Tolstoy on Shakespeare: A Critical Essay on Shakespeare

Chapter VI: Act 3: , Sc. 1), and in the same play the crowd makes itself ridiculous by

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shouting, "A miracle," when the fraudulent beggar Simpcox, who had pretended to be lame and blind, jumps over a stool to escape a whipping (Act 2, Sc. 1). Queen Margaret receives petitioners with the words "Away, base cullions" (Ib., Act 1, Sc. 3), and among other flattering remarks applied here and there to the lower classes we may cite the epithets "ye rascals, ye rude slaves," addressed to a crowd by a porter in Henry VIII., and that of "lazy knaves" given by the Lord Chamberlain to the porters for having let in a "trim rabble" (Act 5, Sc. 3). Hubert, in King John, presents us with an unvarnished picture of the common people receiving the news of Prince Arthur's death:

"I saw a smith stand with his hammer, thus,
The whilst his iron did on his anvil cool,
With open mouth swallowing a tailor's news;
Who, with his shears and measure in his hand,
Standing on slippers (which his nimble haste
Had falsely thrust upon contrary feet),
Told of a many thousand warlike French
That were embattailed and rank'd in Kent.
Another lean, unwashed artificer,
Cuts off his tale, and talks of Arthur's death."
(Act 4, Sc. 2.)

Macbeth, while sounding the murderers whom he intends to employ, and who say to him, "We are men, my liege," answers:

"Ay, in the catalogue, ye go for men
As hounds and greyhounds, mongrels, spaniels, curs,
Shoughs, water-sugs, and demi-wolves, are cleped
All by the name of dogs."
(Act 3, Sc. 1.)

As Coriolanus is held up to our view as a pattern of noble bearing toward the people, so Richard II. condemns the courteous behavior of the future Henry IV. on his way into banishment. He says:

"Ourselves, and Bushy, Bagot here and Green
Observed his courtship to the common people;
How he did seem to dive into their hearts
With humble and familiar courtesy;
What reverence he did throw away on slaves;
Wooing poor craftsmen with the craft of smiles
And patient overbearing of his fortune,
As 'twere to banish their effects with him.
Off goes his bonnet to an oyster-wench;
A brace of draymen did God speed him well
And had the tribute of his supple knee,
With 'Thanks, my countrymen, my loving friends.'"
(Richard II., Act 1, Sc. 4.)

The King of France, in "All's Well that Ends Well," commends to Bertram the example of his late father in his relations with his inferiors:

"Who were below him
He used as creatures of another place,
And bowed his eminent top to their low ranks,
Making them proud of his humility
In their poor praise he humbled. Such a man
Might be a copy to these younger times."
(Act 1, Sc. 2.)

Shakespeare had no fondness for these "younger times," with their increasing suggestion of democracy. Despising the masses, he had no sympathy with the idea of improving their condition or increasing their power. He saw the signs of the times with foreboding, as did his hero, Hamlet:

"By the Lord, Horatio, these three years I have taken note of it; the age has grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe." There can easily be too much liberty, according to Shakespeare--"too much liberty, my Lucio, liberty" (Measure for Measure, Act 1, Sc. 3), but the idea of too much authority is foreign to him. Claudio, himself under arrest, sings its praises:

"Thus can the demi-god, Authority,
Make us pay down for our offense by weight,--
The words of Heaven;--on whom it will, it will;
On whom it will not, so; yet still 'tis just."
(Ib.)

Ulysses, in "Troilus and Cressida" (Act 1, Sc. 3), delivers a long panegyric upon authority, rank, and degree, which may be taken as Shakespeare's confession of faith:

