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THEATRICAL EFFECT.

liar character of the nation. The Germans are a speculative people; in other words, they wish to discover by reflection and meditation, the principle of whatever they engage in. On that very account they are not sufficiently practical; for if we wish to act with skill and determination, we must make up our minds that we have somehow or other become masters of our subject, and not be perpetually recurring to an examination of the theory on which it rests; we must, as it were, have settled down and contented ourselves with a certain partial apprehension of the idea. But now in the invention and conduct of a drama the practical spirit must prevail: the dramatic poet is not allowed to dream away under his inspiration, he must take the straightest road to his end; but the Germans are only too apt to lose sight of the object in the course of their way to it. Besides, in the drama the nationality does usually, nay, must show itself in the most marked manner, and the national character of the Germans is modest and retiring: it loves not to make a noisy display of itself; and the noble endeavour to become acquainted with, and to appropriate to itself whatever is excellent in others, is not seldom accompanied with an undervaluing of its own worth. For these reasons the German stage has often, in form and matter, been more than duly affected by foreign influence. Not indeed that the Germans propose to themselves no higher object than the mere passive repetition of the Grecian, the French, the Spanish, or the English theatre; but, as it appears to me, they are in search of a more perfect form, which, excluding all that is merely local or temporary, may combine whatever is truly poetical in all these theatres. In the matter, however, the German national features ought certainly to predominate.

After this rapid sketch of what may be called the map of dramatic literature, we return to the examination of its fundamental ideas. Since, as we have already shown, visible representation is essential to the very form of the drama; a dramatic work may always be regarded from a double point of view, how far it is poetical, and how far it is theatrical. The two are by no means inseparable. Let not, however, the expression poetical be misunderstood: I am not now speaking of the versification and the ornaments of language; these, when not animated by some higher excellence, are the least

AUTHORS AND PLAYERS: THEIR SELF-LOVE.

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effective on the stage; but I speak of the poetry in the spirit and design of a piece; and this may exist in as high a degree when the drama is written in prose as in verse. What is it, then, that makes a drama poetical? The very same, assuredly, that makes other works so. It must in the first place be a connected whole, complete and satisfactory within itself. But this is merely the negative definition of a work of art, by which it is distinguished from the phenomena of nature, which run into each other, and do not possess in themselves a complete and independent existence. To be poetical it is necessary that a composition should be a mirror of ideas, that is, thoughts and feelings which in their character are necessary and eternally true, and soar above this earthly life, and also that it should exhibit them embodied before us. What the ideas are, which in this view are essential to the different departments of the drama, will hereafter be the subject of our investigation. We shall also, on the other hand, show that without them a drama becomes altogether prosaic and empirical, that is to say, patched together by the understanding out of the observations it has gathered from literal reality.

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But how does a dramatic work become theatrical, or fitted appear with advantage on the stage? In single instances it is often difficult to determine whether a work possesses such a property or not. It is indeed frequently the subject of great controversy, especially when the self-love of authors and actors comes into collision; each shifts the blame of failure on the other, and those who advocate the cause of the author appeal to an imaginary perfection of the histrionic art, and complain of the insufficiency of the existing means for its realization. But in general the answer to this question is by no means so difficult. The object proposed is to produce an impression on an assembled multitude, to rivet their attention, and to excite their interest and sympathy. In this respect the poet's occupation coincides with that of the orator. How then does the latter attain his end? By perspicuity, rapidity, and energy. Whatever exceeds the ordinary measure of patience, or comprehension he must diligently avoid. Moreover, when a number of men are assembled together, they mutually distract each other's attention whenever their eyes and ears are not drawn to a common object without and beyond themselves.

38

ART OF THE DRAMATIC POET.

Hence the dramatic poet, as well as the orator, must from the very commencement, by strong impressions, transport his hearers out of themselves, and, as it were, take bodily possession of their attention. There is a species of poetry which gently stirs a mind attuned to solitary contemplation, as soft breezes elicit melody from the Æolian harp. However excellent this poetry may be in itself, without some other accompaniments its tones would be lost on the stage. The melting harmonica is not calculated to regulate the march of an army, and kindle its military enthusiasm. For this we must have piercing instruments, but above all a strongly-marked rhythm, to quicken the pulsation and give a more rapid movement to the animal spirits. The grand repuisite in a drama is to make this rhythm perceptible in the onward progress of the action. When this has once been effected, the poet may all the sooner halt in his rapid career, and indulge the bent of his own genius. There are points, when the most elaborate and polished style, the most enthusiastic lyrics, the most profound thoughts and remote allusions, the smartest coruscations of wit, and the most dazzling flights of a sportive or ethereal fancy, are all in their place, and when the willing audience, even those who cannot entirely comprehend them, follow the whole with a greedy ear, like music in unison with their feelings. Here the poet's great art lies in availing himself of the effect of contrasts, which enable him at one time to produce calm repose, profound contemplation, and even the self-abandoned indifference of exhaustion, or at another, the most tumultuous emotions, the most violent storm of the passions. With respect to theatrical fitness, however, it must not be forgotten that much must always depend on the capacities and humours of the audience, and, consequently, on the national character in general, and the particular degree of mental culture. Of all kinds of poetry the dramatic is, in a certain sense, the most secular; for, issuing from the stillness of an inspired mind, it yet fears not to exhibit itself in the midst of the noise and tumult of social life. The dramatic poet is, more than any other, obliged to court external favour and loud applause. But of course it is only in appearance that he thus lowers himself to his hearers; while, in reality, he is elevating them to himself.

