The German Classics of the Nineteenth and Twentieth Centuries, Volume 04. Коллектив авторов
feelings of our ancestors were symptoms of a fresh fulness of life; they were the marrow of action in reality as well as in fiction. Their plain and affectionate attachment to everything around them, handed down from their fathers, is by no means to be confounded with the obstreperous conceit of ages of mannerism, for they, out of vanity, introduce the fleeting modes and fashion of the day into art, because to them everything like noble simplicity seems boorish and rude. The latter impropriety is now abolished: but, on the other hand, our poets and artists, if they would hope for our approbation, must, like servants, wear the livery of distant centuries and foreign nations. We are everywhere at home except at home. We do ourselves the justice to allow that the present mode of dressing, forms of politeness, etc., are altogether unpoetical, and art is therefore obliged to beg, as an alms, a poetical costume from the antiquaries. To that simple way of thinking, which is merely attentive to the inward truth of the composition, without stumbling at anachronisms or other external inconsistencies, we cannot, alas! now return; but we must envy the poets to whom it offered itself; it allowed them a great breadth and freedom in the handling of their subject.
Many things in Shakespeare must be judged of according to the above principles, respecting the difference between the essential and the merely learned costume. They will also in their measure admit of an application to Calderon.
So much with respect to the spirit of the age in which Shakespeare lived, and his peculiar mental culture and knowledge. To me he appears a profound artist, and not a blind and wildly luxuriant genius. I consider, generally speaking, all that has been said on the subject a mere fable, a blind and extravagant error. In other arts the assertion refutes itself; for in them acquired knowledge is an indispensable condition of clever execution. But even in such poets as are usually given out as careless pupils of nature, devoid of art or school discipline, I have always found, on a nearer consideration of the works of real excellence they may have produced, even a high cultivation of the mental powers, practice in art, and views both worthy in themselves and maturely considered. This applies to Homer as well as to Dante. The activity of genius is, it is true, natural to it, and, in a certain sense, unconscious; and, consequently, the person who possesses it is not always at the moment able to render an account of the course which he may have pursued; but it by no means follows that the thinking power had not a great share in it. It is from the very rapidity and certainty of the mental process, from the utmost clearness of understanding, that thinking in a poet is not perceived as something abstracted, does not wear the appearance of reflex meditation. That notion of poetical inspiration, which many lyrical poets have brought into circulation, as if they were not in their senses, and, like Pythia when possessed by the divinity, delivered oracles unintelligible to themselves—this notion (a mere lyrical invention) is least of all applicable to dramatic composition, one of the most thoughtful productions of the human mind. It is admitted that Shakespeare has reflected, and deeply reflected, on character and passion, on the progress of events and human destinies, on the human constitution, on all the things and relations of the world; this is an admission which must be made, for one alone of thousands of his maxims would be a sufficient refutation of any who should attempt to deny it. So that it was only for the structure of his own pieces that he had no thought to spare? This he left to the dominion of chance, which blew together the atoms of Epicurus. But supposing that, devoid of any higher ambition to approve himself to judicious critics and posterity, and wanting in that love of art which longs for self-satisfaction in the perfection of its works, he had merely labored to please the unlettered crowd; still this very object alone and the pursuit of theatrical effect would have led him to bestow attention to the structure and adherence of his pieces. For does not the impression of a drama depend in an especial manner on the relation of the parts to one another? And, however beautiful a scene may be in itself, if yet it be at variance with what the spectators have been led to expect in its particular place, so as to destroy the interest which they had hitherto felt, will it not be at once reprobated by all who possess plain common sense and give themselves up to nature? The comic intermixtures may be considered merely as a sort of interlude, designed to relieve the straining of the mind after the stretch of the more serious parts, so long as no better purpose can be found in them; but in the progress of the main action, in the concatenation of the events, the poet must, if possible, display even more expenditure of thought than in the composition of individual character and situations, otherwise he would be like the conductor of a puppet-show who has so entangled his wires that the puppets receive from their mechanism quite different movements from those which he actually intended.
The English critics are unanimous in their praise of the truth and uniform consistency of his characters, of his heartrending pathos, and his comic wit. Moreover, they extol the beauty and sublimity of his separate descriptions, images, and expressions. This last is the most superficial and cheap mode of criticising works of art. Johnson compares him who should endeavor to recommend this poet by passages unconnectedly torn from his works, to the pedant in Hierocles, who exhibited a brick as a sample of his house. And yet how little, and how very unsatisfactorily does he himself speak of the pieces considered as a whole! Let any man, for instance, bring together the short characters which he gives at the close of each play, and see if the aggregate will amount to that sum of admiration which he himself, at his outset, has stated as the correct standard for the appreciation of the poet. It was, generally speaking, the prevailing tendency of the time which preceded our own, and which has showed itself particularly in physical science, to consider everything having life as a mere accumulation of dead parts, to separate what exists only in connection and cannot otherwise be conceived, instead of penetrating to the central point and viewing all the parts as so many irradiations from it. Hence nothing is so rare as a critic who can elevate himself to the comprehensive contemplation of a work of art. Shakespeare's compositions, from the very depth of purpose displayed in them, have been especially liable to the misfortune of being misunderstood. Besides, this prosaic species of criticism requires always that the poetic form should be applied to the details of execution; but when the plan of the piece is concerned, it never looks for more than the logical connection of causes and effects, or some partial and trite moral by way of application; and all that cannot be reconciled therewith is declared superfluous, or even a pernicious appendage. On these principles we must even strike out from the Greek tragedies most of the choral songs, which also contribute nothing to the development of the action, but are merely an harmonious echo of the impressions the poet aims at conveying. In this they altogether mistake the rights of poetry and the nature of the romantic drama, which, for the very reason that it is and ought to be picturesque, requires richer accompaniments and contrasts for its main groups. In all Art and Poetry, but more especially in the romantic, the Fancy lays claims to be considered as an independent mental power governed according to its own laws.
In an essay on Romeo and Juliet,24 written a number of years ago, I went through the whole of the scenes in their order and demonstrated the inward necessity of each with reference to the whole; I showed why such a particular circle of characters and relations was placed around the two lovers; I explained the signification of the mirth here and there scattered, and justified the use of the occasional heightening given to the poetical colors. From all this it seemed to follow unquestionably that, with the exception of a few criticisms, now become unintelligible or foreign to the present taste (imitations of the tone of society of that day), nothing could be taken away, nothing added, nothing otherwise arranged, without mutilating and disfiguring the perfect work. I would readily undertake to do the same for all the pieces of Shakespeare's maturer years, but to do this would require a separate book. Here I am reduced to confine my observations to tracing his great designs with a rapid pencil; but still I must previously be allowed to deliver my sentiments in a general manner on the subject of his most eminent peculiarities.
Shakespeare's knowledge of mankind has become proverbial: in this his superiority is so great that he has justly been called the master of the human heart. A readiness to remark the mind's fainter and involuntary utterances, and the power to express with certainty the meaning of these signs, as determined by experience and reflection, constitute "the observer of men;" but tacitly to draw from these still further conclusions and to arrange the separate observations according to grounds of probability into a just and valid combination—this, it may be said, is to know men. The distinguishing property of the dramatic poet who is great in characterization, is something altogether different here, and which, take
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