"Degree being vizarded,
Th' unworthiest shews as fairly in the mask.
The heavens themselves, the planets, and this center,
Observe degree, priority, and place,
Insisture, course, proportion, season, form,
Office and custom, in all line of order;
And therefore is the glorious planet, Sol,
In noble eminence enthroned and sphered
Amidst the other; whose med'cinable eye
Corrects the ill aspects of planets evil,
And posts, like the commandments of a king,
Sans check, to good and bad. But when the planets,
In evil mixture, to disorder wander,
What plagues and what portents! what mutiny!
What raging of the sea, shaking of the earth,
Commotion of the winds, frights, changes, horrors,
Divert and crack, rend and deracinate
The unity and married calm of states
Quite from their fixture! Oh, when degree is shaked,
Which is the ladder of all high designs,
The enterprise is sick. How could communities,
Degrees in schools, and brotherhoods in cities,
Peaceful commerce from dividable shores,
The primogenity and due of birth,
Prerogative of age, crowns, scepters, laurels,
But by degree stand in authentic place?
Take but degree away, untune the string,
And hark, what discord follows! each thing meets
In mere oppugnancy; the bounded waters
Should lift their bosoms higher than the shores,
And make a sop of all this solid globe;
Strength should be lord of imbecility,
And the rude son should strike his father dead;
Force should be right; or, rather, right and wrong,
(Between whose endless jar justice resides)
Should lose their names, and so should justice too.
Then everything includes itself in power.
Power into will, will into appetite;
And appetite, a universal wolf,
So doubly seconded with will and power,
Must make perforce an universal prey,
And last eat up himself. Great Agamemnon,
This chaos, when degree is suffocate,
Follows the choking;
And this neglection of degree it is,
That by a pace goes backward, in a purpose
It hath to climb. The General's disdained
By him one step below; he by the next;
That next by him beneath; so every step,
Exampled by the first pace that is sick
Of his superiors, grows to an envious fever
Of pale and bloodless emulation;
And 'tis this fever that keeps Troy on foot,
Not her own sinews. To end a tale of length,
Troy in our weakness stands, not in her strength."

There is no hint in this eloquent apostrophe of the difficulty of determining among men who shall be the sun and who the satellite, nor of the fact that the actual arrangements, in Shakespeare's time, at any rate, depended altogether upon that very force which Ulysses deprecates. In another scene in the same play the wily Ithacan again gives way to his passion for authority and eulogizes somewhat extravagantly the paternal, prying, omnipresent State:

"The providence that's in a watchful state
Knows almost every grain of Plutus' gold,
Finds bottom in th' incomprehensive deeps,
Keeps place with thought, and almost, like the gods,
Does thoughts unveil in their dumb cradles.
There is a mystery (with which relation
Durst never meddle) in the soul of state,
Which hath an operation more divine
Than breath or pen can give expressure to."
(Act 3, Sc. 3.)

The State to which Ulysses refers is of course a monarchical State, and the idea of democracy is abhorrent to Shakespeare. Coriolanus expresses his opinion of it when he says to the people:

"What's the matter,
That in these several places of the city
You cry against the noble Senate, who,
Under the gods, keep you in awe, which else
Would feed on one another?"
(Act 2, Sc. 1.)

The people should have no voice in the government--

"This double worship,--
Where one part does disdain with cause, the other
Insult without all reason, where gentry, title, wisdom,
Can not conclude, but by the yea and no
Of general ignorance,--it must omit
Real necessities, and give away the while
To unstable slightness. Purpose so barred, it follows,
Nothing is done to purpose; therefore, beseech you,
You that will be less fearful than discreet,
That love the fundamental part of state
More than you doubt the change on't, that prefer
A noble life before a long, and wish
To jump a body with a dangerous physic
That's sure of death without it, at once pluck out
The multitudinous tongue; let them not lick
The sweet which is their poison."
(Ib. Act 3, Sc. 1.)

It is the nobility who should rule--

"It is a purposed thing and grows by plot
To curb the will of the nobility;
Suffer't and live with such as can not rule,
Nor ever will be ruled."
(Ib.)

Junius Brutus tries in vain to argue with him, but Coriolanus has no patience with him, a "triton of the minnows"; and the very fact that there should be tribunes appointed for the people disgusts him--

"Five tribunes to defend their vulgar wisdoms,
Of their own choice; one's Junius Brutus,
Sicinus Velutus, and I know not--'Sdeath!
The rabble should have first unroofed the city,
Ere so prevailed with me; it will in time
Win upon power, and throw forth greater themes."

