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Chapter 4

IV

But it is not enough that Shakespeare's characters are placed in tragic positions which are impossible, do not flow from the course of events, are inappropriate to time and space—these personages, besides this, act in a way which is out of keeping with their definite character, and is quite arbitrary. It is generally asserted that in Shakespeare's dramas the characters are specially well expressed, that, notwithstanding their vividness, they are many-sided, like those of living people; that, while exhibiting the characteristics of a given individual, they at the same time wear the features of man in general; it is usual to say that the delineation of character in Shakespeare is the height of perfection.

This is asserted with such confidence and repeated by all as indisputable truth; but however much I endeavored to find confirmation of this in Shakespeare's dramas, I always found the opposite. In reading any of Shakespeare's dramas whatever, I was, from the very first, instantly convinced that he was lacking in the most important, if not the only, means of portraying characters: individuality of language, i.e., the style of speech of every person being natural to his character. This is absent from Shakespeare. All his characters speak, not their own, but always one and the same Shakespearian, pretentious, and unnatural language, in which not only they could not speak, but in which no living man ever has spoken or does speak.

No living men could or can say, as Lear says, that he would divorce his wife in the grave should Regan not receive him, or that the heavens would crack with shouting, or that the winds would burst, or that the wind wishes to blow the land into the sea, or that the curled waters wish to flood the shore, as the gentleman describes the storm, or that it is easier to bear one's grief and the soul leaps over many sufferings when grief finds fellowship, or that Lear has become childless while I am fatherless, as Edgar says, or use similar unnatural expressions with which the speeches of all the characters in all Shakespeare's dramas overflow.

Again, it is not enough that all the characters speak in a way in which no living men ever did or could speak—they all suffer from a common intemperance of language. Those who are in love, who are preparing for death, who are fighting, who are dying, all alike speak much and unexpectedly about subjects utterly inappropriate to the occasion, being evidently guided rather by consonances and play of words than by thoughts. They speak all alike. Lear raves exactly as does Edgar when feigning madness. Both Kent and the fool speak alike. The words of one of the personages might be placed in the mouth of another, and by the character of the speech it would be impossible to distinguish who speaks. If there is a difference in the speech of Shakespeare's various characters, it lies merely in the different dialogs which are pronounced for these characters—again by Shakespeare and not by themselves. Thus Shakespeare always speaks for kings in one and the same inflated, empty language. Also in one and the same Shakespearian, artificially sentimental language speak all the women who are intended to be poetic: Juliet, Desdemona, Cordelia, Imogen, Marina. In the same way, also, it is Shakespeare alone who speaks for his villains: Richard, Edmund, Iago, Macbeth, expressing for them those vicious feelings which villains never express. Yet more similar are the speeches of the madmen with their horrible words, and those of fools with their mirthless puns. So that in Shakespeare there is no language of living individuals—that language which in the drama is the chief means of setting forth character. If gesticulation be also a means of expressing character, as in ballets, this is only a secondary means. Moreover, if the characters speak at random and in a random way, and all in one and the same diction, as is the case in Shakespeare's work, then even the action of gesticulation is wasted. Therefore, whatever the blind panegyrists of Shakespeare may say, in Shakespeare there is no expression of character. Those personages who, in his dramas, stand out as characters, are characters borrowed by him from former works which have served as the foundation of his dramas, and they are mostly depicted, not by the dramatic method which consists in making each person speak with his own diction, but in the epic method of one person describing the features of another.

The perfection with which Shakespeare expresses character is asserted chiefly on the ground of the characters of Lear, Cordelia, Othello, Desdemona, Falstaff, and Hamlet. But all these characters, as well as all the others, instead of belonging to Shakespeare, are taken by him from dramas, chronicles, and romances anterior to him. All these characters not only are not rendered more powerful by him, but, in most cases, they are weakened and spoilt. This is very striking in this drama of "King Lear," which we are examining, taken by him from the drama "King Leir," by an unknown author. The characters of this drama, that of King Lear, and especially of Cordelia, not only were not created by Shakespeare, but have been strikingly weakened and deprived of force by him, as compared with their appearance in the older drama.

In the older drama, Leir abdicates because, having become a widower, he thinks only of saving his soul. He asks his daughters as to their love for him—that, by means of a certain device he has invented, he may retain his favorite daughter on his island. The elder daughters are betrothed, while the youngest does not wish to contract a loveless union with any of the neighboring suitors whom Leir proposes to her, and he is afraid that she may marry some distant potentate.

