English drama -- Early modern and Elizabethan, 1500-1600 -- History and criticism
This last, indeed, is one of the rarest gifts bestowed on man. What is
that which we call dramatic? In the abstract, it is thought or emotion
in action, or on its way to become action. In the concrete, it is that
which is more vivid if represented than described, and which would lose
if merely narrated. Goethe, for example, had little dramatic power;
though, if taking thought could have earned it, he would have had
enough, for he studied the actual stage all his life. The characters in
his plays seem rather to express his thoughts than their own. Yet there
is one admirably dramatic scene in “Faust” which illustrates what I
have been saying. I mean Margaret in the cathedral, suggested to Goethe
by the temptation of Justina in Calderon’s “Magico Prodigioso,” but
full of horror as that of seductiveness. We see and hear as we read.
Her own bad conscience projected in the fiend who mutters despair into
her ear, and the awful peals of the “Dies Iræ,” that most terribly
resonant of Latin hymns, as if blown from the very trump of doom
itself, coming in at intervals to remind her that the
“Tuba mirum spargens sonum
Per sepulchra regionum
Coget omnes ante thronum,”
herself among the rest,--all of this would be weaker in narration.
This is real, and needs realization by the senses to be fully felt.
Compare it with Dimmesdale mounting the pillory at night, in “The
Scarlet Letter,” to my thinking the deepest thrust of what may be
called the metaphysical imagination since Shakespeare. There we
need only a statement of the facts--pictorial statement, of course,
as Hawthorne’s could not fail to be--and the effect is complete.
Thoroughly to understand a good play and enjoy it, even in the reading,
the imagination must body forth its personages, and see them doing or
suffering in the visionary theatre of the brain. There, indeed, they
are best seen, and Hamlet or Lear loses that ideal quality which makes
him typical and universal if he be once compressed within the limits,
or associated with the lineaments, of any, even the best, actor.
Public-domain text, read in full here on John Shaqi.
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