And again:

"The common file, a plague!--Tribunes for them!"
(Act 1, Sc. 6.)

Shakespeare took his material for the drama of "Coriolanus" from Plutarch's "Lives," and it is significant that he selected from that list of worthies the most conspicuous adversary of the commonalty that Rome produced. He presents him to us as a hero, and, so far as he can, enlists our sympathy for him from beginning to end. When Menenius says of him:

"His nature is too noble for the world,"
(Act 3, Sc. 1.)

he is evidently but registering the verdict of the author. Plutarch's treatment of Coriolanus is far different. He exhibits his fine qualities, but he does not hesitate to speak of his "imperious temper and that savage manner which was too haughty for a republic." "Indeed," he adds, "there is no other advantage to be had from a liberal education equal to that of polishing and softening our nature by reason and discipline." He also tells us that Coriolanus indulged his "irascible passions on a supposition that they have something great and exalted in them," and that he wanted "a due mixture of gravity and mildness, which are the chief political virtues and the fruits of reason and education." "He never dreamed that such obstinacy is rather the effect of the weakness and effeminacy of a distempered mind, which breaks out in violent passions like so many tumors." Nor apparently did Shakespeare ever dream of it either, altho he had Plutarch's sage observations before him. It is a pity that the great dramatist did not select from Plutarch's works some hero who took the side of the people, some Agis or Cleomenes, or, better yet, one of the Gracchi. What a tragedy he might have based on the life of Tiberius, the friend of the people and the martyr in their cause! But the spirit which guided Schiller in the choice of William Tell for a hero was a stranger to Shakespeare's heart, and its promptings would have met with no response there.

Even more striking is the treatment which the author of "Coriolanus" metes out to English history. All but two of his English historical dramas are devoted to the War of the Roses and the incidental struggle over the French crown. The motive of this prolonged strife--so attractive to Shakespeare--had much the same dignity which distinguishes the family intrigues of the Sublime Porte, and Shakespeare presents the history of his country as a mere pageant of warring royalties and their trains. When the people are permitted to appear, as they do in Cade's rebellion, to which Shakespeare has assigned the character of the rising under Wat Tyler, they are made the subject of burlesque. Two of the popular party speak as follows:

"John Holland. Well, I say, it was never merry world in
England since gentlemen came up.

George Bevis. O miserable age! Virtue is not regarded in
handicraftsmen.

John. The nobility think scorn to go in leather aprons."

When Jack Cade, alias Wat Tyler, comes on the scene, he shows himself to be a braggart and a fool. He says:

"Be brave then, for your captain is brave and vows
reformation. There shall be in England seven half-penny
loaves sold for a penny; the three-hooped pot shall have ten
hoops, and I will make it a felony to drink small beer. All
the realm shall be in common, and in Cheapside shall my
palfrey go to grass. And when I am king asking I will be--

All. God save your majesty!

Cade. I thank you, good people--there shall be no money; all
shall eat and drink on my score, and I will apparel them all
in one livery, that they may agree like brothers and worship
me their lord."
(Henry VI., Part 2, Act 4, Sc. 2.)

The crowd wishes to kill the clerk of Chatham because he can read, write, and cast accounts. (Cade. "O monstrous!") Sir Humphrey Stafford calls them

"Rebellious hinds, the filth and scum of Kent,
Marked for the gallows."
(Ib.)

Clifford succeeds without much difficulty in turning the enmity of the mob against France, and Cade ejaculates disconsolately, "Was ever a feather so lightly blown to and fro as this multitude?" (Ib., Act 4, Sc. 8.) In the stage directions of this scene, Shakespeare shows his own opinion of the mob by writing, "Enter Cade and his rabblement." One looks in vain here as in the Roman plays for a suggestion that poor people sometimes suffer wrongfully from hunger and want, that they occasionally have just grievances, and that their efforts to present them, so far from being ludicrous, are the most serious parts of history, beside which the struttings of kings and courtiers sink into insignificance.

