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Nor can the fine edge of its wit, its multiple though masked ironies, its astounding transposition of Shakespearian humour and philosophy be aught else than loosely paraphrased. Laforgue's Hamlet is of to-morrow, for every epoch orchestrates anew its own vision of Hamlet. The eighteenth century had one; the nineteenth had another; and our generation a fresher.
Probably, those who looked into this case looked no further. In this manuscript Casanova always refers to her as La Casacci; La Catai is evidently one of M. Laforgue's arbitrary alterations of the text.
Probably, those who looked into this case looked no further. In this manuscript Casanova always refers to her as La Casacci; La Catai is evidently one of M. Laforgue's arbitrary alterations of the text.
He is irony personified and is the most delightful company for one weary of the Great Good Game around and about us, the game of deceit, treachery, politics, love, social intercourse, religion, and commerce. Laforgue's Hamlet sees through the hole in the mundane millstone and his every phrase is like the flash of a scimitar.
But we know of none so vital as this fantastic thinker of Laforgue's. He must have had his ear close to the Time Spirit, so aptly has he caught the vibrations of his whirring loom, so closely to these vibrations has he attuned the key-note of his twentieth-century Hamlet.
There are wit and philosophy and the hint of high thoughts in Salomé, though her heart like glass is cold, empty, and crystalline. The subtitle of Hamlet, which heads the volume, is Or, the Results of Filial Devotion and the story, as Mr. Hale asserts, is Laforgue's masterpiece.
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