Lectures on Dramatic Art and Literature by August Wilhelm Schlegel (dark academia books to read .txt) 📕

salutary for them to have, in presence of the stage, to run over weekly in thought the relation between their expenditure and income; but surely they will hardly derive from it elevation of mind or recreation, for they do but find again on the stage the very same thing which they have at home from morning to night.

The sentimental poet, again, contrives to lighten their heart. His general doctrine amounts properly to this, that what is called a good heart atones for all errors and extravagances, and that, with respect to virtue, we are not to insist so strictly on principles. Do but allow, he seems to say to his spectators, free scope to your natural impulses; see how well it becomes my naïve girls, when they voluntarily and without reserve confess every thing. If he only knows how to corrupt by means of effeminate emotions - rather sensual than moral, but at the close contrives, by the introduction of some generous benefactor, who showers out his liberality with open hands, to make all things pretty even, he then marvellously delights the vitiated hearts of his audience: they feel as if they had themselves done noble actions, without, however, putting their hands in their own pockets - all is drawn from the purse of the generous poet. In the long run, therefore, the affecting species can hardly fail to gain a victory over the economical; and this has actually been the case in Germany. But what in these dramas is painted to us not only as natural and allowable, but even as moral and dignified, is strange beyond all thought, and the seduction, consequently, is much more dangerous than that of the licentious Comedy, for this very reason, that it does not disgust us by external indecency, but steals into unguarded minds, and selects the most sacred names for a disguise.

The poetical as well as moral decline of taste in our time has been attended with this consequence, that the most popular writers for the stage, regardless of the opinion of good judges, and of true repute, seek only for momentary applause; while others, who have both higher aims, keep both the former in view, cannot prevail on themselves to comply with the demands of the multitude, and when they do compose dramatically, have no regard to the stage. Hence they are defective in the theatrical part of art, which can only be attained in perfection by practice and experience.

The repertory of our stage, therefore, exhibits, in its miserable wealth, a motley assemblage of chivalrous pieces, family pictures, and sentimental dramas, which are occasionally, though seldom, varied by works in a grander and higher style by Shakspeare and Schiller. In this state of things, translations and imitations of foreign novelties, and especially of the French after-pieces and operettes, are indispensable. From the worthlessness of the separate works, nothing but the fleeting charm of novelty is sought for in theatrical entertainment, to the great injury of the histrionic art, as a number of insignificant parts must be got by heart in the most hurried manner, to be immediately forgotten [Footnote: To this must be added, by way of rendering the vulgarity of our theatre almost incurable, the radically depraved disposition of every thing having any reference to the theatre. The companies of actors ought to be under the management of intelligent judges and persons practised in the dramatic art, and not themselves players. Engel presided for a time over the Berlin theatre, and eye-witnesses universally assert that he succeeded in giving it a great elevation. What Goethe has effected in the management of the theatre of Weimar, in a small town, and with small means, is known to all good theatrical judges in Germany. Rare talents he can neither create nor reward, but he accustoms the actors to order and discipline, to which they are generally altogether disinclined, and thereby gives to his representations a unity and harmony which we do not witness on larger theatres, where every individual plays as his own fancy prompts him. The little correctness with which their parts are got by heart, and the imperfection of their oral delivery, I have elsewhere censured. I have heard verses mutilated by a celebrated player in a manner which would at Paris be considered unpardonable in a beginner. It is a fact, that in a certain theatre, when they were under the melancholy necessity of representing a piece in verse they wrote out the parts as prose, that the players might not be disturbed in their darling but stupid affectation of nature, by observation of the quantity. How many "periwig-pated fellows" (as Shakspeare called such people), must we suffer, who imagine they are affording the public an enjoyment, when they straddle along the boards with their awkward persons, considering the words which the poet has given them to repeat merely as a necessary evil. Our players are less anxious to please than the French. By the creation of standing national theatres as they are called, by which in several capitals people suppose that they have accomplished wonders, and are likely to improve the histrionic art, they have on the contrary put a complete end to all competition. They bestow on the players exclusive privileges - they secure their salaries for life; having now nothing to dread from more accomplished rivals, and being independent of the fluctuating favour of the spectators, the only concern of the actors is to enjoy their places, like so many benefices, in the most convenient manner. Hence the national theatres have become true hospitals for languor and laziness. The question of Hamlet with respect to the players - "Do they grow rusty?" will never become obsolete; it must, alas! be always answered in the affirmative. The actor, from the ambiguous position in which he lives (which, in the nature of things, cannot well be altered), must possess a certain extravagant enthusiasm for his art, if he is to gain any extraordinary repute. He cannot be too passionately alive to noisy applause, reputation, and every brilliant reward which may crown his efforts to please. The present moment is his kingdom, time is his most dangerous enemy, as there is nothing durable in his exhibition. Whenever he is filled with the tradesman-like anxiety of securing a moderate maintenance for himself, his wife, and children, there is an end of all improvement. We do not mean to say that the old age of deserving artists ought not to be provided for. But to those players who from age, illness, or other accidents, have lost their qualifications for acting, we ought to give pensions to induce them to leave off instead of continuing to play. In general, we ought not to put it into the heads of the players that they are such important and indispensable personages. Nothing is more rare than a truly great player; but nothing is more common than the qualifications for filling characters in the manner we generally see them filled; of this we may be convinced in every amateur theatre among tolerably educated people. Finally, the relation which subsists with us between the managers of theatres and writers, is also as detrimental as possible. In France and England, the author of a piece has a certain share of the profits of each representation; this procures for him a permanent income, whenever any of his pieces are so successful as to keep their place on the theatre. Again, if the piece is unsuccessful, he receives nothing. In Germany, the managers of theatres pay a certain sum beforehand, and at their own risk, for the manuscripts which they receive. They may thus be very considerable losers; and on the other hand, if the piece is extraordinarily successful, the author is not suitably rewarded.

