|Francois Marie Arouet de Voltaire|
Voltaire once visited Congreve. This famous dramatist requested to be regarded only as a plain gentleman. "Had you been that I should never have come to see you," Voltaire cynically replies.
(William Congreve baptized Feb. 10, 1670.)
Vol. 34, pp. 130-140 of The Harvard Classics
Letter XVIII—On Tragedy
THE ENGLISH as well as the Spaniards were possessed of theatres at a time when the French had no more than moving, itinerant stages. Shakspeare, who was considered as the Corneille of the first-mentioned nation, was pretty nearly contemporary with Lope de Vega, and he created, as it were, the English theatre. Shakspeare boasted a strong fruitful genius. He was natural and sublime, but had not so much as a single spark of good taste, or knew one rule of the drama. I will now hazard a random, but, at the same time, true reflection, which is, that the great merit of this dramatic poet has been the ruin of the English stage. There are such beautiful, such noble, such dreadful scenes in this writer’s monstrous farces, to which the name of tragedy is given, that they have always been exhibited with great success. Time, which alone gives reputation to writers, at last makes their very faults venerable. Most of the whimsical gigantic images of this poet, have, through length of time (it being a hundred and fifty years since they were first drawn) acquired a right of passing for sublime. Most of the modern dramatic writers have copied him: but the touches and descriptions which are applauded in Shakspeare. are hissed at in these writers; and you will easily believe that the veneration in which this author is held, increases in proportion to the contempt which is shown to the moderns. Dramatic writers don’t consider that they should not imitate him; and the ill-success of Shakspeare’s imitators produces no other effect, than to make him be considered as inimitable. You remember that in the tragedy of Othello, Moor of Venice, a most tender piece, a man strangles his wife on the stage; and that the poor woman, whilst she is strangling, cries aloud that she dies very unjustly. You know that in Hamlet, Prince of Denmark, two grave-diggers make a grave, and are all the time drinking, singing ballads, and making humorous reflections (natural indeed enough to persons of their profession) on the several skulls they throw up with their spades; but a circumstance which will surprise you is, that this ridiculous incident has been imitated. In the reign of King Charles II., which was that of politeness, and the Golden Age of the liberal arts; Otway, in his Venice Preserved, introduces Antonio the senator, and Naki, his courtesan, in the midst of the horrors of the Marquis of Bedemar’s conspiracy. Antonio, the super-annuated senator plays, in his mistress’ presence, all the apish tricks of a lewd, impotent debauchee, who is quite frantic and out of his senses. He mimics a bull and a dog, and bites his mistress’ legs, who kicks and whips him. However, the players have struck these buffooneries (which indeed were calculated merely for the dregs of the people) out of Otway’s tragedy; but they have still left in Shakspeare’s Julius Cæsar the jokes of the Roman shoemakers and cobblers, who are introduced in the same scene with Brutus and Cassius. You will undoubtedly complain, that those who have hitherto discoursed with you on the English stage, and especially on the celebrated Shakspeare, have taken notice only of his errors; and that on one has translated any of those strong, those forcible passages which atone for all his faults. But to this I will answer, that nothing is easier than to exhibit in prose all the silly impertinences which a poet may have thrown out; but that it is a very difficult task to translate his fine verses. All your junior academical sophs, who set up for censors of the eminent writers, compile whole volumes; but methinks two pages which display some of the beauties of great geniuses, are of infinitely more value than all the idle rhapsodies of those commentators; and I will join in opinion with all persons of good taste in declaring, that greater advantage may be reaped from a dozen verses of Homer or Virgil, than from all the critiques put together which have been made on those two great poets.
I have ventured to translate some passages of the most celebrated English poets, and shall now give you one from Shakspeare. Pardon the blemishes of the translation for the sake of the original; and remember always that when you see a version, you see merely a faint print of a beautiful picture. I have made choice of part of the celebrated soliloquy in Hamlet,which you may remember is as follows:—
“To be, or not to be? that is the question!
Whether ’t is nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing, end them? To die! to sleep!
No more! and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to! ’T is a consummation
Devoutly to be wished. To die! to sleep!
To sleep; perchance to dream! Ay, there’s the rub;
For in that sleep of death, what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There ’s the respect
That makes a calamity of so long life:
For who would bear the whips and scorns of time,
The oppressor’s wrong, the poor man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin. Who would fardels bear
To groan and sweat under a weary life,
But that the dread of something after death,
The undiscovered country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought:
And enterprises of great weight and moment
With this regard their currents turn awry,
And lose the name of action—”
My version of it runs thus:—
“Demeure, il faut choisir et passer à l’instant
De la vie à la mort, ou de l’être au neant.
