From an appendix to Tolstoy’s A Critical Essay on Shakespeare. I have not read this essay yet, but apparently Tolstoy slams the Bard hard and good. This shocked me because I thought Shakespeare was beloved by all great literary figures all over the world and down through time, as he ought to be. Apparently this is not so at all. The criticism here is not directed at his art or his talent as a writer but apparently more at his role as a thinker and philosopher, in which some find him most wanting.
Another essay appears in the appendix of this volume, Shakespeare’s Attitude towards the Working Classes, by Ernest Crosby, who seems to be some sort of a socialist or leftwinger. This had never occurred to me before, but from the opening lines of his essay, Crosby sets about pounding the life out of Shakespeare for his reactionary, ruling class, near feudal mindset and his utter contempt for the masses, peasants and working classes.
This all makes sense when we learn what a tightwad and miser Shakespeare was that he even shafted his own family in his will, pinched pennies everywhere, filed endless lawsuits against acquaintances trying to recover petty amounts of cash, and perhaps worst or all but exemplary of his feudal mindset, hoarded food during a famine. During famines, food hoarding is considered a near-capital offense. If you are found to be hoarding food, a mob will raid your food, take all of it, beat you up in the process and quite possibly kill you. The law in famines is share or die.
So it seems that as with so many great artists and thinkers, Shakespeare was a nasty little bug of a man, while at the same time, I believe he was one of the greatest writers in English or perhaps any language of all time. A lot of artists were great artists but terrible humans. Sort of goes with the territory, sad to say. It’s well known that Dostoevsky was a miserable fellow, but he was also such a bastard some of his greatest contemporaries refused to attend his funeral.
I find it fascinating the Nicholas Rowe and especially Dr. Johnson pounded the Bard a few new ones.
Lord Byron and William Morris took Shakespeare to town? Wow. Morris makes sense as he was a socialist, but Byron?
And Voltaire, who earlier in life was a Shakespeare fanatic, grew to hate him more and more as he aged and presumably wised up? Unbelievable.
I am sorry to say that I am not familiar with the gist of these Bard slams is all about, but the fact that they exist at all is amazing. Perhaps there is more to Man from Avon than meets the eye, and it’s not all good. I am actually shocked. It’s hard to see a lifelong hero crumble right in front your eyes. Downright painful.
Letter from George Bernard Shaw to Leo Tolstoy (Extracts)
As you know, I have striven hard to open English eyes to the emptiness of Shakespeare’s philosophy, to the superficiality and second-handedness of his morality, to his weakness and incoherence as a thinker, to his snobbery, his vulgar prejudices, his ignorance, his disqualifications of all sorts for the philosophic eminence claimed for him…
The preface to my Three Plays for Puritans contains a section headed Better than Shakespeare? which is, I think, the only utterance of mine on the subject to be found in a book…
There is at present in the press a new preface to an old novel of mine called The Irrational Knot. In that preface I define the first order in Literature as consisting of those works in which the author, instead of accepting the current morality and religion ready-made without any question as to their validity, writes from an original moral standpoint of his own, thereby making his book an original contribution to morals, religion, and sociology, as well as to belles letters.
I place Shakespeare with Dickens, Scott, Dumas père, etc., in the second
order, because, though they are enormously entertaining, their morality is ready-made; and I point out that the one play, Hamlet, in which Shakespeare made an attempt to give as a hero one who was dissatisfied with the ready-made morality, is the one which has given the highest impression of his genius, although Hamlet’s revolt is unskillfully and inconclusively suggested and not worked out with any philosophic competence.
May I suggest that you should be careful not to imply that Tolstoy’s great Shakespearean heresy has no other support than mine. The preface of Nicholas Rowe to his edition of Shakespeare, and the various prefaces of Dr. Johnson contain, on Rowe’s part, an apology for him as a writer with obvious and admitted shortcomings (very ridiculously ascribed by Rowe to his working by “a mere light of nature”), and, on Johnson’s, a good deal of downright hard-hitting criticism.
You should also look up the history of the Ireland forgeries, unless, as is very probable, Tolstoy has anticipated you in this.
Among nineteenth-century poets, Byron and William Morris saw clearly that Shakespeare was enormously overrated intellectually.
A French book, which has been translated into English, has appeared within the last ten years, giving Napoleon’s opinions on drama. His insistence on the superiority of Corneille to Shakespeare on the ground of Corneille’s power of grasping a political situation, and of seeing men in their relation to the state, is interesting.
Of course you know about Voltaire’s criticisms, which are the more noteworthy because Voltaire began with an extravagant admiration for Shakespeare, and got more and more bitter against him as he grew older and less disposed to accept artistic merit as a cover for philosophic deficiencies.
Finally, I, for one, shall value Tolstoy’s criticism all the more because it is criticism of a foreigner who can not possibly be enchanted by the mere word-music which makes Shakespeare so irresistible in England. In Tolstoy’s estimation, Shakespeare must fall or stand as a thinker, in which capacity I do not think he will stand a moment’s examination from so tremendously keen a critic and religious realist.
Unfortunately, the English worship their great artists quite indiscriminately and abjectly; so that is quite impossible to make them understand that Shakespeare’s extraordinary literary power, his fun, his mimicry, and the endearing qualities that earned him the title of “the gentle Shakespeare”—all of which, whatever Tolstoy may say, are quite unquestionable facts—do not stand or fall with his absurd reputation as a thinker.
Tolstoy will certainly treat that side of his reputation with the severity it deserves; and you will find that the English press will instantly announce that Tolstoy considers his own works greater than Shakespeare’s (which in some respects they most certainly are, by the way), and that he has attempted to stigmatize our greatest poet as a liar, thief, forger, murderer, incendiary, drunkard, libertine, fool, madman, coward, vagabond, and even a man of questionable gentility.
You must not be surprised or indignant at this: it is what is called “dramatic criticism” in England and America. Only a few of the best of our journalist-critics will say anything worth reading on the subject.
Yours faithfully,
G. Bernard Shaw