The French Dramatists: Corneille [pp. 763-766]

764 The French Di'amalis's. [DEcEMBEa,
man must be a second rate genius, at least as respects all utilitarian and instructive results, when
his views and theories are so far beyond his times,
as to contain nothing practically to affect his fellow
pilgrims. It is, however, a pleasant belief to a
writer, the conviction that he is not appreciated,
because he has wandered too far onward, for uninspired eyes to follow his movements, and slightly
founded as such a comfort frequently may be, it is
one whose private consolation gives it something
of a claim to public leniency. But it is difficult to
conceive, there ever can e an era su ited to many
of th e minds no w a broad i n the wi de rea lm of literature; and it requires more brilliancy of imagination than distinguishes the generality of readers,
to fancy an age when Carlylism will be the prevailing, diction, and Transcendentalism, no longer
mystifying indisputable truths, by viewing them as
through a glass darkly, shall be to common people,
a common faith. Certain it is, that the intellects
whose splendor has lived on, changeless, amid all
changes, were those, in character, a portion of their
own times, the lofty representatives of their gene ration, and however superior in themselves, still
imbued in some degree with the universal spirit of
the mass around them. Genius, in its separate,
mysterious existence, is ever' apart and lonely;' but
in its effect on others, it is universal, for it works
by appealing to those emotions and illusions, which
act upon every thoughtful and feeling being.
The dramatic writings of the French, scarcely
deserve that name, till the presiding genius of Cor neille, and shortly afterwards, that of Racine, gave
form and regularity to this branch of literature.
Under their guiding and superintending influence,
it arose to maturity, and to that perfection which
its originally artificial character is capable of ac quiring. It is eloquent with the tone of the so ciety in whose midst its progress commenced, and
full of the impressions spreading far and wide
around its votaries. The reverence for religion,
as vet untainted by the skeptical philosophy of the
succeeding generation, the profound and respectful
devotion to all that time had handed down, and hal lowed, and that regard for outward propriety almost
forgotten in later productions, give to the dramas
of that period, with some few exceptions, a style
of dignified and simple purity, which has only too
soon passed away.
Corneille was the founder and perfector of a new
school, based on higher and nobler principles, than
any which had preceeded it: the drama assumed
under his control, a finished and original style, and
he laid down certain regulations for its govern ment, which are still adhered to, by his dramatic
successors in popular favor. The traits of his own
intellect, bold, imaginative and manly, were calcu lated to trace a decisive and permanent impression
on all which yielded to their influence, and he could
not fail to produce improvement in the literature of
kened ambition, for the applause, the wonder, the
visible and rapturous admiration of the crowd.
As this wish, at first indistinct and visionary,
becomes decided and confirmed, the author writes
more carefully. He still looks into his own heart
for inspiration, but he looks with altered, and more
timid gaze; for, the love of approval has taught
him to dread censure. The fever-thirst for approbation deepens to a prevailing passion; the merely
intuitive perception, and involuntary exercise of
his gifts, are elevated into a settled knowledge of
the responsibility they confer, and a conscientious
avowal and employment of the master-spirit within.
The selfish aspiration for personal distinction is
merged in the nobler solicitude, to benefit, though
he scarcely knows how, his fellow men. A change
has come over his views and aims. His ruling
desire is no longer a vacrgue aspiring for sympathy;
he does not seek to meet personal appreciation, but
to enforce extended conviction; he ceases to consult exclusively his individual promptings, and with
his rapidly growing hope of the world's praise,
comes also greater respect, in seeming at least,
for the criticizing jury whose verdict he awaits.
He considers, with politic foresight, their tastes and
prejudices, and without relinquishing independence,
or sacrificing originality, he endeavors to mould his
works to suit the general character of the tribunal,
before which his recorded genius is to stand.
Henceforth, his compositions, though original in
matter, are nevertheless influenced and colored
by popular opinion, and therefore display at the
same time, the peculiar intellectual attributes of
the writer, and the prevailing characteristics of the
judges whose favorable sentence he strives to obtain. In dramatic literature, this double nature is
most visibly evinced; for, the drama is necessarily
an appeal to the mass of men, to be decided on by
the feelings and sympathies of the many, not the
criticism or judgment of the few. To be suc cessful in his labors, the poet must turn from his
own dream-world, to the less glowing and restless
one, of active life; he must draw from familiar objects and universal associations, the hidden spirit
of poetry; he must write for men as they are, before their final decision will make him what he
would be. He may lay his scenes in other lands;
he may portray and recall the actors of other times,
but he must blend with the heroes of the shadowy
past, something of the true and living present; else,
would the very oracles of old be uttered to care less listeners. And at last, it is no such difficult
thing, though somewhat a rare one in these days,
for an author who can write well at all, to compose
intelligibly to the comprehension of the throng;
for human thought, with all its apparent variety
and fickleness, moves and acts in a circle, and the
heart is ever consistent in its inconsistencies.
It has bee n remarked, t hat a freat mind is one
in advance of the era in which it appeals; but a
764
The F)-ench Di-amatists.
[DECEM13P,R,