soundest influence in drama of the century." Sardou has similarly declared Dumas to have been "le premier homme de théâtre du siècle passé." Castelar has this passage on Dumas as a revolutionary leader, a pioneer of stage liberty:
"A lover of the drama, he proved himself able to reanimate the theatre. To accomplish this purpose he chose pieces of lively interest, characters of a strongly marked individuality, descriptions of unbridled passions, which, though without the artificial rules of poetic conventionality, followed the inspirations of fancy in its native purity, and were powerful enough to awaken artistic attention."
Did Dumas in his ardour go too far? Goëthe uttered a warning note when, two years before his death, he addressed the young poct after the success of "Christine":
"Friend," he wrote, "don't go further than your masters, Delavigne and Béranger, Schiller and Scott. Beware of forcing your activity; production without respite ends in bankruptcy of one's talent. Whatever frees the fancy, without retaining it within the control of reason, is pernicious. Art must be at the command of the imagination, if it is to have an outcome in poetry. Nothing is more terrible than imagination deprived of taste."
Whether or no Goëthe's advice was necessary, and applicable, we leave to be discussed by others,
