A Life of William Shakespeare Part 25

During the last half-century textual, aesthetic, and biographical criticism has been pursued in Germany with unflagging industry and energy; and although laboured and supersubtle theorising characterises much German aesthetic criticism, its ma.s.s and variety testify to the impressiveness of the appeal that Shakespeare's work has made to the German intellect. The efforts to stem the current of Shakespearean worship made by the realistic critic, Gustav Rumelin, in his 'Shakespearestudien' (Stuttgart, 1866), and subsequently by the dramatist, J. R. Benedix, in 'Die Shakespearomanie' (Stuttgart, 1873, 8vo), proved of no effect. In studies of the text and metre Nikolaus Delius (1813-1888) should, among recent German writers, be accorded the first place; in studies of the biography and stage history Friedrich Karl Elze (1821-1889); in aesthetic studies Friedrich Alexander Theodor Kreyssig (1818-1879), author of 'Vorlesungen uber Shakespeare' (Berlin, 1858 and 1874), and 'Shakespeare-Fragen' (Leipzig, 1871). Ulrici's 'Shakespeare's Dramatic Art' (first published at Halle in 1839) and Gervinus's Commentaries (first published at Leipzig in 1848-9), both of which are familiar in English translations, are suggestive but unconvincing aesthetic interpretations. The German Shakespeare Society, which was founded at Weimar in 1865, has published thirty-four year-books (edited successively by von Bodenstedt, Delius, Elze, and F. A. Leo); each contains useful contributions to Shakespearean study.

On the German stage.

Shakespeare has been no less effectually nationalised on the German stage. The three great actors--Frederick Ulrich Ludwig Schroeder (1744-1816) of Hamburg, Ludwig Devrient (1784-1832), and his nephew Gustav Emil Devrient (1803-1872)--largely derived their fame from their successful a.s.sumptions of Shakespearean characters. Another of Ludwig Devrient's nephews, Eduard (1801-1877), also an actor, prepared, with his son Otto, an acting German edition (Leipzig, 1873 and following years).

An acting edition by Wilhelm Oechelhaeuser appeared previously at Berlin in 1871. Twenty-eight of the thirty-seven plays a.s.signed to Shakespeare are now on recognised lists of German acting plays, including all the histories. {346a} In 1895 as many as 706 performances of twenty-five of Shakespeare's plays were given in German theatres. {346b} In 1896 no fewer than 910 performances were given of twenty-three plays. In 1897 performances of twenty-four plays reached a total of 930--an average of nearly three Shakespearean representations a day in the German-speaking districts of Europe. {347} It is not only in capitals like Berlin and Vienna that the representations are frequent and popular. In towns like Altona, Breslau, Frankfort-on-the-Maine, Hamburg, Magdeburg, and Rostock, Shakespeare is acted constantly and the greater number of his dramas is regularly kept in rehearsal. 'Oth.e.l.lo,' 'Hamlet,' 'Romeo and Juliet,'

and 'The Taming of the Shrew' usually prove most attractive. Of the many German musical composers who have worked on Shakespearean themes, Mendelssohn (in 'Midsummer Night's Dream'), Schumann, and Franz Schubert (in setting separate songs) have achieved the greatest success.

In France. Voltaire's strictures.

In France Shakespeare won recognition after a longer struggle than in Germany. Cyrano de Bergerac (1619-1655) plagiarised 'Cymbeline,'

'Hamlet,' and 'The Merchant of Venice' in his 'Agrippina.' About 1680 Nicolas Clement, Louis XIV's librarian, allowed Shakespeare imagination, natural thoughts, and ingenious expression, but deplored his obscenity.

{348a} Half a century elapsed before public attention in France was again directed to Shakespeare. {348b} The Abbe Prevost, in his periodical 'Le Pour et Contre' (1733 et seq.), acknowledged his power.

But it is to Voltaire that his countrymen owe, as he himself boasted, their first effective introduction to Shakespeare. Voltaire studied Shakespeare thoroughly on his visit to England between 1726 and 1729, and his influence is visible in his own dramas. In his 'Lettres Philosophiques' (1731), afterwards reissued as 'Lettres sur les Anglais,'

1734 (Nos. xviii. and xix.), and in his 'Lettre sur la Tragedie' (1731), he expressed admiration for Shakespeare's genius, but attacked his want of taste and art. He described him as 'le Corneille de Londres, grand fou d'ailleurs mais il a des morceaux admirables.' Writing to the Abbe des Fontaines in November 1735, Voltaire admitted many merits in 'Julius Caesar,' on which he published 'Observations' in 1764. Johnson replied to Voltaire's general criticism in the preface to his edition (1765), and Mrs. Elizabeth Montagu in 1769 in a separate volume, which was translated into French in 1777. Diderot made, in his 'Encylopedie,' the first stand in France against the Voltairean position, and increased opportunities of studying Shakespeare's works increased the poet's vogue. Twelve plays were translated in De la Place's 'Theatre Anglais' (1745-8).

