A She Hamlet

Guest Blogger: William Dean Howells. In his day (and for a long while thereafter), Howells was known as “The Dean of American Letters.” Best known for his novels The Rise of Silas Lapham and A Hazard of New Fortunes, he lived from 1837 to 1920, and began his literary career as an apprentice to his father, a printer. He read everything in his father’s library, teaching himself Spanish, German, French, and Italian along the way. He became editor of the (1871–81) of the Atlantic Monthly for a decade beginning in 1871, thereafter concentrating on his writing. We met Sarah Bernhardt last week in a Booth Tarkington short story inspired by her appearance in “L’Aiglon”; we’re going to meet her again, this time as Hamlet, in a Howells essay written with elegance but betraying terrible prejudices the admission of which had no consequence at the time.

                                                                                             

THE OTHER NIGHT as I sat before the curtain of the Garden Theatre and waited for it to rise upon the Hamlet of Mme. Bernhardt, a thrill of the rich expectation which cannot fail to precede the rise of any curtain upon any Hamlet passed through my eager frame. There is, indeed, no scene of drama which is of a finer horror (eighteenth-century horror) than that which opens the great tragedy. The sentry pacing up and down upon the platform at Elsinore under the winter night; the greeting between him and the comrade arriving to relieve him, with its hints of the bitter cold; the entrance of Horatio and Marcellus to these before they can part; the mention of the ghost, and, while the soldiers are in the act of protesting it a veridical phantom, the apparition of the ghost, taking the word from their lips and hushing all into a pulseless awe: what could be more simply and sublimely real, more naturally supernatural? What promise of high mystical things to come there is in the mere syllabling of the noble verse, and how it enlarges us from ourselves, for that time at least, to a disembodied unity with the troubled soul whose martyry seems foreboded in the solemn accents! As the many Hamlets on which the curtain had risen in my time passed in long procession through my memory, I seemed to myself so much of their world, and so little of the world that arrogantly calls itself the actual one, that I should hardly have been surprised to find myself one of the less considered persons of the drama who were seen but not heard in its course.

I.

The trouble in judging anything is that if you have the materials for an intelligent criticism, the case is already prejudiced in your hands. You do not bring a free mind to it, and all your efforts to free your mind are a species of gymnastics more or less admirable, but not really effective for the purpose. The best way is to own yourself unfair at the start, and then you can have some hope of doing yourself justice, if not your subject. In other words, if you went to see the Hamlet of Mme. Bernhardt frankly expecting to be disappointed, you were less likely in the end to be disappointed in your expectations, and you could not blame her if you were. To be ideally fair to that representation, it would be better not to have known any other Hamlet, and, above all, the Hamlet of Shakespeare.

From the first it was evident that she had three things overwhelmingly against her—her sex, her race, and her speech. You never ceased to feel for a moment that it was a woman who was doing that melancholy Dane, and that the woman was a Jewess, and the Jewess a French Jewess. These three removes put a gulf impassable between her utmost skill and the impassioned irresolution of that inscrutable Northern nature which is in nothing so masculine as its feminine reluctances and hesitations, or so little French as in those obscure emotions which the English poetry expressed with more than Gallic clearness, but which the French words always failed to convey. The battle was lost from the first, and all you could feel about it for the rest was that if it was magnificent it was not war.

While the battle went on I was the more anxious to be fair, because I had, as it were, pre-espoused the winning side; and I welcomed, in the interest of critical impartiality, another Hamlet which came to mind, through readily traceable associations. This was a Hamlet also of French extraction in the skill and school of the actor, but as much more deeply derived than the Hamlet of Mme. Bernhardt as the large imagination of Charles Fechter transcended in its virile range the effect of her subtlest womanish intuition. His was the first blond Hamlet known to our stage, and hers was also blond, if a reddish-yellow wig may stand for a complexion; and it was of the quality of his Hamlet in masterly technique.

II.

