Sir Sidney Lee

“ It is a commonplace to credit Shakespeare with supreme dramatic instinct. It is difficult fully to realise the significance of that attribute. It means that he could contract or expand at will and momentarily, his own personality, so that it coincided exactly, now with a self-indulgent humorist like Falstaff, now with an introspective student like Hamlet, now with a cynical criminal like Iago, now with a high-spirited girl like Rosalind, now with an ambitious woman like Lady Macbeth, and then with a hundred more characters hardly less distinctive than these. ”

“ Some notice, we may be sure, figured in Shakespeare's diary of the first performances of his great plays on the stage. However eminent a man is through native genius or from place of power, he can never, whatever his casual professions to the contrary, be indifferent to the reception accorded by his fellow-men to the work of his hand and head. I picture Shakespeare as the soul of modesty and gentleness in the social relations of life, avoiding unbecoming self-advertisement, and rating at its just value empty flattery, the mere adulation of the lips. ”

“ Shakespeare's literary supremacy is as fully recognised by those who justly appreciate literature as any law of nature. To the man and woman of culture in all civilised countries he symbolises the potency of the human intellect. But those who are content to read and admire him in the cloister at times overlook the full significance of his achievement in the outer world. Critics of all nationalities are in substantial agreement with the romance-writer Dumas, who pointed out that Shakespeare is more than the greatest of dramatists; he is the greatest of thinking men. ”

“ But in the initial stage of the movement all rests on the discovery of a sculptor capable of realising the significance of a national commemoration of the greatest of the nation's, or indeed of the worlds, heroes. It would be well to settle satisfactorily the question of such an artist's existence before anything else. The first step that any organising committee of a Shakespeare memorial should therefore take, in my view, would be to invite sculptors of every country to propose a design. The monument should be the best that artistic genius could contrive—the artistic genius of the world. ”

“ It is obvious that, in whatever shape the play of Hamlet is produced in the theatre, its success must always be primarily due to the overpowering fascination exerted on the audience by the character of the hero. In every conceivable circumstance the young prince must be the centre of attraction. Nevertheless, no graver injury can be done the play as an acting drama than by treating it as a one-part piece. The accepted method of shortening the tragedy by reducing every part, except that of Hamlet, is to distort Shakespeare's whole scheme, to dislocate or obscure the whole action. ”

“ A French critic once remarked that a whole system of philosophy could be deduced from Shakespeare's pages, though from all the works of the philosophers one could not draw a page of Shakespeare. The second statement—the denial of the presence of a page of Shakespeare in the works of all the philosophers—is more accurate than the assertion that a system of philosophy could be deduced from the plays of Shakespeare. It is hopeless to deduce any precise system of philosophy from Shakespeare's plays. Literally, philosophy means nothing more recondite than love of wisdom. ”

“ It is enough for wise men to know the obvious fact that genius endowed Shakespeare with its richest gifts, and a very small acquaintance with the literary history of the world and with the manner in which genius habitually plays its part there, will show the folly of cherishing astonishment that Shakespeare, rather than one more nobly born or more academically trained, should have been chosen for the glorious dignity. ”

“ But although Henry's patriotic instinct can drive him into battle, it keeps him faithful there to the paths of humanity. Always alive to the horrors of war, he sternly forbids looting or even the use of insulting language to the enemy. It is only when a defeated enemy declines to acknowledge the obvious ruin of his fortunes that a sane and practical patriotism defends resort on the part of the conqueror to the grimmest measure of severity. The healthy instinct stiffens the grip on the justly won fruits of victory. ”

“ IV PEPYS AND SHAKESPEARE [14] I
In his capacity of playgoer, as indeed in almost every other capacity, Pepys presents himself to readers of his naïve diary as the incarnation, or the microcosm, of the average man. No other writer has pictured with the same lifelike precision and simplicity the average playgoer's sensations of pleasure or pain. Of the play and its performers Pepys records exactly what he thinks or feels. He usually takes a more lively interest in the acting and in the scenic and musical accessories than in the drama's literary quality. ”

“ Despite the solemnity which attaches to Shakespeare's philosophic reflections, he is at heart an optimist and a humorist. He combines with his serious thought a thorough joy in life, an irremovable preference for the bright over the dismal side of things. The creator of Falstaff and Mercutio, of Beatrice and the Princess in Love's Labour's Lost, could hardly fail to set store by that gaiety of spirit which is the antidote to unreasoning discontent, and keeps society in good savour. ”

“ As a boy, as a young actor, as an industrious reviser of other men's plays, as the humorous creator of Falstaff, Benedick, and Mercutio, as the profound "natural" philosopher of the great tragedies, he could never have been quite an ordinary diarist. Great men have been known to keep diaries in which the level of interest does not rise above a visit to the barber or the dentist. The common routine of life interested Shakespeare, but something beyond it must have found place in his journal. ”