Dieux cruels, s’il en est, éclairez mon courage.
Faut-il vieillir courbé sous la main qui m’outrage,
Supporter, ou finir mon malheur et mon sort?
Qui suis je? Qui m’arrête! et qu’est-ce que la mort?
C’est la fin de nos maux, c’est mon unique asile
Après de longs transports, c’est un sommeil tranquile.
On s’endort, et tout meurt, mais un affreux reveil
Doit succeder peut etre aux douceurs du sommeil!
On nous menace, on dit que cette courte vie,
De tourmens éternels est aussi-tôt suivie.
O mort! moment fatal! affreuse eternité!
Tout cœur à ton seul nom se glace épouvanté.
Eh! qui pourroit sans toi supporter cette vie,
De nos prêtres menteurs benir l’hypocrisie;
D’une indigne maitresse encenser les erreurs,
Ramper sous un ministre, adorer ses hauteurs;
Et montrer les langueurs de son ame abattüe,
A des amis ingrats qui detournent la vüe?
La mort seroit trop douce en ces extrémitez,
Mais le scrupule parle, et nous crie, arrêtez;
Il defend à nos mains cet heureux homicide
Et d’un heros guerrier, fait un Chrétien timide,” &c.
Do not imagine that I have translated Shakspeare in a servile manner. Woe to the writer who gives a literal version; who by rendering every word of his original, by that very means enervates the sense, and extinguishes all the fire of it. It is on such an occasion one may justly affirm, that the letter kills, but the Spirit quickens.
Here follows another passage copied from a celebrated tragic writer among the English. It is Dryden, a poet in the reign of Charles II.—a writer whose genius was too exuberant, and not accompanied with judgment enough. Had he written only a tenth part of the works he left behind him, his character would have been conspicuous in every part; but his great fault is his having endeavoured to be universal.
The passage in question is as follows:—
“When I consider life, ’t is all a cheat,
Yet fooled by hope, men favour the deceit;
Trust on and think, to-morrow will repay;
To-morrow’s falser than the former day;
Lies more; and whilst it says we shall be blest
With some new joy, cuts off what we possessed;
Strange cozenage! none would live past years again,
Yet all hope pleasure in what yet remain,
And from the dregs of life think to receive
What the first sprightly running could not give.
I’m tired with waiting for his chymic gold,
Which fools us young, and beggars us when old.”
I shall now give you my translation:—
“De desseins en regrets et d’erreurs en desirs
Les mortels insensés promenent leur folie.
Dans des malheurs presents, dans l’espoir des plaisirs
Nous ne vivons jamais, nous attendons la vie.
Demain, demain, dit-on, va combler tous nos vœus.
Demain vient, et nous laisse encore plus malheureux.
Quelle est l’erreur, helas! du soin qui nous dévore,
Nul de nous ne voudroit recommencer son cours.
De nos premiers momens nous maudissons l’aurore,
Et de la nuit qui vient nous attendons encore,
Ce qu’ont en vain promis les plus beaux de nos jours,” &c.
It is in these detached passages that the English have hitherto excelled. Their dramatic pieces, most of which are barbarous and without decorum, order, or verisimilitude, dart such resplendent flashes through this gleam, as amaze and astonish. The style is too much inflated, too unnatural, too closely copied from the Hebrew writers, who abound so much with the Asiatic fustian. But then it must be also confessed that the stilts of the figurative style, on which the English tongue is lifted up, raises the genius at the same time very far aloft, though with an irregular pace. The first English writer who composed a regular tragedy, and infused a spirit of elegance through every part of it, was the illustrious Mr. Addison. His “Cato” is a masterpiece, both with regard to the diction and to the beauty and harmony of the numbers. The character of Cato is, in my opinion, vastly superior to that of Cornelia in the “Pompey” of Corneille, for Cato is great without anything like fustian, and Cornelia, who besides is not a necessary character, tends sometimes to bombast. Mr. Addison’s Cato appears to me the greatest character that was ever brought upon any stage, but then the rest of them do not correspond to the dignity of it, and this dramatic piece, so excellently well writ, is disfigured by a dull love plot, which spreads a certain languor over the whole, that quite murders it.
