No More Learning

Aldis Wright. The introductions contain the
safest guide as to authorities for the text, and the notes form a
complete apparatus criticus of the text. The variant and doublet
quartos whose texts differ too widely from the folio to allow of
collation in the notes are printed in full. If this edition errs at all,
it is in exhibiting too great a partiality for the quartos in the case
of the variant quarto plays, and in giving to modern (mostly futile)
conjectures too much valuable space in the notes, which might
have been better filled by recording the coincidences of the chief
editions with the folio or quarto text-small flaws in a work which
is a monument of editorial judgment and accurate scholarship,
as well as of careful typography.
1 Act I, so. 1, 24.


## p. 281 (#305) ############################################

APPENDIX
GENEALOGY OF THE TEXT OF RICHARD III
1
6
This play offers quite the most difficult problem in the criticism of Shake-
speare's text. It contains the variations usually found in the variant quarto
plays, but in far greater numbers (act 1, sc. 1, 13 lute F, love Qq; 26 see
F, spy Qq; 133 play F, prey Qq; 138 St John F, St Paul Qq; act 1,
sc. 2, 11 wounds Fholes Qq; 28 young F, poore Qq; 76 crimes F
euills Qq; 94 murd'rous F, bloudy Qa; 105 better F, fitter Qq; 175 brest Fi
bosom Qq; act 1, sc. 3, 5 eyes F, words Qq; 67 children F, kindred Qq; 125
spent F, spilt Qq; 147 soueraigne F, lawful Qa; 273 peace, peace F, have
done Qq; 305 muse why F, wonder Qq; act 1, sc. 4, 18 falling F, stumbling
Qq; 46 sowre Fi grim Qq; act 11, sc. 2, 46 nere changing night F, perpetuall
rest Qq etc. ).
The folio text seems to show that the editors not only introduced many
emendations but made some collation of the quarto copies.
(1) In act II, sc. 3, 43 ensuing dangers Qq Pursuing danger F, the catch-
word in the folio is ensuing. The editor therefore had the quarto text
before him, but altered it.
(2) In act 1, sc. 2, 19 to adders spiders toads
Or any creeping venom'd thing that lives Qq
to Wolves to Spiders toads etc. F,
The context plainly shows that the alteration has been made in the folio.
(3) Act 1, sc. 2, 212; act III, sc. 1, 190 Crosby Place Qq is altered to
Crosby House Fj. But in act 1, so. 3, 345 Crosby Place Qq Ff. Act 11, sc. 4,
35 perilous or perillous of Qq is altered to parlous F1; act III, so. 1, 154 F,
reads perillous as Qi Q2 Act 1, sc. 2, 27-28; act iv, so. 1, 76-77 As. . . As is
altered to More. . . then F. 137 slew Qq kill'd Ff; act 1, sc. 3, 119 slewest
Qq killd’st Ff. 282 princely Qq noble Ff; aot III, 8c. 4, 66 noble Qq princely
Ff. These examples point to systematic alteration, which was sometimes
omitted through oversight.
(4) Oaths and sacred names are, as usual, modified in the folio. But a
very unusual phenomenon is their presence in the folio, in some cases where
they are either omitted or toned down in the quartos (act 11, so. 3, 46 Marry
F, om. Qq; act 111, sc. 4, 99 God F, Heaven Qq). These must have come
from the other copy, from which the additional passages came.
(5) The coincidences between F, and Q, show that the first quarto was
used (act 1, sc. 1, 21 scarse Q. Q. F, om. the rest; act 1, sc. 2, 115 keen Q.
keene F, kind or kinde the rest; 206 devoted suppliant Qı devoted servant
F, suppliant the rest; act 1, sc. 3, 26 false accusers Q. Q. F, accusers the
rest; 178 faultless Q. Q. F, om. the rest; 246 poisonous Q. Fı poisoned the
rest; act 1, sc. 4, 139 purse Q. Q. Fı piece or peece the rest; act 11, sc. 4, 30
biting or byting Q, F, pretie, pretty, etc. the rest; act III, sc. 4, 45 sudden Fi
sodaine Qı soone the rest; 59 looks Q. F, face the rest; act 11, sc. 5, 42 form
Q. Q. F, course the rest; act iv, sc. 4, 25 Harry Q1 Q2 F, Mary the rest; 170
Thy prime of manhood daring bold and venturous Q. Q. F, om. the rest).
1
1
1
1
1
1
1
1
1
1


## p. 282 (#306) ############################################

282
Appendix to Chapter XI
1
(6) F, agrees with Q: in many cases in act wi and act v, showing that
Qs was probably collated for parts of the play (act 11, sc. 1, 63 seems Q1 Q2
thinkst Q: think’st F7; 78 all-ending Q. ending Q2 Q3 F2; 96 loving Q. Q:
noble Q3 F1; 97 dread Q. Q. deare Q. Fı; 120 heavy Q, waightie or weightie
Q2 Q3 Fı; act v, sc. 3, 351 helmes Q. Q2 helpes Q3 Fı; 255 sweate Q. Q. sweare
Q3 F1; 82 loving Q1 Q2 noble Q3 Fı; 125 deadly Q. om. Q2 Q3 F7; 222 see Q. Q.
heare Q: F7; 338, Fight Q. Q. Right Qs Fz; act v, sc. 5, 7 enjoy it Q1 Q2 om.
QF).
The omissions in the quarto text show that it was adapted for the stage
(act 1, sc. 2, 16; 25; 155-166; act 1, sc. 3, 116; 167-9; act 1, sc. 4, 36-37; 69-72;
84; 113-4; 166; 213; 257-260; 266; act 11, sc. 1, 25; 140; act 11, sc. 2, 16;
89-100; 123–140; act 11, 8C. 4, 67; act iii, sc. 1, 172-3; act III, sc. 3, 7-8; 15;
act III, sc. 4, 104-7; act 111, sc. 5, 7; 97; 103-5; act și, sc. 7, 8; 11; 24; 37;
98-99; 120; 127; 144-153; 202; 245; act iv, sc. 1, 2-6; 37; 98-104; act iv,
sc. 2, 2; act iv, sc. 4, 20-21; 28; 52–53; 103; 159; 172; 179; 221-234; 276-7;
288-342; 387; 400; 429; 432; 451; 523; act v, sc, 3, 27-8; 43). The text of
the first folio was probably drawn from a ury copy in the theatre, from
which the quarto text had been adapted. The omissions in it are (with one
exception) unimportant (act I, . 2, 202; 225; act 1, sc. 3, 114; act 1, sc. 4,
133–4; 147; 148; 185-6; 209; 234; act 11, sc. 2, 84-85; 145; act iii, sc. 3, 1;
act 111, sc. 4, 10; 60; act 111, sc. 7, 43-44; 83; 220; act iv, sc. 1, 19; act iv, sc. 2,
103-120; act iv, sc. 4, 39; sot v, sc. 3, 212–4).


