I
When I speak of the modern drama, I naturally refer only to those regions of dramatic literature that, sparsely inhabited as they may be, are yet essentially new. Down below, in the ordinary theatre, ordinary and traditional drama is doubtless yielding slowly to the influence of the vanguard; but it were idle to wait for the laggards when we have the pioneers at our call.
The first thing that strikes us in the drama of the day is the decay, one might almost say the creeping paralysis, of external action. Next we note a very pronounced desire to penetrate deeper and deeper into human consciousness, and place moral problems upon a high pedestal; and finally the search, still very timid and halting, for a kind of new beauty, that shall be less abstract than was the old.
It is certain that, on the actual stage, we have far fewer extraordinary and violent adventures. Bloodshed has grown less frequent, passions less turbulent; heroism has become less unbending, courage less material and less ferocious. People still die on the stage, it is true, as in reality they still must die, but death has ceased—or will cease, let us hope, very soon—to be regarded as the indispensable setting, the ultima ratio, the inevitable end, of every dramatic poem. In the most formidable crises of our life—which, cruel though it may be, is cruel in silent and hidden ways—we rarely look to death for a solution; and for all that the theatre is slower than the other arts to follow the evolution of human consciousness, it will still be at last compelled, in some measure, to take this into account.
When we consider the ancient and tragical anecdotes that constitute the entire basis of the classical drama; the Italian, Scandinavian, Spanish or mythical stories that provided the plots, not only for all the plays of the Shakespearian period, but also—not altogether to pass over an art that was infinitely less spontaneous—for those of French and German romanticism, we discover at once that these anecdotes are no longer able to offer us the direct interest they presented at a time when they appeared highly natural and possible, at a time, when, at any rate, the circumstances, manners and sentiments they recalled were not yet extinct in the minds of those who witnessed their reproduction.