This book is intended to lead to the study of the poet of whom it treats. Let it then be read, not cursorily nor in parts, but connectedly and as a whole, and always with the poet at hand. Much would otherwise remain obscure, much would appear fanciful, and much would seem to be imputed to the poet, whilst my simple endeavour has been to allow him as much as possible to explain himself. The results of my reflections, little strained as they are, will on some points offer nothing new, and on others will surprise many. Thus we need no longer prove to most readers the poetical beauty and the intellectual superiority of Shakespeare's works; on the other hand, the splendid moral grandeur of the poet has hitherto remained in many parts concealed to us by the externals of form and style. When first the veil that shrouds him is removed, we perceive, in this moral respect also, a greatness in this man which rivals every other point in him, but which will strike many persons as singular in this age, in which we are accustomed to consider mental greatness inseparable from free-thinking and immorality.

The criticising severity of my literary judgments, and my discouraging reception of the poetical attempts of our day, have often met with reproof. It pleases me to have here an opportunity of showing that I can also praise and love. And if praise and love are more suitable than blame to strengthen and animate our struggling literature, then certainly must the picture which I here sketch apply the spur of emulation to every gifted soul. For the work is performed with persevering love, the subject is chosen with exclusive love, and all extraneous accessories have been expressly kept aloof, in order to rivet the eye of the beholder upon the one object of admiration.

These reflections on the British poet are on the whole a necessary completion to my 'History of German Poetry.'

For Shakespeare, from his diffusion and influence, has become a German poet almost more than any of our native writers. But apart from this influence of Shakespeare upon our own poetic culture, throughout my work upon German poetry my eye was steadily fixed upon the highest aims of all poetic art, and amongst them upon Shakespeare's writings. This made my verdicts severe, because, having before me this highest example, partial dissatisfaction, even at the greatest works of our first native poets, could not be wholly concealed. Perhaps many may now be more reconciled with those verdicts when the standard of measurement has been here made more apparent. Perhaps, too, from the radical difference of the two works, we may learn better to recognise the difference between the historical and æsthetic criticism of poetical productions.

The gain which I myself have derived from these considerations upon Shakespeare appears to me immeasurable. It may seem as if little that is original is accomplished by placing oneself merely as the judge and interpreter of another. But when this judgment is exercised upon a great man, whose art in its power and extent fathoms all things, whose own wisdom, moreover, does not lie before us as direct tradition, but requires an operation of the mind to purify it from the elements of poetic characterisation, then this occupation possesses all the benefits which can be afforded by a practical knowledge and study of man, attempted by concentrating the mind on the worthiest subjects of reflection; its advantage as well as its enjoyment can scarcely be placed in comparison with that of any other work, and it arouses all the energy of the inner self-active life.

HEIDELBERG, 1849-50-62.

GERVINUS.

PREFACE

BY THE

GERMAN EDITOR OF THE FOURTH EDITION.

No WORK of this renowned author has been so widely circulated as his 'Shakespeare Commentaries.' In the new edition which is now offered to the public it has been necessary to make some additions and corrections in order to include the important results of the researches on the subject which have taken place during the last ten years. It has not been thought expedient that a strange hand should indiscriminately add to or alter the actual words of the author; therefore the only alterations which will be found in the text of this edition consist in the insertion of a few notes which Gervinus had made on the margin of his private copy of the book. The additional notes which I, as editor, have thought necessary are collected in an Appendix at the end of the book. I have there mentioned the considerations which have guided me in the execution of my honourable task.

RUDOLPH GENÉE.

DRESDEN, 1872.

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