## p. 283 (#307) ############################################

CHAPTER XII
SHAKESPEARE ON THE CONTINENT
It is a tribute to the force and originality of the Elizabethan
drama that, while still at its prime, it should have found its way
to the continent. The conditions of the time could hardly have
been less favourable for interest to be felt in English drama
outside England itself; for all continental opinion, or, at least, the
continental opinion that prided itself on the possession of good
taste, had fallen under the spell of the classic traditions of
the renascence, and, in poetry, irregularity and lack of clearness
were abhorred above all things. There was, thus, no possibility of
compromise between Shakespearean drama and the literary ideals
of Europe at the beginning of the seventeenth century. But, as
a matter of fact, English drama did not reach the continent by
way of literary channels at all. It was conveyed, not by books,
but by actors, and had little to do with literature in the strict
sense of that term.
Towards the end of the sixteenth century, and throughout the
seventeenth, English actors from time to time crossed the channel
and played in Dutch, German and Scandinavian towns, wandering
as far north as Copenhagen and Stockholm, as far east as Danzig,
Königsberg and Warsaw and as far south as Vienna and Innsbruck.
They took with them the masterpieces of Elizabethan drama in
garbled acting versions, the more garbled, undoubtedly, owing
to the fact that the foreign audiences before whom they played
came to see even more than to hear. From the evidence of the
répertoire lists, as well as from German versions of English plays,
we are able to say with certainty that, of Shakespeare's works,
Titus Andronicus, Hamlet, King Lear, Romeo and Juliet and
The Merchant of Venice were played in some form on the con-
tinent in the course of the seventeenth century; and it is highly
probable that this list may be increased by the addition of The
Comedy of Errors, A Midsummer Night's Dream (or, at least,
the comic interlude of that drama), The Taming of the Shrew,
.


## p. 284 (#308) ############################################

284
Shakespeare on the Continent
Othello and Julius Caesar. The success of these English com-
panies induced German actors to adopt their methods and to
translate their répertoire, and, in 1620, and again in 1630, there
appeared at Leipzig collections of German versions of the plays
which the Englische Comoedianten had in their list.
That English actors should also have tried their fortune in
France was natural, but we have only the vaguest references to
such visits; in 1604, an English troupe performed at Fontaine-
bleau, but it is impossible to say with what plays they attempted
to win the interest of the French court. In the absence of proof
and the still more significant absence of any knowledge of the
English drama on the part of French critics who had never visited
England, it seems probable that, in the metropolis of seventeenth
century culture, the main attractions on which English players
relied were acrobatic tricks and buffoonery.
In spite of the comparative popularity of Shakespeare's plays
in Germany in this early period, there is no evidence that the
English poet's name was known to any of his adapters or trans-
lators, or to any member of the public before whom the pieces
were acted. This, perhaps, is not surprising, so far as the crude
and vulgarised versions of the Comoedianten were concerned ;
but it is not unreasonable to expect that native dramatists, who
were eager enough to imitate the new English models, might have
evinced some curiosity with regard to the author or authors of
these models. This, however, was not the case; no trace of Shake-
speare's name is anywhere to be found. The only German of the
seventeenth century,' says Creizenach, 'who can be proved to have
taken an interest in the works of Shakespeare and his contem-
poraries was the elector Karl Ludwig of the Palatinate, who had
been in England in the years 1635—7. In his correspondence
'
with his sister, duchess Sophia of Hanover, he quotes from The
Merry Wives of Windsor, and she, in one of her letters, uses the
English words ‘he leads apes in hell,' which have been assumed
to refer to a passage in act II, sc. 1 of Much Ado about Nothing.
But even in this correspondence there is no mention of Shake-
speare's name.
The influence of Shakespeare on both the German and the Dutch
drama of the seventeenth century is, however, clearly demonstrable,
notwithstanding the lack of curiosity as to the name and person-
ality of the English poet. In the case of the oldest German
dramatist who imitated the methods of the Comoedianten, the
Nürnberg notary Jacob Ayrer, there are chronological difficulties


## p. 285 (#309) ############################################

Influence on German and Dutch Drama 285
in the way of describing this influence as Shakespearean ; the
resemblance which his Comedia von der schönen Sidea bears
to The Tempest, and his Schöne Phoenicia to Much Ado about
Nothing, seems to point rather to common sources than to
actual borrowing. It is, however, just possible that Shakespeare
obtained some knowledge of Sidea from English actors. In
any case, Ayrer did not stand on a much higher level than the
nameless German adapters, and it was hardly likely he should
have any greater curiosity as to the authorship of his models.
About a generation later, Andreas Gryphius based his comedy or,
rather, farce, Absurda comica, oder Herr Peter Squentz, on the
interlude of A Midsummer Night's Dream. The nature and
method of Gryphius's borrowing are still wrapped in mystery;
but it seems clear that his knowledge of the English comedy
was not immediate. He himself, if his statement is to be trusted,
obtained the materials for his Peter Squentz from the learned
Daniel Schwenter, professor at the university of Altdorf; but it
is not possible to say whether Schwenter actually knew Shake-
speare's work, or, as is more likely, became acquainted with
A Midsummer Night's Dream in a Dutch adaptation. Here
again, however, we find no mention of Shakespeare's name. Still
later, at the very end of the seventeenth century, Christian Weise,
a prolific writer of school dramas in Zittau, made a lengthy version
of The Taming of the Shrew, under the title Comödie von der
bösen Catherine, which goes back directly or indirectly to Shake-
speare. But he, too, is silent with regard to his source. The
hypothesis of a Dutch intermediary in the case of both Gryphius
and Weise receives some support from the fact that the two
comedies by Shakespeare which they adapted are also to be
found in Dutch seventeenth century literature. The Pyramus
and Thisbe episode from A Midsummer Night's Dream forms
the basis of Matthus Gramsbergen's Kluchtige Tragedie of den
Hartoog van Pierlepon (1650), and The Taming of the Shrew
was reproduced by A. Sybant in alexandrines as De dolle Bruyloft,
Bley-eyndend-Spel, in 1654.
A second period in the history of Shakespeare's fame and
influence outside England begins with the awakening of an in-
terest in the poet's name and personality. Jusserand has dis-
covered what is probably the earliest occurrence of the name
Shakespeare on the continent, in a manuscript entry in the
catalogue of the French king's library (1675—84) by the royal
librarian, Nicolas Clément. But the first printed mention of the


## p. 286 (#310) ############################################

286
Shakespeare on the Continent
name is to be found in a German book published in 1682, Unter-
richt von der Teutschen Sprache und Poesie, by the once famous
Polyhistor of Kiel, Daniel Georg Morhof. Three or four years
later, the name appears for the first time in a printed French
book. So far, however, it is merely a question of Shakespeare's
name and nothing more; and, for the next few years, the con-
tinent's knowledge of Shakespeare extended little beyond isolated
remarks copied from Temple’s Essay on Poetry, which had been
translated into French in 1693. The earliest biographical lexicon
which took notice of Shakespeare was Johann Franz Buddeus's
Allgemeines Historisches Lexicon (1709); and, from Buddeus, the
ludicrously inadequate notice-copied from that in Collier's His-
torical Dictionary (1701–21)passed into the various editions
of Johann Burckhard Mencke's Gelehrten-Lexicon (1715, 1725,
1733). Shakespeare, however, is not mentioned either in Bayle's
Dictionnaire historique et critique (1697, 1702, 1740), or in the
German translation of Bayle published by Gottsched and his
coterie in 1741–4; but Moréri made good the deficiency by
briefly mentioning him in the 1735 edition of his Supplément.
The chief factor in spreading a knowledge of English literature
on the continent at the end of the seventeenth, and beginning of
the eighteenth, centuries was the revocation of the edict of Nantes,
in 1685, which, by expelling the French Huguenots from France,
forced them to settle in Holland, England and Germany. Such of
these men as were interested in literature turned their attention
to the books of the people among whom they were thrown,
thus opening up avenues for the exchange of ideas between the
different nations of Europe, and placing at the very outset a cos-
mopolitan stamp on the thought and literature of the eighteenth
century. The printing presses of Holland were especially called
into requisition in this internationalising' process ; English
literature was reprinted and translated into French at Amster-
dam and the Hague; French journals, especially those published
in Holland, contained regular correspondence from abroad on
literary matters, and their example was soon followed by German
and Italian learned periodicals. It would have been strange had
Shakespeare not benefited by this interchange of ideas between
England and the continent, and his name—in strangely varying
orthography-occurs with increasing frequency in French periodi-
cals of the time. Addison's Spectator, of which the first French
translation was published at Amsterdam in 1714 (frequently
reprinted in succeeding years), although not fully elucidatory