One of the popular songs in Tyler's rebellion was the familiar couplet:

"When Adam delved and Eve span,
Who was then the gentleman?"

Shakespeare refers to it in "Hamlet," where the grave-diggers speak as follows:

"First Clown. Come, my spade. There is no ancient gentleman
but gardners, ditchers and grave-makers; they hold up Adam's
profession.

Second Clown. Was he a gentleman?

First Clown. He was the first that ever bore arms.

Second Clown. Why, he had none.

First Clown. What, art a heathen? How dost thou understand
the Scripture? The Scripture says, Adam digged; could he dig
without arms?"
(Act 5, Sc. 1.)

That Shakespeare's caricature of Tyler's rebellion is a fair indication of his view of all popular risings appears from the remarks addressed by Westmoreland to the Archbishop of York in the Second Part of "Henry IV." (Act 4, Sc. 1). Says he:

"If that rebellion
Came like itself, in base and abject routs,
Led on by bloody youth, guarded with rags,
And countenanced by boys and beggary;
I say if damned commotion so appeared,
In his true, native, and most proper shape,
You, Reverend Father, and these noble lords
Had not been here to dress the ugly form
Of base and bloody insurrection
With your fair honors."

The first and last of Shakespeare's English historical plays, "King John" and "Henry VIII.," lie beyond the limits of the civil wars, and each of them treats of a period momentous in the annals of English liberty, a fact which Shakespeare absolutely ignores. John as king had two great misfortunes--he suffered disgrace at the hands of his barons and of the pope. The first event, the wringing of Magna Charta from the king, Shakespeare passes over. A sense of national pride might have excused the omission of the latter humiliation, but no, it was a triumph of authority, and as such Shakespeare must record it for the edification of his hearers, and consequently we have the king presented on the stage as meekly receiving the crown from the papal legate (Act 5, Sc. 1). England was freed from the Roman yoke in the reign of Henry VIII., and in the drama of that name Shakespeare might have balanced the indignity forced upon King John, but now he is silent. Nothing must be said against authority, even against that of the pope, and the play culminates in the pomp and parade of the christening of the infant Elizabeth! Such is Shakespeare's conception of history! Who could guess from reading these English historical plays that throughout the period which they cover English freedom was growing, that justice and the rights of man were asserting themselves, while despotism was gradually curbed and limited? This is the one great glory of English history, exhibiting itself at Runnymede, reflected in Wyclif and John Ball and Wat Tyler, and shining dimly in the birth of a national church under the eighth Henry. As Shakespeare wrote, it was preparing for a new and conspicuous outburst. When he died, Oliver Cromwell was already seventeen years of age and John Hampden twenty-two. The spirit of Hampden was preeminently the English spirit--the spirit which has given distinction to the Anglo-Saxon race--and he and Shakespeare were contemporaries, and yet of this spirit not a vestige is to be found in the English historical plays and no opportunities lost to obliterate or distort its manifestations. Only in Brutus and his fellow-conspirators--of all Shakespearian characters--do we find the least consideration for liberty, and even then he makes the common, and perhaps in his time the unavoidable, mistake of overlooking the genuinely democratic leanings of Julius Caesar and the anti-popular character of the successful plot against him.

It has in all ages been a pastime of noble minds to try to depict a perfect state of society. Forty years before Shakespeare's birth, Sir Thomas More published his "Utopia" to the world. Bacon intended to do the same thing in the "New Atlantis," but never completed the work, while Sir Philip Sidney gives us his dream in his "Arcadia." Montaigne makes a similar essay, and we quote from Florio's translation, published in 1603, the following passage (Montaigne's "Essays," Book I, Chapter 30):

"It is a nation, would I answer Plato, that hath no kind of traffic, no knowledge of letters, no intelligence of numbers, no name of magistrate nor of political superiority; no use of service, of riches, or of poverty; no contracts, no succession, no dividences; no occupation, but idle; no respect of kindred, but common; no apparel, but natural; no manuring of lands; no use of wine, corn, or metal. The very words that import lying, falsehood, treason, dissimulation, covetousness, envy, detraction, and pardon were never heard among them."

