Books and Characters French and English By: Lytton Strachey (1880-1932)
First Page: BOOKS & CHARACTERS FRENCH & ENGLISH By LYTTON STRACHEY LONDON First published May 1922 TO JOHN MAYNARD KEYNES The following papers are reprinted by kind permission of the Editors of the Independent Review, the New Quarterly, the Athenaeum, and the Edinburgh Review. The 'Dialogue' is now printed for the first time, from a manuscript, apparently in the handwriting of Voltaire and belonging to his English period . CONTENTS RACINE 3 SIR THOMAS BROWNE 27 SHAKESPEARE'S FINAL PERIOD 41 THE LIVES OF THE POETS 59 MADAME DU DEFFAND 67 VOLTAIRE AND ENGLAND 93 A DIALOGUE 115 VOLTAIRE'S TRAGEDIES 121 VOLTAIRE AND FREDERICK THE GREAT 137 THE ROUSSEAU AFFAIR 165 THE POETRY OF BLAKE 179 THE LAST ELIZABETHAN 193 HENRI BEYLE 219 LADY HESTER STANHOPE 241 MR. CREEVEY 253 INDEX 261 RACINE When Ingres painted his vast 'Apotheosis of Homer,' he represented, grouped round the central throne, all the great poets of the ancient and modern worlds, with a single exception Shakespeare. After some persuasion, he relented so far as to introduce into his picture a part of that offensive personage; and English visitors at the Louvre can now see, to their disgust or their amusement, the truncated image of rather less than half of the author of King Lear just appearing at the extreme edge of the enormous canvas. French taste, let us hope, has changed since the days of Ingres; Shakespeare would doubtless now be advanced though perhaps chiefly from a sense of duty to the very steps of the central throne. But if an English painter were to choose a similar subject, how would he treat the master who stands acknowledged as the most characteristic representative of the literature of France? Would Racine find a place in the picture at all? Or, if he did, would more of him be visible than the last curl of his full bottomed wig, whisking away into the outer darkness? There is something inexplicable about the intensity of national tastes and the violence of national differences. If, as in the good old days, I could boldly believe a Frenchman to be an inferior creature, while he, as simply, wrote me down a savage, there would be an easy end of the matter. But alas! nous avons changé tout cela . Now we are each of us obliged to recognise that the other has a full share of intelligence, ability, and taste; that the accident of our having been born on different sides of the Channel is no ground for supposing either that I am a brute or that he is a ninny. But, in that case, how does it happen that while on one side of that 'span of waters' Racine is despised and Shakespeare is worshipped, on the other, Shakespeare is tolerated and Racine is adored? The perplexing question was recently emphasised and illustrated in a singular way. Mr. John Bailey, in a volume of essays entitled 'The Claims of French Poetry,' discussed the qualities of Racine at some length, placed him, not without contumely, among the second rank of writers, and drew the conclusion that, though indeed the merits of French poetry are many and great, it is not among the pages of Racine that they are to be found. Within a few months of the appearance of Mr. Bailey's book, the distinguished French writer and brilliant critic, M. Lemaître, published a series of lectures on Racine, in which the highest note of unqualified panegyric sounded uninterruptedly from beginning to end. The contrast is remarkable, and the conflicting criticisms seem to represent, on the whole, the views of the cultivated classes in the two countries. And it is worthy of note that neither of these critics pays any heed, either explicitly or by implication, to the opinions of the other... Continue reading book >>

Books and Characters French and English By: Lytton Strachey (1880-1932)

First Page:

BOOKS & CHARACTERS

FRENCH & ENGLISH

LYTTON STRACHEY

LONDON

First published May 1922

TO JOHN MAYNARD KEYNES

The following papers are reprinted by kind permission of the Editors of the Independent Review, the New Quarterly, the Athenaeum, and the Edinburgh Review.

The 'Dialogue' is now printed for the first time, from a manuscript, apparently in the handwriting of Voltaire and belonging to his English period .

CONTENTS

RACINE 3 SIR THOMAS BROWNE 27 SHAKESPEARE'S FINAL PERIOD 41 THE LIVES OF THE POETS 59 MADAME DU DEFFAND 67 VOLTAIRE AND ENGLAND 93 A DIALOGUE 115 VOLTAIRE'S TRAGEDIES 121 VOLTAIRE AND FREDERICK THE GREAT 137 THE ROUSSEAU AFFAIR 165 THE POETRY OF BLAKE 179 THE LAST ELIZABETHAN 193 HENRI BEYLE 219 LADY HESTER STANHOPE 241 MR. CREEVEY 253 INDEX 261

RACINE

When Ingres painted his vast 'Apotheosis of Homer,' he represented, grouped round the central throne, all the great poets of the ancient and modern worlds, with a single exception Shakespeare. After some persuasion, he relented so far as to introduce into his picture a part of that offensive personage; and English visitors at the Louvre can now see, to their disgust or their amusement, the truncated image of rather less than half of the author of King Lear just appearing at the extreme edge of the enormous canvas. French taste, let us hope, has changed since the days of Ingres; Shakespeare would doubtless now be advanced though perhaps chiefly from a sense of duty to the very steps of the central throne. But if an English painter were to choose a similar subject, how would he treat the master who stands acknowledged as the most characteristic representative of the literature of France? Would Racine find a place in the picture at all? Or, if he did, would more of him be visible than the last curl of his full bottomed wig, whisking away into the outer darkness?

There is something inexplicable about the intensity of national tastes and the violence of national differences. If, as in the good old days, I could boldly believe a Frenchman to be an inferior creature, while he, as simply, wrote me down a savage, there would be an easy end of the matter. But alas! nous avons changé tout cela . Now we are each of us obliged to recognise that the other has a full share of intelligence, ability, and taste; that the accident of our having been born on different sides of the Channel is no ground for supposing either that I am a brute or that he is a ninny. But, in that case, how does it happen that while on one side of that 'span of waters' Racine is despised and Shakespeare is worshipped, on the other, Shakespeare is tolerated and Racine is adored? The perplexing question was recently emphasised and illustrated in a singular way. Mr. John Bailey, in a volume of essays entitled 'The Claims of French Poetry,' discussed the qualities of Racine at some length, placed him, not without contumely, among the second rank of writers, and drew the conclusion that, though indeed the merits of French poetry are many and great, it is not among the pages of Racine that they are to be found. Within a few months of the appearance of Mr. Bailey's book, the distinguished French writer and brilliant critic, M. Lemaître, published a series of lectures on Racine, in which the highest note of unqualified panegyric sounded uninterruptedly from beginning to end. The contrast is remarkable, and the conflicting criticisms seem to represent, on the whole, the views of the cultivated classes in the two countries. And it is worthy of note that neither of these critics pays any heed, either explicitly or by implication, to the opinions of the other... Continue reading book >>

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