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

it, to plan scenes which the most skilful mechanist and scene-painter could scarcely exhibit to the eye; as for instance, in a Spanish play where sea-fights occur.] he left to the imagination to fill up the intervals agreeably to the speeches, and to conceive all the surrounding circumstances. This call on the fancy to supply the deficiencies supposes, indeed, not merely benevolent, but also intelligent spectators of a poetical tone of mind. That is the true illusion, when the spectators are so completely carried away by the impressions of the poetry and the acting, that they overlook the secondary matters, and forget the whole of the remaining objects around them. To lie morosely on the watch to detect every circumstance that may violate an apparent reality which, strictly speaking, can never be attained, is in fact a proof of inertness of imagination and an incapacity for mental illusion. This prosaical incredulity may be carried so far as to render it utterly impossible for the theatrical artists, who in every constitution of the theatre require many indulgences, to amuse the spectators by their productions; and thus they are, in the end, the enemies of their own enjoyment.

We now complain, and with justice, that in the acting of Shakspeare's pieces the too frequent change of scenes occasions an interruption. But the poet is here perfectly blameless. It ought to be known that the English plays of that time, as well as the Spanish, were printed without any mention of the scene and its changes. In Shakspeare the modern editors have inserted the scenical directions; and in doing so, they have proceeded with the most pedantic accuracy. Whoever has the management of the representation of a piece of Shakspeare's may, without any hesitation, strike out at once all such changes of scene as the following:-"Another room in the palace, another street, another part of the field of battle," &c. By these means alone, in most cases, the change of decorations will be reduced to a very moderate number.

Of the actor's art on a theatre which possessed so little external splendour as the old English, those who are in the habit of judging of the man from his dress will not be inclined to entertain a very favourable idea. I am induced, however, from this very circumstance, to draw quite a contrary conclusion: the want of attractions of an accessory nature renders it the more necessary to be careful in essentials. Several Englishmen [Footnote: See a Dialogue prefixed to the 11th volume of Dodsley's Old Plays .] have given it as their opinion, that the players of the first epoch were in all likelihood greatly superior to those of the second, at least with the exception of Garrick; and if we had no other proof, the quality of Shakspeare's pieces renders this extremely probable. That most of his principal characters require a great player is self-evident; the elevated and compressed style of his poetry cannot be understood without the most energetic and flexible delivery; besides, he often supposes between the speeches a mute action of great difficulty, for which he gives no directions. A poet who labours only and immediately for the stage will not rely for his main effect on traits which he must beforehand know will be lost in the representation from the unskilfulness of his interpreters. Shakspeare consequently would have been driven to lower the tone of his dramatic art, if he had not possessed excellent theatrical coadjutors. Of these, some have descended by name and fame even to our times. As for Shakspeare himself, since we are not fond of allowing any one man to possess two great talents in an equal degree, it has been assumed on very questionable grounds, that he was but an indifferent actor. [Footnote: No certain account has yet been obtained of any principal part played by Shakspeare in his own pieces. In Hamlet he played the Ghost; certainly a very important part, if we consider that from the failure in it, the whole piece runs a risk of appearing ridiculous. A writer of his time says in a satirical pamphlet, that the Ghost whined in a pitiful manner; and it has been concluded from this that Shakspeare was a bad player. What logic! On the restoration of the theatre under Charles II., a desire was felt of collecting traditions and information respecting the former period. Lowin, the original Hamlet, instructed Betterton as to the proper conception of the character. There was still alive a brother of Shakspeare, a decrepid old man, who had never had any literary cultivation, and whose memory was impaired by age. From him they could extract nothing, but that he had sometimes visited his brother in town, and once saw him play an old man with grey hair and beard. From the above description it was concluded that this must have been the faithful servant Adam in As You Like It , also a second- rate part. In most of Shakspeare's pieces we have not the slightest knowledge of the manner in which the parts were distributed. In two of Ben Jonson's pieces we see Shakspeare's name among the principal actors.] Hamlet's instructions, however, to the players prove at least that he was an excellent judge of acting. We know that correctness of conception and judgment are not always coupled with the power of execution; Shakspeare, however, possessed a very important and too frequently neglected requisite for serious acting, a beautiful and noble countenance. Neither is it probable that he could have been the manager of the most respectable theatre, had he not himself possessed the talent both of acting and guiding the histrionic talents of others. Ben Jonson, though a meritorious poet, could not even obtain the situation of a player, as he did not possess the requisite qualifications. From the passage cited from
Hamlet , from the burlesque tragedy of the mechanics in the Midsummer Night's Dream , and many other passages, it is evident that there was then an inundation of bad players, who fell into all the aberrations from propriety which offend at the present day, but the public, it would appear, knew well how to distinguish good and bad acting, and would not be easily satisfied. [Footnote: In this respect, the following simile in
Richard the Second is deserving of attention: -
As in a theatre the eyes of men,
After a well-graced actor leaves the stage,
Are idly bent on him that enters next,
Thinking his prattle to be tedious, &c.]