“ The exuberant enthusiasm of youth was couched in poetic imagery which has from time immemorial been employed in panegyrics of great poets. The beautiful figure which presents a great man's work as his only lasting monument is as old as poetry itself. The conceit courses through the classical poetry of Greece from the time of Pindar, and through that of Italy from the time of Ennius. No great Renaissance writer of modern Italy, of sixteenth-century France, or of Elizabethan England, tired of arguing that the poet's deathless memorial is that carved by his own pen. ”

“ It is easier to point out the things that will hinder than the things that will hasten its approach. Absorption in the material needs of life, the concentration of energy on the increase of worldly goods, leave little room for the entrance into the brain of the imaginative faculty, or for its free play when it is there. The best way of seeking it is by reading the greatest of great imaginative literature, by freely yielding the mind to its influence, and by exercising the mind under its sway. And the greatest imaginative literature that was ever penned was penned by Shakespeare. ”

“ None the less, the city of Athens, on the proposition of the Attic orator, Lycurgus, erected in honour of Æschylus, Sophocles, and Euripides statues which ranked with the most beautiful adornments of the Greek capital. Calderon and Goethe, Camoens and Schiller, Sir Walter Scott and Burns enjoy reputations which are smaller, it is true, than Shakespeare's, but are, at the same time, like his, of both national and universal significance. In memory of them all, monuments have been erected as tokens of their fellow-countrymen's veneration and gratitude for the influence which their poetry wields. ”

“ In no theatres of the first class outside London and New York is the system known, and even here and in New York it is of comparatively recent origin. But Londoners have grown so accustomed to the system that they overlook the havoc which it works on the theatre as a home of art. Both actor and playgoer suffer signal injury from its effects. It limits the range of drama which is available at our great theatres to the rank and file of mankind. Especially serious is the danger to which the unchangeable programme exposes histrionic capacity and histrionic intelligence. ”

“ Shakespeare has declared with emphasis that no amount of scenery can secure genuine success on the stage for a great work of the imagination. He is no less emphatic in the value he sets on competent acting. In Hamlet, as every reader will remember, the dramatist points out the perennial defects of the actor, and shows how they may and must be corrected. He did all he could for the Elizabethan playgoer in the way of insisting that the art of acting must be studied seriously, and that the dramatist's words must reach the ears of the audience, clearly and intelligibly enunciated. ”

“ Again, the great musicians and the great painters live in their work in a singularly vivid sense. Music and painting are more direct in popular appeal than great poetry. Yet none can ridicule the sentiment which is embodied in the statue of Beethoven at Bonn, or in that of Paolo Veronese at Verona. To accept literally the youthful judgment of Milton and his imitators is to condemn sentiments and practices which are in universal vogue among civilised peoples. It is to deny to the Poets' Corner in Westminster Abbey a rational title to existence. ”

“ Yet there are occasions, when, without detracting from the omnipotence of Shakespeare's dramatic instinct, one may tentatively infer that Shakespeare gave voice through his created personages to sentiments which were his own. The Shakespearean drama must incorporate somewhere within its vast limits the personal thoughts and passions of its creator, even although they are for the most part absorbed past recognition in the mighty mass, and no critical chemistry can with confidence disentangle them. ”

“ Pepys fully approved the innovations, and two of the earliest of Shakespearean adaptations won his unqualified eulogy. These were D'Avenant's reconstructions of The Tempest and Macbeth. D'Avenant had convinced himself that both plays readily lent themselves to spectacle; they would repay the embellishments of ballets, new songs, new music, coloured lights, and flying machines. Reinforced by these charms of novelty, the old pieces might enjoy an everlasting youth. No spectator more ardently applauded such bastard sentiment than the playgoing Pepys. ”

“ For this distressing result of peace, the reason is given that in times of peace men have less need of one another than in seasons of war, and the crude argument closes with the cry: "The wars for my money." There is irony in this suggestion of the mercantile value of war on the lips of a spokesman of paupers. It is solely the impulsive mindless patriot who strains after mere military glory. ”

“ It is best explained by the fact that England is the only country in Europe in which theatrical enterprise is wholly and exclusively organised on a capitalist basis. No theatre in England is worked to-day on any but the capitalist principle. Artistic aspiration may be well alive in the theatrical profession, but the custom and circumstance of capital, the calls of the counting-house, hamper the theatrical artist's freedom of action. ”

“ Criticism conceived in a patriotic spirit should be constant and unflagging. The true patriot speaks out as boldly when he thinks the nation errs as when, in his opinion, she adds new laurels to her crown. The Shakespearean patriot applies a rigorous judgment to all conditions of his environment—both social and political. [Pg 180]
Throughout the English history plays Shakespeare bears convincing testimony to the right, and even to the duty, of the patriot to exercise in all seriousness his best powers of criticism on the political conduct of his fellow-citizens and of those who rule over him. ”