dignity by force. If the poet very properly sides with Timon against the common practice of the world, he is, on the other hand, by no means disposed to spare Timon. Timon was a fool in his generosity; in his discontent he is a madman: he is every where wanting in the wisdom which enables a man in all things to observe the due measure. Although the truth of his extravagant feelings is proved by his death, and though when he digs up a treasure he spurns the wealth which seems to tempt him, we yet see distinctly enough that the vanity of wishing to be singular, in both the parts that he plays, had some share in his liberal self-forgetfulness, as well as in his anchoritical seclusion. This is particularly evident in the incomparable scene where the cynic Apemantus visits Timon in the wilderness. They have a sort of competition with each other in their trade of misanthropy: the Cynic reproaches the impoverished Timon with having been merely driven by necessity to take to the way of living which he himself had long been following of his free choice, and Timon cannot bear the thought of being merely an imitator of the Cynic. In such a subject as this the due effect could only be produced by an accumulation of similar features, still, in the variety of the shades, an amazing degree of understanding has been displayed by Shakspeare. What a powerfully diversified concert of flatteries and of empty testimonies of devotedness! It is highly amusing to see the suitors, whom the ruined circumstances of their patron had dispersed, immediately flock to him again when they learn that he has been revisited by fortune. On the other hand, in the speeches of Timon, after he is undeceived, all hostile figures of speech are exhausted, - it is a dictionary of eloquent imprecations.

Troilus and Cressida is the only play of Shakspeare which he allowed to be printed without being previously represented. It seems as if he here for once wished, without caring for theatrical effect, to satisfy the nicety of his peculiar wit, and the inclination to a certain guile, if I may say so, in the characterization. The whole is one continued irony of that crown of all heroic tales, the tale of Troy. The contemptible nature of the origin of the Trojan war, the laziness and discord with which it was carried on, so that the siege was made to last ten years, are only placed in clearer light by the noble descriptions, the sage and ingenious maxims with which the work overflows, and the high ideas which the heroes entertain of themselves and each other. Agamemnon's stately behaviour, Menelaus' irritation, Nestor's experience, Ulysses' cunning, are all productive of no effect; when they have at last arranged a single combat between the coarse braggart Ajax and Hector, the latter will not fight in good earnest, as Ajax is his cousin. Achilles is treated worst: after having long stretched himself out in arrogant idleness, and passed his time in the company of Thersites the buffoon, he falls upon Hector at a moment when he is defenceless, and kills him by means of his myrmidons. In all this let no man conceive that any indignity was intended to the venerable Homer. Shakspeare had not the Iliad before him, but the chivalrous romances of the Trojan war derived from Dares Phrygius . From this source also he took the love-intrigue of Troilus and Cressida , a story at one time so popular in England, that the name of Troilus had become proverbial for faithful and ill-requited love, and Cressida for female falsehood. The name of the agent between them, Pandarus, has even been adopted into the English language to signify those personages ( panders ) who dedicate themselves to similar services for inexperienced persons of both sexes. The endless contrivances of the courteous Pandarus to bring the two lovers together, who do not stand in need of him, as Cressida requires no seduction, are comic in the extreme. The manner in which this treacherous beauty excites while she refuses, and converts the virgin modesty which she pretends, into a means of seductive allurement, is portrayed in colours extremely elegant, though certainly somewhat voluptuous. Troilus, the pattern of lovers, looks patiently on, while his mistress enters into an intrigue with Diomed. No doubt, he swears that he will be revenged; but notwithstanding his violence in the fight next day, he does no harm to any one, and ends with only high-sounding threats. In a word, in this heroic comedy, where, from traditional fame, and the pomp of poetry, every thing seems to lay claim to admiration, Shakspeare did not wish that any room should be left, except, perhaps, in the character of Hector, for esteem and sympathy; but in this double meaning of the picture, he has afforded us the most choice entertainment.

The dramas derived from the English history, ten in number, form one of the most valuable of Shakspeare's works, and partly the fruit of his maturest age. I say advisedly one of his works, for the poet evidently intended them to form one great whole. It is, as it were, an historical heroic poem in the dramatic form, of which the separate plays constitute the rhapsodies. The principal features of the events are exhibited with such fidelity; their causes, and even their secret springs, are placed in such a clear light, that we may attain from them a knowledge of history in all its truth, while the living picture makes an impression on the imagination which can never be effaced. But this series of dramas is intended as the vehicle of a much higher and much more general instruction; it furnishes examples of the political course of the world, applicable to all times. This mirror of kings should be the manual of young princes; from it they may learn the intrinsic dignity of their hereditary vocation, but they will also learn from it the difficulties of their situation, the dangers of usurpation, the inevitable fall of tyranny, which buries itself under its attempts to obtain a firmer foundation; lastly, the ruinous consequences of the weaknesses, errors, and crimes of kings, for whole nations, and many subsequent generations. Eight of these plays, from Richard the Second to Richard the Third , are linked together in an uninterrupted succession, and embrace a most eventful period of nearly a century of English history. The events portrayed in them not only follow one another, but they are linked together in the closest and most exact connexion; and the cycle of revolts, parties, civil and foreign wars, which began with the deposition of Richard II., first ends with the accession of Henry VII. to the