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

be desired by the dramatic poet. In conversation they took pleasure in quick and unexpected answers; and the witty sally passed rapidly like a ball from mouth to mouth, till the merry game could no longer be kept up. This, and the abuse of the play on words, (of which King James was himself very fond, and we need not therefore wonder at the universality of the mode,) may, doubtless, be considered as instances of a bad taste; but to take them for symptoms of rudeness and barbarity, is not less absurd than to infer the poverty of a people from their luxurious extravagance. These strained repartees are frequently employed by Shakspeare, with the view of painting the actual tone of the society in his day; it does not, however, follow, that they met with his approbation; on the contrary, it clearly appears that he held them in derision. Hamlet says, in the scene with the Gravedigger, "By the Lord, Horatio, these three years I have taken note of it: the age is grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe." And Lorenzo, in the
Merchant of Venice , alluding to Launcelot:

O dear discretion, how his words are suited!
The fool hath planted in his memory
An army of good words: and I do know
A many fools, that stand in better place,
Garnish'd like him, that for a tricksy word.
Defy the matter.

Besides, Shakspeare, in a thousand places, lays great and marked stress on correct and refined tone of society, and lashes every deviation from it, whether of boorishness or affected foppery; not only does he give admirable discourses on it, but he represents it in all its shades and modifications by rank, age, or sex. What foundation is there, then, for the alleged barbarity of his age? Its offences against propriety? But if this is to be admitted as a test, then the ages of Pericles and Augustus must also be described as rude and uncultivated; for Aristophanes and Horace, who both were considered as models of urbanity, display, at times, the coarsest indelicacy. On this subject, the diversity in the moral feeling of ages depends on other causes. Shakspeare, it is true, sometimes introduces us to improper company; at others, he suffers ambiguous expressions to escape in the presence of women, and even from women themselves. This species of petulance was probably not then unusual. He certainly did not indulge in it merely to please the multitude, for in many of his pieces there is not the slightest trace of this sort to be found: and in what virgin purity are many of his female parts worked out! When we see the liberties taken by other dramatic poets in England in his time, and even much later, we must account him comparatively chaste and moral. Neither must we overlook certain circumstances in the existing state of the theatre. The female parts were not acted by women, but by boys; and no person of the fair sex appeared in the theatre without a mask. Under such a carnival disguise, much might be heard by them, and much might be ventured to be said in their presence, which in other circumstances would have been absolutely improper. It is certainly to be wished that decency should be observed on all public occasions, and consequently also on the stage. But even in this it is possible to go too far. That carping censoriousness which scents out impurity in every bold sally, is, at best, but an ambiguous criterion of purity of morals; and beneath this hypocritical guise there often lurks the consciousness of an impure imagination. The determination to tolerate nothing which has the least reference to the sensual relation between the sexes, may be carried to a pitch extremely oppressive to a dramatic poet, and highly prejudicial to the boldness and freedom of his compositions. If such considerations were to be attended to, many of the happiest parts of Shakspeare's plays, for example, in Measure for Measure , and All's Well that Ends Well , which, nevertheless, are handled with a due regard to decency, must be set aside as sinning against this would-be propriety.

Had no other monument of the age of Elizabeth come down to us than the works of Shakspeare, I should, from them alone, have formed the most favourable idea of its state of social culture and enlightenment. When those who look through such strange spectacles as to see nothing in them but rudeness and barbarity cannot deny what I have now historically proved, they are usually driven to this last resource, and demand, "What has Shakspeare to do with the mental culture of his age? He had no share in it. Born in an inferior rank, ignorant and uneducated, he passed his life in low society, and laboured to please a vulgar audience for his bread, without ever dreaming of fame or posterity."

