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

not unfrequently under the dominion of his wife, and making common cause with his son against her; the housewife either loving and sensible, or scolding and domineering, and presuming on the accession she has brought to the family property; the young man giddy and extravagant, but frank and amiable, who even in a passion sensual at its commencement is capable of true attachment; the girl of light character, either thoroughly depraved, vain, cunning, and selfish, or still good-hearted and susceptible of better feelings; the simple and clownish, and the cunning slave who assists his young master in cheating his old father, and by all manner of knavish tricks procures him money for the gratification of his passions; ( as this character plays a principal part, I shall shortly make some further observations on it ;) the flatterer or accommodating parasite, who, for the sake of a good meal, is ready to say or do any thing that may be required of him the sycophant, a man whose business it was to set quietly disposed people by the ears, and stir up law-suits, for the conduct of which he offered his services; the gasconading soldier, returned from foreign service, generally cowardly and simple, but who assumes airs and boasts of his exploits abroad; and lastly, a servant or pretended mother, who preaches very indifferent morals to the young girl entrusted to her care; and the slave-dealer, who speculates on the extravagant passions of young people, and regards nothing but his own pecuniary advantage. The two last characters, with their revolting coarseness, are, to our feelings, a real blot in the Greek Comedy; but its very subject-matter rendered it impossible for it to dispense with them.

The knavish servant is generally also the buffoon, who takes pleasure in avowing, and even exaggerating, his own sensuality and want of principle, and who jokes at the expense of the other characters, and occasionally even addresses the pit. This is the origin of the comic servants of the moderns, but I am inclined to doubt whether, with our manners, there is propriety and truth in introducing such characters. The Greek servant was a slave, subject for life to the arbitrary caprice of his master, and frequently the victim of the most severe treatment. A man, who, thus deprived by the constitution of society of all his natural rights, makes trick and artifice his trade may well be pardoned: he is in a state of war with his oppressors, and cunning is his natural weapon. But in our times, a servant, who is free to choose his situation and his master, is a good- for-nothing scoundrel if he assists the son to deceive the father. With respect, on the other hand, to the open avowal of fondness of good eating and drinking which is employed to give a comic stamp to servants and persons in a low rank of life, it may still be used without impropriety: of those to whom life has granted but few privileges it does not require much; and they may boldly own the vulgarity of their inclinations, without giving any shock to our moral feelings. The better the condition of servants in real life, the less adapted are they for the stage; and this at least redounds to the praise of our more humane age, that in our "family picture" tales we meet with servants who are right worthy characters, better fitted to excite our sympathy than our derision.

The repetition of the same characters was as it were acknowledged by the Greek comic writers, by their frequent use of the same names, and those too in part expressive of character. In this they did better than many comic poets of modern times, who, for the sake of novelty of character, torture themselves to attain complete individuality, by which efforts no other effect generally is produced than that of diverting our attention from the main business of the piece, and dissipating it on accessory circumstances. And then after all they imperceptibly fall back again into the old well-known character. It is better to delineate the characters at first with a certain breadth, and to leave the actor room to touch them up more accurately, and to add the nicer and more personal traits, according to the requirements of each composition. In this respect the use of masks admits of justification; which, like many other peculiarities of the ancient theatre, (such as the acting in the open air,) were still retained, though originally designed for other departments of the drama, and though they seem a greater incongruity in the New Comedy than in the Old, and in Tragedy. But certainly it was unsuitable to the spirit of the New, that, while in other respects the representation approached nature with a more exact, nay, illusive resemblance, the masks deviated more from it than in the Old, being overcharged in the features, and almost to caricature. However singular this may appear, it is too expressly and formally attested to admit of a doubt. [Footnote: See Platonius, in
Aristoph. cur. Küster , p. xi.] As they were prohibited from bringing portraits of real persons on the stage they were, after the loss of their freedom, very careful lest they should accidentally stumble upon any resemblance, and especially to any of their Macedonian rulers; and in this way they endeavoured to secure themselves against the danger. Yet the exaggeration in question was hardly without its meaning. Accordingly we find it stated, that an unsymmetrical profile, with one eyebrow drawn up and the other down, denoted an idle, inquisitive, and intermeddling busy- body, [Footnote: See Jul. Pollux , in the section of comic masks. Compare Platonius as above, and Quinctilian, 1. xi. c. 3. The supposed wonderful discovery of Voltaire respecting tragic masks, which I mentioned in the fourth Lecture, will hardly be forgotten.] and we may in fact remark that men, who are in the habit of looking at things with anxious exact observation, are apt to acquire distortions of this kind.

