We all know the world of Shakespeare, how he ranges from Falstaff to Hamlet, from Bottom to Lear, from Mrs. Quickly and Doll Tearsheet to Rosalind and Imogen and Cordelia; we know how to Shakespeare, and in a lesser degree to some of the other great Elizabethans like Marlowe and Webster, there is nothing common and insignificant in life, nothing which the creative imagination of the artist cannot transform, transmute, from mere dross into pure gold. We say, and we say rightly, that here is the greatest thing that England has brought forth, and we think of it as representing the splendid youth and the first maturity of a great nation.
But now, do we remember and understand that alongside of the English drama there is another drama, not indeed so great as that of Shakespeare, but greater, I think, than that of any other Elizabethan, the drama of Spain, of Lope de Vega and Calderon, a drama of the same character, inspired by the same spirit, living under the power of the same creative imagination, a drama in which the same vivid reality is informed by the same breath of magical romance. In the tragedy of Lope de Vega, in the comedies of Calderon, with all the distinctive individuality of the great artists, and of each great work of art, we have a poetic drama which is in its essential characteristics the same as that of England.
And yet how different were the circumstances of the two nations, Spain was decadent, bankrupt, defeated; England was rising to the supreme heights of its greatness under Elizabeth and Cromwell. At the end of the sixteenth century, Spain had passed its splendid meridian and was falling into the grey obscurity of a clouded evening. It had quickly lost the great place which for a few years it had held in the world, every day brought a new failure, every year a new disaster; the great Armada had perished miserably on the dunes of Flanders and Holland, on the cliffs of Scotland and Ireland; a handful of valiant Dutchmen had defied its power and broken its wealth; the real enemy of Spain, that is France, had gathered itself together after forty years of ruin and misery, and had driven out the Spanish power. Indeed, so great, so overwhelming, was—as we can now see it—the ruin, that Philip II, who to the English imagination has stood for the embodiment of cruel and masterful malignity, has become to the historical student one of the tragic figures in history, a sincere, stupid, bigoted man, vainly striving to hold together the great empire which had been created by Ferdinand and Isabella, by Cortez and Pizarro and Charles V.
England, on the other hand, was rising from obscurity to its place as the mistress of the seas; Englishmen were raiding and plundering the New World, which Spain and Portugal had looked on as their own; England was sending out its sailors and merchants to all the seas, and to all lands, from the frozen north to the Indies.
And again, Spain was possessed by a fierce and passionate love for the old religious order, it was the one country in which devotion to the forms and conceptions of mediaeval religion had proved unshakeable, while England was the representative power of the new religious temper, and was soon to hold almost the foremost place in the new intellectual life of Europe.
And yet the drama of Spain is in all its most essential and intimate characteristics the same as that of England; represents on the one side the same overwhelming sense of the tragic conflicts of life, the same sense of the greatness, the splendour of human nature, which is most triumphant when most it seems to fail; and on the other side at least something of that exquisite, that almost unimaginable grace of the romantic comedy, of the world of Portia and Viola and Beatrice and Miranda. I do not think that the unity of the great art of Europe, the comparative insignificance of merely national characteristics and historical circumstances can find a more convincing illustration.
I could wish that I were able to deal adequately with the parallel movements of painting and sculpture during these centuries, but I have neither the capacity nor is there now the time to deal with them. This much only may be said, that the movement of these arts is very closely parallel during these centuries, from the fourteenth to the seventeenth, to that of literature. I cannot discuss the characteristics of mediaeval sculpture and painting, but I would remind you that the notion that these were merely conventional and abstract is just as mistaken as the notion that mediaeval literature deals only with conventions or allegories. It is of course obviously true that the ecclesiastical or religious purpose served by the greater part of the decorative art of the Middle Ages which has survived to us, limits and restrains its subjects and its forms. But no one who is at any pains to consider mediaeval sculpture and mosaic painting can fail to see that alongside of much which became conventional, and was fixed in what has been called the 'Byzantine' style, there is an immense amount of work both in sculpture and in mosaic which expresses the determination of the mediaeval artist to represent the world as he experienced and saw it, and that the main obstacle to the free expression of this spirit was not the acquiescence or satisfaction of the mediaeval artist in conventional forms, but the lack of technical dexterity. This will become evident to any one who will turn his attention, in studying the mosaics, from what are no doubt the somewhat conventional and hieratic figures of saints and angels to the realistic attempts to portray the stories of the Bible. And it will be clear to any one who will study, for instance, the sculpture of Wells or Amiens or Chartres that by the thirteenth century the artists were rapidly learning how to represent the world as they knew it, and something of its grace and beauty. If we say that the history of the plastic arts in Europe from the fourteenth to the seventeenth centuries is the history of the discovery and presentation first of reality, and then of reality as transformed by the highest imaginative conception of beauty, this must not be understood to mean that reality and beauty had been absent from those arts in the Middle Ages.
If then we trace the development of Italian art, we shall first observe in such work as that of Masaccio in the Brancacci chapel at Florence just the same characteristic interest in the appearance and the varieties of human life as we find in the work of Boccaccio and Chaucer, and in the succession of the great Tuscan and Umbrian and Venetian painters and sculptors the same transformation of the bare reality of life by the magic of the imaginative sense of beauty and of passion as in the great drama. It is not, I think, merely fanciful to say that the real counterpart of the English and Spanish drama is to be found in the Italian painters and sculptors of the fifteenth and sixteenth centuries and in the Flemish artists of the early seventeenth. It is certainly true that each of these great artists had his own individual and distinctive genius, but the exquisite grace and beauty of the Umbrians and Tuscans have never been matched save in the romantic comedy of Shakespeare, and the presentation of the tragic passion of the human soul in King Lear has only once been equalled, and that is in the dreadful beauty and horror of the Night and Day, the Evening and the Morning of Michelangelo.