## p. 287 (#311) ############################################

Voltaire and Shakespeare
287
a
about Shakespeare, was at least adapted to awaken curiosity;
the 'Dissertation sur la poésie anglaise,' published in Le Journal
littéraire, in 1717, helped materially; and Béat de Muralt had
also something to say of Shakespeare in his Lettres sur les
Anglois (1725). But all these beginnings were soon to be
eclipsed by Voltaire; and, with the appearance of that writer's
Lettres philosophiques (or Lettres sur les Anglais), in 1733, the
tentative period of Shakespeare's continental fame comes to a close.
Voltaire's attitude to Shakespeare is one of the most difficult
problems calling for notice in the present chapter. On the one
hand, there is no doubt that Voltaire did more than any other
writer of the eighteenth century to familiarise the continent with
Shakespeare ; on the other, it is exceedingly difficult to do justice
to his pioneer work, by reason of the foolish, and often flippant,
antagonism to the English poet which he developed in later years.
The tendency of recent writers on the subject has been to ascribe
too much in that antagonism to purely personal motives and
injured vanity, and to overlook the forces that lay behind Voltaire.
For, after all, it was hardly a personal matter at all ; it was the
last determined struggle of the classicism of the seventeenth
century, with its Cartesian lucidity and regularity, to assert itself
against new and insidious forces which were making themselves
felt in literature and criticism. It was Voltaire's lot to fight in
this losing battle to the bitter end; he was himself too much
immersed in the spirit of the seventeenth century to discover, like
his contemporary Lessing, a way of reconciling new ideas with the
old classic faith.
Voltaire came over to England in 1726 without any direct
knowledge of Shakespeare, but prepared, to some extent, by the
utterances of emigrant journalism, to find English tragedy not
merely in childish ignorance of the rules of polite literature, but,
also, barbarous and sanguinary. He was filled with curiosity,
however, and eager to learn. He had opportunities of seeing
Shakespeare's dramas on the English stage, he noted the enthu-
siasm of English audiences and—in spite of the inward protests
of his better 'taste'-- he himself shared in that enthusiasm for
the wayward errors of genius. Either because of the exceptional
opportunities he had of seeing Julius Caesar on the stage, or
because that play, owing to its classic analogies, was more ac-
cessible to a mind that had been nurtured on seventeenth century
tragedy, it appealed with special force to Voltaire. Possibly, an-
other reason for his interest in Julius Caesar was the fact that two


## p. 288 (#312) ############################################

288
Shakespeare on the Continent
writers of the time, the duke of Buckingham and the Italian abbé,
Antonio Conti (Il Cesare, 1726), had already shown the possibility
of adapting that tragedy to the regular' stage. However that
may be, Voltaire was convinced that the best means of conveying
some knowledge of the English form of tragedy to his countrymen
was by a Roman drama. He began by writing Brutus, which was
played towards the end of 1730, and published in the following
year with a lengthy preface addressed to his friend Bolingbroke.
Here, his earlier assertions about Shakespeare were repeated with
more emphasis and point. A more direct attempt to familiarise
France with Shakespeare was La Mort de César (published in
1735, but written in 1731), in which, within the space of three acts,
he reproduced the gist, and at least some of the glaring 'impro-
prieties,' of the Shakespearean tragedy. After Julius Caesar, the
play which seems to have attracted Voltaire most—his knowledge
of Shakespeare, it must be remembered, was exceedingly limited-
was Hamlet. And just as the crowd in the former play had a
peculiar fascination for him, so the ghost scenes in Hamlet
suggested to him another means of widening the conventions of
the pseudo-classic stage by what was, after all, a return to a
favourite element of the early renascence tragedy on the Senecan
model. He introduced a ghost into the unsuccessful tragedy
Ériphyle (1732), and, again, into Sémiramis (1748). It was the
latter that gave Lessing the opportunity for his famous criticism,
in which he proved what might surely have occurred to Voltaire
himself, that the introduction of the supernatural was inconsistent
with the canons of French classic art, and only possible in the
chiaroscuro of a naturalism untrammelled by artificial rules. In
his Zaïre (1733), Voltaire endeavoured to utilise Othello for the
purposes of classic tragedy; and, in Mahomet (1742), he laid some
scenes of Macbeth under contribution.
For a time, Voltaire had it almost entirely his own way with
regard to Shakespeare on the continent. He had awakened
. curiosity; and, henceforth, every one who crossed the channel -
Montesquieu among others—was expected to bring back with
him impressions of England's interesting poet. In prefaces to
his tragedies and in his correspondence, Voltaire rang the changes
on the views he had already expressed in his Lettres philo-
sophiques, with more or less piquant variety. These views were
familiar to the entire continent, and the periodical press, especially
in France and in Holland, felt obliged to take up a critical attitude
towards them, either refuting Voltaire's modest claims in the


## p.
289 (#313) ############################################

able
trek
ale
1-
ܫܓeli
French and Italian Interest in Shakespeare 289
interests of 'good taste,' or espousing Shakespeare's cause with
a warmth which awakened mixed feelings in Voltaire himself.
Voltaire's dramas, too, were played on all stages that made any
pretension to be in touch with literature; and, although the
author himself was by no means ready to acknowledge his in-
debtedness, his Mort de César was generally regarded as the one
accessible specimen of a Shakespearean tragedy.
Among French admirers of Shakespeare, however, there was
one, abbé Prévost, whose knowledge of England and the English
was more profound than Voltaire's and whose enthusiasm was
much less equivocal. He visited England in 1728; he wrote
of the English theatre with warm appreciation in his Memoirs;
and, in 1738, he devoted several numbers of his journal Le Pour
et Contre solely to Shakespeare, whom he discussed with a
freedom from classic prejudice to be found in no other conti.
nental writer at that time. But Prévost seems to have been a
little in advance of his age, and his views made little impression
compared with the interest shown everywhere in Voltaire's utter-
ances on the subject of English tragedy. Louis Riccoboni, however,
in his Réflexions historiques et critiques sur les différents Théâtres
de l'Europe (1738), a book that was widely read throughout the
continent, gave Shakespeare——in spite of a rather distorted account
of the poet's life--his place at the head of English dramatic
literature. Abbé Le Blanc devoted a number of his Lettres d'un
Français (1745) to Shakespeare; and, although his views are
essentially bounded by the pseudo-classic horizon, he at least, as
Jusserand has pointed out, attempted to do justice to the charm
of Shakespeare's style. Lastly, mention should be made of Louis
Racine, son of the poet, who, in an essay on his father's genius
(1752), vindicated the greatness of the classic drama by a com-
parison of Shakespeare with Sophocles.
In Italy, so far as the Italy of this period had any views
about Shakespeare at all, Voltaire's opinions dominated. Abbé
Conti's Cesare has already been mentioned, and, in the intro-
ductory epistles to that tragedy, he acknowledged his indebtedness,
through the duke of Buckingham, to the famous English poet
Sasper'; Scipione Maffei referred to Shakespeare in 1736, while
Francisco Quadrio, who first really introduced Shakespeare to
the Italians, merely repeated in his Della Storia e della Ragione
ď ogni Poesia (1739—52) what Voltaire had written. In Germany,
on the other hand, there were some attempts, if not to subvert, at
least to modify, the Voltairean dogma. In fact, Germany stole a
19
a
谢
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H
6
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​E. L. V.
CA. XII,


