Indeed, it is not in the actions but in the words that are found the beauty and greatness of tragedies that are truly beautiful and great; and this not solely in the words that accompany and explain the action, for there must perforce be another dialogue besides the one which is superficially necessary. And indeed the only words that count in the play are those that at first seemed useless, for it is therein that the essence lies. Side by side with the necessary dialogue will you almost always find another dialogue that seems superfluous; but examine it carefully, and it will be borne home to you that this is the only one that the soul can listen to profoundly, for here alone is it the soul that is being addressed. You will see, too, that it is the quality and the scope of this unnecessary dialogue that determine the quality and the immeasurable range of the work. Certain it is that, in the ordinary drama, the indispensable dialogue by no means corresponds to reality; and it is just those words that are spoken by the side of the rigid, apparent truth, that constitute the mysterious beauty of the most beautiful tragedies, inasmuch as these are words that conform to a deeper truth, and one that lies incomparably nearer to the invisible soul by which the poem is upheld. One may even affirm that a poem draws the nearer to beauty and loftier truth in the measure that it eliminates words that merely explain the action, and substitutes for them others that reveal, not the so-called ‘soul-state,’ but I know not what intangible and unceasing striving of the soul towards its own beauty and truth. And so much the nearer, also, does it draw to the true life. To every man does it happen, in his work-a-day existence, that some situation of deep seriousness has to be unravelled by means of words. Reflect for an instant. At moments such as those—nay, at the most commonplace of times—is it the thing you say or the reply you receive that has the most value? Are not other forces, other words one cannot hear, brought into being, and do not these determine the event? What I say often counts for so little; but my presence, the attitude of my soul, my future and my past, that which will take birth in me and that which is dead, a secret thought, the stars that approve, my destiny, the thousands of mysteries which surround me and float about yourself—all this it is that speaks to you at that tragic moment, all this it is that brings to me your answer. There is all this beneath every one of my words, and each one of yours; it is this, above all, that we see, it a this, above all, that we hear, ourselves notwithstanding. If you have come, you, the ‘outraged husband,’ the ‘deceived lover,’ the ‘forsaken wife,’ intending to kill me, your arm will not be stayed by my most moving entreaty; but it may be that there will come towards you, at that moment, one of these unexpected forces; and my soul, knowing of their vigil near to me, may whisper a secret word whereby, haply, you shall be disarmed. These are the spheres wherein adventures come to issue, this is the dialogue whose echo should be heard. And it is this echo that one does hear—extremely attenuated and variable, it is true—in some of the great works mentioned above. But might we not try to draw nearer to the spheres where it is ‘in reality’ that everything comes to pass?
It would seem as though the endeavour were being made. Some time ago, when dealing with ‘The Master Builder,’ which is the one of Ibsen’s dramas wherein this dialogue of the ‘second degree’ attains the deepest tragedy, I endeavoured, unskilfully enough, to fix its secrets. For indeed they are kindred handmarks traced on the same wall by the same sightless being, groping for the same light. ‘What is it,’ I asked, ‘what is it that, in the “Master Builder,” the poet has added to life, thereby making it appear so strange, so profound and so disquieting beneath its trivial surface?’ The discovery is not easy, and the old master hides from us more than one secret. It would even seem as though what he has wished to say were but little by the side of what he has been compelled to say. He has freed certain powers of the soul that have never yet been free, and it may well be that these have held him in thrall. ‘Look you, Hilda,’ exclaims Solness, ‘look you! There is sorcery in you, too, as there is in me. It is this sorcery that imposes action on the powers of the beyond. And we have to yield to it. Whether we want to or not, we must.’
There is sorcery in them, as in us all. Hilda and Solness are, I believe, the first characters in drama who feel, for an instant, that they are living in the atmosphere of the soul; and the discovery of this essential life that exists in them, beyond the life of every day, comes fraught with terror. Hilda and Solness are two souls to whom a flash has revealed their situation in the true life. Diverse ways there are by which knowledge of our fellows may come to us. Two or three men, perhaps, are seen by me almost daily. For a long time it is merely by their gestures that I distinguish them, by their habits, be these of mind or body, by the manner in which they feel, act or think. But, in the course of every friendship of some duration, there comes to us a mysterious moment when we seem to perceive the exact relationship of our friend to the unknown that surrounds him, when we discover the attitude destiny has assumed towards him. And it is from this moment that he truly belongs to us. We have seen, once and for all, the treatment held in store for him by events. We know that however such a one may seclude himself in the recesses of his dwelling, in dread lest his slightest movement stir up that which lies in the great reservoirs of the future, his forethought will avail him nothing, and the innumerable events that destiny holds in reserve will discover him wherever he hide, and will knock one after another at his door. And even so do we know that this other will sally forth in vain in pursuit of adventure. He will ever return empty-handed. No sooner are our eyes thus opened than unerring knowledge would seem to spring to life, self-created, within our soul; and we know with absolute conviction that the event that seems to be impending over the head of a certain man will nevertheless most assuredly not reach him.
From this moment a special part of the soul reigns over the friendship of even the most unintelligent, the obscurest of men. Life has become, as it were, transposed. And when it happens that we meet one of the men who are thus known to us, though we do but speak of the snow that is falling or the women that pass by, something there is in each of us which nods to the other, which examines and asks its questions without our knowledge, which interests itself in contingencies and hints at events that it is impossible for us to understand....
Thus do I conceive it to be with Hilda and Solness; it is thus surely that they regard each other. Their conversation resembles nothing that we have ever heard, inasmuch as the poet has endeavoured to blend in one expression both the inner and the outer dialogue. A new, indescribable power dominates this somnambulistic drama. All that is said therein at once hides and reveals the sources of an unknown life. And if we are bewildered at times, let us not forget that our soul often appears to our feeble eyes to be but the maddest of forces, and that there are in man many regions more fertile, more profound and more interesting than those of his reason or his intelligence....
THE STAR