We may readily infer that Shakespeare found little to sympathize with in this somewhat extravagant outline of a happy nation, but he goes out of his way to travesty it. In "The Tempest" he makes Gonzalo, the noblest character in the play, hold the following language to the inevitable king (Shakespeare can not imagine even a desert island without a king!):

"Had I plantation of this isle, my lord,
I' th' commonwealth I would by contraries
Execute all things; for no kind of traffic
Would I admit; no name of magistrate;
Letters should not be known; riches, poverty,
And use of service, none; contract, succession,
Bourn, bound of land, tilth, vineyard, none;
No use of metal, corn or wine or oil;
No occupation; all men idle,--all,
And women too, but innocent and pure;
No sovereignty, ...

Sebastian. Yet he would be king on't.

Antonia. The latter end of his commonwealth forgets
the beginning.

Gonzalo. All things in common. Nature should produce
Without sweat or endeavor; treason, felony,
Sword, pike, knife, gun, or need of any engine,
Would I not have; but Nature should bring forth
Of its own kind, all foison, all abundance,
To feed my innocent people.

Seb. No marrying 'mong his subjects?

Ant. None, man; all idle, whores, and knaves.

Gon. I would with such perfection govern, sir,
To 'xcel the golden age.

Seb. 'Save his Majesty!

Ant. Long live Gonzalo!

Gon. And do you mark me, sir?

King. Pr'ythee, no more; thou dost talk nothing to me.

Gon. I do well believe your Highness; and did it to
minister occasion to these gentlemen, who are of such
sensible and nimble lungs that they always use to laugh
at nothing.

Ant. 'Twas you we laughed at.

Gon. Who, in this kind of merry fooling, am nothing
to you; so you may continue and laugh at nothing still."
(Tempest, Act 2, Sc. 1.)

That all things are not for the best in the best of all possible worlds would seem to result from the wise remarks made by the fishermen who enliven the scene in "Pericles, Prince of Tyre." They compare landlords to whales who swallow up everything, and suggest that the land be purged of "these drones that rob the bee of her honey"; and Pericles, so far from being shocked at such revolutionary and vulgar sentiments, is impressed by their weight, and speaks kindly of the humble philosophers, who in their turn are hospitable to the shipwrecked prince--all of which un-Shakespearian matter adds doubt to the authenticity of this drama (Act 2, Sc. 1).

However keen the insight of Shakespeare may have been into the hearts of his high-born characters, he had no conception of the unity of the human race. For him the prince and the peasant were not of the same blood.

"For princes are
A model, which heaven makes like to itself,"

says King Simonides in "Pericles," and here at least we seem to see the hand of Shakespeare (Act 2, Sc. 2). The two princes, Guiderius and Arviragus, brought up secretly in a cave, show their royal origin (Cymbeline, Act 3, Sc. 3), and the servants who see Coriolanus in disguise are struck by his noble figure (Coriolanus, Act 4, Sc. 5). Bastards are villains as a matter of course, witness Edmund in "Lear" and John in "Much Ado about Nothing," and no degree of contempt is too high for a

"hedge-born swain
That doth presume to boast of gentle blood."
(Henry VI., Part 1, Act 4, Sc. 1.)

Courage is only to be expected in the noble-born. The Duke of York says:

"Let pale-faced fear keep with the mean-born man,
And find no harbor in a royal heart."
(Henry VI., Part 2, Act 3, Sc. 1.)

In so far as the lower classes had any relation to the upper classes, it was one, thought Shakespeare, of dependence and obligation. It was not the tiller of the soil who fed the lord of the manor, but rather the lord who supported the peasant. Does not the king have to lie awake and take thought for his subjects? Thus Henry V. complains that he can not sleep

"so soundly as the wretched slave,
Who with a body filled and vacant mind,
Gets him to rest, crammed with distressful bread,
Never sees horrid night, the child of Hell,
But like a lackey, from the rise to set,
Sweats in the eye of Phoebus, and all night
Sleeps in Elysium....
The slave, a member of the country's peace,
Enjoys it, but in gross brain little wots
What watch the king keeps to maintain the peace,
Whose hours the peasant best advantages."
(Henry V., Act 4, Sc. 1.)