The device which he has invented, as he informs his courtier, Perillus (Shakespeare's Kent), is this, that when Cordelia tells him that she loves him more than any one or as much as her elder sisters do, he will tell her that she must, in proof of her love, marry the prince he will indicate on his island. All these motives for Lear's conduct are absent in Shakespeare's play. Then, when, according to the old drama, Leir asks his daughters about their love for him, Cordelia does not say, as Shakespeare has it, that she will not give her father all her love, but will love her husband, too, should she marry—which is quite unnatural—but simply says that she can not express her love in words, but hopes that her actions will prove it. Goneril and Regan remark that Cordelia's answer is not an answer, and that the father can not meekly accept such indifference, so that what is wanting in Shakespeare—i.e., the explanation of Lear's anger which caused him to disinherit his youngest daughter,—exists in the old drama. Leir is annoyed by the failure of his scheme, and the poisonous words of his eldest daughters irritate him still more. After the division of the kingdom between the elder daughters, there follows in the older drama a scene between Cordelia and the King of Gaul, setting forth, instead of the colorless Cordelia of Shakespeare, a very definite and attractive character of the truthful, tender, and self-sacrificing youngest daughter. While Cordelia, without grieving that she has been deprived of a portion of the heritage, sits sorrowing at having lost her father's love, and looking forward to earn her bread by her labor, there comes the King of Gaul, who, in the disguise of a pilgrim, desires to choose a bride from among Leir's daughters. He asks Cordelia why she is sad. She tells him the cause of her grief. The King of Gaul, still in the guise of a pilgrim, falls in love with her, and offers to arrange a marriage for her with the King of Gaul, but she says she will marry only a man whom she loves. Then the pilgrim, still disguised, offers her his hand and heart and Cordelia confesses she loves the pilgrim and consents to marry him, notwithstanding the poverty that awaits her. Then the pilgrim discloses to her that he it is who is the King of Gaul, and Cordelia marries him. Instead of this scene, Lear, according to Shakespeare, offers Cordelia's two suitors to take her without dowry, and one cynically refuses, while the other, one does not know why, accepts her. After this, in the old drama, as in Shakespeare's, Leir undergoes the insults of Goneril, into whose house he has removed, but he bears these insults in a very different way from that represented by Shakespeare: he feels that by his conduct toward Cordelia, he has deserved this, and humbly submits. As in Shakespeare's drama, so also in the older drama, the courtiers, Perillus—Kent—who had interceded for Cordelia and was therefore banished—comes to Leir and assures him of his love, but under no disguise, but simply as a faithful old servant who does not abandon his king in a moment of need. Leir tells him what, according to Shakespeare, he tells Cordelia in the last scene, that, if the daughters whom he has benefited hate him, a retainer to whom he has done no good can not love him. But Perillus—Kent—assures the King of his love toward him, and Leir, pacified, goes on to Regan. In the older drama there are no tempests nor tearing out of gray hairs, but there is the weakened and humbled old man, Leir, overpowered with grief, and banished by his other daughter also, who even wishes to kill him. Turned out by his elder daughters, Leir, according to the older drama, as a last resource, goes with Perillus to Cordelia. Instead of the unnatural banishment of Lear during the tempest, and his roaming about the heath, Leir, with Perillus, in the older drama, during their journey to France, very naturally reach the last degree of destitution, sell their clothes in order to pay for their crossing over the sea, and, in the attire of fishermen, exhausted by cold and hunger, approach Cordelia's house. Here, again, instead of the unnatural combined ravings of the fool, Lear, and Edgar, as represented by Shakespeare, there follows in the older drama a natural scene of reunion between the daughter and the father. Cordelia—who, notwithstanding her happiness, has all the time been grieving about her father and praying to God to forgive her sisters who had done him so much wrong—meets her father in his extreme want, and wishes immediately to disclose herself to him, but her husband advises her not to do this, in order not to agitate her weak father. She accepts the counsel and takes Leir into her house without disclosing herself to him, and nurses him. Leir gradually revives, and then the daughter asks him who he is and how he lived formerly:

"If from the first," says Leir, "I should relate the cause,
I would make a heart of adamant to weep.
And thou, poor soul, kind-hearted as thou art,
Dost weep already, ere I do begin."
Cordelia: "For God's love tell it, and when you have done
I'll tell the reason why I weep so soon."

