The Atlantic Monthly, Volume 04, No. 22, August, 1859. Various

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СКАЧАТЬ personae are three individuals, Adam, Eve, and the Serpent. There are the mysterious tree, with its wonderful fruit,—the beautiful, but inquisitive woman,—the thoughtful, but too compliant man,—and the insinuating reptile. One speaks, the other rejoins, and the third fills up the chasm of interest. The plot thickens, the passions are displayed, and the tragedy hastens to its end. Then is heard the voice of the Lord God walking in the cool (the wind) of the garden, the impersonal presence of Jehovah is, as it were, felt in the passing breeze, and a shadow falls upon the earth,—but such a shadow as their own patient toil may dissipate, and beyond the confines of which their hope, which has now taken the place of enjoyment, is permitted ever to look.

      Without delaying on the moral of this passage, what we would remark upon is the clearness and freedom of the dialogue,—a feature which we find pervading the whole of the sacred writings.

      In the account of Cain, which immediately succeeds, the narrative is inelaborate, casual, secondary; the dialogue is simple and touching. The agony of the fratricide and his remorse are better expressed by his own lips than could be done by any skill of the historian.

      In the deception which Abraham put upon the Egyptians, touching his wife,—which it is no part of our present object to justify or to condemn,—what a stroke of pathos, what a depth of conjugal sentiment, is exhibited! "Thou art a fair woman to look upon, and the Egyptians, when they see thee, will kill me and save thee alive. Say, I pray thee, thou art my sister; that it may be well with me for thy sake, and my soul shall live because of thee."

      Viola appears very interesting and very innocent, when, in boy's clothes, she wanders about in pursuit of a lover. Is not Sarah equally interesting and equally innocent, when, under cover of an assumed name, and that a sister's, she would preserve the love of one who has worthily won it?

      Will it be said that the dialogue of the Bible lacks the charm of poetry?—that its action and sentiment, its love and its sorrow, are not heightened by those efforts of the fancy which delight us in dramatic authors?—that its simplicity is bald, and its naturalness rough?—that its excessive familiarity repels taste and disturbs culture? If we may trust Wordsworth, simplicity is not inconsistent with the pleasures of the imagination. The style of the Bible is not redundant,—there is little extravagance in it, and it has no trickery of words. Yet this does not prevent its being deep in sentiment, brilliant with intrinsic thought or powerful effect.

      In the "Two Gentlemen of Verona," Valentine thus utters himself touching his betrothed:—

        "What light is light, if Sylvia be not seen?

        What joy is joy, if Sylvia be not by?

        Except I see my Sylvia in the night,

        There is no music in the nightingale.

        Unless I look on Sylvia in the day,

        There is no day for me to look upon.

        She is my essence; and I cease to be,

        If I be not by her fair influence

        Fostered, illumined, cherished, kept alive."

      Compare with this the language of Abraham. "Thou art fair, my wife. Say, I pray thee, thou art my sister; that it may be well with me for thy sake, and my soul shall live because of thee." The first is an instance of poetic amplification and abandon; we should contend, for the last, that it expresses poetic tenderness and delicacy. In the one case, passion is diffuse,—in the other, concentrated. Which is the more natural, others must judge.

      "Euthanasy," "Theron and Aspasio," the "Phaedon" of Plato are dialogues, but they are not dramatic. It may be, that, for a composition to claim this distinction, it must embody great character or deep feeling,—that it must express not only the individuality, but the strength of the passions.

      Observing this criticism, we think we may find any quantity of dramatic dialogue in Scripture. The story of Joseph, the march in the wilderness, the history of David, are full of it.

      There are not only dramatic dialogue and movement, but dramatic monologue and episode. For illustration, we might refer to Hagar in the wilderness. Her tragic loneliness and shuddering despair alight upon the page of Scripture with the interest that attends the introduction of the veiled Niobe with her children into the Grecian theatre.

      There are those who say, that the truth of particular events, so far as we are conscious of it, is a drawback on the pleasure as well as the dignity of the drama,—in other words, that the Bible is too true to afford what is called dramatic delight, while the semblance of truth in Shakspeare is exactly graduated to this particular affection. Between the advocates of this theory, and those who say that Shakspeare is true as truth itself, we can safely leave the point.

      The subject has another aspect, which appears in the inquiry, What is the true object of the drama? If, as has been asserted, the object of the drama be the exhibition of the human character,—if, agreeably to Aristotle, tragedy purifies the affections by terror and pity,—or if, according to a recent writer, it interests us through the moral and religious principles of our nature,—or even if, according to Dr. Johnson, it be the province of comedy to bring into view the customs, manners, vices, and the whole character of a people,—it is obvious that the Bible and the drama have some correspondence. If, in the somewhat heated language of Mrs. Jameson, "whatever in religion is holy and sublime, in virtue amiable and grave, whatever hath passion or admiration in the changes of fortune or the refluxes of feeling, whatever is pitiful in the weakness, grand in the strength, or terrible in the perversion of the human intellect," be the domain of tragedy, this correspondence increases upon us.

      If, however, it be the object of the drama to divert, then it occupies a wholly different ground from the Bible. If it merely gratifies curiosity or enlivens pastime, if it awakens emotion without directing it to useful ends, if it rallies the infirmities of human nature with no other design than to provoke our derision or increase our conceit, it shoots very, very wide of the object which the sacred writers propose.

      It is worthy to be remarked, that the Jews had no drama, or nothing that answers to our idea of that term at the present time; they had no theatres, no writers of tragedy or comedy. Neither are there any traces of the dramatic art among the Egyptians, among whom the Jews sojourned four hundred years, nor among the Arabs or the Persians, who are of kindred stock with this people. On the other hand, by the Hindoos and Chinese, the Greeks and Romans, histrionic representation was cultivated with assiduity.

      How shall we explain this national peculiarity? Was it because the religion of the Jews forbade creative imitation? Is it to be found in the letter or the spirit of the second commandment, which interdicts the making of graven images of any pattern in earth or heaven? We should hardly think so, since the object of this prohibition is rather to prevent idolatry than to discourage the gratification of taste. "Thou shalt not bow down to them nor serve them." The Jews did have emblematic observances, costume, and works of art. Yet, on the other hand, the Jews possessed something resembling the drama, and that out of which the dramatic institutions of all nations have sprung. The question, then, why the Jews had no drama proper, and still preserved the semblance and germ thereof, will be partially elucidated by a reference to the early history of dramatic art.

      In its inception, the drama, among all nations, was a religious observance. It came in with the chorus and the ode. The chorus, or, as we now say, choir, was a company of persons who on stated occasions sang sacred songs, accompanying their music with significant gesture, and an harmonious pulsation of the feet, or the more deliberate march. The ode or song they sang was of an elevated structure and impassioned tone, and was commonly addressed to the Divinity. Instances of the ode are the lyrics of Pindar and David. The chorus was also divided into parts, to each of which was assigned a separate portion of the song, and which answered one another in alternate measures. A good instance of the chorus and its movement appears after the deliverance of the Jews from the dangers of the Red СКАЧАТЬ