J.W. von Goethe (17491832). Wilhelm Meisters Apprenticeship.
The Harvard Classics Shelf of Fiction. 1917.
SERLO received him with open arms, crying as he met him: Is it you? Do I see you again? You have scarcely changed at all. Is your love for that noblest of arts still as lively and strong? I myself am so glad at your arrival, I even feel no longer the mistrust which your last letters had excited in me.
You have treated me, said Serlo, not like an old friend, but as if I were a great lord, to whom with a safe conscience you might recommend useless people. Our destiny depends on the opinion of the public; and I fear Herr Melina and his suite can hardly be received among us.
Wilhelm tried to say something in their favour; but Serlo began to draw so merciless a picture of them, that our friend was happy when a lady came into the room, and put a stop to the discussion. She was introduced to him as Aurelia, the sister of his friend: she received him with extreme kindness; and her conversation was so pleasing, that he did not once remark a shade of sorrow visible on her expressive countenance, to which it lent peculiar interest.
For the first time during many months, Wilhelm felt himself in his proper element once more. Of late in talking, he had merely found submissive listeners, and even these not always; but now he had the happiness to speak with critics and artists, who not only fully understood him, but repaid his observations by others equally instructive. With wonderful vivacity they travelled through the latest pieces; with wonderful correctness judged them. The decisions of the public they could try and estimate: they speedily threw light on each others thoughts.
Loving Shakspeare as our friend did, he failed not to lead round the conversation to the merits of that dramatist. Expressing, as he entertained, the liveliest hopes of the new epoch which these exquisite productions must form in Germany he ere long introduced his Hamlet, who had busied him so much of late.
Serlo declared that he would long ago have played the piece, had this been possible, and that he himself would willingly engage to act Polonius. He added, with a smile: An Ophelia, too, will certainly turn up, if we had but a Prince.
Wilhelm did not notice that Aurelia seemed a little hurt at her brothers sarcasm. Our friend was in his proper vein, becoming copious and didactic, expounding how he would have Hamlet played. He circumstantially delivered to his hearers the opinions we before saw him busied with; taking all the trouble possible to make his notion of the matter acceptable, sceptical as Serlo showed himself regarding it.
Much, everything, said Wilhelm. Conceive a prince such as I have painted him, and that his father suddenly dies. Ambition and the love of rule are not the passions that inspire him. As a kings son he would have been contented; but now he is first constrained to consider the difference which separates a sovereign from a subject. The crown was not hereditary; yet a longer possession of it by his father would have strengthened the pretensions of an only son, and secured his hopes of the succession. In place of this, he now beholds himself excluded by his uncle, in spite of specious promises, most probably forever. He is now poor in goods and favour, and a stranger in the scene which from youth he had looked upon as his inheritance. His temper here assumes its first mournful tinge. He feels that now he is not more, that he is less, than a private nobleman; he offers himself as the servant of every one; he is not courteous and condescending, he is needy and degraded.
His past condition he remembers as a vanished dream. It is in vain that his uncle strives to cheer him, to present his situation in another point of view. The feeling of his nothingness will not leave him.
The second stroke that came upon him wounded deeper, bowed still more. It was the marriage of his mother. The faithful tender son had yet a mother, when his father passed away. He hoped, in the company of his surviving nobleminded parent, to reverence the heroic form of the departed; but his mother too he loses, and it is something worse than death that robs him of her. The trustful image, which a good child loves to form of its parents, is gone. With the dead there is no help; on the living no hold. She also is a woman, and her name is Frailty, like that of all her sex.
Now first does he feel himself completely bent and orphaned; and no happiness of life can repay what he has lost. Not reflective or sorrowful by nature, reflection and sorrow have become for him a heavy obligation. It is thus that we see him first enter on the scene. I do not think that I have mixed aught foreign with the piece, or overcharged a single feature of it.
Serlo looked at his sister, and said, Did I give thee a false picture of our friend? He begins well; he has still many things to tell us, many to persuade us of. Wilhelm asseverated loudly, that he meant not to persuade, but to convince; he begged for another moments patience.
Figure to yourselves this youth, cried he, this son of princes: conceive him vividly, bring his state before your eyes, and then observe him when he learns that his fathers spirit walks; stand by him in the terrors of the night, when the venerable ghost itself appears before him. A horrid shudder passes over him; he speaks to the mysterious form; he sees it beckon him; he follows it, and hears. The fearful accusation of his uncle rings in his ears; the summons to revenge, and the piercing off repeated prayer, Remember me!
And when the ghost has vanished, who is it that stands before us? A young hero panting for vengeance? A prince by birth, rejoicing to be called to punish the usurper of his crown? No! trouble and astonishment take hold of his solitary young man; he grows bitter against smiling villains, swears that he will not forget the spirit, and concludes with the significant ejaculation:
In these words, I imagine, will be found the key to Hamlets whole procedure. To me it is clear that Shakspeare meant, in the present case, to represent the effects of a great action laid upon a soul unfit for the performance of it. In this view the whole piece seems to me to be composed. There is an oak-tree planted in a costly jar, which should have borne only pleasant flowers in its bosom; the roots expand, the jar is shivered.
A lovely, pure, noble and most moral nature, without the strength of nerve which forms a hero, sinks beneath a burden which it cannot bear and must not cast away. All duties are holy for him; the present is too hard. Impossibilities have been required of him; not in themselves impossibilities, but such for him. He winds, and turns, and torments himself; he advances and recoils; at ever put in mind, ever puts himself in mind; at last does all but lose his purpose from his thoughts; yet still without recovering his peace of mind.