Jean-Francois Ducis (1733-1816) adapted without much insight six plays for the French stage, beginning in 1769 with 'Hamlet,' his version of which was acted with applause. In 1776 Pierre Le Tourneur began a bad prose translation (completed in 1782) of all Shakespeare's plays, and declared him to be 'the G.o.d of the theatre.' Voltaire protested against this estimate in a new remonstrance consisting of two letters, of which the first was read before the French Academy on August 25, 1776. Here Shakespeare was described as a barbarian, whose works--'a huge dunghill'--concealed some pearls.

French critics' gradual emanc.i.p.ation from Voltairean influence.

Although Voltaire's censure was rejected by the majority of later French critics, it expressed a sentiment born of the genius of the nation, and made an impression that was only gradually effaced. Marmontel, La Harpe, Marie-Joseph Chenier, and Chateaubriand, in his 'Essai sur Shakespeare,'

1801, inclined to Voltaire's view; but Madame de Stael wrote effectively on the other side in her 'De la Litterature, 1804 (i. caps. 13, 14, ii.

5.) 'At this day,' wrote Wordsworth in 1815, 'the French critics have abated nothing of their aversion to "this darling of our nation." "The English with their bouffon de Shakespeare" is as familiar an expression among them as in the time of Voltaire. Baron Grimm is the only French writer who seems to have perceived his infinite superiority to the first names of the French theatre; an advantage which the Parisian critic owed to his German blood and German education.' {350a} The revision of Le Tourneur's translation by Francois Guizot and A. Pichot in 1821 gave Shakespeare a fresh advantage. Paul Duport, in 'Essais Litteraires sur Shakespeare' (Paris, 1828, 2 vols.), was the last French critic of repute to repeat Voltaire's censure unreservedly. Guizot, in his discourse 'Sur la Vie et les OEuvres de Shakespeare' (reprinted separately from the translation of 1821), as well as in his 'Shakespeare et son Temps'

(1852), Villemain in a general essay, {350b} and Barante in a study of 'Hamlet,' {350c} acknowledge the mightiness of Shakespeare's genius with comparatively few qualifications. Other complete translations followed--by Francisque Michel (1839), by Benjamin Laroche (1851), and by Emil Montegut (1867), but the best is that in prose by Francois Victor Hugo (1859-66), whose father, Victor Hugo the poet, published a rhapsodical eulogy in 1864. Alfred Mezieres's 'Shakespeare, ses OEuvres et ses Critiques' (Paris, 1860), is a saner appreciation.

On the French stage.

Meanwhile 'Hamlet' and 'Macbeth,' 'Oth.e.l.lo,' and a few other Shakespearean plays, became stock pieces on the French stage. A powerful impetus to theatrical representation of Shakespeare in France was given by the performance in Paris of the chief plays by a strong company of English actors in the autumn of 1827. 'Hamlet' and 'Oth.e.l.lo' were acted successively by Charles Kemble and Macready; Edmund Kean appeared as Richard III, Oth.e.l.lo, and Shylock; Miss Smithson, who became the wife of Hector Berlioz the musician, filled the _roles_ of Ophelia, Juliet, Desdemona, Cordelia, and Portia. French critics were divided as to the merits of the performers, but most of them were enthusiastic in their commendations of the plays. {351a} Alfred de Vigny prepared a version of 'Oth.e.l.lo' for the Theatre-Francais in 1829 with eminent success. An adaptation of 'Hamlet' by Alexandre Dumas was first performed in 1847, and a rendering by the Chevalier de Chatelain (1864) was often repeated.

George Sand translated 'As You Like It' (Paris, 1856) for representation by the Comedie Francaise on April 12, 1856. 'Lady Macbeth' has been represented in recent years by Madame Sarah Bernhardt, and 'Hamlet' by M.

Mounet Sully of the Theatre-Francais. {351b} Four French musicians--Berlioz in his symphony of 'Romeo and Juliet,' Gounod in his opera of 'Romeo and Juliet,' Ambroise Thomas in his opera of 'Hamlet,'

and Saint-Saens in his opera of 'Henry VIII'--have sought with public approval to interpret musically portions of Shakespeare's work.

In Italy.

