_ (Pall Mall Gazette, April 12, 1887.)
The Master Of Tanagra is certainly one of Ernst von Wildenbruch's most delightful productions. It presents an exceedingly pretty picture of the bright external side of ancient Greek life, and tells how a handsome young Tanagrian left his home for the sake of art, and returned to it for love's sake--an old story, no doubt, but one which gains a new charm from its new setting. The historical characters of the book, such as Praxiteles and Phryne, seem somehow less real than those that are purely imaginary, but this is usually the case in all novels that would recreate the past for us, and is a form of penalty that Romance has often to pay when she tries to blend fact with fancy, and to turn the great personages of history into puppets for a little play. The translation, which is from the pen of the Baroness von Lauer, reads very pleasantly, and some of the illustrations are good, though it is impossible to reproduce by any process the delicate and exquisite charm of the Tanagra figurines.
M. Paul Stapfer in his book Moliere et Shakespeare shows very clearly that the French have not yet forgiven Schlegel for having threatened that, as a reprisal for the atrocities committed by Napoleon, he would prove that Moliere was no poet. Indeed, M. Stapfer, while admitting that one should be fair 'envers tout le monde, meme envers les Allemands,' charges down upon the German critics with the brilliancy and dash of a French cuirassier, and mocks at them for their dulness, at the very moment that he is annexing their erudition, an achievement for which the French genius is justly renowned. As for the relative merits of Moliere and Shakespeare, M. Stapfer has no hesitation in placing the author of Le Misanthrope by the side of the author of Hamlet. Shakespeare's comedies seem to him somewhat wilful and fantastic; he prefers Orgon and Tartuffe to Oberon and Titania, and can hardly forgive Beatrice for having been 'born to speak all mirth, and no matter.'
Perhaps he hardly realises that it is as a poet, not as a playwright, that we love Shakespeare in England, and that Ariel singing by the yellow sands, or fairies hiding in a wood near Athens, may be as real as Alceste in his wooing of Celimene, and as true as Harpagon weeping for his money- box; still, his book is full of interesting suggestion, many of his remarks on literature are quite excellent, and his style has the qualities of grace, distinction, and ease of movement.
Not so much can be said for Annals of the Life of Shakespeare, which is a dull though well-meaning little book. What we do not know about Shakespeare is a most fascinating subject, and one that would fill a volume, but what we do know about him is so meagre and inadequate that when it is collected together the result is rather depressing. However, there are many people, no doubt, who find a great source of interest in the fact that he author of The Merchant of Venice once brought an action for the sum of 1 pound, 15s. 10d. and gained his suit, and for these this volume will have considerable charm. It is a pity that the finest line Ben Jonson ever wrote about Shakespeare should be misquoted at the very beginning of the book, and the illustration of Shakespeare's monument gives the inscription very badly indeed. Also, it was Ben Jonson's stepfather, not his 'father-in-law,' as stated, who was the bricklayer; but it is quite useless to dwell upon these things, as nobody nowadays seems to have any time either to correct proofs or to consult authorities.
One of the most pleasing volumes that has appeared as yet in the Canterbury Series is the collection of Allan Ramsay's poems. Ramsay, whose profession was the making of periwigs, and whose pleasure was the making of poetry, is always delightful reading, except when he tries to write English and to imitate Pope. His Gentle Shepherd is a charming pastoral play, full of humour and romance; his Vision has a good deal of natural fire; and some of his songs, such as The Yellow-hair'd Laddie and The Lass of Patie's Mill, might rank beside those of Burns. The preface to this attractive little edition is from the pen of Mr. J. Logie Robertson, and the simple, straightforward style in which it is written contrasts favourably with the silly pompous manner affected by so many of the other editors of the series.
Ramsay's life is worth telling well, and Mr. Robertson tells it well, and gives us a really capital picture of Edinburgh society in the early half of the last century.
Dante for Beginners, by Miss Arabella Shore, is a sort of literary guide- book. What Virgil was to the great Florentine, Miss Shore would be to the British public, and her modest little volume can do no possible harm to Dante, which is more than one can say of many commentaries on the Divine Comedy.
Miss Phillimore's Studies in Italian Literature is a much more elaborate work, and displays a good deal of erudition. Indeed, the erudition is sometimes displayed a little too much, and we should like to see the lead of learning transmuted more often into the gold of thought. The essays on Petrarch and Tasso are tedious, but those on Aleardi and Count Arrivabene are excellent, particularly the former. Aleardi was a poet of wonderful descriptive power, and though, as he said himself, he subordinated his love of poetry to his love of country, yet in such service he found perfect freedom.
The article on Edoardo Fusco also is full of interest, and is a timely tribute to the memory of one who did so much for the education and culture of modern Italy. On the whole, the book is well worth reading; so well worth reading, indeed, that we hope that the foolish remarks on the Greek Drama will be amended in a second edition, or, which would be better still, struck out altogether. They show a want of knowledge that must be the result of years of study.
(1) The Master of Tanagra. Translated from the German of Ernst von Wildenbruch by the Baroness von Lauer. (H. Grevel and Co.)
(2) Moliere et Shakespeare. By Paul Stapfer. (Hachette.)
(3) Annals of the Life of Shakespeare. (Sampson Low, Marston and Co.)
(4) Poems by Allan Ramsay. Selected and arranged, with a Biographical Sketch of the Poet, by J. Logie Robertson, M.A. 'Canterbury Poets.' (Walter Scott.)
(5) Dante for Beginners. By Arabella Shore. (Chapman and Hall.)
(6) Studies in Italian Literature. By Miss Phillimore. (Sampson Low, Marston and Co.) _