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That one incident was only one of a series of closely-related dramatic events. Outwardly, life in that city is very safe, simple and straightforward, but as to the forces of evil, the anarchists, the I. W. W.'s and German plotters the patriot can only say that but for the Secret Service and the police and the Department of Justice, society could not go on for one single month.
If we ask now what are the characteristic means by which the photoplay succeeds in overcoming reality, in isolating a significant dramatic story and in presenting it so that we enter into it and yet keep it away from our practical life and enjoy the harmony of the parts, we must remember all the results to which our psychological discussion in the first part of the book has led us.
The Drama, in its higher branches, is perhaps the greatest effort of human genius. It requires for its successful cultivation, a combination of qualities beyond what is necessary in any other department of composition. A profound and practical acquaintance with human nature in all its phases, and the human heart in all its changes, is the first requisite of the Dramatic Poet.
It was of course a characteristic of the eighteenth century always to take up the ethical and high prudential view of whatever had to be justified, and Rousseau seems from this point to have been successful in demolishing arguments which might hold of Greek tragedy at its best, but which certainly do not hold of any other dramatic forms.
It is a plain unvarnished tale and entirely innocent of those arts by the practice of which authors please their public. There is no eloquence, no rhetoric, no fine writing of any sort. The two or three really dramatic events in Priestley's career are not handled with a view to producing dramatic effect. There are places where the author might easily have become impassioned.
If that is the general connection of the psalm and I think you will admit that it adds to its beauty and dramatic force if we suppose it so then this introductory question, sung as the procession climbed the steep, had realised what was needed for those who should get the entrance that they sought, and comes to be a very significant and important one. I deal now with the question and its answer.
We should meet with some new characters, of which two at least would supply the element of dramatic freshness and vivacity which we should miss from the company of the first opera Susanna and Cherubino. We should also, in all likelihood, be struck by the difference in the moral atmosphere of the two works.
What, their friend and champion, and ultimately their redeemer too? Well, and why not? Weak women have done greater things in the world. As she stood on the chancel step, vowing herself to these great things, she was conscious of a dramatic moment would not have been sorry, perhaps, if some admiring eye could have seen and understood her.
Natural genius, experience of life, culture, and great companionship had joined to make her what she was, a philosopher both natural and developed; and, what is more rare, a philosopher with a sense of humour and a perception of the dramatic. Thus when her chance came she was fully equipped to meet it.
These contradict the DRAMATIC TEMPERAMENT of nature, as our dealings with nature and our habits of thinking have so far brought us to conceive it. They seem oddly personal and artificial, even when not bureaucratic and professional in an absurd degree. 'Autant que la Revolution, "l'Affaire" est desormais une de nos "origines."
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