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

author, and the date of its production, for a work of the more modern period. The latter period admits of many subdivisions, but with these, however, we may dispense. The talents of the authors, and the taste of the public, have fluctuated in every possible way; foreign influence has gained more and more the ascendency, and (to express myself without circumlocution,) the English theatre has in its progress become more and more destitute of character and independence. For a critic, who everywhere seeks originality, troubling himself little about what has arisen from the following or the avoiding of imitation, the dramatic poets of the first period are by far the most important, although, with the exception of Shakspeare, they may be reproached with great defects and extravagances, and although many of the moderns are distinguished for a more careful polish.

There are times when the human mind all at once makes gigantic strides in an art previously almost unknown, as if during its long sleep it had been collecting strength for the effort. The age of Elizabeth was in England such an epoch for dramatic poetry. This queen, during her long reign, witnessed the first infantine attempts of the English theatre, and its most masterly productions. Shakspeare had a lively feeling of this general and rapid development of qualities not before called into exercise; in one of his sonnets he calls his age, these time-lettering days . The predilection for the theatre was so great, that in a period of sixty years, under this and the following reign, seventeen play-houses were built or fitted up in London, whereas the capital of the present day, with twice the population, [Footnote: The author might almost have said six times. - TRANS.] is satisfied with two. No doubt they did not act every day, and several of these theatres were very small, and probably not much better fitted up than Marionette booths. However, they served to call forth the fertility of those writers who possessed, or supposed that they possessed, dramatic talents; for every theatre must have had its peculiar repertory, as the pieces were either not printed at all, or at least not till long after their composition, and as a single theatrical company was in the exclusive possession of the manuscripts. However many of feeble and lame productions might have been called forth, still it was impossible that such an extensive competition should not have been advantageous. Of all the different species of poetry the dramatic is the only one in which experience is necessary: and the failure of others is, for the man of talents, an experiment at their expense. Moreover, the exercise of this art requires vigorous determination, to which the great artist is often the least inclined, as in the execution he finds the greatest difficulty in satisfying himself; while, on the other hand, his greatest enjoyment consists in embodying in his own mind the beloved creation of his imagination. It is therefore fortunate for him when the bolder forwardness of those who, with trifling means, venture on this difficult career stimulates him to put fresh hand to the work. Further, it is of importance to the dramatic poet to be connected immediately with the stage, that he may either himself guide it, or learn to accommodate himself to its wants; and the dramatic poets of that day were, for the most part, also players. The theatre still made small claims to literature, and it thus escaped the pedantry of scholastic learning. There were as yet no periodical writings which, as the instrument of cabal, could mislead opinion. Of jealousies, indeed, and bickerings among the authors there was no want: this, however, was more a source of amusement than of displeasure to the public, who decided without prejudice or partiality according to the amount of entertainment. The poets and players, as well as the spectators, possessed in general the most essential requisite of success: a true love for the business. This was the more unquestionable, as the theatrical art was not then surrounded with all those foreign ornaments and inventions of luxury which serve to distract the attention and corrupt the sense, but made its appearance in the most modest, and we may well say in the most humble shape. For the admirers of Shakspeare it must be an object of curiosity to know what was the appearance of the theatre in which his works were first performed. We have an engraving of the play-house of which he was manager, and which, from the symbol of a Hercules supplying the place of Atlas, was called the Globe: it is a massive structure destitute of architectural ornaments, and almost without windows in the outward walls. The pit was open to the sky, and the acting was by day-light; the scene had no other decoration than wrought tapestry, which hung at some distance from the walls, and left space for several entrances. In the back-ground of the stage there was a second stage raised above it, a sort of balcony, which served for various purposes, and according to circumstances signified all manner of things. The players appeared, excepting on a few rare occasions, in the dress of their time, or at most distinguished by higher feathers on their hats and roses on their shoes. The chief means of disguise were false hair and beards, and occasionally also masks. The female parts were played by boys so long as their voice allowed it. Two companies of actors in London consisted entirely of boys, namely, the choir of the Queen's Chapel and that of St. Paul's. Betwixt the acts it was not customary to have music, but in the pieces themselves marches, dances, solo songs, and the like, were introduced on fitting occasions, and trumpet flourishes at the entrance of great personages. In the more early time it was usual to represent the action before it was spoken, in silent pantomime ( dumb show ) between each act, allegorically or even without any disguise, to give a definite direction to the expectation. Shakspeare has observed this practice in the play in Hamlet .

