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

children, who are never once seen. The Chinese are represented as the most wise and virtuous of mankind, and they overflow with philosophical maxims. As Corneille, in his old age, made one and all of his characters politicians, Voltaire in like manner furnished his out with philosophy, and availed himself of them to preach up his favourite opinions. He was not deterred by the example of Corneille, when the power of representing the passions was extinct, from publishing a host of weak and faulty productions.

Since the time of Voltaire the constitution of the French stage has remained nearly the same. No genius has yet arisen sufficiently mighty to advance the art a step farther, and victoriously to refute, by success, their time-strengthened prejudices. Many attempts have been made, but they generally follow in the track of previous essays, without surpassing them. The endeavour to introduce more historical extent into dramatic composition is frustrated by the traditional limitations and restraints. The attacks, both theoretical and practical, which have been made in France itself on the prevailing system of rules, will be most suitably noticed and observed upon when we come to review the present condition of the French stage, after considering their Comedy and the other secondary kinds of dramatic works, since in these attempts have been made either to found new species, or arbitrarily to overturn the classification hitherto established.


LECTURE XXI.

French Comedy - Molière - Criticism of his Works - Scarron, Beursault, Regnard; Comedies in the Time of the Regency; Marivaux and Destouches; Piron and Gresset - Later Attempts - The Heroic Opera: Quinault - Operettes and Vaudevilles - Diderot's attempted Change of the Theatre - The Weeping Drama - Beaumarchais - Melo-Dramas - Merits and Defects of the Histrionic Art.


The same system of rules and proprieties, which, as I have endeavoured to show, must inevitably have a narrowing influence on Tragedy, has, in France, been applied to Comedy much more advantageously. For this mixed species of composition has, as already seen, an unpoetical side; and some degree of artificial constraint, if not altogether essential to Comedy, is certainly beneficial to it; for if it is treated with too negligent a latitude, it runs a risk, in respect of general structure, of falling into shapelessness, and in the representation of individual peculiarities, of sinking into every-day common-place. In the French, as well as in the Greek, it happens that the same syllabic measure is used in Tragedy and Comedy, which, on a first view, may appear singular. But if the Alexandrine did not appear to us peculiarly adapted to the free imitative expression of pathos, on the other hand, it must be owned that a comical effect is produced by the application of so symmetrical a measure to the familiar turns of dialogue. Moreover, the grammatical conscientiousness of French poetry, which is so greatly injurious in other species of the drama, is fully suited to Comedy, where the versification is not purchased at the expense of resemblance to the language of conversation, where it is not intended to elevate the dialogue by sublimity and dignity above real life, but merely to communicate to it greater ease and lightness. Hence the opinion of the French, who hold a comedy in verse in much higher estimation than a comedy in prose, seems to me to admit fairly of a justification.

I endeavoured to show that the Unities of Place and Time are inconsistent with the essence of many tragical subjects, because a comprehensive action is frequently carried on in distant places at the same time, and because great determinations can only be slowly prepared. This is not the case in Comedy: here Intrigue ought to prevail, the active spirit of which quickly hurries towards its object; and hence the unity of time may here be almost naturally observed. The domestic and social circles in which Comedy moves are usually assembled in one place, and, consequently, the poet is not under the necessity of sending our imagination abroad: only it might perhaps have been as well not to interpret the unity of place so very strictly as not to allow the transition from one room to another, or to different houses of the same town. The choice of the street for the scene, a practice in which the Latin comic writers were frequently followed in the earlier times of Modern Comedy, is quite irreconcileable with our way of living, and the more deserving of censure, as in the case of the ancients it was an inconvenience which arose from the construction of their theatre.

According to French critics, and the opinion which has become prevalent through them, Molière alone, of all their comic writers, is classical; and all that has been done since his time is merely estimated as it approximates more or less to this supposed pattern of an excellence which can never be surpassed, nor even equalled. Hence we shall first proceed to characterize this founder of the French Comedy, and then give a short sketch of its subsequent progress.

Molière has produced works in so many departments, and of such different value, that we are hardly able to recognize the same author in all of them; and yet it is usual, when speaking of his peculiarities and merits, and the advance which he gave to his art, to throw the whole of his labours into one mass together.

