For what is the use to the stage of that archaeology which has sostrangely terrified the critics,but that it,and it alone,cangive us the architecture and apparel suitable to the time in whichthe action of the play passes?It enables us to see a Greekdressed like a Greek,and an Italian like an Italian;to enjoy thearcades of Venice and the balconies of Verona;and,if the playdeals with any of the great eras in our country's history,tocontemplate the age in its proper attire,and the king in his habitas he lived.And I wonder,by the way,what Lord Lytton would havesaid some time ago,at the Princess's Theatre,had the curtainrisen on his father's Brutus reclining in a Queen Anne chair,attired in a flowing wig and a flowered dressing-gown,a costumewhich in the last century was considered peculiarly appropriate toan antique Roman!For in those halcyon days of the drama noarchaeology troubled the stage,or distressed the critics,and ourinartistic grandfathers sat peaceably in a stifling atmosphere ofanachronisms,and beheld with the calm complacency of the age ofprose an Iachimo in powder and patches,a Lear in lace ruffles,anda Lady Macbeth in a large crinoline.I can understand archaeologybeing attacked on the ground of its excessive realism,but toattack it as pedantic seems to be very much beside the mark.
However,to attack it for any reason is foolish;one might just aswell speak disrespectfully of the equator.For archaeology,beinga science,is neither good nor bad,but a fact simply.Its valuedepends entirely on how it is used,and only an artist can use it.
We look to the archaeologist for the materials,to the artist forthe method.
In designing the scenery and costumes for any of Shakespeare'splays,the first thing the artist has to settle is the best datefor the drama.This should be determined by the general spirit ofthe play,more than by any actual historical references which mayoccur in it.Most HAMLETS I have seen were placed far too early.
HAMLET is essentially a scholar of the Revival of Learning;and ifthe allusion to the recent invasion of England by the Danes puts itback to the ninth century,the use of foils brings it down muchlater.Once,however,that the date has been fixed,then thearchaeologist is to supply us with the facts which the artist is toconvert into effects.
It has been said that the anachronisms in the plays themselves showus that Shakespeare was indifferent to historical accuracy,and agreat deal of capital has been made out of Hector's indiscreetquotation from Aristotle.Upon the other hand,the anachronismsare really few in number,and not very important,and,hadShakespeare's attention been drawn to them by a brother artist,hewould probably have corrected them.For,though they can hardly becalled blemishes,they are certainly not the great beauties of hiswork;or,at least,if they are,their anachronistic charm cannotbe emphasised unless the play is accurately mounted according toits proper date.In looking at Shakespeare's plays as a whole,however,what is really remarkable is their extraordinary fidelityas regards his personages and his plots.Many of his DRAMATISPERSONAE are people who had actually existed,and some of themmight have been seen in real life by a portion of his audience.
Indeed the most violent attack that was made on Shakespeare in histime was for his supposed caricature of Lord Cobham.As for hisplots,Shakespeare constantly draws them either from authentichistory,or from the old ballads and traditions which served ashistory to the Elizabethan public,and which even now no scientifichistorian would dismiss as absolutely untrue.And not merely didhe select fact instead of fancy as the basis of much of hisimaginative work,but he always gives to each play the generalcharacter,the social atmosphere in a word,of the age in question.
Stupidity he recognises as being one of the permanentcharacteristics of all European civilisations;so he sees nodifference between a London mob of his own day and a Roman mob ofpagan days,between a silly watchman in Messina and a silly Justiceof the Peace in Windsor.But when he deals with higher characters,with those exceptions of each age which are so fine that theybecome its types,he gives them absolutely the stamp and seal oftheir time.Virgilia is one of those Roman wives on whose tomb waswritten 'Domi mansit,lanam fecit,'as surely as Juliet is theromantic girl of the Renaissance.He is even true to thecharacteristics of race.Hamlet has all the imagination andirresolution of the Northern nations,and the Princess Katharine isas entirely French as the heroine of DIVORCONS.Harry the Fifth isa pure Englishman,and Othello a true Moor.
