Part 24 (2/2)

Macready's chief associate in women characters was Helen Faucit (1820-1898, afterwards Lady Martin), whose refined ien, Beatrice, Juliet, and Rosalind fore

Recent revivals

The er of recent ti his tenure of Sadler's Wells Theatre between 1844 and 1862 competent representations of all the plays save six; only 'Richard II,' the three parts of 'Henry VI,' 'Troilus and Cressida,' and 'titus Andronicus' were o, who since 1878 has been ably seconded by Miss Ellen Terry, has revived at the Lyceum Theatre between 1874 and the present time eleven plays ('Hamlet,' 'Macbeth,' 'Othello,' 'Richard III,'

'The Merchant of Venice,' 'Much Ado about Nothing,' 'Twelfth Night,'

'Ro Lear,' 'Henry VIII,' and 'Cye they can derive fro as well as from lavish scenic elaboration {340a} But theatrical revivals of plays of Shakespeare are in England interer since Phelps's retiree the full range of Shakespearean drama Far more in this direction has been attempted in Germany {340b} In one respect the history of recent Shakespearean representations can be viewed by the literary student with unqualified satisfaction Although soement of the scenes are found imperative in all theatrical representations of Shakespeare, a growing public sentiland and elsewhere has for many years favoured as loyal an adherence to the authorised version of the plays as is practicable on the part of theatrical e which sanctioned the perversions of the eighteenth century are happily well-nigh extinct

In land owe much to Shakespeare's influence From Thomas Morley, Purcell, Matthew Locke, and Arne to William Linley, Sir Henry Bishop, and Sir Arthur Sullivan, every distinguishedof one or s, or has composed concerted music in illustration of some of his draanised in 1787 a schereatest living English artists Soht were painted in all, and the artists, whoe Romney, Thomas Stothard, John Opie, Benjamin West, James Barry, and Henry Fuseli

All the pictures were exhibited froallery specially built for the purpose in Pall Mall, and in 1802 Boydell published a collection of engravings of the chief pictures The great series of paintings was dispersed by auction in 1805 Few eminent artists of later date, from Daniel Maclise to Sir John Millais, have lacked the ambition to interpret some scene or character of Shakespearean drama

In America

In America no less enthusiasland Editors and critics are hardly less numerous there, and some criticism from American pens, like that of Jahest literary level Nowhere, perhaps, has iven by Mr H H

Furness of Philadelphia to the preparation of his 'New Variorum' edition

The Barton collection of Shakespeareana in the Boston Public Library is one of the ue (1878-80) contains some 2,500 entries First of Shakespeare's plays to be represented in America, 'Richard III' was performed in New York in March 1750 More recently Edwin Forrest, Junius Brutus Booth, Edwin Booth, Charlotte Cushe the great traditions of Shakespearean acting; while Mr E A Abbey has devoted high artistic gifts to pictorial representation of scenes from the plays

Translations In Germany German translations

The Bible, alone of literary coreater nuress of his reputation in Germany, France, Italy, and Russia was somewhat slow at the outset But in Germany the poet has received for nearly a century and a half a recognition scarcely less pronounced than that accorded him in America and in his own country

Three of Shakespeare's plays, now in the Zurich Library, were brought thither by J R Hess fro Lear,' and 'Romeo and Juliet' were acted at Dresden, and a version of the 'Ta of The Shreas played there and elsewhere at the end of the seventeenth century But such mention of Shakespeare as is found in Gere on the part of German readers either of Dryden's criticislish encyclopaedias {342} The earliest sign of a direct acquaintance with the plays is a poor translation of 'Julius Caesar' into German by Baron C W von Borck, formerly Prussian minister in London, which was published at Berlin in 1741 A worse rendering of 'Romeo and Juliet' followed in 1758 Meanwhile J C Gottsched (1700-66), an influential man of letters, warmly denounced Shakespeare in a review of Von Borck's effort in 'Beitrage zur deutschen Sprache' and elsewhere Lessing came without delay to Shakespeare's rescue, and set his reputation, in the estimation of the German public, on that exalted pedestal which it has not ceased to occupy It was in 1759, in a journal entitled 'Litteraturbriefe,' that Lessing first claimed for Shakespeare superiority, not only to the French dramatists Racine and Corneille, who hitherto had dominated European taste, but to all ancient or 's doctrine, which he developed in his 'Ha, 1767, 2 vols 8vo), was at once accepted by the poet Johann Gottfried Herder in the 'Blatter von deutschen Art and Kunst,' 1771 Christopher Martin Wieland (1733-1813) in 1762 began a prose translation which Johann Joachi (1743-1820) completed (Zurich, 13 vols, 1775-84) Between 1797 and 1833 there appeared at intervals the classical Ger Tieck, leaders of the romantic school of German literature, whose creed e veneration for Shakespeare Schlegel translated only seventeen plays, and his workmanshi+p excels that of the rest of the translation Tieck's part in the undertaking wastranslations by various hands Many other Ger the sa, 1818-29), by J W O Benda (Leipzig, 1825-6), by J Korner (Vienna, 1836), by A

Bottger (Leipzig, 1836-7), by E Ortlepp (Stuttgart, 1838-9), and by A

Keller and M Rapp (Stuttgart, 1843-6) The best of more recent German translations is that by a band of poets and e Friedrich von Bodenstedt, Ferdinand von Freiligrath, and Paul Heyse (Leipzig, 1867-71, 38 vols) Most of these versions have been h merits of von Bodenstedt and his coel and Tieck's achieveel's lectures on 'Shakespeare and the Drama,' which were delivered at Vienna in 1808, and were translated into English in 1815, are worthy of coe, ed much to their influence Wordsworth in 1815 declared that Schlegel and his disciples first ht road in aesthetic criticislish aesthetic critics of Shakespeare

{344} Subsequently Goethe poured forth, in his volu and appreciative than Schlegel's {345} Although Goethe deee, he adapted 'Romeo and Juliet' for the Weiart, 1801) Heine published in 1838 charlish translation 1895), and acknowledged only one defect in Shakespeare--that he was an Englishman

Modern German writers on Shakespeare