IV
But we need dwell no further on the necessarily artificial poems that arise from the impossible marriage of past and present. Let us rather consider the drama that actually stands for the reality of our time, as Greek drama stood for Greek reality, and the drama of the Renaissance for the reality of the Renaissance. Its scene is a modern house, it passes between men and women of to-day. The names of the invisible protagonists—the passions and ideas—are the same, more or less, as of old. We see love, hatred, ambition, jealousy, envy, greed; the sense of justice and idea of duty; pity, goodness, devotion, piety, selfishness, vanity, pride, etc. But although the names have remained more or less the same, how great is the difference we find in the aspect and quality, the extent and influence, of these ideal actors! Of all their ancient weapons not one is left them, not one of the marvellous moments of olden days. It is seldom that cries are heard now; bloodshed is rare, and tears not often seen. It is in a small room, round a table, close to the fire, that the joys and sorrows of mankind are decided. We suffer, or make others suffer, we love, we die, there in our corner; and it were the strangest chance should a door or a window suddenly, for an instant, fly open, beneath the pressure of extraordinary despair or rejoicing. Accidental, adventitious beauty exists no longer; there remains only an external poetry, that has not yet become poetic.—And what poetry, if we probe to the root of things—what poetry is there that does not borrow nearly all of its charm, nearly all of its ecstasy, from elements that are wholly external?—Last of all, there is no longer a God to widen, or master, the action; nor is there an inexorable fate to form a mysterious, solemn and tragical background for the slightest gesture of man; nor the sombre and abundant atmosphere, that was able to ennoble even his most contemptible weaknesses, his least pardonable crimes.
There still abides with us, it is true, a terrible unknown; but it is so diverse and elusive, it becomes so arbitrary, so vague and contradictory, the moment we try to locate it, that we cannot evoke it without great danger; cannot even, without the mightiest difficulty, avail ourselves of it, though in all loyalty, to raise to the point of mystery the gestures, actions and words of the men we pass every day. The endeavour has been made; the formidable, problematic enigma of heredity, the grandiose but improbable enigma of inherent justice, and many others besides, have each in their turn been put forward as a substitute for the vast enigma of the Providence or Fatality of old. And it is curious to note how these youthful enigmas, born but of yesterday, already seem older, more arbitrary, more unlikely, than those whose places they took in an access of pride.