By the present lavish appliance of every theatrical accessory; - of architecture, lighting, music, the illusion of decorations changing in a moment as if by enchantment, machinery and costume; - by all this, we are now so completely spoiled, that this earlier meagreness of stage decoration will in no wise satisfy us. Much, however, might be urged in favour of such a constitution of the theatre. Where the spectators are not allured by any splendid accessories, they will be the more difficult to please in the main thing, namely, the excellence of the dramatic composition, and its embodying by delivery and action. When perfection is not attainable in external decoration, the critic will rather altogether overlook it than be disturbed by its deficiencies and tastelessness. And how seldom has perfection been here attained! It is about a century and a half since attention began to be paid to the observance of costume on the European stage; what with this view has been accomplished has always appeared excellent to the multitude, and yet, to judge from the engravings which sometimes accompany the printed plays, and from every other evidence, it is plain that it was always characterized by puerility and mannerism, and that in none the endeavours to assume a foreign or antique appearance, could shake themselves free of the fashions of the time. A sort of hoop was long considered as an indispensable appendage of a hero; the long peruques and fontanges , or topknots, kept their ground in heroical tragedy as long as in real life; afterwards it would have been considered as barbarous to appear without powdered and frizzled hair; on this was placed a helmet with variegated feathers; a taffeta scarf fluttered over the gilt paper coat of mail; and the Achilles or Alexander was then completely mounted. We have now at last returned to a purer taste, and in some great theatres the costume is actually observed in a learned and severe style. We owe this principally to the antiquarian reform in the arts of design, and the approximation of the female dress to the Grecian; for the actresses were always the most inveterate in retaining on the stage those fashions by which they turned their charms to account in society. However, even yet there are very few players who know how to wear a Grecian purple mantle, or a toga, in a natural and becoming manner; and who, in moments of passion, do not seem to be unduly occupied with holding and tossing about their drapery.

Our system of decoration was properly invented for the opera, to which it is also in reality best adapted. It has several unavoidable defects; others which certainly may be, but seldom are avoided. Among the inevitable defects I reckon the breaking of the lines in the side scenes from every point of view except one; the disproportion between the size of the player when he appears in the background, and the objects as diminished in the perspective; the unfavourable lighting from below and behind; the contrast between the painted and the actual lights and shades; the impossibility of narrowing the stage at pleasure, so that the inside of a palace and a hut have the same length and breadth, &c. The errors which may be avoided are, want of simplicity and of great and reposing masses; overloading the scenery with superfluous and distracting objects, either from the painter being desirous of showing his strength in perspective, or not knowing how otherwise to fill up the space; an architecture full of mannerism, often altogether unconnected, nay, even at variance with possibility, coloured in a motley manner which resembles no species of stone in the world. Most scene-painters owe their success entirely to the spectator's ignorance of the arts of design; I have often seen a whole pit enchanted with a decoration from which the eye of skill must have turned away with disgust, and in whose place a plain green wall would have been infinitely better. A vitiated taste for splendour of decoration and magnificence of dress, has rendered the arrangement of the theatre a complicated and expensive business, whence it frequently happens that the main requisites, good pieces and good players, are considered as secondary matters; but this is an inconvenience which it is here unnecessary to mention.

Although the earlier English stage had properly no decorations, we must allow, however, that it was not altogether destitute of machinery: without it, it is almost impossible to conceive how several pieces, for instance,
Macbeth , The Tempest , and others, could ever be represented. The celebrated architect, Inigo Jones, who lived in the reign of James the First, put in motion very complicated and artificial machines for the decoration of the Masques of Ben Jonson which were acted at court.

With the Spanish theatre at the time of its formation, it was the same as with the English, and when the stage had remained a moment empty, and other persons came in by another entrance, a change of scene was to be supposed though none was visible; and this circumstance had the most favourable influence on the form of the dramas. The poet was not obliged to consult the scene-painter to know what could or what could not be represented; nor to calculate whether the store of decorations on hand were sufficient, or new ones would be requisite: he was not driven to impose restraint on the action as to change of times and places, but represented it entirely as it would naturally have taken place: [Footnote: Capell, an intelligent commentator on Shakspeare, unjustly underrated by the others, has placed the advantages in this respect in the clearest light, in an observation on Antony and Cleopatra . It emboldened the poet, when the truth of the action required