The Double Garden

by Maurice Maeterlinck

This movement was initiated by the dramas of Alexandre Dumas fils, dramas which brought the most elementary of moral conflicts on to the stage; dramas, indeed, whose entire existence was based on problems such as the spectator, who must always be regarded as the ideal moralist, would never put to himself in the course of his whole spiritual existence, so evident is their solution. Should the faithless husband or wife be forgiven? Is it well to avenge infidelity by infidelity? Has the illegitimate child any rights? Is the marriage of inclination—such is the name it bears in those regions—preferable to the marriage for money? Have parents the right to oppose a marriage for love? Is divorce to be deprecated when a child has been born of the union? Is the sin of the adulterous wife greater than that of the adulterous husband? etc., etc.

Indeed, it may be said here that the entire French theatre of to-day, and a considerable proportion of the foreign theatre, which is only its echo, exist solely on questions of this kind, and on the entirely superfluous answers to which they give rise.

On the other hand, however, the highest point of human consciousness is attained by the dramas of Björnson, of Hauptmann, and, above all, of Ibsen. Here we touch the limit of the resources of modern dramaturgy. For, in truth, the further we penetrate into the consciousness of man, the less struggle do we discover. It is impossible to penetrate far into any consciousness unless that consciousness be very enlightened; for, whether we advance ten steps, or a thousand, in the depths of a soul that is plunged in darkness, we shall find nothing there that can be unexpected, or new; for darkness everywhere will only resemble itself. But a consciousness that is truly enlightened will possess passions and desires infinitely less exacting, infinitely more peaceful and patient, more salutary, abstract and general, than are those that reside in the ordinary consciousness. Thence, far less struggle—or at least a struggle of far less violence—between these nobler and wiser passions; and this for the very reason that they have become vaster and loftier; for if there be nothing more restless, destructive and savage than a dammed-up stream, there is nothing more tranquil, beneficent and silent than the beautiful river whose banks ever widen.

VII

Again, this enlightened consciousness will yield to infinitely fewer laws, admit infinitely fewer doubtful or harmful duties. There is, one may say, scarcely a falsehood or error, a prejudice, half-truth or convention, that is not capable of assuming, that does not actually assume, when the occasion presents itself, the form of a duty in an uncertain consciousness. It is thus that honour, in the chivalrous, conjugal sense of the word (I refer to the honour of the husband, which is supposed to suffer by the infidelity of the wife) that revenge, a kind of morbid prudishness, pride, vanity, piety to certain gods, and a thousand other illusions, have been, and still remain, the unquenchable source of a multitude of duties that are still regarded as absolutely sacred, absolutely incontrovertible, by a vast number of inferior consciousnesses. And these so-called duties are the pivot of almost all the dramas of the Romantic period, as of most of those of to-day. But not one of these sombre, pitiless duties, that so fatally impel mankind to death and disaster, can readily take root in the consciousness that a healthy, living light has adequately penetrated; in such there will be no room for honour or vengeance, for conventions that clamour for blood. It will hold no prejudices that exact tears, no injustice eager for sorrow. It will have cast from their throne the gods who insist on sacrifice, and the love that craves for death. For when the sun has entered into the consciousness of him who is wise, as we may hope that it will some day enter into that of all men, it will reveal one duty, and one alone, which is that we should do the least possible harm and love others as we love ourselves; and from this duty no drama can spring.

VIII

Let us consider what happens in Ibsen's plays. He often leads us far down into human consciousness, but the drama remains possible only because there goes with us a singular flame, a sort of red light, which, sombre, capricious—unhallowed, one almost might say—falls only on singular phantoms. And indeed nearly all the duties which form the active principle of Ibsen's tragedies are duties situated no longer within, but without, the healthy, illumined consciousness; and the duties we believe we discover outside this consciousness often come perilously near an unjust pride, or a kind of soured and morbid madness.

Let it not be imagined, however—for indeed this would be wholly to misunderstand me—that these remarks of mine in any way detract from my admiration for the great Scandinavian poet. For, if it be true that Ibsen has contributed few salutary elements to the morality of our time, he is perhaps the only writer for the stage who has caught sight of, and set in motion, a new, though still disagreeable poetry, which he has succeeded in investing with a kind of age, gloomy beauty and grandeur (surely too savage and gloomy for it to become general or definitive); as he is the only one who owes nothing to the poetry of the violently illumined dramas of antiquity or of the Renaissance.

But, while we wait for the time when human consciousness shall recognise more useful passions and less nefarious duties, for the time when the world's stage shall consequently present more happiness and fewer tragedies, there still remains, in the depths of every heart of loyal intention a great duty of charity and justice that eclipses all others. And it is perhaps from the struggle of this duty against our egoism and ignorance that the veritable drama of our century shall spring. When this goal has been attained—in real life as on the stage—it will be permissible perhaps to speak of a new theatre, a theatre of peace, and of beauty without tears.