The Hamlet of Fechter, which rose ghostlike out of the gulf of the past, and cloudily possessed the stage where the Hamlet of Mme. Bernhardt was figuring, was called a romantic Hamlet thirty years ago; and so it was in being a break from the classic Hamlets of the Anglo-American theatre. It was romantic as Shakespeare himself was romantic, in an elder sense of the word, and not romanticistic as Dumas was romanticistic. It was, therefore, the most realistic Hamlet ever yet seen, because the most naturally poetic. Mme. Bernhardt recalled it by the perfection of her school; for Fechter's poetic naturalness differed from the conventionality of the accepted Hamlets in nothing so much as the superiority of its self-instruction. In Mme. Bernhardt's Hamlet, as in his, nothing was trusted to chance, or "inspiration." Good or bad, what one saw was what was meant to be seen. When Fechter played Edmond Dantes or Claude Melnotte, he put reality into those preposterous inventions, and in Hamlet even his alien accent helped him vitalize the part; it might be held to be nearer the Elizabethan accent than ours; and after all, you said Hamlet was a foreigner, and in your high content with what he gave you did not mind its being in a broken vessel. When he challenged the ghost with "I call thee keeng, father, rawl-Dane," you would hardly have had the erring utterance bettered. It sufficed as it was; and when he said to Rosencrantz, "Will you pleh upon this pyip?" it was with such a princely authority and comradely entreaty that you made no note of the slips in the vowels except to have pleasure of their quaintness afterwards. For the most part you were not aware of these betrayals of his speech; and in certain high things it was soul interpreted to soul through the poetry of Shakespeare so finely, so directly, that there was scarcely a sense of the histrionic means.

He put such divine despair into the words, "Except my life, except my life, except my life!" following the mockery with which he had assured Polonius there was nothing he would more willingly part withal than his leave, that the heart-break of them had lingered with me for thirty years, and I had been alert for them with every Hamlet since. But before I knew, Mme. Bernhardt had uttered them with no effect whatever. Her Hamlet, indeed, cut many of the things that we have learned to think the points of Hamlet, and it so transformed others by its interpretation of the translator's interpretation of Shakespeare that they passed unrecognized. Soliloquies are the weak invention of the enemy, for the most part, but as such things go that soliloquy of Hamlet's, "To be or not to be," is at least very noble poetry; and yet Mme. Bernhardt was so unimpressive in it that you scarcely noticed the act of its delivery. Perhaps this happened because the sumptuous and sombre melancholy of Shakespeare's thought was transmitted in phrases that refused it its proper mystery. But there was always a hardness, not always from the translation, upon this feminine Hamlet. It was like a thick shell with no crevice in it through which the tenderness of Shakespeare's Hamlet could show, except for the one moment at Ophelia's grave, where he reproaches Laertes with those pathetic words —

"What is the reason that you use me thus?
I loved you ever; but it is no matter."

Here Mme. Bernhardt betrayed a real grief, but as a woman would, and not a man. At the close of the Gonzago play, when Hamlet triumphs in a mad whirl, her Hamlet hopped up and down like a mischievous crow, a mischievous she-crow.

There was no repose in her Hamlet, though there were moments of leaden lapse which suggested physical exhaustion; and there was no range in her elocution expressive of the large vibration of that tormented spirit. Her voice dropped out, or jerked itself out, and in the crises of strong emotion it was the voice of a scolding or a hysterical woman. At times her movements, which she must have studied so hard to master, were drolly womanish, especially those of the whole person. Her quickened pace was a woman's nervous little run, and not a man's swift stride; and to give herself due stature, it was her foible to wear a woman's high heels to her shoes, and she could not help tilting on them.

In the scene with the queen after the play, most English and American Hamlets have required her to look upon the counterfeit presentment of two brothers in miniatures something the size of tea-plates; but Mme. Bernhardt's preferred full-length, life-size family portraits. The dead king's effigy did not appear a flattered likeness in the scene-painter's art, but it was useful in disclosing his ghost by giving place to it in the wall at the right moment. She achieved a novelty by this treatment of the portraits, and she achieved a novelty in the tone she took with the wretched queen. Hamlet appeared to scold her mother, but though it could be said that her mother deserved a scolding, was it the part of a good daughter to give it her?

