Lectures on Dramatic Art and Literature.

by August Wilhelm Schlegel, trans: John Black.

PREFACE OF THE TRANSLATOR.

The Lectures of A. W. SCHLEGEL on Dramatic Poetry have obtained high celebrity on the Continent, and been much alluded to of late in several publications in this country. The boldness of his attacks on rules which are considered as sacred by the French critics, and on works of which the French nation in general have long been proud, called forth a more than ordinary degree of indignation against his work in France. It was amusing enough to observe the hostility carried on against him in the Parisian Journals. The writers in these Journals found it much easier to condemn M.

SCHLEGEL than to refute him: they allowed that what he said was very ingenious, and had a great appearance of truth; but still they said it was not truth. They never, however, as far as I could observe, thought proper to grapple with him, to point out anything unfounded in his premises, or illogical in the conclusions which he drew from them; they generally confined themselves to mere a.s.sertions, or to minute and unimportant observations by which the real question was in no manner affected.

In this country the work will no doubt meet with a very different reception. Here we have no want of scholars to appreciate the value of his views of the ancient drama; and it will be no disadvantage to him, in our eyes, that he has been unsparing in his attack on the literature of our enemies. It will hardly fail to astonish us, however, to find a stranger better acquainted with the brightest poetical ornament of this country than any of ourselves; and that the admiration of the English nation for Shakspeare should first obtain a truly enlightened interpreter in a critic of Germany.

It is not for me, however, to enlarge on the merits of a work which has already obtained so high a reputation. I shall better consult my own advantage in giving a short extract from the animated account of M.

SCHLEGEL'S Lectures in the late work on Germany by Madame de Stael:--

"W. SCHLEGEL has given a course of Dramatic Literature at Vienna, which comprises every thing remarkable that has been composed for the theatre, from the time of the Grecians to our own days. It is not a barren nomenclature of the works of the various authors: he seizes the spirit of their different sorts of literature with all the imagination of a poet. We are sensible that to produce such consequences extraordinary studies are required: but learning is not perceived in this work, except by his perfect knowledge of the _chefs-d'oeuvre_ of composition. In a few pages we reap the fruit of the labour of a whole life; every opinion formed by the author, every epithet given to the writers of whom he speaks, is beautiful and just, concise and animated. He has found the art of treating the finest pieces of poetry as so many wonders of nature, and of painting them in lively colours, which do not injure the justness of the outline; for we cannot repeat too often, that imagination, far from being an enemy to truth, brings it forward more than any other faculty of the mind; and all those who depend upon it as an excuse for indefinite terms or exaggerated expressions, are at least as dest.i.tute of poetry as of good sense.

"An a.n.a.lysis of the principles on which both Tragedy and Comedy are founded, is treated in this course with much depth of philosophy. This kind of merit is often found among the German writers; but SCHLEGEL has no equal in the art of inspiring his own admiration; in general, be shows himself attached to a simple taste, sometimes bordering on rusticity; but he deviates from his usual opinions in favour of the inhabitants of the South. Their play on words is not the object of his censure; he detests the affectation which owes its existence to the spirit of society: but that which is excited by the luxury of imagination pleases him, in poetry, as the profusion of colours and perfumes would do in nature. SCHLEGEL, after having acquired a great reputation by his translation of Shakspeare, became also enamoured of Calderon, but with a very different sort of attachment from that with which Shakspeare had inspired him; for while the English author is deep and gloomy in his knowledge of the human heart, the Spanish poet gives himself up with pleasure and delight to the beauty of life, to the sincerity of faith, and to all the brilliancy of those virtues which derive their colouring from the sunshine of the soul.

"I was at Vienna when W. SCHLEGEL gave his public course of Lectures. I expected only good sense and instruction, where the object was merely to convey information: I was astonished to hear a critic as eloquent as an orator, and who, far from falling upon defects, which are the eternal food of mean and little jealousy, sought only the means of reviving a creative genius."

Thus far Madame de Stael. In taking upon me to become the interpreter of a work of this description to my countrymen, I am aware that I have incurred no slight degree of responsibility. How I have executed my task it is not for me to speak, but for the reader to judge. This much, however, I will say,--that I have always endeavoured to discover the true meaning of the author, and that I believe I have seldom mistaken it. Those who are best acquainted with the psychological riches of the German language, will be the most disposed to look on my labour with an eye of indulgence.

AUTHOR'S PREFACE.

