Note Book of an English Opium-Eater - Thomas de Quincey (e reader manga txt) 📗

the Athenian stage? Did Tragedy, in Milton's immortal expression,

------come sweeping by
In sceptred pall?

Or was the whole, though successful in relation to the thing attempted, a failure in relation to what ought to have been attempted? Such are the questions to be answered.

* * * * *

The first elementary idea of a Greek tragedy, is to be sought in a serious Italian opera. The Greek dialogue is represented by the recitative, and the tumultuous lyrical parts assigned chiefly, though not exclusively, to the chorus on the Greek stage, are represented by the impassioned airs, duos, trios, choruses, &c. on the Italian. And there, at the very outset, occurs a question which lies at the threshold of a Fine Art,--that is of _any_ Fine Art: for had the views of Addison upon the Italian opera had the least foundation in truth, there could have been no room or opening for any mode of imitation except such as belongs to a _mechanic_ art.

The reason for at all connecting Addison with this case is, that _he_ chiefly was the person occupied in assailing the Italian opera; and this hostility arose, probably, in his want of sensibility to good (that is, to Italian) music. But whatever might be his motive for the hostility, the single argument by which he supported it was this,--that a hero ought not to sing upon the stage, because no hero known to history ever summoned a garrison in a song, or changed a battery in a semichorus. In this argument lies an ignorance of the very first principle concern in _every_ Fine Art. In all alike, more or less directly, the object is to reproduce in mind some great effect, through the agency of _idem in alio_. The _idem_, the same impression, is to be restored; but _in alio_, in a different material,--by means of some different instrument. For instance, on the Roman stage there was an art, now entirely lost, of narrating, and, in part of dramatically representing an impassioned tale, by means of dancing, of musical accompaniment in the orchestra, and of elaborate pantomime in the performer. _Saltavit Hypermnestram_, he danced (that is, he represented by dancing and pantomime the story of) Hypermnestra. Now, suppose a man to object, that young ladies, when saving their youthful husbands at midnight from assassination, could not be capable of waltzing or quadrilling, how wide is this of the whole problem! This is still seeking for the _mechanic_ imitation, some imitation founded in the very fact; whereas the object is to seek the imitation in the sameness of the impression drawn from a different, or even from an impossible fact. If a man, taking a hint from the Roman 'Saltatio' (_saltavit Andromachen_), should say that he would 'whistle Waterloo,' that is, by whistling connected with pantomime, would express the passion and the changes of Waterloo, it would be monstrous to refuse him his postulate on the pretence that 'people did not whistle at Waterloo.' Precisely so: neither are most people made of marble, but of a material as different as can well be imagined, viz. of elastic flesh, with warm blood coursing along its tubes; and yet, for all _that_, a sculptor will draw tears from you, by exhibiting, in pure statuary marble, on a sepulchral monument, two young children with their little heads on a pillow, sleeping in each other's arms; whereas, if he had presented them in wax-work, which yet is far more like to flesh, you would have felt little more pathos in the scene than if they had been shown baked in gilt gingerbread. He has expressed the _idem_, the identical thing expressed in the real children; the sleep that masks death, the rest, the peace, the purity, the innocence; but _in alio_, in a substance the most different; rigid, non-elastic, and as unlike to flesh, if tried by touch, or eye, or by experience of life, as can well be imagined. So of the whistling. It is the very worst objection in the world to say, that the strife of Waterloo did not reveal itself through whistling: undoubtedly it did not; but that is the very ground of the man's art. He will reproduce the fury and the movement as to the only point which concerns you, viz. the effect, upon your own sympathies, through a language that seems without any relation to it: he will set before you what _was_ at Waterloo through that which was _not_ at Waterloo. Whereas any direct factual imitation, resting upon painted figures drest up in regimentals, and worked by watchwork through the whole movements of the battle, would have been no art whatsoever in the sense of a Fine Art, but a base _mechanic_ mimicry.

This principle of the _idem in alio_, so widely diffused through all the higher revelations of art, it is peculiarly requisite to bear in mind when looking at Grecian tragedy, because no form of human composition employs it in so much complexity. How confounding it would have been to Addison, if somebody had told him, that, substantially, he had himself committed the offence (as he fancied it) which he charged so bitterly upon the Italian opera; and that, if the opera had gone farther upon that road than himself, the Greek tragedy, which he presumed to be so prodigiously exalted beyond modern approaches, had gone farther even than the opera. Addison himself, when writing a tragedy, made this violation (as he would have said) of nature, made this concession (as _I_ should say) to a higher nature, that he compelled his characters to talk in metre. It is true this metre was the common iambic, which (as Aristotle remarks) is the most natural and spontaneous of all metres; and, for a sufficient reason, in all languages. Certainly; but Aristotle never meant to say that it was natural for a gentleman in a passion to talk threescore and ten iambics _consecutively_: a chance line might escape him once and away; as we know that Tacitus opened one of his works by a regular dactylic hexameter in full curl, without ever discovering it to his dying day (a fact which is clear from his never having corrected it); and this being a very artificial metre, _a fortiori_ Tacitus might have slipped into a simple iambic. But that was an accident, whilst Addison had deliberately and uniformly made his characters talk in verse. According to the common and false meaning [which was his own meaning] of the word nature, he had as undeniably violated the principle of the _natural_, by this metrical dialogue, as the Italian opera by musical dialogue. If it is hard and trying for men to sing their emotions, not less so it must be to deliver them in verse.