The custom of introducing love at random and at any rate in the drama passed from Paris to London about 1660, with our ribbons and our perruques. The ladies who adorn the theatrical circle there, in like manner as in this city will suffer love only to be the theme of every conversation. The judicious Mr. Addison had the effeminate complaisance to soften the severity of his dramatic character, so as to adapt it to the manners of the age, and, from an endeavour to please, quite ruined a masterpiece in its kind. Since is time the drama is become more regular, the audience more difficult to be leased, and writers more correct and less bold. I have seen some new pieces hat were written with great regularity, but which, at the same time, were very flat and insipid. One would think that the English had been hitherto formed to produce irregular beauties only. The shining monsters of Shakspeare give infinite more delight than the judicious images of the moderns. Hitherto the poetical genius of the English resembles a tufted tree planted by the hand of Nature, that throws out a thousand branches at random, and spreads unequally, but with great vigour. It dies if you attempt to force its nature, and to lop and dress it in the same manner as the trees of the Garden of Marli.
Letter XIX—On Comedy
I AM surprised that the judicious and ingenious Mr. de Muralt, who has published some letters on the English and French nations, should have confined himself, in treating of comedy, merely to censure Shadwell the comic writer. This author was had in pretty great contempt in Mr. de Muralt’s time, and was not the poet of the polite part of the nation. His dramatic pieces, which pleased some time in acting, were despised by all persons of taste, and might be compared to many plays which I have seen France, that drew crowds to the play-house, at the same time that they were intolerable to read; and of which it might be said, that the whole city of Paris exploded them, and yet all flocked to see them represented on the stage. Methinks Mr. de Muralt should have mentioned an excellent comic writer (living when he was in England), I mean Mr. Wycherley, who was a long time known publicly to be happy in the good graces of the most celebrated mistress of King Charles II. This gentleman, who passed his life among persons of the highest distinction, was perfectly well acquainted with their lives and their follies, and painted them with the strongest pencil, and in the truest colours. He has drawn a misanthrope or man-hater, in imitation of that of Molière. All Wycherley’s strokes are stronger and bolder than those of our misanthrope, but then they are less delicate, and the rules of decorum are not so well observed in this play. The English writer has corrected the only defect that is in Molière’s comedy, the thinness of the plot, which also is so disposed that the characters in it do not enough raise our concern. The English comedy affects us, and the contrivance of the plot is very ingenious, but at the same time it is too bold for the French manners. The fable is this:—A captain of a man-of-war, who is very brave, open-hearted, and inflamed with a spirit of contempt for all mankind, has a prudent, sincere friend, whom he yet is suspicious of, and a mistress that loves him with the utmost excess of passion. The captain so far from returning her love, will not even condescend to look upon her, but confides entirely in a false friend, who is the most worthless wretch living. At the same time he has given his heart to a creature, who is the greatest coquette and the most perfidious of her sex, and he is so credulous as to be confident she is Penelope, and his false friend a Cato. He embarks on board his ship in order to go and fight the Dutch, having left all his money, his jewels, and everything he had in the world to this virtuous creature, whom at the same time he recommends to the care of his supposed faithful friend. Nevertheless the real man of honour, whom he suspects so unaccountably, goes on board the ship with him, and the mistress, on whom he would not bestow so much as one glance, disguises herself in the habit of a page, and is with him the whole voyage, without his once knowing that she is of a sex different from that she attempts to pass for, which, by the way, is not over natural.
The captain having blown up his own ship in an engagement, returns to England abandoned and undone, accompanied by his page and his friend, without knowing the friendship of the one or the tender passion of the other. Immediately he goes to the jewel among women, how he expected had preserved her fidelity to him and the treasure he had left in her hands. He meets with her indeed, but married to the honest knave in whom he had reposed so much confidence, and finds she had acted as treacherously with regard to the casket he had entrusted her with. The captain can scarce think it possible that a woman of virtue and honour can act so vile a part; but to convince him still more of the reality of it, this very worthy lady falls in love with the little page, and will force him to her embraces. But as it is requisite justice should be done, and that in a dramatic piece virtue ought to be rewarded and vice punished, it is at last found that the captain takes his page’s place and lies with his faithless mistress, cuckolds his treacherous friend, thrusts his sword through his body, recovers his casket, and marries his page. You will observe that this play is also larded with a petulant, litigious old woman (a relation of the captain), who is the most comical character that was ever brought upon the stage.