From the size of the present work, it will not be expected that it should contain either a course of Dramatic Literature bibliographically complete, or a history of the theatre compiled with antiquarian accuracy. Of books containing dry accounts and lists of names there are already enough. My purpose was to give a general view, and to develope those ideas which ought to guide us in our estimate of the value of the dramatic productions of various ages and nations.

The greatest part of the following Lectures, with the exception of a few observations of a secondary nature, the suggestion of the moment, were delivered orally as they now appear in print. The only alteration consists in a more commodious distribution, and here and there in additions, where the limits of the time prevented me from handling many matters with uniform minuteness. This may afford a compensation for the animation of oral delivery which sometimes throws a veil over deficiencies of expression, and always excites a certain degree of expectation.

I delivered these Lectures, in the spring of 1808, at Vienna, to a brilliant audience of nearly three hundred individuals of both s.e.xes. The inhabitants of Vienna have long been in the habit of refuting the injurious descriptions which many writers of the North of Germany have given of that capital, by the kindest reception of all learned men and artists belonging to these regions, and by the most disinterested zeal for the credit of our national literature, a zeal which a just sensibility has not been able to cool. I found here the cordiality of better times united with that amiable animation of the South, which is often denied to our German seriousness, and the universal diffusion of a keen taste for intellectual amus.e.m.e.nt. To this circ.u.mstance alone I must attribute it that not a few of the men who hold the most important places at court, in the state, and in the army, artists and literary men of merit, women of the choicest social cultivation, paid me not merely an occasional visit, but devoted to me an uninterrupted attention.

With joy I seize this fresh opportunity of laying my grat.i.tude at the feet of the benignant monarch who, in the permission to deliver these Lectures communicated to me by way of distinction immediately from his own hand, gave me an honourable testimony of his gracious confidence, which I as a foreigner who had not the happiness to be born under his sceptre, and merely felt myself bound as a German and a citizen of the world to wish him every blessing and prosperity, could not possibly have merited.

Many enlightened patrons and zealous promoters of everything good and becoming have merited my grat.i.tude for the a.s.sistance which they gave to my undertaking, and the encouragement which they afforded me during its execution.

The whole of my auditors rendered my labour extremely agreeable by their indulgence, their attentive partic.i.p.ation, and their readiness to distinguish, in a feeling manner, every pa.s.sage which seemed worthy of their applause.

It was a flattering moment, which I shall never forget, when, in the last hour, after I had called up recollections of the old German renown sacred to every one possessed of true patriotic sentiment, and when the minds of my auditors were thus more solemnly attuned, I was at last obliged to take my leave powerfully agitated by the reflection that our recent relation, founded on a common love for a n.o.bler mental cultivation, would be so soon dissolved, and that I should never again see those together who were then a.s.sembled around me. A general emotion was perceptible, excited by so much that I could not say, but respecting which our hearts understood each other. In the mental dominion of thought and poetry, inaccessible to worldly power, the Germans, who are separated in so many ways from each other, still feel their unity: and in this feeling, whose interpreter the writer and orator must be, amidst our clouded prospects we may still cherish the elevating presage of the great and immortal calling of our people, who from time immemorial have remained unmixed in their present habitations.

GENEVA, _February_, 1809.

OBSERVATION PREFIXED TO PART OF THE WORK PRINTED IN 1811.

The declaration in the Preface that these Lectures were, with some additions, printed as they were delivered, is in so far to be corrected, that the additions in the second part are much more considerable than in the first. The restriction, in point of time in the oral delivery, compelled me to leave more gaps in the last half than in the first. The part respecting Shakspeare and the English theatre, in particular, has been, almost altogether re-written. I have been prevented, partly by the want of leisure and partly by the limits of the work, from treating of the Spanish theatre with that fulness which its importance deserves.

MEMOIR OF THE LITERARY LIFE OF AUGUSTUS WILLIAM VON SCHLEGEL

AUGUSTUS WILLIAM VON SCHLEGEL, the author of the following Lectures, was, with his no-less distinguished brother, Frederick, the son of John Adolph Schlegel, a native of Saxony, and descended from a n.o.ble family. Holding a high appointment in the Lutheran church, Adolph Schlegel distinguished himself as a religious poet, and was the friend and a.s.sociate of Rabener, Gellert, and Klopstock. Celebrated for his eloquence in the pulpit, and strictly diligent in the performance of his religious duties, he died in 1792, leaving an example to his children which no doubt had a happy influence on them.

