Comfort Found in Good Old Books. Fitch George Hamlin

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СКАЧАТЬ for striking stage effects and brilliant costumes, has made it the most popular of all Shakespeare's plays. The characters are all sharply drawn and the swift unfolding of the plot represents the height of dramatic skill. Next to this, one should read The Merchant of Venice. Shylock is one of the great characters in Shakespeare's gallery, a pathetic, lonely figure, barred out from all close association with his fellows in trade by evil traits, that finally drive him to ruin. Then take up a comedy like As You Like It, as restful to the senses as fine music, and filled with verse as tuneful and as varied as the singing of a great artist.

      By this reading you will be prepared for the supreme tragedies – each a masterpiece without a superior in any literature. These are Hamlet, Othello, King Lear, Julius Cæsar, Macbeth and Antony and Cleopatra. In no other six works in any language can one find such range of thought, such splendor of verse, such soundings of the great sea of human passions – love, jealousy, ambition, hate, remorse, fear and shame. Each typifies some overmastering passion, but Hamlet stands above all as a study of a splendid mind, swayed by every wind of impulse, noble in defeat and pathetic in the final ruin of hope and love, largely due to lack of courage and decision of character. Take it all in all, Hamlet represents the finest creative work of any modern author. This play is packed with bitter experience of life, cast in verse that is immortal in its beauty and melody.

       Macbeth represents ambition, linked with superstition and weakness of will; the fruit is an evil brood – remorse struggles with desire for power, affection is torn by the malign influence of guilt, as seen in the unhinging of Lady Macbeth's mind. No one should miss the opportunity to see a great actor or a great actress in Macbeth– it is a revelation of the deeps of human tragedy. King Lear is the tragedy of old age, the same tragedy that Balzac drew in Le Pere Goriot, save that Lear becomes bitter, and after weathering the storm of madness, wreaks vengeance on his unnatural daughters. Old Goriot, one of the most pathetic figures in all fiction, goes to his grave trying to convince the world that his heartless girls really love him.

      The real hero of Julius Cæsar is Brutus, done to death by men of lesser mold and coarser natures, who take advantage of his lack of practical sense and knowledge of human nature. This play is seldom put on the stage in recent years, but it is always a treat to follow it when depicted by good actors. Othello is the tragedy of jealousy working upon the mind of a simple and noble nature, which is quick to accept the evil hints of Iago because of its very lack of knowledge of women. Iago is the greatest type of pure villainy in all literature, far more vicious than Goethe's Mephistopheles, because he wreaks his power over others largely from a satanic delight in showing his skill and resources in evil. As a play Othello is the most perfectly constructed of Shakespeare's works. Finally in Antony and Cleopatra Shakespeare shows the disintegrating force of guilty love, which does not revolt even when the Egyptian Queen ruins her lover's cause by unspeakable cowardice. Cleopatra is the great siren of literature, and the picture of her charms is fine verse.

      And here let me advise the hearing of good actors in Shakespeare as a means of culture. All the great Shakespearean actors are gone, but Mantell remains, and he, though not equal to Booth, is, to my mind, far more convincing than Irving. Mantell's Lear is the essence of great acting – something to recall with rare pleasure. Edwin Booth I probably saw in Hamlet a score of times in twice that many years, but never did I see him without getting some new light on the melancholy Dane. Even on successive nights Booth was never just the same, as his mood tinged his acting. His sonorous voice, his perfect enunciation, his graceful gestures, above all his striking face, alive with the light of genius – these are memories it is a delight to recall.

      To develop appreciation of Shakespeare I would advise reading the plays aloud. In no other way will you be able to savor the beauty and the melody of the blank verse. It was my good fortune while an undergraduate at Cornell University to be associated for four years with Professor Hiram Corson, then head of the department of English literature. Corson believed in arousing interest in Shakespeare by reading extracts from the best plays, with running comment on the passages that best illustrated the poet's command of all the resources of blank verse. His voice was like a fine organ, wonderfully developed to express every emotion, and I can recall after nearly forty years as though it were but yesterday the thrilling effect of these readings. No actor on the stage, with the single exception of Edwin Booth, equaled Corson in beauty of voice or in power of expression.

      The result of these readings, with the comment that came from a mind stored with Shakespearean lore, was to stir one's ambition to study the great plays. Recalling the liberal education that came from Corson's readings, I have been deeply sorry for college students whom I have seen vainly trying to appreciate Shakespeare's verse as read by professors with harsh, rasping, monotonous voices that killed the beauty of rhyme and meter as a frost kills a fine magnolia blossom breathing perfume over a garden. When will college presidents awake to the fact that book learning alone cannot make a successful professor of English literature, when the man is unable to bring out the melody of the verse? Similar folly is shown by the theological schools that continue to inflict upon the world preachers whose faulty elocution makes a mock of the finest passages of the Bible.

      In my own case my tireless study of Shakespeare during four years at college, which included careful courses of reading and study during the long vacations, so saturated my mind with the great plays that they have been ever since one of my most cherished possessions. After years of hard newspaper work it is still possible for me to get keen pleasure from reading aloud to myself any of Shakespeare's plays. My early study of Shakespeare led me to look up every unfamiliar word, every phrase that was not clear. This used to be heavy labor, but now all the school and college editions are equipped with these aids to the student. The edition of Shakespeare which always appealed to me most strongly was the Temple edition, edited by Israel Gollancz. It is pocket size, beautifully printed and very well edited. For a companion on a solitary walk in city or country no book is superior to one of Shakespeare's plays in this convenient Temple edition, bound in limp leather.

      The best edition of Shakespeare in one volume is, to my mind, the Cambridge edition, issued by the Houghton Mifflin Company of Boston, uniform with the same edition of other English and American poets. This, of course, has only a few textual notes, but it has a good glossary of unusual and obsolete words. It makes a royal octavo volume of one thousand and thirty-six double-column pages, clearly printed in nonpareil type.

      In this chapter I have been able only to touch on the salient features of the work of the foremost English poet and dramatist, and, in my judgment, the greatest writer the world has ever seen. If these words of mine stimulate any young reader to take up the study of Shakespeare I shall feel well repaid. Certainly, with the single exception of the Bible, no book will reward a careful, loving study so well as Shakespeare.

      How toRead the AncientClassics

Authors of Greece and Rome One Should Know – Masterpieces of the Ancient World that may be Enjoyed in Good English Versions

      In choosing the great books of the world, after the Bible and Shakespeare, one is brought face to face with a perplexing problem. It is easy to provide a list for the scholar, the literary man, the scientist, the philosopher; but it is extremely difficult to arrange any list for the general reader, who may not have had the advantage of a college education or any special literary training. And here, at the outset, enters the problem of the Greek, Latin and other ancient classics which have always been widely read and which you will find quoted by most writers, especially those of a half century ago. In this country literary fads have prevailed for a decade or two, only to be dropped for new fashions in culture.

      Take Emerson, for instance. His early development was strongly affected by German philosophy, which was labeled Transcendentalism. A. Bronson Alcott, who never wrote anything that has survived, was largely instrumental in infecting Emerson with his own passion for the dreamy German philosophical school. Emerson also was keenly alive to the beauties of the Greek and the Persian poets, although he was so broad-minded in regard to reading books in good translations that СКАЧАТЬ