Among other peculiarities the masks in comedy have this advantage, that from the unavoidable repetition of the same characters the spectator knew at once what he had to expect. I once witnessed at Weimar a representation of the Adelphi of Terence, entirely in ancient costume, which, under the direction of Goethe, furnished us a truly Attic evening. The actors used partial masks, cleverly fitted to the real countenance, [Footnote: This also was not unknown to the ancients, as it proved by many comic masks having in the place of the mouth a circular opening of considerable width, through which the mouth and the adjoining features were allowed to appear; and which, with their distorted movements, must have produced a highly ludicrous effect, from the contrast in the fixed distortion of the rest of the countenance.] and notwithstanding the smallness of the theatre, I did not find that they were in any way prejudicial to vivacity. The mask was peculiarly favourable for the jokes of the roguish slave: his uncouth physiognomy, as well as his apparel, stamped him at once as a man of a peculiar race, (as in truth the slaves were, partly even by extraction,) and he might therefore well be allowed to act and speak differently from the rest of the characters.

Out of the limited range of their civil and domestic life, and out of the simple theme of the characters above mentioned, the invention of the Greek comic writers contrived to extract an inexhaustible multitude of variations, and yet, what is deserving of high praise, even in that on which they grounded their development and catastrophe, they ever remained true to their national customs.

The circumstances of which they availed themselves for this purpose were generally the following: - Greece consisted of a number of small separate states, lying round about Athens on the coast and islands. Navigation was frequent, piracy not unusual, which, moreover, was directed against human beings in order to supply the slave-market. Thus, even free-born children might be kidnapped. Not unfrequently, too, they were exposed by their own parents, in virtue of their legal rights, and being unexpectedly saved from destruction, were afterwards restored to their families. All this prepared a ground-work for the recognitions in Greek Comedy between parents and children, brothers and sisters, &c., which as a means of bringing about the dénouement, was borrowed by the comic from the tragic writers. The complicated intrigue is carried on within the represented action, but the singular and improbable accident on which it is founded, is removed to a distance both of time and place, so that the comedy, though taken from every-day life, has still, in some degree, a marvellous romantic back-ground.

The Greek Comic writers were acquainted with Comedy in all its extent, and employed themselves with equal diligence on all its varieties, the Farce, the Play of Intrigue, and the various kinds of the Play of Character, from caricature to the nicest delicacy of delineation, and even the serious or sentimental drama. They possessed moreover a most enchanting species, of which, however, no examples are now remaining. From the titles of their pieces, and other indications, it appears they sometimes introduced historical personages, as for instance the poetess Sappho, with Alcaeus's and Anacreon's love for her, or her own passion for Phaon; the story of her leap from the Leucadian rock owes, perhaps, its origin, solely to the invention of the comic writers. To judge from their subject-matter, these comedies must have approached to our romantic drama; and the mixture of beautiful passion with the tranquil grace of the ordinary comic representation must undoubtedly have been very attractive.

In the above observations I have, I conceive, given a faithful picture of the Greek Comedy. I have not attempted to disguise either its defects or its limitation. The ancient Tragedy and the Old Comedy are inimitable, unapproachable, and stand alone in the whole range of the history of art. But in the New Comedy we may venture to measure our strength with the Greeks, and even attempt to surpass them. Whenever we descend from the Olympus of true poetry to the common earth, in other words, when once we mix the prose of a definite reality with the ideal creations of fancy, the success of productions is no longer determined by the genius alone, and a feeling for art, but the more or less favourable nature of circumstances. The figures of the gods of the Grecian sculptors stand before us as the perfect models for all ages. The noble occupation of giving an ideal perfection to the human form having once been entered upon by the fancy, all that is left even to an equal degree of inspiration is but to make a repetition of the same attempts. In the execution, however, of personal and individual resemblances, the modern statuary is the rival of the ancient: but this is no pure creation of art; observation must here come in: and whatever degree of science, profundity, and taste may be displayed in the execution, the artist is still tied down to the object which is actually before him.

In the admirable portrait-statues of two of the most celebrated comic writers, Menander and Posidippus (in the Vatican), the physiognomy of the Greek New Comedy appears to me to be almost visibly and personally expressed! Clad in the most simple dress, and holding a roll in their hands, they are sitting in arm-chairs with all the ease and self- possession which mark the conscious superiority of the master; and in that maturity of age which befits the undisturbed impartial observation which is requisite for Comedy, but yet hale and active, and free from all symptoms of decay. We recognise in them that corporeal vigour, which testifies at once to equal soundness both of mind and of temper; no lofty enthusiasm, but at the same time