William Shakespeare
Copyright© 2025 by Victor Hugo
Chapter 4
An eminent man of our day, a celebrated historian a powerful orator, one of the former translators of Shakespeare, is mistaken, according to our views, when he regrets, or appears to regret, the slight influence of Shakespeare on the theatre of the nineteenth century. We cannot share that regret An influence of any sort, even that of Shakespeare, could but mar the originality of the literary movement of our epoch. “The system of Shakespeare,” says the honourable and grave writer, with reference to that movement, “can furnish, it seems to me, the plans after which genius must henceforth work.” We have never been of that opinion, and we have said so as far back as forty years ago.[1] For us, Shakespeare is a genius, and not a system. On this point we have already explained our views, and we mean soon to explain them at greater length; but let us state now that what Shakespeare has done, is done once for all, —it is impossible to do it over again. Admire or criticise, but do not recast. It is finished.
A distinguished critic who lately died, —M. Chaudesaigues, —lays a stress on this reproach: “Shakespeare,” says he, “has been revived without being followed. The romantic school has not imitated Shakespeare. In that it is wrong.” In that it is right. It is blamed for it; we praise it. The contemporary theatre is what it is, but it is itself. The contemporary theatre has for device, Sum non sequor. It belongs to no “system” It has its own law, and it accomplishes it. It has its own life, and it lives it.
The drama of Shakespeare expresses man at a given moment. Man passes away; that drama remains, having for eternal foundation, life, the heart, the world, and for surface the sixteenth century. That drama can neither be continued nor recomposed. Another age, another art.
To read the complete story you need to be logged in:
Log In or
Register for a Free account
(Why register?)
* Allows you 3 stories to read in 24 hours.