George Fitch - Comfort Found in Good Old Books

The result of these readings, with the comment that came from a mind stored with Shakespearean lore, was to stir one's ambition to study the great plays. Recalling the liberal education that came from Corson's readings, I have been deeply sorry for college students whom I have seen vainly trying to appreciate Shakespeare's verse as read by professors with harsh, rasping, monotonous voices that killed the beauty of rhyme and meter as a frost kills a fine magnolia blossom breathing perfume over a garden. When will college presidents awake to the fact that book learning alone cannot make a successful professor of English literature, when the man is unable to bring out the melody of the verse? Similar folly is shown by the theological schools that continue to inflict upon the world preachers whose faulty elocution makes a mock of the finest passages of the Bible.

In my own case my tireless study of Shakespeare during four years at college, which included careful courses of reading and study during the long vacations, so saturated my mind with the great plays that they have been ever since one of my most cherished possessions. After years of hard newspaper work it is still possible for me to get keen pleasure from reading aloud to myself any of Shakespeare's plays. My early study of Shakespeare led me to look up every unfamiliar word, every phrase that was not clear. This used to be heavy labor, but now all the school and college editions are equipped with these aids to the student. The edition of Shakespeare which always appealed to me most strongly was the Temple edition, edited by Israel Gollancz. It is pocket size, beautifully printed and very well edited. For a companion on a solitary walk in city or country no book is superior to one of Shakespeare's plays in this convenient Temple edition, bound in limp leather.

The best edition of Shakespeare in one volume is, to my mind, the Cambridge edition, issued by the Houghton Mifflin Company of Boston, uniform with the same edition of other English and American poets. This, of course, has only a few textual notes, but it has a good glossary of unusual and obsolete words. It makes a royal octavo volume of one thousand and thirty-six double-column pages, clearly printed in nonpareil type.

In this chapter I have been able only to touch on the salient features of the work of the foremost English poet and dramatist, and, in my judgment, the greatest writer the world has ever seen. If these words of mine stimulate any young reader to take up the study of Shakespeare I shall feel well repaid. Certainly, with the single exception of the Bible, no book will reward a careful, loving study so well as Shakespeare.

In choosing the great books of the world, after the Bible and Shakespeare, one is brought face to face with a perplexing problem. It is easy to provide a list for the scholar, the literary man, the scientist, the philosopher; but it is extremely difficult to arrange any list for the general reader, who may not have had the advantage of a college education or any special literary training. And here, at the outset, enters the problem of the Greek, Latin and other ancient classics which have always been widely read and which you will find quoted by most writers, especially those of a half century ago. In this country literary fads have prevailed for a decade or two, only to be dropped for new fashions in culture.

Take Emerson, for instance. His early development was strongly affected by German philosophy, which was labeled Transcendentalism. A. Bronson Alcott, who never wrote anything that has survived, was largely instrumental in infecting Emerson with his own passion for the dreamy German philosophical school. Emerson also was keenly alive to the beauties of the Greek and the Persian poets, although he was so broad-minded in regard to reading books in good translations that he once said he would as soon think of swimming across the Charles river instead of taking the bridge, as of reading any great masterpiece in the original when he could get a good translation.

Many of Emerson's essays are an ingenious mosaic of Greek, Latin, Persian, Hindoo and Arabic quotations. These extracts are always apt and they always point some shrewd observation or conclusion of the Sage of Concord; but that Emerson should quote them as a novelty reveals the provincial character of New England culture in his day as strongly as the lectures of Margaret Fuller.

The question that always arises in my mind when reading a new list of the hundred or the fifty best books by some recognized literary authority is: Does the ordinary business or professional man, who has had no special literary training, take any keen interest in the great masterpieces of the Greeks and Romans? Does it not require some special aptitude or some special preparation for one to appreciate Plato's Dialogues or Sophocles' Œdipus , Homer's Iliad or Horace's Odes , even in the best translations? In most cases, I think the reading of the Greek and Latin classics in translations is barren of any good results. Unless one has a passionate sympathy with Greek or Roman life, it is impossible, without a study of the languages and an intimate knowledge of the life and ideals of the people, to get any grasp of their best literary work. The things which the scholar admires seem to the great public flat and commonplace; the divine simplicity, the lack of everything modern, seems to narrow the intellectual horizon. This, I think, is the general result.

But over against this must be placed the exceptions among men of literary genius like Keats and Richard Jefferies, both Englishmen of scanty school education, who rank, to my mind, among the greatest interpreters of the real spirit of the classical age. Keats, like Shakespeare, knew "small Latin and less Greek"; yet in his Ode on a Grecian Urn and his Endymion he has succeeded in bringing over into the alien English tongue the very essence of Greek life and thought. Matthew Arnold, with all his scholarship and culture, never succeeded in doing this, even in such fine work as A Strayed Reveler or Empedocles on Etna . In the same way Jefferies, who is neglected by readers of today, in The Story of My Heart

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.