Читать книгу William Shakespeare: A Critical Study - Георг Брандес - Страница 3

When we pass from the notabilities of the nineteenth century to Shakespeare, all our ordinary critical methods leave us in the lurch. We have, as a rule, no lack of trustworthy information as to the productive spirits of our own day and of the past two centuries. We know the lives of authors and poets from their own accounts or those of their contemporaries; in many cases we have their letters; and we possess not only works attributed to them, but works which they themselves gave to the press. We not only know with certainty their authentic writings, but are assured that we possess them in authentic form. If disconcerting errors occur in their works, they are only misprints, which they themselves or others happen to have overlooked. Insidious though they may be, there is no particular difficulty in correcting them. Bernays, for example, has weeded out not a few from the text of Goethe.

It is otherwise with Shakespeare and his fellow-dramatists of Elizabethan England. He died in 1616, and the first biography of him, a few pages in length, dates from 1709. This is as though the first sketch of Goethe's life were not to be written till the year 1925. We possess no letters of Shakespeare's, and only one (a business letter) addressed to him. Of the manuscripts of his works not a single line is extant. Our sole specimens of his handwriting consist of five or six signatures, three appended to his will, two to contracts, and one, of very doubtful authenticity, on the copy of Florio's translation of Montaigne, which is shown at the British Museum. We do not know exactly how far several of the works attributed to Shakespeare are really his. In the case of such plays as Titus Andronicus, the trilogy of Henry VI, Pericles, and Henry VIII, the question of authorship presents great and manifold difficulties. In his youth Shakespeare had to adapt or retouch the plays of others; in later life he sometimes collaborated with younger men. And worse than this, with the exception of two short narrative poems, which Shakespeare himself gave to the press, not one of his works is known to have been published under his own supervision. He seems never to have sanctioned any publication, or to have read a single proof-sheet. The 1623 folio of his plays, issued after his death by two of his actor-friends, purports to be printed "according to the True Originall Copies;" but this assertion is demonstrably false in numerous instances in which we can test it—where the folio, that is to say, presents a simple reprint, often with additional blunders, of the old pirated quartos, which must have been based either on the surreptitious notes of stenographers or on "prompt copies" dishonestly acquired.

It has become the fashion to say, not without some show of justice, that we know next to nothing of Shakespeare's life. We do not know for certain either when he left Stratford or when he returned to Stratford from London. We do not know for certain whether he ever went abroad, ever visited Italy. We do not know the name of a single woman whom he loved during all his years in London. We do not know for certain to whom his Sonnets are addressed. We can see that as he advanced in life his prevailing mood became gloomier, but we do not know the reason. Later on, his temper seems to grow more serene, but we cannot tell why. We can form but tentative conjectures as to the order in which his works were produced, and can only with the greatest difficulty determine their approximate dates. We do not know what made him so careless of his fame as he seems to have been. We only know that he himself did not publish his dramatic works, and that he does not even mention them in his will.

On the other hand, enthusiastic and indefatigable research has gradually brought to light a great number of indubitable facts, which furnish us with points of departure and of guidance for an outline of the poet's life. We possess documents, contracts, legal records; we can cite utterances of contemporaries, allusions to works of Shakespeare's and to passages in them, quotations, fierce attacks, outbursts of spite and hatred, touching testimonies to his worth as a man and to the lovableness of his nature, evidence of the early recognition of his talent as an actor, of his repute as a narrative poet, and of his popularity as a dramatist. We have, moreover, one or two diaries kept by contemporaries, and among others the account-book of an old theatrical manager and pawnbroker, who supplied the players with money and dresses, and who has carefully dated the production of many plays.

To these contemporary evidences we must add that of tradition. In 1662 a clergyman named John Ward, Vicar of Stratford, took some notes of information gathered from the inhabitants of the district; and in 1693 a Mr. Dowdall recorded some details which he had learnt from the octogenarian sexton and verger of Stratford Church. But tradition is mainly represented by Rowe, Shakespeare's first tardy biographer. He refers in particular to three sources of information. The earliest is Sir William Davenant, Poet Laureate, who did nothing to discountenance the rumour which gave him out to be an illegitimate son of Shakespeare. His contributions, however, can have reached Rowe only at second hand, since he died before Rowe was born. Naturally enough, then, the greater part of what is related on his authority proves to be questionable. Rowe's second source of information was Aubrey, an antiquary after the fashion of his day, who, half a century after Shakespeare's death, visited Stratford on one of his riding-tours. He wrote numerous short biographies, all of which contain gross and demonstrable errors, so that we can scarcely put implicit faith in the insignificant anecdotes about Shakespeare preserved in his manuscript of 1680. Rowe's most important source of information, however, is Betterton the actor, who, about 1690, made a journey to Warwickshire for the express purpose of collecting whatever oral traditions with regard to Shakespeare might linger in the district. His gleanings form the most valuable part of Rowe's biography; contemporary documents subsequently discovered have in several instances lent them curious confirmation.

We owe it, then, to a little group of worthy but by no means brilliant men that we are able to sketch the outline of Shakespeare's career. They have preserved for us anecdotes of little worth, even if they are true, while leaving us entirely in the dark as to important points in his outward history, and throwing little or no light upon the course of his inner life.

It is true that we possess in Shakespeare's Sonnets a group of poems which bring us more directly into touch with his personality than any of his other works. But to determine the value of the Sonnets as autobiographical documents requires not only historical knowledge but, critical instinct and tact, since it is by no means self-evident that the poet is, in a literal sense, speaking in his own name.