The Author is under a mistake with respect to the reward which falls to the share of the dramatic writer in England. He has not a part of the profits of each representation. If the play runs three nights, it brings him in as much as if it were to run three thousand nights. - TRANS.] The labours of the poets who do not write immediately for the theatre take every variety of direction: in this, as in other departments, may be observed the ferment of ideas that has brought on our literature in foreign countries the reproach of a chaotic anarchy, in which, however, the striving after a higher aim as yet unreached is sufficiently visible.

The more profound study of Aesthetics has among the Germans, by nature a speculative rather than a practical people, led to this consequence, that works of art, and tragedies more especially, have been executed on abstract theories, more or less misunderstood. It was natural that these tragedies should produce no effect on the theatre; nay, they are, in general, unsuited for representation, and wholly devoid of any inner principle of life.

Others again, with true feeling for it, have, as it were, appropriated the very spirit of the ancient tragedians, and sought for the most suitable means of accommodating the simple and pure forms of ancient art to the present constitution of our stage.

Men truly distinguished for their talents have attached themselves to the romantic drama, but in it they have generally adopted a latitude which is not really allowable, except in a romance, wholly disregarding the compression which the dramatic form necessarily requires. Or they have seized only the musically fanciful and picturesquely sportive side of the Spanish dramas, without their thorough keeping, their energetical power, and their theatrical effect.

What path shall we now enter? Shall we endeavour to accustom ourselves again to the French form of Tragedy, which has been so long banished? Repeated experience of it has proved that, however modified in the translation and representation, for even in the hands of a Goethe or a Schiller some modification is indispensable, it can never be very successful. The genuine imitation of Greek Tragedy has far more affinity to our national ways of thinking; but it is beyond the comprehension of the multitude, and, like the contemplation of ancient statues, can never be more than an acquired artistic enjoyment for a few highly cultivated minds.

In Comedy, Lessing has already pointed out the difficulty of introducing national manners which are not provincial, inasmuch as with us the tone of social life is not modelled after a common central standard. If we wish pure comedies, I would strongly recommend the use of rhyme; with the more artificial form they might, perhaps, gradually assume also a peculiarity of substance.

To me, however, it appears that this is not the most urgent want: let us first bring to perfection the serious and higher species, in a manner worthy of the German character. Now here, it appears to me, that our taste inclines altogether to the romantic. What most attracts the multitude in our half-sentimental, half-humorous dramas, which one moment transport us to Peru, and the next to Kamschatka, and soon after into the times of chivalry, while the sentiments are all modern and lachrymose, is invariably a certain sprinkling of the romantic, which we recognize even in the most insipid magical operas. The true significance of this species was lost with us before it was properly found; the fancy has passed with the inventors of such chimeras, and the views of the plays are sometimes wiser than those of their authors. In a hundred play-bills the name "romantic" is profaned, by being lavished on rude and monstrous abortions; let us therefore be permitted to elevate it, by criticism and history, again to its true import. We have lately endeavoured in many ways to revive the remains of our old national poetry. These may afford the poet a foundation for the wonderful festival-play; but the most dignified species of the romantic is the historical.

In this field the most glorious