THE FOURTEENTH OF JULY AND DANTON TWO PLAYS OF THE FRENCH REVOLUTION BY ROMAIN ROLLAND AUTHORIZED TRANSLATION WITH A PREFACE BY BARRETT H. CLARK LONDON GEORGE ALLEN & UNWIN LTD. 1919 CONTENTS ROMAIN ROLLAND AND THE PEOPLE'S THEATER THE FOURTEENTH OF JULY (_Le 14 Juillet_) DANTON (_Danton_) ROMAIN ROLLAND AND THE PEOPLE'S THEATER It is perhaps a little surprising to learn that the author of _Jean-Christophe_ has written at least sixteen full-length plays. Most of these, it is true, antedate the publication of the first parts of his epoch-making novel, but since nothing that comes from the brain of Romain Rolland can fail to possess significance and interest, a brief inquiry into his dramatic writings and theories on the drama will reveal an aspect of the man which has hitherto strangely enough scarcely been touched upon. His plays for a people's theater, and his book of projects, are as integral a part of his development as _Jean-Christophe_ itself. The life of M. Rolland seems to have been a perpetual struggle between conflicting mental forces: for years he read philosophy, and suffered agonies before he at last found himself spiritually; until the completion of _Jean-Christophe_ he was a prey to doubts regarding the utility of art and the end of life. He applied in turn to the great master-minds of the world--Empedocles, Spinoza, Michelangelo, Shakespeare, Beethoven, Tolstoy--seeking for a satisfactory philosophy of life. Small wonder, therefore, that his work should bear the imprint of the masters who have at one time or another been his guides and inspiration. His two years' sojourn in Rome, from 1890 to 1892, awakened a passionate interest in the Italian Renaissance, which he immediately translated into plays. It is likely that _Orsino, Les Baglioni,_ and _Le Siège de Mantoue,_ plays of the Renaissance, were inspired by Shakespeare, for whose historical dramas M. Rolland professes a decided partiality. The plays are not published, but if we can judge from the fact that Mounet-Sully wished to produce _Orsino,_ they must have shown some of the power of the later plays. At Rome he was associated with the aged revolutionist Malwida von Meysenbug, whom he had met at Versailles some time before, and doubtless the story of her eventful life had its part in shaping his Ideals. Four other plays--three of them on classical subjects--belong to this period: _Niobe, Caligula, Empédocle,_ and _Jeanne de Piennes._ It is probable that these also belonged to the writer's period of apprenticeship. At the end of M. Rolland's stay in Rome he went to the Wagner Festival at Bayreuth, in company with Malwida. Even at this time he was already dreaming of a new theater in France, and his theoretical writings of later times bear unmistakable proof of the impression made upon him by the Bayreuth theater and Wagner's epoch-making ideas on art and the people.