## p. 290 (#314) ############################################

290
Shakespeare on the Continent
march on France, in so far as she possessed, as early as 1741,
a real translation—the first translation of a Shakespearean drama
into any language-of Julius Caesar. The author, Caspar Wilhelm
von Borck, was Prussian ambassador in London between 1735 and
1738, and, doubtless, like Voltaire himself, experienced the piquant
charm of English representations of that tragedy. Possibly, the
translation may have been, in some measure, due to a desire on
Borck's part to show his countrymen that Voltaire's Mort de
César, in spite of its author's protestations, gave a very imperfect
idea of the original. But it is not to be supposed that, at heart,
Borck was at variance with the standard of dramatic excellence
set up by Voltaire, and he conformed to that standard by
translating Shakespeare into the German alexandrines which did
service for translations of Voltaire's tragedies. This version, Der
Tod des Julius Caesar, however, not merely gave men like
Lessing, and, doubtless, Herder also, their first glimpse of the
English poet, but it also led to the earliest German controversy
on Shakespeare's art. Johann Christoph Gottsched, the repre-
sentative of classicism in Germany at that time, asserted the
superior standpoint of Voltaire, with an intellectual arrogance be-
yond even that which distinguished the French critic's methods ;
but, in so doing, he awakened a certain respect for the 'drunken
savage' in one of his own disciples, Johann Elias Schlegel. This
young writer-Voltairean as he was-presumed to detect merits
in Shakespeare which, although admittedly at variance with the
requirements of French classicism, were at least justified by the
practices of a German dramatist of an older generation, Andreas
Gryphius. In Switzerland, about the same time, Johann Jakob
Bodmer instinctively felt that the 'Sasper' with whom his Italian
authorities had acquainted him, and whom he had found praised
in The Spectator, might be a useful ally in his controversy with
the Leipzig classicists concerning the legitimacy of the 'marvellous'
in poetry; but of Shakespeare's works, Bodmer, at this time, seems
to have known little or nothing.
A new development of the Shakespeare question on the con-
tinent began with the publication of the earliest French translation
of his works. In 1745, the year in which Le Blanc's letters ap-
peared, Pierre Antoine de La Place began his series of translations
of English plays by publishing two volumes containing Othello,
The Third Part of Henry VI, Richard III, Hamlet and Macbeth.
So acceptable were these volumes to the public that they were
followed by other two, containing Cymbeline, Julius Caesar,


## p. 291 (#315) ############################################

Translations of La Place 291
Antony and Cleopatra, Timon of Athens (according to Shadwell)
and The Merry Wives of Windsor. In but one case, however,
did he translate the entire play, namely Richard III; for the
rest, he was content to summarise in a connecting narrative what
seemed to him the less important scenes. He also gave an
abstract of the plots of twenty-six other Shakespearean plays.
Moreover, he prefaced his translation with an introduction on the
English stage, in which he expressed very liberal views on the
legitimacy of Shakespeare's art. This work attracted wide at-
tention, not merely in France, but on the continent generally,
and the Mémoires de Trévoux devoted no less than seven articles
to its discussion. In one respect, La Place's translation brought
about an immediate effect; it awakened Voltaire's resentment.
Always sensitive where his personal vanity was concerned, he was
hurt to the quick by the presumption of this unknown author,
who wrested from him his laurels as the European authority
on Shakespeare and the sole judge of how much the continent
ought to know of the barbarian poet, and—what was worse
who ventured to speak of Shakespeare in terms of praise which he,
Voltaire, regarded as dangerous. As a matter of fact, La Place's
translation helped materially to undermine Voltaire's authority as
a Shakespearean critic; henceforth, Voltaire fell more and more
into the background, and was looked upon, even in otherwise
friendly quarters, as cherishing an unreasonable prejudice against
the English poet. And, as the years advanced, his antagonism to
Shakespeare became increasingly embittered and violent.
A more liberal spirit—thanks, mainly, to the initiative of
Voltaire himself—was making itself felt in French criticism ; and,
from about the middle of the century onwards, there was an ap-
preciable body of educated opinion, especially among the younger
writers, which regarded Shakespeare in a favourable light, and
cherished the hope that his example might break the stiffening
bonds of the classic canon. The anglomanie which set in with
considerable force after the middle of the century, the frequent
visits to England of Frenchmen interested in literature, and the
fame of Garrick, who had many French friends and correspondents,
were all in favour of a sympathetic attitude towards Shakespeare, or,
at least, ensured that the controversy about him should be carried
on with some kind of mutual understanding. On the whole, however,
the French standpoint towards the English poet held its own in
these years, and the drawing together of the two countries had
resulted in a nearer approach of English criticism to that of France,
19-2


## p. 292 (#316) ############################################

292 Shakespeare on the Continent
6
rather than the reverse. Still, Frenchmen began now to study
the English theatre historically ; Le Nouveau Dictionnaire his-
torique (a supplement to Bayle) devoted, in 1756, no less than
six pages to an article on Shakespeare, and the authors of the
Encyclopédie mentioned him repeatedly. It was thus no wonder
that a few bold spirits had even the temerity to prefer Shake-
speare to Corneille. Such, at least, was the implication in an
anonymous article, professedly translated from the English, entitled
'Parallèle entre Shakespear et Corneille,' which appeared in Le
Journal Encyclopédique in 1760. This article, together with a
second one in which Otway was held up as superior to Racine,
offended Voltaire deeply; he felt that the honour of France must
be vindicated at all costs, and, in the following year, he launched
his Appel à toutes les Nations de l'Europe. This appeal' does
not appear, however, either then or in 1764, when it was re-
published under the pseudonym of 'Jérôme Carré,' to have
awakened any widespread desire among the nations to bring the
rival poets before a French tribunal of Voltaire's making.
Meanwhile, the sentimental movement, which set in in full
force with Rousseau, was distinctly favourable to Shakespeare's
reputation in France; Diderot felt the power of the 'Gothic
colossus' and expressed his views with that fervent emphasis
which was characteristic of him; and, in Sébastien Mercier, there
arose a critic of power and originality, whose influence was not
restricted to France. Mercier's treatise Du Théâtre, ou Nouvel
Essai sur l'Art dramatique (1773), in fact, put the entire Shake-
speare question in a new light; and, while Voltaire was still
fencing with Horace Walpole and others about La Place and
that translator's shortsighted policy in undermining good taste
by making the English ‘Gille de la foire' unnecessarily accessible
to French readers, another blow fell on him which kindled his
wrath anew. This was a new and much more ambitious translation
of Shakespeare by Pierre Félicien Le Tourneur; with this publica-
tion, the French appreciation of the poet entered upon a new
phase.
The first volume of Le Tourneur's work appeared in 1776; it is
a sumptuous quarto and opens with an imposing list of subscribers
headed by the king and queen. The quality of the translation-
which is in prose-is not of a very high order; but, compared
with that of La Place and other contemporary efforts, it marks a
very considerable advance. The introduction expatiates in no
measured terms on the greatness and universality of Shakespeare's