In all this there is not a single word of truth, though it has been repeated a thousand times. It is true we know very little of the poet's life; and what we do know consists for the most part of raked-up and chiefly suspicious anecdotes, of such a description nearly as those which are told at inns to inquisitive strangers, who visit the birthplace or neighbourhood of a celebrated man. Within a very recent period some original documents have been brought to light, and among them his will, which give us a peep into his family concerns. It betrays more than ordinary deficiency of critical acumen in Shakspeare's commentators, that none of them, so far as we know, have ever thought of availing themselves of his sonnets for tracing the circumstances of his life. These sonnets paint most unequivocally the actual situation and sentiments of the poet; they make us acquainted with the passions of the man; they even contain remarkable confessions of his youthful errors. Shakspeare's father was a man of property, whose ancestors had held the office of alderman and bailiff in Stratford, and in a diploma from the Heralds' Office for the renewal or confirmation of his coat of arms, he is styled gentleman . Our poet, the oldest son but third child, could not, it is true, receive an academical education, as he married when hardly eighteen, probably from mere family considerations. This retired and unnoticed life he continued to lead but a few years; and he was either enticed to London from wearisomeness of his situation, or banished from home, as it is said, in consequence of his irregularities. There he assumed the profession of a player, which he considered at first as a degradation, principally, perhaps, because of the wild excesses [Footnote: In one of his sonnets he says:
O, for my sake do you with fortune chide,
The guilty goddess of my harmless deeds,
That did not better for my life provide,
Than public means which public manners breeds . And in the following: -
Your love and pity doth the impression fill,
Which vulgar scandal stamp'd upon my brow.] into which he was seduced by the example of his comrades. It is extremely probable, that the poetical fame which in the progress of his career he afterwards acquired, greatly contributed to ennoble the stage, and to bring the player's profession into better repute. Even at a very early age he endeavoured to distinguish himself as a poet in other walks than those of the stage, as is proved by his juvenile poems of Adonis and Lucrece . He quickly rose to be a sharer or joint proprietor, and also manager of the theatre for which he wrote. That he was not admitted to the society of persons of distinction is altogether incredible. Not to mention many others, he found a liberal friend and kind patron in the Earl of Southampton, the friend of the unfortunate Essex. His pieces were not only the delight of the great public, but also in great favour at court: the two monarchs under whose reigns he wrote were, according to the testimony of a contemporary, quite "taken" with him [Footnote: Ben Jonson: -
And make those flights upon the banks of Thames,
That so did take Eliza and our James!]. Many were acted at court; and Elizabeth appears herself to have commanded the writing of more than one to be acted at her court festivals. King James, it is well known, honoured Shakspeare so far as to write to him with his own hand. All this looks very unlike either contempt or banishment into the obscurity of a low circle. By his labours as a poet, player, and stage-manager, Shakspeare acquired a considerable property, which, in the last years of his too short life, he enjoyed in his native town in retirement and in the society of a beloved daughter. Immediately after his death a monument was erected over his grave, which may be considered sumptuous for those times.

In the midst of such brilliant success, and with such distinguished proofs of respect and honour from his contemporaries, it would be singular indeed if Shakspeare, notwithstanding the modesty of a great mind, which he certainly possessed in a peculiar degree, should never have dreamed of posthumous fame. As a profound thinker he had pretty accurately taken the measure of the circle of human capabilities, and he could say to himself with confidence, that many of his productions would not easily be surpassed. What foundation then is there for the contrary assertion, which would degrade the immortal artist to the situation of a daily labourer for a rude multitude? - Merely this, that he himself published no edition of his whole works. We do not reflect that a poet, always accustomed to labour immediately for the stage, who has often enjoyed the triumph of overpowering assembled crowds of spectators, and drawing from them the most tumultuous applause, who the while was not dependent on the caprice of crotchety stage directors, but left to his own discretion to select and determine the mode of theatrical representation, naturally cares much less for the closet of the solitary reader. During the first formation of a national theatre, more especially, we find frequent examples of such indifference. Of the almost innumerable pieces of Lope de Vega, many undoubtedly were never printed, and are consequently lost; and Cervantes did not print his earlier dramas, though he certainly boasts of them as meritorious works. As Shakspeare, on his retiring from the theatre, left his manuscripts behind with his fellow-managers, he may have relied on theatrical tradition for handing them down to posterity, which would indeed have been sufficient for that purpose if the closing of the theatres, under the tyrannical intolerance of the Puritans, had not interrupted the natural order of things. We know, besides, that the poets used then to sell the exclusive copyright of their pieces to the theatre [Footnote: This is perhaps not uncommon still in some countries. The Venetian Director Medebach, for whose company many of Goldoni's Comedies were composed, claimed an exclusive right to them. - TRANS.]: it is therefore not improbable that the right of property in his unprinted pieces was no longer vested in Shakspeare, or had not at least yet reverted to him. His fellow-managers entered on the publication seven years after his death (which probably cut short his own intention,) as it would appear on their own account and for their own advantage.


LECTURE XXIII.

Ignorance or Learning of Shakspeare - Costume as observed by Shakspeare, and how far necessary, or may be dispensed with in the Drama - Shakspeare the greatest drawer of Character