Lectures on Dramatic Art and Literature by August Wilhelm Schlegel (classic books to read TXT) 📖

the ancients; and, at first, the poet himself called it a Tragi-comedy. Would that this had been the only occasion in which the authority of Aristotle has been applied to subjects which do not belong to his jurisdiction!

The Horatii has been censured for want of unity; the murder of the sister and the acquittal of the victorious Roman is said to be a second action, independent of the combat of the Horatii and Curiatii. Corneille himself was talked into a belief of it. He appears, however, to me fully justified in what he has done. If the murder of Camilla had not made a part of the piece, the female characters in the first act would have been superfluous; and without the triumph of patriotism over family ties, the combat could not have been an action, but merely an event destitute of all tragic complication. But the real defect, in my opinion, is Corneille representing a public act which decided the fate of two states, as taking place altogether infra privates parietes , and stripping it of every visible pomp of circumstance. Hence the great flatness of the fifth act. What a different impression would have been produced had Horatius, in presence of the king and people, been solemnly condemned, in obedience to the stern mandate of the law, and afterwards saved through the tears and lamentations of his father, just as Livy describes it. Moreover, the poet, not satisfied with making, as the history does, one sister of the Horatii in love with one of the Curiatii, has thought proper to invent the marriage of a sister of the Curiatii with one of the Horatii: and as in the former the love of country yields to personal inclination, in the latter personal inclination yields to love of country. This gives rise to a great improbability: for is it likely that men would have been selected for the combat who, with a well-known family connexion of this kind, would have had the most powerful inducements to spare one another? Besides, the conqueror's murder of his sister cannot be rendered even poetically tolerable, except by supposing him in all the boiling impetuosity of ungovernable youth. Horatius, already a husband, would have shown a wiser and milder forbearance towards his unfortunate sister's language; else were he a ferocious savage.

Cinna is commonly ranked much higher than The Horatii ; although, as to purity of sentiment, there is here a perceptible falling off from that ideal sphere in which the action of the two preceding pieces moves. All is diversely complicated and diseased. Cinna's republicanism is merely the cloak of another passion: he is a tool in the hands of Emilia, who, on her part, constantly sacrifices her pretended love to her passion of revenge. The magnanimity of Augustus is ambiguous: it appears rather the caution of a tyrant grown timid through age. The conspiracy is, with a splendid narration, thrust into the background; it does not excite in us that gloomy apprehension which so theatrical an object ought to do. Emilia, the soul of the piece, is called by the witty Balzac, when commending the work, "an adorable fury." Yet the Furies themselves could be appeased by purifications and expiations: but Emilia's heart is inaccessible to the softening influences of benevolence and generosity; the adoration of so unfeminine a creature is hardly pardonable even in a lover. Hence she has no better adorers than Cinna and Maximus, two great villains, whose repentance comes too late to be thought sincere.

Here we have the first specimen of that Machiavellism of motives, which subsequently disfigured the poetry of Corneille, and which is not only repulsive, but also for the most part both clumsy and unsuitable. He flattered himself, that in knowledge of men and the world, in an acquaintance with courts and politics, he surpassed the most shrewd and clear-sighted observers. With a mind naturally alive to honour, he yet conceived the design of taking in hand the "doctrine of the murderous Machiavel;" and displays, broadly and didactically, all the knowledge which he had acquired of these arts. He had no suspicion that a remorseless and selfish policy goes always smoothly to work, and dexterously disguises itself. Had he been really capable of anything of the kind, he might have taken a lesson from Richelieu.

Of the remaining pieces in which Corneille has painted the Roman love of liberty and conquest, the Death of Pompey is the most eminent. It is full, however, of a grandeur which is more dazzling than genuine; and, indeed, we could expect nothing else from a cento of Lucan's hyperbolical antitheses. These bravuras of rhetoric are strung together on the thread of a clumsy plot. The intrigues of Ptolemy, and the ambitious coquetry of his sister Cleopatra, have a petty and miserable appearance alongside of the picture of the fate of the great Pompey, the vengeance-breathing sorrow of his wife, and the magnanimous compassion of Caesar. Scarcely has the conqueror paid the last honours to the reluctant shade of his rival, when he does homage at the feet of the beautiful queen; he is not only in love, but sighingly and ardently in love. Cleopatra, on her part, according to the poet's own expression, is desirous, by her love-ogling, to gain the sceptre of her brother. Caesar certainly made love, in his own way, to a number of women: but these cynical loves, if represented with anything like truth, would be most unfit for the stage. Who can refrain from laughing, when Rome, in the speech of Caesar, implores the
chaste love of Cleopatra for young Caesar?