In thus producing an impression on an assembled multitude

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the following circumstance deserves to be weighed, in order to ascertain the whole amount of its importance. In ordinary intercourse men exhibit only the outward man to each other. They are withheld by mistrust or indifference from allowing others to look into what passes within them; and to speak with any thing like emotion or agitation of that which is nearest our heart is considered unsuitable to the tone of polished society. The orator and the dramatist find means to break through these barriers of conventional reserve. While they transport their hearers into such lively emotions that the outward signs thereof break forth involuntarily, every man perceives those around him to be affected in the same manner and degree, and those who before were strangers to one another, become in a moment intimately acquainted. The tears which the dramatist or the orator compels them to shed for calumniated innocence or dying heroism, make friends and brothers of them all. Almost inconceivable is the power of a visible communion of numbers to give intensity to those feelings of the heart which usually retire into privacy, or only open themselves to the confidence of friendship. The faith in the validity of such emotions becomes irrefragable from its diffusion; we feel ourselves strong among so many associates, and all hearts and minds flow together in one great and irresistible stream. On this very account the privilege of influencing an assembled crowd is exposed to most dangerous abuses. As one may disinterestedly animate them, for the noblest and best of purposes, so another may entangle them in the deceitful meshes of sophistry, and dazzle them by the glare of a false magnanimity, whose vainglorious crimes may be painted as virtues and even as sacrifices. Beneath the delightful charms of oratory and poetry, the poison steals imperceptibly into ear and heart. Above all others must the comic poet (seeing that his very occupation keeps him always on the slippery brink of this precipice,) take heed, lest he afford an opportunity for the lower and baser parts of human nature to display themselves without restraint. When the sense of shame which ordinarily keeps these baser propensities within the bounds of decency, is once weakened by the sight of others' participation in them, our inherent sympathy with what is vile will soon break out into the most unbridled licentiousness.

40 SPIRIT AND GENERAL IMPRESSION OF A DRAMA.

The powerful nature of such an engine for either good or bad purposes has in all times justly drawn the attention of the legislature to the drama. Many regulations have been devised by different governments, to render it subservient to their views and to guard against its abuse. The great difficulty is to combine such a degree of freedom as is necessary for the production of works of excellence, with the precautions demanded by the customs and institutions of the different states. In Athens the theatre enjoyed up to its maturity, under the patronage of religion, almost unlimited freedom, and the public morality preserved it for a time from degeneracy. The comedies of Aristophanes, which with our views and habits appear to us so intolerably licentious, and in which the senate and the people itself are unmercifully turned to ridicule, were the seal of Athenian freedom. To meet this abuse, Plato, who lived in the very same Athens, and either witnessed or foresaw the decline of art, proposed the entire banishment of dramatic poets from his ideal republic. Few states, however, have conceived it necessary to subscribe to this severe sentence of condemnation; but few also have thought proper to leave the theatre to itself without any superintendence. In many Christian countries the dramatic art has been honoured by being made subservient to religion, in the popular treatment and exhibition of religious subjects; and in Spain more especially competition in this department has given birth to many y works which neither devotion nor poetry will disown. In other states and under other circumstances this has been thought both objectionable and inexpedient. Wherever, however, the subsequent responsibility of the poet and actor has been thought insufficient, and it has been deemed advisable to submit every piece before its appearance on the stage to a previous censorship, it has been generally found to fail in the very point which is of the greatest importance: namely, the spirit and general impression of a play. From the nature of the dramatic art, the poet must put into the mouths of his characters much of which he does not himself approve, while with respect to his own sentiments he claims to be judged by the spirit and connexion of the whole. It may again happen that a piece is perfectly inoffensive in its single speeches, and defies all censorship, while as a whole it is calculated to produce the most pernicious effect. We have in our own times seen but