## p. 293 (#317) ############################################

Voltaire's Last Attacks on Shakespeare 293
genius, on his insight into the human heart and his marvellous
powers of painting nature. In this eulogy, Le Tourneur had not
omitted to mention as Shakespeare's equals the French masters of
the seventeenth century, Corneille, Racine and Molière ; but not a
word was said of the French theatre of the translator's own time.
Voltaire was not merely indignant at the disgrace to France
implied in placing Shakespeare on this pinnacle : he was incensed
that his own name should not even have been mentioned on the
French roll of dramatic fame. The Appeal to all the Nations
of Europe had failed; he felt he must now approach the custodian
1
of the nation's good name, the Academy. D'Alembert, secretary
of the Academy, was not unwilling to meet Voltaire's wishes; and
it was ultimately agreed that d'Alembert should read before a
public meeting a letter by Voltaire on the dangers of Shakespeare
to French taste. This actually took place on 25 August 1776.
The old battery was drawn up anew, and once more the untutored
mountebank was successfully routed ; d'Alembert's eloquent de-
livery of his friend's appeal to the good sense of France was
received with acclamation (broken only by an English boy of
twelve who wanted to hiss Voltaire). But to Voltaire even
this protest did not seem sufficient. A second letter followed on
7 October, and was published as the preface to his last tragedy,
Irène, the performance of which had been Voltaire's final triumph
in Paris. 'Shakespeare is a savage with sparks of genius which
shine in a horrible night. ' This was Voltaire's last word on the
Shakespeare controversy. As Jusserand finely remarks, he who,
all his life long, had been the champion of every kind of liberty
refused it to tragedy alone.
The dust raised by Voltaire's last skirmish was long in subsiding.
From England, naturally, came several protests : Mrs Montague,
who had been present at the meeting of the Academy when
Voltaire's letter was read, had her Essay on the Writings and
Genius of Shakespear (1764) translated into French, with a reply
to Voltaire; Giuseppe Baretti, an Italian residing in London, wrote
his Discours sur Shakespeare et M. Voltaire (1777); Lessing's
Hamburgische Dramaturgie was translated in the interests of
Voltaire's opponents, while La Harpe, on the other side, staunchly
upheld the classic faith. But nothing could now undo the effects of
the new force which had made itself felt in the French theatre, and
even dramatists of unimpeachable 'taste,' who abhorred irregulari-
ties, introduced elements—death on the stage, infringements of the
unities and the like-which pointed unmistakably to Shakespeare.
6


## p. 294 (#318) ############################################

294 Shakespeare on the Continent
In the later years of the eighteenth century, his plays were adapted
to the French stage by several hands and in many different ways;
but only one of these adapters need be mentioned here, Jean
François Ducis, who occupied Voltaire's seat in the Academy,
In his Hamlet (1769), Roméo et Juliette (1772), Le Roi Lear
(1783), Macbeth (1784), Jean sans Terre (1791) and Othello (1792),
Ducis succeeded in reconciling a very genuine enthusiasm for
Shakespeare with what now seems to us an extraordinary lack of
taste, in adapting him for presentation to the French theatre-goer.
He was himself, however, ignorant of English and obliged to draw
exclusively from French translations. But, in spite of these disad-
vantages, Ducis succeeded where no one had succeeded before
him: he made Shakespeare-mutilated, it may be, but still Shake-
speare-popular on the French and on the Italian stage; and it
was in the Othello of Ducis that Talma achieved one of his greatest
triumphs. However we may condemn these distorted adaptations,
we should at least remember to the credit of Ducis that his stage
versions of Shakespeare's plays outlived the French revolution,
were still popular under the first empire and were remembered
when Marie-Joseph Chénier's Brutus et Cassius (1790), a play that
may be described as the last attempt to reduce Julius Caesar to
the law and order of classic taste, was forgotten.
In the years when the French literary world was torn asunder
by controversies as to what should be admired and imitated in
Shakespeare, Germany was rapidly outdistancing France as the
real leader of continental appreciation of Shakespeare. A critic
had arisen here-a greater than Voltaire- who not merely made
Shakespeare a power of the first magnitude in his own literature,
but also discovered the formula which was to reconcile the un-
classic art of Shakespeare with the classic and humanitarian
strivings of the eighteenth century. This was Gotthold Ephraim
Lessing. We must, however, avoid the mistake of overestimating
either Lessing's services to the appreciation of Shakespeare in
Germany, or his originality in judging the English poet. It is
usual to scoff at the slender knowledge with which Voltaire pre-
sumed to pass judgment on Shakespeare ; but, so far as Lessing's
printed work is concerned, he, also, gave no proof of any intimate
familiarity with the poet's works. To begin with, there is no
doubt that, until at least the year 1753, Lessing's actual acquaint-
ance with Shakespeare was limited to Borck's translation of
Julius Caesar ; of critical judgments of Shakespeare he had read
nothing more authoritative than Voltaire's Lettres philosophiques,


## p. 295 (#319) ############################################

2
Lessing and Shakespeare 295
of which he had just translated and published in his journal,
Beiträge zur Historie und Aufnahme des Theaters, the two letters
on tragedy and comedy. From about the year 1753, however,
Germany made rapid strides in her knowledge of Shakespeare;
indeed, this was inevitable, considering how carefully Germans, in
these years, followed the opinions of French writers and the French
press. An article vigorously remonstrating against Gottsched's
standpoint appeared in Neue Erweiterungen der Erkenntnis und
des Vergnügens, in 1753, and was followed, three years later, by
a prose translation of Richard III; while, in 1755, Lessing's friend
and later colleague, Nicolai, boldly put in a plea for the irregu-
larity of the English stage in preference to the artificial regularity
of the French stage. Lessing was willing enough to subscribe
to these opinions and to echo them in his writings; his own
interest in the English theatre at this time, however, was directed
not to Shakespeare, but to the tragedy of common life’; and, when,
in the winter of 1756—7, he devoted himself seriously to the study
of tragedy and its aesthetic basis, it was to Aristotle and to
Sophocles he turned in the first instance. Lessing's acquaintance
with Shakespeare in the original seems to date from the year 1757,
and fragments of dramas which have been preserved from that
period bear testimony to the deep impression which Shakespeare
had then made upon him. By 1759, Lessing had arrived at two
conclusions of far-reaching significance with regard to the English
poet. Neither was altogether new; but they were both expressed
with a vigour and piquancy which at once riveted the attention
of his contemporaries. One of these was that the drama of
Shakespeare was akin to the German Volksdrama; and, on the
ground of this affinity, Lessing hoped that Germany might be
assisted to a national drama of her own by imitating Shakespeare.
The other conclusion, which was similar to opinions that were
being freely expressed by iconoclasts in France itself, was parti-
cularly attractive to the German literary world, weary as it was of
the tyranny of classicism : it was to the effect that Shakespeare, in
spite of his irregularities, was a greater and more Aristotelian poet
in other words, more akin to Sophocles—than the great Corneille.
‘After the Oedipus of Sophocles, no piece can have more power
over our passions than Othello, King Lear, Hamlet. These bold
assertions, which form a landmark in the history of German Shake-
speare appreciation, are to be found in number 17 of Briefe die
neueste Literatur betreffend, published on 16 February 1759.
With this famous letter, Lessing's significance as a pioneer of
a


