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 père, 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
By LEO TOLSTOY
Translated by AYLMER MAUDE
This work contains twenty-six essays and letters (many published for the first time) belonging to the last fifteen years of Tolstoy's career, the period in which he has devoted himself exclusively to humanitarian labors. Therefore each has a definite altruistic purpose. In the letters in particular we have, in the words of the translator, "Tolstoy's opinions in application to certain definite conditions. They thus help to bridge the gulf between theory and practise."
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Tolstoy's Plays
Also Annotated List of Works
This volume, a new translation by Louise and Aylmer Maude, contains Tolstoy's three great plays, together with the Russian folk-tale of which one of them is the dramatized version. It also includes a complete annotated and chronological list of Tolstoy's works of special helpfulness to all readers and students of the great Russian writer.
LIST OF THE PLAYS
The Power of Darkness; or, If a Claw is Caught the Bird is Lost—A drama in five acts.
The First Distiller—A comedy in six acts.
Fruits of Culture—A comedy in four acts.
INCLUDING ALSO
The Imp and the Crust—This is a Russian folk-tale, of which
"The First Distiller" is the dramatized version.
Their High Literary and Dramatic Value
To their literary merit Tolstoy's plays add the quality of being excellent acting dramas, as their success both in Russia and elsewhere has abundantly shown. Mr. Laurence Irving lately wrote: "I suppose England is the only country in Europe where 'The Power of Darkness' has not been acted. It ought to be done. It is a stupendous tragedy; the effect on the stage is unparalleled."
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Tolstoy and
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Essays by AYLMER MAUDE
Each essay in this volume expresses, in one form or other, Tolstoy's views of life; and the main object of the book is not to praise his views, but to explain them. Being the only Englishman who in recent years has had the advantage of intimate personal intercourse, continued over a period of some years, with Tolstoy, Mr. Maude is well qualified for his present work.