And Leir relates all he has suffered from his elder daughters, and says that now he wishes to find shelter with the child who would be in the right even were she to condemn him to death. "If, however," he says, "she will receive me with love, it will be God's and her work, but not my merit." To this Cordelia says: "Oh, I know for certain that thy daughter will lovingly receive thee."—"How canst thou know this without knowing her?" says Leir. "I know," says Cordelia, "because not far from here, I had a father who acted toward me as badly as thou hast acted toward her, yet, if I were only to see his white head, I would creep to meet him on my knees."—"No, this can not be," says Leir, "for there are no children in the world so cruel as mine."—"Do not condemn all for the sins of some," says Cordelia, and falls on her knees. "Look here, dear father," she says, "look on me: I am thy loving daughter." The father recognizes her and says: "It is not for thee, but for me, to beg thy pardon on my knees for all my sins toward thee."

Is there anything approaching this exquisite scene in Shakespeare's drama?

However strange this opinion may seem to worshipers of Shakespeare, yet the whole of this old drama is incomparably and in every respect superior to Shakespeare's adaptation. It is so, first, because it has not got the utterly superfluous characters of the villain Edmund and unlifelike Gloucester and Edgar, who only distract one's attention; secondly because it has not got the completely false "effects" of Lear running about the heath, his conversations with the fool, and all these impossible disguises, failures to recognize, and accumulated deaths; and, above all, because in this drama there is the simple, natural, and deeply touching character of Leir and the yet more touching and clearly defined character of Cordelia, both absent in Shakespeare. Therefore, there is in the older drama, instead of Shakespeare's long-drawn scene of Lear's interview with Cordelia and of Cordelia's unnecessary murder, the exquisite scene of the interview between Leir and Cordelia, unequaled by any in all Shakespeare's dramas.

The old drama also terminates more naturally and more in accordance with the moral demands of the spectator than does Shakespeare's, namely, by the King of the Gauls conquering the husbands of the elder sisters, and Cordelia, instead of being killed, restoring Leir to his former position.

Thus it is in the drama we are examining, which Shakespeare has borrowed from the drama "King Leir." So it is also with Othello, taken from an Italian romance, the same also with the famous Hamlet. The same with Antony, Brutus, Cleopatra, Shylock, Richard, and all Shakespeare's characters, all taken from some antecedent work. Shakespeare, while profiting by characters already given in preceding dramas, or romances, chronicles, or, Plutarch's "Lives," not only fails to render them more truthful and vivid, as his eulogists affirm, but, on the contrary, always weakens them and often completely destroys them, as with Lear, compelling his characters to commit actions unnatural to them, and, above all, to utter speeches natural neither to them nor to any one whatever. Thus, in "Othello," altho that is, perhaps, I will not say the best, but the least bad and the least encumbered by pompous volubility, the characters of Othello, Iago, Cassio, Emilia, according to Shakespeare, are much less natural and lifelike than in the Italian romance. Shakespeare's Othello suffers from epilepsy, of which he has an attack on the stage; moreover, in Shakespeare's version, Desdemona's murder is preceded by the strange vow of the kneeling Othello. Othello, according to Shakespeare, is a negro and not a Moor. All this is erratic, inflated, unnatural, and violates the unity of the character. All this is absent in the romance. In that romance the reasons for Othello's jealousy are represented more naturally than in Shakespeare. In the romance, Cassio, knowing whose the handkerchief is, goes to Desdemona to return it, but, approaching the back-door of Desdemona's house, sees Othello and flies from him. Othello perceives the escaping Cassio, and this, more than anything, confirms his suspicions. Shakespeare has not got this, and yet this casual incident explains Othello's jealousy more than anything else. With Shakespeare, this jealousy is founded entirely on Iago's persistent, successful machinations and treacherous words, which Othello blindly believes. Othello's monolog over the sleeping Desdemona, about his desiring her when killed to look as she is alive, about his going to love her even dead, and now wishing to smell her "balmy breath," etc., is utterly impossible. A man who is preparing for the murder of a beloved being, does not utter such phrases, still less after committing the murder would he speak about the necessity of an eclipse of sun and moon, and of the globe yawning; nor can he, negro tho he may be, address devils, inviting them to burn him in hot sulphur and so forth. Lastly, however effective may be the suicide, absent in the romance, it completely destroys the conception of his clearly defined character. If he indeed suffered from grief and remorse, he would not, intending to kill himself, pronounce phrases about his own services, about the pearl, and about his eyes dropping tears "as fast as the Arabian trees their medicinal gum"; and yet less about the Turk's beating an Italian and how he, Othello, smote him—thus! So that notwithstanding the powerful expression of emotion in Othello when, under the influence of Iago's hints, jealousy rises in him, and again in his scenes with Desdemona, one's conception of Othello's character is constantly infringed by his false pathos and the unnatural speeches he pronounces.