And these lines occur at the end of a passage in which the king laments the "ceremony" that oppresses him and confesses that but for it he would be "but a man." He makes this admission, however, in a moment of danger and depression. Henry IV. also invokes sleep (Part 2, Act 2, Sc. 1):

"O thou dull god! why liest thou with the vile
In loathsome beds?"

But plain people have to watch at times, and the French sentinel finds occasion to speak in the same strain:

"Thus are poor servitors
(When others sleep upon their quiet beds)
Constrained to watch in darkness, rain, and cold."
(Henry VI., Part 1, Act 2, Sc. 1.)

Henry VI. is also attracted by the peasant's lot:

"O God, methinks it were a happy life,
To be no better than a homely swain....
... The shepherd's homely curds,
His cold thin drink out of his leather bottle,
His wonted sleep under a fresh tree's shade,
All which secure and sweetly he enjoys,
As far beyond a prince's delicates."
(Henry VI., Part 3, Act 2, Sc. 5.)

All of which is natural enough, but savors of cant in the mouths of men who fought long and hard to maintain themselves upon their thrones.

We have already shown by references to the contemporary drama that the plea of custom is not sufficient to explain Shakespeare's attitude to the lower classes, but if we widen our survey to the entire field of English letters in his day, we shall see that he was running counter to all the best traditions of our literature. From the time of Piers Plowman down, the peasant had stood high with the great writers of poetry and prose alike. Chaucer's famous circle of story-tellers at the Tabard Inn in Southwark was eminently democratic. With the knight and the friar were gathered together

"An haberdasher and a carpenter,
A webbe, a deyer and tapiser,"

and the tales of the cook and the miller take rank with those of the squire and lawyer. The English Bible, too, was in Shakespeare's hands, and he must have been familiar with shepherd kings and fishermen-apostles. In the very year in which "Hamlet" first appeared, a work was published in Spain which was at once translated into English, a work as well known to-day as Shakespeare's own writings. If the peasantry was anywhere to be neglected and despised, where should it be rather than in proud, aristocratic Spain, and yet, to place beside Shakespeare's Bottoms and Slys, Cervantes has given us the admirable Sancho Panza, and has spread his loving humor in equal measure over servant and master. Are we to believe that the yeomen of England, who beat back the Armada, were inferior to the Spanish peasantry whom they overcame, or is it not rather true that the Spanish author had a deeper insight into his country's heart than was allotted to the English dramatist? Cervantes, the soldier and adventurer, rose above the prejudices of his class, while Shakespeare never lifted his eyes beyond the narrow horizon of the Court to which he catered. It was love that opened Cervantes's eye, and it is in all-embracing love that Shakespeare was deficient. As far as the common people were concerned, he never held the mirror up to nature.

But the book of all others which might have suggested to Shakespeare that there was more in the claims of the lower classes than was dreamt of in his philosophy was More's "Utopia," which in its English form was already a classic. More, the richest and most powerful man in England after the king, not only believed in the workingman, but knew that he suffered from unjust social conditions. He could never have represented the down-trodden followers of Cade-Tyler nor the hungry mob in "Coriolanus" with the utter lack of sympathy which Shakespeare manifests. "What justice is there in this," asks the great Lord Chancellor, whose character stood the test of death--"what justice is there in this, that a nobleman, a goldsmith, a banker, or any other man, that either does nothing at all or at best is employed in things that are of no use to the public, should live in great luxury and splendor upon what is so ill acquired; and a mean man, a carter, a smith, a plowman, that works harder even than the beasts themselves, and is employed on labors so necessary that no commonwealth could hold out a year without them, can only earn so poor a livelihood, and must lead so miserable a life, that the condition of the beasts is much better than theirs?"

