Part 6 (1/2)
Clemens Alexandrinus informs us, that Chiron, who went with the Argonauts, observed the constellations at the time of that famous expedition, and fixed the vernal equinox to the middle of the Ram; the autumnal equinox to the middle of Libra; our summer solstice to the middle of Cancer, and our winter solstice to the middle of Capricorn.
A long time after the expedition of the Argonauts, and a year before the Peloponnesian war, Methon observed that the point of the summer solstice pa.s.sed through the eighth degree of Cancer.
Now every sign of the zodiac contains thirty degrees. In Chiron's time, the solstice was arrived at the middle of the sign, that is to say to the fifteenth degree. A year before the Peloponnesian war it was at the eighth, and therefore it had r.e.t.a.r.ded seven degrees. A degree is equivalent to seventy-two years; consequently, from the beginning of the Peloponnesian war to the expedition of the Argonauts, there is no more than an interval of seven times seventy-two years, which make five hundred and four years, and not seven hundred years as the Greeks computed. Thus in comparing the position of the heavens at this time with their position in that age, we find that the expedition of the Argonauts ought to be placed about nine hundred years before Christ, and not about fourteen hundred; and consequently that the world is not so old by five hundred years as it was generally supposed to be. By this calculation all the eras are drawn nearer, and the several events are found to have happened later than is computed. I do not know whether this ingenious system will be favourably received; and whether these notions will prevail so far with the learned, as to prompt them to reform the chronology of the world. Perhaps these gentlemen would think it too great a condescension to allow one and the same man the glory of having improved natural philosophy, geometry, and history. This would be a kind of universal monarchy, with which the principle of self-love that is in man will scarce suffer him to indulge his fellow-creature; and, indeed, at the same time that some very great philosophers attacked Sir Isaac Newton's attractive principle, others fell upon his chronological system.
Time that should discover to which of these the victory is due, may perhaps only leave the dispute still more undetermined.
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 Lopez 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 n.o.ble, 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 pa.s.sing 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 _Oth.e.l.lo, 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 circ.u.mstance 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 superannuated senator plays, in his mistress's 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's 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 Caesar_ the jokes of the Roman shoemakers and cobblers, who are introduced in the same scene with Brutus and Ca.s.sius. 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 no one has translated any of those strong, those forcible pa.s.sages 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 of Virgil, than from all the critiques put together which have been made on those two great poets.
I have ventured to translate some pa.s.sages 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 n.o.bler 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! 'Tis a consummation Devoutly to be wished. To die! to sleep!
To sleep; perchance to dream! O, 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 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 pa.s.ser a l'instant De la vie, a la mort, ou de l'etre au neant.
Dieux cruels, s'il en est, eclairez mon courage.
Faut-il vieillir courbe sous la main qui m'outrage, Supporter, ou finir mon malheur et mon sort?
Qui suis je? Qui m'arrete! et qu'est-ce que la mort?
C'est la fin de nos maux, c'est mon unique asile Apres 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 eternels est aussi-tot suivie.
O mort! moment fatal! affreuse eternite!
Tout coeur a ton seul nom se glace epouvante.
Eh! qui pourroit sans toi supporter cette vie, De nos pretres 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 abattue, A des amis ingrats qui detournent la vue?
La mort seroit trop douce en ces extremitez, Mais le scrupule parle, et nous crie, arretez; Il defend a nos mains cet heureux homicide Et d'un heros guerrier, fait un Chretien 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 pa.s.sage 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 pa.s.sage 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 this chymic gold, Which fools us young, and beggars us when old.”