So it is with the chief character, Othello, but notwithstanding its alteration and the disadvantageous features which it is made thereby to present in comparison with the character from which it was taken in the romance, this character still remains a character, but all the other personages are completely spoiled by Shakespeare.

Iago, according to Shakespeare, is an unmitigated villain, deceiver, and thief, a robber who robs Roderigo and always succeeds even in his most impossible designs, and therefore is a person quite apart from real life. In Shakespeare, the motive of his villainy is, first, that Othello did not give him the post he desired; secondly, that he suspects Othello of an intrigue with his wife and, thirdly, that, as he says, he feels a strange kind of love for Desdemona. There are many motives, but they are all vague. Whereas in the romance there is but one simple and clear motive, Iago's passionate love for Desdemona, transmitted into hatred toward her and Othello after she had preferred the Moor to him and resolutely repulsed him. Yet more unnatural is the utterly unnecessary Roderigo whom Iago deceives and robs, promising him Desdemona's love, and whom he forces to fulfil all he commands: to intoxicate Cassio, provoke and then kill Cassio. Emilia, who says anything it may occur to the author to put into her mouth, has not even the slightest semblance of a live character.

"But Falstaff, the wonderful Falstaff," Shakespeare's eulogists will say, "of him, at all events, one can not say that he is not a living character, or that, having been taken from the comedy of an unknown author, it has been weakened."

Falstaff, like all Shakespeare's characters, was taken from a drama or comedy by an unknown author, written on a really living person, Sir John Oldcastle, who had been the friend of some duke. This Oldcastle had once been convicted of heresy, but had been saved by his friend the duke. But afterward he was condemned and burned at the stake for his religious beliefs, which did not conform with Catholicism. It was on this same Oldcastle that an anonymous author, in order to please the Catholic public, wrote a comedy or drama, ridiculing this martyr for his faith and representing him as a good-for-nothing man, the boon companion of the duke, and it is from this comedy that Shakespeare borrowed, not only the character of Falstaff, but also his own ironical attitude toward it. In Shakespeare's first works, when this character appeared, it was frankly called "Oldcastle," but later, in Elizabeth's time, when Protestantism again triumphed, it was awkward to bring out with mockery a martyr in the strife with Catholicism, and, besides, Oldcastle's relatives had protested, and Shakespeare accordingly altered the name of Oldcastle to that of Falstaff, also a historical figure, known for having fled from the field of battle at Agincourt.

Falstaff is, indeed, quite a natural and typical character; but then it is perhaps the only natural and typical character depicted by Shakespeare. And this character is natural and typical because, of all Shakespeare's characters, it alone speaks a language proper to itself. And it speaks thus because it speaks in that same Shakespearian language, full of mirthless jokes and unamusing puns which, being unnatural to all Shakespeare's other characters, is quite in harmony with the boastful, distorted, and depraved character of the drunken Falstaff. For this reason alone does this figure truly represent a definite character. Unfortunately, the artistic effect of this character is spoilt by the fact that it is so repulsive by its gluttony, drunkenness, debauchery, rascality, deceit, and cowardice, that it is difficult to share the feeling of gay humor with which the author treats it. Thus it is with Falstaff.

But in none of Shakespeare's figures is his, I will not say incapacity to give, but utter indifference to giving, his personages a typical character so strikingly manifest as in Hamlet; and in connection with none of Shakespeare's works do we see so strikingly displayed that blind worship of Shakespeare, that unreasoning state of hypnotism owing to which the mere thought even is not admitted that any of Shakespeare's productions can be wanting in genius, or that any of the principal personages in his dramas can fail to be the expression of a new and deeply conceived character.

Shakespeare takes an old story, not bad in its way, relating:

"Avec quelle ruse Amlette qui depuis fut Roy de Dannemarch, vengea la mort de son père Horwendille, occis par Fengon son frère, et autre occurrence de son histoire," or a drama which was written on this theme fifteen years before him. On this subject he writes his own drama, introducing quite inappropriately (as indeed he always does) into the mouth of the principal person all those thoughts of his own which appeared to him worthy of attention. And putting into the mouth of his hero these thoughts: about life (the grave-digger), about death (To be or not to be)—the same which are expressed in his sixty-sixth sonnet—about the theater, about women. He is utterly unconcerned as to the circumstances under which these words are said, and it naturally turns out that the person expressing all these thoughts is a mere phonograph of Shakespeare, without character, whose actions and words do not agree.