How different from this is Shakespeare's conception of the place of the workingman in society! After a full and candid survey of his plays, Bottom, the weaver with the ass's head, remains his type of the artizan and the "mutable, rank-scented many," his type of the masses. Is it unfair to take the misshapen "servant-monster" Caliban as his last word on the subject?

"Prospero. We'll visit Caliban my slave who never
Yields us kind answer.

Miranda. 'Tis a villain, sir,
I do not love to look on.

Prospero. But as 'tis,
We can not miss him! he does make our fire,
Fetch in our wood, and serve in offices
That profit us." (Tempest, Act 1, Sc. 2.)

To which I would fain reply in the words of Edward Carpenter:

"Who art thou ...
With thy faint sneer for him who wins thee bread
And him who clothes thee, and for him who toils
Day-long and night-long dark in the earth for thee?"

LETTER FROM MR. G. BERNARD SHAW

(Extracts)

As you know, I have striven hard to open English eyes to the emptiness of Shakespeare's philosophy, to the superficiality and second-handedness of his morality, to his weakness and incoherence as a thinker, to his snobbery, his vulgar prejudices, his ignorance, his disqualifications of all sorts for the philosophic eminence claimed for him.... The preface to my "Three Plays for Puritans" contains a section headed "Better than Shakespeare?" which is, I think, the only utterance of mine on the subject to be found in a book.... There is at present in the press a new preface to an old novel of mine called "The Irrational Knot." In that preface I define the first order in Literature as consisting of those works in which the author, instead of accepting the current morality and religion ready-made without any question as to their validity, writes from an original moral standpoint of his own, thereby making his book an original contribution to morals, religion, and sociology, as well as to _belles letters_. I place Shakespeare with Dickens, Scott, Dumas pere, etc., in the second order, because, tho they are enormously entertaining, their morality is ready-made; and I point out that the one play, "Hamlet," in which Shakespeare made an attempt to give as a hero one who was dissatisfied with the ready-made morality, is the one which has given the highest impression of his genius, altho Hamlet's revolt is unskillfully and inconclusively suggested and not worked out with any philosophic competence.[4]

May I suggest that you should be careful not to imply that Tolstoy's great Shakespearian heresy has no other support than mine. The preface of Nicholas Rowe to his edition of Shakespeare, and the various prefaces of Dr. Johnson contain, on Rowe's part, an apology for him as a writer with obvious and admitted shortcomings (very ridiculously ascribed by Rowe to his working by "a mere light of nature"), and, on Johnson's, a good deal of downright hard-hitting criticism. You should also look up the history of the Ireland forgeries, unless, as is very probable, Tolstoy has anticipated you in this. Among nineteenth-century poets Byron and William Morris saw clearly that Shakespeare was enormously overrated intellectually. A French book, which has been translated into English, has appeared within the last ten years, giving Napoleon's opinions of the drama. His insistence on the superiority of Corneille to Shakespeare on the ground of Corneille's power of grasping a political situation, and of seeing men in their relation to the state, is interesting.

Of course you know about Voltaire's criticisms, which are the more noteworthy because Voltaire began with an extravagant admiration for Shakespeare, and got more and more bitter against him as he grew older and less disposed to accept artistic merit as a cover for philosophic deficiencies.

Finally, I, for one, shall value Tolstoy's criticism all the more because it is criticism of a foreigner who can not possibly be enchanted by the mere word-music which makes Shakespeare so irresistible in England.[5] In Tolstoy's estimation, Shakespeare must fall or stand as a thinker, in which capacity I do not think he will stand a moment's examination from so tremendously keen a critic and religious realist. Unfortunately, the English worship their great artists quite indiscriminately and abjectly; so that is quite impossible to make them understand that Shakespeare's extraordinary literary power, his fun, his mimicry, and the endearing qualities that earned him the title of "the gentle Shakespeare"--all of which, whatever Tolstoy may say, are quite unquestionable facts--do not stand or fall with his absurd reputation as a thinker. Tolstoy will certainly treat that side of his reputation with the severity it deserves; and you will find that the English press will instantly announce that Tolstoy considers his own works greater than Shakespeare's (which in some respects they most certainly are, by the way), and that he has attempted to stigmatize our greatest poet as a liar, a thief, a forger, a murderer, an incendiary, a drunkard, a libertine, a fool, a madman, a coward, a vagabond, and even a man of questionable gentility. You must not be surprised or indignant at this: it is what is called "dramatic criticism" in England and America. Only a few of the best of our journalist-critics will say anything worth reading on the subject.

