Dramatic poetry

“ The reason that dramatic poetry must be regarded as the highest phase of the art of poetry, and, indeed, of every kind of art, is due to the fact that it is elaborated, both in form and substance, in a whole—that is the most complete. ”

“ Can those, who, loving the drama, and feeling its beauties with a true classic spirit, wish to see the public taste won over to the tragic muse, hope that it can be accomplished, or can they be surprised that on the contrary, tragedy so often excites merriment when they reflect upon the way dramatic poetry is often delivered upon the stage. ”

“ We have now reached the poetic culmination of modern times. Shakespeare is the drama; and the drama, which with the same breath moulds the grotesque and the sublime, the terrible and the absurd, tragedy and comedy—the drama is the distinguishing characteristic of the third epoch of poetry, of the literature of the present day.
Thus, to sum up hurriedly the facts that we have noted thus far, poetry has three periods, each of which corresponds to an epoch of civilization: the ode, the epic, and the drama. Primitive times are lyrical, ancient times epical, modern times dramatic. ”

“ The life of the ode is ideal, that of the epic grandiose, that of the drama real. In fine, this triple poetry springs from three grand sources—the Bible, Homer, Shakspere. Such are the diverse aspects of thought at different eras of man and society. Here are its three faces—youth, manhood, old age. Examine a single literature by itself or all literatures en masse, and you will always reach the same fact—the lyric poets before the epic, the epic before the dramatic. ”

“ There I fixed my attention on a single drama, and that one of the poet's best; but here I consider everything from the most general points of view, and relatively to the highest requisitions of art; and that my enthusiasm for ancient tragedy may not appear blind and extravagant, I must justify it by a keen examination into the traces of its degeneracy and decline.
We may compare perfection in art and poetry to the summit of a steep mountain, on which an uprolled load cannot long maintain its position, but immediately rolls down again the other side irresistibly. ”

“ It is because dramatic poetry is the poetry that is adapted to us, moral poetry par excellence, which represents man with his different passions armed against each other, the violent contentions between virtue and crime, the freaks of fortune, the lessons of providence, and in a narrow compass, too, in which the events press upon each other without confusion, in which the action rapidly progresses towards the crisis that must reveal what is most intimate to the heart of the personages. ”

“ 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 Aeolian harp. ”

“ To avoid making this call upon the imagination, to bring home its effects with full vividness, dramatic poetry has to call in the aid of several subordinate arts, the shaping or space art of the scene-painter, the mixed time and space arts of the actor and the dancer. Occasionally also, or in the case of opera throughout, dramatic poetry heightens the emotional effect of its words with music. ”

“ 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. ”

“ In reading dramatic poetry, we are apt to resign ourselves to the emotion which the general idea of the passion of the speaker excites, without pausing scrupulously to weigh each word of the phrase in which his sentiment is expressed. ”

“ And I do not wish to limit Poetry, as there is a new tendency to do, merely to the short dramatic poem, the ballad and the lyric, though it certainly is a convenience not to take these as the normal manifestations of Poetry in order to see more clearly the inter-relation of such different forms as the Drama, the Epic, and the song with music. In the Drama, the emotional conflict which is the whole cause and meaning of Poetry is concentrated in the mental problems of the leading character or characters. ”

“ Inasmuch as then, in conformity with this principle, all that pertains to tragedy pre-eminently rests upon the contemplation of such a conflict and its resolution, dramatic poetry is—and its entire mode of presentation offers a proof of the fact—alone able to make and completely adapt its form throughout its entire course and compass to the principle of the art product. ”

“ But should there arise a man who combines highly-developed dramatic faculty with great lyric genius, it is quite possible that he may give us the new poetic drama for which our idealists are sighing. He will choose his themes, I take it, from legend, or from the domain of pure fantasy--themes which can be steeped from first to last in an atmosphere of poetry, as Tristan und Isolde is steeped in an atmosphere of music. ”

“ The mode of poetical composition adapted to this novel type of content can be, as already suggested, no other than a mediating union of the principles of epic and lyrical art respectively.
(α) The first point of importance we have to settle to our satisfaction is that of the time at which dramatic poetry is able to assert itself in all its predominance. Drama is the product of an already essentially cultured condition of national life. ”

“ And this we should accept, not in a spirit of controversy or criticism, but with sympathy, as a part of the total aesthetic expression, striving to get, not only the poet's story, but his point of view regarding it as well.
This duality in the life of the epic involves a two-foldness in its time. In both lyric and dramatic poetry, life moves before us as a single stream actual in the present; but in the epic there is the time of the story-teller, which is present, and the time of the events that he relates, which is past. ”

“ On what scenes does the romance writer dwell with transport—where does he paint with force and minuteness but in those incidents, generally few and far between in his volumes, which form the fit subject of dramatic composition? The stage alone is relieved from the necessity of portraying the prosaic adjunct to poetic interest; the dramatist only is permitted to select the decisive crisis—the burning incident of life—and present it with all the additions of poetry, music, scenery, and personation. ”

“ For the external forms themselves are grateful to the fancy, and, as being expressive of design, warm and agitate the heart with passion. Hence it is, that narrative poetry, which draws mankind under every apparent consequence and effect of passion, inchants the mind. And even the dramatic, we know, is cool and lifeless, and loses half its efficacy, without action. This, too, is the province of picture, statuary, and all arts, which inform by mute signs. Nay, the mute arts may be styled, almost without a figure, in this class of imitation, the most eloquent. ”

