VIII. Shakespeare and the New Ideals

Thus, in a wonderful way, we see in Shakespeare’s own person a development that we can call a mystery development. Shakespeare comes to London where he draws on historical traditions for his material. In his plays, he is still dependent on others. We see then how, from about 1598 onward, a certain inner life awakens. Shakespeare’s own artistic imagination comes to life. He is able to stamp his characters with the very interior of his being. Sometime later, when he has created Hamlet, a kind of bitterness toward the external physical world comes over him. We feel as though he were living in other worlds and judging the physical world differently—as though he were looking down from the point of view of other worlds. We then see him emerge from this inner deepening of experience with all of its inner tragedy. First, Shakespeare learns the external dramatic medium. Next, he goes through deepest inwardness—what I would call the meeting with the World Spirit, of which Goethe spoke so beautifully. Then he re-enters life with a certain humor, and his work carries with it the loftiest spirituality joined with the highest dramatic power. Here, I am thinking, for example, of The Tempest, one of the most wonderful creations of all humankind, one of the richest products of the evolution of dramatic art. In it, Shakespeare, in a living, human way, is able to lay his ripe philosophy of life into every character and figure.