Of these, the seventh, Augustus William, was born in Hanover, September 5th, 1767. In his early childhood, he evinced a genuine susceptibility for all that was good and n.o.ble; and this early promise of a generous and virtuous disposition was carefully nurtured by the religious instruction of his mother, an amiable and highly-gifted woman. Of this parent's pious and judicious teaching, Augustus William had to the end of his days a grateful remembrance, and he cherished for her throughout life a sincere and affectionate esteem, whose ardour neither time nor distance could diminish. The filial affection of her favourite son soothed the declining years of his mother, and lightened the anxieties with which the critical and troubled state of the times alarmed her old age. His further education was carried on by a private tutor, who prepared him for the grammar-school at Hanover, where he was distinguished both for his unremitting application, to which he often sacrificed the hours of leisure and recreation, and for the early display of a natural gift for language, which enabled him immediately on the close of his academic career to accept a tutorial appointment, which demanded of its holder a knowledge not only of the cla.s.sics but also of English and French. He also displayed at a very early age a talent for poetry, and some of his juvenile extempore effusions were remarkable for their easy versification and rhythmical flow. In his eighteenth year he was called upon to deliver in the Lyceum of his native city, the anniversary oration in honour of a royal birthday. His address on this occasion excited an extraordinary sensation both by the graceful elegance of the style and the interest of the matter, written in hexameters. It embraced a short history of poetry in Germany, and was relieved and animated with many judicious and striking ill.u.s.trations from the earliest Teutonic poets.

He now proceeded to the University of Gottingen as a student of theology, which science, however, he shortly abandoned for the more congenial one of philology. The propriety of this charge he amply attested by his Essay on the Geography of Homer, which displayed both an intelligent and comprehensive study of this difficult branch of cla.s.sical archaeology.

At Gottingen he lived in the closest intimacy with Heyne, for whose _Virgil_, in 1788 he completed an index; he also became acquainted with the celebrated Michaelis. It was here too that he formed the friendship of Burger, to whose _Academie der Schonen Redekunste_, he contributed his _Ariadne_, and an essay on _Dante_. The kindred genius of Burger favourably influenced his own mind and tastes, and moved him to make the first known attempt to naturalize the Italian sonnet in Germany.

Towards the end of his university career he combined his own studies with the private instruction of a rich young Englishman, born in the East Indies, and at the close of it accepted the post of tutor to the only son of Herr Muilmann, the celebrated Banker of Amsterdam. In this situation he gained universal respect and esteem, but after three years he quitted it to enter upon a wider sphere of literary activity. On his return to his native country he was elected Professor in the University of Jena.

Schlegel's residence in this place, which may truly be called the cla.s.sic soil of German literature, as it gained him the acquaintance of his eminent contemporaries Schiller and Goethe, marks a decisive epoch in the formation of his intellectual character. At this date he contributed largely to the _h.o.r.en_, and also to Schiller's _Musen-Almanach_, and down to 1799 was one of the most fertile writers in the _Allgemeinen Literatur-Zeitung_ of Jena. It was here, also, that he commenced his translations of Shakspeare, (9 vols., Berlin, 1797-1810,) which produced a salutary effect on the taste and judgment of his countrymen, and also on Dramatic Art and theatrical representation in Germany. Notwithstanding the favourable reception of this work he subsequently abandoned it, and on the publication of a new edition, in 1825, he cheerfully consigned to Tieck the revision of his own labours, and the completion of the yet untranslated pieces.

Continuing attached to the University of Jena, where the dignity of Professorship was a.s.sociated with that of Member of the Council, he now commenced a course of lectures on Aesthetics, and joined his brother Frederick in the editorship of the _Athenaeum_, (3 vols., Berlin, 1796-1800,) an Aesthetico-critical journal, intended, while observing a rigorous but an impartial spirit of criticism, to discover and foster every grain of a truly vital development of mind. It was also during his residence at Jena that he published the first edition of his Poems, among which the religious pieces and the Sonnets on Art were greatly admired and had many imitators. To the latter years of his residence at Jena, which may be called the political portion of Schlegel's literary career, belongs the _Gate of Honour for the Stage-President Von-Kotzebue_, (_Ehrenpforte fur den Theater Prasidenten von Kotzebue_, 1800,) an ill-natured and much- censured satire in reply to Kotzebue's attack, ent.i.tled the _Hyperborean a.s.s_ (_Hyperboreischen Esee_). At this time he also collected several of his own and brother Frederick's earlier and occasional contributions to various periodicals, and these, together with the hitherto unpublished dissertations on Burger's works, make up the _Characteristiken u Kritiken_ (2 vols., Koenigsberg, 1801). Shortly afterwards he undertook with Tieck the editorship of _Musen-Almanack_ for 1802. The two brothers were now leading a truly scientific and poetic life, a.s.sociating and co-operating with many minds of a kindred spirit, who gathered round Tieck and Novalis as their centre.

