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270 language which the dramatic poet of those days must use, whether he found it fitted to his genius or not. One has only to look superficially over Dodsley's Collection of Old Plays, and observe that in all the tragedies and comedies of the time there prevails the same manner of speech, the same euphuism, the same exaggeration of refinement, the same forced meaning of words, and the same "conceits," jests, witty flourishes, and elaborate fancies which we find in Shakespeare, and which are blindly admired by men of small or narrow minds, but which are excused by the intelligent reader—when he does not blame them—as extraneous, or belonging to the conditions of an age which exacted them. Only in the passages where his highest revelations are shown, and where the whole genius of Shakespeare appears, does he voluntarily strip away that traditional language of the stage, and show himself in grandly beautiful nakedness, in a simplicity which vies with unadorned Nature and fills us with delighted awe. Yes, in such passages Shakespeare manifests, even in language, a decided originality, but one which the metrical translator who comes limping along behind on the feet of the measure fitted to the thought cannot faithfully reflect. With such a translator these unusual passages are lost in the ordinary wheel-ruts of theatrical language, and even Schlegel cannot avoid this fate. But