The times. [volume] (Richmond, Va.) 1890-1903, 1892-11-13
The Supernatural in the Drama.


There IS a plainly marked difference
between the use of actual supernatural
forces as dramatic agencies and the use
merely Of mans belief in the superna-
tural. A ring enCircles Aladdn's finger,
he wishes. and palaces rise about him as
airy spirits hover in the air at the beck
of the magic garment-clad PrOspero. This
is using the supernatural force I'M
known in the practical affairs OF life-to
work out results impossible to the oTd-
nary forces OF life and nature A sug-
gests to b, who is superstitious and cred
ulous that G has a ring whose possessor
may have qualification Of every wish. Il
may seek its possession by fair or foul
means. Thus A. by mere suggestion, de-
rected to BIS superstitious credulity, may
start a train of human activity, leading
90 results, criminal or not, according to
the moral nature OF Il. If he resemble
Macbeth. he will scruple at nothing; If
he be morally sound although profoundly
tuperstitious. like Banquo. he will at least
do nothing unlawful If he do anything.
This is using not supernatural power.
but mans belief in the supernatural. as
an agency for the production OF human
activity and results
Leaving out poetry, this supernatural
element has not been very happily or
effectively used by any writer I'm any
field OF literature. Shakespeare and Goethe
alone excepted. The dramatists field.
strictly speaking. is the plane of practical
human life and activity. Superstitious
beliefs. and the perpetuity OF these with
only changes of form, so that the witch
craft OF yesterday becomes the spiritsm
OF to-day. hardly warrant him in the use
or that which transcends the common ex-
perience or men. But, while he may not
use supernatural forces in the practical
drama OF human life, the dramatist may
well use superstitious beliefs which be-
long in their fundamental idea to all
ages. These beliefs grow out Of a pro-
found faith In a power and an intelli-
gence above and beyond human ken.
There is continual tendency in the hu-
man mind to go beyond the belief in a
wise and powerful moral government Of
the universe, and 10 people every crack |
and Granny OF the vast unknown with a
brood of secondary and derivative intel |
tkences, transcending the human and fall |
ing short OF the divine. 1t is exhibited In |
the angelology and the saintology of or
thodoxy, as well as in the demonology
witchcraft and spiritualism of popular
superstition. These differ I'm kind but
not In principle. Shakespeares dramas
are all written with direct reference 10
the IDEA or vast moral government of
the universe Indeed, as no Ineligible
soclal order can exist without this. no
genuine. living and lasting drama is pos
sipie without it, Beyond this continual
reference TO the idea OF an intelligent.
wisely directed. moral government.
nhakespeare has rarely and sparingly
used secondary supernatural agencies.
5is method Of using these differs from
thst OF all other dramatists and all other
writers. Nothing better attests the clear
nsss ana accuracy OF his artistic 1udg-
nsnt as TO all that bore upon his art
is remarkable. too. that. even With the
aid OF his example. no other writer bas
drawn the nne and yet clear-eut distinc-
uon petween using supernatural forces
spo the use OF mans belief in the super-
Easursl: While he was profound be-
A 4 vast scheme OF Intelligent