The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-10-25

Monmouth, who made Cordeila set her
father on the throne again and reign
after him for awhile In peace" Such
criticism Is ofsen heard among amateur
critics. A friend % mine said not long
ago: II never care TO see 'Othelio acted
again. for II is too horrible Why don't
the poets and novelists give us pleasing
stories7 There Is enough sorrow In the
world, they should take us into q world
OF sunshine and JOY"
What may be said against such criti-
cism OF tragediesg Evidently II is a aues-
ton both OF life and OF art The prob
lem of suffering Is as old as the world,
certainly as old as the book Of Job. what
Is the significance OF suffering doth a
man serve God for naughtf The utili-
tartan philosophy OF life proponnded by
JOYS friends is very popular. but II IL not
the philosophy adopted by tragic poets
who learn in suffering what they teach
In song. The temporary victory OF evil
over good in apparent 20 all who have
ever gone a little way IN the study OF life.
When looked AT from the standpoint Of
art II may be claimed that the greatest
art the world has had II that which rep
resents suffering. the conflict between
weak human nature and memorable fate
or destiny. Ten Brink says that tho es-
ssnce Of tragedy Is conflict. and Donden
that IL is struggle between good and evil.
that about iseo his art began 10 take on
now phase. having attained complete
success ga comedy and The historical
drama. he began about that time 90
wrfta his remarkable SERVES ~ tragedies.
But this change IN style and subject mat
ter were not arbitrary, IN the develop
rnens Of his 0wn life he had realized
something 81 the tragedy u ifs. some
thing Of what Wordsworth called the
burden OF The mystery q all this unin-
teifigihie world Whether the sonuefN
eivs Us the clew 70 this change In his
temper aneut or not q " certain that
he had been reached and touched b.
the shadow q seale q the deep mystsr-
lsslon between hts soul and the dark Aed
terrible forces 81 the World was estsb.
Iishsd. and 20 escape from thorough
Investigation and sounding ~ the depths
~ life was no longer possible Fram
the depths Of a profound experience and
40 al bui sapernatural observation %
life ne gave 70 The world The dramas sx-
tending from '.fiamlei N 1850. 20 TT
mon ~ Athens. IN sas-a ssow 0f tragic
figures like ihs kings ~ho passed before
Ne p q Se sns Il Aa ~ nee" e i,
The full beauty ~ tt&gio art who daex
not know these plays
To Shakespeare fhe psohlen q sgii waa
riot meta physical prDblsm. an II has
becn ~ many men ia thls century. Il use
n tact to which hs dit not h1ps q give
solution, hnowlns ,ss world Ana ~.
10 Shallow optimism could fAfhom fas
rnsrs.rss. Of h0Enan suretfaK ard tbs
triumph % evil. The optimism IT q Po8sN
% an Addisoa goes DEAN tn ine sasdsf 81
such scenes and passages ~ the great
aramAslst gtvea ux.
h ~Waif be wsA f5r the reader - ran
through the Tragedies With thts idca ia
falud ia4ysas Aef8e al other r~fsaaetM~
sieas. szseh as plot. rharartertxzft1u. etc.
Every crime and sfrgF passion ~ hgFnan
nature j. Ft4ihtssxiy and fet trHlg pre-
srnfs3-~ murder tsss. ~ fffaY. mrsfsi-
ton enTY. segashsess. fngfafftuss. the
nantAve hgntlnx ~ . rDDliseisNa TaAilg-
srters not abatFaffsons 81 types bsg
de.h aaa blood Women are anasnsd.
children break the hearts II fond parents.
families are IN hostility. social llfs 10 cor
rApt. poiificaf honor - tosz. friend BE-
trays frsard. a villain eatfagh the MODEST
of rnsn and the pi2reHt % women. II ~
All there IA me i3Ffrs aues ~ art
III one thinks Of the conclusions ~ fhe
TRAGEDIES be gets an overwhelming senas
Of fas tragedy ~ the world Hamlet and
0phsilA cut 81 In the very rrtH4e Of hfs.
Brutua unable 20 gealst fh& onward Fwesp
a Imperialism. the tragic loading - thr
bed on ~htrh Othesio lie~. and above AL
TIE zcsne IN which the keu-neafsed
Lear comes on the stage with hfs dear
Cordelia IN his arms, 1iteEiag fae SAD
cess Of ali walls.
And my poor fool 10 hang d. No. ~.
no iffet
why should a deg. a horse. rat. have
life,
And thou no breath at aii7 Thou'lt come
Never. never. never. never. nevsrl-.