The Double Garden

by Maurice Maeterlinck

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.

V

Where are we to look, then, for the grandeur and beauty that we find no longer in visible action, or in words, stripped as these are of their attraction and glamour? For words are only a kind of mirror which reflects the beauty of all that surrounds it; and the beauty of the new world wherein we live does not seem as yet able to project its rays on these somewhat reluctant mirrors. Where shall we look for the horizon, the poetry, now that we no longer can seek it in a mystery which, for all that it still exists, does yet fade from us the moment we endeavour to give it a name?

The modern drama would seem to be vaguely conscious of this. Incapable of outside movement, deprived of external ornament, daring no longer to make serious appeal to a determined divinity or fatality, it has fallen back on itself, and seeks to discover, in the regions of psychology and of moral problems, the equivalent of what once was offered by exterior life. It has penetrated deeper into human consciousness; but has encountered difficulties there no less strange than unexpected.

To penetrate deeply into human consciousness is the privilege, even the duty, of the thinker, the moralist, the historian, novelist, and to a degree, of the lyrical poet; but not of the dramatist. Whatever the temptation, he dare not sink into inactivity, become mere philosopher or observer. Do what one will, discover what marvels one may, the sovereign law of the stage, its essential demand, will always be action. With the rise of the curtain, the high intellectual desire within us undergoes transformation; and in place of the thinker, psychologist, mystic or moralist there stands the mere instinctive spectator, the man electrified negatively by the crowd, the man whose one desire it is to see something happen. This transformation or substitution is incontestable, strange as it may seem; and is due, perhaps, to the influence of the human polypier, to some undeniable faculty of our soul, which is endowed with a special, primitive, almost unimprovable organ, whereby men can think, and feel, and be moved, en masse. And there are no words so profound, so noble and admirable, but they will soon weary us if they leave the situation unchanged, if they lead to no action, bring about no decisive conflict, or hasten no definite solution.

VI

But whence is it that action arises in the consciousness of man? In its first stage it springs from the struggle between diverse conflicting passions. But no sooner has it raised itself somewhat—and this is true, if we examine it closely, of the first stage also—than it would seem to be solely due to the conflict between a passion and a moral law, between a duty and a desire. Hence the eagerness with which modern dramatists have plunged into all the problems of contemporary morality; and it may safely be said that at this moment they confine themselves almost exclusively to the discussion of these different problems.