One should, of course, say a good son, but long before this it had become impossible to think at all of Mme. Bernhardt's Hamlet as a man, if it ever had been possible. She had traversed the bounds which tradition as well as nature has set, and violated the only condition upon which an actress may personate a man. This condition is that there shall be always a hint of comedy in the part, that the spectator shall know all the time that the actress is a woman, and that she shall confess herself such before the play is over; she shall be fascinating in the guise of a man only because she is so much more intensely a woman in it. Shakespeare had rather a fancy for women in men's roles, which, as women's roles in his time were always taken by pretty and clever boys, could be more naturally managed then than now. But when it came to the eclaircissement, and the pretty boys, who had been playing the parts of women disguised as men, had to own themselves women, the effect must have been confused if not weakened. If Mme. Bernhardt, in the necessity of doing something Shakespearean, had chosen to do Rosalind, or Viola, or Portia, she could have done it with all the modern advantages of women in men's roles. These characters are, of course, "lighter motions bounded in a shallower brain" than the creation she aimed at; but she could at least have made much of them, and she does not make much of Hamlet.

III.

The strongest reason against any woman Hamlet is that it does violence to an ideal. Literature is not so rich in great imaginary masculine types that we can afford to have them transformed to women; and after seeing Mme. Bernhardt's Hamlet no one can altogether liberate himself from the fancy that the Prince of Denmark was a girl of uncertain age, with crises of mannishness in which she did not seem quite a lady. Hamlet is in nothing more a man than in the things to which as a man he found himself unequal; for as a woman he would have been easily superior to them. If we could suppose him a woman as Mme. Bernhardt, in spite of herself, invites us to do, we could only suppose him to have solved his perplexities with the delightful precipitation of his putative sex. As the niece of a wicked uncle, who in that case would have had to be a wicked aunt, wedded to Hamlet's father hard upon the murder of her mother, she would have made short work of her vengeance. No fine scruples would have delayed her; she would not have had a moment's question whether she had not better kill herself; she would have out with her bare bodkin and ended the doubt by first passing it through her aunt's breast.

To be sure, there would then have been no play of "Hamlet," as we have it; but a Hamlet like that imagined, a frankly feminine Hamlet, Mme. Bernhardt could have rendered wonderfully. It is in attempting a masculine Hamlet that she transcends the imaginable and violates an ideal. It is not thinkable. After you have seen it done, you say, as Mr. Clemens is said to have said of bicycling: "Yes, I have seen it, but it's impossible. It doesn't stand to reason."

Art, like law, is the perfection of reason, and whatever is unreasonable in the work of an artist is inartistic. By the time I had reached these bold conclusions I was ready to deduce a principle from them, and to declare that in a true civilization such a thing as that Hamlet would be forbidden, as an offence against public morals, a violence to something precious and sacred.

In the absence of any public regulation the precious and sacred ideals in the arts must be trusted to the several artists, who bring themselves to judgment when they violate them. After Mme. Bernhardt was perversely willing to attempt the part of Hamlet, the question whether she did it well or not was of slight consequence. She had already made her failure in wishing to play the part. Her wish impugned her greatness as an artist; of a really great actress it would have been as unimaginable as the assumption of a sublime feminine role by a really great actor. There is an obscure law in this matter which it would be interesting to trace, but for the present I must leave the inquiry with the reader. I can note merely that it seems somehow more permissible for women in imaginary actions to figure as men than for men to figure as women. In the theatre we have conjectured how and why this may be, but the privilege, for less obvious reasons, seems yet more liberally granted in fiction. A woman may tell a story in the character of a man and not give offence, but a man cannot write a novel in autobiographical form from the personality of a woman without imparting the sense of something unwholesome. One feels this true even in the work of such a master as Tolstoy, whose Katia is a case in point. Perhaps a woman may play Hamlet with a less shocking effect than a man may play Desdemona, but all the same she must not play Hamlet at all. That sublime ideal is the property of the human imagination, and may not be profaned by a talent enamoured of the impossible. No harm could be done by the broadest burlesque, the most irreverent travesty, for these would still leave the ideal untouched. Hamlet, after all the horse-play, would be Hamlet; but Hamlet played by a woman, to satisfy her caprice, or to feed her famine for a fresh effect, is Hamlet disabled, for a long time, at least, in its vital essence. I felt that it would take many returns to the Hamlet of Shakespeare to efface the impression of Mme. Bernhardt's Hamlet; and as I prepared to escape from my row of stalls in the darkening theatre, I experienced a noble shame for having seen the Dane so disnatured, to use Mr. Lowell's word. I had not been obliged to come; I had voluntarily shared in the wrong done; by my presence I had made myself an accomplice in the wrong. It was high ground, but not too high for me, and I recovered a measure of self-respect in assuming it.

– Literature and Life (Harper & Brothers, 1902)