A thorough critical knowledge of the antiquities of the English theatre can only he obtained in England; the old editions of the pieces which belong to the earlier period are even there extremely rare, and in foreign libraries they are never to be met with; the modern collectors have merely been able to give a few specimens, and not the whole store. It would be highly important to see together all the plays which were undoubtedly in existence before Shakspeare entered on his career, that we might be able to decide with certainty how much of the dramatic art it was possible for him to learn from others. The year of the appearance of a piece on the stage is generally, however, difficult to ascertain, as it was often not printed till long afterwards. If in the labours of Shakspeare's contemporaries, even the older who continued to write at the same time with himself, we can discover resemblances to his style and traces of his art, still it will always remain doubtful whether we are to consider these as the feeble model, or the imperfect imitation. Shakspeare appears to have had all the flexibility of mind, and all the modesty of Raphael, who, also, without ever being an imitator and becoming unfaithful to his sublime and tranquil genius, applied to his own advantage all the improvements of his competitors.

A few feeble attempts to introduce the form of the antique tragedy with choruses, &c., were at an early period made, and praised, without producing any effect. They, like most of the attempts of the moderns in this way, serve to prove how strange were the spectacles through which the old poets were viewed; for it is hardly to be conceived how unlike they are to the Greek tragedies, not merely in merit (for that we may easily suppose), but even in those external circumstances which may be the most easily seized and imitated. Ferrex and Porrex, or the Tragedy of Gorboduc , is most frequently cited, which was the production of a nobleman [Footnote: Thomas Sackville, Lord Buckhurst, conjointly with Norton. - F.D.], in the first part of the reign of Elizabeth. Pope bestows high praise on this piece, on account of its regularity, and laments that the contemporary poets did not follow in the same track; for thus he thought a classical theatre might have been formed in England. This opinion only proves that Pope (who, however, passes for a perfect judge of poetry,) had not even an idea of the first elements of Dramatic Art. Nothing can be more spiritless and inanimate, nor more drawling and monotonous in the language and the versification, than this Ferrex and Porrex ; and although the Unities of Place and Time are in no way observed, and a number of events are crowded into it, yet the scene is wholly destitute of movement: all that happens is previously announced by endless consultations, and afterwards stated in equally endless narratives. Mustapha , another unsuccessful work of a kindred description, and also by a great lord, [Footnote: Grevile, Lord Broke.] is a tedious web of all sorts of political subtleties; the choruses in particular are true treatises. However, of the innumerable maxims in rhyme, there are many which might well have a place in the later pieces of Corneille. Kyd, one of the predecessors of Ben Jonson, and mentioned by him in terms of praise, handled the Cornelia of Garnier. This may be called receiving an imitation of the ancients from the third or fourth hand.

The first serious piece calculated for popular effect is The Spanish Tragedy [by Thomas Kyd], so called from the scene of the story, and not from its being borrowed from a Spanish writer. It kept possession of the stage for a tolerable length of time, though it was often the subject of the ridicule and the parodies of succeeding poets. It usually happens that the public do not easily give up a predilection formed in their first warm susceptibility for the impressions of an art yet unknown to them, even after they have long been acquainted with better, nay, with excellent works. This piece is certainly full of puerilities; the author has ventured on the picture of violent situations and passions without suspecting his own want of power; the catastrophe, more especially, which in horror is intended to outstrip everything conceivable, is very sillily introduced, and produces merely a ludicrous effect. The whole is like the drawings of children, without the observance of proportion, and without steadiness of hand. With a great deal of bombast, the tone of the dialogue, however, has something natural, nay, even familiar, and in the change of scenes we perceive a light movement, which in some degree will account for the general applause received by this immature production.

Lilly and Marlow deserve to be noticed among the predecessors of Shakspeare. Lilly was a scholar, and laboured to introduce a stilted elegance into English prose, and in the tone of dialogue, with such success, that for a period he was the fashionable writer, and the court ladies even formed their conversation after the model of his
Euphues . His comedy in prose, Campaspe , is a warning example of the impossibility of ever constructing,