The San Francisco call., 1906-06-03

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dramatic theory--that the play should
be a mirror rejecting human life in a
broad way and must be released from
the restrictions and formalities thrown
around il by the men who had been in
control of literature in France during
the time of monarchisn and who had
until Hugo's victory successfully MAIN
tanned the rules of the Classical school.
Professor Bruner tells very interest
in gly the story Of the struggle. IT
was contention and a, victory for
liberty in literature in somewhat the
same way as the French revolution
was victory for political freedom A
collection of adjectiyes by which he
characterizes the defects that had come
upon the classic tragedy drama at the
time Hugo. with .Ifernani," broke the
bonds of conservatism, makes quite a
formidable and eondemning list; for
instance. these: Artificial, abstract, mar
row in subject and form, general, i'm
personal, colorless, unreal, monarchical
The break away from this was very
complete when Hugo decided il must
be done. The romantic dramatists,
who then permanently triumphed over
the Classical, got such free play for
their inventiveness that no longer could
cast iron rules hold down the wings of
unities of time, place and action. as be-
queathed by the ancient Greeks, were
thrown off. and thenceforth practically
the whole OF life could be presented
by drama. The exhibition of character
in process of growth could be made.
People of all classes of society could
be staged. Thus set free, the Ro-
manticists could exhibit the whole of
a story and trace the origin, the de-
velopment and the consequences of a
deed. rather than limit themselves to
one great crisis or catastrophe"
Accustomed as we now are to the
wide latitude given to the playwright
and actor, it seems almost Incredible
that there should have been time,
less than two centuries ago. when
France should have kept her dramatic
literature so narrowed by absurd rules.
Even the forms of yersification were
confined to certain fixed molds, and
these were completely formulated by
Boileau, "the draconic legislator of
Parnassus."
The account of the first performance
of the play of Hermann" which took
place in 1880, is an amusing glimpse
into the past:
1t wassa national event and the most i'm
portant premiere since the first representation
Of Corneilles lie Cid' In 1885, The great
battle Of Hermann which was TO free the
French drama from the shackles of Classicism
was in earnest. Both the friends and enc
mics OF Romanticism champoned by Hugo
were well represented in the audience. Instead
of employing the regular claqueurs salaried
applAuders. Hugo invited the young artists of
Paris to help sustain the piece. These young
and enthusiastic Supporters of liberalism in art
= appeared dressed In all sorts OF unfashon-
able and incongruous outfits. Conspicuous among
them Theophile Gautier In scarlet waistcoat
and green trousers. = . At the opening of
the play the fight began and continued TO the
end Every infraetion of the rules was hissed
by the Classicists and appiauded by the Ro-
monticists, and at the most iagrant violation
Of the Classical rules the uproar was violent
and deafeRing. However, as the play progressed
and the beauties became more manifest, the
opposition weakened. Some Of the most poetic
and striking scenes were arplauded even by
the Classicists. the long monoogne of Don
Carlos applauded at almost every line clinching
the first triumph of Romanticism in France.