## p. 296 (#320) ############################################

296 Shakespeare on the Continent
Shakespeare in Germany reaches its climax. After 1759, he
occasionally turned to Shakespeare to demonstrate a point of
dramatic theory, or to clinch an argument, or to discredit the
French ; in the Hamburgische Dramaturgie, which has disap-
pointingly little to say about Shakespeare, he insisted on Shake-
speare's mastery as a delineator of character, on his kinship with
the Greeks and on his essential observance of the Aristotelian canon;
not for a moment would Lessing have admitted that Aristotle was
a critic for all time because his theory of tragedy could be shown
to be equally applicable to Sophocles and Shakespeare; rather,
Shakespeare was a great poet because he could be proved to have
obeyed the Greek lawgiver instinctively. In his later years, how-
ever, Lessing--as his own Nathan der Weise shows—was, at heart,
more in sympathy with Voltaire's conception of tragedy than with
Shakespeare's. Leadership in matters of Shakespearean criticism
passed rapidly into other and younger hands.
A very few years after Lessing's famous letter, the Germans were
A
themselves in a position-and in a better position than their French
neighbours-to form some idea of the English poet. Between 1762
and 1766, appeared Christoph Martin Wieland's translation of
Shakespeare into prose. It was very far from being adequate; it
;;
was suggested, doubtless, in the first instance, by La Place's
French translations, and, like these, was in clumsy prose; but,
compared with what had preceded it in Germany-Borck's Caesar,
a few fragmentary specimens of Shakespeare's work in periodicals
and a bad iambic translation of Romeo and Juliet--it was an
achievement no less great than Le Tourneur's French translation
at a somewhat later date. And, in one respect, no subsequent
translation could vie with Wieland's, namely, in its immediate
influence upon German literature. Its faults are obvious enough ;
it is ludicrously clumsy, often ludicrously inaccurate. Wieland
was himself too good a Voltairean to extend a whole-hearted
sympathy to Shakespeare's irregularities and improprieties, and he
grasped at every straw which contemporary French criticism
or the notes of Pope and Warburton offered him, to vindicate
the superiority of classic taste. At the same time, his private
correspondence would seem to indicate that his feelings for Shake-
speare were considerably less straitlaced than his commentary
would imply. The consequences of the translation were more far-
reaching than Wieland had anticipated ; indeed, he, no less than
Lessing, was filled with dismay at the extravagances which followed
the introduction of Shakespeare to the German literary world-


## p. 297 (#321) ############################################

Shakespeare in the Sturm und Drang 297
perhaps this is even a reason why, in his Dramaturgie, Lessing
is reserved on the subject of Shakespeare. In that work, Lessing
had published a kindly recommendation of Wieland's translation ;
but, a few months earlier, another and more subversive critic,
Heinrich Wilhelm von Gerstenberg, under the stimulus of the new
ideas of genius propounded in England by Young and Home, had
made claims for Shakespeare of which Lessing could not have
approved.
The new generation was no longer, like the latter critic,
interested in 'Shakespeare the brother of Sophocles': 'Shake-
speare the voice of nature' was the new watchword. The young
writers of the German Sturm und Drang did not criticise at all;
they worshipped ; they sought to 'feel' Shakespeare, to grasp his
spirit. They had not patience to study his art, to learn how to
write from him, as Lessing had recommended them to do, when, in
the Dramaturgie, he had lectured his quondam friend Weisse on
the lessons to be learned from Richard III. The five letters on
Shakespeare in Heinrich Wilhelm von Gerstenberg's Briefe über
Merkwürdigkeiten der Literatur are, perhaps, the most important
contribution to continental Shakespearean criticism of the entire
eighteenth century. It is not that much real critical discrimination
is to be found in them; but Gerstenberg's whole attitude to Shake-
n
peare's works is new; he regards them as so many 'Gemälde der
sittlichen Natur'-as things that we have no more business to
question than we should question a tree or a landscape. Judged
purely as criticism, Gerstenberg's letters on Shakespeare could not
have carried much weight in circles unaffected by the Sturm und
Drang; but his ideas fell on fruitful ground in Herder's mind, and
Herder, stripping them of their excesses and extravagances, made
them acceptable even beyond the pale of the literary revolution. His
essay on Shakespeare was one of the chief constituents of the little
pamphlet entitled Von deutscher Art und Kunst (1773), with which
the new movement was ushered in. Herder had an advantage
over Gerstenberg in not approaching the subject in quite so naïve
a frame of mind; he had studied the Hamburgische Dramaturgie;
and, from 1769 to 1772, he had busied himself zealously with the
English poet. Unlike Lessing, who attempted unconditionally to
reconcile Shakespeare with the Aristotelian canon, Herder brought
his conception of historical evolution to bear on the Greek, and
on the English, drama; he showed that, while both Sophocles and
Shakespeare strove to attain the same end, they necessarily chose
very different ways; the historical conditions under which they


## p. 298 (#322) ############################################

298
Shakespeare on the Continent
worked were totally unlike. In this way, Herder sowed the seeds
of the German romantic criticism of a later date.
Meanwhile, however, the younger dramatists of the day were
moved to enthusiasm by Gerstenberg. Goethe expressed their
views in his perfervid oration Zum Schäkespears Tag ; Lenz, in
his Anmerkungen übers Theater, developed Gerstenberg's ideas;
and later critics joined hands with Sébastien Mercier. When
Wieland had led the way, the translating of Shakespeare became
more and more common; Christian Weisse, who has just been
mentioned, produced in 1768 his German version (in alexandrines)
of Richard III-or, rather, of Cibber's adaptation of Richard III
-and, in the same year, he converted Romeo and Juliet into
a 'tragedy of common life. ' Versions of Othello and Cymbeline by
other hands followed; while, in Vienna, Hamlet and Macbeth,
A Midsummer Night's Dream and The Merry Wives of Windsor,
were adapted to the stage with a freedom which rendered them
almost unrecognisable. In 1775—7, the naturalisation of Shake-
speare in Germany was advanced another important stage by
the publication of William Shakespear's Schauspiele, in twelve
volumes, by Johann Joachim Eschenburg, professor in the Caro-
linum at Brunswick and one of the most active workers of his
day in introducing English literature to the Germans. Eschen-
burg's Shakespear is a revised and completed edition of Wieland's
translation; but so thorough was the revision that it is practically
a new work.
The chief importance of the age of Sturm und Drang for the
history of Shakespeare on the continent lies in the fact that it led
to the permanent incorporation of his plays in the répertoire of the
German national stage. Wieland had made the earliest beginning,
by arranging a performance of The Tempest in Biberach in 1761;
but the most memorable date in this connection is 20 September
1776, when Germany's greatest actor, Friedrich Ludwig Schröder,
produced Hamlet in Hamburg, he himself playing-like Garrick in
England in 1741—the ghost. This was followed in the same year
by a production of Othello; in 1777, by The Merchant of Venice and
Measure for Measure; and, in 1778, by King Lear, Richard II
and Henry IV; Macbeth was produced in 1779 and Much Ado
about Nothing in 1792. The chief impression we obtain from
Schröder's Shakespeare versions nowadays is their inadequacy to
reproduce the poetry of the originals; but it would be unfair to
condemn them. Compared with the travesties of Ducis, a little
later, they are masterpieces of reverent translation. The fact


## p. 299 (#323) ############################################

11
Schröder's Adaptations. The Romantic School 299
must be recognised that the real Shakespeare, that is to say, the
Shakespeare Schlegel gave to Germany twenty years later, would
have been impossible on Schröder's stage; and it was Schröder's
unquestionable merit-just as it was that of Ducis in France-
that he realised clearly in what form Shakespeare could be made
palatable to the theatre-goers of his time. In fact, the extra-
ordinary success of Schröder's Shakespeare over the German
speaking continent from Hamburg to Vienna--in the latter city,
the performance of Lear on 13 April 1780 was again a landmark
in the history of the theatre—is the best justification of his method
of treating Shakespeare; and we have only to compare his work
with the versions in which, before his time, German theatres had
ventured to perform Shakespeare, to appreciate the magnitude
of Schröder's achievement. In these years, the English poet was
accepted by the Germans as one of the chief assets of their national
stage, and he has never since lost his commanding position in the
German répertoire.
There is little to record in the history of Shakespeare in
Germany between Schröder's first triumphs and the publication of
Shakespeare's works in what may be called their permanent and
final form, the translation of August Wilhelm Schlegel and his
fellow-workers. The starting-point for the preoccupation of the
romantic school with Shakespeare was the famous criticism of
Hamlet which Goethe put into the mouth of his hero in Wilhelm
Meister: Lehrjahre. The fine comparison of Hamlet to an oak-tree
in a costly jar kindled the new criticism as with an electric spark,
and contained implicitly, one might say, the whole romantic attitude
to Shakespeare. Like its predecessors of the Sturm und Drang,
the romantic school looked up to Shakespeare with unbounded
reverence; like them, it recognised the impossibility of applying
the old canons of a priori criticism ; but an advance is to be seen
in the fact that the members of the school were not satisfied with
mere open-eyed wonder: they endeavoured to interpret and under-
stand. In 1796, Ludwig Tieck made a prose version of The Tempest;
and, in the same year, August Wilhelm Schlegel published, in Schiller's
Horen, his essay Etwas über William Shakespeare bei Gelegenheit
Wilhelm Meisters, and also specimens of the new translation of
Shakespeare which, with the help of his gifted wife Caroline, he
had just begun. The translation itself, Shakespeare's Dramatische
Werke, übersetzt von August Wilhelm Schlegel, began to appear in
1797; and, between that year and 1801, eight volumes were
published containing the following dramas : Romeo and Juliet,
at
Tel
list
body
Trail
mike
ti
TE


