Main Currents in Nineteenth Century Literature - 5. The Romantic School in FranceBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 5. The Romantic School in France
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
"The drama of passion must necessarily be historical drama. History
bequeaths to us the passionate deeds which were really done. If in
the midst of our modern society we were to attempt to lay bare the
heart which beats under our ugly short black coats, the resemblance
between the hero and the public would be too great; the spectator who
was following the development of a passion would desire to have it
arrested exactly where it would have stopped in his own case. He would
cry: 'Stop! that is wrong; that is not how I feel. When the woman whom
I love deceives me I suffer, certainly, but I neither kill her nor
myself.' And the outcry against exaggeration and melodrama would drown
the applause of the few who feel that the passions of the nineteenth
century are the same as those of the sixteenth, and that the blood can
course as hotly beneath a cloth coat as beneath a steel corselet."
We can imagine the applause which followed this speech. All wished to
show that they belonged to these few. Passion was the order of the day,
and they proved themselves to be passionate by applauding. And _Antony_
truly is a symphony of raging passions, the like of which it would be
difficult to find. After several years of travel the hero returns to
Paris and finds that the woman he loves is married. He saves her life
at the risk of his own by stopping her runaway horses; the shaft of the
carriage has pierced his breast; he is carried into her house. Antony
is an illegitimate child and a foundling; hence as a lover he is a
rebel against the laws of society. "Other men," he says to the woman
he loves, "have a father, a mother, a brother--arms which open for
them when they are in trouble; I have not so much as a tombstone upon
which I can read my name and weep. Other men have a country; I have
none, for I belong to no family. One name meant to me everything that I
possessed, and that name, your name, I am forbidden to pronounce." The
lady reminds him of social obligations: "Call them duties or call them
prejudices; such as they are, they exist." "Why," he replies, "should
I submit to these laws? Not one among those by whom they were made has
spared me a suffering or done me a service. I have received nothing but
injustice, and I owe nothing but hatred. My unfortunate mother's shame
has been branded on my forehead."
Public-domain text, read in full here on John Shaqi.
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