His marriage with the daughter of Michaelis was not a happy one, and was quickly followed by a separation, upon which Schlegel proceeded to Berlin.

In this city, towards the end of 1802, he delivered his _Lectures on the Present State of Literature and the Fine Arts_, which were afterwards printed in the _Europa_, under his brother's editorship. The publication in 1803 of his _Ion_, a drama in imitation of the ancients, but as a composition unmarked by any peculiar display of vigour, led to an interesting argument between himself, Bernhardi, and Schilling. This discussion, which extended from its original subject to Euripides and Dramatic Representation in general, was carried on in the _Journal for the Polite World_ (_Zeitung fur die elegante Welt_,) which Schlegel supported by his advice and contributions. In this periodical he also entered the lists in opposition to Kotzebue and Merkel in the _Freimuthige_ (_The Liberal_), and the merits of the so-called modern school and its leaders, was the subject of a paper war, waged with the bitterest acrimony of controversy, which did not scruple to employ the sharpest weapons of personal abuse and ridicule.

At this date Schlegel was engaged upon his _Spanish Theatre_, (2 vols., Berlin, 1803-1809). In the execution of this work, much was naturally demanded of the translator of Shakspeare, nor did he disappoint the general expectator, although he had here far greater difficulties to contend with. Not content with merely giving a faithful interpretation of his author's meaning, he laid down and strictly observed the law of adhering rigorously to all the measures, rhythms, and a.s.sonances of the original. These two excellent translations, in each of which he has brought to bear both the great command of his own, and a wonderful quickness in catching the spirit of a foreign language, have earned for Schlegel the foremost place among successful and able translators, while his _Flowers of Italian, Spanish, and Portuguese Poetry_ (_Blumenstrausse d. Ital. Span. u. Portug. Poesie_, Berlin, 1804), furnish another proof both of his skill in this pursuit and of the extent of his acquaintance with European literature. Moreover, the merit of having by these translations made Shakspeare and Calderon more widely known and better appreciated in Germany would, in default of any other claim, alone ent.i.tle him to take high rank in the annals of modern literature.

But a new and more important career was now open to him by his introduction to Madame de Stael. Making a tour in Germany, this distinguished woman arrived at Berlin in 1805, and desirous of acquainting herself more thoroughly with German literature she selected Schlegel to direct her studies of it, and at the same time confided to his charge the completion of her children's education. Quitting Berlin he accompanied this lady on her travels through Italy and France, and afterwards repaired with her to her paternal seat at Coppet, on the Lake of Geneva, which now became for some time his fixed abode. It was here that in 1807 he wrote in French his _Parallel between the Phaedra of Euripides and the Phedre of Racine_, which produced a lively sensation in the literary circles of Paris. This city had peculiar attractions for Schlegel, both in its invaluable literary stores and its re-union of men of letters, among whom his own views and opinions found many enthusiastic admirers and partisans, notwithstanding that in his critical a.n.a.lysis of Racine's _Phedre_ he had presumed to attack what Frenchmen deemed the chiefest glory of their literature, and had mortified their national vanity in its most sensitive point.

In the spring of 1808 he visited Vienna, and there read to a brilliant audience his _Lectures on Dramatic Art and Literature_, which, on their publication, were hailed throughout Europe with marked approbation, and which will, unquestionably, transmit his name to the latest posterity.

His object in these Lectures is both to take a rapid survey of dramatic productions of different ages and nations, and to develope and determine the general ideas by which their true artistic value must be judged. In his travels with Madame de Stael he was introduced to the present King, then the Crown Prince, of Bavaria, who bestowed on him many marks of his respect and esteem, and about this time he took a part in the _German Museum_ (_Deutsche Museum_), of his brother Frederick, contributing some learned and profound dissertations on the _Lay of the Nibelungen_. In 1812, when the subjugated South no longer afforded an asylum to the liberal-minded De Stael, with whose personal fortunes he felt himself inseparably linked by that deep feeling of esteem and friendship which speaks so touchingly and pathetically in some of his later poems, he accompanied that lady on a visit to Stockholm, where he formed the acquaintance of the Crown Prince.

