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There can be no question that M. Rostand writes better verse than Emile Augier; but there can be no question, also, that Augier is the greater dramatist. Oscar Wilde probably wrote more clever and witty lines than any other author in the whole history of English comedy; but no one would think of setting him in the class with Congreve and Sheridan.
Monsieur Rostand, perhaps, did not know that he was writing an allegory. To me that field of Wagram is the field of the modern war of literature. We hear nothing but the voices of pain; the whole is one phonograph of horror.
The essence of tragedy is a spiritual breakdown or decline, and in the great French play the spiritual sentiment mounts unceasingly until the last line. It is not the facts themselves, but our feeling about them, that makes tragedy and comedy, and death is more joyful in Rostand than life in Maeterlinck.
Shakespeare, Rostand, and Barrie have both, and are naturally therefore great dramatists. Two of the most of Miss Branch's poems are Lazarus Ora Pro Nobis. These are fruitful subjects for poetry, the man who came back from the grave and the passionate woman buried alive. In the short piece Lazarus, cast into the form of dialogue Lazarus answers the question put to him by Tennyson in In Memoriam.
If they excited the curiosity of a few philosophers, of scientists and inquirers, and here and there determined a vocation, still more, perhaps, did they charm writers and poets; they consoled Rostand at the end of a serious illness, their virtue, in some sort healing, procuring him both moral repose and a delightful relaxation. Yet we must admit that this work has certain undeniable faults.
"With the exception of the patriarchal family of the Rostand, that great house of ship-owners, which linked Smyrna, Athens, Syria and Egypt to France by their various enterprises, and to whom I had been indebted for all the pleasures of my first voyage to the East; with the exception of M. Miege, the general agent of all our maritime diplomacy in the Mediterranean, with the exception of Joseph Autran, that oriental poet who refuses to quit his native region because he prefers his natural elements to glory, I knew but few persons at Marseilles.
In his poem, Le Vol de la Marseillaise, Rostand shows us the twelve Victories seated at the Invalides around the tomb of the Emperor rising to welcome their sister, the Victory of the Marne. At the Panthéon, in the crypt where they rest, Marshal Lannes and General Marceau, Lazare Carnot, the organizer of victory, and Captain La Tour d'Auvergne will rise in their turn on this young man's entrance.
As the story unfolded itself I was more and more delighted. His idea of resuscitating the quaint interior of the Hôtel de Bourgogne Theatre was original, and the balcony scene, even in outline, enchanting. After the reading Rostand dashed off as he had come, and for many weeks I saw no more of him. “La Princesse Lointaine was, in the meantime, produced by Sarah, first in London and then in Paris.
Then it fell to his lot to devise an acting part for Coquelin, which in the compass of a single play should allow that great performer to sweep through the whole wide range of his varied and versatile accomplishment. With the figure of Coquelin before him, M. Rostand set earnestly to work.
But the poetic comedy does not misrepresent the speech one half so much, as the speech misrepresents the soul. Monsieur Rostand showed even more than his usual insight when he called 'Cyrano de Bergerac' a comedy, despite the fact that, strictly speaking, it ends with disappointment and death.
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