The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3448]
On the German stage.
Shakespeare has been no less effectually nationalised on the German stage. The three great actors—Frederick Ulrich Ludwig Schroeder (1744-1816) of Hamburg, Ludwig Devrient (1784-1832), and his nephew Gustav Emil Devrient (1803-1872)—largely derived their fame from their successful assumptions of Shakespearean characters. Another of Ludwig Devrient’s nephews, Eduard (1801-1877), also an actor, prepared, with his son Otto, an acting German edition (Leipzig, 1873 and following years). An acting edition by Wilhelm Oechelhaeuser appeared previously at Berlin in 1871. Twenty-eight of the thirty-seven plays assigned to Shakespeare are now on recognised lists of German acting plays, including all the histories. In 1895 as many as 706 performances of twenty-five of Shakespeare’s plays were given in German theatres. In 1896 no fewer than 910 performances were given of twenty-three plays. In 1897 performances of twenty-four plays reached a total of 930—an average of nearly three Shakespearean representations a day in the German-speaking districts of Europe. It is not only in capitals like Berlin and Vienna that the representations are frequent and popular. In towns like Altona, Breslau, Frankfort-on-the-Maine, Hamburg, Magdeburg, and Rostock, Shakespeare is acted constantly and the greater number of his dramas is regularly kept in rehearsal. ‘Othello,’ ‘Hamlet,’ ‘Romeo and Juliet,’ and ‘The Taming of the Shrew’ usually prove most attractive. Of the many German musical composers who have worked on Shakespearean themes, Mendelssohn (in ‘Midsummer Night’s Dream’), Schumann, and Franz Schubert (in setting separate songs) have achieved the greatest success.
In France. Voltaire’s strictures.
In France Shakespeare won recognition after a longer struggle than in Germany. Cyrano de Bergerac (1619-1655) plagiarised ‘Cymbeline,’ ‘Hamlet,’ and ‘The Merchant of Venice’ in his ‘Agrippina.’ About 1680 Nicolas Clement, Louis XIV’s librarian, allowed Shakespeare imagination, natural thoughts, and ingenious expression, but deplored his obscenity. Half a century elapsed before public attention in France was again directed to Shakespeare. The Abbé Prévost, in his periodical ‘Le Pour et Contre’ (1733 et seq.), acknowledged his power. But it is to Voltaire that his countrymen owe, as he himself boasted, their first effective introduction to Shakespeare. Voltaire studied Shakespeare thoroughly on his visit to England between 1726 and 1729, and his influence is visible in his own dramas. In his ‘Lettres Philosophiques’ (1731), afterwards reissued as ‘Lettres sur les Anglais,’ 1734 (Nos. xviii. and xix.), and in his ‘Lettre sur la Tragédie’ (1731), he expressed admiration for Shakespeare’s genius, but attacked his want of taste and art. He described him as ‘le Corneille de Londres, grand fou d’ailleurs mais il a des morceaux admirables.’ Writing to the Abbé des Fontaines in November 1735, Voltaire admitted many merits in ‘Julius Cæsar,’ on which he published ‘Observations’ in 1764. Johnson replied to Voltaire’s general criticism in the preface to his edition (1765), and Mrs. Elizabeth Montagu in 1769 in a separate volume, which was translated into French in 1777. Diderot made, in his ‘Encylopédie,’ the first stand in France against the Voltairean position, and increased opportunities of studying Shakespeare’s works increased the poet’s vogue. Twelve plays were translated in De la Place’s ‘Théâtre Anglais’ (1745-8). Jean-Francois Ducis (1733-1816) adapted without much insight six plays for the French stage, beginning in 1769 with ‘Hamlet,’ his version of which was acted with applause. In 1776 Pierre Le Tourneur began a bad prose translation (completed in 1782) of all Shakespeare’s plays, and declared him