Leo Tolstoy, Shakespeare and the Drama, 1906
I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best, King Lear, Romeo and Juliet, Hamlet, and Macbeth, not only did I feel no delight, but I felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless. My consternation was increased by the fact that I always keenly felt the beauties of poetry in every form; then why should artistic works recognized by the whole world as those of a genius - the works of Shakespeare - not only fail to please me, but be disagreeable to me?...
All his characters speak, not their own, but always one and the same Shakespearean pretentious and unnatural language, in which not only they could not speak, but in which no living man ever has spoken or does speak.... From his first words, exaggeration is seen: the exaggeration of events, the exaggeration of emotion, and the exaggeration of effects. One sees at once he does not believe in what he says, that it is of no necessity to him, that he invents the events he describes and is indifferent to his characters -- that he has conceived them only for the stage and therefore makes them do and say only what may strike his public, and so we do not believe either in the events or in the actions or in the sufferings of the characters.
He alone can write a drama who has got something to say to men, and that something of the greatest importance for them: about man's relation to God, to the Universe, to the All, the Eternal, the Infinite. But when, thanks to the German theories about objective art, the idea was established that for the drama this was quite unnecessary, then it became obvious how a writer like Shakespeare -- who had not got developed in his mind the religious convictions proper to his time, who, in fact, had no convictions at all, but heaped up in his drama all possible events, horrors, fooleries, discussions, and effects -- could appear to be a dramatic writer of the greatest genius.
But these are all external reasons. The fundamental inner cause of Shakespeare's fame was and is this that his dramas corresponded to the irreligious and immoral frame of mind of the upper classes of his time and ours.