But, if this were shocking, how much more shocking would it have seemed to Addison, had he been introduced to parts which really exist in the Grecian drama? Even Sophocles, who, of the three tragic poets surviving from the wrecks of the Athenian stage, is reputed the supreme _artist_ [5] if not the most impassioned poet, with what horror he would have overwhelmed Addison, when read by the light of those principles which he had himself so scornfully applied to the opera! In the very monsoon of his raving misery, from calamities as sudden as they were irredeemable, a king is introduced, not only conversing, but conversing in metre; not only in metre, but in the most elaborate of choral metres; not only under the torture of these lyric difficulties, but also chanting; not only chanting, but also in all probability dancing. What do you think of _that_, Mr. Addison?

There is, in fact, a scale of graduated ascents in these artifices for unrealizing the effects of dramatic situations:

1. We may see, even in novels and prose comedies, a keen attention paid to the inspiriting and _dressing_ of the dialogue: it is meant to be life- like, but still it is a little raised, pointed, colored, and idealized.

2. In comedy of a higher and more poetic cast, we find the dialogue _metrical_.

3. In comedy or in tragedy alike, which is meant to be still further removed from ordinary life, we find the dialogue fettered not only by metre, but by _rhyme_. We need not go to Dryden, and others, of our own middle stage, or to the French stage for this: even in Shakspeare, as for example, in parts of Romeo and Juliet (and for no capricious purpose), we may see effects sought from the use of rhyme. There is another illustration of the idealizing effect to be obtained from a particular treatment of the dialogue, seen in the Hamlet of Shakspeare. In that drama there arises a necessity for exhibiting a play within a play. This interior drama is to be further removed from the spectator than the principal drama; it is a deep below a deep; and, to produce that effect, the poet relies chiefly upon the stiffening the dialogue, and removing it still farther, than the general dialogue of the _including_ or _outside_ drama, from the standard of ordinary life.

4. We find, superadded to these artifices for idealizing the situations, even music of an intermitting character, sometimes less, sometimes more impassioned--recitatives, airs, choruses. Here we have reached the Italian opera.

5. And, finally, besides all these resources of art, we find dancing introduced; but dancing of a solemn, mystical, and symbolic character. Here, at last, we have reached the Greek tragedy. Probably the best exemplification of a Grecian tragedy that ever _will_ be given to a modern reader is found in the Samson Agonistes of Milton. Now, in the choral or lyric parts of this fine drama, Samson not only talks, 1st, metrically ( as he does every where, and in the most level parts of the scenic business), but, 2d, in very intricate metres, and, 3d, occasionally in _rhymed_ metres (though the rhymes are too sparingly and too capriciously scattered by Milton), and, 4th, _singing_ or chanting these metres (for, as the chorus sang, it was impossible that _he_ could be allowed to talk in his ordinary voice, else he would have put them out, and ruined the music). Finally, 5th, I am satisfied that Milton meant him to _dance_. The office of the _chorus_ was imperfectly defined upon the Greek stage. They are generally understood to be the _moralizers_ of the scene. But this is liable to exceptions. Some of them have been known to do very bad things on the stage, and to come within a trifle of felony: as to misprision of felony, if there _is_ such a crime, a Greek chorus thinks nothing of it. But that is no business of mine. What I was going to say is, that, as the chorus sometimes intermingles too much in the action, so the actors sometimes intermingle in the business of the chorus. Now, when you are at Rome, you must do as they do at Rome. And that the actor, who mixed with the chorus, was compelled to sing, is a clear case; for _his_ part in the choral ode is always in the nature of an echo, or answer, or like an _antiphony_ in cathedral services. But nothing could be more absurd than that one of these antiphonies should be sung, and another said. That he was also compelled to dance, I am satisfied. The chorus only _sometimes_ moralized, but it _always_ danced: and any actor, mingling with the chorus, must dance also. A little incident occurs to my remembrance, from the Moscow expedition of 1812, which may here be used as an illustration: One day