In the old legend, Hamlet's personality is quite comprehensible: he is indignant at his mother's and his uncle's deeds, and wishes to revenge himself upon them, but is afraid his uncle may kill him as he had killed his father. Therefore he simulates insanity, desiring to bide his time and observe all that goes on in the palace. Meanwhile, his uncle and mother, being afraid of him, wish to test whether he is feigning or is really mad, and send to him a girl whom he loves. He persists, then sees his mother in private, kills a courtier who was eavesdropping, and convicts his mother of her sin. Afterward he is sent to England, but intercepts letters and, returning from England, takes revenge of his enemies, burning them all.

All this is comprehensible and flows from Hamlet's character and position. But Shakespeare, putting into Hamlet's mouth speeches which he himself wishes to express, and making him commit actions which are necessary to the author in order to produce scenic effects, destroys all that constitutes the character of Hamlet and of the legend. During the whole of the drama, Hamlet is doing, not what he would really wish to do, but what is necessary for the author's plan. One moment he is awe-struck at his father's ghost, another moment he begins to chaff it, calling it "old mole"; one moment he loves Ophelia, another moment he teases her, and so forth. There is no possibility of finding any explanation whatever of Hamlet's actions or words, and therefore no possibility of attributing any character to him.

But as it is recognized that Shakespeare the genius can not write anything bad, therefore learned people use all the powers of their minds to find extraordinary beauties in what is an obvious and crying failure, demonstrated with especial vividness in "Hamlet," where the principal figure has no character whatever. And lo! profound critics declare that in this drama, in the person of Hamlet, is expressed singularly powerful, perfectly novel, and deep personality, existing in this person having no character; and that precisely in this absence of character consists the genius of creating a deeply conceived character. Having decided this, learned critics write volumes upon volumes, so that the praise and explanation of the greatness and importance of the representation of the character of a man who has no character form in volume a library. It is true that some of the critics timidly express the idea that there is something strange in this figure, that Hamlet is an unsolved riddle, but no one has the courage to say (as in Hans Andersen's story) that the King is naked—i.e., that it is as clear as day that Shakespeare did not succeed and did not even wish to give any character to Hamlet, did not even understand that this was necessary. And learned critics continue to investigate and extol this puzzling production, which reminds one of the famous stone with an inscription which Pickwick found near a cottage doorstep, and which divided the scientific world into two hostile camps.

So that neither do the characters of Lear nor Othello nor Falstaff nor yet Hamlet in any way confirm the existing opinion that Shakespeare's power consists in the delineation of character.

If in Shakespeare's dramas one does meet figures having certain characteristic features, for the most part secondary figures, such as Polonius in "Hamlet" and Portia in "The Merchant of Venice," these few lifelike characters among five hundred or more other secondary figures, with the complete absence of character in the principal figures, do not at all prove that the merit of Shakespeare's dramas consists in the expression of character.

That a great talent for depicting character is attributed to Shakespeare arises from his actually possessing a peculiarity which, for superficial observers and in the play of good actors, may appear to be the capacity of depicting character. This peculiarity consists in the capacity of representative scenes expressing the play of emotion. However unnatural the positions may be in which he places his characters, however improper to them the language which he makes them speak, however featureless they are, the very play of emotion, its increase, and alteration, and the combination of many contrary feelings, as expressed correctly and powerfully in some of Shakespeare's scenes, and in the play of good actors, evokes even, if only for a time, sympathy with the persons represented. Shakespeare, himself an actor, and an intelligent man, knew how to express by the means not only of speech, but of exclamation, gesture, and the repetition of words, states of mind and developments or changes of feeling taking place in the persons represented. So that, in many instances, Shakespeare's characters, instead of speaking, merely make an exclamation, or weep, or in the middle of a monolog, by means of gestures, demonstrate the pain of their position (just as Lear asks some one to unbutton him), or, in moments of great agitation, repeat a question several times, or several times demand the repetition of a word which has particularly struck them, as do Othello, Macduff, Cleopatra, and others. Such clever methods of expressing the development of feeling, giving good actors the possibility of demonstrating their powers, were, and are, often mistaken by many critics for the expression of character. But however strongly the play of feeling may be expressed in one scene, a single scene can not give the character of a figure when this figure, after a correct exclamation or gesture, begins in a language not its own, at the author's arbitrary will, to volubly utter words which are neither necessary nor in harmony with its character.

Leo Tolstoy

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