The great political events of this period were not without their effect on Schlegel's mind, and in 1813 he came forward as a political writer, when his powerful pen was not without its effect in rousing the German mind from the torpor into which it had sunk beneath the victorious military despotism of France. But he was called upon to take a more active part in the measures of these stirring times, and in this year entered the service of the Crown Prince of Sweden, as secretary and counsellor at head quarters. For this Prince he had a great personal regard, and estimated highly both his virtues as a man and his talents as a general. The services he rendered the Swedish Prince were duly appreciated and rewarded, among other marks of distinction by a patent of n.o.bility, in virtue of which he prefixed the "Von" to his paternal name of Schlegel.

The Emperor Alexander, of whose religious elevation of character he always spoke with admiration, also honoured him with his intimacy and many tokens of esteem.

Upon the fall of Napoleon he returned to Coppet with Madame de Stael, and in 1815 published a second volume of his _Poetical Works_, (Heildelberg, 1811-1815, 2nd edit., 2 vols., 1820). These are characterized not merely by the brilliancy and purity of the language, but also by the variety and richness of the imagery. Among these the _Arion_, _Pygmalion_, and _Der Heilige Lucas_ (St. Luke,) the Sonnets, and the sublime elegy, _Rhine_, dedicated to Madame de Stael, deserve especial mention, and give him a just claim to a poet's crown.

On the death of his friend and patroness in 1819, he accepted the offer of a professor's chair in Bonn, where he married a daughter of Professor Paulus. This union, as short-lived as the first, was followed by a separation in 1820. In his new position of academic tutor, while he diligently promoted the study of the fine arts and sciences, both of the Ancient and the Moderns, he applied himself with peculiar ardour to Oriental literature, and particularly to the Sanscrit. As a fruit of these studies, he published his _Indian Library_, (2 vols., Bonn, 1820-26); he also set up a press for printing the great Sanscrit work, the _Ramajana_ (Bonn, 1825). He also edited the Sanscrit text, with a Latin translation, of the Bhagavad-Gita, an episode of the great Indian Epos, the _Mahabharata_ (Bonn, 1829). About this period his Oriental studies took, him to France, and afterwards to England, where, in London and in the college libraries of Oxford and Cambridge, and the East India College at Hailesbury, he carefully examined the various collections of Oriental MSS. On his return he was appointed Superintendent of the Museum of Antiquities, and in 1827 delivered at Berlin a course of Lectures on the _Theory and History of the Fine Arts_, (Berlin, 1827). These were followed by his _Criticisms_, (Berlin, 1828), and his _Reflexion sur l'Etude des Langues Asiatiques_, addressed to Sir James Mackintosh. Being accused of a secret leaning to Roman Catholicism, (Kryptocatholicisme,) he ably defended himself in a reply ent.i.tled _Explication de quelques Malentendus_, (Berlin, 1828.)

A. W. Von Schlegel, besides being a Member of the Legion of Honour, was invested with the decorations of several other Orders. He wrote French with as much facility as his native language, and many French journals were proud to number him among their contributors. He also a.s.sisted Madame de Stael in her celebrated work _De l'Allemagne_, and superintended the publication of her posthumous _Considerations sur la Revolution Francaise_.

After this long career of successful literary activity, A. W. Von Schlegel died at Bonn, 12 May, 1845. His death was thus noticed in the _Athenaeum_:--

"This ill.u.s.trious writer was, in conjunction with his brother Frederick, as most European readers well know, the founder of the modern romantic school of German literature, and as a critic fought many a hard battle for his faith. The clearness of his insight into poetical and dramatic truth, Englishmen will always be apt to estimate by the fact that it procured for himself and for his countrymen the freedom of Shakspeare's enchanted world, and the taste of all the marvellous things that, like the treasures of Aladdin's garden, are fruit and gem at once upon its immortal boughs:-- Frenchmen will not readily forget that he disparaged Moliere. The merit of Schlegel's dramatic criticism ought not, however, to be thus limited.

Englishmen themselves are deeply indebted to him. His Lectures, translated by Black, excited great interest here when first published, some thirty years since, and have worthily taken a permanent place in our libraries."

His collection of books, which was rather extensive, and rich in Oriental, especially Sanscrit literature, was sold by auction in Bonn, December, 1845. It appears by a chronological list prefixed to the catalogue, that reckoning both his separate publications and those contributed to periodicals, his printed works number no fewer than 126. Besides these he left many unpublished ma.n.u.scripts, which, says the _Athenaeum_, "he bequeathed to the celebrated archaeologist, Welcker, professor at the Royal University of Bonn, with a request that he would cause them to be published."

DRAMATIC LITERATURE.