It seems to us that someone has already said that the drama is a mirror wherein nature is reflected. But if it be an ordinary mirror, a smooth and polished surface, it will give only a dull image of objects, with no relief—faithful, but colourless; everyone knows that colour and light are lost in a simple reflection. The drama, therefore, must be a concentrating mirror, which, instead of weakening, concentrates and condenses the coloured rays, which makes of a mere gleam a light, and of a light a flame. Then only is the drama acknowledged by art.
The stage is an optical point. Everything that exists in the world—in history, in life, in man—should be and can be reflected therein, but under the magic wand of art. Art turns the leaves of the ages, of nature, studies chronicles, strives to reproduce actual facts (especially in respect to manners and peculiarities, which are much less exposed to doubt and contradiction that are concrete facts), restores what the chroniclers have lopped off, harmonises what they have collected, divines and supplies their omissions, fills their gaps with imaginary scenes which have the colour of the time, groups what they have left scattered about, sets in motion anew the threads of Providence which work the human marionettes, clothes the whole with a form at once poetical and natural, and imparts to it that vitality of truth and brilliancy which gives birth to illusion, that prestige of reality which arouses the enthusiasm of the spectator, and of the poet first of all, for the poet is sincere. Thus the aim of art is almost divine: to bring to life again if it is writing history, to create if it is writing poetry.
It is a grand and beautiful sight to see this broad development of a drama wherein art powerfully seconds nature; of a drama wherein the plot moves on to the conclusion with a firm and unembarrassed step, without diffuseness and without undue compression; of a drama, in short, wherein the poet abundantly fulfills the multifold object of art, which is to open to the spectator a double prospect, to illuminate at the same time the interior and the exterior of mankind: the exterior by their speech and their acts, the interior, by asides and monologues; to bring together, in a word, in the same picture, the drama of life and the drama of conscience.
It will readily be imagined that, for a work of this
