The Greatest Gothic Classics. Оскар Уайльд

prefixed to his Merope, he delivers almost the same opinion, though I doubt with a little irony. I will repeat his words, and then give my reason for quoting them. After translating a passage in Maffei’s Merope, Monsieur de Voltaire adds, “Tous ces traits sont naïfs: tout y est convenable à ceux que vous introduisez sur la scene, et aux mœurs que vous leur donnez. Ces familiarités naturelles eussent été, à ce que je crois, bien reçues dans Athenes; mais Paris et notre parterre veulent une autre espece de simplicité.”3 I doubt, I say, whether there is not a grain of sneer in this and other passages of that epistle; yet the force of truth is not damaged by being tinged with ridicule. Maffei was to represent a Grecian story: surely the Athenians were as competent judges of Grecian manners and of the propriety of introducing them, as the parterre of Paris. On the contrary, says Voltaire (and I cannot but admire his reasoning), there were but ten thousand citizens at Athens, and Paris has near eight hundred thousand inhabitants, among whom one may reckon thirty thousand judges of dramatic works.—Indeed! but, allowing so numerous a tribunal, I believe this is the only instance in which it was ever pretended, that thirty thousand persons, living near two thousand years after the era in question, were, upon the mere face of the poll, declared better judges than the Grecians themselves of what ought to be the manners of a tragedy written on a Grecian story.

      I will not enter into a discussion of the espece de simplicité, which the parterre of Paris demands, nor of the shackles with which the thirty thousand judges have cramped their poetry, the chief merit of which, as I gather from repeated passages in The New Commentary on Corneille, consists in vaulting in spite of those fetters; a merit which, if true, would reduce poetry, from the lofty effort of imagination, to a puerile and most contemptible labour—difficiles nugæ with a witness! I cannot, however, help mentioning a couplet, which, to my English ears, always sounded as the flattest and most trifling instance of circumstantial propriety: but which Voltaire, who has dealt so severely with nine parts in ten of Corneille’s works, has singled out to defend in Racine:

      De son appartement cette porte est prochaine,

       Et cette autre conduit dans celui de la reine.

      In English:

      To Cæsar’s closet through this door you come,

       And t’other leads to the queen’s drawing-room.

      Unhappy Shakespeare! hadst thou made Rosencrantz inform his compeer, Guildenstern, of the ichnography of the palace of Copenhagen, instead of presenting us with a moral dialogue between the Prince of Denmark and the grave-digger, the illuminated pit of Paris would have been instructed a second time to adore thy talents.

      The result of all I have said is, to shelter my own daring under the canon of the brightest genius this country, at least, has produced. I might have pleaded, that having created a new species of romance, I was at liberty to lay down what rules I thought fit for the conduct of it: but I should be more proud of having imitated, however faintly, weakly, and at a distance, so masterly a pattern, than to enjoy the entire merit of invention, unless I could have marked my work with genius as well as with originality. Such as it is, the public have honoured it sufficiently, whatever rank their suffrages allot to it.

      SONNET

       TO THE RIGHT HONOURABLE

       LADY MARY COKE

      The gentle maid, whose hapless tale

       These melancholy pages speak

       Say, gracious lady, shall she fail

       To draw the tear adown thy cheek?

      No; never was thy pitying breast

       Insensible to human woes;

       Tender, though firm, it melts distrest

       For weaknesses it never knows.

      Oh! guard the marvels I relate

       Of fell ambition scourg’d by fate,

       From reason’s peevish blame.

       Blest with thy smile, my dauntless sail

       I dare expand to fancy’s gale.

       For sure thy smiles are fame.

      H. W.

1. The following remark is foreign to the present question, yet excusable in an Englishman, who is willing to think that the severe criticisms of so masterly a writer as Voltaire on our immortal countryman, may have been the effusions of wit and precipitation, rather than the result of judgment and attention. May not the critic's skill, in the force and powers of our language, have been as incorrect and incompetent as his knowledge of our history? of the latter, his own pen has dropped glaring evidence. In his preface to Thomas Corneille's Earl of Essex, Monsieur de Voltaire allows that the truth of history has been grossly perverted in that piece. In excuse he pleads, that when Corneille wrote, the noblesse of France were much unread in English story; but now, says the commentator, that they study it, such misrepresentations would not be suffered—yet forgetting that the period of ignorance is lapsed, and that it is not very necessary to instruct the knowing, he undertakes, from the overflowing of his own reading, to give the nobility of his own country a detail of Queen Elizabeth's favourites—of whom, says he, Robert Dudley was the first, and the Earl of Leicester the second. Could one have believed that it would be necessary to inform Monsieur de Voltaire himself, that Robert Dudley and the Earl of Leicester were the same person? "One sees there a mixture of the grave and the light, of the comic and the tragic; often even a single adventure exhibits all these contrasts. Nothing is more common than a house in which the father scolds, a girl occupied by her passions weeps, the son ridicules both, some relations take a differing part in the scene, etc. We do not infer from this that every comedy ought to have scenes of buffoonery and of gravity. Now there is gaiety, now seriousness, now a mixture. Then there are others in which tenderness moves one to tears. We must not exclude any type, and if I were asked which is the best I would answer, 'the one which is best made.'"

2. "One sees there a mixture of the grave and the light, of the comic and the tragic; often even a single adventure exhibits all these contrasts. Nothing is more common than a house in which the father scolds, a girl occupied by her passions weeps, the son ridicules both, some relations take a differing part in the scene, etc. We do not infer from this that every comedy ought to have scenes of buffoonery and of gravity. Now there is gaiety, now seriousness, now a mixture. Then there are others in which tenderness moves one to tears. We must not exclude any type, and if I were asked which is the best I would answer, 'the one which is best made.'"

3. "All of these characteristics are naive. Everything is convenient to those who introduce the scene and to the customs that you give them. These natural familiarities would, I think, have been well received in Athens, but Paris and our nation prefer another type of subtlety.

      Chapter I

       Table of Contents

      Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit. Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their prince’s disposition, did not dare to utter their surmises on this precipitation.