In Sertorius , a much later work, Corneille has contrived to make the great Pompey appear little, and the hero ridiculous. Sertorius on one occasion exclaims -

Que c'est un sort cruel d'aimer par politique!

This admits of being applied to all the personages of the piece. In love they are not in the least; but they allow a pretended love to be subservient to political ends. Sertorius, a hardy and hoary veteran, acts the lover with the Spanish Queen, Viriata; he brings forward, however, pretext after pretext, and offers himself the while to Aristia; as Viriata presses him to marry her on the spot, he begs anxiously for a short delay; Viriata, along with her other elegant phrases, says roundly, that she neither knows love nor hatred; Aristia, the repudiated wife of Pompey, says to him, "Take me back again, or I will marry another;" Pompey beseeches her to wait only till the death of Sylla, whom he dare not offend: after this there is no need to mention the low scoundrel Perpenna. The tendency to this frigidity of soul was perceptible in Corneille, even at an early period of his career; but in the works of his old age it increased to an incredible degree.

In Polyeucte , Christian sentiments are not unworthily expressed; yet we find in it more superstitious reverence than fervent enthusiasm for religion: the wonders of grace are rather affirmed , than embraced by a mysterious illumination. Both the tone and the situations in the first acts, incline greatly, as Voltaire observes, to comedy. A woman who, in obedience to her father, has married against her inclinations, and who declares both to her lover (who returns when too late) and to her husband, that "she still retains her first love, but that she will keep within the bounds of virtue;" a vulgar and selfish father, who is sorry that he has not chosen for his son-in-law the first suitor, now become the favourite of the Emperor; all this promises no very high tragical determinations. The divided heart of Paulina is in nature, and consequently does not detract from the interest of the piece. It is generally agreed that her situation, and the character of Severus, constitute the principal charm of this drama. But the practical magnanimity of this Roman, in conquering his passion, throws Polyeucte's self-renunciation, which appears to cost him nothing, quite into the shade. From this a conclusion has been partly drawn, that martyrdom is, in general, an unfavourable subject for Tragedy. But nothing can be more unjust than this inference. The cheerfulness with which martyrs embraced pain and death did not proceed from want of feeling, but from the heroism of the highest love: they must previously, in struggles painful beyond expression, have obtained the victory over every earthly tie; and by the exhibition of these struggles, of these sufferings of our mortal nature, while the seraph soars on its flight to heaven, the poet may awaken in us the most fervent emotion. In
Polyeucte , however, the means employed to bring about the catastrophe, namely, the dull and low artifice of Felix, by which the endeavours of Severus to save his rival are made rather to contribute to his destruction, are inexpressibly contemptible.

How much Corneille delighted in the symmetrical and nicely balanced play of intrigue, we may see at once from his having pronounced Rodogune his favourite work. I shall content myself with referring to Lessing, who has exposed pleasantly enough the ridiculous appearance which the two distressed princes cut, between a mother who says, "He who murders his mistress I will name heir to my throne," and a mistress who says, "He who murders his mother shall be my husband." The best and shortest way of going to work would have been to have locked up the two furies together. As for Voltaire, he is always recurring to the fifth act, which he declares to be one of the noblest productions of the French stage. This singular way of judging works of art by piecemeal, which would praise the parts in distinction from the whole, without which it is impossible for the parts to exist, is altogether foreign to our way of thinking.

With respect to Heraclius , Voltaire gives himself the unnecessary trouble of showing that Calderon did not imitate Corneille; and, on the other hand, he labours, with little success, to give a negative to the question whether the latter had the Spanish author before him, and availed himself of his labours. Corneille, it is true, gives out the whole as his own invention; but we must not forget, that only when hard pressed did he acknowledge how much he owed to the author of the Spanish Cid . The chief circumstance of the plot, namely, the uncertainty of the tyrant Phocas as to which of the two youths is his own son, or the son of his murdered predecessor, bears great resemblance to an incident in a drama of Calderon's, and nothing of the kind is to be found in history; in other respects the plot is, it is true, altogether different. However this may be, in Calderon the ingenious boldness of an extravagant invention is always preserved in due keeping by a deeper magic colouring of the poetry; whereas in Corneille, after our head has become giddy in endeavouring to disentangle a complicated and ill-contrived intrigue, we are recompensed by a succession of mere tragical epigrams, without the slightest recreation for the fancy.

Nicomedes is a political comedy, the dryness of which is hardly in any degree relieved by the ironical tone which runs through the speeches of the hero.

This is nearly all of Corneille's that now appears on the stage. His later works are, without exception, merely treatises or reasons of state in certain difficult conjunctures, dressed out in a pompous dialogical form. We might as well make a tragedy out of a game at chess.

Those who have the patience to wade through the forgotten pieces of Corneille will perceive with astonishment that they are constructed on the same principles, and, with the