## p. 300 (#324) ############################################

300 Shakespeare on the Continent
A Midsummer Night's Dream, Julius Caesar, Tuelfth Night, The
Tempest, Hamlet, The Merchant of Venice, As You Like It,
King John, Richard II, Henry IV, Henry V and Henry VI.
The ninth volume, Richard III, did not appear till 1810. With
this marvellous translation, which has been deservedly called the
greatest literary achievement of the romantic school, German
labours to naturalise the English poet, which had been going on
since 1741, reach their culmination. Whatever has been said to
impugn the accuracy and faithfulness of Schlegel's work, the fact
remains that no translation of Shakespeare can vie with this in the
exactitude with which the spirit and the poetic atmosphere of the
original have been reproduced; to Schlegel, in the main, belongs
the credit of having made Shakespeare the joint possession of two
nations. A word remains to be said about the attitude of Germany's
two greatest poets to Shakespeare at the turn of the century. The
period in Goethe's life which followed the publication of Wilhelm
Meister was not favourable to a sympathetic understanding of
Shakespeare, and Schiller was even less accessible. In the course
of their friendship, the two poets had arrived at a theory of classi-
cism, which, although less dominated by rules than the French
classicism of earlier times, was no less opposed to the irregularities
and subjectivity of Shakespeare's art; their attitude is to be seen
most clearly from the carefully pruned and polished versions of
Macbeth by Schiller, and Romeo and Juliet by Goethe, produced
in Weimar in 1800 and 1812 respectively. Goethe's own most de-
finite pronouncement on the subject of Shakespeare in these later
years was his essay entitled Shakespeare und kein Endel published
in 1815, a kind of apology for his adaptation of Romeo and Juliet.
The foregoing account of Shakespeare's gradual naturalisation
in Germany in the eighteenth century would be incomplete with-
out some indication of what Shakespeare meant for the develop-
ment of German literature itself. His influence in Germany from
Borck to Schlegel can hardly be exaggerated; and it may be said
without paradox that the entire efflorescence of German eigh-
teenth century literature would have been otherwise-have stood
much nearer to the main movement of European literature in that
century-had it not been for Shakespeare. It was he who
awakened the Germanic spirit in modern German literature and
pointed out to Germany how the traditions of the renascence poetics
might be abandoned; it was he who freed the intellectual growth of
northern Europe from the clogging presence of influences Latin in
their origin. With Lessing, Shakespeare first became a mighty force


## p. 301 (#325) ############################################

Influence on the French Romantic School
301
in Germany, and,with Goethe, whose Götz von Berlichingen appeared
in 1773, and the group of gifted playwrights who followed in Goethe's
footsteps, he brought the tyranny of the rules' in Germany to an
end. Wieland's translation, with all its defects, gave the German
theatre a new language and a new form of expression ; and, under
Shakespeare's guidance, the drama found its way into a romantic
fairy-world of which the French classic stage knew nothing—above
all, plays like Romeo and Juliet, Othello and The Merchant of
Venice first revealed to the Germans the poetic charm of Italy.
There was thus hardly a question round which controversy raged
in the German literature of the eighteenth century with which the
English poet was not in some way bound up.
If we turn to the nineteenth century, a certain analogy to the
influence of Shakespeare in Germany just discussed is to be found
in his influence on the French romantic school; in this period,
Shakespeare might be said to have deflected for a time the
literature of France from its normal development, or, at least,
from the development defined by the literary history of previous
centuries. It might have been expected that the precursors of the
école romantique, the representatives of the so-called emigrant
literature, should have had a special sympathy for the sombre,
misty side of Shakespeare's genius. But this was only the case in
a limited degree; there was no question of his seizing them and
bending them, as it were, to his will, as in the contemporary
literary movement in Germany; indeed, in Chateaubriand (Shake-
speare, 1801), we find a revival of the old Voltairean standpoint.
On the other hand, Madame de Staël (De la littérature, 1800)
wrote with a certain enthusiasm of Shakespeare, and Charles
Nodier, in his Pensées de Shakespeare (1801), reflected the attitude
of his German masters. Meanwhile, on the stage, Nepomucène
Lemercier borrowed freely from the English dramatist, and the
mutilations of Ducis found even less scrupulous imitators than
Ducis himself. It seemed as if the labours of the anglomanes of
the eighteenth century were to be wholly undone; the gulf between
French and English taste was wider than ever; and, in the summer
of 1822, English actors, who attempted to present Hamlet and
Othello in Paris, were actually hissed off the stage. But a better
time was not far off; in the very next year, Stendhal (Henri Beyle)
published his Racine et Shakespeare, and took his side very em-
phatically against the classicists. Guizot, together with other
fellow workers, had, in 1821, resuscitated Le Tourneur, repub-
lishing his translation in a revised form, and thus enabling the


## p. 302 (#326) ############################################

302
Shakespeare on the Continent
younger generation of poets and critics to put to the test those
enthusiastic eulogies of English poets which they found in German
romantic writers. In the following year, Guizot vindicated the
English poet in his essay De Shakspear et de la Poésie dramatique.
In 1827, the attempt to produce Shakespeare in English in the
French capital was renewed, this time with the cooperation of
Charles Kemble, Macready and Edmund Kean, and awakened the
enthusiasm of all literary Paris ; and, under the influence of these
impressions, Victor Hugo wrote his famous manifesto of the new
movement, the preface to Cromwell (1827). It seemed as if the
intoxication to which the English poet had given rise more than a
generation earlier in Germany were about to repeat itself in France.
Alfred de Vigny, in an admirable translation, transferred the
English triumphs of Othello to the stage of the Théâtre Français
itself (1829); Alexandre Dumas translated Hamlet (played 1847);
while Alfred de Musset's whole dramatic work is permeated and
coloured by Shakespearean influence. The press of the day echoed
the emotional interest which the romantic school felt in Shakespeare;
and the enthusiasm of Charles Magnin (in Le Globe, 1827—8)
and of Jules Janin helped to counteract such spasmodic attempts
as, for instance, were made by Paul Duport (Essais littéraires sur
Shakespeare, 1828), to resuscitate the antagonistic criticism of
Voltaire and La Harpe. The peculiarly emotional nature of this
enthusiasm of 1827 distinguished it from the anglomanie of the
previous century, and it shows itself still more clearly in the
remarkable influence of the English poet on French romantic art-
for example, on Eugène Delacroix-and on French music as repre-
sented by Hector Berlioz. From this time, the supremacy of
Shakespeare in modern literature was not seriously questioned in
France; the romantic fever passed, romanticism assumed other
forms, but the controversies which Shakespeare had stirred up in
the previous century were no longer possible. Except in the case
of Victor Hugo, who, so late as 1864, repeated the old fervid notes
of Cromwell in an essay inspired by his son's success as a translator
of Shakespeare, romantic criticism ripened and matured as time
went on. Guizot, towards the end of his career, devoted another
volume to Shakespeare (Shakespeare et son temps, 1852); a work
by Alfred Mézières, Shakespeare, ses oeuvres et ses critiques, ap-
peared in 1860. Lamartine published his Shakespeare et son oeuvre
in 1865. Translations of Shakespeare's works were published by
Francisque Michel in 1839, by Benjamin Lariche in 1851, by Émile
Montegut in 1867 and, as already mentioned, by François Victor