Wycherley has also copied from Molière another play, of as singular and bold a cast, which is a kind of Ecole des Femmes, or, School for Married Women.
The principal character in this comedy is one Horner, a sly fortune hunter, and the terror of all the City husbands. This fellow, in order to play a surer game, causes a report to be spread, that in his last illness, the surgeons had found it necessary to have him made a eunuch. Upon his appearing in this noble character, all the husbands in town flocked to him with their wives, and now poor Horner is only puzzled about his choice. However, he gives the preference particularly to a little female peasant, a very harmless, innocent creature, who enjoys a fine flush of health, and cuckolds her husband with a simplicity that has infinitely more merit than the witty malice of the most experienced ladies. This play cannot indeed be called the school of good morals, but it is certainly the school of wit and true humour.
Sir John Vanbrugh has written several comedies, which are more humorous than those of Mr. Wycherley, but not so ingenious. Sir John was a man of pleasure, and likewise a poet and an architect. The general opinion is, that he is as sprightly in his writings as he is heavy in his buildings. It is he who raised the famous Castle of Blenheim, a ponderous and lasting monument of our unfortunate Battle of Hochstet. Were the apartments but as spacious as the walls are thick, this castle would be commodious enough. Some wag, in an epitaph he made on Sir John Vanbrugh, has these lines:—
“Earth lie light on him, for he
Laid many a heavy load in thee.”
Sir John having taken a tour into France before the glorious war that broke out in 1701, was thrown into the Bastille, and detained there for some time, without being ever able to discover the motive which had prompted our ministry to indulge him with this mark of their distinction. He wrote a comedy during his confinement; and a circumstance which appears to me very extraordinary is, that we don’t meet with so much as a single satirical stroke against the country in which he had been so injuriously treated.
The late Mr. Congreve raised the glory of comedy to a greater height than any English writer before or since his time. He wrote only a few plays, but they are all excellent in their kind. The laws of the drama are strictly observed in them; they abound with characters all which are shadowed with the utmost delicacy, and we don’t meet with so much as one low or coarse jest. The language is everywhere that of men of honour, but their actions are those of knaves—a proof that he was perfectly well acquainted with human nature, and frequented what we call polite company. He was infirm and come to the verge of life when I knew him. Mr. Congreve had one defect, which was his entertaining too mean an idea of his first profession (that of a writer), though it was to this he owed his fame and fortune. He spoke of his works as of trifles that were beneath him; and hinted to me, in our first conversation, that I should visit him upon no other footing than that of a gentleman who led a life of plainness and simplicity. I answered, that had he been so unfortunate as to be a mere gentleman, I should never have come to see him; and I was very much disgusted at so unseasonable a piece of vanity.
Mr. Congreve’s comedies are the most witty and regular, those of Sir John Vanbrugh most gay and humorous, and those of Mr. Wycherley have the greatest force and spirit. It may be proper to observe that these fine geniuses never spoke disadvantageously of Molière; and that none but the contemptible writers among the English have endeavoured to lessen the character of that great comic poet. Such Italian musicians as despise Lully are themselves persons of no character or ability; but a Buononcini esteems that great artist, and does justice to his merit.
The English have some other good comic writers living, such as Sir Richard Steele and Mr. Cibber, who is an excellent player, and also Poet Laureate—a title which, how ridiculous soever it may be thought, is yet worth a thousand crowns a year (besides some considerable privileges) to the person who enjoys it. Our illustrious Corneille had not so much.
To conclude. Don’t desire me to descend to particulars with regard to these English comedies, which I am so fond of applauding; nor to give you a single smart saying or humorous stroke from Wycherley or Congreve. We don’t laugh in reading a translation. If you have a mind to understand the English comedy, the only way to do this will be for you to go to England, to spend three years in London, to make yourself master of the English tongue, and to frequent the playhouse every night. I receive but little pleasure from the perusal of Aristophanes and Plautus, and for this reason because I am neither a Greek nor a Roman. The delicacy of the humour, the allusion, the à propos—all these are lost to a foreigner.
But it is different with respect to tragedy, this treating only of exalted passions and heroical follies, which the antiquated errors of fable or history have made sacred. Œdipus, Electra, and such-like characters, may with as much propriety be treated of by the Spaniards, the English, or us, as by the Greeks. But true comedy is the speaking picture of the follies and ridiculous foibles of a nation; so that he only is able to judge of the painting who is perfectly acquainted with the people it represents.
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