III
These conditions no longer exist. The adventure of the modern Romeo—to consider only the external events which it might provoke—would not provide material for a couple of acts. Against this it may be urged that a modern poet, who desires to put on the stage an analogous poem of youthful love, is perfectly justified in borrowing from days gone by a more decorative setting, one that shall be more fertile in heroic and tragical incident. Granted; but what can the result be of such an expedient? Would not the feelings and passions that demand for their fullest, most perfect expression and development the atmosphere of to-day (for the passions and feelings of a modern poet must, in despite of himself, be entirely and exclusively modern) would not these suddenly find themselves transplanted to a soil where all things prevented their living? They no longer believe, yet are charged with the fear and hope of eternal judgment. In their hours of distress they have discovered new forces to cling to, that seem trustworthy, human and just; and behold them thrust back to a century wherein prayer and the sword decide all! They have profited, unconsciously perhaps, by every moral advance we have made—and they are suddenly flung into abysmal days when the least gesture was governed by prejudices at which they can only shudder or smile. In such an atmosphere, what can they do; how hope that they truly can live there?