## p. 303 (#327) ############################################

Games
-
Fs
TI:
Shakespeare in Germany in the 19th Century 303
Hugo from 1859 to 1866. And yet, in spite of the continued occu-
pation with Shakespeare on the part of literary classes, it must be
confessed that the interest in him in France, otherwise than in
Germany, where Shakespeare was completely naturalised, remains
a matter only of intellectual curiosity. French criticism of Shake-
speare cannot belie the fact-and, perhaps, the absence of any
attempt on its part to do so may attest its justness of perception-
that his kind of greatness lies outside the pale of the national ideas
and the national taste. He has won no permanent place in the
national theatre, and the many performances of Shakespearean
dramas which have taken place from time to time in Paris have
been viewed as literary experiments appealing to the cultured
few, rather than as dramatic fare for the general public.
The role which Shakespeare played in the Germany of the
nineteenth century was much more important, but, so far as
literary history is concerned, perhaps less interesting, than that
which he played in France. A kind of zenith had been reached in
German appreciation of Shakespeare at the close of the eighteenth
century. The translation then begun by Schlegel, was, in later
years, completed under the direction of Ludwig Tieck, with the
help of his daughter Dorothea and of count Baụdissin; and it may
at least be said that these later translations, although inferior, are
not unworthy to stand beside Schlegel's. Germany, like France,
went on producing new translations-a complete Shakespeare, for
instance, was published by the poet Johann Heinrich Voss and
his two sons in nine volumes in 1818–29, and another by Friedrich
von Bodenstedt, with the cooperation of Ferdinand Freiligrath,
Otto Gildemeister, Paul Heyse and others, in 1867—but the
romantic translators had done their work so well that these new
productions could only have a subordinate and supplementary
value. In German literature, Shakespeare has remained a vital
and ever-present force. The problem which Schiller had first
tentatively approached, namely, the reconciliation of Shakespeare
with the antique, could not be evaded by his successors; Heinrich
von Kleist took it up with abundant zeal and solved it in an
essentially romantic way; and, notwithstanding the romantic ten-
dency to place Calderon on a higher pinnacle than Shakespeare,
the romantic dramatists were all, in the first instance, Shake-
speareans. Christian Grabbe was as zealous a Shakespeare wor-
shipper as the Lenzes and Klingers of earlier days; and even
Franz Grillparzer- with all his love for the Spaniards—had
moments when he saw eye to eye with the English dramatist.
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304 Shakespeare on the Continent
It was not before Christian Friedrich Hebbel, about the middle of
the century, that the German drama began to feel its way to a
conception of dramatic poetry more essentially modern than Shake-
speare's; and even Hebbel sought to justify by the example of Shake-
speare that accentuation of the psychological moment in which his
own peculiar strength lies. On the other hand, Hebbel's brother-
in-arms, Otto Ludwig, was a more uncompromising Shakespearean
than any German before him; he not merely Shakespeareanised
his own dramas, but struck an original note of Shakespeare
criticism in essays unfortunately not printed until several years
after his death. On the whole, however, Shakespeare had ex-
pended his fructifying influence on German literature in the
previous century; to none of these later writers did he bring-
as to Goethe and Herder—a new revelation; and the subversive
forces of the modern German drama have little in common with
Elizabethan ideals
The consideration of Shakespeare in Germany in the nineteenth
century falls into two main divisions : German Shakespearean
scholarship and the presentation of Shakespeare on the German
stage. The former of these is a long and difficult chapter which
has still to be written; in the present survey, it is only possible
to indicate its general features. The beginnings of German
scholarly work on Shakespeare might be traced to Wieland's
investigation of the source of Othello, in 1773; but this was more
or less isolated; what men like Eschenburg had to say, somewhat
later, was little more than a reproduction of English criticism.
A significant moment in the development was Goethe's analysis
of Hamlet in Wilhelm Meister, to which reference has already
been made. Then came Friedrich Schlegel, with his marvellous
insight into the workings of genius, and kindled a new light on
the poet; Tieck laboriously and patiently investigated the whole
Shakespearean world-defining that world, perhaps, too vaguely
and loosely—and it is assuredly a loss that the life of Shakespeare
which he planned was never written; lastly, August Wilhelm
Schlegel, in his famous lectures Über dramatische Kunst und Lite-
ratur (1809—11), popularised the romantic criticism of Shakespeare,
and, in this form, it reacted on our own Coleridge and influenced
profoundly the theory of the drama in France, Italy and Spain.
As the romantic movement passed away, the place of its followers
was taken by a new race of critics, who followed the dictates of
Hegel; and, during the first half of the nineteenth century, Hegel-
ianism lay particularly heavy on German Shakespeare scholarship,
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Shakespearean Scholarship in Germany 305
one obvious reason being that Shakespeare's life offered no oppor-
tunity for that pragmatic investigation and criticism which, for
instance, was the saving element in extricating Goethe from
Hegelian metaphysics. The influence of Hegel's aesthetics, which
was essentially anti-romantic in its tendency, is to be seen in
Hermann Ulrici's Über Shakespeares dramatische Kunst und sein
Verhältnis zu Calderon und Goethe (1839), and, in a less accen-
tuated form, in Georg Gottfried Gervinus's Shakespeare (1849—52),
in Friedrich Kreyssig's Vorlesungen über Shakespeare und seine
Werke (1858) and in the recently published Shakespeare-Vorträge
of the famous Swabian Hegelian, Friedrich Theodor Vischer. On
the whole, the influence of Hegelianism on German Shakespeare
criticism has not been favourable; it has led to an excessive
preoccupation with metaphysical theories of tragic guilt and tragic
purpose, to a misleading confusion of moral and aesthetic standards
and to a too confident reliance on a priori theories of literary genius.
It has also made it difficult for Shakespeare's countrymen to ap-
preciate at their true value the learning and scholarship which lay
behind the metaphysical veil. With the labours, however, of
Karl Simrock, Gustav Rümelin, Karl Elze, whose biography,
William Shakespeare, appeared in 1876, Nikolaus Delius and
Alexander Schmidt, not to mention more recent workers, the
speculative method has been in great measure discarded in favour
of scientific investigation of facts. Germans can now point to a
magnificent record of patient and careful work, to which, since
1865, the Shakespeare Jahrbuch has borne eloquent testimony.
The importance of Shakespeare for the history of the German
theatre in the nineteenth century can hardly be overestimated; it
might, indeed, be said that (with the single exception of the Bayreuth
festival, dating from 1876) Shakespeare has been associated with
every advance that the national theatre has made. Shakespearean
types of character have formed an important factor in the staff
organisation of theatres and, in large measure, have supplanted in
poetic drama the French distribution of roles; Shakespearean repre-
sentations are the test of dramaturgic ability of every régisseur,
and Shakespearean impersonations the keystone of every actor's
reputation.