C'est ce même guerrier dont la main tutélaire,
De Gusman, votre époux, sauva, dit-on, le père,
or as
Qui les font pour un temps rentrer tous en eux-mêmes,
or
Vous comprenez, seigneur, que je ne comprends pas.
Voltaire's most striking expressions are too often borrowed from his predecessors. Alzire's 'Je puis mourir,' for instance, is an obvious reminiscence of the 'Qu'il mourût!' of le vieil Horace; and the cloven hoof is shown clearly enough by the 'O ciel!' with which Alzire's confidante manages to fill out the rest of the line. Many of these blemishes are, doubtless, the outcome of simple carelessness; for Voltaire was too busy a man to give over-much time to his plays. 'This tragedy was the work of six days,' he wrote to d'Alembert, enclosing Olympie. 'You should not have rested on the seventh,' was d'Alembert's reply. But, on the whole, Voltaire's verses succeed in keeping up to a high level of mediocrity; they are the verses, in fact, of a very clever man. It is when his cleverness is out of its depth, that he most palpably fails. A human being by Voltaire bears the same relation to a real human being that stage scenery bears to a real landscape; it can only be looked at from in front. The curtain rises, and his villains and his heroes, his good old men and his exquisite princesses, display for a moment their one thin surface to the spectator; the curtain falls, and they are all put back into their box. The glance which the reader has taken into the little case labelled Alzire has perhaps given him a sufficient notion of these queer discarded marionettes.
Voltaire's dramatic efforts were hampered by one further unfortunate incapacity; he was almost completely devoid of the dramatic sense. It is only possible to write good plays without the power of character-drawing, upon one condition—that of possessing the power of creating dramatic situations. The Oedipus Tyrannus of Sophocles, for instance, is not a tragedy of character; and its vast crescendo of horror is produced by a dramatic treatment of situation, not of persons. One of the principal elements in this stupendous example of the manipulation of a great dramatic theme has been pointed out by Voltaire himself. The guilt of Oedipus, he says, becomes known to the audience very early in the play; and, when the dénouement at last arrives, it comes as a shock, not to the audience, but to the King. There can be no doubt that Voltaire has put his finger upon the very centre of those underlying causes which make the Oedipus perhaps the most awful of tragedies. To know the hideous truth, to watch its gradual dawn upon one after another of the characters, to see Oedipus at last alone in ignorance, to recognise clearly that he too must know, to witness his struggles, his distraction, his growing terror, and, at the inevitable moment, the appalling revelation—few things can be more terrible than this. But Voltaire's comment upon the master-stroke by which such an effect has been obtained illustrates, in a remarkable way, his own sense of the dramatic. 'Nouvelle preuve,' he remarks, 'que Sophocle n'avait pas perfectionné son art.'
More detailed evidence of Voltaire's utter lack of dramatic insight is to be found, of course, in his criticisms of Shakespeare. Throughout these, what is particularly striking is the manner in which Voltaire seems able to get into such intimate contact with his great predecessor, and yet to remain as absolutely unaffected by him as Shakespeare himself was by Voltaire. It is unnecessary to dwell further upon so hackneyed a subject; but one instance may be given of the lengths to which this dramatic insensibility of Voltaire's was able to go—his adaptation of Julius Caesar for the French stage. A comparison of the two pieces should be made by anyone who wishes to realise fully, not only the degradation of the copy, but the excellence of the original. Particular attention should be paid to the transmutation of Antony's funeral oration into French alexandrines. In Voltaire's version, the climax of the speech is reached in the following passage; it is an excellent sample of the fatuity of the whole of his concocted rigmarole:—
ANTOINE: Brutus ... où suis-je? O ciel! O crime! O barbarie!'
Chers amis, je succombe; et mes sens interdits ...
Brutus, son assassin!... ce monstre était son fils!
ROMAINS: Ah dieux!
If Voltaire's demerits are obvious enough to our eyes, his merits were equally clear to his contemporaries, whose vision of them was not perplexed and retarded by the conventions of another age. The weight of a reigning convention is like the weight of the atmosphere—it is so universal that no one feels it; and an eighteenth-century audience came to a performance of Alzire unconscious of the burden of the Classical rules. They found instead an animated procession of events, of scenes just long enough to be amusing and not too long to be dull, of startling incidents, of happy mots. They were dazzled by an easy display of cheap brilliance, and cheap philosophy, and cheap sentiment, which it was very difficult to distinguish from the real thing, at such a distance, and under artificial light. When, in Mérope, one saw La Dumesnil; 'lorsque,' to quote Voltaire himself, 'les yeux égarés, la voix entrecoupée, levant une main tremblante, elle allait immoler son propre fils; quand Narbas l'arrêta; quand, laissant tomber son poignard, on la vit s'évanouir entre les bras de ses femmes, et qu'elle sortit de cet état de mort avec les transports d'une mère; lorsque, ensuite, s'élançant aux yeux de Polyphonte, traversant en un clin d'oeil tout le théâtre, les larmes dans les yeux, la pâleur sur le front, les sanglots à la bouche, les bras étendus, elle s'écria: "Barbare, il est mon fils!"'—how, face to face with splendours such as these, could one question for a moment the purity of the gem from which they sparkled? Alas! to us, who know not La Dumesnil, to us whose Mérope is nothing more than a little sediment of print, the precious stone of our forefathers has turned out to be a simple piece of paste. Its glittering was the outcome of no inward fire, but of a certain adroitness in the manufacture; to use our modern phraseology, Voltaire was able to make up for his lack of genius by a thorough knowledge of 'technique,' and a great deal of 'go.'