“ Of course, dramatic and lyrical poetry both deal with the expression of human feeling, and the boundary line between them is often invisible. Still, it is probably correct to say that the drama takes for its principle of organic structure the action of men and women upon one another, while the lyrical poem expresses the feelings of men and women in themselves. ”

“ To explane this, which is a point of great nicety, he considers [from v. 89 to 99] the case of dramatic poetry; the two species of which are as distinct from each other, as any two can be, and yet there are times, when the features of the one will be allowed to resemble those of the other. For, 1. Comedy, in the passionate parts, will admit of a tragic elevation: and, 2. Tragedy, in its soft distressful scenes, condescends to the ease of familiar conversation. But the poet had a further view in chusing this instance. ”

“ Here, in point of evolution, is the human basis of poetry, the foundation courses of the pyramid."
2. Lyrical Element in Drama
We cannot here attempt to trace, even in outline, the course of this historic evolution of genres. But in contemporary types of both dramatic and narrative poetry, there may still be discovered the influence of lyric form and mood. We have already noted how the dramatist, for all of his supposed objectivity, cannot refrain from coloring certain persons and situations with the hues of his own fancy. ”

“ Among the many signs of the total decay of dramatic mind and spirit in this age, a frequent piece of criticism passed upon modern plays appears to me a very conclusive one—"Such a play is exceedingly full of dramatic effect, but there's no poetry in it." ”

“ DRAMATIC POWER. Dramatic power, in general, means the presentation of life with the vivid active reality of life and character which especially distinguishes the acted drama. It is, of course, one of the main things to be desired in most narrative; though sometimes the effect sought may be something different, as, for instance, in romance and poetry, an atmosphere of dreamy beauty. In a drama, and to some extent in other forms of narrative, dramatic power culminates in the ability to bring out the great crises with supreme effectiveness. ”

“ In epical poetry, as we before observed, it was the poet's undoubted function to transmit to his audience, by means of those halts by the way which his picturesque similitudes offered, that sense of tranquillity which is essential to fine art. In dramatic art, on the contrary, the dramatis personae appear as themselves the poets and artists. ”

“ That which in this world-around presents itself to our contemplation—and therefore contains meaning for our feelings—as movement, we render by movement. Hence all imitation is in the broadest sense dramatic; drama is presented in the movement of the brush-stroke or the chisel, the melodic curve of the song, the tone of the recitation, the line of poetry, the description, the dance. ”

“ Romantic poetry, on the other hand, is the expression of the secret attraction to a chaos which lies concealed in the very bosom of the ordered universe, and is perpetually striving after new and marvellous births ”

“ If this be a right conception of the difference between dramatic and all other kinds of poetry—and it seems to us to be, although it might need more elaboration to impress it upon the reader’s mind—it will be plain that the dramatic poet needs nothing short of the highest inspiration in order to make him catch the very breathings of men’s souls and throw them into living forms, as truly as the master actor loses his own personality and lets it sink or become absorbed utterly in the various characters he portrays. ”

“ Perhaps foremost among these should be reckoned that of the 'regular' drama--that is of the drama based upon an imitation of the classics, chiefly of the Latin authors. The conception of dramatic art which was in men's minds at the time naturally and inevitably influenced the development of a form of poem which was daily becoming more sensibly dramatic. Next there was the influence of the mythological drama embodying the romantic and ideal elements of classical myth, but in form representing the tradition of the old religious plays. ”

“ This grouping of drama, action, and passion as the qualities of great poetry is significant. Bald narrative can never realize character or situation as can the dramatic form, either in narrative or for the stage, when the whole action takes place before the mind's eye instead of being told. ”

“ For, whereas the epic, the dramatic, and the rest can add detail upon detail at great length, and lives by its quantity of good things, the lyric stands or falls at the first blow. Either it transmits to the reader the emotion it seeks to express, or it does not, and if it does not then the longer it continues the greater bore it becomes. For all the forms of objective poetry can get their effect by reproducing objective details in abundance. ”

“ Consequently if we take a survey of the various channels through which the genius of poetry has been accustomed to diffuse itself, it will be found, that, during this half century, every province had its cultivators; that poems epic and dramatic, historic and didactic, lyric and romantic, that satires, pastorals, and sonnets, songs, madrigals, and epigrams, together with a multitude of translations, brightened and embellished its progress. ”

“ Third comes the dramatic form, in which the poet does not speak for himself at all, but only puts into the mouths of each of his personages successively such discourse as he thinks appropriate to the part. The last of these three forms of poetry, the dramatic, calls, if it is merely read, on the imagination of the reader to fill up those circumstances of situation, action and the rest, which in the first or epic form are supplied by the narrative between the speeches, and for which in the lyric or personal form there is no occasion. ”

“ This is a point of view which is rarely taken by those who are accustomed to consider the drama only in its literary aspects, and who like to think of the dramatic poet as a remote and secluded artist, scornful of all adventitious assistance, seeking to express his own vision of the universe, and intent chiefly, if not solely, on portraying the human soul. ”

“ The content of the drama is made up of the conflict of passions, activities, pathos, actions, and the accomplishment of the thing willed by the soul, a content which does not, as in the case of the epic, take the form of a narrative of past events, but the dramatic poet places the individuals themselves before our eyes and makes them unfold their emotions personally in an objective form, and their actions as taking place in the present: his mediate position between ourselves and the objects represented therefore ceases. ”