Born and educated in an inferior rank of life, he enjoyed the advantage of learning by direct experience the modes of living among the industrious portion of the community - the so-called Bourgeois class - and of acquiring the talent of imitating low modes of expression. At an after period, when Louis XIV. took him into his service, he had opportunities, though from a subordinate station, of narrowly observing the court. He was an actor, and, it would appear, of peculiar power in overcharged and farcical comic parts; so little was he possessed with prejudices of personal dignity, that he renounced all the conditions by which it was accompanied, and was ever ready to deal out, or to receive the blows which were then so frequent on the stage. Nay, his mimetic zeal went so far, that, actually sick, he acted and drew his last breath in representing his
Imaginary Invalid ( Le Malade Imaginaire ), and became, in the truest sense, a martyr to the laughter of others. His business was to invent all manner of pleasant entertainments for the court, and to provoke "the greatest monarch of the world" to laughter, by way of relaxation from his state affairs or warlike undertakings. One would think, on the triumphant return from a glorious campaign, this might have been accomplished with more refinement than by the representation of the disgusting state of an imaginary invalid. But Louis XIV. was not so fastidious; he was very well content with the buffoon whom he protected, and even occasionally exhibited his own elevated person in the dances of his ballets. This external position of Molière was the cause why many of his labours had their origin as mere occasional pieces in the commands of the court. And, accordingly, they bear the stamp of that origin. Without travelling out of France, he had opportunities of becoming acquainted with the lazzis of the Italian comic masks on the Italian theatre at Paris, where improvisatory dialogues were intermixed with scenes written in French: in the Spanish comedies he studied the ingenious complications of intrigue: Plautus and Terence taught him the salt of the Attic wit, the genuine tone of comic maxims, and the nicer shades of character. All this he employed, with more or less success, in the exigency of the moment, and also in order to deck out his drama in a sprightly and variegated dress, made use of all manner of means, however foreign to his art: such as the allegorical opening scenes of the opera prologues, musical intermezzos, in which he even introduced Italian and Spanish national music, with texts in their own language; ballets, at one time sumptuous and at another grotesque; and even sometimes mere vaulting and capering. He knew how to turn everything to profit: the censure passed upon his pieces, the defects of rival actors imitated to the life by himself and his company, and even the embarrassment in not being able to produce a theatrical entertainment as quickly as it was required by the king, - all became for him a matter for amusement. The pieces he borrowed from the Spanish, his pastorals and tragi-comedies, calculated merely to please the eye, and also three or four of his earlier comedies, which are even versified, and consequently carefully laboured, the critics give up without more ado. But even in the farces, with or without ballets, and intermezzos, in which the overcharged, and frequently the self-conscious and arbitrary comic of buffoonery prevails, Molière has exhibited an inexhaustible store of excellent humour, scattered capital jokes with a lavish hand, and drawn the most amusing caricatures with a bold and vigorous pencil. All this, however, had been often done before his time; and I cannot see how, in this department, he can stand alone, as a creative and altogether original artist: for example, is Plautus' braggadocio soldier less meritorious in grotesque characterization than the Bourgeois Gentilhomme ? We shall immediately examine briefly whether Molière has actually improved the pieces which he borrowed, in whole or in part, from Plautus and Terence. When we bear in mind that in these Latin authors we have only a faint and faded copy of the new Attic Comedy, we shall then be enabled to judge whether he would have been able to surpass its masters had they come down to us. Many of his shifts and inventions, I am induced to suspect, are borrowed; and I am convinced that we should soon discover the sources, were we to search into the antiquities of farcical literature [Footnote: The learned Tiranoschi ( Storia della Letteratura Italiana , Lib. III. § 25) attests this in very strong language: "Molière," says he, "has made so much use of the Italian comic writers, that were we to take from him all that he has taken from others, the volumes of his comedies would be very much reduced in bulk."]. Others are so obvious, and have so often been both used and abused, that they may in some measure be considered as the common stock of Comedy. Such is the scene in the Malade Imaginaire , where the wife's love is put to the test by the supposed death of the husband - an old joke, which our Hans Sachs has handled drolly enough. [Footnote: I know not whether it has been already remarked, that the idea on which the Mariage Forcé is founded is borrowed from Rabelais; who makes Panurge enter upon the very same consultation as to his future marriage, and receive from Pantagruel just such a sceptical answer as Sganarelle does from the second philosopher.] We have an avowal of Molière's, which plainly shows he entertained no very great scruples of conscience on the sin of plagiarism. In the undignified relations amidst which he lived, and in which every thing was so much calculated for dazzling show, that his very name did not legally belong to him, we see less reason to wonder at all this.

And even when in his farcical pieces Molière did not lean on foreign invention, he still appropriated the comic manners of other countries, and more particularly the buffoonery of Italy. He wished to introduce a sort of masked character without masks, who should constantly recur with the same name. They did not, however, succeed in becoming properly domiciliated in France; because the flexible national character of the French, which so nimbly imitates every varying mode of the day, is incompatible