The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-08-11

To proDC the open WOunuS OF nutnhnltyHn listen
to the throbbing heart, while the genius Of Ra-
cine did little more than lay sweet garlands ona
tomb. The romantic drama chcrishcs the naive
sincerity Of TRUTH aud reveals her naked lowell
ness: but 1t was the aim and honst Of pseudo
classic tragedy to tutor her artlcss grace and
imprison in sumptuous vestmcnts the free lines
Of nature. Accordingly docie to his teachers
bchcst. the patient style Of Racine wooded out
every blemish and planted in the crovce n
flower. On the other hand. with Characteristic
contempt for nnical elegance. Hugo gave 20 q
prosaic date the initial line Of Cromwell"
Hugo was destined in his role Of conoclast to
contound the distinction OF styles. The French
theatre had branded their admixture as treason
to the principles OF art: and our own stage has
sometimes protested against the so-callcd ir-
regular drama. Ben Jonson. for instance would
not countenance it. "Aloxandrc" and Les
Paideurs " are not moro dissonant in tone and
treatment than ScIanus " and The Achcm-
ist." 1t is plain. too, that Dryden dsapproved
OF Shakespoare's variable manner, and some
profossed parisans of the latter have failed to
wholly understand 1t. That blending of tho
grave and gay. tho chdrosciu'o Of romantic
drama. proceeds not only from n conscious
fidelity to natures contrasts and vagarics. but
perhaps also from a secret drift and bias
Unclouded elevation. uncloudcd JOY. were
moods familiar enough to the Athonian;
but il 1t possible to catch more than glmpses
OF them in our modern skies2 On the other
hand. is 1t possible to translate into classic
Greek without n pnraphraso the complex ideas
Involving n background and nntithcsisl sug-
Rcstod by cnrnestnoss' or "sportY And
why noty Because the sensation Of the moment
was In n very literal sense mistress Of the Attic
breast whereas the atmosphere Of a Christian
world is surchargcd with hope and terror. and
the senses are in theory and tend to become in
fact only servants in the house Of conscience.
We may say that Ike the oaks OF their Dodona
the majesty 81 antique tragedies twas rooted in
reposc, and that their sublimity had a back
ground Of serenity like thunder from Il clear
sky. II IL Otherwise in Christian art. Faith
and fatality checker thesobcr side Of our drama
with broken lights and shades. Tho poets
watrhful attitude and serious micn often bctrny
the tension II II spirit -tung by high aspirings
and cnvroncd by gloomy fears and we perceive
that unrclicvcd los gaycty the heart might snap
beneath the strain. Thus Hamlet wins by tran
silent sallics a respite from sitting thought or
lulls with ntlul Iailcry his agony for Ophella's
treason.
Even on tho cheerful s,dc Of our literature
there are traces OF a like re'0il There l. sun
shine truly. but the wind is signing In the trees
and rainbow chronicles the recent shower
In short. laughter which dimpied the Grccian
check reveals the wrinkles Of our modern care
worn fnccs. Tho mirth OF Attic comedy cXhaled
the needless JOY II purely sensuous existence
whereas tho humor of jacques. o.! Don Quixotc
and Of Molltrc's Artistic Is distilled from mclau-
choly and the puusont liquor bcirays the source
Thus it happens that 10 interpret the Athenian
oh 81,
Aristophaucs while you may almost say that a
single romantic drama like Hamlet for in
stance) in itself reflects the scope and cXhnusts
tho pastures of the modern mind II seems
probable that the composite manner Of Shakes
pearc reproduced Ivy Hugo wRe not so much an
invention or ioiblo Of the poet as an instinct OF
the time.
Having indicated Huco's method. We need
dwell but briefly GA It's fruits. An utuitiyc in
sight and a stern lalmost "a grim sincerity were
guarantees that his creations would be
quickcned with native IRE. Should he SOLICIT.
for instance. for his urotagonist n sinful but
ardent soul. painting 10 redeem her short
comings. he will not MI her mouth with clo-
quent apology. but goad her into action and
bid her live her misdecds down Ii it be- n gentle,
pensiye shape which haunt- his memory he
does not content himself with kindly biogra-
ply hut bids US dwell on the comely features
and mark the pleasant voice. Hugo has made
some Of the offspring " his brain our COM
rades and bosom fri,n ds He may claim To- have
lcop."i with mon and women stage which
since Moiifr"'s death had been surrendered 10
dreams and shadows. Through the haze
which had for many years shr0udcd tho
French theatre his nervous and sinewy forms
push their way toward the light and compel
recognition. You will not refuse. for exam
pie, 10 greet Rodolpho cordially. for be- is
Romcos cousin. Ruy Gomez had perhaps do.
rived from Moorish ancestors hissombre wake
full jealousy. and We. who know Othello COM
prchcnd the pangs Of proud spirit perpleNed
In tho extreme. There again. is Don Salluste in
Ruy Bias who seems io stalk among the fore
most ~ that cynical and ruthless crew which al
lows Richard Crookback and Iago the merit Of a
had prominence. To our English eyes Don
Caesar, in the same piece seems more irelikc
than Moli6re's wits. and should be not unwel-
come 10 the merry board where Prince Hal BIZ
ron. and Benedict clink glasses with Mercutio.
And we doubt II any Of Shakcspeare's heroes
might challenge with more sovereign Justice
than Hermann the devotion II n woman's heart.
In loyalty and tenderness. IN love and in war. he
is a true son ~ the Cid. On the other hand
although Trihoulet is careful study in
morbid anatomy. Hueo'- genius has Stunned
graphing with profound and prohlcmatc
natures like Faust IIgmet and Wallenstein.
He scars highest in his late,t drama. Prospcro.
Wolsey. and John OF Gaunt had already por-
trayod for IL tho noble dignity conferred by
suffering and age. but Wa can hardly r.
fuse 10 recognize their peers in the vener-
able trio which controls the action II Tho
Burgravcs." These august and massive ng-
ures are made to type with bold distinct
ness the rugged honesty. tho ferocious
Independence, and the splendid aspiration Of
Germany under her great Suahian Emperor.
Tho same struggle between license and order
savage virtues and wise restraints which
blazod forth ior the last time under Macmillan
inspired Goctho'- famous play but We suppose
any candid man would concedc that The Bur-
graves 30 is every way superior to Goetz Won
Berlchingen.'
Love governs with paramount authority the
plot Of romantic drama Inlond. evcn Racine
and his followers were constrained to obey
tho master impulse ofmodern life cat least a. we
see that life reelected in iitcraturcl. and give
Greek and Roman hosons a form of sentiment
they rarely knew. But amid the classical scenes
ana persons Of Racine love is felt TO Ice an in
trudcr and IN impcrtiupnce wheroas in Span
iel nul ENGLISH plave hn is priost and kinlr