Yours faithfully,
G. BERNARD SHAW.

FOOTNOTES:

[4] Besides the prefaces here referred to, Mr. G. Bernard Shaw has at various times written other articles on the subject.--(V. T.)

[5] It should be borne in mind that this letter was written before Mr. G. B. Shaw had seen the essay in question, by Tolstoy, now published in this volume.--(V. T.)

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Tolstoy's Essays and Letters

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=The Power of Darkness=; or, If a Claw is Caught the Bird
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=The First Distiller=--A comedy in six acts.

=Fruits of Culture=--A comedy in four acts.

INCLUDING ALSO

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It ought to be done. It is a stupendous tragedy; the effect
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CONTENTS

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Sevastopol

AND OTHER MILITARY TALES

By LEO TOLSTOY

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approved by the author. This book relates the author's own
experiences, sensations, and reflections during the most
noted siege of modern history. The translation has been
authorized by Count Tolstoy, who has specially commended it
for its accuracy, simplicity, and directness.

"No other modern book approaches 'Sevastopol' in
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unveils the realities of war. There are
picturesque glimpses in Mr. Kipling's vulgar
stories of fighting. But the strongest meat Mr.
Kipling can provide is milk for babes beside Count
Tolstoy's seemingly casual sketches, which yet
comprehend with merciless amplitude the whole
atmosphere of war."--_The Morning Leader_, London.

What Count Tolstoy Says of the Translators and
Translation

"Better translators, both for knowledge of the two
languages and for penetration into the very meaning of the
matter translated, could not be invented." Of their
translation of Sevastopol, Tolstoy also says: "I think I
already wrote you how unusually the first volume of your
edition pleases me. All in it is excellent: the edition and
the remarks, and chiefly the translation, and yet more the
conscientiousness with which all this has been done."

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ESARHADDON

King of Assyria, and Other Stories

_By_ COUNT LEO TOLSTOY

_Translated by Louise and Aylmer Maude, with an
Introduction Containing Letters by Tolstoy_

=Esarhaddon, King of Assyria.= An allegorical story with an
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to repent his own cruelty.

=Work, Death, and Sickness.= A legend accredited to the
South American Indians, showing the three means God took to
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=Three Questions.= A quaint folk-lore tale answering the
three questions of life: "What is the Best Time?" "Who Are
the Most Important Persons?" "What Thing Should be Done
First?"

OPINION OF THE PRESS

_St. Louis Globe-Democrat_: "Count Tolstoy is a
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contains, in half a dozen pages, an entire
philosophy of life, and it is presented in such
apt pictures and ideas that its meaning is not to
be overlooked. It would be hard to suggest
anything that could be read in five minutes that
would impart so much to think about. 'Esarhaddon,'
the sketch from which the volume takes its name,
is of the same character, and the third tale,
'Work, Death, and Sickness,' is full of very fine
thought. There is, perhaps, no writer working
to-day whose mind is centered on broader and
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What Is Art?

Translated from the Original Manuscript, with an
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Art is a human activity, declares Tolstoy. The object of
this activity is to transmit to others feelings the artist
has experienced. By certain external signs--movements,
lines, colors, sounds or arrangements of words--an artist
infects other people so that they share his feelings; thus,
"art is a means of union among men, joining them together
in the same feeling." Without adequate expression there is
no art, for there is no infection, no transference to
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seems to you that he has expressed just what you have long
wished to express, the work that has so infected you is a
work of art.

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Tolstoy on Shakespeare: A Critical Essay on ShakespeareChapter VI: Act 3: , Sc. 1), and in the same play the crowd makes itself ridiculous by

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