In Italy Shakespeare was little known before the present century. Such references as eighteenth-century Italian writers made to him were based on remarks by Voltaire. {352} The French adaptation of 'Hamlet' by Ducis was issued in Italian blank verse (Venice, 1774, 8vo). Complete translations of all the plays made direct from the English were issued by Michele Leoni in verse at Verona in 1819-22, and by Carlo Rusconi in prose at Padua in 1831 (new edit. Turin, 1858-9). 'Oth.e.l.lo' and 'Romeo and Juliet' have been very often translated into Italian separately. The Italian actors, Madame Ristori (as Lady Macbeth), Salvini (as Oth.e.l.lo), and Rossi rank among Shakespeare's most effective interpreters. Verdi's operas on Macbeth, Oth.e.l.lo, and Falstaff (the last two with libretti by Boito), manifest close and appreciative study of Shakespeare.

In Holland.

Two complete translations have been published in Dutch; one in prose by A. S. Kok (Amsterdam 1873-1880), the other in verse by Dr. L. A. J.

Burgersdijk (Leyden, 1884-8, 12 vols.)

In Russia.

In Eastern Europe, Shakespeare first became known through French and German translations. Into Russian 'Romeo and Juliet' was translated in 1772, 'Richard III' in 1783, and 'Julius Caesar' in 1786. Sumarakow translated Ducis' version of 'Hamlet' in 1784 for stage purposes, while the Empress Catherine II adapted the 'Merry Wives' and 'King John.'

Numerous versions of all the chief plays followed; and in 1865 there appeared at St. Petersburg the best translation in verse (direct from the English), by Nekrasow and Gerbel. A prose translation, by N. Ketzcher, begun in 1862, was completed in 1879. Gerbel issued a Russian translation of the 'Sonnets' in 1880, and many critical essays in the language, original or translated, have been published. Almost every play has been represented in Russian on the Russian stage. {353a}

In Poland.

A Polish version of 'Hamlet' was acted at Lemberg in 1797; and as many as sixteen plays now hold a recognised place among Polish acting plays. The standard Polish translation of Shakespeare's collected works appeared at Warsaw in 1875 (edited by the Polish poet Kraszewski), and is reckoned among the most successful renderings in a foreign tongue.

In Hungary.

In Hungary, Shakespeare's greatest works have since the beginning of the century been highly appreciated by students and by playgoers. A complete translation into Hungarian appeared at Kaschau in 1824. At the National Theatre at Budapest no fewer than twenty-two plays have been of late years included in the actors' repertory. {353b}

In other countries.

Other complete translations have been published in Bohemian (Prague 1874), in Swedish (Lund, 1847-1851), in Danish (1845-1850), and Finnish (Helsingfors, 1892-5). In Spanish a complete translation is in course of publication (Madrid, 1885 et seq.), and the eminent Spanish critic Menendez y Pelayo has set Shakespeare above Calderon. In Armenian, although only three plays ('Hamlet,' 'Romeo and Juliet,' and 'As You Like It') have been issued, the translation of the whole is ready for the press. Separate plays have appeared in Welsh, Portuguese, Friesic, Flemish, Servian, Roumanian, Maltese, Ukrainian, Wallachian, Croatian, modern Greek, Latin, Hebrew, and j.a.panese; while a few have been rendered into Bengali, Hindustani, Marathi, {354} Gujarati, Urdu, Kanarese, and other languages of India, and have been acted in native theatres.

XXI--GENERAL ESTIMATE

General estimate.

No estimate of Shakespeare's genius can be adequate. In knowledge of human character, in wealth of humour, in depth of pa.s.sion, in fertility of fancy, and in soundness of judgment, he has no rival. It is true of him, as of no other writer, that his language and versification adapt themselves to every phase of sentiment, and sound every note in the scale of felicity. Some defects are to be acknowledged, but they sink into insignificance when measured by the magnitude of his achievement. Sudden transitions, elliptical expressions, mixed metaphors, indefensible verbal quibbles, and fantastic conceits at times create an atmosphere of obscurity. The student is perplexed, too, by obsolete words and by some hopelessly corrupt readings. But when the whole of Shakespeare's vast work is scrutinised with due attention, the glow of his magination is seen to leave few pa.s.sages wholly unillumined. Some of his plots are hastily constructed and inconsistently developed, but the intensity of the interest with which he contrives to invest the personality of his heroes and heroines triumphs over halting or digressive treatment of the story in which they have their being. Although he was versed in the technicalities of stagecraft, he occasionally disregarded its elementary conditions. But the success of his presentments of human life and character depended little on his manipulation of theatrical machinery.

His una.s.sailable supremacy springs from the versatile working of his insight and intellect, by virtue of which his pen limned with unerring precision almost every gradation of thought and emotion that animates the living stage of the world.